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Apocalypse Perth

Thu, 23 Oct 2008, 08:40 am
Gordon the Optom78 posts in thread
‘Apocalypse Perth’ written by Kate Rice is a joint Blue Room and Always Working Artists production, showing at the Blue Room Studio, 53 James Street in Northbridge at 6.30 each evening until 8th November. There are late shows on Friday and Saturday at 9.15 pm.

On this web site in January and February this year, an amateur production, ‘Rock Apocalypse’, received an unfavourable review. There then followed an assassination of every aspect of the show and its venue. The actors and crew tried in vain to raise sympathy and put forward their case, but the insults continued unabated.

On recently re-reading these forty, or so, postings I wondered how playwright Kate Rice (last play at the Blue Room was ‘The Mozart Factor’, which won much acclaim, and achieved several nominations in the Actors’ Equity Guild awards) could make any sense of such drivel, let alone construct an interesting script. I suppose that there are some books, e.g. Shakespeare and Pinter, which on reading for the first time have given the same belief, yet in the right hands turn out to be stunning.

Kate does not merely list the string of contributions to the web thread, but has blended them with interviews, great characterisation, and even a song. There is plenty of humour and several gasps as some of the claptrap written on the web, is performed face to face by the writers with the people that they have denigrated.

With a superb choice of four very different cast member who, under the direction of Jeremy Rice, give us about six characters each. Greg McNeill’s portrayals include Tim, the show’s director who abandoned the play two weeks from opening and then returned as a performer.  One of the leading performers, Kelly (Whitney Richards) emotionally explains her heartbreak as she sees her dream of an acting career drain rapidly away. The committee member in charge of catering (Vanessa Trengove) is even attacked for charging $1 for orange cordial.

One of the final comments was from one of the show’s musicians (Craig Williams) ‘one Powerball and we will put the show on again - properly!’ I for one would love to see this show and decide for myself whether all this heartbreak and mental torture was justified.

All trolls, and generally nasty people, should see this unusual play and so discover how what they think is ‘a little bit of fun’ can actually do to those concerned. I can recommend this show to the cast of ‘Rock Apocalypse’ to see that all of their hard work was not in vein.

Composer Ashley Gibson Greig decided upon quite a heavy, but very effective style of music, similar to the radio detective serial themes of the fifties such as ‘Dick Barton’. With only a black drape set, the lighting by Lucy Birkenshaw was required to take us from the homes of the show’s performers, to the rehearsal room, the stage and committee rooms. Most effective with the use of an unusual style and mix of lamps.

I must be honest, I expected something dull and trite, but this show covered many emotions and the cast did a brilliant job. A very well constructed script, delivered with power, emotion, and at times finely choreographed movement. Most enjoyable.

Alright, I'll come clean.

Tue, 28 Oct 2008, 02:21 am
Okay, I'll admit it. Walter Pennypinch is right. We perform this show in our underwear so we don't have to pay for a costume budget. We sing a capella so we don't have to pay any musicians. We never actually wrote anything down, so technically we didn't even use a writer. I walk around at work arguing with people all day, so basically THEY are paying me to 'rehearse' for free. (It's not like there's a script I had to learn or anything!). The Blue Room gave us the venue, the equipment, and ALL of our advertising budget for free, and DON'T take a cut of the door, so every dollar paid for a ticket is going straight into our pockets making us very very rich. They also generously ALLOW us to take all the profit from behind the bar. There was no need to EARN or compete for this right by creating a worthy submission, a budget and an artistic treatment, because hey, they just give them away to anyone for free, right? We used our huge professional influence to extort FREE labour from the lighting designer, the composer, the tech operator, and the set decorator, on threat of them never working in this town again. The contracts that were given to the hapless contributors from the internet had very-very-very-very fine-print clauses which gave us a loophole freeing us from ever needing to give them a cent, allowing us free access to the balance of their superannuation funds, and guaranteeing us 17% of their future children's earnings...! The little excursion to the Padbury community hall DIDN'T earn us bugger-all because they DIDN'T charge us the $50/hour rate or make us hire and install our own lighting and sound equipment; we EASILY packed the place to the rafters; we DIDN'T give away the cordial for free; and the gear, petrol and transport to lug it all was GIVEN to us by a passing philanthropist. Grant actually pays me to contribute here, why do you think I'm online all the time? So yes, you might think you are correct to guess that we are all paying off our second mortgages and yachts from the profits we are exploiting from this show. But here's where I have to correct you. Unfortunately 'Always Working Artists' are NOT going to recoup their costs from this show, and in fact have had to force their kids into child-labour contracts with dodgy advertising companies...because Greg, Whitney, Vanessa and I are PROFESSIONAL! Most of us have interstate agents negotiating our contracts, we have the industrial might of the hugely-powerful Actor's Union fighting for our exorbitant wage rates, we demand full-star treatment, glossy magazine exposure, personal trainers and masseurs, luxury trailers, unlimited supply of caviar, champagne and mangoes, and dressing rooms with hot and cold running showgirls. Both Greg and I can both command thousands of dollars for a single 30-second radio commercial...so imagine the fee we are each charging for a full 60 minutes of spoken dialogue! While I believe I may have heard that some people may actually entertain the notion of 'giving back to the community', 'sharing the wealth', and 'recognising those who've helped you along the way', I can safely say that I have NO intention of doing anything of the sort! I pay NO attention to anything that goes on in the amateur world around me, I actively oppose being generous or assisting others to learn and grow, and I refuse to even consider that anyone else may deserve to get the breaks I myself have had. Isn't it enough that I grace you with my hefty and awesome talent? If I had my way, I wouldn't even let you come and see the performance...you're not worthy. If it wasn't for some legal loophole in the Blue Room agreement...I'll have to get my team of lawyers to put a stop to that! I think it's a shame that the amateur community at large has no idea, and mostly assumes that we are doing this 'for the love of it', or because the project 'has merit'. What, did you think we might be doing this to demonstrate the power of creativity over petty negativity? To celebrate and share our skill and love of producing interesting theatre? To merely entertain?? Thankfully a few of you obviously know better, have seen through the glam and sham, and have exposed this seedy operation for what it really is, an exercise in ripping off all the community theatres in the world, squeezing every ill-gained drop of money and blood from the poor innocent contributors to these forums, thumbing our noses at all and sundry who actually care about theatre arts, riding off into the sunset to our villas overlooking the Riviera and laughing derisively over our shoulders at you poor, poor hopeless fools who complain. Well, at least that last bit of the sentence for me is definitely true. Cheers, Craig ~<8>-/====\---------

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