Thank yous are a map

A thank you is just a thank you, but I think it’s worthwhile putting my Kill Climate Deniers thank yous down in a blog post, because acknowledging my collaborators – as best I can – becomes a kind of map of the project. Something as diffuse and extended as KCD comes into focus when you look at the range of people involved, the network takes a sort of shape. Given that you can’t wrap a boundary around a project – I used to think you could, I was wrong – maybe the best thing you can do is to start to sketch the nodes and links?

I’m really grateful, and also I’m growing much more into the act of looking at a project by its list of credited names, acknowledgements, because those lists are the beginning of a guide to how work happens, in this world.

So.

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Julian Hobba + Aspen Island Theatre Company
Kill Climate Deniers came into being thanks to Julian Hobba’s invitation to write a new script for his company Aspen Island. Julian shepherded the first draft into being through a series of conversations, and it was Julian that managed to secure funding to drive the script forward into an actual shape. He directed the development and the radio play recordings that were sampled to make the album.

Insofar as the script has a shape and form, it’s Julian that provided the dramaturgical advice. And he manifested and produced a huge amount of the structure behind the project’s development – thoughtfully, generously and intelligently. Julian got what I was trying to do straight away, and guided the work there with such calm precision.

Which, also: a shout out to the performers who took part in the script development and the recording. Clare Moss, Miranda Borman, Emma Strand, Sarah Walker, Emma Hall, Rachel Roberts, Cathy Petocz and Ellie Garran. The script was written in/for their voices – I can’t imagine Gwen Malkin as anything other than Clare Moss’ interpretation, for example.

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Reuben Ingall
Reuben took part in the first script development as a musician, and it was Reuben that suggested the play might work well as a radio play. That evolved into Reuben taking on the massive task of writing and recording an entire album of original tunes, and constructing the audio world of the story, including producing the Listening Party and an amazing live set.

Reuben’s style is just an inspiration, and I’ve been in love with the music he makes under all his various guises for many years. Collaborating with him was such a pleasure – so easy, so simple, and then he turns around and breaks out phenomenal surprises all the damn time; like the first time he played me Music to Shoot Climate Activists To.

Nick Wilson + Clan Analogue
Although Clan Analogue has been an incredibly generous supporter from the outset, I’m singling Nick out because his contribution has just been above and beyond, constantly. I don’t know how a record label works normally, but from the first time we talked about releasing KCD through Clan, he was 100% behind what we were doing, and incredibly sharp and responsive.

The whole fact of getting to release a record through a storied label like Clan is pretty incredible, and the lovely thing which I learned through the experience is that it really is a clan, in the sense of being a collective of great humans who help each other make art. Shout outs also to Martin Koszolko, Nick McCorriston, Wade Clarke and Kimmo Vennonen for remixes, mixing advice and mastering.

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Gillian Schwab
Longtime collaborator Gills Schwab gave me the nudge to take the work further after the first script development, and her opinion counts for a lot with me. I hassled her to contribute some illustrations for the playscript, and she came up with a gorgeous set of pictures, which have totally shaped my conception of the characters. Gills is one of the peeps who understood the aesthetic I was angling for with this project long before I could coherently articulate it – that’s a very special skill.

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Karmin Cooper + New Best Friend
This one is massive. Karmin and I worked closely together on You Are Here back in the day, and since then, she’s been an incredibly generous supporter of my work with regard to design.

In the case of Kill Climate Deniers, I went to Karmin and asked for her help putting together some collateral around the project. What she – and New Best Friend – provided went way, way beyond that. Karmin designed the project website, most of the marketing material, created a logo for the project, and then, because she’s an extraordinary human beind, brought in New Best Friend designer Liam Cotchett to design the printed playscript / ebook.

If you’ve seen the script, you’ll understand that this was a massive undertaking. Liam did an incredible job, and NBF saw the project all the way through to completion, on every front.

I don’t even know how to explain how big a thing this is. Just to say that the project wouldn’t even begin to approach the standard it’s at without New Best Friend. And also, the lesson learned, which is: just trust Karmin.

Tom Finnigan
My older bro is a film-maker and also very, very media-literate, for reasons pertaining to his job. So he first kicked in some very pertinent advice about Parliament House, about how to approach that institution, and then he took the time to produce the outstanding short film (featuring Clare Moss and Emma Strand) introducing people to the project.

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Sarah Walker
I roped in Sarah to take part in the project as a performer for the radio play recording, and leaned on her then to take a few preliminary photos. She was willing, but she made me promise that we’d actually have a proper photoshoot, because she had some ideas for some concept images.

The end result was way beyond what I could’ve expected – stunning fire and ice images on a cloudy beach, with Georgie McAuley holding a molotov cocktail… I don’t know how Sarah sees what she sees when she imagines things, but she is very good.

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Jordan Prosser
Another very close collaborator, Jordan and I spent a good chunk of this year working together in a concrete office at Melbourne University, writing and thinking about the future. Along with being a source of good advice in general, Jordan also took on the task of adapting Kill Climate Deniers into a feature film script, which is incredible. (A couple of the best gags in the KCD solo show were stolen from Jordan’s script.)

Jordan then put his hand up to direct the music video for Bolted. The concept was entirely his, and he did all the production and direction, for what turned out to be a bizarrely effective and beautiful creation. Also shout out to Dan von Czarnecki, Sophie Hayward, Amanda Lissant-Clayton, Sam Burns-Warr, Ben Hamey, and Georgie McAuley again, for the dancing.

Eric Gardiner
This is just an example of how strange and varied and lovely the support for this project – playwright Eric Gardiner is the most astute tracker of the far-right commentariat that I know, and so I turned to him for help producing the Which Right Wing Commentator Are You? personality quiz. Eric went above and beyond, and basically created the thing entirely by himself – and it’s brilliant – for nothing, out of the goodness of his heart. Which is one of those things where people’s generosity really keeps surprising me.

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You Are Here Festival
When YAH agreed to take on the first public outing of KCD there was a real risk, as far as we knew, that it would be a real headfuck with regard to getting attacked by internet trolls. But Adelaide Rief and Vanessa Wright were completely unfazed, and helped shape the solo show from its earliest form, and gave me a whole load of support and trust in the execution of it. Plus they provided the best possible context for the work – a Saturday night festival party event. Yes.

Much love to the whole festival crew for manifesting it into being – and to Ginger Gorman, Mark Fletcher and Bernie Slater for jumping on board with the panel, and to CMAG, Shane Breynard and Mick Bailey for hosting it too.

And a nod to Vanessa also, because it was her that observed, back in March, that the most interesting thing about this project was that it was a moving target. That thought has been swirling around in my head since then, leading to this, among other things.

Yolande Norris
I’ve been aware from the start that this project needs outside eyes to help frame the strategic side of things. My parents have been a good sounding board, as has Jack Lloyd, my brother Chris, Brenna Hobson, Natalie Reiss, and many others here and there. But Lande Norris has been the person who’s most effectively steered it away from bad mistakes.

My experience of Yolande, from the first weeks I knew her, is that when it comes to arts and politics, she has a longer range perspective than anyone else I know – far, far better than mine. With KCD, Lande was the person who told me bluntly when I was going in the wrong direction, and reminded me, gently and clearly, who this work was for, and to not get distracted by the noise around it.

Always the advice I needed, at the moment I need it.

Gabrielle Affleck
Possibly the single greatest contributor to the KCD project, Gabby helped me tie the whole thing together. Looking at the tangle of different strands to this project, Gabby helped me find a way to talk about the thing in a vaguely coherent way. And to strategise how all these different elements might find their way out into the world, when and where and through who.

I think one of the most incredible things that Gabby provided was that when I was staring at what seemed like a blank wall, in terms of ‘I have no money, no audience and no place to start’, she was able to break that down into achievable, comprehensible goals and starting places. Guidance, encouragement and a shitload of very practical wisdom. Making things seem possible – that’s a pretty powerful skill.

My parents, and Emily Stewart
Any project of sufficient size is enough to get on top of you, to shake you up and make you doubt yourself. It’s funny, when you start something yourself, you don’t even have the structure of, say, a university degree – you’re making it up as you go along. There’s a lot of room in there for you to panic and lose your way.

A lot of good humans had my back at different times throughout the making of this, but always, unfailingly, my parents, when I sat down and chatted with them. And Emily, who never let me hit a wall, never let me panic or go around in circles.

How much any piece of art, any creative project, is just a meeting point for a lot of people’s efforts, just a space in which people come together to care.

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All the films I ever reviewed, in one place

Because of how I’m wired, I’m not a great fan of a lot of middlebrow TV or films. I am continually turning down offers to watch extremely good things, Academy Award winning dramas etc, in favour of junk. I quite like a lot of super abstract video art, and lowbrow genre trash – nothing in the middle. I’m not proud of this – in fact I wish I were different – but nature + nurture conspired to do a number on me in this regard, and now here we are.

Anyway, the result is, I sometimes watch genre films and write – well, not quite reviews, but… commentaries? – on them. And because I haven’t really documented that material in any intelligent way, I thought it might be a good idea to gather some of those pieces in one place, in case anyone feels like they need that.

So, here we go:


The Surrender is not the anal sex primer we were praying for

Starting with the best first, The Surrender was a one-woman show based on Toni Bentley’s erotic memoir about her sexual adventures, and in particular, her journey into the world of heterosexual sodomy. I saw this with Jess and Siobhan in New York and it is easily one of my top three theatre experiences of all-time.

Click on the link and journey from top to bottom – or as Toni Bentley would say: ‘from bottom… to BOTTOM.’


Monte Carlo BUT BETTER

I saw this early Selena Gomez holiday romance / mistaken identity saga back in 2011 and it was terrible, but also, the sight of Leighton Meester shedding some of her uptight cares and worries and learning to be free by splashing through fountains and necking with a topless aussie bloke in waist deep water… ahhh.

& now a blow-by-blow account of Dirty Dancing 2: Havana Nights

This whole film is a fucking disaster, and I ended up being on the side of the uptight wealthy jerk who the heroine’s parents are trying to set her up with, rather than the free-spirited Cuban dancer lad she falls for. Also the Patrick Swayze cameo was weird and disturbing. But a dance training montage to Shakira’s Hips Don’t Lie makes everything okay.

 we are all John Lloyd Cruz (but we are trying to be Bea Alonzo)

Thanks to Clyde Enriquez I watched the iconic Filipino rom-com One More Chance, way over-identified with Bea Alonzo as the heroine, and hated matinee idol John Lloyd Cruz more than I’ve ever hated a movie character before or since. Fuck that guy.


was the Hannah Montana Movie worth it?

Jess Bellamy and I sat down together and watched the Hannah Montana movie – jointly, for science – and each wrote our own review. I’m not going to spoil it for you, but it is not a very good movie. Except for the barndance sequence, that’s all killer no filler.


How To Be Single, movie, I watched you

Most recently, I poured my tired soul into this Dakota Johnson vehicle, and look, I felt a lot of feelings, but I can’t pretend they’re all thanks to the film. I spent a lot of time being distracted by the conspicuous wealth on display, and by the total lack of any clear narrative arc.

The future is bright, the future is orangutan.

How To Be Single, movie, I watched you

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Four minutes into this Dakota Johnson movie and I’m feeling all kinds of feelings.

1. Sex and the City-esque light philosophical reflections about being single over a high-speed montage of a couple getting together and then breaking up

2. Dakota Johnson seems really fine, but also like she’s not sure she wants to be here. Maybe that’s her MO. The whole of 50 Shades, her special trick that she brought to the performance was the look of being deeply unhappy about being there. It’s a Thing I guess

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3. I fucken hate TaySwi’s Welcome To New York, and it’s not like I don’t love 1989, so don’t lay that on me

Dakota Johnson moves to New York after breaking up with her bf of four years to find out what it’s like to be single and Rebel Wilson meets her at her new job as a paralegal

like there are jobs in New York

there are no jobs in New York

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At the end of day one of job, Dakota wants to go home, in her sexy mini and makeup, but Rebel is the irresponsible best friend, already. Some fucking how.

Not that I can write better romance than this movie: I am this movie.

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There’s a character who’s slightly anally looking for the right guy on dating websites – the bartender at the place she’s meeting these guys has a playful frisson-charged friendship with her, will something develop? On date one, the gag is that the guy isn’t into having children, he’s about having crazy sex acts.

It’s

just

fucking

workmanlike.

This is making me long for the overstuffed shambolic fuckup that was Justin Timberlake and Mila Kunis’ Friends With Benefits – so many failed setpieces. This film knows all the moves, it just doesn’t care.

But: glossy costumes, well-lit, colourful sets, heaps of extras, Dakota Johnson looking winsome: we proceed.

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Rebel Wilson takes Dakota to a bar where she instructs Dakota to get laid. Fifth Harmony’s Worth It is playing, Dakota says several times ‘I’m not looking to hook up, I just want to discover who I am”. This is, in the parlance of the Hero’s Journey: Refusing The Call.

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Dakota ends up making out with the bartender that’s been flirting with the uptight girl, then it cuts to the next morning at Dakota’s sister’s beautiful house, her beautiful, huge, beautiful house. Her huge house that she has in New York with her doctor job, her doctor job that has made her rich, rich enough to own a huge, beautiful house with great couches and lovely natural light where Rebel and Dakota awake, hungover, after the night out they had following a day at work at their jobs, their jobs that they have in New York, because they have jobs in New York.

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I’m 16 minutes into this film and the lighting is exquisite.

There’s a whole thing with the sister getting clucky, deciding that she wants a baby herself. What’s going on here? Do I have the courage and sensitivity to say anything about this scene in this recounting or do I leave it alone?

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(note from future david: looks like i decided to leave it alone)

Dakota’s boyf that she split with at the top of the film shows up for a meeting, she asks him to come back to her, he says no. It’s a good bit of writing cause it’s done and dusted in a couple of short lines – this is how writing should be written.

I will write this scene, this same scene, I will write this exact scene, with a little less grace and fewer Dakota Johnsons.

The uptight girl is at the bar being alone when a hen’s party rocks up and the hen is an old friend and girl-on-girl competition is about to be afoot, I can feel it. Bitch friends asking too many spiteful questions bring our girl down, but then the bartender pretends to be her boyfriend to make them jealous and score points.

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Just, give me one reason to like any of these characters. Have them do something good, or interesting. They’re in the sympathetic protagonist slot in the movie but I just – don’t – care.

God the extras are well dressed, though.

In fact, the costumes are off the fucking chain. There’s not one scene where Dakota doesn’t look like she’s in an amazing and sexy hair commercial.

Having wealth, having fucking wealth, man.

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Dakota moves into a beautiful luxury apartment with high ceilings, with all her possessions, her goddamn possessions, how can she be sad when she has everything? How does she live?

The sister is gonna have a baby by herself, it doesn’t work the first time, the sister has a history of helping other people but when will she learn to take care of herself?

Rebel and Dakota are hanging out in a… place. If it were the 90s, and it were Sliding Doors, that place would be… yoga. Because that’s what aspirationally attractive young professionals with romantic possibilities ahead of them did, in movies back then. Now it’s 2016 and they’re in a sauna. Which is fucking yellow.

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I’ve said before that the lighting in this film is unbelievable, but here I think they’ve legit let the designer go too far. Fuck, man, what’s even going on.

The flight attendants are walking up and down the aisle and chatting to people in their gorgeous Birmingham accents and they are adorable. Nathan and Rachel are a few seats back so they can clearly see that I’m watching this film, there are no secrets on this plane. I tried to convince Rachel to watch it too so we could debrief about it but she said that all reports are that it’s terrible, so now I have no-one to debrief about it with except you, word document.

What does Dakota do in this film? What does she DO? She exists only in relation to her partners, prospective or past, she has no thing that she does. And the meet-cutes in this flick have been universally bad.

Nah but straight up, fuck the bit where the characters hate on pubic hair as a thing where it’s ugly and you can’t have sex with new guys if you have it. What the fuck is wrong with you, screenwriter, that you wrote that, and with you, entire culture, that you sanctioned it? I mean don’t get me wrong, I know what world I’m living in, I know what to expect from Hollywood patriarchal mainstream fluff, but every so often, man the world is just depressing.

(aside: a week or so into Stockholm development, and thank you Sweden for your healthy mature attitude towards nudity and the human body, but also as a consequence, I’m extremely aware that every dudebro at the gym is getting around with shaved nads. I feel hella self-conscious rocking my full natural bush; Dakota Johnson, I relate, I relate.)

Dakota does the thing where not knowing how to work her electrical appliances and being confused about technology is cute. (It’s understandable and no judgment, but it’s not cute.)

There’s a Glee club sequences and a whole thing with the pregnant sister wanting to have sex and having sex with some young dude at the office christmas party. Man, fucken American banter is so type A and obnoxious, it would be nice if people were just nice to each other, in this films, in all this films.

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The sister has sex with a dude in the copy room at the law firm, which we know from the first scene with Rebel Wilson is under surveillance, and not to be having sex in.

(The gag where this sex scene has been filmed is set up but never delivered on, which means it’s 100% on the editing floor, in which case, I commend the editor of the flick for their restraint in paring this thing back to a digestible length.)

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The uptight girl gets angry at kids in a library and tells them that dudes are no good and that love is dead, it’s a setpiece with kids as comedy. She meets a librarian who is cute with a scruffy face.

Dakota goes to her ex-boyf’s christmas party to see him dancing with his new gf because who the fuck is Dakota Johnson in this film, a walking open wound.

She has wealth, sees wealth, a wealthy businessman takes her to the top of an expensive building he owns, because wealth = romance, romance = wealth.

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Now she’s hanging with the businessman’s daughter, he gets angry because she’s bonding with his daughter. It’s three months later. The relationship ends. Where are we. In the sky somewhere, night, in the shadow of the earth, I’m lost in the vastness of the world and the melancholy that is international travel, as lost if not more so than this film.

There’s a mealy indie guitar ballad to celebrate the end of this relationship, a parade scene – so many extras. So many extras. A great scene with silhouettes. Good lighting. Dakota hugs her sister and cries. This purposeless, vacuous movie has no trajectory, and I’m lost in it.

The uptight lass is now with the scruffy librarian, now it’s a montage of the characters being happy, being happy, it’s a montage of… what? Dakota has some casual sex, and then runs into her ex-boyfriend again. I swear, we get no distance from this character. We can’t even use him as a measure of Dakota’s progress because what progress? What direction? What even?

The sister pushes away her young lover because she is too afraid to be open.

The perpetually single bartender has fallen in love with the uptight girl but it’s too late, she’s gone.

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The wealthy businessman tucks in his daughter with a melancholy air.

Dakota get a text from her ex-boyf inviting her back. She goes to hang out with the bartender.

DAKOTA VOICEOVER: Maybe this whole time we’ve been making all the wrong moves. Maybe we’ve been focusing on the wrong stuff, and now it’s too late.

what

Dakota has sex with the bartender to the tune of the Harlem Shake. Is it a good song? Seems like on paper it should be a good song, but also, I don’t know if I like it?

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Everyone drinks in this film, alcohol is the only thing. Dakota has a huge birthday party, a rooftop party. She gets drunk, the lighting is beautiful, who are all these fucking strangers.

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The setpiece in this section of the film is all three of Dakota’s beaus meeting. At her birthday party.

The bartender makes a move on the uptight girl, who’s now getting married to the librarian so she rebuffs him. The wealthy businessman apologises to Dakota, she… ah, I don’t know. She still doesn’t look like she wants to even be in this film. But I’m tired and I just need a hug and I want Dakota Johnson to be happy.

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At this point on any international flight my head is in a weird place and look at Dakota Johnson’s kind eyes and ohhhhh, I don’t need grace just a smile, just a smile

Dakota is now ripping in to Rebel Wilson for not having a life of her own, which is rich given that

a) Rebel is doing her best with the paltry material she’s been given as the wacky best friend, and

b) Dakota doesn’t even have the beginnings of a flicker of a life.

The realtalk concludes with a song that I thought might be the Verve’s Already There, which woulda been an unusual choice, but it was not. Often the soundtrack is the place in these safe-bet studio films where the director feels free to cut loose and pull in an unexpected choice or two, but here the music feels curated by Spotify algorithms, and I guess that’s fine, I guess that’s fine.

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Now her ex-boyf comes and sits with Dakota on a stairwell. They make out, they nearly have sex. But he’s still with his new girlfriend, Dakota’s angry.

The editing, the editing is exceptionally good. It’s going so fast.

But there’s a triumphant bit where Dakota realises she wants to be alone. And there’s a water breaking sequence which is… well look, I feel like there’s probably a way to play someone’s waters breaking as a clever gag, but this is not it. And then there’s a labour in the back of a cab. And now it’s soft chiming guitars and the baby got born. And holy shit, the baby they hand to her when she’s finished giving birth is clearly a fortnight old. Man, you can’t get a genuine infant in the movies, can you? It’s understandable and ethically good, but also, jesus.

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So the final score at the end of the flick is:

– The sister gets back together with her young dude because they love each other and he wants to help raise the baby

– Dakota walks back to her beautifully lit apartment at dawn and enjoys being alone

– She reads Cheryl Strayed in the window of her apartment and texts Rebel Wilson

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DOES SHE EVER WORK AT HER FUCKING JOB

She’s getting ready to walk the Grand Canyon. She sees young girls who are friends on the streets and smiles. An anthem of independence plays and she reconnects with Rebel Wilson.

DAKOTA VOICEOVER: I’ve been thinking that the time we have single is really just the time to get good at being alone…. but how good do we really want to be?

(is this the moral you want to leave your audience with? does this actually mean anything?)

Final shot, Dakota standing at the edge of the Grand Canyon in the dawn. Alone. Truly alone.

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And there, there, what a lot of things to think and feel. Do I have the energy, do I have the heart? I feel like a mess.

Round-up of Kill Climate Deniers coverage

14370340_10154576303316214_5259539350668360725_nReuben and I launching the album in Melbourne. pic by Max Barker.

In the midst of doing some thinking and wrapping my head around the Kill Climate Deniers project, and one of the big challenges is: How do I measure the success of this work? More on this soon, but in order to even begin answering this question, I wanted to pull together a bit of the public commentary around the project in one place.

ARTICLES

Kill New Play Deniers (HowlRound, March) – Playwriting brother/comrade Ira Gamerman wrote this piece for the US playwriting journal about the difference between Australian and US theatre and how the Kill Climate Deniers controversy could never have happened in America.

‘In American playwright terms: imagine a scenario where Bill O’Reilly writes an op-ed in the Washington Post condemning an unproduced play (which somehow received twenty grand in taxpayer dough from the NEA?). O’Reilly’s op-ed raises enough of a stink that a playwright with no agency representation gets called out by Eric Cantor, and starts receiving e-threats from a cabal of international conservative white dudes.’

Biting the Hand That Funds You (ArtsHub, April) – Richard Watts interviewed me for ArtsHub, and we chatted about whether or not political art should be government funded.

‘If someone uses the title “kill” in an art work I think we should question that. If someone uses an inflammatory title, which Kill Climate Deniers certainly is, then they should be taken to task … Because as an artist, as much as I have a right to provoke this conversation and use the language that I’ve used in the title, I think it’s important that that doesn’t come without cost.’

Die Hard Meets Charlie’s Angels (Daily Review, April) – I chatted to Daily Review editor Raymond Gill about being a ‘stealth denier’.

“I consider myself a climate denier in that I accept the scientific evidence of climate change around the world but like most people I haven’t taken any direct action or plans in my own life to do anything about it.”

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Rebels invade Parliament House, no-one notices (The Age, September) – Karl Quinn writes about the KCD listening party in Parliament House; has a lot of fun doing so. (^_^)

‘It’s a philosophical puzzler for the Age of Terror, the cyber-equivalent of a tree falling in the woods. If a group of ecowarriors lays siege to Parliament House but no one notices, did it really happen?’

Controversial Canberra play Kill Climate Deniers gets an album (Canberra Times, September) – the Crimes’ Jil Hogan writes about the Canberra angle.

Canberra’s Answer to HG Wells (Canberra CityNews, September) – Helen Musa positions KCD as a spiritual successor to Orson Welles’ radio production of War of the Worlds. Which, sure, I’ll take it.

The provocative play that sneakily infiltrated Parliament House (The Guardian, September) – A beautiful and thoughtful piece by Kate Hennessy reflecting on the experience of the Parliament House listening party.

‘Even before the volley of gunfire during the song Music to Shoot Climate Activists To, Ingall’s “bangers” were an unsettling score for a Parliament House stroll. His classic house and techno tracks expressed an abandon and depravity that was utterly incongruent with the civic fustiness of the meeting place of our nation. When two AFP officers eyed me, then cruised slowly by, I felt vaguely treasonous and very paranoid.’

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REVIEWS

Break the silence, damn the dark, damn the light (Only the Sangfroid, April) – conservative commentator Mark Fletcher reviews the script and applies one of the sharpest critiques of this whole project. (The real pleasure is, always, to be taken apart by the smartest critics.)

‘If you accept the overall (progressive) narrative about counter-terrorism, environmentalism, and political activism, then the political message of the play and the action narrative of the play mesh seamlessly. If you don’t, you’re stuck never quite being able to slip entirely into the action narrative. But is this a glitch or a feature?’

Blurring reality with Kill Climate Deniers (My About Town, June) – Melbourne critic Myron My teases out some of the layers of meta-theatre in the KCD script.

‘Finnigan has used his “bolting” to his advantage and created a second story within Kill Climate Deniers. This story is in a universe where the events in Kill Climate Deniers have eventuated because of the play, and the ramifications of having promoted terrorism through his story.’

Dancing in Desperation (Canberra Jazz, September) – Eric Pozza riffs on the decision to match the story of Kill Climate Deniers with a dance party.

‘Sting once said “when the world is going down, you make the best of what’s still around”. I’ve pondered that very line as I write on jazz and the arts while climate threatens.’

Unstoppable objections meet immovable opinions (The Age, September) – Anne-Marie Peard’s response to the album launch at Melbourne Fringe.

‘Its satire is bitingly sharp and its truth could easily be satire. Both hurt with their absurdity.’

I mean, look, for a wildly unproduced play, KCD has received a decent amount of thoughtful discussion. Now how do I weight this against my own personal goals with this project?

More thinking, more thinking, more thinking, always more thinking.

14362459_917399508404784_3443073642304503948_oReuben and I at the Canberra launch. Pic by Tom Finnigan.