Hello, Goodbye & Happy Birthday

HELLO, GOODBYE & HAPPY BIRTHDAY 9 – 26 October

A co-production with Melbourne Festival

Malthouse Theatre and Melbourne Festival present

HELLO, GOODBYE & HAPPY BIRTHDAY By / Roslyn Oades & collaborators Direction / Roslyn Oades Movement Director / Nat Cursio Sound Design / Bob Scott & Russell Goldsmith Lighting Design / Paul Jackson Set & Costume Design / Christina Hayes Audio-Script Editing / Roslyn Oades & Bob Scott Script Dramaturg / Raimondo Cortese Additional Dramaturgy / Nat Cursio, Paul Jackson, Bob Scott, Yana Taylor Interviews / Roslyn Oades Interview Assistance / Piper Huynh Cast / Matthew Connell, Jim Daly, Evelyn Krape, HaiHa Le, Roger Oakley, Diana Perini

Beckett Theatre 9 – 26 October 2014 The development of Hello, Goodbye & Happy Birthday was kindly assisted by the Australian Government through the Australia Council of the Arts, its arts funding and advisory board; the City of Yarra; the Victorian Government through Arts Victoria; the Malthouse Theatre 2013 Female Director in Residence program; and Monash Academy of Performing Arts.

An initial development was seeded by the Campbelltown Arts Centre’s 2011 Site Lab residency.

Andrew Curtis

A note from Malthouse Theatre’s Artistic Director

Trust what you hear, not what you see.

Roslyn Oades’ brilliant I’m Your Man alerted me to her talent and introduced me to a very particular kind of process – headphone verbatim. Using finely orchestrated interview-recordings as an audio-script, she manages to capture the rhythms and vocal melodies of our everyday encounters. What she creates for her performers is a kind of ‘score’ – a highly imaginative rendering which is nevertheless steeped in the authenticity of real people and communication as we experience it. The results are quite unlike anything we generally see on a local main stage. Melbourne Festival Creative Director Josephine Ridge also saw this piece and together we conspired to support Roslyn’s next project.

Hello, Goodbye & Happy Birthday was proposed to us following Roslyn’s experience of attending two significant birthday parties in one weekend: an 18th and an 80th. These bookends of life were suddenly brought into sharp relief, gently prising open a window into questions of ephemerality and the rites of passage that punctuate our small stretch on earth.

Her original concept grew into a mammoth interview project involving dozens of 18 and 80 year olds at aged care facilities, schools, birthday parties, community centres and schoolies week holidays. The integrity of that process is of central importance and through a commitment to the act of listening, this work has proved surprising, joyful, Roslyn’s process, like many independent heart-felt and full of genuine moments of artists’, is long and labour-intensive. recognition and truth. In it, Roslyn asks us The strength of independent work is to trust what we hear, not what we see, its autonomy; the flexibility to operate and demands a depth of listening that outside of conventionally rigid company structures and carve out newer and more we rarely engage in. Once we concede, her work is revelatory. It takes us into responsive processes. And thanks to our Female Director in Residence scheme, hidden worlds, private communities and she was able to spend time creating intimate gatherings with strangers on the work among our great Malthouse their own turf. By listening, the pictures Theatre team, drawing on resident artistic that these recordings render, of people and producing expertise. In having this and places, become incredibly vivid. freedom and support, Roslyn has been Marion Potts / able to continue to pioneer headphone verbatim as a theatrical form in Australia. Malthouse Theatre Artistic Director

Pia Johnson

Pia Johnson

I didn’t feel a big change when I turned 18. It was just, it was just, Oh yeah, I’m 18, it’s another year.

Um, and I guess now I – it kinda hits me that I am 18 and that you’re all here, are here for me and I hope that in the future we are still in contact, talking, mingling, meeting more people, I guess. I don’t know. This is really on the spot.

— Piper Muynh, interviewee

A note from the Director

The bookends of a life fully lived.

Several years ago I attended an 80th birthday party, followed shortly after by an 18th. It occurred to me during the birthday speeches that the former felt eerily like a farewell party and the latter a ‘hello-world-here-I-come’ type of event.

The juxtaposition of these two celebrations started me thinking about entrances and exits into adulthood and I guess into life itself – or at least the part you have control over (in theory). Concepts of the familiar and the unknown; experience and innocence; an opportunity to explore the bookends of a life fully lived.

The source material for Hello, Goodbye & Happy Birthday is the result of an extensive period of engagement with local community members aged over 80, followed by a similar process with 17 and 18 year olds. Immersed in the communal environments of agedcare facilities and high schools – I set out to explore the thresholds of teen into adulthood, as well as independent adult into aged-care dependency. I also attended as many 18th, 80th, 90th and 100th birthday parties as possible.

The realisation of Hello, Goodbye & Happy Birthday depended heavily upon the openness and trust of my interviewees – to whom we are extremely grateful.

Over the last 18 months exactly 80 people participated in long-form interviews for this project. Only a small portion of these recordings feature in the finished audio-script but they all Pia Johnson

contributed to our research, providing invaluable insights and a rich catalogue of experiences to draw from. I would like to acknowledge the significant role of my collaborating artists in shaping the immense, unwieldy collection of audio recordings into this show.

THE PERFORMANCE TECHNIQUE: HEADPHONE VERBATIM Rather than reciting memorised lines, the actors wear headphones and speak aloud a sequence of carefully edited audio interviews word-for-word as they are played to them. By confining the actors to the discipline of accompanying a recording with absolute precision (including every inflection, cough, stumble, breath and overlap), a curious, hyper-real performance style is established. While the actors often adopt characters with an accent/ background/age/gender obviously not their own, the discipline of this technique prevents parody or interpretation. It also allows the many quirks and imperfections of human speech to be acknowledged with integrity. As a theatre-maker, I operate from the principle that there is as much information embedded in the way someone speaks as what they are saying.

By meticulously preserving the vocal print of real-life interviews in performance, the cast set out to mine the rich nuances of conversational speech like musicians following a score.

Roslyn Oades / Director

Pia Johnson

Pia Johnson

Biographies Tia Clark / Stage Manager Tia is a graduate of Western Australian Academy of Performing Arts.

Her credits for Malthouse Theatre include Walking into the Bigness, Ugly Mugs, The Government Inspector, 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).

Matthew Connell / Performer Matthew is a recent graduate of the Victorian College of the Arts. He has had extensive training in film, stage and theatre development. His credits include roles on the television series Neighbours and Melbourne Black as well as the feature films The Boy Castaways (directed by Michael Kantor) and The Wilderness (Aquarius Films).

Raimondo Cortese / Script Dramaturg Raimondo Cortese graduated from the Victorian College of the Arts’ School of Drama in 1993. He was a founding member of Ranters Theatre and served as artistic director from 1994 to 2001. Ranters has been regularly programmed in international performing arts festivals and venues since 1999. For Ranters, he has written over 30 plays and texts that have been performed in over a dozen countries and include Features of Blown Youth, Roulette, St Kilda Tales, The Wall and The Silence. Other writing work includes Murder (Erth/Sydney Festival/Adelaide Festival/ Ten Days on the Island); Buried City (Urban Theatre Projects/Belvoir/ Sydney Festival); Intimacy (Malthouse Theatre/Melbourne International Arts Festival); Holiday (Arts House), which won a 2007 Green Room Award for Best Australian Writing; and The Dreamlife of Butterflies (Melbourne Theatre Company). Raimondo was co-writer of the feature film The Boy Castaways and has written for television, radio, and visual and experimental texts. His fiction includes a collection of short stories – The Indestructible Corpse (Text Publishing). He teaches scriptwriting master classes locally and internationally and is a lecturer in the Master of Writing for Performance in Theatre course at the Victorian College of the Arts. Raimondo was the recipient of the 2010 Australian Leadership Award and was awarded the inaugural Patrick White Fellowship by Sydney Theatre Company in 2011.

Nat Cursio / Movement Director & Additional Dramaturgy Nat works predominantly with dance and the body, creating curated programs and developmental platforms under the umbrella Nat Cursio Co. Nat’s most recent projects include The Middle Room (Festival of Live Art/Theatre Works); Blizzard (The Substation); Private Dances (Darebin Arts’ Speakeasy); Critnic Dance Picnic (Lucy Guerin Inc/Next Wave); Long Time At Sea (Victorian College of the Arts); and Action Stations (Campbelltown Arts Centre). Nat is currently developing a new screen choreography for Carriageworks’ 24 Frames Per Second with media artist Daniel Crooks and a new live performance work, Recovery, with Shannon Bott and Simon Ellis (UK).

As a performer, Nat has worked extensively with David Pledger’s not yet it’s difficult and most recently appeared in Green Screen by Nicola Gunn/Sans Hotel (Melbourne Theatre Company NEON).

Jim Daly / Performer Jim’s first performance was in 1955 at the age of 10 in Let’s Make an Opera at Adelaide’s Studio Theatre – the start of a 60-year stage career spanning Molière to Brecht to Hibberd to Dickins to Brecht and many in between. Jim’s recent theatre credits include the national tour of Cosi (Hit Productions); Coranderrk (Ilbijerri/Belvoir); His Girl Friday (Melbourne Theatre Company); Henry IV Part 1 (Australian Shakespeare Company); and John Gabriel Borkman (La Mama). Jim’s film credits include: The Mule, Flame Wars, Red Hill and the recently completed Earth. His television credits include Gallipoli, Pirate Island and Wilfred.

Jim is also a voice-over artist, lecturer at La Trobe University and is currently undertaking a practice-research PhD in performance at Monash University. Jim won the 1996 Green Room Award for Best Actor in The 8:16 Vodka Syndrome and the 2009 Maverick Movie Award for Best Supporting Actor in Inanimate Objects.

Pia Johnson

Biographies Russell Goldsmith / Sound Design Russell is an award-winning sound designer, composer, producer, audio system designer and sound artist. His Malthouse Theatre credits include Persona, Hate, Blood Wedding, The Story of Mary MacLane – by Herself, Sleeping Beauty and The Frail Man (Malthouse Theatre); Exit the King and its Broadway tour, It Just Stopped and Happy Days (Malthouse Theatre/Belvoir); A Woman in Berlin (Malthouse Theatre/Tamarama Rock Surfers); Vamp (Malthouse Theatre/Sydney Opera House); Through the Looking Glass (Malthouse Theatre/Victorian Opera); and Optimism (Malthouse Theatre/Sydney Festival/Sydney Theatre Company/Edinburgh International Festival).

Other credits include The Speechmaker, Ghosts, The Other Place, His Girl Friday, The Golden Dragon, Don Parties On and The Swimming Club (Melbourne Theatre Company); The Flick, This Year’s Ashes, Out of the Water, The Fatboy and 4000 Miles (Red Stitch Actors Theatre); Status (AIDS conference 2014, Melbourne); Crepuscular Beam and Forgotten (White Night Melbourne); William and Mary (Melbourne Indigenous Arts Festival); and Summertime in the Garden of Eden (Sisters Grimm).

Recent radio projects include Cassandra is a Waitress for ABC Radio National and the ABC radio adaptation of A Woman in Berlin, which was shortlisted for the Prix Italia and won a bronze medal at the New York Festival Radio Awards. Russell’s sound design for Exit the King won the 2007 Sydney Theatre Award, and was nominated for Best Sound Design at both the 2008 Green Room Awards and the 2009 Tony Awards (New York).

Christina Hayes / Set & Costume Design Christina Hayes is a visual artist, designer and one third of the The Sisters Hayes. For Malthouse Theatre The Sisters Hayes designed the set and costume for Walking into the Bigness and Blood Wedding, and provided the art direction for the 2015 season brochure. As a visual artist Christina has held solo exhibitions with Anna Pappas Gallery, Bus Projects and TCB Art Inc. Her artwork has been exhibited in group and collaborative shows at Arts Project Australia, Melbourne Art Fair, Studio 12 at Gertrude Contemporary, Platform Gallery, C3 Gallery, ACMI and The Substation. Christina has created a number of curatorial projects at Arts Project Australia, including three large group shows and two solo presentation of works by Steven Ajzenberg and Steven Perrette. Currently, Christina is undertaking a Masters of Fine Art at the Victorian College of the Arts, with a Creative Scholarship for Outstanding Graduates, and has work touring regional Victoria as part of The Substation’s Future Now exhibition.

Paul Jackson / Lighting Design, Additional Dramaturgy Paul has designed lighting for Malthouse Theatre, The Australian Ballet, Royal New Zealand Ballet, Melbourne Theatre Company, West Australian Ballet, Victorian Opera, West Australian Opera, Sydney Theatre Company, Bell Shakespeare, Belvoir, Ballet Lab, Lucy Guerin Inc, World of Wearable Art New Zealand, La Mama, not yet it’s difficult, Chamber Made Opera and many others. A key creative on a number of seminal Australian theatre pieces, his work has featured in festivals and programs in the United States, Asia, Europe and the United Kingdom. Paul was listed in The Bulletin’s Smart 100 for 2004 and was the Gilbert Spottiswood Churchill Fellow for 2007. He has received a number of Green Room Awards and nominations for design, as well as receiving multiple Sydney Theatre Critics’ and Helpmann Award nominations. Paul won the 2012 Helpmann Award for Lighting Design (Meow Meow’s Little Match Girl, Malthouse Theatre). Paul has lectured in design at the University of Melbourne, RMIT University and the Victorian College of the Arts. He was an Artistic Associate at Malthouse Theatre from 2007 to 2013.

Evelyn Krape / Performer Evelyn has acted in theatre, film and television for more than 30 years and was a founding member of The Pram Factory. She has performed for Malthouse Theatre, Melbourne Theatre Company, 11th Hour, Victorian Opera and Shakespeare in the Park. Her recent theatre work includes More Female Parts (Darebin Arts’ Speakeasy); Ek Velt (International Yiddish Theatre Festival, Montreal/Phoenix Theatre); The Crucible, King John and the Ireland tour of End Game (11th Hour Theatre Company); and a national tour of The Housekeeper.

Her recent solo performances include Olive Branches Out (Frankston Arts Centre) and The Many Faces of Eve, a collation of characters and texts directed by Lois Ellis and presented as ‘living-room’ theatre.

Her television appearances include Laid, Australia, You’re Standing In It, Flying Doctors, Blue Heelers, Bastard Boys and Greeks on the Roof. Her film credits include Vessel, Dimboola, The Sound of One Hand Clapping, Babe and Babe 2. Evelyn was the recipient of the 1976 National Critics Circle Award for Best Actress for her role in A Toast to Melba (Adelaide Festival) and the 1993 Green Room Award for Best Actress for Ginger (Malthouse Theatre). She received Green Room Award nominations in the same category for The Visit (The Courthouse), and Legacy (La Mama) in the Body of Work category.

Pia Johnson

Biographies HaiHa Le / Performer HaiHa Le has worked extensively in theatre and television since 2003.

Recent theatre credits include: Rupert (Melbourne Theatre Company and US tour); The Good Person of Szechuan and Aviary (La Mama); 4000 Miles (Red Stitch Actors Theatre); The Seizure (Hayloft Project); TAXI (Big West Festival); Doomstruck Oedipus (Victorian College of the Arts); Letters From Animals (The Storeroom); and Make Me Cry (45 Downstairs). HaiHa was a regular cast member of Bed of Roses and Kick. Other television credits include: Soul Mates, Betterman, It’s a Date, Sick, Miss Fisher’s Murder Mysteries, Neighbours, Sea Patrol, Rake, City Homicide and The Elephant Princess. HaiHa received a 2005 Green Room Award nomination for her performance in Shrimp (Melbourne Workers’ Theatre).

Roslyn Oades / Direction, Audio-Script, Interviews Roslyn’s theatre-making practice has been largely defined by her extensive body of work in the field of headphone verbatim and audio-cued performance. Between 2003 and 2012 she created the headphone verbatim trilogy Acts of Courage: I’m Your Man (Belvoir/ Sydney Festival/Mobile States national tour), Stories of Love & Hate (Urban Theatre Projects/Sydney Theatre Company) and Fast Cars & Tractor Engines (Urban Theatre Project/Bankstown Youth Development Service), which was recently published by Currency Press. In 2013 she was Malthouse Theatre’s Female Director in Residence, where she developed Hello, Goodbye & Happy Birthday. In 2012 she was commissioned to create Cutaway: A Portrait for Vitalstatistix. Roslyn also works as a voice over artist and performer.

Roger Oakley / Performer Roger’s recent theatre appearances include August Osage County, Richard III, Circle Mirror Transformation, The Golden Dragon and The Cherry Orchard (Melbourne Theatre Company); Beyond the Neck (Red Stitch Actors Theatre); and The Nightwatchman (Theatre Works). He won Green Room Awards for his appearances at Malthouse Theatre in Sex Diary of an Infidel and Jerusalem.

Diana Perini / Performer Diana undertook a Bachelor of Contemporary Arts at Deakin University (2009) and a Bachelor of Arts (Music Theatre) at the Western Australian Academy of Performing Arts (2012). Diana’s favourite stage credits include Privates on Parade (New Theatre); Three Winters Green (Emu Productions); Into the Woods, Xanadu and The Rise and Fall of Little Voice (WAAPA). Diana is thrilled to be making her debut at Malthouse Theatre.

Sam Oster

Bob Scott / Sound Design, Audio-Script, Additional Dramaturgy Bob Scott is a sound designer and music producer in contemporary music, theatre, opera, film and television. He has been sound designer on two of Roslyn Oades’ previous works – Stories of Love and Hate and I’m Your Man. Recent projects include sound design for Timeline with the Australian Chamber Orchestra and The Presets; and music producer and engineer for the recording of Nigel Westlake and Lior’s Compassion with Sydney Symphony Orchestra. He was sound designer for the Australian Ballet’s 50th birthday series; Bliss (Opera Australia); and Am I (Shaun Parker & Company/Sydney Festival). He recently completed the audio mix for Scattered Rhymes (Sydney Dance Company). Bob is currently working on another verbatim theatre show, Quiet Faith (Vitalstatistix); The Planets (Sydney Symphony Orchestra); and is completing post-production work on surround recordings for Synergy Percussion’s Xenakis vs Pateris concerts. He is a recipient of an Australian Screen Sound Guild Award for his work on the film Mrs Carey’s Concert. He is also the audio director for Anzac Day events and broadcasts from Gallipoli for the ABC. Yana Taylor / Additional Dramaturgy In 2012-3, Yana performed in and co-directed The Disappearances Project (version 1.0/Carriageworks/Judith Wright Contemporary Arts Centre/Brighton International Festival). As a core artist in the collaborative multi-media theatre company, version 1.0, since 2000, Yana worked on many of its major works including as devising dramaturg on This Kind of Ruckus (Melbourne Arts Centre/ Carriageworks) and The Wages of Spin; as a contributing dramaturg on CMI: Certain Maritime Incident; and as a performer and maker on The Table of Knowledge, Deeply Offensive and Utterly Untrue and The Second Last Supper (Performance Space/Carriageworks). In 2012 she was dramaturg on Baulkham Hills African Ladies Troupe (Belvoir Racing Pulse/Riverside Theatre). Yana collaborated as a dramaturg on Return to the Trees (Strings Attached/Carriageworks) and performed in The Last Highway (Urban Theatre Projects/Sydney Festival). Previously, she taught theatre-making and movement at the University of Western Sydney. Yana currently works at the Centre for Theatre and Performance at Monash University.

Biographies Interviewees This project would not be possible without the generosity of our interviewees: Piper Huynh & Raymond Charman (who also star as our two poster models!), Ina Mahoney, Arthur Williams, Vincenzo & Caterina Torcasio, Agnes Calabrese, Felix Caspaner, Peter Kyrkilis, Himi Stringer, Scarlett Cernuck, Penny, Louella, Madison White, Jaymi-Lee Fechner, Sarah Luedecke, Carly Boscheinen, Nicoletta Manluso, Hieu Lu, Brent Watkins, Mimi Field, Anneke Mae Demanuele, April Key, Eltayeb Eltayeb, Nghi Tran, Christine Protacio, Stephanie Lam, Adam Baxter, Damidu Herath, Jordan Lay, Caitlin Zacharias, Matilda Knowles, Rachael Ward, Laura, Tayla, Masood Kakar, Harjot Singh, Hai Ba Ngo, Lokesh Sharma, Karen Hanson, Maggie Bardon, Les Dobson, Jan Morrison, Ruyen Vu, Sinh Khien, Nguyen Nhi, Dieu Phan, Bob Dobbie, Father Bob Macguire, Jenny Walker, Edith Woods, Lilias Hopper & family, Saskia & John Drake, Jessie Pham, Catherine Nguyen and those who prefer to remain anonymous.

Thank you Special thanks to our invaluable community consultants: Kirsty Baird and the City of Yarra Council, Paul Brophy and Sambell Lodge, the Brotherhood of St Laurence, Carmel Barker and Mary McKillop Aged Care, Jeff Lowinger, Wolf Heidecker, Bich Ha at North Yarra Community Health, David Nguyen, Tracy Carroll & Alicia Easteal at Princess Hill High School, Matt Thomas at Fitzroy High School, Leigh Adams at Melbourne Language Centre, Express Media, Jade Stott at Fitzroy Learning Network, Braybrook College, Shona Johnson at City of Melbourne, Amanda Haskard at SIGNAL, Rochelle Lepper & Chris Parkinson at City of Yarra Youth Services, Sue Kent at BANH, Fran Maloney, Jane Trobbiani, Kerry McLean, Melanie Joosten, Farah Farouque, Sharon O’Reilly, Margot Anderson, Nerida Quin, Tam Huynh, Marie Fitzgibbon, Ewan Campbell, Joan Krulti, Judy Womersley, Mark Richmond, Janet King, Artful Dodgers, Clare Watson and Robert Jordan.

Thank you also to the following people for their support: the lovely staff at both Malthouse Theatre and Melbourne Festival, Aljin Abella, Edwina Samuels, Jo Porter, Lee Stout, Michael Finney, Kate Kantor, Sarah Greentree, Rosie Dennis, Bil Reda, Katia Molino, Jane Flanders, Nicola Gunn, Andrew Blackman, Chris & Reuben Womersley, Janice Muller, Angela Morosin, Melbourne Theatre Company prop store, Junction KID, Rose Chong costumiers and Steve Monroe.

Pia Johnson

Our Supporters Thank you, Malthouse Muses, for supporting our artistic vision and helping us to create a unique and dynamic environment for artists and audiences.

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Our Staff Board of Directors Michele Levine (Chair), John Daley (Deputy Chair), Ian McRae AO, Sarah Morgan, Nick Schlieper, Thea Snow, Sigrid Thornton, Kerri Turner, Leonard Vary Artistic Director Marion Potts Executive Producer Sarah Neal Associate Artist (Direction) Matthew Lutton Associate Artist (Writing) Lally Katz Associate Artist (Composition) David Chisholm Dramaturg Mark Pritchard Female Director in Residence Clare Watson Indigenous Engagement Jason Tamiru Associate Producer Josh Wright Company Manager Alice Muhling Executive Assistant Nicole Benson

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Head of Lighting Stephen Hawker

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Front of House/ Bar Staff Matt Adair, Thomas Banks, Jacqui Brown, Emma Corbett, Ray Chong Nee, Nadine Dimitrievitch, Alice Dixon, Graham Downey, Tanja George, Kate Gregory, Mark Hoffman, Kathryn Joy, Evona Lee, Ian Michael, Abi Murray, Anna Nalpantidis, Ruby Nolan, Syrie Payne, Claire Richardson, Sanne Rodenstein, 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.