BRIWYANT 4 – 14 JULY
Photo: Bonnie Faulkner
Malthouse Theatre presents
BRIWYANT Directed by Vicki Van Hout Choreographed by Vicki Van Hout in collaboration with the performers Produced by Performance Space Interactive Media Imogen Cranna Videography Marian Abboud Lighting Design Neil Simpson Composition Elias Constantopedos Dramaturgy Kay Armstrong Performed by Henrietta Baird Raghav Handa Sean Marcs Rosealee Pearson Beau Dean Smith Melinda Tyquin Vicki Van Hout Company Manager Rosalind Richards Assistant Company Manager Alison Murphy-Oates Production Manager Richard Whitehouse MERLYN THEATRE 4 – 14 JULY Briwyant was developed with the support of the Australia Council, the Australian Government’s arts funding and advisory body, Arts NSW, Redfern Community Centre and Critical Path. Malthouse Theatre’s Indigenous Theatre Program is made possible with the generous support of The Tom Kantor Fund
DIRECTOR’S NOTE Briwyant is about the images that perpetuate Indigenous culture. Like messages that are hidden within a painting, some images can be clearly detected while others remain hidden, according to social standing within a community and depending on your experience and your imagination. Hidden meanings speak to us from the dark spaces around bodies in action, while hands chronicle the journey of the mind’s eye, which always hovers above. Men’s business, women’s business, paint-up, song-lines, song cycles, mapping country, busy hands and busy bodies all work together to make ancient magic happen on a set that serves as a moving canvas.. Briwyant is a testament to the thriving contemporary Indigenous identity, where timeless practices manifest themselves in unexpected expressions of urban culture. It seeks to find dreaming at a rave. It questions whether a local knowledge of country exists in knowing where to buy the best cuts of meat, or tracing the nearest (pub) watering-hole’s architecture from memory. These are the potential song cycles of everyday life, the dreaming that occurs in dancing or a young Koori cross-dresser putting on her face. As a student of NAISDA (the National Aboriginal and Torres Strait Islander Skills Development Association College of Dance) more than 25 years ago, I have been privileged to learn dances, to witness and take part in ceremonies amongst many Indigenous communities. It was at a lecture at Sydney University facilitated by Dr Aaron Corn and Dr Joe Gumbulla titled ‘The Yulngu Way’ that I first realised the direct relationship between indigenous dance, story and painting. Dr Gumballa demonstrated the bend in the knees and elbows in dance movement as it correlated
to the diamond shape in a painting from his homelands (Datiwuy/Elcho Island). The angle of the diamond was even termed “likan” - meaning “elbow”. He went on to show how the body gesture paralleled the iconography of the artwork and its informing story - the dreaming. He spoke of busy paintings being more sacred (“madyin”) and then I heard for the first time the term “bir’yun” - “to make shiny”, which referred to the brilliance effect in painting that’s made by cross-hatched parallel lines. Cards As the repetition of a dot Laid down as a river As a deck to share the wealth Made from Dots on a canvas Signifying ancient power When sung To transport us to the dreaming The everywhen I then researched evidence of this brilliance effect in dot paintings, and was inspired to create an interdisciplinary dance/theatre work that could celebrate the interconnectedness of Indigenous performance with cultural art and craft expression. This included building an installation of playing cards where each card was representative of a dot; each of these modern-day dots made up a river, symbolising country. Cards were chosen to symbolise the proliferation of wealth within a community, the building of mini-casinos, and the prevalence of gambling. Making art becomes financial liquidity, a valid commodity in contemporary times. The decision to incorporate interactive digital media was made to further illustrate the intangible yet overwhelming
connection between cultural activities of doing and making with the dreamtime. The dance evokes ancestors to bear witness. Briwyant - as with all my projects - is the product of a very collaborative effort. The creative team sits and yarns about topics related to the work; plays games and, most importantly, accumulates a shared knowledge that ultimately illustrates the original concept. People who have contributed to this work in a devising capacity but are not represented in the current production are: Ghenoa Gela, Rirrwuy Hick, Nyarn Mumbulla, Eric Avery and Elias Constantopedos. Kelly Jaffa was instrumental in the realisation of the card river as was later Dario Vacaria and Kaye Van Hout (who spent hours every day gluing thousands of cards – before passing the baton to Alison Murphy-Oates for this tour). Sally Fitzpatrick introduced me to Rex Granites and his two partners, Ida and Lorraine painters from Yuendemo who became mentors, sharing their work and allowing me to watch several paintings being made. Barbara Kernick contributed extensive knowledge and film footage of women’s dancing and painting from the Balgo community. Thanks to Dr Aaron Corn and Dr Joe Gumbulla for originally letting me audit their lectures for information about ancient trade practices and modern-day reciprocal sharing. Thank you to Peter Bryan who spent weeks travelling dirt roads capturing my Grandmother’s country. Narelle Lewis and Annie Winter were responsible for set realisation; from stealing hip-hop tags to make the humpy, to cataloguing each mat... and every card. Vicki Van Hout
Photo: Bonnie Faulkner
MARIAN ABBOUD VIDEOGRAPHY Marian is a Sydney based freelance digital media artist who works across a broad range of media, including digital photography (both screen-based and site specific installation) in both performance and public art. Working primarily with audio and visual discourse, Marian’s art practice has been characterized as sensory and emotive. She graduated from University of Western Sydney with a Bachelor of Visual Communications in Photography and Digital Imaging. Marian worked with Vicki Van Hout on previous creative development stages of Briwyant, and has most recently created digital media for Picture Perfect (Fiona Malone).
KAY ARMSTRONG DRAMATURG A graduate of the West Australian Academy of Performing Arts, Kay has worked professionally in theatre, film, television and street theatre for the last 25 years. Kay has had a long career as a NSW-based independent dance artist, working predominantly as a solo artist, her work touring both nationally and overseas. In 2004, she was awarded the prestigious Robert Helpmann Scholarship. In 2009, Kay founded and launched youMove Company. It is now a program and project-funded NFP company. In 2010, Kay was Artist in Residence at The Parramatta Artists Studios, as well as recipient of a 2010 Fraser St Studio residency. Her work has been seen in the 2011 and 2012 Sydney Festivals. She has just completed a research residency at Critical Path, as well as stage one of a new site specific work, In Absentia. She works independently in Sydney as both a dramaturg (most recently for Chaos Fairy for the Sydney Children’s Festival) and choreographer (Towards the Light for Sydney’s
homeless people’s choir The Sydney Street Choir and Alchemy for the disability organization Sunnyfields). Kay also sits on the board of both Ausdance NSW and youMove Company. She champions the independent dance sector by providing meaningful and significant platforms for professional dance artists to collaborate, present and perform.
HENRIETTA BAIRD PERFORMER Henrietta Baird is from North Queensland and is a diploma graduate of NAISDA Dance College. With Vicki Van Hout, Henrietta was involved in all three creative developments of Wirad’journi at Parramatta’s Riverside Theatre, performed in the short work Accidents and Alchemies at Performance Space, and was a collaborator in the first development of Vicki’s My Right Foot Your Right Foot. As a dancer, she performed the Indigenous opening of the Helpmann Awards at the Capitol Theatre, Kaleidoscope for Australian Theatre for Young People, the 10th and 11th Deadly Awards, The Stirring with Tess de Quincey for Performance Space at Carriageworks and with Marilyn Miller on her new work Pop Whistle Crack. She choreographed and performed for the Indigenous Survival Day concerts and choreographed PACT Youth Theatre’s Gathering Ground event in 2008. Henrietta has also danced with Torres Strait Islander performance group Kara Titui (‘my star’) catering to the corporate and commercial sector. Henrietta is a teacher’s aide and cultural education officer at the Royal Botanic Gardens in Sydney and is completing a film and media course at Eora Centre for Aboriginal Studies in Redfern.
ELIAS CONSTANTOPEDOS COMPOSER Born in Australia, Elias Constantopedos studied piano and composition at the Sydney Conservatorium of Music. He recently received his Masters in Compositions (Film Scoring) from New York University, where he attended the ASCAP/NYU workshop. In the summer of 2010, he received a scholarship for the Boulanger summer program in Paris. His early work in Australia included commissions from the Melbourne Symphony, Chronology Arts and choreographer Vicki Van Hout. Since arriving in New York, his works have been presented at National Gallery of Art, SVA Theare, Tribeca Cinemas, Le Poisson Rouge, the Flea, the Drom, the Brooklyn Festival, the Royal Danish Ballet, TISCH Dance, TISCH Journalism and the JACK Quartet. Recently he scored the fashion week documentary The Tents, and is working on a commission from the Melbourne Symphony for 2012. He currently works with Wayne Sharpe as composer/producer for Indian Circus (2011 Busan Film Festival Audience Award), and Prakash Jhaâ€™s Raajneeti and Aarakshan.
IMOGEN CRANNA INTERACTIVE MEDIA Imogen is an emerging artist who graduated from the New Zealand School of Dance in 2007. In 2009, Imogen joined Sydneyâ€™s premier mentorship company, youMove Company, and has had the opportunity to work with established Australian choreographers and perform in events such as The Sydney Festival. She is currently a core member of the dance company and features in projects, such as InAbsentia and TENOFUS. Imogen has held a residency with the Eramboo Artist Environment since 2009, creating interactive art
with the media program, Isadora. In 2010, her multimedia work Tyche appeared in the Sydney Fringe Festival as part of a triple bill called Three Steps Towards and most recently was performed at Eramboo during the resident artist’s 2012 exhibition, Between You & Me. As a hybrid artist, Imogen participated in the Seam 2010 workshops at Critical Path and has been invited to collaborate on multimedia projects in development, including The Living Room Theatre’s I Love Todd Sampson directed by Michelle St Anne. In 2011, she collaborated as the new media artist on Vicki Van Hout’s critically acclaimed production Briwyant as part of the Performance Space season, Uneasy Futures, and toured with the show to The Dreaming Festival in Woodford.
RAGHAV HANDA PERFORMER Raghav was a member of Fresh Dancers and worked on Marilyn Miller’s Quinkan in 2003, performing in Sydney and at the Adelaide Fringe Festival 2004. Raghav performed in Raymond Blanco’s Intentcity at the Sydney Opera House in 2004. He was involved in all three creative developments of Vicki Van Hout’s Wirad’journi at the Riverside Theatre, Paramatta and in her short work Accident and Alchemies at Performance Space. In 2006 and 2007, he collaborated on and performed in Van Hout’s My Right Foot Your Right Foot in Canberra and the 2009 Dreaming Festival in Queensland. In 2006, Raghav performed at the Australian Dance Awards at the Sydney Opera House. In 2007, he performed for Oxfam International with Van Hout and the ATYP Company. In 2008, Raghav performed with Wyclef Jean at the opening of the Australian MTV Awards. He also performed a duet with Van Hout at the World Dance Alliance in Brisbane. In 2009, he also received a professional development scholarship to visit dance companies in the UK and Ireland from the Ian Potter Cultural Trust. In 2010,
he worked with Van Hout on a duet Dance Like Me at the Dunedin Fringe Festival, New Zealand. Raghav has recently worked on a solo choreographed by Martin del Amo for Slow Dances For Fast Times, and performed in Pop Whistle Crack by Marilyn Miller in Cairns. Raghav has worked on all the development and production stages of Briwyant.
SEAN MARCS PERFORMER Sean Marcs is a NSW-based independent dancer, emerging choreographer and graduate from Wesley Institute’s Bachelor Degree of Dance. Sean has danced for DirtyFeet, as well as being a member of youMove Company (2009-2010), and worked with choreographers including Martin Del Amo (DirtyFeet’s Tipping Point and Short+Sweet Dance 2010), Emma Saunders, Jodie McNeilly, Vicki Van Hout, Kevin Privett, Anton and Kay Armstrong (youMove Company). Last year, Sean toured Australia with Shorter+Sweeter Dance, a presentation of the best of the best from the Festival’s past three Sydney seasons and relished working with choreographers Tim Farrar, SarahVyne Vassalo, Martin del Amo, Veronica Beattie and Travers Ross. Sean was then honoured to return as a guest artist for youMove Company in their Virtual Residency Program to work with German-based choreographer David Williams on the duet Last Place to Go. Footage of this work was screened at Germany’s Internationales Tanzfestival 2011. Most recently, Sean has continued working for Kay Armstrong in her latest residency through the support of Critical Path, with showings of these developments showcased at their 2012 launch. Currently a member of Vertical Shadows Dance Company in Melbourne, Sean has performed under Artistic Director Stephen Agisilaou in On the Rocks, which has been recommisioned as part of Melbourne’s 2012 Fringe Festival
ALISON MURPHY-OATES ASSISTANT COMPANY MANAGER Ali is a Darkinjung/Wiradjuri woman from the Central Coast of NSW and a graduate of the BA (Design for Theatre and Television) from Charles Sturt University. In 2009, Ali was an Indigenous Trainee at the Sydney Opera House, working as a production assistant on the Message Sticks Indigenous Film Festival and the Luminous (Vivid) Festival, and managed Performance Spaceâ€™s IndigeLab residency at the Bundanon Trust. Ali has joined Performance Space again after a year and a half with Arts NSW as Administrative Officer in Capacity and Development, Aboriginal Cultural Development. She is now the Indigenous Projects Officer for Performance Space, working on the Indigespace residency program, which is aimed at creative development opportunities for work from Indigenous artists, and audience development for Indigenous or culturally diverse audiences and projects. This position is funded under the Australia Councilâ€™s Emerging Indigenous Producer Mentorship program. Ali is also studying a Masters (Arts Management) through the University of Technology, Sydney.
ROSEALEE PEARSON PERFORMER Rosealee is a Yolngu woman from Yirrkala in North East Arnhem Land. Since graduating From NAISDA Dance College in 2005, Rosealee has worked as a dancer, performer, arts worker, choreographer, teacher of traditional dance and language. She has worked with companies such as Chooky Dancers, Performing Lines, Performance Space, Moogahlin Theatre, ATYP, Bell Shakespere Company, Leigh Warren and Dancers, Dreaming Festival, Garma Festival and many more. Her dance career includes: work
Photo: Bonnie Faulkner
with choreographers such as Gina Rings (Petraglyphs), Vicki Van Hout (Wiradjourni, Welcome to Country and My Right Foot Your Right Foot), and Jason Pitt (Made In Australia); Saltbush - Children’s Cheering Carpet with Insite Arts and Compagnia TPO; and the recent major Sydney Festival production I Am Eora, directed by Wesley Enoch. She was company manager on the production Ngurrumilmarrmiriyu (Wrong Skin) featuring the Chooky Dancers and directed by Nigel Jamieson (Darwin Festival, Adelaide Festival, Malthouse Theatre and Sydney Opera House).
ROSALIND RICHARDS COMPANY MANAGER Rosalind is originally from the UK where she trained as a ballet dancer. She has over 25 years’ experience in arts management and producing, particularly dance. Rosalind has been the General Manager of small companies such as Dance Works, the One Extra Company and Theatre of the Deaf. Between 1994 and 2005, she worked at the Australia Council for the Arts including eight years as Manager of the Dance Board and, from 2007 to 2010, she was Dance Producer (then Associate Director) at Performance Space, Sydney. Rosalind established Artful Management in 2006 and has produced independent projects in Sydney, interstate and overseas including: Nigel Kellaway’s This Most Wicked Body, Tess de Quincey’s is2, Tanja Liedtke’s construct; Sue Healey’s As You Take Time and The Curiosities; The Fondue Set’s No Success Like Failure; Narelle Benjamin’s In Glass; Narelle Benjamin/Frances Rings’ Forseen; and Lisa Griffiths/Craig Bary’s Side to One. Works currently in development include Jane McKernan’s Opening and Closing Ceremony, Lisa Griffiths’ CHANCE and Narelle Benjamin’s Hidden in Sight. Rosalind is a board member of Critical Path, Sydney’s centre for choreographic research.
NEIL SIMPSON LIGHTING DESIGNER Neil has worked in performing arts for over thirty years, establishing long working relationships with many organisations across many artforms. Most recently he has designed Buried City for UTP (Urban Theatre Projects) and Rosyln Oades’ I’m Your Man for the Sydney Festival, both presented at Belvoir. Other UTP projects include Stories of Love and Hate, Ama and Chan, Back Home, Last Highway, Football Diaries, The Fence, and Karaoke Dreams. Other productions include: Ngapartji Ngapartji, Beasty Girl, Drive-In Holiday (BigHart); Night Garden (My Darling Patricia); No Success Like Failure (The Fondue Set); Yumi Umiumare’s EnTrance (Kultour, 2012 Sydney season). He continues to work with music ensembles such as The Song Company, Synergy, Taikoz and Ensemble Offspring. As a producer, Neil has worked with the Sydney Opera House on the Luminous (Vivid) Festival with Brian Eno and most recently the 2012 Message Sticks Festival and Jimmy Little Memorial Concert. Neil is part of a small team that puts together the annual Parramasala International Festival of South Asian Arts in Parramatta, where he produces, directs and designs the outdoor program.
BEAU DEAN SMITH PERFORMER Beau Dean Smith is an Aboriginal man from the Waradjuri Nation, from Dubbo in central NSW. After graduating in 2009 from the Western Australian Academy of Performing Arts, Beau enrolled to study at NAISDA Dance College. In 2010, Beau performed Bangarra’s Hope in the NAISDA End of Year Show, choreographed Giving Up the Ghost (mentored by Dean Walsh) and choreographed for the 2010 Deadly Awards. In the 2011 NAISDA End of Year Show, he performed in Gail Mabo’s remount of Koiki, Vicki Van Hout’s Imprint and
co-choreographed a contemporary piece, Currents. In 2011, he also performed in Tammi Gissell’s Velokoskey’s Affair at NIDA, Van Hout’s Briwyant at Woodford Folk/ Dreaming Festival, and Van Hout’s Imprint at Garma, NT. Earlier this year, Beau danced for youMove Company at Sydney Festival and, while on secondment, performed in Feather and Tar – A Cabaret of Sorrows by Tammi Gissell for Blakdance Australia. Now in his final year of study, Beau has studied the Lester Horton Technique under Graeme Watson for two years and has explored Aboriginal and Torres Strait Islander culture and dance both at college and in community at Saibai Island, in the Torres Strait and on Elcho Island, North East Arnhem Land.
MELINDA TYQUIN PERFORMER Melinda Tyquin graduated from UNSW in 2006, with a BA (Dance/English)/B.Ed. Since then, she has worked closely with Artistic Director Kay Armstrong in the companies Pulse8 and youMove Company. Throughout her independent dance career, Melinda has worked with established artists: Narelle Benjamin, Anton, Emma Saunders, Kay Armstrong, Martin Del Amo, and emerging choreographers: Ian Colless, Kevin Privett, Venettia Miller, Cecilie Farrar, Ana Welsh and Sarah-Vyne Vassallo. Melinda’s performance credits include appointments as rehearsal director and performer in Sydney Festival’s 2011 Festival Inside Out and the 2012 Parramatta Opening Party. She joined the cast of Briwyant in 2011 for Performance Space’s Uneasy Futures season and the Woodford Festival. Melinda is partnered with Vicki Van Hout for youMove’s Tenofus project to collaborate on the work Table For One. She will perform the solo work at the 2nd Internationales Tanzfestival Ingolstadt in Germany later in the year. In addition to Melinda’s professional dance career, she is an avid believer in the virtue of dance education. She currently teaches Dance and English in high schools throughout NSW,
and in 2012 was appointed Education Officer for youMove Dance Company. Melinda is the 2012 recipient of Critical Path’s Adelaide Festival of Arts and APAM Emerging Choreographer Residency.
VICKI VAN HOUT DIRECTOR & PERFORMER Vicki Van Hout is a graduate of NAISDA and the Martha Graham School of Contemporary Dance, NYC. She returned to Australia to perform with Bangarra Dance Theatre, for the New Horizons Asian Tour of Ochres and The Edge Of The Sacred, a collaboration with the Sydney Symphony and Aboriginal/ Islander Dance Theatre. Vicki danced Marilyn Miller’s grandmother in Dear Carrie with One Extra before joining Fresh Dancers with Marilyn and completing a three-month residency in Innsbruck, Austria. She danced Miller’s Quinkin in both Sydney and Adelaide seasons. Wirad’journi was Vicki’s first full-length work, inspired by Aboriginal kinship laws. Her second work My Right Foot Your Right Foot grew out of the popular request to perform ‘Welcome to Country’ ceremonial dances, with further seasons at PACT Youth Theatre and The Dreaming Festival. Vicki has choreographed for ATYP, Pulse8, NAISDA, WAAPA, the Helpmann Awards, Quantum Leap, was chosen for a choreolab residency in Singapore and mentored at PACT. Past performances include The Settlement and NOMADS by Hans Van Den Broeck at Carriageworks and The Riot Act by Karen Therese. Vicki worked as an actor for Urban Theatre Projects’ The Fence as part of Sydney Festival 2010. In 2011, Vicki had a residency with Marion Abboud at Blacktown Art Centre for a new hybrid work inspired by miscommunication and a residency with WSDA, Parramatta Riverside Theatre and the Western Sydney community on film project titled Behind the Zig Zag. Most recently, Vicki worked with Tess De Quincey on the outdoor site specific work No Cold Feet, and Martin Del Amo’s Slow Dances for Fast Times.
RICHARD WHITEHOUSE PRODUCTION MANAGER Richard works in the fields of dance, theatre and the visual arts both as a freelance creative and in management. Richard worked with Ride On Theatre to production manage Way to Heaven in association with Performing Lines and Maps NSW. He also stage managed Bone for the company in 2006 in its inaugural season. Collaborations with Sydney Dance Company, Version 1.0, Bangarra Dance Theatre, Company B, Sydney Theatre Company, Performance Space, Sydney Festival, Bell Shakespeare and Griffin Theatre showcase the varied range of performance that Richard is interested in. He was the Head Electrician on the critically acclaimed Smoke and Mirrors starring iOTA and Todd McKenny on its original Sydney Festival and Adelaide Cabaret Seasons. Richard has toured extensively and worked on Sydney Festival, Ten Days on the Island and Adelaide Festival. Richard continues to work as Performance Spaceâ€™s Season Production Manager working with the management team to deliver a diverse program of performance and visual arts for their winter season. He also helped to deliver the most recent Liveworks Festival program for the company in 2010.
PERFORMANCE SPACE is Australiaâ€™s leading agency for interdisciplinary arts, producing and presenting new artistic experiences across a multiplicity of sites, locations and venues. Performance Space is where exciting futures for Australian contemporary arts and artists are forged. Its mission is for artistic excellence and innovation to inspire, captivate and create audiences. www.performancespace.com.au
Photo: Bonnie Faulkner
MUSE DONOR PROGRAM URANIA (MUSE OF THE STARS) Annamila Pty Ltd, The Dara Foundation CLIO (MUSE OF HISTORY) Berry Liberman & Daniel Almagor, John & Lorraine Bates, Michele Levine, Anonymous (1) THALIA (MUSE OF COMEDY) Frankie Airey & Stephen Solly, Betty Amsden OAM, Daniel & Danielle Besen, Eva Besen AO & Marc Besen AO, Debbie Dadon, Roger Donazzan & Margaret Jackson AC, Neilma Gantner, Peter & Anne Laver, Richard Leonard, Peter McLennan, Elisabeth & John Schiller, Trawalla Foundation, Anonymous (2) MELPOMENE (MUSE OF TRAGEDY) Chryssa Anagnostou & Jim Tsaltas, Terry Cutler, D.L & G.S Gjergja, Ian Hocking & Rosemary Forbes, Simon Westcott & Dr. Ben Keith, Tom Wright, Anonymous (1) EUTERPE (MUSE OF MUSIC) Ingrid Ashford, Beth Brown & Tom Bruce AM, Ingrid & Per Carlsen, Dominic Dirupo & Natalie Dwyer, Rev. Fr Michael Elligate, Carolyn Floyd, William J Forrest AM, John & Helen Gibbins, Brian Goddard, Colin Golvan SC, Scott Herron, Valerie Johnstone, Michael Kingston, Naomi Milgrom AO, Dame Elisabeth Murdoch AC DBE, Rae Rothfield, Tim & Lynne Sherwood, Neil & Barbara Smart, Leonard Vary & Matt Collins, Jason Waple, Phil & Heather Wilson, Angelika & Pete Zangmeister, Anonymous (1) TERPSICHORE (MUSE OF DANCE) Roger Blythman, Sally Browne, Diana Burleigh, David Byrne, Min Li Chong, Sieglind D’Arcy, Taleen Gaidzkar, Brad Hooper, Graeme & Joan Johnson, Ann Kemeny & Graham Johnson, K & J Lindsay, Pamela McLure, Sir Gustav Nossal AC CBE & Lady Nossal, Robert Peters, Karen Russell, Ernie Schwartz, Jenny Schwarz, Gina Stuart, Fiona Sweet & Paul Newcombe, Joanne & Dr. Niv Tadmore, Anonymous (3) ERATO (MUSE OF LOVE) Stephen Alley, Graham & Anita Anderson, Amanda Bede, Sandra Beanham, John Carruthers, Ros Casey, Tim & Rachel Cecil, Diane Clark, Patricia Coutts, Mary Crean AM, Tania de Jong AM, Doreen Dempster, Paul Gardner, Charles Gillies & Penny Allen, Peggy Hayton, Shirley Hickey, Roberta Holmes, Susan Humphries, Irene Irvine, Vas Katos, Irene Kearsey, Patricia Keith, Ruth Krawat, Gael & Ian McRae, Brad Martin, Robyn & John Morris, Dr. Kersti Nogeste, Linda Notley, David O’Connell & Jarrod Haberfield, Tony Oliver, Irene Purcell, John & Margot Rogers, Maria Sola, Thea & Hadyn Snow, John Thomas, Ann Tonks, Rosemary Walls, Jan Watson, Joanne Whyte, Henry Winters, Dr. Roger Woock & Fiona Clyne, Angharad Wynne-Jones, Barbara Yuncken, Anonymous (11) To find out more about the Malthouse Theatre Muse program, please contact Jaclyn Birtchnell on 03 9685 5174 / firstname.lastname@example.org. Donations of $2 or more are tax deductible.
at The Malthouse - 113 Sturt Street Southbank VIC 3006 Box Office +61 3 9685 5111 Administration +61 3 9685 5100 Facsimile +61 3 9685 5112 Email email@example.com Web www.malthousetheatre.com.au Twitter @MalthouseMelb Facebook www.facebook.com/MalthouseTheatre BOARD OF DIRECTORS Simon Westcott (Chair), Frankie Airey, John Daley, Michele Levine, Ian McRae, Thea Snow, Sigrid Thornton, Kerri Turner, Leonard Vary. Artistic Director Executive Producer
Marion Potts Jo Porter
Associate Artist (Design) Paul Jackson Associate Artist (Direction) Matthew Lutton Associate Artist (Writing) Van Badham Director in Residence Adena Jacobs Company Managers Nina Bonacci Lucy Birkinshaw Sioban Tuke Associate Producer Josh Wright Administrator Narda Shanley Finance Manager Mario Agostinoni Finance Administrator Liz White Finance Assistant Connie Stella Marketing and Communications Manager Lisa Scicluna Digital Strategy & Marketing Coordinator Carl Nilsson-Polias Development Manager Jaclyn Birtchnell Media Manager Maria Oâ€™Dwyer Ticketing Manager Emma Howard Ticketing Assistant Lauren White Youth and Education Program Clare Watson Executive Assistant Emily Fiori Audience Development Consultant Jason Tamiru Building Manager Peter Mandersloot Bar Manager Cherry Rivers
Front of House Managers Tristan Watson & Sean Ladhams Production Manager David Miller Technical Manager Baird McKenna Operations Manager Dexter Varley Production Coordinator Lucy Birkinshaw Head Electrician Stewart Birkinshaw Campbell Head Mechanist Andy Moore Head of Wardrobe Amanda Carr Wardrobe Assistant Chloe Greaves Workshop Supervisor David Craig Steel Fabricator Goffredo Mameli Scenic Artist Patrick Jones Props Master Ross Murray (lifetime recognition) FRONT OF HOUSE/BAR STAFF Matt Adair, Michelle Baginski, Claire Beynon, Jacqui Brown, Ben Carollo, Tom Dent, Carla Distefano, Alice Dixon, Graham Downey, Tanja George, Eden Gery, Kate Gregory, Simon Jeanes, Bridie McCarthy, Ian Michael, Anna Nalpantidis, Daniel Newell, Ruby Nolan, Kliment Poposki, Beck Rafferty, Claire Richardson, Kathryn Joy, Phoebe Taylor, Jade Thomson, Lee Threadgold BOX OFFICE STAFF Jack Angwin, Liz Bastian, Paul Buckley, Mark Byrne, Rachael Dyson-McGregor, Jo Gibson, Dan Giovannoni, Kate Gregory, Michelle Hines, Ian Michael, Fiona Wiseman, Liz White Malthouse Theatre would like to acknowledge the people of the Kulin nation on whose land this work is being presented.
Vale Marc Psaila, our Company Manager, much loved and greatly missed.
gratefully acknowledges its supporters GOVERNMENT PARTNERS Malthouse Theatre is supported by the Australian Government through the Australia Council, its arts funding and advisory body
TRUSTS AND FOUNDATIONS Slome-Topol Family Charitable Trust Australian Communities Foundation Spanish Cultural Co-operation Program PROGRAM PARTNERS
EDUCATION & YOUTH ACCESS PROGRAM
REGIONAL EDUCATION PROGRAM
WOMEN DIRECTOR’S INTERNSHIP PROGRAM
Danielle & Daniel Besen COMPANY IN RESIDENCE
NEW AUSTRALIAN COMMISSION & PRODUCTION
MALTHOUSE REGIONAL PERFORMANCE PROJECTS
Annamila Pty Ltd ARTISTS IN RESIDENCE
Jeanne Pratt AC Rae Rothfield Sue Nattrass AO THE KENN BRODZIAK ASSOCIATE PRODUCER
Tom Kantor Fund INDIGENOUS THEATRE PROGRAM
BLOOD Malthouse Theatre presents
WEDDING By Federico GarcĂa Lorca Adapted by Raimondo Cortese Directed by Marion Potts Composition by Tim Rogers
WhErE thErE Is LOvE, thErE Is paIN
21 July - 19 August BOOKINgs malthousetheatre.com.au or 9685 5111
Blood Wedding is proudly supported by