Skip to main content

Selling myself

Writers write.

Writers who write for performance obviously can't and don't work in isolation. It's a collaborative medium and I love that part of the process. Watching a script of mine go from page, through a director's head and into an actors' body, is like watching an incredible metamorphosis.

Sometimes I write things that suggest they should be short stories or novels (though there's rarely a voice suggesting I finish those novels, dammit), and there's a lot of creative satisfaction in writing prose that is entirely mine. From my fingers to the page. From the page to the readers' eyes. Still incredible.

I still hide behind "writers write", though. Even though, as an independant theatre maker, I am used to finding actors to do readings, finding directors to give me feedback, and pitching to producers/production managers (read: usually friends) to get work off the ground. But there are still times when I feel like actors, directors and producers sell our product better than I ever could.

And, perhaps, in a finished product, the paying public would prefer to hear from the men or women on stage - convincing them to come along to the show. But long before a show is in previews, it's in pre-production and development. And I still find it difficult to talk my stuff up.

Happily, I am surrounded by lots of supportive people - collaborators at nearly every stage of my process. Even now, as we work on getting Three Women ready for November, and I develop the script with the actors, I am still deluding myself into thinking that my actors can sell the show better than I can. (And, you know what? That may not just be delusion; the actors I know are more vociferous than the writers I know. See: gross generalisation.)

The selling I do best? Networking at readings, workshops, after shows, on social media - and now this blog. The mere mention of me doing radio interviews for On Time in the lead-up to Fringe made me reel back and put the one man in the one-man show front and centre, even though that show is both Richard and mine from the beginning.

I need to get over myself and put my writing forward. Because it's really good and worth seeing - just ask my collaborators!


Popular posts from this blog

My Favourite Theatre of 2018

It’s that time of year again, when I look back over everything I saw on stage and put together a list of my favourite shows. I saw over 100 shows this year, mostly in Melbourne and a small number on one visit to Sydney.

I will link to reviews if I wrote one.
TOP TEN (alphabetical order)
The Almighty Sometimes – Griffin Theatre, Sydney
Kendall Feaver’s extraordinary debut play is about Anna, dealing with mood disorders and medication and the complicated relationship she has with the treatments and her mother. Superb cast and beautifully directed by Lee Lewis
Blackie Blackie Brown – Malthouse Theatre
Nakkiah Lui’s work is always amazing but this production, directed by Declan Green, was another step up for her – the satire sharper and bleaker and more hilarious than ever before.
Blasted – Malthouse Theatre
Sarah Kane’s debut play from 1990s London is a tricky beast tackling difficult subjects but Anne-Louise Sarks nailed it with a superb production.
The Bleeding Tree – Arts Centre Melbourne

A Thing Isn’t Beautiful Because It Lasts: Avengers in the AGE OF ULTRON

The latest film in the Marvel Universe series feels like nothing so much as a season finale. And since Joss Whedon was once the master of creating season finales that were both emotionally satisfying and thematically resonant, it’s good to have him in charge for the second Avengers movie, Age of Ultron.
I’d like to compare it to the epic scope of Buffy’s “The Gift” but it feels more like Angel, if anything. Things change, the world moves on – and the best you can do is keep fighting. And embrace change.
Tony Stark has always been flawed, but by the third film in his own trilogy, he seemed to have found an emotional peace. But with that peace comes the idea that he can use his technology – his faith in machines being his tragic flaw – to create a replacement for the Avengers. He births an army of robots to calm the populace and fight alien foes.
Robert Downey Jnr’s Stark is such a towering figure in the Marvel Universe films – and to make him partly the villain of this new film is a s…

You are far away: Agent Cooper and his troubling return to Twin Peaks

“What year is this?” Dale Cooper asks in the final scene of Twin Peaks: The Return, the last of many unanswered questions left as the 18-part feature film concluded a week ago.
It’s far from the first time we’ve seen someone who looks like Dale Cooper lost for answers over recent months. But it might be the first time we have definitive proof that he’s in over his head.
Mr C, Dale Cooper’s doppelganger, who was first seen in the original series’ finale back in 1991, returned to the town of Twin Peaks with a goal in mind. Mr C was flexible, though. He had to be; he’d set so many things in motion over twenty-five years, if he’d remained fixated, he would never have come as far as he did.
Dougie, Dale Cooper’s tulpa – created by and from Mr C, wandered aimlessly through life, but slowly made every life he touched better. Plans change and Dougie changed with them. Slowly but surely, Dougie pieced together Cooper’s past life and became richer for it.
Agent Cooper, the third part of this T…