In the corner of a room, floorboards. An armchair. A rug. A shelf with a CD player, books and sketch books, paintbrushes. A short bookshelf of books, an easel. A few pencil sketches taped to the wall. Suggestive of an artists house.

Within moments a woman enters, she’s sneaking in. Checking the place out. She hurts herself on the furniture, coughs out a curse word and before too long she’s naked, making herself at home. And so it begins.

Shortlisted for the 2010 Rodney Seaborn Playwriting Award, Tahli Corin’s One For the Ugly Girls has had one previous outing, of sorts, with a reading hosted by Parnassus Den in August this year. I wasn’t able to attend that night as I had been completely stopped in my tracks by a mystery illness. I have not read the script, nor had heard anything about it – except a brief conversation with Tahli about the title – and I agreed with her, it’s a good title. So no prior knowledge about the script. In fact, I don’t think I even really read the synopsis.

The story follows Alistair (Patrick Connolly), a painter of some reputation, who is trying desperately to hold onto the memory of his long term muse – his wife – who has recently passed away. In an attempt to be inspired, he turns to the internet and orders a model to assist him. But Claire (Alice Ansara) is not really much like her internet profile, in any way.

The ideas in the play are good. The cast firmly in each moment of the play. The production humble. And that’s ok with me. I like humble. Infact I think indicative design can be enough. Especially with the production of new work. Perhaps I believe too much in Grotowski? But I think content is king and the play’s the thing.

There’s much to admire about Tahli Corin’s writing. She is not afraid to write about love and questions matters of the heart. I loved Bumming with Jane which I reviewed many years ago when Tahli debuted her writing in the 2008 B-Sharp season (you can read my response here). Her female characters in particular are openly vulnerable, but strong and funny – she writes conflict in which people don’t back down.

In a playwriting culture so obsessed with readings and developments, it is wonderful to see work which is up and out and on. As John MacCallum had said at one of the Novemberism Panel discussions, the 505 Theatre reminded him of his early theatre going days – a testing ground. And indeed that is what Novemberism is intended as – a place for playwrights to test work. And to test themselves and their ideas. And this production was produced very much in that spirit – with a firm DIY factor about it – energetic and gleaming with enthusiasm. Sometimes, as a writer, you can only answer the questions you have about your work when it sits infront of an audience.

I believe that audiences and productions (not just workshops or readings) develop playwrights. It makes them lift their game. Especially when there the thought of someone paying $30 for a ticket.

Corin’s Novemberism offering, One for the Ugly Girls is a testament to her passion and curiosity. There she sits with a tower of coloured hats on her head – producer, director, playwright, festival curator, box office staffer, new work advocate, Novemberism MC and marketeer.

And all I can says is “Wow.”

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?

I’ll answer that in a second…

But here are some interesting questions to consider –

What happens to playwrights when they are stuck in the eternal purgatory of developments? Do they actually develop as writers?

Is the act of sitting down and writing a play, enough?

What are the forums and opportunities writers need to develop dramatic writing?

What makes writing for theatre such a difficult and specific artform? What DO playwrights need?

The answer to many of the questions surrounding the challenges of creating new work and (as far as I’m concerned) developing playwrights is produce, produce, produce. It is not an act of theatre until someone sees it. And so the most valuable tool a playwright can have is to see and hear their work in front of an audience.
And this has been a wildly contentious issue.

Whose responsibility is it to foster, nurture new Australian writing?

Is it possible for a playwright to make a living in Australia?

There has been a bit of movement in the theatre community in recent times – where playwrights are gathering strength in their songs by forming choirs of voices to battle the industrial difficulties of culture creating and perpetuating in theatre.

Some major incidences which have been points of contention OR reasons to celebrate include:
* The non-awarding of a NSW literary prize for playwriting due to the decision being “too hard” to judge.
* The statistic of new Australian work staged by Mainstage theatre companies hovering around 11%
* the creation of Australian Women Playwrights Online – a forum for the mobilisation and vocalisation of female Australian playwrights.
* ISM hosting The Playwright’s Muster at Griffin
* The Richard Burton Award refused on the basis that there were no outstanding plays on offer for the Black Swan Theatre Company’s 2012 season.
* The rise and rise of prominence of projects by 7-On Playwrights.

With this in mind, ISM have created Novemberism – a festival for playwrights by playwrights. When I heard of this pro-active launch forward, how could I keep away? NOVEMBERISM – created by emerging playwrights collective ISM – which was primarily set up as a platform to show two new works – Tahli Corin’s One for the Ugly Girls and Kit Brookman’s Heaven and now the project has grown to include readings of plays, forums, open mic nights, theatre trivia, a writer’s room, a writer’s collectively devised project.

It’s basically a safe space for writers – to come together, talk, write, listen, learn, celebrate – get inspired or get connected.

What happens to playwrights when they are stuck in the eternal purgatory of developments? Do they actually develop as writers? Is the act of sitting down and writing enough? What are the forums and opportunities writers need to develop dramatic writing? What makes writing for theatre such a difficult and specific artform? What DO playwrights need?

The answer to many of the questions surrounding the challenges of creating new work and (as far as I’m concerned) developing playwrights is produce, produce, produce. It is not an act of theatre until someone sees it. And so the most valuable tool a playwright can have is to see and hear their work in front of an audience.

At NovemberISM:

THIS WEEK (Nov 7-13th), One for the Ugly Girls continues, and is joined in the late sessions by I Contain Multitudes, a collection of short monologues, fresh off the pen from 7-On and directed by Augusta Supple on Fri 11 & Sat 12 at 9pm.
Sunday 13th from 3pm there will be a double bill reading of Philip Kavanagh’s Plain Jane and Tim Spencer’s You show me yours I’ll show you mine.
The Old 505 Theatre (505/342 Elizabeth St, Surry Hills) is a bit of hidden gem, and only seats 30, so it’s really important that you jump in and book for Tahli and Kit’s very limited seasons through Moshtix. Everything else is free or by donation, so that you can sit through for a double-bill and keep coming back again and again throughout November without going broke. Please check out the Getting There page on our website so you don’t get lost! www.novemberism.com
We won’t lie, making this happen has been beyond immense, but we have a tingly tangly feeling that this is going to be a really special month.
Come play!
ISM xo
(Tamara Asmar, Kit Brookman, Rebecca Clarke, Tahli Corin, Joanna Erskine, Rick Viede)

It’s only on for November…

If you care about new Australian writing/ want to get connected or inspired/ see new new new fresh new work/ I recommend you get into it…

www.novemberism.com

As it gets to the narrow end of the year, it’s not surprising that I seem to be dipping into moments of introspection and retrospection – as I gear up for production – namely Vanessa Bates’ The Night We Lost Jenny and Alana Valentine’s The Sex Act for the season of Women, Power and Culture – and Platonic a site specific work by Playwriting Collective 7-ON.

After a massive 2010, 2011 has been a time of finding balance and scale. It’s been a conscious time of rest… I have often reassured my dear actorly colleagues that waiting and inaction can be a wonderful and nourishing thing. And this year has been a time of walking my talk. I needed some time to think about what it is I do… what it is I offer… who it is I am… and what is most important to me.

It is wonderful to see so many around me forming collectives, creating playreadings, dreaming up productions and the onwardness of the industry, especially I regards to playwrights and playwriting at the moment is nothing short of inspiring. In particular Tahli Corin and Josh Tyler’s new podcast called The Process http://theprocesspodcast.com/?page_id=116 and also a new writing Month (November) hosted by ISM at the Old 505 theatre in Surry Hills… there’s a lot on and happening in Sydney… in fact, I reckon if you are a writer, it’s pretty much the place to be.

This year has also seen me encounter a lot of rejection. A lot. Grants, literary jobs, residencies… and all I have accepted with a shrug and a smile and a small sense that perhaps I wasn’t the right fit, it wasn’t the right time. I’va also been offered lots of things – jobs, projects, plays that I have ended up releasing myself from for much the same reasons. I’ve received a lot of “NOs” and I’ve said a lot of “NOs”… and it’s all in the balance.

Sometimes, the decision to say NO… or to receive a NO can be brutal. When a NO happens especially to something you really want, or need or feel perfect for, it starts a wild and unrelenting philosophical interogation – AM I A HACK? IS THIS THE UNIVERSE TELLING ME I’M CRAP? WHAT’S WRONG WITH ME? It is after a few moments of this line of thinking that I stop. Make a cup of tea. Breathe. And relax. Because it really is an opportunity to stop and reflect, refine my thinking and start again.

But there is a slight identity crisis that happens. What am I doing? What should I be doing? Am I doing too much of the wrong things. Am I destined to be a jack of all trades, master of none. Should I aim to be the next Lee Lewis?

I recently applied for a residency – and below is my application. I didn’t get it. The interview was fine. There were some questions I thought were a bit weird and that I’m sure my honesty inhibited all chance of me being accepted – but you know what? I can’t be other than what and who I am. I don’t have a five year plan – I have a 20 year plan. But the important thing about this rejection was the application – the chance for me to write and define my thinking about what it is I do, who I am and what excites me.

And for that I am grateful.

So here is my response to the question: “Who are you, what do you do, tell us about your artistic practice…”

My name is Augusta Supple.

The short answer is perhaps this –
“I am Augusta Supple and I do what I can.”

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.

Around my neck hangs a necklace weighted by a small silver spiral – a gift from my designer and dear friend in Canada who gave it to me from her travels in the States. It’s a Hopi Indian emblem signifying destruction and creation as the one act. And this speaks largely to how I think and what I believe – something that Newton also knew (his third law, I think) – that “For every action there is an equal and opposite reaction.” And in the theatre and the arts this is very true. We often sit on a knife edge like Hamlet – teetering between action and inaction… between love and hate… we all sit in the balance waiting to see which way the coin lands. Every act of destruction to the arts, has the potential to create a wonderful creation. I firmly believe that.

And this is one such example.

A decision not to award the Playwriting Award could have easily sent the message that playwrights are not deserving of an award.

But, there was one thing that wasn’t considered – the emerging colleagiate force of playwrighting collectives in contemporary Australia.

Not content to be silenced, ignored, or put in the too-hard basket, the playwrights mobilized. lead by a collective (known to me at that time as “The Emerging Writer’s Studio” and later “Every Second Monday” and now known as “ISM”) booked the Raval at The Macquarie Hotel near central, and started publicising through Joanna Erkine’s Cluster blog – attracting playwrights, critics, artistic directors, publishers, literary managers and new play supporters
from across Australia and the world – outraged that playwriting could be ignored or non-awarded. And my write up can be read here: http://augustasupple.com/2010/05/please-dont-piss-offon-the-playwrights-premier/
The result of that $30,000 prize was then given to playwriting Australia for their Kicking Down the Doors program… to air some unhidden playwrights in a showcase of slivers of new works at Carriageworks…

But the other result of the Premier’s Literary Award cultural malfunction has been much deeper and more significant than that -

It has mobilised and focused a group of passionate playwrights.

So much so that this passion and focus continues this year with the support of Griffin Theatre Company who has provided time and space to writers to come together to be a part of the Festival of New Writing. And more info about that can be found here: http://www.griffintheatre.com.au/whats-on/between-the-lines/festival-of-new-writing/

And as an avid and passionate supporter, director, producer, creator (and advocate) of new plays – there is no where else I would rather be next week than celebrating with playwrights at the Griffin.

Perhaps I’ll see you there…

AN EMAIL SENT FROM TAHLI CORIN -

A year on from , we congratulate this years winner Patricia Cornelius for her beautiful play ‘Do Not Go Gentle’ as well as other shortlisted playwrights Jonathan Gavin, Jane Montgomery Griffiths, Melissa Reeves, Sue Smith and Anthony Weigh.

See you there.
ISM
(Kit Brookman, Tahli Corin, Rebecca Clarke, Joanna Erskine and Rick Viede)

Playwrights are my rockstars.

Some of them even wear leather jackets (Caleb Lewis), some of them are dashing silver foxes who used to wear leather jackets (Ned Manning), some of them are bright eyed stylish ladies (Tahli Corin) and some are just so unbelievably cool they make you want to move to London and start a new life (Suzie Miller)… I love them. Not just those mentioned above – but the whole colossal lot of them – fiercly, funny, articulate – and as is the lot for many playwrights – extraordinarily hard working and patient.

Is it any wonder that I rubbed my hands together with glee when asked in my final months as Programs Coordinator at Queen Street Studio, to curate a Toolkit series of workshops for playwrights? OH WHO TO ASK/CHOOSE FROM? Last year I invited the magic triumvirate of Tahli Corin, Rick Viede and Kate Mulvany – sassy, young and utterly different. This year I thought a different approach. Always with one ear to the ground I thought I would select a mix of experienced writers who had also had experiences as mentors – and who I know, I’ve commissioned or whom I have had looooong coffees with at some stage. And this TOOLKIT series was my parting act of curation for the extremely wonderful Queen Street Studio – I am proud/excited/thrilled that it is happening – these are some seriously incredible writers -

Hilary I met early after returning to Oz at one of her Griffin courses – two years later I programmed Three Little Words for the first Brand Spanking New (2008), directed her Wolf Lullaby and soon I will be directing her piece as a part of 7-on’s next project….
Billy I saw at a Writers Guild talk back YEARS ago when i was working at the Australian Film Commission. None so unrelentingly fierce and astute. He loves story. He loves Character. He believes in the audience. He pushes all the buttons in the right order, at the right time. AND I read his blog religiously. How could I not?
Verity Laughton – elegant lady of the theatre, commissioned for BSN in 2009, generous, kind and with the type of mental clarity that feels like Stuart crystal in your hands. Prolific writer of The Sweetest Thing, Nargun and the Stars amongst others.

Queen Street Studio’s workshops are for writers to uncover a new way of thinking, to kickstart, to reassure/affirm what they know… it’s a creative top up. For me, it’s a sneaky way to meet playwrights (not so sneaky now, I suppose) and to reserve time for creativity.

I can’t wait.

And I reckon you should come along, have a cup of tea.

Playwriting evening workshops in April and May 2011

Workshop 1: With Hilary Bell
» Wednesday 27 April, 6pm – 9pm

Workshop 2: With with Billy Marshall Stoneking
» Wednesday May 4, 6pm – 9pm

Workshop 3: with Verity Laughton
» Wednesday May 11, 6pm – 9pm

Registration and payment deadline: Tuesday 19th April 2011

All 3 workshops held @ FraserStudios, 10 – 14 Kensington Street, Chippendale. Click here for a map » External Website Link

Kick your playwriting ideas and skills into high gear with this very special playwriting workshop series over April and May 2011. Facilitated by award-winning Australian playwrights, this three-week playwriting workshop series will give you an insight into the methods, structure and discipline to dive into your new play with vigour, passion and imagination. You are welcome to register for one workshop or all three. All workshops will take place at Fraserstudios.

Hilary Bell
Plays include Wolf Lullaby, Fortune, The Falls, The Anatomy Lesson of Doctor Ruysch, Memmie Le Blanc, The Bloody Bride, The Mysteries: Genesis (with Lally Katz) and associate writer on Angela’s Kitchen (with Julian Meyrick and Paul Capsis). Hilary also writes for radio, film and TV, and her music theatre work encompasses libretti for musicals, song cycles and opera. Current projects include a musical, Do Good And You Will Be Happy, with Phillip Johnston, and plays for Black Swan, STC, Barking Gecko, and the National Theatre in London. She is a member of playwrights’ company 7-On, and a recipient of the Philip Parsons Young Playwrights’ Award, Jill Blewitt Playwrights’ Award, Bug’n’Bub Award, Aurealis Award for Fiction, the Eric Kocher Playwrights’ Award, the 2007 Inscription Award and an AWGIE for Music Theatre. She is a graduate of the Juilliard Playwrights’ Studio, NIDA and AFTRS. She was the 2003–04 Tennessee Williams Fellow in Creative Writing at the University of the South in Tennessee. She is a director on the Griffin Board, on State Of Play’s artistic directorate and on the artistic advisory panel for the Production Company, New York.

Billy Marshall Stoneking
Billy Marshall Stoneking has written for film, television, radio and theatre. He is the author of seven books, including the modern-day Australian classic, Singing the Snake. His production credits include the award-winning ABC-TV drama Series, Stringer (creator/co-writer); and the internationally acclaimed stage play, Sixteen Words for Water. He was also series writer on Paramount Television’s Mission: Impossible and has script edited numerous award-winning films and television series, including Andrew Dominik’s Chopper, Darlene Johnson’s Crocodile Dreaming, Scott Ryan’s SBS-TV series, The Magician, and Maya Newell’s acclaimed documentaries, TWO and Richard; The most interestingest person I have ever met, which had its world premiere at the 2007 Directors’ Fortnight in Cannes. During his seven years at AFTRS, he originated and taught the now-legendary Drama of Screenwriting course. For more information about Billy, visit his website at: www.wheresthedrama.com

Verity Laughton
Verity Laughton’s work has been produced in Australia, New Zealand, Korea, Japan, the UK and the USA. It includes main-stage adult dramas, a promenade community event, a musical, adaptations, plays for child and family audiences, as well as for dance, for puppets, for theatre of image and a ‘neutral script.’ Her plays include: The Ballad of Bonnie Wheeler; The Mourning After; Carrying Light; Burning; The Snow Queen; Koala Lou (musical); Gondwana; The Nargun and the Stars (both large scale puppetry) Awards include: AWGIE for Community Theatre, 2004 (The Lightkkeeper); The Griffin Prize, 2001 (Burning); AWGIE for Radio Drama, 2004 (Fox); Adelaide Critics’ Circle Best New Australian Play, 1999 (Carrying Light); Inscription Award, 2009 (The Ice Season). Two recent radio plays, Moon Door and Davy were nominated for the 2009 AWGIE Awards. The Nargun and the Stars was featured in both the 2009 Sydney Festival and the 2009 Perth International Festival. Latest Work: The Sweetest Thing (short-listed for the Griffin Award, the Rodney Seaborn Award and long-listed for the London Warehouse Festival Award) is due for production at Belvoir Downstairs in October, 2010 and The Crate of Souls at the Adelaide College of the Arts in December 2010. She is a member of the 7-ON group of playwrights.
Playwriting Workshop rates:

TOOLKIT is a non-profit program that has is subsidised by Queen Street Studio with fees going directly to paying the guest artist and for the use of the space.

Queen Street Studio Member’s Rate: $55 per session or $130.00 for all 3 workshops
Non-Member Rates: $70 per session or $175.00 for all 3 workshops » SAVE HEAPS. Become a member for only $20!
Student Rate: $65 per session or $160.00 for all 3 workshops
(All fees include GST)

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.

Theatre is the occupation of romantic nerds.

We believe in ideas. We believe that ideas can change people- and people can change the world. We are, as Alana Valentine suggested in her key note speech last year, conservatives- http://sydney.edu.au/sydney_ideas/lectures/2009/captivated_reality.shtml we love to conserve what we have. We are loyal. We feel the injustice when loyalty is betrayed or abused. We believe that there is nothing more powerful than the potential of space. We are compelled to express ourselves in an ancient art form which we participate in with other people, for other people.

And like any romantic- we don’t think about signing pre-nuptial … and when the cheque comes at the end of the dinner- we don’t want to squabble about the cost of haloumi… it seems against our high ideals. It seems coarse. Ungrateful. Ugly.

And like thwarted romantics we get defensive.

First- I’m going to do a little bit of reporting here- just for those who weren’t able to make it along to the discussion-

Tonight, Ralph Myers stood on a chair amongst a sea of Independent artist- a fiercely intelligent crowd of theatre practitioners- established, and emerging: all under the banner of “independent.” Some have worked in some capacity in the Downstairs Theatre at Belvoir St, some have been artists who have made pitches, some staff from other theatre companies.

Myers declared that B-Sharp has been “the most artistically vibrant theatre, arguably in the country.”

As in the incoming Artistic Director- Myers has asserted a major shift in the industry. The downstairs theatre will no longer be a place of co-op theatre. It will no longer be a place where profit is shared. The downstairs theatre from 2011 onwards will be programmed alongside the main stage (upstairs season) with 4 shows which will be fully funded by Company B.

According to General Manager, Brenna Hobson, if Company B were to fully fund (at award rates) all the artists who in a year contribute to the downstairs theatre, the cost of running the space would be in the order of $1.4 Million – instead 4 artists/shows will be selected a year to be produced by Company B. The artistic directorate- which consists of Myers, Simon Stone, Eamon Flack (and a yet to be confirmed literary manager) will choose the artists based on what, who and how they want to make work and will fund them. (At a loss to the company). There is no more submissions, and infact- the 4 artists programmed for 2011 will be finalised this week.

The rest of the year (approx 33 weeks) the theatre will be dark. Possibly used for rehearsals for other independent shows- provided that they are fully funding their artists Equity rates.

The main thinking behind this is that the audience can’t tell the difference between an independent show and a main stage show – Myers said tonight if you ask the punter which show had the fully funded artists and which were under a co-op arrangement- most wouldn’t be able to tell… which says just as much about the upstairs shows as it does about the downstairs ones.

In the SMH article http://www.smh.com.au/entertainment/theatre/belvoir-revamps-pay-structure-in-drive-to-capitalise-on-talent-20100704-zvrq.html Myers sites one of the reasons as Neil Armfield’s departure from the company as AD: ” Neil [Armfield] is one of the great attractors of great artists,” Myers says. ”His leaving [in December] means that there is a pressing need to pay artists something that is at least close to what they deserve.”

The pitch to the room from Myers was more about an opportunity for Company B to produce the work of specific artists- to full fund them to do what they do- knowing full well that the show will make a loss- and the company being ok with that… perhaps making up the loss with a success somewhere else.

There were moments of great vocal support for the move- initially from Tracy Mann, who said “this is the best news, and I applaud this decision”… “stuff changes, live with it…”

Also agreement from Mirra Todd.

Before too long- questions started:
Questions around:
* the selection process, and what will happen to the programming team (Annette Madden and Tahli Corin) who have been the champions of the space?
* The no-warning to submit for 2011.
* why was the decision made after the whole year had been programmed?
* where are the safe and nurturing spaces for emerging artists?
* What happens to the cultural/ethnic diversity of the downstairs theatre?
* Will new plays with large casts be discouraged because they will be uattractive/too expensive for Company B to produce?
* How does paying people and providing less opportunity affect Sydney’s theatre culture as a whole?
*Why is it all or nothing?
* Will Company B enter into co-productions?
* what about rights for devised work?
*Do you think there will be any girls ever?
* will Annette and Tahli be involved in helping programme the spaces?
* Will there be a script reading service?
* will you still be looking for similar shows that B-Sharp has programmed in the past?
* what about projects that have received seed support from B-Sharp?

After the questions. There was a pause.

“Good we are finished,” said Myers.

(Applause)

_________________________________________________________________

Ok- the minutes are over- they are rough- but that’s an outline of what happened at the meeting.

Firstly, I would like to first and foremost acknowledge that the spectacular turnout at the Belvoir Rehearsal space today was largely to the community, pride, passion and commitment of Independent artists who, in the face of everything- change, financial instability etc- give a shit. I’d also like to acknowledge that the strength and the diversity and the vibrancy of the independent sector is due to the work of Lyn Wallis, Annette Madden and Tahli Corin, and of course Sam Hawker who was care-taking in the interim between Wallis and Madden eras- who have been nothing short of supportive and nurturing of the artists and shows that have been born out of B-Sharp… it is without the care, vision and approachability the venue would not be what it is.

Secondly, I would also like to acknowledge the Independent producers. All the responsibility, none of the glory- the producers of independent theatre are invisible champions of this vibrant artform. They are perhaps known as their pseudonyms “Arts Radar” for example, and they are intergral to the industry… this model effectively cuts them out- unless they have a show that is fully funded or has financial backing (to support wages of equity minimum). It is the strength of these producers that have made the shows look so good- brought the high quality artists to the venue and have built the reputation of the downstairs venue at Belvoir. I’d also like to declare that the best feeling in the world is paying artists- and when producers don’t pay their artists- they often aren’t paying themselves either.

Thirdly, I’d like to acknowledge that “independent” is not a euphemism for “emerging” or “poor,” though sometimes it feels like it is.

Let’s be clear. There is a door closing to independent artists at Belvoir St Theatre. There is a shift. The established artists who have worked in the Independent sector will be delighted they can get paid and not be treated like they are “emerging” and “poor.” The emerging artists will feel hard done by- unable to be seen, or given opportunities. They will feel an opportunity/avenue has been taken away. When provided with the moral/ethical dilemma “would you rather be paid or would you rather there be no work?” every artist will answer differently.

The misnomer here is that we are still using the word “independent.” No. Company B is expanding to include 4 extra shows a year in the downstairs space… the artists will be selected like any other mainstage company- but they’ll get to suggest the participants on their projects AND it will be in a venue 1/6th the size of the upstairs theatre.

What has been created is a middle tier.

What this will do is push a surplus of artists to the remaining co-op spaces- Darlinghurst, The Old Fitz, Griffin independent, Newtown theatre, Sidetrack theatre, Tap Gallery, Seymour Centre- thus creating more demand there. Belvoir will be seen as more exclusive to be a part of (perhaps less of an open arms family rhetoric)…

Let me just get this straight- I absolutely believe artists should be paid. No question about that. But this is no longer Independent Theatre.

I still have many lingering questions.

Will the subscribers to upstairs be happy to attend shows in a less glamorous space?
Who’s selecting/curating?
Will the artistic directorate see all work, anywhere in Sydney?
Will Belvoir’s National scope mean that works will be imported on a touring venue basis if they can foot the bill?
Will the artistic associates be given this space to work in?
What about the Philip Parson’s award?

This decision has a massive effect on the whole industry. And I am keen to hear your thoughts on this radical shift- (And I am not talking about the shift in paying people) in HOW the season is curated. WHO is selecting the artists.

The surprising and difficult thing really is how this information was passed onto the sector… that there was no consultation. That we were told without warning of the structural changes… that artists were given no option to apply for 2011 season. That the uncertainty of Annette and Tahli’s roles (well the fact that the roles “don’t exist”).. the lack of clarity behind the choice of that particular structure. How the media was handled… for a sector so invested in B-Sharp.. a massive show of support and care and camaraderie could only have existed amongst a bunch of romantic nerds…

…and I can’t help but feel that though the sentiment is in the right place, that the process by which this sector has been addressed has been carelessly delivered to us- the vulnerable – the artistically vibrant – the hopeless romantics.

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…

Every self respecting new Australian work enthusiast/ literary manager/ playwright/ director had been keeping their eye firmly on Joanna Erskine’s Cluster blog http://www.joannaerskine.com/cluster/cluster/playwrights-to-celebrate-on-may-17-2010/ … as the responses from around Australia and the world from Australian playwrights voiced their outrage, disappointment and vehmence towards the decision- and swelled the support for Australian playwrights.

The previous Monday at Belvoir St Theatre, I had been wrestling with a spinach pastizzi during a break in the WOMEN DIRECTORS ACTION PLANNING FORUM when Tahli asked me if I was free on the 17th. I wasn’t. I was scheduled for the Symphony-(the one night I hold sacred in my schedule- my dates with the SSO- where I can relax and enjoy myself without strings (so to speak) or expectations). But nothing is immovable. And especially this- THIS topic, which I spend most my waking hours puzzling over, planning for, fighting for, thinking about… This thing- which is so deeply rooted in who I am can not and must not be ignored.

Last Monday I arrived early. James Waites and I had anticipated the cluster of playwrights (my preferred collective noun) and had hoped to avoid the crush by positioning ourselves early amid the elegant lounge chairs of the Macquarie Hotel first floor bar. By the time I had arrived, a cluster of playwrights had already congregated- no less those who had organised this event- and whom all I had commissioned/worked with on either Stories from the 428 or Brand Spanking New- Joanna Erksine, Rebecca Clarke, Kit Brookman, Tahli Corin, Tamara Asmar, Rick Viede- set up on chaise lounge with a bucket of chilled Champagne and grins all round.

Downstairs multi-award winning, soon-off-to-London for a reading of his play Bison- Lachlan Philpott sat with friend and beverage, Kate Mulvany arrived, Matt Edgerton triple threat actor/director/writer arrived. Caleb Lewis in tie and shirt. when I looked up from my conversation with one writer, I realised- the room was full of the great minds of my generation- and the best of Australian Contemporary Performance writing.

Recently in a post by 5th Wall, he refers to playwrights as a “rivalry of playwrights”… http://5thwall.wordpress.com/2010/05/12/playwrights-posse-up/
The truth of the matter is that Australian playwrights I have worked with/for are generally very happy to band together, especially with a common cause. As someone who is in the position of reading nearly 200 plays/pitches/submissions a year from playwrights (often for colleagiate framed multi-playwright projects) I am well aware of the paranoia, competition and the nature of playwrights… playwrights (like all artists) at their worst (usually due to a lack of love/production) are vindictive, nasty, abusive, irrational, statistical machines who churn out lists of their accolades as proof of their legitimisation and their neglect by an industry that doesn’t care and doesn’t understand. But that is not the natural state of a playwright.

In my experience the natural state of a playwright is that of curiosity… of observation. They beleive in ideas. They talk about love. They talk about the hidden, difficult corners or our minds and hearts. Despite economic sense and career path ease, they are stubborn and idealistic enought to push on through with theatre (which is not the most lucrative of the writerly forms- the only writerly form which is less lucrative than theatre is possibly blogging… and sometimes (often) I question blogging’s legitimacy as a writerly form). They are brave and all have a sense of humour and humanity. And ALOT of time by themselves infront of computers, staring at the glowing screen wondering if what they have written is any good, or will it ever be finished?

And I love them… as a group… and as individuals. Sometimes playwrights are badly behaved- but that is the exception not the rule.

And they are a very good looking bunch of people. This is easy to forget as they are often not the topic of newspaper articals- they often aren’t publicized- and they spend alot of their time alone writing- but our playwrights are clever, funny and they have something to say.

As guest speakers three of the industry’s most respected champions of Australian Playwrights spoke. First the elegant and inspiring Katharine Brisbane- one of my all time favourite thinkers and doers- one of Australia’s most inspiring cultural leaders who gave us perspective on the history of the literary awards, the problems that have evolved and debated over the years- she told us of a famous literary bun fight which was sparked up over a dinner debate and at the centre of it all she spoke of the need to be vigilant and active. She encourage the room full of writers, directors, critics, actors and punters – to keep up the conversation. Secondly, everyone’s favourite bearded champion of Australian writing- John McCallum- Academic, reviewer and author of “Belonging: Australian Playwrighting in the 20th Century” who thanked the playwrights for their plays. He gave warm, enthusiastic encouragement. He reminded us to keep literate and articulate about writing for the stage- who reminded us that “playwrights have alot of friends and some of us are critics.” And thirdly, Leland Kean- the only Artistic Director who was in the room- who in a scruffy flanny and baseball cap read passionately an eloquent call to arms for all Australian Playwrights- and said that it wasn’t good enough how Australian playwrights are treated. It was a rousing and forceful speech that caught in my throat. I choked back tears several times as I felt his frustration, my frustration, and the frustration of all who have worked hard, who have actively contributed and risked, who have worked with honour and integrity- all to be ignored- or worse- offered an opportunity to apply for a development grant.

The major thing I noted were the absences- who wasn’t there. The Artistic directors, the artistic associates, the literary managers, the CEOs. I saw who wasn’t there. You know who you are. And I am fairly disappointed in those who didn’t feel like moving their prior engagements this ONCE for something as vital and important as a show of support and solidarity to those who are the source of text based theatre- the writers.

One of the first to arrive- and one of the last to leave- I am honoured to say I was there- and I am here silently supporting all those who are playwrights and yet to be playwrights: all those who dream big, work hard, fight, write, say the unsayable, confess their fear and their anger, embrace their vulnerability. I was there. I am here.

When the NSW Premier’s Literary Awards were announced last month, there was one thing that no one expected… there was no shortlist for the Play Awards category.

Was no play worth even nomination? Surely this was a clerical error- had the envelope bearer had lost the nomination envelope in a taxi on the way to the announcement? Had there been a cut and paste error on the website?

Nope. No clerical error. A major philosophical one though- a major political one.

Instead $30K has been offered up, not as an award celebrating excellence- but has been transposed into a grant “to support professional development opportunities for new playwrights in 2011.”

No clerical error. But a major political error.

Development? Development? Sorry… What? No shortlist, but a grant for Development?

Stunning. Absolutely stunning. I was stunned. Were you stunned? I know Currency Press was stunned. http://www.currency.com.au/resources/1/NSW%20Premier%27s%20missing%20Play%20Award.pdf
James Waites was stunned. http://jameswaites.ilatech.org/?p=5422
Seven of Australia’s most celebrated and remarkable playwrights were stunned:
http://sevenon.blogspot.com/2010/04/playwrights-are-homeless-of-arts.html
I am stunned.

Utterly! I think of it and I am absolutely befuddled. This would NEVER happen to a novellist. Why is this happening to the playwrights?

In a press release, Premier Keneally said that the NSW Premier Literary Awards ‘Perpetuate a cultural legacy in our state; a legacy of ideas, imagination and history.’ It has sent a message that plays aren’t literature. Also it was claimed that the judges weren’t able to see the productions- and therefore couldn’t judge. Plays are literature too. They are a marker and perpetuator of culture. I don’t understand.

Many of the new Australian plays I saw last year have also been published (pushing the point a little harder that plays ARE literature) or will be by Currency Press- they include:
Poor Boy by Matt Cameron and Tim Finn, Pig Iron People by John Doyle, Realism by Paul Galloway, Concussion by Ross Mueller, Savage River by Steve Rodgers and Shafana and Aunt Sarrinah by Alana Valentine. Excellent plays- why aren’t they included?

What happens to an artform when excellence is replaced with a development grant? Does that say, in a very loud way, that development is more important than publishing or production? Is it also saying to our established writers “You still have a LOOOOOO-OOOONG way to go, do back to your laptop, do some workshops coz yer just aint there yet”? What does this mean?

What this means is that the support for Australian plays and playwrights has been GROSSLY underestimated. The community of writers has been underestimated. A collective of writers who refer to themselves as “Write Club” two Sundays ago got together at the Stables theatre for an impromptu night of readings to raise money to help Lachlan Philpott attend a reading in the UK… I received in my inbox this letter:
Dear Folks, One and All,
Hoping all’s well.
This is an invitation to what I hope will be a fun evening in aid of a worthy cause (one of our own).
To wit: A Benefit Night to help get fellow playwright, Lachlan Philpott to London to
be part of the production of his play, Bison, at The Oral House in late May. Another way of saying this might be – ‘Don’t Sell Your Car, Lachlan, We’ll Help!”
A number of us are each inviting their nearest and dearest and other generally interesting persons to come along to an evening in which Lachlan will arrange a reading of Bison, there will be an interval in which persons consume food and drink and rave-on-John-Donne about theatre to each other, after which the extroverts among us read/perform/whatever short, and hopefully entertaining pieces of their old work/ new work/ work-in-progress (and yes, I will be doing the birth scene from The Mourning After AGAIN but since none of you are from South Australia, I am unconcerned.)
And we laff or moan and groan before we wander out into the night.
And each person brings a bottle of something (plonk or non-plonk, depends on what you fancy) and $10.00 to go into the kitty for young Mr Philpott’s fare to London.
Pizza will be provided.
And if we raise more than the airfare we will park the money in Griffin’s account and use it for the next needy adventurer.
_________________________________________________
DATE: SUNDAY 2ND MAY
TIME: 6.00 p.m – ? 8 p.m (party animals can move on to a pub at this point)
VENUE: GRIFFIN THEATRE (Thank you, Griffin!).
If you would rsvp and bring as many of your own address list as possible, that would be pleasing, but if you are TOO LAZY TO DO THAT, we’d still love to see you on the night.

Verity.

And it was a hoot of a night- the community was out in force to get behind Lachlan and to raise money. How many times to playwrights have to be this resourceful? How often do we lose our playwrights to other countries. Ben Ellis, Van Badham, Tommy Murphy, Suzie Miller… why? Because they are often ignored. Often disregarded or overlooked in favour of American Classic plays, the hottest script out of the UK. To be a playwright in Australia is a tough fight. Its a long haul. There are precious few opportunities to have your work produced (but you can have endless developments and residencies). This HAS to change. This is RIDICULOUS! Playwrights are our historians, our cultural barometers, our social conscious. We need them. We need to reward them. We need to give them a reason to stay. A reason to write. A mechanism to help us see ourselves, understand where and who we are in time and space. Playwrights are my rock stars- they are inspirational, brave and sexy. Why is it that our leaders don’t get it?

Well- guess what Kristina Keneally. Playwrights aren’t passive folk. They are not taking this lying down. Guess what? They are holding their own ceremony… and here is the email I received this evening:

Dear Friends and Colleagues,

Tahli Corin

I’ll be there. This is too important to miss. I suggest if you are a person of taste- you will be there too!

It’s been a week since week 2 of Stories from the 428 closed- and I thought it would be nice/handy or interesting to write a little reflection on Week 2- and perhaps on the whole reflection of the project. I am in the process of de-briefing with all the directors about the project (and the process) – and this is always an important part of everything I do- it helps steer my projects, my design, my plan and focuses my passion for new work.

There couldn’t have been a more different experience for the bump in/tech of Week 2’s show. 5 directors completely prepared- wrangling blocking of a cast of 34- and 18 pieces overall. A bigger week- epic in cast and ambition. I can’t say I wasn’t a littel nervous about how this would appear. Double the cast of Week 1 (how DID that happen?) and more works. Where as Week 1 was more introspective (and contained more watery/rain references- yes the bus trips were taken in the rain)- Week 2 was a kaliedoscope of ensembles tumbling out like a morris minor filled with clowns. Two of the writers Lenton and Marlow especially responsible for the more sketch comedy style plays- fun/funny and very entertaining- a very different texture to the literary texts of Freidman and Janaczewska- or the stylistic adventurousness of Corin and Abela… or even the poetic of Erskine and Edgerton. Week 2 fulfilled the design of the project in a much more whollistic way- all writers travelled on the same bus at the same time together (this didn’t quite happen in Week 1) and the directors worked collegiately sharing actors and resources. So in the lead up- this process was working- perhaps the festival feel of the pieces helped this along? I don’t know- but the feel was very different. Not better. But different.

Tech happened. It was fun. Directors ready, clear and excited and ready to solve their own and each others challenges. And I must say that having 5 stagemanager types in the room (one actual, 3 directors who are ex stage managers and a Production manager who is a stage manager by trade) was wonderful and made everything easy.

Dress run with the actors was easy. A little weird having 34 actors to contend with- but wonderful none the less! I was scared I would look greedy or disorganised having that many actors on stage- that I was being indulgent or sloppy… and there were some decisions that needed to be made and I made them (like not having full cast on stage at all times). But it went brilliantly- actors stepped up- directors stepped up- and it was smooth and without a hitch.

Two tragedies happened that week, however. One: A director had suffered a personal loss- and had two funerals to attend in one day (wednesday) and as I had hoped- anything she needed the other directors pitched in and supplied. Two: after the dress rehearsal one night one actor (one of my favourite all time actors I have worked with) Mary Sherman, was in a motorbike accident and was rushed to the emergency department of the hospital. The director of the pieces rang me as soon as he heard and we went straight into solution solving- within 2 hours Mary’s role was recast into 4 actors who were in the cast- Cheryl Ward, Mark Dessaix, Matt Charleston, Lib Campbell came to the rescue… I went to the emergency room with a bag of snacks and foods and some of my favourite Little Golden Books to see my beloved Mary. She is recovering well and I have promised to work with her again when she is better- she is a marvellous and beautiful actor and a sublimely genuine and interesting person- the show was very different without her- but talent like her’s can’t and wont be kept down and I can’t wait to see her return to performing once she has had a full recovery.

Opening night glistened. Adrenilin/panic is an amazing thing- the evening was a rollicking adventure of a fountain of energy and fun and set up the week as one where we were turning people away at the door most nights… which was especially relieving as it was a long weekend AND daylight saving changed the times too! I couldn’t be more proud.

Of course the main thing about the 428 Project was the idea of a colleagiate team- a team who worked together to conquer an amazingly ambitious and multifacetted project which was about the community of commuters and artists who live in the area. The idea was about promoting bus travel- celebrating the good bad and the ugly of commuting. Recognising that Australian writers are up for a challenge and willing to work- and WORK HARD… that actors are brave enough to take a punt on a concept and on new work. That directors CAN work together… and really at the end of the project, the tail to this comet continues to streak across my heart.

Remarkably- it was the team who was spectacular- PJ Gahan- ever calm, clear and efficient (a multi tool triumvirate of Production Manager/Stage Manager/ technical Manager), Miles Thomas (Lighting designer), Alison Murphy -Oates (Stage Manager/mother/ friend/ Seamstress/ list maker/ legend), Gavin Roach (Sponsorship Coordinator/comic relief/ caterer/ friend), Julia Lenton (publicist/ marketing manager/ foyer decorator/ confidant/ door bitch/ list keeper/ venue liaison), Gemma Lark Johnson (Designer/ sign writer. prop maker/ costume maker), Karolina Novak (Artist/ graphic Design/ print manager), Jeremy Silver (composer/sound designer/ sound compiler/ APRA advisor) Rosie Chase (composer/ singing teacher/ musician/ counsellor), Grant Moxom (webdesign/cheerleader).

EVERYONE involved went above and beyond- and all I can say is that I am humbled by the energy, the passion, the professsionalism, the commitment, the humour, the community of artists which defied gravity and expectations and made Stories from the 428 what it was. And it is impossible to do anything but remember never to underestimate artists and their ingenuity, their drive, passion and focus- and I am honoured to keep such company.

Thank you to all who came along to support the show… and All the artists and crew on board (whether it was for three months or for one month) – Theatre is what you make it.