I’ve known Van Badham for a few years- first encountering her name in a newspaper article in 2006 about Australian Plays and then commissioning her in 2008 for the inaugural Brand Spanking New at New Theatre where she delivered a horrifyingly beautiful crass masterpiece directed by current VCA directing student Mark Pritchard. She has launched and promoted more artists from Wollongong than is possible to mention and she is a playwright with unparalleled distinction and energy… and one who’s movements in the world and in theatre I lovingly track through the medium of Facebook.

This morning’s emails revealed a press release sporting the name of one of Australia’s most prolific writers- Van Badham- had scored the job of literary manager at the Finborough Theatre in London. Best known in Oz as the unrelenting powerhouse of opinion and political theatre- Van Badham is a force to be reckoned with and 2010 is a big year for her- scoring a major book deal with Pan MacMillan, and this new position as a literary manager in one of London’s most prestigious theatre’s which discover and promote the writing of the best undiscovered talent.

Van’s 2009, from what I can tell, was peppered with nominations for every conceivable award in theatre writing in the country and was compelled overseas by opportunity and demand. Where are the women? They might just well be overseas. And it their gain is again our loss… but one thing is for certain- Van is a force to be reckoned with- hard working passionate and focussed and I wish her all the best for a HUGE 2010!

Here’s the press release below.

NEW LITERARY TEAM
Following the appointment of our former Literary Associate Titas Halder as Resident Assistant Director at the Donmar Warehouse, the Finborough Theatre has appointed a new team to manage its acclaimed Literary Department, working closely with Artistic Director Neil McPherson. The new team are Literary Manager Van Badham, Literary Assistant Daniel Burgess and Senior Reader Laura Jessop. The first fruits of their work will appear in Vibrant 2010 – An Anniversary Festival of Finborough Playwrights , celebrating the 30th year of the Finborough Theatre with 30 new plays by 30 UK and international playwrights, discovered, developed or championed by the Finborough Theatre including world premieres of brand new work from some of the hundreds of playwrights who began their careers with us.

Literary Manager Van Badham is the award-winning writer of more than forty internationally-produced plays for stage, musical theatre and radio, and has just signed a three-book deal as a first-time novelist with Pan Macmillan Australia. Her play The Gabriels received its world premiere at the Finborough Theatre in January 2006, and subsequently became the first play by an Australian writer to be selected for New York City’s annual Summer Play Festival. She has had plays and musical theatre staged at seven Edinburgh Festivals, two Adelaide Festivals, in London at venues including the Royal Court Theatre, the Bush Theatre (for Paines Plough) and LAMDA (where she was Writer-in-Residence), on UK tour, and across her native Australia at venues including the Sydney Opera House and Victorian Arts Centre, and in the US, Iceland, Switzerland, Germany, Austria and Slovenia. Her radio commissions have been for the BBC World Service, Radio 4 and Radio 3. Her first screenplay, We Come Home , received a 2007 development grant from the Australian Writers’ Guild. Her many awards include the Queensland Premier’s Award for Drama, Best Playwright Award from Fringe Report, the Australian Theatre for Young People’s ‘Write Now!’ Award, the Jameson Award for Screenwriting and the first Short+Sweet International Festival of Short Plays Awards for both Best Comedy and Best Play. She is currently under commission to the Wilma Theater in Philadelphia, after recently completing commissions for Merrigong in Australia and Bern Stadttheater, Switzerland.

Congratulations Van- can’t wait to see what you find in your adventures as a literary manager!

Stories from the 428 launched last night- with the help from our friends at the Coopers Hotel in Newtown, Marrickville Council, ACTT and Queen Street Studio- writers, directors, designers, crew came together to have a few drinks, to meet the people who they will be working with in the next 3-4 weeks. This launch was for the participants… United by a love of theatre, new Australian Playwriting and buses- nearly 100 local artists are starting rehearsals this week.

Combining the a mix of writers from a range of backgrounds this is theatre at its most diverse- a patchwork of ideas that are stitched together through the common experience of the 428 Bus ride from Circular Quay to Canterbury.

What never ceases to amaze me is the passion people have within them – to make theatre- to make anything where before there was nothing. It is truly breathtaking.

People from different backgrounds and different levels of experience coming together to say something they believe in…

People who wouldn’t ordinarilly cross paths, meet each other in the context of this type of project- share ideas, contribute, support and inspire each other.

But one thing is for certain- without an audience these stories are mute, these ideas lay dormant. It is the everyday and the ordinary which inspires us to come together and share our Stories.

All this will come together in 3 weeks at Sidetrack Theatre. Tickets are $25… hope to see you at the show!
http://sa2.seatadvisor.com/sabo/servlets/EventSearch?presenter=AUCENTURY&event=428STORY

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.

After the success of the inaugural Off The Shelf in 2009, Queen Street Studio presents the third Off the Shelf a residency for writers and directors interested in creating original and compelling text based productions for the inaugural Sydney Fringe Festival.

Off the Shelf is an opportunity for writers and directors to hothouse a script that is in the early stages of development. Off the Shelf is supported by the City of Sydney and aims to focus the skills of theatre practitioners on a previously unproduced script of their choice, whilst strengthening relationships between emerging writers and directors. This is a unique opportunity to explore a script which may have been “shelved”, or may be in a seed stage and needs a little bit of time, space and feedback to get to the next phase.

Writers and directors are asked to submit an expression of Interest form and a script.
http://www.queenstreetstudio.com/pdf/OffTheShelf-Mar2010-EOI-form.pdf

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 29th March 2010
Guidelines for Off the Shelf:
We are looking for teams (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 which is on the 28th & 30th May 2010.
QUEEN STREET STUDIO WILL PROVIDE:
• 15 hours of rehearsal space (starting 19th April – primarily on weekends)
• Dramaturgy .
• Opportunity to show your work in front of industry professionals and an invited audience
• Open forum and written feedback from Industry guests
• Simple 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 for an interview if requested the week starting 5th April
• 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 head to http://www.queenstreetstudio.com/offtheshelf.html or contact Augusta Supple at Email: offtheshelf@queenstreetstudio.com
All successful applicants will be notified by email on 12th April 2010.

For many who are sweating it out in Adelaide- a fringe adventure is one where the idea must be strong and interesting enough to warrant the logistical and financial wrangling of performers, accomodation, fliers, venue, audiences, travel expenses. Fringe artists, like nomads, travel to Melbourne or Adelaide for such adventures… but now, (at last!) Sydney’s artists get to air their ideas in their home town and dream big in the everyday landscape of their lives and SUCK IT AND SEE.

The Sydney Fringe is imminent and its time to put digits to keyboard and apply!

I am involved in a capacity in the Fringe- a massive supporter of the Newtown Area (I have only lived in the Inner-West when I’ve lived in Sydney and frankly- my current project STORIES FROM THE 428 is all about embracing the Inner West pride we all feel!) and of the independent theatre sector… and I am calling out to you to have a think and get amongst it! Read more about it in the Call out from the fringe:

SUBMIT A SHOW TO THE SYDNEY FRINGE!
The Sydney Fringe will be bursting through Newtown, Enmore and Marrickville from September 10 to 26, 2010 – from theatres such as Carriageworks and the Factory through to the gallery spaces and the pubs and bars. It will be the large scale alternative arts festival that Sydney really needs, with a range of events and activities to involve artists, companies and audiences from throughout Sydney, including concerts and theatre events, visual and digital arts and free outdoor events.
If you would like to submit a show or want to get involved, visit the Fringe at www.thesydneyfringe.com.au. There are opportunities across a whole range of artforms, including theatre, dance, film, music, comedy, books, visual arts, digital arts and more, so come check it out!

Shopfront’s Residency program is open for applications from those artists interested in developing a project in 2010. I am a board member at Shopfront as I believe in its interest in and commitment to developing the arts practice of artists who are under 25. In the last week I have had the great priviledge to have met several applicants who have submitted early applications for the residency program for this year. Last year I attended the Artslab Residency Showing which was simply fantastic. It included a piece by Tim Spencer called “The words they make with their mouths” which is on right now at the Adelaide Fringe. (check it out if you can!)

Shopfront is a fantastic place for emerging artists to make connections with fellow artists and to explore ideas, practice styles under the mentorship of independent theatre director and Shopfront Theatre’s Artistic Associate Michael Piggott. Applications close on March 26 2010.

The residency is for artists under 25 who want to explore and develop a project over a 6 month period. This is a program which grants a great amount of autonomy and also resources or time, space, industry professionals- a hands on experience of a large scale production and two industry showcases which provide artists with feedback.

CALL FOR ARTISTS
Immerse yourself in the life of an innovative arts community that inspires and supports the development of emerging artists creating new work. ArtsLab10 is an intensive arts laboratory and six month residency from April 27 – November 3 at Shopfront Contemporary Arts Centre. Make a film, write a script, create an installation, direct a play or perform your own solo piece. ArtsLab gives emerging artists (aged 18-25) from across Australia the space, resources, training, and industry connections to experiment, create work and prepare for a lifetime as an artist. For more information visit www.shopfront.org.au

Photo by Alex Vaughan of writer/performer Tim Spencer (ArtsLab09)

It’s true that I spend a good deal of my time looking for, creating projects for, promoting new writing talent. In the last 3 years I have created 3 independent projects (Metamor/phases, Brand Spanking New, Stories from the 428) and a script development hothouse (Off the Shelf) culiminating 64 opportunities for writers/directors/actors to develop/practice/ showcase their art. In the middle of all of this- working a full time job, maintaining my relationship and writing for myself and for a company in Canada when I can. I’ve tried to create opportunities that I would want – places of experimentation, colleagiate regard as opposed to competition, places where work can be written, developed and produced within a year (yes- how novel!). How delighted I was when Phil Spencer contacted me about putting a little something forward for Cut and Paste!

According to the blurb “Cut & Paste is an evening of short plays, theatrical scraps and script-in-hands, brought to you by some of Sydney ’s most exciting theatre makers. This month’s line up includes Lexi Freiman with Pip Smith, Talya Rubin, John AD Fraser, Augusta Supple, Brooke Robinson, Sean Barker and Phil Spencer.” Last year’s cut and paste session inluded work by Caleb Lewis, Scarlet McGlynn, Sean Barker and Phil Spencer… and Phil has spruiked the idea to me as a testing ground- a kind of “balls to the walls” theatrical showing- rough, ready and high energy.

My offering is called “Boxed Carnation” and is a short monologue that looks at the world of Internet dating. I am a firm believer in writers not directing their own work- and I have enlisted the directorial help of Gavin Roach (who I met in 2008, and who was my Assistant Director for Brand Spanking New 2009) and the acting talents of Lucy Goleby. I have attended a rehearsal, tweaked the script… but really the test of a work is in the watching.

For those free on a Sunday evening the 21st Feb.. make your way to The Old Fitz Hotel for a lemonade and a laksa and experience some very new works from a diverse range of practitioners… you might meet some people, see a new idea or even see the start of something great!

CUT & PASTE
SUNDAY, FEBRUARY 21st @ 8.00pm
THE OLD FITZROY HOTEL
$9 on the door. First in best dressed!

The team from Stories from the 428 are looking for approximately 20 actors of all ages, looks and backgrounds to join us for a two week season at Sidetrack Theatre in March 2010.

Stories from the 428 is a theatre project which takes its inspiration from travelling on the 428 bus route from the tourist hub of Circular Quay to the urban heart of Canterbury. Supported by Marrickville Council and Sydney Buses this is a unique opportunities for Sydney artists to celebrate the sublime in the everyday.

Frequently funny and sometimes sad, this two week season is a love letter to the local area – written about and for people who experience bus travel as a part of their everyday lives. Penned by some of Sydney’s most celebrated playwrights inconjunction with the best of the emerging underground- this is a unique and diverse theatre project highlighting the importance of community and finding inspiration in the everyday.

Week 1
The Writers are: Vanessa Bates, Kit Brookman, Rebecca Clarke, Sime Knezevic, Ned Manning, Brooke Robinson, Alison Rooke and Phil Spencer.

The directors are: Zoe Carides, Glenn Hazeldine, Augusta Supple, Ian Zammit

Week 2
The Writers are: Donna Abela, Tahli Corin, Matt Edgerton, Joanna Erskine, Lexi Frieman, Noelle Janaczewska, Patrick Lenton, Jasper Marlow.

The directors are: Louise Fischer, Anne-Maree Magi, Scott Selkirk, Ngaire O’Leary, Augusta Supple

Auditions are:
Wednesday 17th February from 6pm
Thursday 18th February from 6pm
Friday 19th February from 6pm
Saturday 20th February from 6pm
Sunday 21st February from 6pm

Performance dates:
Week 1- 22nd March-28th March 2010
Week 2- 29th March- 4th April 2010

To register for an audition:
Please fill in the online form: http://428form.tk/ by 5pm Monday 15th Feb
Prepare a 1-2 minute monologue
For more information about the project: www.storiesfromthe428.com

The view from the 428- it's a sign

Anne-Maree Magi, Vanessa Bates, Noelle Janaczewska, Ned Manning, Donna Abela, Kate Gaul

Playwrights on the 428

Week 1 writers at FraserStudios

Do you have your season booklets ready? Good. Now, close your eyes- and hold the brochures of both seasons in each hand… feel the covers. mmmmmm quality paper stock.
Now, still with your eyes closed- sniff gently at the opened mid page…. not too close you’ll scratch the tip of your nose on the staple.
What’s that smell? I hear you ask?
That’s the smell of “independent theatre.” I respond.

Independent has never looked so sophisticated, never felt so international! Independent Theatre is full of funky, film clips, its got glossy postcards… its got funding, and sponsors and a AV designer and its own DJ at the launches, its so cool to be independent!! Was it really that long ago that the programs for the upstairs Belvoir Shows were $6 and were printed on similar stuff that launches the indi season?

Idependent has never been so well supported/funded/groomed- which makes me think: “What is so independent about it?” Independent artists are NEVER independent- they rely on the asset of goodwill to get them over the line every show- good will of the actors, the venue, the key creatives, the flatmates of the key creatives, even for some the parents of the directors are the cornerstone of their productions, the social network of friends who dutifully head to the theatre because their friend is in the show… the businesses who invest cash/sponsorship in-kind are also giving of their money and their resources. Then there are grants and “funding” which list the key performance indicators, the budget reporting, the statistics of the impact of the arts activity on the community and the industry… the logos associated with which are everywhere- websites, postcards on everything. Favours, money, donations, reviews, resources. There is NOTHING INDEPENDENT ABOUT INDEPENDENT THEATRE.

These artists are unpaid, for the most part- at least upfront they aren’t paid- co-op and profit share deals are struck based on desperation to work and based on flattery and enthusiasm. They pitch projects to the companies hoping that they too can shelter under the wing of a larger bird- perhaps that larger bird has a rehearsal space- perhaps an artistic director who will attend the show, see their talent and offer them a paid gig on a bigger stage? Perhaps they will get better audiences- the prestige of working where other prestigious people have worked. But there is nothing prestigious about Independence- Independence in reality is the artists stretched thin on the drum of obligation to a million stakeholders. True artistic independence comes from a heap of cash. Cash which is without strings, cash which is without expectation of reciprocal deals. In fact I can’t think of a theatre company which is truly INDEPENDENT- all are not self sustainable- all run off government funding and donation. None are run just by bums-on-seats… all theatre is dependent.

For those who read Grotowski- we know theatre is dependent on an artist and audience interaction. Theatre is utterly dependent on audience- and bound by the programmers- and what they have faith in to bring an audience. The artists pitch plays to programmers (artistic directors) who then roll the idea in their mouths to see if it is to their taste, then they weigh up the likely hood of all this talk (the pitch) materialising into a piece of theatre which is quality- given the time, money and goodwill attached to the project or the participants. Then they take a punt. In their punt is also a set of Key performance indicators, criteria, board papers, stakeholders. No one is INDEPENDENT. Not even the programmers.

I think what this actually is – is not independent theatre- but freelance theatre… or contract theatre… where artists nestle under the wing of a larger bird and get some shelter and support for a short period. Where the larger bird can feel urban and cutting edge and sexy/bold/gritty free because they are associated with something which lives and operates in an uncertain, often volatile environment which is utterly dependent on EVERYONE. This mutualism is nearly parasitic- and the relationship defines the art. The independents are rarely approached- they must do the approaching. And in return the independent is hoping for space and the goodwill of the programmer. While the programmer can have their venue filled with enthusiastic grateful hopefuls- that can be paid post show and once the costs are covered.

This is not an “independent” wing of Belvoir- this is not an “independent” wing of Griffin- this is a very dependent wing.

Financial independence for an artist is for the very few- infact drama school is for the financially priviedged and supported… which implies that theatre is made, and perpetuated by and for the middle to upperclasses. If that IS the case- is our so-called independent theatre scene destined to be the playground of the priviledged (or perhaps the utterly ruthless)? What is the price of independence? What is the true cost of theatre? Who can afford it? What are you willing to sacrifice for your art(or career)? And who’s paying?

These are things I think about.