QUEENSLAND THEATRE Queensland Theatre, Queensland Government and Griffin Theatre Company present
Michele Lee's
L-R: Hsiao-Ling Tang, Kristy Best.
Rice by Michele Lee VENUE
Cast
24 June — 16 July Bille Brown Studio, Queensland Theatre
Kristy Best ..................................................... Nisha Hsiao-Ling Tang ............................................Yvette Creatives
ATTENDANCE INFORMATION
Lee Lewis .................................................... Director
Rice will run for approximately 90 minutes, with no interval.
Renée Mulder .......................................... Designer Jason Glenwright ..................... Lighting Designer
WARNINGS
Wil Hughes .................... Composer /AV Designer
Contains adult themes and coarse language.
Tony Brumpton .......... Associate Sound Designer Kathryn O’Halloran ...................... Stage Manager Rebecca Minuti ........... Assistant Stage Manager Jennifer White ................................ Dialect Coach Gabrielle Rogers ............................. Dialect Coach
For the safety and comfort of all patrons, we only allow cold beverages in plastic cups or bottles inside the theatre. Glass, food and hot beverages are not permitted. The use of photographic or recording equipment is not permitted inside the theatre.
Sally Lattin ........................................... Direct Observation
ACKNOWLEDGEMENT OF COUNTRY
Cover Photo: David Kelly
Queensland Theatre would like to acknowledge the Jagera and Turrbal people who are the Traditional Custodians of this land. We would like to pay our respects to their Elders both past and present, and all Aboriginal and Torres Strait Islander peoples. RECYCLE THIS PROGRAM Support Greening Queensland Theatre and recycle this program after the performance in the recycling bins provided in the foyer. Read the program before the show at queenslandtheatre.com.au
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Queensland Premier’s Drama Award 2018-19 ENTRIES CLOSE MONDAY 30 OCTOBER 2017 The QPDA assists writers and performance makers to develop their first drafts, pitch documents, sample scenes, concept sketches, or creative development findings into a production-ready text. Is this for you? If you have an idea for a show that Australian audiences need to see on our stages, we want you to enter. This national award is open to individual artists and collectives of all levels of experience working across different performance practices. Three finalists will be selected and paid to develop their work with industry professionals. The winning entry then goes on to receive further development culminating in a world premiere professional production with Queensland Theatre.
IMPORTANT DATES ENTRIES CLOSE Monday 30 October 2017 THREE FINALISTS ANNOUNCED IN January 2018 WINNER ANNOUNCED IN July 2018 Winning production premieres as part of Queensland Theatre’s 2019 Season. Find out more and apply queenslandtheatre.com.au/QPDA
LEADING FROM QLD
INDUSTRY
NATIONAL
GREAT IDEAS
I
QUEENSLAND THEATRE
Welcome Dear Friends As you know, our company aspires to lead the country in the creation of new Australian stories and in the nurturing of new talent. The world premiere production of Queensland Premier’s Drama Award winning play Rice by Michele Lee achieves both. Sam Strong Artistic Director
Rice is a highly accomplished work that confidently performs new playwriting’s distinctive function of reflecting contemporary society back to itself. And this is not just any society, it is Australian society right now: globalised, multicultural, unequal in circumstance but united by humanity. Michele Lee has a knack for flipping effortlessly between the macro and the micro, the global and the local, the universal human truth and the recognisable specific detail of time or place. It also expertly invokes the talents of its two actors, the astonishing Kristy Best and Hsiao-Ling Tang, to transport and transform us.
run the only playwriting competition in the country that results in a guaranteed mainstage production. Second, we are proud to co-produce with Griffin Theatre Company, and benefit from the extraordinary directorial talent of their Artistic Director, Lee Lewis. Finally, Brisbane’s own Playlab has published the text, giving it the best possible chance of becoming the classic it deserves to be. The Queensland Premier’s Drama Award has ushered a generation of plays and playwrights onto the mainstage. We look forward to Rice joining that distinguished canon of works and to this premiere production delighting audiences in Brisbane, Sydney and Albury-Wodonga.
None of this would be possible without our partners. First, the investment of the Queensland Government enables us to
Enjoy Sam
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Message from The Premier of Queensland
It is with great pleasure that I introduce Rice by playwright Michele Lee, winner of the Queensland Premier’s Drama Award 2016-17.
Annastacia Palaszczuk Premier of Queensland
Established in 2002, the Queensland Premier’s Drama Award is the only award of its kind in Australia. It provides the winner with a unique opportunity to see their work transformed, over a period of two years, from a concept to a professionally staged performance.
I would like to acknowledge the great work done by Queensland Theatre over the Awards’ 15-year history. I commend their commitment to nurturing Australian talent and to providing the public with many powerful and memorable theatrical experiences.
As Premier and Minister for the Arts I am a great supporter of creating pathways to promote the development of talented
Thank you for supporting Queensland theatre and I hope that you enjoy the performance.
artists, and to help ensure their work is shared and enjoyed with the wider community. Since its inception, Queensland Theatre has developed 27 plays as part of the Award, employing more than 200 actors, writers and directors and introducing audiences of more than 26,000 to new Australian plays.
ANNASTACIA PALASZCZUK MP PREMIER OF QUEENSLAND MINISTER FOR THE ARTS
Set against the backdrop of an Australian rice company, Ms Lee’s award-winning play explores the role of two multicultural women from vastly different vantage points, highlighting issues of identity and accountability.
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Writer's Note In the rehearsal room, as we moved through the script, we talked about the faint theme of fairytales and time within the play. That certain events in the past can start to feel mythical and magically distant, in that realm of ‘once upon a time’, even if they occurred recently. Michele Lee June 2017
In recent times, I participated in Griffin Theatre’s Storylab program, a week-long workshop of master classes and concept development (I think I was the one of the oldest ‘emerging artists’ in the program). The concept I brought to Storylab about Chinese women and the Country Women's Association (CWA) then gave way to something new, an image of two women, one Indian and one Chinese. The beginnings of this play, Rice. This was 2012 or so, only five years ago and yet it feels so tucked away in the past. In recent times, my paternal grandmother died. I was at work when my Dad called. “Mummy’s died,” he said, in English. He was talking about his own mother, and he sounded like a little boy, like a forlorn son. Unnerved, I walked back into the work planning day, thinking of this woman I barely knew. I felt forlorn too, longing for something I’d never really had, and I bit back tears. I had grown up in Australia, never
geographically close to any of my Dad’s family, and she had eventually settled in America. Most of my life my Dad had talked frequently about moving to America, somehow winning the green card lottery, to be closer to his big and ever-expanding family. He was the only one in Australia. I had only met my grandmother a handful of times when I travelled to America. The last time I saw her, it was on one of these trips, and she was biting back tears, waving me off. She knew her days were growing limited and that we may never see each other again. Initially I said Rice was about a plethora of ‘big’ contemporary issues. As if I was some Michael Moore of theatre. Mass agriculture. Super economies. Mercenary corporations. Women in business. Rice is about these things. But it’s probably, primarily, about two women searching for new friendships and new intimacies, new versions of family, however fleeting.
Acknowledgements Thank you to The Street Theatre for supporting an initial development, including actors Gowrie Varma and Annette Shun Wah; Playwriting Australia for supporting subsequent developments, including actors Kristy Best and Meme Thorne; and to Queensland Theatre for development support through the Queensland Premier’s Drama Award, and again including actors Kristy Best and Meme Thorne. Thank you to the directors and dramaturgs who’ve supported the various developments: Kat Henry, Peter Matheson, Jane Bodie, Christie Evangelisto, Tanya Dickson and Bridget Boyle. Thank you to the Australia Council for an initial research and writing grant. And thank you to the various people who shared their life experiences and expertise with me as part of my research.
Mass agriculture. Super economies. Mercenary corporations. Women in business. Rice is about these things. But it’s probably, primarily, about two women searching for new friendships and new intimacies, new versions of family, however fleeting.
L-R: Kristy Best, Hsiao-Ling Tang.
Kristy Best
Lee Lewis
Hsiao-Ling Tang
Director’s Note This play is about extraordinary partnerships.
Lee Lewis Director
Two philanthropists, Thomas and Ingeborg Girgensohn, partnered with Griffin Theatre Company to fund a playwright development program. It was called Storylab, and over three years emerging writers were invited to participate in a week long workshop with senior practitioners to develop existing ideas and to provoke new ideas for plays.
In the first year of Storylab I met Michele Lee. One of the new ideas she was interested in was global food technology. Interesting, I thought, and wow can she write dialogue… I hope she writes that play. Over four years later, as a judge in the Queensland Premier’s Drama Award 2016-17, I finally got to read that play. And the wow continued. The play won the award. The amazing thing about this award is the guarantee that the playwright will see their play on the stage.
it must be good enough to produce. New plays are always a risk, but with this award, Queensland Theatre looks playwrights in the eye and steps up to the challenge. AND, it is thrilling for Griffin Theatre Company to partner with Queensland Theatre in this enterprise. But enough about the award – what about the play I hear you ask!
The partnership between this state government and this theatre company is as unique as it is extraordinary. This commitment to producing the winning play does not happen anywhere else in the country. This is the award that will let Michele Lee see her first mainstage production. This production of Rice will introduce Michele Lee as a playwright to the whole country. A long path from an idea in a playwriting workshop, I know, but an exciting one. It is always an honour to direct the first production of a new play. It is even more of an honour to do so within the context of the Queensland Premier’s Drama Award. It is an incredibly inspiring award because it is all about having the courage of your convictions – if it is good enough to win
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This play is a deceptively simple story of two women working in the city: one a struggling cleaner, one a high flying manager; one a migrant from China, one a second generation Brisbane girl whose grandmother moved here from West Bengal. It is a story of mothers, daughters and grandmothers. It is filled with ambition and love and loss and bad decisions… sounds like life right? And it is. Because not only can Michele Lee write dialogue, she can write beautiful, flawed, recognisable human characters. She has an ear and an eye for a story that is happening every day in this city, and the courage of her convictions to shape those instincts into a brand new play. For you. The very first audience. Thank you for your courage in being the first to be here, for joining us in making a new story for Australia, for being part of the story of extraordinary partnerships.
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Coming Soon QUEENSLAND THEATRE PRESENTS
QUEENSLAND THEATRE AND BRISBANE FESTIVAL PRESENT
MY NAME IS JIMI
AN OCTOROON
Based on a story by Dimple Bani, Jimi Bani, co-created with Jason Klarwein
by Branden Jacobs-Jenkins
QUEENSLAND THEATRE PRESENTS
SCENES FROM A MARRIAGE
Adapted from the series by Ingmar Bergman by Joanna Murray-Smith
22 JUL – 13 AUG
16 SEP – 8 OCT
“My grandfather used to tell me that technology will take over. We have to use it to our advantage. To teach language, to teach culture, to keep it alive.”
“An Octoroon is a thrilling, moving exploration of personal and cultural identity, written with electric wires and staged with volcanic ferocity ... ”
— Jimi Bani
— Entertainment Weekly
Charismatic actor Jimi Bani (Mabo, The Straits, Redfern Now) whisks you away to his island in the Torres Strait for an evening of music, dance, stand-up and storytelling. Four generations of one family take the stage, as Jimi’s grandmother, mother, son and brothers help him spin yarns of totems, traditions and childhood memories.
A satire about American slavery, subtly recontextualised to uncover Queensland’s own dark history. Directed by leading Aboriginal artist Nakkiah Lui (Black Comedy, Black is the New White), this hilarious show is sure to be one of the most widely debated events of 2017.
BILLE BROWN STUDIO
BILLE BROWN STUDIO
11 NOV – 3 DEC PLAYHOUSE, QPAC
“A portrait of extraordinary intimacy and a searchingly honest and moving love story.” — The Independent
Johan and Marianne seem like the ideal couple. But when Johan admits to sleeping with another woman, he detonates the first bomb in what will become a ferocious battle. Real-life power couple Marta Dusseldorp (Janet King, Jack Irish, A Place to Call Home) and Ben Winspear star in this darkly comic autopsy of love.
My Name is Jimi has received assistance from the Queensland Government through Arts Queensland’s Backing Indigenous Arts program.
www.ingmarbergman.se This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
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Michele Lee WRITER Michele is an Asian-Australian playwright and theatre-maker working across stage and audio. Her works are about female identity, otherness, intimacy and chaotic worlds, usually through a non-white perspective. She has been commissioned by Radio National, Next Wave Festival, Darwin Festival, Platform Youth Theatre, St Martins Youth Arts Centre, Westside Circus, Platform Youth Theatre, Arts House, Griffin Theatre, Sydney Theatre Company, Melbourne Theatre Company and Malthouse Theatre. She is a previous recipient of an AWGIE, the Malcolm Robertson Prize and the Betty Burstall Commission. She is the 2017 co-writer in residence at Union House Theatre, and currently working on new plays about single women and about female security guards. Michele’s memoir, Banana Girl, was published by Transit Lounge.
Lee Lewis DIRECTOR Queensland Theatre: Debut. Other Credits: Griffin Theatre Company: The Bleeding Tree, The Homosexuals or ‘Faggots’, Eight Gigabytes of Hardcore Pornography, Masquerade (co-directed with Sam Strong), Gloria, Emerald City, A Rabbit for Kim Jong-il, The Serpent’s Table (co-directed by Darren Yap), Replay, Silent Disco, The Bull, The Moon and the Coronet of Stars, The Call, A Hoax, The Nightwatchman, The Literati (with Bell Shakespeare); Bell Shakespeare: The School for Wives and Twelfth Night; Belvoir: That Face, This Heaven, Half and Half, A Number, 7 Blowjobs and Ladybird; Melbourne Theatre Company: Rupert (including tour to Washington DC as part of the World Stages International Arts Festival and to Sydney’s Theatre Royal in 2014); Sydney Theatre Company: Honour, Love-Lies-Bleeding and ZEBRA!; Darwin Festival: Highway of Lost Hearts; National Institute of Dramatic Art (NIDA): Big Love, Shopping and Fucking, After Dinner and The Winter’s Tale; Western Australian Academy of Performing Arts (WAAPA): As You Like It. Positions: Artistic Director, Griffin Theatre Company. Awards: 2016 Helpmann Awards - Best Director for The Bleeding Tree.
Renée Mulder DESIGNER Queensland Theatre: The Effect (with Sydney Theatre Company), Sacre Bleu, Fat Pig. Other Credits: As Designer: Griffin Theatre Company: The Bleeding Tree, A Hoax, The Boys; Griffin Independent: The Pigeons; Bell Shakespeare: Romeo & Juliet (Education); Sydney Theatre Company: Orlando, Battle of Waterloo, Perplex, The Long Way Home, Dance Better At Parties, Mrs Warren’s Profession, The Splinter, Edward Gant’s Amazing Feats of Loneliness, In A Heart Beat, Actor on a Box - The Luck Child, Rough Draft #14 and #9; La Boite Theatre Company: As You Like It, Ruben Guthrie, I Love You Bro; Theatre Forward: The Sneeze; New Theatre: The Herbal Bed; Sydney Young Actors Studio: The
Hypochondriac, La Dispute. As Costume Design: Sydney Theatre Company: Chimerica, Endgame, Children of the Sun, Vere (Faith), Mariage Blanc. As Associate Designer: Sydney Theatre Company: Cyrano De Bergerac; As Design Assistant: Sydney Theatre Company: The Mysteries; Token Events: Good Evening. As Part of Costume Art Department: Bell Shakespeare: Pericles. Film: As Designer: A Parachute Falling in Siberia (short). As part of Art Department: The Distance Between (short). As part of Art Department Armour: Narnia – Voyage of the Dawn Treader. Positions: Resident Designer, Sydney Theatre Company (2012-2014). Training: NIDA, Queensland College of Art.
Jason Glenwright LIGHTING DESIGNER Queensland Theatre: As Lighting Designer: Rumour Has It (with The Little Red Company), Country Song, Argus (with Dead Puppet Society), I Want to Know What Love Is (with The Good Room), A Tribute of Sorts (with Monsters Appear), The Removalists, Faustus (with Bell Shakespeare),Water Falling Down, The Little Dog Laughed, Thom Pain (based on nothing). Other Credits: Griffin Theatre Company: A Hoax (with La Boite Theatre Company); Opera Queensland: Kiss Me, Kate; La Boite Theatre Company: Lady Beatle (with The Little Red Company), The Tragedy of King Richard III, A Midsummer Night’s Dream, Pale Blue Dot, Ruben Guthrie, Julius Caesar, The Kursk; shake & stir theatre co: George’s Marvellous Medicine, Endgame, Dracula, Romeo and Juliet, Wuthering Heights, The Tempest, Roald Dahl’s Revolting Rhymes and Dirty Beasts, Tequila Mockingbird, Out Damn Snot, 1984, Animal Farm; Harvest Rain Theatre Company: Cats (Arena Spectacular), Guys and Dolls, Blood Brothers, Oklahoma!, The Wizard of Oz, Hairspray, Grease, Jesus Christ Superstar, Songs For A New World, Joseph and the Amazing Technicolor Dreamcoat; The Little Red Company: Rumour Has It, Wrecking Ball, How to Make Snow; JUTE Theatre Company: Joh for PM, Paradise is Singing, The Salt Remains, Is My Lipstick on Straight, Stewed, Delirium, Soph and the Real World, At Sea Staring Up, The Shining Path, Cake; Expressions Dance Company: While Others Sleep; Belloo Creative: Hanako; Brisbane Powerhouse/TAM Productions: True West, Sex with Strangers; Zen Zen Zo: Therese Raquin, The Tempest; Queensland Conservatorium: Val Machin Opera Scenes 2017, Hansel & Gretel the Opera, Rent, Working the Musical, Into the Woods, Hair, Miss Saigon, Carousel, Elegies for Angels Punks and Raging Queens, Fiddler on the Roof; Queensland Music Festival: Drag QueensLand; Goat Track Theatre: The Moth & The Moon, Aletheia, The Icarus Chronicles, Crash; Debase: Concerto for Harmony & Presto, Chasing The Lollyman; Oscar Theatre Company: Boy & Girl (1,2&3), Next to Normal, [title of show], The 25th Annual Putnam County Spelling Bee. Awards: Gold Matilda – Body of Work (Lighting Designer) – 2013, Matilda Award 2015 (Best Technical Design), Matilda Award 2016 (Best Lighting Design). Groundling Awards - Best Lighting Design 2010, 2012 and 2013. Del Arte Awards – Best Lighting 2009, 2010, 2011, 2012, 2013, 2014, 2015. Training: Bachelor of Fine Arts (Technical Production), Queensland University of Technology.
Wil Hughes COMPOSER/AV DESIGNER Queensland Theatre: Debut. Other Credits: Griffin Theatre Company: Debut; La Boite Theatre Company: The Village, Single Asian Female, A Midsummer Night’s Dream, The Wind in the Willows; Queensland Ballet: Lest We Forget; Expressions Dance Company: Propel; The Danger Ensemble: Caligula; Metro Arts: Dust Covered Butterfly, Exquisite, The Theory of Everything; Arts Centre Gold Coast: Allen, Unnatural Selection; Pentimento Productions: Tiptoe; Aboriginal Centre of Performing Arts: Blak Electric; Anywhere Theatre Festival: Sweet Meniscus; Melbourne Theatre Company: The Carer (with Bay Street Productions); Storyshare International: Legends. Films: VIRAL.
Tony Brumpton ASSOCIATE SOUND DESIGNER Queensland Theatre: As Sound Designer: Tartuffe (with Black Swan State Theatre Company), The Wider Earth (with Dead Puppet Society). As Sound Designer/ Composer: Quartet, Grounded, Black Diggers (with Sydney Festival), The Mountaintop, Australia Day, Design For Living, Pygmalion, No Man’s Land (with Sydney Theatre Company), Gasp! (with Black Swan), Other Desert Cities (with Black Swan), Managing Carmen (with Black Swan), God of Carnage (with Black Swan), Sacre Bleu!, Macbeth (with Brisbane Festival), Fat Pig, The Little Dog Laughed, The Crucible, I Am My Own Wife, Private Fears in Public Places, Absurd Person Singular, The Removalists, Waiting for Godot, Hurry Up and Wait (with deBase Theatre Company), Eating Ice Cream With Your Eyes Closed, Beckett x3, Maxine Mellor’s Mystery Project (with State Library of Queensland). As Co-Sound Designer: The August Moon, Anatomy Titus Fall of Rome: A Shakespeare Commentary (with Bell Shakespeare), Stones in his Pockets. Other Credits: 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; QUT Dance: Current, Accented Bodies, Altered States; As Director: Vena Cava: RABBAR. Positions: Queensland Theatre: Affiliate Artist (2014), Associate Artist (2011), Emerging Artist (2010). Dead Puppet Society: Resident Artist (2016). Lecturer at Queensland University of Technology.
Kathryn O’Halloran STAGE MANAGER Queensland Theatre: As Stage Manager: Once in Royal David’s City (with Black Swan State Theatre Company), Switzerland, Happy Days, Treasure Island, An Oak Tree, Hurry Up and Wait! As Assistant Stage Manager: Tartuffe (with Black Swan State Theatre Company), Quartet, The Seagull, God Of Carnage, Rabbit Hole. Other Credits: Griffin Theatre Company: Debut; As Stage Manager: Creative Regions: It
All Begins With Love; Brisbane Powerhouse; QPAC; Out Of The Box; State Library of Queensland; National Play Festival. As Event Co-ordinator: Sydney Festival; Seymour Centre; Carriageworks; AAMI Ferrython; Festival First Night. As Assistant Stage Manager: SpoonTree Productions: The Man The Sea Saw; Sydney Festival: Domain Concert Series; Queensland Ballet: Don Quixote, Alice in Wonderland, Swan Lake, King Arthur and The Tales Of Camelot, The Little Mermaid, Carmen, Fonteyn Remembered, Romeo & Juliet, The Sleeping Beauty, A Midsummer Night’s Dream. Positions: Technical Coordinator - Brisbane Festival. Training: Bachelor of Fine Arts (Technical Production), Queensland University of Technology.
Rebecca Minuti ASSISTANT STAGE MANAGER Queensland Theatre: As Assistant Stage Manager: Constellations, For the Moment, Where in the World is Frank Sparrow?, Switzerland. Other Credits: As Assistant Stage Manager: Now Look Here Theatre: The Lover and A Slight Ache. Training: B.A. Fine Arts (Technical Production), Queensland University of Technology.
Kristy Best NISHA Queensland Theatre: Debut. Other Credits: Griffin Theatre Company: Gloria; ATYP’s Under the Wharf program and Raw Hide: Alaska; Newtown Theatre: Nothing Like Old Times; Powerhouse Theatre: She Loves Me, She Loves Me Not; Q Theatre Company: Truck Stop. Film: SFV1, Dance Academy, Teenage Kicks. Television: Channel host of Nickelodeon, Sunday Best, Here Come the Habibs, Neighbours, Fat Pizza, Legally Brown, Home and Away, Airlock.
Hsiao-Ling Tang YVETTE Queensland Theatre: Debut. Other Credits: Griffin Theatre Company: Debut; LaBoite Theatre Company: Single Asian Female (including development through HWY series), First Asylum; Queensland Musical Theatre: Cabaret; St Ignatians: Rent; QLD Arts Council: Professor Burton’s Travelling Federation Show (including tour); Belvoir St Theatre: After China; Seymour Centre: Shattered Jade; Queensland University of Technology: West Side Story; Development: PlayLab: Squint Witch Film: Postcard Bandit, Tempted. Television: All Saints, H20 Just Add Water, and Sea Patrol. Training: BA Drama, Queensland University of Technology.
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PATRON
MARKETING
PROGRAMMING
FRONT OF HOUSE
His Excellency the Honourable
MARKETING & AUDIENCE
PROGRAMMING MANAGER /
(QUEENSLAND THEATRE)
Paul de Jersey AC, Governor of
DEVELOPMENT MANAGER
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Laura Bamford
Queensland
Tracey Webster
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Isaac Buckland
MEMBERS OF THE BOARD
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James Gatling
Wayne Denning
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DEVELOPMENT)
Anita Hughes
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Shari Irwin
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(Deputy Chair)
(DIGITAL MARKETING)
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AND YOUTH)
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Jimi Bani
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Dr Valerie Cooms
Michael Hedges
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Christie Evangelisto
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QPDA Creative Developments
Nakkiah Lui
Kristy Best, Meme Thorne,
Annette Madden
Hsiao-Ling Tang, Kat Henry,
Renée Mulder
Lee Lewis
Lucas Stibbard
QPDA Reading Kristy Best, Meme Thorne,
Peter Sands
Bridget Boyle
COMPANY CARPENTER/HEAD
QPDA Judging Panel
MECHANIST
Dr Kate Foy, Ian Lawson,
John Pierce
Lee Lewis, Louise Litchfield,
COSTUME SUPERVISOR
Sam Strong
Nathalie Ryner
Queensland Theatre is a member of the Australian Major Performing Arts Group.
WARDROBE COORDINATOR Barbara Kerr
QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au Chair Chris Freeman AM Deputy Chair Simon Gallaher Trust Members Kylie Blucher Professor Peter Coaldrake AO Sophie Mitchell Professor Chris Sarra Leanne de Souza
QUEENSLAND THEATRE
Heidi Irvine
DEPUTY EXECUTIVE DIRECTOR
DEVELOPMENT COORDINATOR
(1925-2003)
YOUTH PROGRAMS)
TICKETING SUPERVISOR
Madison Bell, Annabelle Hazell
Nikki Porter
Ian Edwards, AM, MBE
PRODUCER (EDUCATION &
TICKETING
OPERATIONS
MANAGER
PROGRAMS
ACKNOWLEDGMENT The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet: David Stewart
Executive Staff Chief Executive: John Kotzas Executive Director – Stakeholder Engagement Strategy: Jackie Branch Executive Director – Curatorial: Ross Cunningham Executive Director – Visitation: Roxanne Hopkins
Executive Director – Development: Megan Kair Executive Director – Business Performance: Kieron Roost
Information correct at time of printing
ABOUT GRIFFIN
“If you’ve ever sat in the theatre and thought, ‘those actors are just too damn far away’, then Griffin is for you.” – Concrete Playground Located in the heart of Kings Cross – in the historic SBW Stables Theatre – Griffin has been dedicated to bringing the best Australian stories to the stage for the better part of four decades.
GRIFFIN THEATRE COMPANY 13 CRAIGEND ST KINGS CROSS NSW 2011 02 9332 1052 INFO@GRIFFINTHEATRE.COM.AU GRIFFINTHEATRE.COM.AU SBW STABLES THEATRE 10 NIMROD ST KINGS CROSS NSW 2011 BOOKINGS GRIFFINTHEATRE.COM.AU 02 9361 3817
We’re passionate about theatre that’s written by Australians, about Australians, for Australians to enjoy. Iconic Aussie plays such as The Boys, Holding the Man and The Heartbreak Kid all had their world premieres at Griffin. And many of our nation’s most celebrated artists started their professional careers with us – Cate Blanchett, David Wenham, Michael Gow and Louis Nowra to name a few. Homegrown inspiration. By you, for you.
Griffin acknowledges the generosity of the Seaborn, Broughton & Walford Foundation in allowing it the use of the SBW Stables Theatre rent free, less outgoings, since 1986.
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QUEENSLAND THEATRE K AGE Y PAC 141* A L P $ 3 ONLY FROM
THE 2017 SEASON