I promise this is just a short foray back into the blogosphere... I mean, I had to come back with my alternative list of awards again, didn't I?
And it's a perfect time to start a debate about what the Sydney Theatre Awards means to the industry. Back in 2005 when Diana Simmonds and Ian Phipps resurrected the awards, the industry was on the verge of some big changes.
The independent sector was growing at a rapid rate, the professional world was becoming more mature and the industry as a whole was expanding.
In short, the timing of Simmonds and Phipps was perfect.
But as the role of the mainstream media has changed and the world of the online reviewer comes to the fore, isn't it time the Sydney Theatre Awards were, themselves, reviewed?
"On 20 December 2005 nominations were publicly announced for the inaugural Sydney Theatre Awards," the website states.
"These awards came about after months of informal discussion among a group of senior Sydney critics, naming themselves The Sydney Reviewers and meeting by invitation only."
"The original reviewers were, in A-Z order: Stephen Dunne (Sydney Morning Herald), Bryce Hallett (Sydney Morning Herald), John McCallum (The Australian), Colin Rose (Sun-Herald), Diana Simmonds (Sunday Telegraph), John Shand (Sydney Morning Herald) and co-ordinator Ian Phipps (ABC Radio)."
In 2005, these people represented the majority of publicly available opinion.
But that world has changed.
This year the panel is Jason Blake (Sydney Morning Herald), Deborah Jones (The Australian), Alex Lalak (Daily Telegraph), Jo Litson (The Sunday Telegraph), John McCallum (The Australian), Diana Simmonds (Stagenoise) and John Shand (Sydney Morning Herald).
It is interesting to note that the panel is mostly made up of the mainstream media but now also includes one single online/blog reviewer. But where are the other online websites?
Collectively, blogs and pages such as ArtsHub, AussieTheatre, James Waites, Augusta Supple, Kevin Jackson and Australian Stage would easily outrank the above in online hits. Where is their voice? Many of their writers easily see a lot more theatre than members of the panel.
It's time the two organisers of the awards open up the voting to a wider panel. But not just within the online world, but also to the industry. A model such as the Green Room Awards in Melbourne would be perfect.
As I wrote twelve months ago;
"...don't be fooled into thinking the judges see all of the shows.
"As Simmonds said about the Helpmann Awards earlier this year, "the likelihood of the nominating "judges" having seen all or even nearly all nominees in a category is virtually nil". The same of course goes for these awards so don't be dismayed if you aren't nominated."
And as you can imagine, saying that went down like a lead balloon with a few people. But I still believe it's a fair point, and you'll see a couple of yawning gaps in the nominations.
The 'invitation only' policy needs a major revision and must be made far less exclusive if the awards are to maintain what is a lessening legitimacy. In its fifth year, maybe the Sydney Theatre Awards needs to be given over to the industry - not just a small part of the industry, but the industry as a whole.
And so here are my own AWARDS based unashamedly on the Sydney Theatre Awards list. Beware: you'll see awards to shows not even nominated.
Drum roll please....!
NOMINATIONS FOR 2009 SYDNEY THEATRE AWARDS
BEST MAINSTAGE PRODUCTION
Happy Days (Company B)
A Streetcar Named Desire (Sydney Theatre Company)
The War of the Roses (Sydney Theatre Company and Sydney Festival)
When the Rain Stops Falling (Sydney Theatre Company and Brink Productions)
SAJ Award
Poppea (Sydney Opera House)
Special Mention
When the Rain Stops Falling (Sydney Theatre Company and Brink Productions)
BEST INDEPENDENT PRODUCTION
Beyond the Neck (Bambina Borracha Productions in association with B Sharp)
The Bougainville Photoplay Project (Version 1.0 in association with the Tamarama Rock Surfers) Norm & Ahmed/ Shafana & Aunt Sarrinah (Alex Buzo Company)
The Only Child (The Hayloft Project in association with B Sharp)
SAJ Award
Missing the Bus to David Jones (Theatre Kantanka & Performance Space)
Special Mention
The Only Child (The Hayloft Projectin association with B Sharp)
BEST DIRECTION
Benedict Andrews (The City)
Benedict Andrews (The War of the Roses)
Chris Drummond (When the Rain Stops Falling)
Marion Potts (Venus and Adonis)
SAJ Award
Barrie Kosky (Poppea)
Special Mention
Chris Drummond (When the Rain Stops Falling)
BEST ACTRESS IN A LEAD ROLE
Cate Blanchett (A Streetcar Named Desire)
Cate Blanchett (The War of the Roses)
Julie Forsyth (Happy Days)
Pamela Rabe (The War of the Roses)
SAJ Award
Melita Jurisic (Poppea)
Special Mention
Julie Forsyth (Happy Days)
BEST ACTOR IN A LEAD ROLE
Joel Edgerton (A Streetcar Named Desire)
Darren Gilshenan (Strange Attractor)
Ewen Leslie (The War of the Roses)
Ben Winspear (Baghdad Wedding)
SAJ Award
Darren Gilshenan (Elling)
Special Mention
Colin Moody (The City)
BEST ACTRESS IN A SUPPORTING ROLE
Blazey Best (Strange Attractor)
Anita Hegh (The City)
Kris McQuade (When the Rain Stops Falling)
Kerry Walker (The Man From Mukinupin)
SAJ Award
Kerry Walker (The Man From Mukinupin)
Special Mention
Anita Hegh (The City)
BEST ACTOR IN A SUPPORTING ROLE
Gareth Davies (The Only Child)
John Gaden (The War of the Roses)
Yalin Ozucelik (Baghdad Wedding)
Tim Richards (A Streetcar Named Desire)
SAJ Award
Ewen Leslie (The Promise)
Special Mention
Tom Wren (The Only Child)
BEST NEW AUSTRALIAN WORK
Beyond the Neck (Tom Holloway)
The Only Child (Simon Stone with Thomas Henning)
Savage River (Steve Rodgers)
When the Rain Stops Falling (Andrew Bovell)
SAJ Award
Holiday (Raimondo Cortese)
Special Mention
When the Rain Stops Falling (Andrew Bovell)
BEST NEWCOMER
Travis Cardona (Savage River)
Josh McConville (The Call + Strange Attractor)
Susie Mathers (Mamma Mia!)
SAJ Award
Travis Cardona (Savage River)
BEST SET DESIGN
Robert Cousins (The War of the Roses)
Michael Scott Mitchell (Travesties)
Anna Tregloan (Venis and Adonis)
Hossein Valamanesh (When the Rain Stops Falling)
SAJ Award
Claude Marcos (The Only Child)
Special Mention
Alice Babidge (Wonderful World of Dissocia)
BEST COSTUME DESIGN
Alice Babidge (War of the Roses)
Julie Lynch (Travesties)
Bruce McKinven (The Alchemist)
Tess Schofield (The Wonderful World of Dissocia)
SAJ Award
Tess Schofield (The Wonderful World of Dissocia)
Special Mention
Julie Lynch (Travesties)
BEST LIGHTING DESIGN
Paul Jackson (Happy Days)
Paul Jackson (The Telltale Heart)
Niklas Pajanti (When the Rain Stops Falling)
Nick Schlieper (The War of the Roses)
SAJ Award
Niklas Pajanti (When the Rain Stops Falling)
Special Mention
Teegan Lee (The Only Child)
BEST SCORE OR SOUND DESIGN
Paul Charlier (A Streetcar Named Desire)
David Franzke (The Wonderful World of Dissocia)
Alan John (The City)
SAJ Award
Barrie Kosky (Poppea)
BEST PRODUCTION OF A MUSICAL
Avenue Q
Chicago
Jerry Springer The Opera
Wicked
SAJ Award
Chicago
JUDITH JOHNSON AWARD FOR BEST PERFORMANCE BY AN ACTRESS IN A MUSICAL
Lucy Durack (Wicked)
Amanda Harrison (Wicked)
Sharon Millerchip (Chicago)
Caroline O’Connor (Chicago)
SAJ Award
Sharon Millerchip(Chicago)
JUDITH JOHNSON AWARD FOR BEST PERFORMANCE BY AN ACTOR IN A MUSICAL
Damien Bermingham (Chicago)
Mitchell Butel (Avenue Q)
Luke Joslin (Avenue Q)
James Millar (Gutenberg the Musical)
SAJ Award
Craig Annis (The Man from Mukinupin)
BEST CABARET PRODUCTION
Red Hot and Saucy – Rhonda Burchmore (Civic Cabaret)
Meow to the World: Crisis is Born (Sydney Opera House)
‘Tegrity: Britney Spears in Cabaret – Christie Whelan (Raval)
Tim Draxl - Under the Influence (Supper Club)
SAJ Award
Meow to the World: Crisis is Born (Sydney Opera House)
BEST PRODUCTION FOR CHILDREN
The Gruffalo (Christine Dunstan Productions)
The Nargun and the Stars (Erth and Sydney Festival)
The Wizard of Oz (Windmill and Sydney Theatre Company)
SAJ Award
The Nargun and the Stars
12 comments:
Dear Mr P.,
I understand your high regard for Mr Kosky and his Poppea - but as an imported production from an overseas company (albeit one with an Australian born director and star) should it really be eligible for such awards? Perhaps there should be a category for Best Imported Production - but Poppea is not an example of a locally produced work, and, after all, it was created some four years ago.
Best wishes, Rowan
You don't think that's a little parochial?
I don't think it's as much parochial as it is damn right insulting - poor little Sydney theatre can't compete against the world, better not make it.
Dear Alison and "noplain",
I think my comment has been grossly misunderstood and I regret that I cannot delete it.
I truly believe that for the last 50+ years Australia has produced some of the artistically finest and commercially successful theatre in the world.
I beleive the recent international successes of "The Boy From Oz", "Exit The King", "Priscilla" and even "Dirty Dancing" demonstrate that. And I believe that at least half of the 10 best directors in the world are Australian born. (Myself excluded!)
I had just always thought that the Sydney Theatre Awards were about paying tribute to locally produced work. I now stand corrected. Sincere apologies.
Rowan
And "noplain", for the recored, I have dedicated my life to making theatre in "poor little Sydney", Queensland and regional NSW. I have directed over fifty productions since graduating from the NIDA Directors Course in the mid '80s and was very proud to once be the youngest ever Artistic Director of a national flagship company. Having both cast Toni Collette in her first non-school show and directed Claudia Karvan in her stage debut I am pleased to think that I may have played a small role in nurturing some internationally acclaimed Australian talent. One of the things I'm most proud of, however, was having been Assistant Director on a production which won Best Direction in the Sydney Critics Circle Awards - the predecessor of the current awards - in 1987. My pride was due to the fact that these awards were for locally produced "world class" works.
Sorry to read into your comment like that. In many ways I do wish that theatre awards could just celebrate Australian work, but then it gets to the point of a) where do you draw the line? - how much of the work needs to be sourced from in Australia, or indeed, Sydney, and b) if we exclude shows from our awards, should, for instance, the Oliviers exclude Pricilla?
I live in Adelaide, and this year one of our theatre awards, the Adelaide Theatre Guide "Curtain Call" Awards, excluded all international and interstate productions from the running. At first I was pleased that local work would be able get more notice, but then I thought: why should they have to impose this rule? Yes, most shows in Adelaide don't have the money or the power behind them some of these big touring shows do, but that doesn't mean they're not as good as, or indeed, better than the big tours. Wouldn't it be better to evaluate *why* just because something is bigger in scale does it get more appreciation? If I feel these shows can hold their own, why aren't they allowed to? I'm still trying to sort through my opinions on the change to those awards - even after I agreed with most all their winners. I've never lived in Sydney, so I don't know what the local view is to local work, but here it can be hard to convince people of the quality of local work - I know people who fly to see shows in Melbourne several times a year, but won't even see a show here on my instance. So maybe here, as in Sydney, it would be better to award and celebrate the local stuff, even if just to get other people noticing. I just wish we didn't have to do that. That's where I was coming from with my comment.
Jane
Dear Jane,
Thank you for your last comment: I can now sleep easy knowing that my opinions have not been misinterpreted.
Personally, I think it's great that we have both state and national awards: although I do agree with Mr P that the voting systems must be re-assessed in this new cyberworld. (In my Perfect World, I would just have James Waites see every show in the country and award all the gongs!).
I have no doubt that Poppea will win the Helpmann for Best International Production next year - and, from all reports - very deservedly so. And hopefully Adam C.'s production of "..Lear" will also get both state and national award recognition.
In my youth I actually travelled from Sydney to Adelaide to see some Lighthouse shows directed by Mssrs Sharman and Armfield. By bus!
I can only imagine your frustration that your "locals" can't appreciate that much of the best of Australian theatre is produced in their town.
The point you raise about "Priscilla" and the Olivier Awards is an interesting one, but I believe it will receive nominations because it now has English co-producers.
Thanks for no longer considering me "damn right insulting". I'm sure you understand what thin skins and sensitive egos not-especially-acclaimed veteran directors like myself have. (I used to be an "enfant terrible" - now I'm just a struggling "terrible"!).
All the best,
Rowan
A nice list...
For those interested, my top picks for the Brisbane theatre scene in 2009. See: http://importanceofideas.com/2009/12/27/my-year-of-magical-theatre-the-top-five/
The good about your list compared to the Simmonds version is that you aren't blinded by the big lights of the big theatres and recognise talent across the board. Your nomination of Claude Marcos is inspired.
You wouldn't get that type of subtle design on any mainstage.
Hi all - and sorry for my late comment. I posted this article just as I was about to hop on a plane to a net/mobile free holiday.
Thanks for your comments Rowan which I totally understand.
As I was reflecting on the nominations, Poppea just wouldn't leave my mind. In the end I included it because of the very fact that it had Kosky and Jurisic.
And in so many ways, I thought it was a very Australian production.
I thought, if it's good enough for an awards ceremony to include an 2008 Adelaide production (When the Rain Stop Falling) - then it's good enough to include Poppea.
As noplain said - where do you draw the line?
Where do your award winners get their awards from SAJ?
I think a pint at the Cricketers Arms would be most appropriate wouldn't it?
There's a very interesting post I just found from Diana Simmonds HERE
in which she writes, not only about me, but about the history of the awards.
For the record, I have never once sought to be included on the award panel.
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