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JOIN THE CONVERSATION
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Connect with the STC team and join the vibrant conversation on social media. Check out the buzz from other audience members by searching #sydneytheatreco and our show specific hashtags (see play pages). facebook.com/sydneytheatrecompany twitter.com/sydneytheatreco instagram.com/sydneytheatreco
A MESSAGE FROM SYDNEY THEATRE COMPANY ~
FROM THE WATERFRONT FROM OUR ARTISTIC DIRECTOR
FROM OUR EDUCATION MANAGER
Theatre is always a conversation. A conversation between the actor and the text, the audience and the production, the cast and the crew. A conversation between the past and the present, the present and the future.
Since leaving the classroom to work for Sydney Theatre Company, I often find myself reflecting on why taking students to the theatre is so important. Our school days are full, our budgets are tight and our free time outside the classroom is rare. Theatre helps us all to cultivate our creativity and imagination, and (as Picasso put it) “remain an artist as we grow up”.
And it’s a conversation between artists that starts well before the opening night. Stepping back from the day-to-day to look at what we have in store for 2015, I’m struck by the array of conversations that have led us here. We’ve talked with old collaborators and we’ve talked with new collaborators. Together, we have, in equal measure, dreamt up, thought through and bashed together a season that stretches from the mists of Albion to the coastline of the Coorong. Along the way, we get to touch on generation after generation of great writing – Shakespeare, Chekhov, Woolf, Beckett, Churchill. In these waves of time we see history’s epochs and its disjunctures – the pre-modern, the modern, the post-modern, the post-war, the preeverything-yet-to-come. It’s the kind of writing you’ll want to talk about. It’s the kind of writing that starts more conversations than it finishes. One of the great and interesting jumping off points for this year is the strong presence of female writing and the echoes that that sets up, creating a year that grapples with gender, be it picking one’s way through patriarchy or reimagining the status quo. All the plans we have laid up to now are to ensure that we have great conversations with you – as both audience members and educators. We look forward to inspiring some great conversations with your students in the foyers, on the bus home, in the classroom the next day and throughout the year. I hope you’ll join us.
Andrew Upton Artistic Director
Theatre helps us understand our life – our world, the roles and relationships we take on and the situations and events that confront us. Most of all, it helps us to develop empathy and view the world from a different perspective. What if every child regularly attended the theatre and learnt through and about the Arts in their schooling? As Australia’s largest theatre company, we have an important role to play in the fields of the Arts and Education. Since the company was founded over 30 years ago, STC has been committed to supporting teachers’ and students’ access to extraordinary theatre. Over the past 12 months, the STC Ed team has been listening to our colleagues across NSW to improve the teacher and student programs that your state theatre company offers. We hope this is reflected in our new initiatives in 2015, particularly through the Young Wharfies Program, a new Work Experience Program, a revised page-to-stage-style Backstage Tour of The Wharf and our Open Archives project. See you on The Wharf!
John Saunders Education Manager
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STC ED
3 School Days 3 Digital Education Resources 4 Onstage Week 5 Work Experience Week 5 Young Wharfies 6 STC Archives 6 Backstage Tours 6 Access Program 7 Venue Map 8 School Drama™ 9 Teacher Professional Learning
THE PLAYS
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After Dinner Suddenly Last Summer Jumpy Endgame Storm Boy Love and Information The Present Arms and the Man Orlando King Lear
30 How to Book 31 Booking Form
SCHOOLS DAYS AND RESOURCES ~
SCHOOLS DAYS Schools Days are our commitment to providing students with access to great theatre that complements the curriculum. Schools Days are performances from our main season specifically for students on Wednesdays at 11.30am throughout school terms – please note the new start time for 2015 Schools Days. Dates are listed pg 10 – 28. Schools can attend a pre-show briefing where a member of the creative or artistic team offers insight into the play, the intention of the director and the meaning created on stage.
After the play, a Q & A session with the actors takes place. Schools can also add a Backstage Tour before or after the show. More info at sydneytheatre.com.au/schoolsdays Backstage Tour of STC 9.30am Pre-Show Briefing 10.30am Schools Day performance 11.30am Post-show Q & A 15 minutes immediately following a performance
DIGITAL EDUCATION RESOURCES ON CUE
On Cue e-publication features essential information for teachers and students, including: • curriculum links • information about the playwright and director • synopsis • breakdown of context
VIDEO INTERVIEWS
Video interviews with directors, designers and other creatives provide great insight into the vision, intention and meaning behind each production.
CLASSROOM POSTER
and world of the play • analysis of characters and themes • in-depth exploration of the Elements of Drama, Dramatic Forms, Styles, Conventions and Dramatic Techniques • learning experiences
DESIGN SKETCHBOOK
PRE-SHOW IN-THE-KNOW
The design sketchbook features sketches of the set and costume designs straight from the notebook of STC designers.
Featuring a detailed exploration of an element of the play.
Fact sheets are available for students to read prior to the show.
WORKSHEET
The worksheets help students analyse the production by asking them to reflect on how dramatic meaning was created.
All our education resources and more information can be downloaded from sydneytheatre.com.au/edresources
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STUDENT LEARNING PROGRAMS ~
ONSTAGE WEEK 9–13 FEB During OnStage Week, get immersed in even more theatre at STC – come to a show, take a tour and check out STC Archives. SCHOOLS DAYS PERFORMANCES
ARCHIVES
After Dinner by Andrew Bovell Wed 11 Feb, 11.30am
A great resource for investigating HSC texts
Friday night, circa 1987. Paula, Monika and Dympie are going to paint the town red… or maybe just a deep shade of embarrassment. Playwright Andrew Bovell (The Secret River, Lantana) is one of Australia’s finest writers. In After Dinner, his first play from 1988, he exhibits the sure hand of a gifted wordsmith. His beautifully observed characters, wincingly funny one-liners and instantly recognisable situations reveal the timeless trials of friendship and singledom. Schools can attend a 30 minute pre-show discussion with an STC creative and post-show Q & A with the actors. For more details about Schools Days see pg 3.
AND IN THE EVENING… Suddenly Last Summer by Tennessee Williams Previews 9 – 12 Feb, 8pm All preview tickets $78 Robyn Nevin makes a very welcome return to the STC stage in Tennessee Williams’ lushly poetic drama. She plays Violet Venable, an aristocratic woman gripping tightly to what remains of her refinement – and her reputation. Violet wants to protect her late son’s reputation, no matter the price. Her niece Catharine Holly wants to tell the truth, even if it finishes her. For more details see pg 12.
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Book a time during OnStage Week for your class to view an archival recording of past STC productions. The Archives houses recordings of many shows featured on the HSC text list. For a list of available HSC plays and corresponding education resources visit sydneytheatre.com.au/stced
BACKSTAGE TOURS OF STC Excellent for VET Entertainment Industry students Book a free backstage tour during OnStage Week. From Costumes to Scenic Art, all aspects of a production are created on The Wharf. Our tours offer students a first-hand experience of the production process.
STUDENT LEARNING PROGRAMS ~
WORK EXPERIENCE WEEK Work Experience Week takes place in the first week of the September school holidays and is open to Year 10 and 11 students from across NSW. Each day focuses on a different department at STC, including: Production, Administration, Set and Costume Design, Marketing and Sponsorship. Students participate in tours, panel discussions, workshops and activities run by STC staff and creatives. Work Experience Week aims for students to explore many facets of STC and gain a broad understanding of the workings of a theatre company. The program endeavours to inspire a love and appreciation of the theatre-making process, and foster the next generation of arts industry professionals.
We strongly encourage students to apply who are Aboriginal and/or Torres Strait Islander, those from Culturally and Linguistically Diverse backgrounds, and those with disabilities. For more information, visit sydneytheatre.com.au/workexperience Date Mon 21 Sep – Fri 25 Sep 2015 9am – 4pm Location Sydney Theatre Company Pier 4, Hickson Road Walsh Bay, Sydney Applications open Mon 20 Apr 2015 Applications close Fri 12 Jul 2015 5pm
YOUNG WHARFIES We’re excited to announce the launch of a new student learning program for a selection of bright, passionate future arts industry professionals and theatre-makers; Young Wharfies.
We strongly encourage students to apply who are Aboriginal and/or Torres Strait Islander, those from Culturally and Linguistically Diverse backgrounds, and those with disabilities.
Designed specially for Year 11 students who are inspired by the power and potential of theatre, Young Wharfies will create an active and ongoing dialogue about theatre between students, artists and creatives over the course of 2015.
Year 11 students are invited to apply. 20 lucky students will be selected to take part in Young Wharfies 2015. There is no cost to participate in Young Wharfies for the selected students. Applications to be part of the inaugural Young Wharfies program open on Mon 13 Oct 2014.
The Young Wharfies group of students will attend a range of STC productions in 2015. Prior to each show, the group will meet to debate and examine theatre alongside STC staff in an informal, open discussion and exchange of ideas. Young Wharfies will also have the opportunity to attend special workshops during 2015.
More information at sydneytheatre.com.au/youngwharfies
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MORE ACCESS TO STC ~
BEHIND THE SCENES
STC ARCHIVES
BACKSTAGE TOURS
ACCESS PROGRAM
A treasure trove of wonderful resources
Unlock the magic of theatre
Some tickets for Schools Days are even more subsidised for eligible schools
Finding performances of texts studied in class or on the HSC text list can be difficult. However, STC Archives is a treasure trove of production materials available by appointment to teachers and students. STC Archives houses footage of productions, programs, set and costume design sketches and press clippings.
STC has a long tradition of backstage tours and in 2015, we are proud to launch our new look page-to-stage style Backstage Tour. The tour allows students to follow the evolution of a play the STC way. As one of the few theatre companies in Australia with the capacity to create every production element on site, the STC tour experience is unique and memorable. Rummage through the props department, see the painting in Scenic Art, hear the hammering of the carpenters and admire the detail on the costumes.
Many teachers would like to bring their students but are unable, due to the costs involved. For each Schools Day performance STC allocates a limited number of STC Access Tickets at 50% off the student price.
Across the years, STC has produced many of the plays featured in the Topics of Study and the Individual Project list, making the archives a valuable resource for HSC students. Such plays include When the Rain Stops Falling by Andrew Bovell, Stolen by Jane Harrison and Embers by Campion Decent. For a full list of available plays visit sydneytheatre.com.au/ stcedresources Bookings can be made for individual students or teachers, small groups or entire classes. To book a viewing, contact Archivist Judith Seeff at jseeff@sydneytheatre.com.au or on (02) 9250 1745. Cost is $15 per class. 6
Our Backstage Tour is an excellent excursion for VET Entertainment Industry students as all elements of design and production are investigated, with opportunities to chat with STC production staff. Tours are free and are available Mon – Fri from 9.30am – 4pm. To book, contact education@sydneytheatre.com.au
If your school is a NSW public school eligible for Transitional Equity Funding in 2015 or a Catholic/ Independent equivalent or a school located in regional NSW, you are eligible to apply for this significantly reduced ticket price. To apply for STC Access Tickets, simply tick ‘I would like to apply for Access Tickets’ on your booking form. We will contact you about your application when we process your booking.
VENUE MAP ~
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TEACHER PROFESSIONAL LEARNING ~
SCHOOL DRAMA
WHAT IS SCHOOL DRAMA?
teaching tool. This in turn improves literacy outcomes in primary students.
School DramaTM is a professional learning program for primary school teachers. The program demonstrates the power of using drama pedagogy with quality literature for improving English and literacy in young learners.
In 2015, we are working with teachers in the Sydney and Blue Mountains areas, as well as other NSW regional areas. The program runs in Term 2 and Term 3. For more information, an overview of the program and details about cost, visit sydneytheatre.com.au/schooldrama
STC partners participating classroom teachers with one of our Teaching Artists over a school term, and together the pair explore how drama strategies can be integrated into any area of English and literacy, such as narrative writing, inferential comprehension, confidence in oracy or descriptive language. Developed over a four-year pilot program in partnership with The University of Sydney and leading academic Professor Robyn Ewing, School DramaTM is designed to increase teacher confidence and capacity in using the Arts as a
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WHAT DOES THE PROGRAM INVOLVE? The program begins with a daylong professional development workshop. This is followed by a series of planning sessions, focusing on tailoring a team-teaching program to meet the individual learning goals for your class. The Teaching Artist then comes to your school over seven weekly sessions and team-teaches the program with you in
SCHOOL DRAMA INCLUDES • A one-on-one professional learning experience in your classroom • Expert instruction from experienced Teaching Artists • Full day in-service training with Professor Robyn Ewing before the start of term • Two customised planning sessions • Seven weekly in-class workshops • Practical approaches to teaching the new NSW English K – 10 Syllabus for the Australian Curriculum • A wide range of drama strategies to employ across the curriculum
TEACHER PROFESSIONAL LEARNING ~
“The most significant professional learning experience of my teaching career.” Gretel Watson, Curl Curl North Public School your classroom, modelling the drama strategies and empowering you to confidently integrate these ideas and techniques into your regular teaching practice.
HOW WILL SCHOOL DRAMA BENEFIT MY STUDENTS? Over six years, our research partner, The University of Sydney, has conducted annual program evaluations and longitudinal and sustainability studies which have shown: • increased student academic achievements in literacy and English
• improved student confidence • significant shifts in class cohesion
HOW DO I SIGN UP?
HOW WILL SCHOOL DRAMA BENEFIT ME?
Download and complete the expression-of-interest form at sydneytheatre.com.au/schooldrama. It takes less than 10 minutes and we only require one form per school. Applications close 5pm Wed 18 Feb 2015 (Week 4 of Term 1).
Ongoing research and evaluations illustrate that the co-mentoring model between the teacher and Teaching Artist is a powerful professional learning experience with teachers continuing to use their new knowledge long after the Teaching Artist has left the school. Watch a video at sydneytheatre.com.au/schooldrama to hear how this program has benefited teachers.
Please note: Participating teachers must be able to attend a full-day Teacher Professional Development Day at Sydney Theatre Company, Walsh Bay, in the term prior to the program commencing at your school, date TBC. Schools should be aware they will need to pay teacher-release costs for that day.
PROFESSIONAL DEVELOPMENT FOR SECONDARY DRAMA TEACHERS STC Ed is working with teachers, artists and other theatre companies to create a professional learning event for Secondary Drama Teachers. We will have more information about this exciting collaboration soon. Sign up for STC Ed enews at sydneytheatre.com.au/stced for more info.
PROGRAM PARTNER Program Patrons: The Caledonia Foundation Vincent Fairfax Family Foundation
Australian Professional Standards for Teachers at the level of Proficient Teacher 1.1.2, 1.2.2, 1.4.2, 1.5.2, 2.1.2, 2.2.2, 2.3.2, 2.5.2, 3.1.2, 3.2.2, 3.5.2, 3.6.2, 4.1.2, 5.3.2, 5.4.2, 6.4.2, 6.2.2, 6.3.2, 7.4.2 for the program School Drama™.
NSW Professional Teaching Standards at Professional Competence 1.2.1, 1.2.3. 2.2.3, 2.2.4, 2.2.6, 3.2.1, 3.2.2, 3.2.3, 3.2.10, 4.2.3, 4.2.4, 5.2.2, 5.2.3, 6.2.1, 6.2.3, 6.2.4, 6.2.7, 7.2.4 for the program School Drama™.
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SYDNEY THEATRE COMPANY PRESENTS
AFTER DINNER BY ANDREW BOVELL
Director Imara Savage Designer Alicia Clements Lighting Designer Verity Hampson Composer & Sound Designer Steve Francis With Glenn Hazeldine Anita Hegh Rebecca Massey Josh McConville Helen Thomson
Singledom and shoulder pads Friday night, circa 1987. Paula, Monika and Dympie are going to paint the town red... or maybe just a deep shade of embarrassment. Paula’s frocked up, it’s Monika’s first night out in years and Dympie just wants a table with a good view of the band. Semi- eligible blokes Gordon and Stephen are shaking off the office and revealing their own peccadillos while they’re at it. Between the Chardonnay, the oysters and the 80s punk music things are bound to loosen up! Playwright Andrew Bovell (The Secret River, Lantana) is one of Australia’s finest writers. In After Dinner, his first play from 1988, he exhibits the sure hand of a gifted wordsmith. His beautifully observed characters, wincingly funny one-liners and instantly recognisable situations reveal the timeless trials of friendship and singledom, as well as being a delicious reminder of the less than timeless trials of perms and skinny ties that were the 1980s. To bring it to life, we welcome back the comedic talents of Helen Thomson (Mrs Warren’s Profession), Josh McConville (Noises Off), Anita Hegh (The Secret River), Glenn Hazeldine (Perplex) and Rebecca Massey (Vere (Faith)). Together they’ll have you in stitches from entrées to last drinks.
CURRICULUM LINKS SCHOOLS DAYS
“ You see there’s all sorts of things you can do when you’re single.” Paula
Wed 11 Feb
SEASON DATES Term One 15 Jan – 7 Mar
DRAMA STAGE 5 AND 6
• L inks to Australian Drama: When the Rain Stops Falling by Andrew Bovell • A ustralian Realism • A ustralian Comedy and Black Comedy • C haracter driven narrative – roles, relationships and situation • Loneliness • Vulnerability • Relationships • B eing a woman in the 20th century
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ASSOCIATE SPONSOR
SUITABLE FOR YEARS 10 TO 12 WHARF 1 THEATRE 1HR 20MINS (NO INTERVAL)
WARNING: SEXUAL THEMES
#STCAFTERDINNER
Photo by James Green
THEMES AND IDEAS
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SYDNEY THEATRE COMPANY PRESENTS
SUDDENLY LAST SUMMER BY TENNESSEE WILLIAMS
Director Kip Williams Designer Alice Babidge Lighting Designer Damien Cooper Composer & Sound Designer Stefan Gregory With Paula Arundell Robyn Nevin Eryn Jean Norvill Susan Prior
Desire will consume you Robyn Nevin makes a very welcome return to the STC stage in Tennessee Williams’ lushly poetic drama. She plays Violet Venable, an aristocratic woman gripping tightly to what remains of her refinement – and her reputation. Williams’ characters often have a complicated relationship with the past. From Blanche DuBois in A Streetcar Named Desire to Amanda Wingfield in The Glass Menagerie, memory makes strange bedfellows of nostalgia and regret. In Suddenly Last Summer, the past is a dangerous question mark. Violet wants to protect her late son’s reputation, no matter the price. Young Catharine Holly wants to tell the truth, even if it finishes her. In the ensuing battle, the play feeds on the dramatic tension between decadence and degeneracy, between pleasure and corruption, between truth and reality. In a visionary new production, Resident Director Kip Williams (Macbeth) will use live video to zoom in on the characters’ dark depths in this rarely produced but enduring classic. “ With her tongue for a hatchet she’s gone about smashing our legend.” Mrs Venable
CURRICULUM LINKS SCHOOLS DAYS
Wed 25 Feb & Wed 11 Mar
SEASON DATES Term One 9 Feb – 21 Mar
DRAMA STAGES 5 AND 6
• Expressionism •M ultidisciplinary Theatre • U se of multimedia technology
THEMES AND IDEAS
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SUITABLE FOR YEARS 10 TO 12 DRAMA THEATRE, SYDNEY OPERA HOUSE 1HR 30MINS (NO INTERVAL)
WARNING: LOW LEVEL ADULT THEMES
#STCSUDDENLY LASTSUMMER
Photo by James Green
• Secrecy •M asking of identity • F amily dysfunction • B roken women • R ich poetic imagery, symbolism and language
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SYDNEY THEATRE COMPANY AND ADSHEL PRESENT A MELBOURNE THEATRE COMPANY PRODUCTION
JUMPY
BY APRIL DE ANGELIS AUSTRALIAN PREMIERE
Director Pamela Rabe Set Designer Michael Hankin Lighting Designer Matt Scott With Jane Turner
The mother of all midlife crises Things seem to be going from bad to worse for Hilary. Her career is on the line, her marriage is slipping into habit and her daughter is barely talking to her. The icing on the misery cake is having to watch her best friend’s embarrassing attempts at staying young. April De Angelis’ frank and funny family drama charts the perils of growing up and growing old with refreshing candour. At its core is a strong, intelligent woman who once protested against nuclear weapons, but who now finds herself largely protesting against her daughter’s choice of clothing. It wasn’t meant to be like this. Making her STC debut, comedy icon Jane Turner (Kath & Kim) will have an absolute field day as Hilary. And director Pamela Rabe, no stranger to STC as both an actor (Les Liaisons Dangereuses) and a director (In the Next Room, or the vibrator play), will bring her deft touch to the play’s wit and its pathos. “ Funny, deliciously rude and at times piercingly moving.” Daily Telegraph, UK
CURRICULUM LINKS SCHOOLS DAYS Wed 29 Apr
SEASON DATES Term One & Two 26 Mar – 16 May
DRAMA STAGE 5 AND 6
THEMES AND IDEAS
• L ost youth • L ife choices •M id-life crises • F eminism and womanhood • Family
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SUITABLE FOR YEARS 10 TO 12 PRESENTING SPONSOR
DRAMA THEATRE, SYDNEY OPERA HOUSE 2HRS 15MINS
(INCLUDING INTERVAL)
WARNING: STRONG LANGUAGE, SEXUAL THEMES
#STCJUMPY
Photo by Bronwen Sharp
• C ontemporary Realism • Comedy
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SYDNEY THEATRE COMPANY PRESENTS
ENDGAME BY SAMUEL BECKETT
Director Andrew Upton Set Designer & Lighting Designer Nick Schlieper Composer & Sound Designer Max Lyandvert Associate Director Hugo Weaving With Sarah Peirse Bruce Spence Hugo Weaving
The end is in the beginning and yet you go on With Waiting for Godot, Hugo Weaving and Andrew Upton began a conversation with the work of Samuel Beckett. With Endgame, they pick up where they left off. The two plays are, in many respects, companion pieces – Endgame, completed in 1956, acts as a subterranean coda to Godot. Both were informed by the wholesale destruction of the Second World War and the sense of impending yet intangible doom promised by the nuclear age. If Godot redefined the possibilities of theatre, Endgame cemented Beckett’s place as the foremost playwright of his era. In the text, Beckett’s singular voice rings clear – absurdity in the face of meaninglessness, sorrow in the face of futility, humour in the face of mortality. On the stage, the talents of Nick Schlieper and Max Lyandvert create a world on the precipice of extinction. A world in which four people, perhaps the last, play out the game of life to its inevitable end. “ Nothing is funnier than unhappiness.” Nell
CURRICULUM LINKS SCHOOLS DAYS Wed 6 May
SEASON DATES Term One & Two 31 Mar – 9 May
DRAMA STAGE 5 AND 6
• L inks to HSC Australian Drama and Theatre text Life Without Me by Daniel Keene • Absurdist Comedy and Conventions • S ymbolic and minimalist design
ENGLISH EXTENSION
THEMES AND IDEAS
• F arcical nature of human existence • Existentialism • E mptiness and loneliness
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SUITABLE FOR YEARS 9 TO 12 SYDNEY THEATRE 1HR 20MINS (NO INTERVAL)
NO WARNINGS
#STCENDGAME
Photo by James Green
• L inks to Extension 1, Module B: Texts and ways of Thinking. Elective 1: After the Bomb. Prescribed text: Waiting for Godot by Samuel Beckett
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SYDNEY THEATRE COMPANY PRESENTS A SYDNEY THEATRE COMPANY AND BARKING GECKO THEATRE COMPANY PRODUCTION
STORM BOY
BY COLIN THIELE ADAPTED FOR THE STAGE BY TOM HOLLOWAY
Director John Sheedy Set, Costume & Puppet Designer Michael Scott-Mitchell Puppetry Director Peter Wilson Lighting Designer Damien Cooper Sound Designer Kingsley Reeve With Jimi Bani Peter O’Brien
CURRICULUM LINKS SCHOOLS DAYS
Tue 28 Apr, Wed 29 Apr, Thu 30 Apr, Fri 1 May, Tues 5 May, Wed 6 May, Thu 7 May, Fri 8 May, Tue 12 May, Wed 13 May, Thu 14 May, Fri 15 May.
A return season for a cherished childhood favourite A runaway hit in 2013, this collaboration with Perth’s Barking Gecko Theatre Company is a vivid stage adaptation of Colin Thiele’s much-loved story. In 2015, it’s back for a very limited encore season. Heralded by Crikey as “full of heart and soul”, Tom Holloway’s writing honours the spare, unadorned style of the original, while John Sheedy’s sensitive direction brings the characters, whether human or pelican, springing to life. Storm Boy’s evocation of a far-away windy beach and bittersweet message about growing up has enthralled children and adults alike for decades. Whether you missed out on tickets to its first season or want to introduce a new generation of children to the story, this is your chance to savour the wonder, sadness and hope of this home-grown classic. “ I thought it was extremely good! I think the puppets are brilliant. The pelicans are very funny. The pelicans’ departure was the most emotional part for me… I didn’t cry though. Just to be clear on that.” 8-year-old critic Bill Blake for Time Out Sydney
Note: Schools Days performances for Storm Boy commence at 11.00am. Q & A is available post-show only.
SEASON DATES Term Two 24 Apr – 17 May
DRAMA STAGE 2, 3 AND 4
• L inks to Indigenous Perspectives • Puppetry • C hildren’s Theatre • I ndigenous Theatre • P hysical Theatre and Movement • B elonging and identity • F amily and relationships • T he Australian Environment and Living Things • I ndigenous Culture • G rief and loss
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Commissioning Patron: Gretel Packer
SUITABLE FOR YEARS 2 TO 12 WHARF 1 THEATRE 1HR 10MINS (NO INTERVAL)
NO WARNINGS
#STCSTORMBOY
Image by Collider
THEMES AND IDEAS
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SYDNEY THEATRE COMPANY PRESENTS A SYDNEY THEATRE COMPANY AND MALTHOUSE THEATRE PRODUCTION
LOVE AND INFORMATION BY CARYL CHURCHILL AUSTRALIAN PREMIERE
Director Kip Williams Designer David Fleischer Lighting Designer Paul Jackson Composer & Sound Designer THE SWEATS With Glenn Hazeldine Anita Hegh Zahra Newman Ursula Yovich Alison Whyte
Do we know too much? Caryl Churchill is arguably the world’s foremost living playwright. Since the 1950s, she has maintained an inventiveness and a currency that remain unmatched. Our Wharf 1 Theatre has played host to her writing several times – from Serious Money and Top Girls to Far Away and Seven Jewish Children. In Love and Information, Churchill gives us a unique snapshot of the modern era. Like a single beam of light refracted, her many characters each reveal a different facet of the human condition. In a series of tantalising vignettes, we glimpse the lives of over a hundred characters – a child who cannot feel pain, a man who has a secret, a woman who wants an affair. Threading it all together is a profound curiosity about human nature, consciousness and the future. Guided by our Resident Director Kip Williams, the gifted cast, including Glenn Hazeldine, Anita Hegh, Zahra Newman, Alison Whyte and Ursula Yovich, will use their chameleonic talents to create a kaleidoscope of vibrant individuals. Like us, they are distinct and yet connected. “ Thought-churning, deeply poignant new play.” New York Times
CURRICULUM LINKS SCHOOLS DAYS
Wed 22 Jul & Wed 29 Jul
SEASON DATES Term Three 9 Jul – 15 Aug
• L inks to Significant Plays of the 20th Century: Top Girls by Caryl Churchill • E pisodic narrative •M ultiple Role/Transformational Acting
THEMES AND IDEAS
• L ife and love in the 21st century • D ehumanised and disconnected world, driven by technology • Communication
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SUITABLE FOR YEARS 9 TO 12 WHARF 1 THEATRE 1HR 45MINS (NO INTERVAL)
WARNING: LOW LEVEL COURSE LANGUAGE
#STCLOVEANDINFO
Photos by James Green and iStock
DRAMA STAGE 5 AND 6
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SYDNEY THEATRE COMPANY AND UBS PRESENT
THE PRESENT AFTER ANTON CHEKHOV’S PLATONOV BY ANDREW UPTON WORLD PREMIERE
Director John Crowley
Love will tear us apart
With Cate Blanchett Richard Roxburgh
Anton Chekhov’s first play was a sprawling, unstructured epic but it marked out the style and themes he would return to in his later masterworks from The Seagull to The Cherry Orchard. It remains a mysterious, unpolished gem. The manuscript, left unpublished until almost two decades after Chekhov’s death, lacked a title. Over the years it has inspired various adaptations – Wild Honey, Fatherlessness, The Disinherited – but it is most commonly referred to as Platonov, the name of the man at its centre. And yet, the play has always contained another extraordinarily rich and complex character – that of Anna Petrovna. Taking on these roles are the fearsome talents of Cate Blanchett and Richard Roxburgh. Irish director John Crowley, renowned for his work on the West End and Broadway, brings his lean and precise theatrical vision. And, as with his 2010 adaptation of Uncle Vanya, Andrew Upton lends his distinctive voice, brimming with vitality, to this tale of yearning, vodka and shattered dreams.
CURRICULUM LINKS SCHOOLS DAYS Wed 2 Sep
“ It’s better to say it’s the gun that is accurate, not the marksman. That way, pulling the trigger isn’t such a big deal.” Anna Petrovna
SEASON DATES Term Three 4 Aug – 19 Sep
DRAMA STAGE 6
• Links to Significant plays of the 20th Century: The Cherry Orchard by Anton Chekhov • Fusion of Tragedy and Comedy • N ew adaptation • E clectic performance styles: Naturalism and Multidisciplinary Theatre
ADVANCED ENGLISH
THEMES AND IDEAS
• L ust and temptation • S hattered dreams • T ormented generations • T he ‘disinherited’
22
PRESENTING SPONSOR
SUITABLE FOR YEARS 11 & 12 SYDNEY THEATRE 2HR 30MINS
(INCLUDING INTERVAL)
NO WARNINGS
#STCTHEPRESENT
Photo by James Green
• L inks to Advanced English, Module B: Critical study of texts. Prescribed text: The Seagull by Anton Chekhov
23
SYDNEY THEATRE COMPANY PRESENTS
ARMS AND THE MAN BY GEORGE BERNARD SHAW
Director Richard Cottrell Set Designer Michael Scott-Mitchell Costume Designer Julie Lynch Lighting Designer Damien Cooper Sound Designer Jeremy Silver With Brandon Burke Mitchell Butel Andrea Demetriades Olivia Rose William Zappa
Love is a battlefield Stuck in a Bulgarian backwater, Raina Petkoff has been reading too many romance novels. She wants adventure, she wants love, she wants to get the hell out of town. So, when a charming Swiss soldier on the hop from the battlefield clambers into her bedroom, what’s a clever, practical-minded girl to do? Offer him sanctuary, feed him chocolate and fall in love. It’s only natural. George Bernard Shaw’s classic play takes its title from the opening line of Virgil’s Aeneid. Like Aeneas, Shaw’s Swiss officer is a man wandering away from defeat, but with his trademark verbal dexterity and wit, Shaw subverts the epic. Dialling up the romance and keeping plenty of room for irony, he gives us a playful love story of brilliantly drawn characters, while also poking fun at the vanity, false heroism and supposed nobility of the 19th century battlefield. Legendary director Richard Cottrell (Australia Day) helms the production, while Andrea Demetriades (Perplex) and Mitchell Butel (Romeo and Juliet) will launch themselves into the romance and the comedy with absolute relish. “ You are a romantic idiot.” Raina
CURRICULUM LINKS SCHOOLS DAYS
Wed 14 Oct & Wed 21 Oct
SEASON DATES
Terms Three & Four 14 Sep – 31 Oct
DRAMA STAGE 5 AND 6
• Naturalism • P eriod Piece • R omantic Comedy – Satire • O ne of Bernard Shaw’s ‘plays pleasant’ • T heatre of ideas • C hallenging romanticised notions of love and war, heroism and cowardice • I dealism and Realism • C lass prejudice
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SUITABLE FOR YEARS 9 TO 12 DRAMA THEATRE, SYDNEY OPERA HOUSE 2HR 30MINS
(INCLUDING INTERVAL)
NO WARNINGS
#STCARMSANDTHEMAN
Photo by James Green
THEMES AND IDEAS
25
SYDNEY THEATRE COMPANY PRESENTS
ORLANDO
FROM THE NOVEL BY VIRGINA WOOLF ADAPTED BY SARAH RUHL AUSTRALIAN PREMIERE
Director Sarah Goodes Designer Renée Mulder Lighting Designer Damien Cooper
A portrait of a woman as a young man
With Andrea Demetriades John Gaden Jacqueline McKenzie
Playwright Sarah Ruhl (In the Next Room, or the vibrator play) brings Woolf’s novel to the stage with all the luscious lyricism and playfulness of the original. As the story unfolds, we sail effortlessly across five centuries, taking in London and Constantinople, Russian beauties and Romanian aristocrats, always with a wink in the eye. The adventures pile up, as do the lovers, and somewhere along the line our hero becomes a heroine.
CURRICULUM LINKS SCHOOLS DAYS Wed 18 Nov
SEASON DATES Term Four 9 Nov – 19 Dec
Virginia Woolf’s novel Orlando has been described as the longest and most charming love letter in literature. Inspired by Woolf’s affair with the author and aristocrat Vita Sackville-West, it is part biography, part fabulation, part poetry.
At the heart of it all is the magnetic Jacqueline McKenzie as the gallant, rhapsodic, brooding and brilliant Orlando. Guided by Resident Director Sarah Goodes, this light-hearted, gender-bending frolic through the ages will be given a playful, delicate new production. “ When I knew you, Orlando, you were filled with life – exquisitely – you were bursting with it.” Queen Elizabeth I
DRAMA STAGE 6
• C ontemporary Adaptation • E choes of Magical Realism and Surrealism • E nsemble piece • U se of Chorus and Multiple Role/ Transformational Acting • P oetically, symbolically and aesthetically rich design • P layful performance • T ranscendence of time and place
ENGLISH EXTENSION
THEMES AND IDEAS
• Love • History • F luidity of identity and gender
26
SUITABLE FOR YEARS 11 & 12 DRAMA THEATRE, SYDNEY OPERA HOUSE 2HRS
(INCLUDING INTERVAL)
WARNING: ADULT THEMES
#STCORLANDO
Photo by James Green
• E xtension 1, Module C: Language and Values. Elective 1: Textual Dynamics. Prescribed Text, Film: Orlando • E xtension 1, Module C: Language and Values. Elective 2: Language and Gender. Prescribed text: Prose Fiction: Orlando
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SYDNEY THEATRE COMPANY AND COLONIAL FIRST STATE GLOBAL ASSET MANAGEMENT PRESENT
KING LEAR BY WILLIAM SHAKESPEARE
Director Neil Armfield Set Designer Robert Cousins Costume Designer Alice Babidge Lighting Designer Nick Schlieper With Geoffrey Rush
A tyrant. A father. Every inch a king. Lear decides to divide his kingdom between his three daughters. To determine their share, they need simply to express their love for him. The youngest, Cordelia, says nothing. Everything else is history. Shakespeare’s masterpiece is a portrait of a man in decline. Yet, as his mind falters, he ekes out new wisdom. As people betray him, he discovers true constancy. At his nadir, he is at his best. Geoffrey Rush and Neil Armfield have been friends and collaborators for well over 30 years – one of Australia’s most enduring and revered creative partnerships. Together, they have worked on everything from Hamlet to The Diary of a Madman, upping the ante for Australian theatre again and again. Now, in a landmark production, this iconic actor and this visionary director bring us a King Lear like no other. “ Who is it that can tell me who I am?” King Lear
CURRICULUM LINKS SCHOOLS DAYS
Wed 2 Dec & Wed 9 Dec
SEASON DATES
Term Four 24 Nov 15 – 9 Jan 16
DRAMA STAGE 4, 5 AND 6
• Shakespeare • D istinctive aesthetic of director Neil Armfield
ENGLISH STAGE 4, 5 AND 6 THEMES AND IDEAS
• V anity, aging • T ruth, loyalty, justice, chaos and betrayal • I nheritance, madness, family dynamics
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Production Patrons: Danita Lowes and David Fite PRESENTING SPONSOR
SUITABLE FOR YEARS 8 TO 12 SYDNEY THEATRE 3HRS
(INCLUDING INTERVAL)
WARNING: VIOLENCE NUDITY
#STCKINGLEAR
Photo by James Green
• D rama: Shakespearean Drama
29
RESERVING YOUR SEATS ~
HOW TO BOOK 1. COMPLETE YOUR BOOKING FORM
2. SEND YOUR BOOKING FORM
3. PAY DEPOSIT TO SECURE BOOKING
The STC Ed booking form can be found at the back of this brochure or can be downloaded from sydneytheatre.com.au/stced
Email education@ sydneytheatre.com.au Mail STC Education Sydney Theatre Company PO Box 777 Millers Point NSW 2000 Fax (02) 9251 3687
Once your booking has been processed, STC will invoice the school for a 25% deposit. Once you have paid your deposit, your booking is secured.
4. MAKE YOUR FINAL PAYMENT STC will invoice you for the balance, payable six weeks before your performance. At this stage numbers are final.
5. RECEIVE CONFIRMATION AND USEFUL PRE-SHOW DETAILS Prior to your visit, we will send you detailed confirmation to ensure you have a hassle-free excursion. This will include any updates about changes to times or content.
FAQS Can we attend an evening STC performance? School groups can book for any performance, with discounted youth prices to all performances (excluding previews and Saturday evenings). Limited availability. Full upfront payments required. To attend multiple shows, can we get a school group subscription? School groups can subscribe to STC if you book for six or more performances. For school subscription enquiries, contact education@sydneytheatre.com.au Does the cost include GST? STC Ed tickets are GST exempt, however GST does apply to the inside booking fee. Any applicable GST will be listed on your invoice. What time does the performance finish so I can book the bus? Estimated running times are listed in the brochure. Running times may change during rehearsal, so please check the STC website for the exact duration closer to your performance date. 30
Can I change my student numbers? Changes to booking numbers must be received in writing and can be accepted up until six weeks prior to the performance. Changes to student numbers after this time will depend on availability and are at our discretion. This may incur a change fee. Where can I park the bus? For performances at Sydney Theatre or The Wharf, buses can park on Hickson Road opposite Pier 4. Smaller buses would be eligible for on-street metered parking. Is there any nudity or strong language in the production? Sometimes STC productions contain adult material, but this can not be confirmed until rehearsals commence. We offer a guide in this brochure and will take all measures to inform you if the content has changed prior to your performance. Please ensure you check each show page for relevant warning information. If you would like any further assistance, please contact education@sydneytheatre.com.au
STC ED 2015
BOOKING REQUEST FORM SCHOOL DETAILS
BOOKING TEACHER DETAILS
SCHOOL NAME
NAME
POSTAL ADDRESS
DEPARTMENT / POSITION PHONE FAX
SUBURB
MOBILE
STATE POSTCODE
I WOULD LIKE TO RECEIVE THE STC ED ENEWSLETTER
ACCESS TICKETS
ACCESS AND SPECIAL SEATING REQUIREMENTS WHEELCHAIR
I WOULD LIKE TO APPLY FOR ACCESS TICKETS. ACCESS TICKETS ARE DISCOUNTED TICKETS FOR UNDER FUNDED OR REGIONAL SCHOOLS. SEE PG 6 FOR MORE INFO. (NB: LIMITED AVAILABILITY. STC WILL CONTACT YOU ABOUT YOUR APPLICATION FOR ACCESS TICKETS.)
AISLE SEAT
HEARING / VISION IMPAIRED
(WE WILL CONTACT YOU FOR DETAILS)
SEND INVOICES TO NAME
PHONE FAX
TO BOOK TEACHER PROFESSIONAL LEARNING OR REGISTER INTEREST FOR SCHOOL DRAMA PLEASE VISIT SYDNEYTHEATRE.COM.AU/STCED
YOUR SIGNATURE SIGNATURE
PRINT NAME
SCHOOL NAME
DATE
PLEASE NOTE: YOU MUST COMPLETE AND RETURN BOTH SIDES OF THIS FORM IN ORDER FOR YOUR REQUEST/S TO BE PROCESSED.
YOUR PLAY SELECTION SCHOOLS DAYS
NOMINATE YOUR DATES IN ORDER OF PREFERENCE DAY / DATE / TIME
AFTER DINNER
YEAR LEVEL/S
STUDENTS (A)
WEDNESDAY 11 FEBRUARY
COMP ADDITIONAL TEACHERS* (B) TEACHERS (C)
TOTAL No. OF TOTAL TICKETS (A+B+C) COST
@ $25
@ $0
@ $32
$
@ $25
@ $0
@ $32
$
OFFICE USE ONLY
1.
SUDDENLY LAST SUMMER 2.
JUMPY
WEDNESDAY 29 APRIL
@ $25
@ $0
@ $32
$
ENDGAME
WEDNESDAY 6 MAY
@ $25
@ $0
@ $32
$
@ $25
@ $0
@ $32
$
@ $25
@ $0
@ $32
$
@ $25
@ $0
@ $32
$
@ $25
@ $0
@ $32
$
@ $25
@ $0
@ $32
$
@ $25
@ $0
@ $32
$
1.
STORM BOY 2. 1.
LOVE AND INFORMATION 2.
THE PRESENT
WEDNESDAY 2 SEPTEMBER
1.
ARMS AND THE MAN 2.
ORLANDO
WEDNESDAY 18 NOVEMBER
1.
KING LEAR 2.
* COMPLIMENTARY TEACHER TICKETS: ONE TEACHER ATTENDS FREE WITH UP TO 20 STUDENTS AND ONE TEACHER FREE PER 20 STUDENTS AFTER THAT.
THERE IS NO NEED TO PAY UPFRONT. WE’LL SEND YOU AN INVOICE FOR THE DEPOSIT AFTER WE HAVE CONFIRMED YOUR TICKET REQUEST/S.
TOTAL
$
25%DEPOSIT $
TERMS & CONDITIONS • A 25% non-refundable deposit is to be paid within 14 days of the booking being confirmed by Sydney Theatre Company. • Changes to student numbers MUST BE IN WRITING and no later than 6 weeks prior to the performance. • Final payment is due 6 school weeks prior to the performance. • Any changes to student numbers after this time are at the discretion of Sydney Theatre Company and subject to availability.
• The booking is made on behalf of the school and the school accepts liability to make payments on the due dates. • STC retains the right to change or amend the terms and conditions at any time.
SEND IN YOUR FORM
PLEASE NOTE:
EMAIL: EDUCATION@SYDNEYTHEATRE.COM.AU FAX: (02) 9251 3687 MAIL: STC ED TEAM, SYDNEY THEATRE COMPANY PO BOX 777 MILLERS POINT NSW 2000
YOU MUST COMPLETE AND RETURN BOTH SIDES OF THIS FORM IN ORDER FOR YOUR REQUEST/S TO BE PROCESSED.
PLEASE NOTE ALL SCHOOL BOOKINGS MADE WITHIN 6 SCHOOL WEEKS OF A PERFORMANCE DATE MUST BE PAID IN FULL WITHIN 1 WEEK OF CONFIRMATION AND ARE FINAL. THERE ARE NO REFUNDS OR CHANGES TO NUMBERS OR DATES ON THESE BOOKINGS.
Sydney Theatre Company Ltd A company limited by guarantee and incorporated in New South Wales. ABN 87 001 667 983
Artistic Director Andrew Upton
STC ED CONTACTS
THANK YOU
Executive Director Patrick McIntyre
Sydney Theatre Company The Wharf Pier 4 Hickson Road Walsh Bay NSW 2000 Australia
School Drama would not be possible without the vital support we receive from the following individuals and organisations.
Facsimile (612) 9251 3687 education@sydneytheatre.com.au sydneytheatre.com.au/stced
The Caledonia Foundation Vincent Fairfax Family Foundation
STC Board David Gonski AC (Chair) The Hon. Bruce Baird AM Jonathan Biggins Toni Cody John Connolly Ann Johnson Mark Lazberger Patrick McIntyre Justin Miller Ian Narev Gretel Packer Daniel Petre AO Andrew Stuart Andrew Upton Peter Young AM School Drama Partners Professor Robyn Ewing The University of Sydney State Theatre Company of South Australia Flinders University School Drama Teaching Artists Georgia Adamson, George Banders, Hannah Brown, Victoria Campbell, Jessica Chambers, Alyson Evans, Rowan Freeman, Felix Jozeps, Anna Martin, Suzannah McDonald, Gwyneth Price, Jena Prince, John Saunders, Rachel Small, Jennifer White Teacher Advisory Panel Margo Bowen, Pauline Cain, Sally Drury, Robyn Ewing, Joanne George, Priscilla Jackman, Julian Kennard, Rach Kirsten, Linda Lorenza, Mary Mooney, Colleen Roche, Jane Simmons, Stephen Smith, Elizabeth Surby, Michael Terzo
Postal Address STC Ed PO Box 777 Millers Point NSW 2000 Australia Paul O’Byrne Director of Community & Corporate Partnerships John Saunders Education Manager (02) 9250 1795 jsaunders@sydneytheatre.com.au Hannah Brown Education Projects Officer (02) 9250 1768 hbrown@sydneytheatre.com.au
BROCHURE CREDITS Concept by Collider Design by Hon Boey Photography by James Green Jumpy photograph by Bronwen Sharp STC photography by Grant Sparkes-Carroll Photography styled by Renée Mulder King Lear and The Present styled by Alice Babidge Printed by Playbill facebook.com/sydneytheatrecompany twitter.com/sydneytheatreco instagram.com/sydneytheatreco
Travis Green Education Systems & Client Services Manager (02) 9250 1778 education@sydneytheatre.com.au Judith Seeff Archivist (02) 9250 1745 jseeff@sydneytheatre.com.au Rachel Small Administration Assistant, Community (02) 9250 1967 rsmall@sydneytheatre.com.au
Throughout the brochure you may have noticed this symbol. It denotes program choices made possible with the generosity of our donor family
Sydney Theatre Company is a member of AMPAG