PRIMA FACIE program

Prima Facie

BY SUZIE MILLER DIRECTED BY LEE LEWIS

Sheridan Harbridge

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.

Better late than never. Prima Facie was originally scheduled as the penultimate play in last year’s season, before the chaos of the pandemic flicked the world off its axis.

Amanda Jolly Executive Director

First performed in 2019 at Sydney’s Griffin Theatre Company at the height of the #MeToo movement, it revealed the vastness and universality of women’s experiences of sexual harassment and sexual assault. Since then, we’ve seen the movement empowering survivors in many different industries (including our own) but there is so much more that needs to be done. Sadly, Prima Facie is just as relevant on our stage now as it would have been last October.

Lawyer-turned-playwright Suzie Miller’s work shines a light on the inadequate legal system that deals with sexual assault survivors. Through the protagonist, lawyer Tessa, we see the depth of courage and resolve it takes for a woman to endure a sexual crime, report it, turn up in court, face cross-examination and become the focus of media coverage, all in the hope that the truth will out. Tessa is determined to have her say, even when she knows more than most, that she is unlikely to be successful.

This play’s clarion call got it noticed.

It won the prestigious national Griffin Award, as well as three AWGIES, and has been championed through its theatrical life by Lee, then Artistic Director of Griffin and now our Artistic Director at Queensland Theatre.

Prima Facie is an impassioned appeal for change to a legal system not fit for purpose. During the pandemic, there has been an increase in the number of horrific and violent abuses of women. Now is the time to listen, re-evaluate, and fix what’s broken. Better late than never.

— Amanda

Special event – Women and the Law Playwright Suzie Miller and Director Lee Lewis will lead a curated discussion following the Prima Facie performance on Monday 26 July, 6.30pm on the topic of Women and the Law. Co-hosted by the Women Lawyers Association of Queensland, we encourage and welcome members of Brisbane’s legal community to join us.

Prima Facie DIRECTED BY LEE LEWIS

Fearless

A tour de force indictment of the legal system.

One woman stands centre stage: Tessa, a criminal lawyer at the top of her game, who knows the law permits no room for emotion.

#TimesUp

Award-Winner

BY SUZIE MILLER

To win, you just need to believe in the rules. And Tessa loves to win, even when defending clients accused of sexual assault. Her court-ordained duty trumps her feminism. But when she finds herself on the other side of the bar, Tessa is forced into the shadows of doubt she has so ruthlessly cast over other women.

A GRIFFIN THEATRE COMPANY PRODUCTION

Turning our courts of law into a different kind of stage, human rights lawyer-turned-playwright Suzie Miller’s taut, rapid-fire and gripping one-woman show exposes the shortcomings of a patriarchal justice system where it’s her word against his.

CREATIVES Writer Suzie Miller Director Lee Lewis Designer Renée Mulder Lighting Designer Trent Suidgeest Composer and Sound Designer Paul Charlier Associate Lighting Designer Ryan McDonald Stage Manager Khym Scott CAST Tessa Sheridan Harbridge

14 JUL – 7 AUG BILLE BROWN THEATRE LOCATION Queensland Theatre 78 Montague Road, South Brisbane

WARNINGS This play contains descriptions of sex scenes and sexual assault.

We understand the themes may be triggering for some people. If you have any concerns about the content of the play, we encourage you to contact our Box Office.

If you or someone you know needs information or support, these organisations are there to help: Queensland Sexual Assault Helpline 1800 010 120 Sexual Assault Counselling Australia 1800 211 028 1800RESPECT 1800 737 732 The use of photographic or recording equipment is not permitted inside the theatre.

DURATION 1 hour and 40 minutes, with no interval

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There is nothing new about this play. It is so familiar. That is what makes it so distressing.

Lee Lewis Director

It is fiction. But it is based on a key kernel of reality that I have personally lived.

That you have lived. That the woman sitting next to you has lived. That your mother, your grandmother, your best friend has lived. This is the reality of so many everyday violences, of absolutely ordinary awful moments, that it is almost journalistic. It is almost verbatim.

It is almost documentary. It does not exaggerate or embellish.

Prima Facie is a new play to add to the chorus of voices in Australia today protesting that the current legal system is incapable of delivering safe pathways to justice for survivors of sexual harassment and sexual assault. It lays bare a process which re-traumatises, stigmatises, isolates and mostly silences these survivors.

This play is an appeal for a new system.

We have the capacity to make change.

Where is the resistance and how do we wear it away?

Suzie Miller is a scientist who evolved into a lawyer who evolved into a playwright.

Her stories are created with a breadth of lived experience that gives her not only the courage of her convictions, but also the courage of her emotions. She writes with a language that has struggled

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to find a place on the traditionally male stage that is mainstage theatre. She is one of an extraordinary number of female playwrights who have continued to create despite not being produced by major companies. This country owes them a cultural debt for their persistence in representing non-dominant voices in the theatrical landscape.

This play won the 2018 Griffin Award.

It would not have won 10 years ago because the audience did not want to hear this story then. I hope this story will not win 10 years from now because it is redundant. I hope.

— Lee

Sheridan Harbridge, Lee Lewis, Suzie Miller

Lee Lewis, Sheridan Harbridge

Prima Facie — A (Latin) legal term meaning: On the face of it.

Suzie Miller Writer

This production is dedicated to all the women who have bravely approached me following the play’s premiere season and shared their stories with me.

Courageous, confident, inspiring women.

The idea behind Prima Facie has been playing out in my mind since my law school days, years before I was a playwright. It was there waiting for me to find the courage to write, and for the right social environment to provide a space for it. In light of the #MeToo movement, Prima Facie was able to be realised.

Years of practicing as a human rights and criminal defence lawyer did nothing to silence my feminist questioning of the legal system, because while I firmly believe that ‘innocent until proven guilty’ is the bedrock of human rights, I always felt that its application in sexual assault cases served to undermine rather than to uphold any real fairness.

The legal system is shaped by the male experience: its cases decided by generations of male judges, its laws legislated by generations of white male politicians, and built against a backdrop where women were categorised once as the property of their husbands, brothers, fathers. So sexual assault law does not fit the lived experience of women. While innocence/guilt focuses on whether the (usually) male person reasonably believes there was consent or not provided by the (usually) female person, it has always 8

been the victims, (usually) women, who are on trial, cross-examined and made to relive their humiliating experience. Yet significantly, research has shown that women giving evidence in sexual assault cases are just not believed! Even by other women.

To report a sexual crime, attend all of the court attendances, show up for the prosecution, be cross-examined and publicly written about in the media, takes extraordinary courage. It is not a short process either, and, ironically, indicates an immense faith that the system will be fair. But does the legal system deserve this faith? Or does it silence women further? How can society and therefore the law evolve to reform this area of the legal system?

If one in three women are being sexually assaulted, and only one in ten of those women report it, with only one in that ten securing a conviction, there is something deeply wrong with the system. We need to recognise sexual assault in its many manifestations, and not only in the easily recognisable stranger predator — because sexual assault occurs on dates, in relationships, between friends, at parties and in unexpected social situations. It is everywhere.

We have now seen, in these last months, a devastating series of sexual assault allegations in our country’s highest halls of power. I shudder when I hear that

the sexual assault survivor is troubled or emotional — because of course they are, and it’s surely irrelevant to their truthtelling. This is not to say that we should damn anyone on an accusation.

In this play, the audience see the sexual assault as it happens, then sit through the legal twisting of evidence that makes the survivor of the sexual assault appear to be a liar. In this story, the audiences are not the judge and jury, but witnesses to what happened, and then to what happened in the legal system to betray a woman’s truth.

When Prima Facie was first staged at Griffin — Australia’s beloved playwrights’ theatre — one performance was dedicated to an entire audience of legally-educated women who worked in law, politics or policy. The audience was made up of women judges, QCs, SCs, barristers, solicitors and female politicians from both state and federal parliaments.

All of us women. An extraordinary energy in that room. As one of the creatives, I sat on stage afterwards. What followed was a long and exciting discussion playing out at an authentic intersection between art and social change. Later that week, members of the NSW Law Reform Commission also attended a weekday matinée.

talented Lee Lewis directing this work, and with its premiere season starring the dynamic Sheridan Harbridge, made for a perfect team. Prima Facie is now back up and running post-COVID, with the same perfect team and with further layers of context after years now of #MeToo discussion and the ongoing interrogations and calls for accountability in the highest offices of our land.

Most importantly, this play is back on our stages because of everyone who works at Griffin, those who sit on its Board, and its donors. Thanks also to the brilliant creative team behind Prima Facie, and the Seymour Centre, Queensland Theatre, HotHouse Theatre and Geelong Arts Centre, and their staff. It truly takes a village!

My beloved mother, Elaine, died just before the opening night of the premiere season of Prima Facie in 2019. She was my biggest fan and most enthusiastic audience member. I miss her every day and know she would be extremely thrilled to be part of the ongoing conversation around it.

— Suzie

One night, Her Excellency, the Honourable Margaret Beazley, the Governor of NSW, attended with staff, and later I would discuss the ideas behind the play with her. Significantly, we also had an influx of boys’ schools attend in groups accompanied by teachers and parents. The compassion and curiosity expressed by those young men after the show offered a true beacon of hope for future generations.

When this play was awarded the prestigious national award, the Griffin Award, followed by three AWGIES, it proved to me that women’s stories really do matter. Having the enormously Suzie Miller

Suzie Miller Writer

Lee Lewis Director

Suzie Miller is a contemporary international playwright and screenwriter drawn to complex personal stories often exploring injustice.

Her credits include: for Griffin: Caress/Ache, Prima Facie; for Griffin Independent: Sunset Strip; for Black Swan State Theatre Company: DUST; for La Boite: The Mathematics of Longing, Medea; for Performing Lines WA: Overexposed; for Perth International Arts Festival: Driving Into Walls, OneFiveZeroSeven; for Queensland Opera: Snow White; for Ransom Theatre Northern Ireland & Seymour Centre/Riverside Theatres: Transparency. Other international credits include: for Assembly Rooms for Theatre 503 (UK): SOLD; for the Cherry Tree Theatre (USA): Reasonable Doubt; for the National Theatre of Scotland: Velvet Evening Seance; and for Theatre Gargantua (Canada): The Sacrifice Zone.

Among other awards, Suzie was awarded the Kit Denton Fellowship in 2009, as well as the 2018 Griffin Award, the 2020 AWGIE for Drama, and the 2020 David Williamson Prize for Outstanding Theatre Writing for Prima Facie. Prima Facie has been licenced for productions around the world.

She is currently under commission by theatre companies nationally and internationally, and is developing several works for screen, including two feature film adaptations of her plays (Bunya Productions/Participant Media USA) and an original film (Heiress and Hoodlum). She is lead writer on two new TV series.

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Queensland Theatre: Our Town, Mouthpiece, Rice.

Other credits: Griffin Theatre Company: Family Values, First Love is the Revolution, Prima Facie, Is There Something Wrong With That Lady?, The Almighty Sometimes, Kill Climate Deniers, Eight Gigabytes of Hardcore Pornography, The Homosexuals or ‘Faggots’, Rice, Masquerade, Gloria, The Bleeding Tree, Emerald City, A Rabbit for Kim Jong-il, The Serpent’s Table, Replay, Silent Disco, Smurf In Wanderland, The Bull, The Moon and the Coronet of Stars, The Call, A Hoax, The Nightwatchman, The Literati, The Misanthrope (with Bell Shakespeare); Sydney Theatre Company: Mary Stuart, Honour, Love-Lies-Bleeding, ZEBRA!; Melbourne Theatre Company: Gloria, Hayfever, Rupert; Belvoir: That Face, This Heaven, Half and Half, A Number, 7 Blowjobs, Ladybird; Bell Shakespeare: The School for Wives, Twelfth Night; Australian Theatre for Young People: Battlegrounds, Citizenship; Darwin Festival: Highway of Lost Hearts; WAAPA: As You Like It; NIDA: After Dinner, Big Love, The Winter’s Tale; The Hayes Theatre Company: Darlinghurst Nights. Positions: Artistic Director, Queensland Theatre; Artistic Director and CEO, Griffin Theatre Company; Richard Wherrett Fellow, Sydney Theatre Company. Awards: Helpmann Awards – Best Play, Best Director The Bleeding Tree; Green Room Awards – Best Ensemble, Best Production, Best Director The Bleeding Tree.

Renée Mulder Designer

Queensland Theatre: Triple X (with Sydney Theatre Company), Mouthpiece, Nearer the Gods, An Octoroon, Rice (with Griffin Theatre Company), The Effect (with Sydney Theatre Company), Sacre Bleu!, Fat Pig. Other credits: Highlights include Sydney Theatre Company: Grand Horizons, The Beauty Queen of Leenane, Banging Denmark, The Torrents, Black is the New White, Hamlet Prince of Skidmark, Orlando, Battle of Waterloo, Perplex, The Long Way Home, Dance Better at Parties, Mrs. Warren’s Profession, The Luck Child, In A Heart Beat, The Splinter, The Bleeding Tree (with Griffin Theatre Company); Melbourne Theatre Company: Home, I’m Darling, Arbus and West; La Boite: As You Like It, Ruben Guthrie, I Love You Bro; Griffin Theatre Company: The Bleeding Tree, The Boys, Dogged, Prima Facie, Superheroes. As Costume Designer: Sydney Theatre Company: Playing Beatie Bow, The Harp In The South Part One and 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). Positions: Design Director (current), National Artistic Team (2016–2017), Queensland Theatre; Resident Designer (2012–14), Sydney Theatre Company. Awards: Renée has won two Sydney Theatre Awards, one Matilda Award and one Green Room Award. Training: NIDA; Queensland College of Art.

Trent Suidgeest Lighting Designer

Queensland Theatre: Gasp! (with Black Swan State Theatre Company), Other Desert Cities (with Black Swan State Theatre Company), Managing Carmen (with Black Swan State Theatre Company).

Other credits: Griffin Theatre Company: The Feather in the Web, First Love is the Revolution, The Homosexuals or ‘Faggots’, Kill Climate Deniers, Prima Facie, Wicked Sisters; Black Swan State Theatre Company highlights include: Oklahoma!, Summer of the Seventeenth Doll, The Importance of Being Earnest, The Motherf**ker With the Hat, Boy Gets Girl, National Interest (with Melbourne Theatre Company), Arcadia, The White Divers of Broome, When The Rain Stops Falling, Ninety, A Midsummer Night’s Dream, The Sapphires (with Belvoir); Sydney Theatre Company: Accidental Death of an Anarchist, Appropriate, Hay Fever, Talk; Darlinghurst Theatre Company: The Rise and Fall of Little Voice; Ensemble Theatre: Black Cockatoo, Folk; Global Creatures: Muriel’s Wedding The Musical; Hayes Theatre Company: Calamity Jane, Darlinghurst Nights, Gypsy, Only Heaven Knows, The Rise and Disguise of Elizabeth R, The View UpStairs, Young Frankenstein; Opera Australia: Carmen, Sydney Opera House–The Opera (The Eighth Wonder), The Rabbits; The Production Company: The Boy From Oz, Dusty, Jesus Christ Superstar, The King & I, Nice Work If You Can Get It; Redline Productions: Betty Blokk-Buster Reimagined. Awards: Mike Walsh Fellowship; WA Young People Fellowship. Training: WAAPA.

Paul Charlier Composer and Sound Designer

Queensland Theatre: Debut.

Other credits: Griffin Theatre Company: Prima Facie; Marrugeku: Jurrungu Ngan-ga (Straight Talk); Belvoir: A Room of One’s Own, Aftershocks, Buried Child, Dance of Death, Diary of a Madman, Faith Healer, Hamlet, The Lieutenant of Inishmore, Suddenly Last Summer; Force Majeure: Already Elsewhere; Malthouse/Sydney Opera House: Honour Bound; Sydney Theatre Company: A Streetcar Named Desire, Copenhagen, Love-LiesBleeding, Tot Mom, Victory; DV8 Physical Theatre (UK): The Cost of Living; National Theatre (UK): Afterlife; Out of Joint (UK): Dreams of Violence; Broadway: Deuce (NY).

Radio: As Writer/Producer: ABC Radio: A Plan for Eurydice, The Touring Machine. Film: As Composer: Adam Goodes – The Final Quarter, Aftershocks, Candy, The Comedian, Last Ride, Suzy & the Simple Man. As Sound Designer: Looking for Alibrandi, The Projectionist. As Music Supervisor: Holding the Man. As Sound Designer and Music Mixer: Paul Kelly – Stories of Me. Awards: Sydney Theatre Awards – Best Sound Design Diary of a Madman, Honour Bound, A Streetcar Named Desire; Helpmann Award – Best Sound Design A Streetcar Named Desire; Green Room Award – Outstanding Composition / Sound Design Honour Bound; Australian Screen Sound Guild Award – Paul Kelly – Stories of Me.

Ryan McDonald Associate Lighting Designer

Queensland Theatre: Debut.

Other credits: As Lighting Designer: Altitude Theatre: The Producers; Ensemble Theatre: Black Cockatoo (as co-designer). As Associate Lighting Designer: Sydney Opera House: RENT; Red Line Productions: Angel’s in America. As Secondment: Sydney Theatre Company: Lord of the Flies; Opera Australia: Whiteley.

As Programmer and Production Technician: Sydney Festival; Handa Opera of Sydney Harbour. Training: Bachelor of Fine Arts (Technical Theatre and Stage Management), NIDA.

Khym Scott Stage Manager

Queensland Theatre: Debut.

Other credits: As Stage Manager: Griffin Theatre Company: Superheroes, Family Values, First Love is the Revolution, City of Gold (with Queensland Theatre), Prima Facie, The Misanthrope (with Bell Shakespeare), Good Cook. Friendly.

Clean., Kill Climate Deniers, Festival of New Writing, Girl in Tan Boots, The Serpent’s Table, The Witches; Belvoir: The Cherry Orchard, Fangirls (national tour), Barbara and the Camp Dogs (with Malthouse), This Heaven; Contemporary Asian Australian Performance: Double Delicious, Stories Then and Now; Sydney Festival: Lady Rizo: Red, White and Indigo. As Assistant Stage Manager: Belvoir: The Dance of Death, Miss Julie; The Australian Ballet (2013-17). As Broadcast Director: Griffin Theatre Company: Griffin Award 2020, Griffin Lock-In. Training: NIDA; The University of Sydney.

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Sheridan Harbridge Tessa

Queensland Theatre: Debut.

Other credits: Griffin Theatre Company: Jump for Jordan, Kill Climate Deniers, Prima Facie, Nosferatutu, or Bleeding at the Ballet (also as co-writer); Belvoir: Calamity Jane, The Dog/The Cat, Girl Asleep, The Sugar House, Stop Girl; Darlinghurst Theatre Company: Gaybies; Hayes Theatre Company: Calamity Jane, The Detective’s Handbook, You’re a Good Man Charlie Brown; Melbourne Theatre Company: The Beast, North by Northwest, The Speechmaker; Sydney Festival: Queen Fatima, Songs for the Fallen, The Tiger Lillies at Cockatoo Island; Sydney Theatre Company: Muriel’s Wedding the Musical; Opera Australia: Carmen, Fiddler on the Roof, I Love the Frog, My Fair Lady. Television: All Saints, The Doctor Blake Mysteries, The Justine Clarke Show, Rake, Wild Boys. Film: Andy X. Positions: Part of Griffin Studio (2016), Griffin Theatre Company. Awards: New York Music Theatre Festival award – Best Musical Songs for the Fallen, Best Actress Songs for the Fallen; Green Room Award – Best Artist Songs for the Fallen; GLUG Award – Best Supporting Actress Calamity Jane. Training: NIDA.

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Sheridan Harbridge

Sheridan Harbridge

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A QUEENSLAND THEATRE PRODUCTION PRESENTED BY CIAF 2021

Othello

BY WILLIAM SHAKESPEARE ADAPTED BY JIMI BANI AND JASON KLARWEIN

16 – 21 AUG BULMBA-JA, CAIRNS PRESENTATION PARTNER

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This project is supported by the Australian Government through the Indigenous Languages and Arts Program. Community engagement supported by the Tim Fairfax Family Foundation.

Supporting young artists Queensland Theatre’s Young Artists’ Ensembles lead the state in providing actor training for dedicated school-aged artists.

Recent Ensemble alumni have gone on to perform on the Queensland Theatre mainstage, feature in commercial television series, star in Netflix original films, and tour to the famed Edinburgh Fringe Festival!

In an industry where competition is fierce, scholarships ensure our Young Artists start their careers on even ground.

For more information, or to support a scholarship, please contact Director of Development Zoë Connolly on 07 3010 7602 or at zconnolly@queenslandtheatre.com.au

Sheridan Harbridge

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In 2021, Trent Dalton’s Boy Swallows Universe, adapted for the stage by Tim McGarry, will amaze audiences as it catapults the blockbuster Brisbane novel into real life.

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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

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ACKNOWLEDGEMENTS COVER , PRODUCTION AND REHEARSAL PHOTOGRAPHY Brett Boardman

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Keep the good conversations going on the trip home!

Hosted by our Artistic Director Lee Lewis, Queensland Theatre’s Quality Time podcast turns the house lights up and invites you to get to know the people who helped bring Prima Facie to the stage.

Available on iTunes, Spotify and anywhere good podcasts can be found.

Coming soon to the Bille Brown Theatre True Story

Real Talk

Gravely Humorous

Return to the Dirt

BY STEVE PIRIE DIRECTED BY LEE LEWIS

16 OCT – 6 NOV WORLD PREMIERE PROUDLY SUPPORTED BY