Ursula Yovich
Actor / Creative
Creative

Bio

WRITER/COMPOSER

Ursula is the writer/performer of works including Magpie Blues, The Man With the Iron Neck and Barbara and the Camp Dogs, the work Ursula starred in and co-wrote with Alana Valentine, which premiered at Belvoir and was nominated for an AWGIE award and won Helpmann Awards for Best Musical, Best Original Score and  Best Actress in a Musical. She was the recipient of the  Balnaves Foundation Indigenous Playwright’s Award and directed a development of The Fever and the Fret for the Ensemble Theatre.

Ursula is the voice of ‘Levi’ in the NITV/SBS children’s animated TV series, Little J & Big Cuz, on which she is also a writer, as well as a multi-award-winning actor of stage and screen with film credits, including Wayne Blair’s Top End Wedding, Baz Luhrmann’s Australia, Ivan Sen’s Goldstone and Ray Lawrence’s Jindabyne. Small screen credits include The Code, Devil’s Dust, Redfern Now, The Gods of Wheat Street and most recently, the third series of Wanted. Since making her theatre debut at Belvoir, Ursula has worked for all the major main stage theatre companies, and for nearly a decade between 2008 and 2017, Ursula intermittently toured Australia and internationally with the musicians of Black Arm Band.

Reviews

    "Barbara and the Camp Dogs is a show that takes the ground from under you, even as it entertains the hell out of you..."
    The Sydney Morning Herald

    "...an experience the audience needs to have, [...] to even begin to grasp the suffering and struggle that goes into forging such a brilliant sound." - Barbara and The Camp Dogs
    The Sydney Morning Herald

    "The music is incredible. From awe-inspiring soul contests to slick pop offerings with country and folk influences, ballads laced with unsung agonies and rousing punk-rock anthems, this is a show with enough bangers for two musicals..."
    The Sydney Morning Herald

    "In a monologue that rips open the chasm of pain in Barbara's life, Yovich reaches deep within to reveal the searing agony of unjust suffering. It is the most powerful moment in the show, plumbing gut-wrenching truths and compelling empathy."
    Canberra Times