I hope you're wrong about new works being a hard sell to the public, though! Do theatre people make a point of going to see something new when it's performed? Every little bit helps!

You never know what's comin' for you.

Really good blog Tony and I'm surprised it hasn't attracted more debate.

I've directed and performed in several 'original' shows and they are darn hard to sell. However, I've found they are far more exhilarating and dynamic to be a part of than your proven and older works. The hard part is trying to convince the general public that that is the case.

In new plays, you can often have the writer on board as a kind of creative consultant, and can explain what exactly was meant by certain dialogue. The actors have far greater flexibility and ability to explore their characters and do some improvisation because you are not bound by copyright laws, and generally the whole experience is brilliant because you can't go down to the local video library and plagiarise someone who directed the same show for Miramax.

I suppose it's the old double-edged sword issue; pay for rights = bums on seats; try the fresh script with no baggage or rights cost = run the risk of losing money and credibility in what is already a fiercely competitive amateur market.

Maybe it's just too scary for amateur companies to take up. You're obviously talking about co-op shows which is different to the bulk of my experience, but I dare say if you're looking for an audience one night, and so is a rival amco, they are gonna get the bums on seats because they're performing romeo and juliet, and you're gonna get the bum's rush because you're performing jumio & roliet...so to speak.

I'm really interested to hear any other takes on this because a lot of Perth's co-op stuff still relies on the classics, with only a small majority of shows being new and original work.

Before I get an earful from someone, yes, Perth co-op relies on schools as its major seat warmers. I get it. Just wondering if anyone thinks we have more than just the Blue Room as a venue for new original work.

A lot of my stuff has been with the University Dramatic Society and we are always looking for new scripts to perform because we can't afford the rights. Still can't get the bums on seats like a good R & J can!

Acorn Theatre has for a long time trolled the internet in search of low cost shows. Domminie has become a rude word. Though one low point of internet searches is that some times the authors change their contact details and forget to update them on whatever site they have their plays on. It can make for some interesting times when searching for permission to do a show.

"If you obey all the rules, you miss all the fun." Katherine Hepburn.

My standard charge for my unpublished work is fair I think and is based on your gross door sales if you do one of my plays. My work is listed on my website. Actual charges are available from me by PM or e-mail. Admittedly some of my work is not to everyone's taste.
My published work is carried by New Theatre Publications (www.plays4theatre.com) and I suggest you check out their website as well, as their charges are less than Dominie's.

Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au

I agree with a lot of your comments David... my experience is that new work is twice as fun and (sometimes) twice as good because there is such an INVESTMENT from all participants. I'm not referring to money here, although obviously that does come into it.

I think there is a surprising amount of support for theatre-makers in Perth in terms of funding, advice and audience members. The problem is, we end up preaching to the choir. The audience members for a new work are usually theatre-makers themselves. And yes, there is a lack of growth to be had - the Blue Room is a terrific venue but if you want to try new or larger venues, you will probably find it difficult without a wealth of experience - or just wealth. Especially with the Rechabites now unavailable.

And is anyone a little sick of reviews for new shows being a little sparse and lack-lustre?

My experience/advice is that working consistently within a team helps. Even if it's not always the same people, using the same company name consistently will help you build audiences and get you the support you need.

Is that a bridge I see? *lights match*

Cant really agree with you Peter I know of companies who work exclusively in New Works ie JUTE in Cairns and it can become tiresome though occassionally some gems emerge. I would suggest if working with the classics, in particular Shakespeare you approach it in your role of director, as a new work. For it is all in the interpretation, even the bible is manipulated by hundreds of religions all claiming to be the correct one. It's all to easy to get influenced by what other directors do with the work, try deleating all stage directions and go with the spoken word. All the best and good luck.

How long have I waited for someone to utter the words 'promote new works?' We recently linked arms with the Phoenix Theatre and it was suggested by some, that we could stage only original productions. Alas, I told them if they did, they'd be dead in the water. Fact of life from my own experience is that Perth's theatre population (generally speaking) support what they know and love. Nothing wrong with that of course, but do we continue to perform the so called 'classics,' or do we try going with the new? To be or not to be...?

Johnny Grim
A lad in sane productions

In my opinion, people involved with theatre don't read enough plays, hence why the revert to doing to classics. And they automatically discount plays that have a F, C or S word in them. There are a lot of wonderful contemporary plays out there. Also, if you just produce and watch community theatre shows, why don't you go see a professional production once in a while. It's a good way to learn.

And a writer can complain about the lack of opportunity all they want, but what they really need to do, if they want to get their work out there, is to promote themselves.

Actually I agree with you about theatre people not reading enough plays. I do a bit of work as a tech for year eleven and twelve performances and am often in despair about the rubbish that gets picked by the drama teachers. Or sometimes not rubbish but plays that were excellent and very insightful and controversial twenty to thirty years ago. There are honourable exceptions to this rule and sometimes I imagine that the school authorities have somehow got involved but often the play was written at the time the drama teacher was going to college. It's a question of being comfortable about what you know I guess.

Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au