Case Study: Oedipus Schmoedipus
Post showcased Oedipus Schmoedipus as part of the 2016 APAM Official Program.
Since presenting at APAM 2016, the work has toured to Santiago Chile, will kick off an extensive national tour right after APAM 2018, and has further international presentations at invitation or discussion stage.
“The indirect benefits (of APAM) in terms of building long term relationships and opportunities are real, but often hard to quantify.”
“Being seen by other artists and producers can be just as important as being seen by ‘buyers’, as word gets around - and if people can’t get to the market, they ask a colleague who did.”
“When we started putting serious effort into developing a tour, we found that some of the regional presenters who came on board, had already heard a good word from their city colleagues who’d seen our show at APAM.”
Since APAM 2016:
- Upcoming season at GAM Santiago, Chile, Nov 2017 (confirmed & funded)
- Upcoming national Australian tour, Feb-April 2018, visiting: Mandurah PAC, Canberra Theatre Centre Playhouse, Casula Powerhouse, Portland Arts Centre, Sir Robert Helpmann Theatre, Mount Gambier, Lighthouse Theatre Warrnambool, Theatre North (Princess Theatre) Launceston & Theatre Royal, Hobart 2018
- Upcoming season of a Cantonese language version, performed by two Hong Kong performers directed by post, opening the International Black Box Festival, Hong Kong, presented by Hong Kong Repertory Theatre & West Kowloon Cultural District Authority, October 2018
- Interest from Taiwan for 2019 (in discussion)
About Oedipus Schmoedipus
(APAM 2018 Showcase)
Death – it belongs to everyone!
Oedipus Schmoedipus takes the all-time greatest plays, picks out the death scenes, mixes them together and hands them back to the people. After all, death belongs to everyone.
For this mammoth undertaking of gore, laments, requiems and war cries, Australia’s silliest/smartest theatre makers, post, are joined by 25 volunteers – a new cast rehearsed fresh for each performance.
Cunningly and cleverly carried off, Oedipus Schmoedipus is a democratic theatrical extravaganza 2,500 years in the making.
Fed up with white men staging the deaths of white men in plays written by white men, the white ladies of post have pirated the classics to confront the great unknown. This is their bid for theatre history – either to join it, or wreck it.
Straddling live art, theatre and contemporary performance practices, post (Nat, Zoe and Mish) are described as ‘hybrid’, but prefer ‘genre-queer’.
They rose through the ranks of experimental venues and exploded onto the mainstream with productions including Oedipus Schmoedipus and Ich Nibber Dibber (Sydney Festival 2017, look out for Melbourne season in 2018)
Post’s work is joyful and dark, stupid and smart.
They take being silly very seriously, and have a real commitment to innovation. Their deep irreverence for the institution of theatre and deep reverence for the magic moment of the liveness it houses has amused, bemused and probably annoyed audiences for the past ten years.
For more information on post or touring opportunities for Oedipus Schmoedipus please contact:
Harley Stumm | Producer
Mobile: +61 041 133 0654 | Email: firstname.lastname@example.org