Since 2002 Red Stitch has emerged as one of Australia's most successful independent theatre companies, unique in its ensemble structure, managed and staffed largely by the actors, with a core team of dedicated technical and design crew.

Our mission is to create a professional and truly modern theatre company that specialises in groundbreaking contemporary dramatic texts rarely given the opportunity to be seen by local audiences, employing the talents of some of the best local practitioners and incorporating a diverse range of voices, approaches and styles in production.

There is no other company in Victoria producing the type, range, and volume of theatrical program offered by Red Stitch in its annual season of eight contemporary plays. The company's output is distinct from the other theatre companies operating in Melbourne owing to its exclusive focus on cutting-edge, contemporary text-based plays or adaptations, the creation of consistently high-quality productions that are exclusively generated and managed in-house by local artists, and its organisational structure as an ensemble-based theatre company.

Actor Focused

The company contributes to arts practice in Australia by emphasising the actor across a variety of styles and modes of theatre production. From the more traditional naturalistic modes to highly stylised texts the focus is always on achieving honest, committed performances and a unified, collaborative approach to the expression of the work. Many professional directors come to work at Red Stitch precisely because they are keen to develop their craft in this way.

The company upholds a commitment to excellence in performance and promotion of the craft of acting. New ensemble members are selected by an intensive audition process and are usually employed as guest actors at least once before they are then invited to join as an active member.

Ensemble based

Integral to this focus is a commitment to an ensemble based theatre company. Over time, a company of actors working together in a variety of productions develop a unique understanding and a 'shorthand' of working that is rarely possible in an environment where actor's are employed on a casual, ad hoc basis. After years of practice as an ensemble company, where work is chosen by the ensemble to suit and perhaps to challenge its available demographics, a distinct 'house style' emerges which becomes synonymous with the company. Red Stitch is noted, by both critics and audiences, for the strength of its performances and this has come about largely by the opportunity to develop and share ideas about theatrical performance as a community of actors.

Development of craft

Additionally, the regular work that a theatre company affords its actors in an industry defined by a 95+% unemployment rate is an invaluable resource. Artists need to be continually developing and refining their craft in order to remain active in their profession. Red Stitch has provided invaluable exposure and arts practice for its ensemble members and guest actors, and a number of opportunities for professional work outside the company. Some of the ensemble have developed high profile careers in the commercial theatre, film and television industries but nevertheless remain committed to working in Red Stitch productions whenever possible.

Enriching local culture

Red Stitch contributes to the development of its art form by enriching the local culture with the latest, cutting edge ideas about playwriting and performance from around the world. New plays are often sourced from the very best alternative theatres in major capitals and festival centres. The ensemble also keeps up with particular playwrights who are highly regarded by critics and audiences in smaller venues worldwide. There are many plays and playwrights uniquely suited to smaller venues such as ours rather than large, commercial venues.

Red Stitch, by selecting defining examples of the newest developments in writing for the stage internationally, allows new ideas to feed back into local practice and culture. It encourages a new audience (of any age) to experience theatre and to see it as an exciting and relevant art form, as well as introducing Australian practitioners and audiences to plays that broaden our outlook both artistically and culturally. In turn, this inspires the creation of new work and invigorates local discussion about theatre performance.

Cultural Hub

Finally, the presence of an ensemble theatre company in Victoria where the ensemble is intimately involved in the company's management and artistic policy creates a rare cultural centre and arts precinct in the inner suburban area away from the large and often inaccessible arts centres in the centre of town. Not only do companies like Red Stitch provide creative opportunities for artists in this state, they provide a genuine cultural hub where a sense of community and culture is allowed to thrive.

History

Red Stitch was established in November, 2001 by founder (and Artistic Director 2002-2004), Vincent Miller, with the aim of creating an actors' ensemble that would be independent, self-governing, and provide its members with the opportunity to produce work they truly believe in. Many outstanding contemporary plays were not being performed by mainstream theatre companies, and audiences were being deprived of the opportunity to see the work of some of the finest contemporary playwrights.

Since its foundation and its incorporation as a not-for-profit company with DGR status in 2004, Red Stitch has produced over 50 contemporary plays, almost all Australian premieres, by acclaimed writers from the UK, the USA and Europe, including Neil LaBute, Martin Crimp, Edward Albee, Paula Vogel, Richard Bean, Sarah Kane and David Greig. Two productions have toured regional Victoria while The Shape of Things toured nationally in 2007. Established actors, directors and designers who work extensively with funded companies and in film and television have been attracted to work with Red Stitch for nominal amounts because of the quality of the ensemble and its productions.

The company's artistic range has gradually widened to include the commissioning and development of new Australian plays (e.g. Red Sky Morning by Tom Holloway, 2008) and re-worked versions of classics (e.g. Hellbent, a co-venture with LuminoUS in 2006). Its artistic achievement has been recognised through critical acclaim and steady audience growth. A number of ensemble members received Victorian Green Room Panel Awards, while its production of Harvest in 2006 was awarded Best Production and Best Direction ahead of nominations from MTC, Malthouse and other Melbourne theatre companies. Red Stitch now has an established Writer-in-residence Programme, Red Stitch Writers, co-ordinated by a volunteer dramaturge while its privately-funded Graduates Programme, offering one year internship for recent graduates of VCA and Swinburne Theatre School, was launched in 2007. This program will provide new graduates with the opportunity to gain firsthand experience of all aspects of contemporary theatre operations and offer a pathway into the profession.

What sets Red Stitch apart from other theatre companies is that the ensemble of 12 actors and 3 theatre technicians own the company. The ensemble chooses the repertoire and all members are directly involved in running the company's operations. Red Stitch ensemble members undertake front of house duties for every performance. This, together with the presence of the cast in the foyer after performances, creates a rare interaction between audience and actor.

Since its inception Red Stitch has been owned, managed and operated by ensemble members. Most of the regular duties such as ticket sales, publicity, production management, set building, database management, brochure design, liaison with schools and universities, banking and cleaning have all been performed by actors from the company.

In 2006 our landlords, All Saints Church, offered to invest in a renovation of our converted hall to improve amenities for audiences and performers in return for a ten year lease. A major renovation of the theatre building took place in January-February, 2007, with subsequent improvements to the theatre floor (June, 2007) and installation of a brand new seating rostra (January, 2008) funded by private donors. Much of the installation work and fit out was done by actor's from the ensemble with help from friends in the local theatre community.

Whilst this work interrupted our regular season (we had to reduce our regular productions to 7 in 2006 and 2007) it has greatly enhanced our earning capacity and attractiveness to audiences.

Until 2004 Red Stitch was an unincorporated ensemble. The current Chairman, Anthony Adair, was asked by the ensemble to establish a legal entity to run its affairs, including the appointment of a Board of Directors. A not-for-profit membership-based company with DGR and tax-exempt status was incorporated.

In eight years Red Stitch has grown from nothing to a company producing a regular season of eight plays a year to growing audiences and critical acclaim. It produced a financial surplus each year to 2008, without recurrent public subsidy.

The current Artistic Director and ensemble actor, David Whiteley, manages the ensemble, supervises discussion on creative direction and liaises directly with the Board of Directors on company management.

Red Stitch is also very dependent on private donations and philanthropic support (22% of income in 2007) to maintain its administration. Key Organisation funding by the Australia Council in 2008 provides additional financial security and will allow the company to raise its production standards still higher.

The growth of Red Stitch shows that there is a thirst among audiences for strong, high-quality contemporary drama that is not being met by the two mainstream companies in Melbourne. Furthermore, Red Stitch's reputation for exciting, Australian premiere productions and strong performances has the potential to reach a much wider audience. With a careful and focused marketing strategy, a more efficient administration, and the ability to dedicate more resources to our productions, we feel we can preserve the unique appeal of our company while producing a steady growth in ticket sales.

Red Stitch represents a new generation of talented Australian theatre makers whose commitment to the power of live performance and exciting, Australian premiere productions will continue to enjoy growing audience support and acclaim. Approximately 50-60 artists (including 15 regular ensemble members) are employed by the company each year.

With a newly renovated and attractive inner city venue in one of Melbourne's most vital arts precincts, we aim to become a widely recognised cultural hub that fosters artistic development and broadens audience's expectations and enjoyment of contemporary theatre.

New Ventures

Since 2004 Red Stitch has also been actively pursuing script development projects within the company. In 2007, the writer-in-residence program, Red Stitch Writers, was officially launched. This initiative creates an environment where local playwrights are invited to develop their work in residence with actors from the Red Stitch ensemble and the company's dramaturge with the aim of producing new original works for the main stage Red Stitch theatre season; incorporating script workshops, invited readings and feedback sessions.

In September of 2008 Red Stitch premiered the first play to be developed as part of its writer-in-residence programme with the premiere of Tom Holloway's Red Sky Morning directed by Sam Strong.

The injection of new talent and ideas into the ensemble is encouraged with the Graduate Programme initiative in which the company selects two recent graduates to become full ensemble members for a year. In turn, graduate ensemble members are provided with invaluable production experience, media exposure and support in the important first twelve months out of their training institution. This initiative has been created in conjunction with the Victorian College of the Arts and Swinburne University, and is supported by the JT Reid Charitable Trust.

Media

'Ever since Red Stitch burst onto the scene in 2001, it has consistently produced engaging and entertaining theatre with the barest of resources, and the company must wonder what it has to do to prove its worth and longevity. The city's theatre culture will be the poorer should the dedicated team finally expire through lack of state attention.'
- Martin Ball, The Age Year in Review - Theatre (27/12/2007)

'Red Stitch has led the way - as the city's only actor's theatre. It sets exacting standards and seldom falls below them.'
- Cameron Woodhead, The Age Year in Review - Theatre (27/12/2007) 

'If you want to see the hottest and newest plays from New York or London, head down to Red Stitch HQ in East St Kilda, rather than the Arts Centre. Frankly I can't understand why every single Melbourne Theatre Company subscriber isn't beating their doors down to subscribe. '
- Chris Boyd, Herald Sun Year in Review - Theatre (26/12/2007)

'For consistency in presenting a range of interesting repertoire I would have to nominate Red Stitch [again] as the company of the year...Independent theatre has almost supplanted the mainstream.'
- Michael Magnusson, MCV Year in Review 2007

A selection of quotes from 2008 reviews follow:

'Extraordinarily energizing.It's hard to imagine the play better realised than it is in this production.Almost single-handedly Red Stitch has revived the performance of plays in Melbourne.'
- Herald Sun: 'Pool (no water)' (17/06/08)

'On the strength of the first third of the year, 2008 already rates as a great year in theatre in Melbourne certainly as an above average year. And Red Stitch has (in my rarely humble opinion) contributed two of the top 10 so far in a very strong field. This latest production, The Pain and the Itch, is right up there.'
- Herald Sun: 'The Pain and the Itch' (9/5/08)

'Wonderfully realised... a great actor's play, and the intimate ambience (and new seats) at Red Stitch make it a hit.'
- The Age: 'The Winterling' (24/3/08)

'Red Stitch has mounted a strong production, with both actors perfectly cast. Director Alex Papps achieves a fast-flowing, carefully nuanced and consistently absorbing production.'
- The Age: 'The Mercy Seat' (11/2/08)

'Play of the Year.'
-- The Sunday Age: 'Red Sky Morning' (19/09/08)