Recently, whilst hosting a conversation with a group of playwrights for The Riverside Theatres the Writers night (as a part of A View From Moving Windows) I outted my long enduring love of/for Nick Parsons (Australia’s much loved tall-as-a-sky-scraper screen/stage writerly mountains dwelling gent) citing the first time we spoke and our consequent developing friendship.

Afterwards I continued along the line up of writers describing my love of them all… Of course it wasn’t long before Parsons noted “you seem to love a lot of people”… and indeed I do. Playwrights are my rock stars, I adore them. I love them as people, drinking buddies, collaborators, friends, philosophers, coffee dates – collectively and individually.

Somehow – through a brave stroke of luck, or brazen-ness or perhaps my gentle insistence, I have managed to develop relationships with many writers. It’s these relationships which have inspired me to develop, run residencies, festivals, projects. At the centre of my thinking have been the 7-on Playwrights – a collective of multi award-winning, established playwrights whom I am honoured to be working with. This is their 7th year together.

Thyra Samter Winslow said “Platonic love is love from the neck up.”

And that is certainly true of how I feel about the Sevens.

A brief sketch of my love:
Hilary Bell: I met in 2007 at the Griffin Playwriting Course: Instantly in awe of her sweet articulation and grace – she was the one who started my “produce it yourself” ethic… It was her kindness that struck me – her razorsharp ear, her reflective heart and her gumption to go for it. Because of Hilary I produced a suite of 10 emerging works at PACT in 2007 featuring works by Sophie Ross and Lotte St Clair (then-fresh WAAPA grads), Shondelle Pratt (Ensemble grad and dear friend), Nerida Woods (Ex-GM of Shopfront and a classmate of mine via Hilary), Felicity Nicol (NIDA grad), Anne Maree Magi (currently ADing Hamlet at the Q Theatre) Skye Kunstelj (NIDA Indy Program) et al – Out of that was born Brand Spanking New (2008) : which I included Hilary in its first year with her play Three Little Words directed by Melissa Bruder. In 2008 I directed her Wolf Lullaby: to this day a play I adore for it taut and intense examination of behaviour.

Donna Abela: We first met at Buzzzbar in Newtown, pre Stories From the 428 in 2010: I think Noelle tipped her off that I was looking for writers – And yes I leapt at the chance to have her write for the project – and didn’t hesitate to have her on board for A View From Moving Windows. I think she’s remarkable: she was chair of Playworks, founded the Powerhouse Youth Theatre (which just celebrated its 25th Anniversary) and has a mass of produced work behind her. She has often been my cheerleader and my baklava buddy (she knows where to get the good stuff). I DIG her writing – there is something intuitive and poetic – something that is so playful in the way she formulates a nearly choral experience with only two voices.

Ned Manning: Ahhh, “The Silver Fox.” He who counseled me through some of my moments of waivering focus- we were since 2010 – Stories from the 428 (428 to Canterbury) and Brand Spanking New 2010 (Black and White)… I have a personally signed copy of his awesome book Playground Duty (released this year through New South Books) I’m one of the few in the industry who were taught by him at Newtown Performing Arts High… but I’m making up for lost time by being taught by him now… recently when I was hung over in Melbourne he told me to “never lose the country girl that you are, don’t stop standing up and getting excited by what you do.” You can see why I love that man?

Catherine Zimdahl: One of Australia’s most delightfully hilarious writers – inventive, brave and very funny. She’s also a painter and her artwork greets people when they walk into my apartment. We met at Stories from the 428 – then I commissioned her for the final year of Brand Spanking New (2010) … since then, I facilitated a reading of her full length play “Gifted”… You’ll get more of a sense about Cath here

Verity Laughton: We met when I was hosting Off the Shelf at Queen Street. I had selected a play by Kit Brookman for a residency – I didn’t realise at the time Verity was Kit’s mother. She is the epitome of grace and elegance – and since I had approached her for BSN 2009 with A piece directed by Nick Curnow called “Lone Bird” featuring Bruno Xavier, Tim Allen and Fiona Press. We’ve bumped into each other in foyers and in seasons of mixed work. I’m a fan and turn up to readings (recently a play ready at Griffin as a part of Parnassus Den). She’s a marvellous writer – and a sharp SHARP intellect.

Noelle Janaczewska: Changed my life from the age of 20. I was in Honours at USyd Performance Studies and her class on Monologues was my saving grace- I am forever indebted to her wisdom and perspective. In 2008 for BSN I held my breath and approached her – she said YES – which gave me the confidence to ask other heroes of mine. Noelle is prolific and precise. Her work arrives with punctuation maps in PDFs. She joined in on Stories from the 428 and recently on A View From Moving Windows.

Vanessa Bates: I didn’t know who I was talking to in the foyer at the opening night of Matt Cameron’s Poor Boy at Sydney Theatre… I had been reading her plays that day – trying to figure out how I would contact her about writing for Spankers. And there she was – Mutual mate James Waites introduced us.. we had canapes and chatted. She wears the best skirts. I get her writing – because it feels like she gets me. This is the 7th piece we’ve worked on together. And there’s more on the horizon.

These last 6 days I’ve been working on a reading of their latest project they approached me to direct/produce 2 years ago. Due to pressing changes in circumstances – geography, logistical or financial woes the project has been slow in the making (the opposite to my public transport themed adventures) and so this residency at NIDA has provided time, space and deadline.

It’s called PLATONIC and investigates the many shades, types and incantations of love…

So often plays focus on romantic love – but there is a variety of loves that sits outside romance – and for me – who loves a love story and who believes all stories are made out of a desire for or a lack of love, can’t help but investigate this…

And so we were given a residency at NIDA.

So I asked some of my friends to help us: old and new ones, collegiate and Facebook friends to come and read for us: Jeremy Waters, Stephen Wilkinson, Madeleine Jones, Lynden Jones, Maggie Blinco, Tracy Mann, Wendy Strehlow, Shondelle Pratt, Helen O’Leary… actors dedicated to new writing, and who were friends.

It never ceases to amaze me the generosity of artists to help each other – and where funding or resources or venues are sometimes fickle or aloof, it is indeed lovely to know the industry is really a community of friends. On Sunday 11th November at 2pm, We’ll be reading the works to friends and a small invited audience in celebration of all things playwriting, all things collective, all things platonic.

Stella Started It
by Donna Abela
Performed by Wendy Strehlow and Tracy Mann

Todd Prefers Red
by Vanessa Bates
Performed by Helen O’Leary

It’s Platonic, Baby
by Catherine Zimdahl
Performed by Stephen, Shondelle & Lynden Jones

Gary
By Noelle Janaczewska
Performed by Wendy Strehlow, Jeremy Waters

Melody
by Verity Laughton
Performed by Madeleine Jones, Lynden Jones

Cuckoo Part 1
By Hilary Bell
Performed by Helen O’Leary, Tracy Mann

Robinson
By Noelle Janaczewska
Performed by Shondelle Pratt

Cuckoo Part 2
by Hilary Bell
Performed by Helen O’Leary, Tracy Mann

Ollie
by Verity Laughton
Performed by Jeremy Waters, Stephen Wilkinson

A Rose By Any Other Name
By Ned Manning
Performed by Lynden Jones, Maggie Blinco

Two Drifters
By Vanessa Bates
Performed by Jeremy Waters, Madeleine Jones

So often independent shows are put together through quiet coffee dates or in the corners of a foyer through established networks. I like to build a creative team around a project mixing together artists I know (and have worked with previously) and inviting artists to express their interests in a project. I like to throw open the possibilities and meet new people. For me building teams of artists and developing new connections and discovering new talent is one of the great joys of working in theatre.

For my next project I have invited nine playwrights to write what they will inspired by a train journey from Central to Parramatta. Yes, I will set some parameters, but essentially I have guaranteed these writers a production, sight unseen – because I believe in their work. In gathering these writers together I have approached some new writers and some established writers all from a range of backgrounds this is essential as the portrait I am hoping to create is representative of a board cross section of voices.

I have been working on new writing festivals and multi-playwright projects since early 2007 – and for me it’s a really a wonderful way to work. I love the contrasting textures and tones, I love the wide-reaching topics and characters, I love the way playwrights work together. Additionally I believe in strength in difference – and offering multiple voices to explore multiple topics.

Though I have engaged the writers, a composer and a lighting designer, this post is to invite actors, and artists to express interest in working on this project… which may result in an audition or a coffee date or a collaboration, if not on this project but on a project sometime, some where.

The Blurb goes like this:
A View From Moving Windows is a new multi-playwright project headed by director Augusta Supple (Brand Spanking New, Stories from the 428, Write Here Write Now) which contains scenes, fragments and playlets by some of Australia’s best loved playwrights. Created specifically for Riverside Theatre’s True West Season, this is a unique portrait of Parramatta, like you’ve never seen it before.

The show is to be written and developed from late July through to August 2012.

The team so far:

Playwrights: Donna Abela, Jessica Bellamy, Vanessa Bates, Timothy Daly, John AD Fraser, Noelle Janaczewska, Teik-Kim Pok, Emrys Quin, Alison Rooke

Director: Augusta Supple

Composer: Michal Imielski

Lighting designer: Sian James-Holland

Information for actors:
It hasn’t been written yet… so I can’t tell you of how many roles there are on offer. I can tell you nothing.

But if you are keen to audition/be approached/ read a role (once its been written), please email me at augusta@augustasupple.com with your head shot, a CV and a brief note (up to 200 words) of why you are attracted to this project.

Auditions will take place available 23rd, 25th, 30th August and 1st September at The Arts Platform and The Riverside theatres (exact times/dates/locations to be confirmed.)

Rehearsals: (part time) 24th September- 13th October.
Production Dates:
Bump in: 15th October 2012
Tech: 16th October 2012
Dress: 17th October 2012
Preview: 18th October 2012
Opening Performance: 19th October 2012
Performances: 20th, 24, 25, 26, 27th October 2012

Information for creatives and crew:
I’m always keen to meet designers, stage managers, video artists, carpenters, production managers, producers, publicists…

I’m also keen to hear from aspiring artists keen to come and be an active participant as an Assistant stage manager or assistant director, production assistant, design assistant… and I can guarantee you’ll meet some great people, inspiring artists and you’ll contribute to a unique and fascinating show.

But if you are keen to work on this project in some capacity (and you are available on the dates I’ve listed above) please email me at augusta@augustasupple.com with your a CV and area of interest and a brief note (up to 200 words) of why you are attracted to this project. And we can make a time for me to buy you coffee and meet you.

It’s as simple as that.

Expressions of Interest close 5pm, 9th August 2012

There are many ways to show your support for the development of and creation of art. Some are makers or producers, some dedicated punters, others offer word of mouth or social marketing – and some give money. With the rise and rise on online crowdfunded projects – it seems most projects have a Pozible http://www.pozible.com/ promoted project.

Tonight, SHH is hosting a modest gathering of artists at The Arts Platform to connect, celebrate and raise money for their work over a glass of wine or cup of tea. Unlike some fundraisers where the hosts must guarantee a certain amount of bar sales to cover venue hire, or there is a huge expenditure on lavish meals, this is, instead a gathering of artists who are keen to show a small section of work – music, some writing, a performance or song or two and lots of pots of tea. Imagine a grown-up tea party, soiree. The details are:

SHH Fundraiser
The Arts Platform
268A Devonshire St, Surry Hills NSW
6pm for a 6.30pm start- 9pm

All donations to SHH over $2 are tax deductible and will be supporting:
Full development of original Australian theatrical Work.
Local artists from a variety of practices
Sustainable community practice

A Bit about SHH:
SHH has over 10 years extensive experience in working in Hybrid Arts. We have created shows with many new artists and with and about people with disability and we have worked and trained people with and without disability in Australia, Europe and Asia. SHH has many continuing partnerships with major organisations that support our projects. Initially SHH specialised in non-verbal object-work theatre. Now the company produces text-based pieces, movement based works and films with emphasis on promoting new hybrid and interactive performance art works. For more information, visit our website www.shh.org.au

“Successful, non-didactic and very much out-of- the-ordinary” – Jason Blake Sydney Morning Herald

DONATE NOW
http://www.abaf.org.au/donors/artist-projects/shh-limited.html

On my only day off in November, Bel Delia and I got together to create a trailer for the comedy series we have been developing Petty Crimes. (That’s what I do with my days off…) In a guerilla act of “what if” and “do you reckon if we could condense this 12 episode series into a 60 sec trailer?” for the Movie Extra Webfest. And so, we did.

Have you heard much about it?

The press release looks a little like this:

“Movie Extra and Screen Australia have partnered to offer budding filmmakers the opportunity to compete in Movie Extra Webfest with the major prize of $100,000 production budget for the winner to produce a seven part webseries for Movie Extra.

I thought I’d share with you our entry and the entry of a few of our friends:

“Man was born free, and he is everywhere in chains. One man thinks himself the master of others, but remains more of a slave than they.” – Rousseau, The Social Contract Rules. Regulations. Authorization. Tick boxes. The law. Signs that say – no parking, 12 items or less. No littering.. We may be born free – but everywhere we are in chains. With a society overrun by rules and laws – what if we reclaimed our freedom and our happiness by re-instating commonsense? And, what if it meant breaking the law? Not big laws. We’re talking little laws. We’re talking, Petty Crimes. Our unlikely duo – Jack and Jackie – are ready to tell it like it is. Jack the renegade anarchist, hell bent on freeing the world one rant at a time. Jackie the corporate woman who desperately seeks happiness, and her tantrums prove it. When their paths cross at a police station, this odd couple decide that happiness and freedom is best sought in pairs.”
https://apps.facebook.com/mncwebfest/showentry/993678/null/4

“Charlie, a kooky scenster is on a quest to be Fanj: a hipster extraordinaire.There’s just one problem, her cape wielding, moustached ex: Tall Paul, The Ultimate Fanj. He’s broken her heart and stolen her idea -The Square – an underground night where uber hip bands play, punters have less than 2% body fat and love to quote Jack Kerouac. Enter Charlie’s childhood bestie, Elias: a mountain-dwelling, sustainable-living, free-spirit. With a mini-makeover Charlie enlists his help to take down Tall Paul…but does she want to win him back or stab him in the back? After a failed attempt at starting their own night -The Circle, Charlie goes to the dark side and becomes Tall Paul’s right hand Fanj. Meanwhile Elias hatches a plan to make her see it aint so hip to be square. He plants a garden. On the eve of Charlie and Tall Paul’s Ultimate Fanj Fest, will she choose trends over friends? To Fanj or not Fanj? – that is the question.”
https://apps.facebook.com/mncwebfest/showentry/970700/null/4

“Aspiring American Glace Chase has just won a golden ticket to the best place on earth: NEW YORK CITY!!! Finally he has a chance to escape boring ole Syd-nay and get to a place where everything is amazing all the time! But Glace can’t imagine what it’s going to be like: Ghost or Friends? Taxi Driver or Sex and the City? So he needs your suggestions from your fave NYC movies so he can pound the pavement and discover which movie is most like the real NY! Maybe Glace should try to become a Bronx psychic medium just like Whoopi? Maybe he should go on a murderous rampage just like Robbie? Maybe he should become a boring twat with his very own Big just like Carry??? You decide!!! Help Glace find out which movie is most like NYC. Glace Chase vs New York. Someone’s gotta test the dream.”
https://apps.facebook.com/mncwebfest/showentry/978211

Novemberism – a festival for playwrights by playwrights.

When I heard of this pro-active, empowered festival for playwrights, by playwrights- how could I keep away? I got on the phone to ISM and asked them in a shy voice if perhaps I could offer a morsel amongst the sumptuous smorgasboard of events to their calendar? In particular, I offered them (and 7-On) a show.

A show yet to be written.

And somehow, bravely they said “yes.”

Then I had to ask 7-On – Seven of Australia’s most celebrated and fascinating playwrights, if they would like to be a part of Novemberism – and coudl I direct some ofd their work.

And somehow, they bravely said “yes.”

So – within 2 weeks of receiving the scripts – the works were cast with some of my favourite actors, and after 7 hours of rehearsal each – these brand new works will be presented to the public – polished performances by some of Sydney’s most exciting and dynamic performers…

This show is I CONTAIN MULTITUDES.

MEDIA RELEASE:
SEVEN PLAYWRIGHTS | SEVEN ACTORS | SEVEN MONOLOGUES

In a very special event, for two nights only, Novemberism will be hosting a brave and bold bouquet of freshly penned monologues by playwrights collective 7-ON, directed by Augusta Supple at the Old 505 Theatre in Sydney called I Contain Multitudes.

I Contain Multitudes is drawn from 7-ON’s upcoming book of monologues, published by Federation Press expected for release in 2012. The plays traverse the ancient to the everyday, the familiar to the wildly unexpected. This collection of monologues is an exciting cross-section of styles and stories from some of Australia’s most celebrated playwrights and reveals the truly unique, diverse and dynamic voices of contemporary playwriting.

7-ON is a collective comprising of 7 of Australia’s most celebrated and prolific playwrights – Donna Abela, Vanessa Bates, Hilary Bell, Noelle Janaczewska, Verity Laughton, Ned Manning, Catherine Zimdahl – who believe in the transformative properties of playwriting and its place in Australian culture. With a catalogue of over 150 plays between us them, their work has been produced in every major theatre company in every state and Internationally in Botswana, the US, the UK, the Czech Republic, Sweden, Hong Kong, Ireland, New Zealand, Germany, Denmark, France, Canada, Korea and Japan.

Directed by one of Sydney’s most passionate new work advocates, Augusta Supple – best known for her large scale multi-playwright projects – the critically acclaimed Stories from the 428 and new-play festival Brand Spanking New, this is a production which honours the time old tradition of storytelling.

I Contain Multitudes
iSpiderman by Noelle Janaczewska, performed by Stephen Wilkinson
A Cleansing Force by Donna Abela, performed by Melinda Dransfield
Ariadne by Verity Laughton, performed by Josipa Draisma
The World’s Tiniest Monkey by Vanessa Bates, performed by Madeleine Jones
A Child Into the World by Catherine Zimdahl, performed by Matt Charleston
Narcissus by Hilary Bell, performed by Felix Jozeps
Sex-Ed by Ned Manning, Performed by Jennifer White

Novemberism is a month-long festival by playwrights for playwrights, held at the very special Old 505 Theatre. Never been there? It’s an edgy New York-style graffiti lined hideaway in the heart of Sydney – considered by some critics to be “everything indie theatre should be.”

DETAILS
WHERE: Old 505 Theatre
505/342 Elizabeth Street
Surry Hills, Australia

WHEN: Friday 11th November 9pm
Saturday 12th November 9pm

COST: By Donation
(After the show you are invited to pay what you think it’s worth – with all the money going directly to the actors.)

BOOKINGS: As the venue is limited to 30 seats, send me an email at augusta@augustasupple.com and I’ll reserve you a seat

MORE INFORMATION:
Novemberism www.novemberism.com
7-On www.sevenon.blogspot.com
Augusta Supple www.augustasupple.com

This is not a review.

It can’t be. It’s unfortunate that the little tab on my site says “Reviews” when really this is not a review. it’s a post. Well perhaps it might be a review of sorts as I re-view the past month or so working on my pieces for Women Power Culture. I am viewing it – or responding to the questions I have been asking myself about many things.

This is my year off.

Last year I headed many projects – projects which excited and challenged and delighted me – I had set 2010 as a year when I offered as many opportunities to artists as I could. A year in which I would refine and delight in curating and programming. This year, 2011, was to be my year off. No Spankers. No Off the Shelf. No Stories from the 428. No fringe festival curating. A year off to see what would happen if I didn’t make things happen for others – would it be reciprocated? Would my skills and enthusiasm be harnessed and rewarded in a steady paying job? I decided to float along and to see what would happen.

One of the things that happened was the very flattering offer from two very talented playwrights – Alana Valentine and Vanessa Bates – to direct their respective pieces included in Louise Fischer’s “Women Power Culture” season at New Theatre. I had some reservations directing for the season as I didn’t want there to be any confusion that this was a “Women’s version of Brand Spanking New.” But I love directing – I love working with writers and actors – and so my achilles was revealed and I succumbed.

THEN
That Night we Lost Jenny is a beautiful 18 minute monologue by Vanessa Bates – written with actor Jane Phegan in mind. Jane and Vanessa had previously met during Brand Spanking New 2009 when Anne-Maree Magi directed “Homemade” written by Vanessa, performed by Jane. For me, every act of creation brings with it a type of magnetism. Suddenly the content illuminates part of my life, co-incidences occur – my world is refelected and highlighted by the work. This piece was no different. I gre up in a small town north of Coffs Harbour, where surfing and preganacy were the two major past times of teenagers. I had my fair share of midnight adventures with friends. Interestingly enough – the weekend of this piece opening, was also the weekend of an “unofficial reunion” at the Seaview Tavern in Woolgoolga -where $15 was promised to cover finger food and entertainment. For me this piece is one decade earlier than my own experience: I wasn’t a teenager in the 80s. I was of the grunge era – the rise of The Smashing Pumpkins, the fall of Kurt Cobain. The nihlistic rage, the dull pointlessness of it all – but still – teenage rebellion is not new. Teenage daring is not new. The surprising, difficult confrontation of looking back – and realising we aren’t where our teenage selves thought we would be.

Vanessa’s writing is beautiful. poetic, brutal, funny and utterly honest. And what makes her such a delightful writer to work with is her curiosity about the sound of the words – and the confidence in director (me) and actor (Jane) to find the real place in which the work sits and her grace in allowing us to own and discover. She gave us permission to dive in and explore.

Jane Phegan is a wonderful actor to work with – diligent, disciplined, generous, fun, smart. She has an adventurous core to what she does and a cool calm self-knowledge. She cares about the audience and loves to tell a story. And for me sifting through the ideas – the songs, the images – and making sure we put the simplicity and elegance of the text at the fore-front was nothing but joyful rigour.

NOW
Alana Valentine is probably one of Australia’s most prolific, in demand playwrights. She has a formidable list of acheivements and her impact on Australian theatre is found in classrooms, box offices and the creative and cultural consciousness of Australians. Though specialising in verbatim theatre, her piece “The Sex Act” is not a piece of didactic theatre-in-education piece – but a kaliedoscopic human story about the legacy of second wave feminism, the social prejudices which manifest in gender politics. It’s a meaty piece of political theatre and raises many questions – more than a person can answer in an evening.

Working on this piece is a collective of completely creative actors. Kate Skinner, Luke Carson, Stephen Wilkinson, Odile Le Clezio and Bridgette Sneddon – who without reservation dedicated themselves to the realsiation of this 32 page adventure. Cross-dressing, inter-generational kisses, slapstick, politics, impersonations, strings of statistics, fights, rants, realisations – this play has it all – and they we absolutely tireless in offering, creating and discovering.

Regardless of the cracking schedule – 12 rehearsals held over 16 days – part time, unpaid and squeezed around the everyday demands of life – these actors created a fun, funny sweet and fierce piece of action from Alana’s intensely intelligent and powerful script. I have nothing but awe and pride in these artists – who were tireless in creating and sticking with and to the script – focusing on the work and always ALWAYS putting the work first.

THE SEASON
Comparisons are onerous.

The danger of a suite of short works is that audiences immediately default to trying to rank the pieces. in fact reviewers do it too. And it’s not very interesting to me. I have no interest in any psuedo competition – for me it is about the whole season – the whole experience the audience is offered – it’s about the context of the work.

By many measures this season has been difficult – for many – the challenge of working around many schedules with limited time, space and resources means that sometimes the work suffers – and sometimes the relationships between artists suffers. Sometimes in the extreme sport which is theatre, egos flair, ideas clash, creative energy swells and collides – and sometimes out of the fiery furnace new love and respect is born – sometimes relationships are obliterated. Sometimes artists feel lost, disapoointed, sometimes they feel hard done by, unheard and like failures. Sometimes not is what they hoped or dreamed.

These struggles are fortifying.

they define you as an artist – they ask you to redefine – reassess – re-examine. They ask you to stand by yourself and what you know, and what you want. they call on your courage. It challenges your compassion adn your integrity. Some give up. Some roll up their sleeves and get to work.

I believe all experience is positive.

Perhaps not now, it can feel like a small form of hell, but later – as it shapes and directs you into who and what you will be.

I have been granted the great honour of working with exceptional artists during this project. I am, and always will be firmly in love with my cast. I have experienced the enduring patience of lighting and sound operators and stage managers… I have been surprised and delighted by the generousity and kindess of actors. I have been deeply honoured by writers. I am a very lucky person.

As far as the social context/The importance of this season – especially in a Pro-Am/independent context- is the room to fail, learn, grow, develop. For me the season being about women and feminism – is as important as any ideas presented on social justice – as any festival that focuses on promoting and producing new work by living local playwrights. I think it si completely possible to have a seaso of work about women power and culture which includes perspectives by men. After all I believe that feminism is a social concern – and is everyone’s reponsibility and realm- not just women’s business. The rights and opportunities and the status of women concerns everyone. This season for me is just as much about men as it is about women.

WHAT ELSE?
There are five shows left in the season – and a panel discussion. details can be found here: http://newtheatre.org.au/
Special Event: Sexing The Act – Saturday 5 November @ 2pm
This free public forum will question how far we have (or have not) come since the passing of the historic Sex Discrimination Act 1984. With special guests Adele Horin, Jane Caro, Eva Cox, Verity Firth, Katrina Fox, Gabe Kavanagh, Maha Krahem Abdo, Hetti Perkins and Susan Ryan.

There’s that feeling just before a meeting or a launch – where I feel different. My skin feels thin, sounds seem louder, my eyes are keener and dart around examining everything. I am ultra aware, ultra wired, ultra ready. Tonight before the meeting I had been slammed with text messages, emails, facebook messages all sending their apologies and offering assistance and their support for whatever was suggested or offered – a willingness to join in, to offer, to work, to develop – and that is, I must say, an utterly humbling thing. As the texts bounced in, I had a serious feeling of dread – what if no-one turned up? What if I was left talking to the packets of Arnotts assorted creams and the tea bags by myself?

And like all good guests, the independent theatre folk started to arrive- what I thought may be 10 people, blossomed into 40 and soon we were shifting chairs and shuffling on couches. Soon they were gesticulating and talking amongst themselves, offering introductions and biscuits. ACTORS, WRITERS, PRODUCERS, DIRECTORS, PUNTERS… huddled around the mismatched furniture in the Fraser Studios warehouse. I waited… and then… we began…

I am going to paraphrase here in an overly writerly way – I can’t remember precisely what I said but here is the gist –

“Thank you for taking the time to be here – as there are a thousand things you could be doing – yoga classes, combat courses, spending time with your family, or the Griffin for a cheap ticket to Silent Disco… I wanted to invite you along to an event which was not held in the comfortable seats of someone else’s theatre, where artists are offered a day to air their ideas, are offered falafel and then ignored. I also wanted to start a conversation with you about the Independent theatre sector, in particular reference to my true love, new Australian playwriting. And there are a few things I wanted to get out of the way –

It has come to my attention that there is some movement about – namely there are at least two theatre spaces that have the potential to be inhabited – and I wanted to ask you what you wish and want. This is a meeting to talk about what you want – what would help you make the best work possible. Surely when you have been up at two in the morning finalising that draft, or selecting your headshot or re-formatting your CV there has been a wish, or a dream you’ve had where you’ve thought – “if only…” Well, I want to hear it, now is your chance. I want to hear what you have to say which is why I have hired this venue, bought you biscuits, and invite you to tell me…”

The conversation was steered in many directions –
* the desire for a collective independent theatre’s blanket public liability and workers comp agreement…
* the desire for a place for people to gather and share ideas
* a theatre
* a theatre with a bar where regardless of the time of day people could have a drink and develop ideas
* a place where writers could feel supported and heard and welcomed
* a place dedicated to new Australian writing development and production
* a theatre that offers people an opportunity to skill up via practice
* an artist run space
* a shift in thinking that independent theatre is a rehearsal for the mainstage
* an alternative theatre to the current models available
* a safe place with good working equipment
* a non-curated theatre
* a theatre which is run via committee
* a venue that is under a co-op model
* a theatre with a rehearsal space attached
* a membership based organisation
* a hub where resources and theatre contacts can be shared (especially in the production of new work)

And I offered up a re-thinking: what if we no longer referred to artists as emerging or established, but instead referred to their WORK (ie their play) as emerging (early draft) vs established (has survived many re-drafts/developments and workshops and is now stage-ready)?

There was lively discussion and debate about what theatre is, what it should be, if we had a venue – what would it do/have?

I told three small stories about the history of Sydney theatres – a 6 sentence version of the history of the NIMROD theatre (abridged from Merrick’s See How it Runs), the early years of PACT in the 60s and the starting up of Shopfront Theatre’s co-operative in the 70s. At the heart of all these ventures were some committed brave artists who were willing to part with money, time and do the hard, dirty, ugly work together to make it happen. And tonight was a request for people to start thinking in terms of what people are willing to do for what they want – but more importantly -to ask them to think outside what is, and think about what could be…

The fact of the matter is this – theatre folk are extremely resourceful, energetic, passionate, brave, resilient, creative.

And despite one email I received which claimed that Australian writing gets enough support – I know there is a need and interest and passion for new Australian writing – and we need a space/company that is soley dedicated to the new: the development, support and production of new work.

I offered a very preliminary model with the idea of bridging the gap between development and production – and a series of structures to assist all artists to engage with developing new work and supporting writers.

It is now time to stop being subservient or passive in what we want for our audiences, for our art and for ourselves. I invite everyone to talk, disagree, dream, dismiss, create, build. And I invite you to do so here.

The question is: if you had a space, what would it look like? What would you do? How would it run? What would it offer you? How is it different from other venues, organisations and opportunities? WHAT DO YOU WANT?

And after 2 hours of chatter and argument a couple of things were resolved –
1. For the conversation to continue and for ideas to be offered and discussed.
2. A facebook page to be created for discussion and for people to be kept in the loop. (Yes it’s been set up already you can find it here: http://www.facebook.com/home.php?sk=group_210888062277355 )
3. Conversations should continue and not be confined to the group – if you need to set up a theatre with a bar – do it.
4. Continue to dream big so that you can make excellent work.

And then there was a thank you and one voice asked
KATIE: Gus, how much was it to hire this space?
GUS: Um, $60
KATIE: I think we can all leave a couple of dollars on the table, can’t we?
ALL: Yes, of course.

And with that the coffee table was littered in gold coins, five and ten dollar notes… and I was left stunned and astounded and proud to be a part of such a community…

And to quote an email I just received from a beautiful playwright – “I left with a spring in my step…”

Emergenza is the World’s biggest live band festival, providing unsigned bands the opportunity to play infront of hundreds of punters and a panel of industry executives. It is a trial by fire competition- with heats designed to push forward the bands voted by the audience as the best of the competition. Starting off at The Lair in The Metro- each band has 20 minutes of playing time to make their mark infront of a fairly well lit audience – whatever sounded good in your bedroom or loungeroom is now amplified and in front of strangers…

I have been working with Greenlight over some months- as an outside eye, facilitating their journey from lounge room to stage and now onto the Mainstage of The Metro Theatre. Over the past couple of months Greenlight have released their mini album “Suns Burning Down” featuring their single “Fish” which has been consistently rated 5 stars on the Triple J unearthed Website and reached in the top 20 during Oz Music month.

After a stunning performance at the Emergenza semi-final at the Factory Theatre in Enmore- Greenlight scored a massive total of 139 votes scoring them a first place position. Now propelled into the Australian Finals- this Saturday’s performance is a wonderful end to a year of heard work and rehearsals. This is an amazing acheivement from a dedicated band.

Despite my involvement with Greenlight- there is something unique and honest in their music- a blend of rock, folk, grunge music with wworld music hints with songs which catch in your throat as you sing it out. If Harvey and Thom Yorke had a baby -and that baby had a band- it would be Greenlight. I love the raw intelligent declarations of survival in spite of love gone bad- I delight in the whimsical glockenspiel/jumbai rhythms- I adore the echoing layers of guitar and bass which hum through me.

If you aren’t headed to see the Wiggles do their thing at Carols in The Domain- and you want a really fun night out filled with great music- come along to the Emergenza final and check out Greenlight. I won’t be missing it for anything!

Saturday 19th December 2009
The Metro
624 George Street, Sydney
7pm
Tickets $22 (pre-show sale)/ $28 at the door
Email: info@greenlighttheband.com