Tis Pity She's a Whore program (2011)

’Tis piTy she’s a whore FEBRUARY 11 – MARCH 5 2011

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Image credit: Design sketch for ‘Tis Pity She’s a Whore set, Anna Cordingley

Malthouse Theatre presents

‘TIS PITY SHE’S A WHORE ....

By John Ford Adapted & Directed by Marion Potts Original Music Andrée Greenwell Set & Costume Designer Anna Cordingley Lighting Designer Paul Jackson Sound Designer Jethro Woodward Dramaturge Maryanne Lynch Cast Soranzo John Adam Angel Julia County Putana Laura Lattuada Annabella Elizabeth Nabben Florio Richard Piper B. Chris Ryan Giovanni Benedict Samuel Hippolita Alison Whyte Vasques Anthony Brandon Wong Pog Jethro Woodward Live Music Performed by Julia County & Jethro Woodward Additional material by Chris Ryan Stage Manager Darren Kowacki Assistant Stage Manager Edwina Guinness Stage Management Secondment Roxzan Bowes Sound Operator Chris Leary Lighting Operator Stewart Birkinshaw Campbell Grafitti Artist Tom Glenie Ryan Fight Choreography Dislocate Set & props constructed by Malthouse Theatre Workshop Costumes by Malthouse Theatre Wardrobe Besen Family Artist Program(Direction) Hallie Shellam

MERLYN THEATRE, FEBRUARY 11 - MARCH 5 2011

DIRECTOR’S NOTE ....

’Tis Pity She’s a Whore is not so much about incest or the actions of two individuals as the moral compass of a whole society. The chain reaction prompted by the two siblings is precipitated in the first two scenes of Ford’s original text. It’s in fact the chain reaction, more than the event itself, that becomes the focus of its subsequent four (and a bit) acts: the hypocrisies and moral inconsistencies of a much bigger world are suddenly revealed, benchmarked and forced to be played out.

The original text from 1633 somehow yells this provocation so loudly across time that it demands a response. There is something almost as fascinating about the way we greet that provocation as the material itself: the way our modern imaginations interact with the text, the way it connects with contemporary sexuality, morality and violence - and the knot of complication that is formed by all three … the way we place ourselves into Ford’s world.

This led us to think about how to explore that relationship on stage. In particular it prompted us to rework the comic subplot of the original in a contemporary voice, and to present Ford’s world of violence as the theatricalised and heightened expression of our own. This “frame within a frame” set us the challenge of defining our own morality - almost as an answer to the questions that we’re being asked across time… Like a Punch and Judy show, the theatrical frame gives us all kinds of imaginative permissions… but the threat from without is implicit and actual. So for us, the slippage between past and present, between imagined actions and real possibilities, between the fantastical and the feasible seemed an important, if terrifying, thing to have to contemplate on stage.

Whatever the practical reasons for a scaled-down cast size, this is ideally always absorbed and used to enhance the story.

Throughout rehearsals it gave us a real understanding of where

Shakespeare and Ford were headed in their instinctive move away from sprawling courtly environments to a more rigid domestic focus. Here, its impact is to concentrate the action around those immediately responsible, increasing the intensity and demands of their relationships. Most notably it personalises the piece’s sexual politics and highlights the dynamic between male and female characters.

It also magnifies one of the central problems underlying the tragedy. The three females you will meet are perceived as either whores or virgins. Putana, Hippolita and Annabella keep hitting up against the reductive way in which they’re defined by the men in their world. They - and particularly Annabella, since she is still a virgin at the outset - share more or less the qualities of an idealised form (depicted here as the angelic embodiment of beauty, music, and poetry) but are ultimately creatures of flesh and blood, asking to be talked to as people.

In 1633 Ford’s world was tenaciously and dangerously clinging to ideas of absolute right and wrong. We can only be in awe of his attempt to venture into the grey area of relative truths.

There are survivors (not many…) rather than winners and victims are not necessarily passive. The social forces that exist outside the frame, in whatever period and however amoral, apathetic or disconnected are the implicit creators of this tragedy.

-MARION POTTS

Image: Benedict Samuel and Elizabeth Nabben in rehearsal, Malthouse Theatre, February 2011

JOHN FORD PLAYWRIGHT John Ford (1586 – c.1640) was a major English Jacobean and Caroline playwright and poet. Squeezed between the end of a golden age and an impending civil war in which all theatre was banned, Ford’s plays face off these anxieties of his age by thrusting familiar characters into ever more fever pitched situations of personal and moral extremity. Ford’s best known work is ‘Tis Pity She’s a Whore, and other works include The Witch of Edmonton, The Broken Heart, The Fancies Chaste and Noble, and The Lady’s Trial.

JOHN ADAM PERFORMER Malthouse Theatre: ‘Tis Pity She’s a Whore. Other Theatre: MTC: Dead Man’s Cell Phone, Frost/Nixon, The Give and Take. STC: Fred, Just Bent, The Virgin Mim, Macbeth, The Glass Menagerie, The Give and Take, Woman in Mind. Bell Shakespeare Company: Hamlet, The Merchant of Venice, Richard III, Much Ado About Nothing, Julius Caesar. STCSA: The Torrents. Griffin Theatre Company: Ship of Fools, The Peach Season. Television: City Homicide, Home & Away, Always Greener, A Country Practice, Water Rats, All Saints, Above the Law, Stingers, 13 Gantry Row, Chameleon, The Lost World, Beastmaster, Flipper, The Whole World in his Hands, The Track, Bad Cop/Bad Cop, The Alice, GP, E-Street, Farscape, Underbelly: The Tale of Two Cities.

Awards: 2009 Green Room Award nomination for Best Male Performer (Frost/Nixon). Training: NIDA. ANNA CORDINGLEY SET & COSTUME DESIGNER Malthouse Theatre: ‘Tis Pity She’s a Whore, Sappho...in 9 fragments, Human Interest Story (as Realising Designer), The Threepenny Opera (as Costume Designer), Elizabeth – Almost By Chance A Woman, Furious Mattress, One Night the Moon, Knives in Hens, Happy Days, A Commercial Farce, Rogue, Woyzeck (as Assistant Designer), Not Like Beckett, Autobiography of Red. Other theatre: MIAF: Hidden Republic The Black Arm Band.

Arts House: Irony is Not Enough: Essay on My Life as Catherine Deneuve. VCA/Daniel Schlusser: Peer Gynt. HotHouse Theatre: The Glory. Red Stitch: The Pain and the Itch, Bug. National

Institute of Circus Arts/Sydney Opera House: The New Breed.

Installations & Public Art: Bambuco: The Eighth Bridge over the River Tyne (UK), Ephemera for Spine, Ludo and Rue Faidherbe, Lille 2004 (France). Well: The Great Wall of Books (Macau). Exhibitions: Baltic Contemporary Art Centre/ Sage Gateshead: An Account of Bridges (UK). Den Haag Sculptuur Exhibition 2007: Colony – facilitation for Brook Andrew (The Netherlands). Events: Melbourne 2006 Commonwealth Games: Opening Ceremony (Indigenous Section) and Closing Ceremony (Marvelous Melbourne). As Assistant Designer: The National Theatre of Prague: The Death of Klinghoffer (Czech Republic). MIAF: Remembrance of Things Past. Melbourne Workers Theatre: 1975. Education: Victorian College of the Arts (Bachelor of Dramatic Art, Production Design). Melbourne University (Masters of Curatorship - ongoing).

JULIA COUNTY PERFORMER Malthouse Theatre: ‘Tis Pity She’s a Whore. Other performance: The Pacific Opera Company: Young Artist 2011, The Magic Flute, Hansel and Gretel, La Sonnambula. Sydney Philharmonia Choirs: Chorister and soloist 2008-2009. Newcastle Conservatorium Chamber Choir: Chorister and soloist 2000 and 2002, UK and European Tours. Recordings: Journey of Celebration – Newcastle Conservatorium Chamber Choir, Liverpool Cathedral UK 2000, BBC Manchester live series 2000. Awards: The Doris Smith Scholarship 2003. Training: Bachelor of Vocal Performance, Newcastle Conservatorium (Hons) ANDRÉE GREENWELL COMPOSER Malthouse Theatre: Tis Pity She’s A Whore, Venus and Adonis (with Bell Shakespare Company).

Other theatre/Music Theatre: Green Room Music: The Villainelles. Performing Lines/Sydney Opera House: Dreaming Transportation, The Hanging of Jean Lee. Chamber Made Opera: Sweet Death, Seven Slipped Discs and a Couple of Tracks Off the Record. Sydney Theatre Company: Volpone, Cyrano, The Herbal Bed, The Glass Menagerie, Navigating. The Sydney Front: Passion, John Laws/Sade.

Orchestra: ABC New Voices/Tasmania Symphony Orchestra: Go! As Musical Director: Sydney Theatre Company: The School

for Scandal. The Festival of the Dreaming/Belvoir: Black Mary.

Film as Composer/Director: Roof Tops Media/Green Room Music: LAQUIEM. AFTRS: MEDUSAHEAD: a video opera clip for decapitated soprano and 3D animated snakes. Awards: Green Room - Best Score (Venus and Adonis). NSW Women in Arts Fellowship. Jacobena Angliss Award. Elizabethan Trust Travelling Scholarship. MusicOz Awards Best Classical Song (Dreaming Transportation). With Ulmann, Stapelton and Albiston Prix Marulic Croatia (In Studio: Dreaming Transportation). Education: Bachelor of Arts in Music, Victorian College of the Arts. Post-Graduate Diploma in Music, Victorian College of the Arts. Extension Certificate in Sound, Australian Film Television and Radio School. Currently enrolled Doctorate of Creative Arts at the University of Wollongong.

EDWINA GUINNESS ASSISTANT STAGE MANAGER Malthouse Theatre: ‘Tis Pity She’s a Whore, Optimism (with STC). Other theatre: STC/MTC: The Grenade. MTC: Entertaining Mr. Sloane (Geelong season). Bell Shakespeare Company: Just Macbeth (Sydney & Edinburgh), Othello (Sydney & Melbourne). STC: The Mysteries Genesis, Elling, War of the Roses, Convicts Opera, Riflemind. Belvoir: The Power of Yes. Victorian Opera: Poppea, Orphee et Eurydice. Opera Australia: La Cenerontola.

Bangarra: Clan (Glen St season). Education: Victorian College of the Arts School of Production (2006).

PAUL JACKSON LIGHTING DESIGNER Malthouse Theatre: ‘Tis Pity She’s a Whore, The Tell-Tale Heart, The Trial, Sappho...in 9 fragments, Human Interest Story, The Threepenny Opera, Elizabeth – Almost By Chance A Woman, Furious Mattress, Knives in Hens, Happy Days, Optimism, Woyzeck, Vamp, Through the Looking Glass, Venus & Adonis, Moving Target, Tartuffe, Criminology, Sleeping Beauty (also as cocreator), The Pitch, Anna Tregloan’s BLACK, Babes in the Wood, Eldorado, The Ham Funeral, Journal of the Plague Year, The Odyssey, Boulevard Delirium. Playbox Theatre Company: The Frail Man, Babes in the Wood, This Way Up, The Fat Boy, Double Bill. Other theatre: MTC: Dead Man’s Cell Phone, Madagascar, Enlightenment, Ghost Writer, Frozen, The Recruit,

Dinner, Cruel and Tender. Chamber Made Opera: Crossing Live, The Hive, Teorema, The Possessed, Recital, Walkabout, Corruption. Also includes: Victorian Opera, Australian Ballet, West Australian Ballet, Bell Shakespeare Company, Black Swan State Theatre Company, Ballet Lab, Not Yet It’s Difficult, New Zealand Ballet, The Production Company, Lucy Guerin Inc, Melbourne Workers Theatre. Awards: 2007 Gilbert Spottiswood Churchill Fellowship. Green Room Awards: Lighting for Drama 2008, Lighting for Opera 2006, Design Cabaret 2005.

Award Nominations: 18 Green Room Award nominations, Bulletin Magazine 2004 Smart 100, 2005 & 2008 Helpmann nominations, 2008 & 2009 Sydney Theatre Critics’ Circle Award nominations. Currently: Resident Artist (Lighting) at Malthouse Theatre. Lighting Designer with Melbourne based firm, The Flaming Beacon. Founding member of Not Yet It’s Difficult performance group.

DARREN KOWACKI STAGE MANAGER Malthouse Theatre: ‘Tis Pity She’s a Whore, The Tell-Tale Heart, The Trial, The Threepenny Opera, Elizabeth – Almost by Chance A Woman, Africa, Knives In Hens, A Commercial Farce, Goodbye Vaudeville Charlie Mudd, Venus & Adonis, Kitten, Tartuffe, Exit the King. Malthouse Melbourne touring: The Trial, Knives in Hens, Optimism, The Spook, The Tell-Tale Heart. Other theatre: The Production Company: The Boy From Oz, The Store Room & MIAF: The Dictionary of Imaginary Places. Chamber Made Opera: The Children’s Bach. Chapel off Chapel: Shadow Passion. McLaren House: Fully Committed. Her Majesty’s Theatre: Miss Saigon, Cabaret. Lano & Woodley: Goodbye (Australian Tour). Dave Hughes: Dave Hughes Live (Adelaide Fringe Festival). St Martins Youth Arts Centre: Pretty White Lies & The Velveteen Undertow, Radicals & Misanthropes, The Wild Blue, When Sand Becomes Glass. Polyglot Puppet Theatre: We Built This City. Events: Mariner Theatre Events, 2009 AFL Grand Final Breakfast (CFMEU), Nickelodeon Events, 2007 Australian Jamboree, St Kilda Festival. Launches: Grease the Arena Spectacular (SEL), Chicago The Musical (GFO). Training: Victorian College of the Arts (Production). Other: Lighting designer for La Mama: She’s Not Performing, St Martins, Oz Opera, VCA, CVP, Scouts Australia. Production Manager for St Martins Youth Arts Centre (2005 - 2007).

LAURA LATTUADA PERFORMER Malthouse Theatre: ‘Tis Pity She’s a Whore. Playbox Theatre Company: Emma-Celebrazione (with Gasworks and STC), Miracles. Other theatre: MTC: Two Brothers, Mad Forest. Red Stitch: Trejas Verdes. La Mama: Salonika Bound, The Drought. Belvoir: Love and Magic in Mamma’s Kitchen. Hubcap Productions: Dust. Melbourne Workers’ Theatre: Dusting our Knees, The Aftermath, The Ballad of Lois Ryan, Last Drinks. Griffin Theatre: Dr Akar’s Women. Victorian Arts Centre: Café Rebetika, A Nose is a Nose is a Nose, Princess Smarty Pants and Cupid.

Theatreworks: Seven Days Ten Years, Full House- No Vacancies.

Comeart Fo Productions: Six Characters in Search of an Author. Tide Productions/Trades Hall: Bloodsisters. Doppio Teatro: Pulcinella, A Nuptial Feast. Gateway Productions: Ladies Night. Melbourne Comedy Festival: Duck, I Don’t Get Paid Enough to Find Dead Bodies. Athenaeum Theatre: Opa. Theatre Royal: Chess – The Musical. Victoria State Opera: Carmen. Shakespeare Australia: A Midsummer Night’s Dream, Much Ado About Nothing. Overseas: Rocky Horror Show, Cinderella, Pericolosamente. Television: Neighbours, Greeks on the Roof, Shock Jock, Eugene Sandler, Stingers, Good Guys/Bad Guys, Halifax, Mission Top Secret. Film: The Sound of One Hand Clapping, The Merchant of Fairness, Life, Antonio’s Angel, Dino, Where You Been?, Bread. Radio: Gina’s Hen’s Night, Final Flings, One Foot Behind, A Vintage Manifesto, I Don’t Get Paid Enough To Find Dead Bodies, Avanti. Award Nominations: 1996 Green Room Award for Best Actress in a Lead Role (Emma-Celebrazione) Awards: Australia Council: Individual Development/Travel, Touring Grant for I Don’t Get Paid Enough To Find Dead Bodies.

MARYANNE LYNCH DRAMATURGE Malthouse Theatre: ‘Tis Pity She’s a Whore, Sappho...in 9 fragments, Elizabeth – Almost By Chance A Woman, Furious Mattress, One Night The Moon, Happy Days, Goodbye Vaudeville Charlie Mudd, Woyzeck, Vamp, Through the Looking Glass, Venus & Adonis, Anna Tregloan’s BLACK, Not Like Beckett, A View of Concrete, The Odyssey, Woman-Bomb, Journal of the Plague Year, The Ham Funeral. Other: Ausdance, ANPC,

ABC, Backbone Youth Arts, Brisbane Festival, Digitarts, Ethnic Communities Council, Experimetro, JUTE, Kage Physical Theatre, Kooemba Jdarra, Lucy Guerin Inc, Next Wave, Playbox Theatre Company, Playlab, PlayWriting Australia, Playworks, QPAC, QTC, RedInk, VCA, Vulcana Women’s Circus, University of Melbourne & individuals and collectives in a range of performance-making models. As Writer or CoCreator: Happiness, Sleeping Beauty, gamegirl, Pyjama Girl, Toxic. As Director: My Of-course Life, Double Vision, Pyjama Girl. Awards: AWGIEs 1998 & 2005, Eat Carpet 2001 & 2003.

Currently: Dramaturge in Residence, Malthouse Theatre.

ELIZABETH NABBEN PERFORMER Malthouse Theatre: ‘Tis Pity She’s a Whore. Other Theatre: VCA: Twelfth Night, Ghetto, O Horo - The Dance of Death, Scarecrow, Mad Forest. NSW State Drama: Stags and Hens. Film: Moonshine.

Awards: VCA’s Cassidy Bequest Gift Fund Award 2009.

Training: Graduate of VCA (Drama) 2010.

RICHARD PIPER PERFORMER Malthouse Theatre: ‘Tis Pity She’s a Whore. Playbox Theatre Company: Competitive Tenderness, Picasso at the Lapin Agile, A Happy and Holy Occasion. Other theatre: MTC: Drowsy Chaperone, Rockabye, Entertaining Mr Sloane, Dumb Show, The Daylight Atheist, Betrayal, Man the Balloon, Life After George, Measure for Measure, Trelawny of the Wells, The Comedy of Errors, A Flea in Her Ear, Someone Who’ll Watch Over Me, What the Butler Saw, The Three Musketeers, Tristram Shandy, Romeo and Juliet, As You Like It, The Importance of Being Earnest, The Recruiting Officer, See How They Run, Great Expectations (with STC). Bell Shakespeare: War of the Roses, Henry V, Henry the Fourth. Billy Australia: Billy Elliot. South Australia Theatre Company: Moby Dick (with STC and MIAF). STCSA: Marat Sade, The Comedy of Errors, Restoration, A Midsummer Night’s Dream, Tis a Pity She’s A Whore, What the Butler Saw, Under Milkwood. Adrian Bohm Presents: 12 Angry Men. EHJ Productions: Much Ado About Nothing, My Night With Reg. Paul Dainty Corporation: The New Rocky Horror Show. Elston, Hocking & Woods: Into the Woods, Twelfth Night. West End

Musicals: Grease, Elvis, Oh Boy. Television: Underbelly – The Movie Files, City Homicide, Cutting It At The Fringe, Satisfaction, Blue Heelers, Crashburn, MDA, Stingers, Good Guys Bad Guys, CorrellI, Wedlocked, Damnation Of Harvey McHugh, The Battlers, Secrets, Neighbours, Mission Impossible, Oh Boy, Let’s Rock, Take The Stage, Coronation Street, Juliet Bravo, Jury, Master Of The Game, Rockliffe’s Babies, Me And My Girl, Cat’s Eyes, The Mother In Law, Minder. Film: Salvation, Postcard Bandit, Federation, Fable. Bands: The Bouncing Czecks, Up All Night. Awards 2005 Green Room Award for Male Actor in a Leading Role (Daylight Atheist) Award Nominations: Helpmann Awards: 2005 for Best Male Actor in a Play (Daylight Atheist), 2008 for Best Leading Actor in a Musical (Billy Elliot). Training: The Central School of Speech and Drama, London.

MARION POTTS DIRECTOR & ADAPTOR Malthouse Theatre: ‘Tis Pity She’s a Whore, Sappho...in 9 fragments, Venus & Adonis (with Bell Shakespeare). Other theatre: Bell Shakespeare: King Lear, The Taming of the Shrew, Hamlet, Othello. STC: The Wonderful World of Dissocia, Playgrounds, Volpone, Don Juan, Life After George, Cyrano de Bergerac, The Crucible, Navigating, Del Del, Closer, The Herbal Bed, What Is The Matter With Mary Jane?, Pygmalion, Where Are We Now?, The Café Latte Kid, The Blessing, Two Weeks With The Queen (Touring Production). MTC: Grace. STCSA: Equus, The Torrents, Gary’s House, A Number, The Goat or Who Is Sylvia? QTC: Constance Drinkwater and the Final Days of Somerset. Belvoir: The Popular Mechanicals 1 and 2 (Associate Director), The Frogs (Assistant Director). Griffin Theatre/HotHouse Theatre: The Story of the Miracles at Cookie’s Table, Wonderlands. HotHouse Theatre: Big Hair In America. Performing Lines: Dreaming Transportation. Awards: Green Room nomination for Direction (Venus & Adonis, 2008), Sydney Theatre Awards nomination for Best Direction of a Play (Venus & Adonis, 2009, and The Goat or Who is Sylvia?, 2007), Helpmann Award for Best Direction of a Play (The Goat or Who is Sylvia?, 2006). Other: Resident Director for Sydney Theatre Company from 1995 - 1999, Artistic Director of Pulse from 1997 - 1999. Curated the 2003 National Playwrights Conference, chairperson of World Interplay, a member of the Theatre Board of the Australia Council and HotHouse Theatre’s Artistic

Directorate. Associate Artistic Director with Bell Shakespeare and Artistic Director of Mind’s Eye, Bell Shakespeare’s development arm 2006 - 2010. Currently: Artistic Director of Malthouse Theatre.

CHRIS RYAN PERFORMER Malthouse Theatre: ‘Tis Pity She’s a Whore, Thyestes (with The Hayloft Project), Elizabeth – Almost By Chance a Woman. Other theatre: Belvoir: Measure for Measure, The Promise. Griffin Theatre Company: Concussion (with STC), The Call. MTC: The Hypocrite. Bell Shakespeare Company: Hamlet, Othello, Actors At Work. Full Tilt: The Man With The September Face. The Hayloft Project: Platonov. Victorian College of the Arts: Hamlet, Translations, The Three Sisters. Film: The Jammed, Numurkah (short), Skeletons (short). Training: Victorian College of the Arts, Bachelor of Dramatic Arts (year). Awards & Nominations: Sydney Theatre Award nomination for Best Newcomer (Othello), Green Room Award nomination for Best Male Performer (Platonov).

BENEDICT SAMUEL PERFORMER Malthouse Theatre: ‘Tis Pity She’s a Whore. Other theatre: NIDA: Hamlet, The Threepenny Opera.

Black Lung Theatre: Avast (Adelaide Fringe 2007).

Through the Leaves (Adelaide Fringe 2009). Film: Kiss (short), Sanctuary (short, as director). Training: Flinders University Drama Centre, National Institute of Dramatic Art (2010).

ALISON WHYTE PERFORMER Malthouse Theatre: ‘Tis Pity She’s a Whore, Optimism, Tartuffe, Eldorado. Playbox Theatre Company: Night Letters (with STCSA), Myth Propaganda & Disaster in Nazi Germany & Contemporary America, Crazy Brave, The Language of The Gods, The Jon Wayne Principle (with STC). Other theatre: MTC/STC: Don’s Party. MTC: All About My Mother, Richard III, King Lear, Dinner, Explorations of Macbeth, Born Yesterday, Shark Fin Soup, Twelfth Night, The Dutch Courtesan, Much Ado

About Nothing, The Game of Love & Chance, The Crucible, Morning Sacrifice, Hay Fever, The Taming of The Shrew, Nana, The Heidi Chronicles, Present Laughter. Elston Hocking & Woods: Midsummer Night’s Dream, Twelfth Night. Ford O’Connell Productions: Decadence. Television: Satisfaction (Series 1 & 2), Small Claims, Marshall Law, Leather and Silk (pilot), Crashburn, Dogwoman, The Hub, SeaChange, State Coroner, Micallef, Good Guys Bad Guys (Series 1 & 2), Frontline (Series1, 2 & 3), GP, Kangaroo Palace, The Gynn Nicholas Show. Film: Centre Place, The Jammed, Roundabout, Subterano, Just Do It, Saturday Night, What Goes Around Comes Around, The Boatbuilder. Awards: 2010 Helpmann Award for Best Supporting Actress (Richard III) Green Room Awards: 2005 Outstanding Female Actor in Drama (Dinner).

1996 Gerda Nicolson Award for Best Actress in Drama (Decadence). TV Week Logie Awards: 2008 Silver Logie Award for Most Outstanding Actress, 1997 Silver Logie for Most Outstanding Actress. 2008 Astra Award for Most Outstanding Actress. Award Nominations: Helpmann Awards: 2008 Best Female Actor in a Supporting Role in a Play (Don’s Party). AFI Awards: 2008 Best Lead Actress in Television Drama. Green Room Award: 1999 Best Female Actor in a Leading Role (Born Yesterday). Training: Graduate of VCA (Drama) 1989.

JETHRO WOODWARD SOUND DESIGNER & MUSICIAN Malthouse Theatre: ‘Tis Pity She’s a Whore , Human Interest Story (with Lucy Guerin Inc), Furious Mattress, The Eisteddfod, Black Swan of Trespass (with Stuck Pigs Squealing), A Quarrelling Pair, Apples and Ladders (with Aphids), Black Medea (with Belvoir), Malthouse Theatre/Arena Theatre: Moth, Goodbye Vaudeville Charlie Mudd, Criminology. Other theatre: MTC: Life Without Me. Fragment 31: Irony Is Not enough. 45 Downstairs: Bare Witness. Encyclopaedia of animals: Urchin. Belvoir: Antigone, Pillowman. Stuck Pigs Squealing: The Apocalypse Bear Trilogy, Lally Katz and the Terrible Mysteries of the Volcano. Windmill: The Wizard Of Oz. Rawcus: The Heart Of Another Is A Dark Forest, Hunger (with Melbourne Symphony Orchestra), Another Lament (with Chamber Made). Dance: Lucy Guerin Inc: Human Interest Story. Australia Dance Theatre: Zero Sum, Slack. Film Van Dieman’s Land, Hell’s Gate’s, The Heartbreak Tour (for SBS). Music: Cordrazine, SFC. Awards: Goodbye Vaudeville,

Charlie Mudd. Award Nominations: Green Room Awards:The Inhabited Man, The Heart of Another is a Dark Forest, Hunger, Criminology, Black Medea, Duets of Desire, The Damask Drum, The Eisteddfod, Sideshow. Training: VCA School Of Music – Composition.

ANTHONY BRANDON WONG PERFORMER Malthouse Theatre: ‘Tis Pity She’s a Whore. Playbox Theatre Company: Sex Diary of an Infidel, The Language of the Gods, The Temple, The Emperor Regrets. Other theatre (includes): MTC: Coup d’etat. STC: The Floating World. Victorian Arts Centre: The 100 Year Ambush. Belvoir: Unidentified Human Remains and the True Nature of Love. STCSA: The Swan. Stalker: Shanghai Lady Killer. Athenaeum: Wogarama. Court Theatre, NZ: M. Butterfly. Budinski’s Theatre: 7 Acts of Love as Witnessed by a Cat. Musical theatre & singing: Sydney - State Theatre: Rasputin. Riverside Theatres: And It’s Got a Lovely Backyard.

Harbourside Brasserie, Side On Café, LA Bar. Los Angeles - M Bar Hollywood, Gardenia Cabaret Lounge, Hollywood Studio Jazz Club. Television (includes): US: Samurai Girl, Spellbinder 2, Secrets of the Forbidden City, Embassy, Mask of the Ninja, Dr Jekyll and Mr Hyde, Glee, The Unit, NCIS, Jumping Ship, 1%, The Booth at the End, Mission Impossible, Xena Warrior Princess, Border Patrol, Flipper, Trouble In Paradise. Australia: All Saints, Water Rats, The Alice, Stingers, The Saint, Singapore Sling, Tanamera, Cassidy, Acropolis Now, Home and Away, A Country Practice, The Boys from the Bush, Above the Law, Backberner. Film: US: Haywire, Guns, Girls & Gambling, The Matrix Reloaded, The Matrix Revolutions, Flight of the Phoenix, Other: Little Fish, Floating Life, Crooked Business, Lilian’s Story, Till There Was You, Seeing Red, The Reunion, The Promise. Award Nominations: Sydney Critics Circle Award (Sex Diary of an Infidel), Green Room Award (The Language of the Gods, The Temple) Awards: Green Room Award for Best Actor (Sex Diary of an Infidel).

....

gratefully acknowledges its supporters

PRINCIPAL GOVERNMENT PARTNERS

MALTHOUSE THEATRE IS SUPPORTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL, ITS ARTS FUNDING AND ADVISORY BODY

MAJOR PARTNER

PRODUCTION PARTNER

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CORPORATE PARTNERS

CORPORATE ASSOCIATES TRUSTS & FOUNDATIONS Annamila Pty Ltd

Artists in Residence Program

The Tom Kantor Fund and Dara Foundation

Education & Youth Access Program

Indigenous Theatre Program

Slome-Topol Family Charitable Trust Company in Residence Program

Artist Program

The Malcom Robertson Foundation

At the CUB Malthouse - 113 Sturt Street Southbank VIC 3006 Box Office +61 3 9685 5111 Administration +61 3 9685 5100 Facsimile +61 3 9685 5112 Email admin@malthousetheatre.com.au Web www.malthousetheatre.com.au BOARD OF DIRECTORS Simon Westcott (Chair), Frankie Airey, John Daley, Michele Levine, Ian McRae, Neil Smart, Thea Snow, Sigrid Thornton, Leonard Vary.

Production Manager David Miller Technical Manager Baird McKenna Operations Manager Dexter Varley Production Coordinator Lucy Birkinshaw Head Electricians Tom Brayshaw & Stewart Birkinshaw Campbell Artistic Director Marion Potts Head Mechanist Andy Moore Executive Producer Jo Porter Workshop Supervisor David Craig Interim Business Manager Head of Wardrobe Amanda Carr Emma Calverley Wardrobe Assistant Chloe Greaves Steel Fabricator Goffredo Mameli Company Managers Nina Bonacci & Workshop Staff Dan Talbot Julian Hobba Scenic Artist Patrick Jones Dramaturge in Residence Props Master Ross Murray Maryanne Lynch (lifetime recognition) Assistant to the Dramaturge Petra Kalive Artist in Residence - Design Anna Cordingley Artist in Residence - Lighting Design Paul Jackson Education Program Manager Fiona James Finance Manager Mario Agostinoni Finance Assistant Liz White Marketing & Communications Manager Brad Martin Philanthropy Manager Tamara Harrison Marketing & Communications Coordinator Nicole Smith Development Coordinator Jaclyn Birtchnell Media Manager Annette Vieusseux Interim Media Assistant Lucy Forge Assistant Ticketing Manager Emma Howard Building Manager Frank Stoffels Bar Manager Cherry Rivers Front of House Managers Tristan Watson & Sean Ladhams

Front of House/Bar Staff Matt Adair, Milo Adler-Gillies, Mira AdlerGillies, Rebecca Bower, Jacqui Brown, Rowan Michael Davie, Alice Dixon, Graham Downey, Tanja George, Kate Golding, Chloe Greaves, Kate Gregory, Simon Jeanes, Paula Lay, Gabrielle Lowe, Bridie McCarthy, Ruby Nolan, Felix Preval, Sara Retallick, Claire Richardson, Caleb Shea, Mimosa Schmidt, Kathryn Stuckey, Jade Thomson, Lee Threadgold, Pete Walker, Andy Wall, Janine Watson.

Box Office Staff Liz Bastian, Mark Byrne, Rachel DysonMcGregor, Cindy Elliott, Rachel Gelzinnis, Kate Gregory, Michelle Hines, Philip Holyman, Mike McEvoy, Fiona Wiseman, Liz White.

With special thanks to Stephen Armstrong and Catherine Jones.

This program has been printed on 100% recycled paper using soya based inks.

MUSE DONOR PROGRAM

We extend our heartfelt thanks to the following donors: URANIA (Muse of the Stars) Anonymous (1)

CLIO (Muse of History) Berry Liberman & Daniel Almagor

THALIA (Muse of Comedy) John & Lorraine Bates, Daniel & Danielle Besen, Eva Besen AO & Marc Besen AO, Debbie Dadon, Roger Donazzan & Margaret Jackson, Colin Golvan SC, John & Janet Calvert-Jones, Neilma Gantner, Richard Leonard, Philanthropy Squared, Trawalla Foundation MELPOMENE (Muse of Tragedy) Beth Brown & Tom Bruce AM, Terry Cutler, D.L & G.S Gjergja, Peter & Anne Laver, Tim & Lynne Sherwood, Neil & Barbara Smart EUTERPE (Muse of Music) Ingrid Ashford, Carolyn Floyd, Scott Herron, Ian Hocking & Rosemary Forbes, Michael Kingston, Naomi Milgrom AO, Dame Elisabeth Murdoch A.C., D.B.E., Rae Rothfield, Elisabeth & John Schiller, Marshall Segan, The Bardas Foundation, The Pratt Foundation, Leonard Vary & Matt Collins, Simon Westcott, Phil & Heather Wilson, Anonymous (2) TERPSICHORE (Muse of Dance) Graham & Anita Anderson, Sally Browne, Diana Burleigh, Min Li Chong, Sieglind D’Arcy, Rev Fr Michael Elligate, Taleen Gaidzkar, Brian Goddard, Brad Hooper, Susan Humphries, Graeme & Joan Johnson, Ann Kemeny & Graham Johnson, K & J Lindsay, Pamela McLure, James Penlidis & Fiona McGauchie, Robert Peters, Rosemary Ricker, Robert Templar, Gina Stuart, Jenny Schwarz, Fiona Sweet, Robert Sessions & Christina Fitzgerald, Dr. Victor & Dr. Karen Wayne, Angelika & Peter Zangmeister ERATO (Muse of Love) John Carruthers, Diane Clark, Chris Clough, Patricia Coutts, Callum Dale, Doreen Dempster, Peggy Hayton, Shirley Hickey, Leonie Hollingworth, Irene Irvine, Irene Kearsey, Ruth Krawat, Anna Lozynski, Gael & Ian McRae, Dr. Kersti Nogeste, John & Margot Rogers, Karen Russell , John Thomas, Ann Tonks, Rosemary Walls, Bruce Wapshott & Daryl Moon, Jan Watson, Joanne Whyte, Dr. Roger Woock & Fiona Clyne, Barbara Yuncken, Anonymous (13)

OUR NEXT STAGES CAMPAIGN

THE ENGINE ROOM This year we invite you to cross the threshold into the rehearsal room and witness where it all begins – to enter The Engine Room!

Malthouse Theatre’s Engine Room provides a time and place for creative possibilities. For the first time we are quarantining three months of the year, dedicating this time solely to the development of new work. This is not production rehearsal time, but time for creative development. During this period our resident artistic team and their collaborators will be exploring ideas and experimenting across a range of performance genres, creating and laying the foundations for future years’ programs.

In The Engine Room we start working on a project from the moment of its conception – when a writer has an idea, a designer sees an image, or a director has a ‘formless hunch’.

The results of this are not seen immediately. But this process is essential if we are to build a future repertoire as surprising and as imaginative as we know you expect from us.

Your support of The Engine Room brings you right into the coal-face of the creative process; you are invited to witness the evolution of a work from early days to first night in the theatre, knowing you have contributed profoundly to its creation.

To find out more, please contact Philanthropy Manager, Tamara Harrison on 03 9685 5162 or tharrison@ malthousetheatre. com.au, or see malthousetheatre. com.au/next_stages Image: John Adam, Elizabeth Nabben & Marion Potts in rehearsal, Malthouse Theatre, February 2011

Malthouse Theatre & Sydney Theatre Company present

BAAL

By Bertolt Brecht Translated by Simon Stone & Tom Wright Directed by Simon Stone

APRIL 2 – APRIL 23 Bookings malthousetheatre.com.au or 03 9685 5111