Newcastle Theatre Company's upcoming 'Indie season' full of promise

From Aristophanes' classic comedy, Lysistrata, first performed in 411BC, and directed by Greek drama specialist Michael Ewans, to my play, Eden, a new Australian work which will have its world premiere here in June/July, the season is both timeless and timely.

There's a nod, too, to the stream of modern American playwriting talent, in Bash, a collection of touching short plays by Neil LaBute, directed by Melody Thorburn, and The Wolves, directed by Phoebe Turnbull, in which according to The New York Times, "the scary exhilarating brightness of raw adolescence emanates from every scene" involving the eponymous football (soccer) team.

To say I am excited is an understatement.

Having moved to Newcastle in January 2021 from the Mid North Coast, in search of culture and creative connection, I now feel the buzz of both coursing through my veins.

Writing is mostly a solitary pursuit. Like COVID lockdowns, it suits introverts.

However, playwriting is different. Eden is my seventh play, and I've been fortunate enough to see all the others produced, mostly in London, but also at the Edinburgh Festival, in Italy and here in Australia.

Productions are when I see my work come alive, they are my raison d'etre, the yin to my yang and it's been too long since I last saw my work realised on stage.

For most of the last two decades I've been gloriously waylaid by travel writing, swanning around the globe, from the Outback to the Arctic.

Ironically, for a writer, that job married periods of extreme extroversion - gladhanding tourism officials and partying with locals, from dawn to dawn, in places as various as Marble Bar, Madagascar and Iceland - with frantic periods of introverted industry as I wrote up my adventures.

It was like constantly having Christmas and paying for it afterwards.

While I was busy and successful, the long periods away took their toll on my relationship, resulting in separation, and on my mental health, all thankfully behind me now.

Then came that now oh-so-familiar intruder, the coronavirus, smashing travel and all those that make a living from it, into outer space.

There was naught to do but to reinvent myself, and by miraculous agreement with my ex, who saw the benefits for our daughters' education, move from Blueys Beach to Newcastle.

This was a city I'd been smitten with as a travel writer, wowing at its combination of working-class spirit, beautiful beaches and an evolving cultural and social scene.

Completing the move to Newcastle in January 2021, I sensed possibility again. The opportunity to commune with creatives in vibrant inner-city cafes and get out to see live theatre again.

Haltingly, I started rewriting my-yet-to-be-produced four-character play, Eden, set in a lighthouse keeper's cottage on the NSW far south coast, and about a woman struggling with repressed memories of childhood abuse.

After six weeks work, Eden felt edgier, stronger, more compellingly current. It was ready for an audience.

In June, I saw the NTC's polished production of The House of Bernada Alba, directed by Janet Nelson. I knew immediately that, if she'd agree, I'd found my sure-handed director for Eden.

A few weeks later, we had our first readthrough of the play. Four talented actors, including Janet's experienced husband, Howard Rawlinson (formerly of Z Cars and Softly Softly) and the Herald's own Oscar Wilde-like theatre critic, Michael Byrne, brought the script to life.

'Let's get it on,' was the general consent that night, and plans were hatched to approach potential venues.

Those plans came to thrilling fruition as I sat on stage with Janet Nelson, at the Indie season launch - channelling my inner extrovert - talking about Eden in front of an enthusiastic audience.

With COVID having put the kybosh on one career and imperiling this rebirth, to do this live, is a huge relief, and I joke that I have done 'about 36 rapid antigen tests' to insure I can attend and I've confirmed that I am a hypochondriac.

Our chat covers themes like the '#MeToo' movement, Grace Tame's courageous advocacy as Australian of the Year, intergenerational indigenous trauma and the sheer joy and vitality of live theatre.

For me, as a writer, the theatre is the most fulfilling place to be, seeing my work realised by other creative beings - including a director, actors and designers - each with their own vision of a scene, a character's motivation and the meaning of my work.

Theatre is the great collaborative medium, where a writer's voice is not only heard but largely respected, and where every rehearsal is a chance to learn.

At the launch, when talking I am so grateful I could cry when Janet asks me why people should come and see Eden.

'I would like to say that you will never forget coming to see Eden,' I stumble, 'I think you'll be entertained, you'll laugh and go out talking about the characters, the drama, what happens on stage as it if was something that happened in your own family.'

I've only been in Newcastle for a year, but at the Indie season launch, as we strive to bring back live theatre, I feel like I've come home.

Eden opens at Theatre on Brunker, Adamstown, on June 24 and NTC, Lambton, on July 6. Auditions for two female leads and two male parts are Feb 11-12. Details: janandhoward@bigpond.com.