About John
A NIDA graduate, John Senczuk is a dramaturg, writer, theatre historian and polymath. His multi-award winning theatrical career spans over thirty years with engagements nationally and internationally in commissions as designer, writer and director for stage and screen.
He also enjoyed a concurrent career as an academic (University of Wollongong, Toi Whakaari, New Zealand Drama School, and WAAPA) where he created and taught courses in dramaturgy, creative writing, drama & theatre, and scenography.
While his dramaturgical rationale embraces ‘story worlds’ and multi-platforming, he firmly believe in the strict tenets of genre and style as applied to narrative in an expanding range of media.
He has a particular interest in Renaissance texts, heritage and new Australian work for stage and screen, and the emerging dramaturgy of musical theatre, opera and and dance.
Tesimonials
John Senczuk has spent 30 years in music theatre, dance and drama as a designer, director, writer for and about theatre, academic, dramaturg and manager. His special passion for music theatre has led him to make a magnificent proposal, outlined in this edition of Currency House’s Platform Papers. His are important ideas …
[‘The Time is Ripe for the Great Australian musical’ Currency House Platform Paper] is the most intelligent clarion call on behalf of the Australian musical ever written.
… his ability to make connections between many aspects of the theatre is his greatest asset.
It’s my 40th anniversary year this year … and it’s fantastic to work with him again.
An integral part of the Australian Theatre scene, John’s talent lies in his versatility. He combines the intelligence which makes him a good academic and the creative imagination which lies behind all his work in theatre.
Senczuk’s detailed account of the people, productions and politics of the [Griffin Theatre] Company is complemented by a wealth of illustrations that bring to life the vibrant spirit of a theatrical community. This is history firmly anchored in its time and place and accordingly draws the reader into the turbulent world of 80s theatre and inner-city Sydney.
