DISGRACED | 14 Oct - 6 Nov

QUEENSLAN

THE 2017 2

ND THEATRE

7 SEASON 3

4

14 October – 6 November Playhouse, QPAC

QUEENSLAND THEATRE PRESENTS A MELBOURNE THEATRE COMPANY PRODUCTION

by Ayad Akhtar Disgraced will run for approximately 90 minutes, no interval.

Cast

Warning: Contains coarse language, mature themes and a scene depicting domestic violence on stage. The use of photographic or recording equipment is not permitted inside the theatre.

Mitchell Butel Isaac Kane Felsinger Abe Libby Munro Emily Zindzi Okenyo Jory Hazem Shammas Amir

Photography: Jeff Busby Disgraced had its world premiere in January 2012 at American Theater Company, Chicago, Illinois (PJ Paparelli, Artistic Director).

Disgraced was developed in part at the New Writers New Plays residency at Vineyard Arts Project (Ashley Melone, Founder and Artistic Director). New York Premier produced by Lincoln Center Theater, New York City, 2012 Original Broadway Production produced by The Araca Group, Lincoln Center Theater, Jennifer Evans, Amanda Watkins, Richard Winkler, Rodger Hess, Stephanie P. McClelland, Tulchin/Bartner Productions, Jessica Genick, Jonathan Reinis, Carl Levin/ Ashley De Simone/TNTDynaMite Productions, Alden Bergson/Rachel Weinstein, Greenleaf Productions, Darren Deverna/Jere Harris, The Shubert Organization and The David Merrick Arts Foundation.

Creatives Nadia Tass Director Shaun Gurton Set Designer Jill Johanson Costume Designer Nigel Levings Lighting Designer Russell Goldsmith and Daniel Nixon Composer and Sound Designers Suzanne Heywood Voice and Dialect Coach Brad Flynn Fight Choreographer Benjamin Schostakowski Assistant Director Julia Smith Stage Manager Jess Maguire Assistant Stage Manager Lillian U Stage Management Secondment

Acknowledgement of Country

Queensland Theatre would like to acknowledge the Jagera and Turrbal 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.

Recycle this program

Support Greening Queensland Theatre 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

Join the conversation

#queenslandtheatre #leadingfromqld queenslandtheatre.com.au

5

L-R: Mitchell Butel and Zindzi Okenyo

L-R: Hazem Shammas, Kane Felsinger.

Welcome Every now and then, a play comes into existence that is so piercingly relevant to our time that it demands to be staged. Queensland Theatre’s 2016 Season would be incomplete without Disgraced winner of the 2013 Pulitzer Prize for Drama and the most produced American play of 2015.

It doesn’t take long to discover why.

happy to introduce director Nadia Tass to

Playwright Ayad Akhtar has masterfully

our audiences. Many of you will be familiar

condensed the complexity of post-9/11

with Nadia’s work as a screen director (much

Western-Muslim relations into one shattering

loved films like Malcolm and The Big Steal).

dinner party. More impressive still, he has

You might not be aware that she is also one of

put human faces to the social spectrum of

the finest directors of actors on stage in the

upper-middle-class America while somehow

country. I’m delighted that we will be seeing

avoiding stereotype.

her work again in 2017, with her production of

This is a decidedly American play about a

another Pulitzer Prize winner, Annie Baker’s

Muslim-American lawyer trying desperately

The Flick.

to sever himself from his cultural heritage. It

Speaking of which, I’m thrilled to have now

is also incredibly pertinent to an Australian

launched my first season for the company.

audience. We live in a nation where we

I’m incredibly proud of the 2017 Season and

constantly negotiate diverse identities,

delighted that it has seen record sales so far.

cultures and faiths. And like the protagonist of

Grab a brochure in the foyer or check out our

Disgraced, we all know what it is to keep parts

website for details.

of ourselves hidden. As we journey towards

Finally, it gives me great joy to announce

the seemingly inevitable disaster in this play, we are asked to consider if society itself is as flawed and complicit in the tragedy as its characters. There are no answers, of course.

The best works leave us with only more questions, and a singular urge to discuss the possibilities once the house lights come up.

This play is a challenging one, and I commend the cast and Melbourne Theatre Company for courageously bringing it to life. I am especially

the commencement of our RACQ $20 ticket program. We want Queensland Theatre to be as accessible as possible, and RACQ have generously made this possible by subsidising a selected number of $20 tickets for first time theatre-goers, starting with Disgraced.

Thank you RACQ for helping more people experience the magic of live theatre.

Sam

L-R: Ben Schostakowski, Nadia Tass.

Hazem Shammas

L-R: Zindzi Okenyo, Mitchell Butel.

8

Hazem Shammas

Director's Note When I first read Disgraced, I knew immediately I wanted to direct a production of this extraordinary play. This complex melting pot becomes a simmering cauldron of conflicting religious beliefs, diverse opinions and stolen ideals.

For me, it wasn’t so much the provocative set-up – a Muslim in New York who hides his Islamic heritage to get ahead in a Jewish law firm – but rather the broader theme of changing one’s very being to become accepted.

Ask any migrant to this country – to get ahead you have to fit in.

Therapists have long asserted that we can only change our behaviour once we recognise our past. Don’t deny it or it will come back to bite us. I am so impressed with Mr Akhtar’s stage play – its wit, its depth, its complexity and its driving examination of religious differences and social mores.

I don’t see this play as some denunciation of Islam. Far from it. It’s about all of us; about the tribal core that, to varying degrees, is within all of us. It’s about minorities and religious bias. It’s about the complex web we weave. It’s about denying our past to build a future, and failing on both counts.

For me, the task is to take this confronting, socially challenging play and plumb its depths to fully realise every moment, every exchange, every look and every altercation.

A more relevant play for our contemporary world is hard to imagine.

Nadia Tass Director

9

Dining It’s never just about the food

L-R: Hazem Shammas and Zindzi Okenyo

In the nineteenth century, a time of roiling

guests at dinner was the privilege of the ruling

social fluidity, the many books on etiquette

class. In pre-industrial days food was scarce

written for the upwardly aspiring made no

and diets were meagre. To provide an opulent

bones about what dinner parties were really

table was, therefore, a sure indicator of wealth

for: ‘There is no better or surer passport to

and position.One of the more impressive

good society than a reputation for giving

aspects of Louis XIV’s splendid reign was his

good dinners,’ according to Manners and

regular feeding, in an atmosphere of great

Tone of Good Society; or Solecisms to be

ceremony, of between three and five thousand

Avoided (1879). Thus it has always been. The

people. At Versailles and in European courts

act of placing food before invited guests

generally, public dinners were a stabilising

has had little to do with nutrition and almost

force, a straightforward exchange of roast

everything to do with social status. It’s an

meats for royalty, regimented by custom and

obvious point to make when examining the

pomp that shored up the social hierarchy.

feasts of potentates or Presidents, but it is

The closer to the king one sat at a banquet,

also true in its way of the expense account

the greater one’s status and the better and

business lunch or the backyard barbeque.

more abundant the food, all the way down to

To host dinner is to make one’s stand on the

the servants who fed off the leavings. Even

social ladder; to dine with others is to define

when power stooped to informality, as Louis

oneself; to be seated at the table is to be

XV often did, when, after a day’s hunting,

included, drawn into a particular social circle.

he supped with his mistress Madame de

In this way, the caste system, from which no

Pompadour and a select coterie of guests, the

human society is free, is reinforced.

temporary relaxation of pomp itself was a sign

For most of human history, entertaining

of power, inasmuch as only the monarch could 10

“At a dinner party one should eat wisely but not too well, and talk well but not too wisely.”

— W Somerset Maugham, A Writer’s Notebook order it. And, of course, for the guests, finding

party as the major social event for the upper

themselves chosen to join such an exclusive

and middle-classes. After the First World

supper boosted their standing enormously.

War, fewer servants, even in the wealthiest

The expansion of the middle-class in the

households, led to a greater informality.

nineteenth century did not bring a decrease

Increasingly, the hostess prepared the

in formality in social dining, rather the

meal herself. In America among corporate

reverse in some respects. The aristocracy,

executives, the ritual of inviting the boss

wishing to distinguish their dinner parties

and his wife to dinner took hold in the fifties,

from those of the merely wealthy, retreated

a necessary but dangerous step in a man’s

to a rigid and elaborate set of rituals. The

advancement. The host and hostess became

decorous promenade into the dining room,

a two-person assault team on the boss’s

the seating according to status, the delicacies

good will. Their home and its furnishings,

of etiquette, the inflexible order of service,

their conviviality, their manners, their drinks

the proper use of cutlery and glassware,

cabinet, their table-setting and, most

the deference accorded the host, and the

importantly, her skills as a cook were arrayed

accepted topics of discussion – these were

for the boss’s approval. The boss was not

the shibboleths of class.

expected to return the dinner invitation.

The bourgeois, in their turn, did their best to

In the last decade or so, the dinner party, now

ape their betters, adopting these upper-class

stripped of much of its formality, has made

habits and rules of etiquette until there was

something of a comeback in middleclass

little to distinguish the dinner-parties of the

circles, with the focus shifted very much to

separate groups except the guest lists. The

the food. Supermarkets now stock a world of

British aristocracy, until well into the twentieth

produce that once had to be ordered through

century, tended to entertain their own, with

delicatessens and specialist markets, and the

the occasional invitation to commoners of

middle-class kitchen has become a smaller

substantial achievement: politicians (Tory),

and homelier version of a restaurant kitchen,

scientists (uncontroversial), artists (Royal

a chamber of wonders, with nifty gadgetry,

Academy), judges (Privy Council) and clergy

hanging pans and arrays of knives magnetised

(bishops) – provided it was not necessary

to walls. Most of the time these implements

to invite their wives. For the expanding

remain untouched – for overwhelmingly the

middleclasses choosing dinner guests was

fashion is to eat out or order take-away – but

somewhat trickier. Diners needed to be of

now and then they provide an impressive air

the same social standing as the host or, to

of professionalism to dinner parties in which

be preferred, a little better. In a constantly

restaurant-style dishes cribbed from Nigela

shifting society, this could be difficult to

or Jamie or Stephanie are served to a select

judge, and many a Victorian dinner party was

group of peers and friends in the hosts’ effort

ruined by miscalculations of caste.

to show that they have achieved the right level

In the twentieth century, other types of social

of sophistication, that they are culturally in the loop, that they deserve to belong to their

gatherings, such as cocktail parties and

middle-class clique.

restaurant meals, replaced the formal dinner 11

Response For American Muslims everything changed that September day

L-R: Hazem Shammas and Kane Felsinger

A week after the attacks on the World Trade

fair amount of double dealing by both

Centre and Pentagon in September 2001,

administrations. After all, Bush and Obama

President Bush took time to visit the large

have created and maintained laws that

Islamic Centre in Washington DC to counter

target Muslims, justifying their doubtful

the sudden rise of hate speech against Islam

constitutionality in the light of the War on

and calm the fears of American Muslims.

Terror. On the other hand, the US government

‘Islam is peace,’ he declared, going on to

might claim that all they have been doing

talk about the long and valuable contribution

since 9/11 is trying to support and legitimise

Muslims have made and continue to make to

‘good’ Islam (moderate, pro-American,

the society and economy of the United States.

apolitical) while demonising and persecuting

‘Those who feel like they can intimidate our

the ‘bad’ (violent, jihadist, extremist).

fellow citizens to take out their anger don’t

Unfortunately, the distinction has been lost

represent the best of America, they represent

on the American public. In the fifteen years

the worst of humankind, and they should be

since the attacks, Americans have turned

ashamed of that kind of behaviour.’ In 2009,

sour on the two per cent of their compatriots

President Obama sang from the same hymnal

who are Muslim. A poll taken in October 2001

when he told an audience on a state visit to

found around half of the American public still

Cairo that Islamic values and American values

asserted a favourable view of Islam – not too

are compatible. ‘Islam has always been part of

bad considering the general atmosphere of

the American story,’ he said.

unfocussed anger at the time. By 2010, favour

A cynic could argue that such commendable

had dropped to thirty-seven per cent. Four

sentiments have been a screen for a

years later, it was only twenty-six per cent,

“It’s almost as if, if a character is a Muslim, that’s all the character can be.

Therefore, the whole conversation suddenly becomes about whether that Muslim corresponds to some idea that the audience has or doesn’t have.”

— Ayad Akhtar, on the Arena Stage blog, arenastage.org 12

with almost a majority reporting disfavour.

In Disgraced, Akhtar attempts to recover some

The same poll revealed that sixty per cent of

of those lost nuances. Yet of all the responses

Americans claim never to have even known

to the play since its first American season in

a Muslim, so one can assume that it’s not

2012, the negative response of many Muslims

direct experience driving the figures down.

has surprised him the most. But perhaps he

Undoubtedly, recurrent outrages by self-styled

ought to have expected it. Human, fallible

jihadis in Boston, San Bernardino and Europe

and conflicted, his leading character, Amir,

have helped harden the general view. But

hardly creates a positive image of American

the greatest factor, surely, are the prevailing

Muslims, and his nephew Abe, young, angry

images of Muslims in television dramas, films,

and politically engaged, is middle-America’s

newspapers, websites and news broadcasts,

nightmare. According to many Muslims, Akhtar

where the concept of a Muslim rarely goes

was guilty of supplying ammunition to bigots.

beyond stereotypes of mad mullahs, barbaric

‘At an event in Atlanta, an Iranian woman told

customs, misogyny, holy war and religious

me that my job was to make Americans more

fanaticism.

knowledgeable about Islam. “They should

Since most American Muslims are the African

know that it is not a bad thing.” She said my job

American followers of the Nation of Islam, the

was to tell audiences that Muslims are ok.’

weight of Islamophobia has fallen heaviest on

But Akhtar strongly believes that administering

the minority who conform, however slightly,

counter examples as an antidote to the

to the media image: those of middle-eastern

poison that’s streaming through the system

appearance, especially if they follow middle-

is not his job, no matter how sympathetic he

eastern customs of dress. The broad brush of

is to the problem. As an artist attempting to

this prejudice sweeps up even non-religious

portray the nuanced world, he can’t also be

Muslims, such as Amir in Disgraced, who are

a propagandist for the cause. In an interview

completely assimilated into American life. The

with American Theatre he said, ‘Look, at the

playwright Ayad Akhtar told the Guardian:

end of the day, art’s capacity to change the

‘Post 9/11, folks who looked like me became

world is profoundly limited. But what it can do

very visible. Life changed. I and a lot of people

is change the way we see things individually.

like me felt differently after that. Like Amir, the

I aspired to accomplish with this structure a

fact of being a Muslim, whether religious or

kind of shattering of the audience, after which

cultural, became a significant fact that could

they have to find some way to put themselves

not be avoided. The tragedy, in a way, of the

together.’

play is that it doesn’t matter what his thoughts on Islam are. In a post 9/11 world, those nuances are lost.’

13

L-R: Mitchell Butel; Kane Felsinger.

Explosion Out of a burst of creativity came Disgraced

The playwright Ayad Akhtar, whose first major

returned to America and, doubling his luck,

play, Disgraced, won the 2013 Pulitzer Prize

worked with another famed experimentalist

for Drama, didn’t have the kind of playwriting

from the sixties and seventies, Andre Gregory.

apprenticeship you’d expect for a writer

He subsequently taught acting with him for a

of naturalistic dramas. His early interests

decade. Although he describes his theatrical

were much more avant-garde, beginning

apprenticeship as ‘blessed’, he still can see

in high school where a teacher turned him

the irony in the style of writing he eventually

on to modernist mid-century playwrights.

adopted. ‘I had this weird, avant-garde

Even by the mid-eighties, when Akhtar

training that was about process. And now I

first encountered them, the heat had long

write these overtly audience-oriented, well-

dissipated from the explosions that Samuel

made, traditional plays. It’s weird how life is.’

Beckett, Friedrich Dürrenmatt, Jean Anouilh,

The change in his writing came late. His first

Jean-Paul Sartre and their cohorts had caused

stories, novels and play fragments, written in

in Western drama. But they still had the power

his twenties and early thirties, sagged under

to turn the head of a Milwaukee teenager.

the heavy weight of European modernism. He

Later, at Brown University, Akhtar began

told the Guardian, ‘I thought writing meant

acting in student productions and found he

writing existential parables about the meaning

had a knack for it, which led to his applying

of life. I worked on a novel for seven years,

for and getting a job as an assistant to one

which I thought was amazing, but which was

of his heroes, the esteemed Polish director

godawful. It was about a poet working in

and theorist Jerzy Grotowski, author of the

the databases at Goldman Sachs, a kind of

seminal work Towards a Poor Theatre. After

knock off of Fernando Pessoa’s The Book of

a year working with Grotowski in Italy, Akhtar

Disquiet.’

L-R: Hazem Shammas and Kane Felsinger 14

“I was trying to be a kind of writer that I wasn’t.

I was trying to ignore the fact that my parents came from Pakistan and that I had a Muslim background.

I didn’t want to have anything to do with it.

I wanted to be the ‘great American guy’, a tabula rasa, not defined by anything."

— Ayad Akhtar, on the Arena Stage blog, arenastage.org

The attacks of 11 September and the rise of

previous and develops them in a different way.

Islamophobia in America were crucial factors

Abe in Disgraced walks off stage in scene

in the change that eventually came to his

four and shows up as Bashir in The Invisible

writing. He tended to think of himself as a

Hand – a different character but with the same

regular American guy, but that was not what

genealogy.’

other Americans thought in post-9/11 America.

With these works, Akhtar abandoned any

His ethnicity was suddenly a matter for other’s

attempt to create allegories or puzzles for

curiosity, fear, and misunderstanding. ‘In my

the audience to work out, to indicate vaguely

early thirties, I started to realise I was avoiding

something about the human condition

something on a personal level, but also as a

or human consciousness. He wanted to

writer. I was in denial about who I was and was

communicate a specific experience, a

trying to be someone who I was not ... All I

direct dialogue with what was happening in

did metaphorically was to turn and look over

America and the Muslim World, relying on

my shoulder at what I was running away from.

the immediacy of narrative realism to make

And at that moment there was an explosion of

his point. Part of coming through his artistic

creativity.’

crisis was a realisation that he shouldn’t

Within a year from the end of 2008, Akhtar

be embarrassed about telling stories to an

wrote the first draft of American Dervish, his

audience. He told Elizabeth Montgomery of

novel about growing up Muslim in suburban

ACT Theatre in Seattle: ‘When an audience

America in the eighties, and the first drafts of

begins to sense that they are being told

three plays, all of which have since received

a story there is a kind of waking up that

important productions, Disgraced, The

happens, a very simple kind of “Oh, what’s

Invisible Hand and The Who and the What.

going to happen next?” feeling … So there is a

In them, he cast a wide gaze across Muslim-

sacred trust built on a narrative bond between

American experience. ‘All together these

the audience and the writer and the artist. It’s

stories are a picture,’ he told the Arena Stage

something I can track in myself by seeing if

blog, ‘but no one of them is the picture. I

I am paying attention. And so, in a way, I’m

would finish one and go onto the other. One

writing with an almost childlike openness in

work is a contradiction of the next, and is a

myself to the question to the question of: “Do I

response to the next, or takes themes of the

care about what happens next?”.’

15

Hazem Shammas

16

“I take the lead from my smart Jewish friends and say I identify as a cultural Muslim – which means I feel informed and formed by the ethos and mythos and the mindset and the spirituality of the Muslim tradition, without believing in the literal truth of any of its tenets."

— Ayad Akhtar, interview at Newsweek.com, 6 November 2015

17

L-R: Hazem Shammas and Zindzi Okenyo

Q&A with Hazem Shammas Is Disgraced as relevant in Australia as it is in the US? Disgraced is not about America or a few wealthy New Yorkers. It’d be too easy for us to distance ourselves from it and say this is an American play. Its an Australian story because its about the exact same crisis of identity we’re all having here and now. In Australia our national story is built on the same tribal crisis of identity that lies at the core of the plays theme. We’ve had this since colonisation, pitting convicts against gentry, migrants against anglos; indigenous against everybody; yellow’s against whites; muslims against the world.

Our national narrative right now is still brutally dividing everyone up into "fit in or f**k off”. We don’t want muslims here, we don’t want indigenous anywhere, we lock and hide refugees away, we don’t want gays marrying, we don’t want “safe schools", we don’t want chinese investors, we kick at every other person who does not fit into the white patriarchal hetro-christian “norm” we’re all supposed to fit into.

This play is about what we do to each other.

It’s also about what we hide about ourselves to deny our truth, to fit in, and that, to me, is a very Australian condition. Today, it’s relevance in Australia is more frightening because you turn the TV on any time of day and you hear the same divisive bigotry forming our modern national mantra.

Do you think that Australia’s attitude towards ethnicity is changing?

I can’t say if it’s attitude has changed, I’ve only known it for my generation, but if my family and I came to an open-armed Australia in the 70’s (thank you Mr. Whitlam), and I think about that journey we took from the Middle East to Australia, imagining it now 40 years later I’m terrified that, now, we may never have made it here. My father would most likely have been locked up on some pacific island, slowly going mad waiting for a visa, we would have been separated, my sister and I would’ve been children in detention. We wouldn’t be here. And that’s a tragedy because I know and am proud of the fact that my family have not only prospered and given the Australian story some wonderful chapters, but love being here, celebrating life with all our Arabness, and all our Australianess.

Perhaps it is changing. Perhaps it’s getting worse.

18

Does your ethnicity typecast you?

Yes, but in this game everyone gets cast by type. It’s not something I worry about too much.

I’m grateful there’s been enough roles for my “type” to keep me busy enough. I’m not blind, though, to the fact that a lot of other actors who may be a little less “ethnic” than me are offered, considered for, and get to play many more roles of many more diversities.

There is an opportunity imbalance. For example, it’s no problem to cast the more Anglo variety of actor in any role, including Lebanese or Greek characters, but the reverse doesn’t happen at all. My type can only ever be "Arab man”. I have to wear my heritage first and foremost.

There’s a lot of talk at the moment about the lack of diversity across our stages and TV shows, and that’s because our casting type is the white-size fits all mentality for all characters. I’m very lucky to sometimes dodge this norm with my theatre work, especially with my work with Bell Shakespeare, where the roles have not been about my Arabness.

This unfortunately is still an exception.

What do you hope audiences take away from Disgraced?

The play asks us to take a long hard look at ourselves and how we treat each other, how we have always treated anyone we don’t understand, or is different to us.

There are no answers at the end of the play. The audience will take away a big question about what we do to people who don’t fit in? And why do we do it?

How we discriminate against others who want to live differently?

The play’s also a ripping good night of theatre, with some of the best actors working with a script that is, at the moment, the best in the world. Audiences will be blown away.

How has playing Amir challenged you?

Roles like Amir in Disgraced are rare. I’m extremely grateful for this opportunity. Most scripts produced in Australia haven’t found a way to show us such a protagonist, a successful lawyer who is Pakistani.

We haven’t found a way to produce this kind of archetypal hero to lead us through our stories.

He’s a classic character, like Othello. The play is a Shakespearean or Greek tragedy, which is something we talked about a lot in rehearsals. Beyond the myth though, they’re real characters in an immediately recognisable world and the power of it is that you are drawn into their living room and become part of their lives and destructive spiral, by their vulnerability, by their honesty and their familiarity.

It’s that vulnerability and honesty that the whole cast has had to bring to the play every night. In Amir’s case it hits exhausting heights and lows. The challenge is more exciting by the fact that I, as a migrant growing up in a western world, obviously understand his instincts and choices. I’ve been faced with the same questions he has which has made the job an interesting exploration of my own personal experience. There’s a rage in him that I get, that I think ultimately we all get and that’s what makes the play so powerful.

19

“Beyond the myth though, they’re real characters in an immediately recognisable world and the power of it is that you are drawn into their living room and become part of their lives and destructive spiral, by their vulnerability, by their honesty and their familiarity."

— Hazam Shammas

Ayad Akhtar Playwright Ayad Akhtar was born in New York City and raised in Milwaukee, Wisconsin.

He is the author of American Dervish, published in over twenty languages worldwide and a 2012 Best Book of the Year at Kirkus Reviews, Toronto’s Globe and Mail, Shelf-Awareness, and O (Oprah) Magazine. He is also a playwright and screenwriter. His stage play Disgraced played at New York’s LCT3/Lincoln Center Theater in 2012, and won the 2013 Pulitzer Prize for Drama. His latest play, The Who and the What, premiered at La Jolla Playhouse in February 2014, and opened in New York at LCT3/Lincoln Center Theater in June 2014.

As a screenwriter, he was nominated for an Independent Spirit Award for Best Screenplay for The War Within. He has been the recipient of fellowships from MacDowell and Yaddo, as well as commissions from Lincoln Center Theater and the Oregon Shakespeare Festival. He is a graduate of Brown and Columbia Universities with degrees in Theater and Film Directing.

"I started to recognise that I had been running from all kinds of stuff in many ways. My identity ethnically and religiously was part of all that. It was a slow process of coming to understand how much I wanted to be aEuropean, how much I wanted to be white, how much I wanted things that I wasn’t.

When I started to understand that, I had enough presence of mind to not do anything about it, but just observe. And as I observed, I metaphorically looked over my shoulder at what I had been running from, and it led to an explosion of creativity."

— Ayad Akhtar, on the Arena Stage blog, arenastage.org

NADIA TASS Queensland Theatre: Debut.

Other Credits: Melbourne Theatre Company: Disgraced, The Other Place, Miss Bosnia, Così, Summer of the Aliens; Red Stitch: The Flick, The Aliens, The Gronholm Method, Out of the Water; Malcolm Cooke and Associates and Billy May: The Lion, The Witch and The Wardrobe. The Production Company: Promises, Promises. Film: Twentieth Century Fox: Matching Jack. Village Roadshow: Amy; Hoyts: The Big Steal, Malcolm; Universal Studios: Pure Luck, American Girl: Lea to the Rescue; MGM/UA: Rikky and Pete; Disney Studios: The Miracle Worker, Child Star: The Shirley Temple Story; Polygram UK: Mr Reliable. Television: BBC: Stark. Lifetime: Fatal Honeymoon. Awards: Film Victoria Screen Leaders Award; Byron Kennedy Award for Pursuit of Excellence; Milan International Film Festival – Best Film and Best Director, Matching Jack; Cannes Cinephile Prix du Jury – Best Film, Matching Jack; Le Prix du Public – Paris Film Festival, Festival du Film de Paris – Best Film, Amy; Grand Prix Cannes Junior, Cannes Film Festival France – Best Film, Amy; Brisbane International Film Festival – Best Film Amy; 8 AFI Awards for Malcolm including Best Film and Best Director. Malcolm has appeared in competition in Venice, Berlin, Toronto and London; American Cinematique Retrospective 2012 Los Angeles.

Positions: Board Member – Australian Directors Guild, Jury member – Hawaii International Film Festival 1988, Head of Jury – St Tropez Film Festival 2008, Jury Member – Asian Festival of First Films 2008, Head of Jury – Pune International Film Festival, India.

2012.

SHAUN GURTON Set Designer

Queensland Theatre: Mother & Son, Red, Travelling North.

Other Credits: Melbourne Theatre Company: Pennsylvania Avenue, Ghosts, Glengarry Glen Ross, The Mountaintop, The Other Place, The Heretic, Red, Hamlet, Apologia, Richard III, Godzone, The Colours, Moonlight and Magnolias, Scarlett O’Hara at the Crimson Parrot, Entertaining Mr Sloane, Festen, King Lear, Cheech (Centaur Theatre, Montreal), Inheritance, The Recruit, Bombshells, The Rain Dancers, Man the Balloon, Art, Measure for Measure, The Misanthrope; Opera Australia: Cavalleria Rusticana, Pagliacci, Otello, Mer de Glace; Victoria State Opera: Fly, The Consul, The Flying Dutchman, Carmen; Perth Theatre Company: Equus, Taking Liberty; Black Swan State Theatre Company: Red Dog; Hit Productions: Così, A Stretch of the Imagination, Diving for Pearls, Romeo and Juliet (Montreal), Verona (Buenos

Aires), Circus of a Thousand Faces (Netherlands), Tinderbox Productions: Georgy Girl – The Seekers Musical, Mother and Son; YPM International: Yes Prime Minister, Talking Heads, Weary. Positions: Associate Director/Designer (1990 - 1994) State Theatre Company of South Australia; Festival Designer – Adelaide Festival (1994); Guest Designer – Shanghai People’s Theatre (1991). Awards: Green Room Award – Best Design, Richard III, Steaming, Master Class, Rivers of China, Festen; John Truscott Award for Excellence in Design.

JILL JOHANSON Costume Designer

Queensland Theatre: Debut.

Other Credits: Melbourne Theatre Company: Glengarry Glen Ross, Red; National Institute of Circus Arts (NICA): Circa Nica Roadshow, High Voltage, On Edge; For Lucy Guerin: Plasticine Park, Stravinsky Dances. Film: The Kings of Mykonos, 10 Terrorists, The Independent, The Jammed, Em 4 Jay, Tom White, Yolngu Boy. Television: Winners & Losers, City Homicide, John Safran’s Race Relations, Call Me Mum, Eagle & Evans, Legacy of the Silver Shadow, Crash Zone II, High Flyers, The Never Too Late Show, Around the Twist. Training: Advanced Diploma in Costume Design, Central School of Speech and Drama (London); Apprentice Costume Construction, Victorian State Opera.

NIGEL LEVINGS Lighting Designer

Queensland Theatre: Copenhagen, Toy Symphony.

Other Credits (Recent): Opera Australia: Simon Boccanegra; Sydney Theatre Company: Machu Picchu; Brink Productions: The Aspirations of Daise Morrow; Korean National Opera: Romeo et Juliette. Positions: Fellow of the Illuminating Engineering Society. Awards: Tony Award, Centenary Federation Medal, South Australia Great Arts Award, Helpmann Award, Green Room Award, Ovation, Dora Mava Moore, 2 Outer Critic Awards, Drama Desk Award.

RUSSELL GOLDSMITH Composer/Sound Designer

Queensland Theatre: Debut.

Other Credits: Melbourne Theatre Company: Lungs, Endgame, What Rhymes with Cars and Girls, I’ll Eat You Last, The Speechmaker, Ghosts, The Other Place, His Girl Friday, The Golden Dragon, Don Parties On, The Swimming Club, Ruby Moon;

BIOGRAPHIES

Director

BIOGRAPHIES

Malthouse Theatre: Hello Goodbye and Happy Birthday, Hate, Blood Wedding, A Woman in Berlin, Elizabeth – Almost By Chance a Woman, Happy Days, It Just Stopped (with Belvoir), Optimism, Exit the King (with Belvoir). Public works: White Night Melbourne: Aqua Vitae, Wonderland and Seven

Theatre Festival: A Spectacular of Sorts; Dixon Place, New York: The Hansel and Gretel Tapes; NIDA: Reagan Kelly; Metro Arts: The Glorious Nosebleed.

Music Video: Triple J Unearthed: Ride for Me, by Ry. Positions: Queensland Theatre: Associate Artist (2011); Melbourne Theatre Company: Directorial

Deadly Sins, Crepuscular Beam, Forgotten. Awards: Sydney Theatre Award – Exit the King (2007).

Secondment, Private Lives; Channel Seven/Foxtel: Director’s Attachment, A Place to Call Home (Series 4). Training: NIDA Directing Course (2013).

DANIEL NIXON Composer/Sound Designer

Queensland Theatre: Debut.

Other Credits: As Musician: Melbourne Symphony Orchestra, Orchestra Victoria, John Farnham, Yothu Yindi, Sabine Meyer, Mikko Franck. As Composer/Sound Designer: Melbourne Theatre Company, Red Stitch Theatre, Dirty Pretty Theatre, Little Ones Theatre. Film and Television: Flashgun Films, Cascade Films, American Girl, Universal Television, Disney Pictures, Madman, Farmhand Films.

SUZANNE HEYWOOD Voice and Dialect Coach

Queensland Theatre: Debut.

Other Credits: Melbourne Theatre Company: Buyer and Cellar, The Other Place, The Crucible, M Butterfly, Racing Demons, and Great Expectations; YPM International: Yes Prime Minister; Malthouse Theatre: Blood Wedding, Timeshare, The Shadow King; Hit Productions: Girl Talk; Red Stitch Actors Theatre. Musical Theatre: Sunset Boulevard, Chicago, Cabaret, Mamma Mia!, The Wizard of Oz, The Full Monty, The Lion King, High School Musical, Jersey Boys, Dirty Dancing, West Side Story, Annie, South Pacific, King Kong, The King and I, Georgie Girl. Film: The Heartbreak Kid, The Ripper, Dead Letter Office, Wee Jimmy, This Dying Breed, The Eye of the Storm, Underground, Now Add Honey.

Television: Neighbours, Something in the Air, Simone de Beauvoir’s Babies, Raw FM, Last Man Standing, Curtain, The Slap, Miss Fisher’s Murder Mysteries, Mystery of the Handsome Cab, Horace and Tina, Treasure Island. Positions: Faculty staff at University of Melbourne and VCA School of Drama.

BENJAMIN SCHOSTAKOWSKI Assistant Director

Queensland Theatre: A Tribute of Sorts. Other Credits: La Boîte: A Tribute of Sorts, A Midsummer Night’s Dream, Così; Brisbane Festival: Klutz, Genesis, What’s Wrong With Gregor Post; Opera Queensland: Così fan tutte; World

MITCHELL BUTEL Isaac

Queensland Theatre: Stones in is Pockets, The Venetian Twins.

Other Credits: Melbourne Theatre Company: Disgraced, The Grenade, The Madwoman of Chaillot, Tomfoolery, Urinetown, Piaf; Sydney Theatre Company: Arms and the Man, Romeo and Juliet, Face to Face, Summer Rain, Harbour, The Republic of Myopia, Mourning Becomes Electra, Tartuffe, Two Weeks with the Queen, Dead White Males, The Café Latte Kid, Summer of the Aliens, Six Degrees of Separation; Bell Shakespeare: Othello; Belvoir: The Government Inspector (also Malthouse), Strange Interlude, Angels in America, Snugglepot and Cuddlepie, The Laramie Project, A View from the Bridge, Dead Heart; Malthouse: Little Match Girl, Woyzeck; Griffin: Emerald City; Opera Australia: Orpheus in the Underworld, South Pacific, The Mikado; The Production Company: The Producers, Kismet, Sugar, Little Me, Oklahoma!, Hair. Film: Holding the Man, Gettin’ Square, The Bank, Dark City, Strange Fits of Passion, Two Hands. Television: Deep Water, Janet King, Hiding, Rake, Mr and Mrs Murder, The Broken Shore, Hiding, Nightmares and Dreamscapes, MDA, Grass Roots, Wildside, Bordertown, GP. Awards: Helpmann Awards: The Mikado, Avenue Q, The Venetian Twins; Green Room Awards: Hair, Piaf; Sydney Theatre Awards: Best Director of a Musical, Violet.

KANE FELSINGER Abe

Queensland Theatre: Debut.

Other Credits: Melbourne Theatre Company: Disgraced, A Counting and Cracking of Heads (Cybec Electric play readings 2014); Attic Eratic: The City They Burned, Domino; Broken Mirror Studios: Blue/Orange; Bell Shakespeare: Romeo and Juliet; Melbourne Fringe: Taking Leave; La Mama: UnAustralia; Alias Productions: Surfacing; Next Wave: Talon Salon. Film: Play It Safe. Television: Neighbours, Upper Middle Bogan, It’s A Date, Wicked Science. Training: Victorian College of Arts.

LIBBY MUNRO Queensland Theatre: Grounded, Venus in Fur. Other Credits: Ensemble Theatre: Dream Home; Louise Withers & Assoc: A Murder is Announced; Sydney Theatre Company: Gallipoli; Able Productions: Closer to Heaven; NIDA Company: The Collection; Queensland Shakespeare Festival: Romeo and Juliet, Twelfth Night.

Film: Eight, Bullets for the Dead, Branded, The Bind.

Television: Hiding, All Saints: MRU, Review with Miles Barlow, SLiDE. Awards: Matilda Award – Best Female Actor in a Leading Role, Grounded (2015), Venus in Fur (2013); John Dommett Medal for Outstanding Industry Achievement. Training: Bachelor of Dramatic Art (Acting) NIDA; Bachelor of Business, QUT.

ZINDZI OKENYO Jory

Queensland Theatre: Debut.

Other Credits: Melbourne Theatre Company: Disgraced; Sydney Theatre Company: The Golden Age, Boys will be Boys, A History of Everything, Money Shots, Before/ After, Blood Wedding, Vs Macbeth,

the Oresteia, The Comedy of Errors, The Mysteries: Genesis, The Crucible (STC Education), The Vertical Hour; Belvoir: La Traviata, Scorched; Ensemble Theatre: Good People; Darlinghurst Theatre Company: Gaybies; Griffin: Masquerade, The Girl in Tan Boots; State Theatre Company of South Australia: Random; Theatre Ink: Angels in America. Television: Hiding, Plonk, The Code, Wonderland, Play School. Positions: Inaugural Member – Residents, Sydney Theatre Company ensemble (20092012). Original music as Okenyo.

HAZEM SHAMMAS Amir

Queensland Theatre: Debut.

Other Credits: Melbourne Theatre Company: Disgraced. Bell Shakespeare: Romeo and Juliet, The Tempest, The Comedy of Errors, Macbeth; Belvoir: Mother Courage and Her Children, Antigone, Scorched, The Gates of Egypt, Paul, Peribanez, Stuff Happens; Urban Theatre Projects: The Buried City, The Tribe; State Theatre Company of South Australia: Othello; Arts Radar: A Midsummer Night’s Dream; Griffin: The Call; Malthouse: Criminology (with Arena Theatre). Film: Alex and Eve, X, The Tumbler. Television: At Home with Julia, Underbelly, East West 101, All Saints.

BIOGRAPHIES

Emily

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PATRON His Excellency the Honourable Paul de Jersey AC Governor of Queensland MEMBERS OF THE BOARD Elizabeth Jameson (Chair) Rachel Crowley Richard Fotheringham Peter Hudson Andrea Moor David Williamson ARTISTIC DIRECTOR Sam Strong EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Programming Manager/Senior Producer: Sophia Hall Artistic Coordinator: Samantha French Producer (New Work and Development): Shari Irwin Touring and Regional Program Coordinator: Christine Johnstone Producer (Education and Youth Programs): Heidi Irvine Programming Project Officer: Laurel Collins Resident Designer: Anthony Spinaze Deputy Executive Director: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Development Coordinator: Alana Tierney Communications and Grant Coordinator: Anja Homburg Database Trainer and Supervisor: Tracey Webster Chief Financial Officer: Michael Cullinan Systems Accountant: Roxane Eden Assistant Accountant: Georgia Knight Venue and Operations Supervisor: Julian Messer Finance and Operations Officer: Louisa Sankey Marketing and Audience Development Manager: Yvonne Henry Head of Campaigns: Jane Hunterland Marketing Coordinator: Liana Cantarutti Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David D’Arcy Graphic Designer: Aleesha Cuffe Publicist: Kath Rose and Associates Ticketing Supervisor: Eloise Sowden Senior Ticketing Officer: Donna Fields-Brown Ticketing Officer: Madison Bell Production Manager: Toni Glynn Technical Coordinator: Daniel Maddison Production Coordinator: Canada White Touring Coordinator: Michael Rogerson Head of Workshop: Peter Sands Company Carpenter/Head Mechanist: John Pierce Costume Supervisor: Nathalie Ryner Wardrobe Coordinator: Barbara Kerr Indigenous Reference Group: Nathan Jarro (Chair), Adam James, Angela Leitch, Paula Nazarski, Todd Phillips, Michael Tuahine National Artistic Team: Jimi Bani, Wayne Blair, Margi Brown Ash, Marcel Dorney, Christie Evangelisto, Kat Henry, Nakkiah Lui, Annette Madden, Renée Mulder, Lucas Stibbard Front of House (Queensland Theatre): Leisha Du Bois, Anita Hughes, Kate Hardy, Sally Lewis, Jermaine Beezley, James Gatling, Nathan Hollingworth, Cillian McDonald, Ellen Tuffley, Michael Veal FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003) Queensland Theatre is a member of Live Performance Australia.

PRODUCTION STAFF Wardrobe Maintenance: Shona Webster

BOARD OF MANAGEMENT Chair Terry Moran AC Anthony Burgess Professor Barry Conyngham AM Professor Glyn Davis AC Patricia Faulkner AO Jonathan Feder Gillian Franklin Jane Hansen Janette Kendall Virginia Lovett Ian Marshman Martyn Myer AO Brett Sheehy AO

Melbourne Theatre Company is one of Australia’s flagship performing arts companies and has been enriching lives for over 60 years. MTC is the State theatre company for Victoria and, under the leadership of Artistic Director Brett Sheehy AO and Executive Director Virginia Lovett, produces classic and contemporary Australian and international theatre with style, passion and excellence to entertain, challenge and engage audiences.

Artistic Director Brett Sheehy AO Executive Director Virginia Lovett Finance and IT Director Liz Chappell Director of CRM and Ticketing Dale Bradbury Marketing & Communications Director Kerry Noonan Head of Production Adam J Howe Theatre Operations Director Mark Wheeler Head of Education and Families Jeremy Rice Human Resources Manager Christelle Harris

As one of the largest theatre companies in the world, MTC employs almost 500 artists and industry professionals each year and has a subscriber base of nearly 20,000 people.

MTC produces an annual subscription season of up to twelve mainstage productions that are performed at its home venue, Southbank Theatre, and at Arts Centre Melbourne. Every year the Company stages over 680 performances reaching over 230,000 attendances. mtc.com.au @MelbTheatreCo

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au Chair Chris Freeman AM Deputy Chair Rhonda White AO Trust Members Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM

Executive Staff Chief Executive: John Kotzas Executive Director – Patron Services: Jackie Branch Executive Director – Programming: Ross Cunningham Executive Director – Marketing and Communications: Roxanne Hopkins Executive Director – Development: Megan Kair Executive Director – Corporate Services: Kieron Roost Information correct at time of printing

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 Annastacia Palaszczuk MP Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet: David Stewart

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An unforgettable night of theatre The perfect corporate entertainment for the holiday season

Let Queensland Theatre create a unique and festive evening of performance to entertain your clients and colleagues. A range of dinner and cocktail packages are available and can be tailored to suit your specific requirements. Suitable for groups of up to 200 people, an evening of fine food and wonderful theatre is sure to be a memorable experience for you and your guests.

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