News
Main Page Content
Theatre Works and the Men at Work Season for Midsumma
You’re relatively new to Theatre Works, please tell us a bit about yourself!
I moved to Melbourne in March last year after directing The Event (Melbourne Fringe), My Name is Rachel Corrie (fortyfivedownstairs) and producing The Wau Wau Sisters’ Last Supper (The Arts Centre, Spiegeltent). I am both a director and producer, originally from Adelaide, although I spent a number of years in the UK where I worked at the Leicester Haymarket Theatre, The Bush Theatre, The Point Arts Centre, Nuffield Theatre and for SCAMP Theatre at the Edinburgh Fringe.
I moved back to Australia because I fell in love with my beautiful husband, actor Nick Pelomis. For me Melbourne felt like the closest Australian city to London in terms of diversity of culture and artistic expression - and my instinct was right! I love living here. My friends in London always ask me when I’m moving back but I’ve actually fallen in love with Melbourne, and am proud to call this my home. Theatre has been my passion for most of my life and Melbourne certainly seems the right place for me to be continuing the adventure.
What attracts you to the independent theatre sector and why do you think it’s so special?
The artists are what make it so special; people who are so committed to their art and willing to take risks year in year out. The diversity of the work that is being created in Melbourne is really inspiring and there seems to be an audience that is hungry for new ideas and new stories. Artists working in the independent sector have to be resourceful, and yet still manage to execute big ideas and push artistic boundaries.
I also feel like there is a genuine desire for organisations who work with independent artists to increase their support and look at ways to ensure that they can give artists the support they need – I know we are certainly trying to deepen our engagement with and support of independent artists here at Theatre Works.
Tell us about the development of a new show and the role that Theatre Works plays in this process?
There are many different ways that a new show can be developed and some shows take years to develop. There are a number of ways in which we assist artists develop work. Our In the Works program provides space for artists to develop ideas, and often these creative development periods will end with a showing to invited guests.
In 2012 we are supporting up to eight independent companies to develop work as part of this program. Theatre Works also received Australia Council funding for the next three years that has to be used to pay artists to either develop or present new work. We have made a commitment to two companies to pay their artist fees to develop work in the Theatre Works space during two residencies.
We will also be commissioning up to eight artists (or groups of artists) to make new pieces of intimate immersive and participatory work in 2012, as part of a one-on-one performance festival we are developing. Theatre Works is also expanding its capacity to mentor independent companies who are developing work for seasons at Theatre Works. These “producing mentorships” will enable us to assist independent artists develop their producing skills.
What are some of the risks associated with producing and developing and presenting new work at an independent venue?
When you make a commitment to programming new work obviously there are some risks involved, but for me this is exciting. Of course we hope very much that the work reaches audiences and that audiences want to see it, but a new work may also be part of an artists’ larger journey, and the results may not be obvious until much further down the track. We hope that we can support artists through the planning stages of a project to minimise artistic and financial failure.
What is the audience’s role to play in this type of developmental work?
I think audiences should be daring and see new work, because more often than not they will find a gem. Our prices are really accessible and so we hope people see more than one work in our season. I hope to open the creative processes to our audience as we go forward. One project we have in development this year even has an open rehearsal policy – so audiences can see a work being made.
Some artists find it beneficial to show work to audiences during the development to gauge their reactions to it. I personally like watching work develop, and I think creative development showings can really help work grow. Some artists also develop their work and ideas in front of audiences rather than tucked away in a rehearsal room.
How does one go about programming an entire season (or even mini season) of works?
We program our season in a number of ways. Our Selected Works program is a curated season of work throughout the year and artists apply to be part of this program through an application and “pitch” process. It is actually a very rigorous process and also very transparent. The Artistic Subcommittee of the Board work through the application process with me. I always look for a balance of work, whether it is part of the Selected Work program or another season entirely (like our Midsumma Program).
I am very keen to work with artists who have imaginative ideas and visions about how to use the Theatre Works space differently. We are also very passionate about programming a diversity of genres and styles. We do have a strong focus on new work and supporting artists with big visions.
This is my first year of programming a venue for a whole year, and it really was like a big jigsaw puzzle in the end; matching our needs with artists needs, availabilities and funding outcomes. I’m really thrilled about this year’s program – there is certainly more of a focus on developing work that will be realised in future seasons; but there are some fantastic shows too and the calibre of independent artists working with us is extraordinary!
This year’s Men at Work Season for Midsumma includes acts from all over the world, as well as Australia. How do you go about finding these performers?
I didn’t necessarily set out to program a series of solo shows by men for Midsumma but it became apparent to me that of the different works I was considering; Mother/SON, Negative Energy Inc. and The Year of Magical Wanking, would sit alongside each other really well, and offer audiences a really interesting insight into contemporary queer performance and stories. Some artists approached me for this season, and I also approached artists whose work I had been following and had been recommended to me.
I was a bit anxious about programming a season of work entirely by men but I know this is going to be balanced by the number of fantastic women artists we are working with this year. It was important for me to watch the DVDs of all these works, read what had been written about them and have a clear understanding of where the artists were heading in their career. Why would a season at Theatre Works benefit them? Was it the right venue, season and time for them. What was their trajectory?
What can audiences expect from this year’s Men at Work season at Theatre Works?
Audiences can expect to be entertained, that is for sure! They will also be given plenty to think about and will no doubt relate to all of the works, which have already been called universal in appeal by audience members. Some stories may feel familiar and others will feel original and bold.
They are all very honest works and all autobiographical. They all have moments of great powerfulness. I’m actually really proud of the work and the artists involved.
Who do you think are the next “ones to watch” in Independent Theatre in Melbourne?
Pretty much everyone who is creating or developing work at Theatre Works in 2012!