The Seagull - Program by Queensland Theatre

Neil Simon’s

The Odd Couple 17 Oct - 8 Nov Playhouse, QPAC Tickets 136 246 or queenslandtheatre.com.au

PRODUCTION SPONSOR

Queensland Theatre Company in association with Brisbane Festival present

Cast

Emily Burton

Nina

Helen Cassidy

Polina

29 August – 26 September

Nicholas Gell

Konstantin

Amy Ingram

Masha

Jason Klarwein

Boris Trigorin

Barbara Lowing

Ilya

Brian Lucas

Sorin

Christen O’Leary

Irina Arkadina

Hugh Parker

Dorn

Lucas Stibbard

Medvedenko

Daniel Evans

Writer/Director

Bille Brown Studio, The Greenhouse The Seagull will run for approximately 150 minutes, including a 20-minute interval. Warning: High level coarse language, low level sexual references, adult themes, drug references, herbal cigarettes and replica firearm.

Saffron Benner

Dramaturg

Kieran Swann

Design Consultant

Ben Hughes

Lighting Designer

Guy Webster

Sound Designer/Composer

Dan Sinclair

Stage Manager

Kathryn O’Halloran

Assistant Stage Manager

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

Follow this play Cover: Binge Advertising + Design Cover Photography: Aaron Tait

facebook.com/qldtheatreco twitter.com/qldtheatreco #qtcseagull Instagram.com/qldtheatreco 1

L-R: Christen O'Leary, Jason Klarwein

Welcome Wesley Enoch, Artistic Director

Dear Patron, Supporter and Friends, At Q&A sessions around shows a frequent question is “how long does it take to put a show together?” The answer is roughly four weeks in a rehearsal room, one week of technical rehearsals in the theatre, four previews in front of an audience and then Opening Night. You can imagine the stress this places on the performers involved as they learn lines, create characters and relationships, stay fit and healthy, incorporate costume and design elements … you get the idea. It is a lot of work. In Europe, where there are companies with actors on full-time salaries, sometimes they can rehearse for 3-6 months. We can only dream of such an experience in Australia.

Last year, we took the time to dream a little and established the Actors Studio. I was watching a rehearsal of Macbeth directed by Michael Attenborough and was taken by the power of the actors at close range without the aid of sets, costumes or lighting. In a rehearsal room, you can be three metres away from powerful dramatic and comic performances, see the detail in the faces of the actors and be transported. You suspend disbelief and get engaged. The Actors Studio is part of that dream. We have stripped back the design and technical budgets to invest in the raw experience of actors in the space. Ten actors at close range giving it all they’ve got. We also squeezed the resources to give the team more rehearsal time to build the show. Sit back and enjoy the ride.

Later this year you can see The Odd Couple and Ladies in Black with all the bells and whistles the big theatre experiences can provide. A classic 20th century comedy and a brand new musical featuring the talents of Tim Finn and internationally acclaimed director Simon Phillips. QTC provides the broadest range of theatrical events in Brisbane, across Queensland and touring the country. Stay in touch by signing up for our eNews. Love

Wesley.

Brian Lucas

L-R: Christen O'Leary, Hugh Parker

Writer's Note & Director's Note Daniel Evans

This is a story about how we tell stories. Stories, written by the greats, told and retold over and over across geography and time. It’s about stories, performed in theatres, by actors, that can show audiences what we’re all capable of (for better or worse). Stories, penned in isolation, by authors, that can show us worlds we can’t see, places we can’t touch. It’s also about our private stories; the ones we tell ourselves to give our lives meaning, the ones we cast ourselves inside of in search of love or hope. It’s about the struggle of living in the wrong story and the deep longing to live in another story altogether. The work asks: What stories persevere? Who has the right to decide what story should be told? What stories are rendered silent out of fear? What story are you complicit in telling … conscious or not? This story isn’t mine. It’s Chekhov’s. He wrote The Seagull after a series of farces which explains (stylistically) why the first three acts bristle with

comedy before things take a melancholy turn in the final act (‘it begins forte and ends pianissimo,’ he said, ‘contrary to the rules of dramatic art’). His fondness for opposing binaries – funny-vs-sad, old-vs-new, love-vs-hate, past-vs-future, fame-vsanonymity – reverberate through this, his defining work. The Seagull would lay foundations for the Uncle, the Sisters and that Orchard to follow and, in many ways, the play feels like a love letter to The Theatre. It’s a complex story, insightful and imperfect, combusting with archetypal characters, fraught relationships, strange symbols, intertextuality and irresolution. This version relocates The Seagull to 2015. Surprisingly, Chekhov’s world – equal parts passion and apathy – feels weirdly fitting for a contemporary Australian landscape. We’ve maintained fidelity to the original play’s key events, themes, stakes, and anxieties while tinkering with a couple of strands in the play’s DNA. Adaptation is like having a conversation with an author and ol’ Anton

is something of a clever bastard. Dramaturg Saffron Benner and I positioned many ways to reimagine his story, but the work only started to sing once we followed the path he had set for us (… like I said: clever bastard). It’s been an honour to work with this epic team on reimagining this classic; feeling out how a dead Russian dude can speak with sparkling clarity to what it means to be alive here and now. What endures, what echoes, on this stage is the essence of Chekhov’s The Seagull – to live a life without art and love is like telling a story without risk or bravery.

Adapt or Die Baz McAlister

There are only two basic plots, Aristotle said: the simple and the complex. Or there are seven, says English journalist Christopher Booker; or eight, according to Irish playwright Denis Johnston; or 36, if you listen to French writer Georges Polti. Famed novelist Rudyard Kipling once said there were 69 dramatic situations while very tactfully avoiding reeling them off for posterity. While dramatic theorists can’t quite agree on the number, the fact that they’re trying to enumerate it at all proves one thing: stories will always be retold. Rewritten. Recycled. Reinvented. Reimagined. A great story is literally timeless, as countless adaptations have proven. The plays of William Shakespeare lend themselves particularly well to being picked up and deposited at any point in history, in any situation, in any culture. There have been filmed versions of Macbeth set in feudal Japan, amid a bloody Melbourne underworld war and in a

Michelin-starred restaurant. The star-crossed Romeo and Juliet have inhabited New York’s Upper West Side, an American beachfront suburb and an idyllic backyard filled with garden gnomes. And the core of Hamlet – a murdered father, a greedy uncle and a dispossessed and tortured prince – forms the heart of dozens of stories, everything from cartoon epic The Lion King to cable TV bikie gang drama Sons of Anarchy. While these stories have broken free of the theatre, it remains the perfect arena for this. Theatre is immediate. It can roll with the punches and remain relevant right up-to-the-moment. Above all, it is directly wired into the audience, its community. For millennia, it has been a basic human need to huddle together in the dark, sharing stories – and what is theatre if not that? In the theatre, we can get to the heart of a familiar story by experiencing it from different perspectives. In hit musical Wicked, we hear the other side of The Wizard of Oz and discover the Wicked 6

Witch of the West was not always so wicked; in Tom Stoppard’s existentialist tragicomedy Rosencrantz and Guildenstern Are Dead, the events of Hamlet unfold from the point of view of two ill-fated courtiers waiting in the wings. It’s a simple equation: we know these stories. They are familiar, safe, and we enjoy the security of knowing what comes next – but a great adaptation of an old story introduces just enough of the thrill of the strange to keep us on the edge of our seats. ‘Adaptation’ is a fitting word for these retellings. In biology, the term ‘adaptation’ describes an organism’s need to evolve, to change to suit the world around it, or to wither, perish and fade from memory. Stories work the same way. This year, Queensland Theatre Company staged a production of Daniel Evans’ revolutionary version of the Ancient Greek myth of Oedipus, retelling Euripides from the perspective of the bit-part players. Our leads were the hoi-polloi watching

from the sidelines, and our setting was the horrifying banality of modern-day suburbia. Now, directing The Seagull, Evans gives Anton Chekhov’s work the same contemporary twist, bringing the story into the now with all its familiar themes – family, art, power, sex, celebrity and passion – intact. Chekhov himself said: “There is nothing new in art except talent.” The playwright knew he was drawing from the same familiar well of tales as those who had gone before, grasping raw and primal chunks of story and reshaping them to his own end, giving them meaning particular to his time and place. It is only fitting that those who come after him should do the same.

Jason Klarwein

The Queensland Government and Queensland Theatre Company are calling for entries for the Queensland Premier’s Drama Award 2016-2017. If you’re working on a script, or have a great idea for a new show, the Queensland Premier’s Drama Award could bring your project into fruition. The Queensland Premier’s Drama Award is the only award in Australia that guarantees a world premiere production of the winning work. Three shortlisted finalists will have the opportunity to develop their script or production idea with industry professionals. The winner will undertake further development with Queensland Theatre Company to bring their project to life in a professional production with a share of the box office income on offer. If your script or project is an original work and relevant to Australia today, don’t miss this extraordinary opportunity. Please refer to the Award guidelines to be sure you and your project are eligible. Individuals and Groups are encouraged to apply.

Submission deadline is 30 October 2015. Find out more and submit your entry at queenslandtheatre.com.au/qpda

8 Photography by Stephen Henry

L-R: Amy Ingram, Barbara Lowing, Emily Burton

L-R: Lucas Stibbard, Amy Ingram

L-R: Christen O'Leary, Amy Ingram, Emily Burton, Helen Cassidy, Hugh Parker

A fictionalised story inspired by the life of Jimmy Little

Stand up and be counted! Every performance of Country Song’s world premiere season had audiences on their feet dancing. After countless standing ovations, we are taking this heart-warming musical journey around Australia. Jimmy Little is waiting backstage. He’s been asked to perform the national anthem, in front of an audience that love him and his music. He is an Australian icon; an entertainer first and foremost. But what does it mean to sing this song now? Does it matter? Who is he really singing for? In Country Song, Jimmy is whisked on a fictional road trip to his past as his story weaves through the history of major social changes of the 1970s. Along the way we hear the cast of six actors/ musicians share the stories of singers Auriel Andrew, Bobby McLeod and Lionel Rose, with uplifting renditions of well-known songs, Royal Telephone, Danny Boy, Ring of Fire and Burning Love, that will get your toes tapping.

Touring in 2016 April: Tasmania April – May: Regional Victoria June – July: Regional Queensland July: Canberra July – August: Regional NSW For more information queenslandtheatre.com.au

C E L E B R AT I N G

PRODUCTION SPONSOR

Country Song is part of the commitment between Queensland Theatre Company and Queensland Performing Arts Centre towards the development and presentation of Aboriginal and Torres Strait Islander work.

This is an intricate and wisely told tale, directed by Queensland Theatre Company’s Artistic Director Wesley Enoch, warmed the hearts of audiences in QTC’s 2012 season and will continue to do so as it reaches into 21 regional communities on the 2015 national tour. The tour will be coordinated by Blak Lines.

“This play defies genre definitions. It is a drama about intertwined lives but is so full of humour that you leave the theatre with a warm and fuzzy respect for the central problem – and hopefully remember it and discuss it widely” STAGE WHISPERS “ … Head Full of Love will make you think, make you laugh and make you cry. And really, isn’t that what theatre is all about?” ARTSHUB

Touring in 2015 1-2 September 4-5 September 9-10 September 13 September 17 September 19 September 24 September 27 September

Mackay Entertainment and Convention Centre Riverway Arts Centre Araluen Arts Centre Godinymayin Yijard Rivers Arts and Culture Centre Matt Dann Cultural Centre Red Earth Arts Festival – Roebourne Arts Margaret River – Margaret River Cultural Centre Mandurah Performing Arts Centre

This touring project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. And is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.

Tour produced by Performing Lines for Blak Lines, with the support of the Australian Government through the Australia Council, its arts funding and advisory body.

It takes many people to create great theatre ... ... the playwright, the director, the actors, the designers and crew ... and most importantly our donors.

With your help we are aiming higher and taking our place as one of Australiaâ&#x20AC;&#x2122;s leading theatre companies. You give us the confidence to take on bigger productions, secure international artists and commission the new works which will become the classics of tomorrow. Thank you for your part in making our theatre company great.

For more information about donating to Queensland Theatre Company please contact our Philanthropy Manager on Tel: 3010 7621.

QTC cast, crew and creatives involved in the 2015 Season of Brisbane by Matthew Ryan. Photographer Rob Maccoll

Biographies Daniel Evans DIRECTOR/WRITER

Queensland Theatre Company: As Director: I Want To Know What Love Is (co-production with The Good Room and Brisbane Festival), The China Incident. As Writer: Oedipus Doesn’t Live Here Anymore. As Directorial Associate: GASP!. Other Credits: As Director: Queensland Music Festival: One Hundred & One Years; The Good Room: Rabbit, Single Admissions; Griffith University: Superfamousnobodies, Wide Awake & Wasted, Oedipus The King, DNA, Here Goes Nothing, Face To The Wall, Antigone, Totally Epic & Utterly Lame, Big Hair In America. As Writer: Vodka Cranberry Soda, Never For Ever, The Lady Of The House Of Love, Ivy Shambitt & The Sound Machine, Opening A Fuzzwollop’s Frame Of Mind. As Writer/Director: the little red company: How To Make Snow. The Good Room: Holy Guacamole; Metro Arts Independents: The Reunion (with Rebecca Meston). As CoDeviser: The Nest: Eve; The Good Room: Where We Begin, I Should Have Drunk More Champagne. Television: Producer: Southern Star Endemol: Big Brother 2009-2014. Writer: SBS: Eurovision Song Contest 2009/10. Positions: Co-Founder: The Good Room; Artistic Director: Awkward Conversation; Contributor: frankie Magazine; Performance Producer: Metro Arts (2009–2012); Co-Director: National Young Writers’ Festival 2009/10. Awards: Queensland Premier’s Drama Award 2014-2015. Training: Bachelor of Creative Industries (Interdisciplinary), Queensland University of Technology (QUT).

Saffron Benner DRAMATURG

Kieran Swann DESIGN CONSULTANT

Queensland Theatre Company: Maxine Mellorâ&#x20AC;&#x2122;s Mystery Project. Other Credits: As Dramaturg: La Boite Theatre Company, Metro Arts, Tasmanian Theatre Company, Australian Theatre for Young People, Vulcana, Interplay. As Guest Dramaturg: Banff Play Rites Colony (2000). Saffron has worked with many emerging and award winning playwrights including Daniel Evans, Maxine Mellor, Angela Betzien, Marcel Dorney, Margery Forde, Daynan Brazil, Tom Holloway, Finnegan Kruckemeyer and Sean Munro. Positions: Executive Director of Playlab Inc (2008-2010), Project Officer and Administrator, Queensland Writers Centre (1997), Research Fellow, Griffith University (2007), sessional tutor and lecturer at Griffith University, USQ and QUT. Queensland Theatre Company: As Designer/Co-Deviser: I Want To Know What Love Is (co-production with The Good Room and Brisbane Festival). As Designer: The Mountaintop, That Face, Stones in His Pockets, I Am My Own Wife, An Exploration of the Caucasian Chalk Circle, Property of the Clan, The Estimator. As Assistant Designer: Away. As Design Assistant: Hamlet, Private Fears in Public Places, Constance Drinkwater and the Final Days of Somerset. Other Credits: As Performance Curator: Brisbane Experimental Art Festival 2014. As Co-Creator: 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; â&#x20AC;Śand moor Theatre Company: The Ghost Writer. Positions: Curator/Program Manager: Metro Arts, 2012-present; Associate Artist: The Good Room, 2014-present; Curator/Artist: Transparency Collective (20102013); Creative Director: the Restaged Histories project (20042009); Resident Designer: Emerging Artist Program: Queensland Theatre Company, 2007. Training: Performance Creation, Victorian College of the Arts (2010); Bachelor of Fine Arts, Queensland University of Technology (2005).

Ben Hughes LIGHTING DESIGNER

Queensland Theatre Company: Happy Days, Grounded, HOME, The Button Event, The Effect (coproduction with Sydney Theatre Company), The Mountaintop, Black Diggers (co-production with Sydney Festival), Design For Living, 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, 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, Heroes. As Co-Director/Designer: Trollop. Other Credits: The Danger Ensemble: Caligula, 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; La Boite Theatre Company: Medea, A Doll’s House, Cosi, Kitchen Diva, Statespeare; Belvoir: Samson (co-production with La Boite); The Nest Ensemble: Home; Zen Zen Zo Physical Theatre: Vikram and the Vampire, Cabaret, Dracula, Zeitgeist, My Sublime Shadow; Woodford Folk Festival: Fire Event 2012 & 2013; Cre8ion: Fluff; Stella Electrika: The New Dead: Medea Material; Expressions Dance Company: The Host, Carmen Sweet, Propel; Queensland Ballet: Flourish, Giselle, A Classical Celebration, ...with Attitude; Phluxus2 Dance Collective: The Paratrooper Project. As Associate Lighting Designer: Elision Ensemble: The Navigator; Meryl Tankard: The Oracle; Opera Queensland: Aida; Expressions Dance Company: Where The Heart Is. Positions: Affiliate Artist, Queensland Theatre Company (2011, 2014); Resident Lighting Designer, Queensland Theatre Company (2013); Associate Artistic Director – The Danger Ensemble; Emerging Artist, Queensland Theatre Company (2007); Professional Member, Association of Lighting Designers; Associate Lecturer – Queensland University of Technology. Awards: 2011 Groundling Award – Outstanding Contribution to Lighting Design.

Guy Webster SOUND DESIGNER/ COMPOSER

Emily Burton NINA

Queensland Theatre Company: Brisbane, The Button Event, The Effect, Venus in Fur, Kelly, Orphans. Other Credits: La Boite Theatre Company: As You Like It, Ruben Guthrie, I Love You Bro, The White Earth, The Narcissist, Kitchen Diva, Summer Wonderland, Last Drinks, Creche and Burn, Urban Dingoes; Lisa O’Neill: The Pipe Manager, The Pineapple Queen; Dance North/Lisa Wilson: Torrent; shake & stir theatre co: Dracula, Wuthering Heights, Revolting Rhymes & Dirty Beasts, Tequila Mockingbird, 1984, Animal Farm, Statespeare; Brisbane Festival: Alice 21; Zen Zen Zo: Vikram And The Vampire; State Library of Queensland: Teacup Sonata, I Cherish This, The Unexpectedly Mind Boggling Adventure; Transmute Collective: Intimate Transactions, Transact, Liquid Gold, Transit Lounge; Matrix Theatre: 1347, The King and The Corpse; Wilde Applause: Operacus, Circopera; Red Shoes: Under Today; Institute Of Contemporary Art (London): Shifting Intimacies. Awards: Prix Ars Electronica, Interactive Art, Honourable Mention for Intimate Transactions. Queensland Theatre Company: Oedipus Doesn’t Live Here Anymore, A Tribute of Sorts. Other Credits: La Boite Theatre Company: A Midsummer Night’s Dream, Sleep, Rest and Repose (Scratch Program); Monsters Appear: A Tribute of Sorts (with La Boite Indie); A Spectacular of Sorts (World Theatre Festival); Metro Arts: The C Word; Dead Puppets Society: The Harbinger; Empire Theatre: Cosi; USQ student productions: A Midsummer Night’s Dream, Totally Over You, Twelfth Night, The Man from Beyond; shake & stir theatre co: Thus I Die. As Director: Vena Cava Productions: Jerusalem; USQ: The Winter’s Tale. As Co-Creator: Life etc., Oh The Humanity. Film: Heart of Glass, Logged In, Out of Order. Television: The Void. Training: Bachelor of Theatre Arts (Acting), USQ.

Helen Cassidy POLINA ANDRYEVNA

Nicholas Gell KONSTANTIN

Queensland Theatre Company: Boston Marriage, Orphans, Man Equals Man, An Oak Tree, The Glass Menagerie, Absurd Person Singular, A Christmas Carol, Scapin, Mrs Warren’s Profession, Long Day’s Journey Into Night, Back Seat Drivers. Other Credits: DeBase Productions: The Furze Family Variety Hour; La Boite Theatre Company: As You Like It, Rio Saki and Other Falling Debris, The Wishing Well, The Drowning Bride (co-productions with Matrix); Dogs in the Roof: Post Office Rose; Zen Zen Zo: Steel Flesh, The Cult of Dionysus, Unleashed; Metro Arts: The Waiting Room; La La Parlour: Tarnished; Pretend Productions: Glitter and Dust, Statuesque (European Tour); Unlimited Theatre (UK): The Moon The Moon; The Grin and Tonic Theatre Troupe: schools touring; Strut and Fret Production House: Verse Stunts, Wordpainting, schools touring. Film: The Contents. Television: Sisters of War, Through My Eyes. Awards: Matilda Awards – Best Female Actor in a Supporting Role The Drowning Bride & Post Office Rose, Best Actress The Glass Menagerie; Lord Mayor’s Performing Arts Fellowship. Queensland Theatre Company: Debut. Other Credits: La Boite Theatre Company: Hedonism’s Second Album; Shift Collective: Itch My Freak; NIDA productions: The Farm, Loot, The Last Days of Judas Iscariot; Australian Shakespeare Company: Wind In The Willows; Brevity Theatre: Vampire Lesbians of Sodom (Sydney Festival); Can You See ME Theatre: The Waiting Room. Television: Power Games: The Packer/Murdoch Story, The Weatherman. Training: Bachelor of Dramatic Arts (Acting), NIDA.

Amy Ingram MASHA

Jason Klarwein BORIS TRIGORIN

Queensland Theatre Company: I Want to Know What Love Is (coproduction with The Good Room and Brisbane Festival), Trollop, Seeding Bed, An Oak Tree, Fat Pig. Other Credits: As Actor – Elbow Room/NEON: We Get It; The Good Room: I Should Have Drunk More Champagne, Rabbit, Where We Begin, Single Admissions (coproduction with Lazy, Young and Talented), Holy Guacamole; La Boite Theatre Company: Cosi; La Boite/shake & stir theatre co: Out Damned Snot; Adelaide Fringe Festival: Tracksuit Girl; Switchboard Arts: Tripping, Getting Betterer, 10x10. As Director: Griffith University: Wolf Lullaby, Trojan Women; USQ: Ivy Shambit and The Sound Machine; Brisbane Girls Grammar: Trojan Women. Film: Hot Chaps (QPIX); Television: Gods of Wheat Street, Camp, Mabo. Positions: Co-Artistic Director – The Good Room, The Lame Academy Co; Director – National Young Writers Festival (2008, 2009); Chair – USQ Theatre Alumni (2011/2012). Awards: Matilda Award – Best Emerging Artist (2010). 2013 Arts Queensland Independent Fund Recipient (Amy travelled to New York in 2014 where she studied at The Lee Strasberg Institute and completed an Internship with Elevator Repair Service Theatre Company). Training: Bachelor of Theatre Arts (Acting), USQ. Queensland Theatre Company: As Actor: Macbeth, Design For Living, Elizabeth - Almost By Chance a Woman, Fractions (coproduction with HotHouse Theatre), Faustus (co-production with Bell Shakespeare Company), An Oak Tree, Macbeth, Thom Pain (based on nothing), A Streetcar Named Desire, God is a DJ, Phèdre, The Fortunes of Richard Mahony, Bash, Mad Hercules, The Tragedy of King Richard the Second, Shopping and F$$$ing, The Skin of Our Teeth. As Director: Oedipus Doesn’t Live Here Anymore, The 7 Stages of Grieving (co-production with The Grin and Tonic Theatre Troupe), Youth Ensemble productions. Other Credits: Bell Shakespeare: Henry IV; Sydney Theatre Company: A Streetcar Named Desire; Belvoir St Theatre: Paul, Capricornia, Maralinga; La Boite Theatre Company: The Glass Menagerie, Half and Half, Cosi; Adelaide Festival Centre: A Thing Called Snake; The Grin and Tonic Theatre Troupe: The Trial, Monkey, A 20

Midsummer Night’s Dream, Much Ado About Nothing, Othello, Richard the Third, The Winter’s Tale, Henry the Sixth, Romeo and Juliet, Seasons; As Director: The Arts Centre Gold Coast: Oh the Humanity and Other Exclamations; The Grin and Tonic Theatre Troupe: LIVID, The 7 Stages of Grieving, I Am Macbeth, Sunburn, Island Home, Revolt, Inferno, VS, Super/Natural, Romeo and Juliet, The Zoo Story, The Trial, A Midsummer Night’s Dream. Television: The Devil’s Playground, Illusion5, Slide, Sea Patrol, Australia Remembers, Cybergirl. Positions: Resident Director: Queensland Theatre Company 2014-2015; Artistic Director: The Grin and Tonic Theatre Troupe 2010 – current; MEAA Queensland Branch Council 2011 - current, MEAA National Performers Committee 2013 – current, MEAA Federal Council Board Member. Awards: Logie Award – Most Outstanding Miniseries The Devil’s Playground.

Barbara Lowing ILYA

Queensland Theatre Company: Australia Day, The Pitch & The China Incident, Toy Symphony, Prisoner of 2nd Ave, Hamlet (a coproduction with South Australian Theatre Company), Away (a coproduction with Griffin Theatre Company), The Memory of Water, The Works, Cooking With Elvis, Top Dogs, Antigone, Navigating (a co-production with Melbourne Theatre Company), Explosions, The Gift of the Gorgon, The Barretts of Wimpole Street, Les Liaison Dangerueses. Other Credits: Metro Arts: Motherland; shake & stir theatre co: Tequila Mockingbird; Dead Puppet Society: The Harbinger; Empire Theatre: April’s Fool; South Australian Theatre Company: November; Aspire Theatre Arts: The Passion; 23rd Productions: My Night With Harold; Queensland Arts Council: Tales My Mother Told Me, A Doctor in Spite of Himself, Federation Show; La Boite Theatre Company: The Removalist, Closer (a co-production with Genre Theatre Company), First Asylum, The Taming of the Shrew, The Matilda Women; Dogs on the Roof/Metro Arts: Three Points of Contact; Brisbane Festival: Ozone; Green Theatre Company: The Misanthrope; Performers Independent Theatre: Macbeth; Gary Penny Productions: Top Silk; Hole in the Wall: The Alchemist, Hamlet. Television: Mako Mermaids, The Family Law, Stringers, Heroes2, Medivac. Positions: Vocal and Acting Coach – Expressions Dance Company, ACPA, Voice Over Tutor – University of Southern Queensland. Awards: Matilda Awards – Best Actress Away (2006), Matilda Nominations – Best Actress, The Memory of Water (2005), Cooking With Elvis (2002), Holy Lies, Unholy Truth (2002). Goldie – Best

Commercial Voiceover Artist – Female (2005/6). Montana International Documentary Film Festival – Voiceover Winner The Lost Years (2010). Screening Award Montana CINE 2nd Annual Film Festival – Voiceover Winner (2005). Training: WAAPA.

Brian Lucas SORIN

Queensland Theatre Company: Peter Pan, Love’s Labour’s Lost, Animal Farm, Baby. Other Credits: As Creator/Performer: Metro Arts: Oscar Wilde’s De Profundis; Brisbane Powerhouse: monster, the book of revelation(s), Underbelly, Performance Anxiety. As Director: La Boite Theatre Company: The Chairs; Pentimento Productions: The Truth About Kookaburras, Angel Gear, Dangerfield Park; Griffith University: A Dish Best Served, Home Front, Unheimlich, The Return; CIRCA: 61 Circus Acts In 60 Minutes. As Actor: Pentimento Productions: Dangerfield Park. As Choreographer: Expressions Dance Company: Midnight In The Tango Grove, Hammer Of Witches, The Couch, Cold Antigone, Taken At The Flood, CON; NORPA: Beautiful Bones; ACPA: HUM; Queensland Ballet Company: prana breath as life, Perspectives; Dance North: The Bodies In The Library. As Dancer: Chunky Move: Tense Dave; Finucane & Smith: Salon De Dance… Deluge, Carnival Of Mysteries, Burlesque Hour; Brisbane Festival: Churchill’s Black Dog; Chamber Made Opera: corruption; Expressions Dance Company: Dark Heart/The Couch/Clair de Nuit, Direct Heat, Tears of Porcelain/A Stab in the Dark/Hammer of Witches, Personals/ Difficult Pleasures. As Collaborator/Dancer: Michelle Heaven Collective: Disagreeable Object; Fran Barbe and Guests: Exquisite; Phluxus Dance Collective: The Opposite of Prompt; KAGE Physical Theatre: Appetite; Performing Lines Ltd: Dr Egg and the Man With No Ear.

Christen O'Leary

Queensland Theatre Company: Gloria, End of the Rainbow, Bombshells, The Marriage of Figaro, The Game of Love and Chance, The Crucible, Seven Little Australians, The Cherry Orchard, A Month in the Country, Gilgamesh, The Woman Before, The Sunshine Club, Threepenny Opera, The Beaux Stratagem, Fuente Ovejuna. Other Credits: La Boite Theatre Company: Medea, A Midsummer Night’s

IRINA

Dream; Melbourne Theatre Company: Assassins, The Rover, Cosi, Wednesday to Come, Gift of Gorgon, Ruby Moon, Don Juan in Soho, The 25th Annual Putnam County Spelling Bee, The World’s Wife, Urinetown, Hinterland, Laughter on the 23rd Floor, Man the Balloon, Company, The Comedy of Errors, A Little Night Music; The Production Company: The Boy From Oz, High Society, Hello Dolly; Malthouse Theatre: Ruby Moon, Tear From a Glass Eye, The Goldberg Variations, Porn Cake, Goodbye Vaudeville Charlie Mudd; Sydney Theatre Company: The 25th Annual Putnam County Spelling Bee, Urinetown, Threepenny Opera. Film: Pinch Me. Television: Wentworth, Rush, Neighbours, Blue Heelers, MDA, Worst Best Friends, Crashburn, Seachange, State Coroner, Raw FM. Awards: Gold Matilda Award – End of the Rainbow; Matilda Award Nomination – Best Female Actor in a Featured Role Gloria & Bombshells. Helpmann Award – Best Female Actor in a Supporting Role in a Musical The 25th Annual Putnam County Spelling Bee. Helpmann Award Nominations – Best Female Actor in a Leading Role End of the Rainbow, Best Female Actor in a Supporting Role in a Play Goodbye Vaudeville Charlie Mudd, Best Female Actor in a Supporting Role in a Musical Urinetown. Green Room Award – Best Female Actor in a Featured Role Company, A Little Night Music. Green Room Award Nominations – Best Female Actor in a Supporting Role in a Musical Boy from Oz. Best Female Actor in a Supporting Role Goodbye Vaudeville Charlie Mudd, Best Female Actor in a Featured Role The Eskimo, Best Actress Ruby Moon, Best Supporting Actress in a Musical Assassins. Training: Diploma of Arts (Creative), USQ.

Hugh Parker DORN

Queensland Theatre Company: Brisbane, The Pitch, Kelly, Fractions (co-production with Hothouse Theatre), Cat on a Hot Tin Roof,The Clean House (co-production with Black Swan State Theatre Company), Betrayal, 25 Down. Other Credits: La Boite Theatre Company: A Doll’s House, Pale Blue Dot, Julius Caesar; shake & stir theatre co: 1984; Ride On Theatre: The Blind Date Project; The Byre Theatre St Andrews (UK): The Thirty Nine Steps; Teenage Cancer Charity Trust/Steve Coogan (UK): Cream of British Comedy; The Royal Shakespeare Company (UK): A Midsummer Night’s Dream. Film: Bullets for the Dead, My Mistress, Fatal Honeymoon, Crooked Business, Sinbad and the Minotaur. Television: The Family Law, Gallipoli, Secrets and Lies, The Killing Field, The Strip, Sea Patrol. For UK Television: Vincent, Casualty, Doctors,

Monarch of the Glen II, EastEnders, Smoke, Jonathan Creek, Broken News, 2 Pints of Lager and a Packet of Crisps, The World According to Bex, Wild West, 15 Storeys High, Doctors and Nurses, The Office (Series 2), People Like Us (Series 1 & 2), Beast, The Peter Principle, I’m Alan Partridge, Black Books, Lucky Jim. Writing Credits: BBC: Bruiser, The Fast Show; Channel 4: Comedy Nation . Training: Royal Academy of Dramatic Art, London.

Lucas Stibbard MEDVEDENKO

Queensland Theatre Company: Macbeth, Fractions (co-production with HotHouse Theatre), An Oak Tree, Grimm Tales, Richard II, The Real Inspector Hound, Black Comedy, The Cherry Orchard, Eating Ice Cream With Your Eyes Closed, Hamlet (co-produced with State Theatre Company of South Australia), Richard III and The Alchemist (co-produced with Bell Shakespeare). As Director: The Lost Property Rules. Other Credits: As Performer: Melbourne Theatre Company: North by North West; The Escapists: boy girl wall, Attack of the Attacking Attackers! (co-produced with La Boite Theatre Company), Elephant Gun, Packed (co-produced with HotHouse Theatre); Windmill Theatre: Grug; Queensland Music Festival: Drag Queensland; La Boite Theatre Company: The Danger Age, Zig Zag Street; Someone: He Died With A Felafel In His Hand (co-production with La Boite); DeBase: Lovejunk; Sarah Winter: 1000 Ways to Say I Miss You; Elbow Room: New Royal; The Weeping Scab Players: Cousin Love. As Director: The Breadbeard Collective and La Boite Theatre Company: >< R&J; The Escapists and HotHouse Theatre: Packed. As Writer: boy girl wall, Packed (with Matthew Ryan). Film: The Great Raid, Kokoda. Television: Prank Patrol, Wombat. Positions: Emerging Artist, Queensland Theatre Company 2004; Associate Artist, Queensland Theatre Company; Artistic Director, Festival of Australian Student Theatre 2014; One fifth of The Escapists. Awards: Matilda Award - Best Actor in a Supporting Role New Royal; Matilda Commendation – Best Independent Production boy girl wall; Matilda Award - Devising and Producing boy girl wall; The Victor Award, International Performing Arts for Youth Conference – Grug, Helpman Award Nomination – Best Actor – boy girl wall. Training: Bachelor of Theatre Arts (Acting), USQ (2000).

Dan Sinclair STAGE MANAGER

Kathryn O'Halloran ASSISTANT STAGE MANAGER

Queensland Theatre Company: As Stage Manager: Brisbane, Stradbroke Dreamtime, Fractions (co-production with HotHouse Theatre Company), Macbeth, Fat Pig, A Property of the Clan. As Assistant Stage Manager: Managing Carmen, I Feel Awful, Betrayal, Anatomy Titus – Fall of Rome (coproduction with Bell Shakespeare Company). Other Credits: As Production Stage Manager/Tour Manager: shake & stir theatre co: 1984 (national tour), Animal Farm (regional/national tour); Breast Wishes – An Uplifting Musical supporting the National Breast Cancer Foundation. As Stage Manager: shake & stir theatre co: Wuthering Heights, 1984, Roald Dahl’s Revolting Rhymes & Dirty Beasts, Tequila Mockingbird, Animal Farm, Out Damn Snot; La Boite Theatre Company: A Hoax, Hamlet, Walking By Apple Tree Creek (regional/national tour), Summer of the Seventeenth Doll, plus many more since 2003; Stage Management: QPAC, Brisbane Festival & Great Big Events for the Doha Asian Games. As Show Caller: Creative Generation: State Schools Onstage 2010, 2012-2015. Positions: Production Touring Coordinator, QTC; Tour Manager, La Boite Theatre Company; Training: Bachelor of Fine Arts (Technical Production), QUT. Awards: Drover Award Tour of the Year - shake & stir theatre co Animal Farm. Queensland Theatre Company: As Stage Manager: Happy Days, Treasure Island, An Oak Tree, Hurry Up and Wait! As Assistant Stage Manager: God Of Carnage, Rabbit Hole. Other Credits: As Event Co-ordinator: Sydney Festival: Carriageworks, Seymour Centre, AAMI Ferrython, Festival First Night. As Stage Manager: Brisbane Powerhouse, QPAC, Out Of The Box, State Library of Queensland, National Play Festival. 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. As Stage Management Tutor: QUT Technical Production course. Training: Bachelor of Fine Arts (Technical Production), QUT.

a great performance in every cup

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PATRON His Excellency the Honourable Paul de Jersey AC Governor of Queensland MEMBERS OF THE BOARD Richard Fotheringham (Chair) Elizabeth Jameson (Deputy Chair) Julieanne Alroe Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Nathan Jarro ARTISTIC DIRECTOR Wesley Enoch EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Artistic Associate: Andrea Moor Resident Director: Jason Klarwein Acting Programming Manager/ Senior Producer: Samantha French Producer (New Work and Development): Shari Irwin Touring and Regional Program Coordinator: Christine Johnstone Producer (Education and Youth Programs): Heidi Irvine Programming Project Officer: Laurel Collins Chief Financial Officer: Michael Cullinan Systems Accountant: Roxane Eden Assistant Accountant: Jolene Wright Finance Officer: Robin Koski Venue and Operations Supervisor: Julian Messer Front of House and Events Supervisor: Deirdree Wallace Front of House and Events Officer: Leisha Du Bois

Marketing Manager: Yvonne Whittington Marketing Coordinator: Amanda Solomons Marketing Officer: Tanya Leadbetter Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David Dâ&#x20AC;&#x2122;Arcy Database Trainer and Supervisor: Dale Ric-Hansen Publicist: Kath Rose and Associates Ticketing Coordinator: Maggie Holmes Ticketing Officers: Donna Fields-Brown Maneka Singh Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Development Coordinator: Dee Morris Researcher and Grant Writer: Danielle Bentley Production Manager: Toni Glynn Technical Coordinator: Daniel Maddison Production Coordinator: Scott Klupfel Head of Workshop: Peter Sands Company Carpenter/ Head Mechanist: John Pierce Head of Wardrobe: Vicki Martin Indigenous Reference Group: Nathan Jarro (Chair) Adam James Angela Leitch Paula Nazarski Todd Phillips Michael Tuahine

Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Katherine Lyall-Watson David Morton Gayle MacGregor Paula Nazarski Ngoc Phan Lucas Stibbard Front of House (The GreenHouse): Anita Hughes Madison Bell Mollie Thomas Sally Lewis Jonthan Peterson The Seagull Production Staff Carpenter: Jamie Bowman Costume Supervisor: Nathalie Ryner Costume Maker: Bianca Bulley Costume Assistant: Selina Bedville Wardrobe Maintenance: Selina Bedville, Liezel Buckenham, Hannah Moroney Production Electrician: Nick Toll Sound Consultant: Sam Maher Stage Management Secondment (QUT): Nicole Neil

FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 â&#x20AC;&#x201C; 2003) Queensland Theatre Company is a member of Live Performance Australia.

L-R: Helen Cassidy, Hugh Parker

Arts

NATIONAL THEATRE LIVE At it’s home on the South Bank of the Thames in London, the National Theatre performs over 20 different shows every year. The National National Theatre broadcasts selected stage performances selected cinemas cinemas around around the the world, world, and and since since its its first first season, season,over to selected over 750,000 people have experienced work on onscreen. screen. experienced the Nationals work

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Acknowledgements

Welcome to the Bille Brown Studio

Todd MacDonald Louise Gough Belvoir St Theatre Optikal Bloc

To ensure that patrons enjoy the performance, management asks you to note: • Cameras, tape recorders and paging devices should not be used inside the auditorium. • Switch off alarms and mobile phones prior to the performance. • A single cough measures approximately 65 decibels of sound. The use of a handkerchief helps greatly to soften the sound.

Actors development of The Seagull April and June 2015 Barbara Lowing Bryan Probets Christopher Beckey Christopher Sommers Colin Smith Helen Cassidy Emily Burton Helen Howard Hugh Parker Kathryn Marquet Judy Hainsworth Thomas Larkin Lucas Stibbard Jason Klarwein Patrick Dwyer

The management reserves the right to refuse admission, also to make any alterations to the cast which may be rendered necessary by illness or other unavoidable causes. Patrons are advised that the Bille Brown Studio has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the in-house trained attendants and move in an orderly fashion to the open spaces outside the venue.

Host an evening at the theatre

Let QTC create a unique evening at the theatre to entertain your clients and colleagues. A range of dinner and cocktail packages are available to you and can be tailored to suit your specific requirements. Suitable for groups for up to 200 people, an evening of fine food and wonderful theatre will be a memorable experience for you and your guests. For more information contact the Corporate Partnerships Manager on 07 3010 7612. 35

Who murdered Nellie Duffy?

If you would like to know,

join the QTC Legal Chapter as they raise funds to commission a play about an infamous Queensland murder case that took place on Carpentaria Downs Station in 1908. Housekeeper Nellie Duffy was found brutally murdered in her bed. An Aboriginal station hand, Billy, was charged but the jury refused to convict him despite his "confessions". Where does the truth lie?

Nellie Duffy Project Supporters 4 Anonymous Roslyn Atkinson & Richard Fotheringham Michael & Anne Back Jennifer Batts James Bell Sarah Bradley Madeleine Brennan Peter Bridgman & Susan Booth S.J & K.W Brooks Sue Brown Patricia Byrne Carter Newell Lawyers Sheryl Cornack Leone Costigan

Peter Davis Ralph & Frances Devlin Richard Douglas Adrian Duffy Scott Falvey Richard Fryberg H G Fryberg Elizabeth Gaffney Anthony Glynn Milton Griffin John & Lois Griffin Michael Hodge Kevin & Joanne Holyoak EM Jameson & AL Anderson

Joshua Jones Stephen Keim Liam Kelly Declan Kelly Asif Khan Fleur Kingham Raymond & Audrey Lawrence John & Janice Logan Sarah Ludwig Stephen & Hana Mackie John & Julienne McKenna Margaret Mc Murdo Kerri Mellifont

If you would like to find out more about this intriguing case and contribute towards the play commission, please visit queenslandtheatre.com.au/nellieduffy or phone 3010 7668. Donations to this project are tax deductible. 36

Denise & Richard Morton Debra & Patrick Mullins Andrew O'Brien Dan O'Gorman Leanne O'Shea & Peter Gilroy Dominic O'Sullivan Adam Pomerenke Tina Previtera Jeff Rolls & Barbara Houlihan Walter Sofronoff Michael Stewart van de Graaff Lawyers Greg & Sally Vickery Elizabeth Wilson

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Thank You To Our Current Donors $10,000+

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We thank all our generous donors for their contribution to our work.

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Your assistance makes it possible for us to enrich the cultural life of our community.

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John & Lynnly Chalk Wesley Enoch Richard Fotheringham & Roslyn Atkinson AO John & Gabrielle Hull Tim & Kym Reid Thomas Wright

Donations over $250 are acknowledged for 12 months from the date of donation. Visit queenslandtheatre.com.au or phone our Philanthropy Manager on 07 3010 7621 to find out how you can support our work.

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TRUST & FOUNDATIONS Creative Partnerships Australia RACQ Foundation Tim Fairfax Family Foundation

$1,000-$1,999 5 Anonymous Anne & Peter Allen Julieanne Alroe Lisa & William Bruce Mathieu & Anastasia Ellerby Erin Feros David & Katrina King Noela & Colin Kratzing Susan Learmonth & Bernard Curran

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$500-$999 8 Anonymous Melissa Agnew Stephen & Jennifer Boyd Ian Bunzli Rita Carter-Brown Bob Cleland Alan & Annette Davie Toni Glynn Merrilyn Goos Pamela Greet & Nicholas Beaton Ian & Ruth Gough Geoffrey Hirst & Sally Wilde Hudson Family Amanda Jolly Tempe Keune Ross & Sophia Lamont Joan M. Lawrence AM Fred & Margaret Leditschke Andrew & Kate Lister Brad Mammino Ian & Rhyl McLeod

$250-$499 15 Anonymous Leanne Austin Phil Barker Melissa Bennett Emma Benson Ethna Brown Joan Brown Chris Bourke Margaret Byrne Michael & Margaret Clancy Christine Comans June Craw OAM Michael Cullinan Judi Ewings William & Lenore Ferguson Kate Foy Peter & Gay Gibson Anita Green Andrea & Malcolm Hall-Brown David Hardidge Tammy S Linde

B Lloyd Sandra McCullagh Carolyn McIlvenny Hon. Tom McVeigh Sandra McVeigh Dee Morris & Reny Rennie Philip & Fran Morrison Darryl Nisbet Kartina Oei Catherine Quinn People Resourcing Donald Robertson Lyn & Joanne Scott Bronwyn Springer Coralie Van StraatenPeretz Amy Walduck D & J Woodward

Rob & Barbara Murray Nicklin Medical Service Denise O'Boyle Greg & Wendy Oâ&#x20AC;&#x2122;Meara Paddington Clinic Diane & Robert Parcell Blayne & Helen Pitts Bruce Richardson & Taninnuch Stone John Richardson & Kirsty Taylor Geoffrey Rush Gary Sawyer Wendy Tonkes Margaret & Norman Wicks Ian Yeo & Sylvia Alexander Sharon York & Mark Smith

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Tel 07 3010 7600 Fax 07 3010 7699 Ticketing 1800 355 528 queenslandtheatre.com.au mail@queenslandtheatre.com.au

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ÂŠ The State of Queensland (Queensland Theatre Company) 2015 Disclaimer: Every endeavour has been made to ensure that the contents of this brochure are correct at the time of printing. However, things can change. Queensland Theatre Company reserves the right to vary advertised programs and to add, withdraw or substitute artists as necessary.