As offices empty and sunscreen sales soar – the festive summer season has arrived with a seemingly endless carousel of parties and social engagements. Now the theatre’s have closed – there are a few of the industry who have a list of 2011 projects lined up… and the rest of us face family Christmas lunch/dinner gently quizzed by family “so how is your drama stuff going?” and “have you thought about an apprenticeship?” and other such brutal questions asked by well-meaning members of your gene pool.

Normal folk – the ones with contented lives filled with relaxing weekends, 9-5 work hours, paid holidays, a structured career path and regular pay cheques – look forward to the end of the year as a time of snooze and booze and lavish materialistic rewards for their year of hard work. For theatre folk it’s a little different.

The two week gap whilst Sydney prepares itself for the Sydney Festival is a time of reflection as it is for others but it is also a time for administration. “To do” lists for artists may involve getting new headshots, tightening up one’s bio, getting a new agent, landing a major gig, invoicing for that last job… Those who think being an artist is a lifestyle of excessive leisure time, relaxation and being paid a huge amount just to sit and think – rarely last more than a year in the business. This industry is not a get-rich-and- famous-quick scheme. In fact as a teenager, I remember reading an article talking about Geoffrey Rush’s “25 year preparation for an overnight success” – a slice of that idea can be seen here: http://www.urbancinefile.com.au/home/view.asp?a=8189&s=Features. It is this time of year which asks us to reflect and evaluate for ourselves (informally) – and to also write acquittals (formally) to those who have granted us money.

In my career, though I have been employed by companies that have received grants for specific projects (The City of Sydney has supported Off the Shelf and Brand Spanking New in 2008 and 2009) – the only grant I have ever received as an individual was for Stories from the 428. I received $4000 from Marrickville Council – which covered the insurance, the “comp ticket allocation” for the Marrickville Council offices, the set design and materials and rehearsal space. The other $14,000 that went into the project came from my personal savings. That project in its first incantation harnessed the talent of nearly 100 artists – and provided entertainment for 1400 punters in 10 nights. I will now spend a good three days writing an acquittal for the Council to prove that the project was completed and money was spent accordingly. It’s times like this I envy actors.

There’s a lot of paper involved. There’s a lot of writing, spreadsheets… and it is due on the 31st December.

As the year winds up – aquittals are due and the news filters out of all those who are heading off to Drama schools. And I think about the luxury of study – how wonderful it would be to be housed in an institution for a year or three, just to focus on theatre. The people who are not heading to Drama school prepare for another year of production – grant writing, residency writing, fundraising, acquittals, contact lists, names, numbers, project descriptions. And if you have had a big year of production, if you have had a big year of making art/theatre – the thought of leaping into that mode of writing, pitching, presenting etc is enough to make you run into a school – or an arts admin job or prison.

It’s funny, schools don’t seem to prepare students for a life of unemployment – they prepare them for employment. Which is all very well and good when you are working – but, how do you deal with the feast or famine of this industry? How do you live a good and moderate life – without feeling seasick from the swing between elation/stress of work and the aching paranoia/fear that you may never do/make anything ever again? It appears that schools are a resting place – not a preparatory place for artists.

One thing that has often worried me is the well-known conversation about people who enter drama schools whilst being in a relationship. The Schools I have heard f warning or penalising those students or potential-students warning them that their relationship wont last. This is something I don’t believe is necessary. It gives the impression that all theatre makers have to be available – all the time. That you can’t maintain a healthy relationship and be in the arts. This is not true. This is rubbish, in fact. I think it is perpetuated by a certain generation. It has been one thing I have struggled with reconciling – as I had bought into that myth that I had to choose between a life in the theatre and a life with a partner. It’s rubbish. You can have both. Both takes work. Both takes time and attention. And I believe both inform each other. Many times in my relationship I have looked to the lessons and guidance of great plays to help me solve and inform my dilemmas. In particular plays (eg Airsick, The Return, The Bermuda Love Triangle, Black and White, it was raining all afternoon) I direct often speak of where I am at personally. I choose them because I am trying to sort out, discover or say something about a relationship. I worry that certain schools prepare our future dramatists by teaching them in a vacuum of emotional/relationship connection. What is theatre but the study of interpersonal relationship? From the subject matter to the collaborative nature of the artform – it’s all about the interpersonal. As I have said for many years – I am in the business of other people.

This year I have provided 31 opportunities for directors, 41 opportunities for writers, sat on two lots of Shopfront’s Artslab panels for emerging artists (providing 12 residencies),programmed 12 shows for the Fringe festival, sat on a board (which included recruiting an Artistic Director and being involved in strategic planning for the company), attended 118 plays, written 55 reviews and 2 children’s plays- all whilst maintaining a day job and my relationship with my partner, known to many as “the botanist”.

For me, there is one thing for certain: If there is one thing my botanist has taught me it is the importance of fallow ground. I believe in artists having a break – and a real break – time to think and digest and dream and develop their thinking. I am going to do as I say next year – and do less. I’m not saying I won’t be working on something – I will be – I just am not sure what that is at this stage. I hope I’ll get approached to direct a fabulous new Australian play… or two. But I’m going to have some fallow time to plan and dream. First, I’ll finish this paper work for Marrickville Council… and this play that I am writing… have a cup of tea…

AND send a huge hug, big kiss out to the people who have made a huge impact on me this year – those that have bought me coffee and written beautiful plays- the reviewers who have held my ego so gently, the actors who have broken and made my heart sing… the people who have abused me or been nasty, those who have attended, directed, designed, applauded, cheered, read, given feedback, told me jokes those that are brave enough to make work – and share themselves… all of you. Our community. How honoured I am to keep the company I keep…

James, Me, Maggie, Tim

BSN Week 2

Week 1 Stories from the 428

The Beautiful Lucy Goleby

Rosie Chase and Miles Thomas

Stephen Peacocke in Stories from the 428

Me and TK Pok

Blueprint at Fraser Studios (with my boss James Winter in front)

Luke Carson, Helen Tonkin, Deborah Thomsen - Off the Shelf

Ian Zammit and Jane Eakin - my directing buddies

Selkirk and Magi - 428 induction

Alli, Phil, Scarlet - OTSers

Hanging with some playwrights - Noelle Janaczewska, Tahli Corin, Donna Abela, Matt Edgerton, Jasper Marlow, Patrick Lenton, Lexi Freiman, Jo Pretorius

Leah McGirr - the face behind all my photos and a truly great friend

Me and The Botanist

It’s been a pretty interesting year… and playwrights and productions have certainly kept me busy. Don’t get me wrong, I’m not complaining. I feel really lucky. honoured to be working with and for Australia’s best emerging playwrights. I am also lucky to have a home at Queen Street Studio, where development and experimentation is valued. It’s been a back to back year, and every now and then, I stop and look around. To see what’s happening.

Sometimes, I poke my head up from my email, or I sit in my backyard, rooibos in hand, looking at the garden. In one of the beds are the tulip bulbs Vanessa Bates gave me on the opening night of Stories from the 428 back in March… with the heartfelt message: “you are growing us.” This spring (fringe time) Bates’ tulips had burst open into yellow and red striped flowers and their emergence had kept me going during some tricky times… I guess, reminding me it’s all about growing.

So knee-deep in Spankers (Brand Spanking New)… and I see on a cursory glance on Facebook some congratulations flying around – and I am baffled, and happy and excited: three of the Off The Shelfers have been nominated for Awards as a part of the Sydney Fringe… And I couldn’t be more thrilled for them…

Sexy Tales of Paleontology by Patrick Lenton, directed by Anne Maree Magi
The Hideous Demise of Detective Slate by Alli Sebastian Wolf, directed by Jane Grimley
Zetland by Jasper Marlow, directed by Andrew Johnston

… and if that wasn’t exciting enough- new Australian works by emerging writers have been acknowledged in the Sydney Airport Excellence in Theatre Award, in the programming of The Boiler Room… I am thrilled! Mainly because the message it sends is clear- Australian works are good, in fact, they are exciting!

I love a shortlist! And to see that so many new Aussie scripts have made a shortlist- is very exciting… and I can’t help but feel really proud on behalf of all the artists that took the risk and went for it. They are the ones that make the work, and I really hope they feel inspired and encouraged to keep going.

The Sydney Fringe today announced the nominees of their 2010 Fringe Awards.

Sunday was a big day. Not just any Sunday- but a pretty special Sunday- the day for industry and peers to come and offer their support, thoughts, feedback to the four new works which have been in development through Queen Street Studio’s Script development hothouse “Off the Shelf”.

After several weeks of meetings, rehearsals, text messages, emails- and several redrafts, the participants had something to show- a 10-15 minute section or sections of a show which has been programmed for the inaugural Sydney Fringe Festival. This was a great opportunity for actors to see what shows are coming up for auditioning for- an opportunity for directors and writers to start thinking about their process and project… and an opportunity to gauge audience interest/ engagement with the pieces.

I selected these scripts based on the teams, the content of the shows- a suite of four which are of differing tones, genres, styles by a range of writers and directors- a self-referencial theatrical radio play, an absurdist comedy, A dark naturalistic drama and a black comedy- a mix of light and shade- distinctly themselves- undeniably unique.

The audience for Sunday’s showing consisted of enthusiastic peers and industry- some of whom are familiar with the Off the Shelf Feedback format- and some who were new to being asked to respond to the work. An audience of 60 people keen to have a sneak peek into the Fringe, some keen to support the writers, some wanting to meet some directors. All audience were able to offer something- a testing ground before the production rolls around.

The most exciting part for me is seeing just how many people are interested in new plays- and who seek to offer feedback to encourage and inspire the artists who have been in isolation creating the work.

Sometimes, a conversation can unlock everything. Sometimes questions about what you are doing or thinking are revealed in the process of articulating the thought or process… and as my mantra continues- nothing is wasted.

Another important part of feedback is not only the encouragement- but also the challenges that can be offered to the artists- and it is up to the artists to scrutinize and then decide what is useful, interesting or irrelevent. I do believe that writers know best- they often know what is wrong with their script- and sometimes it takes someone else to articulate it for them… for the thoughts to crystalize- sometimes the thing that is in opposition to the writer’s thought will unlock the concern- sometimes it will reinforce- but it is the conversation which is the most important thing- that offer- from an outside ear that can confirm or deny the playwright’s thoughts about their play.

And it takes practice talking about plays.

It takes takes practice deciding what is useful and what is not useful for the artists. And the more practiced you are, the more open to to criticism- because they are more resilient or practiced. And I am not talking about learning how to defend what you have written. I’m talking about learning what to take on and what to let go. Not all advice is good advice- as well meaning as it is.

I am so thrilled for all the Off the Shelfers- for their passion and talent and bravery in facing conversations about their fledgling works… I am honoured to have seen work by some beautiful and generous actors and the developing instincts of four remarkable directors- Keep an eye out during the Sydney Fringe for the plays developed during Off the Shelf:

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

The Hideous Demise of Detective Slate
written by Alli Sebastian-Wolf
directed by Jane Grimley / Assistant Director: Ben Ellwood
Rowan McDonald, Natalia Ladyko, Merren Winchester, Brendon Taylor, Robert Gadsbey, Anna Guy

Late Night Infomercials
written by Brooke Robinson
directed by Lisa Eismen
with Brendan Hawke and Danielle King

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

Photos by Leah McGirr

For those interested in the next OFF THE SHELF (In October) keep an eye on the Queen Street Studio website… and if you are interested in applying to QSS’s residency for devised work, check out Queen Street’s newest opportunity to flex those creative muscles through BLUEPRINT. More info:
http://www.queenstreetstudio.com/blueprint-residency.html

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.

I love new work.

I love spotting talent.

Like a botanist naming the trees he walks by. Like a child pointing at a train and saying “train”. I spot talent and point at it and say “talent.” Then by naming it… by pointing it out, I am compelled to share it. I love sharing talent. It’s thrilling.

I love finding talent. I unashamedly and publicly call it “treasure hunting”… (I have also been called the new work “truffle pig”- nosing out the good stuff from the earth… I love it.) I love when a new script lands in my inbox- with a note from a writer (usually littered with disclaimers and a few “don’t worry if you are too busy” lines…) it is a thrill- I just don’t know what I am going to find- the next Vanessa Bates? The Next Joanna Murray-Smith? The next Andrew Bovell? The next Caleb Lewis? It’s exciting and an honour to receive a script. I love being warmed by a story in play form, and the heat of my laptop and a cup of tea (I have been indulging in alot of Rooibos of late- too much some could say)… the three warm makers in which I delight.

In 2008, the scripts I got sent were wonderful and plentiful- I couldn’t sustain the level of attention needed- and so approached Queen Street Studio for a residency in which I could have some of the excerpts of plays I was sent being dramaturged and workshoppped… They refused my residency and gave me a contract- to develop and run OFF THE SHELF. I have had the great joy of reading ALOT of scripts from as far south as Tasmania, as far north as London and everywhere in between as writers local and afar have pressed “send.” And I am deeply honoured to receive their work- and then I have the near impossible task of selecting 5 for development.

On this occasion, the first Off The Shelf for 2010, I have created a partnership with inaugural Sydney Fringe- and exciting venture which has embraced the hub of the innerwest and created a home for the weird wonderful and unexpected. Headed by Kris Stewart the Fringe is going to be unlike anything we’ve seen in Sydney before- bright, bold and fuelled by passion and daring… and I am thrilled that this round of Off The Shelf has the potential to mount their work for a run in the festival.

Always excited by a diverse range of possibilities – the projects included in this round of Off the Shelf and Into the Fringe are:

Late Night Infomercials, written by Brooke Robinson, directed by Lisa Eisman
Peace at Last, written by John AD Fraser, directed by Lizzie Doyle
Sexy Tales of Paleontology written by Patrick Lenton, directed by Anne-Maree Magi
The Hideous Demise of Detective Slate written by Alli Sebastian-Wolf, Directed by Jane Grimley

With works ranging from sinister to sexy, absurd to scientific, poignant to pointed and political to romantic- there is something for everyone in this selection of works. The teams are made up of 20% of artists I have worked with before- and 80% who I am familiar with (personally or professionally)- and 100% of the works have something to offer an audience- a new perspective, a fresh idea, a sense of fun. This is the work I want to see-and I can’t wait to see how they develop… and what an audience will think of them.

I love new work. It’s thrilling. And you never know what’s around the corner.

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