By Ingmar Bergman Adapted for the stage by Joanna Murray-Smith
Presented by arrangement with the Ingmar Bergman Foundation, Josef Weinberger Ltd and Hal Leonard Australia Pty Ltd
The 2018 Season transports us to places we wouldn’t otherwise encounter (or even imagine). The eight plays traverse centuries of time, the breadth of our country, the expanse of the globe, and the inner workings of diverse and brilliant minds. In the coming year, you can be at the centre of a food fight at the Christmas dinner from Hell, evade pursuers across the Scottish Highlands, wrestle with a Kafkaesque bureaucracy in Tehran, help solve a 1960s murder mystery in the Western Australian Wheatbelt, become entangled in a 17th Century scientific feud, or sing melancholy love songs to the exotic Duke of a mythical realm. Be part of the magic of theatre. Be part of the 2018 Season at Queensland Theatre. Sam Strong Artistic Director
1 — 17 Feb
24 Feb — 24 Mar
A razor sharp rom-com that blends Guess Who’s Coming to Dinner with Meet the Fockers
Tongue-in-cheek noir thrills as four actors deliver hundreds of characters and thousands of laughs
In-law Xmas
Food Fight
Prada
Riotous
Skulduggery
Farce
Ways to book Call us Order by calling us 9:30am-5pm, Mon to Fri Freecall 1800 355 528
Drop in Queensland Theatre Administration 78 Montague Road, South Brisbane
Jump online Book online at queenslandtheatre.com.au Or email us mail@queenslandtheatre.com.au
Mail us Queensland Theatre Season Ticketing Team PO Box 3310, South Brisbane, QLD 4101
28 Apr — 19 May
26 May — 23 Jun
Tim Finn writes new songs for Shakespeare’s dark comedy
One football club, one family, and one unforgettable NRL grand final
Autumnal
Classic
Gender Bender
Queenslander
JT
Take the team
12 — 28 Jul
28 Jul — 18 Aug
An irreverent but tender memoir of a father, a son and a question of faith
The smash-hit stage adaptation of the classic Australian coming-of-age mystery
Not PC
Quarter-life Crisis
True Story
Australiana
Normie Rowe
Whodunnit
6 Oct — 3 Nov
10 Nov — 8 Dec
David Williamson meets Isaac Newton on the verge of his greatest scientific discovery
Ibsen’s fiercest leading lady lands poolside on the Gold Coast
Egos
Legends
Alchemy
Pistols
Glitter Strip
Underbelly
Based on the 70s Swedish TV series
Love blooms. Love fades. Performed by real-life couple Marta Dusseldorp and Ben Winspear
Condemned for causing a spike in Scandinavian divorce rates
“A portrait of extraordinary intimacy and a searchingly honest and moving love story � The Independent
Scenes From A Marriage By Ingmar Bergman
Adapted for the stage by Joanna Murray-Smith VENUE
CAST
11 November– 3 December Playhouse, QPAC
Marta Dusseldorp ............................................... Marianne Ben Winspear ........................................................... Johan Loani Arman ................................................ Mrs Palm/Eva
ATTENDANCE INFORMATION
Christen O’Leary ............................. Katerina/Mrs Jacobi
Scenes From A Marriage will run for approximately 2 hours 15 minutes, including a 20 minute interval.
Hugh Parker ...................................................... Peter/Arne CREATIVES Paige Rattray ......................................................... Director
WARNINGS
David Fleischer .................................................... Designer
Strong coarse language, use of herbal cigarettes and a scene depicting domestic violence.
Ben Hughes ........................................... Lighting Designer Kelly Ryall .............................. Composer/Sound Designer
The use of photographic or recording equipment is not permitted inside the theatre.
Tony Brumpton ...................... Associate Sound Designer Julia Patey ............................................. Assistant Director Eloise Grace ............................................. Stage Manager
Cover Photo: David Kelly
Kathryn O’Halloran .................. Assistant Stage Manager
Presented by arrangement with the
Vilma Mattila ........................................ Assistant Designer
Ingmar Bergman Foundation, Josef Weinberger Ltd and Hal Leonard
CONTRIBUTING ARTISTS
Australia Pty Ltd
Ashley Hay ............................................ Responding Artist
ACKNOWLEDGEMENT OF COUNTRY
Nigel Poulton................................................ Fight Director
Queensland Theatre would like to acknowledge the Jagera and Turrbal people who are the Traditional Custodians of this land. We would like to pay our respects to their Elders both past and present, and all Aboriginal and Torres Strait Islander peoples. RECYCLE THIS PROGRAM Support Greening Queensland Theatre and recycle this program after the performance in the recycling bins provided in the foyer.
Queensland Theatre 78 Montague Road, South Brisbane, Queensland, 4101
Read the program before the show at queenslandtheatre.com.au
Tel: 07 3010 7600 Fax: 07 3010 7699 Ticketing: 1800 355 528 mail@queenslandtheatre.com.au SCANDI-COOL
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AUSTRALIAN PREMIERE
BAD BEHAVIOUR
L-R: Marta Dusseldorp, Ben Winspear
Welcome So here we are at our final show for 2017. Getting to the end of the year has prompted me to reflect on the theatrical experiences that have had the greatest impact on me, not just over this and other seasons, but over the years. Sam Strong Artistic Director
Shows that have lingered with me have tended to achieve three things. First, they have captured a truth about human behaviour that I recognise. Sometimes this is mercifully distant from my own experience, other times uncomfortably close. Second, they have been unflinching and courageous in their treatment of their content. Third, they have possessed an undeniable intensity - a passion or ferocity that cannot help but provoke equally strong feelings in an audience. I raise these three qualities because they all apply to this production of Scenes From A Marriage. The component parts of the show are certainly tantalising: a classic source; an adaptor uniquely attuned to the darker side of our relationship lives; the finest actors from Brisbane and around the country; and a director at the height of her powers. Thank you to the Queensland Government whose funding through the Arts Illuminate program has made this production possible. Thanks also to you, our audience, for your support of the Company and for your passion for live theatre. I'm thrilled to reveal that 2017 will officially be the highest selling year in the Company's history. I'm looking forward to you joining us again in 2018. I'm sure this production will still be lingering with you then. Sam
Ingmar Bergman
Ingmar Bergman filming 1965 Ingmar Bergman filming 1965
Ingmar Bergman is widely acknowledged as one
Together, Bergman and Ullman made several
of the most prolific and influential filmmakers of
critically acclaimed films including The Passion of
all time.
Anna (1969), Cries and Whispers (1972), Face to
Born in 1918 in Sweden, Bergman directed over
Face (1976) and Autumn Sonata (1978).
sixty film and television shows until his death at
They lived together, on the remote Swedish island
age 89 in 2007. Bergman’s most famous films include Fanny & Alexander, Wild Strawberries, Persona and The Seventh Seal.
of Faro from 1965 - 1970, and shared a child, Linn Ullmann (born 1966). Their collaboration on Scenes From A Marriage (1973) marked their first
Arguably his most culturally influential work,
following their separation. Ullmann played the
Bergman’s popular television series, Scenes From
role of Marianne to Erland Josephson’s Johan.
A Marriage is said to have doubled Sweden’s
In 2008, British theatre director, Trevor Nunn
divorce rates in 1973, the year of its release. Statistics show a jump from 16,000 divorces in 1972, to 26,000 in 1973, the year of the series’ release. It was originally released as a teleseries in six parts, and later condensed into a theatrical cut which won the Golden Globe for Best Foreign Language Film. A marriage tragic, Bergman was married five
premiered Joanna Murray-Smith’s adaptation of Bergman’s classic, Scenes From A Marriage at the Belgrade Theatre in Coventry, UK. Nunn cast his then-wife Imogen Stubbs in the role of Marianne. In 2011, Nunn and Stubbs announced that their 21 year marriage had ended. When Nunn remounted the production in 2013, Stubbs did not return in the role of Marianne.
times in his life. Each marriage resulted in divorce except his last, to Ingrid von Rosen, who died of cancer. Despite his many marriages, Bergman’s most notable relationship was with actress and muse Liv Ullmann, whom he met on the set of Persona (1966). Ullman was married to a Norwegian psychiatrist at the time.
Article by Julia Patey
L-R: Marta Dusseldorp, Ben Winspear
L-R: Hugh Parker, Christen O’Leary, Marta Dusseldorp, Ben Winspear
L-R: Ben Winspear, Marta Dusseldorp
Playwright’s Note I had met Sir Trevor Nunn when he was running the National Theatre in London. He programmed my play Honour in the Cottesloe, directed by the wonderful Roger Michell. I was surrounded by greats: Dame Eileen Atkins playing Honor, the late Corin Redgrave playing her husband, George. Joanna Murray-Smith Playwright
That play was about the dissolution of a marriage
inside a love affair are witnesses to a world only
and Trevor must have been reminded of it when
they know.
he decided to direct a stage adaptation of
It was an enormous privilege to work with Trevor
Ingmar Bergman's Scenes From a Marriage, the gripping, disturbing television drama which had notoriously escalated divorce rates in Sweden in the 1970s.
on the original production of this adaptation and he gave me great freedom to edit and contemporise from the very long original work. That said, we both feel a very profound sense
Bergman was and remains one of the great
of loyalty to the original creator and I wanted to
modern storytellers of love and hate. My own
believe (however naively) that the adaptation
work, coming generations after his, occupies the
would have been approved of by Bergman,
same terrain. I have long been fascinated by the
striving for the same impact he had but in a subtly
nature of love and its inevitable corruption. My
more modern world. In trying to commune with
plays have often examined the conflict between
his intentions, I realised that so much of human
endurance and flight in relationships. Our terror
motivation and behaviour remains the same,
of being too well known, of having our self-
regardless of the domestic paraphernalia that
delusions exposed and of boredom in long term
surrounds us; cell phones, politics, global events.
relationships versus the exhilaration of the new.
Love, shame, desire, disappointment, rage and
And yet affairs or new relationships are built on desires that inevitably disappoint - sexual desire which cannot be sustained forever and the desire to thwart our mortality which can be suppressed but never triumphed over.
tenderness were all there with the Greeks. With this enormously talented cast and crew I have had the pleasure of working alongside, I hope that the wonderful Queensland audiences I have always enjoyed meeting over many productions
So human beings are stuck in the shadowy
at Queensland Theatre, find moments of
terrain of imperfect love - a perfect country
recognition, humour and meaning in this
for dramatists to belong to, full of conflicts and
provocative but truthful examination of marriage.
unresolved tensions, silent contracts, secrets and suffering. And somehow, within this flawed state, we find rewards - love that is irrational but stoic, built on humour, shared suffering, child-having, chemical attraction, the comfort of companionship and so much more. Two people
Director’s Note
We define ourselves by our relationships with those around us.
Paige Rattray Director
I chose to direct this play because while I believe
I would like to thank Marta and Ben for their
in that statement, I had difficulty understanding
bravery and tenacity in approaching this material
marriage; why people covet it and then why,
and for their extraordinary portrayal of these two
sometimes, despite everything, they choose
characters. Most of all, I would like to thank them
to end it. I had imagined that by opening night,
for their friendship, there are no two people I
I’d be closer to understanding marriage and its
would rather have worked with on this project.
complexities.
To our supporting actors, Christen, Loani and
I do know that every relationship is different.
Hugh - your insight, passion and talent has been
I know that the challenges within them are
so valued. The creative team, David, Kelly and
circumstantial. I know that most trials arise from
Ben, it’s been a pleasure realising this world with
a series of choices that are made or thrust upon
you alongside Julia, Eloise, Kat and the fabulous
us over a lifetime. I know that within relationships,
production team at Queensland Theatre. A very
there are roles that we play; sometimes willingly,
special thanks in alphabetical order goes to
sometimes subconsciously, and often times
Arianna, Grace, Maggie and Margot.
dictated by society’s expectations.
I would also like to acknowledge same sex
Scenes From A Marriage interrogates the
couples in our community who currently don’t
relationship of one couple, Marianne and Johan.
have the choice to marry their loved one, and
It asks us to observe and experience their
hope with all of my heart that you soon will.
marriage through a series of conversations and
At the end of it all, the one thing I am most
events. Everyone who views this play will have an entirely different experience from the person sitting next to them. I know this because I have wrestled with the questions and challenges it presents on many different levels, over many different weeks. The raw honesty of Bergman’s examination in the original, which Murray-Smith has stayed true to in her adaptation, has been a thrill to work on with five extraordinary actors.
certain of is that once you love someone, you are inextricably linked, for better or for worse.
L-R: Eloise Grace, Paige Rattray
Ben Hughes
Julia Patey
L-R: Hugh Parker, Marta Dusseldorp
Christen O’Leary
Loani Arman
Responding Artist It’s a series of tiny glass slides, microscopic samples from two concentrated lives. It’s a subset of moments caught by a strobe; the crests and troughs of gargantuan waves that hint at the more everyday ups and downs. Ashley Hay
Perhaps it’s us. Perhaps it’s not us. Perhaps it’s
The words create an intricate score: a particular
people we know or people we might like to be.
melody calls across its surface but there are so
Perhaps it’s no one we’ve ever known. Or no one
many subtleties at work underneath. What we see
real at all.
will depend as much on who we are as what’s on
It’s a fantasy; a mirror; a biography.
stage. We might hear the unexpected harmonies
A dream. The lights come up. The stage has been built out towards the audience, drawing us closer, further in. At some point, Marianne says: “Being known is a kind of love.”
or wince at crashes of discord. We might flinch as two desires just miss, and pass each other by. Maybe we’ll squirm with the discomfiture of witness – until an unexpected grace note chimes again. There’s a magic in these close and careful stories. Sit with them, and they transform from something
And Johan, later: “Let’s not talk about it anymore
intimate, forensically internal, to brush against the
or it might disappear.”
universal. They’re macroscopic, after all.
Here we are, then, like Schrödinger’s cats:
See? This moment. And this moment. And the
the best and worst of things at once, with the
next one. We’ll see so many different patterns
outcome not determined until we look.
when we stack up all these slides.
Scenes from a Marriage has undergone its own artistic transformations to arrive at the exquisite essence of this play. Now, here is another metamorphosis as its words are occupied – embodied – by these actors. Their ferocious animation of its characters explodes the cliché of a story brought to life.
Joanna Murray-Smith PLAYWRIGHT
Joanna Murray-Smith has written many plays, including Switzerland, American Song, Fury, The Gift, Three Little Words, Honour, Ninety, Rockabye, The Female of the Species, Rapture, Nightfall, Love Child and the three one-woman shows Bombshells, Songs for Nobodies and Pennsylvania Avenue. Many of her plays have been produced around the world, including seasons on the West End and Broadway. In London, Honour played both on the West End and at the Royal National Theatre, for which Dame Eileen Atkins, in the title role, won the Olivier. Following its West End season, The Female of the Species was nominated for an Olivier Award for Best New Comedy. Her plays have been performed by many of the world’s leading actors, including Dame Diana Rigg, Jane Alexander, Laura Linney, Corin Redgrave and Annette Bening.
Paige Rattray DIRECTOR
Queensland Theatre: Switzerland. Other Credits: Sydney Theatre Company: As Director: Australian Graffiti, Black is the New White, Power Plays, Boys will be boys, Rough Draft #13: Underland. As Dramaturg: The Golden Age. As Assistant Director: Speed the Plow, Arms and the Man, Battle of Waterloo, Travelling North; Arthur: Bright World (with Theatre Works), The Sea Project, Return to Earth (with Griffin Independent), The Myth Project: Twin (with Melbourne Theatre Company NEON), The Mesh (with Red Stitch Actors’ Theatre) The Midlands, The Sea Project (with Mudlark), Dirtyland (with The Spare Room), Cut Snake, Waltzing Woolloomooloo: The Tale of Frankie Jones; Griffin Theatre: Heartbreak Hotel; Milk Crate Theatre: This House is Mine; ATYP: Out of Place, Bronte; Carriageworks/Serenity Productions: Bill W and Dr Bob; NIDA: The Lieutenant of Inishmore, Blessed Are The Wild. Positions: Associate Artistic Director, Queensland Theatre; 2015 & 2016 Richard Wherrett Fellow, Sydney Theatre Company; Co-founder, ARTHUR; 2011 Resident Director, Griffin Theatre; 2010 Affiliate Director, Griffin Theatre. Awards: Matilda Award – Best Production Switzerland; Drama Victoria – Best Performance by a Theatre Company – VCE Drama Cut Snake; Gloria’s Fellowship; Mike Walsh Fellowship. Training: NIDA.
David Fleischer DESIGNER
Queensland Theatre: Debut. Other Credits: Opera Australia: Aida On The Beach; Sydney Theatre Company: Australian Graffiti, Chimerica, The Golden Age, Speed The Plow, Power Plays, Love And Information (with Malthouse Theatre Company), Boys
will be boys, Travelling North, Mojo, Children Of The Sun, Calpurnia Descending, Romeo And Juliet, Machinal, Fury, Little Mercy, Marriage Blanc; Sydney Chamber Opera: The Rape Of Lucretia; Sydney Dance Company: Orb; Pinchgut Opera: L’amant Jaloux, Griselda; Belvoir: Hedda Gabler; Form Dance Projects: Safety In Numbers; Griffin Theatre Company: Between Two Waves; Arthur: The Sea Project, The Brothers Size; Darlinghurst Theatre: 10,000 Beers, No Way To Treat A Lady, Kiss Of The Spiderwoman; Carriageworks: Bill W. and Dr. Bob; Downstairs Belvoir: Woyzeck; New Theatre: Dirtyland; Milkcrate Theatre: Intersection; Three Fish Productions: Der Gelbe Stern. Positions: Resident Designer, Sydney Theatre Company (2012 - 2013); Associate Designer, UNDER MILK WOOD. Training: NIDA.
Ben Hughes LIGHTING DESIGNER
Queensland Theatre: 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, Head Full of Love, Fractions (with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu, Fat Pig, The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Ice Cream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. As Associate Lighting Designer: Toy Symphony, Heroes. As Co-Director/Designer: Trollop. Other Credits: Sydney Theatre Company: Black is the New White; Melbourne Theatre Company: Let The Sunshine (with Queensland Theatre); The Danger Ensemble: Macbeth, Caligula, The Wizard of Oz (with La Boîte Theatre Company & Brisbane Festival), Sons of Sin, Children of War, Loco Maricon Amor, The Hamlet Apocalypse; La Boîte Theatre Company: A Streetcar Named Desire, Snow White (with Opera Queensland & Brisbane Festival), Medea, A Doll’s House, Cosi, Kitchen Diva, Statespeare; State Theatre Company of South Australia: Straight White Men (with La Boîte Theatre Company); Belvoir: Samson (with La Boîte Theatre Company); Zen Zen Zo Physical Theatre: Vikram and the Vampire, Cabaret, Dracula, Zeitgeist, My Sublime Shadow; Stella Electrika: The New Dead: Medea Material; Expressions Dance Company: Mozart Airborne (with Opera Queensland), The Host, Carmen Sweet, Propel; Queensland Ballet: Flourish, Giselle, A Classical Celebration, ...with Attitude; Phluxus2 Dance Collective: The Paratrooper Project. As Associate Lighting Designer: Elision Ensemble: The Navigator; Meryl Tankard: The Oracle; Opera Queensland: Aida; Expressions Dance Company: Where The Heart Is. Positions: Affiliate Artist, Queensland Theatre (2014 & 2011); Resident Lighting Designer, Queensland Theatre (2013); Associate Artistic Director - The Danger Ensemble; Emerging Artist, Queensland Theatre (2007); Professional
Member, Association of Lighting Designers; Accredited Member, Australian Production Design Guild. Awards: 2011 Groundling Award – Outstanding Contribution to Lighting Design.
Kelly Ryall COMPOSER/ SOUND DESIGNER
Queensland Theatre: Debut. Other Credits: Melbourne Theatre Company: Di Viv and Rose, Hay Fever, Three Little Words, Double Indemnity, Peddling, Rupert (including tour to Sydney’s Theatre Royal and The Kennedy Centre, Washington DC), The Crucible, On the Production of Monsters, Return to Earth, Dead Man’s Cell Phone, God of Carnage, Savage River (with Griffin), Dance of Death, On The Misconception of Oedipus; Sydney Theatre Company: Boys will be boys, The Trial (with Malthouse); Bell Shakespeare: Romeo and Juliet, As You Like It, Tartuffe, Phedre, Henry IV, Macbeth, Julius Caesar and The School for Wives; Malthouse: Edward II, The Shadow King (including tour to Barbican), Dance of Death, One Night the Moon, Die Winterreisse (with Thin Ice and Brisbane Festival); Griffin Theatre: The Boys (with Sydney Festival), And No More Shall We Part, Dreams in White, Mercury Fur And Don’t Say The Words; Belvoir: Title and Deed, Nora, Hedda Gabler, Cinderella; Kill the Messenger, Love Me Tender; Theatre Works: Animal; Melbourne Festival: The Bacchae (with Fraught Outfit, Dark Mofo); Dance Massive: 10,000 Small Deaths; KAGE: Team Of Life, Flesh and Bone, Sundowner; Carlee Mellow: Expectation; Lucy Guerin Inc: Pieces For Small Spaces; Nicola Gunn: Piece For Person, Ghetto Blaster (world tour). Film: Eye Contact, Tomorrow, Stasis, The Curtain Breathed Deeply, Lois, One Night; Finale, Meat, Sandwich, Squoka, March, Be Famous, Winner, Runaway, Apocolypse Bear, Memory Play (ABC). Awards: Green Room Awards: Best Sound Design (Theatre) Animal; Best Composition (Independent Theatre) Love Monkey; Best Sound/Music (Alternative/Hybrid Performance) Coop; Best Sound Design Arabian Night; Melbourne International Arts Festival Award. Music: www.kellyryall.com
Tony Brumpton ASSOCIATE SOUND DESIGNER
Queensland Theatre: As Associate Sound Designer: Rice (with Griffin Theatre Company). As Sound Designer: Tartuffe (with Black Swan State Theatre Company), The Wider Earth (with Dead Puppet Society). As Sound Designer/ Composer: Quartet, Grounded, Black Diggers (with Sydney Festival), The Mountaintop, Australia Day, Design For Living, Pygmalion, No Man’s Land (with Sydney Theatre Company), Gasp! (with Black Swan), Other Desert Cities (with Black Swan), Managing Carmen (with Black Swan), God of Carnage (with Black Swan), Sacre Bleu!, Macbeth (with Brisbane Festival), Fat Pig, The Little Dog Laughed, The Crucible, I Am My Own Wife, Private Fears
in Public Places, Absurd Person Singular, The Removalists, Waiting for Godot, Hurry Up and Wait (with deBase Theatre Company), Eating Ice Cream With Your Eyes Closed, Beckett x3, Maxine Mellor’s Mystery Project (with State Library of Queensland). As Co-Sound Designer: The August Moon, Anatomy Titus Fall of Rome: A Shakespeare Commentary (with Bell Shakespeare), Stones in his Pockets. Other Credits: White Rabbit Theatre Company: The Grand; Centenary of Canberra Festival: Kungkarangkalpa (Seven Sisters Songlines); Brisbane Festival: Freeze Frame, King Here After; Dead Puppet Society: The Harbinger, The Timely Death of Victor Blott; I-Pin Lin’s productions: Bamboo, Harmony, 4orces; QUT Dance: Current, Accented Bodies, Altered States; As Director: Vena Cava: RABBAR. Positions: Queensland Theatre: Affiliate Artist (2014), Associate Artist (2011), Emerging Artist (2010); Dead Puppet Society: Resident Artist (2016); Lecturer at Queensland University of Technology.
Julia Patey ASSISTANT DIRECTOR
Queensland Theatre: Debut. Other Credits: As Assistant Director: Sydney Theatre Company: Black is The New White; ATYP: A Town Named Warboy, Spur of the Moment. As Director: The Old Fitz: Cleansed in Blood; Adelaide Fringe/Edinburgh Fringe: The Hand of Time; The Blue Room Theatre/Summer Nights: Burnt. As Writer/Director: ATYP/we make theatre: Moonchild; Rock Surfers/we make theatre: When Am I Gonna Be What I’m Gonna Be; City of Sydney/Earlwood Farm: I’m Sorry We No Longer Sell Bath Bombs. As Writer: ATYP: The Voices Project: Between Us. ATYP Fresh Ink: You’re The One That I Want, After Me Comes The Flood. Positions: 2015 Directors’ Studio, Playwriting Australia; 2015 Playwriting Mentee, ATYP; 2014 National Studio Participant (Bundanon). Awards: 2017 Rose Byrne Female Arts Leader Scholarship Recipient; 2015 Art Start Recipient; 2013 Blair Milan Scholarship Recipient. Training: Theatre/Media, Charles Sturt University.
Eloise Grace STAGE MANAGER
Queensland Theatre: As Stage Manager: Noises Off (with Melbourne Theatre Company), The Odd Couple. As Company Manager: Ladies In Black (National Tour). As Tour Manager and Stage Manager: Kelly (National Tour). Other Credits: As Stage Manager: La Boîte Theatre Company: A Streetcar Named Desire, A Doll’s House; Australian Labor Party: Campaign Launch; City of Melbourne/ L’Oreal: Melbourne Fashion Festival; Melbourne Spring Fashion Festival. As General Manager/ Producer: MultipleSpinifex for the Ruler of Sharjah, UAE: Clusters of Light – An Oratorio; Cat Stevens/Yusuf Islam: Moonshadow – A New Musical; The Danger Ensemble: MACBETH. As Company Manager: Blue Man Group, Jersey Boys, Rock of Ages, The Addams Family Musical, Georgy Girl – the
Seekers Musical, FAME the Musical. As Logistics Manager: 2006 Asian Games Opening and Closing Ceremonies, Brisbane Festival, Queensland Music Festival. As Tour Manager: Bonnie Tyler Live, Tony Hadley in Concert, The Bangles, Song Trails, The Listies Make You LOL, arTour. As Guest Lecturer: Queensland University of Technology, NIDA, Griffith University.
Marta Dusseldorp MARIANNE
Queensland Theatre: Debut. Other Credits: Sydney Theatre Company: War of the Roses, Victory, The Lost Echo, Serpent’s Teeth, Mother Courage, The Crucible, The Way of the World,
Kathryn O’Halloran
Never Did Me Any Harm (with Force
ASSISTANT STAGE MANAGER
Year/Ham Funeral; Melbourne Theatre Company: Three
Queensland Theatre: As Stage Manager: Rice (with Griffin Theatre Company), Once in Royal David’s City (with Black Swan State Theatre Company), Switzerland, Happy Days, Treasure Island, An Oak Tree, Hurry Up and Wait! As Assistant Stage Manager: An Octoroon, Tartuffe (with Black Swan State Theatre Company), Quartet, The Seagull, God Of Carnage, Rabbit Hole. Other Credits: As Stage Manager: Creative Regions: It All Begins With Love; Brisbane Powerhouse; QPAC; Out Of The Box; State Library of Queensland; National Play Festival. As Event Co-ordinator: Sydney Festival - Seymour Centre, Carriageworks, AAMI Ferrython, Festival First Night. As Assistant Stage Manager: SpoonTree Productions: The Man The Sea Saw; Sydney Festival - Domain Concert Series; Queensland Ballet. Positions: Technical Coordinator - Brisbane Festival. Training: Bachelor of Fine Arts (Technical Production), Queensland University of Technology.
Majeure); Malthouse Theatre: Journal of the Plague Sisters, The Balcony, Misalliance; Company B: Cloudstreet (international tour), The Under Pants; Griffin Theatre: Gloria, Like a Fishbone (with Sydney Theatre Company); Ensemble Theatre: All My Sons; Bell Shakespeare: A Midsummer Night’s Dream. Film: Innocence, Praise, Paradise Road, Burning Man. Television: A Place to Call Home, Janet King, Jack Irish, Blackjack, Crownies, Devil’s Dust, After the Deluge, Hell Has Harbour Views. Awards: Sydney Theatre Award – Best Lead Actress in a Mainstage Production Gloria; AACTA Award - Best Lead Actress in a Television Drama Janet King; Helpmann Award - Best Female Actor in a Supporting Role in a Play War of the Roses.
Benjamin Winspear JOHANN
Queensland Theatre: Faustus (with Bell Shakespeare), Long Day’s Journey into
Vilma Mattila ASSISTANT DESIGNER
Queensland Theatre: As Designer: 600 Ways to Filter a Sunset, Constellations (Queensland Theatre Senior Youth Ensemble 2017). As Design Assistant: An Octoroon. Other Credits: As Designer: The Farm Company: Frank Enstein; La Boîte Theatre Company: A Streetcar Named Desire; Helsinki Theatre Academy’s Kookos Theatre: Platonov, They Shoot Horse’s Don’t They, Violent Society. As Assistant Designer: Helsinki City Theatre: Armi; Alexander Theatre: Antigone. Positions: Resident Designer, Queensland Theatre. Training: Master of Arts studies in Scenography, Aalto University; Bachelor of Arts in Scenography, Aalto University School of Art, Design and Architecture (exchange at Queensland University of Technology and Griffith University).
Night. Other Credits: Griffin Theatre Company: Emerald City, Clarke in Sarajevo; Mudlark Theatre Co: The Sea Project, The Midlands; Tasmania Performs: This Uncharted Hour; Belvoir: Baghdad Wedding, Elektra/Orestes; Sydney Theatre Company: Frankenstein, Love Lies Bleeding; Malthouse: Now That Communism is Dead My Life Feels Empty; Force Majure: Same, Same, But Different; Melbourne Theatre Company: Great Expectations; B Sharp: My Head Was A Sledgehammer; Performing Lines: Urfaust; Adelaide Festival: Burn Sonata; Bell Shakespeare: King Lear. Film: Bad Girl, The Last Goodbye, Breeding in Captivity, The Babadook. Short Film: Ricochet, Every Other Weekend, Heart to Heart. Television: A Place To Call Home, Rake, Old School, Underbelly Badness, Panic at Rock Island, Crownies, My Place, House of Hancock, Black Comedy. Positions: Artistic Associate, Griffin Theatre Company; Resident Director, Sydney Theatre Company. Awards: Helpmann Award – Best Actor Baghdad Wedding.
Loani Arman
Hugh Parker
MRS PALM/EVA
PETER/ARNE
Queensland Theatre: Debut. Other
Queensland Theatre: Noises Off
Credits: Sydney Comedy Festival: Lady
(with Melbourne Theatre Company),
Bits; Melbourne Fringe: Period; Sydney
Tartuffe (with Black Swan State Theatre
Fringe Comedy: Ultra-Un-Sound. Short
Company), Much Ado About Nothing,
Film: The Picnic. Television: Wanted,
The Seagull, Brisbane, The Pitch, Kelly,
The Elegant Gentleman’s Guide To
Fractions (with Hothouse Theatre),
Knife Fighting, Laid, Review With Myles Barlow, Paula’s
Cat on a Hot Tin Roof (with Black Swan State Theatre
Guide To Love, Always Greener. Web Series: Late Night
Company), Betrayal, The Clean House (with Black Swan
Angel Weenie Baby. Documentary: My Body Says. Podcast:
State Theatre Company), 25 Down. Other Credits: La Boîte
Girlhood. Positions: Production Associate, Matchbox
Theatre Company: Straight White Men (with State Theatre
Pictures; Drama Associate, Showtime Australia/FOXTEL.
Company of South Australia), A Doll’s House, Pale Blue Dot,
Awards: Tropfest in New York - Best Actress The Picnic.
Julius Caesar; Arts Centre Gold Coast: Hotel Beche de Mer;
Training: Bachelor of Arts (Acting), Theatre Nepean.
Shake and Stir Theatre Co: 1984; Ride On Theatre: The Blind Date Project; The Byre Theatre St Andrews (UK): The Thirty
Christen O’Leary KATERINA/ MRS JACOBI
Queensland Theatre: Much Ado About Nothing, Ladies in Black, The Seagull, Gloria, End of the Rainbow, Bombshells, The Marriage of Figaro, The Game of Love and Chance, The Crucible, Seven Little Australians, The Cherry Orchard, A Month in the Country, Gilgamesh, The Woman Before, The Sunshine Club, Threepenny Opera, The Beaux Stratagem, Fuente Ovejuna. Other Credits: La Boîte Theatre Company: Blackrock, Medea, A Midsummer Night’s Dream; Melbourne Theatre Company: Assassins, The Rover, Cosi, Wednesday to Come, Gift of Gorgon, Ruby Moon, Don Juan in Soho, The 25th Annual Putnam County Spelling Bee, The World’s Wife, Urinetown, Hinterland, Laughter on the 23rd Floor, Man the Balloon, Company, The Comedy of Errors, A Little Night Music; The Production Company: The Boy From Oz, High Society, Hello Dolly; Malthouse Theatre: Ruby Moon, Tear From a Glass Eye, The Goldberg Variations, Porn Cake, Goodbye Vaudeville Charlie Mudd; Sydney Theatre Company: The 25th Annual Putnam County Spelling Bee, Urinetown, Threepenny Opera. Film: Australia Day, Pinch Me. Television: Hoges, Wentworth, Rush, Neighbours, Blue Heelers, MDA, Worst Best Friends, Crashburn, Seachange, State Coroner, Raw FM. Awards: Gold Matilda Award – End of the Rainbow; Helpmann Award – Best Female Actor in a Supporting Role in a Musical The 25th Annual Putnam County Spelling Bee; Green Room Award – Best Female Actor in a Featured Role Company, A Little Night Music. Training: Diploma of Arts (Creative), USQ.
Nine Steps; Teenage Cancer Charity Trust: Cream of British Comedy; The Royal Shakespeare Company: A Midsummer Night’s Dream. Film: Space/Time, Bullets for the Dead, My Mistress, Fatal Honeymoon, Crooked Business, Sinbad and the Minotaur. Television: The Family Law, Gallipoli, Secrets and Lies, The Killing Field, The Strip, Sea Patrol, Vincent, Casualty, Doctors, Monarch of the Glen II, EastEnders, Smoke, Jonathan Creek, Broken News, 2 Pints of Lager and a Packet of Crisps, The World According to Bex, Wild West, 15 Storeys High, Doctors and Nurses, The Office, People Like Us, Beast, The Peter Principle, I’m Alan Partridge, Black Books, Lucky Jim. As Writer: BBC: Bruiser, The Fast Show. Training: Royal Academy of Dramatic Art, London.
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PATRON His Excellency the Honourable Paul de Jersey AC, Governor of Queensland MEMBERS OF THE BOARD Elizabeth Jameson (Chair) Rachel Crowley (Deputy Chair) Wayne Denning Prof Richard Fotheringham Peter Hudson Susan Learmonth Dr Andrea Moor David Williamson ARTISTIC DIRECTOR Sam Strong ACTING EXECUTIVE DIRECTOR Amanda Jolly ASSOCIATE ARTISTIC DIRECTOR Paige Rattray RESIDENT DRAMATURG Isaac Drandic EXECUTIVE ASSISTANT Jacki Micola DEVELOPMENT, FINANCE & OPERATIONS CORPORATE PARTNERSHIPS MANAGER Nikki Porter PHILANTHROPY MANAGER Liz Prior COMMUNICATIONS & GRANT COORDINATOR Anja Homburg CAMPAIGN COORDINATOR Georgia Lynas FINANCE MANAGER Valerie Cole ASSISTANT ACCOUNTANT Georgia Knight FINANCE OFFICER Sarra Lamb VENUE & OPERATIONS SUPERVISOR Julian Messer Queensland Theatre is a member of the Australian Major Performing Arts Group.
MARKETING & TICKETING MARKETING & AUDIENCE DEVELOPMENT MANAGER Tracey Webster HEAD OF CAMPAIGNS Jane Hunterland MARKETING ASSISTANT Louisa Sankey MARKETING ASSISTANT (DIGITAL ENGAGEMENT) Thomas Manton–Williams DIGITAL MARKETING OFFICER David D’Arcy GRAPHIC DESIGNER Aleesha Cuffe PUBLICIST Kath Rose and Associates DATABASE TRAINER / SUPERVISOR Rory Killen SENIOR TICKETING OFFICER Donna Fields-Brown TICKETING OFFICERS Madison Bell, Rosie Hazell SEASON TICKETING Jazmin Ealden, Chantelle Giles, Steve Pirie, Dan Sinclair, Ashley Webster, Tim Woods PRODUCTION PRODUCTION MANAGER Toni Glynn TECHNICAL COORDINATOR Daniel Maddison PRODUCTION COORDINATOR Pip Loth TECHNICAL COORDINATOR Lachlan Cross HEAD OF WORKSHOP Peter Sands COMPANY CARPENTER/HEAD MECHANIST John Pierce COSTUME SUPERVISOR Nathalie Ryner WARDROBE COORDINATOR Barbara Kerr
ACKNOWLEDGEMENTS Wayne Braiden and Gasworks John Fleming RoadPro Event Services Musical ensemble curation by Collusion Music and Dance Ensemble Music performed by PIANO: David Mibus VIOLA: Richard Grantham CELLO: Dan Curro REHEARSAL PHOTOGRAPHY: Stephen Henry CHAPERONES: Cienda McNamara, Ngoc Phan Chair Professor Peter Coaldrake AO Trust Members Charles Berry Susan Rix AM Dare Power Professor Chris Sarra QUEENSLAND PERFORMING ARTS CENTRE
The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts
PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au
Director-General, Department of the Premier and Cabinet: David Stewart
The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government
QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.
PROGRAMMING PROGRAMMING MANAGER / SENIOR PRODUCER Sophia Hall ARTISTIC COORDINATOR Samantha French PRODUCER (NEW WORK AND DEVELOPMENT) Shari Irwin RESIDENT DESIGNER Vilma Mattila ARTISTIC ADMINISTRATOR Hana Tow EDUCATION AND YOUTH PROGRAMS PROGRAMMING COORDINATOR Laurel Collins ASSOCIATE ARTIST (EDUCATION AND YOUTH) Travis Dowling INDIGENOUS REFERENCE GROUP Wayne Denning (Chair), Jimi Bani, Dr Valerie Cooms, Isaac Drandic, Nathan Jarro. NATIONAL ARTISTIC TEAM Jimi Bani, Wayne Blair, Margi Brown Ash, Marcel Dorney, Christie Evangelisto, Kat Henry, Nakkiah Lui, Annette Madden, Renée Mulder, Lucas Stibbard. FOUNDING DIRECTOR AIan Edwards, AM, MBE (1925-2003) QUEENSLAND THEATRE PRODUCTION STAFF CARPENTER Jamie Bowman SCENIC ARTIST Leo Herreygers COSTUME MAKER Michelle Wiki WIG STYLIST AND DRESSER Rebecca Anthony COSTUME MAKER Leigh Buchanan COSTUME MAKER AND COSTUME MAINTENANCE Bianca Bulley SOUND CONSULTANT Matt Erskine AV OPERATOR Sam Maher HEAD MECHANIST Darren McLaren STAGING TECHNICIAN Luke Morgan LIGHTING OPERATOR Lauren Salaway PRODUCTION ELECTRICIAN Mat Allan
Chief Executive John Kotzas Leanne de Souza Leigh Tabrett PSM 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. Information correct at time of printing
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“It’s all about variety for Queensland Theatre in 2018” Sydney Morning Herald “The new season follows a record-breaking year for the company” Daily Review “Sam Strong … has stamped his authority on the company with a strong program” The Courier Mail
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