We cannot perform right now, but we can develop work for when this thing is over. Our goal is to use this time to find some new ways to tell new stories. We will work with artists on the kind of ensemble-based long-form development that we normally don’t have the time for. And this will allow us to do things that aren’t normally possible. To work on the ground in our city in a new way. To tell Australian stories that are being missed or forgotten. To reinvent the classics for this sudden new time of shortage and crisis.
We are putting together four teams of artists to work one day a week on four different projects. Their task is to make brilliant work for when this pandemic is over.
Led by S. Shakthidharan and Eamon Flack in association with Co-Curious
Counting and Cracking was not just the culmination of 6 years work (10 years for Shakthi) it was also the beginning of a new way of working that can lead to new kinds of stories. The New Stories group is tasked with taking the lessons of that special one-off show and turning them into a permanent undertaking. Our aim is to make brilliant new shows about a migrant nation in the 21st century.
Led by Kodie Bedford
Belvoir has the privilege of working alongside the most incredible First Nations artists: actors, writers, designers, composers, musicians and many more. We are thrilled to announce that we will be working closely with former Balnaves Fellow Kodie “Deadly” Bedford (she asked us to write that) to work with us to continue to develop our slate of Indigenous new work.
Led by Louise Gough
Belvoir is committed to exceptional stories told by exceptional writers that reach big varied audiences and bring artists together in acts of generosity and imagination. Led by our Head of New Work we are ramping up our development of new plays, new stories and new ways to be, that give life to new local, regional and national narratives.
Led by Eamon Flack and Tom Wright
The Adaptation group are actors selected for their skill at reinterpreting work from the past for contemporary audiences, and with experience of the style and mission of Belvoir as a company. They ask how do we tell old stories in new ways – what does it mean to adapt works from another time, and once that question has been grappled with, how do we do that well on the Belvoir stage? In short, what does an actor-centred version of Belvoir ‘s core desire to do ‘radical revamped classics’ look like?