Belvoir 2018 Season Book by Belvoir

MY NAME IS JIMI SINGLE ASIAN FEMALE SAMI IN PARADISE THE SUGAR HOUSE BLISS A TASTE OF HONEY CALAMITY JANE AN ENEMY OF THE PEOPLE THE DANCE OF DEATH MY URRWAI MOTHER BELVOIR HA HA RANDOM

One of the shows we’re doing this year was written in 1958 by an 18-year-old called Shelagh Delaney. Her play is set in a crumby Midlands tenement house, much like Delaney’s own. In this damp house, right there in the kitchen, and in the midst of their snotty lives (mother and daughter constantly have colds), is a jazz band. It’s a very upbeat kind of downbeat life she’s putting before us. Even in bleakness, Delaney’s saying, there’s an irrepressible zing of life. It’s such a marvellous view of things. That’s what our season aims to be. The jazz band in the mess. The mess being the world. You could despair, really, at the state of affairs. These are mad, crazy times. So much shiny, high-end living on the one hand, so much hate and misery on the other. The world has become incomprehensible. Only dangerous morons claim to have The Answers. The only answer, really, is to struggle on and fight for the good things. Either way, in the midst of this mess everyone has a life that wants to be lived. That’s the spirit of Delaney’s play, and it’s the spirit of our season.

So here it is – a mix of comedy and tragedy, of the old and the new, and sometimes all at once. There are serious themes in there – about change, about what we want to leave behind and what we want to hold on to. But more than anything it is playfulness – the best human instinct of them all – jazz-like, upbeat, free-spirited – which is the tune we’re dancing to in 2018.

ONWARDS! Artistic Director, Belvoir

6 Jimi

5 – 2 1 JA N UA RY

MY NAME IS

JIMI

A Queensland Theatre production co-presented with Sydney Festival

Based on a story by Dimple Bani, Jimi Bani & co-created with Jason Klarwein Director Jason Klarwein Designers Simona Cosentini & Simone Tesorieri Lighting Designer Daniel Anderson Sound & Projection Designer Justin Harrison With Dmitri Ahwang-Bani, Agnes Bani, Conwell Bani, Jimi Bani, Petharie Bani, Richard Bani

Mabuiag Island: a remote speck in the sparkling blue of the Torres Strait. Thousands of years of history and culture, with just a few hundred people keeping its flame alive. Now its favourite son is joking in three languages with his grandmother and torturing his son with spontaneous public breakdancing. Jimi Bani (Title and Deed, the ABC’s Mabo) whisks you away to his island for an evening of music, dance, standup and storytelling. Four generations of one family take the stage, as Jimi’s grandmother, mother, son and brothers help him spin yarns of totems, traditions and childhood memories.

This is Jimi Bani’s superb testimony to his culture. It’s joyous, charming, and unlike anything you’ve seen before. Indigenous theatre at Belvoir supported by The Balnaves Foundation 7

1 6 F E B R UA RY – 2 5 M A R C H

SINGLE

ASIAN FEMALE

A La Boite Theatre Company production By Michelle Law Director Claire Christian Set & Costume Designer Moe Assaad Composer & Sound Designer Wil Hughes Lighting Designer Keith Clark With Emily Burton, Patrick Jhanur, Alex Lee, Courtney Stewart, Hsiao-Ling Tang

HHHHH The Guardian The Golden Phoenix, a restaurant on the Sunshine Coast. The last customers have left for the night, and Pearl can unwind. She’s the quintessential matriarch – balancing family, business, and her love of karaoke. Enter her daughters: Zoe, in the throes of online dating, making big life decisions. And Mei, a teenager, grappling with her identity in modern Australia. Of course they see the world differently to their mother. Pearl is the classic (hilarious) onslaught of embarrassing observations, constantly questioning her Westernised children. Tonight she reveals a secret that threatens to tear their family apart.

A show full of joy. It’s sassy, fierce, and very funny – Australian domesticity like you’ve never seen it before, fresh from a smash hit season at La Boite. 8

Hsiao-Ling & Alex

Vaishnavi, Yalin & Hazem

1 – 29 APRIL

SAMI IN PARADISE Based on The Suicide by Nikolai Erdman Director Eamon Flack Set & Costume Designer Dale Ferguson With Paula Arundell, Fayssal Bazzi, Yalin Ozucelik, Hazem Shammas, Vaishnavi Suryaprakash

A displaced persons camp that’s become a town. Sami’s lived here so long he can barely remember his real home. He’s a bit of a dreamer, a bit of a clown. One night he wakes up at the end of his tether. There’s gotta be more to life than this. He stakes his dignity on learning the tuba, little knowing he’s set out on a path that will lead him to attending his own funeral... Sami in Paradise is a fresh new version of Nikolai Erdman’s classic 1928 comedy The Suicide, transplanted from the obliterating regime of Stalin’s Russia to the obliterating regime of living stateless in the world today.

A play full of slapstick, exuberance, and the zing of being alive – if Hamlet were a clown in a refugee camp, this is what you’d get. Supported by the Nelson Meers Foundation

Kris

5 M AY – 3 J U N E

THE

SUGAR HOUSE

By Alana Valentine Director Sarah Goodes Set Designer Michael Hankin With Sacha Horler, Josh McConville, Kris McQuade

Narelle is a high achiever, a lawyer, with working-class roots and political clout. But something keeps bringing her back to Pyrmont. This peninsula was her family’s bedrock, and the home of her extraordinary grandmother June, who held everything together through the decades: a son's brush with the law, a daughter’s battles with demons, a husband's decline. Life revolved around the sugar refinery. For a time this was the sweetest neighbourhood in the country. But the family bedrock, like the sugar, has dissolved away. Narelle can't fix the past, but maybe she can fix the future.

A story of Sydney – work and corruption, family and massive social change. A story of how Australia went from working class to middle class. Best of all, the great Kris McQuade returns to Belvoir. Supported by The Honey Bs

Mark & Amber

9 J U N E – 1 5 J U LY

BLISS A co-production with Malthouse Theatre By Peter Carey, adapted for the stage by Tom Wright Director Matthew Lutton Set & Costume Designer Marg Howell Lighting Designer Paul Jackson With Marco Chiappi, Mark Coles Smith, Amber McMahon, Anna Samson, Mark Leonard Winter

Harry Joy is the blessed Australian – a childhood of mystical innocence, a home stuffed with love, he brings a smile to all he meets. Then, one warm afternoon on the front lawn, he dies. It’s only for a few minutes – he’s revived. But the world he wakes to is changed; his wife, children and friends all now seem avaricious monsters. And so it dawns on Harry Joy: he hasn’t survived his heart attack at all. He is in Hell. Enter Honey Barbara, a hippy from the rainforest, wise to the ways of the big city. She and Harry melt back into the verdant bush, where their children tell a story of a Paradise Found.

Peter Carey’s classic novel performed by a terrific ensemble cast. Entertaining and a little bit epic, it might just offer a vision of hope...

2 1 J U LY – 1 9 AU G U S T

A TASTE OF

HONEY By Shelagh Delaney Director Eamon Flack Set & Costume Designer Mel Page Composer & Sound Designer Stefan Gregory With Genevieve Lemon

Jo is in her teens, pregnant, and on her own since her African boyfriend went back to sea. But she’s always had to find her own way in her working-class neighbourhood: Dad never existed, and Mum – well, Mum has run away from home to shack up with a car salesman. Jo meets art student Geoff at a funfair; he’s got nowhere to go since his landlady threw him out for being gay. So they set up an unconventional family – until Jo’s Mum comes crashing back into their sweet little life.

Vaudeville meets kitchen sink in one of the great (and halfforgotten) plays of the 20th century. And a role for the superb Gen Lemon to go to town on… Supported by the Nelson Meers Foundation

Genevieve

Virginia

2 3 AU G U S T – 3 0 S E P T E M B E R

CALAMITY

JANE Presented in association with One Eyed Man Productions

Adapted by Ronald Hanmer & Phil Park From the stage play by Charles K. Freeman After Warner Bros. film written by James O'Hanlon Lyrics by Paul Francis Webster Music by Sammy Fain Director Richard Carroll Musical Director Nigel Ubrihien Production Designer Lauren Peters Lighting Designer Trent Suidgeest Choreographer Cameron Mitchell With Laura Bunting, Virginia Gay, Anthony Gooley, Sheridan Harbridge, Rob Johnson, Matthew Pearce, Tony Taylor

HHHH Time Out HHHH SMH HHHH Daily Review HHHH 1/2 ArtsHub You know Calamity Jane, the old 1950s musical tale of the Wild West and the search for love? Doris Day learning to be ladylike… Well, it’s given a hell of a shake-up in this pared-back, madcap, hilarious rendition. Jane is all swagger – a rough rider, full of defiance – but, when it comes to love, she’s calamity in more ways than one.

This was a smash hit at the Hayes Theatre last year. There’s a bar on stage, a single piano, and Virginia Gay giving an un-be-liev-able performance. We already know this one is brilliant. Don’t miss it. 19

7 OC TOBER – 4 NOVEMBER

EMY EN OF THE PEOPLE By Melissa Reeves after Henrik Ibsen Director Anne-Louise Sarks With Peter Carroll, Kate Mulvany

Katherine Stockmann lives in a tight-knit community – she’s woven into the fabric. One day she makes a disturbing discovery: the spa water for which the town is famed is toxic. The community has been built on poison, and the truth must be told. But to her horror, people refuse to believe there’s a problem. What does she do? Does she fight for the truth if it means the loss of income, family, community, identity?

Ibsen’s 1882 masterpiece in a timely new version by Melissa Reeves, with the superb Kate Mulvany as the insider who finds herself out in the cold. Supported by the Creative Development Fund

Kate

10 NOVEMBER – 23 DECEMBER

THE

DANCE OF

DEATH By August Strindberg Director Judy Davis Literal translation May-Brit Akerholt Set Designer Brian Thomson Costume Designer Tess Schofield Lighting Designer Matthew Scott Composer & Sound Designer Paul Charlier With Colin Friels, Pamela Rabe, Toby Schmitz

An isolated home on a lonely island. A marriage. Alice and Edgar aren’t popular, and they’re not particularly happy. In fact, they loathe each other, and have done for 25 years. Their mutual antipathy is blackly hilarious and seems to have its own equilibrium. Into this duet of recrimination and resentment comes Kurt, Alice’s younger cousin. Kurt has a grudge against Edgar that goes way back. Alice senses a lever to gain the upper hand. Edgar is an old soldier, though; he knows how to keep his feet. And so the dance begins, a whirl around the stage until it’s hard to know who’s dancing with whom.

Judy Davis directs Colin Friels, Pamela Rabe and Toby Schmitz in one of the best theatrical marriage battles ever written. We can’t wait. Supported by The Chair’s Circle 22

Toby, Colin & Pamela

THERE'S MORE

1 9 JA N UA RY – 4 F E B R UA RY

MY URRWAI A co-production with Performing Lines and presented in association with Sydney Festival By Ghenoa Gela Director Rachael Maza Dramaturg Kate Champion Composer Ania Reynolds With Ghenoa Gela Indigenous theatre at Belvoir supported by The Balnaves Foundation

Ghenoa

Ghenoa Gela – little sister, daughter, granddaughter, comic, teacher, rebel, gold-medallist, air-guitarist, charmer, TV star, Torres Strait mainlander, walking political statement. And now she's made a show, told through movement and words. She’s drawing on the traditional and the everyday, the political and the personal, to tell a story that’s irreverent, provocative and moving.

A revealing reflection on, and celebration of, cultural inheritance, and an unflinching portrayal of what it's like to walk a tightrope of politics and family every day.

2 4 JA N UA RY – 1 1 F E B R UA RY

MOTHER An If Theatre production By Daniel Keene Director Matt Scholten Set, Costume & Props Designer Kat Chan Lighting Designer Tom Willis Sound Designer Darius Kedros With Noni Hazlehurst

Mother tells the story of Christie, a homeless woman in a world detached, unforgiving and destructive. It gives voice to the fallen and dispossessed, to those who exist at the edge of safety, at the point of being undone. Utterly devastating, yet written with Daniel Keene’s characteristic lyricism, Mother is a solo performance wrought with tenderness, violence and loneliness in equal measure.

Noni Hazlehurst has been touring Mother for over two years and everywhere it goes audiences are swept away. It’s a moving and powerful play by one of our great writers, written specially for one of our great actors. ‘ Superbly written, brilliantly performed and sensitively directed.’ The Canberra Times Noni

1 - 4 F E B R UA RY

BELVOIR HA HA Presented by Token With Mel Buttle, Anne Edmonds, Cal Wilson

Cal Wilson, Mel Buttle and Anne Edmonds are coming to Belvoir for four nights of funny. Join in a three-way attack on contemporary Australian culture from three of the sharpest minds (and tongues) in comedy. We’ve brought you Hannah Gadsby and Tom Ballard in years gone by, in 2018 get three times the laffs in one night. CAL WILSON

‘ Masterful…her audience dissolved in helpless puddles formed from their tears of mirth.’ Edinburgh Evening News MEL BUTTLE Supported by Woolcott Research and Engagement

‘ A keen eye for the absurd minutiae of life in contemporary Australia.’ The Music ANNE EDMONDS

‘ Rolling with the confidence and energy of a prize fighter, Edmonds is touchingly engaging and horrifyingly cruel.’ Herald Sun 28

Anne, Mel & Cal

18 OC TOBER – 11 NOVEMBER

RANDOM By debbie tucker green Director Leticia Cáceres With Zahra Newman Supported by The Hive

A normal morning, a normal family. There’s nothing special about this day. Then the phones start to go off – something’s happened. ‘Get home quick.’ The family is caught in a nightmare, searching through the day’s details in the hope of finding a sign, a warning. But the thing about fate is that it doesn't announce itself. Some things in life are just random.

In this astonishing solo performance, Zahra Newman switches from role to role to play a family, a street, a community. This is a beautiful, riveting play of chance, loss and hope. ‘ In a word, superb.’ RealTime Magazine

Zahra

WHO WH AT W HY Our Artistic Director's rundown of the 2018 season MY NAME IS JIMI We’re beginning with a show from an old friend. You might know Jimi Bani from Peter Pan (he was an amazing crocodile) or Title and Deed, or as Eddie Mabo in the ABC’s Mabo. When Wesley Enoch was at Queensland Theatre he commissioned this show from Jimi and Jimi’s dad. Since then Jimi’s dad has passed, and Wesley has moved on to the Sydney Festival. But here’s the show. It’s a humble show about a very big story – the passing of culture from one generation to the next. Four generations of Jimi’s family join him on stage. They tell stories, sing, dance, muck up, share – it’s a kind of theatre you might know from Ngapartji Ngapartji or Page 8. At its heart is the idea that no one person can learn in their lifetime as much as they can inherit from their culture. It asks us to consider the resilience of small communities in an age of big forces and homogeneity. In a neat twist of fate, we present the show here thanks to Wesley and Sydney Festival. MY URRWAI Our friendship with Ghenoa Gela is a new one. Ghenoa’s a performer with a striking, charismatic presence, unusual warmth, openness, and real power. She’s been making a show with Kate Champion and Rachael Maza and, thanks to Performing Lines and Sydney Festival, we get to present the premiere. It’s a solo show, a mix of dance and story. 30

Ghenoa’s transfixing. Sharing that little theatre with her will be a special experience. In another neat twist of fate, Jimi and Ghenoa are related: Jimi’s mother’s family are also Gelas. MOTHER Noni Hazlehurst needs no introduction, but you might not recognise her in Mother. I saw this show in Wangaratta in 2015. Noni was alone on stage for 75 minutes, playing a woman at the bottom of the heap. She disappeared completely into the role. At the end, the audience stood as one to applaud, as they have done in regional towns all over the country where Noni has toured the show, for love alone, over the last two years. It’s a play about the people we walk past. It’s a true feat of acting on Noni’s part. We’re offering it here as a sort of old-fashioned, special-guest presentation. It’s had two Helpmann nominations and no capital city performances. Until now. SINGLE ASIAN FEMALE Like Prize Fighter in 2017, Single Asian Female comes to us from La Boite in Brisbane. What are you in for? A hoot – this show went off at La Boite. And you’ll see a bunch of actors you’ve never seen before. They’re terrific. So too are the mother-daughter relationships – you cringe and squirm and can’t get enough of them. This is the first time we’ve had a Chinese-Australian family

comedy in our season. At last! It’s like laying a piece of the jigsaw puzzle: the big national picture continues to emerge… The playwright is Michelle Law – comedian, actor, filthy tweeter. She’s written for SBS’s The Family Law, which happens to be based on her real-life family. Her play is a joy. SAMI IN PARADISE What a play! Although the play is actually called The Suicide. It was written by Nikolai Erdman in 1928, during the days when Stalin’s reign really began to bite. We’re shifting the location of the play. I’ll explain why. There are 65 million refugees in the world. Ten million of them are stateless. They live in camps that have been there so long they’ve become towns. Often when I’ve read interviews with these people I’ve been struck by how much they sound like those passionate, desperate characters in Russian plays. The same longing for LIFE. The same deeply felt philosophical vision. The same dark humour. So searching for a play about these 10 million people, we came to this great Russian comedy. To be clear, this show is not about Nauru or Manus Island, which are too horrible to be dealt with comically. But Sami in Paradise is a comedy. A tragic comedy. A terrible farce. About a man who wakes in the middle of the night hungry for a piece of leftover sausage and ends up attending his own funeral. And why a comedy

about such a dreadful situation as statelessness? Because comedy releases life. It expands defiance. It’s the last refuge. THE SUGAR HOUSE Who could ever forget Kris McQuade as Dolly in Cloudstreet, walking the tracks at night? She’s one of the greats. This time she’s going to play June, the matriarch in Alana Valentine’s new play. (Alana wrote Parramatta Girls.) It’s a play about family. We did a reading earlier in the year and it stirred something up: back down in the offices afterwards everyone suddenly started to talk about their parents and grandparents, about the life we inherit, the battles of the past. This is a Sydney story; it takes us from the Pyrmont of factories and the working class to the Pyrmont of today. But the soul of the play is a family, particularly the women, who have witnessed and take part in some massive social change. It is also a play about how we criminalise the poor. We always have. We still do. We probably will continue to. The more things change… The director, Sarah Goodes, is the Associate Director at Melbourne Theatre Company and she’s been a Resident Director at Sydney Theatre Company, but her early work was here at Belvoir, in the Downstairs theatre back in the days of B Sharp. The more things change… And welcome back to Belvoir, Sacha Horler. 31

BLISS Peter Carey’s terrific 1981 novel was narrated by children from the future. Now after 30-odd years, maybe we are the kids of Harry and Barbara. Carey wrote a vernacular fantasia, mad and playful. You can detect the form of the great old English morality plays in there: the fate of an individual soul in a world of temptations. So is Australia Heaven or is it Hell? The book’s been adapted by Tom Wright, who’s an Associate Artist here at Belvoir. He’s one of the country’s great theatrical minds. He’s also an intimidating expert on the Australian novel. The show’s director is Matthew Lutton, who’s the Artistic Director of our Melbourne sister-theatre, Malthouse. Matt and Tom made a brilliant version of Picnic at Hanging Rock in 2015. Bliss is an ideal next project. Plus Mark Leonard Winter, who famously won two Helpmanns in one year, makes his Belvoir St debut. It’s going to be something to behold. A TASTE OF HONEY I love this play. Back in 1958, an eager young man, now forgotten, took 18-year-old Shelagh Delaney to the theatre for the first time in her life. The next day Delaney began to write a play. She sent it off to the great director Joan Littlewood with a letter full of grit (“I know nothing, have nothing”). Littlewood gave it a brilliant first production and the play became legendary. It’s a mother-daughter story (another

theme in this year’s season, it seems) – two brilliant roles for two terrific actors. Gen Lemon is certainly a terrific actor; she’ll have a ball with this one. Imagine a shitty, damp tenement house with a jazz band in it. That’s the flavour: a special kind of upbeat downbeat. The questions of the play: What do we inherit that we want to be rid of? What do we want to change? On this count, Delaney was a bit of a prophet and her play anticipates the massive tectonic shifts in gender politics, queer politics, race, that we’re wrestling with today. More than anything though, it’s wonderfully, furiously alive. CAL AMIT Y JANE Ok, here’s a treat. This production began life as a rehearsed reading at the Hayes Theatre in 2015. It got a full production the next year, and it blew the roof. Not only does it sport a bust-out central performance from Virginia Gay (she’s FANTASTIC) it also unleashes a very Belvoir kind of jumped-up playfulness. It’ll be completely at home here. There’s something very joyful when a production manages to reclaim a classic and rewrite the rules – about what women are and aren’t allowed to do, for example. This Calamity does just that. It knows when to wink and when to go for the heart. It’s wildly entertaining and funny. It includes the worst magic show ever staged. And it does it all with so much heart it may even make you a bit teary.

AN ENEMY OF THE PEOPLE Dr Stockmann, in Ibsen’s masterpiece, is one of life’s true optimists – a force of nature, always ready to fight the good fight. So is Kate Mulvany. That’s one reason we wanted to do this play – to match Kate with one hell of a role. The other reason is that Ibsen’s play is uncannily on the button. A woman of science goes up against a politician. The outcome is incendiary. This is the drama of our times. Truth sacrificed to expedience. The voice of the community enlisted by corporate interests. The environment plundered. What does an individual do? How far can any one person go? And what is too far? The show reunites Kate and director AnneLouise Sarks. Together they’ve made Medea and Jasper Jones. Frankly, the idea of them doing An Enemy of the People is very bloody exciting. RANDOM Years ago I went to see a show that was doing a short run of daytime performances for school audiences at the Opera House – Zahra Newman in debbie tucker green’s Random. The show was electrifying, and Zahra was virtuosic. I’ve wanted to bring it to Belvoir ever since I got the job, but Zahra’s been busy being brilliant in The Book of Mormon. Now’s our chance. Her performance in Random is one of those feats of transformation where a single actor peoples an entire street. We saw something similar in Jacob Rajan’s solo turn in Guru of Chai in 2017. This is a darker play, but the theatrical feat of it is equally

brilliant. Oddly enough for a solo show, it’s a play about family and community. One of the best feelings at Belvoir is that close-up sense of being in a room with a great actor taking us somewhere remarkable. I’m not overpromising when I say that’s what Zahra gives us with Random. I’ve not said anything about its director Leticia Cáceres. Suffice to say Leti also directed The Drover’s Wife and Miss Julie. THE DANCE OF DEATH Sounds bleak, I know, but its director, Judy Davis, is right when she says it’s a very funny play. There’s something morbidly gleeful about it. It’s a masterpiece of psychology, and it needs the very best actors to realise its rhythms, its subtext, the balance of savagery and humour. Fortunately, we have the very best actors: Pamela Rabe, Colin Friels and Toby Schmitz. How did it come about? When you see the show you might recognise similarities to Edward Albee’s Who’s Afraid of Virginia Woolf? That’s no accident. Albee’s play was heavily influenced by Strindberg’s. How did it come to be in the season? Judy and I had been talking for some time about her directing for us again after her sublime production of Faith Healer in 2015. One day she sent me a text message asking if I knew The Dance of Death. I didn’t have to think twice. This one’s unmissable, I’d say.

WHY SUBSCRIB E? Here’s the case for subscribing: cheaper tickets, year-round rewards, ultimate flexibility and guaranteed seats. Plus the satisfaction of supporting a year of great Australian theatre. Subscription packages start at just five plays or book all 13 shows so you don’t miss a thing.

THE

RY VE BEST VALUE Save up to $267 when you subscribe. The more shows you see, the more money you’ll save. So much culture. So many savings.

FIRST DIBS ON

SE ATS

While we reckon there’s not a bad seat in the house, subscribing ensures you’re as up close and personal to the action as possible. Plus in 2018, subscribe online and you can select your own seats.

SHARE T HE LOV E Score brownie points with family and friends by purchasing them tickets at a discounted price. When single tickets go on sale, you can snap them up one week before non-subscribers.

EXCLUSIVE REWARDS

(WINE!)

The perks of being a subscriber extend to discounts on shows, dinner, wine and much more. Find all the details at belvoir. com.au/subscriber-benefits

FREE

T IX

If you subscribed in 2017 and resubscribe in 2018 for a package of seven plays or more, you'll score a free ticket to a performance you're attending so you can bring someone special along for the ride.

FEAR COMMITMENT? FREE EXCHANGES We understand life’s busy and plans change. We’re happy to exchange your tickets for another performance of the same play at no extra cost.

C HEAP

NEED EXTRA TIME TO PAY? Spread the cost of your subscription across three instalments when you book with a paper form and pay by credit card. See your booking form for details.

YOU T H TICKET S Are you aged 30 or under? You can subscribe for seriously cheap tickets. See page 39 for details.

LOTS MO RE For more benefits, details and conditions see pages 36 to 41 and visit belvoir.com.au/subscribe

WIN! SUBSCRIBE BEFORE 1 NOVEMBER 2017 FOR YOUR CHANCE TO WIN A TRIP TO ULURU, COURTESY OF OUR OFFICIAL AIRLINE PARTNER, VIRGIN AUSTRALIA We’ve all seen photos of this world-famous icon, but nothing quite prepares you for the experience of visiting Uluru in person. In a word: astounding. We’re offering one 2018 subscriber the chance to tick this stunning destination off their bucket list. Book your subscription before 1 November 2017 and you’ll go in the draw to win two return flights from Sydney to Uluru, courtesy of Virgin Australia. To add a little luxury to your outback experience, the winner will also enjoy three nights accommodation right in the heart of Australia’s Red Centre at the Sails in the Desert Hotel (a member of Pullman Hotels), courtesy of ACCOR. Breakfast included.

Terms & Conditions: This prize is non-transferable and valid for two adults subject to availability. Offer expires 30/06/2018. All expenses other than those specified are the responsibility of the winner. Full terms and conditions can be found at belvoir.com.au/subscribe/prizes. NSW Permit Number: LTPS-17-16356

HOW TO SUBSCRIB E? CHOOSE YOUR PLAYS

SELECT YOUR PACKAGE BOOK ONLINE OR WITH A PAPER FORM ENJOY A YEAR OF GLORIOUS SYDNEY THEATRE

Simple!

KEY DATES MONDAY 4 SEPTEMBER 2017 The 2018 Belvoir Season launches! Subscription packages go on sale.

WEDNESDAY 1 NOVEMBER 2017 Book your subscription by this date to go in the draw to win a trip to Uluru. See the opposite page for details. If you were a subscriber in 2017, resubscribe by this date for seven plays or more in 2018 to receive a free ticket for a loved one.

FRIDAY 5 JANUARY 2018 Our first show of 2018 opens. Twelve months of theatre awaits you.

SELECT YOUR PAC KAGE THE COMPLETE PACKAGE Purchase all 13 shows and save big! Plays

Price per play

Seniors*

$587

$45

$522

Full Price

Price per play

Seniors*

Full Price SAVE $267

13-play

Price per play

SAVE $222 $40

UPSTAIRS Plays

SAVE UP TO $160

Price per play

SAVE UP TO $133

9-play

$488

$54

$425

$47

8-play

$448

$56

$396

$50

7-play

$429

$61

$366

$52

6-play

$383

$64

$329

$55

5-play

$325

$65

$284

$57

DOWNSTAIRS & MORE Plays

4-play

Full Price

Seniors*

$194

$182 * Seniors prices are available with an eligible Australian Government-issued Seniors Card.

PRICE PER PLAY We've done the maths for you and included the price per play for every package option so you can see the brilliant savings on offer. Prices have been rounded to the nearest dollar.

EXTRA TICKETS Subscribers are welcome to add extra tickets to their package for any show â&#x20AC;&#x201C; before they go on sale to the general public and at a discounted price! Find more information on pricing for additional tickets on page 45.

We want to make theatre as affordable as possible for everyone. A subscription package is your way to save serious money while catching some of the best theatre in the country.

Concession†

Price per play

SAVE $146

30-Down**

Price per play

SAVE $193

$444

$34

$379

Concession†

Price per play

30-Down**

$335

$37

$308

$29

Price per play

Preview

$317

$35

$272

$30

$39

$284

$36

$256

$32

$289

$41

$261

$37

$233

$33

$263

$44

$233

$39

$203

$34

$226

$45

$205

$41

$175

$35

SAVE UP TO $106

Concession†

30-Down**

$138

Price per play

SAVE UP TO $88

† Concession prices are available with a full time Australian student card, Centrelink Pensioner concession card, Veterans’ Affairs card, and to Industry members of Actors Equity (MEAA), AFI, ASMA, ASDA, ARDA, ACTT, Australian Academy of Dramatic Arts, Actors Centre, Performance Space, Australian Writers’ Guild, ArtsHub and the NSW Writers’ Centre. ** To join 30-Down, you must send proof of age with your booking.

AGED 30 OR UNDER? We’re passionate about young people catching as much theatre as possible so if you’re aged 30 or under, you can subscribe for heavily discounted tickets. 30-Down subscribers can select any performance times except Tuesday evenings and Sunday performances.

PREVIEWS The first one to three dates of every show are previews, and there’s always a special buzz around these performances. They’re your chance to see the work first – and your responses can help shape the production. Preview packages offer incredible value for money.

BO O K ONLINE OR WITH A PA P ER FORM ONLINE

The quickest and easiest way to book a subscription is online at belvoir.com.au/subscribe. You also have the option to select your own seats.

WITH A FORM

2017 subscribers can use the personalised booking form sent with your 2018 season book, and new subscribers can use the form included in the book, or download a form from our website. Scan (or take a photo!*) and email the booking form to: mail@belvoir.com.au *If emailing a photo, please send the attachment as large or actual size.

Mail your completed form to: Belvoir Season 2018 18 Belvoir Street Surry Hills NSW 2010

Drop your form to one of our lovely staff at Box Office. See page 43 for opening times.

IMPORTANT INFO If you’re a first-time subscriber, or an old friend, here are some things worth knowing. SIT WITH YOUR PALS If you have special someones to sit with, make sure you book together online. If you’re subscribing with paper forms, be sure to send in your forms together and nominate a primary contact. LET US DO THE LEGWORK You can choose a preferred day of the week e.g. any Saturday at 2pm, and we’ll choose the best available dates and seats for you. PREVIEWS & OPENING NIGHTS The first one to three dates of every show are preview performances that you’re welcome to book – certain shows have limited availability so we advise booking preview packages early. 40

Opening nights are by invitation only and can't be booked in your subscriptions. GET IN EARLY If you’re using the paper form to book your subscription, send it as soon as possible. We process paper bookings in order of receipt. FREE EXCHANGES Subscribers can exchange for free 48 hours before your booked performance. This applies to your first exchange for each play only and is subject to availability. Subsequent ticket exchanges may incur a fee, payable at time of exchange. Treasured subscribers are exempt from fees.

LOYA LTY PROGRAM We have a three-tiered Loyalty program that recognises the special commitment shown by our patrons who have been subscribers for four or more consecutive years.

TREASURED SUBSCRIBERS = 10 or more consecutive years

DEVOTED SUBSCRIBERS = 7–9 consecutive years

HUNTER VALLEY STAYS If you’re a member of our Loyalty program, introduce a new subscriber to Belvoir by 1 November 2017, and you’ll go in the draw to win a three-night mid-week stay at Bonn Abbey unique country house in the heart of the Hunter Valley wine country for up to twelve guests. NSW Permit Number: LTPS-17-16357

LOYAL SUBSCRIBERS = 4–6 consecutive years If you’re part of our Loyalty program or entering it for the first time you will receive: throughout the year to special Belvoir events – we’ll be in touch!

★ invitations

collectible Belvoir 2018 Season key ring

★ a

discount on wine, beer and glasses of post-mix soft drink purchased for yourself at Belvoir St Theatre’s Hal Bar – you need to flash your loyalty key ring

★ $2

PLUS! Treasured subscribers are entitled to unlimited fee-free ticket exchanges.

̒Subscribing means you commit to seeing a certain number of productions a year and ensures you don’t miss out when every so often a night happens that is so innovative, so magnificent, so powerful and such a wonderful night of entertainment, that it makes you want to scream out and just say wow.̕ Richard Rasker, Treasured Subscriber & Donor

̒The people we meet, whether other subscribers, Belvoir staff, artists and performers, or those we meet casually in the foyer form a sort of community that enriches our lives.̕ Chris Ernst, Treasured Subscriber & Donor

BE LVOIR BRIEFINGS Hear from the artists Belvoir Briefings are your chance to hear directly from the artists about every show before it hits our stage. For each production in 2018, the creative team will sit down to talk about why they wanted to tackle the story, how it’s evolved in the rehearsal room, and what audiences can expect from the show. It’s your exclusive ticket backstage. Of course, there will also be time for you to ask your questions, and we’d love to continue the discussion in the bar afterward. In 2018, Belvoir Briefings will take place on week nights, so you can join the conversation before catching a show or drop by on your way home from work. Belvoir Briefings are FREE but we’d like you to book so we can save you a spot. Book online at belvoir.com.au/events/ belvoir-briefings

2018 BELVOIR BRIEFINGS My Name is Jimi 8pm, Wednesday 10 January Single Asian Female 6.30pm, Thursday 8 February

Sami in Paradise 6.30pm, Thursday 22 March

The Sugar House 6.30pm, Thursday 26 April

Bliss 6.30pm, Thursday 14 June

A Taste of Honey 6.30pm, Thursday 12 July

Calamity Jane 6.30pm, Thursday 9 August

An Enemy of the People 6.30pm, Thursday 27 September

The Dance of Death 6.30pm, Thursday 1 November

G E NE R AL INFORMATION BOX OFFICE

EATING AND DRINKING

We have two Box Office locations: Belvoir St Theatre (25 Belvoir St) and our administration warehouse (18 Belvoir St). The Box Office is open at either one of these locations depending on the day and time – please check via phone or website, and there are also signs at the front door of both buildings.

We may be biased but the Hal Bar is the perfect place to meet up for a preor post-show drink and chat (or heated debate if that’s more your style!). Choose from an excellent selection of specialty wines, beers and ciders. Tantalising treats are also available 90 minutes prior to each performance. Other recommendations for wining and dining in Surry Hills can be found at belvoir.com.au/foodanddrink

Box Office hours Monday 9.30am – 5pm Tuesday & Wednesday 9.30am – 6.30pm Thursday & Friday 9.30am – 8pm Saturday 11.30am – 8pm Sunday 2.30pm – 5pm Please note these hours may change during non-performance periods and on public holidays. Phone bookings close one hour prior to performance times.

PERFORMANCE TIMES Standard performance times for shows in the Upstairs theatre are listed below. Please see the calendar on pages 46-49 for performance times for Mother, Belvoir Ha Ha and shows in the Downstairs theatre. Performance times can vary so please make sure you check when booking tickets.

Upstairs Tuesday & Wednesday 6.30pm (Preview performances 8pm)

ACCESSIBILITY AT BELVOIR We’re committed to providing everyone who visits our theatre with the same experience regardless of age or ability. The theatre has lift access, a hearing loop and we offer a range of audiodescribed and mobile-captioned performances – please find the dates below for 2018.

Audio-described performances For vision impaired patrons, we will present audio-described performances for: Sami in Paradise 2pm, Saturday 28 April Bliss 2pm, Saturday 14 July An Enemy of the People 2pm, Saturday 3 November The Dance of Death 2pm, Saturday 8 December

Thursday & Friday 8pm Saturday 2pm & 8pm Sunday 5pm (Sunday previews are 6.30pm) 43

Captioned performances For hearing impaired patrons, we will provide a mobile device captioned service for: The Sugar House 2pm, Saturday 26 May Calamity Jane 2pm, Saturday 22 September The Dance Of Death 2pm, Saturday 15 December With advance notice we can accommodate a range of individual needs. It’s strongly encouraged that patrons notify staff of individual needs at the time of booking. For more information, visit belvoir.com.au/access

UNWAGED PERFORMANCES Supported by our official airline partner, Virgin Australia We invite members of the community who don’t earn an income to attend a free-of-charge 2pm Thursday matinee performance of each Upstairs production in our season. Patrons must hold an eligible Pensioner, Health Care Card, Veterans’ Affairs Card, MEAA or Equity Card to claim a complimentary ticket. Seniors Cards are not valid for these performances. Visit our Box Office in person from 12 noon on the day of the performance to claim your complimentary tickets. Dates for all Unwaged Performances can be found on the calendar on pages 46-49 or at belvoir.com.au/ community-access-program

WARNINGS Some of our productions may contain strong language, nudity, violence, smoking, strobe lighting, haze or other things you may find confronting or uncomfortable. If you are concerned, please ask our Box Office staff about content when booking.

PROGRAMS Theatre is an ephemeral thing – and once it’s over all you have left to remember it is your program! Preorder them at a discounted price when you subscribe – and you can save up to $7 per program. Vouchers will be sent with your tickets. You can also buy programs over the counter at the Box Office and the Hal Bar. All programs feature writer and director notes, artist biographies, rehearsal photos, and some even include the full script.

PODCAST We regularly produce a podcast for our Upstairs shows featuring interviews with members of the cast and creative team. It’s an excellent way to get up to speed with what a show’s about, who’s making it, and other bits of exclusive trivia. Dig into our podcast archives at belvoir.com. au/podcast

JOIN OUR COMMUNITY Stay connected, like us, follow us and sign-up to our e-news to access behind-the-scenes content, special offers, events and more. /belvoirst @belvoirst @belvoirst

TICKETS (NON-SUBSCRIPTION) General release tickets for each show go on sale at Belvoir throughout the year as the play approaches. On-sale dates can be found on individual production pages on our website. You can find the cost of nonsubscription tickets below. Ticket prices can be dynamically adjusted, either up or down, based on real-time market demand, and without notice. Please contact Box Office for up-todate prices as each show goes on sale.

Remember: if you are a subscriber, you are entitled to purchase additional tickets at a discounted price for all Belvoir performances, so you can bring along family and friends. When tickets go on general sale throughout the year, subscribers can purchase them one week before non-subscribers.

Upstairs

Downstairs + Comedy

Mother: Special Presentation

Full Price

$72

$49

$59

Subscriber Discounted Mates Rates

$67

$46

$56

Seniors*/Groups

$62

$44

$54

Concession†

$49

$35

$44

30-Down

$47

$35

$44

$40

$32

$40

$37

$25

$33

(10 or more)

Previews Student Saver

* Seniors prices are available with an Australian Government-issued Seniors card. Groups (10+) tickets available at same price. † Concession prices are available with a full time Australian student card, Centrelink Pensioner concession card, Veterans’ Affairs card, and to Industry members of Actors Equity (MEAA), AFI, ASMA, ASDA, ARDA, ACTT, Australian Academy of Dramatic Arts, Actors Centre, Performance Space, Australian Writers’ Guild, ArtsHub and the NSW Writers’ Centre. II

30-Down and Student Saver prices are available for Previews and all performances Wednesday – Saturday. Seats are limited. To claim any concessions you must provide proof of concession. Please note: transaction fees may apply and prices may be subject to change. Ticket prices may also vary when our productions play at other venues.

2018 SEASON

UPSTAIRS

MY NAME I S JIMI MON

TUE

WED

THU

5 – 21 JAN

FRI

S AT

8PM PREVIEW

SUN

6 8PM PREVIEW

6.30PM PREVIEW

9 8PM 10 6.30PM OPENING

11 8PM

12 8PM

13 2PM & 8PM

14 5PM

16 6.30PM

18 UNWAGED 2PM & 8PM

19 8PM

20 2PM & 8PM

21 5PM

17 6.30PM

S INGLE AS IAN FE MALE MON

TUE

20 6.30PM

WED

21 6.30PM

THU

22 8PM

S AT

SUN

16 8PM PREVIEW

17 8PM OPENING

18 5PM

23 8PM

24 2PM & 8PM

25 5PM

27 6.30PM

28 6.30PM

8PM

6 6.30PM

8PM

9 8PM

6.30PM

16 FEB – 25 MAR

FRI

8PM

2PM & 8PM

10 2PM & 8PM

5PM

11 5PM

13 6.30PM

14 6.30PM

15 8PM

16 8PM

17 2PM & 8PM

18 5PM

20 6.30PM

21 6.30PM

22 UNWAGED 2PM & 8PM

23 8PM

24 2PM & 8PM

25 5PM

SAMI IN PARADISE MON

TUE

WED

4 8PM PREVIEW

8PM PREVIEW

THU

8PM OPENING

1 – 29 APR

FRI

6 8PM

S AT

2PM & 8PM

SUN

6.30PM PREVIEW

5PM

10 6.30PM

6.30PM

12 8PM

13 8PM

14 2PM & 8PM

15 5PM

17 6.30PM

18 6.30PM

19 8PM

20 8PM

21 2PM & 8PM

22 5PM

24 6.30PM

25 6.30PM

26 UNWAGED 2PM & 8PM

27 8PM

28 2PM & 8PM

29 5PM

AUDIO-DESCRIBED PERFORMANCES

CAPTIONED PERFORMANCES

2018 SEASON

UPSTAIRS

T HE SU GAR HOU S E MON

TUE

WED

THU

continued

5 MAY – 3 JUN

FRI

S AT

5 7

8PM PREVIEW

SUN

6 6.30PM PREVIEW

8PM OPENING

10 8PM

11 8PM

12 2PM & 8PM

13 5PM

15 6.30PM

6.30PM

17 8PM

18 8PM

19 2PM & 8PM

20 5PM

22 6.30PM

6.30PM

24 8PM

25 8PM

26 2PM & 8PM

27 5PM

29 6.30PM

30 6.30PM

31 UNWAGED 2PM & 8PM

8PM PREVIEW

BLISS MON

TUE

WED

8PM

2PM & 8PM

5PM

9 JUN – 15 JUL

THU

FRI

S AT

SUN

9 8PM PREVIEW

10 6.30PM PREVIEW

12 8PM PREVIEW

13 8PM OPENING

14 8PM

15 8PM

16 2PM & 8PM

17 5PM

19 6.30PM

20 6.30PM

21 8PM

22 8PM

23 2PM & 8PM

24 5PM

26 6.30PM

27 6.30PM

28 8PM

29 8PM

30 2PM & 8PM

5PM

6 8PM

5PM

10 6.30PM

13 8PM

14 2PM & 8PM

6.30PM

11 6.30PM

8PM

12 UNWAGED 2PM & 8PM

A TAS TE O F HON EY MON

TUE

WED

THU

2PM & 8PM

15 5PM

21 JUL – 19 AUG FRI

S AT

SUN

21 8PM PREVIEW

22 6.30PM PREVIEW

8PM PREVIEW

25 8PM OPENING

26 8PM

27 8PM

28 2PM & 8PM

29 5PM

6.30PM

9 8PM

10 8PM

11 2PM & 8PM

12 5PM

6.30PM

15 6.30PM

16 UNWAGED 2PM & 8PM

17 8PM

18 2PM & 8PM

19 5PM

8PM

2PM & 8PM

5PM

2018 SEASON

UPSTAIRS

CAL AMITY JAN E MON

TUE

WED

continued

23 AUG – 30 SEP

THU

FRI

S AT

SUN

23 8PM PREVIEW

24 8PM PREVIEW

25 8PM OPENING

26 5PM

28 6.30PM

29 6.30PM

30 8PM

31 8PM

2PM & 8PM

6.30PM

6 8PM

2PM & 8PM

9 5PM

11 6.30PM

12 6.30PM

13 8PM

14 8PM

15 2PM & 8PM

16 5PM

18 6.30PM

19 6.30PM

20 8PM

21 8PM

22 2PM & 8PM

23 5PM

25 6.30PM

26 6.30PM

27 UNWAGED 2PM & 8PM

28 8PM

29 2PM & 8PM

30 5PM

6.30PM

8PM

AN ENEMY OF T HE PEOPLE MON

TUE

WED

THU

7 OCT – 4 NOV

FRI

S AT

SUN

6.30PM PREVIEW

9 8PM PREVIEW

10 8PM PREVIEW

11 8PM OPENING

12 8PM

13 2PM & 8PM

14 5PM

16 6.30PM

17 6.30PM

18 8PM

19 8PM

20 2PM & 8PM

21 5PM

23 6.30PM

24 6.30PM

25 8PM

26 8PM

27 2PM & 8PM

28 5PM

30 6.30PM

31 6.30PM

UNWAGED 2PM & 8PM

8PM

THE DAN CE OF DEATH MON

5PM

TUE

WED

THU

2PM & 8PM

5PM

10 NOV – 23 DEC

FRI

S AT

SUN

10 8PM PREVIEW

11 6.30PM PREVIEW

13 8PM PREVIEW

14 8PM OPENING

15 8PM

16 8PM

17 2PM & 8PM

18 5PM

20 6.30PM

21 6.30PM

22 8PM

23 8PM

24 2PM & 8PM

25 5PM

27 6.30PM

28 6.30PM

29 8PM

30 8PM

6.30PM

6 8PM

8PM

8 2PM & 8PM

9 5PM

11 6.30PM

12 6.30PM

13 8PM

14 8PM

15 2PM & 8PM

16 5PM

18 6.30PM

19 6.30PM

20 UNWAGED 2PM & 8PM

21 8PM

22 2PM & 8PM

23 5PM

6.30PM

2PM & 8PM

5PM

2018 SEASON M Y URR WAI MON

TUE

WED

THERE'S MORE

19 JAN – 4 FEB DOWNSTAIRS THU

FRI

S AT

SUN

19 6.30PM PREVIEW

20 6.30PM OPENING

21 3PM

23 7PM

24 7PM

25 8.15PM

26 8.15PM

27 2.15PM & 8.15PM

28 5.15PM

30 7PM

31 7PM

8.15PM

MO THER MON

TUE

WED

8.15PM

THU

FRI

S AT

SUN

24 6.30PM PREVIEW

25 7.30PM OPENING

26 7.30PM

27 2PM & 7.30PM

28 5PM

30 6.30PM

31 6.30PM

7.30PM

6 6.30PM

7.30PM

9 7.30PM

6.30PM

BELVOIR HA HA TUE

WED

RAND OM TUE

9.30PM

7.30PM

2PM & 7.30PM

10 2PM & 7.30PM

2PM & 5PM

11 5PM

1 – 4 FEB UPSTAIRS

THU

MON

5.15PM

24 JAN – 11 FEB UPSTAIRS

MON

2.15PM & 8.15PM

FRI

9.30PM

S AT

9.30PM

SUN

7PM

18 OCT – 11 NOV DOWNSTAIRS

WED

THU

FRI

S AT

SUN

18 8.15 PM PREVIEW

19 8.15 PM PREVIEW

20 8.15PM OPENING

21 5.15PM

23 7PM

24 7PM

25 8.15PM

26 8.15 PM

27 2.15PM & 8.15PM

28 5.15PM

30 7PM

31 7PM

8.15PM

6 7PM

8.15PM

9 8.15 PM

7PM

8.15 PM

2.15PM & 8.15PM

10 2.15PM & 8.15PM

5.15PM

11 5.15PM

THE B ALNAVES FOUNDATIO N Supporting the presentation of My Name is Jimi and My Urrwai The Balnaves Foundation is a private philanthropic organisation that was established in 2006 by Neil Balnaves AO to provide support to charitable enterprises across Australia. It supports eligible organisations that aim to create a better Australia through education, medicine and the arts with a focus on young people, the disadvantaged and Indigenous communities. The Balnaves Foundation has been funding Belvoir’s Indigenous theatre program since 2011. Each year, the Foundation provides the financial underpinning for Belvoir to present two Indigenous works. A range of access programs are attached to the productions, including an unwaged performance and schools matinees. Showing its commitment to Indigenous work at Belvoir, The Balnaves Foundation has supported our productions of The Drover’s Wife, Barbara and the Camp Dogs, Which Way Home, Title and Deed, Jack Charles vs The Crown, Windmill Baby, Beautiful One Day, Don’t Take Your Love to Town, The Cake

Man, Coranderrk, 20 Questions, Brothers Wreck, Radiance and Kill the Messenger. In 2018, the Foundation will support My Name is Jimi and My Urrwai. In addition, 2018 represents the seventh year of the annual Balnaves Foundation Indigenous Playwright’s Award – a $25,000 award comprising $10,000 prize money and a $15,000 commission for a new play. Belvoir has a long history of working with Indigenous artists, including writers, directors, designers and actors, and of portraying unique Indigenous stories. Under Artistic Director Eamon Flack, we continue our commitment to presenting significant Indigenous works and engaging Indigenous artists at Belvoir in both our Upstairs and Downstairs theatres. Belvoir extends our warmest thanks to The Balnaves Foundation for its ongoing support.

MEE T CHR I STI A N Christian didn’t even know he liked theatre, until he stepped onto the Belvoir stage for the first time. He said it’s changed him; he doesn’t sweat the small stuff anymore – like having to do something new, or in front of people. Christian is a recent graduate of Youth Express: a theatre outreach program run by our Education team in partnership with schools for at-risk youth. Belvoir’s Education Program is about providing equal opportunity for high school students across NSW to access the very best in theatre experiences and education. We seek to bridge the gap between metropolitan and regional students by sending our artists to regional centres to run practical, curriculumaligned theatre workshops, and subsidise theatre tickets for HSC Drama students whose families can’t afford to take them. In these ways, and more, we connect with over 10,000 kids every year. Please help us continue to provide these kinds of opportunities for kids like Christian by making a donation with your subscription in 2018.

If you would like more information visit belvoir.com.au/support, email development@belvoir.com.au or call us on 02 8396 6209

BELVOIR SUPPORTERS Our patrons, supporters and friends are right there behind us, backing Belvoir in bringing to life the great old theatrical crafts of acting and storytelling. Thank you. Learn more about supporting Belvoir at belvoir.com.au/support-belvoir

KEY SUPPORTER Indigenous theatre at Belvoir supported by The Balnaves Foundation

TRUSTS & FOUNDATIONS Andrew Cameron Family Foundation Copyright Agency Cultural Fund Gandevia Foundation The Greatorex Foundation Macquarie Group Foundation

Nelson Meers Foundation Teen Spirit Charitable Foundation Thyne Reid Foundation Walking Up the Hill Foundation

BEL VOIR PARTNERS GOVERNMENT PARTNERS

YOUTH & EDUCATION PARTNER

MAJOR PARTNERS

ASSOCIATE PARTNERS

MEDIA PARTNERS

SUPPORTING PARTNER

PRODUCTION PARTNER

IT PARTNER

NCC Network Computing & Consulting

EVENT PARTNERS

For more information on partnership opportunities please contact our Development team on 02 9698 3344 or email development@belvoir.com.au Correct at time of printing.

TH A NK YOU Our production partners If Theatre, La Boite Theatre Company, Malthouse Theatre, Queensland Theatre, Sydney Festival, One Eyed Man Productions, Performing Lines, Token Events.

The world premiere of My Name is Jimi was performed at Queensland Theatre. Calamity Jane is presented by arrangement with Music Theatre International Australasia Pty Ltd on behalf of MTI Europe. Originally presented at Hayes Theatre Co, Sydney in association with Neglected Musicals and Hayes Theatre Co.

Many thanks to all those who have contributed to the 2018 Season, the book and the launch: Accor Hotels, Jimi Bani, Aaron Beach, Daniel Boud, Aiden Brennan, Alex Brunton, Richard Carroll, Charlotte Bradley, Paul Clark, Emma-Lee Court, Judy Davis, Andrew Dillon, Belinda Dyer, Eamon Flack, Colin Friels, Virginia Gay, Tanya Ginori-Cairns, Amy Goodhew, Georgia Goode, Jonathan Hindmarsh, Hunter Valley Stays, Susan Jack, Zak Kaczmarek, Tim Kliendienst, Alex Lee, Genevieve Lemon, Tessa Leong, Joanna Maunder, Amber McMahon, Kris McQuade, Sam Meers, Dom Mercer, Kate Mulvany, Cara Nash, Hugh Oâ&#x20AC;&#x2122;Connor, Yalin Ozucelik, Opera Australia, Anastasia Pappas, Jay Patel, Lauren Peters, Belinda Rabe, Pamela Rabe, Matthew Rossi, Jack Saltmiras, Toby Schmitz, Hazem Shammas, Vaishnavi Suryaprakash, Hsiao-Ling Tang, Virgin Australia, Mark Leonard Winter, Desiree Wise, Sally Withnell, Tom Wright.

A big thank you to the wonderful Alphabet Studio and the unflappable Daniel Boud. Huge thanks to all Belvoir staff, what a team of legends. Belvoir is proud to be a member of the Australian Major Performing Arts Group (AMPAG) Design Alphabet Studio Photography All images by Daniel Boud except: Brett Boardman (pages 4-5) Jamie James (page 26) Serena Ryan (page 27) Adam Hedgecoe, Kelly Gardiner, Nicole Reed (page 28) Sebastian Bourges (page 29) Jack Saltmiras (page 51) Printer Special T Print This book is crafted from Australian-made paper that is PEFC certified and manufactured in a facility with ISO 14001 EMS certification. 53

For more than 30 years Belvoir has engaged Australia’s most prominent and promising playwrights, directors, actors and designers to concoct an annual season of work that is dynamic, challenging and visionary.

GETTING HERE

Belvoir’s position as one of Australia’s most innovative and acclaimed theatre companies has been made by such landmark productions as The Drover’s Wife, The Glass Menagerie, Angels in America, The Wild Duck, The Diary of a Madman, The Book of Everything, Cloudstreet, Keating!, The Alchemist, The Sapphires, Medea, The Rover, Faith Healer and many, many more.

PARKING There is NO onsite parking. Limited timed parking is available on the streets around the theatre. We strongly advise using public transport for your journey to Belvoir.

Today, under Artistic Director Eamon Flack, we tour nationally, internationally, and continue to create our own brand of rough magic for new generations of audiences, here in the heart of Sydney.

We are centrally located in Surry Hills and close to a lot of major public transport. Call the Transport Infoline on 131 500 or visit transportnsw.info

TRAINS We’re a five-minute walk from the Devonshire St/Chalmers St exit of Central Station. BUSES Buses travel along Chalmers and Elizabeth Streets. CYCLING There are bike racks right outside the theatre should you choose to cycle.

Eliza

A nn

Albio

n St

Little

Alb

ion

100m

K ip

Riley

Little

ax St 4. OCELLO

6. ZAHLI

Collins

hi r

ela

ide

LIGHT RAIL ROUTE (TO COME IN EARLY 2019!) St

Little

1 De

100m

or lb Ho

Ril

Wils

hire

Hig

BELVOIR ST THEATRE

Perr y St

nd Ave

Nick so

@belvoirst

Crown

@belvoirst

Clevela t St

St Yo ung

Mo re he

e Yo un g

ad St

r th

We acknowledge the t St Gadigal people of the Eora nation who are the traditional custodians of the land on which we share our stories.

o dle

Clevela

lbo

Wa lk

St Ce ntre

/belvoirstA

High Ho lb or

ro u

18 & 25 Belvoir St Surry Hills NSW 2010 Australia Co

let

Administration +61(2) 9698 3344 Box Office +61(2) 9699 3444 Box Office email mail@belvoir.com.au Box Office fax +61(2) 9698 3688

t St

belvoir.com.au

Wil

ton

n St

land

gh am St

Bu cking

Goo dlet St

Cleve Ja m es

Crown Ward Park

Be lvoir St ha m St

Jesson

Clisdell St

BELVOIR OFFICE

5 minutes walk from Central Station

r St

Riley

Elizabeth St

s Ln

A rthu

Dawson St

With er

ll S

G la

Wa te

Elizabeth St

7. ZEUS SURRY HILLS

rlo

H a rt

a ux

5. VINI

1km

oke St

loo

ph 3. HANDPICKED WINES ia St So

Griff in

r St

Holt St

Fove

2. THE DEVONSHIRE

Brumby St

Pe m br

1. BOURKE ST BAKERY

Be lvoir

eL vu

FAVOURITE PLACES TO EAT AND DRINK:

ti e

lle

x SOUR t

rc u

ope

St So

W at

lle

Riley

les

Ra d an

Chalm

ers St

Fo pa

Elizabeth St

sS er al m Ch Be

Holt St

K ip

Co rb en

ve a

tre

CENTRAL STATION

n d St

belvoir.com.au