I have given suck, and know How tender â€˜tis to love the babe that milks me. Lady Macbeth, Macbeth
He has no children. Macduff, Macbeth
Grief fills the room up of my absent child, Lies in his bed, walks up and down with me. Puts on his pretty looks, repeats his words, Remembers me of all his gracious parts, Stuffs out his vacant garments with his form; â€Ś O Lord, my boy, my Arthur, my fair son. My life, my joy, my food, my all the world. Constance, King John
Queensland Theatre Company in association with The Grin & Tonic Theatre Troupe present
m By Wilklieaspeare Sha
in alphabetical order:
Cast 24 Mar â€“ 13 Apr 2014 Playhouse, QPAC Macbeth will run for approximately 2 hours and 40 minutes, including one interval.
This initiative is supported by Arts Queensland through the Super Star Fund, a Queensland Government program that delivers super star performances exclusive to the state. COVER: Binge Advertising + Design PHOTOGRAPHY: Aaron Tait
Ellen Bailey Chris Beckey Jai Bofinger Andrew Buchanan Tim Dashwood Eugene Gilfedder Lauren Jackson Jason Klarwein Thomas Larkin Tama Matheson Veronica Neave Steven Rooke Kevin Spink Felix Star Courtney Stewart Lucas Stibbard
Witch One Ross Fleance/Son of Macduff Macduff Angus/Murderer One Duncan/Old Man/Doctor Witch Two/Lady Macduff Macbeth Malcolm Banquo/Siward Lady Macbeth Lennox Donalbain/Attendant Fleance/Son of Macduff Witch Three/Lady Macbethâ€™s attendant Porter - Seyton
Michael Attenborough Simone Romaniuk David Walters Phil Slade Nerida Matthaei Nigel Poulton Travis Dowling Michelle Miall Jodie Roche Ashleigh Boulden Charlotte Barrett Mitchell Cooley
Director Designer Lighting Designer Composer/Sound Designer Choreographer Fight Director Assistant Director Child Chaperone Stage Manager Assistant Stage Manager (Rehearsals) Assistant Stage Manager (Performance) Stage Management Secondment
Follow this play
L-R: Jason Klarwein, Michael Attenborough, Veronica Neave
Message from the Minister Welcome to Macbeth, a very special production that is exclusive to Queensland and funded through the Queensland Governmentâ€™s Super Star Fund. The Super Star Fund is a key election commitment of $3 million over four years, helping to make Queensland an arts and cultural hub, cultivating local talent and developing super stars of tomorrow. This production of Macbeth epitomises what we want the Super Star Fund to achieve. Directed by the renowned Michael Attenborough CBE, Macbeth sees the biggest cast that Queensland Theatre Company has brought together since 2009. Michael brings his decades of experience to this production, sharing his knowledge to give our Queensland artists the opportunity to learn from an internationally-acclaimed director.
The Queensland Government is delighted to support Queensland Theatre Company, which is working with iconic theatre company The Grin & Tonic Theatre Troupe to stage Macbeth, in this project that will bring a world-class event to the state and help the Newman Government deliver its Arts for all Queenslanders strategy. I hope you will enjoy this wonderful night of theatre.
Ian Walker MP Minister for Science, Information Technology, Innovation and the Arts
COMING TO THE BILLE BROWN STUDIO
by Benjamin Schostakowski
7 – 17 May
20 – 31 May Call 1800 355 528 queenslandtheatre.com.au
Welcome Note Wesley Enoch, Artistic Director Dear Patron, Supporter and Friends, Welcome back to Queensland Theatre Company, and for those who are joining us for the first time … great to have you in the house. Theatre has been happening for thousands of years. It is a refined and powerful way to communicate ideas. Before the time of smart phones, Twitter and Snapchat, before computers and phones; magazines and newspapers; before the time of the printing press, theatre was the way to talk to people; to explore ideas and express the ambitions of human endeavour. Though we think of Shakespeare as old and living a long time in the past, he is just a second ago in the life of theatre and storytelling. He has refined the stories and ideas in a way that reflects the deepest human experiences of love, loss and all the seven deadly
sins. Shakespeare wrote full complex characters that can represent the messiness of life and through these characters showed the world new ways of being human. It has been such a pleasure having international director Michael Attenborough working at QTC. He has worked all over the world directing Shakespeare, classics and new plays for decades, building amazing ways of working with actors. His insights and connections to the source of Shakespearean traditions have given us all something very deep and wonderful to ponder. Working with a company of 16 all Queensland actors, he is teacher, mentor, director, historian, guru, provocateur and, sometimes, a very naughty imp. I love him being part of our family. Macbeth is the end of our Summer Season at the Playhouse and we return to our other home at the Bille Brown Studio. There are a number of new works on offer including
the hit show A Tribute of Sorts, the new English play The Effect, a commission from local writer Elaine Acworth Gloria and welcoming back to our stages Ursula Yovich (who played Mother Courage last year) in The Magic Hour and much, much more. If you haven’t got tickets for these theatrical adventures get in touch and enjoy the journey. Until then, sit back and experience the bloody journey of Shakespeare’s most ambitious tragic hero. Love,
Go further in musical theatre when you know more. Find out more at griffith.edu.au/music or phone (07) 3735 6287.
CRICOS 00233E_ juniorGU37844
With world-renowned teachers and invaluable local and international links, Queensland Conservatoriumâ€™s Bachelor of Music (Musical Theatre) provides professional training at its very best.
Sponsor's Message Griffith University is especially pleased to be Production Sponsor for the 2014 Queensland Theatre Company production of Macbeth. The University has been a longstanding and proud supporter of Queensland Theatre Company and we are honoured to sponsor such an interesting, engaging and entertaining Shakespearean play. Griffith University is committed to the creative arts in all its forms and we are especially proud of our innovative programs in musical theatre as well as in contemporary and applied theatre. The University and its staff and students
have welcomed and valued the opportunities provided by Queensland Theatre Company to work with artists and directors, and to support various professional engagement and development opportunities. Queensland Theatre Company continues to play a major role in informing and shaping the cultural vitality of Queensland and Griffith University is honoured to support the productions of this iconic Queensland institution.
Professor Paul Mazerolle Pro Vice Chancellor (Arts, Education and Law)
Back: Ellen Bailey, Tama Matheson
Synopsis ACT I Civil war is raging between the Scottish King and rebel forces backed by the King of Norway. The Scottish army prevails and after the battle, Macbeth and Banquo, two of the King’s captains, meet three witches. They prophesy that Macbeth will become Thane of Cawdor then King and that Banquo will be the father of kings. Messengers arrive with news that Duncan, the current King, has made Macbeth the Thane of Cawdor. The first part of the witches’ prediction has come true. Lady Macbeth reads a letter from her husband, telling her of the witches’ predictions. News comes that Duncan will soon arrive at the fortress, Macbeth enters and Lady Macbeth reminds him of their long cherished ambition to murder Duncan and for Macbeth to become king. After much persuasion, Macbeth commits the murder. The following morning it is discovered and Macbeth confesses he killed Duncan’s guards, whom he believes performed the murder.
ACT II Macbeth is crowned king. Duncan’s son, Malcolm, is suspected of having killed his father and has fled to England. Macbeth fears the prophecy that Banquo’s children will rule and plans to kill both him and his son, Fleance. On the road, assassins wait for them. Banquo is killed, but Fleance escapes.
Macbeth seeks out the witches, demanding more prophecies. They warn him to beware of Macduff, but assure him that ‘no man of woman born’ can harm him. They also tell him that he will be invincible until Birnam Wood moves to his fortress in Dunsinane. Macbeth resolves to kill Macduff and his family.
Lady Macbeth welcomes the court to a banquet while Macbeth hears news that Banquo is dead, but that his son has escaped. About to take his seat, Macbeth has a terrifying vision of the dead man. His wife is unable to calm him and all present wonder at the king’s extraordinary behaviour.
Macduff travels to England to enlist the support of Malcolm and a large English army. News arrives that his wife and children have been slaughtered by Macbeth.
Lady Macbeth sleepwalks, haunted by what she and her husband have done. Macbeth awaits the arrival of his enemies. News comes that Lady Macbeth has died and that Birnam Wood appears to be moving towards Dunsinane. Macduff confronts Macbeth and tells him that he was not of woman born, but by a Caesarean birth. He kills Macbeth and proclaims Malcolm the new King of Scotland.
Director's Note Michael Attenborough CBE. D.Litt. Even if Shakespeare had not been amongst their number, the generation of playwrights that exploded onto the cultural scene in London in that incredibly dangerous and uncertain time towards the end of the sixteenth century, would still have represented the beginning of modern drama as we know it today.
Actors walked out onto the Elizabethan (and then Jacobean) stage and addressed 3,000 people in broad daylight, at least 90% of whom were illiterate, in a language that was expanding at an extraordinary rate. Revealing in a public context the innermost, private truths of what it means to be human.
England’s first theatres were designed and built, a radically new form of dramatic language (blank verse) was forged – corresponding much more closely to the rhythms and energy of spoken speech – and a wholly different and vastly enriched vision of humanity emerged in response to Hamlet’s question, “What a piece of work is a man?”. A vision which recognised that the hitherto simplistic, black and white, moral perspective was completely inadequate - indeed a deeply misleading falsehood.
In their number happened to be the most extraordinary writing genius the world will probably ever see. A man who understood that, above all else, human nature consists of the unity of opposites; contradictory, antithetical, paradoxical. As the Witches observe in the opening of Macbeth, “Fair is foul and foul is fair”. The eponymous tragic heroes of arguably his finest plays wrestled with their inner demons, their capacity for love perpetually in conflict with their need to destroy in order to attain what they so
badly desired. Macbeth, in possession of a gorgeously bruised and vivid imagination, goes on a roller-coaster journey that takes him to the very edge of sanity. Written within a year of the foiled Gunpowder Plot, whose perpetrators were publicly hung, drawn and quartered for having attempted and failed to commit the greatest sin of their time, that of regicide Shakespeare's play hinges on the very same sin, one that Macbeth succeeds in.
“Where words prevail not, violence prevails.” Playwright Thomas Kyd (one of the first to use blank verse) wrote that 400 years ago. When we think, we do so in words. Impoverish our vocabulary, we impoverish our understanding of ourselves and the world around us.
L-R: Jason Klarwein, Eugene Gilfedder, Michael Attenborough, Kevin Spink, Veronica Neave L-R: Steven Rooke, Tim Dashwood, Eugene Gilfedder
“Language most shows a man; speak, that I may see thee.” Ben Jonson; fellow playwright and friend, who wrote in the foreword to the Folio edition of Shakespeare’s plays, “He was not of an age, but for all time.” Shakespeare’s genius resided not only in his dazzling use of words, and his unique understanding of human nature, but also in his rigorous ability to ally language to character, thereby revealing the truth of each and every one of his creations.
“Open your ears.” The opening lines of Henry IV Part 2. We would do well to heed that wise exhortation. I very much hope you enjoy the play.
Jodie Roche L-R: Lucas Stibbard, Jason Klarwein
Designer's Note Simone Romaniuk The design of Macbeth was a process of designing an atmosphere, evoking a sense of fear, violence, mystery, superstition and magic. The inhabitants are at war, eking out an existence within a hostile environment as darkness and danger rule their world. Architecture has no place here. Each bound trunk and bandaged tree limb becomes monstrous and distorted. Surfaces are organic and roughly hewn. Colours are cold and dark; charcoals and greys with bleached natural fabrics. The only bright colour is blood red. We are in a timeless place, the costumes contain elements of the contemporary, soldiersâ€™ boots and cargo pants, paired with swords, leather breastplates, linen tunics and golden crowns. And everything is filthy, soaked in mud, battle stained and bloody.
Brave Macbeth Well He Deserves That Name Baz McAlister THE REAL MACBETH Shakespeare’s murderous, tortured usurper bears little resemblance to the Macbeth of history. Mac Bethad mac Findlaich was born about 1005, son of a mormaer, steward of one of the Scottish provinces, second only to a king. In 1040, Macbeth did kill the reigning King Duncan I – his young cousin, a feeble and incompetent ruler – but not in his bed, in battle near Elgin. Macbeth strengthened his claim by marrying Gruoch, granddaughter of a previous king, and took power. Macbeth was by all accounts a fair, generous, even liberal ruler, dedicated to uniting a factious Scotland and fostering Christianity. He made a pilgrimage to Rome in 1050. Late in his reign, Macbeth began raiding over the border into the north of England and in 1054 he battled Siward, Earl of Northumbria, who was spearheading a bid to return Duncan’s son, Malcolm Canmore, to the throne. Macbeth met his end in 1057 in Aberdeenshire, slain in action by Malcolm. He is buried alongside other kings on the holy island of Iona in the Hebrides.
SHAKESPEARE’S SOURCES Shakespeare borrowed Macbeth’s story from his much used source, the 1587 second edition of Raphael Holinshed’s Chronicles of England, Scotland and Ireland (1577). Holinshed took most of Macbeth’s tale from earlier chroniclers. Scottish monk Andrew of Wyntoun’s Orygynale Cronykil of Scotland (1406), penned in early Scots couplets, sets out the facts and adds some fantasy. The coming of Birnam Wood to Dunsinane is mentioned, as is Macbeth’s meeting with the prophetic weird sisters, who are probably based on the Norns, or Fates, from Norse mythology. Scottish historian Hector Boece’s Scotorum Historiae (1527) was the first to add Macbeth’s friend Banquo and his son, Fleance. This pair, completely fabricated by Boece but considered real, if mythical, figures by many at the time, were invented to flatter and further legitimise the ruling Scottish king, James V, by extending his Stuart line back to the old days – the Stuarts believed they were descended from Fleance. Later, Englishman 14
Holinshed, in his Chronicles, borrowed Banquo from Boece and made him a willing accomplice to the murder of King Duncan.
FIRST PERFORMANCE William Shakespeare finished Macbeth in early 1606, in time for a royal performance at Hampton Court Palace that summer for King James I of England and VI of Scotland. James had been on the throne for three years. Shakespeare’s company had enjoyed the support of Tudor Queen Elizabeth I; with the arrival of this new Scottish Stuart King, the company was renamed The King’s Men, under King James’ patronage. Witchcraft was a pet subject of King James’; he had presided over witch trials and penned his own book about sorcery, Daemonologie. Had it not been for the publication of the First Folio, seven years after his death in 1623, a collection of all Shakespeare’s plays (compiled by two of his fellow actors), we would have no record at all of Macbeth, as no other copy of the play survives to this day.
Timeline Social & Historical
1534 Breaking with Rome, Henry VIII declares himself head of the Church of England.
1558 Elizabeth I crowned
1558 John Shakespeare
(father) sworn in as Stratford-upon-Avon town constable
Joan (sister) dies in infancy
1562 Margaret (sister) dies in infancy
1564 Bubonic plague spreads
1564 William Shakespeare,
through Stratford-uponAvon, killing more than 200 people.
first son to John and Mary, is born in Stratford-upon-Avon. Baptised 26 April
1566 Gilbert (brother) born 1567 Mary, Queen of Scots, deposed by Elizabeth I.
1574 The Common Council of
1569 Joan (sister) born 1571 Anne (sister) born 1574 Richard (brother) born
London directs that all plays and playhouses in London must be licensed.
1576 James Burbage builds Londonâ€™s first public playhouse, The Theatre, in Shoreditch outside of the City walls
1577 Sir Francis Drake sets out on round-the-world voyage.
1577 Holinshedâ€™s The 1579 Anne (sister) dies, aged 8
1580 Edmund (brother) born 1582 Plague outbreak in England. *some dates vary between sources.
1582 Shakespeare, aged 18, marries Anne Hathaway (aged 26 and pregnant)
Chronicles of England, Scotland and Ireland published (key historical source text for Shakespeare).
Social & Historical
1583 Susanna (daughter),
1583 The Queen’s Men
christened in Holy Trinity, Stratford
1585 Hamnet and Judith (twins) born and christened in February. The Shakespeare family are likely to be living with William’s parents in Henley Street, Stratford.
1587 Mary, Queen of Scots, is beheaded at Fotheringhay, Northamptonshire, after implication in plot to murder Elizabeth I.
1588 Defeat of the Spanish Armada.
The lost years - Details unclear as to when Shakespeare moved from Stratford to London.
1590 The Taming of the Shrew written
1592 Plague appears in London; theatres close on grounds of spreading disease (and remain closed for almost two years).
1592 Henry VI in performance
formed (acting troupe, led by comedian Richard Tarlton), touring Stratford 1586-87.
1587 Philip Henslowe builds The Rose Theatre in Bankside, Southwark - a district that would become the centre of London’s expanding entertainment industry.
1590 Sir Philip Sidney’s Arcadia and Edmund Spenser’s The Faerie Queen, Books I—III are published. Marlowe’s The Jew of Malta written, Kyd’s The Spanish Tragedy written.
1592 Marlowe’s Edward and Doctor Faustus first staged.
1593 Marlowe killed in a 1594 Titus Andronicus, Richard III written
The Curtain Theatre opens in Shoreditch
Love’s Labour’s Lost, A Midsummer Night’s Dream, Romeo and Juliet, Richard II written.
1594 Lord Hunsdon (Elizabeth’s Lord Chamberlain) re-forms Shakespeare’s troupe, Lord Strange’s Men, as the Chamberlain’s Men (company includes the clown William Kempe and leading actor Richard Burbage).
Social & Historical
Cultural 1594 Rival troupe, The Admiralâ€™s Men, are formed; led by actor Edward Alleyn, based at the Bankside Rose Theatre.
1596 Hamnet (son) dies, aged 11
King John written
Henry IV, Part I first performance
1597 Henry IV, Part 2 written
1598 The Merchant of Venice written
The Merry Wives of Windsor probable completion
1599 Henry V first performed Julius Caesar performed at the Globe
1601 Robert Devereux, Earl of Essex, plots rebellion against Elizabeth I; his supporters commission a performance of Richard II (Shakespeareâ€™s play that dramatises the deposition of an anointed king).
1597 James Burbage dies
Shakespeare buys New Place, the second largest house in Stratford, travelling between it and the Bishopsgate area in London.
As You Like It written
1601 John Shakespeare (father) dies Othello, Troilus and Cressida, and Twelfth Night written
1602 Hamlet registered to be printed
1598 The Theatre dismantled following a dispute with the landlord, Giles Allen. Its timbers are carried across the river for the construction of the Globe Theatre. 1599 The Globe Theatre completed in Bankside by Richard and Cuthbert Burbage. Shakespeare buys shares.
Social & Historical
1603 Queen Elizabeth I dies
1603 James I takes patronage
in March. Theatres close for mourning.
James I crowned King
Sir Walter Raleigh, accused of plotting against James I, is imprisoned in the Tower.
1604 Treaty of Peace with Spain.
of the Chamberlain’s Men, renaming them the King’s Men. They take part in his coronation procession.
1604 All’s Well That Ends Well written
1605 The Gunpowder Plot
been written, earliest date for the writing of Timon of Athens
1606 First recorded performance of King Lear on 26 December at the court of King James I in Whitehall.
involved in Gunpowder Plot hung, drawn and quartered in front of a huge crowd.
Henry Garnett, a Jesuit priest and most senior Catholic in England is hunted down, arrested and accused of masterminding the Gunpowder Plot. His house is searched and a Treatise On Equivocation is found, written in his own hand, which advises Catholics on how to survive interrogation and steer a course between conflicting loyalties to the (Protestant) King James and the Pope.
Measure for Measure performed at court
1605 King Lear likely to have
sees a Catholic group attempt to blow up the Houses of Parliament thereby assassinating the King and England’s entire ruling elite.
1606 Guy Fawkes and others
Macbeth likely first performance
1607 Susanna (daughter) marries Dr John Hall.
Edmund (brother, an actor) dies in London.
1608 First recorded performance of Antony and Cleopatra Coriolanus written
Mary (mother) dies
1609 Shakespeare’s Sonnets published
1610 The Tempest written
1608 Richard Burbage leases the Blackfriars Theatre to six of his fellow actors (including Shakespeare).
Social & Historical Equivocation was the name given to the skill of not telling the truth, without actually lying.
1611 The Winter’s Tale first performed
This is clearly referred to by the Porter in Macbeth, revealing that Shakespeare followed the show trial of Henry Garnett in London’s majestic Guildhall and his consequent execution.
1612 Last burning of heretics
1612 Gilbert (brother) dies
1612 John Webster’s The
1613 Richard (brother) dies
1613 John Webster’s The
White Devil staged
Henry VIII (or All is True) likely to have been written early in the year
The Two Noble Kinsmen first performed
Shakespeare buys a house Blackfriars
Duchess of Malfi staged
The Globe burns down during a performance of Henry VIII (thatched roof set fire from the firing of a small canon) on 29 June.
1614 The Globe Theatre is rebuilt
1616 Raleigh released from
1616 Judith (daughter) marries Thomas Quincy
Death of William Shakespeare on his birthday 23 April
1623 Death of Anne Shakespeare (wife, nee Hathaway)
Publication of the first Folio edition of Shakespeare’s plays
1616 Ben Jonson publishes his plays in one volume
Stars, hide your fires, Let not light see my black and deep desires. Macbeth, Macbeth
L-R: Ellen Bailey, Courtney Stewart, Lauren Jackson
L-R: Jason Klarwein, Michael Attenborough, Veronica Neave, Lauren Jackson, Chris Beckey, Ellen Bailey, Courtney Stewart, Steven Rooke, Eugene Gilfedder
Biographies Michael Attenborough CBE DIRECTOR
Queensland Theatre Company: Debut. Other Credits: Almeida Theatre, UK: The Mercy Seat, Five Gold Rings, Brighton Rock, The Late Henry Moss, Enemies, There Came a Gypsy Riding, Big White Fog, Awake and Sing!, The Homecoming, In a Dark, Dark House, When The Rain Stops Falling, Measure For Measure, Through a Glass Darkly, The Knot of the Heart, Reasons to Be Pretty, Filumena, King Lear; Royal Shakespeare Company: Amphibians, The Changeling, Les Liasons Dangereuses, After Easter, Pentecost, The Herbal Bed, Romeo and Juliet, A Month in the Country, Othello, Henry IV Parts One and Two, The Prisoner’s Dilemma, Antony and Cleopatra; Hampstead Theatre: The War at Home, Particular Friendships, Observe the Sons of Ulster Marching Toward the Somme, That Summer, Separation; Young Vic Theatre: What the Butler Saw, The Merchant of Venice. Positions: Artistic Director – Almeida Theatre (2002-2013), Principal Associate Director – Royal Shakespeare Company (1990 -2002), Artistic Director - Ambassador Theatre Group (Turnstyle Group) (1989 – 1990), Artistic Director – Hampstead Theatre (1984-1989), Artistic Director – Palace Theatre, Watford (1980-1984), Associate Director – Young Vic (1979), Associate Director – Leeds Playhouse (1974-1979), Associate Director - Mercury Theatre, Colchester (1972-1974). Freelance Productions for the National Theatre, The Royal Court, The Tricycle, The Abbey Theatre Dublin; Three productions in the West End and two on Broadway. Awards: Commander of the British Empire (2013), Award for Excellence in International Theatre, The International Theatre Institute (2012); Olivier Awards: Measure for Measure (three times nominated), The Knot of the Heart (twice nominated), Evening Standard Theatre Awards, Measure for Measure (nominated), The Knot of the Heart (twice nominated); Off West End Theatre Awards: Best New Play The Knot of the Heart; Time Out Theatre Award: Best Director. Honorary Degrees at the Universities of Sussex (2005) and Leicester (2009).
Simone Romaniuk DESIGNER
Queensland Theatre Company: Australia Day, Venus in Fur, The Pitch & The China Incident, Kelly, Head Full of Love, Elizabeth, Bombshells, Fractions, The Removalists, Waiting for Godot, Ruby Moon, Eating Ice Cream With Your Eyes Closed, Beckett x 3, The Little Dog Laughed and Macbeth (co-production with Brisbane Festival). Other Credits: Opera Queensland: The Mikado, The Merry Widow, Space Encounters, The Magic Flute; Ensemble Theatre: Frankenstein, Casanova; Sydney Theatre Company: The Crucible, Thyestes; Pacific Opera: Hansel and Gretel, La Sonnambula; Expressions Dance Company: Fragments of Memory, Flight, If Only; Ride On Theatre & Griffin Stablemates: Way to Heaven, Family Stories: Belgrade; Ride On & B Sharp: The Merchant of Venice; Ride On Theatre: Bone, Weeping Women, The Girl on the Sofa; Sydney Dance Company & National Institute of Dramatic Art: Shifted: Random Play. As Art Director: Murder Under the Microscope 2008 – 2011 (web series). As Graphic Designer: Australia (Bazmark Feature), 2006 Asian Games Opening and Closing Ceremonies. As Costume Buyer for television: Underbelly 2, Dangerous (Foxtel) and East West 101 (SBS). As Assistant Costume Designer for television: My Place 2 (ABC). Awards: Matilda Award – Outstanding Achievement for a Body of Work (Design) 2012, Matilda Award - Best Design Kelly. Training: Bachelor of Dramatic Art (Design), NIDA; Bachelor of Design, Queensland College of Art.
Queensland Theatre Company: Australia Day, Venus in Fur, End of the Rainbow, Romeo & Juliet, Pygmalion, Grimm Tales, The August Moon, Rabbit Hole, The Glass Menagerie, The Memory of Water, A Day in the Death of Joe Egg, Molly Sweeney, Chilling and Killing My Annabel Lee, The Skin of Our Teeth, Vertigo and the Virginia, Long Day’s Journey into Night, Amy’s View, Master Class, After the Ball, Summer Rain, Arcadia, The Hope of the World, Money and Friends, Gilgamesh, The Man from Mukinupin, A Different Drummer, Fuente Ovejuna, Salonika, The Venetian Twins. Other Credits: Melbourne Theatre Company, Sydney Theatre Company, State Theatre Company of South Australia, Bell Shakespeare Company, QUT, QPAC, Jute, Handspan, Playbox, La Boite Theatre Company, Rock‘n’Roll Circus, Nimrod, Company B, Expressions, Queensland Ballet, Australian Ballet, Opera Queensland and Zen Zen Zo. 29
In Iceland he has lit for the National Theatre, the National Opera and the Reykjavik City Theatre. Positions: Adjunct Associate Professor in Drama at QUT. Awards: Matilda Awards/ Commendations in 1988, 1990, 1992, 1993, 2001, 2002, 2004, 2007, 2008 and 2012, Affiliate Artist, QTC 2014.
COMPOSER/ SOUND DESIGNER
Queensland Theatre Company: 1001 Nights, Romeo & Juliet, Bombshells, Faustus (co-production with Bell Shakespeare), Treasure Island, An Oak Tree, Grimm Tales, Thom Pain (based on nothing), The School of Arts, Rabbit Hole, The Glass Menagerie, The Exception and The Rule, Man Equals Man and the Elephant Calf. Other Credits: La Boite Theatre Company: The Wishing Well (co-production with Matrix Theatre), Oodgeroo, Danger Age, Sex:CUBED, The Drowning Bride, James and Johnno, Salt; LaBoite Independent: The Truth About Kookaburras, The Bitterling, Colder; HotHouse Theatre: Australia! The Show; Gold Coast Arts: Bercircus!; Metro Arts: Dead Cargo, The Truth About Kookaburras (co-production with Pentimento Productions), Little Hitler’s Ode to the Austrian Bentwood; Matrix Theatre Company: Citizen Jane, Cutting Loose; Harvest Rain: Caucasian Chalk Circle, Loves Labour Lost, As You Like It, Much Ado About Nothing, The Creatures are Stirring; Deus Maximus Theatre Company: The Nativity, A Midsummer Night’s Dream and Everyman. Awards: Matilda Award for Best Technical Design, 1001 Nights, 2014, BIFF QNFA, Composition, Bell Award for Sex:CUBED. Positions: Affiliate Artist, Queensland Theatre Company 2011. Queensland Theatre Company: Debut. Other Credits: Phluxus2 Dance Collective: the machine that carries the soul, The Opposite of Prompt, Chinese whispers/broken telephone, Boiling Point, de-generator, The Paratrooper Project; Judith Wright Centre/Matthaei/ Canham: Don’ts for Dancers, Don’ts for Dancers 2.0; Expressions Dance Company: Polarity II, ChoreoFUNK (co-production with Artslink); The Danger Ensemble: The Wizard of Oz; Polytoxic: The Rat Trap, The Backup Service. As Resident Artist: Compagnie Au Cul du Loup (FR), Firkin Crane (IRL), Cairns Centre of Contemporary Arts, Dancenorth, Judith Wright Centre of Contemporary Arts. Positions: Founder and Artistic Director – Phluxus2 Dance Collective. Awards: Critics Choice for Best Choreography - Short Sweet and Dance Festival, Runner Up for Best Dance Performance – Melbourne Fringe Festival. 30
Queensland Theatre Company: Fractions, King Lear, Shopping and F$$$ing, The Skin of Our Teeth. Other Credits: As Choreographer: The (New York City) Metropolitan Opera, New York City Ballet, Bell Shakespeare Company, Sydney Theatre Company, Washington Opera Company, Opera Australia, Circus Oz, Melbourne Theatre Company, Belvoir St, La Boite Theatre, Playbox Theatre and Kooemba Jdarra. As Performer/Director/ Co-writer: Metro Arts: Dead Cargo. Positions: Fight Coordinator and Swordmaster: Winter’s Tale (Warner Brothers), Fight Coordinator and Swordmaster: Vikingdom (KRU Studios), Technical, Movement Advisor and Armourer: The Specialists Ltd (New York); Movement and Stage Combat Instructor: NIDA; Stage Combat and Movement Instructor: University of Southern Queensland; Guest teacher: The John F Kennedy Centre for Performing Arts & The Shakespeare Theatre Academy for Classical Acting (Washington), The Lee Strasberg Theatre and Film Institute (New York). Awards: Green Room Award - Outstanding Contribution to the Melbourne stage (2012); Best Director - Brisbane Short and Sweet Festival (2009); Recipient of Australia Council for the Arts grant and Queensland Arts Council grant (2005, 2008). Queensland Theatre Company: As Director: This Hollow Crown. As Assistant Director: Thom Pain (based on nothing), Other Credits: As Director: Grin and Tonic Theatre Troupe: A Midsummer Night’s Dream (co-directed with Jason Klarwein), Warning Small Parts, I am Romeo and Juliet, Heart fail, Absurd, Epic; HotHouse Theatre: The Pyjama Girl, The Duck Variations, Macbeth; Metro Arts: Lazarus Won’t Get Out of Bed, Furious Angels; Backbone: A Midsummer Night’s Dream; Vena Cava: Oh The Humanity; Ignations: The Last Five Years. As Assistant: The Miracle at Cookies Table. Positions: Associate Director – HotHouse Theatre, Associate Director – Grin and Tonic Theatre Troupe, Tutor/Director – QTC Youth Ensemble. Awards: Matilda Nomination – Best Independent Production - Furious Angels.
Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: Roadtrain; La Boite Theatre Company: Tender Napalm; Zeal Theatre: A Secret Place; ATYP: Bustown. Film: Clubland. Television: Home and Away. Training: Bachelor of Fine Arts (Acting), QUT (2012).
Chris Beckey ROSS
Queensland Theatre Company: The Fortunes of Richard Mahoney, Mad Hercules, Bash, Richard II. Other Credits: The Danger Ensemble: The Wizard of Oz, Loco Maricon Amor; Zen Zen Zo Physical Theatre: Vikram and the Vampire, Macbeth: As Told by the Weird Sisters, The Man Who Sold the World, Unleashed, The Cult of Dionysus, The Way of Mud, Galileo, Never the Elephant; Merrigong Theatre Company: FURY, Camarilla; Eaton Gorge Theatre Company: Much Ado About Nothing; Shakespeare Globe Centre Australia: King Lear; Grin and Tonic Theatre Troupe: A Midsummer Night’s Dream; Power of Will Theatre Company: Twelfth Night; La Boite NewBoards Festival: songs; Mog Roith: Boudicca; Fractal Theatre Company: Dracula, Coriolanus, Theo: An Illumination of the Life of Van Gogh, The Oresteia; Post Modern Productions: A Midsummer Night’s Dream, Edward II.
Queensland Theatre Company: Debut. Other Credits: Disney/ Cameron Macintosh: Mary Poppins (Australian/NZ tour). Film: Emily’s Story. Television Commercials: Peter’s Drumstick, Chemmart, Kmart.
FLEANCE/ SON OF MACDUFF
Andrew Buchanan MACDUFF
Queensland Theatre Company: No Man’s Land (co-production with Sydney Theatre Company), Water Falling Down, The Crucible, God of Carnage (co-production with Black Swan State Theatre Company), The Female of the Species, Christmas at Turkey Beach, Antigone, The Marriage of Figaro, Composing Venus, Peter Pan, Romeo & Juliet, The Beaux Stratagem, Essington Lewis: I Am Work, The Cherry Orchard. Other Credits: La Boite Theatre Company: The Wishing Well (co-production with Matrix Theatre), Secret Bridesmaids Business, Clark in Sarajevo, Sex Diary Of An Infidel, Cosi, Bouncers, Hamlet, The Taming Of The Shrew; Metaluna Theatre Company: Summer of the Aliens; QPAC: Over the Top with Jim; Harvest Rain: Love’s Labour Lost, As You Like It, Much Ado About Nothing; Grin and Tonic Theatre Troupe: Hamlet, Macbeth, The Merchant of Venice, King Lear. Film: Drive Hard, Fatal Honeymoon, Iron Sky, The Condemned, The Crocodile Hunter: Collision Course, Scooby Doo, Hildegard, Paperback Hero. Television: The Gods of Wheat Street, Reef Doctors, Sisters of War, SLIDE, Sea Patrol (Series 2 and 3), Monarch Cove, RAN (Remote Area Nurse), Mortified, Farmkids, Answered By Fire, Through My Eyes, Chameleon II, Beastmaster, Murder Call, Flipper, Big Sky, Medivac, Roar, Pacific Drive. Awards: Matilda Awards – Best Actor - The Female of the Species, Christmas at Turkey Beach, Hamlet, Cymbeline, The Taming of the Shrew, Summer of the Aliens; Best Director- Love’s Labour Lost, Caucasian Chalk Circle. Queensland Theatre Company: Managing Carmen, Romeo & Juliet, The Importance of Being Earnest, Rabbit Hole, The Exception & The Rule. Other Credits: Kay + McLean Productions: The Graduate; shake & stir theatre co: Animal Farm; Ride On Theatre: The Blind Date Project; La Boite Theatre Company: The Year Nick McGowan Came to Stay; Gordon Frost Organisation: Fame the Musical; Ignations: The Last 5 Years; Metro Arts Independents: Dead Cargo, The Reunion, Love Song Dedications, Donna’s Party; Queensland Arts Council: Zooillogical, idotluvdotu, Hermes & The Naked Flame; Harvest Rain Theatre Company: The Awfully Big Adventures of Peter Pan; 4MBS: Much Ado About Nothing, Short & Sweet: Mandragora. Film: Dartworth. Positions: Queensland Theatre Company Emerging Artist 2008, Actors’ and Entertainers’ 33
Benevolent Fund of Qld Committee 2008-2012 and Industry Ambassador 2013-2014, Society of Australian Fight Directors Inc - Treasurer 2006-2009, Secretary 2012-2014. Awards: Short & Sweet Festival - Best Actor Mandragora; Queensland New Filmmakers’ Awards - Best Actor Tunnel Vision; 48hr Film Festival - Best Actor Myles West; The Lord Mayor’s Fellowship Grant 2012. Training: Bachelor of Theatre Arts (Acting), USQ.
Queensland Theatre Company: Elizabeth – Almost By Chance a Woman, Fractions (co-production with HotHouse Theatre), Sacre Bleu!, Grimm Tales, Waiting for Godot, That Face, Rabbit Hole, The Tempest, Vertigo and the Virginia, The Beaux’ Stratagem, Romeo and Juliet, Essington Lewis: I Am Work, The Cherry Orchard, The Shaughraun, Twelfth Night, Moby Dick, Season’s Greetings, The Recruiting Officer, Camille, Ghosts, Major Barbara, The Slaughter of St Teresa’s, A Different Drummer, The Family Room, Amadeus, Cloudland, Einstein, Hello Dolly, Henry V. Other Credits: Bell Shakespeare: The Comedy of Errors; La Boite Theatre Company: The Chairs, Hamlet, Cosi, Kafka Dances, Speaking in Tongues, Road; Harvest Rain Theatre Company: Love’s Labours Lost; Matrix Theatre: A Beautiful Life; Fractal Theatre Company: The Secret Love Life of Ophelia, Bram Stoker’s Dracula, Coriolanus, The Oresteia, Metamorphosis, Peer Gynt; Mog Roith: Decadence, Richard III; Queensland Ballet: Fonteyn Remembered. As Associate Director: Fractal Theatre Company: White Marriage, Bloodless, The Fall of the House of Usher. As Writer: 4MBS: Beethoven’s Letters, Mahler: a matter of life and death; QPAC: an adaptation of The Odyssey (2004); Brisbane Festival: The Fiveways - a one-act opera (2008), Metro Arts: Empire Burning (2011). Television: Sea Patrol, Fat Cow Motel, Traces, The Day of the Roses, Medivac and Fire II. Awards: Matilda Awards for Excellence in Queensland Theatre; Green Room Award, Best Actor, Beautiful Life Positions: Co-founder, Fractal Theatre.
WITCH TWO/ LADY MACDUFF
Jason Klarwein MACBETH
Queensland Theatre Company: Debut. Other Credits: Zen Zen Zo: Medea: The River Runs Backwards, Vikram and the Vampire, Bolshoi Ballet: La Corsaire; La Boite Theatre Company: Holding The Man; Mixed Company: Secret Bridesmaids’ Business; Opera Queensland: Carmen. Film: E-Motion Documentary, The Hunters Club. Short Film: God I Love You, Million Dollar Toes, Forever, Winkman P.I, Change in Fortune, After the Fall, Douglas Adams Eat Your Heart Out. Television: The W.A.S.P.S Nest (pilot), Schadenfreude (pilot). Awards: Matilda Nomination – Best Emerging Artists – Secret Bridesmaids’ Business (2011). Training: Bachelor of Fine Arts (Dance Performance), QUT. Queensland Theatre Company: Design For Living, Elizabeth - Almost By Chance a Woman, Fractions (coproduction with HotHouse Theatre), Faustus (co-production with Bell Shakespeare Company), An Oak Tree, Macbeth, Thom Pain (based on nothing), A Streetcar Named Desire, God is a DJ, Phedra, The Fortunes of Richard Mahony, Bash, Mad Hercules, The Tragedy of King Richard the Second, Shopping and F$$$ing, The Skin of Our Teeth. As Director: Orbit, This Hollow Crown. Other Credits: Bell Shakespeare: Henry IV; Sydney Theatre Company: A Streetcar Named Desire; Belvoir St Theatre: Paul, Capricornia, Maralinga; La Boite Theatre Company: The Glass Menagerie, Half and Half, Cosi; Adelaide Festival Centre: A Thing Called Snake; The Grin and Tonic Theatre Troupe: The Trial, Monkey, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Richard the Third, The Winter’s Tale, Henry the Sixth, Romeo and Juliet, Seasons; As Director: The Arts Centre Gold Coast: Oh the Humanity and Other Exclamations; The Grin and Tonic Theatre Troupe: I Am Macbeth, Sunburn, Island Home, Revolt, Inferno, VS, Super/Natural, Romeo and Juliet, The Zoo Story, The Trial, A Midsummer Night’s Dream. Television: The Devil's Playground, Slide, Sea Patrol, Australia Remembers, Cybergirl. Positions: Resident Director: Queensland Theatre Company 2014, Artistic Director: The Grin and Tonic Theatre Troupe 2010 – current; MEAA Queensland Branch Council 2011 - current, MEAA National Performers Committee 2013 - current.
Thomas Larkin MALCOLM
Tama Matheson BANQUO/SIWARD
Queensland Theatre Company: Romeo and Juliet, Treasure Island (coproduction with Matrix Theatre Company) – regional and national tour, The Lost Property Rules. Other Credits: La Boite Theatre Company: As You Like It, Julius Caesar, Hamlet, The Wizard of Oz (co-production with The Danger Ensemble). Television: RUSH. Positions: Workshop facilitator - Queensland Theatre Company, La Boite Theatre Company, Bell Shakespeare Company, shake & stir Theatre Company, Backbone Youth Arts, Raw Dance Company. Training: Bachelor of Fine Arts (Acting), Victorian College of the Arts (2008). Queensland Theatre Company: Design For Living. Other Credits: As Performer: Camerata of St John’s: Johann Sebastien, Ben; Queensland Shakespeare Festival: Henry V, A Midsummer Night’s Dream; Classic Arts: Amadeus, A Midsummer Night’s Dream; Australian Shakespeare Festival: Comedy of Errors; Classic Productions: The Dark Lady of the Sonnets, The Goblins Who Stole a Sexton, Hansel and Gretel, Nutcracker, Prometheus Unbound, Amadeus, The Tempest; Trocadero Productions: The Duchess of Malfi; Middle Ground Theatre, UK: Far From the Madding Crowd; 4MBS: A Christmas Carol; British Shakespeare Company: Romeo and Juliet, A Midsummer Night’s Dream; Triangle Productions, UK: Antigone. As Director: Queensland Shakespeare Festival: Much Ado About Nothing, Henry V; Opera Australia: La Forza Del Destino, The Love of the Nightingale; Classic Productions: Amadeus, The Tempest, Prometheus Unbound; Garnet Productions: A Midsummer Night’s Dream (co-production with Queensland Orchestra and Classic Productions) Film: 7 Points of View About Love, The Wreck of the Pandora, The Acting Lesson, Fresh. Television: Heartbeat, Eastenders. Training: Bachelor of Arts (English), Oxford University; Bachelor of Fine Arts (Drama/Literature), QUT.
Steven Rooke LENNOX
Queensland Theatre Company: Romeo and Juliet, God of Carnage, The Exploration of the Caucasian Chalk Circle, Puss in Boots, A Streetcar Named Desire, Mano Nera, Seven Little Australians, The Glass Menagerie, A Winter’s Tale, Composing Venus, The Shaughraun, Romeo and Juliet, Twelfth Night, Carnival in Kingaroy, On the Whipping Side, Dinkum Assorted, Spring Song, The Taming of the Shrew, The Beaux Stratagem, Night and Day, The Barretts of Wimpole Street. As Director: Funny Voices. Other Credits: As Performer: La Boite Theatre Company: White Earth, The Idiot, Romeo and Juliet, Mummy Loves You Betty Ann Jewel; Sydney Theatre Company: Solitary Animals, Les Parents Terrible, The Shaughraun, King Lear; Force Majeure: The Age I’m In, Already Elsewhere, Same, Same But Different; Edinburgh Festival/Legs on the Wall/Belvoir Street: Under the Influence; Marian Street Theatre: No Names … No Pack Drill, The Barretts of Wimpole Street, When We Are Married; Shaun Parker Dance Company: Blue Love. As Director: The Word Dog, Till Someone Loses An Eye, Flying Blind, Something to Someone. As Writer/Dramaturg: This Show is About People, Happy as Larry, Am I. Film: Girl Clock, How To Change in 9 Weeks, Bennelong Grill, Mozzies The Boys, Stabat Mater, Pact, Something Wicked, The Dice Man. Television: Mortified, Through My Eyes, Changi, Wildside, Medivac, Big Sky, Children’s Hospital, Echo Point, Naked, GP, Fire. Awards: Matilda Awards – Performance (1989-1991) and Contribution to Theatre (1992), John Harris Critics Award, Betty Awards (Canada) - Best Choreographer, Helpmann Award, Australian Dance Award. Queensland Theatre Company: 1001 Nights, Kelly, No Man’s Land, The Removalists, An Oak Tree, Fat Pig, The Exception and the Rule, Anatomy Titus Fall of Rome. Other Credits: La Boite Theatre: Julius Caesar, 48 Shades of Brown. QPAC Out of the Box: Boat. 23rd Productions: The Pillowman. Film: The Chronicles of Narnia: The Voyage of the Dawn Treader, Blurred, Footy Legends. Short Film: Quiet, You’ll Wake Up The War. Television: Always Greener, Home and Away, Beastmaster, All Saints, Comedy Inc. Awards: Matilda Awards: Outstanding Body of Performance Work The Removalists, Julius Caesar, No Man’s Land; Best Supporting Actor -No Man’s Land; Best Actor- The Pillowman; Matilda Nominations – Best Actor Kelly, 37
Best Supporting Actor Fat Pig; QNFA - Best Actor - Quiet, You’ll Wake Up The War. Training: Bachelor of Fine Arts (Acting) QUT 2000.
Queensland Theatre Company: Debut. Other Credits: Queensland Symphony Orchestra/4MBS: A Midsummer Night’s Dream; The Good Room: Rabbit; 23rd Productions: The Ugly One, My Night with Harold; La Boite Theatre Company: Colder; DeBase Theatre: Ithaca Road; Out of the Box Festival: Sneak Peek; Harvest Rain Theatre Company: The Awfully Big Adventures of Peter Pan; Imaginary Theatre: Tashi; The Forward Movement: Magda’s Fascination with Wax Cats; Three Sister Productions: Bronte; the Restaged Histories project: The Last Days of the New Theatricals; … and moor Theatre: Beautiful; Springboard Theatre: The Laramie Project; Zen Zen Zo Physical Theatre: Dracula, Romeo & Juliet. Film: The Bus Knight, Backpackers, Die Violin, Cigarettes, Photo Booth. Television: Parer’s War, Heartbeat. Positions: MEAA member.
Queensland Theatre Company: Debut. Other Credits: Opera Australia: A Midsummer Night’s Dream; Opera Queensland: Carmen; TML Enterprises: Chitty Chitty Bang Bang. Television: Australia’s Got Talent, Qui sera le meilleur ce soir? Special enfants.
FLEANCE/SON OF MACDUFF
Queensland Theatre Company: Debut. Other Credits: Artslink: Three Little Endangered Animals; LATT Children’s Theatre Company: Twelve Singing Animals; Dead Puppet Society: The Timely Death of Victor Blott; Imaginary Theatre: Tashi. Television: Twelve Singing Animals (Korea). Training: Bachelor of Fine Arts (Drama) QUT
WITCH THREE/LADY MACBETH’S ATTENDANT
PORTER - SEYTON
Queensland Theatre Company: Fractions (co-production with HotHouse Theatre), An Oak Tree, Grimm Tales, Richard II, The Real Inspector Hound, Black Comedy, The Cherry Orchard, Eating Ice Cream With Your Eyes Closed, Hamlet (co-production with State Theatre Company of South Australia), Richard III and The Alchemist (co-production with Bell Shakespeare). As Director: The Lost Property Rules. Other Credits: As Performer: The Escapists: boy girl wall, Attack of the Attacking Attackers!, Elephant Gun; Windmill Theatre: Grug; Queensland Music Festival: Drag Queensland; La Boite Theatre Company: The Danger Age, Zig Zag Street; Someone: He Died With A Felafel In His Hand (co-production with La Boite); DeBase: Lovejunk; Sarah Winter:1000 Ways to Say I Miss You; Elbow Room: New Royal; The Weeping Scab Players: Cousin Love. As Writer: boy girl wall (with Matt Ryan). Film: The Great Raid, Kokoda. Television: Prank Patrol, Wombat. Positions: Associate Artist, Queensland Theatre Company 2013, 2014; Emerging Artist, Queensland Theatre Company 2004; Artist in Residence, Powerhouse; Co-founder, One sixth of The Escapists Awards: Matilda Award - Best Actor in a Supporting Role - New Royal; Matilda Commendation – Best Independent Production boy girl wall; Matilda Award - Devising and Producing - boy girl wall; The Victor Award, International Performing Arts for Youth Conference - Grug. Training: Bachelor of Theatre Arts (Acting) University of Southern Queensland (2000). Queensland Theatre Company: As Stage Manager: Australia Day, Design For Living, Trollop, End of the Rainbow, Managing Carmen (co-production with Black Swan State Theatre Company), Head Full of Love, Romeo and Juliet, Pygmalion, Cat on a Hot Tin Roof (co-production with Black Swan State Theatre Company), Orphans, The Little Dog Laughed, That Face, The Importance of Being Earnest, I Am My Own Wife. As Assistant Stage Manager: The Glass Menagerie, Private Fears in Public Places, American Buffalo, Absurd Person Singular, The Memory of Water. Other Credits: Black Swan State Theatre Company: The White Divers of Broome; La Boite Theatre Company: Summer Wonderland, Sex:CUBED, Last Drinks, The Dance of Jeremiah, Amigos; Expressions Dance Company: When Time Stops; Queensland Ballet: Giselle, Cinderella, Vis a Vis #1 & Prelude 2011, The Little Mermaid (China Tour); Opera Queensland: 39
Aida, The Merry Widow, The Elixir of Love, Waltzing Our Matilda, Rigoletto, Fidelio, La traviata, The Magic Flute, The Barber of Seville, Madama Butterfly; Brisbane City Council: Lord Mayorâ€™s Carols in the Park. Training: Bachelor of Fine Arts (Technical Production Management), QUT. Awards: Ashley Wilkie Award for Outstanding Contribution to the Performing Arts.
ASSISTANT STAGE MANAGER
Queensland Theatre Company: As Stage Manager: The Mountaintop, Youth Ensemble Showcase. As Assistant Stage Manager: Other Desert Cities. As Stage Management secondment: Mother Courage and Her Children. Other Credits: As Stage Manager: Matthew Management & Neil Gooding Productions: Thank You For Being A Friend. As Assistant Stage Manager: shake & stir theatre co: Animal Farm (Regional Tour); Out Damn Snot (secondment). Training: Bachelor of Fine Arts (Technical Production), QUT. Queensland Theatre Company: Debut Other Credits: As Assistant Stage Manager: Queensland Ballet: The Nutcracker, Giselle (Brisbane Season), Cinderella (Secondment), Don Quixote (Secondment); The Gordon Frost Organisation: The Rocky Horror Show (Brisbane Season), Grease Is The Word (Brisbane Season - Swing/ Secondment). Training: Bachelor of Fine Arts (Technical Production), QUT.
ASSISTANT STAGE MANAGER
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Queensland Theatre Company returns to the Bille Brown Studio 42
Hundreds of performers have stepped onto the stage of the Bille Brown Studio, whether in rehearsals or performances. The space has a proud tradition of diverse and exciting work of different scale from small local independent works to large co-productions. Most importantly, it is housed within the headquarters of QTC, the workspace of our production, workshop, wardrobe, programming, marketing, sponsorship and philanthropy staff. The Bille Brown Studio breathes with us as we work together towards creating incredible theatre. It is where we audition actors, experiment and test our ideas in development and rehearsal, and present work. A Tribute of Sorts will mark QTC’s first 2014 show in our home theatre, the beloved BBS. The Magic Hour, The Effect and Gloria will be the next shows respectively to grace this space before we return to the Playhouse for our last two mainstage productions of Season 2014, Black Diggers and Gasp!
Oddball teen cousins Ivan and Juniper Plank are putting together a weird, warped eisteddfod chronicling the series of unfortunate events that led to the demise of 26 orphans. The gothic quirkiness of Tim Burton meets the adorable kitsch of Wes Anderson in A Tribute of Sorts. An artful, dark, morbidly funny celebration of the art of theatre itself, the piece showcases the devilish sense of humour of rising star Benjamin Schostakowski. Next up, actor and singer Ursula Yovich will breathe new life into the fables collected by the Brothers Grimm in The Magic Hour. It’s a deliciously dark one-woman show plumbing the wild and wicked side of these yarns, a black comic journey into a twisted fairyland where toothy, growling creatures lurk in the woods and you won’t make it to Grandma’s.
This gripping work pierces the unknown mysteries of the brain, and plumbs the depths of sanity, neurology, destiny and loyalty. It stars Angie Milliken and Anna McGahan, from House Husbands and Underbelly: Razor. Gloria is a play about grace and grandchildren, about memory – and for anyone who’s ever stumbled over putting a face to a name, or called an object a ‘thingamy.’ It’s a play where music takes centre stage, weaving together Gloria’s rapidly fraying memories. A new Australian work, commissioned by QTC and written by Brisbane playwright Elaine Acworth, it brings together an all-Brisbane cast led by the captivating Christen O’Leary.
In The Effect, psychology student Connie signs up for the clinical trial of a new, super anti-depressant where she meets charming, cocky, cheeky fellow volunteer Tristan.
For more information on parking, the foyer bar, dining options and accessibility, please visit our website. We look forward to welcoming you to our home.
by Benjamin Schostakowski
Gloria. By Elaine Acworth
7 – 17 May
20 – 31 May
7 Jun – 5 Jul
19 Jul – 16 Aug
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Phone 07 3842 8888 or email firstname.lastname@example.org Level 1, 25 Donkin Street South Brisbane 44 QLD 4101
It takes many people to create great theatre... ...the playwright, the director, the actors and designers... and most importantly our donors. With your help we are aiming higher and taking our place as one of Australiaâ€™s leading theatre companies. You give us the confidence to take on bigger productions, secure international artists and commission the new works which will become the classics of tomorrow. Thank you for your part in making our theatre company great.
For more information about donating to Queensland Theatre Company please contact our Philanthropy Manager on Tel: 3010 7621.
PATRON Her Excellency The Governor of Queensland Ms Penelope Wensley, AC MEMBERS OF THE BOARD Richard Fotheringham (Chair) Julieanne Alroe (Deputy Chair) Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Elizabeth Jameson Nathan Jarro Liz Mellish Karl Morris ARTISTIC DIRECTOR Wesley Enoch EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Artistic Associate: Todd MacDonald Resident Dramaturg: Louise Gough Resident Directors: Jason Klarwein & Andrea Moor Program Manager: Katherine Hoepper Theatre Diversity Associate: Chris Kohn Program Coordinator: Shari Irwin Artistic Coordinator: Samantha French Touring & Regional Program Coordinator: Christine Johnstone Education Program Coordinator: Heidi Irvine Youth Program Coordinator: Claire Christian Chief Financial Officer Michael Cullinan Assistant Accountant: Roxane Eden Finance Officer: Robin Koski Front of House & Events Supervisor: Deirdree Wallace Marketing Manager: Yvonne Whittington Marketing Coordinator: Amanda Solomons Publicist: Kath Rose & Associates Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David Dâ€™Arcy
Project Officer: Amy Church CRM & Ticketing Services Coordinator: Rory Killen Ticketing Coordinators: Maggie Holmes & Brad Routledge Receptionist & Ticketing Officer: Donna Fields-Brown Administration Trainee Kalisha Soe Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Interim Corporate Partnerships Manager: Fabienne Cooke Development Coordinator: Dee Morris Researcher & Grant Writer: Liz Bissell Production Manager: Toni Glynn Venue & Operations Supervisor: Julian Messer Technical Coordinator: Daniel Maddison Interim Production Coordinator: Scott Klupfel Head of Workshop: Peter Sands Company Carpenter/Head Mechanist: John Pierce Head of Wardrobe: Vicki Martin Apprentice Costume Maker: Savannah Mojidi Affiliate Artists: Tony Brumpton Ben Hughes David Walters Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Matt Delbridge Katherine Lyall-Watson David Morton Gayle MacGregor Paula Nazarski Ngoc Phan Lucas Stibbard
Macbeth Production Staff Props: Asheleigh Kennedy Carpenters: Jamie Bowman Jaydn Bowe Phillpa Loth Tom Paine Tom Pimm Scenic Artist: Caroline Walker Wardrobe Coordinator: Vicki Martin Cutters: Gayle MacGregor Leigh Buchannan Millie Adams Wardrobe Assistant: Tovah Cottle Sewers: Gaye Lee Selina Bedville Wig Dresser/Hair: Michael Green Art Finishing: Nathalie Ryner Maria Cleary Savannah Mojidi Blood Wrangler: Nathalie Ryner Wardrobe Maintenance: Liezel Buckenham Production Electrician: Matt Golder Sound Consultant: Tony Brumpton
QPAC Production Staff Head Electrician: Nick Toll Followspot Operator: Paul Gibbs Head Mechanist: Ritchie Aishford FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 â€“ 2003) Queensland Theatre Company is a member of Live Performance Australia.
Play a Supporting Role You may not be on the stage but you can play a supporting role by donating to our work.
With your support we can create memorable, world-class productions and continue our behindthe-scenes work of running education programs for young people, touring productions and providing opportunities for many extraordinary actors, directors, playwrights and designers. You can choose to support* any of the following areas of our work:
*Costs listed are examples only
Youth and Education Workshops, theatre camps, performances and mentoring $250*: materials for a school workshop $500: bus to bring disadvantaged students to the theatre $1,600: scholarship to the Youth Ensemble
rEgional Touring and working with isolated communities $2,500: visit by artists to regional/remote school $5,000: professional development workshops for regional artists $12,000: weekly regional touring cost for primary school show
Photographs L-R: Theatre Residency Week participants 2013, Other Desert Cities by Jon Robin Baitz (QTC & Black Swan State Theatre Company), Tucker Turtle created by Todd MacDonald (Creative Development) and Gloria by Elaine Acworth (Creative Development).
Making theatre is a team activity and everyoneâ€™s contribution is important.
nEw works Playwriting workshops, creative developments and play readings $250: 2-hour session with a dramaturg $500: play assessment by an established playwright $1,000: play reading with actors
artist dEvElopmEnt Training and mentoring for actors, designers, directors and other theatre workers.
mainstagE Mainstage productions including tours. $1,000: additional props for larger productions
$250: 2-hour physical movement workshop
$2,000: modifications to prepare a show for touring
$500: full-day voice workshop
$20,000: towards an international actor
$1,000: weekly cost of a directorâ€™s assistant
For more information please contact our Philanthropy Manager on 07 3010 7621 or visit queenslandtheatre.com.au/supportus
Committed to bringing you more in 2014
SEE IT FIRST
NIGHTLY 6PM 50
Acknowledgements Rehearsal Photography: Stephen Henry
PO Box 3567, South Bank, Queensland 4101
Fight Direction Assistance: Justin Palazzo-Orr Travis Dowling is on secondment from HotHouse Theatre
Tel: (07) 3840 7444 www.qpac.com.au
Chair Chris Freeman AM Deputy Chair Rhonda White
References Warren, Rebbeca.“ Chronology.” William Shakespeare’s King Lear. York Notes Advanced: 2003. Armstrong, Jan. The Arden Shakespeare’s Miscellany. Methuen Drama: 2011. Gould, Mike. “Shakespeare: A Timeline.” William Shakespeare’s King Lear. Harper Press: 2011. Dickson, Andrew. The Rough Guide to Shakespeare: The Plays, the Poems, the Life. Rough Guides: 2005.
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Trustees Simon Gallaher Sophie Mitchell Mick Power AM Maggi Sietsma AM Executive Staff Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Tony Smith ACKNOWLEDGMENTS The Queensland Performing Arts Trust is a Statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Ian Walker MP Minister for Science, Information Technology, Innovation and the Arts Director-General, Department of Science, Information Technology, Innovation and the Arts: Sue Rickerby
To ensure that patrons enjoy the performance, management asks you to note: • Cameras, tape recorders and paging devices should not be used inside the auditorium. • Switch off alarms and mobile phones prior to the performance. • A single cough measures approximately 65 decibels of sound. The use of a handkerchief helps greatly to soften the sound. The management reserves the right to refuse admission, also to make any alterations to the cast which may be rendered necessary by illness or other unavoidable causes. Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre. 51
Thank You To Our Current Donors We thank all our generous donors for their contribution to our work. Your assistance makes it possible for us to enrich the cultural life of our community.
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Thanks To Our Sponsors Government Partners This initiative is supported by Arts Queensland through the Super Star Fund, a Queensland Government program that delivers super star performances exclusive to the state.
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m a i l l i W y B kespeare Sha Support Greening QTC and recycle this program after the performance in the recycling bins provided in the foyer. Read the program before the show at queenslandtheatre.com.au or by scanning the below QR code.
(Queensland Theatre Company) 2014