MALTHOUSE THEATRE & MELBOURNE INTERNATIONAL ARTS FESTIVAL PRESENT RANTERS THEATRE’S
INTIMACY 1 - 23 OCTOBER 2010
MALTHOUSE THEATRE & MELBOURNE INTERNATIONAL ARTS FESTIVAL PRESENT RANTERS THEATRE’S
INTIMACY
DEVISED & DIRECTED BY ADRIANO CORTESE TEXT BY RAIMONDO CORTESE SET AND COSTUME DESIGNER ANNA TREGLOAN LIGHTING DESIGNER NIKLAS PAJANTI SOUND DESIGNER DAVID FRANZKE VIDEO DESIGNER KERI LIGHT CHOREOGRAPHER & COMPANY MANAGER ALISON HALIT STAGE MANAGER MEG DEYELL SOUND OPERATOR ALISTAIR STOBO CO-DEVISED & PERFORMED BY BETH BUCHANAN PAUL LUM PATRICK MOFFATT BESEN FAMILY ARTIST PROGRAM (ACTING) LIZA DENNIS BECKETT THEATRE 1 OCTOBER – 23 OCTOBER, 2010 This production premiered in the Beckett Theatre at the CUB Malthouse on 7 October, 2010. A MALTHOUSE THEATRE & MELBOURNE INTERNATIONAL ARTS FESTIVAL COMMISSION. THE ORIGINAL DEVELOPMENT OF INTIMACY WAS SUPPORTED BY ARTS HOUSE, IN THE CULTURELAB, WITH THE ASSISTANCE OF ARTS VICTORIA.
Ranters Theatre wishes to thank Stephen Armstrong Heather Bolton, Tim Burgin, Liza Dennis, Jude Gunn, Vivia Hickman, Catherine Jones, Michael Kantor, Stephen Richardson, Brett Sheehy, Andrew Sully, Sophie Travers and all the Arts House team.
This program has been printed on 100% recycled paper using soya based inks.
All text within this program remains the copyright of the author/s. Image credits: Cover: Photograph by John Raptis, Fitzroy Street St Kilda, www.clandestinemanifesto.com. This page: Photograph by Adriano Cortese, Paul Lum pictured. Opposite page: Photograph by Brandon Fick.
DIRECTOR’S NOTE Sometimes the most interesting connections occur between people who don’t know each other…I’ve always liked these types of encounters…talking to strangers… moments between people where there is no significant consequence …you can walk away if you want…you don’t have the burden of knowledge or familiarity either…you construct yourself differently with strangers…it’s already full of promise…sitting with someone you don’t know…you start with small things…even these are more interesting than usual…you start scratching away and being scratched to reveal the surprising details and personal idiosyncrasies that lie beneath the skin…it doesn’t take long to get to this point…it’s surprisingly quick… it’s almost like a lurking need is coming to the surface…you want to talk…you may find yourself being more open…more curious… interested in how different someone may be to you…how similar…it’s a relief to talk about things you don’t talk about much…you can say anything you want…you walk away feeling somehow lighter…less burdened…a little more connected to something that seemed slightly out of reach…an end to isolation, you think? Playing with a documentary form, Intimacy explores the personal connections and intimate revelations when a man encounters strangers on the street over the course of an evening. These revelations point to a world where personal struggle, self-preservation and feelings of separation and dislocation underpin our attempts to forge a meaningful life… ADRIANO CORTESE
MIRACLES JAMES TYSON
Joseph Roth’s The Legend of the Holy Drinker (1939) is a sparely written novella of Andreas, a down-and-out who one night happens to stand faceto-face with an “elderly gentleman” on the banks of the River Seine. The older man insists to give Andreas two hundred francs explaining the money as thanks to his own salvation through the grace of St Thérèse. Andreas begs not to accept the money, as he is a man of honour and has no means to return the gift, or even any address from which the gentleman might reach him. However, finally they agree that Andreas accepts the money, on the basis that when he is ready to return it he should give it at Sunday mass to the Sainte Marie des Batignolles church where can be found a statue of St Thérèse. The story follows how Andreas, determined to repay the debt, nevertheless each day meets or chances an acquaintance with a different person, an old school friend, an ex-lover. With his newly gained sense of wealth, each day he spends the money, yet through a sequence of ‘miracles’, it is returned to him, bringing him back on track to repay his debt. Finally in a bar across the street from the church he has a chance conversation with a young girl named Thérèse who is waiting for her parents to finish mass. He suddenly has a heart failure and is carried across to the priest of the church, where he dies, in sight of the young Thérèse, with his hand reaching to his inner pocket gesturing towards the two hundred francs. Luchino Visconti’s film Rocco and his Brothers (1960) is the story of a southern Italian family moving up to Milan in the industrial north and finding their way through the trials of gaining a living and keeping together. It is one of the late works of Italian neo-realism. For its ordinariness, it also marks a transition beyond this form towards a quality closer to opera, through its accumulated sense of high drama, expressed though histrionics, charged encounters, grief and despair. Yet this is only intensified by the rootedness of this rendering of a family in a situation that speaks of everyday life: its locations, its unpredictability, its demands and emotions. Theatre, just like Andreas trying to repay his debt, fails. Even if we are amazed by the sheer beauty of its spectacle, the intensity of an actor’s performance, or the technical effects of machines and devices, somehow it is quite hard to really fool anyone in the theatre. We are basically stuck with each other watching each other. How the one repays a debt to the other, after one has bought their ticket, and the other has prepared what they
will do, is a process of continual negotiation til the performance finishes. And even then there can be loose ends. Wittgenstein wrote in one of his Notebooks 1914 - 1916 how “art is a kind of expression”, and further that “good art is complete expression”. In recent works, Ranters Theatre has increasingly moved from a more defined social space – such as in the evocation of actual locations in St Kilda Tales (2001), the Roulette series (2002 – 2005) or The Wall (2003) – towards a more abstract, non-defined space. This has allowed the company to go further in exposing to the very limits the indefinable intimacy of theatre. Working through situations of everyday familiarity with characters of unspecified places or times, Ranters Theatre have continued to focus on the ultra-thin lines between representation and emptiness, between performer, character and the utterance of this peculiar framework of theatre. Unsparingly their work allows the possibility to examine and reflect upon this act of watching people on stage, the observation and movement towards listening, to hear and see more clearly what exists in thoughts, feeling and the possibility for dialogue. Perhaps if here we decide to spend some time, then I think that debt of the peculiar situation of theatre is repaid, although perhaps finally, much like Andreas’ journey, it has by then become subsumed into a whole series of “miracles”, somewhere between opera and the prosaic experience of time passing, lives spent and unexpected possibilities, in which we are able to see a most inspired reflection of everyday life. James Tyson is Theatre Programmer at Chapter Arts Centre, Cardiff, Wales, UK (www.chapter.org). Image credit: This page: Photograph by See Ming Lee.
BETH BUCHANAN
ADRIANO CORTESE
BETH BUCHANAN PERFORMER Malthouse Theatre: Intimacy (with Ranters Theatre). Other theatre: Playbox Theatre Company: St Kilda Tales (with Ranters Theatre), Miracles, God’s Last Acre. Ranters Theatre: The Large Breast or Upside-Down Bell, Features of Blown Youth, Roulette - Parts I & II,The Wall, Affection. As Writer: La Mama: The Unicorn. Film: A Telephone Call for Genevieve Snow, The Hard Word, Hamlet. Television: Neighbours, The Brittas Empire, Blue Heelers, Halifax f.p., The King, Lowdown. Education: Dip. Prof. Writing and Editing RMIT; First Class Honours Performance Studies, Victoria University. ADRIANO CORTESE DIRECTOR Malthouse Theatre: Intimacy, Holiday (with Ranters Theatre). Other theatre: Playbox Theatre Company: St Kilda Tales (with Ranters Theatre) Ranters Theatre: Lucrezia and Cesare, Features of Blown Youth, Roulette Parts I & II, The Wall, Affection. As Performer: Playbox Theatre Company: Strangers in the Night. Melbourne Theatre Company: Gift of The Gorgon,Lady from the Sea, Betrayal. Sydney Theatre Company: Macbeth. State Theatre Company of South Australia: Six Characters in Search of an Author. Ensemble Theatre: The Quartet from Rigoletto. Film: The Jammed, Amy, One Way Ticket. Currently: Artistic Director of Ranters Theatre. RAIMONDO CORTESE WRITER Malthouse Theatre: Intimacy, Holiday (with Ranters Theatre). Other theatre: Playbox Theatre Company: St Kilda Tales (with Ranters Theatre). Ranters Theatre: The Room, Affection. Griffin Theatre: The Large
RAIMONDO CORTESE
MEG DEYELL
DAVID FRANZKE
Breast or Upside-Down Bell, The Fertility of Objects, Features of Blown Youth, Roulette – Parts I & II, The Wall, Lucrezia and Cesare (with Director’s Cut / Performance Space). As Adaptor: Malthouse Theatre: The Threepenny Opera. Other theatre: Company B / Bogota Festival: The Threepenny Opera. Short Stories: The Indestructible Corpse. Teaching: Script writing and improvisation at Melbourne University, Victorian College of the Arts and Victoria University. Education: Victorian College of the Arts (2003). Awards: 2007 Green Room Award for Best New Australian Writing (Holiday). MEG DEYELL STAGE MANAGER Malthouse Theatre: Intimacy (with Ranters Theatre). Other theatre: Melbourne Theatre Company: Richard III. Holiday Actors: Oklahoma! Triple Threat: Rhythm & Runners. Deafinitely Theatre Company: Lipstick and Lollipops. Tour de Force Theatre: Animal Farm. Eddie Perfect: Angry Eddie. Australian Chamber Orcherstra / Bell Shakespeare Company: A Soldier’s Tale. Television: Ultimate School Musical: Fame As Director: Other theatre: Shac7 Arts: A Midsummer Night’s Dream. As Assistant Director (Film): These Empty Streets, Taj. DAVID FRANZKE SOUND COMPOSER Malthouse Theatre: Intimacy, Holiday (with Ranters Theatre), Venus & Adonis, The China Incident, The Pitch, Anna Tregloan’s BLACK, The Spook, La Douleur, A View of Concrete, The Odyssey, Drink Pepsi, Bitch!, The Proscenium. Other theatre: Playbox Theatre Company: Myth, Propaganda & Disaster in Nazi Germany and Contemporary America, The Fat Boy, God’s
ALISON HALIT
KERI LIGHT
Last Acre, Svetlana in Slingbacks, Yanagai! Yanagai!, Post Felicity, Falling Petals, Blak Inside, Inside 01, Still Angela. Melbourne Theatre Company: Don Juan in Soho, Birthrights, Recruit. Melbourne International Arts Festival: Joyride, City Workers. Arena Theatre Company: gamegirl, Chronic. Back to Back Theatre: Fishman, (Theatre of Speed), We are Geelong, Inside the Angel House. Peter Houghton: The Process. ALISON HALIT CHOREOGRAPHER Malthouse Theatre: Intimacy (with Ranters Theatre). Other theatre: Artistic Director Youth Dance Festival 2009 (Ausdance ACT), Artistic Director Dance Storm 98 & 99 (Ausdance Victoria), Sun Struck, Hidden Stories, Sensitive to Noise, Spirit of the World, To Pave (Green Mill Dance Project), The Bricks Water Sand Dance Theatre Trilogy, 100 BRICKS (SBS Broadcasting). As Movement Director: Storeroom: Mojo & 360 Positions in a One Night Stand. As Rehearsal Director: Trudy Radburn: Poupee. Awards: Queens Trust Achiever Award. Teaching: Small Companies and Community Theatre, Gordon Institute of TAFE. Education: Graduate Dance Adelaide University (1991). Currently: Company Manager of Ranters Theatre. KERI LIGHT VIDEO DESIGN Malthouse Theatre: Intimacy (with Ranters Theatre).Television: John Safran's Music Jamboree, Recovery. Short Films: WanderLust/WonderLost, Wasted on the Young, Mocking Birds, Tangerine Dream. Commercials: Cadbury Schweppes,Twisties / Smiths Snackfood, National Australia Bank, Diners Club, Goodmen Felder, Myer Grace Bros, MX
PAUL LUM
PATRICK MOFFAT
Daily Telegraph, Optus, Hyndai, Triple M, Alfred Hospital, Guardian Pharmacy, TAC, Melbourne Royal Show, Massel Beef Stock, Glaxosmith Glade. Awards: Tangerine Dream: Kodak Script Award, BASF Best Sound Design, Best Short Film, Best Editing, Best Actress, Bath Film Festival, Nominated for an ATOM Award. Wasted on the Young: Best Production Design POV Awards. WanderLust/WonderLost: Best Cinematography Adam Arkapaw 2009. Nominated Dendy Award, Sydney Film Festival 2009. PAUL LUM PERFORMER Malthouse Theatre: Intimacy, Holiday (with Ranters Theatre). Other theatre: Playbox Theatre Company: St Kilda Tales (with Ranters Theatre), Sex Diary of an Infidel. Melbourne Theatre Company: Much Ado About Nothing, Othello,The Dutch Courtesan. Ranters Theatre: Affection (Three Cities), The Wall, Roulette Parts I & II. La Mama: The Inner Sanctum. Punctum: The Shed. NORPA: The Flood. Chapel off Chapel: The Shrinking Ledge. The Universal: In Angel Gear. Cyclone Theatre: He Died with a Felafel in his Hand. Halcyon Day: Romeo and Juliet. Kickhouse: Grace Among the Christians. Bay St: A Pocket Full of Hula Dreams. Education: Victorian College of the Arts (1991). PATRICK MOFFATT PERFORMER Malthouse Theatre: Intimacy, Holiday (with Ranters Theatre). Other theatre: Ranters Theatre: Affection, The Wall, St Kilda Tales, Features of Blown Youth, The Fertility of Objects. Melbourne Theatre Company: Away, Blabbermouth. Other Theatre: My Dinner with Andre, Diary of a Scoundrel,
NIKLAS PAJANTI
Pre-Paradise - Sorry Now, The Dutch Courtesan, A Respectable Wedding, Wind in the Willows, As You Like It, Romeo and Juliet, The Three Sisters, The Real Inspector Hound, Titus Andronicus, Light Shining in Buckinghamshire, Peer Gynt, Cloud Nine. Music: As Drummer / Singer: Melody Lords, Buddy -The Musical!, Elroy Flicker and the Fitzroy Gutterslugs, Mein Egg, Une Planche D’Oeufs. Television: Secret Life of Us, Forget the Rules, Correlli, Phoenix, Newly Weds. Education: Victorian College of the Arts (1988).Other: Member of Ranters Theatre and the Melody Lords. NIKLAS PAJANTI LIGHTING DESIGNER Malthouse Theatre: Intimacy, Holiday (with Ranters Theatre), One Night The Moon, Kitten, Not Like Beckett. Other theatre: The Eleventh Hour: Not What I am - Othello Retold, For Samuel Beckett - Endgame, The Winter’s Tale, King John, The Crucible, Yet Each Man Kills The Thing He Loves, Because Of The Increasing Disorder. Brink Productions: When The Rain Stops Falling. Company B: Who’s Afraid of Virginia Woolf, The Pillowman. The Hayloft Project: Spring Awakening. The Rabble: Osama The Hero. Chunky Move: I Want To Dance Better At Parties, Singularity, Tense Dave, Three’s A Crowd. Token Events: Frank Woodley Possessed, Spicks And Specktacular, Lano And Woodley-Goodbye. Melbourne International Arts Festival: Murundak-Black Arm Band, John Cage - Musicircus, Shaun Parker -This Show Is About People. As Assistant Lighting Design: Chamber Made: Teorema, The Hive, Crossing Live. Not Yet It’s Difficult: Scenes Of the Beginning From The End, K. Awards: 2002 Green Room Award Lighting Design. Education: Victorian College Of The Arts,
ANNA TREGLOAN
post graduate Architectural Lighting Design from RMIT. ANNA TREGLOAN SET & COSTUME DESIGN Malthouse Theatre: Intimacy, Holiday (with Ranters Theatre), Optimism, Kitten, Vamp, Venus & Adonis, Tartuffe, The TellTale Heart, Criminology, Sleeping Beauty, Alias Grace, Anna Tregloan’s BLACK, La Douleur, Eldorado, The Odyssey, The Ham Funeral, Journal of the Plague Year. Other theatre: Playbox Theatre Company: Babes in the Wood, St Kilda Tales (with Ranters Theatre). Chamber Made: The Hive. Sydney Theatre Company: Spring Awakening. Melbourne Theatre Company: Art & Soul. Bell Shakespeare Company: Taming of the Shrew, Twelfth Night. Danceworks: Symptomatic, Audible/Happy Valley, In the Heart of the Eye, Fresh Start, The View From Here. Arena Theatre Company: Eat Your Young, Panacea. Chunky Move: Fleshmeat. Circus Oz: Numerous stage designs, design collaboration for Big Top Tent. Back to Back Theatre Company: Fish Man, Mental, Mind’s Eye (with Handspan). Finucane & Smith: Gotharama,The Saucy Canteena. ICE: Teratology Project. Lucy Guerin Inc: Heavy & Many. As Creator and/or Director: Malthouse Theatre: Sleeping Beauty (co-creator), Anna Tregloan’s BLACK. Other theatre: The Dictionary of Imaginary Places, Contemptuous Perplexity, The Long Slow Death of A Porn Star, Skin Flick, Mach. Awards: Green Room Association Awards, Helpman Award, John Truscott award, Australia Council Fellowship.
STAFF Artistic Director Company Manager Arts Consultant
Adriano Cortese Alison Halit Sophie Travers
RANTERS BOARD Bruce Berryman (Chair) Callum Morton Natasha Prentergast Adriano Cortese Raimondo Cortese Paul Lum
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