"Love, Lust and a Little Diana Day Dreaming"
Mon, 2 Aug 2004, 09:42 amjassep5 posts in thread
"Love, Lust and a Little Diana Day Dreaming"
Mon, 2 Aug 2004, 09:42 amAnticipation for 'Agency' at the Blue Room really begins to move towards boiling-point this week, as the opening night is just 10 days away. This carefully nursed, very original dark comedy is looking very much like the 'Dark Horse' production of the season.
The following, excellent interview is currently featured on the 'IndiePerth' site... enjoy! Kudos to Allison Browning for noticing the originality of this piece.
Regards,
Jason
Link: http://www.indielondon.co.uk/perth/theatre.html
-----------------------------------
"Love, Lust and a Little Diana Day Dreaming"
Interview: Allison Browning
LOCAL writer and director, Diana Day, is in the last stages of rehearsal of her most recent play, Agency, which will soon be showing at The Blue Room.
Agency takes a comic approach to the dating game, looking at the possibility of perfect matches between imperfect people and the fun to be had in the process. Day hopes that Agency will provide a titillating sexual smorgasbord for her audiences.
Indieperth had the pleasure of speaking with the woman herself - unafraid to put herself out there and gain first-hand experience in the dating game.
Q: What's the show about?
A: The eternal search for reciprocated love. It's about eight imperfect people seeking perfect matches. It's about the vast chasm between how we see ourselves and how we are seen, about the need for honesty and an acceptable level of compromise in every successful relationship.
The story line is that Lillith's agency is under threat of closure and she needs a tremendous success in improving the sum of human happiness in order to win out.
She realises that the obvious failures of computer matching stem from human cunning and self-deception and uses her millennia of knowledge to match them with total success.
Q: How will it relate to Perth audiences?
A: I hope it would relate to men and women everywhere. Agency is actually located in the Garden of Eden which, as every Perth resident knows, is right here. I chose the Garden as my characters are all somewhat outside the 'real' world, having put an important part of their lives on hold.
Legend has it that Lillith, Adam's first wife, was sacked for disobedience (she refused to perpetually adopt the missionary position) and stayed in the Garden to later tell Eve the truth about the apple on the Tree.
I imagine she would have remained to care for the casualties of carnal love that followed the eating.
Although it's particularly aimed at the 40+ age group, we have a delightful young gopher who has passed the script around her 20-25-year-old mates and the response has been, "but that's so TRUE. That's the way we feel about things'.
I now quiver with indignation at Hamlet's speech to his mother: "You cannot call it love; for at your age, the hey-day in the blood is tame, it's humble, and waits upon the judgment..." (Act III Scene iv)
But I needed to pass my 60th birthday to understand that the only difference between my current self and the hopes and dreams of a 20-year-old is that we get a bit more cunning at hiding our vulnerability's. And perhaps a bit more sensible about compromise.
Q: What compelled you to write the show?
A: I had advertised in 'Women Seeking Men' - the ad began 'Good cond, low maint, 60'... finishing 'allergic to swank, PC and SNAGs. Seeks similar for physical and mental entertainment.'
I met a number of most interesting men and it was in conversation with one who was entertaining me with some of his experiences in the middle-aged, post-divorce mating game that I thought, 'there's a script in this'.
I must say that three of my respondents were very enthusiastic about the idea and contributed significantly to the script. I expect to see them all at the show with their current 'significant others'.
Q: What are the challenges for you in directing this piece and what is your approach to the process?
A: I believe a director's purpose is to create the situation in which actors do what they do best.
You might think it's a bit of a problem having one actor play four men, one actress play four women, but my cast - as well as the SM [stage manager], who's been a very strong creative influence - has shown such ingenuity and enthusiasm that although I think the script wasn't half bad when I got the green light from the Blue Room for its production, it wasn't anywhere near as good as it is now, with such intelligent and generous input.
I was very impressed some time ago with an SBS feature on Lars Von Trier and the 'dogme' school of film directing. One of their commandments is that a film be shot from beginning to end, so that the actors can develop with the script.
I have run the rehearsals on alternate nights on Acts One and Two, with Sundays for a full run from beginning to end.
We have, of course, dissected each character - and I've learned a lot from my actors who are, perhaps, more focussed on the individual, whereas I am looking at the whole.
This timetable has meant the actors are developing their roles together, reacting to one another in a way that would not have been possible had I said: "Here's the script. We start blocking once you've learned it."
And because it's my script we could start from the point that the words aren't chiselled in stone, that changes can be made as new ideas and understanding come with familiarity.
I think that the actors were delighted when I said, 'no more changes' - the poor souls quivered each week I turned up with a few more subtractions/additions because there's always room for improvement.
That's my main challenge - knowing when the lily's as gilded as it can comfortably be.
Q: What do you hope audiences will take away with them after seeing the show?
A: I really hope that they will be looking with fresh eyes at the good things in their relationships, rather than yearning for what they do not have. And that for those who are still seeking, they burn into their souls: "If you want to be loved, be lovable."
And I also hope they'll have the warmth of a good night out, with some fairly bawdy humour and some classic jokes to retell.
And that both men and women will acknowledge the truth of Alice's speech: "Of course, women are as interested in sex as men are. Real sex, I mean. If men want a couple of grunts and a quick squirt, it's in their own hands."
There's been a fairly favourable response to that little observation from both genders.
I hope that they see I've been even-handed in the male/female balance. As Lillith says: "Men aren't from Mars and women from Venus. We all want the same things, just in different amounts and at different times."
I believe that.
Agency runs from August 11 to 28 at The Blue Room, Northbridge. Bookings: 92277005. Tickets are $18/$12 conc.
The following, excellent interview is currently featured on the 'IndiePerth' site... enjoy! Kudos to Allison Browning for noticing the originality of this piece.
Regards,
Jason
Link: http://www.indielondon.co.uk/perth/theatre.html
-----------------------------------
"Love, Lust and a Little Diana Day Dreaming"
Interview: Allison Browning
LOCAL writer and director, Diana Day, is in the last stages of rehearsal of her most recent play, Agency, which will soon be showing at The Blue Room.
Agency takes a comic approach to the dating game, looking at the possibility of perfect matches between imperfect people and the fun to be had in the process. Day hopes that Agency will provide a titillating sexual smorgasbord for her audiences.
Indieperth had the pleasure of speaking with the woman herself - unafraid to put herself out there and gain first-hand experience in the dating game.
Q: What's the show about?
A: The eternal search for reciprocated love. It's about eight imperfect people seeking perfect matches. It's about the vast chasm between how we see ourselves and how we are seen, about the need for honesty and an acceptable level of compromise in every successful relationship.
The story line is that Lillith's agency is under threat of closure and she needs a tremendous success in improving the sum of human happiness in order to win out.
She realises that the obvious failures of computer matching stem from human cunning and self-deception and uses her millennia of knowledge to match them with total success.
Q: How will it relate to Perth audiences?
A: I hope it would relate to men and women everywhere. Agency is actually located in the Garden of Eden which, as every Perth resident knows, is right here. I chose the Garden as my characters are all somewhat outside the 'real' world, having put an important part of their lives on hold.
Legend has it that Lillith, Adam's first wife, was sacked for disobedience (she refused to perpetually adopt the missionary position) and stayed in the Garden to later tell Eve the truth about the apple on the Tree.
I imagine she would have remained to care for the casualties of carnal love that followed the eating.
Although it's particularly aimed at the 40+ age group, we have a delightful young gopher who has passed the script around her 20-25-year-old mates and the response has been, "but that's so TRUE. That's the way we feel about things'.
I now quiver with indignation at Hamlet's speech to his mother: "You cannot call it love; for at your age, the hey-day in the blood is tame, it's humble, and waits upon the judgment..." (Act III Scene iv)
But I needed to pass my 60th birthday to understand that the only difference between my current self and the hopes and dreams of a 20-year-old is that we get a bit more cunning at hiding our vulnerability's. And perhaps a bit more sensible about compromise.
Q: What compelled you to write the show?
A: I had advertised in 'Women Seeking Men' - the ad began 'Good cond, low maint, 60'... finishing 'allergic to swank, PC and SNAGs. Seeks similar for physical and mental entertainment.'
I met a number of most interesting men and it was in conversation with one who was entertaining me with some of his experiences in the middle-aged, post-divorce mating game that I thought, 'there's a script in this'.
I must say that three of my respondents were very enthusiastic about the idea and contributed significantly to the script. I expect to see them all at the show with their current 'significant others'.
Q: What are the challenges for you in directing this piece and what is your approach to the process?
A: I believe a director's purpose is to create the situation in which actors do what they do best.
You might think it's a bit of a problem having one actor play four men, one actress play four women, but my cast - as well as the SM [stage manager], who's been a very strong creative influence - has shown such ingenuity and enthusiasm that although I think the script wasn't half bad when I got the green light from the Blue Room for its production, it wasn't anywhere near as good as it is now, with such intelligent and generous input.
I was very impressed some time ago with an SBS feature on Lars Von Trier and the 'dogme' school of film directing. One of their commandments is that a film be shot from beginning to end, so that the actors can develop with the script.
I have run the rehearsals on alternate nights on Acts One and Two, with Sundays for a full run from beginning to end.
We have, of course, dissected each character - and I've learned a lot from my actors who are, perhaps, more focussed on the individual, whereas I am looking at the whole.
This timetable has meant the actors are developing their roles together, reacting to one another in a way that would not have been possible had I said: "Here's the script. We start blocking once you've learned it."
And because it's my script we could start from the point that the words aren't chiselled in stone, that changes can be made as new ideas and understanding come with familiarity.
I think that the actors were delighted when I said, 'no more changes' - the poor souls quivered each week I turned up with a few more subtractions/additions because there's always room for improvement.
That's my main challenge - knowing when the lily's as gilded as it can comfortably be.
Q: What do you hope audiences will take away with them after seeing the show?
A: I really hope that they will be looking with fresh eyes at the good things in their relationships, rather than yearning for what they do not have. And that for those who are still seeking, they burn into their souls: "If you want to be loved, be lovable."
And I also hope they'll have the warmth of a good night out, with some fairly bawdy humour and some classic jokes to retell.
And that both men and women will acknowledge the truth of Alice's speech: "Of course, women are as interested in sex as men are. Real sex, I mean. If men want a couple of grunts and a quick squirt, it's in their own hands."
There's been a fairly favourable response to that little observation from both genders.
I hope that they see I've been even-handed in the male/female balance. As Lillith says: "Men aren't from Mars and women from Venus. We all want the same things, just in different amounts and at different times."
I believe that.
Agency runs from August 11 to 28 at The Blue Room, Northbridge. Bookings: 92277005. Tickets are $18/$12 conc.
jassepMon, 2 Aug 2004, 09:42 am
Anticipation for 'Agency' at the Blue Room really begins to move towards boiling-point this week, as the opening night is just 10 days away. This carefully nursed, very original dark comedy is looking very much like the 'Dark Horse' production of the season.
The following, excellent interview is currently featured on the 'IndiePerth' site... enjoy! Kudos to Allison Browning for noticing the originality of this piece.
Regards,
Jason
Link: http://www.indielondon.co.uk/perth/theatre.html
-----------------------------------
"Love, Lust and a Little Diana Day Dreaming"
Interview: Allison Browning
LOCAL writer and director, Diana Day, is in the last stages of rehearsal of her most recent play, Agency, which will soon be showing at The Blue Room.
Agency takes a comic approach to the dating game, looking at the possibility of perfect matches between imperfect people and the fun to be had in the process. Day hopes that Agency will provide a titillating sexual smorgasbord for her audiences.
Indieperth had the pleasure of speaking with the woman herself - unafraid to put herself out there and gain first-hand experience in the dating game.
Q: What's the show about?
A: The eternal search for reciprocated love. It's about eight imperfect people seeking perfect matches. It's about the vast chasm between how we see ourselves and how we are seen, about the need for honesty and an acceptable level of compromise in every successful relationship.
The story line is that Lillith's agency is under threat of closure and she needs a tremendous success in improving the sum of human happiness in order to win out.
She realises that the obvious failures of computer matching stem from human cunning and self-deception and uses her millennia of knowledge to match them with total success.
Q: How will it relate to Perth audiences?
A: I hope it would relate to men and women everywhere. Agency is actually located in the Garden of Eden which, as every Perth resident knows, is right here. I chose the Garden as my characters are all somewhat outside the 'real' world, having put an important part of their lives on hold.
Legend has it that Lillith, Adam's first wife, was sacked for disobedience (she refused to perpetually adopt the missionary position) and stayed in the Garden to later tell Eve the truth about the apple on the Tree.
I imagine she would have remained to care for the casualties of carnal love that followed the eating.
Although it's particularly aimed at the 40+ age group, we have a delightful young gopher who has passed the script around her 20-25-year-old mates and the response has been, "but that's so TRUE. That's the way we feel about things'.
I now quiver with indignation at Hamlet's speech to his mother: "You cannot call it love; for at your age, the hey-day in the blood is tame, it's humble, and waits upon the judgment..." (Act III Scene iv)
But I needed to pass my 60th birthday to understand that the only difference between my current self and the hopes and dreams of a 20-year-old is that we get a bit more cunning at hiding our vulnerability's. And perhaps a bit more sensible about compromise.
Q: What compelled you to write the show?
A: I had advertised in 'Women Seeking Men' - the ad began 'Good cond, low maint, 60'... finishing 'allergic to swank, PC and SNAGs. Seeks similar for physical and mental entertainment.'
I met a number of most interesting men and it was in conversation with one who was entertaining me with some of his experiences in the middle-aged, post-divorce mating game that I thought, 'there's a script in this'.
I must say that three of my respondents were very enthusiastic about the idea and contributed significantly to the script. I expect to see them all at the show with their current 'significant others'.
Q: What are the challenges for you in directing this piece and what is your approach to the process?
A: I believe a director's purpose is to create the situation in which actors do what they do best.
You might think it's a bit of a problem having one actor play four men, one actress play four women, but my cast - as well as the SM [stage manager], who's been a very strong creative influence - has shown such ingenuity and enthusiasm that although I think the script wasn't half bad when I got the green light from the Blue Room for its production, it wasn't anywhere near as good as it is now, with such intelligent and generous input.
I was very impressed some time ago with an SBS feature on Lars Von Trier and the 'dogme' school of film directing. One of their commandments is that a film be shot from beginning to end, so that the actors can develop with the script.
I have run the rehearsals on alternate nights on Acts One and Two, with Sundays for a full run from beginning to end.
We have, of course, dissected each character - and I've learned a lot from my actors who are, perhaps, more focussed on the individual, whereas I am looking at the whole.
This timetable has meant the actors are developing their roles together, reacting to one another in a way that would not have been possible had I said: "Here's the script. We start blocking once you've learned it."
And because it's my script we could start from the point that the words aren't chiselled in stone, that changes can be made as new ideas and understanding come with familiarity.
I think that the actors were delighted when I said, 'no more changes' - the poor souls quivered each week I turned up with a few more subtractions/additions because there's always room for improvement.
That's my main challenge - knowing when the lily's as gilded as it can comfortably be.
Q: What do you hope audiences will take away with them after seeing the show?
A: I really hope that they will be looking with fresh eyes at the good things in their relationships, rather than yearning for what they do not have. And that for those who are still seeking, they burn into their souls: "If you want to be loved, be lovable."
And I also hope they'll have the warmth of a good night out, with some fairly bawdy humour and some classic jokes to retell.
And that both men and women will acknowledge the truth of Alice's speech: "Of course, women are as interested in sex as men are. Real sex, I mean. If men want a couple of grunts and a quick squirt, it's in their own hands."
There's been a fairly favourable response to that little observation from both genders.
I hope that they see I've been even-handed in the male/female balance. As Lillith says: "Men aren't from Mars and women from Venus. We all want the same things, just in different amounts and at different times."
I believe that.
Agency runs from August 11 to 28 at The Blue Room, Northbridge. Bookings: 92277005. Tickets are $18/$12 conc.
The following, excellent interview is currently featured on the 'IndiePerth' site... enjoy! Kudos to Allison Browning for noticing the originality of this piece.
Regards,
Jason
Link: http://www.indielondon.co.uk/perth/theatre.html
-----------------------------------
"Love, Lust and a Little Diana Day Dreaming"
Interview: Allison Browning
LOCAL writer and director, Diana Day, is in the last stages of rehearsal of her most recent play, Agency, which will soon be showing at The Blue Room.
Agency takes a comic approach to the dating game, looking at the possibility of perfect matches between imperfect people and the fun to be had in the process. Day hopes that Agency will provide a titillating sexual smorgasbord for her audiences.
Indieperth had the pleasure of speaking with the woman herself - unafraid to put herself out there and gain first-hand experience in the dating game.
Q: What's the show about?
A: The eternal search for reciprocated love. It's about eight imperfect people seeking perfect matches. It's about the vast chasm between how we see ourselves and how we are seen, about the need for honesty and an acceptable level of compromise in every successful relationship.
The story line is that Lillith's agency is under threat of closure and she needs a tremendous success in improving the sum of human happiness in order to win out.
She realises that the obvious failures of computer matching stem from human cunning and self-deception and uses her millennia of knowledge to match them with total success.
Q: How will it relate to Perth audiences?
A: I hope it would relate to men and women everywhere. Agency is actually located in the Garden of Eden which, as every Perth resident knows, is right here. I chose the Garden as my characters are all somewhat outside the 'real' world, having put an important part of their lives on hold.
Legend has it that Lillith, Adam's first wife, was sacked for disobedience (she refused to perpetually adopt the missionary position) and stayed in the Garden to later tell Eve the truth about the apple on the Tree.
I imagine she would have remained to care for the casualties of carnal love that followed the eating.
Although it's particularly aimed at the 40+ age group, we have a delightful young gopher who has passed the script around her 20-25-year-old mates and the response has been, "but that's so TRUE. That's the way we feel about things'.
I now quiver with indignation at Hamlet's speech to his mother: "You cannot call it love; for at your age, the hey-day in the blood is tame, it's humble, and waits upon the judgment..." (Act III Scene iv)
But I needed to pass my 60th birthday to understand that the only difference between my current self and the hopes and dreams of a 20-year-old is that we get a bit more cunning at hiding our vulnerability's. And perhaps a bit more sensible about compromise.
Q: What compelled you to write the show?
A: I had advertised in 'Women Seeking Men' - the ad began 'Good cond, low maint, 60'... finishing 'allergic to swank, PC and SNAGs. Seeks similar for physical and mental entertainment.'
I met a number of most interesting men and it was in conversation with one who was entertaining me with some of his experiences in the middle-aged, post-divorce mating game that I thought, 'there's a script in this'.
I must say that three of my respondents were very enthusiastic about the idea and contributed significantly to the script. I expect to see them all at the show with their current 'significant others'.
Q: What are the challenges for you in directing this piece and what is your approach to the process?
A: I believe a director's purpose is to create the situation in which actors do what they do best.
You might think it's a bit of a problem having one actor play four men, one actress play four women, but my cast - as well as the SM [stage manager], who's been a very strong creative influence - has shown such ingenuity and enthusiasm that although I think the script wasn't half bad when I got the green light from the Blue Room for its production, it wasn't anywhere near as good as it is now, with such intelligent and generous input.
I was very impressed some time ago with an SBS feature on Lars Von Trier and the 'dogme' school of film directing. One of their commandments is that a film be shot from beginning to end, so that the actors can develop with the script.
I have run the rehearsals on alternate nights on Acts One and Two, with Sundays for a full run from beginning to end.
We have, of course, dissected each character - and I've learned a lot from my actors who are, perhaps, more focussed on the individual, whereas I am looking at the whole.
This timetable has meant the actors are developing their roles together, reacting to one another in a way that would not have been possible had I said: "Here's the script. We start blocking once you've learned it."
And because it's my script we could start from the point that the words aren't chiselled in stone, that changes can be made as new ideas and understanding come with familiarity.
I think that the actors were delighted when I said, 'no more changes' - the poor souls quivered each week I turned up with a few more subtractions/additions because there's always room for improvement.
That's my main challenge - knowing when the lily's as gilded as it can comfortably be.
Q: What do you hope audiences will take away with them after seeing the show?
A: I really hope that they will be looking with fresh eyes at the good things in their relationships, rather than yearning for what they do not have. And that for those who are still seeking, they burn into their souls: "If you want to be loved, be lovable."
And I also hope they'll have the warmth of a good night out, with some fairly bawdy humour and some classic jokes to retell.
And that both men and women will acknowledge the truth of Alice's speech: "Of course, women are as interested in sex as men are. Real sex, I mean. If men want a couple of grunts and a quick squirt, it's in their own hands."
There's been a fairly favourable response to that little observation from both genders.
I hope that they see I've been even-handed in the male/female balance. As Lillith says: "Men aren't from Mars and women from Venus. We all want the same things, just in different amounts and at different times."
I believe that.
Agency runs from August 11 to 28 at The Blue Room, Northbridge. Bookings: 92277005. Tickets are $18/$12 conc.
jassepWed, 4 Aug 2004, 09:45 am
Interview: Warning for the Easily Offended - Contains Some 'Adul
Hi All,
I have attached the text of an interview author Diana Day did with Pelican (the UWA student newspaper) about her new play, "Agency: A Comedy About the Heart... and Other Pulsating Organs!"
This is the pre-publication version. I'm told this interview will appear in their next issue (circa 8 August).
Enjoy!
Regards,
Jason Seperic
-------------------------------------------
AGENCY: A comedy about the Heart and other Pulsating Organs
@Blue Room Theatre, August 11-28 (call 9227 7005 for tickets)
The heading on Blue Room Theatre’s media release for this production is “Sex-Starved Comedy Writer Inspired by “Insane” Over-50s Singles Scene”. Written by Mt Lawley playwright Diana Day, this promises to be an irreverent comedy about the “perfect matches between imperfect people…about the fun of hunting a mate and the pleasures of finding one”. Based on factual ‘raw’ material, with colourful characters that have unbelievable stories this play sounds like it’s going to be a riotous exploration of sex, relationships and dating agency. Intrigued by the storyline I asked Diana to tell me more about what was involved in the lead up and process of writing this play.
Q: The media release says you put a singles ad in the local paperÂ…did you really? Is that where the idea for this play came from?
Yes I did, yes, it did. I’d just read Clio Cresswell’s ‘Sex and Mathematics’ (or is it ‘Mathematics and Sex’?) and she gave a lot of sensible ideas on maximising options for a reasonable outcome so I put an ad in the ‘Women Seeking men’ section which began ‘Good cond, low maint, 60…’ went through what I like and finished ‘allergic to swank, PC, SNAGs, seeking similar for physical and mental entertainment.’
Fairly blatant, but IÂ’ve always thought lifeÂ’s too short for foreplay. I took four of the respondents, had interesting conversations with each, and met them.
One was totally unacceptable – lovely bloke in many ways, but someone who admits to being terrified of sex is not going to be in my top ten. Or one hundred. Of the others, good chaps, but one was too out-doors, one was on the rebound from the Significant Other – this is all sounding a bit like the ‘Three Bears’, isn’t it? – and the fourth was just right.
It was when we were swapping stories about past adventures, as one does, that I thought : ‘There’s a script in this.’
ItÂ’s funny that the moment I mentioned to friends and acquaintances what I was doing that they fell over themselves to add their experiences to the storyline. IÂ’m not quite sure where my life finishes and theirs begins, but thatÂ’s one of the points of the play, that weÂ’re all combinations of the same elements, we all want the same things just in different amounts and at different times.
And the three men I’ve stayed in contact with have added some little exotica that was quite intriguing. I had no idea that ‘adventurous’ in an ad didn’t mean bungee jumping!
Q: Tell us a little about what we can expect from this play Â…
Quite a bit of broad humour and I think everyone will have an ‘ouch’ as I touch on his or her particular nerve. A good night out and although it’s bursting with happy endings, there’s a lot of thought in the: “but after that, what happens?” for each of my perfect pairs. It’s four ways of getting on with life, of making some sort of decision which might have a positive outcome. The motto of ‘Agency’ is ‘Failure is not falling down – it’s refusing to get back up again.’ There are worse philosophies.
And you can expect three excellent performances. Joy Northover is an incandescent Lillith – bawdy, compassionate, assertive, manipulative, human. Leon Ousby has a full-time career in the UK and is in Perth just to do the show. He plays the four men and makes each distinctive and believable, in one case quite sexy, in another very lovable. Kristine Lockwood has brought so much to the four women, probably a softer and more human side to Alice, Bea, Carol and Dee, than I had thought was in the script.
You won’t see the Stage Manager, Stephan DeJonghe, but he has given much of the visual impact to the show. With no time for costume changes, I had originally thought to dress The Man and The Woman in contrasting black/white outfits, one of my points being that a pair should be a complete whole – a sort of yin/yang. It was Stephan’s idea to use a colour-coding so that each character has one item of a particular colour for identity. And he got Anchor Foods to create a blue cordial for the second act so that each pair gets the matching coloured drink.
Q: What about some of the ‘colourful’ characters…are they based on real people?
Everyone’s real in ‘Agency’ but no-one really sees him- or herself as others do, so I suppose I concentrated the essence of several people to come up with Alice and Arthur, Brian and Bea, Carl and Carol and Don and Dee. In several cases where the ‘real’ person is used, I’ve given him/her a much more successful ending than I think reality holds.
Q: How long did you take to write the play – and how did you get it to be performed at the Blue Room?
I think it was only about eight weeks. But that was just the first draft, which at the time I thought was a damned good play. ItÂ’s amazing what feedback from audience at the readings and the intelligence and enthusiasm of three fine actors and an outstanding Stage Manager can add.
Q: Was there a particular reason you wanted it to be played at the Blue Room?
Where else does a new play with a Director having no professional forum, go? The Blue Room is a wonderful venue for size and it’s got a solid reputation for “fringe” theatre. If I’d had an offer of anywhere in Perth I’d still have chosen the Blue Room. Mind you, if I could have afforded a Director, I’d have grabbed Stephen Lee who’s done such fabulous shows at UWA. But I’m not displeased with my own performance as Director. It gives me the freedom to change the script but I think the cast heaved little sighs of relief when I announced that there would be no more drafts.
Q: How does the play reflect the way you see/view the realities of negotiating relationships and desire?
I was lucky enough to be young when The Pill had just become available and when permissiveness was a delight. There was a lot wrong with the 60’s and 70’s, but it seemed that most blokes enjoyed being, as Lillith says in ‘Agency’ “a bit like dogs; slovenly, loveable, fairly casual in their personal habits, easy to get along with..."”and most women quite enjoyed them being that way. I’ve seen over the years what seems to be a meanness being encouraged between men and women, a false separation that puts relationships on a warring footing, a desire to get as much as possible for as little as possible.
Whoever said men are from Mars and women from Venus should have been de-barked. The realities are, and always have been, honesty, tolerance, and the willingness to enjoy a glass that is half-full rather than carp over the bit that is half empty.
IÂ’ve never heard a man whinge about how women always leave the toilet seat down.
Q: Your play deals with desire and age in a humorous way. Now you said from the comments you’ve had after public readings that it seems to have struck a chord with middle aged and young people alike – why do you think this is so?
ThereÂ’s no difference. You get a bit more cunning with age, learn to conceal your vulnerabilities a bit better.
Lillith says: “It’s very easy when you’re young because you haven’t thought about anything very much and you’ll settle down quite happily with anyone. Then you start thinking about who you really are…”
And I don’t think that our interest in sex diminishes with age. Alice says to Brian in the last scene: “Of course women are just as interested in sex as men are. Real sex, I mean. Not a couple of grunts and a quick squirt. If men want that, it’s in their own hands…” And always has been.
Entertainment and advertising wouldnÂ’t spend so much on hide-the-sausage if it were a short-lived phenomenon, would they?
Q: YouÂ’ve been involved in the Perth art/theatre scene for awhile, what changes have you seen in that time? (just a few)
The greatest was that in the 60Â’s Edgar Metcalf took over the management of the Playhouse. He and James Beattie, two outstanding actors, brought the newest and finest plays to Perth, I think long before the Eastern States got them. And Edgar had to make it pay so that 90 percent of the works were drawing-room comedies to full houses, and 10 percent were plays like the Marat-Sade which WAAPA is currently presenting. That new-wave of European work played to tiny houses, but I know people in the Perth theatre scene who still remember those productions.
Probably the worst thing that’s happened here is the closing of the State Theatre. That was an inexcusable act by the Minister who evidently hated the arts. And I was there when a representative of a national funding body explained the new PC guildelines. A Director commented: “So if a play is written by a black, handicapped, single-supporting mother it will get funding, if not it won’t?” which was pretty much what was being said. PC has a lot to answer for as a stifler of theatre, which I think should reflect the society in which it lives.
IÂ’ve also noticed an appalling blowout in cost. Whatever happened to half-price tickets at the last moment? Who can afford to pay $100+ for a show in a venue thatÂ’s so large that they donÂ’t see it anyway? I think hype has replaced quality in a lot of cases.
Q: Do you think the Perth scene encourages and welcomes new art practitioners into the industry – how?
I think Perth has always been open to new ideas. One of the advantages of being parochial is that we donÂ’t really care what the other states are doing, weÂ’re not watching in order to follow. WeÂ’ve always gone our own way. In everything. I lived for three years in Berlin and the theatre was wonderful, but IÂ’d rather have the raw energy of Perth.
Q: Briefly what other projects have you been involved in?
Lots, but let’s not look at the “have been”, but the “currently are”.
I spent years researching the life of one Alice Mary Cummins (1898 – 1943) and I wrote a play about her which was shown in Merredin and Kalgoorlie. I’ve never lost my admiration for Alice who played cello with the Adelaide Symphony, was WA’s first woman lawyer, designed a house in Merredin so far ahead of its time that it’s now under Trust, built her own radios to commercial standards, did the repairs on her Packards, and was a business genius who turned a tiny local brewery into Hannans, one of the great successes of her time.
IÂ’m starting again because my first effort was written when her lady friend, who probably caused Alice to commit suicide, was still alive and well and living on the proceeds. SheÂ’s dead now, and although UWA will not get the medical school scholarship which Alice had suggested in her will, I know I can do a much better job of presenting Alice on stage for the admiration she has not yet had.
Q: Anything else you want to sayÂ….
‘Agency’ is a good night’s entertainment. Of course I want houses bursting at the seams, but more importantly, I hope that all who see it leave with a feeling of optimism about themselves and others. And the realisation that we’re all subject to the human condition, so let’s make the best of it.
Socrates, when he was finally without a sex drive was asked by one of his students what it felt like. He said that it was as though heÂ’d just alighted from a horse which had been out of control. That may be so, but itÂ’s a wildly delightful ride while youÂ’re on it.
And please point out to your readers that studentsÂ’ concession is $12 per ticket, group bookings of ten or more are $10 each. Fairly affordable.
---------------------------------------
NOTE: Normal price is $18. "Interact" Patrons can still book for the '2-for-the-price-of-1' deal ($9 per ticket) without needing their "Interact" flier - Just mention "Interact" when you call 9227 7005 to make your booking. Offer limited to 4 persons per booking.
I have attached the text of an interview author Diana Day did with Pelican (the UWA student newspaper) about her new play, "Agency: A Comedy About the Heart... and Other Pulsating Organs!"
This is the pre-publication version. I'm told this interview will appear in their next issue (circa 8 August).
Enjoy!
Regards,
Jason Seperic
-------------------------------------------
AGENCY: A comedy about the Heart and other Pulsating Organs
@Blue Room Theatre, August 11-28 (call 9227 7005 for tickets)
The heading on Blue Room Theatre’s media release for this production is “Sex-Starved Comedy Writer Inspired by “Insane” Over-50s Singles Scene”. Written by Mt Lawley playwright Diana Day, this promises to be an irreverent comedy about the “perfect matches between imperfect people…about the fun of hunting a mate and the pleasures of finding one”. Based on factual ‘raw’ material, with colourful characters that have unbelievable stories this play sounds like it’s going to be a riotous exploration of sex, relationships and dating agency. Intrigued by the storyline I asked Diana to tell me more about what was involved in the lead up and process of writing this play.
Q: The media release says you put a singles ad in the local paperÂ…did you really? Is that where the idea for this play came from?
Yes I did, yes, it did. I’d just read Clio Cresswell’s ‘Sex and Mathematics’ (or is it ‘Mathematics and Sex’?) and she gave a lot of sensible ideas on maximising options for a reasonable outcome so I put an ad in the ‘Women Seeking men’ section which began ‘Good cond, low maint, 60…’ went through what I like and finished ‘allergic to swank, PC, SNAGs, seeking similar for physical and mental entertainment.’
Fairly blatant, but IÂ’ve always thought lifeÂ’s too short for foreplay. I took four of the respondents, had interesting conversations with each, and met them.
One was totally unacceptable – lovely bloke in many ways, but someone who admits to being terrified of sex is not going to be in my top ten. Or one hundred. Of the others, good chaps, but one was too out-doors, one was on the rebound from the Significant Other – this is all sounding a bit like the ‘Three Bears’, isn’t it? – and the fourth was just right.
It was when we were swapping stories about past adventures, as one does, that I thought : ‘There’s a script in this.’
ItÂ’s funny that the moment I mentioned to friends and acquaintances what I was doing that they fell over themselves to add their experiences to the storyline. IÂ’m not quite sure where my life finishes and theirs begins, but thatÂ’s one of the points of the play, that weÂ’re all combinations of the same elements, we all want the same things just in different amounts and at different times.
And the three men I’ve stayed in contact with have added some little exotica that was quite intriguing. I had no idea that ‘adventurous’ in an ad didn’t mean bungee jumping!
Q: Tell us a little about what we can expect from this play Â…
Quite a bit of broad humour and I think everyone will have an ‘ouch’ as I touch on his or her particular nerve. A good night out and although it’s bursting with happy endings, there’s a lot of thought in the: “but after that, what happens?” for each of my perfect pairs. It’s four ways of getting on with life, of making some sort of decision which might have a positive outcome. The motto of ‘Agency’ is ‘Failure is not falling down – it’s refusing to get back up again.’ There are worse philosophies.
And you can expect three excellent performances. Joy Northover is an incandescent Lillith – bawdy, compassionate, assertive, manipulative, human. Leon Ousby has a full-time career in the UK and is in Perth just to do the show. He plays the four men and makes each distinctive and believable, in one case quite sexy, in another very lovable. Kristine Lockwood has brought so much to the four women, probably a softer and more human side to Alice, Bea, Carol and Dee, than I had thought was in the script.
You won’t see the Stage Manager, Stephan DeJonghe, but he has given much of the visual impact to the show. With no time for costume changes, I had originally thought to dress The Man and The Woman in contrasting black/white outfits, one of my points being that a pair should be a complete whole – a sort of yin/yang. It was Stephan’s idea to use a colour-coding so that each character has one item of a particular colour for identity. And he got Anchor Foods to create a blue cordial for the second act so that each pair gets the matching coloured drink.
Q: What about some of the ‘colourful’ characters…are they based on real people?
Everyone’s real in ‘Agency’ but no-one really sees him- or herself as others do, so I suppose I concentrated the essence of several people to come up with Alice and Arthur, Brian and Bea, Carl and Carol and Don and Dee. In several cases where the ‘real’ person is used, I’ve given him/her a much more successful ending than I think reality holds.
Q: How long did you take to write the play – and how did you get it to be performed at the Blue Room?
I think it was only about eight weeks. But that was just the first draft, which at the time I thought was a damned good play. ItÂ’s amazing what feedback from audience at the readings and the intelligence and enthusiasm of three fine actors and an outstanding Stage Manager can add.
Q: Was there a particular reason you wanted it to be played at the Blue Room?
Where else does a new play with a Director having no professional forum, go? The Blue Room is a wonderful venue for size and it’s got a solid reputation for “fringe” theatre. If I’d had an offer of anywhere in Perth I’d still have chosen the Blue Room. Mind you, if I could have afforded a Director, I’d have grabbed Stephen Lee who’s done such fabulous shows at UWA. But I’m not displeased with my own performance as Director. It gives me the freedom to change the script but I think the cast heaved little sighs of relief when I announced that there would be no more drafts.
Q: How does the play reflect the way you see/view the realities of negotiating relationships and desire?
I was lucky enough to be young when The Pill had just become available and when permissiveness was a delight. There was a lot wrong with the 60’s and 70’s, but it seemed that most blokes enjoyed being, as Lillith says in ‘Agency’ “a bit like dogs; slovenly, loveable, fairly casual in their personal habits, easy to get along with..."”and most women quite enjoyed them being that way. I’ve seen over the years what seems to be a meanness being encouraged between men and women, a false separation that puts relationships on a warring footing, a desire to get as much as possible for as little as possible.
Whoever said men are from Mars and women from Venus should have been de-barked. The realities are, and always have been, honesty, tolerance, and the willingness to enjoy a glass that is half-full rather than carp over the bit that is half empty.
IÂ’ve never heard a man whinge about how women always leave the toilet seat down.
Q: Your play deals with desire and age in a humorous way. Now you said from the comments you’ve had after public readings that it seems to have struck a chord with middle aged and young people alike – why do you think this is so?
ThereÂ’s no difference. You get a bit more cunning with age, learn to conceal your vulnerabilities a bit better.
Lillith says: “It’s very easy when you’re young because you haven’t thought about anything very much and you’ll settle down quite happily with anyone. Then you start thinking about who you really are…”
And I don’t think that our interest in sex diminishes with age. Alice says to Brian in the last scene: “Of course women are just as interested in sex as men are. Real sex, I mean. Not a couple of grunts and a quick squirt. If men want that, it’s in their own hands…” And always has been.
Entertainment and advertising wouldnÂ’t spend so much on hide-the-sausage if it were a short-lived phenomenon, would they?
Q: YouÂ’ve been involved in the Perth art/theatre scene for awhile, what changes have you seen in that time? (just a few)
The greatest was that in the 60Â’s Edgar Metcalf took over the management of the Playhouse. He and James Beattie, two outstanding actors, brought the newest and finest plays to Perth, I think long before the Eastern States got them. And Edgar had to make it pay so that 90 percent of the works were drawing-room comedies to full houses, and 10 percent were plays like the Marat-Sade which WAAPA is currently presenting. That new-wave of European work played to tiny houses, but I know people in the Perth theatre scene who still remember those productions.
Probably the worst thing that’s happened here is the closing of the State Theatre. That was an inexcusable act by the Minister who evidently hated the arts. And I was there when a representative of a national funding body explained the new PC guildelines. A Director commented: “So if a play is written by a black, handicapped, single-supporting mother it will get funding, if not it won’t?” which was pretty much what was being said. PC has a lot to answer for as a stifler of theatre, which I think should reflect the society in which it lives.
IÂ’ve also noticed an appalling blowout in cost. Whatever happened to half-price tickets at the last moment? Who can afford to pay $100+ for a show in a venue thatÂ’s so large that they donÂ’t see it anyway? I think hype has replaced quality in a lot of cases.
Q: Do you think the Perth scene encourages and welcomes new art practitioners into the industry – how?
I think Perth has always been open to new ideas. One of the advantages of being parochial is that we donÂ’t really care what the other states are doing, weÂ’re not watching in order to follow. WeÂ’ve always gone our own way. In everything. I lived for three years in Berlin and the theatre was wonderful, but IÂ’d rather have the raw energy of Perth.
Q: Briefly what other projects have you been involved in?
Lots, but let’s not look at the “have been”, but the “currently are”.
I spent years researching the life of one Alice Mary Cummins (1898 – 1943) and I wrote a play about her which was shown in Merredin and Kalgoorlie. I’ve never lost my admiration for Alice who played cello with the Adelaide Symphony, was WA’s first woman lawyer, designed a house in Merredin so far ahead of its time that it’s now under Trust, built her own radios to commercial standards, did the repairs on her Packards, and was a business genius who turned a tiny local brewery into Hannans, one of the great successes of her time.
IÂ’m starting again because my first effort was written when her lady friend, who probably caused Alice to commit suicide, was still alive and well and living on the proceeds. SheÂ’s dead now, and although UWA will not get the medical school scholarship which Alice had suggested in her will, I know I can do a much better job of presenting Alice on stage for the admiration she has not yet had.
Q: Anything else you want to sayÂ….
‘Agency’ is a good night’s entertainment. Of course I want houses bursting at the seams, but more importantly, I hope that all who see it leave with a feeling of optimism about themselves and others. And the realisation that we’re all subject to the human condition, so let’s make the best of it.
Socrates, when he was finally without a sex drive was asked by one of his students what it felt like. He said that it was as though heÂ’d just alighted from a horse which had been out of control. That may be so, but itÂ’s a wildly delightful ride while youÂ’re on it.
And please point out to your readers that studentsÂ’ concession is $12 per ticket, group bookings of ten or more are $10 each. Fairly affordable.
---------------------------------------
NOTE: Normal price is $18. "Interact" Patrons can still book for the '2-for-the-price-of-1' deal ($9 per ticket) without needing their "Interact" flier - Just mention "Interact" when you call 9227 7005 to make your booking. Offer limited to 4 persons per booking.
jassepFri, 6 Aug 2004, 09:45 am
The Infamous "Agency" Press Release!
Hi,
Reprinted below is the infamous Press Release for Diana Day's new play "Agency" at the Blue Room - opening in just SIX DAYS! This document has caused a few raised eyebrows, it would seem... well, it's certainly "out there!" ;o)
By the way, I've been told by the Blue Room that ticket sales are well above average, so it's likely there are nights that'll be sold out - Saturday the 14th August is *almost* gone already!
And remember, there are $5 preview tickets for Tuesday 10th available, and this years "Interact" patrons can come (along with up to 3 friends) at the 2-for-the-price-of-1 rate (ie. $18 for 2 tickets) - and you don't even need your 'interact' flier (in recognition that it's been a while since interact, and you may have misplaced the flier). Just quote the word "Interact" when you book (or at the door).
Bookings on 9227 7005 at the Blue Room.
Regards,
Jason Seperic
--------------------------------
FOR IMMEDIATE RELEASE Media Release
"Sex-Starved Comedy-Writer Inspired
by “Insane” Over-50’s Singles Scene"
Recently, after 13 years of self-enforced celibacy, Mt Lawley playwright Diana Day placed a singles ad in her local paper. Responses from the various ‘weird-and-wonderful’ characters she met unintentionally inspired a brand new play, ‘Agency: A Comedy About the Heart and Other Pulsating Organs’
One such ‘colourful’ character was the tradesman who was terrified of sex. “He was really nice, and very blokey. We went out a few times—until he confessed he was actually terrified of sex. As far as I was concerned, that was the end of it right there. We parted friends,” said Ms Day.
Ms Day even met someone who claimed to be a Secret Agent working for ‘Homeland Security’. “I think he really believed it. He was probably delusional. It was such a weird experience—the truth really is stranger than fiction.
“I had no idea of the incredible people you’re likely to meet when you run a singles ad in the local paper,” said Ms Day of her experiences, “I thought people like this were pure Hollywood. If I hadn’t seen it for myself, no one could have convinced me they were out there.”
Ms Day never intended to write a comedy about the over-50’s dating scene. However, when the raw subject matter proved so vivid and interesting, she could not stop herself from writing the play in record time. “So far, we’ve had several public readings…and I’ve been overwhelmed by the comments people have made. It really seems to have struck a chord with many who’ve heard it – young and middle aged, alike.”
Ms Day’s new comedy, ‘Agency: A Comedy About the Heart and Other Pulsating Organs’ will be performed at the Blue Room Theatre, James St, Northbridge from August 11th until August 28th 2004, starting at 8pm. Bookings can be made on 9227 7005.
For interviews or further information about the play and the production, please contact Diana Day (writer and director) directly on 9271 5141 or via email at ronin7@iprimus.com.au. She can be contacted on the above number during normal business hours.
Reprinted below is the infamous Press Release for Diana Day's new play "Agency" at the Blue Room - opening in just SIX DAYS! This document has caused a few raised eyebrows, it would seem... well, it's certainly "out there!" ;o)
By the way, I've been told by the Blue Room that ticket sales are well above average, so it's likely there are nights that'll be sold out - Saturday the 14th August is *almost* gone already!
And remember, there are $5 preview tickets for Tuesday 10th available, and this years "Interact" patrons can come (along with up to 3 friends) at the 2-for-the-price-of-1 rate (ie. $18 for 2 tickets) - and you don't even need your 'interact' flier (in recognition that it's been a while since interact, and you may have misplaced the flier). Just quote the word "Interact" when you book (or at the door).
Bookings on 9227 7005 at the Blue Room.
Regards,
Jason Seperic
--------------------------------
FOR IMMEDIATE RELEASE Media Release
"Sex-Starved Comedy-Writer Inspired
by “Insane” Over-50’s Singles Scene"
Recently, after 13 years of self-enforced celibacy, Mt Lawley playwright Diana Day placed a singles ad in her local paper. Responses from the various ‘weird-and-wonderful’ characters she met unintentionally inspired a brand new play, ‘Agency: A Comedy About the Heart and Other Pulsating Organs’
One such ‘colourful’ character was the tradesman who was terrified of sex. “He was really nice, and very blokey. We went out a few times—until he confessed he was actually terrified of sex. As far as I was concerned, that was the end of it right there. We parted friends,” said Ms Day.
Ms Day even met someone who claimed to be a Secret Agent working for ‘Homeland Security’. “I think he really believed it. He was probably delusional. It was such a weird experience—the truth really is stranger than fiction.
“I had no idea of the incredible people you’re likely to meet when you run a singles ad in the local paper,” said Ms Day of her experiences, “I thought people like this were pure Hollywood. If I hadn’t seen it for myself, no one could have convinced me they were out there.”
Ms Day never intended to write a comedy about the over-50’s dating scene. However, when the raw subject matter proved so vivid and interesting, she could not stop herself from writing the play in record time. “So far, we’ve had several public readings…and I’ve been overwhelmed by the comments people have made. It really seems to have struck a chord with many who’ve heard it – young and middle aged, alike.”
Ms Day’s new comedy, ‘Agency: A Comedy About the Heart and Other Pulsating Organs’ will be performed at the Blue Room Theatre, James St, Northbridge from August 11th until August 28th 2004, starting at 8pm. Bookings can be made on 9227 7005.
For interviews or further information about the play and the production, please contact Diana Day (writer and director) directly on 9271 5141 or via email at ronin7@iprimus.com.au. She can be contacted on the above number during normal business hours.
jassepMon, 9 Aug 2004, 03:46 pm
Re: The Infamous "Agency" Press Release!
Hi,
I have just finished a one-page website which include a couple of downloadable audio files on it of Diana Day's new play, "Agency" being read aloud.
These audio files were recorded at the public workshop/reading of Diana Day's new play "Agency" in June...
Here's the address to take a look:
http://triumph-publishing.com/agency
Enjoy!
Regards,
Jason Seperic
I have just finished a one-page website which include a couple of downloadable audio files on it of Diana Day's new play, "Agency" being read aloud.
These audio files were recorded at the public workshop/reading of Diana Day's new play "Agency" in June...
Here's the address to take a look:
http://triumph-publishing.com/agency
Enjoy!
Regards,
Jason Seperic
jassepTue, 10 Aug 2004, 10:17 am
"Agency" FULL-PAGE in the Guardian Express!
Hi everybody,
I have just added a very nice full-page piece the 'Guardian Express' newspaper did about 'Agency" to our new 'Agency' web page site... please go here to view:
http://triumph-publishing.com/agency
You'll also find a couple of audio clips of the script being read in front of a live audience, and a background description of the plot of the play.
Enjoy!
Regards,
Jason
I have just added a very nice full-page piece the 'Guardian Express' newspaper did about 'Agency" to our new 'Agency' web page site... please go here to view:
http://triumph-publishing.com/agency
You'll also find a couple of audio clips of the script being read in front of a live audience, and a background description of the plot of the play.
Enjoy!
Regards,
Jason