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Home , Bangarra Dance Theatre, Bedevil, Blackfellas, Deadly Awards, Don Parties On, Elaine Crombie

Company and Queensland Performing Arts Centre present

BLOODLANDA Theatre Company and Festival production in association with 14 TO 18 MARCH 2012 PLAYHOUSE, QPAC

Bloodland is part of the commitment between Queensland Theatre Company and Queensland Performing Arts Centre towards the development and presentation of Aboriginal and Torres Strait Islander work.

Cover image: , Kathy Balngayngu Marika & Hunter Page-Lochard It is my great honour to welcome you to the Queensland Performing Queensland Theatre Company is dedicated to exploring what it means Arts Centre (QPAC,) to join us in experiencing a performance of to be from this place we call Queensland; to tell the stories that refl ect great artistic and cultural signifi cance, Bloodland. who we are and how we fi t into this Land. The cultural obligations and connections the have to this country are exciting and rich, QPAC has always been committed to presenting and supporting teaching us our history and providing insight into our future. Aboriginal and Torres Strait Islander productions, from Bangarra Dance Theatre to ’s very own Jagera Jarjum, QPAC In 2012 we have dedicated extra resources to supporting Indigenous audiences have been inspired, entertained and challenged storytelling and artists through establishing an Indigenous Program, by the highest calibre of artists and companies in the country. I employing an Emerging Indigenous Producer, establishing an Indigenous am pleased to welcome back , Artistic Director of Reference Group, commissioning a number of new works for children and Bangarra Dance Theatre for the production Bloodland. adult audiences, supporting the Australian Delegation to the Festival of Pacifi c Arts, entering Memorandums Of Understanding with QPAC and the We have had the fortune of working with Stephen and Bangarra ACPA (Aboriginal Centre for Performing Art) to develop the talents and Dance Theatre for over a decade, presenting culturally rich and works of and producing shows that refl ect the artistically diverse programs. In this piece of work, created by Indigenous experience of our country like Bloodland and Head Full of Love. Kathy Balngayngu Marika, Stephen Page and , and produced by and , We are proud of our commitment to supporting Indigenous artists to tell I invite Queensland audiences to delve into the current and stories and prouder still of our ability to bring these stories to you. pressing issues of Aboriginal and Torres Strait Islander people. Bloodland welcomes back a number of artists who have had a long The stories of our First Nations people are among the richest association with QTC and Queensland. It is a story that is as ageless as and often times most challenging. Through Aboriginal and Romeo and Juliet yet speaks with a fresh cultural language rarely seen Torres Strait Islander work we are reminded and made aware on our stages. Works of this scale are unique and seldom undertaken. The of the impacts and trans-generational effects of colonisation use of Indigenous language, cultural materials, stories and the gathering and assimilation; we are exposed to a narrative that has of some of the most respected Indigenous artists in the country is cause been a part of this landscape for over 60,000 years, for celebration. The experience of watching this work leaves an audience where traditional knowledge and law underpin relationships, feeling honoured, humbled and exhilarated for the future of Indigenous environmental sustainability and the preservation of language. Theatre. Bloodland is one such work that brings together both of these Bloodland is a work of extreme importance in our cultural landscape and worlds, exploring a land where rich traditional lore and ritual we are excited and proud to bring this landmark production to you. grate against contemporary Western culture, allowing audiences to be immersed in the contemporary and traditional aspects of life on community. Love I look forward to working with Queensland Theatre Company and ’s best arts companies in the future, and continually Artistic Director offer Queensland audiences the best in Aboriginal and Torres Queensland Theatre Company Strait Islander theatre and performance.

We encourage anyone who attends a performance of Bloodland to JOHN KOTZAS participate in our audience feedback survey. You can complete the Chief Executive survey online at https://www.surveymonkey.com/s/BloodlandQTC. Queensland Performing Arts Centre Hard copies of the survey will be available at the Playhouse during the Bloodland season for you to complete while at the theatre and return via a feedback box in the foyer. Otherwise, please call Queensland Theatre Company Reception on 3010 7600 and request a hard copy survey to be mailed to you.

Background image: Centre: Banula Marika in Sydney Theatre Company’s Bloodland © Photos by Danielle Lyonne 2011. THE PERSONAL IS POLITICAL

Storytelling is one of the most powerful ways to not only explain a lived experience but to reach across cultural divides to communicate it. As Artistic Director of Bangarra Dance Theatre and one of Australia’s leading choreographers, Stephen Page tells every story with a humanity and heart. Those stories are also provocative. Dance allows an exploration through visual movement and sound where audiences can be inspired, repulsed, amused, distressed. The medium of theatre adds a different dimension to Stephen’s storytelling craft with extra layering of language, ceremony and silence. Page’s creative practice, long honed through his work with Bangarra, is one that respects the traditional protocols of respect for, and careful negotiation with, the cultural custodians who hold the rights to stories and ceremony. This creative and cultural practice has been brought to the development of Bloodland and Page continues his collaborative approach to his artistic vision with cultural mentors Kathy Balngayngu Marika and Djakapurra Munyarryun. Bloodland explores the choices made along the trajectories of different Aboriginal experience focusing on the age-old tensions that occur as people live between two worlds, with one foot in each. There are the complex relationships that are struggled with every day between tradition, culture, identity, economic development and social mobility. There is also the interweaving of the haunting legacies of the past, the hopes and ambitions for the future and the barriers, frustrations and compromises that mark life between the two worlds. The personal is political is a concept that still resonates within the lives of Aboriginal and Torres Strait Islander people and inevitably comes through in our storytelling. While set in Arnhem Land, these themes litter the lives of Indigenous people around Australia and they are central to Bloodland. There are inevitably strong political themes in every authentic Aboriginal or Torres Strait Islander story and in Bloodland the politics are strong currents in the tide of the story. The challenges that face contemporary Aboriginal families are laid bare. These are complex problems, diffi cult political polemics to which there are no easy answers and no resolution – certainly none are suggested. That is the harsh reality that Bloodland explores. It is impossible to be impassive to a story by Stephen Page and this production is no different. It will inspire a meditation by its audience on what they are seeing and hearing and it seeks to engage them in a diffi cult, ongoing but important national conversation.

LARISSA BEHRENDT Chair of Bangarra Dance Theatre Professor of Law and Director of Research, Jumbunna Indigenous House of Learning, University of Technology, Sydney

Noelene Marika & Hunter Page-Lochard in Sydney Theatre Company’s Bloodland © Photo by Danielle Lyonne 2011. Writer’s Note

My association with Stephen Page began on a Queensland Theatre Company production, The Sunshine Club. It was my fi rst experience out of drama school, and one that has stayed with me to this day. Stephen was the choreographer on that project and the next year he asked me to be a part of Skin, a show Bangarra produced in 2000. I was a novice entering a world with Men. Men who had lived and breathed and were artists for many more years then I had been. It was a humbling experience, yet via Stephen’s infl uence I started to blossom as a storyteller in my own right. Simply, Stephen gave me ownership and responsibility. The genesis of Bloodland for me began at this time. For Stephen, his association with North East Arnhem Land had started years before, and by his invitation I was allowed into this story, for which I am very grateful. Stephen, Kathy and myself have been in deep conversation about this project for the past eighteen months. Stephen had a number of visual images he shared, some of which I chose to elaborate on. In our earliest meetings we laughed a great deal and we were swept away with glaring ironies. Being an Aboriginal person in this country is hard. I am an urban black, living in a western world. In every community, both black and white, there is social poison that affects us all everyday. Yes, we have a choice, but sometimes it is not so easy to put it down to just a choice. What about when we have two clans divided by their way of living, existing in a social structure fractured by, for the most part, circumstances outside of their control? What happens? What choice do we have then? That is what Stephen, Kathy and myself wanted to talk about. We also wanted to use a living language. Via Kathy and Djakapurra’s permission to communicate this story from their country in North East Arnhem land using their language, we only touch on the fact of what it is like to be an Indigenous person on our own land. We talk about divided clans coming together in an Aboriginal community affected by social poison. It is simple. Yet this story also mirrors Aboriginal communities all over this country, and this country for the most part turns a blind eye. Only at times of self-need does this government step in. Bloodland is a snapshot of what it is like to be a black fella in this world, today. It does not encompass every black story in this country, by no means, yet it is our version of one episode written in 2011.

WAYNE BLAIR

David Page & Rhimi Johnson Page in Sydney Theatre Company’s Bloodland © Photo by Danielle Lyonne 2011. Queensland Theatre Company and Director’s Note Queensland Performing Arts Centre present

I’ve always entered the creative process with stories and themes Then there’s the middle generation, who’ve been burnt out by even when my intention is to produce abstract dance theatre. having a foot in both worlds and have become exhausted, literally. Skin was a Bangarra Dance Theatre production in 2000 on That exhaustion comes from trying to fi nd the right balance. These BLOOD which I fi rst worked with Wayne Blair and some of the cast of challenges are universal, but for the community what I Bloodland. Skin took me into a dramatic form, working closely see is the importance of language and cultural customs. They with Wayne to write dialogue to extend the story telling coming conduct ceremonies but mostly for funerals and ‘sorry business’. out of the movement and music. In my recent work ID – part of The ceremonial purpose isn’t a celebration of the passing of an Bangarra’s Belong program – the section titled Discriminate also elder’s life as ceremony is increasingly for young men who have uses dramatic form to portray the distress of Aboriginal deaths in taken their own lives. CONCEPT BY Stephen Page custody. No words are needed as the prevailing image and the LANDSTORY BY Kathy Balngayngu Marika, Stephen Page and Wayne Blair Bloodland portrays those frustrations using dance, music and strength of the performance speaks for itself. dramatic text predominantly in Aboriginal language. Many WRITTEN BY Wayne Blair Bloodland brings together a nationally diverse, culturally rich Aboriginal people no longer have that connection with their A Sydney Theatre Company and Adelaide Festival production group of performers, some from traditional Yolngu communities in language, so it’s an inherent challenge of Bloodland for both the in association with Bangarra Dance Theatre North East Arnhem Land. My close relationships with Djakapurra performers and our audience, for a good proportion of the show Munyarryun and Kathy Balngayngu Marika sit at the heart of my to be expressed in Yolngu. creative processes with Bangarra. They honour me as an adopted The families depicted come from two Yolngu moieties – Dhuwu member of their Yolngu families, as does the Yunipingu family. and Yirritja. These clans belong to one motherland and Bloodland Through these connections, we are blessed to have access to the explores how they share the same balance of modern and world’s oldest living culture. Cast traditional practices and customs. This is a modern story that Lalkal Kathy Marika and I talked about this story over a long time and helps rekindle and re-educate, and challenge all of us as artists Wak Wak she enriched my experiences with her woman’s perspective. in performance as well as learning about the thriving, continuing Over two decades I have spent time in Yirrkala with my adopted Aboriginal culture. Galiku Milika Marika families, listening to their stories, learning their myths and Bonba Kathy Balngayngu Marika Wayne, Kathy and I put the script together based on the emotion, cultural customs, experiencing their language, dance and songs. the atmosphere and the visual images that came from our Gapu Noelene Marika They generously enabled me to bring these infl uences into my conversations and we set up the different issues under one sky Djurrpun Banula Marika creative practice and joined the Bloodland process as performers of the story. There is no conventional script but rather the actors Donkey/Bapi and traditional consultants. have entered the process by learning and listening, especially Runu Hunter Page Lochard Bloodland is about two families living in remote communities and during our week-long residency in Yirrkala in North East Arnhem Billy their frustration at being in two different worlds in the 21st century. Land. They cling to traditional cultural heritage whilst engaging with the Bathala Tessa Rose Weaving dance, language and images – I love working in a visual benefi ts of western society. But with the poisons of alcohol and Gulami way, to say very little and let it be about the physicality and the drugs, economic disadvantage and social dysfunction, these spirit of the story. Collaborating with Damien Cooper on lighting, Cherish Ursula Yovich families face many dilemmas. Jennifer Irwin with costumes, Peter England on set design and It is these challenges we are trying to express as well as their Steve Francis with music is like marinating all those elements efforts to protect their health, access to education, maintenance to create what is strongest about telling the story. In my creative of language and a series of things they want to hang on to. Add process I search for the right balance of visuals, cultural law, Creatives to this situation the role of government dollars, mining deals, ceremonial ritual and fi nding the right balance of English words Director Stephen Page royalties and racism – it’s a potent mix of ideas, experiences and for the audience to cryptically hold on to. Cultural Consultants Kathy Balngayngu Marika revelations. Bloodland is a myriad of forms coming together just as this is Djakapurra Munyarryun I think often about the two worlds; having a foot in each. Everyone with the creation of a new Bangarra Dance Theatre work. So our Set Designer Peter England wants that sense of hope, of balance and common ground. Talking audience is always able to share the birth of a new work with us! Costume Designer Jennifer Irwin with Kathy and with my travels back to Arnhem Land, I am keenly Lighting Designer Damien Cooper aware of the tension between maintaining culture and embracing everything that’s modern. Composer/Sound Designer Steve Francis Assistant Director Kirk Page The young people think culture is old fashioned because the Voice and Text Coach Charmian Gradwell modern media is so appealing, so seductive. Technology and consuming products represent the new poisons for the younger Production Manager John Colvin generation. It’s like they got the lolly snacks of materialism, which STEPHEN PAGE Stage Manager Rebecca Allen is all great, but how do you weave the same balance of interest Assistant Stage Manager Louana Sainsbury PS. It’s not all bleak, there’s a love story in the cultural side of life? It relies on leaders and communities and there are humourous moments. Project Company Manager Amy Hammond trying to help direct them to have that balance. Sound Ben Lightowlers Rehearsal Photographer Grant Sparkes-Carroll Production Photographer Danielle Lyonne

Hunter Page-Lochard in Sydney Theatre Company’s Bloodland © Photo by Danielle Lyonne 2011. traditional art and craft, weaving and carving. Founded the Dhimurru Land Care Council with her four sisters and their fi rst cousin. Their role was to regenerate the land that had been affected by mining in the area. In 2009 travelled with and facilitated the Bangarra dancers’ trip to Yirrkala in North East Arnhem Land. Positions: In 2011 appointed Artist in Residence at Bangarra.

STEPHEN PAGE DIRECTOR ELAINE CROMBIE LALKAL DAVID PAGE DONKEY/BAPI Born in Brisbane, Stephen is a descendant of the In 2008 Stephen was named NSW Australian For Sydney Theatre Company: Cherry Pickers, The For Sydney Theatre Company: Cherry Pickers. people and the Munaldjali clan of the of the Year in recognition of his efforts to bring Sunshine Club (with QTC). For QTC: Fountains Other theatre: As Actor: For QTC: The Sunshine Yugambeh tribe from southeast Queensland. cultures together through the performing arts Beyond. For Belvoir: Conversations with , Fountains Beyond. : and his commitment to developing the next Dead. For Sydney Festival: I am Eora. Other: Murras. Riverside: Big Sister. Belvoir/MTC: Stephen studied at NAISDA and after graduating generation of Indigenous storytellers by mentoring Hosted VIBE Alive Port Augusta, Reconciliation Page 8, The Man from Mukinuppin, Yibbiyun. in 1983 he began his professional dancing emerging artists. In 2009 Bangarra celebrated Day ‘Day in the Park’ Port Pirie and is a singer/ As Composer: For Bangarra: Belong, of earth career with Sydney Dance Company. During 20 years with Fire: A Retrospective presenting song writer and guitarist who has performed in & sky, Praying Mantis Dreaming, Ochres, Ninni, 1988 he toured internationally with Aboriginal the signature works of Bangarra’s repertoire. For Brisbane, Adelaide and Sydney. Training: ACPA, Fish, Skin, , Bush, Unaipon/Clan, and Islander Dance Theatre (AIDT) and in 1989 BANULA MARIKA DJURRPUN this celebration Stephen invited 100 artists who CASM, Adelaide University. , X300, Mathinna. For The Australian was artistic director of NAISDA’s production Kayn had worked with Bangarra, including founders of For Sydney Theatre Company: debut. Other Ballet: Alchemy, Amalgamate (with Elena Kats Walu. After returning to Sydney Dance Company the company, to a special performance of Fire at theatre: For Bangarra: Praying Mantis Dreaming, Chernin). Film/TV: As Actor: Two Bob Mermaid, for two years, Stephen was appointed Artistic the . Stephen received the Up Until Now. Film: Cactus, . Other: Oscar and Lucinda, The Masters, Greenbush, Director of Bangarra Dance Theatre in 1991 and 2010 Helpmann Award for Best Choreography for toured nationally and internationally with Yothu 2 Big Boys, Bran Nue Dae, Stone Bros. As has since created 12 new dance theatre works Fire and a further two awards for the company; Yindi. Guest artist on the albums Full Circle (Ice Composer: Heartland, Pride, Poison, Songlines, for the company. Best Dance Work for Fire, and for Mathinna in House) and Dark Shades (Xavier Rudd). Roles: , Pioneers of Love. Short Film: As Stephen has developed Bangarra’s distinctive 2011, and Best Regional Touring Production for Founding member of Bangarra Dance Theatre. A Composer: includes Round Up, Passing Through, performance style drawing on over 40,000 years True Stories. ranger with the Aboriginal organisation Dhimurru Grace, Saturday Night Sunday Morning, fi ve of Aboriginal culture and translating the traditional since 2002. of the thirteen Bit of Black Business AFC short In 2010, Stephen was also honoured at the stories, music and dance into a contemporary fi lm series, Jacob. Other: Contributed music to for his Services to Dance theatrical experience. Under his leadership, the Opening Ceremonies of the Sydney Olympic and accepted Bangarra Dance Theatre’s award Bangarra has built a strong reputation touring Games, the Sydney Olympic Arts Festival and, for ‘Outstanding Performance by a Company’ for throughout Australia and , including in 2002, the Sydney Dreaming Festival. Awards: Fire: A Retrospective.Continuing his commitment New York, Washington, Paris, , Bejing and 2006 Green Room Award for Best New Australian to the next generation of Indigenous storytellers, Germany. Memorable works Ochres, Skin (Best RARRIWUY HICK WAK WAK Play (Page 8), four Deadly Sound Awards from Stephen commissioned and mentored Frances 1995-2006, Indigenous Artist Award for The New Australian Work and Best Dance Work), For Sydney Theatre Company: debut. Other Rings and Daniel Riley McKinley in their new Sidney Myer Foundation in 2000, Helpmann 2001 ), Bush (Best Dance theatre: For Bangarra: Dance Clan. For Adelaide works for Bangarra’s season of of earth & sky. for Best original Score for Mathinna in 2009. Work, 2004 Helpmann Awards), and Mathinna Festival: Ngurrumilmarrmeriyu – Wrong Skin. Positions: Artist-in-Residence with Bangarra. (Best Dance Work and Best Choreography, 2009 In 2011 Stephen commissioned Bangarra Other: Performed in Sydney Dreaming. Started Training: Centre for Aboriginal Studies in Music Helpmann Awards) have become milestones in performer Elma Kris to choreograph her second a dance group at St Scholastica’s college YAPA (CASM) at Adelaide. Uni Australian performing arts. Signifi cantly, Stephen work for the company in the program Belong MALA. Choreographed a piece for former US has choreographed Rites to Stravinsky’s score for which Stephen choreographed ID. It toured Vice President Al Gore, the 2004 , – a collaboration between Bangarra and The capital cities between July and September. In Danish Royal visit in 2005 and Dreaming Festival Australian Ballet and he directed Indigenous 2011 Stephen also choreographed the feature 2005-08. Performed and taught dance at Ignite sections for the 2000 Sydney Olympic Games fi l m . Stephen most recently Woman’s community dance project 2007 in MILIKA MARIKA GALIKU Opening and Closing Ceremonies. choreographed Warumuk – In the Dark Night, Victoria, teaches traditional dance and language a collaboration between Bangarra and The For Sydney Theatre Company: debut. Film: Move it As Artistic Director of the 2004 Adelaide at NAISDA Dance College. Training: Certifi cate II Australian Ballet. Mobster. Other: Toured nationally with Indigenous Festival of the Arts, Stephen was praised for in Dance, NAISDA Dance College. Hip Hop Projects. 3on3 dance workshops. A reinvigorating the event with an impressive and This is Stephen’s 21st year as Artistic Director of ranger with the Aboriginal organisation Dhimurru highly successful program. Stephen’s fi lm and Bangarra. since 2002. theatre credits include the contemporary operatic fi lm Black River, numerous music video clips, directing his brother David Page in the acclaimed versity. Page 8 which toured Australia and the UK and the fi lm Bran Nue Dae. HUNTER PAGE LOCHARD RUNU For Sydney Theatre Company: debut. Other theatre: For Bangarra: Praying Mantis Dreaming, Skin, Boomerang, KIN. Film: Bran Nue Dae, The Sapphires, Arcadia, Black Talk, Djarn Djarns. KATHY BALNGAYNGU TV: Water Rats, EastWest 101, Disney Channel MARIKA CULTURAL (USA). CONSULTANT/BONBA NOELENE MARIKA GAPU For Sydney Theatre Company: debut. Other: For Sydney Theatre Company: debut. Other For Bangarra: Bush, Clan, Spirit, Fire – A theatre: For NAISDA: Eye of the Storm. Retrospective. Other: Worked as a tutor in Other: World Youth Day, Spain 2011. Cultural Aboriginal Dance and Culture including teaching performance with St Scholastica School.

Rhimi Johnson Page & Meyne Wyatt in Sydney Theatre Company’s Bloodland © Photo by Danielle Lyonne 2011. PETER ENGLAND DAMIEN COOPER Box, Black Talk, Djarn Djarns. TV: Cops LAC, Dangerous, Double Trouble, Chopper Rescue, SET DESIGNER LIGHTING DESIGNER Macumba, Picture the Women. Other: Produced For Sydney Theatre Company: Tot Mom, For Sydney Theatre Company: Pygmalion, and co-composed music for the Sydney Olympics Woman in Mind, Victory, The Virgin Mim, The Blood Wedding, Edward Gant’s Amazing Feats Opening Ceremony and for the Rugby World School for Scandal, Betrayal, The Jungle. Other of Loneliness, Zebra!, Oresteia, Honour, Tot Cup Opening. Awards: Helpmann for Best Theatre: For Bangarra Dance Theatre: Fire, Mom, The Duel, The Women of Troy, The Great, Original Score and Best New Australian Work for Mathinna, Boomerang, Unaipon, Clan, Bush, Rifl emind, The Art of War, Ying Tong, The Lost Walkabout. Sydney Theatre Award for The White Walkabout, Skin, and Fish. For Echo, Fat Pig, A Hard God, The Cherry Orchard, Guard. Shakespeare Theatre Company, Washington Summer Rain, Metamorphosis, Boy Gets DC: Titus Andronicus, Richard III, and Hamlet. Girl, Julius Caesar, Far Away, Bed, Thyestes, KIRK PAGE For Opera Australia: Sweeney Todd, Madama Morph, The Shape Of Things, These People, ASSISTANT DIRECTOR KELTON PELL BILLY MEYNE WYATT GULAMI WAYNE BLAIR WRITER Butterfl y, Simon Boccanegra, and La bohème. , This Little Piggy, Self Esteem. Other For Bell Shakespeare: Antony and Cleopatra. theatre: GFO: Dr Zhivago. For Stuart Thompson For Sydney Theatre Company: A Midsummer For Sydney Theatre Company: debut. Other For Sydney Theatre Company: debut. Other For Sydney Theatre Company: As Director: The For Gordon Frost Organisation/SEL: Man of La Productions (Broadway USA): Exit the King. For Night’s Dream, The Sunshine Club. For Griffi n: theatre: For Ilbijerri: . For Black theatre: For Griffi n Theatre: The Brothers Size, Removalists, Romeo and Juliet (STC Ed), The Mancha. For : Rite of Spring, Ambassador Theatre (Westend UK): Rifl emind. Silent Disco. For Malthouse: One Night the Swan Theatre Company: A Midsummer Night’s Silent Disco. For Belvoir: Buried City. Training: 7 Stages of Grieving (STC Ed), Stolen (STC Ed). Aesthetic Arrest and Amalgamate. For Sydney For Belvoir: As You Like It, Summer of The Moon. For Belvoir: The Dreamers, Conversations Dream, Twelfth Night, Bidnjareb Pinjarra, NIDA, Certifi cate IV in Aboriginal Theatre from As Actor: True West, Tot Mom, Inheritance, The Dance Company and Shanghai City Dance: Seventeenth Doll, Neighbourhood Watch, The with the Dead. For Black Swan Theatre Company: Jandamarra, The Island, , Waiting for WAAPA. Awards: Sydney Theatre Award for Best Cherry Pickers, The Sunshine Club. Other theatre: Mulan. Event design: Awakening – Sydney 2000 Seagull, Gethsemane, Toy Symphony, Keating!, Corrugation Road. For Hothouse Theatre: Godot, Tourmaline. For Yirra Yaakin Aboriginal Newcomer, 2011. As Director: For The Old Fitzroy: Unspoken. Olympic Games Opening Ceremony. Sydney – Peribanez, , The Chairs, The Spook, Australia! The Show! For Merrigong: Death Corporation: Waltzing The Wilarra. For Yirra Kooemba Jdarra: Njunjul The Sun. For B Sharp: 1996 Atlanta Olympic Games Closing Ceremony. In Our Name, Underpants, The Ham Funeral. For in Bowengabbie. For Back Row Productions: Yaakin Noongar Theatre: Inside Out, Solid, Cruel Dirty Butterfl y, Jesus Hopped the A Train, Ruben Universal Playground – Adelaide Festival of Arts, Malthouse/Belvoir: Exit the King. For Bangarra: Priscilla Queen of the Desert: the Musical. For Wild Woman, Runumuk, King Hit. For Urban Guthrie. For Belvoir: Ruben Guthrie, Namatjira. As 2004. New Years Eve 96, 97 and 99 – City of of earth and sky, Mathinna. Stalker: Shanghai Opera Australia: A Midsummer Night’s Dream. Theatre Projects: The Fence. For State Opera of Writer: For Kooemba Jdarra: Njunjul The Sun. As Sydney. Walking with Dinosaurs the Arena Lady Killer. Performing Lines: Three Furies, Theft For Bangarra Dance Theatre: Ochres. For Legs SA: Ingkata (Workshop). For Deckchair Theatre: Actor: For Belvoir: Stuff Happens,The Sapphires, Spectacular – for Global Creatures. Currently of Sita. For KAGE Physical Theatre: Sundowner. on the Wall and Belvoir St Theatre: Four on the Strategy for Two Hams, King for this Place, Run Rabbit Run, Conversations with the Dead, designing productions of King Kong and How to For Elision/Brisbane Festival: The Navigator. For Floor. For Legs on the Wall: On the Case, Eora The Silent Years, . For STCSA: Cloudstreet (including international tour), The Train your Dragon for Global Creatures Awards: Bell Shakespeare: The Government Inspector. Crossing, Runners Up. As Movement Director: Crow. For Swy Theatre: Wild Cat Falling. Film: Dreamers. For MTC: The Sapphires, Inheritance. Helpmann Award for Best Scenic Design in 2001, For New Theatricals: The Woman in Black, Wild for Youth Physical Theatre: FLiNG, Who Will Save , Aunty Maggie and the Womba For Bangarra Dance Theatre: Skin. For QTC: Load- 2002 and 2004. Green Room Award for Best with Style. For QTC/Griffi n: Away. For Kookaburra: the Day; for Pact Youth Theatre Bully Beef Stew Wagkun, Bran Nue Dae, The Last Ride, Stone ed Stories, Black-ed Up, The Sunshine Club. For Opera Design in 1998 and 2002. Green Room Company. Lyric Opera Chicago: A Midsummer and for Legs on the Wall: Krush. Film: Shadow Bros, September, Cold Turkey, Confessions of a Brisbane Festival: West Side Story. For Opera Award for Best Dance Design 2006. Training: Night’s Dream. Houston Grand Opera: Peter Play. As Movement Director: Bran Nue Day. TV: Headhunter, Where Two Rivers Meet, Australian Queensland: True South. For Bell Shakespeare: Bachelor of Performing Arts in Design, NIDA Grimes, Chorus! and A Midsummer Night’s Bloodlines, Shit Skin (short fi lm). As Movement Rules, , . TV: Othello, Romeo and Juliet. For Kooemba Jdarra: (1994); Bachelor of Landscape Architecture, Dream. Opera Australia: Peter Grimes, Cosi Fan Director: My Place. Other: Choreographer Cloudstreet, The Circuit, Bush Patrol. Awards: Black Shorts, Purple Dreams. For Warana Honours (1986) UNSW. Tutte, Aida, Alcina, The Magic Flute, Death In for The Melbourne Commonwealth Games Contemporary Performing Arts Award for Best URSULA YOVICH CHERISH Festival: As You Like It. TV: As Actor: Wildside, All Venice. Canadian Opera: A Midsummer Night’s 2006, indigenous section. Awards: Helpmann Collaboration in 1996, Swan Gold Award (Best Saints, Water Rats, Backberner, Small Claims 1 For Sydney Theatre Company: Romeo and Dream. SDC: many shows including Grand, and Awards received by Legs on the Wall for Best West Australian Actor) in 1994, WA Aboriginal and 3, Australians at War, Firefl ies. As Director: JENNIFER IRWIN Juliet, The 7 Stages of Grieving, The Sunshine Air And Other Invisible Forces. The Australian Choreography and Best Visual or Physical Theatre Artist of the Year Award in 1991. Double Trouble, Lochie Leonard, Dead Gorgeous. Club (with QTC). Other Theatre: For Belvoir: The COSTUME DESIGNER Ballet: The Narrative of Nothing, Romeo and Production for On the Case. Helpmann Award for As Writer: The Circuit, Lochie Leonard, My Place. Sapphires (with MTC), The Threepenny Opera, Juliet, The Silver Rose, Firebird, Tivoli, Swan Priscilla Queen of the Desert. Film: As Actor: Grace, The Tower, Blessed, Mullet. For Sydney Theatre Company: Our Town, The Dreamers, The Small Poppies, The Governor’s Lake. ADT: Be Your Self, Birdbrain. Chunky Move: Short Film: The Djarn Djarns, Black Talk, Fade 2 Stockholm, The Virgin Mim, , Up for Family, Capricornia, Snugglepot and Cuddlepie Mortal Engine. Legs on the Wall: My Bicycle Black, Jubulj, Kathy. Awards: 2005 Crystal Bear Grabs, Cyrano de Bergerac. Other theatre: For CHARMIAN GRADWELL (with Windmill Theatre Company). For Adelaide Loves You, Homelands. Adelaide Festival: for Best Short Film, Kinderfi lmfest, Berlin Film MTC: Don Parties On. For Belvoir: Keating the Cabaret Festival: Magpie Blues. For Windmill Ainadamar, Universal Playground, Flamma VOICE AND TEXT COACH Festival. 2003 Best Short Film, Dendy Awards. Musical, Stuff Happens, Gethsemane, Gates Theatre Company: The Wizard of Oz, Afternoon Flamma, Red Square. Sydney Opera House/ 2009 AWGIE for Best TV Series for The Circuit. of Egypt, The Laramie Project, My Zinc Bed. STC Voice and Text Coach. Sydney Theatre of the Elves, Riverland. For Griffi n: Nailed. Bell Malthouse: Honour Bound. Film: Mao’s Last Fellowships: 2006 STC Richard Wherrett Fellow, Dance: For The Australian Ballet: Alchemy, Company: Loot, Blood Wedding, In the Next Shakespeare: My Girragundji. For Kooemba Dancer. Positions: Tutor and Lecturer at NIDA. 2006/7 Andrew Myer Fellow at the Australian Rites, Subtle Sequence Of Revelation, Aesthetic Room, or the vibrator play, Uncle Vanya, Jdarra: Binnie’s Backyard. For Vitalstatistix: The Awards: Sydney Theatre Award for Best Lighting Film, Television and Radio School. Training: QUT Arrest, ‘X’, Totem, Amalgamate. For Sydney True West, The Wonderful World of Dissocia, Anatomy Lesson of Dr. Ruysch. For Main Street Design for Toy Symphony (2007), The Lost Echo graduate, 1997, NYU Sight and Sound 2002. Dance Company: 32 works including Berlin, Stockholm, Spring Awakening, Tot Mom, A Theatre: The Butcher’s Wife. For Black Swan: (2006) and Summer Rain (2005). Green Room Wayne is a proud man of the Butchulla clan. Free Radicals, Fornicon, Synergy with Synergy, Streetcar Named Desire, Travesties, The War of Corrugation Road. For Adelaide Festival/Playbox Piano Sonata, Shining, Protecting Veil, Shades for Best Lighting (Body of Work 2007). Mike the Roses, Romeo & Juliet, The Convict’s Opera. Theatre Company: Natural Life. For B Sharp: An of Gray, Directors Cut, Ever After Ever. For Walsh Fellowship 2003. Training: NIDA. As director: Comedy of Errors. Other theatre: As TESSA ROSE BATHALA Oak Tree. TV: Murandak “Songs of Freedom” Bangarra Dance Theatre: includes Ochres, Voice and Text Coach: For Royal Shakespeare For Sydney Theatre Company: The Cherry Pickers, documentary. Awards: Nominated for Helpmann Fish, Corroborree, Mathinna, Walkabout, X300, STEVE FRANCIS Company: Julius Caesar, The Tempest, The The Dreamers, Black Medea, Blacked Up, A Award in 2011 for Magpie Blue. Uniapon, Bush, Skin, True Stories, Fire. For WA SOUND DESIGNER Canterbury Tales, A Winter’s Tale, Pericles, Midsummer Night Dream, The Sunshine Club. Ballet: Munjarli, Kulmuk, Game Over. For Mod Days of Signifi cance, Macbeth, Macbett, The Other theatre: For Last Seen Imaging: Home. For Dance Company: Suite Synergy. Opera: For Sydney Theatre Company: Les Liaisons Penelopiad, Noughts and Crosses, The Comedies Yirra Yaakin Ngoongar Theatre: Windmill Baby, Opera Australia: Romeo & Juliet. For Adelaide Dangereuses, Pygmalion, Blood Wedding, The London Season, Twelfth Night, A Midsummer Bratwurst & Damper. For La Boite Theatre: Black Festival Trust: Ainadamar. Other: Designed White Guard, Hamlet, Tusk, Tusk, Leviathan, Night’s Dream, The London Gunpowder Chicks Talking. For QTC: Fountains Beyond, The costumes for Awakening the Indigenous segment Spring Awakening, The Removalists, Rabbit, The Season. As Director, Deviser and Trainer: 1999 Sunshine Club. For Playwrights Conference: of Sydney 2000 Olympic Opening Ceremony and Pig Iron People, Gallipoli, The Great, Romeo and season at Space 2000 in Kaduna, Nigeria. The Purple Dreams & Enuff. For Ensemble and co-designed all the costumes for the Sydney Juliet, The Taming of the Shrew, Embers, The 7 London Shakespeare Workout. As Actor: For QTC: Playwrights Conference. Other theatre: Mr 2000 Olympic Games Closing Ceremony. Other Stages of Grieving, Fat Pig, A Hard God, Stolen. West End: Easy Virtue, Lysistrata, Heartbreak Jakahashi and Other Falling Secrets. Dance: events include The Offi cial Commemorative Other Theatre: Griffi n: Speaking in Tongues, House, The Scarlet Pimpernel. For Chichester For Bangarra: Fish Dancer. For Darwin Theatre: DJAKAPURRA MUNYARRYUN Ceremony marking the Centenary of Australian Strange Attractor. Belvoir: Babyteeth, The Power Festival Theatre: Antony and Cleopatra, Twelfth Prisoners In The Garden. For Belvoir: Club Bub CULTURAL CONSULTANT Federation, The Olympic Arts Festival of the of Yes, The Book of Everything, Gethsemane, The Night, Blithe Spirit, A Respectable Wedding, Exposure. Film: Dramatically Black Workshop, Dreaming, Vast for the Australian Bi-centenary. Man from Mukinupin, Ruben Guthrie, Baghdad Cavalcade. For the National Theatre: Orwell’s Immortal Man, Lyan, Two Bob Mermaid. TV: For Sydney Theatre Company: debut. Other Designed the costumes for Dirty Dancing in Wedding, Keating!, Paul, Parramatta Girls, England. Musicals include: Gypsy, Bitter Sweet, White Collar Blue, Corroboree Walk, Icam, theatre: For Bangarra: Praying Mantis Dreaming, London, Berlin, Toronto, Utrecht, Chicago, Capricornia, Box the Pony, In Our Name, Gulpilil, Godspell, Fandango, Alice’s Adventures in Station Id (ABCTV). Other: As MC/Host: Buried Ninni, Ochres, Skin, Corroboree, Awakenings. For Hamburg, Boston and LA. Film: Costume Cutting Page 8, The Spook. Riverside: Rainbow’s End. Boogey Wonderland. TV includes: Howard’s Way, Country Book Launch. Deadly Sounds Awards Adelaide Festival: Ngurrumilmarrmeriyu – Wrong credits include: The Matrix, Mission Impossible Bell Shakespeare: Romeo and Juliet. Bangarra: Wilderness Edge, The Adventure Game, Shelley, Hard Rock Café, Sydney. As Dancer: NAISDA Skin. Other: Opening and Closing Ceremonies of II, Red Planet, Looking for Natalie Wood, Strictly Fire, True Stories, Skin, Corroboree, Walkabout, Let’s Pretend, Starlings, The Challenge. Other: Benefi t Night Sydney Town Hall, NAISDA End Of the Sydney 2000 Olympic Games, Tubowgule, Ballroom, Romeo and Juliet. Awards: Theatre Bush and Boomerang. The Australian Ballet: Voice trainer for the London School of Puppetry. Year Show Dancer Saibai/Tiwi The Performance Opening of the 2000 Olympic Arts Festival. Board Grant to study at La Scala Opera, Milan, Totem. Film: Dik, The Burnt Cork, Mr Patterns, Training: Central School of Speech and Drama, Space, Treaty Music Video. Training: Diploma in Positions: Cultural Consultant Bangarra Dance Italy, and a Centenary Medal for service to The Bristol Old Vic Theatre School. Dance, NAISDA College, Sydney. Theatre. community (2001). QUEENSLAND PERFORMING ARTS CENTRE QPAC AND BANGARRA DANCE THEATRE IN ASSOCIATION WITH MUSGRAVE PARK CULTURAL CENTRE PRESENTS PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444

Chair For this Production: Henry Smerdon AM Lydia Fairhall: Associate Producer Nick Tomlin: Events Manager Deputy Chair Cathy de Silva: Campaigns Manager Rachel Hunter Liz Wilson: Graphic Designer Trustees Judy Worsfold: Senior Advertising Coordinator TheTERRAIN timeless wonder and spiritual resonance of Lake Eyre Simon Gallaher Lisa Munks: Digital Marketing Manager Helene George Cindy Ullrich: Publicity Manager 3 TO 7 OCTOBER 2012 Bill Grant Inga Tracey: Publicity Coordinator PLAYHOUSE, QPAC Sophie Mitchell BOOK NOW Paul Piticco QPAC.COM.AU Mick Power AM OR CALL 136 246 Susan Street ACKNOWLEDGMENT Rhonda White The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Executive Staff Government Chief Executive: John Kotzas Director – Marketing: Leisa Bacon The Honourable Rachel Nolan MP Director – Presenter Services: Ross Cunningham Minister for Finance, Natural Resources and The Arts Director – Development: Jacquelyn Malouf Director – Corporate Services: Kieron Roost Director-General, Department of the Premier and Cabinet: Director – Patron Services: Tony Smith John Bradley Associate Director – Human Resources: Alicia Dodds Deputy Director-General, Arts Queensland: Associate Director – Ticketing: Chris Holder Shane Rowlands Associate Director – Presenter Services: Bill Jessop Associate Director – Programming: Deborah Murphy Associate Director – Finance and Business: Michael Stout

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

QUEENSLAND THEATRE COMPANY

PATRON ARTISTIC DIRECTOR Bloodland has been made possible by the generous assistance of: Her Excellency the Governor of Queensland Wesley Enoch The Luca and Anita Belgiorno-Nettis Foundation The Johnson Family Foundation Ms Penelope Wensley, AC The Sherry Hogan Foundation EXECUTIVE DIRECTOR Paul Cave AM. With special thanks to Michael McLeod MEMBERS OF THE BOARD Sue Donnelly Julieanne Alroe Kent Beasley SPONSOR’S NOTE Penny Everingham Allens Arthur Robinson is an international law fi rm with offi ces throughout Australia and Asia. We Erin Feros are proud to be a sponsor of the Queensland Theatre Company’s 2012 season and production Richard Fotheringham (Chair) sponsor for Bloodland. This sponsorship ties together two of the fi rm’s long-standing passions: Sharyn Ghidella support of the arts and support of the rights of Indigenous people to tell their story. Our support Nathan Jarro of the arts has centred on providing young Australian artists with opportunities to take their Dr Liz Mellish work to the world stage. Our support of Indigenous Australians has led to the formation of a Karl Morris Reconciliation Action Plan, which, since its inception in 2009, has seen the fi rm work hand-in- Terry O’Dwyer hand with Indigenous businesses, organisations and community groups to help close the gap between Indigenous and non-Indigenous Australians. For more information about Allens and our support of the arts and Indigenous rights, go to www.aar.com.au. Deborah Brown, Photo by GregDeborah Barrett Brown, Photo by