Welcome As I move into my final season as MTC’s Artistic Director, it may seem to some that I must have been preoccupied with the exit door when choosing the slogan for Season 2011. Well, who knows what subconscious connections were being made? Though, I can say in all honesty that the only ‘escape’ we discussed during deliberations was yours. We see it as our responsibility to get you out of your everyday life for a few hours. Whatever your life is – hectic, slow, happy, routine or troubled – theatre can offer an alternative; another world, yet one of strange parallels and familiar discordances; a place to think, feel, thrill and laugh. We are not talking about escapism here because we don’t want you to leave your life behind. By all means bring it with you – the richness of your experience, opinions and emotions. We place no weight limit on your baggage – we love your baggage! I chose this, my final season as Artistic Director at MTC, with the same care I chose the first in 2000. Throughout, I never stopped considering what you, the MTC audience, might want to see; what might challenge you, tickle you or touch you; what you might accept, reject or take a risk on. So, in some crucial way these have been your choices all along. Therefore, I offer you your MTC Season 2011. Simon Phillips Artistic Director
Escape
to another world
Season 2011 Presented by The University of Melbourne
The University of Melbourne serves the local, regional and international communities through its distinctive contribution to society in research, teaching and public engagement. It also makes a rich contribution to the cultural life of Victorians. A vivid and tangible element of that contribution can be found in the form of Melbourne Theatre Company. Its ownership of MTC enables the University to provide the community opportunities for reflection and conversation on the never-ending question of how we make our lives meaningful. Melbourne Theatre Company is a department of The University of Melbourne
Contents 4 6 8 10 12 14 16 18 20 22 24 26
Don Parties On
by David Williamson
A Behanding in Spokane Apologia
by Martin McDonagh
by Alexi Kaye Campbell
In the Next Room or the vibrator play Next to Normal The Gift
Music by Tom Kitt | Book and Lyrics by Brian Yorkey
by Joanna Murray-Smith
The Joy of Text Hamlet
by Sarah Ruhl
by Robert Reid
by William Shakespeare
Rising Water
by Tim Winton
Clybourne Park
by Bruce Norris
Return to Earth
by Lally Katz
The Importance of Being Earnest
28 Lawler Studio Season 30 The Wharf Revue 31 Reasons to subscribe 32 Prices
by Oscar Wilde
33 Plan your visit 34 Performance diary 42 How to book your subscription 45 Patrons program/Membership
46 Terms and conditions 47 Subscriber benefits 48 Corporate opportunities 49 Thank you
It’s time – again
David Williamson’s
Don Parties On
WORLD PREMIERE ‘AUSTRALIA’S MOST ENDURINGLY POPULAR SOCIAL COMEDY WRITER … KEENLY OBSERVANT AND SATIRICAL’ SYDNEY MORNING HERALD
‘WILLIAMSON ALWAYS KEEPS US ENGAGED … [HIS] WORDS WEAVE A SPELLBINDING COURSE’ THE DAILY TELEGRAPH
It’s 21 August 2010, the night of yet another federal election and, of course, yet another election night party at Don’s place. Over the decades, as he and his friends watched governments come and go, they have also closely followed the incoming results from each other’s lives: the tallies of luck and misfortune, the unexpected swings for and against. And through it all, the lesson that this crowd of superannuated Baby Boomers never seemed to learn is that politics and strong personalities should never be mixed with alcohol. Maintaining the rage. Forty years ago, an aggressive young playwright muscled his way onto the scene with a clutch of time-defining plays, including Don’s Party. With this sequel, David Williamson celebrates four decades of telling the tribe their story. n When I began directing theatre in Australia in the mid-eighties, David Williamson had long been the country’s pre-eminent and, let’s not deny it, most popular playwright. And now I find myself mid-career, he’s still here, undimmed in energy and popular as ever. 2011 will be his fortieth year in the theatre, and he has given himself – and us – the most apposite anniversary gift in this riotous sequel to his iconic hit Don’s Party, with its characters suitably aged, though not noticeably more civilised. I love that Robyn Nevin’s own long association with Williamson, going back almost thirty years to The Perfectionist, will be commemorated by her directing a cast led by Garry McDonald, Diane Craig and Frankie J Holden. simon phillips
CAST PARTNER
EPICURE CATERING
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SEASON 2011
Warning: Contains strong language
8 J a n u a r y – 1 2 F e b r u a r y at t h e A r t s C e n t r e , P l ay h o u s e
 
G arry M c D onald
The game is afoot
A Behanding in Spokane by Martin McDonagh
AUSTRALIAN PREMIERE ‘WILDLY ENTERTAINING’ NEW YORK DAILY NEWS
‘IRRESISTIBLE ... AS UNEXPECTED AS IT IS FUNNY’ THE TELEGRAPH
‘ONE OF THE THEATRICAL LUMINARIES OF THE 21ST CENTURY’ NEW REPUBLIC
Long ago, when he was a young man, Carmichael had something snatched from him. For getting on fifty years now, he’s searched for it, as the turning world rubbed against him and his resolve calloused into obsession. His quest leads to a dingy motel room, where Toby and Marilyn, two desperate chancers, claim they’ve got what he’s looking for. But woe will follow wrath if the merchandise isn’t genuine. Grim trade. From Martin McDonagh, the writer of The Beauty Queen of Leenane, comes a comedy as black as sin, caustic as acid, funny as hell. n In introducing Martin McDonagh’s plays in season brochures in the past I’ve felt compelled to warn the squeamish of what lay ahead, but A Behanding in Spokane, despite its title, has scant on-stage horrors. Thus I’m relieved to be able to concentrate my recommendation on the play’s unparalleled theatrical virtues: its wonderfully off-beat and obsessive characters driven to farcical extremes and the churning, simmering threat of McDonagh’s dialogue – a spicy broth, certainly, but delicious. Director Peter Evans has already stirred two irresistible comic ingredients into the pot – Bert LaBonté and Tyler Coppin. sp
Warning: Contains violence and strong language
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SEASON 2011
5 F e b r u a r y - 1 9 M a r c h At T h e M T C T h e at r e , S u m n e r
B ert L a B ont ĂŠ
The unforgivable sins of omission
Apologia by Alexi Kaye Campbell
AUSTRALIAN PREMIERE ‘RAW AND VERY FUNNY’ the EVENING STANDARD
‘SHARP, SATIRICAL AND POIGNANT DRAMA’ THE INDEPENDENT
‘ALEXI KAYE CAMPBELL IS A WRITER TO CHERISH’ THE TELEGRAPH
Eminent art historian Kristin Miller has had a firebrand life. Radicalised early, she took to the streets of Paris in ’68 and just kept storming through the years, not losing a degree of her leftist fervour. Characteristically, she holds back nothing in her best-selling autobiography – except the inconvenient fact that she has two children. On her birthday the sons arrive for dinner armed with their own versions of her story. Revised editions. Up and coming British writer Alexi Kaye Campbell has taken the conventional family reunion play in both hands and given it a vigorous shake. n Since Robyn Nevin shucked off the cares of leading the Sydney Theatre Company a few years ago, Melbourne audiences have benefited from her more frequent appearances on our stages. All who saw her in The Year of Magical Thinking and August: Osage County were, I’m sure, struck afresh by her incomparable brilliance. So we were understandably keen to get her back. However, you don’t drive the Ferrari down the bike path. We needed to find a role requiring torque and traction, something that would let her shift through the gears. The uncompromising Kristin in Alexi Kaye Campbell’s Apologia is the very thing: a terrific part in a finely calibrated comedy-drama from the next big deal in British playwriting. Directing her and a cast of acutely and wittily drawn characters will be the meticulous Jennifer Flowers. sp
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SEASON 2011
1 8 F e b r u a r y - 2 A p r i l A t t h e A r t s C e n t r e , F a i r f a x S t u di o
R obyn nevin
You’ll want what she’s having
In the Next Room or the vibrator play
2010 pulitzer prize finalist for drama 2010 TONY AWARD NOMINEE FOR BEST PLAY ‘SPARKLES WITH WIT AND INVENTION’ VARIETY
‘A FASCINATING, FUNNY AND EVOCATIVE PLAY’ SAN FRANCISCO CHRONICLE
‘ONE OF THE MOST GIFTED AND ADVENTUROUS AMERICAN PLAYWRIGHTS TO EMERGE IN RECENT YEARS’ THE NEW YORK TIMES
by Sarah Ruhl A Sydney Theatre Company Production
Dr Givings is a coolly rational man of science whose modern method for treating hysteria has many advocates – not least the female patients themselves, who come back wanting more. Hearing the unrestrained paroxysms from the surgery, Mrs Givings would like to know why such wonders of the electrified age might not also be of benefit to the general female population. Wracked with pleasure. From the author of The Clean House and Dead Man’s Cell Phone, comes a comedy about knowing what is good for you even though there are no acceptable words for it. n What we want from poets is not so much an accurate description of the world, but a suggestion of something beyond it: something illusive, fragile, forgotten, neglected. This is what makes Sarah Ruhl a true poet of the theatre. In her new comedy she re-imagines a curious chapter in the early history of psychotherapy, when feelings, particularly women’s feelings, were regarded as ailments requiring a cure. At the racing heart of this play stands the idea that the opposite of ignorance is not knowledge but openness, a willingness to accept other people’s experience of life. The luminescent Jacqueline McKenzie returns to the stage to play Mrs Givings in this STC production, undoubtedly lured there by the prospect of being directed by MTC favourite Pamela Rabe. sp
Warning: Contains sexual themes
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SEASON 2011
7 A p r i l - 1 4 M ay At T h e M T C T h e at r e , S u m n e r
J ac q ueline M c K en z ie
A musical for a life out of tune
Next to Normal Music by
Book and Lyrics by
Tom Kitt Brian Yorkey
AUSTRALIAN PREMIERE 2010 PULITZER PRIZE FOR DRAMA 2009 TONY AWARD For BEST ORIGINAL SCORE ‘BRAVE, BREATHTAKING ... A FEEL-EVERYTHING MUSICAL’ THE NEW YORK TIMES
‘MORE THAN A TRIUMPH – IT’S NEXT TO WONDROUS’ NEW YORK DAILY NEWS
‘THE BEST MUSICAL OF THE SEASON BY A MILE’ ROLLING STONE
Preparing for just another day, suburban mother Diana Goodman makes the family’s lunches and cannot stop. The piles of sandwiches signal her gradually loosening grip – on her life, on her family, on her sanity. Soon, there is a doctor, a diagnosis and a course of treatment, yet the cause of this case of ordinary madness lies beyond medicine and therapy. An emotional powerhouse of a musical. Winner of the 2010 Pulitzer Prize, Next to Normal is about a woman lost to herself and her family. n In choosing our musicals over the years our practice has been to avoid the big commercial blockbusters and go searching off-Broadway for the off-kilter. We are rubbing a little against our usual grain with Next to Normal, which catapulted onto Broadway and won a swag of awards. It’s also a less frivolous excursion than is our wont, but, for all that, a human, touching and surprisingly funny examination of mental illness and its effects on a family. Director Dean Bryant and Musical Director Mathew Frank, co-writers of their own award-winning musicals, have had a long association with the various musicals I’ve directed, so it’s a great pleasure to hand the mantle over to them in my final year. We’re delighted to announce our leading lady will be the gorgeous Kate Kendall, and with the magnetic Matt Hetherington by her side, this promises to be a highlight of the season. sp
Next to Normal is presented through special arrangement with Hal Leonard Australia Pty Ltd on behalf of Music Theatre International Original Broadway Production produced by David Stone, James L Nederlander, Barbara Whittman, Patrick Catullo and Second Stage Theatre PRODUCTION PARTNER
CAST PARTNER
middletons 12
SEASON 2011
2 8 A p r i l - 2 8 M ay At t h e A r t s C e n t r e , P l ay h o u s e
M att H etherington
 
K ate kendall
Trouble written on a blank cheque
The Gift by Joanna Murray-Smith
WORLD PREMIERE ‘MURRAY-SMITH IS THE MOST EXCITING AUSTRALIAN DRAMATIST OF HER GENERATION’ NEW STATESMAN
‘FRESH IMAGINATION, SHIMMERING WIT AND EMOTIONAL HONESTY’ TIME OUT
Sadie and Ed meet Martin and Chloë at a holiday resort and instantly hit it off despite coming from completely different worlds. When Martin saves Ed’s life, everyone knows the debt can never be properly repaid. But Ed is rich and generous, and Martin and Chloë have a need so great it seems divine providence that the two couples should have found each other. So, given time to think, they return to make their wish – but surely it’s a wish nobody could possibly grant? White elephant. Wrapped in Joanna Murray-Smith’s glinting dialogue, The Gift opens to reveal another witty examination of our modern moral confusions. n Aptly titled, because plays of this quality do not land on one’s desk every day, Joanna Murray-Smith’s The Gift is doubly gratifying because, during my tenure at MTC, I have watched her go from being about the sharpest writer on the Melbourne scene to a playwright of international reputation. In fact it’s flattering that she still comes to us first with a new project, particularly one as verbally rich, smartly funny and morally complex as this. No doubt we are the ‘out-of-town’ try-out for a glittering West End or Broadway season, but I’m sure no one will give it a better production than us, especially with a fine Australian cast headed by the irrepressible Richard Piper. sp
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SEASON 2011
2 8 M a y - 2 J u ly A t T h e M T C T h e a t r e , S u m n e r
R ichard P iper
A little learning is a dangerous thing
The Joy of Text by Robert Reid
WORLD PREMIERE ‘ROBERT REID IS TO NARRATIVE DRAMA WHAT THE BIG BANG IS TO THE BOOK OF GENESIS’ HERALD SUN
‘FEARLESS WRITING’ INPRESS
Literary theory may seem harmless, but mix it with the impish personality of Danny, a precocious high school student, and the result is not deconstruction but sheer devastation. When a certain controversial book falls into his hands, it’s time to create his own provocative meta-narrative. As his actions send the school into chaos, he learns that, although the author is dead and meaning lacks foundation, the real world has no time for irony. Hard work at the chalkface. Set against a backdrop of staffroom politics, Melbourne writer Robert Reid’s mainstage debut for MTC gets a high distinction for his satirical dissection of education and its discontents. n Nurturing new writers is one of the most important jobs theatre companies do, so when promise ripens into achievement, as in the case of Robert Reid with this switched-on, intelligent social comedy, the heart gladdens. When The Joy of Text appeared as part of the Cybec Readings last year (incidentally, an inexpressible debt of gratitude is owed to those modern Medicis, The Joan and Peter Clemenger Trust and The Cybec Foundation in developing new local work), the energetic voice matched by adept and sassy plotting appealed to the crowd. Many badgered me afterwards to schedule it in the main season, which it is my pleasure to do. With my Associate Aidan Fennessy in the director’s chair and the lovely Louise Siversen already on board, Robert’s mainstage debut looks set to be a winner. sp
Commissioned and developed with the support of The Joan and Peter Clemenger Trust and The Cybec Foundation
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SEASON 2011
1 0 J u n e - 2 3 J u ly AT t h e A r t s C e n t r e , F a i r f a x S t u di o
L ouise S iversen
Simply, the world’s greatest play
Hamlet by William Shakespeare
‘The greatest of poetic tragedies’ The guardian
‘There’s a special providence in the fall of a sparrow’ HAMLET, ACT V SCENE II
‘THUS CONSCIENCE DOES MAKE COWARDS OF US ALL’ HAMLET, ACT III SCENE I
Summoned home upon his father’s death, Hamlet discovers his mother already remarried to his father’s brother and the country in disarray. A midnight encounter with his father’s ghost sets him on the road to revenge. But how can he be sure his cause is just? Should he strike or stay his hand? The play’s the thing. Shakespeare’s towering revenge tragedy receives a fresh, contemporary interpretation from the creative team that brought Richard III so thrillingly to life in 2010. n I remember first reading Hamlet at fourteen and knowing in my bones that I had struck the motherload. I couldn’t possibly know then what I know now: that in its eponymous hero we have the most complex incarnation of a human being ever put on stage; yet my theatre career might be traced back to that moment. I lit my taper from this great blaze. I have yearned to direct Hamlet ever since, but that’s not enough – every director worth his salt wants that, surely. What you need is an actor with the talent, wit, sensibility and sheer bravura to succeed as the prince, and they don’t come around too often – once or twice a generation. At last I’ve found mine. Ewen Leslie, brilliant as Richard Gloucester last season, joins Pamela Rabe as Gertrude and Garry McDonald as Polonius to deliver the must-see performance of the year. sp
CAST PARTNER
the deck restaurant
18
SEASON 2011
1 9 J u ly - 2 7 A u g u s t A t T h e M T C T h e a t r e , S u m n e r
ewen leslie
A MAN CUT ADRIFT
Rising Water by Tim Winton A Black Swan State Theatre Company Production
‘HE MAY JUST BE THE FINEST WRITER OF THE AUSTRALIAN NATURAL LANDSCAPE SINCE PATRICK WHITE’ COURIER MAIL
‘HE’S SHOWN AN EXQUISITE FEEL FOR THE LANGUAGE, THE SMELL, THE VERY PULSE OF AUSTRALIA’ ANDREW DENTON
On his shambles of a yacht in the marina, Baxter watches his wreck of a life fall with the tide. It’s Australia Day and his plan had been to get so thoroughly shickered that he’d be past caring by the time the fireworks start. And, he’s some way down the road to that ambition, when an English backpacker called Dee turns up, swearing a blue streak and threatening to rock his boat. Barely keeping it afloat. In creating this tough yet affectionate portrait of life on an ebbing tide, award-winning writer Tim Winton brings to the stage all the humanity, larrikin humour and unsentimental pathos for which his novels are so well-loved. n Those who saw the brilliant adaptation of Cloudstreet a decade or so ago know that the novelist Tim Winton’s wry, compassionate stories have the dramatic elements embedded in them to make thrilling theatre. And he sure can create voices. To read Winton is to hear in your head those lithe, chiacking Australian tones that brought him four Miles Franklin Literary Awards and two Booker Prize short-listings. So I wasn’t surprised when his first play Rising Water turned up to find him in full control of the medium. Returning to profoundly existential themes, Winton reaffirms his position as our chief chronicler of fringe-dwellers and outsiders – our Camus in t-shirt and thongs. We’re delighted to welcome back MTC alumna Kate Cherry, who will direct this Black Swan production starring showbiz chameleon Shane Bourne. sp
PRODUCTION PARTNER
Warning: Contains strong language
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SEASON 2011
5 A u g u s t - 1 0 S e p t e m b e r At t h e A r t s C e n t r e , P l ay h o u s e
SHANE BOURNE
There goes the neighbourhood!
Clybourne Park by Bruce Norris
AUSTRALIAN PREMIERE ‘SUPERB, ELEGANTLY WRITTEN AND HILARIOUS’ THE NEW YORKER
‘MEMORABLE AND FUNNY’ THE NEW YORK TIMES
‘HIS SCATHING TREATMENT OF BIGOTRY, HYPOCRISY AND SMUGNESS IS INSPIRED’ THE WASHINGTON EXAMINER
In the same house on two afternoons fifty years apart, two couples pack up to move. In 1959, Russ and Bev are confronted by white neighbours who don’t want them to sell their house to a black family. In 2009, another set of neighbours meet to discuss the planned demolition of the house by a gentrifying white couple. Times change and so do attitudes, but the raw nerve of race in America still stings at the slightest touch. Race and real estate. An acutely observed social comedy, Bruce Norris’s Clybourne Park asks why Americans have never found a plain and honest way to communicate across the colour line. n Barack Obama came to power almost two years ago and playwrights’ responses to that epoch-making event are just beginning to land on US stages. The various takes on the conundrum of race in American life have made fascinating reading, but for our money Bruce Norris’s Clybourne Park beats them all for confidence, humour and scope. You don’t need to know the iconic fifties play that Norris uses as his starting point, Lorraine Hansberry’s A Raisin in the Sun, any more than you need to know the original song on which a jazz man constructs his improvisations. This play makes great music in its own right. An ensemble piece like this, in the mode of August: Osage County, requires actors of unassuming gravitas. Peter Evans will direct three of Melbourne’s finest, Alison Whyte, Greg Stone and Zahra Newman.sp
CAST PARTNER
GOLDMAN SACHS
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SEASON 2011
1 7 S e p t e m b e r - 2 2 O c t o b e r AT T h e M T C T h e a t r e , S u m n e r
Zahra N ewman
G reg S tone
A lison W hyte
Even a space cadet needs a proper grounding
Return to Earth by Lally Katz
WORLD PREMIERE ‘THE PARALLEL UNIVERSE OF LALLY KATZ’S IMAGINATION IS AN ESTRANGING, BREATHLESSLY ANXIOUS, UNEASILY HILARIOUS PLACE’ THE AUSTRALIAN
‘[A] PRODIGIOUSLY TALENTED PLAYWRIGHT’ THE AGE
Alice returns home to the sleepy seaside town of Tathra and everything seems just as she left it. So why does it seem so unfamiliar? It’s as if she’s forgotten everything she’s ever known, everything she needs to make a settled, simple life. Her family try to help her out and she wants to settle down – really she does – but some part of her still floats way up there in the blue. Gravity’s insistent tug. Welcome to the fresh and off-centre world of award-winning playwright Lally Katz, making her MTC debut with a play that looks deeply to the strangeness within. n For Lally Katz lateral thinking is like breathing. She apparently cannot help but apply it to everything that falls under her keen eye, transforming our world of mundane phenomena into hers of strangeness and estrangement. A play steeped in autobiographical detail, Return to Earth is a sad, lightly-twisted comedy about returning home and discovering a foreign country. Though completely a one-off, Katz shares much with the Absurdists, which is why bringing in Julie Forsyth to star seems the right move. Through a long association with Anthill Theatre, she became our best exponent of Ionesco and Beckett. And, doing some lateral thinking of our own, who better than Eloise Mignon, daughter of Anthill’s founder Jean-Pierre, to play the space cadet Alice. With a further syncopated element in Kim Gyngell’s stage presence, director Aidan Fennessy will surely find the perfect off-beat charm. sp
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SEASON 2011
4 No v e m b e r - 1 7 D e c e m b e r A t t h e A r t s C e n t r e , F a i r f a x S t u di o
E loise M ignon 
J ulie F orsyth 
K im G yngell
Because frivolity ought not to be taken lightly
The Importance of Being Earnest by Oscar Wilde
‘This clever, glamorous production did full justice to Wilde’s brilliant play’ the australian (for MTC’s 1988 production)
‘OSCAR WILDE’S MOST DELIGHTFUL PLAY – STILL FRESH AFTER 115 YEARS’ INDEPENDENT WEEKLY
‘THE MOST PERFECT HIGH COMEDY IN THE ENGLISH LANGUAGE’ THE TELEGRAPH
Algernon and Jack are good friends, who each maintain, as a matter of convenience, different identities depending on whether they are in the town or the country. It therefore becomes especially inconvenient, not to say confusing, when Jack proposes to Algernon’s cousin Gwendolyn under the pseudonym of ‘Ernest’, while Algernon proposes to Jack’s ward Cecily also under the pseudonym of ‘Ernest’. In truth, no one is particularly earnest, except the imperious Lady Bracknell, who takes a dim view of everything. Wildely improbable. Amid a flurry of mistaken identity, witty banter and cucumber sandwiches, Oscar Wilde created the most elegant comedy of manners. n For my swan song at MTC – at least as its Artistic Director – I’m determined to go out joyfully (and perhaps a little sentimentally). Some of you may remember my 1988 production of Wilde’s dazzling masterpiece. Thanks to an astonishing cast and an exquisite design, it ran for over a year, touring the entire country. Although it was one of the happiest experiences of my career, I can’t think about it now without some sadness. Ruth Cracknell, Monica Maughan, Frank Thring and Gordon Chater, all astonishing in the original, are no longer with us. But Jane Menelaus and Geoffrey Rush, who played the handbag-crossed lovers Gwendolyn and Jack, are in their artistic prime and will step up a generation to play Miss Prism and Lady Bracknell respectively! The roles they vacated will be taken by bright new things Christie Whelan and Toby Schmitz, while Bob Hornery, Canon Chasuble in the original, will play the two butlers originated by Frank Thring. It also means the world to me to put Tony Tripp’s set on the Sumner stage, a tribute to another luminary member of our dear departed. sp
CAST PARTNER
Australia post
26
SEASON 2011
1 2 No v e m b e r - 3 0 D e c e m b e r A t T h e M T C T h e a t r e , S u m n e r
geoffrey rush
Add to your subscription
New theatre – up close and personal For those who like their theatre edgy and intimate, perhaps even a little feisty and drunk on words, the Lawler Studio Season will add some extra bite to your subscription. A brilliant collision of creative energies with the keenest writers around, this is sharp, contemporary drama, played out in an arena where every seat is pulled up close to the action. In these stripped-back productions, the text and performances are in focus; the effects and theatrics are in the mind; and the quality is sheer MTC.
The Dream Life of Butterflies by Raimondo Cortese
world premiere ‘ONE OF THE MOST EXCITING PLAYWRIGHTS AROUND’ THE AGE
Two middle-aged women talk in a room. One is recently returned. One has always been there. Between them sits their past. The Dream Life of Butterflies is a beautiful dissertation on the illusion of memory and the impossibility of retrieving what has been lost. In a seamless single scene, award-winning writer Raimondo Cortese exposes their delusions about themselves and each other, hinting at the terrible taboo at the heart of their relationship. Featuring Natasha Herbert and Margaret Mills; directed by Heather Bolton. n Developed with the support of The Cybec Foundation
2 March - 2 April T h e M T C T h e a t r e , L a w l e r S t u di o SEASON 2011
28
The Water Carriers
Circle Mirror Transformation
world premiere
australian premiere
winner of the patrick white Playwrights’ award (2002, 2009)
‘ABSORBING, UNBLINKING AND SHARPLY FUNNY’
Dave reckons he’s quite the ladies’ man. With Barry White on the stereo and a bottle of tequila on the shelf, he knows how to create a mood. But Kate, the hairdresser he meets one night in his karaoke bar and brings back to his place, is a hard case. She’s deep, she’s defensive, she’s troubled. Sure, Dave can break through, but can he deal with what is on the other side?
At an under-subscribed six-week acting class at a community college, four adults and their teacher go through their exercises designed to loosen their bodies, strengthen their voices and liberate their imaginations. Yet as the weeks pass, the participants discover that something utterly transformative is being created between them.
Hilarious yet deeply moving, The Water Carriers is from multi-award-winning playwright Ian Wilding. Featuring Sarah Sutherland; directed by Anne Browning. n
US writer Annie Baker has written a poignant, funny play that packs a major wallop. Featuring Brigid Gallacher; directed by Aidan Fennessy. n
by Ian Wilding
by Annie Baker
THE NEW YORK TIMES
Developed with the support of The Cybec Foundation Warning: Contains strong language
2 2 J u n e - 2 3 J u ly T h e M T C T h e a t r e , L a w l e r S t u di o
17 August - 17 September T h e M T C T h e a t r e , L a w l e r S t u di o 29
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Not Quite Out of the Woods
Written and created by
Jonathan Biggins, Drew Forsythe and Phillip Scott
‘THANK GOODNESS FOR THE CHEEKY, WITTY GOOFINESS OF THE WHARF REVUE WHICH, AFTER YEARS OF UNAPOLOGETIC SILLINESS AND POLITICAL SATIRE, SHOWS NO SIGNS OF SLOWING DOWN’ THE DAILY TELEGRAPH
What a fantastic year 2010 has been for self-interest and ego: a bumper harvest of sin, silliness and general ratbaggery for the jaunty wits of The Wharf Revue to mock and musicalise. Whether it’s the Grimm reality of Little Red Julia battling her way through the woods to get to grandma’s Lodge … or the Tower of Babble from media commentators and instant celebrities … or even an economically challenged Eurovision Song Contest … everything is fair game for the talented team of Jonathan Biggins, Amanda Bishop, Drew Forsythe and Phillip Scott. The Wharf Revues are an annual Sydney institution, and after Not Quite Out of the Woods casts its spell, it’s certain to become a Melbourne one.
A Sydney Theatre Company Production
5 January - 29 January At T h e M T C T h e at r e , S u m n e r 30
SEASON 2011
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SEASON 2011
31
Subscription package prices 12 Play Package
10 Play Package
9 Play Package
8 Play Package
Opening Night ††
1080
Weekend (Fri Eve, Sat Mat & Eve)
696
7 Play Additional Package Tickets ‡
900
810
720
630
620
576
512
455
the Wharf Revue
Studio plays #
N/A
80
N/A
66
50
35
Full
Weeknight Evenings (Mon-Thurs)
648
580
531
472
441
66
45
30
Previews
564
510
468
416
385
60
45
30
Midweek Matinee (Wed)
540
490
450
400
371
59
45
30
Weekend (Fri Eve, Sat Mat & Eve)
648
580
540
480
441
66
50
35
Weeknight Evenings (Mon-Thurs)
588
530
495
440
406
65
45
30
Seniors/10+ Group
Previews
516
470
432
384
357
56
45
30
Midweek Matinee (Wed)
492
450
414
368
343
55
45
30
612
550
504
448
420
64
50
35
Pensioner/Full-time Student Weekend (Fri Eve, Sat Mat & Eve) Weeknight Evenings (Mon-Thurs)
540
490
450
400
371
59
45
30
Previews
444
400
369
328
308
46
45
30
Midweek Matinee (Wed)
432
390
360
320
301
45
45
30
240
230
216
192
175
28
25
20
Under 30s (29 and under) All Performances
12 Play Subscribers ** Bonus Ticket
30
Great deals for Under 30s Under 30s receive fantastic subscription discounts. Choose the package and the dates that suit you and enjoy incredible savings. See 12 plays for just $240 – that’s only $20 per play. ‡
32
#
††
**
SEASON 2011
Conditions apply – see pages 46 and 47 for more information.
Plan your visit VENUES In 2011 Melbourne Theatre Company productions will appear in two venues, located close together in Melbourne’s Arts Precinct in Southbank. The MTC Theatre Located at 140 Southbank Boulevard, the award-winning MTC Theatre hosts mainstage productions in the 500-seat Sumner Theatre and a Studio Season in the 130-seat Lawler Studio. The Arts Centre Close by at 100 St Kilda Road, the Arts Centre contains the 850-seat Playhouse, hosting our large-scale works, while more intimate dramas appear at the 360-seat Fairfax Studio.
GETTING TO THE THEATRE Rail Both venues are within a ten-minute walk of Flinders Street Station. S ST DER FLIN
FEDERATION SQUARE
STATION
YARRA RIVER
ALEX AND ER A VE
D YR CIT
BAN K
NGV
BLVD
VCA ST
ST NT GRA
Script Bar & Bistro Within the MTC Theatre, Script Bar & Bistro offers Italian and modern Australian dining for breakfast, lunch, dinner and postshow supper and is open from 7.30am Monday to Friday and 10.00am on Saturday and some Sundays (pending programming). Book online at scriptbar.com.au, email bookings@scriptbar.com.au or call 03 8688 0880. Foyer bars The MTC Theatre contains two foyer bars offering refreshments and snacks from one hour prior to each performance. Function spaces The MTC Theatre contains two VIP rooms which are available for hire. Call 03 8688 0900 for details.
DODD S ST
AY SW NG KI
STUR T
ST
PO W ER
Car parking Limited on-street parking is available along St Kilda Road, Dodds Street, Sturt Street and Grant Street. Nearby commercial car parks are marked on the map (left).
BARS, DINING AND FUNCTION SPACES D AR ILD ST K
SOU TH
Tram For routes travelling along St Kilda Road (numbers 1, 3, 5, 6, 8, 16, 64, 67, 72), you can get off at the Arts Centre stop and walk to all the theatres. Route 1 to South Melbourne Beach goes down Southbank Boulevard, right past the MTC Theatre.
T RY S ENT COV ST CAS DOR
For further information visit the ‘Plan Your Visit’ section at mtc.com.au.
SEASON 2011
33
Performance diary David Williamson’s
Don Parties On
8 January – 12 February the Arts Centre, Playhouse Subscriber briefing Monday 3 January 2011, 6pm It’s 21 August 2010, the night of yet another federal election and, of course, yet another election night party at Don’s place. Over the decades, as he and his friends watched governments come and go, they have also closely followed the incoming results from each other’s lives: the tallies of luck and misfortune and the unexpected swings for and against. Warning: Contains strong language
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
10 Jan - 8.00pmP
11 Jan - 8.00pmP
12 Jan - 8.00pmP
13 Jan - 8.00pmO
14 Jan - 8.00pm
15 Jan - 4.00pm, 8.30pm
08 Jan - 8.00pmP 17 Jan - 6.30pmF
18 Jan - 6.30pm
19 Jan - 1.00pm, 8.00pm
20 Jan - 8.00pm
21 Jan - 8.00pm
22 Jan - 4.00pm, 8.30pm
24 Jan - 6.30pm
25 Jan - 6.30pmA
26 Jan - 8.00pm
27 Jan - 8.00pm
28 Jan - 8.00pm
29 Jan - 4.00pmAT, 8.30pm
31 Jan - 6.30pm
01 Feb - 6.30pm
02 Feb - 1.00pm, 8.00pm
03 Feb - 8.00pm
04 Feb - 8.00pm
05 Feb - 4.00pmC, 8.30pm
07 Feb - 6.30pm
08 Feb - 6.30pm
09 Feb - 1.00pm, 8.00pm
10 Feb - 8.00pm
11 Feb - 8.00pm
12 Feb - 4.00pm, 8.30pm
A Behanding in Spokane
5 February - 19 March The MTC Theatre, Sumner Subscriber briefing Monday 31 January 2011, 6pm Long ago, when he was a young man, Carmichael had something snatched from him. For getting on fifty years now, he’s searched for it, as the turning world rubbed against him and his resolve calloused into obsession. His quest leads to a dingy motel room, where Toby and Marilyn, two desperate chancers, claim they’ve got what he’s looking for. But woe will follow wrath if the merchandise isn’t genuine. Warning: Contains violence and strong language
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
07 Feb - 8.00pmP
08 Feb - 8.00pmP
09 Feb - 8.00pmP
10 Feb - 8.00pmO
11 Feb - 8.00pm
12 Feb - 4.00pm, 8.30pm
14 Feb - 6.30pmF
15 Feb - 6.30pm
16 Feb - 1.00pm, 8.00pm
17 Feb - 8.00pm
18 Feb - 8.00pm
19 Feb - 4.00pm, 8.30pm
05 Feb - 8.00pmP
34
21 Feb - 6.30pm
22 Feb - 6.30pm
23 Feb - 1.00pm, 8.00pm
24 Feb - 8.00pm
25 Feb - 8.00pm
26 Feb - 4.00pm, 8.30pm
28 Feb - 6.30pm
01 Mar - 6.30pm
02 Mar - 1.00pm, 8.00pm
03 Mar - 8.00pm
04 Mar - 8.00pm
05 Mar - 4.00pm, 8.30pm
07 Mar - 6.30pm
08 Mar - 6.30pmA
09 Mar - 1.00pm, 8.00pm
10 Mar - 8.00pm
11 Mar - 8.00pm
12 Mar - 4.00pmAT, 8.30pm
14 Mar - 6.30pm
15 Mar - 6.30pm
16 Mar - 1.00pm, 8.00pm
17 Mar - 8.00pm
18 Mar - 8.00pm
19 Mar - 4.00pm, 8.30pm
SEASON 2011
A AUDIO DESCRIBED PERFORMANCES C CAPTIONED PERFORMANCES E EDUCATION F FORUMS
Apologia by Alexi Kaye Campbell
Monday
Tuesday
O OPENING NIGHTS P PREVIEWS T TACTILE TOURS
18 February - 2 April the Arts Centre, Fairfax Studio Subscriber briefing Monday 14 February 2011, 6pm Eminent art historian Kristin Miller has had a firebrand life. Radicalised early, she took to the streets of Paris in ’68 and just kept storming through the years, not losing a degree of her leftist fervour. Characteristically, she holds back nothing in her best-selling autobiography – except the inconvenient fact that she has two children. On her birthday the sons arrive for dinner armed with their own versions of her story.
Wednesday
Thursday
Friday
Saturday
18 Feb - 8.00pmP
19 Feb - 2.00pmP, 8.00pmP
21 Feb - 8.00pmP
22 Feb - 8.00pmP
23 Feb - 8.00pmO
24 Feb - 8.00pm
25 Feb - 8.00pm
26 Feb - 4.00pm, 8.30pm
28 Feb - 6.30pmF
01 Mar - 6.30pm
02 Mar - 1.00pm, 8.00pm
03 Mar - 8.00pm
04 Mar - 8.00pm
05 Mar - 4.00pm, 8.30pm
07 Mar - 6.30pm
08 Mar - 6.30pm
09 Mar - 1.00pm, 8.00pm
10 Mar - 8.00pm
11 Mar - 8.00pm
12 Mar - 4.00pm, 8.30pm
14 Mar - 6.30pm
15 Mar - 6.30pm
16 Mar - 1.00pm, 8.00pm
17 Mar - 8.00pm
18 Mar - 8.00pm
19 Mar - 4.00pm, 8.30pm
21 Mar - 6.30pm
22 Mar - 6.30pmA
23 Mar - 1.00pm, 8.00pm
24 Mar - 8.00pm
25 Mar - 8.00pm
26 Mar - 4.00pmAT, 8.30pm
28 Mar - 6.30pm
29 Mar - 6.30pm
30 Mar - 1.00pm, 8.00pm
31 Mar - 8.00pm
01 Apr - 8.00pm
02 Apr - 4.00pm, 8.30pm
In the Next Room
or the vibrator play by Sarah Ruhl
7 April - 14 May The MTC Theatre, Sumner Subscriber briefing Monday 4 April 2011, 6pm Dr Givings is a coolly rational man of science whose modern method for treating hysteria has many advocates – not least the female patients themselves, who come back wanting more. Hearing the unrestrained paroxysms from the surgery, Mrs Givings would like to know why such wonders of the electrified age might not also be of benefit to the general female population. Warning: Contains sexual themes
Monday 11 Apr - 8.00pmO
Tuesday 12 Apr - 6.30pm
Wednesday 13 Apr - 1.00pm, 8.00pm
Thursday
Friday
07 Apr - 8.00pmP
08 Apr - 8.00pmP
Saturday 09 Apr - 2.00pmP, 8.00pmP
14 Apr - 8.00pm
15 Apr - 8.00pm
16 Apr - 4.00pm, 8.30pm
18 Apr - 6.30pmF
19 Apr - 6.30pm
20 Apr - 1.00pm, 8.00pm
21 Apr - 8.00pm
22 Apr - No Perf
23 Apr - 4.00pm, 8.30pm
25 Apr - 6.30pm
26 Apr - 6.30pm
27 Apr - 1.00pm, 8.00pm
28 Apr - 8.00pm
29 Apr - 8.00pm
30 Apr - 4.00pm, 8.30pm
02 May - 6.30pm
03 May - 6.30pmA
04 May - 1.00pm, 8.00pm
05 May - 8.00pm
06 May - 8.00pm
07 May - 4.00pmAT, 8.30pm
09 May - 6.30pm
10 May - 6.30pm
11 May - 1.00pm, 8.00pm
12 May - 8.00pm
13 May - 8.00pm
14 May - 4.00pm, 8.30pm
SEASON 2011
35
Performance diary Next to Normal Music by Book and Lyrics by
byYorkey Tom Kitt TomMusic Kitt Brian Book and Lyrics by Brian Yorkey Monday 02 May - 8.00pmP
Tuesday 03 May - 8.00pmO
28 April - 28 May the Arts Centre, Playhouse Subscriber briefing Monday 18 April 2011, 6pm Preparing for just another day, suburban mother Diana Goodman makes the family’s lunches and cannot stop. The piles of sandwiches signal her gradually loosening grip – on her life, on her family, on her sanity. Soon, there is a doctor, a diagnosis and a course of treatment, yet the cause of this case of ordinary madness lies beyond medicine and therapy.
Wednesday 04 May - 8.00pm
Thursday
Friday
28 Apr - 8.00pmP
29 Apr - 8.00pmP
Saturday 30 Apr - 2.00pmP, 8.00pmP
05 May - 8.00pm
06 May - 8.00pm
07 May - 4.00pm, 8.30pm
09 May - 6.30pmF
10 May - 6.30pmA
11 May - 1.00pmE, 8.00pm
12 May - 8.00pm
13 May - 8.00pm
14 May - 4.00pmAT, 8.30pm
16 May - 6.30pm
17 May - 6.30pm
18 May - 1.00pm, 8.00pm
19 May - 8.00pm
20 May - 8.00pm
21 May - 4.00pmC, 8.30pm
23 May - 6.30pm
24 May - 6.30pm
25 May - 1.00pm, 8.00pm
26 May - 8.00pm
27 May - 8.00pm
28 May - 4.00pm, 8.30pm
The Gift by Joanna Murray-Smith
28 May - 2 July The MTC Theatre, Sumner Subscriber briefing Monday 23 May 2011, 6pm Sadie and Ed meet Martin and Chloë at a holiday resort and instantly hit it off, despite coming from completely different worlds. When Martin saves Ed’s life, everyone knows the debt can never be properly repaid. But Ed is rich and generous, and Martin and Chloë have a need so great it seems divine providence that the two couples should have found each other.
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
30 May - 8.00pmP
31 May - 8.00pmP
01 Jun - 8.00pmP
02 Jun - 8.00pmO
03 Jun - 8.00pm
04 Jun - 4.00pm, 8.30pm
28 May - 8.00pmP
36
06 Jun - 6.30pmF
07 Jun - 6.30pm
08 Jun - 1.00pm, 8.00pm
09 Jun - 8.00pm
10 Jun - 8.00pm
11 Jun - 4.00pm, 8.30pm
13 Jun - 6.30pm
14 Jun - 6.30pm
15 Jun - 1.00pm, 8.00pm
16 Jun - 8.00pm
17 Jun - 8.00pm
18 Jun - 4.00pm, 8.30pm
20 Jun - 6.30pm
21 Jun - 6.30pmA
22 Jun - 1.00pm, 8.00pm
23 Jun - 8.00pm
24 Jun - 8.00pm
25 Jun - 4.00pmAT, 8.30pm
27 Jun - 6.30pm
28 Jun - 6.30pm
29 Jun - 1.00pm, 8.00pm
30 Jun - 8.00pm
01 Jul - 8.00pm
02 Jul - 4.00pm, 8.30pm
SEASON 2011
A AUDIO DESCRIBED PERFORMANCES C CAPTIONED PERFORMANCES E EDUCATION F FORUMS
The Joy of Text by Robert Reid
Monday 13 Jun - 8.00pmP
Tuesday 14 Jun - 8.00pmP
O OPENING NIGHTS P PREVIEWS T TACTILE TOURS
10 June - 23 July the Arts Centre, Fairfax Studio Subscriber briefing Monday 6 June 2011, 6pm Literary theory may seem harmless, but mix it with the impish personality of Danny, a precocious high school student, and the result is not deconstruction but sheer devastation. When a certain controversial book falls into his hands, it’s time to create his own provocative meta-narrative. As his actions send the school into chaos, he learns that, although the author is dead and meaning lacks foundation, the real world has no time for irony.
Wednesday 15 Jun - 8.00pmO
Thursday 16 Jun - 8.00pm
Friday
Saturday
10 Jun - 8.00pmP
11 Jun - 2.00pmP, 8.00pmP
17 Jun - 8.00pm
18 Jun - 4.00pm, 8.30pm
20 Jun - 6.30pmF
21 Jun - 6.30pm
22 Jun - 1.00pm, 8.00pm
23 Jun - 8.00pm
24 Jun - 8.00pm
25 Jun - 4.00pm, 8.30pm
27 Jun - 6.30pm
28 Jun - 6.30pm
29 Jun - 1.00pm, 8.00pm
30 Jun - 8.00pm
01 Jul - 8.00pm
02 Jul - 4.00pm, 8.30pm
04 Jul - 6.30pm
05 Jul - 6.30pm
06 Jul - 1.00pm, 8.00pm
07 Jul - 8.00pm
08 Jul - 8.00pm
09 Jul - 4.00pm, 8.30pm
11 Jul - 6.30pm
12 Jul - 6.30pmA
13 Jul - 1.00pm, 8.00pm
14 Jul - 8.00pm
15 Jul - 8.00pm
16 Jul - 4.00pmAT, 8.30pm
18 Jul - 6.30pm
19 Jul - 6.30pm
20 Jul - 1.00pm, 8.00pm
21 Jul - 8.00pm
22 Jul - 8.00pm
23 Jul - 4.00pm, 8.30pm
Hamlet by William Shakespeare
Monday 25 Jul - 6.30pmF
19 July - 27 August The MTC Theatre, Sumner Subscriber briefing Monday 11 July 2011, 6pm Summoned home upon his father’s death, Hamlet discovers his mother already remarried to his father’s brother and the country in disarray. A midnight encounter with his father’s ghost sets him on the road to revenge. But how can he be sure his cause is just? Should he strike or stay his hand?
Tuesday
Wednesday
Thursday
Friday
19 Jul - 8.00pmP
20 Jul - 8.00pmP
21 Jul - 8.00pmP
22 Jul - 8.00pmP
Saturday 23 Jul - 8.00pmO
26 Jul - 6.30pm
27 Jul - 1.00pm, 8.00pm
28 Jul - 8.00pm
29 Jul - 8.00pm
30 Jul - 2.00pm, 8.00pm
01 Aug - 6.30pm
02 Aug - 6.30pm
03 Aug - 1.00pmE, 8.00pm
04 Aug - 8.00pm
05 Aug - 8.00pm
06 Aug - 2.00pm, 8.00pm
08 Aug - 6.30pm
09 Aug - 6.30pmA
10 Aug - 1.00pm, 8.00pm
11 Aug - 8.00pm
12 Aug - 8.00pm
13 Aug - 2.00pmAT, 8.00pm
15 Aug - 6.30pm
16 Aug - 6.30pm
17 Aug - 1.00pm, 8.00pm
18 Aug - 8.00pm
19 Aug - 8.00pm
20 Aug - 2.00pmC, 8.00pm
22 Aug - 6.30pm
23 Aug - 6.30pm
24 Aug - 1.00pm, 8.00pm
25 Aug - 8.00pm
26 Aug - 8.00pm
27 Aug - 2.00pm, 8.00pm
SEASON 2011
37
Performance diary Rising Water by Tim Winton
5 August - 10 September the Arts Centre, Playhouse Subscriber briefing Monday 1 August 2011, 6pm On his shambles of a yacht in the marina, Baxter watches his wreck of a life fall with the tide. It’s Australia Day and his plan had been to get so thoroughly shickered that he’d be past caring by the time the fireworks start. And, he’s some way down the road to that ambition, when an English backpacker called Dee turns up, swearing a blue streak and threatening to rock his boat. Warning: Contains strong language
Monday
Tuesday
08 Aug - 8.00pmP
09 Aug - 8.00pmO
Wednesday 10 Aug - 8.00pm
Thursday 11 Aug - 8.00pm
Friday
Saturday
05 Aug - 8.00pmP
06 Aug - 2.00pmP, 8.00pmP
12 Aug - 8.00pm
13 Aug - 4.00pm, 8.30pm
15 Aug - 6.30pmF
16 Aug - 6.30pm
17 Aug - 1.00pm, 8.00pm
18 Aug - 8.00pm
19 Aug - 8.00pm
20 Aug - 4.00pm, 8.30pm
22 Aug - 6.30pm
23 Aug - 6.30pmA
24 Aug - 1.00pm, 8.00pm
25 Aug - 8.00pm
26 Aug - 8.00pm
27 Aug - 4.00pmAT, 8.30pm
29 Aug - 6.30pm
30 Aug - 6.30pm
31 Aug - 1.00pm, 8.00pm
01 Sep - 8.00pm
02 Sep - 8.00pm
03 Sep - 4.00pmC, 8.30pm
05 Sep - 6.30pm
06 Sep - 6.30pm
07 Sep - 1.00pm, 8.00pm
08 Sep - 8.00pm
09 Sep - 8.00pm
10 Sep - 4.00pm, 8.30pm
Clybourne Park
17 September - 22 October The MTC Theatre, Sumner Subscriber briefing Monday 12 September 2011, 6pm In the same house on two afternoons fifty years apart, two couples pack up to move. In 1959, Russ and Bev are confronted by white neighbours who don’t want them to sell their house to a black family. In 2009, another set of neighbours meet to discuss the planned demolition of the house by a gentrifying white couple. Times change and so do attitudes, but the raw nerve of race in America still stings at the slightest touch.
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
19 Sep - 8.00pmP
20 Sep - 8.00pmP
21 Sep - 8.00pmP
22 Sep - 8.00pmO
23 Sep - 8.00pm
24 Sep - 4.00pm, 8.30pm
26 Sep - 6.30pmF
27 Sep - 6.30pm
28 Sep - 1.00pm, 8.00pm
29 Sep - 8.00pm
30 Sep - 8.00pm
01 Oct - 4.00pm, 8.30pm
17 Sep - 8.00pmP
38
03 Oct - 6.30pm
04 Oct - 6.30pm
05 Oct - 1.00pm, 8.00pm
06 Oct - 8.00pm
07 Oct - 8.00pm
08 Oct - 4.00pm, 8.30pm
10 Oct - 6.30pm
11 Oct - 6.30pmA
12 Oct - 1.00pm, 8.00pm
13 Oct - 8.00pm
14 Oct - 8.00pm
15 Oct - 4.00pmAT, 8.30pm
17 Oct - 6.30pm
18 Oct - 6.30pm
19 Oct - 1.00pm, 8.00pm
20 Oct - 8.00pm
21 Oct - 8.00pm
22 Oct - 4.00pm, 8.30pm
SEASON 2011
A AUDIO DESCRIBED PERFORMANCES C CAPTIONED PERFORMANCES E EDUCATION F FORUMS
Return to Earth by Lally Katz
Monday 07 Nov - 8.00pmP
Tuesday 08 Nov - 8.00pmP
O OPENING NIGHTS P PREVIEWS T TACTILE TOURS
4 November - 17 December the Arts Centre, Fairfax Studio Subscriber briefing Monday 31 October 2011, 6pm Alice returns home to the sleepy seaside town of Tathra and everything seems just as she left it. So why does it seem so unfamiliar? It’s as if she’s forgotten everything she’s ever known, everything she needs to make a settled, simple life. Her family try to help her out and she wants to settle down – really she does – but some part of her still floats way up there in the blue.
Wednesday 09 Nov - 8.00pmO
Thursday 10 Nov - 8.00pm
Friday
Saturday
04 Nov - 8.00pmP
05 Nov - 2.00pmP, 8.00pmP
11 Nov - 8.00pm
12 Nov - 4.00pm, 8.30pm
14 Nov - 6.30pmF
15 Nov - 6.30pm
16 Nov - 1.00pm, 8.00pm
17 Nov - 8.00pm
18 Nov - 8.00pm
19 Nov - 4.00pm, 8.30pm
21 Nov - 6.30pm
22 Nov - 6.30pm
23 Nov - 1.00pm, 8.00pm
24 Nov - 8.00pm
25 Nov - 8.00pm
26 Nov - 4.00pm, 8.30pm
28 Nov - 6.30pm
29 Nov - 6.30pm
30 Nov - 1.00pm, 8.00pm
01 Dec - 8.00pm
02 Dec - 8.00pm
03 Dec - 4.00pm, 8.30pm
05 Dec - 6.30pm
06 Dec - 6.30pmA
07 Dec - 1.00pm, 8.00pm
08 Dec - 8.00pm
09 Dec - 8.00pm
10 Dec - 4.00pmAT, 8.30pm
12 Dec - 6.30pm
13 Dec - 6.30pm
14 Dec - 1.00pm, 8.00pm
15 Dec - 8.00pm
16 Dec - 8.00pm
17 Dec - 4.00pm, 8.30pm
The Importance of Being Earnest
12 November - 30 December The MTC Theatre, Sumner Subscriber briefing Monday 7 November 2011, 6pm Algernon and Jack are good friends, who each maintain, different identities depending on whether they are in the town or the country. It therefore becomes especially inconvenient when Jack proposes to Algernon’s cousin Gwendolyn as ‘Ernest’, while Algernon proposes to Jack’s ward Cecily also as ‘Ernest’. In truth, no one is earnest, except the imperious Lady Bracknell, who takes a dim view of everything.
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
14 Nov - 8.00pmP
15 Nov - 8.00pmP
16 Nov - 8.00pmP
17 Nov - 8.00pmO
18 Nov - 8.00pm
19 Nov - 4.00pm, 8.30pm
21 Nov - 6.30pmF
22 Nov - 6.30pm
23 Nov - 1.00pm, 8.00pm
24 Nov - 8.00pm
25 Nov - N/A
26 Nov - 4.00pm, 8.30pm
12 Nov - 8.00pmP
28 Nov - 6.30pm
29 Nov - 6.30pmA
30 Nov - 1.00pm, 8.00pm
01 Dec - 8.00pm
02 Dec - 8.00pm
03 Dec - 4.00pmAT, 8.30pm
05 Dec - 6.30pm
06 Dec - 6.30pm
07 Dec - 1.00pm, 8.00pm
08 Dec - 8.00pm
09 Dec - 8.00pm
10 Dec - 4.00pmC, 8.30pm
12 Dec - 6.30pm
13 Dec - 6.30pm
14 Dec - 1.00pm, 8.00pm
15 Dec - 8.00pm
16 Dec - 8.00pm
17 Dec - 4.00pm, 8.30pm
19 Dec - 6.30pm
20 Dec - 6.30pm
21 Dec - 1.00pm, 8.00pm
22 Dec - 8.00pm
23 Dec - 8.00pm
24 Dec - No Perf
26 Dec - No Perf
27 Dec - 6.30pm
28 Dec - 1.00pm, 8.00pm
29 Dec - 8.00pm
30 Dec - 8.00pm
SEASON 2011
39
Performance diary The Dream Life of Butterflies by Raimondo Cortese
Monday
Tuesday
07 Mar - 7.00pmF
08 Mar - 7.00pm
2 March - 2 April The MTC Theatre, Lawler Studio Two middle-aged women talk in a room. One is recently returned. One has always been there. Between them sits their past. The Dream Life of Butterflies is a beautiful dissertation on the illusion of memory and the impossibility of retrieving what has been lost.
Wednesday
Thursday
Friday
02 Mar - 7.00pmP
03 Mar - 7.00pmP
04 Mar - N/AO
Saturday 05 Mar - 3.00pm, 7.00pm
09 Mar - 2.00pm, 7.00pm
10 Mar - 7.00pm
11 Mar - 7.00pm
12 Mar - 3.00pm, 7.00pm
14 Mar - 7.00pm
15 Mar - 7.00pm
16 Mar - 2.00pm, 7.00pm
17 Mar - 7.00pm
18 Mar - 7.00pm
19 Mar - 3.00pm, 7.00pm
21 Mar - 7.00pm
22 Mar - 7.00pm
23 Mar - 2.00pm, 7.00pm
24 Mar - 7.00pm
25 Mar - 7.00pm
26 Mar - 3.00pm, 7.00pm
28 Mar - 7.00pm
29 Mar - 7.00pm
30 Mar - 2.00pm, 7.00pm
31 Mar - 7.00pm
01 Apr - 7.00pm
02 Apr - 3.00pm, 7.00pm
The Water Carriers by Ian Wilding
22 June - 23 July The MTC Theatre, Lawler Studio Dave reckons he’s quite the ladies’ man. But Kate, the hairdresser he meets one night in his karaoke bar and brings back to his place, is a hard case. She’s deep, she’s defensive, she’s troubled. Sure, Dave can break through, but can he deal with what is on the other side? Warning: Contains strong language
Monday 27 Jun - 7.00pmF
Tuesday 28 Jun - 7.00pm
Wednesday
Thursday
Friday
22 Jun - 7.00pmP
23 Jun - 7.00pmP
24 Jun - N/AO
Saturday 25 Jun - 3.00pm, 7.00pm
29 Jun - 2.00pm, 7.00pm
30 Jun - 7.00pm
01 Jul - 7.00pm
02 Jul - 3.00pm, 7.00pm
04 Jul - 7.00pm
05 Jul - 7.00pm
06 Jul - 2.00pm, 7.00pm
07 Jul - 7.00pm
08 Jul - 7.00pm
09 Jul - 3.00pm, 7.00pm
11 Jul - 7.00pm
12 Jul - 7.00pm
13 Jul - 2.00pm, 7.00pm
14 Jul - 7.00pm
15 Jul - 7.00pm
16 Jul - 3.00pm, 7.00pm
18 Jul - 7.00pm
19 Jul - 7.00pm
20 Jul - 2.00pm, 7.00pm
21 Jul - 7.00pm
22 Jul - 7.00pm
23 Jul - 3.00pm, 7.00pm
Note: Lawler Studio shows will not have Subscriber briefings.
40
SEASON 2011
A AUDIO DESCRIBED PERFORMANCES C CAPTIONED PERFORMANCES E EDUCATION F FORUMS
Circle Mirror Transformation
O OPENING NIGHTS P PREVIEWS T TACTILE TOURS
17 August - 17 September The MTC Theatre, Lawler Studio At an under-subscribed six-week acting class at a community college, four adults and their teacher go through their exercises designed to loosen their bodies, strengthen their voices and liberate their imaginations. Yet as the weeks pass, the participants discover that something utterly transformative is being created between them.
Monday 22 Aug - 7.00pmF
Tuesday 23 Aug - 7.00pm
Wednesday
Thursday
Friday
17 Aug - 7.00pmP
18 Aug - 7.00pmP
19 Aug - N/AO
Saturday 20 Aug - 3.00pm, 7.00pm
24 Aug - 2.00pm, 7.00pm
25 Aug - 7.00pm
26 Aug - 7.00pm
27 Aug - 3.00pm, 7.00pm
29 Aug - 7.00pm
30 Aug - 7.00pm
31 Aug - 2.00pm, 7.00pm
01 Sep - 7.00pm
02 Sep - 7.00pm
03 Sep - 3.00pm, 7.00pm
05 Sep - 7.00pm
06 Sep - 7.00pm
07 Sep - 2.00pm, 7.00pm
08 Sep - 7.00pm
09 Sep - 7.00pm
10 Sep - 3.00pm, 7.00pm
12 Sep - 7.00pm
13 Sep - 7.00pm
14 Sep - 2.00pm, 7.00pm
15 Sep - 7.00pm
16 Sep - 7.00pm
17 Sep - 3.00pm, 7.00pm
Not Quite Out of the Woods created and written by Jonathan Biggins, Drew Forsythe Monday 10 Jan - 6.30pm
Tuesday 11 Jan - 6.30pm
5 January - 29 January The MTC Theatre, Sumner Whether it’s the Grimm reality of Little Red Julia battling her way through the woods to get to grandma’s Lodge … or the Tower of Babble from media commentators and instant celebrities … or even an economically challenged Eurovision Song Contest … everything is fair game for the talented team of Jonathan Biggins, Amanda Bishop, Drew Forsythe and Phillip Scott.
Wednesday
Thursday
Friday
05 Jan - 8.00pmP
06 Jan - 8.00pmP
07 Jan - 8.00pmO
Saturday 08 Jan - 4.00pm, 8.30pm
12 Jan - 1.00pm, 8.00pm
13 Jan - 8.00pm
14 Jan - 8.00pm
15 Jan - 4.00pm, 8.30pm
17 Jan - 6.30pm
18 Jan - 6.30pm
19 Jan - 1.00pm, 8.00pm
20 Jan - 8.00pm
21 Jan - 8.00pm
22 Jan - 4.00pm, 8.30pm
24 Jan - 6.30pm
25 Jan - 6.30pm
26 Jan - 1.00pm, 8.00pm
27 Jan - 8.00pm
28 Jan - 8.00pm
29 Jan - 4.00pm, 8.30pm
Note: The Wharf Revue will not have a forum or Subscriber briefing.
SEASON 2011
41
How to book your subscription 1. ONLINE AT MTC.COM.AU
2. COMPLETING A BOOKING FORM
WHAT HAPPENS NEXT?
Simply visit our website and follow the ‘subscribe now’ buttons.
Fill in your booking form and send to:
A confirmation card or email will be sent to the Head Booker within five working days of receipt of your completed booking form. Once your booking is processed, season tickets will be sent to the Head Booker (for more information about Head Bookers see page 46).
Registered online before? If you have registered online previously, or have been supplied with a temporary login, please don’t create a new account as we won’t recognise you and you will miss out on priority processing. New to MTC? Please create a new account by following the prompts.
MTC Subscriptions PO Box 918 South Melbourne VIC 3205 You are also welcome to drop off your completed booking form at the MTC Theatre Box Office (140 Southbank Boulevard, Southbank). Please note telephone and fax bookings cannot be accepted.
Dates to note 21 SEPTEMBER 2010
29 OCTOBER 2010
7 DECEMBER 2010
Online and mail bookings open at 9pm.
Priority renewal period for 2010 Subscribers closes.
Please note: Applications will be processed in order of receipt. CentreStage Leading Members receive priority processing and Patrons receive preferential seating.
8 NOVEMBER 2010
Single tickets for Don Parties On, A Behanding in Spokane, Apologia and In the Next Room or the vibrator play go on sale.
Processing of new Subscriber bookings commences. Single tickets for The Wharf Revue go on sale.
1 FEBRUARY 2011 Single tickets for MTC’s Lawler Studio Season productions go on sale.
7 MARCH 2011 Single tickets for all remaining 2011 Season productions go on sale.
For more information or assistance, please contact us on 03 8688 0800 during business hours, or visit mtc.com.au. 42
SEASON 2011
MELBOURNE THEATRE COMPANY SEASON 2011 SUBSCRIPTION FORM Subscribers wishing to sit together must submit bookings together
STEP 1: Individual/Household details New Mr
2010 Subscriber Mrs
Ms
Leading Member Dr
Prof
Patron
A/C No. (if known)
Other:
First name
Last name
Street
Suburb
Mobile
Postcode Birthdate (opt)
Pensioner * Card No.
Price Type Full Student *
/
/
Senior * Card No.
Under 30 *
Package Size
12
10
9
8
7
STEP 2: Seating preferences Do you have any accessibility requirements (eg. wheelchair) or use accessibility services (eg. audio description)?
STEP 3: Performances your tickets PACKAGE TICKETS
ADDITIONAL TICKETS
household 2 package tickets
household 3
ADDITIONAL TICKETS
package tickets
ADDITIONAL TICKETS
total TICKETS
1st Preference Day / Date / Time Eg. Mon 17 Jan 6.30pm
2nd Preference Day / Date / Time Eg. Tue 18 Jan 6.30pm
Mainstage productions (choose a minimum of 7 mainstage productions) Don Parties On A Behanding in Spokane Apologia In the Next Room or the vibrator play Next to Normal The Gift The Joy of Text Hamlet Rising Water Clybourne Park Return to Earth The Importance of Being Earnest
Add on - The Wharf Revue Not Quite Out of the Woods
Add on - Lawler Studio Season productions The Dream Life of Butterflies The Water Carriers Circle Mirror Transformation
* Valid at the time of booking – Pensioners and Seniors must provide card number. Students must provide proof of full-time enrolment, Under 30s must provide proof of age. OFFICE USE ONLY: Date: Source
Order # 70
71
72
73
74
75
Mail Email 76
77
Processed By:
Sent:
STEP 4: Packages & tickets for all attending 12 PLAY
10 PLAY
9 PLAY
8 PLAY
7 PLAY
ADDITIONAL TICKETS ‡
The Wharf Revue
total
Studio plays #
Full @1080
@900
@810
@720
@630
N/A
@80
N/A
$
@696
@620
@576
@512
@455
@66
@50
@35
$
@648
@580
@531
@472
@441
@66
@45
@30
$
Previews
@564
@510
@468
@416
@385
@60
@45
@30
$
Midweek Matinee Wed
@540
@490
@450
@400
@371
@59
@45
@30
$
@648
@580
@540
@480
@441
@66
@50
@35
$
@588
@530
@495
@440
@406
@65
@45
@30
$
Previews
@516
@470
@432
@384
@357
@56
@45
@30
$
Midweek Matinee Wed
@492
@450
@414
@368
@343
@55
@45
@30
$
@612
@550
@504
@448
@420
@64
@50
@35
$
@540
@490
@450
@400
@371
@59
@45
@30
$
Previews
@444
@400
@369
@328
@308
@46
@45
@30
$
Midweek Matinee Wed
@432
@390
@360
@320
@301
@45
@45
@30
$
@240
@230
@216
@192
@175
@28
@25
@20
$
12 Play Subscribers Only
@30
Opening Night †† Weekend Fri Eve, Sat Mat & Eve Weeknight Evenings Mon-Thurs
Senior / Group 10+ Weekend Fri Eve, Sat Mat & Eve Weeknight Evenings Mon-Thurs
Pensioner / Student Weekend Fri Eve, Sat Mat & Eve Weeknight Evenings Mon-Thurs
Under 30 All Performances
12 Play Subscriber ** The Wharf Revue Bonus Ticket
$
Add a Patron Donation of $750+ (see page 45)
$
Add a CentreStage Membership (see page 45)
$
@9
$
Vouchers Programme Vouchers
Pre-purchase your mainstage programme vouchers and save $1 each (valid for Season 2011 cannot be exchanged or refunded)
Gift Vouchers
Purchase an MTC Gift Voucher of any value for family and friends (see instalment payment conditions below) ^
$
Support Us 250
Tax-Deductible Donations
100
50
20
10
5
Other
$
total
$
STEP 5: Method of payment Your tickets:
CHEQUE ENCLOSED
CREDIT CARD IN FULL
CREDIT CARD INSTALMENTS ^
Provide valid details for full instalment period.
Visa Mastercard Amex Diners
Amount $
(include $13 handling fee for instalments)
Name on card:
Signature
CARD NO |
|
|
|
|
|
|
Expiry
|
|
/
|
|
|
|
|
|
|
|
^ Included in your total charge will be a $13 handling fee per credit card used. The first instalment, including any Gift Voucher amounts, is payable when you subscribe with the balance on 14 Jan, 14 Apr and 14 June 2011 ‡ # †† ** Conditions apply – see pages 46 and 47 for more information. Thank you. Please post to: MTC Subscriptions PO Box 918 South Melbourne Vic 3205
Membership
Patrons
MEMBERS GET MORE
CREATE A WORLD OF ENCHANTMENT
If you love theatre as much as you love a good deal, then CentreStage is for you! CentreStage Members receive behind-the-scenes information, priority access, exclusive benefits and more.
Make a Patron donation and help us to continue to weave new worlds and enchant audiences on stage and off. Our Patrons are those supporters who enjoy a more exclusive side of MTC: they are both our inner circle and our extended family.
Leading Membership Benefits include: • Your subscription fast tracked with priority processing • Receive your 2012 Season Brochure before everyone else • Complimentary tickets to the play of your choice# • Plus benefits of a Supporting Membership Leading Member Individual $240 or Joint $290
Supporting Membership Benefits include: • Exclusive access to selected Dress Rehearsals for $20* • Wednesday matinee tickets for just $25* • Complimentary ticket(s) to a selected performance# • Special movie offers • Variety of dining and shopping discounts • Opportunities to meet the artists who create the magic
Any donation of $750 and above is considered part of MTC’s Patrons Program. Donations are, naturally, fully tax-deductible and may be included in your instalment payment scheme. In return for your support we can offer you: • The best seats in the house, exclusive to Patrons • Access to a year-round personalised priority
booking service • Invitations to exclusive VIP events • Appropriate acknowledgement and recognition • Updates and behind-the-scenes news from MTC
To arrange to have your subscription personally processed right now, please contact: Rupert Sherwood, Philanthropy Manager, on 03 8688 0953 or email r.sherwood@mtc.com.au.
Supporting Member Individual $95 or Joint $145 Supporting Member Concession Individual $75 or Joint $115 (proof required) For more information, please contact: Upeka Kumarasinghe, Philanthropy Coordinator, on 03 8688 0954 or email u.kumarasinghe@mtc.com.au.
*Conditions apply. Joint Memberships must be under the same address. Complimentary tickets cannot be used as part of a subscription. #Ticket allocation varies according to membership level. Please see mtc.com.au. SEASON 2011
45
Subscriber information Terms and conditions *Concessions. Concessions must be valid at the time of booking. Refunds are not available if you become eligible for a concession after you have booked. Pensioners and Seniors must provide their card number when booking. Under 30s (29 and under) must include documentation indicating proof of age, such as a driver’s licence. Full-time students must attach documentation of current full-time enrolment.
Group Subscriptions. Group Subscriptions are available for a minimum of 10 people booking for the same performance for each play. All tickets must be purchased at the same time to qualify for the discount. A group of 10 can include concessions at the appropriate package price with adults at the group price. Available through mail bookings only.
TICKET EXCHANGES Subscribers enjoy the flexibility to exchange tickets. Within the same production Subscribers can exchange to a different performance date of the same production, provided that the tickets are received by MTC 48 hours prior to the performance date indicated on the ticket. For a different production Subscribers may exchange into another Season 2011 production, provided the exchange is not for a production that is already booked within a subscription package, and is exchanged at least one week before the first preview of the original booked production.
46
SEASON 2011
Head Booker. The Head Booker is the first person listed on the booking form (and on the topmost form when multiple forms are submitted together). Please note that the Head Booker is the point of contact for MTC in case of seating reallocation or other contingencies. As MTC takes credit card fraud seriously, the Head Booker is responsible for giving correct contact and payment information at the time of booking and will be required to assist with further documentation to verify any incorrect information. †† Opening Night package. A limited number of full price packages for mainstage productions are available with a minimum of seven Opening Night performances booked. Up to 12 plays can be packaged in total with non Opening Night performances charged at the usual subscription rate. Opening Night tickets can be exchanged, however any price
How to exchange Exchanges can be done in person at the MTC Theatre Box Office from single ticket on sale dates (see page 42). Subscribers can also mail tickets together with exchange fees or vouchers to: MTC Subscriptions PO Box 918 South Melbourne VIC 3205 Fees An exchange fee of $4.40 or an exchange voucher for each ticket must be presented at the time of exchange. 12 Play Subscribers receive three free exchange vouchers and 7-10 Play Subscribers receive one free exchange voucher with their subscription.
difference is non-refundable. Additional tickets are not available for Opening Nights. Opening Night tickets are not available for Lawler Studio Season productions. Available through mail bookings only. Refunds. Tickets cannot be refunded unless a performance is cancelled. See the Code of Practice for the Ticketing of Live Performance in Australia for conditions (liveperformance.com.au). For full terms and conditions including information about adult themes and strong language, smoking in plays, babies at performances, lost tickets and school bookings, visit mtc.com.au.
Please note Tickets that are received less than 48 hours before the performance date indicated on the ticket cannot be exchanged. Please allow five working days for mail exchanges as MTC will not take responsibility for tickets not received due to postage delays. An upgrade supplement will also be charged if exchanging to a higher priced performance. Any difference in ticket price will not be refunded.
Thank you Melbourne Theatre Company is a department of the University of Melbourne.
Melbourne Theatre Company is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body, and by the State Government of Victoria through Arts Victoria.
MAJOR PARTNERS
CAST PARTNERS
PROGRAMME PARTNER
LIGHTING PARTNER
STYLE PARTNER
COFFEE PARTNER
TECHNOLOGY PARTNER
HEALTH PARTNER
ENTERTAINMENT PTY LTD
ANNUAL PARTNERS
PHILANTHROPIC TRUSTS AND FOUNDATIONS
The Joan and Peter Clemenger Trust The Cybec Foundation The Michael and Andrew Buxton Foundation The Myer Foundation Tattersalls Foundation
Sidney Myer Fund (Geoffrey Cohen AM Scholarship) Marshall Day Acoustics (Denis Irving Scholarship)
MTC is a member of Live Performance Australia and the Australian Major Performing Arts Group.
Details in this brochure are correct at the time of publication. MTC reserves the right to add, withdraw and substitute artists and vary the program should the need arise. Editors: Simon Phillips, Vanessa Rowsthorn. Concept: DDB Advertising. Art Direction: Lydia Baic. Design: Helena Turinski, Coby Hallas. Copy: Paul Galloway. Photoshoot Co-ordination: Lisa Scicluna, Martina Murray. Photography: Earl Carter, Marcel Aucar, Fraser Marsden, Michael Corridore, Mike Newling, Jim Lee.
Subscriptions enquiries PO Box 918, South Melbourne VIC 3205 Phone: 03 8688 0800 Email: mtcticketing@mtc.com.au
General enquirIes 252 Sturt Street, Southbank VIC 3006 Phone: 03 8688 0900 Email: info@mtc.com.au
mtc.com.au