In the offices and kitchens and bedrooms across Australia, bodies bent like cashews, sit. The blue light from computer screens flick up their faces as a tappity tap-tap sound is heard. Often without any offer of money or production or recognition, these solitary artists sit and type, weaving snatches of dialogue, whispers of thought, symbols, images, instructions into a thick and luxurious tapestry – a play. Probably one of the most difficult literary forms, for the relationship between writer and it’s audience is reliant on a string of collaborators – a huge swell of a team that informs and directs the work – which is then presented to the audience for their engagement, response, reflection, delight etc. It’s a tough gig – and somehow playwrights do this – they handle the flux from solitary(sometimes paranoid) confinement to the wild washing-machine of creativity in production… or even worse… the deafening silence. The empty inbox. An absence of prodcution.

Tough gig.

Really tough.

And yet, there is a cavalry of playwrights in this country who continue to forge ahead. Sometimes silent/laying low/hermitting. And there are also Aussie playwrights who are else where – who have found it easier/better/necessary to move their career and practice off-shore.

Monday night was one such occasion when the playwrights could come out of the woodwork and fortify, invigorate and inspire each other – to continue – and to remind each other of all that they hold in common.

Hosted by ISM (the newest name for a collective of playwrights formerly known as Every Second Monday) The Playwrights Muster was a chance to celebrate without being angry – not a push against something, but a push towards something. A push towards recognition, collegiate attitudes, a feeling of acknowledgment. As the headlining act, 7-On represented by Verity Laughton, Vanessa Bates and Hilary Bell, presented the writings of each 7-on member in response to the Seven deadly sins of playwriting. And we sat as we heard small offerings from 7 of Australia’s most prolific and celebrated writers bravely and boldly read by Bates and Laughton – punctuated by the giggles and bell ringing of Australia’s favourite playwriting belle, Hilary. Who sat with martinis and paper in front of them. And they listed them – Lust, gluttony, greed, sloth, wrath, envy, pride. The audience sighed and gasped and laughed and nodded and smiled and muttered in sympathy to the portraits of being a playwright and struggling with the sins… until the bonus sin was offered –

Despair.

It was at that moment a tear snuck out from the corner of my eye and splashed on my lap. This told of doubt. Of fear. Of hopelessness. Of a feeling of giving up and doing as so many do – walking away. But writers – like so many theatre practitioners – whether they like it or not are compelled to continue – despite the lack of glamour or fiscal compensation. Despair is an essential part of being human – and can be a great catalyst for action. And frankly, what writer has not felt that? A cruel review, or an empty theatre. An unreturned email, a rejected script. An ignored commission. The silence.

Post presentation there was a quick trivia competition with prizes from Currency Press up for grabs – plays, books about playwrights etc.

Then hob-nobbing and chatting in the foyer.

I had the great fortune of hugging lots of playwrights that night – and meeting some new ones – also awkwardly chatting to others (yes, I do feel very much in awe of Verity Laughton, and I do manage to be clumsy and goofy around her, it’s embarrassing) – and generally hearing what people are up to.

It was an energizing and empowering night.

And this is the messages/lessons/ thoughts I think is most powerful and pertinent to the playwrights muster.

* The most important thing to remember is that if you want something, make it.
* If you don’t like how things are – change it. Start with what you can do. Offer all you can.
* Dream big, and be gracious when you achieve it and don’t punish yourself when you don’t.
* Don’t wait for someone else to change your life or industry, do it yourself. Gather around you the people you admire and respect.
* And… from little things, big things grow.

And on the wall of the theatre was this document – a reminder of our recent history – of what has happened and what is happening…

YEAR 2010: OUR PLAYS IN THE NEWS & PUBLIC FORUMS
Last year’s decision not to award a play for the NSW Premier’s Literary Awards was met with much confusion and dissent in the theatre community and, as a result, a group of playwrights and supporters gathered on the night of the Awards on May 17th 2010 to have our own celebration of ‘the year that was’ in Australian playwriting. We shared online quotes and comments, speeches, a petition, a toast to the overlooked playwrights, followed by further drinking and inspiring conversations.
Support poured in from all corners, including some of the UK contingent (Ben Ellis, Van Badham, Suzie Miller and Anthony Weigh) and Alana Valentine, Deborah Oswald, Reg Cribb, Katherine Thomson, Patricia Cornelius, Noelle Janaczewska, Justin Fleming, Verity Laughton, Hilary Bell, Jane Bodie, Timothy Daly, Melissa Reeves, Joanna Murray Smith, Sue Smith, Steve Rodgers, Vanessa Bates, Nicki Bloom, Lachlan Philpott, Kate Mulvany, Lally Katz and Ross Mueller were only a few of the amazing artists who contributed their online voice and/or personal presence on the night. THANK YOU ALL!
From the start, the controversial ‘omission’ was talked about broadly in the Sydney Morning Herald, The Australian, ArtsHub, ABC, 2SER and FBi Radio and on many blogs. After all of the talk and action across many weeks, we sent the Arts Minister’s office media links, everyone’s comments and the petition. They later sought written feedback amongst members of the theatre community, seeking recommendations for future award processes.
A year on, the 2011 NSW Premier’s Award shortlist included: Jonathan Gavin for Bang, Jane Montgomery Griffiths for Sappho…In 9 Fragments, Melissa Reeves for Furious Mattress, Sue Smith for Strange Attractor, Anthony Weigh for Like a Fishbone and Patricia Cornelius for Do Not Go Gentle. On May 16th 2011 Patricia won the $30,000 Play Award. Jonathan Shaw reported in his blog ‘Me Fail? I fly!’: As Jennifer Byrne read out the shortlist of this award, each name was cheered from one corner of the marquee. This set a precedent for the rest of the evening, but when Patricia Cornelius reminded us of last year’s ‘tragedy’, when no play award was given, we realised that those particular cheers weren’t so much partisan as the expression of an All For One And One All For All ethos among playwrights.
Importantly, throughout 2010 there were some very interesting conversations about our plays and playwriting. In late May, SMH published an article LITTLE ROOM FOR AUSTRALIAN STORIES ON SYDNEY STAGES…Talking to then Arts Minister Virginia Judge, PWA, AWG, Tommy Murphy and Sam Strong. In July there was another SMH article WHY THEATRES SPURN AUSSIE PLAYS which, despite the title, was actually quite positive, naming potential forward directions for play development and production.
Last year The Australian Writers Guild had a fight on their hands to maintain the level of funding for their work for the playwriting community. They gathered signatures from 250 playwrights in April, and in July in ArtsHub they called for active protest: PLAYWRIGHTS UNITE!.
In August, Tommy Murphy headed up the 2010 Alex Buzo Memorial Lecture A VOICE LIKE NO OTHER: THE FUTURE OF AUSTRALIAN DRAMA ON THE INTERNATIONAL STAGE. In September there was an article about under-nurtured British/Australian theatre ties in the UK Guardian BRING AUSTRALIAN THEATRE IN FROM THE OUTBACK. And just this weekend Timothy Daly followed through on this issue with another SMH article worth checking out AUSTRALIAN DIRECTORS MUST ACT LOCALLY, THINK GLOBALLY.
Unresolved issues around the representation, development and production of women playwrights have bubbled through again…in May 2010 at the Belvoir’s Women Theatre Directors: Action Planning Forum (moreso for directors than playwrights) and more recently in 2011, AWOL (Australian Women Playwrights On Line), spearheaded by playwright Suzie Miller. There’s also been ongoing conversation about impacts to the independent sector and playwrights, following the closure of B Sharp and many changes in artistic direction across theatres. This doesn’t even scratch the surface of what’s being talked about in blogs: Cluster, 7-ON, Theatre Notes, James Waites, Augusta Supple, 5th Wall, AWOL and others.
There is no doubt that we live in interesting times; times that seem to call for us to Muster together and muster our strength; sharing stories, connections, ideas, information and fun, and taking creative, social, virtual, live, sustainable and positive action. YE-HAR!
Please feel encouraged to Google away, follow up these stories and add to the conversation. Oh, and of course please keep on joyfully, bravely and spectacularly writing, directing, dramaturging, acting in, set & costume & sound & lighting designing, stage managing, FOHing, producing, publishing, programming, marketing, publicising, critiquing, researching, collating, touring, watching and reading PLAYS!
Thanks & love, ism xoxoxo
JUNE 6th 2011, Playwrights’ Muster @ Griffin
Special thanks to 7-ON, Griffin & Currency