What other people have written about Augusta and her projects…

“With a single sentence this woman melts your heart, lifts your soul and inspires you to do anything you desire. Her resume is more jam-packed than a shop-a-holic’s bag in a half-price sale and she’s got the wisdom of a woman twice her age. She’s the multi-talented, multi-tasking, multi-everything player in the field of Sydney theatre.”
The Face of a Real Superwoman by Zoe Ferguson

“Check out, if you haven’t already, Augusta Supple’s blog at augustasupple.com because she is a talented, insightful, emotive writer and reviewer after my own heart, telling it as it is. Most recently, Augusta has blogged about boycotting the Sydney Theatre Awards, which is no small protest from somebody who is a respected authority on Sydney theatre and theatre-making generally. Put it this way: Gus knows her stuff. If she is of the opinion that vital work was overlooked, I’m prepared to take her word for it.”
XS Entertainment by Xanthe Coward

“Augusta Supple takes on Sydney’s creative world… aiming to showcase [local theatre], help playwrights develop their ideas and bring people to the theatre for a good time. She says she wants to “prove plays come from somewhere … and how related we really are.” Working with the Brand Spanking New Festival, launched in 2008, and Off the Shelf, tied this year to the Sydney Fringe Festival, Supple has an eye for original writing and unique ideas [and an] impressive track record. ”
University Graduate Takes a Ride by Liz Schaffer

“Playwrights don’t receive enough help from the government or other artists (though Augusta Supple is working diligently to change this with Towards a Writers Theatre).”
Words with Colour by Shauntelle Benjamin

“Augusta Supple- If theatre’s your thing, then Gus Supple has all the inside information. She’s like a spy, who for some reason is publicising all her findings.”
The Book I’m Drinking by Patrick Lenton

“Augusta Supple, who gave me my first production after NIDA has always told me to keep writing in my true voice, which isn’t always easy when you are faced with trends and limited opportunities … ”
Griffin Artist Profile, Alison Rooke

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Brand Spanking New
“In its third year, curated and envisioned and brought into being with Dame Augusta Supple at the helm. Gus is the Admirable Admiral of the Fleet who stands astride the bow, porpoises leaping gaily alongside, as she lifts her eye-glass to purvey what the yet unknown mountains of burgeoning theatrical creativity called New Writing and surrounding islands have to offer. She has been known to spy a talented writer trapped atop a coconut tree, tending forlornly to pigs, and even rescued a few from shark-infested after tsunamis of despair and rejection have overturned their frail hand-hewn sailing craft. So this is Gus’s third year curating BSNew.
I want to make the point that something is going on here that’s bigger than a night of play-readings of new short plays. It’s a plan of action, akin to successfully herding cats: cultivating new writers, not in a ‘training’ environment, but in the context and opportunity of ‘practice’. This includes putting writers together with specific directors and seeing how they get on. Over the past eighteen months that I have been aboard the Gus train, it’s been more than bells and whistles (though plenty of them): I have seen individuals grow. More importantly, I have seen a ‘community’ of budding, passionate creatives emerge; and I’ve not seen this before in my 30 years of watching Sydney theatre evolve and then yet again fall back on itself. The camaraderie is palpable among the group accumulating around Augusta’s leadership as they sense an underlying intention. Rather than compete, eye each other off as rivals, let’s pitch in together: the sum being greater then the parts. It makes a whole lot of sense but it’s rarely, if ever done. The plan – Augusta’s vision if you like – involves a phenomenal amount of work. Hundreds of scripts are read and dozens of one-to-one meetings are involved. Individuals are encouraged and put together in teams. For this current two-week season of Brand Spanking New, eight writers were invited to contribute new scripts; and another eight were selected from around 150 commissions. The selection process is not guided exclusively by what appears to be the best ‘finished’ writing; but with an eye also to the potential of the writer and the piece. Talent is being encouraged and learning experience proffered.
What was most notable to me, walking on off the street into opening night, was how smoothly the evening ran. Week One involved eight of the plays: so that was eight scripts, eight writers, seven directors (Gus directed two), and 17 actors. I like to bring attention to projects and causes, and movements in ideas, that those working closer to the coal-face might not have the perspective to notice. I believe something special is happening here, and I have no doubt that quite a few participants in this and other recent related projects are going to look back at this time and not only say – ‘Wasn’t that great’ – but hey ‘Look where we are now!’”
Brand Spanking the Future Looks Bright by James Waites

“Jonathon Gavin’s ‘The Return’ had the audience in stitches. Gavin’s piece was a richly comic take on the complex relationship between intrepid explorer Matthew Flinders and his wife Anne Chappelle. Augusta Supple directed the piece at an aptly brisk pace. Natalie Saleeba gave a wonderfully comic performance as the exasparated wife and Matt Charleston was just right in the straight man role of Matthew Flinders.”
Review by David Kary

“Black and White has been penned by Ned Manning… is a compelling, well-executed meditation on Venutian verses Martian perspectives; the dissonances and gulfs between people, even those intimately involved. It is painstakingly directed by Supple, who seems always to have an eye on nuance.”
“Chicom is Kate Mulvany’s elegant idea is drawn out suspensefully by director Supple, as our heroes make uncharacteristic revelations, by way of last wishes, in the event one of them should set off an IED or mine. It’s a fine line, trodden without setting off any damaging devices. Better yet, it’s theoretically tenuous momentum is sustained superbly; a tribute to players, playwright and director.”
“All in all, Supple’s selections reflect a degree of stylish diversity and a keen, even shrewd artistic eye for what can and will captivate a broad audience. Brand Spanking New has, thus, consolidated a rightfully proud place on the Sydney theatrical calendar; one that merits the attention of anyone who’s earnest in laying claim to a desire to afford opportunities for the nurture of new and newish talent.”
Curtain Call review by Lloyd Bradford Syke


Colour Blind Project
“Augusta ‘Gus’ Supple is no stranger to these pages: a reviewer and arts writer esteemed by peers and readers. She’s also, among other things, a playwright. And Boxed Carnation proves just how much of one. Three women go into a bar. It’s no joke. One does most of the talking, but she really speaks for all three. She is, I assume, every woman, no woman; a very particular woman. She has succumbed to internet dating. She awaits her important date. He’s late. She gives it two long minutes. ‘Less time than it takes to boil an egg.’ In her mind, she pores over her profile. Did she do anything wrong. 28. Ish. Close enough. She’s ticked all the right boxes. But there should be one for punctual, so she might avoid this ignomionious, self-conscious waiting game dating game. She leaves. But there’s a terrible kicker, which elicits a sigh of pained frustration from the audience. Gus, you’re an awful tease. Directed by Danielle O’Keefe, featuring Josipa Draisma (who hits just the right anxious note), Vixen Noir (you gotta love that name, for a tall, sexy, black woman) & de Shute, it’s a deft piece of writing. I hate you, Gus.”
Australian Stage review by Lloyd Bradford Syke


Stories from the 428
“The very idea of bringing so many theatre artists together, established and emerging, is fabulous enough. But the fact that so much of the work was good makes the event truly special…. The future is here – I am quite sure.”
Hop on the Bus – Gus! by James Waites

“Each scene finds little joys and tragedies in the commonplace; it is a meditation on the private within the communal, and variation within routine. Masterminded by Augusta Supple, the programme is an exercise for emerging practitioners to collaborate and sharpen their skills…. definitely worth seeing, especially for anyone who has had the dubious pleasure of travelling on the 428.”
Review by Vivienne Egan

“It is simple, imaginative, well-crafted theatre with a focus on writing and acting craft. As such, it serves as a breath of fresh air compared to some of the shows recently and currently playing which, too my mind, are far too obsessed with exotic directorial flair. The curator of the project is writer/director/producer Augusta Supple, some of you will know as Sydney’s 30-year-old Joan-of Arc for new Australian playwriting. While there are others committed to new writing, Augusta has certainly climbed upon her steed and is waving a massive flag as she attempts to both alert those who like going to the theatre to good new work and encourage and create opportunities for this all-new home-grown writing. I am impressed by both Augusta’s commitment and capacity (as a lone individual) to deliver on her aims. I have pushed other demands off my desk so you can let you know about this lovely, special gem of an evening in the theatre. There’s not a gimmick to be seen and you can kick back and enjoy some lovely imaginative, honest, creative writing, acting and directing.”
Hop on the Bus Gus: The 428 Returns by James Waites

“The quiet achiever of Australian theatre, producer & creative director Augusta ‘Gus’ Supple, has noted this, and relied upon it to stage what is, to the best of my (limited) knowledge, a world-first. Specifically, she’s commissioned no less than ‘4 directors, 2 weeks, 8 writers’; actually, 16 writers (8 showcased in the first week, the rest in the second), who were importuned to hop on the 428 bus, from Circular Quay to Canterbury, and dramatise their experiences. A stroke of genius, inasmuch as it practically guarantees theatrical accessibility; the proof’s in the pudding, since it’s seen, for instance, a bevy of bus-drivers attend… Stories From The 428 is shaping-up as a cult phenomenon. Audiences have been overflowing; generous with applause, laughter and, where appropriate, mesmerised silence. If you’re quick you still have a chance to be in the rarefied position of being able to say, years from now, ‘I was there, in the beginning’; just as Stories embarks on its umpteenth season, in the year 2525. Go Gus!”
Australian Stage review by Lloyd Bradford Syke