Melbourne Theater Awards Night was an eccentric, apocalyptic journey

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The Contemporary and Experimental Performances panel published only a shortlist of finalists and invented several special awards, including the ‘Make the Impossible’ award for the 2020 digital iterations of Melbourne Fringe. Blockade.

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Melbourne Fringe also offered more than a choice of digital transit for the consideration of cabaret and independent theater committees. The price of the cabaret was wiped out by the talent of the comedy Louwall Musical Lucique, Another Fringe Show, Cheryl Ho Go home, Won the best performers and productions in the independent theater category.

Still overall, the picking was so thin it made me want to think the dance and opera panels did well in refusing to hand out gongs in 2020.

Either way, the streaming ceremony has reached a new level of boredom this year. Placed under the flag of “Art Doco”, the event was hijacked by the head of the panel and questioned about their decision-making process. It is not always exciting. And as the judges handed out the Clayton Prizes for Advocacy, Artist-Led Actions, and even “work that didn’t happen,” there was something like a newly stuck koala stamp.

The only exception was the announcement of the Lifetime Achievement Award for director Rachel Maza and broadcaster Richard Watts. It’s a decision no one can fault, and it’s a sign of the importance of community leaders in reviving the performing arts sector and rethinking its future.

Melbourne Theater Awards Night was an eccentric, apocalyptic journey

Melbourne Theater Awards Night was an eccentric, apocalyptic journey

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