Moral Panic

Theatre & Performance

Love/Chamberlain by Bridget Mackey

An electric re-imagining of two of the twentieth century’s most divisive women, Love/Chamberlain will premiere at Theatre Works in October 2019.

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Love/Chamberlain is an ambitious, genre-bending work about grief, judgement and the vilification of two very different women who refused to conform to public expectations – Courtney Love and Lindy Chamberlain.

The work examines the instability of the future, the fragility of memory and the at times unbearable reality of the present. Blending real and fictional events through a series of other-worldly encounters, it delves into the collective imagination of 1980s Australia, providing a unique perspective on our past and present.

Love/Chamberlain is the culmination of the ongoing creative collaboration between writer Bridget Mackey and director Cathy Hunt. Following a successful development season in Canberra (2017) and further creative development as part of the Darebin Speakeasy (2018), Theatre Works is supporting the work’s Melbourne premiere as part of its Chapter Three season in October 2019.

When announcing their support of the project, Theatre Works said “In the wake of the #metoo movements, it is essential for Australian theatre to tell nuanced female-led stories examining profound inequality between the sexes.

“This new play asks a dangerous question: can any woman ever go unscrutinised for their behaviour in the public eye?”

Love/Chamberlain brings together a talented, predominantly female team of experienced and emerging creatives including Eloise Kent (Set Design), Rachel Lee (Lighting Design), Emma Valente (Project Mentor) and Christopher Grey (Sound Design) and Jay Robinson (Choreography).

Despite applying for local, state and federal grants, and being supported initially by in-kind creative development through Bluestone Church Arts Space and Maribyrnong City Council, the team has not been successful in securing funding for the Melbourne season.

We are thrilled to be presented as part of Theatre Works’ Chapter Three and have committed to invest our own funds to assist with initial production and rehearsal costs, but we need help to fully realise the play’s potential and ensure we can offer our artists compensation for their work.

Funds raised will go towards vital production costs including:
– Set, costume and prop materials
– Lighting materials
– Consumables
– Rehearsal space

By supporting those key areas of our production costs, you also support our artists. Without grants funding, we are not able to offer our cast or creative team fees for their time. By contributing to this campaign, you are helping to ensure that we can offer our artists compensation for their work in the form of substantial profit shares following the production’s season.

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Moral Panic

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Theatre & Performance

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Bridget Mackey is a Melbourne-based theatre maker. She has written a number of plays that have been produced in various festivals and art spaces across Australia. Bridget’s plays include; a development season of Love/Chamberlain (Ralph Indie, Ainslie & Gorman Arts Centres, Canberra, 2017), The Exact Dimensions of Hell (Cybec Electric, Melbourne Theatre Company, Melbourne, 2016), Kindness (Flight Festival, Theatre Works, Melbourne 2015) and Hose (MKA, Theatre Works, Melbourne, 2012).

Bridget has performed and co-devised a number of works including: Phrenic (with Carlie Angel, in development, Adelaide), Fools Gold (Melbourne Fringe Festival, 2017) and Exit Everything (Melbourne Fringe Festival, Little Sister Projects, 2015).

Bridget is Performance Director for The Hunt, a multi-disciplinary group of artists who use sound, performance and imagery to create performance vignettes that draw on horror tropes in film, fashion and literature. The Hunt use everyday, mundane materials to reveal the ever-present potential for horror in our domestic and daily lives and focus on the ‘transgressive woman’. The Hunt’s show Woman in Car won the 2017 Liveworks Experimental Art Award, supported by Performance Space. Their 2018 exhibition ‘Quarry: The Hunt Conduct a Site Analysis’ (Trocadero Art Space) received support from Creative Victoria. http://www.the-hunt.com.au/
Bridget runs dramaturgy initiative Lonely Company with Fleur Kilpatrick and Morgan Rose – https://www.lonelycompany.com/about. In 2016, Bridget traveled to Los Angeles to study Screenwriting at the University of Southern California with the assistance of travel grants from the Dame Joan Sutherland Fund and the Ian Potter Cultural Trust. Bridget was lead-artist intern with feminist theatre company The RABBLE in 2017. Bridget holds a Masters of Writing for Performance from the VCA (2013) and a Bachelor of Creative Arts (Acting) from Flinders University (2007).

Cathy Hunt is a director and dramaturg, who trained at The Victorian College of the Arts. There she directed Crave and was awarded a Creative Graduate Scholarship. Her arts practice involves collaborating to make work extending beyond current assumptions of what theatre is or could be. She has directed and developed many new Australian works by women playwrights. Her work explores heightened states and marginal or vulnerable subjectivities, often through sound and music.

Work includes; All the Locks Are Solid & Tight, which she adapted & directed for La Mama Explorations, May 2019; Her Father’s Daughter, a site-specific Hedda Gabler, Hotel Now, presented in Prahran Council Chambers & opera bouffe Les Mamelles de Tiresias, Lyric, Chapel off Chapel, in 2018. Cathy directed Love/Chamberlain (Ralph Indie development, Ainslie & Gorman Arts Centres) and The Super Queer Murderess Show (Melbourne Fringe 2017, Arts House), co-created with Luisa Hastings Edge & Nate Gilkes. Cathy directed Tiny Remarkable Bramble (Invisible Circus 2016, KXT) and Life Without Me (Illuminate, Seymour Centre). Cathy was dramaturg/ outside eye on Shannon Loughnane’s The One, which transformed a Brunswick croquet club into a Minnesota log cabin for Melbourne Fringe 2016. She directed Steppe (Melbourne Fringe, Newport railyards) in 2015 and co-devised Kafka Dances (Space Lab, Prague Quadrennial). With Bec Allen Cathy formed The Impending Room to direct Judith in 2011 and developed Brooke Robinson’s play Dangerous Lenses, 2012, touring it to the Substation for Melbourne Fringe 2013. Cathy did a directors’ attachment on Fraught Outfit’s Book of Exodus Part 2 with Adena Jacobs in 2017 and was Assistant director on The Mill on the Floss by Optic Nerve at Theatreworks in 2016. She was Associate Artist on Dybbuks by Chamber Made and Samara Hersch and Assistant Director to Sarah Giles on Lorelei for Victorian Opera in 2018.

Les Mamelles de Tiresias was awarded a 2019 Green Room award for ‘Contribution to Development of Opera in Victoria’.

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