EDITORIAL There were many different ways Lowdown video, computer graphics and electronica could have celebrated its twenty{irst birth- for its young, media-savvy audience. A day. l've opted for a very'Lowdown' youth arts organisation using drama for the approach - to celebrate our birthday by cel- social development of young people in the ebrating Australian youth performing arts, '70s may now use young people as its through profiling a longstanding company or guides in a constantly changing world in organisation in every State and Territory. order to remain on the cutting edge of cre- Rather than grab centre-stage with a ative endeavour. Lowdown retrospective, I wanted to keep the Trina Parker, in her article on Arena Theatre, focus where it should be, on the practitioners points out another important characteristic of and companies who have created and re- has managed 'keep created our industry every day since one company that to on Lowdown started. keeping on'. A successful company usually has a strong board of rnanagement - people The theme is'Living Journeys', and the issue with a knowledge of youth arts, a range of looks at how the youth performing arts skills and experience that support the full- industry has responded to the challenges time staff, a willingness to back exciting but and changes of the last twenty-one years. possibly untried artistic directors and the Together with some thoughts from AYPAA good sense to know when to step in and and YPAA presidents, along with past and when to hold back. present Lowdown editors, I wanted to focused issue explore some of the unique characteristics In having such a tightly I do few regrets. There were many, many of Australian youth performing arts. have a people who have made outstanding contri- Some characteristics of companies who butions that we don't mention here. ln select- have negotiated years of change are easy to ing only one longstanding company from determine. They include significant youth each State and Territory I have also omitted ownership, a willingness to boldly experi- some of the most exciting companies in the ment with form, the building of strategic part- country. I offer my sincere apologies to those nerships, the provision of access to all companies and individuals and acknowl- Australians and not just a particular socio- edge that, in conveying an impression of the economic demographic, and the ability to change that Australian youth performing arts respond to social and technological change. has undergone, important parts of that living So a youth theatre company doing text- history are missing. Hopefully someone will based theatre in the 'BOs may now be a remedy the situation by writing the history of youth arts company offering a range of cre- youth performing arts in Australia, a book ative activities in a venue or over the internet. that should and must be written soon. A TIE company producing educationally hope you this look at our past, our sound and morally didactic in-school shows I enjoy present with minimal set and props in the late '70s and our visions for the future. may now be a TYP company producing con- Cheers fronting in{heatre shows blending theatre, Tony Mack

Editor Tony Mack

Marketi n g/Advertisi n g/Lay-out Leigh Mangin Design/Lay-out Jason Rowe Printing Douglas Press Pty Ltd

Geoffrey Brown Deborah Heithersay Andrew Bleby Rachel Healey Roger Chapman tetgh Elllott Helen Rickards Darelyn Gunzburg lan Chance Bellnda MacQueen fo Shearer Letgh Mangln Anna Dollard Tony Mack

2 lowdown june 2000 Lowdown looks at the past, present and future through the eyes of influential AYPAA and YPAA personnel and Lowdown editors.

A CERTAIN KIND OF contact with as many people as possible, arts that the future lies and it is quite ENERGY to present the findings in open seminars possible that they will be unlike the arts to The connection began in Adelaide 1972 al and to provide a final report with which we have grown accustomed...' inaugural Administration recommendations. Anne Godfrey-Smith the Arts A year later, during the first Canberra Conference presented under the auspices (Edgeworth) was appointed to undertake Festival, we became duly constituted this huge task. Anne gave tremendous a of the then, Australia Council for the Arts. body, with state branches (or With representation from all states, several service, journeying on our behalf, far representatives), a new name The participants meeting each other for the afield, into regional centres and remote - Australian Youth Performing Arts first time realised they were concerned areas. Her key recommendations Association and a regular newsletter. with arts activities for children and young focussed on the need to develop people - so an informal group So there we were! Number one was formed. Naomi Marks, recommendation - a Diana Sharpe and myself were communication service. The intrigued to discover that each AYPAA newsletter, developed had started a group or company, by Margaret Leask, was further in the mid-sixties, within months enlivened by Geoffrey Brown of each other. The companies (first Editor of Lowdown). Our were Childrens' Arena Theatre umbrella base moved from the (Melbourne), Australian Theatre Trust to the Sydney University lor Young People (Sydney) and Theatre Workshop, thanks to Childrens' Activities Society Derek Nicholson and Robert (Perth). Lesley Hammond, then Love, then to Carclew and the with the Australian Marionette energies of the late seventies in Theatre, undertook a network Adelaide. role and whether the Australian I well remember the impact the Elizabethan Theatre Trust quite hand delivered realised it or not, it provided a first time I Lowdown to the members of the continuing network and international committee of communication link. ASSITEJ. lt seemed few other Calling ourselves the National countries had a publication Youth and Children's Pedorming devoted to young people's Arts Association and with performing arts. Several increasing numbers of contacts, Australians had made personal another person working at the contact with this international Trust in Sydney, Margaret Leask, body (ASSITEJ) in earlier years became the vital link. and Margaret Leask attended the Berlin meeting in the mid- ln 1973 the Australian Council seventies using our AYPAA panels for the Arts had three of name perhaps for the first time. meeting the Theatre Board, I went, as the lone Australian, to monthly. I was on the Drama Madrid and formally made a bid Panel for several years and with to join ASSITEJ. A year later I colleagues on the Dance and was invited to the committee panels, pleased Puppetry was meeting in Washington DC it push - when our for a separate was magic being able to deliver Youth Panel was agreed to. lt an impressive magazine style had a strong group representing publication under their hotel each state and several forms of room doors before breakfast, endeavour and as the panel met along with the morning paper. frequently and in a ditferent state each provide And thanks to the name which came from time, it provided an ideal opportunity for communication services to up to (and Maggie Wilde-West 'well, give 'em the plot prosper. date information to the field aboui the - the new association to and lowdown kid'... it did and still is! With Barbara Manning, Murray Foy, Jenny field), to look into the longer term Blocksidge, Ken Conway and David Young possibilities of using film, TV and new Thanks everyone for not allowing involved in a number of ways, we were up media to assist the exchange of Lowdown to lie down. away. 1974 Youth Panel information and to bring regional arts and ln the JOAII POPE received a grant to engage someone to personnel together in lace to face lnaugural National President, AYPAA undertake a nation wide survey to make conferences and festivals. Some of Anne's words proved prophetic: 'lt is with youth

lowdown june 2000 3 towDowN Wonderful stuff. After a few issues of FROM THE UNKNOWN - THE EARLY YEARS Lowdown, National AYPAA accepted an TO THE KNOWN The 'pre-launch' issue appeared in early offer it couldn't refuse from the SA The key person to world recognition of '1979 and the first issue in July. Lowdown government to be based within the Australian youth performing arts practice was up and running. glamour of Carclew and away from the is Roger Chapman. As Director of the support offered by Derek Nicholson and Carclew Youth Performing Arts Centre in I had been appointed by'National AYPAA' Theatre Workshop at the University of the 1980s he ensured the full support of (the national body of the then Australian Sydney. Their support for National AYPAA the national centre of ASSITEJ Australia, Youth Performing Arts Association) as with its main role to their'National Consultant' from July present the national 1978. For the previous six months, I interest at had been Administrator for the Toe international levels. Truck Theatre Education in This was based on Company, based in Sydney, having his own experience graduated from the University of that Australia, while NSW end 1977. My at the ol unknown to the world involvement in youth arts was, to at that time, had a say the least, limited. great deal to offer in Here I was, though, working with an the quality of the work executive group of state delegates and the calibre of its who were at the forefront of youth artists. He believed arts development at the time: Joan ,,4{JSTRALIA'S CLJLTURAL that Australia, Pope from Perth, running CATS; through its Graham Scott, involved in the multicultural, diverse Victorian Youth Theatre Association rAL and original work, and the Education Department's *t#w t]# Tt-{f,Y was a model for many drama activities; Andrew Bleby, from countries seeking the Come Out festival and the contemporary Adelaide Festival Centre; Robert practice with which to Love from Toe Truck TIE in Sydney; engage the interest of as well as Peter Wilkins (ACT), their young Brian Haslem (Tasmania), Bernice audiences. Watson (NT), Mary Gibbs and I became Director of (Queensland). And working with the the centre at the time wonderful Godfrey-Smith, Anne and well remember whose review youth in of arts our discussions that Australia had just been published. the future lay in The pre-launch issue of Lowdown establishing and reflects the buzz of activity at the continuing time - and also some fairly dire representation in production values, it should be international noted. lt was an 44 publication, activities. The best typed on a fabulous IBM Selectric way to achieve this, golf-ball typewriter and then copied we decided, would be t*gg g#{ ,E€{ yi{ and stapled in-house at the r# through ongoing lilEIFttH wtls J0# fta$ttlt University of Sydney's print shop, if I ffi# membership of the stvetxt Ettcoslt O*Lfl recall. Fifty-four pages no tttfflEs -F- C ASSITEJ Executive and #f#g " photos! Well, the cover had some t#vffss tt$t*ra *#*rs** lry:; Committee, graphics - German graphic trade Australian symbols of industries', representing productions in world carnival, gingerbread, circus, toys festivals and the and music - what was I thinking of?? - and for the launch of Lowdown - was participation of artists in key events and essential and personally pass my study tours. At the same time there should And the content! Well, it was all happening I on grateful thanks. be support of invitations to world in 1979, the 'lnternational Year of the companies and key personnel to major Child'. National AYPAA had directed its The names changed - in 1980, new Australian events. All should be resources into the INROADS Project, a delegates included Trina Parker (Victoria), implemented through one of Roger's well- series of state-based initiatives for young Catherine Beall (ACT), Garry Fry (NSW), known working principles -'go straight to people in remote and rural areas. These Heather Ross (Qld) and Liz Andrew (NT). the top'. ln such ways, an Australian included using a train to take the arts to I left in 1981 to work overseas - initially to presence and profile could be maintained young people in rural Victoria, a project on meet up with Margaret Leask, who had and Australia could become a leader in the King lsland off the coast of Tasmania, work been the first paid staff member for AYPAA field. in Jervis Bay, a'Kids Convoy'project in WA and who was then working in London (and and the NT, and a Riverina-based youth acting as AYPAA's London The springboard was the 1987 ASSITEJ arts project in NSW. correspondent). But Lowdown continues - World Congress in Adelaide, which fantastic achievement, my brought international attention to Australia This first issue also reported on a wide it is a and congratulations to all those who followed for the first time and opened the way for range of the youth arts scene at the time and who have turned it into the successful f uture development. While Australian and companies active then, including the and respected journal it is today. practice has much changed since then, it ATYP, Patch Theatre and the Shopfront still remains in the forefront of original and Theatre. National AYPAA itself had just I would love to hear from anyone involved noteworthy work. concluded its national tour of John and in those days - send me an email at Sue Fox, from Welfare State lnternational . It is remarkable that in all of this'Lowdown' in the UK, who had undertaken youth and was - and indeed still is - an outstanding community arts projects all across GEOFFREY BROWN support. lts quality reporting and its Australia. Lowdown foundi ng Editor documentation of significant productions

4 lowdown june 2000 and events reinforce the changed view continue to analyse, debate, argue and rigorous and intelligent debate and critique that Australia is a country to be reckoned question the issues that affected and . of its work does not mean a lack of support with. arose from youth performing arts practice. for the artform. Nor is it necessarily an It was interesting to see from Danielle example (in the case of youth arts The rest is history, as they say. I carried Cooper's comments in the most recent companies and practice) of how the forward the facilitation and enablement of issue of Lowdown that these issues are as reviewer misunderstood the process. Australia to the world. Australian fresh as ever. Perhaps it was one of those rare companies and artists did the rest so that occasions in which everything being today, far from being the great unknown, recall commissioning an interview I reviewed in the last eight weeks was Australia is well known and well regarded. (Lowdown, June 1992) with one of the terrif ic. Nevertheless, I would hate Australia recognised great British theatre critics Michael Today is Lowdown to become a pinboard of press internationally for its youth performing Billington. While he is of course arts the theatre releases or a source of breathless praise practice, its strong and thoughtful voice in critic for The Guardian and not dedicated for youth arts activity and when international deliberations its to working in the youth arts sector, I found - and competition for funding is high it can be contribution advancement of his comments illuminating and as relevant to the very easy for that to occur. ASSITEJ, the lnternational Association of for the youth arts sector then as they were Theatre for Children and Young People. for all arts practice: Other memories for me that still resonate are Zane Trow's article in 1992 in which he MICHAEL FITZGERALD 'Firstly, you are analysing and interpreting discussed the Next Wave festival and the Director, Youth Perlorming Arts Australia, work to a reader. Secondly, you're fighting way it had showcased the work of those 1985-1999 for the health of the art you're describing. music/theatre workers engaged with You're fighting for standards... as critics World President, ASSITEJ lnternational, technology and multi-media artforms. He we should be constantly campaigning lor a 199e4999 noted how reluctant TYP companies were better theatre.' to incorporate cross-artform influences I hope that Lowdown, then and now, has and also pleaded for a decent interaction LOWDOWN been part of that campaign, but I suspect between artists working in a variety of - A FORUM FOR DEBATE its dual role as both a support base and disciplines into TYP and youth practice. I remember my time as Assistant Editor, critic of youth arts policy and practice is Re-reading that piece is fascinating now - and then Editor of Lowdown, between still troublesome. For example, I noticed on the one hand Rosemary Myer's work at 1990 and 1992 with great Arena Theatre almost fondness. I also recall how obviates Zane's 1992 constantly buoyed I was by the concerns about TYP's energy, skill, intelligence and prejudices, while on the other creativity of the artists working hand I think some of his in the youth performing arts concerns are truer today and TYP sector. They than they were in 1992. inlluenced my decision to leave Congratulations Lowdown for the world of editing and reaching 21 years and for journalism to become an arts delivering many moments in administrator, thus joining the which its readers have been process of producing challenged, delighted, performing arts work myself. angered and made proud. Notwithstanding, Lowdown had You have had an then (and still has) a difficult extraordinary, singular place role in preserving its role as a in Australia's cultural life. forum for argument and debate Long may you thrive! as well as being a repository With love for the next 21. for press releases, news, profiles and advertising. The RACHEL HEALY youth arts sector is often poorly Lowdown Editor (1 99 1 -92) funded with concomitant poor resources - thus its achievements are best YPAA FUTURE attributed to the commitment, DIRECTIONS tenacity and passion of the I feel lucky to be joining youth participants and YPAA at this particular point professional arts workers. As in time - just after an the only journal in Australia inspirational national dedicated to these artists and conference at which the this sector, I remember feeling Australia Council launched a profound sense of the Youth and the Arts responsibility, as well as a real Framework, and YPAA anxiety, about the'support' role launched its new website. that we were perceived to hold. There are a lot of warm lf we sent a reviewer to see the feelings out there about work of a youth theatre youth pedorming arts. company it may well have been However, I feel that there is the only press attention, almost still a huge gap between the certainly the only national arts industry as we all know attention, the work received. and young people out Understandably, this meant artists were it, that in the last issue of Lowdown there there wanting a piece of it but having no very sensitive to negative comment in the was not a single critical word about any how go about it. Not everyone magazine about their work, although idea to aspect of the productions reviewed. Youth wants to go to NIDA, and we should be everyone seemed to agree it was terribly arts activity in Australia is old enough, and able to encourage and support people to important for the health of the artform to sophisticated enough, to recognise that a

lowdown june 2000 5 access the arts in their own way, whether LOWDOWN IN THE There will be a continued interest in it's through the local choir, or volunteering 2IST CENTURY international developments in youth arts. for a local festival, or making a short film. lf Lowdown has managed the impossible, in As shown by recent articles from France, we can provide this, we will be creating not terms of Australian performing arts Germany, Denmark, New Zealand and just our future Buzz, Patch, Arena or Kite publications, by managing not just to Ecuador, I believe that we need to inform artists and managers but, more survive but to thrive over its twenty-one ourselves on more than a national level in importantly, an interested and inquisitive year history. lt will continue to provide a order to aspire to, and achieve, the very and supportive generation of arts lovers, forum whereby the Australian youth best in artistic standards, enlightened audience and bureaucrats. performing arts industry can express itself, policy-making and innovative and will continue to profile major events programming. A number of people at the YPAA's role in this is an advocacy one, on outstanding work, report on last YPAA conference spoke to me too behalf of its membership, and it covers two and innovation and emerging artists, and about their desire for more craft-based ends of the spectrum. One is getting in the reflect the diversity of youth arts practice. articles. Over the next year I hope to look ear of government as much as possible at a variety of areas, such as acting, and helping them listen young to to Readers will also have noticed new trends characterisation, directing and script people. YPAA exists to ensure that every in the magazine. I've introduced a new models for multimedia performance. time a decision is made at government generation of young writers over the last level, youth arts practice is considered as five issues. People like Kate Mulvany, Lana Our'coming of age'occurs at a time when a key issue. Gishkariany, Rachel Paterson, Neville there is a strong focus on youth arts. Whether that will produce tangible other the The end of results is too early to tell we are told by spectrum is promoting a more - the Australia Council that youth arts is a open and welcoming attitude priority, but that hasn't been backed up to young people within the by cold hard cash. Meanwhile under- arts industry itself. This can funded and under-resourced youth arts be with very simple things like companies performing to packed houses spending a bit more time on and international acclaim watch as the the phone with young people Nugent lnquiry gives a leg up to some who inquire about how they major arts organisations with falling might get involved, having subscriptions and staid programming. work well structured Even when youth performing arts experience programs, and companies do all the right things there offering bargain tickets to seems to be a ceiling made of shatter- young people. proof glass. The main challenge for YPAA As an industry though we need to the future, believe, is in I ensure that, whatever the inequities, we constantly finding new ways mustn't allow them to get in the way of of being representative of and excellence. For Lowdown this means advocating young for all being more rigorous in our discussion of people street kids who are - the challenges, obstacles and issues out of the education system facing youth performing arts. Hopefully as much as young people readers have already noticed a trend in opportunities. with more this direction, with recent articles on the YPAA should help promote Nugent lnquiry, best practice in youth programs such as Sydney's arts, YPAA in the international arena and Sounds of the City, which Judith McLean's YPAA address on enables at risk young people 'Strategic Alliances for Aesthetic an opportunity to make music Product'. Reviewers should take Rachel and be part of a social scene. Healy's comments on board too within We need work with the - to the context of each performing arts Department of Youth Affairs experience Lowdown needs to take a on issues such as careers long hard look at whether the production information in the education delivers the outcomes it promises with sector make that to sure high production standards, innovative is YPAA's work form and strong content. complemented by what's being taught in schools. We need to work Talbot and Angela Warren are only a few One of my favourite memories so far as with the Australia Council on how to allow of a dozen or more young, highly talented, Editor of Lowdown was, at short notice, to more flexibility in the definition, multi-skilled artsworkers writing for get a reviewer conversant with youth assessment and practice of youth arts, Lowdown that may not be all that well- theatre practice to a cemetery at night in and how to get more money where it's known outside their home states now. I'd Townsville to review a show. At its best, really needed. like to make a bet that some of these Lowdown ref lects the diversity oi names will be very well-known in the arts Australian youth performing arts in a way On a bigger scale, YPAA needs to be able nationally over the next decade. that no other publication in the country to present glorious face Australian a of comes close to achieving. I'm proud of that youth arts practice to the rest of the world. Combined with Lowdown's large team of but am under no illusions. We've earnt the This can best be done by believing it first the experienced writers and privilege of covering some of the most ourselves celebrating our commissioning of writers who are experts - achievements exciting art in Australia by hard work, so far, emailing each other when we've in their field, I want to create a'must-read' tough decisions and constant dialogue enjoyed some work, sharing processes magazine for the industry. l'm also putting with the industry at a grassroots level. and models that work, and above all, a greater emphasis on variety, with hard- embracing the diversity that youth arts edged policy discussions followed by We hope to continue to earn that privilege gives to our cultural life in Australia. 'colour' articles that give a real sense of for the next twenty-one years. the performing arts experience, followed in NICOLE BEYER turn by profiles of companies or projects. TONY MACK YPAA Executive Officer 2000- Lowdown Editor (1999- )

6 lowdown june 2000 ll itting snugly amongst the privileged architecture. Dennison sold the property in 3 on North Adelaide's Montefiore Hill is 1908 to Sir Langdon Bonython who, paying o o= the outstanding historical mansion, homage to his ancestral heritage, named f o Carclew. Once a private home to Adelaide's the house after the Garclew area in s3 earliest elite, today it is the administrative Cornwall. The residence remained in the o home ol the South Australian Youth Arts Bonython family until the death of the D=. Board (SAYAB) as well as a firmly youngest Bonython daughter, Ada, in 1965. o established hub of activity, training and o With assistance from the State Government resources for young developing artists. As a J property purchased o youth arts centre Carclew lays claim to an the was by the Adelaide o City Council with a view o oc to establishing a Festival = Centre on the site. That original plan changed, however, and despite having been claimed by Premier Don Dunstan to become an arts centre for young people in 1971, the site lay dormant for several years while the board of management struggled

impressive record in having secured board of management aimed at directing continual financial support across an ever to come to agreement on its long-term use. the centre into the kind of multi-artistic proposal changing government landscape, as well as An alternative was accepted in activity originally envisaged. Three managing to thrive even in the leanest of 1974 thal allowed Helmut Bakaitis, Director permanent staff were appointed including times. Perhaps even more remarkable is of the South Australian Theatre Company's Sue Averay who, as Artistic Coordinator, that Carclew and its managing board remain Youth Team, to run his'Saturday Company', took advantage of the favourable group nationally unique in representing a a youth drama based with the then circumstances to introduce equity of access dedicated youth arts framework for policy, South Australia Theatre Company (SATC). to programming policy, particularly with funding and activity that other states are The '70s proved to be an extraordinary regard to children from low income families. only just beginning to consider. renaissance for the arts in Adelaide, due Averay introduced several extracurricular programs including the centre's first school The first impression, upon visiting the largely to the dedication of the Dunstan administration. So passionate was Premier holiday activity program - a highly Carclew site, is wonder at its sheer beauty. successful model that is still used by the grounds Don Dunstan's personal commitment to The elegance of its and aesthetic centre today. facilities says something about the value of cultural development in South Australia that youth arts in South Australia. First time the Department for the Arts was a division of After a surge of artistic activity that lasted guests should always experience the the Premier's otfice. The Festival Centre almost a decade, the Department for the house's original front entrance, surrounded complex was built and South Australia Arts initiated an inquiry in 1979 into services youth by the stately, palm-studded grounds. Once demonstrated leadership in the arts catering for youth arts in South Australia. inside, the visitor encounters an impressive field with the initiation of Australia's first With the intention of rationalising resources, children's festival, Come Out, in hall dominated by an elaborate Queen Anne dedicated the Report of the Working Party style staircase that leads past three arched 1975. recommended that Carclew's primary focus stained glass windows on the landing on the At federal level, a change of government to change from a young people's activity way to the upstairs offices. From upstairs Labor in the early '70s saw the centre to an administrative hub and you can see across to the Adelaide Oval establishment of both the Australia Council information resource for youth performing gained and beyond to the CBD. These days the and the Schools Commission, both of which arts. The centre a new Director, standard business entry is via the back gave Carclew access to federal funds for the Roger Chapman, and was renamed door, past the coke machines and old first time. Carclew gained recognition further Carclew Youth Performing Arts Centre stables (now the Lowdown office and studio afield when the Australian Youth Performing lncorporated. The new Youth Performing space). lt's a somewhat less grand Arts Association (AYPAA), with its strong Arts Council (YPAC) was appointed in 1980. experience, though a lot more practical. links with ASSITEJ (The lnternational YPAC's charter was to advise government on youth performing arts policy and funding Carclew stands on the site of the original Association of Theatre for Children and the A and, through Carclew, to coordinate residence of James Chambers, a Young People), located to centre. strong association still exists today with activities, assist companies working with or successful transport business operator who people projects its Youth Performing Arts Australia (YPAA). for young and to mount of bought the land in 1840. The stone wall own. surrounding the property and stables that A significant boost for Carclew came in still exist today were erected by Chambers, 1977, when the State Government bought YPAC's response to community concerns though his original modest home no longer the property outright from the Adelaide City with regard to arts and education in the'80s exists. The residence that is now Carclew Council. The sale saw an increased was to provide, through Carclew, a nexus was built in 1897 by Sir Hugh Dennison, an commitment of financial assistance between the Education and Arts youth policy early Adelaide MP and wealthy business (including a $90,000 upgrade to grounds Departments so that arts man with a penchant for German and facilities the following year) and a new development would remain consistent with

lowdown june 2000 7 task involved balancing program won the National Community Link c major staffing Award in the South Australian Division for o restructures that Art and Culture. z embraced a diversity of o highly successlul music project, Off the skills, particularly in the A .c Couch, has blossomed from modest youth work field as well its o as current arts practice beginnings in 1995 to become a major contemporary music event that, 1999, experience. in _@o presented 110 acts in 12 venues, involving c o The entire facility was 440 performers playing to an audience of O upended - relocating 13,400. Like Artery, Off the Couch allows offices to the upstairs young people direct involvement in the c floor allowed maximum management of their own artistic = I use of the facility for endeavours. Last year Carclew presented o3 exhibitions and as a the project model to Melbourne's Art and Y 6 meeting place for young Community Conference and the Youth O artists and arts workers. Performing Arts National Conference, education policy. Carclew hosted the The original stables were converted into hosted by YPAA. national Theatre-ln-Education Director's soundproofed studio space. Today the interests the Conference and provided an information facilities include a photographic darkroom, Current and future of organisation reflect growing community service about performers' availability to band rehearsal room, sound and video a focus on training and skill broadening in the schools. A Lending and lnformation Service studio hiring equipment, graphics and arts. As registered training provider, was established for educators, as well as internet computer, arts and craft room and a Carclew coordinates a 12 month traineeship the Youth Arts Press where, of course, two exhibition spaces. These facilities are in in Arts Administration involving some 27 Lowdown was printed.The link between arts a constant state of improvement in order to students in this year's intake, as well as two and education has held over the years run high quality workshops in the technical - short term training and employment Carclew continues to offer a range of arts, f rom film techniques to sound schemes for young performing and visual services to school communities including recording, using up to date equipment. advice on artist availability, project artists. City Sites, catering for the visual arts, To recognise its focus on the full range of the allows young visual artists to undertake sponsorships and grants to encourage Carclew underwent a name change to commissioned works public installation touring pedormances as well as providing arts, for CarclewYouth Arts Centre lncorporated and under the guidance professional tutors. for artist residencies in schools by way of of youth profile the Artists-in-Schools program. the was expanded to include When initiated in 1996, City Sites was the young people from 5 up to the age of 26 only project of its kind in the southern ln 1986 the Odeon Theatre, located at years. First priorities were to construct a hemisphere - it still is. Norwood, was purchased for use by young program regime that gave the youth ln response to the need for the development people's companies, schools, community clientele ownership of their activities as well indigenous arts, Carclew embraces and youth organisations. lt continues as a as cater to the differing demands of the of young indigenous interests in a number of project of Carclew today and is still the whole span of youth. For the 5 to 12 age programs linked to the Come Out Nunga state's only fully equipped professional range the school holiday program was built events. The theatre complex dedicated to young people. up with a plethora of arts and craft activities, Day and Blak Nite organisation's current dilemma how to lf offers subsidised or even free use of the including physical theatre, cartooning, - promote artistic activity to regionally based theatre as well as rehearsal and exhibition storybook construction, jewellery making, young people is closely aligned with the space to assist young and emerging artists puppetry photography, music and dance. - need broaden its reach indigenous to gain access to professional facilities Throughout 1999 Carclew has significantly to to groups. Part of the answer has been to tour without financial pressure. ln addition, the developed its reach by networking with statewide indigenous pedormance pieces Odeon staff conduct a comprehensive childcare centres across Adelaide to provide as well as conducting regional seminars and training scheme to provide work experience over 40 outreach workshops to children who workshops, but generating regional based for budding theatre technicians. The otherwise would have great difficulty arts activity is logistical problem that complex is undisputedly one of Carclew's accessing the centre. This initiative has a Carclew is likely to grapple with for some enduring successes, with future growth meant that some 2,000 children a year can time, Early signs for regional South Australia planned for its already busy schedule. now come into contact with Carclew's are good though, with the success of the school holiday program. By the late'80s Carclew's operational costs regional contemporary music program had grown significantly and required ln catering for adolescents, one of the first DVFM and the announcement that City attention. By this time the overall projects to emerge was Artery, a Sites will move into regional areas in 2001 . management of youth arts were seen to be participation program designed to involve At present Carclew employs 20 full time staff unnecessarily fragmented. ln 1988, the young people aged from 13 to 26 in and administers an annual budget of .9 Youth Performing Arts Council Review implementing and managing their own $1 million. lts website receives over 150,000 recognised the need for a single artistic activities. Artery is developed in hits per year and its statewide reach last authoritative body to deal with youth arts in partnership with community based year topped 35,000. established all artforms. Hence, the South Australian organisations across metropolitan and As an authority in the youth arts sphere, Carclew Youth Arts Board (SAYAB) was established, regional South Australia. A recent continues to play a key mentoring role to replacing YPAC. SAYAB is directly achievement for Carclew was to secure countless thousands young South responsible to the Minister for the Arts for funding from the Australia Council for Artery, of Australians development and policy and program planning, development, after some ten years of trying! in the proliferation of youth arts practice, as it has implementation and evaluation for all art just popular, years.. current forms. The Artery Party, as originated done for almost 30 lts as the launch for the Artery project, but soon emphasis on performance, work and By the time Carclew's new (and existing) took on a life of its own. This annual event training opportunities place the organisation Director, Judy Potter, was appointed in 1990 now draws crowds of over 3,000 and relies undoubtedly amongst the world's the centre was badly in need of a directional on the volunteered efforts of hundreds of contemporary leaders in the field of youth change. Changes in the arts, society and young team members. lt is an opportunity arts. youth culture, and increased knowledge of for young arts workers, both performers and how to work with young people, meant that event organisers, to develop a number of o the directional shift was extensive. Bringing skills in their field of interest. Their efforts LAURIE WEBB a strong youth work model, Ms Potter's first were recognised last year when the Artery

8 lowdown june 2000 ln 1986. nestled under the 'lvory Circle'. These became independent within two years as I umbrclla of the WATheatre strongly movement based planned, and how it has flourished. ln 1996, lCorp"ny, in the borrrels of plays on ecological issues The Awesome lnternational Children's the Playhouse Theatre in have defined the company Festival was born out of funds Barking overseas and in Australia. Gecko had for a show that happen, Perth, what was formerly didn't and an agreement between them, 2 Dance (and When the WA Theatre disparagingly) refened Plus and Spare Parts Puppet Theatre that Company folded one year to as the T.l.E. Team got a what Perth needed was a children's festival. into his contract, Grahame nerv identity, a new sweat It has since grown into an internationally admits to being bitter. lt shirt and a new vision under recognised event for young people. The third the highlighted and not as yet independent tail is Gecko its Artistic Director John B. young vulnerability of Bytes, a workshop program for school aged Saunders. 'Acting Out' had people's theatre, as lhe children. Grahame would like to see this come into being and, in a WA Chairman of the develop into a fully functional youth theatre few years, would out-survive Theatre Company, had not company. and outshine its parent even heard of Acting Out'. G()mpany. It was at the suggestion of An international profile has led to requests Acting Out's first for tours in Asia and Europe. To deal with the From his appointment in 1985, Chairman, Tony Wilson, problem of a non-English speaking John's belief in young people's > that they set up audience, Barking Gecko decided to put the theatre saw him E independently. At the end develop their trademark strong design and company on the main stage at of 1994, to mark the start tie it to a greater emphasis on visuals and the Playhouse, as well as in * of a regular body of in- music resulting in 'Starlight, Starbright'. The prisons, regional venues and E theatre work to augment show recently toured to Singapore where it nightclubs. He was Artistic 0 o Director of the WA Theatre o Company when Grahame ts Gavin accepted the task of (E running Acting Out in 1989. III o Grahame liked the idea ot being part of a larger company F and the opportunities that o would hold for making fully IZ C) blown theatre for young J people. John had managed to E raise the profile of Acting Out, but with Grahame things went U| .I global - in his first year, 'Kit sz and Kaboodle'went to Japan. h Grahame describes this more m as a cultural exchange than an tF artistic coup. The first o significant move for Acting Out's acceptance as a world 5 class company was the U the schools touring, the was well received. This was a brave new invitation for'Dolphin TalK to go F o company changed its step for the company wading deeper than to the Vancouver Children's .L name to Barking Gecko. before into the waters of dance, mime and Festival and other North a puppetry. Grahame does not see this as a (, Grahame has always American festivals in 1990. lt +, major change in direction -'The extremity of was with this play that the believed that the big the shift is more show-specific than a picture for arts for young company developed certain g directional'- but he is looking to do more people more important integral relationships and work L is material that will appeal to a non-English what individual processes that eventually led than an speaking audience. to the creation of the Visiting .g company actually the Relatives Trilogy, achieves: 'lf the big picture One of Grahame's dreams is to see Barking O 6 is healthy, then it has Gecko in its own venue, where the o benefits for all'. This belief aesthetics are specifically tailored for o has led to the Gecko children: 'All it takes is an act of will by a growing three tails, in visionary politician to make this a reality'. F answer to the needs of the Meanwhile, he'll work on stabilizing the time. Two of these tails international touring schedule and the f; have developed fully collaborations that the company does. There 6 functional bodies of their are discussions for a co-production with an a own. The initiative for Yirra lndian company, and a possible commission 3 Yaakin Noongar Theatre by the Singapore Government for a o stemmed from Aboriginal production in Singapore. ln fact, there is a artists wanting more self- vision to set up a regular base in Singapore. determination in the field The company has achieved a lot in a and the need for a decade, from merely surviving to being EF .= company that was better runner up in the ASSITEJ Honorary c equipped to deal with the Presidents' Award. Who knows what different work processes dreams may come? =o that Aboriginal Theatre tt requires. lnitially set up o 3 with money Barking Gecko s had in reserve, Yirra Yaakin SHIRLEY VAN SANDEN

lowdown june 2000 9 with the brief to communicate what their role is in the production and to be in constant dialogue with the participants. The acronym of PACT - Producers, Authors, Composers and Talent - implies a strong craft base dedicated to gefting a show up and running. Whatb the balance of process and product in PACT - how important is the end product as opposed to the journey that the group has taken to get there? Chris: The acronym is totally relevant to PACT's practices. Most modern industries, and therefore larger theatre companies, specialise in specialisation. This can have an isolating, alienating affect where people have no encouragement or desire to step out of these boundaries. PACT broadens the view of the requirements and machinations of 'getting a show up'. PACT's process is one of collaboration and production on a small cooperative company level. I believe, for example, it is the performer who has helped put the lights up and then operated a lighting board who will capitalise on this new knowledge. I know that this performer will in the future utilise this to the advantage of their own performance and their fellow artsworkers in a very different and positive way to someone who has not had this experience. I consider the most important ew South Wales' PACT has challenge themselves and belong to journey that PACT offers is its continuation, something exciting. its' ongoingness', the next project, which been operating since 1964 as grows from the experience of the last Anna: Aesthetically, I would say that my own project. a company committed to work (at Pact and elsewhere) is distinctly experimentation with theatrical form informed by the politics of presenting and Caitlin: Getting a show up and running is exploring diversity. I would describe my only the tip of the iceberg but it is this simple and the performance of new Australian theatre projects as being both inter-cultural premise that gets everything started. lt is (interrogating a cultural site or sites) and important to start with a concrete beginning works.Ten years later it became PACT cross-cultural (exploring equally the cultural so that the parameters are clear from the Youth Theatre, but the change of focus similarities and differences which can be outset. lt is also infinitely rewarding to found in the theme and/or idea which is produce a wonderful show, as we all know. did not see a lessening of the group's being explored). The most obvious similarity ln any creative undertaking, there is always original intentions. Lowdown Editor in the work of Caitlin, Chris and myself, is a shifting balance between process and the fact that we have all worked with the product that must be harnessed by the core Tony Mack talks to three recent same designer. The greatest difference is professional artists with a keen awareness. that I worked with writers on several major This awareness must be passed on lightly Artistic Directors Anna Messariti - projects and I think I have a very different and with clarity to the people you are (1994-97), Chris Ryan (1997-99) and view of, and relationship to, 'text-based' working with. theatre. I feel especially privileged to have current AD Caitlin NeMon-Broad worked with Noelle Janaczewska at PACT Personally, I am interested in the place on'Madagascar Lily', and also to have had fundamental exchange that takes in a (1999 about the ideas and collaborative process. have myself: - ) - the strength of her dramaturgical skill on I to ask what is the quality of the dialogue taking practices informed the 'Looking for Alibrandi'. that have place? lf it has been rewarding, I think you company's work in recent years. My rehearsal processes were long. I often can see that in the work. However, I would worked with large casts. I especially liked never pretend that through such diligence Looking back over the years, it's interesting working with a wider than usual age group, you will remain above reproach.Tension and to see the aesthetic similarities and which rejected the grouping of young people debate are essential ingredients of an differences of the various PACT Artistic according to whether they were at school or intelligent process, qualified by degrees. Directors. What are the defining at work or at university. I also endeavoured process project characteristics of your work at PACT? to bring together casts and crews of young Anna: The is driven. There people who shared a strong desire to make are no workshops for the sake of workshops Caitlin: As an audience member and as a purpose gaining theatre, who came from the widest possible or for the of revenue. young artist working with PACT's production, geographical area and the widest range of Training is connected to which participants I have always felt that PACT's gives socio-economic backgrounds. There is a it meaning. Development is also through-line or defining characteristic has project process point at which aesthetics and politics merge. specific. I would say that been the preservation of the integrity and and product at PACT are inextricably linked. strength of the individual within the collective Chris: PACT participants manage to Both are as important as one another. process. PACT's work taps into the produce new work through direct specificity of each person's contribution, engagement with the pragmatics of The acronym is retlective of an early history experience and imagination to offer rewards production. This covers all areas of that involved film makers, writers, 'actors' (more beyond the lustre of public acclaim. PACT is production and is driven by a strong composers and accurately defined by its endeavour, that is to create philosophy of skills development and skills theatre makers), and it still has a degree of relevance. PACT's latest project directed meaningful cultural space where people can sharing. All professional artists are engaged is l0lowdown june 2000 by an exlraordinary female composer. The Anna: Being aware of the position that Chris next one is a new media exploration with a Ryan has about PACT and its relationship to strong video projection component. Yes, it new theories and forms of performance, I does still fit. want to say that I appreciate his position, but I still feel as passionately now as I did when From its inception there appears to have I worked in youth theatre about the need for been a desire to experiment with theatrical balanced programming specifically form as a means of communication. PACT - because it is youth theatre and because it seems as a consequence to have been should remain open and responsive. I open to new theories of performance.Would believe in a model where a young person you agree and, if so, what have been the wanting to explore theatre has the major influences over your time AD? as opportunity to work closely with a writer Caitlin: PACT, happily, doesn't have and/or a dramaturg, can participate in a commercial imperatives driving the creation physically and intellectually demanding of our work. This can be intensely liberating contemporary pedormance work with and and has been capitalised upon as PACT's amazing director, can devise a work from licence to dream. lt is this unique situation scratch, can explore an extant text - all in that influences my choices and processes in the course of a year long program or maybe the direction of the company. tvvo. The live arts are about contact, There are also'guru'types in contemporary communication, delight and the stimulation pedormance and community theatre. Bad of this basic engagement. PACT tries to practice in working artistically with young people theatre elucidate the exchange between audience is not exclusive to that is Messariti's focus on the value of cultural psychological and performer in all processes so that involved in the creation of experience and diversity (given life through performance. New young creators can experience the effects of realism in writing has work such as 'Looking for Alibrandi' and live cultural expression and can harness it often been innovative and adventurous, 'Rivers of Light') to Chris Ryan's focus on young people played with confidence. I feel that this exchange even when have the constitution of identity (including has been a continuous focus for the artistic characters. And there are undeniably large 'Sade/Marat' and 'Hetereosoced Youth', with young people wanting direction over the past seven years. As numbers of to explore Victoria Spence). Anna and Chris had a obvious as this comment may seem, I go to a character in a narrative - this can also be strong collaborative relationship prior to the lots of work where this primary innovative, adventurous and excellent! For change of artistic direction and so one communication (be that contemplative, example Maryanne Puntoriero, who played primary focus followed and augmented the Alibrandi in the play'Looking for aggressive, intelligent or crass) is missing Josephine next. I feel what I bring in line with Anna and Alibrandi' by Melina Marchetta Chris's endeavour is continuity through my PACT and commissioned by in interest in 'contemporary presence', for want 1 based on her novel of the 994 of a better phrase. What I am interested in is same name, was reviewed by the current need to interrogate how one can the Sydney Morning Herald as remain present, audible and articulate at giving'a performance of which this time when contexts are disappearing for professionals many adult direct bodily engagement with ideas and jealous'. would be She was other people. subsequently the first Australian in twenty years to be Anna: When I was at PACT, the Chair of its offered a place in the Board at the time, George Mannix, instilled prestigious American in me the sense that PACT projects had to Academy of Drama in New be about creating 'life changing York. experiences' for the youth participants. At first I thought he was talking hippy shit, but I How is it that PACT has been began to understand that the PACT model Dennis Finn in 'No Place Like Home'- Photograph: Heidrun Lohr able to continue to innovate had the potential to inspire young people to years, over all these and not have a strong relationship with theatre for and the process has become so internalised enter a comfort zone after particular it is hard to engage. the rest of their lives. I saw young people successes? Or has it at times?! claim the space. I witnessed their Chris: I feel the advent of Pedormance Chris: PACT has always engaged empowerment. I saw the power of incredible Studies, historically dislodged the I which professional adsts that are interested in commercial success on its young creators. Drama Department from the Literature interrogating their craft and encouraging wasn't expecting it to change my life as well, Department, has had influence on a strong PACT participants to question form as well but it most certainly did. lnnovation is about the contemporary theatre experience. In my as content. This practice has produced striving to create this in the context of each rein as AD at PACT I particularly targeted events and projects that are a long way from and every project. Maybe this is the secret. Sydney Uni and Uni of NSW for participants the 'well made play'. Philosophically this Caitlin: ln terms of languishing in a comfort to work at PACT. This had come out of a position must embrace the notion of failure certain frustration contact with zone, I doubt that youth arts is ever a from my and the work should have the right to fail but 'acting' that seemed to be obsessed with comfortable place to reside. ln this field I don't consider over the past seven year play notions ol truth, the real and the psychology there is little artistic kudos, no money to that I have ever witnessed a production at political of character to the detriment of analysis, with, scant critical reception, PACT that has failed. young structure and notions of languages of definition which fails to comprehend people range of fantastic representation. This I found grounded in Caitlin: PACT changes because the young and a competitive people you some of the so called teaching of 'acting'by artists and participants that utilise this space work. The bonus is that the professional actors making gurus out of change. Also, the company shifts because it make contact with want to experience themselves and wasting young people's has an immense range of inputs from the something. lt is hard to settle or stagnate in bucks by talking about themselves, what artistic community, the local Sydney this field because the imperatives drive you they have done and what they're going to community and the political climate that are to seek new contact and to remain relevant. do. There's nothing like a bit of negative also subject to change. stimulation to activate an adventurous new o this continuity through creative environment. An example of TONY IIIACK change is the transition from Anna

lowdown june 2000 11 i { shows . are with emerging artists so they really benefit from the program. ,l !-"_11,''1i9,!90-: ; created, designed Who is and built for the CK: New Direktions catering to? Do you broader youth have opportunities for administrators or professional market. stage crew to develop skills? GL: We're the development of CK: ls the way that supporting you do your emerging artists. As part of this we have theatre greatly included technical artists. We do have training programs for technical people we influenced by the - give fact that you tend them tvvo weeks of training with a professional lighting to pertorm in designer and stage just presenting schools? manager. Our focus is not on theatre for young people but also helping lo' GL:Yes - mainly in them find ways into theatre and giving them a physical sense a realistic view of it. We don't give youth a Jane O'Donnell, Simon Clarke, Tim Wood, Doug Collins and Sarah Snell in 'Bright Sparks'. beCauSe of the training in performance, but they can sit in opportunities and on our rehearsals and we have an open 2OOO marl€ Jigsaw Ttreatre limitations offered by the space. lt's like any door for anyone who wants to discuss their Compang's twentg-si:ct} :geil d site specific performance. We can perform ideas and training. shows anywhere from a school's gym to a CK: What style theatre Jigsaw Presenting theatre. cunentlg playground. We have to be aware of the fact of has traditionally your that many of our performances are for 200 undertaken? ls current Canbewa's onlg full time program a step away from the past? people sitting on the floor, rather than raked professional compang, Jigsaw's seating. Our shows have to be capable of GL: A lot of the work Jigsaw did during its roots were in Ttreatre in Education being pedormed almost anywhere. earlier years, particularly under the artistic direction was lbis is still a major focus for CK: Your emerging artist program, New of Stephen Champion, non- traditional and devised work. ln recent years, Erektions, has been a great success and yet Jigsaw, but the compang is ako with Lynette Wallis, company moved this year you've dropped it in favour of a new the towards more work. During exploring new ideas fol t.he program, New Direktions. Why the change? scripted this time production pefiotmance Jigsaw formed some great partnerships with and of GL: New Erektions was a production season writers and directors outside Canberra and theatre. Crrrent Artistic Dhector and we wanted to really focus on the artists we've continued to build those links. At the themselves rather than productions. We moment we're working Morris, Oreg tissaman speaks to l'owdown with Mary were finding that the artists in New who's writing'The Blue Roof ', and with writer ACT Editor Caroline Knight about Erektions had reached a developmental Sophia Catharios and composer Themos Jigsaw's past and the new ceiling and to some extent it was becoming Mexis on a Greek/English bilingual a forum for people wanting to'do a play'. The production called'Atreus'. directions {:he compang is taking. New Erektions program has had a great Those two productions are examples of the deal of success. But a lot of the people in the process CK: What were the foundalions of Jigsaw? New Direktions season have come from that we?e now committed to at Jigsaw. We no longer go for approach Who formed the company and why? New Erektions, and have said to us, 'At this the whereby l'd say,'l'm going to commission a point in time what I need to do is GL: lt was started with a grant that Carol play. go 'Thanks, concentrate on me, rather than my You and write it.'And then Woodrow (amongst others) received. Carol play give the production'. They now understand their role l'll take that and it to was part of Canberra Youth Theatre designer...' Now our approach is'Let's get within the whole production and they want to Company and she applied for a grant to put build their own skills. the entire team together to start with and together a professional production to go into everyone can share and devise the work'. schools. And from that first production grew CK: But aren't you worried that once this Stimulation for the writer may come from an Jigsaw. The resulting company's primary crop of people go through the aim was to create professional theatre for program there will be another crop of young audiences. people who would have benefited from New Erektions? CK: What is Jigsaw's funding base - and does it greatly influence the theatre that you GL: Absolutely, that's a logical do? progression. But I suspect that within a couple of years the people that GL: The majority of our yearly funding we're working with now will be comes from the Department of Education. working happily and successfully as So as a result, all of our shows cater to the professionals and we can look at school market. We've got great a supporting the next group of people relationship with the schools.Teachers know that come along. At the moment I'm that when they give us their opinion we take catering to the needs of the people their thoughts on-board. Our productions that we can see presenting are not static and we'll happily try new ideas. themselves in the community. We like But our theatre is not exclusively available in to develop long-term relationships schools. lt's theatre for young people - our Jane O'Donnell and Nick Hardcastle in'Cliffhangef 12 lowdown june 2000 idea the designer has had. lt's all about push further. We're building relationships meetings will be filmed for the web. We?e teamwork and a common vision and with the Victorian Arts Centre and the wanting to open up the rehearsal room to a everyone feeds off one another. lt's a true Sydney Opera House and exploring the public audience - they can come and be like collaboration. possibility of performing 'The Man Whose a studio audience and see what really goes Mother was a Pirate' and 'Kera Putih' in on. The process becomes the theatre. CK: Do you lhink Theatre in Education is all those venues. We really do seek that wider about teaching children certain morals or exposure if for no other reason than for CK: What motivated the move from Gorman concepts or is it about entertainment? House Tuggeranong - artists to know that we exist and that we?e to Arts Centre? Has it been a positive move? GL: I think all theake does all of the above - up for having partnerships with them. although we don't generally set out to teach Developing audiences interstate will also GL: To start with, we're not a company that a mathematical concept or whatever. ln the give our work longevity and more is attached to a theatre. We'd been at the case of 'Kera Putih', we had a great opportunity to develop. Currong theatre a long time but we only response to'Oracle Bones', which focused CK I know that one way you're reaching used the Currong for two weeks in 1999. on Beijing opera. The teachers said, 'We Beyond wider Australia is through the Dyna'write that it was used for the New loved that, it was gave production fantastic because it script project, which is open to young Erektions program. Because we the kids opportunity experience program an to Australians. How is it going? were changing the focus of that another culture - can you do something away from productions, we really didn't need along those lines again'. That's a broad GL: lt's going well. We've had 1,500 hits on the permanent use of a theatre. parameter that gives us plenty of the web site and now we're just waiting for Tuggeranong opportunity. people send their scripts in. Applications The Arts Centre is directly across the road from Department of close at the end of June and indications are the We decide what's production. in each There that we should have plenty of entries Education, so we are highly visible and can is always an element of something to be - link in with their programs very easily. We've everywhere I go people tell me that they're learnt. But it's not didactic. We avoid that at also found that for the sake of sponsorship working on one. all costs. lt's all about finding or creating a that the location and the modern, corporate production that you think you look of the Tuggeranong Arts can make links to. For instance Centre certainly helps with 'Atreus'is based on the Greek people's perceptions of the myths of the curse of the company. lf you're trying to house of Atreus. lt's going to develop audiences in the have links that effect an impact middle-of-the-road market - on people's perceptions of attracting people to the theatre generation and tradition - but rather than to a movie - then we're not going out of our way that environment really helps. to say,'Right, now we're going We've had only one public to meet this learning outcome'. performance at Tuggeranong It's inherent in the work. but we noticed many new faces. CK: How do you compare with other Theatre in Education CK: So whatb the overuiew for companies? Jigsaw in 2000? GL: We have established Locally we're focusing on our partnerships with the schools emerging artists and giving and I think that is something Jigsaw Theatre Company's 'Mercury'- Virginia Anderson, Mary Brown and Neil Roach (l-r) them a broader perspective by we've really mastered. We've linking them with people managed to retain our artistic integrity while CK: What exactly does Dyna'write involve? outside Canberra as well. Then there's our meeting the needs of school and broader regional work, which this year involves us GL: We're looking for scripts around 600 audiences. The Department Education linking up with LiederTheatre in Goulbourn. of words long either an e)dract or a full has been a fantastic partner in that they - They're a Goulbourn pro-am company and theme. lt doesn't have to be complete it don't say, 'You will do this' because they - we're going to share resources and work on could be an idea, something that we can know and trust our work and our objectives each other's productions. Because our work up a bit. Ultimately an unfinished script are clear. How we achieve them is really up region has many artists who live close by to that shows promise could win. The final us. We're responsive totally us and actually have a lot to share with us to and script will be used for a live performance on accountable audience the we're opening up a dialogue with them. And to our and the web so they don't need to be long. teachers know that. - of course, there's the work we do in schools, Anything longer than two or three minutes our touring and our public programs. Our Other companies have advantage over on the web takes too long to download. an major work for 2000 is Julie Janson's'Kera us in that they have more money. We've had CK: How is the production/pertormance Putih' (The White Monkey). That and the good year financially, having been a process going to work? creation of 'The Blue Roof' are what l'm successful with applications, it's our but finding exciting this year. important to us to keep building our financial GL: We'll be producing two scripts and we'll stability. have a team of people lilming the process CK: What do you think has affected change and putting it up on the web each day and l'll in Jigsaw over the years? lf you're in a bigger city you have much a also post summaries of what we're trying to larger pool of artists to draw We work I think the greatest changes and influences upon. achieve and why we've done things a with a wide range of artists. We bring people for Jigsaw have been led by the artists we certain way. Then people can get on the here because we know that if we're going to work with and needs our youth web, check it all out and respond to what's the of create quality work you can't sit in your little audience. We are looking at a much more going on. corner of the world and hand jobs to friends. sophisticated youth audience, a youth You have to look further and go beyond your So it's really all about creating a virtual audience that has greater access to comfort zone. rehearsal room that anyone can get in to. knowledge, technology and products - so And hopefully that will help make theatre they expect a lot more. CK: How widely does Jigsaw tour its work? more accessible. To add another twist we're o GL; We tour through the ACT schools, give also designing the rehearsal process. We're public performances and often tour to having all the rehearsals in a shopping nearby regional areas. But we?e trying to centre window and even production CAROLINE KNIGHT

lowdown june 2000 13 ll wos 1990. I wos eleven yeors old. My molher dlopped me oll in downlown Millon lo on old brlck lheqlre nomed [o Bolle. Exclled, yet lolrly scored, I wolked lhrough the lhreshold lo be confronled by the sight ol o group of young people tolking ond loughing. Hesilonlly, I swollowed qnd inched lowords lhe gloup, who common place. However, with the funding participation, empowerment and, very os I gol closer lurned ond from the Australia Council the Donemans importantly, established a precedent for q collaborated with a group of young people proactive involvement of lndigenous young slqred wilh inleresl. I look from the workshop program to create and people and artists. seol qnd no more lhon five devise a project that was to be called'The As La Boite Youth Theatre grew and mlnules loler, I loo wos tolklng Great Circle' - an innovative multi-arts performance project. This project started to form its identity away from the ond loughing os il it hod nevel mother company, it was renamed La Byte established new options of pedormance been ony different. tittle did I 1989 and was led by the newly for young people within the La Boite space in appointed Artistic Director Tony Auckland. know lhen, but this wos o and was to prove to be a groundbreaking During this period in the youth theatre's momenl lhol would hove o success for youth theatre in Brisbane. profound qnd history, a more traditional approach to text- eflecl on my life The popularity of 'The Great Circle'project based theatrical production was adopted. shope my fulure. lt wos the was a significant step for youth theatre in The workshops continued to be extremely momenl thot I llrsl discovered Queensland, as the late 1980s was a time popular and the number of productions lhe world ol youlh lheqlre. when youth arts was becoming was increased from one to two major recognised in both the wider arts sector as shows a year. Back in the early '70s there was a well as within governmental agendas. The 1992 the youth theatre continued with desperate call for arts-based activities for Australia Council had only recently ln its old name, La Boite Youth Arts, and a young people in Brisbane. This call was appointed a Youth Officer of Performing new face Artistic Director Susan Richer. answered by the prominent La Boite Arts and youth arts policy was in its first - had been with the company for a Theatre, which started an informal series stages of development. According to Susan few years part-time tutor in the of holiday workshops and youth orientated Ludmila, it was a time when'youth theatre as a workshop program and her role as Artistic productions in 1972. lt was not until 1986, needed to keep proving that it was worthy Director saw an innovative shift in the however, that things really took off when of its existence and of the support that it company's direction. Research conducted La Boite received a small amount of was getting'. The growing recognition of Equity Unit the funding from the Australia Council and youth arts also provided links into greater by the Gender of Education Department found, invited professional artsworkers Ludmila networking opportunities for artsworkers Queensland among other insights, that whilst women and Michael Doneman to conduct a and companies in different states and the made up the bulk of those involved and project for the theatre that focused on documentation of the variety of processes employed within the arts industry, they working with young people. and products used by these agencies was held less then 5% of the top decision- an important part of the development of I spoke with Ludmila Doneman and making positions. line with this youth arts in Australia. ln together we took a trip down memory lane research, as well as her own research into to the early beginnings of youth theatre in For Ludmila, a highlight of this exciting women's roles within the arts industry, Brisbane. When Ludmila started at La time was the Queensland Youth Arts Susan decided that the focus of the youth Boite as the director of the youth theatre Festival in 1988, directed by La Boite theatre needed to be repositioned in order there was little else happening, in terms of Youth Theatre and funded through the to more clearly represent and service its practical theatre experience, for young Queensland Government. This festival clientele - that of predominantly young people in Brisbane. La Boite was still was not only a consolidation of youth arts women. She felt that this shift was an conducting the multi-aged skills-based in Queensland, but also an indicator of the integral step in addressing the inequities workshops with term-by-term evolving diversity and innovation within the that existed in the industry, as well as an presentations (for family and friends), yet field. Significantly, the festival formalised opportunity to provide training and support the idea of youth theatre - that is, theatre the rhetoric which had been developing for women working within all areas of the created for, BY and about young people as around youth arts practice, which had to arts. At the same time, however, Susan legitimate mainstream theatre - was not do with the key words of access, believed that young men's development

14 lowdown june 2000 within the arts was a vital part of this services in response to the ever- process and the company's mission growing and active client base. statement visibly reflected this: The company had reached a high point in terms of state and 'La Boite Youth Arts.... focuses on young national recognition of its work in women's development in and through the 'innovative, groundbreaking embraces men's arts and young multidisciplinary theatre practice development as a necessary part of this that was genuinely grounded in focus.' youth culture(s)'. 1996 saw a During Susan's time as Artistic Director of broad artistic program that had the company, Brisbane saw the creation of expanded to include new modes two new initiatives that focused directly on of performance work, as well as the development and representation of the beginnings of a formalised young women artists - The Hereford mentoring process. This growth Sisters young women's physical theatre continued into 1997 when 'Blaze' - lntravenous Cheese, 1998. troupe and the TWO HIGH:Young Women Backbone produced an extensive and the Arts Festival. These initiatives program of innovative and diverse opportunities for young people. Such were both aimed at providing young projects that worked to further highlight the processes allowed Backbone to further women with a wide variety of arts-related organisation as one of Australia's foremost liaise and respond to government and skills to support them in their ongoing youth arts companles. other stakeholders in order to highlight its development within are successes, as well as to constructively the arts and An accommodation crisis in 1997 saw the projects that continue to successfully do communicate the issues and concerns of company move to a new site in the Metro this today. Aligned with these initiatives, both young people and the youth arts Arts building in the Brisbane CBD. This the company also conducted outreach sector. move facilitated opportunities for projects that were aimed at providing arts- Backbone to extend upon its identity, ln the new millennium, Lana is aiming to based skills to young women within program delivery, networking and the encompass new opportunities to take the different communities around Brisbane. potential resourcing of artform and organisation f urther into the f uture. Not only was La Boite Youth Arts initiating industry development. A clarification of the Backbone has re-implemented a new projects at this time, there was also a company's mission statement enabled multidisciplinary performance workshop shift in philosophy regarding the work that Backbone to focus upon a 'generation of program as a response to the needs of was produced by the company. A new new work that was (and is) culturally young people in Brisbane and is direction was adopted with a strong focus relevant with the interdependency investigating options, through its artistic on young people's cultures as the centre between form, content and context': program, of how to best represent the of both the processes and proiects that the changes and developments of youth ,BACKBONE YOUTH ARTS INC. company undertook, both in the workshop culture(s) in and around the city. Backbone develops, creates and presents new multi- program and in the projects. These new identifies a number of priorities for the artform performance work for, by and works focused on a multi-artform style that future, aimed largely at securing the long- about young people and contemporary term sustainability of the organisation. was based on collective authorship, Australian youth cultures. BACKBONE therefore creating stronger sense of According to Lana, two aims of the a believes that young people are cultural ownership of the work by the young artists company are acquire corporate agents which inform our management, to involved. Young people were given the sponsorship to address operational and planning and practice.' opportunity to represent themselves and project resource needs, as well as to narrate their own experiences - a move Driven in 1998 by a new three year securing a dedicated performance space that took youth arts to a new level. organisational strategic plan, Backbone in order that Backbone may continue to Although this move was met with some moved into project-based work that was produce work of a high artistic standard. opposition at the time, it is only now in designed to explore'the dynamic of young Backbone will continue to develop artistic reflection that we can value the people's navigation and negotiation of alliances within the youth and broader arts importance of the direction that these transition and risk in contemporary youth sector, therefore contributing a stronger innovative initiatives have taken youth arts culture(s)'. Through a multitude of artistic voice for youth arts to present to major today. collaborations and mentoring programs, stakeholders. Most importantly, however, Backbone continued to'navigate the inter- Backbone intends to continue to push the After extensive an history of almost cultural, intra-cultural and sub-cultural boundaries of youth arts through twenty{ive years with La Boite Theatre, it identity(s) that valued, affirmed, navigating uncharted territories, with was time for the youth theatre to branch celebrated and promoted the role of young young people at the core of this cultural out on its own. ln 1 996, La Boite Youth Arts people as creators and cultural-makers'. exploration. reinvented itself and became Backbone Youth Arts lnc., guided by Artistic Director 1999 saw a year of reflection and It has been an interesting journey for me Louise Hollingworth. As a newly consolidation for Backbone as it continued being involved with the company as both a incorporated association, Backbone to power its way forward motivated by its participant and as a mentored artsworker consolidated its strengths and diversified strong strategic vision and artistic over the last ten years. As I have traversed programming. Lana Gishkariany my development within the youth arts took hold of the reins as Artistic sector, Backbone and the dedicated Director and under her direction professionals with which it works have the company produced been there supporting and mentoring me collaborative work of high along the way. Countless other young artistic integrity and cultural people as well as myself have been value. Backbone endeavoured heavily influenced by the innovative and to formalise the strengths built collaborative work that Backbone creates. in earlier years and through Backbone has had a diverse and increased funding from local triumphant history and by the looks of government, projects such as things to come, it will have an even greater the TWO HIGH: Young Women future. and the Arts Festival broke new o ground with innovative SONJA ELTIOTT mentoring frameworks and 'Crunch' - The Hereford Sisters.

lowdown june 2000 15 Arena Theatre is arguably one of the most well known and innovative theatre groups for young people in Australia. For the Iast 30 years Arena has tackled issues with style, clarity and perfection, and it hasn't shown the slightest sign of slowing down or easing up. Energy, and lots of it is something Arena has become known for.'

lnpress Magazine, Melbourne

ooKrng a e secrets o rena's ongev,

lack of good quality plays attempts at making theatre about and for appropriate for children in both indigenous and other Australian Melbourne. On an children (for example The Tintookies, a overseas trip she was puppet company which was founded by particularly impressed by Peter Scriven in 1956), the staple fare for the work of the Theatre most young audiences was limited and Centre in London and generally mediocre. Naomi Marks had brought a script back to travelled overseas at a time when the seeds Melbourne with her. of the aptly named 'Theatre-in-Education' companies were being sewn in various With the help an of regional areas of England. She had group, The amateur searched out (and found!) theatre which Toorak Players, Naomi 'treated the children as intelligent people'. presented 'The Crossroads' by Brian By 1968 demand for the work was such that Way during the May a professional company was formed and school holidays and for named Children's Arena Theatre. ln 1972 fifteen performances in the company obtained a Victorian schools. From this government grant of $10,000.00, then a modest beginning The General Grant from the newly established What is this energy? Where has it come Toorak Players Children's Theatre was Australia Council. lt employed a full-time from? How has it been sustained over a formed and the group met weekly for play administrator, and moved to an office and period years of 35 when we have seen readings and discussions. Brian Way's style theatre space in South Yarra where it numerous other theatre companies come of theatre for young people interested them remained until 1992. and go? How could a small theatre most. As Naomi Marks said, 'Brian's plays grow, The company continued perform Brian company for children flourish and were chosen for several reasons. They had to period Way and other participatory plays in primary survive over such a long of time? a small cast, little or no stage scenery or schools through the end of the'60s and into lighting was required and, most important of I started working at Arena as a the early'70s. ln its own way, the company all, the scripts treated the children as designer/tour manager in May 1974 and was fast becoming branch of the English intelligent people.' a was a full{ime employee for about five TIE movement David Young, the first fully years. I became a member of the Board - as Naomi and her friends displayed an unusual professional Artistic Director of the soon remained until as I could and there attitude towards the entertainment and, it company, had come directly from a 1994. While I now support Arena from a must be said, education of children at that pioneering TIE team at The Belgrade respectable distance, the company and its time. ln Melbourne (and indeed all over Theatre in Coventry. lt was not until 1971 constantly revolving artists and evolving art Australia) the theatrical diet for young that the need for relevant local material for is very to my heart. I participated, close have people consisted mainly of traditional secondary schools was fully recognised and watched, nurtured and encouraged, along Christmas pantomimes, lack-lustre clowns, Arena commissioned its first new Australian years, with many others over the so here are and badly performed fairy stories. Audience play. my thoughts... participation was of the'He's behind you... The of active but'steered'audience behind you!'genre, and the themes were concept The origins of Arena Theatre can be traced participation and the simple arena staging based largely on the stories and traditions of to 1965. Naomi Marks, a young mother who plays employed were Great Britain and Europe. Although there which these had been involved in student theatre at innovative and immediately attractive to Melbourne University, was disturbed by the were sporadic and some very successful

16 lowdown june 2000 teachers and children. ln its most e)dreme ln 1975 Arena employed John O'May as always remained supportive to the work of form, TIE companies were employed to Artistic Director and he began to Arena's artists. Hard decisions have been deliver theatre pieces that were used mainly commission more new Australian works. ln made over the years but when it has come as an interesting new way to deliver 1976 a permanent company of eight actors time to appoint a new artistic director and/or curriculum. The best of these early plays was established and most of the general manager, they have constructively used traditional theatrical forms (strong productions were 'devised'- another new sought innovative and risk-taking identifiable characters, imaginative approach to making theatre. ln 1977 Peter newcomers who they feel have a'voice'and costume, simple'transforming' sets, as well Tulloch was employed and he expanded the are ready to lead. They have offered their as audience involvement) to deliver their work into holiday programs and workshops. various experience and skills to assist each messages. They were engaging and Arena began to'umbrella'the work of other new artistic director to achieve their aims, entertaining, emotionally and intellectually small companies, such as Mixed Company but have not intruded into the areas of challenging, often putting points of view at and Bow-TlE. ln 1981 Peter Charlton, a specific artistic decision-making. The Board odds with the often conservative teaching writer and director, began to put high quality members have not seen Arena as a place to staff in Australian schools. While production values back into the work, air their own artistic ambitions. Aside from 'participation' was the basis for the early presented more in-theatre productions, and ensuring that the basic aim of the company years of Arena's work, it slowly disappeared wrote and directed'Wolf Boy'and'Streets in - to present theatre to young audiences - is - only to re-appear in different guise as new the Sky'- for the Next Wave Festival and adhered to, the artistic directors, general forms were developed and new artists were Come Out. managers and their chosen collaborating employed. artists have been free to'remake'Arena as 1985 Angela Chaplin was appointed as ln they wish. Arena's growth and work over the years was Artistic Director and began to create and very much aligned with the political and develop work with a new ensemble of four The'place of work'or base for Arena artists social movements of the times. Gough actors. She created a house-style which has also been fairly consistent. Both Whitlam was elected Prime Minister in included providing access to young people Cromwell Road (1972-1992) and Napier 1972. His Labour government's interest in to the processes through which she created Street (1992-1997) had theatre spaces and support of the arts was markedly theatre for them. Chaplin gave the actors attached and have been used over the diflerent than in previous years. There was a more participation in the decision-making years for holiday productions, bussed-in strong interest in the development of new process regarding programming and school shows, and weekend/holiday Australian work (shown by the success of company structure. Her production of 'The workshops. Arena's new space at North The Pram Factory in Carlton), there was Women there...' by Julianne O'Brien was Melbourne Town Hall provides a near support for drama in schools, and there was the first of Arena's to tour overseas to the perfect base through the combination of a a small but growing group of artists who saw Vancouver Children's Festival in Canada, good rehearsal space and office/storage the development of theatre work for young and also toured to Come Out and the areas. lt should last the company another 20 people as a legitimate, specialised area of ASSITEJ Conference in Adelaide. Arena years... theatrical practice. The popularity of was'on the map'in international terms. believe that the very nature of young 'community' theatre groups was growing, I Barbara Ciszewska replaced Angela in audiences has given companies who and there was a strong sense of a need to 1988 and continued to develop the work perform to them a natural stimulus to renew define and produce theatre work outside the through heavy program of touring to themselves and their work. All the work that mainstream and what were seen as elite a schools. ln 1989 Barbara's production of 'Fix Arena has made since the seventies is new. and conservative venues. ln the 1980s the gave to to growth of feminism was particularly It Alice' by Ernie Gray excellent voice The demands on a company continue to the issue of women in men's work places. produce original scripts and theatrical forms influential - especially expressed in the ln 1 992 David Carlin, another writer/director, are huge and often unsung Playbox desire by women artists and theatre-makers - brought more comedy and, amongst other continually reminds us while being heavily to work in different environments and in co-production of subsidised to do this for adults but most more collaborative ways than the mainly successes, a - 'Blabbermouth' with the Melbourne Theatre theatre companies for young people regard male leaders of major theatre companies Company and 'Malache' a production this as normal. This continual necessity to were doing. - nominated for the Australian Human Rights 'keep up with' and to 'deliver the goods'to 'Would be' young directors, writers, Commission Literature Award. Towards the young audiences almost ensures an attitude designers and actors discovered that there end of 1994, Arena was transformed again of risk-taking, energy, and renewal. Arena was a place they could be employed on a with the appointment of Artistic Director has always understood that as producers of proper wage, a place where they could Rosemary Myers. theatre for young audiences we must stay in explore their own issues, a place where they touch. We must continue to employ and Myer's work is well-known and includes could explore new forms, and a place where support younger artists even if we don't particular attention to the use of new - the audience proved a constant challenge. always understand what is in their hearts performance technologies within a live and minds. We need our young people's One of the most intriguing aspects of context. The company has moved into the theatre companies to have commitment, record Arena's work is that it has changed direction 21st century with a strong of work, style, clarity, energy, and innovation, if we removed the as each new artistic director has been using terminology far from are to succeed at all. appointed. I believe this is one of the major early days of Arena - such as'digital image keys to the company's longevity and makers', sound engineers, Cinemedia, That Arena has managed to achieve this success. Each artistic director has brought conceptual art, new music and electronica. over a thirty{ive year period is a testament his or her own team of collaborators or The work is based on thorough research, is to all who have been a part of it - a major Iami['with them, who have been welcomed not didactic, shows alternatives, and is achievement. into the company and to whom it has diverse and popular. ln 1999 Arena Theatre won the ASSITEJ 'belonged'for the years they worked there. While the changes and new developments lnternational Honorary Presidents Award for The artists have been empowered to make in the artistic work of the company have achieving excellence in producing work for the kind of work they believe in and have been reflected by the continual appointment young audiences. This is the highest been encouraged, with responsibility and of young and energetic artistic directors, international award that a company making within the resources available, to develop another factor is that the management of the theatre for young people can receive. A their own visions. Each artistic director has company at Board level has been extremely major achievement indeed. been selected with care and each has consistent. contributed something unique to the development of Arena. As the current artistic There have only been four Chairpersons of o 'Every director Rose Myers says, show I've the Board of Arena since 1980. Board TRINA PARKER made there, I have wanted to make'. members have been replaced when necessary (although not often) and have

lowdown june 2000 17 I tN t998

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.1jr1tr:.:,:t .i:!--; F:1 foundation for Corrugated organisation. Perhaps it's because .l:.;:r:.rit;r_!i lron, as we grow as an working within the clear five-year plan independent provides for a number of choices about organisation. Having a which paths to travel. The process ol clear picture of our role is defining what the organisation is for and Corrugated lron Youth Theatre arose out essential to developing what it does is an ongoing one: 'We have of a series of youth arts projects high quality programs, maintaining our to make it clear what our role is and why operated from Brown's Mart Community consistency and attracting the resources it is that.' needed to achieve our Vision.' Arts. The activity with a youth focus that Corrugated lron operates a workshop happened during the '70s succeeded in 1997 and 1998 was a period of change. program that presents a range of skilling demonstrating the potential of youth arts Corrugated lron moved from Brown's opportunities for people aged between young people activity to and the broader Mart to the Nightcliff Community Centre eight and twenty-five years. and also community. By the early'80s schools and sort of like a teenager moving into a produces a number of projects each year programs picked - recreation had up on, share house. Corrugated lron began the - although not all end in tangible product, and were encouraging, youth arts incorporation process, consulting with for example presentation. The activity, and the way was set for the stakeholders extensively, and developing organisation recognises that the process establishment of Corrugated lron Youth not only a constitution but a strong is as important as the product and an Theatre. organisational framework. This process equally viable outcome. provided Corrugated lron with a situation The aim at the outset was to play a job is to maximise the opportunities that probably does not befall many Its developmental role with ongoing for the development of young people, organisations that are 14 years old that programs and from day one there was a - both social and artistic this is a role of reassessment and the opportunity to - focus on group devised work that has changed. How the redefine. One result of this reassessment that has not continued to now. As the Values & Vision organisation achieves it has. Corrugated was a name change. Corrugated lron of Corrugated lron Youth Arts state: lron's job in collaborative work is to make Youth Theatre became Corrugated lron sure that young people are involved in 'Corrugated lron values its history as a Youth Arts, reflecting the broadening of arts projects for their ideas and their youth theatre company, nurtured by activity. Brown's Mart. We are committed to energy and what they can offer because learning from our history and to moving Despite the long and established history they are young people rather than from strength to strength. The purpose of and the impressive track record, because they are learning or because these values is to provide a strong Corrugated lron feels like a young they're 'cheaper'.

18 lowdown june 2000 Some of the issues that faced and the surrounding rural areas. Less New technology also provides for Corrugated lron in the beginning are the touring has also been happening over overcoming of distance in some cases. same today. Location means that the last few years as there has also been Corrugated lron is currently operating a Corrugated lron participants operate a change in what is being produced - pilot project of a writing workshop via the largely in isolation. The two immediate that is, not everything is tourable. lt is an net, involving participants from all over spinoffs of this are a lack of opportunity area of activity where the focus has the Territory and a tutor based in Alice for Darwin young people to see what changed. Time and money will always be Springs - activity not possible 15 years other youth arts companies do, and the constraints but 15 years ago there was ago. instability caused by continually losing less regionally based activity so the Corrugated lron Youth Arts has a set of participants who make the journey major organisations did feel a strong values and visions that will take southward to greater opportunity in skills responsibility to meet the Territory-wide them through the next ten years. Many of and/or career development. Corrugated brief and get out there. Now the regional them reflect attitudes of the organisation, lron is in the process of building centres have a lot of activity of their own, example access, that have been in membership so it's not just made up of there is less pressure on organisations for place for some time. The reassessment the young people on the way to like Corrugated lron. period provided an opportunity for these southern-based tertiary education. lf this 'lt's resourcing other attitudes to be written down and spelled strategy is successful there will be long- okay to do of further out but that again is out, as well as how Corrugated lron fits term Territorians who will maintain the organisations a balancing trick. How can we impact the into the community and its role within membership of Corrugated lron. core of the organisation where we are in that community. For people who sometimes end up with Darwin with what we do in regional and ljoined the board at its inaugural AGM in the opportunity to go on to tertiary remote areas? Previously we could be mid-1998. I already had a distinct sense education because of their involvement doing a fabulous project in Groote of where the organisation had come and with Corrugated lron, the company Eylandt or Lajamanu and our the organisational framework, brand new recognises that staying in the same city membership wouldn't know anything at that time, provided a very clear set of to do this education is not always about it. ln my opinion that's not what a guidelines about where the organisation possible. There is also often the youth arts organisation is about going - was heading and how it was to get there. unrealistic expectation that when young out in separate bits and doing things that Looking back over its history it's easy to people receive professional development the membership doesn't learn or grow discern perceptible thread which has support they will return to 'pay back' the from.' a brought Corrugated lron Youth Arts to the community. ln Darwin's case, the theatre- 'lt's also the issue of time and money. To excellent position it is in now both based opportunities, for example, are - project that lasts four weeks in a Darwin Territory limited to mostly unpaid theatre roles or do a within the and remote community, we'd need to staff it communities and within the national arts ads for local television hardly a - without being the cost of the industry. sustaining career. it at program, unless we decide that is our 'The future of the dramatic arts in Darwin priority in which case we shut down in o will rely on the development of a pool of Darwin for four weeks.' TONKIN skilled young people.' JANE This was a statement made in the context of the lobby for a youth theatre company in 1983. I asked Susan Ditter if it is still a relevant driving force, in the broader context of performing arts, for Corrugated lron. Millord Wesl Design ore proud io be qssociqied with 'lt's a fine balance still between having a company that's able to respond to what the 2lst birthdcy edilion of Lowdown Mogozine ond young people need, want, ask for, desire and know about, and being able to contribute to the knowledge of performing arts tor young people who wish you mony more yeors of wonderful publicotions. may have had no contact with it what so ever. And I think that it's something the Corrugated lron board is grappling with all the time, like the financial issues that we deal with concerning the age group that we attract and how we do it. 'Are we developing young peoples' skills because we believe that it's their right or are we only doing it for the further development of the Territory lifestyle? To what degree do we put energy into creating an environment that encourages people to pursue their artform here when there really isn't enough work to sustain them financially? 'lt's an issue that would sound very MITTARDWEST familiar to other regional companies.' Corrugated lron's brief used to be the whole of the Northern Territory. The Grophic design excellence combined with superior clienl service. Board has pulled in the reins in the last two years to focus on Darwin, Palmerston (the satellite city of Darwin)

lowdown june 2000 19 thcatre compang U!q

Salamanca Theatre Company's 'To Eat Flowers and Walk on Grass'. c The Salamanca Theatre Company is moving with the times. Stirring, shaking IU - and most definitely watching you... E Founded twenty-eight years ago in E 1972, the Salamanca Theatre Company (STC) has presented and generated lu work after new work guaranteed to I catch the attention of its audiences.

tu days of Taylor were implemented, including Reviewer David From its earliest also country audiences. founder Barbara Manning the continuance of the Writers in Gerrand wrote 'David Young has chosen a directed STC's energies Residence scheme and the program of play which should encourage non-theatre n toward providing enriching visiting guest directors. goers to come and see a play about people theatre for young people like themselves'. Despite this praise, in Looking at today's artistic program it may through Theatre ln Education (TlE) 1 986 Young was feeling pigeonholed by the seem a world away from the earlier works programs. One of her aims in her many community and by funding bodies as a of the STC ('Annie's Coming Out', 'l Can') years as Artistic Director of the company strictly TIE company. So began another and many ways it is, dedicated as they was to achieve a genuine partnership with in period of reassessment and re{ocusing for theatrical form into new the students partnership as an audience are to extending the STC, the results of which can be seen - areas. lt is, however, a result of the same and partnership as collaborators and today in the recent cross-art form, multi- motivation to reach out and invite young creators of work. The STC worked in co- - platform Oatlands project. people theatre, be operation with Tasmanian schools to to experience to involved. 1998 the STC was invited to apply for incorporate theatre into their curriculum as captivated, fascinated and ln Pollard has made clear her support by way generous donation effectively as possible. Deborah in of a artistic leadership that the STC is keen to from the Thomas Foundation, a Canberra ln 1980 the STC reassessed its role, noting increase services and extend its audience, based philanthropic trust, to set up a duplication between themselves as visiting both in terms of theatrical forms, the ideas program of workshop residencies in 'teachers' and the classroom teachers - it brings to its audience and the breadth ol remote regional areas of Tasmania. The who were in fact better positioned to people they reach. The same thing workshops have been dedicated to continue analysis of a performance motivated David Young who, following Barbara Manning, who passed away in through activities such as extended Barbara Manning's resignation as in 1985, 1997. The first residency to be funded discussion and workshops. Seeing this, the joined the STC in the role of Artistic through The Barbara Manning Regional STC moved to refocus its energies, freeing Director. As reported in Lowdown following Development Program was 'Still Life', up resources to tackle the obstacles his appointment he said, 'l think that my which took place throughout March last standing between the company and its interest in community theatre is one of the year in the small rural town of Oatlands, vision. ln this vision, work created by STC things I share with the company and one of culminating in a public performance on 27 would stand up to the same kind of critical the reasons I got the job'. Under Manning's March. The project was a assessment faced by non-TlE companies direction the company was working well in performance/site-specif ic installation and the challenges offered by TIE projects schools, acheiving their aims. This collaboration between Salamanca Theatre would be attractive to, and respected by, comment from Young indicates the Board Company, the Oatlands school, Hobart top class artists. was looking to extend the company's multimedia artists and the Oatlands repertoire by moving into community community, situated one hour's drive from A report on this study written by then STC theatre whilst retaining its high profile in Hobart. Education Officer Richard Taylor was TIE, published in Lowdown in 1981 . ln it, Taylor Tackling questions of how a community is identifies problems faced by the STC, such Young was clearly committed to TIE work defined, it explored the lives and opinions as the lack of community support and (under his direction productions such as of the residents, giving them the difficulty in finding suitable scripts. He also 'Wildfire' opportunity to receive training and express described the vicious circle whereby top themselves through web, sound and video 'Koori Radio' continued the STC's class artists were unwilling to get involved and technology. All grades of the Oatlands tradition work in schools), but was with TIE because, according to rumour, the of School contributed to the project's having trouble making the move into work was not stimulating enough a self- devising, construction and pedormance. - community theatre with the STC. ln 1986 perpetuating myth. Another initiative of On the web the project can be seen at publicly out, Richard Barbara Manning's, The Australian he began to speak as . lncluded in the large installation obstacles that were blocking the company known as the Australian Script Centre), was a video component situated at Luke from reaching greater heights. ln 1985 the went a long way toward solving some of Dulverton which literally projected had presented its first full-scale adult the identified problems. Other suggestions STC representations of the local community's production, playing mostly to regional

20 lowdown june 2000 hopes into its dry basin, whilst on one level -! o= ol the Callington Mill performers built a dry o @ stone wall from loaves of bread. d ! Now that their attentive audience is so = broad what does the STC intend to do with aE. them? Continue innovate, ql to captivate, or o simply capture?'Panopticon', staged oI throughout May of this year at a Drill Hall in d Hobart, is just one project in a promising 2000 program. At the time of writing, ads were just appearing in earnest, but the buzz about the project had been going for months. Just what is'Panopticon'and how does this, perhaps the company's most ambitious performance project to date, fit with the trail that has been blazed?

The Teacher's Resource kit for'Panopticon' gives an insight into what an audience can expect. You will be separated from each other. You will watch the performance from a separate booth modelled on the booths .::::i!ifil of the chapel at Port Arthur where convicts 1:;-tt;r'ii;it+ experienced the religious services alone, and silent. There will be a surveillance Salamanca Theatre Company's 'The lnch Boy'. you you camera in each booth, watching as once more the requirements of remaining pursue opportunities overseas. Her performance watch the in the centre. relevant to its audience. The market contribution to the company and to Historical subtext and a strong conceptual research undertaken by the company is Tasmania has been phenomenal. Under base will underpin everything. Differing art often done face to face with the public. STC her direction and the sound management forms will work together and sometimes have found that the answers to their of the Board the artistic program has merge. Sound exciting? A little bit ongoing questions about the relevance of flourished, and the audience base has threatening? Whatever the result it is their mission and the resulting product are broadened. Through workshops with the certain to have an element of surprise and best discovered through conversation. community and the Salamanca Youth to stimulate discussion. Theatre in Education is luckier than much Theatre (syt) program a greater Consultation is an important part of the mainstage theatre as in the latter appreciation for the arts and a skilled and company's artistic process. A number of communication between the audience and creative community of practising artists has slogans for use in 'Panopticon'advertising performers or creators happens on the been nurtured. syt actors have been were tested before the final results -'The night through the performance. As employed professionally by the STC in Circus has never been so cruel' and opposed to schools, it's rare for there to be their touring shows and have also 'Panopticon is watching. Panopticon is the opportunity for conversation. lt may performed for Hobart audiences regularly. perfect.' - were chosen. Project specific stand to reason then, that as the STC lnterstate and internationally based writers, market research as in the case of the branches out more and more from its TIE directors and designers have visited and slogan is not unusual, however in 1999 roots, mounting larger scale works, rising collaborated. Later this year, Perth-based STC carried out more general market the age bar on their target audience, the young playwright Sarah Brill will help bring research, made possible by a State need for assistance with concerted market to the stage and the classroom/gym/hall Development grant through the Cultural research grows. 'Super Serious', a story of an extraordinary girl with a wild imagination and her lndustry Development Program. The STC Deborah Pollard is Cunent artistic director concerns about the new millennium. were keen to investigate and reassess due to leave Salamanca this year, to Finally this year the STC will present 'Suitcase of Stories'. ln this performance, aimed at kindergarten to grade four students, the village idiot and the hermit of a mythical town are sent on a quest beyond their shores to record and retell stories from other cultures. lt could almost be the stories that the Salamanca Theatre Company have told during its lifetime. ln the case of the company, its suitcase would bulge with the many subjects, the innumerable number of lives of the students, performers, collaborators and watchers that have been touched, the ideas and the styles and the different cultures and countries travelled. As the STC web site says,'A departure, an arrival, E E a meeting in transit, the return, and a 3 suitcase full of stories. Our story begins at 6 the end.' .9 6 o i o go o o ANGELA WARREN o c (I

Salamanca Theatre Company's 'The Ecstasy ol Communication'

lowdown june 2000 21 eprived of historical roots, coupled with an absence of people skilled in the genre, puppetry in Western Australia was often patronizingly dismissed as'only for kids'. Spare Parts Puppet Theatre in Fremantle has been working for twenty years to remedy the situation. Starting with a training course for two puppeteers that quickly expanded to three the company now regularly runs a School of Puppetry for youth and adults as well as holiday workshops for school children. Peter L. Wilson, the company's first Artistic Director, also brought in artists from overseas and interstate to run Master Classes. As a result, there are now a few West Australians who can call themselves professional puppeteers.

eors young Lowdown interviews Noriko Nishimoto, Artistic Director of Spore Ports Puppet Theotre

Pedorming Arts: 'Personally, I quite like ultimately have a long-term cultural Peter L. Wilson established Spare Parts teaching because I can learn'. She also impact within the community. Puppet Theatre in 1981. Since then the enjoys inspiring young people .about company has consistently striven to raise puppetry. The Company Associates scheme, the profile and artistic standards of this started in 1997, enables the regular artform. Peter came to Perth as an Artist- Three years into her run as Artistic freelance artistic staff to be more involved in-Residence at the then Western Director of the company, Noriko can say in the company's activities, allowing for Australian lnstitute of Technology (now that Spare Parts is through the transition professional development and the Curtin University). A year later, he applied period that spanned her taking over the development of personal projects with to the Western Australian Arts Council for artistic vision of the company that had directional assistance, workshop space, a resource team in puppet theatre and been driven by PeterWilson for 16 years. rehearsal space and administrative Spare Parts was born. Noriko Nishimoto She says that things are more 'my way'. support from the company. Each year joined the company in 1982 as Master Since 1997, she has come closer to there is the opportunity for one of the Puppeteer and Technique Master. ln realizing the strong potential of the company associates to have their work 1987, she became Associate Assistant company.'Spare Parts has refocused and included in the program, possibly as a Director, under PeterWilson. ln 1997 she re-built its energy and is now a vibrant vehicle for the youth market. This is part became the company's Artistic Director. and innovative artistic force. We of the plan to try and access the broadest understand that the length the possible audience. Spare Parts boasts 27 The drive to develop new talent continues of existence not Company Associates who also take under Noriko Nishimoto, not just for company's does necessarily provide assurance of ongoing responsibility for the School of Puppetry. puppeteers, but also writers, directors funds and artistic management success. and designers. Noriko describes puppetry For future, Parts is focused on What it does provide is a history from the Spare as a tricky artform that has very specific developing new works universal which the company can realize its on needs, with a long creative development potential.' themes both for Australia and overseas. process that involves all the artists. Work There is hope for a more settled national on a show starts two months prior to The main patrons of Spare Parts are and international touring program. This rehearsals to ensure sets and puppets family audiences. Noriko has a great year 'Cat Balloon' goes to Japan while are ready for the performers to work with. passion for this market:'l feel it is a very 'The Bugalugs Bum Thief ' tours For a director, blocking alone takes on a important area in any society'. Her artistic nationally, and next year there is the whole new dimension, and a new writer in vision encompasses puppetry's unique possibility of tours to Vancouver and the f ield has to contend with the ability to engage audiences in a visual Singapore. The WA audience is still the extremely visual nature of puppetry. There dialogue - to tell stories through visual company's main focus, but its high is as yet no academy of puppetry in WA, imagery and, by the very nature of this standards deserve the broader so Spare Parts is the proxy. This year, in sort of animation, encourage the recognition of an international profile - particular, the company is using new development of children's imaginations as after all, good things should be shared. talent as a heavy touring schedule plus well as their cultural and social the in-theatre program has meant development. She stresses the increased demand for puppeteers. Noriko importance of high standards in the o occasionally teaches a one-week course product, as it not only entertains but is SANDEN in puppetry at the WA Academy of also a great educational tool that can SHIRLEY VAN

22 lowdown june 2000