For the first time I thought I’d add my Greenroom Editor’s pennyworth to the mix.
Of all the productions I saw in 2013 these remain as some of the highlights and for all kinds of reasons. In places, I’ve added a brief note from Greenroom’s reviews to each to expand.
My thanks to all the artists and creatives and the producers whose generosity have made it possible for me to see their work during the year. Continue reading 2013 Groundlings Awards: Editor’s Choice
Congratulations to all of the winners of The 2013 Groundlings, Queensland’s only peoples’ choice award for the best of Queensland-made theatre. Congratulations also to every nominee.
To all who nominated and voted, you are helping to keep the conversation and the spirit alive! Heartiest thanks to you.
Greenroom is very grateful to Sita Borhani who performed the scrutineering task for the final ballot with such aplomb!
And here they are:
Continue reading 2013 Groundlings – and the awards go to …
Voting is now open in the 2013 Groundling Awards. Thanks to everyone who sent in your nominations since the start of January. The people have spoken!
First up, a couple of things to note:
- You may vote only once and, in the interests of fair play and to avoid ballot crashing or spamming, multiple, identical votes from the same IPA address will be disqualified.
- Voting will close at midnight on Monday, 10th February.
You will note that we have increased the number of nominees this year from 3 to 5 in the most popular categories. We did this for a couple of reasons. Nominations in most categories were diverse and in some cases, very close. In addition, lobbying via fan-bases was clearly exercised to get numbers up in most categories. That’s the power of social media, folks! It’s terrific to see people working this way.
So, in the interests of extending the voting beyond the dedicated fan bases which already exist and which would probably make the outcomes of a ballot a fait accompli, Greenroom has exercised some editorial freedom in adding the names of the next two most nominated in each of the most ‘popular’ categories represented. It was a year of excellence in all facets of the theatre in Queensland and it’s an opportunity also to acknowledge publicly those who have been recognised by readers through multiple, individual nominations.
Here are the nominees presented in alphabetical order in each category for your consideration. Continue reading 2013 Groundlings Awards – the Nominees
Nominations are now closed. The list of finalists will be published and voting commence soon.
2014 will mark Greenroom’s fourth annual Groundling Awards.
Hard to believe, but the Groundlings have been operating now since 2010! Each year they have become more and more popular with the local theatre community taking the opportunity to vote for the work they’ve enjoyed and admired most in the preceding season.
So, it’s time once again to have your say in which artists, creatives and companies you enjoyed most in Queensland-produced professional theatre during what was another fine year – 2013.
If you’ve voted before or are new to the way the Groundlings work, it’s worth reading a few rules to keep things focussed. Check Eligibility below.
The Groundlings ask you – the theatre community – to have your say in the nominating and the final voting process. We’d only ask that you follow the ‘play fair’ rules in nominating and voting only once. You can read all about this in the Nominating Process and the Voting Process below.
Thanks for joining in. We couldn’t do it without you! Happy New Year from us all.
Kate (Editor) Continue reading 4th Annual Groundling Awards – time to nominate the best of Queensland theatre in 2013
I became aware a few months ago of a new crop of doctoral graduates whose names were very familiar to many of us in Queensland as performing artists and creatives.
The reasons for taking on such an enormous, all-consuming project – one that can occupy years of research and writing – is something that each prospective doctoral student mulls over well before signing on the application’s dotted line. In fact, most university graduate schools provide a period in which the candidate has to research the topic, pitch the idea to a panel and go through other academic hoops before the candidacy is approved. It’s a bit like the audition, call-back, second call-back etc., before you get the gig. And then it starts – for many, the longest production period you’ll ever know.
I wanted to chat with three of the most recent theatre doctors: David Morton, Katherine Lyall-Watson, and Andrea Moor all of whom are busy, practising artists. Katherine Lyall-Watson’s latest play MOTHERLAND, a Patrick White finalist opens its season tomorrow night at Metro Arts. Andrea Moor is appearing in QTC’s DESIGN FOR LIVING, and David Morton, the AD of the busy independent company Dead Puppet Society, has just finished a residency with the South African company Handspring (you may know them for their work in WARHORSE) and is also working in NYC. And this is rather typical of their arts practice. Apart from anything else, where did they get the time?
I wanted to get a sense of why they decided to start out on the academic track and how, if it all, it had changed their own artistic practice. Was it a hunger for learning or a more pragmatic desire i.e., to create another career path? One thing is certain; everyone attempting and successfully completing a PhD or a professional doctorate is never the same again!
Here in their own words are their responses.
Congratulations to them all and to all those others out there working away on their own doctoral productions – chookas!
Continue reading Doctors in the House (Interview 38)
Image: That Production Company (RUINED)
It’s so easy to get caught up in attempting to define and partition off the kinds of theatre we produce. We tend to box, define, create matrices of the way stuff works, test things against check lists of expectations: professional, amateur, pro-am, community, independent …
Western theatre is no stranger to evolutionary processes; it’s one of its great strengths. Right here, right now, it’s clear that, as part of the wider arts-industrial landscape and the generational change in arts leadership, theatre makers are experimenting with the how and where of creating theatre. New alliances that enable greater participation are being thought about and enabled – look at the way the main-house companies like QTC and La Boite are opening the portals – something which, even a few years ago, was unthinkable. Many of the boundaries that used to exist are porous if they haven’t already been dismantled.
The notion of a ‘full ecology’ of theatre existing out there was put by Wesley Enoch (AD of Queensland Theatre Company) recently in a Facebook discussion. But it’s not so much out there as in the things we talk about in foyers, in the rehearsal rooms we occupy, the chat about shows we see. Wesley goes on to compare this ecology with the kind of easy acceptance of the range of activities in sport in this country and wonders why art-making hasn’t been as accommodating. It’s a good question and one that’s part of the thinking I refer to above.
Why no easy access as Wesley asks? It has, I think, as much to do with the ongoing struggle that art and artists in this country have had to ‘prove’ their worth. But it’s a big question that goes to the heart of Australian culture and will continue serving as food for ongoing discussion, but not here right now. I’m interested in the ways and means and the impact this movement is having in and on the wider theatre community here in southern Queensland. Continue reading On putting the community into theatre