Archive for emerging
Last year over the course of a few weeks, I had the wonderful opportunity to interview Lally Katz for the Emerging Writers’ Festival publication, The Reader (available for purchase here). With the 2010 Festival just around the corner, this year under the directorship of the ever-capable Lisa Dempster, I thought it’d be pertinent to post up the fruits of our exchange. I present to you: Lally Katz and the Revelations of the Fantastical Theatrical Interview.
The factory of Sisters Grimm (although I’ve always imagined it more like a dank, sweaty, suburban cinema glistening with faux-gold trimmings, condoms hanging from the chandeliers and globs of lube in the hairy velvet carpet) never stops churning. Fresh from last year’s trash extravaganza musical Bum Town and a season of Mommie and the Minister at the Adelaide Fringe, Ash Flanders and Declan Greene have regrouped with a new cast, as well as some familiar faces, in the Collingwood Underground Arts Space for Cellblock Booty. It’s a furiously energetic, high-camp homage to the women in prison sexploitation films of the seventies and easily represents some of the most painfully, painfully, devastatingly funny work of the company to date.
While, as Alison Croggon rightly pointed out, there are significant stigmas surrounding the creation and production of youth theatre in Melbourne, there are also constant reminders of what a captivating scene that it can be when given the chance. Platform Youth Theatre’s Tenderness is a fantastic example; a bold and unashamedly dark exploration of youth issues, it effectively challenges the assumption that young people are not emotionally mature enough to take part in, or respond to, a theatrical and highly stylised representation of gritty material. Furthermore, Tenderness is not just theatre for “youths”; it is theatre showing adults how theatre can be done.
David Ryding is a very tall man. He is also a scriptwriter, director and arts administrator with a keen interest in installation art. David is Director of the Emerging Writers’ Festival 2008, now in its fifth year, to happen in Melbourne from 9th to the 11th of May. I recently had a chat with him about the Festival, what it means to be an ‘emerging’ writer, and the future of writing in Australia.
For my argument that they are an ‘oddity on the Australian stage’, it seems slightly paradoxical that the first two feature pieces published on this blog deal with double bills. Pre-empting Platform Youth Theatre’s onslaught of Aussie writers in March is Welcome Stranger’s This is Good Advice, featuring two shorts from two of Britain’s most important contemporary theatre artists, Caryl Churchill and Martin Crimp. The back-to-back combination is additionally tantalising as audiences do not get enough opportunities to experiences these writers, particularly Churchill, on our stages. Perhaps I have been living under a rock, but this is first time I have actually seen a Churchill play performed (my third Crimp – he has been slightly more in vogue over the last few years).
Some people think that it’s terribly self-indulgent to start up a blog; that by publishing your views on the internet, you believe they are worthy of some precedence or authority above their own. I don’t especially blame them. The internet really is brimming with blogs of pointless diatribes about boyfriends and bourgeois burdens. I’m part of the MSN Messenger / Myspace / Facebook generation and I’m sick to death of it too. However, this blog has a purpose. It’s not about me and how much my lyf sux!111 (lolz) – we all have issues, right? Rather, it’s an exploration of one of my passions. Theatre. In particular, Melbourne theatre. And what’s going so very wrong with it (as well as what’s going right). Read the rest of this entry »