euripides’ trojan women

ADAPTED BY ROSALBA CLEMENTE and DAWN LANGMAN MUSIC BY PHILIP GRIFFIN and ROSS DALY 12 - 27 NOV THE DUNSTAN PLAYHOUSE GREEK ORTHODOX COMMUNITY OF SOUTH AUSTRALIA INC.

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trojanEURIPIDES’ women

ADAPTED BY ROSALBA CLEMENTE and DAWN LANGMAN MUSIC BY PHILIP GRIFFIN and ROSS DALY

DIRECTOR Rosalba Clemente MUSIC & CHORAL DIRECTION Philip Griffin SET & LIGHTING DESIGNER Mark Shelton ASSOCIATE DESIGN/COSTUME Gaelle Mellis ASSISTANT DIRECTOR Simone Avramidis SECONDED CHOREOGRAPHER Mia Mason SECONDED SOLDIERS’ CHOREOGRAPHER Valéry Duval MUSICIANS Ross Daly Kelly Thoma Philip Griffin Tunji Beier Zoë Barry PRINCIPALS Dawn Langman In order of appearance Alirio Zavarce This production by State Theatre Emily Hunt Company of South Australia Caroline Mignone opened at The Dunstan Playhouse Gabriello White on November 16, 2004 Roger Newcombe Martha Lott STAGE MANAGER Françoise Piron DEPUTY STAGE MANAGER Paige Goodwin ASSISTANT STAGE MANAGER Lisa Osborn HAIR, WIGS & MAKEUP Jana De Biasi HEAD MECHANIST Oleh Kurpita SOUND OPERATOR Gus Macdonald HEAD LX Graham Silver BOARD OPERATOR Mel Jaunay FOLLOW SPOTS Kate Aylward Vanessa Van De Weyer PHOTOGRAPHY Shane Reid THANK YOU TO Nina Berris, Sew Busy Knitwear This production sponsored by for the Soldiers' uniforms. Jim Mavromatis, Vietnam Veterans Federation South Aust. Branch Inc. GREEK ORTHODOX GRAPHIC DESIGN Linehan Scott Design COMMUNITY

EURIPIDES’ TROJAN WOMEN PAGE 3 adaption notes rosalba clemente & dawn langman

Like those of you who may be familiar with the text of Trojan Women, the adaptors have had to meet it through the numerous available translations. Comparison of these reveals a large spectrum of variation about finer shades of intention but nothing can obscure the power of the central human situations and emotions to reach out across the centuries and shatter us with their relevance today.

We wanted to find a language both theatrical and poetic - contemporary but true to its origins. We have striven to honour all of the original images and to live with what are now called ‘classical allusions’, until we could express them in a language meaningful to a 21st century audience.

But we have gone a step further. We have not only wanted to tell the original story in a contemporary setting: that is, to record one more example of atrocities which will only act as justification for yet further atrocities in the cycle of revenge. We have also looked with 21st century consciousness and seen through what Euripides has given us seeds for a different set of choices. a note from rosalba clemente DIRECTOR

As a child I sat at my mother’s green laminex kitchen table listening to my Zias (Aunts) tell stories about World War II in their little Italian village of Santa Martino, Naples. Some of these stories frightened me – especially one about a young woman abducted from her home by soldiers. In the eighties, living in Sydney as a young actress, many of my friends were political refugees from Czechoslovakia and Chile. Later, I was to make more friends from countries like Bosnia. A month before I gave birth to my first child, I directed Maxim Gorky’s Lower Depths for AC Arts Third Year Acting students. Two weeks after Gabriello was born, I was sitting on our bed with him cradled in my arms. It was a beautiful sunny day and he looked like an angel but I remember going cold with a primal fear I’m sure many new mothers suffer from. I imagined the sound of boots in the driveway, the splintering wood of the back door forced open, strange men in the house armed and angry and me with my beautiful baby, alone.

EURIPIDES’ TROJAN WOMEN PAGE 4

Like so many of us, I was well acquainted with notions of terrorism well before it took a step closer to the western world on September 11, 2001. As a woman and a mother, I had lived with it on many subtle levels before it became the catch cry/war cry of the 21st century.

Trojan Women ‘visited’ me seven and a half years ago. Even then, the fragments of vision revealed a large chorus of women, music and a new adaptation. Most of the work developing text, music, song, vocal and physical dramaturgy has occurred over the last two years. The chorus of women emerged from community choirs and some arrived as individuals. Our fortnightly workshops this year involved a great deal of structured improvisations, impulse work, experiments towards developing a physical language for the piece and learning the songs.

I held similar workshops with the third year acting students from AC Arts on a weekly basis for two terms. We explored the text and deepened the physical dramaturgy and vocal soundscapes that bleed through the written text to create what we call the ‘third voice’ of this production.

The commitment of the student and community chorus, including the soldiers, has been central to the development of this work. Their dedication, humour and faith have been unwavering. Without you, none of this would have been possible. You have my unreserved love and respect.

And I have been blessed with the kindest and most committed colleagues. Dawn, Philip, Mark, Mia and Gaelle, you are all superbly gifted. Caroline, Alirio, Emily, Martha and Roger, your humanity towers as high as your talent. Special thanks to the profound contribution of Simone, the angelic sounds of Ross, Kelly, Tunji and Zoë and to our dear stage managers, Françoise and Paige, who look after us all so well.

To the wonderful tribe at State Theatre – I will never forget you. You are a great team and I have been privileged to work with each and every one of you. I wish you all a continuing great future at State Theatre.

I dedicate this production to my mother Caterina Clemente, my grandmother Cristina Troiano, my Zias – Maria Chiera, Carmela Russo, Maria Clemente and Anna Troiano, my mother-in-law Patricia White and finally to all women, children and men who continue to suffer in landscapes of war. May we see the arrival of global peace soon.

EURIPIDES’ TROJAN WOMEN PAGE 5 a note from philip griffin COMPOSER

In July 1994 I was performing concerts around the then recently unified Germany. A night off in Berlin coincided with a concert by Ross Daly, a man I had heard about for many years - an Irishman who had been recommended to me as “the person” with whom to study Balkan stringed instruments. We met after the concert and I had a lesson with Ross, then a month of study with him in Athens. Living in Israel several years later, I reconnected with Ross at a week-long music symposium. I proposed that Ross and Kelly Thoma make a concert tour of Australia, playing alongside Australian musicians Linsey Pollak, Tunji Beier and myself. Two tours, in 2001 and 2003, have seen that ensemble - now known as Labyrinth - performing around much of Australia, although not in Adelaide.

During the season of My Life, My Love in 2002, Rosalba had spoken to me of her desire to stage Trojan Women. I played her some of Ross’ extraordinary compositions. She needed no more persuasion, agreeing that Ross and Kelly would contribute enormously to her imagined production.

It was arranged that Ross and Kelly should visit Adelaide during the 2003 season of The Crucible, for which I wrote the music and Rosalba directed.

Happily, that visit went well and I hope you agree that the current production benefits greatly from their contributions. Achieving their and Tunji’s participation has required a considerable commitment from STCSA, and for this I thank in particular Rosalba, Atul Joshi, Shelley Lush and Irene Jones. The contribution of the Greek Orthodox Community in sponsoring Ross and Kelly’s visit is also extremely gratefully acknowledged.

The choral pieces which I composed for this production are firmly rooted in Western European musical traditions. I have, however, attempted to find a harmonic language compatible with the essentially modal traditions of the Middle East and Central Asia which inform Ross’ compositions.

Deeply felt thanks to the singers in our chorus, who bring these songs to life. Many hours of singing, clapping, dancing, counting on fingers, and pursuit of a deep and abiding love of 7/8 have been enjoyably - at least from my side - shared.

Not withstanding the tragic nature of the story at hand, it is a joy to work with these musicians and to welcome Zoë Barry to the privilege of making music with Ross Daly - a joy perhaps exceeded only by the recent birth of my son Jack Huxley Griffin to whom I lovingly dedicate my musical contribution to Trojan Women.

EURIPIDES’ TROJAN WOMEN PAGE 6 a note from ross daly COMPOSER

Composing music for Ancient Greek tragedy is always a great and rather special challenge. As a theatrical genre it is really quite unique and, indeed, very different from what we have come to know as modern theatre. Nevertheless, it is always strikingly relevant to any given age, due perhaps to its uncanny ability to portray and actually encompass in its characters what are in fact archetypal realms of human experience of a timeless nature. The modal musical traditions of the Middle East, Central Asia, as well as of itself, are also deeply connected to this archetypal dimension and would seem to me to be particularly well-suited to the role of underscoring and punctuating Ancient Greek drama. These musical idioms have been the object of my studies for the last 35 years and, apart from having had an enormous transforming effect on me personally, have helped me greatly to see the art of the ancient world in general in a totally new light. In saying this I do not mean to imply that I have made any attempt in my contribution to the composition of the music for Trojan Women to somehow “resurrect” ancient Greek music or indeed the music of any other ancient civilization. Such a task has long since seemed pointless and futile to me as well as being demonstrably impossible. Rather I have approached the play through the medium of musical idioms which, for the peoples to whom they belong, are neither ancient nor contemporary, and which spring from the same basic mindset that gave birth to much of the art of antiquity, as well as continuing to generate that of today. This does not imply anything of a static nature, on the contrary forms are continuously changing and developing, but always in order that they might be suitable vessels to carry the same eternal primordial essence down the corridors of time, uniting the past, present and future in a single ray of light, never simply for the sake of change. For the peoples who ascribe to this cultural mindset, something akin to a spiritual “big bang” theory is a living reality which pervades every single detail and aspect of their lives, and is the driving force behind all of their art. I and my colleague Kelly Thoma both feel very honoured to have been invited by Rosalba Clemente and Philip Griffin to participate in this production of Trojan Women. This play, regrettably, seems particularly relevant to today’s world which, despite its much touted “advances”, continues to see the lives of countless numbers of people torn apart by mindless wars for the sake of “Holy Grails” which are anything but holy, and which only serve to measure our ever increasing distance from our essential nature.

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20 21 22 A special group of Adelaide women who support the creative endeavours of women in the arts by sponsoring theatre.

1. SUE AVERAY Sue has been associated with a number of great 23 24 25 Dramatic Women including Paulene Terry-Beitz, Sue Rider and Gale Edwards. She is Manager, Heritage Branch, SA Department for Environment and Heritage and is responsible for the understanding, conservation and protection of the State’s rich heritage. She is also the Chairperson of the Australian Festival of Young People which presents the biennial Come Out festival.

2. KRYSTYNA BENSON Zenith Media 26 27 28 3. CORALIE CHENEY General Manager, Pickard Foundation. Coralie has extensive media experience in both radio and television and hosted a morning magazine program. She is a Board Member of SA Great and a member of the Aust Institute of Management. Coralie also manages her own business, has two teenage children and enjoys travel, theatre and entertaining. 4. DALLAS COLLEY 11. CHRIS JENNER Australia and Womadelaide, Program Domestic Violence Consulting and Training Director Business Development Manager of the Olympic Arts Festivals, Services. Many years’ experience in work Deloitte – one of the world’s leading and had various senior roles at the with people affected by domestic violence. professional services organisations, and Festival Centre. I am committed to working towards the delivering world-class assurance, tax and reduction of domestic violence and the advisory services. 20. CARMEL O’LOUGHLIN development of policies and programs Director aimed at earlier intervention and prevention 12. GLENYS JONES Foster Care Relations that work towards violence free Enjoying a dramatic change in her career Department for Families and Communities relationships. path, Glenys now prefers her new role as a Chauffeur, driving a limousine for special 21. JULIE REDMAN 5. FRANCENE CONNOR occasions including weddings, formals, Principal of Alderman Redman Francene is Marketing Manager of the birthday celebrations and driving that Family lawyers and mediators providing Royal Adelaide Show and the Royal special ‘star’ along a memorable journey. conflict resolution with creativity, sensitivity Adelaide Wine Show. She is on a range of She remains passionate in helping all and service. boards involved with tourism, arts and women achieve their full personal potential. architecture. 22. LORETTA REYNOLDS 13. MANDY KEILLOR Loretta is a partner in the commercial Keillor Building Associates Pty Ltd 6. GEORGINA DUNSFORD section of Thomson Playford, specialising Immediate Past President of Women Chiefs Sales & Marketing Consultant, in mergers and acquisitions. Loretta is of Enterprise International – SA Division Jackman & Treloar Real Estate also a member of TVI Tafe Council and One of the few female builders in Australia, With over six years marketing experience a director of MTAA Super. since completing a Bachelor of Mandy has carved a unique niche in the extension and renovation market International Business at Flinders University 23. MAUREEN RITCHIE of South Australia, Georgina's working specialising in Design and Construct building projects. Investor career with international companies has provided her with the opportunity to extend 14. HON STEPHANIE KEY MP 24. TRISH SEMPLE her skills and knowledge in sales and Minister for Employment, Training and Trish Semple is Chief Executive of the marketing in a competitive industry. Further Education, Minister for Youth, Council for International Trade and Georgina's interests extend beyond a Minister for the Status of Women Commerce SA Inc: CITCSA, the leadership working business environment as seen with council for the State's 39 country of origin her involvement in organising Lawn Bowls 15. MARTHA LOTT chambers of commerce and business functions at the Adelaide Bowling Club on Martha Lott is currently performing in Trojan councils. Trish says joining STCSA's Sundays over summer. Georgina's passion Women as Helen of Troy (her 3rd show Dramatic Women is an exciting opportunity for the arts began at a young age with with STCSA). She has been acting since to promote STC productions to SA’s Helen Beinke Dance Arts and she was she was 8 and has been brought up in the fortunate enough to perform many times at international business community, industry. Martha designed, refurbished and locations such as the Festival Theatre. commencing with the exciting Trojan manages the Holden Street Theatres Women. Complex in Hindmarsh, produces events 7. MANDY-JANE GIANNOPOULOS for the venue and works full time as a Mandy is the Manager Marketing 25. ANNE SKIPPER AM Project Manager for Weslo Holdings Pty Communications and Government Anne as an executive leadership coach has Ltd, which leases and runs the Thebarton Affairs at Arts SA. supported women throughout Australia to Theatre. Her focus is to promote the important role develop to their full potential. She is that arts and culture can play in currently a director of Savings and Loans 16. FRANCES MAGILL the lives of all South Australians. The Credit Union, Deputy Chair of the SA Chief Executive Officer of Statewide opportunity to attend wonderful Tourism Commission, Director of Cancer Superannuation Trust – Your key to Super productions and exhibitions have enriched You Can Trust & Executive Director of Council SA and Plan Australia - an her life and given her a greater perspective Statewide Financial Management Services international humanitarian child centred on life issues. Through the Dramatic – Provider of Financial Services development organisation. Women's group she is able to give something back to this important 17. MARGO MCGREGOR 26. DR VIRGINIA THREDGOLD Company. Margo commenced working life with the A few years ago I was privy to Rosalba's State Theatre Company in the late 1970’s thoughts about this 'epic' idea, Trojan 8. JANET GRIEVE and is currently the part time Media and Women. I am proud to be sharing the Executive Chairman Communications Manager for Hill-Smith excitement of this powerful work and the Michels Warren Pty Ltd Fine Art Gallery, and mother to Grace 4 culmination of Rosalba's seven years with Michels Warren is a public relations, and Callum 2. the Company. marketing and graphic design company. She also sits on a number of boards 18. CELINE MCINERNEY 27. ELIZABETH WARHURST including the Commonwealth Commercial Partner, Norman Waterhouse – Director, Elizabeth Warhurst & Assoc P/L - Remuneration Tribunal and Flinders Celine works extensively in intellectual specialises in strategic and business Technologies Pty. Ltd. property, media communications and planning, facilitation, organisational problem entertainment in the education and solving and mediation. 9. MADELEINE HEDGES research and public and private sectors. Life participant extraordinaire Celine is also a freelance actor and is well 28. JENNY WEAVER She dedicates this sponsorship to the known for her film roles in The Quiet Room, Jenny Weaver loves the theatre and the celebration of women of all cultures and Selkie and The Rabbit Proof Fence. the elimination of violence against them. arts and has deliberately chosen to live close to the State Theatre. She has worked 19. TEENA MUNN as a financial adviser for 14 years and is a 10. DEBORAH JAEDE Teena is General Manager of leading event My current role with Optus is design and management company, Visible representative with Prescott Consultants. Administration, Sponsorship & Events Management and State Manager of Musica As Chair of the Zonta International District Manager, SA. Having an appreciation for Viva, Australia’s largest Status of Women and Service Committee creativity and Art, I am pleased to be entrepreneur. Prior to this Teena was she also devotes time to projects involved with Optus and State Theatre. Executive Producer of Arts Projects committed to raising the status of women. “Terror… is a consequence of the general principle of democracy applied to the most urgent needs of the fatherland.” ROBESPIERRE

“It was necessary to destroy the village in order to pacify it.” WIDELY QUOTED US SOLDIER IN VIETNAM IN 1968

”Every state is based on violence.” LEON TROTSKY

“Great men, great nations, have not been boasters and buffoons, but perceivers of the terror of life. And have manned themselves to face it.” RALPH WALDO EMERSON

“I’m not in the habit of questioning my superiors, and I have no trouble with that.” LIEUTENANT COLONEL OLIVER NORTH, IN TESTIMONY TO THE JOINT SENATE-HOUSE INVESTIGATIVE COMMITTEE, 1987.

“This is my rifle This is my gun. One is for killing, One is for fun.” US ARMY TRAINING SONG

“Whenever I put on my face mask, I feel the heat of the proletariat. Nor does the eventual risk offend me: it fills me with a feverish emotion, as if I were waiting for a lover…” TONI NEGRI, ITALIAN SELF-PROCLAIMED TERRORIST

“We declare a Wargasm in America!” WEATHERMEN, CHICAGO (1969)

“I was only obeying orders.” ADOLF EICHMANN, AT HIS 1961 TRIAL IN ISRAEL FOR CRIMES AGAINST HUMANITY

EURIPIDES’ TROJAN WOMEN PAGE 10 “Religious violence is the best marching beat men know.”

“Religion has claimed to love life while pursuing death.”

“I will not give birth only to see my children kill and die. My body is not a weapons factory. It is my body.”

“A recent issue of ANC News Briefing, the newsletter of the African National Congress, calmly describes escalations of violence in South Africa - detentions, seizures, tortures, assassinations, trials, cripplings, evictions, riots, beatings, killings; They Will Never Kill Us All is lettered on a sign carried by a young black African woman pictured on its cover.”

“The majority of best-selling toys are weapons or action-figure (military) dolls… War-toy sales jumped from an estimated US $325 million in 1982 to nearly US $1 billion in 1984.”

“The atomic bomb that obliterated Hiroshima was affectionately named ‘Little Boy’.”

“Language must be made to lie. Brains must be bleached to forgetfulness.”

“As early as the 1950s, women in the Pacific Island countries began to experience radiation effects from US test bombings in the Marshall Islands. They coined the term “jellyfish babies” to describe the children being born to them - children without eyes, arms or legs. They were ignored.”

Reference: The Demon Lover, The Roots of Terrorism by Robin Morgan. Judy Piatkus (Publishers) Ltd, London, UK, 2001

EURIPIDES’ TROJAN WOMEN PAGE 11 a note from mark shelton DESIGNER

Trojan Women is my first professional theatrical set design. When I work as a Lighting Designer the concept is never fully realised until sometime just prior to opening night and is totally abstract until the first few days in the theatre when the plan begins to evolve into a series of lighting states that will best serve the production.

As a set designer, all the theory and ideas translate into pieces of cardboard and scenic elements in a scaled model well in advance of the first day of rehearsals. It is possible to hold and see the physical elements of the design exactly as they will appear onstage. I have greatly enjoyed this sense of the concrete when exploring various design solutions for Trojan Women.

As I write this, the lighting plan is structurally complete: there is a set of ideas on paper which I hope will combine to create a cohesive lighting scheme for the scenic and performance needs of the production. Outstanding, are the final colour choices and the detail of how the lights will interact with performance.

When I read this adaptation I discovered a Troy of the 21st century which co-existed in both a classical and contemporary world and I sought to find a theatrical world which it might inhabit. A world both technological and mythological.

Between today at Dafur in the Sudan and the Troy of 1260 B.C. there is a thunder of bloody history; there are the echoes of the screams of the dying and the brutalised: and in parallel there is a constant re-telling in art and literature of this same story. By what coincidence do we use the same word, theatre, to describe the act of performing stories and the act of waging war?

I find it personally painful that this is the second time I have been involved in the production of this play and I have become acutely aware of the play’s theatrical lineage: of the playing of this play throughout the millenia from amphitheatre to The Dunstan Playhouse. What was it that we were taught to learn from history: or is this a sympton of the Cassandra syndrome?

Pattern, division, opposition, and simple theatrical motifs form the conceptual bases of the design.

EURIPIDES’ TROJAN WOMEN PAGE 12

trojanEURIPIDES’ women ADAPTED BY ROSALBA CLEMENTE and DAWN LANGMAN MUSIC BY PHILIP GRIFFIN and ROSS DALY

Hecuba Dawn Langman Talthybius Alirio Zavarce Cassandra Emily Hunt Andromache Caroline Mignone Astyanax Gabriello White Menelaus Roger Newcombe Helen Martha Lott

AC ARTS STUDENTS Women’s Chorus Claire Dunn Jo Dunstan Lori Farmer Hayley Gnitecki Sarah Hunt Sarah Knowles Mia Mason Ptiika Owen-Shaw Ebony Sciberras Soldiers Valéry Duval Sean-Michael Kerins Chris Nash Tim Solly Jono Wood Brett Woolford

SCHOOL OF THE LIVING WORD Women’s Chorus Maya Cooper Joanna Panagiotopoulos Clare Strahan Georgia Strahan Tania Todd Soldiers Roberto Colosimo Oliver Trew

COMMUNITY WOMEN’S CHORUS Josie Axo Beryl Barmada June Barnes Jennifer Blackwood Molly Brannigan Valery Briton Lisa Buttery Ruth Buttery Clare Cowen Sue Crook Judy Dally Sue Deeprose Annalies Donders Robin Eadha Rachel Eckermann Ruth Farrent Marg Ferris Rosalie Garland Megan Guster Anne Heard Jayne Hewetson Margaret Hooper Elisabeth Kathleen Jacqueline Kinloch Lisa Lanzi Bethan McDonald Andy Merrigan Liz Packer Pat Palmer Sarah Palmer Wendy Parsons Lorraine Phillips Kate Prescott Anne Quigley Valerie Rantell Pat Rix Roslyn Rix Laura Rocconi Sappho Ruth Lyn-K Saunders Joy Taylor Deb Walsh Alana Zerjal-Mellor EURIPIDES’ TROJAN WOMEN PAGE 13

ROSALBA CLEMENTE DIRECTOR

Rosalba graduated from Adelaide College of the Arts and Education with a Drama Major in 1981 and The National Institute of Dramatic Art in 1985. In 1984 and 1985 she received The Adele Koh Acting Scholarship. 2004 marks Rosalba’s fifth season as Artistic Director of the State Theatre Company of South Australia. For State Theatre Company Rosalba has directed The Club (which toured nationally), Don’s Party, Unidentified Human Remains and the True Nature of Love, Carrying Light, Blithe Spirit, How I Learned to Drive, House Among the Stars, Holy Day, My Life My Love, The Crucible, Death of a Salesman and Trojan Women. She has directed for many companies – most notably Vitalstatistix’s My Vicious Angel, Belvoir St Theatre’s Radiance, Playbox’s Emma Celebrazione, Teatra de Migma’s La Verita, Brutta Bella, A Little Like Drowning, Rokato’s Stance, Sitting Duck, Mistress and many others. She was also initiator and Artistic Director of Barking Biting - a Festival of a short new works season at Belvoir St Theatre in 1995 and 1996. She was Assistant Director to Neil Armfield for Death and the Maiden and also to Antonio Vargas and Diana Reyes for El Amor Brugo. Rosalba has performed with the Sydney Theatre Company in Michael Gow’s New Stages production of Phaedra and Rodney Fisher’s Six Characters in Search of an Author; for Belvoir St Theatre in Ros Horin’s Foreign Matter, Teresa Crea’s Love and Magic in Mamma’s Kitchen, Lex Marino’s Fish Wednesday and many others for the Performance Space and Entracte Possessed/Dispossessed, Unicorn and Tight. She performed for many companies in Australia including Playbox, Vitalstatistix, Griffin, Bay St Theatre, Melbourne Comedy Festival and for her own production houses Teatar di Migma and Rokato Productions. Witchplay by Tobsha Learner and Spool Time by Alana Valentine were one-woman shows specifically written for Rosalba. Rosalba has also appeared in television and film roles as both guest, lead and regular lead for GP, Police Rescue, Poor Man’s Orange, Relative Merits, Gino, Antonio’s Angel, The Lacking and Celebration. Rosalba has served on the dance and drama advisory committee to the NSW Ministry of the Arts and on the theatre advisory committee to South Australian Departments of the Arts. She has served on many boards including Bash, Vitalstatistix, Belvoir St Theatre (where she also served as Artistic Counsel for three years), The Australian Theatre for Young People and was one of the founding members of Teatra di Migma. She is currently on the boards of The Australian Playwrights’ Centre and of AC Arts. In 1992, Rosalba was nominated for Best Freelance Director by the Sydney Theatre Critics’ Circle and was awarded the 1998 Adelaide Critics’ Circle Award for Outstanding Individual Achievement. In 2002 Rosalba received the Adelaide Critics’ Circle Award for Innovation in establishing State Theatre’s On Site Laboratory - the development of new Australian works led by South Australian artists. She has been nominated for many awards including Best Director for the Victorian Green Room Awards, a MO Industry Entertainment Award and the Helpman Awards.

PHILIP GRIFFIN COMPOSER, CHORAL PREPARATION, MUSIC DIRECTOR & MUSICIAN (OUD, CLARINET, GAIDANET, VOICE)

Philip studied classical guitar and then conducting at the WA Conservatorium of Music. He has composed music for plays at the Royal Shakespeare Company, Sydney Theatre Company and Belvoir Street Theatre. He has music-directed and conducted music- theatre, concerts and choirs around Australia, and has worked as an instrumentalist both at home and abroad, particularly in Switzerland and Great Britain. Apart from music for the theatre and the concert stage, Philip has spent much time performing music of the Balkans, especially the gypsy music of Macedonia. He has toured as part of Ross Daly’s band, Labyrinth, on two major Australian tours, which included acclaimed performances at the Melbourne International Festival, Brunswick Music Festival, and in , Perth & Sydney. As a singer, he has performed the title role in Puccini’s Gianni Schicchi and has performed bass solos in choral works such as St John Passion and Stravinsky’s Mass. More recently he started performing as a tenor, including touring extensively with CoOpera in Tosca. EURIPIDES’ TROJAN WOMEN PAGE 14

ROSS DALY COMPOSER & MUSICIAN (CRETAN LYRA, TARHU, SAZ, RABAB) Ross Daly’s journey in the music of the world is inseparable from the course of his life. Of Irish descent, born in England, his deep interest in music emerged early as he travelled around the world with his family. His first instrument was the , which he studied in his childhood years in America. He later began studying the classical guitar in Japan at the age of eleven. The late 1960s found him in San Francisco, where having experienced both the classical discipline and the air of freedom and experimentation of the time, he first encountered Eastern musical tradition. This completely changed his life. Of particular interest to him was Indian Classical music, the first non-Western tradition that he actively studied. The ensuing years found him travelling extensively, studying a variety of instruments and traditions. At that time his main emphasis was on Indian and Afghani music. In 1975, Ross travelled to and began a long study of the pear-shaped upright fiddle known as the lyra, first with local musicians he encountered around the island, then more intensively with the great master Kostas Mountakis. Following this came study of Ottoman classical music and Turkish folk music. After many years of intensive training in a variety of musical traditions, Ross Daly turned his attention largely to composition, drawing heavily on the various sources that he had studied. He has released many recordings of his own compositions, as well as of his own versions of traditional melodies that he has learned during his travels. The island of Crete still provides a base for his personal and musical research as he travels around the world performing his music.

MARK SHELTON LIGHTING & SET DESIGNER

Mark is Associate Artist with the State Theatre Company of South Australia. His STCSA credits include Death of A Salesman, Scapin, Who’s Afraid of Virginia Woolf?, Proof, Myth, Propaganda and Disaster in Nazi Germany and Contemporary America, The Mystery of Irma Vep, The Crucible, Scenes from an Execution, Merchant of Venice, My Life, My Love, Holy Day, Art, House Among the Stars, Blithe Spirit, Emma Celebrazione!, The Club, A Little Like Drowning, King Golgrutha, Spring Awakening and Comedy of Errors. Other work includes: (STC) The Revenger's Tragedy, Sweet Phoebe, Mourning Becomes Electra, Closer, The Visit, Titus Andronicus, Angels in America, Trojan Women, Oedipus, Life After George and Three Days of Rain; (Belvoir Street) Diary of a Madman, Ghosts, The Blind Giant is Dancing; (Bell Shakespeare) Hamlet, The Merchant of Venice and King Lear; and (Opera Australia) The Flying Dutchman, and Iphigenie En Tauride. Mark is a recipient of the Loudon Saint Hill Memorial Scholarship. Trojan Women is Mark’s first professional set design.

GAELLE MELLIS ASSOCIATE DESIGN/COSTUME DESIGN

Gaelle's designs have been extensively seen in Adelaide's theatres for many years. Gaelle is resident designer for the highly acclaimed Restless Dance and has designed all their theatre works, including their tour of Precious to the Sydney Paralympic Games Cultural Festival. Some of her major design credits include; Age of Unbeauty and the internationally acclaimed Birdbrain for the Australian Dance Theatre. Event design has included Come Out, Adelaide Fringe Festival & the Adelaide International Film Festival. For the State Theatre of South Australia she has designed Salt, A Number and Brink Productions award winning production of Killer Joe. Gaelle was awarded the 2002 Adelaide Critics’ Circle Individual Award for Excellence and a 2005 Churchill Fellowship.

EURIPIDES’ TROJAN WOMEN PAGE 15 SIMONE AVRAMIDIS ASSISTANT DIRECTOR

Simone graduated from The Centre for the Performing Arts, as an actor, in 1998. She is the co-founder and Artistic Director of Budgie Lung Theatre Company and has been at the forefront of the company’s development since their birth in mid 1999. Her directing highlights include: The Secret Garden in the Botanic Gardens, Eager to Breathe as part of the 2003 Come Out Festival, The War as part of the Gorge Festival and Dark Paths recently presented as part of the 2004 Fringe Festival. Simone has made many valuable and important relationships with respected industry professionals, which have lead her to be involved in a variety of artistic pursuits including: Emerging Artistic Director Initiative with funded through the Australia Council, Professional Attachment with Brink Productions on Sarah Kane’s 4.48 Psychosis and an Assistant Director’s Fellowship with State Theatre Company and Director Rosalba Clemente on Trojan Women. Simone has also worked as a tutor with many leading companies including: Urban Myth Theatre of Youth, Restless Dance Company, AIT Arts, The Elder School of Music, Southern Youth Theatre Ensemble, Actors Ink and Carclew Youth Arts Centre.

The State Theatre Company Assistant Director Scheme is supported by:

MIA MASON SECONDED CHOREOGRAPHER

Mia graduated from the New Zealand School of Dance with a Diploma in Dance Performance. She was a founding member of New Zealand’s Douglas Wright Dance Company, touring New Zealand, Great Britain and The Netherlands. In 1992, Mia joined Meryl Tankard Australian Dance Theatre, later becoming Senior Artist. The company toured throughout Australia, Europe, America and Japan. Highlights include performing the lead role of Furioso at the Brooklyn Academy of Music in New York and at Sadlers Wells in London. Mia is currently in her final year of Acting Studies at AC Arts (formerly CPA).

VALÉRY DUVAL SECONDED SOLDIERS’ CHOROGRAPHER

Valéry has recently completed an Advanced Diploma in Arts (Acting). He is also a member of Adelaide-based Martial Arts Stunt KREW (MASK). As well as being a keen student of the martial arts, Valéry trains in gymnastics and acrobatics. He played an inmate in State Opera’s 2003 production of Dead Man Walking and also performed in a musical review this year with Swamp Fairy. Valéry hopes to travel to Europe next year to further his acting career.

EURIPIDES’ TROJAN WOMEN PAGE 16 KELLY THOMA MUSICIAN (CRETAN LYRA)

Kelly was born in Piraeus, Greece in 1978. She commenced her study of the lyra in 1995 with Ross Daly and shortly thereafter began travelling with him and his group Labyrinth, participating in concerts in Europe, Asia and Australia. She has taken part in many projects with musicians from various different musical traditions (including India, Iran, Turkey, Tuva, Bulgaria & China), a fact which has resulted in her development of a unique and very personal style of playing. Apart from her musical studies, Kelly graduated in 2001 with a degree in English Philology from the University of Athens, and studied dance for many years at the Rallou Manou dance school in Athens. She has performed with Ross Daly in many important venues and festivals such as: Théatreˆ de la Ville (Paris, 2003), Queen Elizabeth Hall (London, 2000 & 2002), Melbourne International Festival (2001), Perth International Arts Festival (2003), Megaron Mousikis (Thessaloniki, Greece, 2001) and many others.

TUNJI BEIER MUSICIAN (PERCUSSION)

Tunji Beier's first musical inspiration came, at the age of two, from the powerful Yoruba master drummer Ayansola. Further inspired by South African pianist Abdullah Ibrahim, Tunji began playing the drum kit at the age of eight. By the time he was ten, Tunji was performing in concerts, with his first being at the Sydney Festival with Yoruba drummer Muraina Oyelami. Tunji followed Muraina to Nigeria for more study, which led him into performing with the Yoruban Alarinjo dance group at the Singapore Arts Festival when he was 12. As a teenager, Tunji also studied the South Indian Mridangam, first with Ramesh Shotham, then at the Karnataka College of Percussion in Bangalore whilst living with his Guru Mr. T.A.S. Mani. Tunji spent three years playing classical South Indian repertoire and was the top student of his year in the state exam of Carnatic music. Tunji then moved to Germany where he started the Grenzüberschreitungen (Border Crossings) World Music Festival in Bayreuth. Tunji has performed with such musicians as Billy Cobham, Iain Ballamy, R.A. Ramamani, Charlie Mariano, The Chemirani Trio and many more. He has toured Europe extensively with various fusion ensembles exploring Indian, Flamenco, Sudanese and other musical styles. Tunji now resides on the Sunshine Coast but has ongoing collaborations in Melbourne, Sydney and Queensland.

ZOË BARRY MUSICIAN (VIOLONCELLO, VOICE)

Zoë studied Ethnomusicology and cello at the University of Adelaide, whilst furthering her studies around Australia, the UK, Ireland, Indonesia and Russia. She is in demand as a musician, composer and teacher for a wide variety of musical and community projects. She performs and records regularly on instruments including baroque and modern cello, da gamba, voice and accordion with ensembles including her band bergerac, the Ruby Frost (jazz and originals), Adelaide Baroque, Music of Transparent Means, Eve, and is a regular guest with the Zephyr Quartet. She writes for film and documentaries, theatre, dance, and various chamber ensembles and choirs. This year Zoë has composed and performed in STC's Night Letters for the Adelaide Festival, Ingrid Voorendt's dance theatre work babushka, Sophie Hyde's OK Let's Talk About Me for SBSTV, and is currently working with the New Pollutants on a new score for Metropolis, to be screened at next year's Adelaide International Film Festival.

EURIPIDES’ TROJAN WOMEN PAGE 17 DAWN LANGMAN HECUBA

Dawn was born in Adelaide in 1945. Her original training in speech and acting was with Musgrave Horner at Adelaide Teachers College, to which she eventually returned as a lecturer/teacher in The Speech and Drama Department. She left Australia in 1973 only returning in 1995 after spending 23 years in England and America where she continued to train, to teach speech and acting and to perform. Since returning she has founded her own school, currently based in Melbourne and dedicated to exploring the integration of speech and acting arising out of the work of Michael Chekov; a methodology she helped to pioneer with The Actors Ensemble of New York. Her great love is for the poetic dimension of language and theatre. She has developed solo performances of King Lear, Dr Faustus, a piece based on the life and works of Judith Wright and, most recently, her own creation of Kaspar: The Crown Prince based on the life of Kaspar Hauser, The Child of Europe. She has performed these works in England, Switzerland, USA and New Zealand as well as here in Australia.

ALIRIO ZAVARCE TALTHYBIUS

Alirio was born in Caracas, Venezuela in 1970 and migrated to Australia in 1992. In 2000, Alirio graduated from the Actors’ Course at Flinders University Drama Centre, worked with the Yaschin Ensemble on the creative development Intimacy and with Brink Productions in The Ecstatic Bible as part of the Telstra Adelaide Festival 2000. In 2001 Alirio performed Guillermo Verdecchia’s one-man show Fronteras Americanas/American Borders. Through its success this production toured and opened the International Festival of Monologues, Migrating Souls in Singapore and won the Adelaide Critics’ Circle Emerging Artist award. Last year Alirio toured Fronteras Americanas as part of Kultour 03 (Melbourne, Adelaide and Perth). Alirio is a founding member of the experimental theatre company The Border Project. In 2004 Alirio performed in Please Go Hop at the Adelaide Fringe and Next Wave Festival, Melbourne. He also created One Act, a new theatre initiative and performed the role of Vince in the feature film Life Story.

EMILY HUNT CASSANDRA

Emily graduated from the Centre for the Performing Arts (AIT Arts) in 2002. As the recipient of the Adele Koh Acting Scholarship (STCSA 2003), the Minter Ellison Emerging Artist Award (2003) and Helpmann Academy Emerging Artist Sponsorship (2003), she furthered her training in Sydney at the Actors Centre and Practical Aesthetics Australia. Her theatre credits include The Crucible (STCSA), Afternoon of the Elves (STCSA/Windmill Performing Arts) and Problem Child and Criminal Genius (Fringe Festival 2004). She recently workshopped Wharf at Woolloomooloo and Tough for Vitalstatistix National Women’s Theatre and Total Strangers for the State Theatre Company’s Young Guns project.

EURIPIDES’ TROJAN WOMEN PAGE 18 CAROLINE MIGNONE ANDROMACHE

Since graduating from Flinders University Drama Centre, Caroline has worked extensively for State Theatre Company having appeared in Marat/Sade, The Comedy of Errors, Restoration, Tales from the Decameron, A Flea in her Ear, The School for Scandal, Six Characters in Search of an Author, Blithe Spirit, The Taming of the Shrew, Proof and most recently, Scapin which also enjoyed a season at the Queensland Theatre Company. One of the original members of Doppio Teatro, she appeared in Il Cabaret Del’Immigrante, Qui tutto Bene and Peppino. For Magpie Theatre Company she appeared in A Couple of Kids and the title role in Alice in Wonderland. For Vitalstatistix Theatre Company, Caroline appeared in the title role of the premier season of Svetlana in Slingbacks in Belvoir St as part of their 1999 season and a season in the 2000 Adelaide Festival. For the Melbourne Theatre Company she has appeared in Capricornia and the title role in Medea for the Adelaide Symphony Orchestra as part of their 2001 season.

GABRIELLO WHITE ASTYANAX

This is Gabriello’s first professional production.

ROGER NEWCOMBE MENELAUS

Roger was born in the UK in 1941 and his family immigrated to Canada in 1955. In 1968 he moved to Australia and performed in his first amateur play in 1970. In 1971 he started his professional career with the Twelfth Night Theatre Company in Brisbane. There followed seasons with the Queensland Theatre Company, The Old Tote, Nimrod and Belvoir Street. Stage credits include Hamlet, King Lear, The Ruling Class, The Homecoming, The Doll’s House, The Seagull and many others. Roger has also appeared in Cop Shop, The Box, The Restless Years, The Battlers, McLeod’s Daughters and many other TV productions. Films include Phar Lap, Odd Angry Shot, Lust and Revenge and Black and White. Roger now resides very happily in Adelaide and has appeared for this company in The Great Man and The Crucible.

EURIPIDES’ TROJAN WOMEN PAGE 19 MARTHA LOTT HELEN

Martha is a Graduate of the Drama Centre, London where she studied under Yal Malmgren. After returning to Australia she worked in Sydney for four years and has now settled in Adelaide. Her theatre credits include: Death of a Salesman (STCSA), Myth, Propaganda & Disaster in Nazi Germany & Contemporary America (STCSA & Playbox), Private Lives and Cherry Orchard (Adelaide University Theatre Guild), Room Service (Festival of One), I Know What You Want (Chalk Farm), Lavender Hope (Holden St), The Removalists (New Theatre), 1913, Right You Are (if you think you are), Chaste Maid in Cheapside, Women Beware Women, Sauce for the Goose, Merchant of Venice and Cat on a Hot Tin Roof. Martha performed in Rolf De Heers’ Alexandra’s Project and redesigned, refurbished and manages the Holden St Theatre in Hindmarsh. Martha was the recipient of the Adelaide Critics’ Circle Coopers Award for Excellence in the Performing Arts in 2002 and is currently working with Steven Sewell on his new play as Mae West in Mae West’s Stiffs.

FRANÇOISE PIRON STAGE MANAGER

Françoise trained at the Victorian College of the Arts. In 1995 she worked with Meryl Tankard Australian Dance Theatre as Stage Manager and from 1996 to 1998 at the School of Dance, Victorian College of the Arts as Production Manager. She has been involved with the Adelaide Festival of Arts, 1996 to 2002, in various production capacities. In 2000 she production managed Arts Projects Australia’s 3-cities tour of the Vietnamese Water Puppets and in 2001 she worked as Interim Production Manager for the State Theatre Company. As a freelance production and Stage Manager she has worked for WOMADELAIDE, the , and the Adelaide Cabaret Festival. She regularly stage manages for the State Theatre, most recently on Night Letters and Death of a Salesman.

PAIGE GOODWIN DEPUTY STAGE MANAGER

Paige graduated from the Centre for the Performing Arts Technical Production course in 1999. Most recently Paige worked with State Theatre Company as Stage Manager for Goodnight Desdemona (Good Morning Juliet). She also worked as Stage Manager for Brink Productions/STCSA Co-production of The Duck Shooter and State Theatre Company’s production of Who’s Afraid of Virginia Woolf, Adelaide and South Australian regional seasons. Paige’s Assistant Stage Management credits for State Theatre include How I Learned to Drive, Taming of the Shrew, House Among The Stars, Holy Day, Design for Living (MTC/STCSA), The Great Man, Dealer’s Choice, Salt, The Mystery of Irma Vep, Myth, Propaganda and Disaster in Nazi Germany and Contemporary America and Scapin. Paige has also stage managed for Vitalstatistix, Southern Youth Theatre Ensemble, Bluebottle, WOMADelaide, Adelaide Festival Centre, Patch Theatre Company and AIT Arts. Paige has worked as Production Assistant with the Adelaide Fringe and Adelaide Festival of Arts and as Production Coordinator for WOMADelaide 2003 and 2004.

EURIPIDES’ TROJAN WOMEN PAGE 20

Rosalba Clemente and Dawn Langman in rehearsal

Choreographer Mia Mason in rehearsal with cast

EURIPIDES’ TROJAN WOMEN PAGE 21 Musical Instruments used in the performance of Trojan Women

BOWED STRING INSTRUMENTS covered by goat-skin supporting the bridge, and the other covered by a wide wooden fingerboard. The rabab Cretan Lyra - a small upright fiddle held on the left knee, can also be found in the neighbouring states of Pakistan, which is the prime folk instrument of Cretan traditional Tajikistan, in the Kashmir region of India, and is also music. Originally it had only three strings, although in frequently mentioned in some of the most ancient Persian some traditions - most notably the Bulgarian - it can be musical treatises, this despite the fact that the rabab found with as many as 12 sympathetic strings. The lyras went out of use in Iran centuries ago. played in Trojan Women incorporate the use of 18 sympathetic strings which resonate in response to the Baglamas - A very small and high-pitched short-necked notes played on the three main playing strings. The left- lute with three courses of metal strings. Originally made hand technique of the lyra (unlike that of the guitar or by prisoners in Greek prisons at a time when bouzoukis where the fingers press the strings to a fingerboard) were illegal. is unusual in that the notes are produced by applying WIND INSTRUMENTS pressure with the fingernails to the side of the string. The Gaidanet - designed and made by Linsey Pollak, the earliest historical account of the lyra is that of a Persian gaidanet is a single-reed, cylindrical bored woodwind traveller in the Byzantine land of Thrace in the tenth instrument which has the fingering and tuning of the century A.D. gaida (Macedonian bagpipes). Tarhu - a new form of spike-fiddle created by Australian PERCUSSION INSTRUMENTS instrument maker Peter Biffin. The tarhu design uses a unique acoustic system, where the strings’ vibrations are Tavil - a South Indian street and temple double-headed transferred to a featherweight wooden cone suspended drum, played with stick and four cotton and glue finger within the wooden body, thus giving it a wide range of caps. The smaller (stick) side actually produces the bass tone-colour variations. notes on this drum, whilst the larger side produces the higher notes. PLUCKED STRING INSTRUMENTS Dhol & Dolki - two folk instruments from South India that Oud - The oud is a lute of Arabic origin, originally with are not usually played simultaneously by one player. four courses of double gut strings. The present-day oud A special stand has been constructed to enable this. has five double strings and one single bass string tuned in intervals of fourths. The oud is one of the oldest and Kanjira - a small South Indian frame-drum with an certainly the most important in Arabic classical music. extremely flexible lizard skin that gives this drum its Since the mid-19th century, it is also to be found in unique sound. Turkey where it quickly acquired a place of prominence in Zarb - Iranian classical drum with an exceptionally deep Turkish classical ensembles. bass and crisp sound. Saz - The saz is a long-necked Turkish folk lute with Dayera - a buffalo-skinned frame-drum from Uzbekistan three courses of metal strings. It is primarily the with many rings attached to the inside of the frame that instrument of Asiks (travelling minstrels usually belonging jingle as you play. to the Bektasi order of Dervishes). Since the early 20th century it has come to be considered as the prime and , ROSS DALY MUSICIANS’ WORKSHOP most characteristic Turkish folk instrument, a position to Thursday 25 November at 2pm , which it was elevated by the founder of the modern A rare opportunity to gain insight into the fascinating Turkish state Mustafa Kemal Atatürk. It has frets world of the modal musical traditions of the Eastern accommodating not only whole tones and semitones, Mediterranean. Geared towards musicians and music but also the quarter-tone intervals so characteristic of lovers, Daly will present the history, unique scales and Turkish folk music. Its origin is said to be central Asia (the instruments in the traditional music of Crete, Greece, original home of the Turkic people) where variations of it Turkey, Transcaucasia, Central Asia and the Arab world. still exist today. As he lectures, the musicians demonstrate on the Rabab - The rabab is the primary folk and classical various instruments, with time for questions. instrument of the musical tradition of Afghanistan. It has To register your interest please phone STCSA three playing strings - two drones and 13 sympathetic reception on phone: 8231 5151 strings. Its body is divided into two sound chambers, one a starring role for ALL donors

Special thanks go to the following individuals and businesses for their generous support:

PREMIER PATRON DONATIONS $100-$500 Joan Laing DONATIONS $50 - $99 Maureen Ritchie Alexander & Symonds Pty Ltd Georgina Legoe I Augstkalns RH Allert Beth Lewis Robert Baxter GOLD PATRONS Julie Almond Martha Lott Jen Barrett Anonymous (1) Sue Averay M Lugg Patsy Bennett Glenys Baker Greg Mackie Cathy Brown-Watt Friends of State Theatre Dianne Barron-Davis Frances Magill Helen & John Burgess Margaret Bennett Celine McInerney R & J Copeland PATRONS Krystyna Benson Bob Mierisch John Crocker Bert & Susie Balnaves Barbara Bedford Teena Munn Roseanne Debats Ronald & Karen Bannear Joan Brown National Pharmacies Joan Durdin Robert Bryce & L Brownbill Jane Newland Jennie Dyster Dr Lyn Edwards Coralie Cheney Carmel O’Loughlin Joan Emery Noel & Janet Grieve Dallas Colley Optus D Evans Rob & Susan Hunt Mark Colson Dianne Peberdy Grant Fielder Jocelyn Pedler Jim & Skye Jarvis Francene Connor Peggy Friedrichs Don Perriam Margo McGregor Stephanie Cooper O Fuchs Judy Potter David & Pam McKee Sonia Coorey Mark Henderson Georgina Dunsford Robert Potter Gerard Hocking Trish & Richard Ryan Barbara Fargher Lorraine Pratt Lyndall Hughes Leon & Adrian Saturno Robert Fletcher Julie Redman Kate Husband Diana Fry Loretta Reynolds Margaret Lugg Mandy-Jane Giannopoulos Colin & Rosie Rice RC Mansfield David & Audrey Goscombe Rob Richards Ashley Marshall David Gray William & Elizabeth Riedel Alison McPharlin Janet Grieve John Russell Patricia Mould John Heard Anne Skipper Janice E Menz Robert Hecker Stamford Plaza D Muecke Madeleine Hedges Daryl Stillwell Patricia Pannell Hender Consulting K Tennosaar A & Y Paull RD & AR Hill-Ling Virginia Thredgold Ron Sinclair EH & A Hirsch Helen Tiller Russell Starke Simon James Sue Tweddell The Stirling Players Chris Jenner Urban Construct Helen Tiller EF Johnston Jennifer Weaver Tutti Ensemble Glenys Jones John Wellington Neta Vickery Paul Jarmain Elizabeth Wilson Jacqui Walkden Mandy Keillor Brenton Wright Jennifer Wagner Rosemary Kemp Woods Bagot Bronwyn Weller H B & S J Kildea Richard Willing

The State Theatre Company of South Australia gratefully acknowledges those donors who have contributed gifts up to $50 in the past year. The State Theatre Company of South Australia is a tax deductible fund listed on the Register of Cultural Organisations under Subdivision 30-B of the Income Tax Assessment Act 1997. Donations of $2 or more are tax deductible. Enquiries Development Department 8231 5151. The State Theatre Company thanks the following for their support of the 2004 season

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CORPORATE PARTNERS GOLD SUBSCRIBERS Booze Bros Maunsell Christine & Tony Antenucci Business SA Norman Waterhouse Ashelwood Office Partitioning & Council for International Trade SA Great Furniture and Commerce SA Inc. SA Lotteries Kristina Bamford Flotek Sims Partners Ronald & Karen Bannear GHD Tynte Flowers Daryl & Imelda Blackwell Kinsmen uberart.com.au Anne Levy Jane Ferguson & Trevor Mudge

Board of Governors

CHAIR Brenton Wright GOVERNORS Nicola Downer Jock O’Keeffe Peter Vaughan SUBSCRIBER ELECTED GOVERNORS Richard Flynn Rachel Spencer EMPLOYEE ELECTED GOVERNOR Areste Nicola The Company ARTISTIC DIRECTOR Rosalba Clemente GENERAL MANAGER Atul Joshi FINANCE MANAGER Marie-Ann Haren PRODUCTION MANAGER Peter Kelly MARKETING + PUBLIC RELATIONS MANAGER Michelle Fotiou ARTISTIC ADMINISTRATOR Shelley Lush PUBLICIST Vanessa Allen YOUTH MARKETING + DEVELOPMENT COORDINATOR Sarah Craig MARKETING COORDINATOR Rachel Gohl ADMINISTRATION COORDINATOR/ PART TIME FINANCE OFFICER Emily Higgins ADMINISTRATION ASSISTANT Rosie McKee PRODUCTION COORDINATOR Graham Raven WORKSHOP SUPERVISOR John Meyer LEADING HAND Areste Nicola CARPENTERS + PROP MAKERS Scott Draper Patrick Duggin Glen Finch Jardine Lee Shiers PROP SHOP Robin Balogh WARDROBE COORDINATOR Michelle Tindall WOMEN’S CUTTER/COSTUME MAKER Sue Nicola HAIR, MAKE-UP + WIGS Jana DeBiasi SCENIC ART Sandra Anderson MEN’S CUTTER/COSTUME MAKER Jen Barrett WARDROBE Morag Cook Marione Mansfield Elizabeth Oliver Christina Politis Robyn Trott DEVELOPMENT CONSULTANT Irene Jones ASSOCIATE ARTISTS Catherine Fitzgerald Dawn Langman Mark Shelton (Resident) UK REPRESENTATIVES Yolande Bird Diana Franklin NY REPRESENTATIVE Jo Porter

Adelaide Railway Station Station Road Adelaide South Australia 5000 PO Box 8252 Station Arcade South Australia 5000 T. 61 8 8231 5151 F. 61 8 8231 6310 [email protected] www.statetheatre.sa.com.au

PHOTO: Shane Reid

Members of State Theatre Company's Dramatic Women on the set of Boston Marriage Adelaide Railway Station Station Road Adelaide SA 5000 PO Box 8252 Station Arcade SA 5000 Telephone (08) 8231 5151 Facsimile (08) 8231 6310 www.statetheatre.sa.com.au email [email protected]

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