who we are
I am a playwright, director and arts commentator. I hold a postgraduate diploma of directing and a Masters in Performance Writing from the Victorian College of the Arts and last year completed my dramaturgy internship at MTC under the guidance of Chris Mead. I am currently the Artistic Coordinator of the Monash Academy of Performing Arts and a well-respected arts commentator on School For Birds, 3RRR’s Smart Arts, the Audio Stage Podcast and Dancehouse Diaries.
My playwriting credits include: The City They Burned, Yours the Face and Insomnia Cat Came to Stay.
My directing credits include: Exit Everything, Fear and Misery in the Third Reich, Phedre (assistant directing for Bell Shakespeare) and Midsummer (assistant directing for Red Stitch).
I have dramaturged on: Exit Everything and Trolls along with countless other dramaturgical consults, readings and script assessments for companies such as Playwriting Australia, MKA and Dance House.
My favourite playwrights today include Roslyn Oades, Patricia Cornelius, Caryl Churchill and Martin Crimp.
I’m particularly interested in: verbatim theatre; rough, poetic, urban Australian language; dance theatre and stripped back, sparse dialogue. Above all I believe there is nothing like a good story. If your story is excellent and urgent, I will be there for it, whatever the form.
I love theatre that embraces its liveness. That, for me, can be about form – work that forgoes traditional maker-audience relationships – or language. I love words that feel lived in and of their linguistic moment.
For me, scripts that feel too polished and perfected on the page often feel irrelevant on stage; disconnected from their theatricality, as if they do not need the audience to be there and could exist comfortably on paper. I aim to empower writers to utilise live-ness and coax their work away from the realms of literary passivity and into the urgent world of live, lived in, responsive, awake theatre.
I am a Melbourne based freelance playwright and dramaturge with a background in acting. I hold a Bachelor of Creative Arts (Acting) from Flinders University and a Master of Writing for Performance from the Victorian College of the Arts. In 2014 I completed a dramaturgy internship at MTC facilitated by Chris Mead.
My writing credits include: The Exact Dimensions of Hell (Reading at MTC's Cybec Electric 2016) Exit Everything (Little Sister Projects, 2015), Kindness (dir. Alice Darling & Kate Shearman, 2015), Hose (MKA: Theatre of New Writing, 2012) and More Intimate Than (Honeycreepers, 2012).
As a dramaturge I have worked on a number of projects including Blessed by Fleur Kilpatrick (five.point.one, 2015) and The Lake by Ben Brooker (five.point.one, 2013). I have assessed scripts for five.point.one, Playwriting Australia, Melbourne Theatre Company, MKA: Theatre of New Writing and five.point.one.
I am one third of noise horror collective The Hunt. The Hunt combine industrial noise, live performance and lights to create a shifting landscape that deliberately disrupts the comforts of the human realm. Our performances invite the audience to move through emotional and sensory overload.
I’m interested in making good theatre. But I know that good theatre is ambiguous and subject to personal opinion, with (perhaps) some universal truths thrown into the mix. I know for certain that good theatre involves a lot of trial and error and room for failure. I think this search for the “good” is a life long quest.
My favourite playwright is Samuel Beckett. I like Chekhov more than I like Ibsen. I’m also a huge fan of more visual performance makers such as Romeo Castelucci and Pina Bausch. Closer to home, I continue to be inspired by the works of Daniel Schlusser Ensemble, Ranters Theatre and Fraught Outfit. I like theatre that is both intimate and a spectacle. I do not shy away from contradictions.
I’m interested in the way theatre intersects with other art forms. I spend a lot of time watching, thinking about and listening to music. I recently read the biography Clothes, Music, Boys by Viv Albertine, guitarist of 80s punk band The Slits. In her book Viv Albertine says:
'I don’t understand why time-keeping is considered such an attribute in western music… It’s like being told to keep the same rhythm during sex.'
I sometimes feel this way about some of the rules often thrust upon playwriting. Sometimes the rules are my friend, sometimes they need to get the hell out of my way.
I don’t think the role of the dramaturg is to know everything. I don’t know everything, Through working with writers I draw on my knowledge of the theatrical cannon and my practical experience. I allow space for arguing, exploration, collaboration and spontaneity. I want to help writers tell their story the way that they want to tell it.
I am a theatremaker originally from New Orleans in the United States, but I live in Melbourne now. I have acted, directed, produced, taught, dramaturged, and written for performance. I have a Masters of Writing for Performance from the VCA and have studied with Anne Bogart and SITI Company, Pacific Performance Project, Zen Zen Zo Physical Theatre and the Butoh Dance Company Dairakudakan. I have done a Dramaturgy Internship with Playwriting Australia under the direction of Chris Mead, the Besen Writers Programme at Malthouse under Mark Pritchard, and am currently the resident playwright with Melbourne youth theatre company Riot Stage.
Playwriting credits include: Virgins and Cowboys (Theatre Works - Flight Festival), Lord Willing and the Creek Don't Rise (MKA - Melbourne Theatre Company-NEON), and Forever City (Riot Stage - La Mama).
Dramaturgy credits include: Or Forever Hold Your Peace (Motherboard - La Boite Indie), Twin (Red Moon Rising), Catching Him in Pieces (Mondo Bizarro in New Orleans), as well as a more research-based approach to productions of published works like The Importance of Being Earnest and Doubt (both for Taproot Theatre in Seattle).
I am interested in theatre that knows it's theatre. I am interested in the visually arresting. I am interested in theatrical epiphany. I am interested in work that challenges form and that is of the moment. I believe in the deep seated need for collective experience. I believe in theatre that won't be relevant next year. My favorite show I've ever seen was a dance show (Hofesh Schector's Sun). My second favorite show I've ever seen also did not have a playwright attached (Life and Times by Nature Theatre of Oklahoma). I don't believe in the phrase 'you've got to know the rules in order to break them'. I am not interested in rules. I don't care too much about theory. I don't really care too much about Shakespeare either. I believe a dramaturg should ask more questions and have less ideas. I believe that uncertainty is just as valuable as certainty. I unabashedly love reality tv, and your shaming won't work on me. Favorite writers: Charlie Kaufman, Nicky Silver, Annie Baker.