An opportunity to work on a project/network with artists and get a small travel stipend and free rehearsal/workshop space?
Awesome… especially with the Sydney Fringe coming up – especially with the cost of real-estate in Sydney!!! Check out this letter from Shopfront inviting artists to assist in the delivery of Shopfront’s major Project Arcade Assembly:

Dear Artist Friends of Shopfront,
Shopfront is seeking up to 8 performers to help us deliver the project Arcade Assembly to schools and Outreach participants.
WHEN: 18 & 19 August (training), 22-24 August (Schools Shows – see exact times below).
WHAT: Arcade Assembly is an interactive maze, made up of simple hand operated games and mini booth experiences in which the audience step in and play games, and in the process they build a profile for their pocket avatar and make a friend (see images: projects.shopfront.org.au). It is an integrated project that offers arts workshops to young people from all over Sydney, including young refugees, migrants and YP excluded from mainstream education. The event combines in a joint creation with over 80 young people contributing their artworks and ideas.

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

I love Currency House – and I have the bookcase to prove it. I possess many, many of the Platform Papers and books including the most recent and exciting history by Dr Nick Herd Networking (on the development of Australian TV). Regardless of how busy I am (and at the moment I am too busy for my own good: working with playwrights, writing grants, directing new work, blogging and opening a new space The Arts Platform on Devonshire Street) I will always make time for the Arts and Public Life Breakfasts hosted by Currency House. They are a brilliant and vital part of Australian cultural life and I recommend and urge all artists and corporate high-flyers I know to attend.

Yesterday’s address delivered by Sally Burton.
Philanthropy: Your Legacy


“The Greeks left us many things to admire, among them architecture, theatre and philanthropy. Philanthropy is still alive today but who are the givers and how much is given? Lottery West commissioned the University of WA to research the patterns of giving in West Australia and in response to their findings Giving West was founded in 2011. Sally Burton, theatre producer, and custodian of the Richard Burton estate, is a member of the board of Giving West, and will talk about where we are today and her own connection to philanthropy and the arts.”

Some may know – some may not know – but every year I donate a portion of my income to arts organisations: some I am also affiliated with in some capacity. I have written about it previously here:
https://classic.augustasupple.com/2011/06/the-arts-in-australia-give-a-shit-give-some-cash/
This year as the End of Financial Year approaches, I have three main organisations I will be supporting – to show my affection, my faith and my unconditional support:
GRIFFIN THEATRE COMPANY http://www.griffintheatre.com.au/support-us/
SHH CENTRE 4 HYBRID ARTS http://shh.org.au/
SHOPFRONT CONTEMPORARY ARTS AND PERFORMANCE http://shopfront.org.au/about-shopfront/donate/

I am an artist. I don’t have a fancy car. I don’t have a stable wage. I don’t own a house. My car is ancient. I don’t have a beach house. Nor do I holiday in Majorca – in fact – I rarely holiday… but one way I feel connected and as though I am giving back to my industry is by supporting those who I believe in, and appreciate. It’s what I do. I have been donating to organisations since I moved out of home at the age of 17 (before that time I volunteered for lots of charities in my home town: Red Cross, Salvation Army – I headed door-knocking appeals for Lions and Rotary and held fundraisers for local community groups in need in my teenage position of the President of Interact). I am not from money, not at all, they haven’t been able to work for about 20 years. I say this not for pity. But it is a fact that gives you a context about my situation.

NOW, TO THE BREAKFAST…

Going into this breakfast, I felt awkward. Perhaps I was the only one in the room who had voiced my severe disappointment at the decision NOT to award The Richard Burton Award for 2011:
https://classic.augustasupple.com/2011/10/what-the-media-release-no-richard-burton-award-for-new-plays-to-be-awarded-in-2011/

Introduced as vivacious and energetic by her friends and colleagues at the Breakfast, I eagerly awaited hearing Sally Burton speak.

And what I saw before me was not at all what I expected. I had expected a call to arms from a passionate and robust woman – a visionary. Instead, a watery and difficult to hear address which contained information which could have been easily compiled from a Wikipedia search on Philanthropy… and difficult to hear despite a well-rounded British accent. The address itself was… well… largely irrelevant to us Eastern States folk – as she spoke mainly of the money in Western Australia (due to mining) and how the multi-millionaires in the west are not great philanthropists. She also was speaking to high wealth individuals – and I believe that philanthropy is NOT only the recreational sport or strategic profile building of millionaires, but also the altruistic act of the humble, everyday person.

I got the distinct impression that instead of an inspirational altruistic and passionate vision, that this was lost and reduced to tax management or financial dick-measuring.

Furthermore the main impression I had of her message in her address was that its important that high wealth individuals who give do so publicly so that their rich friends can follow suit.

I was waiting for a sense of why support art. Why support art when there are people living with chronic illness, or living in poverty? When most of Australia’s indigenous people are not living as long as white Australians?

I was waiting for the speech that gave a sense of why support arists- and for those who might want to read (an old but still relevant) survey on the lifestyle and financial situations of artists please check OZCO’s paper out:
http://www.australiacouncil.gov.au/resources/reports_and_publications/subjects/artists/dontgiveupyourdayjob

Instead we were told of how being a philanthropist is a humane thing to do. It is a social duty of those with wealth.

She spoke about the Greek origins of the word philanthropy, capping it off with “and the Greeks really knew how to write a play.”

I winced like I’d been stabbed. Cultural cringe… imperial leakage?

One brave person who eloquently asked the “elephant in the room” question something like:
“What was the strengths or weaknesses of the scripts last year which meant that you didn’t award the Richard Burton Award for playwriting?”

Her response was along the lines of:
“We had the great fortune of in the first year awarding the prize to an exceptional play by Caleb Lewis for Clinchfield. He set the bar very high. Last year we read 110 plays, and none of them, with my hand on my heart were worth $30,000.”

OUTRAGED!

Here’s a few point to consider:

1. The inaugural guidelines of the Richard Burton award (2010) stated:
“The competition is open to full length, unproduced plays which have been written in the 12 months leading up to the closing date of the Award. Plays that have been commissioned by a company are not eligible for the Award”
http://aussietheatre.com.au/news/entries-open-for-playwriting-prize/
This year the guidelines have changed.

2. The winning play, Clinchfield by Caleb Lewis was produced in 2009 by Flinders University (where he was teaching at the time) and is quoted as having “played to sold-out audiences” (though it must be note that this was not a professional production, but a student production – this show had the benefit of being put before an audience- whereas many plays submitted to awards, have not.)
http://blogs.flinders.edu.au/flinders-news/2009/08/04/play-leaves-questions-hanging/

3. MANY, MANY playwrights and plays I am aware of submitted their work to that award, which followed the guidelines in 2011. Many of those plays have gone on for production nationally and internationally. AND have won other national theatre awards. I’m not going to name them, I don’t need to.

FURTHERMORE: It’s no secret that I love Caleb Lewis – and this is not having a go at him – he deserves (as many playwrights in this county do) recognition, money and support. I was absolutely thrilled for him. Absolutely. But a recent WA review of Clinchfield has stated:
“Whether Clinchfield can make the grade remains to be seen… Clinchfield may not yet be ready for a wider public, but at least it has a path to success those other shows lacked.”
http://au.news.yahoo.com/thewest/entertainment/a/-/entertainment/13217508/theatre-review-clinchfield-by-caleb-lewis/

My point is that reading and judging plays is a very personal thing. There is no perfect new script and not awarding a play on its potential is absolutely narrow-minded, and egregiou.

Playwrights – especially those not commissioned and without guaranteed production – have a hard task of writing, especially as theatre is absolutely a collaborative artform.

What Sally Burton failed to recognise is her power in giving a “message” to playwrights – a message of “not good enough, no money until you can do it on your own anyway.” It is, in my view COMPLETELY COUNTER the spirit of philanthropy. This award is a strings attached donation – which I think is one sure way to smother risk in art, art in writing and ultimately culture. To have a wealthy British woman, who’s inherited wealth has gone on perpetuating the “ROYAL” court, ballet, theatre in the UK – tell our writers that they’re not good enough is a cultural cringe moment of the HIGHEST degree.

So now the award is changed. No longer $30,000 for a play to head towards production. It’s now $15,000 for 2 writer to DEVELOP a play.

OUTRAGED! (Again!)

How many more “DEVELOPMENTS” do our writers need? And what is this saying about all the companies that are there to assist play development? OZCO, State Arts agencies, Playwriting Peak bodies not enough, does Sally Burton want to join that too?
If anything, THAT development option SHOULD have been given last year if they couldn’t find a ready play. If the aim of refusing to award the money last year was to inspire the artists to excel, she has countered this by lowering the stakes into creating this as a “development” fund. To do that THIS year lowers the impetus and the stakes for the writers – after all $15,000 is only 5 more than the Griffin Theatre Company (and they aim to provide production) AND The Philip Parsons who offer the same.

It’s her money. She can do what she wants with it: but I don’t think Sally Burton realises the symbology of her decisions to the playwriting community, and ultimately to the (potential and established) philanthropic community.

What feels most difficult about this, is that when someone has extreme mega-wealth and when there is a sector in much need: the conversation always seems one sided. It feels like Sally Burton is all powerful and not to be criticized. It could easily appear to bite the hand that feeds – I don’t ever expect that Sally would ever feed a mangey dog like me, I’ve been living off scraps for so long, I doubt I could stomach a caviar dinner and so, I have nothing to lose.

But I’m going to end on this:

I read around 200 scripts a year. By the end of this year I will have worked with (developed, directed, produced) 25 playwrights. All this is without anyone’s financial support (government included.) I KNOW first hand how hard playwrights work. I appreciate the hard work, the vision, the passion, the sacrifice and time it takes to write and submit. I understand the personal agony of rejection. And all I can say to our playwrights is – keep going.

Please, playwrights. Swamp Sally Burton’s competition with quality, passionate innovative plays that confuse and confound her. Show her just how amazing you are.
Entries close Fri 6 July 2012
http://www.bsstc.com.au/for-artists/the-richard-burton-award-for-playwriting/

Ah… literature. What is it good for?

Steven Pinker, in a recent talk claims that the world has become more peaceful and that we are living in a relatively less violent era than before. Though I don’t exactly agree with him on every point (aspects of sample size and specifics of what is considered a “violent” act) – I do find it fascinating that the two most significant pacifying influences are the formation of government and the enlightenment (with its increased literacy and civilising artistic pursuits).

What more justification could one want for the annual The Premier’s Literary Awards?

Pinker is a fine speaker – and should you desire a well dot-pointed lecture – I recommend watching this whilst consuming your morning toast and tea.

The bits that echoed and eased my resolve is the civilising affect art (and in particular being in the presence of others speaking) can have on a society to build compassion and empathy. This is truly one of the many attributes of theatre. And I believe writers are at the very centre of that – they speak to us across time, generations and geography.

So of course we need writers – and writers need money.

The need money for shelter and food and to relax (strangely, writers seem to use money to buy writing time – they’re not often at the track backing a feverish pup with their cash).

And so the outstanding and unbelievable ignorance of the impact of withdrawing such an award – as in the case of the Queensland Literary award by axing it to save money in 2012.

Read this and be outraged: http://www.couriermail.com.au/entertainment/books/premier-campbell-newmans-scrapping-of-queensland-premiers-literary-awards/story-e6freqkx-1226318300611

And you may now see how Campbell Newman has outted himself in the artistic community as being a false economist.

A country fails to invest in its artists at its own peril.

Luckily, despite a controversial hiccup in 2010, (read here: https://classic.augustasupple.com/2010/05/were-ready-for-a-bun-fight-not-the-nsw-premiers-literary-awards/ ) the NSW Government isn’t so short-sighted. 2012 there is a raft of literary awards up for grabs.

I personally don’t agree with awards – but I do believe in symbols of encouragement and money for artists – so, I guess… uh.. in someways I do agree with awards.

My hope is that all the brilliant playwrights I know and have worked with (and I love) absolutely swamp and confound the judges with choice – I hope the writing community is seen as a huge and impressive force in our cultural landscape.

Because writers are brilliant and essential… and we need them to keep us civilised.

******************************************************

The Premier’s Literary Awards

The NSW Premier’s Literary Awards have a proud history, both in celebrating achievement by Australian writers and in helping to establish values and standards in Australian literature.

The NSW Government is committed to increasing public engagement with the arts. Administered by the State Library of NSW in association with Arts NSW, the Premier’s Literary Awards provide an opportunity to highlight the importance of literacy and to encourage everyone to enjoy and learn from the work of our writers. These annual awards honour distinguished achievement by Australian writers, contribute to Australia’s artistic reputation, and draw international attention to some of our best writers and to the cultural environment that nurtues them.

Past winners have included such notable writers as Peter Carey, David Malouf AO, Elizabeth Jolley, Thomas Keneally AO and Helen Garner.

Total prize money for the Premier’s Literary Awards in 2012, including sponsored awards, is up to $285,000. Writers and illustrators whose works are nominated must be living Australian citizens or persons holding permanent resident status.
Call for Nominations

Nominations are now being sought for the following 2012 Literary awards:

The Christina Stead Prize
The UTS Glenda Adams Award for New Writing
The Douglas Stewart Prize
The Kenneth Slessor Prize
The Patricia Wrightson Prize
The Ethel Turner Prize
The Play Award
The Scriptwriting Award
The Community Relations Commission for a multicultural NSW Award

Nominations closing date: 5 pm June 1 2012

To apply head to:
http://www.sl.nsw.gov.au/about/awards/premiers_awards/premiers_literary_awards.html

So.. you’re an actor being asked to prepare a monologue for an audition? Or you want to work with Bell Shakespeare Company but find it all a bit daunting… or you plan to audition for an acting school at the end of the year… perhaps this will help you out?

This Masterclass, for professional and emerging actors, explore ways to use Shakespeare’s rich and complex language as the essential element that inspires your emotions and dramatic choices. The patterns of sound and rhythm in poetic language are a powerful source of emotional information: information that offers infinite potential for inspiration of the actor’s action and intention, physicality and intellect.

Ever been moved to tears by the way a piece of music sounds? Or terror? Or excitement? Shakespeare wanted language to have the same effect. Like any poet, Shakespeare chose language for how it sounds as much as for what it means. Moreover in a time when the word ‘psychology’ didn’t exist he shaped this ‘verbal music’ to express the psyche of the character.

In performing Shakespeare, connecting to how the words feel is just as important as understanding what they mean.

“Concept is there, but beyond concept is the ‘concept brought into life by image’, and beyond concept and image is music – and word music is the expression of what cannot be caught in conceptual speech. Human experience that cannot be conceptualised is expressed through music. Poetry comes out of this, because in poetry you have an infinitely subtle relationship between rhythm, tone, vibration and energy, which give to each word as it is spoken concept, image and at the same time an infinitely powerful further dimension which comes from sound, from the verbal music.” – Peter Brook Evoking (and Forgetting) Shakespeare

This masterclass explores two questions:
How can you develop your speaking and listening so that you can hear the music in the words?
How can you switch on your imagination to those sounds, so that they begin to inspire your acting choices?

Group work will focus on– discovering the full variety of sound in the language
– learning how the weight of the words shapes the rhythm, and how you can use it.
– exploring the emotional impacts of sound in language
– developing physicality in response to sound, rhythm, image and emotion.

Individual speeches
We’ll explore the differences between what happens when you work on a speech from the meaning first, and when you start with the sounds and rhythms in the language first. So you’ll need to come along with one monologue or soliloquy that you know really well, and you’ll work on another one that Chris will select that’s entirely new to you.

The masterclass is lead by Australian theatre director Christopher Hurrell, who is currently living in London, where he is undertaking a practice-based-research PHD at leading international drama school Rose Bruford College and Goldsmiths College, University of London. His research focuses on developing performance practice for Shakespeare based on the principle of exploring and interpreting the ‘verbal music’.

Companies with which Christopher has worked include leading Australian and international cultural organisations such as The Bell Shakespeare Company, Griffin Theatre Company, Belvoir, The National Institute of Dramatic Art, The State Theatre Company of South Autralia, Andrew Lloyd Weber’s The Really Useful Company, LaSalle College of the Arts (Singapore), Opera Australia and the Chicago Lyric Opera.

This Masterclass is offered in two sequences.
Either: Monday, April 2 1pm-5pm
Monday, April 16 1pm-5pm
Tuesday, April 17 1pm-5pm

Or: Saturday, March 31 10am-5pm
Sunday, April 1 10am-5pm

Venue: The Loft Rehearsal Room
East Coast Theatre Company
249 Bulwara Road, Ultimo

And in Brisbane

On: Saturday, March 24 10am-5pm
Sunday, March 25 10am-5pm

Venue: La Boite Rehearsal Room

Cost: $180/$130 concession (including MEAA and Griffin Artist Card Members)

A version of this masterclass for 15-18 year olds is also being conducted in Sydney at ATYP
http://www.atyp.com.au/workshops/holiday-workshops/atyp-masterclass-shakespeare-revealed

Each Sequence is strictly limited to 10 participants. Participants are expected to already have basic actor training or stage experience.

To book and for further information email chris@christopherhurrell.com
www.christopherhurrell.com

Open Source is here

In 2012 Legs On The Wall furthers its investigation into how developments in technology impact the physical experience of live performance with Open Source. Are we flattening our senses into a world of screens, or do innovations in science offer something richer to visceral art? Open Source is a call for investigations and experiments in this area, with the aim to share discoveries in a wider community.

Open Source is where the physical and the technological make sweet, poetic art together Legs On The Wall offers space at its Lilyfield premises, an audience and a brains trust to performers, makers and thinkers,
experimenting at the crossroads of flesh and tech. We are seeking projects that feature the human body in association with any combination of sound, image, space, or interactive device in the context of live performance.

Open Source is a space for you to turn a tricky concept into real time artistry

In 2012 two successful projects will each be given a four-week creative development at Legs On The Wall’s rehearsal spaces in Lilyfield, including a week in the Red Box. Projects will be supported by Legs through in-kind space, equipment, documentation, dramaturgical support and a budget up to $4000. At the end of each creative development, a public showing will be hosted by Legs On The Wall, to give participants an opportunity to share their work with an audience.

Creative development 1: August 20th -September 16th 2012
Creative development 2: November 19th -December 16th 2012

Open Source is a catalyst for new ideas and collaborations. Projects that are in an earlier stage, or makers with a quick idea that need some human attention, are encouraged to apply for a slot in a Rapid Prototype session. A number of successful applications will be invited to present a performance, installation or ideas to the public in an informal evening, hosted by Legs On The Wall. Rapid prototype dates will be announced throughout the year

Open Source is what it says on the box

Legs On The Wall invites audiences to share in the play and experimentation behind the creation of innovative performance works. To this end, all participants in the Open Source program will have their work professionally dcumented and hosted non-exclusively on LegsOnline.

Applications close April 5th 2012

MORE INFO: http://www.legsonthewall.com.au/index.php/home/more/open_source/

Just passing on bits and pieces that have landed in my inbox/phone/facebook account…

2012 Membership Applications
The Sydney Writers’ Room is currently offering new memberships to writers who are serious about their work and about writing as a craft.
Applicants can be working in any genre (currently, the resident member writers come from a diverse range of writing disciplines including film, television, novels, comics, satire, history and new media).
Applicants do not have to be established writers but must be serious about developing pathways for publication for their work.
In 2012, we are offering three categories of membership:
• Permanent Members
Fees: $150 per month plus a one off moving-in fee of $250
Includes: Round-the-clock access to your own permanent desk and shelving; wi-fi internet.
• Hot-Desk Members
Fees: $100 per month
Includes: Round-the-clock access to one of our “hot-desks”; wi-fi internet.
• Off Peak Members
Fees: $75 per month
Includes: Access to one of our “hot-desks” from 6pm-9am weekdays and anytime public holidays and weekends; wi-fi internet.
All prices include GST.
Applications will be assessed against the following criteria:
• Seriousness of intent
• Understanding of writing as a craft/ discipline
• Commitment to writing for publication (any platform)
• Quality of proposed project/s
The deadline for applications is 5pm, Friday 17 February 2012.
For more information email applications@writersroom.org.au
****************************************************************************************

RE: Short film Casting – Role for a 13 year old boy, ‘Nugget’
‘Sam’s Story’ is a short film being made in February with assistance from Screen NSW’s Emerging Filmmaker’s Fund. It is written by award-winning writer Rebecca Clarke and directed by VCA directing graduate, Julietta Boscolo, who was nominated for the 2011 IF Rising Talent Award. Her short, ‘Safe’, screened at Flickerfest 2012. http://juliettaboscolo.com/

Several characters have been already cast, but we are currently still looking for a 12-14 year old boy to play Nugget, as per the following description (full character list attached): NUGGET- 13 years old. Rory’s sidekick. Heavy-set and slow moving, Nugget has a short fuse and gets bored easily. He is under‐confident and can be quite violent. He is also protective of Rory’s friendship.

Anyone who fits the bill and is interested and available, can email director Julietta Boscolo ASAP with a photo, brief background and contacts – jb@juliettaboscolo.com. Julietta will select a shortlist from the photos. Those selected will be contacted with a confirmed audition venue (either Nikki Barrett Casting and/or Brilliant Films, both fairly near to Central Station) and an audition time, most likely late afternoon Wednesday 15th February. Auditions will mainly consist of a short chat to camera and some scene work.

SHORT FILM OUTLINE – ‘SAM’S STORY’
Sam, a nine year old boy, makes a solitary journey to school through the stark landscape near the commission flats where he lives. The imaginary world, as told by a far-away older male storyteller, his only solace. An encounter with two young teenagers presents both a temptation and a threat to Sam. But when the boys take away the one thing that makes him feel truly loved, Sam must find the courage to fight back. …Because sometimes stories are all we have.

Stage Manager role for 2012 program

Emu Heights Productions is a theatre production company based in Penrith. Our company was established in 2010 to promote access for students in the Western Sydney region to professional, high quality theatrical productions.
We are looking for an experienced and enthusiastic Stage Manager to oversee two productions for our 2012 program in Penrith. Anticipated start and end dates:
Production #1: “The Shoe-Horn Sonata” by John Misto
Design complete Mon 12th March 2012
Rehearsals begin w/c Mon 26th March 2012, Thursdays and Fridays (plus Saturdays in the final weeks before Production)
Performance week 5th – 8th June 2012
Production #2: “Hamlet” by William Shakespeare, adapted by Emu Heights Productions
Design complete Mon 27th August 2012
Rehearsals begin w/c Mon 10th September 2012, Thursdays and Fridays (plus Saturdays in the final weeks before Production)
Performance week 13th – 16th November 2012
Role – Stage Manager 2012 Program
• Work closely with the Producers, Director, Cast and Production Manager to deliver the productions
• Management of Director, Cast and relevant company members for all Rehearsals
• Management of WH&S, set, props and costume throughout Rehearsal period
• Work with Designers and Production Manager to source props within budget
• Develop and communicate a Production Week schedule both productions
• Manage the company to meet all Production Week requirements, including but not limited to Bump-In, Rehearsals, Performances and Bump-Out
• Ensure excellent communication and relationship building between all people within the company
• Ensure excellent communication and relationship building with venue staff, contractors, delivery companies, transportation and external contacts
• Reports to the Producers

Selection Criteria:
• Previous theatre stage/production management
• Schedule creation and implementation
• Excellent communication and personnel management skills
• Proven ability to work under time constraints
• Proactive problem solver
• Passionate about developing performing arts in Western Sydney
• Own car is desired but not required.
Payment will be a profit share agreement with company members.
Send your application to info@emuheightsproductions.com.au by 17th Feb 2012, including:
1. A cover letter
2. Your CV
3. Contact details for 2 referees.

Michele Zammit, Producer, Emu Heights Productions www.emuheightsproductions.com.au
****************************************************************************************

Professional Stage Manager – Ensemble Theatre, Sydney2 April -22 June 2012
New David Williamson play
$1100 gross
For more information:
Ccontact Jude Bowler on 0411 145 521 or production Manager Chris Axelsen 0414 487022

*****************************************************************************************

Bare Boards Brave Heart
Since its inception in 2008, Sydney based indie theatre company subtlenuance has produced nine original works.

In 2011, in collaboration with some of Sydney’s most exciting established and emerging artists, we presented the inaugural Bare boards Brave heart. This festival of works for solo performers received a tremendous response:

“[subtlenuance] rarely disappoint and, here, they’ve excelled themselves; in their own right, but also in showing, on the whole, profound programmatic judgement. I sure hope Bare Boards becomes a regular thing.” Crikey

“a fabulous night of theatre.” Ticket Stubbies

“It’s cold, it is bare and artistic director Paul Gilchrist was brave in staging this work …. but it certainly paid off. 4 stars out of 5” The Primate Perspective

We believe solo performances are a unique opportunity to focus on the heart and soul of theatre: extraordinary acting and writing.

So in 2012 we’re doing it again!

subtlenuance is inviting writers to submit scripts that are:

designed to be performed by a single actor.
between 5 and 25 minutes in running time.
original and not previously performed.
not extracts from larger works, but are self-contained and complete.
not reliant on lighting or sound effects or props or set.
of any genre, but explore the theme “engagement”.
So what do we mean by engagement?

Not romance. Not war.

Something like: Taking part. Turning up. Being involved. Reaching out. Not retreating. Not withdrawing. Having a vision, and making it happen. Standing up, and being counted. Speaking out. Not confusing silence for safety. Not pretending cynicism is empowering. Not backing down. Embracing a larger vision of self. Refusing atomisation. Knowing it takes a village. Accepting responsibility. Getting your hands dirty. Committing to a cause. Standing your ground. Stepping up to the plate. Changing the world. Moving and shaking. Wholeheartedness. Dedication.

Subversions of the theme are welcome.

Writers will not be charged a fee nor will they receive royalties for performances of their play in the festival. Participation will be on a voluntary basis. Writers only give permission for their play to be performed as part of the festival. They retain all copyright and performance rights.

subtlenuance is committed to a creative process that maximises opportunities for artists to meet, share and learn from one another. To facilitate this, we ask that scripts only be submitted by Sydney based writers.

Please submit scripts by Thursday 5 April 2012.

Accepted writers will be notified on Friday 27 April 2012.

Accepted scripts will then be matched with a director and an actor.

The festival will occur mid year at a venue yet to be announced.

We anticipate at least five public performances of the chosen works.

Interested writers should submit their scripts and a brief bio to Paul Gilchrist at subtlenuance28@yahoo.com.au by 5th April. Please send all scripts and bios as .doc or pdf. Enquiries can be addressed to the same email.

Check out our website www.subtlenuance.com

**********************************************************************************************************************************************************************
Love Bytes

atyp’s Fresh Ink programme presents a monologue-writing competition as a part of The Voices Project.

Love is…

… well, you tell us.

You have up to 3 minutes.

In a short film.

With words, words, words.

A monologue about love. In any or all of its forms.

We want to hear a voice. Your voice. For Love Bytes as part of The Voices Project, for Fresh Ink.

You can win a place at our Fresh Ink Studio, taking place in September (or January if you are under 18): a week of writing, led by some of the best playwrights in the country.

Alongside 17 of the brightest emerging playwrights.

And wombats.

Oh, and you can win an iPad, too.

SOME IMPORTANT THINGS:

•You need to be over 14 and 26 or under on 10 September 2012.
•You need to be an Australian citizen or a permanent resident in Australia.
•You need to want to write.
•You need to to like The Voices Project on Facebook [https://www.facebook.com/thevoicesproject].
•You need to join the Love Bytes Group on vimeo (so you need to join vimeo) [http://vimeo.com/groups/lovebytes].
•You don’t need to be an experienced playwright because we have advice for you on that.
•You don’t need to be a performer because we are going to give you advice on performing and/or finding someone to perform for you.
•You don’t need to be a great filmmaker, because we are going to be giving you some tips on that, too.
•You need to upload your entry by 5.00pm on Friday, 4th May. No later.

MORE INFORMATION

…about terms, conditions, and advice and support on writing, acting, finding actors, finding filmmakers, will be coming soon.

For now, just think about love.

What you want to say about it.

And who you want to say it to.

******************************************************************************************
Directing Opportunity
Directing opportunity for an experienced comedy, variety or revue director for a Sydney Comedy Festival show, representing the best of the 2011 Sydney University Revue Season.

York Theatre Seymour Centre – three performances in the week commencing May 8th.

Requires drawing together the best material from the revue scripts, casting and rehearsing through to production.

This is a paid position.

Contact mildred.aldervilla.black@gmail.com ASAP if interested or for more details.

My friend and colleague Patrick Lenton and the Sexy Tales Comedy Collective is looking for a delightfully talented actor to adventure to Adelaide with them. I wouldn’t recommend it, unless I thought you might have a very fun and rewarding experience.

So… if you want an excuse to say you’ve performed (perhaps as a lizard) at The Adelaide Fringe – this one’s for you…

AUDITION NOTICE – 100 Years of Lizards
A new play written and produced by Patrick Lenton
Directed by Ngaire O’Leary
An official selection of the 2012 Adelaide Fringe Festival

The Sexy Tales Comedy Collective are looking for a female actor aged 20-30 to play a variety of roles in the new play 100 Years of Lizards.

Developed as part of Underbelly Arts Festival and performed at Crack Theatre Festival, 100 Years of Lizards is touring to the Adelaide Fringe Festival. The Sexy Tales Collective are a group of artists dedicated to bringing the weird, absurd and most of all, riotously funny to the stage.

Performance Dates:
1st – 17th March 2012 at The Maid, Adelaide.

Rehearsal Dates:
November 2011- February 2012 Schedule TBA.
Also, further hours for promo work are required.

Audition Times:
Saturday 19th November 3-6pm

For an Audition slot please contact Patrick Lenton: patricklenton@gmail.com

PLAY SYNOPSIS
Millions of years ago, a race of lizards warred against the dinosaurs and won. Now the guilty and chameleonic remnants of that race live on a small island off the coast of Australia, where an obsessed scientist and a lonely ranger are dedicated to studying them. After their funding is threatened, they open the island up to the exuberant and also flagrantly evil host of a travel television show, who likes to ritualistically eat rare animals to remain young forever.
Add a maverick lizard King rebellion and a creepy cold blooded love triangle, and you’ve got a classic tale of good versus evil and more importantly lizard versus lizard. A theatrical mishmash told through sketch and song, 100 Years of Lizards used to be big in the Triassic but was wiped out by a comet of talent.

Character Breakdown:
Janet the Scientist Lady:An obsessive lizard scientist with a dark past.
The Lizard Queen: Ancient matriarch Queen of the lizard people who is an avowed pacifist.
Helmsly: A downtrodden man servant.
Lord Frankleston:A pompous man of science from the past.

Terms:
The play is being produced on a Co-op basis. Actors will receive a share of any profits that are made. This is a great opportunity to be a part of the Adelaide Fringe Festival, and to work with the fun-loving, behemoths of eccentricity that is the Sexy Tales Comedy Collective.

Applications are open to artists aged between 18-25 who are interested in developing new work in the areas of – writing, directing, performance, multimedia, visual arts, music/composition, collaborative community arts, movement and design.

Applications are assessed on the nature of the artistic inquiry, demonstrated commitment to achieving an outcome, and willingness to participate in the artistic life of the Shopfront community. Applications must include a specific new work proposal.

Applications for 2012 close at close of business on Wednesday 7 December, 2011
For more information, dates, timeline etc please check out the Shopfront website and the artslab blog site: http://artslab.shopfront.org.au/about-3/the-program/the-application/

Check out the Audition notice from SHH below:

CALL OUT: Looking for Performers/devisors
A new performance by Shh Hybrid Arts called “How to lose sight”

About the show
… The show aims to provoke questions through its dark and cheeky humour about the loss of sight and living without sight, as inspired by true stories of blind Australians. The show is a hybrid performance that will take place in three rooms in an actual house. The first room will explore idea of blind sex. How is sex different when one loses their sight, and what comic situations can arise? The second will examine how an individual that was born blind constructs their reality. The third room will delve into the world of two young, blind artists who are obsessed with visual culture.

Who are we looking for
This show is text based – as well as visual. The mono/dialogues will be partially improvised, or at least workshopped during the rehearsals. Therefore creative minds are welcome.

There are 3 rooms. And each room will receive a 20-25 audience and each performance will be10-20min in length. Therefore you will be in direct contact with the audience, either talking to them as guests or pouring them a tea etc. In short no fourth wall and extremely intimate.

Dates
How to lose sight will take place between 31st of October and 18 of December. Some performers will be required full time some part time. The rehearsals will take place in Blacktown Arts Centre. And the showing will take place in Blacktown and Parramatta (a mini tour).

Shh
Shh is an internationally renowned company, it received many awards. The work will be directed and composed by Michal Imielski – dido. Both are known for unusual works that are extremely visually and sonically stimulating.

If you don’t know Shh’s work:

or check out the Shh website
http://www.shh.org.au/how.html

Or read about last show at Parramatta Riverside ‘Unsex me’
https://www.australianstage.com.au/201108124647/reviews/sydney/unsex-me.html

Or listen to the music of Michal Imielski:
http://www.myspace.com/michalimielski#!/michalimielski/music/playlists/my-playlist-19291

Main Partners:
Blacktown Arts Centre, Riverside Theatres, Parramatta Council – Pop-up Parramatta, Accessible Arts, Vision Australia, HumanWare, Arts NSW and OZCO.

PERFORMERS (sighted and vision impaired)
27-52yrs – actor – Male
27-52yrs – actor -Female
20-35yrs – male/female

45-90yrs – female actor/devisor

20-35yrs – dancer/actor
20-52yrs – actor (if you paint a plus) vision impaired
We are also looking for:
vision impaired painters – to include your paintings in the piece
vision impaired musicians

Expressions of interest should be emailed though to:
michal@shh.org.au
including a resume and a headshot for performing roles by: October 3rd.