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).

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…

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.
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