Revolt. She Said. Revolt Again. (2017) Program by Malthouse Theatre

REVOLT. SHE SAID. REVOLT AGAIN. 16 JUN â&#x20AC;&#x201C; 9 JUL

SEASON 2017

BY / Alice Birch DIRECTION / Janice Muller

16 JUN â&#x20AC;&#x201C; 9 JUL MERLYN THEATRE

CAST / Elizabeth Esguerra Ming-Zhu Hii Belinda McClory Gareth Reeves Sophie Ross SET & COSTUME DESIGN / Marg Horwell LIGHTING DESIGN / Emma Valente SOUND, COMPOSITION & AV DESIGN James Brown STAGE MANAGER / Tia Clark ASSISTANT STAGE MANAGER / Hannah Bullen

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A NOTE FROM THE DIRECTOR

This play came out of a commission from the Royal Shakespeare Company in 2013. The provocation was a famous statement made in 1976 by American historian Laurel Thatcher Ulrich: ‘well-behaved women rarely make history’. Infuriated and spurred by this sentence, Birch churned out Revolt. She said. Revolt again. in just three days. One of her suggestions for staging is that the play itself should not be well-behaved. The permission this offers is both thrilling and terrifying.

Revolt, as I understand it—psychic revolt, analytic revolt, artistic revolt—refers to a permanent state of questioning, of transformations, an endless probing of appearances. — JULIA KRISTEVA Language uses us as much as we use language. — ROBIN LAKOFF Language and Woman’s Place The ‘quiet carriage’ of a country train was probably not the most suitable place for a first encounter with Alice Birch’s play Revolt. She said. Revolt again. With its stylistic innovation, taut brilliant language and bold scope—the words leapt off the page. The urge to whoop, howl with laughter or burst into tears was hard to contain.

Birch comes from the rich tradition of British playwriting and there are echoes of Pinter, Churchill, Crimp, Stephens and Kane in her work. Yet her voice is unbelievably distinct. Her smart writing demands the audience keep up. As a director, my first questions were something like: How do you stage that bit? And what about that bit?

It’s rare to feel so excited by a script. Here is a writer who loves language. Who not only thinks deeply about words and their meaning, but understands the rhythm and music of language. Birch’s vision is in turns angry, horrifying, playful, hilarious, subtle and explosive. I immediately admired the courage of a relatively young writer for simply squaring off with such an enormous subject—that is what it might mean to be a woman in the 21st century.

Rather than discussing anything fundamentally new, Revolt. She said. Revolt again. asks us to think about questions and problems that never seem to go away. If you view history as one long war against women and their bodies, then this piece feels as prescient and urgent as ever. As the mother of two young girls, who will

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JANICE MULLER: ONE LONG WAR AG A INST WOMEN AND THEIR BODIES

soon face the challenges of becoming women and making their way in the world, this play spoke to me. A huge thanks to the generous and intelligent people who have worked with me to realise this production: Belinda McClory, Ming-Zhu Hii, Elizabeth Esguerra, Sophie Ross and Gareth Reeves, Marg Horwell, Emma Valente, James Brown, Tia Clark, Laura Hartnell, Hannah Bullen and Mâ&#x20AC;&#x2122;ck McKeague.

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CAST & CREATIVE BIOS

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Alice Birch WRITER

Janice Muller DIRECTOR

Elizabeth Esguerra CAST

Works include: Anatomy of a Suicide, Ophelias Zimmer, Revolt. She said. Revolt again (Royal Court Theatre); We Want You To Watch (National Theatre); The Lone Pine Club (Pentabus); Little Light (Orange Tree); Little on the inside (Almeida/ Clean Break); Salt (Comedie de Valence); Many Moons (503). Film includes: Lady Macbeth. Awards include: George Devine Award (Revolt. She said. Revolt again); International Critic’s Prize (FIPRESCI Prize) at San Sebastian International Film Festival, Critic’s Choice Award for Best First Feature at Zurich Film Festival (Lady Macbeth); Arts Foundation Award for Playwriting.

Janice is a theatre and opera director. For Malthouse Theatre she has directed Turbine by Dan Giovannoni for Suitcase Series (2016); curated a season of White Rabbit Red Rabbit by Nassim Soleimanpour (2012) and with Meredith Penman, directed & co-adapted A Woman in Berlin (2010). Other credits include: Biographica (Sydney Chamber Opera, Sydney Festival); Lake Disappointment (Carriageworks); The Tribe for Bankstown Live (Urban Theatre Projects, Sydney Festival, Belvoir, Castlemaine State Festival & The Substation) Alaska by D.C Moore ATYP; The Country by Martin Crimp (Belvoir) and Crave by Sarah Kane (The Storeroom, Belvoir). Janice was nominated for a 2016 Sydney Theatre Award for Best Director for Lake Disappointment. She received the Goethe Institut /Playwriting Australia Dramaturgy Scholarship in 2006, the VCA’s Keith & Elisabeth Murdoch Travelling Fellowship in 2003, and was a participant at the Royal Court International Residency in 2001. Janice was Malthouse Theatre’s 2016 Director in residence, supported by Craig Reeves.

Elizabeth is a trained actor, singer and musician from Sydney. She holds a Bachelor of Dramatic Arts from VCA, during which time her graduating show, Mission Unsexable (for which she was a performer and co-deviser), was featured in the 2015 Melbourne Fringe Festival. Since graduating, she has performed in Turbine (Malthouse Theatre), Parasites (La Mama Theatre), Out of the Bars (Midsumma Festival) and devised Seconds during a residency at PACT Theatre. She is of mixed Filipino, African and Spanish descent and is fluent in Filipino (Tagalog).

Ming-Zhu Hii CAST

Belinda McClory CAST

Gareth Reeves CAST

Ming-Zhu is an actor, director, writer and multidisciplinary artist. A graduate of VCA, she has had an extensive performance career in theatre, television and film. Theatre includes: Lifeline (Uwe Mengel/ Melbourne Festival), Traitors (Branch, La Mama), Dinner, Realism (MTC), Metamorphosis (STC, Malthouse Theatre), Ghosts (Branch), Lovers & Haters (Adelaide Festival), and White Rabbit, Red Rabbit (Malthouse Theatre). Television includes: Comedy Inc, White Collar Blue, House Husbands, Offspring, Party Tricks, The Ex-PM, The Let Down, The Future Is Expensive and Newton’s Law. Feature films include: That’s Not Me, Stem and Sony Pictures’ forthcoming Peter Rabbit. As a writer, director and maker, credits include: Attract/Repel (Storeroom, TMTP), Until Then, Then (La Mama, The Public Studio) and This Is Beautiful (Malthouse Helium, The Public Studio). Short films: Close Observations of a Single Subject and Edit (Post-Production). Installations: Dead Drop (Mailbox Art Space). Additionally, she has several narrative and experimental cinema projects in development. Ming-Zhu is a proud member of Actors Equity.

Belinda McClory is a VCA graduate who has worked extensively in film, theatre and television. She has worked for all the major Australian theatre companies, performed on stage in Paris, London, Vienna and Germany, and has won both a Helpmann and Green Room Award for her theatre work. Recent theatre credits include: Edward II, Dance of Death, Pompeii L.A. and The Trial (Malthouse Theatre), The Waiting Room and Queen Lear (MTC), Splendour (Red Stitch), Gross Und Klein (STC) and Love Me Tender (Griffin, Belvoir). Her screen work includes four series of The Doctor Blake Mysteries, the web comedy series Little Acorns, Miss Fisher’s Murder Mysteries and the international blockbuster feature The Matrix. Belinda co-wrote and performed in the features X and Turkey Shoot. She will soon be seen in the second series of Glitch and the feature film The Wheel.

This is Gareth’s Malthouse Theatre debut. A graduate of Te Kura Toi Whakaari O Aotearoa: The New Zealand Drama School, Gareth’s most recent work includes Richard 3 (Bell Shakespeare) and Straight White Men (MTC). Other theatre credits include: Julius Caesar, Macbeth and The Dream (Bell Shakespeare), Middletown (Red Stitch Actors Theatre), Orphans (Q44), Arden V Arden (The Hayloft Project), Venus in Fur (Darlinghurst Theatre Company), WarHorse (National Theatre of Great Britain, Global Creatures), Angels in America and Plenty (Silo Theatre), Caligula, The Crucible, Who’s Afraid of Virginia Woolf, Cat on a Hot Tin Roof, The Pillowman and August: Osage County (Auckland Theatre Company) and King Lear, Hamlet, Othello, Proof and The Cherry Orchard (The Court Theatre). Film credits include: Pete’s Dragon, Tracker, A Song of Good and I’m Not Harry Jenson. Television credits include: Wentworth, Miss Fisher’s Murder Mysteries, The Leftovers, Mary: Making of a Princess, Underbelly 2: A Tale of Two Cities, The Cult, The Insiders Guide to Love, Go Girls and Frontiersmen. Gareth is a proud member of Actors Equity.

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CAST & CREATIVE BIOS

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Sophie Ross CAST

Marg Horwell SET & COSTUME DESIGN

Emma Valente LIGHTING DESIGN

Malthouse Theatre debut. Sophie is an actor, dramaturg, devisor and educator. As an actor, Sophie has performed in Disgraced, Gross und Klein, Before/After, Hamlet, Blood Wedding, Money Shots, VS Macbeth, Oresteia, Comedy of Errors, Leviathan, Mysteries: Genesis, Romeo & Juliet, Waikiki Palace/Hip Hip Hooray, Woman in Mind (STC), What Rhymes with Cars & Girls, The Waiting Room, Cock (MTC), The Sleepover (Arena), Narrative (The Royal Court), Ladybird (B Sharp), Stoning Mary (Griffin). Sophie is a proud member of Actors Equity.

Marg is a multi-award winning designer and the 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: The Homosexuals, 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 Shakespere). 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).

Emma is a freelance director, dramaturg and lighting designer. She is the Co-artistic director and Co-CEO of feminist theatre company THE RABBLE. Recent lighting design credits include: Little Emperors (Malthouse Theatre), Book of Exodus Part I (Fraught Outfit) Testament of Mary, Manna (STC), Wizard of Oz, Cain and Abel (Belvoir), More Female Parts (Fairfax Theatre, Arts Centre Melbourne), Calamity!, Myth Project: Twin, Story of O (MTC NEON, Arthur), Frankenstein (THE RABBLE, Malthouse Theatre), Room of Regret (Melbourne Festival, Theatre Works, THE RABBLE), The Golden Dragon (MTC), For a Better World (Griffin). Emma has been nominated for nine Green Room Awards and a Sydney Theatre Award, including two nominations for most Outstanding Contemporary Performance (Room of Regret, Frankenstein). In 2016 she won the Green Room Award for Design Integration for Special.

CAST & CREATIVE BIOS

James Brown is a Sydney based composer and sound designer. His process often involves creating music cohesively along with the development of a project, creating a strong connection between the material and sound. Selected theatre work includes: Lake Disappointment (Carriageworks), Broken (Darlinghurst Theatre), The Lee Ellroy Show (KVS, Brussels), and We Was Them (SOIT). He has composed for dance works including: Tangi Wai, Copper Promises (Victoria Hunt), A Faint Existence (Kristina Chan), as well as contemporary ballet scores Scope, Muse (Australian Ballet). James has also composed the score for feature documentaries A Brilliant Genocide (Ebony Butler), and Bloodlinks (William Yang). His work also includes music for the miniseries Top of the Lake (Jane Campion) for and the videogame Fallout 4 (Bethesda). He holds a Visual Arts Degree from Sydney College of the Arts, and a Master’s Degree in Acoustic Physics from Sydney University.

Tia Clark STAGE MANAGER Since graduating from WAAPA in 2009, Tia has worked as a Stage Manager in various sectors across the entertainment industry. Her previous Malthouse Theatre credits include: Edward II, Picnic at Hanging Rock (with BSSTC), I Am a Miracle, Timeshare, Hello, Goodbye and Happy Birthday, Walking into the Bigness, Ugly Mugs (with Griffin), The Government Inspector (with Belvoir), The Bloody Chamber, Dance of Death, Hate, A Golem Story and Baal (with STC). Tia has also worked on Anti—Gravity (Chunky Move), Grease (Gordon Frost Organisation [GFO]), A Funny Thing Happened on the Way to the Forum (GFO), Every Breath (Belvoir), The Rake’s Progress (Victorian Opera), Scooby Doo Live (Entertainment Store Group), The King and I, The Boy from Oz, Sugar (Some Like It Hot), Anything Goes, Kismet, Grey Gardens (The Production Company) and various live events both in Melbourne and around Australia.

Hannah Bullen ASSISTANT STAGE MANAGER Hannah graduated from Monash University in 2013 with a Bachelor of Performing Arts. She has since received an Outstanding Achievement Award for her studies of Live Production and Technical Services. Hannah has most recently worked as a Stage Manager on The Flick (Red Stitch and Queensland Theatre), Uncle Vanya, You Got Older, and The Honey Bees (Red Stitch). Hannah has also worked for festivals such as WOMADelaide and Melbourne International Comedy Festival for a number of years. This is Hannah’s first time working with Malthouse Theatre.

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James Brown SOUND, COMPOSITION & AV DESIGN

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ABOUT MALTHOUSE THEATRE

WHAT HAPPENS NEXT At Malthouse Theatre we collaborate with local and international artists to create inventive performances that cut to the core of the human experience. #REVOLTSHESAID

Theatre has the power to interrogate, disrupt and to be an agent of changeâ&#x20AC;&#x201D; 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 2017

GOOD THINGS COME IN THREES YOUR CHEATSHEET TO SEASON 2017 Know you want some Malthouse Theatre in your life but not sure what to see? We’ve prepared a cheatsheet for the remaining shows of Season 2017 to help guide your choices.

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BLACK RIDER: THE CASTING OF THE MAGIC BULLETS

THE TESTAMENT OF MARY

YOU’RE NOT ALONE

+ YOU’RE NOT ALONE

REVOLT. SHE SAID. REVOLT AGAIN.

BLACK RIDER: THE CASTING OF THE MAGIC BULLETS

THE REAL AND IMAGINED HISTORY OF THE ELEPHANT MAN

BLACK RIDER: THE CASTING OF THE MAGIC BULLETS

+ REVOLT. SHE SAID. REVOLT AGAIN.

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SEASON 2017

THE REAL AND IMAGINED HISTORY OF THE ELEPHANT MAN

REVOLT. SHE SAID. REVOLT AGAIN.

HEART IS A WASTELAND

THE TESTAMENT OF MARY

BLACK RIDER: THE CASTING OF THE MAGIC BULLETS

YOUâ&#x20AC;&#x2122;RE NOT ALONE + REVOLT. SHE SAID. REVOLT AGAIN.

+ HEART IS A WASTELAND

+ REVOLT. SHE SAID. REVOLT AGAIN.

FIND OUT MORE MALTHOUSETHEATRE.COM.AU/ PAGE/GOOD-THINGS-COME-IN-THREES

MONASH MEETS MALTHOUSE

MONASH MEETS MALTHOUSE THEATRE: REVOLT. SHE SAID. REVOLT AGAIN. P R E S E N T E D I N PA RT N E R S H I P WITH MONASH UNIVERSITY

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The Centre for Theatre and Performance presents a Monash meets Malthouse Theatre panel on Revolt. She said. Revolt again.

and Performance will present a panel discussion on rebellious speech and contemporary feminism.

Some savvy theatre-goers prefer an expert discussion to get the most out of their experience. To coincide with Malthouse Theatre’s theatrical assault on the language that has reinforced violence against women for centuries, Monash University’s Centre for Theatre

Our Major Partner, Monash University, will offer their scholarly expertise in a special afternoon conversation between the matinee and evening performance of Revolt. She said. Revolt again. on Saturday 8 July.

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SEASON 2017

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SEASON 2017

SCENE & HEARD

In the rehearsal room, the cast & creatives read excerpts from many theorists, including Australian feminist Dale Spenderâ&#x20AC;&#x2122;s Man Made Language (1980). We highly recommend it.

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