13 AUG — 3 SEP BILLE BROWN THEATRE ADAPTED BY JIMI BANI AND JASON KLARWEIN DIRECTED BY JASON KLARWEIN OTHELLO
QUEENSLAND THEATRE IS ASSISTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL, ITS ARTS FUNDING AND ADVISORY BODY. QUEENSLAND THEATRE IS SUPPORTED BY THE QUEENSLAND GOVERNMENT THROUGH ARTS QUEENSLAND.
Queensland Theatre acknowledges the Jagera and Turrbal people who are the Traditional Custodians of the land on which we work, and their unique relationship with the lands, seas and waterways. We pay our respects to their Elders both past and present, and to all Aboriginal and Torres Strait Islander peoples.
Lee
— Lee How do you bring together an ancient storytelling tradition with the traditions of Shakespeare in a country struggling to find new ways of working across cultures with respect and equality? Lewis Artistic Director 3
You let the artists lead the way. Jimi Bani and Jason Klarwein have been forging a creative partnership over many years, and this production of Othello sees them unite again to continue their ground-breaking journey towards a new vision for Australian theatre. Both men are forces in their communities, both have a deep love of language and a belief in the transformative power of storytelling. They are separately extremely talented: together they are the inspiration we all need from the theatre as we come back to sharing stories after the dark times of Covid-19. When they say they want to work together, it is the job of Queensland Theatre to support them as treasured theatre makers. This was the play I was most looking forward to in 2020 — it holds the biggest challenges and the greatest hopes. When this was postponed in 2020 an extraordinary opportunity opened up for the artists to start the production up north in Cairns and share it first with the Torres Strait Islander community. So, this production made its world premiere as a part of the Cairns Indigenous Art Fair at Bulmba-ja last year. So many people have worked to bring the vison of Jimi and Jason to life: the Bani family, the veterans and families connected to the 51st Battalion and our government partners, Arts Queensland and the Australian Government through the Australia Council and the Office for the Arts’ Indigenous Languages and Arts Program.
I know a lot of you sitting here tonight have heard how special those performances in Cairns were… thank you for waiting. Thanks too must go to the cast who have stayed so committed to this work for over three years in the face of seemingly insurmountable Covid obstacles. Given that Othello was the first Queensland Theatre show to be shut down by Covid, it is a huge relief to finally fulfil the promise to bring these wonderful artists to this stage. Shakespeare’s Othello is not a play known for its hopefulness, strangely though, Jimi and Jason’s production is filled with hope… it has survived the pandemic and it gives us a vision of how artists can be crafting new Australian classics together.
Brisbane Festival is an initiative of the BrisbaneGovernmentQueenslandandCityCouncil
PROUDLY
The Imperial Japanese Navy bears south toward Far North Queensland and the bold Captain Othello and his battalion are all that stand in their way. Off the battlefields, Othello's life is just as turbulent. He has secretly married the daughter of a wealthy cane farmer. Her spurned suitor Roderigo joins forces with the envious Iago in a sinister plot to bring down the renowned military hero. This tri-lingual (Kala Lagaw Ya, Yumpla Tok and English) production, thrillingly re-imagined by Jimi Bani and Jason Klarwein, illuminates the vital role of the Torres Strait Light Infantry Battalion during World War II. More than 800 Torres Strait Islanders signed up to protect the northern tip of Australia, including Jimi Bani's great grandfather, the late Ephraim Bani Snr and his grandfather, the late Solomon Gela. Infusing the narrative of Othello with the history of the battalion brings together two powerful artistic cultures — Shakespeare and Wagadagam — creating an utterly distinctive theatre experience. This project is supported by the Australian Government through the Indigenous Languages and Arts Program.
10 SEP
OTHELLO — 1 OCT BILLE BROWN THEATRE ADAPTED BY JIMI BANI AND JASON KLARWEIN DIRECTED BY JASON KLARWEIN SUPPORTED BY IN ASSOCIATION WITH
Shakespeare's classic tale of jealousy, betrayal and revenge lands in the Torres Strait. PlaywrightCREATIVESWilliam Shakespeare Director Jason Klarwein Set Designer Richard Roberts Costume Designers Simona Cosentini, Simone Tesorieri Lighting Designer Ben Hughes Composer/Sound Designer Brady Watkins Stage Manager Grant Gravener Assistant Stage Manager Katherine Crocker CONTRIBUTING ARTISTS Original Fight Director Justin Palazzo-Orr Fight and Intimacy Director Nigel Poulton Voice Coach Megan Shorey OthelloCAST Jimi Bani Montano Richard Bani Iago Andrew Buchanan Desdemona Emily Burton Brabantio Eugene Gilfedder Lieutenant Colonel Kevin Hides Cassio Benjin Maza Rodorigo Matt McInally Emilia Sarah Ogden Bianca Tia-Shonté Southwood Soldiers/Dancers Conwell Bani, Gabriel Bani Offstage Cover Performers Ellen Tuffley, Jason Klarwein LOCATION Queensland Theatre, 78 Montague Road, South Brisbane DURATION 2 hours and 40 minutes, including a 20-minute interval WARNINGS This play contains strobe use, theatrical smoke and haze, replica guns and depiction of domestic violence. If you or someone you know needs information or support, these organisations are there to help: White Ribbon 1800 RESPECT (1800 737 732) Lifeline 13 11 14 The use of photographic or recording equipment is not permitted inside the theatre. 5
"Language is the thing that keeps us together. If you have language you are part of a group, part of a people. Belonging and owning.”
The best estimates are that Othello was written in 1603 and the first recorded performance in 1604. Hamlet premieres about 18 months before Othello and two years later in 1606, Shakespeare will write Macbeth, King Lear and Antony and Cleopatra, all in one year. This is a writer in full flight. Queen Elizabeth I has died and King James VI of Scotland becomes the monarch, uniting the crowns of England and Scotland. Disquiet and simmering rebellion stalk the streets of London and assassination plots and counter plots sweep through the nobility. Bookended by the Main Plot in 1603, in which Sir Walter Raleigh and others fail to unseat James VI, and the 1606 Gunpowder Plot, in which Guy Fawkes tries to blow up Parliament, Othello sits in this slippery world where people are not what they seem. It’s no wonder then that the play is full of such duplicitous behaviour. Iago, our villain, spends most of the play concocting and enacting poisonous plots and schemes that he constantly changes and improvises, depending on the company he keeps. Early in the play he swears ‘by Janus’ the Roman god of duality. Janus is depicted as having two faces, hence the modern descriptor of someone being ‘twofaced’. He was also associated with the beginning and ending of conflict, particularly war. The original setting for Othello begins in Venice and travels to the island of Cyprus. The Venetians and the Turkish are battling in the Mediterranean for strategic positions among the island bridges that join the seas of the Adriatic, Ionian and Aegean. It was this conflict that made Jimi Bani and I think of Far Northern Australia during World War II. The land bridge between Papua New Guinea and Cape York is what is known as the Torres Strait or Zenadth Kes. My own grandfather Herbert Klarwein, a first-generation German Australian living south of Cairns in the tiny town of Gordonvale, was a Corporal in the Australian Imperial Army. While he was patrolling Cape York in a Bren Gun Carrier and later flying over the Straits as part of Air Liaison, his father Heinrich and uncle Michel were imprisoned along with other Germans and Italians from the region for the duration of the war, their places of birth now in conflict with the Allies. They were also spied on by government
Jason Klarwein Adaptor Jimi Bani Adaptor
— Ephraim Bani Jnr
7 Jimi Bani, Emily Burton
departments between the World Wars, especially after a visit from Count Felix Von Luckner. In 1938, Von Luckner and his entourage sailed his boat The Sea Devil to Cairns on his way to Indonesia. A famous World War I raider, he was greeted warmly by the Australian Germans and Italians. The interactions and correspondence of these new Australians were recorded by the Commonwealth Investigation Branch, “…most of the time the Count was with H. Klarwein of Gordonvale and Dr. F. Castellano… Since Von Luckner’s departure Klarwein has purchased a £50 camera from an Italian, believed to be Auriccio of Cairns.” It’s no wonder my forebears refused to speak the German language or eat German food again. We became Anglicised changing the German ‘V’ sound in Klarwein to the English ‘W’. The Italian names of Auriccio and Castellano seemed to Jimi and I to mirror the Venetian characters in Shakespeare’s play, multi-syllable names like Brabantio and Roderigo. And while my grandfather sat sweltering in a Bren Gun Carrier in Cape York, Jimi
Benjin Maza, Jimi Bani, Andrew Buchanan, Eugene Gilfedder, Matt McInally
Bani’s great grandfather Ephraim Bani Snr signs up to the Torres Strait Light
BeforeInfantry.colonial recorded history, the people of the 274 individual islands of the Torres Strait were feared raiders and head-hunters. In 1606, the same year Shakespeare pens Macbeth and King Lear, the Spaniard Luis Vaez de Torres, explores the islands looking for Terra Australis. Jimi Bani’s Wagadagam ancestors live on the island of Mabuiag speaking Kala Lagaw Ya, the language for the Western part of the Torres Strait, and one of the languages you will hear in this production. The London Missionary Society lands on Erub Island in 1871 convincing many warriors to now collect souls instead of heads. ‘The Coming of the Light’ marked a huge shift for the islanders, and while it brought some peace between islands, cultural language, dance and protocols were actively banned by these new visitors. There is a complex association between Christianity and the cultural belief systems of the Torres Strait and you will see these intertwined on stage.
Othello is written in the same year as Measure for Measure, another complex play where we see a writer playing with form. Othello sees Shakespeare move away from the more poetic blank verse and delve more into the straight-talking prose of the time. He writes character like no other playwright. The character Othello’s verse speeches are full of stunning imagery of "hills of Seas Olympus high", whilst all Iago can manage in prose is a metaphor about our wills being "gardens of lettuce and manure".
Othello is a problem play for a modern audience. It sits in the rejected pile of post-modern, post-dramatic refuse, studied through a large magnifying glass by academics who claim there is no such thing as ‘the author’. Yes, there are characters in this play who are racist and misogynist, but these are mere levers to seek their end wishes. Instruments by which to cause chaos and stop social progress. Under a microscope, not a magnifying glass, we see a complex representation of human nature. It seems fit that we have set our adaption in Far North Queensland. Racism is an insipid, sometimes invisible, social gene passed from one generation to another, becoming a kind of default setting in daily discourse. Instead of hiding these transgressions, we have decided to illuminate them. We have used the word ‘Moor’ as one such Originallyexample.aterm to describe Othello’s North African background, the Moors were a Muslim fighting force that invaded Spain and France. Here we have turned it into a racial slur, like 'Muruygawmal Muykupal "FromPathamukmik'thetime of our ancestors to the present day, let us continue to breathe on the embers to keep the fire burning."
At the same time, fearful of the missionaries’ destructive tendencies, the anthropologist Alfred Court Haddon rushes to the Torres Strait, preserving and recording language and culture in six volumes of the Cambridge Anthropological Expedition to the Torres Strait. Jimi Bani’s family tree is recorded in these volumes, depicting what is now eight generations of the Chiefs of WagadagamWagadagam.Chiefs not only have a duty to preserve culture, but to add to it. In Shakespeare’s Othello, after a violent encounter at sea with the enemy, the characters revel in a night of partying. In our adaptation you will see what is known as the ‘World War II Plane Dance’ transporting you to the time of Japanese bombings where the grandfathers of the Torres Strait would have performed this dance, including Ephraim Bani Snr. In 1944, Ephraim Bani Jnr is born. An autodidact, Ephraim’s intelligence and curiosity leads him to be one of the most influential Wagadagam Chiefs and one of the most highly respected Torres Strait Islanders of his time. Ephraim travels to Canada with his wife Petharie in the 1970s to become a linguist and they return to codify their language using what is known as EPO (Ephraim’s Practical Orthography) changing the missionary spelling to a proper phonetic spelling. This heralds a massive change because it brings ownership of language and culture to the people. Our adaptation of Othello uses Shakespeare’sEPO.
— Ephraim Bani Jnr (1944–2004)
the ones I heard growing up in the school playgrounds of Queensland and unfortunately sometimes still spoken in hushed private tones. The character of Desdemona is often misrepresented as a meek daughter and wife. On the contrary, Desdemona is a fiercely intelligent woman who stands up to her overbearing conservative father — a Country Party senator and farmer on our stage — to marry the man she loves, no matter his skin colour. This was known in Australia as 'miscegenation' and there were strict laws about interracial marriage, but not surprisingly, exceptions were made to the common law. World War II also sees increased freedoms for women and Indigenous peoples because they can suddenly serve, get paid and travel. This economic situation breeds social progress. Our play sits in that bubble of freedoms. Emilia is a Radio Technician, Cassio an up-andcoming Eastern Islander, strategically promoted to Lieutenant by Othello to unite the Eastern and Western soldiers of the Torres Strait Light Infantry, much to the rage of Iago. Unfortunately, after the war many women and Indigenous Australians saw their freedoms evaporate and this time of social progress and transgression ended. Our show is not an accurate representation of the Torres Strait Light Infantry, but a jumping off point from which to add to the culture of Shakepeare’s magnificent play. We have respected the rules and protocols of the Shakepearean language and used the exceptional insights and techniques given to me by such masters as Cicely Berry, Michael Attenborough and Bryan Nason, who were taught these techniques by their predecessors and so forth back to the actors in Shakespeare’s company. This oral history of knowledge and craft of English literary performance is reflected back in the Kala Lagaw Ya language, which has been passed down since time immemorial and has its own structures and protocols. I saw these techniques align in a black and white Super 8 film where Ephraim Bani Jnr breaks down the structure of Wagadagam literature. Filmed by his wife Petharie, it mirrors and precedes the famous dialectic argument structure of the Shakespearean soliloquy. This short film blew my mind and started the journey to Othello. There are three types of language you will hear — Kala Lagaw Ya, Elizabethan English and Yumpla Tok (the creole of language and English together). There are no subtitles. If you have never seen a Shakespeare play, don’t worry, you are in good hands and you will follow the story. If you have never heard Yumpla Tok, don’t worry, you are in good hands, and you will follow the story.
Jimi and this brilliant all-Queensland cast offer you this story reimagined in the spirit of unity by which it was made. This play, for all its dark undercurrents, is a celebration of Australian culture and represents the deep desire of ordinary Australians to reconcile our history. Our rehearsal room is full of ‘thalinga’ (deep listening) as we share language and culture equally. This is the first time in the history of Queensland Theatre that Othello has been produced, and it is the first time in the world a Torres Strait Islander has played the role of Othello. Koeyma Eso (Big thank you) — Jimi Bani and Jason Klarwein
Jimi Bani, Andrew Buchanan
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Queensland Theatre: As Costume Designer: Othello (CIAF). As Set Designer: City of Gold. As Designer: The Longest Minute (with debase productions & JUTE Theatre), My Name is Jimi. Other credits: As Designer: JUTE Theatre Company: To Kill a Cassowary, Here we all are. Assembled; Grin and Tonic Theatre Troupe: Romeo & Juliet, Our Place; Veranda Theatre: Prospect Terrace; AustraNesia: Woven. As Costume Designer: JUTE Theatre Company: La Bella Figura, Get Your Geek On, Bukal, Mr. Takahashi (with Brown’s Mart and Corrugated Iron), Paradise is Singing, Is My Lipstick On Straight?, Delirium, Proppa Solid, Sentinel Chickens, Propelled, Half & Half (with Lone Star Productions); Cairns Regional Council and Cultural Services: Beginnings (for Commonwealth Games 2018); Greg Semu/Cairns Regional Gallery: Blood Red; Teatro Comunale di Bologna: Paolo e Francesca (with Accademia di
Jason DirectorKlarwein Queensland Theatre: As Director: Othello (CIAF), Death of a Salesman, The Trial, My Name is Jimi, The 7 Stages of Grieving (with Grin and Tonic Theatre Troupe - London, Los Angeles, Montreal), St Mary’s In Exile, Much Ado About Nothing, Oedipus Doesn’t Live Here Anymore, A Dream within A Dream, Orbit, This Hollow Crown. As Actor: Emerald City, Hedda, Twelfth Night, Once in Royal David’s City, Riley Valentine and the Occupation of Fort Svalbard, The Odd Couple, The Seagull, Macbeth (with Grin and Tonic Theatre Troupe), Design For Living, Elizabeth - Almost By Chance a Woman, Fractions, Faustus, An Oak Tree, Macbeth, Thom Pain, A Streetcar Named Desire, God is a DJ, Phèdre, The Fortunes of Richard Mahony, Bash, Mad Hercules, King Richard 2, Shopping and F$$$ing, The Skin of Our Teeth. Other credits: As Director: Belvoir: Cursed!; HOTA: Oh the Humanity and Other Exclamations; Grin and Tonic Theatre Troupe: Lucky and the Flight of the Sky Puppies, April's Fool, Hoods, Edgar Allan Poe’s Hilariously Gruesome Tales of Mystery and Imagination, Romeo and Juliet, The Zoo Story. As Actor: Queensland Symphony Orchestra: Peter and the Wolf, The Happiness Box, Young Person's Guide to the Orchestra, The Carnival of the Animals; Bell Shakespeare: Henry 4; Sydney Theatre Company: A Streetcar Named Desire; Belvoir: Paul, Capricornia, Maralinga; La Boite: The Glass Menagerie, Half and Half, Cosi. Film: Elvis, Celeste, The Baby Whisperer. Television: Summer Love, The Devil’s Playground, Illusion 5, Slide, Sea Patrol, Australia Remembers, Cybergirl. Positions: Resident Director (2014–15), Queensland Theatre; Artistic Director (2010–current), Grin and Tonic Theatre Troupe; Federal President (2020–current), MEAA Actors Equity.
Richard Roberts Set Designer Queensland Theatre: The Sunshine Club, Othello (CIAF), Death of a Salesman, Noises Off (with Melbourne Theatre Company), Much Ado About Nothing, Tartuffe, Design for Living, Managing Carmen (with Black Swan State Theatre Company), Fountains Beyond, The Sunshine Club (1999). Other credits: Melbourne Theatre Company: Last Man Standing, Solomon And Marion, Next To Normal, The Gift, Frost/Nixon, Macbeth, Dreams In An Empty City, As You Like It, Hedda Gabler, The Sapphires, All My Sons; Melbourne Festival/Sydney Festival: The Season; Sydney Theatre Company: Australia Day (with Melbourne Theatre Company), True West, Riflemind; TML: Fiddler on the Roof; Black Swan State Theatre Company: The Caucasian Chalk Circle, Glengarry Glen Ross; Wander Productions: Scaramouche Jones; Belvoir: The Sapphires (with Black Swan State Theatre Company); Opera Australia: Rigoletto, Don Pasquale, The Magic Flute, Die Fledermaus (with West Australian Opera); Victorian Opera: Cunning Little Vixen, Nixon in China, The Magic Flute, Baroque Triple Bill, Don Giovanni, The Coronation of Poppea, The Marriage of Figaro; Opera Queensland: Ruddigore; New Zealand Opera: Rigoletto; The Australian Ballet: Requiem, Molto Vivace, Raymonda; Queensland Ballet/West Australian Ballet: La Sylphide, La Fille Mal Gardee. Television: The Battlers, Five Times Dizzy, I Own The Racecourse. Positions: Head of Design (present), Victorian College of the Arts; Head of Production (2000–07), Victorian College of the Arts; Faculty of Fine Arts & Music, The University of Melbourne; Head of Design (2013–2015), The Hong Kong Academy for Performing Arts; Head of Design (1991–96), WAAPA. Awards: Greenroom Awards – Best Design for Drama Stolen, Life After George; Best Design in Dance Requiem, Molto Vivace. Simona CostumeCosentiniDesigner
Awards: As Director: Queensland Reconciliation Award My Name Is Jimi. As Actor: Helpmann Nomination – Best Male Actor Once in Royal David’s City; Logie – Most Outstanding Miniseries The Devil’s Playground.
CostumeTesorieriDesigner
Belle Arti and Conservatorio di Bologna); OperaOvunque: La Serva Padrona, Il Barbiere di Siviglia. As Millinery Designer: Biddigal Performing Arts: Biddigal Dreaming. As Costume Mentor: Tropical Arts: Macbeth. As AV Designer: OperaOvunque: Amfiparnaso. As Part of Art Department: Teatro Bonci di Cesena and Scuola del Melodramma: Cosi’ Fan Tutte (with Accademia di Belle Arti, Bologna); Teatro Colli and Frons Scenae: Sacco e Vanzetti. As Scenic Artist: Accademia di Belle Arti Ravenna and Bologna Fiere 25th CERSAIE: Creativitiles. Film: As Costume Designer: On Stage. Training: Bachelor of Fine Arts (Scenography with Honours), Accademia Belle Arti Bologna; Costume Design, School of Melodrama Cesena; Graphic Design and Communication, ILAS. Awards: Matilda Award nomination – Best Design My Name Is Jimi.
Queensland Theatre: As Costume Designer: Othello (CIAF). As Set Designer: City of Gold. As Designer: The Longest Minute (with debase productions & JUTE Theatre), My Name is Jimi. Other credits: JUTE Theatre: As Set Designer: La Bella Figura, Get Your Geek On, To Kill a Cassowary, Bukal, Here we all are. Assembled, Mr. Takahashi (with Brown’s Mart and Corrugated Iron), Paradise is Singing, Is My Lipstick On Straight?, Delirium, Proppa Solid, Sentinel Chickens, Propelled, Half & Half (with Lone Star Productions); AustraNesia: Woven; Cairns Regional Council and Cultural Services: Beginnings (for Commonwealth Games 2018); Accademia di Belle Arti-Bologna and Teatro Bonci Cesena: Madama Butterfly. As Designer: Grin & Tonic Theatre Troupe: Romeo & Juliet, Our Place, Caucasian Chalk Circle. As Part of Art Department Armour and Millinery: Teatro Comunale di Bologna, TCBO: Masnadieri, La Cenerentola. As Head of Art Department and Scenic Artist: Accademia di Belle Arti-Bologna and Teatro Bonci Cesena: Traviata, Don Pasquale, Volo di Notte, Il matrimonio segreto, La Boheme, Cavalleria Rusticana, L’elisir d’amore. As Designer and Scenic Artist: Teatro Colli: Sacco e Vanzetti, E lo difendono pure. Exhibit Design: Frons Scenae and Accademia di Belle Arti Cersaie: Creativitiles Film: As Production Designer: On Stage. Positions: Resident Artist (Art Department, 2000–2012), Teatro Comunale di Bologna, TCBO. Training: Bachelor of Fine Arts (Scenography with Honours), Accademia Belle Arti Bologna (Ababo); Production Design, Scuola del Melodramma; Certificate IV Building, Cairns Tafe. Awards: Matilda Award nomination – Best Design My Name Is Jimi.
Ben LightingHughesDesigner Queensland Theatre: The Almighty Sometimes, The Sunshine Club, Return to the Dirt, Othello (CIAF), Boy Swallows Universe, Triple X (with Sydney Theatre Company), Mouthpiece, Antigone, L’Appartement, Twelfth Night, Good Muslim Boy (with Malthouse), Scenes from a Marriage, An Octoroon, Noises Off! (with Melbourne Theatre Company), 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, Conwell Bani, Jimi Bani, Richard Bani
Simone
Katherine Crocker Assistant Stage Manager Queensland Theatre: As Assistant Stage Manager: The Sunshine Club, Return to the Dirt. Other credits: As Stage Manager: The Curators’: King Lear Monster Show ; Brisbane Brass Music Association: Brisbane Brass 1 in Concert, Sounds of Synergy ; Brisbane Arts Theatre: Sense and Sensibility, Snugglepot and Cuddlepie; QUT: The Bone People, A Couch in the Cane; As Deputy Stage Manager: Brisbane Arts Theatre: When the Rain Stops Falling ; As Assistant Stage Manager: Queensland Conservatorium: Val Machin Opera Scenes; Brisbane Arts Theatre: The Boy from Oz, Wondered, Cinderella ; QUT: The Dark Room, Recipe, Brothers’ Bookclub; As Secondment: Queensland Theatre: Taming of the Shrew ; Queensland Ballet: Sleeping Beauty ; Dead Puppet Society: Ishmael Creative Development. Training: Bachelor of Fine Arts (Technical Production), QUT.
Queensland Theatre: As Sound Designer: Bernhardt/Hamlet, Othello (CIAF), Metamorphoses, Moth, Wisdom, The Trial. As Sound Consultant: The Almighty Sometimes, White Pearl (with Sydney Theatre Company and Riverside’s National Theatre of Parramatta), Taming of The Shrew, Triple X (with Sydney Theatre Company), Our Town, The Holidays, Antigone. As FOH Engineer: Who's Afraid of Virginia Woolf (with STCSA), Triple X (with Sydney Theatre Company), Antigone. Other credits: As Sound Designer: Dead Puppet Society: SWARM; La Boite: The Last Five Years, Away, Bigger and Blacker, The Neighbourhood; That Production Company: Sea Wall; Refraction Theatre: The Revisionist; Rocket Boy Ensemble: Reagan Kelly. As Associate Sound Designer: Dead Puppet Society: The Wider Earth (2022 Tour); As Sound Operator: Lynch & Paterson: Jesus Christ Superstar; Woodward Productions: Sweet Charity, Edges: A Song Cycle; Underground Broadway: Spring Awakening, Don’t Call Me Ishmael; La Boite: Neon Tiger. Training: Bachelor of Music Technology, Queensland Conservatorium of Music. Positions: Sound Associate –Queensland Theatre (present); Composer/Sound Designer – Artist Company (2021–22), La Boite. Awards: Matilda Award nomination – Best Sound Design/Composition Sea Wall.
Grant Gravener Stage Manager Queensland Theatre: Debut. Other credits: As Stage Manager: Sun Opera: The Nurses at Vung Tau (World Premiere Brisbane 2022); Opera Australia: As Stage Manager Swing: The Phantom of the Opera (Handa Opera on Sydney Harbour 2022); Gordon Frost Organisation: As Venue Manager: Magic Mike Live (Sydney/Melbourne Tour 2021); Cirque du Soleil: As General Stage Manager: Corteo Arena Version (Montreal Restaging/North American and European Tours 2018–2020), Cirque du Soleil: Luzia (Montreal Creation/North American Tour 2016–2017). As General Stage Manager/Artistic Assistant: Corteo (North American/Japanese / European/South American Tours 2007–2015); Cirque du Soleil: As Assistant Stage Manager: Quidam (Asia-Pacific Tour 2005–2006).
SoundWatkinsDesigner/Composer
Head Full of Love, Fractions (with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu, Let The Sunshine (with Melbourne Theatre Company), 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: Dead Puppet Society & Legs on the Wall: Holding Achilles; Adelaide Festival: Two Feet; Opera Queensland: Don Giovanni, Snow White (with La Boite & Brisbane Festival); Sydney Theatre Company: Black is the New White; The Danger Ensemble: Medea: Out of the Mouth of Babes, Let Men Tremble, Caligula, The Wizard of Oz, Sons of Sin, Loco Maricon Amor, The Hamlet Apocalypse; La Boite: The Time Is Now, Naked and Screaming, From Darkness, The Mathematics of Longing, A Streetcar Named Desire, Straight White Men (with STCSA), Medea, Samson (with Belvoir), A Doll’s House, Cosi; Australasian Dance Collective: Three 2.0, Aftermath, Converge, Mozart Airborne (with Opera Queensland), The Host, Carmen Sweet, Propel; Queensland Ballet: Peter and the Wolf, The Masters Series, Flourish, Giselle, A Classical Celebration, ...with Attitude; QPAC/Red Leap: The Arrival Positions: Affiliate Artist (2014, 2011), Queensland Theatre; Resident Lighting Designer (2013), Queensland Theatre; Associate Artistic Director, The Danger Ensemble. Brady
Andrew Buchanan Iago Queensland Theatre: The Sunshine Club, Othello (CIAF), Boy Swallows Universe, Our Town, L’Appartement, No Man’s Land (with Sydney Theatre Company), Macbeth, Water Falling Down, The Crucible, God of Carnage (with Black Swan State Theatre Company), The Female of the Species, Christmas at Turkey Beach, Antigone, The Marriage of Figaro, Composing Venus, Peter Pan, Romeo & Juliet, The Beaux Stratagem, Essington Lewis: I Am Work, The Cherry Orchard.
Television: House of Bond, The Void. Training: Bachelor Theatre Arts (Acting), USQ. Positions: Artist Company (2022), La Boite Theatre.
Queensland Theatre: Othello (CIAF), My Name is Jimi.
Emily DesdemonaBurton
Awards: Matilda Award – Best Actress in a Lead Role Naked & Screaming, A Tribute of Sorts; Playlab Incubator Playwriting Program; Shortlist – Queensland Premier’s Drama Award 2020-21; Arts Council Resilience Fund for Playwriting; Arts Queensland stART Grant for Playwriting.
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Queensland Theatre: Storm Boy (with MTC), The Wider Earth (with Dead Puppet Society), The Seagull, Oedipus Doesn’t Live Here Anymore, Riley Valentine, The Fledglings, A Tribute of Sorts. Other credits: La Boite Theatre Company: An Ideal Husband, Away, Naked & Screaming, Single Asian Female, A Midsummer Night’s Dream; Belvoir: Single Asian Female; Melbourne Theatre Company: Storm Boy ; Sydney Comedy Festival; World Theatre Festival; Metro Arts; Monster’s Appear; Imaginary Theatre; Hive Theatre; Grin & Tonic Theatre.
Jimi OthelloBani Queensland Theatre: Who’s Afraid of Virginia Woolf?, Othello (CIAF), Our Town, Hedda, My Name Is Jimi. Other credits: Belvoir: Title And Deed, Peter Pan, The Sapphires, Yibiyung; Barbican Theatre London: Shadow King; Sydney Theatre Company: Storm Boy, Romeo and Juliet; Malthouse Theatre: Shadow King, The Dragon; JUTE Theatre/Lone Star Productions: Half & Half; Black Swan State Theatre Company: The Sapphires (Korea tour), Jandamarra; Deckchair Theatre: Krakouer!; WAAPA: UnAustralia, Love & Human Remains, The Country Remains, The Winter’s Tale, Stories From The Suburban Road, Three Sisters, Dream Pay. Film: A Thin Black Line. Television: Black Comedy, Blue Water Empire, Ready for This, The People Speak, Redfern Now, Mabo, The Straits, R.A.N (Remote Area Nurse).
Richard MontanoBani
Other credits: Ethel Barrymore Theatre on Broadway New York / Sydney Theatre Company: The Present; La Boite: The Wishing Well (with Matrix Theatre), Secret Bridesmaids Business, Clark in Sarajevo, Sex Diary Of An Infidel, Cosi, Bouncers, Hamlet, The Taming Of The Shrew; Metaluna Theatre Company: The Adman, Summer of the Aliens; QPAC: Armistice, Over the Top with Jim; Harvest Rain: Love’s Labour Lost, As You Like It, Much Ado About Nothing; Grin and Tonic Theatre Troupe: Hamlet, Macbeth, The Merchant of Venice, Cymbeline, Antony & Cleopatra; ACT Industrial Theatre: Cry Wolf, Deepwater. Film: Love and Monsters, Don’t Tell, Australia Day, Fatal Honeymoon, Iron Sky, The Condemned, The Crocodile Hunter: Collision Course, Scooby Doo, Hildegard, Paperback Hero. Television: Young Rock, The End, Rosehaven, Grace Beside Me, Safe Harbour, The End, The Family Law, Harrow, Hoges, Wanted, Peter Allen: Not the Boy Next Door, The Gods of Wheat Street, Reef Doctors, Sisters of War, SLIDE, Sea Patrol, Monarch Cove, RAN (Remote Area Nurse), Mortified, Farmkids, Answered By Fire, Through My Eyes, Chameleon II, Beastmaster, Murder Call, Flipper, Big Sky, Medivac, Roar, Pacific Drive. Awards: Matilda Awards – Best Actor The Female of the Species, Christmas at Turkey Beach, Hamlet, Cymbeline, The Taming of the Shrew, Summer of the Aliens, Best Director Love’s Labour Lost, Caucasian Chalk Circle.
I am the fourth son of the late Chief of the Tribe Wagadagam. I live on Thursday Island, it’s an island at the top of Australia. I love traditional island dancing and my culture is my identity. My totem is the saltwater crocodile (Koedal). I love my seafood, sports, going out hunting on the sea and on land, and mostly my culture and my family.
Awards: Equity Ensemble Awards – Outstanding Performance by an Ensemble in a Television or Miniseries Mabo; BOFA Awards – Best Actor Mabo, The Straits; Deadly Awards – Male Actor of the Year Mabo, The Straits. Training: WAAPA.
Kevin LieutenantHidesColonel Queensland Theatre: Othello (CIAF), Death of a Salesman, A Conversation, Sweeney Todd, Christmas at Turkey Beach, The Cavalcaders, The Threepenny Opera, Diving for Pearls, Romeo & Juliet, Money and Friends, Essington Lewis: I Am Work, On The Whipping Side, Seven Little Australians, A Month in the Country, Season’s Greetings, The Man From Muckinupin, A Chorus of Disapproval, The Merry Wives of Windsor, Loves Labour Lost, Who Cares?, Baby, Macbeth, The Three Sisters, Henry V, In Duty Bound, Much Ado About Nothing, Applause, Amadeus, Demolition Job, The Tempest, Hello Dolly, As You Like It. Other credits: 4MBS Classic Arts Shakespeare Festival: The Comedy of Errors, Cribbie, Henry V; World Theatre Festival: The Trouble With Harry; La Boite: An Ideal Husband, Closer (with Genre), Cosi; Harvest Rain: Much Ado About Nothing; Twelfth Night Theatre Company: Run for your Wife; QPAC: Over the Top with Jim, A Christmas Carol; Acronym: Cyrano De Bergerac; Metaluna Theatre Company: Summer of the Aliens, The Adman; Footloose: Jugglers Three; Lyric Opera of Queensland: Carmen, The Abduction From The Seraglio, La Belle Helene, Die Fledermaus, Brigadoon, The Pirates of Penzance, The Maid of the Mountains, The White Horse Inn; Q Theatre: The Sentimental Bloke, Baby. Film: Fatal Honeymoon, A Heartbeat Away, Dartworth, Stage Fright, Through My Eyes, The Crocodile Hunter: Collision Course, Blurred, Mr Reliable, The Legend of Fred Paterson. Short Film: Will You Still Love Me Tomorrow, Twilight Tango. Television: Fat Cow Motel, Seconds to Spare, Cybergirl, Medivac, Fire II, Pacific Drive, The Last Resort, The Day of the Roses, Fire, Butterfly Island, Paradise Beach, Skippy, The Driver, Shark’s Paradise, A Country Practice. Awards: Matilda Award – Outstanding Contribution to Queensland theatre. Benjin Maza Cassio Queensland Theatre: Othello (CIAF), Stradbroke Dreamtime. Other credits: Karul Projects, BlakDance: SILENCE, Weredingo; La Boite: From Darkness; Grin & Tonic: Lucky and the Flight of the Sky Puppies; Elements Collective: Goldie & the 3 B-Bears; Sounds Across Oceans: Through the Mirror, Creative Fusions; State Theatre Company: As Understudy: Who's Afraid of Virginia Woolf?; Balairi: As Musician: Brisbane Festival’s Street Serenades, NAIDOC, Brisbane Powerhouse’s 21st Birthday, Yonder Festival, IsolAid Festival, QPAC’s Green Jam, Meeanjin Markets; Benjin: As Musician: The Gathering, Boomerang Festival, The Triffid, Quandamooka Festival; eXcelsior: As Performer: NRL’s All Stars, Sydney Opera House’s Homeground, Woodford Folk Festival, Boomerang Festival at Byron Bay Bluesfest, '18 Commonwealth Games, Spring Festival, Telstra Awards, Mount Panorama –Wahluu – Inland Sea of sounds, Commonwealth Bank Awards; Jinibara Dance Troupe: Woodford Folk Festival, The Planting Festival; Phi: The Cube Effect; Dubmarine: Woodford Folk Festival, Homeground; Mitch Tambo: Rugby Union World Cup '22.
Queensland Theatre: Othello (CIAF), The Effect, Macbeth, Elizabeth – Almost By Chance A Woman, Sacré Bleu!, Fractions, Grimm Tales, Waiting for Godot, That Face, Rabbit Hole, The Tempest, Vertigo and the Virginia, The Beaux’ Strategem, Romeo and Juliet, Essington Lewis, The Cherry Orchard, The Shaughraun, Twelfth Night, Moby Dick, Seasons Greetings, The Recruiting Officer, Camille, Ghosts, Major Barbara, Henry V. Other credits: La Boite: Romeo and Juliet, Holding The Man, Hamlet, The Chairs, The Wishing Well, Cosi, Emma’s Nose, My Love Had a Black Speed Stripe, Kafka Dances, Speaking in Tongues, Road, Amigos, A Beautiful Life; shake & stir theatre co/QPAC: A Christmas Carol; Zen Zen Zo: Macbeth: As Told By The Weird Sisters; Fractal Theatre: Secret Love Life of Ophelia, Bram Stoker’s Dracula, Coriolanus, The Oresteia, Metamorphosis, Peer Gynt, Decadence, The Fall of the House of Usher, Richard III; Opera Queensland: The Mikado; Queensland Ballet: Fonteyn Remembered; Sydney Theatre Company: King Lear, The Effect, Death and the Maiden; Bell Shakespeare: The Merchant of Venice, Comedy of Errors; Critical Stages: The Kursk; Melbourne Theatre Company: Death and the Maiden; La Mama: Portrait (of a Nation). Film: Babyteeth, Pop-Up, The Curse of the Gothic Symphony, In Her Skin. Julian, Traces. Television: The Doctor Blake Mysteries, Sea Patrol, H2O: Just Add Water, Fat Cow Motel, The Day of the Roses, Medivac. Positions: Co-Founder (1989–2000), Fractal Theatre. Awards: Green Room Award – Best Actor A Beautiful Life; Eugene is a six-time recipient of the Matilda Award for Excellence in Queensland theatre.
Eugene BrabantioGilfedder
Matt RodorigoMcInally Queensland Theatre: Othello (CIAF). Other credits: shake & stir: Romeo and Juliet, The Macbeths, 1984, Bad Lads, Great Shakes, Statespeare, Smile and Be A Villain, Oversharer, Troll, Unfiltered, School Daze; RAVA Productions: Charlotte’s Web; The Miscreants: Late Lines, The Brewery, Putt Putt Party, Ibiza, The Hound, The Virgin Declan, The Cab Sav Book Club, Stingray, Scrubbo, The Corn Boy Cometh, Camp Cradle, Welcome To The Brown Snake; Underground Productions: NSFW, You Can’t Take It With You, Vampire Lesbians of Sodom, Postman Melody, Adding Machine: A Musical, Bat Boy: The Musical; Rocket Boy Ensemble: Reagan Kelly. Positions: Artistic Director (2014 – present), The EmiliaSarahMiscreants.Ogden Queensland Theatre: As Actor: Othello (CIAF), Death of a Salesman, The Dark Room (Playclub), An Octoroon. As Director: Moth. Other credits: As Actor: Metro Arts/Hive: The Bull, The Moon and The Coronet of Stars; Melbourne Theatre Company: The Crucible, Top Girls; Arena/ Malthouse: Moth (National tour): The Hayloft Project: Arden V Arden; Stuck Pigs Squealing: Night Maybe; La Mama: Heaven; Winterfall: As You Like It; Daniel Schlusser Ensemble: Life is a Dream; Bell Shakespeare: Actors At Work; QSE: The Comedy of Errors, Coriolanus; Gordon/Frost: The Secret Garden (National tour). As Director: La Boite Assembly: Quick Fixes; Backbone Ensemble: POTLUCK; Queensland Conservatorium Griffith University: Measure for Measure. As Facilitator: The Good Room: I’ve Been Meaning To Ask You. Film: Elvis. Television: Stories I Want to Tell You in Person, The Wayne Manifesto. Positions: Teaching Artist, Queensland Theatre; Teaching Artist, Bell Shakespeare. Sarah is a proud member of Actor’s Equity. Training: VCA; QUT.
Conwell Soldier/DancerBani
Gabriel Soldier/DancerBani Queensland Theatre: Othello I(CIAF).amthe third Son of the late Adhi Dimple Bani, who was the eighth tribal chief of the major clan on Mabuyag called Wagadagam, Koey Buway. My mother, Agnes Bani, is from Erub Island where my bloodline extents to the Peudu Clan of Erub Island, the Kaurareg Aboriginal Nation, Butchulla Aboriginal Peoples, Rotuma and Solomon Island. My totems are the Koedal (Crocodile) and Waumer (Frogate Bird). I currently reside in Brisbane with my beautiful family. I am passionate about sharing and passing knowledge and culture, to my children, nieces, nephews and those who come in contact with me. I believe it is valuable to encourage and instil the importance of culture and identity to the next generation. I believe that when knowledge is passed down, it keeps the culture alive, which is something I have learnt and valued from my Athe (grandfather), the late Adhi Ephraim Bani.
Queensland Theatre: Othello (CIAF), My Name is Jimi. I am the fifth son of the late Chief of Wagadagam. I have spent all my life in the Torres Straits living on Thursday Island. I enjoy working with the youth, helping them to go down the right path and create a successful future. Being in a cultural, respectful, sporting family, I like to use that approach to direct the youth toward that positive and bright future. My personality is full of love and positive vibes, also comedy. Dancing (Traditional Island Dancing) is one of my major skills and I teach this to the youth.
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Tia-Shonté Southwood Bianca Queensland Theatre: Othello (CIAF). Other credits: As Performer: Blaktivism, Clancestry 2022, Blak Voices Ensemble, Gurrumul, The Gospel Album Tour 2015, First Nations Choir of Queensland, Brisbane City Council Gathering Festival, Riverside QUT InFusion Markets. Positions: Producer, Cre8tive Nations.
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LANDMARK PRODUCTIONS FUND Thank you to the Visionaries who generously support our Landmark Productions Fund, cementing Queensland Theatre as a national leader in the development and staging of productions of significant scale. For more information about our giving programs, please contact Zoë Connolly, Director of Development, on 07 3010 7602 or zconnolly@queenslandtheatre.com.au Together we are making our ambitions a reality Tim Fairfax AC & Gina Fairfax AC Ian & Cass George Elizabeth Jameson AM & Dr Abbe Anderson The Mather Foundation Liz Pidgeon & Graeme Wikman Bruce & Sue Shepherd Trevor St. Baker AO & Judith St. Baker 2 Anonymous Acknowledging Visionaries who individually support special Queensland Theatre funds: Landmark Productions Fund Information correct as of August 2022. SUPPORTING CAST 5 RichardJohnJacquiKevinJankeesDrAnnetteJohnMariannaLeonaoptikalDarrylAlisonPatriciaPaulFionaDrRanjenyDavidMichaelGraceGregoryJodieStephenJeanFotinaAndrewDavidDarylRuthKathleenLouiseSharynRobertYanniTheHarveyRalphMargaretKayRitaChrisGeoffreyAnonymousBeames&PattyBeechamCarter-Brown&Sarah&MichaelClancyCollinsCooper-PrestonHonJusticeSarahDerringtonDublerEllis&MichelleSkeneGhidellaMGourlayAMGraceHamlyn-Harris&TrishHanlyHardidgeHarding&RogerHardy&HerbertHeimgartner&YvonneHenryHoffIngramKahlert&KarlieKeatingKelly&JohnLoneraganLindaLorenzaLowesMacMahonNeelyNicolNisbetblocRomaniukSerghi&HarveyWhitefordSmithwickStoddartJosephineSundinVanDerHaveVedelago&KarenRentonWaltersWhite&JudithHoey&CarolYaxley TRUST AND FOUNDATION PARTNERS Australian Communities Foundation – Davie Family Fund Australian Communities Foundation – Keith & Jeannette Ince Fund Copyright Agency Cultural Fund Shepherd Family Foundation Tim Fairfax Family Foundation William Angliss (Queensland) Charitable Fund BEQUESTORS Realised Bequests Peggy Given Notified Bequests 1 Anonymous Annual donations over $500 are acknowledged in play programs for 12 months from the date of donation.
FIRST NATIONS WORK Queensland Theatre is committed to working with Aboriginal and Torres Strait Islander artists to share their stories on our stages. Join us in celebrating First Nations work that embraces the history, cultural practice and storytelling of our oldest living cultures. For more information about supporting our First Nations program, please contact Director of Development Zoë Connolly on 07 3010 7602 or at Thankzconnolly@queenslandtheatre.com.auyouforyourcontinuedsupport. Save time and donate queenslandtheatre.com.auonline
21 Jimi Bani
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Andrew Buchanan, Benjin Maza, Gabriel Bani
Amy Sheppard World-renowned singer/songwriter
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Jake Cook VENUE AND BAR MANAGER (MATERNITY LEAVE) Kimberley Mogg VENUE AND BAR MANAGER Peter Carroll MARKETING AND TICKETING DIRECTOR OF MARKETING (MATERNITY LEAVE) Laura Oliver DIRECTOR OF MARKETING David Graham MARKETING MANAGER Maneka Singh MARKETING COORDINATOR (DIGITAL ENGAGEMENT) Cinnamon Smith MARKETING ASSISTANT (DIGITAL ENGAGEMENT) Thomas Manton–Williams MARKETING ASSISTANT Nikolina Gagic GRAPHIC (MATERNITYDESIGNERLEAVE) Sarah Gannon GRAPHIC DESIGNER Kristina Humberstone PUBLICIST IVY PR DATABASE SUPERVISOR Jeffrey Guiborat TICKETING SUPERVISOR Madison Bell TICKETING COORDINATOR Dan Sinclair TICKETING OFFICER Ngaire Lock SEASON TICKETING Myk Brown PRODUCTION DIRECTOR, TECHNICAL AND PRODUCTION Daniel Maddison TECHNICAL MANAGER Chris Goeldner TECHNICAL COORDINATOR Harry Provins PRODUCTION COORDINATOR Mia McGavin SOUND ASSOCIATE Brady Watkins HEAD OF WORKSHOP Peter Sands COMPANY CARPENTER / HEAD MECHANIST John Pierce COSTUME SUPERVISOR Nathalie Ryner WARDROBE COORDINATOR Barbara Kerr PROGRAMMING SENIOR PRODUCER Helen Hillman CASTING MANAGER Samantha French PRODUCER, NEW WORK Shari Irwin EDUCATION, YOUTH AND REGIONAL ENGAGEMENT DIRECTOR, EDUCATION, YOUTH AND REGIONAL ENGAGEMENT Laurel Collins DIRECTOR, EDUCATION, YOUTH AND REGIONAL ENGAGEMENT (ACTING) Emma Funnell ASSOCIATE ARTIST Steve Pirie YOUTH PROGRAM COORDINATOR Alana Dunn ADMINISTRATION COORDINATOR Abigail Taylor QUEENSLAND THEATRE PRODUCTION STAFF CARPENTERS Chris Maddison, Tim Pierce SCENIC ARTIST Leo Herreygers, Nicole Murray CUTTER/COSTUME MAKERS Kiara Bulley, Leigh Buchanan WARDROBE MAINTENANCE Tracey Leino WIG AND HAIR STYLIST Michael Green LADY HAIR STYLIST Michael Green ART FINISHER Olga Dumova Information correct at time of printing. ACKNOWLEDGEMENTS HERO AND PHOTOGRAPHYREHEARSAL Brett Boardman PRODUCTION PHOTOGRAPHY Paul SpecialFursethanks to Heroes and Villains Barbers for their men’s hair cutting services.
INDIGENOUS REFERENCE GROUP Judge
Dr
EXECUTIVE ASSISTANT Pete
PATRON Her Excellency the Honourable Dr Jeannette Young PSM, Governor of Queensland FOUNDING DIRECTOR AIan Edwards, AM, MBE (1925–2003)
Mundanara
Isaac Drandic Dean MichaelGibsonTuahine ARTISTIC DIRECTOR Lee Lewis EXECUTIVE DIRECTOR Amanda
HUMAN RESOURCES AND GOVERNANCE MANAGER Donna Maher ARTISTIC ASSOCIATE ARTIST Isaac Drandic LITERARY ADVISOR Dr Julian
MEMBERS Jameson AM (Chair) Dean Gibson (Deputy Chair) Tracey DavidDrSusanSimonRachelMundanaraBarkerBaylesCrowleyGallaherLearmonthAndreaMoorWilliamsonAO Nathan Jarro (Chair) Bayles Valerie Cooms Jolly Sutherland Meyrick Henry FACILITIES OPERATIONSANDMANAGER
DEVELOPMENT DIRECTOR OF DEVELOPMENT Zoë Connolly CORPORATE PARTNERSHIPS MANAGER Merryn Csincsi SENIOR COORDINATORPHILANTHROPY Dimity Vowles GRANTS AND CONTENT WRITER Yvonne
OF THE BOARD Elizabeth
DEVELOPMENT COORDINATOR Jade Rodrigo FINANCE AND OPERATIONS CHIEF FINANCIAL OFFICER Christopher Blow ASSISTANT ACCOUNTANT Georgia Knight FINANCE OFFICER Sarra Lamb
Benjin Maza, Richard Bani
