Blue by Thomas Weatherall is set to make it’s WA debut later this month and Magazine 6000 was lucky enough to interview the show’s solo performer Owen Hasluck, and beloved WA director Ian Wilkes. They discussed all things creative process and coming of age.
Owen, this is your Black Swan debut- how does it feel to be doing that in a solo show?
OH: To be honest the idea of making my Black Swan debut in a solo show for the longest time was terrifying. But I’ve come around to the idea that this is an awesome way to showcase who Owen is and that’s so, so exciting! I couldn’t think of a more challenging and amazing way to introduce myself to Black Swan!
Black Swan is keeping their lips pretty tight around the narrative of the show, what can you tell us about Mark?
OH: What I can say about Mark is he is can be relatable for a lot of people, he knows how to say things a lot of us struggle to articulate. He’s a person who is learning how to change and adapt. And he’s a person with so much love to give.
And Ian, what attracted you to working with Tom’s writing?
IW: It is a special piece we all can deeply connect to. The first time reading the Blue script I cried. It is beautifully written. It’s courageous and generous. It allows so much space for creative interpretation movement possibilities. And it has so much honesty in its emotional journey. Tom has done an incredible job pouring heart into every word.
The play has some pretty dark, and personal themes but what are you hoping audiences walk away feeling?
OH: I hope that the audience walks away with the idea that they aren’t alone. That so many people experience so many different things and we are all struggling in our own ways. And that is okay, and that it’s hard, but you can get through it, and it will get better.
Owen Hasluck.
As an actor, how do you prepare to run the full show? It must take a lot of energy.
OH: Preparing for a long run requires a lot of mental power so it’s important for me to really enjoy the things I love outside of the arts world to make me appreciate the work I get to do. In terms of acting approach, it’s about being as relaxed as possible and protecting my voice as much as I can with a lot of warming up.
As the director, what are you hoping will ring true with this work?
IW: We all struggle. We all deal with loss grief and depression at some point in our lives. I am hoping audiences gain a better understanding of how to articulate and speak about mental health without seeming or feeling the stigmas of weakness or irrelevance, especially young men. We hold in our emotions and find it difficult to express them. This show allows us all to reflect on how we communicate feelings with each other.
Well, speaking of communicating with other- How much collaboration is there behind the scenes? I imagine things could get pretty intense with one director and one actor only in the room.
IW: I am very much a collaborative director. At least I try to be. I value other voices, views and opinions when surrounded by like-minded creatives. With Blue, Owen and I are currently finding things together and the offers and creative ideas are flowing. But there comes a time when I will put on the director’s hat and shape things my way. Owen is super talented and takes direction really well. He throws himself into every idea whether it’s good, bad or ugly, things aren’t intense working one on one. We are looking after each other, especially with this one.
Would you say there’s much change in your process from some of your ‘non-conventional’ performance works to a play?
IW: I would say that my process doesn’t change regardless of the productions I’m involved in. I bring my knowledge and experience to every show, event or performance. Of course with Blue the elements are theatre-based, design, lighting, sound and space, but I use all forms and mediums as tools at my disposal.
Ian Wilkes.
That’s exciting! What do you bring in from other works to bring Blue to life?
IW: Firstly, and most importantly, I bring the understanding that we need to create a safe and comfortable space in which all involved can work. This is vital in everything I do. I do not underestimate the value of having good morale and positive energy, especially when dealing with tough subject matter that can be traumatic and triggering.
The work then benefits greatly. I have used this approach in most previous works and it’s not an easy thing to achieve. In regards to bringing Blue to life, I have many inspirational references of past shows and productions. One that I constantly draw on is “So Long Suckers” a Yirra Yaakin production I was involved in that leaned into a Samuel Beckett style and played into an absurdist nature, stillness and silence.
Ok, last question: Can either of you pinpoint a moment where you had to ‘come of age’
OH: For me I really ‘came of age’ when I took the leap of faith and moved the Sydney. I had no family and very few friends and it was a struggle for so long but it taught me so many valuable things about life and how to get through life through some tough times. It also taught me how valuable to people in my life are and how much I truly love and care for them.
IW: Golf. Golf is a great game for mental health. My family go out every now and then. I have brothers, cousins, nephews that go out for a swing and I see the healing impact it has on all of us. The first time I beat my father in a game of golf, I knew I was changing from one moment in life to another. I shook his hand on the 18th hole at Mary Park golf course and smiled “well done son” he said defeated yet proud. I beat him by just one stroke. Then becoming a father myself was the moment I realised I really need to grow up. One day, my son will beat me at golf but he’s only 12 years old at the moment so I’ll have many years to beat him… ah teach him…
Blue is playing at The State Theatre Centre of WA from 23 May-June 08 as part of the Black Swan 2025 annual season. Tickets available here.