A system made for actors: Nigel Poulton (Interview 14)

Alexander Y. Golovin: Portrait of theatre dire...
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As we chat last week about his latest project, I begin to wonder whether Nigel Poulton’s been working too long with ballet companies; he’s got his current company – the Dead Cargo cast – training at 5.30am during the rehearsal week. Now, that’s intriguing in itself. How has this come about, I wonder.

Nigel is one of Australia’s – and possibly one of the world’s – busiest fight directors for the stage. Recent gigs abroad have taken him to the NYC Ballet, the Metropolitan Opera, the Washington Opera as well as to assignments closer to home like Opera Australia, Circus Oz, MTC, STC, QTC, Belvoir, Kooemba Jdarra and Playbox. For Bell Shakespeare he has been the Company Fight Director since 2003. He’s the past President of the Society of Australian Fight Directors Inc., and a respected, meticulous, and very patient teacher who demands the best of his students. I can attest to this having studied under his direction some years ago. Continue reading “A system made for actors: Nigel Poulton (Interview 14)”

Scratch! Dave Burton (Interview 13)

David Burton

Someone on Twitter this morning posted ‘I wish we could have creative development all the time.’ This sentiment is well understood by artists everywhere. Of course, creative development for its own sake is hardly the point. Every theatre maker longs to have the work go before an audience, and, hopefully, be remunerated appropriately for the effort involved. But, to begin at the beginning …

SE Queensland has some rather good creative development opportunities for independent artists and creatives, as well as support platforms for low-cost productions, many of which are of new work. A few are long-standing and well-regarded by the industry. They include various programs out of  !Metro Arts, which most see as the support hub for this kind of work, certainly in Brisbane. There’s also La Boite’s Indie program which has just finished its first year of operation and, if you are to believe those who have taken part, or spoken to audience members around the  place, then it’s been a raging success. Queensland Theatre Company has several long-standing writing programs which include the prestigious Premier’s Drama Award, which is the only one of its kind in offering a full production at the end of a lengthy creative development period. In the regions, JUTE in Cairns is involved in creative development of new work, whilst Toowoomba’s Empire Theatre Projects Company, through its Regional Stages grants, initiated a creative development process for what eventually became David Burton’s April’s Fool. Earlier this year, the play went on to a fully professional production at home, in Ipswich and in Brisbane. The EPC recently also engaged in creative development process for Water Wars, which will get up in the 2011 La Boite Indie Season.  Now La Boite has launched Scratch for 2011. I wanted to know more, so I asked David Burton. He’s one of the 5 newly-created Associate Artists that have been engaged for the year to produce new works from … scratch. Continue reading “Scratch! Dave Burton (Interview 13)”

Steven Tandy (Interview 12)

Steven Tandy and I haven’t sat down to talk, really talk about theatre and acting and all of that stuff since we were young actors together. I imagine we did a lot of it back then, at the parties we all went to. You know, the kind of ‘finding yourself in the kitchen in the wee hours’ kind of actor talk.  Since those days – what – nearly 40 years ago, there hasn’t been time or space to do it. We worked several productions together for the QTC in the early 1970s, and our last professional meet-up was in a production of Who Was Harry Larsen? by Frank Hardy for NETC in the mid-1980s. We haven’t really seen much of each other since. We’d be ships passing at opening nights, trading a few snippets of news, and conversation, but it wasn’t a good, old-fashioned talk. Our lives had meandered in different directions, and we’d rather lost touch as one does in this busy age, something I’ve often regretted. It’s been great to see this fine actor on stage again in Queensland over the last few years.

I first met Steven Tandy in his and my first foray as professional actors for Queensland Theatre Company and the Queensland Arts Council. In 1972, along with Grant Dodwell, we were cast in a huge, schools’ tour throughout Queensland. It featured Michael Boddy and Janet Dawson’s plays, The Badly Behaved Bunyip and The Man, the Spirit Fish and the Great Rainbow Serpent. We toured thousands of miles together and spent many hours talking about where our futures might take us. ‘I remember there was a lot of yoghurt,’ Steven notes drily. Our director, Margaret Bornhorst took very seriously what must have been a self-imposed objective to get her small acting company fit. Yogurt figured strongly as did Vogel bread, as I recall. We were all very new to health food and to the theatre business: Steven and Grant were fresh out of NIDA, and I’d just come back from nearly 4 years in London. Grant was in town recently with Gwen in Purgatory – a good excuse for a catchup, but again, it was a quick ‘How the hell are you?’ chat in the Roundhouse foyer between shows on the final Saturday.

A few weeks’ ago, Queensland Theatre Company had a barbecue to welcome the When the Rain Stops Falling company – Aussie themed. Steven and I were invited along, and so the Badly Behaved Bunyip team got together, albeit without Grant.  It seemed that now was the time for that sit down and talk, so we did. It began under Bessie the bottle tree in the courtyard at 78 Montague Road and continued in the Company library when the rain started falling on the party and the cricket match. When we came up for air, it was nearly 5 o’clock. The rain had stopped, we hadn’t noticed, and we’d been talking for over 2 hours. What I did manage to write down and what I do recall of our conversation appears below; it’s just a flavour of that long afternoon, and it’s taken me this long to wrangle my notes and memories. ‘It’s been quite a journey,’ as Steven told me that afternoon. Continue reading “Steven Tandy (Interview 12)”

Getting things right: Barbara Lowing – (Interview 11)

If Barbara Lowing is in a show, you know your night in the theatre is going to be a good one. I love her work, for which, incidentally, she’s won a stack of acting awards. I note from her C-V that she was the first Queensland graduate of WAAPA (West Australian Academy of Performing Arts). Apart from being a director-teacher and a terrific photographer, she’s also great company, so it’s good to catch up with her for lunch last week. Barb’s in Toowoomba rehearsing for the Empire Theatre Projects Company (EPC) production of April’s Fool by David Burton, directed by Lewis Jones.

This production marks a lot of firsts for the EPC: the first fully professional show, the first to tour – it opens in Oakey this week, then Chinchilla, Dalby, Ipswich and a city season in Brisbane at the Judith Wright Centre for Contemporary Arts. April’s Fool is possibly also the first-ever home-grown play about a real-life event in the city, the death of a young man, Kristjan Terauds in April 2009 from the complications following illicit drug use.

Director Lewis Jones heard of the events from mutual friends of the Terauds. His bringing of the story to the stage has been done with the full cooperation of Kristjan’s parents and extended family. The play also offers the perspective of other characters in the play – friends, observers – some of whom take varying points of view. ‘It’s didactic but never melodramatic,’ Barb adds. ‘Lewis and David have structured the text so there’s no sense of lecturing ever.’

We chat about the way the EPC production team have been working on what has turned out to be a verbatim theatre piece researched and scripted by Dave Burton and which the company has created from the ground up. Material has been drawn from interviews with friends, family and others associated with the event which is not yet 18 months old. The play’s action spans the 6 days following Kristjan’s death, in which his family attempted to come to terms with that most terrible of experiences for a parent, their child’s death. Whilst some names have been altered, all characters are ‘real’ and there’s not a word in the play, Barb tells me, that hasn’t been taken from interview transcripts, or from the diary which David Terauds (Kristjan’s father) kept during the event – as his book of solace, I imagine.  Continue reading “Getting things right: Barbara Lowing – (Interview 11)”

Gripped by the actor’s power: Eugene Gilfedder (Interview 10)

Waiting for Godot (QTC) with Bryan Probets
Grimm Tales (QTC)

Eugene Gilfedder is lining up for his third Hamlet – the first was as the prince himself in Shakespeare’s version some 20 years or so ago, and this time it’s in the Australian premiere of Steven Berkoff‘s The Secret Love Life of Ophelia for Fractal Theatre, opening on Friday. Earlier this year he appeared to acclaim as the Ghost and Uncle Claudius in La Boite’s production of the play.

After a long regional, national tour last year with The Kursk, Eugene’s now really enjoying what has been a year so far back-to-back with terrific roles. As one of the most respected as well as busiest actor in town, it’s almost as though his career has had a resurgence, though, as he tells me, he has notched up over 150 productions on stage over the years. ‘It’s been extraordinary to last this long,’ he tells me, ‘and to still be performing.’ It all began as a child, when as part of a large family, he found himself organising his siblings and devising performances at home and later at school.  ‘From Grade 8 on I just took charge! Acting has been my life.’ Continue reading “Gripped by the actor’s power: Eugene Gilfedder (Interview 10)”