COMING TO THE BILLE BROWN STUDIO
Gloria. By Elaine Acworth
19 Jul – 16 Aug
Call 1800 355 528 queenslandtheatre.com.au
Queensland Theatre Company and Sydney Theatre Company present
Cast 7 June – 5 July 2014 Bille Brown Studio, The GreenHouse The Effect will run for approximately 2 hours and 30 minutes, including an interval.
Eugene Gilfedder
Toby
Anna McGahan
Connie
Angie Milliken
Dr James
Mark Leonard Winter
Tristan
Sarah Goodes
Director
RenĂŠe Mulder
Designer/Video Designer
Ben Hughes
Lighting Designer
Guy Webster
Composer/Sound Designer
David Bergman
Video Designer
Bill Simpson
Choreographer/Movement Consultant
Charlotte Barrett
Stage Manager
Amy Burkett
Assistant Stage Manager/Nurse
The Effect was first performed at the National Theatre, London, directed by Rupert Goold and co-produced with Headlong on 13 November 2012.
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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
Welcome Note Wesley Enoch, Artistic Director Dear Patron, Supporter and Friends, Welcome to The GreenHouse, the home of Queensland Theatre Company. For you regular theatregoers, you know the Bille Brown Studio but you can see a range of changes to the foyers and courtyard – new colours, the new bookcases, the new Box Office at the bar, new hanging gardens and plants – but there are a few things you may not be able to see, like the increased power supply for the Bille Brown Studio that allows more control over the theatrical lighting, upgraded ventilation for our staff working in our set construction areas and improved ticketing systems. We have also been investing in our home by renovating the offices to create two new rehearsal rooms on Level 2 and installing environmentally friendly light
bulbs that are saving us a whopping 72% on our power bills. Greening our home is important to us. Think about installing some in your home. Most of these changes have been made possible by your generous donations to our appeal to match the government grant to help us with the flood recovery. As a result, we have been able to make these important investments for our future. Thank you. Our return to the Bille Brown Studio at The GreenHouse sees this co-production with our sister company, Sydney Theatre Company come to life. When I saw The Effect by Lucy Prebble at the National Theatre in London, I knew we had to bring it to you. It is an insightful commentary on happiness in a contemporary world. Director Sarah Goodes has assembled a stellar cast - Eugene Gilfedder, Mark Leonard Winter, Anna McGahan and Angie Milliken,
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returning home after living overseas for a number of years. Bille Brown was all about supporting new voices and new talents, and we continue his legacy through a range of new works being developed through The GreenHouse. Join us back at the Bille Brown Studio in June for Gloria by Brisbane based playwright Elaine Acworth starring the wonderful Christen O’Leary. You are one of the great cultural adventurers of Queensland. Enjoy the journey. Love,
Wesley
Synopsis Love: the most revered of human emotions, or simply a side effect? Psychology student Connie signs up for the clinical trial of a new, super anti-depressant where she meets charming, cocky, cheeky fellow volunteer Tristan. Sealed off together, with no contact with the outside world, it’s not long before their attraction becomes fully-fledged flirtation. Soon, the naturally occurring chemicals running rampant through their youthful bodies ignite clandestine canoodling. This threatens to throw the drug trial off track – much to the annoyance of the supervising clinicians, who have secrets of their own to keep. A co-production with Sydney Theatre Company, The Effect is written by young British playwright Lucy Prebble, author of West End and Broadway hit ENRON and TV’s Secret Diary of a Call Girl. The Effect is the story of a struggle for dominance between the clinical order of science and the rolling chaos of the human heart. Anna McGahan
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Director's Note Sarah Goodes The struggle to understand how the human mind works, to understand who we are physically, psychologically and emotionally, is beautifully magnified in this play as each character fights hard to defend their corner. Like all great plays it asks more questions than it answers, doesn’t take sides and keeps the big ideas firmly embedded in the action. In rehearsals, we talked a lot about the play's themes, the oppositional forces in the play, both between the characters and between ideas, science and love, the known and the unknown, leaps of faith vs facts, who am I and who are you? In Western society we like to place things in bright spaces so we can see them properly and thus understand how they work and, in turn, understand ourselves better. But perhaps it is the complex dark spaces that help us look deeper into ourselves.
Sarah Goodes
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We certainly don’t want to try and answer any of the questions this play brings out and we hope it sparks the same level of discussion for you that we have enjoyed. However, I would like to share this with you. In her book The Unquiet Mind: A Memoir of Moods and Madness, Kay Redfield Jamison, who is a Professor of Psychiatry in America and has suffered from manic depression all her adult life, wrote ‘Science remains quite remarkable in its ability to raise new problems even as it solves old ones but without science there would be no hope at all”. She also adds "... but if love is not the cure it certainly can act as a very strong medicine”.
We all build internal seas walls to keep at bay the sadnesses of life and the often overwhelming forces within our minds. In whatever way we do this – through love, work, family, faith, friends, denial, alcohol, drugs or medication – we build these walls, stone by stone, over a lifetime. One of the most difficult problems is to construct these barriers of such a height and strength that one has a true harbor, a sanctuary away from crippling turmoil and pain, but yet low enough, and permeable enough, to let in fresh seawater that will fend off the inevitable inclination toward brackishness. For someone with my cast of mind and mood, medication is an integral element of this wall: without it, I would be constantly beholden to the crushing movements of a mental sea; I would, unquestionably be dead or insane.
An Unquiet Mind An Unquiet Mind A memoir of moods and madness
by Kay Redfield Jamison, a Professor of Psychiatry at John Hopkins University School of Medicine. Professor Jamison has also experienced despresssion.
But love is, to me, the ultimately more extraordinary part of the breakwater wall: it helps to shut out the terror and awfulness, while, at the same time, allowing in life and beauty and vitality. When I first thought about writing this book, I conceived of it as a book about moods, and an illness of moods, in the context of an individual life. As I have written it, however, it has somehow turned out to be very much a book about love as well: love as sustainer, love as renewer, and as protector. After each seeming death within my mind or heart, love has returned to re-create hope and to restore life. It has, at its best, made the inherent sadness of life bearable, and its beauty manifest. It has, inexplicably and savingly, provided not only cloak but lantern for the darker seasons and grimmer weather. Kay Redfield Jamison 1995 5
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The Heart of the Grey Matter Baz McAlister It’s one of the most profound mysteries of human existence – and we wouldn’t even be able to ponder that mystery without using one. What do we know for certain about the human brain? It weighs around one-and-ahalf kilos. Each one is unique. Despite the ubiquitous “grey matter” slang, it’s more of a pinkish beige. It has two hemispheres, the left and the right, each divided into four lobes. And it’s busy in there – a roiling mass of a trillion cells, with 14 times more neurons than there are human beings on Earth, all wired to constantly firing synapses. Beyond that, much of the brain is uncharted territory. The idea that we could “map” the brain is relatively new, stemming from the late 1980s and the rise of various neuroimaging methods to peer inside our skulls. Some of the acronyms are now household terms: CAT scans, MRIs and EEGs (Computer Axial Topography, Magnetic Resonance Imaging, and Electroencephalography). There are now many more methods of examining the brain, probing its physical make-up, its electrical activity,
its radioactivity, its responses to drugs or pain. Brain mapping fuses all these to chart which parts of our brain’s structure govern certain jobs – or, “localisation of function”. It doesn’t happen in a vacuum; brain mapping neuroscientists observe the changes in the brain when subjects perform tasks, learn, age, fall prey to disease or mental illness, building “atlases” as they go. There are many ways to do this, such as “connectomics”, which builds a kind of wiring diagram of the brain’s neural connections; or Harvard’s Jeff Lichtman and Joshua Saines’ 2007 “Brainbow” breakthrough, which can isolate individual neurons in hues of fluorescent red, blue and green. Teams of researchers all over the world are putting together small pieces of this puzzle, in the hope that one day, we’ll be able to zoom around a map of our brain’s entire structure, just as Google has mapped the Earth. There’s still so much we don’t know, but we’ve managed to debunk some deeply-ingrained myths, such as the 100-yearold fallacy that we only use 10 per cent of our brains. In 8
truth, almost all regions of our brains are active even when we’re performing the most rudimentary actions, such as walking. “Numerous types of brain imaging studies show that no area of the brain is completely silent or inactive,” wrote doctors Aaron Carroll and Rachel Vreeman in the 2007 British Medical Journal. We now have evidence there’s no area of the brain that can be damaged without consequence. The goals of brain mapping are lofty, but the stakes are high. With more detailed understanding of our own noggins, we can diagnose and treat degenerative brain diseases. We can know our enemies Alzheimer’s, autism, bipolar disorder and depression. We can examine how our brains adapt to allow us to learn complex tasks or how to use intricate devices. We can see how drugs or age or illness affect us. Our sketchy brain maps have become somewhat more sophisticated, but there is a way to go. In a 2008 interview, Brainbow developer Jeff Lichtman estimated the amount of data compiled from mapping just one human
brain would be “bigger than all the data on the Internet, bigger than all the data in all the libraries in the world�. Of course, in a staggering show of synchronicity, as we adapt our brains to make technological leaps, those technological leaps will allow us to better understand the brain.
Numerous types of brain imaging studies show that no area of the brain is completely silent or inactive ...
Anna McGahan
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Queensland Theatre Company
From Idea
to Stage
BLOOD, SWEAT, SELFDOUBT AND MOMENTS OF INSPIRATION ARE AT THE BEGINNING OF ANY NEW WORK. For artists and writers, bringing a new work to the stage can be a massive challenge. You don’t just need a great idea; you need resources, time and finances.
Creative developments are one of the most important things we do at QTC. For those unfamiliar with the term, a creative development is an opportunity for artists to test and create new work. Creative development at QTC means artists can test ideas and techniques drawing on the guidance and experience of others, access rehearsal spaces and technical advice from QTC’s production team. Some new works make it to the stage after a creative development and others continue to develop. Our next production, Gloria by Elaine Acworth, was commissioned by QTC, and has undergone creative development prior to rehearsals starting. Elaine has worked closely with Wesley, the programming team, director David Bell, the creative team and actors, to deliver the story of a woman whose fraying memories are held together with song. Christen O’Leary leads the cast as Gloria, a chanteuse, composer and rebel trying to find her son, who she was forced to give up for adoption in the 1970s, as her mind begins to fade. In September, you can see two brand new works which we have been busy developing throughout 2014. I Want To Know What Love Is and The Button Event (pictured) will leave the minds of their creators and enter the Bille Brown Studio for world premiere seasons. Based entirely on anonymous stories, I Want To Know What Love Is, a collaboration with The Good Room, is a theatrical work made in response to the fragments of love, yearning and heartbreak submitted by the general public. You are invited to bear witness to the love stories of strangers – some epic, others fleeting – as a spotlight is thrown on longburied thoughts, stories, crushes and conquests as secret confessions are transformed into magnificent declarations centre stage. You can submit a love story anonymously at www. wewantyourlove.com Devised by QTC’s own Artistic Associate, Todd MacDonald, with Bagryana Popov, The Button Event is a one-man tour-de-force that depicts with beauty, honesty and playfulness a father coping with his toddler’s imminent brain surgery. With a startling mix of physical performance, true story and a few hundred tennis balls you will be catapulted through a world of sleep deprivation, seizures, twins, medication, MRIs and EEGs, trampolines and home renovations. Absurd and painfully funny, The Button Event ricochets between medical minefields, defining faith and family counselling. Time spent in creative developments is vital for the development of new theatre. You can support QTC’s development of new work by donating to Queensland Theatre Company or buying a ticket and seeing the show.
Visit queenslandtheatre.com.au for more information. Photography by Ian Golding.
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L-R: Sarah Goodes, Mark Leonard Winter, Angie Milliken, Amy Burkett, Anna McGahan
L-R: Anna McGahan, Angie Milliken
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L-R: Mark Leonard Winter, Amy Burkett, Angie Milliken
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Conceptually, The Effect exists in an atmosphere which illuminates the endless conflict of light and dark, fact and feeling, head and heart. An environment where multiple realities are refracted and reflected with colour, space and light. As a starting point we were inspired by the collaborative work of installation artist Olafur Eliasson and architect Ma Yansong. Renée Mulder, Designer
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Love in Winter
RORY HUDSON
‘Tis said, of course, that springtime is the season when love swells bright and bold, beyond thin reason; but I have known you in the winter, too, and loved the dying that I saw in you, your gentle fading into quiet retreat, the spirit shining ‘neath the world’s deceit: for when the leaves have fallen from the trees and birds, no longer chirping, rest at ease, then is the world to essences reduced and deeper modes of being introduced, a kind of slow and unselfconscious sleep – in you, a beauty to make wise men weep, for I have seen the sadness in your eyes, the insight of the slipping prize, through fingers that would seek to hold it fast, into an insubstantial past. In winter, this in you comes to the fore, for which I love you then not less, but more.
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It takes many people to create great theatre... ...the playwright, the director, the actors and designers... and most importantly our donors. With your help we are aiming higher and taking our place as one of Australia’s leading theatre companies. You give us the confidence to take on bigger productions, secure international artists and commission the new works which will become the classics of tomorrow. Thank you for your part in making our theatre company great.
For more information about donating to Queensland Theatre Company please contact our Philanthropy Manager on Tel: 3010 7621.
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Biographies Lucy Prebble
The Effect won best new play at the Critics' Circle Awards. It played at the National Theatre directed by Rupert Goold and co-produced with Headlong in the winter of 2012 to superb reviews. Lucy was selected as a finalist for the 2013-14 Susan Smith Blackburn Prize.
Photography: Katrin Ribbe
WRITER
Lucy is currently under commission to The Royal Court and writing a drama for the BBC with Tiger Aspect. She is also developing a project with Nick Hytner and working with the gaming company Bungie. Her play, Enron, transferred to The West End and Broadway in 2010 after sell-out runs at both The Royal Court and Chichester Festival Theatre. Lucy is currently adapting it for Sony Pictures. In addition to the critical acclaim it has received, Enron also won the award for Best New Play at the TMA Theatre Awards, and was shortlisted for The Evening Standard Award and Olivier Award for Best New Play. Lucy created the TV series Secret Diary of a Call Girl, starring Billie Piper. Secret Diary enjoyed three series and was sold to Showtime, the major US channel famed for its daring dramas. Lucy won the prestigious George Devine Award 2004 for her play The Sugar Syndrome in May 2004, followed by the TMA Award for Best New Play in October 2004. She also won the 2004 Critics’ Circle Award for Most Promising Playwright. ‘If there’s a funnier, sadder, wiser play looking at paedophilia and prejudice this year, even this decade, I’d be amazed.’ The Daily Telegraph Lucy’s first one act play, Liquid, was selected for performance at the National Student Drama Festival 2002 where Lucy received the PMA Most Promising Playwright Award. Lucy is represented in the US by UTA.
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Sarah Goodes DIRECTOR
Renée Mulder
DESIGNER/ VIDEO DESIGNER
Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: Vere (Faith), The Splinter, Edward Gant’s Amazing Feats of Loneliness (co-production with La Boite Theatre Company); Old Fitzroy Theatre: What Happened Was …, Vertigo and the Virginia, Hilt, The Shelling Point; Belvoir – Downstairs Belvoir: Elling, Black Milk, The Small Things, The Sweetest Thing; The Studio, Sydney Opera House: The Colour of Panic; Darlinghurst Theatre: The Unscrupulous Murderer. As Assistant Director: Belvoir: Ray’s Tempest; Sydney Theatre Company: Eiling, Honour. Positions: Co-Resident Director, Sydney Theatre Company, 2014; Founder, Splinter Theatre Company. Training: Postgraduate Diploma in Theatre Directing, VCA. Queensland Theatre Company: Sacre Bleu!, Fat Pig. Other Credits: As Designer: Sydney Theatre Company: Perplex, The Long Way Home, Dance Better at Parties, Mrs Warren’s Profession, Mariage Blanc, In a Heart Beat, The Splinter, Actor on a Box – The Luck Child, Rough Draft #14 and #9; Griffin Theatre: The Boys, A Hoax; La Boite Theatre Company: As You Like It, Ruben Guthrie, I Love You, Bro; Griffin Independent: The Pigeons; Theatre Forward: The Sneeze; New Theatre: The Herbal Bed; Sydney Young Actors Studio: The Hypochondriac, La Dispute. As Costume Designer: Sydney Theatre Company: Vere (Faith). As Set Designer: Sydney Theatre Company: Edward Gant’s Amazing Feats of Loneliness. As Design Assistant: The Mysteries. Token Events: Good Evening. As part of Costume Art Department: Bell Shakespeare: Pericles. Short Film: As Co-Production Designer: A Parachute Falling in Siberia. As Art Direction Assistant: The Distance Between. As part of Armour Art Department: Narnia – Voyage of the Dawn Treader. Positions: Resident Designer for Sydney Theatre Company. Training: NIDA, Queensland College of Art.
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Ben Hughes
LIGHTING DESIGNER
Queensland Theatre Company: The Mountaintop, Black Diggers (co-production with Sydney Festival), Design For Living, Trollop (as CoDirector/Designer), 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (co-production with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu!, Fat Pig, Let The Sunshine (co-production with Melbourne Theatre Company), 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; Other Credits: The Danger Ensemble: The Wizard of Oz (co-production with La Boite Theatre Company and Brisbane Festival), Sons of Sin, Children of War, Loco Maricon Amor, The Hamlet Apocalypse; La Boite Theatre Company: Cosi, Kitchen Diva, Statespeare; The Nest Ensemble: Home; Zen Zen Zo Physical Theatre: Vikram and the Vampire, Cabaret, Dracula, Zeitgeist, My Sublime Shadow; Woodford Folk Festival: Fire Event 2012 & 2013; Cre8ion: Fluff; Stella Electrika: The New Dead: Medea Material; Expressions Dance Company: Carmen Sweet, Propel, Where The Heart Is; Queensland Ballet: Giselle, A Classical Celebration, ...with Attitude; As Associate Lighting Designer: Elision Ensemble: The Navigator; Meryl Tankard: The Oracle; Opera Queensland: Aida. Awards: 2011 Groundling Award - Outstanding Contribution to Lighting Design. Positions: Affiliate Artist, Queensland Theatre Company (2014 & 2011); Resident Lighting Designer, Queensland Theatre Company (2013); Associate Artistic Director – The Danger Ensemble; Emerging Artist, Queensland Theatre Company (2007); Professional Member, Association of Lighting Designers.
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Guy Webster
SOUND DESIGNER
Queensland Theatre Company: 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: 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, Honorable Mention for Intimate Transactions.
David Bergman
Sydney Theatre Company: As Video Designer: The Long Way Home. As Video and Sound Designer: Wharf Revues: Whoops!; Red Wharf: Beyond the Rings of Satire, Debt Defying Acts!, Not Quite Out of the Woods. Other Theatre: As Sound Designer and Composer: Too Many Elephants in this House, Macbeth. As Video & Lighting Designer: Richard III, Belles Line, Days of Significance. Training: NIDA.
VIDEO DESIGNER
Bill Simpson
Queensland Theatre Company: Debut. Other Credits: Red Hot Rhythm: Rhythm Junkies Revived, Rhythm Junkies, Woodford Folk Festival, Melbourne International Tap Dance Festival, Out of the Box; Topology: THREE: Tap into Topology; Showbiz Christchurch: Hot Shoe Shuffle. Positions: Director, Red Hot Rhythm, 2007 – 2014. Training: QUT Dance Graduate, 2004.
CHOREOGRAPHER/ MOVEMENT CONSULTANT
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Eugene Gilfedder TOBY
Anna McGahan CONNIE
Queensland Theatre Company: Macbeth, Elizabeth – Almost By Chance a Woman, Fractions (coproduction with HotHouse Theatre), Sacre Bleu!, Grimm Tales, Waiting for Godot, That Face, Rabbit Hole, The Tempest, Vertigo and the Virginia, The Beaux’ Stratagem, Romeo and Juliet, Essington Lewis: I Am Work, The Cherry Orchard, The Shaughraun, Twelfth Night, Moby Dick, Season's Greetings, The Recruiting Officer, Camille, Ghosts, Major Barbara, The Slaughter of St Teresa’s Day, A Different Drummer, The Family Room, Amadeus, Cloudland, Einstein, Hello Dolly, Henry V. Other Credits: Bell Shakespeare: The Comedy of Errors, La Boite Theatre Company: The Chairs, Hamlet, Cosi, Kafka Dances, Speaking in Tongues, Road; Harvest Rain Theatre Company: Love’s Labours Lost; Matrix Theatre: A Beautiful Life; Fractal Theatre Company: The Secret Love Life of Ophelia, Bram Stoker’s Dracula, Coriolanus, The Oresteia, Metamorphosis, Peer Gynt; Mog Roith: Decadence, Richard III; Queensland Ballet: Fonteyn Remembered. As Associate Director: Fractal Theatre Company: White Marriage, Bloodless and The Fall of the House of Usher. Television: Sea Patrol, Fat Cow Motel, Traces, The Day of the Roses, Medivac and Fire II. As Writer: 4MBS: Beethoven’s Letters, Mahler: a matter of life and death; QPAC: an adaptation of The Odyssey (2004); Brisbane Festival: The Fiveways - a one-act opera (2008), Metro Arts: Empire Burning (2011). Awards: Matilda Awards for Excellence in Queensland Theatre; Green Room Award, Best Actor, A Beautiful Life. Positions: Co-founder, Fractal Theatre Queensland Theatre Company: Managing Carmen. Other Credits: La Boite Theatre Company: Julius Caesar. Film: 100 Bloody Acres. Television: House Husbands, Anzac Girls, The Mystery of a Hansom Cab, Miss Fisher’s Murder Mysteries, Underbelly: Razor, Spirited II, Rescue Special Ops. Short Film: As Actor: A Little Bit Behind, Maxwell & Sierra. As Writer: Gingers. Writing: He’s Seeing Other People Now (produced by Metro Independents 2012). Awards: Heath Ledger Scholarship 2012, Matilda Awards – Emerging Artist 2011, Inside Film Award Out of the Box, Queensland Premier’s Drama Award 2012/13 (shortlisted) He’s Seeing Other People Now, Queensland Theatre Company’s Young Playwright’s Award (2009, 2010) Training: Bachelor of Fine Arts (Acting), Queensland University of Technology 2010. 24
Angie Milliken DR JAMES
Mark Leonard Winter TRISTAN
Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: The Real Thing, Don Juan, Three Days of Rain, The White Devil, A Month in the Country, Betrayal, Closer, The Herbal Bed, Much Ado About Nothing, Three Sisters. Belvoir: Every Breath, My Zinc Bed, Dead Heart, Masterbuilder, The Tempest, The Conquest of the South Pole. Brooklyn Academy of Music: The White Devil NY Tour; STCSA: A Midsummer Night’s Dream, ’Tis Pity She’s a Whore; Playbox: Redemption. Commercial Theatre: Decadence (Terry Clarke Productions). Film: This Isn’t Funny, Passengers, The Condemned, Solo, Paperback Hero, Exile, Dead Heart, What I Have Written, Talk, Rough Diamonds, Eight Ball, Mimi Goes To The Analyst, Act of Necessity, Harbour Beat. Television: Rake 2, CSI Miami, MDA Series 2 & 3, Through My Eyes, Sharknet, Farscape, My Brother Jack, Stingers, Beastmaster, Close Ups – Watching, Jacks Shadow, The Last Man Hanged, A Country Practice, Beast, Feds I, II & III, GP, Paper Man, E Street. Awards: AFI Award for Best Actress in a Television series 2003- MDA, AFI Award for Best Actress in a Tele-feature or Mini-series - My Brother Jack, MO Award Nomination for Best Actress - A Month in the Country. Positions: Director, Sydney Theatre Company Board, 19992005. Training: Diploma of Acting, NIDA (1988). Bachelor of Arts, University of Queensland (1985). Queensland Theatre Company: Debut. Other Credits: Belvoir: Thyestes (coproduced with Malthouse Theatre and The Hayloft Project); Malthouse Theatre and Black Lung Theatre Company: Avast, Avast 2: The Welshman Cometh; The Hayloft Project: 3 x Sisters; Daniel Schlusser Ensemble: M+M. Film: The Fear of Darkness, Healing, The Boy Castaways, One Eyed Girl, Blame, Balibo, Van Diemen’s Land, Triple Happiness, Playing For Charlie. Television: Miss Fisher’s Murder Mystery, Rush, Killing Time, Winners and Losers, The Pacific. Short Film: Phone Call, Green Eyed, Hells Gates, Advantage, Yasue. Awards: 2014 Green Room Awards Winner of Best Ensemble – M+M, 2012 Sydney Theatre Awards Nomination: Best Leading Actor - Thyestes; 2011 Green Room Awards Nomination: Best Actor – Thyestes; 2011 Green Room Awards Winner of Best Production, Best Adaption, Best Ensemble – Thyestes; 2010 Green Room Award Nomination: Best Show - 3 x Sisters. Training: Bachelor of Fine Arts (Acting), VCA, 2005. 25
Charlotte Barrett
STAGE MANAGER
Amy Burkett
ASSISTANT STAGE MANAGER/NURSE
Queensland Theatre Company: As Stage Manager: The Mountaintop, Youth Ensemble Showcase 2013. As Assistant Stage Manager: Macbeth, Other Desert Cities. As Stage Management secondment: Mother Courage and Her Children. Other Credits: As Stage Manager: Matthew Management & Neil Gooding Productions: Thank You For Being A Friend. As Assistant Stage Manager: shake & stir theatre co: Animal Farm (Regional Tour); Out Damn Snot (secondment). Training: Bachelor of Fine Arts (Technical Production), QUT. Queensland Theatre Company: As Assistant Stage Manager: Australia Day, Youth Ensemble Showcase 2013. Stage Management Secondment: Romeo & Juliet. Other Credits: As Assistant Stage Manager: La Boite Theatre Company: The Wizard of Oz; Sydney Theatre Company: Mrs Warren’s Profession; City of Sydney: Martin Place Christmas Concerts, Chinese New Year Parade; Paris Opera Ballet: Giselle. As Stage Manager: La Boite Theatre Company: The Wizard of Oz (Lismore Tour); Sydney Chamber Opera: The Lighthouse. As Production Manager: Cooktown Re-enactment Association: Cooktown Re-enactment 2013; NIDA: The Old Tote Celebration; Don’t Look Away: Rooted. As Radio Mic Tech: System Sound: Legally Blonde the Musical. Stage Management Secondments: La Boite Theatre Company: As You Like it, Belvoir: Conversation Piece, Royal Court Theatre: Constellations. Training: Bachelor of Dramatic Art (Production) NIDA.
Acknowledgements Niki-J Price: Fight Choreographer Thanks to Loren Wilkinson for medical/clinical trial advice. Knight Hall Agency Ltd OF Lower Ground Floor, 7 Mallow Street, London EC1Y 8RQ, England. Rehearsal Photography: Stephen Henry Excerpt from "AN UNQUIET MIND" by Kay Redfield Jamison. Copywright ©1995 by Kay Redfield Jamison. (Used by permission of Alfred A Knopf, a division of Random House LLC). "Love in Winter" by Rory Hudson. (First appeared in Australian Love Poems, ed. Mark Tredinnick, published by Inkerman & Blunt 2013).
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 Bille Brown Studio has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the in-house trained attendants and move in an orderly fashion to outside the Studio.
L-R: Sarah Goodes, Mark Leonard Winter
See Queensland Premier’s Drama Awards 2014-15 Finalists’ presentations Tuesday 8 July, 6.30pm – One in Seven by Megan Shorey Tuesday 8 July, 8pm – Oedipus Doesn’t Live Here Anymore by Daniel Evans Wednesday 9 July, 7.30pm – The Overflow by Tim Benzie Bille Brown Studio, The GreenHouse
Saison de L’amour QTC Youth Ensemble: Senior Showcase: Friday 11 July, 7pm Saturday 12 July, 2pm and 7pm Bille Brown Studio, The GreenHouse
Gloria by Elaine Acworth 19 July–16 August Bille Brown Studio, The GreenHouse
QTC New Work and Development at The GreenHouse As well as a season of performance at The GreenHouse, our development and new work program continues behind the scenes. New plays are being commissioned, projects are being seeded and developed in collaboration with local independent artists and companies, and ideas for new work are being tossed around.
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Queensland Theatre Company at The GreenHouse
June, July and August
Talk Play Briefing
Night with the Artists
Before you come to see the play, join us in the theatre for a conversation with the director, designers and actors.
Stay after the show for a conversation with the actors and creative artists behind the production over a glass of wine from the bar.
Monday 14 July, 6pm: Gloria
Thursday 26 June: The Effect Thursday 7 August: Gloria
The GreenHouse Bar From May to September The GreenHouse Bar will be open from 5pm every Friday Night.
Do Monday Night Masterclasses: The Monday Day Night Masterclass program is a series of workshops offered to any interested high school aged participant. • Work with professional artists. • Learn new skills. • Work with likeminded young people. • Connect with Queensland Theatre Company Price: $10 per master class Time: 6pm – 8pm Monday Night drop-in Masterclasses are open to all interested high school aged participants to attend, but there are limited places available each week so make sure you book your place. Monday 23 June Monday 21 July Monday 4 August
Acting Skills: Using Your Voice Physical Theatre and Movement Auditions and Monologues
For more information on the Monday Night Masterclasses go to www.queenslandtheatre.com.au/Education-and-Youth/Youth-Program or contact Youth Program Coordinator, Claire Christian, on cchristian@queenslandtheatre.com.au or 07 3010 7606. 29
PATRON Her Excellency The Governor of Queensland Ms Penelope Wensley, AC
Front of House & Events Supervisor: Deirdree Wallace Venue & Operations Supervisor: Julian Messer
Affiliate Artists: Tony Brumpton Ben Hughes David Walters
MEMBERS OF THE BOARD Richard Fotheringham (Chair) Julieanne Alroe (Deputy Chair) Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Elizabeth Jameson Nathan Jarro Liz Mellish Karl Morris
Marketing Manager: Yvonne Whittington Marketing Coordinator: Amanda Solomons Publicist: Kath Rose & Associates Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David D’Arcy CRM & Ticketing Services Coordinator: Rory Killen Ticketing Coordinators: Maggie Holmes & Brad Routledge Receptionist & Ticketing Officer: Donna Fields-Brown Administration Trainee Kalisha Soe
Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Katherine Lyall-Watson David Morton Gayle MacGregor Paula Nazarski Ngoc Phan Lucas Stibbard
ARTISTIC DIRECTOR Wesley Enoch EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Artistic Associate: Todd MacDonald Resident Dramaturg: Louise Gough Resident Directors: Jason Klarwein & Andrea Moor Programming Manager/Senior Producer: Katherine Hoepper Producer (New Work & Development): Shari Irwin Artistic Coordinator: Samantha French Touring & Regional Program Coordinator: Christine Johnstone Education Program Coordinator: Heidi Irvine Youth Program Coordinator: Claire Christian Casual Programming Coordinator: Helen Stephens Chief Financial Officer Michael Cullinan Systems Accountant: Roxane Eden Finance Officer: Robin Koski
Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Development Coordinator: Dee Morris Researcher & Grant Writer: Liz Bissell Production Manager: Toni Glynn Technical Coordinator: Daniel Maddison Interim Production Coordinator: Scott Klupfel Head of Workshop: Peter Sands Company Carpenter/Head Mechanist: John Pierce Head of Wardrobe: Vicki Martin Apprentice Costume Maker: Savannah Mojidi
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The Effect Production Staff Carpenter: Jamie Bowman, Tom Pym Wardrobe Maintenance: Liezel Buckenham Production Electrician: Matt Golder Hair Stylist: Michael Green Sound Consultant: Tony Brumpton Wardrobe Assistant: Tovah Cottle
FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003) Queensland Theatre Company is a member of Live Performance Australia.
Pier 4, Hickson Road, Walsh Bay PO Box 777, Millers Point NSW 2000 Telephone Wharf Box Office (02) 9250 1777 Administration (02) 9250 1700 Fax (02) 9251 3687 Email mail@sydneytheatre.com.au Website sydneytheatre.com.au Board of Directors David Gonski ac (Chairman) The Hon Bruce Baird am Jonathan Biggins Toni Cody BoardConnolly of Directors John David Gonski ac (Chairman) Ann Johnson The Hon Bruce Baird am Mark Lazberger Jonathan Biggins Patrick McIntyre Toni Cody Justin Miller John Mostyn Connolly Sam Ann Johnson Daniel Petre ao Mark Lazberger Andrew Stuart Patrick AndrewMcIntyre Upton JustinYoung Milleram Peter Sam Mostyn Daniel Petre ao Artistic Director Stuart Andrew Upton Andrew Upton Executive Director Peter Young am Patrick McIntyre
Pier 4, Hickson Road, Theatre Walsh Bay PO Box 777, Millers Point NSW 2000 In 1980, Sydney Company’s first Artistic Director, Richard Telephone Wharf Box Office (02) 9250 1777 Administration (02) 9250 1700 Fax (02) 9251 3687 Wherrett, defined STC’s mission as to provide “first class theatrical Email mail@sydneytheatre.com.au Website sydneytheatre.com.au
Literary Manager Acting Head of Production Polly SimonRowe Khamara Company Manager Casting Director Colm O’Callaghan Serena Hill Artistic Literary Administrator Manager Ella PollyMinton Rowe Marketing Manager Company Manager Stephanie Zappala Bryant Colm O’Callaghan Media Manager ArtisticRelations Administrator Tim Ella McKeough Minton
entertainment for the people of Sydney – theatre that is grand, vulgar, intelligent, challenging and fun.” Almost 35 years later, In 1980,the Sydney Theatre Company’s first Artistic Richard under leadership of Artistic Director AndrewDirector, Upton, that ethos Wherrett, defined STC’s mission as to provide “first class theatrical still rings true. entertainment for the people of Sydney – theatre that is grand, vulgar, intelligent, fun.” Almost later, STC offers a diversechallenging program ofand distinctive theatre35ofyears vision and under of home Artistic Director Upton,Theatre that ethos scale atthe its leadership harbourside venue, The Andrew Wharf; Sydney still ringsBay; true.and Sydney Opera House, as its resident theatre at Walsh company. STC offers a diverse program of distinctive theatre of vision and scale at its harbourside home Sydney Theatre STC has a proud heritage as a venue, creativeThe hubWharf; and incubator for at Walsh Bay; and Sydney Opera House,developing as its resident Australian theatre and theatre makers, andtheatre producing company. eclectic Australian works, interpretations of classic repertoire and great international writing. STC strives to create theatre experiences STC has a proud heritage as a creative hub and for that reflect Sydney’s distinctive personality andincubator engage audiences. Australian theatre and makers, developing and producing Strongly committed to theatre engagement in the community, STC offers eclectic Australian works, interpretations of classicwith repertoire an innovative School Drama™ program; partners groupsand in great international writing. STC strives to create theatre experiences metropolitan Sydney, regional centres and rural areas; and reaches that reflect Sydney’s personality andAustralia. engage audiences. beyond NSW touringdistinctive productions throughout Strongly committed to engagement in the community, STC offers an SchoolofDrama™ program; partners with groups in Theinnovative theatre careers many of Australia’s internationally renowned metropolitan Sydney, regional ruralincluding areas; andMel reaches artists have been launched andcentres fosteredand at STC, beyond NSW touring productions Australia. Gibson, Judy Davis, Hugo Weaving,throughout Geoffrey Rush, Toni Collette, Rose Byrne, Benedict Andrews and Cate Blanchett. The theatre careers of many of Australia’s internationally renowned artists havecollaborates been launched fostered atartists STC, including Mel STC often withand international and companies Gibson, Judy Davis, Weaving,international Geoffrey Rush, Toni has Collette, and, in recent years,Hugo the company’s profile grown Rose Byrne, Benedict Andrews touring and Cateextensively Blanchett.to great acclaim. significantly with productions Renowned artists Tamás Ascher, Philip Seymour Hoffman, Liv STC often Steven collaborates with international artists and companies Ullmann, Soderbergh, Michael Blakemore, Max Staffordand, in recent years, the company’s international profile has grown Clark, Howard Davies, Declan Donnellan and Isabelle Huppert have significantly with productions touring to great acclaim. all worked with STC in recent years. STCextensively has presented productions Renowned artists Tamás Ascher,Theatre, Philip Seymour Hoffman, LivJowl, by the Abbey Theatre, Traverse Complicite, Cheek by Ullmann, Steven Soderbergh, Michael Blakemore, StaffordOut-of-Joint, the National Theatre of Great Britain Max and Steppenwolf Clark, Howard Davies, Declan Donnellan and Isabelle Huppert have Theatre Company. all worked with STC in recent years. STC has presented productions by the Abbey Theatre, Traverse Theatre, Complicite, Cheek by Jowl, sydneytheatre.com.au Out-of-Joint, the National Theatre of Great Britain and Steppenwolf Theatre Company.
Marketing Manager Stephanie Zappala Bryant
sydneytheatre.com.au
Director of Programming Artistic Director and Artistic Operations Andrew Upton Rachael Azzopardi Executive Director Director of Finance and Patrick McIntyre Administration Director of Programming Claire Beckwith and Artistic Operations Director of Marketing and Rachael Azzopardi Customer Services Director of Finance and Nicole McPeake Administration Director of Private Support Claire Beckwith Danielle Heidbrink Director of Marketing and Director ofServices Community & Corporate Customer Partnerships Nicole McPeake Paul O’Byrne Director of Private Support Acting Head of Production Danielle Heidbrink Simon Khamara Director of Community & Corporate Casting Director Partnerships Serena Hill Paul O’Byrne
Media Relations Manager Tim McKeough
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Committed to bringing you more in 2014
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Clovely Estate is proud to sponsor Queensland Theatre Company Visit our City Cellar Door at 210 Musgrave Road, Red Hill for the full Clovely Estate experience. Taste our award-winning wine or join us for our 5-course degustation dinners where our wines are matched with Southern Queensland’s freshest produce. Let us host your next seminar, cocktail party, dinner or wedding with our team of chefs and our talented winemakers, for a truly memorable event!
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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.
LEGAL CHAPTER Michael & Anne Back Jennifer Batts Sarah Bradley Peter Bridgman Sheryl Cornack Leone Costigan & Greg Mann Peter & Gwen Eardley Ralph & Frances Devlin Tom Fotheringham & Emmy Kubainski H G Fryberg Elizabeth Gaffney John & Lois Griffin Kevin & Joanne Holyoak
$200-$499
17 Anonymous Melissa Agnew Elizabeth Ardill Leanne Austin The Ballina Babblers Kent Beasley Melissa Bennett Emma Benson Elizabeth Billington Stephen & Jennifer Boyd Ethna Brown Joan Brown Betty Byrne Henderson AM Margaret Byrne M Cannon & J McCarthy Michael & Margaret Clancy Bob Cleland
$5,000-$9,999
$10,000+
Tim & Elaine Crommelin Wesley Enoch Cathryn Mittelheuser AM Karl & Louise Morris
1 Anonymous Patricia Byrne Pamela M Marx Bruce & Sue Shepherd
$2,000-$4,999
TRUST & FOUNDATIONS
Sue Donnelly Erin Feros Richard Fotheringham & Roslyn Atkinson John & Gabrielle Hull Joan M. Lawrence AM Terry & Pauline O’Dwyer Tim & Kym Reid Cecily Stevenson
English Family Foundation Tim Fairfax Family Foundation
$500-$999
Fleur Kingham John & Janice Logan Sarah Ludwig Stephen & Hana Mackie Debra & Patrick Mullins Brian Noble James Noble Tina Previtera Murray & Laura Procter Jeff Rolls & Barbara Houlihan Peter & Nerida van de Graaff Greg & Sally Vickery Keith Wilson
John Colwell Christine Comans Anthony Costantini June Craw OAM Vanessa Crowhurst Sarah Davies Helen Draper Eve Dyer Angus Edwards & Trudie Murrell Penny Everingham Judi Ewings Beres Francis Peter & Gay Gibson Anita Green Pamela Greet Yvonne Hansen
9 Anonymous Glenise Berry & Damien Thomson Dianne Eden Mathieu & Anastasia Ellerby Marian Gibney & Ken Macdonald Merrilyn Goos Ian & Ruth Gough Stephen & Deborah Green David Hardidge
Katherine Hoepper Joan Horgan Patricia Jackson Marc James Olwyn M Kerr David & Katrina King Ross & Sophia Lamont Anneliese Leutenegger William & Maria Lindsay Susan Mabin Brad Mammino Sandra McCullagh Geoff & Alison McGlashan Carolyn McIlvenny Margaret McNamara Angie McPhee Vern Mesh & Barbara Philp
$1,000-$1,999 4 Anonymous Anne & Peter Allen Julieanne Alroe Lisa & William Bruce John H Casey Kirstin & Glen Ferguson Alan Galwey Cass George William & Claire Glasson Mike & Sue Gowan Hudson Family Graham & Janet Martin Kerryn Newton Jim & Jill Nicklin Donal & Una O’Sullivan Paddington Antique Centre Prior Family Marianna Serghi Liz & Anthony Thompson
Nathan Jarro Amanda Jolly Tempe Keune J & ST King Noela & Colin Kratzing Susan Learmonth & Bernard Curran Fred & Margaret Leditschke Andrew & Kate Lister Ian & Rhyl McLeod Rob & Barbara Murray
Desley Miller Dee Morris & Reny Rennie Lorna Murray Kartini Oea Nick & Maureen Gabrielle O’Shea Pacstars Christos & Colleen Papadopoulos Allan Pidgeon People Resourcing Donald Robertson Andrew & Susan Prince Rosey Reinbott & Jeff Kogler John Richardson & Kirsty Taylor
Greg & Wendy O’Meara Diane & Robert Parcell Blayne & Helen Pitts Bruce Richardson Phoebe Stephens Flowers Sandy Vigar Margaret & Norman Wicks R & M Williams Gillian Wilton
Roger Sawkins & Gary Yong Gee Brian & Lorette Sexton Allister Simmonds John & Sue Stibbard & Family Jeff Thomsett Jenny Torr VERTEC RAIL Christine Whitlam Sally Wilde & Geoffrey Hirst Evelyn Williames Pam Willsher Ian Yeo & Sylvia Alexander Sharon York
Donations over $200 are listed on this board and are recognised for 12 months from the date of donation. 36
Thanks To Our Sponsors Government Partners
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Promotional Partner: Coev Haircutters
Queensland Theatre Company and Sydney Theatre Company present
(Queensland Theatre Company) 2014
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 or by scanning the below QR code.