Theatre has taken a more prominent role in this year’s Sydney Writers’ Festival with a number of sessions dedicated to the craft of theatre and its role within the broader writing landscape. With many of the most accomplished playwrights in Australia on this year’s program, it was only a positive for the festival and for Australia’s arts scene, which is continuing to grow and blossom. 

Early in the festival, the State Theatre welcomed Daniel Hahn to discuss his book The Unlikely Art of Shakespeare in Translation, which explored translations of Shakespeare around the world and the process behind them. It was a fascinating talk, with Hahn examining how some languages naturally lend themselves more easily to Shakespeare than modern English does (for example, he explained that French can often translate Shakespeare more naturally into modern French than into contemporary English). He also explored the process of translation itself and the importance of translating the rhythm and melody of lines rather than simply the literal words on the page, which is why there are so many different translations of Shakespeare.

This was particularly interesting in the context of theatre more broadly because so much can be lost in translation when plays and musicals are adapted into another language. In some ways, this helps explain why many musicals from non-English-speaking countries have struggled once translated into English, with even blockbuster productions like Notre-Dame de Paris failing to connect in English-language productions. It was a great way to begin the festival and proved both informative and engaging.

Another standout session was Theatre Kids, moderated by Victoria Falconer and featuring S. Shakthidharan, Zoe Terakes and George Kemp. One of the highlights of the panel came when Falconer accompanied readings from each of the texts on violin. Each panellist discussed how theatre had influenced their writing, with Shakthidharan’s memoir proving especially poignant.

The other major theatre-focused session on display was Flip the Script, hosted by Jo Dyer and featuring Lally Katz, Suzie Miller and Sofi Oksanen. It was an engaging discussion that covered a wide range of issues, including the differing writing processes of the three artists, with some particularly strong exchanges between the panel. It was both a great and highly informative session for anyone interested in the craft of theatre, with three acclaimed writers sharing insights into their creative process.

Among the more exciting revelations from the sessions I attended was the suggestion from Falconer that the award-winning Counting and Cracking may soon return to Australia. Hopefully that proves true, because it remains the best play I have ever seen and is one of the shining lights on the Australian theatre scene over the past 20 years or so. It is encouraging to see the Sydney Writers’ Festival branching further into theatre, and one can only hope this continues in future years.

Photo credit: Jacquie Manning