ANNUAL GENERAL REPORT 2011
STAFF: ƌƟƐƟĐ ŝƌĞĐƚŽƌ >ŝnj :ŽŶĞƐ ŽŵƉĂŶLJ DĂŶĂŐĞƌ WŝƉƉĂ ĂŝŶďƌŝĚŐĞ WƵďůŝĐŝƐƚͬ ĚƵĐĂƟŽŶ ŽŽƌĚŝŶĂƚŽƌ DĂƵƌĞĞŶ ,ĂƌƚůĞLJ DĂƌŬĞƟŶŐ ŽŽƌĚŝŶĂƚŽƌ >ŽƵŝƐĞ :ŽŶĞƐ ŽŵŵƵŶŝĐĂƟŽŶƐ ŽŽƌĚŝŶĂƚŽƌ EĞĚĚ :ŽŶĞƐ ,ŽƵƐĞ DĂŶĂŐĞƌƐ >ŝƐĂ ,ƂďĂƌƚŶĞƌ Θ ZĞďĞĐĐĂ ƚĐŚĞůů ŽŵŵƵŶŝƚLJ KƵƚƌĞĂĐŚ DĂƌLJ ,ĞůĞŶ ^ĂƐƐŵĂŶ Θ ĂŝƚůŝŶ ƵůůĂƌĚ WƌĞƐĞƌǀĂƟŽŶ ŽŽƌĚŝŶĂƚŽƌ &ŝŽŶĂ tŝƐĞŵĂŶ ^ĐƌŝƉƚ ƐƐĞƐƐŽƌ 'ƌĂŚĂŵ ŽǁŶĞLJ &ZKEd K& ,Kh^ ͗ dŚĞ ƌĞŐƵůĂƌ ƐƚĂī ĂŶĚ :ŽͲ ŶŶĞ ƌŵƐƚƌŽŶŐ͕ WŚŽĞŶŝdž ĂĚĞ͕ ^ƵƐĂŶ ĂŵĨŽƌĚͲ ĂůĞŽ͕ ůŝĐŝĂ ĞŶŶͲ>ĂǁůĞƌ͕ ůĞdž ĞƐĞďƌŽĐŬ͕ EŝĐŽůĂ 'ƵŶŶ͕ dĂŶLJĂ ,ĂƌƌŽǁĞůů͕ >ĂƵƌĂ ,ĞŐLJĞƐŝ͕ DĂƌŝ >ŽƵƌĞLJ͕ DĞƌƌŝůĞĞ DŽƐƐ͕ WŚŝů ZŽďĞƌƚƐ͕ >ĂƵƌĞŶĐĞ ^ƚƌĂŶŐŝŽ͕ ZĂLJŵŽŶĚ dƌŝŐŐƐ͕ ^ŽƉŚŝĞ tĂůƐŚͲ,ĂƌƌŝŶŐƚŽŶ͕ ŶŶĂďĞů tĂƌŵŝŶŐƚŽŶ ĂŶĚ ĂŶĂĚĂ tŚŝƚĞ͘ KDD/dd K& D E ' D Ed͗ ĂƚŚĞƌŝŶĞ ,ŝůů͕ >ŝnj :ŽŶĞƐ͕ ƵƌĠ ĂƌĂ͕ DĂƌŬ ZƵďďŽ͕ dŝŵ ^Ɵƚnj͕ ĂƌŽůŝŶĞ >ĞĞ͕ ZŚŽŶĚĂ ĂLJ ĂŶĚ ŵŝůLJ ,ĂƌŵƐ͘ >Ă DĂŵĂ͛Ɛ ŽŵŵŝƩĞĞ ŽĨ DĂŶĂŐĞŵĞŶƚ͕ ƐƚĂī ĂŶĚ ŝƚƐ ǁŝĚĞƌ ƚŚĞĂƚƌŝĐĂů ĐŽŵŵƵŶŝƚLJ ƐŝŶĐĞƌĞůLJ ĂƉƉƌĞĐŝĂƚĞ ƚŚĞ ŵĂŶLJ ǀŽůƵŶƚĞĞƌƐ ǁŚŽ ŐĞŶĞƌŽƵƐůLJ ŐŝǀĞ ƚŚĞŝƌ ƟŵĞ ŝŶ ƐƵƉƉŽƌƚ ŽĨ >Ă DĂŵĂ͘ tĞ ĂĐŬŶŽǁůĞĚŐĞ ƚŚĂƚ ŽƵƌ ƚŚĞĂƚƌĞ ŝƐ ŽŶ ƚƌĂĚŝƟŽŶĂů tƵƌƵŶĚũĞƌŝ ůĂŶĚ ĂŶĚ ǁĞ ĂĐŬŶŽǁůĞĚŐĞ ƚŚĞ tƵƌƵŶĚũĞƌŝ ƉĞŽƉůĞ ĂƐ ŝƚƐ ƚƌĂĚŝƟŽŶĂů ŽǁŶĞƌƐ ĂŶĚ ĐƵƐƚŽĚŝĂŶƐ͘ tĞ ŚŽŶŽƵƌ ĂŶĚ ƌĞƐƉĞĐƚ ƚŚĞŝƌ ŽŶŐŽŝŶŐ ĐƵůƚƵƌĂů ĂŶĚ ƐƉŝƌŝƚƵĂů ĐŽŶŶĞĐƟŽŶƐ ƚŽ ƚŚŝƐ ĐŽƵŶƚƌLJ͘ tĞ Ăŝŵ ƚŽ ƌĞƐƉĞĐƚ ĐƵůƚƵƌĂů ŚĞƌŝƚĂŐĞ͕ ĐƵƐƚŽŵƐ ĂŶĚ ďĞůŝĞĨƐ ŽĨ Ăůů /ŶĚŝŐĞŶŽƵƐ ƉĞŽƉůĞ͘ >Ă DĂŵĂ ŝƐ ĮŶĂŶĐŝĂůůLJ ĂƐƐŝƐƚĞĚ ďLJ ƚŚĞ ƵƐƚƌĂůŝĂŶ 'ŽǀĞƌŶŵĞŶƚ ƚŚƌŽƵŐŚ ƚŚĞ ƵƐƚƌĂůŝĂ ŽƵŶĐŝů͕ ƚŚĞ sŝĐƚŽƌŝĂŶ 'ŽǀĞƌŶŵĞŶƚ ƚŚƌŽƵŐŚ ƌƚƐ sŝĐƚŽƌŝĂ ĂŶĚ ƚŚĞ ŝƚLJ ŽĨ DĞůďŽƵƌŶĞ ƚŚƌŽƵŐŚ ŝƚƐ ƌƚƐ ĂŶĚ ƵůƚƵƌĞ ƉƌŽŐƌĂŵ͘ >Ă DĂŵĂ ŽŵŵƵŶŝƚLJ ŝƐ ƐƵƉƉŽƌƚĞĚ ďLJ sŝĐ,ĞĂůƚŚ ƚŚƌŽƵŐŚ ƚŚĞ ƌƚƐ ďŽƵƚ hƐ ƉƌŽŐƌĂŵ͘
cover: B.Grant, L.Parson, P.Brady in ‘Save for Crying’, image: V.Shayen Page 2: L.Jones and M.H. Sassman in ‘Special’, image: M.Horwell
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CONTENT ƌƟƐƟĐ ZĞƉŽƌƚ ϱ WƌŝŵĂƌLJ WƌŽŐƌĂŵ >Ă DĂŵĂ dŚĞĂƚƌĞ ϴ WƌŝŵĂƌLJ WƌŽŐƌĂŵ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ϭϯ >Ă DĂŵĂ 'ĂƌĚĞŶ WƌŽŐƌĂŵ ϭϵ >Ă DĂŵĂ >ĞĂƌŶŝŶŐ WƌŽŐƌĂŵ Ϯϲ >Ă DĂŵĂ ĨŽƌ <ŝĚƐ WƌŽŐƌĂŵ ϯϭ >Ă DĂŵĂ ŽŵŵƵŶŝƚLJ WƌŽŐƌĂŵ ϯϰ >Ă DĂŵĂ DŽďŝůĞ WƌŽŐƌĂŵ ϯϲ >Ă DĂŵĂ ǀĞŶƚƐ WƌŽŐƌĂŵ ϯϳ ƩĞŶĚĂŶĐĞ dŽƚĂůƐ ϰϯ DĂŶĂŐĞŵĞŶƚ ZĞƉŽƌƚ ϰϰ DĂƌŬĞƟŶŐ ZĞƉŽƌƚ ϰϲ &ŝŶĂŶĐŝĂů ZĞƉŽƌƚ ϰϴ ƵĚŝƚĞĚ &ŝŶĂŶĐŝĂů ^ƚĂƚĞŵĞŶƚ >Ă DĂŵĂ /ŶĐ ϰϵ ƵĚŝƚĞĚ &ŝŶĂŶĐŝĂů ^ƚĂƚĞŵĞŶƚ >Ă DĂŵĂ dƌƵƐƚ ϱϮ ŽŶƐŽůŝĚĂƚĞĚ ŶƟƟĞƐ ϱϱ
ARTISTIC REPORT tĞ ŚĂĚ Ă ǀĞƌLJ ĨƵůĮůůŝŶŐ LJĞĂƌ ŝŶ ϮϬϭϭ ĂŶĚ ƚŚŝƐ ǁĂƐ ĐƌŽǁŶĞĚ ďLJ ŶŐƵƐ ĞƌŝŶŝ ĂŶĚ ŚŝƐ ƉůĂLJ͕ Save For Crying͕ ƌĞĐĞŝǀŝŶŐ ƚŚĞ 'ƌĞĞŶ ZŽŽŵ ǁĂƌĚ ĨŽƌ ĞƐƚ EĞǁ tƌŝƟŶŐ ĨŽƌ ƚŚĞ ƵƐƚƌĂůŝĂŶ ^ƚĂŐĞ͘ tĞ ǁĞƌĞ ĂůƐŽ ǀĞƌLJ ƉƌŽƵĚ ƚŚĂƚ >ĂƵƌĞŶĐĞ ^ƚƌĂŶŐŝŽ ǁŽŶ ƚŚĞ ĞƐƚ /ŶĚĞƉĞŶĚĞŶƚ dŚĞĂƚƌĞ ŝƌĞĐƟŽŶ ĂǁĂƌĚ ĨŽƌ ŚŝƐ ƐĐŝŶƟůůĂƟŶŐ ŝŶƚĞƌƉƌĞƚĂƟŽŶ ŽĨ WŝƌĂŶĚĞůůŽ͛Ɛ Six characters in search of an author..͘ /Ŷ ƚŚĞ ůƚĞƌŶĂƟǀĞ ĂŶĚ ,LJďƌŝĚ WĞƌĨŽƌŵĂŶĐĞ ĐĂƚĞŐŽƌLJ͕ EŝĐŽůĂ 'ƵŶŶ͛Ɛ At The Sans Hotel ƌĞĐĞŝǀĞĚ ƚŚĞ ĂǁĂƌĚ ĨŽƌ ŽŶĐĞƉƚƵĂů ZĞĂůŝƐĂƟŽŶ ĂŶĚ dŚĞ ZĂďďůĞ͛Ɛ Special ĨŽƌ ĞƐŝŐŶ /ŶƚĞŐƌĂƟŽŶ͘ dŚĞƐĞ ĂǁĂƌĚƐ ĂƌĞ ƚĞƐƚĂŵĞŶƚ ƚŽ ƚŚĞ ƋƵĂůŝƚLJ ĂŶĚ ĚŝǀĞƌƐŝƚLJ ŽĨ ŽƵƌ ƉƌŽŐƌĂŵŵŝŶŐ͘
in search of an author͙͕ ĂŶĚ ^ƵnjĂŶŶĞ ŚĂƵŶĚLJ͛Ɛ ĞdžĐŝƟŶŐ ŝŶƚĞƌƉƌĞƚĂƟŽŶ ŽĨ The Maids͘ Lloyd Beckmann, Beekeeper ǁĂƐ ƉƵďůŝƐŚĞĚ ďLJ ƵƌƌĞŶĐLJ WƌĞƐƐ͘ KǀĞƌ ϭϮϱ ƐĐŚŽŽůƐ ĂƩĞŶĚĞĚ ƚŚĞƐĞ ƉƌŽĚƵĐƟŽŶƐ ĂŶĚ ǁĞ ĐŽŶĚƵĐƚĞĚ ŽǀĞƌ ϳϬ ĨŽƌƵŵ ƐĞƐƐŝŽŶƐ ĨŽůůŽǁŝŶŐ ĞĂĐŚ ƉĞƌĨŽƌŵĂŶĐĞ͘ tĞ ĞdžƚĞŶĚĞĚ ŽƵƌ ƌĞůĂƟŽŶƐŚŝƉ ǁŝƚŚ ŽƵƌ ŶĞŝŐŚďŽƵƌƐ Ăƚ DƵƐĞŽ /ƚĂůŝĂŶŽͬ Ž͘ Ɛ͘/ƚ ƚŚŝƐ LJĞĂƌ͕ ŽƌŐĂŶŝƐŝŶŐ Ă ƐĞƌŝĞƐ ŽĨ ǁŽƌŬƐŚŽƉƐ ŝŶ ƚŚĞŝƌ ǀĞŶƵĞ ŝŶ ƉĂƌƚŶĞƌƐŚŝƉ ǁŝƚŚ ǀŝƐŝƟŶŐ ŽŵŵĞĚŝĂ ĚĞůů͛ ƌƚĞ ŐƌŽƵƉ͕ &ŽŶĚĂnjŝŽŶĞ ŝĚĂ͕ ĨƌŽŵ sĞƌŽŶĂ͘ Ɛ ƉĂƌƚ ŽĨ ƌƚƐ sŝĐƚŽƌŝĂ͛Ɛ džƚĞŶĚĞĚ ^ĐŚŽŽůƐ ZĞƐŝĚĞŶĐLJ
/Ŷ ϮϬϭϭ ǁĞ ƉƌĞƐĞŶƚĞĚ ϰϴ ŶĞǁ ǁŽƌŬƐ͕ ϯϱ ŽĨ ǁŚŝĐŚ ǁĞƌĞ ƵƐƚƌĂůŝĂŶ ĂŶĚ Ϯϵ ŽĨ ǁŚŝĐŚ ǁĞƌĞ ƉƌĞŵŝĞƌĞ ƉƌŽĚƵĐƟŽŶƐ͘ tĞ ƐƵĐĐĞƐƐĨƵůůLJ ƉĂƌƟĐŝƉĂƚĞĚ ŝŶ ƚŚĞ DŝĚƐƵŵŵĂ͕ ŽŵĞĚLJ ĂŶĚ &ƌŝŶŐĞ ĨĞƐƟǀĂůƐ͘ /Ŷ ƚŚĞ >Ă DĂŵĂ 'ĂƌĚĞŶ ƉƌŽŐƌĂŵ ǁĞ ƉƌĞƐĞŶƚĞĚ ϮϬ yW>KZ d/KE^ ŽĨ ǁŚŝĐŚ ϴ ŚĂǀĞ ĨƵƌƚŚĞƌ ƐĞĂƐŽŶƐ ƉůĂŶŶĞĚ ŝŶ ϮϬϭϮ ĂŶĚ ďĞLJŽŶĚ͘ tĞ ŚĞůĚ ϭϱ ƌĞŚĞĂƌƐĞĚ ƉůĂLJͲ ƌĞĂĚŝŶŐƐ͕ Ăůů ŽĨ ǁŚŝĐŚ ǁĞƌĞ ĂƩĞŶĚĞĚ ďLJ >ĂƵƌĞŶĐĞ ^ƚƌĂŶŐŝŽ͕ ǁŚŽ ĨĂĐŝůŝƚĂƚĞĚ ĚŝƐĐƵƐƐŝŽŶƐ ĨŽůůŽǁŝŶŐ ƚŚĞ ƌĞĂĚŝŶŐƐ͘ ĞƚǁĞĞŶ ƚŚĞŵ͕ >ŝnj :ŽŶĞƐ ĂŶĚ 'ƌĂŚĂŵ ŽǁŶĞLJ ĂƉƉƌĂŝƐĞĚ ŽǀĞƌ ϭϬϬ ŶĞǁ ƐĐƌŝƉƚƐ͘
‘Future of the Species Part 1’ image: M.Davey 4
tĞ ĂůƐŽ ŚĂĚ ĨŽƵƌ ŽĨ ŽƵƌ ƉƌŽĚƵĐƟŽŶƐ ƐĞůĞĐƚĞĚ ďLJ ƚŚĞ sŝĐƚŽƌŝĂŶ ĞƌƟĮĐĂƚĞ ŽĨ ĚƵĐĂƟŽŶ ^ƚĂŶĚŝŶŐ ŽŵŵŝƩĞĞ ŝŶ ϮϬϭϭ͖ Lloyd Beckmann, Beekeeper ďLJ dŝŵ ^Ɵƚnj͕ >ĂƵƌĞŶĐĞ ^ƚƌĂŶŐŝŽ͛Ɛ ƉƌŽĚƵĐƟŽŶƐ ŽĨ ͙ǁĂŝƟŶŐ ĨŽƌ 'ŽĚŽƚ ĂŶĚ Six characters
‘Six characters in search of an author’ image: L.Strangio 5
‘Coranderrk’ J.Charles
WƌŽŐƌĂŵ͕ >Ă DĂŵĂ ǁĂƐ ƚŚĞ ĂƌƟƐƟĐ ŽƌŐĂŶŝƐĂƟŽŶ ŝŶ ƌĞƐŝĚĞŶĐĞ Ăƚ ƚŚĞ ^LJĚŶĞLJ ZŽĂĚ ŽŵŵƵŶŝƚLJ ^ĐŚŽŽů ŝŶ ƌƵŶƐǁŝĐŬ͕ ƌƵŶŶŝŶŐ ǁŽƌŬƐŚŽƉƐ ĨĂĐŝůŝƚĂƚĞĚ ďLJ ƚŚĞĂƚƌĞ ĂƌƟƐƚƐ ŝŶĐůƵĚŝŶŐ ĂƌƌLJ ŝĐŬŝŶƐ ĂŶĚ ĂŝƚůŝŶ ƵůůĂƌĚ͘ dŚĞƐĞ ǁŽƌŬƐŚŽƉƐ ĐƵůŵŝŶĂƚĞĚ ŝŶ ƚŚĞ ƉƌŽĚƵĐƟŽŶ͕ The Way Out͕ ǁŚŝĐŚ ǁĂƐ ƉƌĞƐĞŶƚĞĚ Ăƚ ƚŚĞ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ŝŶ KĐƚŽďĞƌ͘ >Ă DĂŵĂ ĨŽƌ <ŝĚƐ ĐŽŶƟŶƵĞƐ ƚŽ ŇŽƵƌŝƐŚ ǁŝƚŚ ϯϴ ƉĞƌĨŽƌŵĂŶĐĞƐ ŽĨ ϭϮ ƉƌŽĚƵĐƟŽŶƐ ŝŶĐůƵĚŝŶŐ Ă ƐĐŚŽŽů ŚŽůŝĚĂLJ ƐĞĂƐŽŶ ŽĨ Finius Flume and the Fabulous Fandangle Factory ĂŶĚ Pinochio: a tragicomic journey for noses ƉƌĞƐĞŶƚĞĚ ďLJ &ŽŶĚĂnjŝŽŶĞ ŝĚĂ Θ ƚŚĞ /ƚĂůŝĂŶ /ŶƐƟƚƵƚĞ ŽĨ ƵůƚƵƌĞ͘ dŚŝƐ ƉƌŽŐƌĂŵ ĐŽŶƟŶƵĞƐ ƚŽ ďĞ ĐƵƌĂƚĞĚ ďLJ ůůĂ ,ŽůŵĞƐ͘ Ɛ ƉĂƌƚ ŽĨ ŽƵƌ ĐŽŵŵƵŶŝƚLJ ŽƵƚƌĞĂĐŚ ǁŽƌŬ͕ >Ă DĂŵĂ ŽŵŵƵŶŝƚLJ WƌŽĚƵĐĞƌ ĂŝƚůŝŶ ƵůůĂƌĚ ƌĂŶ ǁŽƌŬƐŚŽƉƐ ǁŝƚŚ ŶĞǁůLJ ĂƌƌŝǀĞĚ ƌĞĨƵŐĞĞƐ ŝŶ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ D ^ ĂŶĚĞŶŽŶŐ͕ ĐƵůŵŝŶĂƟŶŐ ŝŶ Ă ďĞĂƵƟĨƵů ƉƌŽĚƵĐƟŽŶ͕ A Heart in Two Places͕ ǁŚŝĐŚ ǁĂƐ ƉĞƌĨŽƌŵĞĚ ŝŶ ƚŚĞ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ͕ ŽƵƚƐŝĚĞ Ăƚ ƚŚĞ ŶĞǁ >Ă DĂŵĂ &ŽƌĞĐŽƵƌƚ ĂŶĚ ĮŶĂůůLJ ŝŶ ƚŚĞ DĞůďŽƵƌŶĞ ŽŶǀĞŶƟŽŶ ĂŶĚ džŚŝďŝƟŽŶ ĞŶƚƌĞ ŝŶ EŽǀĞŵďĞƌ͘ ^ŚĞ ĂůƐŽ ǁŽƌŬĞĚ ǁŝƚŚ Ă ŐƌŽƵƉ ŽĨ ĂĚƵůƚƐ ǁŝƚŚ ŝŶƚĞůůĞĐƚƵĂů ĚŝƐĂďŝůŝƟĞƐ ƚŽ ĐƌĞĂƚĞ ƚŚĞ ǁŽƌŬ Shoes͕ ǁŚŝĐŚ ǁĂƐ ƉƌĞƐĞŶƚĞĚ Ăƚ ƚŚĞ ĂƌůƚŽŶ EĞŝŐŚďŽƵƌŚŽŽĚ >ĞĂƌŶŝŶŐ ĞŶƚƌĞ͘ tĞ ĂůƐŽ ƚŽƵƌĞĚ Sarejevo Suite ƚŽ ^ƚ ŶĚƌĞǁƐ ĂŶĚ ĂŶĚĞŶŽŶŐ͕ ĂĐĐŽŵƉĂŶŝĞĚ ďLJ ǁŽƌŬƐŚŽƉƐ ĂŶĚ ĨŽƌƵŵƐ͕ ĂŶĚ ƚŽƵƌĞĚ ŽƵƌ ƉƌŽĚƵĐƟŽŶ Schism ƚŽ ƚŚĞ ĂŝƌŶƐ &ĞƐƟǀĂů͘ 6
/Ŷ ϮϬϭϭ͕ ǁĞ ƚƌŝĂůĞĚ Ă ƉĂƌƚŶĞƌƐŚŝƉ ǁŝƚŚ WůĂƞŽƌŵ zŽƵƚŚ dŚĞĂƚƌĞ͕ ŐŝǀŝŶŐ ƚŚĞ ĞŵĞƌŐŝŶŐ ĐŽŵƉĂŶLJ Ă ƚŚƌĞĞͲǁĞĞŬ͕ ŵĞŶƚŽƌĞĚ ƌĞƐŝĚĞŶĐLJ Ăƚ ƚŚĞ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ͘ tŝƚŚŝŶ ƚŚŝƐ ƌĞƐŝĚĞŶĐLJ͕ ƚŚĞLJ ĚĞǀĞůŽƉĞĚ ƚŚĞ ǁŽƌŬ ŽĨ ĞŵĞƌŐŝŶŐ ĂƌƟƐƚƐ͕ ƉƌĞƐĞŶƟŶŐ ĮǀĞ ƐŚŽƌƚ ǁŽƌŬƐͲŝŶͲƉƌŽŐƌĞƐƐ ŝŶ ƚŚĞ ĮƌƐƚ ǁĞĞŬ ĨŽůůŽǁĞĚ ďLJ Ă ƚǁŽͲ ǁĞĞŬ ƐĞĂƐŽŶ ŽĨ ŚƌŝƐ ^ƵŵŵĞƌƐ͕͛ Crossed͘ dŚŝƐ ƌĞƐŝĚĞŶĐLJ ǁĂƐ ĚĞĞŵĞĚ ƐƵĐĐĞƐƐĨƵů ĂŶĚ ǁŝůů ďĞ ĞdžƚĞŶĚĞĚ ƚŽ ĨŽƵƌ ǁĞĞŬƐ ŝŶ ƐƵďƐĞƋƵĞŶƚ LJĞĂƌƐ͘ tĞ ĂůƐŽ ĐŽůůĂďŽƌĂƚĞĚ ǁŝƚŚ dŚĞ ŽŐ dŚĞĂƚƌĞ ŝŶ ƉƌĞƐĞŶƟŶŐ ŽŶŶĂ :ĂĐŬƐŽŶ͛Ɛ͕ The Baby Show͕ ǁŚŝĐŚ ǁŝůů ƚŽƵƌ ƌĞŐŝŽŶĂů sŝĐƚŽƌŝĂ ŝŶ ϮϬϭϮ͘
>Ă DĂŵĂ ŝƐ Ă WĂƌƚŶĞƌ /ŶǀĞƐƟŐĂƚŽƌ ŝŶ ƚŚĞ DŝŶƵƚĞƐ ŽĨ ǀŝĚĞŶĐĞ WƌŽũĞĐƚ͕ Ă ϯͲLJĞĂƌ ƵƐƚƌĂůŝĂŶ ZĞƐĞĂƌĐŚ ŽŵŵŝƐƐŝŽŶ ƉƌŽũĞĐƚ ƵŶĚĞƌ ƚŚĞ ůĞĂĚĞƌƐŚŝƉ ŽĨ ƚŚĞ ,ŝƐƚŽƌLJ ĂŶĚ :ƵƐƟĐĞ ĞƉĂƌƚŵĞŶƚƐ ǁŝƚŚŝŶ ƚŚĞ hŶŝǀĞƌƐŝƚLJ ŽĨ DĞůďŽƵƌŶĞ͘ /Ŷ ϮϬϭϭ͕ ƚŚŝƐ ĐƵůŵŝŶĂƚĞĚ ŝŶ ƚŚĞ >Ă DĂŵĂͬ/ůďŝũĞƌƌŝ dŚĞĂƚƌĞ ŽŵƉĂŶLJ ĐŽͲƉƌŽĚƵĐƟŽŶ ŽĨ Coranderrk: we will show the country͕ Ă ǀĞƌďĂƟŵ ƚŚĞĂƚƌĞ ƉŝĞĐĞ ďĂƐĞĚ ŽŶ ƚŚĞ DŝŶƵƚĞƐ ŽĨ ǀŝĚĞŶĐĞ ŽĨ ƚŚĞ ϭϴϴϭ ŚĞĂƌŝŶŐ͗ dŚĞ ďŽƌŝŐŝŶĂů WĞŽƉůĞƐ ŽĨ ŽƌĂŶĚĞƌƌŬ DŝƐƐŝŽŶ ǀĞƌƐƵƐ dŚĞ ŽĂƌĚ ĨŽƌ ƚŚĞ WƌŽƚĞĐƟŽŶ ŽĨ ďŽƌŝŐŝŶĂů WĞŽƉůĞƐ sŝĐƚŽƌŝĂ ;ŝŶ ǁŚŝĐŚ ƚŚĞ ŝŶĚŝŐĞŶŽƵƐ ƉĞŽƉůĞƐ ŽĨ ŽƌĂŶĚĞƌƌŬ ǁĞƌĞ ƚƌŝƵŵƉŚĂŶƚͿ͘ dŚŝƐ ǁĂƐ ƉůĂLJĞĚ ƚŽ ƉĂĐŬĞĚ ŚŽƵƐĞƐ ǁŝƚŚ ĂŶ ĂĚĚŝƟŽŶĂů ϱ ƐŚŽǁƐ ĂĚĚĞĚ ƚŽ ƚŚĞ ƚǁŽͲǁĞĞŬ ƐĞĂƐŽŶ ƚŽ ĐŽƉĞ ǁŝƚŚ ĚĞŵĂŶĚ͘ /ƚ ǁĂƐ ĂůƐŽ ƚŽƵƌĞĚ ƚŽ ƚŚĞ ,ĞĂůĞƐǀŝůůĞͬ ŽƌĂŶĚĞƌƌŬ ĐŽŵŵƵŶŝƟĞƐ͘
tŽƌŬ ŽŶ ŽƵƌ DĞůďŽƵƌŶĞ hŶŝǀĞƌƐŝƚLJ ƌĐŚŝǀĞ ĐŽůůĞĐƟŽŶ ĐŽŶƟŶƵĞĚ ƚŚŝƐ LJĞĂƌ ǁŝƚŚ ZŚŽŶĚĂ ĂLJ ĂŶĚ sŝĐƚŽƌŝĂ dƌŝŐŐƐ ŐŝǀŝŶŐ ŐĞŶĞƌŽƵƐůLJ ŽĨ ƚŚĞŝƌ ƟŵĞ ƵŶĚĞƌ ƚŚĞ ĐĂƉĂďůĞ ůĞĂĚĞƌƐŚŝƉ ŽĨ &ŝŽŶĂ tŝƐĞŵĂŶ͘
&Žƌ ƚŚĞ ǀĞƌLJ ĮƌƐƚ ƟŵĞ ŝŶ ŽƵƌ ŚŝƐƚŽƌLJ͕ ǁĞ ŚŽƐƚĞĚ Ă ƉƌŽĚƵĐƟŽŶ ĨƌŽŵ La MaMa EĞǁ zŽƌŬ͕ tĞŶĚLJ tŽŽĚƐŽŶ͛Ɛ She Turned On The Light͘ tĞ ŚŽƉĞ ƚŚŝƐ ǁŝůů ďĞ ƉĂƌƚ ŽĨ Ă ĐŽŶƟŶƵŝŶŐ ĐƵůƚƵƌĂů ĞdžĐŚĂŶŐĞ͘ A Quarrelling Pair͕ ƚŚĞ >ĂDĂŵĂͬ ƉŚŝĚƐ ƉƌŽĚƵĐƟŽŶ ƚŚĂƚ ƚŽƵƌĞĚ ƚŽ >Ă DĂDĂ Ez ŝŶ ϮϬϬϵ͕ ŚĂĚ Ă ǀĞƌLJ ĞdžĐŝƟŶŐ ƚŽƵƌ ƚŽ ZŽŵĞ ;ŝŶ /ƚĂůŝĂŶ ƚƌĂŶƐůĂƟŽŶͿ ŝŶ ϮϬϭϭ͘ tĞ ĂůƐŽ ŚŽƐƚĞĚ ϲ >Ă DĂŵĂ WŽĞƟĐĂƐ͕ ĐƵƌĂƚĞĚ ďLJ ŶĚLJ :ĂĐŬƐŽŶ ĂŶĚ ŶŶĂ &ĞƌŶ͕ ĂŶĚ ϭϬ >Ă DĂŵĂ DƵƐŝĐĂƐ͕ ĐƵƌĂƚĞĚ ďLJ ŶŶĂďĞů tĂƌŵŝŶŐƚŽŶ͘ tĞ ŚŽƐƚĞĚ Ă ŶƵŵďĞƌ ŽĨ ĞdžŚŝůĂƌĂƟŶŐ ŽŶĞͲŽī ĞǀĞŶƚƐ ŝŶĐůƵĚŝŶŐ Miracle in Rwanda ĂŶĚ Shrimp Shells in My Cleavage ĨƌŽŵ ƚŚĞ h^ ĂŶĚ Le Polichineur de Tiroirs ; WƵƉƉĞƚ ŝŶ ƚŚĞ ƌĂǁĞƌƐͿ ďLJ ŽŵƉĂŐŶŝĞ ŚĞŵŝŶƐ ĚĞ dĞƌƌĞ ĨƌŽŵ ĞůŐŝƵŵ͘
‘A heart in two places’ image: P.Bainbridge
KŶĐĞ ĂŐĂŝŶ ŝƚ ǁĂƐ ĂŶ ĞdžŚŝůĂƌĂƟŶŐ͕ ĂƌƟƐƟĐĂůůLJ ĨƵůƐŽŵĞ ĂŶĚ ĚŝǀĞƌƐĞ LJĞĂƌ Ăƚ ŽƵƌ ďĞůŽǀĞĚ >Ă DĂŵĂ͘
7
PRIMARY PROGRAM - LA MAMA THEATRE
dŚĞ ƉƌŽŐƌĂŵ ŽĨ ĨƵůů ƉƌŽĚƵĐƟŽŶƐ ƉƌĞƐĞŶƚĞĚ Ăƚ ŽƵƌ &ĂƌĂĚĂLJ ^ƚƌĞĞƚ ǀĞŶƵĞ ‘This is -‐ of the other’ B.Jackson and '͘ZĞĂĚ͕ ŝŵĂŐĞ͗ ͘ ŝƩĂĚŝŶŝ
THE ANOREXIC CHEF
SAVE FOR CRYING
THIS IS – OF THE OTHER
tƌŝƩĞŶ Θ ĚŝƌĞĐƚĞĚ ďLJ ^ŽĮĂ ŚĂƉŵĂŶ WĞƌĨŽƌŵĞĚ ďLJ tŝůů dĂŝƚ͕ ůŽŝƐĞ ŽǁĚĞŶ͕ <ŝƌƌŝ ƵĐŚůĞƌ͕ ,ŝůĂƌLJ &ĂŝƌĐŚŝůĚ͕ ĞŶ ĚĞ ĂƐƚĞůůĂ͕ ůĞŬƐĂŶĚƌĂ >ĂŶĞ Θ DŝĐŚĂĞů >ĂŶĞ
tƌŝƩĞŶ Θ ĚŝƌĞĐƚĞĚ ďLJ ŶŐƵƐ ĞƌŝŶŝ ĞƐŝŐŶĞĚ ďLJ ZĂĐŚĞů ƵƌŬĞ͕ DĂƌŐ ,ŽƌǁĞůů Θ <ĞůůLJ ZLJĂůů WĞƌĨŽƌŵĞĚ ďLJ WĞƚĂ ƌĂĚLJ͕ ĞŶ 'ƌĂŶƚ Θ >ĞZŽLJ WĂƌƐŽŶƐ
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ƌŝŐŝĚ :ĂĐŬƐŽŶ Θ 'ĞŽƌŐŝĞ ZĞĂĚ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
:ĂŶ ϭϵ ʹ :ĂŶ ϯϬ Ɛ ƉĂƌƚ ŽĨ ƚŚĞ DŝĚƐƵŵŵĂ &ĞƐƟǀĂů
ϭϮϲ ϲϴ ϴϱ Ϯϳϵ ϭϬ ϰϮ ϲϲй
&Ğď ϭϴ ʹ DĂƌ ϲ
DĂƌ Ϯϯ ʹ Ɖƌ ϯ
ϭϯϯ ϮϬϰ ϭϮϴ ϰϲϱ ϭϳ ϯϱ ϳϴй
AN EVENING WITH CHEKHOV
NO SHOW &Ğď ϵ &Ğď ϭϯ
DĂƌ ϵ ʹ DĂƌ ϮϬ
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ZŝĐŚĂƌĚ WĞƫĨĞƌ ĂƐĞĚ ŽŶ ƚŚĞ ƉůĂLJ ͚^ŵƵĚŐĞĚ͛ ďLJ DĞŐĂŶ dǁLJĐƌŽƐƐ
͚dŚĞ ĞĂƌ͛ ǁƌŝƩĞŶ ďLJ ŶƚŽŶ ŚĞŬŚŽǀ ͚dŚĞ Ğƚ͛ ĂĚĂƉƚĞĚ ĨƌŽŵ ŶƚŽŶ ŚĞŬŚŽǀ͛Ɛ ƐŚŽƌƚ ƐƚŽƌLJ ďLJ &ŝŽŶĂ DĂĐLJƐ DĂƌnjŽ ŝƌĞĐƚĞĚ ďLJ KůŐĂ DĂŬĞĞǀĂ ĞƐŝŐŶ ďLJ WĞƚĞƌ DƵŵĨŽƌĚ Θ ŶŐĞůĂ ŽůĞ WĞƌĨŽƌŵĞĚ ďLJ ĂŶŝĞů &ƌĞĚĞƌŝŬƐĞŶ͕ &ŝŽŶĂ DĂĐLJƐ DĂƌnjŽ͕ ƵŐĞŶĞ ^ĐŚůƵƐƐĞƌ Θ ƌĞƩ >ƵĚĞŵĂŶ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϳϮ Ϭ ϮϬ ϵϮ ϱ Ϯϰ ϳϲй
“This is theatre without skin, just ƌĂǁ ĞdžƉŽƐĞĚ ŶĞƌǀĞƐ͘ hŶĨŽƌŐĞƩĂďůĞ͘͟ John Bailey, Sunday Age on ‘Save For Crying’
8
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϯϱ ϮϬϰ ϰϵ ϯϴϴ ϭϮ ϯϱ ϵϮй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϳ ϲϳ ϲϬ ϭϲϰ ϭϬ ϯϬ ϱϰй
SKINHOUSE DĂƌ Ϯϯ ʹ Ɖƌ ϯ
ƌĞĂƚĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ &ůĞƵƌ <ŝůƉĂƚƌŝĐŬ Θ <ƌŝƐƟŶĂ ĞŶƚŽŶ ŝƌĞĐƚĞĚ ďLJ &ůĞƵƌ <ŝůƉĂƚƌŝĐŬ DƵƐŝĐ ďLJ <ƌŝƐƟŶĂ ĞŶƚŽŶ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϴϭ ϭϭϱ ϲϰ ϮϲϬ ϭϭ ϯϬ ϳϴй
EVERYTHING MUST GO
Ɖƌ ϳ ʹ Ɖƌ ϭϳ Ɛ ƉĂƌƚ ŽĨ ƚŚĞ DĞůďŽƵƌŶĞ /ŶƚĞƌŶĂƟŽŶĂů ŽŵĞĚLJ &ĞƐƟǀĂů tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ZĂĐŚĞů >ĞĂƌLJ ŝƌĞĐƚĞĚ ďLJ ĂŵŝĂŶ ĂůůŝŶĂŶ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϳ ϱϳ ϲϮ ϭϱϲ ϭϬ Ϯϴ ϱϱй
THE DAMSEL IN SHINING ARMOUR
Ɖƌ ϲ ʹ Ɖƌ ϭϳ Ɛ ƉĂƌƚ ŽĨ ƚŚĞ DĞůďŽƵƌŶĞ /ŶƚĞƌŶĂƟŽŶĂů ŽŵĞĚLJ &ĞƐƟǀĂů tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ^ŽƉŚŝĞ tĂůƐŚͲ ,ĂƌƌŝŶŐƚŽŶ ŝƌĞĐƚĞĚ ďLJ dŽŵ ŝĐŬŝŶƐ DƵƐŝĐĂů ĚŝƌĞĐƟŽŶ ďLJ :ĞŶŶŝĨĞƌ <ŝŶŐǁĞůů
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
Ϯϱ ϱϰ ϵϲ ϭϳϱ ϭϬ Ϯϴ ϲϮй
͘͘͘͞tĞ ŶĞĞĚ ŵŽƌĞ ŽĨ ƚŚĞƐĞ ŬŝŶĚ ŽĨ ƐŚŽǁƐ͘͟ DĂƩ >ƵĐĂƐ͕ ďůŽŐ͕ ŽŶ ͚^ŬŝŶŚŽƵƐĞ͛
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PRIMARY PROGRAM - LA MAMA THEATRE cont. ‘Future of the Species’ M.Davey
THE GRAND INQUISITOR
MANACLE
MEDEA OF BAGDAD
:ƵŶĞ ϭϱ ʹ :ƵŶ Ϯϲ
ƵŐƵƐƚ ϯϭ ʹ ^ĞƉƚĞŵďĞƌ ϭϭ
tƌŝƩĞŶ Θ ĚŝƌĞĐƚĞĚ ďLJ s͘ ^ƵďƌĂ WĞƌĨŽƌŵĞĚ ďLJ ^ĐŽƩ tĞůƐŚ Θ s͘ ^ƵďƌĂ
tƌŝƩĞŶ ďLJ ƌĞƩĐĂƌĚŝĞ /ŶŐƌĂŵ ŝƌĞĐƚĞĚ ďLJ WĞŝƚĂ ŽůůĂƌĚ WĞƌĨŽƌŵĞĚ ďLJ ůŝƐĞ ƌŶŽůĚ͕ WĞƚĞƌ >ĞŝƐƐ͕ :ŽŚŶ DĐEĂŵĂƌĂ Θ >ŝƐĂ ĂůůŝŶŐĞƌ
tƌŝƩĞŶ ďLJ ůŝ ůŝnjĂĚĞŚ ŝƌĞĐƚĞĚ ďLJ dĂŶũĂ ĞĞƌ WĞƌĨŽƌŵĞĚ ďLJ DŝƌĂŶĚĂ EĂƟŽŶ ZĞŚĞĂƌƐĂů ƌĂŵĂƚƵƌŐLJ ďLJ ĚĂŵ :͘ ͘ ĂƐƐ ĞƐŝŐŶ ďLJ dĂŶũĂ ĞĞƌ ĂŶĚ EŝĐŽůĂ ŶĚƌĞǁƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
Ɖƌ ϮϬ ʹ Ɖƌ Ϯϰ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϰ ϳϬ ϱ ϯϬ ϰϳй
WHISKY RING Ɖƌ Ϯϳ ʹ DĂLJ Ϯϴ
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ĚĚŝĞ /ŶŬ ŝƌĞĐƚĞĚ ďLJ ůĂŶ ƌŽƵŐŚ ƌĂŵĂƚƵƌŐLJ ďLJ :ƵĚŝƚŚ >ƵĐLJ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϲϬ ϳϭ ϮϮ ϭϱϯ ϭϬ ϯϰ ϰϱй
ϯϭ Ϯϱ
THE PRIVILEGE GENE :ƵůLJ ϭϯ ʹ :ƵůLJ ϭϳ
ϳϯ ϭϮϱ ϲϲ Ϯϲϰ ϭϭ ϲϱй
FUTURE OF THE SPECIES: PART I ^ĞƉƚĞŵďĞƌ ϭ ʹ ^ĞƉƚĞŵďĞƌ ϭϭ
ĞǀŝƐĞĚ͕ ĚŝƌĞĐƚĞĚ Θ ĚĞƐŝŐŶĞĚ ďLJ >ůŽLJĚ :ŽŶĞƐ WĞƌĨŽƌŵĞĚ ďLJ :Ž ŶŶĞ ƌŵƐƚƌŽŶŐ͕ WŝƉƉĂ ĂŝŶďƌŝĚŐĞ͕ :ĞƐƐŝĐĂ ŚĞƌƌLJ͕ ŽƌLJ ŽƌďĞƩ͕ ,ƵŐŚ ĂŵŶŝĐƐ͕ dŝŵ &ĞƌƌŝƐ͕ 'ƌĞŐ &ƌLJĞƌ͕ DĂƵƌĞĞŶ ,ĂƌƚůĞLJ͕ >ŝnj :ŽŶĞƐ͕ ,ĂŶŶĂŚ >ŝZŽƐŝ͕ ZĞďĞĐĐĂ DĞnjĞŝ͕ ŚƌŝƐ DŽůLJŶĞƵdž͕ WĞƚĞƌ DƵƌƉŚLJ͕ ĚƌŝĂŶ WƌŽƐĞŶ͕ ZĂŐŶĂƌ WƵƌũĞ͕ DĂƌLJ ,ĞůĞŶ ^ĂƐƐŵĂŶ͕ ůĞdž ^ĞůĞŶŝƚƐĐŚ͕ ůŶĂnj ^ŚĞƐŚŐĞůĂŶŝ͕ &ůŽƌĞŶĐĞ ^ŚŝŶĂŶ ƵŬƵ͕ ,ĂŶŶĂŚ ^ƉƌĂĐŬůĂŶͲ,Žůů͕ ZĂLJŵŽŶĚ dƌŝŐŐƐ Θ ^ŽƉŚŝĞ tĂůƐŚͲ,ĂƌƌŝŶŐƚŽŶ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
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ϭϬϬ ϭϭϳ ϲϱ ϮϴϮ ϭϬ ϯϲ ϳϴй
Ϯϰ ϳϱ ϮϮ ϭϮϭ ϲ ϳϬй
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ DĂƵĚĞ ĂǀĞLJ ŝƌĞĐƚĞĚ ďLJ /ŶŐƌŝĚ sŽŽƌĞŶĚƚ ŽŵƉŽƐĞƌ͗ dLJƐŽŶ ,ŽƉƉƌŝĐŚ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
ϲϱ ϴϰ ϰϰ ϭϵϯ ϵ ϱϴй
“The Privilege Gene is unnerving ambient theatre that resembles a cross between backyard Bertolucci ĂŶĚ ĞdžƉĞƌŝŵĞŶƚĂů ͞ŚĂƉƉĞŶŝŶŐƐ͟ ŽĨ ƚŚĞ ϱϬƐ ĂŶĚ ϲϬƐ͘͟ Cameron Woodhead, The Age, on ‘ The Privilege Gene’
BLACK BOX 149
^ĞƉƚĞŵďĞƌ ϭϱ ʹ KĐƚŽďĞƌ Ϯ WƌĞƐĞŶƚĞĚ ĂƐ ƉĂƌƚ ŽĨ ƚŚĞ Melbourne Fringe &ĞƐƟǀĂů
tƌŝƩĞŶ ďLJ Z͘ :ŽŚŶƐ ƌĂŵĂƚƵƌŐŝĐĂů ĚǀŝƐĞƌ͗ :ƵůŝĂŶ DĞLJƌŝĐŬ ŝƌĞĐƚĞĚ ďLJ ^ŚĂŚŝŶ ^ŚĂĨĂĞŝ WĞƌĨŽƌŵĞĚ ďLJ ĞŶŶŝƐ ŽƌĚ Θ DĂũŝĚ ^ŚŽŬŽƌ ĞƐŝŐŶĞĚ ďLJ WĞƚĞƌ DƵŵĨŽƌĚ Θ ^ƚĞůŝŽƐ <ĂƌĂŐŝĂŶŶŝƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
ϱϵ ϵϰ ϵϬ Ϯϰϯ ϭϰ ϰϯй 11
PRIMARY PROGRAM - LA MAMA COURTHOUSE
dŚĞ ƉƌŽŐƌĂŵ ŽĨ ĨƵůů ƉƌŽĚƵĐƟŽŶƐ ƉƌĞƐĞŶƚĞĚ Ăƚ ŽƵƌ ƌƵŵŵŽŶĚ ^ƚƌĞĞƚ ǀĞŶƵĞ
APPALLING BEHAVIOUR
STRANDS
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ^ƚĞƉŚĞŶ ,ŽƵƐĞ ŝƌĞĐƚĞĚ ďLJ :ƵƐƟŶ DĐ'ƵŝŶŶĞƐƐ DƵƐŝĐ Θ ƐŽƵŶĚ ďLJ WĞƚĞƌ EĞŝůƐŽŶ
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ WĞƚĂ ƌĂĚLJ Θ tŝůŚĞůŵŝŶĂ ^ƚƌĂĐŬĞ ŝƌĞĐƚĞĚ ďLJ ^ƵĞ :ŽŶĞƐ ƌĂŵĂƚƵƌŐLJ ďLJ ĂƚŚĞƌŝŶĞ ,ŝůů ĞƐŝŐŶ ďLJ ĞůŝŶĚĂ tŝůƚƐŚŝƌĞ Θ ZĞďĞĐĐĂ ƚĐŚĞůů
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
^ĞƉƚĞŵďĞƌ Ϯϭ ʹ KĐƚŽďĞƌ Ϯ WƌĞƐĞŶƚĞĚ ĂƐ ƉĂƌƚ ŽĨ ƚŚĞ Melbourne Fringe &ĞƐƟǀĂů
ϵϭ ϲϱ ϱϱ Ϯϭϭ ϭϬ ϲϬй
TANGO FEMME
:ĂŶ ϭϴ ʹ &Ğď ϲ Ɛ ƉĂƌƚ ŽĨ ƚŚĞ DŝĚƐƵŵŵĂ &ĞƐƟǀĂů
ĞĐĞŵďĞƌ ϭ ʹ ĞĐĞŵďĞƌ ϭϴ
ϭϮϴ ϵϬ ϲϰ ϮϴϮ ϭϰ ϲϵй
“Tiniest stage I’ve ever seen. It enhanced the performance… a very real voice was given to those without Ă ǀŽŝĐĞ͘͟ Lee Bemrose, TheatreAlive, on ‘Appalling Behaviour’
tƌŝƩĞŶ ďLJ DĞƌƌŝůĞĞ DŽƐƐ ŝƌĞĐƚĞĚ ďLJ ƌĞŶĚĂ ĚĚŝĞ WƌŽĚƵĐĞĚ ďLJ ZƵƚŚ <ĂƚĞƌĞůŽƐ ĞƐŝŐŶ ďLJ :ĂƐĞ ĂǀĂŶĂŐŚ ŽƐƚƵŵĞƐ ďLJ DĂƌƐŝĂ ĞƌŐŚ ŚŽƌĞŽŐƌĂƉŚLJ ďLJ ŶŶLJ ^ĂůĞƌŶŝ Θ DĂĞǀĂ sĞĞƌĂƉĞŶ WĞƌĨŽƌŵĞĚ ďLJ <ƌŝƐƚĞŶ ĚƌŝĂĂŶ͕ ůĞĂŶŽƌ ĂůůĞLJ͕ ZŚLJĂŶŶŽŶ 'ƌĂĐĞ͕ ZƵƚŚ <ĂƚĞƌĞůŽƐ͕ &ůĂŵĞ ĐĂĐŝĂ <ŝŵďĞůů͕ ůŽŝƐĞ DĂƌĞĞ Θ EŝŬŝ WŝĚĚ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϰϵϰ Ϯϴϳ ϲϭ ϴϰϮ ϭϲ ϴϬ ϲϲй
MRS VINCENT PRICE &Ğď ϭϬ ʹ &Ğď Ϯϳ
‘Strands’ P.Brady
tƌŝƩĞŶ ďLJ WĞƚĞƌ YƵŝůƚĞƌ ŝƌĞĐƚĞĚ ďLJ ůŝĐĞ ŝƐŚŽƉ >ŝŐŚƟŶŐ ďLJ ZŝĐŚĂƌĚ sĂďƌĞ ƵƌĂƚĞĚ ďLJ ,ĞůĞŶ >ĂĸŶ WĞƌĨŽƌŵĞĚ ďLJ ,ĞĂƚŚĞƌ >LJƚŚĞ͕ 'ƌĂŶƚ ^ŵŝƚŚ͕ DŝĐŚĂĞů & ĂŚŝůů͕ ŚƌŝƐ ƌŽĂĚƐƚŽĐŬ͕ Θ :Ž 'ŝůů &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
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ϯϮϳ Ϯϯϵ ϭϮϯ ϲϴϵ ϭϰ ϴϬ ϲϮй
GOOD GRIEF &Ğď ϭϱ ʹ &Ğď Ϯϳ
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ŚĂƌůŝĞ >ĂŝĚůĂǁ Θ ZŽƐŝŶĂ 'ĂŶŶŽŶ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϳϳ ϵϰ ϯϯ ϯϬϰ ϭϮ ϲϱ ϯϵй
THE REVENGERS’ COMEDY DĂƌ Ϯ ʹ DĂƌ ϮϬ
tƌŝƩĞŶ ďLJ >ĞŽŶĂƌĚ ZĂĚŝĐ ŝƌĞĐƚĞĚ ďLJ ^ƚĞĨĂŶ DƌŽǁŝŶƐŬŝ WĞƌĨŽƌŵĞĚ ďLJ DĂƌƟŶ DƵůǀĂŶLJ͕ >ĞƐůĞLJ ,ĂƌƌŝƐ͕ ^ƚĞǀĞŶ <ĞŶŶĞĚLJ͕ ZĞŶĞĞ WĂůŵĞƌ͕ :ĞŶŝƚĂ ^ƉŝƚŽǀŝĐ Θ ĞƚŚ >ŝƐƚŽŶ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϬϰ ϭϳϵ ϲϮ ϰϰϱ ϭϰ ϳϬ ϰϱй
͙͞Ă ŐƌĞĂƚ ƉŝĞĐĞ ŽĨ ƚŚĞĂƚƌĞ͟ Audience member, La Mama website, on ‘Mrs. Vincent Price’
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PRIMARY PROGRAM - LA MAMA COURTHOUSE cont. THE BABY SHOW
AUSTRALIA DOT COM
DĂƌ ϴ ʹ DĂƌ ϮϬ
Ɖƌ ϭϰ ʹ Ɖƌ Ϯϰ Ɛ ƉĂƌƚ ŽĨ ƚŚĞ DĞůďŽƵƌŶĞ /ŶƚĞƌŶĂƟŽŶĂů ŽŵĞĚLJ &ĞƐƟǀĂů
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ŽŶŶĂ :ĂĐŬƐŽŶ ŝƌĞĐƚĞĚ ďLJ :ŽŚŶ ŽůƚŽŶ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
tƌŝƩĞŶ ďLJ DŝĐŚĂĞů 'ƌŝĸƚŚ ŝƌĞĐƚĞĚ ďLJ EŽĞů ŶĚĞƌƐŽŶ WĞƌĨŽƌŵĞĚ ďLJ ĚĂŵ &ŽƌĚ͕ <ĂƚĞ DƵůƋƵĞĞŶ͕ ZŽŚĂŶĂ ,ĂLJĞƐ͕ dŽŵ ^ŚĂŬĞƐƉĞĂƌĞ͕ :ĂŶŝƐ ŽīĞLJ Θ EŝĐŬ &Ždž
ϭϵϳ ϭϯϯ ϭϰϬ ϰϳϬ ϭϮ ϲϱ ϲϬй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
THE LONG DAY’S DYING DĂƌ Ϯϰ ʹ Ɖƌ ϭϬ
tƌŝƩĞŶ ďLJ ĂǀŝĚ ůĂĐŬŵĂŶ ŝƌĞĐƚĞĚ ďLJ <ĞǀŝŶ ^ƵŵŵĞƌƐ WĞƌĨŽƌŵĞĚ ďLJ KƐĂŵĂŚ ^Ăŵŝ͕ >ŝŶĐ ,ĂƐůĞƌ͕ ZŽǁĂŶ &ƌĞĞŵĂŶ Θ :ƵƐƟŶ ĂƚĐŚĞůŽƌ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϮϭ ϭϰϵ ϲϮ ϯϯϮ ϭϰ ϲϬ ϰϬй
NOTHING EXTRAORDINARY EVER HAPPENS IN TOOWOOMBA. (EVER). DĂƌ Ϯϵ ʹ Ɖƌ ϭϬ
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ^ĂƌĂŚ ŽůůŝŶƐ ŝƌĞĐƚĞĚ ďLJ zǀŽŶŶĞ sŝƌƐŝŬ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗ 14
ϭϭϳ ϭϬϴ ϳϭ Ϯϵϲ ϭϮ ϲϬ ϰϭй
ϵϯ ϭϭϭ ϰϲ ϮϱϬ ϵ ϲϬ ϰϲй
A FITZROY ROMANCE DĂLJ ϭϴ ʹ DĂLJ Ϯϵ
‘The Baby Show’ D. Jackson
‘TIL DIVORCE
Ɖƌ ϭϯ ʹ Ɖƌ Ϯϰ Ɛ ƉĂƌƚ ŽĨ ƚŚĞ DĞůďŽƵƌŶĞ /ŶƚĞƌŶĂƟŽŶĂů ŽŵĞĚLJ &ĞƐƟǀĂů
tƌŝƩĞŶ ďLJ dĂŚŶĞĞ :ŽŶĞƐ ŝƌĞĐƚĞĚ ďLJ ďĞŶ ZŽũƚĞƌ WĞƌĨŽƌŵĞĚ ďLJ ^ĂƌĂŚ ƌĞĞŶ͕ :ĂĐŽď WƌƵĚĞŶ͕ :ŽĂŶŶĞ ZĞĚĨĞĂƌŶ͕ ĂƌŽůLJŶ ƵƚůĞƌ͕ ĞďďŝĞ 'ŽǀŽƌĐŝŶ Θ DĂĚĞůĞŝŶĞ ^ƚĞǁĂƌƚ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϭϭ ϮϬϳ ϴϰ ϰϬϮ ϭϬ ϲϬ ϲϳй
tƌŝƩĞŶ ďLJ <ŝĞƌĂŶ ĂƌƌŽůů ŝƌĞĐƚĞĚ ďLJ EŽĞů ŶĚĞƌƐŽŶ ĞƐŝŐŶ ďLJ ZĞďĞŬĂŚ ŝďďLJ ĂŶĚ ŵĞůŝĂ >ĞǀĞƌͲ ĂǀŝĚƐŽŶ WĞƌĨŽƌŵĞĚ ďLJ >ĞĞ DĐ ůĞŶĂŐŚĂŶ Θ WĂƵů DĞĐƵƌŝ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϭϳ ϭϬϴ ϳϭ Ϯϵϲ ϭϬ ϴϬ ϯϳй
“Wonderful, it tested my limits and ƉĞƌĐĞƉƟŽŶƐ͘͟ Karen Flores-‐Alfaro, Theatre Alive, on ‘Post’
POST
:ƵŶ ϭ ʹ :ƵŶ ϱ /Ŷ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ WůĂƞŽƌŵ zŽƵƚŚ dŚĞĂƚƌĞ
POWER OF LOVE
tƌŝƩĞŶ Θ ĚŝƌĞĐƚĞĚ ďLJ dŚŽŵĂƐ ĂŶŬƐ WĞƌĨŽƌŵĞĚ ďLJ dŚŽŵĂƐ ĂŶŬƐ Θ :ŽƐŚƵĂ >LJŶnjĂĂƚ
THE DESERTERS
tƌŝƩĞŶ ďLJ ZĂĐŚĞů ŽǁĞŶ ŝƌĞĐƚĞĚ ďLJ :ĂŵĞƐ ƌĂŌŝ WĞƌĨŽƌŵĞĚ ďLJ ŝŽŶ dƌĂŶ͕ >ĂĐŚůĂŶ DŽŶƚĂŐƵĞ͕ ZŚLJƐ WƵƌĚĞLJ Θ ZŽďĞƌƚ tŝŐŚƚǁŝĐŬ
M (THE CARRIAGE)
tƌŝƩĞŶ Θ ĚŝƌĞĐƚĞĚ ďLJ :ŽƐŚƵĂ ƌŽŐŐŽŶ WĞƌĨŽƌŵĞĚ ďLJ <ĂƚLJ tĂƌŶĞƌ Θ dŝŵ tŽƚŚĞƌƐƉŽŽŶ
WAKING IN ANGOLA
tƌŝƩĞŶ Θ ĚŝƌĞĐƚĞĚ ďLJ :ŽĂŶĂ WŝƌĞƐ WĞƌĨŽƌŵĞĚ ďLJ ďƌĂŚĂŵ ,ĞƌĂƐĂŶ͕ /ŵƌĂŶ ůŝ͕ DĂƩŚĞǁ 'ĞůƐƵŵŝŶŝ͕ ZĞƵďĞŶ ĂůŵĞ Θ 'ĞŽīƌĞLJ dŚŽƌƐĞŶ
SWITCH
ĞǀŝƐĞĚ͕ ĚŝƌĞĐƚĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ^ŽƉŚŝĂ ŽŶƐƚĂŶƟŶĞ Θ ^ĞĂŶ ^ĐĂŶůŽŶ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϰϭ ϲϯ ϲϵ ϭϳϯ ϲ ϲϮ ϰϳй
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CROSSED
:ƵŶ ϵ ʹ :ƵŶ ϭϵ /Ŷ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ WůĂƞŽƌŵ zŽƵƚŚ dŚĞĂƚƌĞ tƌŝƩĞŶ ďLJ ŚƌŝƐ ^ƵŵŵĞƌƐ ŝƌĞĐƚĞĚ ďLJ DĂƩ ^ĐŚŽůƚĞŶ ĞƐŝŐŶĞĚ ďLJ <Ăƚ ŚĂŶ͕ >ŝƐĂ DŝďƵƐ Θ WĞƚĞ 'ŽŽĚǁŝŶ WĞƌĨŽƌŵĞĚ ďLJ WƌĂŐ ŚĂƟĂ͕ DĂƩŚĞǁ ĂŶĚĞůĂŶĚ͕ EŝĐŬ >ŝŶĞŚĂŶ͕ :ĞŶŶLJ >ŽǀĞůů Θ /ŽĂŶ ZŽďĞƌƚƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϬϲ ϭϵϵ ϭϴϭ ϱϴϲ ϭϳ ϲϮ ϱϲй
SHE TURNED ON THE LIGHT
:ƵŶ ϮϮ ʹ :ƵŶ Ϯϲ
tƌŝƩĞŶ Θ ĚŝƌĞĐƚĞĚ ďLJ tĞŶĚLJ tŽŽĚƐŽŶ ĞƐŝŐŶĞĚ ďLJ <ĂƚŚLJ ŽƵĐŚ Θ ^ƵnjĂŶŶĞ WĂůŵĞƌ ŽƵŐĂŶ ŽͲĐƌĞĂƚĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ DĂƌŝŶĂ >ŝďĞů &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
16
ϱϰ ϱϵ ϲϱ ϭϳϴ ϱ ϲϬ ϱϵй
CONSPIRACY
“A lived experience on display – ŐĞƚ Ă ƟĐŬĞƚ͘͟ Audience member, La Mama website on ‘Revlon and Razor Wire’
SPECIAL
:ƵŶĞ ϯϬ ʹ :ƵůLJ ϭϳ
ƵŐƵƐƚ ϰ ʹ ƵŐƵƐƚ Ϯϭ
tƌŝƩĞŶ ďLJ :ŽŚŶ <ŝĞůLJ ŝƌĞĐƚĞĚ ďLJ WĞƚĂ ŽLJ WĞƌĨŽƌŵĞĚ ďLJ <ĞǀŝŶ ^ƵŵŵĞƌƐ͕ 'ůŽƌŝĂ ũĞŶƐƚĂƚ͕ WĞƚĞƌ ^ƚƌĂƞŽƌĚ͕ /ĂŶ ZŽŽŶĞLJ͕ ĞĂŶ ĂƌƚŵĞů͕ <ĞǀŝŶ <ŝĞƌŶĂŶͲDŽůůŽLJ͕ ^ƵnjLJ ĂƚŽͲ'ĂƐŚůĞƌ͕ DĂƌŝƚĂ tŝůĐŽdž Θ :ĞŶŶLJ ^ĞĞĚƐŵĂŶ
ŽŶĐĞƉƚ ďLJ ŵŵĂ sĂůĞŶƚĞ Θ DĂƌLJ ,ĞůĞŶ ^ĂƐƐŵĂŶ ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ >ŝnj :ŽŶĞƐ Θ DĂƌLJ ,ĞůĞŶ ^ĂƐƐŵĂŶ ŝƌĞĐƚĞĚ ďLJ ŵŵĂ sĂůĞŶƚĞ ĞƐŝŐŶ ďLJ <ĂƚĞ ĂǀŝƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
ϮϱϬ ϯϴϲ ϭϮϬ ϳϱϲ ϭϰ ϵϬй
ϭϭϵ ϮϮϬ ϭϯϭ ϰϳϬ ϭϰ ϱϮй
LA REJECTAMENTA
REVLON AND RAZOR WIRE ƵŐƵƐƚ Ϯϰ ʹ ƵŐƵƐƚ Ϯϴ
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ <ĞƌƌLJ dƵĐŬĞƌ ŝƌĞĐƚĞĚ ďLJ ŚƌŝƐ ^ŝŶĐůĂŝƌ ĞƐŝŐŶ ďLJ ƌLJĐĞ ďůĞ DƵƐŝĐ ďLJ ŵŵĂ dĞŶ LJĐŬ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
ϭϮϲ ϴϴ ϳϮ Ϯϴϲ ϱ ϴϴй
:ƵůLJ ϭϵ ʹ :ƵůLJ ϯϭ
THE GREAT JOURNEY
tƌŝƩĞŶ ĂŶĚ ƉĞƌĨŽƌŵĞĚ ďLJ ^ƚƵĂƌƚ Kƌƌ ŝƌĞĐƚĞĚ ďLJ /ŶŐƌŝĚ sŽŽƌĞŶĚƚ Θ ĂŶŝĞů <ŽĞƌŶĞƌ DƵƐŝĐ ďLJ :ĂŵĞƐ ŶŶĂƵĚ dŝƐƐƵ ŚŽƌĞŽŐƌĂƉŚLJ ďLJ 'ĞŽƌŐĞ &ŝůĞǀ ĞƐŝŐŶĞĚ ďLJ DĂƩŚĞǁ ĂƌďĞƌ Θ dĂŶũĂ ĞĞƌ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
Ϯϭϰ ϭϮϮ ϳϭ ϰϬϳ ϭϮ ϰϴй
͞Kƌƌ͛Ɛ ĞǀŽĐĂƟǀĞ ůĂŶŐƵĂŐĞ ŝƐ ŝůůƵŵŝŶĂƚĞĚ ďLJ ƐƚƵŶŶŝŶŐ ĂƚŚůĞƟĐŝƐŵ͘͟ Cameron Woodhead, The Age, on ‘La Rejectamenta’
^ĞƉƚĞŵďĞƌ Ϯ ʹ ^ĞƉƚĞŵďĞƌ ϭϬ WƌĞƐĞŶƚĞĚ ŝŶ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ &ŽŶĚĂnjŝŽŶĞ ŝĚĂ Θ ƚŚĞ /ƚĂůŝĂŶ /ŶƐƟƚƵƚĞ ŽĨ ƵůƚƵƌĞ DĞůďŽƵƌŶĞ
L.Jones and MH.Sassman in ‘Special’ image: M.Horwell ͞ ƚƌĂŶƐƉŽƌƚĂƟǀĞ ĞdžƉĞƌŝĞŶĐĞ ĨŽƌ Ă ƚŚĞĂƚƌĞ ƐĂǀǀLJ ĂƵĚŝĞŶĐĞ͘͟ Robert Reid, TheatreAlive on ‘Special’
ŝƌĞĐƚĞĚ ďLJ >ŽƌĞŶnjŽ ĂƐƐŽƩŽ WĞƌĨŽƌŵĞĚ ďLJ >ŽƌĞŶnjŽ ĂƐƐŽƩŽ͕ ZŽďĞƌƚŽ DĂĐĐŚŝ Θ DĂƌĐŽ ŽƉƉĞůůŽ ĞƐŝŐŶ ďLJ WĂŽůŝŶŽ >ŝďƌĂůĂƚŽ͕ ZĞŶnjŽ ^ŝŶĚŽĐĂ Θ ŶƚŽŶŝĂ DƵŶĂƌĞƫ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
ϱϰ ϵϭ ϰϳ ϭϵϮ ϳ ϰϲй
17
LA MAMA GARDEN PROGRAM
dŚĞ ƉƌŽŐƌĂŵ ŶƵƌƚƵƌŝŶŐ ŶĞǁ ǁŽƌŬƐ ƚŚƌŽƵŐŚ ĞĂĐŚ ƐƚĂŐĞ ŽĨ ĚĞǀĞůŽƉŵĞŶƚ
AT THE SANS HOTEL
^ĞƉƚĞŵďĞƌ ϭϰ ʹ KĐƚŽďĞƌ Ϯ WƌĞƐĞŶƚĞĚ ĂƐ ƉĂƌƚ ŽĨ ƚŚĞ Melbourne Fringe &ĞƐƟǀĂů
“Is it original, funny, smart, ƵŶĐŽŵĨŽƌƚĂďůĞ ĂŶĚ ďĞĂƵƟĨƵů͍ ďƐŽůƵƚĞůLJ͘͟ ůůLJ sĂƌƌĞŶƟ͕ dŚĞ ŐĞ͕ ŽŶ ‘At the Sans Hotel’
ϭϴϰ Ϯϭϵ ϭϮϯ ϱϮϲ ϭϲ ϳϯй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
EŽǀĞŵďĞƌ ϯϬ ʹ ĞĐĞŵďĞƌ ϭϴ
tƌŝƩĞŶ ďLJ DŝĐŚĂĞů ,ĞĂůLJ ŝƌĞĐƚĞĚ ďLJ ^ŬLJĞ ^ƚĂƵĚĞ WĞƌĨŽƌŵĞĚ ďLJ 'ĞƌĂŝŶƚ ,ŝůů͕ :ŽŚĂŶŶĞ &ŽƐƐŚĞŝŵ͕ ŽƌĂŶ ĂďŝĐ͕ ůĂƌĞ ĂůůŽǁ͕ ZĞŶĂĞ ^ŚĂĚůĞƌ Θ ŽůŝŶ ƌĂŝŐ
18
ϭϭϱ ϰϲϴ ϭϱ ϱϮй
FITTINGS
tƌŝƩĞŶ ďLJ ůĞdžĂŶĚƌĂ ŽůůŝĞƌ ŝƌĞĐƚĞĚ ďLJ WĞƚƌĂ <ĂůŝǀĞ WĞƌĨŽƌŵĞĚ ďLJ ^ĂƌĂŚ ŽƌŐ͕ ^ĂƌĂŚ KŐĚĞŶ͕ >ĞƌŽLJ WĂƌƐŽŶƐ͕ ĞůŝŶĚĂ ŽƌƚŽŶĞ͕ 'ĂƌĞƚŚ zƵĞŶ͕ 'ůLJŶŝƐ ŶŐĞůů
FLIGHT
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
ON WATER
:ĂŶ ϭϱ
ŝƌĞĐƚĞĚ Θ ƉĞƌĨŽƌŵĞĚ EŝĐŽůĂ 'ƵŶŶ ĞƐŝŐŶĞĚ ďLJ EŝĐŽůĂ 'ƵŶŶ͕ 'ǁĞŶĚŽůLJŶĂ ,ŽůŵďĞƌŐͲ'ŝůĐŚƌŝƐƚ͕ ZĞďĞĐĐĂ ƚĐŚĞůů Θ >ƵŬĞ WĂƵůĚŝŶŐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
PLAYREADINGS
ϮϴϬ ϳϯ
Ϯϰ Ϭ ϭϴ ϰϮ ϭ ϰϬ ϭϬϱй
DRYCLEANING THE SHROUD OF TURIN :ĂŶ ϯϬ
͚ ƚ ƚŚĞ ^ĂŶƐ ,ŽƚĞů͛ ŝŵĂŐĞ͗ d͘^ĐŽƩ
tƌŝƩĞŶ ďLJ ĂƌƌLJ >ŽǁĞ ŝƌĞĐƚĞĚ ďLJ <LJŵ ĂǀŝĞƐ WĞƌĨŽƌŵĞĚ ďLJ ŚƌŝƐ 'ĂīŶĞLJ͕ ŚƌŝƐƚŽƉŚĞƌ WĞŶĚĞƌ͕ ^ƚĞĨĂŶ dĂLJůŽƌ͕ EŝĐŚŽůĂƐ KƉŽůƐŬŝ͕ <ĞƌƌŝĞ dŽƌŝ͕ ĂƌďƌĂ YƵŝĐŬƐĂŶĚ͕ DĂƌĐ KƉŝƚnj Θ <ĂLJĞ ^ĞƌĂ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ğď ϭϵ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
tƌŝƩĞŶ ďLJ &ŝŽŶĂ tŚĞĞůĞƌ ŝƌĞĐƚĞĚ ďLJ KƐĐĂƌ >ŽƉĞnj &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϴ Ϭ Ϯ ϭϬ ϭ Ϯϵ ϯϰй
WHAT GOES AROUND
DĂƌ ϱ tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ZƵƚŚ ĂŝƌĚ ŝƌĞĐƚĞĚ ďLJ <ĂƚĞ <ĂŶƚŽƌ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϮ Ϭ Ϭ ϯϮ ϭ ϲϬ ϱϯй
ϭϮ ϴ ϯ Ϯϯ ϭ ϰϬ ϱϴй
19
PLAYREADINGS cont. AFTER, DURING, BEFORE
SCHISM
:ƵŶĞ ϰ
tƌŝƩĞŶ ďLJ :ĂŶĞ DŝůůĞƌ ŝƌĞĐƚĞĚ ďLJ ĞŶŐ KŚ WĞƌĨŽƌŵĞĚ ďLJ ĂǀŝĚ <ĂŵďŽƵƌŝƐ͕ >ŝůLJ ,Ăůů͕ ŚƌŝƐ ƌŽĂĚƐƚŽĐŬ͕ DĂƌŶŝĞ 'ŝďƐŽŶ͕ 'ůĞŶŶ ǀĂŶ KŽƐƚĞƌŽŵ
tƌŝƩĞŶ ďLJ DĞůĂŶŝĞ ĂŝŶďƌŝĚŐĞ WĞƌĨŽƌŵĞĚ ďLJ WŝƉƉĂ ĂŝŶďƌŝĚŐĞ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϮ Ϭ ϰ Ϯϲ ϭ ϯϬ ϴϳй
LAST SONGS :ƵŶĞ ϯ
tƌŝƩĞŶ ďLJ <ĂƚĞ K͛ ƌŝĞŶ ŝƌĞĐƚĞĚ ďLJ >ůŽLJĚ :ŽŶĞƐ WĞƌĨŽƌŵĞĚ ďLJ 'ĞƌŵĂŝŶĞ tĂƫƐ Θ ĂƌŽůĞ WĂƚƵůůŽ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
20
ϰ ϴ ϭϰ Ϯϲ ϭ Ϯϴ ϵϯй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
STARS OF TRACK AND FIELD
THE LINE
tƌŝƩĞŶ ďLJ ŵĂŶĚĂ DŝŚĂůĂŬŽƉŽƵůŽƐ ŝƌĞĐƚĞĚ ďLJ ^ŚĂŶŶŽŶ tŽŽůůĂƌĚ WĞƌĨŽƌŵĞĚ ďLJ ZŽďLJŶŶĞ <ĞůůLJ͕ WŚŝů ZŽďĞƌƚƐ͕ DĂĚĞůĞŝŶĞ ^ƚĞǁĂƌƚ Θ LJůĂŶ ŽLJĚ
tƌŝƩĞŶ ďLJ <ŝĞƌĂŶ ĂƌƌŽůů WĞƌĨŽƌŵĞĚ ďLJ <ĂƚŚLJ >ĞƉĂŶͲtĂůŬĞƌ͕ DĂƌŬ >ĂǁƌĞŶĐĞ͕ Žŵ WŚĞůĂŶ͕ >ĞĞ DĐ ůĞŶĂŐŚĂŶ͕ 'ƌĂŚĂŵ DƵƌƌĂLJ͕ ^ƚĞƉŚĂŶŝĞ >ĞĞ͕ ĂƌůLJ :ĂĐŽďƐ͕ >Ğdž ZŽƐƐ Θ 'ůĞŶĚĂ DĂLJ
:ƵůLJ Ϯϯ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
DĂƌ ϭϮ
ϭϭ Ϭ ϳ ϭϴ ϭ Ϯϴ ϲϰй
OPEN FOR INSPECTION
:ƵůLJ Ϯ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϮ Ϭ Ϭ ϯϮ ϭ Ϯϵ ϭϭϬй
SPEAK ENGLISH OR DIE
tƌŝƩĞŶ ďLJ 'ĞŽī WĂŝŶĞ Θ DĂƩ YƵĂƌƚĞƌŵĂŝŶĞ ŝƌĞĐƚĞĚ ďLJ 'ĞŽī WĂŝŶĞ WĞƌĨŽƌŵĞĚ ďLJ 'ĞŶĞǀŝĞǀĞ DŽƌƌŝƐ͕ &ůĞƵƌ DƵƌƉŚLJ͕ ZŽƐƐ ĂŶŝĞůƐ͕ DĂƩ WĂƌŬŝŶƐŽŶ͕ 'ĞŽī WĂŝŶĞ Θ :ĂƐŽŶ 'ĞĂƌLJ
tƌŝƩĞŶ ďLJ :ĞƌĞŵLJ :ŽŚŶƐŽŶ ŝƌĞĐƚĞĚ ďLJ ^ĂƌĂ dĂďŝƚŚĂ ĂƚĐŚƉŽůĞ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
Ϯϰ Ϭ ϱ Ϯϵ ϭ Ϯϵ ϭϬϬй
^ĞƉƚĞŵďĞƌ ϭϳ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
Ϯϭ Ϭ ϭ ϮϮ ϭ ϯϱ ϲϯй
KĐƚŽďĞƌ ϴ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϭ Ϭ ϭ ϭϮ ϭ Ϯϵ ϰϭй
MOTHERS DAY
ƵŐƵƐƚ Ϯϳ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ tƌŝƩĞŶ ďLJ ŝůů DĂƌƐŚĂůů ŝƌĞĐƚĞĚ ďLJ ,ĞůĞŶ DĐ&ĂƌůĂŶĞ WĞƌĨŽƌŵĞĚ ďLJ ƌĞŶĚĂ WĂůŵĞƌ͕ >ĂƵƌĂ WŝŬĞ͕ ,ĞůĞŶ DĐ&ĂƌůĂŶĞ͕ DĂƌĐ >ĂǁƌĞŶĐĞ͕ :ĂĐŽď KďĞƌŵĂŶ Θ <ŝĞƌĂŶ ĂƌƌŽůů
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϱ Ϭ Ϭ ϭϱ ϭ Ϯϵ ϱϮй
21
EXPLORATIONS PLAYREADINGS cont. MISS HEWETT’S SHENANIGANS
bOOZe cITy
ĞĐĞŵďĞƌ ϭϳ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
KĐƚŽďĞƌ ϯ͕ ϰ Θ ϱ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
LEERING AT LEER
how to Birds.
tƌŝƩĞŶ ďLJ ŽƌŽƚŚLJ ,ĞǁĞƩ ŝƌĞĐƚĞĚ ďLJ ^ƵnjĂŶŶĞ ŚĂƵŶĚLJ WĞƌĨŽƌŵĞĚ ďLJ WĞƌŝůŽƵƐ WƌŽĚƵĐƟŽŶƐ
tƌŝƩĞŶ ďLJ DĂůĐŽůŵ ,ŝůů WĞƌĨŽƌŵĞĚ ďLJ ĂǀŝĚ 'ĂƌůŝĐŬ͕ KĚĞƩĞ :ŽĂŶŶŝĚŝƐ͕ ZŝĐŚĂƌĚ <ĞĞŶĂŶ͕ &ƌĞLJĂ WƌĂŐƚ͕ ůůŝŽƚ LJŶŐůĞƌ
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ůŶĂnj ^ŚĞƐŚŐĞůĂŶŝ ǁŝƚŚ ƌŝĂŶ >ŽǁĞ ŝƌĞĐƚĞĚ ďLJ >ůŽLJĚ :ŽŶĞƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
tƌŝƩĞŶ Θ ĚŝƌĞĐƚĞĚ ďLJ <ĞǀŝŶ < >Ž WĞƌĨŽƌŵĞĚ ďLJ <ĞǀŝŶ >Ž͕ DĞƌŝ ,ŝĞƚĂůĂ Θ &ŝŶŶ DƵůŚĂůů ĞƐŝŐŶ ďLJ DĞƌŝ ,ŝĞƚĂůĂ >ŝǀĞ ƐŽƵŶĚ ďLJ dƌŽLJ EĂƵŵŽī
ĞĐĞŵďĞƌ ϭϬ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ϭϱ Ϭ Ϭ ϭϱ ϭ Ϯϵ ϱϮй
ϮϮ Ϭ Ϭ ϮϮ ϭ Ϯϵ ϳϲй
WALKING MARK ROTHKO
PATIENT TWELVE
KĐƚŽďĞƌ ϲ͕ ϳ Θ ϴ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ĞĐĞŵďĞƌ ϯ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ĚĂŵ :͘ ͘ ĂƐƐ ĞƐŝŐŶĞĚ ďLJ :ĞŶŶŝĨĞƌ dƌĂŶ
tƌŝƩĞŶ Θ ĚŝƌĞĐƚĞĚ ďLJ <ĞǀŝŶ ^ƵŵŵĞƌƐ WĞƌĨŽƌŵĞĚ ďLJ ŚƌŝƐ ƵŶǁŽƌƚŚ͕ :ĞŶŶLJ ^ĞĞĚƐŵĂŶ͕ /ĂŶ ZŽŽŶĞLJ͕ dŝŵ WŽƩĞƌ Θ WĞƚĞƌ ^ƚƌĂƞŽƌĚ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
Ϯϵ Ϯ ϭϳ ϰϴ ϯ Ϯϲ ϲϮй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϳ Ϭ ϭ ϴ ϭ Ϯϵ Ϯϴй
ϯϴ Ϭ ϮϬ ϱϴ ϯ Ϯϲ ϲϳй
KĐƚŽďĞƌ ϵ͕ ϭϬ Θ ϭϭ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϱϮ ϭϬ ϭϬ ϳϮ ϯ Ϯϲ ϴϯй
THE WAITING
KĐƚŽďĞƌ ϭϮ͕ ϭϯ Θ ϭϰ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ĚǁŝŶĂ tƌĞŶ Θ ƌŝŐŝĚ :ĂĐŬƐŽŶ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϱ Ϭ Ϯϳ ϯϮ ϯ Ϯϲ ϯϳй
S.Welsh in ‘ The Grand Inquisitor’
22
23
EXPLORATIONS cont. CYCLO
MORBID PORN
WHAT IS THE QUESTION?
BUTTON
KĐƚŽďĞƌ ϭϱ͕ ϭϲ Θ ϭϳ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
KĐƚŽďĞƌ Ϯϭ͕ ϮϮ Θ Ϯϯ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
KĐƚŽďĞƌ Ϯϳ͕ Ϯϴ Θ Ϯϵ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
EŽǀĞŵďĞƌ ϰ͕ ϱ Θ ϲ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ŵĂŶĚĂ ƌŶŽƩ Θ ůŝĐŝĂ ĞŶŶͲ>ĂǁůĞƌ ĞƐŝŐŶ ďLJ ĂĐŚ ĞŶŶͲ>ĂǁůĞƌ
tƌŝƩĞŶ ďLJ dĂŵĂƌĂ ZĞǁƐĞ WĞƌĨŽƌŵĞĚ ďLJ <ĞůůLJ ZLJĂůů Θ dĂŵĂƌĂ ZĞǁƐĞ
ĞǀŝƐĞĚ͕ ĚŝƌĞĐƚĞĚ Θ ĚĞƐŝŐŶĞĚ ďLJ >ůŽLJĚ :ŽŶĞƐ WĞƌĨŽƌŵĞĚ ďLJ :Ž ŶŶĞ ƌŵƐƚƌŽŶŐ͕ WŝƉƉĂ ĂŝŶďƌŝĚŐĞ͕ :ĞƐƐŝĐĂ ŚĞƌƌLJ͕ ŽƌLJ ŽƌďĞƩ͕ dŝŵ &ĞƌƌŝƐ͕ 'ƌĞŐ &ƌLJĞƌ͕ DĂƵƌĞĞŶ ,ĂƌƚůĞLJ͕ :ƵƐƟŶĞ :ĂŶƐnj͕ >ŝnj :ŽŶĞƐ͕ ŚƌŝƐ DŽůLJŶĞƵdž͕ WĞƚĞƌ DƵƌƉŚLJ͕ ůŶĂnj ^ŚĞƐŚŐĞůĂŶŝ͕ ZĂLJŵŽŶĚ dƌŝŐŐƐ͕ 'ĞƌŵĂŝŶĞ tĂƫƐ Θ ^ĐŽƩ tĞůƐŚ
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ĂƌŽůĞ WĂƚƵůůŽ Θ :ĂŶĞ ĂLJůLJ ŽŶƐƵůƚĂŶƚ ĚƌĂŵĂƚƵƌŐͬĚŝƌĞĐƚŽƌ͗ DĞůĂŶŝĞ ĞĚĚŝĞ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϱϱ Ϭ ϳ ϲϮ ϯ Ϯϲ ϳϮй
ϲϯ Ϭ Ϯϭ ϴϰ ϯ Ϯϲ ϵϳй
HELLO, MY NAME IS
DeStroyed
KĐƚŽďĞƌ ϭϴ͕ ϭϵ Θ ϮϬ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ ƌĞĂƚĞĚ ďLJ ^ƵnjĂŶŶĞ ŚĂƵŶĚLJ Θ :ŝůůŝĂŶ DƵƌƌĂLJ ;ĨƌŽŵ ƚŚĞ ǁŽƌŬ ŽĨ ^ŝŵŽŶĞ ĚĞ ĞĂƵǀŽŝƌͿ ŝƌĞĐƚĞĚ ďLJ ^ƵnjĂŶŶĞ ŚĂƵŶĚLJ WĞƌĨŽƌŵĞĚ ďLJ :ŝůůŝĂŶ DƵƌƌĂLJ >ŝŐŚƟŶŐ ďLJ <ĂƟĞ ^ĨĞƚŬŝĚŝƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
24
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϲ Ϭ ϭϱ ϱϭ ϯ Ϯϲ ϱϴй
͚WƌŽũĞĐƚ ͞y͟ y͘ ĞĞƐůĞLJ
KĐƚŽďĞƌ Ϯϰ͕ Ϯϱ Θ Ϯϲ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ ŽŶĐĞŝǀĞĚ Θ ĚŝƌĞĐƚĞĚ ďLJ EŝĐŽůĂ 'ƵŶŶ ƌĞĂƚĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ĂƌůĞĞ DĞůůŽǁ Θ EŝĐŽůĂ 'ƵŶŶ ĞƐŝŐŶĞĚ ďLJ ^ĂŶƐ ,ŽƚĞů &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϲϯ Ϭ Ϯϭ ϴϰ ϯ Ϯϲ ϵϳй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
Ϯϵ ϱ ϭϱ ϰϵ ϯ Ϯϵ ϱϬй
PROJECT X
EŽǀĞŵďĞƌ ϭ͕ Ϯ Θ ϯ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϲϭ Ϭ ϮϬ ϴϭ ϯ Ϯϵ ϴϰй
THE OTHER
EŽǀĞŵďĞƌ ϳ͕ ϴ Θ ϵ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ yĂŶƚŚĞ ĞĞƐůĞLJ
WĞƌĨŽƌŵĞĚ ďLJ ĂƌŽůLJŶ ŽŶŶŽƌƐ͕ ƵƌͲĞ ĂƌĂ͕ dŽŵ &ƌLJĞƌ͕ dŽŶLJ ,ŝĐŬƐ͕ ŶŝƚĂ ,ƵƐƚĂƐ͕ ĚƌŝĂŶ ^ŚĞƌƌŝī͕ ĂǀŝĚ dŽůůĞLJ͕ WŚŝů dƌĞůŽĂƌ Θ ZĞŶ tĂůƚĞƌƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϯ ϮϮ ϭϰ ϲϵ ϯ Ϯϲ ϴϬй
ϰϳ Ϭ ϭϱ ϲϮ ϯ Ϯϵ ϲϰй
25
EXPLORATIONS cont. DINGO’S BABY
EŽǀĞŵďĞƌ ϭϬ͕ ϭϭ Θ ϭϮ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ ŝƌĞĐƚĞĚ ďLJ ůůĂ &ŝůĂƌ ƌƌĂŶŐĞŵĞŶƚƐ ďLJ dĂŶLJĂ ,ĞŝŶĞ Θ ůůĂ &ŝůĂƌ >LJƌŝĐƐ Θ ƚĞdžƚ ďLJ EĞŝů ZLJĂŶ͕ ^ĂƌĂŚ ĞƌƌLJ Θ ůůĂ &ŝůĂƌ WĞƌĨŽƌŵĞĚ ďLJ :ƵƐƟŶ 'ƌĂŶƚ͕ EĞŝů ZLJĂŶ͕ dĂŶLJĂ ,ĞŝŶĞ͕ DĂƌLJ 'ĞŶƟůĞ͕ :ŽĚLJ ĞĞƚŽŶ͕ ZŽďďŝĞ dŚŽƌƉĞ͕ >ŝŶĚĂ ŽŽŬƐŽŶ͕ ^ĂƌĂŚ ĞƌƌLJ Θ ĂƌůŽƐ ŶĚƌĞƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϴϵ Ϭ ϴ ϵϳ ϯ ϯϱ ϴϯй
SANKOFA
KĐƚŽďĞƌ ϭϬ Θ ϭϭ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ŚŽƌĞŽŐƌĂƉŚĞĚ Θ ĚĞǀŝƐĞĚ ďLJ ƉƉŝĂŚ ŶŶĂŶ Θ ƐĂŶƟ ĂŶĐĞ dŚĞĂƚƌĞ WĞƌĨŽƌŵĞĚ ďLJ ƉƉŝĂŚ ŶŶĂŶ͕ :ƵůŝƵƐ ^ĂĐŬĞLJ͕ ĚǁĂƌĚ ^ŚĂďďĂ ƐŚƵŶ͕ <ƵƵŬƵĂ ĐƋƵĂŚ͕ ĞůŝŵĚĂ ŶŶĂŶ͕ dĂŵƐŝŶ &ƌĂŶŬůŝŶ͕ ĂƌůĂ ĂƌďŝĞƌŝ͕ ^ĞƚŚ zĂǁ ELJĂƌŬŽ͕ ZĂŶƐĨŽƌĚ ĂŶŝŶ͕ <ĂƚŚůĞĞŶ 'ŽŶnjĂůĞnj Θ ĂůĞ 'ŽƌĮĞŶŬĞů &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
26
ϵϰ ϱ Ϯϭ ϭϮϬ Ϯ ϲϬ ϭϬϬй
A READING LIST FOR THE OUTBACK HOUSEWIFE
STRING THING
EŽǀĞŵďĞƌ ϭϯ͕ ϭϰ Θ ϭϱ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
tƌŝƩĞŶ ďLJ ŚƌŝƐƚŽƉŚĞƌ ƌLJĂŶƚ ŝƌĞĐƚĞĚ ďLJ ŚƌŝƐƚŽƉŚĞƌ ƌLJĂŶƚ Θ ŵŵĂ WĂůĂĐŬŝĐ WĞƌĨŽƌŵĞĚ ďLJ >ŝůŝ ŶĚƌĞǁƐ͕ <ƌŝƐƟŶĂ ĞŶƚŽŶ͕ <ĂŝƚůLJŶ ůĂƌĞ Θ ŚƌŝƐƟŶĞ ,ŽĞŐŚ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϴϱ ϭ ϴ ϵϰ ϯ Ϯϵ ϵϳй
THE UNCONDITIONED HEART
ĞǀŝƐĞĚ Θ ĚŝƌĞĐƚĞĚ ďLJ ^ƵnjĞ ^ŵŝƚŚ ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ DĞůĂŶŝĞ ,ĂŵŝůƚŽŶ Θ EŝŬŬŝͲ&ĂLJ ĂdžƚĞƌ sŝĚĞŽ ĚĞƐŝŐŶ ďLJ DŝĐŚĂĞů ĂƌŵŽĚLJ &Ƶůů͗ ϱϵ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϭ ϵϬ ϯ Ϯϵ ϵϯй
EŽǀĞŵďĞƌ Ϯϱ͕ Ϯϲ Θ Ϯϳ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ĞǀŝƐĞĚ ďLJ ŚƌŝƐƚLJ &ůĂǁƐ Θ >ƵŬĞ K͛ ŽŶŶŽƌ ŝƌĞĐƚĞĚ ďLJ ŶŶŝ ĂǀĞLJ WĞƌĨŽƌŵĞĚ ďLJ ŚƌŝƐƚLJ &ůĂǁƐ
tƌŝƩĞŶ ďLJ ZƵƚŚ ĂŝƌĚ ŝƌĞĐƚĞĚ ďLJ <ĂƚĞ <ĂŶƚŽƌ WĞƌĨŽƌŵĞĚ ďLJ ZƵƚŚ ĂŝƌĚ Θ ƌŽŶǁĞŶ <ĂŵĂƐnj
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϱϵ Ϭ ϭϴ ϳϳ ϯ Ϯϵ ϴϬй
LETTERS TO EVIE
EŽǀĞŵďĞƌ ϭϲ͕ ϭϳ Θ ϭϴ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
Ϭ
ROUND THE CORNER
EŽǀĞŵďĞƌ ϭϵ͕ ϮϬ Θ Ϯϭ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ϳϳ ϯ ϭϱ ϵϱ ϯ Ϯϵ ϵϴй
KIDS STUFF
EŽǀĞŵďĞƌ ϮϮ͕ Ϯϯ Θ Ϯϰ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ĞĐĞŵďĞƌ ϱ Θ ϲ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ
ĚĂƉƚĞĚ Θ ĚĞǀŝƐĞĚ ďLJ WĞŶŶLJ 'ƵƩĞƌŝĚŐĞ WĞƌĨŽƌŵĞĚ ďLJ 'ƌĂĞŵĞ ZƵƐƐĞůů͕ ZĂĐŚĂĞů dŝĚĚ Θ :ĂŵĞƐ ĂŵĞƌŽŶ ^ŽƵŶĚ ĚĞƐŝŐŶ ďLJ ĚĂŵ 'ŽŽĚĞƌŚĂŵ
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ƐƚƵĚĞŶƚƐ ĨƌŽŵ zĂƌƌĂǀŝůůĞ tĞƐƚ WƌŝŵĂƌLJ ^ĐŚŽŽů
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϱϴ Ϭ ϭϭ ϲϵ ϯ Ϯϵ ϳϭй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϬϮ Ϭ ϵϴ ϮϬϬ Ϯ ϴϬ ϭϮϱй
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LA MAMA LEARNING PROGRAM
dŚĞ ƉƌŽŐƌĂŵ ĨŽƌ ƐĞĐŽŶĚĂƌLJ ĂŶĚ ƚĞƌƟĂƌLJ ƐƚƵĚĞŶƚƐ ĂƐ ǁĞůů ĂƐ ƚŚĞ ĐƵƌŝŽƵƐ ƉƵďůŝĐ
THE MAIDS
PRESENTATIONS LLOYD BECKMANN, BEEKEEPER …WAITING FOR GODOT Ɖƌ Ϯϳ ʹ DĂLJ ϭϱ Selected as part of the VCE Drama Playlist ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ dŝŵ ^Ɵƚnj ĞǀŝƐĞĚ Θ ĚŝƌĞĐƚĞĚ ďLJ <ĞůůLJ ^ŽŵĞƐ ĞƐŝŐŶ ďLJ ƌŽŶǁLJŶ WƌŝŶŐůĞ͕ >ŝnj ^ƚƌŝŶŐĞƌ͕ EĞĚĚǁĞůůLJŶ :ŽŶĞƐ Θ :ŽĚŝĞ ŚƌĞŶƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϮϵ ϲϱϲ ϴϯ ϵϲϴ Ϯϯ ϰϱ ϵϰй
SIX CHARACTERS IN SEARCH OF AN AUTHOR DĂLJ ϭϭ ʹ DĂLJ Ϯϵ Selected as part of the VCE Drama Playlist
ĂƐĞĚ ŽŶ ƚŚĞ ŽƌŝŐŝŶĂů ǁŽƌŬ ďLJ >ƵŝŐŝ WŝƌĂŶĚĞůůŽ ƌĞĂƚĞĚ ďLJ >ĂƵƌĞŶĐĞ ^ƚƌĂŶŐŝŽ WĞƌĨŽƌŵĞĚ ďLJ ĚĂŵ ĂƐƐ͕ ĂƌŽůŝŶĞ >ĞĞ͕ ĞĂŶ ĂƌƚŵĞů͕ ĂǀŝĚ WŝĚĚ͕ <ĂƌĞŶ ĞƌŐĞƌ͕ EĂƚĂƐŚĂ :ĂĐŽďƐ͕ 'ĂďƌŝĞů WĂƌƟŶŐƚŽŶ͕ ĂƌŵĞůŝŶĂ ŝ 'ƵŐůŝĞůŵŽ͕ ůŝĐŝĂ ĞŶŶͲ>ĂǁůĞƌ Θ ůĂƌĞ ĂůůŽǁ ĞƐŝŐŶ ďLJ ĂLJŶĂ DŽƌƌŝƐƐĞLJ͕ ZĞďĞĐĐĂ ƚĐŚĞůů Θ ZŽŐĞƌ ůƐŽƉ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ ƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
28
ϭϰϯ ϲϳϰ ϭϲϯ ϵϴϬ ϮϮ ϰϱ ϵϵй
:ƵůLJ ϮϬ ʹ ƵŐƵƐƚ ϳ
tƌŝƩĞŶ ďLJ ^ĂŵƵĞů ĞĐŬĞƩ ŝƌĞĐƚĞĚ ďLJ >ĂƵƌĞŶĐĞ ^ƚƌĂŶŐŝŽ WĞƌĨŽƌŵĞĚ ďLJ :ŽŚŶ &ůĂƵƐ͕ ƌƵĐĞ <Ğƌƌ͕ WĞƚĞƌ &ŝŶůĂLJ Θ ůĞdž WŝŶĚĞƌ ĞƐŝŐŶĞĚ ďLJ DĞŐ tŚŝƚĞ͕ ZŝĐŚĂƌĚ sĂďƌĞ ĂŶĚ ZŽŐĞƌ ůƐŽƉ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϵϵ ϲϱϭ ϲϮ ϴϭϮ ϮϬ ϯϳ ϭϭϬй
͞tĞ ǁĞƌĞ ŝŶǀŝƚĞĚ ƚŽ ŝŶǀĞƐƟŐĂƚĞ ŝƚ ĨƌŽŵ the inside, rather than dissect it as a ƉƌĞƐĞƌǀĞĚ ĨŽƐƐŝů ŽĨ ĂŶŽƚŚĞƌ ĞƌĂ͘͟ John Bailey, Real Time, on ‘Six characters in search of an author’
ƵŐƵƐƚ ϭϬ ʹ ƵŐƵƐƚ Ϯϴ ^ĞůĞĐƚĞĚ ĂƐ ƉĂƌƚ ŽĨ ƚŚĞ s ƌĂŵĂ WůĂLJůŝƐƚ
tƌŝƩĞŶ ďLJ :ĞĂŶ 'ĞŶĞƚ dƌĂŶƐůĂƚĞĚ ďLJ DĂƌƟŶ ƌŝŵƉ ŝƌĞĐƚĞĚ ďLJ ^ƵnjĂŶŶĞ ŚĂƵŶĚLJ ĞƐŝŐŶ ďLJ >ŝƐĂ ,ƂďĂƌƚŶĞƌ WĞƌĨŽƌŵĞĚ ďLJ DĂƩ ƌŽƐďLJ͕ ĞŶ ZŽŐĂŶ Θ zƵŵŝ hŵŝƵŵĂƌĞ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϴϯ ϴϰϭ ϭϬϬ ϭϭϮϰ Ϯϭ ϰϬ ϭϯϰй
THE WAY OUT
KĐƚŽďĞƌ Ϯϰ Θ Ϯϱ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ďLJ ƉĂƌƟĐŝƉĂŶƚƐ ŽĨ ƌƚƐ sŝĐƚŽƌŝĂ͛Ɛ džƚĞŶĚĞĚ ^ĐŚŽŽů ZĞƐŝĚĞŶĐŝĞƐ ƉƌŽŐƌĂŵ &ĂĐŝůŝƚĂƚĞĚ ďLJ ĂƌƌLJ ŝĐŬŝŶƐ Θ ĂŝƚůŝŶ ƵůůĂƌĚ ĞƐŝŐŶ DĞŶƚŽƌƐ͗ DĂƐĂ 'ƌĂĐĂŶŝĐ͕ >ŝƐĂ ,ƂďĂƌƚŶĞƌ Θ ZĞďĞĐĐĂ ƚĐŚĞůů WĞƌĨŽƌŵĞĚ ďLJ ƐƚƵĚĞŶƚƐ ĨƌŽŵ ^LJĚŶĞLJ ZŽĂĚ ŽŵŵƵŶŝƚLJ ^ĐŚŽŽů
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ ƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
M.Crosby and B.Rogan in ‘The Maids’ image: J.Calleri “The actors use every inch of the cramped ƐƉĂĐĞ Ăƚ >Ă DĂŵĂ͕ ĐƌĞĂƟŶŐ Ă ĚĞƐƉĞƌĂƚĞ trammelled dynamism. It’s a mercilessly ĞŶƚĞƌƚĂŝŶŝŶŐ͕ ĐƌŽƐƐͲĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ ƚŚĂƚ ŬĞĞƉƐ ƚŚĞ ƉůĂLJ͛Ɛ ĐŽŶƚƌĂĚŝĐƟŽŶƐ ĂůŽŌ͘ EŽƚ ƚŽ ďĞ ŵŝƐƐĞĚ͘͟ Cameron Woodhead, The Age on ‘ The Maids’
Ϭ Ϭ ϭϮϵ ϭϮϵ Ϯ ϴϬ ϴϭй
29
LA MAMA LEARNING PROGRAM cont. WORKSHOPS INFORMATION SESSIONS/TOURS :ĂŶ Ͳ ĞĐ
sĞŶƵĞ͗ >Ă DĂŵĂ dŚĞĂƚƌĞ Θ ŽƵƌƚŚŽƵƐĞ EƵŵďĞƌ ŽĨ ǁŽƌŬƐŚŽƉƐ͗ ϮϮ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ Ϯϰϳ
POST-SHOW FORUMS :ĂŶ ʹ ĞĐ
sĞŶƵĞ͗ >Ă DĂŵĂ dŚĞĂƚƌĞ Θ ŽƵƌƚŚŽƵƐĞ EƵŵďĞƌ ŽĨ ǁŽƌŬƐŚŽƉƐ͗ ϴϰ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ ϮϱϮϬ
THEATRE-MAKING WORKSHOPS DĂƌ ϯϬ ʹ :ƵŶ ϯϬ Delivered as part of the Arts Victoria Extended School Residencies Program
sĞŶƵĞ͗ ^LJĚŶĞLJ ZŽĂĚ ŽŵŵƵŶŝƚLJ ^ĐŚŽŽů EƵŵďĞƌ ŽĨ ǁŽƌŬƐŚŽƉƐ͗ ϰϵ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ ϲϬ ;ŶŽ ĐŚĂƌŐĞͿ
CLIMATE CHANGE & THEATRE WORKSHOP Ɖƌ ϱ
sĞŶƵĞ͗ dŚĞ zŽƵŶŐ ŽŵƉĂŶLJ ; ĂŝƌŶƐͿ EƵŵďĞƌ ŽĨ tŽƌŬƐŚŽƉƐ͗ ϭ Ϯϰ ;ŶŽ ĐŚĂƌŐĞͿ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗
COMMEDIA DELL’ARTE WORKSHOPS
^ĞƉƚĞŵďĞƌ ϯ͕ ϰ Θ ϱ ĞůŝǀĞƌĞĚ ŝŶ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ &ŽŶĚĂnjŝŽŶĞ Aida & Museo Italiano for primary & secondary teachers as well as the interested public
sĞŶƵĞ͗ DƵƐĞŽ /ƚĂůŝĂŶŽ ͬ Ž͘ Ɛ͘/ƚ Θ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ EƵŵďĞƌ ŽĨ tŽƌŬƐŚŽƉƐ͗ ϯ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ Ϯϳ
LA MAMA FOR KIDS PROGRAM
dŚĞ ƉƌŽŐƌĂŵ ŽĨ ƉƌŽĚƵĐƟŽŶƐ ĨŽƌ LJŽƵŶŐ ĂƵĚŝĞŶĐĞƐ ĂŶĚ ƚŚĞŝƌ ĨĂŵŝůŝĞƐ
SMARTIES & SILLIES (AND EVERYTHING IN BETWEEN)
MYSTERIOUS MYSTERIES: A MYSTERY AT THE CIRCUS
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ :ĂŶ ŶĚƌĞǁƐ Θ :ĞŶŶŝĨĞƌ ĂLJůĞLJ
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ dƌŝĐŬ ŝƌĐƵƐ
:ĂŶ ϮϮ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ĂƐ ƉĂƌƚ ŽĨ ƚŚĞ DŝĚƐƵŵŵĂ &ĞƐƟǀĂů
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ROSIE NOSE AND THE SUITCASE ADVENTURE
&Ğď Ϯϲ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ĂƐ Ă ŶĞǁ ǁŽƌŬ ŝŶ ĚĞǀĞůŽƉŵĞŶƚ ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ dƌŝĐŬ ŝƌĐƵƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
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ϭϯ Ϭ Ϭ ϭϯ ϭ Ϯϴ ϰϲй
Ϭ Ϭ ϰϮ ϰϮ ϭ ϲϬ ϳϬй
&Ğď Ϯϲ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ĂƐ Ă ŶĞǁ ǁŽƌŬ ŝŶ ĚĞǀĞůŽƉŵĞŶƚ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
Ϭ Ϭ ϯϭ ϯϭ ϭ ϲϬ ϱϮй
KAPOW!
Ɖƌ ϮϬ ʹ Ɖƌ Ϯϭ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ĂƐ ƉĂƌƚ ŽĨ ƚŚĞ DĞůďŽƵƌŶĞ /ŶƚĞƌŶĂƟŽŶĂů ŽŵĞĚLJ &ĞƐƟǀĂů ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ƐŬŝŶŐ ĨŽƌ dƌŽƵďůĞ ; ŚƌŝƐƚLJ &ůĂǁƐ͕ >ƵŬĞ K͛ ŽŶŶŽƌ Θ ŝůƐĂ tŝůĚͿ ŝƌĞĐƚĞĚ ďLJ <ĂƚĞ <ĂŶƚŽƌ ĞƐŝŐŶ ďLJ ŶŝĂ ZĞLJŶŽůĚƐ͕ WĞƚĞ tŝůĚ Θ ŵĂŶĚĂ &ĂŝƌďĂŶŬƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϮϮ ϭϭ ϯϰ Ϯϲϳ ϰ ϲϬ ϭϭϭй
‘KAPOW!’ image: asking for trouble
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‘Finius Flume ...’ image: D.Noyes
LA MAMA FOR KIDS PROGRAM cont. MUDDY MOTHERS DAY
A LITTLE BIT OF BLUE
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ dŚĞ DƵĚĐĂŬĞƐ
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ >ŝƩůĞ tŝŶŐ WƵƉƉĞƚƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
DĂLJ ϴ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ϱϴ Ϭ ϯϭ ϴϵ Ϯ ϱϬ ϴϵй
ONCE UPON A TALE
:ƵŶ ϰ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ &ĂŝƌLJ ĂŝƚůŝŶ Θ ^ŝŵ ^ĂůĂ ŝŵ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
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ϴϮ Ϭ Ϯϲ ϭϬϴ Ϯ ϲϬ ϵϬй
:ƵůLJ ϭϱ ʹ ϭϳ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ
ϭϴϮ Ϭ Ϯϳ ϮϬϵ ϲ ϲϬ ϱϴй
PINOCCHIO: TRAGICOMIC JOURNEY FOR NOSES
^ĞƉƚĞŵďĞƌ ϯ Θ ϰ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ŝŶ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ Fondazione Aida & the /ƚĂůŝĂŶ /ŶƐƟƚƵƚĞ ŽĨ ƵůƚƵƌĞ DĞůďŽƵƌŶĞ
ŝƌĞĐƚĞĚ ďLJ DĂƌĐŽ ŽƉƉĞůůŽ WĞƌĨŽƌŵĞĚ ďLJ ZŽďĞƌƚŽ DĂĐĐŚŝ Θ DĂƌĐŽ ŽƉƉĞůůŽ ĞƐŝŐŶ ďLJ 'ŝŶŽ ŽƉĞůůŝ͕ 'ƵŐůŝĞůŵŽ ǀĞƐĂŶŝ͕ ZĞŶnjŽ ^ŝŶĚŽĐĂ͕ ^ŽŶŝĂ DŝƌĂŶĚŽůĂ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϮϭ ϭϳ ϭϭ Ϯϰϵ ϱ ϲϬ ϴϯй
FINIUS FLUME & THE FABULOUS FANDANGLE FACTORY
^ĞƉƚĞŵďĞƌ Ϯϰ ʹ KĐƚŽďĞƌ Ϯ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ĂƐ ƉĂƌƚ ŽĨ ƚŚĞ DĞůďŽƵƌŶĞ &ƌŝŶŐĞ &ĞƐƟǀĂů
ƌĞĂƚĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ƌƟĮĐĞ WƌŽĚƵĐƟŽŶƐ ;:ŽŚĂŶŶĞƐ ^ĐŚĞƌƉĞŶŚƵŝnjĞŶ Θ ĂŶĂĚĂ tŚŝƚĞͿ ŝƌĞĐƚĞĚ ďLJ ĞŶ >ĂĚĞŶ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϰϲϴ Ϯ ϰϲ ϱϭϲ ϭϭ ϲϬ ϳϴй
QUEST FOR THE ULTIMATE RHYTHM EŽǀĞŵďĞƌ ϲ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ
ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ dŚĞ ŽŶŐŽ ƌŽƚŚĞƌƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϵϮ Ϭ ϳ ϵϵ Ϯ ϲϬ ϴϮ͘ϱй
A PUPPET IN THE DRAWERS (LE POLICHINEUR DE TIROIRS) EŽǀĞŵďĞƌ ϭϯ WƌĞƐĞŶƚĞĚ ŝŶ ƚŚĞ >Ă DĂŵĂ ŽƵƌƚLJĂƌĚ
ƌĞĂƚĞĚ ďLJ ŽŵƉĂŶLJ ŚĞŵŝŶƐ ĚĞ dĞƌƌĞ WĞƌĨŽƌŵĞĚ ďLJ ^ƚĞƉŚĂŶĞ 'ĞŽƌŝƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϵ ϯϭ ϭ ϳϭ ϭ ϲϬ ϭϭϴй
ARLECCHINO AND LA PRINCIPESSA
ĞĐĞŵďĞƌ ϭϬ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ DĂŬĞ ^ĐĞŶĞ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϰϬ Ϭ ϴ ϰϴ Ϯ ϲϬ ϰϬй
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LA MAMA COMMUNITY PROGRAM
dŚĞ ƉƌŽŐƌĂŵ ŐŝǀŝŶŐ ǀŽŝĐĞ ƚŽ ŵĂƌŐŝŶĂůŝƐĞĚ ŵĞŵďĞƌƐ ŽĨ ƚŚĞ ǁŝĚĞƌ ĐŽŵŵƵŶŝƚLJ
PRESENTATIONS
WORKSHOPS
SARAJEVO SUITE
:ƵŶĞ ϯϬ ʹ :ƵůLJ ϭϬ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ ĂƐ ƉĂƌƚ ŽĨ VicHealth’s Arts About Us program tƌŝƩĞŶ ďLJ ,ĞůĞŶ >ƵĐĂƐ ŝƌĞĐƚĞĚ ďLJ ĂŐƌLJĂŶĂ WŽƉŽǀ WĞƌĨŽƌŵĞĚ ďLJ ŽŶŶĂ ŝŵŽǀƐŬŝ͕ KůĞŶĂ &ĞĚĞƌŽǀĂ Θ ŶŶĞůŝ ũŽƌĂƐĞŶ ĞƐŝŐŶ ďLJ ZŝĐŚĂƌĚ sĂďƌĞ͕ ƌŶŝĞ 'ƌƵŶĞƌ͕ ůŝƐƐĂ 'ŽŽĚƌŝĐŚ Θ ĚƌŝĞŶŶĞ ŚŝƐŚŽůŵ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϬϭ ϭϲϭ ϭϬϳ ϰϲϵ ϭϮ ϯϲ ϭϬϵй
EŽǀĞŵďĞƌ ϭϲ ʹ EŽǀĞŵďĞƌ Ϯϳ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ŝŶ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ /> /: ZZ/ d, dZ KDW Ez ĂŶĚ DŝŶƵƚĞƐ ŽĨ ǀŝĚĞŶĐĞ WƌŽũĞĐƚ
ŽŶĐĞƉƚ ďLJ 'ŝŽƌĚĂŶŽ EĂŶŶŝ ŝƌĞĐƚĞĚ ďLJ /ƐĂĂĐ ƌĂŶĚŝĐŚ ƌĂŵĂƚƵƌŐLJ ďLJ ZĂĐŚĂĞů DĂnjĂ >ŽŶŐ ĚĂƉƚĞĚ ďLJ ŶĚƌĞĂ :ĂŵĞƐ Θ 'ŝŽƌĚĂŶŽ EĂŶŶŝ WĞƌĨŽƌŵĞĚ ďLJ ^LJĚ ƌŝƐďĂŶĞ͕ :ĂĐŬ ŚĂƌůĞƐ͕ :ŝŵ ĂůLJ͕ WĞƚĞƌ &ŝŶůĂLJ͕ 'ƌĞŐ &ƌLJĞƌ͕ >ŝnj :ŽŶĞƐ͕ dŽŵ >ŽŶŐ͕ DĞůŽĚŝĞ ZĞLJŶŽůĚƐ Θ 'ůĞŶŶ ^ŚĞĂ ϮϭϮ ϭϬϯϱ ϭϱ ϲϬ ϭϭϱй
EŽǀ Ϯϱ͕ ĞĐ Ϯ͕ ϯ Θ ϭϲ WƌĞƐĞŶƚĞĚ ŝŶ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ D ^ Ăƚ DĞůďŽƵƌŶĞ ŽŶǀĞŶƟŽŶ ĞŶƚƌĞ ĨŽƌ ƚŚĞ D W ŽŶƐŽƌƟƵŵ ĂLJ Θ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ Θ &ŽƌĞĐŽƵƌƚ &ĂĐŝůŝƚĂƚĞĚ ďLJ ĂŝƚůŝŶ ƵůůĂƌĚ Θ ŶŶĂ >ŽǁĞŶĚĂŚů WĞƌĨŽƌŵĞĚ ďLJ D ^ ǁŽƌŬƐŚŽƉ ƉĂƌƟĐŝƉĂŶƚƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
Ϭ Ϭ ϱϴϬ ϱϴϬ ϱ Eͬ
SHOES
CORANDERRK: WE WILL SHOW THE COUNTRY
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
A HEART IN TWO PLACES
ϰϮϴ ϯϵϱ
ĞĐĞŵďĞƌ ϭϲ WƌĞƐĞŶƚĞĚ Ăƚ ĂƌůƚŽŶ EĞŝŐŚďŽƵƌŚŽŽĚ >ĞĂƌŶŝŶŐ ĞŶƚƌĞ &ĂĐŝůŝƚĂƚĞĚ ďLJ ĂŝƚůŝŶ ƵůůĂƌĚ WĞƌĨŽƌŵĞĚ ďLJ E> ǁŽƌŬƐŚŽƉ ƉĂƌƟĐŝƉĂŶƚƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ĂƉĂĐŝƚLJ͗
Ϭ Ϭ ϳϬ ϳϬ ϭ Eͬ
ADULT MIGRANT EDUCATION SERVICES DANDENONG KĐƚ Ͳ EŽǀ
ĞůŝǀĞƌĞĚ Ăƚ D ^ ĂŶĚĞŶŽŶŐ &ĂĐŝůŝƚĂƚĞĚ ďLJ ĂŝƚůŝŶ ƵůůĂƌĚ Θ ŶŶĂ >ŽǁĞŶĚĂŚů &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ǁŽƌŬƐŚŽƉƐ͗ ĂƉĂĐŝƚLJ͗
Ϭ Ϭ ϴϴ ϴϴ ϯϮ Eͬ
CARLTON NEIGHBOURHOOD LEARNING CENTRE
KĐƚ Ͳ ĞĐ ĞůŝǀĞƌĞĚ Ăƚ ĂƌůƚŽŶ EĞŝŐŚďŽƵƌŚŽŽĚ >ĞĂƌŶŝŶŐ ĞŶƚƌĞ &ĂĐŝůŝƚĂƚĞĚ ďLJ ĂŝƚůŝŶ ƵůůĂƌĚ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ǁŽƌŬƐŚŽƉƐ͗ ĂƉĂĐŝƚLJ͗
P.Bainbridge in ‘Schism’ image: S.Walker
Ϭ Ϭ ϭϮ ϭϮ ϭϬ Eͬ
“‘Coranderrk: We Will Show The Country’ lets past voices be heard as Ilbijerri and La DĂŵĂ ĐŽŶƟŶƵĞ ƚŽ ƚĞůů ƐƚŽƌŝĞƐ ƚŚĂƚ ǁĞ ŶĞĞĚ ƚŽ ŬŶŽǁ ĂŶĚ ƚŽ ƐŚĂƌĞ͘͟ Anne-‐Marie Peard, aussietheatre.com, on ‘Coranderrk: We Will Show The Country’
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LA MAMA MOBILE PROGRAM
LA MAMA EVENTS PROGRAM
dŚĞ ƉƌŽŐƌĂŵ ĞdžƚĞŶĚŝŶŐ ƚŚĞ ůŝĨĞ ŽĨ ǁŽƌŬƐ ŽƌŝŐŝŶĂůůLJ ƐĞĞĚĞĚ Ăƚ >Ă DĂŵĂ
ƉƌŽŐƌĂŵ ŽĨ ĞǀĞŶƚƐ ŝŶĐůƵĚŝŶŐ ŵƵƐŝĐ͕ ƉŽĞƚƌLJ͕ ĐŽŵĞĚLJ ĂŶĚ ŽƚŚĞƌ ŽŶĞͲŽī ƉĞƌĨŽƌŵĂŶĐĞƐ
LLOYD BECKMANN, BEEKEEPER
LA MAMA MUSICA
:ƵŶ ϳ ʹ :ƵŶ Ϯϱ WƌĞƐĞŶƚĞĚ Ăƚ ƚŚĞ KůĚ &ŝƚnjƌŽLJ dŚĞĂƚƌĞ ;^LJĚŶĞLJͿ ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ dŝŵ ^Ɵƚnj ĞǀŝƐĞĚ Θ ĚŝƌĞĐƚĞĚ ďLJ <ĞůůLJ ^ŽŵĞƐ ĞƐŝŐŶ ďLJ ƌŽŶǁLJŶ WƌŝŶŐůĞ͕ >ŝnj ^ƚƌŝŶŐĞƌ͕ EĞĚĚǁĞůůLJŶ :ŽŶĞƐ Θ :ŽĚŝĞ ŚƌĞŶƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϬϭ Ϭ Ϭ ϯϬϭ ϭϳ ϯϬ ϲϬй
HAPPILY EVER AFTER
:ƵŶ ϭϭ ʹ :ƵŶ ϭϮ WƌĞƐĞŶƚĞĚ Ăƚ <ŶŽdž ŽŵŵƵŶŝƚLJ ƌƚƐ ĞŶƚƌĞ tƌŝƩĞŶ ďLJ :ĂŶĞ DŝůůĞƌ ŝƌĞĐƚĞĚ ďLJ ĞŶŐ KŚ ĞƐŝŐŶ ďLJ ŵŝůLJ ŽůůĞƩ Θ DĂƩŚĞǁ ĂƌďĞƌ WĞƌĨŽƌŵĞĚ ďLJ ůĂƌĞ ĂůůŽǁ͕ DŝŬĞ &ƌĞŶĐŚĂŵ͕ DĂƌŶŝĞ 'ŝďƐŽŶ Θ ĂĐŚĂƌLJ ZƵĂŶĞ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϴ ϰϵ ϯϰ ϭϬϭ Ϯ ϭϳϮ Ϯϵй
͞KĚĚ ƚŚĂƚ ƐƵĐŚ Ă ƟŶLJ ǁŽƌŬ ĐĂŶ ĚĞůŝǀĞƌ such rich rewards, but perhaps that’s ǁŚĂƚ >Ă DĂŵĂ ĚŽĞƐ ďĞƐƚ͘͟ John Bailey, Sunday Age, on ‘Sarajevo Suite’
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SARAJEVO SUITE
:ƵůLJ ϭϰ Θ ϭϲ WƌĞƐĞŶƚĞĚ Ăƚ tĂůŬĞƌ ^ƚƌĞĞƚ 'ĂůůĞƌLJ ĂŶĚ ƌƚ ^ƉĂĐĞ ĂŶĚĞŶŽŶŐ Θ ^ƚ ŶĚƌĞǁƐ ŽŵŵƵŶŝƚLJ dŚĞĂƚƌĞ ,ƵƌƐƚďƌŝĚŐĞ tƌŝƩĞŶ ďLJ ,ĞůĞŶ >ƵĐĂƐ ŝƌĞĐƚĞĚ ďLJ ĂŐƌLJĂŶĂ WŽƉŽǀ WĞƌĨŽƌŵĞĚ ďLJ ŽŶŶĂ ŝŵŽǀƐŬŝ͕ KůĞŶĂ &ĞĚĞƌŽǀĂ Θ ŶŶĞůŝ ũŽƌĂƐĞŶ ĞƐŝŐŶ ďLJ ZŝĐŚĂƌĚ sĂďƌĞ͕ ƌŶŝĞ 'ƌƵŶĞƌ͕ ůŝƐƐĂ 'ŽŽĚƌŝĐŚ Θ ĚƌŝĞŶŶĞ ŚŝƐŚŽůŵ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϴϭ ϰϱ ϮϬ ϭϰϲ ϯ ϱϳ ϴϲй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϯ ϭϭ ϯ Ϯϳ ϭ ϲϬ ϰϱй
FEB 21
WĞƌĨŽƌŵĞĚ ďLJ DĂƌŬ ^ŚĞƉŚĞƌĚ͕ ƵƐŚĂŶ DŝƚƌŽǀŝĐ Θ ZŽƐĐŽĞ ,ĞĐŬ
SCHISM
tƌŝƩĞŶ ďLJ DĞůĂŶŝĞ ĂŝŶďƌŝĚŐĞ ƌĂŵĂƚƵƌŐLJ Θ ƉĞƌĨŽƌŵĂŶĐĞ ďLJ WŝƉƉĂ ĂŝŶďƌŝĚŐĞ ĞƐŝŐŶ ďLJ >ŝƐĂ ,ƂďĂƌƚŶĞƌ͕ ^ŬLJĞ <ůĞŝŶ Θ ůŝ 'ƌĞLJ
WĞƌĨŽƌŵĞĚ ďLJ ŶƚŚŽŶLJ ^ĐŚƵůnj͕ ĂǀŝĚ ŚĞƐǁŽƌƚŚ Θ ĚƌŝĂŶ ^ŚĞƌƌŝī
WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ƵŐƵƐƚ Ϯϲ Ͳ Ϯϴ WƌĞƐĞŶƚĞĚ ŝŶ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ ĂŝƌŶƐ &ĞƐƟǀĂů Ăƚ ƚŚĞ ĞŶƚƌĞ ĨŽƌ ŽŶƚĞŵƉŽƌĂƌLJ ƌƚƐ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
JAN 31
WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ
ϰϬ ϰϬ ϭ ϴϭ ϯ ϰϬ ϲϬй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
Ϯ Ϯ Ϯ ϲ ϭ ϯϬ ϮϬй
MAR 28 – ‘ANTITHESIS: MUSIC, TEXT AND THE WHOLE DAMN GREEK THING’
WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ
WĞƌĨŽƌŵĞĚ ďLJ EŝĐŬ dƐŝĂǀŽƐ Θ <ŽƌĂůLJ ŝŵŝƚƌŝĂĚĞƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϵ ϭϲ ϱ ϯϬ ϭ ϲϬ ϱϬй
APR 11
WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ WĞƌĨŽƌŵĞĚ ďLJ ĂǀŝĚ ͚ĐĂŶĚůĞƐŶƵīĞƌ͛ ƌŽǁŶ Θ ĚĂŵ ^ŝŵŵŽŶƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϳ Ϯ Ϭ ϵ ϭ Ϯϴ ϯϮй
MAY 2
WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ WĞƌĨŽƌŵĞĚ ďLJ EĂƚ 'ƌĂŶƚ Θ WĞƚĞƌ EĞǀŝůůĞ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϱ ϭϬ ϲ Ϯϭ ϭ ϲϬ ϯϱй 37
LA MAMA POETICA
LA MAMA MUSICA cont. JUN 20
WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ WĞƌĨŽƌŵĞĚ ďLJ ƚŚĞ ŽůůŝĚĞƌ ŶƐĞŵďůĞ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϬ ϭϯ Ϯ Ϯϱ ϭ Ϯϴ ϴϵй
JULY 4 – “FOREIGN BODY”
WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ
WĂŝŶƟŶŐƐ ďLJ :ƵĂŶĂ ĞůƚƌĂŶ DƵƐŝĐ ƉĞƌĨŽƌŵĞĚ ďLJ ZĞŶ tĂůƚĞƌƐ͛ 'ƌŽŽǀĞ DĂĐŚŝŶĞ͖ ŚƌŝƐ zŽƵŶŐ͕ dŽŶLJ ,ŝĐŬƐ͕ ĚĂŵ ^ŝŵŵŽŶƐ͕ ƵƌĞ ĂƌĂ͕ ŶŝƚĂ ,ƵƐƚĂƐ͕ WŚŝů ŽůůŝŶŐƐ Θ ZĞŶ tĂůƚĞƌƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϬ ϵ ϯ ϯϮ ϭ ϲϬ Ϯϳй
AUGUST 15 – “THE MELDING OF HORIZONS”
LANGUAGE WORK
WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
DĂƌ ϭϰ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
>ŝǀĞͲĂƌƚǁŽƌŬ ĐƌĞĂƚĞĚ ďLJ ŚƌŝƐƚŽƉŚĞƌ KƌĐŚĂƌĚ DƵƐŝĐ ƉĞƌĨŽƌŵĞĚ ďLJ ŶƚŚŽŶLJ ^ĐŚƵůnj
WĞƌĨŽƌŵĞĚ ďLJ WŚŝůŝƉ ^ĂůŽŵ͕ ^ĂŶĚƌĂ &ŝŽŶĂ >ŽŶŐ͕ >< ,Žůƚ͕ ^ĂŶƚŽ ĂnjnjĂƟ Θ DŝĐŚĂĞů &ĂƌƌĞůů
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϳ ϭϭ ϯ Ϯϭ ϭ ϰϬ ϱϯй
SEPTEMBER 19 – “OLD FRIENDS & NEW” WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ
WĞƌĨŽƌŵĞĚ ďLJ 'ĞƌƌLJ ,ĂůĞ͕ ZŝĐŚĂƌĚ WŝƉĞƌ Θ ŐƵĞƐƚƐ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϭ Ϯϲ ϱ ϲϮ ϭ ϲϬ ϭϬϯй
ϭϳ Ϯϴ ϭ ϰϲ ϭ ϰϬ ϭϭϱй
SOUND MIRRORS
ETCHINGS (INDIGENOUS POETRY)
DĂLJ Ϯϯ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
WĞƌĨŽƌŵĞĚ ďLJ :ŽŚŶ ,ĂƌĚŝŶŐ Θ WĂŽůĂ ĂůůĂ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϱ ϭϯ Ϯ ϮϬ ϭ Ϯϴ ϳϭй
FIREWORKS
DĂLJ Ϯ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
:ƵůLJ ϰ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
WĞƌĨŽƌŵĞĚ ďLJ ůĞdž ^ŬŽǀƌŽŶ͕ ŶŝĂ tĂůǁŝĐnj͕ ĞƌŶŝ :ĂŶƐƐĞŶ͕ EĂƚŚĂŶ ƵƌŶŽǁ Θ ůŝnjĂďĞƚŚ ĂŵƉďĞůů
WĞƌĨŽƌŵĞĚ ďLJ ŚƌŝƐ DĂŶƐĞůů͕ ŶĚLJ <ŝƐƐĂŶĞ Θ ŵLJ ŽĚŽƐƐŝĂŶ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
Ϯϭ ϭϭ Ϯ ϯϰ ϭ ϰϰ ϳϳй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϯ ϰ Ϭ ϭϳ ϭ Ϯϵ ϱϵй
DECEMBER 19
WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ WĞƌĨŽƌŵĞĚ ďLJ ŚƌŝƐƚŽƉŚĞƌ ,ĂůĞ Θ ŐƵĞƐƚƐ
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&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϭϲ Ϭ ϲ ϮϮ ϭ ϲϬ ϯϳй
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OTHER EVENTS BLOOMING TIME
LOVE AND FIERCENESS
MIRACLE IN RWANDA
^ĞƉƚĞŵďĞƌ ϱ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
EŽǀĞŵďĞƌ ϳ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ
:ĂŶ Ϯϰ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
WĞƌĨŽƌŵĞĚ ďLJ ůŝ ůŝnjĂĚĞŚ͕ ŵŝůŝĞ ŽůůLJĞƌ Θ ZƵƚŚ ^ĂŶĐŚŽ ,ƵĞƌŐĂ
WĞƌĨŽƌŵĞĚ ďLJ :ĞŶŶŝĨĞƌ ŽŵƉƚŽŶ͕ <ŽƌĂůLJ ŝŵŝƚƌŝĂĚŝƐ͕ dĞƌŝ >ŽƵŝƐĞ <ĞůůLJ͕ ĂǀŝĚ ^ƚĂǀĂŶŐĞƌ Θ ʋŽ
ƌĞĂƚĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ >ĞƐůŝĞ ^ǁŽƌĚ ƌĞĂƚĞĚ Θ ĚŝƌĞĐƚĞĚ ďLJ ĚǁĂƌĚ sŝůŐĂ
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϵ ϲ ϭ ϭϲ ϭ ϰϬ ϰϬй
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗
ϭϬ ϭϴ Ϭ Ϯϴ ϭ ϲϬй
͙͞Ă ƉŽŝŐŶĂŶƚ ǁŽƌŬ ŽĨ ĂŶƟͲƚŚĞĂƚƌĞ͘͟ Alison Croggon, Theatre Notes, on ‘No Show’
&Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϮ ϭϱ ϱ ϰϮ ϭ ϰϱ ϵϯй
THE WAITING ROOM
&Ğď ϰ ʹ &Ğď ϱ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ ŝŶ ĐŽůůĂďŽƌĂƟŽŶ ǁŝƚŚ The Dog Theatre ĞǀŝƐĞĚ ďLJ ŽƌŶ ŝŶ Ă dĂdžŝ ŝƌĞĐƚĞĚ ďLJ WĞŶŶLJ ĂƌŽŶ WĞƌĨŽƌŵĞĚ ďLJ WĞŶŶLJ ĂƌŽŶ͕ ŶĚƌĞǁ 'ƌĂLJ͕ ĂƌŽůLJŶ ,ĂŶŶĂ͕ <ĂƚĞ ,ƵŶƚĞƌ͕ EŝĐŬ WĂƉĂƐ Θ dĂŵĂƌĂ ^ĂƵůǁŝĐŬ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϯϵ ϰϮ ϯ ϴϰ Ϯ ϰϱ ϵϯй
THE DAMSEL IN SHINING ARMOUR
&Ğď ϳ ʹ &Ğď ϴ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
tƌŝƩĞŶ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ^ŽƉŚŝĞ tĂůƐŚͲ ,ĂƌƌŝŶŐƚŽŶ ŝƌĞĐƚĞĚ ďLJ dŽŵ ŝĐŬŝŶƐ DƵƐŝĐ ŝƌĞĐƟŽŶ ďLJ :ĞŶŶŝĨĞƌ <ŝŶŐǁĞůů &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϮ Ϯϭ Ϯϳ ϳϬ Ϯ ϯϴ ϵϮй
DINGO’S BABY
:ƵŶĞ ϲ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ ĞǀŝƐĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ůůĂ &ŝůĂƌ Θ <ŽŵŝƐƐĂƌ <ĂďĂƌĞƚ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϵ Ϯϲ Ϭ ϯϱ ϭ ϰϬ ϴϴй
‘Sarajevo Suite’ image: D.Noyes
40
41
OTHER EVENTS cont.
ATTENDANCE TOTALS
THE MEMORANDIUM
ƵŐƵƐƚ Ϯ Θ ϭϲ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ dŚĞĂƚƌĞ
ƌĞĂƚĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ WĞŶĞůŽƉĞ ĂƌƚůĂƵ ŝƌĞĐƚĞĚ Θ ĚĞƐŝŐŶĞĚ ďLJ :ĂƐŽŶ >ĞŚĂŶĞ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
ϮϬ ϭϯ ϴ ϰϭ Ϯ Ϯϵ ϳϭй
TANGO TANGENTS
ƵŐƵƐƚ Ϯϴ Θ ĞĐĞŵďĞƌ ϭϴ WƌĞƐĞŶƚĞĚ Ăƚ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ƌĞĂƚĞĚ Θ ƉĞƌĨŽƌŵĞĚ ďLJ ůŝƐŽŶ ZŝĐŚĂƌĚƐ͕ &ĂLJĞ ĞŶĚƌƵƉƐ͕ :ĂĐŬŝĞ <ĞƌŝŶ͕ 'ƵŝůůĞƌŵŽ ŶĂĚ Θ ĂǀĞ ǀĂŶƐ KƌŝŐŝŶĂů ƐŽŶŐƐ ďLJ &ĂLJĞ ĞŶĚƌƵƉƐ͕ ůŝƐŽŶ ZŝĐŚĂƌĚƐ Θ ůůĂ &ŝůĂƌ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
42
SHRIMP SHELLS IN MY CLEAVAGE
ĞĐĞŵďĞƌ ϭϴ WƌĞƐĞŶƚĞĚ ŝŶ ƚŚĞ >Ă DĂŵĂ ŽƵƌƚLJĂƌĚ ZĞĂĚŝŶŐ Θ ďŽŽŬ ůĂƵŶĐŚ ďLJ ^ƚĞůůĂ WƵůŽ &Ƶůů͗ ŽŶĐĞƐƐŝŽŶ͗ ŽŵƉůŝŵĞŶƚĂƌLJ͗ dŽƚĂů ĂƩĞŶĚĂŶĐĞ͗ EƵŵďĞƌ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞƐ͗ ^ĞĂƚƐ ƉĞƌ ƉĞƌĨŽƌŵĂŶĐĞ͗ ĂƉĂĐŝƚLJ͗
Ϭ Ϭ Ϯϳ Ϯϳ ϭ ϯϬ ϵϬй
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ϯϮ Ϯϭ ϴ ϲϭ Ϯ ϲϬ ϱϭй
43
MANAGEMENT REPORT ϮϬϭϭ ďĞŐĂŶ ǁŝƚŚ ƚŚĞ ĐŽŶƟŶƵĞĚ ĞdžƉĂŶƐŝŽŶ ĂŶĚ ŝŵƉƌŽǀĞŵĞŶƚ ŽĨ ŽƵƌ ƐƉĂĐĞƐ͖ ƚŚĞ ĐŽŵƉůĞƟŽŶ ŽĨ ƚŚĞ ŶĞǁ ĨŽƌĞĐŽƵƌƚ Ăƚ ϮϬϱ &ĂƌĂĚĂLJ ^ƚƌĞĞƚ͕ ǁŚŝĐŚ ŝƐ ŶŽǁ ĂŶ ĞdžĐŝƟŶŐ ƉƵďůŝĐ ƐƉĂĐĞ ĨƵƌŶŝƐŚĞĚ ǁŝƚŚ ƌĞĐLJĐůĞĚ ďƌŝĐŬƐ͕ ĂƚŵŽƐƉŚĞƌŝĐ ůŝŐŚƟŶŐ͕ ďŝŬĞ ŚŽŽƉƐ͕ ŶĂƟǀĞ ƚƌĞĞƐ ĂŶĚ ďĞŶĐŚĞƐ͘ dŚĞ ĨŽƌĞĐŽƵƌƚ͕ ŶĂŵĞĚ Ğů DŽŶĂĐŽ WůĂĐĞ ŝŶ ŚŽŶŽƵƌ ŽĨ ŽƵƌ ĨŽƌŵĞƌ ůĂŶĚůŽƌĚƐ ŽĨ ŵŽƌĞ ƚŚĂŶ ϰϬ LJĞĂƌƐ͕ ǁĂƐ ůĂƵŶĐŚĞĚ ŝŶ Ɖƌŝů ďLJ ƚŚĞ >Ă DĂŵĂ ŽŵŵŝƩĞĞ ŽĨ DĂŶĂŐĞŵĞŶƚ ĂŶĚ ƐƚĂī͕ ƌĞƉƌĞƐĞŶƚĂƟǀĞƐ ŽĨ ƚŚĞ Ğů DŽŶĂĐŽ ĨĂŵŝůLJ͕ ĂŶĚ Ă ŚŽƐƚ ŽĨ ĚŝƐƟŶŐƵŝƐŚĞĚ ŐƵĞƐƚƐ ŝŶĐůƵĚŝŶŐ ƚŚĞ DŝŶŝƐƚĞƌ ĨŽƌ DƵůƟĐƵůƚƵƌĂů īĂŝƌƐ ĂŶĚ ŝƟnjĞŶƐŚŝƉ͕ ,ŽŶ͘ EŝĐŚŽůĂƐ <ŽƚƐŝƌĂƐ͕ ĂŶĚ ĞƉƵƚLJ >ŽƌĚ DĂLJŽƌ͕ ^ƵƐĂŶ ZŝůĞLJ͘ &ƵŶĚĞĚ ďLJ ƚŚĞ sŝĐƚŽƌŝĂŶ ^ƚĂƚĞ 'ŽǀĞƌŶŵĞŶƚ ƚŚƌŽƵŐŚ ƚŚĞ ŝƚLJ ŽĨ DĞůďŽƵƌŶĞ ƵůƚƵƌĂů WƌĞĐŝŶĐƚƐ ŶŚĂŶĐĞŵĞŶƚ WƌŽŐƌĂŵ͕ ƚŚĞ ĚĞǀĞůŽƉŵĞŶƚ ŚĂƐ ĨƵƌƚŚĞƌ ŝŶĐƌĞĂƐĞĚ ŽƵƌ ĐŽŶŶĞĐƟŽŶ ƚŽ ƚŚĞ ĂƌůƚŽŶ ĐŽŵŵƵŶŝƚLJ ƚŚŝƐ LJĞĂƌ͕ ĂĐĐŽŵŵŽĚĂƟŶŐ ƉĞƌĨŽƌŵĂŶĐĞƐ ĂŶĚ ĞǀĞŶƚƐ ĂƐ ǁĞůů ĂƐ ŝŵƉƌŽǀŝŶŐ ƚŚĞ ǀŝƐŝďŝůŝƚLJ ŽĨ ƚŚĞ ƚŚĞĂƚƌĞ͘ tĞ ĂůƐŽ ďĞŐĂŶ ƚŽ ĂĚĚƌĞƐƐ ƚŚĞ ƵƌŐĞŶƚ ŶĞĞĚ ƚŽ ŝŵƉƌŽǀĞ ƌĞƐŽƵƌĐĞƐ͕ ǁŝƚŚ ǀŝƚĂů ƵƉŐƌĂĚĞƐ ƐƵĐŚ ĂƐ ƐƚĞĞů ĨƌĂŵĞĚ ƌŽƐƚƌĂ ĂŶĚ ĂĚĚŝƟŽŶĂů ůŝŐŚƟŶŐ ƐƚŽĐŬ ďĞŝŶŐ ĂīŽƌĚĞĚ ďLJ ƚŚĞ ƌĞƐĞƌǀĞƐ ŽĨ ƚŚĞ >Ă DĂŵĂ dƌƵƐƚ͘ tĞ ŚĂǀĞ ďĞĞŶ ƵŶĂďůĞ ƚŽ ŽďƚĂŝŶ ĮŶĂŶĐŝĂů ƐƵƉƉŽƌƚ ĨŽƌ ƚŚĞ ŵƵĐŚͲŶĞĞĚĞĚ ŶĞǁ ƐĞĂƟŶŐ ďĂŶŬ ĂŶĚ ƚĞĐŚŶŝĐĂů ĞƋƵŝƉŵĞŶƚ ĨŽƌ ƚŚĞ >Ă DĂŵĂ ŽƵƌƚŚŽƵƐĞ ƚŚŝƐ LJĞĂƌ ƚŚĞƌĞĨŽƌĞ ƚŚŝƐ ǁŝůů ĐŽŶƟŶƵĞ ƚŽ ďĞ Ă ƉƌŝŽƌŝƚLJ ŝŶ ϮϬϭϮ͘
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/Ŷ ϮϬϭϭ͕ ƚŚĞ >Ă DĂŵĂ ƚĞĂŵ ĞŶŐĂŐĞĚ ŝŶ Ă ŶƵŵďĞƌ ŽĨ ƉƌŽĨĞƐƐŝŽŶĂů ĚĞǀĞůŽƉŵĞŶƚ ŽƉƉŽƌƚƵŶŝƟĞƐ͘ ůů &ƌŽŶƚ ŽĨ ,ŽƵƐĞ ƐƚĂī ƌĞĐĞŝǀĞĚ ƚŚĞŝƌ Z^ ĐĞƌƟĮĐĂƟŽŶ ƚŚŝƐ LJĞĂƌ ĂŶĚ ŝŶƚĞƌŶĂů ƐƚĂī ĐŽŵƉůĞƚĞĚ ĐŽƵƌƐĞƐ ŝŶ ŽŶůŝŶĞ ŵĂƌŬĞƟŶŐ͕ ƐŽĐŝĂů ŵĞĚŝĂ ĂŶĚ ŝŶĨŽƌŵĂƟŽŶ ƚĞĐŚŶŽůŽŐLJ͘ Ɛ Ă ŵĞĂŶƐ ŽĨ ĂĚĚƌĞƐƐŝŶŐ ƐƵĐĐĞƐƐŝŽŶ ƉůĂŶŶŝŶŐ͕ ƚŚĞ ĨŽĐƵƐ ŽĨ ƉƌŽĨĞƐƐŝŽŶĂů ĚĞǀĞůŽƉŵĞŶƚ ƚŚŝƐ LJĞĂƌ ǁĂƐ ŽŶ ůĞĂĚĞƌƐŚŝƉ͕ ǁŝƚŚ ĞdžƚĞƌŶĂů ŽƉƉŽƌƚƵŶŝƟĞƐ ƐƵĐŚ ĂƐ ƚŚĞ ƵƐƚƌĂůŝĂ ŽƵŶĐŝů͛Ɛ ƌƚƐ džĞĐƵƟǀĞ >ĞĂĚĞƌƐŚŝƉ ƉƌŽŐƌĂŵ ĐŽŵƉůĞŵĞŶƟŶŐ ŽŶŐŽŝŶŐ ŵĞŶƚŽƌƐŚŝƉ͘ <ĞLJ ƐƚĂī ĂůƐŽ ĂƩĞŶĚĞĚ ĂŶĚ ĐŽŶƚƌŝďƵƚĞĚ ƚŽ ƚŚĞ ŶŽǁ ďŝĞŶŶŝĂů ƵƐƚƌĂůŝĂŶ dŚĞĂƚƌĞ &ŽƌƵŵ͕ ĞŶũŽLJŝŶŐ ƚŚĞ ŽƉƉŽƌƚƵŶŝƚLJ ƚŽ ĞŶŐĂŐĞ ǁŝƚŚ ƌĞƉƌĞƐĞŶƚĂƟǀĞƐ ŽĨ ŽƵƌ ĚŝǀĞƌƐĞ ĂŶĚ ǀŝďƌĂŶƚ ƚŚĞĂƚƌĞ ƐĞĐƚŽƌ͘ tĞ ĞdžƚĞŶĚĞĚ ƚŚĞ ǁŽƌŬ ĨƌĂĐƟŽŶ ŽĨ ŽƵƌ ŽŶůŝŶĞ ŵĂƌŬĞƟŶŐͬĐŽŵŵƵŶŝĐĂƟŽŶ ĂŶĚ ƐĞĐŽŶĚĂƌLJ ƉƌŽŐƌĂŵ ƐƚĂī ŝŶ ϮϬϭϭ ĂŶĚ ŝŶĐƌĞĂƐĞĚ ƚŚĞ ǁĂŐĞƐ ŽĨ Ăůů ƉĞƌŵĂŶĞŶƚ ƉĂƌƚͲƟŵĞ ƐƚĂī ƚŽ ƌĞŇĞĐƚ ŝŶĚƵƐƚƌLJ ďĞŶĐŚŵĂƌŬƐ͘ &ƌŽŶƚ ŽĨ ,ŽƵƐĞ ƐƚĂī ǁĂŐĞƐ ǁĞƌĞ ĂůƐŽ ƌĞǀŝĞǁĞĚ͕ ƌĞƐƵůƟŶŐ ŝŶ ŝŵƉƌŽǀĞĚ ŚŽƵƌůLJ ƌĂƚĞƐ ĂŶĚ ĐŽŶĚŝƟŽŶƐ ĨŽƌ ŽƵƌ ĐĂƐƵĂů ƐƚĂī͘
ƐƚĂī ŝŶ Ă ŐĂƉ ĂŶĂůLJƐŝƐ ĂŶĚ ƐƚƌƵĐƚƵƌĂů ƌĞǀŝĞǁ͘ &ƌŽŵ ƚŚŝƐ ƉƌŽĐĞƐƐ͕ Ă ŶĞǁ ƐƚƌƵĐƚƵƌĞ ƚŚĂƚ ǁŽƵůĚ ďĞƩĞƌ ƐƵƉƉŽƌƚ ƚŚĞ ĨƵƚƵƌĞ ŶĞĞĚƐ ŽĨ ƚŚĞ ŽƌŐĂŶŝƐĂƟŽŶ ǁĂƐ ŝĚĞŶƟĮĞĚ͘ ŽŵŵƵŶŝĐĂƟŶŐ ŶĞĐĞƐƐĂƌLJ ƌĞĚƵŶĚĂŶĐŝĞƐ͕ ĚŝƐƟŶŐƵŝƐŚŝŶŐ ƉŽƐŝƟŽŶƐ ƚŚĂƚ ǁŽƵůĚ ďĞ ŽŶ Ă ĐŽŶƚƌĂĐƚͬƉƌŽũĞĐƚͲ ĨƵŶĚĞĚ ďĂƐŝƐ ĂŶĚ ƌĞĐƌƵŝƟŶŐ ĨŽƌ Ă ŶĞǁ ĂĚŵŝŶŝƐƚƌĂƟŽŶ ƉŽƐŝƟŽŶ ƚŽŽŬ ƉůĂĐĞ ŝŶ ϮϬϭϭ͕ ůĂLJŝŶŐ ƚŚĞ ŐƌŽƵŶĚǁŽƌŬ ĨŽƌ Ă ŶĞǁ ƐƚƌƵĐƚƵƌĞ ƚŽ ďĞ ŝŵƉůĞŵĞŶƚĞĚ ŝŶ ϮϬϭϮ͘ ϮϬϭϭ ǁĂƐ Ă LJĞĂƌ ŽĨ ƉůĂŶŶŝŶŐ ĨŽƌ Ă ƐƵƐƚĂŝŶĂďůĞ ĨƵƚƵƌĞ͕ ƚŚĞ >Ă DĂŵĂ ƐƚĂī ĂŶĚ ŽŵŵŝƩĞĞ ŽĨ DĂŶĂŐĞŵĞŶƚ ŵĞĞƟŶŐ ƚŚƌŽƵŐŚŽƵƚ ƚŚĞ LJĞĂƌ ƚŽ ĚŝƐĐƵƐƐ ĂŶĚ ĚĞǀĞůŽƉ ƚŚĞ ƐƚƌĂƚĞŐLJ ĨŽƌ ƚŚĞ ϮϬϭϯ ʹ ϮϬϭϱ ƚƌŝĞŶŶŝƵŵ͘ dŚĞƐĞ ĚŝƐĐƵƐƐŝŽŶƐ ƐĞƚ ŝŶ ƉůĂĐĞ ƚŚĞ ĨŽƵŶĚĂƟŽŶ ĨŽƌ Ă ĐƵůƚƵƌĞ ŽĨ ĞŶŐĂŐĞŵĞŶƚ ǁŝƚŚŝŶ ƚŚĞ ƉůĂŶŶŝŶŐ ƉƌŽĐĞƐƐ͕ ƌĞŝŶĨŽƌĐĞĚ ƚŚĞ ǀĂůƵĞƐ ĂŶĚ ŵŝƐƐŝŽŶ ŽĨ ƚŚĞ ŽƌŐĂŶŝƐĂƟŽŶ ĂŶĚ ĞƐƚĂďůŝƐŚĞĚ Ă ƐƚƌŽŶŐ ǀŝƐŝŽŶ ĨŽƌ >Ă DĂŵĂ͛Ɛ ĨƵƚƵƌĞ͘
Forecourt Launch ͞ ŽŶŐƌĂƚƵůĂƟŽŶƐ ƚŽ ĞǀĞƌLJďŽĚLJ ŝŶǀŽůǀĞĚ ʹ you have re-‐sparked my interest in theatre. tĞ ŶĞĞĚ ŵŽƌĞ ŽĨ ƚŚĞƐĞ ŬŝŶĚ ŽĨ ƐŚŽǁƐ͘͟ DĂƩ >ƵĐĂƐ͕ ďůŽŐ
/Ŷ ŽƌĚĞƌ ƚŽ ƐƵƐƚĂŝŶ ƚŚĞƐĞ ŝŶĐƌĞĂƐĞƐ ĂŶĚ ƚŽ ĞŶƐƵƌĞ ƚŚĂƚ ƚŚĞ ĞdžŝƐƟŶŐ ƐƚĂī ƐƚƌƵĐƚƵƌĞ ĂĚĞƋƵĂƚĞůLJ ƌĞŇĞĐƚƐ ĨƵƚƵƌĞ ŶĞĞĚƐ ĂŶĚ ƚŚĂƚ ŚƵŵĂŶ ƌĞƐŽƵƌĐĞƐ ĂƌĞ ĚŝƐƚƌŝďƵƚĞĚ ĞĸĐŝĞŶƚůLJ ĂĐƌŽƐƐ ƚŚĞ ŽƌŐĂŶŝƐĂƟŽŶ͕ ƚŚĞ ŽŵŵŝƩĞĞ ŽĨ DĂŶĂŐĞŵĞŶƚ ĞŶŐĂŐĞĚ
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MARKETING REPORT ϮϬϭϭ ďĞŐĂŶ ǁŝƚŚ ƚŚĞ ĐŽŵƉůĞƟŽŶ ŽĨ ƚŚĞ ŶĞǁ >Ă DĂŵĂ ǁĞďƐŝƚĞ ǁŚŝĐŚ ǁĂƐ ůĂƵŶĐŚĞĚ ĂůŽŶŐ ǁŝƚŚ ƚŚĞ ^ƵŵŵĞƌ ^ĞĂƐŽŶ ŽŶ :ĂŶƵĂƌLJ ϭϳ͘ &Žƌ ĂƵĚŝĞŶĐĞƐ͕ ƚŚĞ ŝŵƉƌŽǀĞŵĞŶƚ ŽĨ ŽƵƌ ŽŶůŝŶĞ ŝŶƚĞƌĨĂĐĞ ŚĂƐ ďĞĞŶ Ă ŵĂũŽƌ ĐŚĂŶŐĞ ŝŶ ƚŚĞ ǁĂLJ ƚŚĞLJ ŝŶƚĞƌĂĐƚ ǁŝƚŚ >Ă DĂŵĂ͘ KǀĞƌ ƚǁŽ ƚŚŝƌĚƐ ŽĨ ŽƵƌ ĂƵĚŝĞŶĐĞ ŶŽǁ ǀŝĞǁ ƵƉĐŽŵŝŶŐ ƐŚŽǁƐ͕ ĂĐĐĞƐƐ ŝŶĨŽƌŵĂƟŽŶ ƚŚĂƚ ǁŝůů ĂƐƐŝƐƚ ǁŝƚŚ ƚŚĞŝƌ ǀŝƐŝƚ ĂŶĚ ŵĂŬĞ ďŽŽŬŝŶŐƐ ĚŝƌĞĐƚůLJ ĨƌŽŵ ƚŚĞ >Ă DĂŵĂ ǁĞďƐŝƚĞ͘ ĐĐĞƐƐŝďŝůŝƚLJ ĨŽƌ ĂƌƟƐƚƐ ŚĂƐ ĂůƐŽ ŝŶĐƌĞĂƐĞĚ ĂƐ ƚŚĞ ǁĞďƐŝƚĞ ŝƐ ŶŽǁ ƵƐĞĚ ƚŽ ƐƵďŵŝƚ ƐĐƌŝƉƚƐ ĂŶĚ ƉƌŽũĞĐƚ ƉƌŽƉŽƐĂůƐ͕ ƚŽ ůŽĂĚ ŝŶĨŽƌŵĂƟŽŶ ŽŶƚŽ >Ă DĂŵĂ͛Ɛ ĐĂƐƟŶŐ ĚĂƚĂďĂƐĞ ĂŶĚ ĨŽƌ ƉƌŽŐƌĂŵŵĞĚ ƐŚŽǁƐ ƚŽ ĂĐĐĞƐƐ ƉƌŽĚƵĐƟŽŶ ŝŶĨŽƌŵĂƟŽŶ ŽŶůŝŶĞ͘ >Ă DĂŵĂ͛Ɛ ŬŝŶŐ ƐLJƐƚĞŵ ŚĂƐ ďĞĞŶ ŽƉĞƌĂƚĞĚ ĞŶƟƌĞůLJ ŽŶůŝŶĞ ƐŝŶĐĞ ƚŚĞ ƐƚĂƌƚ ŽĨ ϮϬϭϭ͕ ĂůůŽǁŝŶŐ ĨŽƌ ƚŚĞ ĐŽůůĞĐƟŽŶ ŽĨ ĐƵƐƚŽŵĞƌ ĚĂƚĂ ĂŶĚ ĐƌĞĂƟŶŐ ƚŚĞ ĐĂƉĂĐŝƚLJ ĨŽƌ ƚŚĞ ĚĞǀĞůŽƉŵĞŶƚ ŽĨ Ă ƌĞůĂƟŽŶƐŚŝƉͲ ďĂƐĞĚ ŵĂƌŬĞƟŶŐ ƐƚƌĂƚĞŐLJ͘ tĞ ŚĂǀĞ ďĞŐƵŶ ƚŽ ƵƐĞ ĂƵĚŝĞŶĐĞ ĚĂƚĂ ƚŽ ƐĞŐŵĞŶƚ >Ă DĂŵĂ͛Ɛ ĚŝǀĞƌƐĞ ĂƵĚŝĞŶĐĞ ĂŶĚ ŚĂǀĞ ƐĞŶƚ ƚĂƌŐĞƚĞĚ ĞŵĂŝů ĐĂŵƉĂŝŐŶƐ ĨŽƌ ŽƵƌ ƐĞĐŽŶĚĂƌLJ ƉƌŽŐƌĂŵƐ͕ >Ă DĂŵĂ ĨŽƌ <ŝĚƐ ĂŶĚ >Ă DĂŵĂ >ĞĂƌŶŝŶŐ͘ >Ă DĂŵĂ͛Ɛ ĨŽĐƵƐ ŽŶ ŝŶĐƌĞĂƐŝŶŐ ŽƵƌ ŽŶůŝŶĞ ƉƌĞƐĞŶĐĞ ĂŶĚ ŝŵƉƌŽǀŝŶŐ ƚĂƌŐĞƚĞĚ ĐŽŵŵƵŶŝĐĂƟŽŶ ŝƐ ĚŝƌĞĐƚůLJ ůŝŶŬĞĚ ƚŽ ŽƵƌ ĞŶǀŝƌŽŶŵĞŶƚĂů ƐƵƐƚĂŝŶĂďŝůŝƚLJ ŽďũĞĐƟǀĞƐ͘ tŚŝůĞ ǁĞ ĂĐŬŶŽǁůĞĚŐĞ ƚŚĞ ŶĞĞĚ ƚŽ ĐŽŶƟŶƵĞ ƚŽ ƉƌŽĚƵĐĞ Ă ƋƵĂƌƚĞƌůLJ ŚĂƌĚĐŽƉLJ ƉƌŽŐƌĂŵ͕ ǁĞ ŚĂǀĞ ƌĞĚƵĐĞĚ ƚŚĞ ŶƵŵďĞƌ ŽĨ ĐŽƉŝĞƐ ƚŚĂƚ ĂƌĞ ƉƌŝŶƚĞĚ ĂŶĚ ŚĂǀĞ ŵĂĚĞ
46
ŝƚ ĂǀĂŝůĂďůĞ ŝŶ ĂŶ ŽŶůŝŶĞ ĨŽƌŵĂƚ͘ tĞ ŚĂǀĞ ĂůƐŽ ƐŝŐŶŝĮĐĂŶƚůLJ ƌĞĚƵĐĞĚ ƚŚĞ ŶƵŵďĞƌ ŽĨ ŚĂƌĚĐŽƉLJ ƉƵďůŝĐŝƚLJ ŵĂƚĞƌŝĂůƐ ƐƵĐŚ ĂƐ ŵĞĚŝĂ ƌĞůĞĂƐĞƐ ĂŶĚ ŝŶǀŝƚĂƟŽŶƐ͕ ŽƉƟŶŐ ĨŽƌ ŽŶůŝŶĞ ĚĞůŝǀĞƌLJ ǁŚĞƌĞǀĞƌ ƉŽƐƐŝďůĞ͘ ƵŝůĚŝŶŐ ŽŶ ŽƵƌ ƚǁŽ ůŝŶŬĞĚ ŽďũĞĐƟǀĞƐ ŽĨ ŝŵƉƌŽǀŝŶŐ ŽŶůŝŶĞ ƉƌĞƐĞŶĐĞ ĂŶĚ ƌĞĚƵĐŝŶŐ ŽƵƌ ĐĂƌďŽŶ ĨŽŽƚƉƌŝŶƚ͕ >Ă DĂŵĂ ŚĂƐ ĂĚŽƉƚĞĚ Ă ƉŽůŝĐLJ ŽĨ ĚŝƐĐŽƵƌĂŐŝŶŐ ĂƌƟƐƚƐ ĨƌŽŵ ƉƌŽĚƵĐŝŶŐ ŚĂƌĚĐŽƉLJ ŵĂƌŬĞƟŶŐ ŵĂƚĞƌŝĂůƐ͕ ĂƐƐŝƐƟŶŐ ƚŚĞŵ ƚŽ ƵƐĞ ĞdžŝƐƟŶŐ ƐŽĐŝĂů ŶĞƚǁŽƌŬŝŶŐ ƚŽŽůƐ ƐƵĐŚ ĂƐ dǁŝƩĞƌ͕ &ĂĐĞŬ ĂŶĚ zŽƵƚƵďĞ ƚŽ ĐŽŶŶĞĐƚ ǁŝƚŚ ĂŶĚ ĞŶŐĂŐĞ ƚŚĞŝƌ ĂƵĚŝĞŶĐĞ͘ dŚĞ ƉƌŽĚƵĐƟŽŶ ŽĨ Ă ŶƵŵďĞƌ ŽĨ ŚŝŐŚͲƋƵĂůŝƚLJ ǀŝĚĞŽ ƚƌĂŝůĞƌƐ ŚĂƐ ďĞĞŶ ƉĂƌƟĐƵůĂƌůLJ ƐƵĐĐĞƐƐĨƵů͕ ŐĂŝŶŝŶŐ ŝŶƚĞƌĞƐƚ ĨƌŽŵ ƉŽƚĞŶƟĂů ĂƵĚŝĞŶĐĞ ĂŶĚ ǁŝĚĞůLJ ǀŝĞǁĞĚ͘ /Ŷ ϮϬϭϭ ǁĞ ĐŽŶƟŶƵĞĚ ƚŽ ďƵŝůĚ ŽƵƌ ŽǁŶ ĐŽŵŵƵŶŝƚLJ ƚŚƌŽƵŐŚ ƐŽĐŝĂů ŵĞĚŝĂ ĐŚĂŶŶĞůƐ ĂŶĚ ďĞŐĂŶ ƚŽ ĨŽƐƚĞƌ ĂĚǀŽĐĂƚĞƐ ǁŚŽ ĞŶŐĂŐĞ ǁŝƚŚ >Ă DĂŵĂ ŽŶůŝŶĞ͕ ƉƌŽǀŝĚŝŶŐ ĨĞĞĚďĂĐŬ ĂďŽƵƚ ŽƵƌ ƉƌŽĚƵĐƟŽŶƐ ĂŶĚ ƵƐŝŶŐ ƐŽĐŝĂů ŶĞƚǁŽƌŬƐ ƚŽ ƉƌŽŵŽƚĞ ƚŚĞŵ͘ dŚŝƐ LJĞĂƌ͕ >Ă DĂŵĂ ǁĂƐ ĮůŵĞĚ ĨŽƌ ŝŶĐůƵƐŝŽŶ ŝŶ ƚǁŽ ĚŽĐƵŵĞŶƚĂƌŝĞƐ ƚŚĂƚ ǁŝůů ďĞ ĂŝƌĞĚ ŶĂƟŽŶĂůůLJ ĂŶĚ ŝŶƚĞƌŶĂƟŽŶĂůůLJ ŝŶ ϮϬϭϮ͘ dŚĞ ĮƌƐƚ͕ ƉƌŽĚƵĐĞĚ ďLJ ƚŚĞ ,ŝƐƚŽƌLJ ŚĂŶŶĞů͕ ĨĞĂƚƵƌĞĚ >Ă DĂŵĂ ĂƐ ƉĂƌƚ ŽĨ Ă ƉƌŽŐƌĂŵ ĂďŽƵƚ ƚŚĞ ůŝǀŝŶŐ ŚŝƐƚŽƌLJ ŽĨ ĂƌůƚŽŶ ĂŶĚ ƚŚĞ ƐĞĐŽŶĚ͕ ƉƌŽĚƵĐĞĚ ďLJ ƐƐĞŶƟĂů DĞĚŝĂ ĨĞĂƚƵƌĞĚ ĂŶ ŝŶƚĞƌǀŝĞǁ ǁŝƚŚ >ŝnj :ŽŶĞƐ ĂůŽŶŐ ǁŝƚŚ
ĞƩLJ ƵƌƐƚĂůů ĂŶĚ :ĂĐŬ ŚĂƌůĞƐ ĂƐ ƉĂƌƚ ŽĨ Ă ĚŽĐƵŵĞŶƚĂƌLJ ĞŶƟƚůĞĚ ͞,ŝƐƚŽƌLJ ŽĨ ƵƐƚƌĂůŝĂŶ dŚĞĂƚƌĞ͟ ĨŽƌ ^ ^͘ >Ă DĂŵĂ ƉƌŽĚƵĐƟŽŶƐ ŚĂǀĞ ĂůƐŽ ĐŽŶƟŶƵĞĚ ƚŽ ďĞ ŚŝŐŚůŝŐŚƚĞĚ ĂŶĚ ƐƚƌŽŶŐůLJ ƌĞƉƌĞƐĞŶƚĞĚ ƚŚƌŽƵŐŚ ĞĚŝƚŽƌŝĂů͕ ůŝƐƟŶŐƐ͕ ŝŶƚĞƌǀŝĞǁƐ ĂŶĚ ƌĞǀŝĞǁƐ ŝŶ ƉƌŝŶƚ ŵĞĚŝĂ͕ ŽŶ ƌĂĚŝŽ ĂŶĚ ŽŶůŝŶĞ ƚŚŝƐ LJĞĂƌ͘
‘Coranderrk’ J.Charles, G.Fryer and K.Pell image: D.Noyes
FINANCIAL REPORT Ɛ ŵĞŶƟŽŶĞĚ ŝŶ ƚŚĞ DĂŶĂŐĞŵĞŶƚ ZĞƉŽƌƚ͕ ϮϬϭϭ ƐĂǁ ŝŶĐƌĞĂƐĞĚ ĞdžƉĞŶĚŝƚƵƌĞ ŝŶ ƚŚĞ ĂƌĞĂ ŽĨ ǁĂŐĞƐ ĂŶĚ ƐĂůĂƌŝĞƐ ĂƐ ǁĞ ĞdžƉĂŶĚĞĚ ƐĞĐŽŶĚĂƌLJ ƉƌŽŐƌĂŵƐ ĂŶĚ ŝŶĐƌĞĂƐĞĚ ŽŶůŝŶĞ ĐŽŵŵƵŶŝĐĂƟŽŶƐ ƐƚĂī͘ ĞƐƉŝƚĞ ĂŶƟĐŝƉĂƟŶŐ ĂĚĚŝƟŽŶĂů ŝŶĐŽŵĞ ƚŽ ƐƵƉƉŽƌƚ ƚŚŝƐ ĞdžƉĂŶƐŝŽŶ͕ ǁĞ ǁĞƌĞ ƵŶĂďůĞ ƚŽ ƐĞĐƵƌĞ ƚŚĞ ĞdžƉĞĐƚĞĚ ůĞǀĞů ŽĨ ƉƌŽũĞĐƚ ĨƵŶĚŝŶŐ͘ ĞĐƌĞĂƐĞƐ ŝŶ ŽƚŚĞƌ ĞdžƉĞŶƐĞ ĂƌĞĂƐ ƐƵĐŚ ĂƐ ŵĂƌŬĞƟŶŐ ĂŶĚ ĂĚŵŝŶŝƐƚƌĂƟŽŶ ĞŶƐƵƌĞĚ ƚŚĂƚ >Ă DĂŵĂ /ŶĐ ŚĂƐ ƌĞƚĂŝŶĞĚ Ă ƐŵĂůů ŽƉĞƌĂƟŽŶĂů ƐƵƌƉůƵƐ ŽĨ ΨϭϬ͕ϳϰϮ ŐŽŝŶŐ ŝŶƚŽ ϮϬϭϮ͘ /Ŷ ϮϬϭϭ͕ ǁĞ ĚƌĞǁ ŽŶ ƚŚĞ ĨƵŶĚƐ ŽĨ >Ă DĂŵĂ dƌƵƐƚ ƚŽ ĐŽǀĞƌ ƚŚĞ ĞdžƉĞŶƐĞƐ ĂƐƐŽĐŝĂƚĞĚ ǁŝƚŚ ƚŚĞ ƌĞƐƚƌƵĐƚƵƌĞ͘ /Ŷ ƚŽƚĂů͕ ƚŚĞ ĂŵŽƵŶƚ ĞdžƉĞŶĚĞĚ ;ŝŶĐůƵĚŝŶŐ ƌĞĚƵŶĚĂŶĐLJ ƉĂĐŬĂŐĞƐ͕ ĂĐĐƌƵĞĚ ůŽŶŐ ƐĞƌǀŝĐĞ ĂŶĚ ĂŶŶƵĂů ůĞĂǀĞͿ ǁĂƐ ĞƋƵĂů ƚŽ Ψϳϲ͕ϭϲϰ͘ /ŶƚĞƌĞƐƚ ĂŶĚ ĚŽŶĂƟŽŶƐ ŝŶĐŽŵĞ ƚŽƚĂůůĞĚ Ψϯϳ͕ϯϱϴ ƚŚŝƐ LJĞĂƌ͕ ƌĞƐƵůƟŶŐ ŝŶ Ă ŶĞƚ ĚĞĐƌĞĂƐĞ ŝŶ ĐŽŵƉƌĞŚĞŶƐŝǀĞ ŝŶĐŽŵĞ ŽĨ ƚŚĞ >Ă DĂŵĂ dƌƵƐƚ͘
LA MAMA INC - STATEMENT OF COMPREHENSIVE INCOME ĞƐƉŝƚĞ ƚŚŝƐ͕ ǁĞ ƐƟůů ŚĂǀĞ Ă ƐƚƌŽŶŐ ĐĂƉŝƚĂů ƌĞƐĞƌǀĞ ĂŶĚ ŚĂǀĞ ƌĞŝŶǀĞƐƚĞĚ ΨϰϯϬ͕ϬϬϬ ŝŶ Ă ϲͲŵŽŶƚŚ ƚĞƌŵ ĚĞƉŽƐŝƚ ƚŚŝƐ LJĞĂƌ͘ /Ŷ ůŝŶĞ ǁŝƚŚ ŽƵƌ ƐƚƌĂƚĞŐŝĐ ƉůĂŶŶŝŶŐ ĐLJĐůĞ͕ ǁĞ ǁŝůů ĞǀĂůƵĂƚĞ ƚŚŝƐ ŝŶǀĞƐƚŵĞŶƚ ŝŶ ϮϬϭϮ ĂŶĚ ĚĞǀĞůŽƉ Ă ƉůĂŶ ĨŽƌ ƌĞƚĂŝŶŝŶŐ ĂŶĚ ŐƌŽǁŝŶŐ ƚŚŝƐ ƌĞƐĞƌǀĞ ĨŽƌ ƚŚĞ ĨƵƚƵƌĞ ŶĞĞĚƐ ŽĨ ƚŚĞ ŽƌŐĂŶŝƐĂƟŽŶ͘ ŝƐĂƉƉŽŝŶƚĞĚ ǁŝƚŚ ƚŚĞ ůĞǀĞů ŽĨ ƐĞƌǀŝĐĞ ǁĞ ŚĂǀĞ ƌĞĐĞŝǀĞĚ ĨƌŽŵ tĞƐƚƉĂĐ ŝŶ ƌĞĐĞŶƚ LJĞĂƌƐ͕ ǁĞ ŵŽǀĞĚ ƚŚĞ ďĂŶŬ ĂĐĐŽƵŶƚƐ ŚĞůĚ ďLJ >Ă DĂŵĂ /ŶĐ ƚŽ ƚŚĞ ĞŶĚŝŐŽ ĂŶŬ Ăƚ ƚŚĞ ĞŶĚ ŽĨ ϮϬϭϭ͘ dŚŝƐ ĐŚĂŶŐĞ ǁŝůů ƌĞƐƵůƚ ŝŶ ďĞƩĞƌ ŝŶƚĞƌĞƐƚ ƌĂƚĞƐ ŽŶ Ăůů ĂĐĐŽƵŶƚƐ ĂŶĚ Ă ŵŽƌĞ ƉĞƌƐŽŶĂůŝƐĞĚ ƐĞƌǀŝĐĞ͘ tĞ ŚĂǀĞ ĂůƐŽ ŽƉƚĞĚ ƚŽ ƚĂŬĞ ƉĂƌƚ ŝŶ ƚŚĞ ĞŶĚŝŐŽ ĂŶŬ͛Ɛ ŽŶŶĞĐƚĞĚ ŽŵŵƵŶŝƟĞƐ ƐĐŚĞŵĞ͕ ŝŶ ǁŚŝĐŚ Ăůů ĨĞĞƐ ŝŶĐƵƌƌĞĚ ŽŶ ŽƵƌ ĂĐĐŽƵŶƚƐ ǁŝůů ďĞ ƉƵƚ ďĂĐŬ ŝŶƚŽ ůŽĐĂů ĐŽŵŵƵŶŝƚLJ ƉƌŽũĞĐƚƐ͘
/ŶĐŽŵĞ &ƵŶĚŝŶŐ ŝŶĐŽŵĞ EŽŶͲĨƵŶĚŝŶŐ ŝŶĐŽŵĞ dŽƚĂů ŝŶĐŽŵĞ džƉĞŶĚŝƚƵƌĞ ^ĂůĂƌŝĞƐ͕ ĂƌƟƐƚ ĨĞĞƐ ĂŶĚ ďŽdž ŽĸĐĞ ƉĂŝĚ ƚŽ ĂƌƟƐƚƐ WƌŽĚƵĐƟŽŶ DĂƌŬĞƟŶŐ ĚŵŝŶŝƐƚƌĂƟŽŶ dŽƚĂů džƉĞŶĚŝƚƵƌĞ EĞƚ ƐƵƌƉůƵƐ ;ĚĞĮĐŝƚͿ ĨŽƌ ƚŚĞ LJĞĂƌ
ϮϬϭϭ Ψ
ϱϳϰ͕ϮϵϮ ϰϱϵ͕ϵϭϭ ϭ͕Ϭϯϰ͕ϮϬϯ
ϱϱϴ͕ϯϲϱ ϰϴϱ͕Ϭϰϴ ϭ͕Ϭϰϯ͕ϰϭϯ
ϲϰϰ͕ϴϮϳ Ϯϱϵ͕ϴϮϳ ϱϮ͕ϵϵϯ ϲϱ͕ϴϭϰ
ϲϯϳ͕ϯϳϮ Ϯϴϴ͕ϳϬϭ ϲϴ͕Ϭϰϯ ϳϯ͕ϴϯϲ
ϭ͕ϬϮϯ͕ϰϲϭ
ϭ͕Ϭϲϳ͕ϵϱϮ
ϭϬ͕ϳϰϮ
;Ϯϰ͕ϱϯϵͿ
dŽƚĂů ĐŽŵƉƌĞŚĞŶƐŝǀĞ ŝŶĐŽŵĞ
ϭϬ͕ϳϰϮ
;Ϯϰ͕ϱϯϵͿ
ϮϬϭϬ Ψ
LA MAMA INC - STATEMENT OF FINANCIAL POSITION ƵƌƌĞŶƚ ĂƐƐĞƚƐ ĂƐŚ ĂŶĚ ĐĂƐŚ ĞƋƵŝǀĂůĞŶƚƐ dƌĂĚĞ ĂŶĚ ŽƚŚĞƌ ƌĞĐĞŝǀĂďůĞƐ &ŝŶĂŶĐŝĂů ĂƐƐĞƚƐ /ŶǀĞŶƚŽƌŝĞƐ dŽƚĂů ĐƵƌƌĞŶƚ ĂƐƐĞƚƐ EŽŶͲĐƵƌƌĞŶƚ ĂƐƐĞƚƐ WůĂŶƚ ĂŶĚ ĞƋƵŝƉŵĞŶƚ dŽƚĂů ŶŽŶͲĐƵƌƌĞŶƚ ĂƐƐĞƚƐ dŽƚĂů ĂƐƐĞƚƐ
ϮϬϭϭ Ψ
ϮϬϭϬ Ψ
ϭϲϬ͕ϵϱϴ ϲϵ͕ϴϯϴ Ͳ ϭϮ͕ϯϯϬ Ϯϰϯ͕ϭϮϲ
ϭϮ͕ϲϭϬ ϵϭ͕ϯϱϳ ϰϴ͕Ϭϭϳ ϴ͕ϳϭϵ ϭϲϬ͕ϳϬϯ
ϯϰ͕ϲϱϰ ϯϰ͕ϲϱϰ
ϯϱ͕ϴϱϮ ϯϱ͕ϴϱϮ
Ϯϳϳ͕ϳϴϬ
ϭϵϲ͕ϱϱϱ
‘Rejectamenta’ S.Orr 48
49
LA MAMA INC - STATEMENT OF FINANCIAL POSITION cont.
LA MAMA INC - STATEMENT OF CASH FLOWS
ƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ dƌĂĚĞ ĂŶĚ ŽƚŚĞƌ ƉĂLJĂďůĞƐ WƌŽǀŝƐŝŽŶƐ dŽƚĂů ĐƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ EŽŶͲĐƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ dƌĂĚĞ ĂŶĚ ŽƚŚĞƌ ƉĂLJĂďůĞƐ dŽƚĂů ŶŽŶͲĐƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ dŽƚĂů ůŝĂďŝůŝƟĞƐ
ϴϱϮ ϴϱϮ ϭϴϯ͕ϭϮϯ
ϭϮ͕Ϯϭϰ ϭϮ͕Ϯϭϰ ϭϭϮ͕ϲϰϬ
ϮϬϭϭ Ψ ϱϴϱ͕ϰϴϴ ϯϬϮ͕ϭϯϯ ϱ͕ϱϯϮ ϱϯ͕ϭϰϴ ;ϵϲϳ͕ϱϴϲͿ ;Ϯϭ͕ϮϴϱͿ
ϮϬϭϬ Ψ ϱϱϴ͕ϯϲϱ ϯϬϲ͕ϳϯϴ ϭϬ͕Ϯϲϯ ϲϴ͕ϰϱϭ ;ϭ͕Ϭϱϵ͕ϱϭϲͿ ;ϭϭϱ͕ϲϵϵͿ
EĞƚ ĂƐƐĞƚƐ
ĂƐŚ ŇŽǁƐ ĨƌŽŵ ŽƉĞƌĂƟŶŐ ĂĐƟǀŝƟĞƐ 'ƌĂŶƚƐ ƌĞĐĞŝǀĞĚ Ždž ŽĸĐĞ ƚĂŬŝŶŐƐ /ŶƚĞƌĞƐƚ ƌĞĐĞŝǀĞĚ KƚŚĞƌ ƌĞĐĞŝƉƚƐ WĂLJŵĞŶƚƐ ƚŽ ƐƵƉƉůŝĞƌƐ ĞŵƉůŽLJĞĞƐ EĞƚ ĐĂƐŚ ƵƐĞĚ ŝŶ ŽƉĞƌĂƟŶŐ ĂĐƟǀŝƟĞƐ ĂƐŚ ŇŽǁƐ ĨƌŽŵ ŝŶǀĞƐƟŶŐ ĂĐƟǀŝƟĞƐ WƵƌĐŚĂƐĞ ŽĨ ƉůĂŶƚ ĂŶĚ ĞƋƵŝƉŵĞŶƚ WƌŽĐĞĞĚƐ ĨƌŽŵ ŝŶǀĞƐƚŵĞŶƚƐ EĞƚ ĐĂƐŚ ƉƌŽǀŝĚĞĚ ďLJ ŝŶǀĞƐƟŶŐ ĂĐƟǀŝƟĞƐ ĂƐŚ ŇŽǁƐ ĨƌŽŵ ĮŶĂŶĐŝŶŐ ĂĐƟǀŝƟĞƐ ZĞĐĞŝƉƚ ĨƌŽŵ ;ƉĂLJŵĞŶƚ ƚŽͿ >Ă DĂŵĂ dƌƵƐƚ EĞƚ ĐĂƐŚ ƉƌŽǀŝĚĞĚ ďLJ ĮŶĂŶĐŝŶŐ ĂĐƟǀŝƟĞƐ
;ϴ͕ϯϴϰͿ ϰϴ͕Ϭϭϳ ϯϵ͕ϲϯϯ
;Ϯϭ͕ϯϱϭͿ ϭϮϬ͕ϵϯϵ ϵϵ͕ϱϴϴ
ϭϯϬ͕ϬϬϬ ϭϯϬ͕ϬϬϬ
;ϰϯ͕ϮϵϯͿ ;ϰϯ͕ϮϵϯͿ
EĞƚ ŝŶĐƌĞĂƐĞ ;ĚĞĐƌĞĂƐĞͿ ŝŶ ĐĂƐŚ ŚĞůĚ
ϭϰϴ͕ϯϰϴ
;ϱϵ͕ϰϬϰͿ
ϮϬϭϭ Ψ ϴϱ͕ϯϱϮ ϵϲ͕ϵϭϵ ϭϴϮ͕Ϯϳϭ
ϮϬϭϬ Ψ Ϯϱ͕ϲϭϳ ϳϰ͕ϴϬϵ ϭϬϬ͕ϰϮϲ
ϵϰ͕ϲϱϳ
ϴϯ͕ϵϭϱ
Equity ZĞƚĂŝŶĞĚ ƐƵƌƉůƵƐ dŽƚĂů ĞƋƵŝƚLJ
ϵϰ͕ϲϱϳ ϵϰ͕ϲϱϳ
ϴϯ͕ϵϭϱ ϴϯ͕ϵϭϱ
LA MAMA INC - STATEMENT OF CHANGES IN EQUITY
ϮϬϭϭ Ψ
ϮϬϭϬ Ψ
ZĞƚĂŝŶĞĚ ƐƵƌƉůƵƐ Ăƚ ďĞŐŝŶŶŝŶŐ ŽĨ LJĞĂƌ
ϴϯ͕ϵϭϱ
ϭϬϴ͕ϰϱϰ
dŽƚĂů ĐŽŵƉƌĞŚĞŶƐŝǀĞ ŝŶĐŽŵĞ ĨŽƌ LJĞĂƌ
ϭϬ͕ϳϰϮ
;Ϯϰ͕ϱϯϵͿ
ZĞƚĂŝŶĞĚ ƐƵƌƉůƵƐ Ăƚ ĞŶĚ ŽĨ LJĞĂƌ
ϵϰ͕ϲϱϳ
ϴϯ͕ϵϭϱ
50
ĂƐŚ ĂŶĚ ĞƋƵŝǀĂůĞŶƚƐ Ăƚ ƚŚĞ ďĞŐŝŶŶŝŶŐ ŽĨ ƚŚĞ LJĞĂƌ ϭϮ͕ϲϭϬ
ϳϮ͕Ϭϭϰ
ĂƐŚ ĂŶĚ ĐĂƐŚ ĞƋƵŝǀĂůĞŶƚƐ Ăƚ ƚŚĞ ĞŶĚ ŽĨ ƚŚĞ LJĞĂƌ
ϭϮ͕ϲϭϬ
ϭϲϬ͕ϵϱϴ
51
LA MAMA TRUST - STATEMENT OF COMPREHENSIVE INCOME
LA MAMA TRUST - STATEMENT OF FINANCIAL POSITION
/ŶĐŽŵĞ ŽŶĂƟŽŶƐ /ŶƚĞƌĞƐƚ dŽƚĂů ŝŶĐŽŵĞ džƉĞŶĚŝƚƵƌĞ ĂŶŬ ĐŚĂƌŐĞƐ ŽŶƚƌŝďƵƟŽŶƐ ƚŽ >Ă DĂŵĂ /ŶĐŽƌƉŽƌĂƚĞĚ͗ ZĞƉĂŝƌƐ͕ ŵĂŝŶƚĞŶĂŶĐĞ ĂŶĚ ĐĂƉŝƚĂů ŝŵƉƌŽǀĞŵĞŶƚƐ ŽƵƌƚŚŽƵƐĞ ƌĞŶƚĂů ĂƌƌĞĂƌƐ ZĞĚƵŶĚĂŶĐLJ ƉĂĐŬĂŐĞƐ >ŽŶŐ ƐĞƌǀŝĐĞ ůĞĂǀĞ ŶŶƵĂů ůĞĂǀĞ dŽƚĂů ĞdžƉĞŶĚŝƚƵƌĞ
ϮϬϭϭ Ψ
ϭ͕ϯϬϮ ϯϲ͕Ϭϱϲ ϯϳ͕ϯϱϴ ;ϭϱϵͿ Ͳ ;ϵ͕ϱϬϬͿ ;ϯϰ͕ϬϬϬͿ ;Ϯϲ͕ϳϰϬͿ ;ϱ͕ϳϲϱͿ ;ϳϲ͕ϭϲϰͿ
ϭϱϬ Ϯϵ͕ϰϯϮ Ϯϵ͕ϱϴϮ
ƵƌƌĞŶƚ ĂƐƐĞƚƐ ĂƐŚ ĂŶĚ ĐĂƐŚ ĞƋƵŝǀĂůĞŶƚƐ &ŝŶĂŶĐŝĂů ĂƐƐĞƚƐ dŽƚĂů ĐƵƌƌĞŶƚ ĂƐƐĞƚƐ EŽŶͲĐƵƌƌĞŶƚ ĂƐƐĞƚƐ >ĂŶĚ ĂŶĚ ďƵŝůĚŝŶŐ ƌƚǁŽƌŬ dŽƚĂů ŶŽŶͲĐƵƌƌĞŶƚ ĂƐƐĞƚƐ
ϯϮ͕ϯϵϭ ϰϯϯ͕ϲϰϴ ϰϲϲ͕Ϭϯϵ ϭ͕ϳϭϭ͕ϭϭϰ Ϯ͕ϮϵϮ ϭ͕ϳϭϯ͕ϰϬϲ
Ϯϴ͕ϴϰϭ ϱϯϬ͕ϬϬϬ ϱϱϴ͕ϴϰϭ
dŽƚĂů ĂƐƐĞƚƐ
Ϯ͕ϭϳϵ͕ϰϰϱ
Ϯ͕Ϯϳϭ͕Ϯϰϳ
ϭϰ͕ϵϱϬ ϭϰ͕ϵϱϬ
ϲϳ͕ϵϰϲ ϲϳ͕ϵϰϲ
EĞƚ ĚĞĮĐŝƚ ĨŽƌ ƚŚĞ LJĞĂƌ
;ϯϴ͕ϴϬϲͿ
;ϭϱ͕ϴϰϴͿ
ƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ KƚŚĞƌ ƉĂLJĂďůĞƐ dŽƚĂů ĐƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ EĞƚ ĂƐƐĞƚƐ
Ϯ͕ϭϲϰ͕ϰϵϱ
Ϯ͕ϮϬϯ͕ϯϬϭ
dŽƚĂů ĐŽŵƉƌĞŚĞŶƐŝǀĞ ŝŶĐŽŵĞ ĨŽƌ ƚŚĞ LJĞĂƌ
;ϯϴ͕ϴϬϲͿ
;ϭϱ͕ϴϰϴͿ
Equity ZĞƚĂŝŶĞĚ ƐƵƌƉůƵƐ dŽƚĂů ĞƋƵŝƚLJ
Ϯ͕ϭϲϰ͕ϰϵϱ Ϯ͕ϭϲϰ͕ϰϵϱ
Ϯ͕ϮϬϯ͕ϯϬϭ Ϯ͕ϮϬϯ͕ϯϬϭ
ϮϬϭϭ Ψ
ϮϬϭϬ Ψ
;ϰϰϲͿ ;ϰϰ͕ϵϴϰͿ Ͳ Ͳ Ͳ Ͳ ;ϰϱ͕ϰϯϬͿ
ϮϬϭϬ Ψ
ϭ͕ϳϭϭ͕ϭϭϰ ϭ͕ϮϵϮ ϭ͕ϳϭϮ͕ϰϬϲ
LA MAMA TRUST - STATEMENT OF CHANGES IN EQUITY
ϮϬϭϬ Ψ
ZĞƚĂŝŶĞĚ ƐƵƌƉůƵƐ Ăƚ ďĞŐŝŶŶŝŶŐ ŽĨ LJĞĂƌ
Ϯ͕ϮϬϯ͕ϯϬϭ
Ϯ͕Ϯϭϵ͕ϭϰϵ
dŽƚĂů ĐŽŵƉƌĞŚĞŶƐŝǀĞ ŝŶĐŽŵĞ
;ϯϴ͕ϴϬϲͿ
;ϭϱ͕ϴϰϴͿ
Ϯ͕ϭϲϰ͕ϰϵϱ
Ϯ͕ϮϬϯ͕ϯϬϭ
ZĞƚĂŝŶĞĚ ƐƵƌƉůƵƐ Ăƚ ƚŚĞ ĞŶĚ ŽĨ ƚŚĞ LJĞĂƌ
52
ϮϬϭϭ Ψ
53
LA MAMA TRUST STATEMENT OF CASH FLOWS ĂƐŚ ŇŽǁƐ ĨƌŽŵ ŽƉĞƌĂƟŶŐ ĂĐƟǀŝƟĞƐ ŽŶĂƟŽŶ ƌĞĐĞŝǀĞĚ /ŶƚĞƌĞƐƚ ƌĞĐĞŝǀĞĚ WĂLJŵĞŶƚƐ ƚŽ ƐƵƉƉůŝĞƌƐ EĞƚ ĐĂƐŚ ƉƌŽǀŝĚĞĚ ďLJ ŽƉĞƌĂƟŶŐ ĂĐƟǀŝƟĞƐ
ϮϬϭϬ Ψ ϭϱϬ Ϯϵ͕ϰϯϮ ;Ϯϰ͕ϬϳϵͿ ϱ͕ϱϬϯ
ĂƐŚ ŇŽǁƐ ĨƌŽŵ ŝŶǀĞƐƟŶŐ ĂĐƟǀŝƟĞƐ tŝƚŚĚƌĂǁĂů ;ƉƵƌĐŚĂƐĞͿ ŽĨ ŝŶǀĞƐƚŵĞŶƚƐ EĞƚ ĐĂƐŚ ƉƌŽǀŝĚĞĚ ďLJ ;ƵƐĞĚ ŝŶͿ ŝŶǀĞƐƟŶŐ ĂĐƟǀŝƟĞƐ ĂƐŚ ŇŽǁƐ ĨƌŽŵ ĮŶĂŶĐŝŶŐ ĂĐƟǀŝƟĞƐ ZĞĐĞŝƉƚ ĨƌŽŵ ;ƉĂLJŵĞŶƚ ƚŽͿ >Ă DĂŵĂ /ŶĐ EĞƚ ĐĂƐŚ ƉƌŽǀŝĚĞĚ ďLJ ;ƵƐĞĚ ŝŶͿ ĮŶĂŶĐŝŶŐ ĂĐƟǀŝƟĞƐ
ϵϲ͕ϯϱϭ ϵϲ͕ϯϱϭ
;ϳϬ͕ϬϬϬͿ ;ϳϬ͕ϬϬϬͿ
;ϭϯϬ͕ϬϬϬͿ ;ϭϯϬ͕ϬϬϬͿ
ϰϯ͕Ϯϵϯ ϰϯ͕Ϯϵϯ
EĞƚ ŝŶĐƌĞĂƐĞ ;ĚĞĐƌĞĂƐĞͿ ŝŶ ĐĂƐŚ ŚĞůĚ
ϯ͕ϱϱϬ
;Ϯϭ͕ϮϬϰͿ
Ϯϴ͕ϴϰϭ ϯϮ͕ϯϵϭ
ϱϬ͕Ϭϰϱ
ĂƐŚ ĂŶĚ ĐĂƐŚ ĞƋƵŝǀĂůĞŶƚƐ Ăƚ ďĞŐŝŶŶŝŶŐ ŽĨ LJĞĂƌ ĂƐŚ ĂŶĚ ĐĂƐŚ ĞƋƵŝǀĂůĞŶƚƐ Ăƚ ĞŶĚ ŽĨ LJĞĂƌ
54
ϮϬϭϭ Ψ ϭ͕ϯϬϮ ϯϲ͕Ϭϱϲ ;ϭϱϵͿ ϯϳ͕ϭϵϵ
CONSOLIDATED STATEMENT OF COMPREHENSIVE INCOME /ŶĐŽŵĞ &ƵŶĚŝŶŐ ŝŶĐŽŵĞ EŽŶͲĨƵŶĚŝŶŐ ŝŶĐŽŵĞ dŽƚĂů ŝŶĐŽŵĞ
ϮϬϭϭ Ψ
ϱϳϰ͕ϮϵϮ ϰϮϭ͕Ϯϲϰ ϵϵϱ͕ϱϱϲ
ϱϱϴ͕ϯϲϱ ϰϵϯ͕ϮϴϬ ϭ͕Ϭϱϭ͕ϲϰϱ
džƉĞŶĚŝƚƵƌĞ ^ĂůĂƌŝĞƐ͕ ĂƌƟƐƚ ĨĞĞƐ ĂŶĚ ďŽdž ŽĸĐĞ ƉĂŝĚ ƚŽ ĂƌƟƐƚƐ WƌŽĚƵĐƟŽŶ DĂƌŬĞƟŶŐ ĚŵŝŶŝƐƚƌĂƟŽŶ dŽƚĂů ĞdžƉĞŶĚŝƚƵƌĞ
ϲϰϰ͕ϴϮϳ Ϯϱϵ͕ϴϮϳ ϱϮ͕ϵϵϯ ϲϱ͕ϵϳϯ ϭ͕ϬϮϯ͕ϲϮϬ
ϲϯϳ͕ϯϳϮ ϯϭϮ͕ϯϯϰ ϲϴ͕Ϭϰϯ ϳϰ͕ϮϴϮ ϭ͕ϬϵϮ͕Ϭϯϭ
EĞƚ ĚĞĮĐŝƚ ĨŽƌ ƚŚĞ LJĞĂƌ
;Ϯϴ͕ϬϲϰͿ
;ϰϬ͕ϯϴϲͿ
dŽƚĂů ĐŽŵƉƌĞŚĞŶƐŝǀĞ ŝŶĐŽŵĞ ĨŽƌ ƚŚĞ LJĞĂƌ
;Ϯϴ͕ϬϲϰͿ
;ϰϬ͕ϯϴϲͿ
ϮϬϭϬ Ψ
Ϯϴ͕ϴϰϭ
55
CONSOLIDATED STATEMENT OF FINANCIAL POSITION
CONSOLIDATED STATEMENT OF CHANGES IN EQUITY
ƵƌƌĞŶƚ ĂƐƐĞƚƐ ĂƐŚ ĂŶĚ ĐĂƐŚ ĞƋƵŝǀĂůĞŶƚƐ dƌĂĚĞ ĂŶĚ ŽƚŚĞƌ ƌĞĐĞŝǀĂďůĞƐ &ŝŶĂŶĐŝĂů ĂƐƐĞƚƐ /ŶǀĞŶƚŽƌŝĞƐ dŽƚĂů ĐƵƌƌĞŶƚ ĂƐƐĞƚƐ EŽŶͲĐƵƌƌĞŶƚ ĂƐƐĞƚƐ WƌŽƉĞƌƚLJ͕ ƉůĂŶƚ ĂŶĚ ĞƋƵŝƉŵĞŶƚ dŽƚĂů ŶŽŶͲĐƵƌƌĞŶƚ ĂƐƐĞƚƐ dŽƚĂů ĂƐƐĞƚƐ
ϮϬϭϭ Ψ
ϮϬϭϬ Ψ
ϭϵϯ͕ϯϰϵ ϱϰ͕ϴϴϴ ϰϯϯ͕ϲϰϴ ϭϮ͕ϯϯϬ ϲϵϰ͕Ϯϭϱ
ϰϭ͕ϰϱϭ Ϯϯ͕ϰϭϮ ϱϳϴ͕Ϭϭϳ ϴ͕ϳϭϵ ϲϱϭ͕ϱϵϵ
ZĞƚĂŝŶĞĚ ƐƵƌƉůƵƐ Ăƚ ďĞŐŝŶŶŝŶŐ ŽĨ LJĞĂƌ
dŽƚĂů ĐŽŵƉƌĞŚĞŶƐŝǀĞ ŝŶĐŽŵĞ ĨŽƌ ƚŚĞ LJĞĂƌ
;Ϯϴ͕ϬϲϰͿ
;ϰϬ͕ϯϴϲͿ
ZĞƚĂŝŶĞĚ ƐƵƌƉůƵƐ Ăƚ ƚŚĞ ĞŶĚ ŽĨ ƚŚĞ LJĞĂƌ
Ϯ͕Ϯϱϵ͕ϭϱϯ
Ϯ͕Ϯϴϳ͕Ϯϭϳ
ϭ͕ϳϰϴ͕ϬϲϬ ϭ͕ϳϰϴ͕ϬϲϬ Ϯ͕ϰϰϮ͕Ϯϳϱ
ϭ͕ϳϰϴ͕Ϯϱϴ ϭ͕ϳϰϴ͕Ϯϱϴ Ϯ͕ϯϵϵ͕ϴϱϳ
CONSOLIDATED STATEMENT OF CASH FLOWS
ƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ dƌĂĚĞ ĂŶĚ ŽƚŚĞƌ ƉĂLJĂďůĞƐ WƌŽǀŝƐŝŽŶƐ dŽƚĂů ĐƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ
ϴϱ͕ϯϱϭ ϵϲ͕ϵϭϵ ϭϴϮ͕ϮϳϬ
Ϯϱ͕ϲϭϳ ϳϰ͕ϴϬϵ ϭϬϬ͕ϰϮϲ
EŽŶͲĐƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ dƌĂĚĞ ĂŶĚ ŽƚŚĞƌ ƉĂLJĂďůĞƐ dŽƚĂů EŽŶͲĐƵƌƌĞŶƚ ůŝĂďŝůŝƟĞƐ dŽƚĂů ůŝĂďŝůŝƟĞƐ EĞƚ ĂƐƐĞƚƐ
ϴϱϮ ϴϱϮ ϭϴϯ͕ϭϮϮ Ϯ͕Ϯϱϵ͕ϭϱϯ
ϭϮ͕Ϯϭϰ ϭϮ͕Ϯϭϰ ϭϭϮ͕ϲϰϬ Ϯ͕Ϯϴϳ͕Ϯϭϳ
Equity ZĞƚĂŝŶĞĚ ƐƵƌƉůƵƐ dŽƚĂů ƋƵŝƚLJ
Ϯ͕Ϯϱϵ͕ϭϱϯ Ϯ͕Ϯϱϵ͕ϭϱϯ
Ϯ͕Ϯϴϳ͕Ϯϭϳ Ϯ͕Ϯϴϳ͕Ϯϭϳ
56
ϮϬϭϭ Ψ
Ϯ͕Ϯϴϳ͕Ϯϭϳ Ϯ͕ϯϮϳ͕ϲϬϯ
ϮϬϭϬ Ψ
ĂƐŚ ŇŽǁƐ ĨƌŽŵ ŽƉĞƌĂƟŶŐ ĂĐƟǀŝƟĞƐ 'ƌĂŶƚƐ ƌĞĐĞŝǀĞĚ Ždž ŽĸĐĞ ƚĂŬŝŶŐƐ /ŶƚĞƌĞƐƚ ƌĞĐĞŝǀĞĚ KƚŚĞƌ ƌĞĐĞŝƉƚƐ WĂLJŵĞŶƚƐ ƚŽ ƐƵƉƉůŝĞƌƐ ĂŶĚ ĞŵƉůŽLJĞĞƐ EĞƚ ĐĂƐŚ ƉƌŽǀŝĚĞĚ ďLJ ;ƵƐĞĚ ŝŶͿ ŽƉĞƌĂƟŶŐ ĂĐƟǀŝƟĞƐ
ϮϬϭϭ Ψ ϱϴϱ͕ϰϴϴ ϯϬϮ͕ϭϯϯ ϰϭ͕ϱϴϴ ϱϰ͕ϰϱϬ ;ϵϲϲ͕ϳϰϱͿ ϭϲ͕ϵϭϰ
ϮϬϭϬ Ψ
ĂƐŚ ŇŽǁƐ ĨƌŽŵ ŝŶǀĞƐƟŶŐ ĂĐƟǀŝƟĞƐ WƵƌĐŚĂƐĞ ŽĨ ƉůĂŶƚ ĂŶĚ ĞƋƵŝƉŵĞŶƚ WƌŽĐĞĞĚƐ ĨƌŽŵ ŝŶǀĞƐƚŵĞŶƚƐ EĞƚ ĐĂƐŚ ƉƌŽǀŝĚĞĚ ďLJ ŝŶǀĞƐƟŶŐ ĂĐƟǀŝƟĞƐ
;ϵ͕ϯϴϰͿ ϭϰϰ͕ϯϲϴ ϭϯϰ͕ϵϴϰ
;ϯϰ͕ϯϲϭͿ ϱϬ͕ϵϯϵ ϭϲ͕ϱϳϴ
EĞƚ ŝŶĐƌĞĂƐĞ ;ĚĞĐƌĞĂƐĞͿ ŝŶ ĐĂƐŚ ŚĞůĚ
ϭϱϭ͕ϴϵϴ
;ϴϬ͕ϲϬϴͿ
ĂƐŚ ĂŶĚ ĐĂƐŚ ĞƋƵŝǀĂůĞŶƚƐ Ăƚ ďĞŐŝŶŶŝŶŐ ŽĨ LJĞĂƌ
ϰϭ͕ϰϱϭ
ϭϮϮ͕Ϭϱϵ
ĂƐŚ ĂŶĚ ĐĂƐŚ ĞƋƵŝǀĂůĞŶƚƐ Ăƚ ĞŶĚ ŽĨ LJĞĂƌ
ϭϵϯ͕ϯϰϵ
ϰϭ͕ϰϱϭ
ϱϭϳ͕Ϯϰϱ ϯϬϯ͕ϳϯϴ ϯϵ͕ϲϵϱ ϭϮϵ͕Ϯϴϰ ;ϭ͕Ϭϴϳ͕ϭϰϴͿ ;ϵϳ͕ϭϴϲͿ
57
“This is theatre without skin, just raw ĞdžƉŽƐĞĚ ŶĞƌǀĞƐ͘ hŶĨŽƌŐĞƩĂďůĞ͘͟ John Bailey, Sunday Age ͞WĞƌĨĞĐƚůLJ ƐƵŝƚĞĚ ƚŽ ƚŚĞ ŝŶƟŵĂƚĞ ƐƚĂŐĞ of La Mama, the audience feels very ŵƵĐŚ ůŝŬĞ ƚŚĞLJ ĂƌĞ ƐŝƫŶŐ ŝŶ ƚŚĞ ůŝǀŝŶŐ room, eavesdropping on these two friends... ĐƌĞĂƟŶŐ ƐŽŵĞƚŚŝŶŐ ƋƵŝƚĞ ďĞĂƵƟĨƵů ŽƵƚ ŽĨ Ă ƐŝƚƵĂƟŽŶ ůĞƐƐ ƚŚĂŶ ďĞĂƵƟĨƵů͘͟ Lee Bemrose, In Press ͙͞ ĨĞĂƌůĞƐƐ ĂŶĚ ĨƵŶŶLJ͘͟ Cameron Woodhead, The Age “Wonderful, it tested my limits and ƉĞƌĐĞƉƟŽŶƐ͘͟ Karen Flores-‐Alfaro, Theatre Alive “La Mama’s version has been stripped ĚŽǁŶ ƚŽ ƚŚĞ ďŽŶĞƐ͙͟ Cameron Woodhead, The Age ͞dŽ ŽďƐĞƌǀĞ ƚŚĞƐĞ ƚǁŽ ĐŚĂƌĂĐƚĞƌƐ ŝŶ ĂĐƟŽŶ is to make contact with the abandoned child ŝŶ Ăůů ŽĨ ƵƐ͘ WĂŝŶĨƵůůLJ ďĞĂƵƟĨƵů ƚŚĞĂƚƌĞ͘͟ ůůLJ sĂƌƌĞŶƟ͕ dŚĞ ŐĞ
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WĂŐĞ ϱϵ͗ ͚WƌŽũĞĐƚ ͞y͛͟ y͘ ĞĞƐůĞLJ Back cover: Program Launch at La Mama, image: P.Bainbridge
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