TRIPLE X program

triple x

By Glace Chase

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14 Mar — 4 Apr

Bille Brown Theatre

TRIPLE X

By Glace Chase CREATIVES Paige Rattray Director Renée Mulder Designer Ben Hughes Lighting Designer Kelly Ryall Composer & Sound Designer Nigel Poulton Intimacy & Fight Director Charmian Gradwell Voice & Text Coach Minka Stevens Stage Manager Mia McGavin Assistant Stage Manager CAST Akos Armont Scotty Glace Chase Dexie Christen O'Leary Deborah Contessa Treffone Claire Meyne Wyatt Jase ATTENDANCE INFORMATION Triple X will run for approximately 2 hours and 50 minutes including a 20 minute interval.

WARNINGS This production contains adult themes, frequent strong language, explicit sexual references, sex scenes and the use of herbal cigarettes. The use of photographic or recording equipment is not permitted inside the theatre.

ACKNOWLEDGEMENT OF COUNTRY Queensland Theatre would like to acknowledge the Jagera and Turrbal people who are the Traditional Custodians of this land. We pay our respects to their Elders both past and present, and to all Aboriginal and Torres Strait Islander peoples.

PROUDLY SUPPORTED BY BRISBANE CITY COUNCIL

A Sydney Theatre Company co-production

A deliciously naughty anti-romance Scotty has it all: a multimillion-dollar loft in downtown Manhattan, a high-flying Wall Street job, and he’s about to marry the perfect fiancée, who also happens to be loaded. But when he meets trans performance artist Dexie, he discovers he wants something more. A friend? A confidante?

A lover?

When the secret of their affair gets out, it’s sure to shock not only his dudebro Jase, his highly-strung mother Deb, and his lesbian activist sister Claire, but also a theatre audience strapped in for the ride of their lives.

From the wickedly funny pen of Australianborn, New York-based playwright, comedienne and performer Glace Chase, this play is an hilarious, honest and emotionally affecting look at entitlement, hypocrisy, and the realities of love.

queensland theatre premiere Production Partner

Government Partners

Corporate Ally

Principal Partner

Glace Chase

Christen O'Leary

Contessa Treffone, Sean Proude

Welcome The history of Australian theatre is filled with artists leaving home and venturing overseas to learn, to grow and to build careers and lives in other countries.

Whenever they return it is a joy to welcome them back onto our stages and make sure they know that no matter how far they travel, they will always have a home in the Australian storytelling family.

Lee Lewis Artistic Director

This is especially true of our Australian playwrights. There are many living around the world today writing plays that may tell stories of other places but will always have a deeply Australian voice. We cannot lose the voices of these writers to other lands. And so we must produce their plays! And in this way we follow them on their adventures.

Glace Chase is an extraordinarily talented playwright who now makes her home in NYC, but who will always be a great Australian voice. Beyond the comedy, beyond the drama, this play, Triple X is an act of generosity sharing with us a perspective on the world that is new, raw, challenging and insightful. I am always grateful when playwrights create a window into lives and worlds we may not be living ourselves. And Glace is definitely doing that. And by putting herself in the centre of the play she is ensuring we will not look away.

When a playwright’s voice is so strong it attracts powerful partners, so the teaming of Glace with Paige Rattray should come as no surprise. One of Australia’s great new work directors, it is a real pleasure to see her bringing Glace’s vision to life for the first time on the planet here in Brisbane.

That is the magic of new plays – we get to be the very first audience for these words. The play will take its first steps with us as its first audience then it will travel down to Sydney for a season with our partners at Sydney Theatre Company then hopefully it will have a life in the future around the world.

But these first steps would not have been possible without the support of Principal Partner RACQ, Production Partner Suncorp and King & Wood Mallesons as Corporate Ally. New plays need the support of the courageous and the brave, people and companies and governments who believe in Australian originality. We thank them all as we thank you for joining us tonight on the great adventure that is Triple X. Lee

NYC

Avocado Oil

Drag Queens

Polly Rowe, Paige Rattray, Contessa Treffone, Glace Chase

Meyne Wyatt

Akos Armont, Glace Chase

Director’s Note

This play has been a long time in the making.

Paige Rattray Director

I first met Glace 10 years ago, while we were both doing work at Griffin Theatre Company. Because of her wit, brilliant writing and enigmatic soul, I was immediately drawn to her and knew straight away that I wanted to work with her.

But back then I was a baby director and she was too established. In the intervening years my directorial practice has developed and, despite Glace moving to New York City (devastating), I held on to this desire, knowing, when the time was right, I would strike.

Then a few years ago, I was heading to New York and I used the opportunity to organise this long-desired catch up. We met at Monster Bar, a pioneering gay bar just across the park from Stonewall (the unofficial birthplace of the American gay rights movement), and reconnected.

Over some particularly lethal frozen margaritas, Glace regaled me with war stories, each more outrageous and compelling than the last. At one point, after a particularly hilarious story, I said to Glace, “there’s a play in that”.

There was some resistance, Glace had given up on writing and she wasn’t keen to go back to it. But after a few more margaritas and a reading session at Glace's apartment the next day in which we went through all her old plays, the journey toward Triple X began.

And thank God it did because this play is fantastic; moving, hilarious and very finely and beautifully constructed. I see Glace’s work as part of a contemporary movement, including

people like Branden Jacobs-Jenkins, that takes the experiences of underrepresented peoples and new ideas about community and equality, and places them within traditional theatrical structures. In the case of Jacobs-Jenkins, it’s the experiences of African Americans, in the case of Glace, it’s life as a trans woman.

In many ways, Triple X is a conventional well-made play, complete with secrets, lies and forbidden love. But stories like Dexie’s so often go untold.

Sharing a story like this, one that is in part informed by her own life, requires a great deal of bravery on Glace’s part. In hindsight, this might be the reason she was initially resistant to write it, because it would require a great deal of vulnerability and emotional energy. It’s also the reason that it’s so vital that a play like Triple X gets staged.

There can be no doubt that Triple X has challenging elements, and not just for those people who are unfamiliar with queer politics.

Because Glace’s writing is so real, so sharp, it reveals to all of us the deep complexities of what it means to be human and part of a community in the 21st century.

To this end, I think it’s important to remember that Triple X isn’t just one couple’s story, though it is that. The play is also a depiction of all of us and the stories we tell: the facades we present to the world to get by and the lies we tell ourselves in order to make life easier to navigate.

Writer’s Note I loathe writers’ notes. I feel like I’m meant to be

‘significant’ and ‘explain the work’. I have no interest

in being significant and the work should explain itself, on its own terms. So, although I have a thousand

opinions and emotions on Triple X, I don’t want to cloud your own interpretation. It’s up to you.

Glace Chase Writer

Some observations: • Writing the play was a story in itself. I’d love to tell it at some point – it’s fascinating, hilarious and bizarre. But not yet.

• It’s about 70-80% true. I had to tweak, condense and combine some stuff for ‘drama’.

But essentially, it’s true.

• Only I’d be stupid enough to write a play that is, in part, about toxic masculinity, but is also sympathetic to ‘toxic men’. As is constantly pointed out right now, toxic masculinity is bad (duh)! But there’s something deeper about why it occurs that I felt should be explored.

Or, I did it ‘cos I’m a ho for men’s attention, and really listening to them gets it. Probably the latter.

• Dexie is me. With a few crucial differences.

But yes she’s me. Why pull any punches?

• The story felt like it needed to be told. I really didn’t want to. But I could see that if anyone was going to write it then it should be me: I knew the what, the why and most importantly the how to actually do it (all those long ago won, now discarded, playwriting awards...) but I really didn’t want to.

• A Modern American Love Story.

• At some points during the writing I didn’t know where I stopped and the play started.

Our narratives became permanently intertwined. I still can’t fully separate them.

• When I write I often type ‘xxx’ as a placeholder when I can’t think of a word, so as not get in the way of my flow. The initial pitch had, as its title, xxx. I gasped. xxx. Triple X. Killer title. And it’s so the play.

• Akos is a gentleman.

• Secrets and Lies. Secrets and Lies.

• Most of the most heartfelt lines are taken verbatim from real life. They’ve been said to or by me. It blows my mind. It is what it is.

• Triple X doesn’t pass the Bechdel Test. I find that mortifying.

• I’ve never acted professionally before. Only I would make my ‘profesh’ acting debut at two of the biggest theatre companies in Australia.

Kinda hilarious. I’ll probably suck but I’m very grateful.

• If the play were to ever have a sequel I don’t know what it’d be called. Quadruple X? Double X? Triple XL? Triple XS? I can’t stop kicking it around for fun. There’s more Scotty and Dexie to come…

• If this is the last play I write, and it could be, I cannot overstate how bad writing is for my health – my friends and I worry for me when I write. But if it is the last then I’m so proud it’s Triple X. • For someone who hates writers’ notes, why are these so long??? I talk too much.

• Time will tell what Triple X does but tonight it will speak for itself.

PS. Thanks first and foremost to Paigey.

Thank you!!!

As a playwright, Glace Chase has won two Griffin Awards and the Queensland Premier’s Literary Award, and has been shortlisted for almost every playwriting award in Australia.

Glace Chase, Akos Armont

QPDA 2020-21

Queensland Premier’s Drama Award The Queensland Premier’s Drama Award (QPDA) 2020–21 is a development award for writers and performance makers to grow their first drafts, pitch documents, sample scenes, or creative development findings into a professional world premiere at Queensland Theatre.

We have recently announced the finalists from the record-breaking field of 221 entries. This marks the largest intake of new dramatic works in the Award’s 17-year history, with entries received from every state and territory in Australia.

Join us on 9 April for the Finalist Play Readings.

Anna Loren Comfort, 2.30pm Maddie Nixon Binnavale, 5.00pm Steve Pirie Return to the Dirt, 8.00pm Book tickets queenslandtheatre.com.au/QPDA

PROUDLY SUPPORTED BY

Congratulations to the finalists of the Queensland Premier’s Drama Award 2020-21

Christen O'Leary, Meyne Wyatt, Paige Rattray

Contessa Treffone, Nigel Poulton, Meyne Wyatt

Kelly Ryall

From our Production Partner

At Suncorp, I’ve seen the true value of having a diverse workforce.

By providing an inclusive and empowering workplace, every individual is able to thrive and do their best to support our customers and communities. We believe that every person, no matter their background or identity, should be supported to bring their whole selves to work.

At Suncorp we are pleased to support the great work of The Pinnacle Foundation. I wish you a great night at the theatre – enjoy the show!

Steve Johnston Suncorp Group CEO

It’s this commitment to inclusion that has seen us awarded Silver Employer Status as well as Best External Media Campaign at the Australian LGBTI Inclusion Awards.

We’re Australia’s best bank, again.

Call 13 11 55 | Banking products are issued by Suncorp-Metway Ltd ABN 66 010 831 722 (“Suncorp Bank”).

Suncorp Bank

Glace Chase

Paige Rattray

Renée Mulder

Writer/Dexie

Director

Designer

Glace Chase is a multiple award winning “trans-queen” / performer / writer /

Queensland Theatre: Fangirls (with Belvoir in association with ATYP), Hedda, Black is the New

Queensland Theatre: Nearer the Gods, Black is the New White (with Sydney Theatre Company),

comedienne / bon vivant. Described as “delightfully satanic” by Time Out NY, Glace’s work defies easy categorisation and spans disciplines. Glace created the world’s first Drag Queen Tour Guide business – Dream Queen Tours – named “Best Alternative Tour” by the International Travel & Hospitality Awards and she performs nightly across NYC in an array of comedy and storytelling shows.

White (with Sydney Theatre Company), Scenes from a Marriage, Switzerland.

Other Credits: As Director: Sydney Theatre Company: The Deep Blue Sea, The Beauty Queen of Leenane, How To Rule The World, Black is the New White (2019, 2018, 2017), Australian Graffiti, Power Plays, Boys will be Boys; Arthur: Bright World (with Theatreworks), The Sea Project, Return to Earth (with Griffin Independent); The Myth Project: Twin (with MTC NEON), The Mesh (with Red Stitch) The Midlands (with Mudlark), Dirtyland (with The Spare Room), Cut Snake; Griffin Theatre Company: Heartbreak Hotel; Milk Crate Theatre: This House is Mine; ATYP: Out of Place; NIDA: The Lieutenant of Inishmore, Blessed Are The Wild. As Dramaturg: Sydney Theatre Company: The Golden Age. As Assistant Director: Sydney Theatre Company: Speed-the-Plow, Arms and the Man, Battle of Waterloo, Travelling North. Positions: Associate Director, Sydney Theatre Company (2018 - current); Associate Artistic Director, Queensland Theatre (2017-18); Richard Wherrett Fellow, Sydney Theatre Company (2015-16); Co-Founder, Arthur; Resident Director, Griffin Theatre Company (2011); Affiliate Director, Griffin Theatre Company (2010). Awards: Matilda Awards - Best Musical or Cabaret Fangirls, Best Mainstage Production Switzerland; Sydney Theatre Awards Best Direction of a Mainstage Production The Beauty Queen of Leenane, Best Production of a Mainstage Musical Fangirls; Gloria’s Fellowship recipient; Mike Walsh Fellowship recipient.

Training: NIDA.

An Octoroon, Rice (with Griffin Theatre Company), The Effect (with Sydney Theatre Company), Sacre Bleu, Fat Pig. Other Credits: As Designer: Sydney Theatre Company: The Beauty Queen of Leenane, Banging Denmark, The Torrents, The Bleeding Tree (with Griffin Theatre Company), Hamlet: Prince of Skidmark, Orlando, Battle of Waterloo, Perplex, The Long Way Home, Dance Better at Parties, Mrs Warren’s Profession, Marriage Blanc, In a Heart Beat, The Splinter, Actor on a Box: The Luck Child; Melbourne Theatre Company: Home, I’m Darling, Arbus and West; Griffin Theatre Company: Prima Facie, The Bleeding Tree, The Boys, A Hoax (with La Boite); La Boite: As You Like It, Ruben Guthrie, I Love You, Bro; Bell Shakeapeare: Romeo and Juliet; Griffin Independent: The Pigeons; Theatre Forward: The Sneeze.

As Costume Designer: Sydney Theatre Company: The Harp in the South Part One and Part Two, Saint Joan, Top Girls, Chimerica, Endgame, Children of the Sun, Vere (Faith) (with State Theatre Company of South Australia). As Set Designer: Sydney Theatre Company: Edward Gant’s Amazing Feats of Loneliness (with La Boite). As Associate Designer: Sydney Theatre Company: Cyrano De Bergerac. Film: As CoProduction Designer: A Parachute Falling in Siberia (short). Positions: National Artistic Team, Queensland Theatre (2015-17); Resident Designer, Sydney Theatre Company (2012-14). Awards: Sydney Theatre Award - Best Set Design Mainstage Production The Beauty Queen of Leenane; Matilda Award - Best Design Edward Gant’s Amazing Feats of Loneliness. Training: NIDA; Queensland College of Art.

As a playwright Glace has won two Griffin Awards and the Queensland Premier’s Literary Award, and has been shortlisted for almost every playwriting award in Australia. Glace is currently under commission by Sydney Theatre Company for Drag County. Other plays include Whore, A Hoax, Oranges & Lemons, GULL or the lamentable comedie called love (hereto known as the Trannies’ Revenge) and Nobody’s Girl. Her plays have appeared at Griffin Theatre Company, Belvoir St Theatre, La Boite, The Public Theatre NYC and NJ Rep. Random career highlights include: signing NDAs for corporate cruises in the Caribbean and Italy; making an audience member cry at her weekly improv comedy night; one hundred 5 star reviews on Tripadvisor; Bushwig festival; and appearing on the Risk! podcast.

Ben Hughes

Kelly Ryall

Nigel Poulton

Lighting Designer

Composer & Sound Designer

Intimacy & Fight Director

Queensland Theatre: Hedda, Scenes From a Marriage. Other Credits: Sydney Theatre Company: Boys will be boys, The Trial (with Malthouse); Melbourne Theatre Company: A View from the Bridge, Working with Children, Di and Viv and Rose, Hay Fever, Three Little Words, Double Indemnity, Rupert, Peddling, The Crucible, On the Production of Monsters, Return to Earth, Dead Man’s Cell Phone, God of Carnage, Savage River (with Griffin Theatre Company); Bell Shakespeare: Romeo and Juliet, As You Like It, Phedre, Henry IV, Macbeth, Julius Caesar, The School for Wives, Tartuffe; Malthouse: Brothers Wreck (with State Theatre Company of South Australia), Edward II, The Shadow King, Dance of Death; Griffin Theatre Company: The House on the Lake, Emerald City, The Boys (with Sydney Festival), And No More Shall We Part, The Floating World, Dreams in White; Belvoir: Title and Deed, Kill the Messenger, Cinderella, Nora, Hedda Gabler; Force Majeure: You Animal, You; Theatre Works: Animal; Melbourne Festival: The Bacchae (with Fraught Outfit, Dark Mofo). Film: Cherry Season, Eye Contact, Tomorrow, Stasis, Lois, One Night, Finale, Meat, Sandwich.

Awards: Green Room Awards - Best Sound Design (Theatre) Animal; Green Room Awards - Best Composition (Independent Theatre) Love Monkey; Green Room Awards - Best Sound/ Music (Alternative/Hybrid Performance) Coop; Green Room Awards - Best Sound Design Arabian Night; Melbourne International Arts Festival Award (2007).

Queensland Theatre: City of Gold (with Griffin Theatre Company), Hydra, Noises Off (with Melbourne Theatre Company), Much Ado About Nothing, Switzerland, Macbeth. Other Credits: Sydney Theatre Company: The Deep Blue Sea, The Beauty Queen of Leenane, Cat on a Hot Tin Roof, How to Rule the World, Mary Stuart, The Harp in the South Part One and Part Two, The Long Forgotten Dream, Blackie Blackie Brown (with Malthouse), Accidental Death of an Anarchist, The Resistible Rise of Arturo Ui, Saint Joan, Three Sisters, Dinner, Muriel's Wedding The Musical (with Global Creatures), Black is the New White (2017), The Golden Age, The Present, Switzerland, Macbeth, Noises Off, Cyrano de Bergerac, Romeo and Juliet, The Removalists, Romeo & Juliet (Education); The Australian Ballet: Spartacus; Opera Australia: Faust, Cavalliera Rusticana & Pagliacci, Krol Roger, La Traviata, Carmen, Tosca; Bell Shakespeare: Hamlet, Much Ado About Nothing, The Miser, Antony and Cleopatra, Richard III, Romeo and Juliet, Othello, A Midsummer Night’s Dream, The Dream, Julius Caesar; La Boite: Romeo and Juliet, Prizefighter, Richard III, Cosi; Belvoir: Packer and Sons, Things I Know To Be True, Counting and Cracking, Dance of Death, Sami in Paradise, The Sugar House, A Taste of Honey, An Enemy of the People; Melbourne Theatre Company: Shakespeare in Love, Three Little Words, Jasper Jones, Hamlet. Film: Occupation 2, Pirates of the Caribbean: Salazar’s Revenge, Deadline Gallipoli, The Water Diviner, Winter’s Tale, Vikingdom, Salt, I Am Legend, The Bourne Legacy.

Television: Sea Patrol, The Good Wife, Boardwalk Empire, The Sopranos, 30 Rock, Law & Order: Criminal Intent.

Positions: Teaching role, NIDA; Teaching role, University of Southern Queensland; President, Society of Australian Fight Directors (Past). Awards: Green Room Award - Outstanding Contribution to the Stage. Training: Certified Intimacy Director and Intimacy Coordinator, Intimacy Directors International; Advanced Training in Theatrical Biomechanics; Certified Fight Director and Teacher, Society of American Fight Directors; Fight Director, Society of Australian Fight Directors; Honorary Fight Director with Fight Directors Canada.

Queensland Theatre: Antigone, L’Appartement, Twelfth Night, Good Muslim Boy (with Malthouse), Scenes from a Marriage, An Octoroon, Noises Off! (with Melbourne Theatre Company), Constellations, Switzerland, Much Ado About Nothing, The Seagull, Happy Days, Grounded, HOME, The Button Event, The Effect (with Sydney Theatre Company), The Mountaintop, Black Diggers (with Sydney Festival), Design for Living, 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu, Let The Sunshine (with Melbourne Theatre Company), Fat Pig, The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Ice Cream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. As Associate Lighting Designer: Toy Symphony, Heroes. As Co-Director/ Designer: Trollop. Other Credits: Sydney Theatre Company: Black is the New White; La Boite: The Neighbourhood, From Darkness, The Mathematics of Longing, A Streetcar Named Desire, Straight White Men (with State Theatre Company of South Australia), Snow White (with Opera Queensland & Brisbane Festival), Medea, Samson (with Belvoir), A Doll’s House, Cosi; The Danger Ensemble: Let Men Tremble, Caligula, The Wizard of Oz, Sons of Sin, Loco Maricon Amor, The Hamlet Apocalypse; Adelaide Festival: Two Feet; Opera Queensland: Don Giovanni; Expressions Dance Company: Converge, Mozart Airborne (with Opera Queensland), The Host, Carmen Sweet, Propel; Queensland Ballet: The Masters Series, Flourish, Giselle, A Classical Celebration, ...with Attitude; QPAC/Red Leap: The Arrival. Positions: Affiliate Artist (2014, 2011), Queensland Theatre; Resident Lighting Designer (2013), Queensland Theatre; Associate Artistic Director, The Danger Ensemble; Professional Member, Association of Lighting Designers; Accredited Member, Australian Production Design Guild. Awards: Groundling Award – Outstanding Contribution to Lighting Design.

Charmian Gradwell

Minka Stevens

Voice & Text Coach

Stage Manager

Queensland Theatre: Black is the New White (with Sydney Theatre Company).

Other Credits: Sydney Theatre Company: No Pay? No Way!, The Deep Blue Sea, The Beauty Queen of Leenane, Mary Stuart, Accidental Death of an Anarchist, The Harp in the South Part

Queensland Theatre: Debut. Other Credits: As Stage Manager: Sydney

One and Part Two, The Long Forgotten Dream, Saint Joan, Blackie Blackie Brown (with Malthouse Theatre), Still Point Turning, The Resistible Rise of Arturo Ui, Lethal Indifference, Top Girls, Dinner, The Father (with Melbourne Theatre Company), Black is the New White (2017), Talk, Chimerica, A Flea in Her Ear, All My Sons, Disgraced, Hay Fever, Arcadia, The Golden Age, King Lear, The Present, Suddenly Last Summer, After Dinner, The Long Way Home, Travelling North, Machinal, Waiting for Godot, Romeo and Juliet, Rosencrantz and Guildenstern are Dead, Storm Boy, The Maids, Mrs Warren’s Profession, Sex with Strangers, Under Milk Wood, Gross und Klein, Bloodland, In the Next Room (or The Vibrator Play), Uncle Vanya, A Streetcar Named Desire, The War of the Roses, Tot Mom; Royal Shakespeare Company: The Taming of the Shrew, Julius Caesar, The Tempest, The Canterbury Tales (tour), A Winter’s Tale, Pericles, Days of Significance, Macbeth, Macbett, The Penelopiad, Noughts and Crosses, The Comedies London Season, Twelfth Night, A Midsummer Night’s Dream, The London Gunpowder Season, Romeo and Juliet, Comedy of Errors. As Dialect Coach: The Lion King, Mary Poppins, The Tap Brothers, Xanadu the Musical. As Director: Sydney Theatre Company: The Comedy of Errors. As Director/Trainer: A year with Space 2000 in Kaduna, Nigeria. Film: As Dialect Coach: Peter Rabbit, Thor: Ragnarok, Pirates of the Carribean: Dead Men Tell No Tales, Reaching for the Moon, Truth, Ginger & Rosa. Positions: Voice Trainer, London School of Puppetry; Member of London Shakespeare Workout. Training: Central

School of Speech and Drama, Bristol Old Vic Theatre School.

Theatre Company: The Real Thing, Cat on a Hot Tin Roof, Mary Stuart, The Harp in the South, Part One and Part Two, The Resistible Rise of Arturo Ui, Dinner, Chimerica, A Flea in Her Ear, All My Sons, Arcadia, Orlando, Endgame, Children of the Sun, Mojo, Travelling North, Machinal, Rosencrantz and Guildenstern Are Dead, Face to Face, In The Next Room or the Vibrator Play, Stockholm, Our Town, The Wonderful World of Dissocia, Saturn’s Return, Tot Mom, Rabbit. As Deputy Stage Manager: The Present, Gross Und Klein (Big and Small) including European Tour. Positions: Head of Stage Management, Sydney Theatre Company.

Training: NIDA.

Mia McGavin Assistant Stage Manager Queensland Theatre: As Secondment: Hydra.

Other Credits: As Secondment: La Boite: From Darkness. As Production Stage Manager: QUT: Standing By, 3 Winters. As Assistant Stage Manager: QUT: The Season at Sarsaparilla; Ballet Theatre Queensland: The Little Mermaid. As Vison Designer: QUT: Spike Heels. As Sound and Vision Coordinator: QUT: Dance. As Costume Designer: QUT: Collab Works. As Costume Assistant: QUT: Pygmalion, Breaking the Code. As Mechanist: Creative Generation State Schools on Stage. Training: Bachelor of Fine Arts (Technical Production), QUT.

Akos Armont Scotty Queensland Theatre: Debut. Other Credits: Sydney Theatre Company: Romeo and Juliet, Spring Awakening: A New Musical, The Lost Echo; Melbourne Theatre Company: Neighbourhood Watch; Belvoir: Strange Interlude, As You Like It; Griffin Theatre Company: The Kid; Sport for Jove: No End of Blame; Darlinghurst Theatre Company: A Life in the Theatre; Black Swan Theatre Company: The Web. Film: Harmony, Pirates of the Caribbean: Dead Men Tell No Tales, Andy X, The Railway Man, The Headpusher.

Television: House Husbands, Winter, Janet King, Spirited, Rescue Special Ops, Panic at Rock Island, Home and Away, The Strip, The Pacific. Writer: Brabham, The Tender Dark. Positions: Managing Committee, Actors Benevolent Fund (2014-18). Awards: Sydney Theatre Award - Best Newcomer. Training: NIDA.

Christen O’Leary

Contessa Treffone

Deborah

Claire

Queensland Theatre: Antigone, Twelfth Night, Scenes from a Marriage, Much

Queensland Theatre: Debut. Other Credits: Sydney Theatre Company:

Ado About Nothing, Ladies in Black, The Seagull, Gloria, End of the Rainbow, Bombshells, The Marriage of Figaro, The Game of Love and Chance, The Crucible, Seven Little Australians, The Cherry Orchard, A Month in the Country, Gilgamesh, The Woman Before, The Sunshine Club, The Threepenny Opera, The Beaux Stratagem, Fuente Ovejuna. Other Credits: Sydney Theatre Company: The 25th Annual Putnam County Spelling Bee, Urinetown, Threepenny Opera; La Boite: Blackrock, Medea, A Midsummer Night’s Dream; Melbourne Theatre Company: Ladies in Black, Ruby Moon, Don Juan in Soho, Company, The 25th Annual Putnam County Spelling Bee, The World’s Wife, Urinetown, Hinterland, Laughter on the 23rd Floor, Man the Balloon, The Comedy of Errors, A Little Night Music, The Rover, Assassins; The Production Company: The Boy From Oz, High Society, Hello Dolly; Malthouse Theatre: Ruby Moon, Tear From a Glass Eye, The Goldberg Variations, Porn Cake, Goodbye Vaudeville Charlie Mudd; Kay & McLean Productions: North By Northwest. Film: Australia Day, Pinch Me. Television: Wentworth, Hoges (Miniseries), Neighbours, Rush, Blue Heelers, Crashburn, Sea Change. Awards: Matilda Award – Best Female Actor in a Leading Role End of the Rainbow; Helpmann Award – Best Female Actor in a Supporting Role, Musical The 25th Annual Putnam County Spelling Bee; Green Room Award – Best Female Actor in a Featured Role Company, A Little Night Music. Training: Diploma of Arts (Creative), USQ.

The Deep Blue Sea, Lord of the Flies, The Harp in the South Part One and Part Two, Top Girls, Three Sisters, All My Sons, Children of the Sun; Griffin Theatre Company: Blueberry Play; Ensemble: Fully Committed, The Kitchen Sink; Darlinghurst Theatre: The Mystery of Love and Sex, This House is Mine; Redline Productions: Tongue-Tied, There Will Be a Climax; Sugary Rum Productions: Anatomy of a Suicide; Freefall Productions: White Rabbit/ Red Rabbit; KXT: Tiny Remarkable Bramble (with Invisible Circus); Bontom Productions: Unfinished Works; Stories Like These/ Griffin Independent: minusonesister; USA-UM/ Malthouse Theatre: Lord of the Flies. Film: June Again. Training: NIDA. Contessa is a proud member of Equity.

Costume Sketches by Renée Mulder

Meyne Wyatt Jase Queensland Theatre: City of Gold (with Griffin Theatre Company), Black Diggers (with Sydney Festival).

Other Credits: Sydney Theatre Company: King Lear, Bloodland, Stolen; Belvoir: Buried City, Peter Pan; Griffin Theatre Company: Silent Disco (with ATYP), Gloria, The Brothers Size; Bell Shakespeare: The School of Wives; Playwriting Australia: Minneapolis.

Film: The Sapphires, Strangerland, The Turning, Reaching the Distance, What if it Works. Television: Les Norton, Mystery Road, Wentworth, The Leftovers, Black Comedy, Neighbours, Redfern Now, The Broken Shore. Awards: Sydney Theatre Awards, Best Male Actor in a Leading Role in a Mainstage Production City of Gold; AACTA Awards Nomination – Best Lead Actor in a Television Drama Redfern Now; Logie Awards Nomination – Most Outstanding Newcomer; Sydney Theatre Awards – Best Newcomer. Training: NIDA; Aboriginal Theatre, WAAPA.

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Our playwrights are leading the charge, but we call on you, our donors and audiences, to support us in commissioning their new work.

Donate to Queensland Theatre and support storytelling that belongs to all of us.

For more information about our giving programs, please contact our Director of Development, ZoĂŤ Connolly on 07 3010 7602 or email zconnolly@queenslandtheatre.com.au

support storytelling that belongs to all of us

Costume Sketches by RenĂŠe Mulder for An Octoroon by by Branden Jacobs-Jenkins

Thank you to our donors QUEENSLAND THEATRE VISIONARIES Rainmakers Tim Fairfax AC & Gina Fairfax Ian & Cass George The Jelley Family Foundation Artistic Director's Circle Doug Hall Foundation Elizabeth Jameson & Abbe Anderson Pamela Marx The Mather Foundation Liz Pidgeon & Graeme Wikman Bruce & Sue Shepherd Leaders 2 Anonymous Australian Communities Foundation - Keith & Jeannette Ince Fund Barbara Duhig John & Gay Hull Cathryn Mittelheuser AM Dr Marie Siganto AM Trevor St. Baker AO & Judith St. Baker Benefactors $5,000+ 2 Anonymous Roslyn Atkinson AO & Richard Fotheringham AM Barbara Bedwell Christopher & Margot Blue Michael & Anne-Maree Byrne Ian & Ruth Gough Dr Anita Green Dr Geoffrey Hirst AM & Dr Sally Wilde Kim & Michael Hodge David & Katrina King Colin & Noela Kratzing Dr Joan M Lawrence AM Andrew & Kate Lister David & Jennifer Lynas Greg & Wendy O'Meara Nigel & Liz Prior John Reid AO & Lynn Rainbow-Reid AM Collaborators $2,500+ 1 Anonymous Tracey Barker Sarah Bradley Sue Brown Dr John H Casey Barry & Faye Clark Rachel Crowley Anna & Bruce Davidson Alan Galwey

Helen Gough Justus & Tamara Homburg Geoff & Michele James Amanda Jolly & Peter Knights Stephen & Terry Leach Susan Learmonth & Bernard Curran David & Erica Lee Tim Lucas The Merlo Family Charles & Catherine Miller Debra & Patrick Mullins The Nicklin Family Tim & Kym Reid John Richardson & Kirsty Taylor Sam Strong & Katherine Slattery David Williamson AO & Kristin Williamson Patrons $1,000+ 5 Anonymous J M Alroe William Ash & Margi Brown Ash Michael & Anne Back Noela Bartlett Jennifer Batts Chris & Patricia Beecham Virginia Bishop Andrew & Trudi Bofinger Robert Bond Justice Thomas Bradley & Dr Matthew Yoong Lisa & William Bruce M Cannon & J McCarthy Phillip Carruthers & Sharni Cockburn Rodd & Wendy Chignell Ross & Tina Claxton ZoĂŤ Connolly Sheryl Cornack Kerry & Greg Cowderoy Bruce & Helen Cowley Malcom & Margaret Davison Nick & Ali Dignan Andrew & Leonie Douglas Gadens Lawyers Glennis Gill & John Swinson William Glasson AO & Claire Glasson Dr Sara Gollschewski Louise M Gourlay OAM Sue & Mike Gowan John Graham & Craig Syphers John & Lois Griffin Alexandra Grove & Peter Dawson Sophia Hall

Herbert Smith Freehills Prof Lawrence Hirst Kevin & Joanne Holyoak Barbara Houlihan The Hudson Family Marc James Tempe Keune Fleur Kingham Ilan Klevansky & Katrina Low Karen & Peter Lane Lee Lewis Barbara Lloyd John & Janice Logan Marina Marangos In memory of Jann McCabe Bill McCarthy Sandra McCullagh John & Julienne McKenna Mark Menhinnitt Andrea Moor Richard & Denise Morton R & B Murray Kartini Oei Shay O'Hara-Smith Leanne O'Shea & Peter Gilroy Kim Parascos John & Mandy Peden Joanna Peters G. Pincus Blayne & Helen Pitts Clare & David Pullar Catherine Quinn Angela Ramsay Margaret Ridley & Daryl Clifford Maryanne Russell Crispin Scott Dr Josephine Sundin Damien Thomson & Glenise C. Berry Ralph & Pierette Whiteside Peter G Williams Margaret Williams Suzanne & Bo Williams Dr Catherine Yelland Tony & Linda Young

SUPPORTING CAST $500+ 5 Anonymous Anne & Peter Allen Prof Aidan Byrne Peter Callaghan John & Lynnly Chalk Bob Cleland Dr Paul Eliadis Dean Gibson Daryl & Trish Hanly Karen Heel Angelina Hurley Fred & Margaret Leditschke Susan Mabin Dr James Mackean Philip & Fran Morrison Denise O'Boyle Paddington Clinic Diane & Robert Parcell Wendy Peach Kym Richardson Marianna Serghi Bronwyn Springer Kevin Vedelago & Karen Renton Jacqui Walters Marian Wheeler Richard Whittington OAM Ian Yeo & Sylvia Alexander LEGACY GIFTS Realised Bequests Peggy Given Notified Bequests 1 Anonymous TRUST AND FOUNDATION PARTNERS Australian Communities Foundation - Davie Family Fund Australian Communities Foundation - Keith & Jeannette Ince Fund Gambling Community Benefit Fund Tim Fairfax Family Foundation William Angliss (Queensland) Charitable Fund

Annual donations over $500 are acknowledged in play programs for 12 months from the date of donation.

Queensland Theatre wishes to extend a heartfelt thanks to all our donors. Each gift, large or small, helps us make great theatre.

Acknowledging Visionaries who individually support special Queensland Theatre funds:

LPF Landmark Productions Fund

LC Legal Chapter, supporting the Play Commissioning Fund

You before profits

Banking and loan products issued by Members Banking Group Limited ABN 83 087 651 054 AFSL/Australian credit licence 241195 trading as RACQ Bank.

Thanks to our sponsors & partners Principal Partner

Building Enhancement Partner

Trust and Foundation Partners

Production Partners

Print & Digital News Sponsor

Live Broadcast Supporter

Media Supporters

Legal Partner

International Airline Partner

Season Supporters

Thank you to our generous Government Partners

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

Restaurant Partner

Join us as we celebrate 50 Seasons of Stories

celebration gala

celebration performances

Friday 8 May 7.30pm including postshow party with artists

Saturday 9 May 1.00pm and 7.30pm (performance only)

Book tickets queenslandtheatre.com.au/FIFTY

Proud partners of Queensland Theatre

RenĂŠe Mulder, Minka Stevens, Paige Rattray, Charmian Gradwell, Christen O'Leary, Contessa Treffone, Polly Rowe, Akos Armont, Nigel Poulton, Sean Proude, Glace Chase

Christen O'Leary, Akos Armont

Akos Armont, Glace Chase

PATRON His Excellency the Honourable Paul de Jersey AC, Governor of Queensland MEMBERS OF THE BOARD Elizabeth Jameson (Chair) Rachel Crowley (Deputy Chair) Tracey Barker Simon Gallaher Angelina Hurley Susan Learmonth Dr Andrea Moor David Williamson AO ARTISTIC DIRECTOR Lee Lewis EXECUTIVE DIRECTOR Amanda Jolly RESIDENT DRAMATURG Isaac Drandic EXECUTIVE ASSISTANT Donna Maher DEVELOPMENT DIRECTOR OF DEVELOPMENT Zoë Connolly CORPORATE PARTNERSHIPS MANAGER Danielle Shankey SPECIAL PROJECTS Liz Prior PHILANTHROPY COORDINATOR Georgia Lynas DEVELOPMENT AND EVENTS COORDINATOR Felicity Clifford GRANTS AND COMMUNICATION COORDINATOR Hannah Barr FINANCE AND OPERATIONS CHIEF FINANCIAL OFFICER Valerie Tam ASSISTANT ACCOUNTANT Georgia Knight FINANCE OFFICER Sarra Lamb FACILITIES AND OPERATIONS MANAGER Shaun Kelly VENUE AND BAR COORDINATOR Kimberley Mogg

MARKETING AND TICKETING DIRECTOR OF MARKETING Laura Oliver MARKETING COORDINATOR Maneka Singh MARKETING ASSISTANT Cinnamon Smith MARKETING ASSISTANT (DIGITAL ENGAGEMENT) Thomas Manton–Williams GRAPHIC DESIGNER Aleesha Cuffe PUBLICIST Kath Rose and Associates DATABASE TRAINER AND SUPERVISOR Rory Killen TICKETING SUPERVISOR Madison Bell TICKETING OFFICER Rosie Hazell BOX OFFICE Madeline Bassetti, Alana Dunn, Ashley Webster PRODUCTION DIRECTOR, TECHNICAL AND PRODUCTION Toni Glynn TECHNICAL MANAGER Daniel Maddison TECHNICAL COORDINATOR Lachlan Cross DEPUTY PRODUCTION MANAGER Candice Schmidt HEAD OF WORKSHOP Peter Sands COMPANY CARPENTER / HEAD MECHANIST John Pierce COSTUME SUPERVISOR Nathalie Ryner WARDROBE COORDINATOR Barbara Kerr

Queensland Theatre is a member of the Australian Major Performing Arts Group.

RECYCLE THIS PROGRAM Support Greening Queensland Theatre and recycle this program after the performance in the recycling bins provided in the foyer.

PROGRAMMING DIRECTOR OF PROGRAMMING Sophia Hall ARTISTIC COORDINATOR Samantha French PRODUCER, NEW WORK Shari Irwin ARTISTIC ADMINISTRATOR Hana Tow YOUTH, EDUCATION AND REGIONAL ENGAGEMENT DIRECTOR, YOUTH, EDUCATION AND REGIONAL ENGAGEMENT Laurel Collins ASSOCIATE DIRECTOR Travis Dowling EDUCATION COORDINATOR Emma Funnell PROJECT OFFICER Alana Dunn INDIGENOUS REFERENCE GROUP Nathan Jarro (Chair), Jimi Bani, Isaac Drandic, Angelina Hurley FOUNDING DIRECTOR AIan Edwards, AM, MBE (1925-2003) QUEENSLAND THEATRE PRODUCTION STAFF PRODUCTION ELECTRICIAN/LIGHTING PROGRAMMER Cameron Routley LIGHTING OPERATOR Bailey Macintosh FOH AUDIO ENGINEER Brady Watkins WARDROBE MAINTENANCE Jack Parry DRESSER Anna Hahn CARPENTER Jamie Bowman SCENIC ARTIST Leo Herreygers TOPSFX ARMOURER Aaron Cassidy SYDNEY THEATRE COMPANY PRODUCTION STAFF PRODUCTION MANAGER Kate Chapman HEAD MECHANIST Steve Mason HEAD CARPENTER Nick Horne REHEARSAL ASSISTANT STAGE MANAGER Sean Proude COSTUME SUPERVISOR Scott Fisher HEAD ELECTRICIAN Amy Robertson SOUND SUPERVISOR Luke Davis ACKNOWLEDGEMENTS COVER PHOTOGRAPHY Tim Jones REHEARSAL PHOTOGRAPHY Prudence Upton

Information correct at time of printing

Apply now Brisbane Airport Community Giving Fund Now seeking applications from hard-working schools, community groups and organisations in need of funding.

Apply now at bne.com.au/givingfund

BREAKFAST . LUNCH . DINNER 2 EDMONDSTONE ST SOUTH BRISBANE, 4101 WWW.BILLYKART.COM.AU

theatre residency week Celebrating 50 years in 2020

Theatre Residency Week is the longest running theatre program of its kind in Australia and in 2020 it will be our biggest one yet as we celebrate its 50th anniversary! Various scholarships are available, especially for students living in regional Queensland.

When 21 – 26 September

Government Partners

For more information queenslandtheatre.com.au/trw

Principal Partner