The Australian Theatre For Young People’s Fresh Ink Program is one of the most coveted playwriting programs for playwrights who are under 26. The program involves a regular series of meetings and mentorship by some of Australia’s most celebrated and experienced playwrights, and for the past two years has resulted in a showcase of monologues in the early part of the following year.

The monologues seem to be perfectly suited to potential HSC drama student’s Independent Project (Performance) – fitting in the 5-8 minute running time and conveniently appear in a slickly produced publication by Currency Press under the title of “The Voices Project”. This is a welcome gift for many HSC students as they scour books and plays for the perfect piece for their IP.

Directed by Tanya Goldberg, this collection of work is tied together under the banner of “One Sure Thing” – referring to the adage attributed to Benjamin Franklin, ‘In this world nothing can be said to be certain, except death and taxes.’ The cast (Emma Campbell, Kate Campbell, Lucy Coleman, Charlotte Hazzard, Rhys Keir, Emma Khamis, Patrick Richards, Julia Rorke) are all of comparable ages to the writers – somewhere between late high school to mid-twenties and are dressed in a uniform. They are stage hands, ensemble members and monologists – each in their own right, tackling the difficult and daunting task of solo performance of new work.

The evening starts with Alexandra Macalister-Bills’ “La Conversacion” – a phone conversation to a grieving family member back home. Perhaps one of the more problematic of the evening’s performances – an overly excited/hurried delivery and an overly inked pen. Phone conversations are tricky for a few reasons – it can trap an actor/restrict them to focusing their energy into an object, not the audience… it also makes us more curious about what we can’t hear/see than what we can. As far as story trajectory goes – we know the end will be punctuated with a “hanging up” and so there is little room for surprise – so the content must be riveting.

“The Last Post” by Sarah Gaul, is a one way conversation outside a port-a-loo and is set at a wake. The piece itself shows us some of the difficulties of death in the virtual world of social networking. Again, here we have an implied other “half” of a conversation which is unseen and unheard – and the performer has to communicate through a closed door – not an easy task especially if the subject matter is slightly philosophical, to keep the pace and energy truthful and spontaneous.

A devastating and dark outpouring of grief is next in “Ben Thomas I love You” by Alysha Herrmann. A sister expresses her grief at the death of her brother – it feels very writerly – as though a letter or a poem – but staged as a defence against a ring of bullies – which dilutes and confuses the poetry of the work. I wasn’t able to catch the full story here – and still can’t quite gasp it. Even so the stilted punctuation and the style of writing beautifully echoes the sound of someone trying to express a thought or feeling, hindered by their own choking throat.

Alice Cooper’s “The Circle of Life” is a simple portrait of a brother trying to simply explain to his little brother the death of their mother. In this piece, we have an invisible child-coerced and chided and assisted by the brother. At times very sweet, and honest, Alistair MacIntosh’s performance is very raw and casual and finishes on a quick bright end which is then amplified four-fold by members of the ensemble cast who march around in yellow Bob the Builder inspired helmets.

There is a relief that comes with Alexandra Cullen’s “Senseless” a sophisticated departure from the literal interpretation of the brief “about death” which turns it’s attention to the idea of a death of the senses – becoming deaf. Performed simply and elegantly by Kate Campbell I was fascinated from the first few moments. Cullen seemed to understand and be sensitive to the sound of words, the impact they have on the listener – doubling the tragedy of the idea of hearing loss, through it’s own act of expression. I have read and seen much of Cullen’s writing – and this piece heralds a new and sophisticated chapter in her writing – nuanced and considered.

Likewise, Carolyn Burn’s “Stick” uses its own inherent theatrical positioning to great effect. We are an audience, semi-encircling her – like that at a chronic disease help group. We, the audience are implicated in her address and it strikes home to us. Burns has balanced the writing beautifully. The tragedy of the situation, off-set and hi-lighted by humour and a chavelier sense of humour. The performance by Emma Campbell is confident and clear, she takes her time to digest our silent responses – or her own thoughts.

On a much more sinister note enters Brooke Robinson’s “Hunger” – wherein a young kitchen hand (or chef?) find that the secret to his culinary popularity comes at a very high price. I am very familiar with Robinson’s writing, and she is always ready with an intense premise and a sense of irrepressible danger – something of a self-harming or dark edge to it – and it is clear that performer Rhys Keir delights in the grit and muscle of her ideas.

Laura Hopkinson’s Prince Willy is a clever exploration of childhood boundary pushing. Elsa (Lucy Coleman) is responsible for something she didn’t expect whilst decked out in an amazing pink party dress and body glitter. This is probably a little wild dramaturgically, as the story, tone shifts but I kind of like that about it as it is in keeping with the imagination and age of the character… it’s a great set up and suspenseful as we will things to go differently for Elsa.

Georgia Symons’ work is another one sided conversation – and in this production Michael (Shaun Foley) has a visible co-conspirator who leans against a central pole, his back to the audience. It’s a dark and coercive sales pitch a monologue that is a direct request. It’s a neat and forceful piece of work, capturing the pace and energy of teenage-speak. What is exciting about this is Symons’ ability to include action in her writing and it is this which made me sit forward… a punchy and energetic story, told with relish.

Finally, Emrys Quin’s hilarious story of a medicine delivery girl “That’s What I am Now” beautifully, brightly performed by Patrick Richards. The monologue as a form of public confessional is exposed in this piece as we delight in watching the list unfurl of all the things Jaz is. Brilliant performance. Brilliant writing, and a fine end to the suit of work.

With the resourcing that ATYP provides these writers, I found it curious that all writers I spoke to on opening night seemed to have not attended rehearsals – present for the first read only and then presented with suggested cuts. The opportunity to have one’s work read, performed, directed and refined is always a delight – and flattering to a young playwright – but they should demand to be a part of the creative process in rehearsals.

Besides death and taxes, there are a few other things I absolutely know for certain – if you give a writer a time limit they will write to it (and perhaps a little over) – no-one ever under writes when promised a production… I also know that writers are very social and congenial people. On this occasion I felt that the writing was not put first – the production was. The development of the individual pieces are largely uneven. Many of the writers within this program have a substantial list of credits (residency and courses) making me ponder how substantially their writing technique was developed?

The tricky thing with this as well, is that the performances are also quite uneven – sometimes diluted by “warm bodies” on stage. If the intention is to elevate new/ young writers, more experienced actors would have added a great gravitas and nuance to the work. The power of the monologue is it’s initmacy, and I don’t think that on this occasion director Tanya Goldberg allowed the power and intensity of audience/performer relationship to speak for itself.

I hope all these bright young minds continue to investigate their own voice and style… I hope the actors continue their curiosity in new work… and I trust that ATYP will continue to develop and refine it’s program so that many more of Australia’s bright emerging writers can experience the best possible, most respectful and inclusive and inspiring program on offer.

Remounting a show is a huge gamble- the hope that people who missed it last time are in town and can see it, the hope that those who saw the original show feel such a fondness for the show they want to see a replay (like that much loved VHS tape from my childhood) or are curious to see how it has changed. It’s a gamble that the writers, the directors and actors want to see it again, want to work on it again- want to plunge their foot in the same river twice… and the risk feels huge.

Luckily for Stories from the 428, a collection of the writers, directors and actors were available, keen and generous enough to lend their time and talent- and with the help of Leslie, Naomi, Guy and Kendall at ACTT the rehearsals were sorted out- and before long everyone was back ready to jump on board and into the Fringe Festival.

But of course there are a few changes- the two weeks have been combined and refined, some of the original cast are overseas, in other shows and so there is an ensemble cast- largely made up of the original with a few fresh faces thrown in.
Some scenes have been completely re-directed- others reinstated- but the selection is fun, festive, bright and I am utterly proud of all involved:it’s an honour to work with these writers, directors and artists.

After a nail-biting preceding week, 3 hours in which to tech and dress the show with a cast of 17, 11 writers, 5 directors and a crew of 2- the opening of (Selected) Stories From the 428 last Saturday was amazing. The audience full, the laughter loud, the applause generous… Three more shows to go (this weekend) before the show is put to bed.

The dates and times:
Saturday 18th Sept 5pm
Sunday 19th Sept 2pm*
Sunday 19th Sept 8pm

*please note this performance will not include “Baby Doll”

Bookings:
$24/$20 + Booking Fee
http://thesydneyfringe.com.au/shows/stories-428
http://sa2.seatadvisor.com/sabo/servlets/TicketRequest?eventId=100201510&presenter=AUCENTURY&venue=&event=FR428
02 9550 3666

I look forward to seeing you there!

(Selected) Stories From the 428
Bethlehem
Written by Kit Brookman, directed by Augusta Supple
Performed by Jan Langford-Penny

Story 2
Written by Lexi Freiman, directed by Scott Selkirk
Performed by Lucy Goleby, Luke Carson, Lib Campbell, Daniel Fischer

You Are Here #1
Written by Alison Rooke, Directed by Zoe Carides
Performed by Bridgette Sneddon and Felix Gentle

She
Written by Matt Edgerton, directed by Louise Fischer
Performed by Daniel Nemes and Kailah Cabanas

Playlist
Written by Sime Knezevic, directed by Glenn Hazeldine
Performed by Stephen Peacocke

Baby Doll
Written by Joanna Erskine, directed by Ngaire O’Leary
Performed by Maggie Blinco and Alan Faulkner

Oliver Twist Is…
Written by Donna Abela, directed by Scott Selkirk
Performed by Melissa Hume, Daniel Nemes, Luke Carson, Lucy Goleby, Daniel Fischer, Lib Campbell

Clean Skin
Written by Matt Edgerton, directed by Louise Fischer
Performed by Matt Charleston

It was raining all afternoon…
Written by Kit Brookman, directed by Augusta Supple
Performed by Lucy Goleby and Stephen Peacocke

An Advertiser’s Dream
Written by Brooke Robinson, directed by Augusta Supple
Performed by Kailah Cabanas and Julian Ramundi

Mastadon Special
Written by Patrick Lenton, directed by Ngaire O’Leary
Performed by Matt Charleston, Jan Langford-Penny, Lucy Goleby, Lib Campbell

You Are Here #2
Written by Alison Rooke, Directed by Zoe Carides
Performed by Bridgette Sneddon, Felix Gentle, Julian Ramundi and Helena Stamoulis

No Rides Left
Written by Jasper Marlow, directed by Louise Fischer
Performed by Lib Campbell, Luke Carson and Matt Charleston

The 428 Song
Lyrics by Tahli Corin, music by Rosie Chase, directed by Augusta Supple
Performed by Luke Carson, Julian Ramundi and Toby Villis

Earlier this year, a group of playwrights, directors, crew and actors came together to create a project inspired by Sydney’s transport system. A suite of plays were presented at Sidetrack theatre- a different suite each week for two weeks celebrating the bizarre, fantastical, romantic, infuriating Sydney Commuter experience. With a total of nearly 100 artists on board- nearly 1500 people over 10 performances enjoyed the fruits of their labours. Six months later, most of the directors and an ensemble cast have come together with a selection of the scenes from both weeks, culminating in a new show- full of surprises! If you missed it- this is your chance!

The premise is simple: A group of award-winning and emerging playwrights have collaborated to create a unique show inspired by conversations, scenes from the bus window, overseen text messages or perhaps the person sitting across from them on the 428 bus from Circular Quay to Canterbury. And the best thing is- you can catch the 428 to the show as it stops outside Sidetrack Theatre.
Supported by Queen Street Studio, New Theatre, Actors College of Theatre and Television (ACTT), a selection of Scenes from Stories from the 428 has been curated as an official selection of the Inaugural 2010 Sydney Fringe Festival this month.

Directed by: Scott Selkirk, Glenn Hazeldine, Ngaire O’Leary, Louise Fischer, Augusta Supple, Zoe Carides.

Written by: Sime Knezevic, Joanna Erskine, Patrick Lenton, Donna Abela, Matt Edgerton, Lexi Freiman, Brooke Robinson, Tahli Corin with Rosie Chase, Kit Brookman, Jasper Marlow, Alison Rooke

Performed by: Lucy Goleby, Stephen Peacocke, Maggie Blinco, Alan Faulkner, Jan Langford-Penny, Lib Campbell, Luke Carson, Matt Charleston, Daniel Nemes, Melissa Hume, Kailah Cabanas, Julian Ramundi, Bridgette Sneddon, Felix Gentle, Helena Stamoulis,Toby Villis

Creative Producer: Augusta Supple, Sound Designer: Jeremy Silver Lighting Designer: Miles Thomas, Graphic Design: Tim Andrew, Publicist: Julia Lenton, Web Construction: Grant Moxom, Stage Manager: Alison Murphy-Oates

Performance Dates:
Saturday 11th September at 8pm
Sunday 12th September at 8pm
Saturday 18th September at 5pm
Sunday 19th September at 2pm
Sunday 19th September at 8pm
Tickets: $24/$20 + Booking Fee
(02) 9550 3666
www.thesydneyfringe.com.au/shows/stories-428
www.storiesfromthe428.com

” Stories From The 428 is shaping-up as a cult phenomenon. Audiences have been overflowing; generous with applause, laughter and, where appropriate, mesmerised silence.” – lloyd bradford syke www.australianstage.com.au

“The very idea of bringing so many theatre artists together, established and emerging, is fabulous enough. But the fact that so much of the work was good makes the event truly special… and has led to delightful results.” James Waites www.jameswaites.com

“Each scene finds little joys and tragedies in the commonplace; it is a meditation on the private within the communal, and variation within routine. ” Vivienne Egan www.timeoutsydney.com.au

Last Saturday night, under a clear dark blue sky, fifty people stood on the street in Chippendale, waiting for the latest showing at Queen Street Studio to start. Busy talking amongst themselves, it took a while for the audience to notice the elephant walking towards them- holding a sign which said:

“4am”

and another that said

“Follow Me”

We made our way en masse under the roller door of Studio 10- into a new world. Or a familiar world re-invented by the artists within.

I have been working with Queen Street Studio since early 2009. Queen Street Studio is a member-based, non-profit organisation which provides studio space run by artists for artists and is a response to the lack of affordable and appropriate space for artists in Sydney to practise their craft. The studios are managed by local artists Sam Chester (Choreographer) and James Winter (Theatre Director) who are supported by a Board of Management made up of industry peers. The organisation manages FraserStudios; a new multi-disciplinary art space for Frasers Property. Located at 10-14 Kensington Street, Chippendale (3-minute walk from Central Station), the FraserStudios facility includes: Studio 10: Space for meetings/seminars/launches/arts-business, Studio 12: Non-commercial exhibition space for visual artists, Studio 14: Rehearsal studio for performing artists and very soon to be opened, the freshly re-floored/renovated Heffron Hall. (By the way- if you want to get an exclusive invite to the Heffron Hall opening, send a donation towards the renovations to :http://www.queenstreetstudio.com/support.html and be a part of history!)

In addition to providing affordable rehearsal space, Queen Street Studio produces training programs for Sydney’s independent performing arts community as well as residency programs for both the performing and visual arts sectors, Supported by the City of Sydney. Blueprint to is the latest addition to Queen Street Studio’s programs to support emerging artists and was designed in response to groups of devisors sending in applications to Off the Shelf- Queen Street Studio’s script Development hothouse. I felt that the devisors needed their own mini residency- to test ideas, to focus on developing relationships with other artists.

Though out the residency artists were mentored by TK Pok who has a huge amount of experience in the development of devised work. For me it was really important to offer the artist a “phone a friend”/ out side eye option, should they need it – to provide them with additional support during the creative process- and also to remind them- that a showing is not a make or break, it is not the end point of anything- it is a beginning just as much as it is a deadline. The three groups were left to their own devises and resources to make something in the space… and the they did- three pieces emerged- distinctly different- utterly unique and all three embracing spontaneity and reacting to the space.

The residency encouraged artists to apply with a view of creating a site specific devised work at FraserStudios. They could choose from Studio 10, 12 or 14- and had to write a proposal outlining their ideas and process. Open to groups and individual performers from all backgrounds and disciplines, Blueprint aieds to provide emerging artists with time and space to develop their practise and artistic enquiry. More information about the program can be found on the Queen Street Studio website:
http://www.queenstreetstudio.com/blueprint-residency.html

Here’s a little summary of the works:

In Studio 10: ‘Ebony and…’
Through our month long residency we started to play around with a few ideas that came out of our response to the studio space, as well as additional secondary source material that was brought into the room during rehearsals. We have experimented with how movement, text, photography and sculpture can interplay to create a piece of live performance in this specific site. What you will see tonight is a fragment of what may go on to be developed into a durational multi-site specific work in the years to come.
Artists: Scarlet McGlynn, Phil Spencer, Brooke Robinson, Gemma O’Nions, Glenn Judd

Studio 12: Have you ever wanted?
The project will be an opportunity for artists Huw Lewis and Jacqui O’Reilly to explore an interdisciplinary enquiry, expanding the limits of particular fields of practice. A ten-minute performance will be devised from this exploration. Two sensibilities, male and female, and the traction of psychosocial engagement will inspire themes implicit in the works. These themes will include desire, rejection, ego and apathy. A range of ‘real time’ preparatory explorations, based on exercises learnt from Rosie Dennis at her Permaculture Workshop in 2009, will form part of the creative process of the project. Designing sound parameters will also be involved to treat vocals used in the performance. The use of masks and costumes will be explored in the rehearsal space.
Artists: Jacqui O’Reilly & Huw Lewis

Studio 14: Discarnate
‘Discarnate’ explores the latent sounds of the historic Queen St Studios building through the metaphor of ghosts. We were to adopt the personas of ‘mediums’ that would listen, channel and record sounds manifest by our presence and actions in the site. The passivity of listening soon gave way to a desire for action, to create rhythm, melody, and even suggest at narrative. In a cyclical structure, action is recorded via its sound trace, which is then overwritten by present action. Initial action exists as its trace, but contends with subsequent traces that accumulate in a multitudinous history speaking all at once of the past from the point of the present. The title ‘Discarnate’ is contradictory, as the piece is generated through the bodily action of performers, yet fitting in referring to the two-fold definition of performance as both present action and it’s subsequent existence through its traces. The aesthetics of the work were influenced by the industrial history of the building and the horror genre
Artists: Amy Wilson & Megan Garrett Jones

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.

In eight days time, Sidetrack Theatre will be hosting the first week of Stories from the 428. In under 3 months, two groups (a cluster perhaps?) of 8 writers will have created two full length works – which have been auditioned for by 150 actors, rehearsed by 8 directors and finally staged at Sidetrack Theatre, in the Addison road centre…

Largely this has been a playground for theatre practitioners: writers- given permission to write hatever they want (to a maximum of 12 minutes) and know that whatever they offer, will be staged. Directors- given actors, time, space and scripts with which to work. Actors- given a chance at being a part of an exclusive Australian premiere. Designers- given the chance and the challenge to create for 32 vignettes…

Over the past 6 weeks, I have been asked “where did the idea for this project come from?” and “what’s it about”… to which I take a deep breath and reply- community.

It seems as though the more tools we have to keep in touch- mobile phones, texting, email, facebook, internet- the harder it is to feel well and truly connected to people. As the tidal wave of technology swells, and the immediate heat of someone else’s presence subsides and is substituted for the blue glow of a computer screen… However- it is a truth that I hold with both fists- that ultimately all humans- regardless of faith, background and politics yearns to be loved and understood. We need each other- we want to be around and with each other- because it gives us something to respond to. Something to think about. Something to learn. People seek to teach and seek to be taught by each other- we yearn for a connection or a connectedness that reassures and reminds us- we are not alone.

To best explore this notion, this project has a two fold approach-
Firstly, it seeks to create a collegiate space within which writers and directors work together, sharing cast and resources. It seeks to create a realm wherein all crew are valued for what they bring to the community of artists- and a keen awareness that without anyone person working on a show- we are weaker. 428 would be nothing without Gavin Roach as sponsorship coordinator- it wouldn’t be lit without Miles Thomas, nor would people be rehearsing and scheduled without Alison Murphy-Oates. There would be movement but no sound with Jeremy Silver, No one would have an image to associate with it- if it wasn’t for Karolina, no one would have heard of it without Julia Lenton… without PJ Gahan at the helm- I don’t know what we would be doing… and without the tenacity and designs from Gemma-Lark Johnson- the stage would not be set. And without Leah McGirr- no proof that any of this ever happened. This is the crew and creatives that have created a community- taking care of each other, the show and the to-do lists.

Secondly, this is a show which reaches out into the community to say, that local is wonderful, inspiring- that the everyday is important and sublime- that theatre isn’t for the lucky, the rich nor the recent art school graduates- it is for everyone- and it is as simple and honest as telling a story about where we live- how we feel- what we think- what we yearn for- what frightens us- what annoys us… this is a snapshot of the community which thrives along the artery of the 428 bus route.
This is a reaction to the life and times of where we are- it is a reflection, a response, a fantasy and a re-telling… which says to all – “you are not alone, you are not invisible, you are apart of my community whether you know it, want it, like it, or not.”
Week 1 is stunningly beautiful, quirky and surprising- check out the work from:

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

The Directors: Zoe Carides, Glenn Hazeldine, Augusta Supple, Ian Zammit.

The Cast: Anna Lise Phillips, Rob Jago, Stephen Peacocke, Emma Jones, Jan Langford-Penny, Brendan Hawke, Leo Domigan, Felix Jozeps, Bridgette Sneddon, Julian Ramundi, Suz Mawer, Amy Kersey, Jovana Miletic, Kailah Cabanas, Felix Gentle, Adam Demos and Helena Stamoulis

Go to the theatre- embrace your community- experience something completely new and unexpected- go on… can’t be as bad as waiting for someone to “like” something on your facebook page…

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 premise is- I take 8 playwrights at a time on the 428 bus from Circular Quay, through the city, through Newtown , Marrickville and Canterbury in Sydney’s Inner West- as a point of reference for their writing. Their writing is then discussed in a collaborative way around table and read out for their fellow writers to enjoy and be inspired by. Then another bus trip is taken and the playwrights meet again to discuss their work. Out of this process approx 60-80 minutes of performance script is developed, rehearsed and produced at Sidetrack Theatre.

This project is about the joy of writing, finding everyday people/public situations a source of inspiration and creative invigoration.

Getting this show on the road (so to speak) is a marvellous one- and fairly exciting one too! I have been well caffeinated by the lads at Buzzzbar in Newtown during this experience of meeting playwrights and directors.

Originally conceived as a one week season for 8 writers to collaborate- this project has blossomed due to the interest, passion and curiosity of Sydney’s most vibrant writers. This project has now expanded to two weeks of two hour-long works (8 writers per week) with a mixture of emerging and established writers. Although I can’t yet announce the directors (there will be 4 directors , directing per week) I can announce the writers:
Donna Abela, Vanessa Bates, Kit Brookman, Rebecca Clarke, Tahli Corin, Matt Edgerton, Joanna Erskine, Lexi Frieman, Noelle Janaczewska, Sime Knezevic, Patrick Lenton, Ned Manning, Jasper Marlow, Lachlan Philpott, Brooke Robinson and Phil Spencer.

This is a collection of truly inspiring and lovely people- their voices are unique and diverse and hail from a wealth of experience- I am truly honoured to have them on board.

I’ll keep you posted on more as this project develops:

4 Directors/ 2 Weeks/ 8 Writers= Stories from the 428