In this episode, we explore the textured life and inspirations of Chris Pitman, a South Australian actor and playwright. Chris discusses the upcoming season of his one-man show "Shore Break," at the Adelaide Festival Centre. The play, inspired by his encounters with societal "isolates" along the coast, delves into the poignant narratives of those living on the edges of society. Chris reflects on his Adelaide roots, his formative years by the beach, and the pivotal moments that shaped his artistic journey. He recounts his acting break in Neil Armfield's "Cloudstreet" and shares insights from his extensive career, including working with actors like Max Cullen.

The episode kicks off with the SA Drink of the Week, celebrating the Beresford Emblem Fiano 2023, a world-class wine that has clinched a 95-point Gold medal at the Decanter World Wine Awards. Our guest wine taster is John Gledhill of Gledhill Vignerons.

In our Musical Pilgrimage, we feature Darkness & Gold by My Chérie, a song that mirrors the introspective themes of Chris's play, exploring the facades we present and the hidden struggles within.

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Running Sheet: Chris Pitman From Beaches To The Stage

00:00:00 Intro

Introduction

00:02:45 SA Drink Of The Week

The SA Drink Of The Week is Beresford Estate’s Beresford Emblem Fiano 2023, which has just received exceptional recognition at the prestigious Decanter World Wine Awards, earning a 95-point Gold medal and ranking No.1 in this year's Fiano category, inaugurating it as the best Fiano in the world.

As we discuss with our guest wine taster, John Gledhill of Gledhill Vignerons, this wine earned the same score as some of the country’s best $100 white wines yet sells for just $25; a feat John says is not unheard of but very special when it happens at such shows.

In the discussion, we quote head winemaker, Chris Dix, discussing the remarkable growth of Fiano in McLaren Vale, since the Lloyd family planted the first Fiano vine 22 years ago.

The Beresford Emblem Fiano 2023 is available through the Beresford cellar door - the Beresford Tasting Pavilion in McLaren Vale.

00:15:45 Chris Pitman

Brink Productions will soon be presenting, Shore Break, as part of State Theatre’s Stateside season in the Space Theatre at the Adelaide Festival Centre from 3 – 7 September. I’m told this play is an interesting one man show written and performed by Chris Pitman, about a man on the outskirts of society who is finding his way back.

To make this play possible, Chris did some detailed research in campgrounds in the regions, along the coast talking to a number of outliers / “isolates” about their stories, and how they found themselves in their situations. It is from these stories that he derived inspiration for his play.
You grew up in Adelaide, attracted to the beach. Can you start by painting a picture of Adelaide and South Australia as you remembered it back then? Anything you miss, anything you’re glad has changed?

Did you hang out with lots of friends, or was there an essence of the “isolate” in you back then?

I note that you are a poster child for Steve Jobs’ famous quip – Just Ship It. Took you a few years to apply for acting school, but when you did actually send a letter to the Western Australian Academy of Performing Arts (WAAPA), you got accepted. Does an academy like that actually instil acting ability into you, or does it nurture what is already inside?

I note your first major break was auditioning for Neil Armfield for a major role in Tim Winton’s ‘Cloudstreet’, and you “somehow” got the job, moved to Sydney and suddenly started working with many famous and respected actors including, former guest of this podcast, Max Cullen. He was on episode 265, talking about Sunday Too Far Away, which was shot in South Australia. Did any Max Cullen rub off on you (or any of the actors) as you travelled overseas with that show?

I just heard Malcom MacDowell being interviewed by Bill Maher. Malcolm got his break with Clockwork Orange and is now busier than ever. He did admit that he had said yes to films that he did not like, just for the money, noting, as a professional actor, what else can you do. This is what scares me to the core on behalf of artists like you. Your existence is one of maintaining the confidence to lurch from one gig to the next. Did you have to work hard to adapt to that reality after such a dream start to your professional career?

One of our listeners, Anthony, has a young daughter, Alannah who is 11 and just went to an acting school on the Gold Coast and now has four agencies wanting to talk to you. I said she could ask you a couple of questions, given you have done a good smattering of TV work in shows like All Saits, Blue Heelers, and South Australian favourite, McLeod’s Daughters and TV/film is what is luring her.

First question, what was the first step in getting a role on TV?
Second question, what was your favourite thing you have been?

Alannah’s dad had reworded the second question as What character impacted you the most, and to me, that’s a great segue into Shore Break, because from the glowing and thoughtful reviews I’ve seen, this show gets you in the gut, which means it must have gotten you in the gut.
So, what attracts you to the world of the isolate?

I am profoundly jaundices by the ubiquity of smart phones and social media – I was originally a champion of them, now I am a voice saying they only LOOK like they are connecting us; they actually only deliver the confection of connection. Does that sentiment intersect with themes of the play?

Is there something significant about these loners being near the water? Would the story be the same in a landlocked situation?

Can you take us into your experience of chatting with these people because you note there was laughter along with very great pain. How did you earn that trust? Or was it easier than we might expect because you actually have them an ear inclined towards them?

The blurb for the show says: Simple and raw, addressing the search for human connection and meaning, in a life filled with rejection and regret, Shore Break elegantly depicts the vulnerability of masculinity through a tour de force performance, sharp writing, and an emotional sucker-punch you won’t see coming. We’ll keep the sucker punch secret but without spoiling the play, can you tell us if these outsiders do have lessons for us about meaning that we cannot find elsewhere?

I’m told that you describe working in theatre as a very insular experience, and just like surfing, they both require intensity and relaxation together. Does that seem to contrast the life of stable normalcy which is the gold standard in society’s narrative about itself?

The young director for this production is Chelsea Griffith who’s worked closely with ex-Artistic Director Chris Drummond, to direct this work. The US election made age a big issue. And we hear people grumble if their doctor is too young, etc, based on the assumption that age brings wisdom and insight. You’ve been around. Did you need to adapt your mindset in any way to take direction from someone who is establishing their career?

01:15:45 Musical Pilgrimage

In the Musical Pilgrimage, we feature Darkness & Gold by Chérie of My Chérie fame.

With rich metaphors and poignant lyrics, 'Darkness & Gold' invites listeners into a world of introspection and self-discovery. My Chérie explores the various personas we embody, from the curated versions we present on social media to the hidden depths of our innermost selves.

The song captures the essence of the human condition, highlighting the constant tension between aspiration and acceptance. Chérie says it’s her candid portrayal and deep dive into my human experience of the internal struggles we all face. In confronting themes of strength, vulnerability, and the pursuit of self-improvement, I want to acknowledge the efforts of trying and the tricky journey of figuring ourselves out.”