It has been weeks since Brand Spanking New 2010 and I have some of the distance of time to reflect on what has been a wonderful season. It is no secret that a lot of work goes into making a project like Brand Spanking New happen… and it’s success relies on each person on the project imbuing their work with a sense of purpose, focus, enthusiasm, time, pride, generosity, flexibility to make it happen. In week 2 of Spankers – that is 9 directors, 9 writers, 6 crew, 35 actors – and it never ceases to amaze me the collective energy of artists.

When I was designing the application form and process for Spankers in 2008 – I wanted a combination of invitation and open access – so that anyone keen could have an opportunity to audition, apply, submit a script. I wanted to make sure that writers didn’t have to pay to apply- and that directors had to apply answering some tricky questions (who are three Australian writers you would love the opportunity to work with and why… what are three productions that have inspired you and why… why are you a director?). Largely applications show me the level of interest, knowledge, enthusiasm, investment and personal goals of the participants… and for me its a starting point for what will be a long-term working relationship/creative conversation with artists.

Unlike previous years of Spankers, this years programme did not receive any financial assistance from government or a funding body. Somehow I was very lucky to be approached by Leigh Russell who coordinated partnerships to ensure that the artists on board the project were supported via in-kind donations (Crumpler gave satchels and Campos gave coffee cups and Penguin gave books for the writers, Fruit and chocolates were delivered for actors, City of Sydney gave rehearsal space to directors, South Cape Cheese for the opening nights, Wine for the directors etc.. it’s easy to say she did a stunning/gob-smacking job). The generosity that was demonstrated towards the pursuit of new Australian writers came from every corner conceivable – local, corporate, personal, artistic, industry and punters alike. It was a huge joy to look across the seats of the New Theatre and see a full house most nights… and filled me with great disappointment to have to turn people away.

For some writers, this years Spankers was an opportunity to be given much wanted stage time, for others there was the challenge of writing to spec, or appearing in a suite of plays with their favourite colleagues or established writers, for some it was the opportunity to work with a director they had always wanted to work with – or to write for actors they’ve wanted to write for… whatever the motivation or impetus – writers gave much of themselves- and risked big.

For actors, Spankers gave the opportunity to network – to flex their actor-muscle on stage – to engage with fresh material – to look at script and character from each angle, to play. For directors the opportunity to have their work produced and supported without having to source, supply scrounge (ie produce) themselves. Some directors sought feedback during rehearsal – using the opportunity to hone skills. To try something new, to work with new actors.

In June this year, I gave a talk at The University of Sydney, and someone in the question section of the talk asked me how I measure success of a show – is it box office or in the reviews. I said, “Neither. I think a show is successful when every single person on the project is proud of their work – when they have made something they are proud of, when they surprise themselves, when they know they have given and done their best.” If i measured success by reviews – I would have a devastating time – mainly because none of my shows have attracted reviews from likes of The Australian nor The Sydney Morning Herald. To them and the readers that rely on their opinion- this work doesn’t exist. (I’ve been told newspapers don’t like short runs… and frankly, I think my work is better suited to the immediacy of onliners who are sitting forward ready to catch the brightest shooting stars.) Also I often find that when someone is proud of their work – proud of the people they work with – that translates in attendance (a better measure than box office – as box office doesn’t not represent the industry comps that come to peruse the works).

Spankers isn’t a closed house either – a large part of an event like this is for foyer talk – for other practitioners to talk to and approach each other. I recently received a very heated angry phonecall from a director demanding access to my contact list… I replied that if was keen to approach someone I’ve worked with to work with him, that he should approach them in a foyer (much the way I have built up my network)… and that an event like Spankers is very conjucive to that style of approach. I don’t generally provide open access to everyone I’ve got contact details with – I will pass on recommendations and email addressess of individuals – but checking with them first – and usually after they have asked me to put them forward it i hear of anything coming up. I always think, if you want to work with someone – you should see their shows (and that will give you an indication of if you are justified in wanting to work with them.)

Anyway – What I want to say is how immensely proud I am of all the pieces in Spankers (each piece had their fans and their foes in equal measure) and to all the artists who were brave, bold and gave their all to create a very special event celebrating new Australian writing. For those who missed it below is a selection of beautiful photography by the very lovely Leah McGirr, of Week 2 of Spankers 2010 – the performance and the foyer…

Matt Young and Kenneth Moraleda

Suzie Miller’s Extra Curricular

Alison Rooke’s Apples and Onions

Me and Tim Spencer writer of The Pursues, the pursuing, the busy and the Tired…

Caleb Lewis, Emma Jones and me…

Alana Valentine, Arabella Macpherson, Scott Selirk and Kellie Jones

Awesome crew – Zandy, Ali, Miles

Donna, Ned, Vanessa and me…

Miles and composer extraordinaire – Rosie Chase

The whole gang from week 2…. (missing Selkirk – he was in Melbourne)

BSN Week 2 (Photo: Tim Andrew)

Returning to New Theatre for its second exciting season, Brand Spanking New celebrates Australian playwriting by showcasing the work of both emerging and established writers.

Monologues, short plays and excerpts from longer plays, Brand Spanking New is a curated season of the best of contemporary writing – poignant, tender, brave, bold and unapologetically funny.

Week 1
30th September- 3rd October

Homemade written by Vanessa Bates
Directed by Anne-Maree Magi
Performed by Jane Phegan

Queen of the Night by Tamara Asmar
Directed by Jennifer Monk
Performed by Abi Rayment and Tanya Weiler

Fit for a King by Phil Spencer
Directed by Jane Eakin
Performed by Jeremy Just, Chris Leaney, Matt Ford

The Return by Jonathan Gavin
Directed by Augusta Supple
Performed by Matthew Charleston, Natalie Saleeba and Stephen Wilkinson

Measure by Jonathan Ari Lander
Directed by Tanya Dickson
Performed by Suz Mawer and Felino Dolloso

Last Ride by Ross Mueller
Directed by Travis Green
Performed by Peter Talmacs, Dave Kirkham

Matt Lauer by Rick Viede
Directed by Louise Fischer
Performed by Julian Lovick

Week 2
7th October- 10th October

King of the Mountain by Jessica Bellamy
Directed by Scott Selkirk
Performed by Stephen Peacocke and Olivia Solomons

if I could be anything I would be something different by Kit Brookman
Directed by Mark Pritchard
Performed by Eamon Bryant and Daniel Fischer

Lone Bird by Verity Laughton
Directed by Nick Curnow
Performed by Fiona Press, Tim Allen and Bruno Xavier

White Wedding by Sonal Moore
Directed by Sarah Vickery
Performed by Suz Mawer

The Bermuda Love Triangle by Patrick Lenton
Directed by Augusta Supple
Performed by Lucy Goleby, Teik-Kim Pok and Toby Villis

Siberia by Timothy Daly
Directed by Scarlet McGlynn
Performed by Amy Kersey and Brynn Loosemore

Polly Pocket is Not a Princess by Maxine Mellor
Directed by Danielle O’Keefe
Performed by Richard Hilliar and Mairead Bearn

Self Service by Mary Rachel Brown
Directed by Ian Zammit
Performed by Christine Greenough

We are looking for brave, bright, bold actors to help bring to life works by some of Australia’s bravest, brightest and boldest playwrights!

Bring your headshot, a CV and prepare a brief monologue to perform for the directors. There are approx 50 roles to fill: all ages, looks, levels of experience and backgrounds are encouraged to audition. We have roles for those between 18 years and 70! So why wait? Make an audition time!

Be a part of this amazing celebration- with some of the best emerging and established artists!

Brand Spanking New: A Celebration of New Australian Writing
New Theatre
Season Dates: 30th September – 10th October

Returning to New Theatre for its second exciting season, Brand Spanking New aims to encourage Australian writing for theatre by providing a collaborative environment where both emerging and established writers can develop new projects.

With monologues, short plays and excerpts from a wide variety of styles and genres, Brand Spanking New has around 50 roles for male and female actors of all ages written by some of Australia’s most impressive emerging playwrights Maxine Mellor, Tamara Asmar, Kit Brookman, Phil Spencer, Jessica Bellamy, Sonal Moore, Patrick Lenton and Ari Lander and established award-winning writers including Mary Rachel Brown, Timothy Daly, Rick Viede, Verity Laughton, Vanessa Bates, Ross Mueller and Jonathan Gavin.

Brand Spanking New plays: tender, hauntingly poignant and brutally funny this is the festival which celebrates theatre in all it’s glory!

Including the bravest and boldest emerging directors of the Sydney fringe scene including: Ian Zammit, Jane Eakin, Sarah Vickery, Tanya Dickson, Augusta Supple, Jennifer Monk, Anne-Maree Magi, Scarlet McGlynn, Danielle O’Keefe, Louise Fischer, Nick Curnow, Travis Green, Mark Pritchard, Scott Selkirk

Auditions will be held 12-2pm on Sunday 16th August and 12-5pm on Sunday 23rd August at Fraser Street Studio in Chippendale. Please contact Julia Lenton at julia_newtheatre@y7mail.com to arrange a time!

Brand Spanking New returns to New Theatre for another exciting season of
new writing. Brand Spanking New aims to encourage Australian writing for theatre by
providing a creative environment where both emerging and established writers
can develop new projects.
Writers, directors and actors will collaborate on new works over a month,
culminating in a public showcase over two weeks, with each week featuring a
different program of plays.
The pieces will encompass monologues, short plays and excerpts from longer
works and explore a wide variety of styles and genres, from cabaret comedy to
surrealist farce, from tender confessions to brutal revelations.
Brand Spanking New is guaranteed to present an uncensored snapshot of
current Australian playwriting: brave, bold and mind-bendingly funny!
BRAND SPANKING NEW 2009
Week One: 30 September – 3 October
Week Two: 7 – 10 October
Wednesday – Saturday @ 8pm
Tickets: $22
Bookings: 1300 306 776 / mca-tix.com.au

Brand Spanking New returns to New Theatre for a second exciting season. Brand Spanking New aims to encourage Australian writing for theatre by providing a creative environment where both emerging and established writers can develop new projects.

Writers, directors and actors will collaborate on new works over a month, culminating in a two-week production. The pieces will encompass monologues, short plays and excerpts from longer works and explore a wide variety of styles and genres, from cabaret comedy to surrealist farce, from tender confessions to brutal revelations.

Brand Spanking New is guaranteed to present an uncensored snapshot of current Australian playwriting: brave, bold and mind-bendingly funny!

For writers and directors keen to find out more about the festival please email me: augusta_newtheatre@y7mail.com

Brand Spanking New is a fresh and exciting opportunity for writers and directors to work on new scripts, new relationships and new ideas in a safe and supportive environment: at the New! Chosen out of 80 applications and a sea of accomplished writers, the scripts represent a cross section of current Australian writing: Sometimes terrifyingly brave, at times brutal, frequently tender and often mind-bendingly funny.
The style, methodology, philosophy or theme of each play represents an important facet of a diverse (and therefore healthy) theatrical eco-system. Tonight celebrate the new work and bravery of these collaborators.
As disperate as this suite of plays may appear, Barbara Bryce’s overarching design concept unifies the seemingly un-unifiable, whilst Catherine Robinson’s composition provides a gritty/raw underscore.
I congratulate all involved in this project, and thank you, the audience, for supporting the inaugural season of Brand Spanking New