The Sydney Fringe is here – a time of wild experimentation – of DIY enthusiasm – of bizarre artistic occurrences and disoriented punters muttering “what did I just see?” It’s an opportunity for the grass roots, emerging and established alternative arts, independent arts and hybrid arts to throw themselves into venues, coax audiences to relinquish their cash and take a chance.

Not all of the Fringe is a series of meaningful self-devised monologues by recent acting graduates, some shows are a little more established than that. One such show is Baby with the Bathwater by American playwright Christopher Durang, directed by Andrew Johnston.

So declarations up front – I have previously enjoyed AJ’s directorial work of Jasper Marlow’s first full-length play Zetland which debuted at Sidetrack Theatre as a part of the Fringe 2010 – he has also been a part of BSN and I’ve been a fan since I met him- he’s a nice guy. Also I have directed Michael Howlett and known and adored him for several years, and Amy Kersey was a part of BSN and Stories from the 428. I am also somewhat familiar with Durang’s writing having directed a piece for Hotseat Theatre in 2008. I am also very sympathetic to the limitations of The Sydney Fringe – a 4 hour tech time, limited resources etc – and really any Fringe production really is the success (or failure) of the artists you see – they are the one producing and mounting the project often with no financial support and very little resources.

Written in 1983, Durang’s Baby with the Bathwater is essentially a play about how children are inextricably damaged by their parents – who are inadequate but well meaning. The blurb reads like this:

“Some people are ready for parenthood.
Some stay behind the refrigerator.

John and Helen have just brought baby into their home. John is unemployed. Helen wants a divorce. Baby won’t stop crying. Nanny arrives and commits adultery. Cynthia brings her hungry Alsatian. But what does it all mean for baby? Will it spend its whole life thinking it’s a baked potato? Will it ever finish its essay on Gulliver’s Travels?
Baby with the Bathwater is fast-paced, witty, noisy and colourful. An absurd and brutal comedy satirizing the anxieties that come with the responsibilities of parenthood.”

The story itself is neatly bound between two bookends of new baby arrival, and is a tidy 90 minute no-interval farce tracking the life of Daisy (Brendan Maclean). And the magic is watching the effervescent acting of Julia Kennedy-Scott as she guides/terrorises Daisy and his well-meaning deeply flawed parents (Michael Howlett & Amy Kersey). We are taken on a journey where too much is said- too much subtext revealed – where emotions swing and errupt like caustic boils and then are soothed with a smile or a memory. The power of Durang’s writing works best in unsignposted, spontaneous eruptions that surprise even the speaker – and then are ignored. The comedy comes from the rapid fire confessionals and brutal actions. It is the cartoonishness of Howlett and Kennedy-Scott which upholds this style of writing most convincingly – and we bounce and collide with our own unease at being voyeurs of this psychological inconsistency. Kersey is at her best in the park scene as we see the spontaneous ferocity overwhelm Helen.

This comedy works best rapid fire – it’s farce after all. Disturbing black comedic farce. It’s about pace.

The production itself is staged in a rudimentary way – this is not high art and not meant to be. It’s basic and clear and entertaining because the material is interesting (despite it’s age). Johnston has done a mammoth job reigning in the show within the limitations of the festival setting – and I am sure the lengthy transitions will iron out beautifully through out the run. Additionally there are some genuinely bold and bright moments from the cast who require huge stamina to maintain the pace of the work.

If you are looking for an entertaining night out, Baby with the Bathwater is probably your safest bet at the Fringe. And if you don’t know Durangs writing, check it out. It’s wildly erratic and imaginative, deeply confrontational and difficult comedy.

At the end of each year, the Sydney Theatre Critics Circle announce their award nominations for the year. I am not in the Sydney Theatre Critics Circle, but I think it is valuable to look back in order to look forward.

I don’t offer awards – or “winners.” I find it nearly impossible to claim that something is “the best.” How can one assert who is better – Whitely or Turner or Van Gough or Monet or Koons or Kippenberger? How can one possibly rank Ravel, Puccini, Liszt, Bach, Satie? I can’t, I would be lying and so I simply refuse.

For those keen to find out what was included in the STA nominations you can check them out here: http://www.sydneytheatreawards.com/2010.php

Earlier last year I was invited along to see a week’s worth of short plays at Short and Sweet. I thought I had been invited as “industry” just to check out the talent of the participants as a polite FYI. At the end I was asked by the organizers to vote as an industry judge. I balked. They smiled at me. I felt the need to be polite – after all I have just taken 2 tickets to look at their work and perhaps this was the charge of the free tickets. My pen hovered… and hovered and flitted between all the plays listed on the slip of paper… I felt sick. Stomach churningly sick. I marked something arbitrarily. I handed it in… I took three steps onto the street. Stopped. Apologized to my theatre date. Ran back up the stairs and asked for the slip back. Narrow eyes squinted at me as I marched back in and I was asked “don’t believe in competition, huh, Gus?” I said something to the effect of “No. It feels wrong, I’m sorry. I think each piece and each artist has something to offer. I’m sorry, I can’t do this.” The paper was thrust back at me, I was then ignored, and I left lighter and happier.

I see a lot of shows – or it feels like I do and I try to. There are large holes in my theatre going where I’ve been in rehearsal or had a show of my own on and so my list of acknowledgements may not echo other reviewer’s acknowledgements… though there maybe a ven diagram in there somewhere.
I know how difficult it is to get reviewers along to your shows: I haven’t had any of the STCC attend my shows and I have been working for 10 years in the industry and have provided platforms for over 509 artists in the last 4 years. I don’t produce, direct or write for the acknowledgement of critics – and I sincerely hope that no one really does. I hope that people make work to answer a question in themselves or in the outside world that needs answering.

I have formulated this list as a means to remember those live experiences I have participated in this year (outside of my own practice) that has moved, delighted, transformed or entertained me as a punter. This is a list of art that made me feel or think differently about what I do, who I am, how I feel, what I want. There is no best… there is a list of “thank you for your work.”

One Person Shows
The Pitch | Darlinghurst Theatre
Death In Bowengabbie | Arts Radar
Under Milkwood | Bambina Borracha
Bouganville Photoplay project | Version 1.0
Angela’s Kitchen | Griffin Theatre Company
Henry Rollins | Enmore Theatre

Children’s/ Youth Theatre
Midnite | New Theatre
The Book of Everything | Company B, Belvoir St Theatre
The Magic Hat | Drop Bear Theatre
Insert title here | Shopfront Theatre Junior Ensemble

Imports
Hamlet | Sydney Festival
Oedipus Rex | Sydney Festival
Waiting for Godot | Sydney Opera House
11 & 12 | Sydney Theatre

New Australian
Anna Robi and The House of Dogs | Tamarama Rock Surfers
Death In Bowengabbie | Arts Radar
Bang | B Sharp
Quack | Griffin Theatre Company
The Sweetest Thing | B Sharp

Devised
The Fences | Urban Theatre Projects
Nyuntu Nglai | Big hArt
The Folding Wife | Performance Space
We are Skating on Very Thin Ice | UNSW Students
A Distressing Scenario | Version 1.0 & B Sharp

Residency programs/showings
YAK Showing | Shopfront Theatre
Blueprint | Queen Street Studio
Unsettilngs | PACT impact ensemble
Together Alone Alone Together | Shopfront Artslab
ATYPs Under The Wharf Program

Dance & Cabaret
Smoke and Mirrors | Sydney Festival
Happy as Larry | Sean Parker
Stockholm | Sydney Theatre Company

Music
Faith No More | The Hordern Pavillion
Australian Rock Symphony | The State Theatre
Nigel Kennedy | Sydney Symphony Orchestra
Harmony from Heaven| Sydney Symphony Orchestra
The Grimm Brothers | Home Brew Festival

Fringe
Death In Bowengabbie | The Old Fitzroy Hotel
Cronic Ills of Robert Zimmerman | The Old Fitzroy Hotel
My Private Parts | The Sydney Fringe
Zetland | The Sydney Fringe
One Thumb Out | The Old Fitzroy
The Cauliflower Homicide: A Love Story| The Sydney Fringe
The Hideous Demise of Detective Slate | The Sydney Fringe

Readings
Bison| Lachlan Philpott
Belongings | Rebecca Clarke
Kicking Down the Doors | PlayWriting Australia
Griffin Award won by Aiden Fennessy | Griffin Theatre Company

Brave work by Emerging Artists
Crave & Lots Wife | Dir, Felicity Nicol & Carolyn Eccles
Orestes 2.0 | Cry Havoc dir. Kate Revz
Alaska | Under The Wharf dir. Janice Muller
Bronte | Under The Wharf dir. Paige Rattray
Fat Boy & Electronic City | New Theatre dir. Scott Selkirk & Ngaire O’Leary
The Colour Blind Short Play Festival | Josipa Draisma & Stephanie Son

Independent Company
The Seagull | Siren theatre Company
Bug | Griffin Independent
Macquarie | Buzo Company

Talks and Forums
Damage The Collected works of John Romeril
The Philip Parsons Lecture 2010 by John MacCallum
So you Want to be a Broadway Producer by John Frost
Not the Premiere’s Literary Awards by NSW playwrights at The Raval

Artists to watch who debuted/made a splash in 2010
Lucy Goleby (Actor)
Megan Holloway (Actor)
Jasper Marlow (Playwright)
Ngaire O’Leary (Director)
Paige Rattray (Director)
Felix Jozeps (Actor)
Luke Carson (Actor/Playwright)
Sarah Hodgettes (Actor/Playwright)
Alice Cooper (Performer)
Clara MacDermott (Performer)
Dominic Mercer (Director)

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.

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

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

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

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

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

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

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

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

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