atyp 2011 Artistic Report

2011 annual report 1

australian theatre for young people chair’s report

speak out.

Let me address the atyp activities during the last year in terms of the goals that were set for 2011.

To be recognised as Australia’s leading centre for youth theatre practice.

The Company has had an extremely busy, rewarding and successful 2011 and is in a great position to deliver on its vision TO RAISE THE NATIONAL EXPECTATION OF WHAT THEATRE WITH YOUNG PEOPLE CAN ACHIEVE.

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In 2011 the Company had coverage in more than 120 print articles; 23 local listings; 17 major dailies nationwide; 54 articles in Sydney local papers and street press; 6 magazine stories, 16 radio stories and 28 on-line articles highlighting all aspects of our work.

Under Fraser Corfield’s leadership, the Company had a wonderful artistic program in 2011 and Fraser speaks more about this in his report.

There have been a number of changes to the Board during the year including the retirements of Jill Berry and Tim Regan and a number of additions to further strengthen the Board.

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Over 30,000 people participated in atyp activities, including attending workshops and productions both in our space at The Wharf, in western Sydney and nationally.

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Undertook surveys of both customers and employees receiving 96% percent positive feedback for holiday and term workshops and 98% percent positive feedback for education workshops measuring quality of experience at atyp.

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Collaborated with Griffin Theatre Company to present the world premiere season of Silent Disco by Lachlan Philpott.

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Delivered 341 holiday workshops, 468 term ensembles, 147 schools workshops, produced 5 productions and presented 6 independent (Under The Wharf) productions.

The Company has also had a successful financial year in 2011 due to a number of factors. I am pleased to note that Arts NSW has renewed atyp’s triennial funding for 2013-2015 with an increased support level. However, the Company is required to resubmit to Australia Council for the Arts for a renewal of that triennial funding. The outcome of that submission will be known in October. However, much remains to be done to ensure adequate funding for the long term for the Company to be able to continue its programs. The Company (including the Foundation) finished the year ended 31 December 2011 with Total Comprehensive Income of a loss of $83,728 (2010: $85,420) and Total Equity of $1,786,771 (2010: $1,870,500). The financial result reflects partly lower earnings from the investments in the atyp Foundation and higher expenses in atyp including the development of a new website, external consultancy for our Pier 2/3 Registration of Interest for Arts NSW and work on the Business Plan.

Our vision is driven by the knowledge that the arts can inspire creative, courageous and confident young people wherever they are and whatever they want to be. We believe that the arts have the power to transform lives, enrich communities and ultimately impact upon the future of our nation. Our work is motivated by the need to improve access for all young Australians to participate in the arts and to encourage them to share their stories, regardless of economic or geographical barriers.

At the heart of atyp lies collaboration between professional artists and young people, placing a priority on access, community engagement and creative excellence. For nearly 50 years atyp has invited young people to get involved in inspirational theatre experiences that promote engagement with contemporary social issues, grow young audiences and provide a space for young people to celebrate their creativity and

To facilitate and promote excellence in professional arts practice for young people.

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In October 2011, atyp conducted a masterclass with internationally renowned actor, atyp Ambassador and atyp Alumnus Rose Byrne.

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Engaged 11 guest directors on season productions, and employed approximately 120 artists across all atyp programs.

To increase access to an exceptional program of theatre experiences for young people across Australia.

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Delivered education programs to 277 schools, reaching 5,783 students, and conducted 277 education workshops for students.

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Engaged with 565 indigenous participants as part of 3 remote residencies, holding 65 workshops for the local communities of the Inner West and South of Sydney, Katherine and Tennant Creek, Northern Territory.

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atyp’s Atypical Advisors met monthly to provide feedback and evaluation of creative programs and marketing techniques and overall brand awareness.

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To maintain and develop reliable sources of funding and financial partnerships.

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In 2011 atyp funding ratios were: Earned Income of $1,400,555 (2010: $1,036,648) comprised 78% (2010: 69%) of total turnover of $1,790,582 (2010: $1,503,391). Earned income includes sponsorship & donations of $781,413 / 44% of turnover (2010: $607,414 / 40%) and fees & services of $439,627 / 25% (2010: $343,609 / 23%). Government subsidies and grants of $390,027 (2010: $466,743) represented 22% (2010: 31%) of turnover.

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Earned income increased a substantial 35% on 2010 results.

To provide a high level of governance, evaluation, reporting and risk management.

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There were four new appointments to the atyp Board during the year: Claire Duffy, Nancy Fox, Nick Marchand and Simon Webb. This further strengthened the Board and filled vacancies that arose from the retirements during the year of Tim Regan and Jill Berry who we thank for their dedicated contributions during their time with atyp.

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In late 2011, atyp commenced a two-year organisational mentoring program with the Westpac Group, supporting atyp with strategy, human resources and cultural development teams to progress the development of a working culture of creativity and innovation.

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The Board Finance Committee carried out monthly reviews of the annual budget to actuals and made recommendations to the atyp Board on financial matters.

Let me now address a senior staff change during the year. Our General Manager, Moira Hay, resigned to take up a role with the Sydney Harbour Foreshore Authority.

We were however very fortunate to be able to attract Aaron Beach from Bangarra Dance Theatre and he commenced with atyp in November. He worked for atyp some years ago and brings a wealth of experience to the Company from his time with Bangarra.

In the area of funding, atyp continues to benefit from various subsidies and grants and these totalled $390,027 in 2011 (2010: $466,743). These include Australia Council for the Arts, Arts NSW and Attorney General’s Department (for Tennant Creek). It has been increasingly difficult to gain financial support from some areas of government and the shortfalls have needed to be made up through private fundraising. In 2011, atyp raised $620,413 in sponsorships and donations (2010: $592,414) including the valuable funding for Katherine from the Westpac Foundation and the Tim Fairfax

Foundation. Without the major support of the Graeme Wood Foundation we would not be able to continue the wonderful success we have had in atyp’s “Fresh Ink” programme. The atyp Foundation also continues to be a great supporter of our activities though its contributions from revenue and the five year commitment to commissioning works. We are also fortunate to continue to attract financial support from individuals and a range of organisations which contribute to the success of our fundraising events. We gratefully acknowledge the support of government (especially Australia Council for the Arts and Arts NSW) and the private sector in supporting atyp in its valuable work. There is a necessity however to continue to look for additional funding sources (and especially on a multi-year basis) if we are to continue to expand our quality programmes.

The Registration of Interest for Pier 2/3 was lodged with Arts NSW in January 2011 and there have been numerous discussions during the year between Arts NSW and the six preferred companies, including atyp. Arts NSW has also engaged with numerous stakeholders on formulating a vision for the arts precinct in Walsh Bay. Recently Arts NSW presented to all the six preferred companies (including atyp) on the preferred proposal that sees all companies being accommodated in new homes at either Pier 2/3 or Pier 4/5. It is currently proposed by Arts NSW that atyp will have dedicated facilities in Pier 2/3. Whilst considerable work remains to be done, the progress recently has been very encouraging. atyp delivered an excellent 2011 Artistic Program under Fraser Corfield’s leadership.

This included major productions, continuing growth and success in our workshop programs (term and holiday), our “Fresh Ink” writers program and the “Under The Wharf” program. In addition, we were very pleased with the first year of our important regional program in Katherine. Fraser Corfield speaks to the Artistic Program in his 2011 Artistic Report.

We have already had significant contributions from Westpac in the area of strategic planning as part of the Westpac mentoring program. The bank has been of major assistance to atyp in the development of our 2013-2015 Business Plan which will be the basis of the application to Australia Council for the Arts for the renewal of triennial funding.

Fraser Corfield and Aaron Beach are leading the dedicated atyp team. The whole team has made a great contribution in 2011 and I thank them all for their efforts.

Fraser Corfield has continued to provide an excellent artistic structure to atyp as evidenced by the continuing quality of the programmes. The continued success in 2011 has provided a sound base for a very strong Artistic Plan in 2012 which is already well underway.

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I also wish to thank the atyp Foundation Advisory Committee of Angela Bowne (Chair), Popsy Albert, Olev Rahn and Rob Rich. The Committee has protected the Foundation’s significant cash resources and continues to provide significant input to atyp. atyp has formally announced Rose Byrne as a new member of our Ambassador Programme. Rose Byrne and Baz Luhrmann are both very high profile Ambassadors and are great supporters of what we are doing. Rose Byrne has already assisted us in raising our profile through additional media coverage.

Finally, I wish to thank all the Board directors that served during the year for their efforts on behalf of atyp. We were sorry to lose Jill Berry and Tim Regan as Board members due to their other commitments. However, with the additional new directors we now have an even stronger Board. atyp will continue to focus on being a fearless theatre company with a national impact that all levels of the industry love to work with. Our progress in 2011 has significantly advanced our achievement of this vision.

Michael Ihlein

Chair, Australian Theatre for Young People 21 May 2012

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artistic director’s report 2011 was the second year of a new artistic direction for the company. The previous year Australian Theatre for Young People (atyp) initiated significant changes encompassing staffing, planning, programming and marketing. The changes realigned atyp’s focus from a broader workshop hub to that of a fearless theatre company with a national impact focussed on the development and production of work that celebrates young people as artists and audiences. For the first time in many years the company committed to an annual artistic program and restructured a number of core staff roles to support the new direction. The result was a substantial increase in output across all areas of activity.

service for organisations that receive project funding from the Westpac Foundation.

Members of the company, from the Board and CEO through to permanent, part-time and regularly contracted staff, participated in detailed individual interviews to analyse the company culture and governance processes. Westpac then commit to working with the mentored company for up to two years to address areas of concern.

As a result the second half of the year saw atyp receive two detailed evaluations of the recently completed Business Plan together with an independent assessment of the company’s HR processes. Both identified a disconnect between the success of the activities the company was delivering and the vision as it was articulated in the Business Plan. The Westpac analysis also identified an opportunity to improve HR processes by amending staff reviews and investing in key infrastructure.

In response 2011 could be defined as a year of reflection and consolidation. While the company continued to experience growth across all program areas, the focus of the year was assessing how this growth could be sustainably managed.

As a result atyp received invaluable objective feedback on company activity and support and mentorship to assist in addressing issues identified for the long-term. This has proved enormously beneficial for the company, transforming the clarity of the creative vision and markedly improving morale.

The first six months of the year saw the development of two major submissions for Government: An application to Arts NSW for a purpose-built home on Pier 2/3; and a triennial Business Plan to secure operational funding from Arts NSW and the Theatre Board of the Australia Council for the Arts. These documents were drafted with support from industry consultant Jenny Cook.

Despite these significant developments at a management level the artistic program was delivered without pause in growth and efficiency. The scale and range of activity is a reflection of the passion and motivation of the company’s talented staff. No theatre company in Australia delivers an artistic program comparable to atyp. To fully appreciate the scale of the work please see the full 2011 Artistic Report attached.

Two of the three submissions were successful. atyp was short-listed for a new home in the development of Pier 2/3 and secured operational funding from Arts NSW. However the Theatre Board of the Australia Council placed atyp ‘on notice’ requiring the submission of a revised Business Plan for 2013-2015 funding. In informing atyp of the Theatre Board’s decision the Australia Council provided the company with detailed feedback on concerns related to the wording and structure of the Business Plan.

Examples of achievements within the program include:

Toward the end of this period the General Manager Moira Hay tendered her resignation to take up a senior management role with the Sydney Harbour Foreshore Authority. Freelance Producer Simone Parrott re-joined the company as interim General Manager while a new staff member could be recruited. Simone had assisted the company for three months in 2010 and retained a detailed understanding of our processes and budgets. Following Moira’s resignation the Board undertook to conduct a thorough assessment of the position of General Manager, the expectations of the role, and the governance structure of atyp.

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Lachlan Philpott’s Silent Disco, presented by atyp in partnership with Griffin and

Hothouse Theatre Companies, received critical acclaim as it performed a sell-out season in Sydney before travelling to Penrith, Albury and Melbourne. The script was then nominated for a Helpmann Award in the category ‘Best new Australian work’.

Significantly, 74% of audiences for the Sydney season were adult ticket holders, demonstrating that quality theatre driven by young characters can attract a General Public audience.

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The company presented four new Australian works in the production season,

three of which were commissioned by atyp, and embarked on the development of a further eight new Australian works to be delivered between 2012 and 2014.

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atyp’s ground-breaking Indigenous Middle Years Program that uses drama and

performance to develop the confidence and emotional wellbeing of students making the transition from primary school to high school received increased support from the

During this time atyp was also selected for the ‘Not-for-profit Company Mentoring Program’ offered by Westpac. This extraordinary initiative is a highly sought-after 5

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State Government and engaged a new project partner, the Sydney Opera

House.

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The holiday and ensemble workshop programs recorded an increase in

enrolments for the first time in six years.

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Rainbow’s Ending by Noel Greig, a production for actors aged between 10 and

13, attracted 90% houses throughout the season. The show demonstrated a clear demand for plays for younger actors to perform and the capacity for those plays to attract a family audience.

As the staff refined and embedded the systems for delivering the artistic program the company has become increasingly efficient and effective in its artistic output.

2011 also saw atyp make significant investment in the development of the company’s on-line profile. In March Dan Prichard was appointed to the role of Fresh Ink Manager and asked to prioritise the development of Fresh Ink on-line. He immediately established the Fresh Ink blog, an interactive on-line resource connecting young writers with some of the nation’s most experienced industry leaders. Fresh Ink then began leading company change in the use of social media and film to foster an online community. Developments included forums and events being tweeted live to enable national interaction, high quality film projects being developed to communicate play writing on-line, and closed chat-rooms being established for writers to share and comment on work in confidence.

The atyp Board also approved the development of a new website that would provide the company with a more flexible, responsive platform that could meet opportunities in programming and changes in technology. This website was planned and developed in 2011 for delivery in 2012 and the site is now live.

So 2011 was a year of growth and reflection for the company. With the promise of a new home in Pier 2/3, continued growth and increased recognition across all artistic programs, a thoroughly engaged team encompassing Board and staff, and independent support and mentorship to maintain positive change, atyp’s future looks extremely bright. I look forward continuing to lead the company through what will no doubt be a very exciting future.

Sincerely

Fraser Corfield Artistic Director 6

artistic report Australian Theatre for Young People (atyp) is undertaking a significant transition. In 2010 the company embarked on a program of strategic growth designed to establish a reputation as a fearless theatre company with a national impact that all levels of the industry love to work with. To this end atyp has established an annual season of productions, embarked on a bold commissioning program, established the nation’s leading blog dedicated to play writing, and integrated the education program across performances, play writing and workshops. 2011 was the year atyp consolidated its networks at our home in Sydney and positioned itself for a greater national reach on-line and in partnership with the wider industry.

atyp 2011 Productions When a company is called Australian Theatre for Young People, it is fair to expect that the work it produces will be at the leading edge of youth theatre practice nationally – in innovation, in impact and in the quality of the young artists it works with. These are the values the drive the company’s production program. The 2011 program included three world premieres, two of which have been published, the third is currently in discussion with a publisher, and one was nominated for a Helpmann Award in the category Best New Australian Work

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The voices project 2011

Tell It Like It Isn’t by atyp’s Fresh Ink writers and mentors “Tell it Like it Isn’t is a testament to the excellence of atyp’s programs ... emerging creatives should get to the Wharf to enjoy the company’s outstanding first play of the season.”

Helen Machalias – Australian Stage Tell it Like it Isn’t is a sharp, evocative collection of monologues written by some of Australia’s leading playwrights aged between 18 and 26. The monologues were created during the National Studio, a unique professional development opportunity that brings together writers from around the country. Each piece is crafted for an actor aged between 16 and 20.

Directors Writers

Set Designer Costume Designer Sound Lighting Stage Manager Cast

Dates Venue Ticket Price No. Performances Total Attendance

Lachlan Philpott and Luke Kerridge Vanessa Bates, Jessica Bellamy, Joanna Erskine, Zoe Hogan, Sarah Hope, Nakkiah Lui, Jasper Marlow, Finn O’Branagain, Phil Spencer, Tim Spencer, Chris Summers Adrienn Lord Jasmine Christie Ekrem Mulayim Christopher Page Jonathan Ware Rose Connolly, Felix Dupuy, Joshua Forward, Laura Hopkinson, Sophie Irvine, Danny Kim, Adam Marks, Kyle McLeavy, Gabrielle Nemeth-Taylor, Patrick Richards, Julia Rorke 2 Feb – 19 Feb 2011 atyp Studio 1, The Wharf Adult $20, Student $17, Conc $15, Preview $10, Group $15 17 950

The production was programmed to coincide with onSTAGE, presented by the Board of Studies NSW and the Department of Education and Training, which brings drama students from around NSW to Sydney to be inspired. Each monologue meets the requirements of the HSC individual performance assessment. This means that senior students attending the performance are able to perform the monologues created for Tell it Like it Isn’t in their HSC assessment.

The project was so successful it has been made into an annual event. In 2012 the scripts from Tell it Like It Isn’t and the subsequent season The One Sure Thing (2012) were published by Currency Press.

“The feature of the show was a great mix of energised and talented performers working with cutting edge, sharp and often humorous contemporary writing.”

David Kary – musefront.com.au

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Silent Disco

by Lachlan Philpott co-produced with Griffin Theatre and HotHouse Theatre “This is a fine play, a fine production, and probably one of the small stage highlights of the year” Sydney Morning Herald In a world of absent mothers and missing fathers, Mrs Petchell battles to keep another year of students out of the ranks of the vanished. The Outsiders is on the syllabus again, but instead of Socs and Greasers, this is the world of Speds and Bitches – fuelled by Red Bull and powered by iPods.

This magnificent production brought together three champions of Australian play writing, atyp, Griffin and Hothouse Theatre Companies. The sell-out season at The Stables Theatre in Sydney was followed by seasons in Penrith, Albury and Melbourne.

The script was nominated for a Helpmann Award in the category “Best New Australian Work”. Only 27% of the tickets sold in Sydney were at concession rate demonstrating that theatre driven by young characters can attract a wider audience.

Director

Lee Lewis

Designer Lighting Sound Stage Manager Assistant Director Cast Venue No. Performances Total Attendance

Justin Nardella Ross Graham Stefan Gregory Natasha Marich Kai Raisbek Sophie Hensser , Meyne Wyatt , Camilla Ah Kin, Kirk Page Griffin Theatre 74 7,530

“This fine production reminds us all how terribly difficult it is to be young.”

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Ishmael and the Return of the Dugongs

by Jo Turner, adapted from the novel by Michael Gerard Bauer, presented in association with Parramatta Riverside Theatres Adapted from the popular Australian novel by Michael Gerard Bauer, Ishmael and the Return of the Dugongs does for debating what MasterChef did for the croquembouche. This delightful production gave audiences the chance to see what a small band of unlikely heroes, an impossibly beautiful girl, a bully, and a retired rock band named after a seagrass-eating mammal have in common. This is a play for the geek in all of us.

Commissioned by atyp from playwright and all-round theatre professional Jo Turner, the production was rehearsed and presented in Parramatta in partnership with Riverside Theatres. Since that production the play has since been performed by two schools in NSW. Discussions are currently underway with Playlab for publication of the script.

“I thought it was absolutely delightful, beautifully written, beautifully acted by a very charismatic group of young actors and a directorial triumph … we would love to partner atyp again on another project.”

Camilla Rountree – Producer, Riverside Theatres

Director Designer Lighting Sound Stage Manager Assistant Director Cast

Venue No. Performances Total Attendance

Fraser Corfield Jasmine Christie Ben Cisterne Michael Toisuta Samuel Johnson Elizabeth Gibney Mark Ashmore, Marguerite Assat, Sorie Bangura, Michael Brindley, Elena Burger , Emma Campbell, Matthew Friedman, Tom Gilmour, James Hughes, Danielle King, Billy Mansour, Adam Marks, Cooper Torrens Riverside Theatre, Parramatta 7 772

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Cursed Hearts inspired by the Shakespeare, Gounod and Prokofiev versions of Romeo and Juliet This is the end of the world. What you see, what you hear and what you feel will saturate your senses. It’s a story set on the battlefield of love. Performers are armed with a re-worked text, backed by a continuous original soundscape, and transplanted to a space with digital walls.

This hugely ambitious installation performance had a cast of 21 performers aged between 16 and 26 performing an original electronic opera with movement and dance taking over the whole of the space. The production was a smash hit with young audiences selling out the final week.

Director Choreographer Set Designer Costume Designer Sound Designers Lighting Designer Audio-visual Design Costume Assistant Cast

Venue Performances Total Attendance

Danielle O’Keefe Belinda Scanlan Marc Barold, Adrienn Lord, Tom Brennen, & Zacchary Wiffen, Ben Cisterne Trevor Wills Chloe Lawrence-Hartcher Peter Aoun, Scott Bolas, Isaac Bradley, Emma Brawley, Andrea Cabello, Madison Cameron, Alya Drobot, Alfie Gledhill, Joanna Griffiths, Molly Haddon, Blaine Horne, Sara McCoy, Pollyanna Nowicki, Elizabeth Pallas, Christina Paterno, Melanie Priest, Rebecca Quinn, Georgia Sekulla, Rachel Smuin, Mikhail Ushakoff, Tehani Vicario, atyp Studio 1, The Wharf 17 854

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Rainbow’s Ending

by Noël Greig Two huge giants are determined to devour every living thing in the world. With their insatiable appetites they start with the farms and the fish. Then the plants and animals, and before too long, the people. Soon all that’s left are two towns, huddled behind high walls, hidden in the mountains. One small hero leads an expedition to end this terror, and she will ... one way or another!

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This delightful production featured young actors aged between 10 and 13. This is the age range that currently attends the most drama workshops at atyp. It should come as no surprise then that the production was a huge success attracting a large number of young members and their parents. The production demonstrated a clear need for scripts suitable for 10 – 13 year olds to perform.

Director Designer Composer Lighting Designer Stage Manager Cast

Season Venue Performances Audience

Anna Kerrigan Adrienn Lord Scott Saunders Christopher Page Sorie Bangura Nicholas Burton, Kira Drysdale, Ariel Fowkes, Kiera Horner, Imogen Howe, Leo King Hii, Fifi Levy Bell, Victoria Little, Annie Martin, Sam Martin, Alistair Moore, Sophie Rose, Claire Stendall, Aaroon S uebhait, Grace Wheatley, Nadia Zwecker 16th September – 25th September 2011 atyp Studio 1, The Wharf 9 751

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atyp commissions

The One Sure Thing By atyp’s Fresh Ink writers

atyp is committed to working with leading artists to create outstanding plays that place young people centre stage. To this end the company has embarked upon a significant commissioning program.

The One Sure Thing is a collection of seven-minute monologues written by some of Australia’s leading young playwrights aged between 18 and 26. The production is the second annual installment of The Voices Project, an annual script development tied to the National Studio. The scripts featured in The One Sure Thing will be published by Currency Press and presented as part of atyp’s 2012 program.

The Tender Age Devised by Australian Theatre for Young People and version 1.0 This production uses a technology-saturated performance space to examine the way young people negotiate sex, sexuality and relationships in a digital age. Devised by a group of five performers aged between 15 and 18 working in partnership atyp’s Artistic Director and the creative team from version 1.0, The Tender Age asks questions about what society expects from young adults.

The Game (working title)

By Rachael Coopes and Wayne Blair For most Australians, daily life in our indigenous communities is something we piece together from news stories and current affairs investigations. This important new play that is being developed in a series of residencies conducted through 2011 and 2012 in Katherine in the Northern Territory aims to provide an accessible insight into the lives of young people living in one of the most remote towns in the world.

The project will be presented as a creative development at the Sydney Opera House in June 2012 before going on to seasons in CarriageWorks and then the Brisbane Festival. It is hoped the work will be toured further in 2013.

The final production will be presented as a fully professional work in 2013 in Sydney. It is hoped the show will be subsequently toured. The script will be published by Currency Press and will be supported by an on-line educational resource that includes high quality short documentaries created by Plump Films that enables young people Grounded involved in the development of the play to introduced Australia to their town in their

By Alana Valentine, co-commissioned with Tantrum Theatre This powerful new work examines the unique qualities of Newcastle through the eyes of own words. a group of teenagers. Combining the events surrounding the grounding of the Pasha Bulker with a fictional coming of age tale, this play is a celebration of life on the fringes. J.U.N.E

By Suzie Miller The script will be performed by Tantrum Theatre in Newcastle in May 2012 before travelling to Sydney to be presented in partnership with atyp at The Wharf.

Max Remy Super Spy

By Jo Turner, adapted from the novels by Deborah Abela This delightful new play, adapted from Deborah Abela’s bestselling series of books, is tailored for actors aged between 10 and 13. Playlab Press have expressed interest in then publishing the script because it is ideal for drama schools, youth theatres and primary schools around the country. While thousands of young Australian’s in this age group participate in drama workshops every year, very few new plays are professionally commissioned and developed for this group to perform. The production is being staged by atyp in October 2012.

There is a magnificent contradiction in young men in their mid-to-late teens. As individuals they can be proud, honorable, responsible and dutiful, but get them in a group and those qualities can take on new meaning entirely. The creative development of this powerful new production, initiated in 2011, looks at the tension inherent in making the transition from boy to man, particularly in some of Australia’s migrant communities. Using breakdancing, parkour, fight choreography and a technology-rich performance space this new work examines masculinity in a modern age. It is expected the production will be presented in 2013/14 and will seek further performance opportunities nationally and internationally.

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Dark Tales

By Kate Mulvany based on an original idea by Fraser Corfield Based on the understanding that the most powerful story telling experiences inhabit our imaginations as strongly as they inhabit our senses, this new work is being developed to be presented in a completely dark performance space. The actors, crew and front of house staff will be equipped with night vision goggles. Drawing on fables dealing with the loss of site the audience will be led on a unique journey that affirms how many ways we experience the world. The production will be presented in 2013 or 2014.

Mamy Rock (working title)

By Lachlan Philpot Mamy Rock is a 70 year old DJ that has been taking the clubs of Europe by storm. This dynamic new play examines the tension that exists between the clubbing set of young adults and their grandparents’ generation. This production will bring together a cast of senior professional actors and young artists to unpack questions associated with how people of certain ages are ‘meant’ to behave. The production is planned for production in 2014.

Under the Wharf is a platform to help emerging professional theatre makers help themselves. Established in response to feedback from artists in their first five years of practice, the program provides practical opportunities to apply theatre skills in the real world. Under the Wharf gives emerging professionals the chance to connect, discuss, share and learn through doing.

Parkie

by Daniel Hayward - Produced by WOOF/meow Theatre Company

Young independent theatre company WOOF/meow staged this important new Australian work supported by the Sydney Gay and Lesbian Mardi Gras. The play, set in the sleepy northern NSW town of Clybucca, follows characters caught between worlds. The farmer’s son who longs for the city, the ex-soldier running from himself, and the local boy who is happy in his part of the world, get caught in a destructive spiral of longing and loss.

Producer Director Designer Lighting Stage Manager Cast Dates Venue No. Performances Total attendance

WOOF/meow Theatre Company David Koumans Alistair Watts Chris Page Jeremy Page Amy Correia, Matt Hopkins, Mat Lynch, Nathaniel Scotcher 22 Feb – 4th March 2011 atyp Studio 1, The Wharf 10 303

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The Shape of Things

by Neil LaBute - Produced by Pantsguys Productions

“It is an insidiously creepy play. It is discomforting. It is challenging. ... Certainly, despite my familiarity, it still resonated provocatively.”

Kevin Jackson’s Theatre Diary Set in a Midwestern college town, Neil Labute’s comic masterpiece chronicles the chance meeting of Adam, an awkward English Lit Major and Evelyn, an ambitious art student. The relationship they embark on appears "meant to be"- so much so, that Adam will go to extraordinary lengths to prove it. Since its London premiere in 2001, Neil Labute’s modern classic, a cruel and brilliant satire on love, life and art, has left audiences all over the world dazzled by its daring and power.

Director Assistant Director Playwright Designer Sound Lighting Stage Manager Cast Dates Venue No. Performances Total attendance

Sam Haft Paul Hooper Neil LaBute Tom Petty Alistair Wallace Teegan Lee David Mahoney Cat Dibley, Rebecca Martin, Graeme McRae, Tim Reuben 16 March – 2 April 2011 atyp, Studio 1, The Wharf 20 952

Tooth of Crime

By Sam Shepard - Produced by Arts Radar

In a futuristic American wasteland where rockstar gangs own the streets, superstar champion Hoss comes face to face with a ruthless gypsy named Crow. Hoss is a marked man, the prey of a true genius killer with a new sound whose arrival threatens everything Hoss has fought for.

A fusion of live music, intense language and movement, this new production of a cult Shepard classic was part rock concert, part poetry slam, part death match.

Director Design Lighting Composer Producers Cast Venue Performances Total Attendance

David Harmon Adrienn Lord Richard Whitehouse Basil Hogios Arts Radar & Jennifer Medway Akos Armont, Paige Gardiner, Jim Gosden, Martelle Hammer, Matthew Hardie, Dan O’Leary Steve Toulmin atyp Studio 1, The Wharf 23 464

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Sweet Bird and so Forth

By Laura Naumann translated by Ben Winspeare Produced by Mess Hall

“Exquisite, everyday slices of life writ large…Tightly directed by Laura Scrivano, the cast jump heartily into their roles.”

Lenny Ann Low - The Sydney Morning Herald Amanda is going away. Her friends have gathered high on the hill at the very edge of town to throw a farewell party. But is it really that easy to leave everything you’ve ever known?

The world premiere of Sweet Bird and so Forth heralds a new voice in international playwriting. Laura Naumann’s unexpected, original and unmistakably theatrical play combines a Chekhovian landscape with the shifting dreams, memories and fantasies of six young people caught between adolescence and adulthood. Surprisingly humorous, irreverent and occasionally anarchic, Sweet Bird and so Forth is a delightful descent into the vagaries of youth.

Director Designer Lighting Designer Video Artists Stage Manager Production Manager Cast Season Venue Performances Audience

Laura Scrivano Hanna Sandgren Teegan Lee Steve Toulmin, Richard Whitehouse Stephanie Anna Annette Rowlison Fleur Beaupert, Michael Cutrupi, Geraldine Hakewill, Alex Millwood, Fiona Pepper, Sonny Vrebac 17 August – 10 September atyp Studio 1, The Wharf 21 821

Titus Andronicus

By William Shakespeare - Produced by Cry Havoc

Rome is in decay. Corrupt, steeped in bloodshed and de-sensitised by the relentless cycle of war. The aristocracy, a bloody band of hand-to-hand warriors, turn on themselves. What ensues is a bloodbath of revenge, a dismemberment of humanity via the corruption of a state.

CRY HAVOC’s production is set in a post-apocalyptic desert, years after the world has exploded in on itself and civilisation as we know it lies in ruins. The State is a post catastrophe reinvention and rules and laws no longer apply.

Director Designer Composer Sound Designer Lighting Designer Choreography Stage Manager Production Manager Cast

Season Venue Performances Audience

Kate Revz Lucilla Smith Drew Livingstone Caitlyn Porter John Veitch Sam Chester Asha Watson Bridget McClusky Kim Straatemeier Helmut Bakaitis, Gabriel Fancourt, Sam Haft, Sean Hawkins, DrewLivingston, Megan O’Connell, Suzanne Pereira, Berynn Schwerdt, Demitrios Sirilas, Tom Stokes, Anthony Taufa, Aaron Tsindos and Eloise Winestock 17 September – 5 November 2011 atyp Studio 1, The Wharf 16 877 16

Games in the Backyard

By Edna Maza, translated by Hani Furstenburg and Naom Shmuel - Produced by Netta Yashchin

“This is a very tight production … The intent was clear and palpable. The pace, and the tension, are swiftly established and breathtakingly sustained by director Netta Yaschin.”

Carol Wimmer – Stage Whispers This horrifying true story serves as the inspiration for one of the best known and most successful Israeli plays ever written. Games in the Backyard explores the case of gang rape tried in the Israeli courts, which aroused wide public debate and emotion. An emotionally charged, dramatic and chilling play, Games in the Backyard will leave you questioning your judgment about a case that is not black and white.

Director Producer Assistant Producer Designer Lighting Designer Sound Designer Stage Manager Cast Season Venue Performances Audience

Netta Yashchin Fiona Boidi Akos Armont Lisa Mimmocchi Sara Swersky Guy Vincent French Bhavana Dhanasar Carl Batchelor, Joseph Del Re, Jessica Palyga, Michael Rebetzke, Dorje Swallow 17 November – 2 December 2011 atyp Studio 1, The Wharf 14 320

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discussion was tweeted as it happened, with responses and questions being tweeted back to the Studio from around Australia. The Fresh Ink blog was updated daily throughout the studio to keep followers around the country informed of activities.

Fresh Ink is the leading script development program for young Australian playwrights. In 2011 the program implemented a significant new development, an on-line blog that brings together young writers and leading industry professionals. atyp recognises that the future of a vibrant professional development network for writers is on-line. To this end the company began trialing initiatives that give an on-line profile to all activities.

Fresh Ink Blog & Social Media The Fresh Ink blog was launched in July 2011. The blog was established in response to the recognised need to increase the on-line presence of the play writing program and to provide an interactive resource for young writers around the country. Since its launch the blog has grown to be recognised as the leading national resource for play writing, servicing young and established writers. The site is reinforced by a series of social media platforms including facebook, twitter, vimeo and tumbler. Articles published on the Fresh Ink blog have been reposted and referenced locally, nationally and internationally including by The Guardian newspaper in the UK. Contributors

Blog ‘views’ Twitter followers Facebook ‘fans’

Tutors Participants

Coordinator Blogger Dates No. Workshops No. Attendances

Peta Murray, Ross Mueller, Caleb Lewis, Chris Mead , Kerrie Noonan Alysha Herrmann, Phillip Kavanagh, Sarah Gaul, Laura Hopkinson, Jessie Tu, Alexandra Macalister-Bills, Kendall Feaver, Jessica Tovey, Emrys Quin, Lauren Sherritt, Eloise Maree, Alexandra Cullen, Alice Cooper, Georgia Symons, Ewen Hollingsworth, Brooke Robinson, Lydia Nicholson, Carolyn Burns Dan Prichard Jennifer Medway 5th – 10th December 6 108

Lachlan Philpott, John Bell, Luke Mullins, Van Badham, Ross Mueller, Caleb Lewis, Peta Murray, Zoe Hogan and Joanna Erskine 16,000+ (Aug 2011 – Jan 2012) 385 230 (as of Jan 2012)

The National Studio The National Studio brings together some of the best young playwrights from around the country for a week of professional development. 18 writers from NSW, Victoria, Queensland and South Australia spent the week involved in masterclasses, small group workshops and one-to-one mentoring sessions. This year’s call was widely publicised across atyp’s social media platforms and by a number of key arts organisations. This resulted in over 1,000 views of the information on the Fresh Ink site.

As part of the Studio the writers generated seven minute monologues around the theme of ‘death’ for consideration in atyp’s production The One Sure Thing. To this end the Studio was joined by Kerrie Noonan from The Groundswell Project, an organisation that uses the arts to promote resilience and wellbeing through all phases of life. Play Writing Australia Artistic Director Chris Mead also joined the Studio to facilitate a special roundtable discussion on professional practice with the tutors. The 18

18-26 Mentoring Program The 18 – 26 mentorship program offers NSW writers the opportunity to spend 8 months working in close consultation with a leading Australian writer or dramaturge.

Participants are involved in monthly meetings with their mentor and regular masterclasses where they are set specific writing tasks to advance their practice. The program takes a holistic view of their writing process, focussing on sustainability within the profession rather than the development of a single play.

Between masterclasses the writing group log onto a closed blog that lets them discuss and provide feedback on their work without public access. Each masterclass set the group specific writing tasks to be completed and reflected upon.

Mentors Guest tutors Participants Venue No. Masterclasses No. Attendances

Caleb Lewis, Lee Lewis, Lachlan Philpott, Hilary Bell, Verity Laughton, Jane Fitzgerald, Rosie Dennis David Williams, Vanessa Bates Alexandra Cullen, Alice Cooper, Georgia Symons, Ewen Hollingsworth, Brooke Robinson, Lydia Nicholson, Carolyn Burns Studio 505, Elizabeth St, Surry Hills 7 64

Fresh Inklings 13-17 Writers’ Ensemble The Fresh Inkling program, delivered in partnership with the NSW Dept of Education’s Arts Unit, provided a group of 12 young writers from NSW public secondary schools the opportunity to participate in 30 weeks of workshops to develop their play writing skills.

This pilot program gave atyp the opportunity to refine and test a long-term intensive model for script development with teenagers. The company is looking to refine a play writing development model for this age group that can be rolled out state-wide over the coming two years and then nationally.

The workshops culminated in a series of 15 minute performances presented by young actors from the Arts Unit.

Writers

Facilitators Directors Cast

Caroline Anger, Alexandra Au, Peter Samuel Dubosarsky, Lillian Flemons, Renee Johnston, Declan Maher, Liam McCann, Isabella Olsson, Tanisha Sundaram, Hugo Thompson, Lachlan Philpott, Cathy Gilholme, Vanessa Bates, Caleb Lewis, Paul Viles, Cathy Gilholme, Anna Kerrigan, Fraser Corfield Casey Campbell, Mitchell Churi, Dominique Fadera, Ben James, Amy Johnston, Bronte Lawson, Liam Macdonnell, Sam Marques, Jack Midworth, Lily Moon-Arkell, Jessica Murphy, Jasmine Naghsh, Timothy Spohr, Eve Shepherdson-Beck, Kacey Turner, Natalee Venegas, Kasia Vickery,

Date Venue Audience No. Workshops No. Attendances

21 & 22 June 2011 Richard Wherrett Studio, Sydney Theatre 75 26 286

Forum: Life, Death and Everything In Between Fresh Ink, in collaboration with Play Writing Australia (PWA), brought together a panel of leading theatre makers to discuss writing from autobiography and biography. The forum provided young playwrights the opportunity to hear from a range of voices from an emerging young artist through to internationally renowned theatre maker Shon Dale-Jones, Artistic Director of the UK’s Hoipolloi Theatre Company.

The forum was tied to atyp’s production of monologues, The One Sure Thing, which used the theme of ‘death’ as a departure point. The artists involved in the forum had all staged autobiographical work dealing with their personal experience of death.

Speakers Facilitator Date Venue Audience

Jane Bodie, Shon Dale-Jones, Rita Kalnegais, Phil Spencer, Chris Meade 2 December atyp Studio 1 31

Silent Disco Workshops In partnership with the touring production of Silent Disco atyp facilitated play writing workshops with author Lachlan Philpott. The workshops gave young writers the opportunity to see the play and then delve into the author’s creative process.

Facilitator Venues No. Workshops No. Participants No. Attendances

Lachlan Philpott The Butterfactory Theatre, Albury & The Melbourne Arts Centre 2 21 21

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atyp recognises that developing a national impact for company activities must involve refining and developing a meaningful connection with schools. The majority of the company’s key stakeholders are engaged in the education system around Australia. Since 2008 atyp has been testing and refining programs that provide inspiration and resources to teachers and students.

In School Residencies atyp’s Education program tailors creative solutions for teachers. The company delivers artistic residencies for schools both locally and nationally. The residency program gives primary and secondary school teachers the opportunity to work in collaboration with professional theatre practitioners to realise curriculum goals while they further their own artistic expertise. In doing so the programs further young people’s understanding of the performing arts and provide an opportunity for them to realise their own creative ideas.

In 2011 atyp delivered residencies with:

• •

Katherine High School and St Joseph’s Christian school,

• • •

Mowbray Public School

Epenarra, Alekerang, Canteen Creek schools and Tennant Creek Primary School THINK Global international school Cobar Public School, Nyngan Public School, Warren Central School

atyp is refining models for delivering affective, affordable opportunities for remote and disadvantaged schools to be able to access outstanding arts practitioners.

No. Tutors No. Workshops No. Participants No. Attendances No. Schools

10 179 3,370 3,370 11

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Indigenous Middle Years Program atyp’s ground-breaking mentoring program that was initiated in 2010 to support young people from indigenous backgrounds making the transition from primary to secondary school continued to grow in 2011. The program involves workshops and residencies that use theatre and performance to build confidence, self-esteem and peer networks. In 2011 the program extended to include a one-week residency at the Sydney Opera House for year nine students. This initiative is delivered in partnership with Arts NSW and the NSW Department of Education and Training.

Tutors Venues No. Workshops No. Participants No. Attendances Schools

Audience

Curtis Fernandez, Josh Barnes, Laura Turner, Rachael Coopes, Martha Goddard Sydney Secondary College – Leichhardt Campus, Sydney Opera House, Youth Works Port Hacking, atyp Studio 1 & 2 15 28 65 Leichhardt Primary School, Annandale North Primary School, La Perouse Primary School, Plunkett Street Public School, Sydney Secondary College Leichhardt & Balmain Campus, Ultimo Public School, Haberfield Public School, Stanmore Public School, Glebe Public School, Clemton Park Public School, Rozelle Public School, Newtown High School of Performing Arts 70 (approximately)

Workshops at Schools

“I come to atyp for resources and, as you proved again with the Artaud workshop, you provide us with access to highly skilled practitioners.”

In addition to the residency program atyp delivers a range of one-off workshops tailored to specific curriculum needs throughout Sydney. These workshops are only limited by teacher’s interest and cover topics including Theatre of Cruelty, Le Coq, play building, commedia del arte, basel mask, play writing, devising performance and thematic topics such as ‘identity’.

No. Tutors No. Workshops No. Participants No. Attendances No. Schools

12 41 1,094 1,094 16

Education Workshops at atyp

Schools from around the state, and indeed around the world, seek out opportunities to participate in workshops with atyp while they are in Sydney. This dynamic program includes learning opportunities that further the experience of attending atyp productions as well as the company’s signature workshops tailored to teachers’ needs.

No. Tutors No. Workshops No. Participants No. Attendances No. Schools

12 37 671 671 32

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“Yes [atyp staff are] fabulous – friendly – patient – good advice/ information. Thank you” Kerrie Walters, Dubbo College Senior Campus

Partnership Workshops atyp is recognised as a national leader in delivering theatrical experiences for young people that marry professional performance practice, a child-centred youth theatre philosophy and quality educational outcomes. As a result the company is approached to work in partnership with leading Arts institutions and community events. In 2011 the company delivered education workshops in partnership with the Sydney Opera House.

No. Tutors No. Workshops No. Participants No. Attendances No. Schools

2 5 93 93 4

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ABCN Workshops

Holiday Workshops atyp runs one of the largest school holiday workshop programs in the southern hemisphere. Each year the company provides an extraordinary array of opportunities for children and teenagers to work with professional artists in an intensive week of creative development. The programs are structured to support participants, whatever their background and level of experience, to work together to devise their own story or performance concept. Most importantly the holiday program builds the self-confidence, teamwork and sense of belonging of participants.

No. Facilitators No. Assistants No. Workshops No. Participants No. Attendances No. Scholarships

Each year atyp facilitates workshops for the Australian Business and Community Network (ABCN). ABCN works with executives of leading companies involving them in a range of community development programs. Drama workshops are used to develop trust and report between executives and young people from disadvantaged schools.

Facilitators Dates Workshops Participants Scholarships

Chris Tomkinson, Alex Walker, Sophie Kelly, Curtis Fernandez, Amy Hardingham July – October 29 870 44

81 36 341 1,057 4,473 55

The Ensembles Weekly Classes The ensembles offer young people an opportunity to come to The Wharf on a weekly basis to develop performance ideas and extend their creative horizons in partnership with professional theatre practitioners. At the same time the Ensembles enable daily interaction between young participants and the administrative team running the company, ensuring that the company remains child-centered and collaborative in philosophy and practice. The ensembles are a key ingredient to the sense of community that atyp is famous for.

No. Facilitators No. Workshops No. Participants No. Attendances No. Scholarships Audience

26 68 313 6,245 11 774

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