21 JUN 28 JUN –– 14 21 JUL JUL
28 JUN – 21 JUL M E R LY N T H E AT R E
MYSTERIOUS PLANET. INCOMPREHENSIBLE INTELLIGENCE. GHOSTS OF REGRET. A N E W P L AY BY / David Greig adapted from Stanisław Lem’s novel DIRECTION / Matthew Lutton CAST INCLUDES / Leeanna Walsman Keegan Joyce Jade Ogugua Fode Simbo Marlia Chofor Flora Feldman F E AT U R I N G / Hugo Weaving as Gibarian (video) SET & COSTUME DESIGN / Hyemi Shin
S TA G E M A N A G E R / Lyndie Li Wan Po R E H E A R S A L A S S I S TA N T S TA G E M A N A G E R / Natasha Noel S H O W A S S I S TA N T S TA G E M A N A G E R / Angus Robson CHAPERONE / Amelia Jackson BESEN PLACEMENT / Katy Maudlin C I N E M AT O G R A P H Y BY / Tov Belling Katie Milwright
LIGHTING DESIGN / Paul Jackson
V I S UA L E F F E C T S / Toby Angwin
SOUND DESIGN & COMPOSITION / Jethro Woodward
CASTING DIRECTOR / Laura Donnelly CDG
Malthouse Theatre, The Royal Lyceum Theatre Edinburgh and the Lyric Hammersmith present Solaris. Key image photography by Zan Wimberley. Rehearsal photography by Pia Johnson.
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Solaris is a story partly about history haunting us, and partly about making new connections with others and otherness in the future. In my first encounter with Solaris, I recall being entranced by the mystery and moved by its imagery of dreams bursting to life. This was the film adaptation by the cinema master, Tarkovsky, and it cast me under a spell that I could not escape. Years later, I re-encountered the story through the book written by Stanisław Lem. The book was entirely different to the film. It was faster, scarier, full of a unique and dense philosophy; yet equally compelling. It broadened my understanding of the story, and told me that this is a story that could be told in many different ways. The idea of science fiction on stage has always appealed to me. Not staging alien battles or light speed travel, but because the genre allows us all to imagine alternative realities. It allows us to explore outer space, and the future, with all its imagined terror and beauty. In the case of Solaris, it also allows us to explore an alternate reality where we are reacquainted with our past, years after we left it, and where we encounter an otherness that is truly unknowable.
As a director, I am attracted to stories that we might consider impossible to stage. When I considered that Solaris was a story about four characters trapped on a space station, I realised this was a concise theatrical thriller set entirely in one location. The stage therefore provides a perfect vehicle for these four characters to be placed under the microscope. The story of Solaris is driven by Kris Kelvin. She arrives on a space station that has lost communication with Earth and discovers that the planet is behaving in extraordinary ways. It is bringing memories to life. But why is it doing this? Is it behaving like a child, a god, a predator, or a fool? Is it all of these things? Or is it an otherness beyond our human understanding? How do we respond to an otherness that doesn’t reflect ourselves is one of Lem’s big provocations. Does otherness bring out our desire to exoticise, control, destroy or befriend? Can we truly connect with others and otherness? These are some of the mysteries and questions of Solaris, that Lem, and now David Greig in his stage adaptation, invite us into. Solaris is a mystery brimming with questions.
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A NOTE FROM THE DIRECTOR
MATTHEW LUTTON: ENCOUNTERING OTHERNESS
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Stansisław Lem wrote his novel Solaris in 1962, when space travel was in its infancy. The year before the book was published, Yuri Gagarin had just completed the first orbit of the Earth in his capsule Vostok 1. Gagarin’s brief escaping of Earth’s boundaries had a strange and briefly galvanising effect on humankind. Somehow, his loop of the world offered us the idea that we were not everything; that there was another place from which we could view ourselves, a perspective from outside. It was as if, after 100,000 years of human existence, we were suddenly offered a mirror. It was a strange and disorienting experience. The sudden realisation that we were alone. At a press conference, shortly after he returned to Earth, Gagarin was asked if he had seen God? ‘No’, he said, ‘and I had a good look around’. Lem’s novel, like all space fiction, is full of loneliness. Kris Kelvin, the psychologist detective, has lost a lover and lives alone. The crew of the space station have been driven mad by isolation. And, of course, the planet Solaris itself hangs alone in the darkness—uncontacted and uncontactable. Loneliness is a peculiarly human emotion. We evolved to live in groups; men, women, children, old, young all huddled and cuddled together inside the cave looking out over the plain. The warmth of the group is both a physical and spiritual comfort to us. To be separated from the group is a fate worse than death.
This foundational human togetherness, however, is predicated on a contradiction: communication. It brings us together but it also reminds us we are apart. Language is what distinguishes Homo sapiens from all the other hominid species that came before us. Language gives us the power to describe the world as we see it, but it also forces us to encounter the world as others see it; and so, we realise that there are differences between us; that we are not the same. We realise that, in some profound sense, even huddled and cuddled all together in the middle of the cave, in a heap of warmth and togetherness, we are alone. It is the human condition to hold these contradictory impulses together. We strive to preserve and protect our individual bodies and yet we perpetually yearn for contact, for love, for the breaking of the boundaries of our own skin. We desire to be ourselves and yet we also desire to melt away and lose ourselves, to disappear within the group. The power of Solaris, for me, is that Stansisław Lem took this very personal human emotion of dislocation and transferred it to a planetary scale. He found a very peculiar moment in history… the first steps of humans into space… and wove from it the perfect story of a group of scientists, on a space station, who encountering ‘the other’ must ask themselves the most fundamental human question—do we, or don’t we attempt to make contact?
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A NOTE FROM THE WRITER
DAVID GREIG: CONTACT
CAST & CREATIVE BIOS
ON A S 019 SE——2 —
MAT THEW LUT TON DIRECTOR
DAVID GREIG WRITER
MARLIA CHOFOR CAST
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. Directing credits for Malthouse Theatre include Cloudstreet, Melancholia, Bliss, 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’ Elektra for Opera Australia and West Australian Opera and Wagner’s The Flying Dutchman for New Zealand Opera.
David Greig is an acclaimed and multi-award-winning playwright who became the Artistic Director of The Royal Lyceum Theatre in Edinburgh in 2016. David’s most notable plays include Local Hero (The Lyceum, Old Vic), Touching The Void (The Lyceum, Bristol Old Vic), The Suppliant Women (The Lyceum), The Events (Traverse, Scotland and Young Vic), The Strange Undoing of Prudencia Hart (Tron, National Theatre of Scotland), Midsummer (Traverse, Soho and Tricycle) and Dunsinane (RSC at Hampstead and National Theatre of Scotland). David’s adaptation of Dr Seuss’ The Lorax was nominated for an Olivier Award in 2016.
Marlia is making her professional theatre debut in Solaris and is excited to join the cast. She is currently a student at Centrestage Performing Arts School in Brunswick, training in Drama and Dance. Marlia has appeared in commercials and two short films, Rosie and Tomorrow, and Tomorrow, and Tomorrow. Marlia would like to thank her family and her teachers at Centrestage Performing Arts School. Marlia is proudly represented by Centrestage Agency.
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ON A S2019 E S —— —
CAST & CREATIVE BIOS
FLORA FELDMAN CAST
KEEGAN JOYCE CAST
JADE OGUGUA CAST
Flora is making her professional theatre debut in Solaris. She has previously starred in Exquisite Corpse, a virtual reality film directed by Amiel CourtinWilson for MIFF 2018. She has been involved in print and television advertising. Flora is a member of the House of Muchness, training under founder and artistic director Alex Walker. She is studying ballet at the National Theatre Ballet School and circus at NICA. Flora loves to sing, climb trees, and is concerned about climate change.
Keegan is best known for his breakout roles in two critically acclaimed TV series. In AACTA and Logie Award-winning comedy series Please Like Me (ABC, Pivot TV USA, Hulu) and Rake (ABC), earning him two Equity Ensemble Awards. Other screen credits include Rescue Special Ops (Southern Star Group), K9 (Network 10, Disney XD), and US feature Superman Returns. Keegan’s stage career began with the title role in Cameron Mackintosh’s Australasian tour of the musical Oliver!. Since then, Keegan has performed in Titanic: A New Musical, Edges: A Song Cycle, Once, Evie May: A Tivoli Story, and MTC’s Vivid White. In 2014, Keegan completed a degree in Musicology at the Sydney Conservatorium of Music. In 2016, Keegan released his debut album Snow on Higher Ground.
Jade’s theatre credits include Twelfth Night (Edinburgh Lyceum/Bristol Old Vic), Anyone’s Guess How We Got Here (Barrel Organ), How to Act (National Theatre of Scotland), The Enchanted (Bunker Theatre), The Barnbow Canaries (West Yorkshire Playhouse), The Tempest (Northern Stage/ Oxford Playhouse) and Scarlet (Southwark Playhouse). TV and film credits include Four Weddings and a Funeral (Hulu), Flatmates (BBC), Lovesick (Channel 4/Netflix), Sniper 6, Doctors (BBC) and The Guilty (ITV).
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CAST & CREATIVE BIOS
ON A S 019 SE——2 —
FODE SIMBO CAST
LEANNA WALSMAN CAST
HUGO WEAVING CAST (VIDEO)
Fode graduated from Guildhall School of Music and Drama in 2017. Theatre credits include The Princess & the Hustler (Bristol Old Vic) and Young Marx (The Bridge Theatre). Television credits include Summer of Rockets (BBC), Little Women (BBC) and Philip K Dick’s Electric Dreams (Channel 4).
Leeanna Walsman has enjoyed an extensive career in film, theatre and television. Leeanna previously performed at Malthouse Theatre in the 2018 production of Melancholia. Select stage credits include Stockholm, Saturn’s Return, The Shape of Things, La Dispute (Sydney Theatre Company), Speaking in Tongues (State Theatre Company of South Australia), Othello (Bell Shakespeare), A Streetcar Named Desire (Queensland Theatre Company) and Peribanez (Belvoir). Leeanna’s feature films include Don’t Tell, Single Rider, Manny Lewis, Dawn, Caught Inside, Bitter and Twisted, Star Wars: Attack of the Clones, Looking for Alibrandi, Blackrock and the upcoming 2067. Leeanna’s television credits include Safe Harbour, Seven Types of Ambiguity, Janet King (Series 2), Cleverman, Catching Milat, Wentworth, Underbelly: Badness, The Pacific, The Starter Wife and many more. Leeanna has been nominated for several FCCA, If, AFI and Logie Awards and won Best Actress Award at the Auckland International Film Festival.
Theatre credits include Cat on a Hot Tin Roof, Arturo Ui, Endgame, Macbeth, Waiting for Godot, Uncle Vanya, Riflemind, Les Liaisons Dangereuses, The Real Thing (Sydney Theatre Co); God of Carnage, Much Ado About Nothing (Melbourne Theatre Company); Julius Caesar, Private Lives (SATC); The Alchemist, The Blind Giant is Dancing (Belvoir). Film credits include Hearts and Bones, Jasper Jones, Hacksaw Ridge, The Dressmaker, The Mule, Mystery Road, Captain America, Cloud Atlas, Oranges and Sunshine, Last Ride, V for Vendetta, Little Fish, The Matrix, The Lord of the Rings, The Interview, The Adventures of Priscilla: Queen of the Desert, and Proof. Recent TV includes Patrick Melrose and 7 Types of Ambiguity. Hugo has received numerous awards throughout his career including Helpmann Awards and Sydney Theatre Awards for Arturo Ui and Endgame, a Helen Hayes Award for Uncle Vanya, 3 AFI Awards for Proof, Little Fish and The Interview, for which he also won Best Actor at The Montreal World Film Festival, as well as four AACTA Awards.
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ON A S2019 E S —— —
CAST & CREATIVE BIOS
HYEMI SHIN SET & COSTUME DESIGN
PAUL JACKSON LIGHTING DESIGN
JETHRO WOODWARD SOUND DESIGN
Hyemi trained at Hongik University in Seoul and Wimbledon College of Arts. She was the winner of the 2011 Linbury Prize. Theatre design credits include The End of Eddy (Unicorn Theatre London), The Seagull, Herons, Morning, Desire Under the Elms, A Midsummer Night’s Dream, Secret Theatre Show 1, 2, 4, 5, 6, 7 (Lyric Hammersmith), Once in a Lifetime, Dirty Butterfly, Sizwe Banzi is Dead (Young Vic), The Brink (Orange Tree Theatre), Made Visible (The Yard), He Wore a Red Hat and Playland (New Perspectives Theatre). Dance design credits include New Work New Music (Royal Ballet), Life’s Witness (ROH2/ Linbury Studio Theatre), Unearth (National Ballet of Canada), The Kreutzer Sonata (Ballet Moscow), Michael KeeganDolan’s Swan Lake/Loch na hEala (Dublin Theatre Festival) and Sadler’s Wells, for which she won the Irish Times Best Costume Award. Opera design credits include La Damnation de Faust (Glyndebourne Opera), The Skating Rink (Garsington Opera) and The Return of Ulysses (ROH/Roundhouse).
Paul Jackson is a multiaward-winning designer who works across Australia and internationally. Design credits include Cloudstreet, Blasted, Melancholia, Bliss, The Testament of Mary, The Real and Imagined History of the Elephant Man, Black Rider: The Casting of the Magic Bullets, Away, I Am a Miracle, Picnic at Hanging Rock, Meow Meow’s Little Mermaid (Malthouse Theatre), Love and Information, The Histrionic, The Trial (STC/Malthouse Theatre), Mary Stuart, True West, The Mysteries: Genesis (STC), Merchant of Venice, Othello, As You Like It, Phedre, Tartuffe, Julius Caesar (Bell Shakespeare), Seventeen, Nora, Oedipus Rex (Belvoir), Arbus and West, Gloria, The Children, Three Little Words, Hay Fever and Di and Viv and Rose (MTC). Paul has received a Helpmann Award, a Sydney Theatre Award, seven Green Room Awards, three Australian Production Design Guild Awards and 31 Green Room Award nominations. He is the current recipient of an Australia Council for the Arts Fellowship. Paul is a graduate of the University of Melbourne and RMIT.
Jethro Woodward is a Melbourne-based composer, musical director, arranger, musician and sound designer recognised for his expansive and highly layered film, theatre and dance scores. A multi Green Room Award-winner and Helpmann nominee, he has worked with some of Australia’s leading major and independent companies including MTC, STC, Belvoir, MSO, Victorian Opera, Chamber Made Opera, Back to Back, Arena, Windmill, Chunky Move, Lucy Guerin Inc, Australian Dance Theatre, Aphids, Stuck Pigs Squealing, Rawcus, and more. Recent works include Lazarus (The Production Company), Distant Matter (Staatsballett Berlin), Common Ground (Chunky Move/ Dance Massive), Rumplestiltskin (Windmill/Southbank Centre London), Paul Capsis & The Fitzroy Youth Orchestra (Sydney Festival), Rita Dreaming (in collaboration with Meow Meow for Sgt. Peppers 50th Anniversary Festival, Liverpool). Jethro has won Green Room Awards for his work on Song for a Weary Throat (Rawcus), For The Ones Who Walk Away (St Martins), The Bloody Chamber (Malthouse Theatre), Moth and Goodbye Vaudeville Charlie Mudd (Malthouse Theatre/Arena Theatre) and Irony Is Not Enough (Fragment 31). In 2018, Jethro was the recipient of the GRAA Technical Achievement Award.
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CAST & CREATIVE BIOS
ON A S 019 SE——2 —
LYNDIE LI WAN PO STAGE MANAGER 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 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 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).
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NATASHA NOEL REHEARSAL ASSISTANT STAGE MANAGER
ANGUS ROBSON SHOW ASSISTANT STAGE MANAGER
Natasha is a recent graduate of Victorian College of the Arts (VCA) and recipient of a Bachelor of Fine Arts in Production (Stage Management). From an early age, Natasha has been performing in the arts, so the move to backstage was an easy one. Her recent stage manager credits include A Gentleman’s Guide To Love and Murder (The Production Company), RENT (Chapel off Chapel), August: Osage County, and The Victorian State Schools Spectacular in 2017. Natasha is excited to be working alongside the incredible team at Malthouse Theatre on Solaris.
Angus Robson is a theatre production all-rounder working across Australia. His previous roles include stage manager, production manager and an operator for music, contemporary dance and ballet. Malthouse Theatre credits include Cloudstreet. He has worked with Chunky Move, Tracks Dance Company, Artback NT and Browns Mart Theatre amongst others. Angus has a Bachelor of Contemporary Music from Charles Darwin University.
ON A S2019 E S —— —
L AURA DONNELLY CDG CASTING DIRECTOR Laura is the Casting Director at National Theatre of Scotland. She also casts for other major companies throughout the UK and internationally. She is represented by Jess Alford at United Agents. For The Royal Lyceum: The Winter’s Tale (2016), Jumpy (2016) Alice’s Adventures in Wonderland (2016), Hay Fever (Lyceum/Citizens 2017), Glory On Earth (2017), Rhinoceros (DOT Theatre Istanbul/Lyceum 2017/18), Cockpit (2017), The Arabian Nights (2017), Twelfth Night (Lyceum/ Bristol Old Vic 2018), Wendy and Peter (2018) and The Duchess of Malfi (Lyceum/Citizens 2019). Other Credits Include: Total Imminent Collective Terrestrial Salvation (NTS/Royal Court 2019), Red Dust Road (NTS/ HOME 2019), Them! (NTS 2019), Cyrano De Bergerac (NTS/Citizens/ Lyceum 2018), Midsummer (NTS/ EIF 2018), My Left Right Foot (NTS/Birds of Paradise 2018/19), This Restless House (Citizens Theatre NTS/EIF 2016/17), Adam (NTS 2017/18), How To Act (NTS 2017/18), The 306 Trilogy: Dawn, Day, Dusk (NTS/Perth Theatre 2016–18), Our Ladies Of Perpetual Succour (NTS/Live/ Sonia Friedman, UK, National Theatre, Duke Of Yorks 2015–2017), The James Plays (NTS/National Theatre/EIF, UK/International 2015/16), The Strange Undoing Of Prudencia Hart (New York, UK/ US 2016–18), Let The Right One In (UK/US/ 2014–16/Abbey Theatre 2017) and Anything That Gives Off Light (NTS/The TEAM/EIF 2016).
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ON A S 019 SE——2 —
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ABOUT MALTHOUSE THEATRE
YOUR JOURNEY WITH MALTHOUSE THEATRE AWAITS. 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. Page 14—15
ARTISTIC & PROGRAMMING
TICKETING & BOX OFFICE
VENUE MANAGEMENT
Artistic Director & CO-CEO / Matthew Lutton
CRM & Ticketing Manager / Prue Sutherland
Venue Manager / Simon Moss
Executive Producer & CO-CEO / Sarah Neal
Box Office Manager / Allie Stapleton
Events Manager / Anita Posterino
New Work Manager / Mark Pritchard
Box Office Team Leader / Fiona Wiseman
Front of House Manager / Lara Kerestes
Resident Artist / Declan Greene
Box Office Staff / Claire Bornhoffen, Simon Braxton, Paul Buckley, Emily Burke, Harry Diviny, Bronya Doyle, Mellita Ilich, Nicola James, Min Kingham, Lucy Kingsley, Emma Whitby, Liz White
Front of House Staff / Gianni Agostinoni, Ben Anderson, Mitchell Brotz, Kate Calton, Georgia Cam, Jai Cameron, Emma Corbett, Alice Dixon, Amy Dowd, Sophia D’urso, Mark Hoffman, Dirk Hoult, Ryan Jones, Kathryn Joy, Tom Kantor, Mick Klepner Roe, Bear Loren, Nicole Mckenzie, Hannah Mckittrick, Georgia Mein, Abi Murray, Hayley Newman, Sanne Rodenstein, Gretel Sharp, Dom Simonelli, Lee Threadgold, Kenny Waite, Leonie Whyman
Director in Residence / Ming-Zhu Hii Strategy Manager / Toby Sullivan Associate Producer / Jason Tamiru
PRODUCTION
Company Manager / Marline Zaibak
Production Manager / David Miller
FINANCE & ADMINISTRATION
Technical Manager / Baird McKenna
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Operations Manager / Dexter Varley Production Coordinator / Tia Clark
We acknowledge the Land and Songlines of the Boon Wurrung and Wurundjeri peoples of the Kulin Nation.
Head Technician (Lighting) / Rob Ballingall Venue Head Mechanist / Ivan Smith Venue Technician / Brendan Jellie Head of Wardrobe / Delia Spicer Wardrobe Assistant / Rebecca Dunn Workshop Manager / Goffredo Mameli Head Carpenter / David Craig Workshop Assistants / Elizabeth Whitton Mitch O’Sullivan Scenic Artist / Patrick Jones EDUCATION Education Coordinator / Alexandra Macalister-Bills
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MALTHOUSE THEATRE STAFF
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.
SUPPORTERS & PARTNERS
OUR SUPPORTERS AND PARTNERS GOVERNMENT
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For partnership or donation enquiries, please call our Development Manager on (03) 9685 5162 or email development@malthousetheatre.com.au Page 16—17
CALLIOPE—MUSE OF POETRY—$50,000+ Craig Reeves URANIA—MUSE OF THE STARS—$25,000+ Andyinc Foundation, Bardas Foundation, Debbie Dadon AM, Talya Masel & the Humanity Foundation, Maureen Wheeler AO & Tony Wheeler AO CLIO—MUSE OF HISTORY—$10,000+ Annamila Fund, John & Lorraine Bates, Jennifer Darbyshire & David Walker, Suzanne Kirkham, Michele Levine, Simone Lourey, Mary-Ruth & Peter McLennan, James Penlidis & Fiona McGauchie & Family, 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, Richard Leonard & Gerlinde Scholz, Elizabeth & Donald McGauchie AO, The Pratt Foundation, Mary Vallentine AO, Moana Weir & Jordie van der Schoot, Anonymous (1) MELPOMENE—MUSE OF TRAGEDY—$2,500+ Rev Fr Michael Elligate AM, Dr Sian Fairbank, Rosemary Forbes & Ian Hocking, Linda Herd, Michael Kingston, Alison & Peter Mitchell, Sue Prestney & Paul Glen, Dr Jenny Schwarz, Kate & Stephen Shelmerdine, Fiona Sweet & Paul Newcombe, Leonard Vary & Dr Matt Collins QC, Jon Webster, Jan Williams, Dr Terry Wu & Dr Melinda Tee, Anonymous (1)
EUTERPE—MUSE OF MUSIC—$1,000+ Marc Besen AC & Eva Besen AO, Sally Browne, Ingrid & Per Carlsen, Ros Casey, Tim & Rachel Cecil, Min Li Chong, Jason Craig, Andrew Curtis, Susanne Dahn, Mark & Jo Davey, Roger Donazzan, Brian Goddard, David Geoffrey Hall, Jordana Hunter & Jacob Varghese, Michael Jankie & Vivienne Poznanski, Val Johnstone, Fiona Kelly, Carman’s Kitchen, Julie & Michael Landvogt, Craig Lynch & Luis Ibaceta, David Marr, Susan Nathan, Rosemary & Roger Redston, Mike & Jane Rikard-Bell, Viorica Samson, Carol & Alan Schwartz AM, Robert Sessions & Christina Fitzgerald, Lynne Sherwood & the late Tim Sherwood, Maria Solà, Rosemary Walls, Pinky Watson, Anonymous (4) TERPSICHORE—MUSE OF DANCE—$500+ Frankie Airey & Steve Solly, Graham & Anita Anderson, Greg Andrews, Michael Arnold, Rowland Ball OAM, Sandra Beanham, David & Rhonda Black, Bruce Boell & Angela Kayser, Annie Bourke & Darren Clyne, Nan Brown, Dr Rob Brown & Dr Lynne Millar, Priscilla Bryans, Bruce R Butler, MaryAnne Carroll, Chris Clough, Georgie Coleman, Dr Ross Coller, Prof John Daley & Dr Rebecca Coates, Dr Bronwen Evans, Peter & Roxane Fearnside, Taleen Gaidzkar, Mary Garcia, John & Helen Gibbins, John Douglas Guppy, Tyler Hill, the late Leonie Hollingworth, Brad Hooper, Joan & Graeme Johnson OAM, Irene Kearsey, Ann Kemeny & Graham Johnson, Angela Kirsner & Dr Richard Kirsner, Virginia Lovett, Ian Manning & Alice De Jonge, John McCallum, Ian McRae AO & Åsa HasselgardRowe, Ned’s, Jan Owen AM, Salvatore & Lea Posterino, Craig Semple, Tom Smyth, L Tell & D Lester, Naum Tered, John Thomas, Kerri Turner & Andrew White, Phil & Heather Wilson, Anonymous (1)
ERATO—MUSE OF LOVE—$250+ Simon Abrahams, Dr Sue Beeton, Nicole Beyer, Robert & Jane Bird, Jennifer Bourke, John & Alexandra Busselmaier, Elise Callander, Diane Clark, Lyndy Clarke, Fiona Clyne, Alan Connolly, William Donaldson, Mark Duckworth & Lauren Mosso, Carolyn Floyd, Iona Goodwin, Damyn Gordon, Ash Gray, Marguerite Griffith & Dr Vincent Griffith, Joanne Griffiths, Peggy Hayton, Russell Hooper, Arechea Hounsell, Susan Humphries, Sarah Hunt, Dr Irene Irvine, Ed Johnson, Cliff Johnston, Mira & Dr David Kolieb, Julia Lambert, Jayne Lovelock, Fiona Mahony, Judith Maitland-Parr, Ann McLaren, Susan McLean, Suzanne Mellor & Warren Prior, John Millard, Gayl Morrow & Gib Wettenhall, Dr Anne Myers, Prof Robert Nordlinger, Linda Notley, Dr Helen Nugent AO, Tom & Ruth O’Dea, Tony Oliver, Kaylene O’Neill, Frances Pascale, Dean Pavitt, Robert Peters, Anda Petrapsch, Pinkerton Abbey Family, Gerard Powell, Dr Suzy Redston, Rosalba Renzella, Dr Jessica Robertson & Henry Gardner, Jean Ross, Dr Rob Selzer, Hugh Stephens, Andrew Stocker, Toby Sullivan, Chris Teh, Lee-Ann Walsh, Jillian Wells OAM, Gary Westbrook, Jo Whyte, Barbara Yuncken, Anonymous (6)
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MY DEARWORTHY DARLING
ON A S2019 E S —— —
2 – 18 AUG In modern day Australia, a marriage is pulled apart by mistrust and paranoia. A woman breaks apart in the turmoil. In medieval England, a woman has mystic visions. These visions allow her to be heard—maybe even to connect across centuries. My Dearworthy Darling is a visual and lyrical feast by award-winning writer Alison Croggon and feminist theatre mavericks THE RABBLE. A NEW PLAY BY / Alison Croggon
DIRECTED & DESIGNED BY / THE RABBLE
CAST INCLUDES / Jennifer Vuletic Natalie Gamsu Ben Grant
Malthouse Theatre and THE RABBLE present My Dearworthy Darling. Developed while in residence at La Chartreuse Centre national des écritures du spectacle; with the assistance of the Copyright Agency’s Cultural Fund; and generously supported through the Monash University Centre for Theatre and Performance, Artist in Residence Program.
WHAT HAPPENS NEXT
A GAS LIGHT FLICKERS THROUGH A FOG OF AGES.
& NE D E R SC EA H
Ingredients required to create a liquefied human: 700ml PVA glue 500ml Water 15ml Black paint 5ml Borax
MalthouseTheatre MalthouseMelb MalthouseTheatre #MalthouseTheatre malthousetheatre.com.au Š Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2019.