The Australian theatre and opera director Barrie Kosky is renowned for his use of camp in interpreting the works of the Western canon including Shakespeare, Wagner, Molière, Seneca, Kafka and his 2006 eight-hour production for the Sydney Theatre Company "The Lost Echo", based on Ovid's "Metamorphoses" and Euripides' "The Bacchae". In the first act ("The Song of Phaeton"), for instance, the goddess Juno takes the form of a highly stylized Marlene Dietrich, and the musical arrangements feature Noël Coward and Cole Porter. Kosky's use of camp is also effectively employed to satirize the pretensions, manners, and cultural vacuity of Australia's suburban middle class, which is suggestive of the style of Dame Edna Everage. For example, in "The Lost Echo" Kosky employs a chorus of high school girls and boys: one girl in the chorus takes leave from the goddess Diana, and begins to rehearse a dance routine, muttering to herself in a broad Australian accent, "Mum says I have to practice if I want to be on "Australian Idol"." See also the works of Australian writer/director Baz Luhrmann, in particular "Strictly Ballroom".