COMING TO THE BILLE BROWN STUDIO Queensland Theatre Company and Sydney Theatre Company present
7 Jun – 5 Jul
Gloria. By Elaine Acworth
19 Jul – 16 Aug
Call 1800 355 528 queenslandtheatre.com.au
Cast
Performer
Ursula Yovich
20–31 May 2014 Bille Brown Studio
Playwright
Vanessa Bates
Director
Chris Bendall
Set and Costume Designer
Alicia Clements
Lighting Designer and Original Music
Joe Lui
The Magic Hour will run for approximately 2 hours and 10 minutes, including an interval.
Produced and Toured by Performing Lines WA. The original production of The Magic Hour was produced and presented by Deckchair Theatre in Fremantle WA, 17 May – 3 June 2012. Unfortunately, Deckchair Theatre closed its doors in October 2012 after a 30-year history of producing new Australian theatre. The Magic Hour was Deckchair Theatre’s swansong performance.
Government of Western Australia Department of Culture and the Arts
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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
COVER: Ursula Yovich Photo: Sydney Theatre Company Manipulation: Bevin Creative
The Magic Hour is supported by Managing and Producing Services for theatre and dance artists in WA (Maps for Artists) a joint initiative of the Department of Culture and the Arts and the Australia Council for the Arts. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
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Welcome Note Wesley Enoch, Artistic Director Dear Patron, Supporter and Friends, When Bille Brown passed away almost 18 months ago we made sure he was never forgotten at Queensland Theatre Company. The theatre has his name attached to it, there are photos of Bille in the many shows he did at QTC hanging on the entrance walls and in the foyer hangs a magnificent portrait by artist Ben Quilty. One thing Bille was also well known for was his support of emerging talent and new work. As a writer and actor Bille Brown was a great advocate for developing great talent and as we move back to our home here at The GreenHouse you can experience some of the best new works and best new theatrical talents. You saw Ursula Yovich play Mother Courage last year and we have her back doing her indefatigable best in her one woman show The Magic Hour. I have watched Ursula’s career for almost two decades.
She shines with an intensity and a chameleon-like ability to transform right in front of your eyes. She is arguably one of the best actresses of her generation. This season at QTC represents a return and touring of a hit show. So often shows slink off into the memories of the few who get to see them. This year we had a chance to bring The Magic Hour back to life and show it to you again. The artists and the show have had a chance to grow and mature. A fantastic opportunity. The show is a welcome addition to our work at the Bille Brown Studio at The GreenHouse. I’m sure Bille will be watching with eager eyes to see what happens next. Love,
Wesley
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Director's Note Chris Bendall Working on the world premiere of this new play by Vanessa Bates back in 2012 was one of those truly special experiences. When Vanessa proposed to me the idea of an evening of fairy tales for adults, I was immediately intrigued. Partly it was the synchronicity of having a young child who was obsessed with my reading fairy tales to her each night. But also I knew that I was not alone in finding something absolutely enthralling about these classic tales that have been the stuff of dreams and nightmares for countless generations of kids across the globe. We’ve all heard the stories featured in The Magic Hour before, all but one of them from the Brothers Grimm, but I have never heard them transposed so vividly to a contemporary Australian setting. When I first read the script, the tales leapt off the page to me, in equal parts funny, dangerous and provocative. Importantly, they held within them all the tantalising theatrical promise of taking an audience to unexpected and magical new places, and allowing us to indulge in the fantastical.
This play is not just fantasy though. There are real and vivid stories embedded in these magical tales, and they are rich in social commentary reflecting the gritty reality of the women’s lives that inspired these characters. The Magic Hour also celebrates that essential craft of storytelling. These stories are from a time where fairy tales were passed from parent to child, spoken rather than written, and reinvented each night with a little extra colour and detail added with each and every repetition. They are part of that great tradition of sharing stories, in that magic hour where dreams are created and the imagination is allowed to soar to unexpected places. These stories stem from dark places but they are also about hope. They are about possibility. They are about the intense and wondrous relationships between parents and their children. And they are also about dreams.
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Thank you to Vanessa for the opportunity to direct such a rich and exciting new work, thanks to my inspired design team of Alicia Clements and Joe Lui who were so integral in the development of this production. Thanks to the production team of Jason Thelwell and Jenny Poh and to all the Deckchair staff who were a key part of its world premiere production in Fremantle. Last but by no means least, thank you to the sensational Ursula Yovich, a wonderful and generous collaborator and an extraordinarily skilful performer whose mighty musical and acting talents are nightly stretched to the limits as she brings to life, and to the stage, seven original, complex and utterly compelling women. I hope you enjoy entering our enchanted world of magic!
Ursula Yovich
Writer's Note Vanessa Bates When I was a child, the ‘magic hour’ was always story time. Be that a few chapters of Enid Blyton or Lewis Carroll read by mum or dad, or sitting, entranced, by my grandparents’ record player, listening to Treasure Island and singing brokenly along “Fifteen Men on a dead man’s chest! Yo Ho and a bottle of rum.” I did think at the time it was no wonder the poor man was dead with fifteen pirates sitting on him. Stories, books, fairy tales, fables and folk tales – these were the foundations of my imagination and indeed my childhood. Many of these are in the bedrock of this play: The Magic Hour. But there are other stories woven through the more familiar ones.
a company who worked (then and now) to re-engage people with communities through various art forms. The Magic Hour is written for the women I met during this time. It is not their specific stories but a melding of them all. The Magic Hour is my way of celebrating the silent women – the mothers and stepmothers, the grandmothers, the sisters and daughters and their imaginary missing or suppressed counterparts in those fairy tales from so long ago.
As I got older I began to see that there were some stories which were rarely told – stories of the poor and disenfranchised, the mentally ill – stories of the people who had slipped down the cracks of society and amongst them, the stories of the women. I worked for a few years with Big hArt,
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Synopsis Thought you knew Grimm’s fairy tales? Think again. Little Red Riding Hood meets Trainspotting in this wicked retelling of classic bedtime stories. Helpmann Award winner Ursula Yovich (Australia, Jindabyne, The Secret River) plays a cast of sideline female characters who’ve been updated and dropped into the gutters and alleyways of bleak Australian life. From one of Australia’s most original contemporary playwrights, Vanessa Bates, The Magic Hour is a gutsy onewoman comedy told with dark humour and soulful song. A night of stories told at twilight with werewolves and a touch of magic …
Ursula Yovich 6
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Biographies Vanessa Bates WRITER
An award-winning writer for theatre and radio drama, Vanessa’s plays include: Chipper, Every Second, The Magic Hour, Porn.Cake, Checklist for an Armed Robber, The Night We Lost Jenny, Match, A Little Bit Each Night and Darling Oscar. Vanessa’s plays have been produced by Griffin Theatre, Malthouse Theatre, Deckchair Theatre, Tantrum Theatre, Freewheels Theatre In Education, Theatre@risk, Belvoir B-Sharp, Sydney Theatre Company, atyp, Black Swan, Vitalstatistix and ABC Radio National. Chipper was shortlisted for the 2013 Griffin Award and selected for a 2013 PlayWriting Australia Script Development Workshop. Porn.Cake was co-winner of the 2012 NSW Premier’s Literary Award (the Nick Enright Prize). Every Second was showcased at the 2012 PWA National Play Festival in Melbourne and the 2012 National New Play Network Festival in Washington DC. Vanessa was shortlisted for the 2012 Kit Denton DisFellowship, the 2012 New Play AWGIE and 2011 Griffin Award for Porn.Cake. Vanessa has also written for several multiplaywright shows including Brand Spanking New (New Theatre) Stories from The 428, Lovely/Ugly (Griffin Theatre), Bondi Feast (Tamarama Rock Surfers 2012), A View From Moving Windows, (True West Theatre, Riverside Parramatta) and I Contain Multitudes and Platonic (7-ON). She wrote Match for Tantrum Theatre’s RIOT in 2007 winning a CONDA award for best new script. Vanessa is a graduate of NIDA Playwrights’ Studio and one seventh of playwrights’ company 7-ON. Their recent published book of monologues for acting students is No Nudity, Weapons or Naked Flames (Federation Press).
Chris Bendall DIRECTOR
Chris is one of Australia’s leading contemporary theatre directors, with experience working professionally in Sydney, Melbourne, Adelaide, Brisbane and Perth. He has worked as a director on over 50 productions during the past 15 years. Most recently, Chris was the Guest Programmer for PlayWriting Australia’s 2013 National Play Festival. He was Artistic Director of Deckchair Theatre in Fremantle (2008-2012) and whilst in this position won the WA Equity Awards for Best Director in both 2009 and 2011. Prior to this he was Artistic Director of 8
Theatre@Risk in Melbourne (2001-2007). Chris has also worked for Melbourne Theatre Company, Playbox Theatre, Belvoir St Theatre, Sydney Theatre Company, Melbourne Festival, Full Dress Productions, Melbourne French Theatre, Victorian College of the Arts and WAAPA. He has been awarded the Queen’s Trust Australia & Foundation for Young Australians Centenary Grant (2001) and the George Fairfax Memorial Award for Theatre (2003).
Ursula Yovich ACTOR
Joe Lui
COMPOSER AND LIGHTING DESIGNER
Actor and singer Ursula Yovich has become one of Australia’s most celebrated performers and has amazed audiences all over the world, appearing at the Queen Elizabeth Hall in London, Carnegie Hall in New York, the Concert Hall of the Sydney Opera House. Her recent theatre credits include The Secret River, Bloodland (Sydney Theatre Company); Mother Courage and her Children (Queensland Theatre Company); The Barefoot Divas (Sydney Festival) and Waltzing the Wilarra (Yirra Yaakin Theatre Company). Ursula was also nominated for a Helpmann Award for her cabaret show Magpie Blues, which world premiered in Adelaide and toured major venues across Australia. In film Ursula has featured in Darkside, Around the Block, Baz Luhrmann’s Australia and Ray Lawrence’s Jindabyne. Other screen credits include Rake, God’s Of Wheat Street, Devils Dust, Redfern Now, Murandak Songs of Freedom documentary, $9.99, Arcadia, My Bed Your Bed, Blacktrax, Message Stick, Blue Heelers and Songlines. Joe Lui is a founding member of Renegade Productions. Within its aegis he creates, writes, directs, designs and composes theatre and performance works. Performances with the company include the critically acclaimed Laryngectomy (Judge’s Choice Award, Blue Room Awards; Best Performance, 2012 Perth Fringe Festival Awards), as well as the recent The Book Of Death (A Story of Life), which sold out its opening season at the Blue Room Studio. Currently he is undergoing a creative development for The Tribe, which received DCA funding and support under its new TheatreWorks initiative. Joe is also a regular and contributing part of the professional and independent theatre industry in Perth as a sound and lighting designer. As Emerging Director for Deckchair Theatre Company in 2011, he helped create Taking Liberty, Lorelei (in which he 9
also performed as a musician), and the award-winning Modern International Dead. His latest non-Renegade design credits include sound design and composition for Kaarla Kaatijn (Yirra Yaakin theatre company), composition, lighting and sound design for The Magic Hour (Deckchair Theatre Company - Victoria Hall), composition and lighting design for Masks (Night Train Productions – PICA), lighting design for If I Drown I Can Swim (Corazon De Vaca – Woodford Folk Festival), lighting design for The Turtle and the Tradewinds (Sandpiper Productions/Deckchair Theatre Company) and Scent Tales (Little Y Company – The Blue Room Theatre).
Alicia Clements DESIGNER
Alicia graduated from the Design course at the West Australian Academy of Performing Arts (WAAPA) in 2008, where she received the inaugural David Hough Award for Outstanding Achievement. She has also received several professional development grants from the Australia Council for the Arts. In 2012 Alicia was the Resident Designer with Black Swan State Theatre Company, designing numerous productions for them since 2009, including Arcadia, The White Divers of Broome, Midsummer Night’s Dream and Madagascar. She received three Equity Guild Nominations for Best Design for her work with Black Swan State Theatre Company. For Barking Gecko Theatre Company (BGTC) Alicia designed the acclaimed Duck, Death and the Tulip, which was co-produced by Perth International Arts Festival. Other designs for BGTC include, This Girl Laugh, This Girl Cries, This Girl Does Nothing, Driving into Walls, The Amber Amulet and assistant design on The Red Tree. Additionally, she has contributed set and costume designs for Deckchair Theatre Company, STEPS Youth Dance Company and Onward Productions. In 2013 Alicia formed The Skeletal System with Will O’Mahony, a theatre company dedicated to new Australian work.
Production Photography: Jon Green
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Ursula Yovich 11
The Untold Story of World Queensland Theatre Company and Brisbane Festival, in association with QPAC and The Balnaves Foundation present
A Queensland Theatre Company and Sydney Festival production
One hundred years ago, in 1914, a bullet from an assassin’s gun in Sarajevo sparked a war that ignited the globe. Patriotic young men all over the world lined up to join the fight – including hundreds of Indigenous Australians. Shunned and downtrodden in their own country – and in fact banned by their own government from serving in the military – Aboriginal men
24 Sep – 12 Oct QPAC, Brisbane
War I Indigenous Diggers heroes’ welcome – just a shrug, and a return to drudgery and oppression.
Black Diggers is the story of these men – a story of honour and sacrifice that has been covered up and almost forgotten. Directed by Wesley Enoch and written by Tom Wright, Black Diggers is the culmination of painstaking research into the lives and deaths of the thousand or so Indigenous
soldiers who fought for the British Commonwealth in World War I. Grand in scale and scope, it draws from in-depth interviews with the families of black diggers who heard the call to arms from all over Australia, as well as conversations with veterans, historians and academics. For the Queensland Theatre Company, it has been a privilege to bring the important stories of these men onto the stage in the year of the ANZAC Centenary.
Tickets by calling 136 246 or queenslandtheatre.com.au This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals, Sydney Festival and Brisbane Festival.
Photography: Jamie Williams
had to hide their heritage to enlist. Undaunted, these bold souls took up arms to defend the free world in its time of greatest need. For them, facing the horror of war on a Gallipoli beach was an escape from the shackles of racism at home, at a time when Aboriginal people stood by, segregated, unable to vote, unable to act as their children were ripped from them. When the survivors came back from the war, there was no
PATRON Her Excellency The Governor of Queensland Ms Penelope Wensley, AC MEMBERS OF THE BOARD Richard Fotheringham (Chair) Julieanne Alroe (Deputy Chair) Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Elizabeth Jameson Nathan Jarro Liz Mellish Karl Morris ARTISTIC DIRECTOR Wesley Enoch EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Artistic Associate: Todd MacDonald Resident Dramaturg: Louise Gough Resident Directors: Jason Klarwein & Andrea Moor Programming Manager/Senior Producer: Katherine Hoepper Theatre Diversity Associate: Chris Kohn Producer (New Work & Development): Shari Irwin Artistic Coordinator: Samantha French Touring & Regional Program Coordinator: Christine Johnstone Education Program Coordinator: Heidi Irvine Youth Program Coordinator: Claire Christian Casual Programming Coordinator: Helen Stephens Chief Financial Officer Michael Cullinan Systems Accountant: Roxane Eden Finance Officer: Robin Koski Front of House & Events Supervisor: Deirdree Wallace
Marketing Manager: Yvonne Whittington Marketing Coordinator: Amanda Solomons Publicist: Kath Rose & Associates Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David D’Arcy CRM & Ticketing Services Coordinator: Rory Killen Ticketing Coordinators: Maggie Holmes & Brad Routledge Receptionist & Ticketing Officer: Donna Fields-Brown Administration Trainee Kalisha Soe Philanthropy Manager: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Interim Corporate Partnerships Manager: Fabienne Cooke Development Coordinator: Dee Morris Researcher & Grant Writer: Liz Bissell Production Manager: Toni Glynn Venue & Operations Supervisor: Julian Messer Technical Coordinator: Daniel Maddison Interim Production Coordinator: Scott Klupfel Head of Workshop: Peter Sands Company Carpenter/Head Mechanist: John Pierce Head of Wardrobe: Vicki Martin Apprentice Costume Maker: Savannah Mojidi Affiliate Artists: Tony Brumpton Ben Hughes David Walters
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Associate Artists: Rod Ainsworth Candy Bowers Carol Burns Katherine Lyall-Watson David Morton Gayle MacGregor Paula Nazarski Ngoc Phan Lucas Stibbard
A Tribute of Sorts Production Staff Managing Producer (Metro Arts): Jo Thomas Venue Technician: Thomas Edmiston Carpenter: Aaron Barton
The Magic Hour Production Staff Production Manager: Jason Thelwell Stage Manager: Samuel Johnson Head Mechanist: Craig Kolstad Lighting Operator: Matt Golder
FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003) Queensland Theatre Company is a member of Live Performance Australia.
To ensure that patrons enjoy the performance, management asks you to note: • Cameras, tape recorders and paging devices should not be used inside the auditorium. • Switch off alarms and mobile phones prior to the performance. • A single cough measures approximately 65 decibels of sound. The use of a handkerchief helps greatly to soften the sound. The management reserves the right to refuse admission, also to make any alterations to the cast which may be rendered necessary by illness or other unavoidable causes. Patrons are advised that the Bille Brown Studio has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to outside the Studio.
78 Montague Rd, South Brisbane PO Box 3310, South Brisbane BC Qld 4101 Tel 07 3010 7600 Fax 07 3010 7699 mail@queenslandtheatre.com.au queenslandtheatre.com.au Ticketing 1800 355 528 © The State of Queensland (Queensland Theatre Company) 2014 Disclaimer: Every endevour 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
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OPEN FOR BUSINESS Join Queensland Theatre Company, actors and creatives in The GreenHouse. For the ďŹ rst time, we are opening the doors of our freshly refurbished space for hire. The GreenHouse, located at Queensland Theatre Company's Montague Road headquarters, is just a short stroll from the heart of Brisbane's iconic South Bank cultural precinct. The GreenHouse's versatile spaces are the perfect venue for hire in 2014. Whether you are searching for a place to host your next private function or conference, ďŹ lm, book or music video launch, or AGM, The GreenHouse has got you covered. With a variety of spaces available, such as our intimate 250+ seat theatre style venue, the Bille Brown Studio, or our more contemporary meeting and rehearsal rooms, The GreenHouse can accommodate groups of all sizes. Accompanied by our fully licensed bar, spacious foyer and tranquil outdoor garden area, what more could you ask for! For more information making our space yours, contact Deirdree Wallace on (07) 3010 7600 or email dwallace@queenslandtheatre.com.au
Thanks To Our Sponsors Government Partners
Production Sponsors
Program Sponsors
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Season Supporters
PLANTUP Greenwalls & Greenroofs
Media Supporters
Promotional Partner: Coev Haircutters
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See Queensland Theatre Company and Sydney Theatre Company present
The Effect by Lucy Prebble 7 Jun – 5 Jul Bille Brown Studio Tickets on sale now
QTC New Work and Development at The GreenHouse As well as a season of performance at The GreenHouse, our development and new work program continues behind the scenes. New plays are being commissioned, projects are being seeded and developed in collaboration with local Independent artists and companies, and ideas for new work are being tossed around. Upcoming works that have been creatively developed with QTC include:
I Want to Know What Love is
The Button Event
by The Good Room 4-13 September
Devised by Todd MacDonald and Bagryana Popov 17-17 September
Talk Play BrieďŹ ng
Night with the Artists
Before you come to see the play, join us in the theatre for a conversation with the director, designers and actors. Monday 2 June 6pm: The Effect Monday 14 July 6pm: Gloria
Stay after the show for a conversation with the actors and creative artists behind the production over a glass of wine from the bar. Friday 16 May: A Tribute of Sorts Friday 30 May: The Magic Hour Thursday 26 June: The Effect Thursday 7 August 6pm: Gloria
The GreenHouse Bar From May to September The GreenHouse bar will be open from 5pm every Friday Night.
May and June
Do Monday Night Masterclasses The Monday Day Night Masterclass program is a series of workshops offered to any interested high school aged participant who will: • Work with professional artists. • Learn new skills. • Work with likeminded young people. • Connect with Queensland Theatre Company
Price: $10 per masterclass Time: 6pm – 8pm Bookings essential as places are limited. Monday 19 May Monday 2 June Monday 23 June Monday 21 July Monday 4 August
Improvisation and Clowning with Louise Brehmer Acting Skills: Finding a Character Acting Skills: Using Your Voice Physical Theatre and Movement Auditions and Monologues
Young Writers Group Interested high school aged young writers will participate in a fivesession workshop program, working with playwrights including David Burton and Elaine Acworth and industry professionals to learn and develop their craft. By the end of the five-sessions, the participants will have completed a range of writing-for-theatre tasks and will have a collection of their own written pieces to include in their portfolio.
Dates: Monday 12 May Monday 26 May Monday 16 June Monday 14 July Monday 28 July
Cost: $150 per participant (includes 5 workshops and workshop materials) Time: 6pm – 8pm each session
For more information on the Young Writers Group or Monday Night Masterclasses go to www.queenslandtheatre.com.au/Education-and-Youth/Youth-Program or contact Youth Program Coordinator, Claire Christian, on cchristian@queenslandtheatre.com.au or 07 3010 7606.
Thank You To Our Current Donors We thank all our generous donors for their contribution to our work. Your assistance makes it possible for us to enrich the cultural life of our community.
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TRUST & FOUNDATIONS
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Donations over $200 are listed on this Board and are recognised for 12 months from the date of donation. 20
COMING TO THE PLAYHOUSE, QPAC Queensland Theatre Company and Brisbane Festival, in association with QPAC and The Balnaves Foundation present
A Queensland Theatre Company and Sydney Festival production
24 Sep – 12 Oct
Queensland Theatre Company and Black Swan State Theatre Company present
17 Nov – 7 Dec 20
Call 136 246 queenslandtheatre.com.au