TRIPLE X program by Queensland Theatre

triple x BY GLACE CHASE DIRECTED BY PAIGE RATTRAY

Queensland Theatre would like to acknowledge the Jagera and Turrbal people who are the Traditional Custodians of this land. We pay our respects to their Elders both past and present, and to all Aboriginal and Torres Strait Islander peoples.

QUEENSLAND THEATRE IS ASSISTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL, ITS ARTS FUNDING AND ADVISORY BODY. QUEENSLAND THEATRE IS SUPPORTED BY THE QUEENSLAND GOVERNMENT THROUGH ARTS QUEENSLAND.

Glace Chase

I wrote this a year ago for the 2020 Season Triple X program. Lee Lewis, Artistic Director

“The history of Australian theatre is filled with artists leaving home and venturing overseas to learn, to grow and to build careers and lives in other countries. Whenever they return it is a joy to welcome them back on to our stages and make sure they know that no matter how far they travel, they will always have a home in the Australian storytelling family. This is especially true of our Australian playwrights. There are many living around the world today writing plays that may tell stories of other places but will always have a deeply Australian voice. We cannot lose the voices of these writers to other lands. And so we must produce their plays! And in this way, we follow them on their adventures. Glace Chase is an extraordinarily talented playwright who now makes her home in NYC, but who will always be a great Australian voice. Beyond the comedy, beyond the drama, this play, Triple X is an act of generosity sharing with us a perspective on the world that is new, raw, challenging and insightful. I am always grateful when playwrights create a window into lives and worlds we cannot live ourselves. And Glace is definitely doing that. By putting herself in the centre of the play, she is ensuring we will not look away. When a playwright’s voice is strong it attracts powerful partners, so the teaming of Glace with Paige Rattray should come as no surprise. One of Australia’s great new-work directors, it is a real pleasure to see her bringing Glace’s vision to life for the first time on the planet here in Brisbane.

That is the magic of new plays — we get to be the very first audience for these words. The play will take its first steps with us as its first audience then it will travel down to Sydney for a season with our partners at Sydney Theatre Company then hopefully it will have a life in the future around the world. But these first steps would not have been possible without the generous support of our partners. New plays need the support of the courageous and the brave, people and companies and governments who believe in Australian originality. We thank them all as we thank you for joining us tonight on the great adventure that is Triple X.” All of that still rings true to me now in 2021, but it is seen through the lens of a year where we couldn’t come together as a community. Triple X is all the more precious to us as a production that has survived shutdown. Glace is all the more precious to us for having survived losing her home in New York. The continued commitment of Suncorp and King & Wood Mallesons to making sure this important work reaches you is amazing. They are now joined by Carter Newell Lawyers, proving that there is a growing number of companies in the world willing to live their mission statements of building a more inclusive Australia. Thank you all for sticking with us through this tough year and importantly for sticking with Triple X. We’re back! Lee 3

triple x BY GLACE CHASE

NYC

Avocado Oil

Drag Queens

DIRECTED BY PAIGE RATTRAY

True love in the 21st century. Scotty has it all: a multimilliondollar loft in downtown Manhattan, a high-flying Wall Street job and he’s about to marry the perfect fiancée, who also happens to be loaded. But when he meets trans performance artist Dexie, he discovers he wants something more. A friend? A confidante? A lover? When the secret of their affair gets out, it’s sure to shock not only his dude-bro Jase, his highly-strung mother Deb and his lesbian activist sister Claire, but also a theatre audience strapped in for the ride of their lives.

WORLD PREMIERE

From the wickedly funny pen of Australian-born, New Yorkbased playwright, comedienne and performer Glace Chase, this play is hilarious, honest and an emotionally affecting look at entitlement, hypocrisy and the realities of love. And it features one of the most eye-popping sex scenes in recent theatre history. It’s all a bit Triple X.

‘You’ve not really done this before, have you Scotty?’ – Dexie

A SYDNEY THEATRE

PRODUCTION

COMPANY CO-PRODUCTION

PARTNER

CREATIVES Writer Glace Chase Director Paige Rattray Designer Renée Mulder Lighting Designer Ben Hughes Composer and Sound Designer Kelly Ryall Intimacy and Fight Director Nigel Poulton Voice and Text Coach Charmian Gradwell CAST Dexie Glace Chase Scotty Josh McConville Deborah Christen O’Leary Claire Contessa Treffone Jase Elijah Williams

6 MAR – 1 APR BILLE BROWN THEATRE LOCATION Bille Brown Theatre 78 Montague Road, South Brisbane DURATION 2 hours and 30 minutes, including a 20 minute interval

WARNINGS This play contains blackouts and the use of herbal cigarettes. Triple X also contains frequent strong language, nudity, adult themes including domestic violence and references to suicide, drug use, sexual references and sex scenes. We understand the themes may be triggering for some transgender and gender diverse people. If you have any concerns about the content of the play, we encourage you to contact our Box Office. If you or someone you know needs information or support, these organisations are there to help: Beyond Blue 1300 22 4636 Lifeline 13 11 14 Headspace 03 9027 0100 The use of photographic or recording equipment is not permitted inside the theatre.

Glace Chase

This play has been a long time in the making. Paige Rattray Director

I first met Glace 10 years ago, while we were both doing work at Griffin Theatre Company. Because of her wit, brilliant writing and enigmatic soul, I was immediately drawn to her and knew straight away that I wanted to work with her. But back then I was a baby director and she was too established. In the intervening years my directorial practice has developed and, despite Glace moving to New York City (devastating), I held on to this desire, knowing, when the time was right, we would finally be able to work together.

Then a few years ago, I was heading to New York and I used the opportunity to organise this long-desired catch up. We met at Monster Bar, a pioneering gay bar just across the park from Stonewall (the unofficial birthplace of the American gay rights movement), and reconnected. Over some particularly lethal frozen margaritas, Glace regaled me with war stories, each more outrageous and compelling than the last. At one point, after a particularly hilarious story, I said to Glace, “there’s a play in that”. There was some resistance, Glace had given up on writing and she wasn’t keen to go back to it. But after a few more margaritas and a reading session at Glace's apartment the next day in which we went through all her old plays, the journey toward Triple X began. And thank God it did because this play is fantastic; moving, hilarious and very finely and beautifully constructed. I see Glace’s work as part of a contemporary movement, including people like Branden JacobsJenkins, that takes the experiences of underrepresented peoples and new

Paige Rattray

ideas about community and equality and places them within traditional theatrical structures. In the case of Jacobs-Jenkins it’s the experiences of African Americans, in the case of Glace it’s life as a trans woman. In many ways, Triple X is a conventional well-made play, complete with secrets, lies and forbidden love. But stories like Dexie’s so often go untold. Sharing a story like this, one that is in part informed by her own life, requires a great deal of bravery on Glace’s part. In hindsight, this might be the reason she was initially resistant to write it, because it would require a great deal of vulnerability and emotional energy. It’s also the reason that it’s so vital that a play like Triple X gets staged. There can be no doubt that Triple X has challenging elements, and not just for those people who are unfamiliar with queer politics. Because Glace’s writing is so real, so sharp, it reveals to all of us the deep complexities of what it means to be human and part of a community in the 21st century.

To this end, I think it's important to remember that Triple X isn’t just one couple’s story, though it is that. The play is also a depiction of all of us and the stories we tell: the facades we present to the world to get by and the lies we tell ourselves in order to make life easier to navigate. I would like to take this opportunity to thank some people who have been integral to the making of this production. As some of you will know we were in preview performances when we were shut down due to COVID-19. Remounting the show a year later meant that some cast members were unable to return. Akos Armont, Meyne Wyatt and Kimberley Hodgson. These three along with our current cast have had an immeasurable impact on the story you see in front of you. Thank you for your brilliance, time and kindness. You are all and forever will be, part of the DNA of Triple X. Paige

I’m not a fan of writer’s notes. I feel like I’m meant to be “significant” and “explain the work”. But I think the work should speak for itself and you can decide if it’s significant or not. Glace Chase Playwright

So, here’s some random observations instead:

•

Triple X is mostly true. I had to tweak, condense and combine some stuff for “drama”. But essentially, it’s true.

•

Writing it was a story in itself. I’ll tell it at some point. Maybe.

•

The COVID cancellation last year, whilst we were in previews no less, was... a lot. I said at the time — “Hey I’m trans, I’m used to disappointment” — but… remounting it now in this new world is a whole new level of terrifying. And the show has always been a raw nerve. I really hope it’s still relevant.

•

We kept it set pre-COVID ‘cos, we’re all bloody tired of bloody COVID!!!

•

Dexie is me. With a few crucial differences. But yeah, she’s pretty much me.

NYC 8

Avocado Oil

Drag Queens

•

The story felt like it needed to be told. I really didn’t want to. But I could see that if anyone was going to write it then it should be me: I knew what it was, why it happened and most importantly how to actually pull it off technically (all those long ago won, now discarded, playwriting awards...) but I really didn’t want to.

• •

A Modern American Love Story.

•

When I write I often type ‘xxx’ as a placeholder when I can’t think of a word, so as not to get in the way of my flow. The initial pitch had, as its title, xxx. I gasped. xxx. Triple X. Killer title. And it’s so the play.

•

Christen and Contessa have been the determined bedrock of this remount and its very, very appreciated.

•

Secrets and Lies. Secrets and Lies.

Josh is super fun to play tennis with.

•

I’d really love to do a TED talk on trans-amorous attraction. Someone please make this happen.

•

Only I’d be stupid enough to write a play that is, in part, about toxic masculinity, but is also sympathetic to “toxic men”. As is constantly pointed out right now, toxic masculinity is bad (duh)! But there’s something deeper about why it occurs that I felt should be explored. (Or, I did it ‘cos I‘m a ho for men’s attention, and really listening to them gets it. Probably the latter.)

•

Most of the most heartfelt lines are taken verbatim from real life. They’ve been said to or by me.

•

A big profound from the bottom of my heart thank you to Akos Armont and his hard work as last year’s Scotty. Bloody injuries! You were and are a gentleman!

•

Triple X doesn’t pass the Bechdel Test. I find that mortifying.

•

I’ve never acted professionally before. And it’s at two of the biggest theatre companies in Australia no less. Kinda hilarious. I’ll probably suck but I’m very grateful.

•

If the play were to ever have a sequel I don’t know what it’d be called. Quadruple X? Double X? Triple XL? Triple XS? I can’t stop kicking it around for fun. I know Scotty and Dexie have more to say…

•

It’s been a hard year for so many us. Hopefully Triple X will transport you somewhere more magical. But tonight I’ll let the play speak for itself.

PS. Thanks first, foremost and most of all to Paigey. She made this happen. Thank you!!! Glace Glace Chase

Christen O’Leary, Josh McConville, Contessa Treffone

Paige Rattray, Elijah Williams

Josh McConville

From the Production Partner At Suncorp, I’ve seen the true value of having a diverse workforce. By providing an inclusive and empowering workplace, every individual is able to thrive and do their best to support our customers and communities. We believe that every person, no matter their background or identity, should be supported to bring their whole selves to work.

It's this commitment to inclusion that has seen us awarded Silver Employee Status as well as Best External Media Campaign at the Australian LGBTI Inclusion Awards. I wish you a great night at the theatre — enjoy the show! Mim Haysom Executive General Manager Suncorp

Bank of the Year, after year, after year. Let us show you why today.

Banking products are issued by Suncorp-Metway Ltd ABN 66 010 831 722 (“Suncorp Bank”).

Costume sketches by Renée Mulder

Glace Chase Playwright/Dexie Glace Chase is a multiple award winning “trans-queen” / performer / writer / comedienne / bon vivant. Described as “delightfully satanic” by Time Out NY, Glace’s work defies easy categorisation and spans disciplines. Glace created the world’s first Drag Queen Tour Guide business – Dream Queen Tours – named “Best Alternative Tour” by the International Travel & Hospitality Awards and she performs nightly across NYC in an array of comedy and storytelling shows. As a playwright Glace has won two Griffin Awards and the Queensland Premier’s Literary Award, and has been shortlisted for almost every playwriting award in Australia. Glace is currently under commission by Sydney Theatre Company for Drag County. Other plays include Whore, A Hoax, Oranges & Lemons, GULL or the lamentable comedie called love (hereto known as the Trannies’ Revenge) and Nobody’s Girl. Her plays have appeared at Griffin Theatre Company, Belvoir St Theatre, La Boite, The Public Theatre NYC and NJ Rep. Random career highlights include: signing NDAs for corporate cruises in the Caribbean and Italy, making an audience member cry at her weekly improv comedy night, one hundred 5 star reviews on Tripadvisor, Bushwig festival, and appearing on the Risk! podcast.

Paige Rattray Director Queensland Theatre: Fangirls (with Belvoir in association with ATYP), Hedda, Black is the New White, Scenes from a Marriage, Switzerland. Other credits: As Director: Sydney Theatre Company: The Deep Blue Sea, The Beauty Queen of Leenane, How To Rule The World, Black is the New White (2017), Australian Graffiti, Power Plays, Boys will be boys; Arthur: Bright World (with Theatreworks), The Sea Project, Return to Earth (with Griffin Independent); The Myth Project: Twin (with MTC NEON), The Mesh (with Red Stitch), The Midlands (with Mudlark), Dirtyland (with The Spare Room), Cut Snake; Griffin Theatre Company: Heartbreak Hotel; Milk Crate Theatre: This House is Mine; ATYP: Out of Place; NIDA: The Lieutenant of Inishmore, Blessed Are The Wild. As Dramaturg: Sydney Theatre Company: The Golden Age. As Assistant Director: Sydney Theatre Company: Speed-the-Plow, Arms and the Man, Battle of Waterloo, Travelling North. Television: As Senior Producer: NITV/Sydney Theatre Company: The Whole Table. Training: NIDA. Positions: Associate Director, Sydney Theatre Company (2018 – current); Associate Artistic Director, Queensland Theatre (2017–18); Richard Wherrett Fellow, Sydney Theatre Company (2015– 16); Co-Founder, Arthur; Resident Director, Griffin Theatre Company (2011); Affiliate Director, Griffin Theatre Company (2010). Awards: Matilda Awards – Best Musical or Cabaret Fangirls, Best Mainstage Production Switzerland; Sydney Theatre Awards – Best Direction of a Mainstage Production The Beauty Queen of Leenane, Best Production of a Mainstage Musical Fangirls; Gloria’s Fellowship recipient; Mike Walsh Fellowship recipient.

Renée Mulder Designer Queensland Theatre: Mouthpiece, Nearer the Gods, Black is the New White, An Octoroon, Rice (with Griffin Theatre Company), Sacre Bleu, Fat Pig. Other credits: Highlights include Sydney Theatre Company: The Beauty Queen of Leenane, Banging Denmark, The Torrents, Black is the New White (2017), Hamlet Prince of Skidmark, Orlando, Battle of Waterloo, Perplex, The Effect, The Long Way Home, Dance Better at Parties, Mrs. Warren’s Profession, The Luck Child, In A Heart Beat, The Splinter, The Bleeding Tree (with Griffin Theatre Company); Melbourne Theatre Company: Home, I’m Darling, Arbus and West; La Boite: As You Like It, Ruben Guthrie, I Love You Bro; Griffin Theatre Company: Prima Facie, Rice, The Bleeding Tree, The Boys, Hoax; Bell Shakespeare: Romeo and Juliet. As Costume Designer: Sydney Theatre Company: Playing Beatie Bow, The Harp In The South Part One and Two, Saint Joan, Top Girls, Chimerica, Endgame, Children of the Sun, Vere (Faith) (with State Theatre Company of South Australia). As Set Designer: Sydney Theatre Company: Edward Gant’s Amazing Feats of Loneliness (with La Boite). Positions: Design Director, Queensland Theatre (2021), National Artistic Team, Queensland Theatre (2016–2017), Resident Designer, Sydney Theatre Company (2012–14). Awards: Renée has won two Sydney Theatre Awards and one Matilda Award.

Ben Hughes Lighting Designer Queensland Theatre: Mouthpiece, Antigone, L’Appartement, Black is the New White, Twelfth Night, Good Muslim Boy (with Malthouse), Scenes from a Marriage, An Octoroon, Noises Off! (with Melbourne Theatre Company), Constellations, Switzerland, Much Ado About Nothing, The Seagull, Happy Days, Grounded, HOME, The Button Event, The Effect (with Sydney Theatre Company), The Mountaintop, Black Diggers (with Sydney Festival), Design for Living, 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu, Let The Sunshine (with Melbourne Theatre Company), Fat Pig, The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Ice Cream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. As Associate Lighting Designer: Toy Symphony, Heroes. As Co-Director/ Designer: Trollop. Other credits: Highlights include Adelaide Festival: Two Feet; Opera Queensland: Don Giovanni; Sydney Theatre Company: Black is the New White (2017), The Danger Ensemble: Let Men Tremble, Caligula, The Wizard of Oz, Sons of Sin, Loco Maricon Amor, The Hamlet Apocalypse; La Boite: Naked and Screaming, The Neighbourhood, From Darkness, The Mathematics of Longing, A Streetcar Named Desire, Straight White Men (with State Theatre Company of South Australia), Snow White (with Opera Queensland & Brisbane Festival), Medea, Samson (with Belvoir), A Doll’s House, Cosi; Australasian Dance Collective: Aftermath, Converge, Mozart Airborne (with Opera Queensland), The Host, Carmen Sweet, Propel; Queensland Ballet: The Masters Series, Flourish, Giselle, A Classical Celebration, ...with Attitude; QPAC/ Red Leap: The Arrival. As Associate Lighting Designer: Elision Ensemble:

The Navigator; Meryl Tankard: The Oracle. Positions: Affiliate Artist, Queensland Theatre (2014, 2011); Resident Lighting Designer, Queensland Theatre (2013); Associate Artistic Director, The Danger Ensemble; Live Performance Committee, Australian Production Design Guild. Awards: Groundling Award – Outstanding Contribution to Lighting Design.

Kelly Ryall Composer and Sound Designer Queensland Theatre: Hedda, Scenes from a Marriage. Other credits: Melbourne Theatre Company: A View from the Bridge, Working with Children, Di and Viv and Rose, Hay Fever, Three Little Words, Double Indemnity, Rupert, Peddling, The Crucible, On the Production of Monsters, Return to Earth, Dead Man’s Cell Phone, God of Carnage, Savage River (with Griffin Theatre Company); Sydney Theatre Company: Boys Will be Boys, The Trial (with Malthouse); Bell Shakespeare: Romeo and Juliet, As You Like It, Phedre, Henry IV, Macbeth, Julius Caesar, The School for Wives, Tartuffe; Malthouse: Brothers Wreck (with State Theatre Company of South Australia), Edward II, The Shadow King, Dance of Death; Griffin Theatre Company: The House on the Lake, Emerald City, The Boys (with Sydney Festival), And No More Shall We Part, The Floating World, Dreams in White; Belvoir: Title and Deed, Kill the Messenger, Cinderella, Nora, Hedda Gabler; Force Majeure: Last Season, You Animal, You; Theatre Works: Animal; Melbourne Festival: The Bacchae (with Fraught Outfit, Dark Mofo). Film: Cherry Season, Eye Contact, Tomorrow, Stasis, Lois, One Night, Finale, Meat, Sandwich. Awards: Green Room Awards – Best Sound Design (Theatre) Animal; Green Room Awards – Best Composition (Independent Theatre) Love Monkey; Green Room Awards – Best Sound/Music (Alternative/ Hybrid Performance) Coop; Green Room Awards – Best Sound Design Arabian Night; Melbourne International Arts Festival Award (2007).

Nigel Poulton Intimacy and Fight Director Queensland Theatre: City of Gold (with Griffin Theatre Company), Scenes from a Marriage, Hydra, Black is the New White, Noises Off! (with Melbourne Theatre Company), Jasper Jones, Much Ado About Nothing, Switzerland, Macbeth, Fractions. Other credits: Sydney Theatre Company: Playing Beatie Bow, Rules for Living, The Deep Blue Sea, Lord of the Flies, The Beauty Queen of Leenane, Cat on a Hot Tin Roof, How to Rule the World, Mary Stuart, Dinner, The Harp in the South Part One and Part Two, The Long Forgotten Dream, Blackie Blackie Brown (with Malthouse), Accidental Death of an Anarchist, The Resistible Rise of Arturo Ui, Saint Joan, Speed the Plow, Three Sisters, Dinner, Muriel’s Wedding The Musical, Black is the New White (2017), A Cheery Soul, The Golden Age, The Present, Switzerland, Macbeth, Noises Off, Cyrano de Bergerac, The Removalists, Romeo and Juliet, The Removalists, Romeo & Juliet (Education); The Australian Ballet: Spartacus; Opera Australia: Faust, Cavalliera Rusticana & Pagliacci, Krol Roger, La Boheme, La Traviata, Carmen, Tosca; Opera Queensland: Tosca; Bell Shakespeare: Hamlet, Much Ado About Nothing, The Miser, Antony and Cleopatra, Richard III, Romeo and Juliet, Othello, A Midsummer Night’s Dream, The Dream, Julius Caesar; La Boite: Romeo and Juliet, Blackrock, Prizefighter, Richard III, Cosi, A Hoax, Julius Ceasar, Hamlet; Belvoir: My Brilliant Career, Cursed, Packer and Sons, Things I Know To Be True, Counting and Cracking, Dance of Death, Sami in Paradise, The Sugar House, A Taste of Honey, An Enemy of the People, Prizefighter; Melbourne Theatre Company: Shakespeare in Love, Three Little Words, Jasper Jones, Hamlet, Queen Lear, Realism, Cyrano de Bergerac. Film: Escape From Spiderhead, Occupation: Rainfall, Pirates of the Caribbean: Salazar’s Revenge, Deadline Gallipoli, The Water Diviner, Winter’s Tale, Vikingdom, Salt, I Am Legend, The Bourne Legacy. Television: Sea Patrol,

The Good Wife, Boardwalk Empire, The Sopranos, 30 Rock, Law & Order: Criminal Intent. Training: Certified Intimacy Director and Intimacy Coordinator, IDC and IDI, advanced training in Theatrical Biomechanics; Certified Fight Director and Teacher, Society of American Fight Directors; Fight Director, Society of Australian Fight Directors; Honorary Fight Director with Fight Directors Canada. Positions: Teaching role, NIDA; Teaching role, AFTRS, Teaching role, ACA, Teaching role, USQ; President, Society of Australian Fight Directors (Past). Awards: Green Room Award – Outstanding Contribution to the Stage.

Charmian Gradwell Voice and Text Coach Queensland Theatre: Black is the New White. Other credits: Sydney Theatre Company: No Pay? No Way!, The Deep Blue Sea, The Beauty Queen of Leenane, Mary Stuart, Accidental Death of an Anarchist, The Harp in the South Part One and Part Two, The Long Forgotten Dream, Saint Joan, Blackie Blackie Brown (with Malthouse Theatre), Still Point Turning, The Resistible Rise of Arturo Ui, Lethal Indifference, Top Girls, Dinner, The Father (with Melbourne Theatre Company), Black is the New White (2017), Talk, Chimerica, A Flea in Her Ear, All My Sons, Disgraced, Hay Fever, Arcadia, The Golden Age, King Lear, The Present, Suddenly Last Summer, After Dinner, The Long Way Home, Travelling North, Machinal, Waiting for Godot, Romeo and Juliet, Rosencrantz and Guildenstern are Dead, Storm Boy, The Maids, Mrs Warren’s Profession, Sex with Strangers, Under Milk Wood, Gross und Klein, Bloodland, In the Next Room (or The Vibrator Play), Uncle Vanya, A Streetcar Named Desire, The War of the Roses, Tot Mom; Royal Shakespeare Company: The Taming of the Shrew, Julius Caesar, The Tempest, The Canterbury Tales (tour), A Winter’s Tale, Pericles, Days of Significance, Macbeth, The Penelopiad, Noughts and Crosses, The Comedies London Season, Twelfth Night, A Midsummer Night’s Dream, The London Gunpowder

Season, Romeo and Juliet, Comedy of Errors. As Dialect Coach: The Lion King, Mary Poppins, The Tap Brothers, Xanadu the Musical. As Director: Sydney Theatre Company: The Comedy of Errors. As Director/ Trainer: A year with Space 2000 in Kaduna, Nigeria. Film: As Dialect Coach: Peter Rabbit, Thor: Ragnarok, Pirates of the Caribbean: Dead Men Tell No Tales, Reaching for the Moon, Truth, Ginger & Rosa. Training: Central School of Speech and Drama, Bristol Old Vic Theatre School. Positions: Voice Trainer, London School of Puppetry; Member of London Shakespeare Workout.

Kat O’Halloran Stage Manager Queensland Theatre: As Stage Manager: Hydra, Hedda, The 39 Steps, Rice (with Griffin Theatre Company), Once in Royal David’s City (with Black Swan State Theatre Company), Switzerland, Happy Days, Treasure Island, An Oak Tree, Hurry Up and Wait. As Deputy Stage Manager: Twelfth Night. As Assistant Stage Manager: Scenes from a Marriage, An Octoroon, Tartuffe (with Black Swan State Theatre Company), Quartet, The Seagull, God Of Carnage, Rabbit Hole. Other credits: As Stage Manager: Opera Australia: Madame Butterfly (regional tour); Creative Regions: It All Begins With Love. As Event Coordinator: Sydney Festival. As Assistant Stage Manager: SpoonTree Productions: The Man The Sea Saw; Sydney Festival: Domain Concert Series; Queensland Ballet. Training: Bachelor of Fine Arts (Technical Production), QUT. Positions: Technical Coordinator, Brisbane Festival.

Mia McGavin Assistant Stage Manager Queensland Theatre: As Secondment: Hydra. Other credits: As Secondment: La Boite: From Darkness. As Production Stage Manager: QUT: Standing By (2019), 3 Winters. As Assistant Stage Manager: QUT: The Season at Sarsaparilla; Ballet Theatre Queensland: The Little Mermaid. As Vison Designer: QUT: Spike Heels. As Costume Designer: QUT: Collab Works. As Costume Assistant: QUT: Pygmalion, Breaking the Code. As Mechanist: Creative Generation State Schools on Stage. Training: Bachelor of Fine Arts (Technical Production), QUT.

Elijah Williams

Josh McConville, Glace Chase

Elijah Williams, Contessa Treffone

Christen O’Leary

Josh McConville Scotty

Christen O’Leary Deborah

Contessa Treffone Claire

Queensland Theatre: Debut. Other credits: Sydney Theatre Company: Cat on a Hot Tin Roof, Cloud 9, A Midsummer Night’s Dream, All My Sons, Hay Fever, Arcadia, After Dinner, Cyrano De Bergerac, Mojo, Noises Off, Romeo & Juliet, Gross Und Klein, In the Next Room, Loot, Gallipoli; Belvoir: Packer & Sons, A Taste of Honey, The Sugar House; Melbourne Theatre Company: Golden Shield, The Sublime; Bell Shakespeare: Hamlet, King Lear; Griffin Theatre Company: The Boys, Strange Attractor, Dealing with Claire, The Call; Black Swan State Theatre Company: Death of a Salesman; Revolver: Moving Parts. Film: Untitled Elvis Presley Project, Lone Wolf, Fantasy Island, Top End Wedding, Standing Up For Sunny, M4M, Escape & Evasion, The Merger, 1%, War Machine, Joe Cinque’s Consolation, Down Under, The Infinite Man, The Turning “Commission”. Television: Mr Inbetween 2, Home & Away, Cleverman, The Killing Field, Redfern Now, Wild Boys, Underbelly: A Tale of Two Cities. Training: Bachelor of Dramatic Arts (Acting), NIDA. Awards: AACTA Award Nomination – Best Supporting Actor 1%; Sydney Theatre Awards – Best Male Actor in a Leading Role in a Mainstage Production The Boys, Best Actor in a Supporting Role in a Mainstage Production Noises Off, Best Newcomer The Call & Strange Attractor.

Queensland Theatre: Mouthpiece, Antigone, Twelfth Night, Scenes from a Marriage, Much Ado About Nothing, Ladies in Black, The Seagull, Gloria, End of the Rainbow, Bombshells, The Marriage of Figaro, The Game of Love and Chance, The Crucible, Seven Little Australians, The Cherry Orchard, A Month in the Country, Gilgamesh, The Woman Before, The Sunshine Club. Other credits: La Boite: Blackrock, Medea, A Midsummer Night’s Dream; Melbourne Theatre Company: Ruby Moon, Don Juan in Soho, The 25th Annual Putnam County Spelling Bee, The World’s Wife, Urinetown The Musical, Hinterland, Laughter on the 23rd Floor, Man The Balloon, Company, The Comedy of Errors, A Little Night Music, The Rover, Assassins, Cosi, Wednesday to Come, Gift of Gorgon; The Production Company: The Boy From Oz, High Society, Hello Dolly; Malthouse Theatre: Ruby Moon, Tear From a Glass Eye, Goodbye Vaudeville Charlie Mudd; Sydney Theatre Company: The 25th Annual Putnam County Spelling Bee, Urinetown The Musical, Threepenny Opera. Associate Director: Cinderella (QPAC & Myths Made Here). Film: Australia Day, Pinch Me. Television: Hoges, Wentworth, Rush, Neighbours, Blue Heelers, MDA, Worst Best Friends, Crashburn, Seachange. Training: Diploma of Arts (Creative), USQ. Awards: Helpmann Award – Best Female Actor in a Supporting Role in a Musical The 25th Annual Putnam County Spelling Bee; Gold Matilda Award – End of the Rainbow; Green Room Award – Best Female Actor in a Featured Role Company, A Little Night Music.

Queensland Theatre: Debut. Other credits: Sydney Theatre Company: Deep Blue Sea, Lord of the Flies, The Harp in the South Part One and Part Two, Top Girls, Three Sisters, All My Sons, Children of the Sun; Griffin Theatre Company: Blueberry Play; Ensemble Theatre: Fully Committed, The Kitchen Sink; Darlinghurst Theatre Company: The Mystery of Love and Sex, This House is Mine; Redline Productions: There Will Be a Climax, Tongue-Tied; Sugary Rum Productions: Anatomy of a Suicide; Freefall Productions: White Rabbit/ Red Rabbit; KXT: Tiny Remarkable Bramble (with Invisible Circus); Bontom Productions: Unfinished Works; Stories Like These/Griffin Independent: minusonesister; USA-UM/Malthouse Theatre: Lord of the Flies. Film: Here Out West, June Again. Training: Bachelor of Dramatic Arts (Acting), NIDA. Awards: Sydney Theatre Award nomination – Best Female Actor in a Supporting Role Harp in the South Part One and Part Two. Contessa is a proud member of Equity.

Elijah Williams Jase Queensland Theatre: Debut. Other credits: Hayes Theatre Company: Caroline or Changes; Green Door Theatre Company: Cocaine; Outhouse Theatre Co.: The Rolling Stone; bAKEHOUSE: Black Jesus; Sport for Jove: Tempest, A Midsummer Night’s Dream, Macbeth; NIDA/TRS Bondi: A Land Beyond The River. Television: Between Two Worlds, The Unlisted, Wolf Creek, Home & Away, Kiki and Kitty, The Principal, Bondi Slayer. Awards: Sydney Theatre Awards – Best Male Actor in a Leading Role The Rolling Stone.

Taming of the Shrew BY WILLIAM SHAKESPEARE DIRECTED BY DAMIEN RYAN

8 MAY – 5 JUN

prima facie BY SUZIE MILLER DIRECTED BY LEE LEWIS

14 JUL – 7 AUG

RETURN TO THE DIRT BY STEVE PIRIE DIRECTED BY LEE LEWIS

16 OCT – 6 NOV

Loved Triple X? Make 2021 a year filled with theatre and treat yourself to a Season Ticket package. Put your Triple X ticket towards a 5 or 3 play package upgrade and gain all the savings and benefits our Season Ticket holders enjoy. 18

WHITE PEARL BY ANCHULI FELICIA KING DIRECTED BY PRISCILLA JACKMAN

17 JUN – 10 JUL TRENT DALTON'S

boy swallows universe ADAPTED FOR THE STAGE BY TIM MCGARRY DIRECTED BY SAM STRONG

30 AUG – 18 SEP

robyn archer: an australian songbook DEVISED AND PERFORMED BY ROBYN ARCHER

20 NOV – 4 DEC Play packages

5 plays

3 plays

Save up to 28% off*

Save up to 20% off*

*Single ticket prices

Book online at queenslandtheatre.com.au/upgrade

Thank you to our donors Queensland Theatre wishes to extend a heartfelt thanks to all our donors. Each gift, large and small, helps us make great theatre.

QUEENSLAND THEATRE VISIONARIES Rainmakers Tim Fairfax AC & Gina Fairfax

Ian & Cass George

The Jelley Family Foundation

Liz Pidgeon & Graeme Wikman

Elizabeth Jameson AM & Abbe Anderson

Pamela Marx The Mather Foundation

Cathryn Mittelheuser AM

Barbara Bedwell John & Lynnly Chalk The Frazer Family Foundation

John & Gay Hull Colin & Noela Kratzing Bruce & Sue Shepherd Dr Marie Siganto AM

Trevor St. Baker AO & Judith St. Baker David Williamson AO & Kristin Williamson

Dr Geoffrey Hirst AM & Dr Sally Wilde Kim & Michael Hodge David & Katrina King Dr Joan M Lawrence AM Stephen & Terry Leach

Andrew & Kate Lister David & Jennifer Lynas The Nicklin Family Greg & Wendy O'Meara Nigel & Liz Prior Stack Family Foundation

William Glasson AO & Claire Glasson Justus & Tamara Homburg Geoff & Michele James Amanda Jolly & Peter Knights

Susan Learmonth & Bernard Curran David & Erica Lee Charles & Catherine Miller Andrea Moor Karl & Louise Morris

Debra & Patrick Mullins John Reid AO & Lynn Rainbow-Reid AM

Louise M Gourlay OAM John Graham & Craig Syphers Sue & Mike Gowan John & Lois Griffin Alexandra Grove & Peter Dawson Sophia Hall Andrew Harding Prof Lawrence Hirst & Mrs Jill Osborne Kevin & Joanne Holyoak Barbara Houlihan Marc James Tempe Keune Fleur Kingham Karen & Peter Lane Fred & Margaret Leditschke Lee Lewis & Brett Boardman Barbara Lloyd John & Janice Logan

Katrina Low & Ilan Klevansky Marina Marangos In memory of Jann McCabe Bill McCarthy John & Julienne McKenna Mark Menhinnitt Richard & Denise Morton R & B Murray Kartini Oei Shay O'Hara-Smith Leanne O'Shea & Peter Gilroy Kim Parascos Joanna Peters Katharine Philp G. Pincus Blayne & Helen Pitts Tina Previtera George & Jan Psaltis Catherine Quinn

Angela Ramsay Tim & Kym Reid John Richardson & Kirsty Taylor Crispin Scott Dr Josephine Sundin Courtney Talbot Nick & Barbara Tate Damien Thomson & Glenise C. Berry Cornelia Van Zyl & Ian Reid Peter G Williams Margaret Williams Suzanne & Bo Williams Dr Catherine Yelland Ian Yeo & Sylvia Alexander Tony & Linda Young

Artistic Director's Circle 1 Anonymous Doug Hall Foundation Leaders 2 Anonymous Australian Communities Foundation - Keith & Jeannette Ince Fund Benefactors 1 Anonymous Roslyn Atkinson AO & Richard Fotheringham AM Christopher & Margot Blue Sue Brown & Lisa Worner

Michael & Anne-Maree Byrne Dr John H Casey Barbara Duhig Ian & Ruth Gough Dr Anita Green

PCF

Collaborators 3 Anonymous Tracey Barker Andrew & Trudi Bofinger Bruce & Helen Cowley Rachel Crowley Alan Galwey

PCF

Patrons 3 Anonymous J M Alroe Michael & Anne Back Noela Bartlett Jennifer Batts Virginia Bishop Robert Bond Sarah Bradley Lisa & William Bruce Phillip Carruthers & Sharni Cockburn Rodd & Wendy Chignell Nic Christodoulou Ross & Tina Claxton Zoë Connolly Fabienne Cooke Sheryl Cornack Kerry & Greg Cowderoy Andrew & Leonie Douglas H G Fryberg Dr Sara Gollschewski PCF

PCF

SUPPORTING CAST 9 Anonymous Philip Ainsworth Anne & Peter Allen Philip Anthony & Kalina Pyra Geoffrey Beames Charles Beatty John Bews & Bernadette Wright M. Davidson Bob Cleland Debra Cunningham Russell & Joan Dart Suzanne & Peter Davies Christopher Dean Amanda Dines & Graham Hook Dr Paul Eliadis Gregory & Michele Endicott Michael Farrington Sheila Follent Lisa Forbes Sandra & Malcolm Gay Hugh & Mary Gehrmann Claire Grebert Catherine & Nanda Gulhane Daryl & Trish Hanly David Hardidge Mark & Jaine Holmes Michael Keating Susan Kiefel Mark Leary

Bill & Maria Lindsay Dr James Mackean Gerard McDonald Georgia Miles Philip & Fran Morrison Marianne Mortimore Jim Murphy PSM Denise O'Boyle Tanya Oliver & Peter Leslie Diane & Robert Parcell Don & Isobel Perry-Keene Glenda Powell Kathryn Panaretto Libby & Tony Roberts Desleigh Rose Lyn & Joanne Scott Peter & Linda Sheedy Jodie Siganto Nicholas Smith & Maureen Owen Michael Stewart Lucinda Swindle Kevin Vedelago & Karen Renton Jacqui Walters Melinda Warland Richard Whittington OAM Peter & Mary Wilson Sue Wilson & David Colahan Tracey Wood Gail Wright

TRUST AND FOUNDATION PARTNERS Australian Communities Foundation - Davie Family Fund

LANDMARK PRODUCTIONS FUND Thank you to the Visionaries who generously support our Landmark Productions Fund, cementing Queensland Theatre as a national leader in the development and staging of productions of significant scale. In 2021, Trent Dalton’s Boy Swallows Universe, adapted for the stage by Tim McGarry, will amaze audiences as it catapults the blockbuster Brisbane novel into real life.

Australian Communities Foundation - Keith & Jeannette Ince Fund Copyright Agency Cultural Fund Tim Fairfax Family Foundation William Angliss (Queensland) Charitable Fund

Tim Fairfax AC & Gina Fairfax Cass & Ian George Elizabeth Jameson AM & Abbe Anderson

BEQUESTORS Realised Bequests Peggy Given

Notified Bequests 1 Anonymous

The Mather Foundation Liz Pidgeon & Graeme Wikman Trevor St. Baker AO & Judith St. Baker

Acknowledging Visionaries who individually support special Queensland Theatre funds: Landmark Productions Fund PCF

Play Commissioning Fund

Annual donations over $500 are acknowledged in play programs for 12 months from the date of donation. Current as at February 2021

Together we are making our ambitions a reality For more information about our giving programs, please contact Zoë Connolly, Director of Development, on 07 3010 7602 or zconnolly@queenslandtheatre.com.au

CHAMPIONS OF CHANGE Thank you to all our corporate partners and donors who have made it possible for Triple X to enter our hearts and open our minds. Fearless artists like Glace Chase cast the spotlight on new and different stories, reflecting our changing community and deepening our understanding of each other. We acknowledge Production Partner Suncorp, and Corporate Allies King & Wood Mallesons and Carter Newell Lawyers for publicly and financially standing behind this story.

You are champions!

Partners make it possible Principal Partner

Production Partners

Program Partner

Trust and Foundation Partners

Company Partners

Corporate Ally

Season Partners

Government Partners

PATRON His Excellency the Honourable Paul de Jersey AC, Governor of Queensland MEMBERS OF THE BOARD Elizabeth Jameson (Chair) Rachel Crowley (Deputy Chair) Tracey Barker Susan Learmonth Dr Andrea Moor David Williamson AO ARTISTIC DIRECTOR Lee Lewis EXECUTIVE DIRECTOR Amanda Jolly ASSOCIATE ARTIST Isaac Drandic ASSOCIATE ARTIST Daniel Evans DESIGN DIRECTOR Renée Mulder EXECUTIVE ASSISTANT Donna Maher DEVELOPMENT DIRECTOR OF DEVELOPMENT Zoë Connolly CORPORATE PARTNERSHIPS MANAGER Merryn Csincsi PHILANTHROPY COORDINATOR Georgia Lynas DEVELOPMENT COORDINATOR Hannah Barr

MARKETING AND TICKETING DIRECTOR OF MARKETING Laura Oliver DIRECTOR OF MARKETING (ACTING) Amanda Lawson SENIOR MARKETING COORDINATOR Maneka Singh MARKETING COORDINATOR (DIGITAL ENGAGEMENT) Cinnamon Smith MARKETING ASSISTANT (DIGITAL ENGAGEMENT) Thomas Manton–Williams GRAPHIC DESIGNER Aleesha Cuffe DATABASE TRAINER (ACTING) Yanni Dubler TICKETING SUPERVISOR Madison Bell TICKETING OFFICER Rosie Hazell BOX OFFICE Alana Dunn, Ashley Webster SEASON TICKETING Matthew Filkins, Ngaire Lock, Daniel Sinclair

PRODUCTION DIRECTOR, TECHNICAL AND PRODUCTION Toni Glynn TECHNICAL MANAGER Daniel Maddison TECHNICAL COORDINATOR FINANCE AND OPERATIONS Lachlan Cross CHIEF FINANCIAL OFFICER HEAD OF WORKSHOP Valerie Tam Peter Sands ASSISTANT ACCOUNTANT COMPANY CARPENTER / Georgia Knight HEAD MECHANIST FINANCE OFFICER John Pierce Sarra Lamb FACILITIES AND OPERATIONS MANAGER COSTUME SUPERVISOR Nathalie Ryner Shaun Kelly WARDROBE COORDINATOR VENUE AND BAR MANAGER Barbara Kerr Kimberley Mogg

PROGRAMMING ARTISTIC COORDINATOR Samantha French PRODUCER, NEW WORK Shari Irwin ARTISTIC ADMINISTRATOR Zena O’Shannessy EDUCATION, YOUTH AND REGIONAL ENGAGEMENT DIRECTOR, EDUCATION, YOUTH AND REGIONAL ENGAGEMENT Laurel Collins EDUCATION COORDINATOR Emma Funnell PROJECT OFFICER Alana Dunn INDIGENOUS REFERENCE GROUP Nathan Jarro (Chair), Dr Valerie Cooms, Isaac Drandic, Angelina Hurley FOUNDING DIRECTOR AIan Edwards, AM, MBE (1925–2003) QUEENSLAND THEATRE PRODUCTION STAFF PRODUCTION ELECTRICIAN Ruth Luckins FOH AUDIO ENGINEER Brady Watkins WARDROBE MAINTENANCE Jack Parry DRESSER Anna Hahn TOPSFX ARMOURER Aaron Cassidy SYDNEY THEATRE COMPANY PRODUCTION STAFF PRODUCTION MANAGER Tony Papp HEAD MECHANIST Steve Mason HEAD CARPENTER Nick Horne COSTUME SUPERVISOR Scott Fisher HEAD ELECTRICIAN Josh Neufeld SOUND SUPERVISOR Luke Davis ACKNOWLEDGEMENTS COVER PHOTOGRAPHY David Kelly REHEARSAL AND PRODUCTION PHOTOGRAPHY Brett Boardman Information correct at time of printing

Keep the good conversations going on the trip home! Hosted by our Artistic Director Lee Lewis, Queensland Theatre’s Quality Time podcast turns the house lights up and invites you to get to know the people who helped bring Glace Chase's Triple X to the stage. Available on iTunes, Spotify and anywhere good podcasts can be found.

Proud partners of Queensland Theatre

“It only took me an extra five minutes but made the world of difference to her” With RACQ, you’re more than a customer. You’re a member. For Chris, going the extra mile for members is what makes the RACQ difference. It’s arriving early to an insurance claim assessment so a 97-year-old member can make it to bingo on time. And it’s helping fix a loose lock on her door while he’s there. Being part of the RACQ team is being committed to helping members. Whether it’s for banking, insurance, assistance – even fixing a loose door lock – our purpose is to support our members through good times and bad. It’s what we’ve done for well over a century. And it’s what we’ll continue to do, now and into the future. Membership makes all the difference. To you and our Queensland community. Find out more at racq.com/membership

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Coming soon – tickets selling fast Classic

Comedy

Romance

Taming of the Shrew BY WILLIAM SHAKESPEARE DIRECTED BY DAMIEN RYAN

Welcome to 1920s Italy. Two sisters. One wants to marry, one doesn’t. What could possibly go wrong?

8 MAY – 5 JUN PRODUCTION PARTNER