Photo: Brett Boardman
Hi Friends, Belvoir is a left-handed theatre company and a mongrel and an oddity. We came to life in 1984 in order to make sure that there would always be somewhere off to one side where some good-old dramatic shouting and waving could go on in peace. Now we don’t always live up to this birthright, but the overall undertaking is as suitably foolhardy as it ever was. If Australian plays are hard to get up in the current funding climate, well we’ll do extra ones, and we’ll do them big, just for good measure. If our culture is too narrowly focused on the same old stories, let’s spend our time and money looking for new stories. If the arts are getting expensive, let’s invite people for free. If children want some real, live enchantment, let’s do more shows for families. If the world is getting a bit bleak and overwhelming, let’s unleash the clowns and fools. If society sometimes seems a bit, well, ugly and self-obsessed, let’s put on a romance… That’s the spirit of the undertaking. That’s what we aim for. Belvoir is a Quixotic nightly attempt to unfurl the marvels humans are capable of. Now I’ve only recently taken on the job of being the Artistic Director here. Who knows how it will all pan out? We have some very big ideas. Some of them are probably a bit ridiculous and it may very well be that they will never get off the ground. That is as it should be. Other ideas we will fight tooth and nail for. For one thing, we’d like
the cultural life of our stages to be as varied and diverse as the city we live in. We’d like to tell a lot of Australian stories. And we’d like to include as many people as we possibly can. By that I mean artists and audiences and participants in other ways. We’d like all our favourite artists to come, but we’d also like new artists to come. We’d like jam-smeared little kids to come to Belvoir. We’d like community groups to perform at Belvoir. We’d like families to come. We’d like people who can’t afford to come to come. We’d just like as many people as possible to come. In the next few years, we’ll roll out some new ways to include as many people as possible. And we’ll go on doing what Belvoir has always done best – theatricality and inventiveness, great acting and great writing. I say we will do this. Who knows what will come of it all? These are wild times. Recent governments have made things harder than they need to be for the arts. Gallant philanthropists have helped fill the gap. (By the way you’re a gallant philanthropist if you’ve even given $2 – thank you!) But the big cultural task for the country remains: to tell as many stories for as many people as we can. To find a place for everyone in our society. We’ll do our little bit.
Eamon Artistic Director
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BIG KIDS With family friendly shows becoming an increasingly important part of our program, we sat down with HOLLY AUSTIN, one of the creative talents behind our upcoming all-ages charmer, Ruby’s Wish, to discuss theatremaking, childhood and why plays are better than iPads.
We’re very excited to be bringing Ruby’s Wish back to Belvoir this year. Can you tell us a little bit about the show and what inspired it?
What got you into theatre-making? Were you introduced to it in childhood or was it something you discovered later in life?
Both Adriano Cappelletta [co-writer/ performer] and I have spent time working in children’s hospitals as Captain Starlight, a superhero sent to earth to brighten the lives of sick kids. But more often than not, it’s actually the kids who brighten our lives. We’ve both met some seriously inspiring kids. Ruby’s Wish is based on a true story. ‘Ruby’, despite her illness, had the most incredible optimism and an imagination without limits.
I’ve been making ‘theatre’ since I was a kid. I grew up in a remote part of the Blue Mountains, and to keep myself entertained, my sister and I were constantly dressing up and putting on concerts for my parents. I still feel like I’m doing much the same thing – I get to play professional adult dress-ups and call it my job!
In the play we follow Dot, a rather socially awkward woman who finds solace in creating music (with a pretty spectacular loop pedal jacket) and mime as the clown doctor, Dr. AudiYO, at a children’s hospital. It is here she meets Ruby, a very grown-up and sick eight-year-old girl. The pair form an unlikely friendship through imaginative adventures that transform Ruby’s hospital room into a playful wonderland. In essence, it’s a work about friendship, hope and the blurred lines between fantasy and reality.
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I was also fortunate to be in a very special year and group at NIDA. A lot of us shared a passion for creating our own work and collaborating, and I’m still very inspired by working with fellow classmates such as Adriano Cappelletta, Kate Box and Marney McQueen. While Ruby’s Wish is suitable for children, this is a show that can be enjoyed by the whole family. How do you make theatre that connects with both young and old? Jo Turner [co-writer/director], Adriano and I really wanted to create a show that didn’t talk down to children and allowed adults to free their imagination and embrace their inner kid. I’m fascinated by how often the
notion of growing up means becoming serious and forgetting to dream and play. I don’t think the progression to adulthood means one needs to abandon the wonders of childhood. To me, the connection between young and old is simply about harnessing playfulness and joy and, as an adult, holding on to childlike ideals by keeping an open heart and mind. In an age where entertainment is increasingly digital and virtual, why do you think going to the theatre is still such a rewarding experience for families? The theatre is magical. In a tiny black box, we create new worlds in front of your eyes. You can’t beat that visceral human connection of seeing people interact and engage right there in front of you. In Ruby’s Wish, a mop becomes a monster, a tooth becomes a star, a sterile hospital room becomes a jazz bar. Ruby is a puppet, but I bet by the end of the show you might just think she’s a real little girl. You will laugh and you might even cry. No iPad can do that.
Ruby’s Wish plays in the Downstairs theatre 21 September – 9 October. Photo: Brett Boardman
LOVE & KARATE She’s charmed audiences around Australia and the world with her original, hilarious and wonderfully personal plays including Neighbourhood Watch, The Cat and Stories I Want to Tell You in Person. Now LALLY KATZ is back in town with her new play Back at the Dojo. We catch up with the inimitable writer, director and performer to discuss travel, family and karate. You’ve just returned from touring Stories I Want to Tell You in Person around India. Can you tell us a bit about your trip? I loved India. It’s really the most magic place I’ve ever been to. All up, we did six shows in five cities. For every show, the director, Anne-Louise Sarks, had to teach a different person playing the Apocalypse Bear when to come on, how to move as the bear and how to lead me in dancing … I can’t hear the rhythm in music! The production team had to continually bump the show into a different theatre. In one show, there was a Chief Minister in the audience, so there were men with machine guns guarding every door – I’ve never felt so protected on stage! Another night, there was an audience of 650 people and they were all watching except this one man in the back was screaming out at me in Tamil. Afterwards, in the Q&A, someone told me he was saying, ‘Talk, talk, talk. All you do is talk!’ Lucky he was pulled out after only four minutes, because he would have been really mad if he’d watched the whole show – 70 minutes of me just talking!
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But really, I loved the Indian audiences. It’s so crazy and cool that Belvoir organised this tour, and that I got to go to all these cities in India and stand on stage and share with audiences the show and my own personal story. And that they really got it! Well, except for that guy who was screaming abuse. You’ve created a lot of theatre around your own life, but in your upcoming play, Back at the Dojo, you turn your attention to your parents. What attracted you to their story? My parents’ love story has always been a big part of our family. My dad only met my mother because he’d lost his mind on psychedelic drugs in the Deep South of the US and needed to get some discipline, so he went back to New Jersey and joined a karate dojo in Trenton. Karate became his life as he battled to get control over his mind again, and through karate he regained his sanity and his dignity. He also met my mother because her brother did karate with him. My dad loved my mother straight away, but it took her seven years to realise she loved him too. That story, and the story of my dad’s karate, has always been part of my family story, and so I started thinking it might make a good play.
What was it like casting actors to play your parents? Well, initially my dad was cast to play himself as an older man but, to be honest, he wasn’t believable enough so we had to demote him. Also, he kept trying to get me to change things to be closer to how they really happened, but sometimes that wasn’t the most interesting option as a storyteller! So it was better to get him out of the room. He took it well. He’s never acted in anything and it’s quite hard to play yourself. The actor we cast to play my dad as his older self is Brian Lipson. Brian has played my childhood stuffed toy lion in another of my plays, so he knows my writing world! And then for the actors playing my young parents – Harry Greenwood and Catherine Davis – we just looked for an essence that was right. I emailed my parents recently because Harry wanted to research some stuff in New Jersey, and I asked them what
... continued page 6 Photo: Heidrun Löhr
Love & Karate ... continued from page 5 were some places they’d hung out at. My mother emailed me back asking if I was planning on writing a play about their youth in New Jersey and that she’d rather I didn’t. I told her, ‘No, not a new one. Just Dojo, the one that’s already going on.’ She was both relieved and nervous. What role does karate play in this story? Well, karate was the thing that changed my dad’s life and it’s the reason that my brother and I exist. But the way it works in the drama of the story is that all of my dad’s big life lessons and character changes happen within the dojo. Chris Kohn, who’s directing the show, found this amazing karate sensei named Natsuko Mineghishi and she became a consultant for the show really early on. She’s also a soprano singer and a brilliant performer, so she performs in the show and she also trains the actors and teaches them karate. In workshops we’ve done, all the actors end up covered in bruises. I started doing karate too, in order to understand how to write it better. I’m a yellow belt now, which is pretty low considering I’ve been doing it for two years. Natsuko says that I try very hard, but I’m uncoordinated!
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In Back at the Dojo, you’ve written a role specifically for much-loved Belvoir actor, Luke Mullins. Why did you want to bring Luke on board, and how has he shaped the role you created? I’ve worked with Luke a lot in the past. He’s one of my favourite actors and one of my favourite people. He played me as a male detective in Lally Katz and the Terrible Mysteries of the Volcano in 2006. A critical disaster, but he was fantastic in it – I still secretly believe it was a good show too! Luke is a very powerful actor and a very powerful presence in the development of a play. I always imagined he would play this role. Picturing an actor you love when writing a role is actually a really big help because it means the character is already at least half alive as soon as you start writing. Luke is also great physically – he’s actually picked up karate really quickly. It drove me crazy because I’d be at training three times a week, and then we’d do a workshop for a week, and by the second day he was already better than me!
Back at the Dojo plays in the Upstairs theatre 18 June – 17 July.
OH, HONEY!
THERE’S A BUZZ IN THE AIR AS WE PREPARE FOR THE NEXT HARVEST FROM OUR VERY OWN ROOFTOP BEEHIVE HERE AT BELVOIR.
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Installed in December 2014 with the help of Sydney’s beekeeping legends at The Urban Beehive, this sweet project is all about creating an urban space for honeybees and the incredibly important work they do for the environment.
But hey, don’t take our word for it. We love sharing our honey with our friends and we’re selling off our precious harvest to raise funds for Belvoir. If you’re interested in getting your hands on a jar, please visit belvoir.com.au/ belvoir-gifts or ask at the bar next time you’re at the theatre.
“Each rooftop beehive produces a unique flavour of honey, depending on the season and the flowers around that local area,” says Doug Purdie from The Urban Beehive. So we can honestly say Belvoir’s honey is the taste of our Surry Hills neighbourhood! 9
NEWS BITES Belvoir Hits The Road At Belvoir, we like to get around, and have been keeping busy this year sharing our productions with Australia and the world. In February, Lally Katz packed her bags and headed East, taking her one-womanand-one-bear-show Stories I Want to Tell You In Person on a five-city tour around India (read more about her adventures on pages 6–8). After hit seasons across Australia and Europe, Simon Stone’s acclaimed adaptation of Henrik Ibsen’s The Wild
Duck returned home to wow audiences at the Perth International Arts Festival in March this year. In May and June, Belvoir’s Helpmann Award-winning production of The Glass Menagerie headed out on a national tour including performances at Canberra Theatre Centre, Geelong Performing Arts Centre and Melbourne’s Malthouse Theatre. You can keep an eye on all our touring info at belvoir.com.au/on-tour
Accessibility We want everyone to be able to experience and enjoy theatre, which is why we are always working towards providing additional accessibility services and facilities. Throughout our season we offer mobile captioned performances for those with hearing impairments through our mobile app Go Theatrical!, which downloads captions direct to your personal phone or tablet, as well as audio described performances for vision impaired patrons. Hearing loops are also available in both our Upstairs and Downstairs theatres, which can be accessed via the t-switch on hearing aids. Our theatres also accommodate patrons in wheelchairs and their guests, and we have lift access to all levels. When booking tickets for our accessibility performances, please contact our 10
Box Office directly, as places are limited and may have specific seating allocations. To find out more, give our lovely Box Office staff a call or visit belvoir.com.au/access
COMING UP… MOBILE-CAPTIONED PERFORMANCES The Drover’s Wife 2pm, Saturday 8 October Faith Healer 2pm, Saturday 5 November AUDIO-DESCRIBED PERFORMANCES The Drover’s Wife 2pm, Saturday 15 October
Katie Beckett accepting the Balnaves Foundation Indigenous Playwright's Award in 2015 Photo: Patrick Boland.
The Balnaves Award It’s not long now until we announce the 2016 winner of the Balnaves Foundation Indigenous Playwright’s Award, and boy are we excited! Now in its fifth year, the Award is open to writers of Aboriginal and Torres Strait Islander descent and has become one of the most prestigious
playwriting awards in Australia. With past winners including Katie Beckett, Jada Alberts, Nakkiah Lui, and Leah Purcell’s winning entry The Drover’s Wife about to hit Belvoir’s stage, we can’t wait to announce the next extraordinary playwriting talent. Stay tuned!
Unwaged Performances We know that not everyone can afford to attend theatre on a regular basis, which is why for the last 20 years we’ve been committed to offering our Unwaged Performance program. For every Upstairs performance of the season, we invite unwaged members of the community to attend a free-ofcharge Thursday matinee show. In the past, this program has been supported by a major corporate
partner, but now we’re calling on your help to raise the $160,000 a year to keep this program running – and ensure Belvoir stays true to its ideals of providing a meaningful theatre experience for as many people as possible, regardless of economic status. See the full list of performance times at belvoir.com.au/unwagedprogram, and find out more about how you can help on pages 18–19. Johnny Carr & Clare Watson 11
Book now
for all our remaining shows for 2016! Karate masters, faith healers and teenage schoolgirls; meet the characters lighting up Belvoir’s stage over the next six months.
BACK AT THE DOJO Trust Lally Katz to have the best ‘how my parents met’ story of all time! After spending the last decade bringing her bizarre and brilliant life to stage, Lally now turns her attention to her parents. Based on true events, this is a modern romance about love, wanderlust and karate. Find out more about Lally’s inspiration for the play in a special Q&A on pages 6–8. 18 June – 17 July
TWELFTH NIGHT The wonderful Peter Carroll and Nikki Shiels take to the stage for this very Belvoir take on the Shakespearean classic. There’s music and mayhem, rogues and charmers, fun and festivities, but this is also a resonant tale of loss and longing. The perfect escape for a wintry Sydney night. 23 July – 4 September
THE DROVER’S WIFE Think you know Henry Lawson’s famed frontier yarn? Think again. Taking to the stage as The Drover’s Wife herself, the indomitable Leah Purcell confronts more than just the serpent in the backyard. Winner of the Balnaves Foundation Indigenous Playwright’s Award, this is a powerful one-woman-show from one of the country’s brightest talents. 17 September – 16 October
Back at the Dojo
The Drover’s Wife
RUBY’S WISH
FAITH HEALER
Looking for a play that will win over the entire family? Well, this is the show to bring everyone to see! Mop monsters and bed caves, puppetry and magic, this all-ages charmer will ignite your imagination and unleash your inner kid. Find out more in our Q&A with one of the play’s creators, Holly Austin, on pages 4–5.
Shaman or showman? Saint or sinner? The Fantastic Francis Hardy is one of playwright Brian Friel’s most fascinating characters, and who better to bring him to life than our own Colin Friels? The veteran Australian thespian is directed by his wife and legendary actress, Judy Davis, in a stirring work that asks: what does it mean to be healed, and can you ever be truly saved?
21 September – 9 October
22 October – 27 November
TITLE & DEED
GIRL ASLEEP
Prepare to have your mind blown as Will Eno’s devastating 70-minute monologue comes to our Downstairs theatre. Actor Jimi Bani (Peter Pan, The Sapphires) and director Jada Alberts will bring a distinctly Australian perspective to this stunning international hit.
Imaginary boyfriends, bitchy schoolgirls and over-protective parents. There’s nothing quite like being 15. Much loved writer Matthew Whittet (Seventeen, Cinderella) and director Rosemary Myers plumb the absurd, scary and beautiful depths of the teenage mind to deliver a coming of age story like no other. Recommended for ages 14 and up, this is one for the youngsters, and forever young-at-hearts!
13 October – 6 November
2 – 24 December
Faith Healer
Girl Asleep Photos: Brett Boardman.
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YOUTH EXPRESS Students from The John Berne School step into the limelight. It is three years since The John Berne School, a ‘second chance’ high school in Lewisham, joined Belvoir’s Youth Express program. Their participation in the program culminated in a special performance in Belvoir’s Downstairs theatre last year when the students staged The Secret, a short play they created themselves. The Youth Express program sees young people participate in a weekly two-hour workshop for 16 weeks led by director James Winter. He introduces them to drama through exercises in trust, improvisation, movement and voice work. The program concludes with a performance in the Downstairs theatre at Belvoir, written and performed by the young people, based on a theme of their choosing. We sat down with teachers Katie Digiorgio and Dominic Wan to talk about the impact the program has had on the young people involved.
James Winter. Photo: Patrick Boland.
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How has Youth Express worked alongside the programs you run at John Berne? Katie: Youth Express gives the students the opportunity to work through their issues in a rewarding and fun way. James has an amazing ability to relate with the students and engage them in the program and the task at hand. He is able to get them talking without them feeling like they are forced to do so. Dom: The program also builds skills beyond the school curriculum that are needed for success in all aspects of life for students. Important skills that many young people are lacking in are teamwork and self-confidence. The Youth Express program has been a great way to help address this. How have students responded to the Youth Express program? Katie: The boys have responded really well to the program. They are engaged and enthusiastic to participate – most days! They look forward to drama sessions as it allows them further liberties than they are permitted in a more structured classroom environment. Dom: Students are taught the necessary drama skills and then encouraged to devise, and therefore own, the production. Our students experience both changes in their sense of self, as well as increased awareness of others and how to interact with them appropriately in order to create something really positive together.
What students from The John Berne School had to say about their experiences with Youth Express: “I found that there are enjoyable ways to vent my anger and frustration, and share my views with others.” “We learnt to work together as a team and to improvise if things go wrong.” “I learnt to overcome nerves.” Photo: Patrick Boland.
In your role as a teacher, what benefits do you see Youth Express providing to the young people who participate? Katie: Not only does this program allow the boys to share parts of themselves, it also allows a better rapport to build between teacher and students. It gives them the confidence to get up and perform and they are also dealing with things they wouldn’t have a chance to in a classroom. Dom: The staff have all commented on the changes that have happened in individual students, as well as the whole group dynamics. The benefits range from improved social skills and focus at school to greater confidence in challenging themselves to grow. Describe a moment that has surprised you in the course of a drama workshop or performance. Katie: The performance at the end of last year was such a highlight. The boys were nervous, but were still able to perform well. I was so impressed to see these students, who at times, had seemed like they wouldn’t make it, get up on stage in front of parents and teachers and perform their work.
Another standout moment was hearing the script for the first time and seeing how James had implemented the students’ stories into the performance. The boys could see themselves in the script, which was great! Dom: It is always surprising to see students who don’t usually work together collaborate and help each other in order to make the production a success. I have seen students who have never felt that they’ve won or succeeded in anything leave the stage and pump their fist in the air as though they’ve just won the grand final, while others, who’ve never had a kind word to say about them, come up and genuinely congratulate them.
Youth Express is just one part of Belvoir’s extensive Education program, which includes school performances, workshops, backstage tours, regional programs and work experience. Each year Belvoir reaches in excess of 9,000 students from across NSW through our Education activities. If you would like to donate to Belvoir’s Education Program or would like more information, please visit belvoir.com.au/support-education 15
IN THE REHEARSAL ROOM
Zahra Newman & Dan Spielman - The Blind Giant is Dancing. Photo: Brett Boardman.
Kit Brookman - The Great Fire. Photo: Brett Boardman.
Dan Spielman & Yael Stone - The Blind Giant is Dancing. Photo: Brett Boardman.
Eamon Flack - The Blind Giant is Dancing. Photo: Brett Boardman.
Steve Rodgers & Kate Mulvany - Jasper Jones. Photo: Brett Boardman.
Catherine McClements - The Events. Photo: Sarah Walker.
The Great Fire cast. Photo: Brett Boardman.
Matilda Ridgway & Tom Conroy - Jasper Jones. Photo: Brett Boardman.
Without You Charlotte Bradley Philanthropy Manager
Did you know that your donations comprised 10% of Belvoir’s income in 2015? In order to appreciate how significant that contribution is, we want you to imagine what Belvoir would have looked like without you…
Warning: this exercise may lead you down into an existential mire of Chekhovian proportions.
H There were ten performers in Eamon’s production of Ivanov. We couldn’t do without the title character, so who goes? John Bell as the crabby Shabelsky? Or Blazey Best as the wealthy widow Babakina? Feh!
H Our small but mighty Education department delivered 203 workshops to 2,976 high school students and their teachers from across NSW in 2015. Take away 10% and almost 300 young theatre-lovers miss out on a formative artistic experience. If my calculations are correct, that leaves just 183 workshops and a bad taste in your mouth.
H There were ten new plays in our 2015 season. Should we have one less play by a talented young playwright like Nakkiah Lui (Kill the Messenger) or Julia-Rose Lewis (Samson)? Or should we stop supporting our mid-career artists like Matthew Whittet (Seventeen) or Angela Betzien (Mortido)? This must be a trick question, right?
H Try this one on: Belvoir gave away 2,706 tickets to our eight unwaged performances in 2015. Without you, 270 of our most vulnerable community members would have
been denied this uplifting experience. 270 people – that’s enough to fill our Downstairs theatre three times. But, like an actor stepping out onto the stage for the first time, we blinked into the light and saw you, our audience. You were there with us – more than 1,200 of you giving what you can, from $2 to $200,000, to provide all of the above and much more. Thank you.
WOULD YOU LIKE TO JOIN THE FAMILY? In an increasingly difficult funding environment, Belvoir relies on our supporters to supplement the income we receive from government grants and corporate sponsors with their generosity. And just as Eamon’s aspiration for the company reaches well beyond the known, we are looking to meet new people to help us to continue to provide access to the theatre for young and marginalised audiences, and to support the work of our most exciting and talented artists. We know what 10% less looks like, but what about 10% more? Here are some examples of what your donation could do for Belvoir:
H $150 covers the cost of about seven litres of fake blood.
H $360 provides five subsidised tickets to our unwaged program.
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H $500 enables 20 students from
western Sydney to see one Belvoir show.
H $1,000 covers the cost of one road case needed to take our shows on tour around Australia.
H $2,700 enables 20 regional students to participate in our Theatre Enrichment Program, which includes an education workshop at their school, tickets to a performance, and a follow-up debrief with one of the production artists.
H $5,000 enables us to have one day of creative development for a new project.
GIVE A LITTLE, GET A LITTLE All of our donor programs give supporters unique access to our artists and our work. From rehearsal room events, intimate dinners with our emerging artists, or performances from our Youth Express program for young people at risk – if you’re still reading this article, we know there’s something there you’ll love. If you’re not already a donor and would like to become one, we have a number of programs that you can join, including: B KEEPERS is our longest-standing program, supporting all of Belvoir’s core activities and areas of most need. Our B Keepers know their theatre and they know Belvoir. They’re a passionate, good humoured, loyal bunch and are up for anything interesting and different. If you don’t know what specific area of Belvoir you want to support, but know you want to help keep us vital and vibrant, then this is the program for you. B Keepers contribute a minimum of $1,000 each year with most giving over $1,500.
THE HIVE is a program for our younger philanthropists whose annual donations help actors, writers, directors and other creatives strike out on new adventures in form and content. The Hive have supported three Downstairs shows to date, and moved upstairs in 2016 to support Kit Brookman’s new play The Great Fire. The Hive contributors are busy, social, great at sharing and committed to making things happen. The Hive is for you if you like meeting new people, following the creative process as it unfolds and investing in contemporary Australian theatre. The Hive contribution begins at $2,500 per year, which includes two invitations to each donor event. THE CHAIR’S GROUP is the only program dedicated to supporting Indigenous theatre at Belvoir. Along with the Balnaves Foundation, the Chair’s Group enables us to produce at least two Indigenous-led productions each year and extend our work with Indigenous artists. Belvoir has a long and proud history of creating work that puts Indigenous artists and their stories at the forefront of theatrical expression. Chair’s Group contributors are thinkers and know the importance of telling powerful human stories. Chair’s Group membership is from $2,000 per year. Or LEAVE IT TO BELVOIR and join our bequest program.
WE COULDN’T DO IT WITHOUT YOU Give me, Charlotte Bradley, a call on 02 8396 6209 or send me an email at charlotte@belvoir.com.au to talk about what aspect of Belvoir’s program you are most passionate about. Or if you’re ready to donate right now, visit belvoir.com.au/support
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The Business Of Belvoir: A Four-Legged Horse Belvoir prides itself on making accessible and high quality theatre that attracts a large and diverse audience to its home in Surry Hills and to touring venues across Australia and the world every year. These activities only do half of the work in sustaining Belvoir’s activity – 56% to be precise.
INCOME 2015
If our theatre provides the front legs of our four-legged business model, government and private funding provide the engine at the back. As this highly un-scientific, but nevertheless pleasing graphic shows, private funding – in the form of Trust and Foundation grants, Corporate sponsorships, and your donations – provide almost one quarter (23%) of our annual income.
Box Office Other Earned Revenue (e.g. Bar Sales & Venue Hire)
$
%
$4,403,399
46%
$946,401
10%
$2,067,772
22%
Trusts & Foundations
$342,688
4%
Corporate Sponsorship
$824,548
9%
$926,528
10%
Government
Your Donations
$9,511,336
Without your support, our horse and our home would fall over. If you don’t already, please consider donating to Belvoir, to save us and our audience from falling off our chairs.
BOX OFFICE INCOME 46%
OTHER EARNED REVENUE 10%
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GOVERMENT FUNDING 22%
TRUSTS & FOUNDATIONS 4% CORPORATE SPONSORSHIP 9%
YOUR DONATIONS 10%
CELEBRATION TIME!
We honoured seven of Belvoir’s inaugural Life Members at a wonderful event hosted by long-time supporters, Roslyn and Tony Oxley.
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Carthona (the party house!).
Geoffrey Rush (Life Member), Neil Armfield (Life Member) & Eamon Flack.
Members of The Hive, Emma Chesterman, Jake Blundell, James Emmett, Louise Sharpe & Andrew Sharpe.
Sue Hill (Life Member) & Rachel Healy (Life Member). All photos: Patrick Boland.
BELVOIR DONORS We give our heartfelt thanks to all our donors for their loyal and generous support. CREATIVE DEVELOPMENT FUND $10,000+
David & Jill Pumphrey Mark Warburton Peter Wilson Cathy Yuncken
Andrew Cameron AM & Cathy Cameron** THE CHAIR’S GROUP Sherry-Hogan Foundation* Kim Williams AM & Catherine Dovey $3,000+ Judge Joe Harman $5,000 – $9,999 Marion Heathcote & Brian Burfitt** Anonymous (1) Penny Ward* Stephen Allen David & Jennifer Watson** Anne Britton** Hartley Cook* $1,000 – $2,999 Louise Herron AM & Clark Butler** Antoinette Albert** Peter & Rosemary Ingle* Jill & Richard Berry Helen Lynch AM & Helen Bauer** Jillian Broadbent AO** Frank Macindoe* Chris Brown Doc Ross Family Foundation Jan Chapman AO & Victoria Taylor** Stephen O’Rourke** Louise Christie** $2,000 – $4,999 Wesley Enoch Neil Armfield AO** Kathleen & Danny Gilbert** Jill & Richard Berry Sophie Guest* Justin Butterworth & Stephen Asher Michael Hobbs* John Cary Hilary Linstead** Janet & Trefor Clayton* Ross McLean & Fiona Beith* Michael Coleman* Cajetan Mula (Honorary Member) Bob & Chris Ernst Steve Rankine Richard Evans Alex Oonagh Redmond** Lisa Hamilton & Rob White Michael Rose & Jo D’Antonio* Victoria Holthouse* Ann Sherry AO* David Marr** Kim Williams AM** David Robb
$500 – $1,999
B KEEPERS
Helen Argiris Richard Banks Chris Collett Joanna Collins Linda English Phillip English Timothy Hale Roey Higgs Michael Hobbs Stephanie Hutchinson Angus Hutchinson Alec Leopold Janine Perrett* Steve Rankine Penelope Seidler Alenka Tindale Sheryl Weil
$5,000+
CO-CONSPIRATORS $10,000+ Gail Hambly** Anita Jacoby*
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Robert & Libby Albert** Ellen Borda* Constructability Recruitment Marion Heathcote & Brian Burfitt** Don & Leslie Parsonage*
$3,000 – $4,999 Anonymous (1) Bev & Phil Birnbaum** Anne Britton** Louise Christie** Suzanne & Michael Daniel** Robyn Godlee & Tony Maxwell Colleen Kane** S Khouri & D Cross Chantal & Greg Roger ** Peter & Jan Shuttleworth* Jann Skinner
$2,000 – $2,999 Claire Armstrong & John Sharpe** Bob & Chris Ernst** Cary & Rob Gillespie
Peter Graves** David & Kathryn Groves* David Haertsch** John Head** Jennifer Ledgar & Bob Lim* Louise Mitchell & Peter Pether Dr David Nguyen** Timothy & Eva Pascoe** Merilyn Sleigh & Raoul de Ferranti Judy Thomson* Lynne Watkins & Nicholas Harding*
$1,000 – $1,999 Anonymous (3) Berg Family Foundation** Max Bonnell** Dr Catherine Brown-Watt PSM Jan Burnswoods* Mary Jo & Lloyd Capps** Elaine Chia Jane Christensen* Jeanne Eve** Lisa Hamilton & Rob White Wendy & Andrew Hamlin** Libby Higgin* Michael Hobbs** Avril Jeans** Kevin & Rosemarie Jeffers-Palmer ** Corinne & Rob Johnston* Margaret Johnston A. le Marchant* Stephanie Lee* Atul Lele* Hilary Linstead* Professor Elizabeth More AM** K Nomchong SC Jacqueline & Michael Palmer Dr Natalie Pelham* Greeba Pritchard* David & Jill Pumphrey Richard & Heather Rasker* Colleen Roche Lesley & Andrew Rosenberg* David Round Andrew & Louise Sharpe* Jennifer Smith Chris & Bea Sochan* Jeremy Storer & Annabel Crabb Sue Thomson* Paul & Jennifer Winch
THE HIVE $2,500 Anthony & Elly Baxter Nathan & Yael Bennett Justin Butterworth & Stephen Asher Dan & Emma Chesterman Este Darin-Cooper & Chris Burgess
Joanna Davidson & Julian Leeser Jeremy Goff & Amelia MorganHunn Piers Grove Ruth Higgins & Tamson Pietsch Emma Hogan & Kim Hogan Bruce Meagher & Greg Waters G W Outram & F E Holyoake Olivia Pascoe Andrew & Louise Sharpe* Michael Sirmai The Sky Foundation Peter Wilson & James Emmett
EDUCATION DONORS $10,000+ Doc Ross Family Foundation Susie & Nick Kelly Ian Learmonth & Julia Pincus
$2,000 – $4,999 Anonymous (2) Ian Barnett* Andrew Cameron AM & Cathy Cameron** Estate of the late Angelo Comino Ari Droga Julie Hannaford* Judge Joe Harman Olivia Pascoe**
$500 – $1,999 32 Edward St Anonymous (7) Len & Nita Armfield Art House Gallery Victor Baskir David Bennett AO & Anne Bennett AB* Michael & Colleen Chesterman* Tracey Clancy Karen Cooper & Simon Tuxen Erin Devery Diane Dunlop* * 5+ years of giving
Veronica Espaliat & Ross Youngman John B Fairfax AO & Libby Fairfax Geoffrey & Patricia Gemmell* Dorothy Hoddinott AO** Sue Hyde* Peter & Rosemary Ingle* David Jonas & Desmon Du Plessis Stewart & Jillian Kellie* Xanthi Kouvatas Veronica & Matthew Latham Ruth Layton Jennifer Ledgar & Bob Lim* David Marr & Sebastian Tesoriero Mary Miltenyi Polese Family Angela Raymond Peter & Janet Shuttleworth* Nawal Silfani Chris & Bea Sochan* Kerry Stubbs Drew Tait Ingrid Villata Richard & Sue Walsh Andrew Watts
GENERAL DONORS $10,000+ Anonymous (1) Andrew Cameron AM & Cathy Cameron** Ross Littlewood & Alexandra Curtin*
$5,000 – $9,999 Helen Lynch AM & Helen Bauer**
$2,000 – $4,999 Anonymous (2) Baiba Berzins* Brenna Hobson Anita Jacoby* Patricia Novikoff* Lynne Watkins & Nicolas Harding
$500 – $1,999 Anonymous (5) Victor Baskir Ian Breden & Josephine Key* Angela Browne Dr & Mrs Gil Burton Trevor Carroll Tim & Bryony Cox* Jane Diamond* Elizabeth Fairfax Jono Gavin Peter Gray & Helen Thwaites Priscilla Guest* Kim Harding & Irene Miller Harrison & Kate Higgs* Dorothy Hoddinott AO** Iphygenia Kallinikos Robert Kidd Daniel Knight Wolf Krueger & José Gutierrez* Frans Lauenstein Dr David and Barbara Millons Irena Nebenzahl Anthony Nugent* Judy & Geoff Patterson* Dr Natalie Pelham Kathirasen Ponnusamy* Leigh Sanderson Elfriede Sangkuhl Abhijit & Janice Sengupta Dr Agnes Sinclair Eileen Slarke & Family* Andrew Smyth-Kirk Dr Titia Sprague Paul Stein Mike Thompson Suzanne & Ross Tzannes AM* Jane Uebergang Louise & Steve Verrier Chris Vik & Chelsea Albert Sarah Walters* Louisa Ward & Tim Coen Brian & Trish Wright
** 10+ years of giving *** 15+ years of giving
Belvoir is very grateful to accept donations of all sizes. Donations over $2 are tax deductible. If you would like to make a donation or would like further information about any of our donor programs please call our Development Team on 02 9698 3344 or email development@belvoir.com.au. List correct at time of printing.
SPECIAL THANKS We would like to acknowledge Cajetan Mula, Len Armfield and Geoffrey Scharer. They will always be remembered for their generosity to Belvoir. These people and foundations supported the redevelopment of Belvoir Street Theatre and purchase of our warehouse. Andrew & Cathy Cameron (refurbishment of theatre & warehouse) Russell Crowe (Downstairs theatre & purchase of warehouse) The Gonski Foundation & The Nelson Meers Foundation (Gonski Meers Foyer) Andrew & Wendy Hamlin (Brenna’s office) Hal Herron (The Hal Bar) Geoffrey Rush (redevelopment of theatre) Fred Street AM (Upstairs dressing room)
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Food for thought Your handy guide to pre-theatre eats around Surry Hills A night at the theatre requires serious sustenance, and luckily there’s no shortage of fine food and wine around Surry Hills. Read on to find out about the local restaurants and bars we love – and that love us right back.
TURN THE PAGE FOR SPECIAL RESTAURANT VOUCHERS!
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1. THE HAL BAR
5. MOHR FISH
Like to keep things easy? Pre-theatre dining doesn’t get much more convenient than this. Located in our foyer, The Hal Bar has plenty of delicious food and beverage options available 90 minutes prior to each performance at Belvoir. And to top it all off, you can pre-order your meal too.
Just down the hill from the theatre, this eat-in and take-out fish restaurant has been a favourite of Belvoirgoers for over 20 years, serving up fresh, simple and seasonal seafood favourites.
Belvoir St Theatre, Surry Hills belvoir.com.au/eat | 02 9699 3444
2. BERTA Tucked away on Berta St in the CBD, this little Italian eatery is a hidden gem. With a focus on seasonal Italian fare and a menu that changes daily, Berta is fresh and innovative – two things we love at Belvoir. 17–19 Alberta St, Sydney berta.com.au | 9264 6133
3. THE DEVONSHIRE In the mood for something a little bit fancy? This award-winning restaurant is just steps away from the theatre and the team there love hosting Belvoir-goers before their show. 204 Devonshire St, Surry Hills thedevonshire.com.au | 9698 9427
4. LOVE SUPREME This much-loved Italian joint prides itself on high-quality produce and a wood-fired oven that can bump out pizzas in under two minutes, so you can rest easy you won’t miss the opening scene!
202 Devonshire St, Surry Hills mohrfish.com.au | 9318 1326
6. VINI Awarded One Chef’s Hat in the 2016 SMH Good Food Guide, this is authentic regional Italian fare at its finest. Mention you’re seeing one of our shows and you’ll receive free nibblies with your meal. Hot tip: For a glass of wine before or after the show, head to Vini’s sister bar 121BC around the corner on Gladstone St. 3/118 Devonshire St, Surry Hills (enter via Holt St) vini.com.au | 9698 5131
7. ZAHLI Just down the hill on Elizabeth St, Zahli serves up modern Middle Eastern banquets, mains and mezes in a chic setting. A great place for groups! Open daily. 11am–10pm (until 11pm on Thu, Fri, Sat) 529 Elizabeth Street, Surry Hills zahlirestaurant.com | 9318 2228
180 Oxford Street, Paddington lovesupreme.com.au | 9331 1779 25
VOUCHERS Present this voucher to receive the $95 eightcourse degustation for just $75 per person. 204 Devonshire St, Surry Hills | 02 9698 9427 thedevonshire.com.au Voucher is valid until 30 November 2016. Monday–Friday only. Not valid with other offers/BYO.
✁ Present this voucher to receive a complimentary glass of house wine and one serve of homemade dessert. 202 Devonshire St, Surry Hills | 02 9318 1326 mohrfish.com.au Voucher is valid until 22 December 2016.
✁ Present this voucher to receive complimentary olives and grissini with your meal. 3/118 Devonshire St, Surry Hills (enter via Holt St) 02 9698 5131| vini.com.au Voucher is valid until 31 December 2016.
✁ Present this voucher to receive a complimentary antipasto plate with your meal. 180 Oxford Street, Paddington | 9331 1779 lovesupreme.com.au Voucher is valid until 31 December 2016.
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BELVOIR SPONSORS MEDIA PARTNERS
MAJOR SPONSORS
ASSOCIATE SPONSORS
IT PARTNER
KEY SUPPORTER Indigenous theatre at Belvoir supported by The Balnaves Foundation
BOUTIQUE ACCOMMODATION
EVENT SPONSORS
GOVERNMENT PARTNERS
YOUTH & EDUCATION SUPPORTER
TRUSTS & FOUNDATIONS
SUPPORTERS
AMP Foundation
Gandevia Foundation
Macquarie Group
Copyright Agency Ltd
The Greatorex Foundation
Thomas Creative
Coca-Cola Australia Foundation
Thyne Reid Foundation
Time Out Australia
Crown Resorts Foundation
Vincent Fairfax Family Foundation
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.
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belvoir.com.au /belvoirst
@belvoirst
@belvoirst
18 & 25 Belvoir Street, Surry Hills NSW 2010 Email mail@belvoir.com.au Administration (02) 9698 3344 Fax (02) 9319 3165 Box Office (02) 9699 3444 Cover image: Holly Austin. Image: Brett Boardman.