|Arts minister David Templeman points out the bar to |
supremo Duncan Ord at this year's Wild West-themed
(but still glittering) Turnstile Awards ceremony.
This year more than double that number have taken home the silverware, while another baker’s dozen would have been deserving winners.
There were over thirty local productions I would have warmly recommended to theatregoers; just as impressively, I did not see a single local production you really needed to avoid. Honestly!
There’s a caveat, though, to all this enthusiasm, and it’s a nasty one.
Going back over the past five years or so I would consistently review somewhere in the high fifty to low sixty “eligible” local productions for The West and/or this blog. This year the number is 45. That’s a really significant drop off in the output of the local theatre business.
(I don’t think it can be explained by a drop-off in my coverage; changes in the newspaper business have meant a severe reduction in the opportunities for freelance contributors, but I’m not aware that it’s changed my efforts to cover locally-produced theatre – there simply hasn’t been as much of it.)
When you consider that the programmes of the three main theatre outlets in this town – The Blue Room, Black Swan and WAAPA – have roughly the same number of productions each year, and our hot-as-wasabi globe-trotting wunderkinder, the Last Great Hunt, grow ever more productive, that indicates a potentially catastrophic falling off in other parts of the sector.
I constantly argue the case for content; we can build all the infrastructure we like, and cut as many ribbons as we want, but without content – and especially locally-created content – to fill it, it’s all expensive back-slapping.
The Turnstile Awards acknowledge outstanding WA produced (or co-produced) stage shows opening in Perth between September and August each year. They are inclusive, rather than proscriptive, when it comes to eligibility.
There is no set number of Turnstile winners, and no attempt to rank them in order of merit. The Turnstiles are a pat on the back, not the prize in a competition.
Here, in chronological order, are the seven productions that got up for a Turnstile in the past year:
- Grounded Alison van Reeken, the very best of our actors, was taut and sinewy as the fighter pilot cum drone operator in George Brant’s horrifyingly real journey into bloodless, abstract, modern warfare.
- The One The arc of a love affair told as a blues by the white-hot writer Jeffrey Jay Fowler and Georgia King and Mark Storen, who both gave career-best performances.
- The Lighthouse Girl Hellie Turner overcame the intractable untheatricality of fact to fashion a touching and very real love story in the shadow of war and death, highlighted by an outstanding rookie performance as the girl from Daisy Coyle.
- End Game The pedigrees of the play, the director Andrew Ross, the designer and lighting designer Tyler Hill and Mark Howlett and a fine cast were impeccable, and they delivered Beckett’s bleak vision with wonderful clarity and control.
- The Irresistible A singular, wholly-realised theatre experience by the writer and director Zoe Pepper and the performer/collaborators Tim Watts and the ferocious, highly-charged Adriane Daff,
- Good Little Soldier Ochre Dance Theatre’s Mark Howlett took his text about the scars of war and, working with a talented team of deviser/performers, broke it down into a cross-disciplinary performance that, miraculously, was even greater than the sum of its parts.
- The View from the Penthouse In the very last hours of the Turnstiles year, WAAPA Performance Making students Isaac Diamond, Cam Pollock and the genuinely terrifying Sam Hayes concocted a brilliant, noxious cocktail of carnality and addiction.
As always, my selections are inevitably subjective and often idiosyncratic. Better judges than me would no doubt have have seen a Turnstile heading in the direction of these other fine productions: