Evolution of an Arts Centre
Community arts spaces are living, breathing organisms whose constant change parallels the evolution of a civilised society. Over 25 years, incremental changes have influenced how people have inhabited our performing arts centres*, with additions and improvements bringing increasing accessibility, comfort and safety to these gathering places.
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The Sir Robert Helpmann Theatre in Mount Gambier 2016. Photo Chris Herzfeld. -
Chaffey Theatre, Renmark 2016. Photo: Chris Herzfeld -
Middleback Arts Centre (formerly Middleback Theatre), Whyalla. -
Northern Festival Centre, Port Pirie -
In the Pines, Gener8 Theatre. Photo: Stu Nankivell -
Sir Robert Helpmann seated outside the Sir Robert Helpmann Theatre. -
An example of the creativity on the outside reflecting the diversity of creativity within —during a necessary renovation of the Sir Robert Helpmann Theatre, a strategic arrangement of the zinc shingles on the flytower has permanently honoured the famous dancer in pixelated grandeur at no additional cost. Image: The Border Watch -
contemporary indigenous installation at Chaffey Theatre Renmark. Artist Glenn Romanis with members of Riverland Indigenous Care Inc 2005 -
A full story on the Limestone Coast Symphony Orchestra in Regional Arts Australia's publication 'Belonging: Great Art Stories from Regional Australia'
Presentation of mainstage theatre productions was, from the beginning, a flagship activity, and staff have always been connected with the communities they serve, especially with those groups who utilise the centres for their independent undertakings, but until recently, our identical approach to programming across all theatres meant little connection between one activity and another, and a short term interaction with artists.
Not anymore. A confluence of events in our activities has incited the biggest organisational transformation in 25 years. The tailor-made, participatory explorations of the Regional Centres of Culture, the Performance Development Program’s community-inclusive residency approach to making new work, digital cinema refits and an evolution in thinking at a national touring level, have together thrown the one-size-fits-all approach out the window. Each theatre is now programmed uniquely. Fleeting one-night stands are a relic of the past. The extent to which the dividing lines between audience and artists are blurred is now the principle criterion for inclusion. There’s a greater focus on artists making work with, and for, the community and more people are active participants in the life of the arts centre. We are now accountable for our investment in terms of the depth and outcomes of people’s engagement rather than simply counting bottoms on seats as a measure of success.
Take the Sir Robert Helpmann Theatre for example – when The Spinners gives its world premiere in July, audiences will have already had a long connection with the work and its artists through the creative development residency, children will have had a week to make their mark on the final outcome of Especially on Birthdays and 25 local performers will take the stage in Company Post’s Oedipus Schmoedipus. With the Limestone Coast Symphony Orchestra, Reels @ Wehl, and Gener8 Theatre also in residence, the Helpmann is a dynamic community hub.
