ActNow Theatre

Edwin Kemp Attrill, former artistic director/CEO, left the company in December 2020.[21] In January 2021, Yasmin Gureeboo, who had been associate director since joining the company in 2016, was announced as the new artistic director and co-CEO.[22] Gurreeboo was born in Mauritius and grew up in the UK, where she and her family were the target of racism, as Muslims.[23]

Artists involved in the company include Attrill,[24][25] Gureeboo,[26] singer/songwriter Nathan May, and poet/writer/performer Manal Younus.[27][28]

Examples of projects include school safety program "Expect Respect" with the Legal Services Commission of South Australia,[29][30] the anti-racism education program "Responding to Racism" with Reconciliation South Australia,[31][27] Queer Youth Theatre workshops,[32][33] the Game Makers program for kids and dads,[34] and workshop program for culturally diverse artists, the Theatre of the Global Majority (2018-2019).[35][36][37][38] The projects involve participatory theatre techniques, which empower audiences to change aspects of the performances and be active contributors and commentators to broader social movements.[39]

In 2023, ActNow is running theatre workshops in primary schools across South Australia, aimed at showing the impact of racism, and why people need to be kind to one another.[23]

Over three years to 2020, ActNow Theatre worked with Very Theatre in Taiwan to develop a new work called Virtual Intimacy (虛擬親密), commissioned by Arts Centre Melbourne's Asia TOPA Festival and National Theatre of Taiwan. The project was developed through collaboration with queer communities and artists in Taipei, Sydney, Melbourne, and Adelaide, and presented at the Asia TOPA festival in March 2020. It explored how people's relationships with technology are changing the relationships between people.[40] The basis of the production was the difference between the background and experiences of the two co-directors, Tung-Yen Chou and Attrill:[41]

Yen, based in Taiwan and coming from a background of film and theatre, is creating highly visual and technical work. Edwin, based in Adelaide, is creating community-based and participatory storytelling projects with a focus on social justice.

The performance explored themes such as queer hook-up culture, identities of gay men and their relationship with technology. Community members were integral to the performances, sharing their own experiences alongside the professional actors in the work.[40] Co-director Edwin Kemp Attrill said:[42]

The performance asks the audience to use their phones to answer questions anonymously, in that way we have made a representation of the internet within the theatre, where everyone is able to comment and contribute to the show. It keeps the audience active, but it also asks them to reflect on their own experiences, even if they haven’t used dating or hook-up apps before, they're still able to reflect on the way that the online world has affected their lives.

In 2020, when the state was under COVID pandemic restrictions, ActNow Theatre partnered with State Theatre Company of South Australia (STCSA) to create Decameron 2.0,[43] a project inspired by 14th-century Italian writer Giovanni Boccaccio's Decameron.[44] The original novellas encompassed 100 stories told by 10 young people and their servants who fled to the countryside of Florence, Italy, to escape the Plague. In Decameron 2.0, 100 stories of contemporary South Australian characters were commissioned and filmed over 10 weeks in Adelaide, and streamed between 10 July 2020 and 11 September 2020.[45] It was possibly the largest new work from theatre-makers globally in response to the COVID-19 pandemic [46] and was described as " a COVID-19 masterpiece which one dares to assert remains unparalleled in the world".[47]

The process of creating Decameron 2.0 consisted of a meeting each week between 10 writers, including five core writers: Alexis West, Ben Brooker, Emily Steel, Alex Vickery-Howe, and Sally Hardy;[48] and five guest or community-based writers. In each week's meeting they would be given a theme such as fortune, fate, love and virtue.[49] Each writer had one day to write it, then it was filmed and edited and delivered digitally at the end of that week.[50]

The project received significant praise for its involvement of diverse stories and storytellers, including cultural diversity, sexuality, disability, age and professional status. Of the core writers Alexis West is a First Nations artist, and was joined by two emerging First Nations writers Kiara Milera and Kyron Weetra, who alternated each week.[51] These monologues by First Nations writers included West’s Teahrnah, played by Elaine Crombie, about a mother being pulled over by the police while driving to the supermarket, making references to the murder of George Floyd with the line "I can't breathe".[52]

Other artists involved in Decameron 2.0 included Mitchell Butel (artistic director of STCSA), Elena Carapetis, Yasmin Gurreeboo, Teddy Hodgeman, Matt Hyde, Trevor Jamieson, Carmel Johnson, Phillip Kavanagh, Edwin Kemp Attrill, Finegan Kruckemeyer, Jack Buckskin, Anna Steen, Verity Laughton, Martha Lott, Sarah Peters, Jacqy Phillips, Susan Prior, Rory Walker, and Manal Younus.[53]