Could you share with us your journey into the world of theatre, particularly as a playwright?
Oliver: I suppose my training began as a student actor and as a keen reader. I always enjoyed performing in front of friends and at school, and loved participating in performances of all kinds. My family and I spent two years living in a tent and traveling across the country. So my siblings, kids from different campsites, and I would create skits and perform them around a campfire for fellow campers. After I discovered plays, I read myself as many as I could and enrolled in every available performance opportunity. I was particularly drawn to comedic works and gained valuable insights into what is fun, captivating, and engaging for an actor through my participation in a range of student productions at SUDS in the University of Sydney, Bedlam Theatre in the University of Edinburgh, and Underground Theatre Company at UQ. This experience was key in my journey towards understanding the elements that contribute to a successful script and discovering ways, as a writer, to provide exciting opportunities for performers.
The drama program at the University of Queensland enhanced my critical understanding of theatre and provided me with practical skills in its production, especially through the playwriting program led by Stephen Carleton. From there, I started to see my writing come to life on stage, and I was able to combine my passion for reading and play scripts with the lively nature of theatre. Furthering my studies, I completed an Honours in playwriting and a Master of Philosophy at UQ, where I was lucky to be supervised by experts Stephen and Joanne Tompkins who specialise in the type of writing that interests me. Through this program, I worked on longer plays and researched absurdism and ecological theatre, ultimately shaping my understanding of this field and what I wanted to do with my own creative work.
It's fascinating to hear about your diverse background, from creating skits around a campfire to studying at renowned institutions. I'd love to know more about the transition from writing to seeing your work produced. You've had plays like "X" and "Concrete Mirage" developed and produced by various theatre companies. Can you share a bit about the process of seeing your work come to life on stage?
Oliver: It’s always exciting and terrifying witnessing your work on stage, or even hearing it during a first read or workshop. During both of those productions, I was lucky that there were talented and thoughtful directors like Brandon Palmer and Cam Scurrah attached to the work, which gave me confidence in the direction of the work. I was around for a first read -through and a couple of rehearsals, but after those early edits, the creative team found their own vision for the scripts. I typically prefer to "let go" control of the script once rehearsals have really begun to see what the director, actors, and design team can bring their to the world we are creating. It’s amazing to see how unexpected lines come to life, new meanings are found, and laughter come through the contributions of everyone involved. Ultimately, the script is a blueprint for the performance, and the transformation of the script from paper and ink to bodies on stage in front of an audience is a radical process - and very exciting. All sorts of things shift and come to light in this environment, which is what motivates me to write for the stage.
As someone who hasn't ventured into writing, I can only imagine how exciting that process must be. Being a Disney tragic myself, I'm particularly excited to talk about your latest work — "Disney Off Ice." This play has been described as an inventive and humorous satire exploring the legacy of Walt Disney. How did you approach the task of parodying such an iconic figure?
Oliver: Of course, research played a big role in the early stages of developing this play, but I think the focus has ultimately shifted from being solely about Disney himself to ideas about celebrity and legacy. The Walt Disney is such a rich and fascinating figure, so at times it was a challenge not to focus on this one person completely. The name and the brand of Disney carries such significant cultural weight and comes with an enormous wealth of images, meanings, and associations; so there were plenty of exciting ideas to consider and explore. As our director Lachlan Driscoll, the artists at Observatory Theatre, and I continued to develop this work, we found it more urgent to question and examine the cultural aspects that Disney represents, such as the creation of icons, the artistic process, and the uneasy relationship between art and capitalism.
What can audiences expect from “Disney Off Ice,” and how do you anticipate they will engage with it? Are there specific reactions or discussions you hope the play sparks among viewers?
Oliver: I think audiences can expect a pretty wild show. We have found an incredibly strange future world in this process, and have placed a cranky, raving Walt Disney right in the centre of the chaos. The production is full of big characters and absurd events that I trust will surprise and provoke audiences. The future of our planet is an important thread in the work - so I’d like to see audiences ponder what our future may look like if business is continued as usual. Where will the relentless pursuit of profit lead us in the years to come? How will it impact art, people, and the environment? I believe this play takes the comical strangeness and brutality of where things are headed, and brings it just a few steps closer to total madness. What might the world look like centuries from now? Is there anything that wouldn't become an industry or couldn't be commercialised? If cryonics were successful, what would these defrosted icons have to say about their legacies? Would the planet as we know it be destroyed? Would Walt Disney emerge from his tank to a ready-made militant cult?
Oh my stars, that sounds like an incredible concept! I am so looking forward to have my mind blown by "Disney Off Ice." Now, let's dive into the glamorous world of theatre! What keeps your playwright heart beating with passion and excitement?
Oliver: Collaboration is a huge part of what I love about making theatre. Sometimes writing can be a little lonely, so witnessing the transformation of work in a shared space is truly incredible. Initially, what captivated me about theatre was that collaborative spirit - sharing the stage with fellow actors, trusting each other, and drawing inspiration from each other's creativity - which I still feel today in various ways. Another part of my passion for theatre are the opportunities it can offer for social and political change. I view theatre as a dynamic, impactful, and public art form - a place where new or radical ideas can enter the world. Seeing the work of other writers and creatives, as well as exploring both contemporary and classic plays, serves as a continual motivation. It’s such a privilege to see your writing come to life, and an opportunity to do something special.
Absolutely! As someone who’s deeply involved in theatre myself—juggling teaching, performing, blogging, and reviewing—I know that rush of discovering and witnessing productions that I may not have encountered otherwise. For those who are aspiring to carve out a career in theatre, whether on stage or behind the scenes, what advice would you offer?
Oliver: I believe it's valuable to engage with various theatre productions and approach reading plays with the same enthusiasm. I would say that it’s valuable to somehow be involved in as much theatre as you can and approach reading plays with the same attitude. Obviously exposing yourself to professional, indie, and student shows of all types is important, but can be tough with money and logistic constraints. Although, many theatre companies offer discounts for young people or pay-what-you-can options. For writers in particular, I’d recommend exploring plays and novels extensively through our public, state, university libraries, borrowing from friends, or buying your own if there’s something new and exciting that calls to you. From here, you can start to develop your own perspectives on, and familiarity with, different forms of language, pacing, and structure in plays. The practical side is also key. So again, I’d say just get involved in the process of making performances however you can. Keep an eye out for skill development programs, emerging artist programs, and opportunities of all types. While my personal experience with studying drama at university has been very useful, my best general advice is to "do" theatre whenever possible!
Thank you so much for your time, Oliver. Catch the world premiere of 'Disney Off Ice' by Observatory Theatre, running from August 16 - September 1, at Studio1, Yeerongpilly. Secure your tickets here.
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