It is that time of the year when I miss more theatre than I could ever possibly see. To make up for my absence, I asked two young theatre makers about their new work, why it is urgent and what Australian theatre needs more of. These are both works with such driving passion and they feel so necessary. They are born of Australian culture both past and very, very present. I’m so thrilled this kind of work is being made, even if I can’t see the blasted things. Enjoy and go see some blistering new Australian theatre.
Rachel Perks, playwright and performer, ANGRY SEXX
ANGRY SEXX is a dark trashy comedy about the frightening places women find themselves in. It uses both spoken text that I have written and physical text devised with Bridget Balodis and the actors. It has bad dancing, pop music and very very very adult themes.
Why was this the story you needed to tell? What is urgent about it?
The other day, while waiting to start the tech for ANGRY SEXX I was sitting with fellow human being Bridget Balodis, minding our own business and having a coffee on Errols St. A man walked up to us, paused, looked us up and down and said “hello ladies.” I just stared at him- speechless. You see there is a scene in the play depicting a very similar encounter that ends very badly for the man.
This man, sensing he was unwelcome, started to walk past us but turned back to yell “You should say hello back! It’s what makes Australia a great country.” I cracked and giggled a little at the absurdity of the scene- who was this man and why did I owe him my attention?
At that point the man turned, filled with bruised ego vitriol and yelled “Fuck you, you fucking cunts!”
The whole encounter happened in the space of about thirty seconds in broad daylight outside a cafe.
A few of you will probably think I should have just said hello- that I provoked him, that I was being rude. Perhaps you’ll wonder what I was wearing that so caught his attention? A part of me thinks the same things too. And that’s why I’m making this show. Because the logic is warped, the standards are double and the lines have been blurred. Because I’m figuring this stuff out as I go and I want to talk about it. It took me a long time to adopt the name of feminist and I’m making up for lost time.
How has this production changed you?
This process has showed me the joy of true collaboration. Of working with strong rebellious and outspoken women and with beautiful, intelligent, compassionate men. It has also helped me understand what the hell a dramaturg does. Sort of.
The most challenging part of the process has been trusting my own writing. To be performing your own words, to be fighting for them and believing in them and throwing yourself off the cliff with them is hard. But it feels good when you manage it.
What does Melbourne theatre need more of?
New writing. Political choices. Stubborn attitudes. Female leadership. Laughs.
To book for ANGRY SEXX, click here.
Fiona Spitzkowsky, assistant director, TRIPPED
The seeds for this play were planted in playwright Nick Musgrove’s brain when he was in high school, after studying Norm and Ahmed in class. No one in his class predicted the violent ending and yet everyone accepted it.
A year ago, he found himself thinking of the Buzos’ play after race relations become a major playing card in the 2013 elections. He began discussions with director Celeste Cody about the idea of theatrically ‘checking in’ with Norm and Ahmed 30 years after they first appeared on Australian stages, to see just how far we’ve come.
Last week the Australian government raised the terror alert level to high. A short time later there were massive police raids on alleged Islamic terror groups. Since then there have been multiple incidents of racially motivated violence.
Tripped tells a story that is urgent, but not just because of the events that have happened in the past week, or in the past year, or in the past thirty years. Racial discrimination, violence and aggressive masculine culture have plagued us for centuries. We need to tell this story because it’s the same story we’ve been telling all this time, and we still haven’t found a happy ending.
What have you learnt from this production? How has it changed you?
This play tells us what we already (should) know: racism is just a form of ignorance, and that extremists exist in every culture, and should not be taken as a representation of the beliefs and behaviours of the greater cohort. But what Tripped has taught me is how quickly we can allow ourselves to be distracted from underlying issues. We see two men onstage, bristling with rage and the potential for violence, but after a light moment, a moment of laughter, we relax and think that everything will be fine now that we’ve had a laugh together, not realising that the core issues are still there, ready to explode to the surface again, with dire consequences.
This is how the play is structured for dramatic purposes, but this may also be how we function in real life, how our media feeds us information: we sit through the news of war in the Middle East and raids in our cities, but it all finishes with a fluff piece so that we can continue with evenings unperturbed.
Also, I learnt that it is impossible to give prop guns to a male cast without there being a lot of hollering and dick jokes.
What does Melbourne theatre need more of?
Personally, I would say new Australian writing. It is so important to be empowering young and emerging artists by allowing them to present their voice onstage. It is empowering for the community as well, as they get to hear voices that are current and relevant to them.
But, having worked with Ezel Doruk on this project, and comparing his experiences in the industry with that of the other two (white) cast members, I would also say that we need more diversity in the stories we tell, and colour blind, yet culturally aware, casting.
To book for TRIPPED, click here.
Both plays opened last night in the Fringe hub and run until September 4th.