He is the artistic director who knows how to bring the wow factor to theatre audiences, championing the new, confronting taboos. But, right now, there is a problem.
The Malthouse Theatre’s co-CEO and artistic director has been in the game for more than two decades, forming his own company in Perth in 2002. He’s directed theatre and opera, big shows and small, endured the global financial crisis and came through COVID lockdowns.So what does he think of the current theatrical environment?
Embla is a sharing sort of place, with much of its menu cooked over fire in the open kitchen. The best spots in the house are at the bar watching the alchemical masters work their magic, but today we’ve opted for a quiet booth better suited for conversation . Some small dishes arrive, chicken skin flutes that we hold and eat like tacos, if tacos were crisp, perfectly briny, creamy marvels. The blue eye is almost too pretty to dig into, a spiral of overlapping petals of charred fish and perfect mushroom slices.Lutton points to recent successful Melbourne runs of commercial drama likeas evidence of what is selling well in Melbourne’s current theatrical scene.
“What’s in my mind is, do I think it’s going to have that immediate connection for audiences that will make them want to see the show? Is it unique to the Malthouse? Is it something that I feel that you’re not going to see elsewhere, which actually is really important … And are we actually going to be able to realise this in a way that is going to blow people’s brains?”
“We tried to come up with, well, what can we do with 60 people that is conceived for 60 people when that’s the asset? And that led us to immersive theatre. It was really ambitious, as I sort of thought that if we’re going to do this, part of the joy of it is that you get lost, that it has to be able to scale where you feel like you don’t know where you are. It’s an open world that you’re exploring.”set in a 1980s Australian logging town.
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