Ugly Mugs

Ugly Mugs 16 May – 7 June

Malthouse Theatre & Griffin Theatre Company present

Ugly Mugs

By / Peta Brady Direction / Marion Potts Set & Costume Design / Michael Hankin Lighting Design / Lucy Birkinshaw Composition & Sound Design / Darrin Verhagen Cast includes / Harry Borland, Peta Brady, Steve Le Marquand, Sara West

Merlyn Theatre 16 May – 7 June A co-production with Griffin Theatre Company.

Ugly Mugs is proudly supported by the Malcolm Robertson Foundation.

A note from Malthouse Theatre’s Artistic Director and Director of Ugly Mugs

A gulf of uncertainty.

Ugly Mugs began when Peta Brady came to the theatre in early 2012 to tell myself and our Associate Writer Van Badham about what she’d been working on. She pulled an ‘Ugly Mugs’ pamphlet out of a thick file of research material and we were immediately transfixed.

Horrified, moved, confronted by our own ignorance, this was documentation that pinpointed the brutality of the streets we drive through every day. It exposed a woeful tendency to hide our heads in the sand – a kind of collective collusion that we felt compelled to interrogate.

The world of Ugly Mugs allows us to explore this territory more pointedly than most. Behaviours are extreme, the stakes are of the highest order, the consequences are fatal – it’s a rich dramatic premise. But it has the veracity of real events and real people, and as audience members we feel doubly accountable, not only for the plight of Peta’s characters, but for the nameless statistics we do so little about.

Statistics, like facts, get some emphasis in the play – they are the (insufficient) means used to explain a gulf of Complicit behaviour is one of the themes uncertainty around our motivations, deceptions, collusions, even our that Peta so sensitively scrutinises. A memory and perceptions of the past. spectrum of choices is given airtime ‘Human beings spend eighty percent on stage, only a few of which are of the time replaying past events or catagorically wrong. The rest are caught imagining perfect future scenarios.’ between the shifting goal-posts of moral In many ways, this fact, quoted by our relativism: complex and contradictory Working Girl, is the Son’s curse and the positions are fully exercised, from little underlying tension in all the characters. lies about smoking, to the ones we barely understand – there are shades As with all good playwrights, Peta’s text of grey in some of our most innocent does a lot of work for us: her language transactions. And then there are the captures her characters, their universe, broader, more elusive social forces that their dilemmas and informs the context. we often deny being a part of, but which When the creative team broached the shape our moral landscape and create show’s design, it felt important to create the possibility for bad things to happen. an environment that allowed for these

frictions to be in constant, uninhibited play: a space that offers clues but which we as audience members would have to complete in our imaginations. We chose the hard and unforgiving surface of asphalt as a key feature of the world, and by extension the inventory of associated pain – bruising, blisters, bumps, gravel rash. The multiplication of street lights was chosen as much for its functional statement as for what remains unlit, the negative space: the allusion to things nocturnal, hidden, un-discussed, and the experiences that occur in the shadows but nevertheless take place. As one character says, ‘just because you can’t see it, don’t mean it ain’t there.’ Finally, the ‘actual’ locations of morgue and cell are abstracted and expressed through their respective anchors – the mortuary slab and the institutional plastic chair.

humour and vitality give Ugly Mugs a great authenticity. But it’s her simple desire for people to understand what goes on that gives it so much integrity.

Malthouse Theatre commissioned Peta to write this play shortly after our first meeting. Once we’d seen a draft I spoke to my colleague Lee Lewis at Griffin Theatre Company, who said, ‘Well, if our companies can’t program this sort of work, who can?’ We are lucky that our companies have the freedom to be responsive enough to take on curly, public subjects that need to be aired. Lucky also that we have the amazing medium of theatre to help us imagine what we may never experience, to be entertained while being provoked, and all in the company of great performers and writers.

Marion Potts / It may have been difficult to create Malthouse Theatre Artistic Director the piece without Peta’s long-standing and Director of Ugly Mugs experiences as an outreach worker and her complex understanding of this world.

She would be the first to downplay it and would certainly never claim that her knowledge approximates those who live it every day. Her respect and appreciation of her characters’ strength,

A note from the Writer

A story of the street.

Street-based sex work is illegal in Victoria. This anomaly in the law creates barriers between police and street-based sex workers, who are hence less likely to report violent clients (known as ‘mugs’).

It strips street-based sex workers of the legal rights that others, in different occupations, take for granted, and leaves the community more vulnerable.

‘Ugly Mugs’ is a grassroots pamphlet developed by the Prostitute Collective of Victoria (now RHED) in 1986. It was created as a response to the under-reporting of violent incidents committed against sex workers and the lack of support and protection they receive from police and legal institutions. My play Ugly Mugs is a look at the persistent vulnerability of women to violence on the street.

(While not all sex workers are women, the majority of violent acts described in the pamphlet are against women.)

None of the ‘Ugly Mugs’ reports used in my play are anyone’s direct experience. I have stayed very close to the territory they contain without being specific enough as to be identifiable.

The only non-fiction within my fiction has been obtained with consent.

Thank you to those that have contributed to this piece along the way. I have badgered many a friend, colleague, client, cast member and stranger. You have provided me with content and dramaturgy for which I am forever grateful.

Special thanks to Marion Potts for taking a chance on this one: for commissioning the work and her ongoing support throughout the entire process. I’m feelin’ the privilege. And to Lee Lewis at Griffin Theatre Company for also taking a risk on this new work: programming it and being so encouraging.

This story is inspired by those who endure violence on the street and at worst, those who have lost their lives.

It is not about any one person. It is unfortunately the story of many.

Peta Brady / Writer

Lighting Designer / Lucy Birkinshaw Lucy graduated from WAAPA (Advanced Diploma of Lighting Design for Production and Performance) and Curtin University (Bachelor of Arts, Fine Arts) and is a co-founder of the Filament Design Group.

Lucy’s design work spans theatre, music theatre, concert lighting, opera, dance, film and television. Lucy’s designs for the Malthouse Theatre include Opera XS, Happiness and Africa. Other designs include The Flowerchildren, The Hatpin, Sondheim Triptych, A Jerry Herman Triptych, [Title of Show], Life’s a Circus (Magnormos); The Seizure, Delectable Shelter, Spring Awakening (The Hayloft Project); Beck’s Music Box 2009 - 2011 (Perth International Arts Festival); The Pride, Taking Liberty, Matchmaker, Baby Boomer Blues, Dealers Choice (Perth Theatre Company); and The Messiah, Woyzeck, Falling Petals (Black Swan Theatre Company). Lucy is the resident lighting designer for Magnormos, an independent producer of musical theatre in Melbourne.

‘Son’ / Harry Borland Harry made his first public appearance in the theatrical event Death

by Chocolate (WhoDunnit Events/2007 Melbourne Fringe Festival), which won that year’s Best Special Event award. In 2009 Harry played the titular role in the short film My Girlfriend Jim as well as appearing in At the Formal. Other short film credits include Spit, Junior and Poppy Projectionist. Harry’s first lead role in a feature film was The Playbook which was chosen to open the LDS Film Festival in Salt Lake City, Utah.

Most recently he appeared in The Turning based on Tim Winton’s short stories and the short film Emo: The Musical which premiered at the Berlin Film Festival. Ugly Mugs is Harry’s stage debut. Harry is thrilled to be performing for the first time at Malthouse Theatre and wishes to thank his family and agents at IWM for their constant support and encouragement.

Writer, ‘Working Girl’ & ’Mum’ / Peta Brady Peta has performed in various television, film and theatre projects over the past twenty years. Her television credits include the The Slap, Beaconsfield, Librarians, Rush, City Homocide, Kath and Kim, Neighbours and R.A.N. (Remote Area Nurse). Her favourite film project was Mullet (David Caesar). Theatre highlights include: Save For Crying (La Mama) for which she was nominated for a 2011 Green Room Award for Best Actress in Independent Theatre; The Call (Melbourne Workers Theatre); and Love (HotHouse Theatre/Malthouse Theatre) for which she received a 2005 Green Room Award (Gerda Nicholson Award for an Emerging Actor). Peta wrote and performed in Strands (nominated for the 2011 Green Room Award for Best Ensemble in Independant Theatre) and Status Update (nominated for the 2010 Green Room Awards for Best Female Actor and Best New Writing in Independent Theatre).

Stage Manager / Tia Clark Tia is a graduate of WAAPA. Her credits for Malthouse Theatre include The Government Inspector (with Belvoir), The Shadow King, The Bloody Chamber, Dance of Death, Hate, Opera XS, A Golem Story and Baal (with Sydney Theatre Company). Other credits include: A Funny Thing Happened on the Way to the Forum (Gordon Frost Organisation); Every Breath (Belvoir); The Rake’s Progress (Victorian Opera); Scooby Doo Live 2011 Tour (Entertainment Store Group); The King and I, The Boy From Oz, Sugar (Some Like It Hot), Anything Goes, Kismet and Grey Gardens (The Production Company); The Marriage of Figaro and A Midsummer Night’s Dream (Arts Centre Melbourne); At the Beach and Behind the Veneer (Buzz Dance Theatre); The Hidden Forest (Spontaneous Insanity); A Midsummer Night’s Dream (Shakespeare WA); and The Nutcracker (WA Ballet).

Designer / Michael Hankin Michael’s recent work includes Angels In America (Belvoir), which was nominated for Best Stage Design at the 2013 Sydney Theatre Awards and the Australian Production Design Guild Awards; 247 Days (Chunky Move/Malthouse Theatre); and Dirty Rotten Scoundrels (Theatre Royal). He designed the set and costumes for The Dark Room, which was nominated for Best Stage Design at the 2011 Sydney Theatre Awards, and Fool For Love (Belvoir); Rust and Bone and The Ugly One (Griffin Theatre Company); Lord of the Flies (US-A-UM/Malthouse Theatre’s Helium) and Truckstop (Q Theatre/ Seymour Centre), which won Best Independent Stage Design at the 2012 Sydney Theatre Awards. For Sydney Chamber Opera, Michael has designed The Lighthouse, In the Penal Colony and Through the Gates and his assistant-design work includes Opera Australia’s The Ring Cycle, The Marriage of Figaro, English National Opera’s Caligula as well as productions for Sydney Theatre Company, Belvoir and Gordon Frost Organisation. Michael’s other theatre designs include Songs For the Fallen, a punk-opera which toured to the Brisbane Festival, the Seymour Centre and the Old Fitzroy Theatre; Judith (Pavilion Theatre); Suddenly Last Summer and Women of Troy (Cell Block Theatre), and the creative development of King Lear for Bell Shakespeare. In film, Michael was both costume and production designer on Berlin’s Crystal Bear Award winning short films, Julian and The Amber Amulet.

Assistant Director / Margaret Harvey Margaret has had a prolific career as an actor working for companies such as Malthouse Theatre, Melbourne Theatre Company, Sydney Theatre Company, Belvoir, Queensland Theatre Company, Black Swan Theatre Company and Deckchair Theatre. More recently she made her film directing debut on The Hunter, a short film selected at last year’s Melbourne International Film Festival which went on to play at Brisbane International Film Festival, Adelaide Film Festival, Flickerfest and imagineNATIVE Film Festival in Toronto. She has written, directed and produced four documentaries for NITV. In 2012 through Multicultural Arts Victoria she co-produced and facilitated the making of Ubuzima Bushasha (new life) which screened at ACMI. Margaret has worked on numerous music clips including Blue King Brown’s ‘Women’s Revolution’. For theatre she recently directed HUNTED (Wominjeka Festival) and Tiddalik and Body Armour (Ilbijerri Theatre), which toured nationally. In 2008 she was awarded a fellowship from the Australia Council for the Arts in which she began to explore a process for telling and creating Torres Strait Island stories for the stage. She is now undertaking a PhD through Monash University and she continues to collaborate with her brother John Harvey, through Brown Cab Productions.

‘Doc’ & ‘Mug’ / Steve Le Marquand On stage Steve has been seen in Summer Of The Seventeenth Doll (Belvoir/Melbourne Theatre Company/Queensland Theatre Company); Death Of A Salesman, Paul, The Spook, Buried Child and Waiting For Godot (Belvoir); Songket and The Return (Griffin Theatre Company); War Of The Roses, Gallipoli, The Serpent’s Teeth and Tales From the Vienna Woods (Sydney Theatre Company as part of the Actors’ Company); and Don’s Party (Melbourne Theatre Company/ Sydney Theatre Company). He co-wrote, produced, directed and starred in the hugely successful theatre production He Died With A Felafel In His Hand. For film, Steve has been seen in A Few Best Men, Beneath Hill 60, Last Train to Freo, Razzle Dazzle: A Journey into Dance, Men’s Group, Kokoda, Lost Things, Mullet, South Pacific, Two Hands and Vertical Limit. Steve has also appeared in various award-winning short films including Cliché, Bomb and Franswa Sharl. Television credits include Rake, The Moodys, Small Time Gangster, Underbelly: Razor, Sea Patrol, Laid, All Saints, Farscape, Young Lions, A Difficult Woman, Backberner, Blue Heelers, Wildside, G.P., Murder Call, Big Sky, Water Rats, Soldier Soldier, Home and Away and Police Rescue. This is Steve’s first show for Malthouse Theatre.

Director / Marion Potts Marion is Malthouse Theatre’s Artistic Director. For Malthouse Theatre, Marion has directed The Dragon, Hate, Wild Surmise, Blood Wedding, Meow Meow’s Little Match Girl and its return season at the Southbank Centre in London, ‘Tis Pity She’s a Whore, Sappho... in 9 fragments, and Venus & Adonis (with Bell Shakespeare). Other theatre directing credits include: King Lear, The Taming of the Shrew, Hamlet, Othello (Bell Shakespeare); The Wonderful World of Dissocia, Playgrounds, Volpone, Don Juan, Life After George, Cyrano de Bergerac, The Crucible, Navigating, Del Del, Closer, The Herbal Bed, What is the Matter With Mary Jane?, Pygmalion, Where Are We Now?, The Café Latte Kid, The Blessing, Two Weeks With The Queen (Sydney Theatre Company); Grace (Melbourne Theatre Company); Equus, The Torrents, Gary’s House, A Number, The Goat or Who Is Sylvia?

(State Theatre Company of South Australia); Constance Drinkwater and the Final Days of Somerset (Queensland Theatre Company). She has worked with many of the country’s finest theatre companies and was most recently Bell Shakespeare’s Associate Artistic Director, creating its development arm Mind’s Eye. Marion was Resident Director for Sydney Theatre Company from 1995-1999.

She curated the 2003 National Playwrights’ Conference, was a chairperson of World Interplay and a member of the Theatre Board of the Australia Council. Marion received the Helpmann Award for Best Direction of a Play in 2006.

Sound Design / Darrin Verhagen Darrin has recently been composing and sound designing for various Daniel Schlusser productions: M+M (Melbourne Festival), Menagerie (Melbourne Theatre Company), The Histrionic (Malthouse Theatre) and Ophelia Doesn’t Live Here Anymore (Bell Shakespeare/Chamber Made Opera). Previous theatre credits have included Porncake, Sappho, Kitten and Not Like Beckett (Malthouse Theatre); and Grace, Godzone, Madagascar and The Birthday Party (Melbourne Theatre Company). Recent film soundtracks have included The Last Time I Saw Richard (Nicholas Verso) and The Templer Journey. His installations this year were On View (Sue Healey, Manley Art Gallery) and the Audiokientic Jukebox (National Gallery of Victoria) and Music of the Spheres (White Night). Darrin is a senior lecturer in sound and multisensory experience at the Audiokinetic Experiments (AkE) Lab, RMIT.

‘Footy Girl’ / Sara West Sara was most recently seen in the Sydney Theatre Company’s production of Travelling North. Her other theatre credits include Dreams in White and Heartbreak Hotel (Griffin Theatre Company); and Babyteeth (Belvoir). Film credits include Dirt Girls, which she also wrote and directed, One Eyed Girl and The Turned. Short films include Collision, Touch, Spine and Hey Joe. Television credits include ANZAC Girls. Short film directing credits include River Water. Sara graduated from The Flinders Drama Centre in 2010.

Thank you to: Van Badham Sian Fairbank Dr Shelley Robertson Rosemary Purcell

Malthouse Theatre BOARD OF DIRECTORS Michele Levine (Chair), John Daley (Deputy Chair), Frankie Airey, Ian McRae, Sarah Morgan, Nick Schleiper, Thea Snow, Sigrid Thornton, Kerri Turner, Leonard Vary Artistic Director Marion Potts Executive Producer Sarah Neal Associate Artist (Composition) David Chisholm Associate Artist (Writing) Lally Katz Associate Artist (Direction) Matthew Lutton

Finance Manager Mario Agostinoni

Production Manager David Miller

Finance Administrator Liz White

Technical Manager Baird McKenna

Marketing & Communications Manager Lisa Scicluna

Operations Manager Dexter Varley

Media Manager Maria O’Dwyer Digital Strategy & Marketing Coordinator Alice Gage Communications Coordinator Emily Fiori Graphic Designer Jane Roberts Philanthropy Manager Nicole Punte

Dramaturg Mark Pritchard

Development Manager Rachel Petchesky

Female Director in Residence Clare Watson

Development Coordinator Kim Brockett

Indigenous Engagement Jason Tamiru

Building Manager Peter Mandersloot

Associate Producer Josh Wright Administrator Narda Shanley

Ticketing Manager Emma Quinn Assistant Ticketing Manager Lauren White Executive Assistant Nicole Benson

Head of Lighting Stewart Birkinshaw Campbell Head Mechanist Andy Moore Theatre Technician Nathanael Bristow Head of Wardrobe Delia Spicer Wardrobe Assistant Chloe Greaves Workshop Supervisor David Craig Steel Fabricator Goffredo Mameli Workshop Staff Mitch O’Sullivan Front of House Managers Sean Ladhams, Anita Posterino Bar Manager Cherry Rivers Box Office Staff Abbey Barnes, Paul Buckley, Mark Byrne, Kate Gregory, Suzie Hardgrave, Michelle Hines, Ian Michael, Jade Thomson, Liz White, Fiona Wiseman, Benjamin Woolley

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Front of House/ Bar Staff Leeor Adar, Matt Adair, Thomas Banks, Jacqui Brown, Ben Carollo, Nadine Dimitrievitch, Alice Dixon, Graham Downey, Tanja George, Christian Grant, Kate Gregory, Mark Hoffman, Kathryn Joy, Evona Lee, Ian Michael, Anna Nalpantidis, Daniel Newell, Ruby Nolan, Syrie Payne, Claire Richardson, Sanne Rodenstein, Dominic Simonelli, Phoebe Taylor, Jade Thomson, Lee Threadgold, Noel Turner, Matilda Woodroofe Malthouse Theatre would like to acknowledge the people of the Kulin nation on whose land this work is being presented.

Malthouse Theatre would also like to acknowledge the ongoing support of its volunteers.

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ABOUT GRIFFIN THEATRE COMPANY Griffin Theatre Company is Australia’s new writing theatre.

We develop and stage the best Australian stories, for the widest possible audience.

For more than 30 years, the Griffin mission has been to bring our audiences the highest standards of theatrical craft. We also have a passion for developing Australian talent, with many of our nation’s most celebrated artists starting their professional careers with us.

Griffin produces an annual subscription season of four to five Main Season shows

by Australian playwrights, and co-presents a season of new work with leading independent artists. We also support artists through professional development opportunities, including artist residencies and masterclasses.

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A SHARED CREATIVE VISION Victoria University is proud to be Malthouse Theatre’s official Education Partner.

We share a vision and commitment to excellence, opportunity, community and individual empowerment.

Together we help future teachers make the arts accessible and engaging for students, provide theatre work placements for our students, and offer individuals from diverse backgrounds opportunities to experience live theatre.

Our collaboration in research and contemporary creative arts practice means that Victoria University graduates are empowered to reach their goals by acquiring exceptional skills, knowledge and experiences.

Find out how you can be part of this creative partnership through further study or engagement with us.

Visit our website or call 1300 VIC UNI.

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