Posts Tagged ‘augusta supple

22
Jun
15

Helpmann Award Nominations 2015

 

Helpmann Award Nominations 2015

 

If awards equate to success for you, the Helpmann’s are the top of the heap.

 

Because I’m vaguely on strike for a bit while David Williamson’s Dream Home has my attention, I’ll share the nominations as per suzygoessee because now that Augusta Supple is busy with other projects and I (still) need to know what’s happening in Sydney, I sometimes glance at what Suzy Wrong is seeing, and you know I like to share the blog love. Check her out!

 

 

This year’s Helpmann Awards, hosted by Todd McKenney, will be presented live at Sydney’s Capitol Theatre on July 27 2015. Watch the live simulcast from wherever you are via foxtelarts.com.au

 

 

Todd-McKenney_Jim-Lee-Photo

 

 

BEST DIRECTION OF A PLAY
ANDREW UPTON
Endgame (Sydney Theatre Company)
CLARE WATSON
What Rhymes with Cars and Girls (Melbourne Theatre Company)
KIP WILLIAMS
Suddenly Last Summer (Sydney Theatre Company)
SARAH GOODES
Switzerland (Sydney Theatre Company)

 

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A PLAY
HELEN THOMSON
After Dinner (Sydney Theatre Company)
JULIE FORSYTH
Endgame (Melbourne Theatre Company)
PAMELA RABE
Beckett Triptych – Footfalls (State Theatre Company of South Australia)
SARAH PEIRSE
Endgame (Sydney Theatre Company)

 

BEST FEMALE ACTOR IN A PLAY
JULIE FORSYTH
Night on Bald Mountain (Malthouse Theatre)
PAMELA RABE
The Glass Menagerie (Belvoir)
ROBYN NEVIN
Suddenly Last Summer (Sydney Theatre Company)
SARAH PEIRSE
Switzerland (Sydney Theatre Company)

 

BEST MALE ACTOR IN A SUPPORTING ROLE IN A PLAY
BRUCE SPENCE
Endgame (Sydney Theatre Company)
GLENN HAZELDINE
After Dinner (Sydney Theatre Company)
JOHN BELL
As You Like It (Bell Shakespeare)
LASARUS RATUERE
Kill the Messenger (Belvoir)

 

BEST MALE ACTOR IN A PLAY
HUGO WEAVING
Endgame (Sydney Theatre Company)
HUNTER PAGE-LOCHARD
Brothers Wreck (Belvoir)
PETER CARROLL
Oedipus Rex (Belvoir)
STEVE RODGERS
Eight Gigabytes of Hardcore Porn (Griffin Theatre Company and Perth Theatre Company)

 

BEST PLAY
CALPURNIA DESCENDING
Malthouse Theatre and Sydney Theatre Company
ENDGAME
Sydney Theatre Company
THE GLASS MENAGERIE
Belvoir
SUDDENLY LAST SUMMER
Sydney Theatre Company

 

endgame_stc

 

BEST CHOREOGRAPHY IN A MUSICAL
ANDREW HALLSWORTH
Anything Goes (Opera Australia and John Frost)
KATE CHAMPION and MICHELLE LYNCH
Dirty Dancing – The Classic Love Story on Stage (John Frost)
MICHAEL ASHCROFT and GEOFFREY GARRATT
Les Misérables (Cameron Mackintosh Australia)
STEVEN HOGGETT
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)

 

BEST DIRECTION OF A MUSICAL
DEAN BRYANT
Anything Goes (Opera Australia and John Frost)
JOHN TIFFANY
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
LAURENCE CONNOR and JAMES POWELL
Les Misérables (Cameron Mackintosh Australia)
STUART MAUNDER AM
Into the Woods (Victorian Opera)

 

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL
AMY LEHPAMER
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
CLAIRE LYON
Anything Goes (Opera Australia and John Frost)
KERRIE ANNE GREENLAND
Les Misérables (Cameron Mackintosh Australia)
LUCY MAUNDER
Into the Woods (Victorian Opera)

 

BEST FEMALE ACTOR IN A MUSICAL
CAROLINE O’CONNOR
Anything Goes (Opera Australia and John Frost)
HELEN DALLIMORE
Blood Brothers (Enda Markey Presents)
MADELEINE JONES
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
PATRICE TIPOKI
Les Misérables (Cameron Mackintosh Australia)

 

lesmiserables_patricetipoki_mattmurphy

 

BEST MALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL
ALEX RATHGEBER
Anything Goes (Opera Australia and John Frost)
BRENT HALL
Once (John Frost, Barbara Broccoli, John N. Hart Jr, Patrick Milling Smith, Frederick Zollo)
CHRIS DURLING
Les Misérables (Cameron Mackintosh Australia)
COLIN DEAN
Once (John Frost, Barbara Broccoli, John N. Hart Jr, Patrick Milling Smith, Frederick Zollo)
EDDIE MULIAUMASEALI’I
Show Boat (The Production Company)
TREVOR ASHLEY
Les Misérables (Cameron Mackintosh Australia)

 

BEST MALE ACTOR IN A MUSICAL
HAYDEN TEE
Les Misérables (Cameron Mackintosh Australia)
SIMON GLEESON
Les Misérables (Cameron Mackintosh Australia)
TODD MCKENNEY
Anything Goes (Opera Australia and John Frost)
TODD MCKENNEY
La Cage Aux Folles (The Production Company)

 

BEST MUSICAL
ANYTHING GOES
Opera Australia and John Frost
DIRTY DANCING – THE CLASSIC LOVE STORY ON STAGE
John Frost, Karl Sydow, Martin McCullum and Joyce Entertainment
LES MISÉRABLES
Cameron Mackintosh
ONCE
John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

 

anythinggoes

 

BEST COSTUME DESIGN
ANNA CORDINGLEY
Masquerade (Griffin Theatre Company and State Theatre Company of South Australia)
DALE FERGUSON
Anything Goes (Opera Australia and John Frost)
GABRIELA TYLESOVA
The Rabbits (Opera Australia and Barking Gecko Theatre Company)
GARY MCCANN
Faramondo (Brisbane Baroque in association with QPAC)

 

BEST LIGHTING DESIGN
GEOFF COBHAM
The Philip Glass Trilogy (State Opera Company, South Australia)
NICK SCHLIEPER
Macbeth (Sydney Theatre Company)
PAULE CONSTABLE
Faust (Opera Australia)
PAULE CONSTABLE
Les Misérables (Cameron Mackintosh Australia)
RACHEL BURKE
Marlin (Arena Theatre Company and Melbourne Theatre Company)

 

BEST ORIGINAL SCORE
CAMERON GOODALL and QUENTIN GRANT
Little Bird (State Theatre Company of South Australia)
KATE MILLER-HEIDKE with IAIN GRANDAGE
The Rabbits (Opera Australia)
MIKELANGELO and THE BLACKSEA GENTLEMEN
Masquerade (Griffin Theatre Company and State Theatre Company of South Australia)
TIM ROGERS
What Rhymes with Cars and Girls (Melbourne Theatre Company)

 

BEST MUSIC DIRECTION
ERIN HELYARD
Faramondo (Brisbane Baroque)
MARTIN LOWE
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
TIM ROGERS
What Rhymes with Cars and Girls (Melbourne Theatre Company)
TIMOTHY SEXTON
The Philip Glass Trilogy (State Opera South Australia)

 

BEST SCENIC DESIGN

DAN POTRA
The Perfect American (Brisbane Festival and Opera Queensland)
GEOFF COBHAM
Little Bird (State Theatre Company of South Australia)
MARG HORWELL
Marlin (Arena Theatre Company and Melbourne Theatre Company)
MATT KINLEY
Les Misérables (Cameron Mackintosh Australia)

 

BEST SOUND DESIGN
CLIVE GOODWIN
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
JD BRILL, CLAIR GLOBAL and EAGLES
Eagles | History of the Eagles Live In Concert 2015 (The Eagles and Frontier Touring)
MICHAEL WATERS
Anything Goes (Opera Australia and John Frost)
MICK POTTER
Les Misérables (Cameron Mackintosh Australia)

 

BEST NEW AUSTRALIAN WORK
AIDAN FENNESSY, MUSIC AND LYRICS BY TIM ROGERS
What Rhymes with Cars and Girls (Melbourne Theatre Company)
ARENA THEATRE COMPANY
Marlin (Arena Theatre Company and Melbourne Theatre Company)
JOANNA MURRAY-SMITH
Switzerland (Sydney Theatre Company)
NICKI BLOOM with songs and music by CAMERON GOODALL and QUENTIN GRANT
Little Bird (State Theatre Company of South Australia)
OPERA AUSTRALIA and BARKING GECKO THEATRE COMPANY
The Rabbits (Opera Australia and Barking Gecko Theatre Company)
TAMARA SAULWICK
Endings (Sydney Festival and Insite Arts)

 

BEST AUSTRALIAN CONTEMPORARY CONCERT
CHET FAKER | NATIONAL TOUR 2015
JIMMY BARNES | 30:30 HINDSIGHT GREATEST HITS TOUR 2014
KYLIE | KISS ME ONCE TOUR 2015
TINA ARENA RESET TOUR

 

kylie_kissmeonce

 

BEST CONTEMPORARY MUSIC FESTIVAL
BLUESFEST BYRON BAY
LANEWAY FESTIVAL
VIVID LIVE 2015
WOMADELAIDE 2015

 

BEST CONTEMPORARY INTERNATIONAL CONCERT
ED SHEERAN | X WORLD TOUR 2015
FOO FIGHTERS | SONIC HIGHWAYS WORLD TOUR 2015
PAUL SIMON and STING – ON STAGE TOGETHER
THE ROLLING STONES | 14 ON FIRE

 

BEST COMEDY PERFORMER
JUDITH LUCY
Judith Lucy – Ask No Questions of the Moth (Token Events)
MATT OKINE
The Other Guy (Century Entertainment)
NAZEEM HUSSAIN
Nazeem Hussain – Legally Brown (Live Nation)
RONNY CHIENG
You Don’t Know What You’re Talking About (Century Entertainment)
SAM SIMMONS
Sam Simmons – Spaghetti for Breakfast (Token Events)

 

BEST CABARET PERFORMER
BECCY COLE and LIBBY DONOVAN
The Cowgirl and the Showgirl (Adelaide Festival Centre Trust)
CAMILLE O’SULLIVAN
Camille O’Sullivan – Changeling (Arts Centre Melbourne)
DAVID CAMPBELL and JOHN BUCCHINO
David Campbell Sings John Bucchino (Luckiest Productions)
KIM SMITH
Nova Noir (Adelaide Festival Centre Trust)

 

kimsmith

 

BEST BALLET OR DANCE WORK
FRAME OF MIND
Sydney Dance Company
MEETING
Antony Hamilton and Alisdair Macindoe
MOTION PICTURE
Lucy Guerin Inc
PRECIPICE
Rachel Arianne Ogle

 

BEST CHOREOGRAPHY IN A DANCE OR PHYSICAL THEATRE PRODUCTION
ANTONY HAMILTON
MEETING (Antony Hamilton Projects, Arts House and Insite Arts)
NATALIE WEIR
Natalie Weir’s The Red Shoes (Expressions Dance Company and Queensland Performing Arts Centre)
RAFAEL BONACHELA
Frame of Mind (Sydney Dance Company)
STEPHEN PAGE
Patyegarang (Bangarra Dance Theatre)

 

BEST FEMALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION
CHLOE LEONG
William Forsythe’s Quintett (Sydney Dance Company)
ELISE MAY
Natalie Weir’s The Red Shoes (Expressions Dance Company and Queensland Performing Arts Centre)
JESSE SCALES
William Forsythe’s Quintett (Sydney Dance Company)
MADELEINE EASTOE
Giselle (The Australian Ballet)

 

BEST MALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION
ALISDAIR MACINDOE
Motion Picture (Lucy Guerin Inc)
CASS MORTIMER EIPPER
William Forsythe’s Quintett (Sydney Dance Company)
DAVID MACK
William Forsythe’s Quintett (Sydney Dance Company)
JACK ZIESING
Natalie Weir’s The Red Shoes (Expressions Dance Company and Queensland Performing Arts Centre)

 

theredshoes_elisemay

 

BEST VISUAL OR PHYSICAL THEATRE PRODUCTION
BEYOND THE CIRCA
Arts Centre Melbourne and Circa
DISLOCATE’S “IF THESE WALLS COULD TALK”
Marguerite Pepper Productions
THE PAPER ARCHITECT
Davy and Kristin McGuire and Perth International Arts Festival
TABAC ROUGE
Produced by Compagnie du Hanneton, presented by Sydney Festival

 

BEST DIRECTION OF AN OPERA
DAVID MCVICAR
Faust (Opera Australia)
DAVID MCVICAR
Don Giovanni (Opera Australia)
LEIGH WARREN
Philip Glass Trilogy (State Opera of South Australia)
PAUL CURRAN
Faramondo (Brisbane Baroque)

 

FAUST_OA

 

BEST FEMALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA
ANNA DEVIN
Faramondo (Brisbane Baroque)
ANNA STARUSHKEVYCH
Faramondo (Brisbane Baroque)
NICOLE CAR
Don Giovanni (Opera Australia)
TARYN FIEBIG
Don Giovanni (Opera Australia)

 

BEST FEMALE PERFORMER IN AN OPERA
CAITLIN HULCUP
Iphigenie en Tauride (Pinchgut Opera)
JENNIFER RIVERA
Faramondo (Brisbane Baroque)
LATONIA MOORE
Aida – Handa Opera on Sydney Harbour (Opera Australia)
NICOLE CAR
Faust (Opera Australia)

 

BEST MALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA
CHRISTOPHER LOWREY
Faramondo (Brisbane Baroque)
SHANE LOWRENCEV
Don Giovanni (Opera Australia)
TEDDY TAHU RHODES
Faust (Opera Australia)
WARWICK FYFE
The Flying Dutchman (Victorian Opera)

 

BEST MALE PERFORMER IN AN OPERA
ADAM DIEGEL
Madama Butterfly (English National Opera, Metropolitan Opera and Lithuanian National Opera)
CHRISTOPHER PURVES
The Perfect American (Brisbane Festival and Opera Queensland)
CLAUDIO SGURA
Tosca (Opera Australia)
MICHAEL FABIANO
Faust (Opera Australia)
TEDDY TAHU RHODES
Don Giovanni (Opera Australia)

 

BEST OPERA
FARAMONDO (Brisbane Baroque)
FAUST (Opera Australia)
MADAMA BUTTERFLY (English National Opera, Metropolitan Opera and Lithuanian National Opera)
THE PHILIP GLASS TRILOGY (State Opera South Australia)

 

phillipglasstrilogy

 

BEST CHAMBER AND/OR INSTRUMENTAL ENSEMBLE CONCERT
GOLDNER STRING QUARTET, MUSICA VIVA INTERNATIONAL CONCERT SERIES NATIONAL TOUR 2015
Goldner String Quartet for Musica Viva Australia
LES ARTS FLORISSANTS and LE JARDIN DES VOIX IN Â JARDIN Ã L’ITALIENNE
Melbourne Recital Centre, Sydney Opera House and Perth International Arts Festival
THE SIXTEEN
Melbourne Recital Centre, Sydney Opera House, Perth International Arts Festival, Queensland Performing Arts Centre and Australian National University of Music, Llewellyn Hall
STEPHEN HOUGH IN RECITAL
Sydney Symphony Orchestra

 

BEST SYMPHONY ORCHESTRA CONCERT
THE DAMNATION OF FAUST
Melbourne Symphony Orchestra
MAHLER 3
Melbourne Symphony Orchestra
REFLECTIONS ON GALLIPOLI
Australian Chamber Orchestra
TAFELMUSIK’S HOUSE OF DREAMS
Musica Viva

 

BEST INDIVIDUAL CLASSICAL MUSIC PERFORMANCE
ASHER FISCH
Beethoven Festival (West Australian Symphony Orchestra)
CHRISTIAN TETZLAFF
Christian Tetlaff (Melbourne Recital Centre)
EMANUEL AX
The Beethoven Piano Concertos (Sydney Symphony Orchestra)
WILLIAM CHRISTIE
William Christie (Melbourne Recital Centre, Sydney Opera House, and Perth International Arts Festival)

 

BEST REGIONAL TOURING PRODUCTION
FESTIVAL OF CIRCA
Circa
FOOD
Force Majeure and Belvoir
KELLY
Queensland Theatre Company
SONS & MOTHERS
Performing Lines and No Strings Attached Theatre of Disability

 

kelly_stevenrooke

 

BEST PRESENTATION FOR CHILDREN
CARNIVAL OF THE ANIMALS
Circa and Queensland Performing Arts Centre
HANS CHRISTIAN, YOU MUST BE AN ANGEL
Sydney Opera House and Arts Centre Melbourne
PETE THE SHEEP
Monkey Baa Theatre Company
THE RABBITS
Opera Australia and Barking Gecko Theatre Company, in association with West Australian Opera, cocommissioned
by Perth International Arts Festival and Melbourne Festival

 

2015 HELPMANN AWARDS BESTOWED AWARD

 

BEST SPECIAL EVENT
PERTH INTERNATIONAL ARTS FESTIVAL IN ASSOCIATION WITH ROYAL DE LUXE
The Incredible and Phenomenal Journey of the Giants to the Streets of Perth

 

LIFETIME ACHIEVEMENT AWARDS

 

SUE NATTRASS AWARD™
ERIC ROBINSON

JC WILLIAMSON AWARD®
PAUL KELLY

BRIAN STACEY AWARD 2015
JESSICA GETHIN

 

23
Apr
13

YOUR Theatre Co is GO! It Really IS Cool to Be Kind!

 

YOUR Theatre Co is GO

 

YOUR Theatre Co

 

A world first, YOUR Theatre Co launched yesterday in Brisbane at Metro Arts.

 

 

YOUR Theatre Co is a fully audience-funded company based in Brisbane and they need YOUR help. Why? Yep. You got it.

 

If you’re a follower of this blog-soon-to-be-website (HI! THANK YOU! WELCOME BACK!), you already know that paid performing arts work is hard to find!

 

Look, I’d love to use Floating Land as an example here but I’m afraid you’ll have to wait to hear about THAT saga until after it’a all done and dusted! Suffice to say, at XS Entertainment, all we want is for the show to go ON! Floating Land is such a spectacular Sunshine Coast festival, which went global in a few short years, and looks now to be under threat due to a series of unfortunate events and a toxic combination of factors that can’t be openly discussed…yet! Let’s hope that those with the power to do so can find their integrity in time to make the right decisions, to protect and professionally engage our talented artists and directors as promised.

 

227586-63446-7

Artists include: Andrew Vievers, Bianca Beetson, David and Sarah Burraston, Elizabeth Poole, Artmakers Noosa, Gail Robinson, Mia Hacker, Judy Barrass, Kris Martin, Linsey Pollak, Richard Newport, Pauline Casely-Hayford, Bark Lab, Common Threads, Tamara Kirby, Corrie Wright, Attakalari and Curious Works, James Muller, Michel Tuffery, Maryann Talia Pau, Kari Roberts, Stephen Roberts, Leweton Cultural Group, Simon McVerry, Adrienne McVerry, Kevin McMahon, Beverly Hand, ASSI, Noel Bird, Kendra Naderi, Krishna Nahow, William Malpoa, Steve Weis, Kin Kin Community Group, NICA, Noosa Library and Writers Group, Tamsin Kerr, Ross Annels, Lyndon Davis, Brent Miller, Nathan Morgan, Kerry Jones, Kim Guthrie, Rowley Drysdale, Fee Plumley, Daniel Blinkhorn, Andrea Polli, Lenni Semmelink, Rene Bahloo, Lake Cootharaba Art Group, Johannes Laumer, Bianca Tainsh.

 

YOUR Theatre Co

Sam Klingner and Jeremy Hansen have created YOUR Theatre Co to provide greater employment opportunities for artists in Australia. At a media launch yesterday, industry peeps and special guests enjoyed appearances from talent that included Conrad Coleby, Matty Johnston, Samantha Hardgrave Chloe Thiel, bringing the spotlight back to our local performers and highlighting the need to remain active in creating paid work in the Performing Arts. If you’ve seen any of Brisbane’s professional productions lately, I know you’ll agree. If you’ve seen a few of the more competent community productions (by which I mean most artists involved in the productions are unpaid) I’m sure you’d be quick to point out that there is immense talent there too, and that we should be doing whatever we can to produce work that allows actors, singers, dancers, designers, directors, writers and musicians to PAY THIER RENT AND EAT FROM TIME TO TIME. I know. We artists ask a LOT!

 

But rather than the old-school model of major corporate sponsorship or subscriber dollars and donations, Klingner and Hansen aim to fund the company and its theatrical productions via the crowdfunding platform indiegogo.com

 

By contributing, you make it YOUR Theatre Co. That’s right. You buy in and receive naming rights, voting rights, exclusive VIP status and tickets to all the shows. It’s brilliant! Now we have fifty-nine days remaining to see if we can make it work.

IT REALLY IS COOL TO BE KIND

 

 

This is an excerpt from an article by Andrew Taylor, which appeared originally in the Sydney Morning Herald April 20th 2013

 

Augusta Supple hardly lives an extravagant life. She rents a modest flat in Petersham for $400 a week and drives a 1980 Toyota Corona known at her local cafe as the Beast.

 

Yet the 33-year-old artist and arts administrator has donated $6000 to the Griffin Theatre Company over the past four years.

 

”It’s not like I’m a multimillionaire or even a millionaire,” she says. ”I come from a poor background. I do it because it’s something I feel strongly about – putting your money where your mouth is.”

 

Supple describes her philanthropy as an investment in her community. Other young people are motivated by altruism, admiration for an artist’s skill or a desire to meet like-minded people.

 

Regardless of their motivations or wealth, Supple and her contemporaries are increasingly being sought as potential donors by arts companies. It is a matter of necessity as public funding shrinks and subscribers age.

 

”Obviously it’s about the sustainability of the company,” says Griffin’s general manager, Simon Wellington. ”The scope of programs we deliver is much broader than in the past, the investment we put into developing artists and new work is larger so we need to increase the diversity of our income streams.”

 

But luring young donors is a different prospect from attracting their parents and grandparents. Arts companies’ strategies for approaching potential supporters have grown more sophisticated. The Sydney Dance Company, for example, has used crowdfunding to pay for a scholarship for emerging dancer Holly Doyle. The Keep Holly Dancing campaign features a website (ayearonthewharf.com) with a video of Doyle performing. Viewers can see more of the dance as fund-raising goals are met.

 

There has been a dramatic increase in donations to performing arts companies since 2002, according to figures from the Australian Major Performing Arts Group. The 2011 survey found philanthropy had increased from $7.2 million in 2002 to $34.6 million in 2011, outpacing growth in corporate sponsorship. The survey also found that, for the first time, philanthropic donations provided the largest proportion of income to the sector.

 

Australia has a long history of charitable bequests but the deputy chief executive of Philanthropy Australia, Anna Draffin, says donating money while you are alive is becoming more popular. She says younger people are willing to donate not only their wealth, but their skills and experience, too. ”They’re trying new ways of approaching philanthropy beyond the cheque book,” she says.

 

 

Augusta Supple, 33, artist and arts administrator

 

 

Donates to Griffin Theatre, Shopfront Contemporary Arts, Darlinghurst Theatre Company and organisations that support emerging artists. Supple estimates she has given $6000 to Griffin Theatre over the past four years.

 

Look carefully at the walls of the Griffin Theatre and you’ll see Supple listed as the proud purchaser of a brick, the symbol of her $3000 donation to the company’s capital works program.

 

”I have a belief in the company and the work it does and the ethos of people who work there and the fact it is dedicated to Australian writing,” she says.

 

Supple says her donations are an investment in things she believes in and has a personal connection with. ”I guess the heart of what I’m saying with my money is I don’t believe in a McDonald’s culture,” she says. She has no expectations of receiving anything in return. ”What I’m saying is, here is some money, do with it as you see fit. I trust absolutely and feel no compulsion or any sense of ownership. It’s a gift.”

 

 

19
Jan
12

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.