CITY OF GOLD - Program

By Meyne Wyatt

A GRIFFIN THEATRE COMPANY CO-PRODUCTION

Synopsis A battle cry from the front line of Australian identity

All Breythe ever wanted was to be an actor, but this isn’t how he imagined his first big television gig – as a young Aboriginal man, being the face of a disastrous misfire of an advertisement that will get him roasted by his mob.

When a messenger bird suddenly brings Breythe tragic tidings from his family, it spurs him on a journey of grief and duty. Returning home to Kalgoorlie, he is thrust headlong into family conflict and the reality of what it means to be an Indigenous youth in today’s Australia.

Rising star Meyne Wyatt’s debut play is as riveting and unflinchingly honest as his stage presence. Urgent, wryly funny and politically incendiary, City of Gold is a call for change that will sound out for years to come.

Representation

Family

Kalgoorlie

Meyne Wyatt

By Meyne Wyatt Directed by Isaac Drandic VENUE

CREATIVES

29 June - 20 July Bille Brown Theatre, Queensland Theatre

ISAAC DRANDIC Director SIMONA COSENTINI AND SIMONE TESORIERI Set Designers NATHALIE RYNER Costume Designer JASON GLENWRIGHT Lighting Designer TONY BRUMPTON Composer/Sound Designer SHARI INDRIANI Assistant Director PIP LOTH Stage Manager ANALIESE LONG Assistant Stage Manager

ATTENDANCE INFORMATION City of Gold will run for approximately 2 hours and 20 minutes including a 20 minute interval.

WARNINGS Contains strong coarse language, simulated violence, theatrical haze, the use of herbal cigarettes, lighting blackouts, strobe lighting and adult themes.

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.

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

Cover Photo: Tim Jones

CAST JEREMY AMBRUM Cliffhanger MATHEW COOPER Mateo MAITLAND SCHNAARS Dad SHARI SEBBENS Carina ANTHONY STANDISH Andrews/Whitman/Reporter CHRISTOPHER STOLLERY Simmonds/Director/ Acting Commander MEYNE WYATT Breythe CONTRIBUTING ARTISTS PAIGE RATTRAY Dramaturg NIGEL POULTON Fight Director MEGAN SHOREY Vocal Consultant HANNAH BELANSZKY Directorial Observation

SUPPORTED BY PLAYWRITING AUSTRALIA AS PART OF ITS MURU SALON AND NATIONAL SCRIPT WORKSHOP PROGRAMS SUPPORTED BY THE COPYRIGHT AGENCY CULTURAL FUND

A GRIFFIN THEATRE COMPANY CO-PRODUCTION

Queensland Theatre 78 Montague Road, South Brisbane, Queensland, 4101 Tel: 07 3010 7600 Fax: 07 3010 7699 Ticketing: 1800 355 528 mail@queenslandtheatre.com.au Follow us on:

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

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Shari Sebbens

Christopher Stollery, Anthony Standish

Christopher Stollery, Jeremy Ambrum, Meyne Wyatt, Anthony Standish

Welcome

Sam Strong Artistic Director

Amanda Jolly Executive Director

City of Gold is a play that makes us proud. It goes to the heart of

what it means for Queensland Theatre to be a leader in our industry and our community. It affirms our commitment to new writing and confirms our belief in the power of theatre to hold a mirror up to our society - especially when the reflected image is painful.

City of Gold is storytelling at its most urgent and important. Drawing on his own life, Meyne shares the challenges faced by many young Indigenous Australians: how to forge a path in a twenty-first century society, while staying connected to tradition. Using recent events in Kalgoorlie, his home town, as a backdrop, Meyne has crafted a remarkable play that speaks to the power of family, the pain of loss and the raging anger at injustice. It is by turns controversial, divisive, hilarious and shocking but always powerful, and always unforgettable.

Equally inspiring is the launch of a vital new playwriting voice. This is Meyne Wyatt’s first play, and unsurprisingly his writing is as electric as the acting that has won him acclaim on stage and screen. Moreover, by writing and performing in City of Gold, Meyne joins a worldwide trend towards bringing audiences more immediate, authentic and ultimately powerful experiences.

Joining Meyne are some of Queensland’s finest creative artists. The play is directed

by Queensland Theatre’s Cairns-based Resident Dramaturg Isaac Drandic, with dramaturgy by our former Associate Artistic Director Paige Rattray.

The set is designed by Cairns-based Simone Tesorieri and Simona Cosentini (My Name is Jimi and The Longest Minute) with skillful lighting by Jason Glenwright and sound by Tony Brumpton. Two outstanding actors, Mathew Cooper and Maitland Schnaars, are making their Queensland Theatre debut in this play alongside Christopher Stollery, who returns after many years away, and familiar Queensland Theatre faces Jeremy Ambrum, Shari Sebbens and Anthony Standish.

Queensland Theatre is proud to be staging this world premiere work, a co-production with Sydney’s Griffin Theatre Company.

Its development has been supported by Playwriting Australia as part of its Muru Salon and National Script Workshop programs, and supported by the Copyright Agency Cultural Fund. We thank them for making it possible to bring this story to life.

City of Gold is a once-in-a-generation story that we hope will linger with you long after you see it play out.

Sam and Amanda

Writer’s Note It is Thursday, 13th of June 2019, I am in the third week of

rehearsal for my first ever play, written by me: City of Gold.

I am the lead actor of the show, because of course I am, and I just so happen to be writing this, three days shy of my father’s birthday.

Meyne Wyatt Writer

This Sunday, 16th of June, my Dad would’ve turned 68. He passed October 24th 2015.

A week prior to his death, I flew back to Perth from Sydney, to see him. I was in rehearsals for another play at the time. Sensing the end was near, he said to me, ‘Don’t stop, keep doing what you’re doing, no one is going it to give to you, you have to take it...’

So, I went and got the skills I thought I needed. Learnt the basics of structure and whatnot. There was no lack of ideas, there was a plethora. And I’ll admit the first few absolutely sucked! But it’s about the process not the result, as I found out (Thanks Sopa!).

You’ll get something out of it, even if you think those initial ideas aren’t that good.

Four days after he died, with those words ringing in my head, I returned to work. I wanted to honour his wishes. They say hindsight is 20/20. Well, that decision turned out to be a mistake. I gave it my best. I was there physically but mentally and emotionally, I was somewhere else. But, you live and you learn.

In and around that time, a 14-year-old Indigenous boy, who also happens to be a distant relative, was run down by a white man in a 4WD in my hometown. He was killed almost instantly. The injustice that surrounded and enveloped the case that followed, left me and many Indigenous people in Australia and people around the world enraged. As all the cases of injustice that still plague this country do.

Throughout the 18-month period following, I had my first encounter with depression. I fell out of love with acting, I lost my passion and my career was in a holding pattern.

I was disillusioned with the industry. I read and auditioned for roles that left me dissatisfied. I was not seeing me. I was not hearing my voice. Still, those words were at the forefront of my mind.

That’s where the seed of an idea began to grow.

If I’m not going up for the roles I want, I’ll write one! But I had no experience in the field. It was always something in the back of my mind, like I would pursue it later in life. But I felt it was so urgent, that it had to be now or never.

So, I did what many first-time writers do and are encouraged to do. I wrote from a place of experience. I wrote about my grief for the loss of my Dad. I wrote about my work, in this crazy business they call the entertainment industry. I wrote about the place I call the City of Gold, Kalgoorlie! And I wrote about the biggest stain that afflicts this country to this day: racism and my never-ending battle with it.

Meyne Wyatt

Maitland Schnaars, Meyne Wyatt

Christopher Stollery, Jeremy Ambrum, Meyne Wyatt, Anthony Standish

‘I hope you like it. I hope you hate it.

Just don’t feel anything in between…

Because there are things in this world that are wrong and we all have a responsibility to try and make them right.’

– Meyne

Kalgoorlie, the name, is the bastardised version of the Wongutha word Karlkula, which is a fruit native to the Goldfield’s region of Western Australia. It’s commonly referred to by the non-Indigenous population, as the silky pear or the bush banana.

I have fond memories of growing up there. It’s my mother’s country and my family and extended families live there still. The bush that surrounds the town is absolutely beautiful. But the town itself and the people that live there can be ugly.

In 2002 my father declared, on record, backed by studies performed by UWA (University of Western Australia) that ‘Kalgoorlie was the most racist town in Australia!’ I know, racism is not a measurable thing. It doesn’t matter how big or small, there’s no difference, racism is racism. But at the time my Dad was Chairperson of the Goldfields Land and Sea Council and he battled with it daily, so I can see where he’s coming from.

You’d have to come up with a very convincing argument to make me believe otherwise, for the racial tension that remains in the air still has a bitter aftertaste. I’ve grown up with it.

I experience racism on a weekly basis. Even where I live now, Sydney, and I am sick of it.

I have worked as an actor now for nine years, and in that time I have been fortunate enough to have worked pretty consistently. I understand because of that I have a responsibility to represent my community. I have a platform and I must use it. That’s what this play is. This play is me doing just that.

Representation

City of Gold is an act of rebellion. It is a revolt.

It is me using my platform to hold a mirror to Australia and ask it, do you like what you see?

There is no one thing that I want audiences to take away from this play. I ask questions. I don’t give answers. I attempt to speak truth. Warts and all. I am not a perfect person. Nobody is. I simply ask, have things changed? Why? Why not? I am not arrogant enough to know the answer to the questions I pose in this play. I don’t have the solution. But hopefully the questions audience members ask each other after the play gives the glimmer of hope and change that is so desperately needed.

My father fought racism and for Aboriginal rights his whole life. So, did my mother. My mother is a prolific artist, that’s where the creative genes come from. This play is my love letter to them. To Brian Wyatt and Sue Wyatt.

My favourite line in the play is ‘I have two great parents!’ Because I do. Did. Now I have one.

I am here because they worked all their lives for me to get here. I reap the rewards of their hard work. This play is my hard work. I hope you like it. I hope you hate it. Just don’t feel anything in between… Because there are things in this world that are wrong and we all have a responsibility to try and make them right.

Meyne

Family

Kalgoorlie

Simona Cosentini, Isaac Drandic

Meyne Wyatt, Maitland Schnaars

Christopher Stollery, Jeremy Ambrum

Director’s Note Hello, my name is Isaac Drandic and I have had

the privilege of directing the show you are about to watch. I hope my program notes below offer something useful to your theatre experience.

Isaac Drandic Director

City of Gold, is a profound expression from deep within. This is a complex piece of work. There are many contradictions.

Sounds a bit like life. It is raw and unyielding but it is also thoughtful and delicate.

Much like the characters and the world in which the play is set. There is love and anger, grief and rage but there’s so much more. So I’ll try to dig a little deep.

The world of the play intimately and sometimes intensely reflects the world we live in as First Nations People (spare a thought for the actors who are ‘performing’ this show night after night). The ongoing impact of 230 years of colonisation, unresolved social and economic conflict is present in this urgent work. It is driven by fire and the need to spark something.

However, underlying this drive, the play is very much about family and how precious it is to be part of a community, and it is ultimately love that fuels the engine room for this work.

Many people who will see this production might agree the country we share has the potential to be so much more than this. Just being here means you are interested in the issues and challenges faced by Aboriginal people. You may be aligned with some of the politics and some of the dreams we have for a better future. You may be angry and frustrated at the lack of leadership from our government to make change. You may just want to know more. Many non-Indigenous people have asked ‘what can I do’ – to help to improve the situation for Indigenous people – the answer I offer is as simple as … ‘listen’.

Listening is a powerful act.

Feeling heard has the capacity to resolve the most volatile of situations. The harshest of conflicts. It has the capacity to heal and this simple act cannot be underestimated. Most of us have probably offered this piece of advice to others in conflict situations but sometimes forget to practise it ourselves. Maybe it’s not a matter of forgetting. Maybe it takes too much energy. Maybe it’s too hard. But this is what City of Gold is asking you, our audience.

It asks you to give your time and your energy.

It asks you to say it’s not too hard. It asks you to be courageous and to listen, especially when it gets difficult, to venture beyond the surface of its hardened exterior, peel back its layers, peek behind the curtain. To listen deep.

City of Gold is a statement from the heart.

I hope it’s received in the spirit in which it is intended.

Isaac

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Until 20 Jul Bille Brown Theatre

29 Jul — 17 Aug Playhouse, QPAC

city of gold

storm boy

By Meyne Wyatt

queensland theatre premiere Representation

Family

Kalgoorlie

By Colin Thiele Adapted for the stage by Tom Holloway Endless Summer

Family Classic

3 — 31 Aug Cremorne Theatre, QPAC

7 Sep — 5 Oct Bille Brown Theatre

L’Appartement

fangirls

By Joanna Murray-Smith

Book, music & lyrics by Yve Blake

queensland theatre premiere Date Night

Parisian Chic

Puppetry

Envy

queensland theatre premiere Celebrity

Superfans

Romance

26 Oct — 16 Nov Bille Brown Theatre

Antigone

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Adapted by Merlynn Tong after Sophocles

queensland theatre premiere Greek Tragedy

Dignity

Human Rights

Ursula Yovich Nathalie Ryner

Isaac Drandic, Anthony Standish, Mathew Cooper, Jeremy Ambrum, Pip Loth, Analiese Long, Shari Sebbens, Christopher Stollery

Simone Tesorieri, Simona Cosentini

Isaac Drandic

Simone Tesorieri

DIRECTOR

SET DESIGNER

Queensland Theatre: Debut.

Other Credits: As Director: Various productions with Belvoir, ILBIJERRI Theatre Company, Yirra Yaakin,

Queensland Theatre: The Longest Minute (with debase productions & JUTE Theatre), My Name is Jimi.

Other Credits: As Designer: JUTE Theatre: Alice in the Antipathies, Bukal, Mr. Takahashi (with Brown’s Mart and Corrugated Iron), Paradise Singing, Is My Lipstick On Straight?, Stewed, Delirium, Proppa Solid, Sentinel Chickens, Propelled, Half & Half. As Prop Designer: The Grin and Tonic Theatre Troupe. As Scenic Artist, Prop Artist, Decorator, Set Designer: Teatro Comunale Bologna.

As Set Design and Scenic Painter: OperaOvunque and Teatro Colli. As Prop Artist and Scenic Painter: Regio Di Parma, Piccolo Teatro – Milano, Teatro Bonci, Cersaie.

As Exhibit Designer: Ababo Interim for Cersaie Bologna.

As Set Prop Design Mentor: Tropical Arts: Macbeth.

Film: On Stage. Positions: Commonwealth Games (with Cairns Council and Tanks); Float and Props and Masks Mentor, Cairns Council & Tanks Centre. Training: Degree in Fine Arts Acadmeny, Ababo Bologna, Italy; Production Design, Melodrama School; Certificate IV Building – Cairns Tafe; Conservation and Art, Bologna.

LaMama/Malbourne Indigenous Arts Festival, Sydney Opera House, Sydney Festival, Perth International Arts Festival, Adelaide Festival, Darwin Festival, Melbourne Festival, Ten Days on the Island Festival, Woodford Folk Festival, Yellamundie Aboriginal and Torres Strait Islander Playwriting Festival. As Actor: Sydney Theatre Company: Romeo & Juliet; Melbourne Theatre Company: The Birthday Party, Australia the Show!!!; Black Swan State Theatre Company: One Destiny, Yandy; Belvoir: Coranderrk; ILBIJERRI Theatre Company: Bindjareb Pinjarra (with Pinjarra Project), A Black Sheep Walks Into A Baa, Chopped Liver, Stolen (with Playbox); Yirra Yaakin: Mothers Tongue; NightShift Theatre Asylum: Fitzroy Yank, Steal Away Home, Smack Happy; Racing Pulse Productions/State Opera of South Australia: Ingkata; fortyfivedownstairs: Bare Witness. Television: Cleverman.

Positions: Resident Dramaturg, Queensland Theatre; Judge, Queensland Premier’s Drama Awards (2018-19); Director and Dramaturg, Moogahlin Performing Arts (2013-15); Associate Director, ILBIJERRI Theatre Company (2012-15); Resident Artist, Playwriting Australia (2014). Awards: Green Room Awards – Best Director The Season, Best Production The Season, Blood on the Dancefloor; Victorian Indigenous Performing Arts Awards - Uncle Jack Charles Award (2008). Training: Aboriginal Theatre Course, WAAPA.

Simona Cosentini SET DESIGNER

Queensland Theatre: The Longest Minute (with debase productions & JUTE Theatre), My Name is Jimi.

Other Credits: As Set and Costume Designer: JUTE Theatre: Alice in the Antipathies, Bukal, Mr. Takahashi (with Brown’s Mart and Corrugated Iron), Paradise is Singing, Is My Lipstick On Straight?, Stewed, Delirium, Proppa Solid, Sentinel Chickens, Half & Half. As Costume and Prop Designer: Greg Semo and Cairns Regional Gallery: Blood Red. As Prop Designer: The Grin and Tonic Theatre Troupe; OperaOvunque and Teatro Colli, Italy.

As Costume Designer and AV, Scenic Painter & Prop Designer Decorator: Ababo and Museo Civico Bologna Cersaie. As Costume Designer: Vaga Vestis; As Milinery Designer: Biddigal Deaming Arts. As Costume Design Mentor: Tropical Arts: Macbeth. Film: On Stage. Positions: Commonwealth Games (with Cairns Council and Tanks); Float and Costume Design Mentor, Cairns Council & Tanks Centre. Training: Degree of Fine Arts (Scenography and Costume Design), Accademia Belle Arti Bologna (Ababo); Set Design, School of Melodrama Cesena; Costume Design, Ababo; Graphic Design and Communication, ILAS.

Nathalie Ryner COSTUME DESIGNER

Queensland Theatre: Debut. Other Credits: As Costume Designer: Dance North: Surge, La Boite Theatre Company: Medea; The Danger Ensemble: Caligula, Briefs: The Second Coming; Circa: Furioso. As Costume Supervisor: La Boite Theatre Company: A Doll’s House, Wizard of Oz, Holding the Man, Cosi; Bangarra: Blak; Polytoxic: The Rat Trap; QPAC: The Flying Orchestra, Cabaret. As Costumier: Bazmark Productions: La Boheme; Opera Australia: Orpheus of the Underworld, The Pearl Fishers, Lucia di Lammermoor, Mikado. Film: As Costumier: Star Wars: Episode III – Revenge of the Sith, The Matrix Reloaded, The Matrix Revolutions, Dynasty: The Making of a Guilty Pleasure, The Frontier. Television: Hi-5. Positions: Costume Supervisor, Queensland Theatre. Awards: Matilda Award Nomination - Co-Design Caligula. Training: Fashion Design Diploma, Ecole Jeoffrin Byrs International Paris; Diploma in Theatre Costume Sydney Institute Tafe.

Anthony Standish, Shari Indriani, Christopher Stollery, Mathew Cooper, Jeremy Ambrum, Isaac Drandic, Meyne Wyatt, Maitland Schnaars, Shari Sebbens

Jason Glenwright

Tony Brumpton

LIGHTING DESIGNER

COMPOSER/SOUND DESIGNER

Queensland Theatre: The Longest Minute (with debase productions & JUTE Theatre), Rice (with Griffin Theatre Company), Country Song, Argus (with Dead Puppet Society), Rumour Has It (with Little Red), I Want to Know What Love Is (with The Good Room), A Tribute of Sorts (with Metro Arts), The Removalists, Faustus (with Bell Shakespeare), Water Falling Down, The Little Dog Laughed, Thom Pain (Based on Nothing). Other Credits: Opera Queensland: A Flowering Tree, Kiss Me, Kate; La Boite Theatre Company: Laser Beak Man (with Dead Puppet Society), Lady Beatle (with Little Red), The Tragedy of

Queensland Theatre: As Sound Designer and/or Composer: The Wider Earth (with Dead Puppet Society), Tartuffe (with Black Swan State Theatre Company), Quartet, The Odd Couple, Grounded, Gasp! (with Black Swan State Theatre Company), The Mountaintop, Australia Day, Black Diggers (with Sydney Festival), Design For Living, Other Desert Cities (with Black Swan State Theatre Company) Managing Carmen (with Black Swan State Theatre Company), Tides, Pygmalion, No Man’s Land (with Sydney Theatre Company), Sacre Bleu!, Macbeth (with Brisbane Festival), Fat Pig, The Little Dog Laughed, The

King Richard III, A Midsummer Night’s Dream, Pale Blue Dot, Ruben Guthrie, Julius Caesar, A Hoax (with Griffin Theatre Company); The Good Room: I Just Came to Say Goodbye and I’ve Been Meaning To Ask You (with Brisbane Festival); shake & stir theatre co: Roald Dahl’s Fantastic Mr Fox, A Christmas Carol, Endgame, Roald Dahl’s George’s Marvellous Medicine, Dracula, Wuthering Heights, Roald Dahl’s Revolting Rhymes & Dirty Beasts, Out Damn Snot, 1984, Animal Farm; JUTE Theatre: Bukal, Joh For PM, Here We All Are. Assembled, Paradise is Singing, The Salt Remains, Is My Lipstick On Straight?, Stewed, Delirium, Soph & The Real World, At Sea Staring Up; Queensland Music Festival: Voices of Remembrance, Drag Queensland; SK Entertainment: Menopause The Musical; Expressions Dance Company: While Others Sleep. Awards: Matilda Awards – Best Lighting Design Carrie: The Musical, Best Technical Design Dracula; Matilda Awards – Gold Matilda Award for Body of Work; Groundling Awards – Favourite Lighting - Body of Work (2010, 2012-13), Del Arte Chart Awards – Favourite Lighting Design (2009–2015 and 2018).

Crucible, God of Carnage (with Black Swan State Theatre Company), I Am My Own Wife, Private Fears in Public Places, Absurd Person Singular, The Removalists, Waiting for Godot, Hurry Up and Wait (with debase productions), Eating Ice Cream With Your Eyes Closed, Beckett x3, Maxine Mellor’s Mystery Project (with State Library of Queensland), Constellations (QT Youth Ensemble). As CoSound Designer; Rice (with Griffin Theatre Company), The August Moon, Anatomy Titus Fall of Rome: A Shakespeare Commentary (with Bell Shakespeare Company), Stones in his Pockets. Other Credits: As Composer and/or Sound Designer: Dead Puppet Society: Mega Fauna, Laser Beak Man (with La Boite Theatre Company), The Harbinger, The Timely Death of Victor Blott; White Rabbit Theatre Company: The Grand; Centenary of Canberra Festival: Kungkarangkalpa (Seven Sisters Songlines), Brisbane Festival: Freeze Frame, King Here After; I-Pin Lin’s productions: Bamboo, Harmony, 4orces, 1984-2005; QUT Dance: Current, Accented Bodies, Altered States. As Director/Curator: Tone Black Productions: EETREE, The Abandoment of Memory; Vena Cava Productions: RABBAR; QUT: Let the Right One In, Birds Ate My Face, Fragments of a Hologram Rose, What Was Left (Draft 4), The Alice Project, Inferno. Positions: Affiliate Artist (2014), Associate Artist/Head of Audio (2011), Emerging Artist (2010), Queensland Theatre; Resident Artist, Dead Puppet Society (2016); Founder, Tone Black Productions; Lecturer, QUT.

Shari Indriani

Analiese Long

ASSISTANT DIRECTOR

ASSISTANT STAGE MANAGER

Queensland Theatre: Debut. Other Credits: As Director: La Boite: HWY Festival: Bi Empat. As Writer and Director: QUT: Recipe. As Writer:

Queensland Theatre: Debut. Other Credits: As General Stage Manager: Cirque Du Soleil: Kooza, Toruk. As Stage Manager: Cirque Du Soleil:

Playwriting Australia and CAAP: Squint Witch; Backbone Youth Arts: Doors. As Actor: Shock Therapy Productions: Welcome to Sameville; La Boite HWY: My Father Who Slept in A Zoo. Positions: Directorial Observation, Queensland Theatre Nearer the Gods; CAAP Directors Initiative (2018-19); Producer (New Work), Queensland Theatre; Program Manager, La Boite Theatre Company.

Michael Jackson The Immortal World Tour, Totem, Ovo, Saltimbanco, Dralion; Strut and Fret: Limbo; Harvest Rain: Grease, The Arena Spectacular, Hairspray, The Big, Fat Arena Tour; Eire Entertainment: A Taste of Ireland (Season and Regional Tour); Mad About Theatre: Annie; Jack Morton Worldwide: GC2018 Commonwealth Games Main Stage; Woodford Folk Festival: Closing Ceremony Fire Event 2018/19, New Year’s Eve (2000, 2001). As Director and Performer: Woodford Folk Festival: The Woodford XI, Junxtaposition. As Assistant Director: Woodford Folk Festival: Closing Ceremony Fire Event 2018/19, Opening Ceremony 2004. Film: As Designer: Hide and Seek.

Pip Loth STAGE MANAGER

Queensland Theatre: As Stage Manager: My Name is Jimi, Constellations (Season and Queensland Tour), Riley Valentine and the Occupation of Fort Svalbard, Gloria.

As Deputy Stage Manager: Death of a Salesman. As Assistant Stage Manager: Hedda, Ladies in Black (2015), Country Song. As Set Builder: Macbeth.

Other Credits: As Tour & Company Manager: Hi-5: Hi-5 Fairytale (Asia Tour). As Production & Stage Manager: Myths Made Here: Cinderella. As Stage Manager: World Science Festival: Dear Albert; La Boite Theatre Company: A Midsummer Night’s Dream; Motherboard Productions: Shimchong, Daughter Overboard!; EMS Entertainment: Barbie Live! The Musical (East Pacific Tour 2013 - 2014); Life Like Touring: Elmo’s World Tour, Dora the Explorer’s Pirate Adventure. As Assistant Stage Manager: Gordon Frost: Driving Miss Daisy; Dreamworks & Global Creatures: How to Train your Dragon – Arena Spectacular (North American Tour). As Follow Spot Operator: Brisbane Festival: FLOWN. Film: As Rigging Electrics: Nim’s Island, Terra Nova. Positions: Production Coordinator, Queensland Theatre; Stage Management and Technical Theatre Lecturer and Production Supervisor, University of Southern Queensland (2016); As Site Manager and Assistant Production Manager: Midsumma Festival; As AV Technician: Avcom. Training: B.A. Fine Arts Technical Production (Honours), Certificate II – Furniture Making & Finishing, Dip Live Production (Theatre & Events).

Shari Indriani , Tony Brumpton

Maitland Schnaars , Meyne Wyatt

Jeremy Ambrum CLIFFHANGER

Queensland Theatre: The Longest Minute (with debase productions & JUTE Theatre). Other Credits: Aboriginal Centre for the Performing Arts: Stolen, Up the Ladder.

Television: Mabo, Cleverman, Secret Daughter, Doctor Doctor, The Leftovers. Awards: Matilda Award Nomination – Best Male Supporting Role The Longest Minute. Training: Advanced Diploma, Aboriginal Centre for the Performing Arts.

Mathew Cooper MATEO

Queensland Theatre: Debut.

Other Credits: Yirra Yaakin: Cracked, Confessions of a Pyromaniac; Performing Lines: The Season; National Theatre of Parramatta: Stolen; Ilbijerri Theatre Company: Coranderrk (2017 & 2014): Melbourne Theatre Company/Neon: Lucky; Belvoir: Coranderrk. Film: The Marshes. Short Film: Last Drinks at Frida’s. Television: Janet King, Redfern Now. Maitland Schnaars, Anthony Standish

Maitland Schnaars DAD

Queensland Theatre: Debut. Other Credits: Black Swan State Theatre: Let The Right One In; Tasmania Performs: The Seasons; Yirri Yaakin Aboriginal Theatre: Conversations With The Dead, King Hit; Geoffrey The Cat Productions: Hobo; Upstart Theatre: Othello, Last Days Of Judas Iscariot, Macbeth, Julius Ceasar; Ellandar Productions: The Night Guardian; Happy Daggers Theatre: The Persians; International Perth Festival: La Meara; Corazon de Vaca: If I Drown I Can Swim (2010 & 2011 Tour), The Bridging Project, Bridging Puentes, Phaedra’s Love. Film: I Met A Girl. Awards: Performing Arts WA Award – Best Male Actor Hobo.

Mathew Cooper, Shari Sebbens

Shari Sebbens

Christopher Stollery

CARINA

SIMMONDS/DIRECTOR/ ACTING COMMANDER

Queensland Theatre: Black is the New White (with Sydney Theatre Company), An Octoroon. Other Credits: La Boite Theatre Company (with Griffin Theatre Company): A Hoax; Sydney Theatre Company: A Cheery Soul, The Bleeding Tree, The Battle of Waterloo; Black Swan Theatre Company: Our Town; Darwin Theatre Company: A Midsummer Night’s Dream; Belvoir: Back at the Dojo, Radiance; Malthouse Theatre (with Darwin Festival): Shadow King; Griffin Theatre Company: The Bleeding Tree, Return to Earth; Darwin Festival: Wulamanyuwi and the Seven Pamanui. Film: Top End Wedding, Australia Day, Thor: Ragnarok, Teenage Kicks, The Darkside, The Sapphires.

Television: The Heights, A Chance Affair, Ta Da!, Black Comedy, Soul Mates, 8MMM Aboriginal Radio, The Gods of Wheat Street, Redfern Now. Positions: Richard Wherrett Fellow, Sydney Theatre Company (2019). Awards: Logie Awards – Graham Kennedy Award for Most Outstanding New Talent Redfern Now. Training: Bachelor of Fine Arts (Acting), NIDA; Aboriginal Theatre Certificate 3, WAPPA.

Anthony Standish ANDREWS/WHITMAN/REPORTER

Queensland Theatre: An Octoroon, The Wider Earth (with Dead Puppet Society), Trollop, End of the Rainbow, Kelly, The Seeding Bed, The Removalists, American Buffalo, The Woman Before, Puss in Boots, The Caucasian Chalk Circle, A Property of the Clan, The Exception and The Rule, Man Equals Man. Other Credits: Sydney Festival/ Opera House/Dead Puppet Society: The Wider Earth (2018); Dead Puppet Society: Megafauna; QPAC/shake & stir theatre co: Wuthering Heights; La Boite Theatre Company: Cosi; ELBOW Room: Prehistoric; Hot House Theatre/Merrigong Theatre/Glen St Theatre: Australia!

The Show!; QAC/Forward Movement: Zoo-Illogical; Metro Arts/Forward Movement: Magda’s Fascination with Wax Cats, Little Hitler’s Ode to an Austrian Bentwood; 4MBS: The Tempest, A Midsummer Night’s Dream; the Restaged Histories project: Omon Ra; Markwell Presents: What Simon Said. Film: Aquaman, Drive Hard, A Grey Eulogy, Girl Clock, Don’t Tell, Reef ‘n’ Beef, Emma.

Television: The End, Harrow Series 2, Reef Break, Hoges, Wanted, Mabo, Lightning Point, Heartbeat, Space Chickens in Space, Sea Patrol. Positions: Emerging Artist, Queensland Theatre (2006). Awards: Matilda Award - Best Supporting Actor An Octoroon.

Queensland Theatre: Gigi. Other Credits: Sydney Theatre Company: Rosencrantz & Guildenstern Are Dead, Our Town, The Vertical Hour, Gross und Klein; Melbourne Theatre Company: His Girl Friday; Belvoir: Hurt, Mark Colvin’s Kidney, Death of a Salesman, The Power of Yes, Ruben Guthrie, Killer Joe; Griffin Theatre Company: Speaking in Tongues, October; Sport for Jove: An Ear to the Edge of Time, Julius Caesar / Anthony & Cleopatra, Of Mice and Men; Ensemble Theatre: Good People, Great Falls; Darlinghurst Theatre: Daylight Saving; Red Line Productions: Death of a Streetcar Named Virginia Woolf; Old Fitzroy Hotel: This Blasted Earth. Film: The Nightingale, Truth, Last Cab to Darwin, Predestination, The Rage in Placid Lake. Television: Frayed, The Flying Doctors, Neighbours, Top of the Lake: China Girl, House of Hanock, The Moodys. Awards: Sydney Theatre Awards - Best Male Actor in a Supporting Role Killer Joe; Sydney Theatre Awards Nominations – Best Male Actor in a Supporting Role Ear to the Edge of Time, Of Mice and Men. Training: NIDA; Ecole Philippe Gaulier.

Meyne Wyatt BREYTHE

Queensland Theatre: Black Diggers (with Sydney Festival). Other Credits: Sydney Theatre Company: Bloodland, King Lear, Stolen; Belvoir: Buried City, Peter Pan; Griffin Theatre Company: Silent Disco, 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: The Broken Shore, Redfern Now, Neighbours, Black Comedy, The Leftovers, Mystery Road, Wentworth. Awards: AACTA Awards Nomination – Best Lead Actor in a Television Drama Redfern Now; Logie Awards Nomination – Most Outstanding Newcomer; Sydney Theatre Awards Nomination – Best Newcomer.

Training: NIDA; Aboriginal Theatre, WAAPA.

Thank you to our donors.

QUEENSLAND THEATRE VISIONARIES Rainmakers Benefactors $5,000+ Tim Fairfax AC & Gina Fairfax 2 Anonymous Ian & Cass George Roslyn Atkinson AO & Richard Fotheringham AM Artistic Director's Circle Barbara Bedwell Doug Hall Foundation Andrew & Trudi Bofinger EM Jameson & AL Anderson Michael & Anne-Maree Byrne Susan Learmonth & Rachel Crowley Bernard Curran Frederick D'Agostino Pamela Marx Wesley Enoch Cathryn Mittelheuser AM Karla Fraser Liz Pidgeon & Graeme Ian & Ruth Gough Wikman Dr Anita Green Bruce & Sue Shepherd Dr Geoffrey Hirst AM Leaders $10,000+ & Dr Sally Wilde 2 Anonymous Prof Lawrence Hirst Australian Communities Kim & Michael Hodge Foundation - Keith & The Jelley Family Foundation Jeannette Ince Fund David & Katrina King Justice Thomas Bradley Colin & Noela Kratzing & Dr Matthew Yoong Dr Joan M Lawrence AM Barbara Duhig Stephen & Terry Leach Louise M Gourlay OAM Andrew & Kate Lister John & Gay Hull The Mather Foundation Martin & Andrea Kriewaldt Karl & Louise Morris Nigel & Liz Prior Greg & Wendy O'Meara Dr Marie Siganto AM John Reid AO & Lynn David Williamson AO & Rainbow-Reid AM Kristin Williamson Trevor St. Baker AO & Judith St. Baker

Collaborators $2,500+ 5 Anonymous J M Alroe Libby Anstis & Neil Hampton Eileen Baker Chris & Patricia Beecham Christopher & Margot Blue Sarah Bradley Justice Susan Brown William Bowness AO Dr John H Casey John & Lynnly Chalk Barry & Faye Clark Mark & Joanne Darwin Alan Galwey Veronica Ghidella Helen Gough Malcolm & Andrea Hall-Brown The Hudson Family Geoff & Michele James Amanda Jolly & Peter Knights Dr Bert Klug Ross & Sophia Lamont Fred & Margaret Leditschke David & Erica Lee Trevor Lee & Keri Craig-Lee OAM Tim Lucas Dr Lynne McKinlay

In Development Investing in the development of new Australian plays is both paramount and resource intensive.

With five world premieres in the 2019 Season, your support will ensure we continue to punch above our weight.

Donate today to keep cutting-edge work on our stages.

To support creative development, or for more information, please contact Director of Development ZoĂŤ Connolly on 07 3010 7602 or zconnolly@queenslandtheatre.com.au

The Merlo Family Charles & Catherine Miller The Nicklin Family Shay O'Hara-Smith Michael & Deanna Power John Richardson & Kirsty Taylor The Scifleet Family Caroline & Peter Steadman Sam Strong & Katherine Slattery Courtney Talbot Greg & ESally Vickery Margaret Williams Bruce & Jocelyn Wolfe

Patrons $1,000+ 8 Anonymous Anne & Peter Allen William Ash & Margi Brown Ash Sallyanne Atkinson AO Michael & Anne Back Tracey Barker Noela Bartlett Grant Black Lisa & William Bruce Dr Sheena Burnell Ms Terri Butler MP M Cannon & J McCarthy Phillip Carruthers & Sharni Cockburn Rita Carter-Brown Helen Cavill ZoĂŤ Connolly Sheryl Cornack Angela Cornford-Scott Leone Costigan Glennis Gill & John Swinson Kerry & Greg Cowderoy Bruce & Helen Cowley June Craw The Criddle Family Cameron Crouch & Aimee Carding Dr John Davies Malcolm & Margaret Davison Mary Dickinson Nick & Ali Dignan Jeremy Dixon John Doley Lisa Domagala Andrew & Leonie Douglas Dr Judith Dwyer Clarence Evans Brad & Julie Farr Erin Feros Sharyn Ghidella William Glasson AO & Claire Glasson Dr Sara Gollschewski Michael Gow Sue & Mike Gowan John Graham & Craig Syphers The Gray Family Tony Groom Alexandra Grove & Peter Dawson Catherine & Nanda Gulhane Sophia Hall Jim & Donna Hallam Andrew Hallam & Christine Bongers Alison Harrington Kevin & Joanne Holyoak Sue Hunt Samantha & Darren Jansen Robert Kemp Tempe Keune The Kirkwood Family Damien Klarwein Dr Peter Klug Ian & Jocelyn Klug

Michael & Jane Klug Dr Barbara Laing Deni Leishman B Lloyd Helen & Tim Longwill Fiona Lowes Marina Marangos Nic Martoo William McCarthy Sandra McCullagh John & Julienne McKenna Judith Mclean Philip McMurdo & Margaret McMurdo AC Andrea Moor Richard & Denise Morton Bruce & Irene Moy Rhys Muldoon Debra & Patrick Mullins Richard Munro R & B Murray Judy Noble Kartini Oei Leanne O'Shea & Peter Gilroy Jennifer Parker John & Mandy Peden D & I Perry-Keene Joanna Peters Katharine Philp Pierce Family Loretta Pierce Rachael Pinter Blayne & Helen Pitts PowerArts Glenice & Amanda Prior Clare & David Pullar Diane Quinn Catherine Quinn Mark & Helen Radvan Angela Ramsay Tim & Kym Reid Dale Ric-Hansen Margaret Ridley & Daryl Clifford Jan & Jim Rodney Crispin Scott Margaret Scott Maria Semit Marianna Serghi John Simpson Antonia Simpson John Smithwick Steven Sorbello Ben & Janette Steinberg Dr Josephine Sundin Damien Thomson & Glenise C. Berry Elizabeth & Jane Wedgwood Robin Wenck Ralph & Pierette Whiteside Richard Whittington OAM Suzanne & Bo Williams Janet & Peter Wojciechowski Dr Catherine Yelland Tony & Linda Young Marisa Zavattaro

Supporting Cast $500+ 5 Anonymous Virginia Bishop Robert Bond Prof Aidan Byrne Peter Callaghan Bob Cleland Tony Costantini Kiernan Dorney QC Dianne Eden OAM Judi Ewings Daryl & Trish Hanly Susan Mabin Mark Menhinnitt Philip & Fran Morrison Denise O'Boyle In memory of David Page Diane & Robert Parcell Wendy Peach Dee & Reny Rennie Wendy Tonkes Kevin Vedelago & Karen Renton Jacqui Walters Marian Wheeler Frederick N. Winter Ian Yeo & Sylvia Alexander Kevin Vedelago & Karen Renton Jacqui Walters Marian Wheeler Frederick N. Winter Ian Yeo & Sylvia Alexander

Legal Chapter Anonymous Michael & Anne Back Jennifer Batts Peter Bridgman & Susan Booth Michael & Anne-Maree Byrne Lee Clark Trent Forno H G Fryberg John & Lois Griffin Kim & Michael Hodge Kevin & Joanne Holyoak Barbara Houlihan Fleur Kingham John & Janice Logan Katrina Low & Ilan Klevansky Richard & Denise Morton Debra & Patrick Mullins Leanne O'Shea & Peter Gilroy John & Mandy Peden Peter G Williams Gadens Lawyers Herbert Smith Freehills King & Wood Mallesons

Trust and Foundation Partners Australian Communities Foundation - Davie Family Fund Queensland Community Foundation - Jameson Family Fund Queensland Community Foundation Tim Fairfax Family Foundation William Angliss (Queensland) Charitable Fund

Queensland Theatre wishes to extend a heartfelt thanks to all our donors.

Each gift, large or small, helps us make great theatre.

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

Our L egacy

From October 2019 to the end of 2020, we’ll be celebrating our 50th Anniversary. And we want everyone to be part of the celebration.

Future

To kick things off, we’re calling out to all of the people who have helped make this company what it is in the last half century, whether you’ve worked with us for 10 years or joined us in the audience for one show.

If you have a story or experience of Queensland Theatre that you would like to share, then please get in touch.

Alternatively, you could tell us how you think we should celebrate our 50th. Or just let us know your hopes and dreams for our company for the next 50 years.

Visit queenslandtheatre.com.au/50years to respond and/or upload photos/videos.

You can also email info@queenslandtheatre.com.au or post to: Queensland Theatre 50 Years 78 Montague Rd SOUTH BRISBANE Q 4101

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Visit our website for more details

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Thanks to our sponsors & partners Government Partners

Principal Partner

Building Enhancement Partner

Trust and Foundation Partners

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Season Supporters

International Airline Partner

Media Supporters

Season Sponsors

Education Supporter

Restaurant Partner

RACQ members save 15% on Ekka tickets *

Purchase your tickets by 31 July in store or online at racq.com.au/ekka *Conditions apply. Discount available for one-day tickets and excludes 10-day passes. Tickets must be purchased by 5pm, 31 July. Visit racq.com.au/ekka for more information.

We’re for the best seats in the house.

CourierMail

CourierMail

Phil Brown, Arts Editor

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 Prof Richard Fotheringham Simon Gallaher Angelina Hurley Susan Learmonth Dr Andrea Moor David Williamson AO ARTISTIC DIRECTOR Sam Strong EXECUTIVE DIRECTOR Amanda Jolly RESIDENT DRAMATURG Isaac Drandic EXECUTIVE ASSISTANT Donna Maher DEVELOPMENT DIRECTOR OF DEVELOPMENT Zoë Connolly DIRECTOR OF CORPORATE PARTNERSHIPS Nikki Porter SPECIAL PROJECTS Liz Prior PHILANTHROPY COORDINATOR Georgia Lynas DEVELOPMENT AND EVENTS COORDINATOR Felicity Clifford GRANTS & COMMUNICATION COORDINATOR Hannah Barr FINANCE & OPERATIONS CHIEF FINANCIAL OFFICER Valerie Cole ASSISTANT ACCOUNTANT Georgia Knight FINANCE OFFICER Sarra Lamb VENUE & OPERATIONS MANAGER Julian Messer VENUE AND BAR COORDINATOR Kimberley Mogg

MARKETING & TICKETING DIRECTOR OF MARKETING (INTERIM) Yvonne Henry 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 / SUPERVISOR Rory Killen TICKETING SUPERVISOR Madison Bell TICKETING OFFICER Rosie Hazell BOX OFFICE Chantelle Giles, Ashley Webster SEASON TICKETING Tawny Ambrum, Madeline Bassetti, Matthew Filkins, Jaime Ng, Daniel Sinclair PRODUCTION DIRECTOR, TECHNICAL AND PRODUCTION Toni Glynn TECHNICAL COORDINATOR 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

ACKNOWLEDGEMENTS CREATIVE DEVELOPMENT The following people contributed to the creative development of this work: Tony Brockman, Emma Jackson, Hunter Page-Lochard, Aaron Pederson, Angeline Penrith, Uraine Roelofs, Guy Simon, Justin Smith and Eliah Watego.

THANK YOU Aunty Rayma Morrison and Uncle Gary Cooper.

REHEARSAL PHOTOGRAPHY Stephen Henry

PROGRAMMING DIRECTOR OF PROGRAMMING Sophia Hall ARTISTIC COORDINATOR Samantha French PRODUCER, NEW WORK Shari Irwin ARTISTIC ADMINISTRATOR Hana Tow (Maternity leave) ARTISTIC ADMINISTRATOR Laura Henderson 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 OPERATOR Kevin Bolt SOUND CONSULTANT Matt Erskine CARPENTER Jamie Bowman SCENIC ARTIST Leo Herreygers PROPS MAKER / COSTUME PROPS Jen Livingstone COSTUME MAKER / CUTTER Michelle Wiki WIGS AND HAIR Rebecca Anthony COSTUME ART FINISHER Maria-Rose Payne COSTUME MAINTENANCE Jack Parry

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

Information correct at time of printing

ABOUT GRIFFIN

“If you’ve ever sat in the theatre and thought, ‘those actors are just too damn far away’, then Griffin is for you.” – Concrete Playground Located in the heart of Kings Cross—in the historic SBW Stables Theatre—Griffin has been dedicated to bringing the best Australian stories to the stage for the better part of four decades.

GRIFFIN THEATRE COMPANY 13 CRAIGEND ST KINGS CROSS NSW 2011 02 9332 1052 INFO@GRIFFINTHEATRE.COM.AU GRIFFINTHEATRE.COM.AU SBW STABLES THEATRE 10 NIMROD ST KINGS CROSS NSW 2011 BOOKINGS GRIFFINTHEATRE.COM.AU 02 9361 3817

We’re passionate about theatre that’s written by Australians, about Australians, for Australians to enjoy. Iconic Aussie plays such as The Boys, Holding the Man and The Heartbreak Kid all had their world premieres at Griffin. And many of our nation’s most celebrated artists started their professional careers with us—Cate Blanchett, David Wenham, Michael Gow and Louis Nowra to name a few.

Homegrown inspiration. By you, for you.

Griffin acknowledges the generosity of the Seaborn, Broughton & Walford Foundation in allowing it the use of the SBW Stables Theatre rent free, less outgoings, since 1986.

A season of dreamers Tickets 1800 355 528

queenslandtheatre.com.au