It’s not a secret. There is an abundance of short form theatre proliferating on Sydney stages. And it’s not just in the independent and amateur sector – with two of Sydney’s main stage companies turning to short form theatre to fill their season – Sydney Theatre Company’s Money Shots (6, 15 minute plays about money) and Belvoir’s The Kiss four short plays bundled together from Australia and beyond to examine The Kiss.

In 2009 I was included on a panel at Griffin Theatre to launch a collection of short plays published by Currency Press hosted by Lee Lewis containing Tom Holloway, Hilary Bell and Australia’s most prolific 10-minute playwright Alex Broun. Which really became a bit of a wrestle about opportunities for new writers – and an advertisement for Short and Sweet. Last year I was interviewed by Jo Litson of The Australian/Sun Herald after being referred to as a spokesperson on Short form by Tom Holloway and Caleb Lewis. And after 45 minutes of extolling the virtues of short form the resulting article was this: http://www.theaustralian.com.au/news/arts/small-is-big-at-the-largest-10-minute-play-festival/story-e6frg8n6-1225868218628… (N.B the facts about Brand Spanking New are not quite correct – being held at the New Theatre – no director was paid for their contribution to the festival) but it became a large expose on the politics of Short and Sweet festival – the leviathan which now reaches it’s hydra heads all around the world.

In the passed 4 years I have directed at least 2 short plays a year – both by Australian and international playwrights. The form itself lends it to my busy schedule – 15 hours of rehearsal per play is easy to fit around the multiple demands of my life – especially when one is working in a co-op structure. I have been very lucky to have worked with the playwrights I have – and have developed relationships with many of Australia’s pre-eminent playwrights including the 7-On Playwrights, Tom Holloway, Caleb Lewis, Alana Valentine, Van Badham, Lachlan Philpott, Nick Parsons, Kate Mulvany, Tahli Corin, Rick Viede, Rebecca Clarke, Jonathan Gavin and Suzie Miller to name a few… and they are all very different and utterly fascinating and unique thinkers and writers. I have also found it easy to excavate and promote emerging writers when they are housed within a suite of plays that also include established playwrights. It’s been very mutually beneficial to have all level of writers under the one banner – for me it opens up the celebration – becomes inclusive and the feel of such a festival is collegiate. And that is very important to me. Nothing is worse than artists competing endlessly with each other. And practically speaking – there is safety and strength in numbers – no playwright has to bear the burden (financially or creatively) of the production, this is in reference particularly to Stories from the 428 and they are freed up to be inquisitive, excited, innovative.

Building community amongst playwrights disintegrates negative or competitive behaviour… which allows the freedom to explore narrative, form, structure, character – when everyone is in the same boat – no one wants it to sink.

Short form gives a chance for a creative partnership to develop: If directing a full length play is likened to having a baby – then a short play is a kiss and a cuddle. Why not let the director and playwright date before asking them to marry and procreate? And short form allows this light touch – this soft entry point into formulating a common language or aesthetic.

It can also be a great opportunity to keep the writer’s audience muscle flexed and limber – or to clock up those precious 10,000 Malcolm Gladwell writes about.

As Short and Sweet demonstrates the festival format of 10 or 11 plays in one evening’s performance guarantees a full house – no need for massive publicity budget when you have a cast of 30 and a crew/creative team of 20 all bringing their parents and friends. However, for my taste, I find the curation of S&S a little problematic and the quality of writing and directing hit and miss. I believe that good things come in small packages – and I prefer the intensity and the power of a condensed form of ideas sometimes – not always.

That being said, I completely agree with Noelle Janaczewska’s observations about short form distracting from the main game and you can read more on her thoughts here.

There are also comments that short form has reached saturation point. That it diminishes the role of full length work – I personally still appreciate a full symphony even though I listen to Motown ditties… size doesn’t matter it is definitely what you do with it that counts.

The benefits for an Independent artist such as myself are huge – but I’m a little skeptical about the mainstage companies adoption of the form – it feels like a means to beef up statistics on new work, or development. And I heartilly encourage the production of new work – and yes the STC’s production of Ross Mueller’s Zebra! has sold out nearly completely…. (I’m very impressed and must say congratulations to all involved!)… but surely the role of the mainstage is to demonstrate professional theatre at it’s fullest? I’m not sure – I could be being unnecessarily harsh about this? Happy to hear your thoughts and to have my perspective/ mind changed.

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 has been weeks since Brand Spanking New 2010 and I have some of the distance of time to reflect on what has been a wonderful season. It is no secret that a lot of work goes into making a project like Brand Spanking New happen… and it’s success relies on each person on the project imbuing their work with a sense of purpose, focus, enthusiasm, time, pride, generosity, flexibility to make it happen. In week 2 of Spankers – that is 9 directors, 9 writers, 6 crew, 35 actors – and it never ceases to amaze me the collective energy of artists.

When I was designing the application form and process for Spankers in 2008 – I wanted a combination of invitation and open access – so that anyone keen could have an opportunity to audition, apply, submit a script. I wanted to make sure that writers didn’t have to pay to apply- and that directors had to apply answering some tricky questions (who are three Australian writers you would love the opportunity to work with and why… what are three productions that have inspired you and why… why are you a director?). Largely applications show me the level of interest, knowledge, enthusiasm, investment and personal goals of the participants… and for me its a starting point for what will be a long-term working relationship/creative conversation with artists.

Unlike previous years of Spankers, this years programme did not receive any financial assistance from government or a funding body. Somehow I was very lucky to be approached by Leigh Russell who coordinated partnerships to ensure that the artists on board the project were supported via in-kind donations (Crumpler gave satchels and Campos gave coffee cups and Penguin gave books for the writers, Fruit and chocolates were delivered for actors, City of Sydney gave rehearsal space to directors, South Cape Cheese for the opening nights, Wine for the directors etc.. it’s easy to say she did a stunning/gob-smacking job). The generosity that was demonstrated towards the pursuit of new Australian writers came from every corner conceivable – local, corporate, personal, artistic, industry and punters alike. It was a huge joy to look across the seats of the New Theatre and see a full house most nights… and filled me with great disappointment to have to turn people away.

For some writers, this years Spankers was an opportunity to be given much wanted stage time, for others there was the challenge of writing to spec, or appearing in a suite of plays with their favourite colleagues or established writers, for some it was the opportunity to work with a director they had always wanted to work with – or to write for actors they’ve wanted to write for… whatever the motivation or impetus – writers gave much of themselves- and risked big.

For actors, Spankers gave the opportunity to network – to flex their actor-muscle on stage – to engage with fresh material – to look at script and character from each angle, to play. For directors the opportunity to have their work produced and supported without having to source, supply scrounge (ie produce) themselves. Some directors sought feedback during rehearsal – using the opportunity to hone skills. To try something new, to work with new actors.

In June this year, I gave a talk at The University of Sydney, and someone in the question section of the talk asked me how I measure success of a show – is it box office or in the reviews. I said, “Neither. I think a show is successful when every single person on the project is proud of their work – when they have made something they are proud of, when they surprise themselves, when they know they have given and done their best.” If i measured success by reviews – I would have a devastating time – mainly because none of my shows have attracted reviews from likes of The Australian nor The Sydney Morning Herald. To them and the readers that rely on their opinion- this work doesn’t exist. (I’ve been told newspapers don’t like short runs… and frankly, I think my work is better suited to the immediacy of onliners who are sitting forward ready to catch the brightest shooting stars.) Also I often find that when someone is proud of their work – proud of the people they work with – that translates in attendance (a better measure than box office – as box office doesn’t not represent the industry comps that come to peruse the works).

Spankers isn’t a closed house either – a large part of an event like this is for foyer talk – for other practitioners to talk to and approach each other. I recently received a very heated angry phonecall from a director demanding access to my contact list… I replied that if was keen to approach someone I’ve worked with to work with him, that he should approach them in a foyer (much the way I have built up my network)… and that an event like Spankers is very conjucive to that style of approach. I don’t generally provide open access to everyone I’ve got contact details with – I will pass on recommendations and email addressess of individuals – but checking with them first – and usually after they have asked me to put them forward it i hear of anything coming up. I always think, if you want to work with someone – you should see their shows (and that will give you an indication of if you are justified in wanting to work with them.)

Anyway – What I want to say is how immensely proud I am of all the pieces in Spankers (each piece had their fans and their foes in equal measure) and to all the artists who were brave, bold and gave their all to create a very special event celebrating new Australian writing. For those who missed it below is a selection of beautiful photography by the very lovely Leah McGirr, of Week 2 of Spankers 2010 – the performance and the foyer…

Matt Young and Kenneth Moraleda

Suzie Miller’s Extra Curricular

Alison Rooke’s Apples and Onions

Me and Tim Spencer writer of The Pursues, the pursuing, the busy and the Tired…

Caleb Lewis, Emma Jones and me…

Alana Valentine, Arabella Macpherson, Scott Selirk and Kellie Jones

Awesome crew – Zandy, Ali, Miles

Donna, Ned, Vanessa and me…

Miles and composer extraordinaire – Rosie Chase

The whole gang from week 2…. (missing Selkirk – he was in Melbourne)

BSN Week 2 (Photo: Tim Andrew)

At the opening of Brand Spanking New (Week 2), Ned Manning (one of the writers for Week 1 of Spankers and 7 On-er) mentioned a group in Melbourne he thought I should check out once Spankers was put to rest…and that group is MKA Richmond. www.wix.com/mkamkamka/mkarichmond

A week earlier Ari Lander had told me that he couldn’t come to week 2 of Spankers as he was heading to Melbourne for MKA Richmond and he quizzed me on what I knew about it – and did I know Tobias Manderson-Galvin. “Sort of, i replied – “We are facebook friends… I’ve read his work and have chatted over email – but not really, not in the “invite him-over-for-dinner” kind of know”).

And then a couple of hours ago I received an email from Van Badham (as per below) alerting me to what was happening in Melbourne.

MKA RICHMOND : Melbourne’s New Writing Theatre SHUT DOWN BY LOCAL COUNCIL!!!!

Tobias Manderson-Galvin
Artistic Director | MKA RICHMOND
Lot 2/ 24 Tanner St, Richmond VIC, Australia 3121
+61 3 94215476 | +61 412 834 129

For many Sydney-based artists Melbourne is land of ever-green grass… (I wonder if Sydney is regarded in the same way by artists in Melbourne? Hmmm… let me know…) and MKA Richmond has certainly created a stir with emerging and established writers alike… the concept, the line up, the website – all of it- impressive… clearly the attention and talk about MKA Richmond is testament to the energy of Glyn and Tobias… and their vision to give writers a home – a physical space for discussion and for airing of work.

Are councils really that petty – especially give the context of the venue or is there more to this “shutting down” besides bizarre claims of footfall and insufficient parking? After all 44 seats is less than many house parties I have attended – surely there is something else to this? I just can’t believe that a council – especially a council in the “milk and honey” land of Melbourne would be petty and so hostile toward cultural development?

I find it interesting to think about the changes that have been made in 30 years of theatre in Australia. let’s think about La Mama – would David Williamson exist and would many of our plays have been written if La Mama was at the mercy of stringent building codes and the need to abide by all rules, recommendations of housing/commercial standards etc? Interesting to think how much our generation of theatre practitioners and artists have to fight that little bit more to have space to create and share ideas because we have inherited a fearful and conservative beaurocratic structure. (ooh I am sounding a little bit punk aren’t I?)

That being said, I reckon we are up for it. If there is a way for us to stand up for new initiatives to support writers and artists, I reckon the network is brave, bold and articulate enough to do it. I reckon the sydney Melbourne divide doesn’t need to exist when it comes to supporting writers in our country – this is a national concern – and not confined to the minute of council regulations.

Theatre people are people who love big ideas, who invest their thoughts and talent and time discussing and examining universal truths and struggles – passion, power, money, selfishness, greed – and I reckon we are the group that can stand up to this. As I mentioned, playwrights talk – as demonstrated earlier in the year with the NSW literary Awards – DON’T PISS OFF THE PLAYWRIGHTS! They are irrepressible, empowered and intelligent enough to take on any battle they deem fit.

Write an email, write a letter… request that if Richmond council want to shut down MKA Richamond, that they should at least fund a fully compliant writers theatre which Tobias and Glyn are employed on council salaries to run… if to do nothing else but save Melbourne’s reputation amongst the arts community, and maintain Sydney’s fantasy that Melbourne’s grass is greener!

I’ve been very occasional with my posts haven’t I? Tardy to say the least… you see I have wrapped up in Brand Spanking New – my major project which is at the end of every year and now we are two performances away from finishing Brand Spanking New 2010. Week 2 of the 2 week season is in full swing and has been enjoying healthy houses at the new theatre – full of punters and writers curious to see what’s on, who’s in, what’s hot!

It’s always interesting for me to hear the response from plays I programme – last week a rather rambuncious satire by Phil Spencer conjured audible gasps from audience members who found it offensive (indeed that is the point of that play – to expose our sensitivity to language and our desire for self-sensorship). This week we have another opportunity for people to be outraged by ideas with a bit of social commentary by the one and only Alana Valentine starting the show.

What is extremely important to me is the curation of the season – how one show sets the tone for another – how the experience of one idea tips us into another experience. The play order in a suite like this is just as important as the scene order of a full length play. It takes alot of thinking about – to make sure each play is best placed and well represented. That’s my job. To make everyone’s work be best placed and well represented – so that everyone knows, beyond a shadow of a doubt – that I am taking care of their work. I am taking care of them. There is nothing haphazard about this. There is method this isn’t curated based on furniture and set up – it is curated with ideas front and centre.

What is also fabulous to me is to see who turns up – which actors and which writers and directors turn up – especially writers or actors who applied/auditioned and who may not have “gotten in” this time – the fact they turn up and follow through on their interest and intent impresses me no end.. and I am more likely to cast someone who has attended one of my shows than one who doesn’t – because at least I know they are interested in my work and working with me, and that is important to me: I always want actors to want to work with me, not because they want to work – but because they want to work with me… I always feel like I need to win the actor – and this helps me want to win them!

Anyway enough from me – I; have to head to the theatre – second last show… perhaps I’ll see you there?

Here is my director’s note for week 2 –
It is a great thrill to bring to you this year’s selection of Australia’s best and brightest writers, directors and actors on board Brand Spanking New – and this year’s program is certainly a cross section of contemporary Australian writing at best- poignant, brutal, honest, terrifying and utterly fearless.
This is where theatre practitioners can dive into freshly crafted scripts, vigorous, rigorous rehearsal processes, explore character, form and genre – all on one stage – to inspire conversation and elevate us above the everyday.
In week two of Brand Spanking New, we hear the inner thoughts of Redfern locals, delve into the intricacies of teenage loyalty, forge new territory beyond Prypiat, find the light in a dark dank cave, discover things aren’t what they used to be and yearn to take a walk in the park. This is a bouquet of plays, designed to stir and surprise whilst revealing a difficult personal truth and moments of great universal reckoning put together by a team of collegiate theatre artists who are propelled by grand artistic daring and steely-eyed faith in new Australian work.
Tonight is a celebration of the brave. Our playwrights, the brilliant historians of our times. The passionate and generous directors who drive the work so selflessly. The endlessly intuitive and audacious actors who unnervingly auditioned without knowing what they were auditioning for: I am honoured to have the opportunity to showcase each and everyone of these talented and brave artists, who shape our consciousness and our theatre community.
Brand Spanking New is created by the adventurous, for the adventurous: those who are willing to break out from what they know or expect and allow themselves to be challenged, invigorated, or inspired to go beyond the safe and the ordinary into a brave new world.

Opening Wed 3rd November- Saturday 6th November 2010, 8pm
New Theatre, 542 King Street , Newtown
All tickets $22

Week Two

A Walk In The Park by Donna Abela
Directed by Vanessa Hughes | Performed by Libby Ahearn and Emma Jones

Atomograd by Caleb Lewis
Directed by Nick Curnow | Performed by Melissa Matheson and Kate Skinner

Extra Curricular by Suzie Miller
Directed by Louise Fischer | Performed by Kelly Anderson, Persia Blue, Lib Campbell, Mel Firbank, Belinda Jombwe, Camelia Mowbray, Alannah Robertson and Georgia Woodward

HereNowThenThere by Catherine Zimdahl
Directed by Jane Eakin | Performed by Kenneth Moraleda and Matt Young

Apples and Onions by Alison Rooke
Directed by Heath Wilder | Performed by Madeleine Jones and Rhys Wilson

The Importance Of Being Ernest Dragons by Alli Sebastian Wolf
Directed by Scarlet McGlynn | Performed by David Adlam, Richard Cox, Sarah Hodgetts and Corinne Younan

The Locals by Alana Valentine
Directed by Scott Selkirk | Performed by Kellie Jones and Arabella Macpherson

The Pursued, the Pursuing, the Busy and the Tired by Tim Spencer
Directed by Augusta Supple | Performed by Peter Buck Dettman and Lucy Goleby

A Reunion by Ian Wilding
Directed by Dom Mercer | Performed by Lucy Goleby, Emily Morrison, Sean Ohlendorf and Salman Shad

Creative Team

Season Artistic Director Augusta Supple
Designer Paul Matthews
Lighting Designer Miles Thomas
Choreographer Sam Chester
Composer/Sound Design Rosie Chase
Stage Manager Alexander Hayden
Assistant Stage Manager Alison Murphy-Oates
Production Coordinator Julia Lenton
Partnerships Coordinator Leigh Russell
Assistant Designer Bri Small
Photographer Leah McGirr

Photo: Leah McGirr

A huge congratulations to Sam Strong for scoring the Artistic Directorship of Griffin Theatre, at the SBW Stables!

I struggled through the door of my apartment today with a wad of window envelopes from my mail box in my mouth, brief case in one hand, my keys in the other, mobile phone wedged in the gap between my ear and my shoulder. I was on a whimsical spontaneous phone call to my parentals who are in their beach-side town 8 hours drive north from here- as my mother asks me if I knew this “fellow”who got the job at Griffith… I am puzzled. I have just come from an OFF THE SHELF rehearsal- I am hungry. Tired. Listing the things I have to do today. “Griffin” she corrects herself. “No” I said. I hadn’t heard. My throat tightens. (I thought I was so in the loop- clearly not- my mother with a newspaper in a tiny north coast NSW town proves yet again she knows more than me). “Sam Strong?” She said, as though it was the weirdest name in the world. (which is funny when you consider her daughter’s name). My throat unclenches. “Awesome” I say… and it’s a genuine relief. “He’s a great guy.” After the phonecall I open my mail- a letter inside announcing his appointment. I check my email there’s an email from James Waites with the press release attached. “Cool” I think to myself as I relax… “Griffin is is safe, strong hands.”

I don’t know Strong personally- I wouldn’t know his star sign, or if he’s vegetarian or allergic to cat hair. We are not facebook friends- but I can say this for certain: He’s a really normal guy. He’s nice. I’d trust him with a new play, a new writer, a wad of cash and one of Australia’s best loved theatre companies. In my first year of Brand Spanking New (2008) he came to the launch (hence the above photo- look at my cheeky face! ) and it was just before his wedding- he had been made Belvoir’s literary manager. Since then we have been in foyers together- and he’s always been really congenial and present- especially for playwrights.

Most impressively he was the only artistic associate/ literary manager of a major company to turn up to the NOT the Premier’s literary awards last Monday night.

I wish Nick Marchand a fond farewell – as he heads for his new position at the British Council- as I have really enjoyed his contribution to the history of Griffin Theatre and his generosity towards me… Nick’s a really nice guy. And I look forward to Mr Strong’s season ahead.

For those into press releases- here it is:
MEDIA RELEASE – May 24, 2010

Sam Strong is an award-winning director and dramaturg and has been the Literary Associate at Company B Belvoir since May 2008. Prior to that he established Red Stitch Writers, a playwriting residency at Red Stitch Actors Theatre in Melbourne (through which he developed and directed Tom Holloway’s Red Sky Morning). His production of Red Sky Morning was nominated for six Green Room Awards including Best Production, Best Ensemble and Best Direction. It won the Green Room Award for Best New Writing for the Australian stage and will tour nationally in 2010. Sam’s directing credits include David Hare’s The Power of Yes (playing at Company B Belvoir until 30 May 2010); Madagascar(Melbourne Theatre Company); Faces in the Crowd (Red Stitch); Thom Pain (based on nothing)(Arts Radar/ B Sharp); Red Sky Morning (Red Stitch/Full Tilt); Shedding (La Mama); Dogs Barking (Rubber Dog); Ashes to Ashes (fortyfivedownstairs); The Example (Fairfax Theatre); Not I/The Stronger (Pilot Theatre); Miss Julie (VCA); and Closer (The Storeroom). As assistant director, Sam’s credits include Ruben Guthrie (Company B Belvoir); Old Times (Sydney Theatre Company); and Enlightenment (Melbourne Theatre Company). As a dramaturg and script editor/assessor Sam has worked for PlayWriting Australia, Sydney Theatre Company, Melbourne Theatre Company, Griffin Theatre, Australian Theatre for Young People, The Australian Writers’ Guild, Bell Shakespeare Minds Eye, Windmill, Red Stitch and La Mama. Sam is a graduate of the Victorian College of the Arts Director’s Course and the University of Melbourne and has been admitted to practice as a Barrister and Solicitor in the Supreme Court of Victoria.

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 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