- What is a mainstage production, and how is it different from an independent production?
- For that matter, what is Matilda's definition of community theatre which is excluded from consideration? (see Voting Procedure below) Is amateur theatre meant? Some self-styled community theatre in the regions is pro-am - like a lot of independent theatre elsewhere - and that leads on to
- Why the Matildas are still called 'Queensland' awards, whilst regional professional and independent theatre is excluded? Why not be proudly Brisbane, and be done with it.
There will be ten commendations in the following categories:
• Best Mainstage Production • Best Independent Production • Best Direction • Best Actress In A Lead Role • Best Actor In A Lead Role • Best Actress In A Supporting Role • Best Actor In A Supporting Role • Best New Australian Work • Best Emerging Artist • Best Design (set, lighting, sound or costume)
However, if the judges see something they feel is outstanding but does not fit into any of the above categories, for instance a musical, they will be at liberty to give an award to it. These award winners will receive a framed certificate.
- Another question: Why doesn't a musical fit into any of the categories cited above? Compensation perhaps for dumping the award for Best Musical Production?
As well as the commendations, there will be five Matilda Awards.
These are the premium awards and the winners will receive trophies.
A Matilda is awarded for outstanding work in any area of the theatre industry. Awards may be given for a body of work, or for a single work. Receiving a commendation does not disqualify a theatre worker from receiving a Matilda in that same year.
The 2010 judging panel
Voting ProcedureThe judges compile a comprehensive list of all the productions that are eligible for that year adhering to the following guidelines: For an arts worker to be nominated for work on an individual production that production must comply with the following guidelines:
If there is no category for a show that amazed everyone, then a category should be created to award that show. Further, if half the board saw a show and rated that show the best they had seen, then that should be seen more favourably than a show everyone saw but thought was mediocre.
- the production was either a fully professional or a pro-am production – no community theatre
- international and national touring productions are not eligible
- the play must have been seen by at least 50 per cent of the judges.
GuidelinesFor each category, committee members should award two points to their first choice and one point to their second. This ensures that a board members’ second preference also gets counted. There should be at least four nominations in every category to form a shortlist. Judges cannot vote in categories where they have a conflict of interest, for instance if they or a family member have been involved in a production in any way.
UPDATE - this is an out of the archive post reworked a year or so on. If you're a regular here or to my other blog Groundling, from which this is taken, you may have already read my rehearsal and performance posts for the Empire Theatre's 2008 production of Cabaret directed by Lewis Jones. I played the role of Fraulein Schneider. You can find these posts elsewhere on the site. Just type 'Cabaret' in the search pane, and stand back. I'm revisiting some of my posts on actors' process, which I hope you may find useful. This one looks at text analysis. As always, I would love your commentary.Sunday's rehearsals swung into a first shuffle-through of the play scene by scene. This was table talk about character, backstory, and relationships followed by a work through of a couple of scenes in which my character first appears. First appearances are critical for character revelation. For a start, an audience starts to make up its mind about how it relates to a character. First appearances are also where a play's obligatory exposition is revealed. A good play will give out the information on who, what, were, why and so on via character interaction and dialogue that hopefully doesn't beat you over the head, as well as through other subtle clues in the script. These are things the actor needs to pick up and feed the character. Text analysis for the actor is a bit like the forensic analysis of a crime scene. However, there is something you also need to bear in mind, and that is to balance what the character knows with what the actor knows ... or as it's often expressed, don't play what's on the 'next page.' I got a bit carried away myself today wondering how significant the first mention of Jewishness in the play would be to my character. Of course the audience is going to prick its collective ears at this point ... 'Uh oh, we've got an issue here that is going to come back later!!' but the characters themselves are at this stage, blissfully ignorant of the fate in store. This is what I like about these early turning over the text rehearsals ... playing with possibilities and making choices, and seeing where they lead. It's good to have a director like Lewis who allowed me to stumble my way around the set, getting its geography and furniture layout into my head, getting the feel of ownership that the character would have; it's my house after all - it was once a large home and where I was born and where I grew up. Alas, nowadays it's been converted into a boarding house. Yes, this was one of the creative choices I've made, along with what has brought Schneider to where she is right now ... New Year's Eve 1929. I'm really going to enjoy the next phase of rehearsals, and it's going to include something I'm not all that familiar with ... making the transition in and out of a musical number. I'm sure it's going to be all about finding the right energy level and bridging from speech to song, though handily all of my songs tend to do this with quite a bit of 'spoken in rhythm' appearing on the score. Although we are not singing within scenes yet, this finding the right heightened energy was something the director worked on quite a bit during the final run-throughs of the scenes this afternoon.