La Mama demonstrates the value of independent theatre
- Written by Julian Meyrick, Professor of Creative Arts, Flinders University
This year Melbourne’s La Mama Theatre celebrates its 50th year of operation. In an interview for the company’s 20th anniversary, the founding director Betty Burstall said:
The basic thing is the money. As it was originally posited, [La Mama] had no money. Now it has grants. But it is not dependent on its box office. It can’t be dictated to on economic grounds in any way. It’s administratively a one-man show. It’s not hampered by committees. It has an extreme flexibility: no one runs any line on theatre, or has any theoretical position on actors, writers, directors or anything.
La Mama is a unique institution. But the working conditions Burstall described are not. Once called “little theatres”, now called “independent”, these companies are the ones largely responsible for the development of Australian drama. Sometimes they go by the bland appellation “pro-am”, a mixture of high standards and basic budgets that has characterised Australian theatre from Federation onwards.
In Melbourne, they include the Melbourne Repertory Theatre started by Gregan McMahon in 1911; the Pioneer Players founded by Louis Esson, Hilda Bull and Vance Palmer in 1922; the Arrow Theatre launched by Frank Thring in 1951; and the Emerald Hill Theatre Company established by Wal Cherry and George Whaley in 1961.
Each of these theatres, though differing in philosophy from La Mama, and less long-lived, was similar in their combination of penury and professionalism. The list could be extended to other states. It includes La Boite in Queensland, the Hole in the Wall in Western Australia, and Zootango Theatre Company in Tasmania.
Subtract such companies from the history of Australian theatre and what’s left is a stunted narrative of Anglo-centric commercial production and self-pleasing amateur shows. We owe independent theatres a double debt of gratitude. On the one hand, they provide an outlet for “surplus excellence”; on the other they take the lead in shaping our collective theatrical imagination.
This is the value proposition La Mama represents. It is one that we should be able to pars in policy terms. Yet in 2006, the Australia Council put the company “on notice”, threatening its triennial funding. And in 2008, the company nearly lost its ex-shirt factory venue, which was saved only by an unprecedented groundswell of community support.
These events suggest that governments still struggle to relate to the reality of how theatre is created. Take any recent cultural policy and what you find is a dose of decontextualized metrics in a torrent of unclear prose. But what else can governments do? What is the alternative?
La Mama is a good place to understand creativity in more concrete ways. Perhaps the first thing to note is the number of people who have worked there. To get a sense of this, we can look at AusStage, the world’s leading database for the performing arts. It’s a mine of usefully linked information (upwards of 94,000 event entries), and via its open access web interface it is possible to demonstrate what La Mama has achieved.
The image below is a word cloud that shows the 200 most actively involved practitioners out of the 3000-plus who have staged shows at La Mama. The bigger the font the more productions they are associated with. It’s a dense brick of names and includes an astonishing range of directors, designers, actors, playwrights and devisers. When we hear about “the theatre ecology”, it’s this tissue of connection that is being referred to.
Authors: Julian Meyrick, Professor of Creative Arts, Flinders University
Read more http://theconversation.com/la-mama-demonstrates-the-value-of-independent-theatre-80539