BRISBANE Digital 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

Matthew Backer

Ensemble

Conrad Coleby

Frank/Andy West

Harriet Dyer

Patty

11 April – 2 May 2015

Lucy Goleby

Rose

Dash Kruck

Danny Fisher

Playhouse, QPAC

Daniel Murphy

Ensemble

Veronica Neave

Annie Fisher

Hugh Parker

Ensemble

Hayden Spencer

John Fisher

Iain Sinclair

Director

Stephen Curtis

Designer

Cast

Brisbane will run for approximately 2 hours and 15 minutes, including a 20-minute interval.

David Walters

Lighting Designer

Guy Webster

Composer/Sound Designer

Louise Gough

Dramaturg

Leah Shelton

Choreographer

Dan Sinclair

Stage Manager

Yanni Dubler

Assistant Stage Manager

PRODUCTION SPONSOR

Warning: Low level coarse language

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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

L-R: Hugh Parker, Lucy Goleby, Matthew Backer, Veronica Neave

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Welcome Wesley Enoch, Artistic Director

Dear Patron, Supporter and Friend,

sponsorship. Things to be proud of I think.

for who we are and how we grew up to take to the sky.

Welcome to BRISBANE. It's a phrase we hear often.

Welcome to Brisbane. It immediately suggests you come from somewhere else. We have a huge tourism industry and we’ve learnt to be welcoming and accommodating to those who come to enjoy the lifestyle, weather and natural beauty that we take for granted. Brisbane has grown up feeling like things of importance must be happening somewhere else by someone else. Far from being parochial, I think it’s time to see Queensland in a new light and worthy of being a national leader.

Queensland sometimes gets a bad rap but when you think about our history and how we are changing, you get a sense of things we should be proud of.

You have to remember Queensland is the home of the Labor movement and was a hot bed of communism in the early 20th century, and more recently we’ve seen incredible changes that make us the envy of the nation. It’s a regular occurrence to hear visiting artists talk about how the Cultural Centre is the best in the country.

In fact, one director said Australia has the best Playhouse in the world – the outside is in Sydney and the inside is in Brisbane.

Bringing a new work to fruition is such a collaborative effort, so many people working together to create a production that has never been staged before. Congratulations to the whole team – actors, designers, stage crew, the director and the script team of the writer, dramaturg and expert opinions who have helped shape this work to bring you a crafted production.

For example, Queensland Theatre Company, in the last three years, has had the strongest growth in audiences of all the large companies in the country.

We have the highest figure of employment of artists in the whole country, the largest under 25 audience amongst our peers, we’ve experienced a 150% growth in philanthropic support and a 50% increase in

It’s a rare occurrence for Queensland audiences to see a show that is so familiar that we know the street names, places, suburbs, characters and history played out on stage.

This is a new play about an old story but it also uses our history as a metaphor

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Please enjoy this stroll down memory lane.

Love,

Wesley

Message from the Attorney-General and Minister for the Arts

The Centenary of Anzac this year will be one of the most significant commemorations that current generations of Australians will experience.

The Australian Government through the Anzac Centenary Arts and Culture Public Grants Program is proud to support the Queensland Theatre Company’s world premiere of Brisbane, as part of these commemorations.

The Anzac Centenary Arts and Culture Fund supports projects that contribute to the Anzac story and legacy by exploring the centenary through the arts and what it means to local communities.

Brisbane examines issues of Australian identity and military pride as well as the tensions that existed between Australian troops and American soldiers during the 1942 ‘Battle of Brisbane’, a fascinating but little known part of Australian history.

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Brisbane illuminates the human impact of war, not only on servicemen and women but also on their families and communities at home.

I congratulate Queensland Theatre Company on this powerful and thought provoking production and encourage all Queenslanders to see this show and discover part of their Anzac story.

Senator the Hon George Brandis QC Attorney-General Minister for the Arts

Sponsor Message

We are proud to be part of the South East Queensland community and to partner with organisations like the Queensland Theatre Company who, through storytelling, strengthen the communities within which we operate.

As a Production Sponsor of Brisbane, we believe this enriching story educates our youth on the sacrifices of generations past and celebrates our diversity as a community and the power of ‘positive energy’.

Our company values include the need to respect and support each other, and we see our association with the Queensland Theatre Company as an ideal opportunity to promote this value while also giving back to the community within South East Queensland.

Terry Effeney Chief Executive Officer Energex Limited

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Clockwise from L: Matthew Backer, Daniel Murphy, Hugh Parker

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Writer's Note Matthew Ryan

When I first thought up this story, I thought of my elders. My great-uncle Wilfred was coming of age in 1942. Like our hero Danny, he watched the world of Brisbane transform around him from a small country town into a city on the edge of a war. Wilfred’s brother Colin (my grandfather) was serving in New Guinea. And his oldest brother, Alfred, would become the stuff of legend during the Bombing of Darwin when a Japanese Zero flew straight at him in an open field. It was the only tree in the field that saved Alfred, crouching behind it as the Zero’s bullets sprayed past him.

The father of these three brothers served in the First World War, losing his arm in the Battle of Pozières.

Those stories have warmed my family’s conversations for years. Stories are a bit like ghosts, ephemeral imprints of another time and place. It’s impossible to truly capture the past – but we can always conjure its spirit.

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There is a Brisbane that was taken from us. Dance halls.

Picture palaces. Majestic theatres and grand hotels.

The ghosts of that lost city still haunt us. Stories and memories on the tips of our tongues. As if all it takes is a shovel to dig through the beige concrete and discover what this place really is inside. Like the hero of our story, we look back, in constant search of a past slipping through our grasp.

Ghosts are, by their nature, intangible.

In many ways this is my most personal work, not only drawing on the spirits of my city and the stories of my family, but my own experiences as well. Those bullies. Those dances. Those heartbreaks. That escape into wild imaginings. This is my excavation as well. We all look back for answers.

We all want back what is lost.

L-R: Conrad Coleby, Dash Kruck

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Director's Note Iain Sinclair

Good plays make the world around you feel different in some way. You get an insight into the hidden rules that govern our behaviour and our fate. Excellent plays give you the courage and the tools to explore that new world. Matthew Ryan’s excellent play imagines his home town in 1942 going through the growing pains of becoming a major player on the world stage and then goes one step further as he invites you to see it through the eyes of a 14-year-old boy going through growing pains of his own.

All cities experience rifts in their history, moments when everything is shaken up and all that was thought stable and immutable, liquefies and changes. Brisbane is no exception and has endured its fair share of painful seismic shifts (the floods are our most recent example) but each time those shifts have happened the city has responded with great leaps forward.

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The arrival of the Pensacola Express in 1942 marks another of these shifts when US troops flooded the city and Brisbane became the operating base for the war in the Pacific. In a matter of weeks, this town became a city unlike any other in Australia and its people came to see themselves differently as a result.

I hope you enjoy seeing old Brisbane through the eyes of a 14-year-old budding writer, Danny Fisher and experience as much joy, terror and wonder as the Company has in the process of helping this important new Australian play take flight.

Macarthur’s Brisbane Baz McAlister

General Douglas MacArthur first set foot in Brisbane in July of 1942. Raised on the Wild West frontier, a veteran of World War I and a tactical genius, he had been put in charge of the American war effort in the South Pacific by President Roosevelt– and after a brief stint in Melbourne, he decided to move his general headquarters to the Queensland capital.

On July 23rd, MacArthur arrived with little pomp just a stone’s throw from this theatre. His train pulled in at South Brisbane Interstate Railway Station, which still stands right across the street from QPAC. Just one man was there to meet him – his aide.

The famous five-star General was big news in Brisbane, a bona fide military celebrity.

Wanting to dodge a rockstar reception, and sow uncertainty about his movements among enemy spies, the new commanderin-chief had spread whispers that he’d already arrived in town in secret weeks before. Brisbanites fell for it.

Some even claimed to have

seen him. So, not one of the 300,000 curious civvie souls – and certainly no local newshounds – turned up as he stepped off the train and was bundled into a car.

What would he have seen as he sped over the Victoria Bridge into the heart of this “big country town”, puffing on his corncob pipe? He might have watched some of Australia’s most modern electric trams sparking and clanking along the tracks on the bridge and down into Queen Street. He could have spotted some of the blocky brick air raid shelters dotted around the centre of town.

He would have glimpsed the tallest building, the 91m spire of City Hall, before being dropped off at his home for the next two years – Brissie’s ritziest hotel, Lennons on George St. Brisbane was already in love with American culture. The first Yanks had trooped into town just before Christmas 1941, and before the end of the war the population would more than double, swelled by the influx of servicemen. MacArthur might have noticed cafes flaunting 10

Coca-Cola signs to entice the Seppos inside, or a hot dog stand on the street corner.

By night, South Brisbane’s dance halls and jazz clubs fairly shook with the US fad of jitterbugging.

Beyond that, in the Brisbane sprawl, there were the endless sleepy suburbs with their houses perched on stumps and washing fluttering on lines in the yards. There was the bustling Capricorn Wharf by the woolstores at Teneriffe, where naval ships and submarines tied up to resupply, as tramfuls of sailors on shore leave rolled into town. On the east side, sleek American warplanes sat puttering in readiness on the dusty runway at Eagle Farm as the northern skies were scanned for Japanese Zeroes.

At his headquarters, Macarthur commandeered the Brisbane digs of financiers AMP on the corner of Queen and Creek streets – one of many buildings in the city temporarily donated to the Americans’ war effort, including historic Newstead House, McWhirters in Fortitude Valley, and

Cloudland Ballroom, (then called Luna Park) in Bowen Hills. The General’s GHQ was a stout, sturdy, broadshouldered edifice erected in the early 1930s. It now bears his name, is devoted to commerce, and his office, the former AMP boardroom, is a museum. Its Queen Street entrance bears a Latin inscription: “Amicus certus in re incerta.” A true friend in uncertain times. The General proved exactly that. Some of his troops, though – that was another story.

Although they mostly got on, tensions started to simmer between the Diggers and the GIs. The cash-splashing of the higher-paid, slickeruniformed Americans, and their access to luxuries such as nylons and ice-cream, drew the eye of the local lasses. “Overpaid, oversexed and over here,” was the lament against them. But that was just one factor. Hotels’ opening hours meant there was a tiny daily window to binge on booze. The Yanks and the Aussies frequently looked down on each other’s military methods and fighting skills. And then there was

the banishment of all black American soldiers to where the Indigenous Australians were confined, south of the river.

By the year’s end, knife fights broke out on the streets nightly, troops took pot shots at each other, and

by November, an American Military Policeman arresting a drunk soldier outside the Post Exchange on the corner of Creek and Adelaide streets sparked the civil war known as the Battle of Brisbane.

Thousands waded in to a citywide brawl. Diggers 11

laid siege to the Post Exchange and MacArthur’s headquarters, lobbing stones through the windows, yelling for the General to come out and face them – but again employing his secretive ways, he’d left town three weeks beforehand for Papua New Guinea. It took two nights to quell the riot.

The late ABC journalist John Hinde, then a war correspondent, witnessed the apocalyptic scene from a hotel balcony and called it “the most furious battle I ever saw during the war”.

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L-R: Lucy Goleby, Hayden Spencer, Harriet Dyer, Dash Kruck, Hugh Parker, Veronica Neave, Matthew Backer

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The Queensland Premier’s Drama Award is unique in Australia as it is the only award to guarantee a professional theatrical production of the winning entry. This invaluable opportunity for theatremakers around the country has been managed by QTC since 2002. On May 29, the world premiere of Oedipus Doesn’t Live Here Anymore will celebrate the end of a two-year journey for winner Daniel Evans. His project was selected from 121 entries and developed over this time, through script workshops, rehearsed play readings and detailed dramaturgical feedback.

Daniel made his debut with QTC directing The China Incident in 2013 and in 2014 he returned as director and co-devisor of I Want To Know What Love Is. A co-founder (with Amy Ingram) of The Good Room – a theatre company with a reputation for creating works that pulse with zeitgeist Daniel gave these thoughts in relation to his entry for the Queensland Premiers Drama Award 2014-15.

“Greek Tragedy acknowledges the enormous stakes at play in an average human life. They throw light

on our darkest, most primal, thoughts; the ones we bury down deep. They reinforce our breaking points; show us the places where we can (and will) fracture. And they remind us of our capacity to hurt the ones we love and to inflict trauma on those we don’t - often without warning, sometimes without realising we’re even doing it, and never with any thought to the consequences of our actions.

Ripped from today’s headlines and spurred on by neighbourhood hearsay, the story is delivered from the perspective of characters and events on the periphery of the action – Here, Laius abducts a teenage boy from soccer practice. A trolleyboy is charged with the task of killing a royal child. And a chorus of pram-wielding mothers try and decide why they never saw the tragedy coming.”

In Oedipus Doesn’t Live Here Anymore, The Oedipus Cycle (Oedipus The King, Oedipus At Kolonus, Antigone) from The Theban Plays by Sophocles, is reimagined in the outer suburbs of any major Australian city.

This is not an adaptation.

This is a contemporary reimagining of the events that led to the implosion of the most talked-about family in Ancient Greek myth. The mythic melds with the domestic to reveal a world that is savage, darkly funny and not unlike the one you occupy. The original play becomes the backdrop against which a new mythology emerges – one that is immediately recognisable and more terrifying than its ancient predecessor: our own.

The play was selected by the judging panel for its creativity, its muscular style of writing and its forward thinking. Wesley Enoch said, “The play speaks to a new audience with a young and vital voice, and invites the next generation of makers and lovers of theatre into the building; it’s exciting, heartbreaking, thrilling and uncomfortable – everything great theatre should be.”

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

Dead D ead P Puppet uppet S Society ociety p pull ull n os trings in in A rgus no strings Argus “Whimsical, h l transformative, f energetic, playful and inventive”

We have one!

“Hell bent on bringing our own brand of magical entertainment to the world, our work is created for a wide variety of audiences.

We shy away from conventional views of the world and seek to mythologise the modern experience through provoking curiosity and wonder. Focused on visual theatre, and modern applications of puppetry, we believe that this ancient form, given new life can generate deeply imaginative experiences.

We think that puppetry has been caught too long in the world of children’s entertainment and slapstick comedy and seek to innovate and educate in order to demonstrate the potential that non-human performers have, and advocate their use in mainstream theatre.

This is not puppet-theatre. It’s a Dead Puppet Society”.

are five words Dead Puppet Society use to describe their show, Argus. It follows the journey of a seemingly insignificant creature who sets out on a massive adventure to try and find a home. This magical and captivating puppet show, will expand the imaginations of adults and children alike. QTC sat down with Dead Puppet Society to find out more about this fascinating puppet-based theatre show.

How did you form the Dead Puppet Society?

The company first formed as a part of an assignment in our final year of the drama course at QUT. One of the lecturers asked us to find a gap in the current local arts sector.

We saw that there was very little puppetry and decided to invent a theoretical company.

We all fell so in love with the company it became a reality and has been running for six years now.

Who is Argus and what inspired the character?

Argus is a creature who lives at the bottom of a garden in an undisclosed location. He is made of nothing but the hands of the performers who tell his story.

What drew you to puppetry?

We have always loved the idea that puppets can do very different things than an actor can on stage. We like to see it as the theatrical equivalent of animation; where things can be a little more farfetched, a little weirder, a little more from the world of imagination.

Every puppet that is built from materials has some sorts of limits, either they are too heavy, too weak, too flexible, or not flexible enough. With Argus we wanted to try and make a show with a central character who was not bound by these same constraints, and we thought that the best way to avoid the limitations of the puppet's form might just be to get rid of it all together. So we ended up with a character made from the only ingredient that a puppet must have, someone to bring it to life.

What are the principles behind your work?

Most of our work is based on the idea of transformation, taking something and allowing it to become something that it isn’t.

All of our work is created around this idea of play and experimentation. Beyond that, we also have a series of principles of puppetry that we have distilled from the people who have taught us over the years. At the end of the day we always try and do something different, solve the old problems in a new way.

The aesthetic of the world he lives in is quite interesting. Can you tell us about the set?

Our initial concept was to try and use nothing but found objects to create the set, however, we decided that it would better represent what we were trying to achieve with the

If the Society had a manifesto, what would it be?

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show, to arrange them in h h a circle somewhat like a globe. The whole thing is mounted on a circular truss that spins on a structure that looks something like a set of rollercoaster wheels, so as Argus goes on his adventure the world can quite literally spin beneath his feet.

What is the intention behind the work?

When we first started working in puppetry, we were always impressed by the work of other artists who had created incredible objects that they used to portray their characters. But having no experience in building meant that we were often left with no idea how to create something as impressive.

We now know these skills and can build all sorts of things, but those initial feelings of wishing that we could do at home what we were seeing on stage inspired us to create this piece. We wanted to make something that might provoke the imagination of both young people and adults, and use only things that they have access to in their homes if they wanted to play with these ideas of transformation themselves. Plus a little bit of theatrical magic of course!

Argus plays at the Bille Brown Studio from 5 – 17 May. Tickets and Family Packages on sale now.

Call 1800 355 528 or visit queenslandtheatre. com.au

Developed with Brisbane Powerhouse. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Funding support for this project has been provided by The Jim Henson Foundation.

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Biographies Matthew Ryan WRITER

Iain Sinclair DIRECTOR

Queensland Theatre Company: As Playwright: The Lost Property Rules, Kelly, Sacré Bleu. Other Credits: As Playwright: The Escapists: Packed (co-written with Lucas Stibbard), boy girl wall (co-written with Lucas Stibbard), Attack Of The Attacking Attackers!; Dead Puppet Society: The Harbinger (co-written with David Morton); La Boite: Summer Wonderland, Chasing The Whale (as “The Dance of Jeremiah”); Pandemonium Theatre: So You Die A Little (co-written with Tony Brockman). As Director: The Escapists: boy girl wall (co-directed with The Escapists); Dead Puppet Society: The Harbinger (co-directed with David Morton); Pandemonium Theatre: So You Die A Little (codirected with Tony Brockman). Published Plays: Kelly, boy girl wall (Currency Press), Summer Wonderland, Chasing The Whale (Playlab Press Awards: Groundling Award – Best Production boy girl wall; Matilda Award - Devising and Producing & Best Independent Production boy girl wall, Best New Australian Work Attack Of The Attacking Attackers!

George Landen Dann Award Chasing The Whale (as “The Dance of Jeremiah”); Sydney Theatre Company’s Patrick White Playwrights Award Shortlist Julia Rose. Matthew is a co-founder of award-winning theatre group The Escapists.

Queensland Theatre Company: Debut. Other Credits: As Director: Sydney Theatre Company: Our Town, Blood Wedding, Mojo; Darlinghurst Theatre Company: All My Sons, Good Works; Griffin Theatre Company: Jump for Jordan, Lord of the Flies, Hurly Burly, Rope; B Sharp: Killer Joe, A Streetcar Named Desire, Datsun 120Y; Belvoir: The Seed; Melbourne Theatre Company: The Beast, Frogs Cry Wolf; Tasmania Performs: Beyond the Neck; VHS Productions: One Scientific Mystery or Why did the Aborigines eat Captain Cook?;Tamarama Rock Surfers: Rope, The Pork Stiletto, Harry’s Christmas, The Highway Crossing, One Long Night in the Land of Nod; Sport for Jove: Of Mice and Men; AADA: The Great, The Three Lives of Lucie Cabrol, A Midsummer 22

Night’s Dream; Canberra Youth Theatre: Shakespeare a la Carte; VCA Music Theatre: A Little Touch of Chaos; NIDA: Lost Illusions. As Translator: Blood Wedding. As Assistant Director to: Cate Blanchett, Gale Edwards, Max Stafford Clark, Jean Pierre Mignon. As Dramaturg to: Kate Mulvany, Tom Holloway, Caleb Lewis, Angela Betzien, Angus Cerini, Dan Lee, Duncan Graham, Donna Abeca, Mary Rachel Brown. Film: He Loves Who?, Intersection. Television: Sea Patrol. Positions: Resident Dramaturg for Playwriting Australia, Board Member, Darlinghurst Theatre Company. Awards: Sydney Theatre Awards – Best Independent Production The Seed, Canberra Theatre Award – Outstanding Contribution to New Writing.

Stephen Curtis DESIGNER

Queensland Theatre Company: Boston Marriage, Black Diggers (coproduction with Sydney Festival), Pygmalion, Corporate Vibes, The Venetian Twins, Dinkum Assorted.

Other Credits: Marreguku: Cut the Sky; Sydney Festival: I Am Eora; Stalker Theatre Company: Shanghai Lady Killer; Opera Australia: La bohème, Lulu, The Cunning Little Vixen, The Turn of the Screw; State Opera of South Australia: Der Ring des Nibelungen (The Ring Cycle); Houston Grand Opera: The Turn of the Screw; Victorian Opera: Julius Caesar; Sydney Theatre Company: The Secret River, The Pig Iron People, Navigating, Hanging Man, Heartbreak House; Bell Shakespeare Company: Henry IV, The Government Inspector, Much Ado About Nothing, Romeo and Juliet, The War of the Roses, The Servant of Two Masters; Melbourne Theatre Company: Tribes, The Blue Room, All About My Mother, Cat on a Hot Tin Roof, The Hypocrite, Life x 3, The Birthday Party, Realism, Rock ‘n’ Roll; Melbourne Theatre Company/Sydney Theatre Company: The Vertical Hour, Doubt, Two Brothers; Belvoir/Sydney Festival/ Windmill Performing Arts/Perth International Arts Festival: The Adventures of Snugglepot and Cuddlepie and Little Ragged Blossom; Company B Belvoir: The Business, Gwen in Purgatory, Scorched, It Just Stopped, The Underpants, Small Poppies, The Alchemist. Film: Looking for Alibrandi, Twelfth Night, Breathing Underwater, Bedevil, Night Cries. Awards: Helpmann Award, Best Costume Design: Der Ring des Nibelungen (The Ring Cycle); Green Room Award, Best Designer: Lulu. Training: NIDA (Design). Stephen has recently published Staging Ideas: Set and Costume Design for Theatre (Currency Press) as a resource and guide to the art of theatre design.

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David Walters LIGHTING DESIGNER

Guy Webster COMPOSER/SOUND DESIGNER

Queensland Theatre Company: Boston Marriage, Gloria, Macbeth, Australia Day, Venus in Fur, End of the Rainbow, Romeo & Juliet, Pygmalion, Grimm Tales, The August Moon, Rabbit Hole, The Glass Menagerie, The Memory of Water, A Day in the Death of Joe Egg, Molly Sweeney, Chilling and Killing My Annabel Lee, The Skin of Our Teeth, Vertigo and the Virginia, Long Day’s Journey into Night, Amy’s View, Master Class, After the Ball, Summer Rain, Arcadia, The Hope of the World, Money and Friends, Gilgamesh, The Man from Mukinupin, A Different Drummer, Fuente Ovejuna, Salonika, The Venetian Twins.

Other Credits: Melbourne Theatre Company, Sydney Theatre Company, State Theatre Company of South Australia, Bell Shakespeare Company, QUT, QPAC, Jute, Handspan, Playbox, La Boite Theatre Company, Rock‘n’Roll Circus, Nimrod, Company B, Expressions, Queensland Ballet, Australian Ballet, Opera Queensland and Zen Zen Zo. In Iceland he has lit for the National Theatre, the National Opera and the Reykjavik City Theatre. Positions: Adjunct Associate Professor in Drama at QUT. Awards: Matilda Awards/Commendations in 1988, 1990, 1992, 1993, 2001, 2002, 2004, 2007, 2008 and 2012.

Queensland Theatre Company: The Button Event, The Effect, Venus in Fur, Kelly, Orphans. Other Credits: La Boite Theatre Company: As You Like It, Ruben Guthrie, I Love You Bro, The White Earth, The Narcissist, Kitchen Diva, Summer Wonderland, Last Drinks, Creche and Burn, Urban Dingoes; Lisa O’Neill: The Pipe Manager, The Pineapple Queen; shake and stir theatre co: Wuthering Heights, Revolting Rhymes & Dirty Beasts, Tequila Mockingbird, 1984, Animal Farm, Statespeare; Brisbane Festival: Alice 21; Zen Zen Zo: Vikram And The Vampire; State Library of Queensland: Teacup Sonata, I Cherish This, The Unexpectedly Mind Boggling Adventure; Transmute Collective: Intimate Transactions, Transact, Liquid Gold, Transit Lounge; Matrix Theatre: 1347, The King and The Corpse; Wilde Applause: Operacus, Circopera; Red Shoes: Under Today; Institute Of Contemporary Art (London): Shifting Intimacies.

Awards: Prix Ars Electronica, Interactive Art, Honourable Mention for Intimate Transactions.

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Louise Gough DRAMATURG

Queensland Theatre Company: As Dramaturg: Black Diggers (coproduction 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 Victorian Indigenous Playwrights’ Conference; Dramaturg-in-Residence, La Boite Theatre (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). Louise is a proud member of the Australian Writers’ Guild.

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Leah Shelton CHOREOGRAPHER

Matthew Backer ENSEMBLE

Queensland Theatre Company: As Movement Consultant: The China Incident. As Performer/ Co-creator: The Rat Trap (coproduction with Polytoxic). Other Credits: As Performer/Co-creator: Polytoxic: Teuila Postcards (Brisbane Powerhouse, QPAC, Sydney Opera House, Arts House, Ten Days on the Island, Wan Smolbag Festival Vanuatu, Harbourfront Centre, Toronto); Trade Winds (Harbourfront Centre, Toronto, Darwin Festival, Enlighten Canberra, Wan Smolbag Vanuatu), Poly Hood (Brisbane Powerhouse, Adelaide Fringe Festival, Dreaming Festival); The Good Room: I Should Have Drunk More Champagne; Phluxus: Don’ts for Dancers; Bonemap: Whispering Limbs; Next Wave Festival: The Short Message Service; The Brides of Frank: Til Death Do Us Part; La La Parlour: Tarnished (tour of Holland, Belgium). As Performer: Spiegelworld (Las Vegas): Vegas Nocturne; Frank Theatre: Doll Seventeen, Macbeth - Crown of Blood, Rashomon. As Choreographer: the little red company: How to Make Snow, Extensions Youth Dance Company: Exhibit A. Positions: Company in Residence, Brisbane Powerhouse (Polytoxic), 2010-12; Producer, Brisbane Festival 2012-13; Program Manager, SPARK National Young Artists Mentoring program, Australia Council 2006-08; Judith Wright Centre Fresh Ground resident 2010; Lord Mayor’s Young and Emerging Artist’s Fellowship recipient, 2008; Ausdance Qld Board Member 2001-03.

Training: Bachelor of Arts (Dance), QUT. Queensland Theatre Company: Debut. Other Credits: Belvoir: Kill the Messenger; Bell Shakespeare Company: Henry V; Sydney Theatre Company: Machinal; Griffin Theatre Company: The Fox, The Tortoise, Where It All Began, Uncanny Valley; Peach Theatre Company: The History Boys; The Leapfrog Touring Company: The Chaos Fairy & The Wizard; HotHouse Theatre: Frenzy for Two; Parade Theatre: Mr Chicken Goes to Paris; Dodger Theatricals/Dainty Group: Jersey Boys; Theatre Works, St Kilda: Private View. Film: Latte e Miele (Milk & Honey), Whispers Among Wolves, Chicom, Oiling Point.

Television: Deadly Women, Fresh Blood (I'm With Stupid), History Hunters. Training: Bachelor of Dramatic Art (Acting), NIDA. 26

Conrad Coleby FRANK/ANDY WEST

Harriet Dyer PATTY

Queensland Theatre Company: Other Desert Cities (co-production with Black Swan State Theatre Company), The Glass Menagerie.

Other Credits: B Sharp: Lady Macbeth of Mtsensk; Seabiscuit Productions: South Pacific; Sydney Theatre Company: The Club, The Recruit; Olympic Arts Festival: Cosi.

Film: The Wolverine, Mindfire, The Last Winter. Television: The Time of Our Lives, Underbelly 4: Razor, Sea Patrol, Home & Away, Headland, All Saints, Always Greener, Water Rats, Sabrina Down Under. Awards: Matilda Nomination – Best Actor The Glass Menagerie; Logie Nomination – Best New Talent All Saints. Training: Bachelor of Arts (Drama), Queensland University of Technology.

Queensland Theatre Company: Debut. Other Credit: Sydney Theatre Company: Travelling North, Machinal, Pygmalion; Belvoir: Peter Pan; New Victory Theatre, New York: Peter Pan; Bell Shakespeare: The School for Wives; Darlinghurst Theatre Company: Time Stands Still; Townsville City Council: The Mad Mile. Film: Down Under, Ruben Guthrie. Television: Love Child (Series 1 & 2), Janet King, Packed to the Rafters, A Moody Christmas, Micro Nation. Awards: Logie Nomination - Graham Kennedy Award for Most Outstanding Newcomer and Most Popular New Talent Love Child, Sydney Theatre Awards – Best Lead Actress in a Mainstage Production Machinal. Training: Actors Centre Australia.

Lucy Goleby

Queensland Theatre Company: Gasp! (co-production with Black Swan State Theatre Company).

Other Credits: La Boite Theatre Company: Pale Blue Dot; Mad March Hare Theatre: A Moment on the Lips.

Film: Project 25. Short Film: AFTRS: Exercise, Death Sentence. Television: Live Well. Training: Bachelor of Dramatic Art (Acting), NIDA.

ROSE

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Dash Kruck DANNY FISHER

Daniel Murphy ENSEMBLE

Queensland Theatre Company: A Tribute of Sorts, Elizabeth – Almost by Chance a Woman, The Works 2010, The Bitterling. Other Credits: MELT Festival: I Might Take My Shirt Off; Monsters Appear: A Tribute of Sorts; La Boite Indie: The Bitterling; Elise Greig Pty Ltd: Hopelessly Devoted; Oscar Theatre Company: Spring Awakening, [Title of Show]; Gold Coast Arts Centre: Jesus Christ Superstar; Risk: The Last Five Years; Ozworks: Aladdin; Queensland Arts Council: The Fortitude Project; 4MBS: Amadeus, A Midsummer Night’s Dream; Harvest Rain Theatre Company: Spamalot, Dani Girl, Aladdin and his Mysterious Magical Lamp, A Midsummer Night’s Dream, James and the Giant Peach; Queensland Ballet: The Amazing Magician; Queensland Symphony Orchestra: A Midsummer Night’s Dream; Brainstorm Productions: Cheap Thrills, Brave Hearts, Verbal Combat; DeCamera Productions: The Dressing Chair; Starlight: The Importance of Being Earnest; Queensland Shakespeare Festival: Romeo and Juliet. Film: The Suicide Theory, Cluck! Radio Pirates, ‘Til Plates Do Us Part. Television: Pipsqueaks, Digger, K9, The Shak. Training: Bachelor of Creative Industries (Drama), QUT; Advanced Diploma (Acting), The Actors Conservatory. Positions: MEAA member. Awards: Matilda Awards – Best Emerging Actor The Dressing Chair, Best Male Actor A Tribute of Sorts ; The John Dommet Medal for Outstanding Industry Achievement (2011).

Queensland Theatre Company: Cat on a Hot Tin Roof (co-production with Black Swan State Theatre Company), Hamlet, Away, Hitchcock Blonde, Real Inspector Hound/Black Comedy, The Forest, The Blood and Thunder Adventure on Hurricane Peak, Inject-ED Brecht, The Taming of the Shrew, Three Sisters, The Works. Other Credits: Ellen Belloo: Motherland; Harvest Rain: Aladdin, Love’s Labour’s Lost; 4MBS: Taming of the Shrew, Amadeus; Side Effect: Three Sisters; 23rd Productions: Blackbird; Oscar: The 25th Annual Putnam County Spelling Bee; The Forward Movement: The Laramie Project; La Boite Theatre Company: Red Cap, The Dance of Jeremiah, The Final Bow, There Goes the Neighbourhood, The Tempest; Kooemba Jdarra: Yarnin’ Up; Matrix: The King

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and the Corpse!; green: Cheapside, Oleanna, Jerusalem, The Misanthrope; QFF: Boadicea; Toadshow/QPAC: Phantoad of the Opera, SherWoodstock; Stagebox: Tomfoolery. Films: Devasdating, Day of the Deadline, Singularity, Cool, The Real Macaw, Paperback Hero. Television: Mabo, Reef Doctors, K9, FARMkids, Flipper, Pacific Drive, Fire II, The Tanker Incident (Heart of Fire), The Einstein Code, Time Trax, 37 Skit Row, A Glass of Water. Awards: Matilda Awards – Best Male Actor in a Supporting Role Hitchcock Blonde, Best Performance Oleanna, Abigail’s Party, There Goes the Neighbourhood.

Veronica Neave ANNIE FISHER

Queensland Theatre Company: Macbeth, Romeo and Juliet, God of Carnage, The Exploration of the Caucasian Chalk Circle, Puss in Boots, A Streetcar Named Desire, Mano Nera, Seven Little Australians, The Glass Menagerie, A Winter’s Tale, Composing Venus, The Shaughraun, Romeo and Juliet, Twelfth Night, Carnival in Kingaroy, On the Whipping Side, Dinkum Assorted, Spring Song, The Taming of the Shrew, The Beaux Stratagem, Night and Day, The Barretts of Wimpole Street.

As Director: Funny Voices. Other Credits: As Performer: Brisbane Powerhouse: Sex with Strangers; La Boite Theatre Company: White Earth, The Idiot, Romeo and Juliet, Mummy Loves You Betty Ann Jewel; Sydney Theatre Company: Solitary Animals, Les Parents Terrible, The Shaughraun, King Lear; Force Majeure: The Age I’m In, Already Elsewhere, Same, Same But Different; Edinburgh Festival/Legs on the Wall/ Belvoir Street: Under the Influence; Marian Street Theatre: No Names … No Pack Drill, The Barretts of Wimpole Street, When We Are Married; Shaun Parker Dance Company: Blue Love. As Director: The Word Dog, Till Someone Loses An Eye, Flying Blind, Something to Someone. As Writer/Dramaturg: This Show is About People, Happy as Larry, Am I, White Porcelain Doll. Film: Girl Clock, How to Change in 9 Weeks, The Boys, Pact, Something Wicked, The Dice Man. Television: Mortified, Through My Eyes, Changi, Wildside, Medivac, Big Sky, Children’s Hospital, Echo Point, Naked, GP, Fire. Awards: Matilda Awards – Performance (1989-1991) and Contribution to Theatre (1992), John Harris Critics Award, Betty Awards (Canada) - Best Choreographer, Helpmann Award, Australian Dance Award.

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Hugh Parker ENSEMBLE

Hayden Spencer JOHN FISHER

Queensland Theatre Company: The Pitch, Kelly, Fractions (co-production with Hothouse Theatre), Cat on a Hot Tin Roof, The Clean House (co-production with Black Swan State Theatre Company), Betrayal, 25 Down. Other Credits: La Boite Theatre Company: A Doll’s House, Pale Blue Dot, Julius Caesar; 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/Steve Coogan (UK): Cream of British Comedy; The Royal Shakespeare Company (UK): A Midsummer Night’s Dream. Film: Bullets for the Dead, My Mistress, Fatal Honeymoon, Crooked Business, Sinbad and the Minotaur. Television: Gallipoli, Secrets and Lies, The Killing Field, The Strip, Sea Patrol. For UK Television: 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 (Series 2), People Like Us (Series 1 & 2), Beast, The Peter Principle, I’m Alan Partridge, Black Books, Lucky Jim. Writing Credits: BBC: Bruiser, The Fast Show; Channel 4: Comedy Nation. Training: Royal Academy of Dramatic Art, London.

Queensland Theatre Company: As Actor: End of the Rainbow (co-production with QPAC), An Oak Tree, Sacre Bleu!, American Buffalo, A Streetcar Named Desire, Eating Ice Cream With Your Eyes Closed, The Real Inspector Hound/ Black Comedy (double bill), The Lonesome West, The Messiah, Buried Child, The Australian Sitcom Festival. As Fight Director: The Tempest, Vertigo & The Virginia.

Other Credits: As Clown: Cirque de Soleil: Dralion. As Actor: Real TV: Tall Man; Melbourne Theatre Company: The Beast, Elling, Cyrano de Bergerac; HotHouse Theatre Company: The Messiah; La Boite Theatre Company: The Dance of Jeremiah, Ruben Guthrie, As You Like It, The Drowning Bride, The Mayne Inheritance, Half & Half, Cosi (co-production with QPAC), Still Standing, Clarke in Sarajevo, Small Mercies; Harvest Rain Theatre Company: The Caucasian Chalk Circle, The Elephant Man; Grin & Tonic/Brisbane Festival: Monkey; Green Theatre: Alive at Williamstown Pier, Jerusalem; Playlab/QPAC: The 30

Ghost of Wally Lewis. As Writer: AUSTRALIA the SHOW!, The Gremlins Project, Zoo-illogical. As Fight Director: La Boite Theatre Company: Rio Saki & Other Falling Debris. As Director: La Boite Theatre Company: Way Out West, Long Gone Lonesome Cowgirls; National Institute of Circus Arts: Alwin in E-Minor; QFF: The Gremlin Project; The Mango House/Brisbane Cabaret Festival/QPAC: There was an old lady. Film: Mystery Road. Short Film: It’s Hot, A Good Death, Eustice Solves a Problem, The Fencer, Early Eddie & the Bus Stop Blues. Television: Kensational, Flipper, Medivac. Awards: Helpmann Nominee – Best Actor in a Supporting Role End of the Rainbow, Green Room Nominee – Best Male Performer in Independent Theatre Tall Man, Actor’s Conservatory John Dommett Medal – Outstanding Industry Achievement (2004), Matilda Awards – Body of Work: 2001, 2003, 2004, 2013; Matilda Awards Hall of Fame inductee 2011; Dell’arte Chart Awards from 2000–2004, 2013.

Dan Sinclair STAGE MANAGER

Queensland Theatre Company: As Stage Manager: Stradbroke Dreamtime, Fractions (coproduction with HotHouse Theatre Company), Macbeth, Fat Pig, A Property of the Clan. As Assistant Stage Manager: Managing Carmen, I Feel Awful, Betrayal, Anatomy Titus – Fall of Rome (co-production with Bell Shakespeare Company).

Other Credits: As Production Stage Manager/Tour Manager: shake and stir theatre co: 1984 (national tour), Animal Farm (regional/national tour); Breast Wishes – An Uplifting Musical supporting the National Breast Cancer Foundation. As Stage Manager: shake and stir theatre co: Wuthering Heights, 1984, Roald Dahl’s Revolting Rhymes & Dirty Beasts, Tequila Mockingbird, Animal Farm, Out Damn Snot; La Boite Theatre Company: A Hoax, Hamlet, Walking By Apple Tree Creek (regional/national tour), Summer of the Seventeenth Doll, plus many more since 2003; Stage Management: QPAC, Brisbane Festival & Great Big Events for the Doha Asian Games. As Show Caller: Creative Generation: State Schools Onstage 2010, 2012-2014. Positions: Production Touring Coordinator, QTC; Tour Manager, La Boite Theatre Company; Training: Bachelor of Fine Arts (Technical Production), QUT. Awards: Drover Award Tour of the Year Animal Farm.

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Yanni Dubler ASSISTANT STAGE MANAGER

Queensland Theatre Company: As Stage Manager: The Button Event. As Rehearsal Assistant Stage Manager: Black Diggers (tour), Boston Marriage, Gloria.

Other Credits: As Stage Manager: Collusion Music: Transient Beauty Tour; Brisbane Powerhouse: Camille O’Sullivan, Brisbane Comedy Festival; QPAC: Pemulwuy, Wayne Brady: It’s My Line, Russian Ballet: Don Quixote, Clancestry; Woodford Folk Festival: Flying Squad. As Assistant Stage Manager: Queensland Ballet: Coppelia (G20 Cultural Celebration), Coppelia; QPAC: QSO Lord of the Rings: The Fellowship of the Ring. As Production Assistant – Queensland Theatre Company, Expressions Dance Company: APAM (R&J, Carmen Sweet). Training: Bachelor of Fine Arts (Technical Production), QUT.

Dash Kruck

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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?

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 and will be matched by Creative Partnerships Australia's Plus 1 program.

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Following a sell-out season at Perth International Arts Festival, Adelaide Festival, Newcastle and Canberra, QTC is proud to continue the tour of Black Diggers to Arts Centre Melbourne and Bendigo.

Black Diggers tells the story of the thousand or so Indigenous soldiers who fought for the British Commonwealth in World War I. It is the story of these men - story of honour and sacrifice that has been covered up and almost forgotten.

Photography: Branco Gaica

Originally produced by Queensland Theatre Company and Sydney Festival

22 – 26 April: Arts Centre Melbourne 1 – 2 May: Ulumbarra Theatre, Bendigo

PRODUCTION PARTNERS

TOURING PARTNERS

This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals, Sydney Festival and Brisbane Festival.

Sensational Women Centre Stage

Naomi Price

Margi Brown Ash

Carol Burns

Libby Munro

Multi-tix packages available. Call 1800 355 528 or visit queenslandtheatre.com.au

RUMOUR HAS IT

created by Adam Brunes & Naomi Price 8–11 July

HOME

devised by Margi Brown Ash & Leah Mercer 14–25 July 34

HAPPY DAYS

by Samuel Beckett 18 July–15 August Force of Circumstance

GROUNDED

by George Brant 29 July–15 August

By Matthew Ryan

Touring until 22 July

Photography: Branco Gaica

The new Australian play, Kelly, written by Queensland Playwright Matthew Ryan, received critical acclaim during its world premiere season as part of QTC’s 2012 Mainstage program. QTC is excited to take Kelly on a 19 week tour to 39 venues across Australia in 2015.

QTC’s touring production of Kelly has been assisted by the Australian Government through the Australia Council, its arts 35funding and advisory body. And is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.

Acknowledgements PO Box 3567, South Bank, Queensland 4101

Top Pots WWII helmets and uniforms

Tel: (07) 3840 7444 www.qpac.com.au

Mavis Donavon Lisa Enright – Atomic Martini The Lindy Charm School Rehearsal Photography: Stephen Henry Photography credit for Macarthur’s Brisbane Soldiers marching down Queen Street, past the General Post Office, Brisbane, 1942 John Oxley Library, State Library of Queensland Neg: 203559 Photo credit: Argus: Dylan Evans Photo credit: Oedipus Doesn't Live here Anymore: Aaron Tait

Chair Chris Freeman AM Deputy Chair Rhonda White AO Trustees Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM Executive Staff Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Jackie Branch ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory body of the State of Queensland and is partially funded by the Queensland Government

To ensure that patrons enjoy the performance, management asks you to note: • Cameras, tape recorders and paging devices should not be used inside the auditorium.

• Switch off alarms and mobile phones prior to the performance.

• A single cough measures approximately 65 decibels of sound. The use of a handkerchief helps greatly to soften the sound.

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

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

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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 Indigenous Mentor: Janine Matthews Chief Financial Officer: Michael Cullinan Systems Accountant: Roxane Eden Finance Officer: Robin Koski

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 Officer: Maneka Singh Receptionist and Ticketing Officer: Donna Fields-Brown 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 and Events Supervisor: Deirdree Wallace Venue and Operations Supervisor: Julian Messer

Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Katherine Lyall-Watson David Morton Gayle MacGregor Paula Nazarski Ngoc Phan Lucas Stibbard Brisbane Production Staff Props Makers: Aleksis Waaralinna Michelle Betts Scenic Artist: Leo Herreygers Cutters/Costume Makers: Leigh Buchanan Yvette Morton Costume Makers: Michelle Wiki Selina Bedfield Liezel Buckenham Costume Assistant: Tara Mannell Wardrobe Dresser: Jake Cook Wardrobe Maintenance: Liezel Buckenham Hair Dresser: Michael Green Flying Rigger: Cam Brown (Rig Jam) Rigging Consultants: Bretech Services Production Electrician: Nick Toll Sound Consultant: Sam Maher Floor Electrician: Julia Morwood QPAC Staff Head Electrician: Marcel Micola von Furstenrecht Lighting Programmer: Natalie Oxenham Head Mechanist: Tony Bergin FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003)

Queensland Theatre Company is a member of Live Performance Australia.

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Training Australia’s future musical theatre stars.

With world-renowned teachers and invaluable local and international links, Queensland Conservatorium’s Bachelor of Musical Theatre provides professional training at its very best.

Bring your passion to life, visit

griffith.edu.au/musicaltheatre.

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Thank You To Our Current Donors We thank all our generous donors for their contribution to our work.

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

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.

$10,000+

$5,000-$9,999

1 Anonymous Patricia Byrne Pamela M Marx Bruce & Sue Shepherd

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

$2,000-$4,999 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 John & Julienne McKenna The Prior Family Cecily Stevenson

Kate Foy Peter & Gay Gibson Anita Green Andrea & Malcolm Hall-Brown David Hardidge Albert & Carmen Hili Katherine Hoepper Marc James Olwyn M Kerr Tammy S Linde Sandra McCullagh Carolyn McIlvenny Hon. Tom McVeigh Sandra McVeigh Elizabeth Mellish

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

$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

TRUST & FOUNDATIONS

Dee Morris & Reny Philip & Fran Morrison Darryl Nisbet Pacstars Allan Pidgeon Catherine Quinn People Resourcing Donald Robertson Lyn & Joanne Scott Bronwyn Springer Coralie Van Straaten-Peretz VERTEC RAIL Amy Walduck D & J Woodward

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 Geoffrey Hirst & Sally Wilde David Hardidge Hudson Family Amanda Jolly Tempe Keune

Ross & Sophia Lamont Joan M. Lawrence AM Susan Learmonth & Bernard Curran Fred & Margaret Leditschke Andrew & Kate Lister 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 Sandy Vigar & Martin Pearson Margaret & Norman Wicks Gillian Wilton Ian Yeo & Sylvia Alexander Sharon York & Mark Smith

LEGAL CHAPTER MEMBERS AND NELLIE DUFFY PROJECT SUPPORTERS 2 Anonymous Roslyn Atkinson AO & Richard Fotheringham Michael & Anne Back Jennifer Batts Sarah Bradley Peter Bridgman & Susan Booth

Sheryl Cornack Leone Costigan & Greg Mann Ralph & Frances Devlin James & Margaret Douglas Adrian Duffy

Scott Falvey H G Fryberg Richard Fryberg Elizabeth Gaffney John & Lois Griffin Kevin & Joanne Holyoak Asif Khan

Fleur Kingham John & Janice Logan Sarah Ludwig Stephen & Hana Mackie Debra & Patrick Mullins

Leanne O’Shea & Peter Gilroy Tina Previtera Jeff Rolls & Barbara Houlihan Walter Sofronoff

visit queenslandtheatre.com.au/nellieduffy to donate to the Nellie Duffy project.

Donations made to the Nellie Duffy Project will be matched by support from the Creative Partnerships Australia Plus 1 program.

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Peter & Nerida van de Graaff Greg & Sally Vickery

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 Queensland Q Que ueens nsla la and Theatre and an Thea Thea heatre tre eC Co Company ompa p ny pre pa presents rre esen e ts ts

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

facebook.com/qldtheatreco twitter.com/qldtheatreco

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.