DEATH OF A SALESMAN - Program

By Arthur Miller

Playhouse, QPAC

9 Feb — 2 Mar

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9 Feb — 2 Mar Playhouse, QPAC

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1 — 25 May Bille Brown Theatre

By Arthur Miller American Classic

Dream Sequence

1940s

9 Mar — 6 Apr Bille Brown Theatre

Barbara AND THE CAMP DOGS

Hydra

By Ursula Yovich and Alana Valentine Smash Hit

By Sue Smith

queensland theatre premiere Paradise

Love Story

Expats

Comedy

Sisters

29 Jun — 20 Jul Bille Brown Theatre

7 Sep — 5 Oct Bille Brown Theatre

city of gold

fangirls

By Meyne Wyatt

Book, music & lyrics by Yve Blake

queensland theatre premiere Representation

Family

queensland theatre premiere Celebrity

Kalgoorlie

Superfans

Romance

29 Jul — 17 Aug Playhouse, QPAC

26 Oct — 16 Nov Bille Brown Theatre

storm boy

Antigone

By Colin Thiele Adapted for the stage by Tom Holloway

Adapted by Merlynn Tong after Sophocles

Endless Summer

Family Classic

Puppetry

3 — 31 Aug Cremorne Theatre, QPAC

L’Appartement

queensland theatre premiere Greek Tragedy

Dignity

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By Joanna Murray-Smith

queensland theatre premiere Date Night

Parisian Chic

Envy

Human Rights

Book online at queenslandtheatre.com.au

Queensland Theatre Season Ticketing Team PO Box 3310, South Brisbane, QLD 4101

Synopsis The requiem for the American Dream that defined the 20th Century As the death-rattle of American optimism echoes through the land of the Free Market, travelling salesman Willy Loman loses himself in the halcyon haze of the past.

Once the king of the road, Willy is veering off it. Time was, he could sell anyone anything, and his reward was the whole package: wife, two sons, the car, the white picket fence. But now he’s feeling his years. He’s behind on the mortgage, he’s sidelined by his wet-behind-the-ears boss, and the final straw is when his adult son Biff – once a sporting prodigy, now a directionless disappointment – lands on the doorstep, further loosening Willy’s grip on the reality of his broken-down life.

Arthur Miller’s towering classic is a timeless meditation on the human need to feel special, a withering commentary on capitalism, and a tragic portrait of a fallout between father and son.

Peter Kowitz, Angie Milliken

American Classic

Dream Sequence

1940s

Death of a Salesman

By Arthur Miller Directed by Jason Klarwein

VENUE

CAST

09 February - 02 March Playhouse, QPAC

CHARLEY Charles Allen UNCLE BEN Kevin Hides WILLY LOMAN Peter Kowitz BIFF LOMAN Thomas Larkin HAPPY LOMAN/HOWARD Jackson McGovern LINDA LOMAN Angie Milliken THE WOMAN/MISS FORSYTHE Sarah Ogden BERNARD/STANLEY Ilai Swindells JENNY/LETTA Gemma Willing

ATTENDANCE INFORMATION Death of a Salesman will run for approximately 2 hours and 40 minutes including a 20 minute interval.

WARNINGS This production contains smoke, haze and use of herbal cigarettes. The use of photographic or recording equipment is not permitted inside the theatre.

Cover Photo: Tim Jones ACKNOWLEDGEMENT OF COUNTRY Queensland Theatre would like to acknowledge the Jagera and Turrbal people who are the Traditional Custodians of this land. We pay our respects to their Elders both past and present, and to all Aboriginal and Torres Strait Islander peoples.

RECYCLE THIS PROGRAM

CREATIVES DIRECTOR Jason Klarwein SET DESIGNER Richard Roberts ASSOCIATE DESIGNER/COSTUME DESIGNER Anthony Spinaze LIGHTING DESIGNER Verity Hampson SOUND & PROJECTION DESIGNER Justin Harrison STAGE MANAGER Marnie McDonald DEPUTY STAGE MANAGER Pip Loth ASSISTANT STAGE MANAGER Damian Tatum CONTRIBUTING ARTISTS VOICE AND DIALECT COACH Melissa Agnew DIRECTORIAL OBSERVATION Timothy Wynn DIRECTORIAL OBSERVATION Ellen Tuffley DIALECT COACH Melissa Agnew

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

Queensland Theatre 78 Montague Road, South Brisbane, Queensland, 4101 Tel: 07 3010 7600 Fax: 07 3010 7699 Ticketing: 1800 355 528 mail@queenslandtheatre.com.au

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Ilai Swindells

Thomas Larkin

Gemma Willing

Welcome On the first day of rehearsals at Queensland Theatre we have a tradition where the Company and visiting artists

gather in the morning. As the Death of a Salesman team introduced themselves, classic character names rang out: Biff, Linda, Happy, Willy, Charley, Uncle Ben...

Sam Strong Artistic Director

Hearing the reverberation of these names was a reminder of just how iconic Death of a Salesman is. From the specifics of mid-twentieth century America, Arthur Miller somehow created a great tragic story that has resonated louder and louder in the 70 years since it was first performed.

I suspect the reason for this enduring appeal is the effect Death of a Salesman has on audiences who are lucky enough to see it performed. However near or far we might be (or think we are) from these characters, we all recognise something of ourselves.

Death of a Salesman speaks across time to the love and lies at the centre of families, to the desire to live an authentic life, and to the sometimes crushing gap between our aspirations and our realities.

As a result, it’s a uniquely powerful and moving experience.

We’re thrilled that Director Jason Klarwein has assembled a team worthy of this monumental play. This is what a state theatre company does like no-one else: a grand classic, given a handsome production by a first rate team of artists at the height of their powers. You could see this show on Broadway or the West End or you could see it here.

As we start the year it is my great pleasure to welcome RACQ in their new role as our Principal Partner. Thank you also to our Presentation Sponsor Ord Minnett and to our many other corporate and private supporters. And thank you finally to you, our audience.

Enjoy the first instalment in our Season of Dreamers.

Sam

American Classic

Dream Sequence

1940s

Director’s Note This year marks the 70th Anniversary of the

first performance of Death of a Salesman on

the 10th February 1949. For a modern play, this is a huge milestone and speaks to Miller’s craft as a writer and an observer of human nature.

Jason Klarwein Director

Salesman is widely considered to be one of the greatest plays of the 20th century and for good reasons. Yet I can’t help wondering if it would make it past the development stage today. It has too many characters, at times it is politically incorrect and overall it is too masculine in parts for a contemporary committee of producers and dramaturgs. But probably most disturbing of all, is its form.

On the page Miller has seamlessly constructed a time and place slippage that is, at first, very confusing to the reader. And in fact, some actors and producers in 1948 refused to work or fund the play because they thought an audience wouldn't ‘get it’. This demonstrates the prescience and progressiveness of Miller as a writer and one of the greatest thinkers and craftsmen of the theatre.

Miller, like all great playwrights, had a keen sense of his society and its systems. He lived through the Great Depression, World War II and the rise of the individual consumer. He saw what unregulated capitalism could do to the common person and that the great ideals of democracy naturally don't go hand in hand with capital markets. That the nexus of a person’s identity and self worth are, as Willy Loman says, not only being ‘liked - but WELL liked’ and that ‘being liked’ is a form of currency itself. And like a good product, in order to be ‘well liked’, we must tell fantastical truths about ourselves to maintain our capital.

Herein lies the fundamental existential problem for the modern individual. The inevitable crumbling of democratic ideals in favour of ‘late stage’ capitalism. The inevitable crumbling of self worth and community in favour of hollow

anxiety and FOMO (the Fear of Missing Out).

That hyper-realistic lies will be told in order to maintain our societal and individual self worth.

The examples of Trump, Lehman Brothers, the Global Financial Crisis of 2007/8 of which all evils are now forgotten, the Australian Banking Royal Commission, and the myriad of ‘social influencers’ online who have literally tied their faux physical identity and faux daily lives to the creation of capital through instant ‘likes’. That the perception of substance is more important than substance itself. This sounds as if Miller the ideologist is standing on his soapbox berating us for our complicity in these American Dreams.

But now enter Miller the craftsman. In the documentary Arthur Miller: Writer his daughter and film maker Rebecca Miller asks her father, “How do you begin a play? Do you start with a character?” Miller, looking up from his other great passion, carpentry, says, “No. I start with a person. A human being!” And this is Miller’s great gift. Somehow, by sleight of hand he can take a person like Willy Loman, surround him with a tender, loving, embarrassing, exhausting, believable family and friends who make us laugh and gasp and sigh with recognition, and piece together the scaffolding and upholstery of a masterwork.

Willy Loman is the great dreamer in each of us. The untapped potentiality in all of us. The belief in what our education system teaches us: meritocracy - work hard, dream big and of course you will rise. Then when you’ve ‘made it’ - leave a legacy. Miller takes Willy Loman, this washing machine of our human desires and disappointments in this hyper-capital democracy and pushes him to his logical end.

A price tag. What is a human life worth?

‘Willy Loman is the great dreamer in each of us. The untapped potentiality in all of us. The belief in what our education system teaches us: meritocracy - work hard, dream big and of course you will rise. Then when you’ve ‘made it’ - leave a legacy.'

– Jason Klarwein

Jason Klarwein

Arthur Miller: Attention Must Be Paid

By Baz McAlister

When you think of Arthur Miller, what comes to mind?

Is it the image of a lanky man, in thick-rimmed glasses that hide sparkling, intense eyes?

The corner of his mouth upturned in a smirk, perhaps, or clasping a pipe? Do you think of him arm-in-arm with bombshell Marilyn Monroe, his second wife? Or as a principled rebel, standing up to the attack dogs of the House Un-American Activities Committee during the dark days of McCarthyism? Maybe he’s the man of the land, in a woodsman’s shirt, at home around tractors, who built a house and hand-planted 6000 pine trees on his farm?

Miller led a life that defied labels. Born into a wealthy Polish-Jewish family in Harlem, New York, he seemed destined for luxury.

But in Miller’s early teens, the Wall Street Crash of 1929 wiped out his father Isidore’s prosperous coat manufacturing business, and the young man was catapulted into the workforce, taking every menial job thrown his way, from truck driver to lab assistant, self-funding his education.

At the University of Michigan, he discovered his knack for storytelling, both as a journalist at the school paper and as a budding playwright.

His first play, No Villain, netted him the school's Avery Hopwood Award, and he returned back east to pursue a career writing for the stage.

A high school football injury excused Miller from the frontlines of World War II, so he spent the early 40s perfecting his craft in New York after marrying his university sweetheart, Mary Slattery, who supported and encouraged his writing career. They had two children, Jane and Robert.

Miller’s second major play, The Man Who Had All the Luck, was his Broadway debut - and it was a disaster, running for only four performances and savaged by the critics. It wasn’t until 1947 that he truly ‘arrived’, with his hit All My Sons, winning him a Tony Award for Best Author, and marking his first collaboration with director Elia Kazan. Miller retreated from the whirl of Broadway to smalltown Roxbury, Connecticut, a couple of hours’ drive from New York, where he rolled up his sleeves and hand-built a cabin in which he wrote Act I of his next play, Death of a Salesman, in a day - finishing the rest in a matter of weeks.

Again directed by Kazan, the play premiered in 1949 and was a smash hit, scooping multiple Tonys and a Pulitzer Prize. In 1953, Miller followed it up with The Crucible, partly as a scathing allegory of the anti-communist hysteria sweeping the United States at the time.

Thomas Larkin, Angie Milliken, Jackson McGovern, Ilai Swindells, Charles Allen

Peter Kowitz, Angie Milliken

In 1956, Miller began an affair with Hollywood actress Marilyn Monroe - the pair had met some years before, when she was dating Kazan. He and Mary divorced, and he married Monroe - a relationship described by author Norman Mailer as the union of the Great American Brain and the Great American Body.

That same year, Miller was called before the House Un-American Activities Committee, and ordered to name acquaintances who had been involved with Communism. He refused, and was found in contempt of Congress - a ruling that was later overturned.

His turbulent marriage to Monroe lasted five years - during which Miller barely wrote a word, apart from the screenplay for 1961 film The Misfits, a vehicle for his wife. Around the time it was released, the pair divorced. Monroe, in the grip of addiction, would be dead within a year.

In 1962, Miller married Austrian-born photographer Inge Morath and he continued to write successful plays for four decades - however none hit the heady heights, either critically or commercially, of his late 1940s successes. Morath died in 2002, and Miller passed away at his Roxbury home in 2005, of heart failure, at the age of 89.

The couple had two children - Rebecca Miller is a filmmaker and writer. Her younger brother, Daniel, has Down Syndrome and was institutionalised as an infant. His very existence was a virtual secret until after Miller's death.

A message from our Sponsor As Ord Minnett Executive Chairman, I am delighted to welcome you to Queensland Theatre’s production of Death of a Salesman.

As with Queensland Theatre, Ord Minnett is a national icon, and one of the most trusted and highly respected names in the Australian financial services industry.

Ord Minnett’s track record dates back 140 years. We are proud of our heritage and, via our founding firms, have been managing the wealth of investors for generations. Ord Minnett understands what investors expect from an investment partner such as integrity, superior investment performance, and the highest levels of expertise and service excellence. Our clients realise the value of advice.

That same commitment to integrity, excellence and superior performance is mirrored by Queensland Theatre as they bring the best of the theatre to Queensland, and we are proud to be their partner in this endeavour.

As a sponsor, we are excited to be involved with Death of a Salesman by Arthur Miller who has set out to create what he called a “tragedy of the common man.”

The play highlights Queensland Theatre’s commitment to providing humorous, entertaining works of art.

I hope you have a great night at the theatre.

Karl Morris Executive Chairman Ord Minnett

Sarah Ogden, Jackson McGovern, Thomas Larkin

Danielle Cormack, Jason Klarwein

Building Wealth for

Supporting the Arts

Generation after generation of Australians have asked Ord Minnett to help them create and manage their wealth to realise their dreams.

Delivering outstanding investment performance, providing prudent advice and personalised service reflects the commitment we provide to our clients.

Talk to Ords today about our full-service stockbroking, financial planning, superannuation, corporate finance and portfolio services.

Discover the value of our advice.

1800 802 755 brisbane@ords.com.au ords.com.au

Proud supporter of Queensland Theatre as Production Sponsor for Death of a Salesman Ord Minnett is the trading brand of Ord Minnett Limited ABN 86 002 733 048, AFSL 237121 and Ord Minnett Financial Planning Pty Limited ABN 31 066 414 613, AFSL Licence Number 237122 A_023_0118_QueenslandTheatre_39Steps

We’re for the best seats in the house.

CourierMail

CourierMail

Phil Brown, Arts Editor

Arthur Miller

Jason Klarwein

Arthur Miller (1915–2005) was born in New York City and studied at the University of Michigan. October 2015 marked the centenary of his birth. His plays include The Man Who Had All the Luck (1944), All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge and A Memory of Two Mondays (1955), After the Fall (1964), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972), The Archbishop’s Ceiling (1977), The American Clock (1980) and Playing for Time (1980). Later plays include The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1994), Mr. Peters’ Connections (1998), Resurrection Blues (2002), and Finishing the Picture (2004). Other works include Situation Normal, reportage (1944), Focus, a novel (1945), The Misfits, a screenplay and a cinema novel (1961), and the texts for In Russia (1969), In the Country (1977), and Chinese Encounters (1979), three books in collaboration with his wife, photographer Inge Morath. Memoirs include ‘Salesman’ in Beijing (1984), and Timebends, an autobiography (1987). Short fiction includes the collection I Don’t Need You Anymore (1967), the novella, Homely Girl, a Life (1995) and Presence: Stories (2007). Essay collections include The Theater Essays of Arthur Miller (1978) and Echoes Down the Corridor: Collected Essays 1944 – 2000, as well as the individually published On Politics and the Art of Acting (2001). Among other honors, he received the Pulitzer Prize for Drama in 1949 for Death of a Salesman.

Queensland Theatre: As Director: My Name is Jimi, The 7 Stages of Grieving (with The Grin and Tonic Theatre Troupe - National 2017 Tour and Origins Festival, London), St Mary’s In Exile,

PLAYWRIGHT

Kevin Hides

DIRECTOR

Much Ado About Nothing, Oedipus Doesn’t Live Here Anymore, A Dream within A Dream, Orbit, This Hollow Crown. As Actor: Hedda, Twelfth Night, Once in Royal David’s City (with Black Swan State Theatre Company), Riley Valentine and the Occupation of Fort Svalbard, The Odd Couple, The Seagull, Macbeth (with The Grin and Tonic Theatre Troupe), Design For Living, Elizabeth - Almost

By Chance a Woman, Fractions (with HotHouse Theatre), Faustus (with Bell Shakespeare Company), An Oak Tree, Macbeth, Thom Pain (based on nothing), A Streetcar Named Desire, God is a DJ, Phèdre, The Fortunes of Richard Mahony, Bash, Mad Hercules, The Tragedy of King Richard the Second, Shopping and F$$$ing, The Skin of Our Teeth.

Other Credits: As Director: The Arts Centre Gold Coast: Oh the Humanity and Other Exclamations; The Grin and Tonic Theatre Troupe: April’s Fool, Hoods, Lunatic, The Lover and The Loon, LIVID, I Am Macbeth, Sunburn, Island Home, Revolt, Inferno, VS, Super/Natural, Romeo and Juliet, The Zoo Story, The Trial, A Midsummer Night’s Dream. As Actor: Queensland Symphony Orchestra: Peter and the Wolf, The Happiness Box, Young Person’s Guide to the Orchestra, The Carnival of the Animals, Tubby the Tuba; Bell Shakespeare: Henry IV; Sydney Theatre Company: A Streetcar Named Desire; Belvoir St Theatre: Paul, Capricornia, Maralinga; La Boite Theatre Company: The Glass Menagerie, Half and Half, Cosi; Adelaide Festival Centre: A Thing Called Snake; The Grin and Tonic Theatre Troupe: The Trial, Monkey, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Richard the Third, The Winter’s Tale, Henry the Sixth, Romeo and Juliet, Seasons. Film: Celeste, The Baby Whisperer. Television: The Devil’s Playground, Illusion 5, Slide, Sea Patrol, Australia Remembers, Cybergirl. Positions: Resident Director, Queensland Theatre (2014 – 2015); Artistic Director, The Grin and Tonic Theatre Troupe (2010– current); MEAA Queensland Branch Council (2011–current), MEAA National Performers Committee (2013–current), MEAA Federal Council Board Member. Awards: Matlida Award Nomination - Best Actor in a Lead Role Hedda; Queensland Reconciliation Award – My Name is Jimi; Helpmann Award Nomination – Best Male Actor Once in Royal David’s City; Logie Award – Most Outstanding Miniseries The Devil’s Playground.

Richard Roberts

Verity Hampson

Queensland Theatre: Noises Off, Much Ado About Nothing, Tartuffe, Design for Living, Managing Carmen, Fountains Beyond, The Sunshine Club. Other Credits: Melbourne Theatre Company:

Queensland Theatre: Debut. Other Credits: As Lighting Designer: Sydney Theatre Company: Blackie Blackie Brown (with Malthouse), After Dinner, Machinal, Battle of Waterloo, Hamlet:

Last Man Standing, Soloman and Marion, The Gift, Frost/Nixon, Macbeth, Dreams in an Empty City, As You Like It, Hedda Gabler, The Sapphires, All My Sons, Death of a Salesman; Melbourne Theatre Company/Sydney Theatre Company: The Grenade, Australia Day; Melbourne Festival/ Sydney Festival: The Season; Playbox Theatre Company: Stolen, The Sick Room; Sydney Theatre Company: True West, Riflemind, Stones in His Pockets; Opera Australia: Rigoletto, Don Pasquale, My Fair Lady, The Pirates of Penzance, Die Fledermaus, La Sonnambula; New Zealand Opera: Rigoletto; Victorian Opera: Cunning Little Vixen, Nixon in China, The Magic Flute, Baroque Triple Bill, Don Giovanni, The Coronation of Poppea, The Marriage of Figaro; The Australian Ballet: Requiem, Molto Vivace, Raymonda,; West Australian Ballet: La Sylphide; National Institute of Circus Arts: Divino; Arts Asia Pacific: Avenue Q; TML: Fiddler on the Roof; Ambassador Theatre Group, UK: Riflemind. Television: The Battlers, Five Times Dizzy, I Own The Racecourse.

Positions: Associate Professor, The School of Production at Victorian College of the Arts (Present); Head of Design, The Hong Kong Academy for Performing Arts (2013-2015); Head of Design, Western Australian Academy of Performing Arts (1991-1996); Head of the School of Production, Victorian College of the Arts (2000–2007). Awards: Greenroom Awards - Best Design for Drama Stolen, Life After George; Best Design in Dance Requiem, Molto Vivace.

Prince of Skidmark, Little Mercy, Hamlet; La Boite Theatre Company: One The Bear, Blackrock, La Voix Humane; Belvoir: An Enemy of the People, Sami in Paradise, The Drover’s Wife, Faith Healer, Ruby’s Wish, The Blind Giant is Dancing, Ivanov, Is This Thing On?, Small and Tired; Griffin: The Bleeding Tree, A Strategic Plan, The Turquoise Elephant, The Boys, The Floating World; Sydney Chamber Opera: Fly Away Peter, In The Penal Colony; Sydney Dance Company: New Breed, PPY17; Bell Shakespeare: Julius Caesar, Literati, A Midsummer Night’s Dream; Malthouse: Fiery Maze; State Theatre Company of South Australia, Melbourne Theatre Company and Belvoir: Faith Healer. As Projection Designer: Belvoir: The Blind Giant is Dancing; Sydney Theatre Company: Little Mercy, Before/After, Leviathan, Like a Fishbone; Griffin: The Turquoise Elephant, Beached; Ensemble: Liberty, Equality, Fraternity (co-design), Great Falls. Television: Live at the Basement, The Roast, The Crown Prince Awards. Awards: Sydney Theatre Award – Best Mainstage Lighting Design Blackie Blackie Brown, Machinal; Mike Walsh Fellowship.

SET DESIGNER

Anthony Spinaze

ASSOCIATE DESIGNER / COSTUME DESIGNER

Queensland Theatre: As Designer: Constellations, St. Mary’s in Exile, Love & Information, Switzerland. As Design Assistant: Much Ado About Nothing, Romeo and Juliet. Other Credits: As Designer: La Boite Theatre Company: Blackrock, Lysa and the Freeborn Dames. Powerhouse/Jute: Joh For PM. Powerhouse/Matt Ward: Rent. NIDA: Spring Awakening, Capricornia, The Portrait of Dorian Gray.

As Costume Designer: La Boite Theatre Company: The Mathematics of Longing. NIDA: Not Who I Was; Brevity Theatre: Vampire Lesbians of Sodom, Space Cats. As Design Assistant: Opera Australia: Aida. Film: As Designer: TRIPLE J: Loose Change’s Grown Up. As Costume Designer: An Easy Death. As Costume Assistant: Riot. Awards: Matilda Awards Nomination – Best Costume Design Rent, Joh For PM; Matilda Awards Nomination – Best Set Design Switzerland; William Fletcher Foundation Award for Emerging Artists.

Positions: Queensland Theatre: Resident Designer (2016).

Training: Bachelor of Dramatic Art (Design), NIDA; Bachelor of Fine Arts (Technical Production), QUT.

LIGHTING DESIGNER

Justin Harrison

SOUND & PROJECTION DESIGNER

Queensland Theatre: As Sound & Projection Designer: My Name is Jimi, Oedipus Doesn’t Live Here Anymore, The Landmine is Me, The 7 Stages of Grieving (with The Grin and Tonic Theatre Troupe), Orbit. As Projection Designer: The Wider Earth (with Dead Puppet Society). As Sound Designer/Composer: 600 Ways to Filter a Sunset, Love and Information, Riley Valentine and the Occupation of Fort Svalbard, Much Ado About Nothing, Country Song. As A/V Consultant: The Longest Minute, 39 Steps, Switzerland.

Other Credits: Dead Puppet Society: The Wider Earth UK, Laser Beak Man (with Brisbane Festival and La Boite Theatre Company); QUT Creative Industries: 3 Winters; The Grin & Tonic Theatre Troupe: April’s Fool, 7 Billion Friends, Revolt, Inferno, Romeo and Juliet Must Die, I Am Macbeth, Livid, Super/Natural, Heartfail, Island Home, Romeo and Juliet versus The World, Macbeth and Lady Macbeth versus The World. Film: Tailgate, The Little Things, Conscience for Cambodia, Don’t Show Mother. Television: MirrorMirror, Mega Mechanics, Am I Perfect?, Snake Boss. Awards: Helpmann Awards Nomination (2018); Matilda Award (2016), Matilda Awards Nomination (2017); Brisbane Advertising and Design Club (2018, 2015), Brisbane Advertising and Design Club Nomination (2017). Training: Bachelor of Film and Screen Media Production, Griffith University.

Marnie McDonald STAGE MANAGER

Queensland Theatre: As Stage Manager: Twelfth Night, Queensland Premier’s Drama Awards 2016, Love & Information (Queensland Theatre Junior and Intermediate Youth Ensemble 2016), Mrs. Warren’s Profession, Long Day’s Journey Into Night, Honour, After The Ball (1998 remount and 1997 national tour). As Assistant Stage Manager: The Marriage of Figaro, After The Ball (1997), Julius Caesar (with Melbourne Theatre Company). Other Credits: As Stage Manager: Playbox Theatre Company: Competitive Tenderness, Pacific Union; Handspan Puppet Theatre Company: Dante: Through the Invisible; Bharatam Dance Company: Buddha – The Light of Asia, Boddhisatva, Krishna: The Celestial Dancer, Odissi: The Sensuous Spirit, The Speaking Tree, The Golden Lotus; Millennium Productions: Two. As Production Manager/ Stage Manager: Handspan Puppet Theatre Company: Viva La Vida! Frida Kahlo (including national tour); Bharatam Dance Company: The Churning of the Ocean; Arena Theatre Company: Electro Diva (including tour), Malache (including tour); Stable Productions: The Supper. As Production Manager: Handspan Puppet Theatre Company: The Kangaroo Tale. As Assistant Stage Manager: Melbourne Theatre Company: My Father’s Father. Positions: Project Manager, St. Martin’s Youth Arts Centre Melbourne.

Pip Loth

DEPUTY STAGE MANAGER

Queensland Theatre: As Stage Manager: My Name is Jimi, Constellations (Season and Queensland Tour), Riley Valentine and the Occupation of Fort Svalbard, Gloria.

As Assistant Stage Manager: Hedda, Ladies in Black (2015), Country Song.

As Set Builder: Macbeth. Other Credits: As Tour & Company Manager: Hi-5: Hi-5 Fairytale (Asia Tour). As Stage Manager: World Science Festival: Dear Albert; La Boite Theatre Company: A Midsummer Night’s Dream; Motherboard Productions: Shimchong, Daughter Overboard!; EMS Entertainment: Barbie Live! The Musical (East Pacific Tour 2013 - 2014); Life Like Touring: Elmo’s World Tour, Dora the Explorer’s Pirate Adventure. As Assistant Stage Manager: Gordon Frost: Driving Miss Daisy; Dreamworks & Global Creatures: How to Train your Dragon – Arena Spectacular (North American Tour). As Follow Spot Operator: Brisbane Festival: FLOWN. Film: As Rigging Electrics: Nim’s Island, Terra Nova. Positions: Production Coordinator, Queensland Theatre; Stage Management and Technical Theatre Lecturer and Production Supervisor, University of Southern Queensland (2016); As Site Manager and Assistant Production Manager: Midsumma Festival; As AV Technician: Avcom. Training: Bachelor of Fine Arts (Technical Production - Honours), Certificate II – Furniture Making & Finishing, Diploma of Live Production (Theatre & Events).

Marnie McDonald

Damian Tatum

ASSISTANT STAGE MANAGER

Queensland Theatre: Debut. Other Credits: As Stage Manager/Lighting Designer: Brisbane Festival: Umami Mermaids. As Co-Director/Stage Manager: Backbone Youth Arts: RIDE. As Assistant Stage Manager: Imaginary Theatre: The Voice in the Walls. As Assistant Director: The Danger Ensemble: Macbeth. As Dramaturg: RPAC/QUT: Bare Feet.

As Sound and AV Technician: 2High Festival. As Costume/ Set Designer and Builder: Parallax Collective: TRAIN LINES. As Director/Designer: Independant: Unplugged (2018, 2016); FAST: WILD WEST. As Co-Designer/Set Builder: Melbourne Fringe Festival: Hi, Can I Help You. Awards: Darwin Fringe Festival Awards - Best Show: Theatre, Dance and Circus TRAIN LINES. Positions: Head of Productions, Vena Cava Productions (2015). Training: Bachelor of Fine Arts (Drama - Honours), QUT; Certificate II Live Productions, Theatre and Events.

Kevin Hides, Peter Kowitz, Thomas Larkin, Angie Milliken

Sarah Ogden

Charles Allen, Peter Kowitz

Charles Allen

Peter Kowitz

Queensland Theatre: Debut. Other Credits: Brisbane Powerhouse/Thomas Larkin: True West; THAT Production Company: The God of Carnage; Sport for Jove: Of Mice and Men; La Boite

Queensland Theatre: The Alchemist (with Bell Shakespeare), Butterflies Are Free, One Day of the Year, The Removalists, The Importance of Being Earnest, One Flew Over the Cuckoo’s Nest, Hamlet, Kingdom of Earth, School for Scandal, Savages, The Department, A Toast to Melba, Romeo & Juliet, Joan of Arc, The Last of the Knucklemen, For Years I Couldn’t Wear My Black, Season at Sarsparilla, Merchant of Venice, The Taming of the Shrew, Otherwise Engaged, Green Julia, Coralie, Lansdowne Says No, The Owl and the Pussycat, Maiden at the Gate, Punch and Judy, Spider’s Web, Jumpers, Arms and The Man, Good Works. Other Credits: Ensemble Theatre: Taking Steps, Happiness, The Deal, Table for One?, Emerald City, Ninth Step, Rough Justice, Blinded

By The Sun; Sydney Theatre Company: Australian Graffiti, Talk, Marriage Blanc, Australia Day (with Melbourne Theatre Company), Blackbird; Melbourne Theatre Company: Double Indemnity, The Weir, As You Like It, The Changeling, Acts; Griffin Theatre Company: The Floating World, Burning, Strange Attractor; Hayes Theatre Company: Miracle City; Nimrod Theatre: Romeo & Juliet, The Choir, King Lear (with Bell Shakespeare); Kinsela Productions: Siren; Belvoir: Conqueror Cole; Railway St Theatre: The Summer of the Seventeenth Doll, Twelfth Night, Who’s Afraid of Virginia Woolf?, Falling on My Left Ear, Away; State Theatre Company of South Australia: The Wild Duck, Who’s Afraid of Virginia Woolf?, Creditors. Film: Black Fury, Stir, A Street to Die, Dear Cardholder, Spook, Page 73. Television: Janet King, Crownies, City Homicide, Packed to the Rafters, I Rock, Camp Orange – The Curse of the Emerald Eye, McLeods Daughters, All Saints, SUPERNOVA, Young Lions, The Restless Years, The Oracle, And the Meek Shall Inherit, The Timeless Land, A Town Like Alice, Cop Shop, A Country Practice, Pacific Drive, G.P., Ring of Scorpio. Awards: Sydney Theatre Awards – Best Actor Floating World; Australian Film Institute – Best Performance By An Actor Body Surfer, Best Lead Actor The Long Way Home; Variety Club - Television Actor of the Year.

CHARLEY

Theatre Company/Griffin Theatre: A Hoax; Odyssey Theatre: Love’s Uprising; Inglewood Playhouse: The Mighty Gents; Long Beach Playhouse: A Soldier’s Play; Shakespeare Festival Los Angeles: A Midsummer Night’s Dream; Complex Theatre: Fences; Mojo Ensemble Theatre: The Mayor’s Limo; Gardner Stage: All Those Horses; Towne Street Theatre: Passing; Dallas Children’s Theater: Most Valuable Player; Company of Angels: Lucifer’s Lament; John and Juan Productions: John and Juan; Pinpoints Theatre: 1001 Black Inventions; We Tell Stories: We Tell Stories; Improv Olympic: Unbrindled. Film: Rise, Down In New Orleans, The Sleepless, 2 G’s and A Key, Makin’ Baby, Paramedics. Short Film: Adele, The Futurist, Pack, Sex Sells. Television: Hoges: The Paul Hogan Story, Arrest and Trial. Training: Eric Morris Actor’s Workshop; Upright Citizen’s Brigade; Kalmenson and Kalmenson; Beah Richards; Tony Greco; Tepper Gallegos.

Kevin Hides UNCLE BEN

Queensland Theatre: A Conversation, Sweeney Todd, Christmas at Turkey Beach, The Cavalcaders, The Threepenny Opera, Diving for Pearls, Romeo & Juliet, Money and Friends, Essington Lewis: I Am Work, On The Whipping Side, Seven Little Australians, A Month in the Country, Season’s Greetings, The Man From Muckinupin, A Chorus of Disapproval, The Merry Wives of Windsor, Loves Labour Lost, Who Cares?, Baby, Macbeth, The Three Sisters, Henry V, In Duty Bound, Much Ado About Nothing, Applause, Amadeus, Demolition Job, The Tempest, Hello Dolly, As You Like It. Other Credits: 4MBS Classic Arts Shakespeare Festival: The Comedy of Errors, Cribbie, Henry V; World Theatre Festival: The Trouble With Harry; La Boite Theatre Company: Closer (with Genre), Cosi; Harvest Rain Theatre Company: Much Ado About Nothing; Twelfth Night Theatre Company: Run for your Wife; QPAC: Over the Top with Jim, A Christmas Carol; Acronym: Cyrano De Bergerac; Metaluna Theatre Company: Summer of the Aliens, The Adman; Lyric Opera of Queensland: Carmen, The Abduction From The Seraglio, La Belle Helene, Die Fledermaus, Brigadoon, The Pirates of Penzance, The Maid of the Mountains, The White Horse Inn; Q Theatre: The Sentimental Bloke, Baby. Film: Fatal Honeymoon, A Heartbeat Away, Dartworth, Stage Fright, Through My Eyes, The Crocodile Hunter: Collision Course, Blurred, Mr Reliable, The Legend of Fred Paterson. Short Film: Will You Still Love Me Tomorrow, Twilight Tango.

Television: Mabo, A Country Practice, Fat Cow Motel, Seconds to Spare, Cybergirl, Medivac, Fire II, Pacific Drive, The Last Resort, The Day of the Roses, Fire, Butterfly Island, Paradise Beach, Skippy, The Driver, Shark’s Paradise.

Awards: Matilda Award – Outstanding Contribution to Queensland Theatre.

WILLY LOMAN

Thomas Larkin BIFF LOMAN

Queensland Theatre: Good Grief, The Wider Earth (with Dead Puppet Society and Sydney Festival), Macbeth, Romeo & Juliet, The Lost Property Rules, Treasure Island (with Matrix Theatre Company). Other Credits: La Boite Theatre Company: The Wizard of Oz (with The Danger Ensemble for Brisbane Festival), As You Like It, Julius Caesar, Hamlet; The Good Room: I Just Came To Say Goodbye (with Brisbane Festival); Brisbane Powerhouse: True West, Sex With Strangers. Film: And The Winner Is, The Neon King, A New You. Television: Homecoming Queens, RUSH. Web Series: For A Good Cause, The Mother Load. Positions: Producer - True West, Sex With Strangers with Brisbane Powerhouse; Teaching Artist - Queensland Theatre, La Boite Theatre Company, Bell Shakespeare, NIDA, shake&stir theatre co., Backbone Youth Arts, Raw Dance Company. Awards: Griffith University - Most Outstanding Actor The Neon King; Brisbane City Council - Lord Mayor’s Young and Emerging Artist Fellowship Recipient. Training: Bachelor of Fine Arts (Acting), Victorian College of the Arts.

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Figures based on FY18 statistics

Jackson McGovern

Sarah Ogden

Queensland Theatre: Debut. Other Credits: Underground Broadway: This Is Our Youth; Little Match Productions (with Festival 2018 and Brisbane Festival): The Owl and the

Queensland Theatre: The Murder of Nellie Duffy (Creative Development), An Octoroon. Other Credits: Melbourne Theatre Company: The Crucible, Top Girls; Hayloft Project: Arden V Arden;

Pussycat; Metro Arts (with Rocket Boy Ensemble): Reagan Kelly; Rapidfire International: Alice in Wonderland Live (National Tour); Brisbane Powerhouse: Rent (with Matt Ward Entertainment), American Buffalo (with Troop Productions), Nineteen (with Wax Lyrical Productions); Creative Regions: White Rabbit Red Rabbit; The Grin & Tonic Theatre Troupe: EPIC – Caucasian Chalk Circle, Macbeth and Lady Macbeth vs The World, Super/Natural, Romeo and Juliet vs The World, Island Home, Romeo and Juliet…and Bottom, Sunburn, Livid. Short Film: Flowers, Strange Aeons. Training: Bachelor of Musical Theatre, Queensland Conservatorium Griffith University; ATCL (Performance and Teaching Musical Theatre, Speech and Drama), Trinity College London.

Awards: Matilda Award Nomination - Best Supporting Actor American Buffalo, Matilda Award Nomination - Best Supporting Actor The Owl and the Pussycat.

La Mama: Heaven; Mutation Theatre: Love me Tender; Stuck Pigs Squealing: Night Maybe; Steam Productions: Ruby Moon; Arena Theatre Company/Malthouse: Moth (National Tour); Hoy Polloy: Electronic City; Winterfall Theatre: As You Like It; Bell Shakespeare: Actors At Work; Daniel Schlusser/ Store Room: Life is A Dream; QSE: The Comedy of Errors, Coriolanus, Mad Lear, Shakespeare’s Shorts; La Boite Theatre Company: The Final Bow - Farewell to Hale St; Gordon Frost: The Secret Garden (National Tour). Television: Stories I Want To Tell You In Person, The Wayne Manifesto.

Training: Bachelor of Dramatic Art (Acting), Victorian College of the Arts; Bachelor of Creative Industries (Theatre Studies), QUT. Awards: Orloff Family Charitable Trust Award (VCA); Green Room Nominations - Best Actress Moth, Best Ensemble Life is a Dream. Sarah has been a proud member of Equity since 1994.

Angie Milliken

Ilai Swindells

Queensland Theatre: The Effect (with Sydney Theatre Company). Other Credits: Sydney Theatre Company: The Real Thing, Three Days of Rain, The White Devil (NYC Tour), The White Devil (Sydney 2000 Olympic Arts Festival), Closer, Betrayal, A Month in the Country, Three Sisters, Don Juan, The Herbal Bed, Much Ado About Nothing; Belvoir: Every Breath, My Zinc Bed, Master Builder, Dead Heart, The Tempest, Conquest of the South Pole; State Theatre Company of South Australia: A Midsummer’s Night Dream, ’Tis a Pity She’s a Whore; Bell Shakespeare: Romeo and Juliet; Playbox: Redemption; Belvoir/Terry Clark Prod: Decadence; Independent: The Idiot; QPAC: A Christmas Carol. Film: Jungle, This Isn’t Funny, Impasse, Paperback Hero, Dead Heart, SOLO, The Condemned, What I Have Written, Talk, Rough Diamonds, Eight Ball, Mimi Goes to the Analyst, Act of Necessity, Harbour Beat. Television: Rake, CSI Miami, The Sharknet, Farscape, Beastmaster, The Lost World, The Beast, Feds, The Paperman, MDA, Through My Eyes, My Brother Jack, Stingers, Beastmaster, The Last Man Hanged, Watching Jack Shadow, A Country Practice, GP, Paper Man, E Street. Positions: Director, Sydney Theatre Company.

Awards: Australian Film Institute/AACTA Awards – Best Actress in a Drama Series MDA, Best Actress in a Mini-Series My Brother Jack. Training: NIDA; UQ (B.A)

Queensland Theatre: Debut. Other Credits: La Boite Theatre Company: Wind in The Willows, Un-Australian, From Darkness Whence They Came; Australian Theatre for Young People: Intersection; Short & Sweet Theatre Festival: God, The Devil & A Barrel Of Monkeys, You’re Next! Film: 100% Wolf. Short Film: Girl & Body, Room 531, Fists Of Fives, MEAT, Black Buster, Julia, Jailbreak, Bathroom, Talisman.

Television: 100% Wolf, Spongo, Fuzz & Jalapena, Advice To My 12 Year Old Self, Break The Future, Harrow, Open Slather, The Code, Redfern Now, SLiDE. Training: Advanced Diploma Acting Stage & Screen, The Actors Conservatory; Comedy and Screen Acting Workshops, NIDA; Match Fit Actor, Iain Sinclair, 16th Street Studios; Screen Intensive, Les Chantery, Hub Studio.

HAPPY LOMAN / HOWARD

LINDA LOMAN

THE WOMAN / MISS FORSYTHE

BERNARD / STANLEY

Gemma Willing JENNY / LETTA

Queensland Theatre: Debut. Other Credits: shake & stir theatre company: Wuthering Heights (National Tour); 4MBS Classic Arts Shakespeare Festival: Much Ado About Nothing; Black Swan State Theatre Company: Dust; WAAPA: Blood Will Have Blood, The Laramie Project, Anna Karenina, Summer of the Aliens. Film: Looking For Grace. Short Film: Rosebud, Driven, Cass, Annie. Television: Tidelands, Legally Brown. Training: Bachelor of Arts (Acting), Theatre Studies & Behavioural Science, University of Notre Dame; La Salle College of the Arts (Singapore); CNSAD Paris (Acting); WAAPA (Acting). Gemma has been a proud member of Equity since 2012.

We’re head over heels for you…

Our heartfelt thanks go out to our generous supporters — we’re fortunate to share theatre with such inspired people.

Your donations are essential to our continued success. You make it possible for us to create landmark works of theatrical art, foster the next generation of artists and reach audiences across Queensland.

The 2019 season of dreamers signals a new horizon. Dream with us to unlock the next chapter in Queensland Theatre’s history.

Every donation helps to create life-changing theatre.

For more information about our giving programs, or to make a donation, contact our Director of Development Zoë Connolly on (07) 3010 7602 or email zconnolly@queenslandtheatre.com.au.

Queensland Theatre wishes to extend a heartfelt thanks to all our donors. Each gift, large or small, makes a difference to our work.

ANNUAL DONORS TRUSTS AND FOUNDATIONS Australian Communities Foundation - Davie Family Fund Queensland Community Foundation Queensland Community Foundation - Jameson Family Fund Tim Fairfax Family Foundation Vita Foundation William Angliss (Queensland) Charitable Fund DONORS 11 Anonymous

Ian & Ruth Gough

R & B Murray

Anne & Peter Allen

Sophia Hall

Denise O'Boyle

J M Alroe

Malcolm & Andrea Hall-Brown

Greg & Wendy O'Meara

William Ash & Margi Brown Ash

Daryl & Trish Hanly

Diane & Robert Parcell

Michael & Anne Back

John & Gay Hull

Catherine Quinn

Virginia Bishop

Tempe Keune

Tim & Kym Reid

Christopher & Margot Blue

Ross & Sophia Lamont Dee & Reny Rennie

Robert Bond Peter Callaghan John & Lynnly Chalk Bob Cleland Sheryl Cornack Tony Costantini Rachel Crowley David Williamson AO Kiernan Dorney QC Ian & Cass George Dianne Eden OAM Judi Ewings Alan Galwey

Susan Learmonth & Bernard Curran

John Richardson & Kirsty Taylor

Fred & Margaret Leditschke

Marianna Serghi

B Lloyd

Wendy Tonkes

Susan Mabin Philip & Margaret McMurdo Mark Menhinnitt

Stephen & Terry Leach Kevin Vedelago & Karen Renton Jacqui Walters

Marian Wheeler Philip & Fran Morrison Margaret Williams Jim Murphy PSM Frederick N. Winter Bruce & Irene Moy Debra & Patrick Mullins

Ian Yeo & Sylvia Alexander Tony Young

LEGAL CHAPTER 2 Anonymous Michael & Anne Back Jennifer Batts Peter Bridgman & Susan Booth Michael & Anne-Maree Byrne

John & Lois Griffin

Leanne O'Shea & Kim & Michael Hodge Peter Gilroy Peter G Williams Kevin & Joanne Holyoak

Gadens Lawyers

Barbara Houlihan & Jeff Rolls

Herbert Smith Freehills

Fleur Kingham

King & Wood Mallesons

Lee Clark

John & Janice Logan

Trent Forno

Richard & Denise Morton

Jane FitzGerald H G Fryberg

Debra & Patrick Mullins

Annual donations over $500 are acknowledged for 12 months from the date of donation.

FOUNDATIONS FOR THE FUTURE CAMPAIGN PREMIER Tim Fairfax AC & Gina Fairfax Ian & Cass George DIRECTOR Doug Hall Foundation Bruce & Sue Shepherd PATRON EM Jameson & AL Anderson Susan Learmonth & Bernard Curran Pamela Marx PILLAR Australian Communities Foundation Keith & Jeannette Ince Fund Gambling Community Benefit Fund KEYSTONE 3 Anonymous Roslyn Atkinson AO Thomas Bradley QC Barbara Duhig Ian & Ruth Gough Dr Anita Green Dr Geoffrey Hirst AM & Dr Sally Wilde Kim & Michael Hodge David & Katrina King Dr Joan M Lawrence AM Andrew & Kate Lister Dr Cathryn Mittelheuser AM Morgans Foundation Nigel & Liz Prior David Williamson AO CORNERSTONE Anonymous Michael & Anne-Maree Byrne Dr John H Casey Rachel Crowley Sue Donnelly Louise M Gourlay John & Gay Hull Amanda Jolly & Peter Knights Martin & Andrea Kriewaldt John Reid AO & Lynn Rainbow-Reid AM Dr Marie Siganto AM Sam Strong & Katherine Slattery FRAMEWORK Sarah Bradley Bruce & Helen Cowley Michael Gow Colin & Noela Kratzing Stephen & Terry Leach Karl & Louise Morris The Nicklin Family Trevor & Judith St Baker SUPPORT Noela Bartlett Barry & Faye Clark Alan Galwey Claire Glasson B Lloyd In Memory of Jann McCabe Angela Ramsay Bruce & Jocelyn Wolfe

From October 2019 to the end of 2020, we’ll be celebrating our 50th Anniversary.

And we want everyone to be part of the celebration.

r de l o H t e ck i T

To kick things off, we’re calling out to all of the people who have helped make this company what it is in the last half century, whether you’ve worked with us for 10 years or joined us in the audience for one show.

Future

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ne Milesto ay rthd i B py Hap

tion a r b e C el

His tor y

Patrons

on s a Frie Se nds

Experiences

s torie S g in Shar

cy Lega r u O

Visit queenslandtheatre.com.au/50years to respond and/or upload photos/videos.

You can also email info@queenslandtheatre.com.au or post to: Queensland Theatre 50 Years 78 Montague Rd SOUTH BRISBANE Q 4101 Watch this space for more detail

ire Insp

Qu ee

Anniv ersary

y Stor r u o Us Y Tell

If you have a story or experience of Queensland Theatre that you would like to share, then please get in touch. Alternatively, you could tell us how you think we should celebrate our 50th. Or just let us know your hopes and dreams for our company for the next 50 years.

Thanks to our sponsors & partners Government Partners

Principal Partner

Building Enhancement Partner

Foundation Partners

Presentation Sponsors

Season Sponsors

Media Supporters

Season Supporters

Print & Digital News Sponsor

International Airline Partner

Avoid the drama

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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 (Deputy Chair) Prof Richard Fotheringham Simon Gallaher Susan Learmonth Dr Andrea Moor David Williamson ARTISTIC DIRECTOR Sam Strong EXECUTIVE DIRECTOR Amanda Jolly RESIDENT DRAMATURG Isaac Drandic EXECUTIVE ASSISTANT Tammy Sleeth DEVELOPMENT DIRECTOR OF DEVELOPMENT Zoë Connolly DIRECTOR OF CORPORATE PARTNERSHIPS Nikki Porter SPECIAL PROJECTS Liz Prior PHILANTHROPY COORDINATOR Georgia Lynas DEVELOPMENT AND EVENTS COORDINATOR Felicity Clifford GRANTS & COMMUNICATION COORDINATOR Hannah Barr FINANCE & OPERATIONS CHIEF FINANCIAL OFFICER Valerie Cole ASSISTANT ACCOUNTANT Georgia Knight FINANCE OFFICER Sarra Lamb VENUE & OPERATIONS SUPERVISOR Julian Messer ACKNOWLEDGEMENTS REHEARSAL PHOTOGRAPHY Stephen Henry

Information correct at time of printing

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au

MARKETING & TICKETING DIRECTOR OF MARKETING Tracey Webster MARKETING COORDINATOR Maneka Singh MARKETING ASSISTANT Cinnamon Smith MARKETING ASSISTANT (DIGITAL ENGAGEMENT) Thomas Manton–Williams GRAPHIC DESIGNER Aleesha Cuffe PUBLICIST Kath Rose and Associates DATABASE TRAINER / SUPERVISOR Rory Killen TICKETING SUPERVISOR Madison Bell SENIOR TICKETING OFFICER Donna Fields-Brown TICKETING OFFICER Rosie Hazell BOX OFFICE Chantelle Giles, Ashley Webster SEASON TICKETING Nathaniel Ambrum, Madeline Bassetti, Matthew Filkins, Jaime Ng PRODUCTION DIRECTOR, TECHNICAL PRODUCTION Toni Glynn TECHNICAL COORDINATOR Daniel Maddison TECHNICAL COORDINATOR Lachlan Cross DEPUTY PRODUCTION MANAGER Candice Schmidt HEAD OF WORKSHOP Peter Sands COMPANY CARPENTER/HEAD MECHANIST John Pierce COSTUME SUPERVISOR Nathalie Ryner WARDROBE COORDINATOR Barbara Kerr

Queensland Theatre is a member of the Australian Major Performing Arts Group.

Chair Professor Peter Coaldrake AO Deputy Chair Leigh Tabrett PSM Chief Executive John Kotzas Trust Members Dare Power, Susan Rix AM, Leanne de Souza Director-General, Department of Environment and Science Jamie Merrick The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government

PROGRAMMING DIRECTOR OF PROGRAMMING Sophia Hall ARTISTIC COORDINATOR Samantha French PRODUCER, NEW WORK Shari Irwin ARTISTIC ADMINISTRATOR (Maternity leave) Hana Tow ARTISTIC ADMINISTRATOR Laura Henderson YOUTH, EDUCATION AND REGIONAL ENGAGEMENT ASSOCIATE DIRECTOR Travis Dowling DIRECTOR, YOUTH, EDUCATION AND REGIONAL TOURING Laurel Collins EDUCATION COORDINATOR Naomi Murphy INDIGENOUS REFERENCE GROUP Nathan Jarro (Chair), Jimi Bani, Dr Valerie Cooms, Isaac Drandic.

FOUNDING DIRECTOR AIan Edwards, AM, MBE (1925-2003) QUEENSLAND THEATRE PRODUCTION STAFF CARPENTER Jamie Bowman, Chris Whitehead PROPS MAKER Aleksis Waaralinna SCENIC ARTIST Leo Herreygers PRODUCTION ELECTRICIAN Tim Gawne FOH AUDIO ENGINEER Matt Erskine RADIO MIC TECHNICIAN Brady Watkins AV OPERATOR Derek Fraher COSTUME MAKERS Oscar Clarke, Bianca Bulley COSTUME MAKER/CUTTER Michelle Wiki, Leigh Buchanan ART FINISHER/COSTUME MAKER Louise Bannah WARDROBE MAINTENANCE Louise Bannah, Hannah Beier WIGS & DRESSER Katrina Anger WIG STYLIST Rebecca Anthony QPAC PRODUCTION STAFF HEAD ELECTRICIAN Lauren Sallaway HEAD MECHANIST Richie Aishford MECHANIST Michael Smith

QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.

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.

A season of dreamers Tickets 1800 355 528

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