The Secret River - Online Program by Queensland Theatre

CAST

25 Feb â&#x20AC;&#x201C; 5 Mar 2016 Playhouse, QPAC

Georgia Adamson

Sal Thornhill

Joshua Brennan

Dan Oldfield

Toby Challenor

Dick Thornhill

The Secret River will run for approximately 2 hours and 50 minutes including a 20-minute interval.

Shaka Cook

Wangarra/Branyimala

Nathaniel Dean

William Thornhill

Frances Djulibing

Buryia

Jennifer Hagan

Mrs Herring

Isaac Hayward

Musician

Trevor Jamieson

Ngalamalum

Heath Jelovic

Dick Thornhill

Ningali Lawford-Wolf

Dhirrumbin/Dulla Djin

Madeleine Madden

Gilyagan/Muruli

Colin Moody

Thomas Blackwood

Jeremiah Mundine

Garraway/Dulla Djin's Child

Wesley Patten

Garraway/Dulla Djin's Child

Kelton Pell

Yalamundi

Richard Piper

Smasher Sullivan

Rory Potter

Willie Thornhill

James Slee

Narabi

Bruce Spence

Loveday

Matthew Sunderland

Sagitty Birtles/Suckling/Turnkey

Commissioning and Touring Patrons: David Gonski AC & Orli Wargon OAM, Catriona & Simon Mordant AM This project has been assisted by the Australian Governmentâ&#x20AC;&#x2122;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 Inc., Sydney Festival, Perth International Arts Festival and The Centenary of Canberra.

CREATIVES Neil Armfield

Director

Stephen Page

Artistic Associate

Stephen Curtis

Set Designer

Tess Schofield

Costume Designer

Mark Howett

Lighting Designer

Iain Grandage

Composer

Isaac Hayward

Musical Director

Steve Francis

Sound Designer

Kip Williams

Tour Director

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Richard Green

Language Consultant

1800 355 528

Matthew Whittet

Dramaturg

Charmian Gradwell

Voice & Text Coach

Trevor Jamieson

Additional Music

Scott Witt

Fight Director

Glendra Stubbs

Aunty in Residence

Cover Photography: James Green for Sydney Theatre Company

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queenslandtheatre.com.au mail@queenslandtheatre.com.au

Acknowledgement of Country Queensland Theatre Company and Sydney Theatre Company would like to acknowledge the Jagara and Turrabul 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 peoples whichever Aboriginal nation they may come from.

Welcome to the Playhouse 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.

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

Welcome Note Artistic Director

SAM STRONG Dear QTC audience, Welcome to my third show as QTC’s Artistic Director, the Sydney Theatre Company production of The Secret River. I was lucky enough to see this show during its original season in Sydney at the start of 2013 and I’m thrilled that QTC can bring it to Brisbane audiences. The Secret River is a work that is epic in every sense - its historical and geographic sweep, the scale of its tragedy, the complexity of its relationships, even the sheer number of people on stage. It’s a rare work and a rare opportunity to see this already great Australian story brought to life in a way that is uniquely theatrical. Even if you’ve read the book or seen the screen version, the stage version of The Secret River will still leave its imprint on your soul. The Secret River is also an example of what is possible in Australian theatre. This production is a bit like one of those football teams of the century, or a super band. It combines the finest Australian practitioners in every single discipline, from directors, to adapters, to designers, to composers, to Indigenous artists to child actors. As I entered the theatre in 2013, I secretly worried that the experience would somehow not meet the expectations set up by the sheer weight of its creators’ CVs. As I sat with others in a collective stunned silence at the end, I realised that not only were those expectations exceeded, but this was an experience that was even greater than the sum of its impressive parts. Thank you for joining us for The Secret River in Brisbane. I look forward to seeing you at the theatre. Sam

Sponsor’s Message GRIFFITH UNIVERSITY How appropriate that Griffith University’s sponsored production – The Secret River should through its very title, be located on a river, which binds our city. Queensland Theatre Company and Griffith University share the South Bank creative precinct foreshore, and deliver powerful creative and performing arts alongside our iconic Queensland Conservatorium, Queensland College of Art, and the Queensland Performing Arts Centre (QPAC). Griffith University and QTC have both passed their four-decade mark and have partnered for a third of that time in an ever increasing, intertwining of community, purpose, and partnership. Griffith and QTC are committed to highlighting the values and principles of ongoing social awareness and tolerance in the Queensland community. As Pro Vice Chancellor of the Arts Education and Law Group, educating and engaging with students, researchers and community in areas ranging from the Performing and Visual Arts to Criminology, Law, Social Sciences and Education, our support derives from the knowledge that theatre provides both unique and welcome insights to help us strive to create a better world for tomorrow. Through this partnership, Griffith students and staff enjoy valuable opportunities to work with QTC artists and directors and various professional engagement and development opportunities. QTC continues to play a major role in informing and shaping the cultural vitality of Queensland, and Griffith University is honoured to support the productions of this iconic Queensland institution. Professor Paul Mazerolle Pro Vice Chancellor (Arts, Education and Law) Griffith University

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Director’s Note Director

NEIL ARMFIELD The Secret River is a difficult story to tell. For all the beauty, dignity and depth of this tale, it leads relentlessly into dark places. It takes us back to a moment in our country’s narrative when a different outcome, a different history, was possible. Or, at least, imaginable. Where those who came might have listened and learnt from those who were here, might have found a way of living here on this land with respect and humility. Instead, enabled by gunpowder and fed by ignorance, greed and fear, a terrible choice was made. It is a choice that has shaped the present. Nine generations later, we are all living its consequences. The lucky country is blighted by an inheritance of rage and of guilt, denial and silence. Imagine how hard it is for our actors, who draw strength and humanity from their Indigenous elders and family, to tell this story. And to keep on telling this story. Three years on from our original season, the show continues to evolve. This time round, we’ve been experimenting with surtitling the language used by the Dharug family. This is something we considered but rejected in 2013. In spite of gaining greater narrative clarity, it feels somehow limiting – at worst, distracting and reductive. Moreover, at this stage, the cast particularly don’t like it. So it might not make it to Opening Night! In rehearsal we tried a new epilogue. In both rehearsal periods, it is: NGALAMALUM: This me. My place. He rubs the dirt smooth with his palm. NGALAMALUM: Sit down hereabouts. An old Auntie enters, a younger woman with her. Auntie is telling her what things need to be done and when. Two boys are running around at the water’s edge, splashing, laughing. Auntie yells at them to come and get something to eat. They don’t listen to her. They just keep laughing. She waves them away, stern but already forgiving them. A young man enters with a guitar, tunes it up a little as he sits down with Ngalamalum at the fire. And then the old Uncle comes in and joins them. They gather round the fire. As they did then. As they still do. This is our family. This is their place. Someone starts singing … The End And we rehearsed it in – well, a version of it that I rather liked – but then abandoned it by mutual consensus before Opening Night in 2013, and replaced it with the lights slowly fading on our Dhirrumbin, Ursula Yovich, releasing a great song of grief as she departed the stage, while Nathaniel Dean, our Thornhill, obsessively scratched a fence into the landscape. We want to sit respectfully and reflectively in mourning the genocide that has occurred across this land, but we also want to celebrate the survival of Aboriginal culture against all the forces of dispossession and denial. And so we keep searching to make it right.

A Note from

Playwright's Note

The Secret River author

Playwright

KATE GRENVILLE

ANDREW BOVELL

I think many Australians feel a deep need to try to understand our past, especially the story of black/white interaction on the frontier. It’s not an easy history to acknowledge, and a story that puts a human face to it opens the door to understanding. This is a story about people – black and white – making hard choices.

The arc of Kate Grenville’s novel is epic. It tells the story of William Thornhill, born into brutal poverty on the south side of London in the late 18th century, his place in the world already fixed by the rigidity of the English class system. In 1806 he is sentenced to hang for the theft of a length of Brazil wood. Through the desperate efforts of his wife, Sal, his sentence is commuted to transportation to the Colony of New South Wales. In this new land he sees an opportunity to be something more than he could ever have been in the country that shunned him. He sees “a blank page on which a man might write a new life”. He falls in love with a patch of land on the Hawkesbury River and dares to dream that one day it might be his. After earning his freedom he takes Sal and their children from Sydney Cove to the Hawkesbury to “take up” 100 acres of land only to discover that the land is not his to take. It is owned and occupied by the Dharug people. As Thornhill’s attachment to this place and his dream of a better life deepens he is driven to make a choice that will haunt him for the rest of his life.

The book has been translated into 20 languages – those issues about choice and conflict are basic human puzzles and I think people recognise William Thornhill’s story as representing problems we all have to come to terms with. Knowing that your own imagination has sparked off other people’s creative thinking is incredibly exciting. When I saw performances of the earlier season, I was overwhelmed with admiration for what the team behind the play had achieved. The play is far more than an adaptation – it’s an astonishing feat of creative re-imagining. Without losing anything of the meaning of the original, the play adds dimensions a novel can only gesture towards. The collaboration with Aboriginal creative artists takes the story into a new realm of emotional power and honesty. I feel honoured that the book has been the starting point for such a magnificent play.

Sometimes the best approach to adapting a novel is simply to get out of the way. This proved to be the case with The Secret River. The novel is much loved, widely read and studied. It has become a classic of Australian literature. My task was simply to allow the story to unfold in a different form. It took me some time to realise this. Initially, I favoured a more lateral approach to the adaptation. I wanted to project the events of the novel forward in time and place the character of Dick Thornhill at the centre of the play. Dick is the second-born son of William and Sal. Arriving on the Hawkesbury he is immediately captivated by the landscape and intrigued by the people who inhabit it. With a child’s curiosity and open heart he finds a place alongside the Dharug and they, perhaps recognizing his good intentions are at ease with his presence among them. Unlike his older brother, Willie he has no fear of the Dharug and seems to recognise that they understand how to live and survive in this place. He learns from them and tries to impart this knowledge to his father. William

Thornhill’s failure to learn the lesson his son tries to teach him is central to the book’s tragedy. When Dick discovers that his father has played an instrumental role in the massacre of the very people he has befriended he leaves his family and goes to live with and care for Thomas Blackwood who has been blinded in the course of the settlers’ violent attack on the Dharug. One of the most haunting images of the book is contained in the epilogue. Thornhill, now a prosperous and established settler on the Hawkesbury sits on the veranda of his grand house built on a hill and watches his estranged son passing on the river below on board his skiff. He lives in hope that one day Dick will look up and see him. But Dick never does. He has made his choice and keeps his eyes steadfastly ahead refusing to acknowledge his father and all that he has built. Perhaps I was drawn to Dick because I’d like to think that if I found myself in those circumstances I would share his moral courage and turn my back on my own father, if I had to. I would hope that I too would refuse the prosperity gained from the act of violence and dispossession that the novel describes. I suspect though, that like many at the time I would have justified it as a necessary consequence of establishing a new country and found a way to live with it by not speaking of it. I would have chosen silence as so many generations of white Australians did. It was here that I wanted to begin the play; on the moment of Thornhill watching his estranged son passing on the river. I created an imagined future for Dick. The novel reveals that Tom Blackwood had an Aboriginal ‘wife’ and that they had a child together. The gender of this child is not specified but I imagined that if she was a girl that, once grown, she and Dick might have ‘married’ and eventually had children of their own. So, whilst William Thornhill and his descendants prospered on the banks of the Hawkesbury and became an established family of the district, another mob of Thornhills lived a very different life up river, like a shadow of their prosperous cousins. I mapped out a life for these two branches of the same family over several generations until I came to their contemporary incarnations. One family was white, the other black. I wondered whether they would be aware of their shared past and how the act of violence which set them on their separate paths would be carried through each generation and whether reconciliation was ever possible between them. I imagined the story of Australia being revealed through the 11

very different stories of these two families who shared a common ancestor and a dark secret. Importantly, in my mind was the idea that through the generations of Dick Thornhill’s descendants, Aboriginal identity had not only survived but had strengthened. My collaborators Neil Armfield and Stephen Page and the Artistic Directors of the Sydney Theatre Company, Andrew Upton and Cate Blanchett, heard me out but encouraged me to return to the book. They were right to do so. Perhaps by inventing this other story I was simply delaying the inevitable confrontation with the material at hand. Besides, Kate Grenville answered my curiosity about what happened to Dick Thornhill in her sequel to the novel, Sarah Thornhill. However, reaching beyond the source material into an imagined future was an important part of the process for me. I was trying to come to terms with the legacy of the violence depicted in the novel. I wanted to understand how this conflict is still being played out today. When a connection is drawn so clearly between then and now, history starts to seem very close. I think this is one of the novel’s great achievements. In William Thornhill, Kate Grenville has created a figure modern audiences can recognise and empathise with. He is a loving husband and father, a man who wants to rise above the conditions into which he was born and secure a better future for those who will come after him. This aspiration seems to me to be quintessentially Australian. Once Grenville has placed us so surely in Thornhill’s shoes, she leads us into moral peril for we find ourselves identifying with the decisions he makes. We may not agree with them but we understand them. And so we come to understand that the violence of the past was not undertaken by evil men, by strangers to us, but by men and women not unlike ourselves. That’s the shock of it. Grenville wasn’t writing about them. She was writing about us. Above all I wanted to retain that sense of shock. A number of key decisions started to give shape to the work. We decided to use the device of a narrator. This allowed us to retain some of Grenville’s poetic language. We gave the narrator the name Dhirrumbin, which is the Dharug name for the Hawkesbury River. In effect, she is the river, a witness to history, present before, during and after the events of the play. She knows from the start how the story ends and it falls upon her to recount the tragedy of it. This quality of knowing gives Dhirrumbin a sense of 12

prophetic sadness. As well as performing the classic task of moving the narrative forward, Dhirrumbin stands apart from the action and is able to comment on it. Even more importantly, she is able to illuminate the interior worlds of the characters, particularly the Dharug, and hence act as a bridge to our understanding of their experience. Building the Dharug presence in the play was fundamental to our approach and became one of the key differences between the play and the novel. Grenville chose to keep the Dharug characters at a distance. They are seen only through Thornhill’s and the other white characters’ eyes and their actions and motivations are explained through the white characters comprehension and often misinterpretation of them. In part, Kate chose to do this for cultural reasons. She felt there was a line that as a white writer she couldn’t cross and that it was not possible to empathise with the traditional Aboriginal characters. We didn’t have that choice. It’s an obvious point to make but in transforming words on a page into live action on a stage we rely on the work of actors. And we simply couldn’t have silent black actors on stage being described from a distance. They needed a voice. They needed an attitude. They needed a point of view. They needed language. We assumed that there wasn’t one available to us. We thought that the languages spoken around the Hawkesbury had largely been lost. For a while it seemed like an insurmountable problem. And then Richard Green, an actor and Dharug man, joined the project. We put the problem to him. He laughed and opened his mouth and spoke and sang in Dharug. It was, he argued passionately, a lie that the language didn’t exist. If it had been lost it had now been re-found, rebuilt and reclaimed. It was a living language. And no white academic was going to tell Richard that he had no language. He enlivened the rehearsal room with his presence and gave us the confidence to find the voices for the Dharug characters. He translated the language and made it fit the needs of the production and he taught the ensemble how to speak it and sing it. We began by giving the Dharug characters names in their own language; Whisker

Harry in the book became Yalamundi in the play, Long Jack became Ngalamulum, Polly became Buryia, Meg became Gilyagan and Blackwood’s unnamed wife, Dulla Djin and so on. In this simple act of naming the characters the Dharug world began to live on stage. The task of representing a traditional Indigenous point of view in what is a white narrative about history is fraught with difficulty and cultural sensitivity. Even with the best intentions and thorough research and consultation a number of assumptions are still made. I wrote a line for Garraway, one of the children. “I hate snake,” he says as his mother is preparing a meal in the same way as a contemporary child might say, “I hate broccoli.” Richard pointed out that there was no word for hate, as such. But even the idea that a child in a traditional Indigenous context would express dislike for a food central to their diet is an assumption we can’t really make. This is perhaps the greatest challenge for white storytellers in this country – how do we make sense of what Indigenous peoples thought and felt about the arrival of Europeans in this country. Even first hand accounts from the time have been written down and interpreted by European writers. We can only be led by contemporary Indigenous people who with great generosity show us the way back so that we may begin to reconcile with our past.

Set Designer's Note Set Designer

STEPHEN CURTIS In some ways I feel as though I have been preparing for this production for 30 years or more – Neil and I started working together in 1981, and I have been living on the Hawkesbury River, where this story is set, for a bit longer than that. The world of the River is deeply ingrained in me. It is a spectacularly beautiful landscape. I have no difficulty understanding why Thornhill would fall in love with it and want to make it his, and the middens and rock engravings – images of fish, wallabies, men and women that are everywhere in the valley – are a testament to how the Dharug made it theirs. The place is such an important part of this story, and I suppose I have seen my task is to give the audience some experience of that beauty and wonder without trying to literally describe it. I took my cue from Kate Grenville’s Thornhill who on his first night on the Hawkesbury compares it to his experience of a church: “… so big it made his eyes water. He was dizzy, lost in panic … it was a void into which his very being expanded without finding a boundary, all in the merciless light that blasted down ...” From the earliest days of our script workshops I started to imagine a clear light-filled space that extended high out of view; a space in which our Aboriginal family would stand out boldly, and into which our settler family would tread muddy footprints like careless children; a space in which pictures could be drawn as part of the storytelling and the two families could play and play out this wonderfully complex and tragic story.

Costume Designer's Note Costume Designer

TESS SCHOFIELD The process of visually ‘solving’ The Secret River’s menagerie of characters for the stage has meandered through layers of family, fact, fiction, story, history, the freedom of theatricality and rehearsals – all in the great spirit of play. During research, I became fascinated with ideas of ‘otherness’, the whiteness, the blackness, the contrast, the difference. How ignorance and misunderstanding sit at the very heart of fear, how chaos springs from that, and tragically how intrinsically similar we all are. This is not a story to hide behind layers of muslin. How extreme the ‘others’ must have appeared is seen in Indigenous illustrations of the recently arrived Anglo boat people, and likewise early European artworks reflect curious observations of the first Australians. ‘Charcoal and Ash’ became an extreme visual metaphor for this idea. With the potential to move, crumble and smear across the faces of our chipped and crudely glued, scurvy-riddled Anglo Toby jugs, and the Hawkesbury’s ancient Aboriginal inhabitants. Improvised period and tribal looks are assembled loosely from contemporary elements, with the same relaxed energy that rehearsal clothes are cobbled together, and our whole human river world is roughly painted with the wear and tear of life, salt, tar, rich river mud, ochre and clay. Perhaps we can remind our audience and ourselves what it really means to walk both ways.

PROUDLY SUPPORTING AUSTRALIAN THEATRE We’re proud to partner with the Queensland Theatre Company to bring you The Secret River. HERBERTSMITHFREEHILLS.COM 16

Andrew Bovell Playwright Andrew’s latest work for the stage Things I Know to be True premieres in Adelaide in May 2016 in a coproduction between STCSA and Frantic Assembly. The production then opens in London at the Lyric Hammersmith Theatre in October before touring the UK. The Secret River premiered in 2013. The acclaimed STC production toured to the Centenary of Canberra Festival and the Perth International Arts Festival. The production won six Helpmann Awards including Best Play, as well as Best New Work at the Sydney Theatre Awards, the Awgie Award for Stage Writing, the David Williamson Prize and was joint winner of the NSW Premier’s Literary Award for Community Relations. When the Rain Stops Falling premiered at the 2008 Adelaide Festival of the Arts before touring nationally and going on to win numerous awards. The play has been produced in London at the Almeida Theatre (2009) and in New York at The Lincoln Centre (2010) where it won five Lucille Lortell Awards and was named Best New Play of the Year by Time Magazine. It has subsequently been produced throughout the USA, NZ and Europe, most recently in the award-winning production Cuando deje de llover in Madrid. Earlier works for the stage include Holy Day, Who’s Afraid of the Working Class?, Speaking in Tongues, Scenes From a Separation, Shades of Blue, Ship of Fools and After Dinner. The Sydney Theatre Company revived his first play, After Dinner, for a sell-out season at the Wharf 1 Theatre in 2015. His most recent film, A Most Wanted Man (2014),is an adaptation of the John Le Carré novel for director Anton Corbijn featuring Phillip Seymour Hoffman. Other films include Edge of Darkness (2010, starring Mel Gibson), Blessed (2009, winner of Best Screenplay Award at the San Sebastian Film Festival), Lantana (2001, based on Speaking in Tongues, winner of Best Screenplay Award from AFI, Australian Critics Circle, Australian Writers’ Guild, London and Durban Film Festivals), Head On (1998, winner Best Screenplay Award from Australian Writers’ Guild)

and the original screenplay for Strictly Ballroom (1992). For TV, he has written The Fisherman’s Wake, Piccolo Mondo and Lust for ABC’s Seven Deadly Sins series. In October 2015, he delivered the BAFTA and BFI International Screenwriting Lecture – the first Australian to do so. He delivered the landmark 2013 keynote address at the National Play Festival in Sydney and the 2011 Foxtel Address on Screenwriting. Andrew has served on the international jury for Sydney Film Festival, is a current board member of Playwriting Australia and has served on the Literature Board of the Australia Council, and the boards of the Adelaide Film Festival and Australian Writers’ Guild. He is a recipient of the Australian Centenary Medal for his services to the Arts and Society. He has served as a screenwriting consultant and mentor in Australia and Europe and has delivered numerous master classes on screenwriting and playwriting both in Australia and abroad.

Neil Armfield AO Director Queensland Theatre Company: Summer of the Seventeenth Doll, The Underpants, The Spook. Other Credits (highlights): Sydney Theatre Company: The Secret River, King Lear; Belvoir: The Diary of A Madman, Hamlet, Aliwa!,The Seagull, Cloudstreet, Keating!, Toy Symphony, The Blind Giant is Dancing, Exit the King, The Book of Everything; Opera Australia: Bliss, Der Ring des Nibelungen; Houston Grand Opera/Opera Australia: Billy Budd, Peter Grimes; Houston Grand Opera/Canadian Opera Company: A Midsummer Night’s Dream; Hampstead Theatre: The Judas Kiss; Belvoir/Western Australian Theatre Company: No Sugar; Belvoir/Playbox: Up the Road; Adelaide Festival: Gulpilil. Film: Candy (co-writer/director), Holding the Man. Positions: Artistic Director, Belvoir (1994-2010). Awards: Sidney Myer Performing Arts Award for Outstanding Achievement in the Performing Arts, Sydney Theatre Award for Significant Contribution to Theatre, as well as many Helpmann, Sydney Theatre and

Victorian Green Room Awards; AFI Awards – Best Director Edens Lost, Best Screenplay Candy (co-written with Luke Davies); Officer of the Order of Australia for National and International Service to the Arts (2007).

Stephen Page Artistic Associate Queensland Theatre Company: As Director: Bloodland (coproduction with Sydney Theatre Company). Other Credits: As Choreographer: Bangarra: includes Patyegarang, Ochres, Skin, Bush, Mathinna, Fire: A Retrospective. Bangarra/Australian Ballet: Rites, Amalgamate, Warumukin the dark night. As Director: Sydney Theatre Company: Bloodland; Belvoir: Page 8. Film: Spear, The Turning, The Sapphires, Black River, Bran Nue Dae. Other: Directed the Indigenous sections for the 2000 Sydney Olympic Games Opening and Closing Ceremonies. Positions: Artistic Director - Bangarra Dance Theatre, 1991 – present; Artistic Director - Adelaide Festival of Arts, 2004; NSW Australian of the Year, 2008. Awards: Helpmann Awards - Best New Australian Work and Best Dance Work Skin (2001), Best Dance Work Bush (2004), Best Dance Work and Best Choreography Mathinna (2009), Best Choreography and Best Ballet/ Dance Work Fire (2010), Best Choreography ID Belong (2013), Best Regional Touring Production True Stories (2008); Australian Dance Awards for Service to Dance and Outstanding Performance by a Company Fire (2010); NAIDOC Award - Artist of the Year (2013). Training: NAISDA.

Stephen Curtis Set Designer Queensland Theatre Company: Brisbane, Boston Marriage, Black Diggers (co-production with Sydney Festival), Pygmalion, The Venetian Twins, Dinkum Assorted. Other Credits: Sydney Theatre 17

Company: The Vertical Hour, Doubt - A Parable, Furious, The Pig Iron People, Navigating, Hanging Man, Harbour, The Republic of Myopia, Life After George, Corporate Vibes, All My Sons, The Country Wife, Heartbreak House, A Man With Five Children, Summer of the Aliens, The Government Inspector; Sydney Festival: I Am Eora; Marrugeku Theatre Company: Cut the Sky, Gudirr Gudirr, Burning Daylight; Opera Australia: La bohème, Lulu, The Cunning Little Vixen, The Turn of the Screw; Houston Grand Opera: The Turn Of The Screw; State Opera of South Australia: Der Ring Des Nibelungen; Bell Shakespeare: The Winter’s Take, Henry IV, The Duchess of Malfi, Much Ado About Nothing, The Government Inspector, Romeo And Juliet, Moby Dick, The Wars of the Roses, The Servant of Two Masters; Melbourne Theatre Company: Rupert, All About My Mother, The Hypocrite, Life X 3, Tribes, The Birthday Party, Realism, The Blue Room, Cat On A Hot Tin Roof, The Ghost Writer, Rock ‘N’ Roll, Two Brothers; Griffin Theatre: Savage River (Melbourne Theatre Company/Backspace Theatre); Belvoir: The Adventures of Snugglepot & Cuddlepie and Little Ragged Blossom (Sydney Festival/Windmill Performing Arts/ Perth Festival), The Business, Gwen in Purgatory, Scorched, It Just Stopped, In Our Name, Emma’s Nose, The Underpants, Svetlana in Slingbacks, Small Poppies, Cosi, Picasso at the Lapin Agile, The Alchemist; STCSA: Twelfth Night, Dreams in an Empty City, Signal Driver. Film: Looking for Alibrandi, Twelfth Night, Breathing Underwater, Bedevil, Night Cries. Awards: Helpmann Award - Best Costume Design Der Ring De Nibelungen, Green Room Award Best Design Lulu.

Serpent’s Teeth, Riflemind, A Midsummer Night’s Dream, The Art of War, Mother Courage and Her Children, Woman in Mind, Far Away, Victory, Love for Love, The Trackers of Oxyrhynchus, The Government Inspector, The Mortal Falcon; Belvoir: The Wild Duck, Namatjira, Toy Symphony, The Adventures of Snugglepot & Cuddlepie and Little Ragged Blossom, Ray’s Tempest, A Midsummer Night’s Dream, The Lieutenant of Inishmore, Waiting for Godot, Cloudstreet, Suddenly Last Summer, As You Like It, The Judas Kiss, The Governor’s Family, The Seagull, Night on Bald Mountain, Hamlet, The Cockroach Opera, The Diary of a Madman, Knuckle Dusters, A Lie of the Mind; Australian Theatre for Young People: Spring Awakening, The Caucasian Chalk Circle; Opera Australia: La Traviata (Sydney Harbour), Lady Macbeth of Mtsensk, Jenufa, Whitsunday, Peter Grimes; Lyric Opera of Chicago/Covent Garden: Sweeney Todd; English National Opera: The Triple Bill: The Prisoner/ Berio Folk Songs/La Strada; Musicals: Shane Warne The Musical, Chess, The Wedding Song. Film: The Sapphires, Dirty Deeds, Bootmen, Spotswood, Unfolding Florence, Greenkeeping, Radiance, Mr Reliable, Cosi. Awards: APDG Award The Water Diviner and APDG Award Lifetime Achievement (2015). Sydney Theatre Critics Award The Great (2008). Green Room Award Cloudstreet. AFI Awards The Water Diviner, The Sapphires, Dirty Deeds, Bootmen, Spotswood.

Tess Schofield

Queensland Theatre Company: One Woman’s Song. Other Credits: Sydney Theatre Company: Byzantine Flowers, Furious, Sixteen Words for Water, The Sum of Us; Savoy Theatre: Cabaret (Lighting and Video); Belvoir: Gulpilil, Cloudstreet, A Lie of the Mind, Buried Child, The Keepers, Frogs, Popular Mechanicals, The Dreamers, Conversations With The Dead, As You Like It; Black Swan State Theatre Company: The Island; Bangarra: Fish; Melbourne Theatre Company: Death of a Salesman; Opera Australia: Norma, Il Trovatore; The Australian Ballet/Bangarra:

Costume Designer Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: Long Day’s Journey into Night, Spring Awakening, Tot Mom, A Streetcar Named Desire, Elling, The Wonderful World of Dissocia, The Convict’s Opera (co-production with Out of Joint), The Great, The 18

Mark Howett Lighting Designer

Rites, Amalgamate; Stalker Theatre: Crying Baby; Im Raum Lumina Schauspielhaus Cologne: Heutel; Berlin Volksbühne: I’m Not The Only One; Sasha Waltz and Guests: Edgar. West End Lighting Design Credits: Dreamboats and Petticoats (West End and UK Tour), Starlight Express (Video Design), Blood Brothers, A Country Girl, A Daughter is a Daughter. Awards: Helpmann Award - Lighting Design Cloudstreet, Helpmann Award – Best Presented Concert Kura Tunga, Green Room Award – Best Lighting Design The Love of Three Oranges (2006), Green Room Award – Best Lighting Design Roadkill (2009). Training: Yale University.

Iain Grandage Composer Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: In the Next Room (or The Vibrator Play), Optimism (co-production Malthouse Theatre); Belvoir/Black Swan: Cloudstreet, Welcome to Broome; Belvoir: The Book of Everything, Svetlana in Slingbacks, The Caucasian Chalk Circle. Malthouse Theatre: Little Match Girl, Die Winterreise, Optimism, Vamp, Babes in the Wood, The Odyssey; Melbourne Theatre Company: Queen Lear, The Blue Room, Cloud Nine, True West; Black Swan State Theatre Company: Rising Water, The Year of Magical Thinking, Copenhagen, Mamu, Away, Plainsong, MerryGo-Round in the Sea; Victorian Opera: The Riders; Opera Australia: The Rabbits; Expressions Dance Company: When Time Stops; DanceNorth: Remember Me; Splinter Group: Lawn; Steamworks: The Drover’s Wives. As Musical Director: Tim Minchin vs the Orchestras 2012; Black Arm Band: dirtsong, Hidden Republic; Melbourne Festival: Seven Songs; Eddie Perfect/ANAM: Songs from the Middle; Meow Meow/ANAM: Wunderschön; Black Swan State Theatre Company: Corrugation Road. Concert works performed by: Brodsky String Quartet, ASQ, ABQ, ACO, MSO, TSO, ASO, WASO, QYO, WAYO and choirs in Australia and overseas. Orchestral arrangements: Kate Miller-Heidke, Tim Minchin, Sinead O’Connor, Black Arm

Band, Gurrumul, The Whitlams, Tim Rogers, Ben Folds. Musician Meow Meow’s, Topology, Australian Art Orchestra. Positions: Artistic Director, Port Fairy Spring Music Festival. Honorary Research Fellow, UWA School of Music. 2010-11 Ian Potter Composition Fellow. 20067 Composer-in-Residence Youth Orchestras of Australia. 2004-5 Composer-in-Residence WASO. Awards: Sidney Myer Performing Arts Award 2012; Helpmann Award – Best Score The Rabbits (with Kate Miller-Heidke, 2015), Helpmann Award – Best Score The Secret River (2013), Helpmann Award Best Score Cloudstreet (2002); Best Music Direction The Secret River (2013), Best Music Direction Little Match Girl (2012); APRA Art Music Awards - Vocal Work of the Year The Riders (2015). Green Room Award - Best Music Score Theatre Body of Work (2012); Green Room Award – Best Music Direction Little Match Girl (2012), Wunderschön (2009) and Vamp (2008), Green Room Award - Best Music Score for Dance Lawn (2009), Green Room Award - Best Music Score Babes in the Wood (2004), Green Room Award – Best Sound Design The Blue Room (2004).

Steve Francis Sound Designer Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: Orlando, Battle of Waterloo, After Dinner, Switzerland, Mojo, Travelling North, Machinal, Vere (Faith), Rosencrantz and Guildenstern are Dead, Sex with Strangers, The Splinter, Under Milk Wood, Les Liaisons Dangereuses, Pygmalion, Bloodland, Blood Wedding, The White Guard, Hamlet, Tusk Tusk (coproduction with Australian Theatre for Young People), Leviathan, Spring Awakening, The Removalists, Rabbit, The Pig Iron People, Gallipoli, The Great, Romeo and Juliet, The Taming of the Shrew, Embers (co-production with HotHouse Theatre), The 7 Stages of Grieving, Fat Pig, A Hard God, Stolen; Griffin Theatre: A Rabbit for Kim Jong-il, The Bull, the Moon and the Coronet of Stars, Between Two Waves, This Year’s Ashes, Speaking in Tongues, Strange Attractor; Belvoir: Angels in America, Babyteeth, This Heaven, Don’t Take your Love to

Town, The Power of Yes, The Book of Everything, Gethsemane, The Man from Mukinupin, Ruben Guthrie, Baghdad Wedding, Keating!, Paul, Parramatta Girls, Capricornia, Box the Pony, In Our Name, Gulpilil, Page 8, The Spook; Melbourne Theatre Company: The Weir, The Sublime, Other Desert Cities; Bell Shakespeare: Hamlet, Henry V, Much Ado About Nothing, Duchess of Malfi, Romeo and Juliet; Bangarra: Lore, Belong, Fire, True Stories, Skin, Corroboree, Walkabout, Bush, Boomerang; The Australian Ballet: Totem. Film: The Turning, JB, Last Christmas, dik, The Burnt Cork, Mr Patterns, Box, Black Talk, Djarn Djarns. Television: Cops LAC, Dangerous, Double Trouble, Chopper Rescue, Macumba, Picture the Women. Awards: Sydney Theatre Award Henry V (2014), Helpmann Award - Best Original Score Belong (2012), Helpmann Award - Original Score and Best New Australian Work Walkabout (2003); Sydney Theatre Award The White Guard (2011).

Kip Williams Tour Director Queensland Theatre Company: Debut. Other Credits: As Director: Sydney Theatre Company: The Golden Age, Love and Information (coproduction with Malthouse Theatre), Suddenly Last Summer, Children of the Sun, Macbeth, Romeo and Juliet, Under Milk Wood; Sydney Chamber Opera: An Index of Metals, The Lighthouse, Through the Gates (also 18th Biennale of Sydney), Ich Habe Genugg/Nunc Dimittis; Malthouse Theatre/Us-A-Um: Lord of the Flies; Tamarama Rock Surfers: Fallout; Princeton Theatre: Fifth of July; National Theatre, Melbourne: One For the Road; NIDA: Cloud 9, Lord of the Flies, Not I. As Associate Director: Sydney Theatre Company: Cyrano de Bergerac. As Dramaturg: Sydney Theatre Company: Orlando. As Assistant Director: Sydney Theatre Company: Gross und Klein, Loot, The White Guard; Opera Australia: Cosi Fan Tutte; Victorian Opera: The Turn of the Screw, Albert Herring; Melbourne Theatre Company: Richard III. Film: B, Bee & Mee, Walk, Pay to be Afraid. Positions: Resident Director for Sydney Theatre Company. Awards: Helpmann Award - Best Direction of a Play Suddenly Last Summer (2015). Training: NIDA, University of Sydney.

Richard Green Language Consultant Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: Stolen; Eora College: Stand and Deliver; Urban Theatre Projects: The Fence; Festivals and Special Openings: Wuggam Ma Gul, Farm Cove, Governor’s Australia Day Opening, Yabun Festival, Oprah Winfrey, Snoop Dogg, Michael Franti, Ben Harper, George Bush, The Dalai Lama, Australian Labor Party, Liberal Party, The Greens, Democrats, The Conservatorium of Music, Department of Education. Film: As Actor: Convict, The Last Confession of Alexander Pearce, Boxing Day, Snowtown, Jewboy. As Writer: Boxing Day. Short Film: As Actor: Hypochlorite, Kairos, Jailbird, Two/Out. As Writer: Spirit Stones. Television: Black Comedy, Redfern Now, The Gods of Wheat Street, The Colony, The First Australians, The Yarramundie Kids, Message Sticks, Pemulway. Awards: Montreal Festival Du Nouveau Cinéma - Best Actor Boxing Day (2007). Training: Eora College.

Matthew Whittet Dramaturg Queensland Theatre Company: Debut. Other Credits: As Actor: Sydney Theatre Company: The Wonderful World of Dissocia, The Metamorphosis, This Little Piggy, These People, Endgame, Fireface, Attempts on Her Life, Seneca’s Oedipus; Windmill: School Dance, Fugitive; Belvoir: Conversation Piece, The Book of Everything, The Threepenny Opera, The Underpants, Ubu, As You Like It; Malthouse: Moving Target, Journal of the Plague Year, The Ham Funeral; Bell Shakespeare: Hamlet, King Lear; STCSA: The Department. As Dramaturg: Sydney Theatre Company: The Maids; National Theatre of Iceland: King Lear. As Writer: Belvoir: Seventeen, Old Man, Silver; Windmill: School Dance, Fugitive, Big Bad Wolf; Brink: Harbinger. Film: As Actor: The Great Gatsby, Australia, U Can’t Stop the Murders, Moulin Rouge. Television: Mabo, Sea Princesses, Sea Patrol, 19

White Collar Blue, Bad Cop Bad Cop, Changi, Backberner, Wildside, Water Rats. Awards: Sidney Myer Creative Fellow (2013-14); Philip Parson Young Playwrights Award Silver (2010). Training: NIDA.

Charmian Gradwell Voice & Text Coach Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: The Golden Age, King Lear, Orlando, Arms and the Man, The Present, Suddenly Last Summer, After Dinner, Cyrano de Bergerac, Children of the Sun, Macbeth, M.Rock, Mojo, Perplex, Noises Off, The Long Way Home, Travelling North, Machinal, Waiting for Godot, Romeo and Juliet, Rosencrantz and Guildenstern are Dead, Storm Boy, The Maids, Mrs Warren’s Profession, Sex with Strangers, Under Milk Wood, Gross und Klein, Bloodland, Elling, Blood Wedding, The White Guard, In the Next Room (or The Vibrator Play), Uncle Vanya, Travesties, A Streetcar Named Desire, The War of the Roses, Tot Mom; Royal Shakespeare Company: The Taming of the Shrew, Julius Caesar, The Tempest, The Canterbury Tales (tour), A Winter’s Tale, Pericles, Days of Significance, Macbeth, Macbett, The Penelopiad, Noughts and Crosses, The Comedies London Season, Twelfth Night, A Midsummer Night’s Dream, The London Gunpowder Season, Romeo and Juliet. As Director: Sydney Theatre Company: A Comedy of Errors. As Director/Trainer: Space 2000; Kaduna, Nigeria; London School of Puppetry. Film: As Dialect Coach: Reaching for the Moon, Truth, Ginger & Rosa. Positions: Member of London Shakespeare Workout, which brings Shakespeare into UK prisons. Training: Central School of Speech and Drama, Bristol Old Vic Theatre School.

Georgia Adamson Sal Thornhill Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: Actor on a Box; Bell Shakespeare: Wars of the Roses, 20

A Midsummer Night’s Dream, The Tempest, I Own the Racecourse, Actors At Work; Ensemble: Diving for Pearls; Sport for Jove: The Crucible, Edward II; Cry Havoc: Three Sisters; Teatro Paradiso: Pesciolino; Christine Dunstan Productions: Snugglepot and Cuddlepie; Tamarama Rock Surfers: Animal People; PACT: The Oedipus Project. Film: Cul De Sac, Footy Legends. Television: A Place to Call Home, Peter Allen: Not the Boy Next Door, Hiding, Love Child, The Code, Gangs of Oz, Rescue Special Ops, All Saints, Out of the Blue, McCleod’s Daughters, Echo Point, A Country Practice. Positions: Sydney Theatre Company: Resident Artist (2012). Awards: Sydney Theatre Award - Best Supporting Actress The Crucible (2014). Training: ATYP, Shakespeare & Company.

Joshua Brennan Dan Oldfield Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: M.Rock (co-production with ATYP); ATYP: Spur of the Moment; Black Swan State Theatre Company: Up in the Flood; Western Australian State Theatre Company: Heath Ledger Theatre Gala Opening; Perth Theatre Company: Tender Napalm. Television: Parer’s War, Home & Away, Underbelly: Badness, Cast Away, Ocean Star, The Shark Net. Training: WAAPA, The School at Steppenwolf.

Toby Challenor

Black Diggers (co-production with Sydney Festival). Other Credits: Sydney Theatre Company: Storm Boy (co-production with Barking Gecko Theatre); Barking Gecko Theatre: Jasper Jones. Short Film: Link. Television: Black Comedy, The Broken Shore. Training: NIDA.

Nathaniel Dean William Thornhill Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: The Secret River, The One Day of the Year; Black Swan State Theatre Company: A Streetcar Named Desire; Melbourne Theatre Company: The Effect; Belvoir: Gwen in Purgatory, Peribanez, Dream a Little Dream; Brisbane Powerhouse: The True Story of Butterfish. Film: The Final Winter, Candy, Somersault, The Rage in Placid Lake, Walking on Water. Television: Parer’s War, Anzac Girls, Old Boys, Puberty Blues, Bikie Wars, Wild Boys, Killing Time, Rush, Satisfaction, City Homicide, Underbelly, All Saints, East West 101, Rain Shadow, Farscape, Always Greener, Home and Away. Awards: AFI Award - Best Actor in a Supporting Role Walking on Water (2002). Training: NIDA.

Frances Djulibing Buryia

Dick Thornhill

Queensland Theatre Company: Debut. Other Credits: Malthouse Theatre: Shadow King. Film: Charlie’s Country, Crocodile Dreaming, Ten Canoes. Television: The Secret River.

Queensland Theatre Company: Debut. Other Credits: Belvoir: Mortido, Nora. Film: Felony. Short Film: Way Out, The Immortal.

Jennifer Hagan

Shaka Cook

Mrs Herring

Wangarra/Branyimala Queensland Theatre Company:

Queensland Theatre Company: Debut. Other Credits (highlights): Sydney Theatre Company: Morning Sacrifice, Vita and Virginia, The Marriage of Figaro, Big and Little, Six Characters in Search of An Author,

The Life and Adventures of Nicholas Nickelby, The Way of the World, As You Desire Me, A Happy and Holy Occasion, Chinchilla, Close of Play, The Caucasian Chalk Circle; Griffin Theatre: Emerald City, The Falls; Bell Shakespeare: Tartuffe; The Street Theatre: Georgia; Blackbird Productions: Steel Magnolias; NIDA: No Names, No Pack Drill; Melbourne Theatre Company: Richard III, Electra, Blithe Spirit; STCSA: Les Liaisons Dangereuses; Marian Street: Mrs Warren’s Profession, Communicating Doors, Season’s Greetings, Benefactors. Film: Mad Max: Fury Road, The Silence, The Night We Called it a Day, For Love Alone. Television: Paper Giants, All Saints, Raferty’s Rules. Training: NIDA.

Isaac Hayward

Ngali; Belvoir/Big hART: Namatjira; Belvoir: As You Like It; Malthouse Theatre/Big hART: Namatjira; Canberra Theatre Centre/Big hART: Ngapartji 1; Stalker Theatre Co: Burning Daylight, Salamanca, Crying Baby; Black Swan State Theatre Company: Bran Nue Dae, Merry-GoRound in the Sea, Corrugation Road, Yandy; Deckchair Theatre: King for This Place; Festival of Perth/Sydney Festival/Adelaide Festival/Dreaming Festival/Big hART: Ngapartji Ngapartji. Film: Rabbit Proof Fence. Television: The Secret River, Heartland, Lockie Leonard, My Place, Around the Block, Death of the Megabeasts, Three Acts of Murder, Done Dirt Cheap, Kings in Grass Castles, My Bed Your Bed. Awards: Sydney Theatre Awards Best Actor in a Lead Role Ngapartji Ngapartji (2008).

Madeleine Madden

Heath Jelovic

Thomas Blackwood

Musical Director/Musician Queensland Theatre Company: Ladies in Black. Other Credits: Opera Australia: The Rabbits; Hayes Theatre: Dogfight; Sound One: The Rock Show. As Assistant Music Director: The Production Company: Nice Work If You Can Get It; Gordon/Frost: Grease. As Musician: The Production Company: Nice Work If You Can Get It, Guys & Dolls, Showboat; Lifelike: Passion; Cameron Mackintosh: Les Miserables; Newtheatricals: The Addams Family; TML Enterprises: Chitty Chitty Bang Bang; Cameron Mackintosh/Disney: Mary Poppins. Arranging: Ladies in Black (additional orchestrations), Teddy Tahu Rhodes, Tim Campbell, Idea of North, Adelaide Symphony Orchestra. Television: As Jazz Arranger and Repetiteur: The Divorce. Awards: Rob Guest Endowment Musician Award 2014, Mo Award Best Rock Act 2011.

Trevor Jamieson Ngalamalum Queensland Theatre Company: Black Diggers (co-production with Sydney Festival). Other Credits: Sydney Theatre Company: Storm Boy (co-production with Barking Gecko Theatre), The Secret River; Windmill Performing Arts/Big hART: Nyuntu

Dick Thornhill Queensland Theatre Company: Debut. Other Credits: Opera Australia: Turandot; Kermond Productions: Candyman; Packemin Productions: Beauty and the Beast, The Wizard of Oz. Short Film: Sammy, Reef Regret. Television: Disney Star Wars at Home.

Ningali Lawford-Wolf Dhirrumbin/Dulla Djin Queensland Theatre Company: Debut. Other Credits: Belvoir: Up the Road, Aliwa; Yirra Yaakin: One Day in 67, Solid; Black Swan State Theatre Company: Uncle Vanya, Jundumarra, Yandi, BND, Corrugation Road; Deckchair Theatre: Ningali. Film: Last Cab to Darwin, Bran Nue Dae, Jacob, Rabbit-Proof Fence. Television: The Circuit, 3 Acts of Murder, Dirt Game, The Games, Kings in Grass Castles. Awards: Edinburgh Fridge Award - Best Actress Ningali, Green Room Award Ningali.

Gilyagan/Muruli Queensland Theatre Company: Debut. Film: Around the Block. Short Film: Frontier, The Hoarders, Moth, Ralph, The Farm, Back Seat. Television: Tomorrow When the War Began, Ready for This, The Code, The Moodys, Redfern Now, Jack Irish III: Dead Point, My Place.

Colin Moody

Queensland Theatre Company: Good Works. Other Credits: Sydney Theatre Company: King Lear, Romeo and Juliet, The Secret River, The City, A Midsummer Night’s Dream, The Art of War, The Season at Sarsaparilla, The Bourgeois Gentleman, The Lost Echo, Mother Courage and Her Children, Macbeth, The Herbal Bed, Mourning Becomes Electra, Closer, Broken Glass, Sweet Phoebe, The Crucible, Titus Andronicus, Two Weeks with the Queen, Angels in America, Uncle Vanya, The Homecoming; Thin Ice: Antigone; Ensemble: Red; Bell Shakespeare: Hamlet, Macbeth, Julius Caesar; Melbourne Theatre Company: A Behanding in Spokane, King Lear, Cruel and Tender, Great Expectations, The Duchess of Malfi; Belvoir: Forget Me Not, Measure for Measure, Love Me Tender, The Tree, 2000 Feet Away, The Lieutenant of Inishmore, The Birthday Party, Macbeth, Splendide; Playbox: The Frail Man; Griffin Theatre: The Modern International Dead, Live Acts on Stage, Shorts at the Stables; Q Theatre: The Caretaker. Film: The Voyage of the Dawn Treader, Narnia Chronicles, Frank Black Circles, The Wayfarers, Escape from Absalom, Road to Alice. Television: Gallipoli, Party Tricks, Miss Fisher’s Murder Mysteries, Deadline Gallipoli, Smalltime Gangster, Stingers, Pirate Islands, Marshall Law, MDA, Something in the Air, The Track, Wildside, Big Sky, Return to Jupiter, Law of the Land, Feds, GP, The Leaving of Liverpool, The Flying Doctors, Mimi Goes to the Analyst, A Country Practice, Wicked Science. Awards: Helpmann Award - Best Supporting Actor The Secret River 21

(2013); Sydney Theatre Awards - Best Actor in a Supporting Role Mother Courage and Her Children (2006), Best Actor in a Leading Role Julius Caesar (2011).

Richard Piper

Rory Potter

Jeremiah Mundine

Smasher Sullivan

Willie Thornhill

Queensland Theatre Company: The Daylight Atheist (co-production with Melbourne Theatre Company). Other Credits: Sydney Theatre Company: Gross und Klein, Moby Dick; Bell Shakespeare: A Midsummer Night’s Dream, The War of the Roses, Henry V, Henry IV; Belvoir: The Wild Duck (Barbican Centre); Malthouse Theatre: ’Tis Pity She’s a Whore; Playbox Theatre: Competitive Tenderness, Picasso at the Lapin Agile, A Happy and Holy Occasion; STCSA: Moby Dick, Marat Sade, The Comedy of Errors, Restoration, A Midsummer Night’s Dream, ’Tis Pity She’s a Whore, What the Butler Saw; Melbourne Theatre Company: Ghosts, Music, Queen Lear, The Gift, Great Expectations, Drowsy Chaperone, Rockabye, Entertaining Mr Sloane, The Give and Take, Dumb Show, The Daylight Atheist, Coup D’Etat, Betrayal, Man the Balloon, Life After George, Measure for Measure, The Comedy of Errors; Adrian Bohm: Twelve Angry Men; Global Creatures: King Kong; LWAA: Billy Elliot; Paul Dainty: The New Rocky Horror Show. As Composer: Melbourne Theatre Company: The Three Musketeers, Tristram Shandy, As You Like It; EHJ Productions: Twelfth Night; STCSA: Restoration. Film: Pirates of the Caribbean 5, Salvation, Postcard Bandit, Federation, Fable. Television: Wentworth, Australia on Trial: Myall Creek, Tangle, Underbelly: The Movie Files, City Homicide, Cutting it at the Fringe, Satisfaction, Blue Heelers, Crashburn, MDA, Something in the Air, Stingers, Good Guys, Bad Guys, Ship to Shore 3, Correlli, Snowy River: The McGregor Saga, Wedlocked, Blue Heelers, The Damnation of Harvey McHugh, Neighbours, Bligh, Mission Impossible, House Rules, Bush Patrol. Positions: Member of Improvisation Company Theatre Machine; Lead singer and guitarist of The Bouncing Czecks, Up All Night, Shakespeare’s Secret. Awards: Green Room Award The Daylight Atheist (2004). Training: Central School of Speech and Drama, London.

Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: Storm Boy (coproduction with Barking Gecko Theatre), Waiting for Godot, The Secret River; Bell Shakespeare: The Winter’s Tale; Belvoir/ATYP: Medea. Film: The Dressmaker. Television: Devil’s Playground, The Secret River. Awards: Sydney Theatre Award - Best Newcomer Medea (2012).

Garraway/Dulla Djin’s Child Queensland Theatre Company: Debut. Television: Redfern Now, Devil’s Dust.

Wesley Patten Garraway/Dulla Djin’s Child Queensland Theatre Company: Debut.

Kelton Pell Yalamundi Queensland Theatre Company: Bloodland. Other Credits: Sydney Theatre Company: Bloodland; Yirra Yaakin: The Fever and the Fret; Bunuba Film: Jandamarra; Black Swan State Theatre Company: Bindjareb Pinjarra, Twelfth Night, A Midsummer Night’s Dream; STCSA: Crow; Deckchair Theatre: Strategy for Two Hams, The Removalists, The Silent Years; Urban Theatre Company: The Fence; Belvoir/Ilbijerri: Corranderk: We Will Show the Country. Film: Looking for Grace, Mad Bastards, Aunty Maggie and the Womba Wagkun, The Last Ride, Bran Nue Dae, Blackfellas, Australian Rules, Confessions of a Headhunter, Cold Turkey, Where Two Rivers Meet, September, One Night the Moon, Stone Brothers. Television: The Circuit, Bush Patrol, Cloudstreet, Redfern Now, The Moodys, Gods of Wheat Street, Death or Liberty.

James Slee Narabi Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: Battle of Waterloo, The Secret River; Belvoir: The Cake Man. Television: Black Comedy, The Broken Shore, Redfern Now. Training: Young Actors Studio NIDA (recipient of Robertson Foundation Scholarship 2014).

Bruce Spence Loveday Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: Endgame, Cyrano de Bergerac, The Secret River, Under Milk Wood, The White Devil, As You Like it, Macbeth, Mixed Doubles; Melbourne Theatre Company: Sunday Lunch, A Servant of Two Masters, A Midsummer Night’s Dream, Twelfth Night, Journey’s End, The Resistible Rise of Arturo Ui, Under Milk Wood, Richard III; Belvoir: The Cosmonaut’s Last Message; Griffin Theatre: The Marvellous Boy; Cameron Mackintosh: Les Miserables; Gordon Frost Organization: Big River, How To Succeed In Business Without Really Trying. Film: Gods of Egypt, Backtrack, I Frankenstein, Mystery Road, The Voyage of the Dawn Treader, Australia, Solo, Aquamarine, Star Wars Episode 3 - Revenge of the Sith, The Matrix

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Matthew Sunderland

Acknowledgements Production photographer: Heidrun Löhr

Sagitty Birtles/Suckling/Turnkey Queensland Theatre Company: Debut. Other Credits: Sydney Theatre Company: The Secret River; Christchurch, Edinburgh, London: The Generation of Z; Peripiteia Theatre: Three Sisters; Silo Theatre, Auckland: Fool for Love, Blasted; Brisbane Arts Festival: Peninsula; Herald Theatre, Auckland: Trainspotting; Bats Theatre: Nick Cave Plays; Maidment Theatre: Waiting for Godot. Film: Backtrack, The Weight of Elephants, Existence, The Devil’s Rock, Tracker, Under the Mountain, A Song of Good, The Strength of Water, Out of the Blue, The Last Magic Show, Christmas, Stringer, Woodenhead, Absent Without Leave, Desperate Remedies. Short Film: Vostok Station, Poppy. Television: Harry, Shortland Street, This Is Not My Life, Piece of My Heart. Awards: Qantas Film & TV Award - Best Actor Out of the Blue (2008). Training: Toi Whakaari: New Zealand Drama School.

The Secret River, adapted for the stage by Andrew Bovell, is based on the novel of the same name by Kate Grenville.

BIOGRAPHIES

Revolutions, Lord of the Rings 3 - The Return of the King, Finding Nemo, Peter Pan, Moby Dick, Inspector Gadget 2, Dark City, Ace Ventura 2 - When Nature Calls, Hercules Returns, Sweet Talker, The Year My Voice Broke, Mad Max II, Mad Max III, Newsfront, The Cars That Ate Paris, Stork. Television: Rake, Cloudstreet, Legend of the Seeker, City Homicide, Nightmares and Dreamscapes: Battleground, R.A.N., The Brush Off, Always Greener, Farscape, Twisted Tales, Tales of the South Seas, Halifax f.p, Good Guys Bad Guys, Over The Hill, Return to Jupiter, Dearest Enemy, Rafferty’s Rules, Tanamera, Great Expectations The Untold Story, Dirtwater Dynasty, Halfway Across The Galaxy and Turn Left. Positions: Originating member of the Australian Performing Group, Member Actors’ Equity. Awards: Tropfest Award - Best Male Actor Australian Summer (2005).

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

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

Marketing and Audience Development Manager: Yvonne Whittington Head of Campaigns: Jane Hunterland Marketing Coordinator: Amanda Solomons Marketing Assistant: Yuverina Shewpersad Digital Marketing Officer: David D’Arcy Graphic Designer: Aleesha Cuffe Publicist: Kath Rose and Associates Ticketing Officer: Donna Fields-Brown

MEMBERS OF THE BOARD Richard Fotheringham (Chair) Elizabeth Jameson (Deputy Chair) Kirstin Ferguson Erin Feros Simon Gallaher Peter Hudson Nathan Jarro ARTISTIC DIRECTOR Sam Strong EXECUTIVE DIRECTOR Sue Donnelly Executive Assistant: Tammy Sleeth Programming Manager/Senior Producer: Sophia Hall Artistic Coordinator: 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

Deputy Executive Director: Amanda Jolly Corporate Partnerships Manager: Nikki Porter Development Coordinator: Dee Morris Communications and Grant Coordinator: Anja Homburg Database Trainer and Supervisor: Dale Ric-Hansen Production Manager: Toni Glynn Technical Coordinator: Daniel Maddison Production Coordinator: Canada White Touring Coordinator: Michael Rogerson 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

National Artistic Team: Jimi Bani, Wayne Blair, Margi Brown-Ash, Marcel Dorney, Christie Evangelisto, Kat Henry, Nakkiah Lui, Annette Madden, Renee Mulder, Lucas Stibbard Front of House (The GreenHouse): Madison Bell, Leisa Du Bois, Anita Hughes, Sally Lewis FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003) Queensland Theatre Company is a member of Live Performance Australia. QTC PRODUCTION STAFF Wardrobe Maintenance: Frances Pyper Dresser: Bianca Bulley

STC PRODUCTION STAFF Production Manager: John Colvin Company Manager: Annelies Crowe Stage Manager: Georgia Gilbert Deputy Stage Manager: Sarah Smith Assistant Stage Managers: Todd Eichorn, Jaymii Knierum Wig, Make-Up & Wardrobe Supervisor: Lauren A. Proietti Head Mechanist: Eric Duffy Lighting Realiser/Head Electrician: Andrew Tompkins FOH Sound Operator: David Bergman Radio Mic Technician: Olivia Benson Child Chaperone: Kay Drummond

Pier 4, Hickson Road, Walsh Bay PO Box 777, Millers Point NSW 2000 Telephone Wharf Box Office (02) 9250 1777 Administration (02) 9250 1700 Email mail@sydneytheatre.com.au Website sydneytheatre.com.au Sign up to our monthly enews at sydneytheatre.com.au/enews

Board of Directors David Gonski ac (Chairman), The Hon Bruce Baird am, Jonathan Biggins Jonathan Church, Toni Cody, John Connolly, Ann Johnson, Mark Lazberger, Patrick McIntyre, Justin Miller, Ian Narev, Gretel Packer, Daniel Petre ao, Peter Young am Artistic Director Jonathan Church Executive Director Patrick McIntyre Director, Programming and Artistic Operations Rachael Azzopardi Director, Finance and Administration Francisca Peña Director, Marketing and Customer Services Nicole McPeake Director, Private Support Danielle Heidbrink Director, Partnerships Rebecca Cuschieri Director, Technical and Production Jono Perry

In 1980, Sydney Theatre Company’s first Artistic Director, Richard Wherrett, defined STC’s mission as to provide “first class theatrical entertainment for the people of Sydney – theatre that is grand, vulgar, intelligent, challenging and fun.” Years later, under the leadership of Artistic Director Jonathan Church, that ethos still rings true. STC offers a diverse program of distinctive theatre of vision and scale at its harbourside home venue, The Wharf; Roslyn Packer Theatre Walsh Bay; and Sydney Opera House, as its resident theatre company. STC has a proud heritage as a creative hub and incubator for Australian theatre and theatre makers, developing and producing eclectic Australian works, interpretations of classic repertoire and great international writing. STC strives to create theatre experiences that reflect Sydney’s distinctive personality and engage audiences.

STC often collaborates with international artists and companies and, in recent years, the company’s international profile has grown significantly with productions touring extensively to great acclaim. Renowned artists John Crowley, Tamás Ascher, Philip Seymour Hoffman, Liv Ullmann, Steven Soderbergh and Isabelle Huppert have all worked with STC in recent years and STC has presented productions by the National Theatre of Great Britain, Abbey Theatre and Steppenwolf Theatre Company.

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PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 744 www.qpac.com.au Chair Chris Freeman AM Deputy Chair Rhonda White AO Trust Members Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM

Executive Staff Chief Executive: John Kotzas Executive Director – Programming: Ross Cunningham Executive Director – Marketing and Communications: Roxanne Hopkins Executive Director – Development: Megan Kair Executive Director – Corporate Services: Kieron Roost Executive Director – Patron Services: Jackie Branch 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 QPAC The Secret River Production Staff Lighting Desk Operator – Nick Toll Floor Electrician – Dan Endicott Head Mechanist – Richard Aishford Mechanists – Tom Pugh, Michael Smith Sound Supervisor – Alex Kelly

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

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

For more information, visit queenslandtheatre.com.au

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

#qtcquartet

We’ve all got a story At QTC we love our mainstage productions, but we’re equally committed to our work in the community, making sure we give everyone the opportunity to get involved and discover their hidden talents. We’re especially proud of our Youth Theatre Ensemble, Traction, which has been running in Logan for two years. Fifty aspiring young performers gather together each week to work with professional actors, writers and dancers. It is having a transformational effect on their lives as they tell their own stories and build their acting skills. If you would like to support our community programs please contact our Deputy Executive Director, Amanda Jolly on 3010 7621.

TRACTION PERFORMANCE LOGAN ENTERTAINMENT CENTRE 2015 The project is supported by the Australian Government Department of Social Services through the Strengthening Communities Programme

DONORS

Honouring and thanking our supporters Trust & Foundations

$250-$499

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

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

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

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

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

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

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

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

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

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

Production Sponsors

Official Airline Partner

Building Enhancement Program

Regional Sponsor

solar Season Sponsors

Season Supporters

Media Supporters

Promotional Partners: Coev Haircutters

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