NEWTOWN HONEY @ la mama
Tue, 17 Apr 2007, 07:15 amloandcurly7 posts in thread
NEWTOWN HONEY @ la mama
Tue, 17 Apr 2007, 07:15 amby Curly
What the hell is going on.com?
How much of our theatre is truly related to what is really going on in Australia today? Not just news headlines but what goes on with our lives. When was the last time you saw a new Australian work? When was the last time you thought about seeing one? A friend of mine was in one, two years ago. I saw one, a year ago. Browsing the Dramatists Playwright catalogue will do your head in. Apart from all those by the big guns; Romeril, Williamson, Sewell, Murray Smith, there’s not much else.
So how come we don’t do in this country a majority of Australian work? What the hell is going on? Even amateur companies are really not interested. Maybe as Australians, we as audience are too scared to see our own social situations. We would be asked to look at our own identity and our own understanding and belief of our culture. It’s not good enough to do classics from Shakespeare to Chekhov, or modern English and American plays, nor plays from war torn countries, set in Australia or echoing Australia. Isn’t it time the majority of our theatres professional, co-op and amateur played Australian plays? As I understand it the Malthouse Theatre (Melbourne) has dropped their all Australian content. If we had more Oz content our theatres could be possibly full and plentiful like the English and American theatres
Where did our Australian Theatre Renaissance of the 70’s go? That should have been a platform for our theatre future. Somehow we have a fear in Oz theatre, to do things only that are known and famous- obviously this is a sign of our times where ego is prevalent. See our television full of overseas content, see the reality shows, the reality medical dramas this is a true indication of our culture- we are literally dying to see ourselves. Or are we too cool for theatre?
It is extraorinarily
Tue, 17 Apr 2007, 08:25 amIt is extraorinarily difficult to get a new play on written by a new author. It is more difficult if the play is what used to be called a "well made play" a linear narrative piece with exposition, anti climax, climax and denoument.
In this country subsidy is needed to keep the professional theatre alive outside of Sydney and Melbourne and subsidy will not be received for the well made play. On the other hand the general public don't go to what they describe as "arty crap."
To get a play looked at by the Australian Script Centre it must have already had a professional production.
Some amateur companies do new plays by locals regularly but generally only written by people they know. And why not?
Professional companies in the states can't afford the risk of doing new Australian work as they don't get audiences.
So, writers, like myself and a number of other contributors to this site self produce or attach ourselves to some local group and above all self promote at any opportunity. I am lucky enough to have a UK publisher and some of my work gets performed in the UK occasionally.
And what gives you the idea that things are better in the US and UK. Broadway and The West End survive because of tourists and outside of those centres the struggle is the same. I will say however that the musical appears to be bringing young people back into the theatre, now lets hope that some of them will find their way in to see plays as well
Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au