For scholars of Opera/Stravinsky/theatre/Ancient history- there is alot to unpack in this production of Oedipus Rex & Symphony of Psalms… alot about subversion of the text- the placement in time and place- about authorship of performance- about innovation as opposed to honouring the origins of a story. Peter Sellars- known for his radical retellings of some of the great/ancient/ epic stories of the theatre /Opera (and for his very shortlived position as the head of the Adelaide Festival of Arts which ran for a year)- is a superstar in the world of theatre direction. For those who follow director’s works and their career- this is a big deal. For those who love Stravinsky- this production is a big deal. For those who love Opera- this production is a big deal. Read more

FOR ARTISTS 25 and under…..

Beginning Tuesday February 2
Theatre & Invention – Training & Devising with Michael Pigott

Theatre & Invention is a training module that looks at how everyone has the capacity to generate theatrical texts. The workshop is based on a devising process created by Michael Pigott where you will explore skills that link the mind, body and the imagination – skills that enable you to become a performer who is present and invested in a moment of performance. Meeting weekly on a tuesday night from 6-9pm from Feb 2 – March 24 at Shopfront – Contemporary Arts & Performance. For more information visit www.shopfront.org.au

Normally $160 *Special offer $120

To take advantage of this offer simply call Shopfront on 9588 3948 and mention “SPARK”

Sustainability is something I have been thinking about alot lately: in relation to the environment, to culture, to practitioner development, to the philosophies behind the explosion of festival culture, my own practice in the theatre. Triggered by a conversation I had with Ash Dyer- a performance maker who I have known for years who has been developing and producing performance works for sometime, he mentioned that he sometimes wonders how much longer he can sustain creating work in Australia. I think about that for myself too- and I think about that question for all the practitioners out there who are squeezing projects in around their day (or night) jobs- who forego the luxuries of a bourgeois life that are so readilly advertised- who are delaying marriage or having babies or having a holiday until they are more financially stable- artists who are all deserving chasing the same limited available residencies or grants… Read more

Just a really quick note as I am about to prepare to address the beautiful, splendid, vibrant, diverse and talent group of practitioners I have been building for “Stories From the 428.” I’ll talk about more in a second- But first I thought I would explain what my old Artshub columns are doing up front on this website. Read more

First published www.artshub.com.au April 2007

There are a few moments in time when I have walked into a foyer, into an industry do with my only pair of high heels on (I usually am seem in Blundstones or scuffed mary-jane’s: to the point where a friend of mine is convinced I have been the foot/shoe model for City rail’s “mind the gap before boarding” poster) feeling like I am ready to pounce into sparkling action, dazzling all in my path with my razor sharp wit. Other times I feel I have as much charisma as a beige plaid sofa left in an alley way, waiting to be marked by stray cats or claimed by desperate students. Read more

First Published www.artshub.com.au March 2007

Being in the business of the theatre is not just a job, it’s a lifestyle choice. The choice results in a certain self-righteous smile when paying your rent at the bank and the clerk asks you if you want to consider a mortgage. “No,” you think to yourself… “I am not of the 2.4 kids/car/mortgage/$100 haircut every second Wednesday variety of person, ” and as you confidently stride out of the bank, your shoulders start to slope, your head bows and your heart feels a heavy dullness as you realize that, that in itself, shows something of the transience of what you do. Read more

First published www.artshub.com.au in Feb 2007

Arriving back in Australia is an amazing thing. Firstly, there’s the realisation with how much your accent sounds like a cartoon bushman with a mouth full of flies and how much the Australian lingo is a vernacular of similes (i.e. dry as a dead dingo’s etc.) Secondly there’s a hyper sensitivity to all things from the country you have just experienced. For me there is nothing as bright as a red maple leaf emblazoned on a backpack and nothing inflates my R’s like hanging out with North Americans. (Yes sirrrr!) And then there’s the curse of comparison. Read more

First published www.artshub.com.au Jan 2007

My name is Augusta Supple. Known to most as Gus. I returned from living and working in Canada as a full time theatre director and playwright: all my successes (and not-so successes) are unheard of in my native land of Oz. This column is about coming home. Returning or should I say re-starting? Reintegrating and re-inventing oneself into the Australian Arts industry after being in self-imposed exile in another country’s arts industry. I will start off writing about me… about trials tribulations and then other perspective from friends and colleagues who have returned home and have struggled to find their feet or voice in a new version of their old country. Read more

Organised by YAK events (a collective of emerging artists based at Shopfron Contemporary arts Centre), the Yak Summer Residency is a new two week intensive residency based at Shopfront Contemporary Arts Centre for Under 25’s in which time and space equal freedom. Freedom to explore and uncover and investigate any idea or concept and which resulted in a showcase of some of the findings. I am a little late reporting on this as my own project is gearing up and I have had to prioritize my writing for the Sydney Festival shows I have seen.I know … excuses… excuses… Read more

A notoriously difficult time of year, January is a tricky time for independent theatre in Sydney- the post glow of Christmas gluttony has left everyone feeling a little less generous with their money- the razzle dazzle of the Sydney Festival’s international acts descend upon the city with a budget quadruple (at least) than most independent theatre’s see in a year- and then there is the hydra-headed short play festival which gulps up time and talent feeding itself on guilt and competition- and then the rival of all theatre: wonderful weather with it’s cricket season and beckoning beach adventures… so its a tough time to be on… Read more