ATYP 2018 Year in Review

MORE THAN 20—18 REASON —S to celebrate the year that was 20—18

Actor, Sharleen Ndlovu, Dignity of Risk, ATYP and Shopfront Arts Co—Production, 2017. Tracey Schramm

2018 Reach

Our reach each year

1,427 scripts sold

$310,000+ invested in playwrights and commissions

533 teachers directly engaged by ATYP Learning

$40,000+ raised for scholarships

174 new and existing donors

27,000+ workshop attendances

165 participants in partner charity organisations

20,000+ people view an ATYP production online

151 workshop facilitators hired

20,000+ downloads of an ATYP online resource

92 scholarship places awarded 43 playwrights supported 28 free online educational resources created

20 young playwright participants from every state and territory at ATYP National Studio ATYP Legacy 18 Q&A's hosted and streamed online 15+ performance venues used

$1.2 million+ invested in wages for Australian artists each year

9 playwrights under commission

344 productions since 1964

3 touring productions

55 years in existence 51 staged commissions since 1964 14 productions livestreamed since 2013

THANK YOU

FOR SUPPORT —ING ATYP IN 20—18 Actor, Edward McKenna, A Town Named War Boy, 2018. Tracey Schramm

It was a year that marked a significant milestone in the company's history. After 22 years housed in the rugged but beautiful Wharf

In addition to the productions, we launched ATYP On Demand, a revolutionary new platform that enables teachers and students

and Shore—sheds at Pier 4/5 in Walsh Bay we packed our things, cleared the spaces, put our theatre equipment into storage and moved out. It was the year the company began an exciting journey to a new life as part of the Walsh Bay Arts Precinct. While our staff moved to a temporary new home in the city, our productions and workshops moved into venues all over the city.

from schools anywhere in Australia, to watch productions, download learning resources and participate in discussions for free.

In 2018 ATYP’s performance program was truly national. The critically—acclaimed historical drama A Town Named War Boy toured the country in partnership with Performing Lines. The international collaboration Patrice Balbina’s Chance Encounter with the End of the World was brought back to perform at the Commonwealth Games Cultural Festival on the Gold Coast before a run in Sydney. Our co—production with Bathurst Memorial Arts Centre, The Climbing Tree, opened to acclaim at the NSW Regional Arts Conference in Bathurst

—Fraser Corfield, ATYP Artistic Director

before also touring to Sydney.

The scripts of our collection of short plays by emerging playwrights, Intersection 2018: Chrysalis, were bought by schools all over Australia, requiring a second print run.

We continued to deliver Australia’s largest development program supporting emerging playwrights, while our workshops engaged thousands of young people across Sydney.

There was much to celebrate in 2018. Because of you, our committed supporters, we are poised to do extraordinary things again this year. On behalf of all of us at ATYP, thank you for making it possible.

fraser

ATYP IS—

BUILDING THE NEXT GENERATION OF ARTISTS Actor, Caitlin Burley, Oedipus Doesn't Live Here Anymore, 2017. Tracey Schramm

Last year ATYP’s Artistic Director, Fraser Corfield, contacted me to see if I was interested in being an assistant mentor for Artology’s 2018

My favourite part about working on ATYP productions would have to be the opportunity to create different worlds with different creative

‘ATYP Mentorship Scholarship in Sound Design’ recipient. It’s hard to believe that I was a mentee myself only three years before!

and production teams. The Composer— Director aspect of collaboration has been a major part of my career development. Each director works differently and this encourages me to learn how to incorporate my instincts with their vision for their project. It can be a very challenging but necessary and enriching lesson to learn as a composer, where we often get stuck in our own vision about how we think the music should sound. Through my experiences at ATYP, I have been fortunate to be on the receiving end of the enthusiasm for creating opportunities for young people to develop skills in their craft. I’m glad to be able to say that ATYP has played an essential role in my professional development as a composer/sound designer. The ongoing support of my work is something for which I will always be grateful.

ATYP has been integral to my career development to date. My involvement began a few years ago with my mentorship and now I am a regular composer/sound designer for ATYP productions.

My time as a mentee was my very first experience in the theatre world. Guided by Sound Designers, Steve Francis and Katelyn Commerford, and Director Robert Jago, I worked on the composition/sound design for Fight with All Your Might the Zombies of Tonight (2016). This opportunity taught me invaluable lessons about the composition process and working with a director and creative team, and sparked a passion for theatre composition/ sound design. It also introduced me to the ATYP family —a generous, supportive and creative group of talented people who welcomed me as part of the team and continue to teach me so much. Since then, I have worked on Oedipus Doesn’t Live Here Anymore (2017), Impending Everyone (2018) and Intersection 20—19: Arrival (2019).

"I’m glad to be able to say that ATYP was my first stop in the theatre world and that it has played a major role in my professional development as a composer and sound designer."

—Chrysoulla Markoulli, Composer and Sound Designer

Chrysoulla

ATYP IS—

HELPING YOUNG PEOPLE EXPRESS THEMSELVES Cast of The Climbing Tree, L—R, Jayla—Shae Davey, Jack Walton, Madelaine Osborn, Janda Nichols, 2018. Phil Blatch

One of the best things about working for ATYP is seeing the joy and wonder that comes from young people engaged and excited by theatre;

so enamoured by the show that she wanted to get the autograph of the actress playing the character Iota (a young person about her age)

and for our final production in 2018 we got to see just that — on a huge scale. Our Learning team coordinated a mammoth day at the SBW Stables Theatre during the season of Charlie Pilgrim (or A Beginner's Guide to Time Travel)

by ATYP Foundation Commission recipient Sam O’Sullivan. There were 80 students in the theatre and almost 1,000 students from across Australia tuned in to our Live Stream.

who happily obliged and sent a personal note to Rosie with a program.

Thirty of those students in the theatre were from Wilmot Primary School, a school in Greater Western Sydney that had been participating in our series of KidsXpress Drama workshops, generously supported by the Matana Foundation for Young People.

KidsXpress is a brilliant organisation that uses creative modalities to have a therapeutic effect on young people who are dealing with trauma. With the support from the Matana Foundation, ATYP was able to collaborate with KidsXpress therapists to provide drama workshops to empower these young people.

One of those students was Rosie (not her real name), a very shy young person, who has low levels of literacy and gets anxious in unfamiliar situations. Over the four weeks of in—school workshops before the day in the theatre, ATYP tutor Danielle O’Keefe and Learning Coordinator Rowan Bate struggled to get her to even say her name out loud to the group, the class she's in every day. When the class was filling in evaluation forms she hid in a cupboard and Danielle extracted what answers she could through the tightly-shut door. But when Rosie entered the theatre foyer, she was bubbly and full of questions - "Is this the stage? Will there be children on that stage? What's through that door?" She continued to ask her teachers questions well after the performance. She was

"Rosie left the theatre that day having a better idea of what theatre is, which helped open her eyes to a world she never knew existed."

—Rowan Bate, Learning Co—ordinator It was a special day. After being disengaged from school through the shame and anxiety of not keeping up with her peers, she was introduced to a classroom situation where drama and expression beyond pen and paper are the focus and then discovered an entertaining experience in a new part of the world — the theatre. Together, these elements pushed Rosie out of her comfort zone and ultimately out of her shell with a really positive outcome!

We are so thankful for our supporters, like the Matana Foundation for Young People, who enable us to bring these enriching and empowering experiences to young people.

Rowan

ATYP—

WHAT IT'S DONE FOR ME Cast of Charlie Pilgrim (or A Beginner's Guide to Time Travel) L—R Maliyan Blair, Noah Sturzaker, Eva Sutherland, Tobias Purcell, Carmen Rolfe, Aria Ferris. Tracey Schramm

When I was first introduced to ATYP, in no way did I expect to be as involved with the company as I am today. I had initially found out about

Quite frankly, these opportunities have changed my life and I feel I have discovered things about myself that I would never have given the

ATYP after it was recommended that I should go see some theatre — with ATYP being one of the companies mentioned. At the time (February 2018), Intersection 2018: Chrysalis was showing at the SBW Stables Theatre, and so taking the advice, I hopped on the train the next day to see it. It was such a memorable first experience of watching theatre that I can’t help but think it was ATYP that really inspired me and made me eager to perform.

slightest thought about before. For example, I would never have known the joy I get from mentoring kids if I hadn’t had the opportunity to be an assistant teacher. And that alone, gave me the awesome privilege of teaching and witnessing first-hand the creativity and imagination of kids who are so passionate about storytelling. These great experiences happened, all because ATYP gave me a chance.

So, what a crazy year 2018 was for me.

I eventually did a course for adults with ATYP in mid—2018. I remember feeling so welcome and surrounded by so many like—minded people it made me want to become more involved with the company in some way.

Evidently I did, as I now work regularly as an assistant tutor (which, by the way, has been one of the best jobs I’ve ever had) and even gone as far as becoming the assistant stage manager (ASM) for Charlie Pilgrim (or A Beginner’s Guide to Time Travel). On top of that, I was cast

When I found out that there was going to be a Christmas Fundraising Appeal, I felt it was only right to pay it forward by donating. ATYP has been incredible to me, so why not help out in giving others the same opportunity to learn, grow and discover more about themselves in what they are most passionate about - because I want nothing more than for people to chase their dreams, and I think being part of this company definitely helps in catching them.

in the 2019 production Intersection 2019: Arrival (which, as you can imagine, was a full—circle moment for me).

"…I want nothing more than for people to chase their dreams, and I think being part of this company definitely helps in catching them."

—Marvin Adler, Actor, assistant tutor and ASM

Marvin

ATYP IS— STARTING THE CONVERSATI —ON Margaret Kirby is a Board Director (Social Welfare and The Arts) of the James N Kirby Foundation, one of our key production partners for Follow Me Home. This play will be presented in 2019 thanks to the support given by the James N Kirby Foundation. Partnering with

Has the Charter of the Foundation evolved over time?

MK My great—grandfather set up the foundation, at a time when Australians were not very philanthropically minded. He used the foundation to plough something back to

the Advocate for Children and Young People (ACYP), Follow Me Home illuminates the issue of youth homelessness across the nation.

NSW and Australia, and wanted his family to be involved and learn how to be charitable and mindful of their privilege. Today, it is easy to be faithful to these motivations. The board has always been made up of four family members and four external members. Whilst our funding model has remained the same, the demand for support has increased significantly over the years. We are mostly concerned by how hard the money ‘works’, what is the life beyond the immediate grant? That informs a lot of our decisions.

Georgia Wilson, ATYP Development co-ordinator, sat down with Margaret to discuss the Foundation’s objectives, the nexus between the arts and social welfare and what success looks like in arts funding.

How does the Foundation juggle the ever— evolving interest areas of family members?

MK There are four priority areas that the Foundation accepts applications for: health; education and technology; environment; social

welfare and the arts. Each family member on the board has fallen in to each area through our personal passions. Dividing it up this way

through StreetSmart. I enjoyed the perspective — it was engaging for young audiences but also used young people to hold a mirror

means that each family Director becomes knowledgeable about each area. Eventually, our kids will take over these roles and we encourage them to be involved with the foundation as much as possible so that they understand how philanthropy works and know that this is something that they can be a part of.

up to adult audiences. Homelessness is so stigmatised, and when it comes from the perspective of a young person, people engage better with the content.

Do you think it’s important for Foundations and Philanthropists to give money "on the record?"

MK Yes and no! Our family is much more comfortable flying under the radar but the business leader in me says that leaders in philanthropy bring awareness to issues.

But by the same token, you have to feed that beast. For example, marketing and publicity of the foundation can see less funds are being spent on the grants. My grandfather made headlines when he first launched the Foundation in 1967 because it was so rare to do so. He set it up with the equivalent of $25

How will you judge this project to be a success?

MK I want many young people to see this production, so knowing that ATYP is best placed to engage schools, and that the production will be livestreamed to audiences across Australia, is fabulous. Ultimately, if this sparks conversations within school communities and young people, that is a success to me. I also really hope that adults see that there are a variety of reasons or situations as to why a young person may be driven to homelessness. It isn’t necessarily about addiction or being "naughty". We can all provide help or take action to stop youth homelessness and I am looking forward to seeing Follow Me Home staged.

million of his sons’ inheritance and they both supported the decision. It encouraged others to do the same with their fortunes, it was a brilliant leadership decision.

The James N Kirby Foundation is a production partner of our youth homelessness project, Follow Me Home.

What drew the Foundation to fund this particular project?

MK The Arts is woefully underfunded across the board and I believe it needs to be supported. ATYP had been successful with smaller grants from us in the past, so we knew your organisation well. We were invited to the showcase and it really impressed me. I also do a lot of work on raising the awareness of homelessness outside of the Foundation

—Georgia Wilson, ATYP Development Co—ordinator

ATYP IS—

INVESTING IN THE AUST— RALIAN ARTS Attendees of the National Studio at Bundanon Trust, 2018. Violette Ayad

Imogen Gardam is a theatre producer. She works for Bell Shakespeare as Artistic Administrator and within the Australian

It has made me a little more hopeful.

Generosity is a resource that is available outside funding bodies, programming cycles, venue

independent theatre/performing arts sector as co—founder and producer of Montague Basement, where she has produced all fifteen of their productions. Imogen was the Rose Byrne Scholarship for Emerging Female Leader in the Arts’ recipient for 2018.

submissions. It has been easy to lose sight of it because it’s less tangible than those, but it is a framework for producing that puts people back at the centre of the equation — a non—finite wealth that alleviates the resource squeeze a little.

Thanks to Rose Byrne, I have spent the last year investigating how producing functions in different industries and cities. I wanted to see what I could learn about producing by talking to people doing it in cities, contexts and languages completely different to my own. And how I could use that to make my own work as a producer more sustainable.

"This scholarship is an incredible statement of belief in a new generation of female artists and art leaders. It has been a game changer for me..." —Imogen Gardam, Producer

One of the biggest lessons for me from this process has been generosity. I have been struck, throughout the last year, by the generosity of my industry. This generosity comes into even sharper focus in the context of an ever more competitive arts climate.

Competition for funding, for resources, for space, for audiences. It can feel like your peers are your competitors. And more often than not they are. In the strictest sense of venues and funding, there is a finite amount and I often feel that we are fighting over crumbs.

But this scholarship has taught me that where those resources are limited, the experience, wisdom and insight of my peers are just as valuable, and by virtue of their generosity they are abundant. I have had an incredible response rate to cold contacting some very powerful, experienced and important people. I have had the opportunity to sit down with the producers that I looked up to and admired from afar and pick their brains.

...and I will continue to reap its benefits and pursue its opportunities for a long time to come. Rose has set an example that I can only hope to live up to. This scholarship has been an invaluable exercise in igniting my mind and in opening up the way I think about what I want to do and how it is already being done — and how it could be done in a new way.

Imogen

PHILAN— THROPY AT ATYP As a not—for—profit organisation, ATYP relies on the generosity of our donors to continue doing the work that we do. Our engaging drama and writing workshops, yearly production seasons and a youth advisory panel benefit thousands of young people aged 4—26 each year. We rely on you, our generous community of supporters to contribute to this.

If you are interested to learn more about our programs please contact— Stephen Attfield Development Manager stephen@atyp.com.au We can't do what we do without you!

20—18 Donor—s Producers' Circle Antoinette 'Popsy' Albert Robert Albert AO RFD RD & Libby Albert Martin Dickson AM & Susie Dickson Nancy Fox & Bruce Arnold Alexandra Holcomb & Andrew Bird Tim Kennedy Rebel Penfold—Russell OAM Guardians ($50,000+) Susan Maple—Brown AM Graeme Wood AM

Guardians ($10,000+) Rose Byrne Robert Rich Rebel Wilson Superstars ($5,000—$9,999) Antoinette ‘Popsy’ Albert Robert Albert AO RFD RD & Libby Albert Ruth Armytage AM Rebel Penfold—Russell Kendra Reid Jane Westbrook & Mark Ramsden Anonymous Champions ($1,000—$4,999) Dr Ron Bauman Angela Bowne SC Andrew Buchanan John & Libby Fairfax Nancy Fox & Bruce Arnold Stephen Hawkins Nick Jaffer Carina Martin David Nguyen Graham O’Neill Greeba Pritchard Chris Puplick Mark & Jacqueline Warburton Allies ($500—$999) Todd Abbott Jo Bradley Carolyn Burns

Andrew Deane & James Buck Jr. Sandra Johnson Nina Kilpinen

Adèle Jeffreys Memorial Fund Elise Barton Peter Best

Meg Meldrum Derek Minett Olev Rahn Damian Sturzaker Nicole Webb Yim Family Foundation

Ross Bowman Michelle Boyle Ian Brown Donnie & Karene Buchanan Andrew Deane & Jimmy Buck Jr. Heather Campbell Emma Campbell Melissa Fleming Peter Giles Francesca Hendricks Lena Holohan Emily Hunt Glen Jeffreys Michaela Kalowski Anna Kerrigan Karen Lear Bonnie Leigh-Dodds Vanda Lima Steve Martin Juz McGuire Susan & Peter Millet Gill Pearce

Buddies ($100 — $499) Marvin Adler Alison Baly Peter Best Ali Brosnan Robert Brookman & Verity Laughton Simon Burchett Angus Burns Fernandez Family Melissa Fleming Andrew Hooton Victoria Hope Beverley Johnson David Jonas Peter Kirby Ken Lee Therese McCarthy Hockey Millie Millar Susan Millet Karen Morpeth Lynda Purchase Rupert Reid Annie Ross Ingrid Selene Michiko Shibagaki Claudene Shoesmith Helen Slarke William Vo Aleksandr Voninski Georgia Wilson Andrea Wilson

Benjamin Porteous Linda Scott Judith Seeff Phil Spiteri Lisa Sullivan Richard Sullivan John Walsh

The A—TYP Team

Board of Director—s

Artistic Director Fraser Corfield

Simon Burke Fraser Corfield

General Manager Amy Maiden until August Amanda Wright from November Finance Manager Emma Murphy until June Steve Davidson from June Development Manager Andrew Deane until December Stephen Attfield from December Marketing Manager Kar Chalmers Associate Director Robert Jago Finance and Operations Co—ordinator Francesca Hendricks until April Chrissy Riley from May Development Co—ordinator Georgia Wilson Learning and Marketing Co—ordinator Ruby Conolan Barrett Learning Co—ordinator Rowan Bate

Sean Denney Monique Farmer (until April) Nancy Fox (until August) Tasnim Hossain (from April) Nick Jaffer Nina Kilpinen Janine Lapworth Sophie Lieberman (until February) John Penton (until April) Chris Puplick AM (from February) Mark Warburton (Chair) Simon Webb

Art Director Justin Stambouliah Workshops Co—ordinator Claudene Shoesmith Resident Technologist Daniel Andrews Resident Dramaturg Jane FitzGerald Archivist Judith Seeff

Government

Trusts and Foundation—s

Associate and Producing Partner—s

Sponsor—s

20—18 Made possible by philanthropy

Actor, Anika Bhatia, Intersection 2018: Chrysalis, 2018. Tracey Schramm