Frankie Armstrong has gained an international reputation with her repertoire of traditional and contemporary songs from Britain, and workshops, which have given thousands the confidence to enjoy singing.

In the 1960's she worked and recorded with Ewan MacColl and Peggy Seeger in the Critics Group, and with A.L. Lloyd.  Frankie's belief that we all possess the ability to sing as naturally as we speak is central to her approach based on the natural "open-throat" style found in cultures that sing to accompany everyday activities from the cradle to the grave.

Frankie also runs workshops focussing on archetypal voices, myths and song interpretation.  Her latest two albums are "The Fair Moon Rejoices" with Joan Mills and her solo album "Till the Grass Grew O'er the Corn".

She has made eight solo albums, as well as appearing on numerous shared theme recordings, most recently "Ballads", and has contributed chapters to books, most recently "Vocal Vision". Applause Books - New York.

Rowena's work involves exploring body alignment, freeing the breath, finding the stimulus for sound, developing range, expanding resonance, waking up articulation and finally connecting thought and feeling to the voice through work on text.

Much of Rowena's work is based on the power of thought (imagination) as opposed to the power of muscles (push).  Sound is about the content and what it reveals.  Sound should be inevitable: when we speak it is because we can't 'not speak'. Therefore concentrate on the connection of thought and feeling to the breath in one's centre.  What one is thinking and feeling should be what creates the variety and music of one's voice.  "The colour of sound".

Fiona commenced her training as an actor at the Flinders Drama Centre, Adelaide, followed by the Ecole Perimony in Paris.  She worked as an actor in France for nine years and participated in the foundation of the International Theatre des Augenblicks in Vienna, where Turkish director Gul Gurses set up a company and theatre laboratory. On the way, as an actor, Fiona met the inspiring movement specialist Monika Pagneux.  She worked extensively with Monika, first as a student, then assisting her in master classes for actors.

In 2000, Fiona graduated as a Feldenkrais practitioner from the Brisbane Feldenkrais training, directed by Russel Delman.  Since then, she has developed her work as a movement teacher in Lausanne and worked as movement director on the production of Irina Brook.

In Australia, she works in partnership with Madeleine Blackwell, a Sydney based theatre and film director.

Her current projects include the development of a documentary film about the work of Monika Pagneux and a theatre piece: Tarantella Story.

Rob began studying yoga in 1968.  He initially practices Gita yoga, and in 1978, met Swami Muktananda and travelled with him to America, where he assisted teaching Hatha yoga on Muktananda's third world tour.  After Muktananda's death, Rob travelled to the Himalayas and began studying under a Jnana (knowledge) master.

Over the past seven years his emphasis and practice has been 'static' Iyengar and 'dynamic' Astanga Vinyasa Hatha yoga, integrated with the understanding and awareness of Vipassana (silent) Buddhist meditation.  He has spent time studying under the guidance of both masters of the above styles at their respective bases: BKS Iyengar at Pune and Sri K Pattabhi Jois in Mysore, India.

Mark Jones is a familiar face on Melbourne's cabaret scene. Most recently, he has been seen at Chapel Off Chapel in the acclaimed production of Jacques Brel Is Ailve And Well And Living in Paris and at Capers in the ultra-groovy vocal harmony group What's New Pussycat?

Marks television appearances include: Good Morning Australia, The Ray Martin Show, Hey, Hey It's Saturday and Carols by Candlelight.  Mark spent two years performing in the popular cabaret act The Phones.

Mark is also in demand as a Musical Director and piantist.  He has accompanied many of Australia's most popular cabaret performers, including Marina Priior, Tony barber, Rod McLennan, Donald Cant, Bernadette Robinson, Susan-Ann Walker and Deirdre Rubenstein.   Musical theatre credits include muical direction for: I Love You, You're Perfect, Not Change! (Atheneum Theatre), Patsy Cline - Her Songs, Her Story (Universal Theatre), Confidentially Yours (Playbox) and the fabulous Singlettes (Melbourne Comedy Festival).

Rhys McConnochie has worked with Sydney Theatre Company, Nimrod/Belvoir Theatre, Marian St Theatre, State Theatre of South Australia, Melbourne Theatre Company, Playbox and The Bell Shakespeare Company. He worked for many a year in UK appearing in productions for major companies including The Royal Shakespeare Company. His recent work in Melbourne includes: Inheritance, King Lear, The History Boys (MTC), Molly Sweeny, Misalliance, Life After George, Death of a Salesman, The Seagull (MTC), The Sick Room (Playbox), Henry 5 (Bell Shakespeare). On TV he has been seen in Bodyline, Come In Spinner, Brides of Christ and MDA. He won a Green Room Award for his performance in Life After Geroge and The Seagull. Rhys has been teaching and directing students for many years and worked at RADA, LAMDA, Central School and Rose Bruford School in London. He has done many productions at NIDA and was an acting teacher there in 1992. In 1994 he joined the staff at WAAPA and become Head of Theatre Department. Since then he has done a number of projects at VCA, among his most recent being productions of Hamlet with the women of VCA Company 2004, Translations, Pericles, Twelfth Night and Love's Labour's Lost.