It’s the sound of anticipation by five
performing arts companies and a community about to embark on a project with the
potential to change the performing arts landscape of Sydney forever.
There are countless examples of venues
throughout the world catering to a new and adventurous generation of artists.
These converted warehouses, factories and old workshops become a thriving hub
of creativity. But Sydney
has never seen anything like it since the opening of the Sydney Opera House.
For thirty years, state government and
council endorsed development and gentrification has replaced theatres and
public spaces with high-density eyesores – an exercise that would seem to
demonstrate exemplifies a scant regard for the cultural life of the city.
However, the opening of Carriageworks in
the disused site of the old Eveleigh
Street train workshops welcomes a marked departure
from previous urban policies. It will suddenly bring to the table a vocal and
highly creative team of companies ready to flush out the performing arts scene
in Sydney.
With a soaring steel structure and a rustic
interior honouring the ghosts of blacksmiths, boilermakers, and shop stewards,
Carriageworks will launch in January hosting international dance performances
as part of the Sydney Festival. Fergus Linehan, Artistic Director of the
festival sees the government’s establishment of Carriageworks “as a
statement of confidence. It is throwing down the gauntlet to artists”.
Potentially, Carriageworks can provide a
hub for artists screaming out for a venue willing to support them. With
rehearsal rooms, a gallery, bar, cafe and two large theatres, it is a prime
space which will be able to house the ambitions of the diversely different
resident companies. Over 11,000sq metres of space has been dedicated to these
artists, so companies can perform and develop simultaneously.
The five companies taking the leap into the
site include The Performance Space, which is the biggest and most established.
They will move from their Cleveland
Street premises to continue their work in
performance, live art, installation and artist residencies. Fiona Winning,
Director sees it as an opportunity to “explore a new architecture… and
to be with peers to develop a bigger profile for this part of the arts.”
Joining them is ERTH, a visual theatre
company that uses large puppetry. For the first time, ERTH will have their
workshop, office space and performance area all in the one locality. Artistic
Director, Scott Wright, sees ERTH’s role in Carriageworks as “bring[ing]
an energy and life to the space that will stop it from becoming just another
administration centre”.
Theatre Kantanka, a project based company
is also moving premises to the railway yards. With co-artistic directors
Michael Cohen and Carlos Gomes at the helm, they intend to advance their site
specific, big scale theatrical experiences. With a history in using disused
factories, Carriageworks will be perfect for their next production set on the
backlot of a Bollywood Film set.
Stalker, the fourth company entering the
fray, produces the works of its co-artistic directors David Clarkson and
Rachael Swain as well as the projects of the intercultural company Marrugeku, a
collaboration with traditional and contemporary Indigenous artists.
Interestingly, Stalker has a strong connection with the European market with
‘acrobatic architecture fusion’ events which have never been seen before in Australia.
Annette Madden, the company spokesperson believes their new home “will
provide a local home for the display of their work”.
Of the fifth company, Gravity Feed, it is
believed the ensemble of seven men will continue to explore their architectural
performance theatre which relies heavily on expansive installation. It will
again see Carriageworks used to its fullest potential.
Scott Wright of ERTH calls it “a big
playground.” Indeed, each of the companies are preparing to interact with
the local communities en masse with collaborations, workshops, talks, forums
and school holiday events. Along with a programme of live music, spoken word,
physical theatre, contemporary dance, visual and multimedia art it will be a
huge injection into the cultural life of the local community. Wright even
predicts “Carriageworks is going to be the perfect place for Sydney to finally have a good fringe festival… a hub
which can bleed over to all those venues in Newtown.”
The price of Carriageworks on a scale of
arts funding isn’t small. The NSW State Government has committed $49 million to
the creation of this world-class venue. Out of a total $265 million spent on
the arts portfolio as a whole in 2004-05, it appears to be an extremely large
investment.
The big challenge for the new
administrative team led by Sue Hunt is to make Carriageworks work economically.
By launching this venue, the NSW State Government is over-seeing the creation
of an epic project which will be a litmus test for future government arts
policy. The financial success of the venue is relying on the commercial rent of
6840sq metres. By sitting somewhere in the grey area of government funding and
the private sector, will Carriageworks provide a benchmark for the workings of
future cultural venues around Australia?
Fiona Winning points out that there are no
“examples internationally where a centre has been able to support itself
without recurrent funding”. Indeed, “there are examples all over Australia and
all over the world where a government has erected a building and it has cost a
lot more to run the building than anyone had thought”.
As the opening gets closer, some important
issues are still outstanding. It was only in June this year that ArtsNSW
appointed Sue Hunt as General Manager, with very little time to establish the
workings of the space. The rent for the spaces hasn’t been established, to date
contracts with the resident companies haven’t been signed and storage space is
a looming issue.
There is also disappointment resident
companies won’t assist in the opening of the venue. One person who asked not to
be identified commented that the opening of the site on January 5 will have an
element of “the old cultural cringe” to it. Everyone will be there
for the cutting of the ribbon, then they will go off to the Sydney Festival
international events and the resident companies will all go home.
The Sydney Festival can’t be blamed. Their
role isn’t in the production of events but in their presentation. Indeed all
credit must go to Linehan who has secured an exciting programme of events
including the UK’s Akram
Khan’s Zero Degrees, the Australian Dance Theatre from Adelaide
and two pieces by Israel’s
Batsheva Dance Company.
It will be vital the State Government
guarantees that the $49 million it has set aside for the venue is not wasted
and continued support of the venue provides for its original intention – to
showcase the very best and most exciting performing arts venue in the city.
With a state election looming and the retirement of Arts Minister Bob Debus in
March, it is imperative both sides of the political spectrum commit to its vital
role in the cultural life of Australia’s
biggest city.
The Sydney Festival runs from January 6 to
27, 2007. Visit the festival online at www.sydneyfestival.org.au
Nicholas Pickard – A director and arts
writer, Nicholas has worked in both Australia
and Europe for a variety of theatre events and
festivals. A directing graduate of the Akademija za Gledališèe, Radio, Film in
Televizijo (University of Ljubljana,
Slovenia),
Nicholas’ experience also includes working for the Sydney Festival, Sydney Film
Festival, Sarajevo TeaterFest and the Belgrade International Arts Festival.
nickpickard@hotmail.com