BLACK DIGGERS Production Program

QUEENSLAND THEATRE COMPANY AND BLACK SWAN STATE THEATRE COMPANY PRESENT

17 Nov - 7 Dec PLAYHOUSE, QPAC Call 136 246 queenslandtheatre.com.au PRODUCTION SPONSOR

Queensland Theatre Company and Brisbane Festival, in association with QPAC and The Balnaves Foundation present

A Queensland Theatre Company and Sydney Festival production

Cast 24 Sept – 12 Oct 2014 Playhouse, QPAC Black Diggers will run for approximately 100 minutes, no interval.

This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals, Sydney Festival and Brisbane Festival.

Cover work: Big Fish Production Photography: Branco Gaica

George Bostock Luke Carroll David Page Hunter Page-Lochard Guy Simon Colin Smith Eliah Watego Tibian Wyles Sam Lappan

Ensemble Ensemble Ensemble Ensemble Ensemble Ensemble Ensemble Ensemble Bugler

Wesley Enoch Stephen Curtis Ruby Langton-Batty Ben Hughes Tony Brumpton Louise Gough George Bostock David Williams Jason Klarwein Megan Shorey Melissa Agnew Niki-J Price Nerida Matthaei Peter Sutherland Ashlee Hints

Director Set Designer Costume Designer Lighting Designer Composer/Sound Designer Dramaturg Cultural Consultant Researcher Acting Coach Singing Coach Voice and Dialect Coach Fight Director Movement Consultant Stage Manager Assistant Stage Manager

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Recycle this program Support Greening QTC and recycle this program after the performance in the recycling bins provided in the foyer. Read the program before the show at queenslandtheatre.com.au

Welcome to Country Queensland Theatre Company would like to acknowledge the Jagara and Turrabul people who are the Traditional Custodians of this Land.

We would like to pay our respects to their Elders both past and present, and all Aboriginal peoples whichever Aboriginal nation they may come from.

Black Diggers Indigenous Reference Group Uncle Harry Allie Professor Lisa Jackson Pulver AM Dr Jackie Huggins AM FAHA Pastor Ray Minniecon Gary Oakley Garth O'Connell Colin Watego Uncle David Williams

Welcome Sue Donnelly, Executive Director, Queensland Theatre Company

citizens in Australia must have felt travelling to the other side of the world to fight alongside many other nationalities in someone else’s war. What motivated them to do it? How did their families react? What was it like when they returned?

How did they cope?

Dear Patron, Supporter and Friend, Over two years ago Wesley and I started talking with Lieven Bertels at Sydney Festival about the idea of creating a large scale work to celebrate the untold stories of Indigenous Australians who served in WWI. In Belgium, Lieven had lived near a cemetery in which a soldier named Rufus Rigney was buried. He was a 16-yearold Ngarrindjeri man from Raukkan who enlisted in the Australian Imperial Forces and subsequently died in a German field hospital. We discussed how young men, like Rufus, who were not considered

Black Diggers is a work that has captured people’s imaginations. Since the Sydney season in January the number of stories about black Diggers has nearly doubled. We hope to learn of more stories throughout our current season and into the future as more and more people are touched by this extraordinary production. The Brisbane season includes a live simulcast to nine regional Queensland venues on 8 October, proudly supported by the Queensland Government as part of Queensland’s Anzac Centenary and in 2015 Black Diggers will be touring to Perth, Adelaide, Melbourne, Canberra and some regional venues with support from the

Australian Government’s Anzac Centenary Arts and Culture Fund.

Black Diggers has been a huge undertaking and I want to thank our co-producers, sponsors, donors, the Queensland and Australian governments, the very dedicated Queensland Theatre Company staff, the creative team and the truly wonderful ensemble of actors who have made this happen. This is why I love and believe in the power of theatre.

Cheers

Sue

Messages Noel Staunton, Artistic Director, Brisbane Festival Black Diggers shines the spotlight on an incredibly important national narrative – the play you are about to see tells real stories, about real Australian men.

We are proud to collaborate with Sydney Festival and QTC to create this new work, and I deeply admire Lieven Bertels for championing this project. I am also thrilled to welcome QTC back to Brisbane Festival.

Black Diggers presents one of the greatest Australian ensemble casts. Tom, David and Wesley’s painstaking research gives powerful and poignant insight into the experiences of these soldiers.

When I first saw this show in Sydney it made an indelible impression, opening hearts and minds and I have no doubt it will do the same for Brisbane audiences I hope these stories remain with you and the conversation will continue.

John Kotzas, Chief Executive, QPAC One hundred years ago, when the United Kingdom declared war on Germany, Australia entered The Great War. According to official statistics more than 400,000 Australians enlisted over the course of the war. Incredible given the overall population of Australia was around 5 million people at the time.

Black Diggers is the story, largely untold, about the Aboriginal men who enlisted as part of Australia’s war effort. Directed by Wesley Enoch and written by Tom Wright, Black Diggers presents some of those stories of the Aboriginal men that helped defend Australia, who returned home and faced the same racism and prejudice as when they left and whose honour and sacrifice was, in many instances, unthanked.

QPAC and QTC, along with Brisbane Festival have collaborated to bring this production to the Playhouse. Black Diggers continues QPAC’s long-held commitment to develop and support new Aboriginal and Torres Strait Islander works and performances. Last year, QPAC and QTC collaborated on the Helpmann Award nominated Mother Courage and Her Children, and in 2012 our companies co-produced Bloodland and Stradbroke Dreamtime.

It is my great pleasure to welcome you to QPAC for Black Diggers.

Air Chief Marshal Angus Houston, AC, AFC (RET’D)

CHAIR OF THE ANZAC CENTENARY ADVISORY BOARD AND FORMER CHIEF OF THE DEFENCE FORCE I have been very excited by this project since its genesis.

For many years, the stories of our Indigenous servicemen and women have largely been untold and unheralded.

The Anzac Centenary from 2014 to 2018 is a unique opportunity for all Australians to recognise the contribution of Indigenous Australians and honour their service and sacrifice.

Black Diggers highlights some of the remarkable individual stories of Indigenous Australians who served in the Australian Imperial Force during the First World War. It’s a project that I know will resonate with audiences across Australia and will help foster greater community awareness of the loyal and dedicated service of Indigenous Australians.

Group portrait, left to right; 6020 Private (Pte) Douglas Grant, 13th Battalion (Bn), 467 Pte Harry Avery, 45th Bn, and unidentified British soldier.

Courtesy of Australian War Memorial. P01692.001

Messages from the Sponsors

Thiess is proud to support Indigenous culture through our sponsorship of Black Diggers – a remarkable story of Indigenous Australian soldiers who, faced with prejudice in their own country, stepped up to fight for the British Commonwealth in its greatest time of need.

Sibelco Australia is proud to be a Production Sponsor of Black Diggers. We feel privileged to have this opportunity to support the community and ensure that a story that recognises the contribution and sacrifice of Indigenous Australians in World War I is not neglected or forgotten.

A century on, the fight for recognition continues. Thiess is committed to ‘closing the gap’ by recognising Indigenous Australians in our business and communities.

We immediately felt the connection with the Black Diggers story that links Australians with Europe, where Sibelco first started in 1872.

We thank Tom Wright, Wesley Enoch and everyone involved for making this largely untold story possible.

We provide Aboriginal and Torres Strait Islander people with opportunities to develop their skills, gain employment and build life-long careers. And thanks to our Reconciliation Action Plan (RAP), we have formalised our commitment to a workplace built on diversity, inclusion, respect and equal opportunity.

Bruce Munro Managing Director

Campbell Jones Chief Executive Officer

We are proud to be part of the South East Queensland community and to partner with organisations such as QTC who, through storytelling, strengthen the community within which we operate.

Our association with QTC supports the next generation of Brisbane theatre talent.

We provide students with a rich learning experience in theatre performance and aim to educate on current issues.

As a Production Sponsor of Black Diggers we believe this enriching story educates our youth on the sacrifices of generations past and celebrates our diversity as a community and the power of ‘positive energy’.

Terry Effeney Chief Executive Officer

Hunter Page-Lochard

Queensland Theatre Company and Brisbane Festival, in association with QPAC and The Balnaves Foundation present

A Queensland Theatre Company and Sydney Festival production

Live Simulcast Proudly supported by the Queensland Government

Wednesday, 8 October 2015 Queensland Theatre Company looks forward to sharing this landmark theatre event with thousands of Queenslanders through a live simulcast direct from QPAC. We hope Black Diggers will excite and inspire audiences across our state.

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REGIONAL LIVE SIMULCAST SPONSORS

PRESENTING AND CO-PRODUCTION PARTNERS

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Colin Smith

Writer's Note Tom Wright

Trying to write about our history is always a fraught exercise. Questions leap to the mind, over and over again: Whose history is this? And who owns it? But when a set of stories is at the intersection of big national myths and profound moments in Indigenous experience, then the exercise is potentially a minefield, if you'll forgive the over-apt analogy.

I inherited this job with six months to go before rehearsals began. Research the weight of several phone books landed on my desk, and it became very clear that there is no one central black experience of WW1. It differs from family to family, from community to community, from individual to individual. One young man could walk into a recruiting hall, enlist, serve, discover brotherhood with white mates who had previously ignored him, and come home with a strange new pride. That same man's childhood friend might encounter racism and rejection, at enlistment, in service, and afterwards. One country town might ignore black servicemen at ANZAC day, while the town over the hill would celebrate

their service. And of course, many of the Indigenous servicemen never came home, lying still in strange unfamiliar mud on the other side of the world.

We have decided not to use actual names in this production, in case of an innocent factual mistake, and out of respect for the difficult tension within communities and families, between fact and myth. But all the scenes in Black Diggers are based on genuine moments; real men, reported incidents, documented arguments. It deliberately tries to be a patchwork quilt of the past, presenting a variety of short sharp scenes, as if the theatre itself is suffering from shellshock. It's not trying to tear apart Australian myths about war (that may be for another time and place). It is about putting black faces back into all our history.

Much thanks to Dr David Williams and Louise Gough, and to Aboriginal elders and communities for allowing me in.

Director's Note Wesley Enoch

One purpose of Indigenous theatre is to write on to the public record neglected or forgotten stories.

Many of these stories survive in our oral storytelling traditions and have been passed down through families to arrive today as folklore – stories of the people. Theatre has become a crossover point where these stories are made public and expressed to demonstrate our history.

One hundred years ago Indigenous servicemen volunteered to fight for the newly formed country called Australia. Though the constitution of this newest of old countries did not recognise them as citizens, Indigenous men signed up and fought in Palestine, the Somme, Gallipoli, Flanders Fields and every major battlefront during what would be called the Great War. Despite limited social standing, appalling living conditions and lack of human rights, Indigenous men enlisted. Was it the sense of freedom and adventure? Was it the fact that the newly minted AIF (Australian Imperial Force) had no way of administratively recognising their Indigenous

background and hence granted all soldiers the same rights? Or was it a sense of patriotism in a country that offered renewed hope for change?

Over 1300 Indigenous men fought side by side with their white countrymen and forged bonds that would sow the seeds of the modern reconciliation movement.

When constructing this piece of theatre we were confronted by the enormity of the task, the cultural protocols, the military records, the family lore – so we adopted a broad acceptance of truth. In post-apartheid South Africa during the Truth and Reconciliation Commission there was a four-part definition of truth: •

Personal truth – the thing you believe to be true

•

Social truth – what a group believe to be true through discussion and debate

•

Forensic truth – the truth that can be proven through science and records

•

Public truth – the value of telling the truth for the greater good

Stories have come to us through interviews with family members, scouring the official records, scholarly historical analysis and research and our own narratives; we believe them all to have equal value and truth.

Black Diggers honours the memories of these men and their families and through them demonstrates the long history of national service and participation in public life by Indigenous Australians. We follow a number of archetypal character journeys based on real-life events in a fragmented view of history. It’s like the shellshock experience of those in war – fragments of story mixed with emotional responses. There are 60 scenes broken into five parts: •

Pre-Nation – a reflection on the wars and experience of Indigenous people before nationhood

•

Enlistment – the process of Indigenous men signing up

•

The Theatre of War – the stories from the front as reported in journals, letters, official records and oral history

•

The Return – the effects of returning and the expectations of both the men who returned and those they were returning to

•

Legacy – what has been left behind for us

The invitation is to accumulate the stories and follow the characters/actors as they journey through. It has been a great honour to work on this project with such a dedicated and insightful group of contributors. There is much we know and there is much we can never know but sharing stories is the best way for us all to know more.

If you know a story of Indigenous service in World War I or have a photo or a piece of ephemera, please contact the Australian War Memorial and have it recorded. As we commemorate the centenary of World War I these words become even more apt.

Lest We Forget.

L-R: Luke Carroll, Guy Simon

Our vision is to an empowered and sustainable Aboriginal and Torres Strait Islander Community Controlled Health Sector in Queensland.

To achieve our mission on behalf of the Sector, QAIHC carries an advocacy and leadership role in: • health system reform to increase access to community controlled health services; • high quality evidence based Community Controlled primary health care services; • and building a sustainable and innovative organisation.

Luke Carroll

Set Designer's Note Stephen Curtis

In the early stages of our work on Black Diggers, Wesley took us on an excursion to the Australian War Memorial in Canberra. We arrived the evening before our tour, with time to talk over dinner about the project which was still a very loose set of ideas and aspirations. We discussed the central question - how could we make this untold, unknown part of Australia’s story visible and real to an audience?

I had a few hours spare, so walked in the crisp Canberra night up Anzac Parade where wallabies grazed around the monuments to the battles and personnel of Australia’s wars.

The huge sculptures were spectacularly floodlit. This is how we make the memory of war visible. I thought our theatre space needs to be a kind of monument to the black Diggers. It needs to declare “we were there” as these memorials do.

The next day we toured the War Memorial Museum. Our two Indigenous guides Gary and Garth pointed out that there is not much of the black story to be seen in the museum, but took us up on the hill behind the museum to a small, hand-built memorial that commemorated the First World War Aboriginal servicemen.

There was a very moving humility to that memorial that was so at odds with the ones I had seen the night before.

My idea of the cast literally writing their story into the playing-space came as a way of trying to resolve these very personal competing points of inspiration: monumental and human. As we take our seats we see a burnt out bunker space which is lit with a fire burning in a 44 gallon drum – perhaps campfire, perhaps eternal flame. The walls are scored with a violent history

to which Tom’s script makes frequent reference. As the stories unfold and interweave the bunker is transformed as the cast use a kind of ceremonial pipe clay to write up their names, and the names of battles at which Indigenous men like them fell: Amiens, Ypres, Palestine … The names are written huge in white on black. They blur in a gestural chaos of war and history, into which an honour role of the Indigenous fallen is inscribed – black on white. Now we know they were there. We can remember them.

L-R: Eliah Watego, Guy Simon, Luke Carroll

If you could see the danger, you’d stop yourself.

Pick up a phone NEVER a fallen powerline.

Call 13 19 62.

The History of the World War I Indigenous Digger Dr David Williams, Researcher

When World War I broke out in 1914, the White Australia policy was well and truly in force.

Aboriginal and Torres Strait Islander people were not considered citizens of Australia, but were rather the wards of the local Protector of Aborigines. They were paid low wages, were forced to live on reserves and mission stations, could not enter a public bar, vote, marry non-Indigenous partners or buy property. They were actively discriminated against, and yet when war was declared, many Indigenous men wanted to join up and fight for Australia.

The Defence Act of 1903 prevented those who were not of ‘substantially European descent’ from being able to enlist in any of the armed forces. Many Indigenous men who tried to enlist were rejected on the grounds of race, but others managed to slip through the net. In late 1917, following the defeat of a second conscription referendum, these restrictions were slightly eased. A new order stated that: “half-castes may be enlisted in

When they came back home they were shunned, their sacrifices ignored and their families oppressed even further by the government. the Australian Imperial Force provided that the examining Medical Officers are satisfied that one of the parents is of European origin.”

Despite the difficulties, it seems that at least 800 Indigenous soldiers managed to join the AIF, out of a total of only 80,000 Indigenous people thought be living in Australia at the time. Some did so despite being rejected several times for being insufficiently white.

Some lied about their age or parentage, and some were granted formal permission from their local Protector of Aborigines to serve. Once past the initial barriers to enlistment, these soldiers fully integrated into the AIF. Whilst almost exclusively of low ranks, these black diggers were paid the same as other soldiers, underwent the same training

and experienced the same hardships. As Gary Oakley of the Australian War Memorial has noted on several occasions: “The Army was Australia’s first equal opportunity employer.”

In their civilian life they had to put up with constant racist slurs and attitudes. But in the trenches, any negative stereotypes that many nonIndigenous diggers had would have quickly disappeared when they were living, eating, laughing and dying with these young men.

Aboriginal and Torres Strait Islander Diggers fought in every significant engagement of the war – from Gallipoli, to Palestine, to the Western Front.

They served as infantrymen, machine gunners, light artillery and as light horsemen. They won the respect of their fellow soldiers, and won many bravery

Group portrait of Australian soldiers, some of whom are members of the 60th Battalion after a snow fight at a training camp in England. Identified in the back row, second from left is 3289A Private (Pte) William ‘Bill’ Martin Walsh, 57th Battalion and indigenous serviceman, centre front row, 2141 Pte Alfred Jackson Coombs of the 59th Battalion.

Courtesy of Australian War Memorial. P03906.001

awards and commendations.

Many were wounded, some were captured and dozens were killed. But the most tragic aspect of their service was not that they offered their lives for a country that did not recognise them as citizens, but came after they returned to Australia. When they came back home they were shunned, their sacrifices ignored and their families oppressed even further by the government. Very few Indigenous diggers were given the land grants offered to returned soldiers, and in many cases, the land for grants to war veterans was taken away from Indigenous communities whose

men had fought overseas. War pensions and back pay were frequently denied and very few Indigenous diggers were welcomed at their local RSL – except sometimes on ANZAC Day. Even though their small number seems insignificant compared to the 416,809 men enlisted in the AIF to fight in World War I, their significance to modern Aboriginal and Torres Strait Islander history is immense.

Slowly, due to the efforts and enthusiasm of researchers such as Rod Pratt, David Huggonson, Phillippa Scarlett, Doreen Kartinyeri, Gary Oakley and Garth O’Connell, among many

others, the long-forgotten service of these men is being acknowledged and celebrated.

The Ipswich re-burial in April 2012 of Trooper Horace Dalton, 11th Lighthorse Regiment, with full military honours and traditional ceremony, is a welcome example of this change. Today the bodies of Indigenous Australians who fell in the battlefields of France, Belgium, Turkey and Palestine remain buried thousands of miles away from their ancestral homes. Their brave spirits deserve the honour of remembrance – lest we forget again.

They fought for our freedom.

We’re fighting for their recognition.

Thiess is proud to support Indigenous culture through our sponsorship of Black Diggers – a remarkable story of Indigenous Australian soldiers who, faced with prejudice in their own country, stepped up to fight for the British Commonwealth in its greatest time of need.

A century on, the fight for recognition continues.

Thiess is committed to ‘closing the gap’ by recognising Indigenous Australians in our business and communities.

We provide Aboriginal and Torres Strait Islander people with opportunities to develop their skills, gain employment and build life-long careers. And thanks to our Reconciliation Action Plan (RAP), we have formalised our commitment to a workplace built on diversity, inclusion, respect and equal opportunity.

THIESS.COM.AU

Wesfarmers Resources is a proud program sponsor of Queensland Theatre Company since 2008.

See More. Be More

Wesfarmers Resources

L-R: Eliah Watego, Luke Carroll, Colin Smith, David Page, Guy Simon

George Bostock

David Page

Biographies Tom Wright WRITER

Tom Wright started as a member of Barrie Kosky’s Gilgul in the early 90’s, then with Michael Kantor’s Mene Mene in the late 90’s. He has worked as an actor and director at the Melbourne Theatre Company, STCSA, Sydney Theatre Company, Playbox, La Mama, Company B, Anthill, Gilgul, Mene Mene, Bell Shakespeare Company, Chunky Move, Black Swan State Theatre Company, Chamber Made Opera and the Adelaide, Sydney, Edinburgh, Vienna, Perth and Melbourne Festivals. He was Artistic Associate at Sydney Theatre Company 2004–2008 and Associate Director of Sydney Theatre Company 2008 to 2012.

He has written a number of plays or adaptations, including A Journal of the Plague Year, The Caucasian Chalk Circle, The Castle, Ubu, This is a True Story, Lorilei, Medea, Babes in the Wood, Puntila and His Man Matti, Tense Dave, The Odyssey, The Lost Echo, Criminology (with Lally Katz), Tales From the Vienna Woods, The Misanthrope, The Women of Troy, The War of the Roses, The Duel, Baal, Optimism, Oresteia, On the Misconception of Oedipus and The Histrionic.

The radio version of his play Lorilei won the Gold Drama Award (British Radio Academy) and BBC Radio Drama Award, 2007. His adaptation of Ovid’s Metamorphoses, The Lost Echo, won five Helpmann awards in 2007, including Best Play. His adaptation of Shakespeare’s history plays, The War of the Roses, won six Helpmanns in 2009, including Best Production.

Wesley Enoch DIRECTOR

Queensland Theatre Company: As Director: Black Diggers (Sydney Festival season), Design for Living, Trollop, Mother Courage and Her Children, Managing Carmen, Head Full of Love, Elizabeth, Bombshells, Fountains Beyond, The Sunshine Club, Blacked Up, Radiance (coproduction with Kooemba Jdarra Indigenous Performing Arts). As Writer: The Sunshine Club. As Actor: One Woman’s Song. Other Credits: As Director: Sydney Theatre Company: The 7 Stages of Grieving, Black-ed Up, The Cherry Pickers; Company B: The Man From Mukinupin (co-production

Melbourne Theatre Company), Yibiyung, Black Medea (coproductions with Malthouse Theatre), The Sapphires (co-production with Melbourne Theatre Company and remounted co-production with Black Swan State Theatre Company), Paul, Parramatta Girls, Capricornia, Conversations With The Dead, The Dreamers, Stolen; Erth: Nargun & The Stars (co-direction, co-production with Sydney Festival); Gondwana (co-production with Queensland Performing Arts Centre); Queensland Performing Arts Centre: Red Earth, Blue Water (Associate Director); Nyurin Ga (Associate Director), Boat (for KITE Arts Education and Out of the Box Festival); Kooemba Jdarra Indigenous Performing Arts: The 7 Stages of Grieving, Bitin’ Back, The Dreamers (co-production with Brisbane Festival), Murri Love, Little White Dress (co-production with Queensland Performing Arts Centre and Out of the Box Festival), A Life of Grace and Piety (co-production with Just Us Theatre Ensemble) Changing Time (co-production with Salamanca Theatre Company) Up the Ladder (co-production with Melbourne Workers Theatre/Festival of the Dreaming); Yirra Yaakin Theatre Company: Waltzing The Wilarra; Performing Lines/Sydney Festival: I Am Eora; Browns Mart Theatre/ Jute Theatre/Totem Theatre: Head Full of Love; Malthouse Theatre: One Night, the Moon; Iibijerri Aboriginal and Torres Strait Islanders Cooperative: Rainbow’s End, Shrunken Iris; Windmill Performing Arts/Adelaide Festival/ Brisbane Festival/Sydney Festival/Perth International Festival: Riverland; Legs on the Wall: Eora Crossing; Playbox Theatre: Stolen; Bell Shakespeare: Romeo and Juliet; The Melbourne Workers’ Theatre; 1975. As Writer: The 7 Stages of Grieving (co-written with Deborah Mailman), Little White Dress, A Life of Grace and Piety, Black Medea, The Sunshine Club, Grace, The Story of the Miracles at Cookie’s Table. Positions: Artistic Director, Queensland Theatre Company 2010 - present; Trustee, Sydney Opera House 2006-2013; Associate Artistic Director, Company B 2007 - 2010; Artistic Director Australian Delegation, Festival of Pacific Arts 2008; Director, My Skin My Life, Opening Ceremony, Melbourne Commonwealth Games 2006; Artistic Director, Ilbijerri ATSI Theatre Co-op 2003-2006; Resident Director, Sydney Theatre Company 2000-2001; Artistic Director, Kooemba Jdarra Indigenous Performing Arts, 1994-1997. Awards: The Patrick White Award for The Story of the Miracles at Cookie’s Table; Helpmann Award for Best Play and Helpmann Award for Best New Australian Work for The Sapphires; Helpmann Award for Best Presentation For Children for Riverland; Deadly Award for Best Direction for The Sunshine Club; Matilda Award for Best Direction for The Sunshine Club; Queensland Performing Arts Centre Award for Contribution to Theatre.

Stephen Curtis SET DESIGNER

Ruby Langton-Batty COSTUME DESIGNER

Queensland Theatre Company: Black Diggers (Sydney Festival season), Pygmalion, Corporate Vibes, The Venetian Twins, Dinkum Assorted.

Other Credits: Sydney Festival 2012: I am Eora; Stalker Theatre Company at Brisbane Festival 2010: Shanghai Lady Killer; Opera Australia: La bohème, Lulu, The Cunning Little Vixen, Turn of the Screw; State Opera of South Australia: Der Ring des Nibelungen (The Ring Cycle); Houston Grand Opera: The Turn of the Screw; Victorian Opera: Julius Caesar; Sydney Theatre Company: The Secret River, The Pig Iron People, Navigating, Hanging Man, Heartbreak House; Bell Shakespeare Company: Henry IV, The Government Inspector, Much Ado About Nothing, Romeo and Juliet, The Wars of the Roses, The Servant of Two Masters; Melbourne Theatre Company: Tribes, The Blue Room, All About My Mother, Cat on a Hot Tin Roof, The Hypocrite, life x 3, The Birthday Party, Realism and Rock ‘n’ Roll; Melbourne Theatre Company/ Sydney Theatre Company: The Vertical Hour, Doubt and Two Brothers, Company B/Sydney Festival/Windmill Performing Arts/ Perth International Arts Festival: The Adventures of Snugglepot and Cuddlepie and Little Ragged Blossom; Company B Belvoir: The Business, Gwen in Purgatory, Scorched, It Just Stopped, The Underpants, Small Poppies, The Alchemist. Film: Looking for Alibrandi, Twelfth Night, Breathing Underwater, Bedevil, Night Cries. Awards: Helpmann Award, Best Costume Design: Der Ring des Nibelungen (The Ring Cycle); Green Room Award, Best Designer: Lulu. Training: NIDA (Design).

Queensland Theatre Company: Black Diggers (Sydney Festival season).

Other Credits: Malthouse Theatre at 2014 Sydney Festival: The Shadow King (Props and Costume); Belvoir: coranderrk, Beautiful One Day, Windmill Baby (Set and Costume), The Wild Duck (Costume); Casula Powerhouse: Tough Beauty; Performing Lines: I am Eora (Associate Designer); Malthouse Theatre: The Shadow King (Costume). Film: The Sapphires (Costume Assistant), Sam’s Story, Kite, Reason To Smile, In the Clear (Costume). Television: Redfern Now (Costume Assistant). Awards: Yvonne Cohen Award for Creative Indigenous Australian Youth 2011 Training: VCA (Design).

Ben Hughes LIGHTING DESIGNER

Queensland Theatre Company: Black Diggers (Sydney Festival season), The Effect (co-production with Sydney Theatre Company), The Mountaintop, Design For Living, Trollop (as CoDirector/Designer), 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (co-production with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu!, Fat Pig, Let The Sunshine (co-production with Melbourne Theatre Company), The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Ice Cream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. As Associate Lighting Designer: Toy Symphony, Heroes. Other Credits: The Danger Ensemble: Caligula, The Wizard of Oz (co-production with La Boite Theatre Company and Brisbane Festival), Sons of Sin, Children of War, Loco Maricon Amor, The Hamlet Apocalypse; La Boite Theatre Company: A Doll's House, Cosi, Kitchen Diva, Statespeare; The Nest Ensemble: Home; Zen Zen Zo Physical Theatre: Vikram and the Vampire, Cabaret, Dracula, Zeitgeist, My Sublime Shadow; Woodford Folk Festival: Fire Event 2012 & 2013; Cre8ion: Fluff; Stella Electrika: The New Dead: Medea Material; Expressions Dance Company: Carmen Sweet, Propel, Where The Heart Is; Queensland Ballet: Giselle, A Classical Celebration, ...with Attitude. As Associate Lighting Designer: Elision Ensemble: The Navigator; Meryl Tankard: The Oracle; Opera Queensland: Aida. Awards: 2011 Groundling Award - Outstanding Contribution to Lighting Design. Positions: Affiliate Artist, Queensland Theatre Company (2014 & 2011); Resident Lighting Designer, Queensland Theatre Company (2013); Associate Artistic Director – The Danger Ensemble; Emerging Artist, Queensland Theatre Company (2007); Professional Member, Association of Lighting Designers.

Tony Brumpton COMPOSER/ SOUND DESIGNER

Louise Gough DRAMATURG

Queensland Theatre Company: As Sound Designer: Australia Day, The Mountaintop, Black Diggers (Sydney Festival Season), Design For Living, Other Desert Cities (co-production with Black Swan State Theatre Company), Managing Carmen (co-production with BSSTC), Pygmalion, No Man’s Land (co-production with Sydney Theatre Company), Sacre Bleu!, Macbeth (coproduction with Brisbane Festival), Fat Pig, The Little Dog Laughed, The Crucible, God of Carnage (coproduction 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 (co-production with deBase Theatre Company), Eating Ice Cream With Your Eyes Closed, Beckett x3, Maxine Mellor’s Mystery Project (co-production with State Library of Queensland). As Co-Sound Designer: The August Moon, Anatomy Titus Fall of Rome: A Shakespeare Commentary (co-production with Bell Shakespeare Company), Stones in his Pockets. Other Credits: Composer/Sound Designer: Dead Puppet Society: The Harbinger, The Timely Death of Victor Blott. I-Pin Lin’s productions: Bamboo, Harmony, 4orces and 1984– 2005; QUT Dance: Current, Fade Away, Accented Bodies, Altered States. Positions: Affiliate Artist, Queensland Theatre Company 2014; Associate Artist/Head of Audio, Queensland Theatre Company (2011); Emerging Artist, Queensland Theatre Company (2010); Tone Black Productions (Company Owner), Lecturer – QUT. Queensland Theatre Company: Gloria, Black Diggers (Sydney Festival Season), Resident Dramaturg. Other Credits: Louise Gough is an Australian script editor, dramatic advisor and dramaturg working in film, television and theatre in Australia, America, New Zealand and throughout Europe. Louise has recently returned to Australia after six years in NYC, and has taken on appointments including Queensland Performing Arts Centre: Curatorial Advisor and Madman Production Company: Development.

David Williams RESEARCHER

George Bostock CULTURAL CONSULTANT/ ENSEMBLE

Queensland Theatre Company: Black Diggers (Sydney Festival season).

Other Credits: As Director: Version 1.0: The Bougainville Photoplay Project, A Distressing Scenario, From a Distance, Unfinished Business: X Marks the Spot.

As Co-Director: Powerhouse Youth Theatre: In This Fairfield; Australian Theatre for Young People: Quay to the City, The Tender Age (co- production with version 1.0); Version 1.0: The Disappearances Project. As Dramaturg: Belvoir: Beautiful One Day (co-production with Ilbijerri Theatre Company). As Producer, CoDevisor and Performer: version 1.0: The Table of Knowledge (coproduction with Merrigong Theatre Company), This Kind of Rukus, Deeply Offensive and Utterly Untrue, The Wages of Spin, CMI (A Certain Maritime Incident), The Second Last Supper. Positions: Chief Executive Officer, version 1.0 1998 – present; Honorary Associate, Department of Performance Studies, University of Sydney. Awards: Marten Bequest Travelling Scholarship for Acting 1998; Drovers’ Award for Deeply Offensive and Utterly Untrue; Helpmann Award for Visual or Physical Theatre Production for This Kind of Rukus. Training: PhD, University of NSW 2007; Bachelor of Arts, First Class Honours (Theatre Theory and Practice), University of Western Sydney (Nepean) 2000. 2012.

Queensland Theatre Company: Black Diggers (Sydney Festival season), Mother Courage and Her Children, I, Fountains Beyond. Other Credits: Sydney Theatre Company: The Cherry Pickers (2001, 2002 UK tour). Kooemba Jdarra Indigenous Performing Arts: Seems like Yesterday, The Mack. As Writer: Seems like Yesterday.

Luke Carroll ENSEMBLE

David Page ENSEMBLE

Queensland Theatre Company: Black Diggers (Sydney Festival season), Mother Courage and Her Children.

Other Credits: Belvoir/Yirra Yaakin: The Cake Man; Company B: The Dreamers, No Sugar, A Midsummer Night’s Dream, Capricornia, Conversations with the Dead; Bell Shakespeare: My Girragundji; Legs on the Wall: Eora Crossing; Windmill Theatre Company: Riverland; Kooemba Jdarra: Purple Dreams; Sydney Theatre Company: The Cherry Pickers. Film: Needle, Subdivision, Stone Bros, The Tender Hook, Free, Saturday Night, Sunday Morning, Dallas Dolls, Tears, Australian Rules. Television: The Gods of Wheat Street, Playschool, Redfern Now, Heartbeat, Home and Away, Going Bush, R.A.N, The Alice, All Saints, Water Rats, Heartbreak High, Fallen Angels, Ocean Girl 3, Ghost Story, Heartland, Loulia, Man Fom Snowy River, The Flying Doctors, Skytrackers, Lift Off, Stingers. Awards: Helpmann Award Nomination - Best Actor in a Play - The Cakeman (2014), AACTA Nomination – Best Guest or Supporting Actor in a Television Drama for Redfern Now (2013), Deadly Award – Male Actor of the Year (2009, 2013), Bob Maza Fellowship (2008), AFI Nomination – Best Guest or Supporting Actor in a Television Drama for Remote Area Nurse – R.A.N (2006), Best Supporting Actor in a Feature Film for Australian Rules (2002), POV Short Film Competition – Best Actor – Free (2003).

Queensland Theatre Company: Black Diggers (Sydney Festival season), Mother Courage and Her Children, Bloodland, The Sunshine Club, Fountains Beyond. Other Credits: Sydney Theatre Company: Bloodland (co-production with Adelaide Festival), Cherry Pickers; Adelaide Fringe: Murras; Parramatta Riverside: Big Sister; Belvoir/ Melbourne Theatre Company: Page 8, The Man from Mukinuppin, Yibiyung. As Director: ATYP: Sugarland; As Composer: Bangarra: Patyegarang, Blak, Terrain, Belong, Of Earth & Sky, Praying Mantis Dreaming, Ochres, Ninni, Fish, Skin, Corroboree, Bush, Unaipon/Clan, Boomerang, X300, Mathinna; The Australian Ballet: Alchemy, Amalgamate (with Elena Kats Chernin), Warramuk; Opening Ceremonies of the 2000 Sydney Olympic Games; the 2000 Sydney Olympic Arts Festival; the 2002 Sydney Dreaming Festival. Film: As Actor: Two Bob Mermaid, Oscar and Lucinda, The Masters, Green Bush, Two Big

Boys, Bran Nue Dae, The Oysterman, Stone Bros. As Composer: Heartland, Pride, Poison, Songlines, Living Black, Pioneers of Love, Round Up, Passing Through, Grace, Saturday Night Sunday Morning, Bit of Black Business (AFC short film series – 5 of 13).

Positions: Artist-in-Residence, Bangarra. Awards: Green Room Award – Best New Australian Play for Page 8, Five Deadly Sound Awards (1995–2006), Indigenous Artist Award for The Sidney Myer Foundation, Helpmann Award for Best Original Score for Belong (2010), Mathinna (2008). Training: Centre for Aboriginal Studies in Music (CASM), Adelaide.

Hunter Page-Lochard ENSEMBLE

Guy Simon ENSEMBLE

Queensland Theatre Company: Black Diggers (Sydney Festival season), Bloodland (co-production with Sydney Theatre Company). Other Credits: Belvoir: Brothers Wreck; ATYP: Sugarland; Yirra Yaakin: The Cake Man; Bangarra: Blak, Praying Mantis Dreaming, Skin, Boomerang, Kin. Film: Around the Block, Bran Nue Dae, The Sapphires, Arcadia, Black Talk, Djarn Djarns, Short/The Palace That I Live In. Television: Blak, Water Rats, EastWest 101, Disney Channel (USA).

Queensland Theatre Company: Black Diggers (Sydney Festival season).

Other Credits: Arthur: Myth Project: Twin; Mooghalin Performing Arts Inc: This Fella, My Memory, Yellamundie; Bakehouse Theatre: Junction; National Film and Sound Archive: Cooee Cabaret: Sound of Australia (tour); Sydney Theatre Company: Stolen; New Theatre: Lucky; NIDA: Lord of the Flies, Lesbian Vampires of Sodom, The Hypochondriac, The Hour We Knew Nothing of Each Other, Hamlet, The Threepenny Opera, Three Sisters, Bodyline – The Gift; BrownsMart Theatre: I am Man. Film: Around the Block. Short Film: Aunty Maggie and The Womba Wakgun, Whandi. Training: Bachelor of Dramatic Arts (Acting) NIDA.

Colin Smith ENSEMBLE

Queensland Theatre Company: Black Diggers (Sydney Festival Season). Other Credits: Queensland Shakespeare Ensemble: The Tempest, Mary Stuart, A Midsummer Night’s Dream, The Bomb-itty of Errors, The Two Gentlemen of Verona, Shakespeare’s Shorts: Express Macbeth, Instant Romeo and Juliet, The Half-Hour Hamlet, Midsummer’s Mechanicals, The Merchant of Venice, Richard III, As You Like It, Food of Love: A Shakespeare Cabaret, Twelfth Night, Metamorphoses, Much ado about Nothing, Shakespeare’s Briefs or Let’s Kill All the Lawyers; Brisbane Arts Theatre: Monstrous Regiment, Night Watch, The Fifth Elephant, Men at Arms; Queensland Ballet: Vis-à-vis: Moving Stories. Short Film: The Last Aussie Hero 3: The Search for Kip, Episode 1.5: Lord of the Philosopher’s Stone. Television: Secrets & Lies, Sea Patrol, Mortified.

Eliah Watego

Queensland Theatre Company: Black Diggers (Sydney Festival Season), Stradbroke Dreaming, Mother Courage and Her Children. Other Credits: ACPA Student Productions: Stolen, Blackrock, Soul Music/Souls Entwined, A Midsummer Night’s Dream, Time, Reflections. Training: Advanced Diploma in the Performing Arts, ACPA; Diploma in the Performing Arts, ACPA; Cert IV in the Performing Arts, ACPA.

ENSEMBLE

Tibian Wyles

Queensland Theatre Company: The Landmine is Me, Black Diggers (Sydney Festival Season). Other Credits: ACPA Student Productions: The Robbers, 'Cyrano' De Bergerac, Oedipus the King, NIDA, Romeo and Juliet, Glad Tomorrow, Spirit of the Lore. Film: The Secret River, Mystery Roads. Short Film: Home, DigiYouth (Tropfest).

Music video: The Medics. Training: Advanced Diploma in the Performing Arts, ACPA; Diploma in the Performing Arts, ACPA.

ENSEMBLE

36

Peter Sutherland STAGE MANAGER

Ashlee Hints ASSISTANT STAGE MANAGER

Queensland Theatre Company: Venus in Fur, Kelly, Elizabeth, Summer of the Seventeenth Doll (co-production with Belvoir), No Man’s Land, Faustus, Grimm Tales, Betrayal, The Crucible, The School of Arts (co-production with QPAC), The Female of the Species, Rabbit Hole, The August Moon, The Fortunes of Richard Mahony (coproduction with Playbox), Molly Sweeney, Buried Child, Dirt, Fred, Fountains Beyond, The Skin of Our Teeth and Bell Shakespeare coproductions Faustus, The Alchemist, The Tragedy of Richard III and Anatomy Titus Fall of Rome: A Shakespeare Commentary. Other Credits: Bell Shakespeare: Henry V, King Lear, The Government Inspector, Macbeth, The Merchant of Venice, Romeo and Juliet, Measure for Measure, The Wars of the Roses, Hamlet; Black Swan State Theatre Company: A Streetcar Named Desire, As You Like It, Midsummer (A Play with Songs), The Seagull, The Sapphires; Sydney Theatre Company: Blacked Up, Stones in His Pockets, Barrymore; Griffin Theatre Company: Wicked Sisters; Marion St Theatre: Brief Lives, Tom and Clem; Melbourne Theatre Company: Dumb Show, The Herbal Bed, A Little Night Music; Legs on the Wall: Eora Crossing, Flying Blind; Sydney Conservatorium of Music: The Beggar’s Opera; Darwin Theatre Company: The Winter’s Tale, Cosi, Diving For Pearls, Emma; Queensland Conservatorium of Music: Orpheus in the Underworld. Training: Bachelor of Dramatic Arts (Technical Production), NIDA. Queensland Theatre Company: Fat Pig, An Oak Tree. Other Credits: Life Like Touring: Yo Gabba Gabba! LIVE!; JUTE Theatre Company: Sentinel Chickens. As Assistant Stage Manager: Opera Australia: The Ring Cycle, Partenope; The Production Company: Singing in The Rain, Promises Promises, Chess, The Producers; Melbourne Symphony Orchestra: Dr Who Symphonic Spectacular; Expressions Dance Company: Propel, Launch Pad; Dead Puppet Society: The Harbinger. As Stage Manager: Victorian State School Spectacular 2010–2014, Jubilation – The Prince of Wales and Duchess of Cornwall National Tour 2012 – Performing Arts Unit; The Weather and Your health – National Tour 2012; Midsumma Festival 2011–2013. Training: Technical Production, QUT.

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Acknowledgements PO Box 3567, South Bank, Queensland 4101

Aaron Pedersen Annie Sutton

Tel: (07) 3840 7444 www.qpac.com.au

Anzac Centenary Advisory Board Aunty Verna Koolmatrie Australian War Memorial Belvoir City of Sydney Aboriginal and Torres Strait Islander Advisory Panel Clyde Rigney Department of Veteran Affairs Elizabeth Rechniewski Fabienne Cooke Flanders Fields Museum, Ypres His Excellency Patrick Renault, Belgian Ambassador to Australia (2009 –2013) Imogen Millhouse Julia Morwood Liza-Mare Syron Malarndirri McCarthy Margaret Beadman Mark Stapleton

Chair Chris Freeman AM Deputy Chair Rhonda White AO Trustees Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM Executive Staff Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Jackie Branch ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Ian Walker MP Minister for Science, Information Technology, Innovation and the Arts Director-General, Department of Science, Information Technology, Innovation and the Arts: Sue Rickerby

Michael Rowe Loretta Busby National Archives of Australia National Indigenous Television (NITV) Phillippa Scarlett Professor Richard White Queensland Performing Arts Centre Raukkan Schools (Meningie Area School and Birdwood High School) Rhoda Roberts Ronald Briggs Sam Vanoverschelde State Library of NSW State Library of QLD Sydney Opera House Travis Cardona University of Sydney Wim Opbrouck

To ensure that patrons enjoy the performance, management asks you to note: • Cameras, tape recorders and paging devices should not be used inside the auditorium.

• Switch off alarms and mobile phones prior to the performance.

• A single cough measures approximately 65 decibels of sound. The use of a handkerchief helps greatly to soften the sound.

The management reserves the right to refuse admission, also to make any alterations to the cast which may be rendered necessary by illness or other unavoidable causes.

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

PATRON His Excellency the Honourable Paul de Jersey SC Governor of Queensland

Front of House & Events Supervisor: Deirdree Wallace Venue & Operations Supervisor: Julian Messer

MEMBERS OF THE BOARD Richard Fotheringham (Chair) Julieanne Alroe (Deputy Chair) Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Elizabeth Jameson Nathan Jarro Liz Mellish Karl Morris

Marketing Manager: Yvonne Whittington Marketing Coordinator: Amanda Solomons Database Trainer & Supervisor: Dale Ric-Hansen Publicist: Kath Rose & Associates Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David D’Arcy Season Ticketing Supervisor: Roxane Eden Ticketing Coordinators: Maggie Holmes & Brad Routledge Receptionist & Ticketing Officer: Donna Fields-Brown Project Officer: Claire McKee Administration Trainee Kalisha Soe

ARTISTIC DIRECTOR Wesley Enoch EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Artistic Associate: Todd MacDonald Resident Dramaturg: Louise Gough Resident Directors: Jason Klarwein & Andrea Moor Programming Manager/Senior Producer: Katherine Hoepper Producer (New Work & Development): Shari Irwin Artistic Coordinator: Samantha French Touring & Regional Program Coordinator: Christine Johnstone Producer (Education and Youth Programs): Heidi Irvine Programming Project Offier: Laurel Collins Casual Programming Coordinator: Helen Stephens Chief Financial Officer Michael Cullinan Assistant Accountant: Sena Du Bois Finance Officer: Robin Koski

Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Development Coordinator: Dee Morris Researcher & Grant Writer: Danielle Bentley Production Manager: Toni Glynn Technical Coordinator: Daniel Maddison Production Coordinator: Scott Klupfel Head of Workshop: Peter Sands Company Carpenter/Head Mechanist: John Pierce Carpenter: Jamie Bowman Head of Wardrobe: Vicki Martin Affiliate Artists: Tony Brumpton Ben Hughes David Walters

Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Katherine Lyall-Watson David Morton Gayle MacGregor Paula Nazarski Ngoc Phan Lucas Stibbard

Black Diggers Production Staff Armourer: AV Ballistics and Film Ordnance Services Carpenters: Jamie Bowman Jaydn Bowe Scenic Artists: Caroline Walker Shaun Caulfield Leo Herygers Costume Realiser (Brisbane): Gayle MacGregor Costume Makers: Millie Adams Michelle Wiki Selena Bedville Art Finishers: Nat Ryner Maria Cleary Uniform Assistant: Gavin Sawford Production Electrician: Matt Golder Sound Operator: Matt Erskine Radio Mic Technician: Neil McLean Sound Consultant: Will Moore Sound Secondment (QUT): Brenton Slattery Stage Management Secondment (QUT): Maddie Nixon

QPAC Production Staff Lighting Operator: Matthew Allan Head Mechanist: Richie Aishford System Technician - Sound: Alex Kelly/Charlotte Kirby FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003)

Queensland Theatre Company is a member of Live Performance Australia.

www.sydneyfestival.org.au Admin: 02 8248 6500 Box office: 1300 856 876 mail@sydneyfestival.org.au

FESTIVAL DIRECTOR Lieven Bertels EXECUTIVE DIRECTOR Christopher Tooher Finance and Operations Head of Finance and Operations Tanya Bush Accountant Caroline Brosnan Executive Assistant Corey Zerna Programming Head of Programming Fiona Winning Producer, Major Outdoor Events Vernon Guest Program Manager Adam McGowan Program Manager Stuart Rogers Programming Associate Rachel Grimes

Marketing and Customer Services Head of Marketing and Customer Services Tina Walsberger Marketing Manager Ainslie Lenehan Digital Marketing Manager Julia Thomas Publicity Manager Jessica Keirle Graphic Design Manager Camille Manley Ticketing Manager Tara Easlea-Harding

Development Head of Development Malcolm Moir Senior Sponsorship Manager Anna Matthews Sponsorship Manager Brooke Ravens Sponsorship Executive Jane You Production Head of Production John Bayley Production Manager Mick Jessop Catering & Sustainability Manager Fernando Motti Domain Manager Alycia Bangma

Cast of Black Diggers

Principal Partner

Our Indigenous Program Head Full of Love, touring Australia, June – September, 2015

Black Diggers is part of QTC’s award winning Indigenous Program, known for producing exciting new Indigenous work and bringing it to audiences across Australia.

It’s a demonstration of our commitment to sharing these stories and making sure the voices of Indigenous artists are heard.

If you’re interested in actively supporting our Indigenous Program please contact our Philanthropy Manager on 07 3010 7621.

Artist: Roxanne McDonald

47

Ä?Â ĂƒÂš xÊè aĂŠ HĂ¨Ă˜ Ă¨Ă˜Ă˜Â—ĂƒĂŁ ĂŠĂƒĂŠĂ˜Ăœ We thank all our generous donors for their contribution to our work.

Your assistance makes it possible for us to enrich the cultural life of our community.

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We appreciate and honour all contributions to our work. Visit queenslandtheatre.com.au or phone our Philanthropy Manager on 07 3010 7621 to ďŹ nd out how you can support our work.

Thanks To Our Sponsors Government Partners

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Queensland Theatre Company and Brisbane Festival, in association with QPAC and The Balnaves Foundation present

A Queensland Theatre Company and Sydney Festival production

(Queensland Theatre Company) 2014

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