The Ripple Effect Silent Disco the Making 0F
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The Ripple Effect Silent Disco The Making 0f Elizabeth The Man in the Attic Wildcat Falling Valentine’s Day Good Grief Apart A Night on the Tiles Harp on the Willow Off to the Colliney The Ice Season We Have What You Want Slut Shots Maiden Blame it on the Moon Tough Girls The Australian Script Centre The Salt 2011 Annual Report Calling All Angles The Hypocrite Coup D’Etat The Haunting of Daniel Gartrell Baby Boomer Blues Wanderlands Three Short Plays About the Same Two People The Berry Man Return to Earth Dirtyland Revolution Man of Blood The Getaway Bus The Exploding Breakfast The Glass Soldier The August Moon Portraits of Modern Evil Sherlock Holmes and the Coming of the Fairies Bringing Down the Moon Bumming with Jane Alice of Hearts Taking Liberty The First Sunday in December Half Way There Creche and Burn Uncomfortable Silences Thicker than Water Unaustralia Deep Space 9Mm Code Name: Angel Star Wedding Belles The Kid ’A’ Project: A Modern Christmas Tale The Fires Of Muspell A Perverse Jury The Never Days Lyrebird (Tales Of Helpmann) Apocalypse Perth Catch the Tail Stories from Suburban Road A Slow Exit (He is Going to Die) A Moment’s Hesitation As She Changes The Expression On Her Face Eyes Australian Script Centre Inc. ABN: 6343 945 6892 1st Floor, 77 Salamanca Place Hobart, Tasmania 7004 Australia P +61 3 6223 4675 F +61 3 6223 4678 E [email protected] www.ozscript.org www.australianplays.org In 2011, the Australian Script Centre was assisted by the Australian Government through the Australia Council, its arts funding and advisory body, by State Ministers for the Arts through Arts Tasmania, WA Department of Culture and the Arts, Arts NSW and Arts SA and by Salamanca Arts Centre. Our patrons: David Williamson AO & Robyn Archer AO Contents About the ASC 1 Chair’s Report 3 Director’s Report 4 The Team 5 The Board 7 New Plays 10 Auditor’s Report 13 Special Thanks 17 “It was a beautiful production, truly ensemble, with just the right energy, staging and some fine acting, capturing the irony in the script too. I was so pleased to be able to see it and do thank the Script Centre for your part in administering and making the play available.” - Playwright About the ASC The Australian Script Centre is the Our Mission What We Do only national organisation devoted to the selective collection, promotion Our mission is to be an integral part Our resources are directed into three and sale of Australian plays in of the Australian theatre industry by main areas, namely; manuscript form. It is recognised by providing a gateway to the best of the Australia Council for the Arts as a contemporary Australian performance The Catalogue Key Organisation providing essential writing. Playscripts are the ASC’s lifeblood. infrastructure services to the theatre We strive to collect and publish a sector. The ASC’s script catalogue catalogue of works that represent supports playwrights in particular by Our Values the full spectrum of Australian filling the gap left by the very small performance writing in terms of genre, number of Australian plays that In all areas of practice and operation, style, cultural diversity, intended achieve commercial publication. Our we strive to: audience and subject matter. ecommerce website, AustralianPlays. org, gives playwrights a global • Promote and support the work of AustralianPlays.org distribution and marketing network contemporary Australian playwrights; Set up and managed by the ASC, for their work. We also facilitate the AustralianPlays.org is a one-stop shop production of Australian plays by • Find innovative, creative and for theatre professionals, community acting as a central clearing house for responsive solutions; groups, researchers, educators, production enquiries and through our students and others with an interest photocopying and production licensing • Ensure that integrity underlines all in Australian performance writing. Its services. aspects of our business and is evident robust ecommerce system allows the through systems of good governance, ASC to offer a low-cost distribution Through AustralianPlays.org, we financial and legal responsibility. service to other Australian theatrical market and sell not only plays in the publishers, providing a focal point ASC’s catalogue but also playscripts for sector-wide collaboration and and associated support materials resource sharing. published by other theatrical publishers, providing a single entry Licensing point to the full range of contemporary To help simplify rights management Australian playwriting. for playwrights and theatre practitioners, the ASC acts as a licensing agent for photocopying and amateur productions of works in its catalogue. It also enters into licensing agreements with various suppliers for the distribution and sale of Australian theatrical works. “The ASC does a wonderful job and I’m a huge fan. I tell my students about ASC all the time” The Australian Script Centre page 1 - Educator and playwright Annual Report 2011 About the ASC Our History The organisation started life as the catalogue of plays but also the print National Script Resource Centre, format catalogues of Currency Press, established in 1979 by Tasmanian Playlab Press and several smaller theatre-maker, Barbara Manning and specialist publishers. Once in the the Salamanca Theatre Company. After digital marketplace, script sales, many years as a distributor of scripts production enquiries and website for the drama education sector, it was traffic quickly shot to record levels and re-launched in 1993 as the Australian have since continued on a trajectory of Script Centre with an expanded healthy annual growth. brief to service the wider theatre community. Today’s ASC is a broad church of strategic collaborations and joint From this point forward, the catalogue ventures which extend well beyond grew rapidly into what it is today, the its own curatorial interests. While world’s largest collection of Australian still firmly committed to supporting playscripts, incorporating most styles individual playwrights through its own of professionally written, production- unique catalogue, the organisation, ready works for theatre and radio. through its various marketing In 2009, the catalogue, comprising initiatives and the low cost distribution almost 1,800 scripts, was recognised service it provides to other theatrical “I doubt my shows by the National Library of Australia publishers, is making a tangible as a collection of national cultural contribution to the overall vibrancy would still be alive a significance. It was subsequently and viability of Australian theatrical decade on from their consolidated and almost 1,000 scripts publishing. documenting the early development of premieres if not for the theatre in education were archived and transferred to the NLA for preservation support of the ASC.” and ongoing management. Playwright Also in 2009, the organisation made the transition from print to digital publishing and launched AustralianPlays.org, which quickly established itself as the primary online source of Australian plays, distributing not only the ASC’s own fully digitised The Australian Script Centre page 2 Annual Report 2011 Chair,s Report In the third year of the Australian Accordingly, we were pleased to have After nearly five years on the Board Script Centre’s brave new digital an increased presence at a number of I am stepping aside to make way adventure we ‘give good stat’ – as significant events this year including for new energy and ideas. I would, our Director Gail Cork attests to in Drama Australia’s national conference therefore, like to take a moment her report – in fact, the organisation and the Queensland state conference, to thank Board members, past and has met or exceeded 80% of the key the Arts Marketing Summit, the present, with whom I have served. targets it set for itself three years ago. Women Playwrights Solutions Fellow directors, Rosalba Clemente, Roundtable, the National Play Festival Wesley Enoch and Chris Tugwell are This success (“It worked, gosh, what and the Australian Theatre Forum. also standing down and I’d like to next?”) provided a platform for the acknowledge their contribution and Board to ‘think smarter’ as we began The fact is a presence in the life world especially thank Chris who is retiring mapping our plans for the next keeps us connected in the digital as the longest-serving of us all. I’d three years – and we are pleased and world, as did the appointment of also like to welcome lawyer Richard grateful that these plans have met Briony Kidd in the new ongoing role Howroyd, who joined the Board in with endorsement and continued of Online Producer. Briony quickly March. funding for 2012-2014 from our key insinuated the Centre into digital stakeholders, the Australia Council networks and industry events to great My final thanks are reserved for our and Arts Tasmania. effect and saw us partnering with Director, Gail Cork. The Centre is a number of organisations for the lucky to have her and I will miss her In addition to oversight and assistance first time to generate digital content phone calls that always begin with a with the preparation of a New for shared promotional and/or polite, ‘How’s my timing?’ Needless Business Plan, the Board’s focus in documentation purposes. to say, her timing and much else are 2011 has ranged across a number of perfect. But more importantly we’ve issues like resecuring the Centre’s Our one-stop-shop for playscripts, had a lot of fun together steering the lease with Salamanca Arts Centre AustralianPlays.org continued to ‘Grand Old Lady of the Filing Cabinet’ for an extended period, approval of be greased and oiled, tweaked, into digital waters. capital refurbishment and equipment and tinkered with (including the upgrade expenditure and review of introduction of a popular new library But enough from me.