Calpurnia Descending

CALPURNIA DESCENDING 13 – 30 November

Malthouse Theatre and Sydney Theatre Company present

CALPURNIA DESCENDING

By / Sisters Grimm Created by / Ash Flanders & Declan Greene Direction / Declan Greene Set & Costume Design / David Fleischer Lighting Design / Katie Sfetkidis AV Design / Matthew Gingold Animation / Matt Greenwood Composition & Sound Design / Jed Palmer Stage Manager / Lisa Osborn Assistant Stage Manager / Amy Burkett Cast / Paul Capsis, Ash Flanders, Sandy Gore, Peter Paltos

Merlyn Theatre 13 – 30 November 2014

A co-production with Sydney Theatre Company.

Calpurnia Descending features the video art piece Aborted Triplets for BATALJ by Alexandra Macdonnell.

Andrew Curtis

A note from Malthouse Theatre’s Artistic Director

Theatre to relish Welcome to our last show for the year! What better way to celebrate 2014 than to have the delightful and wondrously talented Paul Capsis return to our stages. Paul has a long-standing relationship with Malthouse Theatre and has bowled over audiences with his virtuosic abilities – most recently in the very successful Angela’s Kitchen.

On stage with him tonight, one of the great actors of our stage, Sandy Gore.

Sandy has had an enormous influence on our theatre culture and is not only a fantastic talent but has been a role model and mentor to many in the industry.

Sisters Grimm are therefore keeping fine company these days, complementing this team with their own precocious and prodigious imaginations. Their fearlessness and unique satirical perspective on just

about everything tends to engender a spectrum of responses: it’s refreshing, confronting, joyous, rude, forgiving, acerbic, funny, exacting – and seems to live effortlessly somewhere between sanity and insanity. More than anything, the Sisters never forget their audience and remain true to their strong instinct to entertain and to relish theatre.

Gender subversion, an overtly camp aesthetic and a celebration of queer culture are all qualities that define them.

Their close observation of film and different artistic genres often provides a parodic frame and in this case, they take on more than the genre itself – exploring the very form through the making of Beverly Dumont’s final show.

Marion Potts / Artistic Director

Brett Boardman

A note from the Creators

Old age is no place for sissies ‘At the core of gay hero worship is its own negation; at the heart of glamour the grotesque. Beneath the diva’s loveliness were the seeds of the ridicule that was to come.’

— Daniel Harris, The Death of Camp

‘Fasten your seatbelts.

It’s going to be a bumpy night.’

— Margot Channing

I’ve clearly been working on this play for too long. Because this morning, much like Calpurnia, I woke up from a horrifying vision. In it, a Big Brother contestant was being interviewed by the Today show about the important work they were doing overseas. They were in a bleak, hostile country – somewhere unsanitary and dangerous (a place I would like to put all Big Brother contestants). At some point during the interview, two feral cats begin fighting in the background. I heard the Today hosts laugh hysterically as the camera slowly zoomed in on the hissing, biting, scratching animals. Then, on live TV, the smaller cat devoured the larger one. The segment ended with a shot of the cat’s red, foaming, bloody mouth. I woke up with a heavy feeling of dread, as well an idea for a fresh, hot TV show I know Channel Nine would love.

Though it’s been around for decades, the ‘diva feud’/‘backstage melodrama’ story arc of films like All About Eve (1950), Opening Night (1977), Morning Glory (1993), Showgirls (1997) and Black Swan (2010) has never lost its fascination for audiences. In its most basic reading, this narrative reminds us that beyond every glamorous surface lies a seamy world of ambition, cruelty and betrayal. But these films are also vessels for some of

Pia Johnson

the great, towering diva performances of all time. Swanson, Davis, Hepburn, Rowlands – creating loosely fictionalised versions of their own struggle for agency and relevance. Writers like Vito Russo, Daniel Harris and Pamela Robertson have focused on these diva personas as sites of identification for queer audiences.

Historically, they’ve been vessels for our fantasies of social power and equality – our own desperate desire to live in defiance of gender and sexual norms. But as the diva ages, as she loses her desirability as a figure of identification, her gay audience is as quick to ‘turn’ as any cartoon Broadway producer. The logic of camp marks the aged diva as an object of fond ridicule – placing her in a space somewhere between revulsion and idolatry. This was the macabre fate of Judy Garland, Marlene Dietrich, Mae West – whose increasing fallibility we (gay audiences) resented as our own. As Bette Davis famously said: ‘Old age is no place for sissies.’

For the general public, though, these films also speak to the innate fear we all have of being surpassed. Of becoming a relic in a world that no longer needs us. And in 2014 the space between the new and the old has never been smaller. We are bombarded by a 24-hour news cycle. Our friends exist on a constantly refreshing

Pia Johnson

feed. We have garbage dumps full of outdated phones, clothing and celebrities.

To stand still in this world is to become irrelevant. The contemporary diva – Lady Gaga, Katy Perry, Nicki Minaj – faces this threat every hour of every day. She is forced to constantly update and augment herself as a product – while articulating a core non-belief that signals ‘authenticity’ while never threatening mass-appeal. ‘Be yourself!’ ‘Heal the world!’ ‘You were born this way!’... Dancing silently in the spotlight, until a smaller, younger cat snaps her up.

Creating this show with these actors and creatives has been a wild, ridiculous, intense party, and we’re very grateful to Malthouse Theatre and Sydney Theatre Company for giving us the keys to their house (sorry about the vomit on the couch). We’d also like to unreservedly thank our exceptional stage management team – Lisa Osborn and Amy Burkett – as well as the four brilliant performers who contributed ideas, insight and dramaturgical advice to this project over the course of its development: Jane Montgomery Griffiths, Belinda McClory, Nick Pelomis and Mark Wilson.

Ash Flanders (with Declan Greene) / Sisters Grimm

Pia Johnson

Biographies Amy Burkett / Assistant Stage Manager Amy’s assistant stage manager credits include The Effect (Sydney Theatre Company/Queensland Theatre Company); Mrs Warren’s Profession (Sydney Theatre Company); Australia Day and Youth Showcase 2013 (Queensland Theatre Company); The Wizard of Oz (La Boite Theatre Company); Martin Place Christmas Concerts (City of Sydney); and Giselle (Paris Opera Ballet). As stage manager: The Wizard of Oz (La Boite Theatre Company, Lismore Tour); and The Lighthouse (Sydney Chamber Opera). As production manager; The Cooktown Re-Enactment 2013; The Old Tote Celebration (NIDA); and Rooted (Don’t Look Away). Amy is also the associate producer of independent theatre company Don’t Look Away. She is a graduate of NIDA. Paul Capsis / Performer For Malthouse Theatre: Angela’s Kitchen (with Griffin Theatre Company), The Threepenny Opera (with Sydney Theatre Company/ Victorian Opera), Die Winterreise and Boulevard Delirium. Other theatre includes: Pinocchio (Sydney Theatre Company/Windmill Theatre/ State Theatre Company of South Australia); The Lost Echo, Tales from the Vienna Woods, Volpone, Thyestes, Playgrounds and Sydney Stories (Sydney Theatre Company); All About My Mother and The Resistible Rise Of Arturo Ui (Melbourne Theatre Company); The Caucasian Chalk Circle and Frogs (Belvoir); Little Bird and The Emerald Room (State Theatre Company of South Australia); Three Furies (Performing Lines); Sisi Sings the Blues (Vienna Festival); and The Rocky Horror Picture Show (Dainty Group). Recordings include: Make Me a King, Paul Capsis Live, Everybody Wants to Touch Me and Boulevard Delirium. His film credits include: The Boy Castaways, Head On and Carlotta. Paul has won the following Helpmann Awards: 2012 Best Male Actor in a Play and Best New Australian Work (Angela’s Kitchen), 2007 Best Male Actor in a Supporting Role in a Play (The Lost Echo), 2006 Best Performance in an Australian Contemporary Concert (Boulevard Delirium), Best Live Music Presentation 2002 (Capsis Vs Capsis). He won the 2003 and 2006 Green Room Awards for Best Cabaret Artist. Other awards include: 2010 Sidney Myer Performing Arts Individual Award; 1998 Film Critics Circle Award Best Supporting Actor (Head On).

Ash Flanders / Writer/Performer Ash is one half of theatre-making duo, Sisters Grimm. At Malthouse Theatre, Ash has performed in: Tame and I Love You, Bro (with The Famous Spiegeltent). Other theatre credits as writer/performer include: Little Mercy (Sydney Theatre Company); The Sovereign Wife (Melbourne Theatre Company NEON); Fat Camp, Bumtown, Cellblock Booty and Mommie & The Minister (Adelaide and Edinburgh Fringe Festivals); Negative Energy Inc. (Midsumma Festival); and Special Victim (Feast Festival). Theatre credits as performer include: Hedda Gabler (Belvoir); Psycho Beach Party (Little Ones Theatre); The Golden Dragon (Melbourne Theatre Company); A Black Joy (fortyfivedownstairs). His short film The Divine Decadence of Cheesecake recently toured the USA after screening at Frameline Film Festival. In 2014, Ash won the Green Room Award for Best Male Performer (The Sovereign Wife).

David Fleischer / Set & Costume Design David’s work as set and/or costume designer includes: Children of the Sun, Mojo, Travelling North, Machinal, Romeo and Juliet, Fury, Little Mercy, Mariage Blanc and Actor on a Box: The Tale Maker (Sydney Theatre Company); Hedda Gabler and Woyzeck (Belvoir); Between Two Waves, The Sea Project and The Brothers Size (Griffin Theatre Company); Pictures of a One-Night Stand (Sydney Dance Company); Griselda (Pinchgut Opera); 10,000 Beers, No Way to Treat a Lady and Kiss of the Spiderwoman (Darlinghurst Theatre); Dirtyland (New Theatre); Intersections (Milkcrate Theatre); Bill W. and Dr. Bob (Serenity Productions); Der Gelbe Stern (Three Fish Productions/Seymour Centre); and The One Sure Thing (ATYP). As associate/assistant designer: Under Milk Wood, The Oresteia, The White Guard and Face to Face (Sydney Theatre Company); and Boundary Street (Black Swan State Theatre Company). David is a NIDA graduate.

Matthew Gingold / AV Design Matthew’s sound design work includes: The Experiment (MFI); Prompter (Arts House/HydraPoesis); Multiverse (Australian Dance Theatre); Tomb (BalletLab). As director/composer: ZeroZero (Dancehouse); Filament Orkestra (Perth Institute of Contemporary Art); Conversations (Melbourne Museum); and Perfect Artist (National Portrait Gallery of Australia). He has undertaken residencies at: Werkleitz/Transmediale (EMAN/EMARE); Futurelab (Ars Electronica); Interactivos ’12 (Medialab-Prado); InterLab (Yamaguchi Centre for Media Art); Atelier Eden (Aphids); and Tactical Media (CIA). His positions include: Research Fellow at the School of Interactive Arts, Simon Fraser University; and senior developer at openFrameworks creative code project.

He is the former director of Seventh Gallery, and the co-founder of Outpost AV performance collective. He was awarded the 2012 Prix Ars Electronica Best Interactive Artwork with Van Sowerwine and Isabel Knowles. He is a graduate of RMIT and Melbourne University.

Ten years is an awfully long time in the life of an actress, Violet. Often, ten years is the whole life of an actress.

I look in the mirror, and I scarcely recognise the woman staring back at me. She’s older. Scared. —Beverly Dumont

Pia Johnson

Biographies Sandy Gore / Performer Sandy’s theatre credits include: Under Milk Wood, Uncle Vanya (Kennedy Center, Washington DC; Lincoln Center Festival tours), Scenes from a Separation, Morning Sacrifice, Chasing the Dragon, Amy’s View, Medea, Les Parents Terribles, The Gift of the Gorgon, Antony and Cleopatra, The Normal Heart, Sons of Cain, Extremities, Pillars of Society and A Happy and Holy Occasion (Sydney Theatre Company); Small and Tired (Belvoir); The Taming of the Shrew (Bell Shakespeare); Much Ado About Nothing, The Removalists, Coralie Landsdowne Says No, Makassar Reef, As You Like It, The Rivals, Electra, The Alchemist, Uncle Vanya, Ring Round the Moon, Pericles, Pygmalion, The Sea, Jugglers Three, Tom and The Doll Trilogy – Kidstakes, Other Times, Summer of the Seventeenth Doll (Melbourne Theatre Company); Retreat from Moscow, Daylight Saving, Wit and A Conversation (Ensemble Theatre); Party Wall (Nimrod). As associate director she worked on Love, Loss and What I Wore (Sydney Opera House). Her film credits include: Now Add Honey, Australia, Evil Angels, Norman Loves Rose, Lorenzo’s Oil, Undercover and Paws. Her television credits include: Rake, Grass Roots, Brides of Christ, Farscape, Halfway Across the Galaxy and Turn Left, Twenty Good Years, I Can’t Get Started, Rafferty’s Rules and I Can Jump Puddles. She is a graduate of NIDA. Declan Greene / Writer/Director Declan is a theatre-maker based in Melbourne, and one half of Sisters Grimm. As a writer, his credits include Pompeii, L.A. and Tame (Malthouse Theatre); Eight Gigabytes of Hardcore Pornography (Griffin Theatre Company/Perth Theatre Company) and Moth (Malthouse Theatre/Arena Theatre/Studio Theatre, Washington DC/Bush Theatre, London). As writer/director, his credits include Little Mercy (Sydney Theatre Company); The Sovereign Wife (Melbourne Theatre Company NEON); Summertime in the Garden of Eden (Griffin Theatre Company/ Theatre Works/Sisters Grimm), Cellblock Booty, Bumtown, Mommie & the Minister and Fat Camp (Adelaide and Edinburgh Fringe Festivals).

His awards include: Max Afford Playwright’s Award, Green Room Award for Best Original Writing, AWGIE (Theatre for Young Audiences), Malcolm Robertson Prize, R.E. Ross Playwright’s Development Award and the ANPC Bursary.

Matt Greenwood / Animation Matt Greenwood is a Melbourne-based artist. His work incorporates video, animation and music to create collages of post-internet abstraction. Although his work’s primary home is the internet, it has been featured in various animation festivals on an international scale, including 2009 and 2010 Melbourne International Animation Festival, 2010 Ottawa Animation Festival, 2012 Fest Anca (Slovakia), 2012 Fantoche Festival (Germany) and 2013 Flatpack Festival (England).

Lisa Osborn / Stage Manager Lisa’s stage management credits for Malthouse Theatre include The Good Person of Szechuan, Night on Bald Mountain, White Rabbit, Red Rabbit, Persona (with Fraught Outfit), Pompeii, L.A., On the Misconception of Oedipus, Blood Wedding, Opera XS: Another Lament (with Rawcus/Chamber Made Opera), The Wild Duck (with Belvoir), The Story of Mary MacLane by Herself, Baal (with Sydney Theatre Company) and Sappho…in 9 Fragments. Other credits include: When The Rain Stops Falling (Brink Productions); Me and My Shadow (Patch Theatre Company); Man Covets Bird (Slingsby Theatre Company); G, Devolution and Ignition (Australian Dance Theatre); Three Sisters, Metro Street, Attempts on Her Life, The Female of the Species, Triple Threat, Noises Off and The Government Inspector (State Theatre Company of South Australia); Cake (Ladykillers); and Grug, Boom Bah!, Afternoon of the Elves, Two Weeks with the Queen and Wilfrid Gordon McDonald Partridge (Windmill Theatre). Her production/stage management credits include The Story of Mary MacLane by Herself (Ride On Theatre/Performing Lines); and The Trilogy Presentation (Amplification, Miracle and Above) for BalletLab at MONA FOMA. Lisa has also worked in a range of roles on events including WOMADelaide, the Helpmann Awards and the Melbourne Commonwealth Games 2006 Cultural Festival.

Jed Palmer / Composition & Sound Design Jed’s theatre credits include: Tame (Malthouse Theatre); The Sovereign Wife (Sisters Grimm/Melbourne Theatre Company NEON); Take Up Thy Bed (Vitalstatistix Theatre) and Howling Like a Wolf (Restless Dance Theatre). For film he has worked as composer/sound designer on The Infinite Man, Ukraine is Not a Brothel, The Boy Castaways and Wasted on the Young; and as sound editor on Galore, Noise and Boytown. For television he has worked as sound editor on Danger 5, Cloudstreet and Underbelly. He has worked as producer for the recordings Vincent Giarrusso, Everything is Singing… Everything; The Sea Thieves, They Will Run; and The Sirens of Venice, self-titled.

Brett Boardman

Biographies Peter Paltos / Performer Peter’s theatre credits includes: Salomé (Malthouse Theatre Helium/ Little Ones Theatre); Summertime in the Garden of Eden (Sisters Grimm/Griffin Theatre Company); The Sovereign Wife (Sisters Grimm/ Melbourne Theatre Company NEON); Psycho Beach Party (Little Ones Theatre); Savage in Limbo (The Honeytrap); and The Economist (MKA).

He is a graduate of 16th Street Actors Studio.

Katie Sfetkidis / Lighting Designer Katie’s theatre credits include: Tame (Malthouse Theatre); Salomé (Malthouse Theatre Helium/Little Ones Theatre); Summertime in the Garden of Eden (Sisters Grimm/Griffin Theatre Company); The Sovereign Wife (Sisters Grimm/Melbourne Theatre Company NEON); Little Mercy (Sisters Grimm); Psycho Beach Party (Little Ones Theatre); Dangerous Liaisons (Little Ones Theatre/Melbourne Theatre Company NEON); Exil (Sydney Chamber Opera); Happy Ending (Melbourne Theatre Company); Elektra (Fraught Outfit/The Dog Theatre); and Thérèse Raquin, The Bitter Tears of Petra von Kant and Acts of Deceit (Dirty Pretty Theatre). Katie is a graduate of Victorian College of the Arts and the Rory Dempster Lighting Internship.

Sam Oster

Pier 4, Hickson Road, Walsh Bay PO Box 777, Millers Point NSW 2000 Telephone Wharf Box Office (02) 9250 1777 Administration (02) 9250 1700 Fax (02) 9251 3687 Email mail@sydneytheatre.com.au Website sydneytheatre.com.au Board of Directors David Gonski ac (Chairman) The Hon Bruce Baird am Jonathan Biggins Toni Cody John Connolly Ann Johnson Mark Lazberger Patrick McIntyre Justin Miller Ian Narev Gretel Packer Daniel Petre ao Andrew Stuart Andrew Upton Peter Young am Artistic Director Andrew Upton Executive Director Patrick McIntyre Director, Programming and Artistic Operations Rachael Azzopardi Director, Marketing and Customer Services Nicole McPeake Director Private Support Danielle Heidbrink Director, Community & Corporate Partnerships Paul O’Byrne Head of Production Simon Khamara

In 1980, Sydney Theatre Company’s first Artistic Director, Richard Wherrett, defined STC’s mission as to provide “first class theatrical entertainment for the people of Sydney – theatre that is grand, vulgar, intelligent, challenging and fun.” Almost 35 years later, under the leadership of Artistic Director Andrew Upton, that ethos still rings true.

STC offers a diverse program of distinctive theatre of vision and scale at its harbourside home venue, The Wharf; Sydney Theatre at Walsh Bay; and Sydney Opera House, as its resident theatre company.

STC has a proud heritage as a creative hub and incubator for Australian theatre and theatre makers, developing and producing eclectic Australian works, interpretations of classic repertoire and great international writing. STC strives to create theatre experiences that reflect Sydney’s distinctive personality and engage audiences.

Strongly committed to engagement in the community, STC offers an innovative School Drama™ program; partners with groups in metropolitan Sydney, regional centres and rural areas; and reaches beyond NSW touring productions throughout Australia.

The theatre careers of many of Australia’s internationally renowned artists have been launched and fostered at STC, including Mel Gibson, Judy Davis, Hugo Weaving, Geoffrey Rush, Toni Collette, Rose Byrne, Benedict Andrews and Cate Blanchett.

STC often collaborates with international artists and companies and, in recent years, the company’s international profile has grown significantly with productions touring extensively to great acclaim.

Renowned artists Tamás Ascher, Philip Seymour Hoffman, Liv Ullmann, Steven Soderbergh, Michael Blakemore, Max Stafford-Clark, Howard Davies, Declan Donnellan and Isabelle Huppert have all worked with STC in recent years. STC has presented productions by the Abbey Theatre, Traverse Great Britain and Steppenwolf Theatre Company.

JOIN THE CONVERSATION Facebook.com/SydneyTheatreCompany Twitter @SydneyTheatreCo #STCCalpurnia Instagram @SydneyTheatreCo Tag us to share your thoughts on the show #sydneytheatreco Sign up to our monthly enews at sydneytheatre.com.au/enews

Pia Johnson

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.

URANIA—Muse of the Stars—$25,000+ Annamila Fund, Michele Levine, Mary-Ruth & Peter McLennan, Craig Reeves, Maureen & Tony Wheeler CLIO—Muse of History—$10,000+ Betty Amsden OAM, John & Lorraine Bates, Carol & Alan Schwartz AM THALIA—Muse of Comedy—$5,000+ Marc Besen AO & Eva Besen AO, Debbie Dadon, Neilma Gantner, Elisabeth & John Schiller, Richard Leonard & Gerlinde Scholz, Berry Liberman & Daniel Almagor, Anonymous (1) MELPOMENE—Muse of Tragedy—$2,500+ Frankie Airey & Stephen Solly, Chryssa Anagnostou & Jim Tsaltas, Roger Donazzan & Margaret Jackson, Rosemary Forbes & Ian Hocking, D.L. & G.S. Gjergja, Colin Golvan SC, Val Johnstone, Sue Kirkham, Naomi Milgrom AO, Janine Tai, Jon Webster, Anonymous (1) EUTERPE—Muse of Music—$1,000+ John & Sally Bourne, Sally Browne, Diana Burleigh, Beth Brown & Tom Bruce AM, Ingrid & Per Carlsen, Dominic & Natalie Dirupo, Rev Fr Michael Elligate, William J. Forrest AM, John & Helen Gibbins, Marco Gjergja, Anne Kemeny & Graham Johnson, Alan Kenworthy, Michael Kingston, Virginia Lovett, Jenny Schwarz, Maria Solà, Gina & Paul Stuart, Rotru Investments Pty Ltd, Leonard Vary & Matt Collins, Jason Waple, Jenny Werbeloff, Anonymous (2)

TERPSICHORE—Muse of Dance—$500+ Graham & Anita Anderson, Ingrid Ashford, Rowland Ball, Sandra Beanham, Min Li Chong, Mark & Jo Davey, Carolyn Floyd, Taleen Gaidzkar, Paul & Genevieve Gardner, Brian Goddard, Leonie Hollingworth, Brad Hooper, Irene Irvine, Irene Kearsey, Judith Maitland-Parr, Gael & Ian McRae, Tony Oliver, Robert Peters, Right Lane Consulting, Katherine Sampson, Morry & Anna Schwartz, Barbara & Neil Smart, Thea & Hayden Snow, Fiona Sweet & Paul Newcombe, John Thomas, Kerri Turner & Andrew White, Jan Williams, Phil & Heather Wilson, Dr Roger Woock & Fiona Clyne, Anonymous (1) ERATO—Muse of Love—$250+ Simon Abrahams, Stephen & Diane Alley, David & Rhonda Black, John & Alexandra Busselmaier, Douglas Butler, Ros Casey, Tim & Rachel Cecil, Ros & Bill Chandler, Diane Clark, Chris Clough, Robin & Neil Collier, Patricia Coutts, Tania de Jong AM, Joanne Griffiths, Peggy Hayton, Scott Herron, Roberta Holmes, Chree Kearney, Patricia Keith, Ruth Krawat, Liquorice Studio, Kim Lowndes, William Lye, John Millard, Dr Kersti Nogeste, Linda Notley, Orla & Rachel, James Ostroburski, Wendy Poulton, Gerard Powell, Rosemary & Roger Redston, Anita Roberts, Michael & Jenny Rozen, Ernie Schwartz, Jill Sewell, Lisl Singer, Janice Taylor, Rosemary Walls, Jan Watson, Joanne Whyte, Henry Winters, Barbara Yuncken, Anonymous (7) CATALYST SYNDICATE Warwick & Lida Bray, John Carruthers & Rosie Purcell, Charles Gillies & Penelope Allen, Nick Glenning & Jenny Proimos, Sarah Morgan, Corrie Perkin & Peter Loder, Maria Prendergast OAM, Robert Sessions & Christina Fitzgerald, Simon Westcott & Dr Ben Keith

You too can make a difference on our stages and behind the scenes. Please call 03 9685 5162 or visit our website and contribute to the development of new work.

Our Partners Government Partners

Venue Partner

Education Partner

Media Partner

Accommodation Partner

Regional Education Program

Company in Residence

Trusts and Foundations

The Danielle & Daniel Besen Foundation

Australian Communities Foundation Creative Partnerships Australia The Dara Foundation The Ian Potter Foundation Kerry Gardner & The Andyinc Foundation The Pierce Armstrong Foundation The R E Ross Trust The Robert Salzer Foundation Vera Moore Foundation

Corporate Partners

Corporate Associates

Company Supporters

Program Partners The Suitcase Series

Artist Program

New Australian Commissions

Indigenous Theatre Program

Tom Kantor Fund

Directors Exchange Project

Regional Performance Project

International Program

Female Director in Residence

Maureen & Tony Wheeler

Craigmel Investment Pty Ltd

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

Finance Manager Mario Agostinoni

Theatre Technician Nathanael Bristow

Finance Administrator Liz White

Head of Wardrobe Delia Spicer

Marketing & Communications Manager Lisa Scicluna

Wardrobe Assistant Rebecca Dunn

Digital Strategy & Marketing Coordinator Alice Gage

Steel Fabricator Goffredo Mameli

Graphic Designer Jane Roberts Development Manager Rachel Petchesky Development Coordinator Kim Brockett Building Manager Peter Mandersloot Ticketing Manager Emma Quinn Assistant Ticketing Manager Lauren White Production Manager David Miller Technical Manager Baird McKenna Operations Manager Dexter Varley

Workshop Supervisor David Craig

Workshop Staff Mitch O’Sullivan, Elizabeth Whitton Scene Artist Patrick Jones Front of House Managers Sean Ladhams, Anita Posterino Bar Manager Cherry Rivers Box Office Staff Abbey Barnes, Paul Buckley, Kate Gregory, Suzie Hardgrave, Michelle Hines, Ian Michael, Jade Thomson, Liz White, Fiona Wiseman, Benjamin Woolley

Head of Lighting Stephen Hawker

What did you think of the show?

Tell us on Facebook: facebook.com/MalthouseTheatre Tweet us on Twitter: @MalthouseMelb Snap us on Instagram: @MalthouseTheatre malthousetheatre.com.au

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.

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.

vu.edu.au CRICOS Provider No. 00124K