A Note from Khym, 28 November

28.11.24

Dear Grif-friend,

I’m currently sitting in the foyer of Carriageworks (our presenting venue partner for Ellen van Neerven’s swim earlier this year) getting ready to attend the latest Longhouse: Works in Progress by Contemporary Asian Australian Performance (CAAP).

Sharing in the incubation period of five new works showcasing Asian Australian voices is something pretty special. This echoes my excitement that we get to work with Michelle Lim Davidson for her 2025 show, Koreaboo. The first Longhouse I attended was in 2017 and it’s incredible to see how far this idea has come and how many artists have now taken part and then developed their work through to presentation. I’m also salivating at the prospect of post-event catering by celebrity chef Heather Jeong—because, of course, a gathering of community must have food.

Speaking of amplifying Asian Australian voices, this week we’re celebrating the final few performances of Golden Blood in Melbourne at Arts Centre Melbourne. This five-star production has just passed the incredible milestone of 100 performances for superstars Merlynn Tong and Charles Wu since its premiere in the SBW Stables Theatre in 2022, directed by CAAP Artistic Director Tessa Leong. I think of all the people who have gotten to see Merlynn’s generous storytelling over those 100 performances, at the Stables, at Sydney Theatre Company, and now at Melbourne Theatre Company. It means so much to Griffin that we can continue to take Australian stories from their original season in the Stables and extend that community far and wide. 

While there are a huge number of factors in creating a special return season of a Griffin production, we are always listening to our first audiences. We hear your excitement in the foyer, your very intelligent three-word reviews, and your determination to get a last-minute ticket when a season sells out. We also love hearing the thrill of when you get to say—‘I saw the original!’ We’re proud of every playwright, performer and artist who form Griffin’s community, and you just never know when we’re going to be debuting the career of the next Cate Blanchett, Tommy Murphy, Meyne Wyatt or Merlynn Tong.

Community is fundamental to theatre. I see it in the design process, with artists coming together to create magic in response to a shared idea. I see it in the rehearsal room, where a group of people (many of whom are usually meeting for the first time) do something akin to playing together in group-therapy for a month. I see it in the engagement with the audiences that a playwright has written their work for, so everyone can see their stories told. And I see it in our theatre, when a hundred-odd strangers meet at the same time and place, and share in the ephemeral experience of attending a live performance together. 

Your best (and most affordable) way to be in the room is to join our community and subscribe to Griffin 2025. While you’re tossing up whether to get an air conditioner or an air fryer during the Black Friday/Cyber Monday sales this weekend, remember that a subscription to Griffin is just like buying individual tickets on sale. We’re bringing you another season of big ideas and intimate stories, because we’re part of a warm community of our presenting partners next—Seymour Centre, Belvoir St Theatre, Sydney Theatre Company, and Old Fitz Theatre.

We can’t wait for you to join us.

Khym x

Khym Scott
General Manager