It appears that everything that Kookaburra, Peter Cousens’ new National Musical Theatre Company, touches (or indeed, everything that touches them) turns into a flap of feathers and ends in a nest falling dramatically and violently. 
Michaela Boland, an arts writer for Variety, as well as the Australian Financial Review appears to have found herself in the cross fire around the musical theatre company due to the slightest indiscretion.
On Friday she published the article ‘Kookaburra musical lands leading lady’ which states that “Caroline O'Connor will topline new Aussie musical period drama ‘The Hatpin’, the latest production from Peter Cousens' controversial Kookaburra Theater Co.”
The problem is that The Hatpin has nothing to do with Kookaburra.
On seeing the article, some furious members of the crew believed that Kookaburra had misled the journalist. Boland suddenly found herself in the very dark territory that is now known as Kookaburra.
The issue of apparent contention appears to be a misunderstanding about who is producing The Hatpin. A quick enquiry by Sydney Arts Journo found that the producers are Neil Gooding Productions, White Box and the Seymour Theatre Centre.
Boland made the mistake of translating the press release phrase ‘in association with Kookaburra’ to be a producing role for the musical. A spokesperson for the producers of The Hatpin confirmed that “Kookaburra's involvement is to provide marketing, sponsorship and resource support”.
The producers swiftly prepared a statement and immediately requested that Boland write a retraction for her ‘web exclusive’. Suddenly the name 'Kookaburra' is proving to be a hindrance rather than a help for an industry that desperately needs some leadership.
Despite the noble intentions of Peter Cousens and the many investors involved, Kookaburra is increasingly becoming the Wile E Coyote of the theatre industry as it is plagued with problem after problem after problem.
Established by Cousens to “affirm musical theatre’s central role in the cultural and social life of Australia”, Kookaburra has found itself bearing the brunt of bad news stories published by all the mainstream news outlets in Sydney.
Their first production Pippin, was slammed by critics with Bryce Hallet from the Sydney Morning Herald calling it ‘empty and vacant’. It then drew the wrath of audiences when the company removed scenes from their next show, Stephen Sondheim’s Company when they didn’t have understudies to fill the role of an ill cast member.
According to The Daily Telegraph, Cousens then called a senior Herald journalist ‘a dickhead’ in a text message for running the front page news articles.
Kookaburra then cancelled their next show, Floyd Collins and got into trouble with the Herald once more when it was discovered that the people signed up to the show were “fighting for their money following the cancellation”.
Kookaburra then cancelled their first show of 2008, Sideshow Alley, and in the meantime parted ways with their publicist and engaged the services of Wilkinson Media, an agency established by ex-TV journalist Peter Wilkinson, which has “an extensive track record in issues and crisis management".
Crisis management indeed.
Monday, 3 December 2007
Variety gets pulled into the Kookaburra bad luck story
Posted by Nicholas Pickard at 4:57 pm
Labels: Musical Theatre, News
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14 comments:
"The problem is that The Hatpin has nothing to do with Kookaburra."
Quite to the contrary Mr Pickard. Maybe we could all arm ourselves with one and put the pitiful thing out of its misery!
I think that you're being too kind to Kookaburra Nick. Yes, several of these happenings can be attributed to 'bad luck'. But overall, Kookaburra seems to suffer less from bad luck, and more from bad management, bad decision making, and bad planning. To suggest that everything that has happened to them is bad luck is to gloss over their responsibility in making everything go so bad, so quickly. I've never seen good will and good intentions squandered so quickly. I really can't understand why Kookaburra is still pushing on after 2 canceled productions, breaching contracts with copyright holders, and trying to get away without paying artists. Not to mention poor repertoire choices and a failure to actually successfully produce any Australian work (which I thought was the purpose behind their pretentious subtitle: the National Music Theatre Company).
Basically, I've consistently failed to see the point of Kookaburra, and by now surely they've thoroughly alienated anyone who might have seen the point of them originally. Sometimes bad ideas should be allowed to just die. Bring back Music Theatre Sydney I say! Maybe some more regular Sydney visits from Chamber Made as well!! The big musical societies (Rockdale et al) and the commercial musicals (Priscilla, Phantom etc) can surely fill up the rest of the market demand for music theatre. Why continue the painful embarrassment that calls itself Kookaburra?
anyway, that's my 2 cents worth.
dw
It gives me no pleasure to say that I completely agree with David William's previous comment. I have never attended an opening night with more enthusiasm and good will in an audience than that for "Pippin." For once Sydney's typical cynicism and lack of generosity was put aside. Cousens and Co had everyone barracking for them to succeed, and yet they continued to make blunder after blunder, not all of which can be attributed to simple naivete. They were offered advice from wiser and more experienced heads that they chose to ignore. The sooner they are off the stage the sooner it will be possible for a more competent outfit to take their place.
Yes to all. Hatpin - looks as if that crew were hedging their bets - just the thought of Kookaburra having any association does rather leave a smell... I won't be rushing to see it. Heard how the actors are getting on with their pay claim (from cancellation of Floyd Collins)? Anon.
In response to a few subjective opinions here are some facts.
In 2007, in its first year of operation, Kookaburra a not for profit arts company,
Employed over 80 people.
Entertained just under 40,000 people.
Received 3 Helpmann Nominations for Pippin
Generated $1.7million in ticket sales,
Provided 40 performers an opportunity to showcase their talents in 9 Up Close and Musical late night cabaret events,
Facilitated Stephen Sondheim’s visit to Australia the first in over 30 years
Produced an internationally acclaimed Audience with Stephen Sondheim for Foxtel and ABC
Attracted over 1300 loyal subscribers,
Managed the flooded musical theatre market by re programming 2008 season
Sustained the company’s future by canceling Floyd Collins
Created Kookaburra Kids to enrich the experience of musical theatre for 10 to 16 year olds.
.
For a new not for profit arts company what makes Kookaburra different from a commercial musical theatre company?
• Developing a meaningful and ongoing relationship with the public
• Delivers international musicals that would not otherwise be experienced
• Develops schools education programs
• Develops Australian-made musicals
• Builds a long term relationship with the public
• Permanent fixture
• Affordable
• Charitable tax status
• Educates new audiences
• Reaches regional and rural Australia
• Provides opportunities for artists who may otherwise go overseas
• Advocates for musical theatre
• Encourages artistic development and risk taking in a financially pragmatic environment
• Alternative to musicals that are produced, directed, designed and choreographed overseas
• Contributes to the soul and identity of the nation
Peter Cousens
Thanks for that Peter. I am one person who does understand why Kookaburra was started and I am glad that you have outlined the good news stories of the company.
Now if only we could get the SMH to run one of them...
Did kookaburra suggest to Variety that they were producing Hatpin?
Even if they did not, what a massive mistake for Variety to make.
Kookaburra has never suggested to anyone ever that they were producing Hatpin.
See press release from Hatpin below
Who’s behind the newest Australian musical soon to Premiere at the Seymour Centre?
The highly anticipated new Australian musical drama THE HATPIN has its World Premiere at the Seymour Centre on Wednesday 27 February 2008 and is being independently produced by Neil Gooding Productions and White Box and is being presented in conjunction with The Seymour Centre as part of its 2008 Subscription Season.
Australia’s national music theatre company, Kookaburra is associated with the production by way of providing marketing, sponsorship and resource support.
Some background information on the Producers and Creative team:-
NEIL GOODING / Co-Producer
Neil has a Bachelor of Commerce and Bachelor of Law from the University of Queensland.
For several years, he was employed by Jacobsen Entertainment and was responsible for the financial administration of the Arena Productions of The Man From Snowy River Arena Spectacular, Long Way To The Top concert series, De La Guarda and Dirty Dancing, as well as being the tour accountant on the road with Ja Rule & Ashanti in 2003.
In 2000 Neil established Neil Gooding Productions and produced Stephen Sondheim’s ASSASSINS. He owns the rights to Back To The 80’s! one of the highest performed shows in Australia that just been released through MTI in the United States and Canada. In 2004, Neil staged Back To The 80’s with Bruce Samazan in Sydney.
In 2005, Neil spent several months contracting to Jacobsen Entertainment exploring the potential of overseas productions of Dirty Dancing. Throughout June/July 2006, he worked for Delta Goodrem as tour Accountant on her Visualise tour. Neil also established Fast & Fresh, the under18 short play competition that is the offshoot of Short & Sweet.
Neil was Assistant Director/Ensemble Director for the launch concert of Kookaburra Music Theatre Company. In June 2006, he produced the second year of Fast & Fresh. Neil recently directed Keeping Annabelle for Short & Sweet 2007 and Listen To My Heart at Statement Lounge.
WHITE BOX (Kim Hardwick & Martin Kinnane)
KIM HARDWICK – Director / Co-Producer
After training as a dancer Kim studied acting at the Victorian College of the Arts and directing at The Western Australian Academy of Performing Arts. As a director she has assisted Mary-Anne Gifford and Peter Kingston and co-directed with Nick Enright. She has directed productions ranging from independent Dinner With Friends for Fishy Productions to national tours including Andrew Daddo’s Sprung! (Monkey Baa Productions) as well as musicals The Ultra Swing Lounge. As director of Whoosh Productions she has produced and directed The Memory of Water, which just completed a very successful tour and Jonathan Gavin’s A Moment on the Lips. Her last production was the critically acclaimed A Day in the Death of Joe Egg. She is also a tutor at the Actors Centre Australia and The Central Queensland Conservatorium of Music.
MARTIN KINNANE - Lighting & Vision Designer / Co-Producer
Since graduating from NIDA, Martin has designed for theatre and events both nationally and internationally. Amongst many productions, he has lit Six Dance Lessons In Six Weeks, End Of The Rainbow, Sweet Road and Kid’s Stuff for the Ensemble Theatre, Embers for HotHouse Theatre and Sydney Theatre Company, Memory Of Water for Whoosh Productions, Satango for the Griffin, Debbie Does Dallas – The Musical for Three Amigos Productions, Pearlie In The Park, Sprung, Worry Worts and Fairy’s Wings for Monkey Baa Productions, My Secret Circus for the National Institute of Circus Arts (NICA), Sunset Boulevard for The Production Company, Dinner With Friends for Fishy Productions, Away and Twelfth Night for Railway Street Theatre Company, Alone It Stands and Defending The Caveman for Ross Mollison Productions and Shakespeare’s R&J for Bell Shakespeare Company and Spirit Entertainment. Martin has also lit the Helpmann Awards (2006) and East Timor’s Independence Day Celebrations for the U.N. and is possibly best known for his lighting design for the City of Sydney’s New Year’s Eve events since 2001. He was the keynote speaker in Atlanta, at the Festival of Light Conference in the US (2005.)
JAMES MILLAR – Book & Lyrics
James Millar completed a degree in Writing at UTS in Sydney, and in performance at WAAPA. Since graduating from WAAPA in 2003, his performance credits have included The Adventures of Snugglepot and Cuddlepie and Little Ragged Blossom directed by Neil Armfield for Company B Belvoir, Oklahoma for The Production Company, as well as Boyband, A Naughty Christmas, Nostradamus (in workshop) and Eureka, directed by Gale Edwards. In 2006 he was selected to perform in Cardiff for BBC Radio 2’s Voice of Musical Theatre. James’ work on television includes A Country Practice, Water Rats, Naked: Coral Island and Home And Away. In 2006 James won the Green Room Award for Best Supporting Actor for his performance as Jud Fry in Oklahoma. He appeared in Stephen Sondheim’s Company for Kookaburra. James has written extensively for cabaret/revues such as Moments of Breathtaking Stupidity, The Story Goes On, Poison Soprano, Ten Things I Hate About Cabaret, Impossible Blonde, and Amelia Cormack’s Love For Sale.
PETER RUTHERFORD – Music
Peter has studied to become a classical singer and composer after completing an Honours degree in music at the University of NSW. He enjoys working as a vocal coach for actors and a freelance arranger/composer, as well as performing on stage.
Peter has musically directed many cabaret shows most recently doing national tours of Legends, Home Thoughts From Abroad, and Live and Legless with Enda Markey. With Luke Barron, he performed a successful season of their cabaret, Ten Things I Hate About Cabaret. He also featured in the finals of the 2001 Sydney Cabaret Convention.
Recently, he performed in the national tour of Opera Australia’s The Pirates of Penzance with Anthony Warlow and David Hobson. Currently, he is the associate musical director for Really Useful Co. production of Cats, the Asia tour.
For further media information or to arrange an interview please contact
Amanda Buckworth Publicity on (02) 9451 0847 Ι 0413 949 140 or email: aamandab@bigpond.net.au
To, finally, have a new Musical Theatre company in Australia is a precious thing indeed.
Us Music Theatre practitioners (myself of 40 years) have craved - for far too long - the legitimisation of our form in the manner of a National Company alongside our brother and sister disciplines of Drama, Dance, Opera, Puppetry and Circus.
Not one of our major companies in the other disciplines came into being without teething problems well into their adolescence.
Yes - there have been mistakes (all of them affecting dear friends and well known colleagues).
Yes - some of those mistakes seem irresponsible.
But why, and I do not feel that I am betraying my friends mentioned above when I say this, why, oh why do we need to 'stick the boot in' so soon?
Why is it kicking way too hard?
How can we have allowed all the vitriolic verbal violence become the Kookaburra Cronulla of our own making?
A precious few have spilled blood for this vision for 5 years to get to this point - most of that time, unpaid. And now, we, who did none of that blood-letting feel that we can incur more bloodshed? Bloodshed for decimation - not creation.
I am all for the cut and thrust of good bipartisan journalism. But let's always see both sides to that end.
PLEASE. Let's take time. Let's take stock. Let the company seek the counsel from which it will most benefit. And forgive.
The Music Theatre Industry in Australia is already fragile enough, while, paradoxically, enjoying a halcyon period at this very moment. Time will tell how heady those heights really are.
Do we want to lose Kookaburra? I hope I hear a resounding 'No!'.
I don't.
I am bemused by, what appears to be an unintentional error by journalist Michaela Boland; and of so little real consequence, that such acerbic approbation for the earliest demise of Kookaburra should ensue. Commentators with so little understanding of the complexities and realities of the professional theatre business in Australia would be well advised to use their, clearly voracious, literary energies in posting comments to amateur theatre fan sites instead.
Mr. Cousens and the team at Kookaburra only deserve our unfettered support in order to consolidate the company's future and long-term viability. The fact that the company is taking any artistic risk at such an early stage in its development is testament to organizational strategic innovation and business acumen.
Professor Kevin Purcell
Central Queensland University
Was it "organizational strategic innovation and business acumen" to corrupt the work of Sondheim and try to fool the public by not telling them? Obviously Sondheim and his solicitors did not think so. But then what would they know about professional theatre? They don't teach at Central Queensland University...
How lamentable that robust argument can so easily descend to uninformed rhetoric and innuendo. Rule One: check your facts before making unfounded accusations. I doubt whether Kookaburra will miss veritas' patronage (sic). I for one, will continue to applaud the passion and resolve of Kookaburra in the face of such ill-humored vitriol. All organizations make errors of judgement at one time or another. It is how the organization responds to the challenges faced over a period of time that is important.
I'm sorry, which portion of my previous comment was untrue? Why is the truth "ill humoured vitriol?" If I'm wrong, I suggest you contact Sondheim's lawyers immediately and explain to them how they were mistaken.
I take it from the deafening silence that the answer to my question is "none of it is untrue."
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