Did you know there was a get together of independent theatre Artistic Directors and General Managers last week at Flipside Circus? It was a bit of an old school invitation in … umm … email instead of Facebook but, nonetheless, it was sent around.
I went along because I had recently sent an email and Facebook message around asking people if there was a Brisbane Theatre Producers’ network I could tap into to talk to people about my current project, the Anywhere Theatre Festival. I received a number of responses about things that had happened in the past (and generally imploded). Then, completely unconnected, I received an email from Markwell Presents’ Stephen Maxwell about the event at Flipside Circus.
What happened at the event? Well, I’m not supposed to tell you, but we came up with a secret handshake, discussed how we would form a cartel that would limit any kind of funding going to any other company, and devised a strategy to steal everyone’s audiences. Pity you weren’t there. Or, in reality, we had some lunchtime food and drink organised by Flipside Circus and Markwell Presents, had a chat to a mixture of people we had and hadn’t met before (or for a while) and then decided we should do this again on at least a quarterly basis.
The event got me thinking. In Brisbane theatre I think we are great at coming up with new ideas and starting new things. I think we are pretty shite at admitting someone else has come up with something great and joining in or simply sharing. It isn’t an original thought. You may argue it isn’t even an accurate thought. There are exceptions. However, after attending many forums, sessions run by visiting international artists, sessions run by funding bodies or festival organisers, I’d have to say it could be a reason why many of these events are woefully underattended. Or is it? Continue reading Theatre Will Eat Itself (Guest Contributor: Paul Osuch)
The ways of social networking can mean that you get to ‘know’ a lot about someone … or at least what is posted about that someone online … long before you meet them. And that meeting can be face to face or via the old-fashioned telephone call.
So it was that I got to know Paul Osuch before we ‘met’ via a video Skype call a week or so ago. What I knew about Paul was that he was the founder of Jam and Bread Theatre Company, which, for lack of a venue went dark before it had even lit up. You know the old saying about a door closing and a window opening? Well, the Jam and Bread door slam has opened a window into a rather cool idea – the Anywhere Theatre Festival (ATF) planned for Brisbane in May 5-14, 2011.
I also wanted to talk with someone who’s tried and been unsuccessful in acquiring a performance space in Brisbane – what led eventually to Jam and Bread’s early demise. Then there was the ATS and planning for another new festival in town, but I especially wanted to meet Paul to find out more about this online presence – someone who clearly has some big ideas, but whose name wasn’t especially familiar to me in theatre circles. We ended up having a wonderfully rambling conversation for about an hour. At the end of it (and I still haven’t met Paul face to face) I feel I do know him a whole lot better. Those big ideas are taking root, and what he had to say about his experiences in Brisbane made for a fascinating conversation.
Apart from his producing and directing credentials, Paul is a playwright and script-writer. In company with other writer and actor friends including Stephen Vagg and Guy Edmonds, he began creating sketch comedy and then short plays in Brisbane at the Cement Box Theatre. It was at this time (1998-2002) that Vagg wrote what became a trilogy of works (All My Friends Are Leaving Brisbane, Friday Night Drinks and Dirty Caff) with Paul’s own Borderline Defamation Productions. ‘They all had a distinctly local flavour,’ he tells me. ‘For a start, no one had ever written about an infamous night club in Brisbane before this.’ With the introduction to directing, he also came to learn the importance of production and marketing. ‘It was good to see that for the 20-somethings at the time, Brisbane stories were really successful in picking up a particular audience.’ I’m keen to find out more abut how and why that happened. Continue reading Theatre here there and … anywhere: Paul Osuch (Interview 8)