Australian Realness // Program (2019)

16 AUG – 8 SEP

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16 AUG – 8 SEP M E R LY N T H E AT R E

A BOGAN AND BOURGEOIS BATTLE FOR A SUBURBAN BACKYARD. BY / Zoey Dawson DIRECTION / Janice Muller CAST INCLUDES / Linda Cropper André de Vanny Emily Goddard Walter Henry Phillips Chanella Macri Greg Stone

SET & COSTUME DESIGN / Romanie Harper S TA G E M A N A G E R / Josh Sherrin A S S I S TA N T S TA G E M A N A G E R / Cointha Walkeden BESEN PLACEMENTS / James Lew Jessica Moody

LIGHTING DESIGN / Amelia Lever-Davidson

VIDEOGRAPHY / Einwick

SOUND DESIGN & COMPOSITION / James Paul

D R A M AT U R G / Declan Greene

SPECIAL THANKS TO / Ra Chapman, Kat Henry and Timothy Phillips.

Commissioned by Malthouse Theatre through the support of the Malcolm Robertson Foundation.

Australian Realness was developed with assistance from the Monash University Centre for Theatre and Performance, Artist in Residence Program. Key image photography by Zan Wimberley and rehearsal photography by Pia Johnson. #ARMALTHOUSE

A NOTE FROM THE WRITER

ZOEY DAWSON: CULTURAL CRINGE My family don’t really go to the theatre. It’s less about money and more about boredom—for the most part, theatre isn’t for or about them.

Some of them even smirked at my desire to work in the arts, openly calling it snobby and elitist (though in less polite words).

15 years after relocating to the inner north of Melbourne, I hover in a precarious middle ground—no longer working class, I have cultural cache as opposed to financial privilege; a world class education and no retirement fund. I’ve self-consciously covered up my working class roots for years in order to fit into this industry.

And when I visit my family, I’m embarrassed by my over-educated, middle class grooming.

Generally speaking, we don’t like to talk about class. It’s complicated, slippery and intensely personal. One place we can be seen talking about class (without really talking about it) is in the entertainment we consume.

Growing up, I loved Kylie Mole and Col’n Carpenter from The Comedy Company, Poida from Full Frontal, and Kath and Kim. This was comedy that laughed at the absurdity of our class system, and even when they tread a knife-edge between mocking and celebratory—these were characters that spoke to who I was and where I was from.

But the representation of white working class characters has shifted over the past two decades.

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The flannelette shirt is less associated with wholesome, lovable buffoons and more with menacing, deeply damaged Australians prone to xenophobia and bloodlust—think Snowtown and Wolf Creek. No longer laughed at or even pitied—these characters have been reappointed as a source of fear and disgust.

What in the last 20 years has happened to sweet, dim-witted Darryl Kerrigan? Watching social media’s kneejerk disgust levelled at Queensland in the recent election— seeing the average pay-packet of a plumber rise as job prospects in the arts and academia flounder—I can’t help but draw a line. The working class will be tolerated—as long as they know their place. The very need to invent a previously oxymoronic term like ‘cashed up bogan’ keeps the working class delegated as culturally inferior, no matter how much capital they acquire.

Australian Realness is a kind of revenge fantasy that came from seeing the working class locked out of the arts. And it’s not just the arts—it’s an entire socio-political conversation. In the emergence of global alt-right movements, the white working class are an easy target and habitual scapegoat of the middle and upper classes. This rift, created by politicians and fuelled by the media, provides a great distraction from the continued exploitation of people and resources under late capitalism.

It also whitewashes a group of people that has always been ethnically diverse. But this rift can only flourish if we continue to fear frank conversations about class.

I have read some incredible analysis in researching this play—I am so grateful to the incisive writing of people like Jeff Sparrow, Mel Campbell and Rebecca HarkinsCross, amongst others. I owe a particular debt to Tony Birch’s incredible thesis Framing Fitzroy, which details the gentrification of a once working class and migrant suburb. My reflection on class is from that of a coloniser.

Perspective on class from an Indigenous and an immigrant perspective desperately needs to be prioritised in our national narrative, as well as in our theatres.

My favourite part of the development and rehearsals of this play has been the conversations it sparks about what class means in Australia today. If these conversations can continue to be encouraged by this work in some way—well, I’ll be bloody stoked.

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CAST & CREATIVE BIOS

ZOEY DAWSON WRITER

JANICE MULLER DIRECTOR

LINDA CROPPER CAST

Zoey’s recent playwriting credits include Conviction (ZLMD Shakespeare/Darebin Arts), Calamity (ZLMD Shakespeare/MTC NEON Festival), Madonna Arms (I’m Trying To Kiss You/ Next Wave/Arts House), I Know There’s A Lot of Noise Outside But You Have To Close Your Eyes (I’m Trying To Kiss You/La Mama), Welcome to Nowhere (Monash University) and The Unspoken Word is Joe (La Mama/Griffin Theatre/ Brisbane Festival), for which she was awarded the inaugural Melbourne Festival Discovery Award. Her work has been nominated for several Green Room Awards, including Best New Writing for Conviction. Zoey co-founded the acclaimed feminist theatre collective I’m Trying To Kiss You as well The ZLMD Shakespeare Company to produce her own work. She teaches Contemporary Theatre and Writing Radical Performance at Melbourne University, and is currently completing a Master of Screenwriting at VCA with two feature screenplays in development.

Janice Muller is a theatre and opera director based in Victoria. In 2016 she was Malthouse Theatre’s Director in Residence. Recent credits include Ned (Perth Festival), Good Muslim Boy (Malthouse Theatre/QT), Revolt. She said.

Revolt again. (Malthouse Theatre) and Biographica (Sydney Chamber Opera/ Sydney Festival). Janice has directed, adapted and curated projects for a range of independent and mainstream companies including Belvoir, Carriageworks, Urban Theatre Projects, Australian Theatre for Young People, The Old Fitz, The Store Room, Red Stitch, St Martins and Castlemaine State Festival. Her work has been nominated for several awards including Best Director for Lake Disappointment at the 2016 Sydney Theatre Awards. Janice is the recipient of a range of scholarships including the inaugural Playwriting Australia and Goethe-Institut’s Dramaturgy Fellowship, VCA’s Keith and Elisabeth Murdoch Travelling Scholarship and a grant to attend the Royal Court Theatre’s international residency. She is a graduate of VCA, the University of New South Wales and AFTRS radio broadcasting course. She has previously worked as a radio journalist, news reader, media advisor and publicist.

After graduating from NIDA Linda made her professional debut playing Sally Bowles for the HVTC, and has continued working extensively in theatre, film and television. Recent theatre credits include The Architect, Ghosts, A Midsummer Night’s Dream (MTC), Macbeth, Romeo and Juliet, Twelfth Night, As You Like It, Hamlet (Bell Shakespeare), Elektra Orestes, Nora (Belvoir), Amadeus, An Ideal Husband (STC), Poor Boy (STC/MTC), Agatha Christie’s The Mousetrap (Louise Withers and Associates), And No More Shall We Part, Through the Wire (Griffin Theatre) and The Importance of Being Earnest (Darlinghurst Theatre).

Recent screen credits include Offspring (Series 1–7), Pine Gap, The Leftovers, The Pacific, Rake, Old School, Redfern Now and Satisfaction.

Film credits include Upgrade, Fool’s Gold, Little Fish, Teesh and Trude, Blackrock, Envy, Passion and With or Without You (US). Linda won a Green Room Award for her work in The Architect and received an AFI Award nomination for Satisfaction and a Silver Logie Award nomination for Melba.

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CAST & CREATIVE BIOS

ANDRÉ DE VANNY CAST

EMILY GODDARD CAST

CHANELL A MACRI CAST

André recently won best actor at the New York Solo Festival for his performance in Irish monodrama Swansong.

He recently appeared in 33 Variations at the Comedy Theatre, Night Slows Down at the KXT, The Rover for Belvoir and the award-winning Of Mice and Men (Sport For Jove Theatre). In 2015 he won Best Performer at the Green Room Awards for his work in Glory Dazed (Red Stitch). Other theatre credits include Red (MTC) and the Australian tour of War Horse (National Theatre of London). His film credits include The Combination Redemption, US miniseries The Pacific, Nightmares & Dreamscapes, Salem’s Lot and Hercules. TV credits include Blue Heelers, MDA, Canal Road, Rush, City Homicide, Killing Time, Miss Fisher’s Murder Mysteries and Doctor Blake Mysteries.

Emily Goddard graduated from Ecole Philippe Gaulier, Paris in 2010 supported by the Ian Potter Cultural Trust and Empire Theatres Bursary.

Recent theatre credits include: Noises Off (MTC/ QT), The Boy at the Edge of Everything and Elling (MTC), Angels in America, The Lonely Wolf (Dirty Pretty Theatre), Lamb, You Got Older, Glory Dazed (Red Stitch), Mess (The Bush, London/UK National tour, Caroline Horton/China Plate), The Unspoken Word is Joe (MKA/Brisbane Festival), Moth (Arena), The Walls (Attic/Erratic), Inner Voices (The Old Fitz), Peer Gynt (Four Larks) and Os Pequenos Nadas (Ultimo Comboio Teatro, Barcelona). Screen credits include: Newton’s Law, TwentySomething, This Week Live, Cracks and The Dating Ring. Also a theatre-maker, her critically acclaimed solo work This is Eden was recipient of the 2018 Drama Victoria Award (HotHouse/ fortyfivedownstairs). She has been nominated for three Green Room Awards, most recently for This is Eden.

Chanella is a Melbournebased actor and theatremaker from the Blue Mountains, Sydney. Theatre credits include Whale (Darebin Arts Speakeasy), Truly Madly Britney (Theatre Works), Moral Panic (Darebin Arts Speakeasy), Suddenly Last Summer (Red Stitch), Crazy Brave (La Mama), Speak of the Devil (Melbourne Fringe 2017 and Adelaide Fringe 2018), Woman with a Tomahawk (La Mama) and Mother Courage (VCA).

Chanella is a lead artist with Western Edge Youth Arts and has worked with St Martins and Melbourne University facilitating acting programs for young people across Victoria. She graduated from Theatre Practice at VCA in 2017 where she received the Patricia Kennedy Award and was valedictorian of VCA and MCM. She has received two 2019 Green Room Award nominations for Performer and Ensemble in Independent Theatre for Moral Panic.

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CAST & CREATIVE BIOS

GREG STONE CAST

AMELIA LEVER-DAVIDSON LIGHTING DESIGN

Greg Stone is well known to Australian theatre audiences and has performed in over 80 productions with major theatre companies. Theatre credits include Cloudstreet (Malthouse Theatre/ Black Swan State Theatre Company), A Doll’s House Part 2, The Weir, Glengarry Glen Ross, Clybourne Park, Poor Boy, Blackbird, A Little Night Music, Angels in America (MTC), Oklahoma!, Funny Girl (The Production Company), Hir, Hamlet, Babyteeth, Stuff Happens (Belvoir), Ladies in Black (QT/MTC), Who’s Afraid of Virginia Wolf (Black Swan State Theatre Company) and Once (GFO Attractions).

Television credits include Ms Fisher’s Modern Murder Mysteries, Glitch, The Doctor Blake Mysteries, Underbelly, Winners and Losers, Neighbours, Secret City, The Ex-PM and Offspring. Select film credits include The Sunset Six, Is This the Real World, Swerve, Oranges and Sunshine, Van Diemen’s Land and The Bank.

Greg has been nominated for several Sydney Theatre, Helpmann and Green Room Awards. He was awarded a Helpmann Award and Green Room Award for Best Male Actor in Stuff Happens.

Amelia is a Melbourne-based lighting designer for theatre, dance, live art, television and events. Design credits include Trustees, Turbine, The Listies Ruin Xmas (Malthouse Theatre), The Violent Outburst That Drew Me To You (MTC), Every Brilliant Thing (Belvoir), NEXT MOVE 11 (Chunky Move), They Divided The Sky (25A Belvoir), Moral Panic, Contest, NICHE, Conviction, Dream Home (Darebin Arts Speakeasy), Hand To God (Vass Productions), DESERT 6.29PM, Jurassica, Foxfinder (Red Stitch), Looking Glass, Triumph (fortyfivedownstairs), META (Malthouse Theatre, Helium) and MKA Double Feature (MTC NEON Festival), and as tour lighting associate, Minnie & Liraz (MTC). Amelia is a multi Green Room Award winner and nominee. Amelia was awarded for Contest (2018), Looking Glass (2017), and for her 2015 body of work. Amelia has been nominated for Ground Control (Next Wave), Dropped (Melbourne Fringe) and Foxfinder (Red Stitch). Amelia is an Australia Council ArtStart and JUMP Mentorship recipient, past participant in Malthouse Theatre’s Besen Family Artist Program, and MTC’s inaugural Women in Theatre Program.

Amelia is also a member of the NEW WORKING GROUP.

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JAMES PAUL SOUND DESIGN & COMPOSITION James is a musician; multimedia artist; sound, video, system and automation designer. James’ work is research oriented, exploring perceptual semiotics and multimodal experience.

Select Malthouse Theatre credits include Wake in Fright, and Little Emperors. Recent work includes They Divided The Sky (Daniel Schlusser Ensemble), Number of the Machine (Antony Hamilton Projects), The Collected Works of Victor Bergman (The Family), Conviction (ZLMD Shakespeare), and blue|red2: VIMS\SIMS (Scienceworks). James shares a Sound and Composition Green Room Award for Daniel Schlusser Ensemble’s M+M.

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CAST & CREATIVE BIOS

ROMANIE HARPER SET & COSTUME DESIGN

JOSH SHERRIN STAGE MANAGER

Recent design credits include Trustees, Good Muslim Boy, Little Emperors and Turbine (Malthouse Theatre), The Violent Outburst That Drew Me To You (MTC), Die! Die! Die! Old People Die!, We All Know What’s Happening, Never Trust A Creative City (Arts House), Contest, Moral Panic (Darebin Speakeasy), Bottomless, This is Eden, Resident Alien, Triumph (fortyfivedownstairs), Desert 6.29pm, Jurassica, Splendour (Red Stitch), Conviction (ZLMD Shakespeare), M+M (Daniel Schlusser Ensemble), The Sovereign Wife (Sisters Grimm/MTC NEON Festival), The Judgement (La Mama Theatre), META (Malthouse Theatre, Helium), The Bitter Tears of Petra von Kant, Bright World (Theatre Works) and Madonna Arms (Next Wave).

In New York she has worked with The Wooster Group, and co-designed Radiohole’s Inflatable Frankenstein (The Kitchen). She has co-directed and designed The Collected Works of Victor Bergman (fortyfivedownstairs) by The Family, and Calamity (MTC NEON Festival) by ZLMD Shakespeare.

A NIDA graduate, Josh has worked as a producer, production manager and stage manager for several major arts companies and festivals in Australia. Josh became the Production Coordinator for Chunky Move where he also toured several shows as Stage Manager both nationally and internationally. He then went on to work for Strut & Fret as the touring Company Manager for the shows: Cantina, Limbo and Limbo Unhinged, touring both nationally and internationally. Josh went on to become the Producer of Limbo and Limbo Unhinged (Strut & Fret) producing seasons presented at: Brisbane Festival, Sydney Opera House, Spiegeltent Hobart and Spiegeltent Wollongong. Recent stage management credits include: Pigalle (Sydney Festival), Tutti and Wunderage (Circus Oz).

Credits for Malthouse Theatre include Brothers Wreck.

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COINTHA WALKEDEN ASSISTANT STAGE MANAGER Cointha has always been an avid participant in a diversity of art forms and has continued to contribute her technical and management skills to a broad scope of productions, festivals and events upon graduating from the Victorian College of the Arts in 2018. Cointha was the Assistant Stage Manager for The Flying Dutchman (Regent Theatre/ Melbourne Opera) and has performed technical roles on The Perception Experiment (Arts House/GUTS Dance) and The Cabin! (Darebin Arts/ JOF O’Farrell). She was also the Stage Manager for HIVE (Victorian College of the Arts/ Stephanie Lake Company) and Children of Saturn (Melbourne Fringe Festival/Victorian College of the Arts). Cointha has worked with the Gordon Frost Organisation, GWB Entertainment and Lynne Ruthven Casting and interned with the Stage Management department on Mamma Mia! The Musical (Princess Theatre).

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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 & PROGRAMMING

TICKETING & BOX OFFICE

VENUE MANAGEMENT

Artistic Director & CO-CEO / Matthew Lutton

CRM & Ticketing Manager / Prue Sutherland

Venue Manager / Simon Moss

Executive Producer & CO-CEO / Sarah Neal

Box Office Manager / Allie Stapleton

Events Manager / Anita Posterino

New Work Manager / Mark Pritchard

Box Office Team Leader / Fiona Wiseman

Front of House Manager / Lara Kerestes

Resident Artist / Declan Greene

Box Office Staff / Claire Bornhoffen, Simon Braxton, Paul Buckley, Emily Burke, Harry Diviny, Bronya Doyle, Mellita Ilich, Nicola James, Min Kingham, Lucy Kingsley, Emma Whitby, Liz White

Front of House Staff / Gianni Agostinoni, Ben Anderson, Mitchell Brotz, Kate Calton, Georgia Cam, Jai Cameron, Emma Corbett, Alice Dixon, Amy Dowd, Sophia D’urso, Mark Hoffman, Dirk Hoult, Ryan Jones, Kathryn Joy, Tom Kantor, Mick Klepner Roe, Bear Loren, Nicole Mckenzie, Hannah Mckittrick, Georgia Mein, Abi Murray, Hayley Newman, Sanne Rodenstein, Gretel Sharp, Lee Threadgold, Kenny Waite, Leonie Whyman

Director in Residence / Ming-Zhu Hii Strategy Manager / Toby Sullivan Associate Producer / Jason Tamiru

PRODUCTION

Company Manager / Marline Zaibak

Production Manager / David Miller

FINANCE & ADMINISTRATION

Technical Manager / Baird McKenna

Finance Manager / Ness Harwood Finance Administrator / Liz White Company Producer / Annie Bourke MARKETING & COMMUNICATIONS Marketing & Communications Manager / Caraline Douglas Marketing & Communications Coordinator / Jacqui Bathman Digital Content Producer / David Harrison Publicist / TS Publicity DEVELOPMENT Development Manager / Fiona Kelly Philanthropy Coordinator / Belinda Locke Sponsorship Coordinator / Julian Dibley-Hall

Operations Manager / Dexter Varley Production Coordinator / Tia Clark

We acknowledge the Land and Songlines of the Boon Wurrung and Wurundjeri peoples of the Kulin Nation.

Head Technician (Lighting) / Rob Ballingall Venue Head Mechanist / Ivan Smith Venue Technician / Brendan Jellie Head of Wardrobe / Delia Spicer Wardrobe Assistant / Rebecca Dunn Workshop Manager / Goffredo Mameli Head Carpenter / David Craig Workshop Assistants / Elizabeth Whitton Mitch O’Sullivan Scenic Artist / Patrick Jones EDUCATION Education Coordinator / Alexandra Macalister-Bills

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MALTHOUSE THEATRE STAFF

BOARD OF DIRECTORS Fiona McGauchie (Chair), Michael Kantor (Deputy Chair), Debbie Dadon AM, Andrew Myer AM, Jan Owen AM, Sue Prestney, Pamela Rabe, Nick Schlieper & Mary Vallentine AO.

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For partnership or donation enquiries, please call our Development Manager on (03) 9685 5162 or email development@malthousetheatre.com.au Page 14—15

CALLIOPE—MUSE OF POETRY—$50,000+ Craig Reeves

Dr Matt Collins AM QC, Jon Webster AM, Jan Williams, Dr Terry Wu & Dr Melinda Tee, Anonymous (1)

Naum Tered, John Thomas, Kerri Turner & Andrew White, Phil & Heather Wilson, Anonymous (1)

URANIA—MUSE OF THE STARS—$25,000+ Andyinc Foundation, Bardas Foundation, Debbie Dadon AM, Talya Masel & the Humanity Foundation, Maureen Wheeler AO & Tony Wheeler AO

EUTERPE—MUSE OF MUSIC—$1,000+ Marc Besen AC & Eva Besen AO, Sally Browne Fund, Ingrid & Per Carlsen, Ros Casey, Tim & Rachel Cecil, Min Li Chong, Jason Craig, Andrew Curtis, Mark & Jo Davey, Brian Goddard, David Geoffrey Hall, Jordana Hunter & Jacob Varghese, Michael Jankie & Vivienne Poznanski, Val Johnstone, Fiona Kelly, Carman’s Kitchen, Julie & Michael Landvogt, Craig Lynch & Luis Ibaceta, David Marr, Susan Nathan, Mike & Jane Rikard-Bell, Viorica Samson, Carol Schwartz AO & Alan Schwartz AM, Robert Sessions & Christina Fitzgerald, Lynne Sherwood & the late Tim Sherwood, Maria Solà, Rosemary Walls, Pinky Watson, Anonymous (3)

ERATO—MUSE OF LOVE—$250+ Simon Abrahams, Dr Sue Beeton, Nicole Beyer & Kim Marriott, Robert & Jane Bird, Jennifer Bourke, John & Alexandra Busselmaier, Elise Callander, Diane Clark, Lyndy Clarke, Fiona Clyne, Alan Connolly, Mrs Dalloway, Mark Duckworth & Lauren Mosso, Carolyn Floyd, Iona Goodwin, Damyn Gordon, Ash Gray, Marguerite Griffith & Dr Vincent Griffith, Joanne Griffiths, Russell Hooper, Arechea Hounsell, Graham & Judy Hubbard, Sarah Hunt, Lachlan Hywood, Dr Irene Irvine, Ed Johnson, Cliff Johnston, Mira & Dr David Kolieb, Julia Lambert, Fiona Mahony, Judith Maitland-Parr, Ann McLaren, Susan McLean, Suzanne Mellor & Warren Prior, John Millard, Gayl Morrow & Gib Wettenhall, Dr Anne Myers, Prof Robert Nordlinger, Linda Notley, Dr Helen Nugent AO, Tom & Ruth O’Dea, Tony Oliver, Kaylene O’Neill, Frances Pascale, Dean Pavitt, Robert Peters, Anda Petrapsch, Pinkerton Abbey Family, Gerard Powell, Rosalba Renzella, Dr Jessica Robertson & Henry Gardner, Jean Ross, Hugh Stephens, Andrew Stocker, Toby Sullivan, Chris Teh, Dr Julie Thompson, Jennifer Vaughan, Lee-Ann Walsh, Jillian Wells OAM, Gary Westbrook, Jo Whyte, Barbara Yuncken, Anonymous (8)

CLIO—MUSE OF HISTORY—$10,000+ Annamila Fund, John & Lorraine Bates, Jennifer Darbyshire & David Walker, Suzanne Kirkham, Richard Leonard & Gerlinde Scholz, Simone Lourey, Mary-Ruth & Peter McLennan, Fiona McGauchie & James Penlidis, Janine Tai, The Vera Moore Foundation, Anonymous (2) THALIA—MUSE OF COMEDY—$5,000+ Daniel Besen, Evelyn Firstenberg, Gjergja Family, Colin Golvan AM QC & Dr Deborah Golvan, Michele Levine, Elizabeth & Donald McGauchie AO, The Pratt Foundation, Mary Vallentine AO, Moana Weir & Jordie van der Schoot, Anonymous (1) MELPOMENE—MUSE OF TRAGEDY—$2,500+ Susanne Dahn, Roger Donazzan, Rev Fr Michael Elligate AM, Dr Sian Fairbank, Rosemary Forbes & Ian Hocking, Linda Herd, Michael Kingston, Alison & Peter Mitchell, Sue Prestney & Paul Glen, Christopher Reed, Dr Jenny Schwarz, Kate & Stephen Shelmerdine, Fiona Sweet & Paul Newcombe, Peter Templeton, Leonard Vary &

TERPSICHORE—MUSE OF DANCE—$500+ Frankie Airey & Steve Solly, Graham & Anita Anderson, Michael Arnold, Rowland Ball OAM, Sandra Beanham, Peter Berry & Amanda Quirk, Bruce Boell & Angela Kayser, Annie Bourke & Darren Clyne, Nan Brown, Dr Rob Brown & Dr Lynne Millar, Priscilla Bryans, Bruce R Butler, Chris Clough, Georgie Coleman, Dr Ross Coller, Prof John Daley & Dr Rebecca Coates, Dr Bronwen Evans, Peter & Roxane Fearnside, Taleen Gaidzkar, Mary Garcia, John & Helen Gibbins, John Douglas Guppy, Tyler Hill, Brad Hooper, Joan & Graeme Johnson OAM, Irene Kearsey, Ann Kemeny & Graham Johnson, Angela Kirsner & Dr Richard Kirsner, Virginia Lovett, Ian Manning & Alice De Jonge, John McCallum, Ian McRae AO & Åsa HasselgardRowe, Ned’s, Jan Owen AM, Salvatore & Lea Posterino, Tom Smyth, L Tell & D Lester,

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ON A S2019 E S —— —

7 – 24 NOV Get ready for imminent cat-astrophe. Meow Meow’s chaotic carousel lights up with wild anthems, originals and a lullaby or two. These aren’t your typical Christmas carols. A glorious antidote to Christmas pandemonium, hilarious and heart-wrenching, Apocalypse Meow: Crisis is Born gleefully eviscerates traditional rituals, and unearths unexpected magic in the mayhem.

CREATED & PERFORMED BY / Meow Meow

WITH / A little help from her friends

Malthouse Theatre presents Apocalypse Meow: Crisis is Born. Originally commissioned and produced by Southbank Centre.

WHAT HAPPENS NEXT

PRANCER! DANCER! DONNER UND BLITZEN! MEOW MEOW’S BACK!

& NE D E R SC EA H

1997 FUN FACTZ: John Howard’s first year as PM. Crown Casino opens in Melbourne.

The Castle, a film shot in 11 days, makes AU$10 million at the Box Office.

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