THE HOUSE O F BERNARDA ALBA ADAPTED BY PATRICIA CORNELIUS AFTER FEDERICO GARCÍA LORCA Welcome

This world premiere adaptation of The House of Bernarda Alba brings together the prolific talents of playwright Patricia Cornelius and former MTC Associate Director Leticia Cáceres. The result is an exhilarating new production with contemporary Australia very much at its heart.

While Lorca’s original was set in the villages of Spain, this modern adaptation transplants Alba’s fiefdom to the suffocating summer heat of rural Western Australia where it sears with Cornelius’ evocative exploration of gender and power in the 21st century.

New Australian writing needs investment, time and nurturing. This project, commissioned by MTC, has been a few years in the making so it is a proud moment to see it come to fruition, and with a powerhouse cast to boot.

MTC is committed to supporting Australian writers and with the launch of our landmark NEXT STAGE Writer’s Program in June last year, we established one of the most significant play commissioning and development programs in the country. As we embark on this journey with up to 35 talented writers over the next five years, this initiative is set to enhance the Australian playwriting landscape.

Virginia Lovett Brett Sheehy ao Executive Director Artistic Director

Melbourne Theatre Company acknowledges the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which Southbank Theatre, and MTC HQ stand, and we pay our respects to Melbourne’s First Peoples, to their ancestors past and present, and to our shared future.

MTC is a department MTC is assisted by the Commonwealth Government through the Australia Council, MTC is a member of Live of the University its arts funding and advisory body, and by the State Government of Victoria through Performance Australia and the of Melbourne. Creative Victoria. Australian Major Performing Arts Group. MELBOURNE THEATRE COMPANY PRESENTS

THE HOUSE OF BERNARDA ALBA

ADAPTED BY PATRICIA CORNELIUS, AFTER FEDERICO GARCÍA LORCA

25 MAY – 7 JULY Arts Centre Melbourne, Fairfax Studio

— About the play — With their mining-mogul father dead, the Alba household is in mourning. Angela has inherited a fortune and is engaged to the local heartthrob, but as tensions rise and tempers flare between her sisters, the future seems wildly uncertain.

— Cast — — Creative Team — Marti Candy Bowers Director Leticia Cáceres Angela Peta Brady Set & Costume Designer Marg Horwell Penelope Julie Forsyth Lighting Designer Rachel Burke Magda Bessie Holland Composer Irine Vela Maria Sue Jones Sound Designer Jethro Woodward Bernadette Melita Jurisic Assistant Director Cassandra Fumi Adele Emily Milledge Fight Choreograher Lyndall Grant Directorial Secondment Sara Biglariasfsha Sound Secondment Hoang Thao Van Stage Manager Jess Keepence Assistant Stage Manager Brittany Coombs Rehearsal Photographer Deryk McAlpin Production Photographer Jeff Busby

For information regarding running time, please see a member of the Front of House team.

Media Partner Commissioned by Melbourne Theatre Company Cover photo: Justin Ridler Inside Alba’s house

MTC’s Literary Director Chris Mead takes a look at the cross-section between Lorca, Cornelius and Cáceres’ work.

For many, Federico García Lorca is an fascists in 1936. His body has never undisputed modern master. A playwright of been found. international repute, most particularly for his three brilliant tragedies (Blood Wedding, Patricia Cornelius is a writer well-known Yerma and Alba), wrought from the raw for her many awards, her fearlessness and material of Roman Catholicism and lyric forthrightness, and for a body of work that Latin poetry, his profound love of modern relentlessly dissects capitalism, feminism music (he adored Debussy, Chopin and and their brutal collision. Plays whose titles Beethoven), rural Spanish folklore and alone cause consternation, outrage and rich women’s yearning, rage and insight. A poet conversation, Patricia finds poetry in and a visual artist to boot, Lorca chronicled squalor and a fierce autonomy in those too a Spain in transformation. He is perhaps often portrayed as voiceless and without most famous outside Spain (where his work agency. Her plays document sexism, false was banned for years) for dying absurdly ideologies and cruel power struggles, but young, executed by firing squad fighting the also tenderness and rare intimacies. And it was Director Leticia Cáceres who thought that these two writers – separated ‘Patricia finds poetry by hemispheres, gender and almost 100 in squalor and a fierce years – would make a good match. The adaptation was commissioned when Leticia autonomy in those too often was an Associate Director at MTC and this portrayed as voiceless and fierce combination of voices and points of view has been a number of years in the without agency.’ making. Leticia – born in Argentina, and raised both there and here – has had almost a life time’s fascination with Lorca’s work: ‘I love Lorca because it resonates really strongly with Latin American communities and the espanol parlante community for a long time. It resonates because of his detailed focus on themes like class and morality; and because Lorca was able to articulate the injustice of the female story through his own experience as a queer man.’

The House of Bernarda Alba begins at a wake, the beloved Alba patriarch has died. In the original, the widow asks her household to mourn for the lost paterfamilias for eight years. The play then takes place in the sinuous, agonising and tormented years that follow, in a house made up of seven women.

That there are seven women on stage is (Above) Playwright Patricia Cornelius; (Opposite) Bessie remarkable since Alba is the first play Holland with Candy Bowers, Emily Milledge and Peta Brady. written only for women actors. The list of all-female plays, as a side-note, is a sadly short list of around 50 plays. MTC has produced a number from it, including Top Girls (MTC 2012) and Di and Viv and Rose (MTC 2016). It is a list that also contains Australia’s Dymphna Cusack with her Morning Sacrifice, written just six years after Alba and more than likely the second play ever written only for women. ‘It is a play that champions getting feisty in the face of the oppressor.’ (Clockwise from top left) Emily Milledge and Peta Brady; Melita Jurisic and Emily Milledge; Bessie Holland and Candy Bowers; Director Leticia Cáceres with members of cast and creative team

Patricia Cornelius has shifted the action of The first Act of the play clearly establishes the play from 1930s rural Spain to Australia the threats to the family from without, not of today. Instead of a verdant, acutely simply the danger to the family business Catholic and an almost pre-modern world, and fortune, but the fact that it is a family here is a palace of dust in thrall to the consisting entirely of women, and mostly of worship of mining and money, and young daughters, seeming prey to scoundrels and modern women appalled at not only having sharks. It is in the second Act that the to stay home for a fair whack of time, but danger shifts much closer to home. And galled at having to do so with no phone worst of all, Alba’s house, she discovers and no internet. does not belong to her at all.

We so often forget that many plays which This discovery is the subject of powerful we receive as classics, as here with Lorca, drama, but Patricia has also found much or indeed with Chekhov, or much of Ibsen that is mordant and wickedly funny. The four and Strindberg, and many of the ancient daughters, and Bernadette Alba’s friend and Greeks, that they were written steeped in housekeeper Penelope, not to mention her the language, concerns and details of the wayward mother Maria, don’t simply get on period in which the playwrights lived. each other’s nerves, they are mischievous, difficult and relentlessly incendiary. Her Though Lorca was writing a parable in friend and confidante Penelope notes the mid-30s on the dangers of domestic drolly: ‘Girls get feisty without men’. dictatorships, he was also richly aware of women’s struggles. Patricia comments: Indeed, against any uncouth feistiness, ‘What’s delightful, and what’s not changed, Bernadette wields an iron fist. Her power unfortunately, is that Lorca deals absolutely and control was one feature that drew with sexism and the misery of woman in Patricia to Alba: ‘What you love about the society both in the Alba household and play is its incredibly unapologetic severity. outside of it. And nothing has changed’. These are characters under extreme Lorca’s play gave Cornelius the opportunity pressure, under the enormous control to go beyond historical parallels and to of this woman’. Cornelius vividly recalls mine it for emotional and deeply personal seeing Lorca’s work across a number of stories of today: ‘It is extraordinary being productions, memorable for their able to pick-up on the very things he is toughness, but also for their stark talking about; the threats to women inside elegance: ‘The black on the white sets. and outside, and know that they are The highly stylised nature of it all. absolutely alive and well.’ That is extremely beautiful.’ Melita Jurisic and Peta Brady

As for Bernadette herself, played with fierce grandeur by Melita Jurisic, she is a force of nature, a charming and poisonous despot; a basilisk; a cruel and humiliating tyrant determined at all costs to retain control of the fortune, the business and the House. Patricia has thought deeply about her drives and her will to power, ‘a woman who can maintain control and keep her daughters captive for eight years is pretty hard to conceive in its context, let alone now’. It’s a fight Bernadette must win, and for Patricia the playwright to ‘win the severity and control of that woman in contemporary times is difficult.’ It does present, however, a thrilling theatrical challenge nevertheless.

Indeed it is a play that champions getting feisty in the face of the oppressor. As each of the daughters tries to get away, rebel or evade Bernadette, we look at resistance in many forms. Sometimes victory feels like it is slipping through your fingers but, as Bernadette argues at the beginning of Act Two, it’s often just lying there ‘… waiting, for the taking. For the taking.’ n

Hear more from the director and cast of The House of Bernarda Alba mtc.com.au/ backstage ‘These are characters under extreme pressure, under the enormous control of this woman.’ (Clockwise from top) Playwright Patricia Cornelius and Assistant Director Cassandra Fumi look on at members of the cast; Bessie Holland; Playwright Patricia Cornelius with Director Leticia Cáceres and members of the cast; Julie Forsyth

Go online to see the full gallery of The House of Bernarda Alba production and rehearsal images. mtc.com.au/backstage A note from Patricia Cornelius

‘I have stolen some of Lorca’s words directly because I would have been mad not to.’

The invitation from Letitia Cáceres to adapt Lorca’s magnificent play, The House of Bernarda Alba, was both thrilling and daunting. Lorca’s play is a beauty. The world of his play, inside and outside a bunkered down house in a small village, speaks eloquently of a miserable and controlling repression. And Bernarda, the mother of the house, is formidable as she attempts to control her daughters and the often dangerous, especially for women, world around her. But desire and passion and yearning for freedom are irrepressible.

It was a delight to discover a contemporary and Australian context for this story. I have stolen some of Lorca’s words directly because I would have been mad not to. I have kept true to the characterisation in finding the cheek and audacity Lorca employs. I’ve immensely enjoyed the freedom of writing flawed, often dreadful, spoiled and dislikeable characters. It has been a great challenge to re-imagine a woman who thinks she can keep her daughters under her thumb, a woman who can ford off the dangers of financial insecurity, who can put a stop to silly notions such as love, and who can even stop the peal of bells when she calls for silence.

Thanks Leti and Chris, and to a cast and crew to die for. n UNION HOUSE THEATRE is the hub for co-curricular student theatre and performance at the University of Melbourne. We have been nurturing student playwrights, directors, performers and technicians since 1969! umsu.unimelb.edu.au/theatre Cast & Creative Team

CANDY BOWERS PETA BRADY JULIE FORSYTH Marti Angela Penelope

Candy Bowers is an actor, writer, Peta Brady was last seen at the Julie Forsyth’s theatre credits for comedian, activist and the Melbourne Theatre Company in Melbourne Theatre Company Co-Artistic Director of Black productions of Shark Fin Soup, include Endgame, Private Lives, Honey Company (BHC). Her Diving For Pearls, Raindancers The Visit, Great Expectations, original works for stage include and the multi-awarded play SHIT The Tempest, The Chairs, The Hot Brown Honey, Australian first on at MTC NEON season and Comedy of Errors, A Cheery Soul, Booty and Who’s That Chik? will soon go into its fifth season After Magritte, The Real Inspector (BHC). Her acting credits touring nationally. Theatre Hound and Man The Balloon. include: Camae in The highlights include Love Other theatre includes: The Real Mountaintop ( (Hothouse Theatre/Malthouse and Imagined History of the Theatre) and Hester in In The Theatre for which she won the Elephant Man, Night On Bald Blood (BSharp/Belvoir.) Candy’s Gerda Nicholson Award for Mountain, Elizabeth: Almost By TV credits include The Ex-PM, Get emerging actor) and The Call Chance A Woman, Happy Days, Krack!n, Tonightly with Tom (Melbourne Worker’s Theatre). Moving Target, Babes In The Ballard (ABC) and The Cry (BBC). Other highlights include Save for Wood, The Ham Funeral, Journal In 2018 Candy was awarded the Crying (La Mama). She has also of The Plague Year (Malthouse Geoffrey Milne Award for worked with Zeal Theatre Theatre); The Popular Outstanding Contribution to company touring schools with Mechanicals (STCSA); The Book Independent Theatre by the Fixin Bart and Maggie and of Everything, The Small Poppies, Green Room Association (GRAA); Mouse. Peta has written and The Ham Funeral, The Caucasian 2017 Best Female Actor – Theatre performed in three of her own Chalk Circle, Cloudstreet (nomination); Best Ensemble- works Strands, Status Update (Belvoir); The Dream, Phèdre Theatre Winner (GRAA); 2017 (La Mama) and Ugly Mugs (Bell Shakespeare); Romeo and Helpmann Award for Best (Malthouse Theatre/Griffin Juliet, The Metamorphosis, The Cabaret Production and the Theatre). Ugly Mugs was Miser, Old Masters (STC); and Exit 2016 UK Total Theatre Award for nominated twice for Best-Female The King (Malthouse Theatre/ Innovation and Experimentation. Actor and Best New Writing for Belvoir). Julie was a core Candy is a proud member of main stage at the 2015 Green member of Anthill Theatre, with the Equity Diversity Committee Room Awards. Peta Brady has whom she performed in over UNION HOUSE THEATRE (MEAA), Stella Schools Champion performed in various TV shows thirty productions. Awards is the hub for co-curricular and ambassador for the such as Neighbours, Blue include: Helpmann Award for #NOWAustralia movement. Heelers, Good Guys Bad Guys, Best Female Actor in a Play student theatre and performance Candy first worked with City Homicide, The Slap, It’s a (Happy Days) and Best Female at the University of Melbourne. Melbourne Theatre Company Date, Simone de Beauvoirs Actor in a Supporting Role in a in 2016 as the Stage-Hand-In- Babies, Kath and Kim, Pigs Play (Exit The King); and a Green We have been nurturing student Charge and Music Consultant Breakfast and Jack Irish to name Room Award for Best Actress playwrights, directors, performers on Straight White Men and as a few. Films include Mullet, (Kids’ Stuff). Julie was the Charles Penworth in Lilith: The Pawno and a yet to be released recipient of the Sidney Myer and technicians since 1969! Jungle Girl by Sisters Grimm. film called Some Happy Day Performing Arts Awards’ 2009 umsu.unimelb.edu.au/theatre coming out soon. Individual Award. Cast & Creative Team

BESSIE HOLLAND SUE JONES MELITA JURISIC Magda Maria Bernadette

Bessie Holland’s theatre credits Sue Jones has appeared in a Melita Jurisic has worked for include The Sovereign Wife (MTC number of productions for many leading and alternative NEON/Sisters Grimm); Blaque Melbourne Theatre Company theatre companies throughout Showgirls (Malthouse Theatre); including Minnie and Liraz, Other Australia in over 100 productions. Summertime in the Garden of Desert Cities, Dead Man’s Cell She received the Inaugural Cladan Eden (Griffin Theatre/Sisters Phone, Don Parties On, Death Award for A Doll’s House, Green Grimm); The Lower Depths of a Salesman (Green Room Room Awards for I Am A Miracle, (Ariette Taylor, fortyfivedownstairs); nomination), Kid Stakes (Green Night on Bald Mountain, Danny and a National tour of Cosí (HIT Room Nomination), Life After & The Deep Blue Sea, Bali Adat productions). Her screen credits George (Green Room and nominations for Picnic with include The Beautiful Lie directed nomination), Wet and Dry, Fatima, Mother Courage, King by Peter Salmon (ABC) and Some Night in Julia Creek, and Lear, The Women of Troy and Wentworth (FOXTEL, Fremantle Macbeth (Explorations). For most recently for her portrayal Media) Seasons 2–6. Malthouse Theatre/Playbox, she of an 85 year old blind woman was seen in Butterflies of in John for Melbourne Theatre Kalamatan, Ibsen – The Greatest Company. invited Man on Earth, God’s Last Acre, her to perform at Vienna’s The Frail Man, and Night on Bald Schauspielhaus as the Mountain. At La Mama, Save unanimously praised Medea. Suvla Street, Ravages, Obsessive She has continued to perform Behaviour in Small Spaces, No in Europe to critical and public Worries, How Are You Feeling, acclaim. Film performances Pieties, and Shadowlands. At the include Mad Max Fury Road, The Stage Company in Adelaide, Sound of One Hand Clapping, The Sorry Sold Out, A Night in the Tale of Ruby Rose which garnered Arms of Raeleen, The her the International Critic’s Prize Perfectionist, and Travelling for Best Actress at the Venice North, and at Monash University, Film Festival, the Croatian films The Seagull and The One Day of Transatlantic and Kotlovina and the Year. Most recently on the Austrian film Murer-Anatomie television she was seen in The eines Prozesses. She is also Time of Our Lives, Upper Middle known for her potrayal of Dr. Bogan, Jack Irish and The Cry. Magda in the television series The Flying Doctors and Dr. Eva in the ABC series Something in the Air. She is the singer/songwriter of the Viennese band METALYCÉE whose first album IT IS NOT was voted one of the ten best Austrian albums of the decade. Cast & Creative Team

EMILY MILLEDGE PATRICIA CORNELIUS LETICIA CÁCERES Adele Playwright Director

Emily Milledge’s stage credits Patricia Cornelius is a founding Leticia Cáceres is one of include The Story of O (MTC member of Melbourne Workers’ Australia’s leading theatre NEON/THE RABBLE); Antigone Theatre. She is a multi-award directors. Associate Director at (Malthouse Theatre); The Wizard winning playwright, screenwriter MTC from 2013 to 2015, Leticia of Oz (Belvoir); The Good Person and novelist. Her most recent directed The Distance, Death And of Szechuan (Malthouse Theatre); play, In the Club premiered at the The Maiden, Birdland (Winner of La Cage Aux Folles (The Adelaide Arts Festival this year. Best Direction Green Room Production Company); Therese Big Heart was presented at Award), The Effect, Cock, and Raquin (Dirty Pretty Theatre); Out Theatre Works last year. Her play, Constellations. For MTC of the Water (Red Stitch); and SHIT, was part of the 2017 Sydney Education, she directed Yellow Carrie The Musical (Chapel off Festival and Darwin Festival Moon (winner of a Drama Victoria Chapel). She has worked closely following its 2015 Melbourne Award), Helicopter, and Random. with boundary-breaking theatre premiere as part of MTC’s Neon Leticia received Helpmann and company THE RABBLE, with Season and its 2016 remount at Sydney Theatre Awards for Best credits including Joan and fortyfivedownstairs. Over her Direction for The Drover’s Wife Frankenstein (Malthouse Theatre) career Patricia has written over (Belvoir), which also won Best and Room of Regret (Melbourne thirty plays and they include: Production at both ceremonies. International Arts Festival). Savages, Do Not Go Gentle, The For Belvoir, she directed Barbara Emily’s television appearances Gap (What goes down in Vegas), And The Campdogs, Mortido, include Miss Fisher’s Murder The Call, Love, Fever, Boy Miss Julie and The Dark Room. Mysteries, Paper Giants II: Overboard, Slut and Who’s Afraid For Malthouse Theatre, she Magazine Wars, The Mystery of of the Working Class? (Co-written has directed Going Down, a Hansom Cab and The Saddle with Bovell, Tsiolkas, Reeves and co-produced with STC. In 2017 Club, and she has appeared in Vela). Patricia co-wrote the Leticia directed her first short numerous short films including feature film adaptation Blessed film Wild which won a First Time the award-winning Tasty. and is currently developing a Director Award at the London Recently, Emily collaborated with feature film with director Film Awards, and a Next Gen artist James Newitt on the short Catriona McKenzie. Award from the Melbourne feature A Plan for Escape which Women in Film Festival. Leticia’s will premiere at Dark Mofo 2018. second short film, The True History Of Billie The Kid, won a London Independent Film Award. Cast & Creative Team

MARG HORWELL RACHEL BURKE IRINE VELA Set & Costume Designer Lighting Designer Composer

Marg Horwell is a multi-award Rachel’s awards include eight Irine Vela is a composer, sound winning set and costume Green Room Awards for designer, and director who has designer. Most recently she Excellence in Theatre Lighting collaborated with many of designed costumes for The Design, 2005 & 2010 IES Victorian Australia’s finest performers Resistible Rise Of Arturo UI and National Awards of and theatre makers. Notable (). Excellence for Lighting Design productions include Who’s Afraid Marg has also designed set and and Helpmann Award of the Working Class; Do Not Go costumes for Bliss, Revolt. nominations in 2005 and 2015. Gentle and her music drama She Said. Revolt Again, The Selected Theatre Design: 1975-A Populist Opera for which Testament Of Mary, The Real And Melbourne Theatre Company she also wrote the libretto. Her Imagined History Of The Elephant includes The Father, Melbourne choral opera Little City was Man, The Homosexuals, Or Talam, Buyer and Cellar, Cock, acclaimed by both music and Faggots, Edward II, I Am A Solomon and Marion, The Man theatre critics and garnered her Miracle, and The Good Person of from Mukinupin (with Belvoir), an award for Best Composition Szechuan (Malthouse Theatre), True Minds, Constellations, Coup by an Australian Composer from Animal (Influx Theatre), Lilith: D’Etat, True West; Sydney Theatre the Australian Music Centre. As The Jungle Girl (Sisters Grimm/ Company The Father, Black Artistic Director for Outer Urban Melbourne Theatre Company), Medea, Night Fall; The Australian Projects she has conceptualised Peddling, Cock, Constellations, Ballet Art to Sky, Cinderella, a number of unique works Music, Birdland, I Call My Swan Lake/Stephen Baynes, including Poetic License Brothers (Melbourne Theatre Dark Lullaby, Ballet Imperial, (fortyfivedownstairs); Vessel Company), Resplendence, Unspoken Dialogues, Molto (Arts Centre Melbourne) and Chapters From The Pandemic, Vivace; Malthouse Theatre Grand DiVisions (Melbourne Save For Crying, Wretch (Angus Walking into the Bigness, Black Festival). Her film and television Cerini Doubletap), Big Heart, Medea (with Belvoir), Cargo, credits include: Head On SHIT, Savages (Dee & Cornelius), Woman Bomb, Parramatta Girls (International Arts) and The Slap Eight Gigabytes Of Hardcore (with Belvoir), Moth (with Arena (ABC). She received the 2012 Pornography (Griffin Theatre/ Theatre Company); Playbox Wolf, APRA Screen Music Award for Perth Theatre Company), Ophelia Glass Mermaid, Good Works, Best Sound Track Album. She is Doesn’t Live Here Anymore (Bell The Incorruptible, Night Fall, also the recipient of the Tropfest Shakespeare/Chambermade Rapture. Rachel has a critically film award for Best Original Score Opera), Nora, La Traviata acclaimed body of work in the and founding member of the (Belvoir), Marlin (Arena Theatre/ independent theatre sector ARIA award winning band, the Melbourne Theatre Company) including work with Dee & haBiBis. Team Of Life (KAGE Physical Cornelius, Peta Murray, Jenny Theatre). Marg was Designer in Kemp and Nadja Kostich. She Residence for Malthouse Theatre has recently designed sold out in 2017. national tours of SHIT (Dee & Cornelius) and The Season (, Ten Days on the Island, MIAF 2017). Cast & Creative Team

JETHRO WOODWARD CASSANDRA FUMI Sound Designer Assistant Director

Jethro Woodward is a Cassandra Fumi’s directing Melbourne-based composer, credits include: Nadja After musical director, arranger, André Breton (The Cockpit musician and sound designer Theatre/Hornsey Arts Centre, recognised for his expansive and London); Poker Face (Kings Head highly layered film, theatre and Theatre, London/Trieste and dance scores. A multi Green Milan International Arts Festival); Room Award winner and Dog Show (La Mama Theatre); Helpmann nominee, he has The Places You’ll Go (Adelaide worked with some of Australia’s Fringe Winner Best Theatre Week leading major and independent 3); An Act Of Self-Destruction companies including; Malthouse (VAULT Festival & Ply Gallery, Theatre, Melbourne Theatre London); Wednesday Addams Company. Sydney Theatre (Melbourne Fringe Festival). She Company, Belvoir, Melbourne is a member of London’s Young Symphony Orchestra, Opera Vic Directors Program and an Victoria, Chamber Made Opera, Artist In Residence at the Back to Back, Chunky Move, Lucy Hornsey Arts Centre. As a stage Guerin, Australian Dance manager credits include; Theatre, Aphids, Stuck Pigs Strangers In Between (Cameron Squealing, Rawcus, KAGE and Lukey Seymour Centre/ more. For MTC works include; fortyfivedownstairs); Book of Life Without Me, Clybourne Park, Exodus Part 2 (Fraught Outfit/ The Seed and The Heretic. Theatreworks); Angels in Jethro regularly tours his work America Part 1 & Part 2 (Cameron internationally and has won Lukey/Dirty Pretty Theatre Green Room Awards for his work fortyfivedownstairs); Thérèse on; Song for a Weary Throat Raquin (Critical Stages Australian (Rawcus), For The Ones Who Tour); Thebes Land (Arcola Walk Away (St. Martins Youth Theatre, London Off West End Theatre), The Bloody Chamber Best Production Award 2017); (Malthouse Theatre), Moth Sleepless (Analogue Theatre, (Malthouse Theatre/Arena Shoreditch Town Hall & European Theatre), Goodbye Vaudeville Tour) and Lance (Soho Theatre, Charlie Mudd (Malthouse UK Tour/Edinburgh Fringe Theatre/Arena Theatre) and Irony Festival). Is Not Enough (Fragment 31). Jethro was the recipient of the (From top) Peta Brady; Melita Jurisic 2018 technical achievement and Julie Forsyth; Sue Jones and award. Julie Forsyth DOCKLANDS – PORTARLINGTON

rlingto t Porta As part of The Little Group, Visi Port Phillip Ferries wishes the cast and crew a successful season.

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Director, Marketing Nathan Evers Ben Gu Andrea Purvis Deputy Workshop Eugene Hallen Data Analyst Assistant Manager Emma Wagstaff Supervisor Designers Adam Hanley Megan Thomson Anita Lyovic Andrew Weavers Luke Hawley VIP Ticketing Officer Café staff Helena Turinski Set Makers Celeste Njoo Jake Hutchings Michael Bingham Bev Reinmuth Ken Best David Jenkins Education Ticketing PR and Brian Easteal DEVELOPMENT Communications Robert Larsen Officer Nick Gray David Letch Mellita Ilich Director of Manager Philip de Mulder Development Rosie Shepherdson- James Lipari Box Office Supervisor Alastair Read Marcus Macris Adam Walsh Jayne Lovelock Cullen Peter Rosa Events Manager Publicist David Membery Box Office Attendants Mandy Jones Georgia Fox WARDROBE Stephanie Morrell Patrick Crummy Annual Giving Communications Wardrobe Managers Sophie Norfolk Brent Davidson Manager Content Producer Judy Bunn James Paul Katie Dircks www.portphillipferries.com.au Chris Walters Sarah Corridon Keryn Ribbands Will Patterson Peter Dowd MTC Circles of Giving

MTC gratefully acknowledges our visionary donors

MTC LIFETIME PATRONS Acknowledging a lifetime of extraordinary support for MTC. Pat Burke Allan Myers ac qc and Dr Roger Riordan am Peter Clemenger ao and Maria Myers ac Caroline Young and Joan Clemenger ao The Late Biddy Ponsford Derek Young am

ENDOWMENT DONORS Supporting the long term sustainability and creative future of MTC. Leading Endowment Donors $10,000+ Recent Endowment Donors Prof David Penington ac and $1,000,000+ Mim and Michael Bartlett Philip Crutchfield qc and Dr Sonay Hussein Jane Hansen and Paul Little ao Prof Margaret Gardner ao and Amy Crutchfield Emeritus Prof Peter McPhee Prof Glyn Davis ac Fred and Alex Grimwade Dr Monica Pahuja $20,000+ Carolyn and John Kirby am Rosie Harkness Lady Potter ac Tony and Janine Burgess Anne and Mark Robertson oam David and Lily Harris Renzella Family Geoffrey Cohen am Terry Moran ac Steven Skala ao and Orcadia Foundation Robert Peck am and Lousje Skala Andrew and Tracey Sisson Yvonne von Hartel am Anonymous

MTC’S PLAYWRIGHTS GIVING CIRCLE Supporting the Next Stage Writers’ Program. Louise Myer and Martyn Myer ao, Maureen Wheeler ao and Tony Wheeler ao, Christine Brown Bequest Naomi Milgrom ao, Allan Myers ac qc and Maria Myers ac, Tony Burgess and Janine Burgess Dr Andrew McAliece and Dr Richard Simmie, Larry Kamener and Petra Kamener

ANNUAL GIVING Donors whose annual gifts help MTC enrich and transform lives through the finest theatre imaginable. Benefactors Circle The Lord Mayor’s Charitable Ian and Margaret McKellar Dr Anthony Dortimer $250,000+ Foundation George and Rosa Morstyn and Jillian Dortimer Crown Resorts Foundation Bruce Parncutt ao Daniel Neal and Peter Chalk Dr Helen Ferguson Packer Family Foundation Craig Semple ▲ Tom and Ruth O’Dea ■ Rosemary Forbes and Luisa Valmorbida ▲ Leigh O’Neill ◆ Ian Hocking $50,000+ Anonymous Dr Pajouhesh (Smile Solutions) Bruce Freeman ■ The Joan and Peter $5,000+ In loving memory of Richard Park Heather and Clemenger Trust Prof David Penington ac and Bob Glindemann oam The Cybec Foundation John and Lorraine Bates Sandy Bell and Daryl Kendrick Dr Sonay Hussein Henry Gold Maureen Wheeler ao and Jeanne Pratt ac Leon Goldman Tony Wheeler ao Bill Bowness ao Dr Andrew Buchanan and Janet Reid oam and Allan Reid Roger and Jan Goldsmith $20,000+ Peter Darcy Christopher Richardson Murray Gordon and Lisa Norton The Late Betty Amsden ao dsj Ian and Jillian Buchanan The Robert Salzer Foundation ◆ Lesley Griffin Dr Geraldine Lazarus and John and Robyn Butselaar Trawalla Foundation Trust Fiona Griffiths and Greig Gailey The Janet and Michael Buxton Anonymous (6) Tony Osmond ◆ Tony Hillery and Warwick Hutchinson Builders ● Foundation Advocates Circle Louise and Martyn Myer ao Barry and Joanne Cheetham Eddington Caroline and Derek Young am ▲ $2,500–$4,999 Bruce and Mary Humphries Tom and Elana Cordiner ● Marc Besen ac and Victorian Department of The Dowd Foundation Peter and Halina Jacobsen Education and Training Eva Besen ao Irene Kearsey and Melody and Jonathan Jay Bethell and Peter Smart The Vizard Foundation Feder ■ ● Michael Ridley Grant Fisher and Helen Bird Janette Kendall ◆ $10,000+ Gjergja Family Sandra and Bill Burdett am Alex and Halina Lewenberg Erica Bagshaw Robert and Jan Green Lynne and Rob Burgess Virginia Lovett and Joanna Baevski ▲ David and Lily Harris Pat Burke and Jan Nolan Rose Hiscock ● The Cattermole Family Jane Hemstritch Diana Burleigh Dr Sam and Belinda Margis Christine Gilbertson ◆ Anne Le Huray Jenny and Stephen Charles ao and NEST Family Clinics ◆ Linda Herd ■ ● Dr Caroline Liow Diana Cregan ◆ Dr Sue McNicol qc Macgeorge Bequest Marshall Day Acoustics The Cuming Bequest Peter and Kim Monk ◆ The late Noel Mason and (Dennis Irving Scholarship) Debbie Dadon am Sandy and Sandra Murdoch Susanna Mason ▲ Ian and Judi Marshman Ann Darby Matsarol Foundation Jane and Andrew Murray Dr Paul Nisselle am and Chef’s Hat Katherine Kavakos ◆ Anne and Laurie Ryan Sue Nisselle Chernov Family Malcolm Kemp F & J Ryan Foundation Peter Philpott and Sue Clarke and Lindsay Allen Liana Kestelman ◆ Edwina Sahhar Robert Ratcliffe Assoc Prof Lyn Clearihan and Fiona Kirwan-Hamilton Margaret Sahhar Anne and Mark Dr Anthony Palmer and Simon E Marks sc Katherine Sampson Robertson oam ◆ Dr Robin Collier and Neil Collier Doris and Steve Klein and Michael Jaboor Hilary and Stuart Scott ● Sandy and Yvonne Constantine Larry Kornhauser and Susan Santoro Tim and Lynne Sherwood Dr Cyril Curtain Natalya Gill ■ Kaylene Savas ◆ Ricci Swart Mark and Jo Davey Alan and Wendy Kozica Graeme Seabrook Richard and Debra Tegoni ◆ ● Jocelyn Davies Pamela Lamaro ◆ Marshall Segan and Cheryl and Paul Veith Tania de Jong am ◆ Elizabeth Laverty Ylana Perlov Ralph Ward-Ambler am and Mark and Amanda Derham Joan and George Lefroy Prof Barry Sheehan Barbara Ward-Ambler Katharine Derham-Moore Rosemary Leffler and Pamela Waller Price and Christine Williams Robert Drake Leg Up Foundation Diane Silk Margaret and Ray Wilson oam Bev and Geoff Edwards Alison Leslie Dr John Sime Gillian and Tony Wood George and Eva Ermer Peter and Judy Loney Jane Simon and Peter Cox Laurel Young-Das and Anne and Graham Evans ao Lord Family ◆ Reg and Elaine Smith oam – Heather Finnegan Marian Evans Dr Peter and Amanda Lugg Earimil Gardens Charity Anonymous (5) Dr Alastair Fearn Elizabeth Lyons Tim and Angela Smith Jan and Rob Flew Ken and Jan Mackinnon Annette and Loyalty Circle Heather Forbes-McKeon ■ Helen Mantzis ◆ Graham Smorgon ◆ $1,000–$2,499 Elizabeth Foster Joyce and Bernard Marks Diana and Brian Snape am Dr Katie Allen and Malcolm Allen John Fullerton John and Margaret Mason Geoff and Judy Steinicke Noel and Sylvia Alpins am Kate Galvin ◆ Garry McLean Dr Mark Suss ■ In memory of Nicola Andrews Nigel and Cathy Garrard Elizabeth McMeekin Rodney and Aviva Taft Valma E. Angliss am Diana and Murray Gerstman Robert and Helena Mestrovic Suzanne Thompson James and Helen Angus Gill Family Foundation John G Millard Frank Tisher oam and Kate Aplin Brian Goddard Ross and Judy Milne-Pott Dr Miriam Tisher Margaret Astbury Charles and Cornelia Goode Ging Muir and Susie Waite ● John and Dagnija Balmford Foundation ◆ John McCawley ■ Kevin and Elizabeth Walsh ■ Angelina Beninati Sarah Graff Barbara and David Mushin Anthony Watson and Tara Bishop ◆ Isabella Green oam and Jacquie Naylor ◆ Tracey McDonald David and Rhonda Black Richard Green Nelson Bros Funeral Services Pinky Watson Steve and Terry Bracks am John and Jo Grigg Dr Harry and Rita Perelberg Marion Webster ◆ Jenny and Lucinda Brash Ian and Wendy Haines Dr Annamarie Perlesz Penelope and Joshua White Tamara Brezzi ◆ Barbara Higgins ◆ Prof Hannah Piterman ◆ Ursula Whiteside Beth Brown and Tom Bruce am Jane Hodder ◆ Dug and Lisa Pomeroy Ann and Alan Wilkinson Pam Caldwell Sandi and Gil Hoskins Sally Redlich Jan Williams ■ Alison and John Cameron Emeritus Prof Andrea Hull ao Victoria Redwood Mandy and Edward Yencken John and Jan Campbell Ann and Tony Hyams am Roslyn and Richard Rogers ■ Greg Young Jessica Canning Peter Jaffe Sue Rose Ange and Pete Zangmeister Clare and Richard Carlson Ed and Margaret Johnson Rae Rothfield Anonymous (27) Fiona Caro Prof Shitij Kapur and Linda Rubinstein Kathleen Cator Dr Sharmistha Law and Paul Slape ●

LEGACY CIRCLE Acknowledging supporters who have made the visionary gesture of including a gift to MTC in their will. Mark and Tamara Boldiston Peter and Betty Game Dr Andrew McAliece and Peter Philpott and Bernadette Broberg Fiona Griffiths Dr Richard Simmie Robert Ratcliffe Adam and Donna Cusack-Muller Irene Kearsey Max Schultz Anonymous (7)

LEGACY GIFTS Remembering and honouring those who have generously supported MTC through a bequest. The Estate of Leta-Rae Arthy The Estate of Betty Ilic The Estate of James Hollis Minson The Estate of Freda E White The Christine Brown Bequest The Estate of Bettie Kornhauser The Estate of Prudence The Estate of Dorothy Wood The Estate of Ron Chapman The Kitty and Leslie Sandy Ann Tutton The Estate of Gordan J Compton Bequest

Acknowledging Donors who join together to support innovative and inspiring programs for the benefit of our community. ▲ ARTISTIC DIRECTOR’S CIRCLE ■ YOUTH AMBASSADORS ◆ WOMEN IN THEATRE ● EDUCATION GIVING CIRCLE GIVING CIRCLE GIVING CIRCLE

To find out more about supporting MTC please call 03 8688 0959 or visit mtc.com.au/support Current as of April 2018 Thank You

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

Major Partners

Major Media Partners

Production Partners

Premium Season Partners

Season Partners

Marketing Partners

Southbank Theatre Partners

If you would like to join our corporate family or host a private event, please contact [email protected] 2018 Partners current as of April 2018. PLAY YOUR PART

‘We are who we are through the stories we tell about ourselves.’ Sarah Goodes – MTC Associate Director

‘MTC is a key voice in the nation’s public arena.’ ‘MTC is the thumping Jean Tong – Playwright heartbeat of Melbourne’s drama community.’ Richard Piper – Actor

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