By the way, the Harvest Rain Behind the Red Curtain sessions are good value! Check out the others on their site. But, back to the question ... Each of the actor-panellists at the session had either begun their stage careers in amateur theatre or have returned there from time to time - for various reasons. Bryan speaks most eloquently in the video above about his experience, as do Steven and Cameron. As far as I was concerned, there was no local training when I left school, and the newly-created NIDA was barely a blip on anyone’s radar. I worked with Brisbane Arts Theatre for a few years before going on to train in London. The time I spent at BAT was invaluable to me; watching other, more experienced actors at work focussed my thinking, whilst spending hours and hours travelling by bus and tram to and from Petrie Terrace to Sandgate during the week and at weekends taught me how demanding the work could be. It also hardened my determination to go on. Times have changed and there are many training avenues now available to those who wish to make the theatre their profession. Some manage to get a place at a formal, award-granting institution or take intensives or ongoing classes at other training schools. The Queensland Conservatorium of Music at Griffith University has a full-time Musical Theatre degree in full swing. It took in its second cohort of students at the start of this year. However, for those who are not able to train this way, but who remain determined on a career in the field, the question remains, 'Where do I go?' For many it can mean seeking experience in local amateur productions. But even for those who complete formal training the issue after graduation becomes what to do to get a job? Universities and training schools include professional development classes for their students, usually in their final year. Getting representation with an agent is seen as a first goal but, whether or not the actor is successful in this, the challenge remains - to be seen at work in order to generate more work. The fact is, of course, that most recently-graduated actors will be unemployed for most of the time; acting’s a part-time job after all and it's a crowded field. Naturally, most would rather be doing something rather than waiting for the phone to ring, but finding the right something is the rub.
Amateur theatre has always been and will continue to be for many a legitimate part of a career trajectoryFor many people amateur theatre is a leisure pursuit which (as the Ignatians have in their motto) is done ‘for the sheer fun of it.’ However, because the work being done at many of the region's well-resourced companies is often excellent, they are attracting the interest not only of hobbyists and young people seeking further experience, but also that of more established practitioners in the industry. It would seem the attraction is mutual. I was in the audience last weekend for the Ignatians’ current production of Sondheim’s excellent Sweeney Todd directed by John Peek. It was my first experience of this long-established Brisbane musical theatre group. As their website puts it, they have professional standard aspirations whilst still maintaining an amateur status. I assume this means all personnel work without remuneration. I’ve also seen the work of Blue Fish Theatrical - last year in their production of Guys and Dolls. This company aims to provide professional pathways for their members. In Toowoomba, the Empire Theatre Projects Company have produced hugely successful musical productions for over 10 years now. I saw their The Wizard of Oz last weekend. As I have served on the Board of the Empire I can vouch for the quality of the work, and for the opportunity the EPC continues to give to young (and not so young) artists seeking to develop their skills. Many have gone on to professional careers or are in training now. These companies are aiming high and deserve attention and support.
The home-made, musical theatre scene in south-east Queensland is pretty much either part-time independent or amateurFully professional musical theatre companies are simply economically unsustainable. The big, commercial tours of blockbuster musicals appear usually at QPAC, but it is currently left to amateur and independent companies like Oscar, Harvest Rain, Blue Fish, the Ignatians, Joymas Creative and Zen Zen Zo in Brisbane, and the Empire Theatre in Toowoomba, and the Gold Coast Arts Centre to showcase the work of local artists and creatives on local stages. The professional independent companies which do produce work can do so only because those in the ranks are subsidising the production, whether by taking a cut in pay or by working for no remuneration. It’s a business model which has currency for the simple reason that producing musical theatre is a hugely expensive enterprise. However, it’s not all smell of an oil rag stuff. A member of a local amateur musical company recently used the term ‘pro-am’ to describe an otherwise 'amateur' company which hires creatives - usually in 'head of production department' positions like Director, Designer, Choreographer or Musical Director - in order to produce shows. This is the model used by the Empire Theatre Projects Company - and possibly many others - for its productions. Whilst this blog has always focussed on professional theatre, whether full-time 'mainstage' or part or full-time smaller indie companies, there’s a fair case to be made for Greenroom's following and commenting upon the work of the larger amateur musical theatre groups in the south-east. Writing critical reviews of the work of amateur companies remains problematical, and it's something I've mulled over for ages. Without a doubt excellent work is being done in amateur companies, and it should be acknowledged. However this work can and does appear in productions which are uneven, and why wouldn’t they be? Whilst professional theatre productions are often rightly criticised for a whole range of perceived shortcomings, is it fair to do the same to amateur groups who lack the human and material resources available to professional companies? Whilst the problem often lies in a company's reach exceeding its grasp in the choice of play, I’ve seen superb performances spoiled by less than adequate sound-engineering, an imaginative directorial vision dashed by a design that’s unworkable and, all too often, an ensemble that distracts from a scene’s focus, while casting in major roles can ask far too much of someone who is inexperienced in handling the great roles of the musical theatre. Should these things be pointed out in a review of an amateur production? Should the same rules for reviewing apply to an amateur as a professional production? Yes, and no. Apart from its style, wit, readability, and all those other traits that make a piece of writing enjoyable, the heart of any worthwhile theatre review, whether for an amateur or a professional production, is its honesty and respectful, informed perspective. In the case of amateur work I believe that perspective needs to be positioned within a community context. I also operate in the belief that constructive criticism, if accepted in the right spirit, is a good thing especially for those who are on the career pathway and, indeed, for anyone who is keen to develop skills. I pretty much said the same thing to the HR interns to another query - whether a bad review would be a disaster for an actor. My response, like that of my colleagues on the panel, was 'No.' On the other hand, Tim did add that it could be for a producer! As a coda - as the Conservatorium's full-time Music Theatre course graduates its first and following cohorts there will be even more and well-trained young triple-threats looking to work here and elsewhere. I, for one, am excited for the future of musical theatre in the state - just as long as it’s not all blockbuster, big book Broadway babies. Let's see more of the chamber musicals, shall we? PS Perhaps there will also be the opportunity for the Con to offer short-courses and training intensives for those keen to develop their skills. That would be a fine addition to the local training scene.