Comments on: Whatever Happened to the STC Actors Company | James Waites

By: Katharine Brisbane

Katharine Brisbane — Wed, 05 May 2010 23:53:59 +0000

Thank you, Augusta. The purpose of our a quarterly essay, Platform Papers, has been to draw attention to issues of public interest in the performing arts and to give a voice and a platform to practitioners in the debate. A response like yours makes worthwhile all the work that goes into their making.

By: James Waites

James Waites — Mon, 03 May 2010 04:16:17 +0000

Tom Wright and Andrew Upton were there with chief publicist, Tim McKeogh. Two of the Holy Twelve were there, Brandon Burke (who I went to uni with) and Eden Falk. Most of the other actors could not be there because they are in shows, many not in Sydney.

I actually think the STC were very brave and honorable with their official presence. Tom’s speech put a lot into perspective. Presumably something DID happen at the STC to cause Cate and Andrew to rethink launching the essay – after all, they, Tom Wright and the Residents do come out of it looking so good.

In my own view no one come out of it looking bad – but that’s just me.

What I find disappointing is the utter silence from those mentioned in the book. Only one actor Peter Carroll phoned me up with some very detailed feedback, an I received constructive feedback on details (error etc) from the few who saw a final draft.

I write this essay for several reasons. One was to see if I could pull a deceptively tricky assignment.The other was to knowledge the extraordinary effort put into the project, I worried that history was going to let the whole thing pass without adequate documentation.

But finally, and most naively, I wondered by working as a mediator that I would put forth a range of views, falling essentially into two camps: actors ensemble and STC management. Quite honestly some of the interviews I have recorded are like grief counselling sessions, certainly highly valued debriefs.

So whoever could or could not make the the launch is beside the point. It’s why the cone of silence: this books was above all else a gift to the actors. And it served the potential as a mechanism for bridging the gap (heal the wound) that did exist – it’s on every tape – between the the AC members ans what a called ‘STC management’ – which is not the same thing. And if he or others are tempted to draw that impression it is a error on my part.

By: sancz

sancz — Fri, 30 Apr 2010 05:40:14 +0000

None of them we’re present at all? wow! I heard all manner of rumours from contacts at the wharf but that’s really surprising. But I can imagine the awkwardness of being there in some official capacity, if only half of what i heard was true.

Personally I wouldn’t be one to talk about what goes on in rehearsal rooms. It’s supposed to be a ‘safe’ space, right? nevertheless I am curious about this instance, given the quality of performances consistent in their tenure. I can’t always say the same about the writing, but that’s another issue.

although Roses was bloody amazing… My favourite show was Vienna Woods, i got a major crush on Hayley McElhinney after that (shhh, don’t tell her, i’s secretz!)