Scab Program

P Y SCAB

BY DANNY BALL

A YOUNG INDUSTRY STUDIO PRODUCTION

“Peoplecanbemorethan onething,Eleni,placescan bemorethanonething.”

Jan

ATYP would like to acknowledge that we are a company that is based on the traditional lands and waters of the Gadigal people, delivering programs in the lands of our First Nations people across this country, rich with history of storytelling

We pay our respects to Elders past and present.

Scab

WrittenbyDannyBall

AYoungIndustryStudioproduction

Season 16–19May2024

TheRebelTheatre

EoraCountry Pier 2/3 Suite 2/13A Hickson Road

DawesPointNSW

Duration80minutes(nointerval)

Agerecommendation13+

ContentWarningsMildswearing, on-stageviolence,andreferences tothedeathofayoungperson

CoverdesignbyBecHerkess

Writer DannyBall

Director ClaudiaOsborne

AssistantDirector ThomasFiler

Dramaturg JaneFitzGerald

Set,Props&CostumeDesigner HailleyHunt

LightingDesigner SaintClair

SoundDesigner MadeleinePicard

Producer AlanaDunn

StageManager DouglasGuo

With ROFLCastThursday&Saturday

EwanBuchanan-Constable

BenBuenen

TanishGautam

EveGuilfoyleO'Rourke

LexiMcLean

BillyNicolaou

ScarlettSaunders

AurielleSmith

And LMAOCastFriday&Sunday

MiaDenine

JeffreyDimi

ConnorDoney

AlexandroGould-Arocha

ChloeHarnisch-Rojas

CatherineLayard

JasperReucassel

MayaYonedaHutchings

ATYP’s Young Industry Studio programs are designed for experienced young creatives who want to take their skills to the next level Learning from industry professionals, the ATYP Young Industry Studio brings the arts industry and young people together togrowanddevelopthecreativeleadersofthefuture

Participants of the ATYP Young Industry Studio program learn skills and techniques that enhance their performance and theatre-making ability and provide valuable connections with the arts industry and their peers Across a range of disciplines, theseprogramsprovidepracticaltraininginachallenging,creativeandcollaborativeensembleenvironment YoungIndustryStudio

FoundationCommissions

TheATYPFoundationwasestablishedin2003tocreateandmaintainacapitalfundtoensurethefutureofthenationalyouth theatre company and to help it reach many more young Australians. In the unpredictable world of Arts funding, the ATYP FoundationoffersstabilityandpermanencetoAustralia’soldesttheatrecompanydedicatedtoyoungpeople

In 2010 the ATYP Foundation made a commitment to supporting the commissioning of new Australian plays for young people to perform. In 2012 this support was formalised in the establishment of the ATYP Foundation Commission Award. To date, the ATYPFoundationhassupportedthecreationanddevelopmentof21plays

Director’snote

When I first read Danny Ball’s Scab, set in 2004, I found it (maybe unsurprisingly) incredibly relatable. ROFL, LMAO, MSN, Nokia 3310... this is my youth!

After spending the last four months with this wonderful cast, working, collaborating, and unpacking the rationale behind keeping your text messages under 160 characters, it’s clear that I’m not the only one connecting to the material

In Scab, Danny has perfectly captured the full spectrum of teendom – truly the best and the worst of times, a world where crippling insecurity and blind conviction walk hand-in-hand (a sausage roll, in a roll if you will)

Scab’s resonance isn’t limited to its themes. Danny has seamlessly (and fearlessly) tapped into the rhythms of youth. The dialogue is quick, clever and sometimes cruel in a way that only teenagers can be. But amidst the chaos of schoolyard banter, moments of vulnerability, insecurity and truth begin to surface

Watching talented young people grow and mature both as performers and humans is magic. Their vitality, wit and creativity has infused every single character you see on stage (which is particularly evident when you see how uniquely each cast has approached the material)

It’s been such a joy to work with this cast and creative team to bring this seriously ‘turbo’ show to life Never in my life did I think I’d be given the chance to house Sean Paul, Delta Goodrem and Arnott’s BBQ Shapes in the one production, and for that alone, I'm truly grateful

ClaudiaOsborne

Writer’snote

Most of my high school memories involve being doubled over in hysterics at the buffoonery of my mates. I had some real idiots forfriends.

One time, I answered a question in class, and Pat leaned over and whispered, ‘Bro, did your dad read you textbooks while you wereinthewomb?’

There is a danger in writing a play for young people, that you will obliterate their voices in favour of your own The last thing I wanttodoisobliterateavoicelikePat’s

As an adult looking both retrospectively at my teenage years as well as at young people in my orbit today, I sometimes have a tendencytoneatlydefineexperiences,toflattenoutcomplexity;toreduceyoungpeopletobroadcategoricaldefinitions.

Certainly, within high school dramas, there is an instinctive pull towards stereotypes: the bully, the nerd, the popular kid, the loner, the rebel, etc. But humans are not just one thing, we aren’t the embodiment of an idea - we are a collection of contradictingimpulses,desiresandopinions.Thisisespeciallytrueofteenagers.

MyintentioninwritingScabwastogentlyshakeupthetypicalrepresentationofyoungpeople

A group of high school students attempting to scab money during lunchtime is simple enough… but what happens when money is an extremely valuable commodity? All of the central characters in Scab are wrestling with social and financial circumstances they’veinherited,andarefightingtoothandnailtodefinethemselvesandwhattheirfutureswilllooklike

Each of the seven main characters has a vision for who they’d like to be, and through this lunchtime, are forced to confront the thingthatisholdingthemback;tohealtheirscabsandpropelthemselvesintotherestoftheirlives.

It has ultimately been my experience that young people who are confronted with a lack of resources become infinitely more resourcefulthanthosearoundthem.Theycreatetheirowntypeofresourcefulness:wit,tenacity,irreverenceandautonomy.

Scabpayshomagetothoseextraordinaryyoungpeople

The play, like the teenagers it represents, is built with joy, chaos, idiocy, strength and an irrepressible desire for selfactualisation.

When I was in year eight, our science teacher walked into class with a vest on, and my mate Shukri said: ‘Ey, Sir - I didn’t know itwasbring-a-vest-to-schoolday’

Like Shukri, I encourage young performers rehearsing this play to go for gold. No matter where you’re from, who you hang out with,orwhatyourgradesare;comeasyouare,anditwillbemorethanenough

DannyBall

CreativeTeam

DannyBall

Writer

DannyBallisanactor, writerandeducator.He grewupinMelbourneto Italian-Australianparents beforemovingtoSydney, graduatingfromNIDAwith aBFA(Acting)

Previousactingcredits includeHoldingtheMan (Belvoir),TheItalians, Darwin’sReptilia(Belvoir 25a),Loaded(Malthouse Theatre),forwhichhewon aGreenRoomAwardfor OutstandingPerformer, Cleansed(OldFitz),Much AdoAboutNothing,The Players(BellShakespeare), TheMakingofSashaFein (ARATheatre),Blackrock (SeymourCentre),Mercury Fur,TheSerpent’sTeeth (KXT),TotallyCompletely Fine(STAN),ABeginner’s GuidetoGrief(SBS),Home &Away(SevenNetwork), KICK(SBS).

Dannyisalsoaneducator andactingcoach,teaching forNIDA,JMC,Bell Shakespeare,ATYP,the McDonaldCollege, ParramattaActor’sCentre aswellasthroughhisown coachingbusiness.

HisdebutplayTheItalians premieredatBelvoir25ain 2022toasold-outcritically acclaimedseason,andwas subsequentlyfilmedby AustralianTheatreLive

ClaudiaOsborne

Director

ClaudiaOsborneisa

Sydney-baseddirector, writer,dramaturgandthe co-directorofindependent theatrecompany, FERVOUR.Shegraduated fromtheNationalInstitute ofDramaticArt(NIDA)in 2019,andholdsaMasterof DirectingforPerformance. Sincegraduatingfrom NIDA,Claudiahasworked withtheatrecompanies acrossSydney,including BelvoirStTheatre,Sydney TheatreCompany,Griffin TheatreCompanyandBell Shakespeare.

Herdirectingcreditsin theatreincludeEverybody (ActorsCentreAustralia), BURNWITCHBURN (FERVOUR/OldFitz),Picnic AtHangingRock(NIDA), Destroy,SheSaid (FERVOUR/25A),DelilahBy TheHour(FERVOUR/Brand XFlyingNun),Homesick (Bontom,Old505),The LadyortheTiger (FERVOUR),LULU:A ModernSexTragedy (NIDA),TheLibraryofBabel (FERVOUR),and HeySorryGottaGoBye (FERVOUR)

Asanassistantdirectorin theatre,TellMeI’mHere (BelvoirStTheatre,dir LeticiaCaceres),Loveand Information(NIDA,dir AntheaWilliams),The

CherryOrchard(BelvoirSt Theatre,dir.EamonFlack), TheRealThing(Sydney TheatreCompany,dir SimonPhillips),andTitus Andronicus(Bell Shakespeare,dir.Adena Jacobs)

Claudiaisa2022Gloria PaytenandGloriaDawn FoundationFellow Support fromtheGloriasFoundation allowedhertotravelto Germanytoassistantdirect forLydiaSteieronStrauss’ DieFrauOhneSchatten

In2024,Claudiawroteand directedherfirstshortfilm, Rash InOctobershewill directanewadaptationof Wedekind'sSpring AwakeningfortheNIDA Octoberseason

Dramaturg

AssistantDirector

ThomasFilerisanactor, writer,andteachingartist.

Thomashasworkedinthe film,TV,andtheatre industrieswithinAustralia since2016andhasworked withATYPsince2020

Scabishisfirstproduction workingasanassistant directorandheisthrilledto bepartoftheincredible creativeteambringingthis playtolife.

JaneisResidentDramaturg atATYP,whereshe overseesthecompany’s writingprogramsand commissions,andmentors emergingwritersand dramaturgsthroughthe FreshInk,NationalStudio andCultivateprograms. Recentproductionsfor ATYPincludeSaplings, Reboot,TheResistanceand Shack Otherworkincludes SummerofHarold (EnsembleTheatre),Soul Trading(Steps&Holes Theatre,CanberraYouth Theatre),BlackCockatoo (SydneyFestival/Ensemble Theatre),LostBoys (MerrigongTheatre Company)andTheBigDry (EnsembleTheatre/ATYP). PreviouslyJanehasbeena LiteraryManagerat EnsembleTheatre(shared role).ForSydneyTheatre Companyshehasbeen LiteraryManager,Artistic Associateandadministrator ofthePatrickWhite Playwrights'Awardaswell asadramaturgonnew writingandmainstage productions.Shehas workedasascriptreader fortheRoyalCourtLondon, PlaywritingAustralia,ANPC andPlayworks,andhas workedextensivelyasa MentorwithYear12 studentsonHSCcreative writingprojects

ThomasFiler

JaneFitzGerald

HailleyHunt

Set,Props& CostumeDesigner

HailleyisanemergingSet andCostumeDesignerin Sydney,herrecentdesign creditsincludeSetand CostumeDesignerforAurat RajatBelvoir25A(2024), SetDesignerforShitty,also atBelvoir25A(2024), AssociateSetDesignerfor TheHelloGirlsattheHayes Theatre(2024),Setand Costumedesignerfor ForgettingTimMinchinby JulesOrculloandFeminazi byLaneikkaDenneasa partofBelvoir’s202325A Season,SetandCostume DesignerforHowtoWina Plebiscite(AndTennis) (2022)byLachlanParry, andSetDesignerforNIDA’s 2022productionofPicnic atHangingRock.

include,NotNowNotEver: AParliamentofWomen, Darwin’sReptilia(25A),and TheSwell,HowtoDefend Yourself(OldFitzTheatre) AtKXThercreditsinclude, TheWindintheWillows, TheMarriageAgency,Lilac, andOneHourNoOil Previouslyshe’sworked extensivelyatGriffin TheatreasLighting Associate,onGhostingthe Party,AisforAppleand WhitefellaYellaTree.Other creditsasanassociate includeShack(Monkey Baa),DestroySheSaid (25A)andUlsterAmerican (SeymourTheatreand RiversideTheatres)

(SydneyFringeFestival) As lighting&videodesigner: TheWriter(NIDA).Asvideo associate:Zombie!The Musical(HayesTheatre)

SheholdsaBachelorof FineArts(Technical TheatreandStage Management)fromNIDA

MadeleinePicard

SoundDesigner

SaintClair

Lighting Designer

SaintClairisaSydneybasedlightingdesigner, producer,writer,and graduateofNIDA Her recentcreditsasLD

Madeleineisasound designer,composer& technicaltheatre practitioner Combiningher backgroundintechnical theatreandmusic,sheis interestedinstorytelling throughsoundandinbeing partofthecreationofnew Australiantheatricalworks

Selectcreditsinclude:As sounddesigner:The Weekend(BelvoirSt Theatre).Assounddesigner &composer:Shitty (essentialworkers&Belvoir 25A);GrainintheBlood (VirginiaPlain&KXT); Ephemera;HowtoWina Plebiscite[andtennis]; PicnicatHangingRock (NIDA);VenusinFur

ResidencyWeeksand YoungPlaywrightsAwards. Alanahasalsodirectedas partofLaBoiteTheatre’s Assemblyprogram Sheis incrediblyexcitedtobe workingdowninSydney andhasthoroughlyenjoyed producingScabaspartof ATYP’sYoungIndustry Studioworkshopsprogram.

Producer

Alanahasrecentlyjoined ATYPastheWorkshops Manager In2018she completedaBachelorof CreativeIndustries (EntertainmentIndustries andManagement)atQUT Thatsameyear,Alana travelledtoFrancetowork atMIPCOM,an internationalfilmand televisionconference. Havinghadaproduction background,Alanahas workedasaStageManager andAssistantStage Manageronvarious productionsacross BackyardTheatre Collective,QUTand QueenslandTheatre’s YoungArtists’Ensemble productions PriortoATYP AlanawastheYouth ProgramCoordinatorfor Education,Youthand RegionalEngagementat QueenslandTheatre Alana’sworkwith QueenslandTheatreledher toproducethecompany’s youthprogramsandshows includingtheensemble productions,Theatre

DouglasGuo StageManager

BorninChina.Studiedat UniversityofSydney Douglasbeganhis experienceintheatreearly asastudentstagemanager forShore's2015and2016 annualmusicals Douglas wasinvolvedinGilbert& SullivanOperaSydney’s productionofThe Gondolier,asthelighting designerandoperator Sincethen,hehasworked asatheatretechnicianfor severalschooltheatres acrossSydney Notably, returningtoShoreasthe technicalcoordinatorfor their2022musical,The MusicMan Morerecently, Douglaswasinvolvedinthe 2022OperaonCockatoo Islandproductionof Carmen,asafollow-spot operatorandhassince workedforOpera Australia'sSydneyOpera Houseseasonsasalighting technician Douglasis delightedtobeapartof ATYP'sproductionofScab ashisfirstproductionwith ATYP

AlanaDunn

RO FL

EwanBuchanan-Constable

BenBuenen

TanishGautam

EveGuilfoyleO'Rourke

LexiMcLean

BillyNicolaou

ScarlettSaunders AurielleSmith

LM AO

MiaDenine

JeffreyDimi

ConnorDoney

AlexandroGould-Arocha ChloeHarnisch-Rojas

CatherineLayard

JasperReucassel

MayaYonedaHutchings

“You’renotCateBlanchett,you’re

MarcusPeppernickle!Yourmum’s adolebludgerandyourdad’sthe manageratastationaryshop. You’recommonas.You’renot goingtoNIDA.”

Cedric

Thanks& Acknowledgements

TheKappaKrewKinghimself,DannyBall,istheheartandsoulofScab.CongratulationsDannyonwinningthe2022Senior FoundationCommissionandmanagingtotransportusallbacktoearly2000sschooldays Ithasbeenincredibleworkingwith youandwearesoexcitedtobringyourworldtolife Enjoythenostalgia!

Thisprocesswouldnothavebeenpossiblewithoutourincrediblecreativeteam,Claudia,Thomas,Jane,Hailley,Madeleine, Saint,DouglasandDan-thankyouforallofyoursuperspeedyandadaptablehardwork,yourvisionofthisworldandyour careofourcast Ithasbeenanabsolutejoytocollaboratewithyou ThankyoutotheATYPteamwho’vesupportedand championedthisshow,cast,creatives,crewandmyself.

Therearesomepeoplethatwewantmorethananyonetostickaroundlikeabadproteinstain ToourAMAZINGcastwhokeep usROFL-ingandLMAO-ing Thankyoufortime-travellingbackwithusandbringingyouralltothesecharacters Wehopethat yourtalenttakesyouanywhereyouwantitto,whetherthatbetoNEDAorbecomingthenextKateBlankChequeorevenjust becomingmathsgeniusjocks.EmbraceyourinnerJanandkeepbeingthebestversionsofyourselfthatyoucanbe.Wehave lovedworkingwithyouandwewillseeyouverysoon!

AlanaDunn,WorkshopManagerandproducerofScab

I'dliketothanktheATYPFoundationaswellasATYPforselectingmyplayfortheSeniorFoundationCommissionandJane FitzGeraldforallherextraordinarydramaturgicalsupportandguidance I'dalsoliketoacknowledgesomeofmypeerswho donatedtheirtimetoadevelopmentreadingoftheplay:PhilipD'Ambrosio,KieranMcGrath,BrandonScane,RomneyHamilton, ImogenSage,EmmaO'Sullivan,JessBellandGraceValerie-Lynette.

DannyBall,Writer

Thankyoutotheyoungperformerswhocontributedtothedevelopmentreadingoftheplay:NickAnnas,BenBuenen,Ruby Frost,AlexandroGould-Arocha,AdelaideKennedy,LaraLawson,JasperReucassel,AurielleSmithandAdelaideTustian.

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