Category: Commentary

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The rules of engagement

There’s a rather sad and, at times, hysterical (but not of the amusing kind) fall-out on another blog about town which reviews amateur as well as professional productions in Brisbane.

Briztix, which also sells tickets and provides a very useful theatre resource for Brisbane, published a review of Blue Fish Theatrical Productions‘ Jekyll and Hyde. It is fair to say that it was a savage criticism, and the reaction it caused has raised some issues that are worth consideration.  The comments extend for pages and they make for not very illuminating reading. Of course, blog comment panes are fair game for anyone who has an axe to grind – just check out some of the media sites if you want a sample of the kind of vitriol, lunacy and also quite marvellous insights by readers. On a theatre blog it’s also a logical way for supporters and critics to have their say – part of what the glorious democracy of the web is all about. As to the review in question, the commentary includes partisan name-calling which resorts to picking over the reviewer’s grammar and fitness to review plays as well as more level-headed commentary of the ‘back to your corners now people’ kind. It’s hot under the collar and defensive and, frankly, does no one, and especially not the local theatre community much good. It’s also a good case for not reading reviews until after a show closes.

Blue Fish Theatrical Productions is a new company – they did Spamalot last year – and they are aiming high; good for them. Whether or not they ‘bit off more than they could chew’ – a phrase found in some of the commentary – is not for comment here. Greenroom has not seen the show. In any case, this site does not review amateur productions – that’s our choice. It is not a judgement on the often remarkably fine work being done by amateur companies around S-E Queensland.

I guess the question at the heart of all this is whether or not reviewers should apply the same rules when discussing an amateur production as they do when taking on a professional work. What do you think?

And when does an amateur company cross the very flexible line into independent territory? Some time ago on my personal blog I mulled over what was meant by independent and professional when it comes to Queensland’s theatre. What is clear is that labels are a problem, and we don’t like them. Do they actually mean much any more? From the review postings mentioned above it seems they do.

What’s very clear, whether or not we reject labelling, is that when it comes to the recognition and reviewing of the broad range of work produced by the theatre sector in Brisbane, it’s time to agree on some ground rules.

The rules of engagement … what are they? Have your say below.

On Criticism (4 June, 2010)

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Dear Brisbane Theatre … Who’s the media?

Whisper

As I write this, an Arts Queensland sponsored tech forum ‘LowFi’ is just finishing up in Brisbane. I was due to attend what was planned as a day-long gathering of speakers, workshops and quick conversations on digital media and its application in the arts. I couldn’t make it so I’ve been following the proceedings today via hashtag on Twitter. Some of the tweets sang the social-media mantra re developing relationships with ‘customers,’ and not just using social media as a marketing add-on. Yes, of course, but the strategies and the actual daily process of using social media for marketing – for getting the word out and engaging with potential and current audience members – are still being discovered and developed. In a time when arts coverage appears to be receiving less coverage in ‘big media’ there is both challenge and opportunity for individual theatre companies to change the landscape of the wider media modus operandi. (The embedded tweets below are from today’s LowFi twitter stream)

[blackbirdpie url=”http://twitter.com/#!/LeahBarclay/status/57243313912287232″]

[blackbirdpie url=”http://twitter.com/#!/alexadsett/status/57294774755004416″]

At a gathering of pre-show theatre barflies downstairs from !MetroArts in Verve Café (in the dark corner up the end) the conversation turned last Saturday night to the local buzz – barflies are good at buzz. One fly was heard to say how exciting it all was – that very night audiences would be able to see a couple of shows back to back if they chose to, and wouldn’t more late-night theatre in the city in small, welcoming venues be a thrill? Another opined that Brisbane was a get up and go to bed early town so, maybe not. Another was quite hopeful but felt that it would take time for people to get used to the idea. It was all about building audiences – that’s the challenge – all agreed. Of course, the barflies buzzed on about other things like the quality of the work being seen around the city, and so on. It was time for the first show, and then the second, but then … Continue reading “Dear Brisbane Theatre … Who’s the media?”

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World Theatre Day 2011 … going, going …

As the world turns World Theatre Day 2011 has come and gone from Australia for another year, but it’s still going strong elsewhere as March 27th comes in round the globe.

Someone wrote on the Twitter stream that ‘every day is world theatre day’ and, of course, he’s right for those of us who live and work in and for the theatre. It can be all-consuming at times, a source of frustration too, but mostly of love. It’s why we keep going, making and advocating for theatre as a daily engagement. Still, as one of my theatre friends in Canada (Simon Ogden) put it so well, it’s a day worth stopping and marking in a special way, because

It is a day designed to let theatre makers raise their heads from the local communities they work in and revel in the collective consciousness of their global community. It is a celebration of the health, vivacity and reach of our particular form of art. It is not a day for asking for help, or for audience building. It’s a massive, collective high-five.

WTD11 fell on a Sunday and, for many it was a day of rest and reflection. Others were rehearsing or performing, writing, watching and listening from the audience …

Here’s the Theatre Communications Group (based in the US) WTD Message for this year. It echoes the theme of social justice through theatre which is this year’s ‘call to action’ or reflection.

It’s very moving and talks about something that theatre makes us do so well: ‘listen.’

And World Theatre Day continues round the globe. You can catch the latest postings on the blog and on the WTD Facebook page. I loved the live stream from Berlin some hours ago. If you didn’t catch it, you can read Brisbane’s 23rd Productions posting for World Theatre Day on the blog as well, along with the Dead Cargo company and Queensland Shakespeare Ensemble‘s shout out to the world.

And, if you didn’t get to celebrate WTD11, watch out for WTD12 next year on March 27th.

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Nominations are in!

… and we’re counting! No more nominations can be accepted for the inaugural 2010 Groundling Awards.

Thanks to all who sent in their favourites – even to those who sent them in after the deadline! Sorry, but we can’t count these. We’re now collating the nominations to determine the top 3 in every category. We will have these ready for you to cast your votes from next week.

The winners will be announced with much fanfare (here) on 14 February.

Stand by!

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… all losses are restored, and sorrows end

Intersection of Creek and Adelaide Streets dur...
Image via Wikipedia

Much of the world now knows about the awful Queensland flood disaster which took so many lives and properties this week. Other cities and towns throughout the state have been dealing with floods caused by deluge, swollen creeks and rivers. This week it was the turn of Ipswich, and of the state capital, Brisbane as their rivers rose and burst their banks. ‘Burst’ is a dramatic word, ‘gradual creep’ better describes the slow, inexorable rise of torrential brown water into the city and its streets, homes and businesses. It’s not the first time the state’s capital has been flooded. This image was taken during the floods of 1893. Another great flood happened in 1974. 2011 is probably the worst so far.

As I write, the immediate danger from rising floodwaters has passed and the Brisbane River has gradually slowed what has been a frighteningly fast surge out into Moreton Bay.  The weather pattern has changed to blue skies and sunshine, and Brisbane, as with all flood-affected towns in the state, is in full clean-up mode. It’s been a terrible, exhausting time, one that has taxed everyone to some degree; it will go on for months, maybe years. State Premier Anna Bligh has likened this time to one of ‘post-war recovery’ proportions. Federal, state and local governments are coming together to assist in the recovery.

Our theatres and arts company premises have not escaped either. Shows have been cancelled, foyers and orchestra pits and studios are inundated with water and mud, and equipment has been damaged or destroyed. Hearts are broken, but heads are unbowed.

With typical generosity the wider community are pitching in and volunteering, as always happens when the going is bad. The big cleanup has begun. The arts community are also mobilising to get things back to normal. 23rd Productions Artistic Director Kathryn Fray is coordinating Brisbane artists and creatives to help out with entertainment in the Evacuation Centres in the state, while Harvest Rain Theatre Company under Tim O’Connor are calling for people to register for the Brisbane Arts Community big cleanup crew.

Dear friends, you do the heart good.

Follow @23rdProductions and @harvest_rain on Twitter

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