Hedda

A re-imagining of Ibsen’s Hedda Gabler

By Melissa Bubnic

10 November — 8 December

Synopsis Ibsen’s fiercest leading lady lands poolside on the Gold Coast

Hedda Gabler is railing against her life. She didn’t marry bogan drug slinger George Tesman so she could play housewife in a monstrous Gold Coast mansion with white leather couches, blingy chandeliers and endless rounds of Aperol Spritz.

She wants something much more. Now her old flame, Ejlert Løvborg, is out of prison and off the junk.

Is he about to slice off a piece of George’s empire? Maybe Hedda can pull some strings to work this to her advantage.

Danielle Cormack

Pistols

Sunny Place for Shady People

Classic

Glitter Strip

Underbelly

Hedda A re-imagining of Ibsen’s Hedda Gabler

By Melissa Bubnic CAST

VENUE

Jimi Bani ............................................................... Ejlert Løvborg

10 November - 8 December Bille Brown Theatre, Queensland Theatre

Bridie Carter .......................................................... Thea Elvsted Danielle Cormack ............................................. Hedda Gabler Jason Klarwein ............................................... George Tesman Joss McWilliam ............................................. Councillor Brack Andrea Moor ......................................................... Julia Tesman Helen O'Leary ...................................................................... Berta CREATIVES Paige Rattray ................................................................... Director David Fleischer .............................................................. Designer Emma Valente .............................................. Lighting Designer

ATTENDANCE INFORMATION Hedda will run for approximately 100 minutes with no interval.

WARNINGS This production contains strong coarse language, adult themes including domestic violence, graphic imagery and the use of herbal cigarettes and blank firearms.

Kelly Ryall ................................... Composer/Sound Designer Kat O’Halloran .................................................. Stage Manager Pip Loth .......................................... Assistant Stage Manager

Cover Photo: Tim Jones ACKNOWLEDGEMENT OF COUNTRY

CONTRIBUTING ARTISTS Marcel Dorney ........................................................ Dramaturgy Krissy Kneen ................................................. Responding Artist NJ Price .................................................................. Fight Director Ling-Hsueh Tang ............................. Directorial Observation Merlynn Tong ................................... Directorial Observation Brady Watkins ........................... Sound Design Observation

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 to all Aboriginal and Torres Strait Islander peoples.

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

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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#leadingfromqld

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Jason Klarwein, Andrea Moor

Joss McWilliam

Jimi Bani, Bridie Carter

Welcome So we’ve come to the end of the 2018 Season at

Queensland Theatre. Thank you for being a part of it,

whether you’re joining us for the first time for Hedda,

or you’ve been with us through Black is the New White, The 39 Steps, Twelfth Night, The Longest Minute,

Good Muslim Boy, Jasper Jones and Nearer the Gods.

Sam Strong Artistic Director

What a year we’ve had together. In 2017 our growth in season ticket holders made us the fastest growing theatre company in Australia.

In 2018, even more season ticket holders have joined us, and we are currently on track to have the biggest year we have ever had at the Brisbane box office.

Part of that is about the venue you’re sitting in right now. We were delighted to welcome so many audiences into Brisbane’s first corner stage for Nearer The Gods. Even more importantly, we are looking forward to sharing many more varied experiences here next year and beyond.

We’re delighted to continue Melissa’s association with director Paige Rattray. Paige is a director of unique versatility, equally comfortable with riotous comedy as she is with dark intensity. Here we get to see her at her best: drawing dangerous and captivating performances out of a cast of Queensland and Australia’s finest actors.

Thank you again for being part of 2018 at Queensland Theatre. Enjoy the show, have a great festive season, and we’ll see you in the new year for our 2019 Season of Dreamers.

Sam

Given the success of 2018, it’s fitting that we go out with a bang with Hedda. Playwright Melissa Bubnic has made sure we will do that with her re-imagining of Henrik Ibsen’s classic, Hedda Gabler. Melissa translates Henrik’s radical spirit – his interrogation of class and gender – for a 2018 audience. She finds not just contemporary, but local equivalents for the original, making our experience of the play as striking and powerful as it must have been for 19th century Norwegians.

Pistols

Sunny Place for Shady People

Classic

Glitter Strip

Underbelly

Playwright’s Note

When QT asked how I would approach an adaptation of Hedda Gabler, my first question was: why does a play

about a woman manipulating people to tragic ends in 1891 Norway matter for a contemporary Australian audience?

Melissa Bubnic Playwright

The class dimension of the original – an aristocrat's daughter marries down into a middle-class family – has little resonance in today’s Australia.

So I immediately knew I would relocate the play to a contemporary Australian context to explore the class tensions specific to this country – between upper middle and working class tastes, cosmopolitan Melbourne and the Gold Coast aesthetic, between so-called high and low culture, the elite and the bogans.

Ibsen’s Hedda is trying to carve out some autonomy, freedom to live life how she wants to live it. Women are trying to do the same today. But the barriers to a woman’s happiness in 1891 are not the same today. Sex with people before marriage is not taboo. Marrying a dull man you don’t love isn’t that big a deal when divorce is so accessible.

So I shifted the context from academia to meth dealers. In the world of gangsters, men call the shots, and women, if they feature in the drama at all, are wives, daughters, mistresses – a tits and arse adjunct to the narrative. A woman who dares to challenge the authority of men is transgressive in this world, because we so rarely see a woman in charge in a genre characterised by male violence. My Hedda isn’t content to play second fiddle – she won’t settle for anything but absolute power.

Enjoy the show.

Andrea Moor, Danielle Cormack

‘The play - while wickedly funny - is dark, a balance Bubnic achieves with intelligence and flair.’

Helen O’Leary

Bridie Carter, Andrea Moor

Danielle Cormack, Joss McWilliam

Director's Note Hi there, if you’re reading this before the show, I’d love it if you could stop and read after because this is where the show ends, not begins, and it will make for a much better experience.

Paige Rattray Director

As I write this, it’s Wednesday, week three of rehearsals. Today we had our movement director, NJ, visit to choreograph and sign off on some of the physical elements of the show.

There is a simple move where the character of Tesman grabs Hedda’s wrist when he is displeased with something she says. When NJ asked the actor why his character does this to Hedda he said ‘Control, I want to control her’.

The simplicity of what he said surprised me.

It summed up, in one word what all the characters in this play are fighting for, whether it’s control over their current circumstances, control over themselves or control over someone else. The play - while wickedly funny - is dark, a balance Bubnic achieves with intelligence and flair. The realisation of this on stage is something we have sought to navigate with care, particularly in the current climate where we are reminded daily of the abuse of power that women suffer at the hands of men.

I say this because in the wake of the #metoo movement I struggled to engage too closely with the stories so many women were sharing.

Not because I didn’t care. I care very deeply.

But because I was overwhelmed by the abuse and trauma so many have suffered. I found myself disengaging from social media, avoiding films or television depicting violence against women and eventually unable to sit in a theatre without the dread of seeing another woman portrayed as a victim suffering at the hands of men; powerless, hopeless, broken and all the while being told it is a ‘great role for a woman’.

I understand the importance of telling these stories, but I wonder who they are for?

Perhaps not for the majority of women I know. Because if they are fortunate enough to not have experienced this kind of violence, either physically or psychologically, they know someone who has, and what’s more, have been told since they are old enough to understand that they need to be ‘careful’ and ‘look after themselves’.

With this in mind the experience of creating this show has been an interesting challenge.

Two years ago (before the current incarnation of #metoo, Tarana Burke started a movement and coined the term in 2007) Bubnic and I set out to examine what is seen to be one of the ‘great roles for a woman’ and flip it on its head.

We didn’t want our Hedda to be a victim who loses at the hands of men. Rather she would be an ambitious woman with agency who could beat these men at their own game to gain complete and ultimate power and control. We wanted the women in the audience to walk away from this show feeling our Hedda was a bad ass super hero (albeit a morally corrupt one).

In rehearsals we have discussed what it must cost the men who make these choices in our world today. Does it not destroy them a little, bit by bit each time they enact this violence?

So too does it not kill our society a tiny bit each time we let it slide? If children are our most innocent members of society, women are our most patient. Surely we must find a solution before the collective female consciousness snaps, much like our Hedda does. So yes, our Hedda wins this battle but at what cost? And how much more violence can we ignore?

Responding Artist note I recently went fly-fishing. The guides we hired all wore camouflage gear and it seemed comical at first but then I realised the trout can see you. They won’t take your lures if they know you are there. The first person to tie a fly for fishing was a woman. One of the guides told me this. He was also a big game hunter. He talked about blinds and sighting and staying upwind.

Krissy Kneen Author

Finding myself immersed in Queensland Theatre’s first reading of Hedda made me think about those hunters. It made me think about the bravery and skill required to stand amongst dangerous beasts and mask your scent and outwit them in their own environment.

I’m not a gamehunter. I don’t have the stomach for it. I much prefer the catch and release. It takes a special kind of woman to stand in enemy territory, up-wind of danger, and to aim without blinking. It takes Hedda.

Still, I know what it is to mask my true self, to mimic those around me, to hide myself in a crowd. I play comfortable in my faux-white middle-class life but I am constantly aware of my childhood in the western suburbs of Sydney. I am always aware that I am the daughter of migrants. I am safe in my blind, looking out.

The camouflage I wear itches.

In this way I know Hedda. And perhaps all women and non-binary folk know Hedda. All of us standing in territory marked out and dominated by prowling, dangerous men. Maybe, just maybe, it is time to lift our own legs, to mark out a piece of territory to call our own, to follow in the footsteps of Hedda. This Hedda. A new, and proud kind of hunter in her Gold Coast camouflage gear.

Krissy Kneen is the award-winning author of memoir, Affection, and the Stella Award shortlisted fiction: An Uncertain Grace, as well as Steeplechase, Triptych, The Adventures of Holly White and the Incredible Sex Machine, and her new novel Wintering. Her poetry collection Eating My Grandmother won the Thomas Shapcott award. She has written and directed broadcast documentaries for SBS and ABC Television.

Danielle Cormack, Jason Klarwein

Melissa Bubnic

David Fleischer

PLAYWRIGHT

DESIGNER

Melissa Bubnic is a writer for stage

Queensland Theatre: Scenes From

and screen. Melissa’s play Boys Will

a Marriage. Other Credits: Opera

Be Boys premiered by Sydney Theatre

Australia: Aida On The Beach; Sydney

Company in 2015 and has gone on

Theatre Company: Top Girls, The Harp

to be performed at The Bush Theatre

in the South, Saint Joan, Australian

London. Beached won the 2010 Sydney

Graffiti, Chimerica, The Golden Age,

Theatre Company’s Patrick White Award and was nominated

Speed The Plow, Power Plays, Love And Information

for a 2013 Green Room Award. (Beached premiered at the

(with Malthouse Theatre Company), Boys Will Be Boys,

MTC and was staged at Griffin Theatre Company in 2013).

Travelling North, Mojo, Children of The Sun, Calpurnia

Melissa adapted Mariage Blanc by Tadeusz Różewicz

Descending, Romeo and Juliet, Machinal, Fury, Little

for Sydney Theatre Company, co-wrote Hazel Curtis: Fear Doctor with Petra Kalive and wrote Shedding for La Mama, and Citizen Corps for Platform Youth Theatre.

Stop. Rewind premiered at Red Stitch Theatre in Melbourne in 2010 and toured Australia in 2012. Melissa's short play When Vampires Shop was part of Sydney Theatre Company’s Power Plays collection in 2016.

Melissa has written for UK TV series Shameless and Hollyoaks, is writing and developing numerous TV projects.

She is also currently writing two feature film screenplays.

Mercy, Marriage Blanc; Sydney Chamber Opera: The Rape Of Lucretia; Sydney Dance Company: ab [intra], Orb; Pinchgut Opera: L’amant Jaloux, Griselda; Belvoir: Hedda Gabler; Form Dance Projects: Safety In Numbers; Griffin Theatre Company: Between Two Waves, The Brothers Size; ARTHUR: The Sea Project; Darlinghurst Theatre: 10,000 Beers, No Way To Treat A Lady, Kiss Of The Spiderwoman; Carriageworks: Bill W. and Dr Bob; Downstairs Belvoir: Woyzeck; New Theatre: Dirtyland; Milkcrate Theatre: Intersection; Three Fish Productions: Der Gelbe Stern.

Positions: Resident Designer, Sydney Theatre Company (2012-2013). Training: NIDA.

Paige Rattray

Emma Valente

DIRECTOR

LIGHTING DESIGNER

Queensland Theatre: Scenes from

Queensland Theatre: Debut. Other

a Marriage, Switzerland. Other

Credits: As Director and Lighting

Credits: Sydney Theatre Company:

Designer: THE RABBLE: Unwoman,

As Director: Black is the New White

Lone, Joan, Cain and Abel, In The Bleak

Tour (2018), Black is the New White

Midwinter, Deathly/ Death/ Dead,

(2017), Australian Graffiti, Power

Frankenstein, Room of Regret, Story

Plays, Boys Will Be Boys, Rough Draft #13: Underland. As

of O, Special, The Bedroom Project, Salome and Cageling,

Dramaturg: The Golden Age. As Assistant Director: Speed

Night, My Dearworthy Darling, Unwoman Part I & III. As

the Plow, Arms and the Man, Battle of Waterloo, Travelling

Lighting Designer: Melbourne Theatre Company: Hungry

North; ARTHUR: Bright World (with Theatre Works), The

Ghosts, Lilith: the Jungle Girl, The Golden Dragon, Story

Sea Project, Return to Earth (with Griffin Independent),

of O (NEON), Twin (NEON), Calamity! (NEON); Sydney

The Myth Project: Twin (with Melbourne Theatre Company

Theatre Company: Testament of Mary, Manna; Malthouse

NEON), The Mesh (with Red Stitch Actors’ Theatre) The

Theatre: Little Emperors, Revolt She Said. Revolt Again;

Midlands, The Sea Project (with Mudlark), Dirtyland (with

Belvoir: Wizard of Oz; Fraught Outfit: Exodus Part I; Arts

The Spare Room), Cut Snake, Waltzing Woolloomooloo: The

House: Podium Dance; Arts Centre Melbourne: More

Tale of Frankie Jones; Griffin Theatre Company: Heartbreak

Female Parts; Terrapin Puppet Theatre: When the Pictures

Hotel; Milkcrate Theatre: This House is Mine; ATYP: Out of

Came; Women’s Circus: Here; La Mama: Bare Witness;

Place, Bronte; Carriageworks/Serenity Productions: Bill W

Griffin Theatre Company: For a Better World; Ariette Taylor:

and Dr Bob; NIDA: The Lieutenant of Inishmore, Blessed

The Lower Depths. As Teaching Artist: MTC Education and

Are The Wild. Positions: 2018 Associate Director, Sydney

DECV: In And Out of Worlds. Positions: Co-Artistic Director,

Theatre Company; 2017 & 2018 Associate Artistic Director,

THE RABBLE.

Queensland Theatre; 2015 & 2016 Richard Wherrett Fellow, Sydney Theatre Company; Co-founder, ARTHUR; 2011 Resident Director, Griffin Theatre Company; 2010 Affiliate Director, Griffin Theatre Company. Awards: Matilda Award – Best Production Switzerland; Drama Victoria – Best Performance by a Theatre Company Cut Snake; Gloria’s Fellowship; Mike Walsh Fellowship. Training: NIDA.

Kelly Ryall

Kat O’Halloran

COMPOSER / SOUND DESIGNER

STAGE MANAGER

Queensland Theatre: Scenes From a

Queensland Theatre: As Stage

Marriage; Other Credits: Melbourne

Manager: The 39 Steps, Rice (with

Theatre Company: Working With

Griffin Theatre Company), Once in

Children, Di Viv and Rose, Hay Fever,

Royal David’s City (with Black Swan

Three Little Words, Double Indemnity,

State Theatre Company), Switzerland,

Peddling, Rupert, The Crucible, On the

Happy Days, Treasure Island, An Oak

Production of Monsters, Return to Earth, Dead Man’s Cell

Tree, Hurry Up and Wait!. As Deputy Stage Manager: Twelfth

Phone, God of Carnage, Savage River (with Griffin Theatre

Night. As Assistant Stage Manager: Scenes from a Marriage,

Company), Dance of Death, On The Misconception of

An Octoroon, Tartuffe (with Black Swan State Theatre

Oedipus; Sydney Theatre Company: Boys Will Be Boys, The

Company), Quartet, The Seagull, God Of Carnage, Rabbit

Trial (with Malthouse); Bell Shakespeare: Romeo and Juliet,

Hole. Other Credits: As Stage Manager: Opera Australia:

As You Like It, Tartuffe, Phedre, Henry IV, Macbeth, Julius

Madame Butterfly; Creative Regions: It All Begins With

Caesar, The School for Wives; Malthouse: Brothers Wreck

Love; Brisbane Powerhouse; QPAC; Out Of The Box; State

(with State Theatre Company of South Australia), Edward II,

Library of Queensland: National Play Festival. As Event Co-

The Shadow King, Dance of Death, One Night the Moon,

ordinator: Sydney Festival - Seymour Centre, Carriageworks,

Die Winterreisse (with Thin Ice and Brisbane Festival); Griffin

AAMI Ferrython, Festival First Night. As Assistant Stage

Theatre Company: The Boys (with Sydney Festival), And

Manager: SpoonTree Productions: The Man The Sea Saw;

No More Shall We Part, Dreams in White, Mercury Fur

Sydney Festival - Domain Concert Series; Queensland Ballet.

And Don’t Say The Words; Belvoir: Title and Deed, Nora,

Positions: Technical Coordinator, Brisbane Festival. Training:

Hedda Gabler, Cinderella, Kill the Messenger, Love

Bachelor of Fine Arts (Technical Production), QUT.

Me Tender; Force Majeure: You Animal, You; Theatre Works: Animal; Melbourne Festival: The Bacchae (with Fraught Outfit, Dark Mofo); Dance Massive: 10,000 Small Deaths; KAGE: Team Of Life, Flesh and Bone, Sundowner; Carlee Mellow: Expectation; Lucy Guerin Inc: Pieces For Small Spaces; Nicola Gunn: Piece For Person, Ghetto Blaster. Film: Eye Contact, Tomorrow, Stasis, The Curtain Breathed Deeply, Lois, One Night; Finale, Meat, Sandwich, Squoka, March, Be Famous, Winner, Runaway, Apocolypse Bear, Memory Play (ABC). Awards: Green Room Awards - Best Sound Design (Theatre) Animal; Green Room Awards - Best Composition (Independent Theatre) Love Monkey; Green Room Awards - Best Sound/Music (Alternative/Hybrid Performance) Coop; Green Room Awards - Best Sound Design Arabian Night; Melbourne International Arts Festival Award (2007).

Pip Loth ASSISTANT 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: Ladies in Black (2015), Country Song. As Set Builder: Macbeth.

Other Credits: 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 2013-14); 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: B.A. Fine Arts Technical Production (Honours), Certificate II – Furniture Making & Finishing, Dip Live Production (Theatre & Events).

Jimi Bani

Danielle Cormack

EJLERT LØVBORG

HEDDA GABLER

Queensland Theatre: My Name is Jimi.

Queensland Theatre: Debut. Other

Other Credits: Company B: Title and

Credits: Bell Shakespeare: The

Deed, Peter Pan, Sapphires; Barbican

Misanthrope (with Griffin Theatre

Theatre London: Shadow King; Sydney

Company); Sydney Theatre Company:

Theatre Company: Storm Boy, Romeo

Boys Will Be Boys, Rock n Roll (with

& Juliet; Malthouse Theatre: Shadow

Melbourne Theatre Company); Daniel

King, The Dragon, Yibiyung (with Company B); Jute Theatre

Sparrow Productions: Rupert; Silo Theatre: Top Girls, The

Company: Half & Half (with Lone Star Productions); Black

Case of Katherine Mansfield (with Downstage Theatre),

Swan Theatre Company: Sapphires, Jandamarra; Deckchair

A Clockwork Orange; B Sharp: The Yellow Moon; Herald

Theatre: Krakouer!; Film: A Thin Black Line. Television: Blue

Theatre: Sex with Strangers; Auckland Theatre Company:

Water Empire, Black Comedy, Ready For This, The People

Caligula, The Shape of Things, The Vagina Monologues,

Speak, Redfern Now, Mabo, The Straits, R.A.N (Remote

The Bellbird, The Blue Room, A Street Car Named Desire,

Area Nurses). Awards: Queensland Reconciliation Award My

Trainspotting, Arcadia; Basement Theatre: Spare Prick. Film:

Name is Jimi: The National Dreamtime Awards nomination

Booth, Affection, Separation City, A Song of Good, River

– Best Male Actor; Helpman Awards nomination - Best Male

Queen, Perfect Creature, Stringer, Together, Catch, Without

Actor in a supporting role Shadow King; Equity Ensemble

a Paddle, The Price of Milk, Siam Sunset, Channeling Baby,

Awards – Outstanding performance by an ensemble in a

Via Satellite, Topless Women Talk About Their Lives, The

telemovie or mini-series Mabo; AACTA Awards nomination –

Last Tattoo, A Game with No Rules, Snap. Television: Secret

Best Lead Actor in a Television Drama Mabo; BOFA Awards –

City, Fresh Eggs, Jack Irish, Deep Water, Rake, Wentworth,

Best Actor Mabo & The Straits; Deadly Awards - Male Actor

Miss Fisher’s Murder Mysteries, Underbelly, East West 101,

of the Year Mabo & The Straits Training: WAAPA.

The Cult, Legend Of The Seeker, The Strip, City Homicide, Rude Awakenings, Maddigan’s Quest, Maiden Voyage, Xena Warrior Princess, Jack of All Trades, Cleopatra 2525, Hercules, Amazon High, High Tide, The Call Up, High Tide, Shortland Street. Awards: TV Week Silver Logie Award –

Bridie Carter THEA ELVSTED

Most Outstanding Actress Wentworth; ASTRA Award - Most Outstanding Performance by a Female Actor Wentworth; Qantas Film & Television Award - Best Performance by

Queensland Theatre: Debut. Other

an Actress in General Television The Cult; 48 Hour Film

Credits: La Boite Theatre Company:

Festival - Best Manic Performance Mirage; Richmond Road

Street Car Named Desire; Ripe

Short Film Festival - Best Performance Female Together;

Productions: Love Letters; NIDA

Drifting Cloud International Film Festival - Best Performance

Company: No Names…No Pack Drill;

Together; Fantasporto International Film Festival – Best

Ensemble Theatre: Lockie Leonard,

Actress Siam Sunset; New Zealand Film and Television

Human Torpedo; Marian Street Theatre: Communicating

Awards – Best Actress Topless Women Talk About Their

Doors; Mardi Gras: Elegies For Angels, Punks And Raging

Lives.

Queens. Film: Emo the Musical, I Love You Too, Envy, Fresh Air. Short Film: Nostalgia, Skin, The Things My Father Never Taught Me, Ragtime, There’s A Hippopotamus On Our Roof Eating Cake, The Punter, Dial E For Expiry, Knock Knock. Television: 800 Words, It’s A Date, Wild Boys, Rescue Special Ops, Dancing With the Stars, Mcleod’s Daughters, My Husband My Killer, Going Home, Home & Away, Above the Law, All Saints, Murder Call, Water Rats, Simone De Beauvoir’s Babies, GP. Awards: TV Week Gold Logie nomination – Most Popular Personality on Television Mcleod’s Daughters; TV Week Silver Logie nomination – Most Popular Actress Mcleod’s Daughters; TV Week Silver Logie nomination – Most Outstanding Actress in a Drama Series Mcleod’s Daughters. Training: NIDA.

Bridie Carter

Jason Klarwein

Joss McWilliam

GEORGE TESMAN

COUNCILLOR BRACK

Queensland Theatre: As Actor: Twelfth

Queensland Theatre: St Mary’s in

Night, Once in Royal David’s City (with

Exile, I Looked Up and There You Were

Black Swan State Theatre Company),

(QPDA finalist), Treasure Island, The

Riley Valentine and the Occupation

School of Arts, Hamlet (with STSCA),

of Fort Svalbard, The Odd Couple,

Away, A Christmas Carol, Hitchcock

The Seagull, Macbeth (with The Grin

Blonde, Mano Nera, The Real Inspector

and Tonic Theatre Troupe), Design For Living, Elizabeth -

Hound/Black Comedy, We Were Dancing, The Fortunes

Almost By Chance a Woman, Fractions (with HotHouse

of Richard Mahony (with Playbox), The Tragedy of King

Theatre), Faustus (with Bell Shakespeare Company), An Oak

Richard the Second, Fred, Buried Child, A Cheery Soul,

Tree, Macbeth, Thom Pain (based on nothing), A Streetcar

Moby Dick, The Glass Menagerie. Other Credits: Arts

Named Desire, God is a DJ, Phèdre, The Fortunes of Richard

Centre Gold Coast: Hotel Beche de Mer; Matrix/Performing

Mahony, Bash, Mad Hercules, The Tragedy of King Richard

Lines: A Beautiful Life; Sydney Theatre Company: King Lear,

the Second, Shopping and F$$$ing, The Skin of Our Teeth.

The Floating World; La Boite Theatre Company: Blackrock,

As Director: My Name is Jimi, The 7 Stages of Grieving

Kiss of the Spiderwoman, The Idiot, Burn This; Crossroads

(with The Grin and Tonic Theatre Troupe - National 2017

Theatre: The Idiot; QPAT: The Ring; Exhibition – The Rocks:

Tour and Origins Festival, London), St Mary’s In Exile, Much

The Story of Sydney; Underground Theatre: Kidstakes. Film:

Ado About Nothing, Oedipus Doesn’t Live Here Anymore,

The Suicide Theory, Dancing on Glass, Coolangatta Gold,

A Dream within A Dream, Orbit, This Hollow Crown. Other

Jailbirds Run, How Wonderful, The Top Kid. Television:

Credits: As Actor: Queensland Symphony Orchestra:

The Strip, H20 Just Add Water, Blue Heelers, Water Rats,

Peter and the Wolf, The Happiness Box, Young Person’s

Wildside, Pacific Drive, Coral Island, Time Trax, Something

Guide to the Orchestra, The Carnival of the Animals, Tubby

Wicked, The Adventures of Skippy, Fields of Fire, GP, The

the Tuba; Bell Shakespeare: Henry IV; Sydney Theatre

Flying Doctors.

Company: A Streetcar Named Desire; Belvoir St Theatre: Paul, Capricornia, Maralinga; La Boîte 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.

As Director: The Arts Centre Gold Coast: Oh the Humanity and Other Exclamations; The Grin and Tonic Theatre Troupe: April’s Fool, Hoods, 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. 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: 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.

Jimi Bani, Jason Klarwein

MONDAYS

10:00AM | 7:00PM $

$ 8 CLUB DENDY 10 GENERAL ADMISSION

NOVEMBER

5

th

1998 - M | DIRECTOR: ROBERTO BENIGNI STARRING: ROBERTO BENIGNI & NICOLETTA BRASCHI

12

th

FAME

19

th

CROCODILE DUNDEE

26

COOR-Cult Classics_HPH.indd 1

LIFE IS BEAUTIFUL

th

1980 - M | DIRECTOR: ALAN PARKER STARRING: EDDIE BARTH & IRENE CARA 1986 - M | DIRECTOR: PETER FAIMAN STARRING: PAUL HOGAN & LINDA KOZLOWSKI

CRY-BABY

1990 - M | DIRECTOR: JOHN WATERS STARRING: JOHNNY DEPP & RICKI LAKE

16/10/18 8:51 am

Uncovering the lay of the land.

Griffith Review 63: Writing the Country Featuring Tony Birch, Kim Mahood, Jane Gleeson-White, James Bradley, Sophie Cunningham, Claire Coleman, Charles Massy, Tom Griffiths, John Kinsella, Ashley Hay.

In bookstores and online 5 February 2019

griffithreview.com Supported by

Andrea Moor

Helen O’Leary

JULIA TESMAN

BERTA

Queensland Theatre: As Actor:

Queensland Theatre: The School for

Switzerland, Design For Living, Romeo

Scandal, Christmas at Turkey Beach

& Juliet, Pygmalion, An Oak Tree, Let

(including tour), Julius Caesar, QTC Oz

the Sunshine (with Melbourne Theatre

Shorts, Drac and the Gremlin & Skip

Company), The Crucible, Who’s Afraid

(including tours with QPAC, Out of

of Virginia Woolf?, Absurd Person

the Box Festival, Adelaide’s Come Out

Singular, Vincent in Brixton. As Director:

Festival & Queensland Arts Council ).

Quartet, Grounded, Boston Marriage, Australia Day, Venus

Other Credits: La Boite Theatre Company: The Threepenny

in Fur, Water Falling Down. Other Credits: As Actor: La Boite

Opera, A Midsummer Night’s Dream, The Tempest, Horizons,

Theatre Company: The Narcissist; Kooemba Jdarra: Bitin’

Shock of the New; Metro Arts: Swallow, Four-Play; Seymour

Back; …and moor theatre: Tender; Griffin Theatre Company:

Theatre Centre: God’s Ear (Pursued by a Bear); Belvoir St

Myth, Propaganda & Disaster, Flame, The Return, Kayak,

Theatre BSharp: The Golden Ass, 24 Hour Play Project;

Witchplay, Away; Sydney Theatre Company: Furious, The

Riverside Theatre Parramatta: A View from Moving Windows;

Visit, Titus Andronicus, Re-Create the Rehearsal, Siren, An

NIDA Independent Program: Platonic (7 On Playwrights);

Ideal Husband, Emerald City, The Bitter Tears of Petra Von

TN! Theatre Company: The Popular Mechanicals (including

Kant, The Game of Love & Chance, Woman in Mind, Map

tour), TN!2 Deckchair Canopy (including QAC tour);

of the World; Ensemble Theatre: The Old Boy, The Ninth

Metaluna Theatre Company: The Adman; Bareboards

Step, The Family, Diving for Pearls; Marion Street Theatre:

Theatre Company: The Adventures of Snugglepot &

The Newspaper of Claremont Street; NIDA Company: The

Cuddlepie (including tours with Regional Arts Create NSW

Aunts Story; Pork Chop: Rosencrantz and Guildenstern

& The Victorian Arts Centre); Acronym Theatre Co: Cyrano

Are Dead. As Director: ...and moor theatre: Tender, The

De Bergerac. As Writer / Producer / Solo Performer: Old

Ghost Writer, Beautiful; JUTE Theatre Company: Intimacy;

505 Theatre: My Paris, Last (with Sydney Fringe); Belvoir

WAAPA: Festen, Top Girls; USQ Shakespeare in the Park:

St Downstairs Theatre: Morgue. As Director: Darlinghurst

The Tempest; NIDA: The Roaring Girl, Furious; QUT: The

Theatre Company: Make Mine a Double & Schneke Nudle

Laramie Project, Dreamplay, Mad Forest, Detroit, 3 Winters.

Cabaret’s (with In the Raw Festival). Television: Fireflies

Film: Nims Island 2, Mental, Subdivision, Bitter and Twisted,

(Main Cast), Packed to the Rafters, All Saints, The Jesters,

Left Ear, The Man Who Sued God, Oscar and Lucinda, Soft

The Strip, Love My Way, Home and Away, Water Rats,

Fruit, Strange Planet, Airtight, Round the Bend, Travelling

Life Support, Backberner, Murder Call, Breakers, Medivac,

North. Television: Safe Harbour, Mortified, H20, Home &

Fire (Series 1 & 2), Pacific Drive, Australia’s Most Wanted,

Away, All Saints, White Collar Blue, Backberner, Heartbreak

The Adventures of the Hot Chunks, Pixel & The Burundi’s

High, Water Rats, GP, Flying Doctors, A Country Practice,

(Animation Lead Vocals). Film: Martha’s New Coat (Official

Army Wives. Awards: Churchill Fellowship (2014); Matilda

Selection for Film Critics’ Circle of Australia Awards & Finalist

Award – Gold Matilda for direction Venus in Fur; Matilda

Montreal World Film Festival), Vacant. Short Film: Adrift,

Award – Best Supporting Female Actor The Crucible; Marten

Eating Cake, Overboard, Luck, One Born Every Minute,

Bequest Scholarship (1994); London Monthly Review Best

Touched, Five Minute Romance Over a Cup of Coffee, Bin

Actress, Edinburgh Festival 1991. Training: NIDA (BA Acting),

Night, Mama Said, Love Honesty & Hard-work, The Panic of

Doctorate of Creative Industries (DCI QUT).

the Look Produced. Awards: Matilda Award - Best Female Actor in a Supporting Role Swallow; Sydney Theatre Award nomination - Best Actress in an Independent Production God’s Ear; Sydney Fringe Festival Award Recipient - Award for Excellence in Performance My Paris. Training: Diploma of Arts Creative (Acting), USQ.

Helen O'Leary

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PROGRAMMING

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ARTISTIC ADMINISTRATOR

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GRAPHIC DESIGNER

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Travis Dowling

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Rory Killen

REGIONAL ENGAGEMENT

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Laurel Collins

Isaac Drandic

Madison Bell

EDUCATION COORDINATOR

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Naomi Murphy

Tammy Sleeth

Donna Fields-Brown

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Nathan Jarro (Chair), Jimi Bani,

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Rosie Hazell

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Zoe Connolly

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MANAGER

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Nikki Porter

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Candice Schmidt

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QUEENSLAND THEATRE PRODUCTION STAFF

PRODUCTION ELECTRICIANS Mat Allan, Ruth Luckins SOUND ASSISTANT Matt Erskine CARPENTER Jamie Bowman SCENIC ARTIST Leo Herreygers PROPS Kaylee Gannaway COSTUME CUTTER/MAKER Michelle Wiki ART FINISHER Louisa Bannah SPECIAL EFFECTS Katrina Anger ARMOURER Astrid Vallati AV Ballistics WIGS AND HAIR/MAKEUP/DRESSER Rebecca Anthony WARDROBE MAINTENANCE Annette Silva

ACKNOWLEDGEMENTS REHEARSAL PHOTOGRAPHY Stephen Henry The following people contributed to the creative development of this work: Danielle Cormack, Joss McWilliam,

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

Information correct at time of printing

Jason Klarwein, Andrew Buchanan,

A season of dreamers Tickets 1800 355 528

queenslandtheatre.com.au