Last year I decided to institute my personal Artist of the Year award. There’s no money attached, of course, and I think we’d have to say it confers only a modest amount of fame. I was rather thrilled , however, to see that my inaugural winner, the multi-faceted mezzo Jacqui Dark, was subsequently featured in her home town newspaper, the Courier in Ballarat, Victoria, so that was nice. I was a little dismayed that the Courier didn’t realise that I, too, am Ballarat-born – this played no part in the AOTY decision-making, I hasten to say – and my father was once editor of that newspaper. But it was a long time ago.
This year’s recipients – and yes, it’s a group I honour in 2016 – will be used to getting little or no money. They also mostly escape the glare of widespread publicity and can walk the streets unmolested by fans keen for a selfie. They are, however, heroes to me. They are the independent artists who simply will not go away and shut up, despite bearing the brunt of our Federal Government’s unforgiveable raid on the Australia Council in 2015. They put on new work, take creative risks, nurture talent, and their ticket prices are often astonishingly low. And they might be doing this in a profit-share arrangement.
It is not a good time for the arts in Australia. There were, of course, plenty of pieces of theatre, dance, opera and musical theatre I was very happy to see in 2016. A small number were exceptional, as were a good handful of performances. We can still manage that. What we don’t have is any true, deeply engrained reverence for culture as a necessity of life. That’s why some of our brightest and most interesting artists are working for tuppence ha’penny.
In this context I’d like to give a special shout-out to the Red Line Productions team who run Sydney’s Old Fitz Theatre; to Sport for Jove, which consistently punches way above its weight; to Hayes Theatre Co for giving a dedicated home to musical theatre; and to the wonderful Women in Theatre and Screen (WITS) group. WITS has been indefatigable in giving encouragement to and increasing visibility and opportunities for women in the arts.
So, best shows of the year?
Starting with the indies, Sport for Jove’s tremendously affecting Antigone; the absorbing revival of Louis Nowra’s Inner Voices from Don’t Look Away in association with Red Line Productions; and – this one surprised me – a deeply, deeply touching production of the 1928 R. C. Sheriff classic Journey’s End, from Cross Pollinate Productions in association with Norton Crumlin and Associates. I was very keen to see the play as it’s a name I keep coming across in reading about early 20th century drama, but I thought it might be drearily musty by now. Not in Samantha Young’s production, seen at Australian Theatre for Young People’s Walsh Bay base.
Also seen at ATYP was a marvellous production of the musical Spring Awakening, sensitively directed by Mitchell Butel. He might soon find he is in more demand as a director than he is as an actor, which would be a lot. The other huge musical theatre highlight was Little Shop of Horrors at Hayes Theatre Co. This was a mainstream production (Luckiest Productions and Tinderbox Productions in association with Hayes Theatre Co) that toured after its debut but it was born at the indie Hayes. Also on the music front, the Sydney Symphony Orchestra gave a glorious trio of concerts, conducted by David Robertson, featuring Stravinsky dance scores The Rite of Spring, The Firebird and Petrushka. Absolute heaven for this balletomane.
Two of Sydney’s smaller mainstream theatre companies, the Ensemble and Darlinghurst Theatre Company, provided some of this year’s most memorable productions. At the Ensemble, Tara Morice led a terrific cast in David Lindsay-Abaire’s Good People; and I can’t tell you how riveting it was to see Patricia Cornelius’s gut-punching Savages at the Darlinghurst with a matinee audience comprised almost entirely of teenaged boys. I bet their post-show discussion was interesting – and one could feel just how forcefully this brilliant piece of writing about masculinity and pack behaviour struck them. Also at the Darlinghurst, Mary Anne Butler’s Broken was eloquently realised.
The invaluable Griffin Theatre Company is unfortunately struggling with pressing funding issues but soldiers on stoutly to provide a platform for new Australian work. And who would have thunk it? After the, ahem, disappointment of his playwriting debut Every Breath (Belvoir, 2012), Benedict Andrews came up with a fascinating portrait of a woman’s disintegration in Gloria.
Mainstream theatre wasn’t overflowing with riches. However, at Sydney Theatre Company I did love Hay Fever, directed by Imara Savage, who has a great feel for comedy; and the devastating production of All My Sons, directed by Kip Williams.
I won’t write about dance again (my post yesterday gave a round-up in that area) but will mention a few dance performances in my baker’s dozen list of stand-outs – Kevin Jackson as Nijinsky in John Neumeier’s ballet of that name for The Australian Ballet, Elma Kris of Bangarra Dance Theatre in the title role in Stephen Page’s Nyapanyapa, and Kristina Chan in her own work A Faint Existence for Force Majeure (one of the small-to-medium companies that has to reinvent itself after funding cuts). In theatre and musical theatre, in no particular order I was entranced by Robyn Nevin (All My Sons), Anthony Warlow (Fiddler on the Roof), Esther Hannaford and Brent Hill (Little Shop of Horrors), Alex Jennings (My Fair Lady), Heather Mitchell (Hay Fever), Sam O’Sullivan (Journey’s End), Marta Dusseldorp (Gloria), and Andrea Demetriades and William Zappa (Antigone).
Opera Australia’s revival in Melbourne of the Neil Armfield Ring Cycle was extraordinary, and splendidly cast from top to bottom. The themes of greed and lust for power resonated particularly strongly. Earlier in the year the rarely performed Verdi opera Luisa Miller was given a striking production and had a dream cast; and My Fair Lady was deservedly wildly successful. Also from OA, the al fresco version of The Eighth Wonder – we sat in front of the sublime building that is the subject of Alan John and Dennis Watkins’s opera – was a sensational idea, superbly executed. One couldn’t help but think of Joe Cahill when, as premier of NSW, he convened a conference in 1954 to discuss the establishment of an opera house in Sydney. He said then: “This State cannot go on without proper facilities for the expression of talent and the staging of the highest forms of artistic entertainment which add grace and charm to living and which help to develop and mould a better, more enlightened community …”
We could probably do with a Joe Cahill or two right now.
4 Comments Add yours
Deborah, thank you for this other-than-dance focused report. You make me wish I lived in Sydney, or visited more often, but Melbourne keeps us pretty well occupied most of the year. I love not having to be anywhere over Xmas and have time to relax, without obligation to go review stuff, even the stuff I don’t get the option to write about. But your summation and your final point, about our lacking a leader like Joe Cahill, is spot on. We have lost most of our leaders; too many heads or orgs are too busy making their boat float, virtually to the exclusion of all others than those talents they think can put bums on seas. I salute your tribute to the indie mob, who were so savagely beaten up by The Brandis Bruising, and hope that in the next two years, their status can be regained. After all, it is the indie sector which keeps the bigger orgs on edge. I recall Richard Evans, when managing The Aus Ballet, asking me to explain to David McAllister why his dancers were not getting the number of Australian Dance Awards they had in the past. I had to point out that dancers like Kristina Chang, then in Sydney Dance Company, was equal, in her own genre, to Lucinda Dunn; that dancers like Bradley Chatfield and Joseph Brown, were Aussie heroes of modern dance. TAB has now raised its own bar, and although there is no level playing field for dance generally, we have seen a stupendous growth in the quality of individual and ensemble performance across the country. I hope in 2017 the competition between the major orgs and the small to mediums and the indie mob is lively and exciting. Here’s to a great year of performing arts in 2017, and let’s support the indie sector as much as we can, but talking about the work to all the people who might listen, and champion their cause.
It is very disheartening to see how superficially our political leaders commit to culture. Can you imagine how much richer everyone’s lives would be with music, theatre, dance, visual arts, literature, the whole shebang, made an inextricable, valued part of life from earliest days? That, of course, means giving access to the arts to all, particularly via education. I think everyone in the arts, including the majors, feels embattled. It’s why we have less cohesion through the ranks than we might wish for. Touch times. But on a brighter note, all the best for 2017. Happy viewing!
Amen to all that, my dear. And I was lucky enough to see some of it with you. Looking forward to Friday. Rxxx
On Saturday, 31 December 2016, deborah jones: FollowSpot wrote:
> deborahjones2012 posted: “Last year I decided to institute my personal > Artist of the Year award. There’s no money attached, of course, and I think > we’d have to say it confers only a modest amount of fame. I was rather > thrilled , however, to see that my inaugural winner, the multi-” >