Barbara and the Camp Dogs // Program (2019)

BARBARA

7 FEB – 3 MAR

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7 FEB – 3 MAR M E R LY N T H E AT R E

‘BLOW[S] THE ROOF OFF OUR COMPLACENCY’ — Time Out

Presented in association with Vicki Gordon Music Productions BY / Ursula Yovich Alana Valentine DIRECTION / Leticia Cáceres CAST / Troy Brady Elaine Crombie Ursula Yovich S O N G S BY / Alana Valentine Ursula Yovich Adm Ventoura SET DESIGN / Stephen Curtis

Michelle Vincent S TA G E M A N A G E R / Khym Scott A S S I S TA N T S TA G E MANAGER / Cecilia Nelson MUSICAL REHEARSAL DIRECTOR / Adm Ventoura O B S E RV I N G D I R E C T O R / Riley Spadaro PRODUCTION MANAGER / Richard Whitehouse

COSTUME DESIGN / Chloe Greaves

A S S O C I AT E L I G H T I N G DESIGNER / Matt Cox

LIGHTING DESIGN / Karen Norris

AU D I O E N G I N E E R / Raine Paul

SOUND DESIGN / Steve Toulmin

SONGWRITING C O N T R I B U T I O N S BY /

MUSICIANS / Sorcha Albuquerque Jessica Dunn

Vicki Gordon ‘Tick Sista’ Merenia Gillies ‘Chained to You’ James Warwick Shipstone ‘Pieces’

Malthouse Theatre presents a Belvoir production.

Indigenous theatre at Belvoir Malthouse Theatre presents a Belvoir production.

Barbara and the Camp Dogssupported had its by The Balnaves Foundation. in 2017. association withTheatre Vicki Gordon Music Productions.

World Premiere at Belvoir Presented in December Indigenous at Belvoir is supported by supported

by Art Series Hotels. Key image photography

by DanielUniversity.

Boud.

TheProudly Balnaves Foundation.

Proudly supported

by Art Series Hotels and Victoria Production photography

by Brett Boardman.by Brett Boardman.

Key image photography

by Daniel Boud. Production photography

#BARBARAANDTHECAMPDOGS

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Alana So, we’ve written the play together so we should write the note together too, right?

Ursula Yeah.

Alana

You go first.

Ursula Just shut up and go first will you?

Alana

There she is, there’s Barbara.

Ursula Yeah, so f*ckin’ get on with it.

Alana I first met Ursula Yovich’s alter-ego ‘Barbara’ at the Helpmann Awards in 2008.

My play Parramatta Girls had been nominated but not won and I was having a consoling champagne on an after-party couch.

Ursula Yeah, you were sulking.

Alana

No, I wasn’t.

Ursula Yeah, you were.

Alana Anyway, Ms Yovich, who had won the Helpmann for Best Female Actor in 2007 for her performance in Capricornia and whom I admired as one of Australia’s most talented performers, began to regale the partygoers with a ‘persona’ that was very different to the version of herself that Ursula said she was given the opportunity to expose on the Australian stage at that time.

Ursula Barbara was pissed off, ramped up, foul-mouthed, shamelessly sexual, flirtatious and dangerous.

Alana She was wild-eyed, hipshaking, loud-laughing and brilliant good fun. If you could continue to watch her between tears of helpless laughter and howls of disbelief, this was a version of First Nations female power to conjure stereotypebusting magic with.

Ursula I guess it was a version of me that was pretty raw and exposed. A version that doesn’t usually see the light of day.

Alana It was one of those moments when you witness something profound, you open your eyes to see what has always been there and you can never see that person in the same way again.

Ursula When Vicki Gordon began managing my music career in 2010, she encouraged Alana and I to work together on a show for Barbara.

You didn’t have to ask me twice. I had already felt the power of Alana’s words when we worked together on Barefoot Divas. I was given a monologue that encapsulated my frustration #BARBARAANDTHECAMPDOGS

A NOTE FROM THE CREATORS

URSULA YOVICH & ALANA VALENTINE

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and anger. I was fired up and it felt like a natural progression to create an entire show around this anger and frustration and who better to tell this story than Barbara?

Alana Stephen Page, having met Barbara, I supposed on a few occasions, joked that Barbara could have her own band called the Camp Dogs, after the dogs that hang around campfires in the Territory and elsewhere.

Ursula Yes, this has been a running joke since 1999.

With Vicki’s help, I applied to the Australia Council which funded development workshops of the musical.

Alana With the brilliant Elaine Crombie and Jeremy Brennan, and the powerhouse Casey Donovan, directed by Leah Purcell.

Ursula Vicki brought in stylist Melaine Knight and bass player Adm Ventoura who invited Debbie Yap and Michelle Vincent into the ‘all girl, sort of’ band.

Alana When Eamon Flack came to a rough draft showing of the work in 2013 on a rainy Saturday out at the University of NSW, Page 4—5

he saw the Barbara that we all saw that day – untamed, furious and sizzling hot.

Ursula With Belvoir’s support we continued to work on the drama, and Adm and Alana and I would meet up and write songs.

Alana Sitting in a circle and waiting as Ursula brought the remarkable instrument that is her singing voice to cohere the words and melodies.

Ursula Vicki contributed her punk heritage influence with music for ‘Tick Sista’, brought in Jessica Dunn, and with Troy Brady and Elaine Crombie the show was ready to rock.

Alana During rehearsals Ursula and I would sit next to each other and pass the laptop literally back and forth, as she wrote a section or revised a lyric and then passed it back to me to augment and write more.

I can honestly say that it was a bizarre and wonderful experience of having two brains synchronised to one voice. Thank you to Sharne McGee and the many Katherine residents who have welcomed me to

Ursula I’d like to put Barbara aside for just a moment and give my love and appreciation to Alana for guiding and nurturing me as a new writer. For sharing belly laugh after belly laugh and encouraging me to bring Barbara into the foreground and to always jump head first into the shamelessness of this wonderful, complicated, intelligent and messed-up woman. Barbara is a mix of two very strong spirits and she could not have been conjured up without Alana, myself and every strong woman we have crossed paths within our lives thus far.

Alana & Ursula

e’d like to thank Leticia W Cáceres for her incredible care, passion, and vision for this work and for assembling such an amazing design and production team. We also thank all the staff at Belvoir, especially Eamon Flack for supporting us to let Barbara, René, Joseph, and the Camp Dogs loose onto the world.

Ursula Thank you to Monica Keightley and the rest of the MKM family and of course to my family, my father Slobodan Jović (Stan the Man) and my siblings who are my heart.

My daughter Djarla and to Stewart for putting up with my extreme highs and my lows.

Alana I guess we should give a language warning for this play.

Ursula You mean the c-bombs and f-bombs.

Alana

There’s a few.

Ursula And is that likely to worry anyone?

Alana

F*ck I don’t know.

Ursula F*ck that.

Alana

Anyone else to thank?

Ursula Nah, f*ck it, I think we’re done.

Alana

Buy the CD?

Ursula Yeah, buy the CD. Alana

And enjoy the show.

Ursula Indigenous Sovereignty has never been ceded or extinguished. Respect and thanks to the elders of this Gadigal land. Enjoy the show.

Originally published by Belvoir in December 2017.

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A NOTE FROM THE CREATORS

their town – especially Toni Tapp Coutts and Jill and Bill Pettigrew. This journey has been all about Ms Yovich and her profoundly unique spirit and I’m very grateful to have been able to ride with her in Barbara’s motorbike sidecar.

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CAST & CREATIVE BIOS

URSUL A YOVICH CREATOR, SONGWRITER & CAST Ursula is an award-winning actor. Theatre credits include: The Governor’s Family, Capricornia (Belvoir), The Sapphires (MTC/Belvoir), Corrugation Road (Black Swan), The Sunshine Club (STC/QTC), The Resistible Rise of Arturo Ui, Bloodland, Love and Information, Power Plays, Romeo and Juliet, The Golden Age, The Secret River (STC), Mother Courage (QTC), Heart is a Wasteland (Malthouse Theatre/Brown Cab Productions), The Magic Hour (Deckchair), Barefoot Divas (Sydney Festival), Diving for Pearls, Nailed (Griffin Theatre), Waltzing The Wilarra (Yirra Yaakin), and My Girragundji (Bell Shakespeare). Film credits include: Top End Wedding, Australia, Goldstone, and Jindabyne. Television credits include: The Code, Devil’s Dust, Redfern Now, The Gods of Wheat Street and Wanted. Ursula is the voice of ‘Levi’ in the NITV/SBS children’s animated TV series, Little J and Big Cuz, on which she is also a writer. Ursula was the recipient of the 2015 Sidney Myer Performing Arts Award, a 2011 Best Actress Helpmann Award for Magpie Blues, and is a five-time Helpmann Award nominee.

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AL ANA VALENTINE CREATOR & SONGWRITER Alana has co-written Barbara and the Camp Dogs, Barefoot Divas and Dubboo: Life of a Songman with Ursula Yovich. Recent work includes: The Sugar House (Belvoir), Ear to the Edge of Time (Sport for Jove and Seymour), Letters to Lindy (Merrigong National Tour) and Ladies Day (Griffin Theatre). As dramaturg, Alana has worked with Bangarra Dance Theatre on Dark Emu, Bennelong, Patyegarang and ID (from Belong). Alana’s play Head Full of Love toured Australia and received the Drover Award in 2016—donating $60K to the Waltja Tjutangku Palyapayi Purple House for a mobile dialysis unit. In 2019, her new work Made to Measure will be presented at the Seymour Centre. Alana was a Writer in Residence at the Charles Perkins Centre in 2017. She received a Sydney Theatre Award nomination for Best New Australian Work and Best Original Score for Barbara and the Camp Dogs in 2017.

LETICIA CÁCERES DIRECTOR Leticia is a leading director for new writing in Australia. Recent credits include: Random and The Drover’s Wife (Belvoir), The Space In Between by Steve Vizard and Paul Grabowsky (Arts Centre Melbourne), Going Down (Malthouse Theatre/STC), and The House of Bernada Alba (MTC). Leticia received Screen Australia funding to transition into film and TV. Her debut short Wild won Best First Time Film at the London Film Awards and the Next-Gen Film Award at the Melbourne Women in Film Festival in 2018. Her second film The True History of Billie the Kid premiered at the Melbourne International Film Festival in 2018. Leticia won the Helpmann Award for Best Direction of a Play for The Drover’s Wife in 2016.

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CAST & CREATIVE BIOS

TROY JUNGA JI BRADY CAST

EL ANIE CROMBIE CAST

Troy keeps cultural fires burning through his lyrics and music, sharing these stories around the world. The Western GuGuYalanji and Birri Gubba singer and songwriter shares his stories of country through contemporary folk/roots music.

Troy appeared in the original Belvoir production of Barbara and the Camp Dogs in 2017.

Troy has toured the world as a feature artist with Black Arm Band as well as performing as a solo artist. Forging a career over 20 years, he has led several bands before branching out on his own. Troy’s current music explores more of his language and connection to the country of his ancestors north of Cairns and Proserpine.

Elaine is an actor, director, producer, singer, songwriter, comedian and writer across film and television. Credits for Malthouse Theatre: Blaque Showgirls and Blackie Blackie Brown: The Traditional Owner of Death (with STC). Theatre credits include: Astroman (MTC), An Octoroon, Country Song, The Sunshine Club (STC/ QTC), Conversations with the Dead (Belvoir), This Fella My Memory (Moogahlin Performing Arts), I am Eora (Sydney Festival), Bloodland (STC/ Bangarra Dance Theatre) and Cherry Pickers. Television credits include: Top of the Lake, How to Stay Married, Rosehaven Season 2, Grace Beside Me, 8MMM Aboriginal Radio, Nowhere Boys Season 4, Get Krack!n, Black Comedy, Redfern Now and Kiki and Kitty. Film credits include: Jackie Jackie, Black Talk and Top End Wedding. Elanie is a First Nations Organiser for the Media Entertainment Arts Alliance and a proud MEAA member.

ADM VENTOURA MUSICIAL REHEARSAL DIRECTOR & SONGWRITER Adm is a first-class musical director, composer, writer, producer and bass guitarist based in Sydney. For over 25 years, he has worked across a wide range of musical styles and performed in concert, clubs and on television and radio in Australia, North and South America, Europe, Asia, the Middle East and New Zealand. Adm has performed with Al Green, Kelly Rowland, Lupe Fiasco, Guy Sebastian, Jon Stevens, Ian Moss, Jessica Mauboy, Emma Donovan, Kate Ceberano, Vika and Linda Bull and Stan Walker. Adm is the musical director for Barefoot Divas, a show featuring six renowned indigenous soul singers from Australia, New Zealand and Papua New Guinea.

Barefoot Divas performed at the Sydney and New Zealand International Arts Festivals in 2012 and toured North America in 2014. Adm received formal training at the Western Australian Conservatorium of Music.

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CAST & CREATIVE BIOS

VICKI GORDON CO-PRODUCER

STEPHEN CURTIS SET DESIGN

CHLOE GREAVES COSTUME DESIGN

Vicki is a New Zealand music producer who has worked as a musician, music director, festival director and cultural producer. She is the originating producer for Barbara and the Camp Dogs. Vicki has produced Australia’s first Aboriginal and Torres Strait Islander Women’s Contemporary Music Festival With Open Eyes and the first All-Girl Rock festival Fast Forward.

Vicki produced the South Pacific Women’s ensemble Singaot Sista for Fest’Napuan in Vanuatu and she was the associate producer for Romaine Moreton’s One Billion Beats. She produced and curated the critically acclaimed Barefoot Divas for the 2012 Sydney Festival and NZ International Arts Festival, 2013 Queensland Music Festival, touring North America, Canada, Hawaii and Hong Kong. Vicki is currently the founding executive director and producer for the inaugural Australian Women in Music Awards and producer for Barefoot Brothers with David Leha.

Stephen is an experienced set and costume designer working across physical theatre, film, opera and dance. Design credits for Malthouse Theatre include: It Just Stopped and Picasso at the Lapin Agile. Other major credits include: All About My Mother, The Blue Room, Two Brothers, Cat on a Hot Tin Roof (MTC), The Secret River, The Vertical Hour, Doubt, The Government Inspector (STC), La Boheme, Lulu, The Cunning Little Vixen, The Turn of the Screw (Opera Australia), The Winter’s Tale, Henry IV, The Duchess of Malfi, The War of the Roses, The Servant of Two Masters (Bell Shakespeare), The Drover’s Wife, Twelfth Night and Gwen in Purgatory (Belvoir), and State Opera of South Australia’s Der Ring des Nibelungen (The Ring Cycle). Stephen has published Staging Ideas as a guide to set and costume design for theatre.

Chloe is a set and costume designer, across dance, opera, theatre and film nationally and internationally. Credits for Malthouse Theatre include: They Saw A Thylacine and Blak Cabaret (with Sydney Festival).

Her credits include: Rule of Thirds and LUCID (Chunky Move), The Bacchae (Fraught Outfit Melbourne festival/ DarkMofo), The Waiting Room (MTC), The Magic Pudding (Victorian Opera), HART (Shesaid) and Le Donna Curiose (The Juilliard School, New York). Film credits include: the upcoming feature 2040, That Sugar Film (Madman productions) and Living Space (Tru Dot productions). She has worked as a stylist and production designer for music videos for Guy Sebastian, Alison Wonderland, San Cisco, DZ Deathrays and Montaigne.

In 2014, Chloe received a Green Room Award for Independent Theatre Design and has been nominated on five other occasions in the opera, theatre, musical theatre and independent categories.

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CAST & CREATIVE BIOS

KAREN NORRIS LIGHTING DESIGN

STEVE TOULMIN SOUND DESIGN

Karen is an experienced lighting designer for theatre, dance and music throughout Australia and Europe. She has worked for Belvoir, Sydney Theatre Company, State Theatre Company SA, Ensemble Theatre, Griffin Theatre, Sydney Opera House, Bangarra Dance Theatre, NAISDA amongst others.

Design credits include: Love Me Tender, Uncle Vanya (Belvoir), Winyanboga Yurringa, Broken Glass (Moogahlin), In Glass, KAAL, Hiding In Plain Sight, Forseen and Cella (Colours Dance Festival 2017, Stuttgart, Sydney Festival and Dance Massive 2019), Skin, Terrain and Sheoak (Bangarra). Karen has also designed for Barefoot Divas (Sydney Festival 2015), Songs Not to Dance To, Champions (Sydney Festival 2017), Sue Healey’s On View (Performance Space), KOTAHI (Atamira Dance Company), Blak Box (Urban Theatre Projects, Sydney Festival 2019), and Sugarland (ATYP).

Her work for Skin was nominated for a Helpmann Award in 2001 and Sheoak was nominated for a Green Room Award in 2015.

Steve is a composer and sound designer. Credits for Malthouse Theatre include: Blackie Blackie Brown: The Traditional Owner of Death (with STC), The Testament of Mary, and The Homosexuals or ‘Faggots’ (with Griffin). Other credits include: Hir, The Rover, Jasper Jones, The Blind Giant is Dancing, Ivanov, La Traviata, Blue Wizard, 20 Questions, The Seed and Scorched (Belvoir), Richard III and Othello (Bell Shakespeare), Black is the New White, A Flea In Her Ear, Power Plays, Little Mercy (STC), Feather In The Web, Beached, Kill Climate Deniers, The Bleeding Tree (Griffin), A Hoax (Griffin/La Boite), Who’s Afraid of Virginia Woolf, Great Falls, Circle Mirror Transformation (Ensemble), Switzerland (Queensland Theatre), Tender Napalm and Hamlet (La Boite). Steve has also worked on Life, Fun House, Love Riot and Blanc De Blanc (Strut & Fret) and All The Sex I’ve Ever Had (Sydney Festival).

SORCHA ALBUQUERQUE MUSICIAN Sorcha is a Sydney-based jazz guitarist and multiinstrumentalist. She began playing the cello at age 8 and guitar at age 14. Sorcha has played with notable local and international artists such as Ingrid Jenson (NYC), Silke Eberhart (GER), Dale Barlow, James Sherlock and more. She is a member of the Sydney Women’s Jazz Collective, The Sorcha Albuquerque Trio, and has performed at festivals such as Edinburgh Fringe Festival, Adelaide Fringe Festival, Perth Festival, Montreux Jazz Festival, Stonnington Jazz Festival, Sydney Con Jazz Festival and Perth International Jazz Festival. Sorcha’s original compositions are featured on two ABC releases Jazz Calls: Best of Australian Jazz 2017 and Jazztrack-Celebrating 40 Years.

In 2013, Sorcha graduated from Western Australian Academy of Performing Arts with a Bachelor of Music (Jazz Performance).

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CAST & CREATIVE BIOS

JESSICA DUNN MUSICIAN

MICHELLE VINCENT MUSICIAN

KHYM SCOT T STAGE MANAGER

Jessica is a composer, sound designer and musician.

Recent credits include: associate sound designer for Counting and Cracking and Random (Belvoir), and composer’s assistant for The Harp in the South (Sydney Theatre Company). She has performed Australia wide and internationally with artists as diverse as Shubha Mudgal (IND), Sandy Evans, Claire Daly (USA), Satoko Fuji (Japan), Walter Martin (US) and Ensemble Offspring.

Jessica is the founder and Artistic Director of the critically acclaimed Sirens Big Band, an ensemble that promotes gender diversity in Australian music. Jessica was the recipient of the Jann Rutherford Memorial Award for Excellence in Jazz in 2009 and has studied at the Sydney Conservatorium of Music.

Michelle is a Sydney-based musician. She has toured nationally with many known Australian and international artists. Michelle is currently touring full time with one of Australia’s finest female country acts, The McClymonts.

She has played drums for various artists performing on television for The Morning Show, Sunrise, X Factor and The Voice Australia. Michelle has developed a ‘Drum Line’ music program, teaching drums and performance in high schools in Sydney. With over a decade of experience under her belt as one of Australia’s finest drummers, Michelle is constantly exploring new avenues to gain greater knowledge in the music industry.

Khym is a stage manager who has worked nationally and internationally. Recent credits include: This Heaven, The Dance of Death and Miss Julie (Belvoir).

Other credits as stage manager include: The Misanthrope (Bell Shakespeare/Griffin Theatre), Kill Climate Deniers, Good Cook.

Friendly. Clean., Festival of New Writing, Girl in Tan Boots, The Serpent’s Table, The Witches (Griffin Theatre), Stories Then and Now (Performance 4a), and Lady Rizo: Red, White and Indigo (Sydney Festival). From 2013 to 2017 he was the assistant stage manager for The Australian Ballet, and has stage managed for Sydney Gay and Lesbian Mardi Gras. Khym is a graduate of NIDA and The University of Sydney.

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CAST & CREATIVE BIOS

CECILIA NELSON ASSISTANT STAGE MANAGER Cecilia graduated from NIDA in 2017 after completing a Bachelor of Science/Bachelor of Arts at The University of Sydney. Since graduating, Cecilia has stage managed In The Heights (Blue Saint Productions), She Loves Me and Assassins (Hayes Theatre Co.), The View Upstairs (Invisible Wall/ Sugary Rum Productions), The Howling Girls (Sydney Chamber Opera), Les Mamelles De Tiresias (Sydney Conservatorium of Music), Highly Sprung (Legs on the Wall), Miss Saigon (Packemin) and Darren Criss Intimate & Live (Michael Cassel Group). She was the assistant stage manager for Artaserse (Pinchgut), Candide (Sydney Philharmonia), New Year’s Eve Opera Gala (Opera Australia), The Rape of Lucretia (Sydney Chamber Opera) and was surtitle operator for Carmen (Opera Australia/HOSH).

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2019 SEASON EVERY BRILLIANT THING 9 – 31 MAR About how beautiful it is to be alive.

BARBARA AND THE CAMP DOGS 4 – 28 APR About singing for your life.

WINYANBOGA YURRINGA 4 – 26 MAY About gathering to honour the past.

THINGS I KNOW TO BE TRUE 8 JUN – 21 JUL About family.

LIFE OF GALILEO 3 AUG – 15 SEP About truth and politics.

FANGIRLS 12 OCT – 10 NOV About being young, crazy and glorious.

PACKER AND SONS 16 NOV – 22 DEC About power and Sydney.

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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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Uncle Jack Charles, Richard Frankland, Tony Briggs, Lisa Maza, Pauline Wyman, Melodie ReynoldsDiarra & Jason Tamiru We acknowledge the Land and Songlines of the Boon Wurrung and Wurundjeri peoples of the Kulin Nation.

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BE SOMEONE ELSE. JOIN THE TEMPLE.

ON A S2019 E S —— —

No-one ever really wants to be boring old ‘just me’.

That’s why the residents of The Temple are always being someone else.

Dubliner Gavin Quinn concocts a wild Irish brew with an orgy of comedic Australian performers including, Nicola Gunn (Piece for Person and Ghetto Blaster), Ash Flanders (Blackie Blackie Brown), Mish Grigor (Ich Nibber Dibber), Aljin Abella and Marcus McKenzie for a short course on How to Be Human.

CREATED BY / Gavin Quinn and the Ensemble DIRECTION / Gavin Quinn

CAST / Aljin Abella Ash Flanders Mish Grigor Nicola Gunn Marcus McKenzie

Malthouse Theatre and Pan Pan present The Temple.

Developed with the assistance of Arts Council Ireland and Culture Ireland. #BARBARAANDTHECAMPDOGS

& NE D E R SC EA H

We are bringing the steady We are bringing the sure We are finding a way to let ourselves be more We are naming the troubles to keep our heads above We are finding a way now to let in the love

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