tag:blogger.com,1999:blog-7200658218238769688.post4220701714128484899..comments2024-01-20T16:46:43.636+11:00Comments on Kevin Jackson's Theatre Diary: The Importance of Being Earnest Dragons, and other classic tales, as told by an OctopusGeorge Khuthttp://www.blogger.com/profile/10220918958933755405noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-7200658218238769688.post-75833456297370546302012-04-04T23:39:31.551+10:002012-04-04T23:39:31.551+10:00continued…
Augusta Supple in her comment repl...continued…<br /><br /> Augusta Supple in her comment reply on my site, talks of the importance of the audience for a writer to develop the work. No argument – crucial (Ms Supple also talks of budget as well. But budget does not seem too much of a problem for the above productions). But in a full length season (3-4 weeks) at the Old Fitz less tenable, especially, if the above work represents the best available to this company.<br /><br /> Letting the audience know that this is 'work-in-development' rather than a finished one, would also be useful for the audience to know, to decide whether to invest the time and money in that venture again. Usually the Old Fitz has mixed the product about much more considerably, considerately, for the audience and the mix between the developing new and the finished product much more satisfactory.<br /><br /> I wonder why organisations like PLAYWRIGHTS AUSTRALIA or THE N.S.W. WRITER'S ASSOCIATION do not have the spaces or venues to provide opportunities for the fledgling writing and writers to have designed explorations of the text with audience and budget? A Writer's laboratory where work gets an early opportunity to stand on its feet with production values and an audience. The 505 Theatre Space down at Central Railway seems to be an ideal size etc. Indeed, it is being used for that purpose. Perhaps NIDA with its writing course and facilities should provide this service to the community. Just make sure the directors working on the projects are ready as well. The blind leading the blind is not always a sure way to ensure good work. Interesting work but not always good work. At least, at NIDA, one presumes, that the mentors guiding the explorations would be first rate.<br /><br /> I understand that the Sydney Theatre Company, Belvoir and Griffin attempt to contribute so why we are losing the Old Fitz to this consistent experimentation in new work, is a worry. Too few spaces in Sydney to see the vast international output.<br /><br /> With two theatres, The Fitz and The Bondi Pav, maybe one is for developing work and the other for more finished work. Or that designated seasons are made to scramble it up. But at the moment The Old Fitz seems to be a space for the 'kids to play'. Nothing intrinsically wrong with that, but the games being played need to be more rigorously attended to for the venue to be regarded as a reliable place to go to the theatre. At the moment one is less and less sure of the quality of the product one is going to see.<br /><br /> Anyway, just rambling, cogitating, brooding and so on and so forth…Kevin Jacksonnoreply@blogger.comtag:blogger.com,1999:blog-7200658218238769688.post-52988258411464162672012-04-04T23:38:52.161+10:002012-04-04T23:38:52.161+10:00Dear Anonymous (not Augusta)
It is not up to ...Dear Anonymous (not Augusta)<br /><br /> It is not up to me to recommend how the Tamarama Rock Surfers program, but, like you, I feel the productions offered at the Old Fitz in the past year or so have not been of a top professional standard and like yourself, and Jason Blake, feel that sometimes I am watching University student mayhem on what used to be an exciting space with consistently challenging work at more mature stages of development with secure professional skills. (Even then it is a high-risk enterprise with no guarantee of success).<br /><br /> On the back page of the present program for LYREBIRD, there is an acknowledgement: "Tamarama Rock Surfers are Australia's leading independent theatre company. We are committed to the development and presentation of new Australian writing and contemporary performance. Through our two venues, The Old Fitzroy Theatre and The Bondi Pavilion Theatre, the company ethos is to provide access and opportunity to independent artists and audiences alike." (sounds like the Griffin, who are streets ahead in comparative choice of work!!)<br /><br /> I don't know whether the audiences, who are not friends or family of the creators, are being given enough consideration in the programming and quality of work being shown at the Old Fitz of late.<br /><br /> Based on recent experiences at the Old Fitz it seems the space has become a try out space for developing work e.g. : BOXING DAY; THE HORSE'S MOUTH; and THE IMPORTANCE OF BEING EARNEST DRAGONS, AN OTHER CLASSIC STORIES, AS TOLD BY AN OCTOPUS. All these works were - in writing terms - it seemed to me - in very early stages of growth. It is interesting to see that the team behind the curatorial work for these projects are a fairly consistent chosen few - and that the people in charge of 'producing' the work are, relatively, the same.Kevin Jacksonnoreply@blogger.comtag:blogger.com,1999:blog-7200658218238769688.post-78659568697271631902012-03-30T18:25:33.886+11:002012-03-30T18:25:33.886+11:00Kevin since bondi came into the equation the fitz ...Kevin since bondi came into the equation the fitz has taken a dive and everything seems to be amateur or just work in progress. It has a great history but the stuff that goes on now is on par with high school productions. What would you recommend to the rocksurfers? I think they should just focus on bondi and give someone else the fitz to get back to its former glory.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-7200658218238769688.post-82075005987593740362012-03-28T09:36:23.487+11:002012-03-28T09:36:23.487+11:00What a wonderfully thorough response, Kevin. And I...What a wonderfully thorough response, Kevin. And I agree with you about many of your points you make about the production.<br /> And I agree wholeheartedly that the consistent late starts at the Old Fitz makes me bored and tired also, and I believe it lowers the professional tone of the Fitz as a theatre... I am a bit old fashioned like that and I rarely think that the excuse of "yeah, but this theatre's in a pub, have a beer and chill out" cuts it for me. I like shows to start on time (you can see my stage manager roots poking through, can't you?).<br />I do think that there needs to be acknowledgement of new work written by emerging writers who are very serious about their writing and their future as theatremakers. Despite its rushed/jovial/somewhat undergraduate presentation - and I agree re the inaudibility of some performers and several aspects of the production which could have been assisted by a sturdy dramaturg, more money a more experienced cast/ a different venue. But I have to say that I take very seriously Ms Sebastian Wolf's career intentions - besides being one of the few emerging comedy writers in Sydney at the moment, she is a NIDA Playwrights Studio graduate and I believe is mentored by Frank Moorhouse. I think she needs as many opportunities to test, develop try her work infront of audiences. I don't think this was her finest work - nor her ultimate work - but a necessary stepping stone in her expereince and development as a writer.<br />I think there is an issue about Australia's new work development culture inherent in your response -and perhaps the old Fitz is perfectly positioned as a development theatre (casual beer chattering and late starts etc) but perhaps the price point of the tickets suggests otherwise. <br />I agree that shabby time-keeping on the part of the theatre effects the reading of the work. <br />I also think that writers need audiences to develop and need more time/space/money/resources - which I don't think this production had. I can't attest to the level of support of the residencies offered by Queen Street - as I don't work there anymore (and haven't for over a year) but I believe there was a team of several people - Verity Laughton, Jo Turner amongst them, who provided development support to McGlynn and Wolf for this production.<br />On the point of misogyny in the Dante - I felt this was more a comment on men thinking they're such (rock)gods when really they're not... more of a comment on the delusion of male power.<br />Developing plays is one thing - developing playwrights is another, but I am ever hopeful that our emerging playwrights of today will be grand leading playwrights of tomorrow.Augusta Supplehttp://www.augustasupple.comnoreply@blogger.com