GLORIA BY BRANDEN JACOBS-JENKINS MELBOURNE THEATRE COMPANY PRESENTS Welcome

Season 2018 features four Australian premieres of the best new writing from around the world including this astonishing, Pulitzer Prize-nominated drama by GLORIA Branden Jacobs-Jenkins. Gloria is a contemporary satire with something BY BRANDEN extraordinary to say about our fractured, ferociously ambitious, media-saturated world. Set in the office of a prestigious Manhattan magazine, director Lee JACOBS-JENKINS Lewis along with the cast and creative team have brought a slice of 21st Century Americana to The Sumner for a night of theatre you won’t forget. 16 JUNE—21 JULY, 2018

From directors and actors, to writers and designers, Southbank Theatre, The Sumner to audiences and donors, everyone has an important role to play at Melbourne Theatre Company. What — About the play — brings us together is our passion for sharing the power of live storytelling with generations of Australians. Editorial assistant Dean stumbles into work, hungover from last night’s mortifying party at Gloria’s house. Surrounded by his ambitious co-workers in their Manhattan magazine As we approach the end of the financial year, we ask you to help bring more stories to the office, the only thing that matters is how fast you can climb the journalistic ladder of success and get your name in print. Today is just another ordinary day, until suddenly MTC stage. Donations are an essential part of creating extraordinary theatre of the highest it’s not and the stakes for who gets the story become higher than ever. quality, year after year – theatre that entertains, challenges and inspires us all. Every dollar donated contributes directly to the future of MTC and the cultural landscape of Victoria. All donations above $2 are tax deductible and you can donate online today at mtc.com.au/ — Cast — playyourpart. Thank you for sharing our belief in the power of theatre to transform lives, Miles / Shawn / Rashaad Callan Colley Composer & Sound Designer Russell Goldsmith and for playing an essential role in MTC’s story. Dean / Devin Jordan Fraser-Trumble Voice & Dialect Coach Anna McCrossin-Owen Ani / Sasha / Callie Jane Harber Stage Manager Pippa Wright Kendra / Jenna Aileen Huynh Assistant Stage Manager Meg Richardson Gloria / Nan Lisa McCune Stage Management Secondment Lorin Peter Paltos Bridget McWilliams Lighting Design Attachment Clare Springett Sound & Composition Attachment Sidney Millar — Creative Team — Set & Costume Design Attachments Juliette Whitney and Kris Bird Brett Sheehy ao Virginia Lovett Director Lee Lewis Rehearsal & Production Photographer Artistic Director Executive Director Set & Costume Designer Christina Smith Brett Boardman Melbourne Theatre Company acknowledges the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Lighting Designer Paul Jackson Owners of the land on which Southbank Theatre and MTC HQ stand, and we pay our respects to Melbourne’s First Peoples, to their ancestors past and present, and to our shared future.

MTC is a department MTC is assisted by the Commonwealth Government through the Australia Council, MTC is a member of Live For information regarding running time, please see a member of the Front of House team. of the University its arts funding and advisory body, and by the State Government of Victoria through Performance Australia and the of Melbourne. Creative Victoria. Australian Major Performing This production is recommended for ages 16+ and includes a scene depicting graphic violence. Arts Group.

Production Partner Gloria was produced by the VINEYARD THEATRE, Douglas Aibel, Artistic Director, Sarah Stern, Artistic Director, Jennifer Garvey-Blackwell, Executive Producer, New York, Spring, 2015 Cover photo: James Hartley and Jo Duck Meet Branden Jacobs-Jenkins

Heralded a genius and the playwright of his generation, the writer behind Gloria is making waves in contemporary theatre.

As a self-described ‘bookish’ child, Branden Jacobs-Jenkins grew up in a community in Washington, D.C. where theatre and performance were at the forefront of the social agenda. He read every copy of The New Yorker he could find, handing over a dime at the public library for old issues as often as he could.

Moving into secondary school, he struggled to find his clique, telling Hilton Als for Bomb Magazine that socialising as a teenager depended on a kind of performance he was never able to master. ‘The story goes that However, when an opening at The New America’s theatre psyche. An Octoroon (also I didn’t smile once my entire freshman year Yorker for an editorial assistant in the fiction 2014), saw the playwright radically adapt until I was cast in the school play. Then department came up, the bookish child an 1859 melodrama set on a slave plantation. high school plays and musicals became in Jacobs-Jenkins could not look past Neighbors, Appropriate and An Octoroon, my “thing.” But, the whole time, I was the opportunity. For a recent graduate although not a trilogy, all delve into the always hyperaware that my real ambition in his early twenties wanting to write fiction, historical relationship between American was to write fiction, and I went off to college a seat at the editing table of Manhattan’s theatrical forms and the perception of to study that.’ most prestigious magazine should have blackness in contemporary society. been a dream come true. But, Jacobs- Jacobs-Jenkins credits the fiction section Jenkins was left wanting more. The young American picked up the 2014 of The New Yorker with inspiring him Obie Award for his plays Appropriate and to study creative writing at Princeton Throughout his tenure, from 2007 to 2010, An Octoroon. At the time of accepting the University. Once there, he had a professor he started busily penning the first in a series award he said, ‘This is crazy. Between these Robert Sandberg tell him, ‘I think you might of critically-acclaimed plays, which would two shows I think I’ve probably had every Branden Jacobs-Jenkins; (opposite) Director Lee Lewis with be a playwright, and you should figure set the tone for his canon of work. This time emotion you can have.’ Both works secured Jordan Fraser-Trumble out how to deal with that.’ at The New Yorker would also unwittingly Jacobs-Jenkins as one of the most promising inform the foundation of his play Gloria. playwriting voices of his generation, as his The young college student remembers professor at Princeton had predicted. feeling as though his calling had shifted. Jacobs-Jenkins first play Neighbors, written ‘I was writing about a ‘I remember parting ways with him and in 2008, attempted to encapsulate the entire Soon after, in 2015, Gloria premiered at the group of people whose job feeling my mission in life had changed – history of blackness in the theatre, a story Vineyard Theatre in New York. Before the suddenly I had to hurry off and read every which began with black face minstrelsy. title Gloria was confirmed, Jacobs-Jenkins is to basically transcribe play in the library, just to understand what In his play Appropriate (2014) he dissected had named his play Or Ambition. Ambition, life … and decide what’s plays were.’ From Princeton, he ventured America’s understanding of what a typical he says, is the determinant that keeps so off to study his Masters in performance American family drama looks like and how many young writers in New York City living newsworthy‘ studies at New York University. the ideas of a white family are encoded in below the poverty line in the belief that Callan Colley and Lisa McCune they could one day become the next Hunter S. Thompson or Joan Didion. ‘I was interested in what a writer’s ambition is, because I was writing about a group of people whose job is to basically transcribe life and experience and decide what’s newsworthy or not newsworthy, what lives have value or not, determined by what happens in them.’

A few years after leaving The New Yorker, Jacobs-Jenkins was in Berlin on a Fulbright Scholarship when the idea to write Gloria came to him. He was jobless at the time and craving the daily structure of an office environment. However, he says none of the events in Gloria were taken from his lived experience at the publication.

In 2016, Jacobs-Jenkins was awarded a MacArthur Fellow, colloquially known as the ‘Genius Grant’, which collects a cash prize of US$625,000. The MacArthur Fellows Program said, ‘Many of Jacobs-Jenkins’s plays use a historical lens to satirize and comment on modern culture, particularly the ways in which race and class are negotiated in both private and public settings.’

When accepting his award, Jacobs-Jenkins said that all of his work exists and is fed by the need to answer questions he has about the world and why he feels the way he feels. ‘I really believe in the power of this form [theatre]. At the most elemental level, all I want is for people to leave with something to mull over and leave with the bravery to try and connect, try to understand, to see each other, in each other.’

‘I’ve always believed that one of the most incredible and important things about theatre – and all art really – is that we’re creating a safe space for all feelings, but especially ugly feelings.’ n What a way to make a living

In Gloria, we peer through the window of an exceptionally dysfunctional office.

Gloria begins in the offices of an upscale Glengarry Glen Ross and Death of a magazine in Manhattan, specifically in the Salesman showed us how work can publication’s culture section. Like thousands overwhelm our families and selves to of workplaces before it, Gloria proves that the become the epicentre of our lives. inner mechanisms of an office environment make for great drama. Something about Whether you make short work, light work, punching the clock from 9am to 5pm and or hard work of something, working to working for the ‘man’ has formed the make a living is the one thing that connects backdrop for many great productions. us all. Across every continent, culture and commerce, there is work to be done, Crime dramas, legal dramas, medical and people who need to do it. dramas, teaching dramas, retail dramas, political dramas, even library dramas have The relentless regularity of a monotonous been entertaining us, often after a long Monday morning commute, small talk about day at the office, for eons. Perhaps the standing desks and ergonomic keyboards, most iconic workplace drama in recent bi-annual fire drills, bitter cafeteria coffee, years is Ricky Gervais’ The Office. His illicit office romances and communal mockumentary series showed us the lives kitchenettes that breed their own of dreary British employees working for ecosystems of filth, are familiar experiences a suburban paper company, and somehow, for many of us. Work occupies a lot of our this premise became one of the most time. There’s every chance you’ve spoken relatable shows in England. A US spin-off to Jim in IT this year more than your own with Steve Carell proved the series just as mother, and you don’t even work in IT. popular with American audiences; attesting that there is a universal relatability to the On average, we spend 40 hours a week ‘watercooler’ drama. with our co-workers. Which is probably more time than we spend with our children, Between Mad Men, Suits, Veep, West partner, friends or self. For that reason, Wing, Grey’s Anatomy, Utopia, House of it is helpful when we get along. School was Cards, Ally McBeal, Scrubs, 30 Rock and bad enough, but at work, we’re all meant to Parks and Recreation, we’ve seen our fair have similar interests and invest in our share of office dynamics play out on the company’s mission and vision together. small screen. On the stage, dramas like

(Top) Jordan Fraser-Trumble, Callan Colley, Jane Harber and Aileen Huynh. (Bottom from left) Peter Paltos; Jane Harber. ‘Gloria begins as a satire of entitled 20-somethings dragging their feet at work and then suddenly becomes a dissection of ambition, misery and the desire to be heard.’

The problem is, workplaces consist of people with entirely different skill-sets and behaviours. The full alphabet of personalities are usually represented in confined, fluorescently lit and poorly ventilated spaces, grouped together by their one and only actual common interest – the want and need to make money.

Sometimes a team of employees operate like a little family; aggravated by, but ultimately accepting of each other’s differences, and appreciative of one another’s contributions. In less successful workplaces, people clash, ideas and ethics collide, allegiances are formed and segregation ensues. Throw in a healthy dose of competition and you have the setting for a perfect drama.

Gloria begins as a satire of entitled 20-somethings dragging their feet at work and then suddenly becomes a dissection of ambition, misery and the desire to be heard. Jacobs-Jenkins’ play pulls apart the patterns that exist in almost every workplace and asks us what can happen Peter Paltos; (top) Director Lee Lewis with Jane when people are cut adrift from their Harber and Aileen Huynh; (opposite clockwise colleagues and made to feel like the from bottom left) Callan Colley; Lisa McCune and n Jane Harber; Aileen Huynh ‘office freak’. The Daily Grind Cast & Creative Team

MTC Literary Associate Jennifer Medway spoke to our current NEXT STAGE Writers-in-Residence about the perks of working at MTC HQ.

As part of our NEXT STAGE Writers’ Program we two small kids and a house full of toys, dirty have had the privilege of welcoming three laundry and toddler tantrums, so getting out of playwrights into the building as our inaugural that space and into a space of relative calm and Writers-in-Residence. Over these first five years focus is imperative!’ CALLAN COLLEY JORDAN FRASER-TRUMBLE JANE HARBER a total of 15 playwrights will have this experience Writing is often pegged as a ‘solitary profession’ Miles / Shawn / Rashaad Dean / Devin Ani / Sasha / Callie for up to three years each, as a way to support but for these three playwrights one of the most and build the next generation of leading Callan Colley graduated A 2014 graduate of Melbourne’s Jane Harber can currently been valuable aspects of the residency has been Australian playwrights. from NIDA with a Bachelor 16th Street Actors Studio, seen in Network Ten’s comedy spending time with other people. For Kylie, of Fine Arts, Acting in 2016. Jordan Fraser-Trumble’s career panel game show, Show Me The While for many of us, the pattern of going to the ‘Talking with the other residents about our work His professional debut was in kick-started the following year Movie, opposite Rove McManus office every day to work is a given, for writers to has been a surprising highlight. It’s a really Three Sisters (Sydney Theatre as he was cast in his first feature and Joel Creasey, and the have a desk and come to work in an office can be a supportive, collegiate group and Dan and Company) at the end of last film and was awarded the upcoming Back in Very Small rare experience, and in terms of their professional Natesha both have excellent ideas and insight.’ year. His film credits include the esteemed graduate position at Business, playing Coco. Jane is practice – game changing. Our current resident independent feature film Only for Red Stitch Actors’ Theatre. Since widely recognised for her starring Dan agrees that meeting the other writers and the a Time directed by Lincoln Hall, then his stage credits include role in Network Ten’s Logie playwrights are Dan Giovannoni, Natesha team at MTC has been a huge advantage, ‘They and the short film, Bugged. Taylor Mac’s Hir directed by Dan Award-winning series, Offspring. Somasundaram and Kylie Trounson, who have all suggest things to read, we talk about Callan’s stage work at NIDA Clarke (Red Stitch); Love Song Jane’s other notable roles include spent the last year coming into MTC HQ on a included #Lads (LOT5 Theatre directed by Francis Greenslade Cora Benson in ABC1’s cult classic our ideas and muddle through them, we see regular basis, embedding themselves in both the Co); Another Country (NIDA); (Melbourne Fringe); Who’s Afraid franchise, The Moody’s and shows together.’ Natesha admits that she tends office processes and the creation of our The Olympians (NIDA); Capricornia of Virginia Woolf? (Winterfall A Moody Christmas. Jane to spend too much time talking when she’s productions, all the while developing new plays (NIDA) and The Tempest (NIDA). Theatre Company); You Got Older starred in the hugely successful around other people so to combat this, isolates Callan is excited to perform with (Red Stitch); The Glass miniseries, Never Tear Us Apart: for MTC themselves. herself when in the office, ‘including, but not Melbourne Theatre Company in Menagerie (Melbourne Fringe); The Untold Story of INXS as Each of these writers has a completely unique style limited to, in the corners of darkened corridors this sharp new comedy. Middletown, Jurassica, Love, Michelle Bennett, to critical of working and so the residency works differently and storage rooms.’ But she perhaps puts it best Love, Love (Red Stitch) and acclaim. A selection of Jane’s Sexual Perversity in Chicago other television credits include for each of them. Dan finds he is most when she sums up what the value of this (Melbourne Fringe). Jordan’s Clara Whiting in Miss Fisher’s productive sitting in a café with headphones in, ‘I experience has meant to her and why we are so screen credits include The Murder Mysteries, The Elegant don’t know why it works – something about being passionate about the program as a company. Legend of Ben Hall, Boundless, Gentleman’s Guide to Knife in public but shutting the world out with music. I ‘The most valuable part of the residency has The Family (BBC/MIFF) and Fighting, Georgina Rivers get twice as much done.’ But he has found it been the sheer confidence it has given me as a Lawless – The Real Bushrangers in House Husbands, Joss/Lucy surprising how much coming into an office has writer. To be actively supported and endorsed by (Foxtel). in Lowdown, Susie Moloney in Underbelly and Zdenka Milanovic made an impact, ‘I have found the routine such a prestigious and ground-breaking theatre in The Secret Life of Us. Jane’s incredibly helpful, the dedicated space to work company has allowed me to break through theatre roles include The great is for productivity, and the sense of family barriers of fear and insecurity and instead Speechmaker for Melbourne and welcome is lovely and humbling.’ Natesha approach writing and theatre as it should be Theatre Company and City of agrees, ‘It’s been incredibly motivating and approached − fearlessly.’ n Angels for fortyfivedownstairs. inspiring to be regularly surrounded by people who are completely and totally invested in the art of theatre. Having access to such a breadth NEXT STAGE thanks the Playwrights Giving of technical knowledge has been priceless.’ ‘It’s Circle for their generous support. so nice to have a home,’ says Kylie, ‘For me, Learn more about NEXT STAGE at where I write is more important to whether I mtc.com.au/nextstage write, or how much, or how well I write. I have Cast & Creative Team Cast & Creative Team

AILEEN HUYNH LISA McCUNE PETER PALTOS BRANDEN JACOBS-JENKINS LEE LEWIS CHRISTINA SMITH Kendra / Jenna Gloria / Nan Lorin Playwright Director Set & Costume Designer

Gloria marks Aileen Huynh’s Lisa McCune has previously Peter Paltos is a graduate of the Branden Jacobs-Jenkins’s credits Lee Lewis is the Artistic Director Christina Smith’s work as Set debut production with performed on stage at Melbourne 16th Street Actors Studios and include Everybody (Signature of Griffin Theatre Company, and Costume Designer has been Melbourne Theatre Company. Theatre Company in Dead Man’s was most recently seen in the Theatre), War (LCT3/Lincoln Australia’s new writing theatre. seen at Melbourne Theatre Aileen is a graduate from The Cell Phone, Urinetown, Into The 2017 Melbourne Theatre Center Theater), Gloria (Vineyard Lee has previously directed Hay Company in The Odd Couple, Western Australian Academy Woods, A Little Night Music and Company production of Minnie Theatre; Pulitzer Prize-finalist), Fever and Rupert (Melbourne Elling, National Interest, The of Performing Arts (WAAPA), and The 25th Annual Putnam County & Liraz, playing astrophysicist Appropriate (Signature Theatre; Theatre Company), Twelfth Seed, Clybourne Park, Rising also holds a Bachelor of Creative Spelling Bee; The King and I and Ichabod Weinberg. Prior credits Obie Award), An Octoroon (Soho Night, The Literati and The Water, A Behanding in Spokane, Arts in Performance from The South Pacific for Opera Australia/ for the Company include The Rep; Obie Award) and Neighbors School for Wives (Bell Boston Marriage, The Swimming University of Wollongong. Her Gordon Frost Organisation; The Sovereign Wife (Sisters Grimm / (The Public Theater). He is a Shakespeare), Honour, ZEBRA!, Club, Blackbird, Who’s Afraid recent theatre credits include her Sound of Music for Gordon Frost winner of Best Production at the Residency Five playwright at and Love Lies Bleeding (Sydney of Virginia Woolf?, The Clean one-woman show, Gobbledygook Organisation, Cabaret for IMG 2014 Greenroom Awards) and Signature Theatre and under Theatre Company), This Heaven, House, Dumb Show, Things (BodySnatchers); Monkey … Entertainment and the Australian MKA Double Feature, both for commissions from LCT3/Lincoln and That Face (Belvoir), and for We Do For Love, The Daylight Journey to the West (Theatre tour of Guys and Dolls for STC the NEON festival. He has also Center Theater, Manhattan Griffin some of her productions Atheist, Honour, and Cloud Nine; of Image); Flight Paths (National and Machu Picchu for SATC. performed in Calpurnia Theatre Club /Sloan, include Kill Climate Deniers, as Costume Designer on Realism, Theatre of Parramatta); Television credits include The Descending (Malthouse Theatre and the Steppenwolf Theatre The Bleeding Tree, Rice, A Hoax, Humble Boy, Proof, Sweet Bird the national Australian tours of Warriors, The Divorce, It’s a Date, & Sydney Theatre Company), Company. His recent honours Silent Disco, The Call, The of Youth, and Three Days of Rain; 4000 Miles (Critical Stages) and Hell Has Harbour Views, Rake Merciless Gods (Little Ones/ include the MacArthur Nightwatchman, The Bull the and as Set Designer on Hay Fever Hello, Goodbye & Happy Birthday and MDA for the ABC. For Darebin Speakeasy/Griffin Fellowship, the Windham- Moon and the Coronet of Stars. and Boy Gets Girl. Prior to that, (Performing Lines). Television Network Nine, Sea Patrol, and Independent), PLAYlist 2017 (Red Campbell Prize for Drama, Other credits include Highway of she worked as assistant to credits include Better Man (SBS); for Seven Network Blue Heelers, Stitch), The Resistible Rise of the Benjamin Danks Award from Lost Hearts for Darwin Festival former MTC Resident Designer Neighbours (Network 11); Marshall Law, Forensic Arturo Ui (Don’t Look Away/ the American Academy of Arts and the co-direction of Tony Tripp. Other companies she Cleverman 1 & 2 (ABC) and Investigators and The Potato Theatre Works), Salome (Little and Letters, the PEN/Laura Pels Masquerade with Sam Strong has designed for include Seattle Black Comedy 3 (ABC). For film Factory. For Network Ten, Reef Ones/Malthouse Theatre Helium) International Foundation Theatre (Sydney Festival, STCSA, Opera, New Zealand Opera, her credits include Spin Out Doctors and the upcoming and Summertime in the Garden Award, the Steinberg Playwriting Melbourne Festival, Griffin). She Victorian Opera, Sydney Theatre (Sony Pictures) and The Casting comedy series, How to Stay of Eden (Sister Grimm/Theatre Award, and the Tennessee received the Helpmann Award for Company, Queensland Theatre, Game (JoyHouse Productions). Married. Works/Griffin Independent). Williams Award. Best Direction of a Play in 2016 Black Swan State Theatre Peter’s film credits include for her production of The Company, Malthouse Theatre, Holding the Man, Tasty and Bad Bleeding Tree. She holds an MFA Belvoir, Ilbijerri Theatre Habits. Television credits include from Columbia University and an Company, The Production Sisters (Network Ten) and City MFA from NIDA. Currency House Company, Opera Queensland, Homicide (Seven Channel). Web published her book Cross-Racial ACMI, WA Ballet and the series credits include Movement Casting: Changing the Face of Australian Ballet. Christina and FRIENDLY, which he Australian Theatre as part of studied set and costume design co-wrote. their Platform Paper series. at the Western Australian Academy of Performing Arts, and was awarded the 2005 Green Room Award in theatre design. Cast & Creative Team

PAUL JACKSON RUSSELL GOLDSMITH ANNA McCROSSIN-OWEN Lighting Designer Composer & Sound Designer Voice & Dialect Coach

Paul Jackson’s recent lighting Russell Goldsmith is a multiple Anna McCrossin-Owen is a voice designs with Melbourne Theatre award winning Melbourne based and dialect coach for theatre, Company include The Children, sound designer, composer, TV, film, music theatre, animation, Hay Fever, Di and Viv and Rose, producer and audio system voice over and private studio. Three Little Words, Endgame, designer. He has a diverse Theatre credits include over Miss Julie, Dead Man’s Cell body of work in theatre, film, 50 mainstage productions for Phone, Double Indemnity, The television, commercial and radio Melbourne Theatre Company as Ghost Writer, Ghosts, Frozen, The production, live music well as American Song (Red Speechmaker, Enlightenment, and installation works. He has Stitch); Rocky Horror (Gordon Frost Madagascar and Private Lives. worked as the Sound Designer Organisation); Last Five Years He has worked as a lighting and Composer for Melbourne (fortyfive downstairs); Oklahoma! designer for the Australian Ballet, Theatre Company productions (The Production Company); Royal New Zealand Ballet, West of Vivid White, Noises Off, John, Australian Shakespeare Company; Australian Ballet, Victorian Disgraced, Lungs, Endgame, and Sweeney Todd (Victoria Opera, West Australian Opera, What Rhymes with Cars and Opera). Films credits include Sydney Theatre Company, Bell Girls, I’ll Eat You Last, The coaching Dame Helen Mirren and Shakespeare, Playbox, Malthouse Speechmaker, Ghosts, The Other cast in Winchester (Speirig Theatre, Belvoir, Ballet Lab, Lucy Place, His Girl Friday, The Golden Brothers); Z for Zachariah (Margot Guerin Inc, World of Wearable Dragon, Don Parties On, The Robbie, Chewitel Ejiofor and Chris Art New Zealand, La Mama, Swimming Club and Ruby Moon Pine). TV credits include The Family Chamber Made Opera, and many (for MTC Education). He had his Law – Series 1, 2 & 3 (Matchbox/ others. His work has featured in Broadway debut in 2009 with the SBS); The Kettering Incident festivals in Asia, Europe and the critically acclaimed season of (Porchlight Films) and Please Like United Kingdom, and he has Malthouse Theatre and Belvoir’s Me (ABC). Anna was a lecturer in lectured in design at the Exit The King at the Ethel Spoken Voice at the Victorian University of Melbourne, RMIT Barrymore Theatre, where it College of the Arts, Music Theatre University and Victorian College played for sixteen weeks. Russell between 2013 and 2017 and a Guest of the Arts. Paul has received a has received multiple Green Lecturer in the Performance School number of Green Room Awards Room Award nominations, while (Theatre) for over a decade. Anna and nominations for Lighting his sound design for Exit the King has a BA from University of Design, as well as receiving a won the 2007 Sydney Theatre Queensland, is an Associate of Sydney Theatre Award, an APDG Award, and was nominated for Trinity College London & AMEB Award and the 2012 Helpmann Best Sound Design at both the Australia and is a graduate of the Award. Paul was named in the 2008 Green Room Awards and VCA & VMT. She consults to Bulletin’s Smart 100 for 2004 and the 2009 Tony Awards. business and to Fairfax Digital/ was the Gilbert Spottiswood The Age/Domain where she trains Churchill Fellow for 2007. news journalists. Anna has been Paul was an Associate Artist at honoured by the Victorian Malthouse Theatre from 2007 Green Room Association for to 2013. ‘Outstanding Contribution to the Melbourne Stage’. Melbourne Theatre Company

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Lawler and Events Myles Tankle MTC Foundation Producer Payments Officer – HQ Technical Supervisor Lisa Maundrell Jamie Cunningham Bella Vadiveloo Commissions Martina Murray Tom Brayshaw Harriet Wallace-Mead Angela Betzien Associate Directors Production Design Lighting Supervisor MARKETING & Coordinator Ali Wheeldon Dean Bryant COMMUNICATIONS James Conway Rhian Wilson OVERSEAS Sarah Goodes Andrew Bailey Staging Supervisor REPRESENTATIVES Marketing and CAD Drafting Jamaica Zuanettii Literary Director Communications Grant Kennelly New York Chris Mead Jacob Battista Sound Supervisor TICKETING Kevin Emrick Director Alexander Rothnie Casting Director Vanessa Rowsthorn Terry McKibbin CRM and Ticketing UK Janine Snape Marketing Manager PROPERTIES Head Flyman Director Henny Finch Casting Executive James Wright Properties Supervisor James Tucker Dale Bradbury Matt Bebbington Digital Manager Geoff McGregor Stage and Technical Ticketing Manager gto Company Manager Staff Brenna Sotiropoulos n Props Maker rli Daniel Coghlan a As part of The Little Group, Stephen Moore Brendan Albrey Ticketing Services t Colin Penn or Digital Coordinator P NEXT STAGE Jacqui Bartlett Matthew Arthur Administrator t Administrator SCENIC ART Trent Barclay Lisa Mibus si Port Phillip Ferries wishes Marketing Campaign i Sarah Thompson Scenic Art Supervisor Tim Blundell Subscriptions Manager V Literary Associate Shane Dunn Michael Burnell Supervisor Ebony Addinsall Jennifer Medway Marketing Scenic Artists Siobhan Callanan Jessie Phillips the cast and crew a Database Specialist CATERING Coordinator Tansy Elso Stewart Campbell Rebecca Lawrence Colin Harman Misha Doe Ben Gu Catering Manager Nathan Evers Data Analyst successful season. Andrea Purvis Lead Graphic WORKSHOP Designer / Art Eugene Hallen Megan Thomson Assistant Manager Workshop Supervisor Adam Hanley VIP Ticketing Officer Anita Lyovic Director Aldo Amenta Emma Wagstaff Luke Hawley Michael Bingham Café staff Deputy Workshop Jake Hutchings Education Ticketing Bev Reinmuth Designers Supervisor Helena Turinski David Jenkins Officer Andrew Weavers Robert Larsen Mellita Ilich DEVELOPMENT Celeste Njoo Set Makers Director of PR and David Letch Box Office Supervisor Ken Best James Lipari Adam Walsh Development Communications Brian Easteal Jayne Lovelock Manager Marcus Macris Box Office Attendants Nick Gray David Membery Patrick Crummy Events Manager Rosie Shepherdson- Philip de Mulder Mandy Jones Cullen Stephanie Morrell Brent Davidson Alastair Read Sophie Norfolk Katie Dircks Annual Giving Publicist Peter Rosa Manager Georgia Fox James Paul Peter Dowd www.portphillipferries.com.au Chris Walters WARDROBE Will Patterson Fran Hefferman Jane and Andrew Murray Chernov Family Katherine Kavakos ◆ Linda Rubinstein MTC Circles of Giving Dr Paul Nisselle am and Sue Clarke and Lindsay Allen Malcolm Kemp and Paul Slape ● Sue Nisselle Assoc Prof Lyn Clearihan and Fiona Kirwan-Hamilton Anne and Laurie Ryan Peter Philpott and Dr Anthony Palmer and Simon E Marks sc F & J Ryan Foundation MTC gratefully acknowledges our visionary donors Robert Ratcliffe Dr Robin Collier and Neil Collier Doris and Steve Klein Edwina Sahhar Hilary and Stuart Scott ● Sandy and Yvonne Constantine Larry Kornhauser and Margaret Sahhar MTC LIFETIME PATRONS Tim and Lynne Sherwood Prof Barry Conyngham am and Natalya Gill ■ Katherine Sampson Acknowledging a lifetime of extraordinary support for MTC. Ricci Swart Deborah Conyngham ● Alan and Wendy Kozica and Michael Jaboor Richard and Debra Tegoni ◆ ● Dr Cyril Curtain Pamela Lamaro ◆ Susan Santoro Pat Burke Allan Myers ac qc and Dr Roger Riordan am Cheryl and Paul Veith Mark and Jo Davey Elizabeth Laverty Kaylene Savas ◆ Peter Clemenger ao and Maria Myers ac Caroline Young and Ralph Ward-Ambler am and Jocelyn Davies Joan and George Lefroy Graeme Seabrook Joan Clemenger ao The Late Biddy Ponsford Derek Young am Barbara Ward-Ambler Tania de Jong am ◆ Rosemary Leffler Marshall Segan and Price and Christine Williams Mark and Amanda Derham Leg Up Foundation Ylana Perlov ENDOWMENT DONORS Margaret and Ray Wilson oam Katharine Derham-Moore Alison Leslie Prof Barry Sheehan Supporting the long term sustainability and creative future of MTC. Gillian and Tony Wood Robert Drake Peter and Judy Loney and Pamela Waller Laurel Young-Das and Bev and Geoff Edwards Lord Family ◆ Diane Silk Leading Endowment Donors Recent Endowment Donors Heather Finnegan George and Eva Ermer Elizabeth Lyons Dr John Sime $1,000,000+ $10,000+ Philip Crutchfield qc and Prof David Penington ac and Anonymous (5) Anne and Graham Evans ao Ken and Jan Mackinnon Jane Simon and Peter Cox Marian Evans John Mann and Tina Mitas ● Reg and Elaine Smith oam – Jane Hansen and Paul Little ao Mim and Michael Bartlett Amy Crutchfield Dr Sonay Hussein Loyalty Circle Prof Margaret Gardner ao and Fred and Alex Grimwade Emeritus Prof Peter McPhee Dr Alastair Fearn Helen Mantzis ◆ Earimil Gardens Charity $20,000+ $1,000–$2,499 Jan and Rob Flew Joyce and Bernard Marks Tim and Angela Smith Tony and Janine Burgess Prof Glyn Davis ac Rosie Harkness Dr Monica Pahuja Dr Katie Allen and Malcolm Allen Carolyn and John Kirby am David and Lily Harris Lady Potter ac Heather Forbes-McKeon ■ John and Margaret Mason Annette and Geoffrey Cohen am Prof Noel and Sylvia Alpins am Elizabeth Foster Garry McLean Graham Smorgon ◆ Orcadia Foundation Terry Moran ac Renzella Family In memory of Nicola Andrews Robert Peck am and Steven Skala ao and John Fullerton Elizabeth McMeekin Diana and Brian Snape am Anne and Mark Robertson oam Valma E. Angliss am Kate Galvin ◆ Robert and Helena Mestrovic Geoff and Judy Steinicke Andrew and Tracey Sisson Yvonne von Hartel am Lousje Skala James and Helen Angus Anonymous Nigel and Cathy Garrard John G Millard Dr Mark Suss ■ Kate Aplin Diana and Murray Gerstman Ross and Judy Milne-Pott Rodney and Aviva Taft Margaret Astbury Gill Family Foundation Ging Muir and Suzanne Thompson MTC’S PLAYWRIGHTS GIVING CIRCLE John and Dagnija Balmford Brian Goddard John McCawley ■ Frank Tisher oam and Supporting the Next Stage Writers’ Program. Angelina Beninati Charles and Cornelia Goode Barbara and David Mushin Dr Miriam Tisher Tara Bishop ◆ Foundation ◆ Jacquie Naylor ◆ Susie Waite ● Louise Myer and Martyn Myer ao, Maureen Wheeler ao and Tony Wheeler ao, Christine Brown Bequest David and Rhonda Black Sarah Graff Nelson Bros Funeral Services Kevin and Elizabeth Walsh ■ Naomi Milgrom ao, Allan Myers ac qc and Maria Myers ac, Tony Burgess and Janine Burgess Steve and Terry Bracks am Isabella Green oam and Susan Oliver ● Anthony Watson and Dr Andrew McAliece and Dr Richard Simmie, Larry Kamener and Petra Kamener Jenny and Lucinda Brash Richard Green Nick Nichola and Ingrid Moyle Tracey McDonald Tamara Brezzi ◆ John and Jo Grigg Dr Harry and Rita Perelberg Pinky Watson Bernadette Broberg Ian and Wendy Haines Dr Annamarie Perlesz Marion Webster ◆ Beth Brown and Tom Bruce am Barbara Higgins ◆ Prof Hannah Piterman ◆ Penelope and Joshua White Pam Caldwell Jane Hodder ◆ Dug and Lisa Pomeroy Ursula Whiteside Alison and John Cameron Sandi and Gil Hoskins Sally Redlich Ann and Alan Wilkinson ANNUAL GIVING John and Jan Campbell Emeritus Prof Andrea Hull ao Victoria Redwood Jan Williams ■ Donors whose annual gifts help MTC enrich and transform lives through the finest theatre imaginable. Jessica Canning Ann and Tony Hyams am Anne and Mark Mandy and Edward Yencken Clare and Richard Carlson Peter Jaffe Robertson oam ◆ Greg Young Benefactors Circle The Lord Mayor’s Charitable Ian and Judi Marshman Dr Anthony Dortimer Fiona Caro Ed and Margaret Johnson Roslyn and Richard Rogers ■ Ange and Pete Zangmeister $250,000+ Foundation Matsarol Foundation and Jillian Dortimer Kathleen Cator Prof Shitij Kapur and Sue Rose Anonymous (31) Crown Resorts Foundation Bruce Parncutt ao Ian and Margaret McKellar Dr Helen Ferguson Chef’s Hat Dr Sharmistha Law Rae Rothfield Packer Family Foundation Craig Semple ▲ George and Rosa Morstyn Rosemary Forbes and Luisa Valmorbida ▲ Daniel Neal and Peter Chalk Ian Hocking $50,000+ Anonymous Tom and Ruth O’Dea ■ Bruce Freeman ■ LEGACY CIRCLE The Joan and Peter Acknowledging supporters who have made the visionary gesture of including a gift to MTC in their will. $5,000+ Leigh O’Neill ◆ Heather and Clemenger Trust Dr Pajouhesh (Smile Solutions) Bob Glindemann oam The Cybec Foundation John and Lorraine Bates Mark and Tamara Boldiston Peter and Betty Game Dr Andrew McAliece and Robert Ratcliffe Sandy Bell and Daryl Kendrick In loving memory of Richard Park Henry Gold Bernadette Broberg Fiona Griffiths Dr Richard Simmie Max Schultz Maureen Wheeler ao and Prof David Penington ac and Leon Goldman Tony Wheeler ao Bill Bowness ao Adam and Donna Cusack-Muller Irene Kearsey Peter Philpott and Anonymous (7) Dr Andrew Buchanan and Dr Sonay Hussein Roger and Jan Goldsmith $20,000+ Peter Darcy Jeanne Pratt ac Murray Gordon and Lisa Norton The Late Betty Amsden ao dsj Janet Reid oam and Allan Reid Lesley Griffin LEGACY GIFTS Ian and Jillian Buchanan Remembering and honouring those who have generously supported MTC through a bequest. Dr Geraldine Lazarus and Sandra and Bill Burdett am The Robert Salzer Foundation ◆ Fiona Griffiths and Trawalla Foundation Trust Tony Osmond ◆ Greig Gailey John and Robyn Butselaar The Estate of Leta-Rae Arthy The Estate of Betty Ilic The Estate of James Hollis The Estate of Freda E White Hutchinson Builders ● The Janet and Michael Buxton Anonymous (6) Tony Hillery and Warwick Eddington The Christine Brown Bequest The Estate of Bettie Kornhauser Minson The Estate of Dorothy Wood Louise and Martyn Myer ao Foundation Advocates Circle The Estate of Ron Chapman The Kitty and Leslie Sandy The Estate of Prudence Caroline and Derek Young am ▲ Bruce and Mary Humphries Barry and Joanne Cheetham $2,500–$4,999 The Estate of Gordan J Compton Bequest Ann Tutton Victorian Department of Tom and Elana Cordiner ● Peter and Halina Jacobsen Education and Training Marc Besen ac and Irene Kearsey and The Dowd Foundation Eva Besen ao The Vizard Foundation Melody and Jonathan Michael Ridley Jay Bethell and Peter Smart Janette Kendall ◆ Acknowledging Donors who join together to support innovative and inspiring programs for the benefit of our community. $10,000+ Feder ■ ● Grant Fisher and Helen Bird Alex and Halina Lewenberg Erica Bagshaw Gjergja Family ▲ ARTISTIC DIRECTOR’S CIRCLE ■ YOUTH AMBASSADORS ◆ WOMEN IN THEATRE ● EDUCATION Lynne and Rob Burgess Virginia Lovett and Joanna Baevski ▲ Robert and Jan Green GIVING CIRCLE GIVING CIRCLE GIVING CIRCLE Pat Burke and Jan Nolan Rose Hiscock ● The Cattermole Family David and Lily Harris Diana Burleigh Dr Sam and Belinda Margis Christine Gilbertson ◆ Jane Hemstritch Jenny and Stephen Charles ao and NEST Family Clinics ◆ Linda Herd ■ ● Anne Le Huray Diane Cregan ◆ Dr Sue McNicol qc Macgeorge Bequest Dr Caroline Liow The Cuming Bequest Peter and Kim Monk ◆ The late Noel Mason and Marshall Day Acoustics Debbie Dadon am Sandy and Sandra Murdoch Susanna Mason ▲ (Dennis Irving Scholarship) Ann Darby To find out more about supporting MTC please call 03 8688 0959 or visit mtc.com.au/support Current as of May 2018 Thank You What’s On

MTC would like to thank the following organisations for their generous support

Major Partners

Major Media Partners

Production Partners

Oscar Wilde’s effervescent high-society comedy stars the incomparable Gina Riley as the grand Lady Markby, with a top-drawer cast including Michelle Lim Davidson, Christie Whelan Browne, Simon Gleeson and William McInnes. Premium Season Partners 16 JULY—18 AUGUST ARTS CENTRE MELBOURNE, PLAYHOUSE

Season Partners PLAY YOUR PART

Marketing Partners

A DOLL’S HOUSE, PART 2 by Lucas Hnath Southbank Theatre Partners HELP BRING STORIES Marta Dusseldorp plays Nora in Lucas TO LIFE AT MTC Hnath’s new play A Doll’s House, Part 2. DONATE ONLINE MTC.COM.AU/PLAYYOURPART 11 AUGUST – 15 SEPTEMBER

If you would like to join our corporate family or host a private event, please contact [email protected] 2018 Partners current as of June 2018. MTC.COM.AU QR19940_AU_Europe_W148xH210mmp.indd 1 5/4/18 6:12 PM