Former Prime Minister Gough Whitlam once said that a healthy artistic climate does not depend solely on the supremely gifted. ‘It demands that everyday work, run-of-the-mill work, esoteric and unpopular work should be given a chance.’
Liz Jones has been the artistic director and CEO of La Mama theatre for over 40 years and her knowledge of the sector is unparalleled. In this Lunchbox/Soapbox, she takes Gough’s words to heart and argues that the work of smaller outfits like La Mama is just as important as that of the high profile companies in shaping our theatre culture and developing talent.
Regardless of its merit, all artistic endeavour is worthy and should be encouraged, irrespective of government support. As Gough would say, ‘The pursuit of excellence is a proper goal, but it is not the race itself.’
Featuring
Liz Jones
Liz Jones has been artistic director/administrator of La Mama Theatre in Carlton since 1976; she has worked there, as an artist and staff member, since 1973.
As a performing artist, Liz has worked with the experimental ensemble led by Lloyd Jones continuously since 1973. She has also worked extensively with a number of directors and ensembles, including David Pledger and NYID, Margaret Cameron and Aphids, Rachel Maza and Isaac Dranic with Ilbijerri indigeneous Theatrec Company, Ebmma Valente and The Rabble and in 2014 with Bagryana Popov in the Uncle Vanya Avoca Project.
Liz was a peer committee member on the Australia Council for three years. She has served on numerous industry and Arts Victoria committees as well as the Victoria Commissions selection panel. She is currently on the board of the Australian National Playwrights’ Centre and the Chambermade Theatre.
Liz was awarded the 1994 Kenneth Myer Medallion for the Performing Arts by the Victorian Arts Centre Trust and, in 1996, she received a Doctorate of Laws honoris causa from the Australian National University. In February 2000 she was awarded the Sidney Myer ‘Facilitator’s’ Award; in February 2001 she won the Green Room Lifetime Achievement Award. In 2002 her name was placed on the Victorian Women’s Honor Roll. In 2013 she was made an Officer of the Order of Australia.
In 1999 and 2001 she travelled to Europe, UK and US as a Churchill Fellow to study the relationship between theatre and the community in key cities.