About me (some of the current story)
Peter Fyfe is a writer, performer, bricoleur, and heresiarch with an eclectic range of experience covering theatre, music, comedy, improvisation, art, and mythology. He holds a degree in organic chemistry and computer science and an unused diploma in education. For his own amusement, he is pursuing a meandering enquiry across the common space shared by myth, theatre, archetype, image, and matter: apparently it's a barrel of laughs.
Peter's play Waking Blind was nominated for the Monte Miller Award at the 2002 AWGIES (Australian Writer's Guild awards). It is featured in the Australian Script Centre's 2003 Collection No.4 of Australian Plays (see Oz Script's website).
Act One of his play Centre Caught was presented in a workshop production at NIDA in August 2004, directed by Andrew Davidson. Centre Caught was shortlisted for the 2004 Rodney Seaborn Playwright's award and the 2004 Edward Albee Last Frontier Theatre Conference. It is featured in the Australian Script Centre's 2006 Collection No.6 of Australian Plays (see Oz Script's website). Feel free to short-list it yourself.
For what seems an eterntity, he continues to work on his next play.
Peter's outrageous little musical The Von Trapp Heresy premiered on February 6, 2007 at NIDA's Parade Playhouse as part of the Short and Sweet and Song festival and caused at least one argument with a publicist. One day he hopes to finish the full-length version.
Peter loves to dabble in the visual arts and exhibited for the first time in More Than Meets the Eye, a group show held At the Vanishing Point in April 2008. His work the brief mystery of time was highly commended in the Marrickville Contemporary Art Prize 2008. When not taking himself too seriously (an all too rare occurrence), he considers which came first: the chickens or the universe to be a breakthrough work and "exhibiting" Like R. Mutt to be a singular caprice. His first solo show unfolding… [the artist] opened At the Vanishing Point at on October 20, 2011 and may have finally put the little chickens to rest, if such a notion could even be contemplated.
Peter continues to wrestle his expensive and some would say mystic obsession with hyperinflation banknotes and marvels at how all that whirled's a stage (a personal mandollar) ended up as a finalist in the 61st Blake Prize (2012).
As a performer, Peter's vintage credits include 11pm Sharp! for the Griffin Theatre Company (just after the war), Total Recoil at the old Tilbury Hotel (do you remember the Tilbury?), Silly Season at the long-gone Comedy Store on Parramatta Road, Night of the Seamonkey by Reg Cribb (his first play) at the Old Fitzroy Hotel, the 2003 Sydney Cabaret Convention (its last hurrah), a one-night stand at The Basement, and Muf-Tee Casual Cabaret at the Stables Theatre. He wrote and performed a one-man show Glamourflage: they'll never see the Real you at the once-famous vegetarian Side-On Cafe; check out the Glamourflage website and his alter ego Ken E's website if you've time on your hands.
For seven years (1990-1996), Peter was Sydney's "Queen of the Keyboards" in countless performances of TheatreSports and other improvised comedy shows; during this time he worked with most of Australia's best improvisers and comedians, some of whom are now much more famous than he'll ever be; if you ask he'll be happy to drop names for small change. He played Mark Warren's musical sidekick in that hilarious TV1 game show Cliptomaniacs on Foxtel. He was a consulting editor on Lyn Pierse's groundbreaking book, TheatreSports Down Under (now in its third edition under the title !mprovisation). To think there's a whole industry out there just making stuff up.
In 1999, Peter visited the US, where he joined an international cast (including Kristen Linklater) in presenting Stealing the Show, directed by Enrique Pardo, at Paris-based Pantheatre's 7th International Myth and Theatre Festival in New Orleans, LA. He also participated in the 8th Myth and Theatre Festival in Waterford, Ireland in 2000, and in Cabaret and Contradiction: a Choreographic Theatre Workshop with Pantheatre in Pau, France, where he met the mayor and made the local paper.
In 2001, Peter joined the founding board of Currency House, a performing arts advocacy, think tank, and resource centre. He continued to serve on the board until 2007, by which time Currency House had grown into a leading voice in the debate on the role of the performing arts in Australian public life, and he had some grey hairs.
Peter also works as a technical writer, editor, business analyst (whatever that is, no-one seems to know for sure) and general annoyance, celebrating diversity as a fungible resource maximising synergies to leverage customer delight somewhere in the warm but drafty open plans of large and respectable organisations… who either tolerate him or kindly pretend not to notice.
Chuckle at a historic "Showcast" mug shot by the late Stuart Campbell: it's so last century.
Enjoy my candidature for the coveted Column 8 Ph D.