A State Theatre Company of South Australia co-production
By Sue Smith Directed by Sam Strong
2019 A season of dreamers Join us for a reason, come for a season and stay for a lifetime. We’ve extended our loyalty program to give you more access to exclusive discounts and special offers, including some of the biggest shows to hit town and some of our favourite restaurants and merchants. The longer you’ve been a Season Ticket Holder, the more benefits you receive.
9 Mar — 6 Apr Bille Brown Theatre
Hydra
6 Play Package
By Sue Smith
queensland theatre premiere Paradise
Love Story
Expats
1 — 25 May Bille Brown Theatre
Barbara AND THE CAMP DOGS
Save up to 25% off Single Ticket prices
5 Play Package Save up to 20% off Single Ticket prices
3 Play Package By Ursula Yovich and Alana Valentine Smash Hit
Comedy
Sisters
Save up to 15% off Single Ticket prices
29 Jun — 20 Jul Bille Brown Theatre
7 Sep — 5 Oct Bille Brown Theatre
city of gold
fangirls
By Meyne Wyatt
Book, music & lyrics by Yve Blake
queensland theatre premiere Representation
Family
queensland theatre premiere Celebrity
Kalgoorlie
Superfans
Romance
29 Jul — 17 Aug Playhouse, QPAC
26 Oct — 16 Nov Bille Brown Theatre
storm boy
Antigone
By Colin Thiele Adapted for the stage by Tom Holloway
Adapted by Merlynn Tong after Sophocles
Endless Summer
Family Classic
Puppetry
3 — 31 Aug Cremorne Theatre, QPAC
L’Appartement
queensland theatre premiere Greek Tragedy
Dignity
Ways to book Call us
Jump online
Freecall 1800 355 528
Or email us mail@queenslandtheatre.com.au
Drop in
Mail us
Order by calling us 9:30am-5pm, Mon to Fri
Queensland Theatre Administration 78 Montague Road, South Brisbane By Joanna Murray-Smith
queensland theatre premiere Date Night
Parisian Chic
Envy
Human Rights
Book online at queenslandtheatre.com.au
Queensland Theatre Season Ticketing Team PO Box 3310, South Brisbane, QLD 4101
Synopsis The true love story of Charmian Clift, George Johnston and My Brother Jack They were writers, dreamers and free spirits. In the 1950s, Australian authors Charmian Clift and George Johnston fled halfway across the world to the idyllic Greek island of Hydra, determined to carve out a bohemian living as artists. As they revel in their picturesque community, far off the world’s literary map, inspiration for the great Australian work strikes. But a manyheaded monster of jealousy, infidelity, illness and alcoholism also rises from the crystal blue waters of their sun-kissed island home. Award-winning Sue Smith weaves the original writings of two of Australia’s literary icons into a moving relationship drama. She conjures the passion and intensity of the near mythical ‘King and Queen of Hydra’ as they follow their dream, only to end up in a Greek tragedy of their own making.
Anna McGahan
Paradise
Love Story
Expats
Hydra
By Sue Smith Directed by Sam Strong A State Theatre Company of South Australia co-production VENUE
CAST
09 March - 06 April Bille Brown Theatre, Queensland Theatre
Hydra will run for approximately 100 minutes with no interval.
RAY CHONG NEE Jean-Claude/Tony Katsikas/ Doctor Anastosopoulos TIFFANY LYNDALL-KNIGHT Ursula/Lorelei ANNA MCGAHAN Charmian Clift NATHAN O’KEEFE Martin Johnston HUGH PARKER Vic BRYAN PROBETS George Johnston
WARNINGS
CREATIVES
This production contains coarse language, adult themes (references to suicide), sexual references and the use of e-cigarettes. The use of photographic or recording equipment is not permitted inside the theatre. For help or information contact: Lifeline 131 144 beyondblue 1300 224 636 SuicideLine 1300 651 251
SAM STRONG Director VILMA MATTILA Designer NIGEL LEVINGS Lighting Designer QUENTIN GRANT Composer/Sound Designer MERLYNN TONG Assistant Director KAT O’HALLORAN Stage Manager YANNI DUBLER Assistant Stage Manager
ATTENDANCE INFORMATION
ACKNOWLEDGEMENT OF COUNTRY 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. RECYCLE THIS PROGRAM Support Greening Queensland Theatre 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
CONTRIBUTING ARTISTS HANNAH BARR Directorial Observation NGOC PHAN Directorial Observation MIA MCGAVIN ASM Secondment Cover Photo: Tim Jones Hydra has been supported by the Legal Chapter, through the Play Commissioning Fund. Hydra is inspired by and contains extracts from Clean Straw for Nothing by George Johnston and Peel Me a Lotus by Chairmain Clift. A State Theatre Company of South Australia co-production
Queensland Theatre 78 Montague Road, South Brisbane, Queensland, 4101 Tel: 07 3010 7600 Fax: 07 3010 7699 Ticketing: 1800 355 528 mail@queenslandtheatre.com.au Follow us on:
QUEENSLAND THEATRE IS ASSISTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL, ITS FUNDING AND ADVISORY BODY. QUEENSLAND THEATRE IS SUPPORTED BY THE QUEENSLAND GOVERNMENT THROUGH ARTS QUEENSLAND.
@qldtheatre @qldtheatre queenslandtheatre @qld_theatre
#queenslandtheatre #leadingfromqld
Nathan O’Keefe
Ray Chong Nee
Anna McGahan, Bryan Probets
Welcome The whirl of the city was too much for writers
George Johnston and Charmian Clift, so they made the ultimate sea change, heading for a bohemian island in the sparkling Aegean. Amanda Jolly Executive Director
This was sixty-five years ago, and it’s still a relatable premise. Perhaps even more so. Don’t all city-dwellers occasionally daydream about fleeing the big smoke? Especially now, with all the added stresses and pressures that weren’t around for Clift and Johnston in the 1950s? Getting away to the middle of nowhere - a place where we can take time to rest, breathe, and exercise the mind - sounds like heaven. But, as we know, it was more like hell. Things didn’t pan out as well for the iconic Australian literati couple as they would have dearly hoped. A keen fascination still lingers around what exactly happened on the Greek island of Hydra that caused their lives to fall apart, and that’s what Sue Smith brilliantly explores in this play: the behind-the-scenes story of both their marriage and their minds unravelling in paradise. Screenwriter and playwright Sue first pitched the idea to Artistic Director Sam Strong some years ago, while he was Associate Artistic Director at Melbourne Theatre Company. Luckily, Sam shelved the idea until he came up north. We are very grateful that Sue’s amazing script has received invaluable support from both the Queensland Theatre Legal Chapter and the Play Commissioning Fund throughout its development over the past three years. Hydra, as a proud co-production with our friends at the State Theatre Company of South Australia, will travel to Adelaide in May. It’s the third show (and the third world premiere) in the new Bille Brown Theatre, and the first show in our brand-new venue for 2019’s Season of Dreamers. Clift and Johnston most certainly were dreamers, and it’s been a dream of ours for years to bring this story to the stage. Enjoy, Amanda
Paradise
Love Story
Expats
Director’s Note Sue Smith’s Hydra is a play of refreshingly big ideas. It breathes new life into the story of two giants of
Australian post-war cultural life and one of the novels (My Brother Jack) that would define it. Sam Strong Director
Against the vividly drawn backdrop of the Greek Island of the title, Sue engages with what it means to be Australian, an artist, and a worthwhile human being. But if Hydra paints on a canvas worthy of Sidney Nolan’s heroic myth-making, it’s also a play of delicate, small details. Sue has exquisitely interwoven the beautiful words of Charmian Clift and George Johnston with her own imagination. The result is a relationship portrait as unforgettable as its setting. Indeed, my own point of entry into this play is more personal and contemporary. Hydra is an urgent (one might even say Feminist) story about the cost - to ourselves, our partners and our families - of pursuing dreams. We’ve all chased something and succeeded or failed. We’ve all yearned for something more and been unsatisfied. We’ve all made compromises to support those we love. And we have all experienced how the moments that endure despite it all, are generally the much simpler ones between people. On this note, Sue Smith’s Hydra is like Charmian Clift’s writing - it lingers in the memory because the details are so beautifully drawn.
The creation of a world premiere new Australian story involves the work of a lot of people you won’t see. If it takes a village to raise a child, it takes at least a small town to give birth to a play. Thank you to Sue Smith for your passion for this story and your commitment to continuously refining it. Thank you to State Theatre Company of South Australia and especially outgoing Artistic Director Geordie Brookman for his championing of new writing generally and this writer in particular. Thank you to the Queensland Theatre Legal Chapter whose Play Commissioning Fund made this work possible. And thank you to the cast, creatives and crew who have made this play. Actors and designers are a vital part of the evolution of a new story and we’re lucky to have such an incredibly talented team on Hydra. Thank you finally to the most important part of the journey of a new story to the stage, you – the audience. Enjoy Hydra (the island and the play). Sam
‘Hydra is an urgent (one might even say Feminist) story about the cost - to ourselves, our partners and our families - of pursuing dreams.' – Sam Strong
Tiffany Lyndall-Knight, Sam Strong, Hannah Barr
Hugh Parker, Tiffany Lyndall-Knight
Merlynn Tong
Anna McGahan, Bryan Probets
Writer’s Note
The story of Charmian Clift and George Johnston and their dream of a life of creative freedom on a Greek
island first caught my attention over twenty years ago. Sue Smith Playwright
Like so many other Australians, I found my imagination fired by the scale of their love story, the scale of their ambition, the magnificence of the writing they created … and the scale, also, of their heartache … So many of us dream big – dream of striking out for individuality and freedom from convention; of escaping the drudgery of the work day world; of rejecting the grubby commercialisation of life in the big cities. We dream of allowing ourselves to be exposed to beauty, and to risk. But with most of us, these are only dreams. Charmian and George actually DID it - threw every type of caution to the wind and leapt off the cliff in an attempt to fly. In Charmian’s own exquisite words: they sought “to build a good rich life from the raw materials of the man, the woman, the children and the talents we could muster up between us”. The story of Charmian and George and their children is quintessentially Australian. It illuminates the need felt by so many Australians, certainly of their generation, but even now, to expatriate in order to discover their true identity. It also reveals the complexities of two passionate creators living together, how one career will so often be subsumed by the other, how difficult it can be to strike any sort of healthy balance: a difficulty as often lived now as it was then. And ultimately, it shines a light on how the following generation is affected by the choices of the first. Here in Australia we tend not to celebrate our artists in the way other cultures do. We admire their work, but we don’t often look at the life that created the work. With these two writers, in particular, the work is informed absolutely by the life, and the life is sculpted around the needs of the work. The two echo their melody back and forth. I am grateful to Sam Strong, Queensland Theatre and the State Theatre Company of South Australia for the opportunity to tell this story. And I hope that this play inspires audiences to reevaluate and celebrate both writers’ lives, and their searingly honest and remarkable work. And, perhaps, to dream of their own Greek island, whatever and wherever it may be … Sue
Paradise
Love Story
Expats
Hydra Overview By Tanya Dalziell and Paul Genoni
The Greek island of Hydra—rocky and remote—is an unlikely place to loom
large in the story of Australian post-war cultural expatriation. After all, as the 1940s and ‘50s rolled by in conservative Australia, a generation of writers
and artists seeking a more stimulating intellectual environment headed for London rather than the Aegean.
Novelists George Johnston and Charmian Clift found themselves on that exodus when, with their two young children, Martin and Shane, they left Sydney for the centre of the Anglophone literary world in 1951. By late 1954, dissatisfied with the metropolitan life they had desired and looking for a place in the sun to write, the family was again on the move. It was a journey that led them to Greece; firstly, to the island of Kalymnos, and then to poorly serviced and underdeveloped Hydra. It was here that in quick succession a third child, Jason, was born, a house purchased, and a commitment made, and so began a near-decade of living and writing amidst an unfamiliar language and culture. Clift and Johnston’s decision to live on Hydra invited both admiration and derision. Some saw it as a bold and romantic rejection of modernity in favour of freedom, beauty and creativity.
As Clift herself wrote, in surrendering wellpaid jobs and modern luxuries they chose “to declare for individuality, for risks instead of safety, for living instead of existing, for faith in one’s ability to build a good rich life from the raw materials of the man, the woman, the children, and the talents we could muster.” Others saw it as an impetuous and even dangerous choice, neglectful of their children’s education and health, and counter-productive in terms of their own ambitions as they left behind the publishers, editors, critics and readers thought necessary for a literary career. As it turned out, Clift and Johnston weren’t destined to years of isolation. They were among the first in a stream of like-minded individuals who made their way to Hydra, some by accident, others by intention.
Charmian Clift, George Johnston, Marianne Ihlen, Leonard Cohen at Spilia Beach, Hydra, September 1960. Photo credit: James Burke.
Sam Strong, Ray Chong Nee, Kat O'Halloran, Hannah Barr, Vilma Mattila, Merlynn Tong, Tiffany Lyndall-Knight, Anna McGahan
And what eventuated–an international ‘colony’ of aspiring artists and writers–was a notable episode in mid-century bohemianism, which reached its zenith in the early ‘60s at a tipping point between The Beats and The Beatles. Leonard Cohen would become the most famous of those who settled on Hydra, where the roll-call of expatriates went beyond the emerging artists Clift and Johnston encouraged and befriended (including Australians Sidney Nolan, Rodney Hall, Mungo MacCallum and Robert Owen), and eventually spanned a long list of Europe’s political and entertainment elites. Again to quote Clift, “we had unwittingly started a sort of cult, since other foreigners followed our example and bought houses, too, and our quiet, cheap, remote little island became very fashionable and not really cheap or even quiet anymore.” As Hydra changed around them, Clift and Johnston’s marriage became enmeshed in an existential crisis fuelled by alcohol, sexual jealousy, poverty, ill-health and their own competitive natures.
Their Aegean dream was rapidly fading and their failure as writers was seemingly sealed. Yet, against the odds and from a distance of 15,000 kilometres, they collaboratively crafted a great Australian novel. It was the critical and commercial success of Johnston’s My Brother Jack, set in inter-war Melbourne, which allowed them to return to Australia in triumph. There remained, however, a price to be paid. This story, as told by Sue Smith in Hydra, deftly and confrontingly traces both the personal and professional arc of Johnston and Clift’s expatriation. In doing so, it poses questions that everyone must answer, about the risks we are prepared to take; the cost of pursuing our dreams; and the depth of our commitments. Tanya Dalziell and Paul Genoni, authors of Half the Perfect World: Writers, Dreamers and Drifters on Hydra, 1955-1964 (Monash University Publishing, 2018).
Hugh Parker, Anna McGahan, Tiffany Lyndall-Knight, Bryan Probets
Tiffany Lyndall-Knight, Hugh Parker, Bryan Probets, Ray Chong Nee, Anna McGahan, Nathan O’Keefe
Artist Response to Hydra By Susan Johnson
CAN WE STILL see them from here? The skinny man with the wrecked lungs, the girl whose lips were once too big for her face, grown old? Can we still
smell what they smelled: wild lavender, oregano, fishing nets drying in the sun, and cigarettes stubbed out in the bottom of dirty glasses? If we have mythologised George Johnston and Charmian Clift’s ten years on Hydra it’s because they were the original chroniclers of themselves, the first to turn their lives into art. From our vantage point more than half a century later, it’s possible to forget how original they were, saying no to dun-coloured Australian suburbia, and yes to risk and the thrilling chance of burning their wings like Icarus. Did they burn? They themselves thought not – despite alcoholism, poverty and disease – both believed till the last that a true book speaks beyond flesh and blood. What does it matter that a living hand once held the pen or bashed the keys of a typewriter? It was Clift who wrote of life that if you ask nothing of it, “the soul retires, the flame of life flickers, burns lower, for want of air”. Clift wanted a lungful of life, greedy not just for beauty, but to experience the farthest reaches of existence. What was a life for, if not to imagine the reach of the stars, and hope she might turn silver if she star baked long enough? Clift knew none of us are safe, and the only thing for it is to bow down before life, before the mystery of a universe wheeling through a loneliness that is inconceivable. From the moment Johnston met Clift, he was struck by the force of her animation. First he was beguiled by it, then covetous,
and later jealous because her life force proved impossible to govern or possess. In Sue Smith’s imagination, Johnston needs Clift as if she were his own lost breath. Is that why she never finished her own book, The End of the Morning, because she was too busy breathing life into his? My Brother Jack was Johnston’s tilt at The Great Australian Novel (and is, arguably, still a contender, a Miles Franklin winner, and still in print). But did Clift’s genius lay in her memoir writing instead, what today we call creative nonfiction? It’s where she lives on, in words fresher than a spring Greek morning, as sparkling as the moment she wrote them, bashed out on a veranda of the house by the well overlooking the harbour and, beyond, the wine dark sea. It was where she was happiest, the place she dreamed of for the rest of her life. Sue Smith gives Clift back to us, newly dressed in flesh and blood. She gives us Johnston, so that both stand alive, in clear view. Their books endure, but Smith’s great gift is handing them back to us – broken, striving, suffering – once again miraculously human. Susan Johnson Author of The Broken Book
Susan Johnson's novels have been shortlisted and longlisted for awards including the Victorian Premier's Literary Award, the Commonwealth Writer’s Prize and the Miles Franklin. Her memoir A Better Woman was shortlisted for the National Biography Award. The best-selling novel inspired by the life of Charmian Clift, The Broken Book, was shortlisted for the 2005 Nita B Kibble Award; the Queensland Premier's Literary Award; the Waverley Library Literary Award, and the Australian Literary Society Gold Medal Award for an Outstanding Australian Literary Work. She has worked as a journalist and now writes full-time and lives in Greece where she is working on another memoir.
Sue Smith WRITER
Queensland Theatre: Debut. Other Credits: State Theatre Company of South Australia: The Kreutzer Sonata, Kryptonite (with Sydney Theatre Company), Machu Picchu (with Sydney Theatre Company); Victorian Opera: Rembrandt’s Wife; Griffin Theatre: Strange Attractor, Tamarama Rock Surfers Thrall. Films: Saving Mr Banks, Peaches. Television: Mabo, Bastard Boys, RAN, Temptation, The Road From Coorain, Bordertown, The Leaving of Liverpool, Brides of Christ. Positions: Patrick White Playwrights Fellow, Sydney Theatre Company (2018). Awards: Queensland Literary Award - Television Script Award Mabo; AWGIE - 2018 Lifetime Achievement Award; AWGIE - Best Mini-Series The Leaving of Liverpool; AWGIE - Best Television Original Brides of Christ; AWGIE - Best Telemovie Adaptation The Road from Coorain; AWGIE - Best Mini-Series Original Bastard Boys; AWGIE: Music Theatre Award Rembrandt’s Wife; AFI - Best Screenplay in Television Bastard Boys, RAN, Brides of Christ, The Leaving of Liverpool.
Sam Strong DIRECTOR
Queensland Theatre: Nearer the Gods, Jasper Jones (restaging of Melbourne Theatre Company), Twelfth Night, Noises Off (with Melbourne Theatre Company), Once In Royal David’s City (with Black Swan State Theatre Company). Other Credits: Melbourne Theatre Company: Jasper Jones (2016), Double Indemnity, The Weir, Endgame, The Sublime, The Speechmaker, Private Lives, The Crucible, Other Desert Cities, Madagascar; Sydney Theatre Company: Les Liaisons Dangereuses; Sydney Festival/Griffin Theatre Company/STCSA/Melbourne Festival: Masquerade; Sydney Festival/Griffin Theatre Company: The Boys; Griffin Theatre Company: The Floating World, Between Two Waves, And No More Shall We Part, Speaking in Tongues; Company B Belvoir: The Power of Yes; Red Stitch Actors’ Theatre: Red Sky Morning, Faces in the Crowd; B Sharp: Thom Pain (based on nothing). Positions: Artistic Director, Queensland Theatre; Associate Artistic Director, Melbourne Theatre Company; Artistic Director, Griffin Theatre Company; Literary Associate, Belvoir; Dramaturg in Residence, Red Stitch Actors’ Theatre. Awards: Sydney Theatre Awards - Best Direction of a Mainstage Production The Floating World; Sydney Theatre Awards Nominations - Best Director The Boys, The Power of Yes; Greenroom Awards Nominations – Best Direction Jasper Jones, The Sublime, Red Sky Morning; Helpmann Award Nominations – Best Direction The Floating World, The Boys.
Bryan Probets, Sam Strong, Hugh Parker
Vilma Mattila DESIGNER
Queensland Theatre: As Designer: 600 Ways to Filter a Sunset, Constellations (Queensland Theatre Senior Youth Ensemble 2017). As Assistant Designer: Twelfth Night, Scenes from a Marriage. As Design Assistant: An Octoroon. Other Credits: As Designer: Helsinki City Theatre: The Scapegoat; Bleach Festival 2018: Tide (with The Farm); La Boite Theatre Company: The Dead Devils of Cockle Creek, A Streetcar Named Desire; The Farm: Frank Enstein; Helsinki Theatre Academy’s Kookos Theatre: Platonov, They Shoot Horse’s Don’t They, Violent Society. As Costume Designer: The 2018 Gold Coast Commonwealth Games Opening Ceremony: Birralee Voices, Many Lands, One Place; Bleach Festival 2018: Ninth Wave (with The Farm). As Assistant Designer: Helsinki City Theatre: Armi; Alexander Theatre: Antigone. Positions: Resident Designer, Queensland Theatre. Training: Master of Arts in Scenography (ongoing), Aalto University School of Arts, Design and Architecture; Bachelor of Arts in Scenography, Aalto University School of Arts, Design and Architecture (studies at QUT Creative Industries and Griffith University).
Nigel Levings LIGHTING DESIGNER
Queensland Theatre: Toy Symphony, A Cheery Soul, Cat On a Hot Tin Roof. Other Credits: Over 580 productions as Lighting Designer. Broadway, Opera Zurich, Welsh National Opera, Opera Australia, Edinburgh Festival, Royal Shakespeare Company, English National Opera, Deutsche Staatsoper, Sydney Theatre Company, Melbourne Theatre Company, State Theatre Company of SA, Belvoir St, Brink, Royal Opera House, Washington Opera, Dallas Opera, Chicago Lyric Opera, Houston Grand Opera, Korean National Opera. Awards: Tony Award – Best Lighting Design La Boheme; Outer Circle Critics’ Awards - Outstanding Lighting Design The King and I; Dora Award – Outstanding Lighting Design Billy Budd.
Kat O’Halloran STAGE MANAGER
Tiffany Lyndall-Knight, Nathan O’Keefe, Merlynn Tong
Quentin Grant COMPOSER/SOUND DESIGNER
Queensland Theatre: Debut. Other Credits: Circa: Wolfgang; Circa and Brisbane Festival: Il Ritorno; State Theatre Company of South Australia: Summer of the Seventeenth Doll, Little Bird; Slingsby: An Ode to Nonsense, For Those Who’ve Come Across the Seas (with Adelaide Cabaret Festival), Emil and the Detectives, The Young King; Golonka: Japan Tour. Television: The Art of the Game. Training: Composition and Clarinet at Tasmanian Conservatorium of Music (1981-82); Composition and Piano at Elder Conservatorium (1983-85). Positions: Composer, QSO; Composer, Sydney Symphony Orchestra; Composer, Adelaide Symphony Orchestra; Composer, Jena Philharmonic Orchestra; Co-Director, The Firm; Composer and Musician, Golonka.
Merlynn Tong ASSISTANT DIRECTOR
Queensland Theatre: As Writer: Good Grief (The Scene Project). Other Credits: As Writer: Playlab & Brisbane Powerhouse: Blue Bones; Brisbane Powerhouse: Ma Ma Ma Mad. As Actor: Elbow Room: What I’m Here For; Punchdrunk and Imaginary Theatre: Lost Lending Library; La Boite Theatre Company: Mathematics of Longing, Straight White Men; Shock Therapy Productions: Viral; Judith Wright Centre/Briefs Factory/Black Honey Company: Hot Brown Honey; Bleached Arts: Hotelling; Brisbane Festival: Bitch: Origin of the Female Species, The Theory of Everything; Taoyuan International Children’s Festival: The Wizards from Oz. As Director: Erth Visual & Physical Inc: Erth’s Dinosaur Zoo (China Tour). Television: Top of the Lake: China Girl. Positions: Director, Contemporary Asian Australian Performance (CAAP) Directors Initiative. Awards: Matilda Awards - Best Female Actor in a Leading Role Blue Bones; The Lord Mayor’s Award for Best New Australian Work Blue Bones.
Queensland Theatre: As Stage Manager: 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; Brisbane Powerhouse & QPAC; Out Of The Box; State Library of Queensland: National Play Festival. As Event Co-ordinator: Sydney Festival - Seymour Centre, Carriageworks, AAMI Ferrython, Festival First Night. As Assistant Stage Manager: SpoonTree Productions: The Man The Sea Saw; Sydney Festival: Domain Concert Series; Queensland Ballet. Positions: Technical Coordinator, Brisbane Festival. Training: Bachelor of Fine Arts (Technical Production), QUT.
Yanni Dubler ASSISTANT STAGE MANAGER
Queensland Theatre: As Stage Manager: The Button Event. As Assistant Stage Manager: Nearer The Gods, Jasper Jones, St Mary’s in Exile, Brisbane. As Rehearsal Assistant Stage Manager: Black Diggers (2015 National Tour), Boston Marriage, Gloria. Other: Undercover Artist Festival (for Access Arts), Traction 2017 The Penultimate. Other Credits: As Stage Manager: Kay & McLean Productions: North by Northwest (2018-19 Tour); Queensland Ballet: The Nutcracker (2018), Prelude ’17; George P. Johnson: Invictus Games Sydney 2018 Opening & Closing Ceremonies; La Boite Theatre Company: The Mathematics of Longing; Jack Morton Worldwide: GC2018 Commonwealth Games Opening & Closing Ceremonies; QPAC; Brisbane Powerhouse; Woodford Folk Festival; Collusion Music. As Production Stage Manager: shake & stir theatre co: George’s Marvellous Medicine, Dracula. As Company Stage Manager: shake & stir theatre co: Dracula (2017 National Tour), George’s Marvellous Medicine (2016-17 Auckland & Sydney Tour), Tequila Mockingbird (2016 QLD Tour), Wuthering Heights (2016 National Tour), Revolting Rhymes & Dirty Beasts (2015 National Tour). As Assistant Stage Manager: Queensland Ballet: Coppelia. Positions: Production Assistant, Queensland Theatre (2014); Production Assistant, Expressions Dance Company (2014). Training: Bachelor of Fine Arts (Technical Production), QUT.
Ray Chong Nee
Anna McGahan
JEAN-CLAUDE/TONY KATSIKAS/ DOCTOR ANASTOSOPOULOS
CHARMIAN CLIFT
Queensland Theatre: Noises Off (with Melbourne Theatre Company). Other Credits: La Boite Theatre Company/ Elbow Room/HotHouse Theatre/ Theatre Works: The Motion of Light in Water; Melbourne Theatre Company: I Call My Brothers; Bell Shakespeare: The Dream, Othello, Antony and Cleopatra, Actors at Work’ The Players 2013; Sydney Theatre Company: How to Rule the World (Development); Performing Lines National Road Work Tour/Queensland Theatre/Merrigong Theatre Company/ Casula Powerhouse: Bare Witness; Theatre Ink/Parramatta Riverside/Mardi Gras: Angels in America, Stork Theatre: The Stranger; N.I.D.A: Andy X. Film: There’s a Bluebird in My Heart; Amalia Lucia Gomez is Gluten Intolerant; The Bench; Savage Garden, The Pool. Television: Pulse, Tomorrow When The War Began, Glitch, Party Tricks, Offspring, Rescue Special Ops, Magical Tales, Dance Academy. Awards: Green Room Award – Best Ensemble After All This; Melbourne Fringe - Best Performance After All This; Green Room Nomination - Best Independent Male Performer and Outstanding Performance in a Featured Role. Training: Bachelor of Theatre Arts (Acting), USQ. Ray has been a proud member of Equity since 2004.
Tiffany Lyndall-Knight URSULA/LORELEI
Queensland Theatre: Debut. Other Credits: Steel Productions: 19 weeks; Ink Pot Arts: The Lion, The Witch and The Wardrobe; Duende Theatre Collective: Red Ink; Polygraph Collective: Man in a Bag; Arts Club Theatre: Amadeus, Communicating Doors, Carol’s Christmas; Manitoba Theatre Centre: Three Tall Women; Bard on the Beach Shakespeare Festival: King Lear, Twelfth Night, Love’s Labours Lost, A Midsummer Night’s Dream, The Two Gentlemen of Verona, The Tempest, Much Ado About Nothing, The Merchant of Venice, Henry IV, part 1, Henry V, The Winter’s Tale, As You Like It; Firehall Arts Centre: Reading Hebron; Pacific Theatre: Holy Mo, The Lion, The Witch and The Wardrobe. Film: Fido, Mothers and Daughters, Red Dog, Elegy. Television: Wanted, ANZAC Girls, Wolf Creek, Deadline Gallipoli, Battlestar Galactica, Stargate SG-1, Da Vinci’s City Hall, Smallville, Sam Fox Extreme Adventures, Flash Gordon, Blade, Twilight Zone, Outer Limits, Dead Like Me, Danger 5. Positions: MEAA South Australian Performers Committee (2015-current); Scholarly Fellow and PhD in Theatre & Cultural Studies, Flinders University (20152018). Awards: Adelaide Theatre Guide Curtain Call Award – Best Female Performance and Best Drama 19 weeks; Adelaide Fringe Award - Best Theatre 19 weeks; Melbourne Fringe Tour Ready Award - 19 weeks; South Australian Ruby Award Finalist - Best Work and Innovation 19 weeks; Jessie Richardson Theatre Award Nomination - Best Actress Twelfth Night; Jessie Richardson Theatre Award Nomination – Best Supporting Actress Reading Hebron, Holy Mo; Jessie Richardson Theatre Award Nomination – Best Fringe Production Charming and Rose, True Love (Director and Actor); Globe Shakespeare Theatre Competition – Australian Winner.
Queensland Theatre: Managing Carmen (with Black Swan Theatre Company), The Effect (with Sydney Theatre Company). Other Credits: La Boite Theatre Company: Julius Caesar; Independent: The People of the Sun (Melbourne Fringe). Film: 100 Bloody Acres, Spirit of The Game, Project Eden. Television: Picnic at Hanging Rock, Glitch, The Doctor Blake Mysteries, House Husbands, Anzac Girls, Underbelly Razor, Spirited, Miss Fisher’s Murder Mysteries, The Kettering Incident. Awards: Recipient of the Heath Ledger Scholarship - 2012; Matilda Award - Best Emerging Artist Julius Caesar; Inside Film - ‘Out of the Box’ Award Underbelly Razor, Spirited; Australian Film Critics Association Awards Nomination – Best Actress 100 Bloody Acres; The Logies Nomination - Graham Kennedy Award for Most Outstanding New Talent Underbelly Razor.
Nathan O’Keefe MARTIN JOHNSTON
Queensland Theatre: Debut. Other Credits: State Theatre Company of South Australia: Sense & Sensibility, In The Club, Macbeth, A Doll’s House, The Importance Of Being Earnest, Hedda Gabler, Three Sisters, The Complete Works Of William Shakespeare (Abridged), King Lear, Ghosts, Things I Know To Be True (co-production with Frantic Assembly), Betrayal (co-production with Melbourne Theatre Company), Masquerade (co-production with Griffin Theatre), The Comedy Of Errors (co-production with Bell Shakespeare), Pinocchio (co-production with Windmill/Malthouse/Sydney Theatre Company/New Victory NY), Tartuffe, This Uncharted Hour (co-production with Brink); Brink: Thursday (co-production with English Touring Theatre), Harbinger, The Hypochondriac; Windmill Theatre Company: Grug, Grug & The Rainbow, Beep; Slingsby: Man Covets Bird, Emil & The Detectives; Patch: Mr. McGee & The Biting Flea, Emily Loves To Bounce, Me & My Shadow; StoneCastro: The Country, Blackout; Flying Penguin: Assassins; Vitalstatistix: Ruby Bruise, Checklist For An Armed Robber. Film: Deadline Gallipoli, Broken Hill, Family Demons, Alexandra’s Project. Television: All Saints. Awards Adelaide Critics Circle - Individual Award; Adelaide Theatre Guide - Best Professional Actor.
Anna McGahan, Tiffany Lyndall-Knight, Hugh Parker, Nathan O'Keefe, Bryan Probets
Hugh Parker
Bryan Probets
VIC
GEORGE JOHNSTON
Queensland Theatre: Nearer the Gods, The 39 Steps, Scenes from a Marriage, Noises Off (with Melbourne Theatre Company), Tartuffe (with Black Swan State Theatre Company), Much Ado About Nothing, The Seagull, Brisbane, The Pitch, Kelly, Fractions (with Hothouse Theatre), Cat on a Hot Tin Roof (with Black Swan State Theatre Company), Betrayal, The Clean House (with Black Swan State Theatre Company), 25 Down. Other Credits: La Boite Theatre Company: Lysa and the Freeborn Dames, Straight White Men (with State Theatre Company of South Australia), A Doll’s House, Pale Blue Dot, Julius Caesar; HOTA: Fame, The Musical, The Hotel Beche de Mer; shake & stir theatre co: 1984; Ride On Theatre: The Blind Date Project; The Byre Theatre St Andrews (UK): The 39 Steps; Teenage Cancer Charity Trust: Cream of British Comedy; The Royal Shakespeare Company: A Midsummer Night’s Dream. Film: The Hobby Shop, In A Cane Field, Space/Time, Bullets for the Dead, My Mistress, Fatal Honeymoon, Crooked Business, Sinbad and the Minotaur. Television: Harrow, Rosehaven, The Family Law, Gallipoli, Secrets and Lies, The Killing Field, The Strip, Sea Patrol, Vincent, Casualty, Doctors, Monarch of the Glen II, EastEnders, Smoke, Jonathan Creek, Broken News, 2 Pints of Lager and a Packet of Crisps, The World According to Bex, Wild West, 15 Storeys High, Doctors and Nurses, The Office, People Like Us, Beast, The Peter Principle, I’m Alan Partridge, Black Books, Lucky Jim. As Writer: BBC: Bruiser, The Fast Show. Training: Royal Academy of Dramatic Art, London. Awards: Matilda Nominations – Best Male Actor in a Leading Role Betrayal, A Doll’s House; Equity Award for Ensemble Cast The Family Law. Hugh has been a proud member of Equity since 1995.
Queensland Theatre: Twelfth Night, The 39 Steps, 600 Ways to Filter a Sunset, St Mary’s in Exile, Much Ado About Nothing, The Odd Couple, Australia Day, Design For Living, Pygmalion, Waiting for Godot, The Alchemist (with Bell Shakespeare Company), The Importance of Being Earnest, Private Fears in Public Places, A Christmas Carol, The Venetian Twins, Scapin, The Lonesome West, Mano Nera, The Cherry Orchard, Road to She-Devil’s Salon. Other Credits: shake & stir theatre co: A Christmas Carol, George’s Marvellous Medicine, Tequila Mockingbird, 1984, Animal Farm; La Boite Theatre Company; Edward Gant’s Amazing Feats of Loneliness (with Sydney Theatre Company), As You Like It, The Wishing Well, The Danger Age, The Year Nick McGowan Came to Stay, Operator, Creche and Burn, Way Out West, Milo’s Wake, Hermes and the Naked Flame (with Queensland Arts Council); Opera Queensland: Candide; Zen Zen Zo: Vikram and the Vampire; Queensland Music Festival: Credo the Innocence of God; Queensland Ballet: The Amazing Magician Goes Troppo; Harvest Rain: The Woman in Black; Hot House Theatre Company: Australia: The Show. Film: In Like Flynn, Celeste, Don’t Tell, Pirates of the Caribbean: Dead Men Tell No Tales, The Railway Man, Tracks, The Great Gatsby, Singularity, Punishment, Daybreakers, Subdivision, Triangle, Hildegarde, The Proposition, Nim’s Island, A Heartbeat Away and The Horseman. Television: Tidelands, Monarch Cove, Starter Wife, Fat Cow Motel, Pyjama Girl, Love Weights. Positions: Queensland Theatre, Emerging Artist (2003), Artistic Associate (2004-06). Awards: Matilda Commendations The Lonesome West, Road to the SheDevil’s Salon; Matilda Award - Best Supporting Actor As You Like It; Gold Matilda Award Winner for Body of Work.
Thank you to our donors. QUEENSLAND THEATRE VISIONARIES Rainmakers Tim Fairfax AC & Gina Fairfax ■ Ian & Cass George ■ Artistic Director's Circle Doug Hall Foundation ■ EM Jameson & AL Anderson ■ Susan Learmonth & Bernard Curran ■ Pamela Marx ■ Bruce & Sue Shepherd ■ Leaders 2 Anonymous Australian Communities Foundation - Keith & Jeannette Ince Fund ■ Justice Thomas Bradley QC ■ Dr John H Casey ■ Barbara Duhig ■ Louise M Gourlay ■ John & Gay Hull ■ Martin & Andrea Kriewaldt ■ Cathryn Mittelheuser AM ■ Nigel & Liz Prior ■ Dr Marie Siganto AM ■ David Williamson AO & Kristin Williamson ■ Benefactors 2 Anonymous Roslyn Atkinson AO & Richard Fotheringham ■ Barbara Bedwell Andrew & Trudi Bofinger Sarah Bradley ■ Michael & Anne-Maree Byrne ■ Rachel Crowley ■ Frederick D'Agostino Sue Donnelly ■ Wesley Enoch Karla Fraser Ian & Ruth Gough ■ Dr Anita Green ■ Dr Geoffrey Hirst AM & Dr Sally Wilde ■ Lawrence Hirst Kim & Michael Hodge ■ The Jelley Family Foundation ■ David & Katrina King ■ Colin & Noela Kratzing ■ Dr Joan M Lawrence AM ■ Stephen & Terry Leach ■ Andrew & Kate Lister ■ The Mather Foundation Karl & Louise Morris ■ The Nicklin Family ■ John Reid AO & Lynn Rainbow-Reid AM ■ Trevor St Baker AO & Judith St Baker ■
Collaborators 5 Anonymous J M Alroe Libby Anstis & Neil Hampton Eileen Baker Christopher & Margot Blue William Bowness AO John & Lynnly Chalk Barry & Faye Clark ■ Mark & Joanne Darwin Veronica Ghidella Alan Galwey ■ Claire Glasson Malcolm & Andrea Hall-Brown Hudson Family Geoff & Michele James Amanda Jolly & Peter Knights ■ Dr Bert Klug Ross & Sophia Lamont Fred & Margaret Leditschke Trevor Lee & Keri Craig-Lee OAM David & Erica Lee Dr Lynne McKinlay Merlo Family Charles & Catherine Miller Shay O'Hara-Smith Liz Pidgeon & Graeme Wikman Michael & Deanna Power John Richardson & Kirsty Taylor Margaret Ridley & Daryl Clifford Scifleet Family Caroline & Peter Steadman Sam Strong & Katherine Slattery ■ Courtney Talbot Greg & ESally Vickery Margaret Williams Bruce & Jocelyn Wolfe ■ Patrons 7 Anonymous Anne & Peter Allen William Ash & Margi Brown Ash Sallyanne Atkinson AO Michael & Anne Back Noela Bartlett ■ Chris & Patricia Beecham Grant Black Dr Sheena Burnell Terri Butler MP M Cannon & J McCarthy Phillip Carruthers & Sharni Cockburn Rita Carter-Brown Helen Cavill Zoë Connolly Sheryl Cornack Angela Cornford-Scott Leone Costigan Kerry & Greg Cowderoy Bruce & Helen Cowley ■
June Craw Criddle Family Cameron Crouch & Aimee Carding Dr John Davies Malcolm & Margaret Davison Mary Dickinson Jeremy Dixon John Doley Lisa Domagala Andrew & Leonie Douglas Dr Judith Dwyer Clarence Evans Brad & Julie Farr Erin Feros Sharyn Ghidella Dr Sara Gollschewski Helen Gough Michael Gow ■ Sue & Mike Gowan John Graham & Craig Syphers Gray Family Tony Groom Catherine & Nanda Gulhane Sophia Hall Andrew Hallam & Christine Bongers Jim & Donna Hallam Alison Harrington Sue Hunt Samantha & Darren Jansen Robert Kemp Anne Kennedy Tempe Keune Kirkwood Family Damien Klarwein Dr Peter Klug Ian & Jocelyn Klug Michael & Jane Klug Dr Barbara Laing Deni Leishman B Lloyd ■ Helen & Tim Longwill Fiona Lowes Marina Marangos Nic Martoo William McCarthy Sandra McCullagh John & Julienne McKenna Judith Mclean Philip McMurdo & Margaret McMurdo AC Andrea Moor Bruce & Irene Moy Rhys Muldoon Debra & Patrick Mullins Richard Munro R & B Murray Judy Noble Kartini Oei Greg & Wendy O'Meara Leanne O'Shea & Peter Gilroy Jennifer Parker D & I Perry-Keene Joanna Peters
Katharine Philp Loretta Pierce Pierce Family Gillian Pincus Rachael Pinter Blayne & Helen Pitts PowerArts Glenice & Amanda Prior Diane Quinn Catherine Quinn Mark & Helen Radvan Angela Ramsay ■ Tim & Kym Reid Dale Ric-Hansen Jan & Jim Rodney Crispin Scott Margaret Scott Maria Semit Marianna Serghi John Simpson Antonia Simpson John Smithwick Steven Sorbello Ben & Janette Steinberg Dr Josephine Sundin Damien Thomson & Glenise C. Berry Elizabeth & Jane Wedgwood Robin Wenck Dr Ralph Whiteside Richard Whittington OAM Lisa & William Bruce Suzanne & Bo Williams Janet & Peter Wojciechowski Dr Catherine Yelland Tony Young Marisa Zavattaro TRUST & FOUNDATION PARTNERS Australian Communities Foundation - Davie Family Fund Gambling Community Benefit Fund ■ Morgans Foundation ■ Queensland Community Foundation Queensland Community Foundation - Jameson Family Fund Tim Fairfax Family Foundation Vita Foundation William Angliss (Queensland) Charitable Fund
■
Foundation of the Future Donors
DONORS Legal Chapter Anonymous Michael & Anne Back Jennifer Batts Peter Bridgman & Susan Booth Michael & Anne-Maree Byrne Lee Clark Trent Forno H G Fryberg John & Lois Griffin Kim & Michael Hodge Kevin & Joanne Holyoak
Barbara Houlihan Fleur Kingham & David Barbagallo John & Janice Logan Katrina Low Richard & Denise Morton Debra & Patrick Mullins Leanne O'Shea & Peter Gilroy Peter G Williams Gadens Lawyers Herbert Smith Freehills King & Wood Mallesons
Supporting Cast 5 Anonymous Virginia Bishop Robert Bond Peter Callaghan Bob Cleland Tony Costantini Kiernan Dorney QC Dianne Eden OAM Judi Ewings Daryl & Trish Hanly Susan Mabin Mark Menhinnitt Philip & Fran Morrison
Denise O'Boyle In memory of David Page Diane & Robert Parcell Jean Read Dee & Reny Rennie Wendy Tonkes Kevin Vedelago & Karen Renton Jacqui Walters Marian Wheeler Frederick N. Winter Ian Yeo & Sylvia Alexander
Queensland Theatre wishes to extend a heartfelt thanks to all our donors. Each gift, large or small, makes a difference to our work.
Queensland Theatre Visionaries Calling all visionary thinkers Queensland Theatre is on the cusp of a new era. Together we’ve come so far and achieved so much. Now, with your help, we will forge the future of theatre in Queensland. Our new annual giving initiative, Queensland Theatre Visionaries, invites you to join with like-minded people to make our ambitious vision a reality. We are very grateful for your support — its impact will be felt far and wide from industry to audience to community. More information? To become a Queensland Theatre Visionary, or for more information, please contact our Director of Development, Zoë Connolly on (07) 3010 7602 or zconnolly@queenslandtheatre.com.au Annual donations over $500 are acknowledged for 12 months from the date of donation.
From October 2019 to the end of 2020, we’ll be celebrating our 50th Anniversary. And we want everyone to be part of the celebration.
r de l o H t e ck i T
To kick things off, we’re calling out to all of the people who have helped make this company what it is in the last half century, whether you’ve worked with us for 10 years or joined us in the audience for one show.
Future
nsl an de r
ne Milesto ay rthd i B py Hap
tion a r b e C el
His tor y
Patrons
on s a Frie Se nds
Experiences
s torie S g in Shar
cy Lega r u O
Visit queenslandtheatre.com.au/50years to respond and/or upload photos/videos. You can also email info@queenslandtheatre.com.au or post to: Queensland Theatre 50 Years 78 Montague Rd SOUTH BRISBANE Q 4101 Watch this space for more detail
ire Insp
Qu ee
Anniv ersary
y Stor r u o Us Y Tell
If you have a story or experience of Queensland Theatre that you would like to share, then please get in touch. Alternatively, you could tell us how you think we should celebrate our 50th. Or just let us know your hopes and dreams for our company for the next 50 years.
Thanks to our sponsors & partners Government Partners
Principal Partner
Building Enhancement Partner
Trust and Foundation Partners
Presentation Sponsors
Season Sponsors
Media Supporters
Season Supporters
Print & Digital News Sponsor
International Airline Partner
Visit racq.com/more for information on loyalty rewards, retail and entertainment discounts and more. Figures based on FY18 statistics
We’re for the best seats in the house. CourierMail
CourierMail
Phil Brown, Arts Editor
LOVE MOVIES?
COME AND JOIN OUR CLUB TO ACCESS THESE AMAZING BENEFITS AND MORE!
DISCOUNTED MOVIE TICKETS FOR YOU AND A GUEST
ACCESS TO EXCLUSIVE PREVIEW SCREENINGS AND EVENTS
HALF-PRICE MOVIE TICKETS EVERY MONDAY*
CANDY BAR DISCOUNTS EXCLUDING ALCOHOL
Visit a DENDY CINEMAS Box Office or online to find out more
dendy.com.au *Half-price Member Monday pricing includes Premium Lounge sessions and Newtown Lounge sessions. Available before 5pm only in Canberra and NSW. Available all-day and night in QLD.
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 Prof Richard Fotheringham Simon Gallaher Angelina Hurley Susan Learmonth Dr Andrea Moor David Williamson AO ARTISTIC DIRECTOR Sam Strong EXECUTIVE DIRECTOR Amanda Jolly RESIDENT DRAMATURG Isaac Drandic EXECUTIVE ASSISTANT Tammy Sleeth DEVELOPMENT DIRECTOR OF DEVELOPMENT Zoë Connolly DIRECTOR OF CORPORATE PARTNERSHIPS Nikki Porter SPECIAL PROJECTS Liz Prior PHILANTHROPY COORDINATOR Georgia Lynas DEVELOPMENT AND EVENTS COORDINATOR Felicity Clifford GRANTS & COMMUNICATION COORDINATOR Hannah Barr FINANCE & OPERATIONS CHIEF FINANCIAL OFFICER Valerie Cole ASSISTANT ACCOUNTANT Georgia Knight FINANCE OFFICER Sarra Lamb VENUE & OPERATIONS MANAGER Julian Messer
ACKNOWLEDGEMENTS REHEARSAL PHOTOGRAPHY Stephen Henry “Sleepy Lagoon” Written by: Coates, (Lawrence) Chappell Recorded Music Library Administered by: Universal Music Publishing Pty Ltd
Information correct at time of printing
MARKETING & TICKETING DIRECTOR OF MARKETING Tracey Webster MARKETING COORDINATOR Maneka Singh MARKETING ASSISTANT Cinnamon Smith MARKETING ASSISTANT (DIGITAL ENGAGEMENT) Thomas Manton–Williams GRAPHIC DESIGNER Aleesha Cuffe PUBLICIST Kath Rose and Associates DATABASE TRAINER / SUPERVISOR Rory Killen TICKETING SUPERVISOR Madison Bell TICKETING OFFICER Rosie Hazell BOX OFFICE Chantelle Giles, Ashley Webster SEASON TICKETING Tawny Ambrum, Madeline Bassetti, Matthew Filkins, Jaime Ng, Daniel Sinclair PRODUCTION DIRECTOR, TECHNICAL AND PRODUCTION Toni Glynn TECHNICAL COORDINATOR Daniel Maddison TECHNICAL COORDINATOR Lachlan Cross DEPUTY PRODUCTION MANAGER Candice Schmidt HEAD OF WORKSHOP Peter Sands COMPANY CARPENTER/HEAD MECHANIST John Pierce COSTUME SUPERVISOR Nathalie Ryner WARDROBE COORDINATOR Barbara Kerr
PROGRAMMING DIRECTOR OF PROGRAMMING Sophia Hall ARTISTIC COORDINATOR Samantha French PRODUCER, NEW WORK Shari Irwin ARTISTIC ADMINISTRATOR (Maternity leave) Hana Tow ARTISTIC ADMINISTRATOR Laura Henderson YOUTH, EDUCATION AND REGIONAL ENGAGEMENT DIRECTOR, YOUTH, EDUCATION AND REGIONAL TOURING Laurel Collins ASSOCIATE DIRECTOR Travis Dowling EDUCATION COORDINATOR Naomi Murphy INDIGENOUS REFERENCE GROUP Nathan Jarro (Chair), Jimi Bani, Isaac Drandic, Angelina Hurley FOUNDING DIRECTOR AIan Edwards, AM, MBE (1925-2003) QUEENSLAND THEATRE PRODUCTION STAFF CARPENTER Jamie Bowman, Chris Whitehead PROPS MAKER Aleksis Waaralinna SCENIC ARTISTS Leo Herreygers, Nicole Murray SOUND CONSULTANT Matt Erskine PRODUCTION ELECTRICIAN Tim Gawne COSTUME MAKER Oscar Clark COSTUME MAKER/CUTTER Michelle Wiki, Leigh Buchanan WARDROBE MAINTENANCE Jack Parry DRESSER Krista Young
Queensland Theatre is a member of the Australian Major Performing Arts Group.
THE FOLLOWING PEOPLE CONTRIBUTED TO THE CREATIVE DEVELOPMENT OF THIS WORK: Helen Cassidy, Sandro Colarelli, Shaka Cook, Tahli Corin, Christie Evangelisto, Sam Foster, Lauren Jackson, Vilma Mattila, Anna McGahan, Julian Meyrick, Veronica Neave, Hugh Parker, Bryan Probets, Christopher Sommers, Kevin Spink, Anthony Standish, Tom Yaxley.
A season of dreamers Tickets 1800 355 528
queenslandtheatre.com.au