Elena Vereker
Elena Vereker is an award-winning director working in theatre, site-specific and live performance installation for indoor and large-scale outdoor works.
Biography
Elena has worked with numerous arts companies and cultural organisations and her shows have been presented in Out of the Box Festival, Melbourne Commonwealth Games Cultural Festival 2006, Gold Coast Commonwealth Games Cultural Festival 2018, and her work has toured nationally and internationally.
A graduate from the National Institute of Dramatic Art (NIDA), she has held senior positions as Director of Melbourne Fringe, inaugural Creative Producer of Federation Square and Creative Producer for Brisbane Arts Festival. She is a co-founder and Director of Insite Arts. She has a diverse background in curating and creating events focused on placemaking and community cultural engagement across multi-artforms.
Elena created and directed Advent Calendar on the East Shard building at Federation Square (2006 - 2008). The work
featured a large-scale, live-triggered animation, projected onto the facade of the building with aerial performers as live
characters in the scene.
DreamSeed, a collaboration with Japanese artist Kyota Takahashi, involved 40,000 ‘dream seeds’ being dropped over Melbourne city for a New Years Eve CoM event. 1001 Cranes (2006), was an interactive installation bringing artist Matthew Gardiner and Melbourne’s international student community together to create a ginkgo tree out of cranes.
She is currently directing the live production of children’s hit streaming series Gabby’s Dollhouse which will tour nationally and internationally in 2025.
Awards
Green Room Awards – Best Director, Best Production and Best Design (Advent Calendar, 2008).
Green Room Awards Nominee – Best Director (Hospital of the Lost Coin, 2004).
Recognition from Mayor of Hiroshima for contribution to world peace and anti-nuclear efforts through artistic endeavours (1001 Cranes, 2006).
Media
“I found it deeply moving and had to fight back tears. A line was crossed here – somewhere it stopped being theatre and became terribly real. It was a powerful moment.”
“I loved Advent Calendar. Ten years on and I still think it’s one of the best shows I’ve ever seen”