PROMPT PACK VCE Theatre Studies Unit 3, Outcome 3
PART B PART MALTHOUSETITLE GOES HERE THEATRE ACKNOWLEDGES THE LAND AND SONGLINES OF THE BOON WURRUNG AND WURUNDJERI PEOPLES OF THE KULIN NATION.
Malthouse Theatre presents Because The Night.
© Copyright: Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2021.
PROMPT PACK CREATED FOR MALTHOUSE PROMPT—MALTHOUSE THEATRE’S YOUTH AND EDUCATION PROGRAM.
Cover Image / Kristian Gehradte Photographer / Pia Johnson, Ray of Melbourne Design / Hours After Theatre Studies Prompt Pack written by / Robyn Kay Editor / Jacqui Bathman 02——DIRECTOR & CREATOR'S NOTE 04——INTRODUCTION 06——A NEW PIECE OF THEATRE FOR A NEW WORLD OF THEATRE 08——CAST & CREATIVE BIOGRAPHIES 18——PART B—UNIT 3, OUTCOME 3 19——THEATRE STUDIES—PAST EXAMINATIONS 20——VIDEO INTERVIEWS 24——LIGHTING DESIGN 26——CONTEXT 28——ELEMENTS OF THEATRE COMPOSITION 32——THEATRE STYLES 33——ACTING 35——THEATRE TECHNOLOGIES 36——MAJOR THEME & IDEAS
ICON KEY
LINKS ACTIVITY VIDEO MORE INFO DISCUSS FROM DIRECTOR & CREATOR MATTHEW LUTTON
It is thrilling to witness an audience experience Because The Night. Masked audience members follow actors through a maze of rooms, listening in as they reveal the stories of the Elsinore family. Other groups read letters hidden away in drawers or go through files in the security room to uncover deeper secrets of the country itself. It is exhilarating to see theatre alive again and an audience empowered to follow their own curiosities. For Because The Night, we have built a ‘world’ for everyone to explore. The death of a King. A royal family torn between radical change and self-preservation. Timber workers planning violent protests as a last resort. A ransacked forest seeking revenge, and buried past reclaiming its prominence and centrality. History is in the making in Elsinore, but there is no single truth—many narratives and point of views are intertwining and colliding with each other. To stage a production of this nature requires the level of detail you expect from a grand narrative—an intricacy that makes the fictional world feel both vivid and fantastical. The actors never leave the space, laying every private moment bare. With six protagonists spread across the space, it’s impossible to see everything at once. But the characters are just one layer to this story. The narrative and history is also woven into every room, every sound, every element of the design. And you as the audience have the freedom to carve your own path, build your own story, encounter Elsinore’s secrets in your own time. Malthouse Theatre has never created a work like Because The Night before. We didn’t think it would be possible. But the world of Elsinore is ready and the adventure is yours to make.
MATTHEW LUTTON / Concept, Direction & Text
Page 2—3 ‘BECAUSE THE NIGHT IS UNIQUE. I’VE NEVER DIRECTED ANYTHING LIKE THIS BEFORE’ — Matthew Lutton (Concept, Direction & Text)
‘AT THE END OF THE DAY WE ARE MAKING ART FOR THE AUDIENCE… IT’S SHARED STORYTELLING’ — Tahlee Fereday (Ophelia)
‘THERE’S NO RIGHT OR WRONG WAY TO EXPERIENCE THIS SHOW’ — Ras-Samuel Welda'abzgi (Laertes)
‘IT’S VERY INTIMATE’ — Artemis Ioannides (Ophelia)
‘WE’VE GIVEN [THE AUDIENCE] THE POWER OF CHOICE. SO, THEY GET NOT TO JUST BE PASSIVE AND WATCH A SHOW’ — Khisraw Jones-Shukoor (Hamlet)
‘EVERY TIME THEY [THE AUDIENCE] WALK INTO A ROOM, THEY’RE AMAZED’ — Amelia Lever-Davidson (Lighting Design)
‘OVERALL, THE FEELING SHOULD BE THAT YOU ARE IN A DAVID LYNCH DYSTOPIAN WORLD’ — J. David Franzke (Composition & Sound Design)
#becausethenight INTRODUCTION
Welcome to Malthouse Theatre’s post show Prompt Pack (Part B). The following notes and activities are intended to support VCE Theatre Studies students and their teachers in further exploration and study of the VCAA Playlisted production, Because The Night, following attendance at the play in performance. The contents of the Pack relate to Unit 3, Area of Study 3, Outcome 3— Analysing and evaluating theatre. The Because The Night Prompt Pack (Part B) works most effectively when used in conjunction with the preshow Prompt Pack (Part A). Post show Prompt Pack (Part C) designed for Unit 4, Outcome 3, may also provide further interesting support materials to consider. Take the time to cross reference—it will be helpful to refer back to Part A to support deeper study and learning following your experience of Because The Night as an audience member. Remember that the Prompt Pack information does not provide definitive answers. Rather, the purpose is to provide inroads, insights, and information about the production. You will need to engage in your own broader research, study, and discussion. Make sure you also watch the video interviews about the creation of the production. They will assist your analysis and evaluation of the play by providing some wonderful insights into the way the creative team and the actors engaged with the play and each other to develop this incredible piece of bespoke theatre for Malthouse Theatre and its audiences.
ROBYN KAY / Prompt Pack Author
Page 4—5 #becausethenight A NEW PIECE OF THEATRE FOR A NEW WORLD OF THEATRE
Because The Night is a bespoke piece of theatre specifically created for and by Malthouse Theatre. An expert and dedicated team of theatre practitioners collaborated under the leadership of Malthouse Theatre’s Artistic Director, Matthew Lutton, to carefully and lovingly bring his original concept for the show to life. 'Initial inspiration? [for the play] COVID' — Matthew Lutton (Concept, Direction & Text) 'What type of experiences do we want to offer audiences when they come back? And, that led us to a form of theatre that we have never made before. And, we’ve never had the opportunity to make before' — Matthew Lutton (Concept, Direction & Text)
'I wanted to make this a multi-strand narrative' — Matthew Lutton (Concept, Direction & Text)
Page 6—7 #becausethenight CAST & CREATIVE BIOGRAPHIES
NICOLE NABOUT MARIA THEODORAKIS BELINDA MCCLORY Claudia Claudia Gertrude Having just finished filming Maria is an award-winning Belinda is a VCA graduate and Season 3 of Jack Irish, Nicole actor, writer, and director. an award-winning actor and writer is excited to be back at The Theatre credits include The Spook who has worked professionally Malthouse. Theatre credits (Malthouse Theatre), Top Girls, across all mediums. Recent credits include Good Muslim Boy Birthrights, Measure for Measure for Malthouse Theatre include (Malthouse Theatre/Queensland (Melbourne Theatre Company), Revolt. She Said. Revolt Again., Theatre), Oil, Wakey Wakey (Red and Who’s Afraid of the Working Class Edward ll, Dance of Death, Pompeii, Stitch Actors’ Theatre), Secret (Melbourne Workers Theatre). L.A., and The Trial. Other recent Bridesmaids’ Business (Playbox Screen credits include Seven Types theatre credits include Così, Di Theatre), Much Ado About Nothing, of Ambiguity and Newton’s Law and Viv and Rose, The Waiting Room, and A Midsummer Night’s Dream (ABC). Maria won an AACTA Queen Lear (Melbourne Theatre (The Australian Shakespeare (AFI) and FCC Best Actress in a Company), Gross und Klein, The Company). Nicole has worked Feature Film Award for Walking on City, Holy Day, Concussion (Sydney extensively in TV including Jack Water. She is also a multiple Theatre Company), Feather in the Irish, Mustangs FC, Newton’s Law, Green Room Award nominee. Web, Splendour, Hir (Red Stitch Nowhere Boys, The Librarians, Upper As a writer and director, she co- Actors’ Theatre), and My Sister Middle Bogan, The Time of Our Lives created the hit online series, Little Feather (VIMH/La Mama Theatre). (ABC), Offspring (Channel 10), Acorns, which has won and been Recent TV work includes The and in film includingThree Dollars nominated for film festival awards Doctor Blake Mysteries. In film she (Arena Films), and Angel of Mine in Australia and internationally has appeared in The Matrix, Redball, (Garlin Pictures). including Best Web Series, Best Mullet, darklovestory, and Acolytes. Writing, Best Directing, Best She co-wrote and performed in Comedy, and Best Ensemble. the features X and Turkey Shoot. She also was nominated for Belinda has received a Green Best Director at the Australian Room Award and a Helpmann Directors’ Guild. Award for her theatre work.
Page 8—9 CAST & CREATIVE BIOGRAPHIES
JENNIFER VULETIC KHISRAW JONES-SHUKOOR KEEGAN JOYCE Gertrude Hamlet Hamlet Jennifer has worked Since graduating at 16th Street Keegan’s credits for Malthouse with Australia’s most innovative in 2015 Khisraw has performed Theatre include Solaris and directors in all aspects of in several productions across Cloudstreet. Other theatre credits the industry. Theatre credits Melbourne including Oil (Red include Rules for Living (Sydney include My Dearworthy Darling Stitch Actors’ Theatre), Them (La Theatre Company), Vivid White (Malthouse Theatre/THE Mama Theatre), Romeo and Juliet (Melbourne Theatre Company), RABBLE), The Women of Troy, The (The Australian Shakespeare Evie May (Hayes Theatre Histrionic (Malthouse Theatre/ Company), The Way Out (Red Company), Once (Gordon Frost Sydney Theatre Company), Stitch Actors’ Theatre), and Organisation), Edges: The Musical Arbus & West (Melbourne Theatre Macbeth (Melbourne Theatre (James Anthony Productions), Company), Merciless Gods (Little Company). and Oliver! (Cameron Mackintosh/ Ones Theatre/Griffin Theatre IMG). Film credits include Greg’s Company), Suddenly Last Summer First Day, Wall Boy, and Superman (Red Stitch Actors’ Theatre/ Returns. Television credits include Little Ones Theatre), MORAL Rake (Season 1 – 5), Please Like PANIC (Darebin Arts), Chitty Me (Season 2 – 4), Rescue: Special Chitty Bang Bang, and Mamma Mia. Ops, and K9. Keegan released his Screen credits include Mandy the debut album Snow on Higher Ground Mullet in Wentworth (Foxtel). in 2016. Keegan has a degree Jennifer has received a Sydney in Musicology from the Sydney Theatre Award for Chitty Chitty Conservatorium of Music. Bang Bang, for which she also received Helpmann and Green Room Award nominations, a Green Room Award for Merciless Gods, and Green Room Award nominations for The Women of Troy and Nightingale and the Rose. Jennifer is the voice of innumerable SBS television documentaries, and multi-award-winning audiobook narrator (3M Talking Book of the Year Award and TDK Unabridged Fiction Award).
#becausethenight CAST & CREATIVE BIOGRAPHIES
RAS-SAMUEL WELDA’ABZGI HARVEY ZIELINSKI TAHLEE FEREDAY Laertes Laertes Ophelia Ras-Samuel is a vessel for telling Harvey Zielinski is a 2017 Tahlee is a 2017 graduate of stories that are gifted to him, and National Theatre Drama School Victorian College of the Arts. he is on a mission to share those graduate, a 2018 Heath Ledger Before her studies she was based gifts with the world. He holds Scholarship finalist, and a Casting in Darwin where she hosted theatre dear to his heart and is Guild of Australia Rising Star The Breakfast Show with Tahlee excited to be a part of history in Award recipient. Theatre credits on Larrakia Radio 94.5FM. the making as Laertes in Because include Hir, The Antipodes, Suddenly Theatre credits include Blackie The Night. Ras-Samuel is also part Last Summer (Red Stitch Actors’ Blackie Brown: The Traditional Owner of WEYA’s Sub30 Collective, Theatre), and Gender Euphoria of Death (Malthouse Theatre/ an established collective of (Melbourne International Arts Sydney Theatre Company), artists who are in-residence at Festival/Midsumma Festival, Astroman (Melbourne Theatre The Malthouse in 2021. The Mardi Gras). TV credits include Company), Fallen (She Said Collective’s latest work, The Retreat, series lead Abel in the US Sci-Fi Theatre), and Love (Dee & is a hybrid of film and theatre that series Don't Look Deeper (Quibi), Cornelius), which toured to was shot cinematically Hamilton- Why Are You Like This, Get Krack!n the Venice Biennale after its style. Recent screen works include (ABC), and Starting From...Now! Melbourne season. As a First The Last Supper, BLVCK GOLD, (SBS). Film credits include My Nations and queer artist, Tahlee is Jebena Genie which he wrote and First Summer and Some Happy Day. an advocate for representation of produced, and he has worked Harvey is also a writer, and his minority voices on the mainstage. as a consultant for an upcoming debut feature film screenplay Netflix series. When he is not received development support working, you can find Ras-Samuel from the ABC. training and developing his craft at Brave Studios where he has been since 2012 having received a full long term scholarship.
Page 10—11 CAST & CREATIVE BIOGRAPHIES
ARTEMIS IOANNIDES RODNEY AFIF SYD BRISBANE Ophelia Polonius Polonius Artemis Ioannides is an actor, Rodney works regularly across A graduate of Flinders University singer, writer, and visual creative film, television, and theatre. Drama Centre Syd's career spans who works between Melbourne Rodney’s theatre credits include 37 years. He performed with and Athens. Recent theatre Good Muslim Boy (Malthouse Malthouse Theatre in Night on Bald credits include Pomona (Red Theatre/Queensland Theatre), Mountain. Recent theatre credits Stitch Actors’ Theatre), Taxithi Othello (Eleventh Hour Theatre include Macbeth, A Midsummer (fortyfivedownstairs), Fallen, Salt Company), Wait Until Dark, Three Night's Dream, Hamlet, and Romeo & (She Said Theatre), and Women Sisters, The Balcony, Two Brothers, Juliet (The Australian Shakespeare in War (Arts Centre Melbourne). The Golden Dragon, Glengarry, Glen Company). Theatre highlights Artemis' screen credits include Ross, and most recently Macbeth Fawlty Towers Live Australian Wentworth (Foxtel), Secret Bridesmaids’ (Melbourne Theatre Company). Tour, Victory (Sydney Theatre Business (Channel 7), and The He played a lead role in the AFI Company), and He Stumbled (The Beautiful Lie (ABC). Artemis has nominated feature Lucky Miles and Wrestling School UK). Film been nominated for Best Female the award-winning short Azadi. credits include Dirt Music, Red Dog, Performer at the Green Room Other feature film credits include True Blue, Boxing Day, and Silent Awards for Angry Sexx, Best The Killer Elite, My Year Without Sex, Partner. TV credits include Stateless, Ensemble for Pomona, and Best Love’s Brother, and Serenades. Recent Conspiracy 365, and Beaconsfield. Ensemble for Taxithi. screen credits include The Hunting, The Commons, Ali’s Wedding, Hotel Mumbai, Pirates of the Caribbean, and six-part TV series Romper Stomper. He will also appear in the forthcoming Royal Flying Doctor Show.
#becausethenight CAST & CREATIVE BIOGRAPHIES
MATTHEW LUTTON KAMARRA BELL-WYKES RA CHAPMAN Concept, Direction & Text Text Text Matthew Lutton is Malthouse Kamarra is a multi-practicing Ra is a Korean-Australian writer Theatre’s Artistic Director and theatre-maker and one of and actor. She is currently an Co-CEO. Prior to this, he was Malthouse Theatre's 2021 Artist in Residence at Malthouse Malthouse Theatre’s Associate Artists in Residence. Her recent Theatre and an alumnus of the Director and the Artistic Director credits include Blackwrights, Besen Family Artist Program. of ThinIce in Perth. Directing Scartrees, VIRAL, and Chopped Liver Ra has filmed five seasons of the credits for Malthouse Theatre (ILBIJERRI Theatre Company). award-winning series Wentworth include Solaris, Cloudstreet, In 2020 Kamarra was recognised (Foxtel). She was selected to Melancholia, Bliss, Black Rider: The by Hepatitis Victoria and Drama take part in the Film Victoria Casting of the Magic Bullets, The Real Victoria for her groundbreaking funded Storylab (Cinespace) and Imagined History of the Elephant work in Social Impact Theatre and Talent Camp (AFTRS), and Man, Away, Edward II, Picnic and Drama Education. is the Program Coordinator for at Hanging Rock, I Am a Miracle, Storylab 2.0. Ra has worked Night on Bald Mountain, The Bloody across various projects in a Chamber, Dance of Death, Pompeii, dramaturgical capacity including L.A., On the Misconception of Oedipus, with Playwrighting Australia Die Winterreise, and Tartuffe. For and Arts House. She recently Sydney Theatre Company he has received ABC Fresh Start funding directed The Trial, The Mysteries: for digital series WHITE FEVER Genesis, and The Duel. Other and is in development with directing credits include Love a TV comedy series based on Me Tender (Belvoir St Theatre) her experiences as a Korean- and Don’t Say the Words (Griffin Australian adoptee. Ra has Theatre Company). His opera received a Best Actress Award at directing credits include Make Newport Beach Film Festival (US), No Noise (Bavarian State Opera), was nominated for an IF Award Strauss’ Elektra (Opera Australia/ for Face to Face in 2015, and was West Australian Opera), and awarded the Wheeler Centre Hot Wagner’s The Flying Dutchman Desk Fellowship in 2018. (New Zealand Opera).
Page 12—13 CAST & CREATIVE BIOGRAPHIES
DALE FERGUSON MARG HORWELL MATILDA WOODROOFE Set Design (Architecture) Set Design (Interiors) Associate Set Design (Interiors) Dale has worked extensively Marg is a multi-award-winning Matilda Woodroofe is a set with major theatre and opera designer. Recent credits include and costume designer with a companies around the world. The Picture of Dorian Gray (Sydney diverse body of work spanning Recent Malthouse Theatre credits Theatre Company). Marg has also across theatre, dance, television, include Away, Brothers Wreck, Night designed Blasted, Melancholia, The and film. Design associate on Bald Mountain, Dance of Death, Testament of Mary, Caravan, Revolt. theatre credits include Going and Timeshare. Other credits She Said. Revolt Again., The Real Down (Malthouse Theatre/ include Counting and Cracking, Sami and Imagined History of the Elephant Sydney Theatre Company), and in Paradise, The Blind Giant is Dancing Man, The Homosexuals or ‘Faggots’, Random (Belvoir St Theatre). (Belvoir St Theatre), Emerald Edward II, I Am a Miracle, and The Select set and costume design City, L’Appartement (Queensland Good Person of Szechuan (Malthouse credits include A Normal Child Theatre), Oklahoma (The Theatre). Other credits include (Ridiculusmus/National Disability Production Company), An Ideal Salome (English National Opera), Slapstick Plan), Air Race, Trapper Husband, Born Yesterday, Così, The Avalanche (Barbican), Unsere Kleine (Arena Theatre Co), and Passenger. Weir, The Speechmaker, The Crucible, Stadt (Theater Basel), Anthem Select screen credits include Spear Top Girls, The Drowsy Chaperone (Performing Lines), Lorelei (Bangarra Dance Theatre), 2040, (Melbourne Theatre Company), (Victorian Opera), Leviathan Get Krack!n, and Cleverman (ABC). and Les Liaisons Dangereuses (Circa), Sexual Misconduct of the Matilda co-created Studio Fantasy, (Sydney Theatre Company). Middle Classes, The House of Bernarda a portrait project for children as Opera credits include Tosca Alba, Birdland, Cock, Constellations, part of Artplay's New Ideas Lab (Opera Queensland), The Magic Marlin (Melbourne Theatre in 2016. Matilda completed a year Flute (Lyric Opera of Chicago), Company), How to Rule the World, long Emerging Designer artist The Riders (Malthouse Theatre/ Lord of the Flies, The Resistible Rise placement with THE RABBLE Victorian Opera), Anything Goes of Arturo Ui (Sydney Theatre in 2016. Matilda was nominated (Opera Australia), Otello (Cape Company), Animal (Influx for a Green Room Award for Town Opera/Western Australia Theatre), Lilith: The Jungle Girl, La Outstanding Set and Costume Opera/Opera Queensland/State Traviata, Summertime in the Garden Design (Independent Theatre) for Opera), A Midsummer Night’s Dream of Eden (Sisters Grimm), SHIT, Mad as a Cute Snake. (Houston Grand Opera/Canadian Love, Big Heart, and Savages (Dee Opera/Lyric Opera of Chicago), & Cornelius). Marg has been Ariadne Auf Naxos (Welsh National recognised at numerous Green Opera/Boston Lyric Opera), and Room Awards and the Sydney Marriage of Figaro (Opera Australia/ Theatre Awards. Welsh National Opera). Dale has received multiple Helpmann and Green Room Awards for his work.
#becausethenight CAST & CREATIVE BIOGRAPHIES
J. DAVID FRANZKE AMELIA LEVER-DAVIDSON KAT CHAN Composition & Sound Design Lighting Design Costume Design J.David Franzke is a composer, Amelia is a lighting designer Kat Chan is a set and costume sound designer, music mixer, and based in Melbourne, whose designer for theatre, dance, producer. His primary work is practice encompasses theatre, video, and installation. Originally composing and designing for dance, live art, television, and trained as an architect, Kat live performance in theatre. It events. Theatre design credits worked in practices in Adelaide also includes film, visual art include Australian Realness, Trustees, and Tokyo before moving to installations, as well as the Turbine (Malthouse Theatre), Melbourne. Select set and production of albums. Known Torch the Place, The Violent Outburst costume design credits include for his bold and idiosyncratic That Drew Me To You (Melbourne Torch the Place (Melbourne Theatre scores, Franzke has worked Theatre Company), My Brilliant Company), From Silence, Control, with some of Australia’s most Career, Every Brilliant Thing Finding the Calm (The Australian influential directors including, (Belvoir St Theatre), DIASPORA Ballet), Mother (If Theatre/Belvoir Simon Phillips, Matthew Lutton, (Chamber Made), NEXT MOVE 11 St Theatre/QPAC), and The Peter Houghton, Marion Potts, (Chunky Move), They Divided The Australian Ugliness (Eugenia Lim/ Michael Kantor, Pamela Rabe, Sky (25A Belvoir), MORAL PANIC, Open House Melbourne). and Richard Lowenstein. His Contest, NICHE, Conviction, Dream work has toured both nationally Home (Darebin Arts), Hand to God and internationally most (Vass Productions), Desert, 6:29pm, notably, Picnic at Hanging Rock for Jurassica, Foxfinder (Red Stitch Malthouse Theatre. Franzke has Actors’ Theatre), Looking Glass, received Green Room Awards for Triumph (fortyfivedownstairs), Composition and Sound Design META (Malthouse Theatre, for Melancholia, Away, Picnic at Helium), and MKA Double Hanging Rock, and Pompeii, L.A., Feature (Melbourne Theatre with a contribution spanning 25 Company NEON Festival). As years in Australia’s arts industry. lighting associate, The Nico Project (Melbourne Festival) and as tour lighting associate, Minnie & Liraz (Melbourne Theatre Company). Amelia has received multiple Green Room Awards nominations. Amelia was awarded for her work on DIASPORA, Contest, Looking Glass, and for her 2015 body of work.
Page 14—15 CAST & CREATIVE BIOGRAPHIES
BRIDGET BALODIS MARK PRITCHARD TIA CLARK Assistant Direction Dramaturg Stage Manager Bridget trained as a director Mark Pritchard is a dramaturg, Tia is Malthouse Theatre's at Victorian College of the and the New Work Manager Production Coordinator. Prior Arts and Australian National at Malthouse Theatre. Recent to this, she was a Stage Manager University. She works primarily credits for Malthouse Theatre for Malthouse Theatre, amongst with new Australian writing and include Hello, World!, Atomic, Going other companies, since graduating is a member of theatre collective, Down, Heart is a Wasteland, Little from the Western Australian New Working Group. As a Emperors, Turbine, and Blak Cabaret. Academy of Performing Arts dramaturg/director Bridget has He was also dramaturg on Mormon (WAAPA) in 2009. Select developed work with playwrights Girl (Hot Mess Productions) and Malthouse Theatre credits Michele Lee, David Finningan, Wael Zuaiter: Unknown (Next Wave include The Testament of Mary, Dan Giovannoni, Amelia Evans, Festival). He co-directed Shotgun The Real and Imagined History of Morgan Rose, and Rachel Perks. Wedding, The Séance, and Unfinished the Elephant Man, Revolt. She Said. Recent directing credits include Business (NO SHOW). Mark is Revolt Again., Edward II, Picnic at She Is Vigilante (Theatre Works), chair of the Green Room Awards Hanging Rock (with Black Swan Cybec Electric (Melbourne Theatre Association Independent Theatre State Theatre Company/Sydney Company), MORAL PANIC Panel, a recipient of the Mike Theatre Company), I Am a Miracle, (Darebin Arts), Desert, 6:29pm Walsh Fellowship, and an alumnus Timeshare, Hello, Goodbye and Happy (Wuzhen Theatre Festival/Red of the Australia Council’s Future Birthday, Walking into the Bigness, Stitch Actors’ Theatre), GROUND Leaders Program. He is one half Ugly Mugs (with Griffin Theatre CONTROL (Next Wave/Brisbane of the Centre for Dramaturgy Company), The Government Inspector Festival), Jurassica (Red Stitch and Curation. (with Belvoir St Theatre), The Actors’ Theatre/Critical Stages), Bloody Chamber, Dance of Death, and Kids Killing Kids (Next Wave Hate, A Golem Story, and Baal (with Festival). In 2015 and 2016 she Sydney Theatre Company). lived in New York, where she Tia has also worked for companies worked with downtown legends including Chunky Move, Gordon Elevator Repair Service and Frost Organisation, and The Wooster Group alumna, Anna Production Company. Kohler. She was a part of the inaugural Melbourne Theatre Company’s Women Directors’ Program and has been a recipient of the Ian Potter Cultural Trust Award, Mike Walsh Fellowship, and Dame Joan Sutherland Award.
#becausethenight CAST & CREATIVE BIOGRAPHIES
LYNDIE LI WAN PO CECILY RABEY NATASHA NOEL Deputy Stage Manager Deputy Stage Manager Assistant Stage Manager Lyndie is a graduate of Victorian Cecily has relocated to Natasha is a graduate of Victorian College of the Arts, she has Melbourne and is a graduate College of the Arts, she is excited worked as a stage manager and from The Royal Central School to be back working with the an assistant stage manager both of Speech and Drama in London. incredible Malthouse Theatre nationally and internationally. Because The Night is her second team, previously working with Credits for Malthouse Theatre production at Malthouse Theatre. them on Solaris. She is a confident include The Importance of Being Cecily has worked nationally and energetic stage manager Earnest, Solaris, The Temple, Blasted, and internationally as a stage who thrives in a collaborative Going Down, Picnic at Hanging Rock, manager and production manager. and creative environment. Prior Wild Bore, Timeshare, I Am a Miracle, Select credits include Wake in to this, Natasha was working and The Good Person of Szechuan. Fright (Malthouse Theatre), Daddy as a dresser for Marriner Select credits include Token (Arts House), FLIGHT (Darkfield/ Group, credits include Billy Armies, Common Ground (Chunky Realscape Productions), Angelo Elliot the Musical and War Horse Move), Calamity Jane (One (Little Angel Theatre), and Lost (National Theatre Tour). She Eyed Productions), Funny Girl, Lending Library (Punchdrunk). has also worked in multiple Curtains, Dusty, Hello Dolly, Jesus stage management roles across Christ Superstar (The Production numerous productions including Company), Big Bad Wolf, Grug, Sunday in the Park with George Grug and the Rainbow (Windmill (Watch This), Ragtime (Production Theatre), Separation Street, Ants, and Company), and RENT (James Cerita Anak (Polyglot Theatre). Terry Collective).
Page 16—17 COINTHA WALKEDEN Assistant Stage Manager Cointha has contributed her management and technical skills to a broad scope of productions since graduating from Victorian College of the Arts in 2018. Cointha’s Malthouse Theatre credits include Australian Realness. Cointha has worked on Melbourne Opera’s productions and regional tours for The Flying Dutchman (Regent Theatre), FIDELIO (Athenaeum Theatre), Das Rheingold (Regent Theatre), and has stage managed for St Kilda Festival, The Perception Experiment (Arts House/GUTS Dance), The Cabin (Darebin Arts), and frequently works with Chunky Move and The Conservatorium of Music as a technician. Other notable credits include stage managing for Yo-Yo Ma’s recital for The Bach Project/CLIMARTE and Children of Saturn (Melbourne Fringe Festival). Cointha has worked on commercial music theatre auditions for GWB Entertainment, The Gordon Frost Organisation, Lynne Ruthven Casting, and for annual Melbourne events including the AFL Grand Final Parade and Moomba Festival.
#becausethenight PART B—UNIT 3, AREA OF STUDY 3, OUTCOME 3
On completion of this unit, the student should be able to analyse and evaluate the creative and imaginative interpretation of a written script in production to an audience.
VCAA THEATRE STUDIES STUDY DESIGN (PAGE 22) DEFINITIONS
ANALYSE: to look at something closely, methodically and in detail and to consider how it’s formed by its various parts or essential elements...In doing so you make sense of something including how and why it happened. (ACTING SMART THEATRE STUDIES V8, PAGE 8) TWO KEY QUESTIONS
HOW DID IT HAPPEN? WHY DID IT HAPPEN?
EVALUATE: to assess or judge the value of something... Express your opinion about the quality, merit or success of what you have seen. (ACTING SMART THEATRE STUDIES V8, PAGE 20) THREE KEY QUESTIONS
WHAT DID I THINK OF THAT CHOICE? WHAT EFFECT DID IT HAVE ON THE AUDIENCE? WAS THE EFFECT NEGATIVE OR POSITIVE?
Essentially you are being asked to consider the ‘what’, ‘how’, and ‘why’ of the production you have seen. To answer these questions properly you will need to support your responses with direct and specific evidence from the interpretation you saw in performance. The contextual information and preshow activities in Prompt Pack (Part A) should provide a sound basis for deeper understanding and critical exploration of the script in performance.
VCAA Theatre Prompt Pack Study Design Part A
Page 18—19 THEATRE STUDIES—PAST WRITTEN EXAMINATIONS
Below is a link to the VCAA site where past Theatre Studies Written Examinations can be located. The exams that are relevant are the 2019 and 2020 Sample Theatre Studies Examinations and the end of year Written Theatre Studies Examinations. In these examinations you can explore the questions that were asked in 2019 and 2020 in relation to Unit 3, Outcome 3.
VCE Theatre Studies Past Written Examinations
#becausethenight VIDEO INTERVIEWS In the video interviews we will hear from J. David Franzke (Sound Design & Composition), Amelia Lever-Davidson (Lighting Design), Tahlee Fereday (Cast, Ophelia), Artemis Ioannides (Cast, Ophelia), Khisraw Jones-Shukoor (Hamlet), and Ras-Samuel Welda’abzgi (Laertes)—some of the designers and performers working on this production. Their expertise and dedication to this huge and unique project has resulted in an extraordinary piece of theatre and a whole new experience for its audiences. Because The Night is an incredible journey into Immersive Theatre that challenges audiences to rethink their understanding of how theatre can be presented and engaged with.
Page 20—21 INTERVIEW—AMELIA LEVER-DAVIDSON (Lighting Design)
Q&A WITH AMELIA LEVER-DAVIDSON
1. This is a massive production to approach as a lighting designer. Direct link Can you talk to us about the major considerations you had to take into account when developing your design for Because The Night?
2. Could you give us a couple of examples of some of the atmospheres Direct link you had to create and how you designed these?
3. Can you tell us about some of the equipment you use to make Direct link different effects?
4. How does a roving audience potentially impact your lighting design? Direct link
5. Which aspect of your design brief proved to be the most exciting Direct link and/or challenging?
#becausethenight INTERVIEW—J. DAVID FRANZKE (Composition & Sound Design)
Q&A WITH J. DAVID FRANZKE
1. Over 30 separate rooms, two different worlds colliding, and a roving Direct link audience. Can you tell us about some of the unique challenges this production presented for you?
2. Could you describe your collaborative process for us? Direct link
3. Can you give us some idea of what you want the audience experience to be? Direct link
4. What kind of sound and composition techniques are you using to create Direct link this experience?
5. What kinds of equipment are you using to create your soundscapes Direct link and effects?
Page 22—23 INTERVIEW—TAHLEE FEREDAY, ARTEMIS IOANNIDES, KHISRAW JONES-SHUKOOR & RAS-SAMUEL WELDA’ABZGI (Cast)
Q&A WITH TAHLEE FEREDAY, ARTEMIS IOANNIDES, KHISRAW JONES-SHUKOOR & RAS-SAMUEL WELDA’ABZGI
1. How many actors are in the show? Direct link
2. Were you familiar with the story of Hamlet prior to this show? And, if so, Direct link how did that shape the way you approached this text?
3. What has the development and rehearsal process been like for this show? Direct link
4. What is the role of the audience in this show? Direct link
5. Tahlee and Artemis, you are both playing the same character. Can you Direct link tell us about how you have approached the character of Ophelia?
6. Khisraw and Ras-Samuel, can you tell us about your process and how have Direct link you worked with Matthew and Bridget to create your characters?
7. Do you have any advice or insights for young artists who are working Direct link with a script to create a performance?
#becausethenight LIGHTING DESIGN
Page 24—25 #becausethenight CONTEXT
◊ Isolate some elements of the lighting and composition/sound design that reflect the context of the ruling families in the world ofBecause The Night ◊ Isolate elements of the lighting and composition/sound that reflect the context of the Crosscutters in the world of Because The Night ◊ Isolate elements of the lighting and composition/sound that convey the context of the ancient/pagan world of Because The Night
Prompt Pack Part A
Page 26—2626—27 CONTEXT
Think about your own journey through the separate spaces that form the whole set. Make a list of the rooms you entered. Make notes or annotated sketches about any design features you recall. You might refer to the set decoration, props, lighting, and/or sound. If there was an actor/actors in the space, describe what they were doing and what the scene involved.
◊ Discuss the contexts that are evident in Because The Night ◊ Discuss how the actors’ use of Dale, Marg, and Matilda's set and the acting spaces reflected context/s ◊ Discuss how some of the director’s blocking choices reflected context/s ◊ Discuss some of the ways in which the use of the set and props helped to enhance your understanding of the context/s of the script ◊ Can you identify some of the ways in which the set and props conveyed the wider world of the play to the audience? ◊ Select three scenes that had the greatest impact on you. Describe how the set supported and helped to convey the atmosphere and mood of your selected scenes
SET MODEL FOR THE ROYAL OFFICE THE LIBRARY
SET DESIGN FOR THE ROYAL OFFICE INITIAL MOOD BOARD
#becausethenight ELEMENTS OF THEATRE COMPOSITION
Practitioners use elements of theatre composition to organise components of a theatre production to create a deliberate effect, realising their aims and intentions, and/or those of the creative production team.
VCAA THEATRE STUDIES DESIGN (PAGE 10)
The elements of theatre composition are: ◊ COHESION ◊ MOTION ◊ RHYTHM ◊ EMPHASIS ◊ CONTRAST ◊ VARIATION
COHESION: relates to two major aspects of the play in performance—the vision for the interpretation of the work and how the concepts for the realisation of the overall vision 'hang together' in performance to convey context, atmosphere, character, ideas, themes, the plot, and meaning. MOTION: is about the 'movement' of the piece. This might be the blocking of the actors or the positioning, pattern, and arrangement of design elements. RHYTHM: focusses on pace and timing. These combine to create tempo. EMPHASIS: relates to the areas of the production that are given strong focus or significance. CONTRAST: is about the opposing aspects of the production. VARIATION: can relate to conflict, energy, intensity, tension (dramatic tension), and use of space. The key thing to remember is that these elements are deliberately selected and applied to provoke a specific level of engagement and/or reaction from the audience. In other words, the elements of theatre composition are used to create meaning for the audience and enhance their understanding. The elements of theatre composition may or may not all exist at the same time. Rather, they should work seamlessly together to support the interpretation of a script.
◊ Analyse how one of the six elements of theatre composition has been applied at significant moments throughout the show ◊ Evaluate the effect your chosen element of theatre composition had on the actor- audience relationship
VCAA Theatre Study Design
Page 28—29 ELEMENTS OF THEATRE COMPOSITION
LIGHTING Amelia Lever-Davidson is the Lighting Designer for Because The Night. In her interview, Amelia reflects on the creative decisions she had to make to light this unusual production. She describes how her traditional way of lighting a theatre show had to be adapted to suit the Immersive Theatre style. 'The process of designing for Because The Night has been really different than a usual theatre design... we had to pursue a different agenda' — Amelia Lever-Davidson (Lighting Design)
◊ Provide three examples of how lighting is applied to give variation in the show? ◊ Provide evidence from two scenes where lighting supports the cohesion of the play in performance?
SOUND J. David Franzke is the Composer and Sound Designer for Because The Night. J. David’s role was to provide a bespoke, extended composition/ soundscape for Because The Night. He was charged with creating the atmosphere for the show, directing the audience’s focus, and supporting the actors in their performances. When describing his brief, he says: 'The challenge has been to see how little can I do, yet still give everyone a sense of something happening and never- ending excitement. To try and give the audience that sense of wonderment. To move where the action is going to be'
◊ Find three examples of moments in the show when the use of sound supported the motion of the play in performance ◊ Analyse how the use of sound supported and conveyed variation during the performance ◊ Evaluate the ways in which the sound design contributes to the rhythm of the play in performance
Amelia Lever-Davidson's J. David Franzke’s Composition & interview interview Sound Design clip
#becausethenight ELEMENTS OF THEATRE COMPOSITION
SET ◊ Describe three ways in which the compositional element of contrast is reflected in the set design? ◊ Provide four examples of how Dale (Set Design, Architecture) and Marg & Matilda (Set Design, Interiors) have used the compositional element of emphasis in their set designs?
COSTUME Kat Chan designed the costumes for Because The Night. Examine the images of her costumes. Then respond to the questions.
◊ How do Kat’s costume designs reflect the compositional element of emphasis? ◊ Isolate two instances when the compositional element of contrast was applied to the characters’ costumes
Page 30—31 #becausethenight THEATRE STYLES
◊ Discuss which conventions of Immersive Theatre were evident in the performance ◊ Analyse the use of the theatre style of Immersive Theatre in the performance ◊ Evaluate how the application of the Immersive Theatre style created meaning for the audience
FURTHER ANALYSIS & EVALUATION Select one production area from: costume, direction, lighting, set or sound. ◊ Analyse and evaluate some of the creative choices that were made by the designer in your chosen area and explain the purpose of these choices and the effect they had on the audience
Prompt Pack Part A
Page 32—33 ACTING
◊ Discuss some of the moments in the performance when the use of non-verbal language was evident. And, how the use of non-verbal language conveyed meaning to the audience
◊ Isolate four significant decisions made by the director to interpret the written script for performance to a contemporary audience
◊ Analyse how one actor used voice, gesture, and movement to convey aspects of his/her character
◊ Analyse how one actor’s delivery of the dialogue established the context of the script
◊ Discuss some of the ways in which the use of Dale, Marg, and Matilda’s set helped to convey the dramatic tension of the script in performance. You might consider the director’s blocking choices and the actors’ use of the acting space
◊ Evaluate how the actor-audience relationship was established and maintained and how the audience was affected by this relationship
Cast interview
#becausethenight Page 34—35 THEATRE TECHNOLOGIES
The Immersive Theatre style of Because The Night poses different challenges in mounting the production. These challenges demand highly specialised approaches and solutions. The actors are in performance for 90 minutes with no breaks. The action occurs continuously in over 30 separate spaces and lighting and sound are needed to support the different scenes. Sound is continuous but fluctuates at different times depending on what action is occurring in a particular acting space.
'Rooms are activated by ‘arpeggioed’ rhythmic work and the rooms to the side reduce in intensity... more sedate... not soporific' — J. David Franzke (Composition & Sound Design) Similarly, lighting is needed throughout the labyrinth of the set, but, must alter when scenes are taking place. '… [There are] two different kinds of rooms that can operate within the play. There’s the performance rooms… the audience need to be able to see them [the actors] properly and connect emotionally. Then there’s the fun rooms where it’s purely an atmospheric room that the audience gets to explore in a private moment' — Amelia Lever-Davidson (Lighting Design) Theatre technologies are crucial to the smooth operation and application of light and sound in this production. Usually lighting and sound operators would control these technologies via the lighting console and a sound board. But, due to the unique challenges of this production, different ways of controlling and activating lighting and sound effects had to be implemented.
Watch J.David Franzke’s interview and pay particular attention to the systems and equipment he describes using to create sound for the production. ◊ Describe how the sound for Because The Night is operated ◊ What equipment did J. David use to compose the soundscape for Because The Night ◊ Select one room that you explored and one room where you watched a performance. Describe the lighting states in each of the rooms and explain how the lighting in those spaces affected your mood and/or understanding of the narrative and the world of the play
J. David Franzke’s interview
#becausethenight MAJOR THEME & IDEAS
'There’s a lot of themes and big ideas underneath Because The Night. But I think probably the big one is, does the end justify the means? I think that’s the core idea going straight through this whole show' — Matthew Lutton (Concept, Direction & Text)
◊ Discuss the ways in which this interpretation of the written script highlights the major theme of:
DOES THE END JUSTIFY THE MEANS? OTHER THEMES & IDEAS
◊ Through discussion, isolate further themes evident in the play ◊ Through discussion, isolate some of the ideas of the play
Page 36—37 #becausethenight Page 38—39 COPYRIGHT NOTICE © Copyright: Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2021. Theatre Studies Prompt Pack created by Robyn Kay Malthouse Prompt—Malthouse Theatre’s Youth and Education program. The person who has downloaded this document is granted a non-exclusive, limited license to print or make up to 20 copies and distribute them to students in the state of Victoria, for the express purpose of participation in Malthouse Theatre’s Prompt Education program. These copies must be made available to those students free of charge. Neither this PDF (digital document) nor its printed copies may otherwise be copied, distributed, emailed, stored or saved on a shared or public server or file service, in whole or in part, without the express prior written permission of Malthouse Theatre. This copyright notice must be preserved in its entirety on all copies. MALTHOUSE THEATRE 113 Sturt Street Southbank VIC 3006 Phone 9685 5111 [email protected]
#becausethenight
PART B
PROMPT PACK VCE Theatre Studies Unit 3, Outcome 3 Unit 3, Outcome Studies VCE Theatre