Blackie Blackie Brown // Program 2019

29 AUG – 14 SEP

29 AUG – 14 SEP BE C K E T T T H E AT R E

ON A S 019 SE——2 —

BY / Nakkiah Lui DIRECTION / Declan Greene CAST / Ash Flanders Tahlee Fereday DESIGN / Elizabeth Gadsby ANIMATION & VIDEO / Mike Greaney & Christina Remnant (for Oh Yeah Wow) LIGHTING & PROJECTION DESIGN / Verity Hampson COMPOSITION & SOUND DESIGN / Steve Toulmin FOLEY ARTIST & ASSISTANT SOUND DESIGN / Nate Edmondson CONCEPT ARTIST / Emily Johnson FIGHT CHOREOGRAPHER / Lyndall Grant STAGE MANAGER / Jess Keepence

VIDEO APPEARANCES

GREAT-GREATGRANDMOTHER / Elaine Crombie A.C.O.N / Peter Carroll NEWS ANCHORS / Amelia Adams Luke Carroll Hugh Riminton PANEL HOST / Lachlan Woods PROFESSOR ROBERTS / Francis Greenslade DARLENE / Nayuka Gorrie KEVIN / Malik Keegan KEVIN’S MOTHER / Lisa Maza ELLIOT SMITHSON / Kempton Maloney AND Judith Lucy

‘FAST-PACED ADVENTURE’ — ArtsHub

ANIMATION

LIVE ACTION VIDEO PRODUCTION

ANIMATION & VIDEO DIRECTOR / Mike Greaney

DOP / Thom Neal

PRODUCER / Christina Remnant VFX SUPERVISOR & COMPOSITOR / Dave Abbott ANIMATORS / Jayden Dowler Namira Primandari James Neilson

CAMERA & LIGHTING ASSISTANT / Harrison Kennedy PRODUCTION MANAGER / Kate Durman COSTUME SUPERVISOR / Paige Prendergast HAIR & MAKEUP / Marlene Olsson SET BUILDER / Seamus Spilsbury SOUND RECORDIST / Ryan Granger ACTING COACH / Matt Kelly RUNNER / James Borg

A Malthouse Theatre and Sydney Theatre Company production.

The creative development of Blackie Blackie Brown was produced by Performing Lines with support from ACMI, the Australia Council for the Arts and Create NSW. Proudly presented by Victoria University.

A NOTE FROM THE DIRECTOR

DECLAN GREENE: BLACKIE BLACKIE BROWN & TRAUMA IN THEATRE The beginning of Blackie Blackie Brown was five years ago, when Nakkiah and I went to see a play about a colonial era massacre. After curtain call we shuffled out with the majority white audience, surrounded by horrified conversations about the past. How brutal government policy was in those long-ago times, how far we’ve come in the time since, how important it was to see stories like this on ‘our’ stages.

Kiah and I went to a bar and started mulling over what we’d just seen.

Why was theatre about Indigenous history so dominated by stories of horror and trauma? If the answer is ‘so we don’t forget’—was it possible to foreground resistance and resilience as well as loss, while still representing the horrifying legacy of colonisation in the present?

I went home and fell into bed.

But at 2am I was woken up by my message tone. I looked over to see my phone lighting up with a stream of text messages. Kiah was outlining the story of a piece of theatre we were to make. A ‘live-action comic book’—for the origin story of a young, female, Indigenous superhero. An archaeologist-by-day, who—by night— sets out to avenge the massacre of her tribe, tracking down the descendants of the murderers and picking them off, one by one. The final text message was the title: Blackie Blackie Brown: The Traditional Owner of Death.

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As a queer director obsessed with camp cinema, I found this idea totally electric. Immediately my brain went to the great canon of femmecentric revenge films... Foxy Brown, Cleopatra Jones, I Spit on Your Grave, Lady Snowblood (which had itself been lovingly ripped off by Quentin Tarantino for Kill Bill: Volume 1)...

I imagined a staging that involved a mash-up of live actors and animation— with car chases, explosions, and all the necessary blood and gore. Finished.

Done. We’d be opening it in a year.

Four years later the play was still in development—aided by Elaine Crombie as the original ‘BBB’ and the indomitable Ash Flanders.

Incredibly, in all this time, the premise remained the same as Kiah outlined it in those text messages—even as her ambitions for the work grew and grew. Our discussion had begun with questions about the staging of history, but now Kiah was asking many, many new ones... Does reconciliation mean anything without reparation? Why are there so few powerful First Nations figures given representation in pop culture? What does the utopia of a fully decolonised Australia look like, feel like? Despite my gentle insistence that ‘we can’t do everything in the one play’, it’s testament to Kiah’s skill as both a dramatist and satirist that over those four years she wove all these difficult questions into a streamlined narrative that is also funny and, ultimately, moving.

Before Blackie Blackie Brown even opened last year, it managed to piss off quite a few people... Newscorp journalists, online trolls, people within the theatre industry—who decried the play as incendiary, ‘reverse-racist’, detrimental to the unification of black and white Australia. But if any of these people had ever sat in one of our joyous, laughing, fist-pumping audiences, they’d have seen that Blackie Blackie Brown quickly negates its own spectacular howl for revenge.

And while it represents horrifying trauma—much like that play we saw five years ago—it doesn’t simply end there, in pathos. Instead, Kiah makes a vital plea for the collectivisation of oppressed minority groups—and then sets about the seemingly impossible task of squeezing hope, optimism, and a dream of utopia from the festering violence of history.

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CAST & CREATIVE BIOS

NAKKIAH LUI WRITER

DECL AN GREENE DIRECTOR

ASH FL ANDERS CAST

Nakkiah Lui is a writer/actor and Gamillaroi/Torres Strait Islander woman. She is a co-writer/star of ABC’s Black Comedy. She was Artist in Residence at Griffin Theatre (2013) and Playwright in Residence at Belvoir Theatre (2012–2014). Nakkiah was the first recipient of The Dreaming Award from the Aboriginal and Torres Strait Island Arts Board of the Australia Council and she was the inaugural recipient of the Balnaves Foundation Indigenous Playwright Award (2012). She was the recipient of the Malcolm Robertson Prize and a Green Room Award for Best Independent Production (2014). Recently, she won the NSW Premier’s Literary Award, the Nick Enright Prize for Playwriting for Black is the New White and was the recipient of the Patrick White Playwrights Fellowship (2018). Nakkiah is a young leader in the Australian Aboriginal community and has contributed to The Guardian and Junkee. She has appeared on ABC’s Q&A, Screen Time and in her six-part comedy series, Kiki and Kitty. Nakkiah co-hosts the BuzzFeed podcast series, Pretty for an Aboriginal, with Miranda Tapsell, and is a regular guest/ presenter on ABC Local Radio in Sydney.

Declan is a theatre-maker and Resident Artist at Malthouse Theatre. As a playwright, his work includes Melancholia, Moth, Pompeii, L.A., Eight Gigabytes of Hardcore Pornography, I Am a Miracle, and The Homosexuals, or ‘Faggots’, which have been produced across Australia, Europe, the US, and the UK. Awards include the Malcolm Robertson Prize, the Max Afford Playwrights’ Award, the AWGIE for Theatre for Young Audiences, and the Green Room Award for Best Original Writing. As a director, works include Zoey Dawson’s The Unspoken Word Is ‘Joe’ (MKA/La Mama) and Conviction (ZLMD Shakespeare), The Listies’ Hamlet: Prince of Skidmark (STC), and Wake in Fright (Malthouse Theatre).

Alongside Ash Flanders, Declan co-runs queer independent theatre company Sisters Grimm. He has directed and co-created all their shows to date including Summertime in the Garden of Eden (Theatre Works/Griffin Independent), Calpurnia Descending (Malthouse Theatre/STC) and Lilith: The Jungle Girl (MTC).

Ash Flanders is a multiaward-winning writer and performer. For over twelve years he has been creating queer independent theatre with Declan Greene under their company name Sisters Grimm, performing in Little Mercy (STC), The Sovereign Wife (MTC NEON Festival), Calpurnia Descending (Malthouse Theatre/STC), Lilith: The Jungle Girl (MTC) and Verdi’s La Traviata (Belvoir). Solo works include the critically acclaimed Playing to Win, Ash Flanders is Nothing, Special Victim, Meme Girls and Negative Energy Inc. Other theatre credits include The Temple (Malthouse Theatre), Buyer and Cellar (MTC), Adena Jacobs’ Hedda (Belvoir), Psycho Beach Party (Little Ones Theatre) and The Golden Dragon (MTC). Ash also featured in FRIENDLY, a web series he created with Peter Paltos and David Morris.

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ON A S2019 E S —— —

CAST & CREATIVE BIOS

TAHLEE FEREDAY CAST

ELIZABETH GADSBY DESIGN

Tahlee is a 2017 graduate of the Victorian College of the Arts (VCA). Before her studies she was based in Darwin, where she hosted The Breakfast Show with Tahlee on Larrakia Radio 94.5FM. She has worked with Melbourne Theatre Company on several projects including Astroman, Cybec Electric, and First Stage. Last year Tahlee also worked with She Said Theatre on their production Fallen. She was most recently seen in Dee & Cornelius’ LOVE at fortyfivedownstairs, which toured internationally to the Venice Biennale. As a First Nations and queer artist, Tahlee is an advocate for representation of minority voices on the mainstage.

Elizabeth is a set and costume designer whose background in installation and performance art influences her approach to her work.

Theatre credits include set and costume design for Mosquitoes, The Children, John (Melbourne Theatre Company), The Testament of Mary, Cloud 9, Dinner, The Hanging, Disgraced (Sydney Theatre Company), Cinderella (Belvoir), La Passion de Simone (Sydney Festival), Index of Metals, Fly Away Peter and The Rape of Lucretia (Victorian Opera/Dark Mofo/Sydney Chamber Opera), Cut (Adelaide Fringe/Edinburgh Fringe) and Deluge (Adelaide Festival). Set design credits include Lord of the Flies, Mary Stuart and A Cheery Soul (Sydney Theatre Company).

MIKE GREANEY & CHRISTINA REMNANT (FOR OH YEAH WOW) ANIMATION & VIDEO Mike Greaney is a director, writer and animator, whose work focusses on combining the physical and the pictorial through the use of stop-motion, 2D animation and live action.

He’s worked with clients like Green Day, Sesame Street and Neil Young, written and voice acted on a miniseries for Nickelodeon and had his short films and music videos have screened at SXSW, the Annecy International Animation Festival and Melbourne International Film Festival.

Christina Remnant is a producer with a passion for live action production, animation and visual effects. She’s been a part of many award-winning music videos and short films that have screened at Melbourne International Film Festival, South By Southwest and the St Kilda Film Festival.

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CAST & CREATIVE BIOS

VERIT Y HAMPSON LIGHTING & PROJECTION DESIGN

STEVE TOULMIN COMPOSITION & SOUND DESIGN

Verity Hampson is an award-winning lighting and projection designer. Since graduating from NIDA, she has designed over 120 productions, working with many of Australia’s leading directors and choreographers.

Designs include: Wake in Fright (Malthouse Theatre), Winyanboga Yurringa, An Enemy of the People, Sami in Paradise, Faith Healer, The Drover’s Wife, Ruby’s Wish, The Blind Giant is Dancing, Ivanov (Belvoir), Hamlet: Prince of Skidmark, Machinal, Little Mercy (Sydney Theatre Company), Death of a Salesman (Queensland Theatre), One the Bear, Blackrock (La Boite), Titus Andronicus, Julius Caesar, A Midsummer’s Night Dream, The Literati (Bell Shakespeare), The Bleeding Tree, The Boys, The Floating World (Griffin Theatre), Fly Away Peter (Sydney Chamber Opera), Orpheus and Eurydice (Spectrum Now Festival), New Breed and Woof (Sydney Dance Company). For television, Verity was lighting director for the ABC’s Live at the Basement, The Roast, and The Crown Awards for SBS. Awards include a Mike Walsh Fellowship, a Green Room Award and three Sydney Theatre Awards.

Malthouse Theatre: Testament of Mary, The Homosexuals or ‘Faggots’ (with Griffin).

STC: Black is the New White, The Bleeding Tree (with Griffin), A Flea in Her Ear, Power Plays, Little Mercy, Edward Gant’s Amazing Feats of Loneliness (with La Boite). Belvoir: Barbara and the Camp Dogs, Hir, The Rover, The Blind Giant is Dancing, Jasper Jones, Ivanov, La Traviata, Blue Wizard, Is this thing on?, 20 Questions, Scorched, The Seed. Bell Shakespeare: Richard III, Othello. Griffin: Feather in the Web, Kill Climate Deniers, Gloria, The Bleeding Tree, Beached, A Hoax (with La Boite). Ensemble: Who’s Afraid of Virginia Woolf?, Great Falls, Liberty Equality Fraternity, Circle Mirror Transformation.

QT: Switzerland, That Face. La Boite: Tender Napalm, Julius Caesar, Hamlet, Attack of the Attacking Attackers. Strut & Fret: Blanc De Blanc Encore, Life The Show, Fun House, Love Riot, Blanc De Blanc. Sydney Festival: All the Sex I’ve Ever Had. Events: Papua New Guinea’s 40th Year of Independence Celebrations, EKKA Arena Spectacular (2013–2015). Music: Music Director for Ricki-Lee Coulter (2012–2014). As songwriter and music producer Steve has worked with artists including Megan Washington, Ricki-Lee Coulter and Samantha Jade.

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EMILY JOHNSON CONCEPT ARTIST Emily is the Program Coordinator for the Carriageworks ATSI arts and education program Solid Ground. She is a Barkindji and Birri Gubba woman originally from Broken Hill, NSW. Her father is from Wilcannia, Far Western NSW, and her mother is from Cherbourg, QLD. Her artwork has always featured Aboriginal women, totems and spirits as the focus; and has drawn inspiration from comics, Japanese manga and sci-fi.

She completed a Bachelor of Visual Arts Honours in 2016 receiving First Class, which led to being selected as a Charles Perkins MO Award recipient in 2017. Her main medium is illustration and painting, but she has also worked with spray paint on a large mural for the National Centre of Indigenous Excellence in Redfern; featuring two of her Aboriginal cartoon characters.

Throughout the making of Blackie Blackie Brown she has branched into concept art through painting, as well as digital illustration and graphic design. She continues to develop her art professionally and strives for more equal representation of strong black female characters.

ON A S 019 SE——2 —

CAST & CREATIVE BIOS

JESS KEEPENCE STAGE MANAGER Jess is a freelance Stage Manager and a graduate of Victorian College of the Arts (Bachelor of Production). For Malthouse Theatre she has worked on My Dearworthy Darling and Good Muslim Boy. Others credits include: Heisenberg, Arbus & West, The House of Bernarda Alba, Hay Fever, Macbeth, The Odd Couple, Jasper Jones, Miss Julie, Buyer and Cellar, The Sublime, The Crucible, Other Desert Cities and Poor Boy (MTC), Song for a Weary Throat and Catalogue (Rawcus), Jack Charles V The Crown (Ilbijerri Theatre Company), The Sleepover (Arena Theatre Company), Room of Regret (THE RABBLE), Resplendence and Save for Crying (Angus Cerini/doubletap), Neighbourhood Watch, The Book of Everything (Belvoir/ MTC) and Fun Run (All The Queens Men). She has also worked on events such as Melbourne Festival, Woodford Folk Festival, White Night and Castlemaine State Festival.

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ABOUT MALTHOUSE THEATRE

YOUR JOURNEY WITH MALTHOUSE THEATRE AWAITS. At Malthouse Theatre we collaborate with local and international artists to create inventive performances that cut to the core of the human experience. Theatre has the power to interrogate, disrupt and to be an agent of change— and we think it always should. At Malthouse Theatre, the work we produce explores the world personally, socially and politically. Based in a dedicated venue, The Coopers Malthouse in Melbourne, we are a home for live experiences that entertain and provoke a dialogue with and within audiences.

Welcome to Malthouse Theatre.

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Artistic Director & CO-CEO / Matthew Lutton

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Resident Artist / Declan Greene

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& NE D E R SC EA H

Two inflatable hammers, a cooking pot, three different wigs and an unruly pair of fake testicles were harmed in the making of this production.

MalthouseTheatre MalthouseMelb MalthouseTheatre #MalthouseTheatre malthousetheatre.com.au Š Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2019.