Kicking off our first Passionate Pathways feature for 2019 is pocket rocket, Betiel Beyin. At age 19, she’s already written a script performed by WEYA’s Wyndham Edge crew, created and filmed two episodes of her original web series, and received the Young Performers Residency at Phoenix Youth Hub.
Betiel started from a young age, performing in school musicals, and writing her own short stories since Grade 10. Unlike other teenagers who read books, Betiel read screenplays to grasp what scripts looked like for movies and plays. She would visualise scenes and write stories with her friends in mind. “My friends are super funny and when I write things I always write for them and wonder if they’ll laugh and think it’s cool, especially my sister, I bounce off ideas with her.”
After high school, she started a course in Business and quickly realised that she was more interested to explore what the arts had to offer. She joined WEYA’s Wyndham Edge shortly after putting her studies on hold, allowing her to continue working on her passion for writing, and also found a new appreciation for improvisation. “I enjoyed the games during each workshop and being a part of the process of improvisation and curating scenes to create something; the end result was very cool,” she recalls.
Betiel confesses she prefers writing comedies and talks about how she injected her own style into the play TIG, a satirical adaptation of Antigone, where people of colour had privilege. “When I think about theatre, I think dramatic. But it’s not me, so I tried to put comedic aspects to TIG, although the outline of the story was very serious.”
Outside of WEYA, Betiel is currently working on her web series, I Can’t Even (working title), a hilariously relatable story featuring two female friends.
“I feel like a lot of coming of age stories of girls are about romance and love. But when I was in high school that was never a big aspect of my life. You see boys’ stories, they’re never about the girl, they’re about their relationship with their dad or being good at sport; romantic relationships usually come secondary. But with girls’ narratives, relationships always come first, so when I saw that, I decided I don’t want to go down that road.”
I ask her what or who her inspirations are, and she names influential women “who do big things” – Issa Rae who created comedy web series, Awkward Black Girl, Beyoncé and Princess Diana. She also mentions women in her personal life who are involved in multiple projects as big inspirations.
Betiel’s dream is to release her web series on a big platform, like ABC iView, as well as collaborate with other creatives, producers and writers and perhaps work on a TV show. However, she recognises the hard work that is required to achieve her goals, and says she writes every day to keep her creative juices flowing. She also hopes to be a part of film festivals later in the year and to apply to a few more artist residencies.
“The best advice I got was from Sancia Robinson (actress), she came to one of my readings and said that the majority of the people who have made it, 80% was down to hard work and effort; that really put it in perspective for me,” she said.
Betiel wraps up our conversation perfectly by stating how ambitious she feels this year. She looks back at her achievements and says that she’s grown to become more aware of what she wants and doesn’t want to create.
What an inspiration, we can’t wait to see what Betiel has in store for us.
We asked Amarachi Okorom, WEYA emerging artist and participant of our Up Next masterclass series, which her favourite session was and what she learnt from it. Here’s what she had to say –Decolonising theatre. I could just end it right there and it would describe the masterclass perfectly. However, I will say I was blown away by how open and raw we got to be. I’ve been excited for Candy’s workshop from the moment the line-up got announced, and to say it exceeded my expectations would be an understatement. At the start of the class, we introduced ourselves and also said the name of the women who helped shape us. I found that amazing. She mentioned that our last names usually only recognise the male figures so it felt good to pay my respects to my mother and grandmother.I loved being able to speak my truth without feeling the need to censor it. Honestly, the process of decolonisation is not an easy one, but we’ve always got to remember to look after ourselves as well.“Decolonise and moisturise”
Karima Madut is a Kenyan-born Sudanese actress, musician and aspiring writer who grew up in New Zealand. She moved to Melbourne three years ago as a young independent woman and spent her first two years building a foundation for herself. She worked full-time in a marketing agency while she developed her artistic skills at Melbourne acting studio, 16th Street. Struggling to juggle the two, she decided to choose between giving her all to a corporate life or pursuing her dreams of becoming an artist. “It was a really hard decision,” she recalls, “I had to choose if I wanted financial stability and unhappiness, or to be happy and deal with the sacrifices that come with that.” She made the call to leave her job, and picked up the phone to join Western Edge Youth Arts.
Having grown up in a village in Kenya, she was inspired by the prominent dance and music culture from age four. “Every Sunday there were performances where they wore traditional attire and face paint, and I loved the catharsis of that. For a second you’re not aware that you’re a physical being, you’re just an energy moving around.” After witnessing the performers’ ability to be free in that moment, she begged her mother to allow her to be a part of the church choir in Kenya.
She continued performing in school productions, professional gigs and short films in New Zealand. However, after moving to Melbourne, she put her dreams on the back burner and felt that she eventually started to lose sight of why she decided to move. “I think my mistake at the time, was thinking that things needed to be perfect in my life before I could pursue the arts, whereas now, I think the imperfections feed into your art.” Although she has regrets of not being more involved in the arts for a couple years, she sees the positives of taking a hiatus from the scene to grow as an individual and develop her skills. “I feel really ready now to work as an artist. I want to be working in big theatres here, in the States, in Broadway and doing movies in L.A.,” she said.
When asked about a significant achievement, she talked about her very first senior school production in New Zealand, Wednesday to Come, where she played the lead role. “I actually felt that a lot of people didn’t think I deserved the role because it was a Caucasian role, but I got it and even got an Excellence for it,” she laughs. “It just proves that there needs to be more colour-blind casting.” It was through this experience she started taking school more seriously and started to think “somebody actually believes in me.” She believes that the encouragement she received from being in Wednesday to Come went a long way and is grateful her teachers gave her that initial nudge.
Karima also talks about being the first female African cast member of Shortland Street, a New Zealand based soap opera, as one of her proudest moments. She mentions that sometimes she forgets the things she’s already achieved, including moving to Melbourne on her own.
When Karima is not acting, she’s passionate about making and sharing music. Having been an integral member of a rock band that toured around New Zealand and Australia, she’s inspired to work on her solo album, and also to showcase other local talents through organising music events; Garden Sounds of Eden and Sycamore Sessions. Karima also finds interest in writing songs and poetry, and is currently working on WEYA’s Antigone, where she helps develop the script as part of the Geelong Edge ensemble. “I love writing, but I never thought I could write a script and I’d like to explore that more. At WEYA, we devise our own plays and it’s beautiful to be inspired by your own stories.”
Karima talks about the significance of discussing themes, such as racism and war, in productions, but also acknowledges its challenges. “(The stories are) so relevant to today and it’s important to bring them to people who might not be aware, and to those who are affected by them, so that they know there are people who are going through the same thing.” She recalls being a part of A Thousand Hills in New Zealand, a play that was about the Rwandan genocide, “it was a tragic and a beautiful story and there were a lot of moments where I imagined the civil war that is still going on in Sudan, and my family ending up in Kenya.” As a young performer, she has grown to understand the importance of distinguishing the difference between acting and real life, and “not to blur the lines.”
Having been in professional productions, I ask her if she has any advice to aspiring actors like her, she says, “you have to take a chance, what I’m discovering is, as much as we get insecure, I think for the most part, people always want you to win and you do see that when someone gets on stage, they don’t discriminate.” She believes that at the end of the day audiences want to be entertained and see great performances. “I used to get really insecure, but then I stopped caring and started to do it for my own enjoyment and to have fun.”
Reflecting she says, “I thought acting was a path to get somewhere, success or whatever it is, but now I see performing as a way of life and choose to do it every day.” Another crucial element that drives her, she says, is having teachers. “They change your life and your perspectives. Having the humility to know that you’re still developing and no matter what stage you’re at or how successful you are, there’s always room to grow and you should always always be learning.”
We look forward to seeing Karima play Antigone along with the rest of the Geelong Edge ensemble this November. Keep your eyes peeled for show updates!
Article written by Gayathri K, Western Edge Youth Arts.
We are delighted that the Sidney Myer Fund will be supporting our flagship ensemble of culturally diverse emerging artists, The Edge Ensemble, to develop a new work and perform over the next three years. The Edge Ensemble project gives WEYA participants, that have graduated from our in-school and community youth theatre projects, the opportunity to be at the centre of creating original Australian works and to perform these in professional theatres to audiences outside their communities.
Thank you to the Sidney Myer Trustees for this amazing support.
Western Edge Youth Arts’s community youth theatre project in St Albans has been chosen for the Be Bold Residency at St Albans Community Centre.
The 2018 Be Bold Performance Residency Program: A creative space to be bold will provide opportunities to undertake process-driven arts practice and risk taking in making new, contemporary performance work for the Bowery Theatre, as well as interdisciplinary collaborations with or for the local community. Western Edge Youth Arts will present a new theatrical performance with a local youth ensemble of 16 young people, St Albans Edge Theatre, at the Bowery Theatre in November 2018. The work will be generated and shaped by the ensemble’s experiences, cultures, histories and hopes over a five-month development process.
Congratulations to Outer Urban Projects and Vaiusu who’s projects were also chosen for the residency.
WEYA welcomes three new board members to the team. Vincent Shin, Vanessa O’Neill and Sherry-Rose Bih. They join our continuing board members Jock Jefferies, Susan Russell, Nikita Gossain, Mary Musolino and Irena Baric who we thank for their ongoing commitment and hard work supporting WEYA’s ongoing development as a leading youth arts organisation creating innovative theatre with young people from diverse backgrounds.
We are excited to announce the appointment of Penny Harpham as Associate Director of WEYA. Penny worked with WEYA last year as a Teaching Artist, in her new role she will be directing Caliban, and leading projects in St Albans and Footscray.
Penny brings a wealth of experience to the company. She is the co-founder and co-Artistic director of celebrated independent theatre company She Said Theatre. Her qualifications include a Post Graduate in Performance Creation – Directing from VCA where she was awarded the Barbara Manning Scholarship for Excellence and the Global Ateilier Scholarship for Overseas Travel. She has won multiple awards for her independent work as a director and has worked with some of Australia’s leading arts organisations and independent theatre ensembles, as well as having worked extensively with children and young people. See her bio on our website for more detail.
WEYA is proud to announce that the Geelong Edge Ensemble have been announced as Semi-Finalists of the Victorian Government Group Achievement in the Community Award, which forms part of the 2018 Victorian Young Achiever Awards for their work throughout 2017.
North Geelong Edge is a new group of young people from many different cultural backgrounds meeting at Diversitat’s Northern Hub in Norlane. This vibrant group of young people aged 16+ is preparing a new street performance for Geelong After Dark in May. The work is a comedy based on folk stories from the diverse cultures of the participants.
Dave Kelman, WEYA’s Artistic Director says, ‘This work builds on our outreach work at North Geelong Secondary College. It’s really exciting and fresh. It’s youth-led and the participants are bringing their languages, cultures, movement and humour to the work. Geelong After Dark will be amazing and will lay the foundation for this project to continue to grow and develop.’
The WEYA show that wowed audiences at the Coopers Malthouse in 2016, is about to be remounted for a tour of Victoria in May. Under the Direction of WEYA’s new Associate Director, Penny Harpham, with a largely fresh cast and writer Georgia Symons back to support an evolution of the script, this iteration of Caliban will take the battle ground of global climate politics to new audiences.
Caliban will tour to Drysdale, Shepparton, Wyndham, St Albans, Narre Warren, Sale and Mildura between 14 – 31 May 2018. Full details and booking links available here.
The show is listed on the VCE Drama Playlist, and will be studied by year 11 and 12 students as an example of innovative and excellent home grown Victorian theatre.
The tour has been made possible with the support of Australia Council for the Arts, Creative Victoria and the Besen Family Foundation.