Developing an audience for a writer
From what I can see in Sydney, there seems to be a lot more commitment to the craft. If you look at what’s going on at Griffin with Sam Strong and at STC with Polly Rowe, they know how to read plays, and they know that writers need to be developed by being produced. The experience that Lachlan Philpott had with Silent Disco is a great example of an imaginative collaboration between two companies to develop new Australian work. That it was between ATYP and Griffin makes so much sense to me. They were saying, not only are we developing a writer, but we are developing an audience for that writer. That’s not happening in Melbourne. I don’t know how you are going to fix the problem with new work that some Melbourne companies seem to perceive they have if you are not going to be developing an audience for new work, as well.