If I could clone myself, one of the Lauras would spend an awful lot of time having coffee with emerging creatives.
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I used to think mentors were people who were way ahead of me. Highly experienced, established artists. People I aspired to be like.
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During the run of COOKED, one of my favourite things happened in the foyer after the show.
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I am really excited to be directing COOKED, a new contemporary play by Lana Page and Angel Duggan, at KXT on Broadway this September.
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I absolutely love board games and card games, so when I had kids, I thought – bingo (pun intended) – I’ve just grown myself a couple of little Games Night buddies.
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I get a bit over the fact that boys’ clothes are apparently required to contain a truck, a digger, a shark or a T-Rex.
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When I pictured myself having children, I didn’t realise I was picturing girls.
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I have always felt deeply passionate about supporting women in crisis. That moment when a woman finds the Herculean strength to leave an abusive partner.
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We live in a time where information is everywhere. Even when we might like to avoid it. Even when we might, actually, prefer to look away.
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For a long time, I kept my creative life and my philanthropy in separate boxes.
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Before I became a mum, I thought the biggest challenge would be finding enough time to stay creative.
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Becoming a mother has changed the way I understand progress.
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When I was young, I had a very clear picture of what my creative life would look like. I imagined strolling down Hickson Road and entering the stage door at STC for work.
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Every creative mother knows the feeling of being split in two: pulled towards the work that lights her up, and the child who needs her completely.
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Being a creative in Sydney takes more than talent. Here are a few lessons I’ve learned the hard way building a creative career in this wonderful, difficult city.
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Sydney is a city full of possibilities—there is so much to love about the creative scene here.
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When you are starting as an actor, writer, performer, or creative in Sydney, you might hear people talking about “the industry”. It’s sounds glamorous, mysterious— but it’s not some esoteric thing floating above us.
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The director of my play The Culture succinctly explained to me that people often spend time at either end of a spectrum: with one end being passive, and the other assertive, and forget the sweet spot is right in the middle – and that is assertive.
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There’s a kind of niceness that gets praised in creative spaces. It looks like professionalism. Being easy to work with. The person who doesn’t rock the boat.
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When I wrote my play and decided to tour it, I hadn’t quite considered that I would have to lead a team. Touring a play is one of those experiences that looks glamorous from the outside and feels like organised chaos on the inside.
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