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THE PILLOWMAN Company B presents Written by MARTIN McDONAGH Directed by CRAIG ILOTT The Company B production of The Pillowman opened at on 4 June 2008 Set Designer NICHOLAS DARE Costume Designer JO BRISCOE Lighting Designer NIKLAS PAJANTI Composer & Sound Designer JETHRO WOODWARD Assistant Sound Designer CHRIS MERCER Fight Director KYLE ROWLING Stage Manager KYLIE MASCORD Assistant Stage Manager SARAH SMITH NIDA Secondment (Stage Management) ISABELLA KERDIJK NIDA Secondment (Technical) JACK HORTON Consultant Clinical Psychologist DR RACHAEL MURRIHY (BA PGDip DPsych) With AMANDA BISHOP Mother Tupolski LAUREN ELTON Girl Katurian STEVE RODGERS Michal DAVID TERRY Father DAN WYLLIE Ariel PRODUCTION THANKS: Chameleon Touring Systems, Kylie Clarke, CODA Audio, , Dr Tony Kidman and the UTS Health Psychology Unit, Maurice Menswear Marrickville, Kirsty McGregor, Neil Phipps, Thomas Creative, David Trethewey and Martin McDonagh’s agent – The Rod Hall Agency Limited of 6th Floor Fairgate House 78 New Oxford St London WC1A 1HA. The Pillowman was first presented by the National Theatre at the Cottesloe, London, directed by John Crowley, on 13 November 2003. The production was subsequently produced on Broadway by the National Theatre, Robert Boyett Theatricals LLC and RMJF Inc. in association with Boyett Ostar, , Arielle Tepper, Stephanie P. McClelland, Debra Black, Dede Harris / Cover Image: Alex Craig Morton Swinsky / Roy Furman / Jon Avnet in association with Joyce Schweickert, Photography: Heidrun Löhr opening at the Booth Theatre, New York City, on 10 April 2005. DESIGN: Tim Kliendienst DIRECTOR’S NOTE

Katurian: A great man once said is the relationship between art and ‘The first duty of a storyteller is to politics? And perhaps a key question tell a story’. Or was it ‘The only duty for artists – is writing or telling a of a storyteller is to tell a story’? story enough? There are no answers. Or at least none are required for the I read The Pillowman a few years ago survival and momentum of this play. while on a play-reading binge and fell It moves of its own volition. In much in love with its beauty and the power the same way that four words seem of its storytelling. Page by page Martin to generate their own power – once McDonagh drew me in. I’d never read upon a time... anything like it. No play had ever gripped or excited me in this way. Themes are littered throughout The What it came down to was a burning Pillowman. Strong among them is desire – to know what happened art as legacy and the attention given next – to savour the incredible to what we leave behind. Should suspense borne of McDonagh’s gift. that be more important than what By the time I finished reading I was we do here and now – our everyday hooked on what seemed a compelling intentions and our capacity to experiment: how dark can a work love? McDonagh’s way is to throw be, and remain funny? There’s no questions out there without nailing getting around it – the content in The down any answers. He exploits Pillowman is at times gruesome. By the innate human desire for one McDonagh’s own admission he walks meaning – to find one answer. It’s the line between comedy and cruelty. the key to the suspense in his plot “It’s more interesting to start from a as well, but constantly undermines darker place and see where that goes,” the expectations it creates, short- he says. circuiting all the simple meanings we’ve been conditioned to notice. Couched in this gripping tale is a He is the master of the red herring. labyrinth of questions and musings on the very purpose of art. And he And just when we think we can forces us to wonder: Is art capable resign the story to fantasy, along of corrupting? Does it feed off come the Fritzl family from Austria. suffering? Should writers be brought Not all that far-fetched I suppose to task for dealing in violence and Once upon a time, yesterday... child abuse? Is the artist responsible for the consequences of art? What Craig Ilott MARTIN McDONAGH on writing and influences

“I find that I enjoy telling interesting “For me, my background is in writing stories. It’s fun. I love to surprise plays that have a strong balance of myself and make myself laugh. And darkness and comedy. I think it’s you know, you have to attempt to kind of the way I see the world in leave something decent behind you.” lots of ways: naturally bleak but New York Times, 25/1/98 naturally funny.” Minnesota Daily, 7/2/08 “I read everything I could find by Borges straight through, and “I walk the line between comedy that got me going in terms of and cruelty because I think one storytelling. And of thinking outside illuminates the other… I tend to push of your own little locale…” things as far as I can because I think The New Yorker, 6/3/06 you can see things more clearly through exaggeration than through “Story is everything – story and a reality.” bit of attitude.” The Guardian, 24/3/01 The Guardian, 24/3/01 “I think that anything done well “I could see that [] was improves the world. No matter how using dialogue for its own sake, not dark that piece of art is, a world with just to convey information or carry one more piece of art is still a better the plot, and I was drawn to the place.” sinister aspects of the writing.” Steppenwolf Backstage, Vol. 5, Gustave Doré, le Petit Poucet, 1862 The New Yorker, 6/3/06 2006-2007

THE USES OF ENCHANTMENT

““Little Red Riding Hood was as the folk . True, on an into awareness, then eventually my first love. I felt that if I could overt level fairy tales teach little the person’s conscious mind will be have married Little Red Riding about the specific conditions of partially overwhelmed... However, Hood, I should have known perfect life in modern mass society; these the prevalent parental belief is that bliss.” This statement by Charles tales were created long before it a child must be diverted from what Dickens indicates that he, like came into being. But more can be troubles him most: his formless, untold millions of children all over learned from them about the inner nameless anxieties, and his chaotic, the world throughout the ages, problems of human beings than angry, and even violent fantasies. was enchanted by fairy tales. Even from any other type of story within Many parents believe that only when world-famous, Dickens a child’s comprehension.” conscious reality or pleasant and acknowledged the formative wish-fulfilling images should be “… the paramount importance of impact that the wondrous figures presented to the child – that he fairy tales for the growing individual and events of fairy tales had had should be exposed only to the sunny resides in something other than on him and his creative genius. side of things. But such one-sided teachings about correct ways of He repeatedly expressed scorn fare nourishes the mind only in a Gustave Doré, behaving in the world – such for those who, motivated by an one-sided way, and real life is not Little Red Riding Hood, 1867 wisdom is plentifully supplied in uninformed and petty rationality, all sunny.” religion, myths, and fables. Fairy insisted on rationalizing, stories do not pretend to describe “There is a widespread refusal to bowdlerizing, or outlawing these the world as it is, nor do they let children know that the source stories, and thus robbed children advise what one ought to do… The of much that goes wrong in life is of the important contributions unrealistic nature of these tales due to our very own natures – the fairy tales could make to their is an important device, because it propensity of all men for acting lives. Dickens understood that makes obvious that the fairy tales’ aggressively, asocially, selfishly, out the imagery of fairy tales helps concern is not useful information of anger and anxiety. Instead, we children better than anything else about the external world, but the want our children to believe that, in their most difficult and yet inner processes taking place in an inherently, all men are good… ‘Safe’ most important and satisfying individual.” stories mention neither death nor task: achieving a more mature aging, the limits to our existence, consciousness to civilize the chaotic “In child or adult, the unconscious is nor the wish for eternal life. The pressures of their unconscious.” a powerful determinant of behaviour. Extracts from Bruno Bettelheim’s fairy tale, by contrast, confronts the When the unconscious is repressed The Uses of Enchantment: The “Nothing can be as enriching and child squarely with the basic human and its content denied entrance Meaning and Importance of Fairy satisfying to child and adult alike predicaments.” Tales, Vintage, New York: 1977 THE POWER OF STORY

Words have no power to impress Man is always a teller of tales, he Let us suppose our world is The writer’s work is to name the the mind without the exquisite lives surrounded by his stories attacked by war, by the horrors unnamable, to point to frauds, to horror of their reality. and the stories of others, he sees that we all of us easily imagine. Let take sides, start arguments, shape Edgar Allen Poe – The Narrative of everything that happens to him us suppose floods wash through the world and stop it from going to Arthur Gordon Pym of Nantucket through them; and he tries to live his our cities, the seas rise… the sleep. own life as if he were telling a story. storyteller will be there, for it is our Salman Rushdie – The Satanic Deeper meaning resides in the fairy But you have to choose: live or tell. imaginations which shape us, keep Verses tales told to me in my childhood Jean-Paul Sartre – Nausea us, create us for good and for ill. It than in the truth that is taught is our stories, the storyteller, that Those who tell the stories by life. will recreate us, when we are torn, rule society. Friedrich Schiller – The Piccolomini hurt, even destroyed. Plato – The Republic Doris Lessing – On not winning the Nobel Prize, Nobel Lecture filmCandy . Craig received a Green (Bell Shakespeare – seminars and Room Award for Best Musical Actors at Work); Losing Louis, Dags BIOGRAPHIES Direction for Hedwig and the Angry (); Angry Penguins Inch. This production also won (The Olympic Arts Festival/ Best Musical at the 2006 Tilbury Productions/Sydney Opera Theatre Awards and was nominated House); Boston Marriage (Gaiety for Best Musical, Best Director and Theatre/); Best Actor at the 2007 Helpmann Vicious Streaks (Roar/Darlinghurst Awards, with iOTA winning Best Theatre); A Girl in a Car with a MARTIN Actor. Craig’s other awards and Man (Red House/Tamarama Rock McDONAGH craig ilott nominations include The Sun Herald Surfers/Studio Theatre); Bird’s Writer Director Best Independent Production Award Eye View (Max ‘n’ Loop/Tamarama for Dealer’s Choice and nomination Rock Surfers); Music & Mandy & Martin’s plays include The Beauty Craig graduated from NIDA and has for The Decameron as well as the Scott (/ Queen of Leenane, A Skull in worked as both actor and director. Sydney Theatre Award nominations Griffin Theatre Company);Spyring Connemara, , His previous work with Company for Best Independent Production for (Barestage); The King & Di, Bite The Lieutenant of Inishmore, B includes his performance in As Edmond and The Suitors. Later this My Chilli (); Not , The You Like It. As a director his credits year Craig will direct The Pig Iron In My Back Yard, The Secret of the Pillowman, The Banshees of include Love Song (Melbourne People for . Seven Marbles (Surf ‘n’ Theatre Inisheer, The Retard is Out in the Theatre Company); the national Company) and Opera Divas (Leave It Cold and Dead Day at Coney. His tour of the concert Let It Be (Spirit To Diva). Amanda has also produced screenplays include Barney Nenagh’s Entertainment); I Get The Music In Lessons in Flight (Australia Shotgun Circus, Suicide on Sixth You (Ensemble Theatre); Hedwig Council for the Arts funded launch Street and . He and the Angry Inch (Showtune of a Sydney Indigenous theatre has also written and directed the Productions); Sunday in the Park company/Darlinghurst Theatre). Her AMANDA filmIn Bruges, released earlier this with George, Can’t Pay, Won’t credits include the feature BISHOP year and the short filmSix Shooter Pay! (NIDA); Three’s Company The Venus Factory and Fresh Air, the Mother which was awarded an Academy (Glen Street Theatre); The Present recent short filmsAmorality Tale, Award for Best Live Action Short (La Mama); Fiddler on the Roof Amanda is a WAAPA graduate and Tea For Two, Survival of the Fittest. Film. Among his other awards are (Darwin Theatre Company) and also holds a Bachelor of Music from She was also the writer, director and the Lawrence Olivier Award for The Suitors (Easily Distracted). For the University of New England. actor on The Big Check-out. Her Best New Play for The Pillowman, his own company, Albedo Theatre, She performed in the 24 Hour television credits include the ABC the Critics’ Circle Theatre Award Craig has directed The Decameron, Play Project for B Sharp and in the TV series Review with Myles Barlow, for Most Promising Playwright and Dealer’s Choice and Edmond which Belvoir St Downstairs Theatre she My New Best Friend (including the Tony Award nominations for was a co-production with B Sharp. worked on Fallen Angels (Mixed additional writing), , Blue The Pillowman, The Lieutenant of He was Resident Director on Nuts) and Two For The Road (Group Heelers, BackBerner, Sunrise, The Inishmore, The Lonesome West and The Makropoulos Secret (Opera Theatre). Other theatre credits Midday Show, Breakfast Show and The Beauty Queen of Leenane. Australia) and was assistant to include Shylock/Olivia/Sir Toby/ Sesame St/Blink Films’ The Upside director Neil Armfield on the feature Lady MacBeth/Goneril/Gertrude Down Show with the Umbilical Brothers. Later this year Amanda America (Griffin Stablemates) and , Angels in America will appear in Sydney Theatre Flotsam and Jetsam (Jigsaw Theatre (Auckland Theatre Company); As Company’s Wharf Revue. Company). As Costume Designer You Like It (Academy); Amy’s View, her credits include Reunion/A Glorious Ruins (Circa Theatre); Kind of Alaska (Sydney Theatre , Casement Company); On the Case (Legs (Court Theatre); Three Sisters, on the Wall); The Suitors (Easily The Cherry Orchard, Happy End Distracted); Wilde Tales (B Sharp/ (National School); Frontmen, Kvetch State of Play); What the Umbrella (Maidment Theatre); Te Whanau a Did Next (Australian Theatre for Tuanui Jones (Depot); Anglophiles JO BRISCOE Young People); Lawrence and (Watershed) and Possibilities Costume Designer Holloman (Darlinghurst Theatre) (Enzentium). His international Jo holds a Master of Fine Arts in and King Lear (Studio Company/ film work, both commercial and Theatre Design from Penn State Riverside Theatres). Jo has also independent, includes Romulus, University. Her credits as Set and worked as a Production Designer on My Father, Asylum, Rain, Monkey’s Costume Designer for theatre a number of film clips, series pilots, Mask, Kingdom of Heaven, The include the B Sharp productions commercials and short films. Bourne Supremacy, Triple XXX, La Ronde (Hailstorm Productions), Aeon Flux, The Great Raid, Broken Elling (Splinter Theatre Company), English, Twilight of the Gods, Game Greek Tragedy (Theatron Group) With No Rules, Lord of the Rings, and Chicks Will Dig You! (Silver Plaintastes and Evilenko. Marton Productions); along with October, was nominated for Best Actor in Mr Bailey’s Minder, Nailed (Griffin a Lead Role for Who’s Afraid of MARToN Theatre Company); Ruby Moon Virginia Woolf? at the 2007 Sydney CSOKAS (Sydney Theatre Company Theatre Awards and won a 2007 AFI Tupolski Education); La Vera Costanza Award for Best Supporting Actor for (Sydney Conservatorium); Marton trained at Te Kura Toi Romulus, My Father. Stories in the Dark (Australian Whakaari o Aotearoa/The for Young People); Jay’s Zealand Drama School. For Place (Jay’s Place P/L at Sydney Company B he has performed in Theatre); A Moment on the Lips Who’s Afraid of Virginia Woolf?, (Maelstrom/Whoosh); Vertigo and Peribanez and Twelfth Night. His the Virginia, A Girl in a Car with other theatre credits include Antony a Man (Tamarama Rock Surfers) & Cleopatra (Theatre for a New and The Memory of Water and Audience, New York); Riflemind Noir (Darlinghurst Theatre). Her (Sydney Theatre Company); The credits as Set Designer include Herbal Bed (Melbourne Theatre Myth, Propaganda and Disaster in Company) and in Aotearoa/New Nazi Germany and Contemporary Zealand: Julius Caesar, , Company); Laughter on the 23rd Floor (Ensemble Theatre); Soar (Tamarama Rock Surfers) and St James Infirmary (Melbourne Theatre Company). His film credits include NICHOLAS DARE LAUREN ELTON Candy, House of Wax, Ned, Praise, Set Designer Girl The Big Steal and the upcoming Australian filmThe Square. On Nicholas graduated from NIDA in Lauren’s love for acting began as television he was most recently seen 2001 with a Bachelor of Dramatic Art a student at Newtown Performing in . His other television in Design. He has since designed set Arts, where she was in the credits include Stupid Stupid Man, and costumes for a range of theatre drama company for three years Stingers, South Pacific, Water Rats, productions in the commercial, and appeared in many school All Saints, , GP, Elly and subsidised and independent sectors. productions. Her film credits include Jools and Brides of Christ. Damon His credits include set design for Razzle Dazzle and an appearance won a for his guest Honour Bound (Sydney Opera as an extra in The Square. Her performance in The Flying Doctors House/Malthouse Theatre); set and television credits include All Saints and has been nominated for three costumes for Hedwig and the Angry and a Foxtel commercial. Lauren has Logie Awards. Other awards include Inch (Showtune Productions); the also been involved with Brent Street a Best Actor award at the 2008 St Louis Nowra trilogy The Emperor Studios for eleven years. Kilda Film Festival for his portrayal of Sydney, The Marvellous Boy and of a mildly autistic man in the short The Woman With Dog’s Eyes (Griffin filmLen’s Love Story. In recent years Theatre Company); Halpern and he has also begun acting in the US, Johnson, Trying, They’re Playing with credits including the television Our Song, Losing Louis (Ensemble series Cold Case and The Loop, as Theatre) and production design for DAMON well as twice working with David Edmond and Dealer’s Choice (Albedo HERRIMAN Mamet on the television series Theatre). He has worked as Assistant Katurian The Unit and the new feature film Designer on several productions Redbelt. including The Boy From Oz and Dame Damon has been working as an Edna: Back With A Vengeance and actor since the age of eight, making continues to work on Priscilla: The his debut in . With Musical. He has also art directed and Company B he has performed production designed a number of in The Spook, The Underpants, short films and video clips. Earlier Buried Child and Cloudstreet. Other this year Nicholas designed the set stage credits include The Cripple and costumes for Melbourne Theatre of Inishmaan, Two Weeks with Company’s production of Lovesong. the Queen, Summer of the Aliens, Lost in Yonkers (Sydney Theatre Rivals, Leftovers, The Telling and the Olympic and Paralympic Arts White Russian and the Production Festivals 2000. Kylie also teaches Manager for Summerfolk. technical theatre at The Australian Academy of Dramatic Art. She is JACK HORTON currently Company B’s Company NIDA Secondment Stage Manager. (Technical) Jack is a third year NIDA production student, currently on secondment KYLIE MASCORD with Company B. Other placements Stage Manager have included work for Sydney CHRIS MERCER Festival in the Domain and working Kylie graduated from Technical Assistant Sound on Australia Day events in Hyde Production at NIDA in 2000 and Designer Park. Most recently for NIDA he was has worked with Company B since Production Manager for The Servant 2001. Her Company B credits Chris graduated from the University of Two Masters. His design credits include The Seed, Toy Symphony, of Wollongong with a Bachelor for NIDA include lighting for MPV: 1, Who’s Afraid of Virginia Woolf?, of Creative Arts in 2005. Since 2 & 3, Agent’s Day 2007, sound for Paul, The Adventures of Snugglepot graduating he has worked as a Moving On and multimedia design & Cuddlepie and Little Ragged technician for a variety of companies for Closer and Illusions ‘07. Blossom, It Just Stopped, Peribanez, throughout Sydney. He stage Stuff Happens, Ray’s Tempest, managed The United States of The Spook, Gulpilil, A Midsummer Nothing (Griffin Stablemates) Night’s Dream, The Threepenny and was Touring Assistant Stage ISABELLA Opera (Festival Iberoamericano Manager for the 2005 Croc Festival. KERDIJK de Teatro de Bogota, Colombia), He was Co-Producer and Technical NIDA Secondment Run Rabbit Run, The Fever, The Director of the 2005 and 2006 (Stage Lieutenant of Inishmore, Macbeth, Unhinged Short Play Festivals Management) Buried Child, My Zinc Bed, Emma’s and worked as a venue technician Nose and The Laramie Project. She for the 2006 and 2008 Adelaide Isabella is a third year NIDA has also worked as the Production Fringe Festivals. Chris started with production student, currently on Stage Manager for the MusicOz Company B as the Downstairs secondment with Company B. Other Awards 2006, Company Stage Technical Manager in 2006, companies she has worked with Manager for the Australasian tour becoming Technical Manager include Sydney Festival, Circ Ici, The of The Merchants of Bollywood, in 2007. Famous Spiegeltent and Woodford Program Coordinator for Australia Folk Festival. At NIDA she was Day 2003, Event Coordinator for the Lighting Designer for Illusions, Australia Day 2002 and 2001, the Sound Designer for The and the Production Assistant at Niklas also worked as an Assistant Lighting Designer on Teorema, The Hive, Crossing Live (Chamber Made) and Scenes of the Beginning from the End and K (Not Yet It’s Difficult). NIKLAS PAJANTI He was awarded the Victorian Green Lighting Designer Room Award for Lighting Design for Dance for Under the Weather and Niklas works as a lighting designer has had six nominations for lighting across contemporary dance, drama design from the association. Currently and events. He is a graduate of the Niklas is Principal Lighting Designer Victorian College of the Arts and for Trafficlight. holds postgraduate qualifications in Illuminating Engineering from The Royal Melbourne Institute of Technology. For Company B he designed for Who’s Afraid of Virginia Woolf?. Other lighting designs include For Samuel Beckett STEVE RODGERS (Endgame), Not What I am - Othello Michal Retold, Winter’s Tale, King John, The Crucible, Yet each man kills Steve trained as an actor at Theatre the thing he loves, Because of the Nepean. His acting credits with Increasing Disorder (The Eleventh Company B include Night on Bald Hour); When the Rain Stops Falling Mountain, The Blind Giant is Dancing, (Brink Productions); Not Like Beckett Cloudstreet and Twelfth Night. Other (Malthouse Theatre); Holiday stage credits include Riflemind, Three (Ranters Theatre); Osama the Hero Sisters, The Comedy of Errors, As (The Rabble); I Want to Dance Better You Like It, Democracy, The Miser at Parties, Singularity, Tense Dave, (Sydney Theatre Company); The Three’s a Crowd (Chunky Move); Boys Next Door, All My Sons, Lobby Frank Woodley Possessed, Spicks and Hero, A Streetcar Named Desire, Specktacular, Lano and Woodley- Diving for Pearls, Humble Boy Goodbye (Token Events); Murundak (Ensemble Theatre); A Midsummer (Black Arm Band/Melbourne Night’s Dream, Macbeth (Bell International Arts Festival) and Shaun Shakespeare); Last Cab to Darwin Parker-This Show Is About People (Porkchop Productions) and That (Shaun Parker/Marguerite Pepper/ Eye the Sky (Burning House Theatre Melbourne International Arts Festival). Company). He has worked with some of Australia’s best screen directors, include Pan (Henson Company) and Manager on Shout! The Legend of having appeared in films such as The White Devil (Sydney Theatre the Wild One for the Melbourne and The Bank, La Spagnola, Oscar and Company – New York Tour). He has Sydney seasons (Shout Services Pty Lucinda, Dead Heart and Children also worked with Opera Australia, Ltd). She also stage managed the of the Revolution. More recently he Ensemble Theatre, Marion Street Candy Man (Exciting Entertainment). appeared in the feature filmsThe Theatre and Bell Shakespeare. He has She has worked with Sydney Theatre Men’s Group and Bitter and Twisted. taught and choreographed theatrical Company on productions such as The Steve has numerous television credits, violence for such institutions as NIDA, Lost Echo, Bourgeois Gentlemen and his most recent being the telemovie Victoria College of the Arts, The Summer Rain and with Opera Australia Valentines Day, due to air on the Actors Centre and the Actors College as Assistant Stage Manager on ABC in July. His first full-length play of Theatre and Television in Sydney. Carmen, The Pearl Fishers and Lulu. Ray’s Tempest was workshopped at Kyle’s stage combat skills have the Australian National Playwrights’ secured him performance work in Star Conference, short listed for the Wars Episode II, Episode III Patrick White Playwrights’ Award and and ’ Invincible. He received two mainstage productions, was ’s personal weapons one with Company B in 2005 and one trainer for his role as Hector in the at the Melbourne Theatre Company period epic Troy. Kyle also runs and DAVID TERRY in 2006. This year his second play, is the Director of The Sydney Stage Father Savage River was workshopped at Combat School in Sydney, providing the Playwriting Australia Festival in stage combat classes, certified David is a 1995 NIDA Graduate. Brisbane. courses and weapons rental. His B Sharp credits include Edmond (Albedo Theatre) and Knives in Hens (The Working Group). Other stage credits include Dinner with Friends, Unscrupulous Murder, Fuddy Meers, Sixty Six Minutes (Darlinghurst SARAH SMITH Theatre); Last of the Knucklemen KYLE ROWLING Assistant Stage (Brand X/Bondi Pavillion); The Flight Director Manager Impossible Dream (Just Us Theatre Ensemble); Dealer’s Choice (Albedo Kyle is one of only six certified Originally from Western Australia, Theatre); After Dinner (Dirty Bird fight directors in Australia. He has Sarah completed her degree at the Productions/Edinburgh Festival) and been choreographing stage combat Western Australian Academy of Don’s Party (New Theatre). His film sequences for professional theatre Performing Arts in stage management credits include Amorous Martyr and companies since 1996. His most before moving to Sydney. Since SOS. On television he has appeared in recent Company B credits include moving Sarah has worked with All Saints, White Collar Blue, CNNNN, Paul, Parramatta Girls and Black numerous arts organisations. Most Young Lions, BackBerner, Outriders, Medea. Other theatre credits recently she was the Deputy Stage Water Rats, Big Sky and Roar. by the Ian Potter Cultural Trust, researching innovative approaches to sound design and operation. JETHRO WOODWARD Composer & Sound Designer Jethro is a composition graduate of the Victorian College of the Arts School of Music. His previous DAN WYLLIE Company B credits include Antigone: Ariel The Burial at Thebes and the For Company B, Dan has appeared Company B season of Black Medea in The Lieutenant of Inishmore, (Malthouse Theatre). For B Sharp Cloudstreet, The Alchemist, Twelfth he sound designed The Eisteddfod Night and Suddenly Last Summer. and The Black Swan of Trespass Other theatre credits include Blackrock (Stuck Pigs Squealing). His other (Sydney Theatre Company); Child theatre credits include Criminology Dancing (Griffin Theatre Company) (Arena Theatre Company/Malthouse and Don Juan in Soho and The Theatre); Waikiki Hip (Sydney Theatre Pillowman (Melbourne Theatre Company’s Wharf2LOUD); Lally Company). On film, he can be seen Katz and the Terrible Mysteries of in Peter Pan, Chopper, Unconditional the Volcano (Stuck Pigs Squealing); Love, Holy Smoke, Muriel’s Wedding, Hunger (Rawcus/Melbourne Romper Stomper, The Thin Red Symphony Orchestra); Sideshow Line, Redball, The Roly Poly Man (Rawcus) and Autobiography of and Spotswood. He has appeared Red (Malthouse Theatre). Jethro on television in Underbelly, Love My has received Green Room Award Way, The Shark Net, Curtin, Bastard nominations for his work on Hunger, Boys, The Kangaroo Creek Gang and Criminology, Black Medea, Duets Bad Cop Bad Cop. Dan’s awards and of Desire, The Damask Drum, The nominations include a TV Week Silver Eisteddfod and Sideshow. As a bass Logie for Love My Way, a Green Room player, guitarist or singer he has Award nomination for Cloudstreet and performed with ensembles such as a Helpmann Award nomination for Cordrazine, SFC, Astra Choir and the The Pillowman. Byrne Band. Recently he undertook professional development in New York and Ann Arbor, Michigan, supported COMPANY B HISTORY

Company B sprang into being out of the unique action taken to save the Nimrod Theatre building from demolition in 1984. Rather than lose a performance space in inner city Sydney, more than 600 arts, entertainment and media professionals as well as ardent theatre lovers, formed a syndicate to buy the building. The syndicate included nearly every successful person in Australian show business. Company B is one of Australia’s most celebrated theatre companies. Under the artistic leadership of Neil Armfield, the company performs at its home at Belvoir St Theatre in Surry Hills, Sydney and from there tours to major arts centres and festivals both nationally and internationally. Company B engages Australia’s most prominent and promising playwrights, directors, actors and designers to present an annual artistic program that is razor-sharp, popular and challenging. Belvoir St Theatre’s greatly loved Upstairs and Downstairs stages have been the artistic watering holes of many of Australia’s great performing artists such as , , Jacqueline McKenzie, Noah Taylor, , , Bille Brown, , Deborah Mailman and Catherine McClements. Sellout productions like Cloudstreet, The Judas Kiss, The Alchemist, Hamlet, Waiting for Godot, Gulpilil, The Sapphires, Stuff Happens, Keating!, Parramatta Girls, Exit the King and Toy Symphony have consolidated Company B’s position as one of Australia’s most innovative and acclaimed theatre companies. Company B also supports outstanding companies through its annual B Sharp Season. For more information visit www.belvoir.com.au Company B presents COMPANY B STAFF 18 Belvoir Street, Surry Hills NSW 2010 Email [email protected] Web www.belvoir.com.au SCORCHED Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444 Written by Wajdi Mouawad Translated by Linda Gaboriau ARTISTIC DIRECTOR Downstairs Theatre Director DEVELOPMENT Directed by Neil Armfield Neil Armfield AO Annette Madden Philanthropy Manager GENERAL MANAGER Acting Education Manager Christine Sammers Brenna Hobson Robyn McLean Partnerships Managers Education Assistant Janine Collins COMPANY B Cathy Hunt Frances McDonald BOARD Neil Armfield AO ADMINISTRATION MARKETING Anne Britton Artistic Administrator Marketing Manager Andrew Cameron John Woodland Ali Gordon Michael Coleman Administration Coordinator Marketing & Natalie Wall Publications Coordinator Christine Bradburn Louise Herron FINANCE & OPERATIONS Brenna Hobson Marketing & Development Head of Finance & Operations Assistant Brian Thomson AM Richard Drysdale Mary Vallentine AO Nathalie Vallejo Financial Administrator Publicity 19 july – Ann Brown BELVOIR ST Siobhan Robertson Accounts Payable (Mollison Communications) 7 september THEATRE BOARD Jane Powles Maureen Barron Operations Manager Trefor Clayton Jan S. Goldfeder Tim Game PRODUCTION “I read Scorched and was totally floored. Jane Jose BOX OFFICE Head of Production Stuart McCreery Assistant Box Office Liam Fraser Then I read Khaled Hosseini’s The Kite Runner Russell Mitchell Managers Technical Manager Chris Mercer Kingsley Slipper Paul Robson and it was like I was in the same world. Lucy Marinelli Production Deputy Glenn Dulihanty ARTISTIC I think this play is a masterpiece.” Company Stage Manager NEIL ARMFIELD AND PROGRAMMING FRONT OF HOUSE Front of House Manager Kylie Mascord Associate Artists Production Coordinator Wayne Blair Damien Storer Assistant Front of House Shaun Poustie Wesley Enoch Head Mechanist Artistic Associate Manager Bianca Rowe Thane Browne BOOKINGS 9699 3444 Eamon Flack Costume Coordinator or www.belvoir.com.au Literary Associate Judy Tanner Sam Strong Downstairs Technical Manager Eddi Goodfellow COMPANY B KEEPERS Shakespeare B Keepers are a unique group of individuals whose financial support is alive and well!! is a reflection of their passion for, and commitment to, Company B. The B Keeper program is one of the ways we can continue to create the kind of theatre that we love and that has attracted and inspired audiences So is Chekhov ! here in Sydney, around Australia and across the world. We gratefully acknowledge our B Keepers for their loyal and generous support Not to mention Beckett, Corporate B Keeper Gogol and P atrick White... Sterling Mail Order ... and the new Australian playwrights not yet born . Patron B Keepers

Anonymous (9) David Haertsch Mary Jane McKerihan You might not write plays, but you too can leave a Robert & Libby Albert Erica Hahn Professor Elizabeth More lasting legacy. By leaving Company B a gift in your Gil Appleton Andrew & Wendy Hamlin Rae & Peta Morris Amazing Paper Marion Heathcote Dr David Nguyen will, you can ensure your favouri te theatre company Phil & Beverley Birnbaum Louise Herron Timothy & Eva Pascoe continues to creat e inspiring , thought prov oking Max Bonnell Michael & Doris Hobbs David Patterson theatre for generations to come. Anne Britton Sue Hunt Bob, Sheila & Katie Pitts Denise & Neil Buchanan Peter & Jessie Ingle Colleen & Larry Roche If and when the time is right for you to make a will, or Brian Burfitt Rosemary & Adam Ingle Greg Roger Andrew & Cathy Cameron Anita Jacoby Geoffrey Rush add to the one you ’ve already made, consider leaving Mary Jo & Lloyd Capps Jarzabek family John Sharpe & a bequest to Company B. Please remember us, after Elaine Chia Avril Jeans Claire Armstrong your family, and contribut e to the long term futu re of Jane Christensen Chris Jennings Sherman Pictures Louise Christie Margaret Johnston Peter & Jan Shuttleworth our theatre. Peter Cudlipp & Kachoyan family Edward Simpson Barbara Schmidt Sue Kennedy Judith & Howard Smith We don’t save lives, but we make many lives a lot better. Suzanne & Michael Daniel Ian & Nan Landon-Smith Julie & Rob Smith Ian Darling Linda & Richard Laznik Victoria Taylor Yours sincer ely , Jeanne Eve Antoinette Le Marchant Brian Thomson & Chris & Bob Ernst Jennifer Ledgar & Bob Lim Budi Hernowibowo Peter Fay Stephanie Lee Hilary Vallance Margaret Fink Atul Lele Mary Vallentine AO Jennifer & Ross Glasson Hilary Linstead Orli Wargon Peter Graves Peter & Carolyn Lowry Paul & Jennifer Winch David & Catherine Groves Iain & Judy Wyatt Please call our Philanthrop y Manager Christine Sammers on (02) 8396 6219 to discuss any ideas or questions you might have re garding bequests. All enquiries will be donations handled with the utmost confi d entialit y. Company B is grateful to accept all donations. Your gift will be directed towards our foundation which will be used to further the artistic goals and provide opportunities for the artists of Company B. Donations over $2 are tax deductible. If you would like to consider making a donation, or would like further information Katurian: It’s not about being or not being dead. about becoming a B Keeper, please call our Philanthropy Manager It’s about what you leave behind. Christine Sammers on (02) 8396 6219 or email [email protected] Martin McDonagh, The Pillowman Martin McDonagh COMPANY B DONORS Company B wishes to thank the following donors who have generously contributed over $100 in 2008 to:

Company B Foundation or the Building Redevelopment Fund

Anonymous (10), Rosemary Allen, Gillian Andrew Lampe, Elizabeth & Colin Laverty, Chairman’s Group - Appleton, Len Armfield, Ross Armfield, Sarah Lawrence, Tom & Marilyn Lawson, supporting the development of Indigenous theatre at Company B Frank Barnes, Sally Begbie, Trish Booth, Jennifer Ledgar & Bob Lim, John Lewis, Rebecca Bourne Jones, Gina Bowman, David & Trish Lieberman, Eileen & Terry Anonymous (2), Bazmark Inq, Susie Louise Herron, Victoria Holthouse, Belinda Elizabeth Brennan, Margaret Bruce, Lustig, Anne McCallum, David & Barbara Carleton, Berg Family Foundation, Jillian Hutchinson, Shirley Jarzabek, Dr Ruby C Y Sienadune & Ian Buchanan, Graeme Butler, Millons, Cynthia Mitchell, Russell Mitchell, Broadbent, Louana Butler, Lin & family, Hilary Linstead, Robin Love, Deborah Byers, Margaret & Timothy Margaret Murphy, Dr Peter & June Musgrove, Chapman Films, Louise Christie, Carol Helen Lynch, Robyn Neasmith, Kate Richter, Cavanough, Victor Cohen, Ruth Collerson, Ross & Louise Nicholas, Brian & Lyn Oliver, Dettman, Danny & Kathleen Gilbert, Anne Jillian Segal, Victoria Taylor, Kim Williams. Jenny Coopes, Bryony & Timothy Cox, Hugh Anne Owens, Clifford Pain, Ken Pattemore Harley, Isabel Herron, Cranswick, John Crocker, Alan & Catherine & Marian Hegarty, Angela Raymond, Shefali Cunningham, Marie Delaney, Vlasta & S. Rovik, Mark & Ruth Samson, Selwyn Peter Dodd, Susan Donnelly, Carmel & Shineberg, Jann Skinner, Eileen Slarke, Youth Express 2008 – Charles Dwyer, Christine & Robert Ernst, Jean Smail, Deborah Stow, Lee Tanabe, Company B Education Outreach Program Elaine & Bill Evans, Sue Field & Ian Phillips, Ingmar Taylor, Caren & Mike Trafford, Mary Anonymous (8), Wendy Blaxland, Jenny Hannaford, Peter Ingle, Avril Jeans, David Judith Freckman, Colin Gageler, Ronald Lee Vallentine, Louise & Steve Verrier, Edwina Bond & Chris Sheedy, Rob Charlton & Jo & Helen McCosker, Anna Kerdijk Nicholson, Gaudreau, Sandra Gross, Sophie Guest, Waddy, Margaret Ward, Elizabeth Webby, Foster, Susan Donnelly Patricia Novikoff, Kovacs & Chambers Siobhan Hannan, Bronwyn Haddock, Louise Nicky & John Whiteing, Brian Wright, Jeanne Eve, Patricia & Geoffrey Gemmell, Children, Sandra See, Kerry Stubbs, Helen Hamshere, John & Bobbie Harries, Louise Patricia G Wright, Elisabeth Wynhausen. Thomas Goodman & Garry Webb, Julie Thompson, Geoff Webster, Bev White. Herron, Elaine & Geoff Hiley, Ailsa Hocking, Dorothy Hoddinott, Helen & John Hookey, Peter Ivany, Corinne & Robert Johnston, Ronaele Jones, Danielle & Christopher Kell, We also sincerely thank: , Pauline & Leof Kingsford- The Redevelopment Donors who have donated over $1,000 and are now acknowledged on Smith, Carol & Geoffrey Lack, Gayle Lake, our new Belvoir St Theatre Redevelopment Donors Board 2004-2006, designed by Robert Cousins and located in our Gonski/Meers Foyer.

The Seats & Steps donors whose plaques are now permanently in place. OPT9557/A

What we do behind the scenes...

Optus and Company B are bringing ...helps our customers theatre closer to everyone. perform at their best

Optus and Company B are bringing theatre to a wider audience through our unique Community Access Program. Supporting numerous charities and community groups, our Charitable Tickets and Unwaged Performance Programs provide free shows and tickets to those who don’t normally get the chance to enjoy the theatre. Call 1800 010 045 Getronics is a leading Information and Communication Technology company that offers a global network of experience. Getronics has been a proud supporter of Company B for 10 years. “Contemplative of our times, this powerful, William McInnes A socially poetic love story peels Monic Hendrickx responsible printer away layers of hurt and mistrust to reveal the beauty of freedom, hope and choice.” – Brisbane International Film Festival Unfinished Sky Audience Award Official Selection Brisbane International Toronto International Film Festival Film Festival For information call: Kelly Bourke • 02 9549 2100

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www.unfinishedsky.com ONLY AT THE MOVIES! JUNE 19

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Company B’s home away from home

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Surry Hills

TAKE THE DRAMA OUT OF Baker & McKenzie BUYING SELLING is proud to support & MANAGING PROPERTY

Company B 437 Crown Street, Surry Hills

www.bakernet.com 9698 5500 Sydney +61 2 9225 0200 | Melbourne +61 3 9617 4200 www.ljhooker.com.au/surryhillls COMPANY B THANKS YOU

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apartments

Alex Craig Photography, Avant Card, Boomerang One to One, Coopers, Gilfillan Soundwork, iMedia, LJ Hooker, Sierra Slammer, Silver Spoon Caterers, Moves Travel Group, The Greatorex Foundation, The Ian Potter Foundation, Matana Foundation for Young People, Foundation for Regional and Rural Renewal, Vincent Fairfax Family Foundation, Westpac Foundation.

For more information on corporate partnership opportunities please contact our Partnerships Managers on (02) 8396 6224 or email [email protected]

18 Belvoir Street, Surry Hills NSW 2010 EMAIL [email protected] WEB www.belvoir.com.au Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444