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

Lawrence Ashford (Lawrie) is a bit of a champ in our books. Not only did he stand on a podium for two hours in the middle of Perth Cultural Centre whilst strangers covered him with post-it notes saying “nice ass” and “cares like a mother would”, he was just named Perth’s best storyteller at the inaugural Barefaced Story Battle. In between tech runs and RTR interviews, Lawrie took a moment to share what Week 3 rehearsals have been like for They ran ’til they stopped which previews at PICA this Thursday.

Words: Lawrence Ashford, Performer Photos: Sarah Rowbottam

It is with a touch of sadness that we say goodbye to Week 3, and full time rehearsals. As excited as I am to get into the PICA performance space, I shall miss the fun days we spent in the Blue Room Theatre’s Kaos Room.

In fact, that room is aptly named, because at times rehearsals have bordered on unmitigated chaos. Working with Katt, Whitney and Arielle has been an absolute blast, and several times over the last few weeks we have found ourselves looking around, as the fits of laughter subside, and wondering if perhaps we are having too much fun. Fortunately Whitney has kept us on track, repeatedly reminding what page of the script we are up to, and how much more work is ahead of us.

Pictured: Arielle Gray, Whitney Richards and Lawrence Ashford

Pictured: Lawrence Ashford and Arielle Gray

Although, it has never really felt like ‘work’. Katt has maintained a fine line between chaos and control, and has encouraged us to play with almost every piece of text, which has lead to some exciting, and sometimes hilarious discoveries. We have also discovered a lot about each other. For instance, I had always known that Whitney was a talented performer, but it wasn’t until one of our first rehearsals when she burst into tears whilst working on a scene, that I realised she is in fact, a young Meryl Streep! She has been known as Meryl ever since (much to her displeasure). Arielle can also turn on the waterworks should the occasion call for it, and has been known as Natalie Portman since mid last week. If you see either Whitney or Arielle on the street, or at the theatre, please refer to them with their new names. Many thanks.

Working with this team, and with our hardworking production team, has been such a wonderful experience. I look forward to finally opening later this week, and only hope that the audience has as much fun watching this show, as we did making it.

My castmates and I are already plotting a possible sequel. Some titles that have been suggested so far are: “They started running again”, “They ran til they required a hip replacement”, and “I know where you ran last summer”.

Having run a Magdalena project in Perth last year, WA Director Kathryn Osborne was invited to attend Legacy & Challenge, a festival celebrating 25 years of The Magdalena Project. Founded in 1986, The Magdalena Project is a dynamic cross-cultural network, providing a platform for women’s performance work, a forum for critical discussion, and a source of support, inspiration and performance training. The branches of the Project extend far and wide: over international borders and across generations. Groups meet in real time and place as well as online to share, engender and promulgate work and ideas.

The 25^th anniversary, Legacy & Challenge, aimed to honour the women who have help facilitate over 100 Magdalena gatherings or events, and bring them all together in Cardiff, Wales the project’s birthplace. The anniversary festival ran between the 16^th and 21^st of August 2011.

Words: Kathryn Osborne, Director (Western Australia)

In 2010 I was on the committee that produced The Magdalena Perth Workshop Festival, in which we brought 5 national artists to Perth to run 5 workshops over 5 days. When I got to the international festival, the first thing struck me was that although I had helped produce a local Magdalena event, I only really ‘understood’ the power of The Magdalena Project by attending some one else’s event. The experience of this festival is still very fresh so I will attempt to articulate a few things that I have gotten out of it.

I was instantly hit with the international reach of the project. Artists from 30 different countries gather at The Chapter Arts Centre in Wales (the birthplace of the project). Many people spoke different languages so most things were translated. The program was jam packed: Warm ups, workshops, conferences, performances, work-in-progress showings, work demonstrations, book launches, lunch and dinner, wine drinking (not officially printed in the program, but of course vital). I won’t go into much detail about the specific encounters that were the most rich; I would like to talk about the festival in more general terms.

What this project and network gives women artists is strength and a voice. It provides a forum for them to be heard and to meet through their work. I feel so privileged to have been able to witness so much different work and to hear of the experiences of so many different women. It is clear that the Magdalena network has given everyone an opportunity to have their work seen and given them the opportunity to build working relationships with women across the world.

And this is where I switch my tense. Now I feel I have all of these things too. As a young artist living in Perth I feel that the major issue for me to overcome is isolation. Magdalena provides the opportunity to witness cross-cultural work from experienced and emerging practitioners. I have been so inspired and strengthened by simply being able to see what other artists are doing and how they work and learning about what their experience is.

I have also left the festival being able to articulate a feeling of emptiness that I have had for some time. It comes from a lack of feeling like I am a part of a tradition of some kind. The lack of artists to look up to or some obvious lineage that I could say: hey, I’m a part of this. But Magdalena has shattered this illusion and filled this gap. I have seen where I come from, what I am a part of. There are so many women to look up to and who have paved the way for me.

I now know that I must bring these women here to work with me, to enrich my practice and to be my mentors. And this very obvious revelation (but a revelation none the less!) has given me energy and strength to continue to grow as an artist. I have a place. I have a network. I have an international forum to show my work.

I feel the world has all of a sudden opened up to me. I am looking forward to bringing this energy and inspiration and voice back to Perth. I am excited about continuing the work on They ran ‘til they stopped. Watch out Perth!

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Kathryn Osborne is a Perth-based Director and Producer. She co-founded The Duckhouse Theatre in 2007 with five other female artists who all graduated from Edith Cowan University’s Contemporary Performance course. As a Director Kathryn’s projects include: Acts of Undressing (Yirra Yaakin ‘10), The Bearskinner and The Swallow-Tailed Coat (The Blue Room ’09),  Oscar (The Rechabites’ Hall ‘08), The Oresteia (The Blue Room ‘08), and The Suitcase Suite The Curse of the House of Atreus (ARTRAGE Festival ‘06).  Kathryn produced The Magdalena Perth Theatre Workshop Festival in 2010 and was the Assistant Director for: Antigone (Thin Ice, PIAF ‘09), House of Memory (The Rechabites’ Hall ‘07); and The Lady Aoi (BSTC production, PIAF ‘07).

She is currently Directing They ran ’til they stopped, a new work created by The Duck House and produced by Performing Lines WA. They ran ’til they stopped will premiere no the 10th November 2011 at the Perth Institute of Contemporary Arts (PICA).  Click here for more details.

Trained at The Victorian College of the Arts and The Diana Waldron Ballet Academy, Jonathan Buckels has worked for the last nine years between Germany and Australia as a dancer and choreographer. He is currently in Perth for Fuse – his new full-length dance work performed with Rhiannon Newton. Fuse explores the interrelationship between two people; through the cycle from strangers, to friends, towards cohorts, through dependents and on to parasites. Fuse runs until the 3rd of September at the Perth Institute of Contemporary Arts so make sure you check it out before it ends!

Performing Lines WA recently caught up with Jonathan and asked him a few questions about getting Fuse to stage and what life is like living as an Artist between Perth and Berlin.

Words: Sarah Rowbottam and Jonathan Buckels

Fuse (2011) Pictured: Jonathan Buckels and Rhiannon Newton Photo: Eva Fernandez

SR. First up, briefly tell me about yourself.

JB. I was born in Liverpool in the UK, came to Australia age 12 and by chance ended up being a walk on extra in a Perth City Ballet season when I was 16. I enjoying it and each year they got me to do more dancing and then they had a tour organized to go to Europe to perform so I quit uni, took up dance and have been dancing ever since.

SR. What is the story behind creating Fuse?

JB. Relationships, and the pursuit of them, have always loomed in my mind as one of the expected things my life should contain. Not just romantic, but also friendships. I am a naturally social person and need to be around others to feel relaxed. While the work is not really autobiographical, I have taken moments and memories form my past to make the work as honest and realistic in emotional shifts as possible. Through small misunderstandings large rifts can be created and it is looking at these moments that I find interesting.

Fuse Rehearsals (2011), King Street Arts Centre Perth. Photo: Jo Pickup

SR.You have been working pretty hard over the past few weeks upstairs at King Street Arts Centre preparing for the opening last Friday night at PICA. Take us through one of your favourite rehearsal days thus far.

JB. Once the structure and most choreography was in a completed phase, we were joined by Floeur Alder as rehearsal director. This stands out as my favorite day because I got to shift from choreographer to dancer. It was so great to work physically and get her insurmountably needed outside feedback to help with the process. After being so insulated and focused it was great to have someone come in with such positivity and freshness to bring the work to its final outcome.

SR. For Fuse you are working with one of my favourite Perth dancers Rhiannon Newton. How has your previous work with Rhiannon, specifically with Chrissie Parrott Performance Company’s development of Domestic Bliss in 2009, helped shape the movement you have created together for Fuse?

JB. Working with Rhiannon has been fantastic. We worked so well together and quickly came to trust each other in Chrissie’s work, so when we started this work I already knew how much I could get out of her and where her many strengths lay.

Domestic Bliss (2009) Chrissie Parrott Performance Company
Pictured: Stefan Karlsson, Jonathan Buckels and Rhiannon Newton Photo: Sarah Rowbottam

SR. Earlier this year I was lucky enough to watch Fuse in development at CIA Studios.  I remember there being moments of extreme physicality – pushing, pulling, and throwing – juxtaposed with very endearing slow dances and duets. How are you guys coping physically with this kind of movement? Are there lots of real cuts and bruises?

JB. Sadly yes. No major problems, but it is a demanding work and my feet are looking a little worse for wear. But both Rhiannon and I bruise quite easily, so it looks worse than it feels. Hopefully.

SR. I am always really excited when artists bring live musicians into the mix on stage. Is this something you have done before? Any insight into what DJ Massive Trav will be mixing each night?

JB. I was in a show recently in Berlin with Australian dance maker Brendan Shelper and we had music performed live by Melbourne instrumental band Bombazine Black. They were incorporated into the action and it felt so great to hear the small changes each night that give the show fresh feeling each night. Trav is also giving a feeling of keeping this show different each night. He really is understanding the show more each night and adding effects and loops to help with where we are emotionally and physically during the piece. He blends music by Etta James, Billie Holiday and the Eels with electronic tracks from the likes of Aphex Twin and Luke Hess to create a very eclectic but homogeneous soundtrack.

Fuse (2011) Pictured: Rhiannon Newton and Jonathan Buckels Photo: Eva Fernandez

SR. I know you spend half your time in Berlin and half your time in Australia. Do you have any plans to tour Fuse to your other (German) hometown?

JB. I hope so. I work with a group battleROYAL in Berlin and with their backing we are looking to get this work shown in a few places.

SR. Working as an independent artist in Western Australia (and across the world!) can be tough at times. How does getting by in Perth as a practicing artist compare to working in Berlin?

JB. Because Perth is so expensive to simply exist in, the artists here seem to have to be very organized and active. Berlin has a very relaxed supportive nature and this is reflected strongly in its relationship with independents. It could be a byproduct of this that makes Perth seems to be very serious about art and dance. This can obviously be a good thing, but I feel in Berlin they have less to prove, because dance and theatre is so much more part of the environment, which means works are created a bit more freely and openly. If a show fails they just move on, instead of tweaking and remaking existing works. I’ve tried to create fuse with this relaxed way, with humor and light and shade.

SR. I know a key part of creating Fuse was to appeal to a large audience. In fact, I think it might be working because my mum (who isn’t a core dance supporter) called me after reading The West Australian newspaper article wanting to buy tickets. What is it about Fuse that appeals to non-dance audiences?

JB. Fuse is understandable by a wide audience because it is based on something we almost all know of, probably first hand. Anyone that has had a relationship will see moments in the work that they will relate to. The work is focused on the journey the characters make and the changing of roles, dominance and emotions.

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Fuse
26 August – 3 September 2011
Perth Institute of Contemporary Arts (PICA)
Bookings through PICA on (08) 9228 6300 or ONLINE BOOKING
$30 Full $22 Concession

Concept and Direction by Jonathan Buckels with dancer Rhiannon Newton.
Live music by DJ Massive Trav
Presented by STRUT dance.

As a dancer, Jonathan has worked for the last nine years in numerous dance groups in Germany including the Oldenburg Staattheater, MSSchrittmacher, SETanzthaeter, Tanztheater Hagen, Sabine Seume.Ensemble and the Mark Sieczkarek Company. In Australia 2007 he performed in Strut dance’s season of Schreibstueck and in 2009 was engaged as a dancer with Buzz Dance Theatre for the work Genie(us). Jonathan created his first full-length work in 2003 with Gaello Morello, co-choreogrphing the work “Amor und Psychose” for the Globe Theater, Hagen. His short works have contributed to performances including the ball is round (Oldenburg Staattheater) and Love… more or less (Tanztheater Hagen). In 2007 Jonathan choreographed a full length, modern dance version of Carmen, for Perth City Ballet, Australia. His work “solo”, created with Carsten Clemens, has been performed in numerous festivals in Germany as well as in Perth, Australia. This work has since been reworked into the full length “Oddeesee” which premiered at LOFFT Theatre’s Tanzoffensive ’09, to critical acclaim.