Support Griffin this End of Financial Year
Griffin depends on a wide range of stakeholders to continue to produce award-winning new Australian plays and to support Australian artists. We need to continue to beat our box-office targets (which we did for every play in the last financial year), we need the valued support of the Australia Council for the Arts and Create NSW, we need our incredible sponsors, and we need you – more than ever before.
Philanthropy and Sponsorship are now responsible for over 30% of our annual revenue.
That’s an extraordinary statistic – it’s intensely gratifying to know how many people believe in the work we do, and it confers an awesome responsibility, because we need to live up to the trust you’ve placed in us.
Together we’ve achieved incredible things. Over the past year, across five new works in our Main Stage, two special events and three independent plays we’ve seen 112 artists working on productions for the Griffin stage. We’ve run two playwriting prizes, fostered another successful year of the Griffin Studio, run a rewarding Ambassadors program for 72 school students and collaborated with 7 different theatre companies.
What stood out for me was the extraordinary diversity of stories that have graced the Stables stage this year. From a dystopic near-future where Benedict Andrew’s Gloria slowly unravelled, to the Kafkaesque world of A Strategic Plan, from the harrowing juxtaposition of indigenous and refugees’ stories in Tribunal, to the poignant and insightful testimony of former Studio Artist, David Williams, in A Smurf in Wanderland.
I can’t have favourites (that I’m allowed to tell you), but I’d invite you to pick a moment that resonated for you. Kate Mulvany upside down in her chair in Justin Fleming’s The Literati. Simon Corfield wearing a dish of mashed potato in The Homosexuals. Sheridan Harbridge’s inspired duet with Tommy Bradson in Nosferatutu. Briallen Clarke’s performance review of Justin Smith at the RMS in A Strategic Plan. Marta Dusseldorp’s haunting monologue at the end of Act 1 of Gloria. Belinda Giblin watching Sydney slip beneath the waves in The Turquoise Elephant. Matt Day’s guitar solo. Everything that Declan Greene writes.
With your help we can continue to give Australian writers the opportunities they deserve, support our emerging artists and bring vital Australian stories to the stage.
Lee Lewis, Artistic Director