Hi Maxine! Thanks for chatting with us. Could you tell me a bit about your training and how you got into the theatre world, especially as a playwright?
As a teen, I thought I wanted to be an actor. But one day, I saw an advertisement for the Queensland Theatre’s Young Playwrights Award and decided to spend my winter holiday crafting some weird little play and ended up winning. I was hooked.
From there, I entered every writing competition I could just to set myself a goal to reach, and, if I was lucky, to get a chance to hear actors read it out loud. I pursued Drama studies at QUT where I met other theatre nerds, broadened my understanding of the possibilities within theatre, and started getting my plays into festivals and indie theatre venues. Additionally, I applied to writing camps and sought out mentorship programs whenever possible; since there wasn't a defined curriculum for playwrights, I paved my own pathway through.
So, how do you usually decide which projects to pursue and work on?
When I was starting out, I was so eager to learn by doing that I would say ‘yes’ to every opportunity I came across. Often, this meant getting involved in someone else's idea, whether through character, story, or style. I like to think I can take a crack at anything and see what comes of it! But, considering how long it takes to write, edit, and produce a play, I find nowadays I like to work on projects that have potential to shine on stage, explore juicy topics that can spark debates with family and friends, or pose an intriguing linguistic challenge. Ideally, a project would encompass all three aspects.
You've written, developed, and put together a bunch of plays for different theatre groups. Can you share a little about what it's like to see your work come alive on stage?
One of my favourite places to be is in a creative development for a new work. I love those early stages of bringing a first draft to life by actors, engaging in discussions, interrogating and prodding. After spending so many hours working on it alone, it’s thrilling (both scary and exciting) to finally share it with others. Once a play is in rehearsal, I try to be present as much as possible. It’s a phase of continuous experimentation where the play is still being tested – which combination of words will unlock what we want here? The director and actors bring their unique expertise to the script, and I find I can make new discoveries from watching them work.
That has got to be a very exciting process! What inspired you to write "Horizon"? Was there a particular moment or idea that sparked the creation of this story?
During the conceptualising stage of the play, Ian Lawson (Aristic Director of Playlab Theatre) and I had many discussions about our national identity - who are we as a country and where are we heading? How can we encapsulate the debates that are gripping our nation using only two actors? The prevalent issues of incels, male violence, and the #metoo movement served as significant influences on the characters' background stories. From these discussions emerged the concept of a young couple embarking on a road trip out west. Trapped in a car with the person you love, what secrets chase them down the road?
Those themes sound very intriguing! So, what can audiences expect from "Horizon"? Are you hoping to spark any specific reactions or discussions with the play?
Viewers can expect a thrilling gothic road trip deep into the heart of the Australian country, as we delve into the hearts of two individuals with ghosts to escape. I hope that they will find a connection with the characters - either you know people like these two or recognise reflections of themselves - and become invested in the complexities of their relationship. Can their relationship survive some grim history that comes to light? Can they outrun the dingoes of the past that are hunting them down? I aim for this to trigger conservations about the future direction of our nation and who will be driving us there.
In "Horizon," the Australian landscape is crucial. How did you manage to capture the essence of the outback and how it affects the characters' journey?
As the characters journey deeper west and the white lines of the lanes become hypnotic, the car becomes their safe space, yet also feels claustrophobic. Both characters are uncertain where they’re headed – physically and emotionally – yet they can’t leave the vehicle or each other in this isolated setting. As they start to hear dingoes howling at dusk, they wonder if they are being followed. Although, whether the dingoes are really there or not remains a mystery.
I'm so eager to check out this thrilling drama on stage! How do you go about working with other creative folks and actors to bring a show to life?
Each production is slightly different, but generally I like to collaborate as early as possible in the development of a new work. In some cases, I’ve been lucky enough to have creative development sessions during the initial conceptualisation of a piece, and I've discovered that I often draw inspiration from the designer's vision, the composer's auditory perspective, or the physicality that actors bring to their roles. It becomes a bit of an organic process of inspiring one another to push and explore, establishing a shorthand for our future rehearsals.
Got any cool projects up your sleeve for your next work?
Having recently had a baby, I’ve found a whole well of inspiration through sleep deprivation!
I'll bet! Have you noticed any ways in which you believe you have evolved as a playwright?
When I first started writing plays, I tried to implement every piece of feedback I was given – which meant revising some things so much that they lost the spark that drew me to them. Nowadays, I trust my instincts more and understand that not all feedback needs to be used!
I appreciate the time you dedicated to answering these questions. Before we warp up, I'll ask the question that I pose to all interviewees: What advice would you give to those who are looking to build careers in the theatre industry, whether on stage or behind the scenes?
In the world of theatre, careers can be strange and unpredictable – be comfortable with change, take on lots of roles, and remember that there is no right or wrong way! For those new playwrights, don't be afraid to share your work!
'Horizon' is playing at the Brisbane Powerhouse from 31 July - 10 August
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