Jasper Jones

Based on the novel by Craig Silvey Adapted by Kate Mulvany Directed by Sam Strong

A restaging of the Melbourne Theatre Company production

28 July – 18 August

Synopsis The smash-hit stage adaptation of the classic Australian coming-of-age mystery In the sizzling summer of 1965, a bookish 14 year-old boy flees from the boredom and bullying of smalltown life by burying himself in stories of epic adventure. He never thought he’d find himself living one.

Charlie Bucktin lives in a tiny, insignificant bush town where nothing happens. Nothing, that is, until Jasper Jones stumbles upon a gruesome crime out by the dam.

Who else would he call on for help but the sharpest kid around? A midnight tap at Charlie’s window sparks a race to solve a murder and clear Jasper’s name.

Somewhere between Harper Lee’s To Kill a Mockingbird and classic movie Stand by Me, Kate Mulvany’s adaptation of Craig Silvey’s novel is a bittersweet, joyous comingof-age yarn set in a community where every weatherboard house hides a dark secret.

Nicholas Denton

Relive the 60s

Australiana

Normie Rowe

Batman vs Superman

Whodunnit

Jasper Jones

Based on the novel by Craig Silvey Adapted by Kate Mulvany Directed by Sam Strong VENUE

CAST

28 July – 18 August Playhouse, QPAC

Ian Bliss ...................... Mr Wesley Bucktin/Warwick Trent Shaka Cook ................................................... Jasper Jones Nicholas Denton ........................................ Charlie Bucktin Rachel Gordon ....................................... Mrs Ruth Bucktin Hayden Spencer ..................................... Mad Jack Lionel Hoa Xuande ........................................................ Jeffrey Lu Melanie Zanetti .................................. Laura/Eliza Wishart

ATTENDANCE INFORMATION Jasper Jones will run for approximately 2 hours 30 minutes, including a 20 minute interval.

WARNINGS

CREATIVES Sam Strong ............................................................ Director Anna Cordingley ................................................... Designer Matt Scott .............................................. Lighting Designer Darrin Verhagen ................…. Composer/Sound Designer Jess Keepence .......................................... Stage Manager Yanni Dubler ............................. Assistant Stage Manager Ella Gordon .............................. Assistant Stage Manager

This production contains coarse language, adult themes, theatrical weapons, references to violence, sexual abuse and suicide, racial slurs, theatrical haze/smoke effects and electronic cigarettes. The use of photographic or recording equipment is not permitted inside the theatre.

Cover Photo: Tim Jones ACKNOWLEDGEMENT OF COUNTRY

CONTRIBUTING ARTISTS Craig Silvey............................................ Responding Artist Nigel Poulton.............. Fight Choreography & Movement Tanya Mitford................................Original Choreography Nerida Matthaei.......................... Brisbane Choreography

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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A sensational journey around the world and home again – Season 2018 is an experience not to be missed, join us for….

6 Oct — 3 Nov David Williamson meets Isaac Newton on the verge of his greatest scientific discovery

10 Nov — 8 Dec Ibsen’s fiercest leading lady lands poolside on the Gold Coast

It’s 1684, the dawn of the Enlightenment.

Bright young astronomer Edmund Halley must somehow wrangle the secrets of the universe from the brain of fickle and contrary Isaac Newton.

This is the story of how one of the greatest moments of scientific illumination almost didn’t happen. The all-star cast includes Matthew Backer (Switzerland), William McInnes (SeaChange, Time of our Lives) and Rhys Muldoon (House Husbands).

By David Williamson Directed by Sam Strong Egos

Legends

Alchemy

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 more. Logie Award-winning actor Danielle Cormack (Jack Irish, Wentworth, Rake) is the Hedda we’ve all been waiting to see.

A re-imagining of Ibsen’s Hedda Gabler

by Melissa Bubnic Directed by Paige Rattray Pistols

Glitter Strip

Underbelly

Ways to book Call us Order by calling us 9:30am-5pm, Mon to Fri Freecall 1800 355 528

Drop in Queensland Theatre Administration 78 Montague Road, South Brisbane

Jump online Book online at queenslandtheatre.com.au Or email us mail@queenslandtheatre.com.au

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

Welcome There aren't that many stories that have won critical approbation as a novel, a film and a play, but in its short life of less than a decade, Jasper Jones has ticked all those boxes.

Amanda Jolly Executive Director

Craig Silvey had his novel published in 2009, followed by Kate Mulvany's stage adaptation, and then a feature film version directed

by Rachel Perkins, released last year. But somehow, Jasper Jones feels like it's been around forever. It's of a time - the Sixties - but it's somehow timeless.

An undertaking of the scale of Jasper Jones needs strong support and I applaud and thank our partners, Philip Bacon Galleries, BDO and Board Matters for making it possible to present this iconic Australian work. I also thank all of our other donors and sponsors who play such a vital role in our Company.

It's a tale that vividly conjures up a vision of an Australia that we think we half-remember – a familiar place of weatherboard houses sweltering in a sultry heat, the sharp crack of a cricket ball on a kid's bat, midnight tapping on a window, the chirp of crickets, or the strains of an old Normie Rowe number wafting from the wireless. It's a world that sucks you in, and - too late! - you're thrilled and disturbed to find out this slice of nostalgic Australiana has a deliciously dark twist of the gothic about it.

And finally, our next show, David Williamson’s Nearer the Gods will mark the opening of our Bille Brown Theatre. We cannot wait to share this beautiful new theatre space with you.

Amanda

Everyone involved in telling this story is a master of their craft. Two years ago, at Melbourne Theatre Company, Sam directed this very play to massive critical acclaim with the show picking up two Helpmann Awards out of four nominations. We're delighted that all of the creative team and most of the cast (joined by two Queensland actors) from this hugely successful production are with us in Brisbane.

Relive the 60s

Australiana

Normie Rowe

Batman vs Superman

Whodunnit

A message from our Production Sponsors BDO is proud to sponsor Queensland Theatre’s production of Jasper Jones – a coming-of-age story set in a community where every house hides a secret.

Unlike the fictional town of Corrigan, we recognise the responsibility that we have to our own people, and to the clients and communities we serve. With a long history in Queensland, we believe in collaborating with others to build a strong community that promotes an inclusive and diverse culture.

BDO is honoured to align with Queensland Theatre as they continue to deliver the highest quality theatrical experiences to entertain and inspire people across the community.

Just as Queensland Theatre plays a major role in developing a vibrant and artistic culture in Queensland, we continue working with clients to provide value to businesses and cultural communities. Our business is built on relationships; we focus on what’s important to you. A unique combination of relationships, resources and responsiveness.

That’s what you get with BDO. We hope you enjoy the show.

Tony Schiffmann Managing Partner, Brisbane, BDO in Australia

“BDO has taken the time to get to know our business. They add value in so many areas, often before we even ask.”

Milanovic Neale Consulting Engineers General Manager and Managing Director, Matthew Neale and Jonathan Neale with Hung Tran, BDO Partner Audit | Tax | Advisory www.bdo.com.au BDO is the brand name for the BDO network and for each of the BDO Member Firms. © 2018 BDO. All rights reserved.

Theatre Matters - so says Board Matters!

Theatre is more important than ever in today’s busy connected world. Live theatre tells 20/09/2016 5:06 PM stories in a very human - a very visceral way that screen-delivered stories just can’t achieve. Touching audiences with the live energy, power and the heat of the story!

There are some real parallels to the boardroom - helping generate the energy, power and heat of good boardrooms is our aspiration at Board Matters through the work we do with boards.

Board Matters is proud to be associated with the telling of this very Australian story - Jasper Jones. Already played to audiences to great acclaim, we look forward to enjoying it with our current (and future) clients, our trusted colleagues and co-sponsors at BDO, and the no doubt enthusiastic Brisbane audiences.

Elizabeth Jameson Managing Director, Board Matters

Nicholas Denton

A message from our Production Sponsor Philip Bacon Galleries is pleased to be sponsoring Queensland Theatre’s production of Jasper Jones.

This important contemporary play has already been lauded as an Australian classic.

Speaking of Australian classics, Philip Bacon Galleries is fortunate to represent many of this country’s classic artists, and already in 2018 we have shown paintings by William Robinson, Davida Allen, Fred Williams and a fascinating collection of works by Australian women artists drawn from our own stockroom. The second half of the year includes exhibitions by Peter Churcher, Tim Storrier, Peter Anderson and John Young amongst others.

Our association with Queensland Theatre means a great deal to me and I hope that like it, Philip Bacon Galleries continues to bring interesting and thought provoking art to Brisbane and the rest of the state.

I wish you a great night at the theatre.

Philip Bacon July 2018

tim storrier WANDERING TO ARCADIA 28 AUGUST — 22 SEPTEMBER

philip bacon galleries 2 ARTHUR ST, FORTITUDE VALLEY, BRISBANE ∙ 10:00 AM – 5:00 PM TUESDAY TO SATURDAY TELEPHONE: 07 3358 3555 FAX: 07 3254 1412 ∙ EMAIL: INFO@ PHILIPBACONGALLERIES.COM.AU

The Grand Impedimenta (the blue mug) [detail] 2017 acrylic on canvas 183 x 91.5 cm

Director’s note: the long road to Brisbane One of the things I love about theatre is that a show is never really finished. Unlike film, where a performance is locked off forever, in the theatre we can refine night after night.

This makes theatre a bit like slow-cooked food or fine wine - it gets better with time.

Sam Strong Director

The production of Jasper Jones you are about to watch is the perfect illustration.

Kate Mulvany’s adaptation of Craig Silvey’s novel has received three completely separate productions with different directors, including one in which Kate herself played Mrs Bucktin. The production you are about to see is the third in line and originated at the Melbourne Theatre Company while I was on leave from Queensland Theatre in 2016.

As the team and I approached this third iteration, we were fortunate to benefit from the insights and efforts of those who had gone before. Most importantly, Kate had kept working on her adaptation - continuing to find (including from her unique vantage point of the stage) the most theatrically effective version of Craig’s story.

The rehearsals in Melbourne in 2016 continued this refinement process.

Our cast returned again and again to the novel, working with Kate and myself to add new lines, moments or details. Set and Costume Designer Anna Cordingley and I were also keen to capitalise on the scale of stage and resources we had at our disposal. So a climactic moment from the novel that had been cut because it was too difficult to stage was restored. Throughout, we sought to find the most spectacular (even operatic) expression of Craig and Kate’s story. So the idea of putting not just the Australian landscape but a whole town on stage was born.

Which brings us to Brisbane in 2018. As we welcome some fresh faces to this production, it has evolved and deepened yet again. We’ve even made some special changes just for Brisbane. See if you can spot them.

Working on this production has been a magical experience. Like some sort of benevolent star, this story draws out the joy in all who come within its orbit - which is all the more remarkable when you consider the darkness of the story. I’m thrilled to welcome Brisbane audiences into the circle.

Enjoy Sam

Nicholas Denton, Melanie Zanetti

Rachel Gordon

Ian Bliss

Melanie Zanetti

Shaka Cook

Responding Artist’s note It’s bittersweet for an author to see their novel on the shelf for the first time. There’s a moment of marvelling at the fact that something conceived as a synaptic spark, a vague and weightless notion, now exists outside of you.

Craig Silvey Writer

A book. A noun. An object that has its own mass, that occupies space in the world. But that glint of awe dulls to melancholy, as you quickly understand that the story is no longer solely attached to you. It’s for other people. You have to give it up, and you have to learn to let it go.

Of course, this is the purpose of a story – to be told and shared and digested and discussed.

When a reader lends a novel the authority of their imagination, they become its creator.

They breathe life into the words. And with each telling, with each private absorption, a novel drifts further and further away from its author.

It’s the story that endures, not its writer.

Jasper Jones has been blessed with an extraordinary amount of support. Beyond the interior adaptations of readers from places as far flung as Istanbul, Alberta, Milan, Shanghai, Edinburgh and Toowoomba, the book has been transformed and reshaped in many ways. There was a recent feature film helmed by Rachel Perkins; the novel has also inspired songs, fan fiction, artworks, a chamber orchestra piece, tattoos. There is even a whiskey bar soon to open in homage. But most strikingly, three very distinct theatrical productions have been crafted from Kate Mulvany’s masterful stage adaptation.

Relive the 60s

Australiana

Authors very rarely have the opportunity to experience their story as a reader might.

We’re a little too close to the material to get too carried away. However something magical happened when I first had the great honour of witnessing Sam Strong’s intricately conceived interpretation of Jasper Jones. The brilliant cast and astonishingly creative design brought the story alive for me in a way I had never before felt. It was so deeply familiar, but reframed in a way that was wholly distinct. A little like revisiting my childhood town after a long absence, I was able to come back home and reconnect with Corrigan and its characters from a different perspective.

There is no prouder moment for an author than to step away from their story understanding that they are no longer relevant to its journey, that the generosity and sophistication of its readers and curators will continue its evolution and cultural relevance. And with Sam’s production, Jasper Jones has never been more incisive, urgent or powerful. It has been a privilege to hand over the reins.

Normie Rowe

Batman vs Superman

Whodunnit

The Novel Craig Silvey dropped what he was doing to write Jasper Jones

Novelists don’t always choose their subjects; sometimes an idea will arrive unbidden and decide to stay. And there’s nothing a writer can do about it. That’s how Jasper Jones occurred to Craig Silvey. Late in 2006, he was a couple of years into his second novel and struggling to push towards completion a narrative that had long lost momentum. One night, awake and fretful about his progress, the name Jasper Jones came to him. ‘It sort of appeared,’ he told an interviewer. ‘It just sort of whispered into my head and I couldn’t let it go. And I had to work out who this person was.’ Silvey found himself thinking about Jasper Jones when he should have been thinking about solving his current book. It caused a dilemma and a terrible crisis: to abandon a recalcitrant novel into which he’d already put so much time and effort or ‘follow Jasper Jones to his glade in the dead of night.’

Speaking about himself in his introduction to the novel: ‘For a fastidious little man who stubbornly needs to shepherd things to their bitter end, the decision was a difficult one.’ But having made the decision, he never regretted it. The story felt like a gift. ‘Jasper Jones felt like this universal sort of tale that, with a lot of hard work, was going to unfurl itself. A lot of things in it felt too convenient and the book just ended up happening … It was just this very, very organic and genuine thing.’

Once he had embraced the project – or allowed it to embrace him – there was never a doubt about finishing it, though what began as a novella grew into a longer, more textured work. The first draft took eighteen months and evolved into a coming-of-age tale set in a Western Australian mining town. In the process, he realised that his burgeoning story of evil and prejudice lurking beneath the veneer of community respectability lent itself a Southern Gothic treatment, a favoured genre of Silvey’s.

Indeed, exponents of Southern Gothic, such as Mark Twain, Harper Lee and Truman Capote, are mentioned by the young bookworm narrator Charlie Bucktin, and critics have noted that there are strong correlations between characters, tropes and themes in Jasper Jones and those in Harper Lee’s To Kill a Mockingbird.

‘So I finished up with this very strange amalgam: a coming-of-age, regional mystery novel, stuffed inside a nervous little love story, garnished with family drama and adolescent escapism.’

Silvey set the tale in the mid-sixties, a time when small town life could still be insular and hidebound while the rest of Australia was taking its place in the world. This tension runs through the book. As Silvey explained: ‘The mid-sixties was supposed to be that watershed moment where Australia truly grew up. But one of the reasons the period is so easily identifiable and recognisable in the book is because, well, maybe we really didn’t. Maybe we learnt to be adult, rather than to really come of age.’

Nicholas Denton, Hoa Xuande

“I don’t know why [the story of Jasper Jones] just took hold so much …

This sounds ridiculous and a bit New Age, but, if you will indulge me, it sort of feels like you are a conduit for something more. … It felt like this universal tale that almost, with a lot of hard work, was going to unfurl itself.”

– Craig Silvey, on writing Jasper Jones, writerscentre.com.au

The distinction here is important and a crucial theme in the book. ‘What I wanted to address in Jasper Jones is that some folks learn to live as adults, but never quite grow up. They live without that critical filter, still inside that bubble, protecting its thin skin by still subscribing to the same myths that they have always abided by. And it is an insular way to live: fearful and insecure.’ The function of the hero in the coming-of-age novel, in this case, Charlie Bucktin, is to slowly see through the mythologies and hypocrisies of adult life. ‘One of my primary areas of consideration was the sloughing off of innocence that is growing up, that moment when the bubble bursts and you are suddenly exposed to the real truth of things and the blind trust of childhood dissolves.’

In developing these themes, Silvey wound up writing a book that has been extraordinarily popular with young adults attracted by a story from the perspective of teenage characters looking in from the fringe of the adult world.

But it has also found an appreciative audience among adults, too. Like To Kill a Mockingbird, Jasper Jones relies on the honest, open enquiry of its narrator and guiding conscience to remind older readers what the troubles of the world once looked like, how their tangled nature could be simplified by applying a few simple moral truths.

Article reprinted with permission from Melbourne Theatre Company

Nicholas Denton, Shaka Cook

Formation: In literature the critical discoveries come early You don’t need to be a developmental psychologist to recognise that the years of adolescence usually contain some crucial discoveries about the world and how it works.

Just think back to your own teenage years and you’ll surely recall a Road to Damascus moment or two when the scales fell from your eyes and the Truth was revealed for the first time.

Sexual discoveries are, of course, central to this transitional period – first love, first heartbreak, the whole angst and hormone-drenched ball of teenage wax. But the moral discoveries are just as important: that others have a capacity for goodness and evil that might surprise you; that heroes always have feet of clay; that authority can be wrong; that good people can act badly; that sometimes you have to fit in and sometimes stand out; that your errors about other people have serious consequences; and that there is unimaginably more to being an adult than just getting a driver’s licence. So it is no wonder that this period has been fertile ground for novelists.

The Germans called it a Bildungsroman, a formation novel, and believe that Goethe came up with it. His Wilhelm Meister’s Apprenticeship from 1796 told the story of its young eponymous hero making his way in life and thoughtfully accepting some hard lessons as he

went. The genre has a solid tradition in German letters, the everyman’s journey from ignorance to wisdom being taken up by most of the heavyweight writers, from Novalis (Heinrich von Ofterdingen, 1799) to Hermann Hesse (Demian, 1919) and Thomas Mann (The Magic Mountain, 1924). Theirs are all deeply philosophical works, steeped in culture, requiring patience, thought, and a working knowledge of Hegel to nut out properly.

In English, however, the Bildungsroman took a far more popular form. Many of everyone’s favourite novels of the nineteenth century fall into the category; think of Jane Austen’s Emma (1815), Charlotte Bronte’s Jane Eyre (1847), Charles Dickens David Copperfield (1850) and Great Expectations (1861), and, at a stretch, Mark Twain’s Huckleberry Finn (1884). If you loved these novels when you were young, you are part of a very large club. Young people taking their first steps in the world love to read stories about young people taking their first steps in the world, something which has been increasingly evident since the advent of the teenager in the 1950s and the subsequent development of a vast market catering to the literary tastes of young people.

Since then the Bildungsroman has been replaced by the coming-of-age novel, a broader and looser category in which the revelations of growing up tend towards the personal rather than the cosmic. The key novel here is Catcher in the Rye (1951), JD Salinger’s first-person account of sixteen year-old Holden Caulfield’s morose trek through the phoney world of adults.

It’s arguable whether Holden learns very much on his wanderings. Actually, he seems the same touchy, disenchanted teen at the end of the novel than he is at the beginning, yet the narrative voice, Holden’s own, is so compelling that he welds you to his lost cause. It remains one of the most distinctive voices in literature, even though it has become the most imitated.

Today, we have a large section of the literary industry producing that voice, or at least something equivalent that today’s teenage readers might accept as an echo of their own.

Intelligent, sensitive-but-sceptical firstperson narrators abound in current Young Adult fiction.

Yet we should not forget coming-of-age stories’ attraction for older readers, who find in them something more than quaint nostalgia.

Our teenage years passed so quickly and the changes we underwent came at such a rush, who could figure out what the hell was going on? It is literature’s function and power to reorder or refine events from our pasts, so that we are not only reminded of the experience but receive the sense of meaning that may have been missing at the time. And the comingof-age story doesn’t need to trade solely in nostalgia and mawkish innocence; it can be as raw and hard-hitting as any other. As readers, we feel relief that our teenage years, bad as they may have seemed at the time, were not as blighted or challenging as those of the characters in, for instance, Go Tell It on the Mountain by James Baldwin, The Bell Jar by Sylvia Plath, Oranges are Not the Only Fruit by Jeannette Winterson, The Virgin Suicides by Jeffrey Eugenides, or Foxfire by Joyce Carol Oates. These novels remind us that everybody’s teenage years were filled with crucial turning points and, no matter how old we get, we can still learn from them.

Rachel Gordon

– Craig Silvey, interview on writerscentre.com.au Article reprinted with permission from Melbourne Theatre Company

Relive the 60s

Australiana

Normie Rowe

Nicholas Denton, Hayden Spencer

Batman vs Superman

Whodunnit

Jasper Jones takes a trope or two from the Deep South “I’ve always been attracted to Southern Gothic fiction. There’s something very warm and generous about those regional American writers, like [Mark] Twain and [Harper] Lee and [Truman] Capote, and it seems to be a literary ilk that would lend itself well to the Australian condition.”

– Craig Silvey, interview on writerscentre.com.au

It began as an insult – or at least a term of dismissal – from one American novelist to certain of her fellows. A proud Virginian, Mary Glasgow was a writer of an earlier, more gentile generation, whose pen did not dwell too long on guilt and misery. Her novels were very popular in her day and, in 1935, in her capacity as elder spokeswoman for the literature of her region, she disparaged a type of writing that created a negative impression of the South. She singled out Erskine Caldwell, author of, among other excrescences, a best-selling novel about miserable sharecroppers, Tobacco Road, and William Faulkner, whose series of experimental novels set in the mythical Mississippi county of Yoknapatawpha, included The Sound and the Fury, As I Lay Dying and Light in August.

Wishing to deflate the respect these novels had attained from Yankee critics, Glasgow argued that they were no more than a throwback to the lurid, sensational novels of the English Romantic period, being too preoccupied with ‘aimless violence’ and ‘fantastic nightmares.’ Thus she categorised them as ‘Southern Gothic.’

The phrase caught on, as usefully descriptive phrases do, though those who subsequently used it rarely used it disparagingly. More than just Caldwell and Faulkner, it seemed to capture an entire school of fine southern writers in its net: Flannery O’Connor, Carson McCullers and Walker Percy. Subsequently, Truman Capote, Harper Lee, Tennessee Williams, Beth Henley, Cormac McCarthy and Anne Rice were added. Thinking harder on it, critics and PhD candidates found distinguished precursors, such as Edgar Allan Poe and Mark Twain. From Glasgow’s lightly tossed insult, a whole tradition sprang up.

These authors’ works seem a mixed bag, but literary categories are always a mixed bag; what matters is what they have in common. Squint your eyes to see the family resemblance: small town life that harbours secrets and crimes; flawed, disturbed and outcast characters; decaying settings that suggest decayed values, especially hypocrisy and complicity; and aberrant behaviour that runs from murder to madness to incest, stopping all stations. The novelist Pat Conroy once quoted his mother on the subject of southern literature. She said, ‘It can be summed up in these words: “On the night the hogs ate Willie, Mama died when she heard what Daddy did to Sister.”’

That’s succinct, but misleading. The stories are rarely so sensationally flavoured; the Southern Gothic is an undertaste, a taint. Across its terrain, writers take the air with an insouciant gait. The prose can be gracious, even warm and forgiving, often bubbling with a humorous and ironic tone, and the characters perfectly likable until their masks slip. The act of writing about the South is often like the lifting of a veil, and the genre resembles Magic Realism in the way grotesque events arise so casually out of everyday life. In the Southern novel, the magnolia blossoms look beautiful as they fester on the branch, the fly drowns in the mint julep, while the mundane and the macabre share the porch swing.

Sam Strong, Hoa Xuande, Rachel Gordon, Shaka Cook, Ian Bliss, Hayden Spencer

And behind it all, often not stated, is the oppressive weight of history: slavery, civil war, defeat and long decades of decline. The myth of antebellum grandeur and ease contrasts with the current reality of hardship and stagnation. It was probably this more than anything else that Mary Glasgow found distasteful, the implication that the South is degraded and degenerate. And racism is the ghost that floats through many of these books, though it is often part of a much broader need for the ‘good’ citizens of the town to disparage an underclass, whether black folk or white trash or just different. The way a dirt farmer takes out his frustration by whipping his mule is repeated all the way up the social scale.

No matter who you are in Southern Gothic fiction, there’s always someone beneath you that you can victimise.

The Southern Gothic is so closely tied to a certain climate and soil that you’d never think it could be transplanted, but it might thrive in Australia. Our regional towns, beneath their civil municipal exteriors, can be just as easily imagined as isolated and insular, given to hardship and despair, riven with hidden rivalries and hatreds, filled with secrets, rank with hypocrisies, fearful of change, narrowed in outlook. The grotesque and the decayed would look just as picturesque in our harsh landscapes.And our history, terrible and bloody, has left a canker of Indigenous dispossession, imprisonment and squalor that rots at the root.

When Craig Silvey thought he would borrow many narrative tropes and themes from the Southern Gothic novelists he admired for his novel Jasper Jones, he was certainly on to something.

Article reprinted with permission from Melbourne Theatre Company

Relive the 60s

Australiana

Normie Rowe

Batman vs Superman

Whodunnit

Craig Silvey

Sam Strong

AUTHOR

DIRECTOR

Craig grew up on an orchard in Dwellingup, Western Australia. He now lives in Fremantle, Western Australia where, at the age of 19, he wrote his first

Queensland Theatre: Twelfth Night, Noises Off (with Melbourne Theatre Company), Once In Royal David’s City (with Black Swan State Theatre

novel, Rhubarb, published by Fremantle Press in 2004. In 2007, Craig released The World According to Warren, a picture book affectionately starring the guide dog from Rhubarb. In early 2008, he completed his second novel, the award-winning Jasper Jones, which has become a hit around the globe – it has been published in over 30 countries and has been translated into 14 languages. Jasper Jones has won Australian Book Industry awards, Australian Independent Booksellers awards, the Australian Booksellers Choice Award and was a co-winner of the West Australian Premier’s Award for Fiction. The novel also won the 2012 USA Printz Honor Book, for excellence in literature written for young adults.

Jasper Jones has been shortlisted for the Miles Franklin Literary Award, IMPAC Dublin Literary Award, and both the Victorian and NSW Premiers’ Literary Awards, among others.

In 2016 Craig co-wrote the AWGIE winning script of the Jasper Jones feature film. Craig followed up Jasper Jones with the acclaimed and beautifully illustrated novella, The Amber Amulet. Outside of literature, Craig is the singer/ songwriter for the band The Nancy Sikes.

Kate Mulvany PLAYWRIGHT

Kate Mulvany is a playwright, screenwriter and actor. Kate's adaptation of Ruth Park’s The Harp in the South will premiere at the STC this August.

In 2017 her play The Rasputin Affair was produced at the Ensemble Theatre and was nominated for a 2018 AWGIE. Her adaptation of Craig Silvey’s Jasper Jones premiered at Barking Gecko followed by productions at Belvoir Street and Melbourne Theatre Company. Her autobiographical play The Seed, (Belvoir) won the Sydney Theatre Award for Best Independent Production and was produced by Melbourne Theatre Company. Kate co-wrote Medea (Belvoir) with Anne-Louise Sarks, which won several awards and has gone on to be produced in Poland, London and Basel. Other works include; Masquerade, The Danger Age, Blood and Bone, The Web, Somewhere (co-written with Tim Minchin for the Joan Sutherland PAC) and Storytime, which won Kate the 2004 Philip Parsons Award.

Company). Other Credits: Melbourne Theatre Company: Jasper Jones, Double Indemnity, The Weir, Endgame, The Sublime, The Speechmaker, Private Lives, The Crucible, Other Desert Cities, Madagascar; Sydney Theatre Company: Les Liaisons Dangereuses; Sydney Festival/Griffin Theatre Company/STCSA/Melbourne Festival: Masquerade; Sydney Festival/Griffin Theatre Company: The Boys; Griffin Theatre Company: The Floating World, Between Two Waves, And No More Shall We Part, Speaking in Tongues; Company B Belvoir: The Power of Yes; Red Stitch Actors’ Theatre: Red Sky Morning, Faces in the Crowd; B Sharp: Thom Pain (based on nothing). Positions: Artistic Director, Queensland Theatre; Associate Artistic Director, Melbourne Theatre Company; Artistic Director, Griffin Theatre Company; Literary Associate, Belvoir; Dramaturg in Residence, Red Stitch Actors’ Theatre. Awards: Sydney Theatre Awards - Best Direction of a Mainstage Production The Floating World; Sydney Theatre Awards Nominations - Best Director The Boys, The Power of Yes; Greenroom Awards Nominations – Best Direction Jasper Jones, The Sublime, Red Sky Morning; Helpmann Award Nominations – Best Direction The Floating World, The Boys – Best Play Jasper Jones, Once in Royal David’s City, The Boys.

Anna Cordingley DESIGNER

Queensland Theatre: Debut. Other Credits: Melbourne Theatre Company: Abigail's Party, Jasper Jones, Death and The Maiden; Bell Shakespeare: Antony and Cleopatra, Richard III, Romeo & Juliet, Tartuffe, Phedre, Macbeth, Julius Caesar; Griffin Theatre Company: Masquerade (with State Theatre Company South Australia); Malthouse Theatre: Meow Meow's Little Mermaid, Meow Meow's Little Match Girl, The Bloody Chamber, A Golem Story, Happy Days (with Belvoir); Opera Australia: Aida; Victorian Opera: Sunday in the Park with George; VO/STC/Malthouse: The Threepenny Opera; Melbourne Festival: Richter/Meinhof Opera; Chunky Move: An Act of Now, Connected; Lucy Guerin: Human Interest Story. Positions: Lecturer in Design at The University of Melbourne (VCA) and Design Akademie Berlin. Awards: Helpmann Award – Best Design Jasper Jones; Green Room Awards – Best Set & Costume Design Macbeth; Green Room Awards – Best Set & Costume Design Body of Work; Kristian Fredrikson Memorial Scholarship (2012).

Matt Scott LIGHTING DESIGNER

Queensland Theatre: Once in Royal David’s City (with Black Swan State Theatre Company), The Odd Couple, Red, Betrayal, The School of Arts, The Alchemist, Anatomy Titus Fall of Rome: A Shakespeare Commentary, Heroes, The Woman Before, Constance Drinkwater and the Final Days of Somerset, A Streetcar Named Desire, A Christmas Carol, Oedipus the King, The Goat or Who is Sylvia?, Mano Nera, The Venetian Twins, Eating Ice Cream With Your Eyes, Closed, Proof, Phedra, The Lonesome West, Richard III, Richard II, Buried Child, Dirt, Fred, Shopping & F***ing, Mrs Warrens’ Profession, The Sunshine Club. Other Credits: Melbourne Theatre Company: Minnie & Liraz, Born Yesterday, The Odd Couple, Jasper Jones, Skylight, Last Man Standing, The Weir, Jumpy, The Mountaintop, Elling, His Girl Friday, Red, The Seed, Tribes, The Importance of Being Earnest, Clybourne Park, A Behanding in Spokane, The Drowsy Chaperone, August Osage County, All About My Mother, Boston Marriage, The Ugly One, God of Carnage, The Birthday Party, Realism, Grace, The Hypocrite, Blackbird, Cat on a Hot Tin Roof, Rock and Roll, Frost/Nixon, Don Juan in Soho, Who’s Afraid of Virginia Woolf?, The Pillowman, Urinetown, The Blue Room; Seattle Opera: Madame Butterfly; Belvoir: The Rover, Jasper Jones; Black Swan State Theatre Company: Angels in America (Millennium Approaches), As You Like It, A Streetcar Named Desire, Rising Water, The Year of Magical Thinking; Malthouse Theatre: The Dragon, A Commercial Farce; Opera Australia/John Frost: Anything Goes; Opera Australia: The Pearlfishers, The Marriage of Figaro, Aida (Handa Opera on Sydney Harbour), Rigoletto, Don Pasquale, La Sonnambula, The Magic Flute, Don Giovanni, Madame Butterfly; Western Australia Opera: The Riders, La Boheme; Victorian Opera: Banquet of Secrets, Voyage to the Moon, The Flying Dutchman, The Riders (with Malthouse), Nixon in China, The Rake’s Progress, The Turn of the Screw; New Zealand Opera: La Traviata, Madama Butterfly; Expressions Dance Company: The Red Shoes, Where The Heart Is; Bell Shakespeare: Henry IV, Much Ado About Nothing, Macbeth, As You Like it, Richard 3. Awards: Green Room Award – Best Lighting Design The Pearlfishers; Helpmann Awards – Best Lighting Design Urinetown.

Darrin Verhagen COMPOSER/SOUND DESIGNER

Queensland Theatre: Debut. Other Credits: Expressions Dance Company: Seven Deadly Sins; Melbourne Theatre Company: Jasper Jones, I Call My Brothers, Menagerie, Madagascar, Godzone, The Birthday Party, Grace, The Ghost Writer, The Memory of Water, Dumb Show; Malthouse Theatre: Ugly Mugs, The Histrionic, Walking into the Bigness, Porncake, Sapho; Finucane & Smith: The Flood, The Rapture, The Intimate 8, Gotharama; Bell Shakespeare/Daniel Schlusser: Ophelia; Sue Healey Dance: On View Hong Kong, On View, Thinking Bodies Dancing

Minds, The Curiosities; Antony Hamilton: The Number of the Machine; Chunky Move: Two Faced Bastard, Singularity; Lucy Guerin: On, Zero; Australian Dance Theatre: Devolution, Vocabulary, Nothing, Held. Film: As Shinjuku Thief: Boys in the Trees, The Last Time I Saw Richard. Installations As (((20hz))): The Sensible World, blue|red: VIMS/SIMS, Audiokinetic Jukebox, EN’s Klangbewegungmaschine. Awards: Green Room Awards – Best Soundtrack M+M, Poet #7, Memory of Water. Essay: Vimeo: Materialisation, Emotion & Attention; Position: Senior Lecturer, Sound Design (Digital Media) RMIT; Director of the AkE (Audiokinetic Experiments) Lab, RMIT.

Jess Keepence STAGE MANAGER

Queensland Theatre: Debut. Other Credits: Malthouse Theatre: Good Muslim Boy; Melbourne Theatre Company: The House of Bernarda Alba, Hay Fever, Macbeth, The Odd Couple, Jasper Jones, Miss Julie, Buyer and Cellar, The Sublime, The Crucible, Other Desert Cities, The Birthday Party, Poor Boy; Rawcus: Song for a Weary Throat, Catalogue; Ilbijerri Theatre Company: Jack Charles Vs The Crown; Arena Theatre Company: The Sleepover; Angus Cerini/doubletap: Resplendence, Save for Crying; Melbourne Theatre Company/Belvoir: Neighbourhood Watch, The Book of Everything; The Rabble: Room of Regret; Ranters Theatre: Holiday; Priscilla the Musical; Sydney Theatre Company: In the Next Room or The Vibrator Play; City of Melbourne/Rimini Protokoll: 100% Melbourne; All the Queens Men/Next Wave: Fun Run. Events: White Night, Melbourne Festival, Woodford Folk Festival and Castlemaine State Festival. Training: Bachelor of Production, Victorian College of the Arts.

Yanni Dubler ASSISTANT STAGE MANAGER

Queensland Theatre: As Stage Manager: My Name is Jimi (Creative Development), The Button Event. As Assistant Stage Manager: St Mary's in Exile, Brisbane. As Rehearsal Assistant Stage Manager: Black Diggers (2015 National Tour), Boston Marriage, Gloria. As Production Manager: Undercover Artist Festival (for Access Arts).

As Technician: The Penultimate (Traction 2017). Other Credits: As Stage Manager: La Boite Theatre Company: The Mathematics of Longing; Jack Morton Worldwide: GC2018 Commonwealth Games Opening & Closing Ceremonies; Queensland Ballet, QPAC, Brisbane Powerhouse, Woodford Folk Festival, Collusion Music. As Production Stage Manager: shake & stir theatre co: George’s Marvellous Medicine, Dracula. As Company Stage Manager: shake & stir theatre co: Dracula (2017 National Tour), George’s Marvellous Medicine (2016-17 Auckland & Sydney Tour), Tequila Mockingbird (2016 QLD Tour), Wuthering Heights (2016 National Tour), Revolting Rhymes & Dirty Beasts (2015 National Tour). As Assistant Stage Manager: Queensland Ballet: Coppelia. As Production Assistant: Queensland Theatre (2014), Expressions Dance Company (2014).

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

Ella Gordon ASSISTANT STAGE MANAGER

Queensland Theatre: As Assistant Stage Manager: Twelfth Night. As Secondment: An Octoroon. Other Credits: As Stage Manager: Now Look Here & Electric Moon: The Sound of a Finished Kiss; Short+Sweet Queensland Gala Finals 2016, Short+Sweet Brisbane Strands 2016, Short+Sweet Queensland Gala Finals 2015; shake & stir theatre co: A Midsummer Night’s Dream; QUT: Little Revolution; Underground Productions: 25th Annual Putnam County Spelling Bee; Out of the Box Festival: Amy and Louis, Sarah’s Heavy Heart (with QUT). As Assistant Stage Manager: Sydney Festival 2018; Short+Sweet Festival Brisbane Strands 2015; La Boîte Indie: Dangerfield Park (with Pentimento Productions), Angel Gear. As Deputy Stage Manager: QUT: Dance16. As Production Stage Manager: QUT: Detroit, Eurydice, The Motherfucker With The Hat. As Secondment: Queensland Ballet: Raw; Sydney Festival 2017.

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

Ian Bliss

MR WESLEY BUCKTIN/WARWICK TRENT

Queensland Theatre: Debut. Other Credits: Gordon Frost Organisation: Dream Lover; Melbourne Theatre Company: Jasper Jones, North by Northwest, Hamlet, Apologia, Richard III; National Theatre of Great Britain: War Horse (Australian tour); Griffin Theatre Company: Savage River; Theatre of Image: Jake and Pete, The Happy Prince; Marian Street Theatre: Silhouette; Sons of the Desert Theatre Company: Lone Star. Film: Playing for Charlie, Superman Returns, Stealth, The Matrix: Revolutions, The Matrix: Reloaded. Television: Wentworth, The Wrong Kind of Black, Olivia Newton-John, The Wrong Girl, Hunters, Wanted, Winners and Losers, Kuu-Kuu Harajuku, Gallipoli, It's A Date, Fat Tony & Co, The Time of Our Lives, ANZAC GIRLS, Get Ace, Killing Time, City

Hayden Spencer, Ian Bliss, Nicholas Denton

Homicide, Rush, Monash & The Anzac Legend, Dirt Game, Very Small Business, The Pacific, Underbelly, City Homicide, Canal Road, McLeods Daughters, All Saints, Tripping Over, Love My Way, Stingers, Marking Time, Heartbreak High.

Awards: Green Room Award – Best Ensemble North by Northwest.

Shaka Cook JASPER JONES

Queensland Theatre: The Secret River (with Sydney Theatre Company), Black Diggers (with Sydney Festival). Other Credits: Sydney Theatre Company: Storm Boy (with Barking Gecko Theatre); Barking Gecko Theatre: Jasper Jones.

Short Film: Link. Television: Cleverman, The Leftovers, Black Comedy, The Broken Shore. Training: Bachelor of Fine Arts (Acting), NIDA.

Nicholas Denton CHARLIE BUCKTIN

Queensland Theatre: Debut. Other Credits: Lawler Theatre: One Flew Over the Cuckoo's Nest; Melbourne Theatre Company: Jasper Jones, Wild; Love Song Co: Love Song (with Melbourne Fringe); The King's Collective: The Sugar Syndrome; Hibernian House: Cowboy Mouth; Melbourne Fringe: The Glass Menagerie; Always Working Artists: Monologue For a Murderer; Patch Adams Productions: Out of Gas on Lovers Leap. Film: How to Time Travel, Mormon Yankees: The Spirit of the Game, Holding The Man, Kath and Kimderella. Television: Glitch Season 1 and 2.

Sam Strong

Rachel Gordon

Hoa Xuande

MRS RUTH BUCKTIN

JEFFREY LU

Queensland Theatre: Boston Marriage, Let The Sunshine (with Melbourne Theatre Company), Ninety (with Melbourne Theatre Company). Other Credits: Ensemble Theatre: Odd Man Out, Managing Carmen; Melbourne Theatre Company: Jasper Jones; Darlinghurst Theatre: Daylight Saving; Griffin Theatre Company: Between Two Waves; Bell Shakespeare: King Lear, Macbeth; Sydney Theatre Company: Concussion (with Griffin Theatre Company), Don Juan; New Theatricals: Boeing Boeing; Hot House Theatre: Big Hair In America; EHJ Productions: The Taming of the Shrew. Film: Thunderstruck.

Television: Secret Daughter, The Comedy Showroom: The Letdown, Winter, The Moody's, The Gentleman's Guide To Knife Fighting, A Moody Christmas, Home And Away, Neighbours, Blue Heelers, The Coast, The Cooks, White Collar Blue, All Saints, Farscape.

Queensland Theatre: Debut. Other Credits: Black Swan State Theatre Company: Loaded: Tonsils + Tweezers; State Theatre Centre of WA: The Mars Project; WAAPA: Macbeth, All My Sons, Columbinus, Measure For Measure, Take Me Out; Barking Gecko Theatre Company: Jasper Jones, What You Will (Twelfth Night), Blood Wedding, The Laramie Project. Film: Liebe, OtherLife, Careless Love. Short Film: Strangers in the Night, To the End. Television: Fighting Season, Ronny Chieng International Student, Cleverman, Top of The Lake, Top Knot Detective, Rescue: Special Ops, Seapatrol, Underbelly: The Golden Mile.

Training: WAAPA.

Hayden Spencer MAD JACK LIONEL

Queensland Theatre: Brisbane, The Messiah, End Of The Rainbow (with QPAC), An Oak Tree, Sacre Blue, A Streetcar Named Desire, American Buffalo, The Real Inspector Hound / Black Comedy, Eating Ice Cream With Your Eyes Closed (with Hothouse Theatre), The Lonesome West, The Australian Sit-Com Festival, Buried Child. Other Credits: Cirque du Soleil: Kooza, Dralion; Melbourne Theatre Company: The Odd Couple, Jasper Jones, The Beast, Elling, Australia! The Show!, Cyrano de Bergerac; Real TV: Tall Man; La Boite Theatre: As you like it, Ruben Guthrie, The Dance of Jeremiah, The Mayne Inheritance, Half and Half, Cosi, Small Mercies, Clark in Sarajevo. Film: Mystery Road, Judy & Punch.

Melanie Zanetti LAURA/ELIZA WISHART

Queensland Theatre: Romeo & Juliet, Pygmalion, An Oak Tree, The Little Dog Laughed, Grimm Tales, The Crucible.

Other Credits: shake & stir theatre co: Wuthering Heights, Shake Up!; World Theatre Festival: White Rabbit, Red Rabbit; Real TV: War Crimes; NORPA: Engine; Harvest Rain Theatre Company: A Midsummer Night's Dream; Queensland Arts Council: Greek to Chic.

Film: In Like Flynn, The Leisure Class, What Time Is My Heart, The Contents, Talking Back at Thunder, Tracks, Battle of the Damned. Short Film: The Alpha, Creeper, Postmortem Mary, Mr Brisbane, Ribbons, Fortune Faded. Television: East of Everything, The Strip, The Bureau of Magical Things, Tidelands, The Family Law.

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Each gift, large or small, makes a difference to our work.

FOUNDATIONS FOR THE FUTURE CAMPAIGN PREMIER Tim Fairfax AC & Gina Fairfax Ian & Cass George

DIRECTOR Doug Hall Foundation

Bruce & Sue Shepherd

PATRON

KEYSTONE 3 Anonymous

Roslyn Atkinson Thomas Bradley QC Ian & Ruth Gough Anita Green Dr Geoffrey Hirst AM & Dr Sally Wilde

Kim & Michael Hodge EM Jameson & AL Anderson David & Katrina King Susan Learmonth & Bernard Curran Dr Joan M. Lawrence AM Pamela Marx Andrew & Kate Lister

Cathryn Mittelheuser AM

PILLAR

Australian Communities Foundation - Keith & Jeannette Ince Fund Gambling Community Benefit Fund

Morgans Foundation Nigel & Liz Prior

CORNERSTONE

FRAMEWORK

Anonymous

Sarah Bradley

Michael & Anne-Maree Byrne

Bruce & Helen Cowley

Dr John H Casey

Colin & Noela Kratzing

Rachel Crowley

Stephen & Terry Leach

Sue Donnelly

Karl & Louise Morris

Louise M Gourlay

The Nicklin Family

John & Gay Hull

Trevor & Judith St Baker

Amanda Jolly & Peter Knights Martin & Andrea Kriewaldt

SUPPORT

John Reid AO & Lynn RainbowReid AM

Noela Bartlett Barry & Faye Clark

Dr Marie Siganto AM

Alan Galwey

Sam Strong & Katherine Slattery

Michael Gow Claire Glasson

David Williamson AO

B Lloyd In Memory of Jann McCabe Angela Ramsay Bruce & Jocelyn Wolfe

ANNUAL DONORS

TRUSTS AND FOUNDATIONS Australian Communities Foundation - Davie Family Fund

Tim Fairfax Family Foundation

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Queensland Community Foundation

John T Reid Charitable Trusts

Queensland Community Foundation - Jameson Family Fund Vita Foundation

DONORS 11 Anonymous

Margaret & Michael Clancy

Fred & Margaret Leditschke

Tim & Kym Reid

Melissa Agnew

Bob Cleland

Bill & Maria Lindsay

John Richardson & Kirsty Taylor

Anne & Peter Allen

Ralph Collins

Ian Mackay

Lorri Russell

J M Alroe

Tony Costantini

Carolyn McIlvenny

Gary Sawyer

William Ash & Margi Brown Ash

Lisa Davidson

Sally McKenzie

Peter & Kathy Sawyer

Leanne Austin

Dianne J Dickson

Philip & Margaret McMurdo

Lyn & Joanne Scott

Warren & Anne Ballantyne

Kiernan Dorney QC

Ross McNeil

Marianna Serghi

Geoffrey Beames

Judi Ewings

Angie & Peter McPhee

Bronwyn Springer

Cheryl Beaton

Ian & Cass George

Mark Menhinnitt

Cynthia Tait

Barbara Bedwell

Peter & Gay Gibson

Andrea Moor

Melissa Bennett

Robert Ginns

Philip & Fran Morrison

Damien Thomson & Glenise C. Berry

Louisa Bewley & Geoff Harris

Sue & Mike Gowan

Bruce & Irene Moy

Virginia Bishop

Sophia Hall

Jim Murphy PSM

Christopher & Margot Blue

Malcolm & Andrea Hall-Brown

R & B Murray

Robert Bond

Ruth Hamlyn-Harris

Denise O'Boyle

Team Brown & Dr Lindsay

Daryl & Trish Hanly

Kartini Oei

In Memory of Sue Busfield

David Hardidge

Greg & Wendy O'Meara

Peter Callaghan

Fotina & Roger Hardy

Donal & Una O'Sullivan

Michelle Cameron

Stephen & Yvonne Henry

A & S Pappas

John Campbell & Catherine Scheikowski

Marc James

Kim Parascos

Judith Carrey

Michael & Karlie Keating

Diane & Robert Parcell

Tempe Keune

Liz Pidgeon

Ross & Sophia Lamont

Blayne & Helen Pitts

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Jean Read

Tony Young

Anonymous

Lee Clark

Kevin & Joanne Holyoak

Leanne O'Shea & Peter Gilroy

Michael & Anne Back

Sheryl Cornack

Fleur Kingham

Barbara Houlihan & Jeff Rolls

Jennifer Batts

Jane FitzGerald

John & Janice Logan

Peter G Williams

Sarah Bradley

Trent Forno

Stephen & Hana Mackie

Gadens Lawyers

Peter Bridgman & Susan Booth

H G Fryberg

Richard & Denise Morton

Herbert Smith Freehills

Michael & Anne-Maree Byrne

John & Lois Griffin

Debra & Patrick Mullins

King & Wood Mallesons

Kate Cahill & Jay Leary

Kim & Michael Hodge

James & Anne Noble

John & Lynnly Chalk David & Cherrill Charlton Rodd & Wendy Chignell

Brent Thomson Wendy Tonkes Kevin Vedelago & Karen Renton Greg & ESally Vickery Carole & Errol Watkins Margaret & Norman Wicks Margaret Williams Vicki Williams Pam Willsher Frederick N. Winter Doug & Jenny Woodward Ian Yeo & Sylvia Alexander

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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 CORPORATE PARTNERSHIPS MANAGER Nikki Porter PHILANTHROPY MANAGER Liz Prior CAMPAIGN COORDINATOR Georgia Lynas DEVELOPMENT COORDINATOR Felicity Clifford COMMUNICATION & GRANTS 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 PRODUCTION PHOTOGRAPHY Jeff Busby Production photography supplied from

Melbourne Theatre Company 2016 Season

VOICE COACH Melissa Agnew

MARKETING & TICKETING MARKETING & AUDIENCE DEVELOPMENT MANAGER Tracey Webster HEAD OF CAMPAIGNS Jane Hunterland MARKETING COORDINATOR Louisa Sankey DIGITAL CONTENT COORDINATOR David D’Arcy MARKETING ASSISTANT (DIGITAL ENGAGEMENT) Thomas Manton–Williams GRAPHIC DESIGNER Aleesha Cuffe PUBLICIST Kath Rose and Associates DATABASE TRAINER / SUPERVISOR Rory Killen ASSISTANT TICKETING SUPERVISOR Madison Bell SENIOR TICKETING OFFICER Donna Fields-Brown TICKETING OFFICER Rosie Hazell BOX OFFICE Nathaniel Ambrum, Chantelle Giles, Ashley Webster, Tim Woods PRODUCTION PRODUCTION MANAGER Toni Glynn TECHNICAL COORDINATOR Daniel Maddison TECHNICAL COORDINATOR Lachlan Cross PRODUCTION COORDINATOR Pip Loth TOURING PRODUCTION COORDINATOR Candice Schmidt HEAD OF WORKSHOP Peter Sands COMPANY CARPENTER/HEAD MECHANIST John Pierce COSTUME SUPERVISOR Nathalie Ryner WARDROBE COORDINATOR Barbara Kerr

Chair Professor Peter Coaldrake AO Deputy Chair Leigh Tabrett PSM Chief Executive John Kotzas Trust Members Charles Berry, Dare Power, QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government

Susan Rix AM, Professor Chris Sarra, Leanne de Souza, Leigh Tabrett PSM The Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts Director-General, Department of Environment and Science Jamie Merrick

PROGRAMMING SENIOR PRODUCER Sophia Hall ARTISTIC COORDINATOR Samantha French PRODUCER, NEW WORK Shari Irwin ARTISTIC ADMINISTRATOR Hana Tow YOUTH, EDUCATION AND REGIONAL ENGAGEMENT ASSOCIATE DIRECTOR Travis Dowling PRODUCER, YOUTH AND REGIONAL ENGAGEMENT 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 PRODUCTION ELECTRICIAN Mat Allan FOH AUDIO ENGINEER Matt Erskine RADIO MIC TECHNICIAN Brady Watkins AUTO OPERATOR Kane Ernst WARDROBE MAINTENANCE Shona Webster WIGS & DRESSER Michael Green ART FINISHER Savannah Mojidi COSTUME CUTTER/MAKER Venita Derbyshire SONG CREDIT "Que Sera, Sera" Written by Jay Livingston and Ray Evans. Published

by Jay Livingston Music Inc. By kind permission of the Music Sales Group.

"Whatever Will Be Will Be" Written by Livingston J/ Evans R. Published by Native Tongue Music Publishing on behalf of St Angelo Music.

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

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.

Information correct at time of printing

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M A K E A D AT E W I T H

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QPAC PRESENTS AN IF THEATRE PRODUCTION

NONI HAZLEHURST IN

MOTHER

BY DANIEL KEENE DIRECTED BY MATT SCHOLTEN

“Noni Hazlehurst delivers the performance of a lifetime.”

The Sydney Morning Herald

7-18 AUGUST 2018

Photo by Daniel Boud. Courtesy of Belvoir Street Theatre

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