ANNOUNCING THE PLAYWRIGHTS FOR 2019 POST PRODUCTION
Christopher Fieldus is a writer, dramaturg and drag artist based in Birraranga (Melbourne).He completed a Masters of Dramaturgy at the Victorian College of the Arts in 2015, and in 2017 was selected for the inaugural Midsumma Futures program. With eclectic interests and a scholarly streak, his largely cerebral practice has led him through diverse fields of knowledge. Christopher’s camp, queer, feminist inclinations have manifested cabaret chanteuse Ms CeCe Rockefeller, for whom he has written and performed since 2016. Her latest work of song and storytelling, sapphic salon “Somebody’s Somebody”, has enjoyed seasons at Melbourne Fringe 2018 and Adelaide Fringe 2019, with a special presentation given for Siren Theatre Co.’s PLAYLIST at Sydney Mardi Gras 2019.
Charlie Garber is an actor and writer with over fifteen years experience. His TV writing credits include co-creating and writing the ABC comedy series Sando (2018), as well as writing on No Activity, Squinters, Here Come The Habibs, and Offspring. His work full-time at Jungle Entertainment from 2015 to 2017 saw him develop and write on numerous projects including his own TV development, Zif. He is currently developing a comedy TV show with Thumper and his new play The Astral Plane will be staged in the Downstairs Belvoir theatre in June 2019. Charlie has worked previously co-creating and performing comedy theatre showsMasterclass and Masterclass 2 (with Gareth Davies) and numerous festival shows with former theatre group Pig Island (Nick Coyle and Claudia O’Doherty).
Barbara Hostalek is an emerging playwright with a passion for crafting her voice through theatre. She has written several short plays titled Cracked (2015), Banned (2016), Go Fish (2017) and Turtle Pool (2018) as a member of Yirra Yaakin Theatre Company Writers Group. Cracked underwent further script development in 2016 with Playwriting Australia and Yirra Yaakin Theatre Company. In June 2017 Yirra Yaakin Theatre Company was invited to further creatively develop Cracked during the Kia Mau ‘Breaking Ground’ Festival in Wellington and Aotearoa New Zealand. On return from Wellington, Barbara participated in The Blue Room Theatre’s Sustained Playwriting Course facilitated by veteran award-winning playwright Hellie Turner and began work on a new script titled Umbra (2017). In 2018 Banned premiered at The Blue Room Theatre as part of FRINGEWORLD Summer Nights, before having a second season in July 2018. It was nominated for ‘Best New Work’ at the 2018 Performing Arts WA awards. In late 2017, Cracked was selected by Playwriting Australia to be produced as part of their premiere Ignition funding program. In 2019, Cracked will premiere at the Subiaco Arts Centre as part of Yirra Yaakin’s 2019 mainstage season. This will be Barbara’s first play to be produced on a mainstage.
Laura Lethlean is a Melbourne based playwright, with work produced in Melbourne, Sydney and Canberra. Laura is a graduate of NIDA’s Writing for Performance MFA, an alumni of the ATYP Fresh Ink program and a founding member of The Anchor. Laura’s produced plays include Plastic Pacific (The Substation, 2013), How Are You (Canberra Design Festival, 2015), The Space Between the Fuel and the Fire (NIDA, 2016), Fading (Canberra Theatre Centre, 2018), Two Hearts (Kings Cross Theatre, 2018), Strata Inc. (with Faran Martin, The Burrow, 2018), Two Hearts (The Butterfly Club, 2019) The Three Graces (Theatreworks, 2019). The Space Between the Fuel and the Fire was published by NoPassport Press in 2016.
Scott is a Perth-based playwright and director, as well as the artistic director of Second Chance Theatre. He is proud to have worked with local companies that include The Blue Room Theatre, Barking Gecko Theatre Company, The Last Great Hunt, Rorschach Beast, Renegade Productions, Bow & Dagger, and Maiden Voyage Theatre Company. As a writer/ director; Laika: A Staged Radio Play, Josephine!, Between Solar Systems, Frankenstein, and Coincidences at the End of Time. Awards: Best Director of an Independent Production (Performing Arts WA Awards 2019), Best Independent Production (Performing Arts WA Awards 2018), Judge’s Choice for Excellence and Vision (Blue Room Theatre Awards 2017), Member’s Choice Award (Blue Room Theatre Awards 2017).
Rani Pramesti is a proud Chinese-Javanese-Indonesian woman living and creating on Kulin Country. As a storyteller, Rani revels in the interface of social justice and the arts. She builds bridges across cultures, generations and disciplines. Rani P Collaborations’ debut performance installation, Chinese Whispers, inspired by the racial violence of May 1998 in Indonesia, won the 2014 Melbourne Fringe Festival’s Best Live Art Award and Kultour’s Innovation in Culturally Diverse Practice Award. Throughout 2017-2019, Rani has been leading a cross-cultural team to tell the story of Surat-surat (‘Letters’ in Bahasa Indonesia), inspired by her maternal grandparents’ love letters. @ranipnews www.ranip.com.au
Jordan is a first generation Asian-Australian writer, teacher and uncle. A graduate of the University of Notre Dame (Drama/English) and the VCA (Writing for Performance), his recent credits include: Cage (Old 505), Barbaric Truth (Sydney Theatre Co Rough Draft 35#), Intersection: Little Differences (ATYP/Currency Press), Housekeeping (CAAP/Carriageworks) and Cascadia: A Magic Show (Old Fitz/Harry Milas). Upcoming productions include: The House at Boundary Road (co writer, bontom productions), and Kasama Kita (Belvoir 25A/Aya Productions). Residencies include: Q Lab, Old 505 Resident Playwright and ATYP Fresh Ink. He is working on a variety of texts exploring the Asian-Australian experience with various practitioners, including Kenneth Moraleda and Rebecca Blake.
Aanisa is a storyteller, driven by the dialogue existing between her work and her audience. Her first play, The Girl, was shortlisted for the prestigious Philip Parson’s Award in 2015 and was also nominated for the West Australian Editor Award 2016. Its partner piece, The Woman, was part of Belvoir’s Artist Program/Breakout Artist Residency. Aanisa has also scripted a number of short films: The Parisian (Flickerfest, Eyecatcher, Great Lakes, Cebu and Raintree International Film Festivals), The Dead Boy (Sigur Ros Mystery Film Competition), Loaded (shortlisted for ATYP’s Love Bytes competition and screened at Colourfest Film Festival, Sydney). In addition, she has two published works: Private Research (The Voices Project 2013: Out of Place, Currency Press) and On Western Sydney (Westside New Series). National Theatre of Parramatta’s audiences are seeing the inaugural presentation of Aanisa’s first two plays The Girl/The Woman performed in tandem. Her most recent work Sauvage (Wild) is being presented at Griffin Theatre Company for Batch.
Keziah is a playwright and dramaturg. This year she is taking part in Melbourne Theatre Company’s Women in Theatre Program and in 2018, completed a dramaturgy placement on Malthouse Theatre’s Besen Family Artist’s Program. She is a graduate of Soho Theatre’s Writer’s Lab in the UK, where her play The Rest of the World was long-listed for their Young Writer’s Award. Her rom-com Help Yourself was presented as part of MTC’s 2019 Cybec Electric playreading series. Her sci-fi Control was short-listed for the 2017 Patrick White Playwrights’ Award and is premiering as part of Red Stitch’s 2019 season.
ABOUT THE PROGRAM
The most essential time in a play’s development comes when it lives and breathes in front of an audience: production. As a play transitions from the rehearsal room for the first time, the writer learns more than ever before how the work feels and functions, seeing it through an audience member’s eyes. It’s a pivotal time for a new piece and full of challenges that in the most fertile circumstances result in the evolution of the work as well as the artistic growth of the writer. Post Production acknowledges our commitment to finding ways for plays to have longer lives. The program encourages us to reconsider the way we view first productions: as not an end point for the writer but a big next step in the work’s ongoing life.
PWA will support the ongoing work of a playwright amid and just following production. A peer [playwright or dramaturg] will spend time seeing the work in production and familiarizing themselves with it, after which they will consult with the writer or creative team for four hours, unpacking what was learned from production and supporting a plan for ongoing work.
APPLICATIONS TO POST PRODUCTION ARE NOW CLOSED