Season(s) 2012: the new and the independent ftw

Last night La Boite Theatre announced its 2012 or ‘twenty twelve’ season on their fresh look website complete with a maroon coloured (Queensland?) splattered torso – not quite sure what that’s about but, as with the new-look QTC logo (below) your guess as to meaning – if you need that kind of thing – is as good as mine.

The other big house in town, Queensland Theatre Company announced its 2012 season a few weekends ago. Artistic Director Wesley Enoch launched 2012’s mainstage productions along with new logo and website. I was at QTC’s launch but couldn’t make it to La Boite’s despite their generosity of an invitation which, I understood, was a pretty hot ticket – as was QTC’s for their launch. Theatre goers in town are clearly keen to see what the two ADs have in mind. Continue reading “Season(s) 2012: the new and the independent ftw”

Theatre Will Eat Itself (Guest Contributor: Paul Osuch)

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)”

Clearly and simply: Andrea Moor actor, director, teacher (Interview 7)

Andrea Moor has been back in Brisbane for some years now, and she’s loving it – feeling privileged in fact.

‘The political landscape has changed so much since I was last here.  It’s a lot like Sydney felt in the early 80s – it’s such a supportive community.

The standard of acting in Brisbane is incredibly high, as good as any in the world, probably because local actors have been working constantly here and so practising their craft.

The standard of acting in Brisbane is incredibly high, as good as any in the world, probably because local actors have been working constantly here and so practising their craft.’

As an example she segues into last year’s production by Queensland Theatre Company of Arthur Miller‘s The Crucible directed by Michael Gow for which, incidentally, she won a Matilda for her portrayal of Elizabeth Proctor. ‘The big  … Crucible acting company (19) was composed of several generations, Queensland actors many of whom had gone away and come back.  It was such a harmonious and good feeling during that period, a microcosm of the theatre industry here.’  She goes on to note, ‘There’s a different focus here in Brisbane, not the preciousness and egos of those constantly being watched.  Here actors are genuinely happy to see colleagues get work, and on opening nights, it’s about the show.  Elsewhere,’ she says, ‘it’s about me – who’s out front to help me get my next job.  It’s liberating here … mind you,’ she adds drily, ‘ it’s not to say we wouldn’t like this.’ Continue reading “Clearly and simply: Andrea Moor actor, director, teacher (Interview 7)”

This Week in Queensland Theatre: March 8-14

Image via Wikipedia

For show times check company websites

The big wet continues in the south-east and west of the state. Wonder how, if at all, this has affected box-office figures for companies.

There’s one week to go for Hamlet for La Boite and The Little Dog Laughed for Queensland Theatre Company; both close on Saturday. Avenue Q at QPAC has had an extension to its season.

Click the date on Greenroom’s home page calendar to go to more details on each event.


Flicking the Flint by Kate Lee !Metro Arts Independents (Brisbane) – Tuesday

Macbeth by William Shakespeare Jute Theatre (Cairns) – Thursday


Avenue Q the Australian touring production at QPAC (Brisbane)

Hamlet by William Shakespeare dir David Berthold at the Roundhouse (Brisbane)  Check the updated Greenroom reviews index.

The Little Dog Laughed by Douglas Carter Beane dir Michael Gow at the Cremorne Theatre, QPAC  Check the updated Greenroom reviews index.


Staging Lives: in conversation with Michael Gow, Will Eno, and David Williamson. State Library of Queensland – Tuesday.

See QSE’s training program which continues throughout the month (Brisbane)

It’s QPAC’s 25th Birthday this year.  While you’re on the South Bank in Brisbane head into the Tony Gould Gallery for the QPAC 25 Exhibition.

… and check out the recently-opened Edge space further upstream – near the fabulous GOMA.

Flicking the Flint: !Metro Arts Independents 2010

Flicking the Flint
Created by Kate Lee
Written by Anna Krien

Featuring Kate Lee, Tom McCosker and Jackson O’Sullivan

Set and Costume Design by Kasia Janczewski
Composed by Bernard Houston
Percussion by Tim McConnachie
Lighting Design by Jason Glenwright

Season: Wed 10 – Sat 27 March 2010

Preview: 7:30pm Tue 9 March 2010

Opening: 7:30pm Wed 10 March 2010

Artist Talk: Wed 17 March 2010

When: Wed – Sat: 7:30pm

Where: Sue Benner Theatre

Tickets: Adults $20/ Conc. $16/ Preview $12/ Group (10+) $12

Bookings: (07) 3002 7100 or Book Online