Performing Lines WA

Sally Richardson is one of those all-round amazing ladies. She writes and directs her own projects, produces large-scale arts events and recieves countless awards for her efforts, including a 2009 Helpmann for Best Presentation for Children for The Promise. This week I talked to Sally about her new work standing bird, a dance/theatre/film performance happening at PICA as part of The Blue Room Theatre Summer Nights and Fringe World. Performed by Jacqui Claus, standing bird explores a woman’s encounter with the Australian landscape – an experience of submersion, dislocation, isolation and transformation.

Pictured: Jacqui Claus, rehearsal for standing bird (2012) Photo: Ashley de Prazer

Words: Sally Richardson (SR) and Sarah Rowbottam (PLWA)

PLWA. First up, briefly tell me about yourself.
SR. I am a mother, an artist, and a creative arts worker and facilitator. I was born in Melbourne but grew up in WA. My creative practice is based in WA but I have worked regularly in the performing arts across Australia since 1993. I am passionate about exploring who we are and our relationship to this place and space. What is the story we wish to tell, and the various ways we can tell it.

PLWA. What is the story behind creating standing bird?
SR. The story or narrative for the work is simple. It follows a woman’s journey through the Australian landscape from the sea into the interior, the heart – It is a journey of the self. These environments are territories of the emotions and represent aspects of her life, fragments of experiences, punctuated by ‘abruptions’ or crisis that instigate metamorphosis and transformation. Visibly she moves from a contemporary urban superficial image of a standing bird, into the empowered animal that is the timeless spirit bird, her self.

The work is in four distinct and discreet sections; Shipwrecked, Beach, Swamp & Bird – they are the movements of a score, chapters in a book or single portraits, if you like. The spaces in between are the practical and perfunctory set up preparations made visible to the audience. We move lights, equipment and the performer changes costume, giving the audience the opportunity to engage both with the ‘character’  and the authentic construction of the performance.

This project has been in evolution for several years, and we have undertaken a number of developments exploring key themes, narratives, and forms to find the synthesis that represents the spartan and essentialist version that has become the current standing bird.

These developments have explored multiple physical languages working with different forms of choreographic practice and methodology, theatre and performance making (inc puppetry), live music, sound and vision design. (early workshop footage can be viewed on you tube)

Pictured: Shona Erskine, Eliza (2009) Photo: Ashley de Prazer

Over several years we produced and presented several short dance films (Eliza and Standing Bird) and a short dance work (Standing Bird choreographed and performed by Paea Leach) featured as part of Strut’s shortcuts season in 2010. (also on You tube)

The ‘we’ has involved a number of collaborators over this period and these include: Shona Erskine, Paea Leach, Jacob Lehrer, Philip Mitchell, Chrissie Parrott, with Kingsley Reeve, Danielle Micich, Ashley de Prazer continuing throughout the project alongside newer standing bird co-creators Humphrey Bower, Fiona Bruce, Kyle Morrison & Mike Nanning.

Fiona de Garis has been our producer since the projects inception. She is the definition of rock.

PLWA. You have been rehearsing standing bird intensively since Christmas. Take us through one of your favourite rehearsal days thus far.
SR. That’s tricky – each day brings new discoveries, un-coveries, sudden leaps in understanding and realisation. So no single day is more ‘stand out ‘than any other.

PLWA. What do you hope an audience member will take away from standing bird?
SR. To have undertaken a rich emotional and physical journey with the performer that is beautiful, powerful, moving and meaningful. To have experienced a visceral and authentic connection with the performer and her story.

Pictured: Jacqui Claus, rehearsal for standing bird (2012) Photo: Sally Richardson
PLWA. For standing bird you are working with one of my favourite Perth dancers Jacqui Claus. Why did you choose to collaborate with Jacqui?
SR. I have watched and enjoyed Jacqui’s work over a number of years here in WA, and particularly enjoyed her powerful dynamism and compelling physicality as a performer. I wanted to see her have the opportunity to extend her emotional and physical range. To find new layers,  a subtlely within the largesse and expansiveness she already offers an audience.

Not just any performer has the physical range, nor can sustain the emotional depth that is required in a full length solo work. Jacqui is ready for a work that demands a great deal of her, more than she has done before.

PLWA. Performing a full length solo dance work seems like a rare opportunity in Perth. What is special about making solo work?
SR. It offers a unique performer and audience relationship. It is intimate, honest and revealing as solo work takes us to core of the human experience of self. It its creation it is intense, demanding, and detailed work.

The relationship between you and the artist is at the core of the work, so there needs to be honest open communication, and genuine collaboration. There is a dance between us as we make the work together. As I said previously it requires an intelligent, committed artist who has a dynamic performance range and stamina.

Pictured: Jacqui Claus, rehearsal for standing bird (2012) Photo: Sally Richardson
PLWA. standing bird is co-created by Danielle Micich, Ashley de Prazer, Jacqui Claus and yourself. How do you negotiate making work when there are so many equal voices? How do you achieve a clear articulation of your combined vision?
SR. In coming in to the process for this presentation of standing bird.. I spent focused time by myself, and then in one on one conversation with a dramaturg I trust.

I feel I came into the rehearsal stage of the project with clear objectives and story boards about what I wanted to explore and potentially achieve. How this is delivered shifts and alters inevitably through the co-creative process – but ultimately I am not asking of my co-creators to tell me what the work is about. So we are working together to explore, develop and realise a core vision. That I have generated.

We also have previous history of collaboration, with some of the team over many years, so there is an inherent trust and already a proven ability to work together.

PLWA. How do you feel about self-funded work?
SR. That it is inevitable at times. Positive – I do get to do it the way I want to. Work at my own pace, in my own way. I don’t have to aquit the production! It puts all kinds of obstacles (and limitations) in place, which can be good (and not so good) You pull a lot of favours – (special thanks to Yirra Yaakin). It has felt really rewarding that this talented and experienced group of artists believe in my work to give of their time (and money) to create this together

PLWA. What advice would you give to young aspiring artist looking to develop their craft?
SR. DO it – don’t wait to be asked (or funded). Practice- really means that. GO and see work, all kinds. Ask people to help you (support, advice, whatever) – they can only say no and most times they don’t

PLWA. What’s the most exciting thing that has happened to you in your career?
Lots on the list – touring your work to major festivals, and internationally, but really? The present moment – Right NOW feels really good – to be in a studio with great people making stuff – nothing better

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standing bird
7 – 10 & 12 Feb 2012
PICA Performance Space
All shows 9.30pm
Tickets: $30* www.fringeworld.com.au

*Save $5 and book early with The Blue Room Theatre (08) 9227 7005 or book online

Presented by The Blue Room Theatre Summer Nights and Sally Richardson in association with PICA
Created by Sally Richardson, Danielle Micich, Ashley de Prazer and Jacqui Claus
with contributions from Paea Leach and Shona Erskine
Sound: Kingsley Reeve with Kyle Morrison
Dramaturgy: Humphrey Bower
Lighting: Mike Nanning
Costume: Fiona Bruce
Producer: Performing Lines WA

It’s a brand new year and a brand new beginning for a rather unique and intimate venture in Perth. Proximity, Australia’s first micro-festival of one-on-one art, is set to take over The Blue Room  in Jan/ Feb 2012 during Fringe World and The Blue Room Theatre Summer Nights. Forget the crowds and whether you are seated in A or F row. Proximity = a performance made just for you.

Proximity artist Renae Coles gives us the low-down on this fascinating genre of performance custom-made for an audience of one and tells us about her latest work THE UNION,  a live-art performance for those who have suffered a small injustice and have a minuscule axe to grind.

Words: Renae Coles (RC) and Performing Lines WA (PLWA)

PLWA. First up, briefly tell me about yourself.

RC. I grew up in both Perth and Albany, studied at ECU and am currently working on three projects for FRINGE WORLD. In addition to THE UNION for Proximity, I’m co-curating an exhibition called The Conservatorium and performing with my collective SPATULA. I also manage PICA’s Front of House affairs and at the moment am really enjoying embroidery and bicycle riding!

PLWA. What is it like being a part-time artist / part-time arts administrator?

RC. It’s a constant negotiation, of both time and of two entirely different head spaces. I’ve found the admin side of my work has unlocked an organisational side of myself that I didn’t know existed- this has been invaluable in better organising my own practice.

PLWA. Your latest work THE UNION is an interesting amalgamation of your ‘two lives’. How has your work as an administrator influenced your practice and vice versa.

RC. I think I’ve become a little enamoured with the interpersonal exchange and care systems of customer service. A large part of THE UNION has been based on both the inter-industry universality of customer service systems and the bitter rage we’ve all experience when these systems fail us.

PLWA. It’s two weeks before your first performance of THE UNION in Proximity. What are you currently working on to finish the work?

RC. I’m currently figuring out formulas for punk songs- somewhat of a hilarious contradiction I know!

PLWA. What is special about one-on-one theatre for you?

There’s something a little more real about it than a performance with a larger audience. There’s not much room for a fourth wall. The two people, audience and performer, can’t help but to acknowledge each other and to initiate some sort of exchange with this acknowledgement.

PLWA. What can an audience member expect to take away from your work?

RC. Hopefully a few laughs and a wandering sense of curiosity and excitement as to where their, perhaps unexpected, contribution to this project will end up.

PLWA. I love the honesty of your work and how there is a follow up with your audience or “union” members small injustice. Can you tell me a bit about this?

RC. For most very small injustices there is most often no hope for any resolution. THE UNION exists to offer that resolution in the form of a punk song. After interviewing my audience (or potential union) member, my very talented senior union members will use their rattling instruments and wailing accusations to create a punk song directed at my audience member’s very small oppressors. These songs will be posted on THE UNION’s website (currently being constructed) and available for download.

PLWA. How do you feel about self-funded work?

RC. I think there will always be the hint of revolution in self-funded activity. The idea that something is so important that you will give your own money and time to see it happen is dynamic and the beginning of a potential that operates outside of most self-serving systems.

PLWA. What advice would you give to young aspiring artist looking to develop their craft?

RC. Hmm… that’s hard for me to answer as I think I AM a young aspiring artist looking to develop my craft! With that in mind though my advice would be: People are kind- ask for collaboration, advice, opinions and assistance and in my experience, people will be happy to be involved. The other thing I’ve learned is to keep applying for things you think are out of your reach- soon enough something unexpected will happen.

PLWA. What’s the most exciting thing that has happened to you in your career?

RC. I recently discovered that I was selected for the 2012 JUMP Mentoring Program- this is hugely exciting for me. I will be undertaking a mentorship with playground designer Andrew Reedy, learning how to make climbable sculptures for public spaces!

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Check out THE UNION during Proximity (Program C)
Dates: Sun 29 Jan, Sun 5 Feb, Sun 12 Feb, Sun 19 Feb 2012
Times: 3pm, 4pm, 5pm
Venue: The Blue Room Theatre, 53 James St, Northbridge WA
Tickets: $25 (4 shows in 1 hour) $66 (12 shows in 3 hours)
Book online: www.blueroom.org.au Phone: 9227 7005 In Person: The Blue Room Theatre

Proximity Festival  also introduces performances by 11 other independent West Australian artists, including works by Proximity Co-curators James Berlyn and Sarah Rowbottam.  James is a Performing Lines WA core artist.  Sarah, like Renae,  juggles her own artistic practice with her part-time work in arts management as our Associate Producer.

Download the Proximity Program.

Twyping by James Berlyn Photo: Caitlin Worthington

Performing Lines WA is excited to announce their creative partnership with dynamic West Australian independent dance and theatre artists continues for a further three years until July 2014. They also welcome theatre artist James Berlyn to the core client base alongside Chrissie Parrott Performance Company, Sue Peacock and Sally Richardson.

Performing Lines WA delivers managing and producing services for theatre and dance artists in WA (Maps for Artists), a joint initiative of the Australia Council for the Arts and Western Australia’s Department of Culture and the Arts.

Initially funded as a three year trial, Performing Lines WA has proved itself a critical service provider for the independent performing arts sector in Western Australia. Since 2008 Performing Lines WA has produced eight world premieres, assisted development of 15 projects and delivered four national and one international tour by WA artists. Around $1,000,000 is managed in project funds on behalf of 13 artists.

In its three years of operation over 80 WA independent artists have had access to the financial, producing, touring, fundraising, marketing, mentoring and advisory services provided by Performing Lines WA.

Allanah Lucas, Director General at the Department of Culture and the Arts said, “West Australia’s independent artists greatly enrich the cultural life of this State. Partnering with the Australia Council to renew the Maps for Artists initiative in WA allows us to continue to support a great range of innovative new performances.”

The company is led by national CEO Fenn Gordon with WA based Producers Fiona de Garis and Rachael Whitworth and Communications Manager Sarah Rowbottam. Fenn Gordon said “Clearly the services provided by Performing Lines WA are in great demand by independent theatre and dance artists. In the new triennium we’re looking to build on the work of the past three years with a focus on securing broader touring opportunities for WA work.”

South Perth artist James Berlyn has already benefited from the expertise of Performing Lines WA who produced his one-on-one performance Tawdry Heartburn’s Manic Cures for the 2010 Perth International Arts Festival, and then in 2011 toured it to WOMADelaide and Tasmania’s Ten Days on the Island festival.

Currently presenting Twyping as part of the 2011 AWESOME Festival, Berlyn said “This is a tremendous opportunity for me. I look forward to pursuing international touring opportunities and creating exciting new work in partnership with the expert team at Performing Lines WA.”

In 2012 Berlyn co-curates Proximity, Australia’s first one-one-one micro-festival of art. He performs in Sue Healey’s premiere of Variant and Matthew Lutton’s new production of Elektra presented in the 2012 Perth Festival. He also continues to develop his solo performance Crash Course and new one-on-one performance Sweet Life.

The ultra charming Kingsley (Kings) Reeve brings an impressive track record of awards and sound design compositions to Shiver. Before taking out the WA Equity Guild Awards, Ausdance Awards and WA Screen Awards he was nominated for a Helpmann for Best Theatre Sound Design on Black Swan’s Zastrozzi, the Master of Discipline. Kings has collaborated with Danielle Mcich on Shiver since its humble beginnings in 2007. Between making new music for the highly anticipated premiere this Thursday 17 at The Dolphin Theatre, Kingsley took a moment to share what’s been happening in the rehearsal room as the team prepare for Production week.

Words: Kingsley Reeve, Sound Designer Photos: Sarah Rowbottam

Week three began on a Monday the way all good rehearsals should begin. the things we knew we were certain of and the things we didn’t know remained utterly uncertain. We had a big goal ahead of us – to get to the final bell by the end of the week without being pile-driven by a wrestler much heavier and sweatier than we were. So we took each day as it came. We bashed our heads together and asked each other the seemingly hard questions: “is this working?”, “does this bit suck?” and importantly, “are we making sense?”

Being brutally blunt and forthrightly honest was what we had to be to push the show into a new gear. And blunt we were. New things were added, some things had to go and we reconsidered things that we might have loved previously but had to give way for a tighter, leaner performance. We reworked one section in particular that had been evading us and the solution came via random express. I can’t give it away but let’s just say that my offer to string a piñata up didn’t meet with instant refusal…

As the week progressed we started to stretch our sea-legs and we ran what we had from whoa to go. To our relief, things were making sense and the road-blocks now seemed more like roundabouts or at worst, small speed humps in a 40 zone.

Each day was met with new understanding of the material, both on the interior and from the all-important audience perspective. We were consolidating each time we ran it and by Saturday, we were starting to feel its groove.

For myself, I enjoyed the daunting task of transferring quantities of semi-coherent sound improvisations into the final tracks to be played in the master sequence. So no mini-golf for me this weekend, I stayed strapped to my headphones until I had a something worth putting through the PA.

This week begins the final frontier; horses shod, stops pulled out and top-lip waxed… it’s game on and we have our first audience on Thursday. No pressure. None whatsoever…

Shiver
17 – 19 November 2011
The Dolphin Theatre, UWA
Tickets: www.bocsticketing.com.au

PLWA. Tell me a little bit about yourself.

Kings. I am a sound nerd, self-confessed. I basically can’t help it. Somewhere in my DNA is a molecular love affair with moving air and it does something to me, I can’t really articulate it elegantly but it’s a big part of who I am.

I’m a lover of silence too. Nothing is as beautiful and painfully terrifying as the absence of sound, so I look for it actively in our world and rejoice in it’s scarcity.

I love the idea of music and again, I have no words for it’s complexity. I don’t know why a note can mean so much, it’s frankly beyond me but I’m happy to bask in it’s supreme influence over me.

PLWA. What is your role in Shiver?

Kings. Shiver and I have a long-standing relationship. Lately of the long-distance kind, but still connected. I began this process with Dank back in 2007 when it was called something else and inhabited a completely different space structurally and conceptually. The piece has evolved from humble beginnings, grew to a bloated excess of big ideas and techniques and now occupies a position poles apart from it’s original instigation. It’s a lean, hungry animal now and my job as always is to tell the story, either in the front of the frame or in the blurry bits off to the back and sides through sound. My task has the ironic impression of playing some (hopefully agreeable) music under the movement and text. If only it were that easy and the sound was only answerable to my own desires. No. The sound, music or otherwise, has as much dramaturgical responsibility as the choreography, the text, the set, the lights, in fact, everything… So when charged with this duty I have to come up with a palette of sounds that are not only ‘appropriate’ but have something to say in our story. The task then is to add a bunch of these until it makes sense and gives the clearest meaning. This often means eventually stripping away so many of these sounds until you can honestly know that what is left is necessary and purposeful. If I can’t justify it in the action, it gets cut. Treating silence as a sonic tool is also a big part of the job, knowing when to shut up and earn the next cue.

It’s an ongoing negotiation and adherence to a strict ‘less is more’ mantra. Hopefully we get it right and the quiet bits are quiet and the loud bits are loud…

PLWA. What has been the most exciting day in the rehearsal room thus far?

Kings. That would have to be Monday to Friday this week, not a single day but a collection of five that had great upwards momentum the more we worked. It’s thoroughly satisfying when things take their proper shape and you start to land these ideas and concepts that may have been eluding you. A lot of that happened this week. We solved, cleaned and trimmed and from that came the smiling face of coherence.

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Kingsley Reeve graduated from WAAPA in 1995 with a Diploma in Sound and from the Theatre course in 1998 as an actor. Now based in Sydney he works regularly with Sydney Theatre Company (STC) and teaches Sound Design at NIDA. In Perth he has designed sound and music for Black Swan (2002 – 2008) and for Perth Theatre Company since 2003. In 2005 he was nominated for a Helpmann Award for Best Theatre Sound Design on Black Swan’s Zastrozzi, the Master of Discipline. Recent designs include Barking Gecko’s The Red Tree, STC’s Ruby Moon, Deckchair’s The Modern International Dead and Yirra Yaakin’s Waltzing the Wilarra. He has designed sound and music for Danielle Micich since 2006.

Whitney Richards ain’t just a pretty face. She knows how to rough it backstage with Black Swan and bring out the charisma onstage (and on camera.. okay and offstage) with independent film and theatre companies. She can also make funny sounds, run pretty fast and dodge cornflake rain. On her day off, Whitney took the time to write about production week for They ran ’til they stopped – now showing at PICA until Saturday 19 November.

Words: Whitney Richards Photos: Donna Ferreri & Sarah Rowbottam

Hello reader. This is a blog for you to read. I have diarised my adventures during production week for They ran ’til they stopped (TRTTS). I hope you will find this educational.

I have spent the last six months assistant stage managing for Black Swan Theatre Company. I’m not a trained ASM, but they were willing to give me a go because I was keen to work and keen to learn. Hence, production week as a performer for TRTTS was the least stressful I’ve had for a long while.

Production week ain’t really about the performers. It’s about fitting together all the other equally important elements of the production. It helped that the designers were amaze ballz and knew exactly what they were doing. Will Slade (noises), Mike Nanning (globes) and Alissa Claessans (furniture) were true professionals.

Monday: Actors had a day off. I saw the film Drive. So good. Go see it.

Tuesday: Plotting. Actors stand around in places they’re told to stand in. It’s pretty fun. Also the day we learnt Lawrie does a mean step ball change.

Wednesday: Tech and first dress run. Also the day I remembered I have to pretend I don’t have cornflakes riiiiiiight down my pants for half the show. Wednesday was also the day we were semi-attacked at lunch by the “gentleman who was having a bad day.”

Thursday: Final dress run and preview. The dress run was incredibly low in energy. But it was the run we needed to have before we got an audience. Also the day myself, Arielle and Katt chaperoned Lawrie to a questionable looking barber to get an emergency hair cut. Turns out his face is pretty nice. Preview went fairly smoothly, aside from a few rogue props. The show wasn’t as comfortable and fun as it has been in rehearsals. Nerves McGreg! The audience response was great, although I confess it was made up mostly of our close friends.

Friday & Saturday: Final preview and OPENING NIGHT! Great responses and not just from our friends. Also the days we battled with the slippery floor. You’ll have to come see the show to learn why.

We’ve gotten all the scary things out of the way now. Arielle, Lawrie, Alice and myself are now fairly comfortable with the show and can just have fun. I’m thoroughly looking forward to it.

Things I have learnt this week: don’t laugh during your final dress run, it’s incredibly unprofessional. Be careful in Northbridge even at midday. Good teams make the most enjoyable production weeks.

Things you (the reader) have learnt: Be careful in Northbridge even at midday. See Drive. Come see They ran ’til they stopped, there’s cornflakes.

They ran ’til they stopped
10 – 19 November 2011
Perth Institute of Contemporary Arts
Tickets $18 – $28 www.pica.org.au
CHEAP TUESDAY $15 Tickets for 6.30pm Tue 15 Nov performance. CODE: Duckies.

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Whitney Richards graduated in 2008 from Curtin University with a BA (Film/Television & Performance). She has since worked in over 20 professional and independent film and theatre productions, including the feature Little Sparrows. In 2012 Whitney will perform in two main stage Black Swan State Theatre Company shows.