ANNUAL REPORT 2017 A CONTENTS

2017: At A Glance 02 Chair’s Report 04 Artistic Director’s Report 06 Executive Director’s Report 08 2017 Season 11 International & National Touring 26 Belvoir 2017 in Review 31 Corporate Governance Statement 46 Awards 50 Board & Staff 51 Donors 52 In the Rehearsal Room 54 Supporters, Trusts & Foundations, and Partners 56

Nikki Shiels in The Rover. Photo: Brett Boardman. B THEATRE ATTENDEES 9 AWARDS TO UNWAGED 4 = HELPMANN AWARDS STUDENTS

5 = THEATRE AWARDS 2 , 743 PERFORMANCE PARTICATED

2,730 IN A WORKSHOP 2017 WITH 47 HOSTED IN REGIONAL SCHOOLS AT A GLANCE WORK WRITERS 11 UNDER COMMISSION 28 SHOPS 99,197 FOR 528 STUDENTS 154 IN WESTERN SYDNEY ARTISTS 5,632SOLD EMPLOYED SUBSCRIPTIONS PERFORMANCES $4,245,729 NATIONAL

ATTENDEES OF CORE BOX OFFICE T0 2017 PRODUCTIONS GOVERNMENT 139% FUNDING REVENUE NEW SOCIAL MEDIA NEW SOCIAL MEDIA FOLLOWERS AT 4,639 480 SPENT ON ACTORS, CREATIVES & TECHNICAL WAGES 5,756 7.5 6.5 OR EVENING PERFORMANCE A A STUDENTS & THEIR TEACHERS

D E D N E T T

SCHOOLS 1,009 4 FEMALE DIRECTED MALE DIRECTED PRODUCTIONS PRODUCTIONS STUDENTS

NUMBER OF ATTENDED A BLACK SCHOOL PERFORMANCE NEW 226,785 FREE OF CHARGE UNIQUE WEBSITE SPANDEX AUSTRALIAN BODYSUITS THANKS TO OUR

VISITORS WORN ON STAGE ACCESS PROGRAM PLAYS

2 3 CHAIR’S REPORT Sam Meers

It is an extraordinary that the recruitment of a new Executive privilege to be the chair Director brings, we are undertaking a of this much-loved strategic review of operations to identify theatre company. On efficiencies through new approaches, with the many occasions in a sharper focus on business planning and which I sit in our iconic long-term sustainability. Whilst the 2017 theatre, surrounded by loss is unsatisfactory, I am comforted by the our loyal subscribers fact that the underlying creative program and newer audience is strong, and by the concerted efforts at members, I consistently Board and management level to recalibrate find myself marvelling at the contribution the business, both from a governance and Belvoir makes to the artform, the community financial perspective, to better support the and the national discourse. company’s creative capacity and ambitions.

2017 was characterised by significant change, I would like to take this opportunity to challenge and achievement. We farewelled acknowledge each of the talented and the fearless Brenna Hobson after ten years dedicated staff at Belvoir for their support as Executive Director, and our indomitable and extraordinary commitment to the Chair, Andrew Cameron AM, after nine company, particularly in this time of transition. years. Both built on the company’s strong I would also like to pay special tribute to our foundations. We welcomed (back) Sue remarkable Artistic Director, Eamon Flack, Donnelly as Executive Director, following who inspires us all, and continues to make and a robust recruitment process and a strong champion work that both extends us, and has field of candidates. Sue has an exceptional extraordinary reach and impact. reputation as one of the most experienced We remain enormously grateful for the and successful theatre Executive Directors support we receive from government at in the country. Her passion and vision for the State and Federal level, through the Australia company made Sue an ideal choice at this Council and Create NSW. Belvoir also has important time. an exceptionally committed tribe of donors, The costs associated with presenting bold, partners, supporters and subscribers, without high quality theatre continue to challenge whom we could not do the work we do: my the sector. Notwithstanding these challenges, deep thanks go to each and every one of you our artistic successes in 2017 were many. for your faith in us. We delivered a strong and diverse season, I thank the Belvoir Board for their energy, acknowledged by solid audience numbers commitment and support. In 2017 we and a slew of Helpmann Awards, and five farewelled the brilliant Anne Britton, whose Sydney Theatre Awards. dedication and passion for Belvoir has The success of the 2017 season, and those sustained the company for many years. of the many other Belvoir programs that Two new directors joined us in 2017, Patty are articulated throughout this Annual Akopiantz and Michael Lynch AO CBE. Report, are not reflected in our disappointing I also thank and acknowledge the Board of financial result for the corresponding period. Company A Limited, led by Angela Pearman, Our well-intentioned set building enterprise, for their unwavering support. which delivered affordable sets for other With strong leadership in place, a bold artistic theatre-makers throughout Sydney for a vision, and loyal and adventurous audiences, number of years, proved unsustainable and Belvoir’s future is an exciting one. I look is largely responsible for the loss recorded in forward to seeing you at the theatre. the 2017 financial year. We have taken action to close this activity. With the opportunity Samon Flack and at the Balnaves Foundation Indigenous Playwright’s Award 4 Benedict Hardie & Sheridan Harbridge in The Dog/The Cat. Photo: Brett Boardman. ARTISTIC DIRECTOR’S REPORT Eamon Flack

This was a year of new and individuals finding mad, creative ways to stories. outwit the horror. All three were celebrations of storytelling and imagination. Celebrations We aimed for an of theatre itself, really. upbeat year and we had an upbeat year: They weren’t all new stories. The old stories celebratory, joyous, (not pejorative) were both women’s stories: defiant. Our shows Aphra Behn’s The Rover and Ibsen’s Ghosts. refused to put up with The Rover was a show of outright playfulness, the bleakness of the and you can palpably feel the sudden world and they refused appearance of a new account of womanhood to succumb to cynicism. If I had to pick one in this play – the first by a professional show that exemplified this idea it would be woman playwright. Megan Wilding, Nikki Tommy Murphy’s Mark Colvin’s Kidney, the Shiels and Taylor Ferguson owned the stage. story of a member of the Conservative party Ghosts, on the other hand, is a restrained in the UK who donated her kidney to the work that gradually fills until it bursts. Our journalist Mark Colvin. Its sense of human production was exquisitely crafted. Pam Rabe frailty and human generosity cut through in was magnificent as Mrs Alving. weird, divided times and touched audiences. All in all? Stories about strong, difficult, We continued the relished task of breaking unidealised women. A rich variety of down the homogeneity of our national arts shows – some formally adventurous, some culture. A good third of our season was led adventurous in their content. A lot of by artists and stories outside the cultural Australian work – we’re on a mission with centre. We developed a double-strategy new work (watch this space). A strong sense for this. On the one hand we pumped time of the weirdness of the historical moment and resources into new storytelling – Katie – the fear and confusion, the new kinds of Beckett’s Which Way Home, Barbara and families, the accumulation of historical rage, the Camp Dogs by Ursula Yovich and Alana the sense that we have to think our way out Valentine. And we gave existing shows a of trouble. second chance – Future D. Fidel’s Prize We continued to rebuild our relationship Fighter was given a new draft and a second with our audience without sugar-coating production, and we brought back Jasper or popularising. We took artistic risks and Jones and The Dog/The Cat. This strategy pulled them off. We have pushed on with is good for artists, good for the Australian our recovery without shrinking the scope of repertoire, and good for audiences. our artistic work, without hiring fewer artists, For the first time in a very long time, without reducing our ambitions. perhaps ever, we had two American plays at It was a good, rich year of theatre, in which the centre of the season. One, a dystopian we held our nerve. light opera based on The Simpsons, of all things, which brought in eager new I’d like to thank Chair Sam Meers for her audiences in droves. The other, a classic unshakable support in her first year; Sue American family drama with a queer twist, Donnelly for coming back home to Belvoir; Hir, which gave Helen Thompson a role to all the staff of Belvoir, who work beyond their relish, and introduced Kurt Pimblett, the limits, especially this year between Executive first trans actor to play at Belvoir. These Directors; and most of all the artists who held were both wild, original stories about the back nothing and kept the whole shebang 21st century. You could put Lally Katz’s alive for another year. Long may they reign. Atlantis in the same group – all are tales of American dysfunction taking over the world, Eamono

6 Tom Conroy & in Ghosts. Photo: Brett Boardman. EXECUTIVE DIRECTOR’S REPORT Sue Donnelly

It was with great and social diversity to the stage – delight that I with five productions in 2017. We are returned to Belvoir in able to accomplish this through the September, initially developmental work we have always on a part-time basis, done which includes in-house creative after an 11-year developments as well as workshops absence. The feeling with other organisations to inspire and was very much like develop new writers, creatives and ‘returning home’, performers. except that someone Belvoir believes that the participation had come in and totally redecorated in, and appreciation of theatre is for all a number of rooms and I couldn’t find people. The quiet achiever at Belvoir, our the cups or plates. The company has exuberant Education team, continued to both grown, and grown-up, in those deliver outstanding drama workshops intervening years and I pay tribute to to schools throughout the state, with my predecessor, Brenna Hobson, for 2,700 students participating. A further steering the company through a great 5,800 school students attended our period of change and her determination productions, of whom just over 1,000 in expanding Belvoir’s horizon beyond were supported through our Access Australia, thus cementing a truly Program which is fully funded through international reputation. sponsorship and philanthropy. I am thrilled to work again with Artistic Belvoir’s famous Unwaged performances Director, Eamon Flack, and with continued throughout 2017, thanks to Sam Meers, Belvoir’s energetic and support from our new official airline enthusiastic Chair, along with all the partner Virgin Australia Airlines. These other committed Board members. They free shows ensure that people from work assiduously to support Belvoir’s disadvantaged circumstances can also many activities. see first-class theatre. The output of Belvoir is staggering for a A very big thanks to all our very generous relatively small company that punches donors and subscribers, our true well above its weight. When you review believers, who continue to support the the scale and number of productions company so that we can provide access achieved, it is impressive. Fourteen to our programs, develop new work and different productions at Belvoir in 2017 talent, and tell meaningful stories that and four tours, including one to London, delight, inspire and challenge us. resulted in over 135,000 people seeing one of our shows. Added to that is Finally I want to thank the wonderful the diversity of both the work and the Belvoir staff who work tirelessly in casting of performers. their pursuit of making Belvoir the best theatre company in Australia. Belvoir has never been shy to push boundaries and raise political and social Sue issues on our stage, as well as promote artists from other cultures. Belvoir was at the forefront of supporting and presenting Indigenous work and is also a leader in bringing stories of cultural

09 8 Elaine Crombie & Ursula Yovich in Barbara and the Camp Dogs. Photo: Daniel Boud. 2017 SEASON AND TOURS

10 11 Pacharo Mzembe, Gideon Mzembe & Kenneth Ransom. Photo: Brett Boardman. Katie Beckett & . Photo: Brett Boardman. PRIZE FIGHTER WHICH WAY HOME 2 – 22 January Upstairs 11 January – 5 February Downstairs

Statistics Statistics Performances 18 Performances 27 Total Audience 6,050 Total Audience 2,372 Box Office Income $253,213.32 Box Office Income $82,102.67

Written by Composer With Written by Creative Producer An ILBIJERRI Future D. Fidel & Sound Designer Margi Brown-Ash Katie Beckett Ben Graetz Theatre Company Felix Cross Thuso Lekwape production presented Director Director Technical Assistant Gideon Mzembe in association with Todd MacDonald Music Remix Rachael Maza Nick Glenn Pacharo Mzembe Sydney Festival Busty Beatz Dramaturg Zindzi Okenyo Dramaturg Stage/Production Manager Indigenous theatre at Chris Kohn Video Designer Kenneth Ransom Jane Bodie Kallie Jayne Chambers optikal bloc Belvoir is supported Designer A La Boite Theatre Set & Costume Designer With by The Balnaves Bill Haycock Movement Company and Emily Barrie Katie Beckett Foundation & Fight Director Tony Briggs Lighting Designer Festival production in Lighting Designer Nigel Poulton David Walters association with Sydney Niklas Pajanti Stage Manager Festival Assistant Lighting Designer Sound Designer Heather O’Keefe Christine Felmingham Mark Coles Smith Assistant Stage Manager Ariana O’Brien

Theatre exists to show us who we are, to remind us ...beautiful, intimate and One of the most intelligent, Prize Fighter is an early of our collective dignity, humanity, and capacity for often very funny. dramaturgically sound and surprisingly contender for best new work empathy. Which Way Home delivers on all fronts. ★★★★ DAILY REVIEW uplifting plays I’ve seen in years. ★★★★1/2 of the year. ★★★★ TIMEOUT SYDNEY DAILY REVIEW TIMEOUT SYDNEY 12 13

Tom Ballard. Photo: Richard Hedger. Tom Conroy & Guy Simon. Photo: Jack Saltmaris.

TOM BALLARD: BOUNDLESS PLAINS TO SHARE JASPER JONES 13 – 15 January Upstairs 25 January – 19 February Upstairs

Statistics Statistics Performances 4 Performances 30 Total Audience 1,305 Total Audience 9,713 Box Office Income $47,847.95 Box Office Income $433,147.83

Written by Presented by the Based on the novel by Composer & Assistant Stage Manager Tom Ballard Brian McCarthy Craig Silvey Sound Designer Jennifer Parsonage Moosehead Awards Steve Toulmin Director Adapted by With Scott Edgar Fight Choreographer Kate Box Scott Witt Tom Conroy Director With Anne-Louise Sarks Choreographer Tom Ballard Matilda Ridgway Sara Black Set Designer Guy Simon Michael Hankin Indigenous Advisor Charles Wu Jada Alberts Costume Designer Mel Page Stage Manager Isabella Kerdijk Lighting Designer Matt Scott

Inspiring, intensely powerful, and laugh-out-loud Brave, brutal and frankly Thoroughly engaging and emotionally challenging [A] big fat, satisfying, hilarious, this show should be compulsory viewing brilliant comedy – Belvoir’s best-selling production cements its thought-provoking, laugh-making, credentials in this month’s return to stage. ★★★★ tear-jerking smash hit. for all Australians. THEATRE PRESS ARTSHUB TIMEOUT SYDNEY STAGE NOISE

14 15 Sarah Peirse & Peter Carroll. Photo: Brett Boardman. Xavier Samuel. Photo: Brett Boardman.

MARK COLVIN’S KIDNEY THE DOG / THE CAT 25 February – 2 April Upstairs 13 April – 7 May Upstairs

Statistics Statistics Performances 25 Performances 41 Total Audience 7,455 Total Audience 11,098 Box Office Income $314,205.51 Box Office Income $514,053.59

The Dog written by Costume Designer Assistant Stage Manager Written by Composer & With Mel Page Katie Hankin Tommy Murphy Sound Designer Peter Carroll Nate Edmondson Kit Esuruoso The Cat written by Lighting Designer With Director John Howard Lally Katz Damien Cooper Sheridan Harbridge Projection Design Sarah Peirse Benedict Hardie Vexran Productions Directed by Composer & Set Designer Xavier Samuel Christopher Stollery Ralph Myers Sound Designer Michael Hankin Movement Director Helen Thomson Stefan Gregory Scott Witt Redirected by Costume Designer Supported by Macquarie Anthea Williams Associate Composer & Julie Lynch Stage Manager Group Syndicate and Sound Designer Luke McGettigan Set Designer Lighting Designer the Macquarie Group Riley McCullagh Ralph Myers Damien Cooper Assistant Stage Manager Foundation Stage Manager Keiren Smith Isabella Kerdijk

Murphy’s exceptional play … shouts about …a powerful and engrossing Looking for a date-night icebreaker at The hit rom-com double is back and compassion and a courage that transcends the story, told with clarity. the theatre? Swipe right, ‘cos this is it’s as sweetly charming as ever. ★★★★ need for enemies. ★★★★1/2 DAILY REVIEW the one. ★★★★ LIMELIGHT MAGAZINE THE SYDNEY MORNING HERALD TIMEOUT SYDNEY

16 17 Jacob Rajan. Photo: Robert Catto. Jude Henshall, Brent Hill & Jacqy Phillips. Photo: Brett Broadman.

GURU OF CHAI Mr BURNS 16 May – 4 June Downstairs 19 May – 4 June Upstairs (Belvoir) & Space Theatre (State Theatre Company of ) Statistics Statistics Belvoir State Theatre Company Performances 23 Performances 42 22 Total Audience 1,912 Total Audience 12,448 3,701 Box Office Income $63,655.45 Box Office Income $ 516,658.36 $207,864

Written by Composer & Sound Designer Written by Lighting Designer Assistant Stage Manager Jacob Rajan & Justin Lewis David Ward Anne Washburn Chris Petridis Vanessa Martin Director Musician Score by Sound Designer With Justin Lewis Adam Ogle Michael Friedman Jeremy Silver Mitchell Butel Dramaturg With Lyrics by Choreographer Murray Edmond Jacob Rajan Anne Washburn Lucas Jervies Jude Henshall Set & Costume Design An Indian Ink Theatre Director Fight Choreographer Brent Hill Concept Company production Imara Savage Scott Witt Ezra Juanta John Verryt Musical Director Dialect Coach Jacqy Phillips Lighting Designer Carol Young Paige Walker A co-production with Cathy Knowsley Set & Costume Designer Stage Manager State Theatre Company Jonathon Oxlade Natalie Moir South Australia

For anyone interested in the art of Rajan tells the story with Mr Burns is almost certainly the most unusual, Director Imara Savage, one of the sharpest storytelling, Guru of Chai is essential viewing. extraordinary clarity and warmth. original and intelligent piece of writing to talents on Australian stages, has created a ★★★★ DAILY REVIEW premiere on a Sydney stage this year. ★★★★★ production that crackles and burns. ★★★★★ TIMEOUT SYDNEY DAILY REVIEW THE GUARDIAN

18 19 . Photo: Anna Kucera. Helen Thomson & Greg Stone. Photo: Brett Boardman.

THE ROVER HIR 1 July – 6 August Upstairs 12 August – 10 September Upstairs

Statistics Statistics Performances 40 Performances 32 Total Audience 11,213 Total Audience 8,329 Box Office Income $487,364.11 Box Office Income $338,408.86

Written by Choreographer With Written by Associate Artist With Aphra Behn Cameron Mitchell Gareth Davies Taylor Mac Lucky Price Kurt Pimblett Taylor Ferguson Greg Stone Director Movement Director Director Voice & Dialect Coach Leon Ford Helen Thomson Eamon Flack Scott Witt Anthea Williams Paige Walker Nathan Lovejoy Michael Whalley Set & Costume Designer Associate Designer Elizabeth Nabben Set & Costume Designer Movement Director Supported by Belvoir’s Mel Page Chloe Greaves Toby Schmitz Michael Hankin Scott Witt Nikki Shiels Creative Development Lighting Designer Personal Assistant & Lighting Designer Design Assistant Kiruna Stamell Fund Matt Scott Access Support Worker Sian James-Holland Jeremy Allen Kerry Stamell Andre de Vanny Composer & Megan Wilding Composer & Sound Stage Manager Sound Designer Stage Manager Designer Isabella Kerdijk Supported by the Steve Toulmin Luke McGettigan Steve Toulmin Nelson Meers Foundation Assistant Stage Manager Dramaturg Assistant Stage Manager Keiren Smith Charlotte Bradley Jennifer Parsonage

This rollicking production of Aphra Behn’s great …guaranteed to give you Hir is an unstoppable, overwhelming, genuinely There are few productions that manage Restoration comedy The Rover, directed by Eamon a good time. ★★★★ exciting play. It’s a family story for the 21st to be both as entertaining and thought- ★★★★ Flack, is enormous fun. century, a riot of ideas, a socio-political provoking as Belvoir’s Hir. TIMEOUT SYDNEY tragicomedy. It’s unmissable. ★★★★★ DAILY REVIEW THE AUSTRALIAN TIMEOUT SYDNEY 20 21 Ralph McCubbin Howell. Photo: Brett Boardman. Pamela Rabe & Robert Menzies. Photo: Brett Boardman.

THE BOOKBINDER GHOSTS 26 September – 8 October Downstairs 16 September – 22 October Upstairs

Statistics Statistics Performances 23 Performances 40 Total Audience 1,763 Total Audience 10,612 Box Office Income $48,601.95 Box Office Income $467,529.26

Based on a story by Composer & Sound Designer Written by Assistant Director Supported by the Ralph McCubbin Howell & Tane Upjohn-Beatson Henrik Ibsen Carissa Licciardello Nelson Meers Foundation Hannah Smith With Adapted & Directed by Stage Manager Written by Ralph McCubbin Howell Eamon Flack Luke McGettigan Ralph McCubbin Howell Set Designer Assistant Stage Manager A Trick of the Light Michael Hankin Kaytlin Petrarca Director & Designer Theatre production Hannah Smith Costume Designer With Julie Lynch Tom Conroy Taylor Ferguson Lighting Designer Robert Menzies Nick Schlieper Colin Moody Composer & Sound Designer Pamela Rabe Stefan Gregory

Spellbinding storytelling at its purest …incredibly charming. This is a blisteringly contemporary Pamela Rabe delivers an acting and best THE SYDNEY MORNING HERALD play. ★★★★ masterclass. THEATRE REVIEW DAILY REVIEW THE SYDNEY MORNING HERALD

22 23 Amber McMahon & Lucia Mastrantone. Photo: Daniel Boud. Elaine Crombie & Ursula Yovich. Photo: Daniel Boud. ATLANTIS BARBARA AND THE CAMP DOGS 28 October – 26 November Upstairs 2 – 23 December Upstairs

Statistics Statistics Performances 33 Performances 24 Total Audience 7,256 Total Audience 7,671 Box Office Income $262,223.26 Box Office Income $325,575.17

Written by Dialect Coach Amber McMahon Written by Sound Designer With Lally Katz Paige Walker Hazem Shammas Ursula Yovich & Alana Steve Toulmin Troy Brady Matthew Whittet Valentine Elaine Crombie Director Movement Director Musical Rehearsal Director Ursula Yovich Rosemary Myers Sara Black Supported by The Hive Director Adm Ventoura and The Honey Bs Leticia Cáceres Musicians Set & Costume Designer Stage Manager Stage Manager Jessica Dunn Musical Jonathon Oxlade Keiren Smith Songs by Luke McGettigan Director & Bass Guitar Alana Valentine, Ursula Lighting Designer Assistant Stage Manager Assistant Stage Manager Michelle Vincent Drums Yovich & Adm Ventoura Damien Cooper Georgiane Deal Cecilia Nelson Debbie Yap Guitar Set Designer Composer & Sound Designer With Rehearsal Stage Manager Produced in association Stephen Curtis Harry Covill Paula Arundell Brooke Kiss with Vicki Gordon Music Lucia Mastrantone Costume Designer Rehearsal Assistant Stage Productions Pty Ltd Chloe Greaves Manager Indigenous theatre at Lighting Designer Bronte Axam Belvoir supported by The Karen Norris Balnaves Foundation

An enchanting, inventive and very A joyous epic of self-discovery with Barbara and the Camp Dogs is a rare piece, This is a wonderfully stirring funny production. ★★★★ plenty of heart. ★★★★ one that slaps you in the face then brings you show, funny and moving. It to your feet. Powerful stuff. ★★★★ enriches the heart. THE SYDNEY MORNING HERALD LIMELIGHT AUDREY JOURNAL THE AUSTRALIAN

24 25 INTERNATIONAL SEASON NATIONAL SEASON

Michael Feast, Roger Sloman & Mike Grady. Photo: Tristram Kenton. Matilda Ridgway & Tom Conroy. Photo: Jack Saltmaris. SEVENTEEN JASPER JONES The Lyric Theatre, Hammersmith, UK 4 March – 8 April Merrigong Theatre Company 22 – 25 February

Statistics Statistics Performances 37 Performances 6 Total Audience 7,966 Total Audience 2,582

Civic Theatre Newcastle 1-4 March Written by With Matthew Whittet Sarah Ball Statistics Michael Feast Director Performances 5 Mike Grady Anne-Louise Sarks Diana Hardcastle Total Audience 2,998 Designer Margot Leicester Tom Scutt Based on the novel by Composer & Sound With Lighting Designer Craig Silvey Designer Kate Box Steve Toulmin Tom Conroy Paule Constable Adapted by Steve Le Marquand Kate Mulvany Fight Choreographer Sound Designer Matilda Ridgway Scott Witt Nick Manning Director Guy Simon Anne-Louise Sarks Choreographer Movement Director Harry Tseng Sara Black Imogen Knight Set Designer (Civic Theatre Newcastle) Michael Hankin Indigenous Advisor Hoa Xuande Jada Alberts (Merrigong Theatre Costume Designer Company) Mel Page Stage Manager Isabella Kerdijk [A] striking portrait of youth. ★★★★ Completely joyous. Lighting Designer THE GUARDIAN THE STAGE Matt Scott Assistant Stage Manager Jennifer Parsonage

26 27 NATIONAL SEASON NATIONAL SEASON

Colin Friels. Photo: Brett Broadman. John Howard & Sarah Peirse. Photo: Brett Boardman.

FAITH HEALER MARK COLVIN’S KIDNEY Theatre Company 4 March – 8 April Lennox Theatre, Riverside Theatres 5–8 February

Statistics Statistics Performances 40 Performances 5 Total Audience 16,835 Total Audience 671

Written by Associate Lighting With Written by Composer & With Brian Friel Designer Paul Blackwell Tommy Murphy Sound Designer Peter Carroll Daniel Barber Nate Edmondson Kit Esuruoso Director Director Alison Whyte John Howard Composer & Sound David Berthold Projection Design Sarah Peirse Designer Vexran Productions Set Designer Set Designer Christopher Stollery Paul Charlier Brian Thomson Michael Hankin Movement Director Helen Thomson Stage Manager Scott Witt Costume Designer Costume Designer Whitney McNamara Tess Schofield Julie Lynch Stage Manager Assistant Stage Manager Luke McGettigan Lighting Designer Lighting Designer Roxzan Bowes Verity Hampson Damien Cooper Assistant Stage Manager Keiren Smith

…rich, poised performances that Theatre this fine, this pulsing and piteous, excavate all the beauty and brutality of is worth seeing in anyone’s language. this modern Irish classic. ★★★★ TIMEOUT MELBOURNE THE AGE

28 29 BELVOIR 2017 IN REVIEW THEATRICALITY. VARIETY OF LIFE. FAITH IN HUMANITY.

Belvoir is a theatre company on a side Audiences remember many landmark street in Surry Hills, Sydney. We share productions including The Drover’s our street with a park and a public Wife, , Brothers housing estate, and our theatre is in Wreck, The Glass Menagerie, an old industrial building. It has been, Neighbourhood Watch, The Wild at various times, a garage, a sauce Duck, Medea, The Diary of a Madman, factory, and the Nimrod Theatre. Death of a Salesman, The Blind Giant When the theatre was threatened is Dancing, , Cloudstreet, Aliwa, with redevelopment in 1984, over 600 The Book of Everything, Keating!, people formed a syndicate to buy the The Exile Trilogy, Exit the King, building and save the theatre. The Sapphires, The Rover, Faith Healer and many more. More than 30 years later, Belvoir St Theatre continues to be home to one Today, under Artistic Director Eamon of Australia’s most celebrated theatre Flack and Executive Director Sue companies. Donnelly, Belvoir tours nationally and internationally, and continues to Belvoir is a traditional home for create its own brand of rough magic the great old crafts of acting and for new generations of audiences. storytelling in Australian theatre. It is a platform for voices that won’t Belvoir receives government support otherwise be heard. And it is a for its activities from the Federal gathering of outspoken ideals. In Government through the Major short: theatricality, variety of life, and Performing Arts Board of the Australia faith in humanity. Council and the state government through Create NSW.

OUR VISION

To create work that questions and affirms all aspects of our culture, to extend and develop our artists and engage audiences with experiences of imaginative daring and emotional depth.

OUR GOALS GOAL 1: CREATE EXCEPTIONAL THEATRE GOAL 2: INSPIRE, EXCITE AND GROW BELVOIR’S AUDIENCE GOAL 3: BE A STRONG AND SUSTAINABLE COMPANY

ACKNOWLEDGEMENT We acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built. We also pay respect to the elders past and present. 31 Katie Beckett in Which Way Home. Photo: Brett Boardman. GOAL 1: CREATE EXCEPTIONAL THEATRE

Create and develop new and as several ongoing commitments to classic work develop work with companies including CuriousWorks. A Counting and Cracking Provide the best possible is in the final stages of development. This environment for artists large-scale work, by S. Shakthidharan, is about post-colonialism, civic society and Share the work broadly emigration in Sri Lanka and Australia. It is set to be directed by Belvoir Artistic Director, Eamon Flack, in the 2019 season.

2017 was a year that welcomed new 2017 saw Belvoir partner with the Sydney audiences to Belvoir with bold new Writers’ Festival and The Wheeler Centre productions, as well as consolidating our to present a series of hybrid ‘conversation’ reputation for excellence with our loyal events with a performative Belvoir twist audience. in the second half of the year. Monday Conversations, led by hosts Benjamin The Upstairs programming included four Law and Kate Jynx, featured panellists new Australian works and two revivals of including , Wendy Harmer, successful Australian productions, two Julian Burnside, Kat Armstrong, Tim cutting edge new international works, Rogers, as well as Belvoir favourites new interpretations of two thorny yet Gareth Davies, Megan Wilding and Nikki vital classics, and collaborations with both Shiels. The events traversed a range of La Boite and State Theatre Company of topics including performance anxiety, South Australia. The Downstairs Theatre alcohol, justice and anaesthesia, all programming featured an internationally aimed to centre Belvoir as a place for the acclaimed work from Indian Ink, alongside rigorous discussion of challenging topics a nationally celebrated children’s work, a beyond our theatrical presentations. politically pointed comedy and a heartfelt Indigenous story about family. Through our partnership with dance- theatre company Force Majeure, we The Artistic and Programming team offered a series of skills development continued to work across 2017 preparing workshops to more than 60 artists from the 2017/18 seasons for production, culturally diverse backgrounds. A smaller including several developments on group of 16 actors participated in a Barbara and the Camp Dogs and Atlantis, secondary workshop, and the relationship along with two readings of The Sugar between our companies and artists will House and a full week of development form the basis for a future development on An Enemy of the People for 2018. The in 2018. team continued to work on a large-scale adaptation of a classic Australian novel, In 2017, Belvoir hosted a year-long led by Eamon Flack. 2016 Parsons Award artist ‘workshop’, featuring 14 emerging Winners Jo Turner, Holly Austin and practitioners from a variety of Adriano Cappelletta, completed a two- backgrounds including directors, actors, week exploration of the first draft of their designers, writers and theatre-makers, puppet-driven, family epic Under The with a strong representation of western Same Sky. Sydney artists. Functioning as a series of skills sharing events, collaborative Belvoir currently has 11 writers under exchanges and salon-esque gatherings, various stages of commission, including the company provided free rehearsal Tommy Murphy, Julia Rose-Lewis, space where possible, and the artists Ursula Yovich and Steve Rogers, as well were encouraged to explore and expand

32 Amber McMahon & Lucia Mastrantone in Atlantis. Photo: Daniel Boud. GOAL 1: CREATE EXCEPTIONAL THEATRE CONTINUED...

their creative practice. This initiative offered to students at government high informed much of the planning for a new schools in western and south-western independent program, which will be rolled Sydney and regional NSW, attending out in 2018. a performance of Mr Burns or Atlantis. Belvoir also delivered 28 workshops at Now in its sixth year, the Balnaves 19 different high schools, reaching 528 Foundation’s Indigenous Playwright’s students at schools. Award continued to gain momentum as the leading Indigenous playwriting Belvoir’s Youth Express, an outreach award in the country with 16 applicants program for at-risk young people, is (four times more than the previous year). now in its 13th year. The program saw This year Indigenous judges Eva Grace more than 60 young people participate Mullally and Isaac Drandich, joined Anthea in workshops, with 22 young people Williams and Tom Wright to assess the performing on stage in the Downstairs largest and strongest pool of candidates Theatre, including a 16-week program of in the award’s history, with Megan Wilding drama workshops. Youth Express also the 2017 recipient. ran a series of drama workshops at the Kool Kids Club, run by Weave Youth and Belvoir’s Parson’s fellowship was awarded Community Services in Maroubra, where to Emme Hoy, who emerged successful more than 85 per cent of the children from a pool of over 30 strong candidates. identify as Aboriginal. The fellowship was awarded after a rousing memorial lecture delivered by We also engaged with our much Australia’s leading lighting designer Nick younger audience members in 2017. Schlieper who examined the state of arts Belvoir’s season of The Bookbinder funding in Australia and challenged us to in the Downstairs Theatre during the consider a world without subsidy. September school holidays gave us the chance to try two new initiatives. Belvoir’s A total of 5,756 students and their Education team ran art activities in the teachers attended one of the 17 schools’ foyer after each matinee performance or evening performances of Belvoir of The Bookbinder. Children’s author productions, both in our Upstairs and and illustrator Tina Matthews taught 217 Downstairs Theatres. Students came from children to make and bind their own government and non-government, local books. This event was an outstanding schools and schools in regional NSW success, with overwhelmingly positive and the ACT. Of these, 1,009 attended feedback, one participant saying, “The through our Priority Schools Program – a after-show craft activities were such a free ticket program, designed to make bonus and make me want to return”. Belvoir’s work accessible to schools identified as having the majority of The other new initiative was a partnership students from a low socio-economic with the Story Squad for our first ever background or geographically remote. school holiday program. Held over two Schools ranged from south-west and days, it was a creative writing workshop western Sydney, to regional NSW. Eight for children aged 9 to 12 in our Downstairs students from Woodenbong Central Rehearsal Room. These two day-long School travelled 1632 kilometres return to school holiday workshops were fully see Jasper Jones! booked, with 20 children attending each workshop. In 2017, 268 students and their teachers participated in our Theatre Enrichment Students continue to access Belvoir’s Program – a fully subsidised program history and past productions. In 2017, 69 students went on backstage tours and 509

35 Sarah Peirse in Mark Colvins Kdney. Photo: Brett Boardman. GOAL 1: CREATE EXCEPTIONAL THEATRE CONTINUED...

students watched an archival recording This program is a vital part of Belvoir’s of one of Belvoir’s productions. Popular commitment to providing access to recordings included Stolen, Parramatta quality theatre for all people, regardless Girls, Neighbourhood Watch and The of their financial status. Lieutenant of Inishmore – all set texts on Belvoir fostered numerous partnerships the HSC Drama syllabus. with other arts organisations in 2017, Belvoir offers young people the including performances of Prize Fighter opportunity to better engage with our as part of Sydney Festival, Jasper company through work experience. Jones touring to both Newcastle and Throughout the year we welcomed 15 high , and 40 performance of Faith school students of whom 11 were Year 10 Healer at Melbourne Theatre Company. students completing one week of work Internationally, Belvoir further established experience, and four students completed a its reputation as one of Australia’s work placement as part of their Vocational most innovative and acclaimed theatre Education and Training Entertainment companies with performances of Certificate. Seventeen at the Lyric Theatre in London. In addition to programs specifically designed for students, two professional development workshops were held for teachers. These full-day weekend workshops, with 26 teachers attending, are a great way for Belvoir to meet with educators face-to-face to learn about how we can better support their teaching. Topics included Teaching Group Devising, and Teaching Costume Design. Our tutors shared their professional experience and processes with teachers, and explored approaches to working with students through practical activities.

Now more than 20 years old, Belvoir’s Unwaged Performance program continues to attract a wide range of theatre lovers from across Sydney. Unwaged members of the community are invited to attend a Thursday matinee performance of each Upstairs production in our season. Three hundred and twenty tickets are available to people holding pensioner, health care, veterans’ affairs, MEAA or equity cards.

36 Taylor Ferguson & Toby Schmitz in The Rover. Photo: Brett Boardman. GOAL 2: INSPIRE, EXCITE AND GROW BELVOIR’S AUDIENCE

Ensure every interaction with an for the year, Barbara and the Camp audience member is positive Dogs, with its unique combination of dialogue and music, explored the female, Rebuild audience confidence Indigenous perspective and filled the theatre nightly, including standing ovations after every performance.

Belvoir welcomed 99,197 people to We welcomed another group of new our theatre in Surry Hills in 2017, and audience members to Belvoir in 2017 more than 40,000 to our touring through our inaugural Young Belvoir productions and education workshops Theatre Club. Forty-five high school across Australia, reaching a total students from Years 10 to 12 joined the of approximately 140,000 people Club, which met in the Green Room throughout the year. on six Wednesday evenings. At each meeting a member of the Belvoir staff or Whilst our subscriptions were slightly an associated artist spoke to the group, down with 5,632 people subscribing to after which they attended the 6.30pm Belvoir’s 2017 season, overall ticket sales performance. Members gathered in were up by three per cent with 79,612 the foyer after the show with the cast tickets sold. joining them, where possible, for an informal chat about the production and The success of Belvoir has always been the industry. The Club aims to foster a based upon its work. Productions such as culture of independent, ongoing theatre Mr Burns: A Post-Electric Play and Mark attendance among young people, while Colvin’s Kidney presented opportunities also encouraging members’ families to reach out to people who may not and friends to attend Belvoir shows regularly attend the theatre – 30 per cent – 107 additional discounted tickets of the audience for Mr Burns were new to were sold through club members. Club Belvoir and 17 per cent for Mark Colvin’s members came from all over the Sydney Kidney. Belvoir established relationships metropolitan area, as well as two from with organisations such as Donate Life, regional NSW – Goulburn and Maitland. World Kidney Day and the ABC for Mark Colvin’s Kidney and connected with The We strengthened our partnership with Simpsons’ pop-culture fan clubs for Mr Currency Press in 2017, presenting full Burns to extend our marketing reach and scripts in five of our Upstairs theatre engage with contemporary issues and new programs. This deluxe publication enhances audiences. audience enjoyment of the production, allowing them to revisit their experience at Eamon Flack directed new adaptations of Belvoir well beyond the performance. classics, The Rover and Ghosts, with both these productions delighting the Belvoir We made significant bespoke heartland, while the award-winning Hir enhancements to our online ticketing captivated a younger audience with its portal, TNEW, throughout 2017 which inclusion of trans-gender issues, providing increased our ability to offer more choice an opportunity to discuss the importance of to our customers when purchasing inclusion and representation in the theatre. subscription packages, gift vouchers as well as smoothing the ticketing process. Lally Katz’s Atlantis positioned itself These system enhancements have seen our on female driven issues – fertility, Tessitura online products recognised as an partnerships, family pressures and the industry leader in the Tessitura network. search for identity. While our final play

38 Kurt Pimblett & Michael Whalley in Hir. Photo: Brett Boardman. GOAL 2: INSPIRE, EXCITE AND GROW BELVOIR’S AUDIENCE CONTINUED...

The combination of more targeted over 10,000. We also increased our outdoor and improved digital marketing, engagement and performance within in combination with our increasingly Facebook through organic and paid sophisticated social media marketing reach, reactions, comments and shares. allowed us to build more data on our In 2017, through the Google Grant audience’s needs and interests and use program, the number of sessions on our this to inform decisions on various issues website increased to 38,475. This also including pricing, show times, food and improved the number of new sessions beverage. on the Belvoir site by 14 per cent, the The enhancement of Belvoir’s Customer number of pages visited per session by Service team was a direct response to 38 per cent and the number of new users patron feedback. The team is responsible by over 16 per cent. for delivering a positive experience to To develop our season imagery for 2017, all of Belvoir’s audiences and guests, we commissioned pictures that were whether that is purchasing tickets, evocative of the energy and new ideas attending a performance, making present in each of our plays, extending enquiries at the office, spending time in the visual language of previous seasons the foyer or at the bar, or attending an into something that was at once event or corporate hire. The focus is on reflective of Artistic Director Eamon the whole customer experience rather Flack’s vision, and the strong Belvoir than sections of it. brand. The result was a season identity Belvoir’s Front of House staff play a vital that was instantly recognisable in role in managing our guests’ experience. Sydney’s performance landscape and In addition to providing hospitality in the contributed to a strong result in our foyer, the theatre and at events, they also single ticket campaigns across the year. act as first aid wardens and workplace We continued to deepen and enhance health and safety officers. our digital marketing efforts in 2017, In 2017, Belvoir continued to promote working to optimise our online targeting our theatre and warehouse space as a and reporting. We made several destination rather than just a location challenging technical advancements in before a show. Belvoir has expanded its 2017, building new capacity to track our premium food and beverage options, customer journey across the internet; introducing new partners Archie Rose gain new levels of insight into their online and Handpicked Wines, focussing on behaviour; apply those insights to our working with small local businesses, marketing strategies; and then accurately demonstrating Belvoir’s commitment report on the success of those strategies to engaging with and supporting our moving forward. community. We regularly refresh the menu with an interesting and diverse range of food and drink, and plans are ongoing to reinvigorate the space long-term.

Social media continues to be a key communications tool and our subscriber numbers on Facebook, our key networking tool, increased by 10 per cent (to 27,584), and on Instagram to

41 Jude Henshall in Mr Burns. Photo: Brett Boardman. GOAL 3: BE A STRONG AND SUSTAINABLE COMPANY

Ensure financial stability many new supporters to Belvoir. Held across seven productions throughout Ensure staff satisfaction the year, visitors to the Rehearsal Room were able to see first-hand how a show is transformed from page to stage.

A theatre company relies on a mix of We rely on the generous support of our income generators including box office, donors, many of whom have been part of grants, commercial revenue, philanthropy the Belvoir family since its inception. Our and sponsorship. Box office generated in philanthropic programs, including the B 2017 was healthy and six per cent above Keepers, Creative Development Fund and 2016, partly attributed to the use of Education, continued to flourish in 2017, dynamic pricing on more popular shows. and we expanded this ever-growing list The year was challenging in other areas with two new donor initiatives. including venue hire and costs associated The Balnaves Foundation, which with set building, both internal and supports Belvoir’s presentation of the external, and Board and staff turnover. best Aboriginal and Torres Strait Islander The end result was a deficit of $350,000. work, is our most significant foundation However, the Board and management supporter. Their long-term support, are confident this can be turned around including The Balnaves Foundation in 2018 due to new management and Indigenous Playwright’s Award (won systems, implemented from October 2017, by Megan Wilding in 2017), has ensured and which will be consolidated in 2018. these Australian stories are heard. Belvoir has an ambitious fundraising Belvoir also received generous project target of 20 per cent of our turnover. grants from the Gandevia Foundation, This ensures creative development The Greatorex Foundation, the Copyright and commissions new works. And our Agency Cultural Fund, Teen Spirit extensive Education program supports Charitable Foundation, Macquarie the overall vision of the company. In 2017 Foundation and the Nelson Meers Belvoir generated $2 million through Foundation. private sector gifts, sponsorship and grants which was a two per cent decrease We were also fortunate to acquire the on 2016 fundraising due to a smaller support of two private family foundations number of activities undertaken in 2017. for two artistic positions at the theatre However, there was an overall increase in 2017 – an Assistant Director on Ghosts of 27 per cent in gifts from Trusts and and the creation of a new fellowship. Foundations. Six new partnerships were formed in In June, Belvoir’s Rehearsal Room was 2017: Virgin Australia Airlines joined as transformed into a 1920s ‘den of iniquity’ our Official Airline; Formaggi Ocello, Zeus for our annual fundraising event – this Street Greek, Handpicked Wines and time in the form of a old fashioned Archie Rose came on board as hospitality Speakeasy. This evening introduced partners; Concrete Playground became new faces to Belvoir and was strongly our media partner; and Egon Zehnder is supported by Belvoir artists who donated now a supporting partner. their time, adding another dimension of vibrancy to the evening. 2017 saw an increase of more than $100,000 in revenue generated through Our Rehearsal Room events generated bar and food sales, whereas theatre and venue rental revenue decreased by

42 Ursula Yovich in Barbara and the Camp Dogs. Photo: Daniel Boud. GOAL 3: BE A STRONG AND SUSTAINABLE COMPANY CONTINUED...

almost 25 per cent. The decrease was partly... due to increased use of venues for creative developments, readings and rehearsals by Belvoir and also small to medium companies and independent artists, who access the spaces at minimal cost. In 2017 Belvoir provided support to 47 artists/companies for periods ranging from one day to four weeks.

There were significant staff changes in 2017 with four long term employees departing to pursue other opportunities: Executive Director, Brenna Hobson, Artistic Administrator, John Woodland, IT & Operations Manager, Jan Goldfedder and Associate Director – New Work, Anthea Williams. In October, Sue Donnelly, was appointed as Executive Director.

Belvoir provides opportunities for its staff to attend a variety of relevant training and conferences throughout the year to ensure that staff are familiar with industry trends and remain engaged in their roles within the organisation. Belvoir also actively encourages its employees to work with line managers on career development, again, promoting staff satisfaction.

In 2017, several staff members attended a two-day Tessitura workshop in Melbourne. While other Belvoir employees attended the National Play Festival, undertook training at St John Ambulance Australia for occupational health and safety compliance, as well as our front of house staff updating their responsible service of alcohol training at the Hospitality Institute of Australasia.

Workplace health and safety is a huge issue at all theatre companies and in late 2017 we revised the processes we have for supervising this. Deputy Executive Director, Aaron Beach, was appointed Chair of the Workplace Health and Safety Committee committee and has instituted a new system of accountability.

45 Mitchell Butel in Mr Burns. Photo: Brett Boardman. CORPORATE GOVERNANCE STATEMENT

INTRODUCTION PRINCIPLE 2: STRUCTURE THE BOARD The Nominations & Governance PRINCIPLE 3: ACT ETHICALLY AND Belvoir’s mission is to create exceptional TO ADD VALUE Committee is responsible for ensuring RESPONSIBLY theatre; inspire, excite and grow In 2017, the Board continued to operate the Board comprises directors who We know that every decision we make its audiences; and be a strong and in line with the principles and practices collectively have the relevant experience, has an impact, not only on the long- sustainable company. outlined in Belvoir’s Strategic Plan 2016 knowledge, diversity and skills required term success of our business and – 2020. to effectively support Belvoir in the creative output but also on our staff, We believe that excellence in corporate execution of its strategy. To assist in creative teams, business partners, governance is essential for the longterm A revised Board Charter was introduced ensuring Belvoir maintains the optimum audience members and stakeholders. performance and sustainability of our in 2017, setting out the duties and mix of directors, the Nominations & We are committed to acting with company and the delivery of our strategy. responsibilities of the Board with regard Governance Committee and Board professionalism, honesty and integrity This Corporate Governance Statement to Belvoir’s strategy development, implemented a skills matrix in 2017 so all our stakeholders know they can outlines Belvoir’s corporate governance operations oversight, and risk and which identifies the skills and experience trust us to do the right thing. practices and addresses the Essential compliance monitoring. needed to support Belvoir in achieving Governance Practice Principles published its strategic objectives. The skills matrix Belvoir is committed to creating an The Board now has four committees and monitored by the Australia Council is one of several important tools when ethical and responsible workplace to assist in the execution of its for the Arts. These principles are based on considering potential director candidates. culture. The attitudes, values and responsibilities. In 2017, the Board recommendations published by the ASX behaviours articulated in our Strategic enhanced the efficiency and Corporate Governance Council. All key areas in the skills matrix are well Plan are those that we bring to effectiveness of the existing committee represented on the Board as a whole. our day-to-day operations. Belvoir structure (Finance, Audit and Risk Belvoir’s Board of Directors have a recognises that a sound workplace PRINCIPLE 1: LAY SOLID FOUNDATIONS Committee and Development range of capabilities and experiences culture, which is embraced by the FOR MANAGEMENT AND OVERSIGHT Committee) by creating two new including theatre administration, creative Board and the leadership team, drives As a Board, we believe that sustainability committees, an Audience Engagement development and artistic excellence, the right behaviour and conduct within encompasses a broad range of matters Committee and a Nominations & finance and accounting, law, business, an organisation. Belvoir is committed including community engagement, Governance Committee. human resources, strategy and marketing. to ensuring an ethical and responsible people and workplace, responsibility to Their skills and expertise are outlined in culture forms part of its decision- the sector and its participants, corporate The committees each consist of at their biographies, published in the Annual making framework, and to monitoring responsibility and environmental least three non-executive directors Financial Report and on our website. its culture to keep pace with community management. Our governance framework and focus on different areas, making expectations. is predicated upon these philosophies. recommendations or decisions as In 2017, the Board’s skills and experience necessary. Each committee has its own were enhanced with the appointments of We work hard to ensure our workplace Throughout 2017, we reviewed the chair, charter, and annual program and Patty Akopiantz, Michael Lynch AO CBE culture provides an avenue for our company’s governance model to meets at least four times per year. and new Executive Director Sue Donnelly. people to report suspected unethical, provide greater clarity over the roles Patty brings deep experience as a The Board regularly reviews the illegal or improper behaviour. Belvoir and responsibilities of management and professional company director on many membership of its committees, has an objective, independent and the Board and to improve governance boards, including Ramsay Healthcare. particularly as new directors join the confidential process for reporting and efficiency and effectiveness. Michael is regarded as one of the country’s Board, to ensure they continue to have investigating actual, suspected or leading arts administrators with national In the latter half of 2017, a new Executive the optimum mix of skills and experience anticipated improprieties. and international experience running Director, Sue Donnelly, was recruited after to support the Board. Periodic changes large arts organisations (Sydney Opera In 2017, we introduced a Company Code a diligent and transparent search process, to committee appointments allow House, Southbank UK, West Kowloon of Conduct which articulates our values using Egon Zehnder as the company’s directors to make different contributions Cultural Precinct). Sue is one of the most and behaviours and is supported by our pro bono executive search firm. Since to the Board throughout their tenure. Employee Policies. The Belvoir Code of her appointment, Ms Donnelly, with the experienced and successful Theatre Conduct is signed by all Board members, support of the Board, has restructured Belvoir is committed to having a Board Executive Directors having run Queensland staff and contractors. her management team to improve of appropriate size, diversity and Theatre Company for the last six years and commitment to effectively acquit its Belvoir for two years in 2004-06. These accountability and focus. Belvoir is committed to providing a responsibilities and duties. Evaluation of appointments underline the integrity and workplace where all staff are able to the Board is undertaken on an annual strength of the Board’s nomination and work free from unlawful discrimination, basis to ensure its continued effective succession planning processes. bullying and/or sexual harassment. The support of the company. In 2017, a Board Induction program was company is part of the Confederation also introduced for new directors. of Australian State Theatres (CAST)

46 47 and has adopted the National Code of PRINCIPLE 5: SAFEGUARD INTEGRITY PRINCIPLE 7: RECOGNISE AND In 2017, we commenced a review of all Behaviour which specifically addresses IN FINANCIAL REPORTING MANAGE RISK contracts and terms of employment to discrimination, bullying and sexual We are committed to ensuring the We recognise that risk is inherent in our ensure consistency and fairness. harassment. By upholding a consistent long term financial sustainability of the business. The Board values effective Non-executive directors are volunteers industry-wide standard, Belvoir company. risk management as fundamental to and receive no compensation for their can work alongside the other state Belvoir’s long-term sustainability and One of the goals of the Belvoir Board work. The Artistic Director and artists theatre companies to eradicate sexual reputation. The Board and Management is to grow and maintain the financial on the Board may receive payment harassment and bullying in the workplace believe that effective risk management reserves underpinning the company’s from the company for creative work (eg and ensure we move forward as a requires a risk-aware culture amongst future endeavours. The Board’s Finance, performing in a production). collective, safe and supportive industry. all employees, and in 2017, a Risk Audit and Risk Sub-Committee, chaired Management Framework was introduced by Board member Peter Wilson, meets COMPLIANCE: PRINCIPLE 4: PROMOTE DIVERSITY to further embed risk awareness eight times annually to: We take seriously our responsibilities to all Belvoir is committed to fostering into Belvoir’s broader culture and our stakeholders, including our employees, an inclusive and diverse workplace, - Review the annual budget and decision making. The Risk Management business partners, audience members and including but not limited to gender, monthly accounts and forecasts Framework articulates how Belvoir identifies, measures, monitors and the broader community and place great age, ethnicity, disability and cultural - Review all financial reports and optimises risks, and the amount and importance on maintaining the highest background. The company’s policies statements in the statutory accounts, nature of risk Belvoir is willing to accept standards of governance. This corporate promote this culture. and recommend actions to the Board in the pursuit of its strategic and creative governance statement is up to date as at Belvoir ensures fair and open recruitment - Monitor and review the reliability of objectives. publication date and has been approved and selection practices at all levels of financial reporting by the Board. A Situational Analysis is included in the organisation. No form of workplace - Assess the company’s risk Belvoir’s five-year Strategic Plan, which discrimination, harassment, vilification or management and investment policy victimisation is tolerated. identifies the company’s operational In 2017, Belvoir restructured the finance strengths and opportunities versus Gender equality is a clear priority and department and strengthened the internal weaknesses and threats. Sam Meers women hold 40 per cent of Belvoir Board accounting and control systems to ensure Chair (including Chair and deputy chair) and more timely and accurate reporting of The Board’s oversight, review and 63 per cent senior executive positions. performance. A review of accounting monitoring of the effectiveness of We remain committed to increasing packages was also undertaken. Belvoir’s risk management is supported gender representation at all levels and by management and recommendations to a range of broader inclusion and PRINCIPLE 6: ENGAGE WITH made by the Finance, Audit and Risk diversity goals and initiatives. Belvoir STAKEHOLDERS Sub-Committee. is also committed to diversity in its The Belvoir Board recognises and storytelling, particularly stories of women PRINCIPLE 8: REMUNERATE FAIRLY respects the legitimate interests of the and immigrants. AND RESPONSIBLY many stakeholders and meets regularly We value different ways of thinking, and with our funding stakeholders. Belvoir The Nominations and Governance everyone is encouraged to share their welcomes the opportunity to meet with Committee, reporting to the Board, thoughts and experiences to deliver our shareholders and encourages them to approves remuneration arrangements better business decisions and solutions. join us for our annual general meeting each for the Executive Director and the We believe that an inclusive and diverse year. We are in regular dialogue with our Artistic Director who are co-CEOs, and workplace delivers better results for partners, donors and sponsors, who are reviews remuneration strategies with our employees, stakeholders, business listed and recognised on season programs reference to both performance and partners and communities, both on and and in company marketing material. industry standards on an annual basis. off the stage. Belvoir has highly developed social media Base salary levels and any increments and online communication to support all are determined by experience, skills, audience and stakeholder engagement. marketplace considerations and industry comparisons.

48 49 AWARDS BOARD AND STAFF Belvoir won nine industry BELVOIR BOARD OF DIRECTORS FINANCE & OPERATIONS Construction Manager awards in 2017 Patty Akopiantz Company Accountant Penny Angrick (appointed 07.02.17) Komal Rabadiya (on leave 06.09.17) Costume Coordinator Sydney Theatre Awards Anne Britton Barbara Lewis (Acting) Judy Tanner (resigned 28.05.17) (appointed 13.06.17) Commercial Business Manager Best Mainstage Production Mitchell Butel Acting Finance Manager Simon Boyd Hir Andrew Cameron AM Shyleja Paul (appointed 16.11.17) Brett Wilbe (resigned 28.05.17) Best Direction of a Mainstage Accounts Administrator Luke Carroll FRONT OF HOUSE Production Sue Donnelly Susan Jack (resigned 23.11.17) Front of House Manager Anthea Williams (Hir) (appointed 30.10.17) IT & Operations Manager Ohmeed Ahi (resigned 31.03.17) Tracey Driver Jan S. Goldfeder (resigned 31.05.17) Best Female Actor in a Supporting Scott Pirlo (acting) Eamon Flack Venue Hire Manager Role in a Mainstage Production Assistant Front of House Manager Brenna Hobson Caitlin Porter Elaine Crombie (resigned 28.05.17) Luke Martin (acting) (Barbara and the Camp Dogs) Ian Learmonth MARKETING Front of House Assistants Michael Lynch AO CBE Head of Marketing Lorena Arancibia, Michael Becker, Best Stage Design of a (appointed 08.05.17) Amy Goodhew Alison Benstead, Stella Encel, Mainstage Production Samantha Meers Michael Gosden, Felix Grech, Michael Hankin (Hir) Peter Wilson Marketing Coordinator William Hickey, Robert Johnson, Georgia Goode Sally Lewis, Michelle McCowage, Best Costume Design of a ARTISTIC & PROGRAMMING Communications Coordinator Mitchell Parham, Cecelia Peters, Mainstage Production Artistic Director Cara Nash Whitney Richards, Ryder Stevens, Jonathon Oxlade (Mr Burns) Eamon Flack Emma White DEVELOPMENT Executive Director BOX OFFICE Helpmann Awards Brenna Hobson Deputy Executive Director & (awarded in May for the 2016 Season) (resigned 28.05.17) Head of Development Customer Experience & Sue Donnelly (appointed 30.10.17) Nathan Bennett (resigned 11.01.17) Ticketing Manager Aaron Beach (appointed 27.02.17) Andrew Dillon Best Direction of a Play Artistic Associates Leticia Cáceres Tom Wright Philanthropy Managers Ticketing Systems Administrator ( ) Joanna Maunder Tanya Ginori- The Drover’s Wife Associate Director – New Work Liz Tomkinson CRM Manager Best Male Actor in a Play Anthea Williams (resigned 17.11.17) Development Coordinator Charlotte Bradley Associate Producer Mark Coles Smith Kseniia Grishilova (The Drover’s Wife) Dom Mercer Customer Service Coordinators Anna Booty Associate Artist PRODUCTION Keila Terencio Best Play Nell Ranney Head of Production The Drover’s Wife Tessa Leong (01.05.17 – 21.12.17) Box Office Staff Sally Withnell Annabel Blake, Emma Furno, Best New Australian Work ADMINISTRATION Technical Manager Quinn Gibbes, Lucinda Gleeson, William Jacobs The Drover’s Wife, Acting Company Manager Nathan Harrison, Patrick Magee, (resigned 03.03.17) Matt Rossi (03.07.17 – 10.11.17) Maeve O’Donnell, Penelope Par- Aiden Brennan sons-Lord, Jessica Paterson, Julia Artistic Administrator (appointed 16.02.17) Patey, Lois Vega John Woodland Deputy Production Manager (resigned 05.05.17) Subscriptions Staff Roxzan Bowes Miranda Aitken, Joel Burrows, Office Manager (appointed 23.01.17) Lea Giacomelli, Alexandra Kelly, Jessica Vincent Production Coordinator Garry Manley, Harry Milas, Sophie Moore, Regan Pearse, EDUCATION Eliza Maunsell (resigned 09.06.17) Christopher Styler Education Manager Senior Technician Jane May Raine Paul Education Coordinator Resident Stage Manager Simone Evans Luke McGettigan (resigned 06.08.17) Construction & Staging Assistant Sharon Zeeman Brydie Ryan (appointed 31.07.17)

Helen50 Thomson in Hir. Photo: Brett Boradman. 51 DONORS We give our heartfelt thanks to all our donors for their loyal and generous support. HONEY BS Natasha Goulden Anne Britton** Peter Gray Robert Burns $1,000+ Linda Herd Cadmium Property Margaret Butler CHAIR’S CIRCLE $500 – $1,999 $1,000 – $1,999 Dorothy Hoddinott AO** Michael & Colleen Chester- Marla Heller Sue Hyde* man* $10,000+ Robert Crossman Anonymous (2) Tristan Landers Peter & Rosemary Ingle* Tim & Bryony Cox* Patty Akopiantz & Justin Punch Richard Evans Allen & Julie Blewitt Louise McCoach Catherine Jones Jane Diamond* Sophie & Stephen Allen Ross McLean & Fiona Beith* Jake Blundell Olivia Pascoe Ruth Layton Jane Mary Eagger Catherine & Philip Brenner Louise & Michael Nettleton Dr Catherine Brown-Watt PSM Janet Pennington Jennifer Ledgar & Bob Lim* Anton Enus Anne Britton Angela Pearman Mary Jo & Lloyd Capps** Sylvia Preda Annabelle Mahar Gillian Fenton Jillian Broadbent AO Steve & Belinda Rankine Annabel Crabb & Jeremy Storer Janna Robertson Christopher Matthies Sandra Ferman Andrew Cameron AM & Sally & Jonathan Rourke Lisa Hamilton & Rob White Arlene Tansey Mary Miltenyi Tim Gerrard Cathy Cameron Mark & Jacqueline Warburton Wendy & Andrew Hamlin** Lauren Thompson Ruth Nicholas Verity Goitein David Gonski AC & Associate Penny Ward Avril Jeans** Cathy Yuncken* Patricia Novikoff Professor Orli Wargon OAM Kevin & Rosemarie Jeffers-Palmer *** Peter Gray Nicole Philps Anita Jacoby B KEEPERS Corinne & Rob Johnston* Priscilla Guest* EDUCATION DONORS Plaza Films Matthew & Veronica Latham $5,000+ Margaret Johnston Dr Cheryl Hanbury $10,000+ Polese Family Jill Hawker Ian Learmonth & Julia Pincus Robert & Libby Albert** A. le Marchant* Doc Ross Family Foundation Richard, Heather & Rachel Rasker Grania Hickley Helen Lynch AM & Helen Bauer Ellen Borda* Stephanie Lee* Heather Doig & Rob Koczkar Angela Raymond Ruth Higgins & Tamson Frank Macindoe Constructability Recruitment Atul Lele* Kimberly & Angus Holden Ruth Ritchie Pietsch Nelson Meers AO & Carole Meers Anne Britton** Hilary Linstead** Susie Kelly Stephen & Christy Roberts Elaine Hiley Sam Meers & Richard Kuo Marion Heathcote & Brian Burfitt** Louise McBride Ian Learmonth & Julia Pincus* AC Dorothy Hoddinott AO** Cathie & Paul Oppenheim Louise Christie** Ross McLean & Fiona Beith* Bruce Meagher & Greg Waters Rob Thomas AM Julianne Schultz Clyth Hoult Andrew & Andrea Roberts Cajetan Mula (Honorary Member) Don & Leslie Parsonage* Peter & Janet Shuttleworth* Robert Kidd Sherry-Hogan Foundation K Nomchong SC $5,000 - $9,999 Jann Skinner Rob Sindel Cheryl L Rob Thomas AM Jacqueline & Michael Palmer Patty Akopiantz & Justin Punch $3,000 – $4,999 Dr Natalie Pelham* Margaret Butler Chris & Bea Sochan* Connie Liu Mark & Jacqueline Warburton Elizabeth & Richard Longes Weir Anderson Foundation Anonymous (1) Greeba Pritchard* Ari and Lisa Droga Dr Titia Sprague Lisa Manchur Kim Williams AM & Tom Dent Alex Oonagh Redmond** Veronica & Matthew Latham Cheri Stevenson Julianne Maxwell Catherine Dovey Suzanne & Michael Daniel** Richmond Sisters Louise Mitchell & Peter Pether Kerry Stubbs E.J.R McDonald Peter Wilson & James Emmett Bob & Chris Ernst** Colleen Roche $2,000 – $4,999 Daniela Torsh Genie Melone Cathy Yuncken Firehold Pty.Ltd.** David Round Anonymous (1) Catherine West & Julien Fouter Irene Miller* David & Kathryn Groves* Andrew & Louise Sharpe* Ian Barnett* Ali Yeldham & Angus Hudson Peter Mitchell CREATIVE Judge Joe Harman Jennifer Smith Andrew Cameron AM & Jason Yetton & Jo Lam Patricia Novikoff* DEVELOPMENT FUND Michael Hobbs OAM** Chris & Bea Sochan* Cathy Cameron** Ross Younsman & Veronica Espaliat Judy & Geoff Patterson* Colleen Kane** Camilla & Andrew Strang Estate of the late Angelo Comino $10,000+ GENERAL DONORS Christina Pender Tony Maxwell & Robyn Godlee Sue Thomson* Rowena Danziger AM Patty Akopiantz & Justin Punch Susan Pugh Chantal & Greg Roger** Alese Watson & Ken Coles AM $10,000+ Sophie & Stephen Allen David & Jill Pumphrey Andrew & Lesley Rosenberg* Paul & Jennifer Winch John B Fairfax AO & Libby Fairfax Anonymous (1) Anne Britton** Kim Rosser Peter & Jan Shuttleworth* Kiera Grant & Mark Tallis Andrew Cameron AM Andrew Cameron AM Bernard Ryan & Michael Rowe Merilyn Sleigh & Raoul de Ferranti Julie Hannaford* & Cathy Cameron** & Cathy Cameron** THE HIVE Leigh Rae Sanderson Patricia Wong Judge Joe Harman Ross Littlewood & Anita Jacoby* $2,500 Elfriede Sangkuhl Bill Hawker Alexandra Curtin* Helen Lynch AM & Helen Bauer** $2,000 – $2,999 Elizabeth Allen & David Langley Eileen Slarke & Family** Frank Macindoe* Antoinette Albert** Anthony & Elly Baxter David Jonas & $2,000 – $4,999 Chris & Bea Sochan* Desmon Du Plessis Sherry-Hogan Foundation* Claire Armstrong & John Sharpe** Aaron Beach & Deborah Brown Anonymous (3) Andrea Socratous Dan & Jackie Phillips Shemara Wikramanayake Max Bonnell** Samantha Acret Paul Stein Nathan & Yael Bennett Public Education Foundation & Ed Gilmartin Charlene & Graham Bradley AM Justin Butterworth Bill Hawker Leslie Stern Kim Williams AM & Catherine Dovey Jillian Broadbent AO** Dan & Emma Chesterman $500 – $1,999 Brenna Hobson Yael Stone $5,000 – $9,999 Chris Brown Este Darin-Cooper & Anonymous (8) Raymond McDonald Mike Thompson Jill & Richard Berry Jan Burnswoods* Chris Burgess 32 Edward St Ralph Myers Tom Tilley Hartley Cook* Jan Chapman AO & Joanna Davidson & Julian Leeser Len & Nita Armfield Timothy & Eva Pascoe Helen Trinca Louisa Ward Sue Donnelly & Michael Martin Stephen O’Rourke Tracey Driver Nicola Atkinson Suzanne & Ross Tzannes AM* Lynne Watkins & Gail Hambly** Piers Grove AB* Louise & Steve Verrier Nicolas Harding* Louise Herron AM & Clark Butler** Danny & Kathleen Gilbert** Ruth Higgins & Tamson Pietsch Arrow Commodities Chris Vik & Chelsea Albert Peter & Rosemary Ingle* Cary & Rob Gillespie David Rayment & Mary Nguyen Brand New You $500 – $1,999 Sarah Walters* Don & Leslie Parsonage Sophie Guest Hannah Roache & Luke Turner Dr Dee de Bruyn Anonymous (9) Louisa Ward Jessica Block Dan & Jackie Phillips Peter Graves** Andrew & Louise Sharpe* Annette Adair Elizabeth Webby AM Andrew Bullock Doc Ross Family Foundation David Haertsch** Chris Smith Victor Baskir Richard Willis John Campbell Victoria Taylor** John Head** The Sky Foundation Baiba Berzins* Brian & Trish Wright Sue Capon $2,000 – $4,999 Libby Higgin* Peter Wilson & James Emmett* Christine Bishop Carolyn Wright Jennifer Ledgar & Bob Lim* Denise & Robert Dunn Mr Dennis Bluth & AO** Professor Elizabeth More AM** Joanna Elliott & David Ryan Dr Diana Marks Justin Butterworth * 5+ years of giving Dr David Nguyen** Bob & Chris Ernst Keith Bradley AM John Cary ** 10+ years of giving Timothy & Eva Pascoe** Susan Gabriel Ian Breden & Josephine Key* Anne & Michael Coleman* *** 15+ years of giving Richard, Heather & Rachel Rasker* Geoffrey & Patricia Gemmell* Victoria Holthouse* List correct as at Michael Rose Richard, Heather & Rachel Rasker 31 December 2017 David & Emma Scambler Penelope Seidler AM Ann Sherry AO* Judy Thomson* 52 53 DONORS CONTINUED...

SPECIAL THANKS We would like to acknowledge Cajetan Mula, Len Armfield and Geoffrey Scharer. They will always be remembered for their generosity to Belvoir. We also thank our Life Members, who have made outstanding contributions to Belvoir over more than thirty years. They have changed the course of the company and are now ingrained in its fabric: Neil Armfield AO, Neil Balnaves AO, Andrew Cameron AM, David Gonski AC, Rachel Healy, Louise Herron AM, Sue Hill, Geoffrey Rush AC, Orli Wargon OAM and Chris Westwood.

These people and foundations supported the redevelopment of Belvoir St Theatre and purchase of our warehouse.

Andrew & Cathy Cameron Andrew & Wendy Hamlin (refurbishment of theatre & warehouse) (Brenna’s office) Russell Crowe Hal Herron (Downstairs theatre & (The Hal Bar) purchase of warehouse) Geoffrey Rush The Gonski Foundation (redevelopment of theatre) & The Nelson Meers Foundation Fred Street AM (Gonski Meers Foyer) (Upstairs dressing room)

Lally Katz in Atlantis. Robert Menzies in Ghosts.

IN THE REHEARSAL ROOM

54 Mr Burns. 55 Thuso Lekwape in Prize Fighter. Photos: Brett Broadman. PARTNERS, SPONSORS & SUPPORTERS

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

KEY SUPPORTER TRUSTS & FOUNDATIONS AMP Foundation The Greatorex Foundation Indigenous theatre Andrew Cameron Family Macquarie Group Foundation at Belvoir supported Foundation Nelson Meers Foundation by The Balnaves Coca-Cola Foundation Foundation Teen Spirit Charitable Foundation Gandevia Foundation Thyne Reid Foundation Walking up The Hill Foundation

BELVOIR PARTNERS

GOVERNMENT PARTNERS YOUTH & EDUCATION PARTNER

MAJOR PARTNERS

ASSOCIATE PARTNERS SUPPORTING PARTNER

MEDIA PARTNERS PRODUCTION IT PARTNER PARTNER

NCC Network Computing & Consulting

EVENT PARTNERS

Atlantis For any Annual Report Photo: Daniel Boud. enquiries please contact: Belvoir Marketing Department For more information on partnership opportunities please contact our Design Development team on 02 9698 3344 or email [email protected] Alphabet Studio 18 Belvoir St, Surry Hills NSW 2010 tel +61 (0)2 9698 3344 Belvoir is proud to be a Correct as at 31 December 2017 fax +61 (0)2 9319 3165 member of the Australian [email protected] Major Performing Arts belvoir.com.au Group (AMPAG) 56 C 18 & 25 Belvoir St, Surry Hills NSW 2010 admin +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 box office +61 (0)2 9699 3444 [email protected] belvoir.com.au

Front cover: Brent Hill & Jude Henshall in Mr Burns. Photo: Brett Boardman. D