2010 Groundling Awards: and the winners are …

14 February, 2011 by 2 Comments

If you landed here, you may have clicked the Nominate Now button on Greenroom’s front page. You have jumped the gun a bit! Nominations open for the 2011 Groundlings Awards at one minute past midnight on 1st January. Click on the Nominate Button then or at any time after that until midnight on 31st January and you will find the Nomination Form here … promise! While you are here, though, check out the 2012 Groundling Awards winners.

Congratulations to the winners of the inaugural 2010 Groundling Awards, the people’s award for achievement in theatre in Queensland. The winners in each category are highlighted in green below with the other nominees.

Whilst we were forced to close balloting some 28 hours or so before we’d planned, nearly 600 individuals had already cast their votes and there were finally  3 565 valid votes to count and collate. The category which drew the most votes was that for Outstanding Contribution by a Director. Suffice it to say the Greenroom elves are exhausted, and have retired to the back room to rest. They may not be seen for some time.

We wish we had shiny trophies or cash or something to give all of our winners to mark the occasion. For now, they are just going to have to bask in the support of their fans and we in the memories of their fine work throughout 2010. Well done to them and to all Groundling nominees.

Outstanding Contribution by an Actor

  • Julia Billington in My Name Is Rachel Corrie (La Boite Indie)
  • Jason Klarwein in Thom Pain (Queensland Theatre Company)
  • Lucas Stibbard in Boy Girl Wall (The Escapists for !Metro Arts Independents)

Outstanding Contribution by a Director

  • Michael Futcher for Grimm Tales (Queensland Theatre Company)
  • Steven Mitchell Wright for In God We Trust (Queensland Academy of Creative Industries)
  • Tim O’Connor for Jesus Christ Superstar (Harvest Rain Theatre Company)

Outstanding Contribution to Set Design

  • Greg Clarke (Grimm Tales for Queensland Theatre Company)
  • Lucas Stibbard and The Escapists (Boy Girl Wall for !Metro Arts Independents)
  • Josh McIntosh (Jesus Christ Superstar for Harvest Rain Theatre Company)

Outstanding Contribution to Costume Design

  • Greg Clarke (Grimm Tales for Queensland Theatre Company)
  • Noni Harrison (The Timely Death of Victor Blott for Dead Puppet Society & !Metro Arts Independents)
  • Josh McIntosh (The Secret Story of Cinderella and her Fabulously Fashionable Footwear for Harvest Rain Theatre Company)

Outstanding Contribution to Lighting Design

  • Jason Glenwright (Jesus Christ Superstar for Harvest Rain Theatre Company)
  • Ben Hughes (Furious Angels for !Metro Arts Independents)
  • David Walters – body of work in 2010 including Grimm Tales and Hamlet

Outstanding Contribution to Sound Design

  • Tony Brumpton (The Timely Death of Victor Blott for Dead Puppet Society & !Metro Arts Independents)
  • Phil Slade (Grimm Tales for Queensland Theatre Company)
  • Steve Toulmin (Hamlet for La Boite Theatre Company)

Best New Play in an Inaugural Queensland Season

  • Boy Girl Wall by Lucas Stibbard and Matt Ryan
  • In God We Trust by Chris Beckey
  • The Bitterling by Sven Swenson

Best Production by a Queensland Independent or Subsidised Company

  • Boy Girl Wall: The Escapists and !Metro Arts Independents
  • Grimm Tales: Queensland Theatre Company
  • Jesus Christ Superstar: Harvest Rain Theatre Company
  • The Secret Love Life of Ophelia: Fractal Theatre

Best Co-Production

  • The Clean House (Queensland Theatre Company and Black Swan Theatre Company)
  • King Lear (Queensland Theatre Company and Bell Shakespeare)
  • (Body of Work) !Metro Arts with all of their independent company production partners throughout 2010

Best Community Outreach Program by any Company or Group

  • ACE (Arts in Community Enhancement) Project at Borallon Correctional Centre: Queensland Shakespeare Ensemble
  • Empire Theatre Projects Company’s production and school workshops:  April’s Fool
  • 2high Festival: Backbone Youth Arts

Best Use of Social Media by any theatre or group

  • Harvest Rain Theatre Company for its integration of social media in marketing (Facebook, Twitter, You Tube, website, e-letters)
  • La Boite Theatre Company for its integration of social media in marketing (Facebook, Twitter, You Tube, website, e-letters)
  • I Love You Bro: La Boite Theatre Company for its innovative use of social media in marketing and audience engagement

Outstanding Contribution to the Independent Theatre Sector

  • !Metro Arts for their continuing, tireless support for independent production of new work, and for providing professional development opportunities for developing talent
  • Harvest Rain Theatre Company for their continued contribution to musical theatre development and performance in Brisbane
  • Judith Wright Centre for Contemporary Arts for their Talking Shop and Fresh Ground programs

2 Replies to “2010 Groundling Awards: and the winners are …”

  1. Kate Foy says:

    Hello Alison.

    Thanks for your interest in the processes undertaken in the recent inaugural Groundlings people’s choice awards. I assume you have read the rules for the nominating process and the final voting for the top three nominees in each of the 12 categories? These are outlined in several places on Greenroom.

    Firstly, I wouldn’t presume to suggest votes for any individual or group necessarily had anything to do with a mailing list. Perish the thought indeed! Your guess is as good as mine. You cite Harvest Rain which, incidentally, received 7 nominations in a possible 12 categories for work associated with this company.

    I am glad to hear that you support people’s choice awards, and the Groundlings are just this. They were designed not only to give the wider theatre community a voice in saying what they liked best about the theatre year, but also to get people interested and talking about our industry – spreading the word, if you like. The word was clearly spread widely, and enthusiastic supporters of far more than one organisation and individual artists and creatives nominated and voted accordingly. You might be interested to know that Facebook and Twitter as social networking tools were also used to lobby, discuss and get people talking about shows from 2010. Good on them for getting involved, say I; there should be more of it. I understand there is with the creation of another people’s choice award in the last couple of weeks.

    As you know, the nominating process for the Groundlings, which was open over a couple of months, as well as the voting process, held over a week, were done online. The system, moderated by human checking, ensured the old ‘vote early vote often system’ wouldn’t make the cut. All nominations went into a database as did all votes. Any duplicate votes or votes from the same IPA address were easily picked up in the database spreadsheet and subsequently disallowed. Only the first nomination or vote from an email address and/or an IPA address was counted. Flushing out the overly enthusiastic or the ones who didn’t play by the ground rules was very easy. Nomination or ballot tainting was, finally, not an issue.

    As to allowing people to vote even if they haven’t seen the shows? Well, that’s another and a perfectly good question for another kind of ballot – like the Tony Awards, for example, which has a separate nominating committee and a large voting membership who are expected to see all nominated productions or to refrain from voting in any category if they haven’t seen all the nominees. This is simply irrelevant in a people’s choice ballot such as the Groundlings was this year. Is it an imperfect system then? Of course it is – aren’t they all? I’m satisfied that it’s as close and as fair as we can get it – for now, anyway.

    Best wishes for the Matildas.

  2. Acotes says:

    I’m all for People’sChoice awards in any arts organisation, but I have a couple of questions. Why did Harvest Rain receive so many mentions, in just about every category? It wouldn’t have anything to do with the mailing list, would it? Perish the thort! And why are people allowed to vote even if they haven’t seen the shows? And who checks that it isn’t the old vote-early, vote often system? What checks are made?

    Alison Cotes, founder and judge, The Matilda Awards