Always Working Artists

The State of Plays

2011-03-14T17:31:00.000-07:00

The State of Plays for Australian, Female and Local Playwrights in Perth

Recently there has been some public debate in the Eastern states press about perceived gender inequity in theatre programming. The statistics, such as are available, are bleak for Australian women playwrights in the major theatre companies. The Sydney Morning Herald reported that in the 2011 season, only 4% of plays programmed nationally were by women.

In January 2011 the Australian Writers’ Guild sent a letter to the Australia Council and the Major Performing Arts theatre companies requesting mandatory reporting on gender equity. So far, the response has been positive and I hope that over time, consideration and reporting of gender issues will lead to change. The position of the Writers’ Guild is that theatres must give audiences Australian plays that reflect the diversity of voices that make up who we are. Australian voices are important because they speak with us about our environment, our issues and our lives. As women make up half the population, it is important that their voices are part of that dialogue.

The national statistics led me to look at our own situation here in Perth. I couldn’t believe that the representation of women playwrights was so low in the theatre I had seen here over the last five years. So I did some research on the plays programmed by Black Swan, Perth Theatre Co and Deckchair since 2006, and found some surprising results.

I will qualify my “findings” by first stating that I am not a statistician, or even particularly good with maths. So I apologise in advance for any mistakes, and ask you to look at the forest rather than the trees. I have deliberately focussed my research on the three adult mainstream theatre companies because their programming choices are not influenced by demands of a particular artistic profile, as are those of Yirra Yaakin, Barking Gecko and Spare Parts. I did not include works where no writer was credited. Where there was a translated work, I chose to classify according to the gender and origin of the original writer except where the translation was a significant interpretive departure from the original (for example, Eamon Flack’s Antigone).

Firstly, the good news for local writers is that Perth has a very good record for producing Australian work. Of the 87 plays I looked at produced between 2006 and 2011, 51 of them are Australian. At 59%, this is well over half, and shows a strong commitment to hearing Australian voices.

The record with producing women is not quite as good, although isn’t as bad as other research suggests. Overall, 28% of all plays programmed are by women: just over a quarter. The record gets slightly better when looking only at Australian plays. Of these, exactly a third are written by women. This is an encouraging result and it’s probably as good as can be hoped for, considering the opinions displayed in the latest debate about the relative merit or otherwise of women playwrights. (Tom Wright, the Associate Director at the Sydney Theatre Company, was quoted in the Sydney Morning Herald saying that there are no talented women playwrights who aren’t being programmed, and that any “problems” in Australian playwriting were of quality rather than gender.)

A closer examination of the Perth statistics reveals a bit of a surprise. Although a third of all Australian plays are written by women, the ratio changes when one compares writers from the eastern states with locals. When looking only at works by writers living in the eastern states, women writers are in the majority: 53% of all plays by eastern staters are by women. Given the isolation of our state, the relative centralisation of the theatre industry in Brisbane, Sydney and Melbourne, and the small population of Perth, it is not surprising that there are more works from the eastern states than from Perth. But the ratio is actually close to half. 41% of all Australian plays produced are by locally-based writers. The most interesting statistic to me, as a local woman playwright, is that in the years between 2006 and 2011, only one was written by a woman. That was Marmalade and Egg by Mel Cantwell in 2006 for the Perth Theatre Company.

So to summarise, around a quarter of all plays programmed are by women. This ratio is roughly the same when looking only at plays by overseas writers or plays by Australian writers. However, it changes dramatically when looking at the origin of Australian writers. Of eastern states plays, half are by women. Of local plays, just 5%. One example, five years ago, written by a woman whose chief artistic profile since then has been as a director.

I can think of a few reasons to account for this statistical blip, which relate to my own personal experience and that of other women playwrights I know. But I acknowledge that there are a million reasons why one play is programmed over another and I can’t begin to account for what they are here. However I would like to point out that the lack of representation of women playwrights in our main theatres is not because there aren’t any. Lois Achimovich, Hellie Turner, Lucy Eyre, Suzanne Inglebrecht, Shirley van Sanden, Tiffany Barton and myself (to name a few) have been very active over the last six years, producing plays, winning competitions, receiving funding and getting commissions. But we haven’t been programmed by the main companies. I am not trying to suggest that there is any systemic or even conscious sexism. I am demonstrating that if you are a local writer, you are statistically more likely to be programmed if you are a man.

You are particularly likely to be programmed if you are Reg Cribb. His record of six plays in Perth in the last six years is only equalled by Shakespeare himself, and so it should be. Reg is a nationally recognised playwright who is supported by his local industry. However, even if we discount Reg (because he would be programmed anyway), and Alan Becher (because he programmed himself), there are nine other local male playwrights who have achieved what local women playwrights have not.

While the reasons behind this may be obscure, the consequences for audiences and playwrights are less so. Audiences are not seeing local work that reflects our diversity on its most basic level: the work is almost exclusively from a male perspective. Consequences for the playwrights are more serious. A playwright’s work is only completed with the programming of their work. With programming comes financial reward, opportunities for further work, and artistic growth. Without it, we have poverty, obscurity, artistic regression and finally, a withdrawal from the job altogether.

If we take it as given that local voices are important, and that women’s voices are important, then the voices of local women playwrights need to be encouraged. The statistics show that it is difficult to be programmed anywhere, and it is natural and right that artists look to their local industry in the first instance. If women’s voices are not supported there, then there is a very real danger that they will be lost completely.

APPROXIMATELY BOB DYLAN (Frankie Valli style)

2008-12-13T20:52:00.000-08:00

Frankie Valli and the Four Seasons became so famous in the early sixties that they lost all respect for their loyal record-buying Valli-loving audience and decided to TRICK THEM by releasing Bob Dylan's Don't Think Twice It's Alright under a pseudonym, 'The Wonder Who'. (Get it, I wonder who is singing Bob Dylan in falsetto with three-part harmony male backing vocals and NY Italian-American accents... hmmm... perhaps Peter Paul and Mario?)

(Don't Think Twice, It's Alright by The Wonder Who)

The Vallli fans guessed it was their Frankie, the single was a hit and the band released an album of covers: Frankie Valli & the 4 seasons Sing the Big Hits of Burt Bacharach and Bob Dylan. Almost every traack is a favorite but I chose the-very-rarely-covered Queen Jane Approximatley as the best example of Producer Bob Crewe's incongruous arrangements of folk songs by Bob Zimmerman. Perhaps it helps to know that Bob Crewe also composed the soundtrack to Barbarella... so by virtue of Hanoi Jane Fonda, the circle of protest is complete.

The song is here:

Queen Jane Approximately - Frankie Valli & the Four Seasons

This is my video version:

POSITIVELY THE LIVING VOICES

2008-12-12T21:54:00.000-08:00

Here's my favorite - The Living Voices turn Bob Dylan's nasty, vicious, seering Positively 4th Street into a valium-dulled stream of consciousness delivered to our uptown analyst while reclining on his couch. This is just a temp video; over the holidays I might edit something which is a little more synchronised.

'The Enjoyment of Music' from His Master's Voice

2008-12-10T06:34:00.000-08:00

Liner note:

"Most of us first became interested in the classics through hearing a popular symphony, concerto or orchestral piece, but there is a danger that we will limit our listening to this type of music. The range of music is infinite and our appreciation of the world's great composers can be deepened by a broadening of the musical horizon. This record contains eleven extracts representing many facets of music... If you like what you hear, explore further. You will discover that the enjoyment of music - all sorts of music - is boundless... enjoy endless hours of pleasure and personal enrichment."

"Cover Photo by Derek Brown of HMV Stereogram Model Audio 10."

Stereo-Radiogram

2008-12-10T06:26:00.000-08:00

When your record player was a piece of furniture.

The Living Voices

2008-12-10T05:28:00.000-08:00

The Living Strings appeared on the budget record label, Camden, for the easy-listening instrumental music market, apparently featuring a variety of uncredited European orchestras including the Oslo Symphony. Camden released other "Living" brands including - my favorite - The Living Marimbas and - the stars of this post - The Living Voices.

It seems as though,after a few years of recording cover versions of the latest innocuous pop hits, The Living Voices suddenly found their political soul and released an album of cover versions of the latest anti-establishment protest songs, including the album title track, "Positively 4th Street" - Dylan's first foray into electric folk-rock and a nasty mean-spirited vicious personal attack (not really a political protest song at all) one of his folk days friends (Irwin Silber, folk music critic).

The arranger for this album was the leader of the eponymous Anita Kerr Singers (she' still singing and has her own website). I love the incongruity of Kerr's strict phrasing and unison vocal arrangments applied to Dylan, Donovan, Barry Maguire and others rambling folk ballads. Did the polyester-wearing Middle-American family purchasers of Living series LPs notice that their Stereo-Radiograms had suddenly gone subversive? They still voted for Nixon in '68.

I've used the Ray Conniff Singers in this video. This will be apparent in a subsequent post. Ypu can see the Anita Kerr Singers (only four of them) performing Oh Lonesome Me in Osly in '64 on youtube: Anita Kerr Singers - Oslo 1964

My DAWN OF CORRECTION video

2008-12-10T00:34:00.000-08:00

PROPAGANDA WARS - FILM & VIDEO

2008-12-09T05:45:00.000-08:00

Vietnam was the first television war. In the on-screen battle, The Spokesmen are AWOL: I can only find Barry McGuire performing on the American music television show 'Hullaballoo'. So I have rushed to the frontline in the battle for minds a video of the right side.

In the red corner:

The lyric battle: evening versus dawn, destruction versus correction

2008-12-09T05:37:00.000-08:00

EVE OF DESTRUCTION vs DAWN OF CORRECTION

The eastern world, it is exploding
The western world has a common dedication
Violence flarin’, bullets loadin’
To keep free people from Red domination
You’re old enough to kill, but not for votin’
And maybe you can't vote, boy, but man your battle stations
You don’t believe in war, but what’s that gun you’re totin’
And even the Jordan River has bodies floatin’
Or there'll be no need for votin' in future generations

But you tell me over and over and over again, my friend
So over and over again, you keep sayin' it's the end
Ah, you don’t believe we’re on the eve of destruction.
But I say you're wrong, we're just on the dawn of correction

Don’t you understand what I’m tryin’ to say
Can’t you feel the fears I’m feelin’ today?
There are buttons to push in two mighty nations
If the button is pushed, there’s no runnin’ away
But who's crazy enough to risk annihilation?
There’ll be no one to save, with the world in a grave
The buttons are there to ensure negotiation
Take a look around ya boy, it's bound to scare ya boy
So don't be afraid, boy, it's our only salvation

Yeah, my blood’s so mad feels like coagulatin’
I’m sitting here just contemplatin’
I can’t twist the truth, it knows no regulation.
Handful of senators don’t pass legislation
And marches alone can’t bring integration
When human respect is disintegratin’
You tell me that marches won't bring integration
But look what it's done for the voter registration
Be thankful our country allows demonstrations
This whole crazy world is just too frustratin’
Instead of condemnin', make some recommendations
I don't understand the cause of your aggravation
You mean to tell me, boy, it's not a better situation?

Think of all the hate there is in Red China
You missed all the good in your evaluation
Then take a look around to Selma, Alabama
What about the things that deserve commendation?
You may leave here for 4 days in space
Where there once was no cure, there's vaccination
But when you return, it’s the same old place
Where there once was a desert, there's vegetation
The poundin’ of the drums, the pride and disgrace
Self-government's replacing colonization
You can bury your dead, but don’t leave a trace
What about the Peace Corp. organization?
Hate your next-door neighbor, but don’t forget to say grace
Don't forget the work of the United Nations

the answer

2008-12-08T05:52:00.000-08:00

Fortunately for the free world, this Communist propaganda - direct from Mao, Ho Chi Min and the rest of the red cabal - was answered by The Spokesmen, an unknown group of singing patriots with 'The Dawn of Correction'.

Its anthemic chorus goes:

So over and over again, you keep sayin' it's the end
But I say you're wrong, we're just on the dawn of correction

My favorite lyric (among many)

Instead of condemnin', make some recommendations

The song here.

The Eve of Destruction vs The Dawn of Correction

2008-12-08T05:47:00.000-08:00

Continuing the battle against the red menace (from a Cold War 1960s perspective), I recently discovered another potent weapon in our pro-capitalist arsenal: 'The Dawn of Correction' by the Spokesmen. Many of you would know Barry McGuire's communist antiAmerican diatribe titled 'The eve of Destruction'. Barry McGuire (ex-New Christy Minstrels) has a rasping and gravelly voice, suited to the angry lyrics by PF Sloan ('P' for 'Pinko' and 'F' for 'Fink'). It's marching slogan chorus shouts:

But you tell me over and over and over again, my friend
Ah, you don’t believe we’re on the eve of destruction.

The song here.

Andrew Jones MHR

2008-11-26T23:30:00.000-08:00

L-R: Andrew Jones, Australian soldier, Prime Minister Gorton, Foreign Minister Hasluck and Senator Robert Kennedy.

Andrew Jones became the youngest ever Australian Parliamentarian when he was elected as the Member for Adelaide in 1966, at 22 years and 184 days, representing the 'Liberal and Country League' party.

Jones expressed his ultra-conservative views and low opinion of other parliamentarians in his book Andrew Jones M.H.R by Himself before releasing his infamous spoken-word record, Shadow Valley and Iron Triangle, which he described as "anti-Communist" and "a reaction against the spate of sick immoral and depraved pseudo-folk music, which pours from the radio". The record was a local Adelaide hit for Jones, who donated the proceeds to charity. At least one Adelaide radio announcer refused to play the song.

Jones lost his seat at the 1969 election. He later ran as an independent candidate for the Senate at the 1977 election before moving to Western Australia.

~ from the Australian National Archives ~
by Ian Hancock, BA (Melb), BPhil (Oxon), Reader in History, Australian National University, and Australian Archives Historical Consultant
Events and issues that made the news in 1967

...Andrew Jones discovered that MPs were 'half drunk half the time', and then apologised for the insight...

Events and issues that made the news in 1969

The government was badly mauled in the October election, losing 16 seats... Andrew Jones offered the Prime Minister some consolation: not even Jesus Christ, he said, could have held his Adelaide seat...

THE AUSTRALIAN LEAGUE OF RIGHTS

2008-11-26T23:21:00.000-08:00

THE AUSTRALIAN LEAGUE OF RIGHTS - 'On Target' publication, Vol 3. - No.21

Posting the above will probably be anough to cause a government filter in Canberra to blip and add a note to my ASIO file. The League of Rights organisation operates on the fringe - the right-wing fringe - of Australian politics and from a post office box in central Queensland. Despite being aging cold warriors, the organisation has embraced the internet and made available online back issues of its 'On target' newsletter - one of the few google results on "Shadow valley & the Iron Triangle":

THAT ANDREW JONES RECORD

"An Adelaide radio station will not play a new monologue which a disc jockey said made him sick and members of the public have called pure jingoism." The Australian June 2.

The record, "Shadow Valley and Iron Triangle" was inspired and partly composed by Mr. Andrew Jones M.H.R. the new South Australian Liberal member. Mr. Jones describes the record as "definitely anti-Communist" with proceeds from its sale to be donated to Legacy and other charitable bodies A spokesman for the Festival Record Co. which released the recording said the demand for it had been "phenomenal". He added, "This is an experiment. The first time an Australian has made such a record." It is indeed heartening that Mr. Jones and the company have pioneered a reaction against the spate of sick immoral and depraved pseudo-folk music, which pours from the radio. It is no accident that this flood is characterised by an undeviating adherence to current socialist themes.

Part of the dialogue which nauseated the unnamed South Australian disc jockey is "When you hear the anthem lift up your head, remember our past, see our glorious future and let your voice sing out, and friend, thank God you're free."
'How long will Australia be free when the red cancer of Communism is eating through Asia?"  Surely enough to revolt the stomach of a left wing dope peddler!

Shadow Valley & Iron Triangles

2008-11-26T18:41:00.000-08:00

Here's the 'song'. I recorded from vinyl and then edited together three different recording attempts to get around scratches and jumps. To upload the music, I had to create a video. It starts with a Gold Goast-Surfers Paradise promotional video followed by Australian Vietnam war footage, all from youtube.

Or you can go right-click this link to download an mp3:

Shadow Valley & Iron Triangles mp3 (3MB)

The Red Tide

2008-11-23T17:06:00.000-08:00

Moving on from Las Vegas, I'm now concerned about the fate of the free world, especially the threat posed by the Rudd-Gillard Socialist Redocracy (I mean, surely she CHOOSES to dye her hair that colour). So it's timely that I post the lyrics of Shadow Valley and Iron Triangles, performed by The Young Australians and released on Festival Records in 1966 (FK-1828).

I first heard this track in 1986 on

Bob Hudson & Glenn A. Baker present antipodean atrocities: dubious ditties, patriotic pap and enthusiastic excesses that made Australia [great] grate.(ABC Records: C4 595 1/2).

It's spoken-word, over a slow and increasingly rousing version of Waltzing Matilda.

Andrew Jones, the youngest ever member of the Australian Parliament, wrote the words. Rex Heading, an Adelaide disc jockey, recorded the narration.

As for the title: I can only guess what it means; the words aren't used in the song. "Iron Triangles" (it seems the plural is correct) might refer the 'Iron Triangle' of iron-ore towns in South Australia: Port Augusta, Port Pirie and Whyalla. And/or the 'Iron Triangle' in Vietnam, a Viet Cong stronghold captured in 1967 by American soldiers. Or maybe a battle in the Korean War. I have no idea why "Shadow Valley".

The words are very moving (in different parts of the body depending on your politics) but you must hear Rex's intonation to complete the experience. I'll post a recording tomorrow.

People today have money and good times. Things seem to be going pretty well. But is our greatest asset apathy? Is our religion complacency and our motto, “let someone else do it? There’s always the fool, the someone to do the work, the sucker to do the sweating… and the dying. So what if the war goes on another five years? There’s always America, good old ‘Uncle Sam’.”

But how long will Australia be free when the red cancer of communism has eaten through Asia. Will we still sing with our hearts ? Will we look at our flag with pride? Just try it. You may be beaten, tortured, even shot. Made to sing ‘the east is red’. And you know, there’s only one colour on the red flag. Their aims are simple: to destroy our heritage for theirs, to cast out hope for fear and crush the spirit, manhood and youthful pride of our nation.

Wake up Australia! Can’t you see the warning lights, the danger signal? Why sleep in the past? Get out of your bed of apathy. Don’t you realise what we’re fighting for? Have you lost your love of freedom?

Our forefathers opposed different enemies, yet the same: oppression and terror. Are we blind to them today, can we not see?

What true Australian would prevent freedom of speech, the shame to see our country’s leaders pushed and shoved and spat upon? Must we resort to terror tactics to prevent free speech? Can’t we see that they’re turning us the one against the other? Have we lost our national pride, our love of country? Do we look the other way?

You say, “what can we do? Australia’s weak, insignificant, dead from the neck up, we couldn’t give a damn, the only old Aussie spirit is dead.”

Well fella, now is the time to wake up, show them what we’re made of, show them the spirit of Gallipoli, Tobruk and Korea. We must defend Australia against al those who would take away our liberties and rights and freedom. We shall stay free. Young Australia, let your voice be heard, speak up, express your views but remember your heritage and honour your country. We are the blue skies of prosperity, the new light in Asia. We are the nation of great promise.

Let your heart beat loudly, let your pulse quicken, let your ride well-up as you look upon your flag, never forget what it stands for.

Lift up your head, remember our past, see our glorious future and let your voice sing out and, friend, thank God you’re free.

Katrina Retallick THEN & NOW

2008-11-17T20:14:00.001-08:00

ERSKINEVILLE, AUSTRALIA - APRIL 1993: Kane Race, Margie someone, Jane Wallace, Dan Lloyd, JP Byrne the Writer of Child Dancing, Katrina Retallick, attends rehearsals for the stage production 'Danton's Death' by Sydney University Dramatic Society (SUDS) at PACT Theatre.
SYDNEY, AUSTRALIA - JULY 2007: Pippa Grandison, Tamsin Carroll, Stephen Sondheim the Writer of 'The Company', Natalie Alexopoulous and Katrina Retallick, attends the after show party following the opening night of new stage production 'Company,' at Australian Hall on July 5, 2007 in Sydney, Australia. (Photo by Gaye Gerard/Getty Images)

Mainstream Press Reviews

2008-11-17T05:38:00.000-08:00

John Shand, 13 Nov, The Sydney Morning Herald

THE new century is still young, but here is its funniest show so far. Nothing else has doubled me up like this, a mirth vociferously shared by those around me.
…a couple of cute magic tricks, and sparsely clad females cavorted leggily in all scenes...

Jason Blake. 16 Nov, Sun Herald

when it comes to describing Las Vegas (Confidential)… fascinating or educational …
James Taylor's choreography is… showgirl shape-throwing, Eurovision twizz and… bump 'n' grind…

Angela Saurine, 13 Nov, Daily Telegraph

The show boasts… impressive moments, such as a fun scene where Alex breaks into an energetic performance of The Gambler with other male cast members. It's a very different slant on the Kenny Rogers classic, complete with bare-chested cowboys.

As Katrina Retallick was ill with laryngitis, understudy Diana Holt stepped in as Francesca, the lead female role. Her strong voice was a highlight. Underbelly's Tony Nikolakopoulos is a standout as mobster Tony ``The Tool''.

Another audient review

2008-11-17T05:01:00.000-08:00

I believe that this was not a complete diaster as many people seem to believe. Being a drama student myself for 5 years has allowed me to be opened minded.

Yes there is definate room for improvement, and perhaps a better venue, but the idea to Las Vegas the musical was not story line, but perhaps the glitz and glamour of Las Vegas itself.
The idea of the mob, the show girls, and gambling was the point. The dancing and singing i found was very amazing and entertaining, and the costumes were sensational!

I do believe that this is a fun night out, and your supporting and a script writer/director who has never done this before!

James Karp should be congratulated on the fact that he has pursued his dreams and really put on a show of glitz and glamour!

Perhaps not for story line but, for the entertainment factor. If this was such a terrible hit, why would stars such as Tiffany and Katerina Retallick agree to perform in it?

i definately recommend it for a good night out!

A choice quote

2008-11-13T19:56:00.000-08:00

From the ITA website review:

this production does have the capacity to do well... In the Casino showroom style setting, a smash, a hit, a blockbuster.

I doff my cap to James Karp, how many of us have a dream and decide to go for it. Well done Mr Karp, I know you not, but wish you well. Australia needs people like you who are not afraid to follow their dreams. Good luck, with the show I hope Jupiters, Melbourne and Port Douglas Casino's all book your show. That's the market for it.

Peter Howcroft.

Sydney Star Observer preview

2008-11-13T18:49:00.000-08:00

“And the costumes are a drag queen’s wet dream.”

Society Pages

2008-11-13T18:44:00.000-08:00

An online "society pages" website covers the opening of Las Vegas (Confidential) The Musical. I'm the same age as the guy in the photo.
Mi Society

Las Vegas Reviews

2008-11-12T18:51:00.000-08:00

I have a professional understanding of negative online theatre reviews by bitchy bloggers who, jealous of others being up on stage performing, need to tear down everyone else, often without even seeing the show, just to make themselves feel better about their miserable and uncreative lives.

CitySearch Sydney
AussieTheatre.com
ITA website
AussieTheatre forum

waiting on Australian Stage Online, Artshub, Sydney Morning Herald, Sydney Star Observer.

Las Vegas Opening Night Drama

2008-11-12T18:45:00.000-08:00

This article is from the excellent AussieTheatre website. I've reposted it in full because it's now buried well down the site's non-tagged news page.

Las Vegas opening night drama
Wednesday, November 12, 12:04am AEDST.

Katrina Retallick was replaced by her understudy at Tuesday's opening night performance of Las Vegas (Confidential) The Musical after a bout of laryngitis meant she couldn't perform.

In a dramatic day at the State Theatre, producers made a final decision mid-afternoon that Retallick would miss opening night, but are hopeful she will return to performances this week.

Retallick, who has starred in a host of musicals, also missed Sunday's performance of the show.

An announcement was made to the audience just prior to the curtain going up on the musical, which received a luke-warm response from its opening night audience.

Retallick is playing Francesca Carlucci in the production and was replaced for opening night by Diana Holt.

The Las Vegas opening night was followed by an after-party in the State Theatre foyer which included gambling tables, allowing opening night guests to try their hand at Vegas style games all in support of charity.

The party continued well into the night.

Las Vegas has already announced it will close in late November but producers believe it may have a life outside of Sydney, and hope to announce plans for a national tour within months.

The musical, written by James Karp, is the result of his love of all things Vegas and is set during a time when the mob ran the strip. It tells a seductive story of love, sex, luck, betrayal and revenge and is based on previously untold true events. Its costumes are extravagant, and feature 26,000 diamantes.

Karp has created plenty of talk in the lead-up to the show with risque comments made to both AussieTheatre.com and The Sydney Morning Herald about the show's casting process.

"All the male dancers had to remove their clothes for me, I wanted their bodies to all look the same - I am obsessed with detail," he told AussieTheatre.com.

"I asked the girls here to go topless; they wouldn't go topless. Only one [said yes] - one set of tits in a Vegas show! But that's OK. If you have one set of tits, you can duplicate that," he told the Herald.

But Las Vegas may have a tough time winning over critics. Early reports have been mixed at best, and with the opening night response luke warm, producers will be hoping enough word of mouth spreads to make the Sydney season a success.

- Troy Dodds

Las Vegas Publicity

2008-11-12T18:31:00.000-08:00

The Australian, 27 Oct: His Next Trick Is To Gamble Everything.

"It's got to a point where it's my heart and soul," he says. "And everyone is watching.

Sydney Morning Herald, 31 Oct: Bare Market

"I asked the girls here to go topless; they wouldn't go topless," James Karp says. "Only one said yes - one set of tits in a Vegas show! But that's OK. If you have one set of tits, you can duplicate that."

The cast of 25 also includes Karp's wife Simone as the Goddess Of Fortune. "She's helped me through the last 10 years," Karp says. "She's been my inspiration. She got the part because in real life she has been my goddess of luck - plus she f---ing nagged me for six months to give her a part."

Karp was also keen to get Tiffani Wood on board... "I'm an old Bardot fan, even though I'm 42, and she's got a great set of tits - that was my casting. Oh, and she can sing."

Las Vegas Stars 2

2008-11-12T18:30:00.001-08:00

Another star is Katrina Retallick. From her official bio:

Katrina has been a regular cast member in Channel Nine’s Logie-nominated sketch show Comedy Inc for four seasons, and has also appeared on The Chaser’s CNNN and Backberner for the ABC.

It doesn't list being directed by me and Chris Mead in the Sydney University Dramatic society (SUDS) production of Danton's Death in 1993. She's probably the biggest star out of that cast, surpassing Michaela Noonan (Strange Fits of Passion). Somewhere, I have an early photograph of Katrina.

Las Vegas stars

2008-11-12T18:15:00.000-08:00

So the publicity says that the set features 26 million sequins or 26 thousand diamontes. The famous human fleshy star is Tiffani Wood, ex-lead singer from Australian girl-group Bardot. You can see their first video from 2000 here:
Poison by Bardot on Youtube.
James Karp has lined up a very impressive creative team... some reservations about the scriptwriter?

Beyond Belief!

2008-11-12T17:32:00.000-08:00

James Karp is an illusionist. Simone is his "Black Magic Woman", inspiring him to produce theatrical magic which is, in my experience, "beyond belief". In the late nineties, he hired the Shopfront Theatre to rehearse his stage-show (titled Beyond Belief), in which he levitated Simone, cut her in half and, in the grande finale, turned her into a real live black panther! He also pattered lines including, "I can't pull a rabbit out of my hat but I can pull a hair out of my arse." This is James' magic website:
James & Simone

A graduate of the University of Siegfried and Roy in Nevada, James is producer / writer of Las vegas (Confidential) The Musical at Sydney's majestic State Theatre.

This is the official website: Las Vegas the Musical

A few interesting quotes:

Inspired by the intriguing stories, myths and secrets of classic Vegas James began crafting this fascinating and exciting show.

And true to her fate, yet again, Simone was soon working as a Psychic with the legendary Athena Starwoman and writing Astrological and Celebrity predictions for major publications.

Whitney Richards in the Southern Gazette

2008-11-11T17:34:00.000-08:00

Whitney's Mum found this in a pile of dumped newspapers in a park - I think that's the story. Well, I found it online: front page news of the Southern gazette (Vic Park edition) 21 October 2008. You may need those details to find it at

Perth Community Newspapers online digital editions

Good for the files and mementos folder. Here's the photo:

LOCAL HERO

2008-11-11T17:25:00.000-08:00

Vanessa Trengove was a local hero in the North Coastal Times. OK, so most productions get this sort of publicity. We wonder whether any of it sells tickets to the shows. At least we have something to post to our parents.

Local Heroes in North Coast Times

Sarah McNeill review in The Subiaco Post

2008-11-05T18:12:00.000-08:00

Sarah McNeill, Perth's best and most prolific professional theatre reviewer, wrote a very amusing and positive review in last Friday's Subiaco Post newspaper, beginning with the following disclaimer:

"...as my husband Greg's in it, you might think my comments are a bit compromised."

Sarah very wittily composed the review as a forum discussion. She thought Whitney was the best. You can read the entire review by downloading a PDF of the "Time out" section of the Subiaco Post here:

POST Time Out

The West

2008-11-05T18:08:00.000-08:00

A review in The West Australian newspaper. We think she liked it. She certainly liked Greg McNeill's performance but congratulated him on singing the song that Craig sings.

Two quotable quotes from the review:

"Surprisingly compelling narrative" "we end up utterly engaged"

Next Independent Production

2008-11-05T17:34:00.000-08:00

Damon Lockwood's Short Fourplay. I'm directing the fourth play: I Just Laid a Turd the Size of Minneapolis. I specialise in theatrical subtlety.

Artshub review

2008-10-26T21:16:00.000-07:00

It's online but you can only read the full review if you're a subscriber to Artshub. I wouldn't dare rip-off the review in full (even though it's rather complimentary). Here a couple of choice quotes:

THEATRE REVIEW: Apocalypse Perth (Silver ArtRage Festival)
By Lisette Kaleveld
Arts Hub Monday, October 27, 2008

Playwright Katie Rice should be commended for turning the often drab, insular world of online forums into something vibrant and palatable to a wider audience. The script brings the comments of the posters alive...

Each of the four actors, Vanessa Trengove, Whitney Richards, Greg McNeill, Craig Williams and especially Whitney Richards, who plays Kelly and wins our unconditional empathy, prove capable of mastering a variety of characters and moods, while inspiring outrage and sympathy in all the right places...

Artshub Review

I could be Neil Diamond

2008-10-26T04:48:00.000-07:00

I was Neil Diamond in Dongara.

All the links

2008-10-26T01:02:00.000-07:00

A couple of people have expressed interest in reading all the background material. Here are links to all the relevant threads:

This is the original thread. It probably contains about half the script:
http://www.theatre.asn.au/theatre_reviews/rock_apocalypse_perth

An announcement was made of Kate's intention to put on a play. It got slammed:
http://www.theatre.asn.au/billboard_bulletins/critics_and_defenders_of_rock_apocalypse

Auditions were announced. Some abuse was hurled:
http://www.theatre.asn.au/audition/2008/apocalypse_perth

This is the thread where the show was advertised, and some personal abuse was dished out:
http://www.theatre.asn.au/billboard_bulletins/it_doesnt_sound_like_a_very_interesting_concept_for_a_play

Another channel of advertising. Some quite heavy arguments about why people should not go to see it:
http://www.theatre.asn.au/production/2008/apocalypse_perth

The show was just about to open. More arguing:
http://www.theatre.asn.au/green_room_gossip/apocalypse_now

Finally the show opened. And we come full circle:
http://www.theatre.asn.au/theatre_reviews/apocalypse_perth_northbridge_0
And then at last, some reviews were posted. And some more arguing:
http://www.theatre.asn.au/theatre_reviews/apocalypse_perth

That's all - so far..!

Cheers,
Craig

More humour

2008-10-23T21:58:00.001-07:00

and more copying in full from the ITA website (with permission this time).
---
Apocryphal Perth
Author: crgwllms
Date: 24/10/2008 - 02:24
crgwllms's picture

Apocryphal Perth
(A review from the inside)

I saw the audience on opening night, and the first thing I have to say is, shame! You all claimed to be a full house, but I saw three empty seats from people who obviously RSVP’d to their invitations but didn’t show up – there were people waiting on a shortlist who might’ve gotten to see it if you’d only called the Blue Room in time and cancelled! How can we claim that the opening night was any sort of success if we had 3 empty seats glaring back at us? It’s just not fair.

Also, the fact that people were laughing and enjoying themselves is misleading. I noticed that almost all of you were people who LIKE to go to the theatre, and so you were obviously biased. I’m sure if there had been just one or two people there who HATE going to the theatre, then we might've had some people disliking the show, which would have been a more balanced result.

I particularly liked some of the characters I recognised in the audience. Sarah Borg was there, who I have worked with several times before, and I thought she was particularly attentive. I thought Ingle Knight was quite recognisable by the sound of his laugh. I liked the way Andrew Lewis didn’t flinch when I looked him directly in the eye. Adam Mitchell got there very early, and seemed to enjoy himself right from the start. And I saw Sarah McNeil up the back. It'll be interesting to read what she writes in her review for the Subi Post, particularly with her husband in the cast.
Special mention should go to Kerri Hilton who, even though she remained against the far wall for the entire show, was always watchable in her role of the respected theatregoer. Apparently she went straight from seeing our show to seeing the 8pm performance of ‘Dying City’…a true trooper!

The rest of you – too many to mention - were very responsive, although it threw our timing a bit when you laughed and applauded at spontaneous moments throughout our performance. When it came to the one or two poignant and emotional moments in the show, I’m pleased to say that most of you looked deeply moved, and none of you chatted or seemed to fall asleep.

I thought it was a bit pretentious of Kate Rice to sit right in the middle. Who does she think she is? The writer? It must have made it hard for the actress playing ‘Kate Rice’ to say her lines, with the real Kate looking back at her like that.

On the other hand, I saw a few people in the audience who (as I discovered later in the bar) were actual contributors to the forum, and were the real people from the original production, who I was playing as my characters! It was interesting to hear what they thought about the whole process - that they thought it was a good night out at the theatre, and were going to recommend it to their friends.

Particular praise should go to the director Jeremy Rice, who at the last minute stepped in to take on the role of operating the sound and the lights. He got almost all of the cues right, and the volume knob was very well handled.

My only complaint was the lighting design. I found most of the time the lights were shining directly at me, which made it difficult to see everyone in the audience. (Apologies to those of you I’ve left out of this review, because of this.)
Also, I’m not sure about my multi-tracked voice playing on the CD during the curtain call. If there was a way of being able to sing 4 part harmony by myself, I’d rather have done it live.

All in all, I really enjoyed performing in this show, and will definitely be back again later in the season.

Cheers,
Craig

~<8>-/====\---------

Humorous

2008-10-23T17:58:00.001-07:00

Ethically, I shouldn't post this in full. It;s from the ITA website here but has been contributor-moderated down to sybject-line only, so it's easy to miss. I think I know who the author is, and I appreciate his/her GSOH. Note, punctuation - or lack of it - intentional.

---

Author: Chibwe (not verified)
Date: 23/10/2008 - 16:27

Hi Em,

I did see it last night but it was actually a preview show the short man standing by the ticket counter downstairs told me so I suppose that is why they did not have any scenery ready yet or even proper costumes but nevertheless whilst I am not really a theatre goer or even aything to do with that world and not one to criticise if you do want my two cents worth I did think the girl who came out at the beginning to tell us about the play and turn our phones off was very entertaining and also the four people who were auditioning did a really good job especially considering there didn't appear to be a proper script or anything at this stage but I am not sure about the singing section and perhaps there was no need for that young actress girl who was obviously upset and crying for some reason to take her clothes off as there were young children there and if she must do that then her top and bottoms should probably match better like they do in that Burlesque show I saw recently but that's probably because there is a strict budget which is probably also why there were none of those small vegetarian pizzas or platters of sliced carrots and cucumber with avocado dip that Sally sometimes organises before shows and why there was no free cordial afterwards and why we had to pay for all that red wine as well which we drank a lot of but that's OK I suppose as it's all for a very good cause as the woman serving behind the bar so rightly said and who apparently also wants to be an actor or is it an actress and so overall when the play is finished I will be very happy to recommend it to other people as its such a brilliant idea and production by that Rice lady and her husband and should do well on the stage.

"Craig started it" and "rumour has it"

2008-10-22T22:09:00.000-07:00

Nobody's contacted us directly but "rumour has it" that contributors (including ones we paid) are "miffed" that Kate's taking sole writing credit for APOCALYPSE PERTH. Three contributors and characters from the play attended the performance last night and loved it. We'll go with their responses.

Read the full thread.

Stirling Times

2008-10-22T22:07:00.000-07:00

GORDON'S REVIEW

2008-10-22T22:01:00.000-07:00

Gordon the Optometrist gave us a good review.
Surprise! Well, with this production we seem to have actually surprised Gordon.

And the ensuing comments spice up the discussion and are worth reading.

"I must be honest, I expected something dull and trite, but this show covered many emotions and the cast did a brilliant job. A very well constructed script, delivered with power, emotion, and at times finely choreographed movement. Most enjoyable."

Click here for the full review.

Preview puff piece in The West

2008-10-21T22:56:00.000-07:00

Apocalypse Perth in The West Australian

If you look at a hardcopy in today's THE WEST AUSTRALIAN, you'll find an excellent "cut-out-n-keep" photo of me and Kate.

Crew Biographies

2008-10-19T21:41:00.000-07:00

Kate Rice
Kate Rice studied acting at VCA and playwriting at NIDA. She has written two full-length plays for adults and six full-length plays for young people and children. She has also written several short plays and short films, and is currently writing for children’s television. Apocalypse Perth is her first verbatim theatre project. She has been very interested in the themes of self-delusion, communication breakdown and coping with criticism since her first share-house flatmate ambushed her in the corridor and told her she was lazy.

Jeremy Rice
Maintained the “Official James Coburn” website in the first person until Coburn’s death, then adopted the online persona of Coburn’s agent Hillard Elkins. Email Jeremy at hillard_elkins@yahoo.com. Jeremy is neither an indie musician, nor a London photographer. He is the Jeremy Rice of Barking Gecko Theatre Company and the one who played the Fairy Queen in Iolanthe at St Aloysius College in 1984. Rather well.

Ash Gibson Greig
Ash avoids reading any websites except for his own and Facebook, but since no one has accepted his friend requests he has to banter with himself on his wall. He listens only to his own music, which Rolling Stone magazine is still unaware of. He bonded instantly with Jeremy as he is the only man he's ever been able to stand eye-to-eye to. In a parallel universe Ash composes for TV, film and theatre. In this one he composes for his mum, who he lives with. She thinks he's very talented.

Lucy Birkinshaw
Co-Founder: Filament Design Group. Theatre credits include Black Swan Theatre Company's The Messiah, Black Swan BSX, Woyzeck, Falling Petals; Perth Theatre Company, Taking Liberty, Baby Boomer Blues; Gossip's Feast Productions, Construction of The Human Heart; Red Ryder Productions, Dying City, Loveplay, Mozart Faction, Moment on the Lips, Dealer’s Choice; Side Pony Productions, The Manic Pony, Scarecrow, Australian Opera Studio, Idomeneo; Happy Dagger Theatre, The York Crucifixion.

Craig flames

2008-10-19T21:33:00.000-07:00

Craig Williams, agent provocateur of the ITA website, has posted his "Apoca-list" - names, IDs, handles, pseudonyms of everyone who posted to the original Rock Apocalypse thread and the two Apocalypse Perth threads.

Craig's post suggests that everyone named should see the show because they're in it. Well, I say they should see the show but not everyone's words are contained in our APOCALYPSE PERTH script - just those from mthe original thread who we contacted and who gave us their permission. Oh, and the words of a few people who posted under ridiculous and untraceable pseudonyms.

Cast & Crew Credits

2008-10-19T02:21:00.000-07:00

Cast
Greg McNeill
Whitney Richards
Vanessa Trengove
Craig Williams

Writer: Kate Rice
Director: Jeremy Rice
Composer: Ash Gibson Greig
Lighting designer: Lucy Birkinshaw
Floor design and scenic painting: Alison Brayford
Publicist: Roberta Alves
Stage Manager & Operator: Ursula Andinach
Graphic Design: Jet
Stills photography: James Rogers

Thanks
Joondalup Encore Theatre Society, Sharon Joseph, Stewart Campbell

Cast Biographies

2008-10-19T02:16:00.000-07:00

Greg McNeill
Whitney Richards
Vanessa Trengove
Craig Williams

Good Morning Starshine

2008-10-16T06:52:00.000-07:00

This album has two brilliant arrangements: Louie Louie and Je T'Aime Moi Non Plus.

Attack & Counter-attack

2008-10-09T18:54:00.000-07:00

FROM ONE OF THE MORE RATIONAL ATTACKS...

Sorry - I won't be going
Author: Pontius Kak
Date: 09/10/2008 - 08:13

"...local people could potentially be hurt by this production..."

"...Who would now want to be part of the Theatre Group that put on Rock Apocalypse?..."

"...I, personally, do not agree with ethically, so I'll be voting with my feet on this occasion..."

MY ANSWER...

See the show, then vote with your feet
Author: Always Working ...
Date: 09/10/2008 - 23:53

When we decided to mount this production our first step was to contact the theatre group that was the subject of the original forum.

The committee's number one concern was the same as yours: that our play would harm the reputation of the group and affect the the future of that group. And that is Kate and my number one concern as well: we don't want to make fun of anyone or run-down any community theatre group. We didn't see the original production. We haven't asked or found out anything about it except what everyone has or can already read on the ITA website. Our interest is exclusively in the forum. But we've met or communicated with as many of the people involved in the production as we could and our intention is that their voices are heard in the play.

Other contributors to the original forum - not involved in the group - had the same concern. Eventually we persuaded all those contributors to let us their words. If you see the production, you'll see some of that persuasion - and the arguments we needed to overcome - performed.

We have tried to demonstrate our ethics through actions: we met with committee, we interviewed those who wrote on the forum and those who were written about, we ran workshops at the group's main venue, we auditioned and cast an actor from the group (just so happens she wasn't involved and didn't see the original production), committee members have attended our rehearsals and remain involved in the process.

On Saturday 25 October at 8pm, we will perform the play at Padbury Community Hall (Caley Rd). Probably many of the people involved in the original production will be there. And I'll be there to receive their feedback.

On Tuesday 28 October at 6.30pm, there's a special performance at the Blue Room followed by a "Meet the Artists" forum. We've invited all the contributors to the play to that performance. If just afew of the contributors to this thread attend, it will be a great discussion.

Perth Theatre Company produced TAKING LIBERTY by Ingle Knight at the Playhouse Theatre last month. It's a play about winning the America's Cup in 1988. On opening night, Alan Bond, John Bertrand and the rest of the surviving crew members sat in the front row, watching the actors being them, 'warts and all'. An amazing experience for all and I look forward to those performances of APOCALYPSE PERTH where people see their "double" on stage.

As for the question, "who would now want to be a part of the theatre group who put on...?" That question has been online for 8 months now in the other thread - without a clear answer, just a myriad of conflicting experiences and opinions.

But I think plenty of people would want to be a part of the group that put on BUSYBODY - we did see that production (I posted a review on this site) and it was a good night in the theatre.

Please, vote after you've seen the production.

The Blue Room and Always Working Artists present
APOCALYPSE PERTH 21 Oct - 8 Nov 2008
The Blue Room Studio. Bookings: (08) 9227 7005
http://www.blueroom.org.au/blueroomseasons/apocalypseperth

Words of Asbestos

2008-10-09T18:49:00.000-07:00

From the ITA website:

It wasn't me! Book tickets.
Author: Always Working ...
Date: 07/10/2008 - 11:40

Publicity is only as good as ticket sales! I haven't been flaming myself - honestly - because I don't see the point unless the discussion encourages people to see the show.

There are two main criticisms (foolishly alluded to by me in my initial post):
1. the writer is hard for ideas.
2. we've paid to use other people's words.

Kate has responded to these criticsims previously but here, again, qucik responses:

1. Kate is an established professional award-winning theatre and television writer. She has current commissions from the Seven Network, two professional Perth theatre companies and a play in development in Melbourne - neither short of ideas or writing experience. And turning the forum into a play has required a lot of writing. See the show and judge for yourself how successful we have been.

2. Legal advice (from a university law faculty, no less) stated that we needed to contract those forum contributors who we could identify and locate to use their intellectual property. There's no contract without an exchange; some people pay a token dollar. We chose to pay more because, as theatre professionals, intellectual property is a large part of our livelihood. We expect people to pay us for our intellectual property; we'd be hypocrites not pay others. See the show and judge whether we paid too much or too little.

The Blue Room and Always Working Artists present
APOCALYPSE PERTH 21 Oct - 8 Nov 2008
The Blue Room Studio. Bookings: (08) 9227 7005
http://www.blueroom.org.au/blueroomseasons/apocalypseperth

From the flame wars

2008-10-09T18:43:00.000-07:00

Over on Independent Theatre Association, the flamewars flared as soon as I posted about our upcoming production APOCALYPSE PERTH (Opens 22 Oct). The flames have died down a little but the threads are long and tangled. So, from the members, I've plucked a few sizzling hot coals from me and our champion - Craig Williams. As much as I'd love to re-post the worst abuse I've received, I'm happy to give my detractors much more respect than they deserve and not breach their copoyright - just a few choice quotes to make the context clear ("fair dealing").

Crock around the Clock
Author: crgwllms
Date: 07/10/2008 - 16:08
crgwllms's picture

Ha! Fantastic!
Uninformed, unwarranted abuse, from people who just don't have a clue. I'm shocked, amazed and intrigued. And entertained.

And it's exactly the type of discussion that attracted me to that original thread; that compelled me to join the discussion Kate created about commencing the project; and then to take on a role in the actual production! I love the inherent irony that people are missing the point, resorting to name calling, and revealing their frustrations and inadequacies through fabricating these arguments. It's an amazing character study, and I wish they all could be included in this project...except we want to keep it to one act and there's enough lines for me to learn already!

Yes, I think you're right. Kate MUST be a desperate unimaginative writer. Having won the People's Choice award at last year's Blue Room awards must not have demonstrated enough creativity or talent, and an idea like this one is TOO mundane to excite any controversy or generate any discussion before it even opens...right?
No one's going to prematurely form an opinion and then try to maintain their self-righteous position with no real ammunition to their argument over this worthless concept...are they? Not on this site.

Obviously, the sh#t stirrers have imagination to SPARE (far more than poor Kate..!) judging from the highly evolved arguments they are putting forward and the cleverness of what they have to contribute..!

I can verify that Jeremy is not responsible for replying to his own posts, as the above responses arrived while we were in the very act of viewing the web thread at the office. Yes, it astounded us too at how little brain matter was expended in their creation.
[And if I really wanted to get all 'Charlie Kaufmann' on you all, I could suggest that the one who posted saying 'I can't help but think the Rices are posting these comments themselves' may have actually been responsible for the original insults, in order to set up their conspiracy theory..!..!]

While I feel compelled to ridicule, I actually want to heartily thank the authors of the inane insults above. You, and the ones who posted in the thread that began this project, have unwittingly (choice of word intentional) provided me with 3 weeks of work!

Hope to see you there.

Oh, and I must take offence at whoever called Jeremy 'the tosser from Barking Gecko'. That title has always been mine!

Cheers,
Craig

Flame wars erupt - book tickets now!

2008-10-08T18:20:00.000-07:00

I went back to the source - the Independent Theatre Association website - and posted an announcement about our upcoming production, APOCALYPSE PERTH (22 Oct - 8 Nov Blue Room). Foolishly I stated,

PS, you can slag-off this post as much as you like but, be warned, it's not too late for us to include your diatribes in the production.

And so the flaming began. I'm a tosser, a tool; Kate is a stupid cow. Read the lot (there are some rational posts as well) at

"It doesn't sound like a very interesting concept for a play"

Craig Williams

2008-10-06T19:23:00.000-07:00

Actors

2008-10-06T03:33:00.001-07:00

ACTORS BIOGRAPHIES

Greg McNeill
Greg is one of Perth’s leading actors, appearing in over twenty professional productions for Black Swan Theatre Company, Perth Theatre Company, Effie Crump Theatre, Hole in the Wall Theatre and the WA State Theatre Company. Recent credits include The Crucible for Black Swan, the international tour of David Williamson’s Face to Face and national tour of Soul Mates for PTC. His many television credits include the award-winning Shark Net and the lead in the mini-series Foreign Exchange.

Whitney Richards
Whitney recently played the lead role of Polly Peachum in Brrecht’s The Threepenny Opera for hayman Theatre at the the Subiaco Arts centre. A graduate of Curtin University in Performance Studies, Whitney appeared in many Hayman Theatre productions including Shakespeare’s Richard III, Chekhov’s The Seagull, The Wind in the Willows and the annual Hayman Theatre Christmas Pantomime. She has appeared in many short films including the lead in Dorothy, nominated for Best Production at the WA Screen Awards. Whitney’s first production at the Blue Room production was this year’s Everything You Ever Wanted to Know about Silence.

Vanessa Trengove
Vanessa Trengove is fulfilling a childhood ambition to act professionally after raising three children of her own. Vanessa has appeared in Fawlty Towers, The Reluctant Debutante and the title role in Busybody for Joondalup Encore Theatre Society. Vanessa was not involved in the production of Rock Apocalypse but knows and has acted alongside many of the people involved. She auditioned for Jeremy and Kate Rice and is thrilled to be making her first professional acting appearance.

Craig Williams
Craig Williams has been a professional actor in Perth since he was 17 years of age. He’s most closely associated with Barking Gecko Theatre Company, acting in countless productions, most recently in Australia vs South Africa for the 2008 Perth International Arts Festival. His other credits include an award-winning performance in Stories from a Suburban Road for Perth Theatre Company, roles for Black Swan Theatre Company, film and television appearances including the feature film Deadly. Craig is the resident musician for The Big Hoo-Haa at Lazy Susan’s Comedy Den (Brisbane Hotel) and his voice can be heard on many radio commercials. Craig is an avid contributor the Independent Theatre Association website under his own name and a proud member of Actors Equity.

Book Now

2008-10-06T02:33:00.001-07:00

Interview

2008-10-06T02:32:00.001-07:00

> _ Is it the first time you've directed a play for adults in Perth professionally?

Yes, this is my first play for adults in Perth. Since moving to Perth in 2006, I have directed five new productions for children and two for teenagers at Barking gecko Theatre Company, and a production for children and families at WAAPA.

This play is unusual for me as a director because the script is comprised of the true words of real people. I am well-known for directing new Australian plays inspired by stories from fiction, not fact.

> _ What’s the difference between your work for children and your work for
> adults?

Nudity and swearing! Just joking. None of my plays for children have swearing or nudity.

Whatever the audience, I aim to entertain and make people think. APOCAYPSE PERTH will contain more emotion than a play for children. The characters and performances will be naturalistic: I want audiences members to recognise themselves in the characters instantly. With children's plays, I usually direct more character-based performances - often animals or mythical creatures. In some ways, many of the people who posted on the online forum were mythical creatures of their own devising.

> _ What kind of reaction are you expecting from the public (controversy,
> sympathy...)?

I always want a bit of controversy to help publicity and sales but I expect that most people will be amused about the passionate and vitriolic online debate over a few nights in the theatre. I expect a few people - I hope all - who posted in the online forum will see the show. I expect they'll hear the words in a different way and then think about what they wrote and how they expressed themselves during the heat of discussion.

APOCALYPSE PERTH

2008-10-06T02:27:00.000-07:00

the APOCALYPSE PERTH blog

2008-10-06T02:03:00.000-07:00

Only two weeks until APOCALYPSE PERTH by Kate Rice, a verbatim theatre production of an online forum about the worst ever community theatre production (in the opinion of some) ever produced in Perth. You could find the original forum but, if you're in Perth between 21 October and 8 November, you'll have much more fun experiencing it performed LIVE at the Blue Room Studio (http://www.blueroom.org.au). This has been a teaser from director-producer Jeremy Rice. More to follow.

First rehearsal.

2008-09-20T01:44:00.000-07:00

Today we began rehearsing APOCALYPSE PERTH, our vebatim theatre production for the Blue Room.