As a journalist it took me a while to realise that awards were not just anointed: you had to apply for them. The trouble was I was not always working in areas that attracted awards, and when I eventually was, I was not very good at applying.
By the time I got the hang of it, the competition was a lot stiffer and I was older and tireder and couldn’t be bothered.
It was a thrill to see my name in print in The Walkley, the magazine published by The Walkley Foundation, which administers the prestigious Walkley Awards for excellence in Australian journalism – until I realised they’d spelled my name wrongly.
They kindly sent me an invitation to the awards that year. The event was in Sydney and I was in Melbourne, sweating it out as a freelancer, and I couldn’t afford the time or money.
However, I once got a mention in The Week (Australian edition, also now defunct) for my opinion piece Hungry for more than cooking shows
And over the years, my plays have won a bit of recognition:
Gongs for plays
- Sydney, 2016, Ensemble Theatre, directed by Nadia Tass, named among “Best New Australian Writing” by Sydney theatre blogger Kevin Jackson of Kevin Jackson’s Theatre Blog
- Hobart, 2017, Tasmanian Theatre Company, directed by Anne Cordiner and Julie Waddington, Tasmanian Theatre Awards:
- Nominated for Best Production
- Winner: Katie Robertson, (Nellie), Best Performance (Female) in a Professional Production.
- Finalist in the 2018 New York-based international playwriting competition New Works of Merit.
- Semi-finalist in the Gary Marshall Theatre’s 2018 New Works Festival in Burbank California.
- Nominated for Best New Script and Best Comedy at the 2012 Dandenong Ranges One Act Play Festival
- Winner, 2019 National Opera and Drama Awards, UK, District 5, as part of Triple Bill of Comedies, presented by Second Thoughts Theatre, Stratford-upon-Avon.
However, the best reward for any playwright is audience enjoyment.