SEPTEMBER 1
A step or two in the right direction

I don't quite know if it's a good thing or a bad thing, but it's not the actual plays that will be produced by the Sydney Theatre Company in 2009 that excite me about the upcoming 12 months in Blanchett-land, it's the changes to some of the fundamental aspects and the re-structuring of things such as the Actor's Company.

Firstly, let me say that the subscription season still leaves a lot to be desired and the Sydney Theatre Company seems either unable or unwilling to take risk. The season is bland at best, with only a few notable productions to add to the 2009 "must see" list, topped by the Adelaide Festival hit When The Rain Stops Falling.

I personally can't understand why the company needs to produce the 40-year-old David Williamson play The Removalists. I mean haven't we been there, done that a million times over? And while there will be plenty of excitement surrounding Cate Blanchett starring in A Streetcar Named Desire, I find myself wanting something different. Yes, it's a theatrical classic to be admired and honoured, but wouldn't it be better to see Blanchett and Joel Edgerton creating new history by starring in a fresh, contemporary premiere piece? It's a risk, of course, but I'd be more excited to see the duo in a brand new piece than I would this classic of the theatre.

It is telling that the Sydney Theatre Company has been very obviously overlooked for honours in recent times at the Helpmann Awards and the Sydney Theatre Awards, and the organisation really does need to take a serious look at its artistic choices to ensure it is not simply left behind in some make-believe land where subscribers never die.

All in all, it is the season we probably all expected; if only there was a little more adventure to sweeten the pot.

Moving on to the decision to re-structure the Actor's Company and a big round of applause to all involved in the decision. For all the press and excitement it created, I am still left scratching my head trying to figure out what the point was. I mean, doesn't it make sense to hire the best actors for a particular piece, instead of having to keep a group of actors in mind when programming the season? And doesn't the public get sick of seeing the same actors, in the same type of work? It all didn't make sense to me, and the new plan is much more sensible. To have the troupe of actors working across all facets of the company - particularly development and education - is smart and surely it will benefit everyone. I can cop the Actor's Company appearing in one production a year on the main stages, and am happy with Upton and Blanchett's decision.

The fact that the new look company will have a more behind the scenes role and a stronger involvement with development could mean we get to see a bunch of emerging actors, which I think suits the concept better. It never really made sense to have established actors in such a company, as the benefit to the actor themselves, the end audience and the Sydney Theatre Company was minimal.

The new Young Playwright's residency and introducing very young children to the theatre are both winning ideas, and again all at the STC deserve to be congratulated.

Just on the kids, I wonder if there is a gap when it comes to ensuring youngsters connect with and keep watching live theatre? There seems to be an awful lot of programs for young children (pre-teenagers) and now the STC is introducing another, while school groups frequent the theatre regularly, but what about those aged 18, 19 or 20? Is there anything out there that encourages them to visit the theatre, to look at what companies are offering and to enjoy what live entertainment can bring? It is something that the STC can perhaps look at in the future.

Overall, the announcement of the 2009 mainstage season is overshadowed by the other initiatives the company has introduced. I guess that isn't such a bad thing, but with Griffin and Company B breathing down its neck, the Sydney Theatre Company needs to be on alert and be wary of letting its guard down. More adventure, excitement and risk is needed from the doyenne of Australian theatre companies.