What does it take to be a successful female leader in the arts? Join us as we explore this captivating topic with our esteemed panel of guests, including Susannah George, Louise Bezzina, Marisa Vecchio, and Kate Miller Heidke. Together, they dive into themes of collaboration, courage, and confidence, uncovering valuable insights on how these incredible women have navigated their respective fields.
Imagine having the courage to put your ideas out into the world, even in the face of potential failure. Our guests share their experiences on relying on mentors, taking risks, and finding success amidst adversity. Gain insight into the creative process and learn how the amazing Street Serenades program brought the Brisbane Festival to the people, even during a pandemic.
How do you strike the perfect balance between artistic integrity and commercial success? Our panel discusses the complexities of this delicate dance, touching on the importance of philanthropy in the arts, the power of giving, and the relationships it can foster. Don't miss this inspiring episode packed with valuable lessons for anyone looking to make their mark in the world of art and beyond.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome to Bubbles and Benevolence, the podcast
where we pop the bubbles tosuccess and dive deep into the
benevolent hearts of those whohave achieved it.
In this podcast, we'll sit downwith successful business
leaders, philanthropists,nonprofit workers and more to
discuss their journeys, thelessons they've learned along
the way and how they're usingtheir success to make a positive
(00:20):
impact on the world.
So grab a glass of bubbles andjoin us as we explore the
intersection of business andbenevolence and discover what it
truly means to be successful.
Get ready for a special episodelike no other.
(00:40):
Recently, hanworth House playedhost to an incredible
collaboration between WomenChiefs of Enterprises
International, an organizationwith a proud history of bringing
entrepreneurial women together,and the Brisbane Festival,
celebrating leadership in thearts.
Today, we have the privilege ofsharing that extraordinary
panel discussion with you.
(01:00):
Leading the conversation is thetalented Susannah George, with
Louise Bazina, renowned for hersignificant enhancements to the
Queensland arts industry, andfirst female artistic director
of Brisbane Festival.
Marisa Vecchio, who you shouldknow very well by now and if you
don't, i recommend you go backand listen to our other episodes
(01:22):
and Kate Miller-Hideke,award-winning singer and
songwriter, eurovisioncontestant and co-creator of the
highly anticipated musicalcomedy Banana Land.
But before we dive into thiscaptivating discussion, let me
introduce you to our host of theday, the multi-talented
Danielle Hughes-Brown, highlyaccomplished media professional
(01:45):
publisher, editor and founder ofQueensland magazines, licensed
real estate agent and Queenslandpresident of Women Chiefs of
Enterprises International.
Buckle up for an episode fullof inspiration and insights you
won't want to miss.
Speaker 2 (02:01):
This afternoon we are in for a treat.
We are delighted to welcomeSusannah George, who is founder
and CEO of Urban List.
Susannah will lead thediscussion on female leadership
in the arts and explore themesaround collaboration, courage
and confidence.
Susannah George, impressive, isan award-winning entrepreneur
(02:21):
and founder of Urban List, anindie media house launched from
her bedroom in 2011 that hasgrown to become the leading
online portal for cultureseekers in Asia Pacific.
In 2021, Urban List was awardedAustralia Media Brand of the
Year, celebrating its influenceon the media landscape and
(02:42):
positive cultural impact onpeople and the planet.
Susannah was named QUT inauguralOutstanding Entrepreneurial
Alumnus in 2021, was recognizedas a national finalist in the EU
Entrepreneur of the Year Awardsin 2019 and listed among the
most influential voices in themedia as B&T's media woman of
(03:05):
the year in 2015.
Alongside her founder journey,Susannah plays a leadership role
in the George family group ofbusinesses, including the role
of CEO of Plate Impressions, aworld-leading plate marketing
company.
She is passionate aboutcontributing to the wider
community through her roles asboard director at Queensland
(03:26):
Ballet, Entrepreneurship Mentorat QUT, Ambassador for the HUNGA
Project's Unleashed WomenInitiative and member of the
Young President's OrganizationYPO and Entrepreneurs'
Organization, EO.
Over to Susannah.
Now to introduce our wonderfulpanelists.
Thank you and enjoy.
Speaker 3 (03:46):
Thank you, danielle.
So grateful to be here.
It is an absolutely magicalafternoon in Meandjin, and my
favourite thing to talk about iscreative connections, and to do
that with such inspiring,creative leaders, i think, is a
(04:08):
real gift, so thank you.
As an icebreaker, i might askeach of you to introduce
yourselves today, lou, may westart with you?
Speaker 5 (04:18):
Sure, thank you.
Hi, everybody welcome.
What a beautiful looking groupof people that are sitting in
front of us this afternoon.
Thank you, i'm Louise Bousina.
I'm the artistic director ofthe Brisbane Festival, which is
a great joy and a real privilegeto have this job, which I love
very much.
(04:38):
I'm a mother of two.
I have a son and a daughter.
I have spent my entire careerworking in the arts and I was
born in Mackay in NorthQueensland and wanted to be a
dancer, but that didn't quitework out.
so here I am choreographing anentire festival for the city.
(05:01):
Yeah, i'll leave it at that,but thank you very much.
Speaker 4 (05:09):
I think I might know most of you, marie Cervequio,
and a very proud owner ofHanworth House, which was bought
in honour of my mother whopassed away 10 years ago, and
it's become quite the gatheringspot, i think, for many
philanthropic and other events.
I'm sorry about the main road,nina Shrina, you might be able
to do something about that inthe future for me, but we will
(05:31):
speak louder and more buoyantlythan the traffic can.
Like Louise as a failed balletdancer, i'm a failed musician,
and so Kate.
Speaker 5 (05:39):
So glad you made up for all of us and that.
Speaker 4 (05:41):
I was an arts graduate originally who went
into world of business and thenfind myself being creative, i
guess in many respects with thebeautiful Hanworth House.
So thank you for joining us onour beautiful grounds this
afternoon.
Speaker 6 (05:57):
Hi everyone.
My name is Kate Miller-Hyde-Gie.
I'm a singer-songwriter.
I was born in Gladstone, so,yeah, central Queensland and I
always loved writing songs sinceI heard the album Blue by Joni
Mitchell when I was about 14.
I got my first guitar.
I ended up studying classicalsinging at the conservatorium in
(06:22):
Brisbane, but never reallyloved other people telling me
what to do, which is what youhave to suck up.
When you're a classical singer.
You're sort of at the bottom ofthe pecking order and I just
wanted to do my own thing and Iloved writing my own songs and
I've been lucky enough to have acareer doing that.
Speaker 3 (06:48):
So, before we begin today's conversation, i'd like
to invite you all to close youreyes and block out the traffic
noise and still your mind andcast yourself back to your
childhood And find a momentwhere you felt the joy of
(07:12):
creating.
Might have been drawing orbuilding with clay, dancing in
your room like no one waswatching.
Feel that moment and feel thecreative freedom Totally free
(07:35):
from judgement, just pure joy.
And now, still with your eyesclosed, bring your mind to a
time when you did feel judgedfor your creativity.
You may have been judged, ormaybe you judged yourself.
(07:57):
Did that judgement sway youfrom doing more of embracing the
joy and the passion thatcreativity can bring?
Thank you.
So, this space of having thecourage to pursue creativity,
(08:25):
that's where I'd like to openthe conversation.
And, lou and Kate and Marisa,in all of your ways you have
used artistry to create trueimpact.
I love the Joni Mitchellreference.
This was the first moment thatyou knew that you wanted to
pursue a career in the arts.
Speaker 6 (08:46):
It was the first moment I thought I could be a
songwriter.
It sort of exploded my horizonsin terms of what was possible
with poetry and with chords andwith a voice.
I always loved music, of course, but it was an earth shattering
moment for me.
That record.
Speaker 3 (09:08):
Very special, lou.
did you have an actual momentwhen you knew that you wanted to
pursue the arts?
Speaker 5 (09:16):
I'm going to tell the honest truth.
So I was born in 1981, whichmeans that I grew up with young
talent time, and so I wouldwatch that on Saturday night
with my parents, and that wasdefinitely a moment where I
thought that is what I'm goingto do, i'm going to create some
kind of production or I'm goingto be in one myself, and so it
(09:40):
was kind of in the dance studioreally for me that I felt where
I really belonged.
I started dancing when I wasfour And I think my mum and dad
particularly my mum, becausethose kind of things weren't
really available or my parents,my dads are migrant to Australia
and my mum grew up on a canefarming family, so anything that
(10:03):
they could give us, that mysister and I, that was something
that they didn't get theopportunity to do, but it was
absolutely where I felt like Ibelonged in that dance studio,
and so I would then just danceall the time.
I was in a studio everyafternoon after school, putting
on productions at home, chargingmy parents for the food in the
(10:25):
pantry as part of the intervalsnacks and food and beverage
service, choreographing mysister, making her wear all
sorts of crazy things, and thenthat just took me into high
school where I was directing andcreating, whether it was the
Rockersteadford or the RockpopMime which we had in Mackay.
(10:48):
But yeah, i guess I justcouldn't really see myself
fitting in anywhere else otherthan being in some kind of
creative pursuit.
Speaker 3 (11:00):
Did you grow up in an artistic household?
Speaker 4 (11:02):
as well, marisa?
No, not at all, and I think Iwas more studious than artistic.
It was the right thing to do topractice the piano, right.
So I was always very good atdoing what I had to do, but I
loved it.
But I kind of was really takenby your comment about the kind
of when the breaks are put onyou doing something like that,
(11:24):
because I didn't really think Iwas very good if I didn't win,
and so I wasn't very good atwinning the Asteadfives and I
wasn't very good at winningthings And despite that I did
quite well at school.
So everyone assumed I wouldprobably go on to university and
do a law and medicine, but Idecided to do music, like, for
whatever reason It wasn't that Iwas very good at music, i just
(11:45):
thought I'll just show them I'mgoing to be a musician.
In fact I came around tothinking I wasn't actually a
very good musician.
I wasn't good enough to perform.
I went to the Conservatoriumbecause I loved Max Olding, and
I tend to do things because Ilike the people I'm going to be
doing them with, and so I lovedMax Olding.
So I was deciding I was goingto the Conservatory to study
with him, which was the onlyhighlight of my time at the
(12:06):
Conservatorium.
Then I realised I really wasn'ta very good performer and I
really wasn't good enough orpatient enough to teach.
So I kind of became a musicgraduate without a job.
I loved it, but I really wasn'ta very successful career.
Thank goodness I went into theworld of business after that,
which is actually quite musical,so I think I found my niche,
that I'm a frustrated musician,i think.
Speaker 5 (12:27):
It must be good to have gotten into the con.
Speaker 4 (12:30):
I'm not sure, When I put my mind to doing something I
usually get over the hurdle.
Then I realised why did I dothis?
It was a wonderful time, And Idid then go on to do arts and
music, which was a great studycareer choice.
Speaker 6 (12:44):
How is business?
quite musical.
Speaker 4 (12:48):
There's a lot of maths and music.
I was actually astounded by howmany medical students dropped
out of year three and four inmedicine to join our year of
music.
In terms of the graduatetraining program, they were
actually much better than I was.
They were very musical, butthere's a lot of maths and music
.
It's very elemental and it'svery kind of systematic in terms
(13:12):
of the creative process.
Comes from you actuallydemonstrating and selling the
music.
But I reckon composers were allprobably pretty good
mathematicians.
So I do have a feeling thatthere is a lot of symmetry
between two very much thought ofas antagonistic views, but I
think maths and music are prettymuch more related than
unrelated.
Speaker 3 (13:33):
I'm not sure if I quite understand the maths and
music correlation.
However, I do think that theonly way that businesses are
thriving is by being creative.
Correct And really embracing asense of artistry and deep trust
in the craft.
I think that is why businessesare thriving or dying today.
(13:57):
Kate, did you have a mentor oran inspiration that saw you get
that shot in the arm and havethe courage to really pursue the
?
Speaker 6 (14:08):
dream.
I wish I had had more.
Actually, that's one piece ofadvice I'd give to my younger
self.
I don't think you knoweverything.
You should ask for advice moreoften.
But I did have a couple of thoselife-changing teachers who I
(14:31):
just absolutely worshipped andto get positive feedback from
them.
I think that they really didchange the course of my life.
I don't think I'd be doing thisif not for my music teacher in
grade nine who heard me sing andsaid, hey, you've actually got
a nice voice.
Have you ever thought abouthaving singing lessons?
And I was like, yes, that's mydream.
She ended up giving them to meand she ended up being an
(14:54):
absolutely brilliant teacher andintroduced me to all sorts of
music.
You know, classical music andancient folk songs and music
theater, songs that I'd never,ever heard before.
And I felt myself in thoselessons, going into that flow
state you know where just timedisappears and I looked forward
(15:14):
to that.
You know they were thehighlights of my life for years
and years and years.
So definitely, yeah, antoniaBreen was a big one for me.
Speaker 3 (15:25):
Do you have a similar figure, Marisa, somebody who
really believed in you and gaveyou the confidence to do?
Speaker 4 (15:31):
I have a couple of mentors, mostly men actually,
which is always I always thinkthat's really and often from
fields very different from thosethat I was in, which I think is
something.
Also a bit of advice to myformer self don't look for
people in the field that youthink you want to be in.
Actually, it's the people thatare outside that can look better
, kind of more objectively, in.
But I think my mother was anincredible role model in terms
(15:54):
of you know, she probablythought me doing music was an
incredibly ridiculous choice,but she never said that.
She always just supported mychoices.
And when I actually got to theend of it and said, you know,
perhaps I probably could havedone something else, she said,
well, i thought that, but Ididn't want to kind of put my
view on what you were verypassionate about doing at the
time.
So I think that's very.
(16:14):
I'm trying to do that with mydaughter, who's 29,.
You know, not really give theadvice, because I think that can
be.
I think getting the advice onyour own is a lot more
significant, isn't it?
I think we've all had thoseexperiences.
Speaker 3 (16:30):
Following my children to fail at things is my life
lesson.
My seven year old has supremelylow frustration, tolerance, and
I'm pretty sure that he learnedthat from me.
Let's talk about failure.
I'm really curious about whereyou find that sense of strength
(16:57):
from within to give it a try,even though failure is a very
real possibility, and you findthe courage to do it anyway.
Can you think of any of thosemoments?
Speaker 5 (17:13):
Yeah, sure, i can think of many.
I think that every single dayof my working life, i'm on the
cusp of success and failure,because that's the greatest joy
and the greatest.
The thing that keeps me goingis not the idea of failure, let
me tell you, but beingsuccessful and not for me
(17:35):
personally, but a role likeBrisbane Festival is an
unbelievable stage that youcould epically fail or epically
succeed, because it's actuallyabout the community of this city
.
It's about the people and so,therefore, finding the right
things, collaborating with theright people, having the right
(17:55):
productions, connecting with thediverse group of community
members Sometimes it'll work,sometimes it won't work, but
that's all tools that you putback in your toolkit to improve.
Okay, i tried that.
Yep, next year I'm going to doa little bit of a tweak here and
then I'll fix that bit, neverdoing that again, but it did
(18:16):
these things.
I needed to do that for thesereasons, that is.
I mean, it's incrediblyexciting, but creating new work,
for example, you have theartists, will come with an
amazing idea and there's onething to believe in it, but then
it's how you pull that togetherthe people that you put around
(18:38):
that production to support thoseartists, and then having the
right partnerships in place.
Sometimes they don't work, butthat's part of the journey.
We know that and that keeps ushungry and wanting more, but
when it works, there is nothingbetter than that feeling.
When it actually works, i feellike those that are in the biz.
(19:03):
John Cotsys is here.
He'll know what that feels likewhen it really does work and
you land at you.
It just makes it all worthwhile.
Yeah, you have to try and keeptrying and trying and trying,
and I don't think that'll everstop.
But when the moment comes, whenyou don't have that energy to
keep trying and testing andexperimenting, that's probably
(19:26):
the time to try something else.
Speaker 3 (19:29):
I have two follow-ups for you on that One is can you
tell us specifically that Icould see your eyes absolutely
shine when you were talkingabout that thing?
that just works.
Speaker 5 (19:40):
I can.
I mean there's so many.
I'll talk about one Brisbanefestival, which is Street
Serenades, and our Lady Mares ishere today, nina Shrinna, who
is the most extraordinary womanand leader in this great city,
and I look at you because theStreet Serenades program is the
gift to the city.
(20:01):
That idea was certainly notrevolutionary, but I do remember
it.
At the bottom of the lift, theday that we were all, i was with
my wonderful colleague CharlieCush, the CEO of Brisbane
Festival, and there was so manythings.
Everyone was talking aboutCOVID and shutting down and this
and that, and I'm like, oh, i'mnever doing that, people, just
(20:23):
take the festival to the people.
Rome was doing concerts.
The mayor of Rome called all ofthe community in Rome to come
out because, of course, italywas one of the countries that
was hit so badly in thebeginning, and so she called all
the residents of Rome to comeout onto their balconies and
sing Community participation.
(20:45):
Taking music out into thesuburbs is not a new idea, but
going to 190 suburbs in a yearwhen everything was closing down
and in a year where we reallyhad no idea what our future was
going to look like, i could seeit and I could do everything I
could to convince my board andmy wonderful chair, anna
(21:07):
Reynolds, who has enormous faithin me.
They all were behind me.
But what if we made the wholecity sick?
What if it went really wrong?
We didn't do that, of course.
What we did was actually meet80,000 new people that had never
had a connection to theBrisbane Festival.
What we did was employ over athousand artists in a year where
(21:28):
everything was completely shut,and now it's a legacy part of
the festival, and so that'sthose moments where you can see
it.
And, yes, there's lots oflogistics in the entire team of
Brisbane Festival working reallyhard to make it come to life.
Kate, you did a street serenadein 21 at UQ.
Speaker 6 (21:48):
I did a few of them You did that year.
Music is, ultimately, it isabout community, it's about
communicating with people andthat was so powerful.
But also Brisbane Festival, ihave to say, was such a beacon
of hope to every single artistin the entire country at that
point because the way that Louwas just going out there
(22:08):
fearlessly and still trying newthings and still persevering The
show will go on, and she wasthe only festival director in
the country who was doing that,who wasn't completely cowed by
COVID, who was finding a waythrough it, and it was just.
I can't tell you how inspiringand hopeful that was for all of
(22:29):
the artists.
Speaker 3 (22:34):
That was when I fell for you, lou Fell for you and
your genius, you, and yourbeautiful family with your mum,
Cass, and your two childrencoming to all the concerts.
Speaker 5 (22:45):
Drive around to all of them.
It was so wonderful.
Speaker 3 (22:49):
I'm sure we can all empathise with this, being a
mother in that pandemicexperience and really mourning
what my children may miss,particularly as it related to
the arts.
It was, as you say, a beacon ofhope And it really, i think,
for me was such a formativeexperience And they had such a
beautiful time being part ofthis collective creative
(23:11):
community and also being able tostand on top of the kangaroo
point cliffs and experience thiscross-dimensional art form with
the laser light show.
And well, again back to yourchoreography, marie-sah.
Culture matters to you, too,very deeply.
I see through your work thatyou really believe that if you
(23:36):
can positively impact culture,you'll positively impact the
future.
I think that you are ourshining light when it comes to
philanthropy in this city AndI'd love to know a little bit
about what moves youparticularly toward the arts at
a time when there are a lot ofspaces and causes that need
(23:58):
support.
Speaker 4 (23:59):
Well, i've always been a firm believer that the
only function of any business,whatever it is, where it's a
festival or performance arts or,you know, bhp is to make
communities better.
That's fundamental.
I mean, unless you can, as aCEO or an owner of a business or
someone who works in thebusiness, say that I go to work
(24:20):
every day because the functionof my role is to engender a
better community, then don't dowhat you're doing because really
you're in the wrong space.
And so I think the arts is sodeep in terms of giving a
different perspective on so much.
You know you can have so muchin life, financially,
(24:43):
economically, but unless you canactually walk with creating a
deeper, meaningful relationshipwith that which actually makes
our soul sing, there's no pointto it is there, and I think you
know this house is kind of anartistic endeavour in many
respects.
I think my definition ofsuccess is failing to fail.
And if you really look at whathappened to Hanworth, when it
(25:05):
was, you know, two weeks fromopening and an arsonist set fire
to it and destroyed 85% of it,not just the house which was,
you know, battered and bruised,but I had an absolute mortgage
over this house And people oftensaid to me you know how did you
pick yourself up and keep going?
(25:25):
Well, the reality is I wasn'tactually very much of a heroine.
I had no choice.
I mean, was the CommonwealthBank going to come in and say,
oh Marisa, you know thatmultimillion dollar loan you
have with us, so let's wipe thatout for a while, let's just get
on with making sure you'regoing to be fine and you're
going to get some cash flowcoming in.
That's never going to happen,is it?
So the reality is you do whatyou have to do because there is
(25:48):
a bigger goal.
My bigger goal was this was mylegacy project in memory of my
mother.
You know my mum didn't evermeet Hanworth, but she always
backed my real estate decisionsso wholeheartedly And I knew she
would have loved this house.
It was owned by the AnglicanChurch.
This house has sold.
I think you feel it today.
Everyone feels it, we do.
(26:09):
So many wakes here these daysbecause they feel it as well.
Such a great business modelWakes so good, short, sharp,
sweet.
They get in, get out, theydon't get drunk like a home.
But the reality is it has anenormous heart.
This house has been a hospicefor women for 150 years.
It will continue to give outheart to the community.
So for me, coming to work eachday is enough of a reason to get
(26:31):
up.
I always jest, i said.
Somebody said to me recentlythere's a red light.
Actually I see Fernando.
I wonder if.
Al, where are you, fernando?
I just saw you And now you'vedisappeared.
There he is.
Fernando Lived here for manyyears and lived in the Preston
wing at the back, and if you goaround the side near the
pavilion, you'll see a red light.
And the builders say what's thatfor?
I said, if we fail to become areally successful accommodation
(26:52):
precinct, we're going to be adrive-thru brothel.
So just the red light's there,just in case.
And we had that as a bit of ajest.
But we also said sometimes youhave to be flexible, don't you?
And I figured thank goodnesswe're not.
So it's all fine, you're hereon very auspicious term, it's
all fine, but the reality is youhave to be prepared for those
unexpected consequences, right?
(27:15):
And I think that we reallybecame a better product because
the community came in after thefire, something I never thought
would happen.
I think if it had an electricalfault it wouldn't have been as
big a story.
Now I look back, i think thearson attack was actually a good
way for the fire to happen,because everyone came in You
know, have our furniture, can wehelp you clean up?
Here's some you know goods andservices for the firemen who
(27:38):
were fighting the fire, and thecommunity was so good to me.
So I think it's really easy forme to say my life's dedicated
to giving back to that communityin return to say thank you, i
think you do the same thing.
I think you do the same thingas well.
Yeah, beautiful.
Speaker 3 (27:54):
I don't think I've ever heard a sense of corporate
purpose express with such heart.
Thank you, thank you.
Speaking of businesses withheart, can we talk about
Brisbane Festival?
I do not know how this festivalgets up.
How does it get funded?
Speaker 5 (28:14):
Anna's some Oh goodness, we're in that final
stretch.
No, look, we are co-owned byBrisbane City Council and the
state government.
Through Arts Queensland.
They're the two shareholders ofthe Brisbane Festival, and they
do provide incredible financialsupport.
(28:34):
So without either of those, wewouldn't even be able to open
the doors.
On top of that, we generateincome through box office,
corporate sponsorship andphilanthropic support, and every
year the ideas get bigger,bolder.
We want to do more things As thecost of living increases, a
(28:58):
commitment to having a freefestival program as rich and
dynamic as we would like tocontinue to be able to deliver,
in addition to a wonderful riverfire by Australian Retirement
Trust.
It's important that we have alot of free programming, but
that is something that ourparticularly our donors enable
(29:20):
us to continue to do.
But look, it's an enormous feat.
Every year, we are workingreally hard to try and find
different ways to innovate, tocome up with different business
models, to look at differentrelationships and partnerships.
We work with every artsorganisation, mostly in the city
(29:42):
, and it's because of thatcollaborative approach and
people who believe in thefestival, like everybody here,
and the broader community thatenable us to put on the great
gift that we can every year, andso that's such an important
(30:02):
thing And people like Marisa.
We've had so many wonderfulevents at this beautiful house
And it does have that great soulAnd it just creates this
wonderful feeling that it's soquintessentially Brisbane
sitting here.
But, yeah, it's an enormousthing that Charlie and I do with
(30:22):
our board and our fabulous team.
Fabian Cook, who most of youknow, and her gorgeous team are
always constantly doing whateverthey can to help realise the
vision of the festival.
So, yeah, we just keep onrolling, but it's a business of
risk.
Some shows will absolutely be asmash hit at the box office And
(30:43):
that's excellent, and sometimesthey're not.
And that's how we have to bereally robust in our thinking
and our governance structure inorder to ride whatever storm may
come.
No storms, of course, thisSeptember.
Speaker 3 (31:00):
Smooth sailing.
Speaker 1 (31:02):
And, on that note, here's how you can get involved.
Last year, thanks to the helpof donors, brisbane Festival
presented one of the biggest andboldest programs this city has
ever seen.
There are some incredible plansin store for this year, and the
festival needs your help tomake it happen.
Every donation, great and small, all year round, makes a
difference and it's taxdeductible.
(31:24):
Head to brisbanefestivalcomauto donate today under the
support heading.
Let's help to make this year'sevent even more incredible.
Brisbane Festival are alsodelighted to offer supporters of
this podcast access to theearly release productions before
the full program is released onJuly 5.
Head to the show notes for moreinformation about the Giving
(31:46):
Program, as well as the pre-saleticket link.
Let's get back to thiscaptivating conversation.
Speaker 3 (31:53):
I want to ask this question of both Kate and Lou.
actually, I'm really curiousabout the balance that needs to
be struck between commercialityof projects and the integrity of
the project.
You must face that inprogramming every year.
Kate, I'm sure you've had somany decisions over your life
where you've gone in or decidedto steer clear based on the
(32:15):
opportunity.
Speaker 6 (32:15):
Do you want to start with?
Sure, i do.
It's something that I've had tocome to terms with several
times throughout my career.
It's interesting.
I actually think thatultimately there's not a huge
amount of daylight betweenpreserving my own integrity and
(32:39):
also what's in my commercialinterests, because as an artist
and it's probably similar towhere you're at with Urban List
if your currency is trust, youimmediately undermine that by
selling out.
I'll give you one example.
When I was a little bit temptedto sell out, i got offered my
(33:01):
song to be used in a VB ad.
It's a very sad song.
It's a ballad, it's like it'sthe last day on earth.
I was like, oh, i don't reallywant to advertise alcohol, but
okay, what's the treatment forthe ad?
I don't know these tough sortof footy blokes crying to my
(33:24):
song.
And then the tagline was likedon't be a pussy, drink VB.
And they were offering me somuch money, more money than I'd
ever seen in my career at thatpoint.
But I just sort of I had to sayno.
First of all it went against mypersonal values, but secondly,
i think it would have reallybeen disrespectful to all the
(33:48):
people who loved that song andused that song at the funerals
of their loved ones.
You know, and I don't think itwas worth degrading my
credibility in that way just fora short-term kind of cash
injection.
I also declined being on SASAustralia.
I also declined being on SASAustralia.
(34:13):
That was also well past the line.
Speaker 3 (34:20):
Sort of sensing something in this.
Wakes Miller Highkey last dayon Earth.
Speaker 4 (34:25):
I would have watched SAS Australia had I known you
were in it.
Speaker 6 (34:28):
I would have been eliminated straight away.
Speaker 3 (34:33):
How do you balance the commerciality and the
integrity of the programming?
Speaker 5 (34:39):
It's really difficult .
I mean, the thing aboutBrisbane Festival that does give
an opportunity to be a littlebit unique is the fact that
because the Brisbane, becauseBrisbane doesn't have a fringe
like Adelaide for example, andthen in Sydney you've got Vivid,
brisbane Festival has anopportunity to be a little bit
of all of those things, and sothat's potentially where we can
(35:03):
be a little more commercial inour approach.
And I've recently discoveredthat commercial is actually not
the right word through someexcellent conversations with the
chair of our Finance, audit andRisk Management Committee.
It's actually about popularchoices.
Box office sure hits becauseactually a break-even or a
(35:25):
little bit better is not reallycommercially.
That you know.
It's not necessarily the bigcommercial Yes, we're all going
to retire and it's going to payfor next year's festival.
But the popular choices, thosereally high entertainment
hopefully sell a heap of ticketsis an important part of the
(35:45):
Brisbane Festival, but itbalances out the more niche
boutique work that might be morechallenging, that require a
greater budget.
So it's a constant dance of OK,i've got enough there, but if
I've got too much there, thenI'm going to look like I've
completely sold out and don'thave enough high art, because in
Sydney and Melbourne won't takeit seriously and then I won't
get any pre we won't get anypress in the Australian.
(36:08):
Does it have enough of this?
Does it have enough of that?
Have I got enough?
that's going to appeal to thecareer mail.
You know it's all of thosethings.
But that's part of the job is toensure plus grow new audiences,
plus make sure, if we're doingproductions in partnership with
venues like QPAC, that they'rethe right productions, that
we're going to sell the tickets,that you know we can.
(36:31):
And sometimes, as I saidearlier, they work and sometimes
they don't.
But I'm learning more and moreabout this because you know, in
my career I've done so muchcreation of new work,
particularly in site-specificlocations, and had some big kind
of blockbusters over the years,but not a huge amount.
But I am learning how to thinkmore commercially in terms of
(36:57):
how those better deals can bedone in a way that protects the
artistry and protects thecreatives, because that's
ultimately where my heart lives,but also knowing that it's good
to have a show that's going tobe popular, that's OK, it's a
good thing to have peoplewanting to come and feel happy,
(37:17):
and actually it's through thepartnership with QPAC that I
feel like I'm really learningthose skills And John and his
incredible experience in doingso much wonderful commercial,
big musical theater productionsthat are enormously risky.
But it's a really great spacefor the Brisbane Festival with
the right product and makingsure that it feels like it's
(37:39):
still a festival piece but cando those other things.
So, yeah, it's a journey.
There's a project that we'll belaunching in a couple of weeks
time that will be enormouslypopular And if it goes off in
the way that we think it willand it will be this gorgeous
kind of takeover of a fabulouspart of the city then that will
(38:00):
certainly give us an indicationthat we can confidently continue
to program that kind of workinto the future.
I'll just hint the vivid sideof things a little bit and give
you just that much.
But yeah, it's a careful balanceAnd I think it's important to
always go what don't I know.
I don't know how to do that, soI'm going to find out how to do
(38:22):
it.
I'm going to learn how to dothat.
Can I ask some really stupidquestions so I can make really
good decisions and present thatto the board or whatever it may
be.
So, yeah, that's where we're atat the moment.
Speaker 3 (38:35):
Thanks Lou, thank you , thank you.
What are you looking at?
Is that time Sorry?
Speaker 1 (38:43):
No, Oh sorry.
Speaker 3 (38:44):
I'm getting distracted by shiny things.
Marisa, what are you learningmore about at the moment?
Speaker 4 (38:52):
You know it's really interesting.
If I had looked back 20 yearsago, i mean I wouldn't have even
thought I was doing.
I wouldn't be sitting here withall you amazing people, with
incredibly amazing people beinginterviewed about philanthropy.
I mean, i didn't grow up in afamily that was philanthropic
And I was a middle class.
My dad was a policeman, mymother was a secretary to school
(39:12):
And I think life's verysurprising, much like Louise was
saying about how the surprisecomes from those areas that you
sometimes least expect it.
But I'm a firm believer and Ithink the reason my connection
with the Brisbane Festival is sostrong is perhaps because of my
failed artistic background AndI look for any opportunity, i
think, to have a connection withthe arts in the broader sense.
(39:34):
But you don't get if you don'tgive, and it doesn't matter what
it is, just do not get anythingin life unless you're prepared
to give a bit right.
And so I get far more back frombeing a giver to the Brisbane
Festival than I could have everimagined, because it's less a
transaction in the arts And it'smore of a building, of a
relationship.
So I must admit, louise, youand your team make an.
(39:59):
There's quite a few people herewho are givers to the festival.
I mean, i'm surprised everysingle time I go to a work that
I perhaps might not board aticket for, but you invite us
because of our relationship.
I think, susanna, you'veprobably seen that as well.
Not only the performance andthe artists themselves become
more known to you, but it's thepeople themselves that give, who
(40:20):
is the most incrediblecross-section of society, the
most diverse group of people,often those who can least afford
to give, which is reallysurprising to me.
So, i think, commendation topeople that are featured at the
festival, the program you have.
I don't necessarily likeeverything, but I always love
(40:40):
the opportunity to go to thosethings, even those I don't like,
and that says more about theconnectivity that goes with the
giving, the relationship ofgiving, than it does about
anything else, doesn't it, ithink?
Speaker 3 (40:52):
Thank you, APPLAUSE, Do you get to see a lot of other
acts?
Speaker 6 (40:59):
Kate, i do, i do, i'm obsessed with it And I mean as
much as I can.
generally, it's something thatI missed so desperately during
COVID just sitting in anaudience.
For me, being in the audienceis not just about a connection
(41:20):
with whoever's on stage, it'salso really strongly about the
connection with the other peoplein the audience and just the
power of sitting in a room fullof people and committing to go
on a journey with all of them,being in the moment, with all of
them.
There's something about it forme.
That's a little bit like church, like a secular version of
(41:42):
church, and it's, you know, thearts, is humanism, and it's
where I find meaning and hopeand escape, and it's always
uplifting in a way, even if it'sterrible.
Sometimes.
The worst shows I've ever seenhave been the ones that have
really stayed with me and theymake good stories.
(42:05):
So I just find it powerful.
I always come out of thetheatre feeling nourished and
satisfied in a way that nothingelse does for me.
Speaker 3 (42:16):
I really want to ask you what was this terrible thing
that?
Speaker 6 (42:19):
you've seen, but I won't I won't do it.
Speaker 3 (42:22):
I won't do it to you.
There has been a beautifulcreative collaboration happening
in the background that we'renot privy to yet, and I'm
looking and trying to get agauge on whether we're able to
talk about this.
If we can have the ChathamHouse Rules, can we talk about
it?
Speaker 5 (42:43):
We can allude to something quite remarkable
that's coming.
And there may be an incrediblytalented human being.
who's, on this stage, at thehelm of that?
Well, marisa, maybe you are.
you're incredible, and we can'tdo the things that we do
without people like Marisa.
(43:04):
What can I say?
What can I tell you?
Speaker 3 (43:09):
I can, perhaps you could share a little about the
premise because I think it doestouch on these ideas of
integrity and commerciality.
Speaker 5 (43:18):
It does I mean.
What I will say is this I meanKate.
Kate Milhaidke and her partner,kea Nuttle are two absolutely
extraordinary artists that comefrom this state.
Kate and Kea have performed atall of the Brisbane festivals
that I've had the greatprivilege of directing, And a
(43:43):
few years ago, kate and I we metfor a drink and I was so
excited about having a drinkwith Kate Milhaidke I was
totally fangirling, thinking, mygoodness, and we just chatted.
Actually, we just talked aboutbeing mums and working in the
arts.
And then, not so long after,you asked me to have coffee with
(44:05):
you and Kea at the ThreeMonkeys in West End and they had
presented a treatment and thefirst draft of an incredible new
production that Kea had writtenthe script for and Kate the
music.
Well, and Kea as well and themusic.
But and it was mind-blowinglygreat what was in front of me
(44:32):
And that was kind of thebeginning of something.
The thing I love about Kate andKea are two incredibly dedicated
artists who are remarkablytalented.
They're so down to earth andhumble, they're delightful to
work with, and so I knew thatthis project was going to be
(44:54):
something pretty special, buttoo big really for Brisbane
Festival to do alone, and that'sthe great thing about
collaboration and partnerships.
And so I had a conversationwith John Kotzis from QPAC, the
CEO and artistic director, andwe met with Kate and in a couple
(45:16):
in a week's time we will bepublicly announcing what that
will be, but I can tell you thatit will be a big feature of
this year's festival at QPAC,something that we are doing
together.
We're incredibly excited.
It's one of the freshest,funniest, most delightful pieces
of music theater that I thinkI've heard in a long time, and
(45:40):
it's an honour and privilege tobe working so closely with Kate
and Kea.
And what I love also is thatthe opportunity for Brisbane
Festival and QPAC to become thisfabulous producing house.
We can't do these things on ourown there.
We need to work together andhave these collaborations where
we're leveraging off eachother's great skills, and it's
(46:03):
because of making wonderfulthings happen that hopefully
we'll have a long life into thefuture.
But we're really excited, kate,and you're a dear friend of
mine and to the BrisbaneFestival.
So I know that I'm being alittle vague, but there is some
very exciting things planned Andwe will be.
(46:24):
I think I've given you justenough to keep you intrigued
watching the social media pagesof Brisbane Festival and QPAC
over the next couple of weeks,but I can tell you we're going
to make this city and this statevery proud.
I had two roles this afternoon.
One was to guide theconversation.
Speaker 3 (46:45):
The other was to keep us on time and I didn't wear a
watch.
How am I going, Kate, Right ontime?
Perfect.
May I ask other than this,which cannot be spoken of as the
(47:05):
two more highlights of thefestival upcoming, and then we
might have a little surprise.
Speaker 5 (47:15):
OK, i can tell you that we will have a full program
at pretty much every arts venuein the city.
But I can tell you that theSerenades program is coming back
, which is really exciting.
We will have 20 suburbs that wewill visit with classical and
(47:40):
fine, gorgeous music, with freeconcerts.
And I'm going to tell you thisactually because I did talk
about it recently at our greatone of our giving program events
at Heidi Cooper's fabulousvenue, golf Central, i invited
everybody to play the kazoo.
(48:01):
Even Courtney Talbot played thekazoo.
And the reason I askedeverybody to play the kazoo is
because we are creating thekazoonity at this year's
festival.
We are asking 10,000 people toplay 10,000 kazoos, to come
together in a spirit ofcommunity and collaboration and
(48:26):
celebration and fun.
It's the kookiest instrument,it's the easiest instrument in
the world And I just loved theidea of it.
So we'll be doing workshops andschools and community groups
all around the city And this allfinishes the Brisbane Festival,
this year at Victoria Park,which is a fabulous gift to the
city from the Lord Mayor toenjoy this kind of central park
(48:49):
of Brisbane.
So watch this space a verynoisy but very fabulous way to
end the Brisbane Festival.
You'll all be there with yourpink biodegradable kazoo.
So there you go.
You've got enough littleinsight bits.
Speaker 3 (49:06):
On behalf of parents.
Speaker 5 (49:07):
You said kazoo.
Speaker 6 (49:09):
Kate, yeah, i love kazoo.
What song are you going to beplaying?
Is it Your The Voice?
Speaker 5 (49:14):
Well, interestingly what happens, is the composer
and the creator of this projecta lovely young man called Kiran.
Through the workshop programs,he will actually be inspired to
create the tune by the people ofthe city.
And so, but I feel like if KateMiller Hidekey we did not plan
(49:37):
this, by the way was to lead TheVoice by John Farnham, right.
Speaker 6 (49:43):
Yeah.
Speaker 5 (49:43):
Yeah, By Kate Miller Hidekey at Victoria Park.
that would be pretty amazing.
Speaker 6 (49:50):
Well, we'll see how much you've got in the budget.
Speaker 3 (49:55):
Is this one of those integrity moments?
TBC Yeah on behalf of parentseverywhere.
Please take the kazoo away aspeople leave the park.
Speaker 5 (50:08):
They will turn into a glorious tree because they're
biodegradable.
Speaker 3 (50:14):
Perfect, perfect Lou.
Yes, sorry Would you like tointroduce something very special
for us this afternoon.
Speaker 5 (50:24):
Yes, thank you, suzanna, And before I do, i'd
just like to ask you all to joinme in thanking Suzanna for
being such a wonderfulfacilitator, and thank Marisa
Vecchio for being one of ourpanelists and also for hosting
(50:45):
us today.
As I mentioned earlier,brisbane Festival loves being
here and it's wonderful to workwith the women chiefs.
It's such a great opportunityto celebrate women.
I'm the first female artisticdirector of the Brisbane
Festival, so it feels like andwe have a female chair And it
feels like a really great timeto have a beautiful relationship
(51:06):
with you.
So thank you for always comingand supporting the Brisbane
Festival.
Now, kate Miller Hidekeyincredibly gorgeous musician and
wonderful human, has kindlyoffered to perform some songs
for us this afternoon.
Kate will be accompanied by anincredible musician who also
(51:32):
lives and works in Brisbane, samPankhurst.
Sam will be performing in theBrisbane Festival in another
collaboration.
Again, more to be revealedabout you, sam, but, kate, thank
you so much for doing this forus today.
We really, really appreciate it.
This will absolutely set thetone for what's to come into the
future, with something veryexciting that you and Kia and
(51:56):
the wonderful director, simonPhillips has been creating
behind the scenes.
So please enjoy and thank youonce again for coming and have a
lovely rest of the afternoon.
Speaker 1 (52:09):
Thank you for joining us on Bubbles and Benevolence.
We hope you enjoyed ourslightly different format today
And, as usual, if you have anyquestions, you can send them
through to podcast athandworthhousecomau.
That's H-A-N-W-O-R-T-H,remember.
As a dedicated podcast listener, you can get tickets to early
(52:31):
release productions for BrisbaneFestival before July 5th
through the link in the episodenotes.
We also have some incrediblethings coming up at Handworth
House this year, which willinclude a small event to
celebrate the opening ofBrisbane Festival with a river
fire.
To make sure you don't miss out, join out in a circle.
Mailing list athandworthhousecomau And don't
(52:55):
forget labels on the lawn isonly three months away.
As we get ready for our biggestevent of the year, now is the
time for you to get involved.
You can donate your clothing,money, time or organise a
corporate sponsorship, all ofwhich are incredibly appreciated
by our small team.
For more information, head tohandworthhousecomau.
(53:20):
If you enjoyed our podcasttoday, please rate, review and
subscribe so you don't miss anyincredible interviews, and we'll
be back soon with anotherspecial guest Cheers.
Welcome to Bubbles and Benevolence, the podcast
where we pop the bubbles tosuccess and dive deep into the
benevolent hearts of those whohave achieved it.
In this podcast, we'll sit downwith successful business
leaders, philanthropists,nonprofit workers and more to
discuss their journeys, thelessons they've learned along
the way and how they're usingtheir success to make a positive
(00:20):
impact on the world.
So grab a glass of bubbles andjoin us as we explore the
intersection of business andbenevolence and discover what it
truly means to be successful.
Get ready for a special episodelike no other.
(00:40):
Recently, hanworth House playedhost to an incredible
collaboration between WomenChiefs of Enterprises
International, an organizationwith a proud history of bringing
entrepreneurial women together,and the Brisbane Festival,
celebrating leadership in thearts.
Today, we have the privilege ofsharing that extraordinary
panel discussion with you.
(01:00):
Leading the conversation is thetalented Susannah George, with
Louise Bazina, renowned for hersignificant enhancements to the
Queensland arts industry, andfirst female artistic director
of Brisbane Festival.
Marisa Vecchio, who you shouldknow very well by now and if you
don't, i recommend you go backand listen to our other episodes
(01:22):
and Kate Miller-Hideke,award-winning singer and
songwriter, eurovisioncontestant and co-creator of the
highly anticipated musicalcomedy Banana Land.
But before we dive into thiscaptivating discussion, let me
introduce you to our host of theday, the multi-talented
Danielle Hughes-Brown, highlyaccomplished media professional
(01:45):
publisher, editor and founder ofQueensland magazines, licensed
real estate agent and Queenslandpresident of Women Chiefs of
Enterprises International.
Buckle up for an episode fullof inspiration and insights you
won't want to miss.
Speaker 2 (02:01):
This afternoon we are in for a treat.
We are delighted to welcomeSusannah George, who is founder
and CEO of Urban List.
Susannah will lead thediscussion on female leadership
in the arts and explore themesaround collaboration, courage
and confidence.
Susannah George, impressive, isan award-winning entrepreneur
(02:21):
and founder of Urban List, anindie media house launched from
her bedroom in 2011 that hasgrown to become the leading
online portal for cultureseekers in Asia Pacific.
In 2021, Urban List was awardedAustralia Media Brand of the
Year, celebrating its influenceon the media landscape and
(02:42):
positive cultural impact onpeople and the planet.
Susannah was named QUT inauguralOutstanding Entrepreneurial
Alumnus in 2021, was recognizedas a national finalist in the EU
Entrepreneur of the Year Awardsin 2019 and listed among the
most influential voices in themedia as B&T's media woman of
(03:05):
the year in 2015.
Alongside her founder journey,Susannah plays a leadership role
in the George family group ofbusinesses, including the role
of CEO of Plate Impressions, aworld-leading plate marketing
company.
She is passionate aboutcontributing to the wider
community through her roles asboard director at Queensland
(03:26):
Ballet, Entrepreneurship Mentorat QUT, Ambassador for the HUNGA
Project's Unleashed WomenInitiative and member of the
Young President's OrganizationYPO and Entrepreneurs'
Organization, EO.
Over to Susannah.
Now to introduce our wonderfulpanelists.
Thank you and enjoy.
Speaker 3 (03:46):
Thank you, danielle.
So grateful to be here.
It is an absolutely magicalafternoon in Meandjin, and my
favourite thing to talk about iscreative connections, and to do
that with such inspiring,creative leaders, i think, is a
(04:08):
real gift, so thank you.
As an icebreaker, i might askeach of you to introduce
yourselves today, lou, may westart with you?
Speaker 5 (04:18):
Sure, thank you.
Hi, everybody welcome.
What a beautiful looking groupof people that are sitting in
front of us this afternoon.
Thank you, i'm Louise Bousina.
I'm the artistic director ofthe Brisbane Festival, which is
a great joy and a real privilegeto have this job, which I love
very much.
(04:38):
I'm a mother of two.
I have a son and a daughter.
I have spent my entire careerworking in the arts and I was
born in Mackay in NorthQueensland and wanted to be a
dancer, but that didn't quitework out.
so here I am choreographing anentire festival for the city.
(05:01):
Yeah, i'll leave it at that,but thank you very much.
Speaker 4 (05:09):
I think I might know most of you, marie Cervequio,
and a very proud owner ofHanworth House, which was bought
in honour of my mother whopassed away 10 years ago, and
it's become quite the gatheringspot, i think, for many
philanthropic and other events.
I'm sorry about the main road,nina Shrina, you might be able
to do something about that inthe future for me, but we will
(05:31):
speak louder and more buoyantlythan the traffic can.
Like Louise as a failed balletdancer, i'm a failed musician,
and so Kate.
Speaker 5 (05:39):
So glad you made up for all of us and that.
Speaker 4 (05:41):
I was an arts graduate originally who went
into world of business and thenfind myself being creative, i
guess in many respects with thebeautiful Hanworth House.
So thank you for joining us onour beautiful grounds this
afternoon.
Speaker 6 (05:57):
Hi everyone.
My name is Kate Miller-Hyde-Gie.
I'm a singer-songwriter.
I was born in Gladstone, so,yeah, central Queensland and I
always loved writing songs sinceI heard the album Blue by Joni
Mitchell when I was about 14.
I got my first guitar.
I ended up studying classicalsinging at the conservatorium in
(06:22):
Brisbane, but never reallyloved other people telling me
what to do, which is what youhave to suck up.
When you're a classical singer.
You're sort of at the bottom ofthe pecking order and I just
wanted to do my own thing and Iloved writing my own songs and
I've been lucky enough to have acareer doing that.
Speaker 3 (06:48):
So, before we begin today's conversation, i'd like
to invite you all to close youreyes and block out the traffic
noise and still your mind andcast yourself back to your
childhood And find a momentwhere you felt the joy of
(07:12):
creating.
Might have been drawing orbuilding with clay, dancing in
your room like no one waswatching.
Feel that moment and feel thecreative freedom Totally free
(07:35):
from judgement, just pure joy.
And now, still with your eyesclosed, bring your mind to a
time when you did feel judgedfor your creativity.
You may have been judged, ormaybe you judged yourself.
(07:57):
Did that judgement sway youfrom doing more of embracing the
joy and the passion thatcreativity can bring?
Thank you.
So, this space of having thecourage to pursue creativity,
(08:25):
that's where I'd like to openthe conversation.
And, lou and Kate and Marisa,in all of your ways you have
used artistry to create trueimpact.
I love the Joni Mitchellreference.
This was the first moment thatyou knew that you wanted to
pursue a career in the arts.
Speaker 6 (08:46):
It was the first moment I thought I could be a
songwriter.
It sort of exploded my horizonsin terms of what was possible
with poetry and with chords andwith a voice.
I always loved music, of course, but it was an earth shattering
moment for me.
That record.
Speaker 3 (09:08):
Very special, lou.
did you have an actual momentwhen you knew that you wanted to
pursue the arts?
Speaker 5 (09:16):
I'm going to tell the honest truth.
So I was born in 1981, whichmeans that I grew up with young
talent time, and so I wouldwatch that on Saturday night
with my parents, and that wasdefinitely a moment where I
thought that is what I'm goingto do, i'm going to create some
kind of production or I'm goingto be in one myself, and so it
(09:40):
was kind of in the dance studioreally for me that I felt where
I really belonged.
I started dancing when I wasfour And I think my mum and dad
particularly my mum, becausethose kind of things weren't
really available or my parents,my dads are migrant to Australia
and my mum grew up on a canefarming family, so anything that
(10:03):
they could give us, that mysister and I, that was something
that they didn't get theopportunity to do, but it was
absolutely where I felt like Ibelonged in that dance studio,
and so I would then just danceall the time.
I was in a studio everyafternoon after school, putting
on productions at home, chargingmy parents for the food in the
(10:25):
pantry as part of the intervalsnacks and food and beverage
service, choreographing mysister, making her wear all
sorts of crazy things, and thenthat just took me into high
school where I was directing andcreating, whether it was the
Rockersteadford or the RockpopMime which we had in Mackay.
(10:48):
But yeah, i guess I justcouldn't really see myself
fitting in anywhere else otherthan being in some kind of
creative pursuit.
Speaker 3 (11:00):
Did you grow up in an artistic household?
Speaker 4 (11:02):
as well, marisa?
No, not at all, and I think Iwas more studious than artistic.
It was the right thing to do topractice the piano, right.
So I was always very good atdoing what I had to do, but I
loved it.
But I kind of was really takenby your comment about the kind
of when the breaks are put onyou doing something like that,
(11:24):
because I didn't really think Iwas very good if I didn't win,
and so I wasn't very good atwinning the Asteadfives and I
wasn't very good at winningthings And despite that I did
quite well at school.
So everyone assumed I wouldprobably go on to university and
do a law and medicine, but Idecided to do music, like, for
whatever reason It wasn't that Iwas very good at music, i just
(11:45):
thought I'll just show them I'mgoing to be a musician.
In fact I came around tothinking I wasn't actually a
very good musician.
I wasn't good enough to perform.
I went to the Conservatoriumbecause I loved Max Olding, and
I tend to do things because Ilike the people I'm going to be
doing them with, and so I lovedMax Olding.
So I was deciding I was goingto the Conservatory to study
with him, which was the onlyhighlight of my time at the
(12:06):
Conservatorium.
Then I realised I really wasn'ta very good performer and I
really wasn't good enough orpatient enough to teach.
So I kind of became a musicgraduate without a job.
I loved it, but I really wasn'ta very successful career.
Thank goodness I went into theworld of business after that,
which is actually quite musical,so I think I found my niche,
that I'm a frustrated musician,i think.
Speaker 5 (12:27):
It must be good to have gotten into the con.
Speaker 4 (12:30):
I'm not sure, When I put my mind to doing something I
usually get over the hurdle.
Then I realised why did I dothis?
It was a wonderful time, And Idid then go on to do arts and
music, which was a great studycareer choice.
Speaker 6 (12:44):
How is business?
quite musical.
Speaker 4 (12:48):
There's a lot of maths and music.
I was actually astounded by howmany medical students dropped
out of year three and four inmedicine to join our year of
music.
In terms of the graduatetraining program, they were
actually much better than I was.
They were very musical, butthere's a lot of maths and music
.
It's very elemental and it'svery kind of systematic in terms
(13:12):
of the creative process.
Comes from you actuallydemonstrating and selling the
music.
But I reckon composers were allprobably pretty good
mathematicians.
So I do have a feeling thatthere is a lot of symmetry
between two very much thought ofas antagonistic views, but I
think maths and music are prettymuch more related than
unrelated.
Speaker 3 (13:33):
I'm not sure if I quite understand the maths and
music correlation.
However, I do think that theonly way that businesses are
thriving is by being creative.
Correct And really embracing asense of artistry and deep trust
in the craft.
I think that is why businessesare thriving or dying today.
(13:57):
Kate, did you have a mentor oran inspiration that saw you get
that shot in the arm and havethe courage to really pursue the
?
Speaker 6 (14:08):
dream.
I wish I had had more.
Actually, that's one piece ofadvice I'd give to my younger
self.
I don't think you knoweverything.
You should ask for advice moreoften.
But I did have a couple of thoselife-changing teachers who I
(14:31):
just absolutely worshipped andto get positive feedback from
them.
I think that they really didchange the course of my life.
I don't think I'd be doing thisif not for my music teacher in
grade nine who heard me sing andsaid, hey, you've actually got
a nice voice.
Have you ever thought abouthaving singing lessons?
And I was like, yes, that's mydream.
She ended up giving them to meand she ended up being an
(14:54):
absolutely brilliant teacher andintroduced me to all sorts of
music.
You know, classical music andancient folk songs and music
theater, songs that I'd never,ever heard before.
And I felt myself in thoselessons, going into that flow
state you know where just timedisappears and I looked forward
(15:14):
to that.
You know they were thehighlights of my life for years
and years and years.
So definitely, yeah, antoniaBreen was a big one for me.
Speaker 3 (15:25):
Do you have a similar figure, Marisa, somebody who
really believed in you and gaveyou the confidence to do?
Speaker 4 (15:31):
I have a couple of mentors, mostly men actually,
which is always I always thinkthat's really and often from
fields very different from thosethat I was in, which I think is
something.
Also a bit of advice to myformer self don't look for
people in the field that youthink you want to be in.
Actually, it's the people thatare outside that can look better
, kind of more objectively, in.
But I think my mother was anincredible role model in terms
(15:54):
of you know, she probablythought me doing music was an
incredibly ridiculous choice,but she never said that.
She always just supported mychoices.
And when I actually got to theend of it and said, you know,
perhaps I probably could havedone something else, she said,
well, i thought that, but Ididn't want to kind of put my
view on what you were verypassionate about doing at the
time.
So I think that's very.
(16:14):
I'm trying to do that with mydaughter, who's 29,.
You know, not really give theadvice, because I think that can
be.
I think getting the advice onyour own is a lot more
significant, isn't it?
I think we've all had thoseexperiences.
Speaker 3 (16:30):
Following my children to fail at things is my life
lesson.
My seven year old has supremelylow frustration, tolerance, and
I'm pretty sure that he learnedthat from me.
Let's talk about failure.
I'm really curious about whereyou find that sense of strength
(16:57):
from within to give it a try,even though failure is a very
real possibility, and you findthe courage to do it anyway.
Can you think of any of thosemoments?
Speaker 5 (17:13):
Yeah, sure, i can think of many.
I think that every single dayof my working life, i'm on the
cusp of success and failure,because that's the greatest joy
and the greatest.
The thing that keeps me goingis not the idea of failure, let
me tell you, but beingsuccessful and not for me
(17:35):
personally, but a role likeBrisbane Festival is an
unbelievable stage that youcould epically fail or epically
succeed, because it's actuallyabout the community of this city
.
It's about the people and so,therefore, finding the right
things, collaborating with theright people, having the right
(17:55):
productions, connecting with thediverse group of community
members Sometimes it'll work,sometimes it won't work, but
that's all tools that you putback in your toolkit to improve.
Okay, i tried that.
Yep, next year I'm going to doa little bit of a tweak here and
then I'll fix that bit, neverdoing that again, but it did
(18:16):
these things.
I needed to do that for thesereasons, that is.
I mean, it's incrediblyexciting, but creating new work,
for example, you have theartists, will come with an
amazing idea and there's onething to believe in it, but then
it's how you pull that togetherthe people that you put around
(18:38):
that production to support thoseartists, and then having the
right partnerships in place.
Sometimes they don't work, butthat's part of the journey.
We know that and that keeps ushungry and wanting more, but
when it works, there is nothingbetter than that feeling.
When it actually works, i feellike those that are in the biz.
(19:03):
John Cotsys is here.
He'll know what that feels likewhen it really does work and
you land at you.
It just makes it all worthwhile.
Yeah, you have to try and keeptrying and trying and trying,
and I don't think that'll everstop.
But when the moment comes, whenyou don't have that energy to
keep trying and testing andexperimenting, that's probably
(19:26):
the time to try something else.
Speaker 3 (19:29):
I have two follow-ups for you on that One is can you
tell us specifically that Icould see your eyes absolutely
shine when you were talkingabout that thing?
that just works.
Speaker 5 (19:40):
I can.
I mean there's so many.
I'll talk about one Brisbanefestival, which is Street
Serenades, and our Lady Mares ishere today, nina Shrinna, who
is the most extraordinary womanand leader in this great city,
and I look at you because theStreet Serenades program is the
gift to the city.
(20:01):
That idea was certainly notrevolutionary, but I do remember
it.
At the bottom of the lift, theday that we were all, i was with
my wonderful colleague CharlieCush, the CEO of Brisbane
Festival, and there was so manythings.
Everyone was talking aboutCOVID and shutting down and this
and that, and I'm like, oh, i'mnever doing that, people, just
(20:23):
take the festival to the people.
Rome was doing concerts.
The mayor of Rome called all ofthe community in Rome to come
out because, of course, italywas one of the countries that
was hit so badly in thebeginning, and so she called all
the residents of Rome to comeout onto their balconies and
sing Community participation.
(20:45):
Taking music out into thesuburbs is not a new idea, but
going to 190 suburbs in a yearwhen everything was closing down
and in a year where we reallyhad no idea what our future was
going to look like, i could seeit and I could do everything I
could to convince my board andmy wonderful chair, anna
(21:07):
Reynolds, who has enormous faithin me.
They all were behind me.
But what if we made the wholecity sick?
What if it went really wrong?
We didn't do that, of course.
What we did was actually meet80,000 new people that had never
had a connection to theBrisbane Festival.
What we did was employ over athousand artists in a year where
(21:28):
everything was completely shut,and now it's a legacy part of
the festival, and so that'sthose moments where you can see
it.
And, yes, there's lots oflogistics in the entire team of
Brisbane Festival working reallyhard to make it come to life.
Kate, you did a street serenadein 21 at UQ.
Speaker 6 (21:48):
I did a few of them You did that year.
Music is, ultimately, it isabout community, it's about
communicating with people andthat was so powerful.
But also Brisbane Festival, ihave to say, was such a beacon
of hope to every single artistin the entire country at that
point because the way that Louwas just going out there
(22:08):
fearlessly and still trying newthings and still persevering The
show will go on, and she wasthe only festival director in
the country who was doing that,who wasn't completely cowed by
COVID, who was finding a waythrough it, and it was just.
I can't tell you how inspiringand hopeful that was for all of
(22:29):
the artists.
Speaker 3 (22:34):
That was when I fell for you, lou Fell for you and
your genius, you, and yourbeautiful family with your mum,
Cass, and your two childrencoming to all the concerts.
Speaker 5 (22:45):
Drive around to all of them.
It was so wonderful.
Speaker 3 (22:49):
I'm sure we can all empathise with this, being a
mother in that pandemicexperience and really mourning
what my children may miss,particularly as it related to
the arts.
It was, as you say, a beacon ofhope And it really, i think,
for me was such a formativeexperience And they had such a
beautiful time being part ofthis collective creative
(23:11):
community and also being able tostand on top of the kangaroo
point cliffs and experience thiscross-dimensional art form with
the laser light show.
And well, again back to yourchoreography, marie-sah.
Culture matters to you, too,very deeply.
I see through your work thatyou really believe that if you
(23:36):
can positively impact culture,you'll positively impact the
future.
I think that you are ourshining light when it comes to
philanthropy in this city AndI'd love to know a little bit
about what moves youparticularly toward the arts at
a time when there are a lot ofspaces and causes that need
(23:58):
support.
Speaker 4 (23:59):
Well, i've always been a firm believer that the
only function of any business,whatever it is, where it's a
festival or performance arts or,you know, bhp is to make
communities better.
That's fundamental.
I mean, unless you can, as aCEO or an owner of a business or
someone who works in thebusiness, say that I go to work
(24:20):
every day because the functionof my role is to engender a
better community, then don't dowhat you're doing because really
you're in the wrong space.
And so I think the arts is sodeep in terms of giving a
different perspective on so much.
You know you can have so muchin life, financially,
(24:43):
economically, but unless you canactually walk with creating a
deeper, meaningful relationshipwith that which actually makes
our soul sing, there's no pointto it is there, and I think you
know this house is kind of anartistic endeavour in many
respects.
I think my definition ofsuccess is failing to fail.
And if you really look at whathappened to Hanworth, when it
(25:05):
was, you know, two weeks fromopening and an arsonist set fire
to it and destroyed 85% of it,not just the house which was,
you know, battered and bruised,but I had an absolute mortgage
over this house And people oftensaid to me you know how did you
pick yourself up and keep going?
(25:25):
Well, the reality is I wasn'tactually very much of a heroine.
I had no choice.
I mean, was the CommonwealthBank going to come in and say,
oh Marisa, you know thatmultimillion dollar loan you
have with us, so let's wipe thatout for a while, let's just get
on with making sure you'regoing to be fine and you're
going to get some cash flowcoming in.
That's never going to happen,is it?
So the reality is you do whatyou have to do because there is
(25:48):
a bigger goal.
My bigger goal was this was mylegacy project in memory of my
mother.
You know my mum didn't evermeet Hanworth, but she always
backed my real estate decisionsso wholeheartedly And I knew she
would have loved this house.
It was owned by the AnglicanChurch.
This house has sold.
I think you feel it today.
Everyone feels it, we do.
(26:09):
So many wakes here these daysbecause they feel it as well.
Such a great business modelWakes so good, short, sharp,
sweet.
They get in, get out, theydon't get drunk like a home.
But the reality is it has anenormous heart.
This house has been a hospicefor women for 150 years.
It will continue to give outheart to the community.
So for me, coming to work eachday is enough of a reason to get
(26:31):
up.
I always jest, i said.
Somebody said to me recentlythere's a red light.
Actually I see Fernando.
I wonder if.
Al, where are you, fernando?
I just saw you And now you'vedisappeared.
There he is.
Fernando Lived here for manyyears and lived in the Preston
wing at the back, and if you goaround the side near the
pavilion, you'll see a red light.
And the builders say what's thatfor?
I said, if we fail to become areally successful accommodation
(26:52):
precinct, we're going to be adrive-thru brothel.
So just the red light's there,just in case.
And we had that as a bit of ajest.
But we also said sometimes youhave to be flexible, don't you?
And I figured thank goodnesswe're not.
So it's all fine, you're hereon very auspicious term, it's
all fine, but the reality is youhave to be prepared for those
unexpected consequences, right?
(27:15):
And I think that we reallybecame a better product because
the community came in after thefire, something I never thought
would happen.
I think if it had an electricalfault it wouldn't have been as
big a story.
Now I look back, i think thearson attack was actually a good
way for the fire to happen,because everyone came in You
know, have our furniture, can wehelp you clean up?
Here's some you know goods andservices for the firemen who
(27:38):
were fighting the fire, and thecommunity was so good to me.
So I think it's really easy forme to say my life's dedicated
to giving back to that communityin return to say thank you, i
think you do the same thing.
I think you do the same thingas well.
Yeah, beautiful.
Speaker 3 (27:54):
I don't think I've ever heard a sense of corporate
purpose express with such heart.
Thank you, thank you.
Speaking of businesses withheart, can we talk about
Brisbane Festival?
I do not know how this festivalgets up.
How does it get funded?
Speaker 5 (28:14):
Anna's some Oh goodness, we're in that final
stretch.
No, look, we are co-owned byBrisbane City Council and the
state government.
Through Arts Queensland.
They're the two shareholders ofthe Brisbane Festival, and they
do provide incredible financialsupport.
(28:34):
So without either of those, wewouldn't even be able to open
the doors.
On top of that, we generateincome through box office,
corporate sponsorship andphilanthropic support, and every
year the ideas get bigger,bolder.
We want to do more things As thecost of living increases, a
(28:58):
commitment to having a freefestival program as rich and
dynamic as we would like tocontinue to be able to deliver,
in addition to a wonderful riverfire by Australian Retirement
Trust.
It's important that we have alot of free programming, but
that is something that ourparticularly our donors enable
(29:20):
us to continue to do.
But look, it's an enormous feat.
Every year, we are workingreally hard to try and find
different ways to innovate, tocome up with different business
models, to look at differentrelationships and partnerships.
We work with every artsorganisation, mostly in the city
(29:42):
, and it's because of thatcollaborative approach and
people who believe in thefestival, like everybody here,
and the broader community thatenable us to put on the great
gift that we can every year, andso that's such an important
(30:02):
thing And people like Marisa.
We've had so many wonderfulevents at this beautiful house
And it does have that great soulAnd it just creates this
wonderful feeling that it's soquintessentially Brisbane
sitting here.
But, yeah, it's an enormousthing that Charlie and I do with
(30:22):
our board and our fabulous team.
Fabian Cook, who most of youknow, and her gorgeous team are
always constantly doing whateverthey can to help realise the
vision of the festival.
So, yeah, we just keep onrolling, but it's a business of
risk.
Some shows will absolutely be asmash hit at the box office And
(30:43):
that's excellent, and sometimesthey're not.
And that's how we have to bereally robust in our thinking
and our governance structure inorder to ride whatever storm may
come.
No storms, of course, thisSeptember.
Speaker 3 (31:00):
Smooth sailing.
Speaker 1 (31:02):
And, on that note, here's how you can get involved.
Last year, thanks to the helpof donors, brisbane Festival
presented one of the biggest andboldest programs this city has
ever seen.
There are some incredible plansin store for this year, and the
festival needs your help tomake it happen.
Every donation, great and small, all year round, makes a
difference and it's taxdeductible.
(31:24):
Head to brisbanefestivalcomauto donate today under the
support heading.
Let's help to make this year'sevent even more incredible.
Brisbane Festival are alsodelighted to offer supporters of
this podcast access to theearly release productions before
the full program is released onJuly 5.
Head to the show notes for moreinformation about the Giving
(31:46):
Program, as well as the pre-saleticket link.
Let's get back to thiscaptivating conversation.
Speaker 3 (31:53):
I want to ask this question of both Kate and Lou.
actually, I'm really curiousabout the balance that needs to
be struck between commercialityof projects and the integrity of
the project.
You must face that inprogramming every year.
Kate, I'm sure you've had somany decisions over your life
where you've gone in or decidedto steer clear based on the
(32:15):
opportunity.
Speaker 6 (32:15):
Do you want to start with?
Sure, i do.
It's something that I've had tocome to terms with several
times throughout my career.
It's interesting.
I actually think thatultimately there's not a huge
amount of daylight betweenpreserving my own integrity and
(32:39):
also what's in my commercialinterests, because as an artist
and it's probably similar towhere you're at with Urban List
if your currency is trust, youimmediately undermine that by
selling out.
I'll give you one example.
When I was a little bit temptedto sell out, i got offered my
(33:01):
song to be used in a VB ad.
It's a very sad song.
It's a ballad, it's like it'sthe last day on earth.
I was like, oh, i don't reallywant to advertise alcohol, but
okay, what's the treatment forthe ad?
I don't know these tough sortof footy blokes crying to my
(33:24):
song.
And then the tagline was likedon't be a pussy, drink VB.
And they were offering me somuch money, more money than I'd
ever seen in my career at thatpoint.
But I just sort of I had to sayno.
First of all it went against mypersonal values, but secondly,
i think it would have reallybeen disrespectful to all the
(33:48):
people who loved that song andused that song at the funerals
of their loved ones.
You know, and I don't think itwas worth degrading my
credibility in that way just fora short-term kind of cash
injection.
I also declined being on SASAustralia.
I also declined being on SASAustralia.
(34:13):
That was also well past the line.
Speaker 3 (34:20):
Sort of sensing something in this.
Wakes Miller Highkey last dayon Earth.
Speaker 4 (34:25):
I would have watched SAS Australia had I known you
were in it.
Speaker 6 (34:28):
I would have been eliminated straight away.
Speaker 3 (34:33):
How do you balance the commerciality and the
integrity of the programming?
Speaker 5 (34:39):
It's really difficult .
I mean, the thing aboutBrisbane Festival that does give
an opportunity to be a littlebit unique is the fact that
because the Brisbane, becauseBrisbane doesn't have a fringe
like Adelaide for example, andthen in Sydney you've got Vivid,
brisbane Festival has anopportunity to be a little bit
of all of those things, and sothat's potentially where we can
(35:03):
be a little more commercial inour approach.
And I've recently discoveredthat commercial is actually not
the right word through someexcellent conversations with the
chair of our Finance, audit andRisk Management Committee.
It's actually about popularchoices.
Box office sure hits becauseactually a break-even or a
(35:25):
little bit better is not reallycommercially.
That you know.
It's not necessarily the bigcommercial Yes, we're all going
to retire and it's going to payfor next year's festival.
But the popular choices, thosereally high entertainment
hopefully sell a heap of ticketsis an important part of the
(35:45):
Brisbane Festival, but itbalances out the more niche
boutique work that might be morechallenging, that require a
greater budget.
So it's a constant dance of OK,i've got enough there, but if
I've got too much there, thenI'm going to look like I've
completely sold out and don'thave enough high art, because in
Sydney and Melbourne won't takeit seriously and then I won't
get any pre we won't get anypress in the Australian.
(36:08):
Does it have enough of this?
Does it have enough of that?
Have I got enough?
that's going to appeal to thecareer mail.
You know it's all of thosethings.
But that's part of the job is toensure plus grow new audiences,
plus make sure, if we're doingproductions in partnership with
venues like QPAC, that they'rethe right productions, that
we're going to sell the tickets,that you know we can.
(36:31):
And sometimes, as I saidearlier, they work and sometimes
they don't.
But I'm learning more and moreabout this because you know, in
my career I've done so muchcreation of new work,
particularly in site-specificlocations, and had some big kind
of blockbusters over the years,but not a huge amount.
But I am learning how to thinkmore commercially in terms of
(36:57):
how those better deals can bedone in a way that protects the
artistry and protects thecreatives, because that's
ultimately where my heart lives,but also knowing that it's good
to have a show that's going tobe popular, that's OK, it's a
good thing to have peoplewanting to come and feel happy,
(37:17):
and actually it's through thepartnership with QPAC that I
feel like I'm really learningthose skills And John and his
incredible experience in doingso much wonderful commercial,
big musical theater productionsthat are enormously risky.
But it's a really great spacefor the Brisbane Festival with
the right product and makingsure that it feels like it's
(37:39):
still a festival piece but cando those other things.
So, yeah, it's a journey.
There's a project that we'll belaunching in a couple of weeks
time that will be enormouslypopular And if it goes off in
the way that we think it willand it will be this gorgeous
kind of takeover of a fabulouspart of the city then that will
(38:00):
certainly give us an indicationthat we can confidently continue
to program that kind of workinto the future.
I'll just hint the vivid sideof things a little bit and give
you just that much.
But yeah, it's a careful balanceAnd I think it's important to
always go what don't I know.
I don't know how to do that, soI'm going to find out how to do
(38:22):
it.
I'm going to learn how to dothat.
Can I ask some really stupidquestions so I can make really
good decisions and present thatto the board or whatever it may
be.
So, yeah, that's where we're atat the moment.
Speaker 3 (38:35):
Thanks Lou, thank you , thank you.
What are you looking at?
Is that time Sorry?
Speaker 1 (38:43):
No, Oh sorry.
Speaker 3 (38:44):
I'm getting distracted by shiny things.
Marisa, what are you learningmore about at the moment?
Speaker 4 (38:52):
You know it's really interesting.
If I had looked back 20 yearsago, i mean I wouldn't have even
thought I was doing.
I wouldn't be sitting here withall you amazing people, with
incredibly amazing people beinginterviewed about philanthropy.
I mean, i didn't grow up in afamily that was philanthropic
And I was a middle class.
My dad was a policeman, mymother was a secretary to school
(39:12):
And I think life's verysurprising, much like Louise was
saying about how the surprisecomes from those areas that you
sometimes least expect it.
But I'm a firm believer and Ithink the reason my connection
with the Brisbane Festival is sostrong is perhaps because of my
failed artistic background AndI look for any opportunity, i
think, to have a connection withthe arts in the broader sense.
(39:34):
But you don't get if you don'tgive, and it doesn't matter what
it is, just do not get anythingin life unless you're prepared
to give a bit right.
And so I get far more back frombeing a giver to the Brisbane
Festival than I could have everimagined, because it's less a
transaction in the arts And it'smore of a building, of a
relationship.
So I must admit, louise, youand your team make an.
(39:59):
There's quite a few people herewho are givers to the festival.
I mean, i'm surprised everysingle time I go to a work that
I perhaps might not board aticket for, but you invite us
because of our relationship.
I think, susanna, you'veprobably seen that as well.
Not only the performance andthe artists themselves become
more known to you, but it's thepeople themselves that give, who
(40:20):
is the most incrediblecross-section of society, the
most diverse group of people,often those who can least afford
to give, which is reallysurprising to me.
So, i think, commendation topeople that are featured at the
festival, the program you have.
I don't necessarily likeeverything, but I always love
(40:40):
the opportunity to go to thosethings, even those I don't like,
and that says more about theconnectivity that goes with the
giving, the relationship ofgiving, than it does about
anything else, doesn't it, ithink?
Speaker 3 (40:52):
Thank you, APPLAUSE, Do you get to see a lot of other
acts?
Speaker 6 (40:59):
Kate, i do, i do, i'm obsessed with it And I mean as
much as I can.
generally, it's something thatI missed so desperately during
COVID just sitting in anaudience.
For me, being in the audienceis not just about a connection
(41:20):
with whoever's on stage, it'salso really strongly about the
connection with the other peoplein the audience and just the
power of sitting in a room fullof people and committing to go
on a journey with all of them,being in the moment, with all of
them.
There's something about it forme.
That's a little bit like church, like a secular version of
(41:42):
church, and it's, you know, thearts, is humanism, and it's
where I find meaning and hopeand escape, and it's always
uplifting in a way, even if it'sterrible.
Sometimes.
The worst shows I've ever seenhave been the ones that have
really stayed with me and theymake good stories.
(42:05):
So I just find it powerful.
I always come out of thetheatre feeling nourished and
satisfied in a way that nothingelse does for me.
Speaker 3 (42:16):
I really want to ask you what was this terrible thing
that?
Speaker 6 (42:19):
you've seen, but I won't I won't do it.
Speaker 3 (42:22):
I won't do it to you.
There has been a beautifulcreative collaboration happening
in the background that we'renot privy to yet, and I'm
looking and trying to get agauge on whether we're able to
talk about this.
If we can have the ChathamHouse Rules, can we talk about
it?
Speaker 5 (42:43):
We can allude to something quite remarkable
that's coming.
And there may be an incrediblytalented human being.
who's, on this stage, at thehelm of that?
Well, marisa, maybe you are.
you're incredible, and we can'tdo the things that we do
without people like Marisa.
(43:04):
What can I say?
What can I tell you?
Speaker 3 (43:09):
I can, perhaps you could share a little about the
premise because I think it doestouch on these ideas of
integrity and commerciality.
Speaker 5 (43:18):
It does I mean.
What I will say is this I meanKate.
Kate Milhaidke and her partner,kea Nuttle are two absolutely
extraordinary artists that comefrom this state.
Kate and Kea have performed atall of the Brisbane festivals
that I've had the greatprivilege of directing, And a
(43:43):
few years ago, kate and I we metfor a drink and I was so
excited about having a drinkwith Kate Milhaidke I was
totally fangirling, thinking, mygoodness, and we just chatted.
Actually, we just talked aboutbeing mums and working in the
arts.
And then, not so long after,you asked me to have coffee with
(44:05):
you and Kea at the ThreeMonkeys in West End and they had
presented a treatment and thefirst draft of an incredible new
production that Kea had writtenthe script for and Kate the
music.
Well, and Kea as well and themusic.
But and it was mind-blowinglygreat what was in front of me
(44:32):
And that was kind of thebeginning of something.
The thing I love about Kate andKea are two incredibly dedicated
artists who are remarkablytalented.
They're so down to earth andhumble, they're delightful to
work with, and so I knew thatthis project was going to be
(44:54):
something pretty special, buttoo big really for Brisbane
Festival to do alone, and that'sthe great thing about
collaboration and partnerships.
And so I had a conversationwith John Kotzis from QPAC, the
CEO and artistic director, andwe met with Kate and in a couple
(45:16):
in a week's time we will bepublicly announcing what that
will be, but I can tell you thatit will be a big feature of
this year's festival at QPAC,something that we are doing
together.
We're incredibly excited.
It's one of the freshest,funniest, most delightful pieces
of music theater that I thinkI've heard in a long time, and
(45:40):
it's an honour and privilege tobe working so closely with Kate
and Kea.
And what I love also is thatthe opportunity for Brisbane
Festival and QPAC to become thisfabulous producing house.
We can't do these things on ourown there.
We need to work together andhave these collaborations where
we're leveraging off eachother's great skills, and it's
(46:03):
because of making wonderfulthings happen that hopefully
we'll have a long life into thefuture.
But we're really excited, kate,and you're a dear friend of
mine and to the BrisbaneFestival.
So I know that I'm being alittle vague, but there is some
very exciting things planned Andwe will be.
(46:24):
I think I've given you justenough to keep you intrigued
watching the social media pagesof Brisbane Festival and QPAC
over the next couple of weeks,but I can tell you we're going
to make this city and this statevery proud.
I had two roles this afternoon.
One was to guide theconversation.
Speaker 3 (46:45):
The other was to keep us on time and I didn't wear a
watch.
How am I going, Kate, Right ontime?
Perfect.
May I ask other than this,which cannot be spoken of as the
(47:05):
two more highlights of thefestival upcoming, and then we
might have a little surprise.
Speaker 5 (47:15):
OK, i can tell you that we will have a full program
at pretty much every arts venuein the city.
But I can tell you that theSerenades program is coming back
, which is really exciting.
We will have 20 suburbs that wewill visit with classical and
(47:40):
fine, gorgeous music, with freeconcerts.
And I'm going to tell you thisactually because I did talk
about it recently at our greatone of our giving program events
at Heidi Cooper's fabulousvenue, golf Central, i invited
everybody to play the kazoo.
(48:01):
Even Courtney Talbot played thekazoo.
And the reason I askedeverybody to play the kazoo is
because we are creating thekazoonity at this year's
festival.
We are asking 10,000 people toplay 10,000 kazoos, to come
together in a spirit ofcommunity and collaboration and
(48:26):
celebration and fun.
It's the kookiest instrument,it's the easiest instrument in
the world And I just loved theidea of it.
So we'll be doing workshops andschools and community groups
all around the city And this allfinishes the Brisbane Festival,
this year at Victoria Park,which is a fabulous gift to the
city from the Lord Mayor toenjoy this kind of central park
(48:49):
of Brisbane.
So watch this space a verynoisy but very fabulous way to
end the Brisbane Festival.
You'll all be there with yourpink biodegradable kazoo.
So there you go.
You've got enough littleinsight bits.
Speaker 3 (49:06):
On behalf of parents.
Speaker 5 (49:07):
You said kazoo.
Speaker 6 (49:09):
Kate, yeah, i love kazoo.
What song are you going to beplaying?
Is it Your The Voice?
Speaker 5 (49:14):
Well, interestingly what happens, is the composer
and the creator of this projecta lovely young man called Kiran.
Through the workshop programs,he will actually be inspired to
create the tune by the people ofthe city.
And so, but I feel like if KateMiller Hidekey we did not plan
(49:37):
this, by the way was to lead TheVoice by John Farnham, right.
Speaker 6 (49:43):
Yeah.
Speaker 5 (49:43):
Yeah, By Kate Miller Hidekey at Victoria Park.
that would be pretty amazing.
Speaker 6 (49:50):
Well, we'll see how much you've got in the budget.
Speaker 3 (49:55):
Is this one of those integrity moments?
TBC Yeah on behalf of parentseverywhere.
Please take the kazoo away aspeople leave the park.
Speaker 5 (50:08):
They will turn into a glorious tree because they're
biodegradable.
Speaker 3 (50:14):
Perfect, perfect Lou.
Yes, sorry Would you like tointroduce something very special
for us this afternoon.
Speaker 5 (50:24):
Yes, thank you, suzanna, And before I do, i'd
just like to ask you all to joinme in thanking Suzanna for
being such a wonderfulfacilitator, and thank Marisa
Vecchio for being one of ourpanelists and also for hosting
(50:45):
us today.
As I mentioned earlier,brisbane Festival loves being
here and it's wonderful to workwith the women chiefs.
It's such a great opportunityto celebrate women.
I'm the first female artisticdirector of the Brisbane
Festival, so it feels like andwe have a female chair And it
feels like a really great timeto have a beautiful relationship
(51:06):
with you.
So thank you for always comingand supporting the Brisbane
Festival.
Now, kate Miller Hidekeyincredibly gorgeous musician and
wonderful human, has kindlyoffered to perform some songs
for us this afternoon.
Kate will be accompanied by anincredible musician who also
(51:32):
lives and works in Brisbane, samPankhurst.
Sam will be performing in theBrisbane Festival in another
collaboration.
Again, more to be revealedabout you, sam, but, kate, thank
you so much for doing this forus today.
We really, really appreciate it.
This will absolutely set thetone for what's to come into the
future, with something veryexciting that you and Kia and
(51:56):
the wonderful director, simonPhillips has been creating
behind the scenes.
So please enjoy and thank youonce again for coming and have a
lovely rest of the afternoon.
Speaker 1 (52:09):
Thank you for joining us on Bubbles and Benevolence.
We hope you enjoyed ourslightly different format today
And, as usual, if you have anyquestions, you can send them
through to podcast athandworthhousecomau.
That's H-A-N-W-O-R-T-H,remember.
As a dedicated podcast listener, you can get tickets to early
(52:31):
release productions for BrisbaneFestival before July 5th
through the link in the episodenotes.
We also have some incrediblethings coming up at Handworth
House this year, which willinclude a small event to
celebrate the opening ofBrisbane Festival with a river
fire.
To make sure you don't miss out, join out in a circle.
Mailing list athandworthhousecomau And don't
(52:55):
forget labels on the lawn isonly three months away.
As we get ready for our biggestevent of the year, now is the
time for you to get involved.
You can donate your clothing,money, time or organise a
corporate sponsorship, all ofwhich are incredibly appreciated
by our small team.
For more information, head tohandworthhousecomau.
(53:20):
If you enjoyed our podcasttoday, please rate, review and
subscribe so you don't miss anyincredible interviews, and we'll
be back soon with anotherspecial guest Cheers.
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