NIDA acknowledges the Traditional Owners and Custodians of the lands on which we learn and tell stories, the Bidjigal, Gadigal, Dharawal and Dharug peoples, and we pay our respects to all Aboriginal and Torres Strait Islander Elders past and present.
Gavin Robins is an internationally acclaimed director of visual and physical theatre. His work combines daring physical performance with emerging technologies including digital projection, animation, animatronics and automation.
In 2018, he opened King Kong on Broadway as Movement and Aerial Director. He is the co-director of Man with the Iron Neck with Legs on the Wall at the 2019 Sydney, Adelaide and Darwin Festivals.
As a creative director, his credits include Clusters of Light, Born in Sawdust (National Institute of Circus Arts), the opening of the 2012 Eurovision Song Contest, Sydney Festival First Night’s High Flyers, Bush Mechanics Live Mbantua Festival, and NICA's At First Sight.
Gavin has worked as a movement and staging director for a myriad of award-winning theatrical productions, opening events, films, television commercials and music videos. These include working with Global Creatures, Sydney Theatre Company, Company B Belvoir, Sydney Opera House, Bell Shakespeare Company and many more.
He has created large-scale works for the Abu Dhabi National Days, Mother of the Nation in Abu Dhabi, Clusters of Light (UAE) (2016-2018), the 70th anniversary of Ferrari in Fiorano Modenese (Italy), the opening of the 2016 European F1 in Baku (Azerbaijan), the opening of Dubai National Days (2012 & 2015), the opening of Ferrari World Abu Dhabi (UAE), Dreamworks arena spectacular How to Train Your Dragon (World Tour), and the War Horse Australian tour (Global Creatures).
In 2000 he was a key performer and choreographer for the Sydney Olympic Opening Ceremony. From 1994 to 2000 Gavin was a performer with physical theatre company, Legs on the Wall. He has created and performed acrobatic and aerial works for theatre festivals across the globe.
Gavin has been a recipient of numerous awards including a Helpmann for Outstanding Theatrical Achievement, and fellowships which have enabled him to study with some of the world's great masters of movement and theatre. He is constantly humbled by the ever-evolving and inspirational nature of this industry.