Download Head Full of Love - Queensland Theatre

Head Full of Love
by Alana Valentine
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Compiled by Heidi Irvine.
The activities and resources contained in this document are designed as the starting point for
educators in developing more comprehensive lessons for this production. Heidi Irvine is seconded to
Queensland Theatre Company from Education Queensland as an Education Liaison Officer. You can
contact Heidi on [email protected]
© Copyright protects this Education Resource.
Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited.
However, limited photocopying for classroom use only is permitted by educational institutions.
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Contents
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4.
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6.
At the theatre – Some basic etiquette
The fine print – Details about the production
In the circle – Practical classroom activities
Tasks – Ideas for Responding
Behind the Scenes – about the Cast and Creatives
Resources – A range of online resources
Page 3
Page 4
Page 5
Page 12
Page 16
Page 21
At the Theatre
We’d like to welcome you to the experience of attending a live performance – while
we know you get all the etiquette stuff, here’s a reminder of some simple information
you can pass on to your students.
1. We ask you to get involved in the performances by applauding and laughing
at appropriate moments. If you have a question – ask your teacher at the
interval/end of the show or one of the cast, if you have a chance for a
Question & Answer session.
2. Food or drink is not permitted in the theatre
3. Live theatre is different to TV – the actors on stage can hear and see you and
there are other members of the audience to think about. If you need to leave
the performance for any reason, please ensure this is done quickly and quietly
and at an appropriate break in the action
4. Switching your phone to silent isn’t the only thing to do. Please ensure that
you switch off your mobile phone and leave it in your bag before the
performance begins. The glow of the iPhone screen is obvious to others and is
very distracting!
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The fine print
Location: Cremorne Theatre, QPAC July 7 – August 11.
Writer: Alana Valentine.
Cast: Colette Mann and Roxanne McDonald
The Annual Alice Springs Beanie Festival is fast approaching and Tilly Napuljari is
running out of time to finish her new creation in time to enter it for judging. Nessa
Tavistock, a Sydneysider, has run away to the red centre to escape her own
problems back in the big smoke.
Head Full of Love is the story of these two remarkable women and the unlikely but
inspiring friendship which forms between them. It invites you to look differently at
the possibilities of the humble beanie: a much-loved everyday item, and an
extension of ourselves and the everyday lives we wear.
This intricate, warm and wisely told tale by Australian playwright Alana Valentine
(Run Rabbit Run, Parramatta Girls) is directed by Wesley Enoch and stars Colette
Mann (Priscilla Queen of the Desert, Strange Bedfellows) and Roxanne McDonald
(Skin of our Teeth, Parramatta Girls, The Story of the Miracles at Cookie’s Table).
“Head Full of Love is wonderful. It is a story that tells us so much about where we
are and what we need to do about it.” The Australian
Head Full of Love was originally co-commissioned by Darwin Festival, 32˚ Browns
Mart Producing Hub and Red Dust Theatre.
Warnings: Some coarse language, adult themes.
Creatives
Director: Wesley Enoch
Designer: Simone Romaniuk
Lighting Designer: Ben Hughes
Composer/Sound Designer: Brett Collery
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In the circle – Practical classroom activities
Here we will explore a range of ways to start – from the very basic warm up activity
through to questions and ways to provoke discussion about the performance.
Answers to Questions you might have about the show…
What is Renal Dialysis?
http://www.wisegeek.com/what-is-renal-dialysis.htm
Renal dialysis is a medical process that becomes necessary when the normal
functions of the kidneys become compromised by kidney failure. The kidneys help
keep the body and its blood healthy by removing harmful wastes from the blood.
Renal dialysis involves filtering the blood of excess fluid, minerals, and waste when
the kidneys can no longer do so on their own. Typically, patients with less than 85%
kidney function will be recommended for renal dialysis, though the actual level of
kidney function for recommendation may vary from patient to patient.
Renal dialysis typically takes place in one of two ways. Either the patient regularly
attends a dialysis centre or the patient receives dialysis at home. Either way, renal
dialysis requires the use of a special machine that pumps blood out of the body,
where it undergoes filtration, and then returns it to the body. Patients who receive
renal dialysis because of chronic kidney failure will typically have a permanent port
surgically installed for ease of access because regular dialysis is necessary. However
dialysis can also be performed on a single or limited treatment basis if it becomes
necessary due to an acute illness that affects the kidneys.
What are the myths surrounding Indigenous people and kidney disease?
http://www.healthinfonet.ecu.edu.au/chronic-conditions/kidney/plain-language/our-review
Whilst kidney health problems are more common for Indigenous people than for
non-Indigenous people, there is a misconception that these problems stem only from
overconsumption of alcohol and alcohol abuse. For example, end-stage renal disease
(ESRD - when kidneys stop working completely) has become more recognised in
recent years. Rates of ESRD are highest in northern Australian communities. Some
reasons for the high number of kidney health problems in many Indigenous
communities include:
living in places where sanitation is not good, or poor access to health services,
too much use of alcohol and tobacco,
not enough fresh, healthy food (eating too much fatty and take-away foods),
a combination of other health problems that make kidneys unhealthy (such as
diabetes) infections, low birth weight and high blood pressure.
Fixing and managing kidney health problems requires good medical treatments, but
public health measures are needed too.
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What are some themes and issues explored in the show?
The following are some suggested themes and issues that are related to the
performance of Head Full of Love.
Truth
Relationships/friendships
Racism
Love
Frustration
Expectations
Dependency
Discovery of self
Personality clashes
Endurance
Commitment
Cultural differences and misunderstandings
The themes in the play can be explored in a number of ways.
Moulding Statues
Have students select a theme/issue from the above list and then have them break
down the word, thinking of the emotions, feelings or situations related to the word.
For example; from CAREER can come POWER, DOMINANCE, and OPPRESSION etc.
Students then can create frozen statues of these words and have the rest of the class
reflect on how they use expression and body position to share their chosen word.
The next step from this could be to work on the idea of juxtaposition and create the
‘opposites’ of each other. Have one side of the class create POWER and then have the
other side join into the frozen tableaux to create the opposite, (for example
WEAKNESS or FEAR) and then have them look at the use of level and dynamics that
they use.
Now and Then
Have students write 3 things that are important to them now and have them do it for
every 10 years of their life (so far or into the future). How do these things change?
What becomes more important and what are the different priorities.
Mind Map
Have students create a mind map on one particular theme. Ask them to look at the
word as laterally as possible, and create as many more ideas as they can from that
singular word.
Find examples
Have students look for everyday examples of the above themes. Where are these
ideas and issues common in our everyday lives?
What’s their idea?
Divide the above list of themes and issues amongst students, so that each pair has
one theme. In pairs discuss and brainstorm the given theme in more detail focusing
on the definition and meaning, and specific examples of the issue and behaviour as
evidenced through the play. Together write an internal monologue exploring one
character’s thoughts, feelings, fears and hopes in relation to the given issue.
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Lesson Plan - Fish Out Of Water.
This lesson is designed to get students thinking about the concept of home and
feeling isolated when you are out of your comfort zone, much like Nessa in the play.
You could use the lesson as a whole or separate into shorter activities.
Alien
Ask students to imagine they have landed on Earth for the first time. They have to
find one object in the room that attracts them, catches their eye. Find out what the
object is used for and try to convince another ‘alien’ what it is used for. This activity
is designed to get students thinking about what it would be like to be someone from
another place coming to a “foreign world”, much like Nessa coming to Alice Springs.
‘Dude!’
Gather students in a circle and have them all look down to the floor. On the count of
3, they need to look up and make eye contact immediately with another person. On
the chance that the person they choose also looks at them, they need to exclaim,
“Dude!” to each other and are eliminated from the game. Last person standing is the
winner. This game is good for getting students thinking quickly and making a fast
decision.
What makes Australia home?
Gather students in small groups and have them list all of the things that make
Australia home to them. Think about food, icons, songs, song lyrics, places etc. Have
each group create a short scene where they need to fit as many of these references
as possible into their scene. It can be crazy and over the top, it can be a competition
between groups to see who can fit the most references in as possible. Once you have
performed for each other ask students to debrief why these things make Australia
what it is. Have students select another country and see if they can make as big a
list. This activity is designed to get them thinking about their cultural knowledge and
awareness.
Time
10 min
10 min
Activity
Warm up. Students break into
small groups of 3 and blindfold
one of the members. Have them
lead each other around the room,
making sure they avoid obstacles
and hurting themselves. Swap
around so each student has a
turn.
Game. Seat students in a circle
and explain to them that before
today’s lesson you have hidden
an envelope in the room (YOU
HAVEN’T), containing an
important piece of information. It
Outcome
Have students warming up and
involving themselves in the action
and experiencing their space on a
different level. Also thinking about
trust and working without one of
their senses.
Students search and focus on a
particular goal. They experience the
idea of searching for something that
they never find.
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5 min
15 min
10 min
10 min
10 min
10 min
is information about one of the
students in the class and the first
person to find will be the only
one who gets to read it and must
not tell anyone else. Give
students 3 minutes to search the
room.
Debrief Game. Sit students down
and inform them that there never
was an envelope. How do they
feel? Illicit responses and record
them somewhere.
Focus Activity of Lesson. Have
students create a devised
moment based on the sentence “I
have to tell you something”…
The sentence must be
incorporated somewhere into the
scene. The scene should try to
explore the feelings of something
that has been lost. A life, a
feeling, a person.
Reflect. Have students reflect on
last lesson and the performances
they created. What feelings,
themes and issues came out from
the performances and how did
the actors deal with them?
Have students talk about the idea
of loss. What does it feel like to
lose something or someone
important to you? Take the
feelings that you have debriefed
and discussed and have students
choose one each.
Ask each student to create a
movement, which is based on
their chosen feeling. The
movement needs to be simple
and one that can be repeated
many times. Ask students to
rehearse their movements and
prepare them for performance.
Have students perform their
movement in small groups to
each other and then ask them to
try and incorporate the
Students are exploring ideas and
feelings associated with loss and the
search for something.
Have students perform scenes and
make sure you record some details
about them so they can be reflected
on last lesson.
Brainstorm and debrief.
Students search and focus on a
particular idea.
Students explore movement and
ideas of expressing a feeling through
movement.
Have students perform and work
together to create a performance
which conveys a strong mood or
idea.
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movements into a group
performance. Have students
create a montage of sound and
movement.
Creating a Documentary Drama
A Documentary Drama begins with a document of some kind, for example, a
newspaper article, a magazine story, a news item or an historical document. This
document provides ideas for making a dramatic statement about an issue. The
resulting production can include readings, speeches, scenes, songs, dances, tableau
in fact, any kind of action or speech that can be performed on stage. However, the
whole show will have as its theme the idea of the original document.
Collage Drama is similar to documentary drama, but the production usually stems
from an idea or theme rather than from an actual document. Using the themes and
issues from Head Full of Love, have students find an article or interview/report that
highlights their chosen theme. Follow the steps below to help them create their own
Documentary Drama.
How to! A student’s guide to Documentary Drama
First you need to discuss possible topics and find your document. Browse through the
Internet, newspapers and magazines, but don’t decide on a subject too quickly;
compile a list of options. (If you are really stuck you may be able to write your own
document on a subject the interests you. For example, you could create a newsflash,
an interview or a diary entry.)
Discuss the "presentability" of a topic. Can you think of sufficient ways of bringing it
to life? Are there enough aspects to the subject?
Brainstorm the topic and think of as many different ideas as you can that are related
to it. For example, if the document is about racism in school you may wish to explore
aspects of the racism problem outside of school. Or other non-racism-related
problems experienced by students. Use the document as a starting point.
Consider which forms of dramatic presentation would suit the topic. Aim for variety
in the forms you select. You should choose from at least three of the following
categories:
Drama
Short improvised scenes
Segments of a scripted play
Original scripted scenes
Mime
Conversations between two characters
Puppets
Short monologue by a character
Impersonations
Readings
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Solo or group reading of prose and/or poetry
Readings with sound or visual effects such as slides and lighting
Readings combined with mime work or dance
Chants
Joke or story telling
Music
Live or recorded music to provide atmosphere
Musical pieces accompanied by expressive movement
Songs
Music and songs with choreographed dance.
Speeches
An informative speech
A persuasive speech
A demonstration a descriptive speech
A commentary
A speech combined with slides or sound effects
Interviews
Street interviews
TV or radio interviews
Panel interviews
Stage pictures
Frozen images using music or lighting
Slow-motion sequences
Expressive movement
Consider the order of items in your show. Ensure that the performance is balanced;
for example, the musical items may be more effective it they are spread throughout
the performance rather than appearing one after the other.
The responsibility for preparing the items must be shared among all the members of
your group, so you will need to be very well organised. The major tasks will be to:
Find or write suitable scripts, prose extracts, poems and songs,
Block (plan) the movements of actors on stage,
Choreograph dance or slow-motion sequences,
Select or create music and sound effects,
Design and obtain suitable sets, props and costumes,
Obtain the equipment needed.
When this had been done, the members of the group should decide on the cast for
each item. When casting, it is important to consider these factors:
The need for equal involvement of all members of your group,
The individual talents and interests of people in your group,
The duration of each item,
The time needed for costume or make-up changes between items.
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Rehearse! For an entertaining and polished performance it is vital that you rehearse
often. You will need to agree on a rehearsal schedule that provides occasions for
practising individual items as well as the complete performance. For your
performance to be a unified statement, the items must run smoothly together. There
should be no more than a ten-second pause between one item and the next.
Rehearsing frequently is the only way you will achieve this.
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Tasks – Ideas for Responding
If you are responding to the performance, here are some resources that will help
students to get writing. Both of these resources can easily be reproduced as
handouts for your students.
Writing a Review – Where do I start?
After watching a performance, you will have quite a strong sense of whether or not it
was effective. This is usually reinforced through your feelings of whether or not you
were engaged, moved, excited or disinterested in the performance. The following
categories and questions may assist students in writing a review.
Introduction
Include the name of the play you are reviewing, the name of the playwright, the
theatre where the performance was held and the date of the performance; if you
choose, you may also indicate your overall impression of the play.
Plot
This is the actual action that happens on stage. Try to reduce the whole story into a
brief paragraph that includes all the main events.
Discuss themes and issues
Outline the themes and issues that you feel were important in the play. The themes
and issues carry the message of the play and are important in helping the audience
gain meaning from the performance. You should also discuss your impression of the
directorial concept in your review. Comment on the director’s interpretation of the
play, and how the choice of dramatic form and performance style helps to
communicate the play’s themes and issues.
Analyse character objective and motivation
Describe and analyse the characters. To find the character’s objective, ask yourself
the question: What does the character want to achieve by the end of the play? To
find the character’s motivation, ask yourself the question: Why does the character
want to achieve their goal?
Evaluate the performer
(Give examples wherever possible!)
How well did the actors use body language to express their character?
Were their movements and gestures appropriate for their character?
How well did they use their voice to express character and deliver lines?
How focused did they seem during their performance?
How convincing did the performer seem in their portrayal of their character?
Comment on the use of the elements of production
Discuss how effective you think the use of sound; lighting, set and costume were in
the performance
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Were the costumes suitable for the characters? How did the choice of colours and
designs suit the overall look of the performance?
Was the set an effective use of space? Was the set easy for the actors to manoeuvre
around? In terms of colour and layout, did its design enhance the performance?
How did the elements of production support the directorial concept?
Did the signs and symbols used within the production enhance meaning?
Was special lighting used at any time for a particular effect?
Did the use of live or recorded sound enhance or detract from the performance?
How did lighting and sound establish location and create atmosphere?
Conclusion
Sum up the overall success of the play.
Attached below is a Responding to Live Theatre Worksheet. It is a way to get
students thinking about their live theatre experience and is broken down into
sections so they can plot out their ideas easily and simplistically. It can be the
beginnings of a review, an essay response or even a short response exam.
Responding to Live Theatre Worksheet
NAME OF PLAY:
WRITTEN BY:
DIRECTED BY:
ACTORS:
Recommendation:
Why would you recommend this play? Why would it appeal to your target audience?
Narrative:
(Briefly outline the plot in 75 words or less and then evaluate how effectively the
play will entertain the audience)
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Themes and Issues:
What themes and issues are illuminated in the play? Explain how. What questions
are raised for the audience?
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Characters:
Why are the characters so engaging? You can elaborate on one character more
however you need to address at least 2 of the characters in the play.
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Dramatic Tension:
Identify the major tensions in the play that entertain the audience/elaborate on one
of the major themes. Analyse two specific examples.
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Behind the Scenes – about the Cast and Creatives
Alana Valentine – Writer
Alana Valentine's writing has been nominated for a 2011 Queensland Literary Award
for Head Full of Love, 2007 Helpmann Award for Best New Australian Work,
awarded the 2004 Queensland Premier's Award for Best Drama Script, the 2003 NSW
Writer's Fellowship, the 2002 Rodney Seaborn Playwright's Award and an
International Writing Fellowship at Shakespeare's Globe Theatre in London. She also
received a 2001 commendation for the Louis Esson Prize, a 1999 AWGIE Award, a
residency at the Banff Playwrights' Conference in Canada, the ANPC/New Dramatists
Award in NYC and A Churchill Fellowship, the NSW Premier's Award and a Centenary
Medal. Alana is well known for her excellent use of research within the community
she is writing about. This is evident in her popular 2004 play Run Rabbit Run about
South Sydney League's Club's fight for survival and 2007's sell-out season of
Parramatta Girls at Belvoir Street Theatre about the infamous Girls Training School,
Parramatta. Head Full of Love premiered at the Darwin Festival in 2010 and her play
Grounded, a co-production between ATYP and Tantrum Theatre, will be staged in
2012. Alana is currently under commission with Bell Shakespeare as part of their
Mind’s Eye initiative.
Her other stage plays include Singing the Lonely Heart (New Theatre), Love Potions
(New Theatre), Butterfly Dandy (Women on a Shoestring), Covenant (Powerhouse
Youth Theatre), The Prospectors (Monkeybaa/STC, ANMM), Titania's Boy (Riverina
Theatre Company, Wagga Wagga and Griffith), Savage Grace (Steamworks/La Mama,
Performing Lines, Subiaco Arts Centre, Blue Room, Religion, Literature and Arts
Festival, Adelaide Festival Centre) The Conjurers (Playbox, La Boite), Ozone (Brisbane
Festival), Spool Time (Vitalstatistix), Swimming the Globe (Freewheels, Northern NSW
Tour, Commonwealth Games Cultural Festival, Malaysia), Watermark (Katherine
Regional Arts Inc), Shafana and Aunt Sarrinah (Alex Buzo Company) and M.P. (The
Street Theatre).
Colette Mann – Nessa
Queensland Theatre Company: Debut Other Credits: Melbourne Comedy Festival:
Spontaneous Broadway; Darwin Festival: Head Full of Love; Theatretours P/L:
Dumped-the Musical We’ve All Been Through; Back Row Productions: Priscilla,
Queen of the Desert-the Musical; Paul Dainty Corporation: Mum’s the Word 2Teenagers; Sydney Theatre Company: Urinetown –the Musical; Opera Australia: HMS
Pinafore; Melbourne Theatre Company: Urinetown –the Musical; Shakespeare’s
Globe, London: A Night of Savage Sensuality. Other noted performances include:
Godspell, Guys and Dolls, Hats, Broadway Babes, Scapino, Gone with Hardy, On Our
Selection, Catholic School Girls, Stepping Out, A Coupla White Chicks, The Dutch
Courtesan, Shear Madness, One Small Step, The Rover, Daze of our Lives, Waking
Eve, I Do! I Do!, Birthrights, The Vagina Monologues(solo), What Men Love, Talking
Heads, Rabbithole Strange Bedfellows Film: Between Wars, Kitty and the Bagman,
The Dish, Fairy Bred, Outback Bound, Just Desserts Television: Neighbours
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(currently) The Circle (regular co-host) A Current Affair, Good Morning Australia,
Midday, Afternoon, ‘til Ten, The Don Lane Show What’s Cooking, Saturday Kitchen,
Shooby Doo, Sleuth 101, Spicks and Specks, Hey, Hey It’s Saturday Night, Our Place,
Good Morning Melbourne, Mann at the Movies, The KokodaTrail, Return to Kokoda,
Guide to the Good Life, Prisoner, MDA, The Flying Doctors, The Man from Snowy
River, Bingles, Blue Heelers, Stark, Love Story, Always Afternoon
Music: The Glitter Sisters, The MiniBusettes, Godspell Cast Recording
Radio: MTR Weekends, 3AW Afternoon. Drive and Breakfast Shifts, 3UZ Morning
Show
Columns: New Idea, Fairfax Weeklies (currently)
Books: It’s a Mann’s World (with Annie Page) Give Me a Break(with sons, Sam and
Charlie Hall)
Awards: International Artistic Fellowship –Shakespeare’s Globe, London, Rotary
International –Paul Harris Award for Humanitarianism, Penguin Award for Continued
Excellence in Prisoner Cast..
Positions: Head of Drama, Patrick Studios Australia, Melbourne (currently), VCA
Foundation Music Theatre 2009 (Drama), Ministry Of Dance Drama Coach 2009-1,0
Ambassador- Life Education Victoria., Producer/Presenter-Teenagers’ Guide to the
Galaxy, Producer /Director- Wilde Inside, De Profundis, starring Frank Gallacher
The following is an interview taken from ArtsHub, http://www.artshub.com.au/au/
What did you want to be when you grew up? 35 forever
When did you know you would work in the arts? When I got my first real theatre
job, ‘Godspell’ 1971.
How would you describe your work to a complete stranger? A silly way to make
money.
How hard is it to be authentic in the arts nowadays? As hard or as easy as you
want to make it.
Is there a mission to your work? Yes, to stay employed and happy with what I do.
What's your background - are there studies that prepare you for this? I have a
Bachelor Of Arts with mostly Law subjects, so.....I guess not!
What's the first thing career related you usually do each day? Get out of
bed...important to do that!
Can you describe an "average" working day for you? Shower, breakfast, bus,
rehearsal, lunch rehearsal bus, dinner, lines, bed. When doing Neighbors, substitute
bus for car, and rehearsal for location or studio.
What else do you do to pay the bills? I teach at Patrick Studios Australia and write
a weekly column for Fairfax papers.
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What's the one thing - piece of equipment, toy, security blanket – you can't work
without? A sense of humour.
What gets you fired up? People who take themselves too seriously.
Who in the industry most inspires you? Young people who are still madly excited
about it all.
What in the industry do you despair about? The lack of risk taking in casting.
What is the best thing about your job? Doing the run of a play or working on a
series for a decent amount of time. And it is different every day!
What’s the worst? Learning lines and rehearsal. I am waiting for when we get the
microchips to install, with all the data we need, built in.
What are the top three skills you need in this industry? Solid work ethic, self
discipline and the ability to laugh at oneself.
What advice would you give anyone looking to break into the field? Put on your
armour and don’t be too self-indulgent.
How do you know when you missed the mark? When my friends tell me I did.
Which of the below phrases best suits your career development to date and
why?
"The road to success is always under construction."
"Opportunity dances with those who are already on the dance floor."
"Success is best measured by how far you've come with the talents you've been
given."
"No one can cheat you out of ultimate success but yourself."
When do you know you’ve made it? Never.
Roxanne McDonald – Tilly
Queensland Theatre Company: The Tragedy of King Richard II, The Skin of Our
Teeth, The Sunshine Club, Fountains Beyond, Black’ed Up.Other Credits: Company B:
Windmill Baby; Darwin Festival: Head Full of Love; Griffin Theatre: The Story of the
Miracles at Cookie’s Table (co-production with Hothouse Theatre and Queensland
Theatre Company); Kooemba Jdarra: Radiance(co-production with Queensland
Theatre Company), Romeo & Juliet (co-production with La Boite), The Cherry Pickers,
Yarnin’ Up, Bethel & Maude, A Life of Grace & Piety, Black Shorts, Skin Deep, Seems
Like Yesterday, Luck of the Draw, Njunjul The Sun, Changing Time, Spirit, Bitin’
Back; KITE Theatre: Murri Time; Fractal Theatre: Corialanus; La Boite: The Taming of
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the Shrew. Film: Grace, My Country, Blackbuster. Awards: Matilda Awards – special
commendation (2000).
The following is an interview taken from ArtsHub, http://www.artshub.com.au/au/
What did you want to be when you grew up? A Nurse.
When did you know you would work in the arts? When I was about 8 or 9, the
Arts Council came to my school and performed ‘Peter & the Wolf’. I bombarded them
with questions. That's when I knew.
How would you describe your work to a complete stranger? I tell them that there
are not many people who can say they enjoy their work; I get to play at mine all the
time.
How hard is it to be authentic in the arts nowadays? I don't find it hard, if you're
true to yourself.
Is there a mission to your work? To put food on the table and learn a little bit more
about myself.
What's your background - are there studies that prepare you for this? Life
prepares me for this.
What's the first thing career related you usually do each day? Turn up on time.
Can you describe an "average" working day for you? The usual routines and
rehearsals.
What else do you do to pay the bills? I am occasionally called to work with Natjul
Indigenous Performing Arts. This company uses a facilitated process and a forum
theatre style to talk about difficult issues in the community.
What's the one thing - piece of equipment, toy, security blanket - you can't work
without? My memory.
What gets you fired up? People not getting a fair go.
Who in the industry most inspires you? I can't narrow it down to one, it's a
community that does.
What in the industry do you despair about? Not enough work for indigenous actors
especially up and coming young people.
What is the best thing about your job? The people I get to work with.
What's the worst? Everything.
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What are the top three skills you need in this industry? Patience, Talent and
Perseverance.
What advice would you give anyone looking to break into the field? Be prepared
for many challenges. It isn't as easy as it looks.
How do you know when you missed the mark? In this profession you can't afford
to, because you might not get another gig.
When do you know you've made it? When you don't need to audition anymore.
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Resources
Mandawuy Yunupingu – Australian Story
http://blogs.crikey.com.au/northern/2009/10/18/mandawuyyunupingu-australian-story-monday-19-october/
Documentary Drama – ‘Bringing it Home’
http://www.youtube.com/watch?v=WhZ8fmLEakI
The Alice Springs Beanie Festival
http://www.beaniefest.org/
An audio interview about the Beanie Festival
http://www.abc.net.au/am/content/2012/s3531748.htm
Stateline Interview on the 2010 production
http://www.abc.net.au/news/video/2010/07/09/2949866.htm?sit
e=darwin
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