Monday, October 22, 2012

Hamer Hall Reopens: Is it $136 Million Well Spent?



Riverside entrance with access from water transport
The $136 million refurbishment of Hamer Hall (formally the Melbourne Concert Hall) has been delivered on time and within budget, and is now open to the public after two years labour. But what will patrons, performers, production and technical teams get for the money?

The Hamer Hall renovation has seemingly touched every aspect of the venue, with improvements made backstage, front of house, in green rooms, to technology and even in the delivery dock. Arts Centre Melbourne says an expected annual increase of 600,000 new visitors to the precinct justifies the cost.

Schuler Shook was the theatre-planning consultant engaged for the project. Their work represents the greatest cost portion at $128.5 million, and the most extensive. Company partner Robert Shook said the company’s contribution included planning the auditorium and stage, front-of-house and back-of-house areas, and designing and specifying the special theatre equipment systems such as audience seating, stage rigging, stage lifts, and stage lighting. 

“Our planning work includes studying audience sight lines and ensuring that all audience members have the best possible view of the stage,” he told Stage Whispers. 

When Hamer Hall opened 30 years ago, some regarded the structure to be dull and austere. Recent changes to access and aesthetics should make the arrival experience gentler and more user-friendly.

City view from riverside entrance
Conceptually the building has been ‘turned around’ 90 degrees. Patrons are drawn to the vast glass walls and walkways on the north side, offering a pleasing view of the Melbourne skyline, riverside access, and boulevard walk along the river to Southgate. A new ramp from the river-boulevard to street level improves access.

While the St Kilda Road entrance remains, an additional entrance from the river enables access to and from Southbank restaurants. If you have a boat, presumably you can now paddle to concerts via the Yarra, alighting at the new riverside entrance. It’s all so Venetian, darling!  Continue reading

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Monday, October 15, 2012

Exploring a Theology of Gratitude in the Land of Entitlement


[Transcription of public reflections made on Sunday 14th October at Ringwood Uniting Church.] 
I'd like to share two stories from my time in Timor-Leste that have made an indelible impression - not so much because I have learnt something new, but because they highlight a personal inadequacy that I have been reflecting on since.

Firstly let me say thankyou to those people who were able to donate the nine recorders for our trip. In Australia it’s true to say the recorder is a much-maligned instrument, and there were many jokes flying around about whether it was fair to burden the East Timorese with the instrument that drives so many parents to distraction. When we left for Dili we did not know whether anyone would be interested in them, and so by way of introducing the instrument, decided to include recorder in our presentation at the Saturday night concert on our first evening in Dili.

The following day we were told there were some young women who were interested in the ‘flute’ I had played, and I said I happened to have some instruments with me and would be happy to give some lessons while we were in Dili. The following evening, the first of three consecutive nights, seven young women who I guess were aged between 16 and 20 arrived for the first lesson, and with the two Tims building a fan-base amongst the young men next door with their guitar prowess, I began teaching the girls to play the recorder.  I have to say I have never had such polite, quiet, determined, disciplined students – but I also felt they were unconvinced of their capacity to learn a musical instrument.  

I have no idea how long that first lesson went, but it was much longer than the planned hour. We worked together overcoming the language barriers via translations by two of the young women who understood English, and by lots of sign language, nodding and smiling, and physical demonstration. Several times I thought the lesson was coming to an end, but the girls urged me on.

At the end of the lesson, as I was packing up, the girls got into a kind of huddle, and then a representative said, We are wondering if we would be able to borrow the recorders overnight to practice? It is hard to adequately describe their reaction to you when I told them they could keep the recorders – they were a gift from this congregation. If I were Enid Blyton, perhaps I might describe their eyes being like saucers and their voices squealing and pealing with glee as they jumped up and down hanging onto one another. Mostly plastic, second-hand recorders that I imagine had been forgotten at the bottom of wardrobes, toy boxes and under beds in Australia, were now prized possessions. I will never, ever, be able to forget their response as long as I draw breath.

What happened next was also very revealing. Some girls ran outside where the guitar lads were emerging and literally waved the recorders in their faces - Now we have our own musical instruments too. We can play music just like you, so there.

The boys were as gobsmacked as boys can be, and two of them immediately came to me and asked if I had any more, so I gave them the remaining two. I learned later some of the young men had expressed doubts that the girls were really up to the challenge. My feminist sensibilities were, you might say, ignited! 

As we arrived over the coming days at Hosana Church’s training centre to take respective recorder and guitar lessons, we could all hear the recorders playing, practicing somewhere, in the distance around the grounds. One girl reported practicing all day and while this was encouraging I’d have to say I’m eternally grateful she wasn’t living in close quarters with me.

Two of these wonderful young women have decided to continue the recorder group, and I have promised to send music to them once they have exhausted the supplies.

So to the second story: On one other day we travelled up to Manluana, north of Dili. We are talking poor here people, houses with dirt floors made with whatever the people can come by. At the church we met Francesco. He is a songwriter. Francesco’s father was a farmer who died when he was a young boy. His mother brought him up in the Catholic church out in the country, but he decided to leave her and travel to Dili, leave the Catholic church and get involved at Hosana. Many years have passed and Francesco is now nineteen. He did not go to school because he had no one to pay for it. He has no work. He lives from house to house wherever he can find a bed amongst friends.  Francesco’s story is one like many others, but the thing that struck us all about him is the sentiments in the songs – they centre around a loving God who is a great Father who has been gracious and generous to him. It’s hard to reconcile Francesco’s story with his heightened faith of gratitude.

These are not merely nice stories about a bunch of young women learning recorder, and an orphaned boy who writes great songs. Though that alone would have been enough for me. This encounter has heightened in me an awareness of how weak my theology of gratitude is. Of course I am thankful for what I have, the opportunities I have, education, and all that stuff. I am. But in terms of faith I’m not sure I truly demonstrate a grateful heart – you know for all those things God has done for me. I’m much more likely to reflect on how lucky I am.

I reckon the lucky country has now become the land of entitlement. In Australia we believe we are entitled to an education, to shelter, to work – or else unemployment benefits, to a pay rise, access to power 24/7, to clean drinking water, to healthcare, vaccinations, early childhood care, legal advice. When we buy stuff, most of us don’t consider getting second-hand. When it breaks, we chuck it out. We expect our workplaces to be safe, and if we incur and injury at work or as a result of our work activity we look for someone to blame. If we get sick we expect on-the-day care, and we expect to recover. If we are overweight, or unfit, or tired, or broke, it is often the case that self-denial rules the roost. If someone is poor, as a society we often look for reasons why it is their fault, and why we shouldn’t help. If we are fined for speeding, we look for loopholes rather than accepting responsibility. When travelling on roads there is a veritable uproar over a pothole, and yet people regularly speed in 40km zones past schools.

Timor-Leste is the poorest country in Asia. While I knew something of Timorese struggle for independence (I even attended a few protest rallies in my student days) I had no conception of the extent of the suffering endured by the Timorese during the period of occupation. We are talking about genocide people – concentration camps, and period in which it is believed the population of Dili was almost halved. So in that context, how is it that there is such an overwhelming sense of gratitude?

I’m not sure I will ever have a really grateful faith, because I’m unconvinced God intervenes or acts for some people over others. What I do hope for is courage and openness to explore gratefulness further. 

Can I close by saying how great it was to share this experience with Stan and ‘The Tims”. I reckon we have different and complimentary skills, and the evening de-brief was always revealing and delightful. I'd also like to thank this congregational for trusting us with this particular segment of the ongoing journey. It has been an adventure and a privilege none of us will ever be able to forget.

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Friday, October 12, 2012

Quit Horsing Around, This Is Puppetry: Meet War Horse's Puppetry Master


Finn Caldwell at the media launch earlier this year
At a Fitzroy cafe, Finn Caldwell has ordered boiled egg with soldiers. Perhaps he is homesick. But if War Horse continues as it has begun, chances are the English actor turned Puppetry Director will have to get used to a global lifestyle.

War Horse has, ironically, taken on a life of it’s own. Since opening at the National Theatre in 2007, millions of people have seen the stage show at London’s West End, New York, Toronto and Los Angeles. Hollywood director Steven Spielberg even turned it into a movie.

‘No-one thought this was going to be a hit. It was an experimental show. I could see the potential of the puppets, but we were groping in the dark. I was asking myself, Is it good enough to put on stage?  I wasn’t sure.’

‘Every time we moved on to the West End, or Broadway, or Australia nobody was  saying, Oh yeah we’re this big hit that’s taking over the world. None of us can believe this is happening.’

Nick Stafford’s stage adaption of Micheal Morpurgo’s 1982 children’s novel War Horse, is about Joey, the beloved horse of a boy Albert, who is sold to the cavalry in World War 1. Shipped to France, Joey is involved on both sides of the fighting. But Albert can’t forget Joey and sets out to bring him home. Continue reading


Friday, October 5, 2012

Review: Adventures of Butt Boy and Tigger (Melbourne Fringe Festival)


Out Cast Theatre, Australia’s longest running theatre collective for gay, lesbian, bi-sexual and trans-gender audiences is presenting Adventures of Butt Boy and Tigger as part of the Melbourne Fringe Festival.

Butt Boy and Tigger meet online and begin sharing sexual fantasies in imagined settings ranging from soccer change rooms, a navy ship, 19th century stables and WW1 trenches. When Butt Boy suggests a physical meeting, he destabilises the ‘good thing’ on which their connection is based.

One wonders what Out Cast Theatre believes this production adds to the theatre industry, other than a few cheap laughs, and explicit and gratuitous sexual play. Each coupling engages a man in a position of authority with one of servitude. Somewhat predictably, every fantasy also included well-built and generously endowed menfolk. Continue reading

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Monday, October 1, 2012

Hot Stuff at Techie Mecca


Setting off for Techie Mecca, I attempted to blend in by wearing a black shirt. But it was hopeless. Without the obligatory belted jeans and black backpack it was obvious I was outside my comfort zone.

On display at the annual ENTECH expo in Melbourne this year were the latest and greatest the sound and light industry innovators have on offer, from staging and cases, lights and audio, electric drum kits and screen ear monitors.

Sure if you want the biggest and brightest you’ll need to be prepared to part with big bucks, but the amateur and school production companies were not completely forgotten in the throng.
Continue reading