Danielle works with young women all over the country to empower curious minds. Want to help her make more noise? We need your support to have these ideas heard around the world. Danielle’s theatre captures community identity, gives voice to new and often unprojected voices, and binds the melting pot of society together on traditional and untraditional stages.
To chat with Danielle directly, email email@example.com or call 0405 711 947.
Please note the company is NFP and all donations are tax deductible.
Theatre is traditionally end game oriented. A mastermind (director) pre-plans the framework of a show and then casts the show (actors, designers, etc) to meet the demands already laid out. What we see is a measured, carefully-managed process that isn’t breathable; there is little room for movement. Things are already locked in and the team have to roll with decisions made well before artists come on board.
The history of big ideas and innovation shows us that greatness doesn’t often come from these circumstances. The best businesses are risk takers. They venture into the unknown with a little flashlight, have a look around in uncharted territory and start meeting the demands that arise in the moment. It’s an organic process. Steve Jobs’ iPhone came about as a by-product of the touchscreen tablet (that would later became the iPad) because he followed a hunch by developing new and unseen mobile phone technology. He had an idea but no endgame and gave his team the freedom to explore; and history was made.
We also have learned from big business that when you want to find solutions to problems, a team works much more efficiently and can achieve far beyond the expectations of a few. The sum of all the parts is greater than the individual, yet in theatre we see one director’s vision encompass the majority of the creative process. It’s an unnecessary and stifling burden.
Drawing inspiration from good business, Danielle OKeefe and Company wants to apply these practices to theatre and revolutionise traditional models of theatre making.
A team of six adult and six teen performers form a company led by Danielle, where the group work together regularly in the theatre space to develop ideas. For example, the first idea employs the Little Red Riding Hood tale. Performers use Little Red Riding Hood’s story as a base point to then explore ways of using their voices, bodies and text as a vehicle to discuss the idea of women walking home alone at night. Ideas are found in the room and explored on the go. The performance is built step-by-step as each woman’s idea inspires and expands upon another until a final product is made and ready for audiences.
What exactly will be created by this idea? We don’t know, and that’s the point. It’s a risk-taking business. But history tells us it works, and Danielle has a track record of making it work with spectacular results.
Danielle OKeefe has worked in the arts industry for over 15 years with many directorial and compositional main stage projects under her belt. www.danielleokeefe.com has a full list but, briefly, Danielle has worked with Belvoir, Australian Theatre for Young People, Melbourne Festival, Circa, Outback Theatre, The Australian Institute of Performing Arts, St Martins, Merrigong Theatre Company and the NSW Department of Education. Her track record speaks to her ability to create inspiring and exemplary theatrical work.
Danielle has also been workshopping this new model of theatre-making over the past few years. She finances these new projects off her own back in between her other mainstage directing jobs. It’s now time to give her vision the resources it needs to fully realise this new path for theatre in Australia and the world. Danielle has rejected fantastic opportunities over the next few years because it’s time to break the mold and become the change she envisions.
What we want from YOU
The next year of theatre-making needs to be funded. Artists and locations need to be privately financed. Part of Danielle’s vision is to make these performances accessible for all by charging a minimal ticket price or having free admission. This means the first year of development won’t be revenue-focused but instead the goal is to allow the company a gestation period to create works that can then tour around Australia and internationally. For example, Danielle’s 2014 production of Twinkle already has producers in New Zealand and China enthusiastic to tour her show.
Your donation can be made in the form of financing one arm of the company. There are the key individuals needed to found Danielle OKeefe and Company. By choosing to finance one of these individuals or the house itself, you enable the company to work to its full first-year capacity.
The budget is password protected. Please contact Danielle to access.