Jo Loth
Jo Loth
Jo is an educational leader, voice and movement teacher, actor, director, performance maker and academic. Performance highlights include Tadashi Suzuki’s Theatre Festivals in Japan, The Brisbane Festival, The Brisbane Cabaret Festival and The Brisbane Powerhouse. Jo is on the pathway to Designation as a Linklater voice teacher.
Biography
Jo is an educational leader, voice and movement teacher, actor, director, performance maker and academic. Performance highlights include Tadashi Suzuki’s Theatre Festivals in Japan, The Brisbane Festival, The Brisbane Cabaret Festival and The Brisbane Powerhouse. Jo is on the pathway to Designation as a Linklater voice teacher.Ad Astra Plays
Upcoming Plays
Past Plays
Performance Highlights
2024 - What Dreams May Come, The National Drama School, Director
2023 - Romeo and Juliet, The National Drama and Ballet Schools, Co-director
2018 - Julius Caesar, The Brisbane Powerhouse, Director
2017 - Julius Caesar, The Caloundra Events Centre, Director
2017 - Macbeth, QACI / The Danger Ensemble, Actor (Dir. Steven Mitchell-Wright)
2014 - Salome, Metro Arts / Awkward Conversation, Actor (Dir. Steven Mitchell-Wright)
2012 - The Four Accordionists of the Apocalypse, La Mama Courthouse/ Burning Deck Theatre (Melbourne), Director
2012 - Mind Games, Edinburgh Fringe Festival, Writer/ Performer, (Dir. Sandro Collarelli)
2011 - Mind Games, Judith Wright Centre / The Brisbane Cabaret Festival, Writer/ Performer, (Dir. Sandro Collarelli)
2009 - 77 Things You Did, Metro Arts / Brisbane Festival, Writer/ Performer
2000 - Hamlet, Tadashi Suzuki’s Shizuoka Performing Arts Centre, Japan, Actor (Dir. Jacqui Carroll)
1998 - Salome, Tadashi Suzuki’s Toga Arts Festival, Japan, Actor (Dir. Jacqui Carroll)
Training
2019 to the present - On the pathway to Designation as a Linklater Voice Teacher, Teachers include: Rob Pensalfini, Andrea Haring, Judith Shahn and Kimberley White, through The Linklater Voice Centre, New York
2019 - P3 East Techniques, Robyn Hunt and Steve Pearson, Washington University, Seattle
2018 - Linklater Voice, Kristin Linklater, Kristin Linklater Voice Centre, Orkney, Scotland
2018 - Shakespeare Intensive, Shakespeare & Company via 16th Street Studios, Melbourne
2017 - Howard Fine Masterclass, Howard Fine, Sydney
2008 to 2011 - QUT, Doctor of Philosophy, Primary supervisor: Associate Professor Bree Hadley.
1998 to 2000 - QUT, Master of Arts (Research), Primary supervisor: Dr Christine Comans.
1997 to 2000 - Suzuki Actor Training Method (Yearly Training), Suzuki Company of Toga, Japan
1993 to 2000 - Suzuki Actor Training Method, Oz Frank Productions, Jacqui Carroll and John Nobbs
Representation
Freelance
Reviews
“…Jo Loth has succeeded admirably. We are in a dystopian Mad Max world on a stripped-down stage… Cassius and Brutus emerge and the machinations of the plot start to evolve in a skilfully edited 95-minute version of the text … Ear-splitting static accompanied the frenzied stabbing of Caesar (a brutally poetic scene), while music punctuated the action, with at one-time a slow minor-keyed “Bad Moon Rising” and an effective finale of John Lennon’s “Imagine….I caught the matinee performance which was full of school kid groups. That they remained attentive throughout with no bad behaviour or giggles spoke volumes about Loth’s success.”
Peter Pinne - Stage Whispers | Read Review Here
“The play The Four Accordionists of the Apocalypse first appeared back in 1996, at the Tasmanian New Music Festival. Now it has been taken on by writer and composer Sofia Chapman who, in collaboration with Brisbane-based director Jo Loth, manages to shed light on current issues in today's society via a musical comedy approach. Life's turmoils and humanity's weaknesses are addressed while adorned with lovely accordion music and wicked humorous zingers, which more than once drew belly busting laughter from the audience... The Four Accordionists of the Apocalypse is an unusual and very funny play, poking fun at the end of the world through Norse Mythology one accordion note at a time; it is well worth catching.”
Gordana Andjelic-Davila - Australian Stage | Read Review Here
“The honest and frank inspiration of female experience of depression makes for a brave piece of cabaret. Jo discusses her own memories whilst telling fragments of stories about other women’s struggles with depression, and relishes performing her Austrian alter-ego, who voices social prejudice towards mental illness... Cabaret has long been a site of cultural transgression, and Jo’s delivery about difficult topics such as rape and abortion use the medium to its best.”
Harriet Dodd - Three Weeks, Edinburgh | Read Review Here
“This is cabaret in its most intimate form, as Loth delves into the most delicate aspects of the human psyche.. When Loth enacts parts of her own struggle with depression onstage, it feels like a precious gift is being given to the audience – we are not merely being told what it is like to suffer mental illness, but are being shown and made to experience this landscape of despair directly… Loth is an incredibly skilled and committed performer, swapping between personas at a moment’s notice and bringing each character to life with rich physicality and a distinctive vocal quality.”
Bradley Storer - Theatrepress | Read Review Here
Awards
Lord Mayor’s Creative Sparks Fellowship | Brisbane City Council | 2004
Ian Potter Foundation Fellowship | 2001