From Here to Eternity

Whitney Fitzsimmons checks out the new jewel in the crown for Sydney Independent Theatre, Eternity Playhouse, and gives the thriving scene a once over.

It’s often been said that creative endeavours are a labour of love and this is certainly the case when it comes to independent theatre. Unlike its established counterparts such as the Sydney Theatre Company and Belvoir, which have the luxury of government funding and healthy corporate sponsorship, independent theatre relies on good will and its participants' willingness to lessen their earnings for the benefit of creative exploration and freedom of expression.

Sydney’s independent theatre scene, as compared to say Melbourne's, has also had the added pressure of competing with a lifestyle that lends itself to outdoor entertainment. On a bright sunny day many would rather head to the beach or the park than hide in a dark theatre. So it’s no surprise that over the years the health of Sydney’s independent theatre has ebbed and flowed like the tide.

But it appears that the tide has yet again turned in favour of independent theatre. The official launch of The Eternity Playhouse has heralded a new chapter in the life of Sydney’s theatre practitioners.

Built in 1887 the 126-year-old heritage listed building was saved by the City of Sydney from potential developers to be restored and reborn into a theatre, paying homage to its history; the Eternity Playhouse was the church that served as a source of inspiration for Arthur Stace, known for his elegant hallmark “Eternity” written in chalk on Sydney’s streets. It will now be home to Darlinghurst Theatre Company, which was selected by the City of Sydney to manage the space and will premiere its first production, Arthur Miller’s All My Sons (directed by Iain Sinclair) on November 5th.

Darlinghurst Theatre’s 2014 season kicks off with the unusual choice of the musical Falsettos - a clever tale about a man who leaves his wife and son for his male lover. Darlinghurst Company Director Glenn Terry says, “Our inaugural season at the Eternity Playhouse pays homage to independent artists and to the theatre itself. From the grand to the tragic to the whimsical and from the small to the infinite, we’ve got it all.”

Lee Lewis the Artistic Director of Griffin Theatre (which has its own independent season) says, “One of the things that Glenn has been so successful at is providing a stable home for independent theatre. Because often it is about pitching your instincts against the audience - it’s a theatrical gamble that it’s going to work.”

Darlinghurst’s vacating of the Reginald Murphy Hall, its previous home in Potts Point, has opened up an opportunity for more independent theatre, and in an exciting way, because now Sydney has a home for music theatre and cabaret. Called Independent Music Theatre, the new management is a not-for-profit company that is a collaborative partnership of independent musical theatre and cabaret including Squabbalogic, Neglected Musicals and Luckiest Productions, managed by David & Lisa Campbell and Richard Carroll.

Neil Gooding, Company Director for Independent Music Theatre, says, “We are creating a home for music theatre and cabaret. This will allow writers, directors, musical directors, choreographers, performers and designers to develop with not only new work but also specifically tailored small scale musical theatre from Australia, Broadway and The West End.” But instead of launching a season at once IMT will announce shows as they are programmed which allows for greater flexibility overall. This need for flexibility is something that goes to the inherent nature of independent theatre.

The cast and crew of an indie show is often dependent on whether or not they have paid gigs and therefore drop-outs or changes in casting can be a frequent occurrence. But along with the challenges of producing work in this way also come the benefits.

Griffin Theatre’s Lee Lewis says, “You don’t take on an indie gig without being passionate about it.” It is this energy for the new and for taking risks that has seen Griffin Theatre integrate its independent season with its main-stage offerings. Lewis maintains that the energy that indie artists bring to the Griffin is vital to the overall health of the company. “Whenever there’s an indie show in the theatre it’s a great time in the building.” Lewis, who started her time at Griffin working on independent shows, knows intimately what the differences are. She says that there is a greater freedom in independent work, “You can ask for favours because everyone is pitching in and doing this for the love of it.” She says often it’s working in the mainstage arena that can get challenging because you can’t ask for those favours, so you tend to have many more limitations.

Aside from Darlinghurst Theatre and Independent Music Theatre, there are the Rocksurfers Theatre Company, which has taken up residency in The Bondi Pavillion with a vibrant offering for 2014, and Sydney Independent Theatre Company, which finds its home at The Old Fitzroy in Woolloomooloo.

The Tap Gallery theatre space has also been revitalised this year with new works such as One Scientific Mystery or Why Did the Aborigines Eat Captain Cook starring Logie Award winner Aaron Jeffery (from TV’s McLeod’s Daughters). Another exceptional production there, which I reviewed for Stage Whispers, was Siren Theatre’s Penelope based on the last chapter of Homer’s The Odyssey.

The Tap Galley is a challenging space for any theatre-maker. But as we saw in Penelope, it was transformed it into an empty swimming pool, making it a worthy challenge and exciting for an audience.

The new Eternity Playhouse will allow great productions to be seen by more people. Next year The Motherf**ker with the Hat will find itself at Eternity Playhouse after a successful run at The Tap Gallery.

“One of the main reasons we are moving is to make it better for the artist because those little theatres are really tough for professional artists to make any sort of return,” says Glenn Terry.

Regardless, 2014 looks set to be an exhilarating year for Sydney's independent theatre scene and I for one am excited about it.

See you in the foyer!

Images: Eternity Playhouse (top 2 Photographer: Cynthia Sciberras, auditorium - City of Sydney / Photographer: Adam Hollingworth); Clover Moore and Glenn Terry (Photographer: Cynthia Sciberras) and Reginald Murphy Hall.