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David Lloyd, Capital theatre manager My father used to do the lighting for various shows and the first show that really stuck in my head was the musical South Pacific. I probably would have been eight. I have always loved theatre, but I never wanted to be on stage as such. I avoided it like the plague. I couldn’t give the speech at my wedding, that’s how terrified I was of public speaking at that point in my life. Seating is a big thing in a theatre. It is that whole thing about getting as many seats as you can into the space while making sure everyone is as comfortable as possible and everyone can see. Sightlines are very important. The best seats in the house are L11 and 12. I have never sat in them because they always get taken up by our subscribers and are gone in a flash. But I always like to sit up the back because I can see everything including how the audience is responding. My own preference is for something with energy, something that’s new. I must admit I am not a big fan of many of the dead artists. I am not a huge Shakespeare fan, I am not a huge classical fan. I appreciate both those things but they are not something I am immediately drawn to. I am looking for contemporary stories or contemporary dance. Some of the most amazing pieces I have seen in recent years have been by Australian writers telling Australian stories with a real Australian vernacular. One thing I would say about sitting in a theatre is the duller the show is the more uncomfortable your seat gets. There was a David Hare piece about these women meeting on this island and reconciling. This woman kept on going to get on this ferry and leave the island and by the third time I was mentally screaming: Just get on that ferry and be gone. It went for two and a half hours and was just horrid and plodding. Worse, it was something I put on. That’s one of the real challenges for us. I am looking at 2013 now and a lot of the stuff I am picking I don’t necessarily know what the end product is going to be. I might know the writer, I might know the director, I know the producer, sometimes you might know the actors, but all those things have to come together to make a great piece of theatre. You can’t just go and hire it like a DVD off the shelf. There is a whole lot of making that has to go on and sometimes it just doesn’t work. Even if you have all the right ingredients – it just doesn’t come together. ■

issue 25 - bendigo magazine | 69

BgoMag Issue 25  
BgoMag Issue 25  

Bendigo Magazine Issue 25 - Summer 2011