Company / Producer Name Performing Lines WA
Contact Person Jeremy Smith
Contact Email Jeremy@performinglineswa.org.au
Company Website: www.performinglines.org.au/projects/minneapolis/
Ever said something you wish you could take back?
Boy is in hiding. He’s become the wrong kind of famous after a careless comment sparked a shitstorm in the twitterverse. Now the internet wants his blood. Stuck at home and cut-off from the world, Boy has almost lost all hope when he gets an unlikely knock at the door. But when your past deeds are only a google away, can you ever be truly forgotten? This subversive and comic boy-meets-girl thriller explores the limits of privacy, forgiveness and redemption. Directed by Frances Barbe and Will O’Mahony, the show features acclaimed performer and broadcaster Andrea Gibbs, leading drummer Liam Hickey and exciting newcomer Tobias Muhafidin. Minneapolis takes an unflinching look at the faultlines in our contemporary culture: callout culture, broken masculinity, #MeToo, the notion of consent & the normalisation of hate speech. Produced by Performing Lines WA, it explores whether privacy is a right or a privilege, and whether justice or redemption can ever be achieved in our new online courts.
A live drummer on stage. It’s in two parts, including a 20min interval. Video projection is used during the show. The staging and format is tourable to medium scale venues.
“A smart, finely-crafted, well-performed play” The Post Newspaper
“A play that sparkles and illuminates in equal measure – MARVELLOUS Minneapolis holds men accountable.” Seesaw Magazine “MINNEAPOLIS is an incredibly clever and thought-provoking illustration of masculinity and cancel culture, never preaching a point of view but instead inviting the audience to consider the many points point forward to reach their own conclusion.” Broadway World
“Minneapolis is a must-see – it offers an entertaining and poignant take on fragile masculinity.” 5 STARS Isolated Nation
“Will has a knack for creating worlds onstage that speak directly to audiences across a wide range of ages and demographics due to the clarity and accessibility of his writing on what are often difficult and sometimes taboo topics. ” Fiona de Garis, Executive Director BREC
“Absolutely incredible work! It discussed current ideas that NEED to be discussed in a thoughtful manner. Highly educational whilst still being entertaining.”?Megan Scheffers?
“It was a joy to be so challenged and mentally stimulated while being thoroughly entertained.? The writing was so contemporary and relevant but never preachy. My teenage sons were captivated from the first few lines .they loved it.? They?said?” we wish we studied plays like this at school”!”?Francis Italiano?
Duration of performance 120min
Maximum performances per week 5-7 shows
Remount: $14,000 t
Weekly Fee: $15,000
Date the performance is available from Mid 2022
No. people in Touring Party 5
First Possible Performance Evening of 2nd Day.
Minimum Break Between Shows 4hrs. Maximum 2 Shows per day
Theatre formats: Black Box
Minimum stage dimensions 10m W x 8.5m D x 4m H
Staging and Set Description: The Minneapolis set is a Studio Apartment with 2x dark grey walls (125 Degrees) created with 3.5m High flats with an upstage centre exit through an open doorway to a hallway. Each wall contains a raised open ‘window’. SL with a drum kit, SR with a bicycle, each masked on 3 sides with black drapes. The floor is carpeted and extends downstage in a diamond from the upstage corner of the walls. The Apartment is sparsely furnished, with milkcrate seats, guitar amplifier, and a 2 piece drum kit.
Lighting requirements: Full Pre-rig required prior to arrival.
Audio requirements Minimum 3 way PA System capable of undistorted coverage of entire audience at 110dB Mics for 5 Piece drum kit. Theatres over 300 seats may require 4x beltpack radio mics for cast.
Other technical or performance notes:
Bump in 3x MX x 5hrs, 2x LX for 5 hrs focus and 2hr plot. Bump in time: 10 hrs Total. 5hrs Set Bump in, 4hrs LX Focus, 3 hrs Plotting.
Bump out time: 4hrs Set. Bump Out
What marketing collateral is available?
The show comes with a comprehensive marketing pack, a full suite of promo images and production shots, promo videos, and promotional materials including an editable show program, poster and flyer.
What community engagement is possible with this work?
This work has huge potential for pre or post-show conversations series around the topics of callout culture, online privacy, toxic masculinity, gender disparity and the notion of consent. The discussions include both male and female perspectives and are an opportunity to invite local speakers from your community to facilitate. We have seen a number of recent works anticipating & responding to the #Metoo movement and, without exception, these have rightly been led by women. But Minneapolis issues a challenge to anyone who views gendered violence as a “women’s issue”. It demands our men take initiative, responsibility and ownership for the crisis. It takes an unflinching look at how contemporary Australian masculinity is broken, how it affects us all, and offers ideas for change. By arranging these conversations series to take place either pre or post-show, it will encourage your audience to stay in your venue and make use of your foyer area and bar facilities
We are interested in working with presenters who want to present innovative works and are committed to diversifying their audiences. This show would suit a Black box theatre space, accessible to all ages, particularly those interested in music and theatre. The show is recommended for 15yrs+ and provides great content for high-school students. This show is very timely, fast-paced and perfect to attract younger audiences and millennials as it explores big ideas around online shaming, masculinity, callout culture and privacy. The show is also really funny, in the way it balances the comic and the dramatic in equal measure.