New Work

Tue, 2 May 2006, 12:10 pm

Logos13 posts in thread

I am interested in seeing some opinions. I am a playwright living in Adelaide now after living in UK for some ten years or so. Some of my plays have been published in the UK and are very rarely performed but here in Adelaide my issue is that people don't seem to want to go to new work. Particularly if it is locally written. . Any comments from any one else. Do you share my observations. Love to hear from you.

Thread (13 posts)

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LogosTue, 2 May 2006, 12:10 pm

LabrugTue, 2 May 2006, 12:30 pm

New Adventure

I have to say that I generally agree with your observations. Traditional and recognisable production titles do attract more attention than alternative or new writings. In fact I was only discussing this very topic with some co-thespians on our current production. I is a common view.

This would appear to be especially true if you are specifically dealing with New-age or Alternative theatre. It can be very hard to get audiences in for these types of shows unless they are strongly marketed.

Maybe that's the thing. Marketing. I did a play some time back which was traditional, well known in the global scene (maybe not so much in Oz) and lacked somewhat in the marketing. Poor turn-outs to a great show. Yet, to productions that have been heavily saturated in the right places, you get the curious and intrigued turning out in droves.

I don't think that people are unprepared to attempt or view something new, it's more a matter of if you go first...

However, to oppose this view (what am I doing here?) at the Stirling Theatre, I know of at least two play-writes who have had their productions played to full-houses and are very popular. Again, maybe it's the marketing thing.

Dixi

Jeff Watkins
Perth based Actor/Performer
Fight/Sword Choreographer

http://au.geocities.com/labrug

LogosTue, 2 May 2006, 12:51 pm

Marketing could ...

be the issue. However in Adelaide during the Fringe I was involved with two productions that received identical marketing. They were in fact marketed together as they were produced by the same company in the same venue. The new work (two one woman plays) averaged an audience of about 3 and the established work averaged an audience of about 90. The comapny did not expect to get super audeinces for the one handers (traditionally harder to sell) but did expect to do better.

NaTue, 2 May 2006, 01:09 pm

Marketing is everything

While I do believe it is easier to sell traditional shows (like Shakespeare... let's face it, no one really understands the language anymore, but it still sells!), people are willing to see new works. I think it depends on your show - if the show is somehow original (Puppetry of the Penis, and the new 'D-Cuppetry'), or is a take on something old (rewriting Beckett), then it tends to be easier to sell. The trick is to find a niche. The Umbilical Bros. found it. So did Circus Oz. But as the market floods with more plays and genres, it becomes harder for playwrights. People are not that willing to see something that is outside their realm of comfort, unless the marketing is so good, that they are willing to go along. I've found that most plays that get selected to be produced at medium-sized or larger companies (or even the 'fringe' venues), have been those that won awards, received funding, had mentorship or developmental dramaturgy, or have a lot of financial backing. Those that are produced by smaller groups get less notice. Read my three-part article on Arts Hub about the state of playwrights in Australia. That covers a lot more depth on the issue. Na The Prompt Copy Networking emerging theatre professionals www.thepromptcopy.com Sticky Apple Legs http://stickyapplelegs.artsblogs.com

Walter PlingeTue, 2 May 2006, 08:52 pm

New works.

Boy, you don't know the half of it ! Use whatever wording you like, the problem is the Clique Wall.

Walter PlingeWed, 3 May 2006, 10:28 am

New Work

You're dead right. I'm an Australian writer with professional productions in London, New York, Sydney and Melbourne but let me tell you it is easier to interest an overseas company in your work than an Australian company. There does not seem to be the interaction between fringe companies here in Australia that exists elsewhere, main stage companies of course shy away from the new unless it is from an established author(chicken and egg) and community companies will always go for the known and the safe... after all on their advertising budgets you get more bang for your buck advertising a known rather than an unknown product. All that said I'm working with a community company that has, over the last three years staged six australian premiere productions. Our experience is that the right play will attract the younger audience and while it is a long tough road may be the salvation of the company in the long run. We're currently looking for plays for production for 2007. If you'd like to get in touch I can at least promise you a read. Regards Nic

LogosWed, 3 May 2006, 10:56 am

Plays

I have some works that I might submit. How do I get in touch

LogosWed, 3 May 2006, 10:59 am

Writers Groups

Another minor issue that I have also found is that here in SA we have the SA Writers Theatre which is associated with The SA Writers Centre. They don't go to plays, even when invited for free. Thay do not seem to support other writers. Interesteing ain't it.

LabrugWed, 3 May 2006, 11:30 am

Can't live with...

If you can't work with them, work around them. There must be other organisations that would accept your material. Even getting a little exposure is a good thing. If it becomes liked and popular, then you've done it by yourself. Much more frustrating but far more satisfying. Plus, they get to miss out. I find that unless you can find a receptive and supportive group to work with, go alone and they can go shove it.

Dixi

Jeff Watkins
Perth based Actor/Performer
Fight/Sword Choreographer

http://au.geocities.com/labrug

Walter PlingeFri, 5 May 2006, 06:47 am

New Works

Sorry for the delay in replying, I've been away. Could be interested in full length works particularly those offering strong roles for women or very short works... ten to fifteen minutes that could be included in a program to develop directors under a mentoring system. Really need material that speaks to the thirty something aged audience email me at acnicol@ozemail.com.au and I'll supplky a snail mail address

Walter PlingeSun, 7 May 2006, 12:11 am

New works

Two matters:- The two one-woman plays not drawing them in but the established work did. Let's compare apples with apples. Did the latter have only one performer ? I too would not go near any one-person play. I am e-mailing various Companies offering a precis of mine and asking if they would prefer a floppy disc or printed out format. Have just about tried all in this State, now about to start on other States. Addresses? Easy--click onto Companies.

LogosSun, 7 May 2006, 03:41 pm

One handers

Thanks for the tip about sending precis of my work. I have only just joined this site so am still exploring. Re Your remark about one handers. Do you really never go to them. I actually feel sorry for you. To completely reject an entire sub genre of this crazy industry sight unseen strikes me as limiting. I have been privileged to witness some extraordinary performances by solo actors both male and female in my time.

Walter PlingeMon, 8 May 2006, 03:01 pm

Meant To Be; an all-new musical

If you look at the productions that most schools put on, you will find that most of them are the recognisable, well-known, tried-and-trusted musicals that have been around for many years. I do therefore feel quite fortunate that after I wrote a brand-new musical comedy called Meant To Be, I was able to produce it at the school where I work. My resources were extremely limited, perhaps because the administration were not convinced that this was a venture worth putting school resources into (unlike, say, a production of Oliver or Guys and Dolls). In the end though, the musical was a great success and all the kids' hard work resulted in a fantastic show, which, incidentally, was the first musical the school has ever produced that actually turned a profit! So there is hope for new works, but it's definitely hard work for new scripts to get noticed. http://home.iprimus.com.au/spiroandgeorgina/meanttobe.htm

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