From performing in a play in Redfern, to writing and staging her own musicals, Rosie Meader is scaling heights in theatre and music.
You graduated from Newtown High School of the Performing Arts in 2018, which was also when you released your third CD. What were you doing musically and theatrically between graduation and when Covid hit in 2020?
Since graduating from Newtown High School in 2018, I have had the chance to pursue my passion for music, theatre and art through extensive projects and endeavours. In 2019, I graduated from the Talent Development Project , an excellent program directed by Peter Cousins that guides young artists through developing their craft. Through the program, I was greatly encouraged to write my own material, and I fell in love with doing it. In 2020, I graduated from Brent Street’s Musical Theatre Diploma course, a remarkable experience. I am forever grateful for everything my incredible mentors taught me throughout my course.
Coming out of full-time training, I knew I wanted to continue on the journey of creating and producing my own work. During my year at Brent Street, I composed my first one-act musical entitled Everybody Loves A Wedding (music and lyrics by Rosie and Paul Meader). I was very eager to get this comedy in front of audiences. Together with a self-formed independent theatrical production team (Business Productions Theatre Company), we rehearsed and workshopped the musical.
Our opening night was June 26, 2021, and we had a limited season of shows to follow … but then lockdown hit, which turned our opening night into our closing night. This was a devastating turn of events and was utterly unforeseen. But with emotions so high, it was an extraordinary night. I am eternally grateful for the team at the Giant Dwarf Theatre and the excellent cast I shared the stage with for making one of my life’s most beautiful and memorable nights.
The following morning I woke up and knew I had to distract myself, so I started writing Spitfire Girls The Musical, a theatrical piece based on the inspiring true story of young female pilots during WW2. This concept had been sitting in my brain for a couple of years. Since then, Spitfire Girls The Musical has given me opportunities beyond my wildest dreams. This includes the honour of receiving the inaugural Brent Street Artists Fund of $20,000, which is going towards producing an upcoming 10-day workshop of the musical in early July 2022, with a team of incredible creatives and an entire cast. I am beyond excited about this and forever grateful for the opportunity.
How did Covid lockdowns and reduced funding for the arts affect your goals for artistic development?
Covid had a devastating effect on me personally as well as the entire arts industry as a whole. It caused my first musical to prematurely close and forced the cancellation of many other projects and performances I had lined up for those three months in lockdown. The theatre where our show was produced, The Giant Dwarf Theatre, closed after our show and has unfortunately been unable to reopen. Covid has caused numerous venues to shut down, which is particularly devastating as Sydney is already quite starved of these smaller independent theatres where young artists can find their feet and produce their work. But like anything, there were also positive things to be found in the months locked down. It gave me and many others the space to be creative and the time to work on projects they would otherwise not have been able to. During the lockdown, I was able to write the first draft of Spitfire Girls The Musical, as well as many other creative endeavours.
What was it like to perform at the Actor’s Pulse Theatre in Redfern in a play inspired by Natascha Kampusch who was abducted and held in a cellar for more than eight years?
I have been lucky enough to be a part of Amber Spooner’s new original play, The Various Methods of Escape, directed by Liviu Monsted. The performance ran from Tuesday June 28 till the July 2, 2022. I am beyond excited to bring this gripping and powerful story to audiences. One of my favourite things about being an actor is the opportunity to delve into different people’s lives and approach their situations with empathy. To gain an understanding of such a powerful story has been an absolute privilege, and I feel honoured that I can act as a small part of sharing these experiences with audiences.
In June you staged your new musical comedy Everybody Loves a Wedding at the Flight Path Theatre in Marrickville. You and Paul Meader (your dad) wrote the music and lyrics. What inspired you?
Everybody Loves A Wedding was sparked from years of watching marriage celebrations from the bandstand. I have performed at countless nuptials with my dad and brother in our family jazz trio. One of my favourite things is to observe the contrast between the joy-filled guests and the stress-filled staff. While the day is nothing but bliss, love and bubbles for the wedding party, it is all anxiety, panic and drama for the workers. But, of course, the latter covers the chaos with customer service smiles.
I loved the idea of giving an audience a front-row seat into the behind-the-scenes of a wedding. I also wanted to provide the “nameless” staff with character and heart and to create a musical celebrating the beauty of love and hope. The music written by me and my father, Paul Meader, was an absolute pleasure to develop. Once the characters were brought to life on the page, our imagination was immediately ignited as we figured out what genre, feel and sounds embody each personality of the characters created. Each character told us precisely what music they would express, from grungy rock to piano ballads, samba to pop.
What was it like to be the musical director and to play the role of Hope in the show? And how happy were you with the show’s reception?
Playing Hope and being the musical director of Everybody Loves A Wedding was such a unique and life-altering experience. I have learnt many different things, particularly the business side of getting an original musical off its feet. I have learnt the power of trusting my instincts, collaborating, and allowing the best idea in the room to win. I was thrilled with the reception of the show. We had a sold-out show for our closing night, which was a remarkable achievement for our team; we were honoured. Coming out of the dreariness of the last couple of years, I genuinely believe people are seeking joy and fun. The thrill of being in a room buzzing with laughter, joy and excitement was true magic.
In March you were awarded $20,000 from the Brent Street Artists Fund to develop Spitfire Girls The Musical. Where is this up to?
Spitfire Girls The Musical shares an untold story of remarkable female fortitude, and I believe it should be shared with future generations. The young female perspective on war is a subject that has not been explored in the way it deserves. Through this interpretation, modern audiences can hear the stories of people who previously haven’t had a voice. Spitfire Girls The Musical will inspire, empower and move audiences, leaving them with the belief that even the unimaginable is possible. To remember these women is to remember their courage, and in remembering their courage, we can find our own.
The story was sparked after seeing a beautiful black and white photo of a young woman standing in front of an aircraft. She looked both elegant and bad-ass at the same time. From her clothes, I knew this photo must be from the ’40s, but I didn’t realise women were flying planes at this time in history. I clicked on the image and two hours later emerged from reading one of the most profound and inspiring stories I have read. I knew I wanted to write this story and share it with as many people as possible.
You are part of a new and upcoming theatrical company called Business Productions Theatre Company, formed to bring new Australian theatre works to the stage. Why is this new company important?
Business Productions comprises a collection of young artists who wish to share new original Australian work with wider audiences. It is important to us to share our stories with audiences and give young artists a platform for original theatre. As stated by our team, “Our goal is to breathe new life into the Australian Theatre Industry by giving young individuals a platform to workshop and produce their creative pieces for audiences. We provide a space that encourages collaboration; as a collective, we work together to create new and exciting productions”.
What would you say to other young artists about self-determination and cooperative effort as they launch their artistic careers?
I have been so fortunate with all the opportunities that have been given to me. I am eternally grateful to my many mentors who inspire me daily. Quite early on, I was told to write my own work. I was told: If there is a story you really want to tell and you can’t see it being told, write it yourself. If there is a character you really want to play and you can’t see an opportunity to play it, write it yourself. I have taken those words and run with them. So, my advice to anyone who wishes to pursue art, music, and creativity is to go for it and don’t stop!
