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17 FEB – 12 MAR MERLYN THEATRE FAGGOT (noun) 1 / A ball or roll of seasoned chopped liver, baked or fried 2 / A bundle of sticks bound together as fuel 3 / Pejorative term for a male homosexual

BY / Declan Greene DIRECTION / Lee Lewis ASSISTANT TO THE DIRECTOR / Charles O’Grady CAST / Mama Alto Simon Burke Simon Corfield Genevieve Lemon Lincoln Younes SET & COSTUME DESIGN / Marg Horwell LIGHTING DESIGN / Trent Suidgeest SOUND DESIGN & COMPOSITION / Steve Toulmin STAGE MANAGER / Rhianne Perrie

The Homosexuals, or ‘Faggots’ was commissioned by friends of Bruce Meagher and Greg Waters to mark a significant anniversary through Playwriting Australia’s co-commissioning program. The play was developed with generous support from Bundanon Trust’s Artist In Residence program.

A co-production with Griffin Theatre Company.



DECLAN GREENE: ON MODERN FARCE The Farce is popular enough, when it comes to revivals. In the last few years in Australia we’ve seen plays like Noises Off, A Flea In Her Ear, and One Man, Two Guvners hit stages to mass delight. But as far as new playwriting goes, over the last few decades the Farce has gone the way of the Passion Play, the Verse Drama, and Commedia dell’Arte... All thoroughly—and in some cases, mercifully—extinct. A couple of years ago I was speaking with another writer about why farces are so rarely written these days. We both agreed that the stakes necessary to manufacture this mechanical type of playwriting were, in general, absent from our contemporary lives. The plays of Feydeau—unquestionably the greatest farceur—were written during the Belle Époque era; a time of tremendous moral upheaval in France. Most of his farces feature highly-repressed married couples who, for one reason or another, are driven wild with the desire to cheat on their spouse—even though to be discovered en flagrante would mean social death.

If you spend any amount of time commenting on social media, this fear is particularly well-founded. The graduation of identity politics from academia into public discourse has been swift. New sets of parameters have been created around language and culture, which shift in specificity to both the person speaking and the person listening, along the axes of gender, race, sexuality, ability (and sometimes, where convenient, class). For people who have been historically marginalised—such as women, LGBTIQA+ individuals, or People of Colour—these rules offer a new frontier of self-determination. An opportunity to exert control over one’s place in culture, after generations of being forced into clumsy semantic pigeonholes designated by the majority.

When I decided to try my hand at writing a contemporary farce, I hit my first obstacle in the creation of these stakes. In 2017 we’re a



less repressed bunch where sex is concerned. Having your affair outed might raise the ire of a few relatives and close friends, but most people won’t care, unless it’s with a horse or a sibling. In my own inner-city Left-wing bubble, we aren’t afraid of being outed as ‘sexual deviants’ anymore. But we are afraid of being labelled a ‘bigot’... Or any of its equally bone-rattling sub-labels: ‘misogynist’, ‘racist’, ‘homophobe’, ‘transphobe’, ‘ableist’...


the world’s most adored feminist comedian, before some idiotic jokes from a decade earlier relegated her to the category of racist—alongside alt-right lunatics like Richard Spencer and Milo Yiannopoulos, who protest this label just as loudly. Non-binary trans-femme performance poets DarkMatter reached almost unprecedented levels of fame and influence for their inflammatory, galvanising activism, before one poorly-worded Facebook post had them classed as rape apologists. Fred Nile—a man who has campaigned obsessively for decades to suppress the civil rights of LGBTIQA+ people—is hugely outraged whenever someone calls him homophobe. Meanwhile, anyone who knows the correct vocabulary can cloak harmful ideas —unintentional or otherwise—under surfaces that look perfectly PC. All of which seems to me, if nothing else, slightly farcical.

For people who don’t know these rules—or resent them—they can seem like a ruthless and oversensitive claim for territory that is publicly owned. Impinging on that fundamental human right: ‘Freedom of Speech’.


This is where I’ve wound up setting my farce: square in the cross-fire of a culture war where outrage is currency, feelings are facts, sensitivities are ignored, atonement is impossible, and simplistic buzzwords like ‘Cultural Marxism’, ‘Social Engineering’, and ‘Snowflake’ are used to stifle discourse in much the same manner as ‘Bigotry’, ‘Privilege’, and ‘Nazi’. As the Left and Right slowly distil their values into pure black and white, I’ve tried to write a play of muddy grey in-betweens. It’s a comic play about comedy. An offensive play about offence. A work which oscillates moment to moment between Politically Correct and Problematic (or its ‘fun’ alternative: Probbo!); attempting to defy the lazy categorisations we’ve taken to using in our knee-jerk summation of art, public discourse, and the existence of certain human beings. In 2017, perhaps the only thing that unites the members of the Left and Right is a fear of being interned in one of these sticky categories—because it’s impossible to escape, and often the company really fucking sucks. Amy Schumer enjoyed three seconds of being





LEE LEWIS: ON THE HOMOSEXUALS, OR ‘FAGGOTS’ Declan Greene’s Eight Gigabytes of Hardcore Pornography was the first play I programmed in my first season as Artistic Director of Griffin Theatre Company. It was spare and compassionate. Two people and a chair to create a portrait of contemporary loneliness.

Yes, there are big contemporary political issues wrapped around the play but the heart of the story is filled with love, age, friendship, the crises of choice and the horror of mistakes. If Eight Gigabytes laid bare our fears of being alone, The Homosexuals, or ‘Faggots’ dissects the aspirations of coupledom but with the scalpel of farce. Everyday at work is like entering the humiliation Olympics.

The Homosexuals, or ‘Faggots’ is nothing like that. This play is a cluttered, messy, cruel modern farce. And right now, in the midst of the anarchy of the rehearsal room I am hating both the form and the playwright: the form for embracing implausibility and props, and the playwright for leaving me with no choice but to put these issues on the stage. If Declan Greene had a less urgent voice, my life would be a lot simpler this week.

It is a privilege to direct the first production of a new Australian play. It is an honour to direct a second production by Declan Greene. It is a real joy to be working across the states bringing the audiences of Melbourne and Sydney together in a play that speaks to the identity future of this country.

For what this play does share with Eight Gigabytes is Declan’s extraordinary capacity to detail the humiliations and horrors of ordinary modern urban existence. His writing is challenging for actors and audience alike. It requires a deep honesty about frailty and pretension. It is painful to make… and not just because of all the slamming of doors. It is painful because it requires us all to dip



into the ‘well of worst moments’ in order to bring the best moments of the play to life.





Declan Greene is a theatremaker based in Melbourne. His previous works as a playwright include: I Am A Miracle (Malthouse Theatre), which won the Green Room Award for Best Writing for the Australian Stage; Pompeii, L.A (Malthouse Theatre & Arena Theatre Company); Eight Gigabytes of Hardcore Pornography (Griffin Theatre Company & PTC), which won the Max Afford Playwright’s Award; and Moth, which won the AWGIE Award for Theatre for Young Audiences. As a director and dramaturg his credits include: The Unspoken Word is “Joe” (Griffin Theatre Company & MKA) and Conviction (ZLMD Shakespeare) in collaboration with Zoey Dawson; and Hamlet: Prince of Skidmark (STC) in collaboration with The Listies, Alongside Ash Flanders, Declan co-runs queer independent theatre company Sisters Grimm. He has directed and co-created all their shows to date, including: Summertime in the Garden of Eden (Griffin & Theatre Works); La Traviata (Belvoir St Theatre); Calpurnia Descending (Malthouse Theatre & STC); Lilith: The Jungle Girl (MTC); Little Mercy (STC). Declan is resident artist at Malthouse Theatre.

Lee is the Artistic Director of Griffin Theatre Company and one of Australia’s leading directors. For Griffin she has directed: The Bleeding Tree, for which she was awarded Best Director at the 2016 Helpmann Awards, 8 Gigabytes of Hardcore Pornography, Masquerade (co-directed with Sam Strong), Gloria, Emerald City, A Rabbit for Kim Jong-il, The Serpent’s Table (co-directed by Darren Yap), Replay, Silent Disco, The Bull, The Moon and the Coronet of Stars, The Call, A Hoax and The Nightwatchman; for Griffin and Bell Shakespeare: The Literati; for Bell Shakespeare: The School for Wives and Twelfth Night; for Belvoir: That Face, This Heaven, Half and Half, A Number, 7 Blowjobs and Ladybird; for MTC: David Williamson’s Rupert, which toured to Washington DC as part of the World Stages International Arts Festival and to Sydney’s Theatre Royal in 2014; for STC: Honour, LoveLies-Bleeding and ZEBRA!; for Darwin Festival: Highway of Lost Hearts; for NIDA: Big Love, Shopping and Fucking, After Dinner and The Winter’s Tale; and for WAAPA: As You Like It.


Charles O’Grady ASSISTANT TO THE DIRECTOR Charles O’Grady is a transgender playwright and director. Charles’ credits as a writer-director include Kaleidoscope and Telescope for Montague Basement. His credits as a playwright include: for Old Fitz Theatre: Are We Awake?; for Smoking Gum Theatre: Before the Water Gets Cold; for AIPA: Being Charlie; for Australian Theatre For Young People: Intersection, co-written as part of their National Studio program; for Jetpack Theatre Collective: How. Dare., co-written for Sydney Fringe Festival. His credits for dramaturgy include: for leftofcentre: Transience; for Montague Basement: The Big Bruise. Charles is currently directing drama students at the Australian Institute of Performing Arts in a play about trans youth.


Declan Greene PLAYWRIGHT



Mama Alto BAE BAE / PAM

Simon Burke WARREN

Simon Corfield KIM

Mama Alto is a jazz singer and cabaret artiste. Her past festival credits include: Adelaide Cabaret Festival, Adelaide Fringe, American Songbook Festival, Castlemaine State Festival, Darwin Festival, Fringe World Perth, Havana International Theatre Festival, Marysville Jazz & Blues Weekend, Melbourne Cabaret Festival, Melbourne Fringe Festival, Midsumma, and Stonnington Jazz Festival. Mama has performed at venues such as: Arts Centre Melbourne, Bendigo Art Gallery (Bendigo), Bruno’s Art Gallery (Marysville), Brisbane Powerhouse (Brisbane), The Butterfly Club, Chapel off Chapel, The Copa Room at the Havana Riviera (Havana, Cuba), Entrecôte, Hares & Hyenas, La Boheme (Adelaide), The Melba Spiegeltent, Melbourne Recital Centre, MPavillion, National Gallery of Victoria, RMIT Design Hub and Sofitel Melbourne on Collins. She was the recipient of the 2014 Weekly Award for Best Cabaret at Adelaide Fringe, the 2016 Outstanding Access Award at Melbourne Fringe, and a 2015 Nominee for GLOBE LGBTI Artist of the Year. Mama is a company member of Finucane & Smith, with whom she received the Best International Production Award at the CHAMACO Awards, Cuba.

Simon has appeared in over 130 stage productions including October, Satango (Griffin Theatre Company); Snugglepot & Cuddlepie (Belvoir St Theatre); Clinton The Musical (Black Swan); High Society; La Cage Aux Folles; Hairspray the Arena Spectacular; Chicago; Take Me Out (MTC); Mr Kolpert, Mrs Warren’s Profession, She Stoops To Conquer, The Wharf Revue, Up For Grabs (STC); and the national tour of Three Furies (Performing Lines). In London’s West End he has starred in The Sound of Music, Phantom of the Opera, A Little Night Music opposite Dame Judi Dench and the European premieres of Holding the Man and When the Rain Stops Falling. Simon’s TV credits include: Deep Water, Hustle, Miss Fisher’s Murder Mysteries, Rake, South Pacific. For 25 years Simon was one of ABC TV’s best-loved Play School presenters. At age 13, Simon starred in Fred Schepisi’s feature film The Devil’s Playground (AACTA Award for Best Actor, the youngest-ever recipient of this honour). He reprised this role 40 years later in the mini-series Devil’s Playground. In 2015 Simon received the AO for his service to the performing arts.

Simon’s acting credits include: for Griffin Theatre Company: Motortown, Orestes 2.0, Tattoo; for Belvoir St Theatre: Bliss; for Darlinghurst Theatre: The Bee, Every Second, Torch Song Trilogy; for Melbourne Theatre Company: The Goat or Who is Sylvia?, The Lonely Wolf; for Tamarama Rock Surfers: Poster Girl, Trapture; and for Vass Theatre Group: Bad Jews. He performed in The One Eyed Man is King for Schaubuhne Berlin. Simon was in the national tour of Critical Stage’s multi-award winning musical cabaret, Songs For The Fallen. His TV and film credits include: Blue Heelers, COPS: L.A.C., Crownies, Darwin’s Brave New World, Packed To The Rafters. Simon is the co-creator of the web comedy series The Birth of Creation and a founding member of the award-winning performance group SandS through the hourglass. He is a graduate of the Western Australian Academy of Performing Arts (Acting).


Genevieve Lemon DIANA

Lincoln Younes LUCACZ

Marg Horwell DESIGNER

Genevieve’s theatre credits include: for Griffin: The Big Picture; for Belvoir St Theatre: The Blind Giant Is Dancing, Death Of A Salesman, Seventeen; for Ensemble Theatre: Broken Glass; for MTC: Piaf, Summer Of The Seventeenth Doll; for STC: The Girl Who Saw Everything, The Hanging, Hay Fever, Miracle City, Morning Sacrifice, Noises Off, Once In A Lifetime, The Recruit, The Seagull, Summer Rain, Victory, The Wharf Revue; for STC and Queensland Theatre: Summer Rain. She was in the London and Sydney seasons of Working Title’s Billy Elliot, for which she received Helpmann Award for Best Female Actor in a Musical, the Sydney Theatre Critics Award and the Green Room Award for Female Artist in a Leading Role. Television credits include: Heartland, Neighbours, Prisoner, Rake, Redfern Now, The Secret River, Top of the Lake. Her film credits include: The Dressmaker, Holy Smoke, The Piano, Soft Fruit, Suburban Mayhem, Sweetie, for which she was the recipient of the Australian Film Critics Award for Best Actress.

Lincoln first appeared on local television screens in the celebrated Foxtel series Tangle, and received the 2013 ASTRA award for Most Outstanding Performance by a Male Actor. This was followed by a three-year period on the popular long running Australian series Home & Away. The role garnered him national and international attention, winning him the 2014 Inside Soap award for Best Daytime Star in the UK. Lincoln’s other television credits include City Homicide for Channel Seven, and more recently the hugely popular Channel Nine series Love Child, and the ABC series Hiding. Lincoln’s film credits include a role in the 2010 feature film The Wedding Party opposite Josh Lawson and Isabel Lucas. In 2016, Lincoln starred as Hassim in the critically acclaimed Abe Forsythe feature Down Under, the Australian black comedy set during the aftermath of the 2005 Cronulla riots.

Marg is a multi award winning designer and is the Designer In Residence at Malthouse Theatre. Marg has won six Greenroom Awards and two Sydney Theatre Awards for her work and was nominated for a Helpmann Award for Marlin presented by MTC and Arena Theatre. Credits include: for Malthouse Theatre: Edward II, I Am A Miracle, The Good Person of Szechuan, The Histrionic, Tame. For Melbourne Theatre Company: Birdland, Peddling, Constellations, Cock, Music, The Dream Life Of Butterflies, The Water Carriers, Circle Mirror Transformation, I Call My Brothers. For Griffin: Eight Gigabytes of Hardcore Pornography. For Bell Shakespeare: The School For Wives. For Belvoir: Nora. For Sisters Grimm: Lilith The Jungle Girl, La Traviata, Summertime in the Garden of Eden. For Dee & Cornelius: Shit, Savages. For Angus Cerini Doubletap: Chapters From The Pandemic, Save For Crying, Wretch, Resplendence.













Trent’s recent credits include Hayfever (STC); John Bell’s Carmen and Sydney Opera House – The Opera [The Eighth Wonder] (Opera Australia); The Rabbits (Opera Australia and Barking Gecko Theatre Company for Perth Festival, Melbourne Festival, Sydney Festival and QPAC); The Beast (Ambassador Theatre Group); DUSTY and Nice Work If You Can Get It (The Production Company). Trent’s early career began with over 20 commissions at Black Swan State Theatre Company including Boy Gets Girl, Dust, Extinction, The Motherf**cker With A Hat, and Next To Normal. As Set & Lighting Designer: Death Of A Salesman, Dinner and Shrine (WA representative at Centenary of Canberra Festival). In co-productions for Black Swan State Theatre Company with Belvoir: The Sapphires (touring nationally, to South Korea and the Barbican Theatre); with MTC: National Interest; with QTC: Other Desert Cities, Gasp!, Managing Carmen. Other highlights: I Am Eora (Sydney Festival) and Waltzing The Wilarra (Perth International Arts Festival). He is a graduate of the Western Australian Academy of Performing Arts (Production & Design).

Steve Toulmin COMPOSER & SOUND DESIGNER Steve’s credits for Theatre include: Gloria, The Bleeding Tree, Beached (all Griffin Theatre Company) and A Hoax (coproduction with La Boîte Theatre Company); The Blind Giant Is Dancing, Jasper Jones, Ivanov, La Traviata, Blue Wizard, Is This Thing On?, 20 Questions, The Seed and Scorched (Belvoir); Richard III, Othello (Bell Shakespeare); A Flea In Her Ear, Power Plays, Little Mercy and Edward Gant’s Amazing Feats of Loneliness (STC); Great Falls, Liberty Equality Fraternity and Circle Mirror Transformation (Ensemble Theatre); Switzerland and That Face (QTC); Tender Napalm, Julius Caesar and Hamlet (La Boite Theatre Company). For Strut & Fret: Blanc De Blanc. For Sydney Festival: All The Sex I’ve Ever Had. Independent productions include: Prehistoric, After All This, Queen Of Wolves, Me Pregnant, Rommy, Porn. Cake, Trapture. Events: Papua New Guinea’s 40th Year of Independence Celebrations, EKKA Arena Spectacular (2013, 2014, 2015). As a songwriter and music producer he has worked with artists including Megan Washington, Ricki-Lee Coulter and Samantha Jade. He is a graduate of National Institute of Dramatic Art (NIDA) in 2006.


Rhianne Perrie STAGE MANAGER This is Rhianne’s first production with Griffin Theatre and Malthouse Theatre. Rhianne’s theatre credits include: for Barking Gecko Theatre Company: Bamberts Book of Lost Stories, In A Dark Dark Wood, Jasper Jones, This Girl Laughs. As Assistant Stage Manager: for Barking Gecko Theatre Company: Storm Boy; for Black Swan Theatre Company: Clinton The Musical, A House On The Lake, A Perfect Specimen; for West Australian Ballet: Coppelia. She has also worked for West Australian Symphony Orchestra, Woodford Folk Festival, Perth International Arts Festival, Fringe World Perth, Ochre Aboriginal Dance Company, Perth Theatre Company and Spare Parts Theatre Company. Rhianne is a graduate from West Australian Academy of Performing Arts (Stage Management).





WHAT HAPPENS NEXT At Malthouse Theatre we collaborate with local and international artists to create inventive performances that cut to the core of the human experience.


Theatre has the power to interrogate, disrupt and to be an agent of change— and we think it always should. At Malthouse Theatre the work we produce explores the world personally, socially and politically. Based in a dedicated venue, The Coopers Malthouse in Melbourne, we are a home for live experiences that entertain and provoke a dialogue with and within audiences. Welcome to Malthouse Theatre.














URANIA—MUSE OF THE STARS—$25,000+ Michele Levine, Mary-Ruth & Peter McLennan, Craig Reeves, Maureen Wheeler AO & Tony Wheeler AO CLIO—MUSE OF HISTORY—$10,000+ Roseanne Amarant, Annamila Fund, John & Lorraine Bates, Debbie Dadon AM, Colin Golvan QC, Janine Tai, The Vera Moore Foundation, Anonymous (2) THALIA—MUSE OF COMEDY—$5,000+ Richard Leonard & Gerlinde Scholz, Mary Vallentine AO, Anonymous (1) MELPOMENE—MUSE OF TRAGEDY—$2,500+ David Bardas, D.L. & G.S. Gjergja, Rosemary Forbes & Ian Hocking, Sue Kirkham, James Penlidis & Fiona McGauchie, Sue Prestney, Elisabeth & John Schiller, Dr Jenny Schwarz, Leonard Vary & Dr Matt Collins QC, Jason Waple, Jon Webster, Jan Williams, Tom Wright, Anonymous (1)

Sally Browne, Beth Brown & Tom Bruce AM, Ingrid & Per Carlsen, Min Li Chong, Prof John Daley & Dr Rebecca Coates, Andrew Curtis, Mark & Jo Davey, Dominic & Natalie Dirupo, Roger Donazzan, Rev Fr Michael Elligate AM, Dr Sian Fairbank, Brian Goddard, Val Johnstone, Michael Kingston, Susan Nathan, James Ostroburski, Rosemary & Roger Redston, Carol & Alan Schwartz AM, Robert Sessions & Christina Fitzgerald, Thea & Hayden Snow, Maria Solà, Gina & Paul Stuart, Toby Sullivan, Fiona Sweet & Paul Newcombe, Kerri Turner & Andrew White, Rosemary Walls, Pinky Watson, Henry Winters, Anonymous (1)

EUTERPE—MUSE OF MUSIC—$1,000+ Frankie Airey & Stephen Solly, Chryssa Anagnostou & Dr Jim Tsaltas, Marc Besen AC & Eva Besen AO, John & Sally Bourne,

TERPSICHORE—MUSE OF DANCE—$500+ Graham & Anita Anderson, Michael Arnold, Rowland Ball OAM, Sandra Beanham, David & Rhonda Black, Ros Casey, Tim & Rachel Cecil, Marisa Cesario, Chris Clough, Alan Connolly, Carolyn Floyd, John & Helen Gibbins, Leonie Hollingworth, Brad Hooper, Dr Irene Irvine, Joan & Graeme Johnson OAM, Dr Irene Kearsey, Dr Angela Kirsner & Dr Richard Kirsner, Virginia Lovett, John McCallum, Ian McRae AO, Linda




Notley, Jan Owen AM, Robert Peters, Katherine Sampson, Barbara & Neil Smart, John Thomas, Neil Waters, Phil & Heather Wilson, Anonymous (4) ERATO—MUSE OF LOVE—$250+ Simon Abrahams, Jennifer Bourke, Fiona Brook, John & Alexandra Busselmaier, Siu Chan, Diane Clark, Georgie Coleman, Patricia Coutts, Jason Craig, Kerryn Dickinson-Rowe, Brian Doyle, Evelyn Firstenberg, Orla & Rachel, Taleen Gaidzkar, Joanne Griffiths, Sarah Hunt, Ann Kemeny & Graham Johnson, Mira & Dr David Kolieb, Robyn Lansdowne, Sally Lindsay, Kim Lowndes, Judith Maitland-Parr, Ian Manning & Alice De Jonge, John Millard, Paul Natoli, Dr Kersti Nogeste, Tony Oliver, Kaylene O’Neill, Gerard Powell, Gavin Roach, Pauline Robert, Rae Rothfield, Dr Michael & Jenny Rozen, Dr Jill Sewell, Chris Teh, Lee-Ann Walsh, Jan Watson, Gary Westbrook, Gayl Morrow & Gib Wettenhall, Joanne Whyte, Barbara Yuncken VOLUNTEERS Malthouse Theatre would like to acknowledge the generous and ongoing support of our dedicated volunteers. DESIGN / HOURS AFTER HOURSAFTER.COM.AU


BOARD OF DIRECTORS Michele Levine (Chair), John Daley (Deputy Chair), Debbie Dadon AM, Colin Golvan QC, Michael Kantor, Jan Owen AM, Pamela Rabe, Nick Schlieper, Kerri Turner, Mary Vallentine AO & Leonard Vary. ARTISTIC & PROGRAMMING Artistic Director & CO-CEO / Matthew Lutton Executive Producer & CO-CEO / Sarah Neal Resident Dramaturg / Mark Pritchard Resident Artist / Declan Greene Director In Residence / Sapidah Kian Producer / Toby Sullivan Associate Producer / Jason Tamiru Company Manager / Alice Muhling FINANCE & ADMINISTRATION Finance Manager / Mario Agostinoni #HOMOS

Finance Administrator / Liz White General Manager / Amanda Macri MARKETING & COMMUNICATIONS Marketing & Communications Manager / Caraline Douglas



CRM & Ticketing Manager / Prue Sutherland

Youth & Education Manager / Vanessa O’Neill

Box Office Manager / Dan Allemann


Box Office Team Leaders / Jo Basilios Fiona Wiseman Kate Gregory

Venue Manager / Aaron Rowlands

Box Office Staff / Abbey Barnes, Ian Michael, Jade Thomson, Lauren White, Michelle Hines, Paul Buckley

Front of House Staff / Jo Bassilios, Abi Murray, Alice Hill, Alice Dixon, Aly Grace, Amelia O’Brien, Amy Dowd, Andrew Foord, Anna Nalpantidis, Carissa Godwin, Daniel Moulds, Daniel Newell, Dirk Hoult, Emma Corbett, Fiona Moody, Gem Clarke, Ian Mitchell, James Chantner, Jessi Lewis, Kate Calton, Kate Gregory, Kathryn Joy, Kirilie Blythman, Lara Kerestes, Lee Threadgold, Leon Rice-Whetton, Mark Hoffman, Matilda Woodroofe, Mitchell Brotz, Pamela Cupit, Sam Harrison, Sanne Rodenstein, Sophia D’Urso, Syrie Payne, Tanja George

DEVELOPMENT Development Manager / Jayne Lovelock Philanthropy Coordinator / Belinda Locke Sponsorship Coordinator / Olivia Satchwell PRODUCTION Production Manager / David Miller Workshop Manager / Goffredo Mameli Head Carpenter / David Craig Technical Manager / Baird Mckenna Operations Manager / Dexter Varley

Digital Marketing Coordinator / Davey Simmons

Head Electrician / Stephen Hawker

Communications Coordinator / Alex Sadka

Venue Head Mechanist / Ivan Smith

Publicist / TS Publicity

Head Of Wardrobe / Delia Spicer

Graphic Design / Hours After

Theatre Technician / Nathanael Bristow Workshop Assistant / Elizabeth Whitten


Front of House Managers / Sean Ladhams & Anita Posterino

ABORIGINAL & TORRES STRAIT ISLANDER COMMITTEE Uncle Jack Charles, Richard Frankland, Tony Briggs, Lisa Maza, Pauline Wyman, Melodie ReynoldsDiarra & Jason Tamiru Malthouse Theatre acknowledges we are on the Land of the Boon wurrung Peoples within the Kulin Nation.


PIECE FOR PERSON AND GHETTO BLASTER 15 – 26 MAR This Helpmann Award winning show comes to you from Nicola Gunn; whose offbeat blend of physical comedy, satire and self-reflection was last seen at Malthouse Theatre in A Social Service.

ANTI­—GRAVITY 17 – 26 MAR In this Asia TOPA festival commission Chunky Move’s Artistic Director Anouk van Dijk joins forces with internationally renowned multimedia artist Ho Tzu Nyen for an immersive and evocative new dance work that confronts gravity-bound bodies with the ephemeral, ever-changing cloud.

AWAY BY MICHAEL GOW 3 – 28 M AY Matthew Lutton unleashes the intimacy of Michael Gow’s epic tale of family, darkness and hope. This production of one of Australia’s greatest classics pits the internal conflict of family life against the struggle of a country shaping its indeterminate future.







‘If you’ve ever sat in the theatre and thought, “those actors are just too damn far away”, then Griffin is for you.’ ­—Concrete Playground Located in the heart of Kings Cross—in the historic SBW Stables Theatre— Griffin has been dedicated to bringing the best Australian stories to the stage for the better part of four decades. We’re passionate about theatre that’s written by Australians, about Australians, for Australians to enjoy. Iconic plays such as The Boys, Holding the Man, The Heartbreak Kid all had their world premieres at Griffin. And many of our nation’s most celebrated artists started their professional careers with us—Cate Blanchett, David Wenham, Michael Gow and Louis Nowra to name a few. Homegrown inspiration. By you, for you.




A Strategic Plan By Ross Mueller 27 January - 11 March

SBW Stables Theatre 10 Nimrod Street Kings Cross NSW 2011

The Homosexuals, or ‘Faggots’ By Declan Greene 17 March - 29 April

griffintheatrecompany @griffintheatre @griffintheatre (02) 9361 3817

Rice By Michele Lee 21 July - 26 August Diving For Pearls By Katherine Thomson 8 September - 28 October



Monash University and Malthouse Theatre enjoy a partnership built on a shared vision to celebrate excellence, opportunity, community and creativity. Together they work to provide tomorrow’s artists with unique learning opportunities in a professional theatre environment, which is why Monash University’s Centre for Theatre and Performance program enjoys a reputation as one of the most outstanding and comprehensive courses of its kind in any Australian university. The Centre aims to create theatre-makers and explorers by focusing on the study of the past, present and future of performance.





In the hero image on the inside cover, Lincoln Younes holds a plate of organic falafel instead of real faggots. Let’s just say that balls of chopped, seasoned liver are hard to find at the last minute. Tasty!

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Š Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2017.

The Homosexuals, or 'Faggots' (2017) program