short + sweet sunshine coast

SHORT+SWEET BRISBANE+GOLD COAST+SUNSHINE COAST

10 DAYS UNTIL DEADLINE!

 

Submissions for Actors, Directors and Independent Theatre Groups close on May 31st 2012

 

Got a 10 minute play? Sure you do!

 

Simon Denver adapted So, Where Is It? from the original one-act play, which he wrote for a festival in a matter of days after Sam Coward said one day over a few beers, “WHY NOT? WE’RE GOOD AT VIOLENCE.”

The 10 minute version only came about when I received a phone call during rehearsals for our gig at The Sydney Children’s Festival inviting us to submit something to Short + Sweet and Sam said, in the dressing room of the Seymour Centre, “WHY NOT? WE’RE GOOD AT VIOLENCE AND IT’S JUST 10 MINUTES.”

So, Where Is it? won Brett Klease Best Actor at last year’s Sunshine Coast Theatre Festival and the 10 minute version took out 1st place in the Gold Coast & Brisbane Short+Sweet competitions. It then went to Sydney (thanks to some of YOU! THANK YOU!), where it won third place.

With so many one-act play festivals happening across the Sunshine Coast, why not do the same? Or register your 10 minute play from the recent season in Buderim. IT’S JUST 10 MINUTES! YOU CAN DO IT!

You CAN do it. But do you need some help taking the red pen to your script? Register first! Just do it and then let us know! We can help edit and workshop your one-act play down to just 10 minutes or help you find a new script to work on.

Check out the vast collection that the 10 Minute Play Master, Alex Broun, has made available online for FREE.

The Short+Sweet QLD 2012 Brisbane+Gold Coast+Sunshine Coast theatre season runs from 1st August to the 19th August at

The Loft (QUT Creative Industries)

The Arts Centre Gold Coast

Lind Lane Theatre, Nambour

 SAVE THESE DATES

June 16th Director briefing and welcome drinks

 

June 23rd Sunshine Coast auditions

 

June 30th Rehearsals commence

ACTORS, DIRECTORS AND INDEPENDENT COMPANIES REGISTER NOW!

Remember, it all starts with an idea….. 

This one was just so crazy…it worked!

 

That Scottish Play

That Scottish Play

SRT & Lind Lane Theatre

Lind Lane Theatre

27^th April – 4^th May

Have you ever been involved in community theatre? We used to call it “amateur” theatre but that term has become more closely associated with poor quality performances and megalomania than with its original meaning, which is “to love” (from the Latin verb, amo). The term, “community theatre”, seems to have a friendlier tone to it. But that tone can be deceptive!

Simon Denver’s That Scottish Play features a talented and, one suspects, largely undiagnosed cast of Sunshine Coast actors sending up Sunshine Coast actors. It reveals the machinations of a community theatre group in the imagined Sunshine Coast town of Widgee. It could be Nambour. It could be anywhere. We recognise the characters and their quirks, we laugh out loud at their ridiculous antics and we loathe the egos that can’t help but surface under the little theatre’s spotlight. Names are named and every local theatre company is fair game! No one and nothing is safe from Denver’s pen!

That Scottish Play has been taken out of the vault and prepared for a strictly limited season at Lind Lane Theatre in just a few weeks. It’s like (Louis Nowra’s) Cosi on ice, though not the family-friendly Disney version you’re thinking of. More like the unfriendly, politically incorrect, if-only-there-were-ice-in-Africa, chaotic kind of Cosi on Ice. It’s an extremely talented ensemble – Denver says they are “from the deeper end of the talent pool” – and one of them, Sam Coward, who plays the guy who plays Macbeth, Nathan Gayelord, says, “I never read the script. It was a guideline.” This is typical from someone who has worked with Denver before. Many of the members of this extended company (let’s call it +SRT) have had that privilege and a few have not. Let’s hope they are brave enough to take up the mantle again because this cast is a joy to watch. They are each experienced enough and confident enough to just play. This play requires the notion of play to be unleashed – as Director, this is Denver’s specialty – and we can see that they’re having fun! It’s certainly the best parody we’ve seen and the local references are obvious enough to have audience members blushing in their seats, loving every minute of it!

The “problem” with such a localised and personalised parody is that those who are slightly outside of the teensy weensy world of local theatre don’t get it. This may need to be a consideration in future, in order to attract the desired ticket sales. I watched with interest on opening night, a party of elderly, typically Lind Lane Theatre patrons and they were in turns, bemused, horrified, terrified, nonplussed and not amused. I was in fact waiting for one of them to say at the end, “We are not amused.” Perhaps they thought they were coming to see Shakespeare’s Macbeth?!

Well, of course if you read the publicity or Google Mr Denver’s works, you’ll realise that this is not Macbeth but a basic tale of typical amateur over-the-top theatrics. The Lower Widgee Amateur Drama Group prepare to stage a production of Macbeth…with all the actual and boring Macbeth bits taken out of it! Early in the rehearsal process, the show becomes a musical (because what’s the biggest bums-on-seats show an amateur theatre company can pull off in a year? A musical!), allowing us to enjoy ridiculous musical theatre performances (think Forbidden Broadway) from the likes of Chris Surplice (who has come up from Sydney to play) and Sam Coward, who hasn’t been heard to sing, except in the car and in the theatre when bored or making a point as Director, since he played Javert in an impressive little production of Les Miserables in Mt Isa (not so impressive were the brows back then, mine, not Sam’s; his are fine. Thank goodness I’ve been threaded since then!).

Well-known, well-loved performers from right across the coast join these pillars of performance power and strength on stage. Joy Marshall as Penelope Ascot is a standout. She limps and she lisps and whenever The Trophy or The Awards are mentioned, she twitches. Hers is a hilarious performance and it is well balanced by Brett Klease’s, as the professional director, Simon, from Brisbane, who comes in on the wings of a successful grant application and won’t be directing anything much in the end (and won’t be allowed to leave)! Surplice, as Nigel Chandler, has a few nice little moments, particularly in the plotting, scheming scenes, when we get a glimpse at how far the bitchiness backstage can go. Howie Tampling gives us some good belly laughs, as the guy with Tourette’s and Errol Morrison is the perfect small country town mayor and the hapless husband of the overly-ambitious Penelope.

Individual characters are made very clear and some of the mimicry is too close to be believed. Yikes! But even the audience members who are at the brunt of the jokes appear pleased! Phew! MD Darren Heskes provides an amusing, well-synched underscore throughout, referencing all the major musicals. His work helps to move more swiftly some of the scenes that threaten to lag. This is exemplified in Nigel’s scheming scene, in which he plots with Penelope to kill the (university trained) “real” actors, underscored by a few bars from Lloyd Webber’s Jesus Christ Superstar. The actors could very easily have sung, “We need him crucified, it’s all you have to do…”

This production is a first for the Sunshine Coast. It parodies the best-known members of each theatre company in a ruthless and rather daring manner and yet leaves only a few offended (the collateral damage). It seems the writing is witty enough and the pace fast enough for this motley company to get away with all manner of sins! The combined talents on stage and off indicate that there is a distinct lack of entertainment like this – for actors and audience to get their teeth into – and the results indicate that there should be more of it. If Denver can pen a play like this in a couple of hours (and re-write it during rehearsals) and another, his latest, in less than an hour (So, Where Is It? was originally a one act play and was whittled down to just 10 minutes, winning the Gold Coast and Brisbane Short + Sweet Awards and taking out 3^rd place in the national competition in Sydney this year), then he should be producing something new at least twice a year! There is talent to perform the work and audiences craving to see it. Let’s have more like this, please.

Final performances: tonight (Friday) and tomorrow night (Saturday) at 8pm & final matinee tomorrow (Saturday) at 2pm at Lind Lane Theatre

Book online or call 07 5441 1814

 

An audience member offered this feedback:

 

Last evening, Wednesday 3 May 2012, my partner and I with a couple of friends attended the production of “That Scottish Play”. Now we would like to take this opportunity in thanking every actor in this production plus all of the theatre crew for one of the most enjoyable theatre experiences of Lind Lane (although we also did enjoy the 3 Act plays performed last year by the theatre.)

 

We all found the play, or was it really a musical in disguise, we still aren’t too sure, totally entertaining and extremely funny and terribly well crafted and acted. Congratulations to all for a great night’s entertainment and may we expect more of the same in the future? we do hope so.

 

Simon Denver’s writings are truly of an international standard and he certainly knows just how to bring out the ‘best’ in his players.

 

We wish the cast and writer/director all the very best and again, thank you so much for such a most memorable evening of true comic theatre.

 

Bravo!

 

Mr Paolo-Andrea L.G. Roberto-Preston

Eudlo

so the boys are off to Sydney Short+Sweet!

UPDATE

 

This is a message call to action from Darren Heskes (Origianl Theatrical Works on the Sunshine Coast)!

 

So much money is regularly tossed into sports and athletes by governments, corporations and individual with the prospect of seeing home-grown athletes come seventh in a national or international competition. Here on the Sunshine Coast we have three local actors poised on the precipice of national victory at the “Short and Sweet” 10 minute play competition with an original work and barely an iota of publicity and few willing to support financially. Works like “So, where is it?” by Simon Denver, ably re-inforced by Messrs. Klease and Coward have a degree of artistic credibilty and a longer lasting significance, far more so than a sponsored and government funded no name athlete coming last in his or her heat at this year’s London Olympics. If you don’t like the point I’m trying to make then don’t complain afterwards if you have made no effort to support the cause of these worthy and well proven thespians. Sure we’ll hear throughout the media of local athletes coming home heroes when their best was not good enough but isn’t it time we show support to the Arts especially when it comes to financing their endeavours. I don’t want to see them standing on the side of the Bruce Highway hitching a ride down to Sydney next week for the finals of the “Short and Sweet” comp…Do you? Sure…they may look funny soaked to the skin as passing trucks splash giant mud puddles into their faces, but they a representing both you and I. Blimey…the Sunshine Coast needs some positive publicity considering the general state of theatre in this region. Do we always have to be regarded as Brisbane’s muddy, rain drenched inbred untalented second cousins? We have a chance to hold our heads up for a change. So what are you going to do about it?

 

Thanks, Darren!

 

Remember that violent little play the SRT boys came up with for a couple of one-act play evenings on the Sunshine Coast? Remember they cut it down to just 10 minutes for the Gold Coast Short+Sweet Festival and the Brisbane Short+Sweet Festival, both of which they won, becoming the Queensland champions? Right. So next week, they’ll compete in the Short + Sweet Festival Gala Finals at the Seymour Centre, in Sydney. BOOM!

Here’s the whole story: By default rather then design, Suncoast Repertory Theatre (SRT), a fully self-funded Sunshine Coast-based company, has found itself flying the flag nationally, for Queensland theatre.

Written and directed by Simon Denver, So, Where Is It? stars two of the Sunshine Coast’s best performers, Brett Klease and Sam Coward. Described as

“Noir, very noir with a wicked, wicked twist”

the play is based around an interrogation. Its coarse language and extreme violence have been challenging the actors and audiences alike.

Short and Sweet is a deceptive title – it’s actually been a long journey for SRT. It started exactly where it finishes next week, in a dressing room at the Seymour Centre. As Writer and Director, Simon Denver explains, “Last year SRT were performing for the Sydney Children’s Festival at the Seymour Centre when one of those five degrees of separation phone calls came in. Someone told somebody, who mentioned it to someone else that the Gold Coast Short and Sweet festival had a cancellation and did we have a 10-minute piece we could take down. We said yes – even though we didn’t have a piece ready – and thought, “Great, a couple of days on the Goldie!” Thanks must go to to Sean Dennehy, who trusted me enough to make that call and offer the spot in the program (“You know it can only be a ten-minute play, don’t you?”) and to our wonderful friends, Lisa and Craig, who generously accommodated all of us – including the five year old – on the Gold Coast.

Clowning around at The Seymour Centre during The Sydney Children's Festival

Luckily, the boys had a one-act play, which had been devised over beers and cigarettes on our back patio and received well at the Sunshine Coast Theatre Festival (Klease was awarded Best Actor), which could be cut down to 10 minutes, in accordance with Short and Sweet guidelines.

Simon notes, “It wasn’t until we got down to the Gold Coast Events Centre and saw the calibre of the festival that we realised what a major event the Short and Sweets are! The standard was amazing! Our “couple of days on the Goldie” turned into a highly focused work blitz.” They won and went on to become the Brisbane Short and Sweet champions two weeks later.

So, Where Is It? was invited to compete in the Top 100 preliminary finals in Sydney and upon winning their heat in Week 10 last week, they’ll compete next week for the honour of Best 10-Minute Play in Short+Sweet Sydney 2012. We thought it odd that the invite was not simply for the Gala Finals, as opposed to an invitation to (essentially) start at the bottom again in the NSW heats (10 weeks of heats)! Having already won the Queensland finals, it does seem strange (and somewhat sinister) that some people/festivals interstate continue to perpetuate the myth of the poor country cousin, doesn’t it? I hope to see that change and, in the future, to have the opportunity to celebrate interstate winners who go directly into the Gala Finals, without having to prove themselves again at the same level of the competition. It seems redundant and remiss. Another obvious advantage about making just one trip to Sydney to compete, rather than two, is the cost involved. A second trip next week is getting costly for a company that is self-funded and has never asked a favour of anybody.

“Regardless of the outcome we are satisfied with our journey,” says Simon. “Six months ago we had never even heard of Short and Sweet. Next week we share a stage with the best six plays from Sydney Short and Sweet, the best two from Melbourne Short and Sweet and the best one from Newcastle Short and Sweet”.

It has its critics but there is no denying the Short and Sweet festival is a national and international phenomenon. It’s a massive coup for this little Sunshine Coast company. If you’d like to help them get there, email me for account details. A big thank you to those friends and fans who have already contributed.

Floating Land 2013: Nature’s Dialogue

Meanwhile, I think it’s important to note that I’m really pleased with our expression of interest for Floating Land 2013. While I can’t give anything away, I can tell you that, should our submission be successful, we’ll be needing incredible dancers and multi-disciplinary performers for a show like no other. We’ll also be inviting interested peeps from the community to get involved in the creative process. We enjoyed so much, working with local actors and non-actors to create Floating Words last year and we’re looking forward to being involved again, in any capacity, really; Floating Land is a very different festival for the Sunshine Coast. It’s growing biannually and gaining a reputation internationally. If you want to get in on the next one (31st May – 9th June 2013), stick with us, kids!

 

 

Floating Land is an ongoing conversation about creativity, culture and the environment pivoting on a dynamic ten-day event in the UNESCO listed Biosphere of Noosa on the Sunshine Coast. Conceived in 2001 as an outdoor sculpture exhibition, Floating Land is now solidified one of Australia’s most significant green art events sparking the imagination of artists, scientists, politicians and conservationists globally. Leah Barclay was engaged as the guest curator in 2011 and successfully delivered a dynamic program on the theme ‘Water Culture’, expanding the traditional elements of Floating Land to include works engaging ephemeral projections, light and sound in the natural environment.

The biannual project is framed around a thematic site-specific artist residency and offers a platform for creative responses, provocations and interactive experiences that can underpin new ways of thinking and inspire change. The diverse creative responses of Floating Land become embedded in a rich program of community workshops, forums and interactive labs designed to confront and challenge a spectrum of environmental issues across disciplines. The intention is not just to deliver engaging experiences for the local community, but also to harness the energy of these conversations, ideas and visions across virtual platforms exploring new paradigms for our collective future. Visit www.floatingland.org.au for further information. Source: leahbarclay.com

 

 

Sunshine Coast Theatre Alliance Inaugural Soiree

It happened! It happened last Saturday actually, and we’ve been flat out since then so here it is, a little late; a little wrap up of the Sunshine Coast Theatre Alliance’s Inaugural Season Launch and Soiree.

Wendy's Flowers and Event Hire www.wendysflowers.com.au

The evening was a great success. Hailing the beginning of a new era in local theatre, invited guests and media were offered a sneak peak at what’s coming up on our Sunshine Coast stages at the Season Launch and Soiree, hosted by Rosanna Natoli of Seven Sunshine Coast News, at the Buderim Tavern. The event successfully brought together rival theatre groups from across the Sunshine Coast, for the first time since the defunct STA (STAR) Awards, to celebrate in style and to launch their 2012 season programs for an audience of media representatives and special guests, including Style Director for the Sunshine Coast Fashion Festival, Zoe Champion and Members of Parliament, Fiona Simpson and Steve Dickson.

Rosanna Natoli, Sam Coward, Steve Dickson. Image by Anjie Greve.

Sam Coward, President of the Alliance, praised the initiative and hard work of the Alliance in “raising standards”, for hosting the Soiree and for continuously raising the profile of theatre as the first choice in local entertainment. Sam challenged members to get along to each other’s shows this year, which include Coolum Theatre Players’ Flying Feathers, Lind Lane’s A Bad Year For Tomatoes and That Scottish Play, Caloundra’s Sherlock Holmes and Noosa Arts Theatre’s production of David Williamson’s (George Negus speaks to David here) heartwarming play about a twilight love affair, Travelling North, directed by guest director, Steven Tandy (read Kate Foy’s fascinating interview with Steven here).

“Such is the magic of theatre where the audience witnesses the wonderful creative cocktail that has brought everyone together, to share their talents and wholly entertain,” said Sam.

In the past 12 months, some 50 productions have been staged by Alliance member groups, equating to more than 500 performances with attendances exceeding 50 000, equating to a conservative one million dollars being injected into the local economy. In return, the theatre companies are giving local and visiting audiences affordable entertainment; something for everyone, from musicals, dramas, comedies, one-act plays, pantomimes, workshops and the presentation of the finalists in two playwriting competitions.

Zoe Champion & Sam Coward. Image by Anjie Greve.

Zoe Champion, Style Director for the Sunshine Coast Fashion Festival, deemed local actress, Marilyn Davies Best Dressed and “the epitome of elegance and style.” Marilyn was presented with tickets and limousine transfers to The Escapist’s award-winning production of boy girl wall, starring Helpman Award nominated Brisbane actor, Lucas Stibbard, at Nambour Civic Centre in June.

Marilyn Davies (Best Dressed) & Patricia Waterson. Image by Anjie Greve.

A great success and the beginning of a new era for Sunshine Coast theatre, the inaugural Sunshine Coast Theatre Alliance Soiree, brought together the theatre makers and theatre lovers of the Sunshine Coast, for an evening of celebration without the usual competition.

Carly Partridge & Alli Pope. Image by Anjie Greve.

Luke & Melissa Lanham. Image by Anjie Greve.

Susan Dearnley, Jennifer Rousset, Evie Somerville. Image by Ajie Greve.

Angel Goulter & Xanthe Coward. Image by Anjie Greve.

Taking mental notes for next year's event. Image by Anjie Greve.

For copies of images taken by Anjie Greve or to book her for your event, contact

Clever Girl Photography 0421 365 705

For further details about local productions month by month, pick up the Sunshine Coast Theatre Directory from a foyer, a café or a library near you or take a look at the website http://www.livetheatre.com.au

To Award or not to Award?

That is, and will always be, the question.

Check out, if you haven’t already, Augusta Supple’s blog at augustasupple.com because she is a talented, insightful, emotive writer and reviewer after my own heart, telling it as it is. Most recently, Augusta has blogged about boycotting the Sydney Theatre Awards, which is no small protest from somebody who is a respected authority on Sydney theatre and theatre-making generally. Put it this way: Gus knows her stuff. If she is of the opinion that vital work was overlooked, I’m prepared to take her word for it.

The same week, I received my print copy of Stage Whispers

(I’m a bit old school when it comes to subscriptions)

I noted, with interest, that in his editorial, Neil Litchfield bemoans the fact that Sydney community theatre has no special social event for its theatre-makers – no awards, no dinner, no party it seems – as the Music Theatre Guild of Victoria does in its celebrated Bruce Awards.

“I can only wish we had a similar community musical theatre night-of-nights, not so much for the awards, as for the fabulous performing showcase, and the immense sense of the performing community coming together in the foyer before and after the packed house ceremony. I felt a great nostalgia for Sydney’s lost tradition of Combined Musical Society Balls.” Neil Litchfield

Here here!

On the Sunshine Coast we have been missing, for a long time, as well as our unbiased reviewer, a number of those other elements that bring together a theatrical community: combined company productions, Saturday mornings spent at whichever theatre has a set requiring painting, fittings at Nancy’s house, living room play readings, piano parties and that strange affair known as the Sunshine Coast Theatre Alliance STAR Awards. Well, some of us have not missed the STAR Awards at all but instead, since its demise some years ago, have decided to replace the entire event with a SOIREE, without the pressure, mess and aftermath of an awards system that left most dissatisfied (and too many falsely confident in their abilities), rather than simply delighted to have had the opportunity to catch up with like-minded friends in a swanky setting over a few fancy drinks.

I attended what must have been one of the last ever STAR Awards evenings. I was pregnant. I was not drinking. I was bemused and dismayed that very little mingling and networking happened and instead, a lot of gossip happened, prior to the event, during the night and well and truly after the evening had finished! Those who had been recognised and given awards tended to grin and gloat and those who were overlooked were needlessly devastated. Of course I’m over-generalising (I’m sure there have been some who have themselves wondered at the award they’ve received!) after all, let’s not forget that I was sober! I’m sure it was all good originally,

Way back in the days when the grass was still green

and the pond was still wet

and the clouds were still clean,

and the song of the Swomee-Swans rang out in space…

Suffice to say, towards the end, the awards night was just not achieving one of its main goals: to bring together in celebration, the theatrical community on the Sunshine Coast. (The STA’s major goal has always been to promote live theatre across the Sunshine Coast and this is something that is done superbly, via some terrific print and radio media partners, social media and livetheatre.com.au).

This year, the Sunshine Coast Theatre Alliance, with Sam Coward at its helm, has decided to celebrate our involvement in local theatre without the awards. The evening, in February, is an opportunity to celebrate freely, without the competitive element. Sam says, “Take away the competition and we are left with a fun, friendly night of celebration and an opportunity to launch every theatre company’s 2012 season.” Sounds good to me. Thanks to the work of the committee members, we will enjoy drinks, canapes, media, mingling, networking, catching up with friends and performances from some of the theatre companies. Next year, we hope to see performances from ALL of the theatre companies. this will be a major milestone in itself. Previously, only not-for-profit theatrical companies have been granted STA membership and thus, their support. In terms of advertising alone, to allow ALL companies now to join the Alliance is a complete turnaround and a big step forward for the Sunshine Coast theatre community. It was something that had always baffled me: why would those over-achieving multi-taskers among us choose NOT to make money from our art? I know. I hear you guffawing. But we try, don’t we? And for those of us who make the effort to capitalise on what we’re doing, there is now a little bit more support locally than there was before.

Now. What to wear? The dress code is Dress to Impress and the ONLY award of the night is for Best Dressed!

Ironic much?

Obviously then, when reporting back to you, I shall have a fabulous photo gallery rather than a boring list of the theatre-makers-somebody-thought-did-the-best-job-all-year-even-though-the-criteria-was-thrown-into-question-and-they-didn’t-see-everybody-else’s-efforts-and-played-favourites-anyway.

That may not be true. I can’t back that up. I’ll just post the pics of everybody looking fab, shall I?

What are your thoughts on arts’ awards?

Do you prefer a people’s choice award? If so, The Groundlings can be found at actorsgreenroom.net. Do you like your critics to deem what’s “best”? If so, you can appreciate those Sydney Theatre Award results and look forward to the Matildas. Or do you really just enjoy a genuine celebration without the competitive edge? If so, come join us at the Soiree! Only 60 tickets left! Book online here.

Introductory Directors’ Workshop

After a massive week hosting Todd Schroeder’s Master Classes in Brisbane (Theatre and Dance) and on the Sunshine Coast (Studio 2), on Sunday at Lind Lane Theatre, Sam ran a low-key Introductory Directors’ Workshop. The workshop was well attended and at just $10 per adult it must have been the bargain of the year! These are some notes from the day (and they are certainly not exhaustive but are clear indicators of Sam’s particular style and his approach to directing). As Director, Actor and President of the Sunshine Coast Theatre Alliance, Sam plans to offer another Introductory Directors’ Workshop and one or more advanced directing courses in 2012 so keep an eye out for details about registration.

Sam acknowledges that his approach to directing is his own.

 

A Great Director encourages

 

• open minds
• like minds
• an ensemble approach
• risk-taking
• an ability to play well with others
• fun
• respect
• an attitude of working hard without making it hard work
• working towards a “win”

 

Auditions

 

• look for the ensemble – a school of fish who can swim together
• look for people you can work with… play with
• make it fun
• open up the sandbox
• open up
• let go
• what could it be?
• trust – not only the cast who the director can trust but the cast who can trust the director
• take a simple level of direction eg “everybody up on stage, thanks” … “why?”
• get to know them
• watch and listen
• if a 70 year old doesn’t turn up who do you cast. don’t cast anybody. don’t do the play. (GREAT reaction – silence – something new?)

 

Pre-Casting

 

• there is no wrong way to get the right cast for your play
• no open pre-casting eg Mark Darin in Influence
• a director has the choice. it’s the director’s call.

 

Creative Team

 

• cast your creative team wisely eg Erotique
• confer with the writer, composer etc and make the same decision – are they people (is it a play) you want to work with?
• in a musical, of course the MD must be involved in decision-making but the director has the final say.
• Communicate clearly and early with your creative team
• respect for the people you’re working with and set the boundaries
• set clear ground rules
• get the vibe right and make a sacrifice if necessary eg La Ronde

 

Planning

 

Schedule

 

• Plan from opening night backwards (like an ECG, draw a graph of the shape of the rehearsal period)
• feel the heartbeat. know where it is and how quickly it beats.
• safer show comes from good breathing time
• break for the night before opening night
• planning will inform the energy of the piece (the highs and lows)
• schedule the conversations and the first time you deal with tricky things eg nakedness in La Ronde, Erotique…

 

it’s not the ensemble and you but rather, you are  a part of the ensemble

 

respect

 

give your cast and creative team a level of freedom with which you’re comfortable. and then make sure they’re doing everything the way you want it.

 

Vision:

• read scripts
• see theatre
• own style, own process
• start somewhere.
• visualisation (tell the story in your head) “painting an idea”
• communicate your vision

 

Re-invigorate rehearsals by doing (or asking for) the unexpected

 

Every director has a different interpretation. let the seeds sow themselves.

 

if you run out of steam don’t force it. it’s not gonna happen.

 

“I will one day direct Pinter” is different to “I will one day direct Pinter’s Betrayal”

 

Find the idea, seed the idea and find a way to make it work.

 

Don’t act and direct in the same play

 

The measure of a good play?

• is it engaging?
• are the characters believable?
• whose opinion matters?
• artistically satisfying that sells tickets

 

Simon Denver says get them laughing before the curtain goes up.

 

organic process between audience and performer

 

How do you get feedback?

 

Sometimes conflict is necessary.

 

Sometimes it’s better to let it go. stop rousing and let them go for a coffee.

 

respect.

 

find a different way of communicating

 

people respond differently to different approaches. read people and work out what works. directing is largely about reading people and managing people.

 

performers are vulnerable so set high standards at rehearsal. eg quiet in the space

 

don’t keep people at rehearsal if you’re not using them. eg call them for the hour for which they are required. respect.

 

ABOUT SAM COWARD

 

As a producer, director or performer, Sam Coward has worked for the past fifteen years in the business. On both stage and screen, Sam has experienced all facets of stage production and has worked in more than a dozen Queensland venues.

In 1999 Sam produced a modern interpretation of the Andrew Lloyd Webber classic, Jesus Christ Superstar, in a Warehouse in Warana, which at the time broke all records for attendance at a Sunshine Coast production.

Shout! The Legend of the Wild One in 2008, clearly marked Sam as a director with the potential to produce exciting creative works. In close collaboration with The Events Centre, Caloundra, Sam re-cast, re-structured and re-directed this successful major musical production in just 8 weeks. In 2010, Sam co-produced and directed his original take on Arthur Schnitzler’s La Ronde and re-developed it further, as Erotique, for inclusion in the Sydney Fringe Festival. Sam is about to venture into the third creative development phase for Erotique, in preparation for its 2012 season. In 2011 Sam directed David Williamson’s Influence and conceptualised an original play So? Where Is It? written by Simon Denver, which has been seen this year at the Sunshine Coast Drama Festival and at the Queensland Short + Sweet Festival, where it won the overall Short + Sweet Award for Best Play. So? Where Is It? will be seen next in Sydney in 2012.

Sam is the President of the Sunshine Coast Theatre Alliance, which is “Raising Standards” and Co-Director of XS Entertainment, which aims to establish a functional network of Sunshine Coast artists and produce original theatrical productions in unconventional spaces, utilising new media and local resources.

 

BOOK NOW for The Sunshine Coast Theatre Alliance’s 2012 SEASON LAUNCH SOIREE

 All theatre lovers are encouraged to come along and enjoy this social evening celebrating local theatre, rubbing shoulders with local thespians and the likes of our special guest, playwright and Senior Australian of the Year 2012, DAVID WILLIAMSON. Enjoy a complimentary drink on arrival, and delicious canapes throughout the evening.

Each theatre group will have approx 5 minutes to perform/present snippets of their 2012 productions to the Media and theatre lovers.

The evening will be hosted by Channel Sevens Rosanna Natoli.

Tickets: $35 EARLY BIRD TICKET PRICE:  $30 per person.

MUST BOOK BEFORE 30th DECEMBER!

When: Saturday 11th February 2012

Where:  On the deck, at the Buderim Tavern.

Dress: to Impress! (a prize for the most impressive)

Bookings (07) 5449 9343 or online 

 

 

Introductory Directing Workshop with Sam Coward

XS Entertainment, The Sunshine Coast Theatre Alliance and Lind Lane Theatre Present:

An Introductory Director’s Workshop
with Prominent Sunshine Coast Theatre Director Sam Coward

Sam Coward, Director and Actor

Have you ever wanted to direct a show?

Have you ever wondered what makes this director tick?

Would you like to talk with other Sunshine Coast directors in a relaxed, friendly environment about your upcoming projects, dreams, frustrations and challenges?

Would you like to hear the basics from somebody who has a successful track record and invites fellow directors of all ages, experience and backgrounds to “have a go”?

Do you want to know about upcoming directing opportunities on the Sunshine Coast?

Work with one of the Sunshine Coast’s most prominent theatre directors on what it takes to conceive, create and stage a theatrical production.

- choosing or devising a theatrical work
- selecting a cast
- securing a venue
- sharing the vision
- creative development phases and flexibility
- rehearsal processes and expectations
- communicating with your cast and creative team
- attracting attention and getting the publicity machine working

+ Sunshine Coast Theatre Alliance benefits and Sunshine Coast Performing Arts Industry Insider Tips, support and more!

When: Sunday December 18th 10am – 4pm

Where: Lind Lane Theatre 16 Mitchell st, Nambour

Cost: $10 (morning tea provided)

To secure your place in the workshop, email

xsentertainme@gmail.com or call 0411 015 918

As a producer, director or performer, Sam Coward has worked for the past fifteen years in the business. On both stage and screen, Sam has experienced all facets of stage production and has worked in more than a dozen Queensland venues.

In 1999 Sam produced a modern interpretation of the Andrew Lloyd Webber classic, Jesus Christ Superstar, in a Warehouse in Warana, which at the time broke all records for attendance at a Sunshine Coast production.

Shout! The Legend of the Wild One in 2008, clearly marked Sam as a director with the potential to produce exciting creative works. In close collaboration with The Events Centre, Caloundra, Sam re-cast, re-structured and re-directed this successful major musical production in just 8 weeks. In 2010, Sam co-produced and directed his original take on Arthur Schnitzler’s La Ronde and re-developed it further, as Erotique, for inclusion in the Sydney Fringe Festival. Sam is about to venture into the third creative development phase for Erotique, in preparation for its 2012 season. In 2011 Sam directed David Williamson’s Influence and conceptualised an original play So? Where Is It? written by Simon Denver, which has been seen this year at the Sunshine Coast Drama Festival and at the Queensland Short + Sweet Festival, where it won the overall Short + sweet Award for Best Play. So? Where Is It? will be seen next in Sydney in 2012.

Sam is the President of the Sunshine Coast Theatre Alliance, which is “Raising Standards” and Co-Director of XS Entertainment, which aims to establish a functional network of Sunshine Coast artists and produce original theatrical productions in unconventional spaces, utilising new media and local resources.

INFLUENCE Reviewed by Mel White

Reviewed by Mel White for Briz Tix

Ziggi Blasko- it’s a name destined for fame…or at the very least, notoriety.

Currently showing at Noosa Arts Theatre, is David Williamson’s Influence. As director, Sam Coward explains, “Influence is a scathing and bitingly funny play about the media personalities that dominate our lives and the divisions that can shatter families”. Tackling a Williamson play renowned for political undertones within a verbose text that investigates the ugly side of human nature is no mean feat. While Williamson’s plays focus heavily on human interrelationships and the complexities that come with them, Coward’s approach to Influence is a simple one that highlights the playwright’s intentions with refreshing directorial choices.

Coward’s interpretation is stripped back to the bare essentials. There are no detailed costumes to pretty up the picture and there is no elaborate lighting used to punctuate the mood and atmosphere. The responsibility well and truly lies firmly in the hands of the actors.

The risk that arises with such a minimalist and pared back approach is that you rely 100% on your actors. It’s literally all you have in which to convey your message: the acting does the talking, if you will. There is nothing to hide behind: the acting is the spectacle and needs to not only be entertaining in it’s execution but visually arresting too. Tough call!

But In an age where our senses are continually assaulted, in all facets of life, maybe it’s time for directors to bring theatre back to its very basics. To remind us that the acting is what should be the focus (Lucas Stibbard comes to mind here where his solo efforts in Girl Boy Wall has recently revolutionised the theatre world- a minimalist approach where the acting is wholly and solely the focus. And it’s been an incredible success. Are audiences trying to tell us something?)

This is exactly what Sam Coward is trying to create here in his direction of Influence. A bold move but one that, essentially, works. I believe Williamson lends himself to this minimalist approach: he favours a haughty dialogue to get his message across and Coward has perceptively tapped into the potential Williamson presents.

Firstly, Coward dominates the stage space with his lead actors, positioning them at varying levels to visually communicate their status. Mark Darin as Ziggi naturally consumes the centre stage area and is encompassed by those characters that directly impact upon Ziggi’s life: Xanthe Coward as conceited wife Carmela reclines at stage right, Summer Bowen as the tempestuous daughter Vivienne broods upstage left, Ziggi’s “intelligent” sister Connie played by Jodie Bushby hovers downstate left and finally, Joe Jurisevic as Ziggi’s tortured father, Marko, sits upstage right. All of these lead actors remain in their designated stage positions for most of the performance, subtly adding to the rising tension within the play when not required in a scene. This is an effective tool, utilised by Coward to cleverly symbolise the ever-present “influences” in Ziggi’s life and, possibly, the sources of inspiration for Ziggi’s shock-jock material.

Building on his restricted stage positioning of the lead actors, Coward manipulates the dialogue delivery so that each actor directs it towards a point at the audience, and never at the intended recipient. When I was first privy to this interesting directorial choice, I’ll admit I was reticent. Familiar with the verbose nature of Williamson’s plays, I had my doubts as to whether Coward would maintain audience engagement. How can you possibly deliver close to 2 hours worth of dialogue with limited actor interaction and not bore your audience?  The answer is Sharon Grimley and Stephen Moore.

These 2 actors, playing the roles of Zehra and Tony respectively, are the glue that holds this show together, on so many levels. Not only do Zehra and Tony manage to keep the Blasko family unit functioning, but Grimley and Moore provide the smattering of character interaction that is needed to keep the performance from entering tedium. They offer a through line for the performance; a vehicle through which the remaining characters can connect, both in a physical and psychological way. It’s a well-calculated move from Coward and it is this very choice in direction that makes this production work for me. Of course, this directorial decision is only enhanced by a superb performance by Grimley.

Sharon Grimley is sublime in the role of Zehra: a Turkish, single mother of 3, struggling to make ends meet. When she takes on the role of housekeeper for the Blaskos, Zehra’s fate is almost sealed. As a woman who immigrated to Australia for a better life, who is humble yet not afraid to tell it how it is. You just know it’s going to get ugly when she plunges into the privileged and self-absorbed world of the Blaskos. Forced to endure the self-promoting and belittling manner of Carmela Blasko, the teenage angst of Vivienne and the incessant racist rants of Ziggi, Zehra’s tolerance wears thin and Williamson explores the idea of the instigation of deep hatred, on a global level, through this one, minor character. To me, this was going to be the most difficult role to play- the complexities of the issues Zehra faces present a real challenge but Grimley rises to it. Her posture and body language beautifully reflect the lower status Zehra with rolled shoulders and eyes that are constantly downcast. An almost apologetic demeanour effectively highlights the subservient nature of Grimley’s character, which successfully counteracts her use of the stronger downstage area.

Equally as impressive is Jurisevic in the role of Marko Blasko, Ziggi’s Croatian father. Jurisevic perfectly emulates an Eastern European passion with much chest beating and finger pointing to emphasise his more emotive dialogue. Enhancing this is Jurisevic’s use of a near perfect Croatian accent coupled with a hunched posture that juxtaposes his strong emotions with an aging body.

Whilst Grimley and Jurisevic are certainly the stand out performers for me, the remaining cast is also strong in their roles, with a few stumbles over lines being the only issue. Xanthe Coward epitomises the self absorbed, spoilt and conceited nature of Carmela Blasko; Summer Bowen is ridiculously talented at playing a bi-polar teenager (her fast dialogue delivery during a manic phase has to be seen to be believed!); Jodie Bushby is suitably controlled in the role of psychologist Connie and Stephen Moore oozes with frustrated subservience as Tony. But Sunshine Coast audiences will be most intrigued by the virgin stage performance of real life radio personality Mark Darin. And I am pleased to say that Darin gives a solid performance for someone with no prior acting experience. He translates his real life role of radio talk show host into this performance with a good use of voice and presence on stage. My only issue with Darin’s performance was the lack of facial expression and the reading of script when he is placed at his work desk within the radio station. However, if acting is something that Darin wishes to pursue from this point onwards, then I believe he will go from strength to strength, if placed in the right hands.

Overall, despite a few poor lighting choices and opening night nerves in some of the actors, I believe Coward has given a really professional edge to Noosa Arts production of Influence. If you appreciate the intricacies of David Williamson’s writing and you are interested by a clever re-working that favours acting over the spectacle of overelaborate sets and costumes, please, go and see this production.

INFLUENCE Reviewed by Simon Denver

Reviewed by Simon Denver for Stage Whispers 

Influence by David Williamson

Produced by Noosa Arts Theatre

Directed by Sam Coward

The Cast

Mark Darin as Ziggi Blasko

Xanthe Coward as Carmela Blasko

Joe Jurisevic as Marko Blasko

Jodie Bushby as Connie Blasko

Summer Bowen as Vivienne Blasko

Sharon Grimley as Zehra

Stephen Moore as Tony

David Williamson is a very professional writer.  Noosa Arts Theatre have the best all round standard of the community theatres on the Sunshine Coast.  Sam Coward is probably the best working director of Community Theatre on the Sunshine Coast.  This play was always going to work once this triumvirate was connected.  It was a great night out at the theatre and so much more rewarding – on so many levels – then the usual stale stodgy porridge dolloped up on the average coastal stage.

The play revolves around the failings, foibles, whims and single bed / double standards of Shock Jock Ziggy Blasko and his totally dysfunctional family.  In fact the Blasko’s are like the Bliss family (of Noel Coward’s Hayfever) but with acid glands.  The family consist of a self-obsessed wife who is attempting a come-back as a ballerina, a father who moves in with a lot more than just clothes as his baggage, a bi-polar daughter and a sister who is still a social crusader.  Of course, this human collective Maelstrom is completely what a court-of-public-appeal-judge-jury-and-executioner DJ like Ziggy Blasko deserves.  He manipulates the dumbed down masses to accept his opinions so they don’t have to formulate their own.  A “Mussie bashing” rant on his show one day becomes the catalyst for his personal house of cards to come crashing down.  But then again … does it?

Sam Coward had a very clear and concise idea of how this play should be performed.  He obviously explained this very clearly and concisely to the cast because all seven cast members were 100% in tune with this vision.  They were motivated, focussed and properly stretched.  Correct casting plus shared vision – The art of directing is this in a nutshell.  He chose Brecht’s Verfremdungseffekt (the alienation technique) as his style of performance.  Dysfunctional equals alienation – therefore alienation equals dysfunctional.  Radio equals human voice and the human voice equals alienation therefore (and voila) with a bit of jiggery pokery a play about a radio DJ becomes a vessel for the Verfrumdungseffekt.  Each family member was anchored down to their power position on the stage. From these positions (some flat, some on different levels), they vocally drove this show out to the audience – without ever making eye contact with each other.  A great bit of theatrical smoke and mirrors.  Around these rocks flowed the natural characters of Zehra and Tony (Sharon Grimley and Stephen Moore).  They were licensed to interact and make eye contact.  So?  Did this technique work?  It worked well for most of the show.  It worked brilliantly for some parts of the show.  It mesmerised the audience for other parts of the show – but … I just felt it needed to break out from this technique in some of the climaxes.  It gave itself nowhere to go.  It was constant, consistent and good.  I just felt it didn’t quite have the legs for an entire two acts.  The script was not written for this style – it was screaming out in some parts for interaction – even brief interaction. However, having said that this production stayed true and constant to itself.

Technically it was very polished.  The radio segments were very professionally recorded.  I loved the use of light – or lack of light should I say.  Very Chiaroscuro.  (Wow – first Verfremdungseffekt and now Chiaroscuro.  Am I on a word wank or what???).  This was a production from the top shelf. But to me the outstanding part of the evening was the ensemble work of the cast, Tight and committed.  They have raised the performance bar of Sunshine Coast Community Theatre.

The Cast

Joe Jurisevic- The best I’ve ever seen him.  A solid performance with lots of darkness, humour and pathos rolled into one performance.  Who says an old dog can’t learn new tricks.

Jodie Bushby- Perhaps now the coast will realise why I hold this actress in the highest regard.  Pure honesty in this and every role she undertakes.

Summer Bowen- Great complete performance.  Manage to flesh out the most cartoon of all the characters.

Sharon Grimley- Underplayed to the point of naturalism.  Balanced out the hurley burley of dysfunctional family.  She did a beautiful job with the hardest role in the play.

Xanthe Coward- Great engine house for the tension and dynamics.  Exceptional because of the fact she did practically the whole thing sitting down.  Did her job so well that no-one in the audience had the slightest skerrick of sympathy for her character.

Stephen Moore. Same as Sharon. A nice little essay in “How-to-Underplay”.  A real person in a sea of self absorption.

Mark Darin- Good debut performance. Being a DJ possibly benefited from the voice driven alienation technique more than the rest.

Ziggi Blasko (Mark Darin)