ANNUAL REPORT
02—06
Our Visi—on Statement of Purpose Artistic Director Board Chair
07—30
Season 20—19 Intersection 20—19: Arrival Follow Me Home Bathory Begins April Aardvark Fangirls CUSP
31—41
Department—s Writing Workshops Learning Development Marketing Archives
42
Financial—s
43—46
ATYP Staff Board Atypicals Partners and Supporters Donors
ATYP
ANNUAL REPORT 20—19
02
OUR VISI—ON To forever raise expectations of what theatre with young people can achieve. Statement of Purpose ATYP exists to help young people find their voice, and together, inspire all Australians. We believe that an involvement in theatre builds better people. Theatre develops confidence, creativity and community. It challenges us to reflect on and better understand ourselves and our society. Young people are a vital part of that society. We do this through four aspirations: 1. Be indisputably recognised nationally and internationally as a leading theatre company that fearlessly champions young artists. 2. Inspire a life-long love of theatre by connecting young people with the professional theatre industry. 3. Pioneer and be ever-responsive to the use of technology to enrich the experience of, and expand access to, ATYP. 4. Lead, strengthen and celebrate the Australian Youth Arts community.
ATYP continues to be guided by four long-term strategies. These provide the holistic thinking that sits across all company activities and discussions. They are: → National Impact Recognise the company’s role as the national youth theatre and ensure programs resonate and impact locally, regionally and nationally. → Artistic Excellence Connect young people with industry leaders and foster partnerships with artists, companies, venues and events synonymous with artistic excellence. → Innovation Embrace the evolving nature of storytelling as it relates to young people and their place in the world and celebrate risk and experimentation. → Pathways Maintain an environment that develops confidence and creativity in all young Australians by offering inclusive access to the company and supporting the career development of emerging professionals.
ARTISTIC DIRECTOR It gives me great pleasure to present the 2019 Annual Report, my tenth as Artistic Director. Vella and Emme Hoy and April Aardvark by Nathaniel Moncrieff, received very positive audience responses. Together with the collection of short plays by young writers, Intersection 2019: Arrival, these published scripts are being purchased and performed by schools across the country.
In comparison to the years on either side, 2019 was a year of consolidation and relative calm for ATYP. Having moved off The Wharf in 2018, 2019 saw the company continue to negotiate the delivery of workshops and productions across multiple venues both locally and nationally from its temporary offices on William Street in the centre of Sydney. As ATYP awaits the development of its new home on Pier 2/3 in Walsh Bay, the strategic focus and challenge lies in retaining audiences, workshop participants and donors through this period of disruption. The year offered continued artistic success. The new Australian musical Fangirls by young sensation Yve Blake, commissioned and developed by ATYP and presented in partnership with Queensland Theatre Company, Belvoir and the Brisbane Festival, received standing ovations, sell-out seasons and was seen by over 19,000 adoring fans. CUSP by Mary Anne Butler - ATYP’s professional co-production with Brown’s Mart in Darwin, received rave responses and a request for a future tour of the Top End. The annual ATYP Foundation Commissions, Bathory Begins by Gretel
In 2019, ATYP continued to consolidate its standing as the home of Australian playwriting with the launch of two new annual commissions. Ambassador Rebel Wilson launched the Rebel Wilson Comedy Commission for young female playwrights, the first of which was awarded to Hannah Reilly. The second opportunity was a partnership to coordinate and support the Martin-Lysicrates Prize, a writing competition where an audience of young people chooses a play that will be commissioned. These initiatives run alongside the Fresh Ink National Mentoring program and the annual National Studio playwrights’ retreat. The workshop programs continued to offer opportunities for young people to engage in outstanding theatre experiences throughout 2019. The demands of delivering holiday and weekly classes in multiple locations required a change to the staffing structure, with Claudene Shoesmith being promoted to Workshops Coordinator to oversee the holiday programs, and Rowan Bate as Education Coordinator, both reporting to the Workshops Manager Rob Jago. While the workshop programs were able to secure some growth over the year, the impact of moving off The Wharf and losing a permanent home remains significant. This is despite the tireless efforts of the Workshops team.
ATYP
ANNUAL REPORT 20—19
Indeed the impact of being off The Wharf continues to affect all income streams. For the second successive year ATYP posted a significant loss. Comparisons of audience attendance, workshop enrolments, fundraising and private giving prior to the move in 2018 reinforce the importance of a permanent home in the creative arts precinct. The primary reason for this loss, however, remains the difficulty of securing donations and support from trusts and foundations during the transition.
As I write this report in April 2020, it is clear these troubling times of transition have a way to go. I am grateful ATYP has a board and staff with the tenacity, conviction and good humour to weather these difficult times and I look forward to emerging into the exciting opportunities that lie eighteen months ahead.
The sense of disruption was exacerbated when the Pier 2/3 development itself was thrown into question. Following the March state election, it was reported that there was a possibility the development may not go ahead at all as a significant increase in building costs had caused internal government concern. The project remained uncertain until November when it was confirmed that the development of Pier 2/3 would go ahead and work could commence. This delay had ramifications for fundraising, the launch of the Capital Campaign and future planning of many ATYP programs. ATYP is indebted to the leadership and guidance of Interim Chair Chris Puplick AM who played a key role ensuring the company was central to the NSW State Government discussions and considerations throughout this period. I would also like to acknowledge the exceptional contributions of Janine Lapworth, Chair of the Pier 2/3 sub-committee, and Sean Denney, Chair of the Finance sub-committee. Indeed the commitment, expertise and passion of ATYP’s entire board are some of the company’s greatest assets. Despite the financial and logistical hardships during this period of transition, staff morale remained very high. This is due largely to the calm guidance and leadership of General Manager Amanda Wright. 2019 was Amanda’s first full year with the company and her impact and influence have been felt by all. Supported by a highly experienced leadership team of Chrissy Riley, Robert Jago, Kar Chalmers and Stephen Attfield, ATYP was a joyous place to work in 2019.
Fraser Corfield
04
BOARD CHAIR 2019 was another outstanding year in terms of our artistic output. with a variety of partners. Our workshops continue to be highly regarded and, as we must, we are exploring additional opportunities in the digital environment. Fraser’s leadership continues to be a source of both strength and inspiration. Financially we have been challenged again in an environment where both government funding and philanthropic support have been reducing and where competition for scarce funds is ever increasing.
This is my first opportunity to report as Chair of the ATYP Board and I am grateful to all my fellow Board members for entrusting me with this great responsibility at a particularly challenging time in the company’s long history. I would like to start by thanking my predecessor, Mark Warburton, for his stewardship of the company over the last few years. Mark made a great contribution, especially in presiding over all the initial steps involved with our leaving our previous home at Pier 4/5, settling us in new premises and preparing us for our return to a spectacular new facility at Pier 2/3. In my report I do not intend to repeat the details which will be found in the Artistic Director’s Report or those of our financial and fundraising reports. Suffice it to say that 2019 was another outstanding year in terms of our artistic output. Our shows, and in particular our extensive commissioning programme, place us at the leading edge of youth theatre in Australia, as does our programme of collaboration
We have been exceptionally fortunate, especially in this transitional time, to have the ongoing support of the ATYP Foundation which has always been there for us, as and when needed. With its support and with the activities of our own fundraising team, we have managed this year well and placed ourselves in a good position to meet the requirements which the move to Pier 2/3 will impose upon us. In relation to Pier 2/3, I must say that while there have been the inevitable delays that occasion any major government public works project, I am highly appreciative of the co-operation we have received from Create NSW and the personal support from the Hon Don Harwin MCL, NSW Minister for the Arts. We have been able to work with them on all the legal, financial and technical aspects of what will be one of the most defining activities in our more than 50-year history. We have had great input to the final design stage of this project and it all comes together as we anticipate we will be housed in one of the great arts spaces in Australia. Of course, all this won’t be without its difficulties and there are many loose ends still to finalise, but the prospect and the opportunities could not be more exciting.
ATYP
Any Board Chair is only as good as the team he or she has in terms of the fellow members. In 2019 we have seen a major renewal of the Board membership. We found that with Mark’s departure and that of Nancy Fox, Monique Farmer, Sophie Lieberman, Simon Webb, Simon Burke AO and John Penton, there were a number of Board positions to fill. We did this in a slightly different fashion through a call-out to the industry and our various networks to seek expressions of interest in joining the Board. I was thrilled that we received over 40 such expressions giving us not only a real headache in sorting through all the talent on offer, but also enormous scope to pick the very best people to meet the requirements for Board strengthening which we had identified. The group of people we eventually recruited have brought an exceptional wealth of experience, enthusiasm and talent to the Board. In welcoming Donna, Gillian, Nancia, Daniel and Nicole – all of whose biographies are included in this report - we add to the ongoing knowledge and experience of Fraser, Tasnim, Nina, Nick, Sean and Janine. Any new Board takes time to settle down, to learn the ropes and to get used to working as a team. I am delighted at how smoothly this transition has been accomplished and I’m looking forward to some robust discussions and some serious decision making in the year ahead. Towards the end of 2018 Amanda Wright joined us as Company Secretary and has been quick off the mark in getting to grips with all the responsibilities that a General Manager must discharge. I am truly appreciative of just how quickly she has taken over leadership of that side of our operations. I pay great tribute to Amy Maiden who left us for greener pastures and who had done so much to bring the company to the level of professional operation which it now exhibits. 2020 will undoubtedly bring its own challenges but I am sure that ATYP will rise to meet them all.
Chris Puplick AM
ANNUAL REPORT 20—19
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ATYP@ GRIFFIN
30.01— 16.02.19
INTERSECTI —ON 20—19: ARRIVAL Writer—s 2018 National Studio Director Sophie Kelly “ATYP Intersection 2019: Arrival ends up being another one of these powerhouse performances that gives one faith in the future writing and performance of Australian theatre.” —Lisa Thatcher
“...director Sophie Kelly uses to her advantage in cultivating an irresistible vivacity for a show that keeps us wanting more. Set design by Tyler Ray Hawkins is attractive and sophisticated, cleverly utilising abstract patterns to stoke our imagination. Martin Kinnane’s lights are called upon to inject drama, highly effective in enhancing all that the cast aim to unfurls on stage.” —Suzy Goes See
Image—Justin and Luke Stambouliah Image subject—Simon Croker
“I WILL NEVER LOSE THE LOVE FOR THE ARRIVING, BUT I’M BORN TO LEAVE.” —Charlotte Eriksson
ATYP
ANNUAL REPORT 20—19
It’s midnight and twin siblings argue over what to do with the dog they just ran over. In a school common room a student is struggling to clean a sharpie drawing of a you-know-what off a window. In an undisclosed location a boy prepares for his new life in a special witness protection program for embarrassed youths.
National Studio Writers 2018 Georgina Adamson Violette Ayad Grace Chapple Hannah Cockroft Sasha Dyer Joshua Francis Meg Goodfellow Flynn Hall Clancy Hauser Sarah Jasem Iley Jones Jasper Lee-Lindsay Brianna McCarthy Benedicta McGeown Brooke Murray Shae Riches Emma Skalicky Sacha Slip Jordan Wymarra
Intersection 20—19: Arrival is a collection of short plays written by some of Australia’s most exciting young writers. Each year ATYP brings together 20 playwrights from across the country and challenges them to create stories that speak to the experience of being seventeen-years-old in Australia, here and now. The ten most startling pieces are put on stage. ATYP continues our relationship with Currency Press, which publishes the pieces in one book so they can be performed by young people for years to come. Director Sophie Kelly Dramaturg Jane FitzGerald Set and Costume Designer Tyler Ray Hawkins Composer and Sound Designer Chrysoulla Markoulli Lighting Designer Martin Kinnane Stage Manager Madelaine Osborn Production Manager Sorie Bangura Assistant Director Eve Beck Assistant Stage Manager Jodi Rabinowitz
Cast Marvin Adler Teodora Avramovic Salem Barrett-Brown BeBe Bettencourt Toby Blome Ryan Hodson Apsara Lindeman Kelly Nguyen Grace Stamnas Sophie Strykowski Harry Winsome Emma Wright Venue SBW Stables Theatre, Kings Cross NSW Opened 1 February 2019 Performances 17 Attendance 1,052 Box office $17,878
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In association with the Advocate for Children and Young People (ACYP) and presented by Riverside Theatres
29— 31.05.19
FOLLOW M——E HOME Writer Lewis Treston Director Fraser Corfield “Follow Me Home succeeds in its intention to demystify the complexities of youth homelessness, and urges the audience to question their own role in a culture that often looks beyond those who need someone to listen.” —Playwave
“The Australian Theatre for Young People’s moving and educational portrayal of homelessness Follow Me Home gave our Year 9 students the opportunity to consider the plight of teenagers experiencing life on the streets and in refuges – and showed how theatre can represent authentic voices.” —Burwood Girls High School
Image—Justin and Luke Stambouliah Image subject—Caitlin Burley
“I’VE NEVER TOLD MY FRIENDS ABOUT MY STORY… BEING HOMELESS, YOU CAN’T TALK ABOUT IT.”
ATYP
ANNUAL REPORT 20—19
Sometimes theatre entertains us, taking us to a place of imagination and wonder. Sometimes it educates, giving us an insight into a world that is fascinating and unfamiliar. When it does both these things it creates that rare magic that leaves audiences inspired and informed. It’s theatre that’s powerful, engaging, imaginative, and leaves us a little transformed. That’s the territory of Follow Me Home.
Director Fraser Corfield Set and Costume Designer Aleisa Jelbart Sound Designer Kailesh Reitmans Lighting Designer Martin Kinnane Stage Manager Madelaine Osborn Production Manager Sorie Bangura Assistant Director Michael Becker Character Consultant Janine Lau Videographer Hugh Clark
Australian Theatre for Young People (ATYP), the national youth theatre company, is recognised around the world, for taking the stories of young people to the national stage. For this project, ATYP teamed up with the Office for the Advocate of Children and Young People (ACYP) to look into the lives of young people who experience homelessness. Developed in consultation with young people from across NSW, Follow Me Home explores the extraordinary lives of those who move amongst us unseen. Produced in association with the Advocate for Children and Young People (ACYP) and presented by Riverside Theatres. Follow Me Home was supported by the James N Kirby Foundation.
Cast Laneikka Denne Jordan Dulieu Jasper Lee-Lindsay Sofia Nolan Venue Riverside Theatres, Parramatta NSW Opened 30 May 2019 Performances 4 Attendance 761
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A co—production with Q Theatre
11— 21.09.19
BATHORY BEGIN—S Writer—s Emme Hoy and Gretel Vella Director Rowan Bate “It’s wonderful to see young people achieve such genuinely enjoyable theatre and be able to drive the action of the show together without an adult leading it. To be able to deliver with such stage presence and unity is outstanding. Bathory Begins offers a laugh and entertainment, as well as some encouraging notions about accepting differences and embracing your own strengths.” —The Buzz from Sydney
Image—Justin and Luke Stambouliah Image subject—Madison Yazbek
“I KNEW VISITING A PUBLIC SCHOOL WAS GOING TO BE ATROCIOUS, I JUST DIDN’T THINK THE MURDERS WOULD START SO EARLY IN THE DAY.”
ATYP
ANNUAL REPORT 20—19
Year 10 Art teacher Mrs Bathory is most definitely a reincarnation of the sadistic, serial-killer Countess, Erzebet Báthory. It’s pretty obvious to her class of seven — yes, seven — girls. The last remaining survivors. When the students in 10F decide to pull the prank of the century and destroy the beast for good, there’s just one thing that stands in their way. The private school boys from Judas Gents have arrived, and they don’t feel so comfortable with murder.
Director Rowan Bate Dramaturg Jane FitzGerald Designer Aleisa Jelbart Sound Designer Timothy Hansen Lighting Designer Benjamin Turner Production / Stage Manager Sorie Bangura Assistant Director Margaret Thanos Sound Assistant Marvin Adler
Girls vs. boys. Public vs. private… And an undead woman of the night. Things were never going to end well. The Senior ATYP Foundation Commission Award develops a new work to celebrate the skills of actors aged between 14-17. Published by Playlab, this play will be presented in schools around the country for years to come. Bathory Begins is the 2017 winner of this award.
Cast Oliver Atkins Annika Bates Laila Chesterman Dylan Collerson Laneikka Denne Paulette Hourany Amélie James-Power Jonathan Kennedy Samuel Noll Lily Sammut Brayden Sim Josiah Van-Stolk Katie Walsh Hayden Wright Venue The Joan Sutherland Performing Arts Centre, Penrith NSW Opened 12 September 2019 Performances 12 Attendance 586 Box office $11,316
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ATYP@ GRIFFIN
16— 26.10.19
APRIL AARD— VARK Writer Nathaniel Moncrieff Director Amy Hardingham “Directed by Amy Hardingham, Moncrieff’s script delivers in all departments to create an ensemble piece that gives everyone plenty to do in roles that have a measure of growth and emotional range to them.” —Audrey Journal
Image—Justin and Luke Stambouliah Image subject—Tobias Purcell
TO EVERYONE’S HORROR, SHE IS THE GREATEST BULLY THAT EVER LIVED.
ATYP
ANNUAL REPORT 20—19
EZ and his gang of bullies have created a fake social media account to inflict torment and misery on their fellow students. The account’s name, “April Aardvark”, echoes through the halls with fear and confusion. The gang is smugly satisfied with the results, until the day a student shows up to class claiming to be April Aardvark. She is the living, breathing manifestation of the account – a mean, obscene, insult machine. She spreads chaos through the school, turning student against student and bully against bully. But is she really who she claims to be? And if so, how can she be stopped?
Director Amy Hardingham Dramaturg Jane FitzGerald Designer Stephanie Howe Composer / Sound Designer Daniel Duque Sound Design Mentor Steve Francis Lighting Designer Kelsey Lee Production Manager Sorie Bangura Stage Manager Jana Vass Assistant Production Manager Jodi Rabinowitz Assistant Stage Manager Jamie Bebb
Only one thing is certain – she is the greatest bully that ever lived. The ATYP Foundation Commissions invest in work for young people to perform. A canon of work for young actors aged 10-13 is being created and developed by ATYP, and published by Playlab. This new Australian play will go on to be performed by schools and youth theatres around the country.
Cast Olivia Everingham Marley Kirkbank-Ellis Harper Lynch Miles Pike Tobias Purcell Jasper Reucassel Carmen Rolfe Lily Sauran Lucinda Slattery Eva Sutherland Jasper Whittet Alani Winn Venue SBW Stables Theatre, Kings Cross NSW Opened 18 October 2019 Performances 12 Attendance 948 Box office $20,994
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A co—production with Queensland Theatre, Belvoir and Brisbane Festival in association with ATYP Supported by The Group and developed with the assistance of Global Creatures
07.09— 10.11.19
FANGIRL—S Book, Music and Lyrics Yve Blake Director Paige Rattray Vocal Arranger and Music Director Alice Chance Music Producer and Sound Design David Muratore Dramaturg Jonathan Ware
—Limelight Magazine —The Courier Mail —Broadway World
Image—Daniel Boud Image subject—Yve Blake
THIS IS EDNA. SHE’S 14, AND SHE’S IN LOVE WITH HARRY. THERE’S JUST ONE PROBLEM—
ATYP
ANNUAL REPORT 20—19
Harry is in ‘True Connection’ – the biggest boyband in the world. When True Connection announces a tour stop in Edna’s city she realises this is her one chance to convince Harry of their destiny, and she’ll do anything – ANYTHING – in the name of true love…
Music, Book, and Lyrics Yve Blake Director Paige Rattray Music Director and Vocal Arranger Alice Chance Sound Designer and Music Producer David Muratore Dramaturg Jonathan Ware Designer David Fleischer Lighting Design Emma Valente AV Designer Justin Harrison Sound Designer Michael Waters Choreographer Leonard Mickelo Voice Coach Amy Hume Associate Director Carissa Licciardello Associate Lighting Designer Ben Hughes Stage Manager Isabella Kerdijk Assistant Stage Manager Katie Moore
Fangirls is a thrilling new musical by a barnstorming young talent called Yve Blake. Proof that young women can do anything, Yve also plays Edna. She’s joined by a cast of new young faces with brilliant voices for a show that’s Beyoncé concert-meets religious revival, with a wicked sense of humour, about love and other big feelings in the age of the internet. This show is for anyone who’s ever been a fan. It’s especially for anyone who is or has ever been a girl with a screaming stadium of feelings inside them. It’s dreamy, wild, and hyperalive. A co-production with Queensland Theatre, Belvoir and Brisbane Festival in association with ATYP. Supported by The Group and developed with the assistance of Global Creatures. Venue 1 Bille Brown Theatre, Brisbane QLD Opened 12 September 2019 Performances 32 Venue 2 Belvoir St Theatre, Sydney NSW Opened 16 October 2019 Performances 33 Combined attendance 19,031
Cast Aydan Yve Blake Kimberley Hodgson Chika Ikogwe Ayesha Madon James Majoos Sharon Millerchip Melissa Russo
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A co—production with Brown’s Mart Theatre
22.10— 02.11.19
CUS—P Writer Mary Anne Butler Director Fraser Corfield
Image—Justin and Luke Stambouliah Image subject—Jordan Dulieu
HOW DO YOU MOVE INTO THE FUTURE WHEN YOUR PAST KEEPS DRAGGING YOU BACK— WARDS?
ATYP
ANNUAL REPORT 20—19
Elvis wants Rosie. Rosie wants to escape. Maddie doesn’t know what she wants; but it sure isn’t this. While Rosie balances the needs of community with her own life dreams, Elvis juggles a life of crime with a tougher path into the straight-and-narrow, and Maddie faces life as a single parent.
Director Fraser Corfield Dramaturg Jane FitzGerald Set Designer Cj Fraser-Bell Lighting Design Jessie Davis Sound Design Brad Fawcett Sound Design Mentor Matt Cunliffe Stage Manager Scott Gooding LX/AX Operator Brenton Ryan Work Experience Asst Stage Manager Sidney Newman Cultural Consultant Rosealee Grimes (nee Pearson)
CUSP juxtaposes the Northern Territory’s vast Top End landscape with the turbulent inner lives of three emerging adults as they swim against the tides of irrevocable change. Balancing choice versus fate in a world where, as Elvis observes, “Some people just get better choices than others”, CUSP asks the central question: How do you move into the future, when your past keeps dragging you backwards?
Cast Stevie Kyriacou Joshua McElroy Nyasha Ogden Venue Brown’s Mart, Darwin NT Opened 23 October 2019 Performances 9 Attendance 500
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WRIT—ING Overview Workshops Workshop attendances Playwrights supported Actors and directors Audience Total artists part of programs Playwrights aged 18-26 supported Other young artists supported Young artists supported total States and Territories operated in Hours of dramaturgy Hours of mentoring/tutoring
ATYP Foundation Commissions 26 200 62 50 160 112 50 33 83 3 214 145
Two commissions were awarded in 2019: Soul Trading by Kate Walder (for ages 10-13) and The Chapel, the Fire and the Dead Cat by Madelaine Nunn (for ages 14-17). Bathory Begins by Emme Hoy and Gretel Vella (produced in September 2019), April Aardvark by Nathaniel Moncrieff (produced in October 2019) and Lights in the Park (previously The Last Long Walk in the Dark) by Alexander Lee-Rekers (to be produced August 2020) continued to receive ongoing development and support over several drafts from Resident Dramaturg, Jane FitzGerald.
Shows in Development Fresh Ink National Mentoring The Fresh Ink National Mentoring program ran for the fourth year in Perth, mentored by Will O’Mahony and with an ongoing Partnership with Barking Gecko Theatre Company (WA). In Sydney, the program ran for the twelfth year, mentored by Jane FitzGerald. Eight writers aged 18-26 were involved in the program overall, culminating in readings of their 30-minute plays in each city with professional young actors. “A great program, with an amazing team and mentor. Would highly recommend to writers everywhere.” —Iley Jones, Sydney
National Studio Twenty emerging writers aged 18-26 attended the eleventh National Studio at Bundanon in the NSW Southern Highlands. Award-winning playwrights Vanessa Bates, Ross Mueller and Lachlan Philpott led a week of masterclasses, small-group workshops and one-on-one mentoring. During the week each writer created an 8-minute play, and ten of these were then selected for the production Intersection 2020: Beat and published by Currency Press. “The National Studio was by far the most rewarding creative experience I’ve ever had.” —Daniel Hayek, VIC
2019 saw the Resident Dramaturg provide ongoing dramaturgical support to a number of other scripts: The Deb by Hannah Reilly, winner of the 2019 Rebel Wilson Comedy Commission CUSP by Mary Anne Butler Intersection 2020: Beat by the writers of the National Studio 2019 Fruitbat by Ang Collins
Commissioned Writers in 2019 Donna Abela Yve Blake Mary Anne Butler Felix Cross Brendan Hogan Emme Hoy Alexander Lee-Rekers Nathaniel Moncrieff Lachlan Philpott Hannah Reilly Gretel Vella
ATYP
ANNUAL REPORT 20—19
2019 Martin Lysicrates Prize
Sparkly Sh*t
ATYP partnered with the Lysicrates Foundation and Riverside’s National Theatre of Parramatta to present the 2019 Martin-Lysicrates Prize. Celebrating the best new Australian writing for young people, the competition recognises great ideas from exceptional playwrights from around the country. Three finalists were selected by the judging panel. Actors spent a week rehearsing the first 15 minutes of each play to perform for students at a gala event at Riverside Theatres, Parramatta. Afterwards students were able to vote for their favourite - for many the first time they got to experience democracy in action. The 2019 finalists were Madelaine Nunn, Elliot Vella and Brendan Hogan, who was declared the winner.
During 2019, in response to feedback from the Atypical Advisors (the youth steering committee), ATYP established a scratch night to showcase emerging artists aged 18-26. The night was titled Sparkly Sh*t and the premiere event was held at the Lord Gladstone Hotel, coordinated by members of the steering committee. Its success has meant that a larger venue has been sought for the 2020 season.
The Writing Place
Events Coordinators
Performers Performances Audience
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2 Emily Buxton Rhiannon Bateman Claudene Shoesmith 21 18 120
This new writing program is a joint project of Country Arts SA, Carclew and Australian Theatre for Young People (ATYP) supported by the Regional Arts Fund Strategic Initiatives. The project was inspired by and modelled off ATYP’s National Studio. Over eight days in September 2019, emerging regional writers aged 18-26 from across Australia gathered to learn, connect and write mentored by leading Australian playwrights Caleb Lewis, Mary Anne Butler and Emily Steel. Each participant generated a short monologue for teenage performers. A selection of the scripts will be published in a collection for schools and youth theatres.
Image—Intersection 2019: Arrival. Tracey Schramm
AMBASSADOR OPPORTUNITIES Rose Byrne Scholarship for Emerging Female Leader in the Arts Rebel Wilson Comedy Commission In 2019, ATYP alumnae and international ambassadors Rose Byrne and Rebel Wilson continued their generous support for young Australian artists by providing unique mentoring opportunities through ATYP. Rose continued her important Scholarship for an Emerging Female Leader in Arts for a fourth year, while Rebel adjusted her offering to launch the Rebel Wilson Comedy Commission for young femaleidentifying writers. To date, this ongoing program has provided incredible opportunities for six artists aged 18-26. All recipients still engaged and working in the Australian performing arts industry. Following a huge response to the callout for applications, our international ambassadors were pleased to announce the winners of the scholarship and inaugural commission. Once again, the high quality of applications for the Emerging Female Leader in the Arts made the selection of a winner a challenging task. Rose Byrne had a tough time making her final decision and ultimately selected NSW-based actor, director and dramaturg Hannah Goodwin as the 2019 recipient. Hannah Goodwin was delighted to receive the scholarship and reflected on its opportunities: “Thanks to the generosity and support of Rose Byrne and ATYP, I have spent the past year exploring best practice in new work development and dramaturgy. I set out to find the most innovative development and programming models for new writing in existence. I am a director who develops and directs new work. I work with playwrights on new plays, and devise new works collaboratively in groups. The theatre has never made much sense to me without new work, so it has been particularly significant for me to stake out this area of interest. I trained formally as an actor, not a director or dramaturg, so for me this scholarship has been in many ways the first opportunity I’ve had to formally
study that craft. I travelled to the US and the UK and have spoken with leaders from all over the world. It has taken me on a surprising journey, across a period that has been extremely volatile for this field globally. It has opened my eyes and many doors for me, widened my perspective and affirmed the essential nature of what it is that we do.” There was also an overwhelming flood of applications for the inaugural Rebel Wilson Comedy Commission. After an exhaustive process reading through many exceptional submissions, Rebel announced the commission would go to Sydney-based writer Hannah Reilly. Hannah has spent the year working hard on her dream project. “Over my time as the 2019 Rebel Wilson Comedy Commission recipient I have spent the past year developing The Deb, a full-length Australian musical comedy, working closely with ATYP Dramaturg Jane FitzGerald, Artistic Director Fraser Corfield, and Rebel Wilson. It’s a joyous, fantastical and heartfelt coming-of-age musical about discovering who you are and how you really want to make your debut in life, and thanks to co-compositions by ARIA awardwinning singer/songwriter Megan Washington, delivers toe-tapping numbers that sweep you off your feet, with additional compositions by Matthew Predny. I’ve had huge ambitions for The Deb from day one, and the team at ATYP has been incredibly supportive about helping facilitate my vision for the piece. Through their mentorship and both workshops with a talented team of actors bringing the piece to life, I got to see huge leaps forward with each draft, which was such a thrill. It’s given me the invaluable opportunity to take the time to develop such an ambitious work, and has given me immense faith and confidence in myself as a writer in the process.” ATYP looks forward to seeing the fantastic applications for these generous and worthwhile awards in 2020.
ATYP
ANNUAL REPORT 20—19
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WORKSHOP—S Overview ATYP believes the best way to learn is by creating and doing. High-quality workshops give young people the opportunity to work together to create their own show, express their own views and perform to an audience. Led by some of the industry’s most experienced tutors, all of whom are working professionals, young people build self-confidence, are challenged and discover valuable insights into the dramatic process. At ATYP young people don’t just join a drama class, they join a community. 2019 was the first full year of the Workshop Program being away from its long-term home in Walsh Bay. Weekly classes maintained the numbers they had at the end of 2018, but there was a reduction of participants in some age groups during the second half of the year. The Holiday Workshops and Professional Series continued to be delivered to their expected high standard, and the company continued to grow our relationships with various venues across Sydney.
At the end of Semester 1, ATYP re-established our Performance Weekend, complete with BBQ and cake stall, held at the Abraham Mott space. It was well attended by staff, parents and carers who clearly enjoyed this return to a performance favourite. The participants of the weekly drama classes make up an incredibly vital part of the ATYP community, while away from our own theatre space. It creates weekly communication between the company and young people as well as expanding their appreciation and awareness of theatre. Having contact with their drama class, tutors and classmates on a weekly basis gives these young people a sense of ownership of both the company and the performances they create. Workshop facilitators Paid enrolments Scholarships Programs Individual workshops Individual attendances Performances
Workshops Manager and Associate Director, Robert Jago, was engaged in a series of professional development activities outside of the company this year, working with The Arts Unit, Bell Shakespeare Company and the Ensemble Theatre. In his absence, longtime ATYP teaching artist and director, Sophie Kelly, stepped into the role of Workshops Supervisor.
Weekly Drama Workshops The 2019 weekly classes continued to be held at the Abraham Mott Hall and Community Centre, which was challenging, due to some capital works being undertaken on the attached community-centre space. As a result, and with the news that the Pier 2/3 Development works have commenced, ATYP has undertaken an agreement with St Peter’s Catholic Parish in Surry Hills to use the Eighteen80 Hall as the home for the Workshops Program (with the exception of one class, which will remain at Abraham Mott Hall), until the company is able to move into its new home.
Image—April Aardvark. Tracey Schramm
39 476 15 31 496 7,616 31
Holiday Workshops The holiday workshop program was overseen by Workshops Coordinator, Claudene Shoesmith, for the first time this year. While the company is away from its permanent home in Walsh Bay, it’s running a reduced program, but has formed some strong relationships with new venues across Sydney and is beginning to explore partnerships with other organisations. The 2019 Summer holiday program saw excellent enrolment numbers. Unfortunately, due to the structure of public holidays in the two-week period of the Easter school holidays, numbers dropped again. Enrollments recovered over the Winter and Spring programs, which carried over into one of our biggest programs ever over the ‘20 Summer Holidays. Workshop facilitators Assistant facilitators Paid participants Scholarships Programs Individual Workshops Individual attendances
66 48 835 90 63 261 3,235
The Professional Series The Professional Series continues to be an important point of access between ATYP and the industry for our 18+ participants. The company engages quality tutors, who are respected leaders in the industry; including Artistic Directors, award-winning actors and directors, who not only teach but allow us to facilitate valuable networking opportunities for our participants. We are pleased that these artists give their time, share their experience and are associated with the company. Tutors Anita Hegh Damien Ryan John Bashford Robert Jago Claudia Barrie Paid enrolments Scholarships Individual workshops Individual attendances
34 1 9 83
Top Image—Bathory Begins. Tracey Schramm Bottom Image— Intersection 2019: Arrival. Tracey Schramm
ATYP
ANNUAL REPORT 20—19
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LEARN—ING Overview
Live-stream Productions
In 2019, ATYP Learning Programs directly engaged 4,060 students and young people and 268 teachers. The company conducted 149 unique engagements with schools and provided 95 workshops and 12 public performances.
In 2019 ATYP, in partnership with Big Spin Productions live-streamed three performances: Intersection 2019: Arrival, Follow Me Home and April Aardvark. Schools outside Sydney can access these productions live, free of charge
Productions
Live-streams Students Teachers Total online audience
School audiences in 2019 were made up of: Students 499 Teachers 57 Schools 24 Total audience 556 Each school matinee performance is followed by a special Q&A with the cast and creative artists, led by the ATYP Learning team. The department also creates bespoke resources to accompany each production, providing tools to assist teachers in unpacking the themes and issues of the play in their classroom. Q&As Online resources Resource views
12 10 643
ATYP On Demand ATYP On Demand is our online learning platform, created to remove geographic and economic barriers that students and teachers across Australia face when wanting to engage with performing arts. The aim is to give schools located too far from a theatre access to high-quality recordings of ATYP’s live productions. New content is being added to ATYP On Demand regularly, and membership is available free of charge to students and teachers across the country. Site Visits Resource Views Teachers registered Students registered Total registrations
7,131 2,250 554 296 850
3 1625 95 1,799
School Workshops Drama workshops are available all year round, and enable students to experience a drama workshop in a chosen topic of study. The workshops are closely linked to curricula and/or ATYP performances and are delivered either in schools or at an ATYP venue. Student participants Teachers Workshops
805 87 68
Work Experience / Internships ATYP offers an immersive work experience program for enthusiastic drama and entertainment students along with volunteer internships for tertiary students. Each placement is specially created for individual students, and corresponds with ATYP productions or times of high-activity to ensure the experience is highly practical and stimulating. Work experience Interns
15 3
ATYP Foundation Commission Schools’ Partnerships The ATYP Foundation Commission Schools’ Partnership provides a unique opportunity for students to step inside the creative development of a play. It connects schools to a playwright, a team of creative professionals and a brand new Australian play at every stage of the writing and production process. The 2019 ATYP Foundation Commission play was April Aardvark. Schools Students Teachers Workshops Video conferences
4 93 8 9 1
Homeschool Ensembles ATYP Learning provides a weekly drama workshop program for homeschooled students. These workshops help students build confidence and selfexpression while learning new skills linked to primary Creative Arts and secondary Drama curriculum (NSW) outcomes. Number of participants Workshops
58 96
KidsExpress Theatre Access Program In 2019 ATYP continued its partnership with KidsXpress, providing a bespoke drama workshop and performance experience for students experiencing trauma and serious disadvantage. This life-changing program, including costs associated with transporting and feeding students, was made possible thanks to philanthropic support from the Matana Foundation. Students Teachers Workshops
50 6 6
Image—Intersection 2019: Arrival. Tracey Schramm
ATYP
ANNUAL REPORT 20—19
38
DEVELOP—MENT Overview ATYP is a not-for-profit organisation that relies on philanthropic support to fund core programs and productions, and to keep our activities accessible for all young people. The support of individual donors, trusts and foundations is critical to the company’s growth and success. We are grateful for all donations received in 2019. ATYP warmly acknowledges the support of the Fundraising & Philanthropy Committee, members of which generously provided their time, advice and assistance to the company. ATYP Fundraising & Philanthropy Committee Chair Nick Jaffer (until Dec 2019) Committee Members Sharlene Dadd Tasnim Hossain Stephen Attfield Georgia Wilson Amanda Wright
Adèle Jeffreys Memorial Fund The Fund will be used to enhance the processes and philosophies that ATYP’s late Education Manager Adèle Jeffreys developed for interactive, participatory learning. Donors Amount Raised
Christmas Appeal The Christmas Appeal was launched in December 2019 to raise funds for drama workshops and scholarship places with referrals from our partner charities; the Asylum Seeker Centre, the Boys & Girls Brigade, Stepping Stone House and The Smith Family. Donors Amount Raised
Funding Activities Annual Appeal May to June 2019 The 2019 Annual Appeal raised money to support the core funding of the company. The Appeal focussed on and engaged the wider ATYP community with the campaign name “I am ATYP’. Donors Amount Raised
2 $900
33 $10,185
Image—April Aardvark. Tracey Schramm
14 $2,210
MARKET—ING Overview The ATYP community is a diverse network made up of young people who attend weekly and holiday workshops, are cast members in productions, work in creative teams, are emerging writers and attend shows. ATYP also counts parents, artists, alumni, sponsors, donors, tutors, audience members, board and staff as valuable and important members of its network. Each year ATYP is committed to growing this audience though strategic, targeted, ongoing messaging created to encourage meaningful engagement with the organisation. The company uses multiple channels designed to lead community members to the most important and relevant connection for them - live experiences in the theatre, in weekly and holiday workshops, and in schools. During the company’s first full year temporarily away from its home in Walsh Bay, presenting productions and workshops in new venues, ATYP continued to work hard to keep the community informed and up to date with all changes. This was achieved with digital campaigns across the ATYP website, direct email, and all social-media networks.
The ATYP Brand The visual branding for the organisation has become a signature across recent years. The 2019 ATYP season design was well received by key target audiences and industry colleagues. It was inspired by the fresh, dynamic, heartwarming and at times harrowing stories being told by young people on stage throughout the season. Set against a both bright and bashful colour palette, the design’s use of stylised, theatrical makeup represented the many faces of key characters within the plays, as well as acting as a metaphor for the masks people wear in their daily lives. The use of four separate covers for the printed program highlighted the breadth of work in the season.
2019 was a year to celebrate and illuminate the lives and stories of Australian youth with boldness, creativity and fun.
20—19 Productions The ATYP production season was presented in multiple venues across Sydney, Darwin and Brisbane. Each season was promoted with its own campaign featuring the key artwork supported by bespoke content. Photography and interviews with playwrights, creative teams and cast were used across digital channels to great effect. The most successful of these individual campaigns was for Follow Me Home. This dramatic and impactful campaign resonated effectively with the key audience demographic young people aged 15-26. Follow Me Home was one of three live-streamed productions in 2019 and received excellent feedback from students and teachers nationally. Campaigns for ATYP Foundation Commissions Bathory Begins and April Aardvark were also well received. ATYP assisted in the promotion of two world-premiere co-productions. Premiering at Queensland Theatre in Brisbane before transferring to Belvoir St Theatre in Sydney, the critically acclaimed co-production Fangirls was written by and starred ATYP alumna Yve Blake. The production was attended by over 19,000 people and has since won several industry awards. CUSP by Mary Anne Butler had its debut at Brown’s Mart Theatre in Darwin in November after being commissioned by ATYP in 2017. The production was warmly received by NT audiences and will transfer to Sydney in March 2020. Across the year ATYP productions and co-productions were seen by audiences of over 22,480 with an additional 1,799 people viewing our three live-stream broadcasts.
ATYP
ANNUAL REPORT 20—19
Workshops and Learning
The Learning department had a positive year with more consistent communication with drama educators across the country both in live and digital experiences. The online learning platform ATYP On Demand membership grew steadily, and new content was added to inspire students and teachers.
In close consultation with the Workshops team, the campaigns for the weekly classes and the holiday programs received a makeover. The new, bold, and text-driven design was successful in its execution and assisted in the messaging around ATYP’s new physical locations. All workshop campaigns continue to be promoted with print and digital collateral using engaging imagery across channels including our website, social-media platforms and direct email. Engagement with target audiences continued to build across the year.
Image—Follow Me Home. Tracey Schramm
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ARCHIVE—S ATYP established its in-house corporate archives in early 2003, with support from the Vincent Fairfax Family Foundation, the second performing arts company in Australia to do so.
An oral history project was commenced in 2013, with interviews of significant people connected with the company conducted by Oral Historian, Dr Margaret Leask; and the vital process of digitising, and backing up, the collection’s analogue photographs continues.
A qualified archivist is employed to survey, sort and organise archival material so that staff and board members can easily source information and evidence of ATYP operations. The collection comprises records of governance, administration, promotion, production and participation, in varied media, some dating from the 1960s. Soft- and hard-copy records are assessed for their significance for preservation for posterity, and added to the holdings when they cease to be current. Archival material is stored securely; and research conducted by the archivist, to ensure appropriate access to personal and confidential information. Primary-source material supports the operations of all ATYP departments and their activities, including providing documentary evidence for • accountability, and fulfilment of statutory obligations, • website and social-media accounts’ content, • input of company history into decision-making and promotion, and • connecting with past participants. Databases of all productions and personnel, dating from inception of the company, are maintained, containing information about events and plays mounted, and lists of alumni - casts, creative artists, tutors, staff and board members - are updated whenever there are new data.
Top Image— Intersection 2019: Arrival. Tracey Schramm Bottom Image—Follow Me Home. Tracey Schramm
ATYP
ANNUAL REPORT 20—19
FINANCIAL—S
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10 11 12 1 1
1 1 1 2 2 2 2 2 2 2 2 0 0 0 0 1 1 2
0
2. 3. .
10
06
2020
10
06
2020
ATYP Staff
ATYP Board
Artistic Director Fraser Corfield General Manager Amanda Wright Finance Manager Steve Davidson Finance and Operations Manager Chrissy Riley Development Manager Stephen Attfield Marketing Manager Kar Chalmers Workshops Manager and Associate Director Robert Jago Production Manager Sorie Bangura Resident Dramaturg Jane FitzGerald Education Coordinator Rowan Bate Development Coordinator Georgia Wilson (until November) Marketing Coordinator Erica Penollar (from March) Art Director Justin Stambouliah Workshops Coordinator Claudene Shoesmith Resident Technologist Daniel Andrews Archivist Judith Seeff Administration Assistant Janine Lau (from February)
Simon Burke AO (until February) Fraser Corfield Sean Denney Nancia Guivarra (from August) Tasnim Hossain Nick Jaffer (until November) Nina Kilpinen Janine Lapworth Gillian Larkins (from August) Mark Morrissey (from November) Chris Puplick AM (Interim Chair, from February) Daniel Selikowitz (from August) Mark Warburton (Chair, until February) Nicole Webb (from August) Simon Webb (until February) Donna Worthington (from August)
ATYPicals 20—19 Rhiannon Bateman Tristan Brown Caitlin Burley Emily Buxton Flynn Collins Luca Hardy Brittany Johnson Jemma Julian Hunter Kain Daisy Millpark Honara Monagle Grace Stamnas Margaret Thanos
2019 Rebel Wilson Comedy Commission Recipient Hannah Reilly
2019 Rose Byrne Scholarship Recipient Hannah Goodwin
ATYP
ANNUAL REPORT 20—19
Partners and Supporters
Sydney Living Museums The Joan Think Space
Government Australia Council for the Arts City of Sydney Create NSW Create Infrastructure NSW Foundations ATYP Foundation BBM Youth Support Copyright Agency Limited Graeme Wood Foundation James N. Kirby Foundation Limb Family Foundation Matana Foundation for Young People The Lysicrates Foundation The Myer Foundation Yim Family Foundation Companies and Partner Organisations ARA Group Artology Barking Gecko Theatre Big Spin Productions Brown’s Mart Productions Camp Sugar Productions Carclew Carnivore Films Currency Press Drama NSW Griffin Theatre Company Haymes Paint IMPACT Agency Interbrand KidsXpress King & Wood Mallesons Mandurah Performing Arts Centre Museum of Applied Arts & Sciences Optimiste Wines Playlab Playwriting Australia Q Theatre Rebelstudio Riptide Riverside Theatres, Parramatta Shopfront Arts Co-Op SM&c
44
Australian Theatre for Young People is assisted by the NSW Government through Create NSW and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. Australian Theatre for Young People wishes to gratefully acknowledge the continuing support of the ATYP Foundation. The capital funds raised through the Foundation assist in maintaining a sustainable financial platform on which ATYP can thrive. Individual Donors Australian Theatre for Young People is very proud to acknowledge the financial support and encouragement received from individual donors. Our generous donors have contributed to the company and its programs throughout 2019. Their continued support is essential for the advancement of the company. Guardians ($50,000+) Susan Maple-Brown AM Graeme Wood AM Guardians ($10,000+) Rose Byrne Robert Rich Jane Westbrook & Mark Ramsden Rebel Wilson Superstars ($5,000 - $9,999) Antoinette Albert Robert Albert AO RFD RD & Libby Albert Ruth Armytage AM Michael Ihlein & Gosia Dobrowolska
Champions ($1,000 - $4,999) Alison Baly & Stephen Hawkins Sue Bate Angela Bowne SC Andrew Buchanan John & Libby Fairfax Nancy Fox & Bruce Arnold Nick Jaffer Nina Kilpinen Rebel Penfold-Russell Chris Puplick AM David Nguyen Mark & Jacqueline Warburton Allies ($500 - $999) Todd Abbott Greeba Pritchard Olev Rahn Damian Sturzaker & Danielle Manion Nicole Webb Buddies ($100 - $499) Marvin Adler Lucinda Armour Sonia Borg Sharon Broady Angus Burns Leonie Cambage Kirsten Castorina Catherine Cooney Fernandez Family Melissa Fleming Cate Friedlander Andrew Hooton Human Productions Jennifer Hughes Robert Jago Beverley Johnson Sandra Johnson David Jonas Stephanie Kelly Nicole Abadee & Rob McFarlan Ruth McColl Susan Millet Barbara Mobbs Svetlana Nash Rupert Reid
Mary Ellen Reilly Annie Ross Judith Seeff Ingrid Selene Claudene Shoesmith Helen Slarke Andrea Wilson Guy Winslow Donna Worthington Adèle Jeffreys Memorial Fund Elise Barton Peter Best Ross Bowman Michelle Boyle Ian Brown Donnie & Karene Buchanan Andrew Deane & Jimmy Buck Jr. Emma Campbell Heather Campbell Melissa Fleming Peter Giles Francesca Hendricks Lena Holohan Emily Hunt Glen Jeffreys Michaela Kalowski Anna Kerrigan Karen Lear Bonnie Leigh-Dodds Vanda Lima Steve Martin Juz McGuire Susan & Peter Millet Gill Pearce Benjamin Porteous Linda Scott Judith Seeff Phil Spiteri Lisa Sullivan Richard Sullivan John Walsh
ATYP
ANNUAL REPORT 20—19
ATYP Foundation Supporters The sole purpose of the ATYP Foundation is to provide money, property or other benefits to Australian Theatre for Young People for the purpose of advancing, developing and promoting the performing arts.
Hilary Caldwell Michael Carapiet Phil Costa Dixie Coulton & Donald Grieve Richard Cropley Chum and Belinda Darvall Francis Douglas QC & Dr Lisa Cantamessa Achim & Anthea Drescher Estate of the Late Nicholas Enright Carolyn Fletcher AM Hal Herron Mark Hopkinson & Michelle Opie Michael Ihlein & Gosia Dobrowolska Christopher Johnson Judith Joye John King The Late Ann Lewis AO Macquarie Bank Foundation King & Wood Mallesons Millenium Pty Limited Glynn O’Neill Raymond Nelson Dr Helen Nugent James O’Loghlin Robert & The Late Helen Rich Frances Roberts Ezekiel Solomon AM Thyne Reid Trust Josephine Walton Sarah Whyte Jane & Pat Wilde Jill Wran Yengarie Pty Ltd Ross Youngman & Veronica Espaliat David Zobel & Emma Lee
ATYP Foundation Advisory Committee Antoinette Albert Angela Bowne SC (Chair) Chris Puplick AM Schedule of voting donors At 31 December 2019, the following organisations and individuals have obtained the status of voting donor. Antoinette Albert Robert O. Albert AO RFD RD Albert Investments Ruth Armytage AM Chum Darvall AM Estate of the Late Nicholas Enright Carolyn Fletcher AM Henry Herron Peter Hunt Michael Ihlein & Gosia Dobrowolska Millennium Pty Ltd King & Wood Mallesons Robert Rich Graham O’Neill Ezekiel Solomon AM Robert Salteri Jill Wran Thyne Reid Trust Turnbull Foundation Schedule of founding donors Antoinette Albert Robert O. Albert AO, RFD, RD Albert Investments Anonymous Miles Armstrong Ruth Armytage AM Felicity Atanaskovic Angela Bowne SC Ian Brown Jillian Broadbent AO
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—WE CREATE WORLDS —WE SHARE STORIES —WE MAKE THEATRE —WE ARE ATYP