Skip to main content

Sonnigsburg: Episode 3 - A Turning Point


Episode three of Sonnigsburg airs this Monday night. It was directed by Alex Scott and written by me.

The end of episode three came to us quite early in the plotting process. It’s the midway point of the series and Savannah’s story takes a turn… but no spoilers here. As we planned the series, we thought of the first three episodes as set-up and the final three episodes as pay-off. Everything that’s been put in place in the first three episodes, starts to tie together after the end of episode three.

The script for this episode, my first episode of television, went through the biggest changes of any of our episodes over its various drafts. It was a big episode in concept; it’s a pretty big one in its final form, too. But by the time we neared production, Fiona wanted a change in the structure.

I will also admit, after years of writing theatre, the first draft was probably a little dialogue heavy. A few too many lengthy scenes of two people in a room talking. The same information is revealed in the final episode, but in a much more visually interesting way.

Some of my favourite series are structured around conversation, but that’s not what Sonnigsburg is focused on primarily. And from a production stand point, given where much of the climax of this episode takes place, Fiona wanted more of the episode set in that same space.

It led to one of our biggest production days and perhaps the biggest in terms of cast; every character is in this episode and they all appear in and around the town fete and school play.

The first draft of episode three was completed in March 2014. Some additional dialogue (a voiceover) was written in September this year. This episode is a pretty big deal for me personally, and a key turning point of the series’ narrative.


Comments

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

Melbourne Fringe: The Mission by Tom Molyneux

The widespread use of Acknowledgement of Country throughout the theatrical community is a good reminder that we live and work and tell stories on a land that has been home to Australia’s Indigenous people for forty-thousand years. Any Fringe show presenting work on the lands of the Wurundjeri people in the Birrarung are continuing a very long tradition.
Performer Tom Molyneux’s Acknowledgement of Country feeds directly into the story of The Mission; “sovereignty has never been ceded” is a strong jumping-off point for a story about our Indigenous population’s autonomy.
This personal history begins thirty-thousand years ago at the forming of Budj Bim, a volcano in Western Victoria. The Budj Bim area is a very important one to the Gunditjmara people, a site where they developed a system of aquaculture, thousands of years before European settlement.
After European settlement, it was the site of Eumerella Wars, where the Gunditjmara were overwhelmed and killed by colonisers who had the su…

Melbourne Fringe: Sleepover Gurlz by Emma Smith & Vidya Rajan

Theatre can happen anywhere. It can happen in big rooms, small rooms, warehouses, carparks and shipping containers. I saw a show on the streets of North Melbourne once. And one in the back of a car.
Sleepover Gurlz isn’t the first play I’ve seen performed in a bedroom, but this one uses its space and its premise to great effect; the intimacy is vital and this show is as much about the bedroom space as it is about the women sharing it.
Before the show, the audience is ushered upstairs to a living area to colour and paste and find their inner child. It’s an irresistible moment of pleasure that you almost regret being dragged into the bedroom for the party itself.
Creators and performers Emma Smith and Vidya Rajan are six-year-old girls, welcoming the audience to their sleepover party. We are the other girls at the party, sharing snacks and interacting with the friends who have invited us over. It’s charming and funny and silly. There’s a game of “Chinese whispers” and the uninhibited th…