Spotlight: 10 Questions with Grace Wilson

Grace Wilson (she/her) is an 19-year-old emerging playwright living on Yuggera and Turrbal land in Meanjin. At the age of 17, she was shortlisted for the Queensland Theatre Young Playwrights' Award and won the award in the following year. Grace has gone on to received several other shortlistings in playwrighting including Sydney Theatre Company's Patrick White Playwrights’ Award, Griffin Award and the Queensland Theatre Premier's Drama Award, all of which Grace is the youngest in history to be on the list. She has also been published by Regional Arts Australia, shortlisted for the ABC Heywire Competition and longlisted for two commissions (ATYP Foundation Commission, Martin Lysicrates Prize). Grace has also undertaken several playwrighting training programs including JUTE WriteSparks, Queensland Theatre’s Young Writers’ Ensemble and ATYP Fresh Ink Mentoring. She is currently under commission with Queensland University of Technology and Observatory Theatre.

Grace Wilson. Image: Supplied by artist.

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1. Describe what you do in 100 words?

Question-aire? I ask questions, a lot of questions. If said question doesn't have an answer, off I go. As a young person, I watch how the world around me challenges and responds to everything and anything. And then I simply ask why? Why do we do this, that, everything? Then I ask what can I do to spread this message/idea? From there, I create. Whatever I can't see, I make visible. I hold space for things that are never seen. If someone says 'that was unique' or 'I've never seen that before', I sleep well at night.

2. What’s your first memory of engaging with the arts?

My family is big on music and arts. My Grandma was an opera singer and my Mum adored piano so I always grew up around it. Every single night when I was very young I would force my parents to watch me perform a dance concert (they would have to announce me too), and I guess that was the start. From there on out, I was always playing an instrument or at a dance class, art class, drama class. I can't imagine my childhood without thinking about the storeroom closet where I learnt piano in for six years in the boiling heat (I wasn't very good).

3. How has your practice change over time?

I've always been a writer and I've always loved theatre, but I never crossed the two. I wrote short stories and attended my drama classes but when anyone mentioned writing plays I would laugh in their face. The first time I wrote a play was out of spite (sorry Em) and i entered it on a whim to Queensland Theatre Young Playwrights' Award and the rest is history. I was able to combine my two passions and two skills into this wonderful middle ground where i was lucky to receive recognition. I don't act much now, but all those drama classes definitely paid off. I can see everything in my brain, how each line will be said, stages, sets, costumes, and so forth. If I didn't take those drama classes in Grade 9-12, I would not be where I am today.

4. Can you describe your ideal working environment?

Oh yes. I am a big coffee shop writer. Usually my desk or homespace is used for eating/drinking/stacking piles of stuff I don't need, so I find leaving the house and sitting myself down to create. I'll start off with a big almond milk/oat milk latte in a mug, and a bottle of sparkling water. I also listen to instrumental jazz when I sit down to work, it definitely sets the vibe. I'm a daily regular at one place in Meanjin and one place in my hometown of Yungaburra, to the point that they know the minute I arrive (usually 7:30am) and what I order.

Grace Wilson at the Griffin Awards. Image: Sarah Hadley.

5. Who is an artist that inspires you and why?

I think Suzie Miller is a big inspiration for me. She has a whole career in law but managed to make it as an incredible theatre maker too. I'm very much an 'all or nothing' type of person, and as someone studying a degree in classics and ancient history, it's a bit conflicting to not be studying drama/writing and just committing 100%. I think I've realised that I don't need to be taught how to write or act and such to be a playwright, but moreso being able to find connections with people and telling stories of people who don't have their voices heard in theatre is what makes me realise that I can have a thumb in whatever pie I want.

6. How do you manage work-life balance as an artist?

Barely. I study full time at UQ, work two jobs and then work on my own projects, commissions, writing courses. I find that a good colour coded calendar really helps, especially when I can divide different events into 'work' or 'home'. I know what time of the day works for my brain to be in uni mode and to be in writer mode, and try to not mix them around. After 6pm, I cut everything off and won't touch uni, work or writing and just take time for myself. Sometimes thats a walk in Southbank, cooking a big meal and watching Youtube or even attending a dance class in the city. Knowing when it's time to stop, listening to your body and knowing your priorities is essential to preventing burnout.

7. What time of day do you find yourself most creative and why?

Usually right before bed. I don't sit at my desk and hammer out ideas as they come in late at night but I do enjoy writing just random pieces of stories for me in my Notes app. I usually take some time to think over what I'm writing and if I have any inspirations, I will add them to their own note.

8. Do you think art is important to society and why?

1000% - where would we all be without art? Human morals, societal roles, right and just actions, the foundations of society are built from art. I could spend all day sitting here just ripping about Homer's Iliad and how it represents modern society and the structure of the human species. Art brings us all together, it always has. Cave paintings are our earliest examples of human's existence in several continents,. Why did they paint their hands? To tell others their story. Why did the Greeks write and perform plays? To tell others their story. Why do I write what I write? To tell my story, others stories. To tell people I am here.

Grace Wilson at the Young Playwrights Award Night. Image: Shan Jacobe.

9. What is something you have created or a process you have been a part of that you are most proud of?

It would have to be DOGHOLE for me. I really had nothing going into the Evolution program with Vena Cava and expected it to all fall in a heap with only three months max to plan and write a full length stage show. But somehow, I did it. It was a huge test of confidence, a test of my character. I took a huge leap from my little box I was in and challenged all I knew about playwrighting and writing in Australia. I also got to collaborate with such a group of daring, bold and inspiring artists who consistently pushed me to try something new with each draft. I remember watching opening night at Pip Theatre and just having his huge sigh of relief when I heard the final line and I just put my head on El's (the director) shoulder. It was one of those 'this is why I create' moments.

10. What are you working on right now, if anything?

I am always working on something. I'm currently under commission with both Queensland University of Technology and Observatory Theatre writing two very different but exciting pieces of theatre. I've also been working on my play DOGHOLE which is having its revival in 2024 with theatrePUNKco before taking off to Sydney at the end of this year. When I have a spare minute I come back to my roots and find myself updating and editing dialogue in GOODBYE, ELI ANDERSON or swapping/changing scenes. I'm also working on my tap dancing skills, which is vital to my practice.

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Byron Lankester Howells

Originally from Townsville, North Queensland, Byron moved to Brisbane to begin a Bachelor of Fine Arts (Acting) at QUT in 2020. While studying at QUT, Byron was cast as Prior Walter in a final year production of 'Angels in America', an incredibly formative experience that taught him a lot about the rigours of live performance. Following this, he was fortunate enough to work with esteemed playwrights Lewis Treston and Hannah Belanszky on their original work 'Tight in the Bud' which was directed by the internationally renowned Wesley Enoch. Shortly after graduating, Byron was cast as Thaddeus in IRL by Lewis Treston, the final mainstage production of La Boite's 2024 mainstage season. Currently, Byron is currently performing in 'Art of Courage', an immersive production at PIP Theatre in which 100% of profits will be donated to Ukrainian children affected by the war.

Byron Lankester Howells. Image: Supplied by artist.

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1. Describe what you do in 100 words?

I love immersing myself in the world of stories and characters with different lived experiences to myself and finding the points of commonality between us. I love the idea of transforming myself while staying as true as possible to the essence of who I am as a person. I am definitely guilty of working from the "outside in", if there is a limp or an accent I can give to my character then I definitely will, but, if I'm being honest, I mostly only do this because it is fun. I am an actor, and I work incredibly hard so I can achieve my dream of playing pretend for a full-time job.

2. What’s your first memory of engaging with the arts?

When I was in the first grade, my teacher decided that our class would put on a Christmas play for the parents and other teachers. The production was devised by our teacher and was about the students and faculty of our school. I remember being so excited, but when we found out our roles, I was devastated. My close friend Jake was cast in the lead role and I was cast as our school groundskeeper with only one line. The groundskeeper had a big bushy moustache and, the day before the performance, my mum took me to buy a fake moustache at our local party-supply store. The following night, I waited side-stage as the performance began. When it was finally time for my part, I entered the stage, said my line, and the audience erupted with laughter. I was addicted. All of a sudden, I knew exactly what I wanted to do with the rest of my life and I have been pursuing acting ever since.

3. What motivates you to create?

I create because I love it. The arts are an invaluable part of society and our collective cultural-identity and they are one of the only things that truly bring us together. I think it can be so easy to feel different and alone, but art is one of the most powerful ways of communicating universal truths about the human experience and reminding us that, at the end of the day, we all have the same feelings and emotions. Art is an incredible conduit for empathy and, the more we prioritise its place in society, the more we think about the people around us and our place in the communities we are a part of.

4. Can you describe your ideal working environment?

My ideal working environment is with people around me who have the same love for theatre as I do. People who I can joke around with and have fun with, but when it comes time to work, relish in the rigours of putting a production together. People who care about what they are creating and genuinely love what they do.

Bryon in IRL by Lewis Treston. Image: David Kelly.

5. Who is an artist that inspires you and why?

I really love Rick Rubin. I know it's a bit of a cliché - especially with his book 'The Creative Act' being so popular at the moment - But I just think his idea to have Johnny Cash do an album of grunge covers rather than country songs was genius. Without him, we never would have gotten Johnny Cash's cover of 'Hurt' by Nine Inch Nails which, as we all know, is an undeniable banger.

6. How do you manage work-life balance as an artist?

I am definitely not saying anything new here, but work-life balance as an artist is incredibly difficult. As I mentioned earlier, for the first few years that I lived in Brisbane I prioritised my career over everything else and this had a detrimental impact on my mental health. I feel that it is important to have other interests outside of acting and make sure to pursue and nourish relationships with people that have nothing to do with the industry. At this stage, I just accept that there will be times in my life in which I am unbelievably busy and cannot put much time into my personal life, but there will also be periods where nothing is happening in my career at all. I try to cherish these moments and be as present as I can because, when I'm busy, I will wish that I could have them back.

7. What time of day do you find yourself most creative and why?

For some reason, I tend to be most creative right before I am supposed to go to bed. Over the years, as my life has accrued more and more responsibility, I have gotten better at forcing myself to be creative even when it is not coming naturally. However, I definitely find that most creative bursts of energy come when I should be getting myself to sleep.

8. Do you think art is important to society and why?

Art is incredibly important to society. My parents are both artists; my father is a musician and my mother is a printmaker, and growing up art was a fundamental aspect of my life. From as early as I can remember, I was going to exhibition openings with my mother and attending my father's shows and, when I discovered my own creative outlet, my parents could not have been happier. I may have a biased view but I feel that art is integral to society. It is a form of communication that transcends language and brings people together and, without it, the world would be a much sadder place.

Byron in Tight In The Bud by Lewis Treston & Hannah Belanszky. Image: Ruby Shannon.

9. What is something you have created or a process you have been a part of that you are most proud of?

It is hard to say what I am most proud of, but I am definitely incredibly proud of the production I am involved in at the moment. 'Art of Courage' was devised and created by my good friend Sophia Hodych who is directing the show alongside Ben Lynskey. Sophia is Ukrainian and created the show as a way of spreading awareness about the war, but also as a way of celebrating and preserving Ukrainian Culture which has for many years been under threat of erasure by Russia. 100% of profits from the show will also be donated to children in Ukraine affected by the war. I love the theatre for its ability to help us escape our problems, but working on a show that will have such a tangible impact feels pretty special.

10. What are you working on right now, if anything?

As I mentioned above, I am currently performing in 'Art of Courage' which will run from the 3rd to the 17th of February at PIP Theatre. Please consider coming along as your ticket sale will help a child affected by the war in Ukraine.

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Egan Sun-Bin

Egan is an Asian-Australian theatre maker currently residing in Meanjin (Brisbane). He holds a Bachelor of Fine Arts majoring in Acting from the Queensland University of Technology. His theatre credits include working with Queensland based companies: Debase, Shock Therapy Productions, Queensland Theatre and La Boite recently Assistant Director to Darren Yap on the Matilda Nominated show, The Last Five Years and currently on a new work through Australian Plays Transform. Egan also manages an artistic collective called The Reaction Theory that produces theatrical works where he has been credited as a writer, director and producer and works part time for the Media Entertainment Arts Alliance as an Equity Organiser.

Egan Sun-Bin. Image: Supplied by artist.

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1. Describe what you do in 100 words?

I can list all the creative things I do but ultimately, I'm an advocate for stories. I've only really come to realise this recently but when I write, direct, act or even organise, I work from a place of advocacy. It's why the role of creatives tends to go hand in hand with activism. I constantly champion others in order to create change around me whether it be writing a story for my Khmer community or even just embodying a character, there is always an opportunity to make a difference in someone’s life.

2. What’s your first memory of engaging with the arts?

F*** me. The first memory of engaging with the arts was when I was a wee one doing private speech and drama lessons. I did them initially because I loved acting and playing characters but... the first and special memory of my artistic practice stem when I participated in my first ever eisteddfod. It was 2008, I just started doing speech and drama lessons and my teacher suggested a couple of us participated in the prestigious Wynnum Manly Eisteddfod. I wasn't a very confident kid, so they only put me in one section. The Set Poem... I don't remember the Poem except for the fact it was about a Magpie. I never attended or competed in an eisteddfod before, so I didn't expect much. I was pretty nervous and shaky when I performed, and I didn't feel confident about it after. I remember my friend James going after me and he felt just as nervous.

But the kid after him...

Mate...

When he walked on the stage, he didn't just spoke his poem. He shouted. My god. He was turning this Magpie poem into a heavy metal performance. My friend and I were shooketh.

Once all the contestants performed, they announced the winners. I don't consider myself talented. I was never born with the skill to act or to write or anything. Things came harder to me creatively compared to others. So listening to the adjudicator, we just suspected the other rich theatre kids would win the medals and to my surprise, I ended up getting second place. I wasn't ready for this. Second place was such a big deal to because this was the first time, I ever won something. I was so excited. I remember taking it home to my Khmer-Chinese mum and she... she was so proud of me.

But what I didn't tell her is that shouty kid won first place and I was like "the heck?" because he just obliterated that poem, both James and I were shook he won. We both vowed, we would come back and win it.

So I guess the first time I really engaged the arts was then.

3. What motivates you to create?

What motivates me to create is the opportunity to feel again. I mean... I feel all the time but creating work, it awakens emotions that we haven't engaged in a long time. We're so good at just sticking with the emotions that are "useful" but in the creative work, as an artist, we'll be constantly challenge to go places others wouldn't. And then when audiences come in, they get feel what you felt and potentially make a difference.

4. Can you describe your ideal working environment?

Theatre is always about creating something for people so to me, when you have the right people around, you create something special. I was recently in one of those spaces and every day we cried, laughed, talked about how we've been roasted by teenage girls. I felt motivated and inspired every day to create. I hope every time I work in a space, it feels like that.

Egan Sun-Bin. Image: Supplied by artist.

5. Who is an artist that inspires you and why?

I think an artist that inspires me is not an artist but she kinda is. I have the pleasure working with Michelle Rae and my god she's such an advocate for performers. For those who don't know, Michelle is the Director for the Equity Section in the Media Entertainment Arts Alliance. What she does is consult with performers (actors, dancers, stunt performers and even trick riders) and with their consent, coordinate actions and campaigns in order fight for quality jobs and sustainable careers for performers. This is not only on a state level (QLD Represent!) but also on a national level.

That job itself is a handful, but the way Michelle works displays qualities of a leader that leads with their heart. Her compassion and determination as a human being makes us so fortunate that she is working tirelessly day and night to make sure performers aren't undercut for their work. She picks up phone calls on the daily from performers who need her help and never fails to provide generosity. It's just that she is willing to go the extra mile and has the drive to do so.

I think lately, we are craving more leaders with these types of leadership styles and those who have the vision to fight for a sustainable arts industry, especially after COVID and funding cuts. I think Michelle's artistic practice as an arts advocate inspires me and hundreds of artists because without her, we would believe that artists like us can make a difference and one that is for the better.

She may not be an artist but the work she does to fight the fight makes her an artist in my mind.

6. Can you describe your ideal collaborator?

I think my ideal collaborator is open enough to ignite inspiration. That's what keeps the room motivate. It's what wakes me up and keep me coming back to the room.

Also... safety is my number 1 concern. I know too many artists who disregard the safety of others and themselves for the sake of the art. We don't need to torture ourselves for a role, we don't need to die over a play. I always tell people, put the human before the artist. I wish more people could do that for others and for themselves.

7. What time of day do you find yourself most creative and why?

Well... for me, it's not a time of day but rather a period. I get real creative in Christmas time or even Easter period. Those are the times where I can have most of my thoughts to myself because I don't need to think about work or other things. I think it's because we always try to "grind" but the only time we really can relax (because we're forced to since everything is in shutdown) is Christmas.

Unless you work in retail or hospo then R.I.P.

8. Do you think art is important to society and why?

I think art as a concept yes. We need culture and creativity to innovate, to educate, to inspire.

But... like... not all art is like that and personally, I think that's a good thing.

When we talk about "the arts", we put this idea on a pedestal and worship it as if only the elite can engage or make it. Don't get me wrong, it takes skill and dedication but this ideology creates a toxic mindset and affects the process of making.

I think it's more particular for arts of a minority because we feel since there's not much representation out there, every time we create, it must be the gold standard. But a friend once told me, "You know, white people make useless art all the time."

Art is important but it shouldn't be a burden to make every single piece of art important.

Egan Sun-Bin and the creatives from the creative development of Kung Pow Cambodia. Image: Supplied by artist.

9. What is something you have created or a process you have been a part of that you are most proud of?

I'm actually still in this one. I've been writing a play through ATYP's Fresh Ink Mentoring Program and through the Untold Stories Retreat called Kung Pow Cambodia. It's a play about a daughter trying to connect with her Khmer - Chinese mother through their mutual appreciation of Kung Fu.

Even though it's not completed and, in the works, I'm very proud of what I achieved in this story and the people I've met who are Khmer and really resonated with the work. It's the first time I’ve written a Australian-Khmer story and I've always wanted to write one because in terms of representation of Khmer people in Australia in the arts and media, there isn't much.

During the Khmer Rouge Regime, a lot of artists were killed, and resulted in a halting of culture growth for Khmer people in Cambodia and those who fled. We've had movies like The Killing Fields but only recently we had Khmer artists leading Khmer stories. It's been more high profile in America than it is in Australia.

So, wherever this story lands, I'll be very proud because it's a first and I hope it won't be the last.

10. What are you working on right now, if anything?

For now, I'm just focusing on myself, but I'll be going down south to help direct 'The Peasant Prince' and that will be touring all over the east coast. It's based on the story of Mao's Last Dancer.

Also, I'm hoping to bring back my artistic collective The Reaction Theory back in 2024 with an exciting play from across the seas. I can't say much about it but it will feature Meanjin's best emerging artists and will be a show stopper.

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Josh Daveta

Josh is a POC & Queer singer/songwriter, actor, musician, writer, producer and cabaret artist. They were a top 50 Australian Idol contestant and has worked with many Australian Talent such as Nancye Hayes, Peter Cousens, Marina Prior, Paulini & Jessica Mauboy as well as rubbing shoulders with the likes of Shoshana Bean, Natalie Weiss & super star Katy Perry (the name dropping is foul, we get it). Over the past 9 years they have lead the way with cabaret, touring with their critically acclaimed shows “Teenage Dreams”, “My Prerogative” and their brand defining return season show “Like Mariah”. They were also apart of Electric Moon’s 15th Anniversary “Hedwig & The Angry Inch” concert and “In The Warm Room: Songs of Kate Bush”. Their staple involvement as festival host for Brisbane Festival’s Arcadia and in Brisbane’s phenom, Oscar Production Company’s “boy&girl”, are career badges stapled into their brand of being one of the city’s best! Josh is the director of their production company JDProCo which works to elevate artists that are BIPOC, POC, Queer & Female especially and have been able to employ over 40 QLD creatives over various projects in the past 4 years. Since 2021, they have been able to provide 70 QLD Artists with a gig and have created the wildly successful events “Broadway In The Dock”, "So Millennial" & “Home for Christmas” Their main goal in life is to work constantly enough to buy Starbucks Gingerbread frappucinos at any time of the day! Josh just bought one yesterday… Josh’s acting credits include LEGALLY BLONDE (Emmett), LITTLE SHOP OF HORRORS (Audrey II), SPELLING BEE (Mitch Mahoney), HAIR (Hud) & SONGS FOR A NEW WORLD (Man 1).

Josh Daveta. Image: Supplied by artist.

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1. Describe what you do in 100 words?

My approach to what I do is very multi-faceted, from being a performer (singer, actor) to a musician, to a creator and a producer. My work in very recent years is mostly myself having an idea, problem solving how to make that happen, inviting artists to join me in its creation and making all the moving parts into a project that gets shown in front of people (an audience). I contribute a lot to the concert/cabaret genre of the performing arts with what we create but it always comes down to the performer and how they wish to express themselves as an artist.

2. What’s your first memory of engaging with the arts?

I was raised in church - so the worship team at the time was my earliest foray into engaging with the arts. I was also heavily involved in school choir, bands & music class that I never once got bored of - if rehearsal was cancelled that day, I would genuinely be so sad!

3. What motivates you to create?

My main motivation, and discuss this with me if you may not like this approach - but I am very driven by the notion that I just don't want "this" to end. I am 100%, irrevocably in love with being artistic and creative. My purpose and duty to create work, inspire work and most of all, be fulfilled by what I do, never leaves me, even when I'm exhausted and burnt out at times. I am very privileged to captain a ship that has a crew of people that put their hand up when the call comes to "create a project" again. So besides my personal drive (which is obscenely high), I am also driven by the creatives I have surrounded myself with that also want to do this.

4. Can you describe your ideal working environment?

My ideal environment always starts with mutual respect in the air. Each artist that walks in the room is silently leaving their external ego at the door and to come in as an equal. Collaboration always brings the best feeling of fulfilment for me and I want each artist to contribute their thoughts and ideas and also acknowledge great decisions and choices on all levels of the process e.g. Music choices, vocal choices, directive choices - validate it! I'll also take my iced vanilla latte on oat milk, thanks!

Josh Daveta. Image: Supplied by artist.

5. How do you manage work-life balance as an artist?

What is that?! LOL - I still navigate what work-life balance means to an independent creative that is a freelancer. I don't think there is a formula to be great at it but we know that one can't exist without the other (e.g. Taking time to rest is also lost time for a deadline). So instead of demanding an expectation that I will be great at the balance, I try to assess myself a couple of times a week and see how I'm going and if the avalanche of work is manageable or not. Your body, even if you have a high capacity threshold, will tell you if its had enough - I think a better tool in your belt to sharpen is knowing what self-awareness means to you and how to practice using that tool more often in your life.

6. How do you seek to improve and develop your practice?

Right now, I'm still in "Phase One" of JDProCo (my production company) which is to create new relationships with artists and deepen the relationships with artists I already work with. "Phase Two" is to build bigger shows that employ more people that want to serve the creative vision of each project with their talents. In turn we want to keep on building our audiences to be bigger each year. "Phase Three", which I don't speak about often, is to become a venue owner. What that looks like physically, I have written in my Notes App with many iterations of this dream and how to achieve it. But I've decided that manifesting and speaking about it more will hopefully help that process as well.

7. What time of day do you find yourself most creative and why?

IT ALWAYS HAPPENS BEFORE I'M TRYING TO GO TO BED, AAAAHHHH!!! Or whichever time I'm not drowsy or overly exhausted - I treasure and take rest very seriously nowadays. If I have no energy, I have no creative valve to open. Simple as that.

8. Do you think art is important to society and why?

Simple answer as an artist, YES. It always has been and whilst we navigate an age where art is driven by metrics, it is important that we keep on creating art even when the numbers are against us. Art always reflects the times and is a commentary on our social, political and cultural landscapes and is a great catalyst for discussion and internal reflection. Sometimes a work SHOULD trigger us in a contextual way if it opens a valve to think beyond how we've always known something to be. Art and people are complicated, there's beauty in that.

Josh Daveta. Image: Supplied by artist.

9. Who is an artist that inspires you and why?

Beyoncé - I've witnessed this woman who is a beautiful singer, a great collaborator, a seasoned, polished performer who is also a creative visionary. She is known for her work ethic as she knows everything that happens on her stage. From every lighting cue, to sound cue, to arrangement decision and mark that needs to be hit in staging! That is someone that inspires me in my own little realm of creativity as I have become that person too. I know every harmony, note & arrangement decision in our shows. Beyoncé has shown us that if you want to be a great leader, the standard starts with you - and I don't take that lightly!

10. What are you working on right now, if anything?

We are in full rehearsal mode for our company's festive concert, "Home for Christmas" by Josh Daveta & The Sequins playing at The Old Museum December 15 & 16! With a 7-Piece Band & 8 singers including our special guest, Angela Fabian - we have created a joyful multi-genre show that covers all holiday music in its many forms! We hope as many people as possible join us for this 2-Night extravaganza of feel good music - it truly does feel like you are coming, home, for Christmas.

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Stephanie Elliot

Stephanie is a director, performance-maker, and artist. Stephanie's most recent works include a reading of her work To the Monster in My Cupboard staged locally in 2020, with support from the Ipswich City Council. Since then, she has assisted THAT Production company on their 2021 performance of Sea Wall and has since continued to build her skills in writing and directing.

Stephanie Elliot. Image:Supplied by artist.

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1. How would you best describe your artistic practice?

I always start with a lot of questions, and lots of time looking things up. I'm really interested in figuring out how things fit with other things, whether that be artistic or philosophical predecessors, or historical events. I love researching things and reading widely. From there, it's a process of asking the right questions and provoking the right discussions.

2. What’s your first memory of engaging with the arts?

I was in Irish dancing lessons as a child, like all of my siblings. Unfortunately, unlike my siblings, I had a serious case of separation anxiety and so I never fostered dreams of stiff arms and loud feet. In my primary school, there was no such thing as a 'theatre kid', so it wasn't until I was 13 or 14 that I joined the local amateur theatre group and discovered a deep love of live performance. My first show involved me quoting Lady MacBeth's 'unsex me here' monologue with absolutely no idea what it meant, but I had a jolly good time with it nonetheless.

3. What motivates you to create?

If I'm not making art, I spend a lot of time talking to myself. Making up arguments, dialogues, unpacking ideas, in a constant stream of consciousness. So, creating art helps me avoid people on the street asking me why I'm muttering to myself on the way to work. I think I just feel a need to make sense of the world around me, out loud, or on paper. By turning ramblings into art, it's like I'm organising them, fixing them up, and turning my thoughts into something that other people can connect with, so I'm not just talking to myself anymore.

4. Can you describe your ideal working environment?

I truly just love big windows, natural light, fresh air, and space to roam around. A desk, some paper, a computer, artists that inspire me, and I'm set.

Stephanie Elliot and Ensemble in Kill Climate Deniers by David Finnigan. Image: Adam Finch.

5. How do you manage work-life balance as an artist?

The short answer is that I haven't. My first year out of uni, I dedicated myself to being a producer of my own work in Ipswich and didn't have a job for a year. Unfortunately, I graduated in December of 2019, and 2020 was the rudest awakening one could hope for. In 2021, I got a full-time job, and after a while, I felt myself getting more and more disconnected from the arts. I would see shows, go to galleries, sketch things in the park, write poems, but when it came to starting a project? Of live performance? Even though it's what I love the most, I felt like I didn't even know where to start. That's the scary part of theatre, I think. You can't really do it privately.

Anyway, after a long time of working on my health, and building myself up, I started applying for things and tried to see what stuck. Feel free to check back in, perhaps in a year or so.

6. How do you seek to improve and develop your practice?

It's a bit like learning a language, I think, in terms of input and output. I have been devouring play texts and watching recordings of performances from some companies I really admire, and of course, most importantly, going to live performances. I keep a notebook so I can write down what I like and don't like. I also adore interviews with playwrights and directors, not just because of the insight it provides into their process, but also their inspiration. Be warned, this can tend to be a rabbit hole that you may never escape from! My lists of plays, writers, and artists is ever growing! Then, of course, the difficult part. Actually doing things. This is something I'm working on, what with the whole 'work-life-arts' balance.

7. What time of day do you find yourself most creative and why?

Frustratingly, I find some of my most inspiring ideas literal seconds before I'm about to fall asleep. I'm sure it's connected to an overactive imagination and vivid dreams, but it truly is the worst time to be struck by inspiration. Each time, I have to try really hard to wake myself up to write it down. Moment of silence for every time my exhaustion won the fight.

To be fair, sometimes my 'inspiring', pre-sleep ideas are a bit silly, but that's between me and my notes app on my phone.

In terms of output, it would be whenever I say 'enough is enough' and force myself to sit down and write something. Sometimes I'm 'in the zone' and sometimes, I work without it, because otherwise, I'd only be creative once every few months.

8. Do you think art is important to society and why?

Art is sense-making, it's communication, it's sharing knowledge, it's ritual, it's culture, it's community. As tacky as it sounds, art and society are indistinguishable. How do we understand societies, outside of their art? When we try to understand the long-lost past, we look to sculptures, theatres, canvases, jewellery, fashion, architecture. Not just as things that served a purpose or things to fill a history book, but as things that captured life as it was experienced by the people who lived it. We, or at least, most regular people, know the Ancient Egyptians, and the Romans and the Greeks by what they created, far more than how their political systems functioned, or how their labour system worked. More people remember the paintings and the pyramids than the specific contributions to mathematics, or agriculture.

Stephanie Elliot in Cyberbile by Alana Valentine. Image: Tom Antonio.

9. Who is an artist that inspires you and why?

I've always loved Frantic Assembly - I think it's so cool that one of the biggest physical theatre companies in the world started by 3 non-theatre people wanting to create something cool. I think it highlights how theatre is a medium that doesn't demand the most trained, or the most knowledgeable, but storytellers who are dedicated to sharing something with other people.

10. What are you working on right now, if anything?

I'm directing a play called 'Documenting the Evaporated' by Xinyu Chen as part of Underground Production's short play festival in October.

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Matt Domingo

Originally trained as a medical doctor, Matt finally decided to give in to a childhood dream and pursue an artistic career after seven years of university and three years of working as a medical practitioner. After developing a reputation in the Queensland community theatre space, he decided to broaden his skillset with some of Australia's most reputable acting coaches and casting directors and began auditioning for theatre, film and television productions worldwide. His recent work includes the Foxtel/Binge original series ‘High Country’, the ABC miniseries 'In Our Blood' and the feature film 'Romance at the Vineyard’. In September he will be originating the role of “Jamie McKenzie” in the world premiere of “Cut Chilli” as part of the LaBoite Theatre Company's 2023 mainstage season.

Matt Domingo. Image: Tim Ross Photography.

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1. Describe what you do in 100 words?

I draw from my lived experiences, genuine interest in people, and deep passion for music, movement, and dance to create my own distinctive interpretation of a character or script, bringing a unique and authentic perspective to a performance on stage or screen.

The more literal answer? I record videos of myself in front of a blue screen and send them to different people around the world hoping that they like me.

2. What’s your first memory of engaging with the arts?

This might not count as a first memory, but my mum loves to tell the story of how out of the three of us siblings, I had the strongest inclination towards singing and dancing as an infant. There was this one incident on the bus where the driver who clearly didn't have an appreciation for great talent, very impolitely asked my mum to shut me up. He was the first of many who tried to dampen my creative spirits, but none have succeeded to this day!

There is one unforgettable memory etched in my mind though – It was my very first time watching live theatre - "The Lion King" on Broadway, smack bang in the middle of the stalls. The whole show was a burst of colours, with incredible set designs, soul-stirring music, and a genuine heart that just swept you away. The entire team on that stage had this magical power to make you forget you were sitting in a theatre. It was like they whisked you away to a whole other world - you'd think you were right there in the Serengeti, surrounded by majestic animals. Everyone on that stage looked like they were having the time of their lives. That to me, is the essence of great theatre.

I've always had this burning desire to perform, but that moment was a turning point for me. The magic of that performance sealed the deal, and from that day on, I knew without a doubt that I had to be a part of this incredible world of performance.

3. How would you best describe your artistic practice?

Throughout my life, I've been genuinely fascinated by people—their values, beliefs, and the transformative experiences that shape who they are today. Ultimately it’s probably why I fell into the study of psychiatry for my specialty training (back when I was still a practising doctor). This profound interest in human psychology allows me to delve into the diverse and often concealed facets of my own being, enabling me to breathe life into captivating characters on stage or screen. I cherish every opportunity to express the depth of emotions and unique stories that resonate with audiences, painting vibrant and unforgettable portraits of humanity.

4. Can you describe your ideal collaborator?

Expressing and articulating my ideas can be challenging for me at times. However, I've been fortunate to collaborate with individuals who seem to grasp my thoughts effortlessly, understanding what I want to convey without me needing to say a word. My ideal collaborator isn't necessarily someone who has lived through the same experiences as I have, but rather someone who deeply values the significance and relevance of the story I wish to tell.

I seek a collaborator who can seamlessly fill the gaps and elevate the narrative. Whether it's through their dramaturgical skills, exceptional writing abilities, or their prowess as a director, their contributions enhance the overall vision. This synergy allows us to create a masterpiece that resonates with audiences and brings our collective vision to life.

Matt Domingo and Christen O’Leary in Cut Chilli by Chenturan Aran. Image: La Boite Theatre Company.

5. How do you manage work-life balance as an artist?

Navigating the early stages of building a successful artistic career can be especially tough. When gigs aren't yet flowing in consistently (a dream for the future), you often find yourself needing a 'survival' job to cover the bills between each opportunity, and sometimes even during them. This can easily lead to working over 60 hours a week, trying to balance career advancement and financial stability. As expected, burnout becomes a common struggle for many of us at this stage.

However, I've learned that staying grounded is essential during this chaotic phase. I make sure to prioritize 7-8 hours of sleep (this is a MUST), keep myself hydrated with at least 3L of water daily (yes, I carry a not-so-glamorous giant water bottle everywhere), and stay committed to strength training six times a week. Additionally, maintaining a diet rich in whole foods while limiting processed foods, sugar, and alcohol (the doctor mode never switches off) helps me stay physically and mentally strong.

But what truly keeps me going is making time for my loved ones, friends, and family. Even during the hustle of early career development, nurturing those connections is vital for a sense of balance and fulfillment in life.

6. How do you seek to improve and develop your practice?

To improve and develop my practice, I firmly believe in embracing a mindset of continuous learning and growth. Acknowledging that there is so much that I don't know, whether it's about myself, the world, or my craft, lays the foundation for my artistic journey. Even after booking a fantastic gig or receiving praise through reviews or feedback, remaining humble and grounded becomes crucial in my pursuit of excellence.

One of the ways I enhance my skills and understanding is by immersing myself in various forms of art. I make it a point to watch as many series, films, and theatre shows as possible. Each viewing experience becomes an opportunity to learn and grow, whether it's from the strengths of a well- executed production or recognizing areas for improvement in others. There's something to gain from every performance, be it positive or negative, as each contributes to my artistic development.

I also actively seek out feedback and constructive criticism from mentors, peers, and audiences. Welcoming input from others, even when it might be challenging, allows me to gain fresh perspectives and insights that can fuel my progress. It's essential to maintain an open mind and be receptive to feedback, as it serves as a powerful catalyst for improvement.

Lately, I’ve been prioritising ongoing training and workshops to refine my craft continually. Investing in myself through educational opportunities and collaborative experiences helps me stay at the cutting edge of my field. By continuously honing my skills and exploring new techniques, I can push

the boundaries of my artistic expression and bring even more depth and authenticity to my performances.

7. What time of day do you find yourself most creative and why?

I can’t truthfully answer this because when the creative impulse strikes, it can happen at any time! Unfortunately it does tend to happen most often when I’m laying in bed trying to sleep so I really should invest in a bedside pen and notebook.

8. Do you think art is important to society and why?

Of course. Art provides a means of escape and a way to enhance overall well-being. Whether through films, paintings, music, or literature, art has the power to transport people to different worlds, offering a temporary respite from the challenges of everyday life. Engaging with art can be therapeutic, allowing individuals to find solace and inspiration in its various forms.

Secondly, art serves as a powerful tool for opening audiences' eyes to new perspectives and experiences they might not encounter in their daily lives. Through storytelling, art enables us to see the world through the lens of someone else's journey, fostering empathy and a deeper understanding of diverse cultures, struggles, and triumphs. It has the unique ability to bridge gaps and build connections between people from different backgrounds.

Art also plays a significant role in shaping societal norms and perceptions, which is of particular importance to me. Mainstream entertainment often dictates our standards of beauty, attractiveness, and acceptance. By promoting diversity and representation on screen, art can challenge these stereotypes and promote a more inclusive and accepting society. I’d like to think that in the future, when a young brown kid sees a successful, charismatic, and respected character (rather than one who is there for humour or belittlement) portrayed by a brown actor, they gain a sense of validation and realise that looking the way they do is not only normal but also deserving of respect and admiration.

Art has the powerful ability to foster empathy, create positive change on a large scale, and shape a more inclusive world that celebrates the uniqueness and diversity of each individual. It’s up to us to lead the way.

Matt Domingo in Control by Keziah Warner presented by Observatory Theatre. Image: Creative Futures Photography.

9. What is something you have created or a process you have been a part of that you are most proud of?

Recently, I had the opportunity to audition for a film by the talented Sydney based Sri Lankan- Australian writer, Shakthi Shakthidharan. To prepare myself thoroughly, I delved into his previous works, including 'Counting & Cracking,' immersing myself in the world he had created. Additionally, I took up the challenge of learning Bharatanatyam, a beautiful South Asian classical dance form.

Throughout this audition process, something remarkable happened. As I delved into Shakthi's works, I found myself exploring and learning more about the rich tapestry of Sri Lankan culture, especially the Sri Lankan Tamil heritage. My curiosity led me to discover the profound history of Sri Lanka and the impact of the Civil War, which had caused global displacement. I was deeply moved by the stories and experiences that I encountered along the way.

Regardless of the outcome of the audition, I will forever cherish this transformative journey. It not only pushed me to embrace a dance style rarely seen on mainstream stages but also encouraged me to reconnect with my own cultural roots. I am immensely grateful to this process for igniting my passion to learn more about my heritage, understand my history, and appreciate the significance of my cultural identity.

10. What are you working on right now, if anything?

I’m currently in between projects, so I’m back at the Department of Health working as a medical advisor for the therapeutic goods administration. But I’m looking forward to starting rehearsals for Cut Chilli at the LaBoite Theatre Company which starts rehearsing in August!

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Suzanne Matulich

Suzanne has been actively involved in theatre since high school, studying Speech and Drama to Year 12 level and performing in school productions. After she left school she was an active member of Gold Coast Little Theatre. She then widened her skill base by working for TN! Theatre as wardrobe mistress for a couple of shows and acting in documentaries and commercials. About this time she discovered the challenges and joys of directing and teaching drama, firstly with Ipswich Little Theatre and then with her own drama school for teenagers – Crossfyre Youth Theatre. She was delighted to win many trophies and awards for directing, in the annual South East Queensland One Act Play Festival.  In 2017 she established Crossfyre Players, an informal drama group aiming at presenting interesting theatre by adults and teenagers in non traditional venues and has produced a play each year, focussing on Absurdist style theatre.

Suzanne Matulich. Image: supplied by artist.

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1. Describe what you do in 100 words?

My passion is directing, I love working with a wide range of actors, some with little or no experience up to those who have worked in professional theatre. To be able to create a cohesive troupe, with high energy levels, to entertain and challenge audiences brings great satisfaction. To be able to pass on that enthusiasm to other actors is very rewarding.

2. What’s your first memory of engaging with the arts?

Being cast in a play at high school. An amazing challenge to someone who, up till then, had been excruciatingly shy and insular. It was a turning point in my life.

3. How would you best describe your artistic practice?

I love the idea of creating plays that reach out to wide audiences, in particular people who may have never been to theatre before. That means that, while the programs must be easily accessible to non traditional audiences, the level of production and the plays performed must be of a high quality with no dumbing down and no patronising.

4. Can you describe your ideal collaborator?

I have worked with a few close colleagues for years, they know me and my style of production and have great creative input into the final product.

Michelle Mancy in The Cagebirds by David Campton. Image: Mel Sinclair.

5. How do you manage work-life balance as an artist?

Easily, they are the same thing – my work in the performing and visual arts is my life, so the balance is perfect.

6. How do you seek to improve and develop your practice?

By reading plays and articles on theatre and attending a wide range of theatrical productions from local community theatre to Queensland Theatre.

7. What time of day do you find yourself most creative and why?

2am – when I have had enough sleep to be rested and the peace to be able to focus on whatever project is in the front of my mind.

8. Do you think art is important to society and why?

Art in all its forms, performing, visual or literary, define a society. Art keeps the brain stimulated and creative and gives people the opportunity to work through challenges and tribulations of the everyday world.

Samantha Warburton in This Is Absurd presented by Crossfyre Players. Image: Mel Sinclair.

9. What is something you have created or a process you have been a part of that you are most proud of?

The current Crossfyre Players production of This is Absurd. It is the first time I have included works that I have written myself.

10. What are you working on right now, if anything?

I am halfway through a season of This is Absurd – four short plays in the Absurdist style:

This is Absurd! is an innovative and thought-provoking production from Crossfyre Players. Four short plays, in the absurdist style, delve into the complexity of relationships and modern life. Eight actors take on a challenging variety of roles which will make you laugh, make you think and ultimately will entertain you. One of the plays, Impromptu, by Tad Mosel, is performed by arrangement with Music Theatre International Australasia Pty Ltd, on behalf of Dramatists Play Service, Inc. The other three plays have been devised by Director Suzanne Matulich.

This Is Absurd presented by Crossfyre Players 23 June - 2 July. Tickets here..

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Janaki Gerard

Janaki Gerard is an actor, writer, singer and dancer from Meeanjin  who has worked in London and New York City. Janaki was a top twenty finalist in the Stellar South Asian Women of 2022 Australia.  This August she  will be a part of the original cast for the world premiere of “Item” presented by Dance Masala & Metro Arts Theatre. In 2022 Janaki  joined Upside Down Media productions as a cast member and embarked on their  12 for 12 short film challenge; they filmed 12 short films over 12 months. In 2021 she was voted the audience choice award at the Brat Pack Comedy Competition. Her mission for the future is to develop more platforms & projects for South Asian creatives in Australia.  Her performance credits include: "When Love Springs" Steve Jaggi Company. “A Wedding and a Murder” Fever Immersive Theatre, Laboite Theatre's Assembly Program, “As You Like It '' Anywhere Theatre Festival,  “Honour” Queensland Theater Play club series,  “Two Weeks with the Queen” Queensland Theater Play club series, “Tales from the Colony” Backbone Youth Arts,  “Masala Monologues'' Rich Mix Theatre (UK) “An Enemy of the People” Union Theatre (UK) . She has an MFA in acting from East 15 acting school  (UK). A BA in Journalism from Griffith University (AUS) and received her 200 hr yoga certification from the Rishikesh yoga teacher training centre (India).

Janaki Gerard. Image: supplied by artist.

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1. Describe what you do in 100 words?

I love to tell stories. I do it through the modes of acting, singing, writing and dancing. I'm very lucky and thankful that I get to pursue this work as a profession.

2. What’s your first memory of engaging with the arts?

I was six years old and my mother took me to Aida the opera. I remember the sets and costumes being extravagant. Like I had been transported to another world. I remember the singers voices being so powerful and mesmerising but I couldn't understand a word they were saying. The role of Aida was played by Wilhelmenia Fernandez, maybe subconsciously I saw  a powerful woman of colour commanding the stage with strength and vulnerability and I thought, I can do that too......Eventually I did curl up on my mum's lap and fell asleep listening to Verdi.

3. How has your practice changed over time?

When I first started I aimed to be a perfectionist (I was doomed). I thought if I worked the hardest that would guarantee the best outcome. I was so wrong. I used to work so hard because I didn't think I was good enough. I had no belief in myself. I was also told that if I wanted anything in life I had to work hard. This way of working wasn't sustainable for me, it sucked the joy and love out of what I was doing. It also started to affect my mental health in negative ways.  Now I'm trying a different approach. I practise ways to love myself and continue to build my confidence. I approach "the work" from a place of play. For me that's get up on your feet and read it out, discover the beats, play with the rhythm of the language, explore the movement of this character. Whatever I'm curious about in that moment follow those bread crumbs! For me it's a much more fulfilling way to work. I'm much more peaceful within myself and generally a lot happier.

4. Can you describe your ideal working environment?

I would like the experience I had with Proof every time from now on. Amazing cast & crew, increadible connections, stellar script with nuanced female characters, marvellous direction and fun loving audiences. Make it happen Universe.

Image: supplied by artist.

5. How do you manage work-life balance as an artist?

I haven’t figured that part out yet. Before I started rehearsals for Proof I was working casually at 4BC radio station and was free lancing as a performer. I was barely covering my expenses. I have a few other paid creative projects lined up after Proof ends. Once the season ends I’ll start looking for some other casual work to get my savings up. Long term I would love to set up my own business that I can derive a steady income from that I can reinvest into my creative projects.

6. Who is an artist that inspires you and why?

Oh god there's so many. Off the top of my head... here's my top three - Oprah, Javier Bardem & Tina Turner

7. Do you have a bucket list project / role or collaboration and can you tell us what it is?

Here's the bucket list .... Prince of Egypt the Musical, Mary Poppins would be a hoot! Create the Australian version of Charmed and put all my talented soul sisters in it! Play Marian in a kick arse adaptation of Robin Hood, I love the Robin Hood legends. Finally voice a Disney princess or the matriarchal antagonist, not sure which one would be more fun, as long as they get an epic song!

8. Do you think art is important to society and why?

Yes I do. I recently watched a video about Natalie Portman talking about acting. She said artists encourage active empathy. I agree with her point of view. As actors we are embodying the characters desires and obstacles. We're trying to understand them. As people it is a gift when someone looks deep enough to want to understand you. I see that as empathy, maybe even a form of love. Through storytelling we're encouraging audiences to be more empathetic. To see a story from multiple perspectives. When a story resonates with someone it gets them thinking and discussing the behaviour, the actions, the plot lines etc. It encourages people to reflect on their own actions and hopefully inspire them.

Image: supplied by artist.

9. What is something you have created or a process you have been a part of that you are most proud of?

I'm so incredibly proud of Proof. This creative team is exceptional! Everyone involved is kind, dedicated and so bloody talented. It feels like this team was meant to be because the process has been so organic. From day one in the rehearsal room and the theatre has been filled with love, laughter and plenty of inspiration. I've learnt so much throughout this process and I can't wait to work with everyone again ;)

10. Does your artistic practice help you in other areas of your life, and how so?

Absolutely! My voice training has made me confident within my voice. It's helped explore opportunities as a broadcast journalist.  As an actor you shift your focus on to the other character or the imaginary world around you. That curiosity has flowed into my every day life. I enjoy talking to new people, getting to know them. I enjoy connection. I'm definitely and extrovert. I guess this practice has encouraged me to be my most genuine self and cultivate curiosity for the world around me.

Proof by David Auburn plays at Ad Astra from 15 June - 8 July. Tickets here.

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Kyle Schneider

Kyle Schneider is currently a Senior Lighting Technician at The Sydney Opera House as well as being a freelance Lighting Designer and Stage Manager. He has worked on hundreds of different shows whilst working professionally in the live performance industry over the last five years. His recent highlights include: Lighting Designer; Noel – A Christmas Concert (Saint Stella Presents), Death of a Salesman (Bundaberg Players Incorporated) , Priscilla – Queen of the Desert (BPI), Failure To Launch (That Production Company), Both Sides Now (SSP), Music of the Night (SSP), Mamma Mia (BPI), Stage Management; Lord Mayor’s Christmas Carols as ASM (The Little Red Co.), Failure to Launch as Stage Manager (TPC) and Back to the 80s as Stage Manager (BPI), Creative and Technical Director; Noel – A Christmas Concert (SSP), Both Sides Now (SSP) and Music of the Night (SSP). As well as working in theatre, he also dabbles in photography and performing as a Drag Queen.

Kyle Schneider. Image: Kyle Schneider.

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1. How would you best describe your artistic practice?

As a lighting designer, it's my job to help the director and the creative team portray the mood, time and place, atmosphere and mainly to transport the audience into the world that has been created. For me, it’s having a good understanding of the text and being able to also understand the vision of the director and design team. At the same time, it is being able to build trust with the creative team enough where you can put your own flair on it and make it yours. As a Stage Manager, it is making sure that everything happens, when it is supposed to happen with the right people without anyone knowing any different. It is such an acquired and hard skill, but over the last few years I have had the pleasure of working with some amazing stage managers and have learnt a lot of amazing tips from them. At the end of the day, be prepared for anything.

2. What’s your first memory of engaging with the arts?

My first memory of engaging in the arts would have to be going to the local theatre (The Moncrieff Entertainment Centre (Which I have just finished working at) and seeing the end of year somewhat Christmas based performance usually performed by (don’t @ me if I am wrong) Fame Theatre Company… this is going back to like 2003ish so I could be wrong. We went a few years in a row, and it was always so special and fun. I remember on year it was set in a Rocketship of some sort and at the time, 5-year-old Kyle thought that was the best thing ever. Another memory that also pops into mind is watching The Sound of Music with my Nana on VHS, it was one of my favourite movies when I was young, I even begged my mum to buy it on VHS for me just so I was able to watch it at home as well.

3. What motivates you to create?

Seeing theatre, surrounding myself with art, listening to music. It is the creative things that motivate me to create. I think as artists, we work by seeing something, getting inspired by it and then getting the motivation to create something. Everything is inspired by something at the end of the day.

4. Can you describe your ideal working environment?

A usually dark box, could be rounded, etc. that has aircon and lots of seats in it with some fun technology… oh wait…

Noel presented at the Moncrieff Entertainment Centre. Image: Kyle Schneider.

5. How do you manage work-life balance as an artist?

I feel like I am the worst person to answer this question, because I sometimes feel that there isn’t balance. I love what I do so much that sometimes it is my life, it consumes me, and I just want to put everything I have into that certain project. Whenever I do have a few days off, I do really switch off, I don’t answer work calls, emails, etc. I just have me time, spend that time with my family and friends, doing the things I love… which sometimes will involve going to a theatre…

6. Who is an artist that inspires you and why?

I can’t pinpoint just one artist because there’s too many. I have met so many amazing people, especially in the last year or so and they all inspire me in different ways. They inspire the work ethic I have, the way I approach a task, the way I design lights, the way I stage manage. We are so lucky in QLD (and Australia) to have some amazing artists that people are sleeping on, there are some companies doing some amazing things and I think it’s time that these people and companies get more recognition (and get more funding…)

7. Do you have a bucket list project / role or collaboration and can you tell us what it is?

Nothing specific, but I would love to be the original lighting designer for a big musical production, especially a new Australian work. I recently (2019 recently…) saw Fangirls by Yve Blake and holy wow. I want to work with her on a project. It made my brain explode and then repair itself enough to know that it’s the kind of shows I want to be doing lighting design on, or stage managing, I wouldn’t say no to either… (I also wouldn’t say no to something like Muriel’s Wedding The Musical – it has to be one of my all time favourite musicals!)

8. Can you describe your ideal collaborator?

My ideal collaborator would be someone who shares the same artistic style as me. It would be someone who I am able to get along with well, even if we disagree on something, we will be able to move on from that. It would be someone who is giving and not selfish, I think the best pieces of theatre come from people who are all working for the greater good of the team and the project and not for themselves. It would be someone who is willing to help out wherever they need too and make sure that everyone is pulling their weight.

Failure to Launch by Liam Lowth. Image: Kyle Schneider.

9. What is something you have created or a process you have been a part of that you are most proud of?

There are so many, but one that really comes to the forefront of my mind would be Failure to Launch. FTL will always hold a special place in my heart because it was the first show I was involved in where I was able to be the original lighting designer for. We developed, rehearsed, teched and performed the show all within two weeks, which to me, is still crazy. I was really proud of the overall team for this show because we all worked really hard together, everyone was willing to help everyone else and it just made it so much easier as a process. I still don’t know how we did it, but I would go back and do it again any day, the team was literally a dream.

10. What are you working on right now, if anything?

I am not currently working on anything, I have a few small lighting design projects maybe coming up, but for the moment I am focusing on my new job at The Sydney Opera House. I have only been in Sydney for a short time, so I am going to find my feet and then go from there!

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Triona Calimbayan-Giles

Triona is a proud Filipina-Australian actor, director and producer, who graduated from QCGU in 2020 with a Bachelor of Acting with Distinction. Since graduating, her credits include, Daisy/Anna/Child in Alice Birch's Anatomy of a Suicide, Ahn in More of Us at Short+Sweet QLD Finals, Laura/Caroline/Esta in Keziah Warner's Control, a Motion Capture Actor in the new kids animation, Teletubbies Let's Go! And a soon to be released animation series as a Voice Over Actor. She was honoured to join the Script Assessing panel for the 2022-23 QPDA at Queensland Theatre, and as of 2023, launched her own independent theatre company, mIxED productions. As a mixed-raced woman of colour, Triona is fiercely passionate about equality and diversity, and how we can honour diverse voices in the arts.

Triona Calimbayan-Giles. Image: Stewart Tyrrell.

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1. Describe what you do in 100 words?

I like to tell stories. If I'm performing as an actor, or on the creative team as a director or producer, I will always come back to why this story. How does this story contribute and comment on humanity, and why do we need to hear it here and now, and how are we including diverse voices to tell that story?

2. How has your practice change over time?

My practice was shaped and moulded the most during my studies at Griffith. Since graduating, life as a freelance artist can feel incredibly isolating and challenging, and not even Uni could prepare me for that. Keeping myself connected to other likeminded artists in what kinds of stories ignite us, creating that community and bonding over our drive for story-telling.

3. What motivates you to create?

Seeing/experiencing other stories and ignite a fire in me. I want to be part of creating art that does the same for others.

4. Can you describe your ideal working environment?

Honest, collaborative and supportive of every human involved. A space where we can make mistakes together and have each others back along the way. A space where everyone puts in as much as they take away from the process.

Image: Nick Morrissey.

5. How do you manage work-life balance as an artist?

With difficulty. This is an ever evolving challenge and one I hope to master eventually. Work is needed to be able to afford life as an artist, therefore other things are compromised, but you have to simply make it work.

6. Who is an artist that inspires you and why?

Courtney Stewart - Artistic Director of La Boite theatre company. She is a fellow asian-australian artist that has paved her way in the industry within several fields. She is quite simply goals

7. Do you have a bucket list project / role or collaboration and can you tell us what it is?

I want to do a full female led production, cast and creatives in Meanjin. I'm not sure what that looks like yet but it's definitely in the stars.

8. Do you think art is important to society and why?

Yes. From the beginning of time, the art form of story-telling is what connects us as humans. Whether that be through song, poetry, writing, theatre, film, dance - it's what keeps our souls alive. To quote Kate Miller-Heidke who spoke at my Uni graduation day, "As artists, we may not be heroes, but we are the guardians to the souls of all of humanity."

Image: Nick Morrissey.

9. What is something you have created or a process you have been a part of that you are most proud of?

My own production company! mIxED productions - Meanjin/Brisbane independant theatre company committed to inclusivity, equality and diversity. We're committed to creating opportunities for artists from underrepresented backgrounds and emerging artists. For mIxED, I am directing and producing Lemons Lemons Lemons Lemons Lemons, by Sam Steiner, on at BackDock Arts, April 2023.

10. Have you ever been to the theatre in another country? And how was it different to seeing theatre in Australia? 

Yes in London. It's common for every second person to have been to see the latest show on the West End, there's just so much of it! That in itself is very different to Australian audiences. We're also more reserved and "polite" here with our applause... in London, I don't think there was a single performance I went to out of 7 shows that didn't have a standing ovation. I work at QPAC as an usher and can tell you that it's rare...

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Peter Wood

Peter Wood is a proud Queer, Indonesian-Australian actor and performance-maker. Peter recently directed Bianca Zouppas in her one-woman show, KATRINA THE REAL WOG WIFE OF BRISBANE and recently played Kurt in SUNNY TRIBE DISTRICT which he co-devised with Patty Mu’A and the Robert the Cat ensemble. Notable credits include, MAMMA MIA!, AND SHE WOULD STAND LIKE THIS, TICK TICK BOOM, and ONCE ON THIS ISLAND. Peter choreographed TICK, TICK, BOOM! with THAT Production Company, which was nominated for Best Musical at the Matilda Awards in 2022. When they aren’t a Captain Starlight at the Queensland Children's Hospital, they can be found writing one of their many plays. From their work on screen to theatre, Peter aims to portray authentic queer and Asian-Australian characters in hopes to give voices to those like him.

Peter Wood. Image: Zac Bolton.

1. Describe what you do in 100 words?

I am a Theatre-maker. Whether that's acting, writing, directing or any other art form - I love to share stories! I have been lucky enough to test my storytelling muscles in all these artistic mediums.

2. What’s your first memory of engaging with the arts?

It all goes back to my parents, along with all my Indonesian aunties singing karaoke in my living room. Those memories of everybody singing, laughing and enjoying each other's company made me realise how the arts can really unite everybody in the room - whether that's singing, live music, performing in general. My go-to karaoke songs were Dancing Queen by ABBA and Torn by Natalie Imbruglia!

3. How has your practice changed over time?

After freshly graduating university, I definitely was more of a sponge and wanted to soak up different ways of theatre-making. My focus back then was to engage with as many artists as possible and be used within people's visions to help tell their stories. Now, I see my practice shifting to the practice of creating my own stories and helping others create their stories.

4. Can you describe your ideal working environment?

I'm going to rephrase the question into: Describe your ideal rehearsal?

10am Start. Iced, oat latte with caramel syrup in hand. Aircon rehearsal room. Large speakers. Mirrors. (for dancing). Check in with the cast and creatives. Warm up. Rehearsal begins. Break for sushi. Return to rehearsals. Wrap up by 4pm. What a dream...

Mamma Mia! presented by The Show Co. Image: Supplied by The Show Co.

5. Do you have a bucket list project / role or collaboration and can you tell us what it is?

I would love to work on a play about Indonesian culture or folklore. People who I look up to are Katrina Graham and Shari Irwin. As a local Brisbane Indonesian boy, if I were to work with them on a project - it would mean so much more than just artistically but also culturally to be able to share Indonesian culture with other Brisbane-based Indonesian artists.

6. Can you describe your ideal collaborator?

Somebody who is willing to listen to my ideas, whether they're good or bad. A Collaborator who tells you their honest thoughts and ways of thinking. I find I work best when I can really delve into what's going through our brains and picking all the ideas apart.

7. What is something you have created or a process you have been a part of that you are most proud of?

My first ever Fringe show that started at Short+Sweet Festival 2016 - Boys Taste Better With Nutella. We took that show to over 4 Fringe festivals and managed to get a couple of awards. I created this show with the amazing Caitlin Hill! I am recently super proud of a show that I helped co-devise and performed in - Sunny Tribe District with writer/director Patty Mu'A and the Robert the Cat ensemble. We were overwhelmed by the audience reaction and we couldn’t have asked for a better outcome!

8. Who is an artist that inspires you and why?

I don't think only one specific artist inspires me. But I am inspired by Drag performers, any underdog figure, or any 'David vs Goliath' story. Any Artist who creates art out of adversity or against the odds is an inspiration.

And She Would Stand Like This presented by Antipodes Theatre Company. Image: Angel Leggas

9. Does your artistic practice help you in other areas of your life, and how so?

I love to use humour in my practice but also in my everyday life. I would say that my love to make people laugh, feel warm and happy, definitely influences my everyday life. If you can make the most mundane parts of our days, the most memorable - why not?

10. What are you working on right now, if anything?

Other than writing multiple plays at a turtle's pace - I'm currently working on a show I directed last year called Katrina the Real Wog Wife of Brisbane. Created by the wonderful Bianca Zouppas, we will be going into a short rehearsal period to fine-tune some moments in the show before her next performance. Stay tuned for Katrina's comeback!

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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A note from the Artistic Director - January 2023

Hello dear readers!

I hope you have all had a safe and happy start to 2023. This year I will be posting a monthly blog post called A Note from the Artistic Director - that’s me!

These notes will include everything from tales from the rehearsal room, shine a light on our process around programming plays, share exciting developments regarding new projects and the opportunity to share our values as a theatre company. 

Me in the rehearsal room for our 2018 production of Yielding by Emma Workman. Image: Adam Finch

The biggest change for us this year you might have already noticed, we have a brand new logo. Our old logo will always have a special place in our hearts and it served us well for so long but it was well and truly time to retire it. 

The funny thing about starting a theatre company is you have lots of ideas about what type of company you are going to be and try to develop a brand that speaks to those ambitions. But, you don’t know what this company is yet and what it is going to achieve so you find the company and the logo may no longer align. When we were in our infancy trying to figure out who we should be and what we should look like we had some pretty interesting logo concepts, one I recall being a giant purple squirrel and another a capital T with a top hat - no lie. Between this time and now THAT Production Company has undergone many changes externally and internally and we decided that the end of 2022 to stop, take stock and look at who we are now and most importantly what is in store for our future. We decided to create a new logo to represent this new chapter and we think Tom Antonio, the graphic designer who created our new logo, has really nailed it - we couldn't be happier!

The other exciting thing to hit our social media this week was the launch of our first production of 2023 - I Love You, Bro by Adam J A Cass which we are presenting in partnership with the Ipswich Civic Centre at Fire Station 101. I will be sharing more about this play in coming weeks as we move into rehearsals and eventually our season in late March, but I wanted to share one little bit of personal trivia with you before I wrap up! I first came across the play in late 2009 when I actually auditioned for the La Boite production which was forming part for their 2010 season. I absolutely loved it and found the play and the story it was based on riveting - needless to say I did not get the role and I think it was probably for the best .. for all of us! Haha!

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I Love You, Bro by Adam J A Cass runs from 15 - 25 March at Fire Station 101. You can book tickets here.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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Spotlight: 10 Questions with Ellen Tuffley

Ellen Tuffley is a multi-disciplinary artist who has had the pleasure of working professionally as an Actor, Director, Vocalist, Teaching Artist and Choreographer across the country. Recent productions include: Last Five Years [Cathy cover with La Boite], Othello [Desdemona with Queensland Theatre], Romeo & Juliet [4MBS], Broadway to West End [Underground Opera], Ultimate ABBA Experience [Lynch & Paterson], Mamma Mia at Caloundra Event Centre [Associate Directer/Choreographer], School of Rock at Ipswich Civic Centre [Choreographer], AFL Grand Final Half Time Show [Assistant to Choreographer], The Wizard of Oz – National Arena Tour [Associate Mass Director], Grease & Hairspray - The National Arena Tour [Ensemble & Mass Dance Captain], Legally Blonde at the Brisbane Powerhouse and most recently part of the Grin and Tonic Theatre Troupe directing Aprils Fool and Romeo and Juliet, and performing alongside Jason Klarwein in Edgar Allen Poe’s Hilariously Gruesome Tales. As well as performing as a vocalist and actor in both concert and commercial arenas, Ellen adores her Teaching Artist & StageMilk work. Ellen is under the management of Kubler Auckland Management.

Ellen Tuffley. Image: Kyle Head.

1. How would you best describe your artistic practice?

I would liken it to a squirrel. Gather as much research as possible and slowly digest it over a period of time. Once I've done that, I zoom out and add my own viewpoint to the project. That initial research stage enables me to let go and make informed and appropriate decisions.

2. Can you describe your ideal collaborator?

Generous. Silly. Respectful.

3. How has your practice changed over time?

I think the mystic nature of the performing arts can be a trap, especially for emerging artists. I thought if I just did this or, was a little more method here I'd be a better creative. But that was a lie. What really helped was surrounding myself with some A-grade mentors who really know their stuff. It allowed me to relax the rigidness of my practice and increased the faith I have in the process. I'm a much more pleasant person to be around and collaborate with.

Ellen Tuffley. Image: Daniel Males.

4. Can you describe your ideal working environment?

Creativity is an acutely vulnerable thing. If you don't have an environment that is warm and safe, no one will do their best work and I'm not interested in mediocrity.

5. How do you manage work-life balance as an artist?

If someone has the answer please let me know! It's a life-long lesson. I have found communicating what you need to the people around you, and having a really good scheduling system has aided.

6. Who is an artist that inspires you and why?

Anyone who is out there doing it. In whatever shape, size or capacity that comes in. The hustle is bloody inspiring.

7. Do you think art is important to society and why?

Yes. Wholeheartedly. The arts teach the fundamentals on which society operates upon. Communication, empathy, literacy, problem solving, collaboration, self-confidence, the ability to not take yourself seriously. These are the qualities you want to see in yourself, your partner, your boss or your friend! They are taught in the arts.

Ellen Tuffley as Desdemona and Jimi Bani as Othello. Image: Cinnamon Smith.

8. Does your artistic practice help you in other areas of your life, and how so?

Yes! Despite the notion that we walk around this earth thinking we are in control, we're not really. I think living an artistic life mirrors this reality, as your life can change with one phone call or email. That can be a scary thing. But when massive life events happen, I have found I've been able to adjust and pivot more seamlessly than my wonderful muggle friends.

9. How do you seek to improve and develop your practice?

It's a fine line of striving and not suffocating your passion. So I give myself space when I need it, read a lot, consume a lot of different creative expressions, journal, as well as practice because it's fun, not always out of necessity.

10. What is something you have created or a process you have been a part of that you are most proud of?

Anytime I enable someone to embody their full creative expression, I'm into it!

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If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.

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THAT Production Company respectfully acknowledges the Original Custodians of the Land on which we live and create. We acknowledge all First Nations people and pay respects to their Elders past, present and emerging.

Always was. Always will be.

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SPOTLIGHT: 10 QUESTIONS WITH LUKE VOLKER

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Luke Volker & Stephanie Long, image by Greg Harm.

Are you ready to be inspired by a rock musical that encourages you to pursue your dreams? Well, our next production is guaranteed to hit you in the feels, as we prepare to blast onto the Ipswich Civic Centre stage from 28 October 2021. With rehearsals amping up, ‘tick, tick… Boom!’ is a new musical, by Jonathan Larson, filled with great music and relatable themes. We caught up with Musical Director, Luke Volker, to chat about the power that’s behind the collaboration, composing and creating. Read our full interview below.

“Music’s kind of always been part of my life. Apparently when I was three years old, I would sit at my grandmother’s piano and figure out the songs I had just heard on Play School. I’ve been playing ever since!”

— Luke Volker

1. You’re musically directing ‘tick, tick… BOOM!’ - what has the process been like?

Being a rock show, there’s a certain amount of liberty able to be taken with the score (as opposed to say a Sondheim). The process has been incredibly collaborative, taking these songs and making sure they serve our incredible performers. Little tweaks to orchestration or tempos to highlight an important moment, letting the cast ad lib certain fills, etc. I always feel like giving the performers some ownership of the material gets the best results, and this score certainly gives us that room to play.

2. How has it been in the rehearsal room, seeing the characters come to life?

It’s been great! For this remount we have a new leading man in Chris White, so it’s been brilliant to see how his choices differ to how things were played last time. We also have the opportunity to revisit some staging for the new venue, so that’s been exciting too.

3. What has it been like working with the director, Timothy Wynn, and the cast? Any memorable moments?

I. love. Tim. We are so often on the same page that the entire process has been incredibly easy. He also meticulously prepares without ever being a dictator, so the room always feels very organised while still being collaborative. The cast are similarly prepared while being total sponges and ready to take on any notes we throw at them, so it’s kind of a dream team. Probably the most memorable moment was after working on Steph Long’s interpretation of Come To Your Senses, finally getting to hear her belt that out with the band. Chills, goosebumps, maybe even a cheeky tear. Magic.

4. What goes into preparing for this role and a new show?

I always read and play through the score, and if there’s a recording available I’ll listen to that too (not to mimic, but sometimes there’s important stuff that never made it in to the written materials). I usually like to read the script too, to track the characters’ dramatic journey outside of just what they sing. Then there’s the practical discussions with producers about band budget and so on, plus concept meetings with the director and choreographer to discuss any important casting or story decisions.

5. Where did your love of music begin?

Music’s kind of always been part of my life. Apparently when I was three years old, I would sit at my grandmother’s piano and figure out the songs I had just heard on Play School. I’ve been playing ever since!

6. Do you have any advice for anyone wanting to get into musical theatre or composing?

I think with anything in the arts, it’s usually the thing that makes you weird or different that can be your best asset. As a composer, it’s your individual voice that’s going to set you apart and make your stuff memorable. Similarly if you’re wanting to perform, what is that you can bring to the stage that someone else can’t? Obviously training is incredibly important, because it can be gruelling work at times so you need a solid technique to support you. But training can take many different forms, whether it’s a university degree or private classes or mentorship programs. Then all that’s left is to chase every opportunity you can… which is easier said than done! But especially early on, don’t be afraid to say yes to less-than-ideal gigs — you just never know who you might connect with or what doors might open up.

7. Back to ‘tick, tick… BOOM!’, what do you love about the music of the show?

I love that Jonathan Larson was a big music theatre nerd, but was determined to put real rock music on stage. And really I think he succeeded! Any of these songs sound like they could come from a legitimate rock album, but there are all these little references to classic musicals for the fellow nerds in the audience.

8. Do you relate to any of the characters in the show or their journey’s?

Honestly, probably Jon. Having turned 30 in the peak of the pandemic, there was definitely a sense of “What is happening? Have I wasted my life? Is it all over? Have I thrown away any chance of happiness?” Y’know, classic existential drama. This crisis may be ongoing...

9. If you could compose a song, what would its title be? What would it sound like?

I actually have composed a little bit! I majored in it at uni, and last year I wrote a children’s mini-opera with Jackson McGovern (our 2020 Jon) called There Once Was A Puffin. It follows a very selfish Puffin on their beakday, who learns (through a musical conversation with a Clari-Net of Fishes) how to finally share with their friends. It is exactly as silly and wholesome as it sounds.

10. Why should audiences come to see the show? What will they miss if they’re not in the audience?

We have four incredible QLD artists singing their faces off and telling a pretty relatable story about the nature of art and legacy and what it means to grow up. Also, it’s a great chance to catch the stage show before the film version premieres in November!

‘tick, tick… BOOM!’ performs for four shows only from Thursday, 28 October 2021 at the Ipswich Civic Centre. For tickets, click here or call 07 3810 6100 for phone bookings.

JONATHAN LARSON’S TICK, TICK … BOOM! IN A POST-PANDEMIC WORLD BY CHRIS WHITE, ACTOR

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Chris White, image by Ruby Clark.

The year is 1990; Jonathan Larson is about to turn 30 and is questioning his life-long decision to pursue the ‘dream’ of becoming a successful playwright/composer. So, what does one do whilst stuck in this provoking, tumultuous and deeply internalised pattern of thinking? 

Write a show about it of course!  

We all know of Jonathan Larson’s success in the late 90’s with the hit musical RENT, but before it all took off he took to the bars, clubs and workshop spaces of New York City presenting his one man show “tick, tick… BOOM!”. 

In more recent times, this work has been adapted into a 3-hander. In our production, one actor plays the role of Jon (me!) with two other performers jumping in and out of Jon’s fantastical world as his best friends, parents, colleagues, and acquaintances (Stephanie Long & Josh Whitten). It’s a fully staged musical containing 11 original songs and a story that will tug at your heart strings.  

“How do you document real life, when real life's getting more like fiction each day.”

- Mark, from Johnathan Larson’s RENT

Tick, tick BOOM! is a coming-of-age story where resolution is never actually realised. It poses questions like “Why do we follow leaders who never lead?” and “Why does it take catastrophe to start a revolution?”. In a time where social discourse has seemingly regressed since the time of the show’s conception, I think these are questions we’ve all been asking ourselves in recent times.  

Jacqui McLaren as Mimi and Chris White as Roger in Matt Ward Productions’ RENT, image by Kenn Santos.

One of the more comical aspects of this story (there are a lot of laugh out loud moments!) in a post-pandemic world is Jon’s ramblings about the 90’s as boring and “not a period of ferment”. Millennials of this generation (myself included) now look back on those times and wonder about how we got to where we are. What could possibly be worse than the boredom of lockdowns, with added social and political unrest?  

With all these stresses and circumstances, I’ve found Tick, tick BOOM! eerily relevant; the world must agree, as it’s no surprise Netflix have jumped on the bandwagon as well (with a new film dropping later this year). It’s a work that encapsulates and perfectly reflects our attitude towards change. How close are we to that loud BOOM! which constantly consumes our thoughts? And will it be the outcome we are dreaming of, or will it ultimately lead to our untimely death? 

As many would know, Larson passed away from a shocking brain aneurism before his dream was realised, giving an unintended meaning to the title and concepts within the show - reminding audiences with a knowledge of Larson’s life of their own mortality and raising questions like “Is achieving our so called ‘dreams’ really what life is all about?”   

Now, its 2021 and the author of this piece has just turned 30 and is asking himself all the same questions. Why don’t I have a family, own a house, or have a logical career path? 

Because I’m pursuing the dream, that’s why. 

tick, tick … BOOM! is running 28 - 30 October at Ipswich Civic Centre in a limited season directed by Ipswich’s own Timothy Wynn starring Chris White, Stephanie Long, Josh Whitten & Henry Kafoa.

You can find tickets here.