Podcasts about artshub

Welcome to a special series of episodes, where WestWords Academy alumni interview their favourite creatives. In this episode, Academy alumni Elizabeth speaks to Michelle Hamadache in depth about her written works, and together they share strategies and ways to continue one's own creative writing journey while maintaining a busy career and home life. Michelle talks about how her role as course director of Creative Writing at Macquarie University uniquely situates her within the arts industry, surrounds her with creative writing skills and practice day in and day out, and the fulfilment gained by working with other writers. But how does Michelle maintain focus and energy towards her own creative works? Take a listen to learn more Michelle Hamadache is Course Director of the undergraduate and Master of Creative Writing programs at Macquarie University. She has worked as editor of Southerly, Australia's longest running journal, and of Mascara Literary Review. She has published short stories, essays and poems in US, UK and Australian journals. She was longlisted for the 2018 Elizabeth Jolley short story prize and the 2021 Overland Sidney Neilma Short Story prize.Elizabeth Walton is a freelance writer, musician, and photographer. Elizabeth has contributed writing to The Guardian, New York Times, ABC, The London Reader, ArtsHub, OzArts, The Australian, Huffpost, Penguin Books, The Joan Sutherland Performing Arts Centre, Reuters, WIN TV, The Independent, Timber and Steel as well as newspapers and magazines in Europe, North America, Australia and Asia.

This week Macca is joined in the studio by  long time friend of Saturday Magazine and occasional co-host, Madeleine Swain returns t0 c0-host with Macca.  Madeleine Swain is ArtsHub's managing... LEARN MORE The post Saturday, 19th October, 2024: Weekly Wrap Up with Macca and Madeleine Swain appeared first on Saturday Magazine.

Welcome to a special series of episodes, where WestWords Academy alumni interview their favourite creatives. In this episode, Academy alumni Elizabeth speaks to Trish Bolton about the release of her debut novel Whenever You're Ready. Trish details her journey to publication, how to build a CV as an emerging writer, upending ageist stereotypes, and together they discuss the changing attitudes towards grief. Trish Bolton is a Melbourne writer whose words have appeared in Overland, New Matilda, The Big Issue, The Age, Sunday Age, Sydney Morning Herald and Canberra Times. Whenever You're Ready is her debut novel.Elizabeth Walton is a freelance writer, musician, and photographer. Elizabeth has contributed writing to The Guardian, New York Times, ABC, The London Reader, ArtsHub, OzArts, The Australian, Huffpost, Penguin Books, The Joan Sutherland Performing Arts Centre, Reuters, WIN TV, The Independent, Timber and Steel as well as newspapers and magazines in Europe, North America, Australia and Asia.

    About our guest Laura is a disabled writer and bibliophile living on Wurundjeri land. She has a Masters of Professional psychology and works as a plain language and Easy English content writer. Her words have appeared in places such The Age, Kill Your Darlings, ArtsHub, ABC Everyday and The Guardian. She is also a member of the minister-appointed Victorian Disability Advisory Council.   Representations  Palestinian writers Songs of the Living and the Dead  Cerebral Palsy The Amazing Edie Eckhart by Rosie Jones The Heights Bridie McKim Special  Mental health and neurodivergence Crazy Ex-Girlfriend United States of Tara Peta Lyre's Rating Normal by Anna Whateley If I Fall, I Die  Social Queue, Please Don't Hug Me and Love & Autism by Kay Kerr The Bravest Word by Kate Foster  Xavier in the Meantime by Kate Gordon How to find us  Join our private Facebook community Follow us on Instagram Follow us on Twitter Check out our website Shoot us an email to differentlybrainedpodcast@gmail.com Follow our personal stuff - @jacintadietrich & @ruthooftheloch   About the podcast Differently Brained shares the opinions of individuals and does not consider your personal circumstances. Differently Brained exists purely for information purposes and should not be relied on as health or medical advice. Because no brain is the same, please consult your healthcare professional for your personal medical needs. The Differently Brained team acknowledge the traditional custodians of the lands on which we record, edit and stream this podcast. We pay our respects to all First Nations peoples and their Elders part, present and emerging. We extend that respect to all First Nations cultures and their ongoing connection to the lands, waterways and communities.  

From the makers of the ArtsHubbub: The Creative Exchange Podcast delves into topics affecting artists and the creative community such as AI, career sustainability, funding and more. Produced in partnership with Creative Victoria and ArtsHub as part of the Creative Exchange program. Each episode we'll be exploring a range of topics aimed at helping Victorian artists and workers in the creative communities to operate their businesses and enhance their practices. Find us at artshub.com.au/creative-exchange/

Jackie Bailey is a writer who holds a PhD in creative writing from the University of NSW and whose work has appeared in a variety of publications including The Sydney Morning Herald, ScreenHub, ArtsHub and the Australian Journal of Human Rights. Jackie's debut novel 'The Eulogy' was published by Hardy Grant earlier this year. A work of auto-fiction (drawing heavily on Jackie's own life and experiences), 'The Eulogy' was a moving and memorable book about death, grief and the effects of intergenerational trauma. I was honoured to have the chance to speak with Jackie about this exceptional book earlier this year.

This episode is also available as a blog post: http://annabelharz.com/2022/02/24/artshub-reviews/

This episode is also available as a blog post: http://annabelharz.com/2022/03/07/inaugural-artshub-review-love-virtue/

If you enjoy this episode and want more bonus insights, big ideas, and recommendations to improve your own reading, check out the bookmark membership on Patreon. About the book Any given day brings a never-ending list of things to do. There's the work thing, the catch-up thing, the laundry thing, the creative thing, the exercise thing, the family thing, the thing we don't want to do, the thing we've been putting off (despite it being the most important thing). Even on days where we get a lot done, the thing left undone can leave us feeling guilty, anxious, or disappointed. After five years of searching for the secret to productivity, Madeleine Dore discovered there isn't one. Instead, we're being set up to fail. I Didn't Do The Thing Today is the inspiring call to take productivity off its pedestal — by dismantling our comparison to others, aspirational routines, and the unrealistic notions of what can be done in a day, we can finally embrace the joyful messiness and unpredictability of life. For anyone who has ever felt the pressure to do more, be more, achieve more, this antidote to our doing-obsession is the permission slip we all need to find our own way. Source: https://extraordinaryroutines.com/book About the author Madeleine Dore is a writer and interviewer exploring how we can broaden the definition of a day well spent. For the past five years, Madeleine has been asking creative thinkers how they navigate their days on her popular blog Extraordinary Routines and podcast Routines & Ruts. She has contributed columns and features to Sunday Life, BBC WorkLife, ArtsHub, 99u, Womankind, Kill Your Darlings, The Design Files, ABC Life and more. Madeleine regularly conducts life experiments and hosts events to explore how creativity isn't just something we do, but how we approach our lives. Source: https://extraordinaryroutines.com/about Big idea #1 — Be a day artist One of the underlying ideas is this concept of being a ‘day artist', or seeing each day as a work of art. Being creative, rather than doing creativity in how we live. This means being creative with the elements of a day, even when that day doesn't go to plan. There's a nice quote in the book from Helena Bonham Carter that says;“Everything in life is art. What you do, how you dress, the way you love someone and how you talk, your smile and your personality, what you believe in and all your dreams, the way you drink your tea, how you decorate your home, or party ,your grocery list, the food you make, how your writing looks, the way you feel. Life is art.” It's a great reminder that we get to choose how to live. It's quite a freeing idea. Taking this approach involves a little bit more play, and wonder and curiosity.  Maybe you don't start the day by ‘eating the frog' or doing the most unpleasant thing first, but maybe you start the day with something that's pure pleasure instead. There's a fantastic example in the book, about a chef who starts the day with a bowl of porridge with a dollop of clotted cream on top, along with some brown sugar, and he just thinks that's the best way to start the day because by breakfast, he's already won the day! A perfect example of prioritizing delight over dread. Being a day artist might mean making changes to your environment, having a corner of a room dedicated to reading, for example. It doesn't need to be that you need lots of extra space, but maybe you just use your space differently. There's example in the book from Austin Kleon, who talks about having a really clear, crisp, clean work area with his computer where he writes, but then a really messy desk, which is where he does all his messy collage work. It means letting go of expectations, or at least holding them much more lightly and letting things surprise us, which can then allow us to explore what we really want, not just what we think we “should” be doing. Now, we can't seek constant novelty in life, but we can be much more attuned to it and leave space for surprise, even if it's just for an hour or 10 minutes in our day. Big idea #2 — Embrace the wobble There's lots of wobbling in our days. Maybe something takes longer than planned, or there's a distraction, an interruption, or a drama. Whatever it might be, embracing the wobble means that we might need to find ‘puddles' of time, rather than needing perfect blocks of uninterrupted time in order to get things done. It's more about self-awareness, than self-regulation, which a lot of productivity guidance can be a bit heavy on. Wobbling is a constant adjustment, we're constantly twisting and turning and balancing and bumping into things. But berating ourselves for our inconsistency takes up the precious time that we're telling ourselves off for wasting in the first place. There is no dress rehearsal in life, this is it. Maybe we need to stop letting ambition get in our way. Sometimes ambition can be a good thing, but sometimes it can be a pursuit of recognition from others, rather than a focus on doing things that we want to do. It's obviously not all bad, but maybe being more micro-ambitious, a term that she took from the wonderful Tim Minchin, is a healthier and more flexible approach that allows us to focus in what's in front of us, in the present instead of what's next. Psst, have you subscribed to the bookmark newsletter? If you liked this, you might like my twice-monthly email with book reviews and ideas of what you should be reading, and listening to, next. Click here to subscribe. Big idea #3 — Kindness over busy-ness None of us need telling twice about the modern scourge of busy-ness. It's such a barrier to connection and it's a fast track to burnout. Kindness, Madeleine says, is the antidote to burnout. Kindness with ourselves and with others. Whether that's a chat with the person serving you at the post office, or making a donation to charity, or texting a friend to say hi, incorporating a bit more kindness into our days, rather than busy-ness, can be a nice way of slowing down and remembering what's important. Kindness extends to ourselves by knowing that rest is not a bad thing. Hobbies don't need to be a side-hustles, and we can challenge all the things we tell ourselves that we should do. Otherwise it's easy to find ourselves too busy to actually enjoy life. There's a really nice analogy in the book of being like a sponge. Sometimes we're in absorption mode soaking up, resting, learning, taking in knowledge etc, but too long in absorb mode will leave us kind of sodden and a bit soggy and wet. So we need to be squeezed. We need a bit of pressure to balance us out. Ultimately, Madeline says;“Maybe we can't expect to enjoy every day, but we can find it endearing. When we reach the end of the day, instead of berating ourselves, what we did or didn't do, we can be charmed by the ordinary moments of living and what our days can bring.” Which I think is a rather nice way of thinking about life. Let's connect LinkedIn Instagram See omnystudio.com/listener for privacy information.

Since graduating in 2006 from the University of Southern Queensland with a Bachelor of Theatre Arts majoring in Acting, Tammy has worked has an actor, producer, and writer around Australia.Her acting credits include The Grand// (White Rabbit Theatre Ensemble), Single Admissions (Lazy Young and Talented/The Good Room/ Metro Arts), Fastest Clock in the Universe (THAT production company), Twelfth Night (Fractal Theatre) and The Reunion (Metro Arts Independents). She has completed several tours around Queensland and Victoria for deBase productions (Fly In Fly Out, Popping Lead Balloons) and a Queensland tour for Lightwire productions (Thoughts Have Feelings Too, Spirit of the Mask).Tammy holds a Graduate Diploma in Arts majoring in Writing, Publishing and Editing from the University of Queensland. She has written for Youth Arts Queensland blog, Critical Mass website and ArtsHub. Tammy's first full length play Single Admissions/// was performed at the Adelaide Fringe Festival, and at Metro Arts as part of the Allies program in 2010. It was nominated for six Matilda Awards including Best Independent Production and Best New Australian Work.Tammy has worked as a workshop facilitator for the University of Southern Queensland, the Roma Street Holiday program and Queensland Theatre Company. Tammy also works as a remedial massage therapist. She enjoys spending her free time interpretive dancing. For tickets or more information:https://www.wynnumfringe.com/tickets/?EventID=70www.instagram.com/tam_adelehttps://wynnumfringe.comhttps://www.facebook.com/Wynnum-Fringe-110921904074925https://www.instagram.com/WynnumFringeBrisbane is getting a fringe festival! Adelaide has the world's second largest fringe; Perth has the third. It is time for the Sunshine State to have its own and Wynnum Fringe will be its home!Podcast recorded and produced by TNC podcasting. Find out more at www.tncpodcasting.com

Arts journalist, critic and broadcaster Richard Watts joins Liz and Ben on a trip sideways in time with reluctant wizard Mervin (with a V) in Pratchett's 1995 short story "Once and Future", originally published in the Arthurian collection Camelot. As he stands on the beach waiting for the right hopeful king to come along, professional time traveler Mervin recounts his story of how he became stranded in a sideways version of medieval Britain. Here the stories of Arthurian myth are more or less real - though one notable figure is missing... With his knowledge of modern technology, a stash of emergency supplies and help from sharp local girl Nimue, he has a plan to fill the gaps in this other history... Pratchett explores a new angle on the Matter of Britain, mixing sci-fi and engineering into a story about stories and "a world that's not exactly memory and not exactly story". Published in between Interesting Times and Maskerade, but stewing in his head for a decade before that, it features some of Pratchett's most developed ideas about time travel, and was something he was proud and fond of. He even thought of turning his more extensive writings for it into a novel! Did you enjoy Pratchett's take on the practicalities of time travel? Would you have the skills to make it as a time traveler? Does it have the beginnings of a full-length novel? And what's the best thing you've ever found in a charity shop? ...we're not sure where that one fits in either, but you asked so we answered! (Thanks Ryn.) Join the conversation using the hashtag #Pratchat49 on social media. Guest Richard Watts is indeed a titan of the Melbourne arts community. He's best known as a journalist for ArtsHub, where he is the National Performing Arts Editor, and as the host of SmartArts, 3RRR's long-running weekly arts programme. As well as being named a living legend of the Melbourne Fringe Festival in 2019, Richard's contributions to the arts were further recognised in 2021 when he was awarded the Sidney Myer Performing Arts Awards' Facilitator's Prize and a Lifetime Achievement Award from the Green Room Awards. He's also written for roleplaying games including Call of Cthulhu, Elric!, Vampire: The Masquerade, Werewolf: The Apocalypse and Wraith: The Oblivion. You can find Richard online as @richardthewatts on Twitter. As usual, you can find notes and errata for this episode on our web site. Next episode is our fiftieth - and to celebrate, we're cracking open Nanny Ogg's Cookbook! This is Pratchett's 1999 collaboration with Stephen Briggs and Tina Hannan, the latter of whom is responsible for the actual recipes inside - some of which we'll be trying out with our very special returning guest, comedian and author Cal Wilson! We're also hoping to cook up something a little extra to send your way around Hogswatch as well... For now though, send us your questions - about the book, the recipes, Nanny's etiquette advice or even just doing a Pratchett podcast for over four years. Use the hashtag #Pratchat50, or send us an email to chat@pratchatpodcast.com.

Richard Watts is an arts writer and broadcaster who lives on Wurundjeri country in inner-city Melbourne. Since 2009 he has written for the arts industry website ArtsHub.com.au, where he is... LEARN MORE The post Richard Watts appeared first on Sunday Arts Magazine.

  Are you ready to learn more about NFTs? Join the conversation by adding your thoughts in the comments below!  Episode Shout-out to THE VERGE, ArtsHub, Christie's, and Davis Wright Tremaine LLP   Music Intro/Outro: “Thoughts” by Killah Smilez Music Outro: “Explained” by Killah Smilez Make sure you check out the Killah Smilez song on Amazon Catch the music video by Killah Smilez HERE ----more---- Get our book HERE Want to share the episode? Please share the episode on Facebook, Instagram, Twitter, YouTube, Pinterest, TikTok, and Soundcloud   Don't forget to subscribe to WokeNFree on iTunes, Stitcher, TuneIn, iHeartRadio, and Google Play Do you want to join the show as a guest on an upcoming episode? Contact us HERE Don't forget to submit a scenario to us for SCENARIO TIME!    SCENARIO TIME: How would you respond to these scenarios in SCENARIO TIME? Let's chat HERE!  Have you reviewed our show yet? Pick your platform of choice HERE      Do you want to start a podcast? We are here to HELP! Schedule a FREE strategy session with us HERE This post contains affiliate links. That means if you click on a link and buy something, WokeNFree will earn a small commission from the advertiser at no additional cost to you.

Hello and welcome back to another episode of No Offence, But!In today’s episode Ayeesha chats with Sabina Mckenna; writer, curator and the creator of the Where are you from? project: a photojournalistic series about cultural identity. Sabina writes predominantly in interview style and has been featured locally and internationally in publications that includeArt Almanac, Broadsheet, Archer, Acclaim, i-D, G-IRL (London), Ladies of Leisure, Catalogue Magazine, and Hopes and Fears (NYC).Her diverse creative portfolio explores themes of identity and belonging, and she is involved in a range of creative initiatives and institutions, which has included Future Girl Corp, Frieze Art Fair in New York and The National Gallery of Victoria.Where are you from? has achieved local and international acclaim, with features in press publications that include The Age, The Sydney Morning Herald, Frankie Magazine, iD UK, Fashion Journal Magazine, Acclaim Magazine, ArtsHub, Zee Feed, Vice, Broadsheet, ABC Life, ABC Radio, Triple R and FBI Radio Sydney.Sabina is of Nigerian and Irish ancestry, born and raised in Australia, and a child of diaspora. She shares about what it’s like trying to connect to a culture you’re so from, the romanticisation that comes into play and what happens when you don’t have that burning desire to go back 'home'. Plus, Sabina shares on her experiences of the ‘where are you from?’ question, which led her to start the platform, the risk of thinking that BLM has a completion point and the importance of loving yourself. Don't forget to rate, subscribe, review and tell your friends!Connect with Sabina on IG @art_workrCheck out Where are you from on IG or via their websiteConnect with us on IG @bl.ckb.rds @eeshashOr email hello@black-birds.net See acast.com/privacy for privacy and opt-out information.

Thuy On is a freelance arts journalist, critic and editor who's written for a range of publications including The Guardian, The Australian, The Saturday Paper, The Age/SMH, ArtsHub, Sydney Review of Books, and Australian Book Review. She is the books editor of The Big Issue and her first collection of poetry, Turbulence, was published in 2020 by UWAP. Interviewed by Di Cousens.Photo by Brett Rawlings Photography.

In this episode we chat we Laura Fois about the the Australian written and produced musical-turned film - Ladies in Black!ArtsHub indicated that "a comedy of mid-20th century manners, Ladies in Black is a paean to an optimistic future – the future of an uncomplicated gender equality and seamless multiculturalism. But Finn’s canny lyricism transports the play from its late 50s context to a subtle but salient comment on social issues of today."FURTHER READING:https://en.wikipedia.org/wiki/Ladies_in_Blackhttps://en.wikipedia.org/wiki/Madeleine_St_Johnhttps://www.davidspicer.com.au/shows/ladies-blackhttps://www.youtube.com/watch?v=kAUcozPj-Bshttps://youtu.be/oHRqcc-eEj0https://en.wikipedia.org/wiki/Tim_FinnLike us on Facebook! Follow us on Twitter! Support us on Patreon!Email us: musicalstaughtmepodcast@gmail.comVisit our home on the web thatsnotcanon.comOur theme song and interstitial music all by the one and only Benedict Braxton Smith. Support this show http://supporter.acast.com/musicals-taught-me-everything-i-know. See acast.com/privacy for privacy and opt-out information.

Former co-host of ArtsHub, Kristy Pearson, has been living in Papua New Guinea, and told us about what art practices she's been seeing and making herself. Broadcast on OAR 105.4FM Dunedin www.oar.org.nz

You guys. I am so excited to share this episode with you. I sit down with two creative powerhouses Kristen Maloney and Peter Wood. Kristen is a producer, writer, director and casserole lover. Peter is an actor, writer, and dramaturg, and can turn anything into brilliant choreography.To make sure that you don’t miss an ounce of the goodness that Peter and Kristen give, I have created a TRANSCRIPT which you can find in our Facebook Group and on the TNC website as of 5/9/19. Oh yes, I paid trint some money and now you can literally copy and paste a list together of all the documentation you will need to apply for a hub, the things that the Nutella crew have learned about marketing a fringe show, and so much more! This is part one of two, so stay tuned for even more invaluable information about how to make your fringe show happen.Boys Taste Better With Nutella will be at Melbourne Fringe Festival 13 to 21 September and tickets are $29 OR LESS. It is a brilliant show, I have seen it in varying stages and loved it at all of them. And yes, yes I absolutely will be booking a plane ticket to see it tour in 2020. That is how good this show is. I am booking a $200 plane ticket to see a $29 show and sip $18 cocktails. Living my best life and all that.Tell us what you think of the episode! Show the Nutella crew some love by heading to their instagram account and sharing a post, you will never believe how much those three taps help get them seen online.Keep well,-PaulaEPISODE NOTES:Things We Mentioned.....Fringe vs Curated is something we discussed briefly on mic, but which I have thought about a LOT since. Here are two cool articles on the topic that I enjoyed.This is one from Artshub, and Australian arts publication that is a must for creatives in this country (CHECK THEM OUT THEY HAVE REALLY USEFUL STUFF). The articles focuses on Melbourne Fringe, which where our Nutella crew are headed!https://www.artshub.com.au/festival/news-article/opinions-and-analysis/festivals/simon-abrahams/why-fringe-festivals-are-the-centre-point-of-our-culture-255724This one is a really insightful article from the of Dublin Fringe Festival which goes into the politics of fringe festivals more, partly because that is the Dublin Fringe festival’s MOhttps://www.irishtimes.com/culture/the-answer-is-more-dublin-fringe-director-on-choosing-acts-and-supporting-artists-1.3983826.....Peter mentioned he hadn’t had a break since May; we recorded this episode back in July, so while that is still a long time, it’s 2ish months not 3. But still definitely send him some nice messages on Insta.....Moreblessingma, AKA Moreblessing Maturure, is an activist, actor, writer, speaker, and has a goddamn TEDtalk (which 100% distracted me from editing this episode TWICE). Watch it (right now) here: https://www.youtube.com/watch?v=PlrduXFtUQkFind her on Instagram here: https://www.instagram.com/moreblessingma/?hl=en.....Boys Taste Better With Nutella won best actor, best script, best production at Short and Sweet QLD back in 2016, and a development at the Brisbane Powerhouse to turn it into a full length show. You should absolutely book tickets right now, the link is down below!.....Public liability insurance is “designed for professionals who interact with customers or members of the public. It protects against claims of personal injury or property damage that a third party suffers (or claims to have suffered) as a result of your business activities,” – Aon Insurance. Find out what they have to say about it here: https://business-insurance.aon.com.au/Public-Liability-InsuranceI am in no way associated with Aon, nor am I recommending them btw, they just had a good quick definition......A certificate of currency is just a certificate that proves your insurance is current, and it includes a few details about your policy and what is covered by it......An omni-channel approach means that you use a variety of channels to execute your marketing campaign. These channels are different types of media: social media, flyers, print ads, radio spots, creating content like youtube videos, etc. Read a little more about what it is, how to implement it, and get some examples here: https://www.emarsys.com/resources/blog/multi-channel-marketing-omnichannel/.....Fleabag by Phoebe Waller-Bridge is a one-woman show which you absolutely have to see if you ever get the chance. This is a sublime character study of “some sort of woman living her some sort of life” as Melbourne’s Malthouse theatre said in it’s blurb when Fleabag was part of the Melbourne Fringe Festival. Read the blurb and some really great reviews here: https://malthousetheatre.com.au/whats-on/fleabagLearn more about Phoebe and Fleabag here: https://www.wonderlandmagazine.com/2019/09/03/review-fleabag-theatre-phoebe-waller-bridge/Andher other projects like Killing Eve here: https://www.theguardian.com/tv-and-radio/2018/sep/08/phoebe-waller-bridge-fleabag-killing-eve-transgressive-women.....You can find Boys Taste Better With Nutella here:Check out the Instagram account here: https://www.instagram.com/brdgt_m/Look at the Facebook Event https://www.facebook.com/events/521248771978615/BOOK YOUR TICKETS HERE AND NOW: https://melbournefringe.com.au/event/boys-taste-better-with-nutella/ I guarantee that you will laugh so hard you cry, and then cry a little, and then laugh again, and then tell all your friends about this show that they have to see before it sells out (because it will).And here is a super fun video Caitlin did on her Youtube channel for the show here: https://www.youtube.com/watch?v=I2hjz4qnDL4You can find Peter here:Instagram: https://www.instagram.com/peterwood/Facebook:https://www.facebook.com/Peter-Wood-2178304295767344/You can find Caitlin here:Instagram: https://www.instagram.com/thatgirlonline/Youtube her brilliant snacks and facts series https://www.youtube.com/watch?v=QJmspoMoUsUYou can find Kristen here at Backyard Theatre Collective:Instagram: https://www.instagram.com/backyardtheatrecollective/And their Facebook here: https://www.facebook.com/backyardtheatrecollective/?eid=ARDdi_qsZ2Mnwo7nbwOK3pYkWSu5UmKv2on6elP9HyniDRRqTaoOKQ9BkSZkZwZMUruHJ335oQJhuecHHad a chuckle? Feeling less alone? Don’t forget to rate and review the podcast! It tells the algorithm to suggest us to other people.If you’ve stumbled upon us, you can join the community on Instagram as stumblethroughpod here: https://www.instagram.com/stumblethroughpod/Produced by That’s Not Canon Productions. Graphics by Claudia Piggott. Music by Jessica Fletcher.Subscribe to us on ITUNES, STITCHER, SPOTIFY, RADIOPUBLIC or your podcatcher of choice.Find us on FACEBOOK or INSTAGRAM.

Maeve Marsden is a writer, producer and theatremaker, focusing on comedy, cabaret, live music and storytelling.  Mother’s Ruin: A Cabaret about Gin, a theatrical cabaret Maeve wrote and performs in has sold out seasons at Sydney Festival, Perth Fringe World, Adelaide Cabaret Festival, Adelaide Fringe, Festival of Voices (Tasmania), Melbourne Cabaret Festival, the Sydney Opera House, Edinburgh Festival Fringe and Underbelly Festival, London, as well as regional seasons in Australia and the UK. Mother’s Ruin was named one of Time Out’s Best 10 Shows on Sydney Stages 2017. Winner Best Cabaret, Sydney Fringe 2016, Lady Sings it Better, a feminist comedy cabaret act Maeve directs and performs in has been touring to critical acclaim for 8 years, with seasons at Sydney Comedy Festival, Melbourne International Comedy Festival, Adelaide Fringe Festival, Festival of Voices (Tasmania) and the Edinburgh Festival Fringe, among others.  Maeve also hosts and programs Queerstories, a storytelling event and podcast that features members of the LGBTQI community, has been running monthly at Giant Dwarf in Sydney since September 2016, with satellite events in Melbourne and Brisbane. Winner Best Spoken Word, Sydney Fringe 2016, Queerstories has sold out every month since its inception, and has welcomed Australian LGBTQI icons to its stage. As a child of same-sex parents, Maeve is passionate about the rights of diverse families, and she writes and speaks on the issue often. As a writer, her work has appeared in the Sydney Morning Herald, The Guardian, Junkee, ABC Online, SBS Online, ArtsHub, Daily Review, Archer Magazine and Audrey Journal. In 2018, she edited at the ABC’s Sydney Mardi Gras 40th Anniversary Magazine, and she is currently editing a book for Queerstories, due for release with Hachette Australia in 2018. Maeve likes gin, dancing, cheese and TV melodramas with good ethics and bad dialogue. In this episode: We chat about leaving the day job and moving into being a full-time artist.  The importance of a long-term strategy and taking time to work on a show's development.  We then delve deep into what it really takes to have a SOLD OUT season at Edinburgh Fringe Festival and what it took to achieve that.

Matthew Thomas's performance of Eight Songs for a Mad King (Peter Maxwell Davies) on the inaugural Melbourne Festival was "astoundingly effective" wrote ArtsHub in a review. The piece calls for "a realisation of [a] deranged royal... demanding a range of three octaves, a raft of extended vocal technique (some extreme), and fine acting skills."  Thomas talks with RBF Australia's co-director Jane Sheldon about the evening.

The Moonlit Road is a gothic horror short story by American writer Ambrose Bierce. A retelling of the murder of Julia Hetman from the perspectives of her son, a man who may be her husband, and Julia herself. Performed by Stefan Taylor at Melbourne Fringe Festival. From what ArtsHub describes as: "a quartet of classic and contemporary horror stories that have been masterfully adapted into a captivating theatrical performance featuring an accomplished and wonderful performance by the very talented actor Stefan Taylor." For more creepy thrills, read Stefan's debut young adult horror novella, Beyond the Boundary Fence: https://www.amazon.com.au/Beyond-Boundary-Fence-Stefan-Taylor-ebook/dp/B013O6NP30 -- Arranged and Performed by Stefan Taylor Directed by Helen McFarlane Sound by Billy Tea Cameras by Simon J Green & Adam Bennett Edited by Glynn Cathcart

The Raven is a classic narrative poem by American writer Edgar Allan Poe. It tells the tale of a distraught man visited by a talking raven. As he struggles with the loss of his lover, the raven's presence leads the man deeper into madness. Performed by Stefan Taylor at Melbourne Fringe Festival. From what ArtsHub describes as: "a quartet of classic and contemporary horror stories that have been masterfully adapted into a captivating theatrical performance featuring an accomplished and wonderful performance by the very talented actor Stefan Taylor." For more creepy thrills, read Stefan's debut young adult horror novella, Beyond the Boundary Fence: https://www.amazon.com.au/Beyond-Boundary-Fence-Stefan-Taylor-ebook/dp/B013O6NP30 -- Arranged and Performed by Stefan Taylor Directed by Helen McFarlane Sound by Billy Tea Cameras by Simon J Green & Adam Bennett Edited by Glynn Cathcart

The Open Window is a macabre Edwardian short story by British writer Saki. A young girl tells the visiting Mr Nuttel the story of her mad aunt's tragic loss. A hunting party went out and never returned, but the family are certain one day, they may... Performed by Stefan Taylor at Melbourne Fringe Festival. From what ArtsHub describes as: "a quartet of classic and contemporary horror stories that have been masterfully adapted into a captivating theatrical performance featuring an accomplished and wonderful performance by the very talented actor Stefan Taylor." For more creepy thrills, read Stefan's debut young adult horror novella, Beyond the Boundary Fence: https://www.amazon.com.au/Beyond-Boundary-Fence-Stefan-Taylor-ebook/dp/B013O6NP30 -- Arranged and Performed by Stefan Taylor Directed by Helen McFarlane Sound by Billy Tea Cameras by Simon J Green & Adam Bennett Edited by Glynn Cathcart

We chat to poet, editor & essayist Omar Sakr about his new collection of poetry set to come out early 2017, he reads some of his work & floors us. Also we catch up with countertenor diva, jazz singer and cabaret artiste Mama Alto about her new show and hear about her project The Divine Femmes, a trans and gender diverse choir.   Omar Sakr is an Arab Australian poet whose work has featured in Meanjin, Overland, Mascara Lit Review, The Guardian, The Saturday Paper and Junkee, among many others. He has been shortlisted for the Judith Wright Poetry Prize for New and Emerging Poets, as well as the ACU Poetry Prize. You can purchase a copy of his collection of poetry, ‘These Wild Horses’ here. Mama Alto is a countertenor diva, jazz singer and cabaret artiste. Fierce, femme and fabulous, she has been lauded as “divine” (Havana Tribune, Cuba), as “near flawless” (The Age), and “a knockout” (The Herald Sun). She fascinates audiences with “an idiosyncratic mix of statuesque fragility” (The Music), and the accolades roll in from there - “velvet-voiced” (Sometimes Melbourne), “angelic vocal perfection” (The Plus Ones), “transcendent” (Stage Whispers), “breathtaking” (ArtsHub), “hypnotically beautiful, elegant and mysterious” (Adelaide Advertiser), and “bewitching” (SameSame). 
Follow what Mama Alto is up to via her Facebook page.Music: Mykki Blanco -- Loner (Mykki, 2016).Arthur Russell -- Arm Around You (Calling Out of Context, 2004).Blood Orange -- Best to You (Freetown Sound, 2016).

On Thursday night I showed up at La Mama ready to see The Ribcage Collective’s new work of experimental theatre. The Ribcage collective are a collaborative group of young theatre makers from varied theatrical backgrounds. For a second year running they have written, devised and performed works of immersive, sight-specific theatre at La Mama in Carlton. Their previous show was described by ArtsHub as “an intimate theatrical experience enough to reawaken a childhood sense of play”. That sounded pretty good to me. At the beginning of the evening we found out the recent arts funding cuts had just forced the closure of Platform Youth Theatre, the organisation that had brought these performers together. The kind of theatre we were about to see – youth-driven, experimental – is becoming harder and harder to make, even though it seems essential that young people have opportunities ambition, funded work. The show was based around a new Australian myth written by the group. It followed a family through three generations and a lot of hardship – from earth to hell and back again. The myth was told by a woman dressed as the sun; a “very wordy sun” as my viewing companion put it. The sun was so wordy that neither of us were able to follow the story, although that didn’t necessarily matter, we were told, because the three acts that made up the bulk of the work were also designed to be experienced separately. The audience was split into two, each group led by a guide through three site-specific pieces. The stories were vivid, each with a unique sense of place and drama. In one, a woman seems to be drowning in a bath of silver while another woman looks on, calmly smoking a cigarette. In another, a brother and sister quarrel as they are trapped in their dead fathers home. In my favourite story, a young boy philosophises with his fish, only to find the fish has come alive and is gyrating on his bed in a slinky dress. All of the stories had a great sense of playfulness and surprise. Moments like the fish coming alive, or a woman being dunked in silver liquid, were thrilling to watch. The spaces – some more ‘traditional’ than others, were cleverly used. A hole in the ceiling of one space allowed the silver liquid to be dunked secretly, a decrepit staircase became a dramatic entrance way. Some moments in the piece did feel little heavy-handed. Metaphors were either obvious – a chain is passed from actor to actor ‘linking’ the 3 pieces together – or too abstract and complex to be accessible. “What did the silver stuff mean?” someone asked later. Talking to audience members afterwards, there was a general sense of confusion – what did that mean? How did the stories link together? We couldn’t figure it out. It was a relief to slip into the Q+A session afterwards and find a panel of enthusiastic performers keen to answer our questions. It because clear how much thought had gone into every element – the metaphors may have been confusing, but that wasn’t because they lacked depth. Hearing the performers talk afterwards somehow made the work as a whole more enjoyable for me. Their thoughtfulness and passion redeemed the show’s weaker moments. It was during the Q+A that I realised we were in the company of a school group: young girls about to go into Year 12 drama. They asked about the world beyond high school plays and the performers willingly shared their knowledge. It was the innocent being led by the less innocent, a charming moment slightly overshadowed by the recent funding cuts. One performer said “There aren’t many opportunities left, so you’ve really got to put yourself out there.” Another chimed in “but if you do, you will find people willing to help.” And, if there is hope that courageous youth theatre will not only endure, but thrive, the Ribcage Collective are certainly a shining example. Written by Beth Gibson.See omnystudio.com/listener for privacy information.

On Thursday night I showed up at La Mama ready to see The Ribcage Collective’s new work of experimental theatre. The Ribcage collective are a collaborative group of young theatre makers from varied theatrical backgrounds. For a second year running they have written, devised and performed works of immersive, sight-specific theatre at La Mama in Carlton. Their previous show was described by ArtsHub as “an intimate theatrical experience enough to reawaken a childhood sense of play”. That sounded pretty good to me. At the beginning of the evening we found out the recent arts funding cuts had just forced the closure of Platform Youth Theatre, the organisation that had brought these performers together. The kind of theatre we were about to see – youth-driven, experimental – is becoming harder and harder to make, even though it seems essential that young people have opportunities ambition, funded work. The show was based around a new Australian myth written by the group. It followed a family through three generations and a lot of hardship – from earth to hell and back again. The myth was told by a woman dressed as the sun; a “very wordy sun” as my viewing companion put it. The sun was so wordy that neither of us were able to follow the story, although that didn’t necessarily matter, we were told, because the three acts that made up the bulk of the work were also designed to be experienced separately. The audience was split into two, each group led by a guide through three site-specific pieces. The stories were vivid, each with a unique sense of place and drama. In one, a woman seems to be drowning in a bath of silver while another woman looks on, calmly smoking a cigarette. In another, a brother and sister quarrel as they are trapped in their dead fathers home. In my favourite story, a young boy philosophises with his fish, only to find the fish has come alive and is gyrating on his bed in a slinky dress. All of the stories had a great sense of playfulness and surprise. Moments like the fish coming alive, or a woman being dunked in silver liquid, were thrilling to watch. The spaces – some more ‘traditional’ than others, were cleverly used. A hole in the ceiling of one space allowed the silver liquid to be dunked secretly, a decrepit staircase became a dramatic entrance way. Some moments in the piece did feel little heavy-handed. Metaphors were either obvious – a chain is passed from actor to actor ‘linking’ the 3 pieces together – or too abstract and complex to be accessible. “What did the silver stuff mean?” someone asked later. Talking to audience members afterwards, there was a general sense of confusion – what did that mean? How did the stories link together? We couldn’t figure it out. It was a relief to slip into the Q+A session afterwards and find a panel of enthusiastic performers keen to answer our questions. It because clear how much thought had gone into every element – the metaphors may have been confusing, but that wasn’t because they lacked depth. Hearing the performers talk afterwards somehow made the work as a whole more enjoyable for me. Their thoughtfulness and passion redeemed the show’s weaker moments. It was during the Q+A that I realised we were in the company of a school group: young girls about to go into Year 12 drama. They asked about the world beyond high school plays and the performers willingly shared their knowledge. It was the innocent being led by the less innocent, a charming moment slightly overshadowed by the recent funding cuts. One performer said “There aren’t many opportunities left, so you’ve really got to put yourself out there.” Another chimed in “but if you do, you will find people willing to help.” And, if there is hope that courageous youth theatre will not only endure, but thrive, the Ribcage Collective are certainly a shining example. Written by Beth Gibson.

"Risk is not so risky. It’s a necessity. It is how forms develop, how we find new audiences, new artists, how cultural conversations happen." - Angharad Wynne-Jones In our momentous final, fifth episode on responsibility, Fleur and Jana speak with two great women of the Australian performing arts: all-round cultural leaders Angharad Wynne-Jones, Artistic Director of Arts House Melbourne, and Esther Anatolitis, Director of Regional Arts Victoria (formerly CEO of Melbourne Fringe). In an emotional, grounding ending to the series, we touch on some important, often neglected questions: how do we create an ecology that supports the artist, as well as the arts?" "The independent arts is a hell of a lot stronger than any arts minister in any doomed-to-fail attempt to politicise the ways that art gets made.” - Esther Anatolitis This is a very special episode. As Angharad and Esther spoke with an authenticity and feeling that is rare in public discourse. We felt very privileged to have them with us, and we all left in tears. Discussed in this episode: George Brandis, being a person with a 'decision-making potential and capacity to be confused', the future, 'creating new artistic frameworks for established arts companies' and what that could possibly mean, the difference between advocacy and lobbying, audiences, the importance of having rigorous conversations about art, being accountable to the rate-payers of the City of Melbourne, bushfires, Kat Muscat, burn-out, and what is cultural leadership anyway?! With this episode ends our season on responsibility, Fleur's baby, a season which has taken us some very deep places. We will take a short break now, to recover from the rollercoaster and consider what to do next. But stay tuned: we have more exciting and intellectually rigorous conversations to come. Podcast bibliography: Keith Gallasch: Interview, Angharad Wynne-Jones, RealTime 109, June-July 2012 Michael Short: Esther Anatolitis enters The Zone, The Age, April 25, 2011 Richard Watts: Kat Muscat's life celebrated at emotional Melbourne farewell, ArtsHub, August 4, 2015 see Angharad Wynne-Jones speak about FOLA 2014 estheranatolitis.net.

This week, we take you behind-the-scenes at one of the city's most dynamic theaters, Artists Repertory Theatre, with a show recorded in front of a live audience on the Alder Stage.The longest-running company in town has hit a creative artery. Under the artistic direction of Dámaso Rodriguez, the theater has both expanded its resident artist company from five people to more than 20 and opened its doors to eight other performing organizations, from Profile Theatre and Hand2Mouth to Portland Revels and the Risk/Reward Festival.And at the center of what everyone's now calling "The ArtsHub" is Rodriguez. He is on a mission, and he lays it out for us this hour as guest curator. 0:00 - Rodriguez moved to Portland two years ago from Los Angeles, where he co-founded Furious Theatre Company and worked as associate artistic director of the Pasadena Playhouse. He tells us about his original plans to grow Artists Rep's resident artists company — and how it's going thus far. 9:17 - Musical interlude by the band Bourbon Jockey. 9:45 - So much is going on in the ArtsHub everyday that we wanted to dive in to see what a day-in-the-life of the building is like. So we sent three producers to travel from dress rehearsals to the buzzing scene shop. We descended into "The Dungeon" in search of a dragon costume, before joining a roomful of singing and dancing teenagers. The result is this behind-the-scenes radio documentary. Needless to say, there wasn't a quiet minute. Also, watch our slide show. 29:54 - We ask Rodriguez what he was thinking inviting so many organizations under one roof (because it seems just a little crazy) and whether it's a model for nonprofits moving forward. 33:48 - Musical interlude from Bourbon Jockey. 34:49 - Three working actors take us through what it takes to make a living, and Rodriguez tells us how he hopes the resident artists program might change things. 44:31 - Finally, we check in with award-winning playwright Andrea Stolowitz, who's currently in Berlin, and Rodriguez tells us about Artists Rep's ambitious program to commission eight new plays. Hear our full interview with Stolowitz here.If you want to learn more about Rodriguez, you can listen to our preview interview with him.Finally, here are just a few of the shows going on at the ArtsHub this summer:Hand2Mouth Theatre: "Time, A Fair Hustler" (July 28–Aug 16)Portland Shakespeare Project: "Twelfth Night" (July 8–Aug 2) and "Proscenium Live" staged readings (July 14, 19, 20)Profile Theatre's In Dialogue Stage Readings: "The Lady Onstage" (July 13, 14)Risk/Reward Festival of New Performance (July 10–19)

"I think being part of the community is key to being a good critic." - Jane Howard "My rule of thumb is, if they've been to my house for dinner, or I've been to their house for dinner, I'm not going to review them." - Richard Watts In the second episode of our season on responsibility and art, our guests are Jane Howard, SA-based theatre critic whose work appears in The Guardian, Kill Your Darlings and Meanjin, and Richard Watts, host of SmartArts for 3RRR, national reviews editor for ArtsHub and long-term champion of Melbourne arts. We talk about responsibility in arts journalism and criticism: how much of it is advocacy and how much critical reflection, ignorance and how to avoid it, and how to avoid becoming friends with artists! "One of the things that got me into reviewing in the first place was going to the theatre and hearing critics in the foyer afterwards loudly complaining about a show and then seeing a very lukewarm review, a blandly critical review published the next day. I thought “No, it’s important to actually be critical.” As much as I admired Margaret Pomeranz’ passion for Australian cinema, for example, I thought that by going soft on Australian film she did the industry and the audience a disservice." - Richard Watts Discussed in this episode: processing difficult art, writing about famous people whose work you have never seen before, conscious and unconscious bias, Cameron Woodhead, feminist comedy, how bad art can make for a very good review, seeing Atlanta Eke, Strictly Ballroom, drunk Saturday night crowds that laugh at anything, Margaret Pomeranz, Priscilla Queen of the Desert the Musical, whether being a feminist reviewer will harm your career, so many white voices!, issues of race and gender, and whether 200 words could ever be enough. "One of the interesting things about theatre criticism… is the breadth of works that theatre critics are supposed to see…. A literature critic isn’t going to review 50 Shades of Grey unless it’s a joke. Most of them aren’t reviewing commercial fiction; they’re reviewing literature. But theatre critics must review both small, independent, artistically difficult work - and we review musicals." - Jane Howard Stay tuned: we have more exciting and intellectually rigorous conversations to come. Podcast bibliography: Lyn Gardner: Theatre review: Menopause the Musical (The Guardian, 20 April 2007) Fleur Kilpatrick in conversation: Cameron Woodhead on The City They Burned, hetero-normativity, the bible, how i got it wrong (School for Birds, 23 September 2014) Fleur Kilpatrick in conversation: Gabriel Comerford on critical culture in Brisbane dance (12 September 2014)

Shared workspace is all the rage with start-ups, artisans, and freelancers these days, but does it work for arts nonprofits? Artists Repertory Theatre is finding out. It has invited eight other theater-related organizations to cozy up in an experiment in cohabitation. They're calling it the Artshub, and they're hoping it might prove a model for future nonprofits.On any given day, there're plays opening, rehearsals rehearsing, scene shop saws buzzing, students singing, and pigeons making googly eyes.We sent three producers to spend an entire day at the building exploring everything that was happening, from the first person in to the last person to turn out the lights, and this behind-the-scenes documentary is the result. Host April Baer introduces the ArtsHub — along with our ArtsHub drinking game. 00:52 - Artists Rep artistic producer Shawn Lee is the first in most days. He circles the building looking for new graffiti and trash, and then heads in to deal with production notes from the previous evening's opening preview of "The Invisible Hand." 3:09 - Production director Brent Sullivan takes April down to the scene shop, where they're building the set for "The Price," and then into the Alder Stage, where they're hanging lights. (She also stopped in to learn about making breakable vases and blood splatters with prop master Natalie Heikkinen. Hear it here.) 6:22 - While machines fire in the belly of the building, producer Aaron Scott heads upstairs to the Artists Rep offices. Jerry Tischleder, the artistic director of the Risk/Reward Festival, plays air traffic control; pigeons soundtrack inner monologues; and managing director Sarah Horton squints and tries to figure out how to make it all work financially. 8:40 - In the lobby, curators of the Geezer Gallery are hanging artwork. Production assistant Phoebe Flanigan asks what exactly make a geezer, before heading down to "The Dungeon" with Portland Revels in search of a dragon. 11:20 - Host April Baer hangs out with Profile Theatre artistic director Adriana Baer (no relation). As the biggest tenant, Profile served as a lynchpin for the Artshub, putting on its shows between Artists Rep's shows, filling both theaters year round. And now Adriana is finding new ways to cross-pollinate: she's directing "The Price" for Artists Rep. 14:12 - On the other side of the building, a group of teenagers are singing fearlessly at the musical theater conservatory Staged. Being in the building means they're getting to see what it means to succeed in the theater. 16:02 - We head to one of the final rehearsals for "The Invisible Hand," which had its first preview the night before. The play is a tense economic thriller that has been four years in the making for director Allen Nause. Listen to his conversation on "Think Out Loud" with the Pulitzer-winning playwright, Ayad Akhtar, and lead actor Imran Sheikh. 17:55 - As "The Invisible Hand" actors warm up for the show (for resident artist John San Nicholas, that means rapping in a Pakistani dialect), the audience starts to crowd into the lobby and file into the theater. Then after the show, the production assistants reset the stage, and the janitor starts his circuit.

Touring around Artist Rep's ArtsHub, one of our favorite moments was hanging out with prop master Natalie Heikkinen

This week, we take you behind-the-scenes at one of the city's most dynamic theaters, Artists Repertory Theatre, with a show recorded in front of a live audience on the Alder Stage.The longest-running company in town has hit a creative artery. Under the artistic direction of Dámaso Rodriguez, the theater has both expanded its resident artist company from five people to more than 20 and opened its doors to eight other performing organizations, from Profile Theatre and Hand2Mouth to Portland Revels and the Risk/Reward Festival.And at the center of what everyone's now calling "The ArtsHub" is Rodriguez. He's on a mission, and he lays it out for us this hour as guest curator. 0:00 - Rodriguez moved to Portland two years ago from Los Angeles, where he co-founded Furious Theatre Company and worked as associate artistic director of the Pasadena Playhouse. He tells us about his original plans to grow Artists Rep's resident artists company — and how it's going thus far. 8:39 - Musical interlude by the band Bourbon Jockey 10:00 - So much is going on in the ArtsHub everyday, that we wanted to dive in to see what a day-in-the-life of the building is like. So we sent three producers to travel from dress rehearsals to the buzzing scene shop. We descended into "The Dungeon" in search of a dragon costume, before joining a roomful of singing and dancing teenagers. The result is this behind-the-scenes radio documentary. Needless to say, there wasn't a quiet minute. 30:09 - We ask Rodriguez what he was thinking inviting so many organizations under one roof (because it seems just a little crazy) and whether it's a model for nonprofits moving forward. 33:22 - Musical interlude from Bourbon Jockey 35:04 - Three working actors take us through what it takes to make a living, and Rodriguez tells us how he hopes the resident artists program might change things. 44:54 - Finally, we check in with award-winning playwright Andrea Stolowitz, who's currently in Berlin, and Rodriguez tells us about Artists Rep's ambitious program to commission eight new plays.

Peter Taggart is a Brisbane-based writer and theatre critic for ArtsHub. He writes about his family and occasionally Meryl Streep's family on his blog On The Verge of Compassion and co-hosts the fortnightly pop culture podcast Bring A Plate.