An exciting time for those who are brave enough to throw themselves into the big, deep unknown.

It’s an exciting time for those teams who have been in rehearsal the last 4 weeks, refining and developing their scripts for the first taste of the Sydney Fringe… in the Off the Shelf showing this weekend…

The announcement of a new Sydney Fringe Festival has been a welcome catalyst for creative conversation. For many artists in Sydney, a Fringe festival so close to home is a daunting prospect- for some, there is now a home for what has previously been a journey to Adelaide or Melbourne. Queen Street Studio have been quick to support the artists of the Sydney local area create work/begin to create/ develop work for the Fringe festival through OFF THE SHELF.

Designed for emerging artists (typically that means artists in their first 5 years of practice) to explore a section of text based theatre in a safe a nurturing environment, Off the Shelf is for writer and director teams to develop their working relationship, develop a common language or approach to work, test/experiment/develop a section of a larger work- and then offer it to an invited audience of peers and industry professionals for feedback.

It never ceases to amaze me the amount of energy and ambition people have for their craft. All writers and directors who send in their work, I have found to be remarkable and driven people. I am always honoured to receive a script- it is always thrilling- as I have said before new work is like a treasure hunt!

This occasion the four writer/director teams were selected, not only on the potential of the script to tell the story- but on the strength/conviction of the directors and writers passion to have the work produced- after all this particular development has a fringe focus. This is not a development for development sake- this is about getting work out there- exposing it to the public. There is a tradjectory which aims for audience… and to writers and actors and to directors the audience is a dangerous thing.

BUT.

The audience isn’t dangerous. The audience is not some unknown, nasty, judgemental, insatiable other… the audience is a group of people who want to be entertained and transformed- they want to love your work. They want to have a good time. No one walks into a theatre, pays money so they are made to feel awkward, sad, bad or regretful- they come to the theatre to have fun (sometimes rigorous and challenging types of fun) but they want to be engaged and delighted, challenged, suprised and excited- all in differing doses- in different ways.

On Friday night will be the first time all the writers, directors and actors will come together to meet… previously the writers and directors had a meeting- now we have the actors… and I can’t wait for them to see each others work! Sunday is when they show a segment of their work to an outside audience. And it’s the first taste of the Sydney Fringe Festival which has embraced the idea of “suck it and see”- this will be a bit of a “suck it and see” for artists and the test audience- the peers!

The projects are:
Sexy Tales of Paleontology
written by Patrick Lenton
directed by Anne-Maree Magi
with Lucy Goleby and Felix Jozeps

Peace at Last
written by John AD Fraser,
directed by Lizzie Doyle
with Phil Spencer, Scarlet McGlynn and Greg Eccleston

If you are keen to check it out this Sunday- drop me an email and I’ll let you know if I have enough room.

It’s been a week since week 2 of Stories from the 428 closed- and I thought it would be nice/handy or interesting to write a little reflection on Week 2- and perhaps on the whole reflection of the project. I am in the process of de-briefing with all the directors about the project (and the process) – and this is always an important part of everything I do- it helps steer my projects, my design, my plan and focuses my passion for new work.

There couldn’t have been a more different experience for the bump in/tech of Week 2’s show. 5 directors completely prepared- wrangling blocking of a cast of 34- and 18 pieces overall. A bigger week- epic in cast and ambition. I can’t say I wasn’t a littel nervous about how this would appear. Double the cast of Week 1 (how DID that happen?) and more works. Where as Week 1 was more introspective (and contained more watery/rain references- yes the bus trips were taken in the rain)- Week 2 was a kaliedoscope of ensembles tumbling out like a morris minor filled with clowns. Two of the writers Lenton and Marlow especially responsible for the more sketch comedy style plays- fun/funny and very entertaining- a very different texture to the literary texts of Freidman and Janaczewska- or the stylistic adventurousness of Corin and Abela… or even the poetic of Erskine and Edgerton. Week 2 fulfilled the design of the project in a much more whollistic way- all writers travelled on the same bus at the same time together (this didn’t quite happen in Week 1) and the directors worked collegiately sharing actors and resources. So in the lead up- this process was working- perhaps the festival feel of the pieces helped this along? I don’t know- but the feel was very different. Not better. But different.

Tech happened. It was fun. Directors ready, clear and excited and ready to solve their own and each others challenges. And I must say that having 5 stagemanager types in the room (one actual, 3 directors who are ex stage managers and a Production manager who is a stage manager by trade) was wonderful and made everything easy.

Dress run with the actors was easy. A little weird having 34 actors to contend with- but wonderful none the less! I was scared I would look greedy or disorganised having that many actors on stage- that I was being indulgent or sloppy… and there were some decisions that needed to be made and I made them (like not having full cast on stage at all times). But it went brilliantly- actors stepped up- directors stepped up- and it was smooth and without a hitch.

Two tragedies happened that week, however. One: A director had suffered a personal loss- and had two funerals to attend in one day (wednesday) and as I had hoped- anything she needed the other directors pitched in and supplied. Two: after the dress rehearsal one night one actor (one of my favourite all time actors I have worked with) Mary Sherman, was in a motorbike accident and was rushed to the emergency department of the hospital. The director of the pieces rang me as soon as he heard and we went straight into solution solving- within 2 hours Mary’s role was recast into 4 actors who were in the cast- Cheryl Ward, Mark Dessaix, Matt Charleston, Lib Campbell came to the rescue… I went to the emergency room with a bag of snacks and foods and some of my favourite Little Golden Books to see my beloved Mary. She is recovering well and I have promised to work with her again when she is better- she is a marvellous and beautiful actor and a sublimely genuine and interesting person- the show was very different without her- but talent like her’s can’t and wont be kept down and I can’t wait to see her return to performing once she has had a full recovery.

Opening night glistened. Adrenilin/panic is an amazing thing- the evening was a rollicking adventure of a fountain of energy and fun and set up the week as one where we were turning people away at the door most nights… which was especially relieving as it was a long weekend AND daylight saving changed the times too! I couldn’t be more proud.

Of course the main thing about the 428 Project was the idea of a colleagiate team- a team who worked together to conquer an amazingly ambitious and multifacetted project which was about the community of commuters and artists who live in the area. The idea was about promoting bus travel- celebrating the good bad and the ugly of commuting. Recognising that Australian writers are up for a challenge and willing to work- and WORK HARD… that actors are brave enough to take a punt on a concept and on new work. That directors CAN work together… and really at the end of the project, the tail to this comet continues to streak across my heart.

Remarkably- it was the team who was spectacular- PJ Gahan- ever calm, clear and efficient (a multi tool triumvirate of Production Manager/Stage Manager/ technical Manager), Miles Thomas (Lighting designer), Alison Murphy -Oates (Stage Manager/mother/ friend/ Seamstress/ list maker/ legend), Gavin Roach (Sponsorship Coordinator/comic relief/ caterer/ friend), Julia Lenton (publicist/ marketing manager/ foyer decorator/ confidant/ door bitch/ list keeper/ venue liaison), Gemma Lark Johnson (Designer/ sign writer. prop maker/ costume maker), Karolina Novak (Artist/ graphic Design/ print manager), Jeremy Silver (composer/sound designer/ sound compiler/ APRA advisor) Rosie Chase (composer/ singing teacher/ musician/ counsellor), Grant Moxom (webdesign/cheerleader).

EVERYONE involved went above and beyond- and all I can say is that I am humbled by the energy, the passion, the professsionalism, the commitment, the humour, the community of artists which defied gravity and expectations and made Stories from the 428 what it was. And it is impossible to do anything but remember never to underestimate artists and their ingenuity, their drive, passion and focus- and I am honoured to keep such company.

Thank you to all who came along to support the show… and All the artists and crew on board (whether it was for three months or for one month) – Theatre is what you make it.

My posts have been infrequent since February began- mainly because I have been busy with all things around my current production- Stories from the 428- and barely have I had time for seeing shows- let alone reflecting on line about them. In my busy schedule, which often involves seeing up to 5 theatre productions a week- and when in production as I am right now- I spend days on end computer in lap, coffee in hand, managing spreadsheets, budgets, creative imput, publicity, dramaturgy, casting the shows I am directing, reading scripts and all things related to the creation of a brand new show (or in this case a collection of shows)… rarely do I give myself permission to stop. To rest. To be filled up and nourished. And that is why, in truth, I have a Sydney Symphony subscription. This subscription is vital in my mental, spiritual growth, my understanding of the arts, my development as an artist- but above all else permission to turn off my phone, get away from my computer and surrender to the perfection of someone else’s craft- music.Tonight’s welcome surrender came in the guise of the masculine swaggering, sutlry voiced Nigel Kennedy with his virtuousic talent as the worlds most loved and respected violinist.
As a child, the floorboards of my parents humble house would hum with the sounds of music- the instruments each of us were encouraged to learn, the occasional guitar strums of my parents, the CD or record collection which defined and highlighted the contrast in my parents taste. My father with his Brandenburg Concerto’s (or Bach’s Brandenburgs I should say) and my mother with her tradtional jazz and big band standards. My brother dedicated his clarinet playing to Bach , whilst I ran away to play Ellington, Holliday and Miller with my saxophones. Music – an essential part of my life- and in the listening it fills in the corners of my life – it soothes, invigorates, seduces, inspires, enrages, consoles.

In a rare and surprising and inspired juxtaposition Nigel Kennedy brought the cultural divide in my life together in a robust and zesty collison. Daring to break with tradition- to create a set which spoke of black and white, of a history of low culture versus an history of high culture, repositioning the audience in the no-mans’s land of concert etiquette (rude to clap between movements/ and rude NOT to clap after the solos of individual musicians), Kennedy offered me tonight permission to reconcile within myself- the contrasts of my life.

Peering down from my “30 and under subscription” seats to the sea of shiny pink heads below- the glow of the lights flickered turquoise and purple, or rusty red and amber- the glare had been taken out of the light which usually bleach the stage- this isn’t any concert- this is an artist. Kennedy with casual banter re-sets the lights- at the mercy of the front row audience dazzled by light. A few jokes- a curly story or two, a few machine gun scattered expletives, some context, gentle flirtation with the orchestra’s key female players, a kicked (soccar) football kicked into the crowd- an audible gasp from the concert hall, a playful dig at the genteel folk who got their concert times wrong and arrived late, swinging from Bach to Ellington, acknowledging all in his army. Kennedy is striking, magnificent and unrelenting. His charm is that of seeing someone completely and utterly themself enjoying the act of playing music. Someone revelling in this Argus-like monster audience- and their expectation and their predictability.
Banter inbetween is subservient and unpolished- sometimes funny, often crass, repeatedly charming and always astute Kennedy’s intermittent speils contrasts the hightened excellence of his playing. The leap from the lower class tone of his voice to the elevated tone of his classical instrument is thrilling. Kennedy’s daring to be himself musically, to be himself- utterly without pretence- generous, charming, kind, playful and cheeky. He is robust and intelligent and joyful… And this is obvious I know- I really shouldn’t write things other people have already said in more eloquent ways… but what I want to point out is how normal this is.

Kennedy is unique- talent undeniable yes- but what is more unique is this honesty in the portrayal that both aspects “low” and “high” art can exist in the same person at the same time- thus drawing our attention to the affectation or the performativity of the higher class affectation. He gives us permission to indulge our lustful need for seduction (for truly music seduces us) whilst creating sound which elevates and relieves.

How lovely it is to be surprised- to be caught up in the sound from an age old instrument – to feel transported and transposed from here to another time- through the multitude of instruments represneting a composers voice. What an honour it is to hear faithful and passionate interpretations of music which has informed our culture and creatives- sounds that directly or indirectly ressonate and resound throughout our lives.

Tonight Nigel Kennedy, played the music of my childhood- and tonight I felt at peace and whole in the experience of having both simultaneously inhabiting who I am. I felt this- as the two halves of my heart-what a remarkable gift to be given. Permission to love it, to live it all with a cheeky grin and a “f**ken great” exclamation. This is just what I needed to be filled up, shaken up, inspired and reassured that whatever I am doing right now- I should do it because its who I am- there arent rules to creating (there is etiquette) but its more exciting to embrace the possibilities.

Thank you Nigel Kennedy- I hope you had fun at the Basement… catch you next time you are in Sydney.

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

I am very delighted to share with you some photos taken by Leah McGirr of the get together of the OFF THE SHELF artists in residency at Queen Street Studio. Leah has documented 6 productions I have headed in the last 18 months and I love her photography- it is a rare and precious thing in the transient world of the theatre to have a record of what was- and Leah does it with such style and grace.

Here are some pics from Friday night’s gathering-

Less than three weeks remain for Queen Street Studio’s playwrights residency- OFF THE SHELF. And there are four teams working hard in every spare minute of their lives to get a script ready for the showcase.

The teams are given 15 hours of rehearsal time and a couple of months in which they are encouraged to develop a script that they have “shelved” with a director of their choice. Over 30 submissions were received and four will be shown in late November to an audience of industry who provide feedback on the scripts.

The projects for the last Off The Shelf for 2009 are:

“Of the Causes of Wonderful Things” written by Talya Rubin, directed by Nick James

“Wretched Excess” written by Stephen Graham, directed by David Adlam

“Zetland” written by Jasper Marlow, directed by Mark Pritchard

“Combat Fatigue” written by Alison Rooke, directed by Ian Zammit

For more information about the program please visit:
http://www.queenstreetstudio.com/offtheshelf.html

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

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

Week 1
30th September- 3rd October

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

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

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

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

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

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

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

Week 2
7th October- 10th October

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

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

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

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

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

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

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

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

Writers and directors are asked to submit an expression of Interest form and a script. It is recommended that writers do not direct their own work, nor plan to perform in the showcase of the script: a cast will need to be
confirmed upon selection. Please fill out the Expression of Interest form by no later than 5pm on the 4th September 2009
Guidelines for Off the Shelf:
We are loo king for tea ms (writers and directors) who:
++ Have an unproduced script that needs some development
++ Are interested in working together in a nurturing and collaborative environment to produce a 15 minute
presentation of a scene from the script which will be performed in a studio showing at FraserStudios – Studio 14,
managed by Queen Street Studio
++ Are interested in building their network, skills and script in a non-competitive, supportive environment
++ Can write to specifications whilst being mindful of the presentation challenges outlined below
++ All teams need to submit a proposal with a writer and a director attached being mindful that writers are not to
perform nor direct their own work.
++ Would like to test an idea or concept in front of an invited audience who will provide them with feedback.
++ Available to attend all meetings, rehearsals and the showcase.
QUEEN STR EET WILL PROVIDE:
++ 15 hours of rehearsal space (starting 5th October 2009 – primarily on weekends)
++ Dramaturgy (upon request)
++ Opportunity to show your work in front of industry professionals and an invited audience for feedback
++ Simple light and sound equipment
++ A photographer for promotional photos and archival materials
++ Networking opportunities
++ Publicity and promotional support including a series of meet-and-greets.
YOU WILL :
++ Provide a first draft with your application
++ Be available to attend meetings and scheduled rehearsals
++ Be willing to re-draft and refine your script over a four-week period
++ Stage a showing of the work: whether it be a reading, a moved reading, or a performance, within the technical and
practical limitations of the project.
HOW TO APPLY:
If you would like to lodge an expression of interest to participate in this project please go to: http://www.queenstreetstudio.com/pdf/OffTheShelf-0909-EOI.pdf fill in the form and email Augusta Supple offtheshelf@queenstreetstudio.com by 5pm on the 4th September 2009

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

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

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

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

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

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

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

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

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