Trustees (2018) Program by Malthouse Theatre

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SEASON 2018

28 SEP - 21 OCT BECKETT THEATRE

A SCORCHING PIECE OF THEATRE: UNCOMPROMISING, URGENT AND ANGRY. â&#x20AC;&#x201C; FINANCIAL TIMES (FOR BURNING DOORS)

WRITTEN BY / Natalia Kaliada & Nicolai Khalezin (Directors of Belarus Free Theatre) with Daniel Schlusser and the cast

SET & COSTUME DESIGN / Romanie Harper LIGHTING DESIGN / Amelia Lever-Davidson SOUND DESIGN & COMPOSITION / Jethro Woodward

DIRECTED BY / Natalia Kaliada & Nicolai Khalezin

TRANSLATION / Daniella Kaliada

STAGE MANAGER / Adam Chesnutt ASSISTANT STAGE MANAGER / Adelaide Harney

Special thanks to Brad McEwan and Dushan Philips.

A Malthouse Theatre and Melbourne International Arts Festival production and co-commission. Proudly supported by Peter and Mary-Ruth McLennan. Key image photography by Zan Wimberley. Rehearsal photography by Nicolai Khalezin.

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MOVEMENT DIRECTION / Bridget Fiske

CAST / Tammy Anderson Natasha Herbert Niharika Senapati Hazem Shammas Daniel Schlusser

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FASCINATING TO OBSERVE THE ISSUES IN A COUNTRY THROUGH THE PRISM OF YOUR HERITAGE SEASON 2018

A NOTE FROM THE DIRECTORS

Austria, Germany, India, Palestine, Russia and England; six countries that gave five Australian actors a past and shaped their ancestral legacy. A legacy that doesn’t let go of them and consequently merges into the common stream of contemporary Australian history. Tasmania, on the other hand, carries the domestic baggage of unsolved hereditary problems.

of a country. Allegory can appear and manifest itself on stage, but not during the process of studying your subject. You should plunge deeper and deeper into the problem until you realise you’ve hit the ground— not an unconditional bottom, but a place that can hold you long enough. We found our bases in the Aboriginal communities, detention centres and undeveloped urban areas. These places seemed sufficient enough to grant us a foothold, but the structure was still fragile. The material of this work only began to take shape once supplemented with personal stories from the actors.

It’s fascinating to observe the current issues in a country through the prism of your heritage; through your family’s past, your present, and the possible future of your children. Within the palette of this ‘fascination’ there are dozens of colours—love, fear, anxiety, tenderness, alertness, indifference, horror...

We, actors, should not speak about ourselves from the stage; we have characters to play.

‘Sailing’ into this project two years ago, we didn’t expect to be able to land ashore for so long. More than a dozen drafts of the play later, the withdrawal of several actors from the project, and the abandonment of the original idea, it seemed that we were unlucky travellers, trying to reach Australia, who arrived at an unknown shore wrapped in thin ice, with no possibility of landing.

This thought, which is proclaimed in the show, and which dominated theatre for several centuries, until the emergence of postdramatic theatre. As one Russian writer said, ‘we need courage to step out naked.’ Today, to talk about oneself from the stage, you ought to be a desperately courageous actor. These five performers bring to the stage not just stories, but testimonies about the state of our society. And these testimonies become more significant because they appear through

But that’s where the metaphors end. Allegory is not an effective tool for understanding the affairs

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NATALIA KALIADA & NICOLAI KHALEZIN: FRAGILITY & RESISTANCE

overcoming traditions, habits, and stereotypes. Personal stories disrupt the flow of real and fake news, the meaningless speeches of politicians and officials—the ridiculous entertainment shows. They’re an attempt to find some basis for new meanings and models of development. Personal stories that suddenly reveal the essence of what’s happening. Losing the conventional ‘How are you? Fine’, it’s drawing the audience into their lives, searching not for answers but for the deeper issues.

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We did not want to tell Australians about Australia. We even abandoned our original idea of showing Australians how people view their country from the outside. We just wanted to warn the audience, and ourselves, how quickly the coastline can turn icy, and become very difficult to set foot on. This has happened with many countries. For some, the icy coast is worse than a bad trip—it’s the inability to return home. This performance is not an answer to contemporary questions or challenges; it is a set of questions for which each society should seek their own answers.

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SEASON 2018

CAST & CREATIVE BIOS

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Nicolai Khalezin DIRECTOR & CO-WRITER

Natalia Kaliada DIRECTOR & CO-WRITER

Daniel Schlusser CAST & CO-WRITER

Nicolai is the co-founding Artistic Director of Belarus Free Theatre and an awardwinning director, playwright, designer, journalist, artist and photographer. Prior to co-founding BFT in 2005, he was co-founder of The Alternative Theatre and The Gallery of Modern Art Vita Nova in Minsk, and the senior editor at three leading Belarusian newspapers, all of which were shut down by the Lukashenko regime. He was arrested four times for resistance of the dictatorship and was designated a prisoner of conscience by Amnesty International in 2002. This experience informed Generation Jeans, which has been performed more than 100 times around the world including at the home of President Václav Havel and at the House of Commons together with BFT’s trustee Jude Law. Playwriting and directing credits for BFT include Discover Love, Trash Cuisine, Time of Women and Burning Doors. Nicolai is the co-founder of BFT’s school, Fortinbras, the only independent arts and activism school in Belarus. Following his release from detention in Belarus in 2011, he was forced into exile and currently lives in the UK as a political refugee.

Natalia is the co-founding Artistic Director of Belarus Free Theatre, a writer, human rights campaigner, producer and one of the most outspoken critics of Belarus’ repressive regime. She has co-authored and co-directed many plays with her husband Nicolai Khalezin, including Generation Jeans, Discover Love, Trash Cuisine, Time of Women and Burning Doors. Natalia has also acted as Executive Producer alongside Nicolai Khalezin on all BFT productions, including the Staging a Revolution Festival and I’m with the Banned concert in 2015 for BFT’s 10th anniversary. In 2008, together with Nicolai Khalezin and Vladimir Shcherban, she set up Fortinbras, the only independent arts and activism school in Belarus. Led by her and Khalezin, BFT has received a series of awards including the Human Rights Prize of the French Republic, the Atlantic Council Award, Special Mention at the X11 Edition of the Europe Theatre Prize, an OBIE, an OFFIE Award, and most recently the Václav Havel Prize for Creative Dissent. She was forced into exile in 2011 and currently lives in the UK as a political refugee.

Daniel Schlusser is a writer, director, performer and founder of Daniel Schlusser Ensemble. He has previously performed at Malthouse Theatre in Persona and On the Misconception of Oedipus. Other work as a performer includes Trapper (Arena Theatre), The Judgement (La Mama), Salome (Carriageworks), Cageling (fortyfivedownstairs/ Carriageworks) and Kill Hamlet (La Mama/Griffin). Writing and directing credits include this year’s They Divided the Sky (Belvoir 25A), as well as M+M (DSE/Theatre Works/ Melbourne Festival) and Ophelia doesn’t live here anymore (DSE/Chamber Made/Bell Shakespeare’s Mind’s Eye). Other directing highlights include The Histrionic (Malthouse Theatre/ STC) Medea (Melbourne Festival), Menagerie (MTC Neon), Poet #7 (Arts Centre Melbourne), Life is a Dream (Store Room), The Dollhouse (fortyfivedownstairs), Peer Gynt (VCA), The Prodigal Son (Playbox) and The Government Inspector (Arts House).

Tammy Anderson CAST & COLLABORATOR

Natasha Herbert CAST & COLLABORATOR

Niharika Senapati CAST & COLLABORATOR

Tammy is an award winning, actor, playwright and director. Theatre credits include Walking into the Bigness, The Call (Malthouse Theatre), The Season (Sydney Opera House/ Theatre Royal Hobart/MIAF), I Don’t Wanna Play House (Malthouse Theatre /Sydney Opera House), The Sapphires (MTC), Stolen (Malthouse Theatre/Belvoir), Itchy Clacker (MICF/Dreaming Festival), Natives Getting Funny (Ilbijerri/ MICF). Film credits include Boxing Day (Kriv Stenders) and The Sapphires (Wayne Blair). A recipient of The Uncle Jack Charles Award and The Uncle Bob Maza Award, Tammy facilitates many workshops with a focus on youth, and presents as an MC for festivals, gala events, corporate functions, and government launches. Her first children’s book SAM (Oxford University & Laguna Bay Publishing), has been selected to be a part of the national curriculum and is now in schools around the country. She has a Master in Writing for Performance from Melbourne University, and is now studying her second Masters in Film and Television (Directing Narrative) for which she has completed her first short film, Beautiful Mess.

Previous work with Malthouse Theatre includes: Away (with STC), On the Misconception of Oedipus, Happiness, Kitten, Speaking in Tongues, Rapture, Still Angela, Black Sequin Dress, Honour, Love Child, and Wolf. Natasha has also appeared in The Father (with STC), Neighbourhood Watch, The Dreamlife of Butterflies, God of Carnage, Pillowman, The Balcony, The Three Sisters, Hysteria, I’m Not Rappaport and I Hate Hamlet (MTC), War Horse (Global Creatures), The Unspoken Word is Joe, The Large Breast or the Upsidedown Bell, Inconsolable (Griffin), The Country (Belvoir), Black Sequin Dress (Adelaide Festival) The Wall (Ranters Theatre), Small Metal Objects (Back to Back Theatre) and many other productions across the country. Film includes The Menkoff Method, X, Lake Mungo, Corroboree and Boytown. Television includes Neighbours, The Time of Our Lives, Doctor Blake Mysteries, City Homicide, MDA and Stingers. Natasha was awarded the 2001 Green Room Award for Best Fringe Actress (Portrait of Dora) and 2015 and 2013 Green Room Awards for Best Ensemble (I Heart John McEnroe; On the Misconception of Oedipus).

Niharika is a freelance artist who works in a variety of contexts. Since 2012, she has performed and toured with Chunky Move, working closely with director Anouk van Dijk as a dancer and choreographic assistant. She has performed extensively in works for Chunky Move, including An Act of Now (2012 & 2017), Anti—Gravity (2017 & 2018), Rule of Thirds (2016) and Depth of Field (2015 & 2017). She was also Choreographic Assistant for Safe Places (Schauspiel Frankfurt) and Complexity of Belonging (MTC). Niharika has also worked with various other artists as a dancer, actor and sound designer; including Eszter Salamon, Ian Strange, Ho Tzu Nyen, Lucy Guerin, Rachel Arianne Ogle, Emma Fishwick, Prue Lang, Jessica Arthur and Didem Caia. Alongside performing, she also creates her own work and is a Senior Countertechnique teacher. Niharika presented IMAGINATION/VACATION (SIGNAL Arts) in 2017 and worked as sound designer for DanceQuietRiot (Emma Fishwick).

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CAST & CREATIVE BIOS

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Hazem Shammas CAST & COLLABORATOR

Daniella Kaliada TRANSLATION

Romanie Harper SET & COSTUME DESIGN

Since graduating from WAAPA Hazem has built a solid reputation as an outstanding actor and is renowned for his exceptional theatre performances. Hazem has performed with Malthouse Theatre previously on the production Criminology. A selection of his recent work with other theatre companies includes Sami in Paradise, Atlantis, Mother Courage and Her Children, Scorched, Antigone, Paul, Gates of Egypt, Peribanez and Stuff Happens (Belvoir), Othello (STCSA), Romeo and Juliet, The Tempest, A Comedy of Errors, Macbeth (Bell Shakespeare), The Call (Griffin), A Midsummer Night’s Dream (Arts Radar) and The Tribe, Buried City (Urban Theatre Projects). Hazem’s work in television includes Safe Harbour, East West 101 (SBS), Underbelly lll (Nine Network), At Home With Julia (ABC), All Saints (Network Seven). Hazem’s feature films include X, The Tumbler and Alex and Eve. This year, Hazem won the Logie Award for Most Outstanding Supporting Actor for his work in Safe Harbour.

Daniella has worked as a translator for Belarus Free Theatre since the age of twelve. Over the last five years she has worked on the campaign led by her parents to release political prisoners in Belarus. At the age of thirteen she gave a speech in UK parliament as an advocate for this issue. Daniella also runs a video series Monologue for Two on the Ministry of Counterculture website (moc.media), which asks luminaries in their field how they came to do what they do and what advice they can give to her generation.

Romanie is a theatre-maker and designer. Design credits include Good Muslim Boy, Little Emperors (Malthouse Theatre), Contest (Darebin Speakeasy), We All Know What’s Happening (Arts House), This is Eden (fortyfivedownstairs), Conviction (ZLMD Shakespeare, Green Room Award for Design), M+M (Daniel Schlusser Ensemble/ Melbourne Festival, Green Room nomination for Design) and The Sovereign Wife (Sisters Grimm, Green Room nomination for Design). In 2012-2013 she worked in New York with The Wooster Group, and co-designed Radiohole’s Inflatable Frankenstein (The Kitchen NYC). She has co-directed and designed The Collected Works of Victor Bergman (fortyfivedownstairs) by The Family, and Calamity (MTC NEON) by ZLMD Shakespeare.

SEASON 2018

Amelia is a lighting designer based in Melbourne, whose practice encompasses theatre, dance, live art, television and events. Selected Malthouse Theatre shows include Turbine, The Listies Ruin Xmas and Meta (Helium Season). Other design credits include They Divided The Sky (Belvoir 25A), Contest, Niche, Conviction, Dream Home (Darebin SpeakEasy), Hand to God (Vass Productions), Looking Glass, Triumph (fortyfivedownstairs), Desert 6.29pm, Jurassica, Foxfinder (Red Stitch Theatre), MKA Double Feature (MTC Neon), Ground Control, Camel, Hello There We’ve Been Waiting For You (Next Wave Festival). As Tour Lighting Associate Minnie and Liraz (MTC). Amelia’s work has been recognised with two Green Room Awards for Looking Glass and her 2015 body of work. Amelia is an Australia Council ArtStart and JUMP Mentorship recipient, and a past participant in Malthouse Theatre’s Besen Family Artist Program as well as Melbourne Theatre Company’s inaugural Women in Theatre Program.

Jethro Woodward SOUND DESIGN & COMPOSITION Jethro is a Melbourne-based composer and sound designer recognised for his expansive and highly layered film, theatre and dance scores. A multi Green Room Award winner and Helpmann nominee, he has worked with some of Australia’s leading major and independent companies including; Malthouse Theatre, Melbourne Theatre Company, Sydney Theatre Company, Belvoir, Melbourne Symphony Orchestra, Opera Victoria, Chamber Made, Back to Back, Chunky Move, Lucy Guerin, Australian Dance Theatre, Aphids, Stuck Pigs Squealing, Rawcus, KAGE and more. Recent works for Malthouse Theatre include Blasted, Black Rider: The Casting of the Magic Bullets and The Real and Imagined History of the Elephant Man. Jethro regularly tours his work internationally and has received Green Room Awards for Song for a Weary Throat (Rawcus), The Bloody Chamber (Malthouse Theatre), Moth (Malthouse Theatre/Arena Theatre), Goodbye Vaudeville Charlie Mudd (Malthouse Theatre/Arena Theatre) and Irony Is Not Enough (Fragment 31). Jethro was the recipient of the GRAA 2018 Technical Achievement Award.

Bridget Fiske MOVEMENT DIRECTION Bridget works across performance, choreography, facilitation, dance development and producing. With Belarus Free Theatre Bridget has undertaken choreographic, movement and rehearsal director roles on Burning Doors, Trash Cuisine, Red Forest (A Young Vic Parallel Production) and has taught students of BFT’s underground school Fortinbras. Bridget’s diverse portfolio includes; company dancer with Buzz Dance Theatre, dancer and curatorial assistant on Accented Body (Cheryl Stock), associate director and performer on Sufi In The City (Sarah Sayeed), collaborator on projects in partnership with BBC Philharmonic Orchestra, choreographer of Because of Gravity for The Future (Rambert and The Lowry partnership) and performer in the TURN Prize work Abandoned Things (Joseph Lau) among others. Commissions for solo and collaborative works include: moves - International Festival of Movement on Screen, The Watching Dance Project, the EU consortium BeSpectACTive!, Illuminating York, Dance Manchester and Moving Dance Forward. Bridget has facilitated for Expressions Dance Company, Aboriginal Centre for the Performing Arts, The Lowry Centre for Advanced Training, The Place, University of Roehampton and more.

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Amelia Lever-Davidson LIGHTING DESIGN

SEASON 2018

Adam Chesnutt STAGE MANAGER

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Adam is a UK-based stage manager, currently working in Melbourne. He has predominately worked in London, including residences in the West End as well as touring the UK with companies such as the National Theatre, Royal Shakespeare Company, BBC and ITV. Most recent credits include: A Pacifist’s Guide to the War on Cancer (Complicité/National Theatre and UK/Australia Tour), Julius Caesar and Coriolanus (Royal Shakespeare Company/RST and Barbican), Like Mother, Like Daughter (Complicité/UK Tour), Peter Pan (Senbla Productions. Adelphi Theatre/West End) How to Succeed in Business without Really Trying (Senbla Productions/Royal Festival Hall), Barbican Box Festival (Barbican, London), Michael McIntyres Big Show (BBC/ Theatre Royal Drury Lane), The Grand Tour (Amazon TV/Chump Productions), The Sound of Music Live! (ITV).

Adelaide Harney ASSISTANT STAGE MANAGER Adelaide Harney is a Melbourne-based stage manager and lighting designer. A recent graduate of the Victorian College of the Arts, Adelaide’s latest credits as Stage Manager include Fallen by Seanna van Helten, Contest by Emilie Collyer, Lady Example by Slow Smallened and Sons (Next Wave Festival) and as Lighting Designer; When Icebergs Burn by Michael Griffth. Having grown up heavily into theatre as a child, Adelaide is experienced both on and off the stage. The collaborative artistry found in live theatre is a magic Adelaide is proud to be a part of.

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SEASON 2018

ABOUT MALTHOUSE THEATRE

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STAND TOGETHER WITH MALTHOUSE THEATRE. At Malthouse Theatre we collaborate with local and international artists to create inventive performances that cut to the core of the human experience. Theatre has the power to interrogate, disrupt and be an agent of changeâ&#x20AC;&#x201D;and we think it always should. At Malthouse Theatre the work we produce explores the world personally, socially and politically. Based in a dedicated venue, The Coopers Malthouse in Melbourne, we are a home for live experiences that entertain and provoke a dialogue with and within audiences. Welcome to Malthouse Theatre. 12

MALTHOUSE THEATRE STAFF

BOARD OF DIRECTORS Fiona McGauchie (Chair), Debbie Dadon AM, Colin Golvan QC, Michael Kantor, Jan Owen AM, Sue Prestney, Pamela Rabe, Nick Schlieper, Kerri Turner & Mary Vallentine AO. ARTISTIC & PROGRAMMING

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Artistic Director & CO-CEO / Matthew Lutton

CRM & Ticketing Manager / Prue Sutherland

Venue Manager / Aaron Rowlands

Executive Producer & CO-CEO / Sarah Neal

Box Office Manager / Allie Stapleton

Front of House & Events Manager / Anita Posterino

Resident Dramaturg / Mark Pritchard

Box Office Team Leader/ Fiona Wiseman

Front of House Manager / Leah Milburn-Clark

Resident Artist / Declan Greene

Box Office Staff / Abbey Barnes, Jo Bassilios, Jacqui Bathman, Simon Braxton, Paul Buckley, Emily Burke, Esther Crowley, Bronya Doyle, Lachlan Hywood, Mellita Ilich, Nicola James, Lucy Kingsley, Liz White

Front of House Staff / Gianni Agostononi, Ben Anderson, Mitchell Brotz, Kate Calton, Georgia Cam, Jai Cameron, Ben Carollo, Gem Clarke, Emma Corbett, Alice Dixon, Amy Dowd, Sophia D’urso, Sam Harrison, Mark Hoffman, Dirk Hoult, Ryan Jones, Kathryn Joy, Tom Kantor, Lara Kerestes, Mick Klepner Roe, Aly Loren, Hannah Mckittrick, Nicole Mckenzie, Leah Milburn-Clark, Abi Murray, Daniel Newell, Anita Posterino, Dom Simonelli, Lee Threadgold, Kenny Waite

Producer / Toby Sullivan Associate Producer / Jason Tamiru Company Manager / Marline Zaibak

PRODUCTION Production Manager / David Miller

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Technical Manager / Baird Mckenna

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Operations Manager / Dexter Varley

Finance Administrator / Liz White

Production Coordinator / Tia Clark

General Manager / Annie Bourke MARKETING & COMMUNICATIONS Marketing & Communications Manager / Caraline Douglas Digital Marketing Coordinator / Alexia Jordan Communications Coordinator / Alex Sadka Marketing Assistant / Jacqui Bathman Publicist / TS Publicity

Head Technician (Lighting) / Rob Ballingall Venue Head Mechanist / Ivan Smith Theatre Technician / Nathanael Bristow

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THANKS TO OUR MALTHOUSE MUSES

URANIA—MUSE OF THE STARS—$25,000+ Annamila Fund, Bardas Foundation, Debbie Dadon AM, Carrillo Gantner AO CLIO—MUSE OF HISTORY—$10,000+ Andyinc Foundation, John & Lorraine Bates, Jennifer Darbyshire & David Walker, Michele Levine, James Penlidis & Fiona McGauchie & Family, Janine Tai, The Vera Moore Foundation, Anonymous (2) THALIA—MUSE OF COMEDY—$5,000+ Daniel Besen, Gjergja Family, Colin Golvan AM QC & Dr Deborah Golvan, Suzanne Kirkham, Elizabeth & Donald McGauchie AO, The Pratt Foundation, Richard Leonard & Gerlinde Scholz, Mary Vallentine AO, Moana Weir & Jordie van der Schoot, Anonymous (1) MELPOMENE—MUSE OF TRAGEDY—$2,500+ Dr Sian Fairbank, Rosemary Forbes & Ian Hocking, Linda Herd, Michael Kingston, Sue Prestney & Paul Glen, Elisabeth &

John Schiller, Dr Jenny Schwarz, Fiona Sweet & Paul Newcombe, Leonard Vary & Dr Matt Collins QC, Jon Webster, Jan Williams, Dr Terry Wu & Dr Melinda Tee, Anonymous (1) EUTERPE—MUSE OF MUSIC—$1,000+ Marc Besen AC & Eva Besen AO, Sally Browne, Beth Brown & Tom Bruce AM, Ingrid & Per Carlsen, Ros Casey, Tim & Rachel Cecil, Min Li Chong, Jason Craig, Andrew Curtis, Susanne Dahn, Mark & Jo Davey, Dominic & Natalie Dirupo, Roger Donazzan, Rev Fr Michael Elligate AM, Brian Goddard, Val Johnstone, Fiona Kelly, Julie & Michael Landvogt, Craig Lynch & Luis Ibaceta, Susan Nathan, Rosemary & Roger Redston, Viorica Samson, Carol & Alan Schwartz AM, Lynne Sherwood & the late Tim Sherwood, Robert Sessions & Christina Fitzgerald, Maria Solà, Toby Sullivan, Rosemary Walls, Pinky Watson, Anonymous (2) TERPSICHORE—MUSE OF DANCE—$500+ Frankie Airey & Steve Solly, Graham & Anita Anderson, Greg Andrews, Michael Arnold, Rowland Ball OAM, Sandra Beanham, David & Rhonda Black, Annie Bourke & Darren Clyne, Dr Rob Brown & Dr Lynne Millar, Priscilla Bryans, Bruce R Butler, MaryAnne Carroll, Chris Clough, Carolyn Creswell, Prof John Daley & Dr Rebecca Coates, Georgie Coleman, Dr Ross Coller, Alan Connolly, Dr Bronwen Evans, Peter & Roxane Fearnside, Evelyn Firstenberg, John & Helen Gibbins, Taleen Gaidzkar, John Douglas Guppy, David Geoffrey Hall, Tyler Hill, Leonie Hollingworth, Brad

Hooper, Vivienne Poznanski & Michael Jankie, Joan & Graeme Johnson OAM, Irene Kearsey, Ann Kemeny & Graham Johnson, Angela Kirsner & Dr Richard Kirsner, Simone Lourey, Virginia Lovett, Ian Manning & Alice De Jonge, John McCallum, Ian McRae AO & Åsa Hasselgard-Rowe, Ned’s, Jan Owen AM, Salvatore & Lea Posterino, Gerard Powell, Craig Semple, Tom Smyth, Janice Taylor, Kerri Turner & Andrew White, Naum Tered, John Thomas, Phil & Heather Wilson, Anonymous (2) ERATO—MUSE OF LOVE—$250+ Simon Abrahams, Nicole Beyer, Jennifer Bourke, John & Alexandra Busselmaier, Diane Clark, Fiona Clyne, William Donaldson, Mark Duckworth & Lauren Mosso, Carolyn Floyd, Mary Garcia, Damyn Gordon, Marguerite Griffith & Dr Vincent Griffith, Joanne Griffiths, Peggy Hayton, Frances Pascale, Russell Hooper, Susan Humphries, Arechea Hounsell, Sarah Hunt, Dr Irene Irvine, Mira & Dr David Kolieb, Jayne Lovelock, Judith Maitland-Parr, Susan McLean, Dr Anne Myers, John Millard, Linda Notley, Dr Helen Nugent AO, Tony Oliver, Kaylene O’Neill, Pinkerton Abbey Family, Robert Peters, Anda Petrapsch, Dr Suzy Redston, Rosalba Renzella, Rae Rothfield, Jean Ross, Jennifer Senior, Andrew Stocker, Evelyn Tadros, Chris Teh, Lee-Ann Walsh, Jillian Wells OAM, Gary Westbrook, Gayl Morrow & Gib Wettenhall, Joanne Whyte, Barbara Yuncken, Anonymous (1)

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SCENE & HEARD

The ortolan is a seed-eating songbird that is little bigger than a childâ&#x20AC;&#x2122;s hand. It has been banned from restaurant menus in much of Europe since 1999.