
We are a week into November… and you may have heard of a word whispered in foyers, or “liked” on facebook… and you may have thought, WTF is Novemberism? And why is everyone talking about it? more…

We are a week into November… and you may have heard of a word whispered in foyers, or “liked” on facebook… and you may have thought, WTF is Novemberism? And why is everyone talking about it? more…
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Last year, the NSW Premier made a terrible mistake. Terrible. The decision was made not to award a literary award for playwriting. Terrible. And yet… wonderful. more…

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. more…

Since April, I have been reading, researching, approaching playwrights… It’s what I spend most of my time thinking about… I talk to them, I read plays, I see plays, I hang out at playwriting courses… I see readings, I hold readings… all in the name of BRAND SPANKING NEW. more…
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A fading August afternoon. Wednesday. I’m in my coat. It’s cold. Hands in gloves. Waiting. Standing in the terrace of Nimrod Street.
It’s been a big day. meeting with directors, potential directors, reading scripts submitted by aspiring playwrights, thinking about the Griffin Award.
I had just finished talking to an emerging writer about the director who is interested in working with her on her script, when I arrived for a coffee at the Tropicana. I ring another playwright. She’s lovely and I tell her I love her script. I’ve been reading for three weeks solid. I have started to get emails from playwrights assuming bad news- I delay them with a kind “not yet”. There have been lists of to-do’s. I’ve been spending all my time thinking about playwrights, producing playwrights, directing, dramaturgy. These thoughts swarm. I am simultaneously inspired and honoured by the hugeness of what I don’t know- what I haven’t seen- what I haven’t read of Australian playwriting. And Australia is only two hundred years or so old- at times like these I’m glad I am not Greek. Three thousand years of catching up of playwriting- sheesh! more…
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A flurry of text messages had been flying around. “Did you hear some playwrights have decided to hold their own night on Monday? Are you going?” “Are you going to the playwright’s thing?” “How do I RSVP?” In the past few weeks, I had been casually thumbing through newspapers at cafes when waiting for my coffee, to see if and when and how the topic of the absence of a play shortlist for the 2010 NSW Premier’s Literary Awards had been noted. Not really… one article from Bryce Hallet:
http://www.smh.com.au/entertainment/books/playwrights-snubbed-by-award-judges-20100516-v6aa.html and this one from Marc McEvoy http://www.smh.com.au/entertainment/books/playlist-for-judges-in-search-of-a-premier-shortlist-20100412-s413.html
No response from Kristina…
more…
Straight from the Horse’s Mouth | Autobiography in the theatre
November was a busy month. Lots of shows on. Lots to direct. Lots to see. And amongst that was Novemberism -a brand new festival for playwrights that seemed to pop out of nowhere, containing a collection of collectives, writing opportunities and conversations. On one of the many Saturdays of Novemberism, I struggled in the swelter of a slow-to-start summer to The Old 505 Theatre. I went in search of a panel discussion on Auto/biography in theatre, hosted by John McCallum and with contributions from Kate Mulvany (The Seed), Rebecca Clarke (Unspoken), Noelle Janaczewska (Good with Maps) and Phil Spencer (Bluey). more…