THE
M O U N TA I N TO P BY K ATO R I H A L L
Gloria. By Elaine Acworth
by Benjamin Schostakowski
Subscriptions on sale now Visit QUEENSLANDTHEATRE.COM.AU Call 1800 355 528
Cast 22 Feb – 16 Mar 2014 Playhouse, QPAC The Mountaintop will run for approximately 90 minutes, no interval.
PRODUCTION SPONSOR
Candy Bowers
Camae
Pacharo Mzembe
Dr Martin Luther King Jr
Todd MacDonald
Director
Kieran Swann
Designer
Ben Hughes
Lighting Designer
Tony Brumpton
Sound Designer
Stephen Brodie and Craig Wilkinson, optikal bloc
Media Designers
Busty Beatz
Composer, Montage Sequence
Melissa Agnew
Voice/Dialect Coach
Charlotte Barrett
Stage Manager
Emma Wenlock
Assistant Stage Manager
Original Broadway production produced by Jean Doumanian, Sonia Friedman and Ambassador Theatre Group. The Mountaintop was developed at the Lark Play Development Center, New York City and was first produced by Theatre 503 June 2009 and further produced at Trafalgar Studio One in July 2009 by Sonia Friedman Productions and Jean Doumanian, Tali Pelman for Ambassador Theatre Group, Bob Bartner, Freddy DeMann, Jerry Frankel, Ted Snowdon and Marla Rubin Productions Ltd. The Mountaintop was developed at the 2008 Bay Area Playwrights Festival, a program of the Playwrights Foundation, Amy L. Mueller, Artistic Director.
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L-R: Pacharo Mzembe, Candy Bowers
Welcome Note Wesley Enoch, Artistic Director
Dear Patron, Supporter and Friends, At Queensland Theatre Company, 2014 is a year of leadership. Each of our plays expresses a concept of leadership and social growth. Artists have been at the forefront of many significant social events in history. Songs, photographs, novels, paintings, storytelling and parodies have helped shape the debate and action around community attitudes and change. The Mountaintop is a clear example of leadership in action, showing the stresses and ideals of a man who must live up to the expectations of the many who seek his moral guidance. King is an inspiring figure and a reminder to us all to stand up for what we believe. For QTC, our leadership is not just shown on our stages. We work with over 30,000 young people throughout Queensland each year, performing touring shows, conducting workshops, running our Youth Ensemble, encouraging young people to perform and to discover their creative potential. We work
with regional communities like Cairns, Rockhampton, and Blackwater. As well as many communities in South East Queensland - Gold Coast, Boonah, Toowoomba, Sunshine Coast and Logan, to name a few. We are working in Logan as part of a Social Cohesion project looking at bringing young people together to develop and share their cultural knowledge and ambitions. Young people are our future. Almost a third of all the people we work with are under 20. They keep us young, idealistic and push us to keep thinking about the changing world. You can help support the leadership of QTC by attending our shows, signing up for our regular eNewsletter, becoming a subscriber, donating to our regular fundraising appeals, telling your friends and by just staying interested. Enjoy The Mountaintop. You’re in for a treat. Love
Wesley 3
Sponsor's Message As Ord Minnett Executive Chairman, I am delighted to welcome you to Queensland Theatre Company’s production of The Mountaintop. As with the renowned QTC, Ord Minnett is a national icon, and one of the most trusted and highly respected names in the Australian financial services industry. Ord Minnett’s track record dates back 140 years. We are proud of our Australian heritage and, via our founding firms, have been managing the wealth of investors for generations. Our heritage is testament to the fact that Ord Minnett understands what investors expect from an investment partner – integrity, the highest levels of expertise, superior investment performance and service excellence. Ord Minnett clients realise the value of advice.
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That same commitment to integrity, excellence and superior performance is part and parcel of QTC as they bring the best of the theatre to Queensland and we are proud to be their partner in this endeavour. As a sponsor, we are excited to be involved in The Mountaintop, a production that explores the life of one of the 20th century’s most inspirational figures, and which highlights the Queensland Theatre Company’s commitment to providing thought-provoking but entertaining works of art. I hope you have a great night at the theatre.
Karl Morris Executive Chairman Ord Minnett
L-R: Pacharo Mzembe, Candy Bowers
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Synopsis A rainy April night in Memphis, 1968 - and it will be Dr Martin Luther King Jr’s last night on Earth. Wearied by his yearslong march at the head of the Civil Rights Movement, the preacher checks into room 306 at the modest Lorraine Motel. Before the sun sets again he will be shot dead. King’s late-night room service coffee comes with more of a kick than he bargained for: Camae, a hotel maid on her first night on the job. Fascinated by this beautiful, brassy and blunt lady, King allows her to take him on a journey to confront his past before his date with destiny. But is this irreverent maid all she seems to be, or does she have a grander plan for the firebrand preacher? Insightful and provocative, The Mountaintop is a lively, funny, moving and magical look back at the life of one of the most inspirational men in history. But far from putting him on a pedestal, it’s a warts-and-all portrait of a human being, culminating in a blistering recap of decades of civil rights history, and leading right up to the present day.
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Director's Note Todd MacDonald
Like many people in my generation in Australia, I held a very basic knowledge of Dr Martin Luther King Jr and the American civil rights movements of the fifties and sixties - I had broad brush strokes of admiration and knew of the famous ‘I have a dream!’ speech.
we understand about King to provoke and inspire us with a much more ‘real’ and flawed version of the legend. This is what captured me — the capacity for us to hear this play and this message with new ears …
I have always been wary of history plays that try to relive a particular period or place so initially I was a little nervous about The Mountaintop.
“This isn’t the ‘I Have a Dream’ King. This is a more radical King. This is King, the man; not the myth. I want people to see that this extraordinary man— who is actually quite ordinary— achieved something so great that he actually created a fundamental shift in how we, as a people, interact with each other. That’s a beautiful thing. And I want people in the audience to be like, ‘If this man—who is so much a human being—can achieve such great things, then I, as this complicated human being, can create great things too.’ ”
However, after reading The Mountaintop, researching the period and working with the artists on this production, my eyes have been opened to so much more. I have a greater respect and understanding of the wounds caused during the civil rights movement of the fifties and sixties and for the centuries leading to it. It has also led me to a far deeper appreciation and concern for how the civil rights struggle resonates today in our society here in Australia. This is not a history play; it is a fiction – brilliantly researched, poetic and profound – but not a re-enactment. Katori Hall leaps from the edge of what
Katori Hall explained this better herself:
There is a long and complex history of oppression in Australia, from the treatment of Indigenous Australians and the White Australia policy to the slavery practices of blackbirding in the Pacific where people
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were tricked and kidnapped into working on Queensland cane fields. It is important to recognise these truths and consider our responsibilities in responding to them. Now more than ever here in Queensland, we have to reflect on who we are, what we value and how we treat each other. King’s message of civil rights, justice and solidarity are still powerfully potent today in how we reconcile our humanity with our Indigenous Australians, with asylum seekers and with the many and varied (and ever growing) diversity of humanity that is ‘Australia’ today. The message of Dr Martin Luther King Jr is one of hope; it is one of love. He understood that “love is the most radical weapon there is”. He inspires us to peacefully and respectfully keep on moving forward — pick up the baton, that may have been dropped, and to pass it on!
Todd MacDonald
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M.L.K. A Journey to the Mountaintop Baz McAlister
Dr Martin Luther King Jr was born Michael King in 1929 in Atlanta, Georgia. At the age of six, his name was changed by his father to honour the German reformer. In 1953, fresh from seminary, King married his sweetheart Coretta Scott and the following year he was made pastor of Dexter Ave Baptist Church in Montgomery, Alabama. In 1955, the modern AfricanAmerican civil rights movement was born when seamstress Rosa Parks stood up for herself by refusing to stand up. She wouldn’t cede her seat on a Montgomery bus to a white passenger, as directed under the ‘Jim Crow’ segregation laws. After her arrest, King and his best friend Ralph Abernathy united Montgomery’s 17,000 black residents in a year-long bus boycott. By late 1956, The Supreme Court declared bus segregation unconstitutional. Spurred on, King and Abernathy established the Southern Christian Leadership Conference to co-ordinate peaceful protests against segregation.
In 1961, King went to Albany in Georgia to spearhead a protest that failed and landed him in jail. Learning from his experiences, King launched a campaign in Birmingham, Alabama in 1963 – but the police response, using fire hoses and attack dogs on protesters, was brutal. The shocking footage generated sympathy for King’s cause. Locked up again, King penned his Letter from Birmingham Jail, asserting his right to disobey unjust laws. That same year, King led 200,000 people in the March on Washington for Jobs and Freedom, where he delivered his ‘I Have a Dream’ speech at the Lincoln Memorial. Shortly afterwards, he became the youngest recipient of the Nobel Peace Prize. In 1965, protests in Montgomery, Alabama led to 600 marchers being savagely attacked by police with clubs and tear gas on ‘Bloody Sunday’. Again, this was instrumental in garnering King support. King, impressed by
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ambitious young activist Jesse Jackson, put him in charge of his operation’s northern branch, in Chicago. The same year, King’s harshest critic, militant black nationalist Malcolm X, was assassinated in Manhattan. King continued his outspoken activism until, in March of 1968, he found himself in Memphis, Tennessee, supporting striking black sanitation workers. Their march descended into a riot and Larry Payne, 16, was shot by police. The following week, King delivered his ‘I’ve Been to the Mountaintop’ speech at a Memphis church. On 4 April, 1968, King was shot dead on the balcony of room 306 at the Lorraine Motel by racist ex-convict James Earl Ray.
Candy Bowers
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L-R: Chris Betts, Barbara Lowing, Paul Bishop Phone 07 3842 8888 or email sales-qld@datacom.com.au 13 Level 1, 25 Donkin Street South Brisbane QLD 4101
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War, Madness and Witchcraft MICHAEL ATTENBOROUGH CBE The word 'fear' is used in Shakespeare's Macbeth more than in any of his other plays. Witches, ghosts, apparitions, regicide, infanticide, civil war, madness, imaginary daggers, moving forests - it's hardly surprising the word regularly crops up! Shakespeare invites us on a scary rollercoaster ride on the back of his leanest, most thrilling dramatic masterpiece. Our challenge today is to conjure up a theatrical world in which people have to live right on the edge of survival. A world where witches can read your mind and reveal your darkest desires. A world where homicide could be just around the corner, where you are almost certainly being spied on and where you can trust no one. November 5th 1605: Catholic zealots are narrowly foiled in their meticulously conceived plot to blow up the Houses of Parliament, obliterate the ruling elite and assassinate the King; the culprits are paraded through the streets, publicly hung, their bellies sliced open and their innards displayed to the angry, vengeful crowds. All this within a mile of Shakespeare's home. Is it any wonder he wrote a play founded on fear?
PLAYHOUSE, QPAC 22 Mar – 13 Apr Call 136 246 queenslandtheatre.com.au
Production Sponsor This initiative is supported by Arts Queensland through the Super Star Fund, a Queensland Government program that delivers super star performances exclusive to the state.
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PATRON Her Excellency The Governor of Queensland Ms Penelope Wensley, AC 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 Interim Executive Assistant: Jenny Usher Artistic Associate: Todd MacDonald Resident Dramaturg: Louise Gough Resident Directors: Jason Klarwein & Andrea Moor Program Manager: Katherine Hoepper Theatre Diversity Associate: Chris Kohn Program Coordinator: Shari Irwin Artistic Coordinator: Samantha French Touring & Regional Program Coordinator: Christine Johnstone Education Program Coordinator: Heidi Irvine Youth Program Coordinator: Claire Christian Digital Projects Officer: Nathan Sibthorpe Chief Financial Officer Michael Cullinan Assistant Accountant: Roxane Eden Finance Officer: Robin Koski
Front of House & Events Supervisor: Deirdree Wallace
The Mountaintop Production Staff
Marketing Manager: Yvonne Whittington Marketing Coordinator: Amanda Solomons Publicist: Kath Rose & Associates Marketing Assistant: Yuverina Shewpersad CRM & Ticketing Services Coordinator: Rory Killen Ticketing Coordinators: Maggie Holmes & Brad Routledge Receptionist & Ticketing Officer: Donna Fields-Brown Administration Trainee Kalisha Soe
Carpenter: Jamie Bowman & Tom Paine Scenic Artist : Caroline Walker Wardrobe Assistant: Nathalie Ryner Cutter: Millie Adams Wardrobe Maintenance: Liezel Buckenham Production Electrician: Matt Golder Floor Technician: Sam Maher Sound Design Assistant: Imogen Millhouse
Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Interim Corporate Partnerships Manager: Fabienne Cooke Development Coordinator: Dee Morris Researcher & Grant Writer: Liz Bissell Production Manager: Toni Glynn Venue & Operations Supervisor: Julian Messer Technical Coordinator: Daniel Maddison Interim Production Coordinator: Scott Klupfel Head of Workshop: Peter Sands Company Carpenter/Head Mechanist: John Pierce Head of Wardrobe: Vicki Martin Apprentice Costume Maker: Savannah Mojidi Affiliate Artists: Tony Brumpton Ben Hughes David Walters
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QPAC Production Staff Head Electrician: Nick Toll Head Mechanist: Alon Jones
FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003) Queensland Theatre Company is a member of Live Performance Australia.
Become a star maker! We believe in helping young people reach for the stars or become stars themselves. We believe in encouraging them to tell their own stories boldly and creatively. We believe in supporting and guiding young people as they find the confidence to take on the world and forge their own career paths in the arts. Our annual Theatre Residency Week, for senior high school students, is one of our proudest traditions. Going since 1972 this week-long theatre extravaganza has been an inspiration for generations of Queensland actors and playwrights.
If you’d like to provide a scholarship for a student to attend Theatre Residency Week we’d love to hear from you. Please contact our Philanthropy Manager on Tel: 3010 7621 to find out more about this opportunity.
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L-R: Todd MacDonald, Candy Bowers, Pacharo Mzembe
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Biographies Katori Hall WRITER
KATORI HALL is a playwright/performer from Memphis, Tennessee. Hall’s plays include: The Mountaintop (2010 Olivier Award for Best New Play), which recently ran on Broadway at the Bernard Jacobs Theatre starring Angela Bassett and Samuel L. Jackson, Hurt Village (2011 Susan Smith Blackburn Prize, Signature Theatre), Children of Killers (National Theatre, UK and Castillo Theatre, NYC), Hoodoo Love (Cherry Lane Theatre), Remembrance (Women’s Project), Saturday Night/Sunday Morning, WHADDABLOODCLOT!!! (Williamstown Theatre Festival), Our Lady of Kibeho and Pussy Valley. Her awards include the Lark Play Development Center Playwrights of New York (PONY) Fellowship, the ARENA Stage American Voices New Play Residency, the Kate Neal Kinley Fellowship, two Lecomte du Nouy Prizes from Lincoln Center, the Fellowship of Southern Writers Bryan Family Award in Drama, a NYFA Fellowship, the Lorraine Hansberry Playwriting Award and the Otis Guernsey New Voices Playwriting Award. Hall’s journalism has appeared in The New York Times, The Boston Globe, UK’s The Guardian, Essence and The Commercial Appeal, including contributing reporting for Newsweek. The Mountaintop and Katori Hall: Plays One are published by Methuen Drama. Hall is an alumna of the Lark Playwrights’ Workshop, where she developed The Mountaintop, and a graduate of Columbia University, the A.R.T. at Harvard University, and the Juilliard School. She is a proud member of the Ron Brown Scholar Program, the Coca-Cola Scholar Program, the Dramatists Guild, and the Fellowship of Southern Writers. She is currently a member of the Residency Five at Signature Theatre Company in New York City, and is also a staff writer for the television show LEGENDS, TNT’s upcoming undercover FBI drama slated to air June 2014.
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Todd MacDonald DIRECTOR
Kieran Swann DESIGNER
Queensland Theatre Company: Artistic Associate (2011 – current). As Director: Kelly, An Oak Tree. As Actor: Venus in Fur. Other Credits: As Director: Conquest of the South Pole. As Assistant Director: Sleeping Beauty. As Actor: Progress and Melancholy, Bare Witness, Strangeland, Construction of the Human Heart, Blowback, Ride, Julia 3, Language of the Gods. For Companies: Not Yet It’s Difficult, Melbourne; Playbox Theatre, Company B Belvoir, Melbourne Theatre Company, Railway Street Theatre Company, Melbourne International Arts Festival, Adelaide Festival. Film: The King, Salem’s Lot, On the Beach, Sahara, Belladonna, The Jammed, Guru Wayne. Television: The Secret Life of Us, Tangle, Satisfaction, Rush, Blue Heelers, Neighbours, Bed of Roses. Positions: Cofounder and Artistic Director: The Store Room Theatre, Melbourne. Awards: Green Room Award - Outstanding Contribution to Fringe, Green Room Award - Best Male Performer Progress and Melancholy, Matilda Award Nomination - Best Male Actor in a Leading Role Venus in Fur. Queensland Theatre Company: As Designer: 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 Contributor: the Restaged Histories project, Next Wave, & Brisbane Powerhouse: YOUTHvsPHYSICS. As Co-Creator/Designer: the Restaged Histories project & Brisbane Powerhouse: The Greater Plague. As Designer: the Restaged Histories project, Brisbane Powerhouse, & Adelaide Fringe: Omon Ra;.…and moor Theatre Company: The Ghost Writer. 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).
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Ben Hughes LIGHTING DESIGNER
Tony Brumpton SOUND DESIGNER
Queensland Theatre Company: Black Diggers (co-production with Sydney Festival), 1001 Nights (co-production with QMF and Zen Zen Zo Physical Theatre), The Lost Property Rules, Orbit, Mother Courage and Her Children (co-production with QPAC), The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (co-production with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu!, Fat Pig, Let The Sunshine (co-production with Melbourne Theatre Company), The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Ice Cream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. As Associate Lighting Designer: Toy Symphony and Heroes. As CoDirector/Designer: Trollop. Other Credits: The Danger Ensemble: The Wizard of Oz (co-production with La Boite Theatre Company & Brisbane Festival), Sons of Sin, Children of War, Loco Maricon Amor, The Hamlet Apocalypse; Expressions Dance Company: Carmen Sweet, Propel; Queensland Ballet: Giselle, A Classical Celebration, ...with Attitude; As Associate Lighting Designer: Elision Ensemble: The Navigator; Meryl Tankard: The Oracle; Opera Queensland: Aida; Expressions Dance Company: Where The Heart Is. Awards: 2011 Groundling Award - Outstanding Contribution to Lighting Design Positions: Resident Lighting Designer, Queensland Theatre Company (2013); Associate Artistic Director – The Danger Ensemble; Emerging Artist, Queensland Theatre Company (2007); Affiliate Artist, Queensland Theatre Company (2011 & 2014 ); Professional Member, Association of Lighting Designers. Queensland Theatre Company : As Sound Designer; Australia Day, Black Diggers (co-production with Sydney Festival), Design For Living, Other Desert Cities (co-production with Black Swan State Theatre Company) Managing Carmen (co-production with Black Swan State Theatre Company), Pygmalion, No Man’s Land (co-production with Sydney Theatre Company), Sacre Bleu!, Macbeth (co-production with Brisbane Festival), Fat Pig, The Little Dog Laughed, The Crucible, God of Carnage (co-production with Black Swan State Theatre Company), I Am My Own Wife, Private Fears in Public Places, Absurd Person Singular, The Removalists, Waiting for Godot, Hurry Up and Wait (co-production with deBase Theatre Company), Eating Ice Cream With Your Eyes Closed, Beckett x3, 22
Maxine Mellor’s Mystery Project (co-production with State Library of Queensland). As Co-Sound Designer: The August Moon, Anatomy Titus Fall of Rome: A Shakespeare Commentary (co-production with Bell Shakespeare Company), Stones in his Pockets. Other Credits: Composer/ Sound Designer: Dead Puppet Society: The Harbinger, The Timely Death of Victor Blott. I-Pin Lin’s productions: Bamboo, Harmony, 4orces and 1984-2005; QUT Dance: Current, Fade Away, Accented Bodies, Altered States. Positions: Associate Artist/Head of Audio, Queensland Theatre Company (2011), Emerging Artist, Queensland Theatre Company (2010), Tone Black Productions (Company Owner), Lecturer -QUT, Affiliate Artist, Queensland Theatre Company (2014).
optikal bloc MEDIA DESIGNERS
Queensland Theatre Company: Debut. As Video Artists: Theatre Residency Week 2013. Other Credits: As Video Designers: Opera Queensland: Dirty Apple, Empire Theatre: April’s Fool, We Sat in the Dark; shake & stir theatre co: 1984, Popular, Terrortorial, Words Words Words; Melanie Wild/Anna McGahan/Metro Arts: He’s Seeing Other People Now; The Good Room/Metro Arts: We Should Have Drunk More Champagne; HHO Events for the Canberra Centenary: Seven Sisters Songlines. As Video Producers: Brisbane City Council; Brisbane Marketing; Creative Foyer; Empire Theatre; Event Cinemas; Judith Wright Centre of Contemporary Arts; La Boite Theatre Company; Luke Kennedy; Metro Arts; Mixtape Theatre Collective; Opera Queensland; Queensland Theatre Company; shake & stir theatre co; the little red company; The Ten Tenors; Zen Zen Zo Physical Theatre. As Technical Service Providers: ArtsLink Queensland; Ben & Jerry’s Openair Cinemas; Caroline Dunphy; Dansing Pty Ltd; Griffith University; Metro Arts; Opera Queensland; Queensland Conservatorium Griffith University; Redland Arts Council; The Good Room; University of Southern Queensland. Film: As Editor: Blood Hollow, Tender (QPIX). Television: As Editor: Big Brother 2013 (Nine Network). Awards: Matilda Award nomination - Best Design 1984; Finalist for University of Southern Queensland’s Alumni of the Year 2012. Training: Bachelor of Theatre Arts (Technical Production), University of Southern Queensland.
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Melissa Agnew VOICE/DIALECT COACH
Queensland Theatre Company: Over 30 productions including Black Diggers (co-production with Sydney Festival), Venus in Fur, End of the Rainbow (co-production with QPAC), The Pitch & The China Incident, Romeo & Juliet, Pygmalion, Cat on a Hot Tin Roof, The Little Dog Laughed, Rabbit Hole, The Glass Menagerie, A Streetcar Named Desire, The Prisoner of Second Avenue, I Am My Own Wife, The Goat or Who is Sylvia?, The Road to Mecca, Molly Sweeney, Sweet Panic. Film: The Proposition. Television: The Pacific, voice coaching for newsreaders and presenters. Qualifications: Doctorate from University of Sydney’s National Voice Centre. Teaching Positions: Voice, Speech and Dialect teacher/coach: Queensland Conservatorium (Musical Theatre).
Busty Beatz
Queensland Theatre Company: Twelve Creative Development. Other Credits: Collaborator with: Bone Thugs N Harmony, Screamfeeder, Def Poetry Jam, Ben Lee, Powderfinger, Sista She. As Musical Director: Briefs. As Co-Writer/Black Honey Company: DJ Queen Koala and MC Platypus. As Writer: Peace, Love and Brown Rice (featured writer), Women Who Rock.
COMPOSER, MONTAGE SEQUENCE
Pacharo Mzembe DR MARTIN LUTHER KING JR
Queensland Theatre Company: Debut. Other Credits: Melbourne Theatre Company: Solomon and Marion, Rockabye; Company B Belvoir: Gwen in Purgatory, Antigone; NIDA (Student Productions): Class Enemy, Sweet Charity, Can’t Pay? Won’t Pay!, Once On This Island, Romeo & Juliet, The Cherry Orchard, The Ramayana, Steppingstone Company. Film: Sinbad and the Minotaur, Summer Coda, Kind of Man, Vinyl. Television: Danger5 Series 2, Underbelly 4: Razor, Spirited Series 2, Terra Nova, False Witness. Training: Bachelor of Dramatic Arts (Acting), NIDA.
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Candy Bowers CAMAE
Queensland Theatre Company: An Oak Tree. Other Credits: As Writer/ Performer: Black Honey Company Hot Brown Honey Burlesque (co-produced with Brisbane Festival & Darwin Festival); Australian Booty (coproduced with Brisbane Powerhouse, Darwin Festival & Campbelltown Arts Centre); MC Platypus and Queen Koala’s Hip Hop Jamboree (produced by Artslink Queensland and copresented by Loud Mouth/ Darebin City Council for Melbourne International Comedy Festival); The Naked MC (co-produced with Adelaide Cabaret Festival); WHO’S THAT CHIK? (co-produced with FULL TILT/ The Victorian Arts Centre) Bell Shakespeare/ Minds Eye: Arden (after As You Like It); SUPERSTITIOUS (co-produced with Footscray Community Arts Centre); Sista She and the House of the Holy Bootay (co-produced with The Victorian Arts Centre & The Adelaide Cabaret Festival); Feasting on Flesh (co-produced with Sydney Opera House, Strut n Fret & Spiegeltent International); Inna Thigh, the Sista She Story (co-produced with Sydney Opera House, Brisbane Powerhouse & Hot House Theatre); Real TV: War Crimes; B-Sharp Belvoir St Theatre: Duck, In The Blood. Film: Matrix 3: Revolutions. Television: The Circle, The Talk, Q & A, Comedy Channel, Channel V: She TV, In Siberia Tonight. Positions: Artistic Director: Black Honey Company, Associate Artist: Queensland Theatre Company (2012, 2013, 2014). Awards: NIDA - Gloria’s Fellowship; Australia Council for the Arts - Cultural Leadership (Skills Development); Melbourne Fringe Festival - Best Performance Award; The British Council For the Arts - Realize Your Dream Award; Green Room Award – Best Original Music & Best Live Performance; NIDA – Shakespeare Award. Training: Bachelor of Dramatic Arts (Acting), NIDA; Improvisation (L 1-3), Impro Australia.
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Charlotte Barrett STAGE MANAGER
Queensland Theatre Company: As Stage Manager: Youth Ensemble Showcase. As Assistant Stage Manager: Other Desert Cities. As Stage Management secondment: Mother Courage and Her Children. Other Credits: As Stage Manager: Matthew Management & Neil Gooding Productions: Thank You For Being A Friend. As Assistant Stage Manager: shake & stir theatre co: Animal Farm (Regional Tour); Out Damn Snot (secondment). Training: Bachelor of Fine Arts (Technical Production), QUT.
Emma Wenlock
Queensland Theatre Company: Trollop. Other Credits: Brisbane Powerhouse, Queensland Performing Arts Centre, Opera Queensland: Otello, Brisbane Writers Festival, Queensland Music Festival: World’s Biggest Orchestra, New Theatricals: Jersey Boys: Frankie Valli and the Four Seasons (Australian Tour); Rock Eisteddfod and J Rock; Brisbane Rock Eisteddfod. Training: Bachelor of Fine Arts (Technical Production) QUT.
ASSISTANT STAGE MANAGER
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L-R: Emma Wenlock, Charlotte Barrett
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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 productions and providing opportunities for many extraordinary actors, directors, playwrights and designers. You can choose to support* any of the following areas of our work:
YOUTH AND EDUCATION Workshops, theatre camps, performances and mentoring $250*: materials for a school workshop $500: bus to bring disadvantaged students to the theatre $1,600: scholarship to the Youth Ensemble
REGIONAL Touring and working with isolated communities $2,500: visit by artists to regional/remote school $5,000: professional development workshops for regional artists $12,000: weekly regional touring cost for primary school show
Photographs L-R: Theatre Residency Week participants 2013, Other Desert Cities by Jon Robin Baitz (QTC & Black Swan State Theatre Company), Tucker Turtle created by Todd MacDonald (Creative Development) and Gloria by Elaine Acworth (Creative Development). *Costs listed are examples only
Making theatre is a team activity and everyone’s contribution is important.
NEW WORKS Playwriting workshops, creative developments and play readings $250: 2-hour session with a dramaturg $500: play assessment by an established playwright $1,000: play reading with actors
ARTIST DEVELOPMENT Training and mentoring for actors, designers, directors and other theatre workers.
MAINSTAGE Mainstage productions including tours. $1,000: additional props for larger productions
$250: 2-hour physical movement workshop
$2,000: modifications to prepare a show for touring
$500: full-day voice workshop
$20,000: towards an international actor
$1,000: weekly cost of a director’s assistant
For more information please contact our Philanthropy Manager on 07 3010 7621 or visit queenslandtheatre.com.au/supportus
L-R: Pacharo Mzembe, Candy Bowers
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Chair Chris Freeman AM Deputy Chair Rhonda White Trustees Simon Gallaher Sophie Mitchell Mick Power AM Maggi Sietsma AM PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444 www.qpac.com.au
Executive Staff Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Tony Smith ACKNOWLEDGMENTS 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: Stephen Henry
To ensure that patrons enjoy the performance, management asks you to note:
Projection Partner: Technical Direction Company
• Cameras, tape recorders and paging devices should not be used inside the auditorium.
Safety Advisor: Niki-J Price
• Switch off alarms and mobile phones prior to the performance.
The Mountaintop song: Words by Candy Bowers Music by Kim Bowers Vocals by Dave Dow, Rainman and Candy Bowers Beatbox by HopeOne The Mountaintop music clip: Ground Floor Pictures Mad Dance House Breeder Mz MurriCod
• 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.
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L-R: Candy Bowers, Pacharo Mzembe
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ĝank 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
$1,000 -$1,999
1 Anonymous Bruce & Sue Shepherd
Tim & Elaine Crommelin Wesley Enoch Pamela M Marx Cathryn Mittelheuser AM
TRUST & FOUNDATIONS
$2,000-$4,999
3 Anonymous Anne & Peter Allen Julieanne Alroe Lisa & William Bruce Kirstin & Glen Ferguson Richard Fotheringham & Roslyn Atkinson Alan Galwey Cass George William & Claire Glasson Mike & Sue Gowan Hudson Family Joan M. Lawrence AM Graham & Janet Martin Donal & Una O’Sullivan Paddington Antique Centre Prior Family Marianna Serghi Cecily Stevenson Margaret & Norman Wicks
John H Casey Sue Donnelly Erin Feros Dawson Family John & Gabrielle Hull Terry O’Dwyer Tim & Kym Reid Liz & Anthony Thompson
Tim Fairfax Family Foundation
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 H G Fryberg Elizabeth Gaffney John & Lois Griffin Kevin & Joanne Holyoak
$500 - $999 14 Anonymous Glenise Berry & Damien Thomson Bob Cleland Dianne Eden Mathieu & Anastasia Ellerby Marian Gibney & Ken Macdonald Merrilyn Goos Ian & Ruth Gough Stephen & Deborah Green David Hardidge
Fleur Kingham John & Janice Logan Sarah Ludwig Stephen & Hana Mackie Debra & Patrick Mullins Brian Noble James Noble Murray & Laura Procter Jeff Rolls & Barbara Houlihan Peter & Nerida van de Graaff Greg & Sally Vickery Keith Wilson
Nathan Jarro Tempe Keune J & ST King Noela & Colin Kratzing Susan Learmonth & Bernard Curran Fred & Margaret Leditschke Andrew & Kate Lister Karl & Louise Morris Greg & Wendy O’Meara R & M Williams
Rob & Barbara Murray Diane & Robert Parcell Blayne & Helen Pitts Bruce Richardson Phoebe Stephens Flowers Sandy Vigar Gillian Wilton
$200 - $499 17 Anonymous Melissa Agnew Elizabeth Ardill Leanne Austin The Ballina Babblers Kent Beasley Melissa Bennett Emma Benson Elizabeth Billington Lindsay Boileau Stephen & Jennifer Boyd Ethna Brown Joan Brown Betty Byrne Henderson AM Margaret Byrne John Campbell M Cannon & J McCarthy
Michael & Margaret Clancy John Colwell Christine Comans Anthony Costantini June Craw Vanessa Crowhurst Sarah Davies Win Davson MBE Helen Draper Angus Edwards & Trudie Murrell Penny Everingham Judi Ewings Beres Francis Peter & Gay Gibson Anita Green Pamela Greet
Yvonne Hansen Katherine Hoepper Joan Horgan Patricia Jackson Marc James Amanda Jolly David & Katrina King Ross & Sophia Lamont Anneliese Leutenegger William & Maria Lindsay Susan Mabin Brad Mammino Ian & Rhyl McLeod Sandra McCullagh Geoff & Alison McGlashan Carolyn McIlvenny Margaret McNamara
Angie McPhee Vern Mesh & Barbara Philp Desley Miller Dee Morris & Reny Rennie Lorna Murray Trudie Murrell & Angus Edwards Nick & Maureen Gabrielle O’Shea Christos & Colleen Papadopoulos People Resourcing Donald Robertson Andrew & Susan Prince Rosey Reinbott & Jeff Kogler John Richardson & Kirsty Taylor
Roger Sawkins & Gary Yong Gee Brian & Lorette Sexton Allister Simmonds John & Sue Stibbard & Family Jeff Thomsett Jenny Torr Christine Whitlam Sally Wilde & Geoffrey Hirst Evelyn Williames Pam Willsher Ian Yeo & Sylvia Alexander Sharon York
Donations over $200 are listed on this Board and are recognised for 12 months from the date of donation. 36
Thanks To Our Sponsors Government Partners
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Promotional Partners: Coev Haircutters, Pondera Physiotherapy & Pilates
THE
M O U N TA I N TO P BY K ATO R I H A L L
(Queensland Theatre Company) 2014
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.