Bliss (2018) Program

4 M AY - 2 J U N

SEASON 2018

4 M AY - 2 J U N MERLYN THEATRE

A SUSTAINED AND SARDONIC FABLE ON THE FOLLY OF BEING WISE – NEW STATESMAN

BY / Peter Carey

SET & COSTUME DESIGN / Marg Horwell

ADAPTED FOR THE STAGE BY / Tom Wright

LIGHTING DESIGN / Paul Jackson

DIRECTION / Matthew Lutton

SOUND DESIGN & COMPOSITION / Stefan Gregory

CAST / Marco Chiappi Will McDonald Amber McMahon Charlotte Nicdao Susan Prior Anna Samson Mark Coles Smith Toby Truslove

ASSISTANT STAGE MANAGER / Lauren Frahamer BESEN PLACEMENTS / Eloise Kent Glenn Saunders MONASH PLACEMENT / Talia Zipper

A Malthouse Theatre and Belvoir production. Proudly supported by Art Series Hotels.

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STAGE MANAGER / Kirsten Marr

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T IS ALSO HE STORY F AN USTRALIAN ITY. A CITY ONGING O BE REAT, AND SEASON 2018

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MATTHEW LUTTON: EVOLVING AND DEVOLVING We are in the middle of the fourth week of rehearsal for Tom Wright’s adaptation of Bliss, and every day we uncover further layers of resonance and more madcap humour in Peter Carey’s 1981 novel.

This is a story about Harry Joy. He is awakening to the hell he has been complicit in creating and he is only just starting to realise its vastness.

He is beginning to understand the destructiveness of historic patriarchy and observe how it is failing and falling. He is desperate to change (he wants to be ‘good!’) and searching for ways to survive.

The story is also about Bettina Joy and Honey Barbara. We experience the rise of Bettina’s genius and her rebellion against mediocrity.

We journey with Honey Barbara as she straddles both the country and the city, seeking alternativeness, time that flows like honey, and an understanding of what is beyond the veil of death.

It is also the story of an Australian city. A city longing to be great, and American. One that is full of ambitions and diseases that make beautiful sunsets.

Bliss is also a story about stories; about why we tell them, which ones we value, and how truth and lies blur in the creation of a memorable tale.

The more we rehearse, the more we discover how prophetic Peter Carey’s novel is. The hellish Australia he observed in the 1980s is now in full swing in the 21st century.

We tell this story on the Malthouse Theatre stage with an extraordinary ensemble of eight, who play out the five chapters as five different layers of hell. With each chapter we descend deeper and deeper— as Harry evolves and devolves— but the more we rehearse the more wildly we laugh.

Within Peter Carey’s story is a humour ignited from recognising our own flaws and grotesquery, of knowing that there is pleasure in hell, that others have already found ways to survive, and that there is a place for all of us here.

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MERICAN.

A NOTE FROM THE DIRECTOR

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N THE TV, DS FLICKER RAVELLY ASCULINITY, LOGGING BEER, EMON SQUASH, ND A NEW ATIONALISM SEASON 2018

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TOM WRIGHT: THE STORY OF A GOOD BLOKE A privileged man, who has sailed through life as an indulged mediocrity, realises he’s in a Hell, but he can’t see it’s a Hell of his own making. He attempts to find redemption and like Voltaire’s Candide he finds it tending his own garden. It’s a sprawling, two-steps-forward-one-step-back shaggy-dog story, with a strong pulse of romanticism. But when it all boils down, it’s still a story of that Good Bloke. And Good Blokes don’t represent humanity.

For what shall it profit a man, if he shall gain the whole world, and lose his own soul? (Mark 8:36) It’s the early 1980s in Australia. On the TV, ads flicker gravelly masculinity, flogging beer, lemon squash, and a new nationalism for the bigger world we are about to enter.

We’re gonna have to wake up sometime that everything’s not OK warns a Mojo-style eructation on the commercial airwaves. In Fremantle a ‘national hero’ wins a rich man’s yacht race and the country loses its bearings.

Everywhere there seemed to be these men; entrepreneurs, raconteurs, filling up space, Good Blokes. One of them was PM. One of them had a resort in Queensland, his ad would croon Too Good to Be True. And of course it was.

These Good Blokes were shysters.

Dig a little deeper though and there’s other voices, whispering under the big story. Bettina, born in the smell of fossil fuels, who buys the American dream only to find out it’s a crock, and that it leads to folly. Barbara, who lives off the grid, but has to walk into the Underworld to stare down demons. And a panoply of slightly-crazed voices that are both familiar and strange.

Perhaps the questions they ask along the way are the point. Of Hell, of cancer, of stories, of cities, of what it is to die. A country, in the early days of rubbing its sleep from its eyes.

Bliss feels like it’s from a vanished Australia in some ways. Carey wryly portrays an Aussie masculine yarnspinning tradition that wakes up and realises somewhere along the way it became sloganeering for economic nationalism. Henry Lawson and Joseph Furphy have become ponytailed copywriters, fashioning stories that— in the end—celebrate waste, vapidity, and worse. There’s a danger with this book.

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ATIONALISM

A NOTE FROM THE WRITER

CAST & CREATIVE BIOS

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Tom Wright WRITER

Matthew Lutton DIRECTOR

Marco Chiappi CAST

Tom has written a number of award-winning plays and adaptations, including The Resistible Rise of Arturo Ui, The Real and Imagined History of the Elephant Man, Picnic at Hanging Rock, The Caucasian Chalk Circle, The War of the Roses, The Lost Echo, Lorilei, Medea, Babes in the Wood, Baal, Optimism, On the Misconception of Oedipus, The Histrionic and Black Diggers.

He was Associate Director of Sydney Theatre Company from 2004 to 2012. He is currently Artistic Associate at Belvoir (Sydney) and has worked as an actor and director at Playbox (now Malthouse Theatre), MTC, State Theatre Company SA, La Mama, Company B (now Belvoir), Anthill, Gilgul, Mene Mene, Bell Shakespeare, Chunky Move, Black Swan, and Chamber Made Opera.

Matthew Lutton is Malthouse Theatre’s Artistic Director and Co-CEO. Prior to this, he was Malthouse Theatre’s Associate Director, and the Artistic Director of ThinIce in Perth.

For Malthouse Theatre, he has directed Black Rider: The Casting of the Magic Bullets, The Real and Imagined History of the Elephant Man, Away, Edward II, Picnic at Hanging Rock, I Am a Miracle, Night on Bald Mountain, The Bloody Chamber, Dance of Death, Pompeii, L.A., On the Misconception of Oedipus, Die Winterreise and Tartuffe. For STC he has directed The Trial, The Mysteries: Genesis, and The Duel. Other directing credits include Love Me Tender for Belvoir and Don’t Say the Words for Griffin Theatre Company.

His opera directing credits include Make No Noise for the Bavarian State Opera, Strauss’s Elektra for Opera Australia and West Australian Opera, and Wagner’s The Flying Dutchman for New Zealand Opera.

Malthouse Theatre: Away (with STC), Love and Information (with STC), Edward II, Woyzeck, A Pacific Union, Jerusalem. Bell Shakespeare: Phedre, Hamlet, Merchant of Venice, Richard III and Chilling And Killing My Anabelle Lee. STC: The Father (with MTC), Pygmalion, Jerusalem. MTC: This Girl Friday, Grapes of Wrath, Macbeth, The Rover, Dealer’s Choice, A Doll’s House, Closer, The Tempest. Black Swan: Popcorn.

TheatreWorks: Reckless.

Griffin: Torrez. STCSA: The Misanthrope, The Real Thing, Noises Off, The Goat or Who is Sylvia. fortyfivedownstairs: Dreamers, The Lower Depths. As Director: Antigone, A Wedding of the Member, Placebo. TV: The Mystery of a Hansom Cab, Seven Types of Ambiguity, Offspring, The Doctor Blake Murder Mysteries, Deadline Gallipoli, Parer’s War, Miss Fisher’s Murder Mysteries, Upper Middle Bogan, City Homicide, MDA, After the Deluge, Bootleg, Short Cuts, Seachange, The Genie From Down Under 2, Small Tales & True, Blue Heelers, The Last of the Ryans. Film: Holding the Man, The Boy Castaways, Mr Reliable. Training: Central School of Speech and Drama, London. Proud member of Actors’ Equity.

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Will McDonald CAST

Amber McMahon CAST

Charlotte Nicdao CAST

Will McDonald is fast becoming one of Australia’s most interesting young actors.

Already he has worked for renowned theatre companies, including Belvoir in The Drover’s Wife and Sydney Theatre Company in Arcadia. Will has appeared on one of Australia’s most popular television shows Home and Away as ‘Jett James’ for four years, and ABC’s highly anticipated telemovie Riot.

He will next be seen in the independent feature The School.

Amber trained at Flinders University Drama Centre and won the Adele Koh Scholarship to study at the Stella Adler Company & SITI Company in NYC. Her theatre credits include Picnic at Hanging Rock, Optimism (Malthouse Theatre), North by Northwest (MTC/Kay & McLean), Atlantis, Twelfth Night, Angels in America, The Power of Yes (Belvoir), Windmill’s Girl Asleep, School Dance and The Popular Mechanicals (STC/STSA). Amber was also a founding member of STC’s Actors Ensemble, appearing in productions including The War of the Roses, Season at Sarsaparilla, and The Lost Echo.

Amber’s screen credits include the film of Girl Asleep, and a host of short films. Amber has two Helpmann Awards for Best Supporting Actress for her work in School Dance and Girl Asleep.

Melbourne based actress Charlotte Nicdao made her television debut in 2011 as the lead in AACTA nominated children’s series A gURLs wURLd. Following supporting roles in critically acclaimed series The Slap and Time of Our Lives, in 2013 Charlotte made her debut in NBC’s Camp alongside Rachel Griffiths. Her other screen credits include Jenny in Please Like Me, and she starred as Rachel Osaka in the US sci-fi mini-series Childhood’s End. Recently focusing on comedy, Charlotte played Violet in ABC’s Trip For Biscuits, and appeared in Get Krack!n as ‘Scarlett Nicdao’. Charlotte is the voice of Baby in the animated series Kuu Kuu Harajuku, produced

by Gwen Stefani. Charlotte is very excited to be making her theatre debut in Bliss, with Malthouse Theatre and Belvoir.

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CAST & CREATIVE BIOS

CAST & CREATIVE BIOS

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Susan Prior CAST

Anna Samson CAST

Mark Coles Smith CAST

A NIDA graduate, Susan moves between theatre, film and television. Malthouse Theatre: Venus & Adonis, Wolf Lullaby.

Belvoir: Is This Thing On?, Small and Tired. MTC: The Distance.

STC: The Present (including Broadway NY season), Suddenly Last Summer, Midsummer Night’s Dream, Riflemind (Sydney & London West End seasons), Our Town, King Lear, Who’s Afraid of Virginia Woolf?, Love for Love, The Jungle, etc.

Bell Shakespeare: King Lear, Venus & Adonis. Susan has also worked with Griffin, Ensemble Theatre, Brink, Naked Theatre, Burning House, Tamarama Rocksurfers, Howard Barker’s Wrestling School (UK), Black Swan/Hothouse, Performing Lines and Sport for Jove. Film: The Second, Book Week, Jasper Jones, The Rover, Careless Love, Not Suitable for Children, Animal Kingdom, A Cold Summer (co-writer), Suburban Mayhem, Idiot Box, Heaven’s Burning, A Wreck, A Tangle and The View from Greenhaven. Television: Riot, Safe Harbour, Top of the Lake, Rake, Doctor Doctor, Bite Club, Puberty Blues, Love Child.

Awards include: AACTA Best Supporting Actress for The Rover (2015), Sydney Theatre Critics’ Award for Small and Tired (2013).

Anna is a graduate of the Victorian College of the Arts.

Theatre credits include: Pompeii, L.A. (Malthouse Theatre).

Skylight, Birdland (for which she was nominated for a 2016 Helpmann Award), The Sublime and The Heretic (MTC). The Bitter Tears Of Petra Von Kant (Theatre Works). Day One, A Hotel, Evening, Wet House (for which she was nominated for a 2016 Green Room Award) and Ruben Guthrie (Red Stitch).

After All This (Elbow Room).

On screen Anna can be seen most recently in Wake in Fright for Channel 10 and later in the year in Dead Lucky for SBS and Jack Irish for ABC. Selected television credits include HBO drama The Leftovers, Hunters, Winners & Losers, Offspring and Little Acorns. As well as the award-winning film What If It Works. Anna was nominated for Best Actress in the 2018 Oz-Flicks Film Awards and was the recipient of Best Emerging Performer for this performance.

Hailing from Broome, Mark has worked across the performing arts, first and foremost as an actor but also as a writer, producer and sound designer.

He is best known for his roles in Pawno and Last Cab to Darwin, for which he received a Best Supporting Actor AACTA nomination and a Best Supporting Actor win at the Film Critics’ Circle of Australia Awards. In 2017, Mark won the Helpmann Award for Best Male Actor in a Play for his work in Leah Purcell’s acclaimed adaptation of The Drover’s Wife.

TV credits include Hunters, Picnic at Hanging Rock, Doctor Doctor, Shaun Micallef’s Mad as Hell, The Gods of Wheat Street, Old School, The Circuit, Modern Family and Canadian series Hard Rock Medical. Early film credits include Around the Block and Beneath Hill 60.

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Toby Truslove CAST

Marg Horwell SET & COSTUME DESIGN

Paul Jackson LIGHTING DESIGN

Toby’s Theatre credits include The Beast (Ambassador Theatre Group), The Last Man Standing, The Speechmaker, The Cherry Orchard (MTC), Children Of The Sun (STC), Strange Interlude, Private Lives (Belvoir), Troilus and Cressida (Bell Shakespeare).

Toby’s television credits include the upcoming second seasons of True Story and Utopia, lead roles in Laid, Bleak, Outland, The Strange Calls, Randling, Scumbus, Crash Palace, The Unbelievable Truth, Tractor Monkeys and The Slideshow.

Toby’s other screen credits include guest appearances in drama series’ House Husbands, Molly, Offspring, Tangle, McLeod’s Daughters, The Strip, All Saints. Comedy series’ Lowdown, Some Say Love, The Librarians, Thank God You’re Here and Sleuth 101. Film credits include I Love You Too, Squid, How to Make a Monster, Smoking Will Kill You and The Eight Inch Pinch. Toby has been nominated for Sydney Critics Award and the Monte-Carlo TV Festival’s Golden Nymph Award for Outstanding Actor.

Marg is a multi-award winning designer and was the 2017 Designer In Residence at Malthouse Theatre. Marg has won seven Green Room Awards and two Sydney Theatre Awards for her work and was nominated for a Helpmann Award for Marlin (MTC and Arena Theatre). Credits include: Caravan, The Real and Imagined History of the Elephant Man, Revolt. She said. Revolt again., The Homosexuals or Faggots, Edward II, I Am A Miracle, The Good Person of Szechuan, The Histrionic, Tame (Malthouse Theatre). Birdland, Peddling, Constellations, Cock, Music, The Dream Life Of Butterflies, The Water Carriers, Circle Mirror Transformation, I Call My Brothers (MTC). Eight Gigabytes of Hardcore Pornography (Griffin), The School For Wives (Bell Shakespeare). Nora (Belvoir). Lilith The Jungle Girl, La Traviata, Summertime in the Garden of Eden (Sisters Grimm).

Shit, Savages (Dee & Cornelius).

Chapters From The Pandemic, Save For Crying, Wretch, Resplendence (Angus Cerini Doubletap).

Paul is a multi-award winning designer who has worked with Australia’s leading arts organisations. Credits include: The Testament of Mary, The Real and Imagined History of the Elephant Man, Black Rider, Away, I am a Miracle, Blaque Showgirls, Picnic at Hanging Rock, Meow Meow’s Little Mermaid, Edward II, Night on Bald Mountain, Antigone, Timeshare, Hello, Goodbye and Happy Birthday, Little Match Girl, Die Winterreise, The Threepenny Opera, Vamp, The Tell-Tale Heart, Sleeping Beauty (also co-creator), The Odyssey (Malthouse Theatre). Love and Information, The Histrionic, The Trial (STC/ Malthouse Theatre), True West, The Mysteries: Genesis (STC). Merchant of Venice, Othello, As You Like It, Phedre, Tartuffe, Julius Caesar (Bell Shakespeare). Seventeen, Nora, Oedipus Rex, Happy Days, It Just Stopped (Belvoir). Three Little Words, Hay Fever, Di, Viv and Rose, Private Lives, Miss Julie, Endgame, Ghosts, The Crucible (MTC). Awards: Helpmann Award (2012), six Green Room Awards, a Sydney Theatre Award and two APDG awards.

He is a Churchill Fellow and an Australia Council Fellow.

Paul has lectured in design and associated studies at the University of Melbourne, RMIT and VCA.

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CAST & CREATIVE BIOS

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Stefan Gregory SOUND DESIGN & COMPOSITION

Kirsten Marr STAGE MANAGER

Lauren Frahamer ASSISTANT STAGE MANAGER

Selected Malthouse Theatre shows include: The Glass Menagerie, The Government Inspector, The Wild Duck, Baal, Thyestes. Stefan’s other credits include: Yerma (The Young Vic); Husbands and Wives, Medea, Ibsen Huis (Toneelgroep Amsterdam); Engel In Amerika, Drei Schwestern (Theater Basel); Minnie and Liraz, The Cherry Orchard (Melbourne Theatre Company); Ghosts, Mother Courage and Her Children, Elektra/Orestes, A Christmas Carol, Hamlet, Forget Me Not, Cat on a Hot Tin Roof, Peter Pan, Private Lives, Medea, Death of a Salesman, As You Like It, The Seagull, Measure for Measure (Belvoir St Theatre); Arturo Ui, King Lear, The Present, Suddenly Last Summer, Dance Better At Parties, The War of the Roses (Sydney Theatre Company); Rocco und Seine Brüder (Münchner Kammerspiel); Puncture (Sydney Philharmonia Choirs/ Legs On The Wall); Symphony (Legs on the Wall); L’Chaim!

(Sydney Dance Company), and There Is Definitely a Prince Involved (The Australian Ballet).

He was awarded a Sidney Myer Creative Fellowship in 2014

Selected Malthouse Theatre shows include: The Spook, Alias Grace, Cargo. Kirsten has also been stage manager for The Season (Tasmania Performs); the Australian tours of The Bodyguard, Sound of Music, Legends, Grease (GFO); The Addams Family, Jersey Boys (New Theatricals); as well as various productions with The Production Company. She has also been a stage manager for arena performances such as the State School Spectacular (2008) and the 2006 Asian Games in Qatar.

Lauren is a freelance stage Manager based in Melbourne.

Since completing a Bachelor of Fine Arts (Production: Stage Management) at the Victorian College of The Arts, she has worked on numerous projects. She was Assistant Stage Manager for Away (Malthouse Theatre), Props Assistant for Aladdin The Musical (Walt Disney Company), Assistant Stage Manager for White Night Melbourne (David Atkins Enterprises), and Assistant Stage Manager for the Moomba Parade (City of Melbourne). Lauren also dabbles in the event industry, working with JT. Production Management on various weddings, conferences and product launches. Lauren is looking forward to developing a diverse career in theatre and events.

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STAND TOGETHER WITH MALTHOUSE THEATRE. At Malthouse Theatre we collaborate with local and international artists to create inventive performances that cut to the core of the human experience.

Theatre has the power to interrogate, disrupt and to be an agent of change—and we think it always should.

At Malthouse Theatre the work we produce explores the world personally, socially and politically.

Based in a dedicated venue, The Coopers Malthouse in Melbourne, we are a home for live experiences that entertain and provoke a dialogue with and within audiences.

Welcome to Malthouse Theatre.

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SEASON 2018

GOVERNMENT

VENUE

EDUCATION

MAJOR

CORPORATE

ACCOMMODATION

MEDIA

INDUSTRY

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TRUSTS AND FOUNDATIONS

OUR SUPPORTERS

CALLIOPE—MUSE OF POETRY—$50,000+ Mary-Ruth & Peter McLennan, Craig Reeves, Maureen Wheeler AO & Tony Wheeler AO URANIA—MUSE OF THE STARS—$25,000+ Annamila Fund, Debbie Dadon AM, Carrillo Gantner AO CLIO—MUSE OF HISTORY—$10,000+ Roseanne Amarant, Jennifer Darbyshire & David Walker, Colin Golvan QC, Michele Levine, James Penlidis & Fiona McGauchie, Janine Tai, The Vera Moore Foundation, Anonymous (1) THALIA—MUSE OF COMEDY—$5,000+ John & Lorraine Bates, Gjergja Family, Sue Kirkham, The Pratt Foundation, Richard Leonard & Gerlinde Scholz, Mary Vallentine AO, Moana Weir & Jordie van der Schoot, Anonymous (1) MELPOMENE—MUSE OF TRAGEDY—$2,500+ David Bardas, Rosemary Forbes & Ian Hocking, Sue Prestney, Elisabeth & John Schiller, Dr Jenny Schwarz, Fiona Sweet & Paul Newcombe, Leonard Vary & Dr Matt Collins QC, Jon Webster, Jan Williams, Anonymous (1)

EUTERPE—MUSE OF MUSIC—$1,000+ Marc Besen AC & Eva Besen AO, John & Sally Bourne, Sally Browne, Beth Brown & Tom Bruce AM, Ingrid & Per Carlsen, Tim & Rachel Cecil, Min Li Chong, Prof John Daley & Dr Rebecca Coates, Jason Craig, Andrew Curtis, Mark & Jo Davey, Dominic & Natalie Dirupo, Roger Donazzan, Rev Fr Michael Elligate AM, Dr Sian Fairbank, Brian Goddard, Val Johnstone, Fiona Kelly, Michael Kingston, Julie & Michael Landvogt, Susan Nathan, Rosemary & Roger Redston, Viorica Samson, Carol & Alan Schwartz AM, Robert Sessions & Christina Fitzgerald, Maria Solà, Toby Sullivan, Kerri Turner & Andrew White, Rosemary Walls, Pinky Watson, Henry Winters, Anonymous (1) TERPSICHORE—MUSE OF DANCE—$500+ Frankie Airey & Stephen Solly, Graham & Anita Anderson, Greg Andrews, Michael Arnold, Rowland Ball OAM, Sandra Beanham, David & Rhonda Black, Dr Rob Brown & Dr Lynne Millar, Bruce R Butler, Ros Casey, MaryAnne Carroll, Chris Clough, Alan Connolly, Peter & Roxane Fearnside, Evelyn Firstenberg, Lynne Frid, John & Helen Gibbins, Taleen Gaidzkar, Linda Herd, Leonie Hollingworth, Brad Hooper, Dr Irene Irvine, Joan & Graeme Johnson OAM, Irene Kearsey, Angela

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Kirsner & Dr Richard Kirsner, Simone Lourey, Jayne Lovelock & Dr Neal Harvey, Virginia Lovett, John McCallum, Victor McConvey, Ian McRae AO & Åsa Hasselgard-Rowe, Jan Owen AM, Craig Semple, Tom Smyth, Tim & Lynne Sherwood, Janice Taylor, Naum Tered, John Thomas, Phil & Heather Wilson, Anonymous (4) ERATO—MUSE OF LOVE—$250+ Simon Abrahams, Jennifer Bourke, John & Alexandra Busselmaier, Siu Chan, Diane Clark, Fiona Clyne, Georgie Coleman, Carolyn Creswell, William Donaldson, Dr Bronwen Evans, Carolyn Floyd, Mary Garcia, Damyn Gordon, Joanne Griffiths, Peggy Hayton, Ted Hocking, Russell Hooper, Susan Humphries, Arechea Hounsell, Sarah Hunt, Ann Kemeny & Graham Johnson, Mira & Dr David Kolieb, Judith MaitlandParr, Robert Peters, Ian Manning & Alice De Jonge, John Millard, Dr Kersti Nogeste, Linda Notley, Tony Oliver, Kaylene O’Neill, Anda Petrapsch, Gerard Powell, Dr Suzy Redston, Gavin Roach, Pauline Robert, Rae Rothfield, Jennifer Senior, Andrew Stocker, Evelyn Tadros, Chris Teh, Lee-Ann Walsh, Jan Watson, Jillian Wells OAM, Gary Westbrook, Gayl Morrow & Gib Wettenhall, Joanne Whyte, Barbara Yuncken

MALTHOUSE THEATRE STAFF

BOARD OF DIRECTORS Fiona McGauchie (Chair), Debbie Dadon AM, Colin Golvan QC, Michael Kantor, Jan Owen AM, Sue Prestney, Pamela Rabe, Nick Schlieper, Kerri Turner & Mary Vallentine AO. ARTISTIC & PROGRAMMING

TICKETING & BOX OFFICE

VENUE MANAGEMENT

Artistic Director & CO-CEO / Matthew Lutton

CRM & Ticketing Manager / Prue Sutherland

Venue Manager / Aaron Rowlands

Executive Producer & CO-CEO / Sarah Neal

Box Office Manager / Allie Stapleton

Front of House & Events Manager / Anita Posterino

Resident Dramaturg / Mark Pritchard

Box Office Team Leaders / Fiona Wiseman Kate Gregory

Front of House Manager / Leah Milburn-Clark

Resident Artist / Declan Greene Director In Residence / Sapidah Kian Producer / Toby Sullivan Associate Producer / Jason Tamiru Company Manager / Marline Zaibak FINANCE & ADMINISTRATION Finance Manager / Mario Agostinoni #BLISS

Finance Administrator / Liz White General Manager / Annie Bourke MARKETING & COMMUNICATIONS Marketing & Communications Manager / Caraline Douglas Digital Marketing Coordinator / Alexia Jordan Communications Coordinator / Alex Sadka Marketing Assistant / Jacqui Bathman Publicist / TS Publicity

Box Office Staff / Abbey Barnes, Jacqui Bartlett, Jacqui Bathman, Simon Braxton, Paul Buckley, Esther Crowley, Bronya Doyle, Lachlan Hywood, 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 Theatre Technician / Nathanael Bristow

Uncle Jack Charles, Richard Frankland, Tony Briggs, Lisa Maza, Pauline Wyman, Melodie ReynoldsDiarra & Jason Tamiru We acknowledge the Land and Songlines of the Wurundjeri and Boon Wurrung peoples of the Kulin Nation.

Wardrobe Assistant / Rebecca Dunn Workshop Manager / Goffredo Mameli Head Carpenter / David Craig Workshop Assistants / Elizabeth Whitton Mitch O’Sullivan

Development Manager / Fiona Kelly

Scenic Artist / Patrick Jones

Philanthropy Coordinator / Belinda Locke

EDUCATION

Sponsorship Coordinator / Olivia Satchell

Youth & Education Manager / Vanessa O’Neill

MARKETING & ADVERTISING /

ABORIGINAL & TORRES STRAIT ISLANDER COMMITTEE

Head Of Wardrobe / Delia Spicer

DEVELOPMENT

AKA +61 3 8866 8335 AKA-AU.COM

Front of House Staff / Gianni Agostinoni, Ben Anderson, Mitchell Brotz, Kate Calton, Georgia Cam, Ben Carollo, Gem Clarke, Emma Corbett, Alice Dixon, Amy Dowd, Sophia D’urso, Aly Grace, Sam Harrison, Mark Hoffman, Dirk Hoult, Kathryn Joy, Lara Kerestes, Hannah McKittrick, Daniel Moulds, Abi Murray, Daniel Newell, Leon Rice-Whetton, Sanne Rodenstein, Mick Roe, Lee Threadgold, Kenneth Waite.

PHOTOGRAPHY /

ZAN WIMBERLEY PIA JOHNSON

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DESIGN /

HOURS AFTER HOURSAFTER.COM.AU

10 NOV – 23 DEC

THE

DANCE OF

DEATH Judy Davis directs a magnetic cast – Colin Friels, Pamela Rabe and Toby Schmitz – in August Strindberg’s marriage battle for the ages. Enough said!

BOOK NOW BELVOIR.COM.AU Photograph by Daniel Boud

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TIME TO TALK: BLISS HEAR THE CAST, CREATIVES AND THE INDUSTRY EXPERTS TALK ABOUT THE SHOW, IMMEDIATELY AFTER YOU’VE SEEN IT. Discover inspirations and learn backstage secrets. Hear what the production provoked in others, and contribute your perspective.

Supported by our Major Partner Monash University. #BLISS

THE TIME TO TALK FOR THIS PRODUCTION IS 6.30pm, Tuesday 15 May

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As proud partners of Malthouse Theatre and production sponsors of BLISS, Art Series Hotel Group are happy to offer 10-20% off your next sleepover using the promo code DIRECT. Get away or book for a staycation at any of our seven properties in Melbourne, Brisbane and Adelaide.

artserieshotels.com.au | 1800 278 468 |

SCENE & HEARD

Australian singer Vance Joy is named after a character in Peter Carey’s Bliss.

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