Any confusion that indie artists may be experiencing, will not be diffused by relying on a media release and broadcast letter. Firstly, I need to be clear that I am making a personal contribution here – as ‘Lynno’ , long-time admirer of the independent theatre scene. The Indie sector has formed an incredibly strong and artistically vibrant part of the scene for some time now, yet I’m still surprised at the lack of pro-activity when it comes to issues that affect it directly. I’m less concerned about whether the significant operational/artistic changes for the Downstairs Theatre are positive or negative, than the possibility that the moment will pass without interrogation, by the very people it will most impact on.

I encourage as many Sydney-based indie artists and companies as possible to get down to Belvoir on 12 July – spread the word – ask questions. You may love the changes or you may not – but you’ll only be able to make up your minds by side-stepping the press and getting real information. I’m sure no-one will be stuck for questions, but here’s some suggestions:

• Four fully-funded shows in the Downstairs theatre translates to about 16 weeks of activity. What happens to the other 30-odd weeks or programming time? This question has already been raised in this blog, and my understanding is that it will be used for playreadings, in-house company developments etc, not hires to independent companies working on the traditional co-op basis.
• Who will be programming the space? (as the roles of Downstairs Theatre Director and Co-ordinator will no longer exist). Is there a long-term artistic vision for the space? How does it intersect with the development of a new generation of emerging artists and companies?
• How will the four funded productions be selected? Will they be indie companies whose work will be produced by Company B, or teams/projects put together by Company B? Is there a clear strategy for expanding the number of productions over time?
• In the light of these changes, does the company have an articulated approach/policy to engaging with and developing the independent scene beyond the four shows it will fund?

I pose all this simply to encourage independent artists to acknowledge their strength and embrace leadership. In recent years the work of independent companies has given more life to theatre practice and audience growth than they give themselves credit for. The landscape (and infrastructure to support) independent theatre companies is shifting dramatically in Sydney, and everyone needs to be on the front foot. What does the future for the next generations of independents look like? How can independent artists help shape it?

And Luke the Darlo is going to be empty soon isn’t it? Hint Hint.

That said, I have thought a bit more about the unused space that is likely to exist in the downstairs Belvoir theatre, with a lot less productions, and I did wonder if there would be a way to ensure that “the baby wasn’t thrown out with the bath-water” in terms of the opportunity for co-operatives to still utilise the space itself and have a ongoing open “conversation” with Belvoir. I don’t know anything of the logistics of the space so I don’t know… but maybe there would still be a way for Independent companies to use the space via co-op agreements, but in a smaller program/under a different type of banner… Maybe this is something that will become evident naturally, when the new reality establishes itself a little further. There aren’t many theatre companies that like leaving spaces dark…It just feels wrong (although possibly the new scheme has no dark space due to rehearsals etc). And in some ways, keeping a partly open program alive helps the community feel that the company is, well, open…AND Belvoir gets the benefit of the occasional, pleasant Indie surprise! Anyway, it’s all questions and conjecture at this point… But it’s great that our community looks at this so that there is a kind of awareness and consensus about how this next chapter is likely to look. Thanks for the opportunity to muse aloud Gus. Oh and good luck Luke. I firmly believe that if there’s a real need for something then the collective energy will work towards making it materialise – I hope you go really well. xxx

Aside from the bad grammar, according to Ralph, Lyn Wallis and Annette Madden are ‘largely’ responsible for the fact that Sydney now has a ‘thriving and vigorous community of passionate and talented artists’.

Most people didn’t know Annette existed until a year ago.

What stunning arrogance.

Before Myers gets ahead of himself, he may want to read up on the history of Sydney’s arts scene.

As always, there are always two sides to any coin; one positive I can see is that maybe the inde operators will be forced to up the ante when it comes to the level of professionalism which which they approach their work. One possible negative… will risk-taking be discouraged?

It will be fascinating to see what evolves over the next 12 months or so…

my thoughts on this are simple; theatre should be paid work, whether it’s experimental, independent, fringe or commercially driven. At the same time I cut my teeth as a stage manager in 1998 with one of the first ever B# shows. I was a student at the time and I doubt the show would have been viable without volunteer labour from all involved.

SO my only question is now that we’re in a position to fully fund the downstairs shows, will we see a compromise in the commitment to younger artists; with respect to the curatorial choices, as it’s always going to be a better commercial decision to go with established names… where will the less experienced get a chance to dirty their elbows?

I’d like to think there’s still a place for an untrained 20 year old to find a place to hang out with the wiser elders and learn a thing or two…