EMILY BURTON HELEN CASSIDY NICHOLAS GELL AMY INGRAM JASON KLARWEIN BARBARA LOWING BRIAN LUCAS CHRISTEN O’LEARY HUGH PARKER LUCAS STIBBARD
Queensland Theatre Company in association with Brisbane Festival present
29 Aug – 26 Sept Bille Brown Studio The GreenHouse, QTC
Queensland Theatre Company presents the little red company production
created by Adam Brunes & Naomi Price
7–17 October Bille Brown Studio The GreenHouse, QTC
Tickets 1800 355 528 queenslandtheatre.com.au
Queensland Theatre Company presents a Force of Circumstance production
Created by and starring Margi Brown Ash
Cast 14-25 July Diane Cilento Studio, The GreenHouse
HOME will run for approximately 80 minutes, no interval.
Warning: Contains low level course language
Margi Brown Ash Writer/Co-Deviser/Performer
Leah Mercer Director/Co-Deviser
Travis Ash Writer/Composer/Performer
Bev Jensen
Visual Artist
Ben Hughes
Lighting Designer
Freddy Komp
Technical Director
Gabrielle Castle
Production/Stage Manager
Recycle this program Support Greening QTC and recycle this program after the performance in the recycling bins provided in the foyer. Read the program before the show at queenslandtheatre.com.au
Follow this play Cover Photography: Aaron Tait
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Diane Cilento was an outstanding Queensland artist. Alongside her own illustrious career she took time to mentor and encourage a generation of younger artists, including Bille Brown and former QTC Artistic Director Michael Gow. Many outstanding Australian actors have had their start at QTC and like Diane we are proud and excited to be part of their journey. If you would like to be part of providing more opportunities for artists, and uncovering our next generation of ‘greats’, please contact our Philanthropy Manager, Amanda Jolly on 3010 7621 or ajolly@queenslandtheatre.com.au
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Diane Cilento. Photography: Justine Walpole
Welcome to the Diane Cilento Studio
Welcome Wesley Enoch
Dear Patron, Supporter and Friend, Welcome to DIVA - HOME A diva is a celebrated woman of outstanding talent in the world of opera, cinema or popular music, and Margi Brown Ash is such a woman. When I first saw this show at La Boite Indie in 2012 it was the last of a long list of reasons why I admire and love this woman. Her generosity and openness was intimidatingly refreshing, she invites you on a journey of love and humanity. For those who know her, you realise she is this person off stage and on. Her creative and imaginative investigations put herself in the centre of the play, telling stories that pry open your heart and leave a gift inside.
Margi is an artist who gives so much to our community too. Many of the artists of the Brisbane community will attest to her insightful mentoring, guidance and reflection. Whether she is a writer, director, performer or collaborator, Margi gives her all and serves a beautiful cup of tea to go with it. Some of the other activities in the DIVA series you might like to see include a set of commissions and developments with women artists from Queensland. Check out the schedule of readings and showings. Please enjoy DIVA – HOME. Love,
Wesley
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L-R: Margi Brown Ash, Travis Ash
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Note from the Creators Margi Brown Ash and Leah Mercer
HOME began one morning in 2010 as Margi sat on the veranda of her house in Brisbane’s west. Curled up with a hot cup of coffee, her dog and surrounded by all the evidence of a life filled with family and friends, Margi received an SMS (the first of many) from her daughter Micaela who was studying in Palestine. In the text messages Micaela told devastating stories of the many Palestinian homes that were currently being bulldozed by the Israeli military. Struck by the collision of these contracting experiences of home, Margi combined with her long-time collaborator Leah, began a circuitous journey exploring themes of belonging that has led to the creation of a trilogy of performances (including Eve and He Dreamed
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A Train). The research and creation of HOME, a stand-alone performance experience is at the heart of the trilogy, and has taken us to Israel, Palestine and Egypt. We have performed it in various guises along the way - at a theatre conference in Chicago, a psychology seminar on board a boat in the Gulf of Mexico, as part of the FirstHand Festival at Metro Arts Theatre and then, three years ago, as part of La Boite Theatre Company’s Indie season. Everywhere we go the ideas of home and the questions of how and where we belong speak to audiences old, young and everywhere in-between. We are delighted and excited to bring HOME to QTC. Welcome. Come in. Would you like a cup of tea? HOME is dedicated to Bill Ash.
18 Jul – 15 Aug 2015 Bille Brown Studio, The GreenHouse Call 1800 355 528 queenslandtheatre.com.au 6
DIVA diary Happy Days Last year Wesley asked me what play I would like to choose for the DIVA season of 2015. I immediately thought that if you're given an opportunity like that you should face your fears and go for the toughest challenge you can think of so I chose Happy Days by Samuel Beckett. Why I've agreed to write something about my choice is because I don't want you to think Queensland Theatre Company is doing something that Ron Howard would produce with Henry Winkler's renowned character, The Fonz. Happy Days by Samuel Beckett wasn't a favourite play of mine. I had been in another play of his, Play, but the character of Winnie is known as a summit part for an actress and I wanted to give my interpretation of her. The wonderful thing about the character is that it must be individual to you. Juliet Stevenson is having great success with it for The Young Vic at present and Fiona Shaw did it in a very different way for the National Theatre. I started work on the text on my own at the beginning of this year when Alan was overseas for five weeks. I sat at the end of our dining room table with the script and a
big hard bound note book. I decided to discipline my thinking about the play by writing it out by hand. I would write a phrase, a sentence, a word, a pause instruction and then stop, swap to a pencil and note my thoughts about what I had just written; backwards and forwards, pen to pencil. On the facing page I wrote questions I wanted to ask Wesley when we started working together. That process, and then going back through what I'd written out and the printed text, and tracking it in my mind was gradually 'dinging in' the shape of the play. I tried not to make decisions about how to say any of the text but I did then try to learn the words. This is a play where the action and the words are tightly integrated by the writer. He tells you exactly when to turn, when to rummage in the bag, when to pause. It's up to each actress to expose the heart that makes all these things true. You surely know that she is buried up to her waist in the first act, which lasts about an hour, and up to her neck in the second act which lasts about 25 minutes. All this time Willie, her husband, is not buried but out of sight of the audience apart from his head and his newspaper. Their relationship immediately made me think of countless suburban
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couples with the bloke in a chair, supposedly reading, but possibly using the newspaper as a barrier from having to pay attention to the chatter of his wife. As Willie and I work through rehearsals we'll find the depth of that relationship. As I've worked longer on this piece I've grown to love it more and more. I feel at times when I'm considering the words, a strongly imagined connection with Samuel as he sat at his desk in Ussy writing. It feels very immediate, the way he lets her thoughts wander and return as his must have done in pondering each decision. He was a very particular writer - whether it was an "oh" or an "ah" counted. Billie Whitelaw was directed by him in this play and he was still refining those things in the 70s though he had written the play in the early 60s. It does have a feel of that time but that doesn't divorce it from how we feel as human beings today. It just means we don't have to worry about how mobile phones can bugger things up. And anyway, nostalgia plays a big part in our reminiscing whatever age or stage we're at. Carol
Travis Ash
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Biographies Margi Brown Ash WRITER/CO-DEVISER/ PERFORMER
Queensland Theatre Company: Composing Venus, Oz Shorts. As Assistant Director: Australia Day. Other Credits: Companies: As Performer/Trainer/Company Member: Murray River Performing Group, N.S.W. Theatre of the Deaf, The Grin & Tonic Theatre Troupe, Imaginary Theatre, green, The Good Room, Frank Theatre, Zen Zen Zo, Lucky Hearts, ...and moor theatre, nest ensemble, Danger Ensemble, Force of Circumstance, La Boite. As Director: Swy Theatre Company: Boundaries; Spare Parts Theatre Company: Bubbles the Dreamer, Bubbles Goes Punk; Stables Theatre: Giant; Queensland Theatre Company: Gone to Earth, Too Much Individuality; Griffith University: Odyssey, La Boite Theatre Company: Hedonism’s Second Album, Brisbane Powerhouse: Mouthful of Pins, Metro Arts: Joy, Tashi, Access Arts Theatre Ensemble, QACI. As Associate Director: Tashi. As Writer/Performer/Devisor: HOME, Eve, He Dreamed a Train, The Knowing of Mary Poppins, Joey the Mechanical Boy, Ionalympus, The Paratrooper Project. Postions: Founding Director 4change Coaching; Co-Founding Director, The Nest Ensemble; Founding Director, Force of Circumstance; Psychotherapist; Supervisor; Theatre Coach: La Boite Theatre Company, Zen Zen Zo, QTC Youth Ensemble, QACI, Access Arts Theatre Ensemble, Conference MC. Guest Lecturer/Director: Griffith University, QUT, Curtin University; Company in Residence, Metro Arts 2015; Work in Residence, Metro Arts 2013; Sweet Program, Brisbane Powerhouse, 2014; Labrat, Playlab, 2012; Process Project, Metro Arts 2011; Arts Queensland Individual Fund 2014; Queensland Cultural Champion 2014. Awards: Gold Matilda Award for Best Female Performer Knowing of Mary Poppins; Gold Matilda Award for Body of Work HOME, Eve; Matilda Nominations: Best Female Performer, Wizard of Oz; Best Female Performer Urban Dingoes; Blue Room Awards: Best Performer Eve; Best Play Members’ Choice Eve. Training: Stellar Adler - Acting, NYC; Stefan Niadziakowski – Mime, NYC; Hayes Gordon - Sydney. Proud member of Actor’s Equity since 1977.
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Leah Mercer DIRECTOR/ CO-DEVISER
Travis Ash COMPOSER/ PERFORMER
Queensland Theatre Company: Debut. Other Credits: As Director/ Co-Devisor: La Boite Theatre Company:Â HOME (co-produced with The Nest Ensemble); Metro Arts: Eve (co-produced with The Nest Ensemble). As Director: Metro Arts: Metamorphoses (co-produced with QSE); Dear Charlotte (co-produced with The Nest Ensemble); between heaven & earth (co-produced with one hand clapping); Blue Room Theatre: Eve (co-produced with The Nest Ensemble); Spare Parts Puppet Theatre: The Hardest Way to Make an Omelette (co-produced with Cracked Egg Productions for the Fremantle Festival), Actors for Refugees/Queensland Arts Council: Something to Declare. As Writer/Performer:Â A Mouthful of Pins (co-produced with The Nest Ensemble). As Director/Co-Writer: Blue Room Theatre: Joey: the Mechanical Boy; Brisbane Powerhouse: The Knowing of Mary Poppins (co-produced with The Nest Ensemble); Darlinghurst Theatre and Adelaide Fringe Festival: The Knowing of Mary Poppins (The Nest Ensemble). As Writer: Brisbane Powerhouse: A Mouthful of Pins; Looking Glass Theatre, NYC: Melancholia. Positions: Performance Studies Coordinator, Curtin University; Co-Founder, The Nest Ensemble. Awards: Best Director for Joey: the Mechanical Boy: Performing Arts WA, 2015; Best Production for Eve, Blue Room Theatre Members Choice, 2012; Philip Parsons Prize for Performance as Research for The Physics Project, 2008; Silver Matilda Award for Directing The Knowing of Mary Poppins, 2007; Matilda Award for Outstanding Independent Production The Knowing of Mary Poppins, 2006; Fulbright Scholarship, 1996. Training: PhD, QUT 2009; MFA (Directing) California Institute of the Arts 1999; BA (Hons) UQ, 1990. Queensland Theatre Company: Debut. Other Credits: As Actor: The Grin and Tonic Theatre Company; Magic Theatre Not for Everyone; The Nest Ensemble; He Dreamed a Train; Force of Circumstance; The Dream of a Ridiculous Man; Travis Ash; Hamlet, Franny, SUDS. As Sound Designer: The Nest Ensemble, Force of Circumstance. Training: University/Conservatorium of Sydney (Compostion, Philosophy) 2014, Grin and Tonic under Dr Bryan Nason 2009.
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Bev Jensen VISUAL ARTIST
Queensland Theatre Company: Debut. Other Credits: As Visual Artist/AV Designer: La Boite Theatre Indie: HOME (co-produced with The Nest Ensemble); Brisbane Powerhouse: Mouthful of Pins (coproduced with The Nest Ensemble); Vena Cava Production: Gone to Earth (co-produced with QUT); Judith Wright Centre: Oh Sister (Fresh Ground Residency coproduced with Donna Cameron); Metro Arts Theatre: HOME (Free Range Festival co-produced with The Nest Ensemble). As Costume Designer: Metro Arts Theatre: Eve (co-produced with The Nest Ensemble); Blue Room Theatre: Eve (coproduced with The Nest Ensemble). As Visual Artist: In your Dreams (touring exhibition - Canada, Germany, Australia), Tasmania 1:100,000 Mapping the Island touring exhibition (Australia): RADF Regional Development Fund Grant Creative Development: Oh Sister. Training: Madonna Staunton (Collage Artist) mentor: Diploma of Photography Collage of Art Queensland: Diploma of Visual Art Qld: Collaborative Theatre Ensemble Process Purnati Centre of the Arts, Bali: Traditional Balinese Mask Making with Master Ida Bagas Anon, Bali: Artist Books with Adele Outteridge, Print Making and Working with Perspex with Wim de Vos, Latex and Paper Moulds with Christine Ballinger, The Altered Book with Inga Hunter, Mixed Media Boxed Artworks with Glen Stein. Awards: Matilda Nomination for Best Designer HOME.
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Ben Hughes LIGHTING DESIGNER
Queensland Theatre Company: The Button Event, The Effect (coproduction with Sydney Theatre Company), The Mountaintop, Black Diggers (co-production with Sydney Festival), Design For Living, Trollop (as Co-Director/Designer), 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (co-production with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu, Fat Pig, Let The Sunshine (co-production with Melbourne Theatre Company), The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Icecream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. Other Credits: The Danger Ensemble: Caligula, The Wizard of Oz (co-production with La Boite Theatre Company & Brisbane Festival), Sons of Sin, Children of War, Loco Maricon Amor, The Hamlet Apocalypse; La Boîte Theatre Company: Medea, A Doll’s House, Cosi, Kitchen Diva, Statespeare; Belvoir: Samson (co-production with La Boite); The Nest Ensemble: HOME; Zen Zen Zo Physical Theatre: Vikram and the Vampire, Cabaret, Dracula, Zeitgeist, My Sublime Shadow; Woodford Folk Festival: Fire Event 2012 & 2013; Cre8ion: Fluff; Stella Electrika: The New Dead: Medea Material; Expressions Dance Company: The Host, Carmen Sweet, Propel; Queensland Ballet: Flourish, Giselle, A Classical Celebration, ...with Attitude; As Associate Lighting Designer: Elision Ensemble: The Navigator; Meryl Tankard: The Oracle; Opera Queensland: Aida; Queensland Theatre Company: Toy Symphony, Heroes; Expressions Dance Company: Where The Heart Is. Positions: Affiliate Artist, Queensland Theatre Company (2014 & 2011); Resident Lighting Designer, Queensland Theatre Company (2013); Associate Artistic Director – The Danger Ensemble; Emerging Artist, Queensland Theatre Company (2007); Professional Member, Association of Lighting Designers; Associate Lecturer – Queensland University of Technology. Awards: 2011 Groundling Award - Outstanding Contribution to Lighting Design.
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Freddy Komp TECHNICAL DIRECTOR
Gabrielle Castle STAGE MANAGER
Queensland Theatre Company: I Want To Know What Love Is, A Tribute of Sorts (co-production with Metro Arts and Monsters Appear). Other Credits: As Production/ Stage/Tour Manager: Metro Arts: Piano Lessons (co-production with Matrix theatre), A Tribute of Sorts (co-production with Monsters Appear), Aurelian, The Lady Of The House Of Love, The Empty City (co-production with The Human Company), Bear With Me, The Kursk; Matrix Theatre Company: Vikram And The Vampire, The Kursk National Tour. As AV Designer: La Boite Theatre Company: HOME, Water Wars; Metro Arts: Empire Burning, Brisbane Festival: Alice21; Onyx Productions: 360 Allstars; As Lighting Designer: Awards Ceremony Adelaide Fringe ’14, The Empty City; As Set Designer: Brisbane Powerhouse: A Tender Thing. Positions: Brisbane Festival: Stage Manager (2011-12), Venue Technician (2013); Adelaide Fringe Festival: Core Event Crew (2014); Griffith University: Technical Assistant (2010–2013), Sessional Academic (2010–2014). Awards: Silver Matilda Award Nomination for Best Design (Set Design) 2013, Groundling Awards Nomination for Outstanding Contribution to Set Design 2013, Groundling Awards Nomination for Outstanding Contribution to Multimedia Design 2011. Training: Griffith University: Bachelor of Arts Applied Theatre (2009), IHK Münster (Germany): Certified IT Professional, Software Development (2003). Queensland Theatre Company: Debut. Other credits: As Stage Manager: La Boite Theatre Company, Water Wars (co-production with Umber Productions), Tender Napalm (co-production with The Nest Ensemble), HOME (co-production with The Nest Ensemble), Eve (co-production with The Nest Ensemble), Desert Harmony Festival, The Birds of Tennant Creek (coproduction Australian Theatre for Young People), Griffith University Productions: Overcast with a Chance for Sex, Short and Sweet Festival. As Production Manager: Griffith University: I will kiss you in four places, Utopian Dream Dance Festival. As Props Assistant: Tosca, Opera Queensland. As Program Co-ordinator: Expressions Dance Company. As Facilitator: The Song Room, Griffith University Theatre Scope, Activate Entertainment. Training: Bachelor of Arts in Applied Theatre, Double Major in Theatre, Griffith University 2009, Diploma in Secondary Education, QUT 2013. 13
PATRON His Excellency the Honourable Paul de Jersey AC Governor of Queensland MEMBERS OF THE BOARD Richard Fotheringham (Chair) Elizabeth Jameson (Deputy Chair) Julieanne Alroe Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Nathan Jarro ARTISTIC DIRECTOR Wesley Enoch EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Artistic Associate: Andrea Moor Resident Director: Jason Klarwein Programming Manager/ Senior Producer: Katherine Hoepper Producer (New Work and Development): Shari Irwin Artistic Coordinator: Samantha French Touring and Regional Program Coordinator: Christine Johnstone Producer (Education and Youth Programs): Heidi Irvine Programming Project Officer: Laurel Collins Theatre Diversity Associate: Joon-Yee Kwok Chief Financial Officer: Michael Cullinan Systems Accountant: Roxane Eden Assistant Accountant: Joelene Wright Finance Officer: Robin Koski
Venue and Operations Supervisor: Julian Messer Front of House and Events Supervisor: Deirdree Wallace Front of House and Events Officer: Leisha Du Bois Marketing Manager: Yvonne Whittington Marketing Coordinator: Amanda Solomons Marketing Officer: Tanya Leadbetter Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David D’Arcy Database Trainer and Supervisor: Dale Ric-Hansen Publicist: Kath Rose and Associates Ticketing Coordinator: Maggie Holmes Ticketing Officers: Donna Fields-Brown Maneka Singh Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Development Coordinator: Dee Morris Researcher and Grant Writer: Danielle Bentley Production Manager: Toni Glynn Technical Coordinator: Daniel Maddison Production Coordinator: Scott Klupfel Production Assistant: Lilith Tremmery Head of Workshop: Peter Sands Company Carpenter/ Head Mechanist: John Pierce Carpenter: Jamie Bowman Head of Wardrobe: Vicki Martin Costume Supervisor: Nathalie Ryner
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Indigenous Reference Group: Nathan Jarro (Chair) Adam James Michael Tuahine Paula Nazarski Todd Phillips Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Katherine Lyall-Watson David Morton Gayle MacGregor Paula Nazarski Ngoc Phan Lucas Stibbard Front of House (The GreenHouse): Anita Hughes Madison Bell Mollie Thomas Sally Lewis Jonthan Petersson Nathan Hollingworth Charlotte Moutrey HOME Production Staff Production Electrician/Op: Joanne Espey Grounded Production Staff Production Electrician/Op: Matt Allan Stage Management Secondment (QUT): Katie Hurst
FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003)
Queensland Theatre Company is a member of Live Performance Australia.
Acknowledgements HOME Additional monologues by Travis Ash, extracts sourced by Micaela Ash and co-created with Leah Mercer and Bev Jensen
The Nest Ensemble Aimee Dittmer Andrew Townsend for Margi’s pre-show outfit Bill Ash Charlotte Grimmer David Bertholt, Adam Brunes, Nick Morton-Paine and the team at La Boite Theatre (2012) Del and Lynda Mercer Grace Mercer, Shearwater Steiner School Secondment Ian Lawson and Playlab James Newton Kate White Liz Burcham & the team at Metro Arts Theatre (2011) Micaela Ash Misha Hardwick Rebecca Ward Richard Jensen Shilpi Rahman William Haines HOME refers to the following texts: Ala’a’s story in “Peace Starts Here: Story 1: Home.” United Nations Relief and Works Agency (UNRWA). Auster, Paul. Moon Palace. Harmondsworth: Penguin, 1989. Basry, Amal Hassan. Interview with survivor of the sinking of the “Suspected Illegal Entry Vessel” in October 2001 known as the SIEV X. Extract taken from Something to Declare: True Stories of Asylum Seekers in Australia, Michael Gurr, 2004. Eliot, T.S. “The Love Song of J. Alfred Prufrock.” Filo, John P. Pittsburgh Post-Gazette, May 5, 1970: 9. Jensen, Richard. Unpublished personal account. Langley, Eve. Last, Loveliest, Loneliest. Sourced from Joy L. Thwaite. Importance of Being Eve Langley. HarperCollins Publishers, 1989 Reys, Shelley. “The Reconciliation Process – What Now?” Presented at Healing with Pain, The 2001 National Stolen Generations Conference, Adelaide. Rudd, Kevin. Apology to Australia’s Indigenous peoples. Selbourne, David. Samson & Alison Mary Fagan. London: Calder and Boyars. 1971. Tench, Watkin. A Narrative of the Expedition to Botany Bay. http://setis.library.usyd.edu.au/ozlit/pdf/ p00039.pdf Grounded Jem Rowe, Matt Hall, Emma Thomas Rehearsal Photography: Stephen Henry
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To ensure that patrons enjoy the performance, management asks you to note: • Cameras, tape recorders and paging devices should not be used inside the auditorium. • Switch off alarms and mobile phones prior to the performance. • A single cough measures approximately 65 decibels of sound. The use of a handkerchief helps greatly to soften the sound. The management reserves the right to refuse admission, also to make any alterations to the cast which may be rendered necessary by illness or other unavoidable causes. Patrons are advised that the Diane Cilento Studio has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the venue.
78 Montague Rd, South Brisbane PO Box 3310, South Brisbane BC Qld 4101 Tel 07 3010 7600 Fax 07 3010 7699 mail@queenslandtheatre.com.au queenslandtheatre.com.au Ticketing 1800 355 528 © The State of Queensland (Queensland Theatre Company) 2014 Disclaimer: Every endevour has been made to ensure that the contents of this brochure are correct at the time of printing. However, things can change. Queensland Theatre Company reserves the right to vary advertised programs and to add, withdraw or substitute artists as necessary
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Margi Brown Ash
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Who murdered Nellie Duffy?
If you would like to know,
join the QTC Legal Chapter as they raise funds to commission a play about an infamous Queensland murder case that took place on Carpentaria Downs Station in 1908. Housekeeper Nellie Duffy was found brutally murdered in her bed. An Aboriginal station hand, Billy, was charged but the jury refused to convict him despite his "confessions". Where does the truth lie?
Nellie Duffy Project Supporters 4 Anonymous Roslyn Atkinson & Richard Fotheringham Michael & Anne Back Jennifer Batts James Bell Sarah Bradley Madeleine Brennan Peter Bridgman & Susan Booth S.J & K.W Brooks Sue Brown Patricia Byrne Carter Newell Lawyers Sheryl Cornack Leone Costigan Peter Davis
Ralph & Frances Devlin Richard Douglas Adrian Duffy Scott Falvey Richard Fryberg H G Fryberg Elizabeth Gaffney Anthony Glynn Milton Griffin John & Lois Griffin Michael Hodge Kevin & Joanne Holyoak EM Jameson & AL Anderson Joshua Jones
Stephen Keim Liam Kelly Declan Kelly Asif Khan Fleur Kingham Raymond & Audrey Lawrence John & Janice Logan Sarah Ludwig Stephen & Hana Mackie John & Julienne McKenna Margaret McMurdo Kerri Mellifont Denise & Richard Morton
If you would like to find out more about this intriguing case and contribute towards the play commission, please visit queenslandtheatre.com.au/nellieduffy or phone 3010 7668. Donations to this project are tax deductible.
Debra & Patrick Mullins Andrew O'Brien Dan O'Gorman Leanne O'Shea & Peter Gilroy Dominic O'Sullivan Adam Pomerenke Tina Previtera Robertson O'Gorman Solicitors Jeff Rolls & Barbara Houlihan Walter Sofronoff Michael Stewart van de Graaff Lawyers Greg & Sally Vickery Elizabeth Wilson