Image: Elleni ToumpasIt's a cold, wintery day as I speak with Michelle Miall, director and Matilda Award-winner about her work - her current production is Colder for the 2011 La Boite Theatre Indie season which opens next week. Michelle is a QUT graduate with a BA Drama Hons (Theatre Studies). By her third year, she found herself focussing on directing and writing, and this prompted a decision to continue on to an Honours year in Popular Theatre. 'I was (and still am) interested in bringing audiences to the theatre who don’t normally go, who feel excluded by it or like it is irrelevant to their lives.' By the end of that Honours year Michelle confesses, 'I was jaded, as though I had intellectualised everything I loved about theatre. It was as if I had this tiny view of the world from my little place in it. I wanted to go out and experience more.' Feeling she needed a bigger palette from which to draw her passion and, like many Australian artists before her, she headed overseas to London. After working on one production as a stage manager (from which, she adds,' I got a very cool eyebrow scar from a falling lighting rig during bump out') I moved outside theatre and got caught there for some time.' She travelled, worked in fashion, then advertising, then investment banking. The work funded her travel, and the travel fuelled her imagination. Continue reading Michelle Miall (Interview 23)
A correction brought to my attention by Ross Wallace, the designer of Water Falling Down - video and still images were created by Mr Wallace as the Designer and not by Declan McMonagle who is, as the program notes, attributed as 'Assistant Video Editor.' Greenroom apologies for this confusion and has made the appropriate correction above.
Photo: Kat HenryMuch of the talk in town and on the interwebs right now concerns gender equity in the theatre. Women playwrights and directors and actors continue to battle what many are calling, perhaps intemperately - but who can blame them - 'the boys' club.' It's not just here either; American and British women have their dander up as well. When a woman succeeds in securing a paid job as a director or actor, or when she wins an award for playwrighting, then it's cause for celebration. So it was last week when expatriate Brisbane writer (she now lives in Melbourne) Shannon Murdoch won the prestigious Yale Drama Series award for her play New Light Shine. As they used to say before digital technologies arrived to spread news in a flash, 'the wires hummed' with the news. Shannon was congratulated, contacted, and readings were being set up just-like-that. Hoorah! I'm told New Light Shine was one of the 'must see' works at this year's National Play Festival. I wonder if it has been secured for an Australian production yet and, if so, who will direct? Whatever the answers, it's a thrill to see Shannon Murdoch's work being recognised in this way. There are two women directors currently at work in Brisbane on productions: Andrea Moor on Water Falling Down for Queensland Theatre Company, and Kat Henry on The Ugly One by Marius von Mayenburg for the independent company 23rd Productions. Greenroom interviewed Andrea last year when she was working on Tender - you can read the review here. I was delighted to meet Kat Henry a week or so ago at the theatre and to get her to agree to an interview. Continue reading Kat Henry (Interview 16)
Photo: Amelia Dowd (Bille Brown Studio - after the flood)Off to the theatre last night to see QTC Ed's (the Company's education 'wing') production of two small Brecht pieces: Man=Man and The Elephant Calf. The mostly grown-up audience responded well to Director Joe Mitchell's cleverly recalibrated, joyously performative and wonderfully funny examination of Brechtian theatre techniques. If you have been as underwhelmed as this theatre-lover has been over the years at the near-veneration afforded Brecht, especially in the state's drama syllabus, then this production is a revelation. It's irreverent and also Brechtian-authentic to the core. The pickiest of drama teachers are going to love the way it ticks all the boxes in the Brechtian Performance Techniques check-list. It's also set to stir their classes to ask 'WTF?' Oh, and speaking of 'WTF' - the text is visibly strewn with the 'F Bomb'; do schools still have to vet shows for the kind of language found in the playground and on the school bus? I'd love to be a fly on the wall in some of the classrooms where this production is being discussed. I've attended several QTC Ed shows over the years with audiences of upper high school-age students. Each time I have been astonished and delighted at the level of sophistication and maturity displayed by these young people during the post-show Q&As. The ensemble cast of six (Chris Vernon, Helen Cassidy, Nick Cook, Anthony Standish, Leon Cain and Kevin Kiernan-Molloy) are uniformly excellent. Mitchell has set the play in some middle-eastern war zone and the hapless civilian Galy Gay (Vernon) a kind of opportunistic Everyman figure finds himself buffeted by the winds of politics and macho posturing by the soldiers who take him in. The cast are aided and abetted in the onstage mayhem by a very visible crew (led by SM Christopher Horne at the desk). 'The Director' remains as an offstage and nicely nameless authoritarian figure who is finally challenged by the team of 'actors as actors' in the last 10 or so minutes of the program. This section kicked over any remaining vestiges of the wall separating audience and performer. The meshing of form and content and examination of the nature of reality and performance was, for me, the most interesting and alienating (in the best Brechtian sense of the word) part of the program. Chatting to a cast member afterwards I learned that it had been created in the last week of the rehearsal period. Bravo! As the standard bearer for a much wider program of education services, QTC's Ed productions in the Bille Brown Studio, all under Joe Mitchell's direction, have been one of the best kept secrets for far too long amongst the city's post-school theatre-going crowd. It's good to see the Company including one or two of these intelligent and excellent productions in their new Studio program series this year. Joe Mitchell will be missed; he is leaving QTC to take up a new position in the Brisbane performing arts industry. Good luck Joe! This production (approx 95 mins without interval) plays at the Company's home premises at 78 Montague Road, South Brisbane until March 12. Check the showtimes from the QTC website. You've got a week - give yourself a treat.
Disclaimer: I am currently the Chairman of the Board, Queensland Theatre Company. My opinions are entirely my own and should be understood as distinct from any affiliation I hold with this or any other business or arts organisation. The only barrow I push is that of theatre per se.