14 FEB – 8 MAR
Malthouse Theatre acknowledges the Land and Songlines of the Boon Wurrung and Wurundjeri peoples of the Kulin Nation.
MERLYN THEATRE
14 FEB – 8 MAR
‘REFRESHING... VERY, VERY FUNNY’ — ABC
B Y / Oscar Wilde ADAPTED BY / Jon Haynes, Jude Kelly & David Woods CAST / Jon Haynes & David Woods ORIGINAL DIRECTION / Jude Kelly SET & COSTUME DESIGN / Zöe Atkinson
SOUND REALISER / Tom Backhaus Inspired by the original design by Lawrence English S TA G E M A N A G E R / Lyndie Li Wan Po A S S I S TA N T S TA G E MANAGER & DRESSER / Wendy Findlater PRODUCER / Erin Milne, Bureau of Works
LIGHTING DESIGN / Stephen Hawker Inspired by the original design by Jo Currey
Malthouse Theatre presents the Ridiculusmus production of The Importance of Being Earnest by Oscar Wilde. Key image photography by Zan Wimberley and production photography by Tim Page. #EARNESTMH20
ON A S 20 SE——20 —
Page 2—3
When we started work on this production in 2004, adapting it for two serious people to play nine parts between them, populist politicians were very much on the rise, though not exactly in their infancy. Nearly 15 years on we are in a position to trace a development in this trend, to a time when lies about the NHS and smears against political rivals go unchallenged and when endearingly bumbling politicians tousle their hair less noticeably once they have secured their landslides on the back of mendacious promises and the comical avoidance of journalistic scrutiny by secreting themselves in refrigerators. What has it got to do with Earnest? In 1891 Wilde wrote The Decay of Lying. Perhaps if he were writing today he would have called it The Rise of Lying. The Earnest plot hinges on a case of anagnorisis (a moment in a narrative when the main character either recognises or identifies his/her true nature), as do many dramas including Oedipus Rex and Othello. Here, Ernest/ Jack finds out that all his life he’s been speaking nothing but the truth. ‘Lying,’ Wilde says, ‘the telling of beautiful untrue things, is the proper aim of art’. Is there an art to the lying of these politicians? There might be in the case of the Oxford-educated Johnson, less so in the case of the cognitively impaired Trump. Perhaps the parallel is to be found in figures of apparent wealth, high status and influence winning over others with what we might call the debatable surface
charms of their personality (it could be said both Jack and Algernon do this) while being vacuous or just plain nasty underneath. Lady Bracknell acknowledges that ‘we live, I regret to say, in an age of surfaces’ (one of several lines we’ve cut), an accurate description of society at the time, and one illustrated by an exchange between Wilde and The Marquess of Queensberry wherein the former asked the latter if he was accusing him of having an unnatural relationship with his son, Lord Alfred Douglas, and the latter replied ‘I do not say you are it, but you look it, and you pose it, which is just as bad’. Wilde himself owed much of his fame and position to surfaces, capitalising on his resemblance to Bunthorne, for example, the aesthete character in Gilbert and Sullivan’s satirical operetta Patience, by dressing like Bunthorne, appearing to be him, and then booking a lucrative lecture tour of America on the back of it. It wasn’t that he did, necessarily, ‘walk down Piccadilly with a poppy or a lily in his medieval hand’, but he got people to believe he did. One wonders what Wilde was actually getting at in this play. Was he genuinely trying to puncture the affectations and snobbery of Victorian England, a sort of Joe Orton of his day locking people in a theatre and presenting them with a terrifyingly ugly, yet hilarious, version of themselves they couldn’t escape from? It’s hard to be sure of #EARNESTMH20
A NOTE FROM THE CO-CREATOR
A NOTE FROM CO-CREATOR JON HAYNES
his motives, though there are many theories about the play as a coded plea for gay liberation—Bunburying being an allusion to ‘the love that dare not speak its name’. He holed himself up in a series of hotels and country houses in the South of England to write it, surrounding himself with examples of the successful French farce model. Wilde already had three well-received plays presented. Perhaps he just wanted a huge commercial hit and financial security. A recent report from Barclays Bank reveals his phenomenal profligacy—even as a student at Oxford, where he was on a scholarship, Wilde ran up huge debts by today’s standards, purchasing an angora suit. Perhaps today he’d have become a banker or politician or an extravagantly rewarded prime time chat show host. Jon Haynes is a Co-Creator and Performer in The Importance of Being Earnest. He is the Co-Artistic and Excecutive Director of Ridiculusmus.
Page 4—5
S ——E A S —2 ON 02 0
#EARNESTMH20
DENNIS ALTMAN: WILDE’S HIDDEN MEANINGS The Importance of Being Earnest was first performed on 14 February 1895. Four days later the Marquess of Queensbury left his calling card at Wilde’s club inscribed—‘For Oscar Wilde, posing somdomite’[sic]. Wilde’s decision to sue the Marquess for libel led to his own conviction for ‘gross indecency’ and two years hard labour in Reading Gaol. The Importance of Being Earnest is the ultimate comedy of manners, in that everything that is superficial is treated with great seriousness. It has probably provided more well-known quotations than any play written since Shakespeare. It helped inspire Susan Sontag’s famous essay, Notes on “Camp”, which she dedicated to Oscar Wilde, although she doesn’t cite the play in her essay. For Sontag camp is a way of seeing the world in terms of stylisation, and is thus ‘disengaged, depoliticised— or at least apolitical.’ The subtitle of the play—A Trivial Comedy for Serious People—suggests Wilde was deliberately drawing attention to the superficiality of the play—or, possibly, signalling that its triviality could be deceptive. Ostensibly The Importance of Being Earnest revolves around the search for conventional love and marriage, and it ends, rather like a 19th century opera, with three couples united. Yet there is clearly a homosexual subtext, most obvious in the use of the term ‘Bunburying’, which Page 6—7
allows Algernon to escape social commitments to visit an imaginary invalid in the country. Queer scholars have found a wealth of homosexual references in the text, ranging from Jack’s cigarette case (Wilde often gifted young men with such cases) through the name of his ward, Cecily (claimed to be slang for a young male prostitute), to his home address in Albany, apparently the home of the founder of a secret homosexual society, the Order of Chaeronea, which had been established two years earlier by Cecil George Ives; a friend of Wilde’s. How much of this is intentional we can’t know. The name Earnest was sometimes in use to signify homosexual, and Wilde and his lover Lord Douglas had sex with a busboy named Earnest, who testified at the trial. Wilde himself, rereading the play, wrote—‘How I used to toy with that Tiger Life’, but that expression seems very uncommon. Rather like Gore Vidal and Sontag herself 60 years later, Wilde enjoyed playing with what was then, and continued well into the 1960s, namely the taboo subject of homosexuality. (One of the main claims of Notes on “Camp” was the centrality of homosexuals to contemporary culture). Whether or not some commentators’ claims for specific homosexual references are accurate, the whole play rests upon the concept of disguising one’s
S ——E A S —2 ON 02 0
personality—both Jack and Algernon have well developed strategies for leading a double life. The playwright George Bernard Shaw said that though ‘extremely funny’, the play was Wilde’s ‘first really heartless [one]’. Maybe we should think of The Importance of Being Earnest as a morality play disguised as a farce, one in which Wilde’s genius in coining aphorisms is most obvious. Despite being set in late 19th century British society, where lineage is all, it remains oddly relevant today—by inverting social platitudes Wilde points to their importance in maintaining social structures. Only by establishing his social class is Jack able to shed his other persona and marry Gwendolen. After the inevitable denouement, reminiscent of the discoveries of lost parents in Gilbert and Sullivans’ The Gondoliers (which had premiered six years earlier), Jack says— ‘Gwendolen, it is a terrible thing for a man to find out suddenly that all his life he has been speaking nothing but the truth. Can you forgive me?’ But what truth is Wilde hinting here?
the time Wilde wrote the play, a homosexual emancipation movement had emerged in Germany and was beginning to develop in Britain. But we should beware of overinterpretation—as Freud said about cigars, sometimes a cucumber sandwich is just a cucumber sandwich. Sontag wrote: ‘Camp taste is, above all, a mode of enjoyment, of appreciation—not judgement.’ The play has survived precisely because it both satirises late 19th century society and embraces it. The hints of tragedy in Wilde’s other famous story of a double life, The Picture of Dorian Gray, is nowhere evident here. Dennis Altman is a Professorial Fellow in Human Security at La Trobe University and a gay rights activist.
That E[a]rnest can be read as both a proper name and an adjective can be taken as a deliberate reference to disguising one’s homosexuality, which suggests that The Importance of Being Earnest could be taken as a call to be open about one’s sexuality. After all, by #EARNESTMH20
ON A S 20 SE——20 —
Page 8—9
CAST & CREATIVE BIOS
JON HAYNES & DAVID WOODS CO-CREATORS & PERFORMERS Ridiculusmus is a multi-awardwinning independent touring theatre company, led by its founding Co-Artistic Directors Jon Haynes and David Woods. Over 27 years Ridiculusmus has created more than 25 original theatre productions, been commissioned by venues including the Barbican Centre, National, Royal Court and Soho Theatre, toured to every region in the United Kingdom and presented work on nearly every continent of the world. The experience of watching Ridiculusmus has been compared by Tom Morris OBE to ‘being hit and kissed by a fish in rapid alternating succession,’ while The Australian described A Normal Child, co-created with The Disability Slapstick Plan, as ‘a rage against the machine of virtue signalling’. Ridiculusmus’ most recent two-hander Die! Die! Die! Old People Die! was selected by the British Council for its 2019 Edinburgh showcase. Their plays are published by Oberon Books.
JUDE KELLY ORIGINAL DIRECTION Jude Kelly was appointed Artistic Director of London’s Southbank Centre in 2006. She founded Solent People’s Theatre, Battersea Arts Centre, and the West Yorkshire Playhouse. In 1997, she was awarded an OBE for her services to theatre, and in 2015 she was made a CBE in the New Year honours for services to the Arts. She has directed over 100 productions from the Royal Shakespeare Company to the Châtalet in Paris. In 2002, Kelly founded Metal, a platform where artistic hunches can be pursued in community contexts, with bases in Liverpool, Southend-on-Sea and Peterborough. She led the cultural team for the successful London 2012 Olympic and Paralympic bid and then served on the Board of the cultural Olympiad. She is a regular broadcaster and commentator on a range of issues relating to society, art and education. In 2011 Jude created the WOW: Women of the World Festival, now heading into its 7th year at Southbank Centre as well as in other parts of the UK and across the globe.
ZOË ATKINSON SET & COSTUME DESIGN Zoë studied Design for Performance at the Prague Academy of the Performing Arts, the International Institute of Figurative Theatre and the Institute de la Marionette. Malthouse Theatre credits include Cloudstreet, The Odyssey, On the Misconception of Oedipus, Picnic at Hanging Rock and Black Rider: The Casting of the Magic Bullets. Other works with Matthew Lutton include Elektra (West Australian Opera) and The Flying Dutchman (New Zealand Opera). Zoë was the Artistic Associate and Designer of Boorna Waanginy – the opening event of the 2019 Perth Festival, Cloudstreet for Malthouse Theatre/Black Swan Theatre, and The Life of Galileo for Belvoir St Theatre. She is currently designing Hecate (Yirra Yaakin Theatre), The Cherry Orchard and York (Black Swan State Theatre Company). She has received many awards including a Helpmann Award for Best Costume Design for The Odyssey (Malthouse Theatre/ Black Swan State Theatre Company) and a nomination for Black Rider: The Casting of the Magic Bullets (Malthouse Theatre/Victorian Opera).
#EARNESTMH20
CAST & CREATIVE BIOS
STEPHEN HAWKER LIGHTING DESIGN
TOM BACKHAUS SOUND REALISER
LYNDIE LI WAN PO STAGE MANAGER
Stephen is an experienced Melbourne-based lighting designer. He has designed lighting for theatre, dance, musicals, music events, weddings, dance parties, and once lit a line of broken guitars as an artwork in a warehouse where he lived. He has worked with many companies including Malthouse Theatre, Arts Radar, ATYP, Australian Chamber Orchestra, Belvoir, Flightpath Theatre, Griffin Theatre Company, Musica Viva, Shopfront Theatre, Showtune Productions, Siren Theatre Co, Big hART and Sydney Theatre Company. He is a graduate of the Western Australian Academy of Performing Arts.
Tom is a freelance composer, sound designer and producer. Select sound design credits include Feather in the Web (Red Stitch), Astroman (Melbourne Theatre Company), The Temple (Malthouse Theatre) and my sister feather (VIMH). In 2017 Tom was a recipient of the Besen Family Artist Program at Malthouse Theatre, working with Jethro Woodward on The Real and Imagined History of the Elephant Man. As a producer, Tom is best known for his work with drag comedy group Dazza and Keif. He has presented their debut work Dazza and Keif Go Viral in Adelaide, Sydney, Wellington and Melbourne where he was awarded Best Emerging Producer at Melbourne Fringe Festival. In 2019 he presented their follow up Dazza and Keif Go Viral in Space with Ya Mum at Melbourne Fringe Festival along with a site-specific contemporary dance piece Dark Points. Tom has also worked closely with subversive comedy group The Very Good Looking Initiative. He was associate producer on the Green Room Award nominated Let’s Get Practical! Live and the award-winning social media comedy, CULL.
Lyndie is a graduate of the Victorian College of the Arts, she has worked as a stage manager and an assistant stage manager both nationally and internationally. Credits for Malthouse Theatre include Solaris, The Temple, Blasted, Going Down, Picnic at Hanging Rock, Wild Bore, Timeshare, I Am a Miracle and The Good Person of Szechuan. Select credits include Token Armies, Common Ground (Chunky Move), Calamity Jane (One Eyed Productions), Funny Girl, Curtains, Dusty, Hello Dolly, Jesus Christ Superstar (The Production Company), Big Bad Wolf, Grug, Grug and the Rainbow (Windmill Theatre), Separation Street, Ants and Cerita Anak (Polyglot Theatre).
Page 10—11
CAST & CREATIVE BIOS
WENDY FINDLATER ASSISTANT STAGE MANAGER & DRESSER Wendy Findlater assists performers into garments backstage at impressive speed. She dressed David and Jon at Malthouse Theatre’s The Importance of Being Earnest in 2006. Wendy was also been a dresser on Shakespeare in Love (MTC), Head of Wardrobe on Puffs (Life Like Touring) and was Assistant Head of Wardrobe for the Pop-Up Globe Theatre. Wendy has been fortunate to have travelled the globe on various productions as Head of Wardrobe and dresser since 2000.
ERIN MILNE PRODUCER Erin is an independent producer whose practice, Bureau of Works, is deeply driven by a passion for contemporary and experimental art that speaks to the here and now. Living and working on the land of the Boon Wurrung people of the Kulin Nation in Melbourne, Erin is committed to fostering distinctive voices and ambitious ideas both locally and internationally. Select Malthouse Theatre credits include Moth, Goodbye Vaudeville Charlie Mudd and Criminology (with Arena Theatre Company). Erin is a soughtafter collaborator with some of Australia’s most distinctive and ambitious artists, including One Step at a Time Like This, Madeleine Flynn and Tim Humphrey, Ridiculusmus, Jodee Mundy Collaborations, All the Queen’s Men, Gold Satino, Lz Dunn, Michaela Gleave, Anna Tregloan, Too Close to the Sun, and Chris Kohn. She is an associate of Experimenta Media Arts, Punctum, and is a sessional lecturer at Deakin University. Erin was recently awarded an ISPA Australia Council Fellowship for 2020–22.
#EARNESTMH20
ON A S 20 SE——20 —
Page 12—13
#EARNESTMH20
ALL IN
Malthouse Theatre collaborates with local and international artists to create inventive performances that cut to the core of the human experience. Our work explores the world personally, socially and politically to provoke a dialogue with and within audiences. Welcome to Malthouse Theatre. Page 14—15
ARE
OUR BOARD AND STAFF
Malthouse Theatre’s Board of Directors and Executive team gratefully acknowledge our founding patron, Carrillo Gantner AO. Along with Graeme Blundell and Garrie Hutchinson, Gantner formed the Hoopla Theatre Foundation in 1976, which transitioned into the Playbox Theatre Company in 1980. Your passion enables us to make the improbable, the inevitable. BOARD OF DIRECTORS Fiona McGauchie (Chair), Michael Kantor (Deputy Chair), Debbie Dadon AM, Andrew Myer AM, Jan Owen AM, Sue Prestney, Pamela Rabe, Nick Schlieper, Mary Vallentine AO & Deborah Cheetham ARTISTIC & PROGRAMMING Artistic Director & CO-CEO / Matthew Lutton Executive Producer & CO-CEO / Sarah Neal New Work Manager / Mark Pritchard Associate Producer / Jason Tamiru Resident Artists / Ra Chapman, Jada Alberts & Kamarra Bell-Wykes Director in Residence / Bridget Balodis Company & Cast Manager / Marline Zaibak Company Producer / Annie Bourke FINANCE & ADMINISTRATION Finance Manager / Ness Harwood Finance Administrator / Liz White Finance Assistant / Connie Stella Company Administrator / Allie Stapleton MARKETING & COMMUNICATIONS Marketing & Communications Manager / Davey Simmons Marketing & Communications Coordinator / Jacqui Bathman Digital Content Producer / Poppy Jackson Publicist / TS Publicity DEVELOPMENT Development Manager / Fiona Kelly Philanthropy Coordinator / Belinda Locke TICKETING & BOX OFFICE CRM & Ticketing Manager / Prue Sutherland Box Office Team Leader / Fiona Wiseman Box Office Staff / Paul Buckley, Emily Burke, Harry Diviny, Bronya Doyle, Mellita Ilich, Nicola James, Min Kingham, Lucy Kingsley, Emma Whitby, Liz White PRODUCTION Production Manager / David Miller Technical Manager / Baird McKenna Operations Manager / Dexter Varley Production Coordinator / Tia Clark Head Technician (Lighting) / Rob Ballingall Venue Head Mechanist / Ivan Smith Venue Technician / Brendan Jellie Head of Wardrobe / Delia Spicer Workshop Manager / Goffredo Mameli Set Builders / Elizabeth Whitton, Lennon Fowler, Mitch O’Sullivan Scenic Artist / Patrick Jones VENUE MANAGEMENT Venue Manager / John Byrne Events Manager / Anita Posterino Front of House Manager / Emma Corbett Front of House Staff / Gianni Agostinoni, Ben Anderson, Mitchell Brotz, Kate Calton, Georgia Cam, Jai Cameron, Emily Casey, Alice Dixon, Amy Dowd, Sophia D’urso, Mark Hoffman, Dirk Hoult, Ryan Jones, Kathryn Joy, Tom Kantor, Mick Klepner Roe, Bear Loren, Hannah Mckittrick, Georgia Mein, Abi Murray, Racheli Naparstek, Hayley Newman, Gemma Notara, Sanne Rodenstein, Gretel Sharp, Barney Spicer, Cameron Taylor, Lee Threadgold, Kenny Waite, Leonie Whyman, Matilda Woodroofe
YOU
WITH US?
DESIGN / MARKETING & ADVERTISING / WeAKA acknowledge the Land and Songlines HOURS AFTERof the Boon +61 3 8866 8335 HOURSAFTER.COM.AU AKA-AU.COM Wurrung and Wurundjeri peoples of the Kulin Nation.
S U P P O R T E R S & PA R T N E R S
OUR SUPPORTERS AND PARTNERS THAN KS TO O UR SPONSORS AN D PARTN ERS. WE CO UL DN ’ T DO IT WITHO UT YO U. GOVERNMENT
ACCOMMODATION
BEVERAGES
CORPORATE
EDUCATION
INDUSTRY
SUPPORTER
MEDIA
TRUSTS AND FOUNDATIONS
Page 16—17
For partnership or donation enquiries, please call our Development Manager on (03) 9685 5162 or email development@malthousetheatre.com.au
THANKS TO OUR MALTHOUSE MUSES
CALLIOPE—MUSE OF POETRY—$50,000+ Craig Reeves URANIA—MUSE OF THE STARS—$25,000+ Andyinc Foundation, Bardas Foundation, Debbie Dadon AM, The Humanity Foundation, Maureen Wheeler AO & Tony Wheeler AO CLIO—MUSE OF HISTORY—$10,000+ John & Lorraine Bates, Canny Quine Foundation, Jennifer Darbyshire & David Walker, Suzanne Kirkham, Richard Leonard & Gerlinde Scholz, Simone Lourey, Fiona McGauchie & James Penlidis, Mary-Ruth & Peter McLennan, Janine Tai, The Vera Moore Foundation, Anonymous (2) THALIA—MUSE OF COMEDY—$5,000+ Daniel Besen, Evelyn Firstenberg, Gjergja Family, Colin Golvan AM QC & Dr Deborah Golvan, Geoff & Christine Grenda, Michele Levine, Alison & Peter Mitchell, The Pratt Foundation, Mary Vallentine AO, Pinky Watson, Anonymous (1) MELPOMENE—MUSE OF TRAGEDY—$2,500+ Susanne Dahn, Roger Donazzan, Rev Fr Michael Elligate AM, Rosemary Forbes & Ian Hocking, Michael Kingston, Elizabeth & Donald McGauchie AO, Lauren Mitchell & Bradley Shawyer, Stephen Mitchell & Ailie Hansen, Sue Prestney & Paul Glen, Christopher Reed, Dr Jenny Schwarz, Kate & Stephen Shelmerdine, Fiona Sweet & Paul Newcombe, Peter Templeton, Leonard Vary & Dr Matt Collins AM QC, Jon Webster AM, Jan Williams, Dr Terry Wu & Dr Melinda Tee, Anonymous (1) —MUSE OF MUSIC—$1,000+ Rowland Ball OAM, Marc Besen AC & Eva Besen AO, Bruce Boell & Angela Kayser, Sally Browne Fund, Ingrid & Per Carlsen, Carman’s Kitchen, Ros Casey, Min Li Chong, Jason Craig, Mark & Jo Davey, Brian Goddard, David Geoffrey Hall, Jordana Hunter & Jacob Varghese, Michael Jankie & Vivienne Poznanski, Fiona Kelly, Craig Lynch & Luis Ibaceta, Ian Manning & Dr Alice De Jonge, David Marr, Susan Nathan, Ned’s, Mike & Jane Rikard-Bell, Viorica Samson, Robert Sessions & Christina Fitzgerald, Lynne Sherwood & the late Tim Sherwood, Maria Solà, Rosemary Walls, Anonymous (4) TERPSICHORE—MUSE OF DANCE—$500+ Frankie Airey & Steve Solly, Graham & Anita Anderson, Michael Arnold, Sandra Beanham, Peter Berry & Amanda Quirk, Annie Bourke & Darren Clyne, Nan Brown, Bruce R Butler, Tim & Rachel Cecil, Chris Clough, Sandy & Yvonne Constantine, Mark Duckworth & Lauren Mosso, Taleen Gaidzkar, John & Helen Gibbins, Brad Hooper, Joan & Graeme Johnson OAM, Irene Kearsey, Ann Kemeny & Graham Johnson, Virginia Lovett, John Millard, Gayl Morrow & Gib Wettenhall, Tom & Ruth O’Dea, Rosemary and Roger Redston, Tom Smyth, L Tell & D Lester, John Thomas, Gary Westbrook, Phil & Heather Wilson, Jillian Wells OAM & Prof David Wells OAM, Anonymous (4) ERATO—MUSE OF LOVE—$250+ Simon Abrahams, Natasha D’Souza, Nicole Beyer & Kim Marriott, Jennifer Bourke, John & Alexandra Busselmaier, Elise Callander, Lyndy Clarke, Fiona Clyne, Alan Connolly, Mrs Dalloway, Brian Doyle, Dr Bronwen Evans, Carolyn Floyd, Mary Garcia, Iona Goodwin, Damyn Gordon, Ash Gray, Marguerite Griffith & Dr Vincent Griffith, Joanne Griffiths, Russell Hooper, Arechea Hounsell, Graham & Judy Hubbard, Lachlan Hywood, Dr Irene Irvine, Ed Johnson, Mira & Dr David Kolieb, Julia Lambert, Mark Larsen, Dr Kristina Macrae & Bruce Macrae, Fiona Mahony, Judi Maitland-Parr, Michelle Mason, Ann McLaren, Susan McLean, Ian McRae AO & Åsa Hasselgard, Suzanne Mellor & Warren Prior, Dr Anne Myers, Lisa Nichols QC, Prof Robert Nordlinger, Linda Notley, Tony Oliver, Kaylene O’Neill, Dean Pavitt, Anda Petrapsch, Pinkerton Abbey Family, Gerard Powell, Rosalba Renzella, Dr Jessica Robertson & Henry Gardner, Jean Ross, Elizabeth Spence, Andrew D N Stocker, Michael Taylor & Anna Colbasso, Chris Teh, Dr Julie Thompson, Jennifer Vaughan, Jo Whyte, H Wood, Barbara Yuncken, Anonymous (7) Current as of 3 February 2020
ON A S 20 SE——20 —
Page 18—19
Page 20—29
WHAT HAPPENS NEXT
ON A S2020 E S —— —
26 MA R – 19 APR Le Gateau Chocolat is a gay, black, English-Nigerian man and drag artiste. Adrienne Truscott is a cis white feminist American female performance artist. They are dear friends and here, as in everyday life, they perform a multiplicity of identities: perceived, lived and projected. As their comical banter turns personal, political debates erupt, and grey areas (and arias) are exposed.
DEVISED & CREATED BY / Adrienne Truscott & Le Gateau Chocolat CAST / Adrienne Truscott Le Gateau Chocolat
Malthouse Theatre presents Grey Arias by Adrienne Truscott and Le Gateau Chocolat. #GREYARIASMH20
& E D EN R C EA SH
This is the third Lady Bracknell hat. The first two were devoured by maggots in storage.
Š Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2020.