The Rehearsal Room – evolving the process

Students at the May 2013 Audition Technique workshop with Alison Telford at The Rehearsal Room (photo courtesy of Richard Sarell)

Last week I wrote about my experiences working with the Howard Fine Acting Studio in Australia and this week I’d like to acknowledge the other influence on my life as an actor here in Melbourne – Richard Sarell at The Rehearsal Room.

Richard Sarell (Photo courtesy The Rehearsal Room)

I met Richard back in 2005 when an actor friend suggested I look into the classes he was running to get me back into the swing of acting training.

I hadn’t taken ongoing acting classes since graduating from the Actors’ Institute, London in 1997, and although I had done the odd workshop, I was still looking for a teacher in Melbourne that I could relate to and who would stretch me as a performer.

When choosing acting teachers, my best advice is: find someone who has credible experience, will challenge you to do better, yet support you in your learning process and not make you feel like you’re failing when you “get it wrong”.  You’re supposed to “get it wrong” when taking classes – that’s what classes are for and how you learn!  Most importantly – find a teacher who doesn’t attempt to get into your head and rummage around on a psychological level – that is not the job of the acting teacher, that’s the job of a therapist.  Richard ticked all these boxes and also had another point of difference – he was a director.

Richard comes to teaching from a long and successful television directing career, beginning with the iconic Australian series “Bellbird” in the 1970′s, through to “A Country Practice”, “Neighbours”, “Embassy”, “MDA”, “Home & Away”, “Shortland Street”, “Water Rats”, “Blue Heelers” and “All Saints” – to name just a few.

He has directed episodic and one-off television programs in drama, comedy and factual both here and in New Zealand and did so for over twenty five years.  He has directed actors to Emmy and AFI-nominated and winning performances and brings his invaluable experience and perspective as someone who is used to looking through the lens, to the process of teaching the acting craft.

Richard Sarell directing the AFI Award-winning “MDA” television series for ABCTV

Richard has also taught directing and acting at Victorian College of the Arts (VCA), The Australian Film, Television & Radio School (AFTRS), National Theatre Drama School, Australian College of Performing Arts and Ballarat University before opening The Rehearsal Room doors in 2001.

And he’s a lovely, honest, funny and smart person to boot.

I began working with Richard and found his techniques to be truly revolutionary in regards to applying Stanislavski to the screen.  Sure, he used different terminology to what I was used to, but once I got my head around the language, I realised that he had simplified the process for the immediacy of screen work, yet retained the essence of what Stanislavski was talking about – and it worked.

Over the years, I  moved onto the Advanced classes, then Masterclasses and then the one week Summer Intensive, and each time I noticed something quite extraordinary – as time went on, The Rehearsal Room process moved on as well.  This wasn’t a set of techniques that remained static and immovable – it was evolving.  New ideas would come up in class and be explored – some worked, some didn’t, but each experience added to the conversation about “what was the story” and every now and again, the new discoveries that gelled and fitted with the essential Rehearsal Room process would then be incorporated into the work.

It was a fascinating process, and totally in line with what Stanislavski had, himself said: “Create your own method. Don’t depend slavishly on mine. Make up something that will work for you! But keep breaking traditions, I beg you.”

Richard Sarell directs Darren Mort on the feature film “Rhyme or Reason” (2011) (Photo courtesy of The Rehearsal Room)

I stepped away from ongoing classes for a time as life got in the way (as life can do), but remained in contact with Richard and, when able took his industry Audition Workshops to keep up with what he was teaching – something I continue to do.

Which brings me to the next point on why I find The Rehearsal Room so valuable.   There are many places in Melbourne now who offer Audition Workshops where you prepare a scene, come into the venue on the day and “audition” for current Casting Directors.  I can think of at least five places offering this kind of workshop off the top of my head.  But what sets The Rehearsal Room’s workshops apart is the way they are run.

At the moment I am participating in the current round of Audition Workshops with The Rehearsal Room for May.  Last Saturday we had the pleasure of working with Alison Telford (ABC Casting Director) and this coming Saturday we will work with Andrew Thompson (Casting Director for the Channel 7 series “Winners & Losers”), which I am also very much looking forward to.

The process can begin one of three ways (depending on Richard’s availability) – we get our scenes, prepare them ourselves and turn up to the actual workshop to participate, or we can undertake two group classes in the lead up to the workshop with Richard to prepare with his guidance, or we can book for private sessions with Richard to work one on one before the actual workshop.

I have worked using the group sessions before the workshop with Richard (which I always recommend to people if they are new to the biz or returning after a long break or new to The Rehearsal Room process) and what I do now, which is the self-preparation version.

But here is where The Rehearsal Room audition workshops begin to move beyond other places who offer similar fare.  We work with the Casting Director one on one with a live feed playing in the waiting area, which is always fantastic as it replicates the audition situation for the actor in the room, but allows the rest of us to watch the process and observe.  Working this way, not only do we get the benefit of the Casting Directors’ direct feedback – I have been given some very pertinent and really useful feedback from Casting Directors in these sessions, which is invaluable – but additionally, though watching other actors work via the live feed, we get the chance to observe and learn from their sessions as well.

Casting Director, Nick Hamon works with students at The Rehearsal Room (Photo courtesy Richard Sarell)

But then, and this is the major point of difference to other places, once that element is done, each actor then gets one-on-one time with Richard in another room reviewing the tape of the work we did in the room with the Casting Director, which gives us an understanding of what a Director sees when reviewing tapes of auditions – but also the benefit of being able to discuss the work with an experienced director and teacher and gain more clarity on what worked on screen, what didn’t and why.

And it’s done with great care, honesty, generosity and humour and is so helpful towards getting the audition process clear and working out what works and what doesn’t for you as an actor, but also as a person in that situation.  This is SUCH good value for money – as you are actually paying to be guided and taught with a consistent methodology that relates directly to improving audition and screen technique, rather than just paying to experience an audition situation and get access to Casting Directors.

And every time I do these workshops, I learn.  It doesn’t matter how much or how little experience you have, there is always something to take away that will improve your work in the audition room.  The Q&A sessions with each Casting Director that take place before and after the workshop are always informative and Richard’s experienced input as a director (who has worked with many of these Casting Directors professionally) is invaluable.  Additionally, my craft keeps evolving and deepening, and it is always great to get in a room in a simulated “real world” situation and see where I currently stand – knowing that I am supported and in safe hands and that I will have an experienced director and teacher to talk things through with almost immediately afterwards.

Over the years, Richard has moved from being a teacher to a good friend and I have such respect and love for him as a professional mentor, but also as a person.  I feel very blessed to have people such as Richard and Howard in my life, as well as my wonderful teachers at drama school, way back when, who have helped me to grow and learn and, quite simply, continue to evolve and improve to be a better actor.

Richard Sarell during filming on The Rehearsal Room TV Presenters’ course (Photo courtesy of The Rehearsal Room)

If you want to know more about all The Rehearsal Room classes on offer, click here.

Working with the Masters – Howard Fine Acting Studio, Australia

Sally with Syd Brisbane and David Coury at the Howard Fine & David Coury Acting Technique Masterclass, November 2012 (Photo courtesy of Jennifer Hansen)

The last few months of 2012 was a busy time.  I had been cast in two films “V for Vienetta” and “Raymond Taylor’s Earnest Adventures in Love” in a supporting and lead role respectively, had the privilege once again to be a Juror for the AACTA Awards, was organizing the Investors’ Launch for my documentary “A Life Unexpected” with my brilliant Executive Producer, Bobby Galinsky and fellow Producer Melanie Brunt and was also accepted as a participant in the Howard Fine & David Coury Masterclass here in Melbourne.

To say my schedule was slightly insane would be an understatement!

But I wouldn’t have missed being a part of any of it. This is the life I have chosen and I celebrate the opportunities I am given to keep living it with such incredibly talented and dedicated people around me.  Any opportunity I get to explore and learn what’s possible beyond my current experience as a creative I embrace wholeheartedly.

Howard Fine teaching class (Photo courtesy of Howard Fine Acting Studio)

So this update is not about how busy things have been, but rather how grateful I am to have had the chance to work with and get to know all these people. Specifically, for the purposes of this stream of consciousness, the Howard Fine Acting Studio Australia Faculty who have stretched my acting muscles and reminded me why I chose this crazy creative life by igniting in me a renewed excitement and love for the craft of Acting.

My first encounter with the Studio was back in July 2012 when I was invited to audit Howard’s Masterclass by an actress friend who was participating. Always up for seeing teachers new to me at work, I cleared by schedule and went along to finally see this man in action that I’d heard so much about.

Within five minutes of listening to Howard speak, I knew I had to work with him.  Honest, funny, so, so smart, generous, gifted, passionate and did I mention funny?  It seemed a no-brainer to me.

The opportunity came on the last day of the Masterclass when I applied and was accepted to work with Howard in a three week Scene Study class – with the aforementioned actress friend, the talented and lovely Rachael Blackwood, as my scene partner – commencing two days later.

The entire group of participants and auditors with Howard (in the middle) on the last day of the Masterclass in July 2012. I’m over on the right in the second row and if you look carefully, you’ll see Bobby Galinsky in the back row on the left. Interestingly – this event was also where I met Bobby – so it was the beginning of the formation of a hugely supportive creative network for me on all fronts! (Photo courtesy of HFAS Australia)

To say that the next three weeks were the most challenging, satisfying and fun in my creative life since drama school in the UK would not be doing the experience justice. It was all that – and more.  Rachael was a joy to play with (love you Rach!) – we laughed, cried, learned, worked our butts off and laughed some more and it was just brilliant.  Suffice to say, I knew I had found a creative home with the HFAS Faculty and in Howard, discovered a teacher I had quickly grown to love and respect.

Sally with Rachael Blackwood in Scene Study class, July 2012 (Photo courtesy of HFAS Australia)

I also realised (joyfully) that here I had permission to explore and grow my craft for it’s own sake.  Sure, as actors we all want to work, and most of our choices when it comes to study are intrinsically linked with securing actual work in the biz, but it was so refreshing to be in an environment that focused purely on craft at such a high level of teaching and in such a supportive environment.  Yes, I was in love again – with Acting and with learning and it was awesome!

The joy I felt was not only because of working with Howard (although it was a large percent of the reason!), but also my fellow actors I had the privilege of watching, learning from and working with during that time.  Creative friendships were formed and have lasted, due to mutual respect and love of craft and for that too, I am forever grateful.

Howard Fine Scene Study Tuesday Class, July 2012 (Photo courtesy of HFAS Australia)

Laura Gardner (Photo courtesy of http://blog. lauragardner.org/)

The next chance I got to work with the HFAS Faculty was October last year, when the delightful and insightful Laura Gardner came out here to teach.  Due to my crazy schedule at the time, my availability was limited, but I managed to get into her two day Audition Technique workshop – and boy was I glad I did.

Direct, funny, passionate and insightful – Laura was all the things I had come to expect from working with Howard.  The two sessions I had working with her built on the joy, and learning to put the technique to work in an audition situation was invaluable.  Laura additionally had some great advice regarding my placement (or “branding” as I call it) in the industry for which I am also truly grateful.

Then came November.  I had heard so much about David Coury from others who had worked with him and yet I still wasn’t sure what to expect.  I knew Howard was really looking forward to working with David in the Masterclass situation and there was just a feeling amongst all of us that this was going to be something special.

I will admit that when I got the email telling me who my scene partner would be, I punched my fist in the air in delight complete with a very loud “Yes!!!” upon seeing the name.  Syd Brisbane is one of my favourite people to work with and watch – a truly talented actor and lovely human being.  We’d worked together with the Australian Shakespeare Company back in 2010/2011 – playing opposite each other – and I was truly thrilled to be getting the chance to work with him again in this environment.

The actor, Syd Brisbane

And so the work began.  Syd and I discussed, rehearsed, prepared, built place and generally got stuck into the process.  We had been given “Frankie and Johnny in the Clair de Lune”, which is a brilliant play.  But also, for me, personally challenging.  The last time I had appeared on stage in my underwear was the professional Australian Premier of “I Love You, You’re Perfect, Now Change” – over a decade and several pounds lighter ago.  I’d successfully managed to avoid doing that again since – until now.

Luckily, I was working with Syd, whom I wholeheartedly trust.   And thankfully I would be working with Howard – another whom I trust implicitly.  So, with the knowledge that this emotional (and physical) state would also inform the character, I faced the fear and committed to doing it anyway (thank you to Mac Andrews, Jana Dugal and Christine Kimberley who were the directors of my drama school in London for teaching me this – your intensive work with me then prepared me for what I am doing now and I love you all for it!).

The first day of the Masterclass came and we were first up.  I was nervous to say the least.  I always am before working, but this time was a little more intense.  Just ask my partner, Billy, how much fun I was to be around that morning!  There was a part of me wondering if I could get away with wearing the robe the whole time, but I sternly told myself that wasn’t being true to the character or circumstances and to get over it and on with it.

With the mantra “It won’t kill you”, resounding in my head, we were up and the scene was happening and it was on.  Three to four minutes later, we finished the scene, nobody had died, and Howard was smiling at me in that infectious way he does.  Despite knowing that at one point my knees had decided to take up percussion as a hobby and I had wrapped my robe tightly around me as soon as the scene was done, I had been in that apartment in New York in bed watching an old movie on the TV and demanding a “Western on white down”, and I also knew that I had faced a fear and survived it. That in itself was a somewhat euphoric feeling that was worth the experience.

David Coury (Photo courtesy of South Coast Today)

And then the real work began.  David stepped up to the stage.  It was the first time I had met him and I knew, again within a few minutes, that this was someone I liked and would very much enjoy working with.  He challenged us, do not get me wrong!  But he did it in such an insightful and direct way that I couldn’t help but trust him and just go with it.  And he made us laugh, which always helps. David took both Syd and I totally out of our comfort zones using the voice (which I didn’t think was possible to do any more than I just had!) and it was exhilarating and scary and wonderful all at once.

Once David finished, Howard stepped forward and again, transformed the work even further.  I can’t put into words how extraordinary it was to explore craft with these two talented human beings.

Howard always inspires me to work harder, or rather – better.  Better in the sense of having a stronger preparation structure, deeper insight into the given circumstances and the world presented on the page, a clearer understanding of what it is to be a human being.  To keep growing, I guess.  Both he and David are truly gifted teachers who will tell the truth (without crucifying the actor), but also suggest and facilitate how the work can improve with a sense of shared adventure.  There is such love – of craft, of actors, of fellow human beings.

Armed with our notes and the knowledge that we only had 48 hours to implement them before coming back on the stage to do it all again, Syd and I stepped backstage to get back into our “civvies” with renewed determination to build on what we had done and learned.

And the learning continued.  Being able to watch so many of our fellow actors over the next four days go through this same process and see the amazing leaps forward in performance and craft, was again, inspiring, insightful, moving and joyful.  And so instructive in it’s own right.  The way classes are structured and taught at HFAS Australia means, when auditing, you are just as involved as the participants in the learning process and just as actively engaged.

Two days (and a few autonomous rehearsal sessions) later, Syd and I returned to the stage and went through it all again.  And loved it all over again and gained so much from the experience all over again.  And the sense of gratitude I felt for the opportunity to work in this way, with these people was, quite simply, overwhelmingly powerful and so creatively satisfying.

If we’re growing as people, we’re growing as actors and that is one of the reasons I love this vocation that I am so fortunate to explore and pursue.   And while I know that perfection is just a concept that will never be achieved, being in that environment was exhilarating and joyful and just fuelled further my desire to keep learning and plying my craft for it’s own sake.

Syd Brisbane and Sally McLean during their scene at the Howard Fine & David Coury Masterclass in July 2012 (Photo courtesy of HFAS Australia. Photographer: Phoebe Taylor )

And so, we come to now.  I guess I was moved to write this post for two reasons – firstly, the delight of spending time on set this week with Syd Brisbane as fellow cast in a new ABC/BBC TV series, where we talked over lunch of our time during the November 2012 Masterclass, working with Howard and how that has impacted on our work since, and secondly, my latest encounter with HFAS Australia – auditing for one day on the full time students Singing For Actors Open Masterclass a couple of weeks ago – again facilitated by the indomitable Mr Coury.

Seeing David again and catching up with him after nearly six months was just lovely.  Watching him work again was – there’s that word again – extraordinary.  Experiencing the actors who stood up on that stage to share their work and themselves was breathtaking.  I know I sound like a convert, but I am happy to admit that I am a fan.  Of the work, of the people and of the community that has built up around the Howard Fine Studio in Australia.  Such talent and love and joy – how could I not embrace and celebrate that – and want more?

And all this is possible due to Patrick who decided he wanted to bring Howard out here for us to experience and Howard and his faculty for accepting the invitation.  And then Patrick, Phil, Jess and the team at HFAS Australia for keeping the fires burning and the enthusiasm high to keep the work going.  And then all those actors who have dived in and embraced that work.  It is truly a beautiful thing and I know that I am but one of many actors who feel this incredible sense of gratitude and excitement for what is taking place here in Melbourne as a result.

I am now in preparation for Scene Study with Marilyn McIntyre and Ted Brunetti which begins next week at HFAS Australia. I am nervous, but over the years I’ve come to embrace those nerves as a sign that it’s time to open up, knuckle down and work (which is always a good thing) and I am so looking forward to experiencing first-hand two more of the HFAS Faculty – and so very thankful that I am able to do so.

David Coury works with Samuel Johnson and Jennifer Hansen at the November 2012 Howard Fine & David Coury Masterclass in Melbourne (Photo courtesy of Jennifer Hansen)

To read another actor’s experience of the Howard Fine & David Coury Masterclass, read Jennifer Hansen’s excellent blog posts here and here.

To know more about the Howard Fine Acting Studio in Australia, visit here.

New Australian play “Flame Trees” – intriguing, potent and coming to St Kilda in March!

Flame Trees publicity shot with cast. L-R: James Mason, Sally McLean, Wayne Tunks, Matthew Candeland, Sarah Berryman & Hannah Gott

It’s been a busy few months, then Christmas hit, then the New Year and before I knew it … it was mid-February!  But what a year it’s been so far!

Lots has been going on since the last update – best if you get it straight from the source, so acting updates can be found here and documentary updates are all here.

Currently my primary focus is being in the cast of the world premier of a fantastic new Australian play Flame Trees from acclaimed dramatist, Wayne Tunks (The Subtle Art of Flirting / 37 Ways To Say I’m Gay). The brilliant Perri Cummings is directing and between them they have assembled a rather awesome cast (if I say so myself!).  This aforementioned awesome cast are Sarah Berryman, Matthew Candelands, Hannah Gott, James Mason (yes the Aussie actor from Neighbours, not the other one), Wayne Tunks and yours truly.

We have been deep in rehearsals for the past couple of weeks and I’m getting so excited to get this on the stage.  We only have 19 days until we open previews (eek!!), and then we run until March 16th at Theatre Works in St Kilda, Melbourne.

Described as ‘Sydney’s most prolific dramatist’ by the Daily Telegraph, Wayne has found success with his plays all through Australia and now the world and has written another intriguing tale – this time about troubled relationships in a small country town, following the return of the perpetrator of a deliberately lit bushfire – a decade after it destroyed people’s homes and caused the death of a young local.

Essentially, Flame Trees is the story of one woman’s fight for redemption and is a modern Australian drama about fire and the fear it brings.

But it’s not all doom and gloom!  The script is peppered with lovely comedic one liners and also celebrates Australian larrikinism, as well as our ability to survive and rise above disasters.

And rehearsals are fun.  Such a great cast of actors and lovely people to boot!  I’m truly enjoying the process and loving the chance to work under the very talented Perri Cummings as director.  Usually Perri and I get to share the stage or screen together as actors (which I love), but I’m also loving working with her in this way – especially as she is (as I think I mentioned) a rather brilliant director too!

But this post is not just about me saying how great my creative life is right now (although, let’s be honest, it is pretty wonderful on that front at the moment!). Due to Flame Trees being produced independently (ie – we don’t have the budgets of say, the MTC), we’re on the hunt for donations to help out with set construction and publicity.  When staging a new work, this is fairly typical in Oz, and if it wasn’t for the wonderful supporters of independent theatre out there, many of these fascinating works would never see the light of day … so we are calling on your support.

Flame Trees is currently running a donations campaign on Pozible.com (the Australian version of Indiegogo and Kickstarter) which you’ll find here: http://www.pozible.com/project/16274.  Every little bit helps, so if you have some spare change – drop it in the bucket (as we say here in Oz).  No matter where you’re based worldwide, you can donate, so if you’re feeling generous – feel free to help!

Just click here to get involved – and we’d like to say a huge “THANK YOU!!” to everyone who has given so far.

So, that’s what my world looks like at the moment!  Hope yours is also filled with good people, challenging work (in a good way) and general fun.  I’ll leave you with the video for the Pozible campaign for your enjoyment, which stars James Mason who plays “Matt” in the play (although he is possibly better known as “Chris Pappas” on the popular Aussie TV series Neighbours )

Till next time – may your world be merry and your heart be light,

Sally x

“A Life Unexpected” team get a “Good Practice Recognition” nod at the 2012 AbaF Awards

1956 Olympian and Co-Producer, Marg Woodlock-McLean with Director/Producer, Sally McLean at the 2012 AbaF Awards Victoria, Hamer Hall, Arts Centre Melbourne. Photo by Emily McCoy from EMC Photography (courtesy of the Australia Business Arts Foundation)

It was with great delight that myself and Marg Woodlock-McLean (Co-Producer, Fundraising) set off into the blustery Melbourne weather Wednesday morning to attend the 2012 AbaF Awards (Victoria) at Hamer Hall, Arts Centre Melbourne.

I had been nominated as an Individual Artist in the AbaF Giving Awards category for fundraising activities via the AbaF for “A Life Unexpected: The Franz Stampfl Story”.  This category is for individual artists and arts and cultural organisations’ giving (donations) programs: annual campaigns, capital campaigns, patron programs, bequest programs or projects supported by foundations.

After a rather scrumptious breakfast of strawberries and cream and a couple of glasses of very nice orange juice, during which time Marg and I finally met in person the lovely Denise Damianos (Manager, AbaF Australian Cultural Fund, who manages all donations for individual artists on the AbaF register), all guests were asked to be seated and the formalities began.

MC was Rafael Epstein (Drive presenter for ABC Radio 774) who did a great job in keeping the ceremony flowing with minimal fuss and a sense of humour.  The speeches from various political and Arts industry figures present were kept to a minimum and short, which is always a good thing and was most appreciated!

To start the proceedings, the list of nominated organizations was announced who had received a “Good Practice Recognition” nod from the AbaF Award judges for demonstrating good practice (based on their score against the awards judging criteria) in their work in fundraising. This takes in to consideration how the money is raised as well as how the donated money is used and utilised within the organisation, amongst other criteria.

As the list of 20 names scrolled over the screen, read out in turn by Rafael, it was with surprise that we realised that my name was amongst this group and the only Individual Artist from Victoria to be so honoured.  I was truly thrilled to receive this acknowledgement for our team, especially as we were listed among such august company as the Melbourne Theatre Company, the Melbourne Recital Centre, the National Gallery of Victoria, the Melbourne Writers Festival, Heide Museum of Modern Art, Museum Victoria and the Victorian Opera.

We then settled in to hear who had won awards in the eight categories.  I was particularly pleased for Moonshine Movies who won the Arts & Health Foundation Award for their innovative work in partnership with Palliative Care Australia and St Martins Youth Arts Centre who won the newly created AbaF Arts Access Award for their work to improve access for people with disability to their venues, programs and services.  You can see the full list of winners and “Good Practice Recognition” recipients here: http://www.abaf.org.au/arts/abaf-awards/abaf-awards-2012-in-victoria.html

While we didn’t win the award for our category – that went to the Heide Museum of Modern Art for their successful fundraising partnership with ANZ Trustees Limited (a hearty congratulations to all involved – Heide is a fantastic jewel in Melbourne’s Arts landscape and should definitely be supported to ensure it’s works of art and ties to Australia’s art history remain accessible to everyone), Marg and I had a lovely morning with the added bonus of knowing that win, lose or draw we could walk away from the Awards presentation knowing the team’s hard work had been recognised and appreciated on a public stage.

It has been interesting to note that to date, with State Awards ceremonies now completed in South Australia, Northern Territory, New South Wales and the ACT (with Tasmania and Queensland happening later this week), our project is still the only Individual Artist to have been named in the “Good Practice Recognition” list nationally – which also includes Bell Shakespeare Company, Sydney Theatre Company, Adelaide Festival, Adelaide Fringe, Art Gallery of South Australia, Darwin Symphony Orchestra, South Australian Museum, Sydney Dance Company, Australian Youth Orchestra, Art Gallery of Western Australia, Film & Television Institute WA and Perth International Arts Festival..  This is a huge testament to the hard work, passion and integrity of the entire team working on “A Life Unexpected”, but in particular, Marg Woodlock-McLean who has worked tirelessly to implement and execute our donations program with such success.

We would also like to take this opportunity to again thank all our donors and supporters for making this project possible.  Without you we would not have been able to get to Europe to film our first round of interviews which has helped move the project forward immensely.  We will continue to raise donations via the AbaF, but will also be adding an investment focus for private investors and business to our fundraising mix for the project – details for this aspect will be coming soon.

Thank you again to all the “A Life Unexpected” team, to our donors and supporters and to the AbaF for their incredibly valuable services to independent artists and practitioners in the arts.

And now? Onto getting this project finished and out to the world!

‘Till next update,

Sally McLean
Writer/Director/Producer
“A Life Unexpected”

Lachlan Bryan: Artist, storyteller and the next big thing in Australian Country Music

Lachlan Bryan performs at Hickinbotham Winery, Dromana – July 22, 2012

I have many talented friends.  Many of them I’ve known since the days of high school.  Don’t ask me why there is such a large proportion of successful actors, writers, musicians, comedians and the like who have emerged from my home town and it’s surrounding suburbs that form the Mornington Peninsula – it could be something in the water, or it could be that the area attracts many creative types who settle down and then have families and voilà! Cue a dearth of babies who are destined to grow up and work in either Music or the Arts.

Such is the case with rising Australian Country Music artist, Lachlan Bryan.

I’ve known Lachlan since he was about eight years old.  The younger brother of a good friend and colleague of mine in the theatre world (yes, the talent gene runs in the family), I remember Lachlan as a quiet kid who was usually busy doing his own thing (normally his homework, as he was younger than the rest of us and still in high school a fair while after we’d all graduated).

Over the years we lost touch, as happens.

Then in 2009 I became aware of a music video clip for a song called “Ballad of a Young Married Man” by Melbourne band, The Wildes, directed by the talented Sean Genders.  I don’t remember how I came to see it, only that it was online, but I do remember thinking how much I loved the music, the story and the visuals that went with it.  I locked that in my head for future reference – always on the look-out for local bands whose music might fit one of my film projects down the track.

What I hadn’t realised, mainly because I hadn’t seen him since he was a teenager, was that Lachlan Bryan was The Wildes lead singer and songwriter.  I thought the lead singer looked familiar, but figured I’d just seen him elsewhere online.

It wasn’t until mid-last year (God bless Facebook) that I suddenly made the connection.  By then, Lachlan had recorded and was about to release his first solo album “Shadow of the Gun” and I’d just friended him and other members of his family on Facebook – delighted to find them online after so long between sightings.  It was with growing interest  that I realised via their updates that Lachlan had developed an impressive musical ability of his own – which had caught the attention of many people, not least of which was Core Music (Sony Music Australia), who had signed Lachlan up and released his debut solo album to much fanfare in January this year.

As soon as the album was released, I bought my copy.  And it’s a good album.  It’s a great album, in fact.  As a storyteller, Lachlan is a borderline genius.  He’ll be totally embarrassed that I’ve called him that, but being a poet myself, I can appreciate a good lyric – and Lachlan’s lyrics draw you in, take you on a journey into an alternate world filled with compelling images straight out of the Deep South or Wild West, add a dark twist or two and then (sometimes not-so-gently), deposit you out the other side.  In short – they just work so damn well.

Put that with his music – a blend of old-school blues/country, often labelled “Gothic Country” or “Alt Country” and you’ve got an artist that is destined to be one of our next big things – it’s only a matter of the where and when.

(Warning: The following video carries a Rating M for Violence)

Lachlan and I began chatting about life, careers, etc and I kept promising him that I would come to one of his live gigs in Melbourne to actually say hello again in person.  As is usually the way, life kept happening to prevent this, but on hearing that his last Melbourne gig for some time would be happening yesterday at the lovely Hickinbotham Winery in Dromana, I knew it was something I couldn’t miss.

I collected my mother (yes, she is a fan too) and off we went to enjoy an afternoon of distinctive music overlooking the vineyards.

Hickinbotham of Dromana, looking across the vineyards to Port Phillip Bay

Firstly, I have to acknowledge Andrew and Terryn Hickinbotham.  They have built a unique vineyard and cellar door that is truly Australian.  Surrounded by bushland and with a welcoming “Outback watering hole” feel, they not only provide some tasty wines (and now beers), but also generously support many local artists – both the performing and visual kind – without reserve.  Earlier this year the Hickinbothams’ (along with Morning Star Estate in Mornington) sponsored a private screening of the teaser for my current work-in-progress, the docudrama “A Life Unexpected: The Franz Stampfl Story”, and yet I had never actually visited their winery socially – until now.

Lachlan Bryan performs at Hickinbotham Winery, Dromana – July 22, 2012

And it was a fantastic afternoon.  While it wasn’t the most ideal situation to sit and just listen to an artist play – meals were being served, wine and beer drunk and conversations carried out around the room – that, in a way, added to the charm and in fact made the director in me think that a stylized version of the scene would work for one of Lachlan’s music video clips (as long as we were all wearing gothic Wild West gear and had interesting make up applied!).

Despite the din of knives and forks and chatter from all corners of the room, the crowd thoroughly enjoyed Lachlan’s performance.  Framed by trees seen through the durable plastic wind protectors behind him, Lachlan played three sets of his music, occasionally accompanied by fellow members of The Wildes, Andrew Wrigglesworth (on guitar) and Laura Coates (on accordion) and always to enthusiastic applause.  (Andrew and Laura have formed another group called The Weeping Willows and often support Lachlan at the various gigs around the country).

All in all, it was a really enjoyable afternoon with good food & wine, great company and excellent music.  Additionally, I was delighted to be able to thank Lachlan face-to-face for his support and encouragement of my decision to reconnect with my own craft (that of acting) over these past months.  As I said, I have some very talented friends – and they’re also thoroughly nice people as well.

Lachlan leaves for a tour of the USA at the end of August.  He has three more gigs in Oz before leaving, which you’ll find listed here.  If you’re in Canberra or Gympie (yes, he’s performing at the iconic Gympie Muster), as Molly Meldrum used to say “Do yourself a favour” and see him in action. This is an artist who is building up to take the world by storm – and you don’t want to miss being a witness to the journey.

L-R: Laura Coates, Andrew Wigglesworth, Lachlan Bryan, Sally McLean and Kelly Gentle at Hickinbotham Winery, Dromana – July 22, 2012

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WATCH MORE OF LACHLAN’S MUSIC VIDEOS BELOW:

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VISIT LACHLAN’S OFFICIAL WEBSITE: http://www.lachlanbryan.com

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London 2012 Olympics official song by MUSE released online – what do you think?

Earlier today British rock band MUSE officially released their track “Survive” – which also happens to be the official song of the 2012 London Olympic Games.

Being a fan of another Brit rock group – Queen – I really like it, and kudos to London for going with such a different kind of song to represent the feel of these Olympics on the world stage.  I think it works.

But what do you think?  Check out the song below and then feel free to leave your comments …

‘Till next time,

Sally & the “A Life Unexpected” Team

Steve Hooker – a champion whichever way you look at it

Champion pole vaulter Steve Hooker is preparing to defend his gold medal at the London Olympics. Picture: Phil Hillyard

I have been following with interest the progress towards London 2012 of Olympic Pole Vaulter, Steve Hooker over the past few months.  There are two reasons for this.  In relation to the documentary, Steve and I share something in common – our parents were Franz Stampfl athletes (my mother and both his mother and father) and we have both been profoundly affected by Franz’s philosophies as a result – passed on from our parents.  Also, Steve is one of our interviewees for the documentary as a result of this influence.

As someone who has spent the better part of her life around Olympians and is also a performer, I sympathise with Steve’s fight to get back into form before the London Olympics in July.  I have heard so many stories from other Olympians who have had similar issues during their athletic careers, many of whom came out fighting and exceeded everyone’s expectations on the day of their actual Olympic event.  And, being an actor, I totally understand “the yips” Steve has talked about – and I never had to fly through the air on a thin pole to get over a bar nearly 6 metres above the ground!

Stage fright is a common malady.  Everyone suffers from it.  The actor whose lines dry on stage.  The public speaker who forgets their notes.  The Manager who has to face his team during redundancies.  Everyone in every walk of life at some stage has baulked at the gate, either in their job or their private life.  And it doesn’t matter how experienced you are or how good you are at what you do – it can strike without warning.  And, it takes time to tame that beast once it has you in it’s jaws.

Steve has done an amazing job of coming back from both injury and the subsequent anxieties that followed.  And let’s not forget that he has already qualified for the 2012 Olympics, as shown in the video below:

I take my hat off to Steve for continuing to put himself out there, in the blaze of public scrutiny, as he continues to build up his jump fitness while managing an injury that’s on the mend and doing it with grace and a positive attitude.

I know all the team here at A Life Unexpected will be cheering him on at the Olympics in July and we are all already proud of him for all that he’s achieved - Olympian, Current Olympic Champion and Captain of the Australian Olympic Athletics team.  There’s not many that can list all that in their CV.

Go strong, Steve.  And know that you’ve already proven you’re a winner.  Fly high in Munich today and we’ll be cheering you on in London for being the champion you are.

Sally McLean
Producer
A Life Unexpected 

Read article on “A Life Unexpected”: http://p.ost.im/p/eWLT9n