MAY 28 - JUNE 19 Production Sponsor
MALTHOUSE THEATRE & VICTORIAN OPERA PRESENT BERTOLT BRECHT & KURT WEILL’S
THE THREEPENNY OPERA TEXT RAIMONDO CORTESE LYRICS JEREMY SAMS DIRECTOR MICHAEL KANTOR CONDUCTOR RICHARD GILL SET DESIGNER PETER CORRIGAN COSTUME DESIGNER ANNA CORDINGLEY LIGHTING DESIGNER PAUL JACKSON SOUND DESIGNERS PETER RIPON & PETER SFORCINA SOUND OPERATOR PETER SFORCINA CHOREOGRAPHER KATE DENBOROUGH STAGE MANAGER DARREN KOWACKI ASSISTANT STAGE MANAGERS TANITH HARLEY & MELANIE STANTON ASSISTANT CONDUCTOR & REPETITEUR DANIEL CARTER ASSISTANT CONDUCTOR PAT MILLER MECHANISTS JACK GRANT, SCOTT BOWIE & ANDY MOORE RADIO MICS CHRIS LEARY LIGHTING OPERATORS TOM BRAYSHAW & STEWART BIRKINSHAW CAMPBELL MAY 28 – JUNE 19, 2010 This production premiered in the Merlyn Theatre at the CUB Malthouse on June 2, 2010.
A PLAY WITH MUSIC AFTER JOHN GAY’S THE BEGGAR’S OPERA IN THREE ACTS MUSIC BY KURT WEILL GERMAN TRANSLATION BY ELISABETH HAUPTMANN ADAPTATION AND LYRICS BY BERTOLT BRECHT ENGLISH TRANSLATION OF DIALOGUE BY RAIMONDO CORTESE FROM A LITERAL TRANSLATION BY LAURA GINTERS ENGLISH TRANSLATION OF LYRICS BY JEREMY SAMS Used by arrangement with European American Music Corporation, agent for The Kurt Weill Foundation For Music Inc. and agent for the Estate of Stefan Brecht.
Cover image by Sweet Creative All rehearsal photography throughout this program by Neil Bennett neilbennett.net This page: Eddie Perfect . Opposite page: Amy Lehpamer, Paul Capsis and The Threepenny Opera cast.
CAST CASEY BENNETTO TIGER BROWN PAUL CAPSIS JENNY / ARCHBISHOP KIMBALL JUDI CONNELLI MRS PEACHUM JOLYON JAMES FILCH / GANG / WHORE MELISSA LANGTON JIMMY / WHORE AMY LEHPAMER SUKEY TAWDRY / GANG ANNA O’BYRNE POLLY PEACHUM EDDIE PERFECT MACHEATH DIMITY SHEPHERD LUCY / GANG / WHORE GRANT SMITH MR PEACHUM JOHN XINTAVELONIS MITCH / WHORE MUSIC PERFORMED BY STUART BROWNLEY, DANIEL CARTER, BOB COLLINS, MARTIN CORCORAN, DOUG DE VRIES, RICHARD GILL, DAVID McSKIMMING, EVAN PRITCHARD, BRUNO SIKETA & NIC SYNOT BESEN FAMILY ARTIST PROGRAM (DIRECTION) CAMERON MENZIES BESEN FAMILY ARTIST PROGRAM (WARDROBE) CHLOE GREAVES SECONDMENT VCA (STAGE MANAGEMENT) ELSA MUSOLINO SET & PROPS CONSTRUCTED BY MALTHOUSE THEATRE WORKSHOP COSTUMES BY MALTHOUSE THEATRE WARDROBE
DIRECTOR’S NOTE “What keeps a man alive? It’s his compulsion To steal and kick his fellow man in the face. We have to eat the shit without revulsion And turn our backs upon the human race. You have to kill your neighbour to survive. It’s selfishness that keeps a man alive.” - The Threepenny Opera Act II Finale.
At a time when we glamourise and make celebrities of our criminals, The Threepenny Opera is again apposite. It is a motley collection of great songs strewn through a bowdlerised plot line whose original – The Beggar’s Opera – is only thinly disguised. This theatrical beast builds its momentum in bursts of passion, then biting satire, then sly cynicism - sometimes simultaneously. A thought about setting: Melbourne has so many criminal mythologies that the name of a suburb can bring to a Melbournian mind whole histories and malign moods. From the manic grin of Luna Park to the gin soaked hoodlum smoke stacks of Collingwood, the notorious discos and strip joints on King Street and the secret deals behind gilded gates in Toorak, Melbourne glistens with implied sin and evil intent. And in the end, Brecht still hits hard, as he accuses us of chronic self-interest and First World bourgeois indulgence, berating us that life’s a bitch and then you’re dead. Perhaps he understands that we love our criminals because we hate our own timidity and dishonesty – that in some ways we hate ourselves. Macheath, the most evil of all bogeymen, a rapist and murderer, continues to charm us as he kills. His unbridled narcissism is our own. MICHAEL KANTOR DIRECTOR
CONDUCTOR’S NOTE The version of The Threepenny Opera you are listening to in this production is based on the score published by the Kurt Weill Foundation in 2000. There is no definitive version of The Threepenny Opera – this fact is stated in the preface to the 2000 edition because there is no principal or primary source of the material. Nonetheless, the score remains fresh and vital today and retains a unique place in the repertoire. Weill’s music is sometimes referred to as ‘wrong-note’ style. He had a unique perspective on harmony which influenced generations of Broadway composers post 1930. His rhythmic invention is potent in its simplicity and captures the urgency of the jazz rhythms of the time. To my ear, there is an influence which can be related directly to Jewish music, especially the style known as Klezmer, a musical style which has a long and honourable tradition dating back to medieval times and practiced by a wide variety of Jewish musicians. The style is bittersweet, with a strange emphasis on the bitter. The music in The Threepenny Opera never descends to the sentimental or the schmaltzy. It is often tender, always strongly melodic and exists within the play as a thread which unites the whole work. In this sense, this work, The Threepenny Opera, is truly operatic. RICHARD GILL CONDUCTOR
“An opera from us, the workers of the theatre. Conceived with a magnificence such as only the workers of the theatre could imagine ... An opera where the beggars are begging, the thieves are stealing, and the whores are whoring.” - The Threepenny Opera
Dimity Shepherd & Eddie Perfect
Paul Capsis
Amy Lehpamer, Jolyon James, Melissa Langton & John Xintavelonis
Dimity Shepherd
Michael Kantor & Richard Gill
Eddie Perfect, Dimity Shepherd & Paul Capsis
Eddie Perfect & Paul Capsis
Judi Connelli, Anna O’Byrne & Grant Smith
Casey Bennetto
Judi Connelli
Grant Smith
The cast and crew of The Threepenny Opera - in rehearsals in the Bagging Room at the CUB Malthouse
BRECHT AND WEILL STRIPPING THE ARTIFICE FROM THE STAGE
31 August 1928. Theater am Schiffbauerdamm, Berlin: It’s the opening night of a new 'opera', a collaboration between 28-year-old composer Kurt Weill and 30-year-old writer Bertolt Brecht (with Elisabeth Hauptmann also credited as translator). The good burghers of Berlin are po-faced; things aren't going well. In fact they haven't been going well for some time. The piece has been thrown together in six months. A lead actress pulls out at the last moment due to a family death. Another leaves due to illness and her part is cut. There are squabbles over the content: a song is removed because the performer refuses to deliver its tale of sexual obsession and another because the singer can't hit the notes. The piece is too long, the finale written on the hop, and a little song called Mack the Knife is added literally at the eleventh hour. The composer's wife, a principal, is left off the program and he suggests they walk. And the dress rehearsal finishes at 5am. Suddenly the audience bursts into almighty applause. It's a hit.
Bertolt Brecht
The Threepenny Opera, loosely based upon John Gay's The Beggar's Opera (1728), was an overnight sensation when it premiered at the height of the Weimar Republic. The ingredients were strange: a coarse tone, a narrative delighting in its own decadence, vibrating passions (sexual, political and economic), and no obvious moral ending. Yet it announced a new artistic language, one that had been brewing in artistically avant-garde circles in disparate parts but was now here, centrestage, in full voice. And people went wild for it. On the face of it the piece is an oddly constructed and simple tale of a bad lot, who only get badder: a bunch of beggars and the nasty knife-man who rules the roost. And the story ends abruptly, leaving us not at all sure what we are supposed to think.
Kurt Weill
Which is, perhaps, the point of it all.
In their collaboration, Weill and Brecht discovered a way to strip the artifice from opera and to put the lowbrow cheek by jowl with the highbrow. It's in this proposition, a radical one in the early twentieth century, that the true politics of the piece lies. It still hits us hard when we hear the songs and the music across the space of almost one hundred years. It's a stripping away of pretensions and conventions. While Brecht would later claim a larger political project for the piece, there's no comprehensive position save one of thumbing one's nose at society. Weill and Brecht wanted to make us sit up but not shut up; to take notice but not take it lying down; to be awake! Weill's compositions combined folk tunes, music-hall numbers, jazz and blues with more conventionally operatic material. In commenting on his approach he said: “With every musical work for the stage the question arises: how is music, particularly song, at all possible in the theatre? Here the question was resolved in the most primitive way possible. I had a realistic plot, so I set the music against it, since I do not consider music capable of realistic effects. Hence the action was interrupted, in order to introduce music, or it was deliberately driven to the point where there was no alternative but to sing.”
For his part, the book of the opera offered Brecht the chance to push his ideas about theatre: to move from the naturalistic niceties of the day and to dig deep into what he saw as the depraved desires lying beneath them. There's no attempt at character depth; nor much at plot; it's an expressionistic, episodic ride on the wild side of life with bitingly cynical lyrics and a satirical take on everything. His motto might be: Power rules and corruption is rife; let's burn up or die. With as much gusto as possible. In the twenty-first century The Threepenny Opera still packs a punch because it's so damned good at being bad. And because we all recognise the badness. This doesn't mean there are no politics in the work - it's just that they aren't found in the narrative but rather in the collision of styles, forms, ideas and influences, and the energy that this creates. The Nazis came to realise this when they were forced to remove The Threepenny Opera recordings from their Degenerate Art exhibition (Dusseldorf, 1938) because people were enjoying them too much … MARYANNE LYNCH DRAMATURGE IN RESIDENCE, MALTHOUSE THEATRE
Brecht, with typical insouciance, added: “Nothing is more revolting than when an actor pretends not to notice that he has left the level of plain speech and started to sing.”
“By showing with biting humour what the world would be like if it were inhabited by crooks and hypocrites, The Threepenny Opera does more good than all the dreams of noble souls.” - Kurt Weill “[The Threepenny Opera's] success refutes the widespread view that the public is incapable of being satisfied--which comes as something of a disappointment to me.” - Bertolt Brecht
ADAPTING THE THREEPENNY OPERA The text of The Threepenny Opera has a chaotic, almost carefree dramatic structure, wrought by unrestrained energy and theatrical necessity rather than the careful scrutiny characteristic of Brecht’s later verfremdungseffekt plays. But what The Threepenny Opera might lack in artfulness it more than makes up for in poetic vitality. The language is visceral, immediate, blunt, and alive - forged out of the social mire it depicts. Here criminality is embedded at all levels of the social order; lumpen proletariat, proletariat, bourgeoisie or the (invisible) ruling class, all acquire power through brute force and the exploitation of those beneath them. The world presented is one of crude survival, through which Brecht, the nascent Marxist, provides only temporary bursts of hopefulness. My aim in adapting the text has been to honour the original, while updating it to a modern Australian context. Audiences are now familiar with television fantasies of the criminal underworld - shows like The Sopranos, Deadwood or Blue Murder go some way to ensure that The Threepenny Opera’s original content is no longer shocking or surprising. In contemporising the language, I tried to accommodate the hard-hitting impact Brecht envisaged. The songs might resonate with human yearning, erotic anarchy, dreams of freedom, but the dialogue is forthright, devoid of even a trace of sentimentality. The Threepenny Opera in many ways prefigures Arturo Ui – a play satirising Hitler’s rise to power. Brecht leaves us in no doubt that the old world of social and political niceties is in for a nasty shock; murderers, thieves, pimps and thugs are about to get their day in the sun. Mac’s final redemption is not merely cynical; it is one of the most brutal depictions of realpolitik ever theatricalised. Violence translates into power, wielded by those who exist in a supra-legal hemisphere. You are invited to consider whether Brecht’s bleak vision is still relevant today. RAIMONDO CORTESE WRITER / ADAPTOR
CASEY BENNETTO
STUART BROWNLEY
CASEY BENNETTO PERFORMER Casey Bennetto has been writing for and performing in many projects over the last decade, from 2002’s Northcote Country Soul to his recent score for the ABC series Lowdown. He is probably most well-known for composing the 2005 country soul opera KEATING! Other works include 2006’s Australia On $400 A Fortnight, 2008’s A Largely Fanciful History Of The Spiegeltent and the 2009 cabaret Evening. Casey has worked as a dramaturge (on Eddie Perfect’s Shane Warne The Musical), as a theatrical sound designer (on Ross Mueller’s Construction Of The Human Heart, among others), as a sound and lighting operator (on Jane Bodie’s Ride, among others) and, recently, as Santa Claus and the Devil (on the ABC’s Spicks And Specks). Often found nowadays fronting the Half-Arsed Three, he has also had the privilege of performing with Kamahl, Meow Meow, Tripod, Tim Minchin, Spontaneous Broadway and many more. STUART BROWNLEY REED ONE Stuart Brownley has performed with a diverse range of ensembles including The Australian Pops Orchestra, Orchestra Victoria and The Daryl McKenzie Jazz Orchestra. Stuart’s professional theatre credits include Jersey Boys, Chicago, Guys and Dolls and Spamalot as well as The Production Company’s seasons of Crazy for You, Follies and The Boyfriend. Television performances include It Takes Two, Hey Hey It’s Saturday and Dancing with the Stars where Stuart has backed artists including Delta Goodrem, Kate Ceberano, Human Nature and Motown legend Smokey Robinson. PAUL CAPSIS PERFORMER Paul Capsis’ extensive career has included theatre, film, recordings, radio, live concerts and cabaret. Paul has worked with Malthouse Theatre, MTC, STC, State Theatre Company of South Australia and Company B Belvoir as well as in Vienna, Hong Kong, London, Edinburgh and New York. Paul’s theatre credits include Barrie Kosky’s The Lost Echo (STC 2006), which earned him the 2007 Helpmann Award for Best Supporting Actor in a Play, Boulevard Delirium in Vienna and Australia, with his Australian performance earning him the 2006 Helpmann Award for Best Contemporary Concert Performer
PAUL CAPSIS
DANIEL CARTER
BOB COLLINS
and the 2006 Green Room award for Best Cabaret Artiste. He also featured as Riff Raff in The Rocky Horror Show and has appeared on television programs including My Favourite Album, In Siberia Tonight, The Sideshow, Sunday Arts, Spicks and Specks, Studio A with Simon Burke and Mornings with Kerry Anne. His film credits include Head On, which won him the 1998 Film Critics Circle Award for Best Supporting Actor. Paul’s albums include Paul Capsis Live, Everybody Wants To Touch Me and Boulevard Delirium and his forthcoming album, Make Me A King, will be released in July 2010 on ABC Records. DANIEL CARTER ASSISTANT CONDUCTOR / REPETITEUR Sydney born Daniel Carter is a Developing Artist with Victorian Opera as a conductor and repetiteur. Commencing studies in piano and composition at an early age, Daniel’s success in these fields led him to pursue a career in music. In 2008 he commenced a Bachelor of Music at Melbourne University as the Kaye Scott Instrumental Scholar at Ormond College majoring in composition and studying piano with Professor Ian Holtham. He has studied with composers Robin Holloway and Daniel Rojas, and has had music performed by the Sydney Symphony Sinfonietta, the Willoughby Symphony Orchestra and various Sydney based youth orchestras. In 2006 Daniel won the 2MBS Young Composer of the Year and in 2008 was recognised for excellence in composition in the NSW Higher Schools Certificate Examinations. As a conductor Daniel has participated in the Symphony Australia Conductor Development courses in 2007, 2009 and 2010, conducting orchestras in Sydney, Auckland and Hobart. He studies conducting with Richard Gill. BOB COLLINS TROMBONE After completing post-graduate studies at the Victorian College of the Arts with Simone De Haan, Bob Collins received the Willem Van Otterloo Scholarship which enabled him to study trombone in Holland and England. He performs regularly as a casual musician on tenor and bass trombone with all of the orchestras in Melbourne and plays baroque trombone in the renaissance wind band La Compania. He has also performed with the Canberra Symphony, Singapore Symphony, the Australian Chamber Orchestra and Pinchgut Opera in Sydney.
JUDI CONNELLI
MARTIN CORCORAN
JUDI CONNELLI PERFORMER Judi Connelli’s career embraces opera, operetta, musical theatre, television, cabaret and recording. Her musical theatre roles include The Witch in Into the Woods, Matron Mamma Morton in Chicago and The Pack of Women, Jerry’s Girls and Fraulein Schneider in Cabaret. For Opera Australia she has played Katisha in The Mikado, The Duchess of Plaza Toro in The Gondeliers, Golda in Fiddler on the Roof, Mrs Lovett in Sweeney Todd and Mother Goose in The Rake’s Progress. In concert performances of musicals Judi has performed Mamma Rose (Gypsy), Norma Desmond (Sunset Boulevard) and Carlotta Campion (Follies). Following her appearance at the New York Cabaret Convention, Judi was invited to return for a season of sell-out concerts at the Weill Recital Hall (Carnegie Hall) and the famed Oak Room at the Algonquin Hotel. In 2001 Judi presented her biographical cabaret show Back To Before at the New York Town Hall, followed by a national tour of Australia. Judi has presented solo concerts with Melbourne and Sydney Symphony Orchestras and, as one of The 3 Divas, performed with the Adelaide and Tasmanian Symphony Orchestras. Other concerts include Australia’s Leading Ladies with the Queensland and West Australian Symphony Orchestras and Candide for the Perth and Sydney Festivals. Judi’s awards include a Melbourne Green Room Award, four Mo Awards, a Helpmann Award, a New York Coveted Dramalogue Award and an Aria Award for the CD Perfect Strangers with Suzanne Johnston. In 2004, Judi was awarded an Order of Australia for her contribution to the performing arts and various charities. MARTIN CORCORAN REED 2 Martin Corcoran studied saxophone, clarinet and flute with Peter Clinch and Tony Hicks at Melbourne University from 1981 to 1985. Performing credits include working with Ray Charles, Barbara Cooke, Michael Crawford, The Four Tops, The Temptations, Jerry Lewis, Rhonda Burchmore, Marcia Hines and Renee Geyer as well as working with the Melbourne Symphony, Orchestra Victoria and The Australian Pops Orchestra. In the theatre Martin has held permanent positions in the orchestras for over 30 productions since 1988.
ANNA CORDINGLEY
PETER CORRIGAN
ANNA CORDINGLEY COSTUME DESIGNER As Resident Designer at Malthouse Theatre, Anna Cordingley’s set and costume credits include 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) and, as a freelance designer, Not Like Beckett and Autobiography of Red. Beyond the theatre, Anna has designed for Simon Barley (Bambuco) with The Eighth Bridge over the River Tyne (UK) and Spine, Ludo and Rue Faidherbe Lille 2004 (France) and for Well, The Great Wall of Books (Macau). Her exhibitions include An Account of Bridges at the Baltic Contemporary Art Centre/Sage Gateshead (UK) and Facilitation for Brook Andrew in Colony in the 2007 Den Haag Sculpture Exhibition (The Netherlands). Her public events include the Melbourne 2006 Commonwealth Games Opening Ceremony (Indigenous Section) and Closing Ceremony (Marvelous Melbourne). Anna has a Bachelor of Dramatic Art, Production Design from the Victorian College of the Arts and is midway through a Masters of Curatorship at Melbourne University. PETER CORRIGAN SET DESIGNER Peter Corrigan was educated at Melbourne and Yale Universities. He received an Honorary PhD in Architectural Design from RMIT where he teaches. He has been Guest Professor at the Turin Polytechnic and at Harvard in Boston. He is a director of Edmond & Corrigan Pty. Ltd. This firm has won 33 R.A.I.A. State and National Architectural Awards and will exhibit in the 2010 Venice Biennale. In 2003 the R.A.I.A. awarded him its Gold Medal. Peter Corrigan is included in the Allgemeines Kunstlerlexikon International Artist-Reference (Leipzig 1998) and in the Continuum Companion to 20th Century Theatre (London 2002). He has received two Green Room Awards for Drama and designed for, amongst others, John Vacarro, Chris Bendall, Andrew Walsh at the Commonwealth Games and fifteen productions (over fifteen years) with Barrie Kosky. These designs include Ligetti’s Le Grand Macabre, directed by Barrie Kosky for the Komische Oper in Berlin (the premier). For Michael Kantor he has designed Through the Looking Glass and Woyzeck.
RAIMONDO CORTESE
DOUG DE VRIES
KATE DENBOROUGH
RAIMONDO CORTESE WRITER / ADAPTOR Raimondo Cortese graduated from VCA School of Drama in 1993 and is a founding member of Ranters Theatre, of which he was the Artistic Director from 1994 - 2000. His plays include The Room, Lucrezia and Cesare, The Large Breast or the Upside-Down Bell, The Fertility of Objects, Features of Blown Youth, St Kilda Tales, Roulette - a series of 12 two-handers, The Wall, Affection, The Dream Life of Butterflies, Intimacy and Holiday, which won a 2007 Green Room Award for Best Australian Writing. His fictional work includes a collection of short stories - The Indestructible Corpse (Text Publishing 1998). He has also written for film, television and radio, as well as visual and experimental texts, and teaches dialogue writing at VCA Centre for Ideas, Melbourne University. He was recently the recipient of a 2010 Australian Leadership Award. DOUG DE VRIES GUITARS Doug de Vries is one of Australia’s most experienced and versatile guitarists and composers, excelling in many musical genres from jazz to choro, samba and bossa nova; styles that form the basis of Brazilian popular music, and is considered Australia’s leading exponent of Brazilian guitar repertoire. He is particularly noted for his sophisticated accompaniments, deep knowledge and daring improvisations in jazz and other settings, be it solo guitar or in ensembles. KATE DENBOROUGH CHOREOGRAPHER Kate Denborough is recognised as one of Australia's foremost choreographers and directors of physical theatre. She is an awardwinning creator of multi disciplinary works that cross the mediums of film, television and live performance. In 1996 she co-founded KAGE with Gerard Van Dyck. As the Creative Director of KAGE Kate has devised, directed and/or performed in all of the Company's works. In 2007 Kate directed Frank Woodley’s solo show Possessed as well as Appetite for KAGE for the 2008 Melbourne International Festival of the Arts. In 2009 KAGE was invited to be the inaugural Company in Residence at the Victorian Arts Centre. Kate is currently developing two new works for KAGE; Look Right Through Me in collaboration with Michael Leunig, and Sundowner in partnership
RICHARD GILL
TANITH HARLEY
with Alzheimer's Australia. In 2010 Kate is undertaking a directing mentorship with Melbourne Theatre Company. RICHARD GILL CONDUCTOR Richard Gill, Music Director of Victorian Opera, is also the Artistic Director of the Sydney Symphony’s Education Program. He has also been Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra and the Adviser for the Musica Viva in Schools Program. Richard has frequently conducted for Opera Australia and OzOpera, and in recent seasons has conducted Meet the Music concerts with the Sydney Symphony, Discovery concerts with the Sydney Sinfonia; the Melbourne, Canberra, Queensland and Tasmanian Symphony orchestras and the Brisbane and Melbourne premiere seasons of Richard Mills’ The Love of the Nightingale. Richard Gill has received numerous accolades, including an Order of Australia Medal, the Bernard Heinze Award, an Honorary Doctorate from the Edith Cowan University of Western Australia, the Australian Music Centre’s award for Most Distinguished Contribution to the Presentation of Australian Composition by an individual and the Australia Council’s Don Banks Award. TANITH HARLEY ASSISTANT STAGE MANAGER Tanith Harley has worked as an Assistant Stage Manager on many Malthouse Theatre productions including Elizabeth – Almost By Chance A Woman, Woyzeck, Kitten, Yibiyung, Vamp and the tour of The Spook. Other Australian theatre productions she has worked on include The Phantom of the Opera, Spamalot, Oh! What a Night and Swan Lake on Ice. In London’s West End, her stage management roles include Mary Poppins, Acorn Antiques the Musical!, The Woman in White, Telemaco, Chitty Chitty Bang Bang and Les Miserables. She has also worked on a number of art projects in Cambodia including the Giant Puppet Project and with the Angkor Hospital for children in Siem Reap. For television, Tanith has worked in the Art Department on Neighbours.
PAUL JACKSON
JOLYON JAMES
PAUL JACKSON LIGHTING DESIGNER Paul Jackson works for Melbourne based firm The Flaming Beacon as a theatre, architectural and events lighting designer, is an Artistin-Residence at Malthouse Theatre, and is the Lighting Designer for the Australian Art Orchestra. His design work for performance includes lighting designs for The Australian Ballet, Royal New Zealand Ballet, West Australian Ballet, Melbourne Theatre Company, Sydney Theatre Company, Playbox Theatre Company, Malthouse Theatre, Ballet Lab, Not Yet It’s Difficult performance group, Victorian Opera, Oz Opera, Chamber Made Opera, Melbourne Opera, Melbourne Workers Theatre, Black Swan Theatre Company, Griffin Theatre Company, The Production Company, Lucy Guerin, Neon Heart Theatre, La Mama, Ranters Theatre and others. He has lectured in design and associated studies at the University of Melbourne, RMIT University, NMIT and Victorian College of the Arts. A co-founder and Technical Manager of the award–winning Not Yet It’s Difficult performance group, Paul was co-designer of their K, presented at the 2002 Melbourne Festival, the 2003 Vienna Festival and the 2005 Seoul Festival. Paul has been nominated for 18 Victorian Green Room Awards for set and lighting design and was the winner of the Best Lighting (Opera) Award for 2004, Best Design (Cabaret) 2005 and Best Lighting (Drama) 2006. He has been nominated for several Helpmann Awards and Sydney Theatre Critics Circle Awards. A key creative team member on numerous award-winning shows, Paul was also named in the Arts and Entertainment section of The Bulletin’s Smart 100 for 2004 and was the Gilbert Spottiswood Churchill Fellow for 2007. JOLYON JAMES PERFORMER Since graduating from the Western Australian Academy of Performing Arts in 1997, Jolyon James has worked extensively as an actor in both Australia and the U.K. The Threepenny Opera is Jolyon's first production with Malthouse Theatre. Most recently Jolyon has appeared as Randy Savage in The Grenade (MTC) and as John the Indian Bookmaker in Shane Warne the Musical. His other stage credits include The Last Five Years and Songs For a New World (Doorstep Ensemble), The Adventures of Snugglepot and
MICHAEL KANTOR
Cuddlepie and Little Ragged Blossom (Company B, Belvoir), the role of Jesus in Jesus Christ Superstar; the role of Sky in the original Australian production of Mamma Mia (Little Star), Les Miserables -10th Anniversary Australian tour (Cameron Macintosh), The Beautiful and the Damned (UK) and Into The Woods, A Little Night Music and Misalliance, all for the MTC. On television, Jolyon was a regular in the BBC's Mad About Alice and appeared in the award winning doco drama Krakatoa. Other television credits include City Homicide, Headland, Thank God You're Here, Blue Heelers, Above The Law and The Secret Life of Us. His film credits include The Wedding Date and Never Tell Me Never. Later this year Jolyon will also be directing the new musical Three Sides at the MTC's Lawler Studio. MICHAEL KANTOR DIRECTOR Michael Kantor is currently Artistic Director of Malthouse Theatre. For Malthouse he has directed productions of Sleeping Beauty, The Ham Funeral, Not Like Beckett, Journal of the Plague Year, Babes in the Wood, the Wesfarmers Arts Commission The Odyssey for the Melbourne and Perth International Arts Festivals, Through The Looking Glass (with Victorian Opera), Vamp, Woyzeck, Optimism (with STC, Sydney Festival and Edinburgh International Festival), Happy Days and Elizabeth – Almost by Chance a Woman. Michael studied at the University of Melbourne and at L’ École Philippe Gaulier in Paris. As an actor and director, he has worked for theatre and opera companies throughout Australia. Michael’s work as a director covers several fields, including the devising of new works, including Excavation for the 1996 Adelaide Festival and Natural Life for the 1998 Adelaide Festival and Playbox Theatre Company. The latter was also presented as Natural Life 2 in 1999 at the Lincoln Centre in New York. He has directed several new plays including Lenz for the 1996 Melbourne International Arts Festival, Meat Party for Playbox and Howard Katz for the Sydney Theatre Company. Among classic dramatic works Michael has directed are The Caucasian Chalk Circle, Macbeth, The Ham Funeral and Ubu for Sydney’s Company B Belvoir. He has also worked with opera, directing The Burrow for the 1994 Perth Festival and, for the 2000 Adelaide Festival, Moon Spirit Feasting, which later toured
DARREN KOWACKI
MELISSA LANGTON
to Melbourne, Berlin, Zurich and Tokyo. Michael directed Chunky Move’s 2003 Melbourne Festival production Tense Dave, which toured to the Sydney and Perth festivals in 2004, and has collaborated with Barrie Kosky’s Gilgul Theatre, performing in The Dybbuk, Es Brent, The Wilderness Room and The Operated Jew. DARREN KOWACKI STAGE MANAGER Darren Kowacki graduated from the Victorian College of the Arts (Production) in 2004 and worked as the production manager for St Martins Youth Arts Centre (2005-2007) working on productions including Pretty White Lies & The Velveteen Undertow, Hatched Arts Festival, Radicals & Misanthropes, The Wild Blue and When Sand Becomes Glass. Darren has worked as a stage manager for Malthouse Theatre including on productions of Elizabeth – Almost by Chance A Woman, Africa, Knives In Hens, A Commercial Farce, Goodbye Vaudeville Charlie Mudd, Venus & Adonis, Kitten, Tartuffe, Exit the King and touring productions of Optimism, The Spook and The Tell-Tale Heart. Darren has also worked as a stage manager with a number of other companies including The Store Room & MIAF: The Dictionary of Imaginary Places, ChamberMade Opera: The Children’s Bach, Chapel Off Chapel: Shadow Passion, McLaren House: Fully Committed, HMT: Miss Saigon, Lano & Woodley: Goodbye (Australian Tour), Dave Hughes: Dave Hughes Live (Adelaide Fringe Festival). Darren has also worked on a number of events including Marriner Theatre Events, Polyglot’s We Built This City, 2009 AFL Grand Final Breakfast (CFMEU), Nickelodeon Events, Trafficlight events, 2007 Australian Jamboree, Grease - The Arena Spectacular (SEL launch) and St Kilda Festival. Darren has also worked as a lighting designer for companies such as St Martins, Oz Opera, VCA, CVP, Chicago The Musical (GFO launch) and Scouts Australia. MELISSA LANGTON PERFORMER Melissa Langton’s theatre appearances include Jesus Christ Superstar, Les Miserables, Crusade, The Pirates of Penzance, The Mikado, Marry Me A Little, Sideshow Alley and After The Beep. She has also performed as Killer Queen in We Will Rock You in Japan and for The Production Company and has featured as Nettie Fowler in
AMY LEHPAMER
DAVID McSKIMMING
Carousel, Maggie Jones in 42nd Street, Gloria Thorpe in Damn Yankees, Stella Deems in Stephen Sondheim’s Follies and Patricia Fodor in Crazy For You. Melissa is renowned for devising and performing her own cabaret shows alongside her husband and musical director Mark Jones. These shows have been performed in New York and Dublin, at the Adelaide Cabaret Festival, Sydney Cabaret Convention, Auckland Festival, His Majesty’s in Perth and The Famous Spiegeltent at the Melbourne Festival. Melissa is also a member of the popular girl group The Fabulous Singlettes and has performed with the group regularly since 1998 throughout Australia, Asia and Europe. Melissa received a 2002 Green Room Award for Best Cabaret Artist and Best Cabaret Ensemble (with Mark Jones) and was the winner of the 2001 Sydney Cabaret Convention. Her debut album, When The Rain Falls Up was released in 2002. AMY LEHPAMER PERFORMER Amy Lehpamer developed her formative musical skills as a violinist, achieving her A.Mus.A at just 14 years of age. Soon after, however, she discovered a passion for singing and acting and has performed extensively in musical theatre ever since. Most recently, Amy starred in the Australian premiere of The Production Company’s Dirty Rotten Scoundrels in the role of Christine Colgate. She performed in the ensemble of Shane Warne The Musical, understudying and performing the role of Simone Warne. Other credits include Young Phyllis in Follies with The Production Company, Doorstep Ensemble's acclaimed 25th Annual Putnam County Spelling Bee and Songs for a New World. She has featured in the HBO/Dreamworks TV series The Pacific and performed in Japan as lead vocalist in the Tokyo Disney Sea Jazz Revue titled Big Band Beat. Amy holds a Bachelor of Arts from the University of Melbourne with majors in English Literature and Japanese. DAVID McSKIMMING HARMONIUM / REPETITEUR David McSkimming, Head of Music at Victorian Opera, has regularly performed in concert and on radio for the ABC and has played harpsichord, organ continuo and piano with the Melbourne and Adelaide Symphony Orchestras, Orchestra Victoria and the Adelaide Chamber Orchestra, and French Horn with the Adelaide Symphony.
ANNA O’BYRNE
EDDIE PERFECT
He has given recitals and recorded with many distinguished singers and instrumentalists including Sumi Jo, tenor Yu Jixing, Anthony Warlow and David Hobson, and violinist Miwako Abe. His recording with Rosamund Illing was voted Australian Classical Vocal CD of The Year. He was a member of the State Opera of South Australia from 1976 - 1989, then Principal Repetiteur with Victoria State Opera, and joined Opera Australia for the year 1997. David then freelanced until joining Victorian Opera in 2006. His repertoire extends to more than 125 operas. ANNA O’BYRNE PERFORMER Anna O’Byrne is a 2008 graduate of the Victorian College of the Arts, completing a Bachelor of Music Performance (Honours). While at VCA she was the recipient of the Harold Fisher Opera Scholarship, the Gwen Nisbet Music Scholarship, the Walter and Murial McConnan Trust Scholarship, the Athenaeum Prize, and an award in the Sleath Lowrey Rotary Scholarship. In 2009, Anna joined the cast of The Phantom of the Opera, where she covered and played the role of Christine Daaé opposite Anthony Warlow’s Phantom. She recently performed in Victorian Opera’s Angelique as Gossip. Previous operatic roles and excerpts include Tamiri in Il Re Pastore, Susanna in Le Nozze di Figaro, Papagena in Die Zauberflöte, Suor Osmina & Suor Dolcina in Suor Angelica, and Helena in A Midsummer Night’s Dream. Concert experience includes Mozart Requiem, Haydn Mass in Time of War, Schubert Mass No.2, Bach Mass in B minor and numerous Cantatas. EDDIE PERFECT PERFORMER An experienced composer, performer and musical director, Eddie Perfect has composed music for Malthouse Theatre's productions of The Big Con, Babes In The Wood, Helen Noonan's Voicing Emily as well as composing and performing music for the Helpmann, Awgie and Inside Film Awards. Eddie has written and toured several shows including Welcome To The Inside Of Ed's Head, Cliff Hanger, Catch A Falling Star, Angry Eddie, The Big Con with Max Gillies, Drink Pepsi Bitch and Shane Warne The Musical. Eddie has won several awards for his writing and composition, including Green Room Awards in both 2002 and 2003, as well as the 2004
EVAN PRITCHARD
DIMITY SHEPHERD
Melbourne Comedy Festival's Best Newcomer Award and the Golden Gibbo Award for his solo show Angry Eddie. He was voted number one in the field of Arts and Entertainment by the Bulletin Magazine for its Smart 100 awards in 2004. Drink Pepsi Bitch won the Best Cabaret Award at the 2006 Adelaide Fringe Festival and in 2008 he received a Green Room Award for his portrayal of Alexander Downer in Keating! The Musical. Shane Warne The Musical also picked up the 2009 Green Room Award for Best New Australian Musical, the 2009 Helpmann Award for Best New Australian Work and the 2009 Victorian Premier’s Literary Award for Best Music Theatre Script. This year Eddie will appear as the director on FOX8’s Ultimate School Musical and in Channel 10 TV drama Offspring. EVAN PRITCHARD DRUM KIT / TIMPANI Evan Pritchard has covered just about every genre of music from jazz to classical to Latin since his beginnings on a drum-kit 20 years ago. His career as a drummer and percussionist has seen him perform extensively in Australia, Asia and Europe with various orchestras and ensembles and was a member of the West Australian Symphony Orchestra for 11 years. His percussion studies have taken him to Germany, the United Kingdom and even Cuba. He is in great demand as a freelance musician in Melbourne, performing regularly in the Melbourne Symphony, Orchestra Victoria and the Malaysian Philharmonic Orchestra as well as drumming in the corporate covers act, Retro Inferno. DIMITY SHEPHERD PERFORMER Dimity Shepherd is a regular performer for Victorian Opera with roles including Orphee in Orphee et Eurydice, Arsamene in Xerxes and Alice in Through The Looking Glass, which was a co-production with Malthouse Theatre. Dimity’s other operatic roles include Cherubino in The Marriage Of Figaro for Opera Australia and Carmen and Rosina in The Barber Of Seville for Oz Opera. For Opera Queensland, Dimity performed as Tisbe in Cenerentola and Stephano in Romeo & Juliet. She has also performed in Vienna as Ruggiero in Handel’s Alcina for Jung St. Polten Oper. Dimity created the title role in the world premiere season of Jonathan Mill’s
BRUNO SIKETA
GRANT SMITH
MELANIE STANTON
The Ghost Wife at the Melbourne, Adelaide and Sydney festivals and the BITE02 Festival in London. She appeared as Rebecca in Opera Australia’s seasons of Paul Grabowsky’s Love In The Age Of Therapy, and for Chamber Made Opera, she created the lead role in their premiere season of Crossing Live and starred as Elizabeth in The Children’s Bach. Her concert work has included Sculthorpe’s String Quartet No.13 Island Dreaming in the Sydney Festival, Ravel's L'Enfant et le Sortilege for the Melborne Symphony, Vaughan-Williams' Serenade To Music for the Melbourne Recital Centre and regular appearances at Opera Under The Stars in Broome, WA. BRUNO SIKETA TRUMPET Currently a freelance trumpet player and music teacher based in Melbourne, Bruno Siketa started playing trumpet and piano at the age of nine. He studied at the Victorian College of the Arts with Rob Sims, Anthony Pope and Geoffrey Payne and has played in orchestras in New Zealand, China and in Australia with the Melbourne, West Australian, Adelaide and Queensland Orchestras. He has performed with artists such as Diana Krall, Jose Carreras, Lang Lang, Patrizio Buanne and Bobby Shew. He also enjoys playing in other settings such as brass bands, solo recitals and the odd new music project. GRANT SMITH PERFORMER Grant Smith trained in music and dance in Western Australia and subsequently at the Royal College of Music Opera school in London. Roles include Gus the Theatre Cat & Growltiger in Cats, Padre in Man of La Mancha, Eisenstein in Die Fledermaus, Lumiere in Beauty and the Beast for which he was nominated for a Green Room Award. He also performed in the national tour of Lend Me a Tenor. Other roles include The Husband in Jonathan Mills' Ghost Wife, Pirelli in Sweeney Todd, Danilo in The Merry Widow, Arthur Stace in Jonathan Mills' Eternity Man, The Father in Sleeping Beauty at Malthouse Theatre and The Architect in The Eighth Wonder, for which he won a Helpmann Award. Grant's most recent work has included the roles of Dimitri Weisman in Follies, Babcock in Mame, both for The Production Company and Major Domo in Ariadne auf Naxos for Victorian Opera.
NIC SYNOT
JOHN XINTAVELONIS
MELANIE STANTON ASSISTANT STAGE MANAGER Melanie Stanton graduated from Queensland University of Technology’s BFA – Technical Production (Theatre) in 2003 and has since enjoyed roles ranging from Assistant Stage Manager to Technical Coordinator. Highlights include Brisbane Festival (2004, 2006), Queensland Music Festival (2005), Melbourne Commonwealth Games Opening and Closing Ceremonies (2006) and Doha Asian Games Opening and Closing Ceremonies (2006). Since 2007 Melanie has been based in Melbourne, with roles including Production Coordinator for St Kilda Festival (2008, 2009) and Melbourne International Arts Festival (2008); Assistant Stage Manager for Malthouse Theatre and Victorian Opera; and Stage Manager for Chunky Move. NIC SYNOT DOUBLE BASS Nic Synot began playing the double bass in Year 11 at The Geelong College. Upon completion of his science degree at the University of Melbourne, he pursued further private studies with Steve Reeves, current principal bass with the Melbourne Symphony Orchestra. He has worked with Melbourne Symphony Orchestra, Adelaide Symphony Orchestra, Tasmanian Symphony Orchestra, Orchestra Victoria and the Australian Pops Orchestra. He has premiered works with Chamber Made Opera and toured Europe as principal bass of the Geminiani Chamber Orchestra. JOHN XINTAVELONIS PERFORMER John Xintavelonis has an extensive and varied career in theatre and musicals spanning over 20 years. Originally from Tasmania, he is a much loved household name in that state appearing in numerous productions by Tasmania’s major companies. His mainland credits include the role of Mr Braithwaite in Billy Elliot and Pumbaa in The Lion King. Most recently, John toured Korea in Jekyll and Hyde. His television credits include City Homicide and John Safran’s Race Relations. The Threepenny Opera is John’s debut with Malthouse Theatre and Victorian Opera.
2010 VICTORIAN OPERA DONORS Patron-in-Chief Professor David de Kretser, AC Governor of Victoria Founding Patrons Dame Elisabeth Murdoch, AC DBE Lady Potter, AC Victorian Youth Opera Patron Betty Amsden OAM Commissioners of the new Australian Children’s Opera Frederick & Mary Davidson Living Bequest Susan Harley Diamond Patrons ($10,000 or more) Betty Amsden OAM Frederick & Mary Davidson Greig Gailey & Geraldine Lazarus Hans & Petra Henkell Kennards Hire Dame Elisabeth Murdoch AC DBE Anonymous (1) Platinum Patrons ($5,000 to $9,999) William J Forrest AM Peter & Anne Laver Joy Selby-Smith Norman F Pollack Veronica & Michael Roux Mary Ryan Dr John & Elizabeth Wright-Smith Gold Patrons ($2,500 to $4,999) Beth Brown & Tom Bruce AM Henry Bucks Marj & Edward Eshuys Hartmut & Ruth Hofmann
Joan & George Lefroy Dr Anne Lierse Colin Lovitt QC Michael Rigg Phillip & Sue Schudmak John Shellard Betty Teltscher OAM Professor Mel & Nina Waters E Xipell Anonymous (1) Silver Patrons ($1,000 to $2,499) Professor Peter & Beverley Allen John & Julie-Anne Barnes Dennis Altman AM & Anthony Smith Laurie Bebbington & Elizabeth O’Keeffe Sheila Bignell Jeffrey & Debbie Browne Christine & Terry Campbell Bruce Curl Nola & Ernest Dawes OBE Jean-Yves Didier Stephanie Dundas Felicity Druce Professor Kwong Lee Dow Rosemary Forbes & Ian Hocking John & Diana Frew Margaret Gardner & Glyn Davis Bob Garlick John & Gaye Gaylard Robert Gibbs & Tony Wildman Brian Goddard Stuart & Sue Hamilton Nance Grant MBE & Ian Harris Richard & Isabella Green Simon L Jackson & Brian Warburton Stuart Jennings John & Lynne Landy Peter Lovell Professor John Lovering AO & Ms Kerry Lovering OAM
Macquarie Group Foundation Margaret Mayers & Marie Dowling Phillip Marzella Anne McLean Gerald Moriarty Dr• Ken Muirden AO Diana Mummé Jack O’Connell AO Ruth & Tom O’Dea Provincial Press Group Professor Dimity Reed Hugh Rogers AM Elzbieta & Tomasz Romanowski Graeme Samuel & Jill Davies Aubrey G Schrader John & Sue Sherman Bernadette Slater Darien Sticklen Michael Troy Liz & Peter Turner Ken & Marion Walton Rev. Noel Whale Earl & Countess of Wilton Anonymous (2) Bronze Patrons ($500-$999) Angela’s Hair & Beauty Institute Tony Berry Jasmine Brunner Graham & Maren Buckett Pam Caldwell Natasha Davies Anthony Grigg & Paul Williamson Joseph Incigneri Kenneth W. Park Leslie Thiess Joseph Sambrook & Mary-Jane Gething Schiavello Victoria Pty Ltd John & Thea Scott Caroline & George Vaillant The Hon. Justice Peter Vickery Ian Watts
If you would like more information on how you might become a Patron, join our Private Giving Program with a Major Gift or make a Bequest, please contact Kathie Convery, Patrons Manager, on 03 9001 6405 or at kathiec@victorianopera.com.au The Victorian Opera Public Fund is a tax deductible fund listed on the Register of Cultural Organisations under sub-division 30-B, section 30-100 of the Income Tax Assessment Act 1997. All donations to the Victorian Opera Public Fund over $2 are tax deductible.
GRATEFULLY ACKNOWLEDGES ITS SUPPORTERS Victorian Opera is supported by the Victorian Government through Arts Victoria. Victorian Opera’s mainstage, youth opera, regional touring and education work is also sustained through partnerships with the corporate sector, trusts and foundations. The partners on this page have demonstrated their commitment to the strategic direction and growth of Victorian Opera and we are grateful for their ongoing support.
GOVERNMENT PARTNER
MAJOR PARTNER & PRINCIPAL SPONSOR DEVELOPING ARTIST PROGRAM
UNIVERSITY PARTNER
TECHNOLOGY PARTNER Dr Michael Cohen (dec.) for The Humanity Foundation
FOUNDATION PARTNER
OPENING NIGHT SPONSOR The Bear / Angèlique
LEGAL PARTNER
SUPPORTING PARTNER
HOTEL PARTNER
MEDIA PARTNER
ONLINE PARTNER
WINE PARTNER
FLORAL PARTNER
PERFORMANCE PARTNERS
GIFT PARTNER
If you would like to get more involved in the work of Victorian Opera through our business, trust or foundation partnerships please contact Lynette Gillman, Development Manager, on 03 9001 6408 or email lynetteg@victorianopera.com.au.
Your Opera Company
Britten
Handel
The Turn of the Screw
Julius Caesar
7 July (preview), 9 – 17 July the Arts Centre, Playhouse
20 – 30 July Elisabeth Murdoch Hall, Melbourne Recital Centre
A terrifying and touching spectral whodunnit.
Cleopatra’s story of passionate love and betrayal.
Tickets from $30(fees apply) Book now: victorianopera.com.au or 1300 723 038
“A company intent on returning opera to the people” Sunday Herald Sun
11438 Threepenny Ad_190510.indd 1
19/5/10 2:31:56 PM
HORTI HALL 31 VICTORIA ST MELBOURNE VIC 3000 Phone +61 3 9001 6400 Fax +61 3 9639 6393 info@victorianopera.com.au www.victorianopera.com.au
MARKETING & DEVELOPMENT Marketing & Communications Manager Patrons Manager Marketing & Communications Coordinator Development Manager Marketing & Development Coordinator Publicist
Ali Barker Kathie Convery Thomas Drent Lynette Gillman Erin Hewitson Pia Johnson
VICTORIAN OPERA BOARD Michael Roux (Chairman), Francis Ebury, Ross Freeman, Greig Gailey, Anne Gilby, Barry Jones AO, Barry Sheehan, Catherine Walter AM, Graeme Willersdorf
TECHNICAL Costume Supervisor Production Manager Operations Manager
Ross Hall Daniel Jericho Jane Millett
ARTISTIC ADVISORY PANEL Angela Dhar, Nick Dinopoulos, Anne Gilby, Margaret Haggart, Helga Hill, Suzanne Johnston, Anne Lierse, Tony McNally, Kerry Murphy, Michael Rigg, Richard Roberts, Darien Sticklen, Peter Tregear.
MUSIC / ARTISTIC ADMINISTRATION / EDUCATION Education Manager Melissa Harris Head of Music David McSkimming Company Manager Jill Quin Artistic Administrator Mark Wheeler
EXECUTIVE Music Director Managing Director Deputy Managing Director Lucy Evans Administration Assistant Finance Assistant
ARTIST DEVELOPMENT PROGRAM Soprano Nicole Car Conductor/Repetiteur Daniel Carter Bass Anthony Mackey Soprano Maxine Montgomery Soprano Emily Uhlrich
Richard Gill OAM Lucy Shorrocks Julie Boyer Weng Chong
GRATEFULLY ACKNOWLEDGES ITS SUPPORTERS PRINCIPAL GOVERNMENT PARTNERS
MALTHOUSE THEATRE IS SUPPORTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL, ITS ARTS FUNDING AND ADVISORY BODY
MAJOR PARTNER
PRODUCTION PARTNERS
CORPORATE PARTNERS
CORPORATE ASSOCIATES
TRUSTS & FOUNDATIONS
Education & Youth Access Program
State of Play
Company in Residence Program
Annamila Pty Ltd Artists in Residence Program
The Dara Foundation The Malcom Robertson Foundation
Indigenous Theatre Program
Artist Program
The Slome-Topol Charitable Trust
MUSE DONOR PROGRAM WE EXTEND OUR HEARTFELT THANKS TO THE FOLLOWING DONORS URANIA (Muse of the Stars) Anonymous (1)
CLIO (Muse of History)
BOARD OF DIRECTORS Simon Westcott (Chairman), Frankie Airey, John Daley, Michele Levine, Ian McRae, Neil Smart, Thea Snow, Sigrid Thornton, Leonard Vary
John & Janet Calvert-Jones Berry Liberman & Daniel Almagor
THALIA (Muse of Comedy)
Artistic Director Executive Producer Associate Producer & Business Manager
Daniel & Danielle Besen John & Lorraine Bates Debbie Dadon Neilma Gantner Philanthropy Squared Anonymous (1)
EUTERPE (Muse of Music)
Beth Brown & Tom Bruce AM Terry Cutler D.L and G.S Gjergja Scott Herron Ian Hocking & Rosemary Forbes Graeme & Joan Johnson Michael Kingston KereKere Peter & Anne Laver Dame Elisabeth Murdoch A.C., D.B.E. Elisabeth & John Schiller Tim & Lynne Sherwood Geoffrey Smith & Gary Singer The Bardas Foundation Simon Westcott Anonymous (2) Devinder & Helen Chauhan Min Li Chong Sieglind D’Arcy Colin Golvan SC Brad Hooper K & J Lindsay Robert Peters Rosemary Ricker
ERATO (Muse of Love) Ingrid Ashford Nan Brown Chris Clough Diane Clark Callum Dale Rev Fr Michael Elligate Carolyn Floyd Taleen Gaidzkar Peggy Hayton Leonie Hollingworth Irene Kearsey Ruth Krawat Ann Kemeny & Graham Johnson Robyn Lansdowne
Michael Kantor Stephen Armstrong Catherine Jones
Interim Company Manager Julian Hobba Dramaturge in Residence Maryanne Lynch Assistant to the Dramaturge Kate Sulan Artist in Residence - Design Anna Cordingley Artist in Residence - Lighting Design Paul Jackson
MELPOMENE (Muse of Tragedy)
TERPSICHORE (Muse of Dance)
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
Robert Sessions & Christina Fitzgerald Fiona Sweet Robert Templar Leonard Vary & Matt Collins Phil & Heather Wilson Angelika & Pete Zangmeister Anonymous (2)
Anna Lozynski Rosemary Mangiamele Gael & Ian McRae Pamela McLure Gregory Ridder Rae Rothfield Lisl Singer Beth & Bob Spence Gina Stuart John Thomas Bruce Wapshott Rosemary Walls Barbara Yuncken Anonymous (13)
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.
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 Abby Allen Ticketing Manager Sonja Fea Assistant Ticketing Manager Emma Howard Building Manager Frank Stoffels Front of House Managers Sean Ladhams, Brendan Lee & Tristan Watson Bar Manager Cherry Rivers 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 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, Daniel Newell, Ruby Nolan, Jesse Rasmussen, Sara Retallick, Claire Richardson, 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
Conrad Dudley-Bateman & Murray Pitman
Program Layout / Design Abby Allen & Annette Vieusseux
COMING SOON “Physically and emotionally unafraid, Ewen Leslie dominates the stage… it marks the ascension of a remarkable actor.” THE AUSTRALIAN
THE TRIAL
MALTHOUSE THEATRE, SYDNEY THEATRE COMPANY AND THINICE PRESENT
ADAPTED BY LOUISE FOX FROM THE NOVEL BY FRANZ KAFKA DIRECTED BY MATTHEW LUTTON CAST JOHN GADEN, PETER HOUGHTON, RITA KALNEJAIS, EWEN LESLIE BELINDA MCCLORY, HAMISH MICHAEL, IGOR SAS
AUGUST 13 – SEPTEMBER 4 THE C.U.B. MALTHOUSE SOUTHBANK BOOKINGS www.malthousetheatre.com.au OR CALL 03 9685 5111