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13 JUL – 12 AUG


SEASON 2018

13 JUL – 12 AUG MERLYN THEATRE

THE END OF THE WORLD AS WE KNOW IT MIGHT JUST TURN OUT TO BE BEAUTIFUL — NEW YORK TIMES (MELANCHOLIA THE FILM)

BY / Lars von Trier

LIGHTING DESIGN / Paul Jackson

ADAPTED FOR THE STAGE BY / Declan Greene

SOUND DESIGN & COMPOSITION / J. David Franzke

DIRECTION / Matthew Lutton

STAGE MANAGER / Claudia Blagaiach

CAST / Alexander Artemov Maude Davey Steve Mouzakis Eryn Jean Norvill Liam Smith Leeanna Walsman Gareth Yuen

BESEN PLACEMENT / Penny Harpham MONASH PLACEMENT / Estelle Webster

SET & COSTUME DESIGN / Marg Horwell

CHAPERONE / Lara Kerestes

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ASSISTANT STAGE MANAGER / Hristina Tsingas


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F THERE S TO E NO UTURE, HAT S THE ALUE F THE SEASON 2018

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RESENT?

A NOTE FROM THE WRITER & DIRECTOR

ON ROMANTICISM & DESTRUCTION: DECLAN GREENE & MATTHEW LUTTON to discover that their way of life is on the verge of total collapse. Brecht, Genet and Chehkov however, are major figures of modern drama, engaged in creating works of social and political realism. And one of the fascinating features of Melancholia is its obsession with an earlier art movement— Romanticism. Throughout the film a number of great works of classical Romantic art are directly referenced: from the churning dread and never-sated longing of Wagner’s ‘Prologue’ from Tristan und Isolde, to a liberal quotation of images of suffering by Blake and Millais. Its representation of nature, too, can be seen as a reference to Romanticism. In the rolling tableaux of the film’s prologue, Justine is seen entangled in vines, and Claire’s legs sink knee-deep into grass as she flees in blind terror, carrying her child. This is the full force of ‘The Sublime’: a colossal cycle of death, rot, regeneration—beautiful in its majesty, but also terrifying, indifferent, and all-consuming.

With theatre deep in the DNA of Melancholia (as it has been with many of von Trier’s other film projects, notably the Brechtindebted Dogville and Manderlay), it has been a fascinating and rewarding process excavating and re-building this film for the stage. We quickly discovered that at the core of its story, the film is almost Chekhovian. In another time and place it could be a contemporary version of The Cherry Orchard: a family of aristocrats (varying in class and station) gathered in a Manor house

This strong Romantic undercurrent represented one of our first major challenges in finding a new form for Melancholia onstage.

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When Danish writer-director Lars von Trier first conceived of his 2011 film Melancholia, it was as an adaptation of Jean Genet’s play The Maids. Little of this original ambition has survived in the film, but elements are there if you look hard enough. In many ways it’s still the story of two sisters trapped within an oppressive social system, seeking an increasingly desperate means of escape. Genet’s protagonists, Claire and Solange, do not succeed. Von Trier’s protagonists, Claire and Justine, do—but lose their lives in the process, caught between Earth and a rogue planet called Melancholia.


A NOTE FROM THE WRITER & DIRECTOR

Von Trier’s aesthetic manipulates a striking counterpoint between domestic intimacy and this lavish, sumptuous quotation of classical art. Our challenge was to create a theatrical equivalent without simply aping the film and blocking the audience’s chance to see this story with fresh eyes.

today in our characterisation of those who seek alternate systems of social governance as ‘Romantics’. In this sense we can understand Justine’s trajectory within Melancholia as a kind of revolutionary arc. Both Acts are set within a vast Manor house and golfing estate. It is an artificial family home, staffed by tuxedo-wearing butlers: an almost-cartoon picture of wealth, consumerism, inherited privilege and suffocating ritual.

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To begin we engaged in a process of stripping Melancholia down to the bare bones of its narrative: creating, in effect, a psychological chamber-drama, where the planet was not a physical object, but a source of pressure—present only in the fissures it creates in these characters. And in the process, we came to a fascinating realisation: that Romanticism was not just a series of visual and sonic references, but one of the story’s fundamental attributes, predominantly located within the character of Justine.

In Act One, Justine attempts to disentangle herself from this world. Trapped in the forward-grinding machine of her own wedding, she tries to destroy her relationship with her employer, her husband, her family. But her failed efforts to do so reduce her to the catatonic wreck we see at the beginning of Act Two. Having lost all faith in the capacity of the world to change, or the capacity of humans to escape it, she lashes out in dark euphoria— welcoming the planet. She tells her sister that ‘the Earth is evil’ and deserves to be annihilated. But we only ever witness the destruction of one part of Earth: the Manor house, the golfing green, and the fraudulent values they uphold.

Though Romanticism is primarily associated with a search for emotional truth and redefinition of aesthetic beauty, it was also driven by a deep humanism and revolutionary spirit. Many Romantic artists used their work to critique fascism, industry, urbanisation, the Church, and censorship—and as many used it to espouse nationalism and fascism. It was, in many ways, a movement of idealists and dreamers. This notion still resonates

Many analyses of the story have described Justine’s will towards destruction as ‘depression’. It is significant, however, that as much

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A NOTE FROM THE WRITER & DIRECTOR

space for the audience to examine their own values in relation to its story. It has been a privilege and joy to facilitate an incarnation of von Trier’s work where this dialogue can open up in the charged environment of a theatre for the first time, between an audience and a live cast of phenomenal performers.

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as Justine displays symptoms of what could be recognised as depression, von Trier never once uses this word in his text. Nor does he use the word ‘suicide’ or suggest that she wishes to end her life by her own hand. Von Trier does not pathologise Justine, as her sister and brother-in-law do. On the contrary, he hints that her lens on the world is, in fact, elevated— another presence of Romantic, post-Enlightenment thinking in Melancholia. We are told that ‘99% of scientists’ believe the planet will not collide with Earth. But this empirical, scientific, ‘rational’ knowledge is shown to be inadequate. Justine and Claire’s intuitive knowledge of the planet and its trajectory is upheld, even as they process this information in vastly different ways. This divide, and how it plays out between the sisters, contains many of the story’s defining questions for an audience. If there is to be no future, what is the value of the present, and how do you define hope? If the world is godless, and there is nothing after death, if there is no legacy to leave or wisdom to pass on, what do we live for in the current moment? Do we bind ourselves to the comforting denials of civilisation as best our class station will allow us? Or do we embrace nihilism, even as it inevitably destroys our humanity? Melancholia does not give a definitive answer, but provides

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CAST & CREATIVE BIOS

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Declan Greene WRITER

Matthew Lutton DIRECTOR

Alexander Artemov CAST

Declan is a theatre-maker and Resident Artist at Malthouse Theatre. As a playwright, his work includes Moth, Pompeii, L.A., Eight Gigabytes of Hardcore Pornography, I Am a Miracle, and The Homosexuals, or ‘Faggots’, which have been produced across Australia, Europe, the US, and the UK. Awards include the Malcolm Robertson Prize, the Max Afford Playwrights’ Award, the AWGIE for Theatre for Young Audiences, and the Green Room Award for Best Original Writing. As a director and dramaturg, works include Zoey Dawson’s The Unspoken Word Is ‘Joe’ (MKA / La Mama) and Conviction (ZLMD Shakespeare), Nakkiah Lui’s Blackie Blackie Brown: The Traditional Owner of Death and The Listies’ Hamlet: Prince of Skidmark (STC). Alongside Ash Flanders, Declan co-runs queer independent theatre company Sisters Grimm. He has directed and co-created all their shows to date including Little Mercy (STC), The Sovereign Wife (MTC Neon), Summertime in the Garden of Eden (Theatre Works/Griffin Independent), Calpurnia Descending (Malthouse Theatre/STC) and Lilith: The Jungle Girl (MTC).

Matthew Lutton is Malthouse Theatre’s Artistic Director and Co-CEO. Prior to this, he was Malthouse Theatre’s Associate Director, and the Artistic Director of ThinIce in Perth. For Malthouse Theatre, he has directed Bliss, Black Rider: The Casting of the Magic Bullets, The Real and Imagined History of the Elephant Man, Away, Edward II, Picnic at Hanging Rock, I Am a Miracle, Night on Bald Mountain, The Bloody Chamber, Dance of Death, Pompeii, L.A., On the Misconception of Oedipus, Die Winterreise and Tartuffe. For STC he has directed The Trial, The Mysteries: Genesis, and The Duel. Other directing credits include Love Me Tender for Belvoir and Don’t Say the Words for Griffin Theatre Company. His opera directing credits include Make No Noise for the Bavarian State Opera, Strauss’s Elektra for Opera Australia and West Australian Opera, and Wagner’s The Flying Dutchman for New Zealand Opera.

Melancholia is Alexander’s Malthouse Theatre debut. Before this, he was previously on stage only as a member of Victorian Youth Theatre. However, Alexander is an experienced film and TV actor, previously appearing in TV series Seven Types of Ambiguity (ABC), House Husbands and Method (Nine Network). He has played leading roles in short films Nest, Something to Hold on To, and Fever, amongst others.

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Maude Davey CAST

Steve Mouzakis CAST

Leeanna Walsman CAST

Maude Davey is an actor and performance-maker whose primary focus is new work. She is also a director and writer with a Masters in Writing for Performance from VCA. This is her first appearance for Malthouse Theatre. Recent theatre performance includes The Flood (Shanghai International Theatre Festival), The Trouble with Harry by Lachlan Philpott (Melbourne Festival/MKA). Screen credits include Sisters (Network Ten), The Leftovers (HBO) and Offspring (Southern Star). She has worked regularly in neovariety performance, producing her own show, Retro Futurismus (Sydney Festival/Darwin Festival) and appears regularly in Glory Box/The Burlesque Hour for Finucane & Smith. She has been nominated for two Green Room Best Actress Awards.

Melancholia marks a welcome return for Steve to Malthouse Theatre following earlier productions of Seven Days, Ten Years and Crowfire-Blak Inside. Other recent stage credits include The Cherry Orchard (MTC) and Death and the Maiden (MTC/STC). Steve played an ongoing role in the hit US TV show Prison Break and appeared in the feature films Sugar Mountain, I, Frankenstein, Where the Wild Things Are, Knowing and Darkness Falls. Australian film credits include The Suicide Theory, Big Mamma’s Boy, Downriver, Scare Campaign and That’s Not Me. Television credits include Fat Tony & Co, Jack Irish, The Slap, Killing Time, Rush, Wentworth, Stingers, Very Small Business, Satisfaction, Kick, and The Secret Life of Us in an ongoing role. Awards include a Green Room Award for Best Male Performer for The Cherry Orchard and the MIFF inaugural award for Best Actor in a Short Film for 296 Smith Street.

Leeanna Walsman has enjoyed an extensive career in film, theatre and television. Melancholia marks her debut at Malthouse Theatre. Selected stage productions include Stockholm, Saturn’s Return, The Shape of Things and La Dispute (Sydney Theatre Company), Speaking in Tongues (State Theatre Company of South Australia), Othello (Bell Shakespeare), A Streetcar Named Desire (Queensland Theatre Company) and Peribanez (Belvoir). Leeanna’s feature films include Don’t Tell, Single Rider, Manny Lewis, Dawn, Caught Inside, Bitter and Twisted, Star Wars: Attack of the Clones, Looking for Alibrandi, Blackrock and Woman With an Editing Bench (Short). In television, Leeanna has appeared in Safe Harbour, Seven Types of Ambiguity, Janet King Series Two, Cleverman, Catching Milat, Wentworth, Underbelly: Badness, The Pacific, The Starter Wife and many more. Leeanna has been nominated for several FCCA, If, AFI and Logie Awards and last year won Best Actress Award at the Auckland International Film Festival.

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CAST & CREATIVE BIOS


CAST & CREATIVE BIOS

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Eryn Jean Norvill CAST

Liam Smith CAST

Gareth Yuen CAST

Eryn Jean Norvill is a graduate of VCA and has also studied at L’Ecole Philippe Gaulier in France and The Groundlings School in Los Angeles. She has been working in professional theatre in Australia for the last ten years. Theatre work includes: Three Sisters, All My Sons, King Lear, Suddenly Last Summer, Cyrano de Bergerac, Romeo and Juliet (Sydney Theatre Company); The Government Inspector (Belvoir); Hamlet, Top Girls (MTC); The Boys (Griffin); Truck Stop (Q Theatre Company); Platonov, 3xSisters (Hayloft Project); Man for All Seasons (Complete Works Theatre Company); Lobby Hero (Red Stitch); NICHE, a tiny chorus (Elbow Room). She has received three Sydney Theatre Awards, two Green Room Awards, and a 2009 Melbourne Fringe People’s Choice Award. She is also a writer and theatremaker, co-creating a tiny chorus and NICHE with Elbow Room, and touring Remake to the REPETITIONS: Performance Art and Philosophy Festival in Ljubljana, Slovenia. She received the 2015 Marten Bequest Theatre Scholarship, the 2015 Gloria Payten Travelling Scholarship and the 2006 Richard Pratt Artistic Fellowship. She is a proud member of Actors’ Equity.

Liam is making his professional theatre debut in Melancholia. In 2017 Liam was cast as ‘Wally’ in the Short Film Two Piece by Director Greta Nash which won Best Film in Tropfest 2018. Liam also played the lead character of ‘Tommy’ for BeyondEdge E Learning which is an online project. Liam has recently been cast as the lead boy in Ford’s Diorama TVC. In 2015 Liam performed at the Melbourne Recital Centre with Christchurch Grammar School for his end of year concert. He is currently undertaking Drama and Musical Theatre training at Centrestage Performing Arts in Brunswick. Liam is excited to be part of this production and would like to thank his family, his school and Centrestage Agency for their support.

Gareth’s career spans theatre, film, radio and television across Australia, New Zealand and the United States. Early stage credits include Sabat Jesus (Playbox); productions with the old Victorian State Opera; and later as actor and assistant director with Chinese Theatre Group. After graduating from NIDA, Gareth performed in Melburnalia (fortyfivedownstairs); acted, co-wrote and co-directed This Place (Adelaide Fringe); and won best play for his directing in the inaugural Collingwood 24-hour Play Festival. Gareth has worked on numerous plays with MTC and the Cybec Readings, including the world premiere season of Happy Ending. After his US stage debut in The Car Plays (La Jolla Playhouse), Gareth returned to Australia for Emerald City (Griffin Theatre Company). On Film and TV, Gareth has been seen worldwide as ‘Dax’, the ‘Blue Ranger’ in the inimitable U.S. children’s TV series, Power Rangers; and in acclaimed feature film, The Jammed. Other credits include: Headstart; Kath & Kim; Underbelly et al. Gareth returns to Melbourne from Los Angeles after shooting the pilot reboot of LA Confidential (CBS).

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Marg Horwell SET & COSTUME DESIGN

Paul Jackson LIGHTING DESIGN

J. David Franzke SOUND DESIGN & COMPOSITION

Marg is a multi-award winning designer and was the 2017 Designer In Residence at Malthouse Theatre. Marg has won seven Green Room Awards and two Sydney Theatre Awards for her work and was nominated for a Helpmann Award for Marlin (MTC / Arena Theatre). Credits include: Bliss, Caravan, The Real and Imagined History of the Elephant Man, Revolt. She said. Revolt again., The Homosexuals or ‘Faggots’, Edward II, I Am a Miracle, The Good Person of Szechuan, The Histrionic, Tame (Malthouse Theatre). The House Of Bernarda Alba, Birdland, Peddling, Constellations, Cock, Music, The Dream Life Of Butterflies, The Water Carriers, Circle Mirror Transformation, I Call My Brothers (MTC). Eight Gigabytes of Hardcore Pornography (Griffin), The School For Wives (Bell Shakespeare). Nora (Belvoir). Lilith The Jungle Girl, La Traviata, Summertime in the Garden of Eden (Sisters Grimm). Shit, Savages (Dee & Cornelius). Chapters From The Pandemic, Save For Crying, Wretch, Resplendence (Angus Cerini Doubletap).

Paul is a multi-award winning designer who has worked with Australia’s leading arts organisations. Credits include: Bliss, The Testament of Mary, The Real and Imagined History of the Elephant Man, Black Rider, Away, I Am a Miracle, Blaque Showgirls, Picnic at Hanging Rock, Meow Meow’s Little Mermaid, Edward II, Night on Bald Mountain, Antigone, Timeshare, Hello, Goodbye and Happy Birthday, Little Match Girl, Die Winterreise, The Threepenny Opera, Vamp, The Tell-Tale Heart, Sleeping Beauty (also co-creator), The Odyssey (Malthouse Theatre). Love and Information, The Histrionic, The Trial (STC/ Malthouse Theatre), True West, The Mysteries: Genesis (STC). Merchant of Venice, Othello, As You Like It, Phedre, Tartuffe, Julius Caesar (Bell Shakespeare). Seventeen, Nora, Oedipus Rex, Happy Days, It Just Stopped (Belvoir). Three Little Words, Hay Fever, Di, Viv and Rose, Private Lives, Miss Julie, Endgame, Ghosts, The Crucible (MTC). Awards: Helpmann Award (2012), six Green Room Awards, a Sydney Theatre Award and two APDG awards. He is a Churchill Fellow and an Australia Council Fellow. Paul has lectured in design and associated studies at the University of Melbourne, RMIT and VCA.

Malthouse Theatre credits include: Away, Picnic at Hanging Rock, Night on Bald Mountain, Pompeii, L.A., The Odyssey. STC: Australia Day (with MTC), The Wonderful World of Dissocia, Venus & Adonis (with Bell Shakespeare/Malthouse Theatre). Ranters Theatre: Come Away with Me to the End of the World, Song, Intimacy, Holiday. MTC: The Odd Couple, The Beast, The Joy of Text, The Grenade, August: Osage County, Don Juan in Soho, Birthrights, The Recruit. Balletlab: Aviary. Film: X, Acolytes. Awards: 2017 Green Room Award for Composition & Sound Design (Away), 2016 Green Room Award for Sound Design (Picnic at Hanging Rock), 2012 Green Room Award for Composition & Sound Design (Pompeii, L.A.), 2000 Green Room Award for Outstanding Contribution to Design & Technology (Skin Flick).

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CAST & CREATIVE BIOS


Claudia Blagaich STAGE MANAGER

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Claudia is a graduate of the Western Australian Academy of Performing Arts and has also studied at the Western Australian Screen Academy. Theatre credits include: Priscilla Queen of the Desert The Musical (Michael Cassel Group), A Murder is Announced (Louise Withers & Associates) as well as Let the Right One In, The Eisteddfod, Clinton: The Musical, Tonsils & Tweezers, Venus in Fur, The Lighthouse Girl, Angels in America: Part One, Girl Shut Your Mouth, The Red Balloon, Blithe Spirit, Glengarry Glen Ross and Dinner & Laughter on the 23rd Floor (Black Swan State Theatre Company). Claudia has also worked on multiple events for White Night Melbourne and in various roles for Barking Gecko Theatre Company, the Western Australian Ballet, Perth International Arts Festival and across numerous international sporting events.

Hristina Tsingas ASSISTANT STAGE MANAGER Since completing a Bachelor of Fine Arts (Production – Stage Management) at the Victorian College of the Arts in 2016, Hristina has worked on numerous projects in stage, events and company management. Career highlights include being an Assistant Stage Manager on Kinky Boots The Musical (Michael Cassel Group), Company Management Assistant on Matilda The Musical (LWAA) and Dream Lover (GFO). Hristina has also chaperoned on Dream Lover, Carmen (Opera Australia) and the School of Rock The Musical (GWB Entertainment) children’s auditions and cast announcement.

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STAND TOGETHER WITH MALTHOUSE THEATRE. 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.

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GOVERNMENT

VENUE

EDUCATION

MAJOR

CORPORATE

ACCOMMODATION

MEDIA

INDUSTRY

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TRUSTS AND FOUNDATIONS

OUR SUPPORTERS

CALLIOPE—MUSE OF POETRY—$50,000+ Mary-Ruth & Peter McLennan, Craig Reeves, Maureen Wheeler AO & Tony Wheeler AO URANIA—MUSE OF THE STARS—$25,000+ Annamila Fund, Debbie Dadon AM, Carrillo Gantner AO CLIO—MUSE OF HISTORY—$10,000+ Andyinc Foundation, John & Lorraine Bates, Jennifer Darbyshire & David Walker, Michele Levine, James Penlidis & Fiona McGauchie & Family, Janine Tai, The Vera Moore Foundation, Anonymous (2) THALIA—MUSE OF COMEDY—$5,000+ Daniel Besen, Gjergja Family, Colin Golvan QC, Sue Kirkham, Elizabeth & Donald McGauchie AO, The Pratt Foundation, Richard Leonard & Gerlinde Scholz, Mary Vallentine AO, Moana Weir & Jordie van der Schoot, Anonymous (1) MELPOMENE—MUSE OF TRAGEDY—$2,500+ David Bardas, Dr Sian Fairbank, Linda Herd, Rosemary Forbes & Ian Hocking, Michael Kingston, Sue Prestney and Paul Glen, Elisabeth & John Schiller, Dr Jenny Schwarz, Fiona Sweet & Paul Newcombe, Leonard Vary & Dr Matt Collins QC, Jon Webster, Jan Williams, Dr Terry Wu & Dr Melinda Tee, Anonymous (1)

EUTERPE—MUSE OF MUSIC—$1,000+ Marc Besen AC & Eva Besen AO, John & Sally Bourne, Sally Browne, Beth Brown & Tom Bruce AM, Ingrid & Per Carlsen, Ros Casey, Tim & Rachel Cecil, Min Li Chong, Jason Craig, Andrew Curtis, Susanne Dahn, Mark & Jo Davey, Dominic & Natalie Dirupo, Roger Donazzan, Rev Fr Michael Elligate AM, Brian Goddard, Val Johnstone, Fiona Kelly, Julie & Michael Landvogt, Susan Nathan, Rosemary & Roger Redston, Viorica Samson, Carol & Alan Schwartz AM, Robert Sessions & Christina Fitzgerald, Maria Solà, Toby Sullivan, Kerri Turner & Andrew White, Rosemary Walls, Pinky Watson, Henry Winters, Anonymous (1) TERPSICHORE—MUSE OF DANCE—$500+ Frankie Airey & Steve Solly, Graham & Anita Anderson, Greg Andrews, Michael Arnold, Rowland Ball OAM, Sandra Beanham, David & Rhonda Black, Annie Bourke & Darren Clyne, Dr Rob Brown & Dr Lynne Millar, Priscilla Bryans, Bruce R Butler, MaryAnne Carroll, Chris Clough, Carolyn Creswell, Prof John Daley & Dr Rebecca Coates, Georgie Coleman, Dr Ross Coller, Alan Connolly, Dr Bronwen Evans, Peter & Roxane Fearnside, Evelyn Firstenberg, Lynne Frid, John & Helen Gibbins, Taleen Gaidzkar, Tyler Hill, Leonie Hollingworth, Brad Hooper, Vivienne Poznanski & Michael Jankie, Joan &

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Graeme Johnson OAM, Irene Kearsey, Ann Kemeny & Graham Johnson, Angela Kirsner & Dr Richard Kirsner, Simone Lourey, Jayne Lovelock & Dr Neal Harvey, Virginia Lovett, John McCallum, Victor McConvey, Ian McRae AO & Åsa Hasselgard-Rowe, Jan Owen AM, Salvatore & Lea Posterino, Craig Semple, Tom Smyth, Tim & Lynne Sherwood, Janice Taylor, Naum Tered, John Thomas, Phil & Heather Wilson, Anonymous (3) ERATO—MUSE OF LOVE—$250+ Simon Abrahams, Nicole Beyer, Jennifer Bourke, John & Alexandra Busselmaier, Siu Chan, Diane Clark, Fiona Clyne, William Donaldson, Mark Duckworth & Lauren Mosso, Carolyn Floyd, Mary Garcia, Damyn Gordon, Joanne Griffiths, Peggy Hayton, Frances Pascale, Russell Hooper, Susan Humphries, Arechea Hounsell, Sarah Hunt, Dr Irene Irvine, Mira & Dr David Kolieb, Judith Maitland-Parr, Robert Peters, Ian Manning & Alice De Jonge, John Millard, Dr Kersti Nogeste, Linda Notley, Dr Helen Nugent AO, Tony Oliver, Kaylene O’Neill, Pinkerton Abbey Family, Anda Petrapsch, Gerard Powell, Dr Suzy Redston, Rosalba Renzella, Gavin Roach, Pauline Robert, Rae Rothfield, Jean Ross, Jennifer Senior, Andrew Stocker, Evelyn Tadros, Chris Teh, Lee-Ann Walsh, Jan Watson, Jillian Wells OAM, Gary Westbrook, Gayl Morrow & Gib Wettenhall, Joanne Whyte, Barbara Yuncken, Anonymous (1)


MALTHOUSE THEATRE STAFF

BOARD OF DIRECTORS Fiona McGauchie (Chair), Debbie Dadon AM, Colin Golvan QC, Michael Kantor, Jan Owen AM, Sue Prestney, Pamela Rabe, Nick Schlieper, Kerri Turner & Mary Vallentine AO. ARTISTIC & PROGRAMMING

TICKETING & BOX OFFICE

VENUE MANAGEMENT

Artistic Director & CO-CEO / Matthew Lutton

CRM & Ticketing Manager / Prue Sutherland

Venue Manager / Aaron Rowlands

Executive Producer & CO-CEO / Sarah Neal

Box Office Manager / Allie Stapleton

Front of House & Events Manager / Anita Posterino

Resident Dramaturg / Mark Pritchard

Box Office Team Leaders / Fiona Wiseman Box Office Staff / Abbey Barnes, Jo Bassilios, Jacqui Bartlett, Jacqui Bathman, Simon Braxton, Paul Buckley, Esther Crowley, Bronya Doyle, Lachlan Hywood, Liz White

Front of House Manager / Leah Milburn-Clark

Resident Artist / Declan Greene Director In Residence / Ming-Zhu Hii Producer / Toby Sullivan Associate Producer / Jason Tamiru Company Manager / Marline Zaibak FINANCE & ADMINISTRATION

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Finance Manager / Mario Agostinoni Finance Administrator / Liz White General Manager / Annie Bourke MARKETING & COMMUNICATIONS Marketing & Communications Manager / Caraline Douglas Digital Marketing Coordinator / Alexia Jordan Communications Coordinator / Alex Sadka Marketing Assistant / Jacqui Bathman Publicist / TS Publicity

PRODUCTION Production Manager / David Miller Technical Manager / Baird Mckenna Operations Manager / Dexter Varley Production Coordinator / Tia Clark Head Technician (Lighting) / Rob Ballingall Venue Head Mechanist / Ivan Smith Theatre Technician / Nathanael Bristow

Uncle Jack Charles, Richard Frankland, Tony Briggs, Lisa Maza, Pauline Wyman, Melodie ReynoldsDiarra & Jason Tamiru We acknowledge the Land and Songlines of the Boon Wurrung and Wurundjeri peoples of the Kulin Nation.

Wardrobe Assistant / Rebecca Dunn Workshop Manager / Goffredo Mameli Head Carpenter / David Craig

DEVELOPMENT Development Manager / Fiona Kelly

Scenic Artist / Patrick Jones

Philanthropy Coordinator / Belinda Locke

EDUCATION

Sponsorship Coordinator / Olivia Satchell

Youth & Education Manager / Vanessa O’Neill

MARKETING & ADVERTISING /

ABORIGINAL & TORRES STRAIT ISLANDER COMMITTEE

Head Of Wardrobe / Delia Spicer

Workshop Assistants / Elizabeth Whitton Mitch O’Sullivan

AKA +61 3 8866 8335 AKA-AU.COM

Front of House Staff / Gianni Agostinoni, Ben Anderson, Mitchell Brotz, Kate Calton, Georgia Cam, Ben Carollo, Emma Corbett, Alice Dixon, Amy Dowd, Sophia D’urso, Aly Grace, Sam Harrison, Mark Hoffman, Dirk Hoult, Kathryn Joy, Tomas Kantor, Lara Kerestes, Hannah McKittrick, Abi Murray, Hayley Newman, Daniel Newell, Leon Rice-Whetton, Sanne Rodenstein, Mick Roe, Gretel Sharp, Dominic Simonelli, Lee Threadgold, Kenneth Waite.

PHOTOGRAPHY /

ZAN WIMBERLEY PIA JOHNSON

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WHAT’S UP NEXT

IT’S PROVOCATIVE… A PUNCH INTO OUR COMPLACENCY

SEASON2018

– THE TELEGRAPH (UK)

BLASTED 24 AUG – 16 SEP A gin-swigging journalist and his young lover check into an anonymous hotel room. When a soldier and a war zone explode through the bathroom window, things become barbaric. Directed by Anne-Louise Sarks (The Testament of Mary) Blasted will give Malthouse Theatre audiences the chance to experience the power and controversy of Sarah Kane, and the play that shook the world. BY / Sarah Kane

CAST INCLUDES / Fayssal Bazzi Eloise Mignon David Woods

DIRECTION / Anne-Louise Sarks

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SCENE & HEARD

The wedding dress used in this production is so big, it required its own blocking.

MalthouseTheatre MalthouseMelb MalthouseTheatre malthousetheatre.com.au Š Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2018.

Melancholia (2018) Program  

Program for Malthouse Theatre's production of Melancholia (2018).

Melancholia (2018) Program  

Program for Malthouse Theatre's production of Melancholia (2018).