At Actors Centre Australia, we take pride in celebrating the artistic achievements of our students and the educators who guide them.
In the past year, two ACA student productions directed by our own Johann Walraven have reached an exciting milestone: both Stags and Hens and A Lie of the Mind were selected to remount for a professional season at New Theatre in Newtown. This not only highlights the talent of our emerging actors and their ambition as self-produced artists, but also showcases Johann’s skill in nurturing bold storytelling on stage.
In January 2026, A Lie of the Mind will open (tickets here!), featuring a cast of all ACA graduates. We sat down with Johann to discuss the journey from classroom to mainstage, and what this opportunity means for the young performers stepping into the professional arena fresh off graduation.
ACA: In the past year, two student productions you directed at ACA have been selected for a professional run at New Theatre. How does that feel?
Johann: Pretty good! I don’t treat student productions any differently than when directing professionally, so I had/have 100% confidence that they would transfer easily to a wider audience. I am incredibly proud (I say this way too often to the students themselves) of our graduates and the work they do whilst training with us. It’s extremely gratifying to see them all succeed and get work and ply their skills and talent after their time with us, so to work with them again so soon after graduating is a joy for me. I wouldn’t put my name to work out in the industry I didn’t feel was up to the standard of a paying audience, and also have commercial appeal. Stags was a great success in this regard, and I believe Lie will be also.
ACA: Earlier in 2025, your show Stags and Hens had a successful run at New Theatre. What was it like watching that production (and the students you taught intimately for three years) making their professional debut?
Johann: It was a bit of a whirlwind (and will be again for Lie). We went straight from the students Industry Showcase into the remount rehearsals for Stags, building the set and designing the show over Christmas, into the run of the show. Once we had opened however, I had the chance to relax in the back row of a dark theatre for the three-week run and just watch them shine. The play itself would always move me, and knowing the journey the students had been on the past three years only sweetened the success.
ACA: And now in 2026, A Lie of the Mind will remount at New Theatre in January. Why did you choose this Sam Shepard classic? What should audiences expect?
Johann: It’s always a delicate process choosing the students plays. Over their training you need to make sure they all get a diverse and challenging set of roles, that suit them personally and stretch them creatively. I’ve loved Shepard’s writing since my own time at drama school and always wanted to direct one. I had my mind set on one of his other plays, Curse of the Starving Class, however pivoted immediately after reading Lie. It’s such a powerful piece of writing, and has a great story arc for all characters, which is why I eventually chose it. Each actor would be challenged and rewarded for engaging with the work. It’s particularly timely viewing America from afar in today’s current climate of obfuscation and deceit, blatant lies and untruths, and even non-cognisant self-delusion. We see that in the macro on our phones and TVs, and this play presents the same theme in the micro – in the context of the breakdown of the familial dynamic. And it’s also funny.
ACA: How would you describe the strengths or qualities this group of students brought to the work? In what ways did the students surprise you during the rehearsal process?
Johann: It isn’t specific to this group of students, but more to ACA students in general by the time they hit third year. We try to train and instil in them a strong sense of ensemble, of seeing the art as a whole, not just their individual parts/roles. If I can get everyone pointing in the same direction, buying in to my vision of the piece and most importantly, why we need to tell this story, then half my job is done. Otherwise, it’s months of herding cats. I’m sure you’ve heard the criticism in a foyer somewhere that ‘the actors seemed like they were in different shows’. This cast bought in very quickly and all travelled down the same road together. Whilst not necessarily surprising, it was very humbling for me to see these actors not only fall in love with the characters they were playing, but also for each other’s characters.
ACA: We hear there are music elements woven throughout the production? Tell us more.
Johann: Correct! In preparation of directing the show, I watched a lot of Yellowstone (as it is based on ranchers in Montana, as half the play is). I was inspired by the use of the music in that show and have always loved American Folk/Country music. Plus, I had the good fortune of having quite a few very talented musicians and singers in the cast. With that as a starting point, I would research (listen to) different songs and artist each night as we rehearsed, and send suggestions to the cast. We ended up with about seven songs throughout the performance to support the narrative journey of the piece. Being a woeful musician and singer myself, I got to live vicariously through the students’ ample capabilities. I’m sure they are very sick of me tearing up watching them play and sing together – but suck it – they’ll have to put up with it for a few months longer!
ACA: You’ve taught acting at ACA for more than a decade. How do you balance your training techniques with each student’s artistic ambition?
Johann: Anyone’s artistic ambition is a delicate yet highly valued trait. Like the proverbial bird in the hand, squeeze too tight and you crush it. Not only myself, but the whole teaching staff at ACA, work with the philosophy of offering each student as many tools and techniques as possible to be able to access the work and the unique talents they each have, so that by graduation into the industry they are prepared to take on the artistic process in their own individual way. I’m very wary of the so called ‘gurus’ who are more and more prevalent these days (although have always existed) who spout that their way is the way. Beware of anyone in this life, in any area, that says they’ve got the answer, they most often don’t. Unless the answer is to get tickets to A Lie of the Mind at the New Theatre in January, you should definitely listen to me when I say that, I’m a guru don’t cha know?
Don’t miss A Lie of the Mind at New Theatre, running 7 – 24 January 2026.
