My theatre practice has been defined by an investigation into contemporary dramaturgy. For me dramaturgy is something that all artists are engaged with, knowingly or unknowingly, when they make a piece of theatre. Naming and approaching it as 'dramaturgy' is about understanding the languages and mechanisms of performance and how they operate in making and viewing a work, so an artist can create, collaborate, problem solve, innovate, and articulate more effectively. Each artwork has its own dramaturgy, just like every plant has is its own anatomy, and for me the dramaturg's role is to help identify and cultivate it. The dramaturg sits at the intersection between theory and practice, working through processes of reflection, articulation, investigation, provocation and integration to enrich artists, audiences, and the art itself.


I'm particularly interested in an investigation of new and hybrid forms, the politics of storytelling and the authority to tell stories, and re-considering the role of the audience in the artistic exchange. As Resident Dramaturg at Malthouse, I've been focussing on new writing, project development processes, and the role of writing and the writer in collaborative practice.


My dramaturgical investigation has largely been practice-led, through my work at Malthouse, my collaboration with Bridget Balodis NO SHOW, the formation of the New Working Group, and through my independent work.  In the development of my dramaturgical practice I've had the privilege of being supported by the Besen Family Foundation, Malthouse, Next Wave, Playwriting Australia, ATYP, Queen Street Studios, the Australia Council for the Arts' ArtStart program, and been mentored my some exceptional theatre makers and dramaturgs along the way.




Introduction to Poetry
By Billy Collins


I asked them to take a poem
and hold it up to the light
like a color slide

or press an ear against its hive.


I say drop a mouse into a poem
and watch him probe his way out,

or walk inside the poem’s room
and feel the wall for a light switch.


I want them to water-ski
Across the surface of a poem
Waving at the author’s name on the shore.



But all they want to do

is tie the poem to a chair with rope
and torture a confession out of it.


They begin beating it with a hose
To find out what it really means.