PACKER & SONS By Tommy Murphy ǀ Directed by Eamon Flack
John Howard
Belvoir presents
PACKER & SONS By Tommy Murphy Directed by Eamon Flack This production of Packer & Sons opened at Belvoir St Theatre on Wednesday 20 November 2019. Set & Costume Designer Romanie Harper Lighting Designer Nick Schlieper Composer Alan John Sound Designer David Bergman & Steve Francis Fight & Movement Director Nigel Poulton Assistant Director Hannah Goodwin Stage Manager Luke McGettigan Assistant Stage Manager Jennifer Parsonage With Nick Bartlett John Gaden Anthony Harkin John Howard Brandon McClelland Josh McConville Nate Sammut Byron Wolffe Supported by the Australian Writers’ Guild’s David Williamson Prize, The Copyright Agency Cultural Fund, and the Walking Up the Hill Foundation.
We acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built. We also pay respect to the Elders past, present and emerging, and all Aboriginal and Torres Strait Islander peoples. PRODUCTION THANKS Ren Kenward (Production Manager), Jacqueline Lucey (Costume Co-ordinator), Jai Greenaway (Chaperone), Jessica Martin (Props Supervisor), Andrew Bibby (Paramedic Consultant).
PHOTOGRAPHY Brett Boardman Peter Morris/Fairfax Syndication DESIGN Alphabet Studio
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PLAYWRIGHT'S NOTE TOMMY MURPHY James Packer believes you want to be him. “I recognise that the vast majority of people would swap places with me and I wouldn’t swap places with – with anyone.”1
by his offspring. Drastic action. Goya has the father naked, his groin pronounced. He reminds us that the competition between father and offspring is a crisis of masculinity.
Is he right?
Right now a casino tower grows on our city’s skyline. As the casino plans were unveiled, James told Mike Willesee, “I think that in a funny way doing something in Sydney really – this might sound like a funny thing to say – but I think it ticks the final box in me being my own man. Being my own man. There’s a big shadow. There’s a big shadow.” The picture of Sydney will be forever altered to reflect that desire.
Trade places. Imagine what you would do with your billions, your birthright. Admit the luxuries you’d indulge. Envisage the social good you would achieve. Now, what obligation would you feel to extend the family project? It is a fortune built on the stewardship, chiefly, of media assets for over a century. You are its fourth monarch. Every preceding Packer has managed an expansion adapted for a new era. Do it your way. Seek trusty advisors; the best money can provide. Whose influence might you buy? In your mansion, on your icebreaker cum ocean-leisure-cruiser furnished with cinema and helipad, consider whether you have enough. There is one further condition. You have Kerry Packer as your father. Goya, the great Spanish painter, depicted the eternal risk of fatherhood. He has the old man holding a child to his face, not to kiss it or admire it but to devour. The head’s but an appetiser; he’s gnawing an arm. It’s an act of compulsive infanticide — yet his eyes convey shame. This is not Kerry; this is the Roman god, Saturn, tormented by a prophecy that he would be overthrown 1 2
Anyway you look at it, young Packer got special treatment to erect his latest skyscraper. The approvals process was accelerated. The rule that Sydney would only ever have one casino was rescinded. Land set aside at Barangaroo for public use was reconfigured. James proclaimed, “If I don’t finish Sydney, that will be the end of me." 2 Earlier this year, James became the highest-ranking Australian businessperson to go public about personal mental health battles. He was rightfully applauded for that brave act. He withdrew from the board of Crown Resorts to receive treatment. As this play reaches the stage in November 2019, James is seeking to sell his stake in the business that he reshaped from
‘Sunday Night’ Channel 7 interview with Michael Willesee, 2013 Damon Kitney; The Price of Fortune, Harper Collins, 2018.
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his family fortune – no longer media but gambling. His withdrawal leaves serious questions about the future corporate responsibility of Crown and its Sydney Casino development. Allegations were recently raised that Crown Resorts profited from improper activity by consular officials and allowed passage of organised crime and money laundering. James Packer has denied any knowledge of that criminality. This play is not the casino narrative. That story is yet unwritten. And then, perhaps it’s already etched into history. Like all things Packer the echoes with the past resound. I have heard him charged with being too tough, or too rough in his treatment of people. My answer has always been, and still is, that all his faults are masculine. - Former Prime Minister Robert Menzies of Sir Frank Packer There’s only one way I know how to manage people: through fear. - Kerry Packer Packer & Sons is an origin story of the man beneath the casino tower, told via three generations and their cycles of patriarchal brutality. It intends to examine male privilege in our society and an entitlement to take from others. Despite all, do you still want to be him? Thanks Packer & Sons reaches the stage via the David Williamson Prize for Excellence in Writing for Australian Theatre, which was awarded to Belvoir in 2018 in acknowledgment of Leah Purcell’s excellent play The Drover’s Wife. The prize money was granted to the company on the condition that they usher a new play into being. This is that play and I am honoured to have
been trusted to write it. The Award was made possible by a generous donation from David and Kristin Williamson and Shane and Cathryn Brennan and is administered by The Australian Writers’ Guild, of which I am a proud member. I am indebted to Eamon Flack, Louise Gough, Sue Donnelly, the cast, stage management and entire Belvoir team and board. For assistance with my research, I thank Anita Jacoby, Christoph Klimmer, Mark Riley, Helen Grasswill, Sally Virgoe, Paul Barry, Bridget Griffen-Foley, Aaron Patrick, Damon Kitney, the staff at the State Library of NSW, Gus Murray, Peter Meakin, Adele Ferguson, Greg Hassall at Australian Story, Terence Clarke, Francis Packer, Mark Hammer Dixon, Paddy Murphy, David Berthold, Alex McClintock, Michael Shea, Allyn and Alana Hicks, Nick ‘Noodle’ Swift, Rohit Biswas, Angela Bowne, Catherine Dovey, Kim Williams, Richard Cottrell, John Turnbull and those who requested not to be named. Packer & Sons was completed during a residency at Currency Press. Thanks to Claire Grady, Deborah Franklin, Lucy Wirth, Nick Parsons, Katharine Brisbane and the Currency team. Thank you to my fellow writers Suzie Miller, Katy Pollock and Alison Lyssa for their advice, Baker & McKenzie lawyers and to my agent Anthony Blair at Cameron Creswell. I also thank my ever-loving family especially my late father, Philip, for his contrasting story of paternal love and to whom this play is dedicated. And to the late Dane Crawford, my life partner… … thank you for the meal you cooked the night we thought this project had fallen over and for the nourishment you will always give, darl’. 03
DIRECTOR'S NOTE EAMON FLACK My father was an aircraft mechanic. I run a theatre company. My three brothers are a web designer, an electrician, and a mechanical engineer. Quite how any of us came to be one thing and not another is a mystery to me. How much of my running of this theatre company comes from Bob Flack? My best guess would be little to none. I can’t imagine Bob at Belvoir any more than anyone flying a Dash 8 over the New Guinea highlands would want me to have done the maintenance checks on the engines. The gap between a father and a son can be vast. And yet for most of history, for most men, sons were born into their father’s function, and if all went well then they died having handed that function on to their own son. Smith, son of Smith. Baker, son of Baker. Which raises the terrifying question: what would it have taken to have made me into an aircraft mechanic? 28 04
Eamon Flack
Frank inherited the business from his father R.C. Packer. Kerry inherited it from Frank. James inherited it from Kerry. What did it take to turn each of those boys into the next king? What does the complex machinery of the business require of each son? What does money and power do to them? This is the story of a patriarchy. It is about the accumulation of vast sums of money and power, and how it is passed from father to son. It is about what is done to prepare the son for that inheritance. And it is about how each generation has to remake the business, both in his own image, and to suit the times. How he does this is inevitably against the instincts and wishes of his father. But it is not just about those particular men in the Packer family.
It is about the general mania for money and power that drives so much of the course of things here in Sydney, in Australia, and globally. That mania used to be a luxury for a select few. Now it is for everyone. The Liberal Party’s dream has become a reality. Competition is our culture. With the re-election of the Morrison government, Howard and Costello’s financialisation of housing became embedded in the social fabric, and the great project to make money out of anything took its next step towards completion. No longer riding on the sheep’s back but the square metre, we fleece each other instead. We’re a nation of petty tycoons, gambling with debt, in competition with our children, with the heart trouble and anxiety to match. Lucky us. And it is about those men - we all know them - whose sense of their own importance is a direct function of how much they can get of anything, whose hunger for more damages themselves and everyone around them, and whose desire to win at all costs has once again been unleashed on the world at a ferocious scale and pace. I’m not just talking about the Trumps and other such men at the top, who see themselves, insanely, as the embodiment of all the power and money they can survey. I’m talking about every loud man whose personal frustration is the world’s fault, every schoolboy bully who has been legitimised by the financial success that comes of being a bully, every charming and disarming liar. Ours is the age of the arsehole. If you’re prepared not to give a shit about the people around you, you can have it all. But - and this is a wonderful caveat, characteristic of Tommy Murphy it is also a play about tenderness,
love, brotherhood, the astonishing redemptive power of not taking yourself too seriously, the complexity of any one person, the way that “good” and “bad” dissolve into a single person and come and go from moment to moment, the vulnerability of even the most heavily armoured man, the mortality that brings us all down in the end... various kinds of humility, humanity. And the way that any one of us could have gone one way or another if we’d been set on a different track. The story, ultimately, is James Packer’s, and he is still writing it himself. I can’t help admire his decision to open up about the personal costs of running the business. I’ve seen enough power up close to know that it can be confusing, destructive, debilitating. With all my heart I can abhor the Crown monument at Barangaroo and wish James Packer well. He reminds me of many men I know, and their struggles with what they have been lumped with, by which I don’t mean complex financial structures so much as complex emotional structures. Which is really the subject of this play. The Packer family are everywhere in the life of Sydney. So many people have a story. Little Johnny Gaden was once chased down the corridor at school by Kerry. Our composer Alan John still owes One.Tel $80. I once gunned a GoGet car for an orange light on the corner of Oxford and Victoria just as James Packer almost ran across the road in his jogging gear. We both came to a sudden stop and nodded a sheepish apology, and I was struck by the thought that, in that moment, as he fiddled with his headphones at the kerbside, he looked and behaved uncannily like my younger brothers.
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PACKER DYNASTY TIMELINE 1900
R.C. Packer, Kerry’s Grandfather, commences as a young journalist with the Tasmanian News
3 DEC 1906
Frank Packer born
1932
Now a manager, R.C. Packer brokers on behalf of his employer, Associated Newspapers, to stop a rival title being launched. The man touting the new rag is no other than his own son, Frank. R.C. Packer strikes a generous, shady deal that is the beginning of the Packer empire.
1933
Frank Packer launches the Australian Woman’s Weekly.
22 JULY Clyde Packer born 1935 17 DEC Kerry Packer born. 1937 SEPT 8 Kerry Packer is driving with three passengers when he has a 1956 collision late at night on Hume Highway just south of Yarra. Three youths are killed in the other vehicle. 16 SEPT TCN (Channel Nine) begins broadcasting. It is the first station 1956 in Australia to begin regular transmissions. SEPT 8 James Packer born. 1967 06
1970 Clyde Packer becomes joint managing director of Nine Network with his father. 1972
Kerry is deputised to launch Cleo, which outsells the rival magazine Cosmopolitan.
1972
Kerry negotiates with Rupert Murdoch for the sale of the Telegraph
1 MAY Frank Packer dies. The estate is left 1974 to Kerry. Clyde sells his quartershare of the family business for $4 million to Kerry, who will go on to become Australia’s richest man. 1977
Channel Nine becomes the numberone free-to-air network in Australia; its National News bulletin becomes the most-watched news service. The station enters what will be known as the “Golden Age”.
1978
Nine switches its slogan to “Still the One”, which lasts until the ratings downfall in January 2006.
1979 Having established a rival Cricket tournament, World Series Cricket, Kerry Packer successfully negotiates with the International Cricket Board for the television rights and an exclusive ten-year promotion and marketing contract. JAN Kerry Packer sells Chanel Nine to 1987 Bond Media for $1.055 billion 1988 The Packer Family own 50 per cent of the Australian magazine market. JULY Packer buys back an expanded 1990 Nine network for about a quarter of a billion dollars. OCT Kerry suffers a heart attack, 1990 leaving him clinically dead for over six minutes, while playing polo at Warwick Farm, Sydney. 1994 Packer’s print and television operations merge into one new company, Publishing and Broadcasting Limited (PBL).
John Howard 1995
Kerry’s second heart attack.
1995
James buys five percent of One.Tel, which has been founded by Brad Keeling and Jodee Rich the year before.
1996
Kerry steps down as chairman of PBL, while James assumes the managing director role.
MAY 1998
James takes over as executive chairman of PBL.
1998
Kerry undergoes heart surgery.
1999
Kerry has further heart surgery.
1999
James and Lachlan Murdoch sell the One.Tel vision to Rupert Murdoch.
1999
James marries Jodhi Meares.
2000
Dot-com and telco stocks crash following Black Friday on Wall Street and an earlier Nasdaq price collapse.
2001
James and Jodhi separate.
8 APR 2001
Clyde dies, aged 65, of heart and lung failure, having also had a kidney transplant.
MAY 2001
2000
2007
James marries Erica Baxter. The couple have three children over the next five years.
2009
ASIC fails in the NSW Supreme Court to force Jodee Rich to pay compensation and be banned as a company director for ten years. Other executives of One.Tel previously reached settlements with the regulator and agree to suspensions from boards. Rich's legal team successfully argue the company could have been saved if the Packer-controlled Publishing & Broadcasting Ltd had not withdrawn its commitment to underwrite a $132 million rights issue in May of 2001.
PBL and News Ltd agree to underwrite $132 million to rescue One.Tel. They then announce that the rights will not go ahead. The company goes into administration.
2013
Erica and James announce their separation.
2018
James Packer resigns from the board of his family company citing mental health issues.
Kerry Packer returns to greater responsibilities at PBL.
AUG 2019
A public inquiry into allegations of unlawful activity at Crown Casinos is announced. It will decide whether the Packerdominated company is fit to hold a licence in New South Wales.
2021
Crown Casino Sydney is scheduled for completion. It will be the tallest building in the entire city and the state of NSW at 271m. 07
26 DEC Kerry Packer dies. 2005 2006
James announces the sale of 50 per cent of PBL’s media assets to private equity group CVC Asia Pacific for $5.5bn. His focus becomes the gambling side of the business.
BIOGRAPHIES TOMMY MURPHY Playwright Tommy has had a number of plays at Belovir: Holding the Man (Griffin Theatre transfer, 2007), Gwen in Purgatory (2010), Peter Pan (Adaptation, 2013, transfer to New Victory Theatre Broadway, 2014), Mark Colvin’s Kidney (2017). Holding the Man, Tommy’s 2006 stage adaptation of Timothy Conigrave’s memoirs, continues to be produced across the world with recent productions in Florence, Chicago, Nashville and London. His screenplay for Holding the Man, for which he was Associate Producer, won the Australian Writers’ Guild Award and the Film Critics Circle Award for Best Screenplay. Netflix distributes the film globally. The stage play started at Griffin before transferring multiple times across Australia culminating in a West End production. It won multiple awards including the NSW Premier’s Literary Award, the Australian Writers’ Guild Award and the Philip Parsons Award. Tommy was the youngest and only dual winner in consecutive years of the NSW Premier’s Literary Award, having won for Strangers in Between at Griffin in 2005. Strangers in Between was last year revived in Melbourne, Sydney and on London’s West End. Tommy’s adaptation of Lorca’s Blood Wedding formed part of the London 2012 Cultural Olympiad. His play Gwen in Purgatory (Belvoir / La Boite) won the WA Premier’s Award and the Richard Burton Prize. His other plays include Troy’s House (Old Fitz / ATYP) and an adaptation of Christopher Marlowe’s Massacre at Paris (ATYP). He is a graduate of NIDA’s directing course, a former president of SUDS and a Patrick White Fellow at Sydney Theatre Company. Tommy is currently writing on a series for Stan having been on the writing teams for Foxtel’s Fighting Season (Goalpost Pictures) and Devil’s Playground (winner of the 2015 Logie for Most Outstanding Miniseries and AACTA Award for Best Miniseries). He is also under commission from the Sydney Theatre Company and Belvoir. As an artist under commission Tommy is supported by Anita Jacoby. EAMON FLACK Director Eamon is Belvoir’s Artistic Director. He grew up in Singapore, Darwin, Brisbane and Cootamundra, and trained as an actor at the West Australian Academy of Performing Arts. He has worked as a director, writer, actor and dramaturg around the country, from the Tiwi Islands to Geraldton to Palm Island. For Belvoir, Eamon’s directing credits include Life of Galileo, Counting and Cracking (with S. Shakthidharan), Angels in America, The Glass Menagerie, Ivanov, Ghosts, Sami in Paradise, The Rover, Babyteeth, As You Like It, and The End. He co-wrote Counting and Cracking with S. Shakthidharan, co-adapted Ruby Langford Ginibi’s memoir Don’t Take Your Love to Town with Leah Purcell, and co-devised Beautiful One Day. His adaptations include Ghosts, Ivanov, Summerfolk and Antigone. Ivanov won four Sydney Theatre Awards in 2015 including Best Mainstage Production and Best Direction. The Glass Menagerie and Angels in America both won Best Play at the Helpmann Awards. Counting and Cracking won seven Helpmann Awards including Best Director, Best Play and Best New Australian Work.
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Hannah Goodwin
Josh McConville, Nick Bartlett 09
Anthony Harkin
Josh McConville
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NICK BARTLETT Young Rupert Murdoch, Lachlan Murdoch and Others Nick graduated from Queensland University of Technology’s BFA (Acting) program in 2014 and Packer & Sons is his debut Belvoir and Sydney mainstage play. His theatre credits include Plastic (Old 505 Theatre), Mnemonic, Julius Caesar, Splendour in the Grass and A Chorus of Disapproval (Queensland University of Technology). Screen credits include Reef Break (ABC US/M6) and Home and Away. Nick also writes and produces comedy sketches under the alias Smartlett and has amassed over 1.5 million views online. He is an experienced voice artist having voiced many national campaigns, and has worked across Australia and overseas as a conference host and live event MC. Nick has a particular attachment to Belvoir having watched his first play here with his father. JOHN GADEN Rupert Murdoch, Nick Falloon and Others John has worked extensively in film, theatre and television for over fifty years, building a solid reputation as an outstanding actor. Renowned for his exceptional stage performances, John appeared in The Wild Duck and Cloudstreet National and International Tours (Belvoir). Career highlights include Saint Joan, Orlando, Macbeth, Rosencrantz and Guildenstern Are Dead and Copenhagen (STC), Straight White Men, Other Desert Cities, (MTC), Pericles (Bell Shakespeare), Diplomacy and The Rasputin Affair at the Ensemble and King Lear (STCSA). John’s most celebrated performances include Democracy, The Lost Echo and The Unexpected Man which have won him Helpmann Awards and Travesties, Kold Komfort Kaffe and Galileo winning Sydney Critics Circle Awards. John co-directed both the original and touring productions of The Life and the Adventures of Nicholas Nickleby for the STC. Last year, John was made Officer of the Order of Australia. ANTHONY HARKIN Jodee Rich and Others Anthony’s stage credits include: Twelfth Night, Neighbourhood Watch (Belvoir / MTC); A Month in The Country (Sydney Theatre Company); Gypsy, Next to Normal (Hayes Theatre); Kinky Boots: The Musical (Michael Cassel Group); Strictly Ballroom (Global Creatures); The Sound of Music (Gordon Frost); Miracle City (Luckiest Productions); Jersey Boys, Rock of Ages (New Theatricals); Miss Saigon (Miss Saigon Australia); and Cabaret (IMG / Japan & Korea Network Tours). Screen credits include: The Alice, All Saints and feature films The Bet and Right Here Right Now.
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JOHN HOWARD Older Kerry Packer and Frank Packer John graduated from NIDA in 1978 and his career has seen him work on stage, in cinema and television. For Belvoir, he has appeared in Mark Colvin’s Kidney, Twelfth Night, Ivanov, Every Breath and A Doll’s House. Other theatre work includes All My Sons, The Crucible, Dead White Males, The Life of Galileo, Mongrels, The Recruit (STC); Shrine, Rising Water (Black Swan State Theatre Company); and The Rover (STCSA). John was appointed Associate Director of the Sydney Theatre Company in 1992. His film roles include The Merger, Mad Max: Fury Road, Last Cab to Darwin, The Man Who Sued God, A Man’s Gotta Do and Jindabyne. In TV, John has appeared in many diverse shows including SeaChange, Soul Mates, Janet King, All Saints, Always Greener, Packed to the Rafters and the miniseries Changi. Awards include a 2016 GLUG Award: Norman Kessell Memorial Award-Most Outstanding Performance by an Actor in a Leading Role for All My Sons and a 2015 Sydney Theatre Award for Best Supporting Actor in a Mainstage Production for Ivanov. He won his first Silver Logie for Most Outstanding Actor for his role in SeaChange in 2001. BRANDON McCLELLAND Clyde Packer and Others Brandon’s theatre credits include: A Cheery Soul, Saint Joan, Three Sisters, The Present (Sydney and Broadway Season), A Midsummer Night’s Dream, The Golden Age, Suddenly Last Summer, M.Rock (Sydney Theatre Company); Who’s Afraid of Virginia Woolf (Ensemble Theatre); Girl in the Machine, Flight Paths (National Theatre of Parramatta); Little Borders (Old 505 Theatre) and Fracture (New Ghosts Theatre Company). Television credits include: The Other Guy S2, Here Come The Habibs!, Love Child, ANZAC Girls and Devil’s Playground. Film credits include: Truth and Japanese feature film, Star Sand. For his performance in ANZAC Girls, Brandon was nominated for the 2015 Graham Kennedy Award for Most Outstanding Newcomer at the Logies and won the 2015 Equity Ensemble Award for Most Outstanding Performance by an Ensemble Cast in a Television Mini Series or Telemovie. Brandon was also nominated for the 2017 Sydney Theatre Award for Best Supporting Actor in a Mainstage Play for his performance in Who’s Afraid of Virginia Woolf. JOSH McCONVILLE James Packer and Young Kerry Packer Josh’s theatre credits include: A Taste of Honey, The Sugar House (Belvoir); Golden Shield, The Sublime (Melbourne Theatre Company); Cat on a Hot Tin Roof, Cloud Nine, All My Sons, Midsummer Night’s Dream, Loot, Arcadia, Noises Off (Sydney Theatre Award for Best Supporting Actor), In the Next Room (Sydney Theatre Award Nomination for Best Supporting Actor), Gross Und Klein (Sydney Theatre Company); The Boys (Sydney Theatre Award for Best Actor in a Leading Role), The Call, Strange Attractor (Sydney Theatre Award for Best Newcomer) (Griffin Theatre); Hamlet (Sydney Theatre Award Nomination for Best Actor) (Bell
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Shakespeare); and Death of a Salesman (Black Swan Theatre Company). Television credits include: Mr Inbetween Season 2, Wild Boys, Underbelly II: A Tale of Two Cities, Redfern Now, Cleverman, The Killing Field and Home and Away. Film credits include: Measure for Measure, Escape & Evasion, Top End Wedding, The Infinite Man, The Turning: Commission, Down Under, Joe Cinque’s Consolation, War Machine, 1% (AACTA Award Nomination for Best Supporting Actor) and The Merger. NATE SAMMUT Boy James and Boy Kerry Ten year old Nate is from Cronulla and is a keen dance, drama and singing student studying at Ettingshausens. He sings in the school choir and also enjoys playing rugby league and oztag. A budding filmmaker, Nate is passionate about writing, directing and acting in his own films. Nate is thrilled to be making his professional theatrical debut in the Australian premier of Packer & Sons for Belvoir. BYRON WOLFFE Boy James and Boy Kerry Byron has his sights on a career in the performing arts. He trains at In The Spotlight Performing Arts Studio in Rouse Hill and attends the Australian Performing Arts Grammar School, as well as training vocally at DT Performing Arts under the guidance of Rebecca Verrier. Byron is proudly represented by The Garage Creative Management. Aside from his life on stage, Byron also plays soccer, rugby league and oztag and is competitive at swimming and gymnastics. Byron is thrilled to be making his theatre debut in Packer & Sons. ROMANIE HARPER Set and Costume Designer Romanie’s recent design credits include What Am I Supposed to Do? (Deep Souful Sweats), Australian Realness, Trustees, Good Muslim Boy, Little Emperors and Turbine (Malthouse), The Violent Outburst That Drew Me To You (MTC), Die! Die! Die! Old People Die!, We All Know Whats Happening (Arts House), Contest and Moral Panic (Darebin Speakeasy, 2018), This Is Eden, Resident Alien and Triumph (Fortyfivedownstairs), Desert 6.29pm, Jurassica and Splendour (Red Stitch), Conviction (ZLMD Shakespeare, 2016), M+M (Daniel Schlusser Ensemble), The Sovereign Wife (Sisters Grimm, NEON), META (Malthouse Helium), Bright World (Theatre Works), and Madonna Arms (Next Wave). In New York she has worked with The Wooster Group, and co-designed Radiohole’s Inflatable Frankenstein (The Kitchen, 2013). She has co-directed and designed The Collected Works of Victor Bergman (Fortyfivedownstairs, 2014), and Calamity (NEON 2015) by ZLMD Shakespeare.
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NICK SCHLIEPER Lighting Designer Nick has designed for all of the major performing arts companies in Australia and works regularly internationally. Previous designs for Belvoir include set and lighting for Royal David’s City and lighting design for Ghosts, Twelfth Night, Measure For Measure, and Every Breath. His many designs for STC include set and lighting for Endgame, Face to Face, and Baal, and lighting for The Present (Sydney and Broadway), Chimerica, Waiting for Godot (Sydney and London), Big and Little (Sydney, London, Paris and Vienna), and War of the Roses. Work for MTC includes set and lighting for Photograph 51 and North By Northwest. He lit Priscilla in Australia, London and on Broadway and Love Never Dies in Sydney, Melbourne, Tokyo and Hamburg. He has lit many productions for Opera Australia and Australia’s first Ring Cycle in Adelaide in 2004. International work includes the Salzburg Festival and the Hamburg State Opera as well as productions for the RSC, in Berlin, Munich, New York and for the National Theatre of Norway. He has received six Green Room Awards, six Sydney Critics’ Awards and five Helpmann Awards. ALAN JOHN Composer Alan is one of Australia’s most prolific Composers for theatre, opera, television and film. Theatre credits include Things I Know To Be True, Angels in America, Summer of the Seventeenth Doll, Stuff Happens, The Tempest, Diary of a Madman, The Judas Kiss (Belvoir); I’m Not Running (National Theatre London); The White Guard, The Season at Sarsaparilla, Mother Courage, Hedda Gabler (STC); Hamlet, As You Like It, The Winter’s Tale, Much Ado About Nothing (Bell Shakespeare). Opera credits include The Eighth Wonder (Opera Australia), How To Kill Your Husband, Through the Looking Glass (Victorian Opera / Malthouse Theatre). Musical Theatre credits include The Adventures of Snugglepot and Cuddlepie, Jonah Jones, Frankie – An Opera For Young People, Can You Hear Colour? Film credits include Holding the Man, Looking for Alibrandi, The Bank, and most recently Shawn Seet’s feature film Storm Boy. TV credits include The Shark Net, The Farm, and The Beautiful Lie. Awards include 2002 APRA Award for Best Score (Feature Film) for The Bank, APRA Award for Best Music Mini Series for The Shark Net (2004) and The Beautiful Lie (2016), 2010 Sydney Theatre Award and Helpmann awards for Best Music for Diary of a Madman, and a Sydney Theatre Award for The White Guard. STEVE FRANCIS Sound Designer Steve has worked extensively in theatre, dance and screen. His Belvoir credits include Things I Know To Be True, Winyanboga Yurringa, Every Brilliant Thing, The Sugar House, The Book of Everything, The Power of Yes, Ruben Guthrie, Baghdad Wedding, Keating!, Parramatta Girls, Capricornia, Box the Pony, Gulpilil and Page 8. His other theatre credits include The Children, The Weir, The Sublime (MTC); How to Rule The World, Still Point Turning, The Father, The 14
Josh McConville, Brandon McClelland
Tommy Murphy
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John Gaden
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Brandon McClelland, John Howard
Hanging, Disgraced, Orlando, Battle of Waterloo, Switzerland, Vere, The Long Way Home, The Secret River, Machinal, Sex with Strangers, The Splinter, Bloodland (STC); Hamlet, Henry V (Bell Shakespeare); and Between Two Waves, This Year’s Ashes, Speaking in Tongues (Griffin). For dance, Steve has composed music for Dark Emu, Bennelong, Our Land People Stories, Lore, Belong, True Stories, Skin, Corroboree, Walkabout, Bush and Boomerang (Bangarra Dance Theatre). Steve has also composed for film and TV. His awards include two Helpmann Awards for Best Original Score in 2012 and 2003 and Best New Australian Work in 2003, as well as Sydney Theatre Awards for Music and Sound in 2011 and 2014. DAVID BERGMAN Sound Designer David is proud to have had a part in bringing many works to life as a Sound Designer, Composer and Video Designer and is excited to continue this with his debut at Belvoir. His recent work includes composing and sound designing First Love Is The Revolution at Griffin, Made To Measure at Seymour Centre in 2019, Darlinghurst Theatre Company’s Maggie Stone in 2018, NIDA’s SALEM in 2017 and Another Country in 2016. He was the Sound and Video Designer for Sydney Theatre Company’s A Cheery Soul in 2018 and The Wharf Revue from 20092018, as well as The Gospel According To Paul for Soft Tread in 2019. He has also sound designed Catch Me If You Can at The Hayes in 2019 and Spring Awakening: The Musical for ATYP. For MonkeyBaa Theatre Company he was the Sound Designer for Josephine Wants To Dance in 2018, video designer for Possum Magic in 2019 and The Peasant Prince in 2016. He has also been the Video Designer for Sydney Theatre Company’s Muriel’s Wedding The Musical, The Hanging, The Effect and The Long Way Home. David trained at NIDA and is a tutor for their graduate and post graduate courses. NIGEL POULTON Fight and Movement Director Nigel is an award-winning, internationally renowned Fight Director, Intimacy Director with Intimacy Directors International, Weapon and Movement Specialist, Stunt Performer and Actor. Nigel’s stage work includes: Things I Know To Be True, Counting and Cracking, The Dance of Death, Sami in Paradise, The Sugar House, A Taste of Honey, Scorched (Belvoir); Prize Fighter (Belvoir / La Boite); Much Ado About Nothing, The Miser, Antony and Cleopatra, Romeo and Juliet, Richard III (Bell Shakespeare); Beauty Queen of Leenane, Lord of the Flies, Cat on a Hot Tin Roof, Black is the New White, Harp in the South, Mary Stuart, Blackie Blackie Brown, Accidental Death of an Anarchist, The Resistible Rise of Arturo Ui, The Present, Cyrano de Bergerac, Noises Off (STC); Spartacus (The Australian Ballet); Romeo and Juliet (New York City Ballet); Carmen, Tosca (Opera Australia); Hydra (Queensland Theatre), Jasper Jones, Noises Off (Queensland Theatre / Melbourne Theatre Company); Singin’ in the Rain (Dainty Group International), Les Miserables (Cameron Mackintosh); Don Giovanni, Carmen, Il Trovatore (The Metropolitan Opera). Nigel’s film and television work includes: Pirates of the Caribbean V, Deadline Gallipoli, The Water Diviner, The Bourne Legacy, Vikingdom, The Good Wife & Boardwalk Empire.
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Tommy Murphy, Eamon Flack
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HANNAH GOODWIN Assistant Director Hannah Goodwin is a Director, Theatre-Maker and Actor based in Sydney. She holds a BA in Performance from the University of Wollongong. Hannah’s work as a Director includes The Carousel by Pippa Ellams (Shopfront Arts Co-op, Downstairs Belvoir, Merrigong X and Kings Cross Theatre), A Girl in School Uniform (Walks into a Bar) by Lulu Raczka (Kings Cross Theatre), The Sorry Mum Project by Pippa Ellams (Bondi Feast, Adelaide Fringe), and readings of The Duck Pond by Tabitha Woo (Rapid Reads, Old 505 Theatre) and Band Aid Boy by Pippa Ellams (Rapid Reads, Old 505 Theatre). Hannah’s prior work as an Assistant Director includes Love by Patricia Cornelius (dir. Rachel Chant, Darlinghurst Theatre Company) and Dresden by Justin Fleming (dir. Suzanne Miller, Kings Cross Theatre). In 2019 Hannah was awarded the ATYP Rose Byrne Leadership Scholarship, recognising her as an emerging female arts leader. The position of Assistant Director is supported by the Walking Up The Hill Foundation. LUKE McGETTIGAN Stage Manager Luke is Belvoir’s Resident Stage Manager. For Belvoir, he has stagemanaged Things I Know To Be True, Counting and Cracking, The Dance of Death, A Taste of Honey, Sami in Paradise, Barbara and the Camp Dogs, Ghosts, The Rover, Mark Colvin’s Kidney, Faith Healer, Twelfth Night or What You Will, The Great Fire, Mortido, Seventeen, Elektra/Orestes, Radiance, The Glass Menagerie, Brothers Wreck, Once in Royal David’s City, Miss Julie, Forget Me Not, Peter Pan (including New York tour), Private Lives, Death of a Salesman, Babyteeth, Summer of the Seventeenth Doll, Neighbourhood Watch, The Wild Duck (including UK and Europe tours), Namatjira (Belvoir/Big hART), Page 8, The End, That Face, The Promise, Scorched, Antigone, Keating!, The Little Cherry Orchard and The Caucasian Chalk Circle. His other credits include The Pig Iron People, The Give and Take, Bed, La Dispute (Sydney Theatre Company); Like a Fishbone (STC / Griffin); The Government Inspector, The Tempest, The Servant of Two Masters, The Comedy of Errors, The Taming of the Shrew (Bell Shakespeare); Paradise City, Through the Wire (Performing Lines); and Alive at Williamstown Pier (Griffin). JENNIFER PARSONAGE Assistant Stage Manager Jennifer graduated from NIDA’s Production course in 2015. Her work as a Stage Manager includes Unfinished Works (Bontom), Lake Disappointment and Keir Choreographic Awards (Carriageworks), #KillAllMen (NIDA), and Speaking Countries (NAISDA). She was Deputy Stage Manager for Counting and Cracking at Belvoir. She has worked as Assistant Stage Manager on Belvoir’s productions of The Rover and Jasper Jones and Sydney Theatre Company’s Lord of the Flies, Mosquitoes, The Harp in the South, The Children, Top Girls, Three Sisters, Talk and The Hanging. Jennifer has also worked on the Opening and Closing Ceremonies for the Invictus Games.
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10 – 26 JAN
Written by Duncan Macmillan with Jonny Donahoe Directed by Kate Champion Co-Directed by Steve Rodgers With Steve Rodgers
EVERY BRILLI ANT THING
BACK BY POPULAR DEMAND!
HHHH1/2 “Brilliant”
ng Herald – The Sydney Morni
one you won’t HHHH1/2 “Beautiful… ht elig soon forget” – Lim
BOOK NOW
BELVOIR.COM.AU
WANT MORE? BELVOIR BRIEFINGS Belvoir Briefings are your chance to hear directly from the artists about every show before it hits our stage. For each production, the creative team talks 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 ticket backstage. Belvoir Briefings are FREE but we’d like you to book online at belvoir.com.au/events/belvoir-briefings so we can save you a spot. Our next Belvoir Briefings are... Jesus Wants Me for a Sunbeam 6.30pm, Thursday 30 Jan A Room of One’s Own 6.30pm, Tuesday 14 Apr
POST-SHOW Q&A Have you ever wished you could sit down with the cast and crew after the performance, hang out and ask questions about what you’ve just seen? Guess what? You can! Directly following one performance of each production, select cast and crew will return to the stage for an informal chat led by Belvoir Artistic Associate Tom Wright. This is your chance to ask about the show and to delve deeper into the performance. Just stay in your seat after these performances… Packer & Sons Tuesday 26 Nov Jesus Wants Me for a Sunbeam Tuesday 18 February 22
ENTERTAIN AT with our exclusive Corporate Entertainment Packages Do you need a unique event for your clients, executives or group? A corporate entertaining package with Belvoir provides you with a unique and seamless experience that you and your clients will love. It’s the perfect opportunity for small to medium companies and specific networks to entertain and enjoy a fantastic night together. We offer: • Best seats in the house • Exclusive entertaining venue the Belvoir ‘green room’ • Your dedicated Belvoir account manager to assist you with your planning • Welcome drink on arrival • Bespoke experiences such as artist’s talks and back-stage tours • Special prices with our catering partners
Belvoir invites you to venture behind the scenes. Come and see the spaces our actors and directors rehearse in, meet the artists who bring our stories to life, and host an exclusive event that provides your guests with a special insight into the world of Belvoir. For more information contact Sarah Gilchrist Head of Development sarah@belvoir.com.au or 02 8396 6225
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THEATRICALITY. VARIETY OF LIFE. FAITH IN HUMANITY. Belvoir is a theatre company on a side street in Surry Hills, Sydney. We share our street with a park and a public housing estate, and our theatre is in an old industrial building. It has been, at various times, a garage, a sauce factory, and the Nimrod Theatre. When the theatre was threatened with redevelopment in 1984, over 600 likeminded theatre-lovers formed a syndicate to buy the building and save it from becoming an apartment block. More than thirty years later, Belvoir St Theatre continues to be at the forefront of Australian acting and story telling for the stage. In its early years Belvoir was run cooperatively. It later rose to international prominence under first and longest-serving Artistic Director Neil Armfield and continued to be both wildly successful and controversial under Ralph Myers. Belvoir is a traditional home for the great old crafts of acting and storytelling in Australian theatre. It is a platform for voices that won’t otherwise be heard. And it is a gathering of outspoken ideals. In short: theatricality, variety of life, and faith in humanity. At Belvoir we gather the best theatre artists we can find, emerging and established, to realise an annual season of works – new works, both Australian and international, re-imagined classics
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and a lasting commitment to Indigenous stories. Audiences remember many landmark productions including The Drover’s Wife, Angels in America, Brothers Wreck, The Glass Menagerie, Neighbourhood Watch, The Wild Duck, Medea, The Diary of a Madman, Death of a Salesman, The Blind Giant is Dancing, Hamlet, Cloudstreet, Aliwa, The Book of Everything, Keating!, The Exile Trilogy, Exit the King, The Sapphires, The Rover, Faith Healer, The Sugar House, Counting and Cracking and many more. Today, under Artistic Director Eamon Flack and Executive Director Sue Donnelly, Belvoir tours nationally and internationally, and continues to create its own brand of rough magic for new generations of audiences. We are proud to be creating work that speaks to the fullness of life and experience in Australia and abroad, continuing our commitment to deliver diverse stories to diverse audiences. This year that work was recognised with a record thirteen wins at the 2019 Helpmann Awards. Belvoir receives government support for its activities from the federal government through the Australia Council and the state government through Create NSW. We also receive philanthropic and corporate support, which we greatly appreciate and welcome. belvoir.com.au
BELVOIR STAFF 18 Belvoir Street, Surry Hills NSW 2010 Email mail@belvoir.com.au Web belvoir.com.au Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444 Artistic Director Eamon Flack Executive Director Sue Donnelly Deputy Executive Director & Senior Producer Aaron Beach BELVOIR BOARD Sam Meers AO (Chair), Patricia Akopiantz (Deputy Chair), Raji Ambikarajah, Kate Champion, Sue Donnelly, Johanna Featherstone, Eamon Flack, Alison Kitchen, Michael Lynch AO, Stuart O'Brien, Mark Warburton, Peter Wilson BELVOIR ST THEATRE BOARD Angela Pearman (Chair), Ian Learmonth, Stuart McCreery, Sue Rosen, Nick Schlieper, Mark Seymour, Susan Teasey ARTISTIC & PROGRAMMING Artistic Associates Tom Wright Dom Mercer Head of New Work Louise Gough Artistic Administrator Carly Pickard Andrew Cameron Fellow Carissa Licciardello Balnaves Foundation Fellow Kodie Bedford ADMINISTRATION Office Manager and Executive Assistant to Eamon Flack & Sue Donnelly Vyvyan Nickels
EDUCATION Education Manager Jane May Education Coordinator Stevie Bryant FINANCE & OPERATIONS Head of Finance & Operations Penny Scaiff Finance Administrator Shyleja Paul Company Accountant Susan Maeng CRM & Insights Manager Jason Lee MARKETING Head of Marketing & Audience Development Aishlinn McCarthy Marketing Coordinator Andre Charadia Content Coordinator Michael Kennedy CUSTOMER SERVICES & VENUE Head of Customer Experience & Ticketing Andrew Dillon Ticketing Systems Administrator & CRM Coordinator Tanya Ginori-Cairns Customer Service Coordinator Jacki Mison Box Office Coordinator Oliver Lee Box Office Assistants Paige Ahearn, Alison Benstead, Lucy Gleeson, Nathan Harrison, Melissa Mills, Millicent Soul, Erin Taylor, Jessica Vincent Subscriptions Team Leader Nathan Harrison
Subscriptions Team Olivia Atley, Gemma Clinch, Claire Lancaster, Georgina Pender, Aimee Timmins House Manager, Venue & Events Julie O'Reilly Front of House Assistants Alison Benstead, Summer Bonney-Tehrani, Emily David, Stella Encel, Felix de Gruchy, Will Hickey, Patrick Klavins, Sally Lewis, Rhiaan Marquez, Meredith O’Reilly, Amelia Parsonson, Sam Parsonson, Shannon Thomas, Tori Walker, Chelsea Zeller DEVELOPMENT Head of Development Sarah Gilchrist Philanthropy Manager Joanna Maunder Development Coordinator Anthony Whelan PRODUCTION Head of Production Gareth Simmonds Production Manager Elizabeth Jenkins Technical Manager Jim Confos Senior Technician Raine Paul Resident Stage Manager Luke McGettigan Costume Coordinator Judy Tanner Construction Manager Darran Whatley WORKSHOP Mac Nordman Jacqui Hudson Tim Dawes
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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
FOUNDATIONS
Andrew Cameron Family Foundation Copyright Agency Cultural Fund
Gandevia Foundation The Greatorex Foundation Naomi Milgrom Foundation Neilson Foundation
Oranges and Sardines Foundation Doc Ross Family Foundation
The Thyne Reid Foundation Walking Up The Hill Foundation
CHAIR’S CIRCLE
Stuart and Kate O’Brien Cathie & Paul Oppenheim Dan & Jackie Phillips Susanna & Matthew Press Andrew Price Andrew & Andrea Roberts Sherry-Hogan Foundation Rob Thomas AO Mark & Jacqueline** Warburton Weir Anderson Foundation The Wiggs Foundation Kim Williams AM & Catherine Dovey*** Rosie Williams & John Grill Peter Wilson & James Emmett* Cathy Yuncken**
$10,000- $19,999 Anne Britton** Jane & Andrew Clifford The Horizon Foundation Helen Lynch AM & Helen Bauer** John Pickhaver Sherry-Hogan Foundation* Victoria Taylor*** Shemara Wikramanayake & Ed Gilmartin Peter Wilson & James Emmett* Cathy Yuncken** Anonymous (1)
Sandra Ferman Alisa Halkyard Linda Herd Cheryl L* Stuart McCreery Steve & Belinda Rankine** Richard, Heather & Rachel Rasker*** Jonquil Ritter Professor Elizabeth Webby AM*
Patty Akopiantz & Justin Punch Robert & Libby Albert*** Sophie & Stephen Allen The Balnaves Foundation* Guido Belgiorno-Nettis AM & Michelle Belgiorno-Nettis Jessica Block Catherine & Philip Brenner Anne Britton** Jillian Broadbent** Andrew Caneron AM & Cathy Cameron*** David Gonski AC & Associate Professor Orli Wargon OAM Fee & David Hancock Sarah Henry & Charlotte Peterswald Anita Jacoby AM** John Kaldor AO & Naomi Milgrom AO Alison Kitchen Knights Family Jabula Foundation Matthew & Veronica Latham Ian Learmonth & Julia Pincus Helen Lynch AM & Helen Bauer Nelson Meers AO & Carole Meers Sam Meers AO Catriona Mordant AM & Simon Mordant AM Kerr Neilson
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CREATIVE DEVELOPMENT FUND $20,000+ Patty Akopiantz & Justin Punch Andrew Cameron AM & Cathy Cameron*** Marion Heathcote & Brian Burfitt** Anita Jacoby AM* Ingrid Kaiser Robert Thomas AO Kim Williams AM & Catherine Dovey***
$5,000 – $9,999 Merhdad & Roya Baghai Jill & Richard Berry* Sharon & Hartley Cook** Sue Donnelly** Bob & Chris Ernst** Eamon Flack Bill Hawker The Wales Family Foundation $2,000 – $4,999 Justin Butterworth Janet & Trefor Clayton* Michael Coleman** Victoria Holthouse** Ruveni & Craig Kelleher Penelope Seidler AM
THE GROUP Patty Akopiantz Sophie Allen Catherine Brenner Jillian Broadbent AC Margaret Butler Sally Cousens Lisa Droga Robin Low Sam Meers AO Sarah Meers Naomi O’Brien Jacqui Parshall Rebel Penfold-Russell The Phillips Family Katriina Tahka Cathy Yuncken
$500 – $1,999 Jane Bridge & Michael Lambert Colleen & Michael Chesterman**
* 5+ years ** 10+ years *** 15+ years of continuous giving List correct at time of printing.
THE HIVE Elizabeth Allen Justin Butterworth Dan & Emma Chesterman Este Darin-Cooper & Chris Burgess Julian Leeser MP & Joanna Davidson Hannah Roache & Luke Turner Simone & Chris Smith
B KEEPERS $5,000+ Claire Armstrong & John Sharpe*** Ellen Borda* Jan Burnswoods*** Louise Christie** Bernard Coles QC Constructability Recruitment Bob & Chris Ernst** Marion Heathcote & Brian Burfitt** Bruce Meagher & Greg Waters* Don & Leslie Parsonage** Greg & Chantal Roger*** Jann Skinner** Merilyn Sleigh & Raoul de Ferranti $3,000 – $4,999 Michael & Suzanne Daniel** Tom Dent Firehold Pty.Ltd.** Cary & Rob Gillespie* Libby Higgin* Colleen Kane** Peter & Jan Shuttleworth** Judy Thomson** Anonymous (1) $2,000 – $2,999 Antoinette Albert** Gae Anderson Max Bonnell*** Chris Brown* Danny & Kathleen Gilbert** Sophie Guest** John Head** David Haertsch*** HLA Management Ken & Lilian Horler Maria Manning & Henry Maas Professor Elizabeth More AM** Dr David Nguyen** Timothy & Eva Pascoe*** Angela Pearman Michael Rose*
Lesley & Andrew Rosenberg* Ann Sherry AO* $1,000 – $1,999 Gil Appleton** Peter & Cherry Best Allen & Julie Blewitt Robert Burns Jan Chapman AO & Stephen O’Rourke*** Jane Christensen* Verity Goitein David & Kathryn Groves** Priscilla Guest* Lisa Hamilton & Rob White* Wendy & Andrew Hamlin*** Kevin & Rosemarie Jeffers-Palmer *** A. Le Marchant*** Stephanie Lee*** Michael Lynch Genie Melone Keith Miller Cajetan Mula (Honorary Member) Kylie Nomchong SC Jacqueline & Michael Palmer Jacq Parkes and Peter Talbot Richard, Heather & Rachel Rasker*** Alex Oonagh Redmond** David Round Elfriede Sangkuhl* Jennifer Smith*** Chris & Bea Sochan** Camilla & Andrew Strang Sue Thomson** Lynne Watkins & Nicholas Harding* Richard Willis Paul & Jennifer Winch***
EDUCATION .
$10,000+ Patty Akopiantz & Justin Punch Anita Luca Belgiorno-Nettis Foundation John Fairfax AO Kimberly & Angus Holden Susie Kelly Ian Learmonth & Julia Pincus* Sam Meers AO Stuart & Kate O’Brien $5,000 - $9,999 Louise Mitchell & Peter Pether David & Jill Pumphrey Rob Thomas AO
$2,000 – $4,999 Estate of the late Angelo Comino Kiera Grant & Mark Tallis Julie Hannaford* Patricia Novikoff** $500 – $1,999 AB* Colin Adams Ian Barnett* Victor Baskir* Maxine Brenner, Judy Binns Kim & Gil Burton Este Darin-Cooper & Chris Burgess* Anton Enus Roger Feletto Sandra Ferman Valmae Freilich Geoffrey & Patricia Gemmell* John Gidney Priscilla Guest* Bill Hawker Elaine Hiley Sue Hyde* David Jonas & Desmon Du Plessis* A Juchau Ruth Layton Jennifer Ledgar & Bob Lim*** Ann Loveridge Christine & Diane Malcolm Christopher Matthies* Peter Mitchell Irene Miller Cynthia Mitchell & Elizabeth Harry Nicole Philps Richard, Heather & Rachel Rasker* Julianne Schultz Peter & Janet Shuttleworth* Roderick Smyth Chris & Bea Sochan** Rob & Rae Spence Titia Sprague* Steiner Family Cheri Stevenson Daniela Torsh* Sarah Walters* Anonymous (12)
GENERAL $10,000+ Ross Littlewood & Alexandra Curtin* Anonymous (1)
$5,000 - $9,999 Lou-Anne Folder $2,000 – $4,999 Robert Burns Raymond McDonald Leslie Stern Anonymous (4) $500 – $1,999 Annette Adair* Colin Adams Richard Adams Victor Baskir* Baiba Berzins* Maxine Brenner David Buckley Kim & Gil Burton Darren Cook Tim & Bryony Cox** Carol & Nicholas Dettmann Jane Diamond* Anton Enus Gillian Fenton Belinda Gibson Peter Gray & Helen Thwaites** Chris & Gina Grubb Jill Hawker Dorothy Hoddinott AO** Belinda Hutchinson AM Mira Joksovic Vanovac Robert Kidd Elizabeth Laverty Dr Linda Lorenza Anne Loveridge Irene Miller David Millons Catherine Mullane & Ian Lovett Nola Nettheim Patricia Novikoff** Judy & Geoff Patterson* Christina Pender Leigh Rae Sanderson Chris & Bea Sochan** Geoffrey Starr Paul Stein AMQC Mike Thompson* Helen Trinca Suzanne & Ross Tzannes AM* Louise & Steve Verrier Chris Vik & Chelsea Albert Lynne Watkins & Nicholas Harding* Bruce McWilliam Annie Williams Brian & Trish Wright Anonymous (10)
Learn more about supporting Belvoir at belvoir.com.au/support-belvoir
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BELVOIR PARTNERS GOVERNMENT PARTNERS
MAJOR PARTNERS
RESEARCH & ENGAGEMENT
MEDIA PARTNERS
YOUTH & EDUCATION PARTNER
ASSOCIATE PARTNERS
PRODUCTION PARTNERS
ACCOMMODATION PARTNERS
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.
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Kate Box in A Christmas Carol
BELVOIR GIFT VOUCHERS A Belvoir gift voucher makes a unique and brilliant present, perfect for a birthday, Christmas or anniversary gift! What could top a memorable, quirky – and potentially life-changing – night out at the theatre? With a Belvoir gift voucher, you can also leave the selection up to your loved one – they’re free to choose their own theatrical adventure. Purchasing a voucher has never been easier. Simply visit belvoir.com.au/gift-voucher/ 30
belvoir.com.au 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
/belvoirst @belvoirst @belvoirst Cover image by Peter Morris / Fairfax Syndication