• 10 Jan 2012 /  News

    “Stunning, just stunning - shall write later on #IAmEora – though with Jimmy Waites here, perhaps better he does. Contemporary, sassy, passionate, political theatre with balls, spine, passion. Moving….Wesley, wow! And the Sydney Festival is a festival of good manners…the grace and charm and inclusiveness.” Virginia Gordon (via social media on the day).

    I don’t think I need to say any more than that…especially with Augusta Supple’s review already out. Please do go read – because what I will write will serve as a follow-on from that. No point wasting such a good piece of writing, and that leaves me free to go elsewhere with I Am Eora. Not sure where yet?  It’s a very interesting show – beyond the show itself. GO HERE FOR AUGUSTA! And I will come back to my desk later.

  • 08 Jan 2012 /  News

    It is a neat coincidence: here I am contemplating how I might expand the content and terrain of this blog – to take in more then my random views on local shows and, by various technologies, I come across several print media articles I feel are worth sharing. The one I just put up – on artistic inspiration – came via a Facebook post. This new one arrived via an email sent to me by another Australian friend who happens to live overseas (London this time): namely Chris Westwood (or West to pals). West is most famous for being one of the women who raised the money to purchase the Surry Hills theatre from Nimrod that is now Belvoir.

    We complain a lot here about how badly off we are – and yes Sydney in particular is an expensive city, with housing costs especially proscribing opportunities for local artists to afford to make work – or live work. And for audiences to afford more ‘art events’ in their lives. But we are living in a bubble – and have not stopped to consider what is happening in other part of the world, post GFC (yes I know it tastes like chicken).

    Margaret Thatcher sought to shift power from the producer to the consumer

    This shake-up article  - read here – by playwright David Edgar reveals the crisis in the UK and does us all a big favour in outlining many of the most important reasons why governments should support the arts through direct funding – even in tough times. Perhaps especially so.


  • 08 Jan 2012 /  News

    Top artists reveal how to find creative inspiration

    Guy Garvey, Isaac Julien, Martha Wainwright and other artists give their top tips for unleashing your inner genius

    The Guardian (UK)

    Playwright Polly Stenham

    Facebook has many vices and a few virtues. Among the latter are links friends proffer to interesting stuff they’ve read or great images they have stumbled upon. The myriad inter-connectivity that partly defines today’s world works in contradiction to the isolated way many of us experience daily life – and even more so the empires of art and ideas. We theatre people, in particular, are sharing people: coming together to break bread (the work) lies at the core of what we do. And, for us, I think its appeal.

    One-time Sydney-sider, McKenzie Wark (now of New York),  posted this story from the Guardian- see here. I thought this was an interesting read.

  • 28 Dec 2011 /  News

    So where have I been these past three months? I got asked to be part of the team working on a TV doco about the history of Australian theatre. Called Raising The Curtain, it’s been commissioned by Stvdio. And a while yet in the making – probably screening towards the end of 2012. It’s a three-part series, three hours all up, starting with convict beginnings all the way up to the present. It focuses on three themes. Episode One – the entrepreneurs and dreamers, including the crazy cats, especially before government funding who put their money and reputations on the line, time and time again. Episode Two looks at the ‘voice – namely the emergence of Australian playwriting. And Episode Three – the theatre-makers – directors, actors and designers – and some of the best ‘Australian’ work they have produced.

    Cordelia Beresford, Ian Walker and me - photo by Ross Wallace

    Quite a sweep. I got to work with the research team for five weeks and then spent four weeks doing the on-camera interviews. That second part was pretty intense – two interviews a day on many days – maybe eighty hours – to be cut down to three! Luckily the complete interviews will be deposited in an archive and will be able to be accessed in the future by researchers. Plus some re-enactments, live footage and lots of photos. And lots of big names – around forty all up – including from senior ranks the likes of John Bell, Robyn Nevin, Geoffrey Rush, Jacqui Kott, Jim Sharman, Jack Hibberd and Evelyn Krape, Ray Lawler, Louis Nowra, Stephen Sewell, to the latest generation including Cate Blanchett and Andrew Upton, Simon Stone, Lee Lewis and Lally Katz. Among the sweetest interviews was a double we did with Ken and Lilian Horler and among the most moving, Jack Charles. Kosky was interviewed in Berlin.

    Where it all began in Carlton and still going strong.

    Director Ian Walker now puts together a rough cut and somewhere around May 2012 there will be another round of interviews – including some more big names who were too busy this time round. Among the highlights was Ross Wallace’s evocative and highly adaptable set, and Cordelia Beresford’s elegant cinematography. Who would have thought talking heads could look so good! We used theatres as locations, from rehearsal rooms at Belvoir, The Stables (original Nimrod) to the Fig Tree Theatre on the old NIDA site, to the new Melbourne Theatre Company complex, and of course cute little La Mama in Carlton where so much that is Australian theatre today began. The producing team included Aline Jacques, Julia Peters and Margaret Murphy.

    Asking the questions was an interesting challenge because your truly is not in the doco – no slouching back in loafers Andrew Denton-style. Rather questions that prompted the talent to speak directly to camera. It took a lot of concentration and quite different to the more easy-going approach I use for the National Library’s oral history interviews. The interviewees were great: some fascinating and hilarious stories were revealed – perhaps for the first time.

    The original Old Tote (now Figtree) on the UNSW campus.

    The challenge to the series is doing justice to what happened before the emergence of Pram Factory and Jane Street. But that is the goal – a 200-year sweep focusing on the people and the events that played a part in making our theatre ‘Australian’. That wrestle to get away from all that was British and whatever else all-American.

    Don’t want to say too much here – too early. Apart from thanking Essential Media for the fascinating job. TV is hard work but I think there is a good doco in the spawning. Much to be done in the editing room. And thanks to all the interviewees. You were very generous with your time and thoughts. It became quite obvious as the days unfurled that theatre attracts a particularly generous kind of human being – not much money in it so why do it? There’s a whole lot of love. Camaraderie, crazy adventurism, and communal creativity.

    Well let you know more over the coming months.


  • 27 Dec 2011 /  News

    Here I am trying to get back into the onlining spirit by being silly and putting up dumb YouTubes and generally trying to get jolly for Santa and 2012 – and then we get a week when the world stops turning for whole bunch of special people. I put up a post about Carmen Rupe coz she was fun and deserves remembering. Meanwhile the social media is awash with the death of all sorts of famous people.

    Harold Hopkins (left) with John Howard in The Club

    But -  in our own community we have lost two very special human beings. Harold Hopkins who died two weeks of asbestos-related mesothelioma, aged 67. Lovely guy people tell me – lovely actor. For old times sake pull out Gallipoli or Don’s Party or The Club. I remember him best in his great performance in The Doll Trilogy.

    And now the passing of Rosie Lalevich, who took her own life – obviously after much personal anguish. I didn’t know Rosie that well, but she made me feel special whenever I bumped into her. Always good for a hug and a laugh and a big talk about theatre.

    Rosie in the wheelchair in Missing the Bus to David Jones

    Rosie (sad) in Necessary Targets with Vivienne Garrett

    Rosie happy with a friend - Jai

    A recent triumph was her performance in Theatre Katanka’s gorgeous Missing The Bus To David Jones, but her good work goes back to La Mama in the 1980s, and a highlight would be her performance in A Little Like Drowning at Belvoir in 1992, directed by Rosa Clemente with a cast that included my dear friends Maggie Blinco and Dina Panozzo, and Tony Poli among others. There was a very gutsy side to Rosie Lalevich, which I encountered the first time I met her when she was producing The Vagina Monologues (a very good production it was  too). Rosie also produced and acted in Eve Ensler’s other play, Necessary Targets, about Bosnian women war refugees. In life and on stage, Rosie was funny and bold – and had a huge heart and cared so much for others. Anyway, I have been very sad about this. And for those who knew her better, this past week no doubt very many tears.

    There are for you Rosie!

    There was a funeral a few days ago – and there will be a wake in the New Year. For those of you not on Facebook I will keep you informed.


  • 15 Dec 2011 /  News

    Just mentioned on Facebook that I took Carmen as my date to Richard Wherrett’s funeral. I went into a coffee shop next door to the church to grab a pre-ritual coffee and croissant and she was sitting at a table all dressed up. I asked if I could join her – and then if was going to the funeral? She said she was indeed. I asked Carmen if she knew Richard very well (quite possible!) She said she’d never met him but was a big fan (made sense!). A few weeks later she was on the front page of the SMH attending Abe Saffron’s funeral – whom she probably did know! She also possibly just liked funerals – a chance to see and be seen as well as paying homage to various colourful Sydney identities – city greats like herself.

    Anyway I asked Carmen if she would like to be my glamour date for Richard’s funeral – I figured it was the best I could do to make up for all the bad  (as well as good) reviews I had given him over the years. She was all dolled up, signature magnolia in her hair. Very glamorous as only Carmen could be. She graciously accepted and clearly we were one of the hottest couples at Richard’s last show. After finding our seats, Carmen wanted to know who everyone was: so I did my best in that department. Famous names rolled off my tongue as she nodded sagely. But the best bit was halfway through the ceremony when Carmen’s head dropped into the deep crevasse between her breasts and started to snore – very loudly! People heads turned – some glared – most smiled. Life, I figured, was so much more interesting to Carmen than death…

    Carmen in 1975

    In recent years Carmen was my neighbour – well nearby anyway. I loved her riding around Surry Hills on her electric bikemobile – not just in fine attire, but the vehicle tied up with swathes of colourful fabric that flew around behind her as she tootered along – a one person Mardi Gras parade I used to think.

  • 12 Dec 2010 /  News, Reviews

    STC Open Day - Workshop in Action

    I got off the plane from Thailand, dropped my bags and headed down to the the STC Wharf – for what I thought was a performance of Phil Spencer’s Bluey - and indeed it was. But more! It turned out to be Glitter and Fluffy’s open day, where you could soak in the eco-friendly atmosphere and get doused in glitter if you were a kid.

    I wanted to see Master Spencer’s play because I had seen one of his shorter works as part of the 2010 Brand Spanking New season a couple of month’s back at the New Theatre. I thought that play as funny and showed talent. A  little time later, myself, Spencer and a gifted female playwright, Emily Calder found ourselves seeking out further alcohol in the Kings Cross precinct after a show at the Old Fitzroy. The show was Calder’s Flightfall. Being a good piece of writing for the stage, it was well worth the extra drinking/talking time. All this ties up with the fact that Spencer has recently been appointed Associate Artistic Director for Tamarama Rock Surfers – the company which runs the venue at the Old Fitzroy in East Sydney. Working alongside Artistic Director Leland Kean.

    Back to Phil’s play, Bluey. A Bluey is an official form of a letter you can send to someone in the British Army posted to some exotically dangerous locale like Iraq during the war there. Like Spencer’s Dad. But Bluey is more than a piece of paper in this play – it is a metaphor for the relationship, the special communication if you like that Spencer enjoys with his father. An army chef by trade, he is sent over to the war to keep an eye on the locals who had been hired to do the bulk of the feeding of the British troupes. In a gesture that perhaps best identifies his special brand of humour, Spencer’s Dad is played by a chimpanzee – a rather large puppet which the writer/actor handles adroitly. And the fact that, as a student during the time of this war, Phil is not exactly behind the war effort his Dad has been dragged into, leads to some lovely revelations about just how well the pair of them – father and son – get on.

    The Anti-War Activist: A Mispelt Youth

    I wouldn’t call Bluey a major work, but it it’s good and true. And it has a lovely ending, a tiny twist in the tail/tale, which reminds you that, jokes aside, you can’t have war without dying. Bluey, which has made a couple of previous appearances is directed by Scarlet McGlynn. On our drunken night out I asked what brought this lively English lad to our shores.

    Spencer Welcomes Oprah Winfrey to Australia

    Clearly Johannson isn’t the only Scarlet(t) beauty of our time – as it appears the McGlynn siren call had effected some stirring in Phil’s simple soul. Effecting in the purchase of a plane fare. That McGlynn can direct with such sensitivity to form adds a further bow to her string. Here is a review of Bluey from Australian Stage when it played at the Old Fitz earlier in the year. It explains a few features of the play better than I have here.

    Fools 4 Love: Spencer & McGlynn

    I have to be a bit honest here and say I have started to try to be nice 2 young people in the hope that one or two of them might bring me grapes in a few years when I am eventually put into a high insecurity nursing home. This has nothing to do with how much I enjoy the ‘life force’ of the under 20s/30/40s! Or that I am quietly excited that a rather wonderful bunch appear to rising up through the ranks of the Sydney theatre–making world. So it was fun to discover some of my best friends of this new generation were also seeing Phil’s show. I normally keep this quiet, but I spent the odd semester some years back teaching a course called ‘Nothing at Nepean’ – a very special syllabus that basically set forth the careers of the likes of the Umblical Brothers, Steve Rodgers, Joel Edgerton – and specific to this story, Vashti Hughes and classmate Sean Barker, who is married to Vashti’s talented sister the blues singer Christa Hughes.

    Fools 4 Love 2: Sean Barker & Christa Hughes

    Christa did me the honour of singing at a party I tossed last year for a couple of hundred of my closest friends – yes it was a good night! And since then we have all become a bundle of buddies. I am not sure how to take being known as ‘Auntie Jim’, though I do enjoy the many laughs and hugs. Anyways, Sean and Christa were there. Sean and Phil Spencer had been in a play together (BTW) at TRS called Rock Paper Scissors, I dunno about a year ago? At the show also was Craig Menaud, another ex-Nepeanite. With someone rather smart and sweet on his arm!

    Just Fooling Around: Tuyen Le & Craig Meneaud

    Anyways – such was the jolliness of the occasion, we bypassed the rest of Open Day and the bunch of us went over the road to an Italian restaurant for a noisy feed. I am not going to name the restaurant, coz i don’t know what it is. But it’s fantastic. I’ve been there a few times now. Not cheap cheap – but for the price amazing value. The place was clogged with wannabe’s and wannatable’s, yet we were very well looked after by the hugely busy staff and the food was great.

    There was more to this day, all within hours of landing in Sydney after my month in Thailand – it finished off with further wine women and siren song at a yuppie pizza place near my place in Surry Hills. That was with Jana Perkovic, bright young Melbourne person visiting, and my dearest friend Maggie Blinco – but that’s different story to tell another day. As I hoped, Maggie liked the silk scarf I brought back for her from Thailand. I trust this humble gift will make a foyer appearance in the not to distant future.

    Next story: Diary of a Madman. Yes – it is Very Good!


  • 05 Nov 2010 /  News

    This is basically a re-run of a story I posted last year when this production was playing at Old Fitzroy. It was one of my favourite productions of the year. It is now about to open at Upstairs Belvoir. Not many shows I want to recommend without reservation – though you will probably need to book a reservation for a seat! I put it up here partly as a promo as I suspect, since its relatively recently been reviewed, it won’t get a lot of coverage in the daily press. Just wanted to get this up also before I attended to a bigger assignment – some kind of wrap/overview on Namatjira – which finishes it Belvoir run quite soon.

    The Bougainville Photoplay Project:

    a production by Version1.0 with Tamarama Rocksurfers.

    Paul Dwyer is the show’s chief conceptualist and (almost) solo performer. Version 1.0 is one of our rare ‘cutting edge’ ensembles and two other members play vital roles. David Williams’ direction is subtle and astute; and Sean Bacon holds the fort on most matters audio-visual – quite a feature of this show.

    What might the future hold?

    It is usually good news when an enthusiast like myself tries to describe an experience in their field of specialty and finds stock phrases unsuitable and fresh minted terminology elusive. Perhaps we are witnessing something bold and original. Maybe even important? Here, with The Bougainville Photoplay Project, I am sure we are. Characteristically I saw the last performance of this season, so I do hope it gets another run soon. It is well worth seeing – as a staged event – and for what it has to say. I should add it was refreshing (and innovative) for Verson 1.0, a rather intellectually high-brow mob, after several other incarnations of this show, to take this work to the laksa-and-beer venue that is The Old Fitzroy in East Sydney and mix it with the punks and the boozers.


    Dwyer is currently Chair of the Dept of Performance Studies at University of Sydney, a theatre scholar of considerable clout and a veteran performer. His focus has been on youth and community companies; and of late Dwyer has taken a particular interest in youth justice conferencing and reconciliation. What could that have to do with theatre making, much less the civil war in Bougainville – well that’s where, I suppose, we begin.  Dwyer wisely chooses in this show to work strictly within personal boundaries. He is a lecturer by trade, and so this performance takes that form. He sits at a desk, reads from documents, shows slides, some sourced video, recalls encounters that hark back to his family and childhood – which push him forward into a venture in adulthood that takes him to Bougainville.


    The whole lecture format is expertly handled and has a touch of ‘piss-take’ to it: an ‘awareness’ that transforms this rather ancient of on-stage forms into one that shivers time and time again (a form of meta-theatrical ‘aside’) with ironic play. To the heart of the matter. Dwyer is interested in forms of ‘reconciliation’ and my chance he stumbled upon information that in post civil-war Bougainville, the people are reactivating traditional forms of conflict resolution. People who have not merely killed, but tortured, hacked and raped, are coming together to seek forgiveness from those they have brutalized and offended. And their requests are being formally accepted.

    Burnt-out ambulances

    Arawa Health Centre
    Arawa Health Centre

    For those with no idea about what happened on the island of Bougainville between the late 1960s and until recently, it’s hard to know where to start. Copper was found on this rugged island which sits geographically between Papua New Guinea and the Solomon Islands. Deals were done with the landowners – well not really the landowners. Contracts were exchanged with the Big Men, but this is a society where women actually own the land. In return for the promise of employment, roads, hospitals and schools, the world’s largest copper mine was opened – which by independence in 1975 – was responsible more than 50 percent of PNG’s Gross National Product. Trouble is the local citizens were excluded form most of the job opportunities, as more easily controlled ‘redskins’ (Bougainville people are among the ‘blackest’ in the world) were brought over from the mainland. And PNG’s mainland government, which had few cultural ties with the island, forgot about the schools and hospitals, or anything else. Locals were now without the land on which they once produced crops and no other form of survival. Some decided to fight back.

    The Coconut Revolution (2001)

    “Bougainville, with a populations of only 160,000 has managed to close and keep closed one of the biggest mines in the world. They have held their ground for a decade with antique weapons and homemade guns. These people have taken on the biggest mining company in the world and won. Ripped from the DVD “Indigenous Resistance in New Guinea” made by Solidarity South Pacific: www.eco-action.org/ssp – respect”

    That the Hawke Labor Government was complicit in the repression of this ‘freedom’ struggle is as sinful as was the Whitlam Government’s turning a blind-eye to Indonesia’s violent takeover of East Timor a decade earlier. The Australian government helped train up PNG military who attempted to recapture control the island. Australian activists running the blockade with vital medicines by speedboat from the Solomons were shot at from helicopter gunships given to PNG by the Australia government.

    BRA: photo by Jan Gammage

    The people took an amazingly hard line and by the late 1980s the Bougainville Revolutionary Army was born. A David and Goliath struggle ensued, which left about ten prevent of the island population dead, many injured, shocked and maimed; and the mine operation brought to its knees. The stand-off lasted many years and it has been a hugely bitter and divisive experience for the Bougainville people. Why? Because not only was this a war against PNG mainland and Australian financial and political interests: brother turned against brother. There was no way, with any number of soldiers or firepower, the PNG Defence Force was ever going to flush out the BRA from their impenetrable mountain hideouts. So, as happens when many are starving, some locals gave way to the temptation to betray.

    Bougainville Warrior

    It has taken two more decades for any semblance of peace to settle on the island, in which time whatever infrastructure there was has been decimated. Why do I know all this? Well, I have seen Dwyer’s show, which does a brilliant job in outlining the back-story to the one about reconciliation he mostly wants to tell. And also I was born on Bougainville Island, where my father was a medico through the 1950s; and so spent my earliest years growing up there. There is no shaking off the bond any of us feels for the place of our birth – and so I have followed, as closely as I have been able, the saga of Bougainville’s suffering over the past thirty-five years. With a weeping heart and a quiet fury. Dwyer’s father was also a medico, a leading Australian orthopaedic surgeon who took his skills up to Bougainville several times through the 1960s. His connection was with Catholic missionary hospitals, right up into the early years of the mine’s development – but he died before conflict broke out.

    Panguna Mine Inactive

    The researcher in Dwyer led him to the family attic where he found a plenitude of evidence of his father’s work on the island. Armed with evidence of his family connections, which did assist in opening ‘doors’ (from roadblocks to ex-patient’s memories), Dwyer made his way to Bougainville to find out just how the local people were going about healing. He succeeds in his mission: Dwyer actually gets to attend a reconciliation event. His vivid description of walk through darkness with a single guide, along a thin bush track that slowly grows in numbers attending as they approach the event site is engrossing. At the climax of the show, at which point director David Williams artfully shifts the lecture mode into full-blown drama, we all get to enter (in our imaginations) the circle of ritualized apology. As one villager steps up to ask forgiveness for the huge wrongs done and witnessed by many – that big sorry is accepted.

    A Local Choir Sings For Peace: Photo Simon Wolley

    For Dwyer himself the experience is both emotionally transformative and, as a scholar, exciting. The way Dwyer has shaped this experience into a work for the stage is hugely impressive. A combo of boy’s own adventure, academic research, political act and theatre-making experiment, The Bougainville Photoplay Project does what one ultimately looks for in the making of the best art. It succeeds in realising its goals. That those ambitions are high and complex are artfully disguised (but not missed) as we are drawn into the event by Dwyer’s easy-going, self-deprecating manner. His touch is as light as his themes are serious. A powerful story – beautifully told.

    For more on Version 1.0 and The Bougainville Photoplay Project go here.


  • 22 Oct 2010 /  News

    Brand Spanking New 2010

    bsn invite image

    27 October – 6 November

    Returning for its third exciting season, New Theatre’s Brand Spanking New aims to encourage Australian writing for theatre by providing a collaborative environment to showcase the work of both emerging and established writers.

    Over two weeks, this curated season explores monologues, short plays, sketches and excerpts from longer pieces, penned by some of the country’s most innovative and imaginative writers and interpreted by a dedicated team of directors, designers and actors.

    Brand Spanking New is a not-to-be missed celebration of the best of contemporary Australian playwriting. It’s bold, it’s fearless and it’s fun!

    Performance Times

    Wed- Sat @ 8pm

    Ticket Prices

    Facebook EVENT  image

    Full $22
    (Note: There are no Pay-What-You-Can performances for the Brand Spanking New Season)

    Creative Team

    Season Artistic Director Augusta Supple
    Designer  Paul Matthews
    Lighting Designer  Miles Thomas
    Choreographer  Sam Chester
    Composer/Sound Design  Rosie Chase
    Stage Manager Alexander Hayden
    Assistant Stage Manager   Alison Murphy-Oates
    Production Coordinator   Julia Lenton
    Partnerships Coordinator   Leigh Russell
    Assistant Designer Bri Small


    Week One

    Ascend by Rebecca Clarke
    Directed by James Winter  |  Performed by Sonny Glover and Jim Gosden

    Band Practice by Fleur Beaupert
    Directed by Caroline Craig  |  Performed by Kailah Cabanas and Thomas Mittelhauser

    Black and White by Ned Manning
    Directed by Augusta Supple  |  Performed by Michael Howlett and Jennifer White

    Chicom by Kate Mulvany
    Directed by Augusta Supple  |  Performed by Alex Bryant-Smith, Luke Carson, Matthew Charleston and Amy Mathews

    Ham And Eg by Joanna Erskine
    Directed by Beverley Callow  |  Performed by Felix Jozeps and Anya Poukchanski

    One Percent by Katie Pollock
    Directed by Lisa Eisman  |  Performed by Adam Roberts and Bruno Xavier

    The Fear of Language or the Language of Fear by Phil Spencer
    Directed by Ngaire O’Leary  |  Performed by Andrew Johnston

    The Pash Off by Anna Lise Phillips
    Directed by Shannon Murphy  |  Performed by Georgina Symes and Tim Walter

    Week Two

    A Walk In The Park by Donna Abela
    Directed by Vanessa Hughes  |  Performed by Libby Ahearn and Emma Jones

    Atomograd by Caleb Lewis
    Directed by Nick Curnow  |  Performed by Melissa Matheson and Kate Skinner

    Extra Curricular
    by Suzie Miller
    Directed by Louise Fischer  |  Performed by Kelly Anderson, Persia Blue, Lib Campbell, Mel Firbank, Belinda Jombwe, Camelia Mowbray, Alannah Robertson and Georgia Woodward

    HereNowThenThere by Catherine Zimdahl
    Directed by Jane Eakin  |  Performed by Felino Delloso and Matt Young

    Onions by Alison Rooke
    Directed by Heath Wilder  |  Performed by Madeleine Jones and Rhys Wilson

    The Importance Of Being Ernest Dragons by Alli Sebastian Wolf
    Directed by Scarlet McGlynn  |  Performed by David Adlam, Richard Cox, Sarah Hodgetts and Corinne Younan

    The Locals by Alana Valentine
    Directed by Scott Selkirk  |  Performed by Kellie Jones and Arabella Macpherson

    The Pursued, the Pursuing, the Busy and the Tired by Tim Spencer
    Directed by Augusta Supple  |  Performed by Peter Buck Dettman and Lucy Goleby

    The Reunion
    by Ian Wilding
    Directed by Dom Mercer  |  Performed by Lucy Goleby, Emily Morrison, Sean Ohlendorf and Salmon Shad

    actt logo colour_use this cos_h_mono

  • 30 Sep 2010 /  News

    Trevor Jamieson as Namatjira painted by Robert Hannaford: Photo by Brett Boardman

    Won’t say to much yet. I will wait for those scary people called critics to respond first. I am too close to this one to give a response even approaching objectivity – not that I believe objectivity exists anyway. But you know what I mean. I do look forward to reporting in on the last week of rehearsals  – what I got to see. Fascinating to see how how so much work comes together in those final few days.

    Deark Lynch: Photo by Brett Boardman

    And I can report that while some among the cognoscenti had quibbles whilst quaffing booze an eating freebie food afterward.  The general mood was pretty positive. Phone calls from others in the profession today went as far as sky-high with their enthusiasm. I can say that the show got a standing ovation, which is not common at opening nights in Sydney. And there was definitely huge respect for Trevor Jamieson holding up such a huge performance like Atlas (more next time). And delight at the joyous discovery that is young Derek Lynch – a star wuz born.