Acknowledgement of Country
Fever103 Theatre respectfully acknowledges that this production of the last train to madeline has been rehearsed and performed on the unceded lands of the Wurundjeri Woi-Wurrung people.
We pay respect to elders past and present, and acknowledge and honour their unbroken spiritual and cultural connection to this land for more than 2000 generations. Always was, always will be Aboriginal land.
Synopsis
It’s a sweltering small-town summer in Wangaratta when eight year olds Maddy and Luke first meet. Maddy is convinced of two things: her dad is a famous rockstar and if she travels the world for long enough she’ll eventually find him.
At 17, bored with the monotony of small town life and heady with first love, Maddy plans the pair’s escape to Melbourne.
At 23, Luke– who hasn’t seen Maddy in six years– has built a comfortable life for himself in Wangaratta. But when she appears unannounced in his driveway one evening, the pair are swept back together in a storm of adolescent nostalgia and their former selves, wondering where they have been without each other and where they are going next.
Writer’s Note
In 2016, I received a phone call which changed my life. It was one of those rare nights where I’d make the mature decision not to join my friends for the habitual pint and instead opt to head home for bed:“You got a spare sec to chat?”
I hadn’t seen her in years, barely knew each other but for the few weeks spent rehearsing together in a school production of Peter Pan. We talked timidly at first like awkward neighbours chatting over a fence:“Tell me about your day, your week, your month, your year ”
I was eighteen and living on my own, guts deep into a three year acting degree far away from home and she was trapped at school hating her pretentious friends, wanting to run far away
We talked from midnight to sunrise about things we deemed important, playing our favourite songs over the phone and reading each other passages from books we used to hate and reciting poems we acted like we understood. We talked about home and how far away it felt.
In the morning she told me she had to go so, I said goodbye and I walked the long walk to uni When I arrived I collapsed on the floor of the locker room and cried for the first time in ages into the arms of friend:“What’s wrong?”“Dunno But it should be a fuckin’ play.”
I had no grand ambitions for this play. Being a playwright was never a part of my grand plan. Sometimes I think maybe I needed to sit in therapy a little bit longer but instead I decided to divide myself in two and let these characters figure it out together It’s been a little over six years since I began. The same amount of time it takes for Maddy to arrive in Luke’s driveway. And in those years I’ve had a lot of time to think about what this play is about and, yes, it’s about falling in love but it’s also about learning how to let go. It’s also about magic, nostalgia and dreams It’s about friendship, family and home It’s about growing up
Over the past six years I’ve had a lot of growing up to do and I’m nowhere close to being done. I hope this play reminds you of the possibility that you do too. Who knows? Maybe that’s the point.
Thank you to Hayden, Ruby, Eddie, Harry, Sav, Spencer, Ollie, Finn, Seamus and everyone who helped me write this play.
I owe you all a pint and a cuddle. x
-CallumMackay
Director’s Note
This play came into my life during the first wave of COVID lockdowns in Gadigal. And much like the unexpected impact of Maddy on Luke’s life, this play hit me like a tonne of bricks. I fell in love with its sense of nostalgia, dreaming, and the way it captured how messy and necessary our first Maddy/Luke relationship actually is to who we become as people
Funnily enough, I was unsuccessful when I first pitched to direct this play. Which absolutely sucked because I had fallen for something so hard that I wasn’t able to continue with it. It was programmed with a different company, and different director, on numerous occasions, and each time I sat at a distance, longing and waiting for the production to arrive But it never did.
To me, this play is about the beautiful pain of returning to the past - one that’s sticky with euphoria, grief, and messy awkward humour. It’s a play that tells us that people are only in our life for a season, and whether that be short or long, we must learn as people not to hang on, and there is more to be learned in the grappling of their absence, and solace in knowing they’re gone. The love between Maddy and Luke is temporal, but the memories it leaves are lasting.
And that’s been the goal of this production - not to make you fall in love with this relationship or these characters necessarily, but to demonstrate the times they should have moved on, and to create images that last with the audience for as long as these memories will last for Maddy and Luke.
I want to take a moment here as well to acknowledge the stupid amount of ambition, care, and support that has gone into this work Fever103 is a special kind of company that has made my first collaboration so joyful because they understand that new Australian writing is a labour of love, and it requires a team who are passionate and supportive. A new work is never complete in my opinion - it continues to evolve with context and audiences - but thanks to the work of Harry Dowling and the entire creative team, I do believe we are seeing the best first outing this production could have received
So enjoy the messiness of this night - it jumps between the moments that stay with us for life. We’ve all been there. It just wasn’t accompanied by such a banging ‘So Fresh’ tracklist before.
-HaydenTonazzi
Cast
Ruby Maishman - Maddy
Ruby graduated from WAAPA’s acting program in 2019 and has been working between Sydney and Melbourne ever since. Her recent theatre credits include ‘The Players’ National Tour and ‘Romeo and Juliet’ (Bell Shakespeare).
TV and film credits in 2023 included Home and Away, and ‘The Lost Flowers of Alice Hart’, where she appeared as the younger version of Sigourney Weaver’s character. She was recently seen in the second season of ‘Colin From Accounts’. She is thrilled to be bringing this new work to audiences in her hometown of Melbourne.
Productions with Fever103: ‘the last train to madeline’ (2024)
Eddie Orton - Luke
Eddie is a graduate of the National Theatre Drama School. Recent stage credits include ‘37’ (MTC/Queensland Theatre), ‘Let The Right One In’ (Darlinghurst Theatre Co), ‘Touching The Void’ (MTC), ‘Heroes of the Fourth Turning’ (Outhouse Theatre), ‘Romeo and Juliet’ (Essential Theatre), ‘Our Blood Runs In The Street’ (Red Line/ Chopt Logic), ‘Extinction of the Learned Response’ (Belvoir 25A), ‘Jurassica’ (Red Stitch Actors Theatre) and ‘The Players’ (Bell Shakespeare)
Screen credits include ‘Framed’ (SBS) and the feature film ‘About An Age’.
Eddie is proudly represented by Ian White Management.
Productions with Fever103: ‘Climbers’ (2023), ‘the last train to madeline’ (2024)
Crew
Callum Mackay - Writer Hayden Tonazzi - Director
Originally from Sydney/Eora Country, Callum Mackay is an award-winning emerging playwright and actor based in Melbourne/Naarm.
Since graduating from the Victorian College of the Arts in 2018 (Bachelor of Fine ArtsActing), Callum has written four plays: ‘the last train to madeline’ (Fever103 Theatre), ‘Brittany & The Mannequins’ (Fever103 Theatre), ‘The Book of Daniel’ (Sundries Studio), and ’Waterfowl’ which will be performed later next year ‘Waterfowl’ won the 2023 Queer Play Writing award, was long listed for Red Stitch Actor’s INK Program, a top ten finalist of the Lysicrates Prize and selected to be a part of kxt bAKEHOUSE’s Storytellers 2022 season.
Hayden Tonazzi is a director and creative producer of theatre and musical theatre They were appointed Artistic Associate in 2022 at the Australian Theatre for Young People (ATYP), working on productions such as Saplings by Hannah Belanszky (Sydney Festival), ‘Cusp’ by Mary Anne Butler, ‘Shack’ by George Kemp and ‘Follow Me Home’ by Lewis Treston.
In 2024, outside of ‘the last train to madeline’, Hayden will direct ‘Pickled ﺲﻴﺒﻛ’ (Belvoir 25A / PYT Fairfield), and Saint of Damour by James Elazzi (Qtopia Sydney) The works they are currently developing include a new Australian satirical disco musical ‘Converted!’ by Vic Zerbst, and ‘Waterfowl’ by Callum Mackay which won the 2023 QPAS Queer Playwriting Award.
Callum is also the co-founder of Sundries Studio and founded Fever103’s Play Readings, currently serving as their literary manager.
Productions with Fever103: ‘the last train to madeline’ (2024), ‘Brittany & The Mannequins’ (2022)
Their other directing credits include ‘This Genuine Moment’ (La Mama/The Old 505), Significant Other (The New Theatre), and Stop Drop And Listen (Shopfront Youth Arts)
Productions with Fever103: ‘the last train to madeline’ (2024)
CrewSavanna Wegman - Set & Costume Designer
Savanna Wegman is a set and costume designer, maker and writer working across theatre, opera and dance. She is New Zealand born, of Chinese Malaysian and Dutch descent and is now based on unceded Wurundjeri land in Naarm (Melbourne)
Recent performance design credits include: Set & Costume Designer for ‘Biographica’ (Lyric Opera, Theatreworks; Green Room Award Nominated for Set Design 2023), ‘Brittany and The Mannequins’ (Fever103 Theatre, Green Room Award Nominated for Set/Costume Design 2022), ‘Climbers’ (Fever103 Theatre), and 'STAUNCH ASF' (Melbourne Fringe) as well as Set Designer for 'A Certain Mumble' (Darebin Arts Speakeasy)
Associate Designer credits include ‘Candide’ (Victorian Opera), 'The Crocodile' (Spinning Plates Co. fortyfivedownstairs), and ‘The Mermaid’ (La Mama).
Productions with Fever103: ‘the last train to madeline’ (2024), ‘Brittany & The Mannequins’ (2022), ‘Climbers’ (2023)
Spencer Herd - Lighting Designer
Spencer (he/him) is a lighting designer working across all forms of live performance including theatre, cabaret, concerts and events
Spencer’s recent credits as Lighting Designer include ‘Frame Narrative’ (Old Fitz Theatre), ‘The Lonesome West’ (Old Fitz Theatre), ‘WHAT OF IT’ (Explosives Factory), ‘The Crocodile’ (fortyfivedownstairs), ‘Lehenda: Ukrainian Soul, Australian Soil’ (The National Theatre Melbourne), ‘Curveball’ (La Mama Courthouse), ‘Pull the Pin’ (Blue Room Theatre), and ‘From All Who Came Before’ (La Mama HQ).
Spencer has also been Associate Lighting Designer for Rachel Burke on ‘Far Away’ (fortyfivedownstairs) and ‘Wittenoom’ (Red Stitch Actors’ Theatre), as well as with Katie Sfetkidis on ‘Vampire Lesbians of Sodom’ (fortyfivedownstairs).
Productions with Fever103: ‘the last train to madeline’ (2024)
Crew
Oliver Beard - Composer & Sound Designer Finn McLeish - Stage Manager
Oliver Beard is a composer and sound designer. He received a Bachelor of Music (Creative Music) from the Sydney Conservatorium of Music, graduating as the Iris Oakley Sutor Award winner for outstanding composition Most recently, Oliver was the composer and sound designer for ‘Pear Shaped’ (Theatreworks)
Oliver’s credits include: ‘Pear Shaped’ (Theatreworks), ‘Lemon Tree on Dreg Street’ (Theatreworks/Midsumma Festival) ‘Not Today’ (Theatreworks/Melbourne Comedy Festival), ‘Significant Other’ (The New Theatre), ‘The Great and Powerful Ozzie’ (The Old 505 Theatre), ‘Amelié’ (The National Institute of Dramatic Arts, Festival of Emerging Voices), and ‘Carrie the Musical’ (The Depot Theatre)
Oliver writes and releases music under Oliver Beard on all streaming platforms.
Productions with Fever103: ‘the last train to madeline’ (2024)
Finn is an emerging theatre manager and performer based in Naarm/Melbourne. She is currently studying Psychology at Monash University
Recent production credits include: Stage Manager for ‘Monument’ (Red Stitch), ‘Transwoman Kills Influencer’ (Tayo Tayo Collective), and ‘Flake’ (Red Stitch) Assistant Stage Manager for ‘The Vampire Lesbians of Sodom’ (Little Ones Theatre), and ‘Julius Caesar’ (Melbourne Shakespeare Company). Co-Production Manager for ‘Shakespeare in Love’ (Monash Uni Student Theatre), and Assistant Director for ‘Marie Antoinette’ (Monash Uni Student Theatre).
Recent performance credits include ‘Cherry Bomb’ (La Mama), Jack in ‘Into the Woods’ (Monash Uni Student Theatre) and Elmire in ‘Tartuffe; (Monash Uni Student Theatre)
Productions with Fever103: ‘the last train to madeline’ (2024)
Crew
Harry DowlingProducer & Production Manager
Harry is a Creative Producer, Production & Stage Manager who is passionate about closely collaborating with artists to bring challenging and inspiring contemporary work to fruition. He is a co-founder of Fever103 Theatre, where he has been the company ’ s Creative Producer and Head of Production since its inception.
Highlights of his recent work include ‘Climber’s; ‘Brittany & The Mannequins’; ‘Treats’ (Fever103 Theatre), ‘Looking For Alibrandi’, ‘Yentl’, ‘Nosferatu’; ‘Atlantis’; ‘Grey Arias’ (Malthouse), ‘Saplings’ (ATYP/Sydney Festival), ‘Eclipse’ (RISING), ‘A Nightime Travesty’ (Yirramboi), ‘Kill Climate Deniers’ (MUST/MPAC), ‘Distortion’ (Western Edge), ‘Julius Caesar’; ‘A Midsummer Nights Dream’ (Melbourne Shakespeare Company), and ‘Vampire Lesbians Of Sodom’ (Little Ones Theatre).
Productions with Fever103: ‘Treats’ (2021), ‘Brittany & The Mannequins’ (2022), ‘Climbers’ (2023), ‘the last train to madeline’ (2024)
Seamus Allan - Associate Producer
Seamus is a theatre manager and maker with a broad experience base, working out of Naarm/Melbourne
Recent credits include: Marketing Coordinator for ‘The Tempest’; ‘The Wacky Wombat’; ‘Julius Caesar’ (Melbourne Shakespeare Company), ‘Chicago’, ‘Catch Me If You Can’ (CLOC Musical Theatre).
Producer/Production Manager for ‘FIND Festival’, ‘O-Show’ (Monash Uni Student Theatre), ‘Chess: The Musical’ (CLOC Musical Theatre) Stage Manager for ‘Shakespeare In Love’ (Monash Uni Student Theatre), and Director for Stupid F**king Bird (Monash Uni Student Theatre)
Seamus currently working with the Artistic Operations Department of the University of Melbourne Faculty of Fine Arts and Music as a Project Coordinator. Seamus is also studying a Bachelor of Medical Science/Doctor of Medicine at Monash University.
Productions with Fever103: the last train to madeline (2024)
Additional Credits
Audio Visual Design - Hayden Tonazzi
Set Construction - Rightside Creative Solutions
VCA Placement (Set Electrics) - Georgie Donnelley
Production Photography - Liv Morison
Promotional Photography/Videography - Jordan Blanch
TV Repair Man - Justin Gardam
Special Thanks
We would like to extend a a huge thank you to:
Meat Market, Monique Marani, Liv Morison, Yvonne
Virsik, Callum Dale, Monash Uni Student Theatre (MUST), Australian Theatre for Young People (ATYP), Nix Bowman, Ellie Meagher, Tyallah
Bullock, Richie Bikeline, Flick, Derrick Duan, Justin Gardam, Kamarra Bell Wykes, A Daylight Connection, Eric and Deanna Wegman, Maya Anderson, John Ford, Ella Callow-Sussex, Georgia Heath, Cale Martin, Eloise Vernon, Angus Leighton, Eddi Asher, Bri Nam, Felise Lyon, Holly Emmett
Thank you for helping to make this production a reality.