Ah… writers… some of my favourite people. And playwrights – my favourite – whom I refer to as “sociable hermits.” Playwrighting is one of the most difficult writerly forms because it is so collaborative.

One playwright recently wrote on my Facebook Wall: “Why do plays take such a long time to write?”

And I responded with two thoughts:

“Because the voices in your head keep squabbling?”

“Because there are 26 letters in the alphabet and you’ve only got 8 fingers (and 2 thumbs?) – if you had 26 fingers I think it would be 3 times faster.”

Being a writer is quite a solitary act. Being alone alot can result in paranoia and self-interrogation and over-thinking and insomnia. Combine that with a rehearsal room full of attractive, ambitious, talented, intelligent actors and director – and it can be extremely challenging.

Being a playwright takes great audacity, great vision and sturdy self-awareness. It also takes time and people skills.

So I’m a fan of writers – I direct them, I produce them, I review them. And I am honoured to be talking on a couple of panels at the NSW Writer’s Centre’s Playwriting Festival… It’s on the 3rd March, I hope to see you there!

**********************************************************************************

The blurb of the Writer’s centre goes like this:

“The NSW Writers’ Centre is a government funded not for profit organisation that exists to promote writing-based culture and the rights and interests of writers in NSW. The Centre provides a dynamic program of activities each year including writing workshops, course for writers, publishing seminars, festivals for writers and writing competitions, as well as providing mentorship opportunities, manuscript assessments and providing support for writers and writing organisations in Sydney and across New South Wales.”

The blurb of the Playwrighting Festival goes like this:
The first in our festival program for 2012 is the Playwriting Festival curated by award winning writer Kate Mulvany.

The Playwriting Festival will bring together some of Australia’s best and brightest playwrights, dramaturgs, artistic directors and reviewers including Van Badham, Vanessa Bates, Wayne Blair, Jane Bodie, Fraser Corfield, Duncan Graham, Kevin Jackson, Andrea James, Leland Kean, Mark Kilmurry, John McCallum, Tony McNamara, Tommy Murphy, Debra Oswald, Lachlan Philpott, Polly Rowe, Diana Simmonds, Sam Strong, Augusta Supple, Alana Valentine and more to be announced.

The program will cover the craft and business of playwriting with panels on the changing face of Australian playwriting; the pros and cons of working with directors and dramaturgs; what mainstage theatre companies are looking for; working in the fringe theatre scene; the reviewed versus the reviewer; and the playwright’s role in the production process. A full program will be released very soon.

There will be script sales, gourmet food and coffee, plenty of free parking and you are welcome to join us on the veranda at the end of the day for a complimentary post-festival drink. NSW Writers’ Centre members also receive a generous discount on festival bookings.

Bookings can be made from 30 January. NSW Writers’ Centre Members $55 / Concession Members $45 / Non-members $80.

Kate Mulvany

Kate’s play The Danger Age was shortlisted for the Sydney Theatre Company 2004 Patrick White Playwright’s Award and she was the winner of the 2004 Philip Parsons Young Playwright’s Award, for which she was commissioned by Belvoir to write The Seed. The Seed went on to win the Best Independent Production and was nominated for Best New Australian Work at the 2007 Sydney Theatre Critics’ Awards. It was also nominated in 2008 for an AWGIE Award, the Queensland Premier’s Literary Award and received a honourable mention in the Asher Awards. After two sell-out seasons at Belvoir The Seed went on to tour Australia and in 2012 it makes its Melbourne premiere for Melbourne Theatre Company. In 2009, Kate’s play The Web was co-produced by Black Swan Theatre Company and Hothouse Theatre Company. In 2010, her play The Wreath was developed for Bell Shakespeare’s Minds Eye initiative, and she completed a new adaptation of Shakespeare’s Julius Caesar, which toured Australia in 2011 for Bell Shakespeare.

CHECK OUT THE WEBSITE: http://www.nswwc.org.au/?page_id=1613

Well thank goodness that’s over! I don’t know about you, but 2011 was a weird one.

It was a melee a hubbub of choices, realisations, conversations, applications, squabbles, offers, acceptances, approaches, debates and near misses. I had cleared the decks – ended my long-term relationship with one of the nicest botanists Canada has produced, left a job I loved, stepped away from my much loved annual projects, and decided that 2011 would be a fallow year for me.

A quiet year.

A year off.

Instead of my usual large scale multi-playwright productions I decided to sit back and see who of all the playwrights and artists I have worked with/commissioned/coffeed who would come to me. I decided to dedicated myself to being available to be approached by any/all artists… and I decided I would try just reviewing… or even try to get a job at a theatre company (end my years of hard-slog independence – after all I felt in the need of shelter after a fairly tumultuous upheaval of job/love/life/identity)… I decided 2011 would be small, quiet and I would not launch anything big. I decided that I would spend a year listening and watching… a year of reading and inhaling.

In 2011 I saw 134 shows and wrote 128 reviews (that’s approx 120,000 words). I directed 11 playlettes in 3 months (equating to nearly 3 hours of stage content). I wrote 10 columns discussing the Australian cultural landscape. I met with many people about starting a Writer’s Theatre in Sydney. I held three play readings in my living room. I was nominated for a Sidney Myer Fellowship by some of my industry heroes. I wrote two lots of rehearsal observation for Michal Imielski. I was quoted nationally and internationally about cultural stuff I ranted about – mainly to do with theatre criticsm, sexism/ portrayal of women in plays, the culture of new play development. I was flown to Brisbane to the Australian Theatre Forum to “blog.” I commented on the National Cultural Policy. I commented on the Reg Murphy Centre. I hosted artists and crew and Adelaide’s lady Blogger Jane Howard in my spare room. I celebrated Currency Press’ 40th Birthday. I ate breakfast with Bruce Beresford and Noni Hazelhurst. I maintained my duties as a Board member of Shopfront Theatre AND was a founding advisory board member a brand new artist-run visual art gallery in Dank St Waterloo called Kaleidoscope Gallery run by the delightful Sami Mitchell-Fin. I helped plant a vegie garden in Granville. I surrendered to a new and terrifying relationship which breaks my Cardinal rule of “never date someone in The Industry!” I taught at NIDA (weird!). I delighted in regularly eating cheese and chatting with Kevin Jackson at opening nights. I joined a gym! I attended the National Play Festival. I was befriended by Anthony Skuse and fell in love with him and his partner and their life. I met regularly with Olivia Satchell and Shondelle Pratt for theatre/career discussion coffee catch ups. I visited Vanessa Hughes and Alan Logan in the Blue Mountains. I finally got my drivers license (after being too scared/busy). I started working with 7-On playwrights. I shot a short film. I wrote 14 letters of support/references for artists and organisations.

I ended the year by the river in Karuah, playing guitar with Michal Imielski and singing impromptu songs to a star splattered sky.

That was my year.

That was 2011.

Anyway. What you want to hear is my summary of 2011 in the world of theatre/culture/performance/art.

As you all know I don’t believe in competition in art. The act is pursuit enough.

Also, I’m not in the Sydney Theatre Critics circle. There is no award. I think that the notion of the Theatre Awards (Helpmans and the Theatre Critics Awards) is a bit weird, especially as not ALL theatre, nor ALL performance is attended or assessed by all of them. The shows that are eligible for nomination by the Theatre Critics must be seen by all reviewers – which really only encompasses 20% of actual theatre happening in Sydney – and predominently that of the main stages. And frankly, I don’t really think the main stages need awards and accolades – isn’t getting a wage and being resourced enough encouragement? The people who DO need the encouragement, the in-writing “thank you for your work” are the independent artists, the fringe artists, the emerging artists.

And look, I’ll admit it, I’m not really a critic. Not a proper one, anyway.

I try to respond to a show on it’s aspirations and context, more than my own. I also make work with the people I write up. I never claim to be an authority – but I always try to give credit where it’s due and ALWAYS find something to like about a production.

Here’s a thank you to all those unsung artists who kept me inspired and afloat, interested and curious in 2011 – one pf the weirdest years ever.

Thank you for the discussions, the conversations, the perspectives, the dreams, images, plays, installations and moments of surprise and delight. And thank you to all those who attended shows with me and all those who approached me to work with them – Alana Valentine, 7-On Playwrights, Vanessa Bates, Phil Spencer, Luke Carson, Katie Pollock, Lousie Fischer. It meant more to me than you’ll know.

Here’s a list of some of my favourite memories in theatre from this year.

New Australian plays worth noting and celebrating
Zebra by Ross Mueller
Sprout by Jessica Bellamy
This Year’s Ashes by Jane Bodie
Silent Disco by Lachlan Philpott
Aleksander and the Robot Maid by Caleb Lewis
Transparency by Suzie Miller
Dirtyland by Elise Hearst
Cut by Duncan Graham

Brave work by Emerging or independent Artists
Freshly Squeezed by Stagejuice Collective
Bare Boards Brave Hearts by Subtlenuance
Bite Sized by IPAN
How to Lose Sight by SHH
Cut Snake by Arthur
Confessions of a Grindr Addict by Gavin Roach
Bully Beef Stew by Sonny Dallas Law, Colin Kinchela and Bjorn Stewart
Bonfire by Sime Knezevic
Ama and Chan by Effie Nkrumah and Alan Lao
The Adventures of Alvin Sputnik: Deep Sea Explorer by Tim Watts

Outrageous things that happened in the industry
* MEDIA RELEASE: No Richard Burton Award for New Plays to be awarded in 2011 because there weren’t any “outstanding” plays submitted.
* Short and Sweet being given $1.5 million to continue to exploit, er I mean “expand” their business, er, I mean, “playwriting in Australia”
* ArtsNSW short response grant disappearing THEN reappearing unexpectedly
* Realizing all the literary managers in Sydney are either British or have worked in the UK
* Tom Wright claimed in the SMH: ”There’s patently been a glass ceiling that women directors have hit … I can’t see a similar issue in the realm of playwriting.”

Great online discussions
From www.augustasupple.com -
Whose story is this anyway? The rights and the wrongs of theatrical storytelling.
A small note: Do Good and You Will Be Happy | Phillip Johnston & Hilary Bell
Who reads reviews? Who cares? Why bother?
From www.theatrenotes.blogspot.com -
Review: The Story of Mary MacLane by Herself
From www.noplain.wordpress.com -
Adelaide Critics Circle Awards 2011
From my facebook -
Who do you prefer Billy Joel or David Bowie?
Who gets to call themselves an artist?

Who I read regularly this year:
www.cameronwoodhead.com
www.jameswaites.com
www.missclaraklemski.com
www.kjtheatrereviews.blogspot.com
www.crikey.com.au/life/culture/stage
http://noplain.wordpress.com/
www.shauntellebenjamin.com/
(and there are others I should mention I read – but let’s face it – I don’t think people who write under a pseudonym and conceal their identity deserve/or want recognition, do they?)

Talks and Forums
Tom Stoppard in coversation with Jonathan Biggins
Currency House Arts and Public Life Breakfast at Victoria Tea Rooms
Novemberism Panels hosted by John McCallum – especially Writer and Director when is it war and when does it work?
NIDA Sunday Playwright Forum: Old Worlds, New Horizons
John Malkovich in conversation with Jim Sharman

Artists to watch who debuted/made a splash in 2011/Who to watch
Zoe Norton Lodge (Writer, performer, producer, curator)
Gavin Roach aka “Felix” (Actor)
Erica Brennan (Performer)
Grant Moxom (Performer)
Pollyanna Nowicki (Actor, photographer, artist)
Sama Ky-Balson (Director)
Mark Rogers (Director/writer/devisor)
Helen O’Leary (Actor/writer)
Doug Hansell (Actor)
Bjorn Stewart (Performer devisor)
ISM Playwrights Collective (writers/event organisers)
Paige Rattray (Director/devisor/tour de force)
Vanessa Bates (Playwright)
Katie Pollock (Playwright)
Luke Carson (Playwright)

This is not a review.

It can’t be. It’s unfortunate that the little tab on my site says “Reviews” when really this is not a review. it’s a post. Well perhaps it might be a review of sorts as I re-view the past month or so working on my pieces for Women Power Culture. I am viewing it – or responding to the questions I have been asking myself about many things.

This is my year off.

Last year I headed many projects – projects which excited and challenged and delighted me – I had set 2010 as a year when I offered as many opportunities to artists as I could. A year in which I would refine and delight in curating and programming. This year, 2011, was to be my year off. No Spankers. No Off the Shelf. No Stories from the 428. No fringe festival curating. A year off to see what would happen if I didn’t make things happen for others – would it be reciprocated? Would my skills and enthusiasm be harnessed and rewarded in a steady paying job? I decided to float along and to see what would happen.

One of the things that happened was the very flattering offer from two very talented playwrights – Alana Valentine and Vanessa Bates – to direct their respective pieces included in Louise Fischer’s “Women Power Culture” season at New Theatre. I had some reservations directing for the season as I didn’t want there to be any confusion that this was a “Women’s version of Brand Spanking New.” But I love directing – I love working with writers and actors – and so my achilles was revealed and I succumbed.

THEN
That Night we Lost Jenny is a beautiful 18 minute monologue by Vanessa Bates – written with actor Jane Phegan in mind. Jane and Vanessa had previously met during Brand Spanking New 2009 when Anne-Maree Magi directed “Homemade” written by Vanessa, performed by Jane. For me, every act of creation brings with it a type of magnetism. Suddenly the content illuminates part of my life, co-incidences occur – my world is refelected and highlighted by the work. This piece was no different. I gre up in a small town north of Coffs Harbour, where surfing and preganacy were the two major past times of teenagers. I had my fair share of midnight adventures with friends. Interestingly enough – the weekend of this piece opening, was also the weekend of an “unofficial reunion” at the Seaview Tavern in Woolgoolga -where $15 was promised to cover finger food and entertainment. For me this piece is one decade earlier than my own experience: I wasn’t a teenager in the 80s. I was of the grunge era – the rise of The Smashing Pumpkins, the fall of Kurt Cobain. The nihlistic rage, the dull pointlessness of it all – but still – teenage rebellion is not new. Teenage daring is not new. The surprising, difficult confrontation of looking back – and realising we aren’t where our teenage selves thought we would be.

Vanessa’s writing is beautiful. poetic, brutal, funny and utterly honest. And what makes her such a delightful writer to work with is her curiosity about the sound of the words – and the confidence in director (me) and actor (Jane) to find the real place in which the work sits and her grace in allowing us to own and discover. She gave us permission to dive in and explore.

Jane Phegan is a wonderful actor to work with – diligent, disciplined, generous, fun, smart. She has an adventurous core to what she does and a cool calm self-knowledge. She cares about the audience and loves to tell a story. And for me sifting through the ideas – the songs, the images – and making sure we put the simplicity and elegance of the text at the fore-front was nothing but joyful rigour.

NOW
Alana Valentine is probably one of Australia’s most prolific, in demand playwrights. She has a formidable list of acheivements and her impact on Australian theatre is found in classrooms, box offices and the creative and cultural consciousness of Australians. Though specialising in verbatim theatre, her piece “The Sex Act” is not a piece of didactic theatre-in-education piece – but a kaliedoscopic human story about the legacy of second wave feminism, the social prejudices which manifest in gender politics. It’s a meaty piece of political theatre and raises many questions – more than a person can answer in an evening.

Working on this piece is a collective of completely creative actors. Kate Skinner, Luke Carson, Stephen Wilkinson, Odile Le Clezio and Bridgette Sneddon – who without reservation dedicated themselves to the realsiation of this 32 page adventure. Cross-dressing, inter-generational kisses, slapstick, politics, impersonations, strings of statistics, fights, rants, realisations – this play has it all – and they we absolutely tireless in offering, creating and discovering.

Regardless of the cracking schedule – 12 rehearsals held over 16 days – part time, unpaid and squeezed around the everyday demands of life – these actors created a fun, funny sweet and fierce piece of action from Alana’s intensely intelligent and powerful script. I have nothing but awe and pride in these artists – who were tireless in creating and sticking with and to the script – focusing on the work and always ALWAYS putting the work first.

THE SEASON
Comparisons are onerous.

The danger of a suite of short works is that audiences immediately default to trying to rank the pieces. in fact reviewers do it too. And it’s not very interesting to me. I have no interest in any psuedo competition – for me it is about the whole season – the whole experience the audience is offered – it’s about the context of the work.

By many measures this season has been difficult – for many – the challenge of working around many schedules with limited time, space and resources means that sometimes the work suffers – and sometimes the relationships between artists suffers. Sometimes in the extreme sport which is theatre, egos flair, ideas clash, creative energy swells and collides – and sometimes out of the fiery furnace new love and respect is born – sometimes relationships are obliterated. Sometimes artists feel lost, disapoointed, sometimes they feel hard done by, unheard and like failures. Sometimes not is what they hoped or dreamed.

These struggles are fortifying.

they define you as an artist – they ask you to redefine – reassess – re-examine. They ask you to stand by yourself and what you know, and what you want. they call on your courage. It challenges your compassion adn your integrity. Some give up. Some roll up their sleeves and get to work.

I believe all experience is positive.

Perhaps not now, it can feel like a small form of hell, but later – as it shapes and directs you into who and what you will be.

I have been granted the great honour of working with exceptional artists during this project. I am, and always will be firmly in love with my cast. I have experienced the enduring patience of lighting and sound operators and stage managers… I have been surprised and delighted by the generousity and kindess of actors. I have been deeply honoured by writers. I am a very lucky person.

As far as the social context/The importance of this season – especially in a Pro-Am/independent context- is the room to fail, learn, grow, develop. For me the season being about women and feminism – is as important as any ideas presented on social justice – as any festival that focuses on promoting and producing new work by living local playwrights. I think it si completely possible to have a seaso of work about women power and culture which includes perspectives by men. After all I believe that feminism is a social concern – and is everyone’s reponsibility and realm- not just women’s business. The rights and opportunities and the status of women concerns everyone. This season for me is just as much about men as it is about women.

WHAT ELSE?
There are five shows left in the season – and a panel discussion. details can be found here: http://newtheatre.org.au/
Special Event: Sexing The Act – Saturday 5 November @ 2pm
This free public forum will question how far we have (or have not) come since the passing of the historic Sex Discrimination Act 1984. With special guests Adele Horin, Jane Caro, Eva Cox, Verity Firth, Katrina Fox, Gabe Kavanagh, Maha Krahem Abdo, Hetti Perkins and Susan Ryan.

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.”

This was a year for me to sit back, enjoy some fallow time… A time to see shows, think about things, bake muffins, tend my garden, and support the new writing world in a different way. After a wonderful year of mulitple and many productions and a hot phone and much demand – I decided that 2011 would be a very different year.
No Brand Spanking New this year… an instead I am in the director’s chair for New Theatre’s Women, Power and Culture season directing two new works by Alana Valentine and Vanessa Bates.

And this is a small note to let you know that there are auditions being held this Saturday at New Theatre and if you are keen to audition contact New Theatre to arrange an audition time:
ADMINISTRATION
Phone (02) 9519 3403
Fax (02) 9519 8960
Email mail@newtheatre.org.au

Hope to see you there…

About the Show:
Women, Power and Culture: Then and Now will explore the role of women in Australian society from a diverse number of complex, enlightening and amusing perspectives. Over a two week season in repertory, audiences will journey from the past to the present on a celebration of the role women have played in the cultural development of this country and her influence in the political arena.

Writers: Van Badham, Vanessa Bates, Zoe Hogan, Verity Laughton, Maxine Mellor, Suzie Miller, Katie Pollock, Gina Schien, Alana Valentine and Kathryn Yuen
Directors: Caroline Craig, Alice Livingstone, Augusta Supple, Helen Tonkin

PERFORMANCE TIMES & DATES
Tues – Fri @ 8pm, Sat @ 2pm @ 8pm, Sun @ 5pm
Wed 26th October – 5th November 2011

In the offices and kitchens and bedrooms across Australia, bodies bent like cashews, sit. The blue light from computer screens flick up their faces as a tappity tap-tap sound is heard. Often without any offer of money or production or recognition, these solitary artists sit and type, weaving snatches of dialogue, whispers of thought, symbols, images, instructions into a thick and luxurious tapestry – a play. Probably one of the most difficult literary forms, for the relationship between writer and it’s audience is reliant on a string of collaborators – a huge swell of a team that informs and directs the work – which is then presented to the audience for their engagement, response, reflection, delight etc. It’s a tough gig – and somehow playwrights do this – they handle the flux from solitary(sometimes paranoid) confinement to the wild washing-machine of creativity in production… or even worse… the deafening silence. The empty inbox. An absence of prodcution.

Tough gig.

Really tough.

And yet, there is a cavalry of playwrights in this country who continue to forge ahead. Sometimes silent/laying low/hermitting. And there are also Aussie playwrights who are else where – who have found it easier/better/necessary to move their career and practice off-shore.

Monday night was one such occasion when the playwrights could come out of the woodwork and fortify, invigorate and inspire each other – to continue – and to remind each other of all that they hold in common.

Hosted by ISM (the newest name for a collective of playwrights formerly known as Every Second Monday) The Playwrights Muster was a chance to celebrate without being angry – not a push against something, but a push towards something. A push towards recognition, collegiate attitudes, a feeling of acknowledgment. As the headlining act, 7-On represented by Verity Laughton, Vanessa Bates and Hilary Bell, presented the writings of each 7-on member in response to the Seven deadly sins of playwriting. And we sat as we heard small offerings from 7 of Australia’s most prolific and celebrated writers bravely and boldly read by Bates and Laughton – punctuated by the giggles and bell ringing of Australia’s favourite playwriting belle, Hilary. Who sat with martinis and paper in front of them. And they listed them – Lust, gluttony, greed, sloth, wrath, envy, pride. The audience sighed and gasped and laughed and nodded and smiled and muttered in sympathy to the portraits of being a playwright and struggling with the sins… until the bonus sin was offered -

Despair.

It was at that moment a tear snuck out from the corner of my eye and splashed on my lap. This told of doubt. Of fear. Of hopelessness. Of a feeling of giving up and doing as so many do – walking away. But writers – like so many theatre practitioners – whether they like it or not are compelled to continue – despite the lack of glamour or fiscal compensation. Despair is an essential part of being human – and can be a great catalyst for action. And frankly, what writer has not felt that? A cruel review, or an empty theatre. An unreturned email, a rejected script. An ignored commission. The silence.

Post presentation there was a quick trivia competition with prizes from Currency Press up for grabs – plays, books about playwrights etc.

Then hob-nobbing and chatting in the foyer.

I had the great fortune of hugging lots of playwrights that night – and meeting some new ones – also awkwardly chatting to others (yes, I do feel very much in awe of Verity Laughton, and I do manage to be clumsy and goofy around her, it’s embarrassing) – and generally hearing what people are up to.

It was an energizing and empowering night.

And this is the messages/lessons/ thoughts I think is most powerful and pertinent to the playwrights muster.

* The most important thing to remember is that if you want something, make it.
* If you don’t like how things are – change it. Start with what you can do. Offer all you can.
* Dream big, and be gracious when you achieve it and don’t punish yourself when you don’t.
* Don’t wait for someone else to change your life or industry, do it yourself. Gather around you the people you admire and respect.
* And… from little things, big things grow.

And on the wall of the theatre was this document – a reminder of our recent history – of what has happened and what is happening…

YEAR 2010: OUR PLAYS IN THE NEWS & PUBLIC FORUMS
Last year’s decision not to award a play for the NSW Premier’s Literary Awards was met with much confusion and dissent in the theatre community and, as a result, a group of playwrights and supporters gathered on the night of the Awards on May 17th 2010 to have our own celebration of ‘the year that was’ in Australian playwriting. We shared online quotes and comments, speeches, a petition, a toast to the overlooked playwrights, followed by further drinking and inspiring conversations.
Support poured in from all corners, including some of the UK contingent (Ben Ellis, Van Badham, Suzie Miller and Anthony Weigh) and Alana Valentine, Deborah Oswald, Reg Cribb, Katherine Thomson, Patricia Cornelius, Noelle Janaczewska, Justin Fleming, Verity Laughton, Hilary Bell, Jane Bodie, Timothy Daly, Melissa Reeves, Joanna Murray Smith, Sue Smith, Steve Rodgers, Vanessa Bates, Nicki Bloom, Lachlan Philpott, Kate Mulvany, Lally Katz and Ross Mueller were only a few of the amazing artists who contributed their online voice and/or personal presence on the night. THANK YOU ALL!
From the start, the controversial ‘omission’ was talked about broadly in the Sydney Morning Herald, The Australian, ArtsHub, ABC, 2SER and FBi Radio and on many blogs. After all of the talk and action across many weeks, we sent the Arts Minister’s office media links, everyone’s comments and the petition. They later sought written feedback amongst members of the theatre community, seeking recommendations for future award processes.
A year on, the 2011 NSW Premier’s Award shortlist included: Jonathan Gavin for Bang, Jane Montgomery Griffiths for Sappho…In 9 Fragments, Melissa Reeves for Furious Mattress, Sue Smith for Strange Attractor, Anthony Weigh for Like a Fishbone and Patricia Cornelius for Do Not Go Gentle. On May 16th 2011 Patricia won the $30,000 Play Award. Jonathan Shaw reported in his blog ‘Me Fail? I fly!’: As Jennifer Byrne read out the shortlist of this award, each name was cheered from one corner of the marquee. This set a precedent for the rest of the evening, but when Patricia Cornelius reminded us of last year’s ‘tragedy’, when no play award was given, we realised that those particular cheers weren’t so much partisan as the expression of an All For One And One All For All ethos among playwrights.
Importantly, throughout 2010 there were some very interesting conversations about our plays and playwriting. In late May, SMH published an article LITTLE ROOM FOR AUSTRALIAN STORIES ON SYDNEY STAGES…Talking to then Arts Minister Virginia Judge, PWA, AWG, Tommy Murphy and Sam Strong. In July there was another SMH article WHY THEATRES SPURN AUSSIE PLAYS which, despite the title, was actually quite positive, naming potential forward directions for play development and production.
Last year The Australian Writers Guild had a fight on their hands to maintain the level of funding for their work for the playwriting community. They gathered signatures from 250 playwrights in April, and in July in ArtsHub they called for active protest: PLAYWRIGHTS UNITE!.
In August, Tommy Murphy headed up the 2010 Alex Buzo Memorial Lecture A VOICE LIKE NO OTHER: THE FUTURE OF AUSTRALIAN DRAMA ON THE INTERNATIONAL STAGE. In September there was an article about under-nurtured British/Australian theatre ties in the UK Guardian BRING AUSTRALIAN THEATRE IN FROM THE OUTBACK. And just this weekend Timothy Daly followed through on this issue with another SMH article worth checking out AUSTRALIAN DIRECTORS MUST ACT LOCALLY, THINK GLOBALLY.
Unresolved issues around the representation, development and production of women playwrights have bubbled through again…in May 2010 at the Belvoir’s Women Theatre Directors: Action Planning Forum (moreso for directors than playwrights) and more recently in 2011, AWOL (Australian Women Playwrights On Line), spearheaded by playwright Suzie Miller. There’s also been ongoing conversation about impacts to the independent sector and playwrights, following the closure of B Sharp and many changes in artistic direction across theatres. This doesn’t even scratch the surface of what’s being talked about in blogs: Cluster, 7-ON, Theatre Notes, James Waites, Augusta Supple, 5th Wall, AWOL and others.
There is no doubt that we live in interesting times; times that seem to call for us to Muster together and muster our strength; sharing stories, connections, ideas, information and fun, and taking creative, social, virtual, live, sustainable and positive action. YE-HAR!
Please feel encouraged to Google away, follow up these stories and add to the conversation. Oh, and of course please keep on joyfully, bravely and spectacularly writing, directing, dramaturging, acting in, set & costume & sound & lighting designing, stage managing, FOHing, producing, publishing, programming, marketing, publicising, critiquing, researching, collating, touring, watching and reading PLAYS!
Thanks & love, ism xoxoxo
JUNE 6th 2011, Playwrights’ Muster @ Griffin
Special thanks to 7-ON, Griffin & Currency

From the moment my 12 year-old palm was pressed onto the tiles of the Sydney Opera House, I was in love. Not just with the architecture – not just with the harbour and the natural beauty surrounding it in the botanical gardens -but the history, the people, the culture. (Yes, I used the ‘c’ word.) It’s a beautiful place – and an interesting place – a new city – with some established traditions, and a sense of urgency

Sometimes I think if I could/would/will/should live somewhere else. How would my career be better/different? I loved Canada – and always will. I yearn to stride along the streets of New York City in its dreaded Summer swelter. I wonder about living in London if it would suit me – but I think of these as short term flings -1 or 2 years perhaps – It’s Sydney who stole my heart. And recently with a decision over my head of whether to stay or to leave Australia, I have chosen to stay.

I look at so many of the artists who have shaped and influenced my life and the lives of so many – Patrick White, Brett Whitely, Katharine Brisbane, John Bell, Margaret Olley -and how their choice to stay, has made Sydney and Australia a more interesting and vibrant place.

But every now and then I look to what’s happening elsewhere and I wish I was there – and if you are reading from London (I think there are six of you who are) here’s a plug to what I’d go to see:

IF I LIVED IN LONDON:

At Theatre503, The Latchmere, 503 Battersea Park Road, London SW11 3BW is:

Sold
by Suzie Miller, Director – Natalie Ibu
http://www.theatre503.com/whatson/detail/239/
19 April – 14 May 2010

Granger & Co. Estate Agency. The bear pit. Anthony is fighting off a mid-life crisis, Gary is fighting for custody of his son and Hilary is fighting off a younger, prettier colleague. But in this world the sale comes first and everything else can take a back seat.

Savagely funny and deeply touching, Sold is an acerbic comedy about the things we learn to live with and the true price of success.

“Miller’s work is a new theatre rich in theatrical imagination.” Sydney Morning Herald
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OR IF I LIVED IN MELBOURNE:

At The CUB Malthouse, 113 Sturt Street, Southbank Victoria 3006

Porn.Cake
by Vanessa Bates, Directed by Pamela Rabe
http://www.malthousetheatre.com.au/page/Porn_Cake
What do Jamie Oliver, naturopathy, hiccups and the evolution of thumbs have in common? More than you’d think – and not all of it safe for consumption. With Porn.Cake the modern sex comedy is turned on its head and the curious nature of our indulgences and obsessions given an enticingly extra twist.
Two Gen X couples sit down at a table for some cake, but from the outset distractions, misunderstandings and contradictory desires put a kitchen knife through any chance at pleasantries. Add fairies at the bottom of the garden, stir through some road rage and binge drinking, sprinkle with perverse nostalgia and serve hot…
Witty beyond her years, and with an eye to the wise and ear for the wise-crack, Vanessa Bates is that most special of playwrights: unsparing but never cynical, coolly observant and playfully mischievous. In Porn.Cake she has concocted a deceptively layered confection in which the voracious appetites of our everyday lives are put on trial.

There has been a simmering discussion amongst AWOL (Australian Women Playwrights On Line) about the presence (or lack of presence) of female writers included in the mainstage theatre seasons. Currently in Main stage seasons women are grossly unrepresented – and it’s not because there aren’t any women writing plays. There are. When curating the multi-playwright seasons I have produced in the last 4 years, I have not struggled to find quality female playwrights, and not just any female playwrights – excellent playwrights.

In late 2009, the Philip Parson’s Award hosted a panel discussion “Where are the women?” to which 200-ish female theatre workers turned up to prove exactly where the women are (Just in case Belvoir couldn’t see them, as their 2010 suggested) – they were filling the theatre. that day I sat with Suzie Miller and Vanessa Bates. When confronted with the argument that women aren’t being programmed because scripts and directors are assessed on merit not gender – Miller told of her experience which was having a play of hers knocked back for an Independent Season at Belvoir, only to have the very same play receive awards and productions overseas. Rachel Healy turned to Neil Armfield and said, “Well, Neil, it looks like we stuffed up.” And I think everyone in that audience agrees: there has been some major stuff-ups when it comes to theatre companies being committed to equal opportunity employment. So much so Melbourne Theatre Company have since implemented an EEO policy.

The stats for 2011’s mainstage season looks like this:

Sydney Theatre Company
Twelve plays, one by a woman (the American Sarah Ruhl).

Belvoir
Thirteen plays, three by women: two by Australian women (Lally Katz and Angela Betzien),
one by an Australian female choreographer.

Griffin Theatre Company (all Australian works)
Four plays, one by an Australian woman (Jane Bodie).

Ensemble Theatre (not subsidised)
Eight plays, none by women.

Melbourne Theatre Company
Thirteen plays, four by women: three by Australian women (two by Joanna Murray-Smith, one by Lally Katz).

Malthouse Theatre, Melbourne
Ten productions (not all are text-based): two by Australian women (Lally Katz and Vanessa Bates), one by an Australian female choreographer (Narelle Benjamin).

Queensland Theatre Company
Six plays, none by women.

State Theatre Company of SA
Seven plays, none by women.

Black Swan Theatre Company, Perth
Seven plays, one by an Australian woman (Joanna Murray-Smith)

In recent months with the start of AWOL, discussion has been furious, fast, eloquent and frequent… the names contributing to the discussion include Suzie Miller, Vanessa Bates, Verity Laughton, Tee O’Neill, Peta Murray, Noelle Janaczewska, Van Badham, Donna Abela, Kate Mulvany, to name but a few. I really would love to see the mainstage theatre programmer (Lit Manager, Artistic Director, Associate Director, etc) who has the balls to look these women in the eyes and honestly tell them, that their plays are not being selected because they “aren’t very good.”

And it’s not because these are horrid vindictive playwrights who should be feared because they can’t take criticism -it’s because it’s just simply not true.

Not only does Vanessa Bates have her play Porn.Cake coming up in a production in Melbourne this year… let’s not forget the major successes of Australian female playwrights – Alana Valentine’s Run Rabbit Run had a sold out season at Belvoir in 2004… Kate Mulvany won multiple awards and has also enjoyed sold out seasons for The Seed, Recently Verity Laughton’s the Sweetest Thing also packed out houses in a B-sharp season. Van Badham (current Lit Manager at Finborough Theatre in the UK) has enjoyed multiple awards, productions and is a regular gigging writer who has just published her first book through Pan Macmillan. What is stunning about the “chosen on merit” argument is that it is absolutely nonsensical. How can female writers win award after award, receive residencies after residencies, workshops after workshops, enjoy sell out seasons, gain international recognition and productions and yet, STILL are confronted with the argument “sorry, your play isn’t very good.”

For some this is an example of a boys club which is so deeply obsessed with it’s own maintenance of power that women must be kept at bay at all times. For some there is a question of HOW/WHY some of the taste makers/programmers have earnt their positions (One anecdote tells of a certain programmer/person of influence recently requesting an established/award winning female playwright for a coffee meeting -which is pretty tricky because she’s been living in the UK for some time, thus exposing his level of detachment with the writing community). For others there is a bafflement over why some playwrights are given opportunity after opportunity for productions (yes practice makes perfect) and they are allowed to fail… and yet others aren’t.

Recently an article in the SMH has aired the topic outside of the safety of the AWOL email group:

http://www.smh.com.au/entertainment/theatre/a-hard-road-from-page-to-stage-20110107-19isb.html

I know for a fact programming has to do with taste. Not with merit. And main-stage companies and their programmers have to face up to the responsibility and consequences of their taste.

To even up the clear gender imbalance, it has been suggested quotas for the inclusion of women practitioners to be introduced for theatre companies funded by the Australia Council. The initial proposal was for 30% of all plays programed should be by women. My immediate reaction was “why not half?”… then I thought more about it. I thought more about it. What would this mean for a predominantly male company (BELL SHAKESPEARE – there is no female Shakespeare to counter balance that – not even Aphra Behn wrote as many as WS -but frankly this is a can of worms discussion I’m not going to touch in this post… so stay tuned for my thoughts on that)? I also thought about the affect this would have on a female playwright: would she forever be left wondering/thinking “I was chosen because they need to fill their girl-quota, not because I’m good”).

http://www.smh.com.au/entertainment/theatre/dramatists-stage-protest-about-gender-but-do-they-protest-too-much-20110107-19it6.html

I think the problem is not with the playwrights. The problem is with the positions of creative decision making are made by men. Men who are programming to their taste. Tom Wright programs himself because he likes his own plays – that’s his taste. Tom wright says in one of the articles “The STC had commissioned an equal number of male and female playwrights since Cate Blanchett and Andrew Upton became co-artistic directors.” And my response is “Yeah, but have those commissions translated to productions? Because really commissioning 50/50 male female but only producing the male writers does absolutely NOTHING for the visibility/representation of female writing on the stage. It really feels like a gesture designed to shut people up. The whole top level of theatres needs to be overhauled… the Boards, the Artistic Directorship, the literary managers (And I believe there should be two for each theatre company) should be 50% women who hold 50% sway- not merely a token photo-copy girl in hotpants) Then effectively and naturally the balance of taste and representation would naturally re-adjust.

(As a side note to bolster the “taste not merit” argument” typically I’ve noticed when the artistic directorate is male and gay, sometimes they plays produced include characters that are gay men (Tommy Murphy directed/championed by Bertold and Armfield)… and yet I find it strange that the lesbian writers of Australia don’t get an equivalent chance for representation on stages.) Surely the themes, love stories and characters in gay theatre are no different to that of lesbian theatre or hetero theatre for that matter? Yet there is a predomince of gay male representation on our stages.

And then a part of me says, “Yeah yeah… we know it’s unfair. We know the merit argument is stupid and that women are treated differently than men are treated. what are we going to do about it?” This is what I choose to do – always support women writers who are great see their shows, offer feedback, promote it when it’s good and because it’s good. Always encourage emerging women writers to feel as entitled about their right to work and get paid as their male counterparts do.

Unlike the recent debacle with the NSW Premier’s Literary award, there was absolutely no problem for a shortlist to be generated by The Griffin Theatre Company.

A beautiful list of writers and some fascinating plays- a grand mix of established and developing writers- an exquisite cross section:

Elise Hearst The Sea Project
Nathaniel Moncrieff Sleepyhead
Caleb Lewis Clinchfield
Lally Katz Return To Earth
Aiden Fennessy Brutopia
Ross Mueller A Beautiful Gesture
Vanessa Bates Porn Cake
Kit Brookman Close
Tom Holloway Faces Look Ugly
Reg Cribb Damned
Alana Valentine The Sugar House
Raimondo Cortese The Dream Life of Butterflies

I generally don’t like competitions- I think they make people feel like there is some sort of relative value in what they are doing. The fact is, we need all writers, in all shapes and forms and styles and formats… all are valuable… I believe in shortlists. I believe in paying writers. But I don’t believe in awards that say “this writer/script above all else is the best.” So I love the idea of shortlists… they are more useful to me as a director, producer and reader of scripts… gives me a heads up and a point of reference…

AND the great thing about Griffin’s award is this: that the play that wins gets a reading infront of all who turn up… so we can at least hear the play, instead of forever wondering what the play was like. Some, not all awarded plays get productions. I remember feeling strangely disappointed and furious when Timothy Daly told me last year that his Patrick White award-winning play “Man in the Attic” got a premiere in FRANCE but not in AUSTRALIA- where it was written and awarded! Amazing. Stupid. And to me, I am very suspicious of Awards for awards sake- and awards that seem like lip service to writers. Writers want money, sure… but they also want productions. Anyway, rant over… I just wanted to say I think Griffin holding a reading is a valuable thing. Really valuable.

Last night was the opening of Tracy Lett’s August: Osage County – pulitzer Prize winning/tony award winning production which is enjoying a season at the STC. (With a cast of Australians waiting in the wings hoping for a sickness to befall an American perhaps?). I didn’t go to that opening… I decided to reserve the night for the Griffin Award… to listen to what is happening right now in the mind of the new artistic Director Sam Strong- where his taste (along with the distinguished panel of judges) lies and also to perhaps chat with playwrights… Almost everyone else was at August: Osage County.

For me the Griffin Award is a pretty important one. Luckily for the Griffin, their sponsor of the award, PKF (Chartered Accountants & Business Advisers), has an understanding of the value of living culture, and is willing to put some muscle behind their belief. $10,000 is a substantial amount for a writer in this country- and this Award is important- not only for the development of plays, but for the writers themselves, who can buy themselves time or space to write, or to relax after having written an award winning play. It’s fantastic, and I wish everyone who ever felt dissatisfied with or inspired by an Australian play donated $50 to the Griffin- I bet we’d see the results in no time… playwrights need money. Despite popular belief they don’t live off praise and sunshine.

I wish the timing of the award for this year was not on the same night as such a major opening night. I wish Cate, Andrew, Tom, Ralph and all the artistic directors in the city could have been there for the announcement and the reading. I wish that all the reviewers and the judges and the journalists and the literary managers and the key representatives supporting writers and the funding bodies could have been there… in support of Australian playwriting. In support of new plays. In support of doing the thankless and often difficult job of reporting and reflecting on our current history.
Of shaping our culture.

And this may seem a bit strange for me to say, but I think actions speak loudly. If you love theatre- attend it. If you are a writer and want to support new writing in this country, attend new plays. I am absolutely hopeful that one day, artistic directors will get behind the plays they award – be actively engaged with the playwrights who are here. Give them a reason to turn up. Be willing to spare 2 hours to have a play read to them by exquisite actors.

For me, last night was wonderful. I got to see Gillian Jones and Lotte St Clare on stage together. I witnessed the elegant hilarity of Genivieve Hegney and the brilliant characterisations of Damon Herriman, Anthony Phelan and the sturdy masculinity of Andy Rodoreda all give of themselves and their time and imagination to bring the play to life. What a gift… brilliant! Fine Australian actors, all who have worked with the best directors and companies our country has to offer.

I wish that one day, the industry as a whole, would put the playwrights first. And that even if the circus came to town, or if Elvis did a come back tour- that the people who are the taste-makers and cultural leaders decided that it would be inconceivable to overlook our local artistic hero’s.

But perhaps there is the problem of “oh well, its local, i’ll catch it later” or “I’m not and it’s not going anywhere soon- it can wait.” I don’t reckon. I reckon if you don’t use it (engage, care, invest, support) now, you’ll lose it. And that’s why, despite the fact am up to my eyeballs in plays at the moment (I nearly have a shortlist for Brand Spanking New!) that I say- thank you to those who care enough to turn up. I know I wouldn’t want to be anywhere else.

The Media Release:

Aidan Fennessy’s plays have been produced by Melbourne Theatre Company, Queensland Theatre Company, Griffin, Playbox, HotHouse Theatre and White Whale Theatre amongst others. His play Chilling and Killing My Annabel Lee, produced by Griffin in 1998, and won the Wal Cherry Award and was short-listed for the Premier’s Literary Awards. His Melbourne International Comedy Festival collaboration, The Trade, won the prestigious 2002 Barry Award. Aidan’s directing credits include Matt Cameron’s Ruby Moon (MTC), Max Gillies and Guy Rundle’s Godzone (MTC), Alan Ayckbourne’s Things We Do For Love (MTC), Ross Mueller’s The Glory (HotHouse), David Mamet’s Oleanna (HotHouse), Robert Reid’s A Mile in Her Shadow (Store Room Theatre Workshop), Ross Mueller’s A Pilot Version of Something To Die For (Store Room Theatre Workshop) and Peter Houghton’s Commercial Farce (Malthouse) amongst others. Aidan was a founding member of Chameleon Theatre, a member of the Artistic Directorate for HotHouse Theatre and Artistic Director of the Store Room Theatre Workshop.

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…