what’s this?? people getting paid? i knew that Myers character was some sort of communist…

next thing you know there’s be a latte revolution in Surry Hills. mark my words

The article in today’s SMH provides a little bit more insight

http://www.smh.com.au/entertainment/theatre/belvoir-revamps-pay-structure-in-drive-to-capitalise-on-talent-20100704-zvrq.html

I strongly believe that every major performing arts company should have a vibrant development arm, and it’s great that Company B are expanding their artistic work to include this.

It is a shame that it is (perhaps, we’ll see) at the expense of a well-resourced space for emerging artists who aren’t yet at a stage where they are being consistently employed by professional companies to develop their own work.

There are less and less venues that are open to independent artists. The curated seasons that still remain are Griffin Independent, Tamarama Rock Surfers and Darlinghurst Theatre (although with them moving to a bigger theatre I would imagine more touring imports. Hope I’m wrong). Have I missed any?

Then there are venues for hire like Newtown Theatre, Sidetrack, Tap Gallery, Seymour Centre. Wharf 2 used to be an available space, once upon a time. Everything else in Sydney is either too expensive or unfortunately completely closed to outside companies. Not to mention that a few of these are still OH&S traps!

Those with the spaces need to find a way to engage with the independent artistic community and provide accomodation for their work.

I’m currently sifting through my wallet to see if I can raise enough funds to open such a place myself. Hmmm… I may have to get back to you on this..!

Hey Gus. This sounds a little bit like The Tower at the Malthouse Theatre in Melbourne. This model actually served me really well when I was able to tour my show (out of an Old Fitz season) to the space and be supported completely professionally, in a really dynamic venue and company. The audiences were full and fantastic, largely because the Indie shows get exposure inside of a trusted artistic program and “brand” – dare I say that word. It allows for greater opportunity for commissioning and development programs at Independent level and generally I feel it could be really exciting. It leaves a gap, but I have a good feeling about the growth of the Sydney Fringe and some of the venues in the West in terms of great new opportunities for exposure and experience at co-op level. There’s lots more to find out though…July 12 will be interesting. x

Very interesting. Very interesting.

Though I must say I’m even more curious as to how the email you quoted can have been sent on the 5th of July and received on the 4th. Didn’t know Belvoir had a time machine!

Anyway – does this mean that ‘The End’ was a test run for the new model? And does it mean longer runs for the 4 plays to be put on (as ‘The End’ sold out, didn’t it? Can’t remember.)

I’d go and ask these questions myself on the 12th, but (a) I can’t really be bothered, and (b) Masterchef is on – I’d never get home in time.

*ahem, EP, not sure that the invite for the 12th is “open”

The package currently offered to independent companies by B Sharp is much more generous than anything else available in the independent scene which is a big part of why the shows there are so successful. I don’t think it would be much of a stretch to say that the B Sharp program represents the the top shelf of independent theatre in Sydney. To take away the best opportunity for emerging theatre makers to have their shows produced and replace it with a step between independent and professional which will be much more selective seems short sighted.

Also there will be four shows produced in the space next year instead of the 11 this year. That means less work and opportunities for everyone. Some of us will be helped by having our work paid for but for everyone else it will be much more difficult. I guess it is a question of whether its better for some to be given opportunity at the expense of many others. I would suggest that for the theatre scene in general its not. We’re all inspired and challenged by each others work and there is going to be less of it for us all. Also who in the independent scene did they talk to about this? Are they sure its what we want and need? Did they even ask if we thought we were broken before they decided to fix us? There are some rather large assumptions being made that don’t seem to represent the reality of independent theatre

Just testing. And you passed! Congratulations.

*runs to the nearest wall out of view and starts banging head against it vigorously*

it’s ok, i didn’t get an invite either. of course, that doesn’t mean one is disinclined to turn up…

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…

An interesting proposal from B#; hooray for the recognition of inde artistes as professionals in the true sense of the word… and yes, a concern that one result of this scheme is that less works will be presented.

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…

Ralph’s letter is of great concern.

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.

I’ve been thinking about this a little more since yesterday and I feel it’s definitely a topic for more thinking and discussion and I’m glad for the Arts Radars and Gus Supples of the world and the June 12 opportunity (I wouldn’t imagine anyone would be turned away). First up, in a general sense, how much change is going on in Sydney and Australian theatre this year and in the past few years?! It’s a bit mind-boggling and I don’t blame anyone for feeling confused, doubtful…or hugely optimistic even. Belvoir, Griffin, Bell, STC, Darlo, Fitz, Seymour, QTC, Malthouse, PTC…probably helps more that I’ve forgotten…have had, or are in the midst of, significant changes in artistic direction, management and/or venue. We’re witnessing a big overhaul and are standing on the cusp of something unknown. At this stage it’s hard to really judge it, but I am hopeful that it’s all driven by right intention and smart creativity and that it all will balance itself out, so that the right amount of opportunities are offered at every level of artistic practice – enabling us to make authentic, life-changing art inside of self-sustaining companies…or something along those lines! It’s important to try out the new and to evolve – but the process itself is often agonising.

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

My understanding is that the dark time may well be available for independent companies to hire but only if they can pay their casts and creatives properly. If the dark time Company B currently doesn’t have the resources to fill was made available to co-ops the same some people get paid some people don’t issue would exist.

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

Dear Gus,

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?

Brilliant ‘Lynno’!

Hello All,
There are, of course, plenty of things to talk about on Monday. The one thing that I would like to clarify in the interim is the invitation. We sent one to everyone on the B Sharp artists’ bulletin because that is what made the most sense, given their/your engagement with the program. Others welcome – as Gus suggests we are unlikely turn anyone away. See sme of you on Monday.
Best
Brenna Hobson