A bash comes to shove for the theatre, writes Fiona Scott-Norman.
MELBOURNE is not a city that boasts much in the way of huge iconic buildings - its heart and soul is mostly to be found in small, dark, intimate places. There's no better example than the recent overwhelming response to the call to save La Mama Theatre.
The tiny Carlton building's owner, Rose Del Monaco, died in April, and the La Mama team was faced with the daunting prospect of raising $1.3million to buy the theatre or lose it forever.
This was a patently ridiculous task for a theatre that seats 40 and focuses on nurturing new work and not making money, but since they put out the call, artistic director Liz Jones has been overwhelmed by the response. It is still $280,000 short of the total - which has to be paid by the end of this month - but more than $1million has been donated by philanthropists, state and local government, and by many hundreds of artists and members of the public.
"It's been amazing," says Jones, who has been with La Mama since 1973. "I didn't think La Mama had so much influence, I thought it was going to be very tough, but when we had two weeks to raise the deposit people raced to us with money. People we've never heard of are sending us cheques for $1000 and $5000 and saying La Mama means so much to them. It's been very affirming."
The intense level of support for the small, independent theatre space is hardly surprising. Founded 41 years ago by Betty Burstall in an abandoned silk underwear factory, La Mama is the birthplace of Australian theatre, and from David Williamson and Cate Blanchett to the most fledgling talent, there is scarcely an Australian writer, actor, director or technician who hasn't worked there. Actor Mike Bishop has lost count of the plays he's performed at La Mama since 1972 - "It's got to be around 20 shows, at least," he says - and was moved to organise a monster benefit at the Athenaeum Theatre, to be held this Monday..
"La Mama is so important, it's the only place we've got left outside the funded state theatre companies," says Bishop. "It's the theatre of roots. Writers and actors are born there, they begin their creative journeys as artists there. Everyone started there. We can't see it go under, they've got to keep their home. The spirit of La Mama is in that building."
As a rule, actors and other creatives aren't exactly cashed up, which is probably why Bishop (and co-producer Greg Carroll) have had no difficulty attracting people to perform at the benefit. The enormous line-up includes Judith Lucy, Rod Quantock, Eddie Perfect, Gerry Connolly, John Romeril, Don Bridges, Simon Palomares, Joe Dolce, George Kapiniaris, and Vulgargrad.
"I always feel powerless as an actor or a director to produce money," says Bishop. "The one thing we can do is perform, which is why I said to Maureen (La Mama's publicist), 'let's put on a show'. It's a lot of work, but the rewards are terrific. If we can fill the house we can make $40,000, which is not insignificant. We're having a silent auction, and people can also just donate."
The Federal Government has, as yet, not ponied up any support. It seems inexplicable that La Mama is not a priority, given its cultural significance. "It's a one-off opportunity for them, it's so rare," says Jones, who notes wistfully that $1.5 million was found by the Federal Government to refurbish Sydney's Belvoir St Theatre. "It's a statement of faith."
Save La Mama Big Benefit Bash at the Athenaeum Theatre, Monday, September 15, at 7.30pm. Tickets $55. Book on 1300136166 or 96501500. www.lamama.com.au