The Almighty Sometimes program

THE ALMIGHTY SOMETIMES THE ALMIGHTY 13 AUG — 3 SEP BILLE BROWN THEATRE

SOMETIMES

BY KENDALL FEAVER DIRECTED BY DANIEL EVANS

Rachel Gordon, Melissa Kahraman

Name

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.

This play is seemingly simple, seemingly domestic, seemingly modest. Until it comes off the page. And then it is huge. It is ambitious.

Lee Lewis Artistic Director

It has been an extraordinary privilege to watch Kendall Feaver evolve into one of the most exciting playwrights of her generation. When the New Wave was fighting to put the Australian voice on our stages, Kendall is one of the voices they were dreaming into existence… a young woman who would grow up in the future watching Australian stories on stage speaking directly to her, inspiring her to write her own version.

I am drawn to the strength in Kendall’s voice, the sureness, the right to speak, and the rigour to ensure that what she has to say is so clearly and theatrically articulated. In the DNA of her writing courage I can feel the courage of the New Wave writers crafting a form of storytelling that could only come from living in Australia.

Sometimes being an Artistic Director is about giving up your favourite plays to other directors. I thought it would be hard to give up this play, but strangely, because it is Daniel Evans

directing, it has been wonderful. I feel like this is a perfect match of artists — Dan has an inherent courage in his work that I think matches Kendall at every moment. I have had the luxury of staying away from the rehearsal room knowing the play has been in such good directorial hands, and I get to enjoy it this time, thanks to the talent of Daniel Evans!

This play is seemingly simple, seemingly domestic, seemingly modest. Until it comes off the page.

And then it is huge. It is ambitious.

It is formally adventurous. It has enormous depth and it is filled with unfathomable love. It offers enormous challenges to everyone working within its seemingly simple frame. It is the perfect introduction to a writer who will be crafting stories for us for many years to come. I can’t wait to see the plays it will inspire in the next generations of Australian playwrights.

— Lee

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13 AUG — 3 SEP BILLE BROWN THEATRE

THE ALMIGHTY SOMETIMES

BY KENDALL FEAVER DIRECTED BY DANIEL EVANS

Anna has been on medication for so long she can't remember who she is without it. All she knows is that once, as a little girl, she was a prodigious writing talent, in possession of a thrilling imagination. Has this been lost to years of pills and prescriptions?

Now 18, Anna is determined to find out, and the possibilities are endless. Could she go to university?

Could she have a boyfriend, maybe? Could she even write a work of undeniable genius?

Her mother Renée has always tried to keep Anna safe: taking care, editing the choices, enjoying the relative calm. Renée can't bear to watch her daughter go through the anguish again.

Kendall Feaver's multi-award-winning play is a heartfelt family drama about loving someone with a mental illness. From the complexities of diagnosing children to the courage of raising teenagers towards independence, The Almighty Sometimes is filled with humour, pain and a little bit of magic.

The Almighty Sometimes was first performed at the Royal Exchange Theatre, Manchester (UK) as a winner of the 2015 Bruntwood Prize for Playwriting, on 9th February 2018, directed by Katy Rudd.

How do you tell the difference between care and control?

CREATIVES Writer Kendall Feaver Director Daniel Evans Designer Simone Romaniuk Lighting Designer Ben Hughes Composer and Sound Designer Mike Willmett Stage Manager Erin Handford Assistant Stage Manager Tia-Hanee Cleary CONTRIBUTING ARTISTS Fight and Intimacy Director NJ Price CAST Oliver Will Bartolo Renée Rachel Gordon Anna Melissa Kahraman Vivienne Luisa Prosser LOCATION Queensland Theatre, 78 Montague Road, South Brisbane DURATION 2 hours and 25 minutes including a 20 minute interval WARNINGS This play contains multiple lighting blackouts, ​strobe, flickering lights, haze, and loud noises. It also contains coarse language, prescription medication misuse, discussions around mental illness and diagnosis, and theatrical depictions of depressive behaviour and a suicide attempt.

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 the Box Office.

If you or someone you know needs information or support, these organisations are there to help: Beyond Blue 1300 22 4636 Headspace 03 9027 0100 Lifeline 13 11 14 The use of photographic or recording equipment is not permitted inside the theatre.

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Beyond the research and the headlines, however, this is a play — first and foremost — about mothers and daughters.

Kendall Feaver Writer

I wrote the first draft of this play back in 2012, at a time when media headlines were preoccupied with a so-called medication “epidemic.”

My generation, Gen Y, had the dubious honour of being the most medicated in history, and young people, who had been diagnosed with a mood and/or behavioural disorder in childhood or adolescence, had now come of age.

activists and critics. Conflicting medical advice and identity issues abounded — “What is me and what is my medication?” — but there were also many young adults who felt their lives had been dramatically improved, or even saved, by these interventions.

For me, this was an extraordinary thought. Along with all the usual identity-making and boundarypushing that comes with transitioning from child to adult, a significant proportion of young people might also be grappling with questions of medical consent.

Every experience of mental illness is unique, and it would be impossible to represent all within the scope of this play, but I do hope The Almighty Sometimes goes some way towards capturing the experience of growing up with a label, and the huge and often fraught responsibility of being a parent, partner or mental health professional.

As part of the development of this play, I spoke with dozens of teenagers, parents, psychologists, psychiatrists, support workers,

Beyond the research and the headlines, however, this is a play — first and foremost — about mothers and daughters. The bickering and

Luisa Prosser, Melissa Kahraman

the too-intense-familiarity. The lack of privacy or personal space.

The belly-laughs. The life-lessons imparted (whether asked for or not!). The late-night vigils by the door. The swallowed injustices.

The pain we sometimes inflict and the unconditional (and somewhat unfathomable) love we receive in return.

I am forever grateful to Manchester’s Royal Exchange Theatre and the Bruntwood Prize for Playwriting, which picked up this play from over 1000 anonymous entries and subsequently changed my life.

And to Queensland Theatre’s Artistic Director, Lee Lewis, who saw something in the early drafts and has never wavered in her support and her advocacy.

In Australia, second and third productions for new plays are rare, but deeply exciting, as scripts are best used as scaffolding for the creativity and talent of others.

And so, what you see on stage tonight is filled with as much of director Daniel Evans and his formidable team as it is of me, and that is the great privilege of being a playwright: to have some small continuing part in the miraclealchemy of making theatre.

As always, this play is dedicated to my mother — Jennie Hordern — but I’d also love to dedicate this particular production to my Queensland family: Aunty Sandy, Uncle Rob, Aunty Clare and Aunty Mary, and my many Feaver/ Hordern cousins. It is such a thrill to share this story with you on your home turf.

— Kendall

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My life is populated by a legion of strong women. They are gutsy, they are tenacious, they are complex and when the going gets tough, they get tougher.

Daniel Evans Director

My mum. My sister. My best friends. My colleagues. I saw all of them refracted in some way in this beautiful play where playwright Kendall Feaver has said: there is “not one but three women having conversations on stage about something other than a man.” It’s been an honour to work with Mel, Rachel, Luisa, Simone, NJ, Erin, Tia-hanee, Alex, Lee (and, yes, Will, Mike and Ben) on this work.

The characters who will take centre stage tonight are bold and biting and brilliant and funny. When I first read this play, I laughed. A lot. These are people who are instantly familiar. Kendall’s creations are accurately and finely-drawn.

Mothers like Renée and daughters like Anna walk amongst us; they are in our daily orbit — whether you realise or not — which is, in many ways, precisely the point. Mental illness hangs between the two main characters, frustratingly invisible

yet tangibly, painfully felt. “There are a million unknowns,” Vivienne, the play’s psychiatrist says, “a million possibilities at play — including a small chance that — as Anna seems to believe — there was nothing wrong with her to begin with."

This is a love story. Although this love story is not a timeworn romance between two people.

This is a much more complex, unconditional love story between parent and child; and that love has the capacity to be both profound and tragic in equal measure — filled with mercy, capable of destruction and superhuman in its strength.

Kendall Feaver is a playwright who doesn‘t play nice: she possesses a brilliant and brave voice that she uses to cut to the marrow of the themes she explores. “The more important something is,” Kendall says, “the more it should be interrogated.”

Will Bartolo, Daniel Evans

The Almighty Sometimes is her razor-sharp examination about the way in which we medicate the mental health of children; a terrain that is remarkably grey: where facts are fraught, definitives don’t exist and decisions around prescription and administration carry enormous weight.

Much more than just an issue drama, the story of Anna — and her mother Renée — ensnares us in a Gordian knot that is gently funny, quietly profound and deeply moving. We often see singleparent relationships portrayed as bonds of struggle and suffering but here, the inverse is true. The mother-daughter tether is full of acute connection and intense love that is starting to splinter as Anna is waking up at the end of her teens and asking some tough questions: How much of who I am is me? How much of who I am is my medication? OR a by-product of someone else’s decision to fix me? AND what would happen

if, after several years of intense prescription, I just stopped?

The Almighty Sometimes is an actor’s gymnasium — moving across time and space at a lightning pace — it is a play that is as much about the body as it is the mind… and the battle between the two plays out on Simone Romaniuk’s elegant design that feels like one of Anna’s blank notebook pages.

The subtle domesticity of the space opens up to become more poetic as the play presses on, all-the-while crowned by a crumpled papercloud or underwater ocean swell or the contours of a mind.

Tonight is about resilience and tenacity and tumult. It’s about how we hurt, how we heal, and how, and where — in the face of adversity — we find the love to keep going.

I’d like to dedicate my work on this play to my mother and sister: this one is for the both of you.

— Daniel

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Kendall Feaver Writer

Kendall is an Australian playwright and screenwriter, currently based in London.

Her writing brings untold stories into focus, finding the humour and the humanity in ethically knotty subjects.

She's also a diehard musical theatre fan.

Theatre credits: Untitled (commission, National Theatre); Yolk (commission, Manhattan Theatre Club); Godmoney (commission, Almeida); Untitled (commission, Belvoir Street Theatre); Wherever She Wanders (Griffin Theatre Company, July 2021); My Brilliant Career (Belvoir Street Theatre, 2020); The Almighty Sometimes (Manchester Royal Exchange, 2018). Screen credits: Untitled (commission, Pathé).

Fellowships: Almeida Theatre Genesis Writers Group (2019/20); Phillip Parsons Fellow, Belvoir Street Theatre (2019/20); Bush Theatre Attachment (2018); National Theatre Studio Attachment (2017 and 2018); National Theatre Musical Theatre Group (2017/18). Awards: UK Theatre Award for Best New Play (2019); Nick Enright Prize for Playwriting (2019); Victorian Premier’s Prize for Playwriting (2019), Judges Award, Bruntwood Prize for Playwriting (2015).

Daniel Evans Director Queensland Theatre: As Director: The Seagull, I Want To Know What Love Is, The China Incident.

As Writer: The Seagull, Six Hundred Ways To Filter A Sunset, Oedipus Doesn’t Live Here Anymore. Other credits: As Director: La Boite Theatre: Away, The Tragedy Of King Richard The Third; Myths Made Here: Medea, Cinderella; The Good Room: Let’s Be Friends Fur-Ever, One Bottle Later, That’s What She Said, I’ve Been Meaning To Ask You, I Just Came To Say Goodbye, I Want To Know What Love Is, I Should Have Drunk More Champagne, Rabbit, Single Admissions, Holy Guacamole; The Little Red Company: How To Make Snow; QUT: Algorithm, Three Sisters, Incognito, Ivanov; Griffith University: Mr Burns, The Comedy of Errors; University of the Sunshine Coast: Cosi; Australian Theatre for Young

People: Oedipus Doesn’t Live Here Anymore.

As Dramaturg: Polytoxic: Demolition; The Little Red Company: Lady Beatle. Television: The Traitors, Beauty and The Geek, Big Brother. Training: Bachelor of Creative Industries (Interdisciplinary Studies).

Positions: Festival Director (2022), MELT; Raise The Roof Creative Director (2022), Brisbane Festival; Associate Artist (2021), Queensland Theatre; Co-Founder & Artistic Director (2008 – Present), The Good Room; Senior Writer (2006–10), Frankie Magazine; Co-Director (2008, 2009), National Young Writers’ Festival. Awards: Sydney Theatre Awards – Best Work for Young People I’ve Been Meaning To Ask You; Matilda Awards – Best Director Cinderella; Queensland Premier Drama’s Award – Oedipus Doesn’t Live Here Anymore.

Simone Romaniuk Set and Costume Designer Queensland Theatre: Bernhardt/Hamlet, Macbeth, Elizabeth: Almost

by Chance a Woman, Venus in Fur, Kelly, Head Full of Love, Fractions, The Little Dog Laughed, Bombshells, Australia Day, The Pitch & The China Incident, An Oak Tree, The Removalists, Man Equals Man, Waiting for Godot, Eating Ice Cream With Your Eyes Closed, Beckett x 3, Ruby Moon. Other credits: State Opera South Australia: La Bohème, Summer of the Seventeenth Doll, Love Burns, Boojum!; State Opera South Australia/Opera Queensland/New Zealand Opera: The Mikado; Opera Queensland: The Magic Flute, The Merry Widow, Space Encounters; Royal Northern College of Music: La Vie Parisienne; Unicorn Theatre: The Hunting Lodge; Greenwich Theatre: Three Generations of Women; Ensemble Theatre: Honour, Kenny, The Last Wife, Luna Gale, Shirley Valentine, Frankenstein, Casanova; Brisbane Festival/The Danger Ensemble/La Boite Theatre: The Wizard of Oz; Sydney Theatre Company: The Crucible, Seneca’s Thyestes. Training: Bachelor of Dramatic Art (Design), NIDA; Bachelor of Design Studies (Three Dimensional Design), Queensland College of Art. Positions: Creative Director (2015–19), OzAsia Festival, Adelaide Festival Centre; Creative Director/Designer (2015–19), Moon Lantern Parade, Adelaide Festival

Centre; Resident Designer (2012), Affiliate Artist (2011), Queensland Theatre; Festival Designer (2012), Brisbane Festival. Awards: Matilda Awards – Best Design Macbeth, Kelly; Gold Matilda Awards – Body of Work 2014, Body of Work 2012; South Australian Tourism Awards 2019 – Best Major Festivals and Events OzAsia Festival.

Ben Hughes Lighting Designer Queensland Theatre: The Sunshine Club, Othello, Return to the Dirt, Boy Swallows Universe, Triple X (with STC) Mouthpiece, Antigone, L’Appartement, Twelfth Night, Good Muslim Boy (with Malthouse), Scenes from a Marriage, An Octoroon, Noises Off! (with MTC), Constellations, Switzerland, Much Ado About Nothing, The Seagull, Happy Days, Grounded, HOME, The Button Event, The Effect (with STC), The Mountaintop, Black Diggers (with Sydney Festival), Design for Living, 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu, Let The Sunshine (with MTC), Fat Pig, The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Ice Cream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. Other credits: Adelaide Festival: Two Feet; Opera Queensland: Don Giovanni, Snow White (with La Boite Theatre/Brisbane Festival); Sydney Theatre Company: Black is the New White; The Danger Ensemble: Let Men Tremble, Caligula, The Wizard of Oz, Sons of Sin, Loco Maricon Amor, The Hamlet Apocalypse; La Boite Theatre: The Last Five Years, Away, The Time Is Now, Naked and Screaming, From Darkness, The Mathematics of Longing, A Streetcar Named Desire, Straight White Men (with STCSA), Medea, Samson (with Belvoir), A Doll’s House, Cosi; Australasian Dance Collective: Three 2.0, Forgery, Aftermath, Converge, Mozart Airborne (with Opera Queensland), The Host, Carmen Sweet, Propel; Queensland Ballet: The Masters Series, Flourish, Giselle, A Classical Celebration, ...with Attitude; QPAC/

Red Leap: The Arrival. Positions: Artist Company (current), La Boite Theatre; Affiliate Artist (2014, 2011), Resident Lighting Designer (2013), Queensland Theatre; Associate Artistic Director, The Danger Ensemble. Awards:

Groundling Award for Outstanding Contribution to Lighting Design.

Mike Willmett Composer and Sound Designer Queensland Theatre: Debut.

Other credits: Counterpilot: IMB Institute of Light, Avoidable Perils, Truth Machine, Statum, Crunch Time, Spectate, This Is Capital City, Clarity In Transit; The Good Room: Let’s Be Friends Fur-Ever, Dirty Laundry, One Bottle Later; Liesel Zink: Awesome – A State of Wonder & Fear, The Stance, Inter, Balloons & Granite, Plain English (with TasDance), The Miranda Warning (with LINK Dance Company), Synapse (with Expressions Dance Company), Fifteen, A Collection of Various Selves; Metro Arts: Ephemera, Squad Goals, Aurelian, Room 328; Dead Puppet Society: March Of The Reef; The Stitchery Collective: From Home With Love, Franklin Villa Stories; Stompin: NoWhere, Mirror Mirror; Brisbane Festival: Summer Play Factor, River Of Light.

Various other credits for Brisbane Festival, Adelaide Fringe Festival, Darwin Festival, Sydney Festival, Melbourne Fringe Festival, Horizon Festival, Milbi Festival, Next Wave Festival, Junction Arts Festival, World Science Festival, Dance Massive, 10 Days on The Island, World Theatre Festival, The Australian Performing Arts Market, Sziget Festival (Budapest), ANSAN Street Arts Festival (South Korea). Training: Master of Music, QUT; Graduate Certificate Academic Practice, QUT; Bachelor of Creative Industries (Visual Art), QUT. Positions: Sound Designer & Creative (2014 – Current), Counterpilot; Invisible Cities Technical Design Placement (2019), 59 Productions & Rambert; Songwriter & Touring Musician (2008 – 2015), My Fiction. Awards: Matilda Award – Best New Australian Work Crunch Time; Adelaide Fringe Awards - Bank SA Best Film, Digital or Interactive Award Truth Machine; Melbourne Tour Ready Award Truth Machine; Hong Kong Tour Ready Award Truth Machine; QMusic Song Awards – People’s Choice Award Every June (My Fiction).

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Erin Handford Stage Manager

Tia-Hanee Cleary Assistant Stage Manager

Queensland Theatre: As Stage Manager: An Enemy of the People. As Assistant Stage Manager: The Longest Minute (rehearsals), The Trial. Other credits: As Stage Manager: Australian Shakespeare Company: Hamlet, Songs and Times of Sam Cooke (Melbourne season); The MC Showroom: Songs of the Northern River; Manilla Street Productions: The Beautiful Game; The Butterfly Club, Melbourne: Wellness: A Social Justice Play; FAST: Hold by Madeleine Little; Metro Arts: ENGLAND; Ballet Theatre of Queensland: Cinderella. As Assistant Stage Manager: Victorian Opera: The Selfish Giant, Lorelei; CDP Theatre Producers: Billionaire Boy National Tour; La Boite Theatre: Lysa and the Freeborn Dames, Blackrock; Opera Queensland: Lorelei, Don Giovanni, Encore; shake & stir theatre co: American Idiot. As Assistant Stage Manager Swing/Props Swing: Mamma Mia! The Musical (Brisbane season).

Training: Bachelor of Fine Arts (Technical Production), QUT.

Queensland Theatre: Debut. Other credits: As Lighting Operator: Brisbane Powerhouse: A Girl’s Guide to World War, All Fired Up, Diary of a Madman, Speed: The Movie The Play, Diehard: The Movie The Play, Titanic: The Movie The Play; Room to Play: The Eisteddfod. As Props Assistant: GWB Entertainment: An American in Paris (Brisbane). As Assistant Stage Manager: Opera Queensland: Songs of Love and War, The Marriage of Figaro, Opera Under the Stars, Don Giovanni, A Flowering Tree, Peter Grimes; Troop Production: The Lonesome West. As Venue Technician: Brisbane Festival: Cassie Workman: Giantess, Orpheus, Eurydice. As Visual Graphic and Presentation Designer: Matilda Awards 2018 & 2019.

Training: Bachelor of Fine Arts (Technical Production), QUT.

Will Bartolo

Will Bartolo Oliver

Queensland Theatre: Debut. Other credits: Bell Shakespeare: Play in a day - The Alchemist, The Players; The New Theatre: The Angry Brigade; Fledgling Theatre Company: Appropriation; WAAPA: The Crucible, A Midsummer Night’s Dream, The Importance of Being Earnest, As You Like It, A Dream Play, Momentum, Remarkable, Stuff Happens. Short Film: Cut, Omar and Dawn, FILCH. Training: Bachelor of Arts (Acting), WAAPA. Positions: Teaching Artist (2022), Bell Shakespeare.

Rachel Gordon Renée

Queensland Theatre: Jasper Jones, Boston Marriage, Let the Sunshine, Ninety. Other credits: Sydney Theatre Company: The Real Thing, Concussion, Don Juan; Griffin Theatre Company:

Between Two Waves, Concussion, Light Particle; Melbourne Theatre Company: Jasper Jones, Let the Sunshine, Ninety; Ensemble Theatre: Outdated, The Norman Conquests Trilogy, Odd Man Out, Managing Carmen, Wit; Bell Shakespeare: King Lear, Macbeth; Darlinghurst Theatre Company: Daylight Saving. Television: The Twelve, Back in Very Small Business, The Secret Daughter, The Letdown, The Moody’s, The Gentlemen’s Guide to Knife Fighting, A Moody Christmas, Home & Away, Neighbours, Blue Heelers, All Saints. Film: Angel of Mine, Thunderstruck. Training: National Institute of Dramatic Art. (NIDA).

Melissa Kahraman Anna

Queensland Theatre: Debut. Other credits: Tinderbox Productions: Claudel; Sport for Jove: Othello; Kleine Feinheiten/ Brand X: Delilah by the Hour; NIDA: When The Rain Stops Falling, God of Carnage, Ah Tuzenbach, Roberto Zucco; Melbourne Shakespeare Company: A

Midsummer Night’s Dream; Nick of Time Productions: Suitcases, Baggage & Other Synonyms; Four Walls Theatre Company: The Apartment; Platform Youth Theatre: The Dog Watch. Film: Three Thousand Years of

Longing. Television: Bad Behaviour, Australia on Trial: The Mount Rennie Outrage, Triple Zero Heroes. Training: Bachelor of Fine Arts (Acting), NIDA.

Luisa Prosser Vivienne Queensland Theatre: St Mary’s in Exile. Other credits: Metro Arts: Conviction, Splendour; Princess Theatre: A Little Night Music; Queensland Music Festival: After Julia; La Boite Indie: Machina; Matrix Theatre: Therese Raquin; 4MBS: The Comedy Of Errors, Henry V, A Midsummer Night's Dream; National Theatre Studio, London: L'heureux Strategeme; Pitlochry Festival Theatre: Habeas Corpus, Wild Honey, She Stoops to Conquer; Glasgow Repertory Company: The Winter's Tale, The Comedy of Errors, Twelfth Night; Salisbury Playhouse: Playing For Time; Tron Theatre: Glasgow Standing Wave; Dundee Repertory Theatre: Such is Nature. Film: Thirteen Lives, Don’t Tell, Burns Point. Television: Rock Island Mysteries, Young Rock, Harrow, The End, Reef Break, Tidelands, Baby Animals in the Wild, Doctors. Awards: Leon Sinden Award – Best Supporting Actress Habeas Corpus; Matilda Award – Best Supporting Actress Therese Racquin. Training: BA Acting, Queen Margaret University, Edinburgh; The Birmingham Theatre School.

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Acknowledging Visionaries who individually support special Queensland Theatre funds: Landmark Productions Fund

Information correct as of August 2022.

Rachel Gordon

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Mike Willmett, Melissa Kahraman

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ADMINISTRATION COORDINATOR Abigail Taylor

GRAPHIC DESIGNER Kristina Humberstone PUBLICIST IVY PR

QUEENSLAND THEATRE PRODUCTION STAFF CARPENTERS Chris Maddison, Tim Pierce SCENIC ARTIST Leo Herreygers

ARTISTIC

DATABASE SUPERVISOR Jeffrey Guiborat

ASSOCIATE ARTIST Isaac Drandic

TICKETING SUPERVISOR Madison Bell

LITERARY ADVISOR Dr Julian Meyrick

TICKETING COORDINATOR Dan Sinclair

HEAD ELECTRICIAN / LIGHTING OPERATOR Tim Gawne

DEVELOPMENT

TICKETING OFFICER Ngaire Lock

SOUND CONSULTANT Brady Watkins

SEASON TICKETING Myk Brown

SOUND OPERATOR Derek Wilson

PRODUCTION DIRECTOR, TECHNICAL AND PRODUCTION Daniel Maddison

CUTTER/COSTUME MAKERS Kiara Bulley, Leigh Buchanan

DIRECTOR OF DEVELOPMENT Zoë Connolly CORPORATE PARTNERSHIPS MANAGER Merryn Csincsi SENIOR PHILANTHROPY COORDINATOR Dimity Vowles GRANTS AND CONTENT WRITER Yvonne Henry DEVELOPMENT COORDINATOR Jade Rodrigo FINANCE AND OPERATIONS CHIEF FINANCIAL OFFICER Christopher Blow ASSISTANT ACCOUNTANT Georgia Knight FINANCE OFFICER Sarra Lamb

TECHNICAL MANAGER Chris Goeldner TECHNICAL COORDINATOR Harry Provins PRODUCTION COORDINATOR Mia McGavin SOUND ASSOCIATE Brady Watkins HEAD OF WORKSHOP Peter Sands COMPANY CARPENTER / HEAD MECHANIST John Pierce

PRODUCTION ELECTRICIAN Chris Conway

WARDROBE MAINTENANCE Tracey Leino

ACKNOWLEDGEMENTS HERO AND REHEARSAL PHOTOGRAPHY Brett Boardman REHEARSAL PHOTOGRAPHY Cinnamon Smith Special thanks to Dr Alexandra Evans, Dr James Marckwald and Billy, Theodora, Kelsey and Cam Bower.

Information correct at time of printing.

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Luisa Prosser