31 AUGUST 2020

               

 

 

Update from Playwriting Australia and Australian Plays

We are on track for a new national organisation to be operational in early 2021.

This follows the central recommendation of the independent REĂ Review – ‘that a new entity is formed incorporating agreed key functions of both Playwriting Australia and Australian Plays’.

 

Has the due diligence process been completed?

We have completed the essential due diligence phase and have reached a comprehensive understanding of each other’s organisation – our constitutions, governance, operations, resources, and cultures. This has allowed us to commence the practical, legal tasks associated with bringing the new organisation into being.

 

Do we know what the new entity looks like?

We have begun some high-level strategy work, drawing on the recommendations of the REA Review and on further conversations with playwrights and theatres.

Very soon, we will begin the work of attracting a new Board, again based on the REA Review recommendations. Confirmation of the staffing and operational model, including recruitment for the new role of Executive Producer will follow soon after.

Over the next few weeks, will we will take soundings on all these things from the newly constituted National Advisory Panel.

 

What does the National Advisory Panel look like?

The establishment of a National Advisory Panel was a key recommendation of the REA Review:

Recommendation 10. That a diverse National Advisory Panel of six playwrights drawn from across the sector, four representatives from the major producing companies, and two representatives from the small to medium and independent sectors be formed to help guide the new organisations strategic focus.

A few months ago, we called for Expressions of Interest. We also directly sought out interest. The response was extraordinarily positive, so much so that we have expanded the Panel to 15 members. They are:

 

Elena Carapetis, playwright (SA).

Patricia Cornelius, playwright (VIC)

Isaac Drandic, director and dramaturg, Resident Dramaturg Queensland Theatre (QLD).

Eamon Flack, director and playwright, Artistic Director Belvoir (NSW).

Declan Greene, playwright and director, Artistic Director Griffin Theatre Company (NSW).

Jamila Main, playwright and actor, Co-Chair Equity Diversity Committee, 2020 Carclew Fellow (SA).

Nathan Maynard, playwright (TAS).

Eva Grace Mullaley, director, Artistic Director Yirra Yaakin Theatre Company (WA).

Rosemary Myers, director, Artistic Director Windmill Theatre Company (SA).

Maddie Nixon, playwright, Youth & Education Producer La Boite Theatre Company (QLD)

Mark Pritchard, dramaturg and director, New Work Manager Malthouse Theatre, and Co-founder Centre for Dramaturgy and Curation (VIC)

Paige Rattray, director, Associate Director Sydney Theatre Company (NSW).

S. Shakthidaran, playwright, Artistic Director Kurinji, Artistic Lead Co-Curious, and Artistic Associate Belvoir (NSW)

Annette Shun Wah, Executive Producer Contemporary Asian Australian Performance (CAAP), and Artistic Director OzAsia Festival (SA/NSW)

Alexis West, playwright and director, Resident Writer/Director State Theatre Company of South Australia (SA).

This Panel will meet four times a year, with positions cycling off every two years.

 

Is this new entity funded?

To an extent. Both Australian Plays and Playwriting Australia – along with almost 50 other organisations – will be in receipt of COVID-19-related ‘transition funding’ from the Australia Council for the Arts for 2021. For all organisations in this category, this will be approximately 70% of current funding. The Australia Council intends these funds be directed towards the new organisation.

It’s also worth remembering that PWA has also been Catalyst-funded at $200,000 a year since 2017, ending this year. This has been directed entirely to the huge Ignition commissioning program and its iterations, with all funds going directly to playwrights and their collaborators. This disappears in 2021. So, all up, the new organisation will be operating in 2021 at around 50% of the current combined funding of Playwriting Australia and Australian Plays. So… stretched.

We are currently in encouraging talks with some state governments, and with donors.

It remains clear that this new organisation can only survive beyond 2021 if the Australia Council, along with state governments, makes a strategic investment response to this clear sector need. It’s a need acutely felt by both playwrights and the theatre companies that amplify their voices. It would be a purposeful and future-focused investment that, much more than most, would go directly to artists and also allow for a powerful leveraging into hefty further investment from producing companies, private sources and licensing.

It’s clear, present and unobstructed bang for buck.

 

So, remind us again, why is this new organisation important?

 

All our old stories are crumbling and no new story has so far emerged to replace them.

(Yuval Noah Harari, 21 Lessons for the 21st Century, 2018)

 

The world is in flux. It is moving from west to east, from north to south, from men to women and other genders, from white privilege to the just inclusion of Black communities and people of colour, from people without disability to people experiencing disability. And more. For some, we are in an Age of Bewilderment. For others, we are in an Age of Reckoning.

These shifts, which we believe to be inevitable and positive, are in conspicuous acceleration. The COVID-19 pandemic has exposed and widened old cracks and made new ones.

Theatre and the stories it voices have always played an important part in articulating and shaping change for good. We wish to be a principal instrument of transformation.

 

The Digital

One effect of the pandemic has been to fast-track, through necessity, the world’s use of digital tools. In arts and culture everywhere, we have seen artists, arts companies and venues experimenting. Out of this enforced innovation, good ideas have emerged. The good ideas, still being revealed, require development. We will harness these ideas to nourish playwriting practices, expanding conceptions of ‘stages’ and audiences.

The Climate

Soon, emboldened by a new trust in science, we will return with new urgency to the climate and ecological emergency. Around the world, before the pandemic, artists and organisations were already engaged. One of the world’s largest theatre companies, the National Theatre in London, has declared a climate emergency with a plan to be carbon neutral across all levels of operation, including how productions are developed, made and toured. Interestingly, this includes how plays are commissioned: “as part of our mission to tell resonant stories and to galvanise positive change, climate and ecological concerns will be reflected prominently in our programme”. Very similar trends are obvious around the world, including in Australia.

We wish to be at the forefront in developing ideas and practices around the growing field of Green Dramaturgy, at the moment largely absent in Australia, and drawing attention to how the playwright can and should be a critical part of the conversation.

 

Australia’s Place

Australia is well placed to lead on these seismic trends. We sit both east and south, with a unique cultural bridge to west and north. Our First Nations peoples are custodians of the world’s oldest continuing culture. Our climate and ecological situation is tellingly accentuated.

The world looks to Australia to help change the story, and even to make a new one. There is a global responsibility.

Australian actors and Australian directors have huge currency in international theatre culture. Most of these actors and all of the directors have emerged from the Australian theatre. Australian playwrights, charged by the new need for new stories, are next in line.

We wish to change the view.

 

What’s Certain

The Australian theatre faces a deeply uncertain few years. But these things are clear:

 

For the first time, a national body will travel with playwrights through the entire life cycle of a work – from the earliest moment of genesis, to development, to pathways to production, to publication, licensing and out into the world.

 

“The power of storytelling is exactly this: to bridge the gaps where everything else has crumbled.”

(Paulo Coelho)

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28 APRIL 2020

               

 

The Boards of Australian Plays and Playwriting Australia are seeking expressions of interest from playwrights and company representatives from across the country to be part of the inaugural National Advisory Panel for the planned new national entity servicing Australian playwriting.

In our joint update from the 31 March 2020, Australian Plays and Playwriting Australia shared that we are working to implement one of the key recommendations from the REA Review ahead of the establishment of the new entity.

Recommendation 10 of the REA Review stated:

That a diverse National Advisory Panel of six playwrights drawn from across the sector, four representatives from the major producing companies, and two representatives from the small to medium and independent sectors be formed to help guide the new organisation’s strategic focus.

This voluntary panel will work with Playwriting Australia and Australian Plays to help forge the strategic direction and culture of the new entity. Eventually, the Panel will work with the new entity to help set longer term agendas. The Panel is an advisory body, not a decision-making authority.

It is expected that the Panel will meet four times a year, with positions cycling off every two years in a staggered fashion. We would suggest that companies would fund the attendance of their own members, and playwrights would be afforded assistance as required to attend meetings in person (when we can do that!).

There is some room for flexibility in terms of the final balance of company representatives from small to medium and major producing companies. The participation and inclusion of First Nations people is a key consideration, as is cultural, gender and geographical diversity. The aim is to find a group that is clearly representative, purposefully provoking, and passionate about Australian playwriting.

Members of this first iteration of the Panel will be selected by the joint Australian Plays and Playwriting Australia Boards. The Boards will retain the right to invite people to join the board to ensure that our commitment to diverse voices is fulfilled.  If the new entity is successfully formed, future appointments will be made by the Board of the new entity. 

If you would like to contribute, please put your hand up. Expressions of Interest are due by 9am Australian Eastern Standard Time, Monday 11 May 2020. It’s hoped that a Panel will be in place by 1 July 2020. If you have any questions please email either organisation.

Australian Plays at: admin@australianplays.org

Playwriting Australia at: info@pwa.org.au

Submit your EOI here by 9am Monday 11 May 2020.

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31 MARCH 2020

 

UPDATE FROM PLAYWRITING AUSTRALIA AND AUSTRALIAN PLAYS

Since the release of the REA Review, Australian Plays and Playwriting Australia have been in regular conversation and broader consultation about next steps.

Both organisations wholeheartedly believe that the central recommendation of the Review – ‘that a new entity is formed incorporating agreed key functions of both Playwriting Australia and Australian Plays – represents the best possible future.

We are aiming to combine the best of our two homes and to add something new, too. This new home for Australian plays will, we hope, and for the first time, walk side-by-side with playwrights throughout the life cycle of their plays. From the earliest discovery, through to development and towards production, then onto publication, promotion and licensing. Advocacy will be stronger, as will our relationships with the producing companies, and the education and community sectors. We hope to increase our national scope even further. Strength will come from critical mass.

 

What are we doing right now? Essentially, we’re in the due diligence phase. This means that we are reaching a very detailed understanding of each other’s organisation – our constitutions, governance, operations, resources, right down to how to how much money we spend on internet providers. It’s necessary, first-steps work. This is so that we can enter a marriage with eyes wide open.

We have discovered that, despite our very different histories and ways of operating, we have a great deal in common, perhaps even more than was first obvious. That’s buoyed us.

We’ve also been taking more soundings, connecting with playwrights and key sector organisations. We recently had a very constructive meeting with the Playwrights Committee of the Australian Writers' Guild. This is all ongoing work, making sure that we establish the best possible foundations. 

 

Do we know what the new entity looks like? Not yet. We don’t yet have a Board, or any staff, or a strategic plan, or anything like that. But we are looking closely at the REA Review recommendations that make suggestions about these things and starting to test them. This is our next slice of work – work that will need to be both assiduous and speedy – and work that will be done in close consultation with many. 

Part of that consultation will be the establishment of a diverse National Advisory Panel. This was a key recommendation of the Review:

 

Recommendation 10. That a diverse National Advisory Panel of six playwrights drawn from across the sector, four representatives from the major producing companies, and two representatives from the small to medium and independent sectors be formed to help guide the new organisations strategic focus.

 

If we get this new entity up, this voluntary panel will eventually work closely with the new board and staff to help set longer term agendas. The REA Review recommends that it meet four times a year, with positions cycling off every two years in a staggered fashion. Companies would fund the attendance of their own members, and playwrights would be afforded assistance as required to attend meetings in person (when we can do that!).   

We thought it’d be really useful to form that panel now, rather than wait, to help the Australian Plays and Playwriting Australia teams to best shape the foundations of the new entity. The Panel should clearly embrace cultural, gender and geographical diversity. That’s really important. In helping us to select this panel, we welcome expressions of interest. If you feel you can contribute, then put your hand up. Details out soon…

 

Is this new entity funded? No. Both Playwriting Australia and Australian Plays are now in their final year of their four-year funding, and so both will deliver their 2020 programs. However, neither have Australia Council grants going into 2021, and the new entity (which doesn’t yet exist) doesn’t either. It’s clear to us that this new entity can only be born if the Australia Council makes a strategic response to a clearly dire situation for playwrights and for the theatre companies that amplify their voices.

So the stakes are high. We want to assure you that we have made very strong representations to the decision-makers, through all kinds of channels, and have also appreciated those who have advocated powerfully on behalf of this bold idea. Want to write a letter? Go for it. The simple fact is that the idea will not be realised without significant federal investment. 

 

How has COVID-19 changed things? The production licensing part of Australian Plays has taken a hit of course. Producers in the professional, education and community sectors are developing digital solutions to the postponement or cancellation of live performances. The Australian Plays team is busy providing guidance and advice whilst maintaining an eagle eye on the rights and income of playwrights.

But Playwriting Australia is not reliant on box office, and so is very keen to roll out its COVID-revised 2020 program very soon, especially since most of our funds go directly into freelance artists' pockets.

Thinking ahead to a post-virus world, we can only imagine that theatre companies – those that survive – will be focused on getting productions in front of audiences again and will have a reduced capacity for play development. Quite probably, they will also have less appetite for ‘risky’ new work. We’re also acutely aware that there will be hard losses coming out of the upcoming Australia Council’s announcements of the next round of four-year funding. Our feeling is that in this diminished environment, this new national entity will be more in demand, and be more consequential, than it seemed even three months ago. Our national culture will crave the new stories and the new voices of these times - just when there are fewer organisations able to identify and nurture them. 

We have been so heartened by the wonderful support expressed by so many. Its clear that there is a common goal: the best possible environment for the nurturing and positioning of exceptional playwriting that reflects, refracts and refreshes the society in which we live.

 

We hand-on-heart promise to work diligently to make the most of this moment for the good of all.

 

- AUSTRALIAN PLAYS AND PLAYWRITING AUSTRALIA

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13 MARCH 2020

Australian Plays acknowledges the supportive and measured statement by the Australian Writers’ Guild to the REA Report A Consolidated Vision for Plays and Playwriting in Australia.

Since Australian Plays received news in August 2019 that our Expression of Interest for renewed, multi-year organisational funding from the Australia Council for the Arts was not successful, we have been in regular contact with the Australian Writers’ Guild. The Guild has expressed both support for our services and concern  about their possible loss or diminution. We believe that the best option for protecting these valuable services lies in the major recommendation of the REA Report, namely ‘that a new entity is formed incorporating agreed key functions of both Playwriting Australia and Australian Plays.’

Board and staff representatives of both Australian Plays and Playwriting Australia have commenced discussions about the optimal way of combining our strengths. It’s a complex process, given that the two organisations have different histories, functions and models of operation. However, both organisations have long supported Australian playwrights and playwriting in complementary ways and the goal towards which we are now working is clear and compelling: the proposed new entity represents an exceptional opportunity for playwrights to receive support across the full life-cycle of playscript development, production, publication, dissemination, licensing of further productions and promotion right across the professional, community and educational theatre sectors, nationally and internationally.

We know how vital it is to get the foundations right for this new entity. We understand the need to connect with playwrights and key sector organisations as part of the planning process. We very much welcome the constructive suggestion that Australian Writers’ Guild is able to offer an important channel for some of these ongoing conversations.

In the meantime, Australian Plays continues to offer its full range of services, and maintaining commitments to our small, highly experienced and dedicated staff. The Board of Australian Plays acknowledges, however, that we have no committed grant support beyond December 2020. We are therefore continuing to look at options for transitional funding in order to be able to trade through the period required for the new entity plans to come to fruition.

The stakes are high and the support of the theatre sector is vital. Australian Plays has important publishing and production agreements in place with hundreds of playwrights and producers. We promote and sell plays published by us and important publishing partners including Currency Press and Playlab – in 2019 we sold over 12,000 playscripts by over 700 playwrights.  We have multiple partnerships that help us to maintain and develop themed collections of plays and to promote new work at home and abroad.

We desperately want to continue this work that helps to sustain the careers and livelihoods of playwrights by bringing their playscripts to the widest possible audience. We look forward to fleshing out plans for the new entity in collaboration with Playwriting Australia and to engaging with the Australian Writers’ Guild and other stakeholders as these plans take shape.

 

Regards,


Paul Dwyer
Australian Plays' Chair 


Carin Mistry
Australian Plays' Executive Director 

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18 FEBRUARY 2020

Australian Plays and Playwriting Australia are to commence discussions on combining their resources and expertise. We hope to consolidate and build on our achievements to date and to develop new ways of providing key services to playwrights for the full-cycle of play development, publishing, advocacy, and promotion. We want to increase opportunities for the work of Australian playwrights to make an impact across all sectors encompassing education, community and professional contexts - nationally and internationally. Playwrights and their work are at the core of the vision of this new entity which will be underpinned by principles of partnership, diversity, openness and ambition. This decision was a key recommendation of the report commissioned by Playwriting Australia last year which is published today. That report and a media release from Playwriting Australia can be read here -  www.pwa.org.au.

We have faced some big funding challenges in recent months but we’ve been constantly buoyed by the unwavering support received from our community of playwrights, producers, educators and others. We’ve had some encouraging discussions with a range of new partners and we plan to continue those as part of the process of creating this new, consolidated entity with Playwriting Australia. We are excited to come together with them to create this new entity which, like everything we do will have the needs of Australian playwrights at its heart. As that work happens we will continue our core activities of publishing new plays, promoting and selling work by our publishing partners, licensing productions and developing new Collections. Despite the challenges we’ve faced over the last six months we’ve had a really successful year.

During January the six scripts featured in our Sydney Festival Collection were read over a thousand times. We’re about to launch a new partnership with the Atelier Theatre Company in New Delhi, India and we’re building our Nimrod Online Collection for launch this year. At this very important time please don’t forget to keep visiting our website, buy a play, read some of our great content, watch an interview and spread the word. 

Please do not hesitate to contact us if you have any questions.

Regards,


Paul Dwyer
Australian Plays' Chair 


Carin Mistry
Australian Plays' Executive Director 

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DECEMBER 2019 
 
It’s traditional in December to look back on the great things that have happened at Australian Plays over the year and 2019 is no exception. However, many of you will be aware that we are faced with some significant challenges in relation to the future funding of our small but highly efficient, mainly Hobart based organisation. Everyone at Australian Plays – board and staff – is working tirelessly behind the scenes exploring a range of options to help ensure that we not only survive but thrive well into the future. We know - and it has been underlined by the hundreds of messages of support that we have received - that our services play a vital part in the Australian theatre ecology and they are highly valued by our communities of playwrights, producers, teachers, educators, students and our partners. Many people have asked us whether they can make a donation to support us in 2020 and beyond and we’re delighted to launch the new donations page on our website.


 
The ambition and vision of Australian Plays burns bright and 2019 has been an amazing year in so many ways and we’re brewing up some exciting new projects and partnerships for 2020.

This year we launched two fantastic new online Collections:
 

 
We have published three Red Door plays alongside illuminating playwright interviews with our Literary Manager John Kachoyan which provide really interesting insights into the process of writing and the experience of being a playwright.
 

 
Each year we work with a number of very important partners that help us to extend the breadth and impact of our work. This year we welcome new partner the Atelier Theatre in New Delhi, India. We aim to be working with them over coming years to strengthen the links of new writing for performance between our respective countries. The first stage of this project will be dramatised readings of Australian plays as part of the Atelier Campus Theatre Festival in February 2020.
 
We are delighted to be working with the Sydney Festival again in 2020. For the month of January you can read six of the plays featured in the Festival's rich and extensive theatre program and view the great discussion we filmed recently between our Literary Manager and Festival Artistic Director Wesley Enoch.
 
We want to thank everyone -  the playwrights, producers, teachers, educators, partners, funders, readers, subscribers and lovers of Australian plays that have supported us in 2019. You have helped us to publish over 130 plays and counting, to sell thousands of plays, to forefront the voices and views of playwrights in our State of Play essay series and to promote work that truly reflects the diversity of Australian theatre in form, content and authorship. We are here to support Australian playwrights and their work, 24 hours a day, 365 days a year and we do that with enthusiasm and pride.
 
Best wishes for the holiday season and for 2020.

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NOVEMBER 2019

 

DRAMA AUSTRALIA’S STATEMENT: Defunding Australian Plays, Playwriting Australia and Ausdance National

 

OCTOBER 2019

A MESSAGE FROM THE AUSTRALIAN PLAYS BOARD


MEDIA RELEASE - 4 OCTOBER 2019
 
Our staff and board held an all day planning meeting on 14 September. Despite the fact that we are facing some real challenges, the level of commitment to and belief in the vital services we provide to Australian playwrights and their work has not faltered. We continue to receive incredibly heartening messages of thanks for the work we do.
 
We have to consider a range of scenarios for 2020 and beyond. These range from continuation of our current model (which would require significant new and confirmed resources/investment) to an orderly and well-considered wind-up of our operations. We have submitted an application to the Australia Council for the Arts for 2021 but this is for less than 50% of our current funding from them. We have commenced discussions with potential new partners and with philanthropists and foundations.
 
We were really delighted that Arts Tasmania confirmed funding for 2020. Support from Arts Tasmania is a vital part of the framework that supports our mainly Hobart based operations. Although we are firmly a national organisation we have always had a priority focus on Tasmania, partly because of our history and location but also that the skills of our team make a valuable contribution to the local theatre ecology. In fact, our Literary Manager is currently on the island working with Blue Cow Theatre and ATYP on their Future Proof project.
 
This is still a very uncertain time for Australian playwrights and their work. We look forward to further discussions with the Australia Council for the Arts once they have been able to consider the recommendations of the review commissioned by Playwriting Australia, being conducted by REĂ Consulting. The Australian Writers Guild (AWG) provided an alternative submission process for that consultation that had a question related to us. AWG told us this week ‘every comment about Australian Plays was favourable. Not one comment was negative. Your service is greatly valued’.
 
We know that playwrights are our greatest advocates, but in the messages of support and concern we have also been thinking about the impact we make on producers and directors. As Queensland Theatre's Artistic Director Sam Strong said on Twitter ‘the potential loss of this organisation would be a terrible blow to playwrights…publishing scripts is a vital part of a healthy new writing culture, extending the reach and lives of works and connecting a lonely artform to a community’. And Joanne Kee, Executive Producer of Riverside's National Theatre of Parramatta said recently to our board member, playwright Hilary Bell 'producers really depend on Australian Plays. I can’t imagine the chaos if everyone has to track down playwrights individually’.
 
The next three months will be critical for us. Please keep letting decision makers know how much Australian Plays is valued and needed. Keep visiting our website, buy a play, watch an interview or consider producing an Australian play.

 


Paul Dwyer
Australian Plays' Chair 

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You might want to consider sharing your concerns about maintaining support services for Australian playwriting with the CEO and Chair of the Australia Council for the Arts or with the Minister for the Arts.

Minister for Communications, Cyber Safety and the Arts - Hon Paul Fletcher MP Paul.Fletcher.MP@aph.gov.au

CEO, Australia Council for the Arts - Adrian Collette, AM:  a.collette@australiacouncil.gov.au

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MEDIA COVErAGE

Thank you to ABC Hobart, ABC Sydney, ABC Radio National, Arts Hub, Eureka Street, 7-ON, Daily Review and The Monthly for the following coverage: 

 

OCTOBER 2019 - THE MONTHLY

Alison Croggon’s important article on the state of Australia arts and culture - The desertification of Australian culture - looks at a range of urgent issues including the huge stresses on individual artists and the challenges that many small to medium arts organisations are facing -

‘Australian Plays, on the other hand, says it is now engaged in a battle for survival. AP was blindsided by its rejection for four-year Australia Council funding, and for good reason: it had done everything right to establish itself as an essential service organisation for playwrights, attracting thousands of readers, theatre-makers, producers and educators nationally and internationally.’ - Alison Croggon

 

7 SEPTEMBER 2019 - 7ON

An open letter from 7-ON PLAYWRIGHTS to Hon Paul Fletcher MP, Minister for Communications, Cyber Safety and the Arts and to Adrian Collette, CEO Australia Council for the Arts can be read here.

 

6 SEPTEMBER 2019 - Daily Review

Daily Review article by Joanna Murray-Smith: Australia Council's Demotion of Plays and Playwrights

'Australian Plays support the earnings of playwrights and the dreams of small theatre makers to invigorate our towns and cities with the Australian imagination.' - Joanna Murray-Smith

 

3 SEPTEMBER 2019 - ABC Radio National

Michael Cathcart interviewed Australian Plays' Chair Paul Dwyer on Radio National's Stage Show 3 on September 2019 The Stage Show - ABC Radio National

 

22 AUGUST 2019 - ABC Sydney

Simon Marnie from ABC Sydney interviewed Australian Plays’ Chair Dr Paul Dwyer and board member/playwright Hilary Bell on 24 August 2019 Saturday Breakfast (interview starts at 1:14).

 

22 AUGUST 2019 - ABC Hobart

John Xintavelonis from ABC Radio Hobart interviewed playwright Tom Holloway and Australian Plays' Executive Director, Carin Mistry on 22 August 2019. 

  

 

21 AUGUST 2019 - Currency Press

We would like to thank our publishing partners, Currency Press for this powerful press release issued on 21 August, 2019: Defunding Playwriting Australia and Australian Plays threatens the entire eco-system of Australian theatre.

 

21 AUGUST 2019  - Arts Hub

Arts Hub article by Alison Croggon : Writers hit back at funding cuts

 

20 AUGUST 2019  - Eureka Street

Eureka Street article by Esther Anatolitis : Restoring Australia's cultural ambition

 

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A message from the Australian Plays' Board

MEDIA RELEASE - 21 AUGUST 2019

The board and staff of Australian Plays have been deeply touched and heartened by the torrent of messages we have received from our community in response to the message below which went out on the 16th of August. It has been so important in underlining for us that our services are valued and the work we do supporting Australian playwrights and their work is not only extremely important for them but also for theatre more broadly.

Some of you have made suggestions about potential ways forward and we want to reassure you that these will be collated and shared with our board and staff to consider in upcoming planning sessions. We are engaged in a battle for survival and we are open to considering a myriad of options to ensure that our services are not lost. We have a strong foundation to build on and we look forward to having open and constructive discussions with our current major funders and our partners about a viable future for our organisation. However our extremely experienced board and staff are not naïve and we know that it will be challenging to replace the core organisational funding we have received from the Australia Council for the Arts. We have really valued that investment and, we think, put it to great use so that year on year we sell more plays and subscriptions and license more productions of Australian work with this in turn directly benefitting playwrights in Australia.

It’s been great to hear from so many of you whether that has been in the public domain via social media or personally. You might want to consider also sharing your concerns about maintaining support services for Australian playwriting with the CEO and Chair of the Australia Council for the Arts or with the Minister for the Arts.

 

Minister for Communications, Cyber Safety and the Arts - Hon Paul Fletcher MP Paul.Fletcher.MP@aph.gov.au

CEO, Australia Council for the Arts - Adrian Collette, AM:  a.collette@australiacouncil.gov.au

 

We were really pleased that ABC Hobart reached out to interview our chair Dr Paul Dwyer earlier this week. You can listen here.

The most important thing you can do at the moment is to keep visiting our web site, buy a play, take out a subscription, read one of our essays, view one of our great interviews, explore one of our Collections. If you find something you like and value please share it on social media - please don't forget to tag us!  

 

We really do value your support. 

The Australian Plays Board

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A devastating blow for Australian playwrights


 

MEDIA RELEASE – 16 AUGUST 2019

 

Australia’s leading digital publisher and promoter of theatrical texts, Australian Plays, has been advised that it will no longer receive critical organisational funding from the federal government through its funding body, the Australia Council for the Arts from 2021. This loss of funding places the organisation’s viability in jeopardy and directly threatens the livelihood of the nation’s playwrights –   the most celebrated as well as the most exciting new and emerging talent.

Australian Plays is recognised as the definitive digital home of Australian playwriting, attracting thousands of readers, theatre-makers, producers and educators nationally and internationally. In just the last three years, thanks to Australian Plays, over 300 new plays have been published, 50,000 scripts read online, more than 25,000 scripts purchased, almost 300 production licences issued, and royalties paid to over 800 playwrights. As a not-for-profit organisation, every dollar earned has been directed towards sustaining the careers of the playwrights whose creativity fuels the most vital stories on our nation’s stages.

Leading playwright and Australian Plays patron David Williamson said today “I know all Australian playwrights value the essential work of this small but highly effective organisation. They publish and promote their work across the professional, community and education sectors nationally and internationally. The loss of this organisation would be a major blow for Australian playwrights and their work”. These concerns were echoed by leading playwright Jane Harrison author of Stolen and Rainbow’s End“Australian Plays is so important for ensuring that work which is essentially ephemeral continues to have a lasting impact. I really value their publishing of works by diverse and important voices across Australia and their website is a trove of information for anyone interested in Australian theatre. These are our Shakespeares and our Tennessee Williams. These are our voices”.

Other theatre professionals are equally concerned. Lee Lewis, Artistic Director of Griffin Theatre Company, where many classic Australian works have had their first production, stated: “Australian Plays has provided central services for Australian new writing for over 40 years from its base in Hobart. The way they now deliver services digitally means they have the most amazing local, regional, national and international reach and impact. If an Australian play is one of the thousands on their website then it’s so much more likely to be studied, researched, produced or remounted”.

Of the 412 companies that sought organisational funding from the Australia Council, a mere 39% have been invited to progress to the second stage of the assessment process. “It’s the playwrights we serve that I’m worried about. We will listen carefully to their concerns and keep them updated about our discussions with other key stakeholders and our many partners” said Paul Dwyer, Chair of Australian Plays. “We’ll maintain all of our core services in the short-term, and look at alternative structures, but there are no guarantees we’ll still be around when our current Australia Council funding agreement expires at the end of 2020.”

 

MEDIA ENQUIRIES:

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