Queensland Theatre Company and Brisbane Festival, in association with QPAC and The Balnaves Foundation present
A Queensland Theatre Company and Sydney Festival production
“Not just one of the highlights of this year’s festival but a new high point in telling a national narrative on the stage.” THE GUARDIAN
24 Sep – 12 Oct QPAC, Brisbane Call 136 246 queenslandtheatre.com.au
Tickets $33 - $80 (plus booking fee) Concessions, Groups and Under 30s prices available.
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.
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Photography: Branco Gaica
QUEENSLAND THEATRE COMPANY AND THE GOOD ROOM, IN ASSOCIATION WITH BRISBANE FESTIVAL PRESENT
CREATED BY THE GOOD ROOM
Cast 4-13 September 2014 Bille Brown Studio The GreenHouse I Want To Know What Love Is will run for approximately 60 minutes with no interval.
Carol Burns
Performer
Tom Cossettini
Performer
Caroline Dunphy
Deviser/Performer
Amy Ingram
Deviser/Performer
Daniel Evans
Deviser/Director
Kieran Swann
Deviser/Designer
Lauren Clelland
Deviser
Jason Glenwright
Lighting Designer
Lawrence English
Composer/Sound Designer
Freddy Komp
Stage Manager
Jeremy Gordon
Stage Management Secondment
WARNING Extreme coarse language, sexual references, loud music and sound effects, herbal cigarettes and smoke effects, and strobe lighting.
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Recycle this program 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
Tom Tom Cossettini Cossettini and Caroline Dunphy
Welcome Note Wesley Enoch, Artistic Director
Dear Patron, Supporter and Friend, Welcome to Brisbane Festival at The GreenHouse. We have been enjoying a bumper year with five consecutive shows finding critical and box office success, four of those right here in the Bille Brown Studio. Creating new work can be a joy and a challenge, especially when you are devising the show from true stories. We are welcoming two groups of artists to create shows from scratch as part of our exclusive offering for Brisbane Festival. The story of a father searching to understand the illness of his daughter in The Button Event and I Want To Know What Love Is based on the love stories from over 800 public submissions. I Want To Know What Love Is comes from the creative mind of Daniel Evans and his company, The Good Room. The Good Room is a wonderful collective of theatre-makers here in Brisbane that has carved a niche for themselves
as commentators of popular culture, cultivating the creative talents of their audience and collaborators. QTC believes it’s important we support local artists to make an array of works from scripted classics, new plays, devised works and more. The imagination of the artists and the support of adventurous audiences help build a vibrant culture. Theatre is a risky business and you embracing risk helps encourage artists to stretch themselves. Thank you. Love
Wesley
There are many people who would never have been in LOVE, had they never heard LOVE spoken of. Francois de La Rochefoucauld
Director's Note Daniel Evans
In 2012, the most-searched question on Google was ‘What is love?’ Across the world people were gazing into cyberspace looking for an answer to a question that has gripped humanity for centuries; a question to which there is no definitive reply. Despite seismic shifts in culture, in time and in technology, the concept of what love is remains as slippery as ever. In I Want To Know What Love Is we’ve turned the authorial voice over to the general public. On February 14, 2014 we opened a specially-built website called wewantyourlove.com and asked people like you for anonymous responses to a series of questions: What have you done for love? Is yours the greatest love story (n)ever told? Who, or what, do/did you love? Why? Is love science or poetry? What does love look/smell/taste like? What is the ultimate love song or lyric? Was there ever a time when love just wasn’t enough ... We received around 800 submissions, 85% were about romantic love and, of this number, roughly 40% were about heartbreak. Where some people wrote 10-page
sagas, others only wrote one name. There were giddy love letters, steamy poetry, crush confessions and dark, painful admissions. What we were given were fragments of people’s lives – often offered without context or explanation – that showed us something about the state of their hearts. Over the past few weeks we have set about creating something of an ode; a work that pays homage to these submissions and that celebrates love with all its warts and roses, in all its bittersweet and cringe-worthy glory. We’ve worked using a devised process whereby a diverse collective of artists evolve the show together from scratch – each bringing their own unique perspective to the theatre floor. What this process has engendered is a work with no ‘correct’ interpretation, no ‘one’ or ‘right’ way to understand the production. In this way, I Want To Know What Love Is honours the idea that our lives are not a single narrative. We are a combination of a thousand different experiences (especially when it comes to love) and some of those experiences you will witness tonight. Who
knows? Maybe some of them are yours. If indeed you did submit to wewantyourlove.com – thank you. I speak for the entire creative team when I say that it has been incredibly humbling to work with real people’s stories. Stories that were offered with such feeling and generosity. To those who shared, we dedicate this show to you. And to those who didn’t, never mind – you, or part of you, is probably in here. Love – if anything - is universal after all.
Amy Ingram
Designer's Note Kieran Swann Design has been embedded into the process of I Want To Know What Love Is. For me, that's the best way to devise a work. It means that materials and image becomes integral to the performance that develops intertwined with bodies, lights, sound and text, no one element more important than another. As a devised work of performance, I Want To Know What Love Is didn't start with a script. It started with an inquiry - what is love to us? Why does it consume us? To what extent do we allow it to define us, and to what end? It started with a process of research and accumulating objects, fragments of text, scientific data, experiments with light, sound and design materials. We, as co-creators, began to develop a rudimentary approach to working and a vocabulary of gestures and images that form the basis of the design you see in front of you. In shaping the design out of those reference points, we've also drawn from work by some of my favourite contemporary artists; Felix Gonzalez-Torres and his minimal yet poetic installations; Tracey Emin and
her fiercely raw and emotional body of work; Jenny Holzer and her crystallized examinations of gender and power. Some of what you see before you is subtle references; some are direct homage - dedications to their lives and work. Most importantly, the anonymous submissions brought with them further references that flowed into the evolving work. Flowers and garbage bags came from you. So did formalwear. So too did the soft, stained sweatpants we retreat into to wallow or heal. The design fluctuated and evolved; champagne bottles and chocolate boxes came and went (and with them doona forts and empty ice-cream containers). To reference all of the hundreds of submissions would have meant piles and piles of objects on stage, drawn from unique lives and stories - and so, over time, a more minimalist logic has formed, boiling down to the most important and the most evocative images and objects, motifs that carry through the whole work; a better way to speak to what one submission described as 'a driving force'
- another, 'a grand natural disaster'. In I Want to Know What Love Is, the design is more than a visual interpretation of a script; it's a synthesis of and response to over eight hundred lives lived. Some are spoken, some are sung, and the design is equally responsible for representing and paying tribute to real peoples’ stories. Yours may not look exactly like what we've made - but hopefully within it you can see something that looks familiar; one in hundreds of thousands of other unique experiences, all together here.
L to R: Tom Cossettini, Caroline Dunphy and Carol Burns
Daniel Evans DEVISER/DIRECTOR
Kieran Swann DEVISER/DESIGNER
Queensland Theatre Company: As Director: The China Incident. Other Credits: As Director: The Good Room: Rabbit, Single Admissions; Griffith University: Superfamousnobodies, Wide Awake & Wasted, Oedipus The King, DNA, Here Goes Nothing, Face To The Wall, Antigone, Totally Epic & Utterly Lame, Big Hair In America. As Writer: Vodka Cranberry Soda, Never For Ever, The Lady Of The House Of Love, Ivy Shambitt & The Sound Machine, Opening A Fuzzwollop’s Frame Of Mind. As Writer/Director: the little red company: How To Make Snow. The Good Room: Holy Guacamole. Metro Arts Independents: The Reunion (with Rebecca Meston). As Co-Deviser: The Nest: Eve; The Good Room: Where We Begin, I Should Have Drunk More Champagne. Television: Producer: Southern Star: Big Brother 2009-2014. Writer: SBS: Eurovision Song Contest 2009/10. Positions: Co-Founder: The Good Room. Contributor: frankie Magazine. Performance Producer: Metro Arts, 2009 – 2012. Co-Director: National Young Writers’ Festival 2009/10. Awards: Queensland Premier’s Drama Award 2014-2015. Training: Bachelor of Creative Industries (Interdisciplinary), Queensland University of Technology (QUT).
Queensland Theatre Company: As Designer: The Mountaintop, That Face, Stones in His Pockets, I Am My Own Wife, An Exploration of the Caucasian Chalk Circle, Property of the Clan, The Estimator. As Assistant Designer: Away. As Design Assistant: Hamlet, Private Fears in Public Places, Constance Drinkwater and the Final Days of Somerset. Other Credits: As Performance Curator: Brisbane Experimental Art Festival 2014. As Co-Creator: Next Wave: YOUTHvsPHYSICS (co-produced with Brisbane Powerhouse). As CoCreator/Designer: Brisbane Powerhouse: The Greater Plague. As Designer: Brisbane Powerhouse & Adelaide Fringe: Omon Ra; … and moor Theatre Company: The Ghost Writer. As Creative Director: Brisbane Powerhouse: the Restaged Histories project (2004-2009). Positions: Programming Manager: Metro Arts, 2012-present; Visual Artist: Transparency Collective, 2010-present; Resident Designer: Emerging Artist Program: Queensland Theatre Company, 2007. Training: Victorian College of the Arts, Performance Creation (2010); Queensland University of Technology, Bachelor of Fine Arts (2005).
Jason Glenwright LIGHTING DESIGNER
Lawrence English COMPOSER/ SOUND DESIGNER
Queensland Theatre Company: As Lighting Designer: Faustus (coproduction with Bell Shakespeare), A Tribute of Sorts, The Removalists, Water Falling Down, The Little Dog Laughed, Thom Pain (based on nothing). Other Credits: Griffin Theatre Company: A Hoax (co-production with La Boite Theatre Company); La Boite Theatre Company: Pale Blue Dot, Ruben Guthrie, Julius Caesar, The Kursk; Expressions Dance Company: While Others Sleep; shake & stir theatre co: Wuthering Heights, The Tempest, Roald Dahl's Revolting Rhymes and Dirty Beasts, Tequila Mockingbird, Out Damn Snot, 1984, Animal Farm; Queensland Music Festival: Drag QueensLand; Harvest Rain Theatre Company: Cats, Guys and Dolls, Blood Brothers, Oklahoma!, The Wizard of Oz, Hairspray, Jesus Christ Superstar, Songs For A New World, Cinderella, Joseph, Peter Pan, The Sound of Music, A Midsummer Night's Dream; JUTE: Delirium, Soph and the Real World, At Sea Staring Up, The Shining Path, Cake; Gardens Theatre: Gaijin; Zen Zen Zo: Therese Raquin, The Tempest; La Boite Indie: The Truth About Kookaburras, My Name Is Rachel Corrie, Blackbird; Metro Arts: Dead Cargo, Trolley Boys, Tender, The Pillowman, My Night With Harold, Bronte; Debase: Chasing The Lollyman, Snagged, Popping Lead Balloons; Oscar Theatre Company: Boy & Girl, Next to Normal, [title of show], The 25th Putnam County Spelling Bee. Positions: Queensland Theatre Company Emerging Artist 2010. Awards: Gold Matilda – Body of Work (Lighting Designer) – 2013. Groundling Awards - Best Lighting Design 2010, 2012 and 2013. Dell’Arte Awards – Best Lighting 2009, 2010, 2011, 2012, 2013. Training: Queensland University of Technology, Bachelor of Fine Arts (Technical Production). Queensland Theatre Company: The Pitch & The China Incident. Other Credits: As Composer: Blackboard Theatre: La Voix Humane; Circa: How Like An Angel; The Living Room Theatre: I Love Todd Sampson; Aphids: Flyway; Norpa: My Radio Heart; ABC Radio National: Sombre Verde; SWR: The Cold Monolith; ORF: Esperanza. As Music Director: Ridiculusmus/Brisbane Powerhouse: The Importance Of Being Earnest. As Sound Designer: Brisbane Festival/Brisbane Powerhouse: The True Story Of Butterfish. Films: Don’t Look Down (2012), Sorronda (2012), Fall (2012), The Low
Storm (2010), Positions: As Artistic Director: Liquid Architecture Festival (2003-2012), Open Frame Festival (2006-present), Frankly! Festival (2009-2011). As Sound Curator: Brisbane Powerhouse (2002-present), Queensland Music Festival (2007-2011), Institute Of Modern Art (2006-present), University Of Tasmania 2009, Multi Media Asia Pacific 2004. Sitting Member, Music Board, Australia Council For The Arts. Awards: APRA Art Music Award: Experimental Work in Queensland, Q-Song Award: Best New Electronic.
Carol Burns PERFORMER
Tom Cossettini PERFORMER
Queensland Theatre Company: Design For Living, Elizabeth - Almost By Chance a Woman, Pygmalion, Cat on a Hot Tin Roof (co-production with Black Swan State Theatre Company), The Clean House, Rabbit Hole, The Female of the Species, The Glass Menagerie, Private Lives, Oedipus, The Goat or Who is Sylvia?, The Real Inspector Hound, Black Comedy, A Conversation, Bill & Mary. Other Credits: Queensland Music Festival, La Boite Theatre Company, JUTE, M.T.C., Nimrod Theatre Company, State Theatre Company of South Australia and S.T.C. Albury and Wyndams Theatres West End London, Shaw Theatre London, Croydon Warehouse Croydon, Tron Theatre Glasgow, Yvonne Arnaud Theatre Guilford, National Tours England Film: Hard Drive, Tracks, The Turning: Small Mercies. Television: The Strange Calls, Reef Doctors, Heartbeat, Small Claims, The Day of the Roses, The Love of Lionel’s Life, Blue Heelers, The Bill, Taggart, Hannay, Casualty, Queen Kat, Carmel and St. Jude, Pig in a Poke, Play of the Month, Prisoner. Positions: Queensland Theatre Company Associate Artist, Queensland Arts Council/Artslink Associate Artist; Patron of The Independent Theatre (Eumundi); Patron of Fame Theatre School (Brisbane); Equity Member since 1973, Equity Queensland President; member of National Performers Committee, The Actors’ and Entertainers’ Benevolent Fund Vice President.
Queensland Theatre Company: Debut. Other Credits: Lost Boys Theatre Company: How to Succeed in Business Without Really Trying. Training: Bachelor of Arts in Contemporary & Applied Theatre, Griffith University.
Caroline Dunphy DEVISER/PERFORMER
Amy Ingram DEVISER/PERFORMER
Queensland Theatre Company: Love Puke. Other Credits: ARC Australian Research Council: The Return (coproduction with Griffith University), The Danger Ensemble: The Wizard of Oz (co-production with La Boite and Brisbane Festival), Loco Maricon Amor; The Good Room: I Should Have Drunk More Champagne (co-production with Metro Arts); Metro Arts: Hanako; Frank Theatre: Up Jumped the Devil, Ophelia, Salome, Tragedy of Oedipus, Romeo and Juliet, Voodoo Macbeth, Doll 17, A Midsummer Night's Romeos, Frank Theatre Expo, Season of the Doll, Taikoz, Heavy Metal Hamlet; The Brides of Frank: ‘Til Death Do Us Part, In Stitches Comedy Festival, After Dinner Mince; La Boite Theatre: Post Office Rose (co-production with Dogs in the Roof), Zig Zag Street, The John Wayne Principle, Away: QUT: The Goat Project; White Rhino Productions: Don’t Start Too Much; Brisbane Festival: Rashomon; Brisbane Powerhouse: Codger, Rodin’s Kiss. Film: Drive Hard, Clara, Holding On, The Activist, Waste. Television: Mortified, Jeopardy III, Jeopardy II, Fat Cow Motel, Fire 2. Positions: Board member QTC, 2003-2006.
Queensland Theatre Company: Trollop, Seeding Bed, An Oak Tree, Fat Pig. Other Credits: As Actor - The Good Room: I Should Have Drunk More Champagne, Rabbit, Where We Begin, Single Admissions (coproduction with Lazy, Young and Talented), Holy Guacamole!; La Boite Theatre Company: Cosi; La Boite Theatre Company / shake & stir theatre co: Out Damned Snot; Adelaide Fringe Festival: Tracksuit Girl; Switchboard Arts: Tripping, Getting Betterer, 10x10. As Director: Griffith University: Wolf Lullaby, Trojan Women; USQ: Ivy Shambit and The Sound Machine; Brisbane Girls Grammar: Trojan Women. Film: Hot Chaps (QPIX); Television: Gods of Wheat Street, Camp, Mabo. Positions: Co-Artistic Director: The Good Room, The Lame Academy Co; Director: National Young Writers Festival (2008, 2009); Chair: USQ Theatre Alumni (2011/2012). Awards: Matilda Award – Best Emerging Artist (2010), 2013 Arts Queensland Independent Fund Recipient (Amy travelled to New York in 2014 where she studied at The Lee Strasberg Institute and did an internship with Elevator Repair Service Theatre Company ). Training: Bachelor of Theatre Arts (Acting), University of Southern Queensland.
Lauren Clelland DEVISER
Freddy Komp STAGE MANAGER
Queensland Theatre Company: Debut. Other Credits: Artist/Co-Producer: Next Wave 2012/Junction Arts Festival 2013/Australian Performing Arts Market 2014: The Stream/The Boat/ The Shore/The Bridge; Assistant Stage Manager: 2013 AFL Grand Final; Great Big Events. Curator/Deviser: Metro Arts, FreeRange 2012: I Don’t Think This Is Happiness: Deviser/Performer: The Good Room/Under the Radar 2011: Where We Begin; Curator: Metro Arts/FreeRange 2010: CROSSSTITCH: No Pluto, Just Stars. Positions: Brisbane Festival: Producer – Independent Program (present); Melbourne International Film Festival 2013: Venues Manager; Melbourne Festival/Outer Urban Projects: Production Manager: Urban Chamber Beyond; Melbourne Fringe Festival 2012: Associate Producer – The Warren; Adelaide Fringe Festival: Site Front of House Manager, The Garden of Unearthly Delights (2012, 2013); Melbourne Symphony Orchestra: Assistant Stage Manager, The Dr Who Symphonic Spectacular; Pin Up Your Doodle Fundraising Exhibition/Pop Up Bar (Donkey Wheel House) and Auction (Australian Centre for Contemporary Art): Event Producer; Brisbane Festival: Program Coordinator, Under the Radar 2009. Training: Queensland University of Technology, Bachelor of Creative Industries (Drama) 2008 Queensland Theatre Company: A Tribute of Sorts (co-production with Metro Arts and Monsters Appear). Other Credits: As Production/Stage/ Tour Manager: Metro Arts: A Tribute of Sorts (co-production with Monsters Appear), Aurelian, The Lady Of The House Of Love, The Empty City (coproduction with The Human Company), Bear With Me, The Kursk; Matrix Theatre Company: Vikram And The Vampire, The Kursk National Tour. As AV Designer: La Boite Theatre Company: HOME, Water Wars; Metro Arts: Empire Burning, Brisbane Festival: Alice21; Onyx Productions: 360 Allstars; As Lighting Designer: Awards Ceremony Adelaide Fringe ’14, The Empty City; As Set Designer: Brisbane Powerhouse: A Tender Thing. Positions: Brisbane Festival: Stage Manager (2011-12), Venue Technician (2013); Adelaide Fringe Festival: Core Event Crew (2014); Griffith University: Technical Assistant (2010–2013), Sessional Academic (2010–2014). Awards: Silver Matilda Award Nomination for Best Design (Set Design) 2013, Groundling Awards Nomination for Outstanding Contribution to Set Design 2013, Groundling Awards Nomination for Outstanding Contribution to Multimedia Design
2011. Training: Griffith University: Bachelor of Arts Applied Theatre (2009), IHK M端nster (Germany): Certified IT Professional, Software Development (2003).
Jeremy Gordon STAGE MANAGEMENT SECONDMENT
Queensland Theatre Company: Debut. Other Credits: As Stage Manager: Griffith University: Superfamousnobodies. As Performer: Anywhere Theatre Festival: Alexander. Griffith University: Oedipus The King. Rockhampton Pilbeam Theatre: Dusty; Yeppoon Little Theatre: Blackrock; Yeppoon State High School: Grease. Yeppoon State High School: Juice. Rockhampton Pilbeam Theatre: Rock Eisteddfod 2009. Training: Griffith University: Bachelor of Arts in Applied and Contemporary Theatre (current).
MEMBERS OF THE BOARD Richard Fotheringham (Chair) Julieanne Alroe (Deputy Chair) Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Elizabeth Jameson Nathan Jarro Liz Mellish Karl Morris ARTISTIC DIRECTOR Wesley Enoch EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Artistic Associate: Todd MacDonald Resident Dramaturg: Louise Gough Resident Directors: Jason Klarwein & Andrea Moor Programming Manager/Senior Producer: Katherine Hoepper Producer (New Work & Development): Shari Irwin Programming Project Officer: Laurel Collins Artistic Coordinator: Samantha French Touring & Regional Program Coordinator: Christine Johnstone Producer (Education and Youth Programs): Heidi Irvine Casual Programming Coordinator: Helen Stephens Chief Financial Officer Michael Cullinan Systems Accountant: Roxane Eden Finance Officer: Robin Koski Front of House & Events Supervisor: Deirdree Wallace
Venue & Operations Supervisor: Julian Messer Marketing Manager: Yvonne Whittington Marketing Coordinator: Amanda Solomons Database Trainer & Supervisor: Dale Ric-Hansen Publicist: Kath Rose & Associates Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David D’Arcy Project Officer: Claire McKee Ticketing Coordinators: Maggie Holmes & Brad Routledge Receptionist & Ticketing Officer: Donna Fields-Brown Administration Trainee Kalisha Soe Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Development Coordinator: Dee Morris Researcher & Grant Writer: Danielle Bentley Production Manager: Toni Glynn Technical Coordinator: Daniel Maddison Production Coordinator: Scott Klupfel Head of Workshop: Peter Sands Company Carpenter/Head Mechanist: John Pierce Carpenter: Jamie Bowman Head of Wardrobe: Vicki Martin
Affiliate Artists: Tony Brumpton Ben Hughes David Walters Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Katherine Lyall-Watson David Morton Gayle MacGregor Paula Nazarski Ngoc Phan Lucas Stibbard I Want Love Know What Love Is Production Staff Wardrobe Maintenance: Liezel Buckenham Production Electrician/Lighting Operator: Matt Golder Mechanist: Brenton Slattery The Button Event Production Staff Scenic Artist: Leo Herreygers Wardrobe Maintenance: Liezel Buckenham Production Electrician/Lighting Operator: Matt Golder Front of House Staff Anita Hughes Jermaine Beezley Jake Shavikin Leisha Du Bois Prue Green-Hansen Marilyn Green-Hansen Kathleen O’Sullivan Ashley Morris Belinda Locke FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003) Queensland Theatre Company is a member of Live Performance Australia.
Principal Partner
Brisbane Festival is an initiative of the Queensland Government and Brisbane City Council
About The Good Room The Good Room is a Brisbane-based performance collective founded in 2009 by Daniel Evans and Amy Ingram. Their work to date has explored themes of memory, yearning and embarrassment inside of a theatre where the domestic is made epic and the small, infinite. Interested in the exchange between audience and performer, their process is increasingly democratic – crafting performance experiences that are immediate and aim to be unforgettable.
Acknowledgements Louise Gough Lisa Fa'alafi Naomi Price Niki-J Price
Dramaturg Choreography Vocal Coach Safety Advisor/Movement Coach
Sandro Colarelli, Rebecca Roberts, Nick Alexander, Natalie Trent, Lainey Malloy, Marcel Dorney, Ngoc Phan, Glynn Roberts, Kathryn Lyall-Watson, Steve Rowan, Dr Linda Hassall , Bianca Zouppas, Will Horan, Charles Mathe-Dumaine, Liz Burcham, Metro Arts, Dr Helen Fisher, Steve Toulmin, Gerwyn Davies. The story of Mayan Sun King, Jasaw Chan K'awiil, has been adapted from Dr Helen Fisher’s 2008 TED keynote address, The Brain In Love. 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 Bille Brown Studio 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 in-house trained attendants and move in an orderly fashion to outside the Studio.
Our Indigenous Program Black Diggers is part of QTC’s award winning Indigenous Program, known for producing exciting new Indigenous work and bringing it to audiences across Australia. It’s a demonstration of our commitment to sharing these stories and making sure the voices of Indigenous artists are heard. If you’re interested in actively supporting our Indigenous Program please contact our Philanthropy Manager on 07 3010 7621.
Roxanne McDonald in Head Full of Love.
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