The Cracked Pot was the result of a long development process.
A mixed group of queer identifying people living with disability started doing some regular workshops with artists. I ran writing and improvisation workshops along with other artists such as Amethyst DeWilde, Dan Daw, Mij Tanith, Margie Fischer, running sessions on movement, storytelling, singing . Much like Up Front Community Theatre in however things have changed since the 1990’s. One of the things I think of when I reflect on the process of this particular show is how deceptive, cliquey and ego based ‘creatives’ seem to get away with some very poor behaviours in certain nooks and crannies.
“If you can get a particular Australia Council favourite on your application you have a better chance of getting the funding,” is presented as the ‘reality’.
Because I have spent so much time working face to face with real people I get affronted when my expertise is passed over because I’m not gender of the decade or Australia Council peer-group approved. The process of creating The Cracked Pot was fun to a point but once the professionals came in and made it all about themselves it became a process to endure of greater complexity for me.
I shifted roles from being a peer support person to being a tutor and then ultimately a cast member in a show. For me it was a process show that I enjoyed but there were some silly clashes between people that were based on personality rather than anything; I tried to keep my head down as much as I could. I think the public responses were very positive. It was a very intimate and optionally interactive show.