NOISES OFF

QUEENSLAND THEATRE

Queensland Theatre and Melbourne Theatre Company present

Michael Frayn's

QUEENSLAND THEATRE and Melbourne Theatre Company present

Michael Frayn's

3 — 25 June

Noises Off by Michael Frayn VENUE

Cast Simon Burke .....................................Lloyd Dallas/Director

3 — 25 June Playhouse, QPAC

Ray Chong Nee ....... Garry Lejeune/Roger Tramplemain Emily Goddard ....................... Poppy Norton-Taylor/ASM

ATTENDANCE INFORMATION

Libby Munro ...................................... Brooke Ashton/Vicki

Noises Off will run for approximately 3 hours, including a 20 minute interval.

Hugh Parker........................ Freddie Fellowes/Philip Brent James Saunders ...................................... Tim Allgood/SM Louise Siversen .........................Mrs Clackett/Dotty Otley Steven Tandy ..........................Selsdon Mowbray/Burglar Nicki Wendt ............................. Belinda Blair/Flavia Brent

WARNINGS

Creatives

Contains adult themes, coarse language and approved theatrical smoke effect.

Sam Strong .............................................................Director Richard Roberts .................................................... Designer Ben Hughes ............................................ Lighting Designer

The use of photographic or recording equipment is not permitted inside the theatre.

Russell Goldsmith ................ Composer /Sound Designer Nigel Poulton ...................................... Movement Director Leith McPherson ....... Associate Director/Dialect Coach Caroline Dunphy .................................... Assistant Director

Cover Photo: David Kelly

Eloise Grace............................................... Stage Manager Dan Sinclair ..................................Deputy Stage Manager Margaret Burrows ..................... Assistant Stage Manager Emily Miller ...................................................... Director Observation

ACKNOWLEDGEMENT OF COUNTRY Queensland Theatre would like to acknowledge the Jagera and Turrbal people who are the Traditional Custodians of this land.

We would like to pay our respects to their Elders both past and present, and all Aboriginal 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

NOISES OFF was first presented by arrangement with Michael Codron, at the Lyric Theatre Hammersmith, on 23 February 1982 and on 31 March by Michael Codron at the Savoy Theatre, London. The play was revived in its present form by the Royal National Theatre, in association with the Ambassador Theatre Group and Act Productions Ltd. It previewed in the Lyttelton Theatre on 29 September 2000 and opened on 5 October.

NOISES OFF was most recently revived in a production at The Old Vic, London which premiered on 3 December 2011 Copyright agents for Michael Frayn www.unitedagents.co.uk Queensland Theatre 78 Montague Road, South Brisbane, Queensland, 4101

PRODUCTION SPONSOR

Tel: 07 3010 7600 Fax: 07 3010 7699 Ticketing: 1800 355 528 mail@queenslandtheatre.com.au CLASSIC BRITISH COMEDY

#queenslandtheatre

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MUCH ADO MEETS BIRDMAN

Follow us on: DISASTER

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DOORS AND SARDINES

L-R: Steven Tandy, Louise Siverson.

L-R: Libby Munro, Ray Chong Nee.

L-R: Hugh Parker, Nicki Wendt.

Welcome Winter has well and truly arrived in Brisbane, with the cooler weather giving us the perfect excuse to come indoors and enjoy the warmth of contemporary theatre’s most celebrated comedy, Noises Off. Sue Donnelly Executive Director

The brainchild of the exacting Michael Frayn, this play has been delighting audiences all over the globe since its 1982 premiere. It is such a joyous work to watch, it would be easy to assume it is equally fun to stage. While I know that our Artistic Director Sam Strong and the rest of the team have thoroughly enjoyed their time in the rehearsal room, there is no underestimating the challenge.

Spot-on timing and extreme physical precision is required from all actors, not to mention the fitness to last the distance.

Many directors, actors and production departments have refused to take on this mammoth production, so it makes me especially proud to see that we have pulled it off so magnificently.

It takes many partners to present a play like Noises Off. Our colleagues at Melbourne Theatre Company have joined us in this venture, marking a resumption - after seven years - of our successful coproducing relationship.

Melbourne audiences will enjoy this sparkling show in July and August. We are also very appreciative of the support from our sponsor Ord Minnett and our donors.

Don’t forget that our next three shows – Rice, My Name is Jimi and An Octoroon – will all be back at our home venue, the Bille Brown Studio. We look forward to welcoming you there with tasty treats and warm drinks.

I hope you have a side-splitting time at Noises Off. Sue

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Noises Off: a brief history The play has gone through many different forms and versions. It began life as a short one-acter entitled Exits, commissioned for a midnight matinee of the Combined Theatrical Charities at the Theatre Royal, Drury Lane, on 10 September 1977, where it was directed by Eric Thompson, and played by Denis Quilley, Patricia Routledge, Edward Fox, Dinsdale Landen, and Polly Adams. Michael Codron thereupon commissioned a full-length version, and waited for Michael Frayn Writer

it with intermittent patience. Michael Blakemore, who was to direct it, persuaded me to rethink and restructure the resulting text, and suggested a great many ideas which I incorporated.

After the play had opened at the Lyric

British actors and the characters they are

Hammersmith, in 1982, I did a great deal

playing turned into Frenchmen, in Italy into

more rewriting, and went on rewriting until

Italians (who introduced a ‘Sardine Song’

Nicky Henson, who was playing Garry,

between the acts). In Barcelona they were

announced on behalf of the cast (rather

Catalan-speaking actors playing Spanish-

as Garry himself might have done) that

peaking characters; in Tampere, in northern

they would learn no further versions. The

Finland, they were robust northerners

play transferred to the Savoy Theatre, and

speaking the Tampere dialect and playing

ran until 1987, with five successive casts.

effete southerners with Helsinki accents.

For two of the cast-changes I did more

On the Japanese poster they all appear

rewrites. I also rewrote for the production

to be Japanese; on the Chinese poster

in Washington in 1983, and I rewrote again

Chinese. In Prague they performed the play

when this moved to Broadway. When the

for some ten years without Act Three, and

play was revived at the National Theatre

no one noticed until I arrived.

in 2000 I rewrote yet again. Some of the

Farce seems to gather farce around it. One

changes were ones that I’d been longing to make myself – there’s nothing like having to sit through a play over and over again to make your finger itch for the delete key – while many more changes were suggested by my new director, Jeremy Sams.

Christmas in Sicily two different touring productions, one lawfully contracted, one not, like husband and lover in a farce, turned up in Catania at the same time, to their mutual surprise; lawsuits followed. In 2000, re-reading the English text that had

What vicissitudes it has been through in

been in use for the previous fi fteen years,

other languages I can mostly only guess.

I discovered a number of bizarre misprints,

In France it has been played under two

and I suspect that directors around the

different titles (sometimes simultaneously

world had been driven to some quite

in different parts of the country), and

outlandish devices to make sense of them.

in Germany under four. I imagine that

Michael Frayn

it’s often been freely adapted to local circumstances, in spite of the prohibitions in the contract. In France, certainly, my

November 2011

Director's Note Sometimes a work of art impresses by its sheer scale and obvious virtuosity. Standing in the Sistine Chapel or absorbing a Mozart opera, you can’t help but admire the inhuman skill it took to create such a work of genius.

Sam Strong Artistic Director

Rehearsing Noises Off is similar to standing in front of something aweinspiring. It is easy to underestimate Frayn’s play because it is comedic in effect and based around the performance of a farce. But Noises Off has become a classic, not just because it is very funny, but also because it is a work of structural perfection. This play is a Swiss watch of comic construction.

All of the component parts of its three

acts work precisely together to create an ideal whole. As we watch ‘Nothing On’ interrupted at its dress rehearsal, from backstage during a chaotic midtour performance, and then again from the front at its final ramshackle night, we delight in the individual and cumulative portrait of dysfunction. Moreover, we realise that in the hurricane of action, nothing is accidental. To cite but the most recent example: today in rehearsal

L-R: James Saunders, Emily Goddard, Sam Strong

8

L-R: Simon Burke, Libby Munro, Ray Chong Nee, Nicky Wendt, Louise Siversen, James Saunders, Hugh Parker

we were pondering why a particular stage direction suggested an actor go back through a doorway to collect a bag. Of course, this was a set up for the second act where he catches a glimpse of something he shouldn’t back stage as a result of the movement.

Noises Off has also proved enduringly popular because it is a work of deceptive substance. At the same time as it makes us laugh at ourselves, Noises Off confronts us with truths we recognise.

While they might be playing stock types in ‘Nothing On’ (the bombshell, the burglar etc) Frayn’s characters are anything but, and the work succeeds because they are complex, flawed human beings.

Some might call it a stretch, but I see Noises Off as the functional, funny cousin of Lord of the Flies. Golding’s literary masterpiece showed us how the wrong environment can bring the less desirable parts of humanity to the surface. Noises Off does the same through a theatre production gone awry.

CLASSIC BRITISH COMEDY

ENSEMBLE

What has made the play a classic is that it is not an in-joke - the humour is not reliant on an intimate (or indeed any) knowledge of theatre making. It merely uses that specific context to show us human behaviour we recognise from any work place: the heady commencement and inevitable sour turn of a secret romance; petty and gross acts of sabotage; the moment at which patience and politeness give way to blunt criticism; and the attempt to present a façade of calm through the chaos.

Directing such a classic comedy is a blessing and a curse. It’s a delight to let loose an ensemble of fabulous comedic talents on this material. It’s also incredibly rigorous work to achieve the necessary precision. As we are deep in the belly of the monster in rehearsal it’s heartening to remember that there are laughs on the other side, or that Rome (and indeed the Sistine Chapel) wasn’t built in a day.

See you on the other side.

Sam

MUCH ADO MEETS BIRDMAN

DISASTER

DOORS AND SARDINES

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Proud supporter of Queensland Theatre as Production Sponsor for Noises Off Ord Minnett is the trading brand of Ord Minnett Limited ABN 86 002 733 048, AFSL 237121 and Ord Minnett Financial Planning Pty Limited ABN 31 066 414 613, AFSL Licence Number 237122 A_023_QueenslandTheatre_Noise

Sponsor’s Note

As Ord Minnett Executive Chairman, I am delighted to welcome you to Queensland Theatre’s production of Noises Off.

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

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

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

As a sponsor, we are excited to be involved with Noises Off. This Michael Frayn production explores the sometimes absurd satire of big business and highlights Queensland Theatre’s commitment to providing humorous, entertaining works of art.

I hope you have a great night at the theatre.

Karl Morris Executive Chairman Ord Minnett

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RICE

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AN OCTOROON

by Michele Lee

Based on a story by Dimple Bani, Jimi Bani, co-created with Jason Klarwein

24 JUN — 16 JUL BILLE BROWN STUDIO

“… a sophisticated and deliciously theatrical portrait of Australia right now, unlike anything we’ve seen before.”

— Artistic Director, Sam Strong

Working late, Nisha is closing a massive deal with the Indian government. Working later still is Yvette, who clears up her take-away. “Indian princess” and “Chinese cleaner” is all they see when they face each other – but as the nights wear on, they discover the many ties that bind them.

by Branden Jacobs-Jenkins

22 JUL – 13 AUG

16 SEP – 8 OCT

“My grandfather used to tell me that technology will take over. We have to use it to our advantage. To teach language, to teach culture, to keep it alive.”

“An Octoroon is a thrilling, moving exploration of personal and cultural identity, written with electric wires and staged with volcanic ferocity ... ”

— Jimi Bani

— Entertainment Weekly

Charismatic actor Jimi Bani (Mabo, The Straits, Redfern Now) whisks you away to his island in the Torres Strait for an evening of music, dance, stand-up and storytelling.

Four generations of one family take the stage, as Jimi’s grandmother, mother, son and brothers help him spin yarns of totems, traditions and childhood memories.

A satire about American slavery, subtly recontextualised to uncover Queensland’s own dark history. Directed by leading Aboriginal artist Nakkiah Lui (Black Comedy), this hilarious show is sure to be one of the most widely debated events of 2017.

BILLE BROWN STUDIO

BILLE BROWN STUDIO

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

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QUEENSLAND THEATRE

Grand Theatre WESTON-SUPER-MARE

Proprietors: GRAND THEATRE (Weston-super-Mare) LIMITED General Manager: E.E.A. GRADSHAW The Grand Theatre Weston-super-Mare is a Member of the Grand Group.

E venin gs AT 7.45 M atin ee : WEDNESDAY AT 2.30 S atur day AT 5.00 AND 8.30

COMMENCING TUESDAY 15TH JANUARY FOR ONE WEEK ONLY OTSTAR PRODUCTIONS LTD PRESENT

DOTTY OTLEY

Belinda Blair AND GARRY LEJUNE IN

NothingOn

by Robin Housemonger WITH

Selsdon Mowbray, Brooke Ashton and Frederick Fellows Directed by LLOYD DALLAS Lighting by ROD WRAY

Designed by GINA BOXHALL Costumes by PATSY HEMMING

WORLD PREMIERE PRIOR TO NATIONAL TOUR

SMOKING IS NOT PERMITTED IN THE AUDITORIUM The use of cameras and tape recorders is forbidden.

The management reserve the right to refuse admission, also to make any alteration in the cast which may be rendered necessary by illness or other unavoidable causes.

From the theatre rules ‘All exits shall be available for use during all performances’.

‘The fire curtain shall be lowered during each performance’.

Behind the Dressing Room Doors

DOTTY OTLEY (Mrs Clackett) makes a welcome return to the stage to create the role of Mrs Clackett after playing Mrs Hackett, Britain’s most famous lollipop lady (‘Ooh, I can’t ’ardly ’old me lolly up!’) in over 320 episodes of TV’s ON THE ZEBRAS. Her many stage appearances include her critically acclaimed portrayal of Fru Såckett, the comic char in Strindberg’s SCENES FROM THE CHARNELHOUSE. Her first appearance ever? In a school production of HENRY IV PART I – as the old bag-lady, Mrs Duckett.

BELINDA BLAIR (Flavia Brent) has been on the stage since the age of four, when she made her debut in SINBAD THE SAILOR as one of Miss Toni Tanner’s Ten Tapping Tots. She subsequently danced her way round this country, Southern Africa, and the Far East in shows like ZIPPEDYDOODA! and HERE COME LES GIRLS! More recently she has been seen in such comedy hits as DON’T MR DUDDLE!, WHO’S BEEN SLEEPING IN MY BED?, and TWICE TWO IS SEX. She is married to scriptwriter Terry Wough, who has contributed leadin material to most of TV’s chat shows. They have two sons and three retrievers.

GARRY LEJEUNE (Roger Tramplemain) while still at drama school won the coveted Laetitia Daintyman Medal for Violence.

His television work includes POLICE!, CRIME SQUAD, SWAT, FORENSIC, and THE NICK, but he is probably best-known as ‘Cornetto’, the icecream salesman who stirs the hearts of all the lollipop ladies in ON THE ZEBRAS.

SELSDON MOWBRAY (Burglar) first ‘trod the boards’ at the age of 12 – playing Lucius in a touring production of JULIUS CAESAR, with his father, the great Chelmsford Mowbray, in the lead.

Since then he has served in various local reps, and claims to have appeared with every company to have toured Shakespeare in the past halfcentury, working his way up through the Mustardseeds and the various Boys and Sons of, to the Balthazars, Benvolios, and Le Beaus; then the Slenders, Lennoxes, Trinculos, Snouts, and Froths; and graduating to the Scroops, Poloniuses, and Aguecheeks.

His most recent film appearance was as Outraged Pensioner in GREEN WILLIES.

BROOKE ASHTON (Vicki) is probably best known as the girl wearing nothing but ‘good, honest, natural froth’ in the Hauptbahnhofbrau lager commercial.

Her television appearances range from Girl at Infants’ School in ON THE ZEBRAS to Girl in Massage Parlour in ON PROBATION. Cinemagoers saw her in THE GIRL IN ROOM 14, where she played the Girl in Room 312.

F R E D E R I C K FELLOWES (Philip Brent) has appeared in many popular television series, including CALLING CASUALTY, CARDIAC ARREST!, OUTPATIENTS, and IN-PATIENTS. On stage he was most recently seen in the controversial allmale version of THE TROJAN WOMEN. He is happily married, and lives near Crawley, where his wife breeds pedigree dogs. ‘If she ever leaves me,’ he says, ‘it will probably be for an Irish wolfhound!’

LLOYD DALLAS (Director) ‘read English at Cambridge, and stagecraft at the local benefits office’.

He has directed plays in most parts of Britain, winning the South of Scotland Critics’ Circle Special Award. In recent years he has probably become best known for his brilliant series of ‘Shakespeare in Summer’ productions in the parks of the inner London boroughs.

ROBIN HOUSEMONGER (Author) was born in Worcester Park, Surrey, into a family ‘unremarkable in every way except for an aunt with red hair who used to sing all the high twiddly bits from THE MERRY WIDOW over the tea-table’. He claims to have been the world’s most unsuccessful gents hosiery wholesaler, and began writing ‘to fill the long hours between one hosiery order and the next’. He turned this experience into his very first play, SOCKS BEFORE MARRIAGE, which ran in the West End for nine years. Two of his subsequent plays, BRIEFS ENCOUNTER and HANKY PANKY, broke box office records in Perth, Western Australia. NOTHING ON is his seventeenth play.

Miss Maconochie, our seafood consultant, considers

marriage Most people, she says, rather like marriage for various reasons – one of which being that two can live more cheaply than one.

However, not all of us like living cheaply – or we don’t like to appear to be living cheaply. There are tricks to get round this problem. One us to use inexpensive ingredients to create sensational party dishes. For instance, with some imagination and a can of Maconochie’s Sardines, you can dazzle your guests with – SARDINE DIP

Drain as many cans as you need of Maconochie’s Sardines. Add finely sliced hard boiled egg with enough mayonnaise to moisten.

Season with salt, pepper and lemon juice. Beat until fluffy.

QUCK ‘N’ EASY SARDINE SNACKS

232/4 oz cans Maconochie’s Sardines. Place whole sardines across slices of lightly buttered toast, with layer of sliced cheddar cheese on top. Grill until cheese softens. Garnish with tomato sauce. Cut into finger slices. Serves 4.

The flavour's superb - the secret, of course, in

HERRINGS

SARDINES

KIPPER SNACKS

A Glimpse of the Noumenal

(condensed from J G Stillwater, Eros Untrousered – Studies in the Semantics of Bedroom Farce) The cultural importance of the so-called ‘bedroom farce’, or ‘English sex farce’, has long been recognised, but attention has tended to centre on the metaphysical significance of mistaken identity and upon the social criticism implicit in the form’s ground-breaking exploration of cross-dressing and trans-gender role-playing. The focus of scholarly interest, however, is now beginning to shift to the recurrence of certain mythic themes in the genre, and to their religious and spiritual implications.

In a typical bedroom farce, a man and a woman come to some secret or mysterious place (cf. Beauty and the Beast, Bluebeard’s Castle, etc.) to perform certain acts which are supposed to remain concealed from the eyes of the world. This is plainly a variant of the traditional ‘search’ or ‘quest’, the goal of which, though presented as being ‘sexual’ in nature, is to be understood as a metaphor of enlightenment and transcendence. Some partial disrobing may occur, to suggest perhaps a preliminary stripping away of worldly illusions, but total nudity (perfect truth) and complete ‘carnal knowledge’ (i.e. spiritual understanding) are perpetually forestalled by the intervention of coincidental encounters (often with other seekers engaged in parallel ‘quests’), which bear a striking resemblance to the trials undergone by postulants in various esoteric cults (cf. The Magic Flute, Star Wars, etc.).

A recurring and highly significant feature of the genre is a multiplicity of doors. If we regard the world on this side of the doors as the physical one in which mortal men are condemned to live, then the world or worlds concealed behind them may be thought of as representing both the higher and more spiritual plane into which the postulants hope to escape, and the underworld from which at any moment demons may leap out to tempt or punish. When the doors do open, it is often with great suddenness and unexpectedness, highly suggestive of those epiphanic moments of insight and enlightenment which give access to the ‘other’, and offer us a fleeting glimpse of the noumenal.

Another recurring feature is the fall or loss of trousers. This can be readily recognised as an allusion to the Fall of Man and the loss of primal innocence. The removal of the trousers traditionally reveals a pair of striped underpants, in which we recognise both the stripes of the tiger, the feral beast that lurks in all of us beneath the civilised exterior suggested by the lost trousers, and perhaps also a premonitory representation of the stripes caused by the whipping which was formerly the traditional punishment for fornication.

Farce, interestingly, is popularly categorised as ‘funny’. It is true that the form often involves ‘funny’ elements in the sense of the strange or uncanny, such as supposedly supernatural phenomena, and behaviour suggestive of demonic possession. But the meaning of ‘funny’ here is probably also intended to include its secondary sense, ‘provocative of laughter.’

This is an interesting perception. It scarcely needs to be said that laughter, involving as it does the loss of self-control and the spasmodic release of breath, a vital bodily fluid, is a metaphorical representation of the sexual act. But it can also occasion the shedding of tears, which suggests that it may in addition be a sublimated form of mourning.

Indeed we recognise here a symbolic foretaste of death. If sneezing has been widely feared because it is thought that during a sneeze the soul flies out of the body, and may not be recaptured (whence ‘Bless you!’ or ‘Gesundheit!’), then how much more dangerous is laughter. Not once but over and over again the repeated muscular contractions and expulsions of breath drive the ‘soul’ forth from the body. The danger of laughter is recognised in such expressions as ‘killingly funny,’ and ‘I almost died’.

There is a lurking fear that even more spectacular violence may ensue, and that a farce may end with a bloodletting as gruesome as in Oedipus or Medea, if people are induced to ‘split their sides’ or ‘laugh their heads off ’.

Fear of the darker undertones of bedroom farce has sometimes in the past led to its dismissal as ‘mere entertainment’. As the foregoing hopefully makes clear, though, financial support by the Arts Council or a private sponsor for the tour of a bedroom farce would be by no means out of place.

NothingOn

by Robin Housemonger CAST IN ORDER OF APPEARANCE:

MRS. CLACKETT ROGER TRAMPLEMAIN VICKY PHILIP BRENT FLAVIA BRENT BURGLAR SHEIKH

-------------------------------------------------------------------------------------

Dotty Otley Garry LeJune Brooke Ashton Frederick Fellowes Belinda Blair Selsdon Mowbray Frederick Fellowes

The action takes place in the living-room of the Brents’ country home, on a Wednesday afternoon.

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Company and Stage Manager TIM ALLGOOD Assistant Stage Manager POPPY NORTON-TAYLOR

PRODUCTION CREDITS Sardines by Old Salt Sardines. Antique silverware and cardboard boxes by Mrs J.G.H. Norton-Taylor. Stethoscope and hospital trolley by Severn Surgical Supplies. Straitjacket

by Kumfy Restraints Ltd. Coffins by G. Ashforth and Sons.

We gratefully acknowledge the generous support of EUROPEAN BREWERIES in sponsoring this production.

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Michael Frayn

Richard Roberts

Writer

Designer

Michael Frayn has written sixteen plays, including Copenhagen, Afterlife, Benefactors, Donkeys’ Years, and Democracy. He has also translated for the theatre, mostly Chekhov and other plays from the Russian, and adapted Chekhov’s first, untitled play as Wild Honey. He has written a number of screenplays, including Clockwise, starring John Cleese.

His eleven novels include The Tin Men, Towards the End of the Morning, Headlong, Spies, and Skios. He has also published various collections of articles, including Collected Columns, Stage Directions, and Travels with a Typewriter; two works of philosophy, Constructions and The Human Touch; and a memoir, My Father’s Fortune.

His most recent book, Matchbox Theatre, a collection of thirty short entertainments, was produced on the stage

by Hampstead Theatre in May 2015. Roundabout Theatre Company presented a revival of Noises Off on Broadway last year at the American Airlines Theatre and Wild Honey was presented at Hampstead Theatre London that same year.

Sam Strong Director Queensland Theatre: Once In Royal David’s City (with Black Swan State Theatre 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 Festival/Griffin Theatre Company/ STSA/Melbourne Festival: Masquerade; Sydney Theatre Company: Les Liaisons Dangereuses; 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.

Queensland Theatre: Much Ado About Nothing, Design for Living, Managing Carmen, Fountains Beyond, The Sunshine Club. Other Credits: Melbourne Theatre Company: Last Man Standing, Soloman and Marion, Next to Normal, The Gift, Frost/Nixon, All My Sons, Hitchcock Blonde, Take Me Out, The Sapphires, The Goat, Humble Boy, Laughter on the Twenty Third Floor, Three Days of Rain, Death of a Salesman, Life After George; Melbourne Theatre Company/ Sydney Theatre Company: The Grenade, Australia Day; Playbox Theatre Company: Stolen, The Sick Room; Sydney Theatre Company: True West, Riflemind, Stones in His Pockets; Opera Australia: Rigoletto, Don Pasquale, My Fair Lady, The Pirates of Penzance, Die Fledermaus, La Sonnambula; New Zealand Opera: Rigoletto; Victorian Opera: The Magic Flute, Baroque Triple Bill, Don Giovanni, Nixon in China, The Coronation of Poppea, The Marriage of Figaro; The Australian Ballet: Raymonda, Requiem; West Australian Ballet: La Sylphide, La Fille Mal Gardee; National Institute of Circus Arts: Divino; Arts Asia Pacific: Avenue Q; TML: Fiddler on the Roof; Ambassador Theatre Group; UK: Riflemind. Positions: Head of Design: The Hong Kong Academy for Performing Arts (2013- 2015), Head of Design: Western Australian Academy of Performing Arts (1991-96) Head of the School of Production - Victorian College of the Arts (2000-07). Awards: Greenroom Awards: Best Design for Drama Stolen 1998, Life After George 2000; Best Design in Dance Requiem 2001, Molto Vivace 2004.

Ben Hughes Lighting Designer Queensland Theatre: Constellations, Switzerland, Much Ado About Nothing, The Seagull, Happy Days, Grounded, HOME, The Button Event, The Effect (with Sydney Theatre Company), The Mountaintop, Black Diggers (with Sydney Festival), Design For Living, 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu, Fat Pig, The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Ice Cream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. As Associate Lighting Designer: Toy Symphony, Heroes. As Co-Director/Designer: Trollop. Other Credits: Melbourne Theatre Company: Let The Sunshine (with Queensland Theatre); Sydney Theatre Company: Black is the New White; The Danger Ensemble: Macbeth, Caligula, The Wizard of Oz (with La Boite & Brisbane Festival), Sons of Sin, Children of War, Loco Maricon Amor, The Hamlet Apocalypse; La Boite: A Streetcar Named Desire, Snow White (with Opera Queensland & Brisbane Festival), Medea, A Doll’s House, Cosi, Kitchen Diva, Statespeare; State Theatre Company of South Australia: Straight White Men (with La Boite); Belvoir: Samson (with La Boite); Zen Zen Zo Physical Theatre: Vikram and the Vampire, Cabaret, Dracula, Zeitgeist, My Sublime Shadow; Stella Electrika: The New Dead: Medea Material; Expressions Dance Company: The Host, Carmen Sweet,

Propel; Queensland Ballet: Flourish, Giselle, A Classical Celebration, ...with Attitude; Phluxus2 Dance Collective: The Paratrooper Project. As Associate Lighting Designer: Elision Ensemble: The Navigator; Meryl Tankard: The Oracle; Opera Queensland: Aida; Expressions Dance Company: Where The Heart Is. Positions: Affiliate Artist, Queensland Theatre (2014 & 2011); Resident Lighting Designer, Queensland Theatre (2013); Associate Artistic Director - The Danger Ensemble; Emerging Artist, Queensland Theatre (2007); Professional Member, Association of Lighting Designers; Accredited Member, Australian Production Design Guild. Awards: 2011 Groundling Award – Outstanding Contribution to Lighting Design.

Russell Goldsmith Sound Designer/Composer

Winter’s Tale, The Good Wife, Person of Interest, Boardwalk Empire, Salt, I am Legend, Sopranos (1997), The Ministers, 30 Rock, Law & Order. Positions: President (past), and Fight Director with the Society of Australian Fight Directors Inc, Fight Director with The Society of American Fight Directors, Honourary Fight Director with Fight Directors Canada.

Awards: Green Room Award - Outstanding Contribution to the Melbourne stage (2012); Recipient of Australia Council for the Arts grant and Queensland Arts Council grant (2005, 2008). Training: Theatrical Biomechanics with Gennadi Bogdanov, classically trained fencer and Historical European Martial Artist.

Leith McPherson Associate Director/Dialect Coach

Queensland Theatre: The Flick (with Red Stitch Actors’ Theatre), Disgraced, (with Melbourne Theatre Company).

Other Credits: Melbourne Theatre Company: John, Lungs, Endgame, What Rhymes with Cars and Girls, I’ll Eat You Last, The Speechmaker, Ghosts, The Other Place, His Girl Friday, The Golden Dragon, Don Parties On, The Swimming Club, Ruby Moon; Malthouse Theatre/Belvoir: Exit the King (including Broadway tour), Persona (with Fraught Outfit), Happy Days, It Just Stopped; Malthouse Theatre: Gonzo (with St Martins), Hello, Goodbye & Happy Birthday, Hate, Blood Wedding, A Woman in Berlin, Elizabeth – Almost By Chance A Woman, Vamp, Through the Looking Glass, Sleeping Beauty, The Frail Man, Persona (with Belvoir); Sydney Theatre Company: Hate, Blood Wedding, The Story of Mary MacLane – by Herself (with Griffin), Optimism (with Edinburgh International Festival); Red Stitch Actors’ Theatre: The Way Things Work, Extinction (with Geelong Performing Arts Centre), Splendour, Detroit, This Year’s Ashes, Out Of The Water, The Fatboy, 4000 Miles; Sisters Grimm: Summertime in the Garden of Eden.

Radio: ABC Radio: Cassandra is a Waitress, A Woman in Berlin; BBC Radio: A Packet of Seeds. Awards: New York Festival Radio Awards: Bronze Medal A Woman in Berlin; Sydney Theatre Award 2007: Best Score or Sound Design Exit the King; Green Room Award Nominations for Best Composition/Sound Design in 2004: The Frail Man, 2008: Exit the King, 2012: The Rule Of Three, 2014: Ghosts, 2015: Endgame; Tony Awards 2009: nominated for Best Sound Design: Exit the King.

Queensland Theatre: Debut. Other Credits: As Voice and Dialect Coach: Melbourne Theatre Company: Macbeth, Jasper Jones, Skylight, Double Indemnity, Peddling (Melbourne Theatre Company Education), North

by Northwest, Jumpy, I’ll Eat You Last, Private Lives, Other Desert Cities, All About My Mother, Dead Man’s Cell Phone, Boston Marriage, Madagascar, The Swimming Club, The Drowsy Chaperone, August: Osage County, A Streetcar Named Desire (Melbourne Theatre Company Education), Rockabye, Songs for Nobodies, Ninety, and The Dame on the Ten Dollar Note; Royal Shakespeare Company: Matilda: The Musical (Melbourne); As Voice and Dialect Coach and Assistant Director: Melbourne Theatre Company: The Weir, Hamlet, Richard III. As Dialect Consultant: Melbourne Theatre Company: Talam (Melbourne Theatre Company Education). As Dialect Coach: Luckiest Enterprises: Little Shop of Horrors; TML Enterprises: Fiddler on the Roof; Opera Australia/ Gordon Frost Productions: Anything Goes, Once: The Musical; Red Stitch Actors’ Theatre: Farragut North, Oh Well Never Mind Bye, Stop. Rewind, In a Dark, Dark House, Faces in the Crowd, The Laramie Project: Ten Years On; Echelon Productions: Becky Shaw; Real TV: Children of the Black Skirt. As Voice Coach: Malthouse Theatre: Hello, Beautiful, Knives in Hens.

Film/Television: As Actor: Your Call is Important To Us; As Dialect Consultant: Ghost in the Shell; Dialect Coach: The Hobbit trilogy, Childhood’s End and The Lovers; Dialogue Coach: Gods of Egypt; Dialect Coach (Post-Production): The Eye of the Storm. Positions: Head of Voice and Movement for the Theatre Department - VCA.

Nigel Poulton

Caroline Dunphy

Movement Director

Assistant Director

Queensland Theatre: Switzerland, Much Ado About Nothing, Macbeth, Fractions, King Lear, Shopping and F$$$ing, The Skin of Our Teeth. Other Credits: As Choreographer: The Metropolitan Opera, The New York City Ballet, Bell Shakespeare, Sydney Theatre Company, Washington Opera Company, Opera Australia, Circus Oz, Melbourne Theatre Company, Belvoir, La Boite Theatre, Playbox Theatre and Kooemba Jdarra. As Performer/Director/ Co-writer: Metro Arts: Dead Cargo.

Film/Television: Pirates of The Carribean V, Deadline Gallipoli, The Water Diviner, The Bourne Legacy, Vikingdom,

Queensland Theatre: As Director: Motherland (with Belloo Creative). As Devisor/Performer: I Want To Know What Love Is (with Brisbane Festival, including return season with Brisbane Powerhouse). As Actor: Lovepuke.

Other Credits: Melbourne Theatre Company: Debut; As Director: Belloo Creative: Hanako (with Brisbane Festival); USC: Away, The Book of Everything; Babushka: Doll (with Judith Wright Centre Contemporary Art); As Devisor/Performer: The Danger Ensemble: The Wizard of Oz (with La Boite and Brisbane Festival), Loco Maricon Amor; The Good Room: I Should Have Drunk More Champagne (with Metro Arts); The Brides of Frank:

‘Til Death Do Us Part (with Brisbane Festival), In Stitches Comedy Festival (with QPAC), After Dinner Mince (with Adelaide Fringe Festival); Darlinghurst Theatre: Don’t Stare Too Much; Brisbane Powerhouse: Codger, Rodin’s Kiss. As Actor: Frank Theatre: Sunnytown (with La Boite), Up Jumped The Devil, Voodoo Macbeth (with QPAC), Doll 17 (with Brisbane Festival), Myrrah (with Brisbane Powerhouse), A Midsummer Night’s Dream (with Toga Spring Arts Festival - Japan), Rashomon (with Shizuoka Performing Arts Centre - Japan), Heavy Metal Hamlet (with QPAC & Shizuoka Performing Arts Centre); La Boite: Post Office Rose (with Dogs in the Roof), Zig Zag Street, The John Wayne Principle, Away. Film: Drive Hard, Australia Day, Clara, Holding On, The Activist, Waste. Television: Mortified, Jeopardy II & III. Positions: Board member Queensland Theatre 2003-2006.

Co-Artistic Director, Belloo Creative.

Eloise Grace Stage Manager Queensland Theatre: As Company Manager: Ladies In Black (National Tour). As Stage Manager: The Odd Couple. As Tour Manager and Stage Manager: Kelly (National Tour). Other Credits: As Stage Manager: Melbourne Theatre Company: Debut; LaBoite Theatre Company: A Streetcar Named Desire, A Doll’s House; Australian Labor Party: Campaign Launch; City of Melbourne/ L’Oreal: Melbourne Fashion Festival; Melbourne Spring Fashion Festival. As General Manager/ Producer: MultipleSpinifex for the Ruler of Sharjah, UAE: Clusters of Light – An Oratorio; Cat Stevens/Yusuf Islam: Moonshadow – A New Musical; The Danger Ensemble: MACBETH. As Company Manager: Blue Man Group, Jersey Boys, Rock of Ages, The Addams Family Musical, Georgy Girl – the Seekers Musical, FAME the Musical. As Logistics Manager: 2006 Asian Games Opening and Closing Ceremonies, Brisbane Festival, Queensland Music Festival. As Tour Manager: Bonnie Tyler Live, Tony Hadley in Concert, The Bangles, Song Trails, The Listies Make You LOL. As Guest Lecturer: Queensland University of Technology, NIDA, Griffith University.

Dan Sinclair Deputy Stage Manager Queensland Theatre: As Stage Manager: St Mary’s In Exile, Brisbane, Stradbroke Dreamtime, Fractions (with HotHouse Theatre Company), Macbeth, Fat Pig, A Property of the Clan; As Deputy Stage Manager: Ladies in Black (original production and National Tour); As Assistant Stage Manager: Managing Carmen, I Feel Awful, Betrayal, Anatomy Titus - Fall of Rome (with Bell Shakespeare Company). Other Credits: Melbourne Theatre Company: Debut; Shake & Stir Theatre Co: As Production Stage Manager/Tour Manager: 1984 (National Tour), Animal Farm (Regional/National Tour).

As Production Stage Manager: Wuthering Heights, 1984, Roald Dahl’s Revolting Rhymes & Dirty Beasts, Tequila Mockingbird, Animal Farm, Out Damn Snot; La Boite Theatre Company: As Stage Manager: The Tragedy of King Richard III, A Hoax, Hamlet, Walking By Apple Tree Creek (Regional/ National Tour), Summer of the Seventeenth Doll, plus many

more since 2003; Show Caller-Creative Generation: State Schools Onstage 2010, 2012-2016. As Production Stage Manager/Tour Manager: Breast Wishes – An Uplifting Musical supporting the National Breast Cancer Foundation.

Positions: Production-Touring Coordinator, Queensland Theatre; Tour Manager, La Boite Theatre; Stage Management: QPAC, Brisbane Festival & Great Big Events. Training: Bachelor of Fine Arts (Technical Production), Queensland University of Technology. Awards: Drover Award Tour of the Year Animal Farm, Shake & Stir Theatre Co and 1984 – Shake & Stir.

Margaret Burrows Assistant Stage Manager Queensland Theatre: As Assistant Stage Manager: Ladies in Black (tour), The Odd Couple. Other Credits: As Stage Manager: Queensland Ballet: Dance Dialogues and Tutus on Tour (regional tour). As Assistant Stage Manager: Queensland Ballet: The Nutcracker, Peter Pan, Strictly Gershwin, A Midsummer Nights Dream, Lest we Forget, and Coppelia (Regional Queensland Tour); Opera Queensland: Madame Butterfly and Kiss Me Kate; As Dresser: Griffith Conservatorium: Hansel and Gretel.

Training: Bachelor of Fine Arts (Technical Production) Queensland University of Technology; Diploma of Scenery and Set Construction, Southbank Institute of Technology.

Simon Burke AO Lloyd Dallas/Director Queensland Theatre: Debut.

Other Credits: Melbourne Theatre Company: Take Me Out; Sydney Theatre Company: The Wharf Revue, Mrs Warren’s Profession, Mr Kolpert, Up For Grabs, She Stoops to Conquer; Griffin Theatre Company: The Homosexuals or Faggots, October, Satango; Sydney Perth Adelaide Festivals: Three Furies Scenes from the Life of Francis Bacon; Harvest Rain: Hairspray - The Big Fat Arena Spectacular; Black Swan State Theatre Company: Clinton the Musical; Disney: Mary Poppins; London: Royal National Theatre: A Little Night Music; RSC: A Christmas Carol; Almeida: When the Rain Stops Falling; West End: The Sound of Music, The Phantom of the Opera, La Cage Aux Folles, Holding the Man, Film: Super Awesome!, Pitch Black, Passion, The Devil’s Playground (1976); Television: Devil’s Playground (2014), Deep Water, Rake, Miss Fisher’s Murder Mysteries,The Alice, South Pacific, Helpmann Awards (Host 2001- 2006, 2012), Play School (1988-2014) Studio A with Simon Burke. Awards: AACTA Award Best Actor Devil’s Playground, Green Room Award Best Actor in a Musical Anything Goes, Sydney Theatre Award Nomination – Best Actor in a Lead Role Three Furies. Awarded Officer of the Order of Australia (AO) Queens Birthday Honours 2015 for distinguished service to the performing arts as an actor, singer and producer. Proud member of Actors Equity since 1974.

Ray Chong Nee

Libby Munro

Garry Lejeune/Roger Tremplemain

Brooke Ashton/Vicki

Queensland Theatre: Bare Witness (with Performing Lines and Merrigong Theatre Co). Other Credits: Melbourne Theatre Company: I Call My Brothers; Bell Shakespeare Co: Othello, The Dream, Midsummer Madness, Double Trouble, A Midsummer Nights Dream, Such Sweet Sorrow, Macbeth Undone; Stork Theatre: The Outsider (with La Mama Theatre); LaBoite Indie: The Motion of Light in Water (with Elbow Room, Hot House and Theatre Works); Red Stitch Actors’ Theatre: Jumpers For Goalposts; Exhibit A: Theatre: Eight; University of Melbourne: Pursuit of Identity (with VCA); Elbow Room: After All This; In the Raw: The Savage Garden (with Dungog Film Festival); Adelaide Fringe Festival: Click Tease; Four Lark Theatre Co: Peer Gynt; Sidetrack Theatre: The Possibilities; ABC: Bananas in Pyjamas; Theatre Ink: Angels in America (Parramatta Riverside); Darlinghurst Theatre: The God Botherers; NIDA: Andy X; New Theatre: Cabaret, Angels in America, The Caucasian Chalk Circle; Kids Promotionz: Bananas in Pyjamas; University of Southern Queensland: The Man from Munkinupin, Hamlet, Tubby the Tuba, Showcase, The Pool, The Heidi Chronicles, The Pied Piper of Hamelin, The Woman of Szechwan. Film: Showboy, Park Bench, Amalia Lucia Gomez is Gluten Intolerent, WTF is Neurocam, BB Gun, Translucent, Screw Youssical, Reanimation. Television: Pulse, Glitch, Party Tricks, Racist Faces, Magical Tales, Offspring, Rescue Special Ops, Dance Academy, Giddy Goanna. Training: Bachelor of Theatre Art (Acting), University of Southern Queensland. Proud member of Actors Equity since 2004.

Queensland Theatre: Disgraced (with Melbourne Theatre Company), Grounded, Venus in Fur. Other Credits: Ensemble Theatre: Dream Home; Louise Withers & Assoc: A Murder is Announced; Sydney Theatre Company: Gallipoli; Able Productions: Closer to Heaven; NIDA Company: The Collection; Queensland Shakespeare Festival: Romeo and Juliet, Twelfth Night. Film: Wild Woman, Eight, Bullets for the Dead, Branded, The Bind. Television: Hiding, All Saints: MRU, Review with Miles Barlow, SLiDE. Awards: Matilda Award – Best Female Actor in a Leading Role, Grounded (2015), Venus in Fur (2013); John Dommett Medal for Outstanding Industry Achievement. Training: Bachelor of Dramatic Art (Acting), NIDA; Bachelor of Business, Queensland University of Technology.

Emily Goddard Poppy Norton-Taylor/ASM Queensland Theatre: Debut. Other Credits: Melbourne Theatre Company: Elling, The Boy at the Edge of Everything, The Lonely Wolf (with Dirty Pretty Theatre); Red Stitch Actors’ Theatre: You Got Older, Glory Dazed; Fortyfivedownstairs: This is Eden (with HotHouse Theatre), True Love Travels on a Gravel Road; Red Line/Old Fitz: Inner Voices; Caroline Horton/China Plate: Mess (The Bush, London & UK National Tour); MKA/Brisbane Festival: The Unspoken Word is Joe; Arena: Moth; Attic/ Erratic: The Walls; Four Larks: Peer Gynt; Ultimo Comboio Teatro, Barcelona: Os Pequenos Nadas. Film: Cracks, Shyness is Nice, The Dating Ring. Television: Newton’s Law, TwentySomething, This Week Live. Training: Ecole Philippe Gaulier, Paris (Graduate 2010). Awards: Green Room Award nominations – Outstanding Female Actor for Glory Dazed and The Walls; Best Ensemble for The Boy at the Edge of Everything; Melbourne Fringe Festival nomination – Best Cabaret – Don’t Have Sex in Paris; Empire Theatres Toowoomba Brian Boak Bursary Winner 2009; Ian Potter Cultural Trust recipient 2008 & 2009. Proud member of Actors Equity since 2008.

Hugh Parker Freddie Fellowes/Philip Brent Queensland Theatre: Tartuffe (with Black Swan State Theatre Company), Much Ado About Nothing, The Seagull, Brisbane, The Pitch, Kelly, Fractions (with Hothouse Theatre), Betrayal, 25 Down, The Clean House (with Black Swan State Theatre Company), Cat on a Hot Tin Roof (with Black Swan State Theatre Company). Other Credits: Melbourne Theatre Company: Debut; La Boite Theatre Company: Straight White Men (with State Theatre Company of South Australia), A Doll’s House, Pale Blue Dot, Julius Caesar; Arts Centre Gold Coast: Hotel Beche de Mer; Shake and Stir Theatre Co: 1984; Ride On Theatre: The Blind Date Project; The Byre Theatre St Andrews (UK): The Thirty Nine Steps; Teenage Cancer Charity Trust: Cream of British Comedy; The Royal Shakespeare Company: A Midsummer Night’s Dream.

Film: Space/Time, Bullets for the Dead, My Mistress, Fatal Honeymoon, Crooked Business, Sinbad and the Minotaur.

Television: The Family Law, Gallipoli, Secrets and Lies, The Killing Field, The Strip, Sea Patrol, Vincent, Casualty, Doctors, Monarch of the Glen II, EastEnders, Smoke, Jonathan Creek, Broken News, 2 Pints of Lager and a Packet of Crisps, The World According to Bex, Wild West, 15 Storeys High, Doctors and Nurses, The Office, People Like Us, Beast, The Peter Principle, I’m Alan Partridge, Black Books, Lucky Jim. As Writer: BBC: Bruiser, The Fast Show. Training: Royal Academy of Dramatic Art, London.

James Saunders Tim Allgood/SM Queensland Theatre: Debut. Other Credits: Melbourne Theatre Company: On the Production of Monsters, Richard III, Don Juan in Soho, Woyceck; Kay and McLean Productions: The Graduate; Jager Productions: Barassi; Back to Back Theatre: Ganesh Versus the Third Reich (Brazil Tour), Small Metal Objects (Australia and Europe Tour); Malthouse Theatre/Playbox: Happiness, The Ugly Man, Seven Days of Silence, Public Dancing, Ancient

Enmity; Sydney Theatre Company: Fat Pig; Company B Belvoir: Antigone; Bell Shakespeare: Two Gentlemen of of Verona; Melbourne International Festival: Appetite, The Death of Ivan Illych; Eleventh Hour: Song for the Bleeding Throat; La Mama Theatre: The Last Ten Minutes of History; New York Fringe Festival/ Melbourne Fringe Festival: The Black Swan of Trespass (By Lally Katz); The Storeroom: Conquest of the South Pole. As Writer/Performer: Victorian Arts Centre: The Harry Harlow Project (National tour 2011).

Film: The Turning, Animal Kingdom. Television: True Story With Hamish and Andy, House Husbands, The Doctor Blake Mysteries, Winners and Losers, It’s A Date, Party Tricks, Miss Fisher’s Murder Mysteries, Neighbours, City Homicide, Wilfred, Stingers, Blue Heelers and Recovery. Awards: Green Room Awards – Winner Best Actor Black Swan of Trespass; Green Room Awards – Winner Best Ensemble Inside 01 Season. Proud member of Actors Equity since 1994.

Louise Siversen Dotty/Mrs Clackett Queensland Theatre: Debut. Other Credits: Melbourne Theatre Company: True Minds, The Joy of Text, All About My Mother, The Memory of Water, Art & Soul, The Girl Who Saw Everything; Malthouse Theatre: I Can’t Even…, Coming To My Senses; Self Devised Work: Mums the Word: 2 Teenagers (National Tour 2006 – 2008); Hothouse Productions: The Glory; Courthouse Theatre: The Last Ten Minutes of History; Zootango Theatre Company: Barmaids; Melbourne Comedy Festival: Wonderful Ward; Melbourne Festival: Dark: The Diane Arbus Story. Film: Sucker, The Kingdom of Doug, Shiny Thing, Eye of the Storm, Four of a Kind, The Book of Revelation, Josh Jarman, Blow, Host, Crackers, Slice of Life, Evil Angels, That Eye, the Sky. Television: House Husbands, True Stories, Ronny Chieng: International Student, Utopia, Rake, Dr Blake’s Murder Mysteries, Lil’ Larrikins, Rush, All Saints, Valentine’s Day, Backberner, Janus, City Homicide, Halifax F.P., Stingers, Flying Doctors, Mercury, MDA, The Secret Life of Us, Short Cuts, The Games, The Crash Zone. Awards: Green Room Award nomination Best Ensemble – Art and Soul; Silver Logie nomination Most Outstanding Actress – Janus; St Kilda Film Festival nomination Best Actress – The Kingdom of Doug.

Steven Tandy Selsdon Mowbray/Burglar Queensland Theatre: Bastard Territory (with Jute Theatre Company, Knock-Em-Down and Browns Mart Production), Happy Days, Romeo & Juliet, 25 Down, Loves Labours Lost, Who Cares?, Love For Love, The National Health, Juno and the Paycock, Expresso Bongo, The Badly Behaved Bunyip, The Man, The Spirit Fish and The Rainbow Snake. Other Credits: Melbourne Theatre Company: Translations, Three Sisters, The Winter’s Tale, The Maid’s Tragedy; La Boite Theatre Company: Amigos, Last Drinks, Summer Wonderland, James and Johnno, The White Earth; Twelfth Night: Dad’s Army, Run For Your Wife, The Rocky Horror Show, “ ‘Allo ‘Allo”; Nimrod Street: The Speakers; Marian Street Theatre: What If You Died Tomorrow?, See How They Run, When We Are

Married; New England: Who Was Harry Larsen?; Riverina: The Threepenny Opera; Perth National Theatre: No Names, No Pack Drill; Ensemble Theatre: Time and Time Again, Noises Off; Gold Coast Arts Centre: Pyjamas in Paradise; Crossbow: Anne of The Thousand Days, Shadowlands; Harvest Rain Theatre Company: Jesus Christ Superstar, Aladdin and the Mysterious, Magical Lamp, The Wizard of Oz, Oklahoma!, Guys and Dolls and CATS; J.C. Williamsons: The Circle; Australian Theatre for Young People: Old Queen Cole; Bondi Pavilion: When Did You Last See My Mother?; 4MBS Classic Players: Amadeus, The Merry Wives of Windsor, Romeo and Juliet, Much Ado About Nothing, A Midsummer Night’s Dream, As You Like It; Ansata: The Abdication of Queen Elizabeth II, Henry Lawson Readings; Brisbane Festival: The Fiveways; As Director: Busybody, The Night of the Iguana, Don’s Party, You Can’t Take It With You, Peggy For You, Deadly Nightcap, Bouncers, Travelling North. Film: Talking Back at Thunder, Gettin’ Square, The Horseman, Girl Clock!, Jog’s Trot, Hurricane Smith, Mercy Mission, Rough Diamonds. Television: The Sullivans, Sons and Daughters, Secrets and Lies, Possession, Sea Patrol, Mortified, All The Rivers Run, The Fremantle Conspiracy, Misery Guts, Pacific Drive, Paradise Beach, H2O:Just Add Water, Spyforce, Earthwatch,The Don Lane Show, Mike Walsh show. Training: NIDA – Acting (1971), Directing (1995).

Positions: Co-Founder of Victorian Green Room Awards for Excellence in Theatre. Awards: Gold Matilda Award Last Drinks. Proud member of Actors Equity since 1971.

Nicki Wendt Belinda Blair/Flavia Brent Queensland Theatre: Mother and Son (with Sydney Theatre Company). Other Credits: As Actor: Melbourne Theatre Company: Last Man Standing, Les Liasons Dangereuses, The Touch of Silk, As You Like It, Romeo & Juliet, The Respectable Wedding, The Proposal, The Recruiting Officer, The Cherry Orchard, Our Country’s Good, Nana, See How They Run, The House of Blue Leaves, I Hate Hamlet, Measure for Measure, Private Lives, Stiffs, Valpariso, Three Days of Rain, The Memory of Water, Rockabye, Company; Sydney Theatre Company: Stiffs, Love for Love; The Production Company: Curtains, Annie Get Your Gun, Nice Work If You Can Get It, Gypsy, Thoroughly Modern Millie, 42nd Street, Mame; TML Enterprises: Fiddler on the Roof; Mother & Son Live: Mother & Son; Hole in the Wall: Snoopy the Musical; WA Theatre Company: The Sentimental Bloke; Playbox: Picasso at the Lapin Agile; Black Swan State Theatre Company: Miss Bosnia (with Melbourne Theatre Company), Black Rock; Hit Productions: Speaking in Tongues. As Directior: Victorian Opera: The Parrot Factory, Mignight Son. As Assistant Director: Victorian Opera: Angelique/ The Bear. Film: I See Said The Blind Man, Beyond My Reach, Willfull, Walk The Talk, Two Girls and a Baby, Boytown, Heart for the Future. Television: First Contact, The Ex-PM, Darlings of the Gods, Embassy, Neighbours, Acropolis Now, The Feds, Crash Zone, Ship to Shore, Seachange, Society Murders, Halifax fp, The Ponderosa, MDA, The Society Murders, Stranded, Rush, City Homicide. Training: W.A. Academy of Performing Arts.

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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 Wayne Denning Professor Richard Fotheringham (Deputy Chair) Peter Hudson Susan Learmonth Dr Andrea Moor David Williamson ARTISTIC DIRECTOR Sam Strong EXECUTIVE DIRECTOR Sue Donnelly EXECUTIVE ASSISTANT Jacki Micola ASSOCIATE ARTISTIC DIRECTOR Paige Rattray PROGRAMMING PROGRAMMING MANAGER / SENIOR PRODUCER Sophia Hall ARTISTIC COORDINATOR Samantha French PRODUCER (NEW WORK AND DEVELOPMENT) Shari Irwin RESIDENT DESIGNER Vilma Mattila ARTISTIC ADMINISTRATOR Hana Tow EDUCATION AND YOUTH PROGRAMS PRODUCER (EDUCATION & YOUTH PROGRAMS) Heidi Irvine PROGRAMMING COORDINATOR Laurel Collins ASSOCIATE ARTIST (EDUCATION AND YOUTH) Travis Dowling

DEVELOPMENT, FINANCE & OPERATIONS DEPUTY EXECUTIVE DIRECTOR Amanda Jolly CORPORATE PARTNERSHIPS MANAGER Nikki Porter DEVELOPMENT COORDINATOR Alana Tierney COMMUNICATIONS & GRANT COORDINATOR Anja Homburg FINANCE MANAGER Valerie Cole ASSISTANT ACCOUNTANT Georgia Knight FINANCE OFFICER Sarra Lamb VENUE & OPERATIONS SUPERVISOR Julian Messer FRONT OF HOUSE COORDINATOR Kate Hardy MARKETING MARKETING & AUDIENCE DEVELOPMENT MANAGER Tracey Webster HEAD OF CAMPAIGNS Jane Hunterland MARKETING ASSISTANT Louisa Sankey MARKETING ASSISTANT (DIGITAL MARKETING) Thomas Manton–Williams DIGITAL MARKETING OFFICER David D’Arcy GRAPHIC DESIGNER Aleesha Cuffe PUBLICIST Kath Rose and Associates TICKETING SUPERVISOR Eloise Sowden SENIOR TICKETING OFFICER Donna Fields-Brown

TICKETING OFFICERS Madison Bell, Annabelle Hazell DATABASE TRAINER / SUPERVISOR Rory Killen PRODUCTION PRODUCTION MANAGER Toni Glynn TECHNICAL COORDINATOR Daniel Maddison PRODUCTION COORDINATOR Canada White TOURING COORDINATOR Michael Rogerson HEAD OF WORKSHOP Peter Sands COMPANY CARPENTER/ HEAD MECHANIST John Pierce COSTUME SUPERVISOR Nathalie Ryner WARDROBE COORDINATOR Barbara Kerr INDIGENOUS REFERENCE GROUP Wayne Denning (Chair) Jimi Bani Dr Valerie Cooms Nathan Jarro NATIONAL ARTISTIC TEAM Jimi Bani Wayne Blair Margi Brown Ash Marcel Dorney Christie Evangelisto Kat Henry Nakkiah Lui Annette Madden Renée Mulder Lucas Stibbard FRONT OF HOUSE (QUEENSLAND THEATRE) Laura Bamford Isaac Buckland Ben Davidson Roxane Eden James Gatling

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au Chair Chris Freeman AM Deputy Chair Simon Gallaher Trust Members Kylie Blucher Professor Peter Coaldrake AO Sophie Mitchell Professor Chris Sarra Leanne de Souza

Anita Hughes Cillian McDonald Laura Richardson Ellen Tuffley Michael Veal Keziah Young FOUNDING DIRECTOR Ian Edwards, AM, MBE (19252003) QUEENSLAND THEATRE PRODUCTION STAFF CARPENTER Jamie Bowman PROPS MAKER Aleksis Waaralinna SCENIC ARTIST Leo Herreygers MEN'S TAILOR Ghosne Aoun COSTUME ASSISTANT Louisa Bannah COSTUME CUTTER/MAKERS Millie Adams Angela Gearing COSTUME CUTTER Michelle Wiki COSTUME MAKER Hannah Clark WIG STYLIST Michael Green COSTUME MAINTENANCE Shona Webster PRODUCTION ELECTRICIAN Mat Allan RADIO MIC TECHNICIAN Jade Salangsang SOUND CONSULTANT AND FOH OPERATOR Matt Erskine ACKNOWLEDGEMENTS Production Photography: Rob Macoll Rehearsal Photography: Stephen Henry Russell Austen Steve Devine Jan Huggett

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

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet: David Stewart

Executive Staff Chief Executive: John Kotzas Executive Director – Stakeholder Engagement Strategy: Jackie Branch Executive Director – Curatorial: Ross Cunningham Executive Director – Visitation: Roxanne Hopkins

Executive Director – Development: Megan Kair Executive Director – Business Performance: Kieron Roost

Information correct at time of printing

Melbourne Theatre Company BOARD OF MANAGEMENT Terry Moran ac (Chair) Tony Burgess Professor Barry Conyngham am Professor Glyn Davis ac Patricia Faulkner ao Jonathan Feder Gillian Franklin Jane Hansen Janette Kendall Ian Marshman Martyn Myer ao Brett Sheehy ao Virginia Lovett FOUNDATION BOARD Jane Hansen (Chair) Terry Bracks am Liz Chappell Fiona Griffiths Jeanette Kendall Jayne Lovelock Virginia Lovett Sam Margis Louise Myer Leigh O’Neill Hilary Scott Richard Tegoni EXECUTIVE MANAGEMENT Artistic Director & CEO Brett Sheehy ao Executive Director Virginia Lovett Executive Assistant to the Artistic Director & CEO Nick Doherty Executive Administrator Annie Bourke ARTISTIC Associate Directors Dean Bryant Sarah Goodes Producer Martina Murray Literary Director Chris Mead Casting Director Janine Snape Casting Executive Matt Bebbington Company Manager Stephen Moore CATERING Catering Manager Andrea Purvis Assistant Manager Anita Lyovic Café staff Bev Reinmuth DEVELOPMENT Director of Development Jayne Lovelock Major Gifts Manager Patrick Rundle Annual Giving Manager Chris Walters Philanthropy Coordinator Sytske Hillenius

Partnerships & Commercial Executive Matthew Phoenix Partnerships & Memberships Executive Syrie Payne Memberships & Partnerships Assistant Vivienne Poznanski Events Manager Mandy Jones EDUCATION Head of Education and Families Jeremy Rice Community Outreach Manager Karin Farrell Education Coordinator Nick Tranter HUMAN RESOURCES HR Manager Christelle Harris HR Administrator Christine Verginis EHS Coordinator Liz Mundell FINANCE Finance Director Liz Chappell Company Accountant Ness Harwood IT and Systems Manager Michael Schuettke IT Support Officer Christopher Rhodes Finance Officer Sarah Thompson Payroll Officer Julia Godinho Accounts Payable Officer Isobel Taylor-Rodgers Payments Officer Lisa Maundrell MARKETING & COMMUNICATIONS Marketing and Communications Director Kerry Noonan Marketing Manager James Wright Digital Manager Daniel Coghlan Marketing Campaign Manager Emily Fiori Marketing Coordinator Rebecca Lawrence Lead Graphic Designer Emma Wagstaff Designers Helena Turinski Celeste Njoo PR and Communications Manager Rosie Shepherdson-Cullen Publicist Georgia Fox

Communications Content Producer Sarah Corridon PR and Marketing Administration Assistant Jacqui Bartlett Receptionist David Zierk PRODUCTION & TECHNICAL Technical & Production Director Adam J Howe PRODUCTION Senior Production Manager Michele Preshaw Production Manager Mikkel Mynster Production Coordinator Michaela Deacon Props Buyer/ASM Swing Jess Maguire Production Administrator Alyson Brown TECHNICAL Technical Manager Lighting and Sound Kerry Saxby Senior Production Technician Allan Hirons Production Technicians Adam Bowring Scott McAlister Technical Manager – Staging Andrew Bellchambers Staging Supervisor – HQ Jamie Cunningham Production Design Coordinator Andrew Bailey CAD Drafting Jacob Battista PROPERTIES Properties Supervisor Geoff McGregor Props Maker Colin Penn SCENIC ART Scenic Art Supervisor Shane Dunn Scenic Artists Tansy Elso Colin Harman WORKSHOP Workshop Supervisor Aldo Amenta Deputy Workshop Supervisor Andrew Weavers Set Makers Ken Best Nick Gray Bryce Hartnett Philip de Mulder Alastair Read WARDROBE Wardrobe Managers Judy Bunn Keryn Ribbands

MTC.COM.AU @melbtheatreco MTC is a department of the University of Melbourne

Wardrobe Staff John Molloy Tiffany Abbott Emily Brewer Jocelyn Creed Lyn Molloy Justine Coultham Alice Mere Etai Alves Emily Brewer Alice Mere Lyn Molloy Tiffany Abbott Buyer Sophie Woodward Lucy Moran Costume Hire Liz Symons Millinery Phillip Rhodes Wigs and Makeup Jurga Celikiene Wardrobe Maintenance Stella Cadzow SOUTHBANK THEATRE Theatre Operations Director Mark D Wheeler Building Supervisor Adrian Aderhold House Services Manager Kam Greville Production Services Manager Frank Stoffels Lighting Supervisor James Conway Staging Supervisor Grant Kennelly Sound Supervisor Terry McKibbin Lawler and Events Technical Supervisor Tom Brayshaw Head Flyman James Tucker Bar Manager Keziah Warner Stage and Technical Staff Pete Andrews Matthew Arthur Nathan Evers Adam Hanley Chris Hubbard Jake Hutchins David Jenkins Robert Larsen Paul Lim James Lipari Eugene Mackinnon Marcus Macris Bianca Mastroianni David Membery Sophie Norfolk Will Patterson Nicholas Reich Nick Walker Alasdair Watson Joy Weng Ashlee Wohling Nick Wollan

House Supervisors Kasey Gambling Brienna Macnish Paul Terrell Drew Thomson Bar Supervisors Paul Blenheim Natalie Holmwood Tain Stangret Drew Thomson House and Bar Attendants William Atkinson Stephanie Barham Tanya Batt Sarah Branton Zak Brown Alexina Coad Michael Cutrupi Marisa Cuzzolaro Des Fleming Damien Harrison Rosie Howell Leighton Irwin Laura Lethlean Ross MacPherson Will McRostie Faran Martin Natasha Milton Daniel Moulds Ernesto Munoz Amy Poonian Clare Reddan Richard Saxby Myles Tankle Isobel Taylor-Rodgers Isabella Vadiveloo Harriet Wallace-Mead Jamaica Zuanetti TICKETING CRM and Ticketing Director Dale Bradbury Ticketing Manager Brenna Sotiropoulos Ticketing Services Administrator Lisa Mibus Subscriptions Supervisor Jessie Phillips Database Specialist Ben Gu Data Analyst Megan Thomson VIP Ticketing Officer Michael Bingham Education Ticketing Officer Mellita Illich Box Office Supervisor Adam Walsh Box Office Attendants Brent Davidson Katie Dircks Peter Dowd Fran Hefferman Jean Lizza Bridget Mackey Debra McDougall Daniel Scaffidi Tain Stangret

QUEENSLAND THEATRE K AGE Y PAC 141* A L P $ 3 ONLY FROM

THE 2017 SEASON