MALTHOUSE THEATRE PRESENTS
SAPPHO ...IN 9 FRAGMENTS WRITTEN AND PERFORMED BY JANE MONTGOMERY GRIFFITHS
MALTHOUSE THEATRE PRESENTS
SAPPHO ...IN 9 FRAGMENTS WRITTEN AND PERFORMED BY JANE MONTGOMERY GRIFFITHS STAGING BY MARION POTTS SET & COSTUME DESIGNER ANNA CORDINGLEY LIGHTING DESIGNER PAUL JACKSON COMPOSER & SOUND DESIGNER DARRIN VERGHAGEN DRAMATURGE MARYANNE LYNCH STAGE MANAGER LISA OSBORN LIGHTING OPERATOR TOM BRAYSHAW SET & PROPS CONSTRUCTED BY MALTHOUSE THEATRE WORKSHOP COSTUMES BY MALTHOUSE THEATRE WARDROBE BECKETT THEATRE JULY 30 - AUGUST 21, 2010 This production premiered in the Beckett Theatre at the CUB Malthouse on August 4, 2010. SAPPHO WAS FIRST COMMISSIONED BY HELEN MADDEN AND PERFORMED AT THE STORK HOTEL IN 2007, WITH DIRECTION BY ALEX PINDER. JANE MONTGOMERY GRIFFITHS WOULD LIKE TO ACKNOWLEDGE OXFORD UNIVERSITY PRESS FOR THEIR PERMISSION TO USE OUP MATERIAL IN THE PLAY AND PUBLICATION OF SAPPHO...IN 9 FRAGMENTS. SAPPHO...IN 9 FRAGMENTS HAS BEEN DEVELOPED AS PART OF AN AUSTRALIAN RESEARCH COUNCIL LINKAGE GRANT BETWEEN MALTHOUSE THEATRE AND MONASH UNIVERSITY. JANE MONTGOMERY GRIFFITHS APPEARS AS PART OF A MONASH UNIVERSITY PERFORMANCE RESEARCH UNIT IN THE CENTRE FOR THEATRE AND PERFORMANCE, SCHOOL OF ENGLISH, COMMUNICATIONS AND PERFORMANCE STUDIES.
THE PROJECT HAS ALSO BEEN ASSISTED BY THE CLASSICAL ASSOCIATION OF VICTORIA, THE AUSTRALIASIAN SOCIETY FOR CLASSICAL STUDIES AND MONASH UNIVERSITY’S SCHOOL OF ENGLISH, COMMUNICATIONS AND PERFORMANCE STUDIES. THE CONFERENCE ‘FROM SAPPHO ... X’: CLASSICS, PERFORMANCE & RECEPTION AND MALTHOUSE THEATRE’S THINGS ON SUNDAY EVENT LIKE MOTHER, LIKE DAUGHTER ARE GENEROUSLY SUPPORTED BY THE AUSTRALIAN RESEARCH COUNCIL AS PART OF A MONASH UNIVERSITY / MALTHOUSE THEATRE LINKAGE PROJECT STAGING SAPPHO: INVESTIGATING NEW METHODOLOGIES IN PERFORMANCE RECEPTION.http://arts.monash.edu.au/ecps/conferences/from-sappho-to-x/
Malthouse Theatre acknowledges Reefscape Australia for their contribution to the set.
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: Jules Elie Delauney, Sapho Embrassant Sa Lyre, date unknown. Inside Cover: John William Godward, In The Days of Sappho, 1904. Opposite page: Anna Cordingley, original design sketch for Sappho.
THE SAPPHO CONUNDRUM ‘What is Sappho except a name?’ asks scholar Yopie Prin in Victorian Sappho. In that deceptively simple-seeming question lies the crux of the Sappho conundrum. The name ‘Sappho’ carries so many connotations - the baggage of millennia and the luggage labels of thousands: ‘academic’, ‘classicist’, ‘Greek’, ‘lesbian’, ‘feminist’, ‘intellectual’, etc. ‘Sappho’ is not an easy name to circumscribe. Sappho...in 9 fragments is an attempt to flesh out her name, filling in some of the gaps, while acknowledging that as writer and performer, I am as guilty as the next when it comes to interpreting Sappho in my own image. My own starting point was my bumpy relationship with Sappho. First reading her as a 19 year old undergrad, with little life experience beyond studying Classics, I found her as incomprehensible in her emotions as she was impenetrable in her Greek. But a little living makes Sappho make a lot more sense, and returning to her poetry as an adult, I am in awe of her. Through the centuries, Sappho has been all things to all men (and women), and many of the stories in this play are inspired by Margaret Reynolds’ marvellous The Sappho History. This play incorporates both the story of Sappho’s interpretation, with a story that in some way tries to mirror desire and longing that seep through so many of her fragments. About thirty percent of the play is made up of direct quotations from Sappho – albeit in my free translation and through echoes of other translators. I gratefully acknowledge my debt to Mary Barnard, Anne Carson, Josephine Balmer, and in particular Stanley Lombardo (for allowing the use of his beautiful translation). The play weaves together two narrative strands: those of a timeless Sappho reflecting on her reception, and a contemporary and ill-fated love affair. My Sappho is not a particularly pleasant woman – intelligent, charismatic, witty, urbane, detached, desperate, needy, resentful, angry, immature, sophisticated, bemused, judgemental, conservative, snobbish, yearning, bereft. Plus any other hundred more adjectives you might like to throw at her. The adjectives you attach to her name all depend on how you see Sappho. In my imagination, she will always be poised on the top of that cliff – that is not really a cliff, but a metaphorical precipice of desire and despair – longing not for a ferryman, but for an overly serious, heartbroken young woman who finally stood up to her. For my Sappho, there can never be an ending – let alone a happy one. But then everyone’s Sappho will be different...and that’s the point of the story. JANE MONTGOMERY GRIFFITHS WRITER AND PERFOMER
SAPPHO
DR MARGARET REYNOLDS
Sappho’s poetry stands at the head of the lyric tradition in Western culture. We know how influential her work has been, how often her poems have been admired, imitated, revised and re-interpreted, but we know little about the circumstances that gave rise to her song. Sappho lived on the island of Lesbos, off the coast of what is now Turkey, at the end of the seventh, beginning of the sixth century BCE (Before the Christian Era). She seems to have composed for an audience of women and girls, the context of a cult of Aphrodite, and her songs were probably used in celebrating the rites of passage that mark a woman’s life – coming to adulthood, betrothal, marriage, motherhood. Sappho composed in the provincial Aeolic dialect and - insofar as we can tell from the few verses that have come down to us from antiquity - she used a strict metre and paid attention to form and musicality. The performance was often accompanied by the lyre. Her songs were improvised, then memorised and passed from woman to girl, mother to daughter, friend to lover. Her subjects are desire in all its joy and pain, the beauty of the earth, the passing of time, loss and grief, memory and the power of poetry.
Image credit: Claude Ramey, Sappho: A Representation of the Greek Poetess Holding Her Letter to Her Lover Phaon, 1801
Even in her own lifetime Sappho’s fame as a poet spread abroad. There is a story by Solon of Athens (c. 640 – 560 BCE) where he tells how his nephew sang one of Sappho’s songs over the wine. Solon begged the boy to teach it to him. When a friend asked why he was so eager, Solon replied ‘So that I may learn it and then die’. Around, or just after, Sappho’s lifetime the old oral traditions of the Mediterranean world began to give way to a literary practice. Sappho’s work was soon written down – on papyrus rolls and pottery tablets. It was popular with rich collectors like the great library at Alexandria and her work was said to extend to nine books of verse. One whole book contained her epithalamia (wedding poems) while another apparently ran to 1,320 lines. Today, we have just over 200 fragments, some of them only two or three words long. But why is there so little, given that once there was so much? The problem is this: when poems are written on papyrus they are fragile – mice eat them, damp composts them, fire burns them up. While Sappho’s work was in demand from collectors it was worthwhile carrying out the laborious task of copying and re-copying to preserve the work. But fashions change, and Sappho’s Aeolic dialect appeared provincial to the promoters of classical Attic Greek – that is, as spoken at Athens. As a result, many of Sappho’s poems were not recopied. But other, later, writers admired her work – the Roman poet Catullus (84-54 BCE) wrote a series of poems addressed to ‘Lesbia’ and famously revised one her best known poems into his ‘Ille mi par esse deo videtur,’ (‘That man, to me, seems like a god’). Most importantly, later writers quoted Sappho in their own works and that is why we still have two whole (or nearly whole) poems handed down to us. The first of these is the so-called ‘Fragment 1’ also known as the ‘Ode to Aphrodite’. This exists today because it was quoted in full by Dionysius of Halicarnassus in a textbook called On Literary Composition written in about 30 BCE. The second is Sappho’s most famous poem, called ‘Fragment 31’ which was quoted by Longinus in a philosophical treatise, On the Sublime, written during the first century AD.
Image credit: Sappho’s Poem ‘An Old Age’ (Lines 9-20), Papyrus 3 B.C.
Up until the nineteenth century Sappho’s work was known only through the small collection of scraps that were quoted by later authors. But then farmers in Egypt began turning up bits of early papyrus in their fields. Scholarly institutions across Europe got to hear of this and sent teams out to investigate. In particular, two young men, Arthur Hunt and Bernard Grenfell, travelled out in 1895 from Queen’s College, Oxford with financial backing from the Egypt Exploration Fund. They set up their tents about a hundred miles south of Cairo in a little town called Oxyrhynchus – now known as Behnasa – and began excavating a group of low mounds. Pretty soon they realised that these were rubbish heaps dating from Hellenistic Egypt. For months, they sifted the scraps of papyrus into reed baskets, packed them in Huntley and Palmers biscuit tins and sent them back to the Ashmolean. Grenfell and Hunt collected so much in their crates that the work of deciphering, cataloguing and publishing these precious remnants of the past still goes on to this very day.
Image credit: Gustave Moreau, Sappho Leaping into the Sea, 1880.
A lot of the pieces of papyrus really were rubbish – laundry lists, tickets, bills and IOUs. But there was one page that seemed to record some of the sayings of Jesus. And another was a copy of a new, previously unknown poem by Sappho, ‘Fragment 5’, called ‘To the Nereids’. These papyri were – still are – important because they are the earliest copies of Sappho’s work and as ‘authentic’ as we can ever hope to see even though they would have been written down long after her death.
The point is that they must have been copied from some other papyrus, which itself would have been copied from a papyrus that may have actually come from Lesbos – and so on. Among the finds were some of Sappho’s most substantial and important poems including ‘Fragment 16’, ‘Some say a host of cavalry’ and ‘Fragment 44’, ‘Hector and Andromache’. It had been the fantasy of the ages to recover the lost Nine Books of Sappho and here, in a dusty Egyptian town, that dream was coming true. And the dream goes on. In 2005, M. L West announced that two scholars at the University of Köln, Michael Grönewald and Robert Daniel, had deciphered part of a papyrus roll, dating from the third century BCE, which had been used to wrap a mummy. Some of the writing they found there was a poem on old age by Sappho (M. L. West, A New Sappho Poem, Times Literary Supplement, June 24, 2005). And we know that it is a Sappho poem because it matches a few line endings, known since the 1920’s, that appeared on a papyrus from Oxyrhynchus. Scholars still hope that yet more poems will come to light. And what of the poems themselves? Why are they so influential? What makes them so important? Why is Sappho - 2600 years after her death - still the pre-eminent lyric poet? The first answer lies in her subject matter. Sappho writes about desire and her descriptions have never been bettered. In fact, on the contrary, they have simply been repeated and re-worked so that one might almost say that there is no expression of desire without Sappho. We like Sappho’s poetry because it is beautiful, plain, clever, moving, and true. And we like Sappho the poet because she claims a clear identity and because she, quite rightly, believes that poetry can endure. I tell you: ………in time to come someone will remember us. Dr Margaret Reynolds is Reader in English at Queen Mary, University of London and the author of The Sappho History (Palgrave) and The Sappho Companion (Chatto and Windus). She is the presenter of BBC Radio 4’s Adventures in Poetry. Dr Reynolds will be presenting a Things on Sunday event at Malthouse Theatre Like Mother, Like Daughter on 22 August, 2.30pm. For further information and bookings visit www.malthousetheatre.com.au or call 03 9685 5111. This is an edited extract from an essay printed in the introduction of the script ofSappho… in 9 fragments, printed by Currency Press. www.currency.com.au Image credit: Fresco from Pompeii, So-called Sappho, c.50 A.D.
ANNA CORDINGLEY
PAUL JACKSON
ANNA CORDINGLEY SET & COSTUME DESIGNER Malthouse Theatre: Sappho...in 9 fragments, Human Interest Story (as Realising Designer),The Threepenny Opera (as Costume Designer), Elizabeth – Almost By Chance A Woman, Furious Mattress, One Night the Moon, Knives in Hens, Happy Days, A Commercial Farce, Rogue, Woyzeck (as Assistant Designer), Not Like Beckett, Autobiography of Red. Other theatre: MIAF: Hidden Republic The Black Arm Band. VCA/Daniel Schlusser: Peer Gynt. HotHouse Theatre: The Glory. Red Stitch: The Pain and the Itch, Bug. Melbourne Opera: Barber of Seville, Carmen, The Italian Girl in Algiers. Storeroom: Mile in Her Shadow, Conversations in a Brothel. Peepshow Inc.: Slanting into the Void. National Institute of Circus Arts/Sydney Opera House: The New Breed. Black Box: Wounds to the Face. Installations & Public Art: Bambuco: The Eighth Bridge over the River Tyne (UK), Ephemera for Spine, Ludo and Rue Faidherbe, Lille 2004 (France). Well: The Great Wall of Books (Macau). Exhibitions: Baltic Contemporary Art Centre/ Sage Gateshead: An Account of Bridges (UK). Den Haag Sculptuur Exhibition 2007: Colony – facilitation for Brook Andrew (The Netherlands). Events: Melbourne 2006 Commonwealth Games: Opening Ceremony (Indigenous Section) and Closing Ceremony (Marvelous Melbourne). As Assistant Designer: The National Theatre of Prague: The Death of Klinghoffer (Czech Republic). MIAF: Remembrance of Things Past. Melbourne Workers Theatre: 1975. Awards: John Vickery Scholarship (2003), Australian Student’s Prize (2000). Education: Victorian College of the Arts (Bachelor of Dramatic Art, Production Design). Melbourne University (Masters of Curatorship - ongoing). Currently: Resident Artist at Malthouse Theatre. Archival project of the work of the late Trina Parker at the Victorian Performing Arts Collection. PAUL JACKSON LIGHTING DESIGNER Malthouse Theatre: Sappho...in 9 fragments, Human Interest Story,The Threepenny Opera, Elizabeth – Almost By Chance A Woman, Furious Mattress, Knives in Hens, Happy Days, Optimism, Woyzeck, Vamp, Through the Looking Glass, Venus & Adonis, Moving Target, Tartuffe, The Tell-Tale Heart (Lighting Adaptation), Criminology, Sleeping Beauty (also as co-creator), The Pitch, Anna Tregloan’s BLACK, Babes in the Wood, Eldorado, The Ham Funeral, Journal of the Plague Year, The Odyssey, Boulevard Delirium. Playbox Theatre Company: The Frail Man, Babes in the Wood, This Way Up, The Fat Boy, Double Bill. Other theatre: MTC: Madagascar, Enlightenment, Ghost Writer, Frozen, The Recruit, Dinner, Cruel and Tender. ChamberMade Opera: Crossing Live, The Hive, Teorema, The Possessed, Recital, Walkabout, Corruption. Victorian Opera: Don Giovanni, Ariadne Auf Naxos. Also includes: Australian
MARYANNE LYNCH
JANE MONTGOMERY GRIFFITHS
Ballet, West Australian Ballet, Black Swan Theatre Company, Ballet Lab, Not Yet It’s Difficult, Oz Opera, Melbourne Opera, The Production Company, Lucy Guerin Inc, Melbourne Workers Theatre. As Set Designer (with lighting): Melbourne Workers Theatre, Neon Heart Theatre, La Mama, Ranters Theatre. Awards: 2007 Gilbert Spottiswood Churchill Fellowship. Green Room Awards: Lighting for Drama 2008, Lighting for Opera 2004, Design Cabaret 2005. Award Nominations: 18 Green Room Award nominations for design, Bulletin Magazine 2004 Smart 100, 2005 & 2008 Helpmann nominations for lighting, 2008 & 2009 Sydney Theatre Critics’ Circle Award nominations. Other: Paul has lectured in design and associated studies at University of Melbourne, RMIT, NMIT, VCA. Currently: Resident Artist (Lighting) at Malthouse Theatre. Lighting Designer with Melbourne based firm, The Flaming Beacon. Technical manager of Not Yet It’s Difficult performance group. Lighting Designer for the Australian Art Orchestra. MARYANNE LYNCH DRAMATURGE As Dramaturge: Malthouse Theatre: Sappho...in 9 fragments, Elizabeth – Almost By Chance A Woman, Furious Mattress, One Night The Moon, Happy Days, Goodbye Vaudeville Charlie Mudd, Woyzeck, Vamp, Through the Looking Glass, Venus & Adonis, Anna Tregloan’s BLACK, Not Like Beckett, A View of Concrete, The Odyssey, Woman-Bomb, Journal of the Plague Year, The Ham Funeral. Other: Ausdance, ANPC, ABC, Backbone Youth Arts, Brisbane Festival, Digitarts, Ethnic Communities Council, Experimetro, JUTE, Kage Physical Theatre, Kooemba Jdarra, Lucy Guerin Inc, Next Wave, Playbox Theatre Company, Playlab, PlayWriting Australia, Playworks, QPAC, QTC, RedInk, VCA, Vulcana Women’s Circus, University of Melbourne & individuals and collectives in a range of performance-making models. As Writer or CoCreator: Sleeping Beauty, gamegirl, Pyjama Girl, Toxic. As Director: My Of-course Life, Double Vision, Pyjama Girl. Awards: AWGIEs 1998 & 2005, Eat Carpet 2001 & 2003. Currently: Dramaturge in Residence, Malthouse Theatre. JANE MONTGOMERY GRIFFITHS WRITER AND PERFORMER Malthouse Theatre: Sappho...in 9 fragments. Other theatre: As Performer: Bell Shakespeare Company: King Lear. The Stork Theatre: Razing Hypatia. Compass Theatre Company: A Midsummer Night’s Dream, Woyzeck, Electra, A Doll’s House. Theatr Clwyd: Abigail’s Party, A Doll’s House. Chichester Festival Theatre: Point Valaine. Wolsey Theatre: Barefoot in the Park, Prin. Harrogate Theatre: Hedda Gabler, Three Sisters, Othello, Talking Heads, Gaslight, Romeo and Juliet, Turn of the Screw, Country Wife, Diary of Anne
LISA OSBORN
MARION POTTS
DARRIN VERHAGEN
Frank, School for Wives, Marisol, Sleeping Beauty, My Fair Lady, Gasping. Royal Court @ New End: Sick. Salisbury Playhouse: A Midsummer Night’s Dream, A Dolls House, Yvonne Arnaud Theatre: Dear Charles. Derby Playhouse: The Innocents. Cambridge Theatre Company: How the Other Half Loves, Il Stupro, Mrs Warren’s Profession. RSC/Thelma Holt Productions: Electra. As Director: Artistic Director of the Cambridge Greek Play: Trojan Women, Electra. Associate Director of Harrogate Theatre: Teechers, Educating Rita, Talking to the Fridge, Fear and Misery in the Third Reich. UpFront Theatre Company: Yerma, Hamlet. As Writer: Writer and performer of Sappho (2007), Razing Hypatia (2009), Razing Hypatia (2010 Chamber Made/ NOVA with composer Kevin March). Television: The Bill, Casualty, Red Dwarf. Film: One Against the Wind, A Murder of Quality. Education: BAHons and MA degrees in Classics from the University of Cambridge, PhD in Classics from the University of Melbourne. Awards: Recipient of the Manchester Evening News Best Actress Award for Electra (1999).Other: Academic and lecturer in Drama and Classics at the universities of Cambridge, Leeds (Bretton Hall & York St Johns), Melbourne and La Trobe, currently a Senior Lecturer in Theatre and Performance and ARC Industry Postdoctoral Fellow at Monash University.
Kid, The Blessing, Two Weeks With The Queen (Touring Production). Melbourne Theatre Company: Grace. State Theatre Company of South Australia: Equus, The Torrents, Gary’s House, A Number, The Goat or Who Is Sylvia? Queensland Theatre Company: Constance Drinkwater and the Final Days of Somerset. Company B Belvoir: The Popular Mechanicals 1 and 2 (Associate Director), The Frogs (Assistant Director). Griffin Theatre/Hothouse Theatre: The Story of the Miracles at Cookie’s Table, Wonderlands. Hothouse Theatre: Big Hair In America. Performing Lines: Dreaming Transportation. Awards: Green Room nomination for Direction for Venus & Adonis (2008), Sydney Theatre Awards nomination for Best Direction of a Play - Venus & Adonis and The Goat or Who is Sylvia (2007), Helpmann Award for Best Direction of a Play - The Goat or Who is Sylvia? (2006). Other: Resident Director for Sydney Theatre Company from 1995 - 1999, Artistic Director of Pulse from 1997 - 1999. Curated the 2003 National Playwrights’ Conference, chairperson of World Interplay, a member of the Theatre Board of the Australia Council and the HotHouse Theatre’s Artistic Directorate. Associate Artistic Director with Bell Shakespeare and Artistic Director of Mind’s Eye, Bell Shakespeare’s development arm, from 2006 - 2010. Artistic Director of Malthouse Theatre from 2011.
LISA OSBORN STAGE MANAGER Malthouse Theatre: Sappho...in 9 fragments. Other Theatre: Patch Theatre Company: Me and My Shadow. Slingsby: Man Covets Bird. Brink Productions: When the Rain Stops Falling. Australian Dance Theatre: G, Devolution, Ignition 06. State Theatre of South Australia: Metro Street, Attempts on Her Life, The Female of the Species, Triple Threat, Noises Off, Government Inspector. Ladykillers: Cake. Windmill Performing Arts: Boom Bah!, Afternoon of the Elves, Two Weeks with the Queen, Wilfrid Gordon McDonald Partridge. Arts Projects Australia: The Angel and the Red Priest. Events: WOMADelaide, The Helpmann Awards, Melbourne Commonwealth Games 2006 Cultural Festival, Barossa Under the Stars, Come Out. Training: Centre for the Performing Arts (Technical Production).
DARRIN VERHAGEN SOUND DESIGNER/COMPOSER Malthouse Theatre: Sappho...in 9 fragments, Kitten, Not Like Beckett. Playbox Theatre Company: Meat Party, Miss Tanaka, Sweet Road, Insouciance. Other theatre: Melbourne Theatre Company: Madagascar, Godzone, Grace, The Birthday Party, Ghost Writer, The Dumb Show, The Memory of Water. Daniel Schlusser: Poet #7, Life is a Dream, Medea, The Prodigal Son Sydney Theatre Company: Holy Day, The Snow Queen Moira Finucane: Gotharama, Phantasmagoria, Faith. Dance: Chunky Move: Two Faced Bastard, Closer, Hydra, Singularity. Australian Dance Theatre: Devolution, Held, Nothing, Vocabulary. Lucy Guerin Inc: Zero, Lost Air, On/Love Me. Sue Healey: The Curiosities, Niche, Fine Line Terrain, 13+32. Installations: Patricia Piccinini: When my baby. Digital Monkey/ADT: Transcriptions. Gina Czarnecki: Spine (Newcastle AV Festival). Live: Hue Festival, Vietnam (2010), Shinjuku Thief “Old Europe” tour (2005), Transmediale Festival Berlin (2003), San Francisco Museum of Modern Art (2002). Awards: 2 Green Room Awards: Sound Design for Theatre Independent (2009), Sound Design for Theatre Companies (2005. Award Nominations: 6 Green Room Award nominations for sound design. Currently: Lecturer in Sound Design, School of Art, RMIT University. PhD research: Noise, Music and Perception.
MARION POTTS STAGING Malthouse Theatre: Sappho...in 9 fragments. Malthouse Theatre/Bell Shakespeare: As Director: Venus & Adonis. Other theatre: Bell Shakespeare: King Lear, The Taming of the Shrew, Hamlet, Othello. Sydney Theatre Company: The Wonderful World of Dissocia, Playgrounds, Volpone, Don Juan, Life After George, Cyrano de Bergerac, The Crucible, Navigating, Del Del, Closer, The Herbal Bed, What Is The Matter With Mary Jane?, Pygmalion, Where Are We Now?, The Café Latte
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MUSE DONOR PROGRAM WE EXTEND OUR HEARTFELT THANKS TO THE FOLLOWING DONORS URANIA (Muse of the Stars) Anonymous (1)
CLIO (Muse of History)
Berry Liberman & Daniel Almagor
THALIA (Muse of Comedy)
John & Lorraine Bates Daniel & Danielle Besen Eva Besen AO & Marc Besen AO Debbie Dadon Roger Donazzan & Margaret Jackson John & Janet Calvert-Jones Neilma Gantner Richard Leonard Philanthropy Squared Trawalla Foundation
MELPOMENE (Muse of Tragedy) Beth Brown & Tom Bruce AM Terry Cutler D.L & G.S Gjergja Peter & Anne Laver Neil & Barbara Smart
EUTERPE (Muse of
Music)
Scott Herron Ian Hocking & Rosemary Forbes Carolyn Floyd Michael Kingston Naomi Milgrom AO Dame Elisabeth Murdoch A.C., D.B.E.
TERPSICHORE (Muse of Dance) Graham & Anita Anderson Diana Burleigh Min Li Chong Sieglind D’Arcy Taleen Gaidzkar Brian Goddard Colin Golvan SC Brad Hooper Susan Humphries Ann Kemeny & Graham Johnson Graeme & Joan Johnson K & J Lindsay Pamela McLure
ERATO (Muse of Love) Ingrid Ashford Diane Clark Chris Clough Patricia Coutts Callum Dale Doreen Dempster Rev Fr Michael Elligate Peggy Hayton Leonie Hollingworth Irene Irvine Irene Kearsey Ruth Krawat Anna Lozynski Gael & Ian McRae
Rae Rothfield Elisabeth & John Schiller Marshall Segan Tim & Lynne Sherwood The Bardas Foundation Leonard Vary & Matt Collins Simon Westcott Phil & Heather Wilson Anonymous (2) James Penlidis & Fiona McGauchie Robert Peters Rosemary Ricker Robert Templar Gina Stuart Jenny Schwarz Fiona Sweet Robert Sessions & Christina Fitzgerald Dr. Victor & Dr. Karen Wayne Angelika & Peter Zangmeister Dr. Kersti Nogeste John & Margot Rogers Karen Russell John Thomas Ann Tonks Rosemary Walls Bruce Wapshott & Daryl Moon Jan Watson Joanne Whyte Dr. Roger Woock & Fiona Clyne Barbara Yuncken Anonymous (12)
For further information about the Malthouse Theatre Muse program, please contact Philanthropy Manager Tamara Harrison on (03) 9685 5162. Donations of $2 or more are tax deductible.
At the CUB Malthouse 113 Sturt Street Southbank VIC 3006 Box Office +61 3 9685 5111 Administration +61 3 9685 5100 Facsimile +61 3 9685 5112 Email admin@malthousetheatre.com.au Web www.malthousetheatre.com.au BOARD OF DIRECTORS Simon Westcott (Chairman), Frankie Airey, John Daley, Michele Levine, Ian McRae, Neil Smart, Thea Snow, Sigrid Thornton, Leonard Vary Artistic Director Executive Producer Associate Producer & Business Manager
Michael Kantor Stephen Armstrong Catherine Jones
Company Managers Nina Bonacci & Julian Hobba Dramaturge in Residence Maryanne Lynch Assistant to the Dramaturge Petra Kalive Artist in Residence - Design Anna Cordingley Artist in Residence - Lighting Design Paul Jackson Administration Coordinator Angela Flood Education Program Manager Fiona James Finance Manager Mario Agostinoni Finance Assistant Liz White Marketing & Communications Manager Brad Martin Philanthropy Manager Tamara Harrison Marketing & Communications Coordinator Nicole Smith Marketing & Communications Assistant Jaclyn Birtchnell Media Manager Annette Vieusseux Media Assistant Dani Venn Ticketing Manager Sonja Fea Assistant Ticketing Manager Emma Howard Building Manager Frank Stoffels Bar Manager Cherry Rivers Front of House Managers Tristan Watson & Sean Ladhams Production Manager David Miller Technical Manager Baird McKenna Operations Manager Dexter Varley Production Coordinator Lucy Birkinshaw Head Electricians Tom Brayshaw & Stewart Birkinshaw Campbell Head Mechanist Andy Moore Workshop Supervisor David Craig Head of Wardrobe Amanda Carr Wardrobe Construction Kate Aubrey & Taryn Van Kan Steel Fabricator Goffredo Mameli Workshop Staff Dan Talbot Scenic Artist Patrick Jones Props Master Ross Murray (lifetime recognition) Front of House/Bar Staff Matt Adair, Milo Adler-Gillies, Mira Adler-Gillies, Rebecca Bower, Jacqui Brown, Pablo Calero, Rowan Michael Davie, Nadine Dimitrievitch, Graham Downey, Tanja George, Kate Golding, Chloe Greaves, Kate Gregory, Simon Jeanes, Paula Lay, Tanya Lazar, Gabrielle Lowe, Bridie McCarthy, Ruby Nolan, Sara Retallick, Claire Richardson, Caleb Shea, Mimosa Schmidt, Kathryn Stuckey, Lee Threadgold, Pete Walker, Janine Watson. Box Office Staff Annalise Hooper, Cindy Elliott, Fiona Wiseman, Kate Gregory, Liz Bastian, Liz White, Mark Byrne, Michelle Hines, Mike McEvoy, Michael Lindner, Rachel Gelzinnis We welcome Avenue Bookstore @ The CUB Malthouse. The Malthouse Bookshop is staffed by volunteers. Malthouse Kitchen
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MERLYN THEATRE AUGUST 13 – SEPTEMBER 4 ADAPTED BY LOUISE FOX FROM THE NOVEL BY FRANZ KAFKA DIRECTOR MATTHEW LUTTON SET DESIGNER CLAUDE MARCOS COSTUME DESIGNER ALICE BABIDGE ASSISTANT COSTUME DESIGNER MEL PAGE LIGHTING DESIGNER PAUL JACKSON COMPOSER ASH GIBSON GREIG SOUND DESIGNER KELLY RYALL BESEN FAMILY ARTIST PROGRAM SARAH JOHN (DIRECTION) CAST JOHN GADEN, PETER HOUGHTON, RITA KALNEJAIS, EWEN LESLIE, BELINDA MCCLORY, HAMISH MICHAEL, IGOR SAS
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