White Pearl BY ANCHULI FELICIA KING DIRECTED BY PRISCILLA JACKMAN
Queensland Theatre acknowledges the Jagera and Turrbal people who are the Traditional Custodians of the land on which we work, and their unique relationship with the lands, seas and waterways. We pay our respects to their Elders both past and present, and to all Aboriginal and Torres Strait Islander peoples.
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.
Lee Lewis Artistic Director
Making women aspire to be physically different to what they are has been the commercial engine of the beauty industry around the world for millennia.
The beautiful woman is always taller, shorter, larger, smaller, browner than you — or in White Pearl’s world, lighterskinned than you. Valuing lightness, whiteness as 'better than' or more desirable than darkness has been an insidious tool of classism and racism in many parts of the world across many ages. Exploiting women’s desire to be ‘beautiful’ and their shame at their ‘ugliness’ is the bread and butter of the advertising world. Has it got worse in the social media age? Or has social media just made globally visible all the local pain? When I first heard Anchuli Felicia King’s play, I loved the audience reactions to her provocations. She throws some big thought punches, as all good comedy should. She has an audacity that is fun. I sense she is one of our playwrights who will continue to challenge us no matter what she writes about. Tonight, she has chosen the world of women, beauty and globalisation. I want to personally thank Felicia for writing in the heart of the difficult issues, for encouraging us all towards braver conversations and for using her talent to lead us into places we may otherwise be too timid to go.
Riverside’s National Theatre of Parramatta and Sydney Theatre Company partnered to make this work before Covid hit us all. The response from audiences was huge and even though the pandemic has changed the world, I don’t think it has changed things enough for women to stop thinking that hope can be found in a jar. Which makes me think that we are going to enjoy this story as much as the first audiences did. Thank you to our production partners BDO and Board Matters for ensuring this important work reaches you. Lastly, thank you to every audience member sitting here tonight for being willing to be part of a worldwide conversation in the form of a new Australian play. — Lee
BY ANCHULI FELICIA KING
DIRECTED BY PRISCILLA JACKMAN In the boardroom of Clearday cosmetics, beauty is only (white) skin deep. In Singapore, it’s just another day at the office of Clearday cosmetics. That is, until they discover that their new TV commercial has been leaked online. The video goes viral for all the wrong reasons. Someone is definitely going to get fired.
As they scramble to contain the fallout before the American market wakes up, the openplan, glass-door office proves to be a nest of secrets, lies and resentments. Anchuli Felicia King’s new play is a ruthlessly entertaining portrait of toxic corporate culture, casual racism and the complexity of panAsian relations.
Can the high-flying team at Clearday rise above their personal squabbles to save the company?
A SYDNEY THEATRE COMPANY AND RIVERSIDE’S NATIONAL THEATRE OF PARRAMATTA PRODUCTION
The writer and the producers wish to make clear that the eponymous product White Pearl and the company Clearday™ are entirely fictional and any resemblance to existing products or companies is purely coincidental.
CREATIVES Writer Anchuli Felicia King Director Priscilla Jackman Designer Jeremy Allen Lighting Designer Damien Cooper Composer and Sound Designer Michael Toisuta Composer and Associate Sound Designer Me-Lee Hay Projection Designer Anchuli Felicia King Dramaturg Courtney Stewart Voice Coach Amy Hume Stage Manager Katie Hankin Assistant Stage Manager Stephanie Lindwall CAST Soo-Jin Park Deborah An Sunny Lee Cheryl Ho Ruki Minami Mayu Iwasaki Built Suttikul Nicole Milinkovic Marcel Benoit Matthew Pearce Priya Singh Vaishnavi Suryaprakash Xiao Chen Lin Yin
17 JUN – 10 JUL BILLE BROWN THEATRE LOCATION Queensland Theatre 78 Montague Road, South Brisbane DURATION 1 hour and 25 minutes, with no interval WARNINGS This play contains strong language, adult themes, sexual references and smoke effects. White Pearl dissects aspects of race and culture and contains content that may be confronting to some audience members. The use of photographic or recording equipment is not permitted inside the theatre.
Priscilla Jackman Director
It was the power and provocation of Anchuli Felicia King’s unique voice and her mastery of language that utterly swept me away, when I first read White Pearl back in 2018.
I had never read a play like it — the razor sharp idiomatic specificity of the six striking and distinctive female voices; the sophistication and slickness of Felicia's spellbinding tempo rhythms and the depth of her subversive comedy, which seemed to entice and decimate simultaneously. Reflecting on the extent that the world has changed since that first read is not only gobsmacking — but equally, a testament to the profoundly pointed questions that White Pearl raises. Back then we were pre-Covid, before we witnessed widespread and renewed interest in the BLM movement and barely expected to still be grappling so acutely with issues of systemic power and gender imbalance in our Australian bureaucracies.
Set in the slick, ruthless landscape of Singaporean corporate culture, White Pearl interrogates the irrefutable complexities of PC culture, challenging the privileges of language and identity while offering profound provocations into our human inter-relationships. It invites us into a political conversation around power, perspective, cultural currency and consumerism — ultimately asking us to question what unites us in our humanity and what tears us apart.
White Pearl is a fierce text, about the leaking of a racist ad that goes viral — a catalyst for us to acknowledge, celebrate, and reel back from the tensions and contradictions of what it means to exist in a global community. But in 2021 the word ‘virus’ has taken on particular potency — reaching well beyond the metaphorical or technological connotations of the word. As an audience, and company in 2021, we have a new perspective and experience of how ‘virus’ impacts our global community. Priscilla Jackman
Deborah An, Lin Yin
Nicole Milinkovic, Matthew Pearce
Anchuli Felicia King Writer
In 2016, ads for whitening products kept popping up on my newsfeed. These ads (variously Thai, Chinese, Korean) had gone viral online, having been deemed ‘racist’ by the global populace.
What struck me about this phenomenon is that I’d seen ads like this all the time, growing up in Thailand and the Philippines. Yet in the age of YouTube and #cancelculture, content could no longer exist in a national vacuum. It was suddenly accountable to a global discourse on race, being critiqued in a forum not particularly well suited to nuance.
So I wrote a play about it. There is no one ‘theme’ in White Pearl; it delves into many subjects: the cosmetics industry, racial politics, beauty standards, startup culture, capitalism and the English language (to name just a few). The play is thematically overloaded because, at its core, this is a play about nuance. And the danger of its absence.
from our production partners At BDO, people are at the heart of our approach. Whether you’re running a business, heading up a major corporation, or in need of advice just for you, our people are committed to delivering what you need. BDO is one of the world’s leading accountancy and advisory organisations. We provide the capability and depth of expertise of a large global organisation, with the approachability and relationship-driven style you expect from a local firm. Our Brisbane office has been operating in Queensland for more than 100 years. Our long history gives us a thorough understanding of the State’s marketplace, and the knowledge required to provide real value and expert advice to local businesses. Today, our Brisbane and Sunshine Coast offices have 69 Partners and more than 535 staff providing a full range of audit, tax and advisory services.
AUDIT • TAX • ADVISORY
Board Matters is very proud and excited to support Queensland Theatre. It’s never been more important to support a vibrant performing arts community in Queensland. The arts make us think, feel and understand whilst giving us insight into who we are or who we could be, as an individual and as a community. For over 20 years, Board Matters has been helping boards and organisations understand who they are and who they could be with our industry-leading corporate governance solutions. We are a team of specialists practised in the art of directorship for better organisational performance. Getting the right cast around the board table is a great start. But getting them working from the same script demands great skill. We are deeply experienced, practicing directors ourselves, and know the challenges of the boardroom, first-hand. Intent on creating value for every single client we work with, we deliver solutions as bespoke and as unique as you are. Enjoy the performance! Jennifer Robertson Managing Director, Board Matters
Anchuli Felicia King Writer Anchuli Felicia King is a multidisciplinary artist of Thai-Australian descent. Felicia had her playwriting debut in 2019, with three original plays staged at major institutions around the globe. In television, she has written on shows including The Baby (HBO/ Sky), Deadloch (Amazon Studios), and projects with Netflix and Foxtel. She is also creative and executive producing shows with BBC Studios, Sister Pictures, and AMC, and she has received a blind script deal with a US studio to create a television drama pilot. The Royal Court Theatre’s mainstage production of Felicia’s play White Pearl marked her professional debut in May 2019, directed by Nana Dakin. White Pearl was subsequently produced by Sydney Theatre Company and National Theatre of Parramatta in Sydney and the Studio Theatre in Washington, DC in the United States. Golden Shield had its world premiere in 2019 at Melbourne Theatre Company, directed by Sarah Goodes. This play was shortlisted for the Susan Smith Blackburn Prize and is currently slated for an Off-Broadway production at Manhattan Theatre Club in 2022, directed by Danya Taymor. Slaughterhouse premiered at 25A an indie season of theatre at Belvoir in Sydney, directed by Benita De Wit. This play was previously selected as part of Melbourne Theatre Company’s Cyber Electric 2018 readings. The American Shakespeare Centre awarded Felicia’s play Keene the Shakespeare’s New Contemporaries Award and Keene will be produced at their traditional Shakespearian theatre in 2021. Felicia was the 2020 Patrick White Fellow at Sydney Theatre Company and is currently under commission with the Royal Court Theatre, the Manhattan Theatre Club, Atlantic Theatre Company, Sydney Theatre Company and Melbourne Theatre Company.
Priscilla Jackman Director
Queensland Theatre: Debut. Other credits: Sydney Theatre Company: White Pearl (with National Theatre of Parramatta), Still Point Turning: The Catherine McGregor Story; Ensemble Theatre: The Appleton Ladies Potato Race, A Broadcast Coup, The Importance of Being Earnest (Boatshed reading); Bell Shakespeare: The Revengers Tragedy (Play in a Day); NIDA: Eurydike + Orpheus, Ghosts; WAAPA: An Ideal Husband. As Associate Director: Opera Australia: Bluebeard’s Castle. As Revival Director: Opera Australia: The Barber of Seville, The Magic Flute. As Assistant Director: Sydney Theatre Company: The Father, The Hanging; Opera Australia: Ernani; Ensemble Theatre: Barefoot in the Park, Good People. As Dramaturg: Ensemble Theatre: The Appleton Ladies Potato Race, A Broadcast Coup. Awards: Sydney Theatre Awards – Best Ensemble White Pearl (2019); Sandra Bates Director’s Award – Ensemble Theatre (2016); Berlin Opera Award – The Opera Foundation for Young Australians (2017). Training: Masters of Fine Arts (Directing), NIDA.
Jeremy Allen Designer
Queensland Theatre: Debut. Other credits: As Set and Costume Designer: Hayes Theatre: The Rise & Disguise of Elizabeth R.; Darlinghurst Theatre Company: Small Mouth Sounds, Savages; Outhouse Theatre Company: John, Gloria. As Set Designer: Hayes Theatre: Merrily We Roll Along; Kings Cross Theatre: If We Got Some More Cocaine I Could Show You How I Love You, Ironbound; Apocalypse Theatre Company: Angels in America, Cleansed; New Theatre: Stupid F**king Bird; Pinchgut Opera: The Loves of Apollo and Dafne.
Damien Cooper Lighting Designer
Queensland Theatre: Bloodland (with Sydney Theatre Company, Adelaide Festival and Bangarra), Summer of the Seventeenth Doll (with Belvoir), Away. Other credits: Highlights include Sydney Theatre Company: Top Girls, Dinner, A Midsummer Night’s Dream, Disgraced, Arcadia, Orlando, The Golden Age, Suddenly Last Summer, The Women of Troy, The Lost Echo, Riflemind, Tot Mom, King Lear, The Shape of Things, These People, Morph, Thyestes, Far Away, Bed, This Little Piggy, Julius Caesar, Summer Rain, Boy Gets Girl, The Metamorphosis, The Cherry Orchard, A Hard God, Fat Pig, A Walk With the Goons, Self Esteem, The Art of War, The Great, The Duel, Honour, Oresteia, Zebra!, Edward Gant’s Amazing Feats of Loneliness, Blood Wedding, Bloodland, Pygmalion, Under Milk Wood, The Splinter, Storm Boy, The Long Way Home, Children of the Sun, Cyrano de Bergerac, Arms and the Man; Belvoir: Things
I Know To Be True, Counting and Cracking, Mark Colvin’s Kidney, The Dog/The Cat, Radiance, The Glass Menagerie, Coranderrk, Miss Julie, Stories I Want to Tell You in Person, Cat on a Hot Tin Roof, Peter Pan, Private Lives, Conversation Piece, Strange Interlude, Summer of the Seventeenth Doll, Neighbourhood Watch, The Seagull, Gethsemane, Keating!, Toy Symphony, Peribanez, Stuff Happens, The Chairs, The Spook, In Our Name, The Underpants, The Sugar House, A Taste of Honey, The Ham Funeral, Exit the King (with Malthouse Theatre, and Broadway transfer); Bell Shakespeare: The Tempest; Melbourne Theatre Company: Golden Shield; Ensemble Theatre: Kenny, Honour. Damien has also designed lighting for other forms of performance art, including over 30 opera and dance productions. Awards: Three Sydney Theatre Awards – Best Lighting; Three Green Room Awards – Best Lighting; Australian Production Designers Guild – Award for Lighting Design Der Ring des Nibelungen.
Michael Toisuta Composer and Sound Designer
Queensland Theatre: Debut. Other credits: As Sound Designer: Sydney Theatre Company: Australian Graffiti; Belvoir: The Sugar House, Windmill Baby; Bell Shakespeare: Richard 3; National Theatre of Parramatta: Flight Paths; Griffin Theatre Company/ State Theatre Company of South Australia: Masquerade; Legs On The Wall: Man with the Iron Neck, My Bicycle Loves You; TerryandTheCuz: Made in America; Mosman Art Gallery: Island of Shadows; PYT Fairfield: Swimming Pool; DeQuincey Co: Framed. As Associate Sound Designer: Sydney Theatre Company: Disgraced. Short film: Dance Diaries: Woodville, Dance Diaries: Sydney, Hairpin, Jyoti, Woodlands. Video art
installation: Asia Pacific Triennial: Habitat 2018; Art Gallery of NSW: Habitat 2017; Cairns Art Gallery: Dengung Hyena. Cross-artform: Bundanon Trust Siteworks: Double Landscape.
Me-Lee Hay Composer and Associate Sound Designer
Queensland Theatre: Debut. Other credits: As Composer and Live Musician: The Joan, Penrith: Yellow Yellow Sometimes Blue. As Composer and Sound Designer: National Theatre of Parramatta: Launch Pad; Sydney Dance Company: Orfeo ed Euridice (Pre-Professional Year: PPY19 Revealed). Film: A Second Chance: Rivals!, Heretic, Capturing the Cosmos, Starlight (Scienceworks, Museums Victoria), Hidden Peaks. TV: Luke Nguyen's (UK, France and Greater Mekong), Ben's Menu, My Market Kitchen. Positions: Vice President, Australian Guild of Screen Composers. Awards: APRA Screen Music Awards – Best Music in a Short Film Last Tree Standing; IOWA Motion Picture Awards – Best Score Last Tree Standing; Fiske Full Dome Festival nomination – Best Music Starlight. Training: Screen Music, Australian Film Television and Radio School; AMusA, Piano; CMus, Cello.
Courtney Stewart Dramaturg
Queensland Theatre: As Actor: Macbeth. Other credits: As Dramaturg: Sydney Theatre Company: Playing Beatie Bow. As Dramaturg and Assistant Director: Sydney Theatre Company: White Pearl (with National Theatre of Parramatta). As Director: Belvoir: Miss Peony; NIDA/ Sydney Theatre Company: Eat Me; Sydney Fringe: Confessions of a Custard Melon Pan. As Assistant Director: Sydney Theatre Company: Australian Graffiti; CAAP: Double Delicious. Positions: Richard Wherrett Fellow, Delegate to the National Performers’ Committee, Chair of the Equity Diversity Committee (former), Sydney Theatre Company; Board Member, Contemporary Asian Australian Performance. Training: QUT.
Amy Hume Voice Coach
Queensland Theatre: Debut. Other credits: Sydney Theatre Company: White Pearl (with National Theatre of Parramatta). As Voice and Dialect Coach: LWAA: Six the Musical, Billy Elliot the Musical 10th Anniversary Tour, Matilda the Musical (with RSC); Hayes Theatre: Merrily We Roll Along; Ensemble Theatre: Black Cockatoo, Folk, The Norman Conquests, Shirley Valentine, The Kitchen Sink; Belvoir: Fangirls, Counting and Cracking, Sami in Paradise, The Rover, Ghosts; Sport For Jove: Measure for Measure, The Servant of Two Masters. TV: As Dialect Coach: New Gold Mountain, The Unlisted, The Secrets She Keeps. Positions: Voice Lecturer, VCA (2020–current); Voice Tutor, NIDA (2015–19); Voice and Accents Tutor, ATYP (2015–19); Founder of Speech and Drama Studio, Viva Voice. Training: Post-Graduate Diploma in Voice, Victorian College of the Arts; Designated Linklater Teacher.
Katie Hankin Stage Manager
Queensland Theatre: Debut. Other credits: As Stage Manager: Sydney Theatre Company: White Pearl (with National Theatre of Parramatta); Critical Stages: Good with Maps; Bell Shakespeare: The Miser, Midsummer Madness. As Deputy Stage Manager: Sydney Theatre Company: Playing Beatie Bow, The Picture of Dorian Gray, Lord of the Flies, Mary Stuart, The Resistible Rise of Arturo Ui. As Assistant Stage Manager: The Deep Blue Sea, The Harp in the South, The Father, Talk, Chimerica, A Flea In Her Ear, King Lear, Endgame, Mojo; Belvoir: The Dog/The Cat, The Glass Menagerie, Persona; Bell Shakespeare: A Midsummer Nights Dream, Romeo and Juliet, The Tempest, The Winter’s Tale, Phèdre. As Dresser: Sydney Theatre Company: Cyrano de Bergerac, The Secret River (with Sydney Festival). Training: Bachelor of Dramatic Art (Production), NIDA; Bachelor of Arts, University of Melbourne.
Stephanie Lindwall Assistant Stage Manager
Queensland Theatre: Debut. Other credits: As Stage Manager: Ensemble Theatre: Crunch Time, Baby Doll, Murder on the Wireless, The Widow Unplugged, Shirley Valentine, Neville’s Island, The Rasputin Affair, Barefoot in the Park, Good People; Critical Stages: The Dapto Chaser, Hooting and Howling; Sydney Theatre Company: Rough Draft #48; Return Fire Productions: Senior Moments, Mono, True Blue Revue; TRS: Pride, The Horse’s Mouth Festival, Bondi Feast; NIDA: SET: The Play; Riverside Theatres: A Few From Moving Windows. As Touring Stage Manager: Mischief Theatre: Peter Pan Goes Wrong. As Technical Director: Peter Pan Goes Wrong (Italian replica production). As Production Manager: Ensemble Theatre: Kenny; AADA: Playhouse Creatures; Old Fitz: Say Hello First; 107 Projects: Body Language. As Assistant Stage Manager: Sydney Theatre Company: Playing Beatie Bow; TRS: Empire; Riverside Theatres: The Wizard of Oz. Training: Bachelor of Performance, Australian Academy of Dramatic Art; Advanced Diploma in Music Theatre.
Deborah An Soo-Jin Park
Queensland Theatre: Debut. Other credits: Sydney Theatre Company: White Pearl (with National Theatre of Parramatta); Sport For Jove: The Crucible, The Tempest, A Midsummer Night’s Dream, Macbeth; Bell Shakespeare: Shakespeare is Dead, Macbeth: The Rehearsal (The Players); Belvoir: Slut: The Play; Playwriting Australia/ National Play Festival: White Pearl (play reading). Film: The Legend of the Five. TV: Home and Away, Harrow. Training: Actors College of Theatre and Television.
Cheryl Ho Sunny Lee
Queensland Theatre: Debut. Other credits: As Actor: Melbourne Theatre Company: Cybec Electric; Malthouse Theatre: Hello World; Melbourne Shakespeare Company: As You Like It; Next Wave Festival: Poona. As Actor and Writer: 落叶归 根 (Luò yè guī gēn) Getting Home. As Narrator: Gunk Baby (audio book). As Writer and Voice Artist: Singapore's Writers Festival: A Call Away. Awards: Melbourne Fringe Awards – Best in Theatre, Best Emerging Writer, Best Emerging Producer and New Zealand Tour Ready award 落叶归根 (Luò yè guī gēn) Getting Home. Training: Bachelor of Fine Arts (Acting), Victorian College of the Arts.
Mayu Iwasaki Ruki Minami
Queensland Theatre: Debut. Other credits: Sydney Theatre Company: White Pearl (with National Theatre of Parramatta); NIDA: Love and Honour and Pity and Pride and Compassion and Sacrifice, The Hour We Knew Nothing of Each Other; ERTH Visual & Physical Inc.: Erth’s Dinosaur Zoo; Mozawa: Fallen; Atlantic Theatre Company NYC: Love and Information; Shakespeare & Company: Morgan O-Yuki: The Geisha of the Gilded Age. TV: Top Knot Detective. Positions: Creative Associate, MonkeyBaa Theatre Company. Training: David Mamet’s Atlantic Theatre Conservatory; SITI Company (New York).
Nicole Milinkovic Built Suttikul
Queensland Theatre: Debut. Other credits: The Phoenix Theatre: Salome. Short film: Blood and Steel, Slice of Life, Match Point, Death Proof. Training: Screenwise.
Matthew Pearce Marcel Benoit
Queensland Theatre: Debut. Other credits: Sydney Theatre Company: White Pearl (with National Theatre of Parramatta); One Eyed Man Productions: Calamity Jane; Gordon Frost Organisation: Kings of the Air; Hayes Theatre: Rent; Blake Entertainment: Rolling Thunder Vietnam; NIDA: Osama the Hero. TV: Home and Away, Too Pretty to Be Witty. Short film: Brothers, Carcerum. Web series: The Virgin Intervention. Training: NIDA.
Vaishnavi Suryaprakash Priya Singh
Queensland Theatre: Debut. Other credits: Sydney Theatre Company: White Pearl (with National Theatre of Parramatta); Belvoir: Life of Galileo, Counting and Cracking, Sami in Paradise; Sport For Jove: Moby Dick; Vox Theatre: Pramkicker. TV: Wakefield, The Secret She Keeps. Music video: Find You (by Tim Ayre). Awards: Helpmann Award – Best Female Actor in a Supporting Role Counting and Cracking. Training: NIDA.
Lin Yin Xiao Chen
Queensland Theatre: Debut. Film: The Whistleblower, Love in Bloom. TV: Flunk. Training: The Actors Temple, London; The Actors
Mayu Iwasaki, Vaishnavi Suryaprakash
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Building our Universe 2021 Workshop and Wardrobe Appeal Colossal 7 metre high set. Over 50 costumes. 94 props and counting… Building Trent Dalton’s Boy Swallows Universe, adapted for the stage by Tim McGarry, will cost more than twice the amount of any previous production.
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PATRON His Excellency the Honourable Paul de Jersey AC, Governor of Queensland MEMBERS OF THE BOARD Elizabeth Jameson AM (Chair) Rachel Crowley (Deputy Chair) Tracey Barker Mundanara Bayles Simon Gallaher Dean Gibson Susan Learmonth Dr Andrea Moor David Williamson AO ARTISTIC DIRECTOR Lee Lewis EXECUTIVE DIRECTOR Amanda Jolly EXECUTIVE ASSISTANT Pete Sutherland HUMAN RESOURCES AND GOVERNANCE MANAGER Donna Maher ARTISTIC ASSOCIATE ARTIST Isaac Drandic ASSOCIATE ARTIST Daniel Evans DESIGN DIRECTOR Renée Mulder LITERARY ADVISOR Dr Julian Meyrick DEVELOPMENT DIRECTOR OF DEVELOPMENT Zoë Connolly CORPORATE PARTNERSHIPS MANAGER Merryn Csincsi PHILANTHROPY COORDINATOR Georgia Lynas EVENTS ASSISTANT Matthew Filkins
MARKETING AND TICKETING DIRECTOR OF MARKETING Laura Oliver PUBLICITY AND COMMUNICATIONS MANAGER Amanda Lawson SENIOR MARKETING COORDINATOR Maneka Singh MARKETING COORDINATOR (DIGITAL ENGAGEMENT) Cinnamon Smith MARKETING ASSISTANT (DIGITAL ENGAGEMENT) Thomas Manton–Williams GRAPHIC DESIGNER (ACTING) Irené Ostash DATABASE SUPERVISOR Jeffrey Guiborat TICKETING SUPERVISOR Madison Bell TICKETING OFFICER Rosie Hazell BOX OFFICE Alana Dunn SEASON TICKETING Matthew Filkins, Ngaire Lock, Daniel Sinclair PRODUCTION DIRECTOR, TECHNICAL AND PRODUCTION Toni Glynn TECHNICAL MANAGER Daniel Maddison TECHNICAL COORDINATOR Lachlan Cross HEAD OF WORKSHOP Peter Sands COMPANY CARPENTER / HEAD MECHANIST John Pierce COSTUME SUPERVISOR Nathalie Ryner WARDROBE COORDINATOR
FINANCE AND OPERATIONS ASSISTANT ACCOUNTANT Barbara Kerr Georgia Knight CARPENTRY APPRENTICE FINANCE OFFICER Kane Ernst Sarra Lamb FACILITIES AND OPERATIONS MANAGER Shaun Kelly VENUE AND BAR MANAGER Kimberley Mogg
PROGRAMMING DIRECTOR OF PROGRAMMING Rod Ainsworth ARTISTIC COORDINATOR Samantha French PRODUCER, NEW WORK Shari Irwin ARTISTIC ADMINISTRATOR Zena O’Shannessy EDUCATION, YOUTH AND REGIONAL ENGAGEMENT DIRECTOR, EDUCATION, YOUTH AND REGIONAL ENGAGEMENT Laurel Collins ASSOCIATE DIRECTOR Steve Pirie EDUCATION COORDINATOR Emma Funnell PROJECT OFFICER Alana Dunn INDIGENOUS REFERENCE GROUP Nathan Jarro (Chair), Dr Valerie Cooms, Isaac Drandic FOUNDING DIRECTOR AIan Edwards, AM, MBE (1925–2003) QUEENSLAND THEATRE PRODUCTION STAFF HEAD LX & OPERATOR Scott Barton AV & SOUND TECHNICIAN Chris Goeldner SOUND CONSULTANT Brady Watkins HEAD MECHANIST Michael Smith WARDROBE MAINTENANCE Jack Parry SYDNEY THEATRE COMPANY TRANSFER STAFF PRODUCTION MANAGER Tony Papp SOUND SUPERVISOR Luke Davis STAGING SUPERVISOR John Sheddon LIGHTING SUPERVISOR Raff Watt DEPUTY HEAD OF SET CONSTRUCTION Nick Horne ACKNOWLEDGEMENTS COVER PHOTOGRAPHY Brett Boardman REHEARSAL PHOTOGRAPHY Philip Erbacher White Pearl was first developed by Playwriting Australia through its National New Play Development Program and the National Play Festival in 2018.
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One of the world’s largest not-for-profit theatre producers, Sydney Theatre Company is at the heart of Australia’s cultural landscape. It owes its world-class creative pedigree to a history of ground-breaking productions.
ARTISTIC DIRECTOR KIP WILLIAMS
We are proud that over the years Sydney Theatre Company has produced work with some of Australia’s – and the world’s – most exciting performers, writers, directors and creative teams; and that we continue to invest in the artistic legends of the future.
Since 1978, the company has produced work that is – in the words of founding artistic director Richard Wherrett – “grand, vulgar, intelligent, challenging and fun”. A paradox as playful as our city.
EXECUTIVE DIRECTOR PATRICK MCINTYRE DIRECTOR, FINANCE AND ADMINISTRATION FRANCISCA PEÑA
Learn more and book tickets at sydneytheatre.com.au
DIRECTOR, MARKETING AND CUSTOMER SERVICES NICOLE MCPEAKE DIRECTOR, EXTERNAL RELATIONS & PRIVATE GIVING DANIELLE HEIDBRINK ACTING DIRECTOR, BUSINESS DEVELOPMENT MIRANDA PURNELL ACTING DIRECTOR, EDUCATION AND COMMUNITY PARTNERSHIPS ZOE HOGAN DIRECTOR, TECHNICAL, PRODUCTION JAMES WHEELER
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Proudly Supporting the Arts Supporting Queensland Theatre Telephone & Radio Communications Comtel would like to welcome back Queensland Theatre. We missed you in 2020!
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Toowoomba • Brisbane • Gold Coast • Sunshine Coast
Coming soon to the Bille Brown Theatre #TimesUp
Prima Facie BY SUZIE MILLER DIRECTED BY LEE LEWIS
14 JUL – 7 AUG A GRIFFIN THEATRE COMPANY PRODUCTION