2016:
ANOTHER
PRODUCTIVE
WRITING
YEAR

We kicked off with ‘Let’s Start a Play’ and ended the year with a season of new plays. We did three Eat My Words script development workshops, two rehearsed readings of new works and a mid-year fundraiser that also saw the presentation of new works. We invited submissions for our 2016 season, creating an opportunity for one original, unproduced full-length play and six original, unproduced monologues to be brought to life on stage at La Mama Courthouse.

Along the way, we provided script advice to our members, performance opportunities to both regular and new actors and gave local theatre lovers the chance to come along and see the exciting work we are creating at Melbourne Writers’ Theatre.

At right, a moment captured during an Eat My Words script workshop (6th June 2016 – Emma Cox pictured). Bottom right, a scene from The World Without Birds (26th Oct – 6th Nov … Margot Knight and Charlotte Fox pictured). They represent the two ends of MWT’s business, our purpose, our reason for existence since our inception in 1982 – the development of our members’ scripts from Page to Stage.

We look forward to continuing the journey with you in 2017.

Merry Christmas and a very happy New Year.

The committee of Melbourne Writers’ Theatre

 

Photos courtesy of
JOHN EDWARDS

To see photos from Page to Stage 2016, click here and here

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Q & A       with MWT photographer JOHN EDWARDS

Q. Over the past three years with MWT, you have captured some important theatrical moments. Do you have a favourite?

A. I have lots of good memories, but my favourite photo would probably be the colour shot that was used in The World Without Birds – with the two female leads staring at the camera, a birdcage separating them. It was later turned into a B&W shot and used as the season image for the show.

Q. The ‘right’ image can sell a season. This is especially important in the case of a new play by an unknown or emerging playwright. In your opinion, what kinds of photo elements might encourage someone to go and see a show? 

A. I think an image is best when it doesn’t give away the whole story – it keeps you guessing, and makes you ask. ‘I wonder what that’s about?’ Whether an image is successful depends on the audience it is trying to attract. A younger audience may be drawn to an image that is quite different from one that would appeal to an older audience – the photographer needs to keep the target audience in mind to some extent when planning the shot.

Q. Are some faces just more responsive to being photographed than others? Or do some performers simply display emotions more powerfully than others?

A. This is a hard one. Some faces are obviously more photogenic than others , and this plays a role in the way their power to attract; but an actor who is highly expressive is also attractive to a potential audience. What one observer perceives as a negative expression, eg. an ‘angry’ face, another person may find worth a second look – the expression may resonate on some level. Likewise, a face/facial expression that is completely at odds with the play title can make the play more intriguing or, conversely, act as a deterrent. The relationship between the photo subject and the audience is a complex one.

PHOTOS: Emma Cox & Ciume Lochner in The Agreement; Kelly Jean Harrison in I Like It Bright & Clean; and Alec Gilbert in I Love You.

Read more Q&A by MWT Members and Resident WritersJOHN EDWARDS

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