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LIFE OF

GALILEO BY BERTOLT BRECHT

ADAPTED BY TOM WRIGHT


Peter Carroll


Belvoir presents

LIFE OF

GALILEO By Bertolt Brecht Adapted by Tom Wright Directed by Eamon Flack This production of Life of Galileo opened at Belvoir St Theatre on Wednesday 7 August 2019. Set and Costume Designer ZoĂŤ Atkinson Lighting Designer Paul Jackson Composer and Sound Designer Jethro Woodward Choreographer Kate Champion Stage Manager Tanya Leach Assistant Stage Manager Bronte Schuftan

With Ayeesha Ash Peter Carroll Colin Friels Miranda Parker Damien Ryan Damien Strouthos Vaishnavi Suryaprakash Sonia Todd Rajan Velu

Supported by The Nelson Meers Foundation

We acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built. We also pay respect to the Elders past, present and emerging, and all Aboriginal and Torres Strait Islander peoples. PRODUCTION THANKS Opera Australia, Simon Begg, Oliver Tanner, Paul Payne, Chameleon Touring Systems, Loud and Clear Audio, Audio Visual Events, Renata Beslik (design assistant), Ayah Tayeh, Lewis Dean, Laura McDonald, Saro Lusty-Cavallari, Tim Wallace & Helen Faulks of Church Stores (church vestment consultancy)

DESIGN Alphabet Studio PHOTOGRAPHY Daniel Boud Brett Boardman Michael Kennedy


ADAPTOR'S NOTE TOM WRIGHT

This is a concentration of Brecht’s play. An act of concentration on its themes – price and value, facts and truth, how power co-opts innovation, the nobility of the mind versus the needs of the body – but my task was also to find a way to take a sprawling play written for at least eighteen actors and reduce it to a tighter ensemble, performing in a close, compact space. It’s a massive work – intellectually fascinating, laced with humour, covering a vast terrain – but it has an intimacy too. The vastness of it isn’t in actual space. It’s in the even bigger universe of the human mind. This little stage represents three cities. The early scenes are in Padua, the university town of the Venetian republic. Venice is a trading port, a city of business, using economic power to keep 02

the church at bay. It’s the marketplace, of goods, of ideas. Later the play shifts to Florence. It’s a duchy, aristocratic, its roots in ancient verities, bound by tradition, order, class, feudalism. It is a city of great culture, but also of internecine factionalism and backward conservatism. The third city is of course Rome. Its power is spiritual, a city which tells the world how to believe, what to believe; a city of ceremony, of theatre, of display, which also runs a powerful thought police. The Inquisition is in every corner of this play, and sometimes in the spotlight. It is institutional power, metadata collection, surveillance, ideological puritanism. It has its own Abu Ghraibs and Guantanamos. Rome is the light of the world, but the lantern is powered by fear. One way of thinking about Galileo might be as sixteen short plays about


Science and Belief. The scenes have their own rules, their own tone, their own subplots. Galileo is a play, but it’s also plays; political, human. The Church is a constant presence through all of them, but these little plays aren’t metaphysical. Their concern is always physical, the measurable universe, the evidence of data, the need for a truth informed by facts. What unifies these thought-bubbles is Galileo himself. Not really the historical GG - Brecht’s GG is sometimes a sort of self-portrait – a BB. A flawed, maybe overindulgent man who’s sensing his time is passing, that the world is going to crap. But he still has something to contribute. Galileo sits at the centre of the work, while the world revolves around him. Some of the other characters are meteors, which come in for one clear purpose and are never seen again. Some are comets, who visit, then return years later. Some

start in close orbit, but need to break free of his gravity. And others are moons, who stay close. Seen through one end of the telescope, they’re lesser beings scrabbling around a colossus. But seen through the other, they’re true humans, with real concerns, tending a frail Teiresias who mutters inconvenient truths. This play has its own sense of time too. It was started before the invasion of Poland, was largely written while the camps were in full swing, and was finished after Nagasaki. The author of the early scenes is a different creature to the one who writes the exquisite concluding ones; he’s seen the world through a clean lens. After cities devastated by firestorms and nuclear holocaust, science was a different problem. The cause of, and solution to, our human dilemmas. Maybe? 03


DIRECTOR'S NOTE EAMON FLACK

Brecht wrote his first version of Life of Galileo in exile in Denmark in 1938, in the course of an acquaintance with the great Danish physicist Niels Bohr; it premiered in Switzerland in the middle of the war. A second, English version was written in Los Angeles after the war, in collaboration with the film and stage star Charles Laughton; it closed not long after it opened in 1947. In October that year Brecht was hauled before the House Un-American Activities Committee; the next day he returned to Europe, where a third version premiered at Cologne in 1955. Between the first two versions, the Second World War annihilated half the world until Germany was crushed and America dropped two atomic bombs 04

on Japan. Between the second and third versions, Brecht fled America and hitched his wagon to the Communist regime in East Germany. Brecht would deny it, but his Galileo is a sort of self-portrait: a forceful mind and driven personality; a refugee intellectual and an opportunist; an outspoken coward; a brave lush; a truth-teller and a liar; an original mind and a thief of other people’s ideas (especially women’s, in Brecht’s case)... But in writing a self-portrait he also wrote a self-prophecy: like Galileo he would wander the world, struggling to find a place to work and live freely, finally settling for an almighty compromise as a bit of a useful


idiot for a mindless ideological regime, hiding his real instincts inside his official work, still trying to outwit history. This potted biography of the writer and his play explains something of why Life of Galileo is such a formidable piece of work: it knows what it’s talking about. It knows about exile and cunning; it knows about truth and lies; it knows about compromise and ideology; it knows about the beauty and exhilaration of thought; it knows about the corruptibility of human knowledge; and it knows about the species’ unique capacity for destruction. ***

Life of Galileo is a running argument about whether or not humans can be trusted with these big Sapien brains of ours. Reason was supposed to be the answer to ideology and superstition. But reason, driven on by ideology and superstition, created the atomic bomb, the climate crisis, Chernobyl, ubiquitous financialisation, single-use plastics, Facebook algorithms, etc, etc, etc. So is the species geared towards the intelligent betterment of the world? Or does science simply extend our capacity for power and destruction? Has everything we have discovered set us up for a more open, more just world? Or has it only laid the foundations for new categories of obscene wealth, extreme surveillance, political manipulation, unsustainable consumption? But the play is not despairing. Brecht never is. His articulation of the problem is so bracing, so clear, at times electrifying. The world around the Brecht might have torn itself apart, but the play encodes a kind of ferocious belief in the splendour and possibility of human thought in spite of itself. No matter how awful the bigger picture, it is still possible - in fact the instinct is irrepressible - to see the truth of things and speak it. ***

This bit is more of a personal view than a reading on the play, but what’s been running through my mind as we’ve rehearsed is this: It’s easier today to live by a lie than by the truth. Money and power are easier to come by if you lie. Comfort is easier to come by

if you let the lies stand. Lies are as normal as coffee. We’re addicted to them. Two examples come to mind: the climate crisis, and the Federal election. Morrison offered us himself and “the promise of Australia” - a promise so empty of specific meaning that it is impossible to fail to fulfil it. But we all know what it’s code for because as a country it’s what we voted for*. It’s code for the two great Australian lies: that everything will be as it always was, and that we can have it all. We just have to avoid the terrible sin of left-wing pessimism. We just have to remain quiet and optimistic. But any gardener knows that a moss-fern planted in direct sunlight won’t survive through quiet optimism. It needs shade and water. The same is true of the planet: the climate will not be hoped out of crisis any more than it will be bullied, faked, prayed or bargained out of it. There is a basic element of reality that we are steadfastly refusing to take into account: the old world is broken, whether we like it or not. The old forces of progress (unequal and often violent as they were) have stalled. No amount of optimism will fix that. Optimism, like lounging on the couch, is a comforting modern habit: all will be well. But it won’t be well because it already isn’t. We are no longer on the old road of reason and progress. We are in the middle of a war between delusion and reality. Between truth and lies. And the lies are winning. That’s the truth. We’re lounging on the couch while the house burns. What will it take for us to fight against this? Where do we start? Brecht’s answer is Galileo’s: by cultivating a visceral sense of truth. Think of this play as a sort of seedvault. If the world was blasted away and this play survived, you’d still have a source of what we mean by truth - the feel of it, the instinct for it, the hunger for it - not in an abstract way, but in action - in the mind, in thought; in the mouth, in speech; in the ear, in listening. And that’s the thing we somehow need to cultivate. A greater appetite for the visceral shock of real living truth. *Morrison’s win wasn’t a miracle, it was an election. It wasn’t God who did that, it was us. 05


REALISING BRECHT IN-THE-ROUND Early in the rehearsal process we spoke to Zoë Atkinson, Set and Costume Designer of Life of Galileo about bringing Brecht’s classic play to life alongside Director Eamon Flack and Adaptor Tom Wright. What made you decide to become a designer? I did a visual arts scholarship all the way through high school for five years so I studied a lot of history of art and there was also lot of practical visual arts that happened as part of it, and at the same time I had a lot of older friends who were visual artists and saw many go into these pursuits that felt quite lonely to me. I just thought “I don’t know if I can really cope with sitting in a garage on my own, drinking red wine,” which is what it seemed to be about. And really, I was always more interested in stories, so visual arts interested me in how it could tell stories. So I shunned it entirely and went off and did a radio / humanities and social sciences degree, and as an elective I took drama. It was around about the same time that I started missing drawing, and the lecturer we had for that unit just happened to be a friend of Gerald Murnane’s so we started trying to do an adaptation of The Plains and in the process just fell in love with theatre. I fell in love with being able to use a visual language to help tell a story in conjunction with other languages, which is what I think theatre design does. How do you typically approach the task of designing a production? It changes according to what the show is. If I was forced to be formulaic about it, there’s probably about six approaches that I’ve found have worked for me in the past. But it really does depend. For example

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there’s a particular process that works really well for things that are expressionist in nature, and there’s another process that seems to work really well for opera. This is also the fourth work that I’ve done that Tom has written, either as an original work or as an adaptation. I find his work really challenging because the language often feels so complete in its own right, which I love. I love that it forces an economy of design because it’s a great place from which to start the process. I worked on Picnic at Hanging Rock and it felt very quintessentially Tom in that I suspect it could have existed as a radio play. In those instances there’s a very narrow opportunity for design to say something and I love the challenge of what that forces you to do as a designer. It requires you to be very aware of exactly what it is the design is trying to say and understand its role in the work as a whole. What has been your approach so far with Life of Galileo? Well this is slightly different again because I haven’t worked with Eamon before. We did embark on a creative development together many years ago in Perth with Matt Lutton, but we haven’t picked up our relationship again since then, so this is as much about me learning a vocabulary with Eamon as much as it is learning the script. So there’s been a lot of discussion so far and that’s been very useful. It’s wonderful having concentrated time with the director to read through the whole thing, and we


had the great pleasure of having Tom read us the whole of the 2nd or 3rd draft last year. There was a lot of discussion that came out of that. I really think those talks are invaluable. And from those discussions I then go away and do a lot of ruminating and I find other cross references and they’re not always visual. Personally I’m not a fan of Google searches, and I know that has become almost the default design process, but I really resist it because I suspect it’s a narrowing process. I’d rather look at other literary references or music and things like that. And when it comes to the individual staging of Galileo, I know that Eamon as a director has talked a lot about his excitement working on Counting and Cracking and the deep thrust of that stage. I personally have only done one thing truly in-the-round but I’ve done quite a lot of stuff on a deep thrust. I used to be really scared of it but now I love the challenge and what it can do for an audience’s feeling of intimacy with the performers. It was clear that there was something that Eamon as a director wanted to keep unpacking about this beast

of in-the-round theatre so we talked a lot about it and I built a couple of models to show how we could do it. That has also kick started a whole conversation about the venue and how we can reimagine the Belvoir theatre both now and in the future as well. What do you believe are the major themes of Life of Galileo? I believe the most pertinent theme is the denial or science for the sake of propping up the powers that be. That has not changed since the time of Galileo, only who is cast as the establishment has changed. It used to be the church and now it’s a bunch of governments and corporations. How have those themes translated to the Life of Galileo design so far? Well this is what I think is very exciting about staging it in-the-round. The audience becomes very present in those questions, and you can’t really have a conversation without them either being part of it as a looming background or directly engaged in it. It’s really urgent that we put ourselves as audiences and theatremakers in that question; do we sit by passively and allow the denial of science to continue or do we look at who we are as a species and a population and ask ourselves how on Earth are we letting that happen?


SCENE BREAKDOWN Scene 1 - Ptolemy’s Universe Padua. February 1609. Galileo’s Study. Galileo Galilei, a teacher of mathematics at Padua, sets out to prove Copernicus’ new cosmogony. Scene 2 - The Telescope Padua. April 1609. Galileo acquires a new student and a new idea. Scene 3 - The University Padua. May 1609. His expenses mounting, Galileo’s pleas for a salary increase fall on deaf ears. Scene 4 - The Bells Padua. June 1609. Galileo acquires the materials needed for his latest ‘invention’. Scene 5 - The Sponsor’s Function Padua. November 1609. Galileo presents the Venetian Republic with a new invention. Scene 6 - Under The Stars Padua. January 1610. Using the telescope, Galileo discovered celestial phenomena that confirm the Copernican system. Warned 08

by his friend of the possible consequences of his research, Galileo proclaims his belief in human reason. Scene 7 - The Grand Duchess Florence. 1615. Galileo has exchanged the Venetian Republic for the Court of Florence. His discoveries with the telescope are not believed by the court scholars. Scene 8 - The Inquiry Rome. February 1616. The Vatican research institute, the Collegium Romanum, confirms Galileo’s findings. Scene 9 - The Masked Reception Rome. March 1616. But the Inquisition puts Copernicus’s teachings on the Index. Scene 10 - The Young Friar Rome. 1617. A conversation. Scene 11- The Tutorial Florence. 1625. After keeping silent for eight years, Galileo is encouraged by the accession of a new pope, himself a scientist, to resume his research into

the forbidden area: the sunspots. Scene 12 - Waiting Florence. 1632. The Inquisition summons the world-famous scientist to Rome. Scene 13 - The Pope Is Robed Rome. June 18, 1633. The new Pope Urbane VIII, a former mathematician, can no longer deny the requests of the Inquisition. Scene 14 - The Inquisition Rome. June 22, 1633. Before the Inquisition, on June 22nd 1633, Galileo recants his doctrine of the motion of the earth. Scene 15 - House Arrest Arcetri. 1637. Galileo Galilei lives in a house in the country near Florence, a prisoner of the Inquisition until he dies. The 'Discorsi' is finished. Scene 16 - The Border The Border. 1637. Galileo’s book, the ‘Discorsi’ crosses the Italian frontier.


BIOGRAPHIES BERTOLT BRECHT Writer Poet, playwright and theatre theoretician, Brecht was born in 1898 in Augsburg, Germany. He is generally considered one of the great playwrights and directors of the 20th century. Even now, almost 60 years after his death, his plays – along with those of Chekhov – are the most frequently performed works in the modern repertoire. Under National Socialism, Brecht went into exile in 1933, settling in Denmark and later in the US. Works written in his most mature phase include Mother Courage and Her Children, The Good Woman of Szechwan, Life of Galileo and The Caucasian Chalk Circle. From 1948 Brecht lived in East Berlin. In 1949 he formed the state-supported Berliner Ensemble, with his wife, actor Helene Weigel. Brecht died of a heart attack on 14 August 1956 while working on a response to Samuel Beckett’s Waiting for Godot. EAMON FLACK Director Eamon is Belvoir’s Artistic Director. He grew up in Singapore, Darwin, Brisbane and Cootamundra, and trained as an actor at the West Australian Academy of Performing Arts. He has worked as a director, writer, actor and dramaturg around the country, from the Tiwi Islands to Geraldton to Palm Island. For Belvoir, Eamon’s directing credits include Counting and Cracking (with S. Shakthidharan), Angels in America, The Glass Menagerie, Ivanov, Ghosts, Sami in Paradise, The Rover, Babyteeth, As You Like It, and The End. He co-wrote Counting and Cracking with S. Shakthidharan, co-adapted Ruby Langford Ginibi’s memoir Don’t Take Your Love to Town with Leah Purcell, and co-devised Beautiful One Day. His adaptations include Ghosts, Ivanov, Summerfolk and Antigone. Ivanov won four Sydney Theatre Awards in 2015 including Best Mainstage Production and Best Direction. The Glass Menagerie and Angels in America both won Best Play at the Helpmann Awards. Counting and Cracking won 6 Helpmann Awards including Best Director, Best Play and Best New Work. TOM WRIGHT Adaptor Tom has written a number of award-winning plays and adaptations, including The Resistible Rise of Arturo Ui, The Real and Imagined History of the Elephant Man, Picnic at Hanging Rock, The Caucasian Chalk Circle, The War of the Roses, The Lost Echo, Lorilei, Medea, Babes in the Wood, Baal, Optimism, On the Misconception of Oedipus, The Histrionic, and Black Diggers. He was Associate Director of Sydney Theatre Company from 2004 to 2012. He is currently Artistic Associate at Belvoir, for whom he adapted Bliss in 2018, and has worked as an actor and director at Playbox (now Malthouse Theatre), Melbourne Theatre Company, State Theatre Company of South Australia, La Mama, Company B, Anthill, Gilgul, Mene Mene, Bell Shakespeare, Chunky Move, Black Swan and Chamber Made Opera.

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Cast in rehearsal

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Ayeesha Ash


AYEESHA ASH Virginia Ayeesha is a performer, theatre maker and co-founder of Black Birds Creative Arts Co. Her theatre credits include Reclaim (PACT); Brown Skin Girl, Exhale (Griffin); Exhale (Arts House); Tabu: Fijian Kali & Hair Rituals (Mangere Arts Centre - Nga Tohu O Uenuku); Brown Skin Girl (The Old Fitz); Black Birds, Daisy Moon Was Born This Way (The Joan Sutherland Performing Arts Centre); Pehe (Bondi Festival); Ollie & the Minotaur (The Tatler Undergound Theatre); Lunar Sequence x Black Birds, Abantu x Black Birds (Flow Studios); Black Girl Magic (The Red Rattler); Th(i)rd C(u)lture (Community Reading Room); Puss In Boots (Sydney City Recital Hall); Brown Skin Girl (Festival Fatale); Drift (ATYP); The Seagull (Metro Arts); and The Swell Party (Dublin Theatre Festival). She has also recently appeared in Reef Break, a television series produced by Touchstone Productions / ABC Studios International. PETER CARROLL Barberini Peter’s distinguished career has spanned over 90 productions. He continues to work in music theatre, new Australian texts and the classics. For Belvoir, Peter has appeared in An Enemy of the People, Mark Colvin’s Kidney, Twelfth Night, The Great Fire, Seventeen, A Christmas Carol, Oedipus Rex, Old Man, The Book of Everything, Happy Days, Hamlet, The Blind Giant is Dancing, The Tempest, The Chairs and Stuff Happens. Recent theatre credits also include Cat on a Hot Tin Roof, Mary Stuart, The Resistible Rise of Arturo Ui (Sydney Theatre Company), Macbeth, Krapp’s Last Tape (State Theatre Company of South Australia/MONA FOMA tour); Last Man Standing (Melbourne Theatre Company), Chitty Chitty Bang Bang (TML Enterprises); Night on Bald Mountain (Malthouse Theatre); and No Man’s Land (Queensland Theatre Company / Sydney Theatre Company). Peter was a member of the Nimrod Theatre Company and the STC Actors Company. Peter continues to be a proud supporter of the union, MEAA.

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COLIN FRIELS Galileo For Belvoir, Colin has starred in The Dance of Death, Faith Healer, Mortido and Death of a Salesman. His other theatre credits include Skylight, Red (Melbourne Theatre Company); Hamlet, Zebra, Victory, Copenhagen, The School for Scandal, Macbeth, The Temple (Sydney Theatre Company); Shadow and Splendour, The Cherry Orchard (Royal Queensland Theatre Company); Scaramouche Jones (Arts Centre Melbourne / Wander Productions); The Incorruptible (Playbox Theatre) and Cloud Nine, Miss Julie and The Bear (Nimrod Theatre Company). Colin’s television credits include The Secret Daughter, Jack Irish: Bad Debts, Wild Boys, Killing Time, Bastard Boys, Blackjack, Temptation, My Husband My Killer, The Farm, For the Term of His Natural Life and Water Rats. His film credits include The Eye of the Storm, A Heartbeat Away, Tomorrow When the War Began, Matching Jack, The Informant, The Nothing Men, Solo, The Book of Revelation, Tom White, The Man Who Sued God, Dark City, Mr Reliable, Cosi, Angel Baby, A Good Man in Africa, Dingo, High Tide, Malcolm, The Coolangatta Gold and Monkey Grip. Colin received a Helpmann Award for Best Male Actor for Copenhagen, a TV Week Logie Award for Best Actor in Water Rats, an AFI Award for Best Actor in a Television Drama for Water Rats, and a Best Actor AFI Award for Malcolm. MIRANDA PARKER Grand Duchess Miranda graduated with a Bachelor of Acting from the Western Australian Academy of Performing Arts in 2016. In training, Miranda played the role of Prime Minister Ruth in 13; Lorry in A Tale of Two Cities; Madame De Volanges in Les Liaisons Dangereuses; Soldier in Coriolanus; and Danforth in The Crucible. Film credits include Joey Heatherton in I Am Woman (2019). Belvoir St Theatre’s Life of Galileo is Miranda’s professional theatre debut.

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DAMIEN RYAN Maculi Damien is Artistic Director of Sport for Jove Theatre. Recent acting credits include Twelfth Night, Nora (Belvoir); Rose Riot, Othello, Julius Caesar, Cyrano de Bergerac, Macbeth, The Tempest (Sport for Jove); As You Like It, Antony and Cleopatra, Richard 3, Comedy of Errors, Hamlet (Bell Shakespeare); Crime and Punishment, Under Milk Wood (SAT); Mother Courage, Isolde and Tristan, Hamlet, King Lear (Harlos); Cosi, Away, Importance of Being Earnest (NOMAD), In Memoriam, In Praise of Love (The Independent) along with extensive work in the education sector. He directed The Father (STC); Hamlet, Henry V, Henry IV Parts 1 and 2 (with John Bell), Romeo and Juliet (Bell Shakespeare); Rose Riot, Merchant of Venice, Antigone, Antony and Cleopatra, The River at the End of the Road; Cyrano de Bergerac, No End of Blame, Othello, The Tempest, Romeo and Juliet, Away, The Taming of the Shrew, Macbeth, Loves Labour’s Lost, The Importance of Being Earnest, The Crucible, A Midsummer Night’s Dream, All’s Well That Ends Well, Twelfth Night, The Libertine (Sport for Jove); Look Back in Anger (Old Fitz). Damien has won Sydney Theatre, Green Room, GLUG and Timeout awards for acting and directing. DAMIEN STROUTHOS Ludovico The Life of Galileo is Damien’s debut for Belvoir. For Bell Shakespeare Damien has appeared in The Miser, The Merchant of Venice, Romeo & Juliet, The Tempest and Henry V. Other theatre credits include The Harp in the South (stand in) for STC, All’s Well That Ends Well, Much Ado About Nothing, The Merchant of Venice, Twelfth Night, Cyrano de Bergerac, Romeo & Juliet and A Midsummer Night’s Dream for Sport for Jove Theatre Company; Lenny Bruce: 13 Dayz Undug in Sydney for Tamarama Rock Surfers Theatre Company, and Inner Voices for Red Line Productions; for which he received a Best Actor nomination at the Sydney Theatre Awards in 2016. His film and television credits include Sydney for Dream Maker Studios, as well as the WA Screen Academy shorts Choices and The Door. He appeared as Jay Duffy on Wonderland for Network 10, and in 2019 can be seen in the ABC television series Frayed, as well as the upcoming feature film I Am Woman from Director Unjoo Moon.

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Vaishnavi Suryaprakash


Bronte Schuftan and Miranda Parker

Ayeesha Ash, Eamon Flack, Sonia Todd

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VAISHNAVI SURYAPRAKASH Andrea Vaishnavi is one of NIDA’s most exciting recent graduates. Vaishnavi’s theatre credits include Counting and Cracking, Sami in Paradise (Belvoir), Moby Dick (Sport For Jove) and Pramkicker (Vox Theatre). In her NIDA final year performance, Vaishnavi captivated audiences in the lead role of ‘Jess’ in Love and Money directed by Judy Davis. She has also appeared in Realism (Dir. Jessica Arthur), Spring Awakening (Dir. Tim Hill), A Midsummer Night’s Dream (Dir. Iain Sinclair) and the music video Find You by Tim Ayre as part of Triple J Unearthed. Vaishnavi has also trained and performed professionally in Bharatha Natyam, a classical Indian dance style, and has a double degree in Arts and Law from the University of Sydney. For her performance in Counting and Cracking, Vaishnavi won the 2019 Helpmann Award for Best Female Actor in a Supporting Role. SONIA TODD Vice Chancellor A graduate of the National Institute of Dramatic Art, Sonia has worked extensively in television, theatre, and film. Whilst at NIDA, she was one of the group of students who devised the play Strictly Ballroom. Sonia’s theatre credits include Cold Light (Street Theatre); Hamlet, Much Ado About Nothing, Table For One, Worst Kept Secrets (Bontom Productions); A Murder Is Announced (Louise Withers & Associates); The Winter’s Tale, Les Liaisons Dangereuses, The Golden Age (Nimrod Theatre Company) and Harold in Italy (Sydney Theatre Company). Television credits include McLeod’s Daughter’s, Police Rescue, Rake, Simone De Beauvoir's Babies, The Potato Factory, Janet King, GP, A Country Practice, Water Rats, Halifax F.P. and All Saints. Sonia’s film credits include Shine and Rescue: The Movie. For her performance in Police Rescue, Sonia won an AFI Award for Best Performance by an Actress in a Leading Role. Sonia also received an AFI Award Nomination for The Potato Factory. RAJAN VELU Fulganzio Rajan is a graduate of the Actors Centre in Sydney. His theatre credits include Counting and Cracking (Belvoir / CoCurious), Friends in Transient Places (Fresh Produce’d, Los Angeles), Lost: The Musical (Chinless Productions, Los Angeles), The Changeling, Henry V (Independent Shakespeare Company, Los Angeles), The Last Highway (Urban Theatre Projects, Sydney Festival), Fearless N (Theatre Kantanka) and The Drum (Sydney Opera House). Rajan’s film credits include the independent films Eat Spirit Eat and Honeyglue, and the award winning short, You Can’t Curry love. His TV credits include Diary of an Uber Driver, Reef Break, Criminal Minds: Beyond Borders, Scandal, Brooklyn Nine Nine, Crazy Ex-Girlfriend and Hollywood Heights.

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ZOË ATKINSON Set and Costume Designer Zoë studied design for performance at the Prague Academy of The Performing Arts, International Institute of Figurative Theatre (Czech Republic) and Institute International de la Marionette in France under Josef Svoboda. Since returning to Australia in 1997 she has designed for theatre, dance, puppetry, opera and museums. Most recently Zoë worked as Artistic Associate and Designer of Boorna Waanginy, the opening event of the 2019 Perth Festival; Cloudstreet for Malthouse Theatre; A Ghost in My Suitcase for Barking Gecko; Xenides for Black Swan Theatre, and The Museum of Water for the 2018 Perth Festival with UK artist Amy Sharrocks. Zoë’s awards include a Helpmann for Best Costume Design (The Odyssey; Malthouse and Black Swan Theatre), Green Room Awards for Best Theatre Production (On the Misconception of Oedipus, Malthouse Theatre) and Best Dance Design (Lawn, The Splinter Group), Equity Guild Awards for Best Design (The Crucible, Black Swan Theatre), Best Production (Plainsong, Black Swan Theatre and Skin Tight, Perth Theatre Company), and the Dance Australia Critics Survey. PAUL JACKSON Lighting Designer Paul is a multi-award-winning designer who has worked with Australia’s leading arts organisations and internationally. For Belvoir, credits include Seventeen, Nora, Oedipus Rex, Happy Days, and It Just Stopped. Other work includes: Solaris, Cloudstreet, Blasted, Melancholia, The Testament of Mary, The Real and Imagined History of the Elephant Man, Black Rider, Away, I am a Miracle, Blaque Showgirls, Picnic at Hanging Rock, Meow Meow’s Little Mermaid, Edward II, Night on Bald Mountain, Antigone, Timeshare, Hello, Goodbye and Happy Birthday, Little Match Girl, Die Winterreise, The Threepenny Opera, Vamp, The Tell-Tale Heart, Sleeping Beauty (also co-creator), The Odyssey (Malthouse Theatre); Mary Stuart, Love and Information, The Histrionic, The Trial; True West, The Mysteries: Genesis (Sydney Theatre Company); The Merchant of Venice, Othello, As You Like It, Phedre, Tartuffe, Julius Caesar (Bell Shakespeare); Arbus and West, Gloria, Three Little Words, Hay Fever, Di, Viv and Rose, Private Lives, Miss Julie, Endgame, Ghosts, The Crucible (Melbourne Theatre Company); Lorelei (Victorian Opera). He has won a Helpmann Award, seven Green Room Awards, a Sydney Theatre Award and three APDG awards. He is both a Churchill and an Australia Council Fellow. Paul has lectured in design and associated studies at the University of Melbourne, RMIT and VCA.

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JETHRO WOODWARD Composer and Sound Designer Jethro is a Melbourne-based composer, musical director, arranger, musician and sound designer recognised for his expansive and highly layered film, theatre and dance scores. A multi Green Room Award winner and Helpmann nominee, he has worked with some of Australia’s leading major and independent companies including Belvoir, Malthouse Theatre, Melbourne Theatre Company, Sydney Theatre Company, Melbourne Symphony Orchestra, Opera Victoria, Chamber Made Opera, Back to Back, Chunky Move, Lucy Guerin, Australian Dance Theatre, Aphids, Stuck Pigs Squealing, Rawcus, and more. Recent works include: Sami in Paradise (Belvoir), Solaris (Malthouse Theatre), Lazarus (Production Company), Distant Matter (Staatsballett Berlin), Common Ground (Chunky Move / Dance Massive), Rumplestiltskin (Windmill / Southbank Centre London) and Paul Capsis & the Fitzroy Youth Orchestra (Sydney Festival). Jethro regularly tours his work internationally and has won Green Room Awards for his work on Song for a Weary Throat (Rawcus), For the Ones Who Walk Away (St Martins Youth Theatre), The Bloody Chamber (Malthouse Theatre), Moth (Malthouse Theatre / Arena Theatre), Goodbye Vaudeville Charlie Mudd (Malthouse Theatre / Arena Theatre) and Irony Is Not Enough (Fragment 31). In 2018 Jethro was the recipient of the GRA Technical achievement Award. KATE CHAMPION Choreographer Kate was the founding Artistic Director of Force Majeure (2002-15), a ground-breaking dance theatre company based in Sydney. She has worked in theatre, dance, film, circus, opera and musical theatre with arts companies and institutes including Belvoir (Under The Influence, Cloudstreet, Food, My Urrwai, A Taste of Honey, Every Brilliant Thing), Sydney Theatre Company (Never Did Me Any Harm, Spring Awakening), STCSA (That Eye The Sky, A View From The Bridge), The English National Opera (The Prisoner, La Strada), Opera Australia (Bliss, The Ring Cycle, La Boheme), The Hayes (Evie May), NIDA (Not Who I Was, Meat Eaters), National Theatre of Parramatta (Swallow) and DV8 Physical Theatre – London (Strange Fish, Happiest Day Of My Life, Can We Afford This). Kate also choreographed the original stage version of Dirty Dancing (Australia, UK, US, Europe). She has created and performed two critically acclaimed solo shows, Face Value and About Face. As Artistic Director of Force Majeure, Kate directed Same, Same But Different, Tenebrae – Part 1 and 2, Already Elsewhere, The Age I’m In, Not In a Million Years, and Nothing to Lose. Kate has been awarded Helpmann, Green Room and Australian Dance Awards.

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TANYA LEACH Stage Manager Tanya has been a freelance stage manager for almost 35 years. For theatre her credits include The Gospel According to Paul (Soft Tread Productions); Memorial (Brink Productions: Adelaide Festival / Brisbane Festival / Barbican 2018); Our Country’s Good / The Recruiting Officer (MTC / STCSA); Little Murders (MTC at Russell St Theatre); The Dance of Death (Sydney Festival 2004); Three Furies (Performing Lines / Adelaide Festival); The Baulkham Hills African Ladies Troupe (Performing Lines); Saint Joan (dir. Gale Edwards), The White Devil, Salt, The Cherry Orchard, Mother Courage, Riflemind, True West, The Removalist, Sex with Strangers, Loot, Arms and the Man, Noises Off, Talk, and Still Point Turning (STC). For opera her credits include The Marriage of Figaro (VSO); The Turn of the Screw, The Pearlfishers, Lulu (dir. Mark Gaal 1994), Die Meistersinger von Nurnberg (Opera Australia). Since 2013 she has been associated with Pinchgut Opera (led by Prof Erin Helyard) for whom she has stage managed ten operas including Artaserse. Tanya is a proud member of The Alliance. BRONTE SCHUFTAN Assistant Stage Manager Bronte graduated with a Bachelor of Performance in Dramatic Arts, and in addition to working in stage management, she is also a published playwright, and has a background in performance, dramaturgy, and design. Bronte’s production credits include They Divided the Sky, The Overcoat, Extinction of the Learned Response, The Maids, and The Readers (Belvoir’s 25A Program), The Big Time (Ensemble Theatre), Senior Moments National Tour 2018 (Return Fire Productions), Gloria (Outhouse Theatre Company), Victor Ego: The Brainstorm (O’Punksky’s Theatre Company), A View from the Bridge (Red Line Productions; Sydney Theatre Award for Best Independent Production), The Servant of Two Masters, Measure for Measure, Cyrano de Bergerac (Sport For Jove), The Night Alive (The Old Fitz), Cherophobia (Antidote; The Opera House), BAD Sydney Crime Writers Festival (Sydney Living Museums), Deadhouse: The Tales of Sydney Morgue (Blancmange Productions), Lotus Program & National Script Workshops (Playwriting Australia), and Misterman, Good With Maps, and Hendricks Gin – Awakening (Siren Theatre Co.)

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Colin Friels


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WANT MORE?

BELVOIR BRIEFINGS Belvoir Briefings are your chance to hear directly from the artists about every show before it hits our stage. For each production, the creative team talks about why they wanted to tackle the story, how it’s evolved in the rehearsal room, and what audiences can expect from the show. It’s your ticket backstage. Belvoir Briefings are FREE but we’d like you to book online at belvoir.com.au/events/belvoir-briefings so we can save you a spot. Our next Belvoir Briefings are... Fangirls 6:30pm, Tuesday 8 Oct Packer & Sons 6:30pm, Thursday 7 Nov

POST-SHOW Q&A Have you ever wished you could sit down with the cast and crew after the performance, hang out and ask questions about what you’ve just seen? Guess what? You can! Directly following one performance of each production, select cast and crew will return to the stage for an informal chat led by Belvoir Artistic Associate Tom Wright. This is your chance to ask about the show and to delve deeper into the performance. Just stay in your seat after these performances… Life of Galileo Tuesday 20 August Fangirls Tuesday 22 Oct Packer & Sons Tuesday 26 Nov

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Miranda Parker


FANGIRLS 12 OCT — 10 NOV

Written by Yve Blake Directed by Paige Rattray Vocal Arranger/ Music Director Alice Chance Music Producer/ Sound Design David Muratore Dramaturg Jonathan Ware

A W ILD

NE W MU SI CAL

AB OU T FI RS T LO VE ,

FAN CULTU RE AND UNLIM ITED PASSI ON

Y D AN A G N I R U T A FE

ICE O V E H T M FRO

Supported by The Group

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THEATRICALITY. VARIETY OF LIFE. FAITH IN HUMANITY. Belvoir is a theatre company on a side street in Surry Hills, Sydney. We share our street with a park and a public housing estate, and our theatre is in an old industrial building. It has been, at various times, a garage, a sauce factory, and the Nimrod Theatre. When the theatre was threatened with redevelopment in 1984, over 600 people formed a syndicate to buy the building and save the theatre. More than thirty years later, Belvoir St Theatre continues to be home to one of Australia’s most celebrated theatre companies. In its early years Belvoir was run cooperatively. It later rose to international prominence under first and longest-serving Artistic Director Neil Armfield and continued to be both wildly successful and controversial under Ralph Myers. Belvoir is a traditional home for the great old crafts of acting and storytelling in Australian theatre. It is a platform for voices that won’t otherwise be heard. And it is a gathering of outspoken ideals. In short: theatricality, variety of life, and faith in humanity. At Belvoir we gather the best theatre artists we can find, emerging and established, to realise an annual season of works – new Australian plays, Indigenous works, re-imagined classics and new international writing. Audiences

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remember many landmark productions including The Drover’s Wife, Angels in America, Brothers Wreck, The Glass Menagerie, Neighbourhood Watch, The Wild Duck, Medea, The Diary of a Madman, Death of a Salesman, The Blind Giant is Dancing, Hamlet, Cloudstreet, Aliwa, The Book of Everything, Keating!, The Exile Trilogy, Exit the King, The Sapphires, The Rover, Faith Healer, The Sugar House, Counting and Cracking and many more. Today, under Artistic Director Eamon Flack and Executive Director Sue Donnelly, Belvoir tours nationally and internationally, and continues to create its own brand of rough magic for new generations of audiences. We are proud to be creating work that speaks to the fullness of life and experience in Australia and abroad, continuing our commitment to deliver diverse stories to diverse audiences. This year that work was recognised with a record thirteen wins at the 2019 Helpmann Awards. Belvoir receives government support for its activities from the federal government through the Australia Council and the state government through Create NSW. We also receive philanthropic and corporate support, which we greatly appreciate and welcome. belvoir.com.au


BELVOIR STAFF 18 Belvoir Street, Surry Hills NSW 2010 Email mail@belvoir.com.au Web belvoir.com.au Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444 Artistic Director Eamon Flack Executive Director Sue Donnelly Deputy Executive Director & Senior Producer Aaron Beach BELVOIR BOARD Sam Meers AO (Chair), Patricia Akopiantz (Deputy Chair), Kate Champion, Sue Donnelly, Johanna Featherstone, Eamon Flack, Alison Kitchen, Michael Lynch AO, Stuart O'Brien, Peter Wilson BELVOIR ST THEATRE BOARD Angela Pearman (Chair), Ian Learmonth, Stuart McCreery, Sue Rosen, Nick Schlieper, Mark Seymour, Susan Teasey ARTISTIC & PROGRAMMING Artistic Associates Tom Wright Dom Mercer Head of New Work Louise Gough Artistic Administrator Carly Pickard Andrew Cameron Fellow Carissa Licciardello Balnaves Foundation Fellow Kodie Bedford ADMINISTRATION Office Manager and Executive Assistant to Eamon Flack & Sue Donnelly Vyvyan Nickels

EDUCATION Education Manager Jane May Education Coordinator Stevie Bryant FINANCE & OPERATIONS Head of Finance and Operations Penny Scaiff Finance Administrator Shyleja Paul CRM & Insights Manager Jason Lee MARKETING Head of Marketing Amy Goodhew Marketing Manager Aishlinn McCarthy Marketing Coordinator Rosanna Quinn Content Coordinator Michael Kennedy BOX OFFICE & CUSTOMER SERVICES Head of Customer Experience & Ticketing Andrew Dillon Ticketing Systems Administrator & CRM Coordinator Tanya Ginori-Cairns Customer Service Coordinator Jacki Mison Box Office Coordinator Oliver Lee Box Office Staff Paige Ahearn, Alison Benstead, Lucy Gleeson, Nathan Harrison, Melissa Mills, Millicent Simes, Erin Taylor, Jessica Vincent

FRONT OF HOUSE House Manager, Venue & Events Julie O'Reilly Assistant Front of House Manager Scott Pirlo Front of House Assistants Alison Benstead, Summer Bonney-Tehrani, Emily David, Stella Encel, Felix de Gruchy, Will Hickey, Patrick Klavins, Sally Lewis, Rhiaan Marquez, Meredith O’Reilly, Amelia Parsonson, Sam Parsonson, Tori Walker, Chelsea Zeller DEVELOPMENT Head of Development Sarah Gilchrist Philanthropy Manager Joanna Maunder Development Coordinator Anthony Whelan PRODUCTION Head of Production Gareth Simmonds Production Manager Elizabeth Jenkins Technical Manager Aiden Brennan Senior Technician Raine Paul Resident Stage Manager Luke McGettigan Costume Coordinator Judy Tanner Acting Construction Manager Andrew Lee WORKSHOP Mac Nordman Jacqui Hudson Tim Dawes

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BELVOIR SUPPORTERS Our patrons, supporters and friends are right there behind us, backing Belvoir in bringing to life the great old theatrical crafts of acting and storytelling. Thank you Learn more about supporting Belvoir at belvoir.com.au/support-belvoir FOUNDATIONS

Indigenous theatre at Belvoir supported by The Balnaves Foundation

CHAIR’S CIRCLE Patty Akopiantz & Justin Punch Robert & Libby Albert*** Sophie & Stephen Allen The Balnaves Foundation Guido Belgiorno-Nettis AM & Michelle BelgiornoNettis Jessica Block Catherine & Philip Brenner Anne Britton Jillian Broadbent AC Andrew Cameron AM & Cathy Cameron David Gonski AC & Associate Professor Orli Wargon OAM Sarah Henry & Charlotte Peterswald Anita Jacoby AM John Kaldor AO & Naomi Milgrom AO Alison Kitchen Knights Family Jabula Foundation Matthew & Veronica Latham Ian Learmonth & Julia Pincus Helen Lynch AM & Helen Bauer Nelson Meers AO & Carole Meers Sam Meers AO Catriona Mordant AM & Simon Mordant AM Kerr Neilson Stuart and Kate O’Brien Cathie & Paul Oppenheim

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Andrew Cameron Family Foundation Copyright Agency Cultural Fund Gandevia Foundation The Greatorex Foundation

Nelson Meers Foundation Naomi Milgrom Foundation Neilson Foundation Oranges and Sardines Foundation The Ian Potter Foundation

Doc Ross Family Foundation The Thyne Reid Foundation Walking Up The Hill Foundation

Dan & Jackie Phillips Susanna & Matthew Press Andrew Price Andrew & Andrea Roberts Sherry-Hogan Foundation Rob Thomas AO Mark & Jacqueline Warburton Weir Anderson Foundation The Wiggs Foundation Kim Williams AM & Catherine Dovey Rosie Williams & John Grill Peter Wilson & James Emmett Cathy Yuncken

John Pickhaver Sherry-Hogan Foundation* Victoria Taylor*** Shemara Wikramanayake & Ed Gilmartin Peter Wilson & James Emmett* Cathy Yuncken* Anonymous (1) $5,000 – $9,999 Merhdad & Roya Baghai Jill & Richard Berry* Hartley Cook** Sue Donnelly* Bob & Chris Ernst** Eamon Flack Bill Hawker Don & Leslie Parsonage** The Wales Family Foundation $2,000 – $4,999 Justin Butterworth Janet & Trefor Clayton* Michael Coleman** Victoria Holthouse** Ruveni & Craig Kelleher Penelope Seidler AM $500 – $1,999 Colleen & Michael Chesterman** Sandra Ferman Linda Herd Cheryl L* Stuart McCreery Steve & Belinda Rankine** Richard, Heather & Rachel Rasker*** Sally & Jonathan Rourke Jonquil Ritter

THE GROUP

CREATIVE DEVELOPMENT FUND $20,000+ Patty Akopiantz & Justin Punch Andrew Cameron AM & Cathy Cameron*** Marion Heathcote & Brian Burfitt** Anita Jacoby AM* Ingrid Kaiser Robert Thomas AO Kim Williams AM & Catherine Dovey*** $10,000- $19,999 Anne Britton** Jane & Andrew Clifford The Horizon Foundation Helen Lynch AM & Helen Bauer**

Patty Akopiantz Sophie Allen Catherine Brenner Jillian Broadbent AC Margaret Butler Sally Cousens Lisa Droga Robin Low Sam Meers AO Sarah Meers Naomi O’Brien Jacqui Parshall The Phillips Family Katriina Tahka Cathy Yuncken

THE HIVE Elizabeth Allen Aaron Beach & Deborah Brown Justin Butterworth Dan & Emma Chesterman Este Darin-Cooper & Chris Burgess Julian Leeser MP & Joanna Davidson Hannah Roache & Luke Turner Matthew Rossi Chris Smith Peter Wilson & James Emmett*

* 5+ years ** 10+ years *** 15+ years of continuous giving List correct at time of printing.


B KEEPERS $5,000+ Claire Armstrong & John Sharpe*** Ellen Borda* Louise Christie** Bernard Coles QC Constructability Recruitment Bob & Chris Ernst** Marion Heathcote & Brian Burfitt** Bruce Meagher & Greg Waters* Don & Leslie Parsonage** Greg & Chantal Roger*** Jann Skinner** $3,000 – $4,999 Jan Burnswoods*** Michael & Suzanne Daniel** Tom Dent Firehold Pty.Ltd.** Michael Hobbs OAM** Colleen Kane** Jennifer Ledgar & Bob Lim*** Peter & Jan Shuttleworth** Merilyn Sleigh & Raoul de Ferranti* Judy Thomson** Anonymous (1) $2,000 – $2,999 Antoinette Albert** Gae Anderson Max Bonnell*** Chris Brown* Danny & Kathleen Gilbert** Cary & Rob Gillespie* Sophie Guest** David Haertsch*** HLA Management Libby Higgin* Ken & Lilian Horler Maria Manning & Henry Maas Professor Elizabeth More AM** Dr David Nguyen** Timothy & Eva Pascoe*** Angela Pearman Michael Rose* Lesley & Andrew Rosenberg* Ann Sherry AO* $1,000 – $1,999 Gil Appleton** Peter & Cherry Best Allen & Julie Blewitt Robert Burns

Mary Jo & Lloyd Capps*** Jan Chapman AO & Stephen O’Rourke*** Jane Christensen* Annabel Crabb & Jeremy Storer* Verity Goitein David & Kathryn Groves** Priscilla Guest* Lisa Hamilton & Rob White* Wendy & Andrew Hamlin*** Judge Joe Harman Kevin & Rosemarie JeffersPalmer *** Margaret Johnston*** A. Le Marchant*** Stephanie Lee*** Ross McLean & Fiona Beith* Genie Melone Keith Miller Cajetan Mula (Honorary Member) Kylie Nomchong SC Jacqueline & Michael Palmer Jacq Parkes and Peter Talbot Greeba Pritchard* Richard, Heather & Rachel Rasker*** Alex Oonagh Redmond** David Round Elfriede Sangkuhl* Jennifer Smith*** Chris & Bea Sochan** Camilla & Andrew Strang Sue Thomson** Lynne Watkins & Nicolas Harding* Richard Willis Paul & Jennifer Winch***

EDUCATION DONORS $10,000+ Anita Luca BelgiornoNettis Foundation John Fairfax AO Kimberly & Angus Holden Susie Kelly Ian Learmonth & Julia Pincus* Sam Meers AO Stuart & Kate O’Brien

$5,000 - $9,999 Patty Akopiantz & Justin Punch Louise Mitchell & Peter Pether David & Jill Pumphrey Rob Thomas AO Anonymous (1)

GENERAL DONORS

$2,000 – $4,999 Estate of the late Angelo Comino Kiera Grant & Mark Tallis Julie Hannaford* Patricia Novikoff**

$2,000 – $4,999 Robert Burns Raymond McDonald Leslie Stern Anonymous (4)

$500 – $1,999 AB* Ian Barnett* Maxine Brenner, Judy Binns Este Darin-Cooper & Chris Burgess* Sabina Donnelley Drama NSW Sandra Ferman Valmae Freilich Geoffrey & Patricia Gemmell* Judge Joe Harman Bill Hawker Dorothy Hoddinott AO** Sue Hyde* David Jonas & Desmon Du Plessis* A Juchau Ruth Layton Jennifer Ledgar & Bob Lim*** Christopher Matthies* Cynthia Mitchell & Elizabeth Harry John Peluso Nicole Philps Richard, Heather & Rachel Rasker* Jonquil Ritter Julianne Schultz Margie Seale Peter & Janet Shuttleworth* Chris & Bea Sochan** Rob & Rae Spence Titia Sprague* Steiner Family Cheri Stevenson Daniela Torsh* Sarah Walters* Anonymous (12)

$10,000+ Ross Littlewood & Alexandra Curtin* Anonymous (1) $5,000 - $9,999 Lou-Anne Folder

$500 – $1,999 Annette Adair* Colin Adams Victor Baskir* Baiba Berzins* Maxine Brenner Kim & Gil Burton Darren Cook Tim & Bryony Cox** Carol & Nicholas Dettmann Jane Diamond* Emma Domoney Anton Enus Gillian Fenton Tim Gerrard Peter Gray & Helen Thwaites** Jill Hawker Elaine Hiley Dorothy Hoddinott AO** Mira Joksovic Vanovac Robert Kidd Anne Loveridge Peter Mitchell Patricia Novikoff** Judy & Geoff Patterson* Christina Pender Leigh Rae Sanderson Rachel Scanlon Eileen Slarke & Family*** Chris & Bea Sochan** Geoffrey Starr Paul Stein AMQC Mike Thompson* Helen Trinca Suzanne & Ross Tzannes AM* Louise & Steve Verrier Chris Vik & Chelsea Albert Louisa Ward Lynne Watkins & Nicholas Harding* Professor Elizabeth Webby AM* Annie Williams Brian & Trish Wright Anonymous (10)

Learn more about supporting Belvoir at belvoir.com.au/support-belvoir

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Rajan Velu, Colin Friels


BELVOIR PARTNERS GOVERNMENT PARTNERS

MAJOR PARTNERS

RESEARCH & ENGAGEMENT

MEDIA PARTNERS

YOUTH & EDUCATION PARTNER

ASSOCIATE PARTNERS

PRODUCTION PARTNERS

ACCOMMODATION PARTNERS

NCC Network Computing & Consulting

EVENT PARTNERS

For more information on partnership opportunities please contact our Development team on 02 9698 3344 or email development@belvoir.com.au Correct at time of printing.

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belvoir.com.au 18 & 25 Belvoir Street Surry Hills NSW 2010 Email mail@belvoir.com.au Administration (02) 9698 3344 Fax (02) 9319 3165 Box Office (02) 9699 3444

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