We are pleased to announce the Duologue collaborations for 2018. The applications were hugely competitive. We are grateful to all of the submitters for their generosity and rigour in their applications.

Duologue has been created specifically for mid-career and established playwrights, to provide support for their collaborations and to acknowledge the value in creative partnerships to the development of new work. It will fund the hours of discussion, draft reading, feedback and dialogue in the nascent stages of the creation of a new work. The program will support year long creative partnership between a playwright and artistic collaborator of their choosing (dramaturg or fellow playwright). Applicants may decide to focus on a single work together, or multiple.

Each partnership will be allotted up to $3,500 from a pool of shared development funds, for their year long collaboration. This allotment is intended to provide for both the playwright and artistic collaborator’s face to face or direct working time. The structure may be self determined according to what the partnership decides is best.

Duologue Program is generously supported by the Walking up the Hill Foundation.                                                                                                                                                                                              



Mary Anne Butler and Susie Dee

Max loved Miki. Miki loved Max. But all that seems to have disappeared now – and in its place are just remnants: the tiny broken bones of their love, now fractured and festering. Shaped by the Central Question “Where does love go?” The Tiny Bones of Love is an interrogation into the black void left behind.

Mary Anne Butler is a Darwin based playwright whose plays include Broken, Highway of Lost Hearts, The Sound of Waiting, Alice in Wonderland [adaptation], Cusp and Half Way There. Broken won the 2016 Victorian Prize for Literature, Victorian Premier’s Literary Award for Drama and the 2018 NT Book of the Year; Highway of Lost Hearts cowon 2016 NT Book of the Year and is on the NSW Theatre Curriculum, 2019-2021. Mary Anne is a Sidney Myer Creative Fellow, Arts NT Fellow and a Winston Churchill Fellow. She holds a Masters of Creative Writing and a Masters of Arts Education.

Susie Dee is a director, performer and theatre maker. She has directed works for MTC, Malthouse Theatre, Hothouse Theatre and numerous independent theatre companies. She has also worked over the years with many writers in developing and directing their work: Patricia Cornelius, Melissa Reeves, Angus Cerini, Brian Lipson and most recently Emily Goddard. She has been nominated and won numerous awards. Most recently, she received two 2017 Green Room Award nominations for Best Director – Looking Glass by Louris Van de Geer and Big Heart by Patricia Cornelius and a Helpmann Best Director nomination for Cornelius’s SHIT. Her 2016 production, Animal (co-devised with Nicci Wilks and Kate Sherman) won four Green Room Awards, including for Best Director.

Angus Cerini and Susie Dee

Working across a number of seperate projects, Susie and Angus will be looking at ways to ignore the practicalities and realities of getting a show on. Instead, we will be looking to get a little bit more of that theatre magic back in the room. Our motto: ‘Forget what is possible, aim for the magnificent.’

Angus Cerini is a writer, performer and theatre maker. His work has been performed throughout Australia and internationally. In Australia his work has been produced by companies including the Melbourne Theatre Company, Sydney Theatre Company, Griffin Theatre Company, Malthouse Theatre, Arena Theatre Company, Arts Centre Melbourne, Sydney Opera House and widely within the independent sector including at LaMama theatre. His plays include The Bleeding TreeSave for CryingResplendenceFilch, and Wretch. These works have been recognized with awards including The Victorian Premiers Literary Award, the NSW Premiers Literary Award, The Patrick White Playwrights’ Award, the Griffin Play Prize, the David Williamson Prize, an AWGIE award, RE Ross Prize and Melbourne Green Room Awards.

Susie Dee is a director, performer and theatre maker. She has directed works for MTC, Malthouse Theatre, Hothouse Theatre and numerous independent theatre companies. She has also worked over the years with many writers in developing and directing their work: Patricia Cornelius, Melissa Reeves, Angus Cerini, Brian Lipson and most recently Emily Goddard. She has been nominated and won numerous awards. Most recently, she received two 2017 Green Room Award nominations for Best Director – Looking Glass by Louris Van de Geer and Big Heart by Patricia Cornelius and a Helpmann Best Director nomination for Cornelius’s SHIT. Her 2016 production, Animal (co-devised with Nicci Wilks and Kate Sherman) won four Green Room Awards, including for Best Director.

Emilie Collyer and Mark Pritchard

Emilie Collyer will be working with dramaturg Mark Pritchard on The Affluence Trilogy. This is a series of three new plays Emilie is developing. Each work will look at a different aspect of affluence, its impact on those who have and those who have not and what kinds of transformations of identity, power and agency might be possible.

Emilie Collyer writes plays, prose and poetry. Her work often asks difficult questions about humanity via the existential, the impossible or the fantastical. Theatre awards and shortlistings of note include: The Good Girl (Winner Best Writer Melbourne Fringe 2013 & Green Room Nomination 2013), Dream Home (shortlisted Edward Albee Scholarship 2012 and Patrick White Award 2013, seven Green Room Nominations 2015), Promise (Winner George Fairfax Award 2000, Highly Commended Patrick White Award 2000), Argonauta (Winner Young Playwright’s Award 1997). She has been commissioned by Malthouse, Arena, ABC Radio, Punctum, Arts Centre Melbourne, Melbourne Writers Festival and St Martins. In 2016 Emilie received the Malcolm Robertson Prize (Malthouse) for her play Contest and was selected for the inaugural MTC Women in Theatre Program. The Good Girl has played in New York, Hollywood and Florida, Once Were Pirates at Edinburgh and Adelaide Fringe. Emilie works as a dramaturg and mentor. She is a graduate of Professional Writing and Editing RMIT and Masters in Writing for Performance Victorian College of the Arts. Website: www.betweenthecracks.net

Mark is a dramaturg, director and producer with a focus on new writing and hybrid dramaturgies. Mark trained at the Victorian College of the Arts, PACT, and the University of Wollongong. Mark is the Resident Dramaturg at Malthouse Theatre, a producer for New Working Group, and co-director of NO SHOW. As Dramaturg for Malthouse Theatre: Atomic by Amelia Chandos Evans, Going Down by Michele Lee, Heart is a Wasteland by John Harvey, Little Emperors小皇帝 by Lachlan Philpott, Turbine by Dan Giovannoni,Love & Information by Caryl ChurchillBlak Cabaret by Nakkiah LuiAs director/co-director: Triumph by Louris van de Geer (NWG), Wael Zuaiter: Unknown by Jesse Cox (Next Wave), 4000 Miles by Amy Herzog (Red Stitch), The Séance and Shotgun Wedding (NO SHOW). As producer for New Working Group: Anti-Hamlet by Mark Wilson (Theatre Works), GROUND CONTROL by Rachel Perks, and Dream Home by Emilie Collyer (Darebin Arts). Mark is a recipient of the Mike Walsh Fellowship, and a participant in the Australia Council’s Future Leaders Program. markpritchardmakestheatre.com

Andrea James and Catherine Ryan

Deep in an alpine forest, in a vast and rugged homeland, Gillie, a young farming woman is on a hellbent hunt for killer wild dogs.  There she encounters an immortal Dog who challenges her to an all-out battle of wills where boundaries disappear and lines blur. DOGGED is a contemporary, bloody tale of death, colonisation and a deep drive for justice, belonging and home.  How, in this painful tangle of relationships, can we survive?

Andrea is a Yorta Yorta/Kurnai woman and graduate of VCA.  She was Artistic Director of Melbourne Workers’ Theatre 2001-2008 where she is best known for her play Yanagai! Yanagai!  Relocating to Sydney, Andrea was the Aboriginal Arts Development Officer at Blacktown Arts Centre 2010-2012 and Aboriginal Producer at Carriageworks from 2012-2016 and is currently part-time Blak Box Producer for Urban Theatre Projects. She was a recipient of British Council’s Accelerate Program for Aboriginal Art Leaders in 2013 and was awarded Arts NSW Aboriginal Arts Fellowship to write a play about Wiradjuri tennis player, Evonne Goolagong.  Andrea performed in and co-wrote Bright World with Elise Hearst by Arthur Productions at Theatreworks April 2015 and directed her play Winyanboga Yurringa at Carriageworks and Geelong Performing Arts Centre in August 2016.  Her short play, Blacktown Angels premiered at Sydney Festival 2016 for Urban Theatre Project’s Home Country.  She was a collaborator in Moogahlin Performing Arts Broken Glass which she performed in at the Sydney Festival in 2017. In 2018 she wrote and directed a play entitled Bukal for JUTE Theatre that tells the inspirational story of Yidinji woman Henrietta Fourmile Marrie.  Her play Winyanboga Yurringa will be remounted by Belvoir in 2019.

A VCA graduate Animateur, Catherine works as a writer, dramaturg, director, community theatre maker, producer and performer, with a range of experiences across several media including stage, radio, published prose and documentary film. Her practice is inspired by questions about empathy, interconnectedness, the dynamics of relationships and the spaces and obstacles between us. She lives in Dja Dja Wurrung country (Central Victoria), just outside a town with a name, but no shop, pub, tennis court or public phone (there are, however, magnificent eagles and a gorgeous river). In 2001 she co-founded Castlemaine’s Barking Owl Theatre, co-creating many original and community-based works in their 8 years of activity. In 2009 Catherine won an AWGIE for Best Radio Adaptation for Aurora Calling: The Results of a Joint Observation, which was then the Australian nominee in its category at the Prix Italia International Media Awards. Her work has also won a George Fairfax Award (Precipice – 2009) and 2 Inscription Awards (Precipice and Getting Away From It All – 2009, 2006), along with several other national (Patrick White, Griffin and Hal Porter Short Story Awards) and international (Perishable Theatre International Women’s Playwright) short-listings.  She has been an Affiliate Writer at the Melbourne Theatre Company, a Resident Playwright at Griffin Theatre, Sydney, and commissioned by the Malthouse Theatre (2013) and ABC Radio National (2008, 2004). Catherine’s work has appeared at/in the Castlemaine State Festival, ABC Radio National, La Mama Theatre, Griffin Theatre, Overland, and will be seen in the journal Antipodes.  In 2017 her work, Dogged, received a National Script Workshop at Playwriting Australia.

Sally Richardson and Clare Watson

Sally is exploring with experienced director/devisor/collaborator Clare Watson the dramaturgy of two projects:

#thatwomanjulia is a multi-artform work that takes as its core concept and primary source the transcripts of the parliamentary record, media reportage and public commentary around the political life and leadership of Australia’s first female Prime Minster, Julia Gillard, directly referencing her infamous 2012 ‘Misogyny speech’.

Trigger Warning:REPLAY Part noise concert, part improvised performance, Trigger Warning:REPLAY is a fearless verbal and sonic study of PTSD, of the recollection of deeply traumatic events. A collaboration between writer/director Sally Richardson and new music pioneer and composer Cat Hope and actor Hayley McElhinney.

© Sally Richardson 2018

Sally Richardson is a multi-platform award winning artist working as a director, writer, dramaturg and producer in the performing arts in Australia. She is passionately committed to the creation of new Australian work and developing collaborations with other artists in the region with a focus on contemporary theatre, dance, circus & related hybrids. Commissions and productions range from intimate boutique works, through to larger scale events and film projects. She has developed, produced and toured over 30 original works through her production company Steamworks Arts, worked with numerous companies  & independent artists & created shows for Melbourne, Perth & Sydney Festivals. Sally actively seeks to break down the boundaries between different art forms, & is committed to collaborating with both emerging and established artists and companies, while actively championing the voice, presence and creativity of women in the performing arts. A former co-director of Playworks & Director of Stages WA,  she has partnered with Performing Lines WA regularly since 2008. Sally‘s work has been presented nationally and internationally, including Hong Kong, China, Japan, Taiwan & Brazil. Writer/Director credits include: I am Nijinsky, The Drovers Wives, H20, Medea 05, Splat!, Lucy & the Lost Boy, Rhapsody, FEARLESS, and The Promise which won the Helpmann Award for Best Presentation for Children in 2009. Current projects in development include: Catch! (MAXIMA/MANPAC) and GUI SHU (Belong) a Taiwanese/Australian collaboration being co-produced by PLWA & PICA (Perth Institute of Contemporary Arts).

Clare is Artistic Director of Black Swan State Theatre Company. Her directing credits with the company include The Events, You Know We Belong Together and Let the Right One In. Previously, Clare was Artistic Director at St Martins collaborating with children and teenagers. Her recent work includes I saw the second one hit, Gonzo (Malthouse Theatre) and Fitter. Faster. Better. (Dance Massive, Junction Arts Festival, Malthouse Theatre). She directed the critically acclaimed What Rhymes with Cars and Girls for Melbourne Theatre Company in 2015, which received four Helpmann nominations including Best Director. The production has recently enjoyed a national tour. In 2014 Clare was Female Director-in-Residence at Malthouse Theatre and she is an MTC Women Directors Program alumna. Her stage credits also include Gonzo, I Heart John McEnroe (Uninvited Guests/Theatre Works – winner Green Room Award for Best Ensemble, and five nominations including Best Director); The Man with the September Face by Kylie Trounson (Full Tilt/Arts Centre); Smashed by Lally Katz (Stables); and Hotel (Melbourne Fringe Festival – winner Best Director). Clare is a graduate of Directing at the Victorian College of the Arts. Her mainstage work has also included Lungs by Duncan MacMillan at Melbourne Theatre Company and The Events by David Greig for Malthouse and Belvoir, Sydney Festival and Adelaide Festival. She is a trained teacher and worked in high schools in Victoria for 15 years and was also Education Manager at Malthouse Theatre.

Steve Rodgers and Kate Champion

The Aquatic Centre is about how tightly we hold onto each other, and how gently we let go; Parenting, intimacy (physical and emotional) addiction, touch (the rules of) and the healing powers of water. It is an ensemble piece capturing a community who attend the local council swimming pool, featuring water aerobics for the elderly, a swimming lesson, a Wellness Centre, where kids play under mushroom fountains and devour bags of hot chips and chocolate milk by the truckload. The Aquatic Centre is about growing up.

Steve trained as an actor at Theatre Nepean, Western Sydney University. His first play Ray’s Tempest was shortlisted for the Patrick White Playwrights’ Award and nominated in the Best New Australian Work category at the Sydney Theatre Awards following productions at both Belvoir St and MTC. Steve’s second play Savage River was produced by the Griffin Theatre Company, MTC and the Tasmanian Theatre Company and was also nominated for Best New Australian Work at the Sydney Theatre Awards. Steve then wrote Food, a co-production between Belvoir St and Force Majeure, which he co-directed with Kate Champion. Food went onto tour Australia, and was nominated for the NSW Premiers Literary Award. Steve adapted the Peter Goldsworthy novel Jesus Wants Me for a Sunbeam that won the 2015 inaugural Lysicrates Prize, and was produced this year by The National Theatre in Parramatta. Steve’s latest play King of Pigs was developed by Playwriting Australia and concerned family violence. Produced by Redline at the Old Fitz to both a sold out season and critical acclaim King of Pigs is set to tour Australia in 2020. Steve is currently under commission at Belvoir St Theatre for a work concerning night shift workers titled The Future is History. Steve has worked as an actor in theatre, film and television for the last twenty-five years.

Kate was the founding Artistic Director of Force Majeure (2002-15), a ground-breaking dance theatre company based in Sydney. She has worked in theatre, dance, film, circus, opera and musical theatre with arts companies and institutes including Belvoir, Sydney Theatre Company, NIDA, NICA, The English National Opera, The Song Company, Legs on the Wall, Dance North, The Australian Dance Theatre and DV8 Physical Theatre – London. She has also created and performed two critically acclaimed solo shows, Face Value and About Face. As Artistic Director of Force Majeure, Kate has directed Same, Same But Different, Tenebrae – Part 1 and 2, Already Elsewhere, The Age I’m In, Not In a Million Years, Never Did Me Any Harm, Food (co -directed) and Nothing to Lose. Kate has been awarded Helpmann, Green Room and Australian Dance Awards, as well as the Robert Helpmann Scholarship for Choreographic Excellence. This year she directed That Eye The Sky for the State Theatre Company of South Australia and is presently directing Evie May – a new Australian musical for The Hayes Theatre.

Catherine Zimdahl and Alison Lyssa

Everyone wants a piece of Lydia – she’s a sexy older woman, gifted with higher thought, a house in a loveless suburb and a water pistol ready to use on the lost men who follow her home. When two ‘Girls’, that she dubs ‘Lesbosses’, move in across the street, one pregnant, Lydia swings between the deranged and the profound, trying to gift them and their baby the love, life and reality she’s failing to find, and stumbling herself into a kind of transcendence.

Catherine Zimdahl’s plays include Gifted, Step Up Stare Down, Deviant Art for the Degenerate (film adaptation nominated for IF Best Unproduced Screenplay), A Day Too Great, HereNowThenThere, Clark in Sarajevo, Family Running For Mr Whippy, Left Breathless A Question, The Fox, A World into A Child, A Child into the World and Moonfleet, variously produced by STC, MTC,  Griffin Theatre Company, Windmill National Children’s Theatre and ABC Radio. Awards: Griffin Playwriting Award, Victorian Premier’s Literary Award, New Dramatists Exchange, AACTA Awards for Best Short Film and Best Screenplay, Qantas Travel Award graduate prize, Australian Film Television and Radio School. She is also a visual artist and works in various mediums from painting to creating  graphic novellas.

Alison Lyssa is currently a playwright-in-residence at Currency Press. Her plays include Pinball (Nimrod, 1981, revived by Duck Duck Goose for Sydney’s Mardi-Gras, 2013, published by Methuen,1985, in Plays by Women vol. 1V and by Currency, 1996, in Australian Gay and Lesbian Plays, edited by Bruce Parr) and The Boiling Frog (directed, John Bell, Nimrod and published by Currency). Community theatre projects in Western Sydney, Cessnock, and at Rozelle Neighbourhood Centre. Who’d’ve Thought?, created with Women and Theatre Project, Telopea, nominated for AWGIE Award for Community Theatre, 1991. Alison is an established dramaturg – she’s worked for Playworks and Women’s Playwrights International, and taught writing for performance at University of Technology Sydney and Macquarie University. She’s a script editor/consultant with short films such as The Banker (BAFTA 2005) and documentary features such as Oyster (Sydney Film Festival 2018). Alison studied screenwriting at AFTRS, and holds a PhD in Drama.

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