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Bloody hell, I’m about to do something I’ve never done before.

Starting at 2pm tomorrow, I will be spending two weeks straight at The Street Theatre in Canberra undertaking a creative development of my new full-length play with songs, which has the working title THE STORY OF THE OARS.

What does this mean?

Professional actors reading the text as it currently stands. A director and dramaturge analysing every scene, sentence, and word. Body explorations. A music consultant investigating opportunities and challenges. Me passing out from the thrill – and glorious work – of it all.

Due to COVID-19, it will be happening online. Pictured is my set up at home. Complete with angel and (hint of) bull talisman.

Frighteningly, at 5pm (AEST) on Friday 15 May the ‘doors’ will open and you can experience a professional reading of the play. And get to give me and the creative team feedback.

Shit.

Tickets, which are free but limited, can be found here.

I have been through this process before. The song cycle for which I wrote the libretto, THE WEIGHT OF LIGHT, also went through a First Seen creative development. However, because that work was already at a fairly developed stage, it was a much shorter process – 2 days. Also, we already had a full score, by the wonderful James Humberstone. This time around, we’re developing the project in a much more incremental way, aiming to get the text as finished as it can be before we move into the music-collaboration stage. That’s not to say this will be a better process, just a different process for different projects.

So what is THE STORY OF THE OARS actually about?

Summer somewhere on the east coast of Australia, 1987: three teenage brothers drown on a large ephemeral lake. Thirty years later, with the lake now dry, four strangers unburden themselves of the truth. Their lives will never be the same. A play with songs, THE STORY OF THE OARS is about the repercussions of childhood, and how facts have their way of revealing themselves. It’s also an exploration of class, privilege, and the power of place to enchant, repel, and mend.

Of course, massive thanks to the unstoppable folk at The Street Theatre, and Create NSW for supporting an earlier development.

Now, where’s a crate-load of whiskey…

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