Boston Marriage Digital Production Program by Queensland Theatre

E E LIV TAG S ON

Queensland Theatre Company presents a Joint Ventures / Lascorp Entertainment / Fractured Limb production

by Geoffrey Atherden

From 18 February Playhouse, QPAC Tickets 136 246 queenslandtheatre.com.au PRODUCTION SPONSOR

Queensland Theatre Company presents

Cast

Helen Cassidy Catherine

24 January â&#x20AC;&#x201C; 15 February 2015 Playhouse, QPAC

Amanda Muggleton Anna

Rachel Gordon Claire

Andrea Moor Director Stephen Curtis Designer Boston Marriage will run for approximately 2 hours including a 20-minute interval.

David Walters

Lighting Designer

Phil Hagstrom

Sound Designer

Melissa Agnew

Dialect Coach

Daniel Anderson

Assistant Lighting Designer

Jodie Roche

Stage Manager

Yanni Dubler

Assistant Stage Manager

Candice Schmidt

Stage Management Secondment (QUT)

Permission granted by ABRAMS ARTISTS AGENCY, 275 Seventh Ave/26th Floor, New York, NY 10001. All inquiries concerning rights to the Play shall be addressed to the above or to literary@abramsart.com

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Recycle this program Cover: Binge Advertising + Design Cover Photography: Aaron Tait

Support Greening QTC and recycle this program after the performance in the recycling bins provided in the foyer. Read the program before the show at queenslandtheatre.com.au 1

Amanda Muggleton

Welcome Wesley Enoch, Artistic Director simply called Brisbane by Matthew Ryan and so much more.

Dear Patron, Supporter and Friend, Hello and welcome back. 2015 is proving to be a bumper year at Queensland Theatre Company and it’s wonderful to share it with our theatre family – you. 2015 is the most ambitious year QTC has seen in over two decades. We will be employing over 100 performers in 2015, opening a new theatre at our home at The GreenHouse and continuing to bring you award winning theatre from around the world and straight from your backyard. TV classics are brought to life on stage with Mother and Son and The Odd Couple. We are presenting a brand new musical by Tim Finn called Ladies in Black, as well as a sweeping historical epic about Brisbane during WWII

We are presenting 14 shows in Brisbane and five shows in regional Australia including shows you may have seen – Kelly (2012), Head Full of Love (2012), Black Diggers (2014) - and shows from 2015, Country Song (June) and, of course, Boston Marriage which goes on to have a six-week tour from the Gold Coast to Mount Isa, Cairns to Mackay. Check out a subscription brochure if you haven’t already taken advantage of the generous discounts on play packages. Tell your friends. David Mamet was once criticised for writing male dominated plays and so he set out to write a witty, charming and naughty play with only female roles. Boston Marriage is that play. Director Andrea Moor brings together a cast of extraordinary women to entertain and delight you with dialogue so sharp it could cut cloth. I have always admired Mamet’s writing for its toughness and unapologetic aggression; think of 3

American Buffalo, Glengarry Glen Ross or Oleanna. But he is also capable of great wit and compassion, like in his film Wag the Dog or Speed-the-Plow. If you get the chance it’s interesting to read his book True and False which advises actors how to perform and his theories on theatre making. He has some amazing insights into how his writing works and what theatre should be. Amanda Muggleton is a luminous presence on our national stage and it’s wonderful to welcome her back to QTC. I think we last saw her on our stages in We Were Dancing but I distinctly remember seeing her as Paulina in A Winter's Tale. Rachel Gordon is a fabulous actor and alongside Helen Cassidy who has some of the best comic timing in the business. You are in for a rollicking night. Strap yourself in for a year of excitement and blockbuster action. Love,

Wesley

"What can the director do? Gently suggest the nature of the scene (a leave-taking, a dismissal, a plea, a reprimand) and block the damn thing, then go outside and smoke a cigarette. Thatâ&#x20AC;&#x2122;s it." David Mamet Theatre. p40 New York, Faber Inc. 2010

L-R: Andrea Moor, Amanda Muggleton

Director's Note Andrea Moor David Mamet has had a profound influence on my three-pronged practice as actor, teacher and director. In 1994, with the assistance of a Marten Bequest, I studied with the New York based Atlantic Theatre Company. Here I learned the acting technique Practical Aesthetics (PA), designed by Mamet and his colleague William H Macy. I was encouraged by the Company to bring the work back to Australia. I co-founded Practical Aesthetics Australia, the Sydney annex of the Atlantic Theatre Company and we brought out the master teachers of the technique, including Karan Kohlhaas, the director of the off-Broadway production of Boston Marriage. Mamet even gave us the Australian premiere rights to Boston Marriage but unfortunately we were unable to raise the funds to do so. My love of this play has endured and I am thrilled that finally our QTC audience will experience Boston Marriage with this very special cast and creative team.

Mamet is best known for his hard-hitting, maledominated Chicago-set contemporary work littered with obscenities. In 1999, Mamet directed the film adaptation of Terence Rattigan’s The Winslow Boy, marking quite a departure from his earlier work. Boston Marriage was soon to follow in the same year. One could say it’s Mamet’s ode to Oscar Wilde. Like Wilde, Mamet is a master of concealing a dark and lustful shadow behind the façade of witty repartee. Both are masters of hilarity. Mamet proves with Boston Marriage how brilliantly he writes for women, providing a flower-bed of niceties that conceals a bawdy quick tongued cynicism. Great frocks, intelligent dialogue, clever put downs and lots of time on stage – an actress’s dream role! My approach to directing this play is heavily influenced by Mamet’s philosophy that all we need is to be found within the text. I have a great belief in the skill of the actor and I find when I clear the way for the actor to discover

the true meaning within each moment of the script, magic is revealed. I come to rehearsal with a map of the possibilities of each scene but not knowing where we will end up, instead trusting that as a team of cast and creatives we will arrive at the right place led by the text. This does make for a slightly nerve wracking start to the process as one needs to maintain an immense amount of trust in the team. But ultimately this approach is liberating and truly collaborative. I see myself less as a director and more as a watchful eye and meeting point within the team. I began this rehearsal process fresh from an immersion in European theatre enabled by another generous bursary, a Churchill Fellowship. I am deeply grateful to those enlightened individuals who bequeath their money to enable artists such as myself to develop our practice. Thank you to those generous folk. Enjoy!

L-R: Rachel Gordon, Helen Cassidy

Glossary of Terms Since the turn of the century, the English language has evolved dramatically. Many words and terms have faded into obscurity with new vocabulary taking its place. This production of Boston Marriage is set in 1906 and the prose reflects this.

Bonne Bouche

Equipage

An appetising item of food, especially something sweet eaten at the end of a meal.

A set of small household articles, such as a tea service.

Bucolic

Étagère A piece of furniture with open shelves for small ornaments.

Ad Libitum

Unceremonious dismissal. Leave-taking.

Towards pleasure. Omissible according to a performer's wishes. Arcturus Of the constellation Boötes is the brightest star in the northern celestial hemisphere. Ancien Regime Political and social system of France prior to the French Revolution. Auger Tool for boring holes in wood. Barrow Mountain, mound — used only in the names of hills in England: a large mound of earth or stones over the remains of the dead: tumulus.

Of shepherds, pastoral, rustic. Congé

Euclidean Exact as in mathematics.

Cooze

Escoffier

(slang, vulgar) Female genitals

(28 October 1846 – 12 February 1935) was a French chef, restaurateur and culinary writer who popularized and updated traditional French cooking methods.

(slang, derogatory) A woman (viewed as an object of sexual desire). Chintz Cotton cloth usually fast printed with patches of different colours and patterns, usually bright.

Fantod Crotchety behaviour; state of alarm or worry. Freebooter

Croesus The king of Lydia from 560 to 547BC until his defeat by the Persians. Croesus was renowned for his wealth — Herodotus and Pausanias noted his gifts preserved at Delphi. Descant To comment at length.

A person, such as a pirate, living from plunder A person, esp an itinerant, who seeks pleasure, wealth, etc, without responsibility.

Geopolitics

Kerseymere

Preceptor

The study of the effects of geography (human and physical) on international politics and international relations.

A fine woollen cloth with a fancy twill weave. Kickshaw

A preceptor is a teacher responsible to uphold a certain law or tradition, a precept.

Fancy dish in cookery; toy; trifle.

Quixotic

Having left my bed and board

Land of Goshen

On separating from his wife the husband would put a public notice in the paper alerting all to the fact that as his wife had ‘left his bed and board’ he was no longer to be held financially responsible for her.

Named in the Bible as the place in Egypt given to the Hebrews by the pharaoh of Joseph (Genesis 45:9 - 10), and the land from which they later left Egypt at the time of the Exodus. It was located in the eastern Delta.

He tempers the wind to the shorn lamb

Lapidary

Here ‘tempers’ means ‘softens, makes less severe’, and ‘shorn’ means ‘with its wool cut off’. The proverb means that God treats the weak with greater kindness than he shows to those better able to look after themselves. In like a Lion, out like a Lamb

Prov. The month of March usually starts with cold, unpleasant weather, but ends mild and pleasant.

An artist or artisan who forms stone, minerals, or gemstones into decorative items such as cabochons, engraved gems, including cameos, and faceted designs. Mercantile Of trade, commercial; trading; mercenary, fond of bargaining. Muff A tube made of fur or other warm material into which the hands are placed for warmth; a woman’s genitals.

Resembling or befitting Don Quixote; extravagantly chivalrous or romantic; visionary, impractical, or impracticable; impulsive and often rashly unpredictable. Rehab the Harlot This may refer to Anna being made respectable through the wealth of her protector, as Rehab the Harlot was made respectable by being loyal to Israel and marrying into a leading family of Israel. Republican (of birds) Social, living in large communities. Reticule Woman’s netted or other bag carried or worn to serve purpose of pocket.

Ricinus

Tribad Paramour

African coffee tree, castor, castor bean, castor bean plant, castor oil bush, castor oil plant, castor oil tree, maple weed, Palma Christi, wonder tree. Considered a pest in Queensland.

Lesbian lover (especially a lover of a person who is married to someone else).

Rodomontade Talk boastfully. Spiv A flashy, slick operator who makes a living more from speculation or profiteering than from actual work. Supererogatory Going beyond the requirements of duty; greater than that required or needed; superfluous.

Verity The state or quality of being true; accordance with fact or reality: to question the verity of a statement; something that is true, as a principle, belief, idea, or statement: the eternal verities. Visigoth Branches of the nomadic tribes of Germanic peoples referred to collectively as the Goths.

The Orkney Islands Also known as the Orkney Islands, is an archipelago in northern Scotland, 16 kilometres north of the coast of Caithness. Orkney comprises approximately 70 islands, of which 20 are inhabited.

L-R: Helen Cassidy, Amanda Muggleton and Rachel Gordon

Designer's Note Stephen Curtis

Many months out from Opening Night the director and designer sit down together for the first time to lay out the conceptual groundwork for the production. It is the first step in the process of getting the play off the page and onto the stage. That first conversation can start anywhere. Remarkably, in more than 30 years of designing I still cannot predict where that first conversation will start. Inevitably, those first responses are based on our initial gut reactions - a kind of instinctive understanding of the script without much prior knowledge or preconceived notions - similar to you, our audience coming to the play not really knowing what to expect. Even if the conceptual and design journey heads off in other, or even opposite directions, that first conversation remains as a pivotal "X" on the map - a constant point of reference.

When Andrea and I met for the first time midway through last year to start work on Boston Marriage I was in rehearsals for Black Diggers (it is difficult to imagine two more different plays, but this kind of schizophrenic creative agenda is not unusual). We met over dinner - Andrea was cooking while we talked about the play. You will need to imagine the conversation punctuated by sizzling oil, salmon hitting the pan and the top and tailing of green beans. Where did our first conversation begin? Given the play's extreme heightened language and brittle comedy you could perhaps expect that we would start talking about the extraordinary style of Mamet's script, and we did eventually get on to that. But no, our first conversation started with sex. At every turn, almost every line is able to be read as some kind of sexual allusion. Some of these allusions are bafflingly obscure, leaving us feeling like Mamet's intellectual toys, while many others are

really, really funny. My conversation with Andrea soon segued from sex to passion, and from passion to love, and love soon became the centre of our thinking. Out of this train of thought came our focus on the constant tension between restraint and passion - the way the artifice of period, language and mannered behaviour are constantly used as a foil to Anna and Claire's true feelings, like the lyrebird's elaborate courtship ritual - a device for a very certain effect. What has any of this got to do with the design of the production you may wonder? Well, this is how the director and designer start together, discovering the play as the audience does, looking for the central idea around which the production will be built. As a designer I was already looking for opportunities to express the restraint/ passion dynamic visually. The formality of Robert Adam-inspired classical revival architecture seemed to provide a perfect framework of

restrained formality, order and timeless beauty - we visualised Anna's boudoir as a Classical temple to love. And in the costuming the idea took shape too: Anna as a kind of classical goddess-diva and Claire as the perfect Edwardian ice-maiden armoured for her showdown with Anna. Within this framework we now could begin the process of tearing away the veneer of order and respectability and start to "mess things up", to get our cast physically and erotically engaged: Claire's armour is literally stripped away layer by layer, Anna throws good taste to the wind and dresses as a tawdry gypsy and the room gradually gets more and more chaotic ...

Touring to nine regional centres in 2015 Queensland Theatre Company On Tour It is Queensland Theatre Company’s mission to engage and inspire audiences throughout Queensland, Australia and our near international neighbours. For nearly 40 years we’ve toured exciting and innovative productions and workshops to regional schools and venues. In 2015, we’re extending this commitment, with five productions touring to more than 50 regional and metropolitan venues across Queensland and throughout Australia. QTC is privileged to bring great theatre to more audiences than ever before as part of our most ambitious season yet.

Please contact venues for ticket sales and further information. Find out more at queenslandtheatre.com.au or call 1800 355 528. 14

QTC’s Boston Marriage 2015 tour has been supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.

COMING SOON - QTC ON TOUR 2015

2 March – 2 May Following a sellout season at the Sydney Festival in 2014, followed by another successful season at the Brisbane Festival, QTC is proud to take Black Diggers to major interstate venues and festivals in 2015 including Perth Festival, Adelaide Festival, Melbourne, Canberra, Newcastle and Bendigo.

Photography: Branco Gaica

Black Diggers tells the story of the thousand or so Indigenous soldiers who fought for the British Commonwealth in World War I. It is the story of these men - a story of honour and sacrifice that has been covered up and almost forgotten. Originally produced by Queensland Theatre Company and Sydney Festival PRODUCTION PARTNERS This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals, Sydney Festival and Brisbane Festival.

TOURING PARTNERS

Queensland Theatre Company’s tour of Black Diggers is supported by the Australian Government’s Anzac Centenary Arts and Culture Fund and Sibelco Australia

By Matthew Ryan

10 March – 22 July The new Australian play, Kelly, written by Queensland playwright Matthew Ryan, received critical acclaim during its world premiere season as part of QTC’s 2012 Mainstage program. QTC is excited to take Kelly on a 19-week tour to 39 venues across Australia in 2015. Ned Kelly’s final night in prison is interrupted by the arrival of his brother Dan, disguised as a priest. Supposedly killed at the siege of Glenrowan, Dan is intent on moving north to Queensland and forgetting his past. To do so, he needs Ned’s blessing and forgiveness. But the last time they saw each other, Dan tried to shoot Ned dead. Kelly is a brutal confrontation between brothers - two titans of Australian history. QTC’s touring production of Kelly has been assisted by the Australian Government through the Australia Council, its arts funding 15 and advisory body. And is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.

L- R: Amanda Muggleton, Rachel Gordon and Jodie Roche

Queensland Theatre Company presents a Joint Ventures / Lascorp Entertainment / Fractured Limb production

When Geoffrey Atherden penned the first episodes of Mother & Son in 1984 he created an instant classic. The much-loved, multiple award-winning sitcom ran on Australian television screens for more than a decade. Audiences loved watching the everforgetful Maggie, who, despite suffering from early-stage dementia, remains lucid enough to manipulate her younger son Arthur, who spends his life tending to the demands of his impish and increasingly confused mother.

by Geoffrey Atherden

Audiences can see that Maggie’s determination to be a burden to her son is a cover for her very real dependence on him. Meanwhile poor Arthur is in a constant battle against the love he has for his mother and his need for personal freedom. Alzheimer’s and the frustrations involved in caring for the elderly is an unlikely subject matter for a comedy, but it is precisely this absurdity that makes Mother & Son a success. Now, 10 years after Mother & Son last appeared on Australian television screens, Maggie and Arthur are back in a trip down loss-of-memory lane. Long-suffering Arthur would just like a few weeks’ holiday with his new flame Anita, but vague and vicious Maggie is determined to sabotage his chances. And Arthur’s philandering dentist brother Robert is certainly no help …

From 18 February Playhouse, QPAC

Tickets 136 246 queenslandtheatre.com.au 18 PRODUCTION SPONSOR

With a stellar cast including Noeline Brown as Maggie, Darren Gilshenan as Arthur and Rob Carlton as Robert, Mother & Son translates beautifully to the stage.

It takes many people to create great theatre ... ... the playwright, the director, the actors and designers â&#x20AC;Ś and most importantly our donors. With your help we are aiming higher and taking our place as one of Australiaâ&#x20AC;&#x2122;s leading theatre companies. You give us the confidence to take on bigger productions, secure international artists and commission the new works which will become the classics of tomorrow. Thank you for your part in making our theatre company great. For more information about donating to Queensland Theatre Company please contact our Philanthropy Manager on 07 3010 7621.

Biographies David Mamet WRITER

Plays by David Mamet include: The Anarchist, Race, Keep Your Pantheon, School, November, Romance, Boston Marriage, Faustus, Oleanna, Glengarry Glen Ross (1984 Pulitzer Prize and New York Drama Critics Circle Award), American Buffalo, The Old Neighborhood, A Life in the Theatre, Speed-the-Plow, Edmond, Lakeboat, The Water Engine, The Woods, Sexual Perversity in Chicago, Reunion and The Cryptogram (1995 Obie Award). His translations and adaptations include: Faustus and Red River by Pierre Laville; and The Cherry Orchard, Three Sisters and Uncle Vanya by Anton Chekov. His films include: The Postman Always Rings Twice, The Verdict, The Untouchables, House of Games (writer/director), Oleanna (writer/director), Homicide (writer/ director), The Spanish Prisoner (writer/director), Heist (writer/director), Spartan (writer/director) and Redbelt (writer/director). Mamet is also the author of: Warm and Cold, a book for children with drawings by Donald Sultan, and two other childrenâ&#x20AC;&#x2122;s books, Passover and The Duck and the Goat; Writing in Restaurants, Some Freaks, and MakeBelieve Town, three volumes of essays; The Hero Pony and The Chinaman, a book of poems; Three Childrenâ&#x20AC;&#x2122;s Plays, On Directing Film, The Cabin, and the novels The Village, The Old Religion and Wilson. His other books include the acting books, True and False and Three Uses of the Knife, Bambi vs. Godzilla, The Secret Knowledge, The Wicked Son, Theatre and Three War Stories. His most recent play, China Doll, is scheduled for production on Broadway in 2015.

Andrea Moor DIRECTOR

Queensland Theatre Company: As Director: Australia Day, Venus in Fur, Water Falling Down; As Performer: Design For Living, Pygmalion, An Oak Tree, Let the Sunshine (co-production with Melbourne Theatre Company), The Crucible, Who’s Afraid of Virginia Woolf?, Absurd Person Singular, Vincent in Brixton. Other Credits: As Director: and moor theatre: Tender; The Ghost Writer; JUTE Theatre Company: Intimacy; WAAPA: Festen, Top Girls. USQ Shakespeare in the Park: The Tempest. NIDA: Furious. As Performer: La Boite: The Narcissist; Kooemba Jdarra: Bitin’ Back; Griffin Theatre Company: Myth, Propaganda & Disaster, Borderlines, Passion, Witchplay and Away; Sydney Theatre Company: Furious, The Visit, Titus Andronicus, Re-Create the Rehearsal, Siren, An Ideal Husband, Emerald City, The Bitter Tears of Petra Von Kant, The Game of Love & Chance, Woman in Mind, Map of the World; Ensemble Theatre: The Old Boy, The Ninth Step, The Family, Diving for Pearls; Marion Street Theatre: The Newspaper of Claremont Street; NIDA Company: The Aunts Story; Pork Chop: Rosencrantz and Guildenstern Are Dead. Film: Mental, Subdivision, Bitter and Twisted, Left Ear, The Man Who Sued God, Oscar and Lucinda, Soft Fruit, Strange Planet, Airtight, Round the Bend, Travelling North. Television: Mortified, H20, Home and Away, All Saints, White Collar Blue, Backberner, Heartbreak High, Water Rats, GP, Flying Doctors, A Country Practice, Army Wives. Awards: Churchill Fellowship, 2014; Matilda Awards - Best Director Venus in Fur (2013), Matilda Awards – Best Supporting Female Actor: The Crucible (2009), Matilda Nomination – Best Female Actor, Who’s Afraid of Virginia Woolf?, The Narcissist (2008), Marten Bequest Scholarship (1994), London Monthly Review Best Actress, Edinburgh Festival 1991. Training: Doctorate of Creative Industries, Queensland University of Technology. Bachelor of Arts (Acting) NIDA. Andrea is a proud member of Actor's Equity.

Stephen Curtis DESIGNER

Queensland Theatre Company: Black Diggers (co-production with Sydney Festival), Pygmalion, Corporate Vibes, The Venetian Twins, Dinkum Assorted. Other Credits: Sydney Festival 2012: I Am Eora; Stalker Theatre Company at Brisbane Festival 2010: Shanghai Lady Killer; Opera Australia: La bohème, Lulu, The Cunning Little Vixen, The Turn of the Screw; State Opera of South Australia: Der Ring Des Nibelungen (The Ring Cycle); Houston Grand Opera: The Turn of the Screw; Victorian Opera: Julius Caesar; Sydney Theatre Company: The Secret River, The Pig Iron People, Navigating, Hanging Man, Heartbreak House: Bell Shakespeare Company: Henry IV, The Government Inspector, Much Ado About Nothing, Romeo and Juliet, The War of the Roses, The Servant of Two Masters; Melbourne Theatre Company: Tribes, The Blue Room, All About My Mother, Cat on a Hot Tin Roof, The Hypocrite, Life x 3, The Birthday Party, Realism, Rock ‘n’ Roll; Melbourne Theatre Company/Sydney Theatre Company: The Vertical Hour, Doubt, Two Brothers; Belvoir Company B/Sydney Festival/ Windmill Performing Arts/Perth International Arts Festival: The Adventures of Snugglepot and Cuddlepie and Little Ragged Blossom; Company B Belvoir: The Business, Gwen in Purgatory, Scorched, It Just Stopped, The Underpants, Small Poppies, The Alchemist. Film: Looking for Alibrandi, Twelfth Night, Breathing Underwater, Bedevil, Night Cries. Awards: Helpmann Award, Best Costume Design: Der Ring de Nibelungen (The Ring Cycle); Green Room Award, Best Designer: Lulu. Training: NIDA (Design). Stephen has recently published Staging Ideas: Set and Costume Design for Theatre (Currency Press) as a resource and guide to the art of theatre design.

David Walters

Queensland Theatre Company: Gloria, Macbeth, Australia Day, Venus in Fur, End of the Rainbow, Romeo & Juliet, Pygmalion, Grimm Tales, The August Moon, Rabbit Hole, The Glass Menagerie, The Memory of Water, A Day in the Death of Joe Egg, Molly Sweeney, Chilling and Killing My Annabel Lee, The Skin of Our Teeth, Vertigo and the Virginia, Long Day’s Journey

LIGHTING DESIGNER

into Night, Amy’s View, Master Class, After the Ball, Summer Rain, Arcadia, The Hope of the World, Money and Friends, Gilgamesh, The Man from Mukinupin, A Different Drummer, Fuente Ovejuna, Salonika, The Venetian Twins. Other Credits: Melbourne Theatre Company, Sydney Theatre Company, State Theatre Company of South Australia, Bell Shakespeare Company, QUT, QPAC, Jute, Handspan, Playbox, La Boite Theatre Company, Rock‘n’Roll Circus, Nimrod, Company B, Expressions, Queensland Ballet, Australian Ballet, Opera Queensland and Zen Zen Zo. In Iceland he has lit for the National Theatre, the National Opera and the Reykjavik City Theatre. Positions: Adjunct Associate Professor in Drama at QUT. Awards: Matilda Awards/Commendations in 1988, 1990, 1992, 1993, 2001, 2002, 2004, 2007, 2008 and 2012.

Phil Hagstrom

Queensland Theatre Company: Water Falling Down. Other Credits: La Boite Indie: Machina; and moor theatre: Tender; 23rd Productions: My Night with Harold. Film: Crawl, Bad Behaviour, Crooked Business. Television: Mysteries of the Shark Coast, World’s Worst Venom, Barney’s Barrier Reef. Training: Bachelor of Music, James Cook University.

SOUND DESIGNER/ COMPOSER

Melissa Agnew DIALECT COACH

Queensland Theatre Company: Around 50 productions including Black Diggers, The Mountaintop, Venus in Fur, The Little Dog Laughed, The Glass Menagerie, The Prisoner of Second Avenue, I Am My Own Wife, The Goat or Who is Sylvia?, The Road to Mecca. Other Credits: Black Swan State Theatre Company: A Streetcar Named Desire; Cat on a Hot Tin Roof (co-production with QTC). Film: The Proposition. Television: The Pacific, voice coaching for TV and radio news presenters across Australia. Qualifications: PhD from the University of Sydney. Teaching Positions: Voice, Speech and Dialect teacher/coach; Queensland Conservatorium (Musical Theatre).

Daniel Anderson ASSISTANT LIGHTING DESIGNER

Queensland Theatre Company: Bombshells, I Am Here (coproduction with Two Thumbs Up and the Multicultural Development Association), Face It, Seeding Bed 2012, Treasure Island (coproduction with Matrix Theatre), This Hollow Crown, Saison de L’amour. Other Credits: La Boite Theatre Company: Tender Napalm; Black Honey Company: Hot Brown Honey Burlesque, Twelve, Australian Booty, Who’s That Chik; JUTE Theatre Company: Like A Fishbone, Propelled, Sentinel Chickens; Brisbane Festival: Sunsuper Riverfire (2013); Elbow Room: Prehistoric; Motherboard Productions: Or Forever Hold Your Peace (co-production with La Boite Indie), Underground; Brisbane Marketing: Story Bridge Christmas Light Show (2013-2014), Story Bridge New Year’s Eve Light Show (2013-2014); Next Wave Festival: Tukre´ (co-production with Raghav Handa), White Face (co-production with Carly Sheppard); Oscar Theatre Company: Spring Awakening; Fixate Productions: Haven; The Good Room: Rabbit; Brisbane Powerhouse: A Tender Thing (co-production with Full Circle Theatre); Anna McGahan: He’s Seeing Other People Now. As Associate/ Assistant Lighting Designer: Opera Queensland: Cinderella or Goodness Triumphant; Brisbane Festival: Freeze Frame, Santos GLNG City of Lights (2012-2013), Santos City of Lights (2011); Legs on the Wall/Raw Dance Company: Beautiful Noise; Expressions Dance Company: Launch Pad 2012. Positions: Artistic Associate, Black Honey Company. Awards: ArtStart Grant from the Australia Council for the Arts; Matilda Awards Nomination, Bille Brown Award for Best Emerging Artist (2012). Training: Bachelor of Fine Arts (Technical Production), QUT; Bite The Big Apple Arts & Culture Management Tour, Kape Communications; Broadway Lighting Master Class, Live Design.

Helen Cassidy CATHERINE

Rachel Gordon CLAIRE

Queensland Theatre Company: Orphans, Man Equals Man, An Oak Tree, The Glass Menagerie, Absurd Person Singular, A Christmas Carol, Scapin, Mrs Warren’s Profession, Long Day’s Journey Into Night, Back Seat Drivers. Other Credits: DeBase Productions: The Furze Family Variety Hour; La Boite Theatre Company: As You Like It, Rio Saki and Other Falling Debris, The Wishing Well, The Drowning Bride (co-productions with Matrix); Dogs in the Roof: Post Office Rose; Zen Zen Zo: Steel Flesh, The Cult of Dionysus, Unleashed; Metro Arts: The Waiting Room; La La Parlour: Tarnished; Pretend Productions: Glitter and Dust, Statuesque (European Tour); Unlimited Theatre (UK): The Moon The Moon; Grin & Tonic Theatre Troupe: Schools touring; Strut and Fret Production House: Verse Stunts, Wordpainting, Schools touring. Film: The Contents. Television: Sisters of War, Through My Eyes. Awards: Matilda Awards – Best Female Actor in a Supporting Role The Drowning Bride & Post Office Rose, Best Actress The Glass Menagerie; Lord Mayor’s Performing Arts Fellowship.

Queensland Theatre Company: Let the Sunshine (co-production with Melbourne Theatre Company), Ninety (co-production with Melbourne Theatre Company). Other Credits: Darlinghurst Theatre: Daylight Saving; Ensemble Theatre: Managing Carmen, Wit; Griffin Theatre Company: Between Two Waves; Bell Shakespeare: King Lear, Macbeth; Sydney Theatre Company: Concussion, Don Juan; New Theatricals: Boeing Boeing; HotHouse Theatre: Big Hair in America; EHJ Productions: The Taming of the Shrew; Marion St Theatre: Death Defying Acts, Last Days of Ballyhoo, Crimes of the Heart; Hair of the Dog: Light Particles. Film: Thunderstruck. Television: Winter, The Moody’s, The Gentleman’s Guide to Knife Fighting, A Moody Christmas, Home and Away, Neighbours, Blue Heelers, The Coast, The Cooks, Farscape, White Collar Blue, All Saints. Awards: Logie Award Nomination: Best New Talent, Blue Heelers. Training: Bachelor of Dramatic Art, NIDA.

Amanda Muggleton ANNA

Queensland Theatre Company: We Were Dancing, Love Child, Gigi, A Winter’s Tale, Duet for One. Other Credits: Packemin Productions: Annie; Harvest Rain Theatre Company: Blood Brothers; Darlinghurst Theatre: Torch Song Trilogy; Malthouse Theatre: The Threepenny Opera (co-production with Victorian Opera and Sydney Theatre Company); Echelon Productions: Eureka; Malcolm Cooke & Associates: The Lion, The Witch & The Wardrobe; The Production Company: Hello Dolly; Essgee Productions: HMS Pinafore, Master Class; Michael Edgely: The Secret Diary of Adrian Mole, Shirley Valentine; HIT Productions: The Book Club, Love Child; State Theatre Company of South Australia: The Ham Funeral, The Female of the Species, Blithe Spirit, Twelfth Night; Melbourne Theatre Company: Man from Mukinupin, Entertaining Mr Sloane, The Seagull, Master Class, Shirley Valentine, Privates on Parade, Boy For You, Girl For Me, Bremen Coffee, Match Maker, Fefu and Her Friends; Sydney Theatre Company: Threepenny Opera, Soul Mates, The Rise and Fall of Little Voice, Master Class, Nicholas Nickleby; Janus Entertainment: Blood Brothers; Ensemble Theatre: Just the Ticket, Ruby Sunrise, Losing Louis; Sydney Opera House: Love, Loss and What I Wore; Darling it's Noel; P.W Productions: Private Lives, Shirley Valentine; Black Swan State Theatre Company: Madagascar; Gordon Frost Organization: Calendar Girls, Annie; Twelfth Night Theatre: Dangerous Obsession, Shirley Valentine; Duchess Theatre, West End: Don’t Dress for Dinner; Marion St Theatre: Full Gallop, The Odd Couple; Company B: Man from Mukinupin (co-production with Melbourne Theatre Company). Film: Fatal Honeymoon, Your Turn, Vermin, Feeling Sexy, Jump 123, Idiot Box, Mr Reliable, Street Hero, Queen of the Road, A Slice of Life, Thirst, Mad Max I. Television: The Very Trevor Ashley Show, The Librarians, City Homicide, Headland, Richmond Hill, Peter Pompey, Willing and Abel, A Country Practice, Sweet and Sour, Women of the Sun, Holiday Island, Sara Dane, Dolebludgers, Prisoner, Cop Shop, The ‘Caricature’ Theatre, Panache (BBC UK) . Awards: Helpmann Awards – Best Female Actor in a Play Master Class, Best Female Actor in a Supporting Role in a Musical Eureka; Green Room Award – Best Female Actor in a Leading Role Master Class, Glug Award - Norman Kessell Memorial Award for Most Outstanding Stage Performance Shirley Valentine, The Rise and Fall of Little Voice, Colleen Clifford Award – Best Performance 26

in a Musical Annie: AFI Award Nomination – Best Guest or Supporting Actress in a Television Drama: City Homicide.

Jodie Roche STAGE MANAGER

Yanni Dubler ASSISTANT STAGE MANAGER

Queensland Theatre Company: As Stage Manager: GASP! (co-production with Black Swan State Theatre Company), Macbeth, Australia Day, Design For Living, Trollop, End of the Rainbow, Managing Carmen (co-production with Black Swan State Theatre Company), Head Full of Love, Romeo & Juliet, Pygmalion, Cat on a Hot Tin Roof (co-production with Black Swan State Theatre Company), Orphans, The Little Dog Laughed, That Face, The Importance of Being Earnest, I Am My Own Wife. As Assistant Stage Manager: The Glass Menagerie, Private Fears in Public Places, American Buffalo, Absurd Person Singular, The Memory of Water. Other Credits: Black Swan State Theatre Company: The White Divers of Broome; La Boite Theatre Company: Summer Wonderland, Sex Cubed, Last Drinks, The Dance of Jeremiah, Amigos; Expressions Dance Company: The Red Shoes, SOLO Festival of Dance 2014, When Time Stops; Queensland Ballet: Giselle, Cinderella, Vis a Vis #1 & Prelude 2011, The Little Mermaid (China tour); Opera Queensland: Aida, The Merry Widow, The Elixir of Love, Waltzing Our Matilda, Rigoletto, Fidelio, La traviata, The Magic Flute, The Barber of Seville, Madama Butterfly; Brisbane City Council: Lord Mayor’s Carols in the Park. Training: Bachelor of Fine Arts (Technical Production Management), QUT. Awards: Ashley Wilkie Award for Outstanding Contribution to the Performing Arts. Queensland Theatre Company: As Stage Manager: The Button Event. As Assistant Stage Manager: Gloria. As Secondment: Design for Living. Other Credits: As Stage Manager: QPAC: Russian Ballet: Don Quixote, Clancestry, Brisbane Powerhouse: Brisbane Comedy Festival, Woodford Folk Festival: Flying Squad. As Assistant Stage Manager: Queensland Ballet: Coppelia, QPAC/Queensland Symphony Orchestra: Lord of the Rings: The Fellowship of the Ring. As Production Assistant: Expressions Dance Company: APAM (R&J, Carmen Sweet). Training: Bachelor of Fine Arts (Technical Production), QUT. 27

L-R: Amanda Muggleton, Helen Cassidy, Rachel Gordon, Jodie Roche

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Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Katherine Lyall-Watson MEMBERS OF THE BOARD David Morton Richard Fotheringham (Chair) Gayle MacGregor Julieanne Alroe (Deputy Chair) Paula Nazarski Kirstin Ferguson Ngoc Phan Erin Feros Database Trainer and Supervisor: Lucas Stibbard Simon Gallaher Dale Ric-Hansen Peter Hudson Boston Marriage Publicist: Elizabeth Jameson Production Staff Kath Rose and Associates Nathan Jarro Carpenter: Season Ticketing Supervisor: Jaydn Bowe ARTISTIC DIRECTOR Roxane Eden Wesley Enoch Props Maker: Ticketing Coordinator: Aleksis Waaralinna Maggie Holmes EXECUTIVE DIRECTOR Scenic Artist: Sue Donnelly Season 2015 Customer Service Leo Herreygers Team Members: Executive Assistant: Assistant Scenic Artist: Tanya Leadbetter Tammy Sleeth Margaret Burrows Sarah Maunsell Principal Cutter/Costume Maker: Steven Rooke Resident Dramaturg: Maneka Singh Michelle Wiki Louise Gough Receptionist and Ticketing Resident Directors: Cutter/Costume Maker: Jason Klarwein and Andrea Moor Officer: Leigh Buchanan, Donna Fields-Brown Katrine Christensen Programming Manager/ Senior Producer: Costume Maker: Philanthropy Manager: Katherine Hoepper Barb Kerr, Bianca Bulley Amanda Jolly Producer (New Work and Corporate Partnerships Manager: Wardrobe Maintenance/Make Up/ Development): Wig and Hair Stylist: Nikki Porter Shari Irwin Michael Green Development Coordinator: Artistic Coordinator: Dee Morris Production Electrician: Samantha French Mat Allan Researcher and Grant Writer: Touring and Regional Danielle Bentley Sound Consultant: Program Coordinator: Sam Maher Production Manager: Christine Johnstone Touring Production Coordinator: Toni Glynn QPAC Production Staff Technical Coordinator: Dan Sinclair Head Electrician: Daniel Maddison Producer (Education and Nick Toll Production Coordinator: Youth Programs): Head Mechanist: Scott Klupfel Heidi Irvine Heath Reid Programming Project Officer: Head of Workshop: Laurel Collins Peter Sands Company Carpenter/Head Chief Financial Officer: FOUNDING DIRECTOR Mechanist: Michael Cullinan Alan Edwards, AM, MBE (1925 â&#x20AC;&#x201C; John Pierce Assistant Accountant: 2003) Carpenter: Sena Du Bois Jamie Bowman Finance Officer: Head of Wardrobe: Robin Koski Queensland Theatre Company is Vicki Martin Front of House and Events a member of Live Performance Costume Supervisor: Supervisor: Australia. Natalie Ryner Deirdree Wallace Venue and Operations Supervisor: Affiliate Artists: Tony Brumpton Julian Messer Ben Hughes Marketing Manager: David Walters Yvonne Whittington PATRON His Excellency the Honourable Paul de Jersey AC Governor of Queensland

Marketing Coordinator: Amanda Solomons Marketing Officer: Phoebe Owen Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David Dâ&#x20AC;&#x2122;Arcy

DIVA

What is a diva? She’s a woman of exceptional skill and charisma. A woman who commands her audience to listen. She is a warrior, traveller, artist, mother, superstar, wife, sister, worker, healer, magician, leader. She is everywoman. Queensland Theatre Company’s 2015 DIVA program brings together five theatrical goddesses, each taking centre stage in their own tour-de-force performances. The DIVA program commences in March with Chenoa Deemal telling touching, funny stories of tears and reconciliation in a celebration of Indigenous survival, The 7 Stages of Grieving.

Sensational Women Centre Stage

The DIVA program will take full flight in July with productions running side-by-side in the Bille Brown Studio and our new intimate performance space, Studio 2. Carol Burns is brave Winnie, buried to her waist in Samuel Beckett’s absurd, surreal masterpiece Happy Days.

Margi Brown Ash shares her life story in Home, bouncing across several continents as actor, therapist, schoolgirl, soapie starlet, wife and mother. Libby Munro is a deadly Air Force pilot brought back to earth with a bump when she falls pregnant in Grounded. And Naomi Price transforms into pop star Adele in Rumour Has it – a Grammy goddess ready to spill her guts about the man who wronged her. You don’t have to pick just one production, packages are available so you can see the entire DIVA program for a fantastic price. Enjoy over a series of dates or spend an evening at The GreenHouse and see two shows in one night. For more information on tickets and packages, please visit 33 queenslandtheatre.com.au

2014

OVER

100,000

WAS A GREAT YEAR

PEOPLE ATTENDED QTC PRODUCTIONS LAST YEAR

MACBETH WAS OUR HIGHEST SELLING SHOW IN 21 YEARS WE WORKED TO IMPROVE OUR ENVIRONMENT FOOTPRINT, SAVING 35,000 KWH IN ENERGY

WE USED OVER

200 METRES OF FABRIC IN DESIGNS

WE BROADCAST OUR FIRST LIVE SIMULCAST SHARING BLACK DIGGERS WITH OVER

THANK YOU

3,000

PEOPLE IN 9 REGIONAL LOCATIONS

YOU HAVE BEEN A WONDERFUL AUDIENCE AND TRUE PART OF OUR THEATRE FAMILY

Intermediate Youth Ensemble's A Dream Within A Dream 35

Play a Supporting Role You may not be on the stage but you can play a supporting role by donating to our work. With your support we can create memorable, world-class productions and continue our behindthe-scenes work of running education programs for young people, touring

YOUTH AND EDUCATION Workshops, theatre camps, performances and mentoring

REGIONAL Touring and working with isolated communities $2,500: visit by artists to

$250*: materials for a

regional/remote school

school workshop

$5,000: professional

extraordinary actors,

$500: bus to bring

development workshops

directors, playwrights

disadvantaged students

for regional artists

and designers.

to the theatre

$12,000: weekly

You can choose to support*

$1,600: scholarship to

regional touring cost

any of the following areas

the Youth Ensemble

for primary school show

productions and providing opportunities for many

of our work:

*Costs listed are examples only

Making theatre is a team activity and everyoneâ&#x20AC;&#x2122;s contribution is important.

NEW WORKS Playwriting workshops, creative developments and play readings

ARTIST MAINSTAGE DEVELOPMENT Mainstage productions including tours.

with a dramaturg

Training and mentoring for actors, designers, directors and other theatre workers .

$500: play assessment

$250: 2-hour physical

to prepare a show

by an established

movement workshop

for touring

playwright

$500: full-day voice

$20,000: towards an

$1,000: play reading

workshop

international actor

with actors

$1,000: weekly cost of

$250: 2-hour session

$1,000: additional props for larger productions $2,000: modifications

a directorâ&#x20AC;&#x2122;s assistant

For more information please contact our Philanthropy Manager on 07 3010 7621 or visit queenslandtheatre.com.au/supportus 37

PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444 www.qpac.com.au Chair Chris Freeman AM Deputy Chair Rhonda White AO Trustees Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM Executive Staff Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Jackie Branch ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Ian Walker MP Minister for Science, Information Technology, Innovation and the Arts Director-General, Department of Science, Information Technology, Innovation and the Arts: Sue Rickerby

Acknowledgements Rehearsal Photography and image from A Dream Within A Dream: Stephen Henry Safety Advisor: Niki-J Price

To ensure that patrons enjoy the performance, management asks you to note: • Cameras, tape recorders and paging devices should not be used inside the auditorium. • Switch off alarms and mobile phones prior to the performance. • A single cough measures approximately 65 decibels of sound. The use of a handkerchief helps greatly to soften the sound. The management reserves the right to refuse admission, also to make any alterations to the cast which may be rendered necessary by illness or other unavoidable causes. Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

Thank You To Our Current Donors We thank all our generous donors for their contribution to our work. Your assistance makes it possible for us to enrich the cultural life of our community.

$10,000+

$5,000-$9,999

1 Anonymous Patricia Byrne Pamela M Marx Cathryn Mittelheuser AM Bruce & Sue Shepherd

John & Gabrielle Hull Karl & Louise Morris Tim & Kym Reid

$2,000-$4,999

$1,000-$1,999

John H Casey John & Lynnly Chalk Sue Donnelly Wesley Enoch Richard Fotheringham & Roslyn Atkinson Alan Galwey Bruce & Alexandra Grove E M Jameson & A L Anderson Trevor Love & Vivienne Johnson Cecily Stevenson

5 Anonymous Anne & Peter Allen Julieanne Alroe William Ash & Margi Brown Ash Lisa & William Bruce Mathieu & Anastasia Ellerby Erin Feros Mike & Sue Gowan William & Claire Glasson Hudson Family David & Katrina King Noela & Colin Kratzing

LEGAL CHAPTER Michael & Anne Back Jennifer Batts Sarah Bradley Peter Bridgman Sheryl Cornack Leone Costigan & Greg Mann Peter & Gwen Eardley Ralph & Frances Devlin Tom Fotheringham & Emmy Kubainski Scott Falvey H G Fryberg Elizabeth Gaffney John & Lois Griffin Kevin & Joanne Holyoak Asif Khan

TRUST & FOUNDATIONS English Family Foundation The Siganto Foundation Tim Fairfax Family Foundation

Joan M. Lawrence AM Directors Australia Jim & Jill Nicklin Donal & Una O’Sullivan Prior Family Marianna Serghi Liz & Anthony Thompson R & M Williams

$500-$999 Fleur Kingham John & Janice Logan Sarah Ludwig Stephen & Hana Mackie Debra & Patrick Mullins Brian Noble James & Anne Noble Tina Previtera Murray & Laura Procter Jeff Rolls & Barbara Houlihan Walter Sofronoff Peter & Nerida van de Graaff Greg & Sally Vickery Keith Wilson

8 Anonymous Graham Dunlop & Elizabeth Ardill Jan & Michael Evans Kirstin & Glen Ferguson Merrilyn Goos P Greet & N Beaton Gough Medical Geoffrey Hirst & Sally Wilde David Hardidge Marc James Amanda Jolly Tempe Keune

Susan Learmonth & Bernard Curran Andrew & Kate Lister B Lloyd Brad Mammino Ian & Rhyl McLeod Rob & Barbara Murray Denise O'Boyle Greg & Wendy O’Meara Diane & Robert Parcell Blayne & Helen Pitts

Bruce Richardson & Taninnuch Stone John Richardson & Kirsty Taylor Geoffrey Rush Gary Sawyer Phoebe Stephens Flowers Sandy Vigar & Martin Pearson Margaret & Norman Wicks Gillian Wilton Sharon York & Mark Smith

$250-$499 15 Anonymous Melissa Agnew Leanne Austin Melissa Bennett Emma Benson Stephen & Jennifer Boyd Ethna Brown Betty Byrne Henderson AM Margaret Byrne Michael & Margaret Clancy

Bob Cleland John Colwell Christine Comans Anthony Costantini June Craw OAM Michael Cullinan Eve Dyer Angus Edwards & Trudie Murrell Judi Ewings

William & Lenore Ferguson Kate Foy Peter & Gay Gibson Anita Green David Hardidge Albert & Carmen Hili Katherine Hoepper Olwyn M Kerr Tammy S Linde Sandra McCullagh

Carolyn McIlvenny Angie McPhee Hon. Tom McVeigh Sandra McVeigh Elizabeth Mellish Dee Morris & Reny Philip & Fran Morrison Darryl Nisbet Pacstars Allan Pidgeon

Catherine Quinn People Resourcing Donald Robertson Lyn & Joanne Scott Bronwyn Springer VERTEC RAIL Amy Walduck D & J Woodward

Donations over $250 are acknowledged for 12 months from the date of donation. We appreciate and honour all contributions to our work. Visit queenslandtheatre.com.au or phone our Philanthropy Manager on 07 3010 7621 to find out how you can support our work. 40

Thanks to our Sponsors Government Partners

Presenting Sponsors

Production Sponsors

Program Sponsors

Season Sponsors

Season Supporters

Media Supporters

78 Montague Rd, South Brisbane PO Box 3310 South Brisbane BC QLD 4101 Tel 07 3010 7600 Fax 07 3010 7699 Ticketing 1800 355 528 queenslandtheatre.com.au mail@queenslandtheatre.com.au

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ÂŠ The State of Queensland (Queensland Theatre Company) 2015 Disclaimer: Every endeavour has been made to ensure that the contents of this brochure are correct at the time of printing. However, things can change. Queensland Theatre Company reserves the right to vary advertised programs and to add, withdraw or substitute artists as necessary.

Support Greening QTC and recycle this program after the performance in the recycling bins provided in the foyer. Read the program before the show at queenslandtheatre.com.au or by scanning the below QR code.