As someone who has recently spent time in Europe doing workshops I want to say that it is entirely possible to be proud of and inspired by the work that goes on here in our own backyard but at the same time feel that to get access to certain opportunities you have to go half way around the world. The workshops I did in Europe simply don’t have Australian versions, not because we lack culture but because we lack size. A friend of mine who spent time living in London a few years ago explained it like this; in Sydney there is one group of cool kids and if you don’t fit in with them tough luck. In London the scene is big enough for there to be multiple groups of cool kids so you just find the group you fit with. With limited space in Sydney the pressure to fit in with the cool kids is so much higher because there aren’t other options.

I have no immediate plans to move overseas but I look at the people around me doing what I do and there are a lot of us and I look at those ahead of us who are established and comfortable in their careers and there aren’t many of them and they don’t seem to be going anywhere. I can do the maths and as talented and determined as my friends and I are there just isn’t room for us all here. While one or two of us may end up making a decent living the rest of us will either need to move overseas, change careers or be happy having our careers plateau before we’re thirty. I really do feel that the sadness that makes me feel has nothing to do with cultural cringe.

Thank you for your offering up your comments on this recent post. As you may have noticed I have not been so active for the past few months on this site – it seems that there is still a desire for dialogue, and so, I’ll oblige. Who doesn’t desire a gentle conversation from time to time about things that bother them?

And it appears I have bothered you.

Yes, indeed, it appears you are a long time reader – quite au fait with quite a number of my posts and perspectives and preferences: Quite flattering, to say the least! Though I also must gently set you straight on a few things.

In context of this site I always and unashamedly claim my biases, and declare my relationships to artists I am writing about. I have worked with MANY people in the industry (in many different contexts) also I have had tea, eaten dinners and chatted for hours about art with large percentage of the Sydney theatre folk I have written about… one things for sure, I always declare my hand. I also reserve the right to unpopular opinions – and even slightly evolving opinions – which are subject to change at a moments notice especially when brilliant perspectives are counter-offered – I thank Alison Croggon, Chris Boyd, John McCallum, Kevin Jackson and Jimmy Waites for offering counter-perspectives. I am, in fact, quite open to discussions and experiences where my beliefs and preconceptions are challenged and changed – and so if you have found inconsistencies with my behaviour, my attendances, my perspectives – it means you have been paying attention.
I am subject to change.

Over these past few months, though I have been doing less “writing” I have been doing the same amount of reflecting.

Sometimes I write to order my thoughts.

Sometimes I write to reassure myself.

Sometimes I write as an assertion of belief.

Sometimes I write out of obligation, or love, or anger, or indecision.

Sometimes I write to notate.

Sometimes I write because I know how something should be written.

Sometimes I write because I don’t know how to write about something – what I’m thinking or feeling.

Whatever I write: it is not and has never been as far as I am concerned compulsory reading, nor ultimate objective truth. And I declare every step of the way: what I am writing is about me, how and what I think.

So, with that in mind I’ll address some of your comments:

1. Transparency about process and opportunity has always been a topic of discussion amongst artists – actors, directors, playwrights alike. For many artists there is perception that certain companies are not creating opportunities they should to open their doors to artists: a few years back (2006) the lack of Australian content on Australian stages was a double page spread in The Australian Newspaper, then there was the formation of the STC actors company which created a scandal (see James Waites’ excellent Platform Paper “Whatever happened to the STC Actors Company?”), and lets not forget the lack of opportunity for cross racial casting (Lee Lewis’ paper) or Chris Mead’s Paper “Have we failed our Ethnic writers?” Then came a national/international discussion on the lack of female directors employed by mainstage companies were in the spotlight, then the lack of representation of female playwrights has erupted. … And the question remains: who’s job is it to ensure everyone has access/opportunity/representation? And my answer to that, put quite simply is: it’s our job as artists to ensure we are present, talking, supporting, nurturing talent and being mindful of our choices – because what we choose, creates our industry. What some companies choose and don’t choose, reflects on the values of that company – and if you don’t like it, don’t buy it. In this post I’m not writing about what companies do – I’m writing about my thinking behind what I do.
2. No – Ralph, Brenna, Sam, Lee did not come to ‘A View From Moving Windows.’ But I didn’t make it for them. I made it for the people who came to see it, paid their hard earned dollars and hung out in the foyer chatting afterwards. I made it for the Parramatta commuters, I made it for my friends.
3. I find your third point a little confused and misplaced.
And I’ll tell you why.
Because you are a reader, you are clearly aware that I have just closed a show at The Riverside – though you got the title wrong – and I doubt you saw it… and you might also be aware that after that show closed I went straight into a development at NIDA for 7-On Playwrights new project “Platonic.” You might also be aware that I haven’t written (what you refer to as “preaching?”) recently posting 15 posts in 4 months, as opposed to up to 15 posts a month. This is because I have been busy directing and producing new Australian work.
Excellent new Australian work.
I feel absolutely feel I am walking the walk, not just talking the talk. Perhaps you read me, but haven’t seen any of my shows?

Additionally – this post is about cultural dismissal, and about the responsibility I feel as an artist, not about “accent work” and who has had/paid for sufficient accent training. I think you probably want to be outraged at my opinions outlined in my response to Reasons to be Pretty
https://classic.augustasupple.com/2012/05/reasons-to-be-pretty-slip-of-the-tongue-darlinghurst-theatre-company/

Regarding my response to Punk Rock – which again this seems to be an odd post to be airing this grievance on: I think you should have probably entered the discussion back in August when I wrote about it: https://classic.augustasupple.com/2012/08/punk-rock-atyp/
Did you see Punk Rock?
The reason why I decided to address the subject not the voices is because I had already explained my preference to a previous Pantsguys Production of The Shape of Things: https://classic.augustasupple.com/2011/03/the-shape-of-things-atyp-under-the-wharf-and-pantsguys-productions/
And you can read in the comments there my thoughts – I do like to mix up what I’m responding to: the story, the ideas, the design, the execution, the social/political/industry context – whatever I am thinking about is reflected in my responses to work. But regardless – the fact remains, I prefer the musicality of the natural Australian voice (and by that I mean a multi-cultural voice) to the performed accent of another country. I like listening to the natural timbre of local voices. My preference.

I also have never, EVER claimed objectivity. I always claim subjectivity. Can’t be something I’m not, Damien. I am a porous person – and I am affected by things around me. All I am doing is reporting on my personal perspective.

Lastly, in defence of the writers I commission and work with and for – ALL of them have the next great play in them. Some have already written epic and ground breaking plays that are studied and staged nationally and internationally – and some are still formulating developing… and when they are ready, I will be the first to nurture and support in every way I can.

Plus I am certain that there are more great writers I haven’t met/read/ commissioned yet, but I am absolutely certain there is more excellent writing on our horizon.

Again, thank you, Damien for your response, always nice to hear from people who care enough to articulate their thoughts.

– Many actors became disgruntled last year- Belvoir state on their website that they do auditions only for specific productions- a statement that proved completely false as this time last year several actors from the top 3 agencies were invited for general auditions- actors talk- when other agents found out- belvoir wouldn’t give them a bar and so opportunities were denied and at the end of the day that is all actors seek- Belvoir really hurt alot of folk by this ‘secret’ general audition.

– Out of curiosity did Ralph or Brenna come out to Parramatta to see your recent ‘Pictures From Moving Windows’?

– I believe that you also (I truly don’t mean to offend) preach your cause far too much rather than just get on with it and create good work.
You are a passionate force but you are constantly reinforcing why you are an advocate of Australian work rather than just creating Australian work and showing us that Australian writing can be extraordinary. To me, when I read your blog (which I do regularly because I like the discussion) I am frustrated because I think- “Augusta, just get a great play and do it justice” without preaching about “our voice” and “no accents”.
To a certain degree I think it is really disrespectful to write off plays with accents and almost denying that Australian actors are not capable of an authentic accent when they invest alot of time and money in this specific training so they can take of a classic play that requires this vocal work.
You also really made me question your objectivity when you did not make one mention of your own cause in your review of Punk Rock- a show that your friend directed- a show that if another company put on you would have made some comment on how you wished that slot in the ATYP season was given to an Australian play. Just an inconsistency that I found very frustrating, because you are so darn adamant that accents are not your flavour and that your own stable of writers are just as good- but your friend was directing so unlike other shows you have made this a huge issue you embraced the show- I guess aussies can do the accents.

I would love you to have a writer in your stable of incredible people that create a play that becaomes the next Australian classic- I really do.