Actor and Model
Deborah Conway played the lead role of "Julie", in an Australian teenage road movie called Running on Empty, which was released in 1982. Conway had minor roles in Mallacoota Stampede (1979), Hard Knocks (1980) and The Coca-Cola Kid (1985), and appeared as herself in Diana and Me (1997).
While Do-Ré-Mi were working in England in 1988, Conway became involved in Pete Townshend's project The Iron Man: The Musical by Pete Townshend. Shortly afterwards she recorded an album of dance music in Los Angeles which was not released except for a solo single "Feel Like Makin' Love" (1990). In 1991, Conway played Juno in Peter Greenaway's Prospero's Books, singing a setting of William Shakespeare's masque from The Tempest to music by Michael Nyman.
In 1996, a portrait of Conway as Medusa, painted by Rosemary Valadon, was a finalist in the Archibald Prize. The prize is awarded for the "best portrait painting preferentially of some man or woman distinguished in Art, Letters, Science or Politics".
Conway performed Dreaming Transportation: Voice Portraits of the First Women of White Settlement at Port Jackson which was scripted and directed by Andrée Greenwell. The performance premiered at the Sydney Festival in 2003 and a year later was staged again, at the Sydney Opera House. Performing with Conway were Susan Prior, Christine Douglas, Amie McKenna and Jeannie Van de Velde and musicians, Hope Csuturos (violin), James Nightingale (clarinet, saxophone), Jane Williams (cello), Kim Poole (guitar/mandolin), Denise Papaluca (piano), Mardi Chillingworth (double bass) and Jared Underwood (percussion). The work was inspired by a series of poems by Jordie Albiston.
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Famous quotes containing the words actor and/or model:
“Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third.”
—Sarah Bernhardt (1845–1923)
“When you model yourself on people, you should try to resemble their good sides.”
—Molière [Jean Baptiste Poquelin] (1622–1673)