Griffringe: Boys’ Night by Luke Carson
- April 22nd, 2012
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Today Griffin Theatre Company is once again openning its doors to the independent and emerging theatre artists of Sydney. More than ever there seems to bea tightening of circles in Sydney – more than a few times in the last week I have been told by actors that there is a feeling of hopelessness in the air about local artists having access to space and companies, with so many companies choosing Melbourne-based artists (and shows) to work in Sydney theatres. Perhaps the grass is greener on the otherside of the fence, but that doesn’t mean you shouldn’t water your own back yard.
Thankfully Griffin Theatre has a small curate season which happens every 2 months or so which invites artists in to show works in development… It’s a fun day at the theatre – a lazy, casual Sunday afternoon when people come to chat and see and listen… meet people, get inspired… hatch plans. It’s a humble showcase – but one who’s long lasting value can not be measured.
Last Griffringe, I was approached to direct a piece by Luke Carson (an actor I have directed several times: Tahli Corin’s The 428 Song (2010)/ Kate Mulvany’s Chicom (2010)/ Alana Valentine’s The Sex Act (2011) ) who is currently apart of a Playwriting adventure I’m heading called Write Here, Write Now.
Luke is an instinctual writer. With no formal writing education, but a wealth of experience as a performer, Luke’s language is rough, read, accessible and funny. What I like about Luke’s writing is that it is personal, nearly confessional – he’s not writing to be popular or profound. He’s asking himself genuine questions. And it’s that authenticity that I prize so highly.
Boys’ Night was written for Stephen Wilkinson (also an actor I’ve worked with Jonathan Gavin’s The Return/ Alana Valentine’s The Sex Act, who is also Luke’s collaborator for Cut the Bull Productions).
Since submitting his script to Griffringe, we have had 4 script meetings – resulting in a new draft after each meeting, and after three rehearsals over a 6 day period lines are down and ready to go.
Boys’ Night is a portrait of a man, of the city. Asks what it means to be a man, not just a boy.
Much of this is an experiment for Carson- who takes on the producing role “It means I buy you coffee” he says. This is his first writing premiere, and I’m delighted to be his and Stephen’s director.
Tickets are $15. Buy them on the Griffin website (http://www.griffintheatre.com.au/tickets/?pid=66…32) or at the door and it starts at 4pm. Doors open at 3pm.
The other pieces are:
1. Experience: Girl by Randa Sayed
Stand-up comedy and storytelling drive this one-woman performance by Randa Sayed about the issues many young ethnic Australian women face in relation to identity, sexuality and expectations from different cultural backgrounds.
2. Cough by Emily Calder
Director Jimmy Dalton and writer Emily Calder take a closer look at what goes on at a childcare centre where the children are running wild, sand is creeping and a ten-foot tree is rapidly growing, which the kids are determined to disappear into.
3. My Furry Heart by Tami Sussman
The phenomenon of Sussmania (a.k.a Tami Sussman) will present two spoken word poems from her first one-woman show My Furry Heart.
4. Boys’ Night by Luke Carson
Writer Luke Carson, director Augusta Supple, and performer Stephen Wilkinson explore the temptations of a big night out and the difficulties of staying on the straight and narrow.
5. Regress…And Purge by B.C.Thomson
“Regress…and Purge” is a short, dark comedy about the sort of tipping point we experience when our dignity is undermined just that step too far, written and directed by B.C.Thomson.
This Griffringe is sure to be Bold and Beautiful…
Looks really interesting – and at Griffin where else – not missing theatre in general while I am away but feel the sting of missing particular pieces of work while I am away. Top few pars u raise an important issue as well. Love you love you all – j
Dearest James,
Always lovely to hear from you and glad to know you are able to relax and rejuvinate in a tropical paradise.
The tricky thing is – it’s very hard to go on holiday when you work in theatre – the impossible, insatiable quest of seeing it all.
BUT I think it’s very important to take time off, and away to reconnect with yourself, to take time to smell the orchids (yes, botanical readers -I know orchids don’t have a smell).And son’t worry – I’ll let you know how Madame Blinco triumphs in Biddies at Riverside Theatres.
Sending huge love your way, you’re never far from my thoughts.
XX
I’m not complaining about Letitia Caceres, Annie-Lou Sarks, Bojana Novakovic, Julian Meyrick, Eloise Mignon, Rachel Maza or Daniel Schlusser working in Sydney. I say Thank God.
And I’m sure Melbourne aren’t unhappy about having the Doll and Wild Duck, Darren Gilshenan, Colin Friels, Geoff Morell,Jonathan Biggins, Richard Cotterill or the various Sydney directors at Red Stitch in recent years…
Hi Connie,
Thanks for writing in.
The frustration comes from the voices of various actors who have expressed to me that they feel that there are limited opportunities to audition for mainstages. There’s a perception that local actors starting out in their careers have limited access.
Whether or not this is true, or intentional, the perception is there.
Whether or not the work is good, the perception is there.
I have no opinion on that. Except if you perceive something to be wrong, do something about it.
I think Katharine Brisbane’s Philip Parson’s Lecture 2011 at Belvoir is a great read to uncover both sides of nepotism’s value. http://www.theaustralian.com.au/arts/opinion/despite-the-cultural-landmarks-of-the-past-40-years-australian-artists-lack-the-standing-they-deserve/story-fn9n9z9n-1226207264950
As with all things – there is always balance.
And when actors have bemoaned their lack of access/visibility/opportunity, I then ask “Well, what are you going to DO about it?”
I always suggest finding like minded artists you want to make work with – if it’s about the work (not the company) what stops you from making it? If you are not a part of the “clique” or the “cool kids” – this is the perfect opportunity to find/start/inspire/nurture an alternative group.
Since the appropriation of the downstairs space into the mainstage season at Belvoir, many artists have felt shut out and homeless… and many have found new or different homes.
I have no gripe nor animosity towards any company for doing what they do/choose. That’s their choice. I have no problem with artist exchange or travel. None whatsoever.
Personally, I do get a little bit weary with the seeing the same artists at the same venues over and over – only because I prefer to see a diverse and varied palatte. My solution to that? Don’t see shows if I’m not curious about how the cast will present it. Simple.
I think people should work with whoever they want to – I do. I mix up casts and projects with those I’ve worked with previously, and those I haven’t.
All this still doesn’t deny the fact that Griffin’s open door policy via Griffringe is working for them, and each Griffringe the theatre is full and fun and inviting. I think opening the doors is an awesome way to generate experience, build community, build audiences, create work, conversation, connect and a smart way of time management to let the mountain (of indie artists) come to Mohammad (the venue/artistic directors).