QUARTET Digital Production Program by Queensland Theatre

BY KATE GRENVILLE AN ADAPTATION FOR THE STAGE BY ANDREW BOVELL

30 JAN - 21 FEB

25 FEB - 5 MAR

23 APR - 15 MAY

20 MAY - 26 JUN

BY AYAD AKHTAR

9 JUL - 7 AUG

27 AUG - 25 SEP

14 OCT - 6 NOV

6 - 16 APRIL

20 - 30 APRIL

SUBSCRIPTIONS NOW ON SALE CALL 1800 355 528 OR VISIT QUEENSLANDTHEATRE.COM.AU

12 NOV - 4 DEC

Cast 4 Welcome to the Playhouse

Welcome Note

Directorâ&#x20AC;&#x2122;s Note

Carol Burns

Opera Glossary

Rigoletto 14 Beecham Manor

Biographies 16 Donors 20 Sponsors 21

CONTENTS

Contents

Queensland Theatre Company presents

30 Jan – 21 Feb 2016 Playhouse, QPAC Quartet will run for approximately 2 hours and 30 minutes, including interval.

Christine Amor

Cecily Robson

Andrew McFarlane Reginald Paget Trevor Stuart

Wilfred Bond

Kate Wilson

Jean Horton

Andrew Moor

Director

Bruce McKinven

Designer

David Walters

Lighting Designer

Tony Brumpton

Sound Designer

Melissa Agnew

Dialect Coach

Peter Sutherland

Stage Manager

Quartet is supported by the Queensland Government through Arts Queensland

Photography: David Kelly Cover work: Binge

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Welcome to the Playhouse To ensure that patrons enjoy the performance, management asks you to note:

#qtcquartet

• Cameras, tape recorders and paging devices should not be used inside the auditorium.

1800 355 528

• Switch off alarms and mobile phones prior to the performance.

queenslandtheatre.com.au

• A single cough measures approximately 65 decibels of sound. The use of a handkerchief helps greatly to soften the sound.

mail@queenslandtheatre.com.au

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.

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

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.

WELCOME

Welcome Note Artistic Director

SAM STRONG Dear QTC audience, It’s a privilege to write my first welcome note as the Artistic Director of Queensland Theatre Company. As you know, QTC is already a great company. I’m looking forward to bringing a new energy and ambition and to making it greater still. In the next few years, we want to lead the nation from Brisbane, showcasing the best Queensland artists together with the best artists from around the country, and creating world-class, world-first theatrical experiences right here in Brisbane. I have been in Brisbane since November last year and have loved diving into all things local. Since the opening of Ladies in Black (which has just opened to standing ovations in my old home town, Melbourne) I’ve been meeting with Queensland artists and formulating early ideas for my first season in 2017. Unfortunately, you’ll have to wait until later this year for more details. In the meantime, if you haven’t yet subscribed to Wesley Enoch’s final season, I’d encourage you to jump on board for 2016. As a theatre company, we exist for many people: the artists whose careers and work we nurture; the generous supporters who make that work possible (government, corporate and private); and, of course, our audience. As an Artistic Director, meeting the audience is one of the best bits of your job. I like to spend as much time as I can getting to know audiences by listening to their responses in theatres and foyers. So if you see me around, please say hello. On matters more immediate, welcome to Quartet. When I first read Quartet I was completely charmed. And when I met the team putting it together, I realised it would be even more charming in the theatre. Quartet is one of those works that takes the experience of a specific group of people (retired opera singers) and uses it to explore universal concerns (facing mortality with a zest for living). On the topic of mortality, there is a shadow that hangs over this mostly joyous work. You will no doubt be aware of the passing of the legendary Queensland actor, and QTC founding member, Carol Burns. Andrea Moor writes at greater length about Carol in her Director’s Note. QTC owes a great debt to Carol for her long career of stellar performances, her leadership of the industry and her deep integrity. We are honoured to dedicate this production of Quartet to Carol and our thoughts are with her family and partner, Alan. Vale Carol. Sam 5

Proud sponsors of Queensland Arts

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Email: sales-qld@datacom.com.au Level 1, 25 Donkin Street South Brisbane QLD 4101 www.datacom.com.au

Director

ANDREA MOOR We live in a world of extraordinary artists. But unlike visual artists who leave a lasting legacy for us to ponder and appreciate, performance artists leave images in our minds, on our consciousness and in our hearts. Quartet is a celebration of the living, breathing artform of opera and also a celebration of decades of extraordinary acting artistry from our four cast members. We often forget that leadership in our craft comes from our elders. As I write this, I am moved by the outpouring of gratitude for the too short life of Carol Burns. Carol changed lives and contributed passionately to the improvement of the artist’s lot; always freely, always generously. She was acutely aware of how vulnerable artists become in the later years and how difficult it often was for respected, proud members of our community to ask for a helping hand. Like the characters in Quartet, Carol set the bar very high in what we expected on stage, pushing others to do just that much better. And so we all benefited. The themes of Quartet are acutely in focus for the Queensland theatre community right now, resonating with the universal nature of Ronald Harwood’s writing. We expect a rich and brilliant cultural life and yet how much do we support those who give us this experience? Those who stand proudly accepting the much-deserved applause are enriching our lives and sometimes we only realise that when they are no longer with us. We dedicate this production of Quartet to Carol Burns. We invite you to join us in celebrating her extraordinary life as we comfort each other in this loss.

DIRECTOR’S NOTE

Director’s Note

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DEDICATION

CAROL BURNS Actor | Director | Teacher 29 October, 1947 – 22 December, 2015

It is with immense sadness we mark the passing of Carol Burns, a greatly loved member of the QTC family and an inspiration to generations of Queensland artists and audiences. Carol Burns was QTC’s first star. She began her career at QTC in the early 1970s, under the artistic direction of Alan Edwards. 1971 was Carol’s first year as a mainstage actor, performing in multiple productions for QTC, often performing one role at night while rehearsing another during the day. She attracted attention as the heroine in She Stoops to Conquer in 1971 and, the following year, as a luminous Viola in QTC’s first Shakespeare, Twelfth Night with Geraldine Turner as Olivia and Geoffrey Rush as Fabian. Undoubtedly those early years at QTC gave Carol the resilience, flexibility and work ethic which made her remarkable, life-long career possible. She went on to work with major theatre companies across Australia including Sydney Theatre Company, Melbourne Theatre Company, La Boite Theatre Company, Nimrod Theatre Company, Black Swan State Theatre Company and the State Theatre Company of South Australia. Her talent and ability illuminated every role she conquered. From the stage, Carol moved effortlessly into television roles gaining cult status and a Logie Award for her role as lesbian bikie, Frankie Doyle in Prisoner. She also worked for a number of years in England, featuring on The Bill and Heartbeat. Upon her return, Carol appeared in Carson’s Law, Blue Heelers and many other Australian TV shows.

Carol Burns in Happy Days

Arguably her most remarkable achievement was her performance as Winnie in Beckett’s Happy Days, her final QTC role. Carol presented the work to former Artistic Director, Wesley Enoch, and it formed part of the 2015 DIVA series. Winnie is a notoriously challenging role yet despite her illness, she rehearsed tirelessly to perfect her remarkable performance. The audience never knew how sick she actually was and many were shocked to learn of her untimely death merely months later. Carol was, and will remain, a true professional. Carol’s theatrical influence was not limited to acting, though. Described as a ‘matriarch of stage and screen’, she was a committed arts activist, representing artists as Vice-President of the Actors’ & Entertainers’ Benevolent Fund (Qld); President of Actors Equity Queensland and a member of the National Performance Committee. As director, teacher and actor, she was an Associate Artist of QTC and Queensland Arts Council/ Artslink; Patron of The Independent Theatre (Eumundi) and Fame Theatre School (Brisbane). Carol’s generous spirit was renowned in the performing arts community. She was immensely supportive of her fellow actors and never tired of ensuring artists received a fair go. QTC is proud to dedicate this production of Quartet to Carol Burns. Vale Carol – you will be greatly missed Richard Fotheringham Chair QTC Board

L-R: Grant Dodwell, Mary Jane Saunders, Geoffrey Rush, Paul Woods, Carol Burns in You’re a Good Man, Charlie Brown 9

OPERA GLOSSARY

Opera Glossary ARIA (Italian for ‘air’) A musical piece for solo voice used to express feelings about or to comment on a particular situation in the opera plot.

BRAVO / BRAVA (Italian for ‘well done’) A term often yelled out by appreciative audiences at the end of an opera, or particularly difficult aria. ‘Bravo’ should be directed towards male singers, and ‘brava’ to female singers.

CHOREOGRAPHY The process of creating dance or movement.

CHORUS A group of singers, often mixed vocal types, which perform in an opera in such roles as towns’ people, servants, party goers, or any group of people.

COMPOSER The person that creates the music.

CONDUCTOR The person responsible for rehearsing and directing musical performances by visible gestures, designed to keep everyone in unison. The conductor’s baton was introduced in the early 19th century. (Also called Maestro)

COVER A singer that learns the same role as a principal artist, and can replace the principal in case of illness or injury. (Also known as understudy)

DIRECTOR The person responsible for creating the overall concept of a production, interpreting the dramaturgical elements and staging the production. The director works closely with the conductor.

DUET A piece of music for two voices/instruments.

DYNAMICS The degree of volume required in a piece i.e. how loud or soft a piece must be sung or played.

ENSEMBLE (French for ‘together’) A group of players or singers performing together in unison.

FINALE The concluding segment of an act of a production.

OPERA GLOSSARY

LIBRETTIST The person/s that writes the libretto for an opera.

LIBRETTO (plural libretti) Literally translated as ‘little book’, traditionally the libretto was given out to be read during a performance, listing the cast and stage direction. The printing of libretti declined in the 19th century. Nowadays, the term is used to refer to the text of the opera – similar to lyrics.

OPERA (Italian for ‘work’; singular opus) A musical dramatic work in which the artists sing some or all of their parts. A combination of singing, instrumental music, drama and spectacle.

OVERTURE A musical introduction to the opera played by the orchestra.

PRIMA DONNA (Italian for ‘first lady’) Refers to the leading female singer in an opera company. The male counterpart is a primo uomo.

PRINCIPAL ARTIST A term referring to the more accomplished opera singers within a production who play the title and lead roles.

QUARTET A piece of music for four voices/instruments.

SCORE The written music of an opera or other musical composition.

SOLO A piece sung, played or danced by one performer.

TEMPO The overall speed of the music.

TIMBRE The quality of a musical tone; it distinguishes voices from instruments.

TRIO A piece of music for three voices/instruments.

VOCAL SCORE Slightly different to a music score, where the vocal parts are written out in full, but the instrumental accompaniment is reduced down and adapted for piano. Source: Opera Q

Loved Quartet? Got friends and family in Queensland who’d love it too? They are in luck! Spread the word and share the experience as Quartet travels directly from QTC’s 2016 Brisbane season to nine regional theatres across the state in February and March. We’re packing up the truck and hitting the road to deliver this devilishly funny production. Christine Amor, Andrew MacFarlane, Trevor Stuart and Kate Wilson will continue to grace the stage and charm audiences with their quick wit and grace.

TOURING REGIONAL QUEENSLAND FROM FEBRUARY TO MARCH 25 February Toowoomba: Empire Theatre 1300 655 299 empiretheatre.com.au 27 February Kawana: Lake Kawana Community Centre (07) 5413 1400 scvenuesandevents.com.au 1 March Rockhampton: Pilbeam Theatre (07) 4927 4111 seeitlive.com.au 4 March Mackay: Mackay Entertainment and Convention Centre (07) 4961 9777 mackaytix.com.au 8 – 9 March Cairns: Centre of Contemporary Arts 1300 855 835 ticketLiNK.com.au 12 March Townsville: Townsville Civic Theatre (07) 4727 9797 ticketshop.com.au 16 March Gladstone: Gladstone Entertainment Centre (07) 4972 2822 gladecc.com.au 19 March Ipswich: Ipswich Civic Centre (07) 3810 6100 ipswichciviccentre.com.au 22 – 23 March Bundall: The Arts Centre Gold Coast (07) 5588 4000 theartscentregc.com.au For more information, visit queenslandtheatre.com.au

QTC’s Quartet 2016 Queensland Regional Tour is supported by the Queensland Government through Arts Queensland.

#qtcquartet

RIGOLETTO

Rigoletto Rigoletto (pronounced [rigo’letto]) is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s’amuse by Victor Hugo. Despite serious initial problems with the Austrian censors, who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851. It is considered by many to be the first of the operatic masterpieces of Verdi’s middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto and Rigoletto’s beautiful daughter Gilda. The opera’s original title, La maledizione (The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto’s encouragement. The curse comes to fruition when Gilda likewise falls in love with the Duke and eventually sacrifices her life to save him from the assassins hired by her father.

Verdi

Beecham Manor, the setting for Quartet, is a fictional British retirement home for musicians. While it may not exist in Britain, Beecham Manor is based on Italian composer Giuseppe Verdi’s Casa di Riposo per Musicisti (Rest Home for Musicians). Established in 1896, the Casa di Riposo per Musicisti is a home for retired opera singers and musicians in Milan, Italy. The building was commissioned by Verdi and designed in the neo-Gothic style by Italian architect, Camillo Boito. Both Verdi and his wife, Giuseppina Strepponi, are buried there. Verdi began his philanthropic work around 1888 when he built, equipped and managed a hospital in Villanova sull’Arda, a town bordering the fields of his estate. The following year, he turned to his next passion project, a home for retired opera singers and musicians who had fallen on hard times. In 1889, he wrote to Giulio Ricordi that he had acquired a large piece of empty land in Milan on which he planned to build his Casa di Riposo. He then announced his plans publicly in an 1891 interview in the Gazetta musicale di Milano. Construction did not begin until 1896, but in the intervening years Verdi and Giuseppina met frequently with the architect, Camillo Boito to plan the project. Dedicated to creating a home that was both functional and beautiful, he also sought out information on how other hospices for the elderly were run. In 1895, Verdi made provisions in his will to fund the Casa after his death, bequeathing the future royalties from his operas to the Casa di Riposo per Musicisti - Fondazione Giuseppe Verdi. Construction was completed in 1899.

BEECHAM MANOR

“

Of all my works, that which pleases me the most is the Casa that I had built in Milan to shelter elderly singers who have not been favoured by fortune, or who when they were young did not have the virtue of saving their money. Poor and dear companions of my life!

Verdi’s Greatest Gift

BIOGRAPHIES

Ronald Harwood

Andrea Moor

Catarina Hebbard

Playwright

Director

Assistant Director

Ronald Harwood’s many plays include The Dresser, Taking Sides, Quartet, Mahler’s Conversion, An English Tragedy, Collaboration and Degenerate Art which premiered in Berlin in October last year. His films include The Dresser (Academy Award Nomination for Best Screenplay), Taking Sides (XXIX Flaiano Film Festival Award for Best Screenplay), The Pianist (Palme d’Or, 2002 Cannes Film Festival and 2003 BAFTA for Best Film), Being Julia, Oliver Twist, and most recently The Diving Bell and the Butterfly (winner of the 2008 BAFTA for Best Adapted Screenplay, Academy Award Nomination for Best Adapted Screenplay and Humanitas Prize 2008, Writers’ Guild Award for Best Screenplay, Prix Jacques Prevert du Scenario 2008), and Love in the Time of Cholera. His latest film, Quartet, released on 1st January 2013, is adapted from his play and directed by Dustin Hoffman, and a TV film of his play The Dresser adapted and directed by Richard Eyre, screened on BBC1 in October in 2015. Ronald Harwood’s awards for The Pianist include the Academy Award for Best Adapted Screenplay 2003, the National Society of Film Critics’ Award for Best Screenplay and the Founders’ Award from the Zaki Gordon Institute for Independent Filmmaking. He was also nominated for a BAFTA (Best Adapted Screenplay) and a César (Best Screenplay). He was made Fellow of the Royal Society of Literature in 1974 and was Visitor in Theatre at Balliol College, Oxford in 1985. He was President of English PEN, 1989-1993, President of International PEN, 1993-97, and Chairman of the Royal Society of Literature. In 1996, he was appointed Chevalier de l’ordre National des Arts et des Lettres. In 1999, he was appointed a CBE. He was awarded an Honorary Doctor of Letters by Keele University in 2002 and Aberdeen University in 2013. He is President of the Royal Literary Fund 2005-present. He was made an Honorary Fellow of Central School of Speech and Drama in 2006. He was knighted for Services to Drama in the 2010 Queen’s Birthday honours list. He received the National Jewish Theatre Foundation Lifetime Achievement Award, 2014.

Queensland Theatre Company: As Director: Grounded, Boston Marriage, Australia Day, Venus in Fur, Water Falling Down. As Performer: Design For Living, Pygmalion, An Oak Tree, Let the Sunshine (co-production with Melbourne Theatre Company), The Crucible, Who’s Afraid of Virginia Woolf?, Absurd Person Singular, Vincent in Brixton. Other Credits: As Director: … and moor theatre: Tender, The Ghost Writer, Beautiful; JUTE Theatre Company: Intimacy; WAAPA: Festen, Top Girls; USQ Shakespeare in the Park: The Tempest; NIDA: The Roaring Girl, Furious. As Performer: La Boite Theatre Company: The Narcissist; Kooemba Jdarra: Bitin’ Back; Griffin Theatre Company: Myth, Propaganda & Disaster, Borderlines, Passion, Witchplay, Away; Sydney Theatre Company: Furious, The Visit, Titus Andronicus, Re-Create the Rehearsal, Siren, An Ideal Husband, Emerald City, The Bitter Tears of Petra Von Kant, The Game of Love & Chance, Woman in Mind, Map of the World; Ensemble Theatre: The Old Boy, The Ninth Step, The Family, Diving for Pearls; Marion Street Theatre: The Newspaper of Claremont Street; NIDA Company: The Aunt’s Story; Pork Chop: Rosencrantz and Guildenstern Are Dead. Film: Mental, Subdivision, Bitter and Twisted, Left Ear, The Man Who Sued God, Oscar and Lucinda, Soft Fruit, Strange Planet, Airtight, Round the Bend, Travelling North. Television: Mortified, H20, Home & Away, All Saints, White Collar Blue, Backberner, Heartbreak High, Water Rats, GP, The Flying Doctors, A Country Practice, Army Wives. Awards: Churchill Fellowship (2014); Gold Matilda Award for Direction Venus in Fur (2013), Matilda Award Best Supporting Female Actor The Crucible (2009), Marten Bequest Scholarship (1994), London Monthly Review Best Actress, Edinburgh Festival 1991. Positions: QTC; Artistic Associate (2015), QTC; Resident Director (2014). Training: Bachelor of Dramatic Arts (Acting) NIDA, Doctorate of Creative Industries, (DCI), QUT.

Queensland Theatre Company: As Director: The Pitch, Eight. As Associate Director: Head Full of Love (Remount and National Tour). As Assistant Director: Water Falling Down, Faustus. Other Credits: As Director: indel-ABILITY arts: Look Mum… No Hands!!! La Boite Theatre Company (Young Actors Company) Grimm Tales and More Grimm Tales, Daniel Evans & Metro Arts: Awkward Conversation: Medea Redux; MadCat Creative Connections: Machina, Catholic School Girls (co-production with Three Sisters), Minefields and Miniskirts; The Arts Centre Gold Coast: DNA; Ignatians Musical Society: Company, The Boy From Oz; QUT: The Laramie Project; 4MBS Classic Players: The Taming of the Shrew, The Merry Wives of Windsor, Romeo and Juliet; NDILM Productions: UnPC, Hardly the Portrait of a Lady, Nobody Does it Like Me; Vena Cava: The Sweetest Things. As Assistant Director: Opera Queensland: La traviata; Michael Gow and Brisbane Festival: The King Hereafter; ... and Moor Theatre: Tender. As Actor: Catarina has worked with 23rd Productions, KITE, TheatreANYPLACE, Harvest Rain, Emerge, Mixed Company, That Production Company and Crossbow productions. Films: Girl Clock, The Chronicles of Narnia; Voyage of the Dawn Treader, Reef ‘n’ Beef, Down Under Mystery Tour. Television: K9, Sally and Possum. Positions: QTC; Creative Associate (2011); Cofounder/Artistic Director, indel-ABILITY arts; Youth and Engagement Producer, La Boite Theatre Company (2015). Training: Associate Diploma (Fine Arts – Performing) QUT, Bachelor of Education – Griffith University.

Bruce McKinven Designer Queensland Theatre Company: As Costume & Set Designer: Cat on a Hot Tin Roof (co-production with Black Swan State Theatre Company), Betrayal, The Alchemist (co-production with Bell Shakespeare), 25 Down, The August Moon, Prisoner of Second

David Walters Lighting Designer Queensland Theatre Company: Ladies in Black, Brisbane, Boston Marriage, Gloria, Macbeth, Australia Day, Venus in Fur, End of the Rainbow, Romeo & Juliet, Pygmalion, Grimm Tales, The August Moon, Rabbit Hole, The Glass Menagerie, The Memory of Water, A Day in the Death of Joe Egg, Molly Sweeney, Chilling and Killing

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

Tony Brumpton Sound Designer Queensland Theatre Company: As Sound Designer: The Odd Couple, Grounded, Gasp!, The Mountaintop, Australia Day, Black Diggers (coproduction with Sydney Festival), Design For Living, Other Desert Cities (co-production with Black Swan State Theatre Company) Managing Carmen (co-production with Black Swan Street 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, 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: White Rabbit Theatre Company: The Grand; Centenary of Canberra Festival:

Kungkarangkalpa (Seven Sisters Songlines), Brisbane Festival: Freeze Frame, King Here After; 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, Accented Bodies, Altered States. As Director: Vena Cava: RABBAR. Positions: Queensland Theatre Company: Affiliate Artist (2014), Associate Artist/Head of Audio (2011), Emerging Artist (2010); Tone Black Productions (Founder); Lecturer – QUT.

Christine Amor Cecily Robson Queensland Theatre Company: The Heidi Chronicles, Money and Friends, Brilliant Lies, The School of Arts. Other Credits: Sydney Theatre Company: Tartuffe, Julius Caesar, Forget Me Not Lane, Trelawny of the Wells, Taming of the Shrew, The Good Woman of Setzuan; Melbourne Theatre Company: Summer of the Seventeenth Doll, The Doll Trilogy, Once a Catholic, The Plough and the Stars, Batman’s Beach-Head, Paying the Piper, Some of My Best Friends are Women, Martello Towers, Mother Time, Old Flames; The Court Theatre, LA: The Misanthrope; The Australian Elizabethan Theatre Trust: The Pleasure of his Company (National Tour, Hong Kong); Shakespeare in the Park: Romeo and Juliet; Belvoir St Theatre: Ride Across Lake Constance, No Room for Dreamers; Theatre South, NSW: Same Time Next Year; St.Martin’s Theatre, VIC: Come Blow Your Horn; The Regal Theatre, WA: That Blessed Fountain; Seymour Centre: Conjugal Rights. Film: Not Quite Hollywood, Now and Forever, Snapshot, Touch and Go, High Rolling, Peterson, Dead Sleep, Blood Moon, Alvin Purple, The Mouse and the Doll. Television: Carson’s Law, H2O - Just Add Water, Cybergirl, Are You Being Served?, Prisoner, Eggshells, Certain Women, Home, A Taste for Blue Ribbons, Saturdee. Awards: Critics Award - Best New Talent Sydney Theatre Company; Penguin Award - Best Actress Carson’s Law; Dramalogue Award, LA - Best Actress The Misanthrope. Training: Bachelor of Dramatic Arts (Acting), NIDA.

BIOGRAPHIES

Avenue, Heroes, Private Fears in Public Places, Constance Drinkwater and the Final Days of Somerset, American Buffalo, A Streetcar Named Desire, Hitchcock Blonde, Mano Nera, Vincent in Brixton, God is a DJ, Eating Ice Cream With Your Eyes Closed, Proof, The Lonesome West, A Conversation, Bill & Mary. As Set Designer: Hamlet (co-production with State Theatre Company of South Australia). Other Credits: As Costume Designer: Company B Belvoir: Yibiyung; Company B Belvoir/ La Boite Theatre Company: Gwen In Purgatory; Sydney Theatre Company: Tusk Tusk, Like a Fishbone; Bell Shakespeare Company: Othello: Force Majeure: The Age I’m In; Singapore Dance Theatre: Four Seasons. As Costume & Set Designer: Black Swan State Theatre Company: Next to Normal; Griffin Theatre Company: The Story of the Miracles at Cookie’s Table; Sydney Theatre Company Education: The 7 Stages of Grieving; La Boite Theatre Company: The Chairs, Walking By Apple Tree Creek, Last Drinks, Long Gone Lonesome Cowgirls, Urban Dingoes; State Theatre Company of South Australia: The Dying Gaul; Singapore Dance Theatre: Don Quixote; Expressions Dance Company: The Red Shoes, R&J, Where the Heart Is; Clare Dyson: The Voyeur, Absence(s), Being There; Lisa Wilson: Lake, Elbow Room. Film: As Costume Designer: Aunty Maggie and the Womba Wakgun. Positions: Adelaide Festival: Various design and production roles 1994-2010; Adelaide Writers’ Week Site Designer and Site Co-ordinator 2012-2016. Awards: The Mike Walsh Fellowship (2001); Coates Hire Best Community Event (2015), Australian Event Awards – Adelaide Writers’ Week; Ruby Award Best Community Event – Adelaide Writers’ Week (2015). Training: Bachelor of Dramatic Art (Design), NIDA; Bachelor of Arts (Visual Arts), QUT.

BIOGRAPHIES

Andrew McFarlane Reginald Paget Queensland Theatre Company: Who’s Afraid of Virginia Woolf?, Cat on a Hot Tin Roof, The Heidi Chronicles, A Month in the Country, Corporate Vibes. Other Credits: Darlinghurst Theatre Company: Deathtrap; Black Swan State Theatre Company: The Seagull, Arcadia; Griffin Theatre Company: Dreams in White; Tamarama Rock Surfers: I Want to Sleep with Tom Stoppard; Melbourne Theatre Company: The Heretic, Scarlett O’Hara at the Crimson Parrot, Gullivers’ Travels; Sydney Theatre Company: Cyrano de Bergerac, King Lear, Henry IV; Part One; Woman in Mind, The Normal Heart; Ensemble Theatre: Emerald City, Nothing Personal, Let the Sunshine, After the Ball; 4MBS Classic FM: Amadeus; Gordon Frost Organisation: Fame. Film: Truth, The Falls, Razzle Dazzle, Little White Lies, Returning Lily, Boulevard of Broken Dreams, Break of Day, Born to Run. Television: Cleverman, The Code, Glitch, A Place to Call Home, Rake, Love Child, Devil’s Playground, Playschool, Janet King, Singapore 1942, Underbelly: A Tale of Two Cities, Guess How Much I Love You, Dreamlife, Through My Eyes, The Alice, Home and Away, Blue Heelers, Water Rats, The Flying Doctors, Patrol Boat, The Sullivans. Awards: ASTRA Awards – Most Outstanding Performance by Male Actor Devil’s Playground.

Trevor Stuart Wilfred Bond Queensland Theatre Company: Design For Living, You’re a Good Man, Charlie Brown, Wrong Side of the Moon, Antigone. Other Credits: Lumiere & Son Experimental Theatre: Senseless, Jean Pool, Vulture Culture, Passionate Positions; La Boite Theatre Company: Cosi, Circus Lumiere, Taboo, Secret Death of Salvador Dali, Hamlet, As You Like It; TN!: Vulture Culture; Brisbane Festival/Cocoloco: Alice and Alice Bus Tour, Mad and Ugly Show, Lost in the Zoo; The Grin & Tonic Theatre Troupe: Romeo and Juliet, Rabelais; Adelaide Film Festival: 101 Films To See 18

Before You Die; Out There Festival, Great Yarmouth: Streets of Anarchy; Bluecoat Gallery, Liverpool: Sense and Sustainability; Vitalstatistix, Adelaide: Madame, The Joseph Farrugia Story; Adelaide Festival Surrender: Dr. YaYa; Tate Liverpool: Fool Spectrum; Tate Modern: The Elmgreen & Dragset Tate Walk; Serpentine Gallery: At Home with Ted Bunny; Venice Biennale: The Collectors; Avanti Display: Mr Lucky’s Party, The Spurting Man, Leak, Waiting To Happen; SouthBank London: The Information Tango. Film: Revolver, Glottis, 33 Times Around the Sun,The Gold Diggers. Television: Pookiesnackenberger, The Empress, Hotel Babylon, The Monocled Mutineer. Positions: Director: Lumiere & Son, Cocoloco, Natural Theatre, Hope St Ltd. Awards: Helpmann Nomination: Best Supporting Actor As You Like It (2012), Edinburgh Fringe Festival: Best Actor (2002).

Theatre: The Season at Sarsaparilla, Kean. Film: Cyber Wars. Positions: QCGU Musical Theatre Department: Acting Tutor, Director; Empire Theatre Projects Company: Acting Masterclass Tutor; ACPA: Tutor in Acting; Empire Theatre: Board Director 2003-2013, Foundation Trustee 2009-current; Queensland Theatre Company: Chairman and Board Director 20012011; USQ: Deputy Dean Faculty of Arts, Director Performance Centre, Head Department of Theatre, Assoc Prof (Voice), Councillor, Honorary Professor; BA MLitt (UNE), PhD (UHawaii at Manoa).

Kate Wilson

Queensland Theatre Company: Oedipus Doesn’t Live Here Anymore, Black Diggers, Venus in Fur, Kelly, Elizabeth – Almost by Chance a Woman, Summer of the Seventeenth Doll (co-production with Belvoir), No Man’s Land, Grimm Tales, Betrayal, The Crucible, The School of Arts (coproduction with QPAC), The Female of the Species, Rabbit Hole, The August Moon, The Fortunes of Richard Mahony (co-production with Playbox), Molly Sweeney, Buried Child, Dirt, Fred, Fountains Beyond, The Skin of Our Teeth and Bell Shakespeare coproductions Faustus, The Alchemist, The Tragedy of Richard III, Anatomy Titus Fall of Rome: A Shakespeare Commentary. Other Credits: Bell Shakespeare: The Tempest, Henry V, King Lear, The Government Inspector, Macbeth, The Merchant of Venice, Romeo and Juliet, Measure for Measure, The Wars of the Roses, Hamlet; Black Swan State Theatre Company: A Streetcar Named Desire, The Seagull, As You Like It, The Sapphires; Sydney Theatre Company: Blacked Up, Stones In His Pockets, Barrymore; Griffin Theatre Company: Wicked Sisters; Marion St Theatre: Brief Lives, Tom and Clem; Melbourne Theatre Company: Dumb Show, The Herbal Bed, A Little Night Music; Legs on the Wall: Eora Crossing, Flying Blind; Sydney Conservatorium of Music: The Beggar’s Opera; Darwin Theatre Company: The Winter’s Tale, Cosi, Diving For Pearls, Emma; Queensland Conservatorium of Music: Orpheus in the Underworld. Training: Bachelor of Dramatic Arts (Technical Production), NIDA.

Jean Horton Queensland Theatre Company: As Actor: Travelling North, Confusions, Otherwise Engaged, Hobson’s Choice, St Joan, The Merchant of Venice, The Department, The Owl and the Pussycat, The Philanthropist, Suddenly at Home, The Rainmaker, Aladdin, Pygmalion, Summer of the Seventeenth Doll, Godspell, Old Times, Equus, Death of a Salesman, The Imaginary Invalid, The School For Scandal, Present Laughter, The Rivals, A Toast to Melba, A Doll’s House, Expresso Bongo, The National Health, Juno and the Paycock, The Badly-Behaved Bunyip, The Man, the Spirit Fish and the Rainbow Snake, Robbo, Masks, Rain, Rain Go Away. As Director: Youth Ensemble productions: Robbo, Eggfroth the Frithed, Tufff. As Writer (with Murray Foy): Mr Punch, The Maiden at the Gate, The Carrot and the Munchy Monster, Robbo, Rain, Rain Go Away. Other Credits: As Actor: Metro Arts: The C Word; La Boite Theatre Company: As You Like It; Umber Productions and La Boite Indie: Water Wars; Empire Theatre Projects Company: Cabaret, Secret Bridesmaids’ Business; New England Theatre Company: Gulls, The Prime of Miss Jean Brodie, Absurd Person Singular, Summer of the Seventeenth Doll, The Perfectionist. As Director: New England Theatre Company: Who’s Afraid of Virginia Wolf?; Twelfth Night

Peter Sutherland Stage Manager

MEMBERS OF THE BOARD Richard Fotheringham (Chair) Elizabeth Jameson (Deputy Chair) Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Nathan Jarro ARTISTIC DIRECTOR Sam Strong

Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Development Coordinator: Dee Morris Communications and Grant Coordinator: Anja Hamburg Production Manager: Toni Glynn Technical Coordinator: Daniel Maddison Production Coordinator: Canada White Head of Workshop: Peter Sands Company Carpenter/Head Mechanist: John Pierce Head of Wardrobe: Vicki Martin

Indigenous Reference Group: Nathan Jarro (Chair) Adam James Executive Assistant: Tammy Sleeth Angela Leitch Programming Manager/ Paula Nazarski Senior Producer: Sophia Hall Todd Phillips Artistic Coordinator: Samantha French Michael Tuahine Producer (New Work and Front of House (The GreenHouse): Development): Shari Irwin Madison Bell Touring and Regional Program Leisa Du Bois Coordinator: Christine Johnstone Anita Hughes Producer (Education and Sally Lewis Youth Programs): Heidi Irvine

Chief Financial Officer: Michael Cullinan Systems Accountant: Roxane Eden Assistant Accountant: Jolene Wright Venue and Operations Supervisor: Julian Messer Finance and Operations Officer: Louisa Sankey

Tel: (07) 3840 7444 www.qpac.com.au Chair Chris Freeman AM Deputy Chair Rhonda White AO Trustees Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM Executive Staff Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Jackie Branch Director – Development: Megan Kair Director – Corporate Services: Kieron Roost Director – Patron Services: Jackie Branch

EXECUTIVE DIRECTOR Sue Donnelly

Programming Project Officer: Laurel Collins

PO Box 3567, South Bank, Queensland 4101

THANK YOU

PATRON His Excellency the Honourable Paul de Jersey AC Governor of Queensland

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory body of the State of Queensland and is partially funded by the Queensland Government

FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003)

The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts

Queensland Theatre Company is a member of Live Performance Australia.

Director-General, Department of Premier and Cabinet: David Stewart

PRODUCTION STAFF Carpenters: Jamie Bowman, Lilith Tremmery, Michaela Sturgess, Aleksis Waaralinna Marketing and Audience Scenic Artist: Leo Herreygers Cutter/Costume Maker: Development Manager: Leigh Buchannan, Michelle Wiki Yvonne Whittington Head of Campaigns: Jane Hunterland Costume Maker: Bianca Bulley Costume Maintenance: Francis Piper Marketing Coordinator: Costume Supervisor: Nathalie Ryner Amanda Solomons Make Up Consultant: Jan Huggett Marketing Assistant: Wig Stylist/Hairdresser: Yuverina Shewpersad Digital Marketing Officer: David D’Arcy Michael Green Sound Consultant: Will Moore Graphic Designer: Aleesha Cuffe

QPAC Production Staff Head Electrician – Tim Gawne Head Mechanist – Richard Aishford Assistant Stage Manager QTC – Kathryn O’Halloran Design Secondment – Ella Lincoln

Database Trainer and Supervisor: Dale Ric-Hansen Publicist: Kath Rose and Associates Ticketing Officer: Donna Fields-Brown

Lisa Gasteen

ACKNOWLEDGEMENTS Voiceover Artist: Steven Tandy Opera Consultant: Zara Barrett Voice Coach/Accent Coach/Dialect Coach: Melissa Agnew Brad Jarrett Rehearsal Photography: Stephen Henry Happy Days Production Photography: Rob Maccoll You’re a Good Man, Charlie Brown Production Photography: Provided by Carol Burns

DONORS

Honouring and thanking our supporters Trust & Foundations

$250-$499

Australian Communities Foundation Creative Partnerships Australia Copyright Agency Cultural Fund Ian Potter Foundation John T Reid Charitable Trusts RACQ Foundation Tim Fairfax Family Foundation

8 Anonymous, Leanne Austin, Phil Barker, Chris Bourke, Ethna Brown, Joan Brown, Ian Bunzli, Richard Bunzli, Judith Carrey, Rodd & Wendy Chignell, Michael & Margaret Clancy, Ralph Collins, Fotini Hardy, Kate Foy, Anita Green, Daryl Hanly, Rob & Zelle Hodge, Michael & Karlie Keating, Sean Leader, B Lloyd, Mad Dance House, Brad Mammino, Sandra McCullagh, Angie & Peter McPhee, Kartini Oei, Lyn & Joanne Scott, Karen Smith-Pomeroy, Bronwyn Springer, TAFE Queensland, Coralie Van Straaten-Peretz, Paul Venus, Pam Willsher, Michael & Colleen Wilson

$10,000+ Donors 1 Anonymous, Pamela M Marx, Cathryn Mittelheuser, Bruce & Sue Shepherd

$5,000-$9,999 Patricia Byrne, John & Lynnly Chalk, Wesley Enoch, Richard Fotheringham & Roslyn Atkinson, John & Gay Hull, Tim & Kym Reid, Thomas Wright

$2,000-$4,999 2 Anonymous, William Ash & Margi Brown Ash, John H Casey, Sue Donnelly, Kirstin & Glen Ferguson, Erin Feros, Alan Galwey, William & Claire Glasson, Geoffrey Hirst & Sally Wilde, Colin & Noela Kratzing, The Prior Family, Cecily Stevenson, Damien Thomson & Glenise Berry, EM Jameson & AL Anderson

$1000-$1999 4 Anonymous, Julieanne Alroe, Anne & Peter Allen, Geoff Harris & Louisa Bewley, Lisa & William Bruce, Matheiu & Anastasia Ellerby, Merrilyn & Kevin Goos, Ian & Ruth Gough, Hudson Family, Tempe Keune, David & Katrina King, Bernard Curran & Susan Learmonth, Dean & Kath Merlo, Karl & Louise Morris, Nicklin Medical Service, Donald & Una O’Sullivan, Plate Marketing, Geoffrey Rush, Marianna Serghi, Sibelco Australia Limited, Sandy Vigar & Martin Pearson

Legal Chapter 4 Anonymous, Michael & Anne Back, James Bell, Sarah Bradley, Madeleine Brennan, Sue Brown, Carter Newell Lawyers, Sheryl Cornack, Leone Costigan, Peter Davis, David de Jersey, Ralph & Frances Devlin, Richard Douglas, Adrian Duffy, Scott Falvey, H G Fryberg, Richard Fryberg, Anthony Glynn, John & Lois Griffin, Milton Griffin, Michael Hodge, Kevin & Joanne Holyoak, Joshua Jones, Stephen Keim, Declan Kelly, Liam Kelly, Asif Khan, Fleur Kingham, John & Janice Logan, Stephen & Hana Mackie, John & Julianne McKenna, Phil & Margaret McMurdo, Kerri Mellifont, Richard Morton, Debra & Patrick Mullins, Andrew O’Brien, Dan O’Gorman, Robertson O’Gorman, Leanne O’Shea & Peter Gilroy, Dominic O’Sullivan, Adam Pomerenke, Tina Previtera, Jeff Rolls & Barbara Houlihan, Walter Sofronoff, Michael Strewart, van de Graaff Lawyers, Greg & Sally Vickery, Elizabeth Wilson

$500-$999 6 Anonymous, Melissa Agnew, Melissa Bennett, Virginia Bishop, Rita Carter-Brown, Bob Cleland, Paddington Clinic, Alan & Annette Davie, Toni Glynn, Pamela Greet & Nicholas Beaton, Malcolm & Andrea Hall-Brown, Amanda Jolly, Ross & Sophia Lamont AM, Joan M. Lawrence, Susan Mabin, Jacinta Messer, Dee Morris & Reny, R & B Murray, Gregory & Wendy O’Meara, Robert & Diane Parcell, Blayne & Helen Pitts, Angela Ramsay, John Richardson & Kirsty Taylor, Gary Sawyer, Wendy Tonkes, Margaret & Norman Wicks, Ian Yeo & Sylvia Alexander 20

Donations over $250 are acknowledged for 12 months from the date of donation. Visit queenslandtheatre.com.au to find out how you can support our work.

It takes many people to create great theatre â&#x20AC;&#x201C; the playwright, the director, the actors, the designers and crew and most importantly our donors and sponsors. Your financial support means that we can provide our community with outstanding theatrical experiences, from mainstage productions to our unique Youth, Education, Indigenous and Regional Programs. Thank you. Government Partners

Production Sponsors

Official Airline Partner

Building Enhancement Program

Regional Sponsors

solar Season Sponsors

Season Supporters

Media Supporters

Promotional Partners: Coev Haircutters

If you would like to find out more about supporting our work please contact Nikki Porter, Corporate Partnerships Manager, 3010 7612 or Amanda Jolly, Philanthropy Manager, 3010 7621.