QUEENSLAND THEATRE COMPANY AND DEAD PUPPET SOCIETY PRESENT
9 JULY – 7 AUGUST Bille Brown Studio, QTC 78 Montague Rd, South Brisbane The Wider Earth will run for approximately 2 hours, including a 20-minute interval. Warning: Dead blackouts, naked flame, approved theatrical smoke, haze effects and strobe lighting. The use of photographic or recording equipment is not permitted inside the theatre. Recommended for ages 12+. Cover photo: Stephen Henry
FOLLOW THIS PLAY #QTCWIDEREARTH
BY DAVID MORTON
CAST Margi Brown Ash
Reverend John Henslow / John Herschel
Tom Conroy
Charles Darwin
Lauren Jackson
Emma Wedgwood
Thomas Larkin
John Wickham
David Lynch
Richard Matthews / Robert Darwin
Jonty Martin
Jemmy Button
Anthony Standish
Robert Fitzroy
Anna Straker
Polly / Puppet Captain
Robert Coleby
Voice of old Darwin
CREATIVES
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David Morton
Writer / Director / Co-Designer / Puppet Designer
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Nicholas Paine
Creative Producer / Puppet Fabricator
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Aaron Barton
Co-Designer
David Walters
Lighting Designer
Lior
Co-Composer
Tony Buchen
Co-Composer
Tony Brumpton
Sound Designer
Justin Harrison
AV / Animation Designer
Louise Gough
Dramaturg
Helen Stephens
Assistant Puppet Coach
Melissa Agnew
Voice & Dialect Coach
Anna Straker
Illustrator (AV) and Puppet Arting
Matthew Seery
Puppet Fabricator
Tia-Hanee Cleary
Puppet Fabricator (Secondment)
Jodie Roche-Jones
Stage Manager
Sam Maher
Assistant Stage Manager / Sound Operator
1800 355 528 queenslandtheatre.com.au mail@queenslandtheatre.com.au
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
englishfamily F O UNDAT IO N
Proudly supported by the Hamer Family Fund, a sub-fund of Australian Communities Foundation
Dead Puppet Society acknowledges St. Ann’s Warehouse as the original development partner
This project is supported by the Queensland Government through Arts Queensland
ACKNOWLEDGEMENT OF COUNTRY Queensland Theatre Company would like to acknowledge the Jagera and Turrbal people who are the Traditional Custodians of this Land. We would like to pay our respects to their Elders both past and present, and all Aboriginal peoples whichever Aboriginal nation they may come from.
WELCO M E NOTE Artistic Director
SAM STRONG
Dear Friends, The other day I was lucky enough to sit in on rehearsals for The Wider Earth. Some rehearsals don’t look that different from the eventual show. Others require you to use much more of your imagination to conjure how all the elements will come together. The Wider Earth rehearsal called on a healthy dose of imagination. Director David Morton and Creative Producer Nicholas Paine were still walking around a series of rostrum to replicate David's and Aaron Barton’s revolving set. A spinning wheel stood in for the ship's wheel. Lighting Designer David Walters was patiently making notes in his script under the fluorescent work-light. And on a laptop in the corner you could just glimpse some of the gorgeous hand-drawn animations that will make up the AV design of Anna Straker and Justin Harrison. But if there were some elements to imagine, others were already taking magical shape before my eyes. Even midway through rehearsals the cast were beautifully transforming the various historical and fictional characters into three dimensional human beings. Acclaimed singer-songwriter Lior and Tony Buchen’s musical score was already soaring above the action. And, of course, there were the puppets. Most QTC staff have been fortunate enough to have a sneak preview as these have been lovingly assembled in our workshop over the last few months. But nothing can prepare you for the sense of wonder when you see these creatures interact with the cast.
Tom Conroy
QTC is particularly proud to bring Queensland audiences The Wider Earth and to acknowledge the generous support we have received from the English Family Foundation and the Australian Communities Foundation. A piece that so celebrates the natural world prompts us to reflect on how human beings can best live alongside the many creatures that make up our unique planet. Also, at a time when the small to medium Australian arts sector is under threat from funding cuts, we are thrilled to be able to partner with a Brisbane success story in Dead Puppet Society. David and Nicholas are creative adventurers with souls as curious as their subject Charles Darwin, and I suspect their career journey will be as epic as the voyage of the HMS Beagle. Welcome to the magic, Sam L-R: Margi Brown Ash, Lauren Jackson
David Morton
Nicholas Paine
M ESSAGE FRO M CO -PRO DUCER Executive Producer and Artistic Director, Dead Puppet Society
NICHOLAS PAINE AND DAVID MORTON
Founded in 2009, when we were graduates from QUT’s Drama course, Dead Puppet Society was a response to what we perceived as a lack of visual theatre being made in Brisbane. In the seven years since we began, the Society has created works that have toured both nationally and internationally. Puppets and visual theatre go hand in hand. In a form devoted to using the theatrical elements in such a way that visuals are given the same importance as text, there often comes a time where non-human performers are necessary. We use puppets to expand the possibilities of what can be presented on stage, and by way of invitation to the audience to expand their imaginations to contribute to the stories that we tell. The Wider Earth was conceived in 2013 while we were under the mentorship of Basil and Adrian of the Handspring Puppet Company in Cape Town. Its creation has served as the backbone for our company ever since.
During our time in South Africa we were struck by how young Darwin was throughout his time on the Beagle. This man in his early twenties seemed to sit at such odds with the image of the elderly gent with a long grey beard, and we decided we wanted to tell this young man’s story – it also seemed a perfect excuse to turn new skills to practice and create a suite of animal puppets. Since that time, the work has had a progress showing at St. Ann’s Warehouse in Brooklyn, a reading at the Lincoln Center in NYC, taken us as far afield as the Galapagos, and brought us back home to Brisbane three times. As a small company, our collaboration with QTC has meant that The Wider Earth is our most ambitious production to date both in terms of scale and complexity. Support and belief of the kind QTC have afforded us are incredibly rare, and it has meant the world to us to dream this story to life with them. Nicholas and David
L-R: Anthony Standish, Jonty Martin, Tom Conroy, David Morton, Jodie Roche-Jones, Melissa Agnew, Nicholas Paine
L-R: David Walters, Margi Brown Ash, David Morton
L-R: Lauren Jackson, David Morton, Tom Conroy
L-R: David Morton, Thomas Larkin, Jonty Martin, David Lynch
L-R: Anna Straker, Margi Brown Ash, Tom Conroy, Lauren Jackson, Thomas Larkin, Anthony Standish, David Lynch
L-R: Anthony Standish, David Lynch
DI R ECTO R’S NOTE Artistic Director, Dead Puppet Society
DAVID MORTON
The Wider Earth is a work of fiction drawn loosely from the historical record. It takes memories of real people, places and events and passes them through the lens of myth. Some may call it blasphemous. Others may caution that the simplicity of the tale undermines the real work of its hero. I hope it might stand as a celebration of the incredible complexity of our planet, and go some small way towards humanising the part played by those brave enough to stand against the dominant thought of their time. Developing new work brings with it the simultaneously liberating and horrifying reality that everything is in flux, and there is nothing to fall back on. It takes a special group of people to inhabit that chaos, particularly with an opening night looming. Over the last couple of months I’ve had the honour of working with an incredible team of creatives and performers. They’ve not only deftly embraced continuous rewrites, the quirks of puppetry, and other obstacles to the process, but had an insatiable drive and passion to push the work to new heights.
Visual theatre asks a lot, but everyone in this team has given more than I could have ever asked for. I owe a massive thanks to past staff Wesley Enoch, Katherine Hoepper and Louise Gough who were responsible for elevating this project from a playful exploration into a fully-fledged work, and to Sam Strong, Sue Donnelly, and the amazing team at QTC who have opened their hearts and minds to our tiny company and a very different way of working. The discoveries Darwin made while onboard the Beagle rewrote our understanding of the world. I hope that you enjoy the journey. David
L-R: Thomas Larkin, Jonty Martin, Anthony Standish, Anna Straker
ABOUT CHARLES DARWIN "The voyage of the Beagle has been by far the most important event in my life and has determined my whole career" – CHARLES DARWIN
Charles Robert Darwin (1809-1882) was an English naturalist and geologist, widely recognised for his groundbreaking contribution to evolution theory. Darwin began his scholarly life in 1825 as a reluctant student of medicine at the University of Edinburgh Medical School. Bored with lectures, he found solace in the Pilian Society, a natural history group at the university. By the time he abandoned his medical degree for a Bachelor of Arts at Christ’s College to study natural science in 1828, he was already versed in the anatomy and life cycle of marine invertebrates, plant classification and geology. He befriended botany professor John Stevens Henslow, excelled in his studies and gained respect among the amateur naturalist community. After Darwin graduated in 1831 at age 22, Henslow recommended him for a spot aboard the HMS Beagle. The ship, commanded by Captain Robert Fitzroy, was initially planned to take a two-year survey trip around the world, primarily to chart the coastline of South America. Over the course of the trip, Darwin wrote copious notes and collected a variety of natural specimens, including birds, plants and fossils. The Pacific Islands and Galapagos Islands were of particular interest to Darwin, as well as Australia. He returned to England in 1836 as a luminary in scientific circles
Charles Robert Darwin 1809 – 1882
The Beagle expedition proved to be an opportunity of a lifetime for the budding young naturalist. Through hands-on research and experimentation, he had the unique opportunity to closely observe principles of botany, geology and zoology. It was during this momentous voyage that Darwin began to theorise that species contain common origins, and that breeding mutations over millions of years create their distinct features that allow them to thrive in their environments. Years of development culminated in his most well-known publication on this radical theory he called natural selection, in On The Origin of Species in 1859. Due to the religious implications, Charles Darwin’s hypothesis caused momentous controversy and widespread interest since its publication. Acceptance of the theory however, occurred rapidly among scientists, many of which supported Darwin’s view that evolution is God’s work (a view that was more recently accepted by many major religious denominations including the Church of England and the Roman Catholic Church). Although the debate between religious viewpoints on creation (now termed intelligent design) and Darwinism is ongoing, Darwin’s theory remains as one of the single most important principles of biological science. Richard Matthews 1811 – 1893
E
Emma Darwin (née Wedgwood) 1808 – 1896
John Stevens Henslow 1796 – 1861
Orundellico / Jeremy “Jemmy” Button 1815 – 1864
Robert Fitzroy 1805 - 1865
Sir John Frederick William Herschel 1792 - 1871
John Clements Wickham 1798 - 1864
1 PLYMOUTH
THE VOYAGE O F THE BEAGLE
20 AZORES
27 December 1831 2 October 1836
2 TENERIFE
3 CAPE VERDE
10 GALAPAGOS
4 BAHIA 11 TAHITI
9 CALLAO / LIMA
19 BAHIA
5 RIO DE JANEIRO 8 VALPARAISO
6 MONTEVIDEO
7 FALKLAND ISLANDS
THE MAKI N G O F THE PUPPETS by Nicholas Paine and David Morton
The design for the puppets used in the show was undertaken during an intensive eight-month process. The journey of each creature began with us spending time with their real-life counterparts, sketching and taking video as studies to determine the key structures and movement qualities of the different animals and how we could best embody these in the final objects. The drawings and notes from these encounters were then turned into threedimensional digital renderings of each creature to design the mechanisms that would allow for their controlled movements. Finally, these models were broken into cross sections that could be laid at as a plan to be laser cut into wood, paper and leather pieces. Over the course of four months a team of fabricators assembled these pieces in the QTC workshop. This began with slotting and gluing the main structures together to give the creatures a base form that was then further embellished using
18 CAPE
TENERIFE
16 COCOS (KEELING) ISLANDS
17 MAURITIUS
12 NEW ZEALAND 13 SYDNEY
18 CAPE TOWN
15 KING GEORGE'S SOUND 14 HOBART
wicker. The internal mechanisms were activated with the installation of control systems similar to miniature brake cables, and handles and rods were attached. Each of the puppets was given colour using wood stain and arted with ink. Finally, each had a pair of obsidian (volcanic glass) eyes installed. Similarly to the construction, incorporating the finished puppets into the work followed a series of distinct stages. The first of these involved training the ensemble in the key manipulation techniques used by the Society. These include the focus of the puppet, its breath, and its ability to give an illusion of weight and gravity. Following this, the performers were slowly introduced to the various creatures and undertook extensive research into the movement and behavioural qualities of each. When working out the choreography for each scene we first start by devising the large movements – like where on the stage the puppet travels – and
as this becomes embodied by the performers more fine detail is added. The process of bringing a puppet to life on stage takes an incredible degree of commitment and discipline; unlike an actor who spends a rehearsal period developing a character, a puppet has to first learn how to be alive before we can even start to wonder as to what its character might be. Ultimately, the process isn’t completed until the imagination of an audience turns the movement cues that we give into the illusion of life.
L-R: Anna Straker, David Morton
BI OG RA P HI ES
DAVID MORTON WRITER / DIRECTOR / CO-DESIGNER / PUPPET DESIGNER Queensland Theatre Company: Argus. As Designer: Trollop. Dead Puppet Society: As Director/Designer: The Harbinger (co-production with Critical Stages and La Boite Theatre Company), Laser Beak Man (in-development with the New Victory Theatre), The Wider Earth (in-development with St. Ann’s Warehouse), Last Tree in the City (co-production with Artslink Queensland), Argus (co-production with Brisbane Powerhouse), The Timely Death of Victor Blott (co-production with Metro Arts); Little Grey Wolf (co-production with Brisbane Festival and The Garden of Unearthly Delights). Positions: Associate Artist 2014-2015, Queensland Theatre Company. Training: Doctor of Philosophy and Bachelor of Creative Industries (Drama) with Hons, QUT.
NICHOLAS PAINE CREATIVE PRODUCER / PUPPET FABRICATOR Queensland Theatre Company: Argus. Dead Puppet Society: As Producer: The Harbinger (coproduction with Critical Stages and La Boite Theatre Company), Laser Beak Man (in-development with the New Victory Theatre), The Wider Earth (in-development with St. Ann’s Warehouse), Last Tree in the City (coproduction with Artslink Queensland), Argus (co-production with Brisbane Powerhouse), The Timely Death of Victor Blott (co-production with Metro Arts); Little Grey Wolf (co-production with Brisbane Festival and The Garden of Unearthly Delights). Other Credits: La Boite Theatre Company: Program Manager; Performance Space 122: Programming Associate; Backbone Youth Arts: Producer and Administrator; Brisbane Festival: Project Assistant. Training: Master of Creative Industries (Creative Production and Arts Management) and Bachelor of Creative Industries (Drama) QUT.
AARON BARTON CO-DESIGNER Queensland Theatre Company: Debut. Dead Puppet Society: Debut. Other Credits: As Set Designer: Metro Arts/4change: Eve; Lachlan Philpot/ BGG: The Chosen. As Exhibition Designer: Market Place, Artisan Gallery 2014. As Co-Curator/Designer: The Apprenticeship, Artisan Gallery(2016). Positions: Creative Director/Designer/Maker at Backwoods Original 2011-present.
DAVID WALTERS LIGHTING DESIGNER Queensland Theatre Company: Quartet, Ladies in Black, Brisbane, Boston Marriage, Gloria, Macbeth, Australia Day, Venus in Fur, End of the Rainbow, Romeo & Juliet, Pygmalion, Grimm Tales, The August Moon, Rabbit Hole, The Glass Menagerie, The Memory of Water, A Day in the Death of Joe Egg, Molly Sweeney, Chilling and Killing My Annabel Lee, The Skin of Our Teeth, Vertigo and the Virginia, Long Day’s Journey into Night, Amy’s View, Master Class, After the Ball, Summer Rain, Arcadia, The Hope of the World, Money and Friends, Gilgamesh, The Man from Mukinupin, A Different Drummer, Fuente Ovejuna, Salonika, The Venetian Twins. Dead Puppet Society: Debut. Other Credits: Melbourne Theatre Company, Sydney Theatre Company, State Theatre Company of South Australia, Bell Shakespeare Company, QUT, QPAC, Jute, Handspan, Playbox, La Boite Theatre Company, Rock‘n’Roll Circus, Nimrod, Company B, Expressions, Queensland Ballet, Australian Ballet, Opera Queensland and Zen Zen Zo. In Iceland he has lit for the National Theatre, the National Opera and the Reykjavik City Theatre. Positions: Adjunct Associate Professor in Drama at QUT. Awards: Matilda Awards/ Commendations in 1988, 1990, 1992, 1993, 2001, 2002, 2004, 2007, 2008 and 2012.
LIOR CO-COMPOSER Queensland Theatre Company: Debut. Dead Puppet Society: Debut. Other Credits: As Performer/Composer: Sydney Theatre Company: Shadows and Light; Sydney Symphony Orchestra: Compassion. As Actor: The Works Entertainment: Fiddler on the Roof. Studio Albums: Autumn Flow, Corner of an Endless Road, Tumbling into the Dawn, Scattered Reflections. Television: As Composer: For ABC TV: Hoot’s Lullaby, Hey Hootabelle. Awards: Austin Critics Table Award Best Symphonic Performance Compassion (with Austin Symphony Orchestra); ARIA Award Best Classical Album Compassion; APRA/AGSC Screen Music Award Best Original Song Composed for Screen Giggle and Hoot; ARIA Nominations: Best Male Artist, Best Breakthrough Artist, Best Independent Release Autumn Flow; J Award Australian Album of the Year Autumn Flow; Best Independent Release Corner of an Endless Road.
JUSTIN HARRISON
CO-COMPOSER
AV / ANIMATION DESIGNER
Queensland Theatre Company: Debut. Dead Puppet Society: Debut. Other Credits: As Producer/Writer for Artists: Tim Finn, John Butler, Montaigne, Bob Evans, The Preatures, The Falls, The Silver Lake Chorus, Dereb The Ambassador, Andy Bull, Ben Lee, Fourplay and Neil Gaiman, Blue King Brown, Thelma Plum, Asta, Loon Lake, Jeremy Neale, Little May and many others. Films: Mr Pip, Great Western. Television (Advertising): Telstra, Toyota, Virgin Mobile. Awards: ARIA, APRA award nominations and Golden Guitars for work with John Butler, Catherine Britt and others.
Queensland Theatre Company: Much Ado About Nothing, Country Song, Oedipus Doesn’t Live Here Anymore, The 7 Stages of Grieving (co-production with The Grin & Tonic Theatre Troupe), Orbit, Youth Ensemble Showcase (2014, 2015). Dead Puppet Society: Debut. Other Credits: Grin & Tonic Theatre Troupe: Revolt, Inferno, Romeo and Juliet, I Am Macbeth, Livid, Super/ Natural, Heartfail, Island Home, Romeo and Juliet versus The World, Macbeth and Lady Macbeth versus The World; State Library of Queensland: Garage Gamer. Film: Tailgate, The Little Things, Conscience for Cambodia, Don’t Show Mother. Television: Aussie Helpers Drought Campaign, Handball Heroes, Crimestoppers, Lotteries NSW Opera House, ACT for Kids, Starlight Children’s Foundation, Gold Coast Suns AFLC, Royal Children’s Hospital, Regent Cinema. Awards: Crime Stoppers International (Capetown), Brisbane Advertising and Design Club, Queensland New Filmmakers. Training: Bachelor of Film and Screen Media Production, Griffith University.
TONY BRUMPTON SOUND DESIGNER Queensland Theatre Company: As Sound Designer: Quartet, The Odd Couple, Grounded, Gasp!, The Mountaintop, Australia Day, Black Diggers (coproduction with Sydney Festival), Design For Living, Other Desert Cities (co-production with Black Swan State Theatre Company) Managing Carmen (co-production with Black Swan Street Theatre Company), Pygmalion, No Man’s Land (co-production with Sydney Theatre Company), Sacre Bleu!, Macbeth (co-production with Brisbane Festival), Fat Pig, The Little Dog Laughed, The Crucible, God of Carnage (co-production with Black Swan State Theatre Company), I Am My Own Wife, Private Fears in Public Places, Absurd Person Singular, The Removalists, Waiting for Godot, Hurry Up and Wait (co-production with deBase Theatre Company), Eating Ice Cream With Your Eyes Closed, Beckett x3, Maxine Mellor’s Mystery Project (co-production with State Library of Queensland). As CoSound Designer; The August Moon, Anatomy Titus Fall of Rome: A Shakespeare Commentary (co-production with Bell Shakespeare Company), Stones in his Pockets. Dead Puppet Society: The Harbinger, The Timely Death of Victor Blott. Other Credits: Composer/Sound Designer: White Rabbit Theatre Company: The Grand; Centenary of Canberra Festival: Kungkarangkalpa (Seven Sisters Songlines), Brisbane Festival: Freeze Frame, King Here After; I-Pin Lin’s productions: Bamboo, Harmony, 4orces and 1984-2005; QUT Dance: Current, Accented Bodies, Altered States. As Director: Vena Cava: RABBAR. Positions: Queensland Theatre Company: Affiliate Artist (2014), Associate Artist/ Head of Audio (2011), Emerging Artist (2010); Dead Puppet Society: Resident Artist (2016), Tone Black Productions (Founder); Lecturer – QUT.
LOUISE GOUGH DRAMATURG Queensland Theatre Company: As Dramaturg: Black Diggers (coproduction with Sydney Festival), Gloria, I Want to Know What Love Is (The Good Room). Dead Puppet Society: Debut. Other Credits: As Dramaturg (selection only): Belvoir: Aliwa!, Yibiyung; Arena Theatre Company: Criminology; Playbox: Salt, Conversations with the Dead, Holy Day (with State Theatre Company of South Australia); Melbourne Workers’ Theatre: The Procedure, 1975 (with Canto Coro); The Anthropologists: Another Place, For the Love Of…, Give Us Bread; Vulcana Womens’ Circus: Cravings, Dragonfly, Blissed Out, Distraught and Intoxicated, Fire in the Belly, Lifeblood; LaBoite: Black Chics Talking (Bungaburra Productions), Long Gone Lonesome Cowgirls; Queensland Performing Arts Centre: Decent Spinster and the Upright Citizen, Blurred, Keep Everything you Love, The Magic Finger; Backbone Youth Arts: Toxic, Trail, Blaze, Scar, Risk8, After Dark, Love My Arsenal; Rock n Roll Circus: The Dark; Kooemba Jdarra: Little White Dress. As Television Development Executive: MDA: Medical Defence Australia, Fireflies, Hell Has Harbour Views, Marking Time, Loot, The Shark Net, The Forest, Small Time Gangster. As Film Script Editor and Consultant: City Loop, Bran Nue Dae, Save Your Legs, Oxygen, Macondo, Afterlife, Wastelander Panda. Other Positions: Development Executive for Screen Australia (current); Guest Dramaturg Banff Playwrights’ Colony (Canada); Dramaturg Inaugural Victorian Indigenous Playwrights’ Conference; Dramaturg-in-Residence La Boite Theatre (Brisbane); Tutor and Lecturer QUT (Brisbane); Executive Director Playlab (Brisbane); Literary Manager Playbox Theatre (Melbourne); Editorial Manager ABC TV Drama and Narrative Comedy (Melbourne); Script Manager Film Victoria (Melbourne); Development Executive Robyn Kershaw Productions (Melbourne, NY, NY); Australian Film Commission Fellowship Vox3 Films (NY, NY); Literary Fellow Vineyard Theatre (NY, NY); Script Advisor Sources
BI OG RA P HI ES
TONY BUCHEN
BI OG RA P HI ES
2 (Berlin); Script Advisor Berlinale Talent Campus Script Station (Berlin); Curatorial Advisor Queensland Performing Arts Centre (Brisbane); Judge Queensland Premiers’ Drama Award; Reader/Assessor Australian Writers’ Guild, Lark Play Development Center Literary Wing (NY, NY), Primary Stages (NY, NY), Screen Australia, Screen Tasmania, Screen New South Wales, Film Victoria (Melbourne), New Zealand Film Commission (New Zealand), The Summer Play Festival (NY, NY); Madman Production Company Development Executive (Melbourne). Committee Positions: Australian National Playwrights’ Centre, Backbone Youth Arts, Sources 2. Training: QUT Bachelor of Arts Drama (First Class Honours), QUT Graduate Diploma Secondary Teaching (Drama, English). Louise is a proud member of the Australian Writers’ Guild.
MATTHEW SEERY PUPPET FABRICATOR Queensland Theatre Company: As Puppeteer: Argus. Dead Puppet Society: As Puppet Fabricator: The Harbinger; As Stage Manager: Argus (International Performing Arts for Youth USA). Other Credits: Motherboard Productions: As Associate Producer: 심청 Shimchong: Daughter Overboard! Imaginary Theatre: As Stage & Production Manager: 보인다 I See You; Metro Arts: As Production Manager: (well, this is embarrassing). Positions: Artistic Director – Festival of Australian Student Theatre (current). Training: Bachelor of Fine Arts (Drama), QUT.
HELEN STEPHENS ASSISTANT PUPPET COACH Queensland Theatre Company: Theatre Residency Week Coordinator (2014), Youth Program & Touring Coordinator (2014). Dead Puppet Society: As Puppeteer/Actor: Last Tree in the City; The Harbinger; As Director: Paper Planes. Other Credits: As Actor: Belinda Locke & QUT; The Tigers Bride; Anywhere Theatre Festival: We are all Ghosts, The Nightingale and the Rose; Metro Arts: The Theory of Everything; Arts Centre Gold Coast: Un-natural Selection; 2high Festival and QUT: Sweet Surrender; Backbone Youth Arts & Out of the Box: The In and Out People; Ignatians Musical Society: Les Misérables; QUT: Antigone; As Director: The Oddessy, Just Macbeth. Positions: Artistic Associate – Dead Puppet Society (2016 - current). Training: Bachelor of Creative Industries (Drama), QUT.
MELISSA AGNEW VOICE AND DIALECT COACH Queensland Theatre Company: Around 60 productions including Switzerland, Quartet, Ladies in Black, The Odd Couple, Boston Marriage, Black Diggers, The Mountaintop, Venus in Fur, Cat on a Hot Tin Roof (co-production with Black Swan State Theatre Company). Dead Puppet Society: Debut. Other Credits: Black Swan State Theatre Company: A Streetcar Named Desire. Film: The Proposition. Television: The Pacific. Voice coaching for TV and radio news presenters across Australia. Training: PhD from the University of Sydney. Teaching Positions: Voice, Speech and Dialect teacher/coach; Queensland Conservatorium, Griffith University (Musical Theatre), NIDA, QUT, National Theatre Drama School.
TIA-HANEE CLEARY PUPPET FABRICATOR (SECONDMENT) Queensland Theatre Company: Debut. Dead Puppet Society: Debut. Other Credits: As Sound and Vision Designer: QUT: Essentially Dance (2016). As Deputy Stage Manager: New Moves (2015). As Vision Designer:The Coast of Utopia: Voyage (2015). As Assistant Stage Manager: Empire Theatre: The Female of the Species (2012). Training: Bachelor of Fine Arts (Technical Production) QUT.
ANNA STRAKER ILLUSTRATOR (AV) / PUPPET ARTING / POLLY / PUPPET CAPTAIN Queensland Theatre Company: Argus. Dead Puppet Society: Laser Beak Man (in development with the New Victory Theater), The Harbinger (co-production with Critical Stages and La Boite Theatre Company), The Wider Earth (in-development with St. Ann’s Warehouse), The Timely Death of Victor Blott (coproduction with Metro Arts). Other Credits: Shock Therapy Productions: The Pillowman (Brisbane Powerhouse); Cirque Du Soleil: Totem; Erth Visual & Physical Incorporated: Fish Out of Water; St Rita's College: Annie The Musical; Metro Arts: This Child; Anywhere Theatre Festival: Sans Love, Haven. Film: Star Cross'd Jammers. Television: Pipsqueaks. Awards: Matilda Nomination - Best Supporting Female Actor The Harbinger. Training: Bachelor of Creative Industries (Drama), QUT.
REVEREND JOHN HENSLOW / JOHN HERSCHEL Queensland Theatre Company: Home, Composing Venus, Oz Shorts, As Assistant Director: Australia Day. Dead Puppet Society: Debut. Other Credits: As Performer, Ensemble Trainer or Company Member: Murray River Performing Group, Theatre of the Deaf, Grin & Tonic Theatre Troupe, Imaginary Theatre, The Good Room, Frank Theatre, Zen Zen Zo, nest ensemble, Danger Ensemble, Force of Circumstance, La Boite, Brisbane Powerhouse, ATYP. As Director: Swy Theatre Company; Spare Parts Theatre Company; Stables Theatre; QUT; Griffith Uni; La Boite; Brisbane Powerhouse; Metro Arts; QACI. As Associate Director: Imaginary Theatre, Access Arts Theatre Ensemble. As Writer/Performer/Devisor: HOME, Eve, He Dreamed a Train, The Knowing of Mary Poppins, Joey the Mechanical Boy, Ionalympus, The Paratrooper Project. Positions: QTC National Artistic Team. Founding Director: 4change coaching. Co-Founding Director: the nest ensemble. Founding Director: Force of Circumstance Production Company. Narrative Therapist/Creative Arts Therapist for Artists. Supervisor/ Theatre Coach: La Boite, Zen Zen Zo, QTC Youth Ensemble, QACI, Access Arts Theatre Ensemble, Conference MC. Guest Lecturer/ Director: Griffith University, QUT Acting, QUT Drama, Curtin University. Proud member Actors Equity since 1977. Awards: Gold Matilda Awards - Best Female Performer Knowing of Mary Poppins 2006; Body of Work HOME, Eve 2012; Blue Room Awards: Best Performer Eve 2012; Best Play -Members Choice Eve 2012. Queensland Cultural Champion: 2014. Training: Stellar Adler - Acting, NYC; Stefan Niadziakowski – Mime, NYC; Hayes Gordon – Acting, Sydney; Gerrard Sibbritt-Dance, Sydney.
TOM CONROY CHARLES DARWIN Queensland Theatre Company: Debut. Dead Puppet Society: Debut. Other Credits: Melbourne Theatre Company/ La Boite: Cock; Bell Shakespeare/ Brisbane Festival: Romeo and Juliet; Arena Theatre Company/ Brisbane Powerhouse/Malthouse: Moth; Sydney Theatre Company: Hay Fever, Spring Awakening; Belvoir St Theatre: Jasper Jones, Mortido, Mother Courage and Her Children, Small and Tired; State Theatre Company of SA: Romeo and Juliet; Brink Productions: Land and Sea; New Theatre: When the Rain Stops Falling; Stuck Pigs Squealing: Night Maybe; Five.Point.One: The Share; Hayloft Project: Delectable Shelter; La Mama: Something Natural But Very Childish; B Sharp: The Sweetest Thing. Awards: Green Room Award for Best Male Performer in Independent Theatre Something Natural But Very Childish. Training: Bachelor of Dramatic Art, VCA.
LAUREN JACKSON EMMA WEDGWOOD Queensland Theatre Company: Bastard Territory, The Odd Couple, Macbeth. Dead Puppet Society: Laser Beak Man (in developent with The New Victory Theatre). Other Credits: JUTE/ Browns Mart: Bastard Territory; Imprint Theatricals: Five Lesbians Eating a Quiche; Zen Zen Zo: Medea: The River Runs Backwards, Vikram and the Vampire, Bolshoi Ballet: La Corsaire, La Boite Theatre Company: Holding The Man, Mixed Company: Secret Bridesmaids’ Business, Opera Queensland: Carmen. Film: E-Motion Documentary, The Hunters Club. Short Film: God I Love You, Million Dollar Toes, Forever, Winkman P.I, Change in Fortune, After the Fall, Douglas Adams Eat Your Heart Out, Ruby. Television: Illusion Five, The W.A.S.P.S Nest, Schadenfreude. Positions: Masterclass Facilitator Queensland Theatre Company Youth Ensemble, shake & stir, Grin and Tonic Theatre Troupe. Awards: Matilda Nomination – Best Emerging Artists – Secret Bridesmaids’ Business (2011). Training: Bachelor of Fine Arts (Dance Performance), QUT.
THOMAS LARKIN JOHN WICKHAM Queensland Theatre Company: Macbeth, The Lost Property Rules, Romeo and Juliet, Treasure Island (co-production with Matrix Theatre Company). Dead Puppet Society: Debut. Other Credits: Brisbane Powerhouse / Thomas Larkin: Sex With Strangers; La Boite Theatre Company: As You Like It, The Wizard of Oz (co-production with the Danger Ensemble and Brisbane Festival), Julius Caesar, Hamlet. Short Film: The Neon King, A New You, Bird Country. Television: Rush. Awards: Griffith Film School Most Outstanding Actor; The Neon King, Brisbane City Council Lord Mayor’s Young and Emerging Artist Fellowship Recipient, Matilda Awards Nominations; Best Lead Actor Sex With Strangers, Best Supporting Actor Julius Caesar, Hamlet. Positions: Teaching Artist and Master Class Facilitator; Queensland Theatre Company, La Boite Theatre Company, NIDA, Bell Shakespeare, shake & stir theatre co., Backbone Youth Arts, Raw Dance Company. Training: Bachelor of Fine Arts (Acting), VCA.
DAVID LYNCH RICHARD MATTHEWS / ROBERT DARWIN Queensland Theatre Company: Debut. Dead Puppet Society: Debut. Other Credits: Ensemble Theatre: The Good Doctor; Griffin: Away, Summertime Blues, King Richard, Yeah, But is it Funny?; Theatre South: After Dinner, After Magritte; Q Theatre: Hamlet; Riverina Theatre Company: The Threepenny Opera, The Tempest, Cornerstones (with Griffin); New England Theatre Company:
BI OG RA P HI ES
MARGI BROWN ASH
BI OG RA P HI ES
The Girl with the Odd Coloured Eyes, Macbeth; New Theatre: No End of Blame. As Director: Marian Street: The Club; Riverina Theatre Company: Bouncers; Belvoir Downstairs: The King and Me; QUT: Spurboard; QPAC: Karen Knowles, Carnival of Animals; Out of the Box Festival: Taikoz; Arts Centre Melbourne/QPAC/Adelaide Festival: Morning Melodies; Self Raising Theatre: Stack it Up; Theatre Inc: A More Fortunate Life; University of Wollongong: Cloud Nine; Monkey Baa Theatre Company: Sprung!. As Associate Director for John Frost: South Pacific, Hello Dolly!, An Ideal Husband, How to Succeed in Business Without Really Trying. Television: ANZACS, Barracuda, All Saints, G.P, A Country Practice, E Street. Training: Diploma of Creative Arts (Theatre), DDIAE USQ.
JONTY MARTIN JEMMY BUTTON Queensland Theatre Company: The Landmine is Me, A Dream Within a Dream. Dead Puppet Society: Debut. Other Credits: Brisbane Arts Theatre: The Breakfast Club, The Amazing Maurice & His Educated Rodents, The Great Fairy Tale Robbery. Southbank Institute: O Solo Mio 5, The Wasps, The Ballad of Reading Gaol. Short Film: Books Riot Productions:The Stand, Hunted, Secret Services. Training: Diploma of Arts (Acting) Southbank Institute of Technology; Senior and Intermediate Ensembles, Queensland Theatre Company; Certificate III in Media, Queensland School of Film and Television.
ANTHONY STANDISH ROBERT FITZROY Queensland Theatre Company: Trollop, End of the Rainbow, Kelly, The Seeding Bed, The Removalists, American Buffalo, The Woman Before, Puss in Boots, The Caucasian Chalk Circle, A Property of the Clan, The Exception and The Rule, Man Equals Man. Dead Puppet Society: Debut. Other Credits: QPAC/ shake & stir: Wuthering Heights, La Boite Theatre Company: Cosi; ELBOW Room: Prehistoric; Harvest Rain Theatre Company: The Neverending Story; Hot House Theatre/ Merrigong Theatre/Glen St Theatre: Australia! The Show!; QAC/Forward Movement: Zoo-Illogical; Metro Arts/Forward Movement: Magda’s Fascination with Wax Cats, Little Hitler’s Ode to an Austrian Bentwood; 4MBS: The Tempest; 4MBS: A Midsummer Night’s Dream; the Restaged Histories project: Omon Ra; Markwell Presents: What Simon Said. Film: Hard Drive, A Grey Eulogy, Girl Clock, Don’t Tell, Reef ‘n’ Beef, The Great Raid, Hoges. Television: Wanted, Mabo, Lightning Point, Heartbeat, Sea Patrol. Positions: Queensland Theatre Company Emerging Artist 2006.
JODIE ROCHE-JONES STAGE MANAGER Queensland Theatre Company: As Stage Manager: Much Ado About Nothing, Ladies in Black (Melbourne season), Country Song, Boston Marriage, GASP! (co-production with Black Swan State Theatre Company), Macbeth, Australia Day, Design For Living, Trollop, End of the Rainbow, Managing Carmen (co-production with Black Swan State Theatre Company), Head Full of Love, Romeo & Juliet, Pygmalion, Cat on a Hot Tin Roof (co-production with Black Swan State Theatre Company), Orphans, The Little Dog Laughed, That Face, The Importance of Being Earnest, I Am My Own Wife. As Assistant Stage Manager: The Glass Menagerie, Private Fears in Public Places, American Buffalo, Absurd Person Singular, The Memory of Water. Dead Puppet Society: Debut. Other Credits: Black Swan State Theatre Company: The White Divers of Broome; La Boite Theatre Company: Summer Wonderland, Sex Cubed, Last Drinks, The Dance of Jeremiah, Amigos; Expressions Dance Company: When Time Stops (Remount), Carmen Sweet (National Tour), Seven Deadly Sins, The Red Shoes, SOLO Festival of Dance 2014, When Time Stops; Queensland Ballet: Giselle, Cinderella, Vis a Vis #1 & Prelude 2011, The Little Mermaid (China tour); Opera Queensland: Aida, The Merry Widow, The Elixir of Love, Waltzing Our Matilda, Rigoletto, Fidelio, La Traviata, The Magic Flute, The Barber of Seville, Madama Butterfly; Brisbane City Council: Lord Mayor’s Carols in the Park. Training: Bachelor of Fine Arts (Technical Production Management), QUT. Awards: Ashley Wilkie Award for outstanding contribution to the performing arts.
SAMUEL MAHER ASSISTANT STAGE MANAGER / SOUND OPERATOR Queensland Theatre Company: As Stage Manager: Argus. As Technician: Ladies In Black, 7 Stages of Grieving, Gasp, The Effect, Gloria, The Mountaintop, Australia Day, Black Diggers, Design for Living, The Pitch and The China Incident, Venus in Fur, 1001 Nights, Bombshells, Elizabeth, Managing Carmen, Pygmalion, Sacre Bleu!, No Man’s Land, Fractions, I Feel Awful, Betrayal. Dead Puppet Society: As Co-Sound Designer: The Harbinger (2011), The Harbinger (2012). As Stage Manager: Argus, As Technical: The Harbinger Tour. Other Credits: Toneblack: Slide Night, Freeze Frame, Infinite Infinites, Speaking in Tongues. Metro Arts: A Library For The End of The World. Training: Bachelor of Fine Arts (Technical Production), QUT.
Interview with
DAVID BURTON
In 2009, the South Brisbane Catholic Church of St Mary’s was caught in a media frenzy, as unorthodox parish priest Father Peter Kennedy was ejected from the church and excommunicated. We caught up with playwright David Burton to share his process in bringing this unbelievable true story to the stage.
What inspired you to write St Mary’s In Exile? Truth is stranger than fiction. I witnessed the St Mary’s story unfold with the rest of the nation in 2009, and have always been incredibly compelled by the deep questions it provokes about faith, secularism, Catholicism and power. I knew it would make an amazing play, and I knew it would be a story of great interest to so many Queenslanders. How did you research this true story and the people behind it? I interviewed dozens of people from all different sides of the story. Not only St Mary’s community members, young and old, but the current Archbishop of the Brisbane Diocese, as well as several figures from the Catholic Church. I also read just about everything that was written about the church and the scandal from the time. From there, I attempted to wrestle the information into a concise and compelling drama.
What are the resounding themes of the story? From one angle it’s a very David and Goliath story. It’s a contemporary tale of rebellion and standing up for what you believe in. There are also deep questions about the value of religion in the 21st century, and the importance of tradition in secular humanist lives. Peter, the central figure in the midst of the drama, undergoes a deep spiritual crisis and liberation that I think will resonate with a lot of people. Tell us about how your work will be interpreted from the page to the stage? I’m really excited to work with Jason Klarwein, who I’ve had a lengthy working relationship with. As I write now, the designs from Anthony Spinaze are just coming through, and they look fantastic. I think audiences will be surprised at just how much theatricality underlies the documentary nature of the work. It is, after all, a piece that goes deep into the hearths and faith systems of people, so we’re exploring exciting ways to communicate that internal spiritual journey onto the stage. It’s very exciting.
Catholic Archbishop John Battersby has banned former St Mary’s
South Brisbane priest Peter Kennedy from practising anywhere in the world. COURIER MAIL (6 June, 2009)
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PATRON His Excellency the Honourable Paul de Jersey AC Governor of Queensland MEMBERS OF THE BOARD Richard Fotheringham (Chair) Elizabeth Jameson (Deputy Chair) Simon Gallaher Peter Hudson 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 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
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National Artistic Team: Jimi Bani, Wayne Blair, Margi Brown Ash, Marcel Dorney, Christie Evangelisto, Kat Henry, Nakkiah Lui, Annette Madden, Renée Mulder, Lucas Stibbard Front of House (QTC): Leisha Du Bois, Anita Hughes, Sally Lewis, Jermaine Beezley, James Gatling, Kate Hardy, Nathan Hollingworth, Georgia Knight, Cillian McDonald, Cinamon Murphy, Ellen Tuffley, Michael Veal FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003) Queensland Theatre Company is a member of Live Performance Australia. Production Staff: Carpenters: Jamie Bowman, Aleksis Waaralinna Props Maker: Jennifer Livingstone Scenic Artist: Leo Herreygers Cutter/Costumer Maker/Wardrobe Maintenance: Michelle Wiki Cutter/Costume Maker: Leigh Buchanan Costume Makers: Bianca Bulley, Angela Gearing, Jane Jericho Costume Maintenance: Shona Webster Hair Stylist: Michael Green Floor Technician: Lilith Tremmery Revolve Operator: Michael Rogerson Head Electrician: Mat Allan Sound Operator: Samuel Maher
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Artistic Director David Morton Executive Producer Nicholas Paine Artistic Associate Helen Stephens Technical Manager Samuel Maher Resident Sound Designer Tony Brumpton Puppet Captain Anna Straker Education Consultant Annette Box
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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 in-house trained attendants and move in an orderly fashion to outside the Studio.
ACKNOWLEDGEMENTS Rehearsal Photography: Stephen Henry Bronwyn Shooks Millinery
Matt Acheson Josh Dawson Whitney Eglington Noni Harrison Lauren Jackson Angel Kosch Laws Laser
Nick Lehane Rowan Magee Conan Magee Dee Morris Bob Morton Libby Morton Justin Palazzo-Orr
Reny Rennie Betsy Rosen Krissy Smith Angelika Straker Brendan Yi-Fu Tay
THANKS TO O UR SUPPO RTERS In 2015, 34% of QTC’s total expenditure was covered by our core government support. The rest of our projects are funded by box office revenue, one-off grants, sponsorships and the generosity of you, our donors. Your gifts are an essential part of what allows us to do the work we all feel is so important. It is no exaggeration to say we would be incomplete without you, so please let us take this moment to THANK YOU! Your gifts touch every corner of the Company, and we are extremely grateful. Trust & Foundations Australian Communities Foundation Creative Partnerships Australia Copyright Agency Cultural Fund English Family Foundation Ian Potter Foundation John T Reid Charitable Trusts Tim Fairfax Family Foundation $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, Thomas Wright $2,000-$4,999 2 Anonymous, Anne & Peter Allen, William Ash & Margi Brown Ash, John H Casey, Bernard Curran & Susan Learmonth, Sue Donnelly, Kirstin & Glen Ferguson, Erin Feros, Alan Galwey, William & Claire Glasson, Geoffrey Hirst & Sally Wilde, Colin & Noela Kratzing, Karl & Louise Morris, The Prior Family, Tim & Kym Reid, Damien Thomson & Glenise Berry, University of Queensland, Sandy Vigar & Martin Pearson $1000-$1999 4 Anonymous, Julieanne Alroe, Geoff Harris & Louisa Bewley, Matheiu & Anastasia Ellerby, Cass George, Merrilyn & Kevin Goos, Ian & Ruth Gough, Michael Gowan, Hudson Family, Amanda Jolly, Tempe Keune, David & Katrina King, Joan M. Lawrence AM, Andrew & Kate Lister, The Nicklin Family, Donal & Una O’Sullivan, Blayne & Helen Pitts, Geoffrey Rush, Marianna Serghi, Cecily Stevenson
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