Word: playwrights
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...straw hat and Dame Edna glasses; a bronzed, bare-chested father holding his knee; their son dressed in a tropical shirt squinting at the sun. The latter is Michael Gow aged 6, holidaying near Ulladulla on the New South Wales south coast, though that's about all the Australian playwright can remember. "In my memory, Christmas holidays went from about 1959 to 1970," recalls Gow, 51. "There's just this kind of weird dream...
...play about death," he explains. "And how you deal with that shows how you value life, I guess." Putting his family snapshot on the poster and program accompanying Away's current national tour (which runs until October) also acknowledges how much the play is about the playwright. "It was a turning-30 play," Gow says, "so it was very much: Where am I from? Who am I? How did I get to be this? It all ended up in that play...
...playwright since, Gow has never sought to recapture the butterfly spirit of Away. "I have a short attention span," he says. Instead he wrote the stage equivalent of a fingers-up sign to the Australian Bicentennial with 1841, took an Edward Albee-esque look at modern marriage in Sweet Phoebe (in which Cate Blanchett made her British stage debut) and, most recently, had actors perform The Iliad in underpants (Live Acts on Stage). But it is as a director that Gow is now making his mark. As artistic director of the Queensland Theatre Company since 1999, he has energetically championed...
...making your own market." The Conch's first theatrical offering is a case in point. Born in a tiny 100-seat theater in Wellington, Vula now comfortably fills the Sydney Opera House's Playhouse space. Its success has been buoyed by a growing international demand for Pacific stories, with playwright Toa Fraser's film version of the Fijian family epic, No. 2, recently taking out the audience prize at Sundance. And when Nawalowalo takes Vula home to Fiji for the first time next month, she'll begin researching her next work, Masi, named after the Fijian word for tapa cloth...
...okay.” The Winthrop House resident and French concentrator has been acting in and directing shows since his freshman spring—this year Burkle directed Eugene Ionesco’s existential face “Rhinoceros” and his own translation of French playwright Jules Romain’s “Knock.” But he didn’t consider applying to give a Class Day address until his roommate reminded him about the competition 40 minutes before the deadline. He cranked out 14 pages, submitted them—and was promptly misfiled...