2020 SEASON CONTENTS

2020: At A Glance 04 Chair’s Report 06 Artistic Director’s Report 08 Executive Director’s Report 10 2020 Season 12 Belvoir 2019 in Review 28 Corporate Governance Statement 44 Board & Staff 48 Supporters, Trusts & Foundations, and Partners 49 Donors 50 In the Rehearsal Room 54

Anita Hegh and Ella Prince. Photo by Brett Boardman 28 FOLLOWERS SOCIAL MEDIA 67,723 CALD AND ATTENDEES AT 5 BELVOIR 36,487 PRODUCTIONS 325 AT WORK. BY ARTISTS SUPPORTED GIGS 65 6,489 22 DIGITAL 6 IN PERSON, PROGRAM - REGIONAL ACCESS PART OF OUR WORKSHOPS AS SUBSCRIPTIONS SOLD

34% TICKETS DONATED 26 NEW AUSTRALIAN INDIGENOUS BACK TO BELVOIR INDIVIDUAL PLAYS / WORLD FUTURE SHOWS ARTISTS ACROSS PREMIERES MAINSTAGE AND 3 IN DEVELOPMENT. 30 DEVELOPMENT WORK

NEW COMMISSIONS

WESTERN 7& STUDENTS IN WORK- 796 SHOPS IN SCHOOLS 21 STUDENTS & ACTIVE AT A GLANCEIN PERSON & DIGITAL COMMISSIONS TEACHERS WHO WEEKS WITH 623 ATTENDED A THE THEATRE 2003

PERFORMANCE 26 CLOSED 136EMPLOYED PERFORMERS AND CREATIVES

APPLICATIONS RECEIVED 7 SHUTDOWN IN A WORKSHOP PARTICIPATED STUDENTS RESIDENCIES WITH 44 ARTISTS

F:M ACTORS,

WRITERS AND CREATIVES NEW SINGLE TICKET BUYERS IN 2020 1864 65:35 3132 CHAIR’S REPORT Sam Meers

What a year 2020 our $550k surplus from 2019, thanks to the was! If true grit is financial support mentioned above, and the revealed under pressure, extraordinary efforts of the team, led by our then 2020 showed agile and dedicated co-CEOs, Executive that Belvoir has it in Director Sue Donnelly and Artistic Director bucketloads. Having Eamon Flack. I would also like to pay tribute finished 2019 on a to our Deputy Executive Director, Aaron high, with a swag of Beach, and Head of Finance & Operations, 13 Helpmann Awards Penny Scaiff, who also went above-and- and a strong operating beyond the call of duty in a challenging year. surplus, to then be Secondly, I am extremely proud of the fact closing the doors of our theatre a few that Belvoir’s first instinct, led by Eamon, months later was a like a misplaced fullstop was to consider how best to support our in the middle of sentence - or perhaps an artists - the people who lie at the very core actor forgetting their lines. The impact on of what we do and who, because they were the arts sector was, of course, just one piece not classified as ‘employees’, fell between of the complicated matrix of disruption and Steve Rodgers. Photo by Brett Boardman. the cracks of the Government’s stimulus distress experienced by friends, families and packages. Our Artists at Work Program colleagues throughout the pandemic. raised over $500k, which is being delivered The commitment of the Company B board Finally – last, but very definitely not least – But Belvoir’s genesis in 1984 was due to a back directly to the artistic community. this year was extraordinary. The board none of the work we do would, of course, be community banding together in a time of And thirdly, I would like to note the met weekly and then fortnightly during possible without the staff at Belvoir and the crisis. And this is exactly what happened leadership Belvoir showed by being one the difficult first months of the pandemic many artists and creatives who work with us. again in 2020. Despite the enormous of the first companies to close our doors as our Box Office income disappeared for These talented and passionate individuals challenges, everyone rallied to support on 17 March 2020, in order to protect an indefinite period and we were forced dedicate countless hours to the Company us: we moved quickly to adjust our work our actors, patrons and staff – this was to consider our solvency. Each and every because they believe, as you do, in the practices and our loyal staff, in particular, before we were mandated to do so by the board member provided unquestionable power of theatre to change people’s lives. were nimble and generous in their flexibility. Government. However, we were also one of support, insight and dedication during I thank them sincerely for their support and I’d like to begin this message by the first companies to return to the stage this challenging time. I would like to give extraordinary commitment to the Company, acknowledging the extraordinary generosity in September 2020, and our COVID-safe particular thanks to Alison Kitchen, who particularly in the past 12 months. guided us through the use of the Safe of our donors and subscribers for the practices became the blueprint for many Whilst we finished 2020 strongly and our Harbour provisions of the Corporations ‘above-and-beyond support’ you gave us other arts organisations. 2021 season has been diverse and engaging, unquestioningly when we needed it. I know Law and whose calm wisdom and attention Although our theatre was dark from 17 we know the next few years will continue to I regularly say we cannot do the work we to detail gave all of us much needed March to 12 September 2020, we worked challenge us all in many ways as we adjust do without you – but last year, you literally reassurance. And my endless thanks to hard to sustain Belvoir’s creative energy, to the new phase of ‘living with COVID’ and saved us. My deep thanks go to each and deputy Chair, Patty Akopiantz, whose and the community that depends upon it. what that means for communal activities, every one of you for your faith in us. wisdom and diligence was indispensable. We developed and commissioned 6 times such as cultural experiences. A warm welcome to our new board I would also note the timely and generous as much new work than in an average year, In a global environment in which so many members Paul Oppenheim and financial support provided by Government and we still managed to deliver 5 shows from are experiencing dislocation, isolation and Jacob Nash, who joined us at the end at both State and Federal level, for which I our 2020 season. Returning to the theatre in loss, now more than ever before we need the of 2020 – little did they know what a offer my sincere thanks. We are particularly September 2020 with the wonderful Anita stories we tell on the Belvoir stage, and the rollercoaster it would be! It is, however, a grateful to have Minister Fletcher in the Hegh in Virginia Woolf’s A Room of One’s community connection provided by the raw tribute to the Company that we continue to Morrison Government and Minister Harwin in Own was a glorious triumph! emotion of a theatre experience. the Berejiklian Government leading excellent, attract Directors of such stature. We were thrilled to welcome Governor responsive teams in their respective arts I ask that you continue to support us in these Margaret Beazley as our Patron in 2020. My thanks also to the board of Belvoir St portfolios. challenging times. Having the Governor as your patron is Theatre Ltd (aka Company A) for our close working relationship and their continuing There are a number of things from Belvoir’s thrilling enough, but having a long term Sam experience last year of which I’m enormously subscriber as our Patron is even more belief in Belvoir’s vision. proud: firstly, the dedication of our staff and special! senior executive team. We finished 2020 with a solid surplus of $800k, building on

6 7 We reopened Belvoir on 16 September with a twice-delayed season of A Room of ARTISTIC DIRECTOR’S REPORT One’s Own. Anita had been carrying that astonishing text in her mind since the first Eamon Flack week of shutdown nearly 6 months earlier. Her performance was all grace and miracle, In the first months of us 2 or 3 weeks – it took 6. But it did the and I will never forget it. 2020 the extended job of reminding all those people who form In November, after months of uncertainty, season of Packer and our community of that precious, tatty old we launched a short 2021 season – just 7 Sons played to full building and its work. months instead of our usual 12. Today, in houses. The return By May we had found a way to keep the flag April 2021, as I write, we have just launched season of Every Brilliant flying.Artists at Work was simultaneously Part Two of 2021. Thing played to full a creative development program and a houses. Stevie Rodgers I have never been prouder of Belvoir. I think fundraising campaign – the one driving the danced with audience we did 2020 about as well as you can. other. Its first goal was exactly what it said members, kissed them on the box – keep artists at work. But we It is impossible to thank everyone who got on the head, put his arms around them. also realised that this unwanted pause in Belvoir through last year – to the thousands Then, in March, theatre became a dangerous Chenoa Deemal, Alex Stylianou, putting on shows might provide the chance and Valerie Bader. Photo by Luke Currie of people, from audiences to artists to activity, and the whole world stopped to rethink things on a more fundamental Richardson. bureaucrats who are part of Belvoir in any putting on shows. We closed our doors on level. Process determines outcome, and way at all, thank you. And I do want to thank the 17th of that month. theatre in Australia is bound, sometimes Among the hardest decisions we made a few people on a personal note – the entire A theatre company without audiences is severely, by the circumstances of its making. last year were which shows from our 2020 staff of Belvoir, who were extraordinary; bizarre. A theatre company without artists is Artistic and cultural outcomes are limited by season to let go. We couldn’t save them all. Sarah and Rupert for conspiring with me to absurd. Suddenly we had neither. JobKeeper the means and process. The shutdown gave Shutdown landed after 2 performances into find a way out of April and into the future; turned up in the nick of time and gave us a an opportunity to find new ways to work, the season of Dance Nation, and because Sam, Stuart and Patty from our board for way to keep the Pty Ltd going, but it saved to make different kinds of theatre and to of the size of the show and the interstate the best push-pull you could ask for; Vyvyan none of our artists’ jobs and none of the tell new kinds of stories. We didn’t just want cast, we saw no way of being able to bring it for So Much; Lou, Tom, Dom, Hannah, Kodie work itself. Those last weeks of March and to keep the artists and the work going, we back. The same week we closed the theatre and Jules from Artistic and Programming early weeks of April were a dark time for wanted to come out the other side making was also the first week of rehearsals forA for sending us to the moon and back in a artists and companies across the country, better theatre in better ways. Room of One’s Own. This was one of those pandemic; Aaron for his magic; Sue for hers; and not just because of COVID. In April the moments of good fate in bad times – a and Tom most of all. In the space of 2 months we had swung impact of years’ old cuts to the Australia thoughtful monologue with a second actor from being a producing house to a A week after we closed our doors in March Council landed in cuts to many small- in a glass box struck us as an ideal piece to development house. Under Artists at I wrote an email to the company, reminding to-medium organisations. COVID was a reopen a theatre. Anita Hegh and Carissa Work we set up 5 strands of work – 2 myself as much as them of what stood in catastrophe crashing in on an existing crisis Licciardello continued rehearsing Room part-time ensembles of artists on staff our favour. I think it’s a good final word: for the arts, and in April it seemed like our remotely and intermittently – and hopefully… called New Stories and the Adaptation ‘This situation is daunting but we can play worst fears of widespread collapse of the But the real criterion for which shows to Group; 2 ramped-up programs of script into Belvoir’s strengths: improvisational, country’s cultural infrastructure might come save was simple – save the new work. By development called First Stories and New communal, rough-edged. Crisis and to pass. mid-winter we were confident that we Plays; and an open callout to the indie and uncertainty are in this company’s DNA. would be able to reopen for the last quarter We made a decision early on that our task small-to-medium sector called Shutdown We should be careful not to overplay the of the year, and there would be room for 3 was not just to save Company B Pty Ltd, but Residencies. romance of this, because the task we face somehow keep the flag flying for artists and shows. We put Kendall Feaver’s adaptation By the end of 2020 this program had right now is more difficult than we’ve ever the artform. How to do that in a pandemic of My Brilliant Career into rehearsals in supported the development of 48 projects faced, inside Belvoir and out. But we do at was not straightforward, and it would take August, hoping that we would be able and created 325 unique gigs for a diversity least have the advantage of being, well, just us some time to find an answer. But I think to keep it for a rescheduled season in of artists, some for the first time at Belvoir. It a bit shitty – a bit rough around the edges, committing ourselves to that task was a November. Kodie Bedford’s Cursed! went was 6 times the size of our normal creative not too bright and shiny. It gives us room to turning point for the company, and the best into rehearsals on its originally scheduled development program. The work ranged move. At a time like this that’s a good thing.’ decision we made last year. dates. Miss Peony and The Jungle and the from readings to week-long workshops Sea were postponed until 2021 and 2022. Eamon While working on that big task we decided and residencies, to 3-month part-time to make our first ever online show. The contracts for artists to become resident in In addition to Dance Nation we lost purpose was simply to give people some joy the company. Best of all it gave us a chance Anne Louise Sarks’s production of in grim times, and to remind everyone that to test new ways of working. It altered the Caryl Churchill’s Escaped Alone, and my Belvoir was still there on the hill, waiting. company’s artistic trajectory, and the legacy production of Gorky’s Summerfolk. I can’t We thought Belvoir in Concert would take will be on our stage for years to come. think of the loss of these shows without terrible sadness.

8 9 EXECUTIVE DIRECTOR’S REPORT Sue Donnelly

Belvoir reached its was managing the cancellations and 36th birthday in 2020 postponements of 5 shows. We were and nothing we had on a steep learning curve to understand done in those previous our responsibilities and rights during decades prepared us a pandemic. Many individuals and for 17 March when we organisations assisted us including our pro closed Dance Nation, bono lawyers Baker McKenzie and Kay after only 2 previews, & Hughes; industry organisations, LPA, and shut down the AMPAG and CAST; the various agents theatre for 6 months. with whom we work; all the artists; our Marrickville workshop landlord; funding We started the year strongly off the back bodies Create NSW and Australia Council; of an excellent 2019. It not only gave us the NSW Department of Health and all some financial cushioning to weather the our industry colleagues around Australia. shutdown but also reinstated our belief in The support that people extended to each the power and beauty of Belvoir’s theatre other was truly phenomenal and I’d like to productions. Nonetheless I was not totally thank everyone for their assistance. The confident that we would survive 2020 arts is good with crisis. as it was such a big unknown … perhaps I should’ve been more trusting in the Out of adversity comes innovation, and resilience of our beautiful company. we used the shutdown and the 3 months following reopening to try out new ideas Belvoir moved quickly to manage the and ways of working. We did a huge financial outfall caused by the COVID fundraising appeal so that we could shutdown. Unfortunately it meant some employ artists who were not eligible for staff leaving – as we had no idea what JobKeeper. As a result we have about 3 the company would look like when we years’ worth of new work and adaptations emerged from the shutdown – and the to produce. We ramped up our digital remaining staff working reduced hours on offerings to support schools, communities reduced pay. As with many companies, and corporates who were now JobKeeper was our lifeline. It ensured that predominantly working online. Some staff staff, including some casuals, continued Grace Truman and Liam Nunan. Photo by Brett Boardman even managed to complete long-awaited to work and receive a wage. When we training. We became proficient in COVID- reopened in September we prioritised safe practices and were the first major people who had lost work. year. To be on the safe side we cancelled particularly acknowledge Andrew Dillon, theatre company to reopen our doors and some performances just before Christmas the Head of Customer Service & Ticketing, Like other companies our workstyles have a masked audience – at one third of during the northern beaches outbreak but who left us at the end of 2020 after evolved with many staff working remotely our capacity. were able to again reopen. And slowly more than 10 glorious years at Belvoir. He and others working socially distanced at people returned. However we know we When we did reopen with A Room of exemplified the Belvoir style of ‘nothing our warehouse, theatre and workshop. can’t be complacent. The pandemic is not One’s Own there was a wait list of over is too much trouble’ and ‘the show must A theatre with its associated costumes, 1000 people within 24 hours desperate to over hence we are ever vigilant, but also go on’! Thanks also to Eamon, Aaron props, technical equipment, old sets get back to the theatre. The demand was extremely happy to be living in Sydney and Penny with whom I spent far too and storage units requires ongoing way beyond what we could accommodate and able to put on our shows. Those many hours doing countless budgets and maintenance and we used the shutdown hence we’ve brought that show back in months of closure brought into sharp scenario plans. effectively to complete those tasks we’d focus how necessary it is to our audiences, 2021. Finally my great appreciation of the been unable to do when operating 50 communities, artists, volunteers and staff Company B board who continued to guide weeks a year in the preceding years. There is a happy ending to this story. We to produce exceptional live theatre. However we didn’t quite finish the list! survived! We were gradually permitted and support us throughout the year. larger audiences, moving from one third I always talk about the commitment of A big challenge during this time, apart Sue to 50% and then to 75% by the end of the Belvoir staff and it was evident in spades from our absolute disappointment, in 2020. They are real troopers. I want to

10 11 EVERY BRILLIANT THING JESUS WANTS ME FOR A SUNBEAM A ROOM OF ONE’S OWN CURSED! MY BRILLIANT CAREER

CANCELLED/POSTPONED 2020 DANCE NATION ESCAPED ALONE SEASON MISS PEONY THE JUNGLE AND THE SEA SUMMERFOLK

VIRTUAL BELVOIR IN CONCERT

12 13 Steve Rodgers. Photo by Brett Boardman. Matthew Whittet and Emma Jackson. Photo by Brett Boardman.

Written by Duncan Macmillan Written by Peter Goldsworthy EVERY with Jonny Donahoe JESUS WANTS adapted by Steve Rodgers Directed by Kate Champion Directed by Darren Yap Co-Directed by Steve Rodgers BRILLIANT ME FOR A Set & Costume Designer Emma Vine Set & Costume Designer Isabel Hudson Lighting & AV Designer Verity Hampson THING Lighting Designer Amelia Lever-Davidson SUNBEAM Composer & Sound Designer Max Lambert & Sound Designer Steve Francis Sean Peter 10 – 26 JANUARY 2020 6 FEBRUARY – 8 MARCH 2020 Assistant Director Erin Taylor With Steve Rodgers UPSTAIRS THEATRE UPSTAIRS THEATRE Stage Manager Lauren Tulloh Assistant Stage Manager Brooke Verburg Statistics Statistics with Performances 36 Performances 20 Valerie Bader Paid Audience 5,087 Paid Audience 6,546 Emma Jackson Mark Lee Total Audience 8,301 Total Audience 6,035 Liam Nunan Box Office Income $288,069 Box Office Income $337,196 Grace Truman Matthew Whittet Production by Riverside’s National Theatre of Parramatta

★★★★1/2 Brilliant ★★★★ an extraordinarily thought-provoking work. – The Sydney Morning Herald – ArtsHub …it’s possibly one of the best plays you’ll ever see. ★★★★ Grounded characterisations and fine-spun – The Independent Arts Journal performances, before setting a morality trap that audiences will struggle to free themselves from. This is charming, clever, informal theatre. – Daily review – Sydney Arts Guide A touching, sensitively wrought drama – Sydney Arts Guide

14 15 CANCELLED CANCELLED ESCAPED ALONE

Written by Caryl Churchill Directed by Anne-Louise Sarks Set & Costume Designer Elizabeth Gadsby Lighting Designer Paul Jackson Composer & Sound Designer Clemence Williams Stage Manager Tanya Leach Assistant Stage Manager Julia Orlando With Rebecca Massey, Chika Ikogwe, Emma Harvie and Mitchell Butel. Photo by Daniel Boud Kris McQuade Heather Mitchell Written by Clara Barron DANCE Directed by Imara Savage Set & Costume Designer Jonathon Oxlade NATION Lighting Designer Alexander Berlage Kris McQuade. Photo by Daniel Boud. Composer Luke Smiles Anandavalli. Photo by Daniel Boud. Sound Designer Andrew Howard Choreographer Larissa McGowan 14 – 15 MARCH 2020 Accent Coach Jennifer Innes POSTPONED UPSTAIRS THEATRE Assistant Director Clara Solly-Slade THE JUNGLE (CANCELLED AFTER 2 SHOWS) Stage Manager Gabrielle Hornhardt TO 2022 Assistant Stage Manager Brooke Kiss AND THE SEA Statistics AFTER ANTIGONE AND THE With MAHABHARATA Performances 2 Mitchell Butel Total Audience 544 Elena Carapetis Written and Directed by Emma Harvie S. Shakthidharan & Eamon Flack Chika Ikogwe Choreographer Anandavallli Co-Produced with Yvette Lee Set & Costume Designer Company South Australia Rebecca Massey Dale Ferguson Amber McMahon 21 FEBRUARY - 7 MARCH 2020 Lighting Designer Veronique Benett Tara Morice STATE THEATRE COMPANY Associate Composer Time Overton SOUTH AUSTRALIA Arjunan Puveendran Stage Manager Luke McGettigan

Assis. Stage Manager Brooke Kiss Statistics Co-Produced with Lingalayam Performances 17 An unforgettable experience Dance Company – Adelaide Advertiser Total Audience 3,882 With Director Imara Savage has admirably brought this Anandavalli intense unconventional script together with a terrific Prakash Belawadi cast and creative team. Nadie Kammallaweera – The Australian Arjunan Puveendran Jacob Rajan Kalieswari Srinivasan Vaishnavi Suryaprakash 16 17 Rajan Velu Anandavalli. Photo by Daniel Boud. POSTPONED MISS PEONY TO 2021

Written by Michelle Law Directed by Sarah Giles Set and Costume Designer Jonathon Oxlade Lighting Designer Trent Suidgeest Associate Director Courtney Stewart Stage Manager Isabella Kerdijk Assistant Stage Manager Sean Proude

With Ella Prince and Anita Hegh. Photo by Brett Boardman. Michelle Law George Zhao

Written by Virginia Woolf A ROOM OF adapted by Carissa Licciardello & Tom Wright Directed by Carissa Licciardello

Michelle Law. Photo by Daniel Boud. ONE’S OWN Set & Costume Designer David Fleischer Lighting Designer Kelsey Lee composer Alice Chance CANCELLED Sound Designer 10 SEP – 18 OCT 2020 Stage Manager Luke McGettigan UPSTAIRS THEATRE Assistant Stage Manager Erin Shaw

SUMMERFOLK With Statistics Anita Hegh Performances 43 Ella Prince Paid Audience *5,395 Supported by The Group supporting Written by Maxim Gorky Total Audience 5,856 women in theatre both on and off the stage Adapted & Directed by Eamon Flack Box Office Income $307,869 Designer Mel Page Lighting Designer Nick Schlieper *operating at strict social distancing Composer & Sound Designer Clemence Williams Stage Manager Luke McGettigan Assistant Stage Manager Katie Moore

With ...the show captures beautifully but subtly the Mandela Mathia journey of thought and experience that Woolf took Richard Pyros us on. It is a superb text for performance. – The Australian Toby Truslove ★★★★ Sophie Wilde It’s hard to think of a play better adapted for these unusual times. Supported by the Nelson Meers – Time Out Sydney Foundation

18 19 Sophie Wilde and friends. Photo by Daniel Boud. Chenoa Deemal and Valerie Bader. Photo by Luke Currie Richardson Nikki Shiels. Photo by Brett Boardman.

Written by Kodie Bedford Written by Miles Franklin CURSED! Directed by Jason Klarwein MY BRILLIANT Adapted by Kendall Feaver Directed by Kate Champion Set Designer Stephen Curtis Costume Designer Chloe Greaves CAREER Set Designer & Costume Designer Lighting Designer Chloe Ogilvie Robert Cousins Composer & Sound Designer Steve Francis Lighting Designer Amelia Lever-Davidson Assistant Director Dalara Williams Composer Chrysoulla Markoulli 24 OCT – 29 NOV 2020 Assistant Costume Designer 5 DEC 2020 – 31 JAN 2021 Sound Designer Steve Francis UPSTAIRS THEATRE Keerthi Subramanyam UPSTAIRS THEATRE Fight & Movement Director Nigel Poulton Associate Lighting Designer Veronique Benett Assistant Director Hannah Goodwin Statistics Statistics Stage Manager Natalie Moir Dialect Coach Jennifer White Performances: 40 Assistant Stage Manager Brooke Verburg Performances 58 Stage Manager Luke McGettigan Assistant Stage Manager Ayah Tayeh Paid Audience: *5,361 With Paid Audience *8,915 Valerie Bader With Total Audience 9,716 Total Audience: 6,021 Chenoa Deemal Blazey Best Box Office Income: $294,263 Sacha Horler Box Office Income $501,803 Jason Chong Bjorn Stewart Tom Conroy *capacity 33% then 50% Alex Stylianou Emma Harvie *capacity lifted from 50% to 75% Shirong Wu Nikki Shiels Guy Simon Indigenous theatre at Belvoir supported by The Balnaves Foundation Supported by the Chair’s Circle

★★★★ It has a salt to be savoured, one-liners ★★★★ A one-two punch of success, a play that to kill, and a big-hearted story that sings true. breathes fresh life into the original novel, while – Limelight also feeling as relevant as ever. – Australian Book Review A full-body comedy experience… Cursed! is a play of outrageous wit and deep thought ★★★★ Kendall Feaver’s adaptation of My Brilliant – The Conversation Career is, in a word, brilliant. – Limelight Laugh-out-loud hilarious – and sometimes sublimely black Bold and declarative rallying. – The Sydney Morning Herald – The Guardian 20 21 Belvoir in Concert.

Hosted by Virginia Gay BELVOIR IN with CONCERT Troy Brady Laura Bunting Elaine Crombie Gareth Davies 22 – 24 MAY 2020 Charlie Garber FACEBOOK AND YOUTUBE Virginia Gay 25A, HOUSED IN OUR INTIMATE DOWNSTAIRS THEATRE, IS AN EXCITING PROGRAM OF Statistics Brent Hill Views: 34,000 Kimberley Hodgson LOW-COST, MAKING AND Chika Ikogwe EMERGING THEATRICAL TALENT. THE 25A CHALLENGE Unique views: 8,134 Shelly Lauman IS TO PRODUCE THE MOST ESSENTIAL THEATRE WHILE Ayesha Madon James Majoos CELEBRATING ACTING, STORY AND COMMUNITY. Mike McLeish Zahra Newman Xavier Samuel Yael Stone Adm Ventoura

22 23 CANCELLED

SHEPHERD APRIL MARLOWE’S 19 FEBRUARY – 7 MARCH ABORTION TOTAL AUDIENCE – 946 22 APRIL – 9 MAY PERFORMANCES – 17

Written and directed by Written by Madeleine Stedman Liam Maguire Directed by Hannah Goodwin Producer Emma Diaz Set and Costume Designer Set & Costume Designer Ella Butler Aleisa Jelbart Assistant Designer Sancia Holden Lighting Designer Phoebe Pilcher Lighting Designer Martin Kinnane Sound Designer Clare Hennessy Sound Designer Sam Maguire Stage Manager Sophie Dixon Stage Manager Emma Paterson Assistant Director Nicole Pingon Assistant Director Adam Sollis Dramaturg Mark Rogers Producer Tahlee Leeson With Rose Riley With Presented by Mark Paguio Danny Ball Snatched Collective Cece Peters Meg Clarke Adam Sollis Jemwel Danao Grace Victoria Melissa Kahraman Jacob Warner Elle Mickel Poppy Lynch Presented by Aya Productions Michelle Masefield Eliza Reilly Mark Paguio and Grace Victoria. Photo by Matt Predney. Hamish White Tahlee Leeson. Photo by Robert Keys.

CANCELLED CANCELLED GIRL FRIEND SON OF BYBLOS 18 MARCH – 4 APRIL 8 – 25 JULY

Written by Natesha Somasundaram Directed by Claudia Barrie Written by James Elazzi Producer Loredana Cross Directed by Nisrine Amine Production Manager Producer Luke Holmes and Catherine O’Donoghue Joy Minter Production Designer Lighting Designer Sophie Pekbilimli Angela Doherty Stage Manager Sophie Dixon Assistant Production Designer Ruru Zhu Presented by Brave New Word Sound Designer Clare Hennessy Lighting Designer Kate Baldwin Stage Manager Jennifer Jackson With Vaishnavi Suryaprakash Nikita Waldron Presented by New Ghosts Theatre Company with the Ignite Collective

Vaishnavi Suryaprakash and Nikita Waldron. 24 Photo by Chantel Bann. Anthony Makhlouf. Photo by David Hooley. CANCELLED CANCELLED

ONE HOUR NO OIL 7 METHODS OF 5 – 22 AUGUST KILLING KYLIE JENNER 25 NOVEMBER – 12 DECEMBER

Co-written by Kenneth Written by Jasmine Lee-Jones Moraleda and Jordan Shea Directed by Directed by Kenneth Moraleda Co-Producer Leila Production Designer Enright and Moreblessing Maturure Isabella Andronos Associate Producer Bernadette Composer, Sound Designer and Fam Musician Michael Toisuta With Stage Manager Jana Vass Gemma Bird Matheson With Moreblessing Maturure John Harding Presented in association with Mark Paguio Green Door Theatre

Moreblessing Maturure and Gemma Bird Matheson. Mark Paguio and John Harding. Photo by Kenneth Moraleda. Photo by Teniola Komolafe.

CANCELLED

DESTROY, SHE SAID 28 OCTOBER – 15 NOVEMBER

Based on the novel by Marguerite Duras Directed by Claudia Osborne Producer Imogen Gardam Costume, Set and Lighting Designer Kelsey Lee Sound Designer Angus Mills With Adriane Daff Josh Price Presented by kleine feinheiten

26 Adriane Daff and Josh Price. Photo by Phil Erbacher.

BELVOIR 2020 IN REVIEW

Belvoir is a theatre company on a side Audiences remember many landmark street in Surry Hills, Sydney. We share our productions including The Drover’s Wife, street with a park and a public housing , Brothers Wreck, The estate, and our theatre is in an old Glass Menagerie, Neighbourhood Watch, industrial building. It has been, at various The Wild Duck, Medea, The Diary of a times, a garage, a sauce factory, and Madman, Death of a Salesman, The Blind the Nimrod Theatre. When the theatre Giant is Dancing, Hamlet, , was threatened with redevelopment in Aliwa, The Book of Everything, Keating!, 1984, over 600 likeminded theatre-lovers The Exile Trilogy, Exit the King, The formed a syndicate to buy the building Sapphires, The Rover, Faith Healer, The and save it from becoming an apartment Sugar House, Counting and Cracking and block. More than thirty years later, many more. continues to be at the forefront of Australian acting and story Today, under Artistic Director Eamon telling for the stage. Flack and Executive Director Sue Donnelly, Belvoir tours nationally and In its early years Belvoir was run internationally (when the borders are cooperatively. It later rose to international open), and continues to create its prominence under first and longest- own brand of rough magic for new serving Artistic Director and generations of audiences. We are proud continued to be both wildly successful to be creating work that speaks to the and controversial under Ralph Myers. fullness of life and experience in Australia Belvoir is a traditional home for the great and abroad, continuing our commitment old crafts of acting and storytelling in to deliver diverse stories to diverse Australian theatre. It is a platform for audiences. voices that won’t otherwise be heard. And it is a gathering of outspoken ideals. Belvoir receives government support for In short: theatricality, variety of life, and its activities from the federal government faith in humanity. through the Australia Council and the state government through Create NSW. At Belvoir we gather the best theatre We also receive philanthropic and artists we can find, emerging and corporate support, which we greatly established, to realise an annual season of appreciate and welcome. works – new works, both Australian and international, re-imagined classics and a lasting commitment to Indigenous stories.

VISION: FEARLESS THEATRE THAT OUR GOALS BRINGS EVERYONE TOGETHER 1: Create exceptional theatre Mission: Belvoir shares old and new 2: Inspire, excite and grow our audiences stories that entertain and challenge 3. Invest in diverse talent and people us, connecting us to humanity and the 4. Be a strong and sustainable company complexity of society.

ACKNOWLEDGEMENT

We acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built. We also pay respect to the elders past and present.

Kris McQuade. Photo by Brett Boardman Anita Hegh. Photo by Brett Boardman. 29 Complementing these programs was an increased investment in our usual New Work Development stream which allowed us to do an additional 12 play readings of commissioned works. Readings took place online and in person. We continued to seek out a combination of the most promising emerging artists and those more established to award 7 new full commissions this year, as well as 3 project commissions through our conventional commissioning pipelines. These commissions targeted under- represented stories and communities as well as the theatrical possibilities of our unique stage. Commissioned writers included those receiving their first professional commission as well as established mainstage artists with national and international profiles. The plays themselves included 2 new indigenous works, as well as another 4 by artists of culturally and linguistically diverse backgrounds. BELVOIR IN CONCERT!

Ella Prince. Photo by Brett Boardman. As a gift to our audience at the height of the COVID lockdown in May, Belvoir in Nation, co-produced with State Theatre projects led by Eamon Flack and Tom Concert! was a presentation of the best MAKING Company of South Australia. We had 2 Wright), focused on the adaptation and of Belvoir’s songs in a series of newly great previews but then had to shut down presentation of classic texts and the recorded performances by their original due to COVID. Everyone – cast, creatives, celebration of theatrical forms, while the cast members. Hosted by Virginia Gay, EXCEPTIONAL crew, staff, board members – was shocked New Stories Group (10 artists and 9 the digital concert was streamed online and distressed. Soon afterwards we unique projects led by Eamon Flack and and featured some of the most iconic THEATRE started cancelling and postponing the rest S. Shakthidaran), focused on new types musical moments from Belvoir’s last 20 of the year’s shows. It was a very difficult of Australian stories and under- years, Songs from FANGIRLS, Barbara CREATING NEW AND CLASSIC WORK time. represented voices. and the Camp Dogs, Keating! The Musical, IN ORIGINAL WAYS Ivanov, The Dog/The Cat, , ENGAGING WITH THE BEST ARTISTS OPENING UP THE REPERTOIRE OF The Threepenny Opera, Mr Burns and We started 2020 with a revival of the STORIES Calamity Jane were pre-recorded in lo-fi beautiful Every Brilliant Thing first As a direct response to the devastating quarantine with characteristic Belvoir performed in 2019 to full houses, but loss of work for our freelance artists A series of creative developments charisma. Engaging 27 artists across 11 18 APRIL – 17 MAY this time with Stevie Rodgers in the role. who make up the bulk of our workforce under the banner of First Stories, with a songs – some heartfelt, some very funny, Many people returned to see it a second represented on and offstage, Belvoir combination of Indigenous-artist rooms but all very Belvoir – Belvoir in Concert! time so they could compare Stevie’s devised a series of broadly grouped and mixed-race rooms focused on new had 34,000 views and 8134 unique performance with that of ’s artistic employment initiatives we called First Nation plays and classic texts views on Facebook and YouTube, and in 2019. The verdict was clear. They are Artists at Work. Expanding our artistic interpreted through a First Nations lens. development programs on every front, this was a cornerstone to our Artists at Work both exceptional performers and audience We also collaborated with small-to- series of initiatives created 325 unique gigs Fundraising campaign. members loved the show. It was a great medium and independent companies – 205 (63%) going to artists from CaLD way to start the year. such as Playwriting Australia, Co- backgrounds – across 48 projects. Our second play, Jesus Wants Me for A Curious, Lingalayam Dance Company Sunbeam, was a sensitive portrayal of At the centre of the program were 2 and Darlinghurst Theatre in a series of family, suicide and death by the National ensembles of freelance artists contracted programs across 9 different projects. Theatre of Parramatta. We then prepared one day a week for 3 months. The for the funny but unconventional Dance Adaptation Group (16 artists and 9 unique

30 31 INSPIRING AND GROWING OUR AUDIENCES

SHARING OUR WORK and forge a connection with our audiences outside the theatre. Belvoir works to reduce the financial barrier audiences may face when CO-PRODUCTIONS, TOURS AND considering a Belvoir show by offering TRANSFERS a range of ticket pricing including Following our successful co-production concession discounts, student prices, Mr Burns in 2017, in 2020 we co-produced under-30s tickets, low-cost preview Dance Nation by Clare Barron with the performances and an Unwaged program. State Theatre of South Australia. We continued third party partnerships My Brilliant Career, adapted by Kendall with ticket platforms such as TodayTix Feaver was due to transfer to Canberra and Ticketmaster. Three performances Theatre and Illawarra Performing Arts during the year were audio-described or Centre, Wollongong after the Sydney closed-captioned for patrons with access world premiere season. Due to the COVID- requirements. forced rescheduling, however, we were Belvoir continues to actively engage with unable to transfer the work as planned. audiences who want to see themselves (Both centres programmed FANGIRLS reflected in thediverse stories told on our instead in 2021.) unique corner stage. Michelle Law’s Miss Peony was scheduled Stories that resonate with youth, feminist for performance at the Arts Centre and queer audiences (Dance Nation, A and Queensland Performing Room of One’s Own, Escaped Alone and Arts Centre in 2020 but the collaboration My Brilliant Career), the Chinese-Australian was rescheduled for future seasons in diaspora (Miss Peony), South Asian 2021 and 2023. community (The Jungle and the Sea) Throughout the year we continued to and Torres Strait Islander and Indigenous explore future national and international communities (Cursed!) sit alongside and presentations for landmark Belvoir intersect with stories of mental health productions Counting and Cracking, The (Every Brilliant Thing, Jesus Wants me for Drover’s Wife and FANGIRLS. a Sunbeam, Cursed!). Although only 5 of the 10 shows INCREASING OUR AUDIENCES programmed ultimately made it to Pre-show emails are sent to ticket buyers the stage, diverse and intersectional letting them know how their experience programming illustrates Belvoir’s at the theatre will have changed due to commitment to reflecting the nuances of COVID, and what to expect upon arrival. Australian society. Post-show surveys are sent to all ticket Briefings and Q&A sessions offer buyers to track audience sentiment on audiences the chance to get close to the the show and Belvoir’s communication of performers and creatives of a show and to these COVID-related changes. Sentiment ask questions in a supported environment. is tracked through post-show surveys Due to the COVID shutdown, however, and individual feedback responded to as only one play had its scheduled Briefing appropriate. and Q&A session. Once the theatre doors closed during Belvoir produces many pieces of collateral the COVID shutdown, Belvoir’s social including podcasts, behind-the-scenes media platforms became our main form videos, and cast Instagram takeovers to of communication with audiences. help demystify the production process

32 Thuso Lekwape, Taylor Ferguson. Photo by Brett Boardman Claudette Clarke. Photo by Luke Currie-Richardson 33 INSPIRING AND GROWING OUR AUDIENCES Continued...

To build and maintain this connection, at Work, to raise funds to employ Belvoir curated a series of ‘at-home’ short actors during the lockdown. This was videos with actors who recently appeared phenomenally successful. on our stage as well as those contracted IMPROVING OUR BRAND in 2020. We also built and shared an RECOGNITION image retrospective of past shows that helped audiences remain connected to the In 2020 Belvoir began designing a . website which will be delivered in 2021. The existing website is now more than Email communication is segmented with 10 years old and no longer supports our tailored messaging and careful scheduling. business requirements. The new website Email engagement rates are recorded and will provide greater flexibility within reported. Exclusive discounts and special templates to support not only mainstage Jason Chong, Nikki Shiels, Emma Harvie and Tom Conroy. Photo by Brett Boardman. offers included in subscriber-only emails programming but other activities. This increase engagement rates, provide a flexibility became a necessity during event to be automatically rescheduled, hours before the performance, eliminating subscriber benefit and share exposure with COVID. the team had to manually exchange 4630 the need to queue at the box office colleague organisations. ticket holders for the original season of beforehand. We also created customer The COVID period gave us opportunity Throughout the year Belvoir participated A Room of One’s Own to new dates later order acknowledgements to provide to review partnerships that were no in the Australian Audience Outlook in the year. As part of this process staff as much detail as possible to audience longer aligned with the Belvoir brand Monitor, along with many other arts had to manage social distancing between members when booking tickets. and strengthen or develop partnerships companies. There were 3 instalments groups in the auditorium while observing that were. We welcomed a new Principal In 2020 Belvoir offered discounted tickets of this national survey which tested a new total capacity for the theatre – 110 Partner Ord Minnett and Gin partner Poor to Vision Australia, arts industry workers, the reactions of audience members to rather than 336. Toms. In a year of uncertainty and with students, and performing artists. returning to live performance after COVID. our doors closed for much of it, we owe ENRICHING THE AUDIENCE We also conducted our own audience Our marketing team used the lockdown sincere thanks to major partners such as EXPERIENCE AND ACCESSIBILITY survey in August on our patrons’ attitude period to review and upgrade all contacts EY, Baker McKenzie and Houston Group to returning to Belvoir. The information Navigating the operations of a theatre and lists of special interest groups so that who provided continued support as we gained from these surveys assisted us throughout the COVID pandemic has we can better engage on topics of interest, navigated through the complexity. in preparing for our reopening in mid- shifted the way we manage audience particular plays and targeted offers. September. During the shutdown our customer service experience. Our focus has been on keeping In 2020 tickets were provided free or at and ticketing team worked tirelessly; the our audience safe, ensuring we minimise Throughout the period of COVID heavily discounted prices to community theatre may have been shut but their work the possible effects of an outbreak restrictions the company actively groups and networks including Redlink ramped up many-fold. The team spoke and striving to create an enjoyable advocated to both state and national (Redfern Women’s Social Group), With and emailed with thousands of audience atmosphere amongst the imposed rules. governments for financial support for One Voice Choir (Waterloo) and Wayside members processing requests for ticket We reintroduced our Front of House the sector through industry bodies such Chapel Bondi Beach. This ticket access donations, credits, refunds or retained volunteers to assist audience members in as Live Performance Australia – with allowed Indigenous women from Redfern, tickets for shows that we were hoping to, using the QR scanners on arrival and as an the Executive Director being part of the through Redlink, to attend Cursed!, which and did, stage later in the year. Complex additional presence in the foyer. Opening Theatres Working Group, the Digital was a special occasion as many had not subscription packages, finalised only theatre doors 30 minutes prior to the Working Group and the Workplace been outside their flats for a number of months earlier, had to be unpicked. Much performance (as opposed to 15) allowed Relations Committee – and through months due to COVID. of this work was done on the mobiles our audience more space to socially our subsidised theatres network, CAST. and laptops of staff, in their kitchens distance prior to the performance. Traffic I brought a group of 8 Aboriginal Women Belvoir made a submission to the House of or bedrooms. Once we learned that we management was needed to stop logjams and myself who is also Aboriginal. The Representatives Standing Committee on might be able to reopen, a new phase of at the entrance to the auditorium and to women loved the Belvoir Theatre & the Communication and the Arts Inquiry into audience experience preparation began. maintain social distance. We also made an play, I have never heard them laugh so Australia’s creative and cultural industries announcement at the top of each show hard. For most of the women this was and and institutions. We also worked with The next challenge was to reschedule reminding our audience to remain masked. will be their only outing they have had theatre colleagues on developing COVID- seasons for a number of productions such since the last time we attended a play at safe plans for the industry. as A Room of One’s Own and Miss Peony. The introduction of e-tickets in late 2020 the Belvoir. I cannot thank Belvoir staff, With no mechanism in our ticketing system has allowed audience members to receive As mentioned elsewhere, Belvoir created the cast and Jane in particular enough. to allow for an already sold and ticketed their tickets directly on mobile devices 24 a specific fundraising campaign,Artists Thankyou, Thankyou, Thankyou.

34 35 WORKING WITH YOUNG I think this play is saying our world is a contradiction and PEOPLE AND THE COMMUNITY complex. This is because throughout the whole play the parents are selfless but are also In 2020 we scheduled 9 dedicated schools In November, a group of 14 Year 11 Drama very selfish. performances of Belvoir productions, students and their teacher from Winmalee providing schools with the price point High in the Blue Mountains became our Student, Liverpool Boys HS ($24) and timeslot to allow greater first schools group to return to Belvoir after access to our work. Programming 11.30am we re-opened when they attended Cursed! schools performances provides options I think this play is saying that our world is for schools who are unable to run evening a very complex place with decisions that excursions (due to the nature of their are near impossible to make but need to school community, distance from Surry be made. Hills or the socio-economic status of the school community) to participate. The Student, Thomas Reddall High School $24 schools performance price was also Belvoir’s Theatre Enrichment program made available to schools for all 12 of our aims to make the form and content of 1pm general matinee performances, giving our work accessible to students with little schools another affordable option. experience of live theatre. In particular, the For students unable to afford the $24 program provides senior English students ticket price, Belvoir’s Ticket Access attending government high schools in Program provides free tickets to schools Western Sydney with the language and Sacha Horler, Bjorn Stewart and Valerie Bader. Photo by Luke Currie Richardson. performances. Public schools with a score frame of reference to write about plays as of 125 or more on the Family, Occupation productions through pre-show workshops At the time of the COVID shutdown, we Monologue Series delivered digitally and Education Index for NSW public run at their school. had to cancel the bookings for 2363 across 3 evenings schools are invited to apply for tickets. students and teachers to a Belvoir This year we were fortunate before the • we reached new audiences by offering Twenty schools applied for this program performance, as well as cancelling a further COVID shutdown to have one school school holiday workshops for the first in 2020. 77 student bookings for workshops and participate in our Theatre Enrichment time including 2 offered over Zoom – 101 student bookings for our theatre In January 2020, 77 students and their program, with 15 students from Granville of the 30 young people participating enrichment program. The education team teachers from 3 different schools Boys High School in Western Sydney 4 were from regional NSW, one from was extremely busy. attended an evening performance of participating in the program around a Queensland and one from in lockdown in Every Brilliant Thing. performance of Jesus Wants Me For a Belvoir’s Work Experience program Melbourne. Sunbeam was also suspended and 12 high school However, the 2020 COVID disruption From March to December 2020, 1285 students lost the opportunity to learn first- resulted in just one dedicated schools Our pre-show tutor was an absolute students participated in a Belvoir hand about Belvoir and our productions. performance going ahead this year. More STAR. She provided our students with workshop. than 180 students and their teachers the background information they needed On the other hand there were new In 2020, we delivered 114 Student attended a dedicated performance to engage with the play. opportunities created from March with the Workshops, both face-to-face in of Jesus Wants Me for a Sunbeam. In potential to reach even more young people Teacher, Granville Boys High School classrooms and at Belvoir, as well as via addition, 152 students and teachers in regional NSW and beyond through Zoom, with 2003 students and their attended a 1pm matinee of the play, and Due to the reduction in operating digital programs and resources: teachers participating. 367 students and teachers attended an capacity in 2020, we paused our unwaged • we continued to offer our existing evening performance. In total, 705 students performances after the second show, Jesus By the time excursions resumed in schools workshop program to schools via digital and teachers attended Jesus Wants Me Wants Me for a Sunbeam. in October 2020, we found Sydney schools delivery for a Sunbeam. The attending students Student workshops and programs very keen to return in person, while came from the full range of high schools – • we created and delivered 4 new regional schools remained reluctant and government and non-government while 15 By March 2020, over 1619 students and workshops: Building a Character, continued to opt for the digital experience. schools from regional NSW attended this teachers had attended a performance Exploring Neighbourhood Watch, Our Western Sydney Workshop Program production, accounting for 312 (44%) of at Belvoir or participated in a Belvoir Exploring the Lieutenant of Inishmore which in March had looked unlikely to go our school audience members. Two schools workshop or program (705 students had and Making a Monologue ahead, actually increased its reach due from Queensland also saw the play. Our attended a performance at Belvoir and • we expanded our HSC workshop to the ‘Zoom revolution’. We adapted schools audiences embraced this powerful 914 students had participated in a Belvoir program to include a Performing the program to digital delivery early on and challenging work. workshop or program). in the COVID lockdown and were able to 36 37 WORKING WITH YOUNG PEOPLE AND THE COMMUNITY Continued...

increase access to students with low socio- Our Regional Workshop Program provides metropolitan Sydney. The program started Three professional learning workshops economic advantage attending qualifying students in regional areas with access to strongly in 2020 with 655 students and for teachers were held via Zoom in government high schools. Belvoir our workshop at a subsidised rate. Like their teachers participating in workshops October and November. Forty-eight delivered 38 workshops through this many of our other programs, this one from late January to mid March. These teachers from all over NSW (including program (11 digital and 27 face-to-face), looked likely to be cancelled due to COVID included our annual OnSTAGE week Bega, Bowral, the Central and North reaching 623 students and 38 teachers but by adapting to digital delivery we were workshops in which 344 students and Coast) took part in workshops in costume at schools in Blacktown, Canley Vale, able to continue it. In 2020 we delivered 28 their teachers from 19 schools in regional design, performance and dramaturgy. Camden, Doonside, Plumpton, Punchbowl, workshops (6 digital and 22 face-to-face NSW attended 17 of our workshops. A Teachers paid $85 per workshop to take Hinchinbrook, Horningsea Park, Panania, workshops), reaching 426 students and further 171 students and their teachers part. Liverpool, Milperra, Rooty Hill, St Marys, 32 teachers at schools in regional NSW, viewed an archival recording of a past I wasn’t expecting to learn so much Raby, and Riverstone. including those in Albury, Ballina, Bowral, Belvoir production while at Belvoir. We and yet I took away so much practical Cessnock, Coffs Harbour, Bega, Gosford, also delivered a full-day set-design and I am grateful for all of the opportunities information. They really knew what they Mudgee, Nowra, Oak Flats, San Remo and model-making workshop in the Belvoir Belvoir has provided to my students, were doing, in each session and they Tamworth. rehearsal room, and 2 masterclasses for especially this year, as I know that the included us in the process with such an students in performance. company has faced incredible battles. Our Metro Workshop program provides affable, workable approach. Their dedication to assisting drama high-quality workshops and professional Adapting to digital delivery allowed us to The year began with 40 new members of students and teachers is outstanding! learning experiences for a fee to schools continue fee-paying workshops during the our Young Belvoir Theatre Club which Teacher, Wiley Park Girls High School and teachers at Belvoir or in schools in year, with 7 new workshops reaching 93 gives young people aged 15 to 18 and young people. their friends a unique insight into the In addition Belvoir delivered 6 workshops company’s work. The club connects the to the 198 incoming Year 7 students next generation of theatre makers with at Arthur Phillip High School. These Belvoir, fosters a culture of independent, workshops were a continuation of the ongoing theatre attendance among young 2019 program at the same school, to people and engages club members’ prepare students for learning in their families and friends with Belvoir’s work. new multi-level, future-focused high The first and only meeting of the 2020 school. The 17-storey building uses flexible Young Belvoir Theatre Club was held on 12 learning spaces with adaptable furniture. February before the evening performance The workshops introduced the students to of Jesus Wants Me for a Sunbeam. tools and techniques for effective group Director Darren Yap and Assistant Director work and learning. Erin Taylor spoke to the group before We returned to working in schools in the show about the process of creating August and students returned to Belvoir the production and their career paths. for workshops in November. A further Afterwards club members had a chance 6 workshops were held for fee-paying to meet and chat to cast members in the schools reaching 98 students. foyer. Alongside adapting our existing workshop While the Young Belvoir Theatre Club program to digital delivery, the shutdown was not able to reconvene in 2020, provided an opportunity to coordinate members were offered the opportunity the production of a virtual tour of Belvoir to participate in one of our digital school – the theatre, the workshop and the holiday workshops or HSC workshops warehouse – available on our website to towards the end of the year. students, teachers and members of the public. Popular learning resources from past productions were updated and a performing monologues video resource was produced at the height of the lockdown to support HSC Drama students learning from home.

Matthew Whittet, Emma Jackson and Liam Nunan. Photo by Brett Boardman 39 INVESTING IN TALENT AND PEOPLE

Providing opportunities for independent length works. Designed as both content to full-time work in August, prior to the In conjunction with the NSW government companies and artists generation and capacity building, the theatre reopening, and the remaining staff insurer icare, Belvoir initiated a health and program included a seventh participant returned at the end of September. Belvoir safety diagnostic and a safety culture 2020 was due to be a bumper year with a dramaturgical focus in the lab would not have been able to continue survey in the latter part of the year. We for Belvoir’s 25A program – open to all makeup and excerpts from each of the employing staff without the assistance of wanted to improve our WHS procedures independent companies and emerging projects were presented to an invited JobKeeper. Through JobKeeper we were and understanding as well as gaining artists – with 8 programmed productions industry audience. also able to employ 9 casual staff who insights into the attitudes and beliefs of from over 200 applications. Only one were trained in box office procedures and staff across different areas of the company show was presented before COVID with By refocusing significant resources from administration, as well as calling donors to to positively influence the workplace the remaining 7 productions cancelled. We our cancelled productions we were able thank them for their ticket donations and culture. We learnt that Belvoir’s staff hope to be able to present as many of the to broaden the scope of our new writing financial support. demonstrated a robust understanding of cancelled shows as possible in 2021. development. During the 6 months we WHS risks within the organisation but that were shut down we completed readings, Staff also used the lockdown time to Thanks to the generosity of the Thyne there are areas in which we can upgrade dramaturgical discussion and significant do courses beneficial for their work – Reid foundation, we extended the Artists skills and policies. We are working through workshopping of 30 unique projects, both including basic rigging, Auto CAD, Adobe at Work program to the independent the recommendations in 2021. in person and on Zoom. Premier Pro, and online presentation skills. and small-to-medium sector. In June, we sought expressions of interest (open BALNAVES FELLOWSHIP only for 10 days) for a series of one-off, The 2019 Balnaves Fellow, Trawlooway quick-response grants for short-term man Nathan Maynard was due to spend residencies at Belvoir and we hosted the several months at Belvoir but was unable successful ones in the downstairs theatre to travel interstate due to COVID. The across August. development of his work continued online, This one-off program provided and has resulted in his play At What opportunity and relief to artists during Cost? being programmed in 2021. He the COVID crisis period and recovery. will complete the residency aspect of his Despite the short turnaround, we received fellowship in 2021. 185 applications including many from Selected from a national pool of extremely experienced, mainstage regulars applicants, the Balnaves Fellow for 2020 across the sector – further evidence of is Jorjia Gillis, who is a proud Saltwater the lack of meaningful opportunities and woman of the Budawang tribe of the work for artists at this time. From these Yuin nation, and will be joining Belvoir applications we were able to resource an in 2021. The 2018 Balnaves Fellow, Kodie additional 7 new writing projects, including Bedford, also rejoined Belvoir as an Artistic 2 new Indigenous works and 4 projects Associate in 2020. by artists from culturally and linguistically diverse backgrounds. BELVOIR STAFF Continued support was offered both There were a number of staff changes in directly and indirectly to the independent 2020 – many due to COVID and others for sector throughout 2020 with a variety of personal reasons. With the uncertainties in-kind support, largely through use of around COVID and the longevity of the rehearsal and development space. company’s shutdown we made the difficult decision to make 2 staff redundant and The inaugural Philip Parsons’ Writers terminate the probations of 5 others (3 of Lab supported the development of 6 whom were re-employed when the theatre early-career playwrights -- Antoinette reopened). Job vacancies were also put on Barbouttis, Maeve Marsden, Jordan Shea, hold. The remaining 29 staff all went part- Michael Costi, Jean Tong, Gretel Vella time, with most working from home. and Sarah Bassiuoni – to develop full- Sharni McDermott, Ursula Yovich, Guy Simon, Aaron McGrath, Katie Beckett, Stephanie Somerville Production and ticketing staff returned and Deborah Brown. Photo by Brett Boardman

40 41 Production spending was halted with the working group formed in 2019 by our 2 theatre closure and our spending focus companies (Belvoir St Theatre Ltd and moved to the Artists at Work program. Company B Ltd) continues to investigate Cost mitigation measures were introduced how we could redevelop and improve including a reduction of all staff hours for these buildings. An architect was engaged 20 weeks during theatre closure, a pause and initial design completed during in all non-essential supplier contracts and the year. In 2021 the working group will negotiated rent reductions. continue to refine the design and develop a business case with funding options for a Box office and bar income were both capital redevelopment. down around 70% compared to 2020 due to the loss of home venue income and the During the theatre shutdown, extensive theatre closure. The bar resumed with the cleaning was undertaken by staff reopening of the theatre in September, but including an industrial clean of the foyer income remained muted due to COVID and all backstage areas – some of which capacity restrictions and keeping the bar had remained untouched since 2006. closed for the initial weeks after reopening. Automatic doors were installed at the Venue hire was negligible in 2020 with a theatre and fire doors next to stage door few one-off hires for photo shoots and were replaced. Our production department the like. made sure that there was a deep clean of the theatre auditorium, including the During the year we diversified our income grid and lights, and of our Marrickville streams to help mitigate some risk to our workshop. All our storage containers revenue, and our Workshop series on were also cleaned and rationalised, our Body and Voice Fundamentals – which props repaired and catalogued, and our we ran on Zoom – proved popular with costumes store reorganised. These were Chika Ikogwe. Photo by Luke Currie-Richardson. both individual consumers and corporate all jobs that we never had time to do so clients. this work was one positive aspect of the BECOMING STRONG AND Fundraising shutdown. Fundraising, donations and sponsorships Maintaining a building without government SUSTAINABLE were strong in 2020 accounting for support is expensive – over 80% of the $2,764,285 or 35% of our revenue. theatre fire doors have been replaced in Despite the extended theatre closure, new ways of working, new stories, new the last 12 months. A new hearing loop was Belvoir, like many other performing arts artists, new structures. We have tried With the onset of COVID Belvoir found itself in an extraordinary moment, with installed in the theatre allowing hearing companies ironically generated a surplus not to waste this crisis. We created over impaired patrons to now sit anywhere in 2020. The net result of $830,215 is 350 separate gigs for artists working an extraordinary fundraising message. In the early days of the pandemic, it became in the upstairs auditorium, rather than 49% better than that of 2019 due to on the creative development of over 30 in specific rows. New LED lighting was robust cost mitigation, staff reductions, future shows for Belvoir and Sydney’s clear that we were facing a real crisis and would also need to rally behind the artists installed to replace aging stock and reduce government funding through Cash flow independent theatre scene. We fundraised our power bills. boost and JobKeeper, and support and spent 6 times our normal annual who were critically impacted. In terms from fundraising and donations. This creative development budget. It’s a of initial fundraising, we developed the A new back-stage and front-of-house surplus will be allocated to our company massive investment in the future of Belvoir Artists at Work matched-giving campaign, communications system was installed reserves to support the organisation as and creative workers in Sydney. activated thanks to the support from an allowing for much more consistent we continue to operate in an uncertain anonymous philanthropic foundation. communication between stage managers, Commercial operations health and economic environment during This saw a 377% increase in the number and front of house staff. of donors supporting our end of financial 2021. Belvoir presented 2 works before Belvoir normally gets up to 60% of its Within the administration building, the year campaign in 2020 compared to 2019. COVID restrictions began and 3 works revenue from production, bar and box stair climber for accessibility requirements Also 60% of our top 20 donors were either with COVID-safe protocols and capacity office income, but in 2020 these income was repaired and the water-and-fire- new or increases from existing donors. limitations when full restrictions eased. streams only contributed 23% to revenue. damaged doors of the sprinkler pump Government funding for our core activities Following on the success of this year’s Upgrading our facilities room replaced. We have also installed a combined with the COVID government fundraising, the subsequent roll out new meeting room in what used to be the funding through Cash flow boost and The Belvoir theatre and warehouse were of creative development programs at printer utility room. JobKeeper grant income, unusually redeveloped in 2005-06 and are now Belvoir has been nothing short of ground accounted for 39% of our 2020 revenue. starting to show their age. The joint breaking. Artists at Work has shown us

42 43 CORPORATE GOVERNANCE STATEMENT 2020

Introduction and management to discuss COVID-related documents and an introduction program PRINCIPLE 4: PROMOTE DIVERSITY financial and operational issues. to key staff. This Corporate Governance Statement Belvoir is committed to fostering an outlines Belvoir’s governance practices The board’s committees – Finance, Audit The board also regularly reviews the inclusive and diverse workplace, against the Essential Governance Practice & Risk, and Nominations & Governance membership of its committees to ensure a recognising that diversity covers both Principles monitored by the Australia – assist in the execution of the board’s continuing mix of skills and experience to the visible and invisible differences that Council for the Arts. These principles are responsibilities. Each committee has its support the company’s strategy. make the company’s employees unique – in turn based on recommendations of the own chair, charter and annual program, and whether that be gender, age, dis/ability or For the second year Belvoir participated in ASX Corporate Governance Council. usually meets a minimum of 4 times a year. cultural background. the Observorship Program which facilitates The Belvoir Board believes that excellence Directors hold a regular ‘in-camera’ the involvement of young, talented The board considers diversity through a in corporate governance is essential for the session at each board meeting, without individuals in a structured experience on number of lenses to provide fresh thinking long-term performance of the company. senior management present. In all other not-for-profit boards. Claire Mannion, our and different perspectives (whether It is also essential to the company’s respects, senior executives are invited, observer in 2020, attended Zoom board through age, experience or otherwise). In sustainability – the impact on our artists, where appropriate, to participate in board meetings as a non-voting member and appointing new directors, the board is very the performing arts sector, our staff, our meetings. They are also available to be not only learnt about the fundamental conscious of having the right balance of partners and, of course, our audiences. contacted by directors between meetings. principles and functions of not-for-profit skills, knowledge, experience and diversity boards, but how a company survives so it can discharge its responsibilities PRINCIPLE 1: LAY SOLID FOUNDATIONS The board also undertakes a regular review during a pandemic. effectively. FOR MANAGEMENT AND OVERSIGHT of its own performance. PRINCIPLE 3: ACT ETHICALLY AND Gender equality at Belvoir has long been The company’s governance framework is PRINCIPLE 2: STRUCTURE THE BOARD RESPONSIBLY a priority and women make up 54% of the designed to provide the right structure TO ADD VALUE current board (including Chair and Deputy and review process to deliver our long- Belvoir is committed to acting Board members are appointed for fixed Chair) and 75% of senior management term strategy. The board has systems professionally, honestly, lawfully and terms. To ensure the optimum mix positions. Board members also reflect the in place to review this strategy, and our with integrity so all stakeholders know of directors, the board, through the company’s commitment to a diversity of progress against key milestones and key they can trust us to do the right thing. Nominations & Governance Committee, age, ableness/disableness, cultural, marital, performance indicators. The robustness Our Code of Conduct articulates these uses a skills matrix to identify the skills and religious and cultural background and of this framework was a great help in values, behaviours and expectations. It is experience needed. The matrix is one of sexual orientation. managing the challenges of COVID to the supported by our employee policies and several important tools used to consider company’s operations and revenues. through the leadership of the Executive Belvoir ensures fair and open recruitment potential director candidates. team. The code is signed by all board and selection practices at all levels of The relevant roles and responsibilities of All key skill areas within the matrix are well members, staff and contractors. the organisation. No form of workplace the board and management are clearly represented on the board. discrimination, harassment, vilification or articulated through mechanisms like Belvoir is focused on creating an ethical The range of our directors’ capabilities victimisation is tolerated. board and committee charters as well as and responsible workplace culture to and experiences include theatre executive role descriptions. drive the right behaviour and conduct Belvoir values different ways of thinking, administration, performance, finance and within the company. Belvoir is also and everyone is encouraged to share The board operates under a Board accounting, business, human resources, committed to monitoring that culture. their thoughts and experiences to deliver Charter, which sets out the board’s duties entrepreneurship, strategy, brand identity better business decisions and solutions. and responsibilities relating to strategy and marketing. The skills and expertise of Our workplace culture provides an avenue An inclusive and diverse workplace development, operations oversight, and each director are outlined in the Annual for our people to report suspected delivers better results for our employees, risk and compliance monitoring. The Financial Report and on our website. unethical, illegal or improper behaviour. stakeholders, business partners and Executive Director reports against the Belvoir has an objective and independent In 2020, the skills and experience of communities, both on and off the stage. company’s strategic priorities at each process for reporting and investigating our directors were enhanced with board meeting. actual, suspected or anticipated the appointments of Jacob Nash and improprieties. All disclosures are treated The board usually meets 5 times a year, Paul Oppenheim. These appointments confidentially. with additional committee meetings. In underline the integrity and strength of 2020, 5 formal meetings of directors were our nomination and succession planning held and an additional 9 informal meetings processes. All new directors are supported provided regular contact between directors by a Board Induction Program, which includes provision of key company

44 45 PRINCIPLE 5: SAFEGUARD INTEGRITY The board ensures that the company is IN FINANCIAL REPORTING guided by a robust policy framework, with the Nominations & Governance Committee We are committed to the long-term overseeing the Policy Framework, and financial sustainability of the company. insurances being managed through In addition to the day-to-day management the Audit & Risk Committee. The Risk provided by the company’s Head of Management Framework is reviewed Operations and Finance, the board’s regularly at both that committee and by Finance, Audit & Risk subcommittee the board. meets regularly to: PRINCIPLE 8: REMUNERATE FAIRLY AND • review the annual budget and monthly RESPONSIBLY accounts and forecasts The Nominations & Governance • review all financial reports and Committee approves remuneration statements in the statutory accounts, arrangements for the Executive Director and recommend actions to the board and the Artistic Director (each co-CEOs). • monitor and review the reliability of Base salary and any increments are financial reporting determined by experience, skills, industry • monitor the company’s risk comparisons and financial health of the management and investment company. framework. The board, in conjunction with the PRINCIPLE 6: ENGAGE WITH Nominations & Governance Committee, is STAKEHOLDERS responsible for determining the goals and Belvoir recognises and respects the objectives relevant to the remuneration interests of our many stakeholders of the co-CEOs, and evaluating the including donors, government, audiences, performance of the co-CEOs in light of and our staff and artists. We use many these objectives. forums throughout the year – including Non-executive directors are volunteers the AGM, donor meetings and events – to and receive no compensation for their engage with our stakeholders. work. Artists on the board may receive The company also provides regular payment from the company for creative communications through our website work, for example performing in a and social media channels encouraging production. feedback from patrons, as well as formal We take seriously our responsibilities and informal updates to donors and to all our stakeholders and place great government. importance on maintaining the highest PRINCIPLE 7: RECOGNISE AND standards of governance. MANAGE RISK This Corporate Governance Statement Effective risk management is fundamental is current as at publication date and has to Belvoir’s long-term sustainability been approved by the board. and reputation. Our Risk Management Framework articulates how the company identifies, measures, monitors and optimises risks, and the level and nature of risk we are willing to accept in the pursuit Sam Meers AO of our strategic and creative objectives. Chair It embeds risk awareness into Belvoir’s 30 April 2021 broader culture and decision making.

46 Tom Conroy and Nikki Shiels. Photo by Brett Boardman. BOARD AND STAFF BELVOIR PARTNERS

BELVOIR BOARD OF DIRECTORS ADMINISTRATION Construction Manager GOVERNMENT PARTNERS Patty Akopiantz Darran Whatley Raji Ambikarajah EDUCATION Costume Coordinator Kate Champion Education Manager Judy Tanner Sue Donnelly Jane May Production Administrator Johanna Featherstone Education Coordinator Millie Soul Eamon Flack Stevie Bryant Alison Kitchen Michael Lynch CBE AO FRONT OF HOUSE FINANCE & OPERATIONS MAJOR PARTNERS Samantha Meers AO Front of House Manager Jacob Nash Head of Finance and Operations Julie O’Reilly Penny Scaiff (from 30/11/2020) (until 22/5/2020) RESEARCH & ENGAGEMENT Stuart O’Brien Company Accountant Georgina Grisold Paul Oppenheim Susan Maeng (from 23/11/2020) (from 21/09/2020) Finance Administrator Front of House Staff Mark Warburton Shyleja Paul Alison Benstead, Amelia MEDIA PARTNERS Parsonson, Brett Reynolds CRM Manager EXECUTIVE Chelsea Zeller, Deng Deng, Jason Lee Artistic Director Felix de Gruchy, Grace Chapple, Eamon Flack Griffin Riley, Hugo Wran, JoJo MARKETING Executive Director Williams, Lewis Defina, Lorenzo, Head of Marketing Sue Donnelly Lucy Noble, Meredith O’Reilly, Aishlinn McCarthy Michael Gosden, Patrick Klavins, Deputy Executive Director YOUTH & EDUCATION PARTNER Marketing Coordinator Peter Bloor, Rhiaan Marquez, Sam Aaron Beach Andre Charadia Parsonson, Shannon Thomas, Office Manager/ EA to Sue (until 1/5/2020) Summer Bonney-Tehrani, Tori Donnelly and Eamon Flack Walker, Will Hickey. Content Coordinator Vyvyan Nickels Michael Kennedy BOX OFFICE (until 30/11/20) ARTISTIC & PROGRAMMING Jake Severino (from 2/11/20) Customer Experience & ASSOCIATE PARTNERS Artistic Associates Ticketing Manager Dom Mercer DEVELOPMENT Andrew Dillon Tom Wright (until 30/10/20) Head of Development Shakthi Shakthidharan Oliver Lee (from 26/11/20) Sarah Gilchrist (from 4/2/2020) Ticketing Systems Administrator Philanthropy Manager Kodie Bedford (from 8/9/2020) Tanya Ginori-Cairns PRODUCTION PARTNERS ACCOMMODATION PARTNERS Joanna Maunder Head of New Work (until 20/3/20) Customer Service Coordinator Louise Gough Jacki Mison (maternity Leave) Development Coordinator Associate Artist Emma Medbury Anthony Whelan Carissa Liciardello (from 14/12/20) (until 2/12/20) (until 5/2/2020) Box Office Coordinator NCC Network Computing & Consulting Hannah Goodwin Oliver Lee (from 10/2/2020) PRODUCTION Head of Production Alison Benstead, Claire Lancaster, Artistic Administrator Erin Taylor, Gemma Clinch, Carly Pickard Gareth Simmonds (until 15/11/20) Georgina Pender, Jackson Used, EVENT PARTNERS Associate Producer Elizabeth Jenkins Jessica Vincent, Lucy Gleeson, Jules Orcullo (from 21/5/2020) (from 27/11/20) Madeline Clouston, Melissa Mills, Millie Soul, Nathan Harrison, Balnaves Fellow Technical Manager Paige Ahearn, Samuel Bjorndahl, Nathan Maynard Richard Whitehouse (from Shane Russon, Wendy Strehlow 30/11/20) Deputy Production Manager Elizabeth Jenkins Senior Technician THANK YOU IAN CLOSE Gayda De Mesa (from 7/12/2020) FOR EDITING THE Resident Stage Manager REPORT. For more information on partnership opportunities please contact our Luke McGettigan Development team on 02 9698 3344 or email [email protected]

48 49 \

BELVOIR SUPPORTERS

Our patrons, supporters and friends are right there behind us, backing Belvoir in bringing to life the great old theatrical crafts of acting and storytelling. Thank you.

Learn more about supporting Belvoir at belvoir.com.au/support-belvoir

FOUNDATIONS

Andrew Cameron Family Foundation Oranges and Sardines Foundation HLA Management Noor Blumer Geoffrey Starr Catherine Mullane Copyright Agency Cultural Fund Doc Ross Family Foundation Lilian Horler Anne Britton** Steiner Family & Ian Lovett Gandevia Foundation Anonymous Philanthropic Foundation Maria Manning & Kim & Gil Burton Cheri Stevenson Nola Nettheim The Greatorex Foundation Walking Up The Hill Foundation Henry Maas Kathryn & Craig Carroll John Studholme Judy & Geoff Patterson* Neilson Foundation Professor Elizabeth Este Darin-Cooper & Jill Herberte Christina Pender More AM** & Chris Burgess* Daniela Torsh* Leigh Rae Sanderson Dr David Nguyen** Sue Donnelly Sarah Walters* Eileen Slarke & Family*** CHAIR’S CIRCLE CREATIVE $500 – $1,999 B KEEPERS Timothy & Eva Pascoe*** Ian Enright Michael West Chris & Bea Sochan** Jane Bridge Angela Pearman & Linda Quatermass & Allison Haworth Geoffrey Starr Patty Akopiantz & DEVELOPMENT $5,000+ & Michael Lambert Michael Rose* Anton Enus Anonymous (12) Paul Stein AMQC Justin Punch FUND Claire Armstrong & Colleen & Michael Lesley & Andrew Veronica Espaliat Mike Thompson* Robert Albert AO & John Sharpe*** & Ross Youngman GENERAL Helen Trinca $20,000+ Chesterman** Rosenberg* Libby Albert*** Ellen Borda* Roger Feletto Suzanne & Ross Patty Akopiantz Richard Evans Ann Sherry AO* $10,000+ Sophie & Stephen Allen Jan Burnswoods*** & Justin Punch Sandra Ferman Sandra Ferman Ross Littlewood & Tzannes AM* The Balnaves Foundation* Louise Christie** Andrew Cameron AM Alisa Halkyard EDUCATION Joanna Fisher Alexandra Curtin* Louise & Steve Verrier Guido Belgiorno-Nettis Bernard Coles QC & Cathy Cameron*** Linda Herd Valmae Freilich Anonymous (1) Chris Vik & Chelsea Albert AM & Michelle Constructability $20,000+ Marion Heathcote Cheryl L* Geoffrey & Patricia $5,000 - $9,999 Annie Williams Belgiorno-Nettis Recruitment Patty Akopiantz & Brian Burfitt** Stuart McCreery Gemmell* Lou-Anne Folder Brian & Trish Wright Anne Britton** Bob & Chris Ernst** & Justin Punch Anita Jacoby AM* David & Jill Pumphrey John Gidney $2,000 – $4,999 Anonymous (10) Jillian Broadbent AC** Marion Heathcote & Susie Kelly Ingrid Kaiser Richard, Heather Priscilla Guest* Robert Burns Andrew Cameron AM & Brian Burfitt** Ian Learmonth & Robert Thomas AO & Rachel Rasker*** Diana & Richard Herring Raymond McDonald Cathy Cameron*** Bruce Meagher & Julia Pincus* Elaine Hiley Kim Williams AM & Jonquil Ritter Leslie Stern * 5+ years ** 10+ years Peter Crossing Greg Waters* Stuart & Kate O’Brien Catherine Dovey*** Professor Elizabeth Sue Hyde* Lynne Watkins *** 15+ years of continuous David Gonski AC & Don & Leslie Parsonage** $10,000+ David Jonas & $10,000- $19,999 Webby AM* & Nicholas Harding* giving. List correct at time of Fee & David Hancock Jann Skinner** Paul & Valeria Ainsworth Desmon Du Plessis* printing. Sophie & Stephen Allen Anthony Whelan Anonymous (4) Anita Jacoby AM** Merilyn Sleigh & Anita Luca Belgiorno- A Juchau Anne Britton** Alison Kitchen Raoul de Ferranti Nettis Foundation Ruth Layton $500 – $1,999 Helen Lynch AM THE GROUP Ian Learmonth & John Fairfax AO Ann Loveridge Annette Adair* & Helen Bauer** $3,000 – $4,999 Julia Pincus Patty Akopiantz Kimberly & Angus Holden Christine & Diane Malcolm Colin Adams Sherry-Hogan Anne Britton** Helen Lynch AM & Sophie Allen Sam Meers AO Christopher Matthies* Richard Adams Foundation* Michael & Suzanne Helen Bauer Jessica Block Rob Thomas AO Peter Mitchell Priscilla Adey Shemara Wikramanayake Daniel** Nelson Meers AO & Catherine Brenner Rosie Williams & Irene Miller Victor Baskir* & Ed Gilmartin Tom Dent Carole Meers Jillian Broadbent AC John Grill AO Cynthia Mitchell Baiba Berzins* Anonymous (1) Firehold Pty.Ltd.** Sam Meers AO Margaret Butler & Elizabeth Harry Christine Bishop Cary & Rob Gillespie* $5,000 - $9,999 Kerr Neilson $5,000 – $9,999 Sally Cousens Susanne North Maxine Brenner Libby Higgin* Louise Mitchell & Stuart & Kate O’Brien Sharon & Hartley Cook** Robin Low Foundation David Buckley Colleen Kane** Peter Pether Cathie & Paul Oppenheim Sue Donnelly** Sam Meers AO Elizabeth Pakchung Darren Cook Peter & Jan David & Jill Pumphrey Susanna & Matthew Press Eamon Flack Sarah Meers Alicia Parker Tim & Bryony Cox** Shuttleworth** Andrew Price Bill Hawker Naomi O’Brien $2,000 – $4,999 Nicole Philps Merran Dawson Judy Thomson** Sherry-Hogan Foundation Victoria Taylor*** Jacqui Parshall Karine & Simon Buchen Richard, Heather Carol & Nicholas Anonymous (1) Rob Thomas AO The Wales Family Rebel Penfold-Russell Hugh Dillon & Rachel Rasker* Dettmann Weir Anderson Foundation The Phillips Family $2,000 – $2,999 Kiera Grant & Mark Tallis Joanna Savill Jane Diamond* Foundation Weir Anderson Cathy Yuncken Antoinette Albert** Julie Hannaford* & Giuliano Dambelli Belinda Gibson The Wiggs Foundation Foundation Gae Anderson Patricia Novikoff** Julianne Schultz Peter Gray & THE HIVE Helen Thwaites** Kim Williams AM & Max Bonnell*** $500 – $1,999 Peter & Janet $2,000 – $4,999 Chris & Gina Grubb Catherine Dovey*** Elizabeth Allen Chris Brown* AB* Shuttleworth* Justin Butterworth Dorothy Hoddinott AO** Rosie Williams & Justin Butterworth Jan Chapman AO & Colin Adams Roderick Smyth Janet & Trefor Clayton* Belinda Hutchinson AM John Grill AO Dan & Emma Chesterman Stephen O’Rourke*** Yasmin & Nicholas Allen Chris & Bea Sochan** Michael Coleman** Mira Joksovic Vanovac Cathy Yuncken** Hannah Roache Danny & Kathleen Ian Barnett* Rob & Rae Spence Darin Cooper Foundation Robert Kidd & Luke Turner Gilbert** Victor Baskir* Alice Spizzo Victoria Holthouse** Elizabeth Laverty Simone & Chris Smith Sophie Guest** Anita Bezjak Titia Sprague* Penelope Seidler AM Dr Linda Lorenza John Head** Maxine Brenner, Polly Staniford Bruce McWilliam Irene Miller David Haertsch*** Judy Binns & Luke Seager David Millons 50 51 Richard & Linda Laznik Naomi O’Brien Prof Julianne Schultz AM THANK YOU FOR SUPPORTING Antoinette Le Marchant Annette Olle Kerry Schweigert & Mark Warburton Lorraine & Philip Levy Oranges & Sardines Sally Evans Louisa Ward US THROUGH COVID John Lewis Foundation Penelope Seidler Penny Ward Sandra Lim & Phillip Alicia Parker Bill J. Shannon Jennifer Watson Arnold Don & Leslie Parsonage Claire Armstrong & Prof Elizabeth Webby Like many arts organisations, Belvoir has faced challenging situations over the years, but Perpetual Limited Timothy & Eva Pascoe John Sharpe Stephanie Lee nothing like this year of COVID. Dr Ruby Lin Geoff & Judith Patterson Sherry-Hogan Foundation Michael Wheeler We have been overwhelmed by your messages of support, and your generosity, while our Cheryl L Ian Payne Peter Shorthouse Michael Whiley theatre doors have been closed. Amanda Logan Craig Pearce Nawal Silfani Annabel White Linda Lorenza Angela Pearman Jann Skinner Kathy White To our old friends and new, thank you. Your commitment has sustained us during the Robin Love Kerrie E. Pearson The Sky Foundation Dr Rosemary White shutdown, allowed artists to work, and encouraged us to continue to develop new stories Anne Loveridge Greg Peirce Merilyn Sleigh & Raoul Sarah White OAM Robin Low Christina Pender de Ferranti Julie Whitfield Malcolm Lycett Rebel Penfold-Russell Jennifer Smith Deborah Whitmont Helen Lynch AM & Elizabeth Pfahl Melinda J. Smith Todd Abbott SienaDune Buchanan Sue Donnelly Kathryn & David Groves Electra Wiggs Helen Bauer Dr Bill Phillips Roderick Smythe Annette Adair Michael Burfield Robyn Durie Priscilla Guest Bruce Wigley Louise Macaulay & Nicole Philps Chris & Beatrice Sochan Michael Adena & Annabelle Burley Chris Elliott & Jenny Sophie Guest Shemara Wikramanayake Ingmar Taylor Dr Titia Sprague Joanne Daly Jan Burnswoods Blackwell David Haertsch Ralph Pliner Christina Wilcox Marian Macgowan Geoff Starr Priscilla Adey Margaret Butler Jennifer Elliott Regina Haertsch Brian & Jane Pollard Janice H. Wilkinson Frank Macindoe Paul Stein AMQC Patty Akopiantz & Jane Buttsworth Wesley Enoch AM Alisa Halkyard Rod Powell & Mark Ann Williams Paul Maddock Sheldon Claudia Stephens Justin Punch Jason Byrne Bob & Chris Ernst Lisa Hamilton & Rob Karen Williams Maria Manning & Frances Prell Katrina Strickland Antoinette Albert Alan Cameron AO Libby & John Fairfax White Kim Williams AM & HenryMaas Rachel Emma Ferguson Kerry Stubbs Stephen & Sophie Allen Andrew Cameron AO Dr Patricia Fanning Louise Hamshere Catherine Chris Matthies Foundation Miller Cohen fund Gil Appleton & Cathy Cameron Michael Farrell Julie Hannaford Dovey John May Greeba Pritchard Janette Sullivan Neil Armfield AO Fiona Cameron Gillian Fenton Antonia Haralambis Rosie Williams & John Grill Patrick Mcardle & David & Jill Pumphrey Anna Szanto Dr Gayle Avery Brad & Jayne Campbell Sandra Ferman James Harding Cathy Williamson Denise Ryan Mary Quinion Deborah Tamplin & Paul Bailey Margaret S. Capon Eamon Flack Tom Hatfield & Phillip Sara Wilson & Michael Ruth McColl Lynn Ralph Greg Rosman Suzanne Baker Fiona Carroll Lou-anne Folder Black Parsons Patricia McEniery Elizabeth & Philip Rob Thomas AO Balnaves Foundation J. Anthony Carroll Robyn Fortescue Margaret Hawkins Penny Win Phillipa Mcguinness Ramsden Stuart Thomas Dr Nick Bampos Elizabeth Caruana Nicky Fraser Annie Heath Kate Wood Jenny McInerney Steve & Belinda Rankine Bronwyn Thompson Susie Bardwell John Caspersonn Wendy Fraser Linda Herd Christine Woodrow Paula Mclean Richard, Heather & Mike Thompson Graham & Heloise Barr John Chalmers Valmae Freilich Libby Higgin & Gae Pat Woolley Ross McLean Rachel Rasker Rachel Thompson Bruce & Lindsey Baudinet Dan & Emma Chesterman Lee French Anderson Patricia Wright Marilyn Mcmurchie Alex Oonagh Redmond Judy Thomson Claire Baxter Colleen & Michael Maureen Frilingos Paul Hobbs & Melissa Alexa Wyatt Fiona & Andrew Richard Refshauge SC Sue Thomson Susan Bear Chesterman John Gaden McGregor Ann Young McWhinnie Simon Rice & Louise Thurgood Margaret Beazley Louise Christie Lindsay Gamble Dorothy Hoddinott AO Lynne Young Bruce Meagher & Elizabeth Grinston Thyne Reid Foundation Luca Anita Belgiorno- Tracey Clancy & Drew Tait Gandevia Foundation Michael Hodge Miriam Zanker Greg Waters Dr Clare Richmond Gayle Tollifson & Nettis Foundation Milton & Pamela Cohen Peter Garling Victoria Holthouse Julia Zemiro Sam Meers AO Kerri Richmond Mark Prior Alice Bell Margaret Cole Frances & Tom Garrick Lilian Horler Ann & Jacqui Mercer Jonquil Ritter & Alan Toohey & Ross Steele Nathan & Yael Bennett Ken & Judith Coleman Dr Ronald Lee Gaudreau Sacha Horler Ann Mercer John Mathieson Isla Tooth Anthony Benscher Bernard Coles Bronwen Geering Clyth & Paul Hoult Keith Miller Hannah Roache & Daniela Torsh Jill & Richard Berry Marilyn Connelly Geoffrey & Patricia Eric Hudson David & Barbara Millons Luke Turner Judith Tribe Judy & Keith Binns Darren Cook Gemmell Elizabeth Hurst Jo Millyard The Roberts Pike Brenda Tronson Phil & Beverley Birnbaum Dr Peter J. Cooper Belinda Gibson Susan Hyde & Clifford Mary & George Miltenyi Foundation Johanna Turner Bitcon McClellan Fund Sally Cousens Kathleen & Danny Gilbert Gerhart Louise Mitchell & Dr Frank Robertson Ross & Suzanne Tzannes Alberto Bizcarra & Annabel Crabb & Cary & Rob Gillespie Kevin & Rosemarie Peter Pether Colleen & Lawrence Roche Jane Uebergang Ngarita Bishop Jeremy Storer Robyn Godlee & Jeffers-Palmer Raman Mondraty Rebecca Rocheford- Kristin Utz Allen & Julie Blewitt Dr Janet Cridland Tony Maxwell Philippa Johnson Prof Elizabeth More AM Davies Mary Vallentine AO Toby Blome David Critchley Verity Goitein Dr Judith Johnston Catherine Mullane & Andrew & Lesley Dr Jamie Vandenberg Mary Bolt & Bill Hawker Donald C. Crombie Sharon Goldschmidt Margaret Johnston Ian Lovett Rosenberg Kay Vernon & Kerrie & Tom Boogert Joanne Dalton Lara Goodridge Miroslava Joksovic Fiona Murray Kim Rosser Toni Robertson Ellen Borda Michael & Suzanne Daniel Catherine Gordon David Jonas Cynthia Nadai Matthew Rossi Christopher Vik Angela Bowne SC Michael F. Daniel Jill & Richard Gordon Ingrid Kaiser Neilson Foundation Stanley Roth Antony Waddington Dr Bec Bowring & Joanna Davidson & Louise Gough Doris Kerner John Nethercote David Round The Wales Family Dr Darren Little Julian Leeser Jocelyn Goyen Alex Kibble Dr David Nguyen Pamela Rutledge Foundation Cheryl Brennan Susanne De Ferranti Stephen Grant Debra Kilby Ross & Louise Nicholas Bruce Saint Walking Up The Hill Catherine & Philip Brenner Bronwyn & Peter Gray & Alison Kitchen Clare Nickels Denise Salvestro Francis Walsh David Bridger Bradley Deacon Helen Thwaites Margot Kneebone Alison Nilson Leigh Sanderson Kerrie Walters Anne Bromley Ian Dickson Brad Griffiths Benjamin Law Patricia Novikoff Anne & Amy Sarah Walters Rob Brookman Doc Ross Family Peter Grimison Ruth Layton Kylie Brown Foundation Rachel Grindlay Lazberger Family Fund

52 53 IN THE REHEARSAL ROOM

Steve Rodgers and Kate Champion. Photo by Brett Boardman.

Anita Hegh. Photo by Brett Boardman.

Sacha Horler. Photo by Heidrun Löhr. Jason Chong and Tom Conroy. Photo by Brett Boardman. 55

belvoir.com.au Email [email protected] /belvoirst 18 & 25 Belvoir Street Administration (02) 9698 3344 @belvoirst Surry Hills NSW 2010 Fax (02) 9319 3165 @belvoirst Tracy Mann, Blazey Best, Conroy, Tom Jason Chong, Nikki Shiels and Emma Harvie. Box Office (02) 9699 3444 Photo by Brett Boardman.