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MASTERCLASS A PACIFIST’S GUIDE TO THE WAR ON CANCER BLACK IS THE NEW WHITE ANTONY AND CLEOPATRA THE ASPIRATIONS OF DAISE MORROW THE BLEEDING TREE SENSE AND SENSIBILITY THE BEGINNING OF NATURE SWITZERLAND DARK EMU CALAMITY JANE AB [INTRA] MADAME BUTTERFLY THE SEASON JULIUS CAESAR THE WHARF REVUE 2018 OEDIPUS SCHMOEDIPUS QUIET FAITH COCKFIGHT
DIRECTOR’S NOTE WELCOME This is an exciting time in the Australian theatre landscape. When we look at the work that is being produced by our friends and colleagues around the nation, we are seeing an incredible mix of voices.
OUR CANBERRA. OUR COMMUNITY Last year we saw some great results for the Canberra community when we engaged with over a quarter of a million people at 474 performances, delivering over $9.9 million to the visitor economy and $5.4m in wages to 190 local team members. We hosted 11,000+ students from 226 different schools. Through our Social Capital Program we continue to support low income earning members of the Canberra community through our free or low cost events and ticket donations. We thank all those producers and investors (government and private) who took a chance on us. We can do more for our community and I encourage you to complete our surveys and guide us in delivering what you value.
These developments are so exciting, because they’ll deliver a whole new entertainment experience for theatre patrons.
THE SEASON The 2018 Collected Works season brings together the country’s hottest playwrights and fiercest conversations. It confronts us with our greatest fears, endears us with honest laughter, and reminds us that there are some experiences in life that we all share. We are thrilled to have one of UK’s hottest companies Complicité bringing us the Australian Premiere of a thought-provoking new work on cancer. Plus we host another Australian Premiere in Australian Dance Theatre’s The Beginning of Nature. We look forward to some power house performances including Amanda Muggleton in Masterclass, Catherine McClements in Antony and Cleopatra, Virginia Gay in Calamity Jane and Kenneth Ransom as Julius Caeser. We welcome back our favourites in Sydney Dance Company, Bangarra Dance Theatre, Australian Opera along with State Theatre Company of South Australia who brought us 1984 in 2017, will return this year with a sparkling adaptation of Sense and Sensibility. Our friends at Griffin Theatre Company bring us the multi-Helpmann award winning, The Bleeding Tree, which joins Black is The New White, The Aspirations of Daise Morrow, and The Season as one of a number of new works that have a uniquely Australian voice. The 2018 season offers you the opportunity to sample a number of new Australian works by independent theatre companies of the highest artistic calibre, these include; Switzerland, Cockfight, Quiet Faith, and Oedipus Schmoedipus. Theatre lovers have the opportunity to see work that is both off-beat and cutting edge. To our subscribers who come on this 2018 journey with us, thank you.
BRUCE CARMICHAEL Director, Canberra Theatre Centre
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Looking forward, we’ll see a significant renovation to the landscape of our neighbourhood. Over the next couple of years, Constitution Place will emerge as the hub of dining and entertainment in the downtown area.
DATES TO REMEMBER MONDAY 16 OCTOBER 2017
FRIDAY 3 NOVEMBER 2017
MONDAY 6 NOVEMBER 2017
MONDAY 13 NOVEMBER 2017
SUNDAY 1 APRIL 2018
Season Tickets on sale for existing Season Ticket holders.
Priority booking period for returning Season Ticket holders ends.
New Season Ticket holders processed from this date.
Single tickets on-sale for all remaining productions.*
Final deferred payment due date.
* Single tickets on-sale for all remaining performances except Antony and Cleopatra (22 November 2017) and Julius Caesar (28 February 2018)
What to Choose?
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There’s a lot to choose from in 2018. So, we thought we’d give you some suggestions based upon what you like and what to expect from each production.
DRAMA, GIVE ME DRAMA
MASTERCLASS / BLACK IS THE NEW WHITE / ANTONY AND CLEOPATRA / JULIUS CAESAR / THE BLEEDING TREE / SWITZERLAND / OEDIPUS SCHMOEDIPUS
A LITTLE BIT OF LAUGHTER
THE WHARF REVUE / CALAMITY JANE / BLACK IS THE NEW WHITE / THE SEASON / COCKFIGHT / A PACIFIST’S GUIDE TO THE WAR ON CANCER
GIVE ME THE BIG ONES
ANTONY AND CLEOPATRA / JULIUS CAESAR / MADAME BUTTERFLY / SENSE AND SENSIBILITY
DANCE THE NIGHT AWAY
AB [INTRA] / DARK EMU / COCKFIGHT / THE BEGINNING OF NATURE
NOW FOR SOMETHING COMPLETELY DIFFERENT
OEDIPUS SCHMOEDIPUS / QUIET FAITH / A PACIFIST’S GUIDE TO THE WAR ON CANCER
WOW, I DIDN’T EXPECT THAT
THE ASPIRATIONS OF DAISE MORROW / THE BLEEDING TREE / COCKFIGHT
SING YOUR HEART OUT
CALAMITY JANE / MADAME BUTTERFLY / A PACIFIST’S GUIDE TO THE WAR ON CANCER / MASTERCLASS
Get the best seats in the house As a Season Ticket holder, enjoy the luxury of choosing the best seats in the house – before they go on sale to the public. Many of our shows fill quickly, so get your bookings in early.
Discounted drink vouchers There’s the added advantage for Collected Works 2018 Season Ticket holders of discounted drink vouchers and the opportunity to pre-order interval drinks.
Save money
SEASON TICKET HOLDER BENEFITS
The inside running Season Ticket holders who sign up to receive our INBOX e-news alerts have an exclusive opportunity to buy tickets for exciting extra shows before they go on public sale. To benefit, simply make sure we have your email address and you’ve agreed to us sending you information.
Flexibility Your plans may change – a case of unforeseen circumstances. When that happens, we can exchange your tickets free of charge for another performance of the same production – provided seats are available. Conditions apply, refer to our website for details.
Pay in instalments Pay half now and the rest later! Pay half of your season ticket now and the other half on 1 April 2018. It’s as easy as that.
Behind the scenes Learn more about the shows, the artists and their inspirations – ask the questions you’ve always wanted answered. Throughout the season, we have arranged a series of interactive forums. For news on extra forums added to our Collected Works 2018 diaries, we will advise you via email.
Existing Season Ticket holders enjoy a priority renewal period up to 3 November 2017 within which to book their package and take the first pick of the best available seats before new Season Ticket holders join in the fun. Season Ticket renewals are processed in order of receipt during the priority period. If you’re signing up as a new Season Ticket holder, send us your booking form and we’ll process it in order of receipt from 6 November 2017 – once priority bookings close.
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Every Season Ticket is discounted. Season Ticket holders enjoy the best value tickets. Save up to $10 off full price tickets. Concession discounts and further savings for people under 30 are also available.
First in best dressed
Hobnob with the glitterati at opening night events Season Ticket holders can book selected Gala Opening Nights giving you automatic entry into après-show functions. On Post Show Mingle nights, the bar will remain open after the performance.
Invite a friend Let your family and friends share in your love of theatre with additional tickets at special discounted prices. For selected performances you can purchase additional tickets at the Season Ticket holder price. Remember that additional tickets are available only when you purchase your Season Ticket package.
A Pacifist’s Guide to the War on Cancer A wacky but moving approach to cancer
HEN performance artist Bryony Kimmings, who has a reputation as ‘bold, brave and very brilliant,’ (Independent), was approached by legendary theatre company Complicité to create a new show, the invitation came from producer Judith Dimant - who had just received her cancer diagnosis. Never one to shy away from creating art from life, Bryony asked Judith if she fancied making a show about cancer... maybe even some sort of weird art musical? What followed was a baptism of fire, and an unexpected journey into the Kingdom of the Sick following patients, meeting doctors and learning from world experts. The result is funny, sad and in the words of the writer, Bryony Kimmings, ‘superbonkers’. Why use music and dance? Bryony Kimmings talks to Canberra Theatre Centre from London. ‘With cancer, it felt like it is such a huge subject, such an emotional subject, that the best form for dealing with subjects like that is with music. In the show we’re bringing to Canberra it’s a play with live musical elements and dancing.’ Did you get much opposition to the idea? ‘No, but you have to be very sensitive. I hate work that takes stories from people and uses it and doesn’t give anything back to the person. The idea is always collaborative with my work... The women I collected stories from, and they were almost all women, all knew they would feature in this show in some way. That it had an aim to perhaps deepen the idea of what a cancer experience is rather than ribbons, fun runs, all that stuff. One of the narrators has Li Fraumeni Syndrome, a rare inherited genetic predisposition towards cancer. She’s 28 and has had cancer five times.’
Photo: Mark Douet
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Does this show have to be funny to work? ‘You have to break down a lot of barriers around it, but by the end we’re not laughing, we’re contemplating existence. I’ve always used comedy to talk about something we don’t want to talk about. Even in the worst circumstances you do laugh, you have to or otherwise you cry.’ Why A Pacifist’s Guide? I understand you dislike the phrase the war against cancer?
How has the show gone down with the medical community, the oncologists? Has that been a difficult thing to negotiate? ‘They love it. I’ve worked with a few oncologists, and they all loved it. They like anything that demystifies or discusses people’s attitudes to the disease. And it’s their world, there’s a massive cancer blob that keeps on coming back in the show, a big cell, and they said we look at those all the time, and it’s so nice to see it come back all glittery and talking.’ As the Observer newspaper said, this is a ‘vital and extraordinary’ show. It will move you and confront you in equal parts. A Pacifist’s Guide to the War on Cancer is as honest as theatre gets.
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‘I don’t dislike it. I don’t NOT agree with it. For some people, it’s extremely helpful. Richard Nixon started the War on Cancer idea when he needed a success story. It was a popularity thing. The battle metaphors we surround cancer with, are I think a coping mechanism. Being a pacifist means you allow everyone to do it as you want. If fighting cancer in fluffy bras and cooking cakes isn’t for you, don’t do it. A lot of cancer patients don’t want to fight it. (They say) ‘I don’t want to think about it, I just want to sit on the sofa and eat pizza. I don’t want to talk about it.’ This policing of how to have cancer is quite like a red rag to some people. The ribbon wearing, fighting isn’t for everyone.’
Photo: Prudence Upton
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Black is the New White
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LACK IS THE NEW WHITE IS A LAUGH-OUT-LOUD, PROVOCATIVE NEW ROMANTIC COMEDY BY FEARLESS COLUMNIST AND AWARD-WINNING PLAYWRIGHT NAKKIAH LUI, WHO IS ALSO A WRITER AND STAR OF BLACK COMEDY ON THE ABC. DIRECTOR PAIGE RATTRAY TALKS TO CANBERRA THEATRE CENTRE.
I understand you love working with new writing. How did you find working on a new work like this as a director creating it, and why do you enjoy new works so much?
‘All great theatre companies are looking for the most current social commentator when it comes to commissioning playwrights and Nakkiah Lui is at the top of the list. Nakkiah wanted to write a romantic comedy about middle class Aboriginal people in Australia and STC jumped at the chance.’
‘New work has always been my first love. Creating a world for the first time with a writer is incredibly exciting (and also a little scary sometimes). Nakkiah had such a clear vision of what she wanted to achieve with the work so I very much followed her lead. We all worked together to build this wild and whacky world that is full of joy, laughter and meaning. Collaborating with other artists is a real privilege.’
Can you tell me about the story of the two opposing families, one upper middle class Indigenous, one conservative white. ‘I think I’d give too much away! Part of the joy of this play is discovering the very tricky, high octane situation the two families are in, but let’s say that the fathers of our romantic leads have quite a history and do not get along. Perhaps imagine a meeting between Martin Luther King and Pauline Hanson…’ When you first read the script, did it strike you as a deeply political work? Does this work undo some of the stereotypes that white audience members have about Indigenous Australians? ‘Yes absolutely, I thought it was genius. What better way to talk about contemporary Indigenous issues and politics than through a form of storytelling that we all know and love! Nakkiah quite often quotes her grandmother who loved the saying ‘If you can’t laugh you’ll cry.’ I feel like that’s a bit of a life mantra for her.’
I’ve heard there was some improvisation in rehearsals. Do you find it’s a good way to get at the truth of an issue?
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Black is the New White has had fantastic reviews as funny but biting social commentary. Why did Sydney Theatre Company choose this subject, this writer?
‘Improvisation is a great way to free the actors up to make discoveries. It adds another layer to the work and is very handy for discovering subtext (and more jokes).’ There are a lot of questions in here about contemporary Indigenous issues, but approached from a humorous perspective. Were there any times you and the cast felt uncomfortable about the issue of racism and stereotyping this play is tackling using humour? ‘No there wasn’t actually. We all really trust Nakkiah and each other. If there was anything that felt a bit tricky we dealt with it as it came up, which is why we could push the humour so far.’ How do you think the audiences will react to this play? ‘I think they can expect to have a really good time. The first time we were in front of an audience was a wild experience. People were doubled over with laughter. It’s an absolute treat to watch.’
Photo: Brett Boardman
Playwright Angus Cerini confronts domestic violence head-on
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ERALDED BY DAVID WILLIAMSON AS ONE OF AUSTRALIA’S MOST TALENTED AND EXCITING PLAYWRIGHTS, ANGUS CERINI, THE MAN BEHIND THE BLEEDING TREE TALKS TO CANBERRA THEATRE CENTRE.
Playwright Angus Cerini says he didn’t want the play to be traumatic, and he wanted his characters to get away with the crime of killing if they could. The play opens with three ordinary women in a panic wondering how to hide the body when someone knocks on the door. ‘Maybe that’s the most shocking thing about domestic violence,’ Cerini says, ‘that it’s so common and it’s not too much of a stretch to think of three women forced to take matters into their own hands when the world outside so often doesn’t. I think there’s a pleasure we all get when we can all join in together and vicariously get rid of this human specimen. This is not a play about domestic violence, as much as it is a play about revenge. A story of survival. Of winning. Of destruction of evil.’ As The Bleeding Tree progresses we find out that the abusive man was even worse than we originally thought, in fact he was monstrous. The play has been called brutal, and brutally funny. Cerini developed and workshopped it over two years, with the help of a David Williamson award. The play was also the recipient of three prestigious Helpmann Awards. Cerini says ‘I did the most work I have ever done on a play. I tried to keep it moving fast and furious… The fury and loathing I have towards violent men, that’s what drove it. Why would anyone hit a woman? I don’t get it.’ ‘Working in development with actors, as I did for this play, is great as I can hear the words coming out of their mouths and it sounds good to the ears, like a song. The way I write, the sound of the words is often more important than what they mean, and what I tried to do is create a poetry on stage.’ And the end result? Cerini says ‘People enjoy it. I find it bizarre when you have women chuckling at the weirdest moments. I have pushed those macabre moments, so it’s unreal, beyond real. The Bleeding Tree gives us all a space to live, a fantasy of killing those men who prey on the vulnerable. No victims here. Only winners. Winners we all cheer on.’ It’s been called a revenge ballad, and audiences love it.
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On average, at least one woman a week is killed by a partner or former partner in Australia, and one in three Australian women has experienced physical violence since the age of 15. In the face of such terrible figures a play that looks at a mother and two daughters who kill the man who abuses them is timely – but The Bleeding Tree is also intensely humorous and exhilarating.
Photo: Marnya Rothe
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Virginia Gay reveals her Secret Love
EGENDARY FRONTIERSWOMAN; NOTORIOUS DAREDEVIL; PROFANE STORYTELLER; UNWOMANLY RADICAL - CALAMITY JANE IS ONE OF THE MOST IMMEDIATELY RECOGNIZABLE FIGURES OF THE OLD AMERICAN WEST. FROM THE FAMOUS 1950S DORIS DAY MOVIE MUSICAL TO THE HBO SERIES DEADWOOD, CALAMITY JANE HAS DELIGHTED AUDIENCES FOR DECADES, AND A NEW PRODUCTION STARRING VIRGINIA GAY IS COMING TO CANBERRA. VIRGINIA TALKED TO CANBERRA THEATRE CENTRE.
The Wild West was a man’s world but the real Calamity Jane survived in it – what do you think the appeal of this story is?
‘Well, I’m 5ft 11, I have a face like Mount Rushmore, I never thought any screen would be my thing. TV has been a wonderful and unexpected excursion, but now I feel as though I have come home. I have always dreamed of roles like this. Calamity Jane sings a bunch of songs, she dances, she’s mercurial, she moves from fear and rage to tears and joy in seconds.’
‘The real Calamity Jane, the real human being was a phenomenal woman. She was a nurse, a scout with the army, she definitely pretended to be a man, and went out with the army and was a frontierswoman, she did run the Stage Coach. Calamity is such a modern character, she’s a woman who chooses not to live by the gender roles ascribed to her. So, this is at the frontier of the Wild West. We wanted a 2018 audience to think about this story in new and fresh ways.’
Have you channelled your inner Doris Day for this show? ‘My Calamity Jane is very different from Doris Day’s. There’s a secret love story in Calamity Jane: we’re not changing a word but there is a way of hearing the songs, like Secret Love, in a different context. ‘Every night is dependent on the audience. The audience is integral to the production. It’s exciting, and exhilarating and wonderfully exhausting and when we are finished I am going to some sort of spa retreat!’ How did you prepare for the role? ‘Director Richard (Carroll) and I did a lot of research but it has been my favourite movie for many a long year. I grew up with this movie. My whole life I have been training for this.’
Do you get to crack a whip? ‘Whip skills are not one of my talents, but we play all our own instruments. We have a ukelele player and a concert pianist in the cast – and all the other instruments are secret! I can’t wait to bring the show to Canberra, we’re all going to have a lot of fun and we love it when people come with their open hearts, in costume, so wear your Stetsons, your checked shirt, and your fringed buckskins! It’s the most fun I have had doing anything, I love it. I would do it for the rest of my life.’
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People know you from All Saints and Winners and Losers – how does doing a stage show like this compare to TV?
Sunday Mail
Photo: Richard De Chazal
AMANDA MUGGLETON IS SUBLIME AND DEVASTATING AS LA DIVINA
ANDREW KAY IN ASSOCIATION WITH THE KING’S HEAD THEATRE
BY TERRENCE MCNALLY
A KNOCK-OUT PIECE OF THEATRE… BRAVO! Sunday Telegraph
In Terrence McNally’s extraordinary theatrical tribute Callas takes centrestage one more time, as she passes on to her students, and to us, the experiences and lessons of a lifetime.
We witness her passion and commitment and realise the uniqueness of her great talent as she cajoles and lectures her students, delivering wisdom and insults in true diva style. Amanda Muggleton is one of Australia’s greatest and most loved actresses. In a career that spans over four decades, Amanda has more than 50 theatre, film and television credits to her name.
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The astonishing Amanda Muggleton is the original diva. She creates fireworks on stage as the greatest dramatic soprano of her time – Maria Callas. After a sensational career that saw her become the undisputed star of the world’s best Opera Houses, Maria Callas conducts a series of master classes to a select group of young vocal students at the Juilliard School in New York.
DIRECTOR ADAM SPREADBURYMAHER, THE KINGS HEAD THEATRE LONDON PRODUCER ANDREW KAY & ASSOCIATES PTY LTD STARRING AMANDA MUGGLETON WITH WILL CONYERS JESSICA BOYD KALA GARE ROCCO SPERANZA
22–24 FEBRUARY
THE PLAYHOUSE
DRAMA
DURATION 120 MINUTES INCLUDING INTERVAL
COMPLICITÉ ARE THE GREATEST TRAIL-BLAZERS IN OUR THEATRICAL HISTORY.
Image courtesy of Malthouse Theatre © Zan Wimberley
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Emma Thompson, 2013
COMPLICITÉ ASSOCIATES AND BRYONY KIMMINGS
A PACIFIST’S GUIDE TO THE WAR ON CANCER ORIGINALLY A CO-PRODUCTION WITH THE NATIONAL THEATRE, LONDON
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A VITAL CONFRONTATION, EXTRAORDINARY The Observer
Bryony Kimmings wants to talk about cancer but she’s not getting very far. Instead, she keeps hearing about battles, survivors, fun runs and new leases of life. What’s everyone so scared of ? Kimmings’ latest highly acclaimed collaboration with Complicité will blow everything you think you know about cancer out of the water. This funny and moving show will look behind the poster campaigns and pink ribbons at the reality of cancer: newfound friendships, pain and
28 FEBRUARY−3 MARCH
death, mundane treatment cycles, hairlessness and scars… with songs. Expect big anthems, colourful costumes, blood, tears and real cancer patients in this rip-roaring, heartbreaking celebration of ordinary life and death. This is unexpected and confronting theatre - it scratches at the battle metaphors that surround cancer to reveal what really lies beneath.
AUSTRALIAN PREMIERE
WRITTEN BY BRYONY KIMMINGS AND BRIAN LOBEL WITH KIRSTY HOUSLEY MUSIC TOM PARKINSON DIRECTOR KIRSTY HOUSLEY WARNINGS CONTAINS ADULT THEMES, STRONG LANGUAGE AND SOME NUDITY SUITABLE FOR 14+ YEARS
THE PLAYHOUSE
POST MATINEE Q&A WITH CAST SAT 3 MARCH
PLAY WITH MUSIC
DURATION SEE CTC WEBSITE IN FEBRUARY
A QUICK-WITTED, SHARP-AS-A-TACK AUSTRALIAN ROM COM
Photo: Rene Vaile
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Limelight
A SYDNEY THEATRE COMPANY PRODUCTION
BY NAKKIAH LUI
LOVE, POLITICS AND OTHER THINGS YOU SHOULDN’T TALK ABOUT AT DINNER
brings to Canberra its smash hit, laugh-out-loud romantic comedy. At the centre of this production is Charlotte Gibson, a lawyer with a brilliant career ahead of her. As her father Ray says, she could be the next female Indigenous Waleed Aly. But she has other ideas. First of all, it’s Christmas. Second of all, she’s in love. The thing is, her fiancé, Francis Smith, is not what her family expected – he’s unemployed, he’s an experimental composer…
and he’s white! Inviting him and his conservative parents to Christmas is a bold move that has all sorts of unintended consequences. Secrets are revealed, prejudices outed and old rivalries get sorted through. With a toetapping soundtrack and an array of brilliant, eccentric, loveable characters, this is a great night in the theatre and a thoroughly beguiling, very Australian story from award-winning playwright Nakkiah Lui.
THE PLAYHOUSE
DIRECTOR PAIGE RATTRAY DESIGNER RENÉE MULDER LIGHTING DESIGNER BEN HUGHES COMPOSER & SOUND DESIGNER STEVE TOULMIN WITH TONY BRIGGS LUKE CARROLL VANESSA DOWNING GEOFF MORRELL MELODIE REYNOLDSDIARRA SHARI SEBBENS TOM STOKES ANTHONY TAUFA WARNING ADULT THEMES STRONG LANGUAGE NUDITY AND DRUG USE
Black is the New White was commissioned with the support of the Malcolm Robertson Foundation. World premiere production was generously supported by the STC Donor Syndicate.
28−31 MARCH
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Sydney Theatre Company
DRAMA
PRE-SHOW IN CONVERSATION THUR 29 MARCH 6:30PM POST SHOW Q&A WITH CAST THUR 29 MARCH
DURATION 150 MINUTES INCLUDING INTERVAL
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ETERNITY WAS IN OUR LIPS AND EYES
Photo: Pierre Toussaint
Act 1, Scene 3
BELL SHAKESPEARE
BY WILLIAM SHAKESPEARE
DIRECTOR PETER EVANS
SEDUCTION, PASSION, POWER — AND BETRAYAL
12−21 APRIL
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The most famous couple that ever lived. Antony and Cleopatra. In the ruthless, everexpanding empire of Rome, Shakespeare creates an astonishing portrait of a love too great for the world. Mark Antony is a hero in a post-heroic world. He is torn between duty and love; his responsibility to Rome and his new life in Egypt; to the world he helped conquer; and his passion for Cleopatra.
Complex, charismatic, fierce. Cleopatra is a mother, a lover, a Queen. A woman not to be defied. Witness the insight and power of AFI and Logie winner Catherine McClements (Rake, The Time of our Lives) as she returns to Bell Shakespeare for one of the greatest roles ever written.
THE PLAYHOUSE
PRE-SHOW IN CONVERSATION WITH CAST TUE 10 APRIL 6PM
DIRECTOR PETER EVANS WITH CATHERINE MCCLEMENTS JOHNNY CARR RAY CHONG NEE LUCY GOLEBY URSULA MILLS ZINDZI OKENYO GARETH REEVES JO TURNER JANINE WATSON
DRAMA DURATION 150 MINUTES INCLUDING INTERVAL
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VISUALLY CAPTIVATING, SPLENDIDLY LUCID STAGE ADAPTATION Photo: Tim Standing
The Australian
BRINK PRODUCTIONS WITH CANBERRA INTERNATIONAL MUSIC FESTIVAL
PATRICK WHITE’S SHORT STORY DOWN AT THE DUMP, FEATURING ZEPHYR QUARTET.
THE ONLY DEATH TO FEAR IS THE DEATH OF LOVE
1−5 MAY
There is no sentimentality here. Brutally funny, profound in its understanding of human nature, the brilliance of White’s writing is tender in its humour, unforgiving and wise, accompanied by haunting music from Zephyr Quartet. The Aspirations of Daise Morrow is storytelling rich with music and light, a poignant evocation of the wonders of small beginnings, the complications of compassion and the majesty of love.
THE PLAYHOUSE – ONSTAGE
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Australia’s towering literary genius Patrick White had a well-documented love for the theatre. His language is pure performance and we tap into its power in Brink’s richly theatrical adaptation. Actors, musicians and audience share the space in a circle of burnt earth beneath a canvas of Australian sky. The work shifts and swirls, drawing the audience into the immediacy of a strangely familiar world – the suburb of Barranugli – where the Whalley family are getting ready for a day at the dump, while next door the Hogbens prepare to bury the scandalous Daise Morrow.
DIRECTOR CHRIS DRUMMOND DESIGNER MICHAEL HANKIN LIGHTING NIGEL LEVINGS MUSICAL DIRECTOR HILARY KLEINIG COMPOSERS BELINDA GEHLERT EMILY TULLOCH JASON THOMAS HILARY KLEINIG STARRING PAUL BLACKWELL LUCY LEHMANN GENEVIÈVE PICOT JAMES SMITH ZEPHYR QUARTET WARNING THE PRODUCTION CONTAINS COARSE LANGUAGE. THE STAGE IS COVERED WITH LIVE GRASS
DRAMA
PRE-SHOW IN CONVERSATION WITH DIRECTOR CHRIS DRUMMOND TUE 1 MAY 7PM POST SHOW Q&A WITH CAST THURS 3 MAY
DURATION 80 MINUTES NO INTERVAL
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EQUAL PARTS MURDER BALLAD AND REVENGE THRILLER.
Photo: Brett Boardman
Sydney Morning Herald
GRIFFIN THEATRE COMPANY
BY ANGUS CERINI
POWERFUL, VISCERAL AND DEEPLY EXHILARATING THEATRE In a dirt-dry town in rural Australia, a shot shatters the still night. A mother and her daughters have just welcomed home the man of the house… with a bullet. The only issue now is disposing of the body. Will they get away with it? When is doing wrong, doing right? Triggered into thrilling motion by an act of revenge, The Bleeding Tree is an Australian murder ballad powerfully crafted for the stage, with three strong women fighting back. Throughout, playwright Angus
8−12 MAY
Cerini’s writing is powerfully lyrical, bracingly funny and a highly original take on Australian gothic. The Bleeding Tree premiered at Griffin Theatre Company in 2015. It immediately earned praise as “a great and complex production” (The Australian) and went on to win three Helpmann Awards – including Best Play, Best Direction and Best Female Actor, as well as the 2016 NSW Premier’s Literary Award.
THE PLAYHOUSE
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The Guardian
DIRECTOR LEE LEWIS DESIGNER RENÉE MULDER COMPOSER STEVE TOULMIN LIGHTING DESIGNER VERITY HAMPSON STARRING PAULA ARUNDELL WARNING STRONG LANGUAGE ADULT THEMES IMPLIED VIOLENCE
DRAMA
PRE-SHOW IN CONVERSATION WITH DIRECTOR LEE LEWIS WED 9 MAY 7 PM POST SHOW Q&A WITH CAST THUR 10 MAY
DURATION 90 MINUTES NO INTERVAL
Photo: James Hartley
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STATE THEATRE COMPANY SOUTH AUSTRALIA
BY KATE HAMILL BASED ON THE NOVEL BY JANE AUSTEN
KATE HAMILL’S MARVELLOUS PLAY IS ONE OF THE FINEST STAGE ADAPTATIONS OF A LITERARY CLASSIC. OUR JANE WOULD HAVE EXPRESSED HER APPROVAL DIRECTOR GEORDIE BROOKMAN
and the spirited Margaret, from their grand family home to a modest cottage. But reduced social circumstances do not lead to a reduction in troubles of the heart. Suitors circle and gossip swirls as all of the Dashwoods try to find their place in the world. Jane Austen’s masterpiece is a precision guided literary missile of wit and warmth. In playwright Kate Hamill she’s found her theatrical match as verve and invention is brought to bear on the Dashwood’s every move.
Kate Hamill’s sparkling adaptation of Sense and Sensibility is Jane Austen on theatrical steroids. In the hands of the State Theatre Company Ensemble it will be a night at the theatre that you won’t want to miss. The newly widowed Mrs Dashwood, under much reduced circumstances, must move herself and her three daughters, the very sensible Elinor, the wild romantic Marianne
29 MAY−2 JUNE
THE PLAYHOUSE
POST-SHOW Q&A WITH CAST THUR 31 MAY
DESIGNER AILSA PATERSON LIGHTING DESIGNER GEOFF COBHAM WITH STATE THEATRE COMPANY ENSEMBLE: RACHEL BURKE MIRANDA DAUGHTRY RASHIDI EDWARD DALE MARCH NATHAN O’KEEFE ANNA STEEN BY ARRANGEMENT WITH HAL LEONARD AUSTRALIA PTY LTD ON BEHALF OF DRAMATISTS PLAY SERVICE, INC. THE WORLD PREMIERE OF SENSE AND SENSIBILITY WAS PRODUCED BY BEDLAM (ERIC TUCKER, ARTISTIC DIRECTOR; ANDRUS NICHOLS, PRODUCING DIRECTOR)
DRAMA/COMEDY
DURATION 135 MINUTES INCLUDING INTERVAL
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TheaterScene.net
…A POWERFUL WORK WHICH … DREW A RAPTUROUS RECEPTION FROM THE SPELLBOUND CROWD
Photo: Chris Herzfeld Camlight Productions
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Dance Australia
AUSTRALIAN DANCE THEATRE
CONCEIVED AND DIRECTED BY GARRY STEWART
AUSTRALIAN PREMIERE
A HIGH VOLTAGE PERFORMANCE The Adelaide Review
14−15 JUNE
humankind despite our continued efforts to see ourselves as separate. The dance explores the idea that our bodies are inscribed with the same rhythms that underpin nature itself. With live accompaniment by the acclaimed Zephyr Quartet and two vocalists, the score combines electronica, strings and a libretto sung in Kaurna language, the first language of the Adelaide Plains, home to ADT. At times fierce and explosive, at other times graceful and meditative The Beginning of Nature is a tourde-force from one of the world’s most formidable companies.
CANBERRA THEATRE
PRE-SHOW IN CONVERSATION WITH CHOREOGRAPHER GARRY STEWART THUR 14 JUNE 6.30PM
DIRECTOR GARRY STEWART CHOREOGRAPHY GARRY STEWART AND THE ADT DANCERS LIGHTING DESIGNER DAMIEN COOPER COMPOSER BRENDAN WOITHE (KLANG) COSTUME DESIGN DAVIS BROWNE INDIGENOUS LANGUAGE CONSULTANT JACK BUCKSKIN WITH ZEPHYR QUARTET: BELINDA GEHLERT EMILY TULLOCH JASON THOMAS HILARY KLEINIG WARNING INCLUDES PARTIAL FEMALE NUDITY HAZE AND STROBE-LIKE EFFECTS RECOMMENDED FOR AGES 12+
DANCE DURATION 80 MINUTES NO INTERVAL
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Weaving together live music and astonishingly powerful contemporary dance, The Beginning of Nature is a compelling work from the world-renowned Australian Dance Theatre. The Beginning of Nature explores life cycles and themes of metamorphosis and transformation and the complex symphony of rhythmic patterns within nature - flocking and herding, day and night, the changing seasons, growth and decay, tidal patterns. This extraordinary work explores the integral forces that nature asserts over
MURRAY-SMITH’S PSYCHOLOGICAL THRILLER IS HER BEST YET
Photo: Dom Northcott
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Sydney Morning Herald
PIGEONHOLE THEATRE
BY JOANNA MURRAY-SMITH
DIRECTED BY JORDAN BEST
BRILLIANT, BLACK AND BITING HUMOUR Sydney Morning Herald
But who is the hunter, and who is the prey?
From the company that brought you the critically acclaimed Playhouse Creatures, comes this brilliant production of Joanna Murray Smith’s taut psychological thriller. Starring Canberra’s own Karen Vickery (Winner Best Actress in a Leading Role in the 2014 Canberra Area Theatre Awards) and Lachlan Ruffy (Channel 9’s Quartermaine) it’s a rollercoaster ride that will take you right to the edge…
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Patricia Highsmith, the famous, and eccentric, author of The Talented Mr Ripley, and Carol is living in seclusion in Switzerland with just her books and antique guns for company. When she is visited by an eager and naive editor from her publishing house, who has been tasked with convincing her to write one last Ripley, a thrilling game begins.
STARRING KAREN VICKERY LACHLAN RUFFY DIRECTOR JORDAN BEST PLAYWRIGHT JOANNA MURRAY-SMITH DESIGNER MICHAEL SPARKS COMPOSER MATT WEBSTER WARNING COARSE LANGUAGE AND VIOLENCE
3−14 JULY
THE COURTYARD STUDIO
POST SHOW Q&A WITH DIRECTOR JORDAN BEST AND CAST THUR 5 JULY
DRAMA DURATION 140 MINUTES INCLUDING INTERVAL
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AN EXTRAORDINARILY POWERFUL WORK, A BENCHMARK IN AUSTRALIAN CREATIVITY. (ABOUT BENNELONG)
Photo: Daniel Boud
Sydney Morning Herald
BANGARRA DANCE THEATRE
SOUL-STIRRING DANCE STORIES THAT REDEFINE HISTORY
BEAUTIFUL, POIGNANT AND STRIKING directed by Stephen Page. Each explores the vital life force of flora and fauna, redefining the narrative around the myth of the ‘hunter-gatherer’. Long-time Bangarra collaborators Steve Francis (music), Jacob Nash (sets) and Jennifer Irwin (costumes) bring their impeccable aesthetic to the production. Known for their worldclass dancing, ravishingly beautiful set and costume design, and soul-stirring soundscapes, Bangarra is a company at the peak of its powers.
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Using a compelling mix of contemporary dance and uniquely Australian stories, Bangarra’s Dark Emu challenges long-held myths in the company’s distinctive style. In superb form after the sold-out 2017 production of Bennelong – widely acclaimed by critics and audiences alike – this latest work will nourish your spirit and connect you with Country. Inspired by Bruce Pascoe’s award-winning book, which describes how our landscape was cultivated by Indigenous Australians long before European settlement, Dark Emu features dance stories
DIRECTOR STEPHEN PAGE CHOREOGRAPHERS BANGARRA DANCERS MUSIC STEVE FRANCIS SET DESIGN JACOB NASH COSTUME DESIGN JENNIFER IRWIN
26−28 JULY
CANBERRA THEATRE
PRE-SHOW IN CONVERSATION WITH DIRECTOR STEPHEN PAGE THUR 26 JULY 6.30PM
DANCE DURATION SEE CTC WEBSITE IN JUNE
Sunday Telegraph
Photo: John Mcrea
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GAY IS SENSATIONAL – SHE JUST ABOUT BLOWS THE ROOF OFF THE THEATRE!
ONE EYED MAN PRODUCTIONS, IN ASSOCIATION WITH NEGLECTED MUSICALS & HAYES THEATRE CO
Adapted by RONALD HANMER and PHIL PARK From the stage play by CHARLES K. FREEMAN after WARNER BROS. film written by JAMES O’HANLON Lyrics by PAUL FRANCIS WEBSTER Music by SAMMY FAIN This production is presented by arrangement with Music Theatre International Australasia Pty Ltd on behalf of MTI Europe
CLEVER, GUT-BUSTINGLY FUNNY WITH AN EXTRAORDINARILY GENEROUS HEART The Australian
15−19 AUGUST
Black Hills of Dakota, and Secret Love performed with piano and a grab bag of other instruments, this production injects a unique and raucous sense of spontaneity into the world of musical theatre. Become immersed in the world of the Golden Garter Saloon – alive with whores, gamblers, and habitual jeopardy - and expect an unruly and unpredictable ride. In particular dozens of audience members seated onstage at saloon tables will be a part of the action when they least expect it!
THE PLAYHOUSE
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This whip-cracking, rollicking, rough-and-ready reimagining shucks off the buckskin and brings a barrelful of dirt and grit to the classic musical. Starring Virginia Gay (Channel 7’s All Saints and Winners & Losers) as the magnetic, masculine heroine, joined by a ragtag band of acclaimed comedic actors and musicians who share all the other roles. Featuring timeless standards such as The Deadwood Stage, Just Blew in From the Windy City
DIRECTOR RICHARD CARROLL MUSICAL DIRECTOR NIGEL UBRIHIEN CHOREOGRAPHER CAMERON MITCHELL PRODUCTION DESIGNER LAUREN PETERS LIGHTING DESIGNER TRENT SUIDGEEST WITH VIRGINIA GAY LAURA BUNTING ANTHONY GOOLEY SHERIDAN HARBRIDGE ROB JOHNSON MATTHEW PEARCE TONY TAYLOR WARNING CONTAINS SIMULATED SMOKING UKULELE AND META-THEATRICAL DEVICES
MUSICAL THEATRE
PRE-SHOW IN CONVERSATION WITH DIRECTOR RICHARD CARROLL THUR 16 AUGUST 7PM POST MATINEE Q&A WITH CAST SAT 18 AUGUST
DURATION 150 MINUTES INC. INTERVAL
Photo: Pedro Greig
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AB [INTRA] INTRICATE PHYSICAL CONVERSATIONS…
SYDNEY DANCE COMPANY
AB [INTRA] SYDNEY DANCE COMPANY - DIZZYING IN THEIR SPEED AND ACROBATIC EXTENSION, THEY SEEM ABLE TO DO ANYTHING Boston Globe
ab [intra] is Bonachela’s latest collaboration with composer Nick Wales and his first full-length work since the epic masterpieces 2 One Another and the critically acclaimed Project Rameau with ACO in 2012. A dynamic work of exquisite athleticism, ab [intra] exposes the shared instincts that drive us apart and bring us back together.
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Explore the depth of human impulse with the world premiere of award winning choreographer Rafael Bonachela’s ab [intra], meaning ‘from within’ in Latin. Sydney Dance Company will present an electrifying journey into the extremes of human nature. Discover what drives our relationships and ignites our ambitions in this visceral new piece showcasing Australia’s best contemporary dancers.
CHOREOGRAPHER RAFAEL BONACHELA COMPOSER NICK WALES LIGHTING DESIGNER DAMIEN COOPER SET & COSTUME DESIGNER DAVID FLEISCHER
30 AUGUST – 1 SEPTEMBER
CANBERRA THEATRE
PRE-SHOW IN CONVERSATION THUR 30 AUGUST 6.30PM
DANCE
DURATION 70 MINUTES NO INTERVAL
Photo: Georges Antoni
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A LOVE STORY THAT REACHES ACROSS CULTURES, ACROSS OCEANS, ACROSS TIME
OPERA AUSTRALIA
PUCCINI
What will become of her great hope? Puccini’s popular opera inspired the musical Miss Saigon and is filled with gorgeous music, from the lovers’ first rapturous embrace to the intense finale. It features the famous aria ‘One Fine Day’ and the Humming Chorus. One of Australia’s greatest theatrical minds, John Bell, directs this Englishlanguage production, complete with beautiful costumes and sets and wonderful singing.
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A man enchanted by the beauty of the East. A woman in love with the promise of the West. Separated by a vast ocean and many years, what will become of their love? U.S. Naval officer B.F. Pinkerton is ashore in Japan, and captivated with its beauty and freedoms. When the gorgeous geisha Butterfly arrives, he is transfixed. She falls hopelessly in love, and a passionate marriage begins. Years later, Pinkerton has left. Butterfly waits faithfully for him to return. Dawn breaks on a ship in the harbour.
CONDUCTOR WARWICK STENGARDS DIRECTOR JOHN BELL SET & COSTUME DESIGNER JENNIE TATE SET & COSTUMES REALISED BY JULIE LYNCH LIGHTING DESIGNER MATT SCOTT CHOREOGRAPHER SACHIKO TANGE PERFORMED IN ENGLISH
6–8 SEPTEMBER
CANBERRA THEATRE
DURATION 150 MINUTES INCLUDING INTERVAL
OPERA
…AN EBULLIENCE AND A WARMTH ABOUT IT THAT IS UTTERLY ENDEARING
Photo: Simon Pynt
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The Australian
A TASMANIA PERFORMS PRODUCTION
BY NATHAN MAYNARD
A JOYOUS YARN … TOLD WITH CHEEKY HUMOUR AND LOTS OF HEART Limelight
if it wasn’t for the fierce love that holds this bunch together. Nathan Maynard has crafted a deadly funny portrait of a singular corner of our world. Directed by Isaac Drandic and featuring a stellar cast including Tammy Anderson, Trevor Jamieson and Luke Carroll, this national tour of the original acclaimed production is a raucous and rowdy celebration of tradition and the bonds that unite us.
WRITER NATHAN MAYNARD DIRECTOR ISAAC DRANDIC DRAMATURG PETER MATHESON SET AND COSTUME DESIGNER RICHARD ROBERTS LIGHTING DESIGNER RACHEL BURKE SOUND DESIGNER BEN GRANT PRODUCER TASMANIA PERFORMS WITH TAMMY ANDERSON TREVOR JAMIESON LUKE CARROLL LISA MAZA KELTON PELL JAMES SLEE NAZAREE DICKERSON WARNING CONTAINS COURSE LANGUAGE & SEXUAL REFERENCES RECOMMENDED 15+
13−15 SEPTEMBER
THE PLAYHOUSE
DRAMA
PRE-SHOW IN CONVERSATION WITH TREVOR JAMIESON THUR 13 SEPTEMBER 6.45 PM POST MATINEE Q&A WITH CAST SAT 15 SEPTEMBER
DURATION 100 MINUTES NO INTERVAL
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Meet the Duncans, a mob as funny as they are unforgettable. Back home on Tassie’s Dog Island for birding season, and the threat of snakes and Pop’s explosive temper, the family reunites with a country and culture still very much alive. But their long memories and smart-arse streak mean it’s not just the birds sticking their beaks where they’re not welcome. Old secrets are dug from their burrows and fledgling rivalries begin to take flight - it might all fall apart
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CRY HAVOC AND LET SLIP THE DOGS OF WAR
Photo: Pierre Toussaint
Act 3, Scene 1
BELL SHAKESPEARE
BY WILLIAM SHAKESPEARE
DIRECTOR JAMES EVANS
Brutus is suspicious. Cassius is conspiring. Caesar’s days are numbered. Loved by the people, Caesar’s power is growing – which is dangerous in a world driven by ego and idealism. Those that rise too fast must be dealt with. For the good of the country. For the good of those who wish to be rulers themselves. Julius Caesar is Shakespeare’s political thriller, a masterpiece of intrigue and treachery. Stand witness to the assassination that leads
12-20 OCTOBER
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TREACHERY, INTRIGUE, AND A STRUGGLE FOR POWER to a life and death struggle for power in the Republic. Citizens mutiny, Mark Antony schemes, and the fate of Rome hangs in the balance. Bell Shakespeare’s Associate Director, James Evans, will direct a production that’s seething with rage, leaving audiences breathless at how quickly violence reveals the fragility of democracy. Experience the tension between aspiration and ambition, the triumphal entrances and brutal exits, as it is all laid on the line for Rome.
THE PLAYHOUSE
PRE-SHOW IN CONVERSATION WITH CAST SUN 14 OCTOBER 1PM
DIRECTOR JAMES EVANS WITH KENNETH RANSOM IVAN DONATO EMILY HAVEA LOUISA MIGNONE NICK SIMPSON-DEEKS RUSSELL SMITH
DRAMA DURATION 150 MINUTES INCLUDING INTERVAL
LOTS OF LAUGHS, EXCRUCIATING JOKES AND ACIDIC SATIRE… CLEVER… TOTALLY IDIOTIC AND HILARIOUS.
Photo: Rene Vaile
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Stage Noise
A SYDNEY THEATRE COMPANY PRODUCTION
WRITTEN AND CREATED BY JONATHAN BIGGINS AND DREW FORSYTHE
Those indefatigable kings of comedy, sorcerers of satire and masters of mockery, Jonathan Biggins and Drew Forsythe are back in the saddle and gearing up for another glorious year of political satire – the stage will be bigger and so will the laughs. We like to think of it as continuity with change.
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THE PUNCHLINES KEEP ROLLING IN So, politicians take cover, pundits stand back, and public servants melt away because there will be songs, there will be dance, and there will be some very funny impressions. Join us as we sort the wets from the dries, the leaks from the fakes, and the factions from the fictions in this bigger, better and wharfier Revue than Canberra could ever handle.
MUSICAL DIRECTOR ANDREW WORBOYS WITH JONATHAN BIGGINS, DREW FORSYTHE WARNING THIS SHOW MAY CONTAIN COURSE LANGUAGE FOG/HAZE AND STROBE EFFECTS SUITABLE FOR 15 +
23 OCTOBER–3 NOVEMBER
THE PLAYHOUSE
POST-SHOW Q&A WITH CAST THUR 25 OCTOBER
REVUE
DURATION 90 MINUTES NO INTERVAL
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WORKS WE’VE ASSEMBLED A TOP-NOTCH COLLECTION OF INDEPENDENT THEATRE PRODUCTIONS TO TEMPT YOU. SEE ALL THREE OR PICK ONLY ONE, JUST DON’T PASS UP THESE LITTLE BEAUTIES.
Edgy, imaginative, chilling and at times outrageous – these shows are written and choreographed by Australians, with an Antipodean take on life. Listen to the rhythm of the words, admire the skill, sit on the edge of your seat with dread: this is theatre that will make you gasp and laugh out loud. From some of Australia’s smallest and out-there theatre companies comes the blood, gore and craziness of Oedipus Schmoedipus 101 death scenes, the enquiring serenity of Quiet Faith as it explores politics and belief, and two blokes in an office dancing out their rivalries and dreams in Cockfight.
HOW COULD YOU MISS SUCH IMMERSIVE AND CREATIVE PERFORMANCES?
BRILLIANT… SHOCKINGLY FUNNY TO WATCH The Australian
DIRECTORS ZOË COOMBS MARR & MISH GRIGOR COMPOSER JAMES BROWN DESIGNER ROBERT COUSINS PRODUCER HARLEY STUMM FOR INTIMATE SPECTACLE PERFORMERS NATALIE RANDALL MISH GRIGOR AND 25 LOCAL VOLUNTEERS WARNING COARSE LANGUAGE FAKE GUNS FAKE BLOOD STROBES AGE 12+
Photo: Sarah Walker
INDIE
MARVELLOUS MEDLEY POKES FUN AT THE CLASSICS The Age
WRITTEN BY POST (ZOË COOMBS MARR, MISH GRIGOR & NATALIE ROSE) AFTER AESCHYLUS, ANON, BARRIE, BEHN, BOUCICAULT, BÜCHNER, CHEKHOV, EURIPIDES, GOGOL, GOLDSMITH, GORKY, HUGO, IBSEN, JONSON, MARLOWE, MAYAKOVSKY, MOLIÈRE, PIRANDELLO, PLAUTUS, RACINE, SENECA, SHAKESPEARE AND MORE
Oedipus Schmoedipus takes dozens of the great theatre classics, picks out the death scenes, mixes them together and hands them back to the people in one bloody mess. Created by Australia’s silliest and smartest performance makers, this is clever theatre with an outrageous sense of humour. The ladies of theatre company post have pirated the classics in order to confront the great unknown, with the help of 25 brave souls joining them on stage – a new volunteer cast rehearsed fresh for each performance. It’s joyful and dark, stupid and smart, hilarious and confronting – there’s nothing quite like it. In spite of the mayhem, Oedipus Schmoedipus asks some serious questions, about the Western canon, theatre, and who watches it anyway. Post’s deep irreverence for the institution of theatre has amused, bemused and probably annoyed audiences for years. Stay tuned to hear how you can be a part of it!
14 MARCH
THE PLAYHOUSE
COMEDY
DURATION 70 MINUTES NO INTERVAL
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ORIGINALLY PRODUCED BY BELVOIR & POST
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The Barefoot Review
ALTERNATIVE FACTS
WRITER/ DIRECTOR DAVID WILLIAMS
BY DAVID WILLIAMS
Contemporary Christianity is far more complex than Fred Nile and Tony Abbott would like us to think. The place of Christian faith in Australian politics is often linked to conservatism and intolerance. In a gentle exploration of faith, the words of everyday Christians are woven into this verbatim theatre work, their views taken from hours of interviews. Quiet Faith asks the audience to listen, to occasionally sing and pray. Above all it asks them to look at the face of Christianity today, and to wonder why new faith-based social movements such as Love Makes A Way, who actively campaign against government policies, go unreported. From award-winning documentary theatre maker David Williams (Smurf in Wanderland, Grace Under Pressure, The Table of Knowledge), comes a surprising journey into the world of the quietly, progressively faithful. Quiet Faith offers a beautiful, immersive and heartfelt portrait of the different ways that faith can underpin civic life. 15−18 MAY
THE COURTYARD STUDIO
DURATION 70 MINUTES NO INTERVAL
VERBATIM
DESIGNER JONATHON OXLADE SOUND DESIGNER BOB SCOTT LIGHTING DESIGNER CHRIS PETRIDIS OUTSIDE EYE ROZ HERVEY ORIGINAL PERFORMER AND COLLABORATOR ASHTON MALCOLM PRODUCER SUZIE FRANKE CAST INCLUDES DAVID WILLIAMS
Photo: Heidrun Lohr. Original cast: Ashton Malcolm
YOU WILL NOT LEAVE THE SAME AS YOU ENTERED
THE FARM IN ASSOCIATION WITH NORPA AND PERFORMING LINES
DIRECTORS FOR THE FARM — KATE HARMAN JULIAN LOUIS JOSHUA THOMSON GAVIN WEBBER PERFORMERS JOSHUA THOMSON GAVIN WEBBER
Two men in an office: a young cockerel desperate to prove himself, and an old rooster trying to hold on to what he has got. A cross between The Office and a cage fight, Cockfight is a game of comical one-upmanship that exposes generational truths. With a flash of bared teeth, and territorial disputes, Cockfight explores and questions the power play between men, the frailty of the ageing body and our culture’s desperate struggle for achievement. A full-throttle mashup of extreme physical risk-taking, graceful movement and slow-mo fight sequences, this is a darkly humorous and surprisingly tender piece of dance theatre. In newly formed Gold Coast/Berlin company The Farm’s Cockfight, we see long-time collaborators Joshua Thomson and Gavin Webber reassess who is in charge. THE PLAYHOUSE
DANCE
DURATION 70 MINUTES NO INTERVAL
… SIDESPLITTINGLY HILARIOUS AND BEAUTIFULLY ATHLETIC AND GRACEFUL
Photo Darcy Grant
ABC Arts
LIGHTING REALISER CHLOE OGILVIE SOUND DESIGN LUKE SMILES SET DESIGN JOSHUA THOMSON PRODUCERS THE FARM IN ASSOCIATION WITH NORPA AND PERFORMING LINES WARNING STROBE HAZE COARSE LANGUAGE RECOMMENDED FOR AGES 15+
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26 SEPTEMBER
LIGHTING DESIGN MARK HOWETT
2 018 SEASON DIARY MASTERCLASS
THURSDAY 22 FEBRUARY – SATURDAY 24 FEBRUARY VENUE THE PLAYHOUSE GALA OPENING THURSDAY 22 FEBRUARY
TIMES THURSDAY – FRIDAY 8PM, SATURDAY 2PM & 8PM TACTILE TOUR SATURDAY 24 FEBRUARY 1PM
AUDIO DESCRIBED SATURDAY 24 FEBRUARY 2PM CAPTIONED SATURDAY 24 FEBRUARY 2PM
A PACIFIST’S GUIDE TO THE WAR ON CANCER CW18 48
WEDNESDAY 28 FEBRUARY – SATURDAY 3 MARCH VENUE THE PLAYHOUSE PREVIEW WEDNESDAY 28 FEBRUARY GALA OPENING THURSDAY 1 MARCH
TIMES WEDNESDAY – FRIDAY 8PM, SATURDAY 2PM & 8PM POST MATINEE Q&A SATURDAY 3 MARCH
TACTILE TOUR SATURDAY 3 MARCH 1PM AUDIO DESCRIBED SATURDAY 3 MARCH 2PM CAPTIONED SATURDAY 3 MARCH 2PM
OEDIPUS SCHMOEDIPUS WEDNESDAY 14 MARCH VENUE THE PLAYHOUSE
TIME WEDNESDAY 8PM
POST SHOW MINGLE WEDNESDAY 14 MARCH
BLACK IS THE NEW WHITE WEDNESDAY 28 MARCH – SATURDAY 31 MARCH VENUE THE PLAYHOUSE POST SHOW MINGLE WEDNESDAY 28 MARCH POST SHOW Q&A THURSDAY 29 MARCH
TIMES WEDNESDAY – THURSDAY 8PM, SATURDAY 2PM & 8PM (NO SHOW GOOD FRIDAY) TACTILE TOUR SATURDAY 31 MARCH 12.30PM
AUDIO DESCRIBED SATURDAY 31 MARCH 2PM CAPTIONED SATURDAY 31 MARCH 2PM
ANTONY AND CLEOPATRA THURSDAY 12 APRIL – SATURDAY 21 APRIL VENUE THE PLAYHOUSE PREVIEW THURSDAY 12 APRIL
TIMES TUESDAY – WEDNESDAY 6:30PM, THURSDAY – FRIDAY 7:30PM, SATURDAY 2PM & 7:30PM, SUNDAY 4PM
TACTILE TOUR SATURDAY 21 APRIL 1PM
PRE-SHOW IN CONVERSATION TUESDAY 10 APRIL 6PM
CAPTIONED SATURDAY 21 APRIL 2PM
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
AUDIO DESCRIBED SATURDAY 21 APRIL 2PM
Bell Shakespeare is supported by the NSW Government through Create NSW.
THE ASPIRATIONS OF DAISE MORROW TUESDAY 1 MAY – SATURDAY 5 MAY PRE-SHOW IN CONVERSATION TUESDAY 1 MAY 7PM
AUDIO DESCRIBED SATURDAY 5 MAY 2PM
POST SHOW MINGLE TUESDAY 1 MAY
POST SHOW Q&A THURSDAY 3 MAY
CAPTIONED SATURDAY 5 MAY 2PM
TIMES TUESDAY – FRIDAY 8PM, SATURDAY 2PM & 8PM
TACTILE TOUR SATURDAY 5 MAY 1PM
THE BLEEDING TREE TUESDAY 8 MAY – SATURDAY 12 MAY VENUE THE PLAYHOUSE PREVIEW TUESDAY 8 MAY GALA OPENING WEDNESDAY 9 MAY
TIMES TUESDAY – FRIDAY 8PM, SATURDAY 2PM & 8PM PRE-SHOW IN CONVERSATION WEDNESDAY 9 MAY 7PM POST SHOW Q&A THURSDAY 10 MAY
TACTILE TOUR SATURDAY 12 MAY 1PM AUDIO DESCRIBED SATURDAY 12 MAY 2PM CAPTIONED SATURDAY 12 MAY 2PM
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VENUE THE PLAYHOUSE – ON STAGE
ALTERNATIVE FACTS
QUIET FAITH
TUESDAY 15 MAY – FRIDAY 18 MAY VENUE THE COURTYARD STUDIO
POST SHOW MINGLE TUESDAY 15 MAY
TIMES TUESDAY – FRIDAY 7PM
SENSE AND SENSIBILITY TUESDAY 29 MAY – SATURDAY 2 JUNE VENUE THE PLAYHOUSE
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PREVIEW TUESDAY 29 MAY GALA OPENING WEDNESDAY 30 MAY
TIMES TUESDAY – FRIDAY 8PM, SATURDAY 2PM & 8PM POST SHOW Q&A THURSDAY 31 MAY
TACTILE TOUR SATURDAY 2 JUNE 1PM AUDIO DESCRIBED SATURDAY 2 JUNE 2PM CAPTIONED SATURDAY 2 JUNE 2PM
THE BEGINNING OF NATURE THURSDAY 14 JUNE – FRIDAY 15 JUNE VENUE CANBERRA THEATRE
TIMES THURSDAY – FRIDAY 7:30PM
GALA OPENING THURSDAY 14 JUNE
PRE-SHOW IN CONVERSATION THURSDAY 14 JUNE 6.30PM
SWITZERLAND TUESDAY 3 JULY – SATURDAY 14 JULY VENUE THE COURTYARD STUDIO
POST SHOW MINGLE WEDNESDAY 4 JULY
PREVIEW TUESDAY 3 JULY
TIMES TUESDAY – FRIDAY 7.30PM, SATURDAY 2.00PM & 7.30PM
POST SHOW Q&A THURSDAY 5 JULY
DARK EMU THURSDAY 26 JULY – SATURDAY 28 JULY VENUE CANBERRA THEATRE GALA OPENING THURSDAY 26 JULY
TIMES THURSDAY – FRIDAY 7.30PM, SATURDAY 1.30PM & 7.30PM
PRE-SHOW IN CONVERSATION THURSDAY 26 JULY 6.30PM
CALAMITY JANE WEDNESDAY 15 AUGUST – SUNDAY 19 AUGUST POST MATINEE Q&A SATURDAY 18 AUGUST
TACTILE TOUR SATURDAY 18 AUGUST 12.30PM
PREVIEW WEDNESDAY 15 AUGUST
TIMES WEDNESDAY 7.00PM, THURSDAY – FRIDAY 8PM, SATURDAY 2PM & 8PM, SUNDAY 1PM & 7PM
AUDIO DESCRIBED SATURDAY 18 AUGUST 2PM
GALA OPENING THURSDAY 16 AUGUST PRE-SHOW IN CONVERSATION THURSDAY 16 AUGUST 7PM
AB [INTRA] THURSDAY 30 AUGUST – SATURDAY 1 SEPTEMBER VENUE CANBERRA THEATRE
TIMES THURSDAY – SATURDAY 7.30PM
GALA OPENING THURSDAY 30 AUGUST
PRE-SHOW IN CONVERSATION THURSDAY 30 AUGUST 6.30PM
MADAME BUTTERFLY THURSDAY 6 SEPTEMBER – SATURDAY 8 SEPTEMBER VENUE CANBERRA THEATRE
TIMES THURSDAY – FRIDAY 7:30PM, SATURDAY 1PM & 7:30PM
CAPTIONED SATURDAY 18 AUGUST 2PM
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VENUE THE PLAYHOUSE
THE SEASON THURSDAY 13 SEPTEMBER – SATURDAY 15 SEPTEMBER VENUE THE PLAYHOUSE
POST MATINEE Q&A SATURDAY 15 SEPTEMBER
AUDIO DESCRIBED SATURDAY 15 SEPTEMBER 2PM
GALA OPENING THURSDAY 13 SEPTEMBER
TACTILE TOUR SATURDAY 15 SEPTEMBER 1PM
CAPTIONED SATURDAY 15 SEPTEMBER 2PM
POST SHOW MINGLE WEDNESDAY 26 SEPTEMBER
TIME WEDNESDAY 8PM
TIMES THURSDAY – FRIDAY 8PM, SATURDAY 2PM & 8PM PRE-SHOW IN CONVERSATION THURSDAY 13 SEPT 6:45PM
COCKFIGHT CW18 52
WEDNESDAY 26 SEPTEMBER VENUE THE PLAYHOUSE
JULIUS CAESAR THURSDAY 12 OCTOBER – SATURDAY 20 OCTOBER VENUE THE PLAYHOUSE
PRE-SHOW IN CONVERSATION SUNDAY 14 OCTOBER 1PM
AUDIO DESCRIBED SATURDAY 20 OCTOBER 2PM
TIMES TUESDAY – WEDNESDAY 6:30PM, THURSDAY – FRIDAY 7:30PM, SATURDAY 2PM & 7:30PM, SUNDAY 4PM
TACTILE TOUR SATURDAY 20 OCTOBER 1PM
CAPTIONED SATURDAY 20 OCTOBER 2PM
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Bell Shakespeare is supported by the NSW Government through Create NSW.
THE WHARF REVUE 2018 TUESDAY 23 OCTOBER – SATURDAY 3 NOVEMBER VENUE THE PLAYHOUSE
POST SHOW Q&A THURSDAY 25 OCTOBER
GALA OPENING TUESDAY 23 OCTOBER
TACTILE TOUR CAPTIONED SATURDAY 3 NOVEMBER 12.30PM SATURDAY 3 NOVEMBER 2PM
TIMES TUESDAY – FRIDAY 8PM, SATURDAY 2PM & 8PM
AUDIO DESCRIBED SATURDAY 3 NOVEMBER 2PM
PRE-THEATRE DINING Canberra’s CBD is alive with a wide selection of dining options, ranging from fast bites to multi-course experiences. Here are a few option for you to try next time you’re coming to a show. CASUAL Bar Rochford 65 London Circuit 6230 6222 Modern Australian Akiba 40 Bunda Street 6162 0602 Pan-Asian
Guild 150 London Circuit 6257 2727 Pizza + Games The City Labor Club 16 Petrie Plaza 6230 0404 Classic counter meals Kinn Thai 125 Bunda Street 6247 1277 Stir-fries and curries Asian Noodle House 49 Northbourne Avenue 6247 5145 Southeast Asian Two Sisters 111 London Circuit 6262 7594 Lao Thai Cuisine CBD Dumpling House 148 Bunda Street 6262 8855 Chinese
Jamie’s Italian 125 Bunda Street 6268 0400 Italian Iori Japanese Restaurant 41 East Row 6257 2334 Japanese, Sushi Temporada 15 Moore Street 6249 6683 Inventive Tapas Banana Leaf Restaurant 2/240-250 City Walk 6193 9335 Casual Sri Lankan Tasuke 122 Alinga Street 6257 9711 Japanese Waldorf On London 2 Akuna Street 6262 9623 Modern Australian Italian & Sons 7 Lonsdale Street 6162 4888 Italian Mr Wei’s 170 London Circuit 6230 0857 Chinese
Blu Ginger 5 Genge Street 6247 2228 Pan-Indian FORMAL Courgette Restaurant 54 Marcus Clarke Street 6247 4042 Modern European dining Mezzalira Ristorante 55 London Circuit 6230 0025 Italian DESSERTS Frugii 28-30 Lonsdale St 6248 5748 Ice-creams Via Dolce 106 Bunda St 6248 8660 Italian Desserts Koko Black Bunda St 6230 4040 Handmade Chocolates Pâtissez 40 Marcus Clarke St 6156 3783 Freak Shakes Oliver Brown 63/71 Garema Pl 6181 4494 Chocolate
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Kokomo’s 1 Genge Street 6171 2092 Trans Pacific
Bistro Nguyen’s 78-80 Alinga Street 6262 6888 Vietnamese
TICKET & BOOKING INFORMATION
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Purchasing Season Tickets to Canberra Theatre Centre 2018 Collected Works is the best way to enjoy a full and varied year of performing arts. You’ll guarantee yourself the best seats available and you’ll be getting the best value for your money. BOOK ONLINE OR WITH A PAPER FORM Online: The quickest and easiest way to book your Season Ticket package is online. You can add the shows to your Season Ticket Package and select your own seats. At the end you will be asked to add the details for all other Ticket Holders in your Season Ticket package. The method of choice for a large percentage of our Season Ticket holders, our online booking form is secure, convenient and confirmed on the spot. Note that if you selected a concession price you will need to email proof of it to canberra.ticketing@act.gov.au or provide a copy in person at the Box Office before tickets are mailed out. If you have access or special assistance needs, please post or hand in your booking form to us instead of using our online form. Paper Form: Use the form included in the brochure, or download a form from our website and post it to our Box Office. If you prefer to hand it to us personally, you’re welcome to stop by our Box Office during business hours. CONTACT DETAILS Please include your email address and mobile number and those of any other subscribers in your booking. Show updates such as forums and bar opening times, new show announcements and special offers may be sent via email or free SMS. PROOF OF CONCESSION Please provide photocopied proof with your booking form. A photocopied driver’s licence is preferable for Under 27. Your form cannot be processed or finalised until the Box Office receives the copies of your concessions. Canberra Ticketing staff will happily photocopy your concession for you if you deliver your form in person at the Box Office.
SPECIAL ASSISTANCE If you would like to access wheelchair seating, our audio description or captioning services, don’t forget to indicate the type of assistance you require on the booking form. NEED HELP WITH YOUR BOOKING FORM? Canberra Ticketing staff will be happy to help you book your Season Ticket package. For general booking enquiries or assistance with completing your form, contact Canberra Ticketing on 02 6275 2777 or email canberra.ticketing@act.gov.au or visit the Box Office in person. Canberra Ticketing will be open for extended hours, between 9am and 8pm, Monday to Friday until Friday 3 November 2017. YOUR SEASON 2018 PREFERENCES Please indicate, where requested, whether seating preference or preferred date is your priority. DATE Please choose your preferred date and time for each performance along with an alternative date and time. ADDITIONAL TICKETS FOR FRIENDS For selected productions you may purchase additional tickets for friends at the Season Ticket holder price. Additional tickets are limited to two per Season Ticket holder and are available only at the time of purchasing your Season Ticket package. Make sure these are selected as Additional Tickets. For Bell Shakespeare and Opera Australia productions you may also purchase additional tickets at single ticket prices. WHEELCHAIR SEATS Wheelchair spaces are available in the Canberra Theatre and The Playhouse and are located in the stalls.
SEATING For the best seats in the house, buy in the Premium area as shown on the seating maps. You may have a combination of Premium seats with an A-Reserve package. Please note that Premium seats are very popular and may sell-out, so buy early to avoid disappointment. For some productions, the orchestra pit seats will be held off sale. The Playhouse: Seating is available on three levels: stalls, first and second balcony (please note: there is no lift access to the second balcony). The balcony sides are held off sale until production sightlines have been established. For Calamity Jane Premium seats are available as on stage general unreserved seating or stalls reserved seating. Please make your selection on your form. For The Aspirations of Daise Morrow, the seating is general unreserved. Canberra Theatre: Seating is one raked tier.
SEASON TICKETS FOR GROUPS If you are purchasing a Season Ticket with others please ensure that all booking forms are returned in the same envelope at the same time, otherwise you will not be seated together. Please include the contact details of all additional patrons. For large groups, please submit forms early. TICKET EXCHANGES You can exchange your tickets free of charge for any other performance of the same production. Conditions apply and are subject to availability. In order to exchange, original tickets must be returned in person to Canberra Ticketing at least 24 hours before the earliest of the performance. DRINK VOUCHERS Spend more time socialising during interval without having to wait in long queues at the bar by pre-purchasing drink vouchers. Please indicate on the booking form if you wish to pre-purchase drinks. To pre-order your interval drinks on the night, simply present your drink vouchers to the bar staff prior to the show. Lost drink vouchers are unable to be replaced.
SPLIT THE BILL Would you like to pay for your Season Ticket package in two easy payments? We can charge your credit card half of the total price now, and the remainder in 1 April 2018. A transaction fee of $10 will apply. This option is not available for packages booked via our online booking form. You will be sent an email reminder in March to ensure your payment details are still correct. CHILDREN UNDER 16 (U16) & BELL UNDER 18 (BELL U18) For shows where no specific child price is listed, the Under 27 (U27) price applies. Bell Shakespeare offers U18 prices for all performances. Opera Australia offers U16 price for the Saturday matinee. Please note that while some shows in Collected Works 2018 may be suitable for children, parental discretion is advised. CONCESSION & SENIOR PRICES Selected shows offer concession prices. Concession prices are available for pensioners, health care card holders (except Masterclass) and full-time students. Bell Shakespeare offer a special price for Government issued seniors card. SINGLE TICKETS Prices listed for single tickets are the advertised ticket price for non-Season Ticket holders. UNDER 27 (U27) & BELL YOUTH UNDER 30 (BELL U30) Under 27 prices apply to selected shows. Bell Shakespeare offer Under 30 prices to patrons aged 30 years through their Youth Under 30 initiative (limited availability for performances on Tuesdays, Wednesdays and Sundays). All prices, dates, session times and other information contained within this brochure were correct at the time of printing and may be subject to change.
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RESERVES Seating plans showing seating reserves can be found online at canberratheatrecentre.com.au.
OPENING NIGHTS Patrons attending Gala Opening nights will receive a voucher entitling them entry to the après-show functions. All vouchers will be sent with your show tickets. Where there is a Post Show Mingle, the bar will remain open after the event and there will be an opportunity to meet with the cast and crew.
ACCESS INFORMATION Canberra Theatre Centre caters for a wide range of access and specialty seating to ensure that its venues and shows are accessible to all. If you have access or special assistance needs, please post or hand in your booking form to us instead of using our online form. We will select tickets to suit your needs, as these seats are unable to be booked online. Please specify your requirements at the time of booking by ticking the appropriate space on your Season Ticket booking form. You will then be issued with a ticket for the service you have reserved as part of your Season Ticket package. All devices can be collected from Canberra Theatre Centre Cloak Room. Please see the show pages or the diary pages for the dates of dedicated access performances. WHEELCHAIR ACCESS AND MOBILITY ASSISTANCE Wheelchair spaces are available in all theatres and we can provide assistance with other mobility issues.
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CTC will honour Companion Cards. You will be required to present a copy of your Companion Card to the Box Office to finalise your booking. FM RADIO-ASSISTED HEARING SYSTEM An FM radio-assisted hearing system is available for all performances in the Canberra Theatre Centre and The Playhouse. FOYER LOOP A hearing loop for foyer announcements, forums and speeches operates throughout the Link Foyer and foyer spaces of the Canberra Theatre Centre. The system is accessible via hearing aids with telephone setting. LIVE CAPTIONS Selected performances in Collected Works 2018 will be live captioned onto screens on stage. TACTILE TOUR Selected performances in Collected Works 2018 may offer a pre-show guided tactile tour of the set and costumes for patrons with low or no vision. AUDIO DESCRIPTION Selected performances in Collected Works 2018 will be audio described by trained volunteers from our access partner, Vision Australia.
We are proud to announce that Paralympic Gold Medalist, Lindy Hou is now the Canberra Theatre Centre Access Services Ambassador.
“I enjoy coming to the theatre. Thanks to the wonderful group of Describers, I can now follow what is happening in the show like everyone else. I always believe that there are many ways to overcome challenges. With the help of Audio Description, being blind means that I can enjoy the Theatre World with my ears and imagination.� Lindy Hou
CONSTITUTION PLACE
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A VIBRANT URBAN HUB
STARTING later this year, you will see some exciting new changes taking shape around the Canberra Theatre Centre with the building of Constitution Place. The development will include a number of cafes, restaurants and retail outlets in addition to a threelevel basement carpark. The site will accommodate offices for the ACT Government, a beautiful new Adina Apartment Hotel Grand and numerous restaurants and retail. We are particularly excited that the new precinct will lend real vibrancy and colour to the cityscape with an activated food and beverage laneway connecting Constitution Avenue with Canberra Theatre Centre. Importantly, the precinct will include a new public car park that will almost double the amount of car parks with 250 public spaces. In the future, the new carpark will allow Canberra Theatre Centre to offer patrons pre-paid, guaranteed parking.
Construction will begin in late 2017 with expected completion in 2020. How will this affect you? Perhaps the biggest impact the building site will have upon Canberra Theatre Centre patrons is the loss of our south side carpark. Having said that, much thought and consideration has been put in place to support car parking in the city during the project’s construction. A temporary car park will be created on the grassed area near The Playhouse to provide 80 spaces, the reconfigured car park opposite the Sydney Building will yield an extra 51 spaces, providing in total 131 spaces, or over half the number of spaces removed during construction. Mobility parking lost during construction will be replaced park-for-park, approximately eight mobility spaces will be affected.
TICKET PRICES SEASON TICKETS PREMIUM CHILD U16 (BELL U18)
VENUE
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SEASON SHOWS FULL
CONCESSION
U27 (BELL U30*)
PH
$69.00
$59.00
$49.00
$59.00
1 - 3 MARCH
PH
$69.00
$59.00
$49.00
$59.00
OEDIPUS SCHMOEDIPUS
14 MARCH
PH
$45.00
$40.00
$35.00
$40.00
BLACK IS THE NEW WHITE
28 - 31 MARCH
PH
$75.00
$65.00
$55.00
$65.00
ANTONY & CLEOPATRA
13 - 21 APRIL
PH
$81.50
$69.50
$44.50
THE ASPIRATIONS OF DAISE MORROW
1 - 5 MAY
PH
$69.00
$59.00
$49.00
THE BLEEDING TREE
9 - 12 MAY
PH
$69.00
$59.00
$49.00
QUIET FAITH
15 - 18 MAY
CYS
$40.00
$35.00
$30.00
SENSE AND SENSIBILITY
30 MAY - 2 JUNE
PH
$75.00
$65.00
$55.00
$65.00
THE BEGINNING OF NATURE
14 - 15 JUNE
CT
$59.00
$49.00
$40.00
$49.00
SWITZERLAND
4 - 14 JULY
CYS
$40.00
$35.00
$30.00
DARK EMU
26 - 28 JULY
CT
$59.00
$49.00
$40.00
$49.00
CALAMITY JANE
16 -19 AUGUST
PH
$69.00
$59.00
$49.00
$59.00
AB [INTRA]
30 AUGUST - 1 SEPTEMBER
CT
$59.00
$49.00
$40.00
$49.00
THUR, FRI 7:30PM
CT
$109.90
$99.90
SAT 1PM
CT
$109.90
$79.90
SAT 7:30PM
CT
$109.90
$99.90
THE SEASON
13 - 15 SEPTEMBER
PH
$59.00
$49.00
$39.00
$49.00
COCKFIGHT
26 SEPTEMBER
PH
$45.00
$40.00
$35.00
$40.00
JULIUS CAESAR
12 - 20 OCTOBER
PH
$81.50
$69.50
$44.50
THE WHARF REVUE
23 OCTOBER - 3 NOVEMBER
PH
$59.00
$50.00
$45.00
SHOW
DATE ( Preview dates not listed)
MASTERCLASS
22 - 24 FEBRUARY
A PACIFIST'S GUIDE TO THE WAR ON CANCER
MADAME BUTTERFLY 6 - 8 SEPTEMBER
A $4.95 transaction fee is applicable to all bookings
Legend CT – Canberra Theatre
$44.50
FULL
$67.50
$59.00
$44.50
PH – The Playhouse CYS – Courtyard Studio
$67.50 $49.00
SINGLE TICKETS A-RESERVE
PREMIUM
CONCESSION
U27 (BELL U30*)
$59.00
$69.00
$59.00
$49.00
$69.00
$59.00
$69.00
$59.00
$49.00
$55.00
$50.00
$45.00
$45.00
$40.00
$35.00
$85.00
$75.00
$65.00
$75.00
$65.00
$55.00
$95.50
$81.50
$47.50
$78.50
$67.50
$42.50
$79.00
$69.00
$59.00
$79.00
$69.00
$59.00
$69.00
$59.00
$49.00
$45.00
$40.00
$35.00
CONCESSION
U27 (BELL U30*)
$39.00
$79.00
$69.00
$49.00
$39.00
$79.00
$35.00
$30.00
$55.00
$45.00
$57.50
$40.50
U27 (BELL U30*)
$49.00
$49.00
CHILD U16 (BELL U18)
$40.50
$39.00
CHILD U16 (BELL U18)
$47.50
$55.00
$45.00
$85.00
$75.00
$65.00
$75.00
$65.00
$55.00
$39.00
$30.00
$69.00
$59.00
$50.00
$59.00
$49.00
$40.00
$45.00
$40.00
$35.00
$39.00
$30.00
$69.00
$59.00
$50.00
$59.00
$49.00
$40.00
$49.00
$39.00
$79.00
$69.00
$59.00
$69.00
$59.00
$49.00
$39.00
$30.00
$69.00
$59.00
$50.00
$59.00
$49.00
$40.00
CHILD U16 (BELL U18)
$42.50
$79.90
$79.90
$119.90
$109.90
$89.90
$89.90
$69.90
$59.90
$119.90
$89.90
$79.90
$69.90
$119.90
$109.90
$39.00
$30.00
$69.00
$59.00
$49.00
$59.00
$49.00
$39.00
$35.00
$30.00
$55.00
$50.00
$45.00
$45.00
$40.00
$35.00
$57.50
$40.50
$95.50
$81.50
$47.50
$78.50
$67.50
$42.50
$40.00
$35.00
$69.00
$60.00
$55.00
$59.00
$50.00
$45.00
$40.50
$47.50
* Bell Shakespeare youth under 30 price applies to patrons 30 years and under on Tuesday, Wednesday and Sunday performances only(Limited availability)
$42.50
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FULL
FULL
CONCESSION
A-RESERVE
ACKNOWLEDGEMENTS CANBERRA THEATRE CENTRE Part of the Cultural Facilities Corporation, which is an agency of the ACT Government. ADDRESS PO Box 226 Civic Square Canberra ACT 2608
PHONE 02 6275 2777 FAX 02 6230 1098
admin@canberratheatrecentre.com.au canberratheatrecentre.com.au
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PROGRAMMING AND OPERATIONS DIRECTOR Bruce Carmichael PROGRAM MANAGER Gill Hugonnet SENIOR PRODUCER Carole Arulantu FAMILY AND EDUCATION PROGRAMMER Annabel Scholes MUSIC AND COMEDY PROGRAMMER Jem Natividad FINANCE MANAGER Mike Domigan HOUSE MANAGER Michael Ranieri PA TO THE DIRECTOR Elysia Fisher FINANCE AND DATA COORDINATOR Wendy Batchelor VENUE HIRE ADMINISTRATION ASSISTANT Krystle Lollback BUILDING SERVICES MANAGER Neil McRitchie TECHNICAL DIRECTOR Rohan Cutler HEAD MECHANIST Loki Clarke HEAD ELECTRICIAN Andrew Tweedie HEAD AUDIO TECHNICIAN James Tighe MARKETING MARKETING MANAGER Suzanne Hannema ASSISTANT MARKETING MANAGER/DIGITAL Caitlin Kerr ASSISTANT MARKETING MANAGER/MEDIA BUYER Joseph Gleeson ASSISTANT MARKETING MANAGER/PUBLICIST Gabrielle Affleck ASSISTANT MARKETING MANAGER/SOCIAL MEDIA David McCarthy CAMPAIGN MANAGER/SPECIAL PROJECTS Kim Gorman MARKETING COORDINATOR/SOCIAL MEDIA Dominic Northcott EDUCATION
BOARD MEMBERS
EDUCATION OFFICER Karla Conway EDUCATION OFFICER Peter Van Rijswijk
Ms Louise Douglas (Deputy Chair), Ms Harriet Elvin (CEO), Ms Robyn Hendry, Mr Eugene Kalenjuk, Ms Virginia Haussegger AM and Mr Raoul Craemer.
CANBERRA TICKETING MANAGER Fran Tapia BOX OFFICE COORDINATOR Stephen Olah Phone 02 6275 2777 02 6230 1098 Fax EMAIL canberraticketing@act.gov.au
DESIGN Some Cowboy + Giraffe
CULTURAL FACILITIES CORPORATION
PROGRAM COMPILATION
BOARD CHAIR Mr John Hindmarsh AM CHIEF EXECUTIVE OFFICER Ms Harriet Elvin CHIEF FINANCE OFFICER Mr Ian Tidy
Blake & Chalkley
COLLECTED WORKS 2018 CANBERRA THEATRE CENTRE WOULD LIKE TO ACKNOWLEDGE THE SUPPORT OF THE FOLLOWING SPONSORS AND PARTNERS
Canberra Theatre Centre is administered by the Cultural Facilities Corporation, which is an agency of the ACT Government and receives funding through the ACT Minister for the Arts. COMMUNITY SPONSOR The Canberra Labor Club has supported CTC for the last thirteen years. We thank them for their continuing support and assistance with the Centre’s community programming. ACCOMMODATION PARTNER We thank our accommodation partner, Mantra Group, for their support. MEDIA PARTNERS We thank our media partners Channel Nine Canberra and ABC Radio Canberra for their support. ACCESS PARTNER Vision Australia is a leading provider of blindness and low vision services. We thank them and their team of volunteers for their support of our access program.
CANBERRA THEATRE CENTRE. COM.AU