‘ is a film which defies convention’.

An OPERA by JONATHAN MILLS

A FILM by JULIEN TEMPLE

Produced by , JOHN WYVER AND ALEX FLEETWOOD

Principal Cast GRANT DOYLE Myrtle Stace CHRISTA HUGHES

THE ETERNITY MAN

MEDIA KIT

CONTENTS

The People Behind The Film p. 2

One-liner, Short Synopsis p. 3

Long Synopsis p. 3

Production and Technical Information p. 6

The Musical Journey p. 7

Meet Mr. Eternity p. 11

Biographies – Production Team p. 13

Biographies – Cast p. 19

Cast and Crew Credit List p. 26

1 Film Finance Corporation

and the

New South Wales Film and Television Office

present

An Illuminations and Production

for

Channel 4 and Broadcasting Corporation

Acclaimed UK film director Julien Temple, Australian poet Dorothy Porter and Australian contemporary composer Jonathan Mills unite in a collaboration that is inspiring, moving and sumptuous.

O ne -lin er

THE ETERNITY MAN is a film opera like no other; in a universal tale of hope and redemption a lonely man, consumed with self-loathing and religious zeal, wanders the streets of writing the word Eternity on the pavements in an immaculate, copperplate hand.

Sh or t Sy no psi s

The story of Arthur Stace THE ETERNITY MAN runs like a song line through 20th century Sydney history. Spanning four decades, Arthur Stace’s nocturnal mission to chalk his timeless message on the city streets somehow captured its changing soul and to this day his journey remains part of its quintessential urban history.

Based on the 2003 Opera, THE ETERNITY MAN is a unique film where words, music and moving images combine to create something both startling and new - ‘The Eternity Man’ excites the senses. The high calibre creative team including Jonathon Mills, the prominent Australian composer who now holds the post of director of the Edinburgh Festival; Dorothy Porter, the well respected novelist; UK Director Julien Temple (Jo Strummer the Future is Unwritten, The Filth & the Fury) and Producers Rosemary Blight (Clubland) and UK based John Wyver (who won an International Emmy for his last filmed Opera ‘Glorianna’) joined forces to ensure the creation of true ‘Event Television’. This is an ABC TV and Channel 4 UK television presentation.

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Lon g S yn op si s

THE ETERNITY MAN is a film opera about Arthur Stace, reformed petty criminal, World War 1 veteran and recovering alcoholic, who haunted Sydney’s seedy bars and brothels until a revelation one night in a soup kitchen chapel. Stace then spent nearly forty years chalking a timeless message on the city’s streets: the single word, written in copper-plate, Eternity.

The film is a journey into the gritty heart of Sydney itself; a place of black humour, alcoholism, bashings, love, sex, lies and shocking beauty. Stace is the archetypal outsider in the city; unobtrusive, distracted, flung from freak-show to brothel to Baptist church, revealing the secrets a city likes to keep to itself through the autistic repetition of a single gesture. As Stace walks through the decades from the 1930’s to the present day he encounters some of the key events of the 20th century. This story is rooted in the history of Sydney but will speak to people all over the world. THE ETERNITY MAN is a universal story of hope and redemption.

During his journey of self-discovery he wrote his word almost 500,000 times; it was his mission to traverse the city to its furthest reaches in order to spread his message. Now more than 30 years after his death, this mission has a powerful resonance, to the point where Sydney’s millennium celebrations were crowned with his word lighting up the Harbour Bridge in neon, sending his evocative message out from Sydney and across the world.

THE ETERNITY MAN brings together one of our most exciting international composers, Jonathan Mills, (now the director of the Edinburgh Festival), with the renowned Australian poet Dorothy Porter (ELDORADO, THE MONKEY’S MASK) and with director Julien Temple, whose film work, from THE GREAT ROCK AND ROLL SWINDLE to his most recent documentary JOE STRUMMER: THE FUTURE IS UNWRITTEN, has in large part defined punk on the big screen. Produced by Rosemary Blight (CLUBLAND, IN THE WINTER DARK) and John Wyver (GLORIANNA), the film is based on an opera which premiered at the Almeida Theatre in July 2003 and at the Sydney Festival in 2005 to wide acclaim.

Australian Grant Doyle, now UK based, is an emerging opera talent who is already well known to opera aficionados as a dynamic performer with a superb and powerful voice. The other roles in the film are cast with unexpected and exciting artists, most of who are not from the opera world. Christa Hughes, who plays Arthur’s sister Myrtle Stace, is a former member of independent Australian rock band and MC for Circus Oz, and truly inhabits both the letter and spirit of the streets.

In many ways THE ETERNITY MAN is a groundbreaking project in this genre. This is the first time that Julien Temple has engaged with classical music,

resulting in a radical piece of contemporary opera: political, extreme, tender, humane and earthy. It is a visually sumptuous production.

The filmic approach combines a strong narrative momentum with the more experimental freedom of some of the best music videos, where words, music and moving images combine obliquely to create something both startling and new. As the timescale changes and the story moves out of the Thirties across the subsequent decades ghostly images and forgotten home movies are projected on faces and locations, the changing textures of the city serve as memories of a vanishing past.

The film was shot live on location in the streets of Sydney, as well as many of it’s iconic locations, including Kings Cross where Stace lived much of his life, Luna Park, Museum Station, The Rocks, Waverly Cemetery, The Gap and on Harbour Ferries.

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Pr od uc ti on In fo r ma ti on

Shot primarily on high-definition video, and drawing on extensive archive images of Sydney, THE ETERNITY MAN is a film of the real urban night, raw and immediate, yet with scrupulous attention paid to immaculate singing and playing, and to a dense, surprising soundscape.

Using mobile production techniques pioneered by specialist UK sound company Floating Earth, the voices of Arthur and the chorus were recorded live, moving and singing in the real locations rather than re-enacted to playback, ensuring the quality of the recording is authentic and utilising the ambient sounds in each location. This is the first time this production technique has been used in Australia.

The impressive score consists of a 25-piece orchestra, made up primarily with members of the Australian Chamber Orchestra and the Sydney Symphony Orchestra. It was conducted by one of the UK’s rising conducting stars, Stuart Stratford, and produced by renowned Australian Music Producer Daniel Denholm.

Te c hni cal In f or ma ti on

Shooting Gauge: HD

Finish Format: HD CAM SR

Image Format: HD 1080

Aspect Ratio: 16:9

Sound: Dolby Digital 5.1

Language: English

Completion Date: 14 March 2008

Duration: 63 minutes

"Mills' music is often hauntingly sweet and elegiac. I found it spellbinding. Eternity Man displays a rare self-confidence and originality." - The Daily Telegraph

A Mu sic al J ou rn ey

From Stage to Screen

The Eternity Man began life as a staged opera, composed by Jonathan Mills with a libretto by Dorothy Porter, it was produced at London's Almeida Opera Festival in 2003. Jonathan and Dorothy had won the highly competitive Genesis project to get this commission. UK Producer Alex Fleetwood after seeing the performance felt that the story and music had an epic quality that would transpose beautifully to the screen.

John Wyver of Illuminations UK became attached to the project as a producer, and with support from Channel 4 in the UK, Julien Temple became attached to direct. Australian based producer Rosemary Blight completed the producing team. This creative team then started wrestling with the questions of how to take a dense, lyrical, complex opera and make it work for a film audience.

The process of reworking an opera for the screen poses many technical challenges. Altering the text of a play is straightforward compared to cutting and reshaping an orchestral score. The pacing of a film narrative is at complete odds with the spacious structures, emotional pauses and lengthy climaxes of operatic form. It was the intention of the creative team to make something that retained its overall shape as an opera whilst also living as a fast paced, visually arresting and exciting film.

The team spent a lot of time in Sydney walking in the footsteps of Arthur Stace and exploring the story. This was in 2005, at the same time the opera was staged as part of the Sydney Festival at the Sydney Opera House. In this intensive development process the team discovered how the narrative needed to change, how the existing music could accommodate that vision and what would have to be cut, changed or newly composed. The final challenge was to create a film that could be broadcast in a one-hour slot. All our decisions had to work out exactly.

The first stage was for Dorothy to rewrite the libretto to the new narrative. Then Julien took the libretto and worked it into a screenplay, constantly listening to an edited version of the recording from the original version to pace his scenes to fit the existing music. A screenplay for a film opera doesn't read like a traditional screenplay, one line of text can equal one minute of music and therefore screen time. Then we all had to go through a series of revisions and re-workings, attempting to refine the story into its purest form and get the words as perfect as possible before Jonathan tackled the score.

7

The challenge facing Jonathan Mills was great. He had to take a score he had written five years ago, which now had to be taken apart and reassembled with a new set of words and a radically different emotional arc, and then compose additional music, in keeping with high quality of the original. By this stage, Jonathan had been offered the job of Artistic Director of the Edinburgh Festival. Under this extreme pressure, Jonathan delivered, and the new music was a triumph. The whole scene in the Tabernacle and under the Moreton Bay fig tree was composed in April. It was recorded for the film just two months later in June.

Casting

Meanwhile, casting for the film proceeded apace. The vision for the film was to cast a trained opera singer in the role of Arthur - the music was just too challenging for a non-specialist - and to cast actors and performers who felt true to the Sydney streetscape of the film in the other roles. The first challenge for musical director Stuart Stratford, upon arriving in Sydney, was to work with this brilliant group of performers and teach them a way through the complex, rhythmically challenging music. The sounds of counting and clapping and stamping of feet could often be heard emitting from the rehearsal room. Fortunately Grant Doyle, who played Arthur, could negotiate the acting challenges and the fiendish demands of the vocal line with equal skill.

The Recording

Meanwhile, the final version of the score - in relation to the final version of the script - was being locked down. Julien and Grant walked the locations for each scene as they were discovered, pacing out the scenes in relation to the music, working out in detail how to keep the film visually and emotionally alive. Under normal circumstances in pre-production the script often changes to accommodate the demands of locations and the shooting schedule, however in this instance there were many things we couldn't change because of the music.

Under the supervision of Australian producer Daniel Denholm and UK sound engineer Mike Hatch, the 25 piece orchestra recorded the score, and the singers recorded their vocal lines simultaneously in a separated soundproofed booth, so that the vocal track could be separated from the orchestral track. This was the first vocal - our safety net, in view of the challenge that was about to come.

The Filming

One thing upon which we had all agreed from the outset is that as much of the vocal performances as possible had to be recorded live on location. Without this

realism, the opera loses contact with the audience – it becomes obvious that actor is miming, the image of the performer in the studio takes over from the image of the character in the film. Engineer Mike Hatch, a veteran of many Channel 4 film , had devised an ingenious system to record top-quality opera singing in the midst of a busy film set. A vehicle custom fitted with high-end studio recording equipment was connected via a 50m cable to a small box on wheels which contained the on-set recording equipment and a radio transmitter/receiver. The van followed the crew to each location and parked in the quietest spot available, within 50m of the shot. The on-set box transmitted two signals - the recorded orchestral score to a wireless speaker, and a video of conductor Stuart Stratford conducting the scene (filmed at the recording), which Stuart, as on-set conductor, viewed on a small monitor harnessed to his chest. Stuart would direct the performers musically - without interrupting Julien's artistic process, using the score, the video and the music to support the singers and keep them in time. A take could be ruined by a singer losing their place or singing the wrong note. Many takes were ruined by cars, lorries, laughter, and airplanes - inner city Sydney is not a controlled environment for recording music.

The vocals recorded on-set were transmitted back to the van where they were married with the orchestral track in a rough mix, and were listened to for errors and for the quality of the performance.

Some days were trickier than others. Day one of recording live sound was for the scene in the Strip, Kings Cross. Sometimes finding a spot where the performers could see Stuart and keep time meant Stuart had to be harnessed out on a ledge or run backwards at high speed, all the while beating perfect time. Another challenge was that some locations were just impossible for the van to get close enough, which meant going with a portable system and, to some extent, hoping for the best.

The Edit

Julien and editor Rodrigo Balart had to make sense of all of these recorded options during the offline edit - finding takes that worked dramatically as well as musically. This process carried forward into the sound design and track laying of the film, with a constant desire to ensure that as much live sound was used as possible and that the sound felt embedded into each location of the film. Arthur's

9 story is raw and real. The performances and the process of creating, recording and editing the music had to honour that story. It was an endless daily challenge to take the processes of opera - much of which if not done correctly can distance the performer and the music - and converge them with the processes of filmmaking, while staying true to the honesty of Julien's vision. Whether we succeeded in capturing that story operatically is for the viewer to judge.

The film opera THE ETERNITY MAN is inspired by the life of Arthur Stace, “Mr. Eternity”. Below is a brief background on what is known about Arthur Stace.

M e e t “ M r . E t e r n i t y ” … A R T H U R S T A C E

Arthur Stace was born in Sydney’s Balmain slums in 1884 into a family of drunkards and poverty. Both parents and siblings were alcoholics, leaving him to often fend for himself. He used to steal milk from the doorsteps, pick scraps of food out of garbage and shoplift cakes and sweets.

His formal schooling was practically non-existent, and at of twelve he became a ward of the state. By the time he was fourteen he had his first job - in a coal mine - and his first pay cheque he spent in a hotel. As a teen Arthur had already become an alcoholic. By age fifteen Arthur went to jail for the first time, and it soon became a regular affair.

He was in his twenties when he moved to the seedy inner suburb of Surry Hills. He worked as a “cockatoo”, a person who would lookout for the cops at a ‘Two- Up’ school. He was mixed up with various housebreaking gangs and worked as a scout for his sisters’ brothels.

Stace was enlisted in the army during World War I in France and returned back to Sydney gassed and half blind in one eye. He resorted back to the old habits of the grog, leading him into trouble with the law, until finally one day he stumbled upon an inspiring sermon by Rev. R. B. S. Hammond at the St Barnabas' Church on Broadway, Sydney. Stace was so inspired by the words, he became enamored with the notion of eternity and converted to Christianity. Two years later Stace heard Evangelist John G. Ridley at the Baptist Tabernacle in Sydney’s Darlinghurst preach on ‘The Echoes of Eternity’ and the word began to ring in his brain.

Incredibly, the even though Arthur could hardly write his own name legibly, the word Eternity, “came out smoothly, in a beautiful copperplate script,” Arthur said in disbelief. Not even Arthur could stop himself from inscribing the word ‘Eternity’ everywhere, saying it was directed to him from a higher source.

Several mornings a week, Arthur would wake around 5am to go around the streets of Sydney and chalk the word Eternity on footpaths, train station entrances and anywhere else he could think of. It is estimated that he

11 wrote the word half a million times during his lifetime. Workers arriving in the city would see the word freshly written, but not the writer, and so, "The man who writes Eternity" became a legend in Sydney. It was, for over a decade, a mystery debated in the leading papers and their letters columns. He experimented with variations at times, but in the end he finished as he had begun – with the word Eternity. Others claimed responsibility for the messages, since they were the object of a prolonged public curiosity and speculation, but he did not come forward. He saw his mission as evangelistic, but he didn't want the publicity for himself; it was a thing between him and God. The mystery was solved when Reverend Lisle M. Thompson, who preached at the church where Arthur worked as a cleaner, saw him take a piece of chalk from his pocket and write the word on the footpath. Thompson wrote about Stace's life and an interview was published in the Sydney Sunday Telegraph on 21 June 1956. Arthur Stace died of a stroke in a nursing home at the age of 83 on July 30, 1967. He left his body to the , and later his remains were buried with those of his wife at Botany Cemetery around two years later.

B I O G R A P H I E S

Th e P ro du c tio n Tea m

J u l i e n T e m p l e – D i r e c t o r Julien Temple was born in London in 1953. He had little interest in cinema until, while studying at King's College, Cambridge, he discovered the director who would become his lifelong hero: Jean Vigo. When he went on to the National Film and Television School, he encountered another and, for him, equally influential manifestation of the anarchist spirit: The Sex Pistols. During their short and turbulent life he became virtually their cinematic amanuensis, a process that culminated in his first feature THE GREAT ROCK 'N' ROLL SWINDLE (1979).

Temple's next major cinematic release was ABSOLUTE BEGINNERS (1986), another excursion into the musical sub-culture, this time based on Colin MacInnes' seminal 1950s novel. He then went to America to make EARTH GIRLS ARE EASY (1989) and a series of music promos - a field in which he had already established a considerable name for himself and which he regarded as a laboratory for ideas to be used in features.

After making the thriller BULLET in 1995, he returned to Britain to make three films in short succession: the long planned VIGO - PASSION FOR LIFE (UK/Japan/France/Spain/Germany, 1999); PANDAEMONIUM (UK/US, 2000), a lyrical but unconventional account of the Coleridge/Wordsworth relationship; and THE FILTH AND THE FURY (UK/US, 2000), a return to the Sex Pistols saga, replete with coruscating live footage. His film GLASTONBURY, a documentary about Britain's best-known music festival, was released in 2006 and his latest film JOE STRUMMER: THE FUTURE IS UNWRITTEN recently premiered at the 2007 Sundance Film Festival. In 2007 Julien completed filming a documentary on the Sex Pistols' comeback shows at the Brixton Academy in London. This was followed by several filming sessions with each member of the band as they re-

13 visited their old London haunts. The documentary film with be released on DVD in 2008.

J o n a t h a n M i l l s – C o m p o s e r

Jonathan Mills is a prominent Australian composer and Artistic Director. He studied composition with Peter Sculthorpe in Sydney and piano and composition with Lidia Arcuri-Baldecchi in Italy.

He is one of Australia’s most experienced festival directors. He has held the position of the Director of the Edinburgh International Festival since October 2006. Among the previous festivals he has been Artistic Director of, include Blue Mountains Festival from 1988 to 1990 and Festival in 2000 and 2001. Mills was Director of Federation Festival for the celebrations of the Centenary of the Federation of Australia in May 2001. He was also the Artistic Adviser to the 1995 and 1997 Brisbane Biennial International Music Festival. He was Director of the Melbourne’s Millennium Eve on 31 December 1999.

Between 1992 and 1997 he was Composer-in-Residence and Research Fellow in Environmental Acoustics at RMIT University where he established the Australasian Soundscape Project. From 1998 to 2003, Jonathan Mills was Adjunct Professor in Environmental Design at RMIT University. He is a former commissioner of the Australian Heritage Commission and member of the Australian International Cultural Council.

Major festivals, orchestras and companies in Australia and increasingly in Europe and the UK, regularly commission Mills. His recent works include; Ethereal Eye, an electro-acoustic dance opera based on the ideas and architectural schemes of Walter Burley & Marion Mahoney Griffin (the architects who won the competition to design Canberra), commissioned by the 1996 Adelaide Festival; The Ghost Wife, a chamber opera based on a short story by Barbara Baynton, with libretto by Dorothy Porter, co-commissioned by the 1999 Melbourne, 2000 Adelaide and 2001 Sydney Festivals. It received its UK premiere at the Barbican Centre, London as part of BITE:02 in November 2002; and Sandakan Threnody for solo tenor, chorus and orchestra, for the Adelaide Chamber Singers and the Adelaide Symphony Orchestra. A theatrical version of Sandakan Threnody with director Ong Keng Sen was performed by TheatreWorks Singapore.

In 2002 he was Composer-in-Residence for the Bundanon Trust where he completed another chamber opera The Eternity Man, with Dorothy Porter for the Genesis Foundation, Almeida Opera and the Aldeburgh Festival.

Future projects include a large-scale, dance-opera with Compagnie Montalvo- Hervieu and the Centre Nationale Choregraphique de Creteil, for the Chaillot Theatre in Paris; and a concerto for Violin, Piano and Orchestra for Duo Sol, Miki

Tsunoda (violin) and Caroline Almonte (piano), a joint commission of the Tasmanian Symphony Orchestra and the London Sinfonietta.

D o r o t h y P o r t e r – L i b r e t t i s t

Dorothy Porter has published thirteen books including six collections of poetry, two novels for Young Adults and five verse novels. Her most recent verse novel – launched at the Sydney Writers Festival in 2007 – is EL DORADO a noir crime thriller set In Melbourne about a serial child killer. It was short-listed for the Adelaide Festival 2008 Award for Fiction.

Her verse novels, WHAT A PIECE OF WORK and WILD SURMISE, were short- listed for Australia’s premier award for fiction, The Miles Franklin Award in 2000 and 2003. WILD SURMISE was awarded the Adelaide Festival 2004 John Bray Award for Poetry as well as the overall Premier’s Award – the first time this award has been given to a book of poetry.

Her best-selling crime thriller in verse THE MONKEY’S MASK has been adapted for the stage and radio, and released internationally as a film in 2001 starring Kelly McGillis and Susie Porter. Its most recent production was by BBC Radio, broadcast in December 2006.

Dorothy Porter is an exciting and experienced performer of her poetry. She has read at festivals in Australia and all over the world, from London to Medellin. She was awarded the FAW Christopher Brennan Medal for Poetry in 2002.

In July 2005 a double CD, BEFORE TIME COULD CHANGE US - a collaboration of love songs written by Dorothy Porter for composer and sung by celebrated singer, - was released by Warner Records. It won the Aria (Australia’s major music awards) for Best Jazz Album of 2005.

In 2006 Dorothy Porter edited THE BEST AUSTRALIAN POEMS 2006 (Black Inc. 2006). In November 2006 she was a finalist for the Melbourne Prize for Literature 2006.

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R o s e m a r y B l i g h t – P r o d u c e r , G o a l p o s t P i c t u r e s A u s t r a l i a

Rosemary Blight is one of Australia’s most experienced producers, has recently announced the establishment of new independent drama production company Goalpost Pictures Australia, with the other founding partners of RB Films (Ben Grant, Kylie du Fresne and Cass O’Connor). Goalpost Pictures Australia has a mutual shareholding with the international sales company Goalpost Film in the UK run by well-known sales agent and Executive Producers Tristan Whalley and Nicki Parffit.

Rosemary’s feature film credits include FRESH AIR (Dir: Neil Mansfield, 1999) and Tim Winton’s IN THE WINTER DARK (Dir: James Bogle). IN THE WINTER DARK (1998) screened in the Discovery section of the Toronto Film Festival, was nominated for 3 AFI Awards and opened the Sydney Film Festival.

In 2007, Rosemary produced the feature film CLUBLAND, starring , directed by and written by Keith Thompson. CLUBLAND premiered at the 2007 Sundance Film Festival and was sold to Warner Independent for an unprecedented US$4million for the USA, UK and Germany. Since then the film has sold to 13 international territories. Nominated for 11 AFI Awards, CLUBLAND won the AFI Award for Best Supporting Actress for ; as well as winning the 2007 Gold AWGIE Award, the Audience Award at the St Tropez Film Festival 2007 and the Jury Prize at the Valenciennes film Festival in 2008. Rosemary is the Executive Producer of feature film ELISE (starring Natalie Imbruglia), due for Australian release in early 2009

Rosemary’s television credits include the ratings winning tele-feature GO BIG (2003), the 26 part drama series, LOVE IS A FOUR LETTER WORD (2000), the AFI and Logie nominated tele-features SMALL CLAIMS 1, 2 & 3 (2004-2006) and the tele-feature STEPFATHER OF THE BRIDE (2005), written by Geoffrey Atherden. Rosemary is Executive Producer of the BAFTA nominated 26 part children’s series, LOCKIE LEONARD, based on the novels by Tim Winton.

J o h n W y v e r – P r o d u c e r , I l l u m i n a t i o n s

John has produced numerous arts documentaries and performance films for Channel 4, BBC Television, Five and broadcasters in the United States and Europe. He has also been Series Editor of the strand of innovative arts programmes TX. and of the series about digital culture THE NET. He was the co- founder of Illuminations, with whom he has worked since 1983. He is a Visiting Professor at the University of Westminster.

Illuminations has a long-standing commitment to truly innovative television and extensive experience in developing distinctive screen performance. Its

productions include the classic dramas RICHARD II (directed by Deborah Warner) and Macbeth (Gregory Doran), the opera film GLORIANA, A FILM (Phyllida Lloyd) and cutting-edge dance with Michael Clark, Wendy Houstoun, Shobana Jeyasingh and others. The company has won numerous awards, including a BAFTA for Best Arts Program and an International Emmy and FIPA d’Or for GLORIANA.

A l e x F l e e t w o o d – P r o d u c e r

Alex Fleetwood was the co-coordinator of the judging period of the Genesis Opera Project and became acquainted with THE ETERNITY MAN at that point. He went on to become Project Manager for The Opera Group, producing several works including THE YOUNG MAN WITH THE CARNATION, a new opera by Edward Rushton and Tom Smith that premiered at the Almeida Opera Festival in 2002. Most recently he has been working as a development producer for Illuminations TV.

S t u a r t S t r a t f o r d – M u s i c a l D i r e c t o r

Stuart Stratford was born in Preston and read music at Trinity College, Cambridge, studying conducting with David Parry and later at the St. Petersburg Conservatoire for three years with the legendary Ilya Musin. He was the Junior Fellow in Conducting at the Royal Northern College of Music giving performances of Jenufa in 1999 and Magic Flute in 2000.

He made his début for English National Opera in 2004 with the Calixto Bieito production of DonGiovanni. The same year he also made his début for , conducting Pagliacci at Sadler's Wells. He makes regular guest appearances with , recently conducting new productions of The Turn of the Screw, Falstaff and Pagliacci. In Spring 2006, he returned to the to conduct performances of La Boheme for the Organisation with the RPO.

Stuart conducted the world premiere of the Eternity Man in 2003 at the Almeida Opera Festival. He was the assistant musical director and on-set conductor for ‘Buzz on the Moon’, a opera produced by Tiger Aspect for Channel 4.

D a n i e l D e n h o l m – M u s i c P r o d u c e r

Daniel Denholm spent his formative years as assistant to Emmy Award winner Ashley Irwin where he received a solid grounding in composing, arranging and

17 music production. 1991 saw him start his freelance career with a No.1 Australian hit "Ordinary Angels" by Melbourne band Frente.

While continuing to Produce for recording artists such as , The Cruel Sea and Midnight Oil to name a few, Daniel joined forces with RB Films to compose the music for the much acclaimed and seminal ABC series "Love is a four letter word". This began a long relationship which culminated in 2006 with the score for the children's series Lockie Leonard and song productions for the feature film "Clubland"

Daniel divides his time between arranging and orchestrating for artists (such as The Whitlams Symphony Tour, Delta, Powderfinger and Thirty Seconds to Mars), recording and producing classical music, which saw Richard Tognetti take out the Best Classical Recording in 2006 for "Bach Sonatas and Partitas", producing, writing and mixing popular artists including Belinda Emmett's Aria Top 10 album and writing scores for film and television. He is currently score producer and sound designer for "Eternity Man" the first Opera to be filmed on location in Australia and is also preparing to compose the music for the feature film Elise.

M i k e H a t c h ( F l o a t i n g E a r t h ) – M u s i c R e c o r d i s t s

Floating Earth was formed in 1987 by Mike Clements and Mike Hatch as an independent audio engineering service. With spectacular early success, the company soon found itself in demand from record companies around the world, and rapidly outgrew its first home. During 1989 a new facility was constructed in Perivale which houses post-production and executive production facilities.

Attention to audio quality as a first priority has ensured that Floating Earth has achieved pre-eminence within the classical music industry. This position is confirmed by the fact that Floating Earth has been in receipt of a prestigious "Gramophone" award for every year since it began trading. In addition the company has been awarded several Spellemann prizes (Norway), Deutsche Schallplatten awards (Germany) and numerous Grande Prix du Disques (France).

In recent years Floating Earth has undertaken a number of ambitious productions for television and film, to great critical acclaim. Its production for London Weekend Television, "Leaving Home", received a BAFTA, and in 2002 "Trouble in Tahiti" received the prestigious IMZ international TV award and was also nominated for a Grammy in the United States. In 2003 the company was responsible for the audio on Channel 4's "The Death of Klinghoffer" which won the prestigious "Prix Italia" for arts films. Finally, Floating Earth has also received platinum gold and silver discs by the BPI for a number of its recordings.

T h e C a s t

A r t h u r S t a c e ( G r a n t D o y l e )

The Eternity Man is Australian Baritone, Grant Doyle’s, first major film role. Doyle studied at the Elder Conservatorium, University of Adelaide where he won the Elder Overseas Scholarship to continue his studies with Elizabeth Robson at the Royal College of Music in London. He won the National Mozart Competition for Singers 2000 held in Southport.

Grant Doyle was a member of the Young Artists Programme at the Royal Opera House, Covent Garden from 2001 to 2003. In 2004 he returned to the Royal Opera as a guest artist to sing Tarquinius , and he has since sung Harlequin Ariadne auf Naxos, Schaunard, Bello La Fanciulla del West, Demetrius, Morales Carmen and performed the role of Narrator in Dominique LeGendre’s Bird of Night. In 2005 he made his debut at the Teatro Real in Madrid as Der Einäugige Die Frau ohne Schatten returning the following season to sing Demetrius. Other roles include Schaunard for Glyndebourne on Tour, Marcello La Bohème for Raymond Gubbay at the Royal Albert Hall, Cirillo Fedora and Frederick Lakmé for Opera Holland Park, and as a ROH Young Artist Steersman Tristan und Isolde, Crébillon La Rondine, Marullo Rolla I Masnadieri, Imperial Commissioner Madama Butterfly and Huntsman Rusalka. He has recorded the Forester for an animated film for BBC TV, with the Deutsches Symphonie-Orchester Berlin conducted by Kent Nagano, and created the role of Carlo in the television film of Judith Weir’s opera Armida for Channel 4 TV. He recently sung King Philip II in Isaac Nathan’s ballad opera Don John of Austria with the Sydney Symphony Orchestra, which was also recorded.

Doyle has also performed with other international Operas such as Les Azuriales in South of France, the Irish Chamber Orchestra, as well as the State Opera of South Australia, the Co-Opera in Adelaide and Opera Australia.

Grant Doyle is also is in demand as a concert soloist. In 2001 he made his US debut at the Mt. Dora Festival in Florida performing recitals and concerts with the Orlando Philharmonic Orchestra, and took part in an Australian tour of Carmina Burana for State Opera of South Australia in association with the Australian Ballet.

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M y r t l e S t a c e ( C h r i s t a H u g h e s )

Christa was born and raised in Sydney Australia. In her early teens she discovered her father's (boogie woogie pianist Dick Hughes) record collection and started singing the blues. Her ever-supportive Dad gave her her first gig when she was 15. Eventually they had a Sunday night residency at the Shakespeare's Hotel, which ran for 2 years. .

When Christa turned 21 she left Australia to spend a few months in New York. Over the next 5 years she sang in some down-town bars in Manhattan, became a regular performer in London's cabaret rooms, sang and gargled in Paris - hence Jean-Paul Gaultier dubbing her the "Diva of Deepthroat ze Goddess of Gargle" She played herself in a Hong Kong film, won "Best comedy/drama" award at New York's Fringe Festival for the show MONGREL.

Christa returned to Australia and started singing with, and cart wheeling for, Sydney band Machine Gun Fellatio. After 3 albums, numerous Australian tours, an overseas stint (UK, NY,LA, the band had a thing for initials hence her stage name K.K. Juggy - that's K for knickers and K for knockers) and a ban from performing at a couple of universities (once again that's K for knickers and K for knockers) the band, guessed it, broke up.

In between tours with MGF Christa kept up her cabaret shows. These included Beer Drinking Woman and later she was commissioned to write and perform Sleepless Beauty for the Studio, Sydney Opera House and the Adelaide Cabaret Festival. She has also been working regularly with midi accordionist Svetlana Bunic. Together they are the Vaudevillians. Their shows have been performed in Shanghai, Hong Kong, Philippines and Vietnam. They performed their show TEMPTATION at the Adelaide Cabaret Festival (July 2005) to great reviews.

Christa and Svetlana then joined forces with Imogen Kelly, Judith Lanigan and Lola the Vamp to create and perform Go-Go Burlesco. After a Sydney season they were invited to the Edinburgh Festival to perform at the Assembly Rooms. They got five 4 star reviews and plenty of stage door Johnnies. Christa went back to Sydney to host 34B Burlesque, a weekly burlesque show. Most recently, Christa and Svetlana have been performing in Circus Oz as MC.

P r o s t i t u t e 1 ( L a r a M u l c a h y ) Lara is a graduate of the Western Australia Academy of the performing arts. She has gained wide recognition for her role as Rosie in the original Australia Cast and the West End production of Mamma Mia! Other theatre credits include Madame Thenardier in Les Miserables, Sweet Charity, Teechers, Snoopy The Musical and The Adventures of Snugglepot and Cuddlepie for Company B. Television work includes All Saints, Murder Call, After The Beep and Stingers, as well as various appearances on variety shows in Australia and in the UK. On film Lara can be seen as Mome Fromage in Moulin Rouge and Natalie in Strictly Ballroom both directed by Baz Luhrmann. Lara won a Green Room Award and was nominated for a Helpmann Award for her work in Mamma Mia!

P r o s t i t u t e 2 ( L u c y M a u n d e r )

Lucy Maunder graduated from WAAPA in 2006 after receiving the Bill Warnock award for Most Promising Student and the Lesley Anderson Award for Best Showcase Performance. Immediately Lucy was cast alongside Marina Prior as the Young Mary O’Hara in Harp On The Willow (Malcolm Cooke and Associates Melbourne).

She then traveled to New York after winning the ASCAP/TDP “Bound for Broadway” Scholarship, where she performed her own cabaret entitled Give Me Gold at the famous Don’t Tell Mama and studied with a number of Musical Theatre luminaries.

Other credits include Snow White in Snow White and the Seven Housemates (Endemol/Southern Star); Dreamgirls/Disco Divas (Hong Kong Society for the Protection of Children, Hong Kong); Tell Me On A Sunday/ The Hatpin launches (Sydney/Wollongong); Elegies – A Song Cycle by William Finn (Sydney Theatre); Whopper! (Statement Cabaret Lounge).

Recently, Lucy appears in Gale Edwards’ new Rocky Horror Show (New Theatricals).

P r o s t i t u t e 3 ( K a t r i n a R e t t a l i c k )

After completing a Bachelor of Arts degree at Sydney University and appearing in over 15 shows with the dramatic society (SUDS), Katrina travelled to London to study acting at the Central School of Speech and Drama. Completing this in 1994, she then worked with Richard O'Brien in his Edinburgh Festival cabaret Mephistopheles Smith before returning to Australia.

21 Katrina has enjoyed an extensive theatre career, most recently being seen in Kookaburra Theatre’s production of ‘Company’. Other theatre credits include playing Alice Beane in Titanic – The Musical, Nellie Forbush in for Seabiscuit Productions (for which she received the Jeffry Joynton-Smith Memorial Award: Performer On The Way, 2004), and Guenevere in Camelot for The Production Company. Katrina’s theatrical credits abound, and include The Mega musical to The Lion, The Witch and The Wardrobe, to The New Rocky Horror Show, David Atkin’s Little Shop of Horrors.

Her film credits include The Hairdresser, Crossword, South, Writing Joachim and The Cup and The Lip.

Naomi Johns, Lucy Maunder, Katrina Rettalick For television Katrina’s comedy skills have been seen in Backberner and CNNN for the ABC and four series of Comedy Inc. for Channel 9. Katrina also writes and performs her own cabaret shows including Catching The Light and Impossible Blonde.

P r o s t i t u t e 4 ( N a o m i J o h n s )

Naomi Johns, born in Perth, completed a year of Music Theatre at the Western Australian Academy of Performing Arts in 2003. Moving to Sydney in 2004 she commenced a Bachelor of Performance at the Sydney Conservatorium of Music under the guidance of Maree Ryan. During her time at the Conservatorium, Naomi had her first Sydney engagement, singing the soprano solo in Haydn's Missa in Tempora Belli. This was then followed with concert performances of Haydn's Creation in 2006, which was later broadcast of ABC Classic FM as well performances of Mozart's requiem and most recently C.P.E. Bach's Magnificat. The same year she received the Joan Sutherland Encouragement Award as part of the MacDonalds Performing Arts Challenge. 2007 saw the completion of Naomi's graduating senior recital, of which she received high distinction. In 2008 Naomi looks forward to touring with Opera Australia's production of My Fair Lady, and competing as a semi finalist for the 2MBS-FM young artists award.

P r e a c h e r ( S t u a r t N e i l s o n - K e m p )

Stuart studied at the Guildhall School of Music and Drama in London, as a baritone. Three years later, he moved on to the tenor repertoire, which allowed his voice to develop in exciting new directions.

Since then, he has toured in the and Europe, singing opera, operetta, oratorio and performing many concerts. He has sung with such companies as English National Opera, Scottish Opera, Opera de Monte Carlo and at the Royal Opera House, Covent Garden.

On returning to Australia in 1992, he performed with Opera , the late Victorian State Opera Co., and in 1996, joined Opera Australia as a Principal Tenor. With these companies, he has sung and covered many roles

Stuart is also a performing member and co-director of the critically acclaimed group – Tenor Australis – whose performances have delighted audiences from the west to east coasts of Australia. Comprising two other tenors, Gerald Sword and Jonathon Welch, they have recently released their debut album Under an Australian Sky, on the EMI label and are now working on their second.

Stuart returned to Opera Australia earlier in 2001 to perform in Wagner’s Lohengrin and Mozart’s The Magic Flute. Other performances included Florestan in Fidelio and the covering of major roles in Sweeney Todd, Pagliacci and Lady Macbeth of Mtsensk. Stuart has continued to perform with Opera Australia, including in Salome and Die Meistersinger von Nürnberg for Opera Australia, and in Un Ballo in Maschera for Opera Queensland, as tenor soloist for Willoughby Symphony Orchestra & Choir’s performance of Beethoven’s Symphony No. 9.

Highlights for 2005 included performing the 3rd Jew in Salome for the Hong Kong Philharmonic Orchestra, tenor soloist in the Opera in the Vineyards open air concert, many corporate concerts with Tenor Australis and performances of Pinkerton in Madama Butterfly for Co-Opera’s southern Australia tour and Pagliacci in Co-Operas’ Asian tour of Pagliacci.

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S h a r k 1 ( J o e M a n n i n g )

Joe graduated from The Victorian College of the Arts in 1999. He has made guest appearances in many television series including Secret Life Of Us, All Saints, Stingers and has also featured in the mini-series Heroes Mountain. His film credits include Columbia Tri-Star’s Stealth, Warner Bros’ Queen Of The Damned, and the Wachowski Brothers Matrix Films.

In 2006 Joe worked with acclaimed theatre director Neil Armfield in the Belvoir Company B production of Peribanez. His other theatre credits include the STC productions of The White Devil directed by Gale Edwards, and Life Is A Dream directed by Benedict Andrews. Joe has also worked with the Melbourne Theatre Company in the 2000 production of Sweet Bird Of Youth. He also appeared in the Bell Shakespeare company productions of As You Like It and War Of The Roses.

This year Joe will play Horatio in the Bell Shakespeare company’s Hamlet alongside Brendan Cowell.

In 1997 Joe was nominated for Best Actor at the New Zealand Film and Television Awards for the feature film Repeat Performances.

S h a r k 2 ( J a m e s M i l l a r )

Since graduating from WAAPA in 2003, James’s theatre credits have included the national tour of Snugglepot and Cuddlepie for Company B Belvoir, Eureka, Oklahoma, Boyband, The Letter, Nostradamus (in workshop) and Sondheim’s Company at the Theatre Royal. In 2006 he was selected to perform in Cardiff for BBC Radio 2’s Voice of Musical Theatre. James’ work on television includes A Country Practice, Water Rats, Naked: Coral Island, , Police Rescue and The Leaving of Liverpool. He also regularly sings alongside Ian Stenlake and Scott Irwin in vocal trio Irwin, Millar and Stenlake. In 2006 James won the Best Supporting Actor Green Room Award for his performance of Jud Fry in Oklahoma, for The Production Company. In 2008, he won Best Actor at the Sydney Short, Sweet and Song Festival for his performance of Isaac Sanders in The Alleged Adventures of Blenderman. James is also the book and lyric writer for the critically acclaimed musical The Hatpin which had its world premiere in February, 2008, at The York Theatre in Sydney.

S h a r k 3 ( D a n i e l S c o t t )

Daniel’s experience of theatre began at an early stage. Daniel studied at the McDonald College of Performing Arts, Australian Theatre for Young People and The National Institute of Dramatic Arts (both of which he is now a guest speaker and tutor for), and was accepted into the American Conservatory Theatre in San Francisco. Daniel has also received numerous scholarships throughout his training from the likes of Sir Cameron Macintosh, and Nicole Kidman in association with ATYP and LendLease Australia. Daniel is currently starring in “Priscilla The Musical” as Adam/Felicia. Prior to that, he performed in "Dusty, the Original Pop Diva", creating the memorable roles of Neil Tennant, Al Saxon, the "Crazy Italian" and Eden Kane, following a trail of numerous other theatre credits.

Daniel’s television and film credits include Southern Star's "Young Lions", and the smash hit feature film "Moulin Rouge".

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C a s t L i s t

Arthur Stace GRANT DOYLE

Myrtle Stace CHRISTA HUGHES

Prostitute 1 LARA MULCAHY

Prostitute 2 LUCY MAUNDER

Prostitute 3 KATRINA RETALLICK

Prostitute 4 NAOMI JOHNS

Preacher STUART NEILSON-KEMP

Shark 1 JOE MANNING

Shark 2 JAMES MILLAR

Shark 3 DANIEL SCOTT

Joy the Boy JEAN TAYLOR

Mary the Nun NAOMI SPILSBURY

Tattooed Lil SAFARI LEE

WW1 Vet WILL WARD

Train Station Homeless Man IAIN GARDINER

Jimmy STEVE VELLA

Male Lover VLADIMIR BAJOVSKI

Female Lover JACLYN ALBERGONI

Trannie 1 CHRISTOPHER PARSON

Trannie 2 DANIEL MALONEY

Trannie 3 RYAN JOHNSON

Aboriginal Lady RAYMA JOHNSON

Homeless Child THOMAS GRANT

Policeman JOHN GIBSON

Tableaux Guy 1 JAMES ARCHER

Tableaux Guy 2 ALAN FISH

Arthur Double ROBERT KENNEDY

Female Matron Choir BETTY TOUGHER, JULIE GODFREY, ANNE FARRELL, ROSE SAUNDERS, ALISON MORGAN, BELINDA MONTGOMERY, NICOLE THOMSON, JO BURTON, SARAH JONES

Male Street Choir CASS CUMERFORD, PATRICK KIEM, CORIN BONE, DANIEL BEER, JOHN PITMAN, BEN MACPHERSON, RAFF WILSON, MARK DONNELLY, CHRISTOPHER HAMILTON, BEN LOOMES, JOHN MUTTON, ALLISTER FORNDRAN, RON MONTAGUE, JOHN CROSS, PETER REDDY

C r e w L i s t

Director JULIEN TEMPLE

Music JONATHAN MILLS

Libretto DOROTHY PORTER

Screenplay JULIEN TEMPLE

Produced by ROSEMARY BLIGHT JOHN WYVER ALEX FLEETWOOD

Co-Producer JESSIE MANGUM

Executive Producers AMANDA DUTHIE JAN YOUNGHUSBAND

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Production Manager BELINDA MRAVICIC

1st Assistant Director RICHARD MCGRATH

Director of Photography MARK WAREHAM, ACS

Production Designer FELICITY ABBOTT

Editor RODRIGO BALART

Music Producer DANIEL DENHOLM

Music Director STUART STRATFORD

Casting NIKKI BARRETT, BARRETT CASTING

Costume Designer WENDY CORK

Hair & Make-up Designer SHELDON WADE

Sound Designer JOHN SALTER

Recording Engineer MIKE HATCH, FLOATING EARTH

Location Manager ANTON DENBY

Production Accountant JOHN RUSSELL

Production Co-ordinator TERÉSA BARKER

Production Secretary CHELSEA CASSIO

Production Runner JAMES COGSWELL

Runner / Audio Assistant SAM ZUBRYCKI

Assistant Editor MAX HOPKINS RAEDER

2nd Assistant Director GREG SPILLER

Script Supervisor MELINA BURNS

Focus Puller PAUL SHAKESHAFT

Clapper / Loader ROBERT TENCH

Projectionist/Camera Attachment MASOUD SHEIKHI

Steadicam / Add. Photography MATTHEW TEMPLE

Boom Operator MANEL LOPEZ

Gaffer STEFAN FIDIRIKKOS

Best Boy Electrics JONATHAN MARTIN

Key Grip ARON WALKER

Grip CARL MULLIN

Art Director ANGELO 'LAKI' SIKES

Set Decorator PETER 'FOSTER'

Props Buyer / Set Dresser TANIA EINBERG

Art Dept. Assistant KEN LAU

Standby Props ANDY CANTRELL

Art Dept. Attachments HELEN O'LOAN CHRIS TOWN BLAKE TERNACZ ISHTAR CAVAGNINO KATE CAMPBELL

Costume Standby HOLLY LANDGREN

Costume Assistant MICKA AGOSTA

Additional Costume Assistant JADE MONTEVERDI

Costume Attachment CATHERINE WELSH

Hair & Make-up Artist MARIA LO PRESTI

Make-up Attachment TARA KELLY

Prosthetics Make-Up IMAGE CREATIVE

Unit Manager DJURO BANDUR

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Location Attachment ELIZABETH HOY

Caterer FRINGE BENEFIT CATERING

Extras Casting JANE DAWKINS

Safety Officer LAURENCE PETTINARI

Stunt Co-ordinator HARRY DAKANALIS

Choreographer INGRID KLEINIG

Sound Post Production ABC TV

Sound Mixer JOHN SALTER

Foley Recordist IAN DONATO

Foley Artist ANTHEA PAYNE

Post Production Facility FSM

Post Production Supervisor ERICA FORD

Colourist TRISTAN LA FONTAINE

Lead Compositor JUSTIN ALVAREZ

Compositors DAVID TINDALE PHIL STUART-JONES VIV BAKER STUART CADZOW

Baselight Conform STEVE DUNN

Online Editor DAVID TINDALE

Online Assistant HEATHER HAY

Orchestra THE ETERNITY BAND

Violin and Orchestra Leader DIMITY HALL

Orchestra Contractor DANIEL DENHOLM

Electric Guitar JAK HOUSDEN

Bass WARWICK FACTOR

Piano (Blues Song) BILL RISBY

Chorus CANTILLATION

Chorus Musical Director ANTONY WALKER

Chorus Manager ALISON JOHNSTON

Score Editor PETER HARVEY

Orchestra Recording Studio STUDIOS 301 SYDNEY

Studio Assistants MIKE MORGAN

Music Mixing Facility POINT-BLANK SOUND SYDNEY

Camera Equipment PANAVISION PAUL JACKSON

Publicity TRACEY MAIR

Stills Photographer BILL GREEN

Researcher CLAIRE ABSOLUM

Historical Consultant JAMES SCANLON

Research Attachment CARA NEIL

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