Sick of winter? Looking for something to do? Want to make some new friends? Want to get involved… want to see an awesome show? Here’s some suggestions for you…

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AUDITION OPPORTUNITY

3 male and 3 female actors to play sydney based 30 somethings. Devil may care theatre theatre company is producing Songs of Grace and Redemption by John Donnelly as part of the Sydney Fringe Festival followed by a later run at the tap Gallery.

Songs of Grace and Redemption finds five city-dwellers, all with their own unwieldy baggage, stray into Soley’s Bar.

They should be in their prime – but each faces a turning point as their weaknesses are exposed to us for better or worse. The coincidences that drew them here unravel into a funny and tender urban fairytale – with a generous dose of the risqué!

Please contact Danielle O’Keefe at danielleokeefe@me.com with a cv and headshot

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CALLING WRITERS AND DIRECTORS

Brand Spanking New is a two week celebration of Australian play writing which aims to showcase the best, bravest and most beautiful writers. 8 established/award winning writers and 8 emerging writers will be selected to work with directors in a non-competitive, well-resourced, nurturing environment to produce 2 x 1 week seasons of short works (which can be anywhere between 5- 15 minutes of stage time) with the view of celebrating Australian playwrights.

Previous Writers
Previous Brand Spanking New seasons have included Timothy Daly, Tom Holloway, Lachlan Philpott, Hilary Bell, Nick Parsons, Vanessa Bates, Verity Laughton, Ross Mueller, Mary Rachel Brown, Jonathan Gavin, Rick Viede- and this year I have confirmed some pretty spectacular writers- which I can’t mention just yet!

The 2010 time line:
- applications for writers and directors close 30th July 2010
- Auditions are in September
- Program launch in late September
- rehearsals start early October
- the programme runs 27th October- 6th November 2010

2010 Production Specs:
- a piece between 5-15 minutes in length
- any subject, genre, style
- the piece must be previously unperformed
- minimum of 2 performers/ maximum of 6 performers.

If you are keen to work on this project, please contact augusta_newtheatre@y7mail.com and ask for the guidelines and application forms for applying as either a writer or director.

Applications close on the 30th July 2010

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DIRECTOR CALL OUT

Would you like fries with that?… Your call has been placed in a queue… Can I take your order?… Whether you’re providing the service or trying to get it we all know what it’s like. An official selection of The Sydney Fringe Festival, ‘Hi, How Can I Help You?’ is a humorous, dynamic stage production exploring the joys and tribulations of life on both sides of the counter. A series of short plays by emerging and established artists, ‘Hi, How Can I Help You?’ takes the customer service experience to the extreme.

We are calling on all new, emerging and established directors to be a part of ‘Hi, How Can I HelpYou?’.

Performances are to be held between the 14th –25th Sept 2010 at the ‘Greek Theatre’ in the Addison Road Complex Marrickville and feature as an official selection of The Sydney Fringe Festival.

Participation in this event is on a voluntary basis. The project aims to foster the collaboration of new, emerging and established artists, supporting their creative growth and providing a platform to showcase their work in an open and supportive environment.

To express your interest or for more information please contact us at:

youremailisimportanttous@gmail.com

For Expressions of Interest please include your CV and/or a short description of the type of works you are interested in directing when submitting.

Submissions close 22 July 5pm

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DIRECTOR WANTED
Name of Project: The Cauliflower Homicide: A Love Story
Writer: Sarah Hodgetts
Dates: 12th, 17th, 18th, & 19th of September 2010
Venue: The Petersham Town Hall
Fee: (if any or coop)
Synopsis: A new supermarket opens in a small Australian town and the cauliflower mascot is murdered; it’s not just a case of who did it, but who was in the suit. The story follows four lonely, financially challenged individuals leading up to that fateful day – all of whom are vying for the esteemed cauliflower position. Along the way, relationships are tested and a vulnerable search for love and a sense of place in the world is illuminated.

Contact Name: Sarah Hodgetts
Contact email: hodgetts.sarah@gmail.com
Contact Number: 0407 518 637

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CALL FOR SUBMISSIONS

Shopfront’s Major Project 2010
Call for submissions – At the Drive-in
A world where the dead roam the street
A society struggling to understand
Artists ready to face the truth. Australia is in a state of emergency. A virus is turning people into zombies – snarling, unpredictable and dangerous. Most alarmingly, the virus comes and goes leaving humans who only vaguely remember…
Society is in chaos. The government is struggling to normalise the situation; scientists are searching for a cure; vigilantes urging extermination; and somewhat strangely, accounts of alien activity are contributing to the general panic.
In August the government hosts it’s first initiative promoting awareness between those affected with the H1N1 virus and the general population. This event, At the Drive in – takes place at Hazelhurst Galleries, Gymea, and later in the Living Desert outside Broken Hill, New South Wales.
The Government has called for submissions for this event:
1. Short films – 15-90 seconds in length, that document or observe aspects of life for young people trying to adjust to this terrifying new world
2. Works of art form those affected by the H1N1 virus – whether they be digital media, photographs, durational or otherwise
3. Diary entries / journals / blogs from critical moments in the crisis – from the POV of those affected
4. Educational initiatives aimed at promoting greater understanding and empathy, along with survival and well being strategies for coping with the drastic changes in society.
5. Interviews or factual accounts of those who have come into contact or observed alien activity.
Successful submissions will be screened / curated at The Hazelhurst Gallery and in the Living Desert in conjunction with the At the Drive-in health and safety initiative. Entries will also be curated in the popular and effective website promoting health and well-being for the new society.
Further information and submission details:
http://shopfrontsatthedrivein.wordpress.com/
Submissions should be made no later than August 18

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TICKET OFFER TO B-SHARP

Arts Radar knows that the winter months are sometimes a little hard on the pocket, so would like to offer you a very special ticket offer for their current production Dirty Butterfly playing at B Sharp.

SPECIAL OFFER: $15 tickets for this week only – valid Thursday 22 – Sunday 25 July. Just mention “Artists offer” when booking through the Belvoir box office (9699 3444)

Reviewers thoughts:
Wayne Blair’s production of ‘Dirty Butterfly’ is ‘a taut, well-nurtured and absorbing production. SMH
‎This isn’t pretty theatre but it sure is forceful! Sydney Arts Guide
‎Wayne Blair’s direction of this challenging text is controlled and understated and the cast of Zoe Houghton, Sara Zwangobani and Dorian Nkono all deliver commanding performances. Vibewire

The season runs till Sunday 1 August, and plays the standard B Sharp times – Wed-Sat 8.15pm, Tues 7pm, Sun 5.15pm

History. I love it. I love the sense of nostalgia, the 20/20 vision hindsight brings… I love how histories are told- filtered through time and delivered to a listener who may live the effects of a great event- but may not know the tiny steps that have lead us here. I’m a nerd. I must admit that I have, on occasion, found solace in Thucydides- a dogeared copy of the History of the Peloponnesian War sits on my bedside table. I think about the civilisations that have been built- the cultures that have evolved and I stand in awe at the how little people change. How time passes. I find it comforting.

Australia’s history is a wonderful example of an editor’s pen… or how historians, politicians… how those with the ink and the print press have power. Like the Athenians- it is Australia’s white history that dominates- an often santized western perspective pervades… she who wields a pen influences that which is recorded and remembered. I have often considered playwrights to be theatre’s historians. The performance event happens and the traces that are left behind are often incidental- but nothing in theatre endures like a script. Even the audience’s responses change and mellow with time… Plays are hard evidence- though only a black and white version of the visceral experience, the text, for me, is king.

I have often mused why it is that so many Australian plays are lost – why we don’t have a sense of canon- but we do have a sense of remount? It seems that there are a handful of Australian plays that are studied over and over again, by reluctant teenagers- the cultural significance is taught… How Summer of the Seventeenth Doll was a remarkable feat of innovation… the Australian “canon” are revered as museum pieces to be read and studied in reference to essay questions about “identity” and “culture.” I have a very different wish for the great texts of now (and yesteryear)- I have a great wish that they become a part of our common vernacular- just as calling “STELLA!?!?!” is… I have a wish that Australian theatre is not treated as a pious and worthy pursuit but become a natural part of our collective consciousness – not dutiful, not worthy… just commonplace amongst our idioms and the swarm of stories that live inside us.

Last year, I encountered the wonderful work of Emma Buzo, founder of The Alex Buzo Company with her season “Classic and Contemporary.” The brilliance in this season was placing Buzo’s “Norm and Ahmed” alongside a new commissioned work by Alana Valentine “Shafana and Aunt Sarrinah” – which does exactly as the Company aims to do: Produce, Promote, Perpetuate. Emma Buzo is perhaps one of the most dynamic and brave cultural crusaders theatre has in the country at the moment she is recontextualising Alex Buzo’s plays- because, they are still relevant. Her latest venture Macquarie is currently playing at Parramatta Riverside theatres (Lennox Theatre), and it is a wonderful night in the theatre… and completely timely as this year marks 200 years since he became Governor of NSW.

Wayne Harrison’s production of Macquarie is no stuffy, worthy museum piece: this is a contemporized Australian classic- and dynamic and bold. A brilliant choice to seat the audience in traverse staging- like that of the government- the very audience as the background to the events on stage… A DJ/ The representation of Mother England (Alan Dukes) in his ivory tower of culture/history is flipping disks for us- an ecclectic mix of dance tunes amid milkcrates full of cheesy vinyl. On the opposite side of the stage is another ivory tower- that of acedemia at the helm steadily played by Russell Smith.

It feels like a rock concert, perhaps due to the sassy lighting of Martin Kinnane- or perhaps because the actors spend a lot of time dancing/walking about on the board/senate table thanks to designer Mark Thompson. Performances are succinct and strong from the ensemble… and nice to see we have a representative looking cast in our theatre- Chris Mead will be happy! Jack Campbell as Lachlan Macquarie is sturdy and commanding, Kaeng Chan is agile and amusing, Graham Harvey is subtle and restrained as John Campbell, Chantelle Jamieson is strong and sexy as Mabel, Craig Meneaud is as always consistently compelling, David Whitney is suitably impressive as The Reverend Samuel Marsden and TJ Power is magnetic balancing humour and strength in equal measure- sometimes distractingly so. But for me this show was very much centred around Megan Drury’s Elizabeth Macquarie.

Tender, intelligent, forthright and exquisite- there is something simply illuminating about Drury. She is elegant, powerful and poetic- a suite of adjectives, I know, but she is the ultimate Mrs Macquarie.

The story is inspirational and eloquent- the production really a tightened suite of scenes- Harrison has been liberal in surgically removing slabs of Buzo’s original text… and for some this is sacriledge- but for those who hang their reading of the play on the opening slide “What is History?” there is a permission to re-examine the politics of Macquarie and his progressive liberalism. Particularly, this is a production which resonnates loudly in the current political climate…as we watch the pictures of Whitlam and Rudd scroll infront of us during Macquarie’s closing speech. Brilliant. Pertinent. Creative. Dynamic. And most importantly, history made fun. I loved it.

Never underestimate facebook to keep you up to date with everyone’s personal details (your ex-boyfriend’s imminent parenthood) to the professional (B-Sharp ending at the end of 2010)…

And now… the standing down of John McCallum from the University of New South Wales was announced to me by Facebook.
http://www.facebook.com/group.php?gid=123594317685540&ref=ts

I first met John McCallum when I was 12. I had been brought to Sydney to be a part of the Scientia program at UNSW- to participate in McCallum’s week long seminar: Australian Comedy: Do we Play it Safe? Can you picture me? A precocious girl from a small country town, traveled by CountryLink to Sydney for the first time. My mother, wary of the city and the muggings it held, had our travel money (2 x $50 notes) concealed within each cup of her bra. As things do when you are 12, that course had a profound effect on me… and I think about how much it inspired me to move to Sydney- and how really it was a turning point for me and just how much I learnt and what a huge impression it made on me. So, to declare my hand- I have a grand affection for the man- who is widely regarded by practitioners as the premier reviewer of Australian newspapers, by playwrights as a friend (and critic), by students as a great inspiration, and generally the thinking theatre woman’s sex symbol.

UNSW senior staff have taken a stance on their conditions and have decided to not release the students results until their conditions are met “At the core of the dispute are demands for a reduction of staff on short-term contracts. Paid parental leave and academic workload are also being discussed.”… according to the SMH: http://www.smh.com.au/nsw/staff-stood-down-in-university-dispute-20100709-1041e.html

McCallum, who not only is the author of Belongings: Australian Playwriting in the 20th Century (Currency Press), a recent speaker at The Sydney Writers Festival, the Sydney Theatre Critic for The Australian Newspaper, and Pascall prize winner for Criticism… is also a lecturer who marks the essays and reports of several hundred students AND supervises his fair share of Honours/Post-Grad Students… is a pretty significant figure in the writing about Australian Theatre… (and they are just the things I know about his career, off the top of my head… I’m sure there is more… (John, if you are reading this… um… I’m embarrassed a bit to be blogging about you… but please forgive any faux pas/ omissions in your bio- consider it a hurried, clumsy over-sight)… Anyway, John McCallum is well liked, well respected, hard working, impressive, accomplished and currently not being paid by the UNSW for his work. He has joined a group of senior staff to protest the working rights and conditions of ALL staff… he’s taking a fall for the less senior, the more vulnerable academics.

As a result 95 people on Facebook have joined the “UNSW. Standing down John McCallum was not a good move” and already comments such as Ken Dray’s:
“how can they stand down a national living treasure?”

and Andrew Johnston’s call to students:
“John is and always has been one of the most approachable, pragmatic and knowledgeable lecturers at UNSW. I have no doubt he would be acting in the best interests of the staff and students as a whole. Those of you who haven’t got your results yet… don’t stress. They will come. Try to support a lecturer that cares more about your education than your marks. ”

In a world of seeming selfishness, of individualistic pursuits- it is rare and utterly inspiring to see someone stand up for what they believe in. To put an idea , not money, first. And it is the measure of a man (or a woman) the actions which display their true convictions. Not just what they say, but what they do.

I hope that all his students stick by him… I hope the UNSW listens and negotiates fairly with their staff… I hope that John knows just how much he is appreciated, how his actions speak loudly to us and inspire us to stand up for what we believe in… and John- don’t go hungry: drop me a line and I’ll buy you a sandwich and a glass of wine.

Theatre is the occupation of romantic nerds.

We believe in ideas. We believe that ideas can change people- and people can change the world. We are, as Alana Valentine suggested in her key note speech last year, conservatives- http://sydney.edu.au/sydney_ideas/lectures/2009/captivated_reality.shtml we love to conserve what we have. We are loyal. We feel the injustice when loyalty is betrayed or abused. We believe that there is nothing more powerful than the potential of space. We are compelled to express ourselves in an ancient art form which we participate in with other people, for other people.

And like any romantic- we don’t think about signing pre-nuptial … and when the cheque comes at the end of the dinner- we don’t want to squabble about the cost of haloumi… it seems against our high ideals. It seems coarse. Ungrateful. Ugly.

And like thwarted romantics we get defensive.

First- I’m going to do a little bit of reporting here- just for those who weren’t able to make it along to the discussion-

Tonight, Ralph Myers stood on a chair amongst a sea of Independent artist- a fiercely intelligent crowd of theatre practitioners- established, and emerging: all under the banner of “independent.” Some have worked in some capacity in the Downstairs Theatre at Belvoir St, some have been artists who have made pitches, some staff from other theatre companies.

Myers declared that B-Sharp has been “the most artistically vibrant theatre, arguably in the country.”

As in the incoming Artistic Director- Myers has asserted a major shift in the industry. The downstairs theatre will no longer be a place of co-op theatre. It will no longer be a place where profit is shared. The downstairs theatre from 2011 onwards will be programmed alongside the main stage (upstairs season) with 4 shows which will be fully funded by Company B.

According to General Manager, Brenna Hobson, if Company B were to fully fund (at award rates) all the artists who in a year contribute to the downstairs theatre, the cost of running the space would be in the order of $1.4 Million – instead 4 artists/shows will be selected a year to be produced by Company B. The artistic directorate- which consists of Myers, Simon Stone, Eamon Flack (and a yet to be confirmed literary manager) will choose the artists based on what, who and how they want to make work and will fund them. (At a loss to the company). There is no more submissions, and infact- the 4 artists programmed for 2011 will be finalised this week.

The rest of the year (approx 33 weeks) the theatre will be dark. Possibly used for rehearsals for other independent shows- provided that they are fully funding their artists Equity rates.

The main thinking behind this is that the audience can’t tell the difference between an independent show and a main stage show – Myers said tonight if you ask the punter which show had the fully funded artists and which were under a co-op arrangement- most wouldn’t be able to tell… which says just as much about the upstairs shows as it does about the downstairs ones.

In the SMH article http://www.smh.com.au/entertainment/theatre/belvoir-revamps-pay-structure-in-drive-to-capitalise-on-talent-20100704-zvrq.html Myers sites one of the reasons as Neil Armfield’s departure from the company as AD: ” Neil [Armfield] is one of the great attractors of great artists,” Myers says. ”His leaving [in December] means that there is a pressing need to pay artists something that is at least close to what they deserve.”

The pitch to the room from Myers was more about an opportunity for Company B to produce the work of specific artists- to full fund them to do what they do- knowing full well that the show will make a loss- and the company being ok with that… perhaps making up the loss with a success somewhere else.

There were moments of great vocal support for the move- initially from Tracy Mann, who said “this is the best news, and I applaud this decision”… “stuff changes, live with it…”

Also agreement from Mirra Todd.

Before too long- questions started:
Questions around:
* the selection process, and what will happen to the programming team (Annette Madden and Tahli Corin) who have been the champions of the space?
* The no-warning to submit for 2011.
* why was the decision made after the whole year had been programmed?
* where are the safe and nurturing spaces for emerging artists?
* What happens to the cultural/ethnic diversity of the downstairs theatre?
* Will new plays with large casts be discouraged because they will be uattractive/too expensive for Company B to produce?
* How does paying people and providing less opportunity affect Sydney’s theatre culture as a whole?
*Why is it all or nothing?
* Will Company B enter into co-productions?
* what about rights for devised work?
*Do you think there will be any girls ever?
* will Annette and Tahli be involved in helping programme the spaces?
* Will there be a script reading service?
* will you still be looking for similar shows that B-Sharp has programmed in the past?
* what about projects that have received seed support from B-Sharp?

After the questions. There was a pause.

“Good we are finished,” said Myers.

(Applause)

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Ok- the minutes are over- they are rough- but that’s an outline of what happened at the meeting.

Firstly, I would like to first and foremost acknowledge that the spectacular turnout at the Belvoir Rehearsal space today was largely to the community, pride, passion and commitment of Independent artists who, in the face of everything- change, financial instability etc- give a shit. I’d also like to acknowledge that the strength and the diversity and the vibrancy of the independent sector is due to the work of Lyn Wallis, Annette Madden and Tahli Corin, and of course Sam Hawker who was care-taking in the interim between Wallis and Madden eras- who have been nothing short of supportive and nurturing of the artists and shows that have been born out of B-Sharp… it is without the care, vision and approachability the venue would not be what it is.

Secondly, I would also like to acknowledge the Independent producers. All the responsibility, none of the glory- the producers of independent theatre are invisible champions of this vibrant artform. They are perhaps known as their pseudonyms “Arts Radar” for example, and they are intergral to the industry… this model effectively cuts them out- unless they have a show that is fully funded or has financial backing (to support wages of equity minimum). It is the strength of these producers that have made the shows look so good- brought the high quality artists to the venue and have built the reputation of the downstairs venue at Belvoir. I’d also like to declare that the best feeling in the world is paying artists- and when producers don’t pay their artists- they often aren’t paying themselves either.

Thirdly, I’d like to acknowledge that “independent” is not a euphemism for “emerging” or “poor,” though sometimes it feels like it is.

Let’s be clear. There is a door closing to independent artists at Belvoir St Theatre. There is a shift. The established artists who have worked in the Independent sector will be delighted they can get paid and not be treated like they are “emerging” and “poor.” The emerging artists will feel hard done by- unable to be seen, or given opportunities. They will feel an opportunity/avenue has been taken away. When provided with the moral/ethical dilemma “would you rather be paid or would you rather there be no work?” every artist will answer differently.

The misnomer here is that we are still using the word “independent.” No. Company B is expanding to include 4 extra shows a year in the downstairs space… the artists will be selected like any other mainstage company- but they’ll get to suggest the participants on their projects AND it will be in a venue 1/6th the size of the upstairs theatre.

What has been created is a middle tier.

What this will do is push a surplus of artists to the remaining co-op spaces- Darlinghurst, The Old Fitz, Griffin independent, Newtown theatre, Sidetrack theatre, Tap Gallery, Seymour Centre- thus creating more demand there. Belvoir will be seen as more exclusive to be a part of (perhaps less of an open arms family rhetoric)…

Let me just get this straight- I absolutely believe artists should be paid. No question about that. But this is no longer Independent Theatre.

I still have many lingering questions.

Will the subscribers to upstairs be happy to attend shows in a less glamorous space?
Who’s selecting/curating?
Will the artistic directorate see all work, anywhere in Sydney?
Will Belvoir’s National scope mean that works will be imported on a touring venue basis if they can foot the bill?
Will the artistic associates be given this space to work in?
What about the Philip Parson’s award?

This decision has a massive effect on the whole industry. And I am keen to hear your thoughts on this radical shift- (And I am not talking about the shift in paying people) in HOW the season is curated. WHO is selecting the artists.

The surprising and difficult thing really is how this information was passed onto the sector… that there was no consultation. That we were told without warning of the structural changes… that artists were given no option to apply for 2011 season. That the uncertainty of Annette and Tahli’s roles (well the fact that the roles “don’t exist”).. the lack of clarity behind the choice of that particular structure. How the media was handled… for a sector so invested in B-Sharp.. a massive show of support and care and camaraderie could only have existed amongst a bunch of romantic nerds…

…and I can’t help but feel that though the sentiment is in the right place, that the process by which this sector has been addressed has been carelessly delivered to us- the vulnerable – the artistically vibrant – the hopeless romantics.

I’d just come home from seeing Bell Shakespeare’s Actors At Work’s Hamlet Intensive (written by Ned Manning and William Shakespeare and directed by Matt Edgerton), I had put my laundry on, taken off my boots- and out of casual obligation I open my email to find this image in my inbox. Sent by multiple sources.

Tonight is the briefing at Belvoir about the changes to the B-Sharp season- and the press releases, emails, articles in the SMH, have done little to quell the reaction to the decision to end B-Sharp’s existence as we know it as the “Independent” wing of Company B, Belvoir St Theatre. I have withheld my personal views and opinions- and my fears about the impact this could have on the sector and theatre culture in Sydney- and I will express these- once I have heard the plans and been given a clear picture of what this decision really means.

I am always one for hearty debate- always one for discussion… and that is why I will be attending tonight. I am keen to hear the thinking-the parameters of the participant involvement. I am keen to hear the questions from Independent artists and I was planning on reporting back later tonight (all all who are unable to attend). Though I applaud anyone having an opinion- and think highest of those who act on their opinions and judgements with conviction and idealism… I am a little saddened by these notes attached to the doors…

Primarily because this type of protest feels like it needs to be anonymous. No name attached. And what saddens me is that people don’t feel free/ able to have an honest dialogue with this theatre. Why is that? Is it because in the rennovation and expansion of Company B that there seems a greater wall between admin and artist? There was a time when artists in the bsharp space had a dressing room that shared a flimsy wall with the administrators in the main building. But this has changed. Is it a case of artist paranoia- or is this an actual shut out of the independent sector? If so, what is the best way to respond?

Is a sign taped to the front door of a theatre sign of a more systemic problem… or perception about how theatre administration and artists interact?

I recall a time when Artistic Directors went to see independent shows- I remember when Nevin’s hair was a silvern beacon in the front row of a b-sharp show… but rarely do we see AD’s or theatres operating beyond their own companies.

I find it interesting that this decision was announced first and then a meeting was called… as opposed to a decision which is founded out of a meeting of/with the sector.

What has happened that this is how we feel we can best discuss things? What is it that we are afraid of? The thing I am most afraid of, is the fact that artists are afraid of having discussion or dialogue or opinion. This is the cornerstone of our art. Dialogue. Yes, protest. Yes, be heard… but lets do it bravely and honestly and together… and let’s hear what is happening first.

There are millions of reasons why NOT to do something… but there are only a handful of reasons of why people do things… Why bother to make anything? Why invest your time and focus in theatre? Why put yourself forward for speculation or interrogation? Why? Because you are compelled by whatever inspiration or demon (Carrot or stick, if you will..) that drives you… Ultimately it’s about offering- offering an audience a new point of view, a reassurance, a story to soothe, or stir… and short work seasons an do this beautifully-offering a variety of perspectives or worlds to dip into from the safety of you seat.

For those keen to stut their creative stuff as a part of Brand Spanking New : a celebration of New Australian Writing… there is more info in the guidelines below:

For more information about new theatre and Brand Spanking New please refer to the website:
http://www.newtheatre.org.au

If anyone knows how hard it is to get a project up and running- it’s me.

And it’s not easy in a city like Sydney, which has limited venues to hire, (as many are curated spaces) and in an industry that so easily chews people up and spits them out, to inspire people into action.

I first met Josipa and Stephanie when they auditioned for Brand Spanking New 2009. I was interested in working with Josipa- but she was getting married the week of the performance so it didn’t work out and Stephanie’s audition was excellent, but I didn’t get the impression the pieces I had to offer her would be at all along the lines of ha she was hoping to do. She expressed her frustration at the Anglo-centric casting in Sydney. I concurred. I also quoted Lee Lewis’ Platform paper and Chris Mead’s platform paper- in support of her ideas. Nine months later The Colour Blind Project was born to showcase the talents of non-Anglo actors.

I submitted a piece to the festival as means of supporting them in their pursuit of equality… and have had the great fortune of working with long time colleague Danielle O’Keefe who has done a wonderful job directing Josipa Draisma, Vixen Noir and Silvana Lorenzo de Shute.

In my heart, I hope for a time when this festival doesn’t exist. When the thought of it is embarrassing, because we are more sophisticated- when people are cast because they are brilliant, not because they are black. When Our ethnic writers (and all Australian writers) are no longer relegated to dark and bizarre Fringe venues- but celebrated on main stages.

The Colour Blind Project Short Play Festival is the start of these two festival directors/creative producers figuring out what they want to see, what they want to say and how they want to say it. It is an experiment with non-Anglo casting and shows that there is a group of talented and dedicated artists working in the industry who are willing to donate their time, money and talent to an idea- and to change in our industry- which must be applauded.

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TICKET RUSH

The Colour Blind Short play festival is offering a **special ticket offer** for this Thursday’s performance. Buy tickets at the door on Thursday 8 July from 7:30pm and ask for the “Colour Blind Rush” offer, and we will sell you a discounted ticket at $15!!! That’s $10 off the normal adult price! Door sales are cash only and subject to availability.

For every other night this week, tickets are on sale now! To book visit http://www.trybooking.com/FOJ

http://www.australianstage.com.au/201007043662/reviews/sydney/the-colour-blind-project.html

Hope to see you at the show!

x Stephanie & Josipa
Festival Directors
THE COLOUR BLIND PROJECT | 30th June – 10th July 2010
Changing the face of Australian Theatre

Playwrights are an interesting species in the kingdom of “Artists”… Like many artists they are solitary- but they have a collaborative spirit- because their artform relies on a congenial coming together of minds, hearts and bodies to create something for an audience… they are generous. They give voice to actors, narratives to directors, they give an audiences ideas. They are artistically powerful people who inform and dictate- and yet they are generous and patient and philosophical… How many times has a playwright had their work fumbled by the mouth of a nervous actor, or misdirected by an ambitious yet green director? and yet- generally they remain focused on the art.

There is no celebrity in play writing. Heck, there is barely any money… but there is a community of them springing up…

An online touchstone for me is the 7-On Blog: http://sevenon.blogspot.com/
which is a wonderful hydra-voiced point of reference and perspective from some of Australia’s key established playwrights.

Another group- WRITE CLUB…. (which you can guess the first rule is…) meets to talk about anything BUT their own work…

Then there is the tentatively named TEWS- The Emerging Writers Studio- which meets at Belvoir.

And there is surely a lot more- people in lounge rooms, in kitchens, in rehearsal rooms talking about writing, about their work, each others work etc… just because you can’t see them doesn’t mean they don’t exist…

However, it seems that playwrights are under threat as the Australia Council has not provided key organisational funding to The Australian Writes Guild… I received the “Call to Arms” email which I have copied below- for your interest… The most inspiring thing about this really is how people are being mobilized to act, to talk, to fight … long may it continue…

IMPORTANT UPDATE FOR PLAYWRIGHTS- PLAYWRIGHTS UNITE! NATIONWIDE RALLIES BEING CALLED

If you can help organise a playwright rally in your city please contact Brad Taylor via membership@awg.com.au

It’s no surprise that there are changes afoot at Belvoir….

For sometime there has been a slow merge towards the downstairs space at Belvoir Street Theatre more and more similar to the programming of the upstairs space… for sometimes some have noticed the graduation effect ie the downstairs theatre is where directors, actors etc can be spotted by the Artistic Director and launched upstairs into the lime light.

Writers and new plays go from downstairs to upstairs … it’s been an unofficial development wing… a test for artists…

And perhaps what is happening is just a formalisation of what Belvoir has been headed towards-

Indicators of this shift from a co-op /independent venue to mainstage include:

The 2010 Season indicated a shift with one of the mainstage shows being slotted into the downstairs theatre…

The downstairs brochures of recent times are slicker- they feel like “upstairs” shows brouchures used to a few years back…

There has been some fairly significant mainstage style programming- The Lonesome West … Homebody/Kabul…. big writers in the little 70 seat space.

The shows downstairs that move upstairs: The Seed, Ruben Guthrie…

The Artistic Associates/Belvoir Staffers being given slots in 2009 eg: Sam Strong, Eamon Flack

This has been evolving for a while…

.. And it’s a little confusing. I’m not sure what it means- does it mean the appreciation of independent artists that will be able to enjoy the shelter (financial support) of a larger company?
Or does it mean that Company B’s recently blossomed artistic associates (and there’s a bunch of them) will all get a slot, fully funded and supported… is this Belvoir’s Wharf 2 Theatre?

Have independent artists lost a space? Or have they gained support? And if they have gained so much support that they are no longer independent – what does this mean? What is the value of independence? Is this a wonderful thing for playwrights and play development?

I don’t know, yet… but I’d love to hear your thoughts…

____________________________________________________________________________
Email sent Monday, July 05, 2010 12:48:31 AM
Received by me 9:20pm Sunday July 4th 2010

Re: No Subject

Dear Friends,

Ralph Myers
Associate Artist
Company B Belvoir

A small, brittle paged copy of Under Milk Wood, sits in my book case. A faded blue/green photograph of a town by the sea on the cover- and on the back, a price tag (from a long time ago) says “$1.60.” The pages are yellow – especially around the edges, like an old man’s white moustache stained with nicotine. As a child, I remember my father, in a brown velvet chair, musing on the sound of Richard Burton’s voice on a Sunday afternoon. Later, in my first year of University, I purchased a sturdy, (second hand) hard cover copy from Gleebooks, and sent it home for fathers day…

Fifty-six years since it was written, the text remains in the collective consciousness. Dylan Thomas’ classic play for voices lifts poetry out of the private ruminations of head bowed, eyes down soft murmers or the dutiful literature students- and is propelled on stage by collaborators Vanessa Vanessa Hughes and Zoe Norton Lodge in a new production at Sidetrack Theatre.

At the box office we are told that we can keep our jackets on- and on the seats of sidetrack Theatre, folded fleecy rugs, are staggered one between two, one between three…

The white floor, scattered with tiny white houses are lit up in a warm yellow glow. Lace tablecloths hang from a clothesline, three small boats hang from the ceiling, a ladder, a bathtub, a chair. It’s the opposite of the usual black space- luminous. Clean. Like freshly starched shirts. A voice starts from the shaddows, light like that of a ghost- “To begin at the beginning- ”

Harnessing all 64 characters- an unassuming actor in white overalls – Zoe Norton Lodge. A full- steam- ahead, at times thunderous voice, that melts sweetly and then bellows in the following breath. Surrounded by huge projections, occasional video, cardboard installations Norton Lodge has a world set up- at times she is the all seeing, all hearing, all speaking first voice- a giant amongst the tiny houses and at others she is the townsfolk heavy with secret yearnings and lusty urges. Suddenly the town has voice- multi-coloured voices in shimmering varied timbres ring out of Norton Lodge’s mouth like bells from the church lead by The Rev. Eli Jenkins.

There is much to commend in this production- and I can’t help but acknowledge the resonances I have with the text- which seems to be a resonance that Norton Lodge also shares- a connection with her father. I believe it is essential for all artists to invest in the stories that they believe in- wholly and completely- stories that make them the people they are, the artists they are. And so often I see work which is mounted which seems to be devoid of any personal connection- shows mounted because of their status as the hot playwright of International status- of a play which comes with it a hand full of star-studs to put on the poster. This is a play which means something to the artists- and it’s not showing off- that shows bravery- to reveal something of yourself- something as intimate as your childhood bedtime story.

There is also the fascinating aspect that this is a play written by a man, traditionally spoken by a man- and in this one woman version- we see or hear something new… a woman’s perspective. Whilst the men of the town are ghosts, a Reverend, blind, lost, obsessive organists- the women are filled with great yearning- an earthy, deep, grounded lust. Not wildly hysterical- but sexy. Thumbnail sketches of lives- that do as lives should- live. Complicated, horrifically beautiful, sweet songs sung by children as the drink-soaked confessions seep out of reluctant hearts.

At times the pace is somewhat overly rapid, aggressively attacked- and the finer, silken threads of poetry are sacrificed- leaving me a little lost amongst the sea of characters. But ,the sheer impressiveness of the stamina, and focus of sustaining 90 minutes of 64 characters is worth the ticket price. Some may feel that the production is fairly safe- it is a fairly truthful and respectful telling of the tale. Delivered in Welsh accent- neatly physicalized. There are no shocks, this adaptation is not trying to shock or disturb- though the text ht right at the heart of the conflict between the public and the private confessions of a town- where no one is unscathed from being exposed as a coward, a drunk, a thief, a banshee, a whore, a repulsive lover.

This is a lyrical and visually poetic adaptation- a love letter to family- to the memory of being read to, a love letter to a feel of “home.” If nothing else- there is something comforting about being nestled in a fleece rug- phone off- lights dimmed- having the play recited to you. There is a feeling of tender offering from Hughes and Norton Lodge- a little piece of story- delivered with care and caution to those willing to take the time to listen.