ANNUAL REVIEW 2016
CONTENTS About Us
2
Homelessness in Australia
3
The Chair Report
4
The CEO Report
6
Our Participants
8
Our Strategic Goals
10
Impact 12 Social Support 14 The Artistic Report
16
Our Artistic Program
18
Workshops 20 International Exchange 22
Wasted - Forum Theatre Production
24
Fearless HSC Seminar
25
Feast - Creative Development
26
Partners and Collaborators
28
The Milk Crate Theatre Team
30
Our Supporters 32 Get Involved 33 Contact Us 34
ABOUT US Milk Crate Theatre uses performing arts to change the story of homelessness. We provide creative opportunities for participants to build confidence, skills and social connections to help them make positive changes in their lives. Our programs are run for, with and by members of the community that have a lived experience of homelessness and the complex issues associated including people with mental health, financial, emotional and physical support needs, addiction, trauma, domestic violence and people who are recently arrived. Milk Crate Theatres works within a Community Arts and Cultural Development (CACD) model, meaning our work is community centred and collaborative. Professional practicing artists facilitate programs and projects where participants are encouraged to contribute ideas, share stories, and engage in creative expression within a safe and supported environment. We believe that by bringing communities together and working from a strengthsbased approach, we can make a positive impact on participant well being.
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HOMELESSNESS IN AUSTRALIA On any given night in Australia there are 105,237 people that are homeless, which equates to 1 in 200 people. This statistic is on the rise. At last count, 28,191 people were homeless in New South Wales and of those 43.6% are between 12 and 34 years old.¹ Homelessness is not just “houselessness.” Experiencing homelessness means not having stable or secure housing, or a place to call home. Homelessness comes in many guises and people become homeless for a range of reasons. This makes those experiencing homelessness some of the most disenfranchised and vulnerable individuals in our society. Sadly, with homelessness on the rise in Australia there is an increasing demand and continuing need for services to support our community. Milk Crate Theatre provides opportunities for this population by providing artistic outlets and a public platform to create change in the climate of rising homelessness. ¹www.homelessnessaustralia.org.au/index.php/about-homelessness/homeless-statistics
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The
CHAIR REPORT
2016 was a year in which Milk Crate Theatre again delivered strong impact and life changing outcomes for its participants. This was achieved with a background of: a period of financial challenge; followed by new foundations and strategic refresh; and now optimism and confidence in the future. A key highlight was our refresh of Milk Crate Theatre’s vision and strategic plan. A significant community and stakeholder consultation process informed this work. As a result, we have a clearer purpose, four key strategic goals - impact, growth, creativity and sustainability - and a clear plan of delivery and measurement. A principal outcome of this refresh is a more participant-focused approach to all our work. It will deliver clearer and more measurable impact for our participants. As part of this strategic refresh, we appointed Judith Bowtell as CEO to lead the Company through this next phase. Judith has stepped down from our Board to take on this role. She brings a wealth of government, community and strategic experience to the role. We are very luck to have someone of Judith’s calibre to lead our Company. A big thank you to Jessica Hermosilla for leading the company with passion and care over the prior year.
Arts and Arts NSW. However, the evolution in funding models has meant we have adopted a much stronger focus on corporate, philanthropic and welfare/health based funding sources. We welcome and warmly encourage any financial support. Through our strategic review, we have also changed some of our cost structures. We forecast that the 2017 financial year will return to a balanced outcome, or even a modest surplus. 2017 will be a year in which we deliver our new strategic plan, sustainably embed our new cost structure and welcome some new funding partners. We will provide our services to more participants than ever before and increase our impact. There have already been some wonderful new participantfocused initiatives and we would love to have you involved in 2017.
MICHAEL SIRMAI Chair
We have also adopted a much stronger emphasis on community relationship building and partnership. By focusing in this way, we can build our community brand, reduce overhead, bring specialist expertise in on a project basis, and build a stronger pipeline of participant referrals to our programs. During 2016 we welcomed two exceptional new directors to the Board: Caterina Giuliano, a community welfare expert, and Richard Levine, as Treasurer. Tragically, Caterina passed away during the year. Through her work with us, she has left a much valued and indelible mark on our strategy and our culture. We also appointed an Artistic Advisory Council during the year. It is make up of seven highly respected arts experts with deep experience across the performing arts, Community Arts and Cultural Development and academia. The Council provides artistic advice, mentorship to our artistic team and ambassadorship. The year was a challenge financially, as our sources of revenue changed. Funding will remain a challenge as government arts funding priorities continue to evolve; although we have continued to enjoy support from bodies including the Australia Council for the
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As a previous board member and now CEO of Milk Crate Theatre, I have seen the organisation from various points of view I now have a deeper and wider appreciation of the impact of the company, and the high level of skill and commitment it take from many people to make that happen. It was a privilege and huge learning opportunity to work with the staff, board and participants during the process of strategic review in second half of 2016, and to be invited to lead the company into its new direction this year.
Milk Crate Theatre is a very special part of many people’s lives. A safe, creative space that encourages everyone within to find and make their own steps towards a brighter future - whatever that looks like.
The process included consultation with our participants, partners and peers. As part of this research period we undertook a series of visioning with our participants. I took part in the last of these, where the craft paper and collage supplies came out and we engaged in a process of making a process of marking visual representations of what Milk Crate Theatre meant to us. At the end of the day I took those posters and literally carried them with me for the next three months in the back of my car whilst we both explored these questions and planned the season ahead.
From 2016 onwards, you will see that our creative work is both exploring new forms and new areas beyond the lived experience of homelessness. That is the experience our cohort share. However at Milk Crate Theatre it becomes less of a defining feature, but more of a jumping off point for so much more. (See our new strategic direction below)
The past year has been a big year of change in the company, with one major element of change due to the ongoing social support program, lead by our former Social Worker Tara Maurici and supported by our former CEO Jessica Hermosilla and GM Cathy Murdoch. The value of this comprehensive program (see page 13) has been transformative for What I have learnt includes: the company. The Social Worker role was introduced • Language matters - how we talk about to Milk Crate Theatre in late 2015 and provides each other and our experiences shapes professional support for our participants to access our world and our relationships. what support they may need to participate in our • When in confusion and doubt - connect back to programs. The role also supports our team and builds the on the ground work and the impact we make. capacity within our staff and our artist facilitators and • Persevere - sometimes the solution can support workers, to develop appropriate relationships only be found by doing the work. • Be open - embrace new challenges and partnerships with out participants, manage issues and conflict that may arise, and most importantly keep the focus of the for the opportunity to learn something new. artistic work and skills development, knowing that • Treasure each encounter and each the participants have resources to support them. day - because our lives are fleeting and some will not be with us forever. The other major change has been a focus of looking outwards for inspiration as well as within. The The intention of the strategic review was to address more major threshold questions about the company, its collaboration with Branch Nebula on Feast, the purpose and its impact. Are we an ‘arts’ company or a international exchange with TONYC and trialling project for social change? Do we have a role in advocacy of new programs for young people and women all signify a company that is curious about the world or are we about personal agency and well-being? and seeking to be challenged. This is what I see Should we focus on a core Ensemble or be a broadin the participants in our programs. Various life based program, accessible to all who identify with a lived experience of homelessness? How do we measure circumstances has led to them to our (multiple) doors and we have the privilege of supporting them through our impact and who can best assess our worth? And absolutely fundamentally how do we create a business this next stage in their journey to learn new things, meet new people and find our something surprising model that can sustain us without core funding from about themselves and others. Australia Council - which expires at the end of 2018.
The one that jumped out the most was one where Milk Crate Theatre form a 3D bridge from a place of darkness and isolation to a space of connection and light. As the sparkles fell and mixed with the dog hairs on my back seat, it reminded me every day that
Before I go, I would like to thank the board for their personal support of me and the company; to the staff for their tireless efforts and remarkable resilience; to our partners and supporters who make it possible; and to the participants who trust us and challenge us to bring our best selves forward.
JUDITH BOWTELL CEO 6
The
CEO Report
Our
PARTICIPANTS OUR PARTICIPANTS
In 2016 149 participants took part in Milk Crate Theatre activities. 12 took part in performances. 15 took part in artistic and company consultation days. 100% have support needs. 75% live in supported housing. 12% were over 60.
39% were under 44. 44% were female. 56% were male. 9
OUR STRATEGIC GOALS IMPACT Build confidence, skills and social connections through performing art workshops and performances
GROWTH Deliver our programs to as many participants as possible.
CREATIVITY Create new work, using Community Arts and Cultural Development (CACD) best practice
SUSTAINABILITY Ensure a sustainable business model.
OUR CORE PRINCIPLES We are committed to: • Using the arts as a tool to help participants find pathways to recovery and active social engagement. • Providing safe and accessible opportunities for participants to engage with each other and our programs. • Creating an environment where regard is taken for the experiences, feelings and rights of others. • Using a range of creative practices in our work. • Creating performances that engage and challenge audiences. • Working in collaboration with partners (welfare, arts and funding) to further reach and impact. • Above all, putting the well-being of our participants at the heart of everything we do.
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IMPACT
2013
2014
2015
2016
Total number of PARTICIPANTS involved in the annual Artistic Program
123
143
128
149
total number of PARTICIPANTS involved in a PERFORMANCE
34
36
31
12
1604
1406
2110
1167
98.9%
96.5%
100%
99%
13
16
17
8
total number of audience members (Approx.)
% of all the audiences who enjoyed the experience
total number of Community partnerships
SOCIAL SUPPORT SOCIAL SUPPORT PROGRAM In all of Milk Crate Theatre’s work, participant wellbeing comes first, we support participation through access and social programs. This includes the engagement of a Social Worker on staff, work with Community Partners who have on-site social support, the development and implementation of policies and procedures that ensure consistency in approach and across programs and facilitators, and secure and detail documentation of social support and access needs and active support and referral measures.
COMMUNITY ARTS AND CULTURAL DEVELOPMENT (CACD) Community Arts and Cultural Development (CACD) is the framework than underpins all of Milk Crate Theatre’s Work. We work with practicing professional artists who facilitate creative processes with members of our community. Outcomes of CACD work are collaborative, socially inclusive and fosters real skills development.
MILK CRATE THEATRE GROUP AGREEMENT Developed in 2015 from consultation with participants, staff and Board. The Group agreement provides guidelines for behaviour to provide safe opportunities and create an environment of respect in workshops and productions.
TRAINING AND DEVELOPMENT All of our teaching and facilitating staff are professional practicing artists, with their own independent body of creative work. Milk Crate Theatre always works to place participant wellbeing first, 2016 was a bit year for the further development of briefing procedures for staff and artists, evaluation and development of further policies and procedures, supervision and guidance from Associate Director in CACD practice.
COMMUNITY PARTNERSHIPS All of our programs are created in partnership with community organisations, working the field of homelessness, women and youth services, domestic violence and related fields. These partnerships create a range of support specific to the community we are working with on each project.
MEASURING IMPACT We focus on measuring three key areas: Confidence - Skills - Social Connections. 15
2016 was a year of continued creative cultivation for Milk Crate Theatre. Artistically “ploughing the soil” as it were, we have been re-evaluating our processes, practices, and methodology. I joined Milk Crate Theatre late last year. I see the issue of homelessness not as an issue that affects “others” but as something that affects us all personally. We all need to tackle this issue as a community before it gets worse. Having always been clear about our community and cultural relevance as a company, the year saw us investigating how we can most effectively activate this artistically. How accessible are our processes? How effective are our collaborative measures? How does our approach effect our participants, and how do our participants effect our approach? In working with communities of people who have had lived experiences of homelessness, trauma, mental health challenges or disability, it is important that our practices reflect our ethos. That means a number of things … • Using a variety of art forms to facilitate expression. • Providing non-scripted alternatives to play making. • Incorporating more relaxed rehearsal time frames. • Continuing social support throughout all creative endeavours. May saw our continued collaboration with Branch Nebula on Feast and allowed us to consider a nonscripted approach to making and presenting new work. The work called upon performers to respond to questions and tasks, as themselves rather than as characters in a play; which eradicated the need for heavy writing and script-learning, and made way for real time responses to universal questions. This non-linear and non-narrative approach was a fresh method for Milk Crate Theatre, in exploring more contemporary theatrical practices. In July it was exciting change of pace, as Theatre of the Oppressed New York City graced us with the presence of their Founder and Executive Producer, Katy Rubin! For two weeks Katy, who is one of the last Jokers in the world to have trained directly with Augusto Boal (the forefather of Theatre of the Oppressed himself) took our staff, participants and facilitating artists through a skills development intensive. We learned the ins and outs of TONYC’s dynamic, swift and responsive theatre building practices, and gained fresh training in Forum Theatre making. We learned about the most effective forms of Jokering, and built a new collaborative performance called Under Construction, in no less than 3 days!
From this exchange, Milk Crate Theatre was able to take a wider look at our rehearsal processes. Could we be more flexible in our approach? Maybe for some productions, an elongated and focused rehearsal process is necessary, but for others, a quicker turn around time might be better? The responsive and spontaneous nature of TONYC’s work has turned out to be very suitable for Milk Crate Theatre participants who cannot commit to a large amount of rehearsal time, but still want to be involved in a performance project. This “grass-roots” style has also relieved pressure on participants regarding memory retention and line-learning, as the final product itself is open and amenable to flux. We have since utilised this approach on a number of our Forum Theatre projects with great success, and have embraced it as part of our accessible programming. Later in July, Jessica Hermosilla and I travelled to Rio de Janeiro international arts and homelessness convention, With One Voice (Uma So Voz). as guests of the Streetwise Opera. As the only Australian arts organisation in attendance, Milk Crate Theatre was able to solidify its place in an international creative sphere – working, learning, creating and developing with community cultural icons Cardboard Citizens (UK) and reconnecting with TONYC (US), we were also able to learn about homelessness and the multiple ways the arts are being used to alleviate its impact around the world – Japan, UK, USA, and of course, Brazil. Our Forum Theatre show for the year, Wasted, was a great success, both with community audiences at the Newtown Neighbourhood Centre and The Wayside Chapel, but also with schools audiences at Riverside Theatres. Again, taking a creative approach to the form, Wasted encompassed a more complex narrative than traditional Forum Theatre works. The creative process used for devising Wasted was collaborative and participant-informed, comprising complex character development, deep investigation of narrative, and group decision-making methodology. So in all, 2016 was a year of innovation, collaboration, and dynamic exploration … a time of deepening practice, revising ethos, and recommitting to creating art that is not only resonant with the wider community, but that utilises processes that allow that very community to take part.
MARGOT POLITIS Associate Director 16
The
ARTISTIC REPORT
Our
ARTISTIC PROGRAM
WORKSHOPS Our Workshops include a regular drop-in opportunities offered throughout the year in Western Sydney and Sydney CBD. We partner with professional arts facilitators and community service providers to offer a free and safe space where people can meet and learn new skills through creative processes. 2016 we worked in partnership with four service providers to deliver four rounds of five to six week workshops - each hub location looked at a different creative skill focus. Community Showings were held for participants to showcase their work from the workshops with friends, family, peers and the public. In 2016, we also held Masterclasses, Outreach Workshops to target groups, Structured Mentorships and Scholarships, regular drop-in Cuppa Times and we continued our popular Edge of Your Seat program for outings with our participants. Our youth program, Spilt Milk, aimed at young people aged 16-24 years and addresses a range of issues including homelessness, drug and alcohol issues and mental health. Young people involved in the program visited out partners Bondi Anglicare in Bondi Beach and The Wayside Chapel in Kings Cross in the second half of the year.
PRODUCTIONS In 2016, Milk Crate Theatre held two Forum Theatre productions Under Construction and Wasted and we also exhibited the next stage of our creative development to our new major work Feast. The development and performance of these productions were offered to participants who has shown a commitment and desire to expend open their creative skills and collaborate of works that spoke both directly and indirectly about homelessness and the complex surrounding issues to public and selected audiences at community services and major arts venues.
INTERNATIONAL EXCHANGE 2016 saw Milk Crate Theatre launch it’s International exchange. This is a chance to learn from individuals, communities and organisations that are doing brilliant work in fields relevant to Milk Crate Theatre’s own goals. With this in mind Milk Crate Theatre began our exchange by hosting an international guest, Katy Rubin, Founder and Director of Theatre of the Oppressed NYC. Katy share methodology and knowledge on Theatre of the Oppressed practice and together created a pop-up forum performance with our participants. The second part of our 2016 exchange included travelling to the international arts and homelessness convention, With One Voice (Uma So Voz) whom we continue to connect with today and into the future.
SCHOOLS Our Schools Program provides a safe and creative space for secondary school students to gain insight into the complex issues surrounding homelessness, while also experiencing high quality theatrical works that link directly to the curriculum. The Schools Program provides a vital insight into the methodologies of Augusto Boal and Theatre of the Oppressed - through our Forum Theatre performances with Riverside Theatres. In addition, Milk Crate Theatre’s play Fearless was included in the 2015 -2017 HSC Drama Syllabus, the company provided performance seminars in both Western Sydney and the Sydney CBD for HSC students.
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WORKSHOPS Our Workshops are regular drop-in opportunities and are offered throughout the year in Western Sydney and Sydney CBD. We partner with professional arts facilitators and community service providers to offer a free and safe space where people can meet and learn new skills through creative processes. Our artistic facilitators have a passion for community development and bring a diversity of professional practices to our workshops program including: writing, acting for screen and stage, devising and performance making, clowning, physical theatre and movement practices, voice skills and radio play production. In 2016, we worked across the Inner West, Eastern Suburbs, Kings Cross, and Parramatta to deliver our Stage Door program. Working in partnership with Parramatta Mission, Ozanam Learning Centre, and Newtown Neighbourhood Centre we delivered a five-week workshop from each hub every quarter, each with a different creative skills focus. This year we also developed a new partnership with Bondi Anglicare at their Bondi Beach location, St Andrews Anglican Church, and Maroubra site at St Johns Anglican Church. In the latter half of 2016 we ran a Youth program at Bondi Beach with Bondi Anglicare and also delivered a Theatre Sports focused youth workshop for Wayside Chapel in Kings Cross. We implemented a number of strategies to strengthen our community partnerships and promote maximum participation in our programs these included: • • •
Consolidation of our referral processes and providing accessible marketing tools for community partner’s caseworkers in order to communicate our activities more effectively Contributions to Community Partner staff development days by facilitating artistic activities, so that caseworkers can better articulate our workshop program to potential Ensemble artists Offering pressure-free taster and outreach workshops in new communities as a pathway into the Stage Door Workshop program
In 2016, we also conducted outreach pilot a women’s only workshop program with The Big Issue women’s subscription team and Women’s Housing Company. We also conducted a free Masterclass opportunity for Milk Crate Theatre participants who wanted to challenge themselves further and extend their movement skills.
During 2016 Milk Crate Theatre offered 434 unique workshop engagements. 12 participants took up the training offered in our Masterclasses.
Milk Crate Theatre worked with 8 community services providers to deliver our workshops program.
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“Milk Crate Theatre is a big blessing, a therapy� - Milk Crate Theatre Participant
“People who have been through similar experiences can see they aren’t alone. The cast can see they are bringing people together. This creates respect and can even be fun. So the performances has impact.” - Milk Crate Theatre Audience Member
INTERNATIONAL EXCHANGE
In 2016 Milk Crate Theatre hosted an international exchange with Theatre of the Oppressed New York City (TONYC). With this partnership Milk Crate Theatre was able to host Katy Rubin, Joker and Executive Producer of TONYC in Sydney for two weeks. Outcomes of this exchange included a new forum theatre show Under Construction which was presented at Wayside Chapel and Newtown Neighbourhood Centre, a five-day Masterclass led by Katy for Milk Crate Theatre’s artistic facilitators, participants and staff to explore TONYC’s methodology, and conduct an ongoing organisational skills exchange between Katy and the Milk Crate Theatre team of staff.
UNDER CONSTRUCTION - PERFORMANCE Under Construction was devised using TONYC’s collaborative unscripted forum methodology and was led by Katy Rubin. Development took place over three days with an ensemble comprising two of Milk Crate Theatre’s artist facilitators and four of our participants. Additionally, Artist Facilitator Graeme Rhodes and Participant Georgina Wood were mentored by Katy to Co-Joker the Under Construction forums utilising the TONYC format. Under Construction performances at Wayside Chapel and Newtown Neighbourhood centre saw a total audience of 131 people.
MEET THE JOKERS! - FORUM THEATRE TRAINING The second week of exchange culminated in a five-day masterclass led by Katy Rubin. The masterclass introduced Milk Crate Theatre participants, Artistic Facilitators and staff to the TONYC model and practice of Augusto Boal’s Theatre of the Oppressed methodology. Katy is a leading Theatre of the Oppressed practitioner worldwide and was one of the final jokers to study under Augusto Boal directly. TONYC was founded in 2011 by Katy Rubin, and describes their process as: TONYC partners with social service organisations and city agencies, forming theatre troupes with community members who face pressing social, economic, health, and human rights issues. These troupes devise plays based on their real-life struggles, and perform them before diverse audiences. After each performance, actors and audiences engage in theatrical brainstorming – called Forum Theatre – with the aim of catalysing creative change on the individual, community and political levels. TONYC produce over 60 public performances per year with the various community organisations and resulting troupes (participant workshop groups). This was an exciting opportunity for both organisations to learn about the artistic and organisational process of each company and to also gain insight into the differences and similarities of our cultural contexts. Milk Crate Theatre’s exchange with TONYC informed our main forum production for 2016 Wasted. This exchange was key to our strategic shift from script-based productions to more accessible and participant-led model of play-building and devising.
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production - WASTED With the International Exchange in the bag Milk Crate Theatre moved on to putting what we had learnt and collaborated on with Theatre of the Oppressed NYC into actions with our own approach and ideas. We embarked on a three year plan - a trilogy of works that look at the three most prominent mental health conditions affecting Australians and also across the globe - addiction, depression and anxiety. We began our journey with Wasted, looking at addiction in all its shapes and size. Working with long-time Milk Crate Theatre Facilitating Artist, Graeme Rhodes and Milk Crate Theatre’s Associate Director, Margot Politis, participants took on the task of developing and delivering a performance to over 400 people. Wasted allowed both audience from the public and students, as part of Riverside Theatres Secondary Education Program, to explore how addiction affects individuals, their friends, their family and our communities at large. As a Forum Theatre performance we actively worked with the audience to try and make positive changes to the lives of the characters and work towards a better understanding of the issue.
FEARLESS HSC SEMINAR In 2016, Milk Crate Theatre continued to engage New South Wales school students through the publication of Fearless by playwright Mirra Todd and printed by Currency Press. Fearless has been programmed for the New South Wales Higher School Certificate Drama Syllabus from 2015 until 2017, placing the company in a strong position to generate audiences of senior school students. Milk Crate Theatre partnered with Riverside Theatre in Parramatta again in 2016 to delivered two seminar performances to student. In 2016 we also partnered with award-winning youth focused company, Monkey Baa Theatre Company for a further two performances of the seminar.
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CREATIVE DEVELOPMENT
FEAST
In 2015, Milk Crate Theatre embarked on a three-year project collaborating with the Sydney-based contemporary performance company Branch Nebula (Concrete and Bone Sessions, Artwork). The first creative development phase of this project led to a showing, First Times, at Carriageworks in December as part of IN DEVELOPMENT 2015. The next creative phase, titled Feast, was presented at Carriageworks on May 3rd 2016 for their IN DEVELOPMENT 2016 program to an audience of 109. The discoveries made in these creative developments and showings will inform our forthcoming 2017/18 company production. The performers and creative team undertook a three-month development process with periodic rehearsals to devise the show each week leading up to the presentation of Feast. During this time a new performance making methodology was negotiated and developed between the collaboration of Lee Wilson and Mirabelle Wouters from Branch Nebula, Cristabel Sved (at the time Artistic Director of Milk Crate Theatre) and Milk Crate Theatre’s participants: Flor G, Pauline T, Anita C, Matthias N, Margaret B, Fabi M, John M, Rach W, Sue D, and Cherie B. Participants responded to a new EOI call out at the beginning of the year to register their interest in contributing to the second-development of the show. Audition processes we waived for this production in favour of creating a more accessible entry to performing in our company production – all participants that responded to the EOI were included in the development.
Feast spoke to the growing gap of inequality in the contemporary world. Performed and developed by artists with a lived experience of homelessness, Feast gave audiences a deeper understanding of the multifariousness of homelessness through an examination of the issues. Feast’s theatrical style alternated between concrete speech-driven testimony and immersive movement-driven sequences. The relationship between performer and audience was tested throughout this performance so that by the end an initial sense of separation is de-constructed; these stories become shared, these experiences become mutual, and we no longer see that any individual is removed from the story of homelessness.
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“It was community orientated and educational. It wasn’t scary and I felt safe to participant in the conversation and action.” - Milk Crate Theatre ‘Wasted’ Audience Member
“My time spent with the staff and participants of Milk Crate Theatre has been entirely positive. It is the first concern of the staff and facilitators to make the journeys of the participants enjoyable and rewarding and to provide purpose and direction to the marginalised residents of Sydney” - Milk Crate Theatre Participant
COMMUNITY PARTNERS EDUCATIONAL PARTNERS Milk Crate Theatre works across the City, Inner West, Eastern Suburbs and Western Sydney. We engage our participants through the support of a network of community services dedicated to delivering services to those who have experienced homelessness or social disadvantage: Ability Links Bondi Anglicare Newtown Neighbourhood Centre Oz Harvest Parramatta Mission St Vincent de Paul Society’s Ozanam Learning Centre The Big Issue The Wayside Chapel Women’s Housing Company
ARTS PARTNERS The company is committed to artistic excellence and appreciate that this comes through strong creative partnerships: Branch Nebula Carriageworks Currency Press Monkey Baa Theatre Company Parramatta Riverside Theatres Shopfront Arts Co-op Theatre of the Oppressed NYC
Milk Crate Theatre partners with leading educational and research institutions to offer opportunities to participants and to develop and disseminate new research projects: NIDA (National Institute of Dramatic Arts), Darlo Drama University of Western Sydney
SPECIAL THANKS Asia Redestowitz Cambelltown Arts Centre Care About Us - Dan Balcaban Circus Oz Darlinghurst Theatre Company Denis Beaubois ERTH - Scott Wright Jo Franklin Patrick Boland Sydney Festival With One Voice
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PARTNERS AND COLLABORATORS
Milk Crate Theatre owes its success largely to strong partnerships within the community where we deliver the majority of our programs. Vital to program delivery is maintaining relationships with our partners that are naturally beneficial and working towards common goals. Partnerships with the community continue to be at the heart of Milk Crate Theatre and in 2016 we both continued partnerships with current community services and developed new ones.
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the milk crate BOARD Michael Sirmai (Chair)
Richard Levine (Treasurer)
Andrew McCarthy Lauren O’Shaughnessy Lenore Robertson Victoria Turner Rachel Lim (Company Secretary)
ABOUT THE BOARD Michael Sirmai became Chair of Milk Crate Theatre in February 2016, following the resignation of John Bell. Two new board members joined the company in 2016, Richard Levine (Treasurer) and Caterina Giuliano. Very sadly, Caterina passed away suddenly in October 2016. Caterina was a great supporter of Milk Crate Theatre in both her role as a board member and as Program Manager at the Ozanam Learning Centre. She is greatly missed, especially for her knowledge of the communities experiencing homelessness in Sydney and her commitment to our work has been sadly missed.
ARTISTIC ADVISORY COUNCIL Lenore Robertson (Chair)
Donna Abela
Dr. Jonathan Bollen Charmian Gradwell Lex Marinos OAM Graeme Rhodes Kristina Tito
ABOUT THE ARTISTIC ADVISORY COUNCIL Milk Crate Theatre established the Artistic Advisory Council 2016, as a key outcome of our strategic review to ensure the artistic merit of the company’s creative work. The role of the Artistic Advisory Council is to use its expertise to support the work of Milk Crate Theatre, through informed feedback connections and mentoring for staff and projects. The members of the Council were selected to bring together a broad range of professional theatre and community arts and cultural development skills.
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crate theatre team STAFF
FACILITATING ARTISTS
Judith Bowtell CEO
Donna Abela
Margot Politis Associate Director
Sean Barker
Lisa Walton Creative Producer
Margie Breen
Peter Hawkins Social Worker
Leonie Cohen
Dale Hollingsworth Financial Consultant Christie Woodhouse Production Assistant
Kay Armstrong Eddit Benjamin Jerold Chan Phil Downing Sarah Emery Alicia Gonzalez Gigi Gregory Christa Hughes Vashti Hughes Grant Moxom Kevin Ng Grace Partridge Goldele Rayment Graeme Rhodes Hannah Strout Jonnie Swift Daryl Wallis Alice Williams Lee Wilson Mirabelle Wouters 31
OUR SUPPORTERS GOVERNMENT Australia Council for the Arts City of Sydney Council of City of Parramatta Create NSW Department of Communications and the Arts - Catalyst
FOUNDATIONS Macquarie Group Foundation Robertson Family Foundation StreetSmart Australia Westpac Foundaiton
FRIENDS OF MILK CRATE THEATRE Alison Battison Sky de Jersey Helen Gannon Mark Grolman Ann & Paul Hine Tesser Hoser Eugenia Langley Richard Levine Rachel Lim Andrew McCarthy Jared Merino Jessica Power David Robb Lenore Robertson Michael Sirmai Andrew and Lody Stewart Josh Stinton Victoria Turner
PRO BONO SUPPORT Aegeus AMP Foundation (Skillshare) City of Sydney - Accommodation and Venue Herbert Smith Freehills
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GET INVOLVED JOIN OUR PROGRAMS If you identify as having a lived experience of homelessness or the surrounding complex issues or your are referred to us by a community service organisation, you are encouraged to come along to our workshops! Click HERE for more information.
COME TO OUR SHOWS If you would like to receive updates and special invites to our performances and events please contact mail@milkcratetheatre.com with your request and you will be added to our mailing list.
MAKE A DONATION A simple option that can have a long lasting affect! Over 90% of our work is funded through donations and grants, your donation makes all the difference in allowing us to continue our work and reach more people, helping to change the story of homelessness.
DOWNLOAD FOLO Shop wisely! Folo provides a free and easy way for your to support Milk Crate Theatre everytime you shop online. Head to the website and download Folo now! http://au.folo.world/cause/milkcratetheatre
CREATE AND SPONSOR A FUNDRAISING EVENT Speak to us about how best to create and run a fundraising event for Milk Crate Theatre but contacting Judith at judith@milkcratetheatre.com.
BECOME A VOLUNTEER Milk Crate Theatre are always on the look out for skilled volunteers; we are a very small team and opportunities are project specific. Please check the ‘Get Involved’ section on our website or email mail@milkcratetheatre.com to be added to our mailing list for future opportunities.
Please note: you must be over 18 to volunteer with us, opportunities are limited and not everyone can be accommodated. Working with Children’s Check and Police Checks may be required. You will need to go through an induction process before volunteering with us and abide by our policies and procedures.
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CONTACT US P: (02) 9698 7133 E: mail@milkcratetheatre.com W: www.milkcratetheatre.com A: Alexandria Town Hall, 73 Garden Street, Alexandria NSW 2015 PO Box 27, Alexandria NSW 2015
ACKNOWLEDGEMENT TO COUNTRY
Milk Crate Theatre acknowledges and respects the Indigenous People of Australia. We respectfully recognise that our activities take place on the land traditionally owned by the Gadigal People of the Eora Nation and the Durag People.
ACCESSIBILITY
We are committed to making our programs accessible to our community and wherever possible we will make arrangements to meet your access requirements. Please contact us for more information to let us know your access needs.
ASSISTANCE FOR PEOPLE WITH DISABILITIES
Information can be provided in alternative formats upon request (i.e. large print and electronic). To contact the National Relay Service, call: Type and Read, Type and Listen, or Speak and Read: 133 677. speak and Listen (speech to speech relay): 1300 555 727. For interpreting assistance in languages other than English, contact the Translating and Interpreting Service, TIS National: 131 450 and indicate which language you wish to use.
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