As You Like It Belvoir presents As You Like It

By William Shakespeare Director EAMON FLACK Belvoir’s production of As You Like It opened at on Wednesday 23 November 2011. Set Designer ALISTAIR WATTS Costume Designer MEL PAGE Lighting Designer DAMIEN COOPER Assistant Lighting Designer CHRISTOPHER PAGE Composer & Sound Designer STEFAN GREGORY Assistant Director FRANK MAINOO Stage Manager CHRIS BAGLOT Assistant Stage Manager MEL DYER With Rosalind Duke Frederick & Jaques BILLE BROWN Corin, Phoebe & others GARETH DAVIES Audrey, Hymen & others CASEY DONOVAN Touchstone CHARLIE GARBER Adam & Duke Senior TREVOR JAMIESON Silvius & others SHELLY LAUMAN Oliver & others HAMISH MICHAEL Violinist DAN RUSSELL Celia YAEL STONE Jaques de TIM WALTER (occasionally EAMON FLACK) Orlando ASHLEY ZUKERMAN

PRODUCTION THANKS Emma Saunders, Courtney Wilson Casey Donovan Photography Heidrun Löhr YaelB Stone DESIGN Alphabet Studio 1 Director’s Note Eamon Flack

As You Like It is a wonderful platypus than they acted. Shakespeare wrote of a play – all odds and ends and everything for them, and in As You unlikelihoods. After a Hamlet-like Like It he gives them unusual licence opening replete with intrigue and to show off their shtick; at times self-annihilation it spills into a forest it feels as much a themed variety (!) in which in the chief activity and show as a play. But as so often with only unifying dramatic device is to Shakespeare the theatrical practicality wander about with nothing much to is also the magic: As You Like It has do and accidentally cross paths with a free-spirited breadth of life and other people who are also wandering performance which verges on the about with nothing much to do. magnificent. There’s something beguilingly vague One argument, and a good one, has about the whole enterprise, and yet it it that the play was premiered on manages to be, in a curiously gentle Shrove Tuesday in 1599 at a private way, a play about everything. party of Elizabethan elite. It took § place in a hall at Richmond Palace, a large estate with an impressive deer It was probably written in 1599 park just outside London. In its first – though we can’t say for sure – instance, then, As You Like It was a which was probably the same year show about a bunch of city people Shakespeare wrote Hamlet – which visiting a pastoral realm of bucolic we also can’t say for sure. If you’d contemplation, performed for a bunch been alive in 1599 you’d most likely of city people visiting a pastoral have been short, damp, cold, ill-fed, realm of bucolic contemplation. This roughly dressed, a long way from the kind of ironic mirroring is typical of top, and near death. Quite different Shakespeare, and it goes some way to , then, which, on a good towards explaining the play’s strange day, is the top – just so many tall, jokes (eg Touchstone’s pancakes) and dry, stylish people swooping through peculiar set pieces (eg the courtier sunshine and refusing ever to die. We and the shepherd philosophising). But are unimaginable to the Elizabethans. if we can guess at a few instances We know that Shakespeare wrote of original meaning like these, how the play – in a hurry, it seems – for his much remains unguessed at? own company of actors. We call them How much of the play’s meaning actors but they also sang, danced, remains locked up in the inscrutable improvised and played instruments, private life of its delicately coded and they did so famously. A visiting web of allegiances, in-jokes, private Frenchman thought that perhaps they mockeries, religious sympathies and even did these other things better unbidden desires? 02 Eamon Flack03 In short, like the enigmatic It wasn’t exactly Arden all over, and and history unpredictable, and the Or is the good life something that platypus, this play is the product usually very much bloodier, but age-old consolations of family and must be newly invented by each of an eccentric, very particular and these various pursuits of a new order community, of the routines of the generation? now-vanished environment. The did set the stage for several hundred life-cycle, and of the dignity of labour Is there a greater good? wellsprings of its gloriously peculiar years of apparently unlimited are struggling to retain their hitherto qualities are unknowable now. progress. The fabulous result is that perennial enchantment. In other How hopelessly might we love? They are as lost to us as the voice we – at least we in the West – are words, Arden’s work is never done How boldly might we defend against of the first person to play Rosalind now dry, well lit, cleanly dressed, any more than history will ever come wrong? (possibly a young man named quite fat, a little under the weather, to an end. Alexander Cooke). Some of the play and enjoying unprecedented How joyfully might we celebrate life? Right now, in the midst of the is now unreconstructable, some of material luxury – a far cry from our all the millennial panic of late Arden seems to be predicated it is anachronistic, and some of it is Elizabethan forbears. We live in a modernity, Arden has a lot to offer. upon seeking and trying out complete nonsense. kind of Arden, I suppose. Shakespeare’s bare stage is a little answers to these questions. And yet there is something still very So is there still a need for like Hong Kong’s off-shore casino Arden is Shakespeare’s practical alive at the centre of it. It feels as Shakespeare’s forest/stage? In our ships – a kind of circumventing experiment in the many varieties though, faced with the sudden task own times, at the very moment mechanism. Its wondrous ability both of passing meaningful time. Arden of coming up with a new play for the best of all possible economic to recall a golden age of yore and to is a celebration of the breadth of Shrove Tuesday at Richmond Palace, systems was poised to export its imagine a better future is particularly human life. This play is an invitation to Shakespeare found himself pondering benefits the whole globe over (yeah tempting nowadays. It’s an invitation multiply the possibilities. It is, after all, the basic question of his craft: how right), we suddenly find ourselves to think beyond the usual bounds called As You Like It. on earth, in the midst of the daily with an unprecedented case of of inadequate reason. Faced with upheaval of Elizabethan life, do you historical vertigo: don’t look down, the ridiculous, the bizarre and the fill a bare stage with several hours of don’t look down – the only way seemingly impossible, Arden asks entertaining and meaningful action? on is up. We now face an almost us to look at the world with a kind Being a practical man of the theatre, unbelievable set of marauding of Quixotic helpfulness – to make his solution was simply to call his gorgons which seem to call into tremendous offers and entertain bare stage the Forest of Arden and to question the fundamental enterprise every possibility with the profound sub-contract his own dilemma out to of our society. No matter which part seriousness of a child playing. But his characters: faced with an empty of the raging ideological continuum the variegated oddity and other- space and un-kept time, what would you’re on – whether your nightmare mindedness of Shakespeare’s forest- you do? If you were given the chance scenario is climate change or gay stage isn’t just a sweet distraction, it’s to begin from scratch, what kind of marriage – the common whisper a kind of invigorating moral challenge: life and living would you pursue? is that it’s all up for grabs and if to pursue some form of a good life –

§ we don’t get it right this time we’ll not in the sense of wine and cheese,

be sorry. Our faith in our great though that’s part of the deal, no In the 412 years since 1599 that institutions is flagging: politics has doubt, but in a more essential way: question has been asked and become a pissing competition What is a good life? answered in many ways: England – no great comfort there. As for chopped off its King’s head and economics, it recalls, for me, the Is it the same for young and old, for ruled by parliament, the Jacobins sententious and sinister dogma of women and men, for black and white, annihilated old France with the Terror, the Catholicism I grew up under, and for rich and poor? the American colonies declared I can’t bring myself to subscribe to Are there timeless human virtues? themselves a federated republic, 11 either kind of heaven – God’s or Wall convict ships settled Port Jackson… Street’s. Science remains amoral

04 05 Life should be an aim unto itself, a purpose unto itself. Michel Eyquem de Montaigne

6 7 How happy is he born or taught Or vice; who never understood * That serveth not another’s will; How deepest wounds are A Man’s Nature is best Whose armour is his honest thought, given with praise; And silly truth his highest skill! Nor rules of state, but rules of good; perceived in Privatenesse, Whose passions not his masters are, Who God doth late and early pray for there is no Affectation; in Whose soul is still prepared for death; More of his grace than gifts to lend; Untied unto the world with care Who entertains the harmless day Passion, for that putteth a Man Of princely love or vulgar breath; With a well-chosen book or friend; out of his Precepts; And in a Who hath his life from rumours freed, – This man is free from servile bands Whose conscience is his strong retreat; Of hope to rise, or fear to fall; new Case or Experiment, for Whose state can neither flatterers feed, Lord of himself, though not of lands; there Custome leaveth him. Nor ruin make accusers great; And having nothing, he hath all. Francis Bacon, Essays. Who envieth none whom Sir Henry Wotton, *And a Woman’s too. chance doth raise The Character of a Happy Life

[John Stuart Mill’s] argument was made plausible on the assumption… that human knowledge was in principle never complete, and always …The greater part of human aspiration has fallible; that there was no single, universally visible truth; that each man*, each nation, each civilisation, might take its own road towards its been informed by individual intuition and own goal, not necessarily harmonious with those of others; that men are altered, and the truths in which they believe are altered, by new privately generated passions, more than it has experiences and their own actions – what he calls ‘experiments in living’… through logic or scientific revelation. The moral Isaiah Berlin, Four Essays on Liberty basis of our public life, our social organisation, *And each woman too. has come from within us – by aspiration and by light, not by some process of logical deduction. If liberalism has a than one… The human show human beings future, it is in giving good is too diverse to thriving in forms of life Paul Keating, The Australian, 22 October 2011 up the search for a be realized in any life. that are very different rational consensus on …Virtues are needed from one another. None the best way of life. for any kind of human can reasonably claim to I had not a dispute but a disquisition, with Dilke on various subjects; As a consequence flourishing. Without embody the flourishing several things dove-tailed in my mind, and at once it struck me what quality of mass migration, courage and prudence that is uniquely human. went to form a Man of Achievement, especially in Literature, and which new technologies of no life can go well. If there is anything Shakespeare possessed so enormously – I mean Negative Capability, that communication and Without sympathy for the distinctive about the is, when a man is capable of being in uncertainties, mysteries, doubts, continued cultural suffering and human species, it is that without any irritable reaching after fact and reason. experimentation, nearly of others, the artefact it can thrive in a variety John Keats, letter to his brothers, 1817 all societies today of justice cannot be of ways. contain several ways of maintained. …Common John Gray, ‘Modus life, with many people experience and the Vivendi’, Gray’s Anatomy belonging to more evidences of history

8 9 Biographies ALISON BELL Rosalind Alison has worked consistently in theatre and TV since graduating from the Victorian College of the Arts in 2004. For Belvoir, she has appeared in The Book of Everything and The Promise. Her other theatre credits include The Ugly One, Blackbird, Who’s Afraid of Virginia EAMON FLACK Director Woolf?, Doubt, ( Theatre Company); Moving Target, Eamon is Associate Director – New Projects, at Belvoir. He Sleeping Beauty, The Spook (Malthouse Melbourne); Rabbit and Doubt graduated from the acting course at WAAPA in 2003 and (). Her screen work includes guest appearances has since worked as a director, actor, writer and dramaturg on Offspring, City Homicide, Rush, Packed to the Rafters and Last Man for Belvoir, Malthouse Theatre, Sydney Theatre Company, Standing. She has played central roles in two ABC comedy series: I Rock and ’s Mind’s Eye, ThinIce, Perth International Laid. Alison’s theatre work has earned her a Helpmann Award for Best Arts Festival, Darwin Festival, Griffin Stablemates, PlayWriting , Supporting Female Actor for Doubt; and a Green Room Award for Best ArtRage, Deckchair and various other companies. In 2010, Eamon directed Female Actor for her 2007 body of work including Who’s Afraid of Virginia The End for Belvoir, which recently toured to the Malthouse in Melbourne, and Woolf?, Sleeping Beauty and The Spook. Alison has also received Helpmann was a special guest at the Alberta Theatre Projects’ Enbridge PlayRites Festival and Green Room nominations for Blackbird and Doubt, and most recently was in Calgary, Canada. In 2009, Eamon adapted and directed Gorky’s nominated for an IF (Out of the Box) Award for her work on television. Alison for Bob Presents and A Midsummer Night’s Dream for Bob Presents, Arts has been a proud member of Equity since 2004. Radar and B Sharp; his adaptation of Sophocles’ Antigone was directed by Matthew Lutton for ThinIce and the Perth International Arts Festival; and he BILLE BROWN Duke Frederick & Jaques was assistant director to on The Book of Everything for Belvoir For Belvoir, Bille has performed in , Exit and Kim Carpenter’s Theatre of Image. As dramaturg, Eamon has recently the King, King Ubu, The Judas Kiss and The Popular worked on Belvoir’s Neighbourhood Watch, The Wild Duck, Gwen in Purgatory Mechanicals. Other theatre credits include School of and The Book of Everything. He is series editor of Currency Press’ Currency Arts, Bill and Mary, The Forest, The Marriage of Figaro Classics, and his adaptation of Antigone was recently published. Eamon ( Company); Elizabeth (Malthouse directed Wulamanayuwi and the Seven Pamanui for Darwin Festival this year Melbourne); Howard Katz (Sydney Theatre Company); Hitchcock Blonde and his production of A Midsummer Night’s Dream recently toured nationally. (Melbourne Theatre Company); Twelfth Night, Hamlet, Troilus and Cressida He will direct Rita Kalnejais’s Babyteeth for Belvoir in 2012. (Bell Shakespeare Company); Tom and Clem (Marion Street Theatre); Kiss of the Spider Woman, Indians (La Boite Theatre Company); Richard II (The Grin CHRIS BAGLOT Stage Manager & Tonic Theatre Troupe). In the USA, Bille has worked on Dear Liar, Waiting Chris began his stage management career with La Boite for Godot, The Beastly Beatitudes of Balthazar (Virginia Stage Company); Life Theatre Company’s production of He Died With a Felafel Class (Art Institute of Chicago); Ten Little Indians, The Threepenny Opera (Shaw in His Hand. His credits include Smoke & Mirrors (Craig Festival); and Wild Honey (Broadway and LA). His credits in the UK include Ilott/iOTA, tour 2011); Mercury (Sydney Dance Company); La Belle Vivette (); Twelfth Night, As You Like It, Henry Rhinestone Rex & Miss Monica (Ensemble Theatre); Crèche VI (Royal Shakespeare Company); Loves Labours Lost, London Assurance & Burn and Long Gone Lonesome Cowgirls (La Boite Theatre Company). (Chichester Festival and West End); The Chapel Perilous (Old Tote Theatre He has also worked with the Seymour Centre, Sydney Festival and the City Company); and Feasting on Flesh (Strut&Fret, Edinburgh Festival). Bille’s recent of Sydney New Year’s Eve Party. Over the last four years Chris has been a film credits include Singularity, The Killer Elite, The Eye of the Storm and The member of the stage management team at the , working Chronicles of Narnia (part 3). His TV credits include 3 Acts of Murder, Wild Boys on ’s Poppea, Jerry Springer the Opera, Symphony at the Movies and Heartbeat. Bille’s directing credits include : His Life, Times and with Michael Parkinson and many other performances and events. Chris has Current Medical Problems (Adrian Bohm Productions), Noyes Fludde and Don worked internationally, with Richard Alston Dance Company, the Greenwich Giovanni. He is the patron of Zen Zen Zo. The Bille Brown Studio is named for Theatre Christmas Pantomime and Hampstead Theatre in the UK; and the him. This year, Bille was awarded an AM. Citadel Theatre and Axis Theatre in Canada.

010 011 DAMIEN COOPER Lighting Designer Damien is a lighting designer who works internationally across theatre, opera and dance. His designs for Belvoir have been seen in Summer of the Seventeenth Doll, Neighbourhood Watch, The Seagull, Gethsemane, Keating!, Toy Symphony, Peribanez, Stuff Happens, The Chairs, The Spook, In Our Name, Underpants, The Ham Funeral and Exit the King (including the Broadway production with and Susan Sarandon). His other theatre credits include Bloodland, Tot Mom, The Women of Troy, The Great, Riflemind, The Art of War, Ying Tong, The Lost Echo, Fat Pig, A Hard God, , Summer Rain, Metamorphosis, Boy Gets Charlie Garber Girl, Julius Caesar, Far Away, Bed, Thyestes, Morph, The Shape of Things, Stefan Gregory These People, King Lear (Sydney Theatre Company); Doctor Zhivago (GFO); and Shane Warne the Musical (Token Productions). For opera, Damien’s designs have been seen in Cosi Fan Tutte, , Alcina, The Magic Flute, Death in Venice (); Aida (Opera Australia/West Australian Opera); A Midsummer Night’s Dream (Houston Grand Opera, , Lyric Opera Chicago); and Chorus! (Houston Grand Opera). His designs for dance include Romeo and Juliet, Swan Lake, Firebird, The Silver Rose (Australian Ballet); The Director’s Cut, Grand, Some Rooms, Shades of Gray, Ellipse, Air and Other Invisible Forces, Body of Work, Mythologia (Sydney Dance Company); Tivoli (Australian Ballet/Sydney Dance Company); Mortal Engine (Chunky Move), Of Earth and Sky and Mathinna (Bangarra Dance Theatre); Be Your Self, Birdbrain (Australian Dance Theatre); and Shanghai Lady Killer (Stalker Theatre Company). For lighting design, Damien has won three and a Green Room Award.

GARETH DAVIES Corin, Phoebe & others For Belvoir, Gareth has appeared in And They Called Him Bille Brown Mr Glamour (which he also wrote) and The Seagull. He also performed at Belvoir in The Only Child (B Sharp/The Hayloft Project), The Suicide (B Sharp/The Hayloft Project) and A Midsummer Night’s Dream (B Sharp/Arts Radar). He is a member of Melbourne’s Black Lung Theatre, performing in Avast and Avast II – The Welshman Cometh (Black Lung Theatre/Malthouse Melbourne), Rubeville, Sugar and Pimms.

Gareth12 Davies 13 CASEY DONOVAN Audrey, Hymen & others (Pig Island). Charlie’s television credits include Wild Boys, My Place, Spirited, All Saints, Chandon Pictures and Russell Coight’s Celebrity Challenge. His film Casey studied at the Australian Institute of Music and work includes Lost Things and Ghost Rider. Charlie was nominated for a 2010 made her theatrical debut in Miracle in , part of the Helpmann Award for Best Actor in a Supporting Role, for his performance in 2009 Brisbane Festival. She made her Belvoir debut in The Belvoir’s Gethsemane. Charlie has been a proud member of Equity since 2004. Sapphires, which went on to tour Australia and London (The Barbican). She has performed at numerous festivals across Australia including Adelaide, Brisbane and Darwin Festivals. Casey made her STEFAN GREGORY Composer & Sound Designer television debut on the second series of Australian Idol, which she won, and Stefan is an artistic associate at Belvoir, and has been makes regular appearances on Message Stick, Mornings with Kerri-Anne, The composer and sound designer of Belvoir’s productions of Morning Show and 20 to 1. She can also be heard regularly on Koori Radio and Neighbourhood Watch (in which he also played the chemist), Deadly Sounds. Casey’s special event performances include City of Sydney The Seagull, The Wild Duck, Measure for Measure and That New Year’s Eve Celebrations, Message Stick’s tenth anniversary, the 2006 Face, and performed as a guitarist in Peribanez. He also Commonwealth Games, Jobs Australia Gala Dinner and Australian Tourism composed and performed in The War of the Roses and Frankenstein (Sydney Business Awards. She has released one solo album, For You, which debuted at Theatre Company). Other theatre credits include A Midsummer Night’s Dream No. 2 on the ARIA charts, and featured the ARIA No. 1 Award single ‘Listen with (B Sharp/Arts Radar); Ladybird (B Sharp/Small Things Productions); Baal Your Heart’. This was followed by the critically acclaimed EP Eye 2 Eye. Casey (Malthouse Melbourne/Sydney Theatre Company); Thyestes, The Suicide, B.C. is a multi-Deadly Award nominee and recipient, including the 2004 Award for (The Hayloft Project); Silent Disco, The Call (Griffin Theatre Company); King Most Promising New Talent and 2005 awards for Artist of the Year and Single Lear, Hamlet and (Bell Shakespeare Company). Stefan was nominated of the Year for ‘Listen with Your Heart’. She also received two ARIA Award for a Sydney Theatre Award for Best Score or Sound Design for Measure for nominations in 2005 for Best Selling Album and Best Selling Single. Measure, and a Helpmann Award for Baal. His work with the band Faker has earned him a Jack Award, a platinum single and several ARIA nominations. MEL DYER Assistant Stage Manager Mel is a 2007 graduate of NIDA’s production course. As TREVOR JAMIESON Adam & Duke Senior assistant stage manager she has worked on Belvoir’s Trevor has appeared in the Belvoir/Big hART productions productions of Neighbourhood Watch, The Seagull, The Namatjira and Ngapartji Ngapartji (which he also co-created). Diary of a Madman, Measure for Measure, The Promise, His other theatre credits include Burning Daylight (Stalker the 2009 Australian tour of Page 8 and the 2008 tour of Theatre Company); Crying Baby (Stalker Theatre Company/ Keating!. Mel also appeared on stage for Belvoir in Keating!, The Seagull and Marrugeku Theatre Company); Plain Song (Black Swan State Neighbourhood Watch. Her other credits include stage manager for Lawn, Theatre Company/Darwin Festival); Yandy (Black Swan); as well as extensive Edgar, Remember Me, Legless (Splintergroup/Festpeilhaus, Austria); Roadkill national and international tours. Among Trevor’s film credits are My Place, Rabbit (Splintergroup/Performing Lines); Underground (Dance North/Performing Lines), Proof Fence, Lockie Leonard 1 & 2, Heartland and Kulli Foot. He also played and Night Café (Dance North), and assistant stage manager for Assembly didgeridoo and danced at the Rock ‘n’ Royal Concert in Denmark, which was (Chunky Move). Mel has also worked as a swing assistant stage manager for part of the wedding celebrations of Crown Prince Frederik and Mary Donaldson. The Nutcracker – The Story of Clara and Sleeping Beauty (Australian Ballet) Trevor was awarded Best Actor in a Lead Role at the 2008 Sydney Theatre Awards for Ngapartji Ngapartji, and was a nominee in 2010 for Namatjira. Trevor CHARLIE GARBER Touchstone was a finalist in the 2011 Equity Awards for his performance in Waltzing the Wilarra (Yirra Yaakin) and won a Dendy Award for his performance in Kulli Foot. Charlie embarked on his acting career in productions for the between 2001 and 2003. His theatre credits include Neighbourhood Watch, Gethsemane (Belvoir); A Midsummer Night’s Dream (B Sharp/Bob Presents/Arts Radar); Summerfolk (Bob Presents); Quack (Griffin Theatre Company); Kittenbone Bridge, Julius Caesar (Sydney Theatre Company); Merchant of Venice (Bell Shakespeare Company); Glass Boat and Simply Fancy

14 15 SHELLY LAUMAN Silvius & others Shelly works as an actor, writer and theatre-maker. She trained at the Victorian College of the Arts (Bachelor of Dramatic Art, Acting), graduating in 2005. As an actor, she has appeared in productions for Sydney Theatre Company, Malthouse Melbourne, Queensland Theatre Company and Melbourne Theatre Company. Shelly is a core collaborator with the multi-award winning Melbourne-based company The Hayloft Project. Her work with Hayloft includes 3XSisters, Spring Awakening, The Suicide and The Only Child. Shelly has recently been commissioned by Bell Shakespeare Company to write and develop the solo show A Piece of Him, as part of their artistic development arm Mind’s Eye. Shelly has been a proud member of Equity since 2005.

FRANK MAINOO Assistant Director Frank is a theatre practitioner and performance maker, and is an associate artist at Belvoir. Since completing a Bachelor of Creative Arts (University of Wollongong 2007), Frank has been a key member of performance collective Team MESS (Killing Don and This Is It, 2009, 2010 & 2011, Performance Space and PICA). Frank has regularly worked and/or toured with companies such as Urban Theatre Projects, version 1.0, Belvoir, ICE (Information and Cultural Exchange) and PACT Theatre, in lighting design as well as technical and production management. Credits include The Table of Knowledge, The Bougainville Photoplay Project, A Distressing Scenario, The Disappearances Project, Football Diaries, The Fence and East London West Sydney. In 2010 Frank received a fellowship grant to attend Theaterformen (Braunschwieg, Germany) and was invited to participate in The Art of Play with Chiara Guidi from Societas Raffaello Sanzio at Campbelltown Arts Centre. This year Frank also appeared in Driven to New Pastures (Sydney Festival) and Mountains Never Meet (Riverside Theatre).

HAMISH MICHAEL Oliver & others Hamish’s theatre credits include The Trial (Sydney Theatre Company); Optimism, Woyzeck, Moving Target, Eldorado (Malthouse Melbourne); Ray’s Tempest and Two Brothers (Melbourne Theatre Company); and Sweet Staccato (Rising Theatre in Decay). His television credits include Crownies, Spirited, City Homicide and Blue Heelers. For film, Hamish can be seen in Lucky Miles, Em4Jay and Tom White. He was nominated for for his roles in Eldorado and Ray’s Tempest, and received a Helpmann Award nomination for Best Male Actor in Two Brothers. Hamish has been a proud member of Equity since 2001.

16Shelly Lauman 17 CHRISTOPhER PAGE Assistant Lighting Designer YAEL STONE Celia Christopher is a Sydney-based lighting designer who has Yael graduated from NIDA in 2006. For Belvoir she has been involved with live theatre and events in Sydney and appeared in Summer of the Seventeenth Doll, The Diary Australia for the last decade. Chris was lighting designer of a Madman, The Book of Everything and Scorched. this year on Belvoir’s productions of The Dark Room and Her other theatre credits include Ladybird (B Sharp/Small Windmill Baby, and he was assistant lighting designer Things Productions); A Golem Story (Malthouse Melbourne); on Namatjira in 2010. Chris’ other design credits include: Illusions Project Honour, Elling, Frankenstein (Sydney Theatre Company); Harbinger (Brink ‘06, Attempts On Her Life (NIDA); Butterflies are Free, Rashomon (Silver Productions), Stoning Mary (Griffin Stablemates/Frogbattleship); and The Productions); A Midsummer Night’s Dream (B-Sharp/Bob Presents/Arts Kid (Griffin Theatre Company). For film, Yael’s credits include West and Me, Radar); Unsolved (Newtown Theatre); Tell It Like It Isn’t, Rainbow’s Ending Myself, I, and her television credits include Spirited – Series 1 & 2, All Saints (ATYP); Parkie (ATYP Under the Wharf); Seven Kilometres North-East (lighting and The Farm. She won the 2009 Sydney Theatre Award for Best Actress in a realiser, Bosnia tour – version 1.0); The Yellow Star (The Reginald); Hamlet Supporting Role for The Kid and Best Newcomer for her roles in both The Kid (Emu Height Productions) and A Midsummer Night’s Dream 2011 national and Frankenstein. Yael received Helpmann Award nominations for her roles in tour (Arts on Tour). Scorched, The Book of Everything and The Diary of a Madman. Yael has been a proud member of Equity since 1998. MEL PAGE Costume Designer TIM WALTER Jaques de Boys Since she graduated from the Victorian College of the Arts, Mel’s set and costume designs include The Promise Tim has worked across theatre, film and TV since (Belvoir); The Suicide, The Only Child, Spring Awakening graduating from the Western Australian Academy of (B Sharp/The Hayloft Project); Baal (Malthouse Melbourne/ Performing Arts in 2002. For Belvoir, Tim has previously Sydney Theatre Company); Vs. (The Border appeared in Baghdad Wedding. Other theatre credits Project/Sydney Theatre Company); The Nest (The Hayloft Project); The include A Midsummer Night’s Dream (B Sharp/Bob Apocalypse Bear Trilogy (Stuck Pigs Squealing/Melbourne Theatre Company/ Presents/Arts Radar); Summerfolk (Bob Presents); Romeo and Juliet, King Melbourne International Arts Festival); Spicks and Specktacular (ABC/Token Lear, Macbeth, Merchant of Venice, Measure for Measure, Wars of the Roses, Events); and Noye’s Fludde (Victorian Opera); Mel was assistant to Alice A Midsummer Night’s Dream (Bell Shakespeare Company); Anatomy Titus Fall Babidge on The Trial (Malthouse Melbourne/Sydney Theatre Company/Thin Ice). of Rome (Queensland Theatre Company/Bell Shakespeare Company); and Mel created an installation for Visible City, a keynote project in the Melbourne Casanova (Ensemble Theatre). On TV, Tim has appeared in and Away, Fringe 2010. She is also an artistic associate with The Hayloft Project. and his short film credits include The Tell Tale Heart, Anniversary and Pervert. Tim received a Matilda Award nomination in 2009 for Best Supporting Actor for DAN RUSSELL Violinist his performance in Anatomy Titus Fall of Rome. Dan has played the violin since the age of five and has won several awards including the Faith Court violin scholarship, North of Perth Music Festival, WA Music Teachers’ Association Concert Awards and two-time winner of the Faith Court Chamber Music prize. Receiving high distinctions for both third and fourth year recitals in a Bachelor of Music at the University of , Dan has also completed an Advanced Diploma of Performing Arts (Music) at the Western Australian Academy of Performing Arts. He has performed in Europe and China, and currently works with the Australian Opera and Ballet Orchestra in Sydney and travels abroad with the Cologne Chamber Philharmonia. He is the founding director of Tonic String Quartet and MCO’s concertmaster.

18 ALISTAIR WATTS Set Designer Alistair graduated from the University of Sydney in 2009 with a Masters in Architecture. Having worked as a student architect by day and at the Belvoir bar by night, he made the transition to theatre in collaboration with Eamon Flack on his production of Summerfolk (Bob Presents) in 2009. He went on to design A Midsummer Night’s Dream (B Sharp/Arts Radar/Bob Presents), which was remounted for a regional tour in 2011. This year Alistair designed Amanda Palmer Goes Down Under in the concert hall of the Sydney Opera House and Parkie (Woof/Meow), which was part of the Australian Theatre for Young People’s Under The Wharf program. He collaborated with Sydney’s Glitter Militia to stage Clown Cult at Brisbane Festival 2011. As a performer, Alistair appeared in The Magic Flute (Legs on the Wall/Opera Trevor Jamieson Australia) in the 2009 Sydney season.

ASHLEY ZUKERMAN Orlando Ashley graduated from the Victorian College of the Arts in 2006. His theatre credits include The History Boys, The Hypocrite (Melbourne Theatre Company); This Is Our Youth (Inside Job Productions, of which Ashley is a founding member); and BC (The Hayloft Project). He is currently working on the TV series Terra Nova, and has also appeared in (HBO), Lowdown, The Slap (ABC); and RUSH (Channel 10), which earned him a Logie nomination for Most Outstanding New Talent. For his performance in BC, Ashley received a 2009 Green Room Award for Best Male Supporting Performer. Ashley has been a proud member of Equity since 2003.

Ashley Zuckeman Charlie Garber Hamish Michael

Strangely enough, it all turns out well… It’s a mystery. 20 Tom Stoppard, Shakespeare in Love Alison Bell21 Sunday Forum Belvoir

… you’re invited! One building. Six hundred people. Thousands of stories. One dream.

The bigger picture, the story behind We’ll announce the line-up as the When the Nimrod Theatre building Jonathan Gavin, Lally Katz and Kate the show, the who’s who and the year unfolds. in Belvoir Street, Surry Hills, was Mulvany; directors including Benedict what’s what – Sunday Forum is threatened with demolition in Andrews, Wesley Enoch, Rachael This is also a chance to get to know our new window into our work. 1984, more than 600 people – Maza Long and former Belvoir Artistic your fellow patrons and some of us. There’ll be a Sunday Forum for ardent theatre lovers together with Director Neil Armfield. Each Sunday Forum will be hosted every Upstairs show in 2011, at arts, entertainment and media by Belvoir artists or staff, and there Belvoir’s position as one of Australia’s 3pm on the second-to-last Sunday professionals – formed a syndicate to will be nibbles at the bar before the most innovative and acclaimed of the season. Join us in the theatre buy the building and save this unique 5pm show. theatre companies has been performance space in and we’ll have a panel of special determined by such landmark So come along, have a listen, throw inner-city Sydney. guests – performers, creatives, productions as The Diary of a in some questions, and continue the commentators, reviewers, pundits Over 25 years later, this space, Madman, The Blind Giant is Dancing, conversation at the bar afterwards. – for a discussion on the show and known as Belvoir St Theatre, Cloudstreet, Measure for Measure, how it fits into the world at large. The Sunday Forum is free. continues to be the home of one of Keating!, Parramatta Girls, Exit the Each Sunday Forum will have its Upstairs Theatre. Australia’s most celebrated theatre King, The Alchemist, Hamlet, Waiting own theme and focus. Ever wanted Book: belvoir.com.au/sundayforum companies – Belvoir. Under the for Godot, The Sapphires, Who’s to know how Ray Lawler felt about or in person at the Belvoir Box Office. artistic leadership of Ralph Myers and Afraid of Virginia Woolf? and Stuff the 1955 production of The Doll? General Manager Brenna Hobson, Happens. As You Like It Belvoir engages Australia’s most Or how Chekhov can change your Sunday 18 December Belvoir receives government support prominent and promising playwrights, life? Maybe you would like to hear an for its activities from the Federal directors, actors and designers to Australian theatre legend talk about Government through the Major realise an annual season of work what it takes to make an Australian Performing Arts Board of the Australia that is dynamic, challenging and classic? Or meet the real people Council and the State Government visionary. As well as performing at behind the characters from one of through Arts NSW. our plays? Sunday Forum will be a home, Belvoir regularly takes to the smorgasboard of bonus material. road, touring to major arts centres and festivals both nationally and internationally. Both the Upstairs and Downstairs stages at Belvoir St Theatre have nurtured the talents of many renowned Australian artists: actors including Geoffrey Rush, , Catherine McClements, Deb Mailman and ; writers such as Tommy Murphy, Belvoir Donors We give our heartfelt thanks to all our donors for their loyal and generous support.

Foundation Donors Belinda Hutchinson AM David Haertsch Corporate B Keepers Judy Cole Belvoir is very grateful Make a significant financial The Jarzabek Family Wendy & Andrew Hamlin Constructability Recruitment Diane Dunlop to accept all donations. investment in the Belvoir Cassandra Kelly Beth Harpley Sterling Mail Order Anton Enus & Roger Henning Donations over $2 are tax Creative Development Fund. Hilary Linstead John Head Macquarie Group Foundation R.D & P.M Evans deductible. If you would Cajetan Mula (Honorary Member) Marion Heathcote & Leon Fink like to make a donation, Neil Armfield AO Ross McLean & Fiona Beith Brian Burfitt Education Donations Valmae Freilich or would like further Anne Britton John Morris Michael & Doris Hobbs over $250 Frances Garrick information about any Rob Brookman & A.O. Redmond Peter & Jessie Ingle Provide opportunities for Helen Thwaites & Peter Gray of our donor programs Verity Laughton Michael Rose & Jo D’Antonio Rosemary & Adam Ingle young people throughout Phillip & Vivien Green please call our Philanthropy Andrew Cameron Ann Sherry AO Anita Jacoby NSW to access our work. Yoram & Sandra Gross Coordinator Pearl Kermani Janet & Trefor Clayton Victoria Taylor The Jarzabek Family Priscilla Guest on 02 8396 6219 or email Anne & Michael Coleman Anonymous (5) Penny Ward Avril Jean Libby Higgin [email protected] Hartley & Sharon Cook Ian Barnett David & Jen Watson Rosemarie & Su Kennedy Gail Hambly Judy Binns Dr Candice Bruce & Michael Kevin Jeffers-Palmer Josephine Key Special Thanks Anne Harley Jan Burnswoods Whitworth Margaret Johnston Margaret Lederman We would like to acknowledge Hal & Linda Herron Rae de Teliga Kim Williams AM Rob & Corinne Johnston Ross Littlewood & long-time subscriber Cajetan Louise Herron & Clark Butler Jane Diamond Cathy Yuncken Phil Kachoyan Alexandra Curtin Mula. Cajetan will always be Victoria Holthouse Priscilla Guest Colleen Kane Heidrun Lohr remembered for his generosity Peter & Rosemary Ingle Julie Hannaford 2011/2012 B Keepers Antoinette le Marchant Christopher Matthies to Belvoir. Ian Learmonth & Julia Pincus Beth Harpley Income received from Jennifer Ledgar & Bob Lim John Morgan Helen Lynch Dorothy Hoddinott B Keepers underpins all of Stephanie Lee J P Morrison List correct at time Frank Macindoe Susan Hyde our activities. Atul Lele Jane Munro of printing. Macquarie Group Foundation Peter & Rosemary Ingle Hilary Linstead Annabelle Andrews & David Marr B Keepers Stewart & Jillian Kellie Prof. Elizabeth More AM Peter Murray Ann Sherry & Michael Hogan Anonymous (4) Robyn Kremer Dr David Nguyen Dr Peter & June Musgrove Victoria Taylor A & R Maxwell Margaret Lederman D & L Parsonage Irena Nebenzahl Mary Vallentine AO Robert & Libby Albert Zula Nittim Timothy & Eva Pascoe Andrew & Toni Noble Kim Williams AM Gil Appleton Patricia Novikoff Claire Armstrong & John Sharpe Richard & Heather Rasker Judith Olsen Judy & Geoff Patterson 2011 Chairs Group Berg Family Foundation Greg Roger Martine Robins Natalie Pelham Supports the creative Bev & Phil Birnbaum Geoffrey Rush Peter & Jan Shuttleworth Greeba Pritchard development of Indigenous Max Bonnell Andrew & Louise Sharpe Chris & Bea Sochan Marguerite Rona work at Belvoir. Ellen Borda Peter and Jan Shuttleworth The Spence Family Lesley & Andrew Rosenberg Anne Britton Edward Simpson Tim & Vivienne Sharpe Anonymous Kerry Stubbs Mary Jo & Lloyd Capps Chris & Bea Sochan Eileen Slarke and Family Antoinette Albert Jane Westbrook Brian T. Carey Victoria Taylor Tim Smyth Jillian Broadbent AO Zee Yusuf Elaine Chia Judy Thomson Paul Stein Keith & Leslie Bryant Jane Christensen Sue Thomson General Donations Lee Tanabe Jan Chapman & Stephen Louise Christie Brian Thomson & over $250 Anthony Tarleton O’Rourke Peter Cudlipp & Budi Hernowibowo Provide valuable support to Chris Vik & Chelsea Albert Louise Christie Barbara Schmidt Mary Vallentine AO the projects most in need Sarah Walters Warren Coleman & Suzanne & Michael Daniel Alison M Wearn throughout the year. Lynne Watkins Therese Kenyon Chris & Bob Ernst Judy & Sam Weiss & Nicholas Harding Kathleen & Danny Gilbert Anonymous (12) Jeanne Eve Paul & Jennifer Winch David Watson Girgensohn Foundation Jess Anderson Peter Fay Iain & Judy Wyatt Sam & Judy Weiss Marion Heathcote & Ross & Barb Armfield Peter Graves Brian & Patricia Wright Brian Burfitt Catherine & Chris Baldwin David & Kathryn Groves Carolyn Wright HLA Management Pty Ltd Alec Brennan Sophie Guest Andrew Cameron Michael & Colleen Chesterman

24 25 Belvoir Staff 18 Belvoir Street, Surry Hills NSW 2010 25 Belvoir Street Email [email protected] Web www.belvoir.com.au Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444 Edited by Robert Cousins. Foreword by David Marr.

Artistic Director Education Marketing This stunning new book, full Ralph Myers Education Manager Marketing Manager of essays, memories and vivid General Manager Jane May Tina Walsberger photographs, celebrates over a Brenna Hobson Education Resources Marketing Coordinator & Regional Access Marty Jamieson quarter of a century of theatre Belvoir Board Cathy Hunt Publications Coordinator at Belvoir. Including a collection Anne Britton Gabrielle Bonney of essays by Robert Cousins, Rob Brookman Administration Publicist Andrew Cameron (Chair) Artistic Administrator Elly Michelle Clough Ralph Myers, , Peter Carroll John Woodland Neil Armfield, Robert McFarlane, Michael Coleman Administration Coordinator Production Rhoda Roberts, James Waites, Gail Hambly Maeve O’Donnell Acting Production Manager Alan John and Rita Kalnejais, 25 Brenna Hobson Daniel Potter Frank Macindoe Finance & Operations Production Manager Belvoir Street traces the social Ralph Myers Head of Finance & (from 1 Dec) Chris Mercer and political background from Operations Production Coordinator which Belvoir emerged and Belvoir St Theatre Richard Drysdale Eliza Maunsell looks at the way the building Board Financial Administrator Production Assistant Trefor Clayton (Chair) Ann Brown Rosealee Pearson itself has found a way into our Stuart McCreery Accounts/Payroll Officer Technical Manager imaginations. Angela Pearman Susan Jack Len Samperi Pick up a copy now from Nick Schlieper IT & Operations Manager Resident Stage Manager Kingsley Slipper Jan S. Goldfeder Luke McGettigan the Belvoir Box Office From its first mercurial decade Construction Manager when it teetered on the edge Artistic & Programming Box Office Govinda Webster RRP $77 (incl GST). Resident Director of oblivion on more than one Box Office Manager Head Mechanist Simon Stone occasion, through to the Katinka Van Ingen Damion Holling Associate Director – For a mailed copy, add Assistant Box Office Costume Coordinator appointment of Neil Armfield New Projects Managers Judy Tanner $20 for postage & handling as Artistic Director, and beyond Eamon Flack Tanya Ginori-Cairns Downstairs Technical Associate Artists to a new generation of theatre Alana Hicks Supervisor (within Australia). Kylie Farmer makers headed by Ralph Jack H. Audas Preston Stefan Gregory Front of House Also available at Myers, this book provides an Frank Mainoo Front of House Manager extraordinary and intimate record Associate Producer Ohmeed Ahi selected bookstores. Tahni Froudist Assistant Front of of a company that has been Literary Manager House Manager described simply as the “heart Anthea Williams Brooke Louttit and soul of Australian theatre”. Literary Assistant Jennifer Medway Development Development Manager Katy Wood Partnerships Coordinator Zoë Hart Philanthropy Coordinator Pearl Kermani

26 27 BURIED city 6 JANUARY – 5 FEBRUARY By Raimondo Cortese I’m YOUR MAN 12 JANUARY – 5 FEBRUARY by ROSLYN OADES Buried city Thyestes 6 JANUARY – 5 FEBRUARY 15 january – 19 february by Thomas henning, chris ryan, simon stone, mark winter By Raimondo Cortese Original Concept & BABYTEETH Director Alicia Talbot 11 february – 18 march By RITA KALNEJAIS EVERY BREATH 24 MARCH – 29 APRIL by benedict andrews

Corporate FOOD partner A co-production with 26 april – 20 may By STEVE RODGERS Urban Theatre Projects STRANGE INTERLUDE and Sydney Festival 5 may – 17 june by SIMON STONE after eugene o’neill OLD MAN 7 JUNE – 1 JULY By MATTHEW WHITTET DEATH OF A SALESMAN 23 JUNE – 12 AUGUST By ARTHUR MILLER CONVERSATION PIECE 25 august – 23 SEPTember by LUCY GUERIN PRIVATE LIVES 29 September – 11 November By NOËL COWARD 11 october – 25 NOVEMBER by & ANNE-LOUISE SARKS after BEAUTIFUL ONE DAY 17 NOVEMBER – 23 DECEMBER by PAUL DWYER, EAMON FLACK, RACHAEL MAZA LONG, DAVID WILLIAMS don’t take your love to town 29 NOVEMBER – 23 DECEMBER by EAMON FLACK & Seductive Excited

WE NEED TO TALK ABOUT KEVIN (CTC) RESTLESS (M) Eva is a haunted middle-aged woman The story of a terminally ill teenage trying to grapple with her own feelings girl who falls for a boy who likes towards her son as he grows up to be a to attend funerals and their brooding teenager, and his unthinkable encounters with the ghost of a actions will shatter her life. Japanese kamikaze pilot from WWII. Charming Aloof OPENS • 17 NOV • 2011 OPENS • 1 DEC • 2011

Cunning Friendly

THE WOMEN ON THE 6TH FLOOR (PG) THE SKIN I LIVE IN (MA15+) At Optus, we know our role in theatre. In 1960s , a conservative A brilliant plastic surgeon creates a couple's lives are turned synthetic skin that withstands any upside down by the vivacious kind of damage. His guinea pig: OK, so Optus aren’t the world’s finest thespians. But we do know how to make Spanish maids upstairs. a mysterious woman. theatre possible for everyone, through our special collaboration with Belvoir. OPENS • 15 DEC • 2011 OPENS • 26 DEC • 2011 Our unique ‘Charitable Tickets’ and ‘Unwaged Performance Programs’ offer free

tickets to those who rarely have the opportunity to enjoy the theatre. For session times & advance tix: www.palacecinemas.com.au Palace Cinemas, proudly supporting

OPT11094 a gumboot, a chair and a freecard!

& Avant Card is a proud supporter of Belvoir, pick up a freecard from the foyer. avantcard.com.au – freecard media

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Event Sponsors Government Partners Available in the foyer– Available in the foyer– pick one up, MAJOR SPONSORS Indigenous Theatre at Belvoir pick one up, supportedIndigenous by Theatre The Balnaves at Belvoir Foundation everybody else does! MAJOR SPONSORS supported by The Balnaves Foundation everybody else does! One earth FOOds prOud One earth FOOds prOud suppOrters OF BeLVOIr. Bird Cow Fish suppOrters OF BeLVOIr. One Earth Foods Silver Spoon Caterers Coopers Coca-Cola Foundation MacquarieCoca-Cola FoundationGroup Foundation www.OneearthFOOds.cOm.au www.avantcard.com.au Macquarie Group Foundation For more information on partnership opportunities please contact our Media Tree www.OneearthFOOds.cOm.au www.avantcard.com.au Media Tree Development Manager Katy Wood on (02) 8396 6224 or email [email protected] Corridore Photography StaysMichael in Corridorethe Vines Photography ThomasStays in Creativethe Vines ASSOCIATE SPONSORS Thomas Creative ASSOCIATE SPONSORS Teen Spirit Foundation managedTeen Spirit by Foundation Perpetual Gandeviamanaged Foundationby Perpetual Gandevia Foundation

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For bookings call (02)For 9356 bookings 6902 or call email For more information on partnership opportunities please contact our [email protected](02) 9356 6902 or email u DevelopmentFor more information Manager on Katy partnership Wood on opportunities (02) 8396 6224 please or email contact [email protected] our [email protected] Development Manager Katy Wood on (02) 8396 6224 or email [email protected] All the world’s a stage.

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25 Belvoir Street, Surry Hills NSW 2010 Email [email protected] Web www.belvoir.com.au Administration38 (02) 9698 3344 Fax (02) 9319 3165 Box Office (02) 9699 3444