Author: Michele McGinity
Date published: 18 May, 2004

As Casting Director for Melbourne Theatre Company, Sioban Tuke talks about the impact of having some of Australia’s biggest names in theatre and film, such as Rachel Griffith and Geoffrey Rush, work with mtc.

Sioban Tuke has been the Casting Director for the Melbourne Theatre Company for five years. In this time she has worked with some of Australia’s biggest names in the world of theatre and film, including David Wenham, Rachel Griffith, Guy Pearce and Geoffrey Rush, actors with international profiles that have decided to work
in the intimate context of their home town theatre.

CAN WE CONSIDER HIGH PROFILE ACTORS TO BE A BRAND UNTO THEMSELVES?

The Melbourne Theatre Company has always worked with some of Australia’s foremost actors, many of whom began their career on stage and see theatre as a home base to regenerate their craft. Actors with international profiles work alongside directors, designers and producers in their hometown of Melbourne.

“During the actors strike in the States a couple of years ago there were a significant number of high demand actors available to work with the Melbourne Theatre Company who ordinarily would have been on film sets around the world. Understandably most shows performed exceedingly well at box office as our single ticket buyers clamoured to see Guy Pearce, Rachel Griffiths or Geoffrey Rush and David Wenham on stage”, said Sioban Tuke, casting director of the Melbourne Theatre Company (MTC).

The artists were approached individually, through their agent, to do a sounding out and to open up a dialogue between the artistic director and the artist. There is a sense of coming home for many of these actors, as they have lived and breathed Melbourne at some time in their life, and maybe started their careers in Melbourne. There are also personal friendships with these actors and arts administrators at the MTC which certainly plays some role in attracting them to us. Clearly there was a flow on effect in every marketing aspect as the company's profile glimmered. In terms of immediate flow on effect it certainly helps in attracting sponsors. Sponsors want to be connected with actors of that calibre.

“MTC became an artistic epicentre for artists and audiences alike. But it wasn't merely the opportunity to see and be seen. Our audiences knew they were watching the country's finest talents at work - and loving the challenges that work was throwing at them. It's the same reason we love watching football or Olympic swimming trials. We are watching champions in action.

Interestingly there is now an expectation that MTC will continue to have these high profile actors in their seasons. So one particular circumstance one year and a profound impact on what we were able to do and who we were as a Company.”

Ticket purchases have not dropped off significantly after the big names leave in fact it promotes a greater awareness and familiarity for many theatre goers to the MTC and often this can encourage subscription holders. MTC will continue to attract big names and this forms part of a vision to deliver high quality theatre to a Melbourne audience. So can we consider high profile actors to be a brand unto themselves, are they perceived as brands by theatre going audiences? The first thing that comes to Sioban in response to this question is a remake of that dark and edgy classic Elephant Man, with Geoffrey Rush in the lead role…

“Imagine”, says Sioban, “It's the famous moment, the one we have been waiting for and dreading, in the back alley, when the grotty pillowcase is unceremoniously ripped from his swollen head and he tries in vain to mask his prosthetic nose and whimpers with gut wrenching pathos: I'm not an Electrolux...I'm an actor!”

“I actually find the term ‘branding’ offensive, in an arts marketing world I guess that makes me unsavvy, but what does it mean?”

“Are we tapping into the question of reputation? That an artist by reputation can be relied upon to work to a certain standard or produce a certain kind of performance? That an audience may feel confident to invest in a theatre ticket to a particular a production if a certain actor is cast just as one would when investing in a fine wool cardigan from Marks and Spencer? Should I be thinking about our next season in terms of balancing out the guest Ferrari or Lexus with the all too plentiful Holden Family wagons that knock on my door daily. There is no doubting that actors who have achieved significant acclaim and popularity are a draw card for any production, whether it is theatre or any other medium.”

“While there are any number of artists the company aspire to have working on our stages, when these artists do accept an invitation to join our season it has inspired enormous confidence and affirmation for us both within the company and throughout our audience market. It adds to our reputation (branding if you must) as a company that MTC has the ability to attract the time and talents of these artists. There is no doubting that most actors are known for certain qualities or abilities in their work and will be cast for that very reason, often to their detriment or frustration. But when we start attributing to people the terminology we more appropriately reserve for product marketing I shudder. Particularly in the context of theatre where we are not bound by the same commercial pressures of bigger scale mediums such as film and TV. It is reductive and oppressing both to the artists concerned and the mindset of the producing company”, she says.

Theatre companies often rely on the allure of a renowned artist, and realise that when they choose to work with artists of a certain calibre there is an issue of respect. When working on the stage they are often stepping away from the intensity of broad public scrutiny, that you may get from the demands of a highly commercial arena, to a more intimate and stripped back context.

“These actors are c oming back to the theatre to get back to something essential in the work and the processes of discovering and building the work. The theatre rehearsal studio is a private and intimate space where any artist needs to feel free to explore, get it wrong, or make a fool of one self. As with all our artists, we rely on them to respond to a reasonable degree of media interest and to attend sponsor functions etc. The difference here is that there will be considerable focus on them that must be managed rather than massaged by our publicity and marketing departments.

They are wooed to fundraising events and asked to support us when and where possible by their attendance at various functions.

“Most high profile artists are only too aware of the commercial realities that drive any producing body and the reality that their presence will almost certainly increase public interest and attendance. In recognition of what the artist gives to the company both on stage and off I believe they must be repaid with respect. Respect to continue to see them as an individual and an artist. They need to trust that somewhere like the Melbourne Theatre Company can provide them with a safe and sensitive home base.

So what is like to work with big names in the theatre world?

“I find most ‘big name’ actors refreshingly uncomplicated”, says Sioban. “They are often completely au fait with the requirements of media and interviewing techniques in the whirl of publicity that proceeds a show and their profile needs little managing. They are consummate professionals and this is reflected not only in their status, but in the way they handle themselves on and off the stage”.

It is well known that actors can be quite eccentric or highly strung, many are highly talented but air an element of self-criticism. They are often intelligent and deeply sensitive. So how does a Casting Director make sure the relationship between the high profile artists and the theatre works?

“We have to be very sensitive to the needs of all artists”, says Sioban. “This starts right from the beginning, when you may be liaising with their agents, right through to the rehearsals and the ultimate delivery of the show.”

The relationship between the Director and the artist is crucial. This is an art-form that requires trust and sensitivity and support.

“I would suggest to other organisations working with ‘big names’ firstly – don’t be afraid of them. Secondly, from the very beginning, there must be frank and open discussion about what the expectations of the theatre company are, and what the expectations of the actor are. Are they the same? This must be achieved before the theatre process commences.”