We are looking for two new actors to join our acting ensemble, one male and one female. If you are a Melbourne based actor who has performance and improvisation experience and are interested in being part of an ensemble theatre company, we want to hear from you.
Expressions of interest now open, closing Sunday 29th January.
Being a Melbourne Playback ensemble member includes performing playback shows for public and commissioned audiences, approximately once a week. Regular attendance at Monday night rehearsal in North Fitzroy is a commitment of being part of the company.
We also run workshops and facilitate training in improvisation, storytelling, presentation and performance, so facilitation skills are valuable (but not essential). Skill in playing a musical instrument(s) is also valued (but not essential).
Melbourne Playback performances and workshops are often during the day (and sometimes in the evening) in the Melbourne Metropolitan area, with occasional interstate work.
The position is casual and paid.
The Melbourne Playback ensemble is made up of professional actors and musicians who are active in the Melbourne theatre, comedy and music scene as actors, directors, musicians, and creators.
We are a company-run organisation, so some voluntary administrative work is expected of all company members. Skill and willingness to hold an administrative role in the company is highly desirable.
Melbourne Playback is an equal opportunity provider and people of all cultures and backgrounds are invited to apply.
About Melbourne Playback
Melbourne Playback is the oldest running playback company in the world, founded in 1981 and has been run by Melbourne based actors and musicians for the last 35 years. We perform for community groups, schools, government, universities and corporate groups all over Melbourne as well as delivering performance training and associated skills to corporates, community workers, students and performers. We are a company-run organisation, led by an Artistic Director and other key roles held by company members.
For our fifth and final panel and playback event of 2016, we partnered with Mental Health Week to present
Voyager; Young People’s pathways to Mental Health
Mental Health is a voyage that all of us embark on and navigating the sometimes choppy waters takes time, awareness and support. For our young people, this journey can be particularly acute at a time when they are still finding themselves and their place in the world.
Joining us on our panel were three inspiring young people who have all held advocacy roles in the community. Philly, a hip hop artist and Indigenous Youth worker, Steph Darling of the REACH Foundation and Aref Ramazani, a media artist and refugee advocate for young people settling in Australia.
As our panel shared their experiences of journeys towards mental health, the themes that arose were needing a sense of belonging, of having a way to be able to share their stories and of having people who would listen when they were brave enough to ask for help.
After the panel, our facilitator Danny Diesendorf led an exploration into the stories held by the audience, who shared some of their own personal journeys and those close to them.
Through moments and stories, we worked our way through the shared and unique experiences in the room. The intimate theatre at La Mama Carlton Courthouse, which was used by us in traverse for the first time created an intimate environment for both the audience and the performers.
The culmination of openness shared by our panel and our audience created an incredibly unique and unforgettable afternoon. As reviewed by one of our audience:
“It was real, it was authentic, it was so full of courage. It was intimate and I felt my heart beating the whole time. It was human beings speaking from the heart to other human beings. The skills of your performers is beyond words; they are SO present to what they see and hear, this blows me away. I want to convey my deep appreciation for his event – I will never forget it. Thank you.” Rosie Cuff.
Thank you to all who came to take part in Voyager. We feel honoured and inspired to hear and share these stories of courage, pain, hope and love. Stay tuned for next year when we will host our next panel and playback shows.
This public playback panel performance drew over two-hundred and seventy people to Northcote Town Hall; one of Melbourne Playback’s largest ever public theatre performances.
The event created the space to hear stories from the community about the many ways people react and want to act on this enormous issue. This event was rich because it crossed between both intellectual, practical territory and the justifiably strong emotions that many people have around this issue which brings with it such threat.
The performance was often at its most moving when people spoke of many things they love deeply, such as their children and the places they have connections with, in context of the threat of runaway climate change.
The discussion through Q&A with the panellists and then through the medium of Playback theatre was wide-ranging. Topics and stories opened up over the evening included:
Audience members witnessing or being part of positive changes, whether acting politically on the issue or making changes in their own lifestyles;
The impacts audience members have already seen in their environment, on their lives and sense of purpose.
Anger and confusion seeing some leaders in government and business blocking or undoing effective action on climate;
People’s journeys through fear, despair, motivation, involvement and reflection.
The Playback performance was preceded by three speakers; Lucy Best, Professor Rob Adams and Stephen Bygrave who brought their diverse experience to talk about how their work has contributed to implementing solutions and the path they’ve been on to become involved in the work they do.
In the words of Vivian Langford (of 3CR radio) reviewing the event:
“It is fascinating to hear both the hard headed solutions to climate change, from the panel and Q&A in the first half, and then the subjective side from the audience. The “Oh Shit” moment when they realise we have to do something about it. Followed by the musicians and actors creating a new narrative for our times…Melbourne’s Playback Theatre had a lot to offer as objective action on climate is so often undermined by fearful emotions and apathy.”
Our third special Q&A event after our beautiful and poignant show “SticksnStones’ at Federation Square, Melbourne Playback Theatre Company celebrated
“ON OUR SHORES”
Every year, the world celebrates World Refugee Day, and our multicultural and diverse communities living here in Australia. What makes our country proud is the contributions each Australian has brought and given back. On Thursday 23rd of June, Melbourne Playback Theatre Company brought Melbourne together to “Celebrate the Fighting Spirit in Our Community.”
With the recent #LetThemStay, #BringThemHere and the crisis of Australian asylum seeker policies detaining humans on offshore detention centres, Melbourne Playback allowed a space for human stories to be heard to remind us what was at cost.
For hundreds of years, many have set sail to call Australia home. With refugees risking their lives at sea, the Australian government is still shipping children and women into offshore detention centres. Melbourne Playback Theatre Company puts a spotlight on why we continue the plea for all people to be treated humanely,
Alex Sangster, MPTC Company member welcomed the audience from Footscray and afar and introduced our four wonderful panelists who shared their stories
Mariam Issa – Refugee, Author and Human Rights Advocate
Mohammad Ali Baqiri – Refugee and Human Rights Advocate
The evening Q&A flowed into a performance from Melbourne playback where audience members shared their own stories of their own refugee experience, or their connections and relationships with refugees and migrants who have impacted their lives.
Love between a young couple from two different lands, onions and being grateful.
A mother’s separation from her son for one second, while hearing the story of Mohammad Ali who has been separated from his mother for years.
A woman’s despair of fleeing, and sadness by the Australian Government off-shore detentions, but hope for the future.
“We left the theatre that night having examined and gained insight into some human parts of ourselves and our fellow audience members that are not so often brought into the public or the conscious eye.”
There are moments in life where you are powerfully reminded why you do what you do. For me as Creative Director of The F Word, Thursday 10th March was one of those moments.
It began with the atmosphere in the room. Despite a freak rainstorm and lots of traffic congestion, Howler theatre was packed and buzzing. Already I knew a singularly special audience had converged to experience and participate in the evening’s events.
We had gathered on the lands of the Wurundjeri people of the Kulin nation. We began. We opened the space for our stories.
Photo credit: Ruby Gaile
Were you at The F Word? What do you remember most from the night? Go in the draw to win tickets to our next show by sharing your story in the comments below.
Our first panellist, Jane Gilmore challenged us first on the notion of equality (the first thing I usually say is that feminism is about equality) but equal to what? There are some things that women don’t need to be equal to men with. Equality is a subjective term. We need to be more vigilant with our language, more precise. What exactly do we want? Equal pay and opportunity? Yes. Equal violence and suicide rates? No.
Melba Marginson gave us a detailed history of her work with migrant and refugee women, showing how important it is to educate women on their rights when they come to Australia, to enable them to find their feet in the culture here. Melba also focussed on accented English and how
“many of us need to be reminded that accented English is still English, and as Marginson eloquently explained, we will only be enriched by enhancing our understanding of other cultures through actively listening to people with these accents.” – Caitlin McGrane, Aphramag
Video credit: BatchEdit
Tammy Anderson then took the stage with power and vibrancy, sharing with us her experience as a playwright, actor, ambassador, speaker, director and board member. She spoke of inter-generational trauma, of the battles she has faced and how she has faced them through her art. She shied away from nothing. Her generosity with us was astounding.
Clementine Ford closed the panel by sharing a great story about an all women’s pool in Coogee (highly recommended by her) as well her experience with trolls and online abuse. She shared with us how making jokes about people who are misogynistic online is the way she has found to get through to them, and to show other women that they don’t have to hide away and stop speaking out when they encounter such attacks.
And then…we had a playback performance.
Photo credit: Ruby Gaile
Our all female team took the stage, led by the vibrant Alex Sangster. Now it was time to open up the floor. We heard stories of identity, of struggle, of power and joy. What was missing from the panel was brought to the stage in the stories. A story of the word ‘lesbian’, from not knowing what it meant to it being a favourite word. A story of being in transition between gender, of mother and son, of family and independence. Stories of grief, of solidarity, ultimately of support.
“Spontaneously women and men came forward with extraordinary stories of love, loss, grief and transformation.” – Caitlin McGrane, Aphramag
Our actors, musicians and facilitator met each story with guts, heart and energy. I cried and laughed and gasped and cheered.
Every speaker, every storyteller, every moment was met by rapturous, supportive applause. Every diversity in the room was cheered and celebrated and loved. There was no question of ‘should we be feminists?’, or ‘what is feminism?’ There was no question. We were all in it together. There was power in that room. It was radiating off the walls.
“Be it trans rights, refugee and migrant rights, indigenous rights, or disability rights, they are all human rights and the people affected by these issues all deserve a platform to be heard. Playback Theatre and the wonderful panellists definitively demonstrated the compassion, courage and strength required to achieve equality in all these areas.” – Caitlin McGrane, Aphramag
I didn’t stop buzzing for days. It was an incredible evening.
Thank you to everyone who came, and those who wanted to. We hope to see you at the next event.
If you were at The F Word we’d love to hear from you. Please share your thoughts in the comments section below. We’ve even got tickets up for grabs to our next show if you do!
The SeaACT (SEAAC Theatre) program is partnership with Melbourne Playback Theatre Company and SEAAC Youth Services that engages young people living in the City of Casey and Greater Dandenong Council in an innovative Theatre Engagement Program. The program involves MPTC workshops within the two areas, including young people, community development workers from Council and service providers and CALD community groups.
“I have learned to have more confidence and energy when acting on stage and other things like studies exam and tests. I want the program to continue because I want it for other people too so they can have more confidence of what they do and not be shy. This program has supported my brothers, sisters and others. I have no complaints about this program. It is too good. KEEP IT UP!!”
Mustafa, Hampton Park Secondary, 13 years old.
The program was first envisioned in 2012, through consultation with SEAAC Youth Services who we have performed regular Refugee Week Celebration performances. In 2013 we received a pilot Arts Victoria grant (now Creative Victoria) to work with the City of Casey community, and create a theatre hub at the Hampton Park Uniting Church Community Centre.
The program was a great success with other 120 young people registered, and we engaged with the Hampton Park community through the term workshops and performances. We had young people from Greater Dandenong travel 45 minutes to attend the program in Hampton Park. This showed us this program was a need for the young people living in the South Eastern Suburbs. SeaACT young people performed in front of 500 people during the SEAAC Refugee Week Celebration in 2014. This included a performance in Greater Dandenong and council saw the value of the program and supported our Vic Arts application for 2015.
During the 6 months of no funding by Creative Victoria, City of Casey had seen the impact of the program, and in Term 4 2014 funded for a small SeaACT program to continue. SEAAC engaged with students at a local school, and the participants performed in front of their peers.
In November 2014, SeaACT program was re-funded by Creative Victoria to operate in the City of Casey, and pilot program in Greater Dandenong. The program has been a gem for the young people living in these isolated areas, as their stories are heard, shared and valued. Some of the young people attended a MPTC rehearsal on Mondays, and one young person recently performed at the Malthouse, through a referral from the SeaACT program. We endeavour to continue this program, and create a performing arts hub in the south eastern suburbs.
Evaluation of the program:
The SeaACT Drama Program provided young people with an opportunity to learn essential skills acting such as group acting, confidence building and improvising. 22 young people completed the evaluation form at the end of the program and provided extremely positive feedback about the program.
82% of the young people learnt something new from the program that they did not know previously
78% made new friends at the workshop which meant that they could share and discuss the new information that they had learnt
90% enjoyed learning drama skills with Melbourne Playback Danny and Mike
90% would like to continue the SeaACT program
Case Study of the Program:
“We all love to say that SeaACT has been a great supporting program to everyone. They helped me to build my confidence and they gave me the opportunity to be a youth leader and build my speaking and improve my public speaking. Now I have the confidence speaking to anyone I want, and got some skills to improve things I need in the future. Thank you SEAAC for all your help and your support. SeaACT is a great program to anyone.”
Recently we wrote about overcoming nerves, but what about warming up? As performers, speakers, teachers, facilitators, we all have our own rituals to prepare us before we face our audience.
Creating your own personalised ritual can take years of trial and error. When to eat? How much sleep do you need? Do you stretch? Sing? Do a crossword? We all have our own traditions and sequences to get us in the zone.
But once you refine it, your ritual can become a reliable friend. It can be the trusted sequence that prepares you to perform at your best.
We surveyed our company to find out what kinds of warm up rituals they do. The answers are as varied and individual as our ensemble members!
We are creating a resource page of warm up rituals. What’s yours? Let us know in the comments section below.
Our company says:
1. Connect with the breath.
Lie in semi supine, flat on your back with knees bent up, head resting on a largish book (either 20 mins at home earlier in the day or briefly during the warm up). Take a moment to be still and notice the breath.
2. Stretch (and shake out nerves).
We all have our personal favourites from yoga poses to Grotowski-inspired specific sequences. The repetition of a routine that reminds us of past performances can be as important as the stretches themselves.
3. Warm up the voice
Humming, trilling, yawning, brrrrrr (vibrating lips), rrrrrrr (trilling tongue) sounds, singing. And of course, tongue twisters!
4. Connect with fellow performers.
Group warm-up exercises force us to make eye contact and be ‘in response’ to our fellow performers. Zap is a great one for this reason. Nerves often send us retreating into our own heads, so anything that can encourage presence with other performers and playfulness is good. Being gentle & positive with co-performers before a gig is important.
What are your top three warm up rituals? Let us know in the comments below.
Two Australian theatre practitioners, a Japanese teacher and a Chinese Human Resources Manager walk into a bar. No joke.
A few hours later I walk out with a Chinese name. My new name translates roughly as ‘Unique Visitor’. I’m a guest speaker at TEFO’s Drama Theatre and Education Conference in Hong Kong and it’s the second night of the conference. Tonight, we four merry travellers have participated in a workshop led by Sean Shun-pui Kwan.
In it he shared one of the many ways he incorporates theatre exercises into his corporate workshops. The conference has been full of great keynotes, panels and workshops like this one and we’re inspired to continue the conversation over a beer.
On the first day I joined Mr Kwan, Jonathan Neelands and Yong-wen Peng to speak in a plenary session on corporate learning and development. In my presentation I spoke about Melbourne Playback Theatre’s work supporting organisational culture programs with our performances and training.
I made grand statements like; ‘Theatre is a change agent and community builder’, ‘Storytelling helps people understand and shape organisational culture’ and ‘Playback theatre is transformative’.
Like most of the applied theatre practitioners, teachers, social workers and corporate facilitators at the conference, I’m interested in the pro-social benefits of theatre. This is our shared interest and despite the diversity of practical application, diverse cultures and varied experience, it connects us. Just as theatre helps connect the people we work with.
Jokes that start with three characters of different nationalities walking into bars strike me as culturally insensitive and inappropriate. Sometimes they are downright racist. They are a form of storytelling that people use to make sense of cultural differences. But because they use stereotype and make fun of those differences I think they often serve to divide us. At the bar tonight, we spend a lot of time sharing stories and learning about our cultural differences.
We grew up with different families in different countries at different times. But each of us has a personal story that make us unique. And through hearing each other’s stories we also discover similarities.
Qian’s English name is Michelle. In her first English lesson the teacher offered her a choice of two names, Michelle or Stephanie, after characters from an American TV show. ‘Was that Full House?!’ ‘Yes!’ A bad 80’s sitcom we both loved as kids isn’t the only similarity we find tonight, but it’s a funny one!
In my presentation at the conference I cited this Harvard Business Review article and its list of mechanisms that business leaders can use to shape organisational culture.
Our playback theatre performances and the theatre-infused experiential workshops that we deliver contribute to most of the informal mechanisms listed. These techniques build connections between people, just as the workshops at the TEFO conference bridged massive language and cultural barriers to build relationships.
But there’s also a lot to be said for ad hoc social gatherings like this drink at the pub.
It seems a cliché that travel broadens the mind, but studies have shown that a journey really can make us wiser. In an article for The Guardian, Jonah Lehrer, stated that ‘seasoned travellers are alive to ambiguity, more willing to realise that there are different (and equally valid) ways of interpreting the world’.
The sense of perspective given by travelling can lead to better problem solving.
I was lucky to have the opportunity to travel to Hong Kong to run a two day Playback Masterclass (particularly its applications to corporate training) with Andrew Gray as part of the Hong Kong TEFO Conference on Drama Education. Being at this conference not only gave me new perspectives, but also opened my mind to subjects I’d never even thought of before. The following are brief notes on some of the things that stood out for me over the 5 days I was in Hong Kong.
In our Masterclass we played a ‘get to know you game’ where the participants stand in a circle, and one person steps forward and states something that is true about themselves. Others for whom that is true will also step forward.
Attempting to liven things up a bit, I stepped forward saying, ‘I vote left wing.’ Andrew immediately stepped forward and there was rather confused discussion among the participants.
I was surprised to realise ‘vote’ and ‘left wing’ were being explained. No one else stepped forward. At the end of the second day of the workshop, a lively participant from Ghangzhou in mainland China told a ‘moment’ about her experience of my revelation. Once she understood what I meant, she initially struggled with deep regret that she had never experienced voting, but then she thought, ‘Whatever! I should just get on with my life.’ I have never been made so aware of a right that I don’t properly value, so much do I take it for granted…
Carmel O’Sullivan, Director of the Arts Education Research Group at Trinity College, Dublin, spoke about how it’s her problem if colleagues have trouble describing what it is she does, and her responsibility to explain it to them. Her ten year research project running weekly drama groups with autistic children has been assessed by Ireland’s Economic and Social Research Unit to gauge its impact. It’s the kind of qualitative and quantative research our own Melbourne Playback’s Artistic Director, Mike McEvoy would love to demonstrate the value of our work with various corporate organisations.
At the end of Mike’s plenary session on ‘Corporate Learning and Development’, an audience member asked the speakers if they had any qualms using their theatre expertise in the aid of business.
Mike related that at his interview to join Melbourne Playback he was asked his attitude to doing gigs for big business. Seated in the audience, Andrew Gray smirked – he’d been the one to ask the question. I listened with interest, having not heard that question asked of any Playbacker. Mike had responded by saying that he felt that as an artist, his role as an agent for positive change in any setting was a privileged one. Also on the panel was Jonothan Neelands, Professor of Creative Education at the Warwick Business School. In response to the question, he asserted that we need to broaden our definition of business: a freelance artist or a person selling food on the street are actually business people. Both business and art can be good or bad. There should be no value judgement on ‘business’ as such.
In his keynote address, Neelands spoke with great passion about the recent Warwick Commission Report on the Future of Cultural Value of which he was a Director of Study.
This study used irrefutable statistics to argue for the strong relationship between creativity and economic growth
and the need to change England’s poor arts education standards for children from lower socio-economic backgrounds.
A powerful image of the relationship between the arts and economy for him was a scene from the 2012 London Olympics Opening Ceremony where the UK health care system was proudly displayed – the sports stadium filled with performers playing doctors and nurses surrounding a beautiful giant baby. Having started watching the opening ceremony with his fingers over his eyes (the cringe factor could be high!) he ended up feeling proud – the ceremony seemed to him a defining moment of national identity.
Neelands finished his speech by talking about what he felt might be a defining moment for Hong Kong’s identity – the ‘Umbrella Revolution’. He highlighted the neat areas for students to study with post it notes from demonstrating teachers offering tutoring and their phone numbers; the wishes for Hong Kong’s future printed prettily and decorated with yellow ribbons; the overall politeness and care symbolised by busy thoroughfares taken over by people carrying delicate umbrellas.
I had had a visceral taste of what it might have been like to be part of the Occupy Central Protest two days before during a conference workshop run by four young people from a Hong Kong NGO, entitled ‘The Process of Empowerment between Calm and Passion: Exploring Our Position in Civil Disobedience Movement through Process Drama’. In a shortened form, participants were taken through a workshop they had run to help potential protestors clarify their intentions and the possible ramifications of their participation, including on their family and friends. I found the opportunity to play a member of the rally (with other workshop participants playing the roles of police, media, etc) and to play a relative of someone about to join the march, a surprisingly powerful and direct way of experiencing many dimensions of this experience that was so important to many Hong Kong residents.
The impact of politics on people’s daily lives was also brought movingly to the fore during the conference’s final session: a Playback performance from the local Encounter Playback Theatre. The final story told and enacted by the team was from a man from mainland China who had been very moved by a performance on the first night of the conference, PsychoSEE, which skillfully staged a theatrical intersection between the Occupy Central Movement, Antigone, and a personal story about powerlessness in the face of rape. This performance had brought up very strong memories for the storyteller of Tiananmen Square and the interdiction on commemorating that event in China now. Witnessing his tears while telling his story and the moving playing back by Encounter Theatre provided me with a deeply personal perspective on an important world event from someone who was sharing his story in a public forum. That’s something Playback can do wherever it is seen – like travel it can allow us to gain the kind of wide perspective so important for creativity and problem solving. We can go on a journey from the comfort of our theatre seat.
Posted by Melbourne Playback in News on 17 Jun 2015
We’re writing to ask for your voice of support.
What is happening?
Senator Brandis recently announced a plan to shift $104 million dollars from the arms-length Australia Council for the Arts to a ministerial controlled ‘National Programme for Excellence’ which will administer the funds directly from the minister’s office.
Below are some links with more information about the changes and the uncertainty it has created in the arts community.
What is concerning about the change?
The principal of arms-length funding and the rigorous peer-review process for arts funding is an important feature of Australian Arts Funding because it ensures excellence, innovation and diversity in the sector and it removes the possibility for political interference in deciding what artwork is created and supported
The move to bring funds under ministerial control is akin to allowing the sports minister to pick the Australian cricket team, rather than the expert selection panel best placed to make that difficult decision.
It is also evident that some of the worst hit by the change will be the thriving independent and small-to-medium sector which is the breeding ground of new talent and innovative new Australian work, in the same way that the VFL and grassroots football clubs feed the AFL.
What is Melbourne Playback’s position?
Melbourne Playback is a not-for-profit organisation which operates as a social enterprise so we do not directly rely on Federal Government funding to survive. However, some of our community projects are made possible through state and local government grants that will feel a knock-on effect from the changes.
And critically, our company’s success relies on the independent artists who form the ensemble. The health of our company is directly related to the health of the arts sector in Australia.
Like any ecosystem, all the different organisations, individuals and artworks are connected and dependent on each other to ensure a thriving arts sector. The artists who work for Melbourne Playback also work on independent projects and on projects with major performing arts organisations. Our work on those projects influences the quality and style of our work with Melbourne Playback and make it possible for us to have sustainable careers.
A number of our partner organisations, cultural festivals and the venues we rehearse and perform in are under direct threat because of the proposed funding changes; La Mama, St Martin’s Youth Arts, Dancehouse, Multicultural Arts Victoria, Footscray Community Arts Centre and many more.