OEDIPUS DOESN'T LIVE HERE ANYMORE Production Program

Queensland Theatre Company and Queensland Performing Arts Centre present

4 Jul–8 Aug Cremorne Theatre, QPAC Call 136 246 queenslandtheatre.com.au PRODUCTION SPONSOR

Queensland Theatre Company presents and Queensland Government present

By

Cast 23 May – 13 June Bille Brown Studio, The GreenHouse Oedipus Doesn’t Live Here Anymore will run for approximately 80 minutes, no interval.

Winner of the Queensland Premier’s Drama Award 2014-2015

Daniel

Evans

Ellen Bailey

Chorus 3

Emily Burton

Chorus 2

Joe Klocek

Chorus 4

Toby Martin

Chorus 1

Jason Klarwein

Director

Jessica Ross

Designer

Daniel Anderson

Lighting Designer

Justin Harrison

Composer/Sound Designer

Louise Gough

Dramaturg

Niki-J Price

Fight Director

Peter Sutherland

Stage Manager

Bec Li

Assistant Stage Manager

Warning: Frequent, high-level coarse language, adult themes, violence, drug use, strobe lighting, smoke and haze.

Follow this play facebook.com/qldtheatreco twitter.com/qldtheatreco #qtcoedipus

Recycle this program Cover: Binge Advertising + Design Cover Photography: Aaron Tait

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 1

Wesley Enoch, Artistic Director

Hi, The Queensland Premier’s Drama Award has been going since Premier Peter Beatie introduced it in 2002 to help create more opportunities for playwrights to see their works realised on stage. This award is the only one in the country that guarantees a fully professional production. The writers go through a process of pitching ideas, shortlisting and development. When the winning entry is announced, the writer embarks on a redrafting process that sees the play workshopped, read aloud, scrutinised and finally, staged.

New plays are like a modern pregnancy where everyone is there to support you and give you advice, where people want to make a video of the event, tell you it’s easy and heaps of people have done it before. Despite the amazing array of supporters and wisdom, in the end there is only one person left to carry it around and eventually push it out into the world. The writer has to sift through the cloud of opinions and find a way through that will make the words on the page jump out and reach an audience.

Unlike a pregnancy when a play is written the playwright hands the next phase over to a new group to take the work on the next evolution.

The director, designers, actors, technical crews and producers have to help it feed, crawl, walk and grow.

Theatre is a collaborative artform where limitations are overcome and different strengths come to bear so that the final production is a sum of its parts.

When Oedipus Doesn’t Live Here Anymore was first read in front of an audience it was like a gasp of excitement and shock. You found yourself revolted and excited, moved to tears and laughing so hard you got a stitch. It was a breathtaking piece of work with such a modern sensibility that it was hard to believe it was a story that has been around for millennia.

Taking a classic narrative of Oedipus and transposing it to a strangely familiar outer suburban location gave a new lease of life to the story for a modern audience and reminded us of the universal appeal of such stories.

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This piece asks you to imagine that Oedipus and his family lived next door to you and you have to deal with the fallout of this tragedy.

Television crews camped out on your front lawn, the police doorknocking and questioning you on what you knew about the family and, of course, the ubiquitous tragedy tourist.

This is a play that speaks to the next generation of theatre-goer and those who have witnessed a range of works. The level of challenge and freshness rewards those who know a great deal about classical texts and the roles of the chorus, universal narratives and performance modes … or absolutely nothing and have no preconceptions what they are going to see.

Where do you fall?

Get online and tell me what you thought of this show and how it made you feel. I’d be so keen to hear your opinions.

Check out our Facebook page and post a comment there.

Until then enjoy the remarkable work of Daniel Evans, cast and crew of Oedipus Doesn’t Live Here Anymore.

Love,

Wesley

L-R: Ellen Bailey, Emily Burton

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L-R: Toby Martin, Emily Burton, Ellen Bailey, Joe Klocek

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I am delighted to welcome you to Oedipus Doesn’t Live Here Anymore by playwright Daniel Evans, winner of the 2014–15 Queensland Premier’s Drama Award.

The Queensland Premier’s Drama Award is the only award of its kind in Australia that commits to developing and staging the winning play. Through this program, new writers are given a platform to develop their work, with the winner given the opportunity to produce a theatrical performance reflective of Queensland.

Over the last 13 years, this award has gone from strength to strength and resulted in a legacy of seven major new plays and the employment of more than 180 writers, actors and directors.

As Minister for the Arts, I am a strong supporter of this industry in Queensland and committed to making our state a leading cultural hub.

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I would like to thank Queensland Theatre Company for its continued dedication to delivering this important initiative in partnership with the Queensland Government. I am sure you will find Daniel’s winning work, Oedipus Doesn’t Live Here Anymore, highly entertaining and engaging.

Thank you for supporting Queensland’s theatre industry.

Annastacia Palaszczuk MP Premier of Queensland Minister for the Arts

Front: Joe Klocek, Toby Martin

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Daniel Evans

This is a work about how we respond to tragedy in 2015.

How we swallow it, how we sell it, how we ignore it, how we inflict it (often on the ones we love most) and how we move on (or scroll on clicking on a cat meme).

The tragedy of the House of Labdacus is transplanted to the outer suburbs; a space that has always felt mythic to me. It asks, what if Oedipus lived next door? If his wife Jocasta shopped at the same Coles you did? And his sons, Polynices and Etocles, were in your biology class at school?

It’s a proposition that isn’t so hard to imagine, especially given the spate of murders, bashings, disappearances and backyard horror stories that continue to grip and mortify us via the 24-hour news stream. Unspeakable

tragedies becoming disturbingly commonplace.

story that detonated their neighbourhood.

In this version of events, the myth is fractured and domesticised. The protagonist is long gone.

The myth’s major players are extras. Antigone is barely afforded a footnote. The heroes are the bystanders and their fragmented firsthand accounts of Oedipus’ downfall are their own small odysseys in a way.

What they give us is a new myth: our own.

Your guides through this story are a contemporary chorus of young people.

Children are often at the centre of Greek Tragedy (Electra, Medea’s sons, Dadelus’ Icarus) but are so rarely given a voice. Here, they’re moved from the periphery to centre stage.

And they are charged with the task of telling you the

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Thank You The QPDA Selection Panel for their excitement and faith in this new work.

Dramaturgs Stephen Carleton, who helped reveal the world of the work, Saffron Benner, whose canny brand of ruthlessness pushed the writing into savage territory, and Louise Gough for shaping the script towards this premiere season.

Director Jason Klarwein who has read every draft and coaxed the work with great respect from idea to page, and now, to stage.

And my Mum and Dad (it is Oedipus after all).

L-R: Emily Burton, Ellen Bailey, Jason Klarwein, Peter Sutherland, Toby Martin

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Jason Klarwein

God Cloud Appears Above Volcano Shocking Snaps Show Scale of Disaster Mum Doesn’t Regret Killing Her Kids You Can Now Wear A Beaded Vagina Around Your Neck These are all real headlines taken from a mainstream news source’s online page on 27 April at 6:32am.

Welcome to Clickbait.

Welcome to the 21st Century.

Welcome to the 24-hour news cycle, or should we now call it the 4-hour news cycle. Welcome to real-time dramatic events sped up for your viewing pleasure, or should we say the same event just twisted and unpacked slightly differently every time just to keep us salivating and clicking. Our world is a marketing team’s dream.

Look at the way the 100th anniversary of the tragedy of Gallipoli was incorporated into the brands of Woolworths and McDonalds.

Tragedy is intoxicating. And it sells.

But there are ‘worthy’ and ‘unworthy’ victims. Location means everything. The closer you are to tragedy the greater the relevance, and the high. Like a ghost story around a campfire, the modern first world tragic event is picked over like an obese person’s leftovers.

However on the other side of the world, not much time is given to those we consider … well, we just don’t consider.

brought to us most likely by the hardship of children in countries we’ve never visited.

This usually means children.

The exploitation of those, who cannot defend themselves, for the profits and gain of others. The failure of institutions religious and secular to stop generational mistakes is truly staggering.

As well as the denial of such ‘respected’ institutions.

Our first world is callous, rapid and trivially obsessed but it also contains a shimmering, glimmering fact – We are all made of the same stuff. We are all made of stardust (and oxygen, carbon, hydrogen and so on). But we just can’t see that from here. We just can’t see each other for the light pollution of the cities and the suburbs, the daily commute and the hundred little oppressions that pester us hourly. We just can’t see that we are the ‘worthy’ and the ‘unworthy’. We just can’t see those that have slipped through the cracks.

But who cares when papers don’t sell anymore and a culture that would rather read about Kanye and Kim (in all their famous nothingness) than talk about the incarceration of children because they are deemed ‘unworthy’. When the clothes we wear, the food we eat and the smartphone that bathes us in its information glow was

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Oedipus Doesn’t Live Here Anymore is a thrilling, hilarious and fast theatrical ride that takes one of the oldest family tragedies in the Western world and mashes it with social media, social comment and social change. Think South Park or Family Guy meets Western literature’s The Tragic Hero.

This is for the ‘unworthy’ that have slipped through the cracks.

L-R: Ellen Bailey, Toby Martin, Joe Klocek

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Jessica Ross

When I first read Dan Evans’ brilliant new play Oedipus Doesn’t Live Here Anymore I was struck with the fast pace of the work. His text is so strong, bold and witty that I didn’t have a second to think about the design. From this starting point, Jason and I worked together to create a simple, structured space that could bring this text to life in a way that reflects the fast pace of today's media driven world.

The design of the space is an ultra-stylised version of a subterranean landscape; a place where young people might go to escape. This could be an underground car park or abandoned warehouse. Some place they can call their own.

When we first started thinking about the design we were inspired by senses of nostalgia and memories of our childhood, but as we delved deeper into what the space might be, we felt that juxtaposing the gritty text with lots of colour and vibrancy would provide the

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best aesthetic for interpreting the work. This also allowed us to accentuate the youth in the piece in a playful way.

A key influence of mine was the work of creative team Luzinterruptus, who use light objects to focus a viewer’s attention on different problems that arise in large cities. Their work arises in seemingly banal places and uses light to create magical ways of seeing. Two Spanish graffiti artists named Pichi and Avo also particularly influenced us. They mix modern and ancient cultural references in their work and are constantly finding new and unusual places to paint. Additionally, I’m very interested in the contemporary artist Dan Flavin, who uses modern fluorescent lights to comment on different issues in past and present visual art.

We were fortunate to have wonderful Brisbane artists on board to create the imagery.

Leo, Trav and Troy, thank you for your work.

Laius King of Thebes

M

Creon

Jocasta Queen of Thebes

Oedipus

M

Brother of Jocasta King of Thebes

M

Eurydice Wife of Creon

Jocasta Queen of Thebes

Eteocles Polynices Ismene Antigone dead

dead

sister

protagonist

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Haemon engaged to Antigone future King of Thebes

Daniel Evans PLAYWRIGHT

Jason Klarwein DIRECTOR

Queensland Theatre Company: As Director/Co-Deviser: I Want To Know What Love Is. As Director: The China Incident. As Directorial Associate: Queensland Theatre Company: Gasp! (co-production with Black Swan State Theatre Company).

Other Credits: As Director: The Good Room: Rabbit, Single Admissions; Griffith University: Superfamousnobodies, Wide Awake & Wasted, Oedipus The King, DNA, Here Goes Nothing, Face To The Wall, Antigone, Totally Epic & Utterly Lame, Big Hair In America. As Writer: Vodka Cranberry Soda, Never For Ever, The Lady Of The House Of Love, Ivy Shambitt & The Sound Machine, Opening A Fuzzwollop’s Frame Of Mind. As Writer/ Director: the little red company: How To Make Snow; The Good Room: Holy Guacamole; Metro Arts Independents: The Reunion (with Rebecca Meston). As Co-Deviser: The Nest: Eve; The Good Room: Where We Begin, I Should Have Drunk More Champagne. Television: Producer: Southern Star Endemol: Big Brother 2009-2014. Writer: SBS: Eurovision Song Contest 2009/10. Positions: Co-Founder, The Good Room; Artistic Director, Awkward Conversation; Contributor, frankie Magazine; Performance Producer, Metro Arts, 2009 – 2012; CoDirector, National Young Writers’ Festival 2009/10. Awards: Queensland Premier’s Drama Award 2014-2015. Training: Bachelor of Creative Industries (Interdisciplinary), Queensland University of Technology.

Queensland Theatre Company: As Director: The 7 Stages of Grieving (co-production with The Grin and Tonic Theatre Troupe), Orbit, This Hollow Crown. As Actor: Macbeth (co-production with The Grin and Tonic Theatre Troupe), Design For Living, Elizabeth - Almost

By Chance a Woman, Fractions (co-production with HotHouse Theatre), Faustus (co-production with Bell Shakespeare Company), An Oak Tree, 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, 13

Shopping and F$$$ing, The Skin of Our Teeth. Other Credits: As Director: The Arts Centre Gold Coast: Oh the Humanity and Other Exclamations; The Grin & Tonic Theatre Troupe: Macbeth and Lady Macbeth Versus the World, Romeo and Juliet (and Bottom), Livid, I Am Macbeth, Sunburn, Island Home, Revolt, Inferno, VS, Super/Natural, Romeo and Juliet, The Zoo Story, The Trial, A Midsummer Night’s Dream. As Actor: 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 & 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. Television: The Devil's Playground, Slide, Sea Patrol, Australia Remembers, Cybergirl. Positions: Resident Director and Facilitator (Youth Ensemble), Queensland Theatre Company 2014-2015, Artistic Director: The Grin and Tonic Theatre Troupe 2010 – current; MEAA Queensland Branch Council 2011 - current; MEAA National Performers Committee 2013 - current; MEAA National Board Member 2015.

Jessica Ross DESIGNER

Queensland Theatre Company: As Designer: The 7 Stages of Grieving (co-production with The Grin & Tonic Theatre Troupe). As Design Assistant: Fractions. As Secondment: Toy Symphony. Other Credits: As Production Designer: QUT: Mnemonic, The Cherry Orchard, Festen, Attempts on Her Life, The Golden Age; Metro Arts: He’s Seeing Other People Now; 23rd Productions: The Ugly One; Expressions Dance Company: Launch Pad. As Stage Designer: Stella Electrika: The New Dead: Medea Material; Ben Knapton: Gaijin. As Design Coordinator: Brisbane Festival (2011). As Stage Manager: La Boite: Wind in the Willows, Pale Blue Dot, The Glass Menagerie; JUTE: Propelled; Kage: Sundowner; Brisbane Festival/Melbourne Festival: No Child; Two Thumbs Up/QTC: I am Here; Dead Puppet Society: The Harbinger. Television: As Standby Props: Toybox Training: Bachelor of Fine Arts (Technical Production), Honors (Drama), QUT.

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Daniel Anderson LIGHTING DESIGNER

Queensland Theatre Company: As Lighting Designer: The 7 Stages of Grieving (co-production with The Grin & Tonic Theatre Troupe), Bombshells, I Am Here (coproduction with Two Thumbs Up and Multicultural Development Association), Face It, Seeding Bed 2012, Treasure Island (coproduction with Matrix Theatre), This Hollow Crown, Saison de L’amour. As Assistant Lighting Designer: Boston Marriage.

Other Credits: La Boite Theatre Company: Tender Napalm; Black Honey Company: Hot Brown Honey Burlesque, Twelve, Australian Booty, Who’s That Chik; JUTE Theatre Company: Like A Fishbone, Propelled, Sentinel Chickens; Brisbane Festival: Sunsuper Riverfire (2013); Elbow Room: Prehistoric; Motherboard Productions: Or Forever Hold Your Peace (co-production with La Boite Indie), 지하 Underground; Brisbane Marketing: Story Bridge Christmas Light Show (2013-2014), Story Bridge New Year’s Eve Light Show (2013-2014); Next Wave Festival: Tukre' (co-production with Raghav Handa), White Face (co-production with Carly Sheppard); Oscar Theatre Company: Spring Awakening; Fixate Productions: Haven; The Good Room: Rabbit; Brisbane Powerhouse: A Tender Thing (co-production with Full Circle Theatre); Metro Arts: He’s Seeing Other People Now. As Associate/Assistant Lighting Designer: Opera Queensland: Cinderella or Goodness Triumphant; Brisbane Festival: Freeze Frame, Santos GLNG City of Lights (2012-2013), Santos City of Lights (2011); Legs on the Wall/Raw Dance Company: Beautiful Noise; Expressions Dance Company: Launch Pad. Positions: Artistic Associate – Black Honey Company.

Awards: ArtStart Grant from the Australia Council for the Arts; Matilda Award Nomination - Bille Brown Award for Best Emerging Artist (2012). Training: Bachelor of Fine Arts (Technical Production), QUT; Bite the Big Apple Arts & Culture Management Tour, Kape Communications; Broadway Lighting Master Class, Live Design. Daniel is a professional member of the Association of lighting Designers.

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Justin Harrison SOUND/PROJECTION DESIGNER

Louise Gough DRAMATURG

Queensland Theatre Company: The 7 Stages of Grieving (co-production with The Grin & Tonic Theatre Troupe), Orbit, Youth Ensemble Showcase. Other Credits: Grin & Tonic Theatre Troupe: Revolt, Inferno, Romeo and Juliet, I Am Macbeth, Livid, Super/Natural, Heartfail, Island Home, Romeo and Juliet versus The World, Macbeth and Lady Macbeth versus The World; State Library of Queensland: Garage Gamer. Film: Tailgate, The Little Things, Conscience for Cambodia, Don’t Show Mother. Television: Handball Heroes, Crimestoppers, Lotteries NSW Opera House, ACT for Kids, Starlight Children’s Foundation, Gold Coast Suns AFLC, Royal Children’s Hospital, Regent Cinema. Awards: Crime Stoppers International (Capetown), Brisbane Advertising and Design Club, Queensland New Filmmakers.

Queensland Theatre Company: As Dramaturg: Brisbane, Black Diggers (co-production with Sydney Festival), Gloria, I Want to Know What Love Is (co-production with The Good Room). Other Credits: As Dramaturg (selection only): Belvoir: Aliwa!, Yibiyung; Arena Theatre Company: Criminology; Playbox: Salt, Conversations with the Dead, Holy Day (with State Theatre Company of South Australia); Melbourne Workers’ Theatre: The Procedure, 1975 (with Canto Coro); The Anthropologists: Another Place, For the Love Of…, Give Us Bread; Vulcana Womens’ Circus: Cravings, Dragonfly, Blissed Out, Distraught and Intoxicated, Fire in the Belly, Lifeblood; LaBoite: Black Chics Talking (Bungaburra Productions), Long Gone Lonesome Cowgirls; Queensland Performing Arts Centre: Decent Spinster and the Upright Citizen, Blurred, Keep Everything You Love, The Magic Finger; Backbone Youth Arts: Toxic, Trail, Blaze, Scar, Risk8, After Dark, Love My Arsenal; Rock’n’Roll Circus: The Dark; Kooemba Jdarra: Little White Dress. As Television Development Executive: MDA: Medical Defence Australia, Fireflies, Hell Has Harbour Views, Marking Time, Loot, The Shark Net, The Forest, Small Time Gangster. As Film Script Editor and Consultant: City Loop, Bran Nue Dae, Save Your Legs, Oxygen, Macondo, Afterlife, Wastelander Panda. Positions: Guest Dramaturg, Banff Playwrights’ Colony (Canada); Dramaturg, Inaugural

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Victorian Indigenous Playwrights’ Conference; Dramaturgin-Residence, La Boite Theatre Company (Brisbane); Tutor and Lecturer, QUT; Executive Director, Playlab; Literary Manager, Playbox Theatre; Editorial Manager, ABC TV Drama and Narrative Comedy (Melbourne); Script Manager, Film Victoria; Development Executive, Robyn Kershaw Productions (Melbourne, New York); Australian Film Commission Fellowship Vox3 Films (New York); Literary Fellow, Vineyard Theatre (New York); Script Advisor, Sources 2 (Berlin); Script Advisor, Berlinale Talent Campus Script Station (Berlin); Curatorial Advisor, Queensland Performing Arts Centre (Brisbane); Judge, Queensland Premiers’ Drama Award; Reader/Assessor, Australian Writers’ Guild, Lark Play Development Center Literary Wing (New York), Primary Stages (New York), Screen Australia, Screen Tasmania, Screen New South Wales, Film Victoria, New Zealand Film Commission, The Summer Play Festival (New York); Madman Production Company Development Executive. Committee Positions: Australian National Playwrights’ Centre, Backbone Youth Arts, Sources 2.

Training: QUT Bachelor of Arts, Drama (First Class Honours), QUT Graduate Diploma Secondary Teaching (Drama, English).

Niki-J Price FIGHT DIRECTOR

Queensland Theatre Company: The Effect, I Want to Know What Love Is, Black Diggers, Australia Day, Kelly, Head Full of Love, Seeding Bed, Pygmalion, No Man’s Land, Cat on a Hot Tin Roof, Man Equals Man, Fat Pig, Water Falling Down, Sacre Bleu!, Waiting for Godot, Eating Ice Cream with Your Eyes Closed. Other Credits: As Fight Director: deBase, Opera Queensland, La Boite Theatre Company, Harvest Rain, Backbone, 4MBS, Grin & Tonic Theatre Troupe, Blacklight, Vena Cava, Ignations, Griffith Uni, Starlight, The Good Room, That Theatre, Pretend, UQ, QUT, ACPA. Positions: Fight Director, Trainer: The Actors Workshop and Aboriginal Centre for Performing Arts.

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Ellen Bailey ENSEMBLE

Emily Burton ENSEMBLE

Queensland Theatre Company: Macbeth (co-production with The Grin and Tonic Theatre Troupe).

Other Credits: Erth Visual & Physical Inc: Fish Out of Water; Imprint Theatricals: 5 Lesbians Eating a Quiche; bakeHOUSE Theatre: His Dark Materials; Sydney Theatre Company: Roadtrain; La Boite Theatre Company: Tender Napalm; QUT: As You Like It, The Last Days of Judas Iscariot, Edward II, The Crucible, The Three Sisters; Zeal Theatre: A Secret Place; ATYP: Bustown. Film: Ruby, Clubland.

Television: Home and Away. Training: Bachelor of Fine Arts (Acting), QUT. Queensland Theatre Company: A Tribute of Sorts. Other Credits: La Boite Theatre Company: A Midsummer Night’s Dream, Sleep, Rest and Repose (Scratch Program), Monsters Appear: A Tribute of Sorts (with La Boite Indie), A Spectacular of Sorts (World Theatre Festival); Metro Arts: The C Word, Dead Puppets Society: The Harbinger, Empire Theatre: Cosi; USQ student productions: A Midsummer Night’s Dream, Totally Over You, Twelfth Night, The Man from Beyond; shake & stir theatre co: Thus I Die. As Director: Vena Cava Productions: Jerusalem; USQ: The Winter’s Tale. As Co-Creator: Life etc., Oh The Humanity. Film: Heart of Glass, Logged In, Out of Order.

Television: The Void. Training: Bachelor of Theatre Arts (Acting, Acting and Theatre), USQ.

Joe Klocek

Queensland Theatre Company: This Hollow Crown, Face It. Other Credits: QUT: Orphans, The Three Sisters. Film: Rome. Training: QTC Youth Ensemble, 2012.

ENSEMBLE

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Toby Martin ENSEMBLE

Peter Sutherland STAGE MANAGER

Queensland Theatre Company: Debut. Other Credits: The Grin & Tonic Theatre Troupe: Super/ Natural, I Am Macbeth, Island Home, Romeo and Juliet Versus the World; That Production Company: The Eisteddford; Sandra Carluccio/ La Boite Indie: This is Capital City; DeBase Productions: Fly In, Fly Out; Metro Allies: Some Dumb Play; Pentimento Productions: The Truth About Kookaburras; Toby Martin Productions: Glen and Ben; SeeD Theatre: Happy Days (are here again); La Boite Scratch Program: flinch; Dead Puppet Society: The Harbinger, Litter Characters; BlackLight Productions: Trolley Boys; Queensland Shakespeare Ensemble: Richard III, As You Like It, Food of Love; Little Big Productions: the night, my brother and me; Backbone Ensemble: The Amazing Dot; Underground Productions; The House of Yes, Not Fade Away, The Mischievous Machinations of Scapin. As Writer: This Is Capital City. Film: Shadows of a Murder, Choose Your Own Adventure, Junkie Magic, Mistletoe Chokes, The Score, Eraser, Composure, Kokoda, Lunch Brake, Respect, Singlets, Barebacks, Flannies and Women. Training: Bachelor of Creative Industries (Drama), QUT. Queensland Theatre Company: Black Diggers (co-production with Sydney Festival), Venus in Fur, Kelly, Elizabeth, Summer of the Seventeenth Doll (co-production with Belvoir), No Man’s Land (coproduction with Sydney Theatre Company), Faustus, Grimm Tales, Betrayal, The Crucible, The School of Arts (co-production with QPAC), The Female of the Species, Rabbit Hole, The August Moon, The Fortunes of Richard Mahony (co-production with Playbox), Molly Sweeney, Buried Child, Dirt, Fred, Fountains Beyond, The Skin of Our Teeth, Bell Shakespeare co-productions Faustus, The Alchemist, The Tragedy of Richard III and Anatomy Titus Fall of Rome: A Shakespeare Commentary. Other Credits: Bangarra Dance Theatre/Corroboree Festival: Page 8; Bell Shakespeare: Henry V, King Lear, The Government Inspector, Macbeth, The Merchant of Venice, Romeo and Juliet, Measure for Measure, The Wars of the Roses, Hamlet; Black Swan State Theatre Company: Dinner, As You Like It, The Seagull, A Streetcar

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Named Desire, The Sapphires; Sydney Theatre Company: Blacked Up, Stones In His Pockets, Barrymore; Griffin Theatre Company: Wicked Sisters; Marion St Theatre: Brief Lives, Tom and Clem; Melbourne Theatre Company: Dumb Show, The Herbal Bed, A Little Night Music; Legs on the Wall: Eora Crossing, Flying Blind; Sydney Conservatorium of Music: The Beggar’s Opera; Darwin Theatre Company: The Winter’s Tale, Cosi, Diving For Pearls, Emma; Queensland Conservatorium of Music: Orpheus in the Underworld. Training: Bachelor of Dramatic Arts (Technical Production), NIDA.

Bec Li ASSISTANT STAGE MANAGER

Queensland Theatre Company: As Stage Manager: Stradbroke Dreamtime, Creative Development Series 2013, Theatre Residency Week 2012, Blakdance, Face it, Wide Bay Schools Project. As Assistant Stage Manager: Mother Courage and Her Children, End of the Rainbow, Romeo & Juliet, Head Full of Love, Fractions, Orphans, Macbeth, Let the Sunshine, 25 Down, I Am My Own Wife, An Exploration of the Caucasian Chalk Circle, Young Playwrights Program. As Stage Management Secondment: Private Fears in Public Places. Other Credits: As Site Design and Signage Coordinator: Brisbane Festival. As Stage Manager: Brisbane Festival: L’Orfeo, Princess Cruises Lawn; Ridiculusmus Theatre Company: The Importance of Being Earnest; Oscar Theatre Company: The 25th Annual Putnam County Spelling Bee; Brisbane Powerhouse: Brisbane Comedy Festival, Gaijin; 4MBS: Amadeus. As Assistant Stage Manager: Franco Dragone Entertainment Group: The House of Dancing Water; La Boite Theatre Company: Julius Caesar, Gwen in Purgatory, Summer of the Seventeenth Doll. Training: Bachelor of Fine Arts (Technical Production), QUT.

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Who murdered Nellie Duffy?

If you would like to know,

join the QTC Legal Chapter as they raise funds to commission a play about an infamous Queensland murder case that took place on Carpentaria Downs Station in 1908.

Housekeeper Nellie Duffy was found brutally murdered in her bed. An Aboriginal station hand, Billy, was charged but the jury refused to convict him despite his "confessions". Where does the truth lie?

Nellie Duffy Project Supporters 4 Anonymous Roslyn Atkinson & Richard Fotheringham Michael & Anne Back Jennifer Batts James Bell Sarah Bradley Madeleine Brennan Peter Bridgman & Susan Booth S.J & K.W Brooks Sue Brown Patricia Byrne Carter Newell Lawyers Sheryl Cornack Leone Costigan

Peter Davis Ralph & Frances Devlin Richard Douglas Adrian Duffy Scott Falvey Richard Fryberg H G Fryberg Elizabeth Gaffney Anthony Glynn Milton Griffin John & Lois Griffin Michael Hodge Kevin & Joanne Holyoak EM Jameson & AL Anderson

Joshua Jones Stephen Keim Liam Kelly Declan Kelly Asif Khan Fleur Kingham Raymond & Audrey Lawrence John & Janice Logan Sarah Ludwig Stephen & Hana Mackie John & Julianne McKenna Kerri Mellifont Denise & Richard Morton

If you would like to find out more about this intriguing case and contribute towards the play commission, please visit queenslandtheatre.com.au/nellieduffy or phone 3010 7668.

Donations to this project are tax deductible. 21

Debra & Patrick Mullins Andrew O'Brien Dan O'Gorman Leanne O'Shea & Peter Gilroy Dominic O'Sullivan Adam Pomerenke Tina Previtera Jeff Rolls & Barbara Houlihan Walter Sofronoff Michael Stewart van de Graaff Lawyers Greg & Sally Vickery Elizabeth Wilson

Sensational Women Centre Stage

July – October

4 July – 8 August

18 July – 15 August

29 August – 26 September

17 October – 8 November

14 November – 6 December

SUBSCRIPTIONS NOW ON SALE Call 1800 355 528 or visit queenslandtheatre.com.au to find out about all of our 2015 productions 22

You ain’t seen nothing yet …

Queensland Theatre Company’s 2015 season is well underway. We hope you enjoyed Boston Marriage, Mother & Son, The 7 Stages of Grieving and Brisbane, with the excitement not stopping there! Still to come this year, QTC is proud to present eight exciting productions, making 2015 one of the most ambitious programs ever staged.

QTC will return to the Cremorne Theatre with a new play this July, Country Song, written by Reg Cribb. Following the life and times of singing superstar Jimmy Little, Country Song is filled with Little’s best-known tunes. It is a beautiful musical celebration of the healing power of music.

July through to October, QTC will present our DIVA program with four amazing shows featuring four incredible and talented women taking centre stage.

Rumour Has It will transform Naomi Price into singing superstar and Grammy goddess, Adele, in an intimate portrayal of her life. The show will feature Adele’s greatest hits such as Skyfall, Rolling in the Deep and Someone Like You. You will sure to find yourself singing along to the tunes days after.

Home takes Margi Brown Ash backwards and forwards, criss-crossing the globe in a moving and uplifting story of belonging and not belonging. You will experience her bouncing across several continents as an actor, therapist, schoolgirl, soapie starlet, wife and mother. A sensitive and empowering performance not to be missed.

Happy Days stars the one and only Carol Burns taking the role of a brave Winnie who buries herself in Samuel Beckett’s absurd and surreal masterpiece. The script by Beckett is like a piece of music, you must let yourself feel it through to the end and then consider the journey and powerful tale of resilience.

Grounded is the last of the DIVA shows, where Libby Munro, an Air Force pilot is brought back to earth when she falls in love, falls pregnant and falls back to earth with a bump. This remarkable story highlights the difficulties of going to war, fighting in a war, then clocking off and kissing your child goodnight …

In August, Anton Chekov will cast an extraordinary spell over 21st century theatre audiences with Daniel Evan's adaptation of The Seagull, at Billie Brown Studio.

Taking centre stage is the combined skills of a stellar cast in QTC’s Actors’ Studio production, who will perform the contemporary play surrounding the themes of family, power, sex, fame and passion.

Neil Simon’s The Odd Couple takes to QPAC’s Playhouse stage mid-October for a show where there’s scarcely a moment that is not hilarious. Two pals who are completely different types of people, start living together which creates the ultimate housemates from hell.

Finally, QTC will finish off the year with the world premiere, Ladies in Black, at QPAC’s Playhouse mid-November. Adapted from Madeleine St John’s 1993 novel book, THE WOMEN IN BLACK, is brought to life by internationally acclaimed director Simon Phillips, with original music from superstar singer and musician Tim Finn (Split Enz, Crowded House). Ladies in Black is a magical modern-day fairytale with a dash of delicate comedy which will be a great way to end a fantastic 2015 season.

Tickets on sale now, 5 and 3 Play Packages still available.

Tickets 1800 355 528 or queenslandtheatre.com.au 23

Acknowledgements Conceptual Development Shaun Charles Linda Hassall Lucas Stibbard Griffith University Contemporary & Applied Theatre Department QPDA Creative Development Saffron Benner Emily Burton David Burton Stephen Carleton (QPDA Dramaturg) Jason Klarwein (Director) Lucas Stibbard QPDA Reading Emily Burton Zachary Jamieson Jason Klarwein (Director) Toby Martin Terri-Leigh Redding QPDA Selection Committee Wesley Enoch Kate Foy Louise Gough Lee Lewis Anne Moffat Special Thanks: Lauren Clelland Caroline Dunphy Samantha Evans-Johnson Amy Ingram Cory Johnson Kellie Lazarus Kieran Swann Bronte Mew Graffiti Artists: Troy Travis Vinson Rehearsal Photography: Stephen Henry

L-R: Joe Klocek, Toby Martin

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 Bille Brown Studio 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 venue.

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PATRON His Excellency the Honourable Paul de Jersey AC Governor of Queensland MEMBERS OF THE BOARD Richard Fotheringham (Chair) Julieanne Alroe (Deputy Chair) Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Elizabeth Jameson Nathan Jarro ARTISTIC DIRECTOR Wesley Enoch EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Resident Dramaturg: Louise Gough Resident Directors: Jason Klarwein and Andrea Moor Programming Manager/ Senior Producer: Katherine Hoepper Producer (New Work and Development): Shari Irwin Artistic Coordinator: Samantha French Touring and Regional Program Coordinator: Christine Johnstone Producer (Education and Youth Programs): Heidi Irvine Programming Project Officer: Laurel Collins Joon-Yee Kwok Theatre Diversity Associate Indigenous Mentor: Janine Matthews Chief Financial Officer: Michael Cullinan Systems Accountant: Roxane Eden Finance Officer: Robin Koski

Front of House and Events Supervisor: Deirdree Wallace Venue and Operations Supervisor: Julian Messer Marketing Manager: Yvonne Whittington Marketing Coordinator: Amanda Solomons Marketing Officer: Tanya Leadbetter Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David D’Arcy Database Trainer and Supervisor: Dale Ric-Hansen Publicist: Kath Rose and Associates Ticketing Coordinator: Maggie Holmes Ticketing Officers: Donna Fields-Brown Maneka Singh Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Development Coordinator: Dee Morris Researcher and Grant Writer: Danielle Bentley Production Manager: Toni Glynn Technical Coordinator: Daniel Maddison Production Coordinator: Scott Klupfel Head of Workshop: Peter Sands Company Carpenter/ Head Mechanist: John Pierce Carpenter: Jamie Bowman Head of Wardrobe: Vicki Martin Costume Supervisor: Nathalie Ryner

Front of House: Susan Mitchell Anita Hughes Leisha Du Bois Madison Bell Mollie Thomas Sally Lewis Jonthan Peterson Nathan Hollingworth Charlotte Moutrey Indigenous Reference Group: Nathan Jarro (Chair) Adam James Michael Tuahine Paula Nazarski Todd Phillips Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Katherine Lyall-Watson David Morton Gayle MacGregor Paula Nazarski Ngoc Phan Lucas Stibbard Oedipus Doesn't Live Here Anymore Production Staff Art Finisher: Nathalie Ryner Wardrobe Maintenance: Liezel Buckenham Scenic Artist: Leo Herreygers Production Electrician/ Lighting Operator: Nick Toll Production Assistant: Lilith Tremmery Sound Consultant: Matt Erskine

FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003)

Queensland Theatre Company is a member of Live Performance Australia.

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L-R: Joe Klocek, Emily Burton, Toby Martin, Ellen Bailey

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Thank You To Our Current Donors $10,000+

$5,000-$9,999

We thank all our generous donors for their contribution to our work.

1 Anonymous Pamela M Marx Bruce & Sue Shepherd

Your assistance makes it possible for us to enrich the cultural life of our community.

$2,000-$4,999

Richard Fotheringham & Roslyn Atkinson AO John & Gabrielle Hull Cathryn Mittelheuser AM Karl & Louise Morris Tim & Kym Reid

Donations over $250 are acknowledged for 12 months from the date of donation. Visit queenslandtheatre.com.au or phone our Philanthropy Manager on 07 3010 7621 to find out how you can support our work.

John H Casey John & Lynnly Chalk Sue Donnelly Wesley Enoch Kirstin & Glen Ferguson Alan Galwey Bruce & Alexandra Grove E M Jameson & A L Anderson Trevor Love & Vivienne Johnson The Prior Family Cecily Stevenson

Creative Partnerships Australia The Siganto Foundation Tim Fairfax Family Foundation

$1,000-$1,999 5 Anonymous Anne & Peter Allen Julieanne Alroe William Ash & Margi Brown Ash Lisa & William Bruce Mathieu & Anastasia Ellerby Erin Feros

William & Claire Glasson David & Katrina King Noela & Colin Kratzing Directors Australia Jim & Jill Nicklin Donal & Una O’Sullivan Marianna Serghi R & M Williams

$500-$999 8 Anonymous Melissa Agnew Stephen & Jennifer Boyd Ian Bunzli Rita Carter-Brown Bob Cleland Graham Dunlop & Elizabeth Ardill Jan & Michael Evans Merrilyn Goos Pamela Greet & Nicholas Beaton Gough Medical David Hardidge Geoffrey Hirst & Sally Wilde Hudson Family Amanda Jolly Tempe Keune Ross & Sophia Lamont Joan M. Lawrence Susan Learmonth & Bernard Curran Fred & Margaret Leditschke Andrew & Kate Lister

$250-$499 15 Anonymous Leanne Austin Phil Barker Melissa Bennett Emma Benson Ethna Brown Margaret Byrne Michael & Margaret Clancy Christine Comans Anthony Costantini June Craw OAM Michael Cullinan Eve Dyer Judi Ewings William & Lenore Ferguson Kate Foy Peter & Gay Gibson Anita Green Andrea & Malcolm Hall-Brown Albert & Carmen Hili Katherine Hoepper Marc James

TRUST & FOUNDATIONS

Olwyn M Kerr Tammy S Linde Sandra McCullagh Carolyn McIlvenny Hon. Tom McVeigh Sandra McVeigh Elizabeth Mellish Dee Morris & Reny Rennie Philip & Fran Morrison Darryl Nisbet Pacstars Allan Pidgeon Catherine Quinn People Resourcing Donald Robertson Lyn & Joanne Scott Bronwyn Springer Coralie Van StraatenPeretz VERTEC RAIL Amy Walduck D & J Woodward

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B Lloyd Brad Mammino Ian & Rhyl McLeod Rob & Barbara Murray Denise O'Boyle Greg & Wendy O’Meara Diane & Robert Parcell Blayne & Helen Pitts Bruce Richardson & Taninnuch Stone John Richardson & Kirsty Taylor Geoffrey Rush Gary Sawyer Phoebe Stephens Flowers Wendy Tonkes Sandy Vigar & Martin Pearson Margaret & Norman Wicks Gillian Wilton Ian Yeo & Sylvia Alexander Sharon York & Mark Smith

Thanks to our Sponsors Government Partners

Presenting Sponsors

Production Sponsors

Building Enhancement Program

solar

Regional Sponsors

WorkPac Group

Season Sponsors

Season Supporters

Media Supporters

78 Montague Rd, South Brisbane PO Box 3310 South Brisbane BC QLD 4101 Tel 07 3010 7600 Fax 07 3010 7699 Ticketing 1800 355 528 queenslandtheatre.com.au mail@queenslandtheatre.com.au

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Š The State of Queensland (Queensland Theatre Company) 2015 Disclaimer: Every endeavour has been made to ensure that the contents of this brochure are correct at the time of printing.

However, things can change. Queensland Theatre Company reserves the right to vary advertised programs and to add, withdraw or substitute artists as necessary.