Leading Ladies of the Ballarat Theatre

Eight local theatre-makers reflect on their careers in the theatre, and give their most pertinent advice for those wanting to make a life on the stage in our city.
Written By Megan Riedl.

Featuring interviews with:
Beth Lamont Producer & Technician
Mary-Rose McClaren Academic, Writer & Director
Katrina Hill Actor
Susan Pilbeam Producer & Director
Linda Davey Director
Alexandra Meerbach Actor, Director & Teacher
Paula Heenan Educator
Carol B. Cole Playwright



When did you first know that theatre was a passion?

Beth: When I was 19, I took up a theatresports course. I loved stand-up comedy but never wanted to do it myself but producing and being the tech was where I was meant to be.

Mary-Rose: My parents were both drama teachers and so I grew up going to South Street. As soon as I was old enough I subscribed to Melbourne Theatre Company.

Katrina: When I was little Riverdance came out and I wanted to be a tap dancer. It was the first time that something of that scale was on, and it was everywhere.

Susan: I realised early on that I wasn’t an actor. I first directed a show at university in my twenties and I realised it was actually something I had the skills for.

Linda: When I played Mother Rabbit in kindergarten. That was it! I just found it a magic world.

Alexandra: It was about grade 2. We performed at Her Majesty’s and it never felt like an overwhelming or terrifying experience. It always felt like home.

Paula: My dad was a musician in pit orchestra. So I’ve spent a lot of my life in theatre, but I was always too shy to get on stage. I didn’t do my first theatre show until my late teens.

Carol: There’s always been showmanship in the family, so I’m just one of them really.

What’s your career highlight so far?

Beth: Working as a Deputy Venue Manager at Sadler’s Wells in London.

Mary-Rose: Writing & Directing One Boy’s War for Ballarat National Theatre.

Katrina: Mr Bailey’s Minder for Ballarat National Theatre.

Susan: Studying in London and meeting cutting edge people like Augusto Boal.

Linda: A Tender Thing by Ben Power, with Full Circle Theatre. We were the first outside of the Royal Shakespeare Company to be granted the rights.

Alexandra: Directing Chatroom. I really love that art is a vehicle to start conversations in the community.

Paula: Sometimes just getting a really shy kid to sing a note in the lesson is the biggest thing for me.

Carol: Nothing Wrong With My Memory, which I did at Wendouree Centre for Performing Arts.

What difficulties have you faced in building a career in the arts as a women in the theatre, but also as a theatre-maker in a regional centre?

Beth: Trying to communicate my vision. People think small. But it goes the other way when I try to communicate too much and they get overwhelmed.

Mary-Rose: My biggest one is my own counter-narrative in my head, which questions my own ability. I’m sure that’s not unfamiliar and I actually think that’s quite a distinctly female thing.

Katrina: I never get cast as the romantic lead. I’m pigeon holed a little bit, but I get these really awesome roles – the stupid funny sidekick.

Susan: It’s much more difficult to get permanent employment. Doing piece work is interesting but its not sustainable.

Linda: The biggest issue is how one fund one’s life. I’ve had parallel careers and going in different directions at different times. But when life throws curveballs at you, it was quite difficult to sustain my theatre making.

Alexandra: I dont think it’s about being female, it’s about being new. There’s a bit of a clique, there’s not much mentoring going on. I don’t have that go-to production team.

Paula: The most difficult thing about what I do is the hours. I will probably never reconcile that with myself; the guilt that mums have. Raising five kids on my own, it’s a big sacrifice this industry takes.

What’s great about making theatre in Ballarat region?

Beth: Growing up here, and now having family here, I’ve always felt part of Ballarat so I feel like I want to contribute to it. I feel like I owe the place, in that its given me such a good life.

Mary-Rose: There are really good stories here. Ballarat has a lot of resonant things in the background and there’s a lot more to be told yet.

Katrina: People here are a little bit resistant to change and you have to be a bit pushy to get things happen. But you can be a big fish in a small pond here; you can be a mover and shaker.

Susan: Audience building is different here because you have to do true community engagement and really get to know them – and they you. I love seeing the joy of theatre coming to new audience members.

Linda: The proximity to Melbourne is really important for Ballarat. There’s a lot of potential here that hasn’t been captured. I think the best is yet to come.

Alexandra: Pretty much anyone who independently produces anything is filling a gap. There’s not as much competition, but in saying that there’s also not that much of a following for non-musical theatre.

Paula: I couldn’t see anywhere else that is so culturally alive in the arts industry. I think Ballarat is incredible. Its second to none for performing arts.

Carol: Creswick Theatre Company have a very staunch core group of audience and a good committee. We have a nice intimate space so we’re very lucky.

What’s your best advice for emerging theatre-makers in our city?

Beth: If you show what you can do, people will find you. Getting out of town to the big cities and seeing how people think in other places and then bringing that home. But I’d love for them to not have to move away in the first place.

Mary-Rose: Most people doing grass roots type of theatre are really generous – so ring them up, email, make a link and have a chat. You also have to know that if they say your idea is shit that doesn’t mean you shouldn’t do it.

Katrina: Don’t let the old theatre community tell you what theatre is or should be. You get the same results if you do the same thing over and over. I don’t mind making mistakes because that’s how you learn.

Susan: Be realistic. Nothing happens quickly and the dull stuff is really important – how do you get money, people and places organised.

Linda: It’s much more about what’s happening at the moment that enthuses you. Your art needs to be responding to you and your life and what you want to interact with – socially and in other ways.

Alexandra: One of the best ways to get in the door is to help people. You put your hand up. You do something that puts you within a director’s circle. Being willing to learn.

Paula: Have an idea and let it fester. Go with it. There’s been a lot of stupid ideas that I’ve had that’ve come off and been really good. The sacrifices far outweigh the return.

Carol: Just do it. It doesn’t matter because you can always improve on it or alter it. Just sit down and start.

Megan Riedl is a Ballarat-based arts management professional with a creative practice in poetry and theatre-making. Her playwriting credits include short plays for Bendigo Theatre Company’s Ten x 10, the touring comedy Travels with My Black Dog, and historical drama Hollow. As a Director, she has worked with Bendigo Theatre Company, Creswick Theatre Company and Tripwire Theatre Inc, and her poetry was performed atop of the Ballaarat Mechanics Institute as part of the Minerva Speaks project.After completing her Graduate Certificate in Arts Management at Deakin University, and undertaking a NIDA Directing for the Stage short course, Megan took part in the 2017 Leaders Forum program with Leadership Ballarat & Western Region. www.meganjriedl.wordpress.com