Brink Productions in association with Adelaide Festival Centre presents

A new Australian play 10–24 October, based on a short story Space Theatre by brinkproductions.com Featuring Zephyr Quartet

Director Chris Drummond Designer Michael Hankin Lighting Designer Nigel Levings Musical Director Hilary Kleinig Composers Belinda Gehlert, Emily Tulloch, Jason Thomas, Hilary Kleinig Cast Paul Blackwell, Lucy Lehmann, Kris McQuade, James Smith and Zephyr Quartet Creative Team

Creatives and Production Creatives and Production

Director Scenic Artist Chris Drummond Michelle Delaney

Designer Scenic Artist Michael Hankin Wendy Todd

Lighting Designer Carpenter Nigel Levings Tom Sutton

Musical Director Hilary Kleinig Cast and Characters

Composers Older Man Belinda Gehlert, Hilary Kleinig, Paul Blackwell Jason Thomas, Emily Tulloch Younger Woman Production Manager Lucy Lehman Françoise Piron Older Woman Stage Manager Kris McQuade Stephanie Fisher Younger Man Assistant Stage Manager James Smith Danielle Mullins and Wardrobe/Costumes Zephyr Quartet Emma Brockliss

10-24 October 2015 Space Theatre Adelaide Festival Centre Director’s Notes Chris Drummond

The first and perhaps most important act of massive cultural and political change. This adaptation in undertaking this production historical and social perspective has a ‘mirror’ was changing the title of Patrick White’s short in so many narrative details throughout story from Down at the Dump to The Aspirations the story: from Ossie living on the cusp of of Daise Morrow. This new title, taken directly society, to the Whalleys living on the cusp from the text, immediately focused the task of poverty; from Myrtle Hogben living on of the adaptation process – thematically, the cusp of political influence, to Meg and conceptually and dramaturgically – cutting to Lum living on the cusp of adulthood; from the heart of the raison d’être, not only for the all the town’s men and women living on production concept but for the motivation of the cusp of their fears and desires, to Daise undertaking this adaptation in the first place. herself, hovering on the cusp of memory and rumour, judgement and envy, life and death. As I see it, Patrick White’s Down at the It is a rich and potent world that feels to me Dump is a timeless story about seizing the as theatrical as any of Patrick White’s plays. day; about following one’s instincts, taking From the moment I first read it, it has been a a chance and not letting the bastards grind world of ghosts and magic in my imagination. you down. It’s an evocation of the wonders of small beginnings, the complications of The goal of our adaptation (actually, let’s compassion and the grace and majesty of call it a ‘theatricalisation’) has been to lift love. It’s a story of small communities and this story from the page into a theatrically all the complexities that come with that. immersive production that allows the unlived And perhaps most pertinently it’s about a lives hidden within all the characters to darkness that lies at the heart of so many: become, momentarily, flesh and blood. This a fear of the outsider, of the unknown and fundamental ambition for the piece (wedded of the uninhibited (or is it the unattainable?). to the unique capacity of the theatre) was the Ultimately though, I believe Down at the Dump crucial departure point from the page to the is an ode to the opposite; a paean to courage, stage. By relooking at White’s story through to reaching, to yearning and to the ache for the prism of the title The Aspirations of Daise something bigger. Morrow, the interior lives of the characters become framed by a universal and unifying Down at the Dump is a story that places us on perspective: our need to believe that tomorrow the cusp of many things, in a time heading will be better than today. into the 60s, in a world itself on the cusp of Down at the Dump Peter Goldsworthy

I first came across a book by Patrick White with him a poet’s obsessive attention to the down at the dump, literally – one of the coun- music of his sentences. Perhaps no writer try town dumps of my childhood that I loved since Flaubert (and I include James Joyce) to explore. I wish it had been The Burnt Ones, has paid more attention to the rhythm, the the book that contains Down at the Dump; that timing, the exact placement of each word. would have been nicely spooky. Here’s the well-known opening sentence Especially since it hadn’t been published yet. of his early masterpiece, The Aunt’s Story:

In fact it was a novel: . ‘But old Mrs Goodman did die at last.’

Among the other treasures they coughed The big things you can do with little words. up, those dumps were well-stocked libraries. Prepositions like ‘but’ often punch above Most of the items I withdrew from their their weight in White’s highly mannered deep, clay shelves – Mad magazines, Biggles style, as actual prepositions, of course, but books, Isaac Asimov novels – I devoured also as rhythmic notations. They are part immediately, but The Tree of Man proved of his personal time-signature; the musical impenetrable to my 12-year old brain. score of Down at the Dump is thickly marked with such notations, interruptions, Biggles it wasn’t. fermata.

I finally read it when I was 19. Is it possible Here is Meg Hogben, the Juliet in this sto- to weep with awe? With joy, certainly. Patrick ry of two families, telling her friends she White might not have been sentimental, but can’t come with them to the Barranugli I was: I shed tears as I read the magnificent pool because her Auntie has died. opening pages, not least because of the poetry of Stan Parker’s relationship with his red dog. ‘Arrr!’ their voices trailed. They couldn’t get away too quick, as if it had Like all poetry, it was also memorable: I soon been something contagious. had those pages by heart. But murmuring. Meg sensed she had become temporarily White’s first ambition was to be a poet; like important.’ many poets who come to fiction, he brought Chris Drummond and James Smith. Photo: Heath Britton

He uses ‘because’ in the same way when we the limited perspectives of his characters, first meet Mrs Whalley: using their own voices even as he describes them: ‘She was an expert with the axe. Because you had to be. You couldn’t expect all ‘Wal Whalley did the dumps. Of course there that much from a man.’ were other lurks besides. But no-one had an eye like Wal for the things a person needs: dead batteries and Or ‘but’ again, when Mrs Whalley is shouting musical bedsteads, a carpet you wouldn’t notice was at her son, Lummy, our inarticulate Romeo: stained, wire, and again wire, clocks only waiting to jump back into the race of time.’ ‘Arr,’ he said. But didn’t spit. This is the narrator speaking, not Wal – but ‘What gets inter you?’ she asked.’ speaking in a heightened Wal-vernacular before jumping back into the race of poetry. Timing in writing – in poetry, especially – is crucial. On stage it’s just about everything, ‘As Dad had got out the old rattle-bones by now, which – among the other dramatic qualities Lum began to clamber up. The back of the ute was at it possesses – makes this miniature fiction so least private, but it wasn’t no Customline.’ suited to stage adaptation. Among its other poetic qualities, White’s prose is terrific to ‘It wasn’t no Customline’ is also narrative, read aloud. not Lum’s spoken dialogue, but less third- person commentary than a sort of half The passages I’ve quoted above also first-person, half third-person fusion that is illustrate another key White characteristic: very much White’s signature writing voice. the way his narratives alternate between The American novelist William Faulkner, one of his masters, might have suggested a scrub between – offers a natural template. way, but he made it his own. The characters might lack the complexity that can be more fully developed in a novel; they Down at the Dump is a dense jewel. In many are drawn instead with the swift, cartoon- ways, it’s a more complete and satisfying lines of film – or indeed, theatre. White had work than the big novels that work with the a ferocious, often malignant eye for human same materials – that same narrative voice, failings – but then no great art ever came out the same range of suburban types – at that of niceness. Those characters have much in time in White’s life. This was the Sarsaparilla common with the various personae Barry period of and The Solid Humphries was putting together at roughly Mandala when he really began to wrestle with the same time, with similar satiric ferocity. his love-hate (okay, mostly hate) relationship Early Edna Everage and Mrs Myrtle Hogben with post-war Australian suburbia. Perhaps feel almost interchangeable at times. it’s more fitting to call it the Barranugli period; the amusing, faux-aboriginal name White gives Myrtle hell, but allows her one of Sarsaparilla’s neighbouring suburb tells us redeeming moment: a memory of strolling much about his views at the time. arm in arm with her sister Daise in younger, more carefree days – when, as if infected by The plot of the story doesn’t strive as her wayward sibling, she feels a larrikin urge portentously as those two big novels; the to toss a lemon into a Salvation Army tuba. structure seems to grow from the bottom-up, organically, rather than being imposed from White tossed a lot of lemons in his time. As the top. In this sense it belongs more with the does Daise. She tosses a last one into the two majestic, earlier novels, The Tree of Man Hogben family tuba from the grave even as and , which also have a natural feel to she is being buried. For the deep, unspelt-out them. They are mythic in their proportions, core of the story is her resurrection, living on yes – but without straining to be. in the person of her niece Meg.

Down at the Dump is not majestic, but it has The story – the last in The Burnt Ones – ends the same narrative purity at its core. At the with a nod at White’s other master, Joyce, and risk of enraging lovers of White’s plays (an a poetic echo of the epiphany that ends the endangered species, but an intelligent one) I’d last, great story in Dubliners, The Dead. I some- hazard that it has more natural dramatic con- times think it’s a little too poetic, but I can’t tent than most of his plays also, save perhaps wait to hear it on stage and think again. A Season at Sarsaparilla.

All of which promises a fascinating translation onto the stage. The story’s Peter Goldsworthy’s novella Jesus Wants me for a architecture – carefree, sensuous Montagues Sunbeam is currently being adapted for the stage by and priggish, hypocritical Capulets eyeing Steve Rodgers. Four of his novels - Maestro, Honk each other across the barbed wire fence If You Are Jesus, Three Dog Night and Wish - and between a funeral and a rubbish tip, while his celebrated short story The Kiss, have also been young R&J fall in love inarticulately in the adapted for the stage. Designer’s Notes Michael Hankin

White’s funny, rough and lyrical world was a the space – not unlike an outdoor marquee at joy to design. Although originally written as a town fête or a grave site. Working closely a short story, it immediately lent itself to the with Nigel Levings’ lighting concepts, the theatre - teeming with staging ideas, character canopy creates a reflective surface for light to descriptions and offers for theatrical bounce off, unifying the actors and audience experimentation. Early in the process Chris by bathing them in the same light. Russell and I explored these opportunities, playing Drysdale’s The Drovers’ Wife also provided with unconventional seating presentations inspiration for the costume design. The lady where the audience and acting space were in this iconic painting wears a drab, shapeless shared. Building a sense of ceremony was dress, a nondescript hat and flat lace-up important to us and we took direct inspiration shoes. This brought to mind one of my from the social construct of a funeral where favourite character descriptions - ‘her shape a small community gather together to bury suggested she had been made out of several the body of Daise. As Daise herself walks scones joined together in the baking’. The amongst the mourning crowd, the space dress is similar to a frumpy school pinafore, becomes a type of theatrical séance, the the type Meg Hogben might wear, a one-size- theatre-in-the-round space allows the lives fits-all uniform that’s designed to capture the of the characters and the audience to rub muck and dust of the day. This apron motif against each other. In a way, the audience seemed fitting for the Whalleys as they tinker become citizens of ‘Sarsaparilla’ and the civic through the scrap heap and I’ve hinted at this grouping of chairs can conjure the idea of idea through the costumes of both the actors a town hall meeting or storytelling around a and the wonderful quartet. camp fire, as we sit amongst the dead grass and earth of the cemetery. The shapelessness and style of the costumes also supports the fluid shifts the actors In creating the set design, we were inspired make between characters, their age, gender by the heavy cream and cloudless morning and social position within Patrick White’s skies of mid-century Australian painters such colloquial slice of suburbia. as Russell Drysdale, Sidney Nolan, Arthur Boyd and John Brack, who capture the sense of that burning wind that wilts the flowers and makes you yawn. To establish this feeling, we’ve stretched a vast unbleached canvas over Lighting Notes Nigel Levings

Lighting a Patrick White work is a great The canopy over our stage space provides challenge for any lighting designer. White the soft and even light that allows cast had the ability to capture a very precise and audience to share the space but it also observation of the play of light on surface. becomes a subtly changing sky under which Down at the Dump is scattered with these our play tracks the day on which Daise intense closeup lighting images laden with Morrow was buried, the day when young significance. Lum Whalley and Meg Hogben meet at the dump next to the cemetery at Sarsaparilla. He can catch precisely the flavour of a moment in time with a simple description such as the way light transforms the fluff in the corner of a room to gold. The aspiration of any lighting designer would be to create these images with the clarity of White’s writing. In our case the task was made doubly difficult by our choice of a performance form where the actors share the space with their audience. Actors love the glare of stage lighting, the brightness of lights in their eyes normally places their audience in darkness. It reassures them that they are the sole focus of attention. Audiences however, justifiably, hate the glare of this light in their eyes which hinders their view of the actors.

Our design solution to this conflict is to return to the lighting parameters of the Shakespearean theatre, the actors and the audience share the same lit space. Now Patrick White’s words alone carry the theatrical weight of creating this essence of time and place in the images of light. The author’s words triggering in the audience’s imagination these Patrick White at Castle Hill, 1964 evocative instants of time. Photo: Alex Poignant Musical Notes Hilary Kleinig

When Chris Drummond approached Zephyr performers, with some intriguing questions: Quartet about involving us in this production how do we create ‘A smell of sink sprayed out we all leapt at the idea. Whilst Belinda Gehlert of grey, unpainted weatherboard, to oppose (violinist) and I have written and performed the stench of crushed boggabri and cotton for theatre before and, along with Emily pear’ out of sound? How do we guide the Tulloch (violinist), have together written audience to understand a change in location music for Zephyr to play, this is the first time or to understand that one actor is playing our violist Jason Thomas will join us in this two characters? So together with Chris joint compositional process. It is also the first Drummond, as we weave our musical ideas time Zephyr, as a unit, has written for theatre. into the fabric of White’s story, we begin to answer these questions and thus in doing As a starting point we approached the story so create an intimate conversation between independently and came to the development words, music and space. with a handful of sketches. We focused both on broader ideas, such as the essence We hope that you enjoy the retelling of this of a character, and on minute ideas, such as timeless Australian story with its universal using some of White’s rich language from the themes, its rich characters and its hauntingly story for impetus, as in the case of ‘frozen real landscapes, and that it will be a unique fireworks’. Upon playing those preliminary and intimate experience for you, as it is for us sketches to the cast, Chris remarked how as performers. ‘cohesive the music was, despite being written by four different people’. It seems as an ensemble we share a similar, cohesive sensibility - thankfully!

Whilst the world of ‘Daise’ is rich in aesthetic and texture, there are a limited amount of props and lighting states. These tools of the theatre - that often play such an important part of the story telling - unconventionally take a secondary role to the music and the onstage presence of the quartet. This unique approach leaves us, the composers and Words That Bleed May-Brit Akerholt

I always thought that one of the most Miss Docker provokes an angry outburst innovative (and most misunderstood) aspects from her hostess Mrs Custance who believes of the Norwegian playwright Henrik Ibsen’s (with the audience) that her guest decides work was the way he juxtaposed opposite to buy a piece of mutton to criticise the forces and forms, creating a co–existence of Custance diet. But the cheery soul is busily tragedy and comedy, exploring several levels engaged in acts of goodness, going to make of action and characterisation simultaneously. a sick woman a basinful of broth. “But When I started researching the drama of you can’t leave people to starve. Can you? Patrick White, I began to realise that White Now, can you?” Nevin turned her head to and Ibsen both combine portrayals of the the audience with a silent, horrible cry of darker side of life with a comic expression pure anguish etched on her face. And the of it. audience’s laughter was replaced with a shocked silence at the recognition of her One night in the theatre I saw how a director loneliness and lovelessness. As I watched (Jim Sharman) and an actor (Robyn Nevin) Nevin transform the character of Miss made this aspect of White’s Docker for a few seconds, I realised I had come alive on stage. I was fascinated by the seen how a moment in the text gives rise to way Nevin exploited the text in order to make an action, or re-action. something happen from the words, to make a line suddenly reverberate with another The combination of text and performance level of meaning. From the moment she created a memorable action; a moment on exploded down the stairs in the auditorium stage that could happen because the text of- towards the Custances’ kitchen, she was an fered it to the actor. This powerful piece of apparition from hell and a comic figure; at writing from White was brought to life by a the same time ominous and funny. Sharman superb actress who knew how to transform it said he wanted her entrance to create an to performance. Because White understood instant rapport with the audience, but also the actor’s art and craft, his dramatic writing give them a kind of shock, to emphasise gives them a dialogue they can work with; that Miss Docker is an ambiguous character, that they can manipulate and transform into simultaneously insufferable and pitiful, her action. indomitable cheerfulness as destructive as it is well-meaning. Dorothy Hewett – one of Australia’s boldest, most colourful playwrights and poets – claimed that Australians were afraid of using in that situation, at that time, and, unless a language, afraid of the imagination and monologue, to that particular character suspicious of eloquence. White has never (or characters). And that is where White’s been afraid of using language. Just look at dramatic language excels; in finding the nature of Miss Quodling’s speeches in languages unique to each character. Night on Bald Mountain. When she arrived on the mountain, “it was just as if I was the first In all great theatre, it is “les mots qui saignent” person born in an empty world. It was huge — it is the words that bleed, that “imitate the and lonely, and I had to get used to it.” When gestures and the state of mind of the characters his plays were first staged, more than one critic … the words that adopt an attitude, not the complained that ‘people don’t speak like that’. body” (Michel Foucault). It is the words that No, of course people don’t speak the language give birth to a gesture, the words that force the of drama. The speech of dramatic literature, body to adopt an attitude. The words need the of all literature, is not ‘natural’; characters kind of energy that makes a moment sing in speak a language made up especially for the theatre, not just happen. Creative language them, for their situation, their conflict, their as a form of commitment. It means being able environment. “People acting natural on stage to ‘see’ and ‘hear’ language, as well as read it. is a lie! … theatre is artificial” (Robert Wilson). That’s the kind of drama Patrick White gives us. The key to good dramatic dialogue is to create a highly artificial language which May-Brit is an acclaimed dramaturg. She was does not sound like ‘the way people speak’, the artistic director of the Australian National but like the only way a character can speak Playwrights Centre for a decade and on the board of Belvoir St Theatre for many years.

Patrick White Photo: Rob Hillier 1. 2.

3.

4. 1. Nigel Levings Photos: Heath Britton 2. L-R Paul Blackwell and James Smith 3. L-R Lucy Lehman, Chris Drummond and Kris McQuade 4. Michael Hankin Chris Drummond Michael Hankin Director Designer

Chris Drummond is Artistic Director of Michael is a set and costume designer for theatre Brink Productions where his credits include and film, and a graduate of the National Institute Thursday, Land & Sea, Skip Miller’s Hit Songs, of Dramatic Art (NIDA). Some of his theatre Harbinger, The Hypochondriac, Beetle Graduation, credits include Angels In America, The Glass Menag- The Clockwork Forest, This Uncharted Hour and erie, A Christmas Carol, Ivanov, The Dark Room and Drums in the Night. Chris’ production of When Fool For Love for Belvoir; Jumpy for Melbourne The- the Rain Stops Falling won multiple awards atre Company/Sydney Theatre Company; As You including 2010 ACT Green Room Award - Like It for Bell Shakespeare; Dirty Rotten Scoundrels Production; 2009 Sydney Theatre Awards: at Theatre Royal; 247 Days (Australian season and Best New Australian Work; 2009 Victorian Netherlands tour) for Chunky Move/Malthouse Green Room Awards and 2008 Ruby Award Theatre; Ugly Mugs for Malthouse Theatre/Grif- (Best Work). Chris was Associate Director fin Theatre; Of Mice and Men for Sport for Jove; at the State Theatre Company of South Rust And Bone and The Ugly One for Griffin The- Australia between 2000 and 2004. His credits atre Company; Songs For The Fallen for Brisbane at State Theatre include Babyteeth, Art, The Festival/Seymour Centre/Old Fitzroy Theatre; Dying Gaul, The Merchant of Venice, drowning The Boat People for The Hayloft Project; Obscura in my ocean of You and Night Letters. Other for Force Majeure/Carriageworks; The Lighthouse directing credits include The Flying Dutchman and Through The Gates for Sydney Chamber Opera; for the State Opera Company of South Deathtrap and Macbeth for Darlinghurst Theatre Australia (Helpmann Award nomination for Company; and Suddenly Last Summer and Women Of best direction) and a devised work entitled Troy for Cell Block Theatre. His film credits include The Dissolving Self for NIDA in association Reason To Smile, and Julian and The Amber Amulet. with Carriageworks. Michael has been nominated four times for Best Stage Design at the Sydney Theatre Awards (win- ning in 2012 for Truckstop), as well as two Australian Production Design Guild Awards. He is currently designing Jasper Jones for Belvoir St Theatre, Othello for Bell Shakespeare and will be joining NIDA as Associate Lecturer in Design in 2016. Paul Blackwell Lucy Lehman Older Man Younger Woman Paul Blackwell has worked throughout Lucy is a recent graduate of Flinders Australia on stage, TV and film for more Drama Centre. During this time she has than thirty years. Paul’s work with Brink’s worked with Anne Thompson, Rosalba Artistic Director, Chris Drummond, Clemente, David Mealor, Tom Healey, includes Thursday, When the Rain Stops Falling, Nescha Jelk and Sarah Dunn. This is Lucy’s The Clockwork Forest, The Hypochondriac and first production with Brink Productions. Night Letters. His recent stage work includes Volpone, Eh Joe, The Seagull and Vere (Faith) for State Theatre Company of South Australia. Other theatre credits include Tartuffe, The Government Inspector and for Sydney Theatre Company; The Odyssey, Ubu and Up the Road for Malthouse and Belvoir. Paul’s film credits include Charlie’s Country, The Boy Castaways, Red Dog, Dr Plonk and The December Boys and TV credits include Deadline Gallipoli, Frank Fenner - Microbes to Macrobes and My Place. Kris McQuade James Smith Older Woman Younger Man A graduate of the National Institute of James is an acting graduate of Flinders Dramatic Art, Kris’ most recent TV series Drama Centre. Since graduating James has has included Wentworth (earning her an Astra appeared in State Theatre Company of Award nomination for Most Outstanding South Australia productions Neighbourhood Performance by an Actor - Female), A Place to Watch, Othello, This is Where We Live and Call Home, Packed to the Rafters, Killing Time and Volpone. His studies at Flinders and first two The Circuit. Kris is excited to return to Brink years out have seen him work with many Productions after three successful seasons respected directors and teachers including of When the Rain Stops Falling. Her other David Mealor, Rosalba Clemente, Tom theatre credits include the role of Dolly Pickles Healey, Alirio Zavarce, Renato Musolino, in three international tours of Cloudstreet Nescha Jelk, Julian Meyrick and Jon Halpin. playing in Zurich, London, Dublin and In 2014 James was awarded the Bendigo New York, and roles in Neighbourhood Watch, Bank Helpmann Award for emerging artists Threepenny Opera in Sydney and Bogota and has received a South Australian Living (South America), Our Lady of Sligo, Artists Award for Best Performance in Aaron Snugglepot & Cuddlepie, Mourning Becomes Nassau’s Birdbath. This is his first production Electra and The Odyssey. Kris’s recent film with Brink Productions. roles include Subdivision, December Boys and Ned Kelly. Nigel Levings Hilary Kleinig Lighting Designer Musical Director

Nigel Levings studied Lighting Design Hilary is a multi-skilled musician whose at Theatre Projects in London and with work includes performance, composition, Jules Fisher in New York. He is the only education and arts management. She Australian lighting designer to have won is passionate about creating new work, Broadway’s prestigious Tony Award – other collaborating with new artists and inspiring awards include a Helpmann, an Ovation, a new audiences. As well as her role as Artistic Dora Mava Moore, two Outer Circle Critics Director of, and cellist with, the Zephyr Awards and a Drama Desk. In a distinguished Quartet she works in live and recorded career he has lit over 480 productions performance as a freelance musician for including 170 operas and 25 musicals. His ensembles, orchestras and bands. As a baroque recent productions include Don Carlos for cellist she regularly plays with chamber Opera Australia, Romeo and Juliette for Korea ensembles such as Ensemble Galante, National Opera and Summer of the Seventeenth Adelaide Baroque, Adelaide Chamber Singers Doll for State Theatre Company of South and the Australian Brandenburg Orchestra. At Australia. the other end of the musical spectrum she is a skilled improviser and plays amplified cello with various experimental and improvising ensembles. Hilary also composes music for film, dance, theatre and ensembles working with companies such as Brink Productions, The State Theatre Company of South Australia, Restless Dance Theatre, Adelaide Youth Orchestras, Adelaide Chamber Singers and Cirkidz. Zephyr Quartet Stephanie Fisher Composers Stage Manager Zephyr Quartet is Hilary Kleinig, Jason Stephanie Fisher is an experienced Stage Thomas, Emily Tulloch and Belinda Manager with credits on numerous Gehlert. They are a bold and adventurous productions for the State Theatre Company of string quartet, delighting in the exploration South Australia, the Adelaide Festival Centre, of diverse music and forging dynamic Windmill Theatre, Slingsby, Patch Theatre and collaborations. Since its inception in 1999 the a wide variety of festivals and events. Earlier quartet has shown a continued determination this year she toured the musical Pinocchio to to expand the boundaries of art music and New York for the State Theatre Company how it is received by audiences. of South Australia and Windmill Theatre.

A firm believer in the power of the string quartet as a medium to communicate and explore complex relationships between soci- ety and art, Zephyr has achieved an enviable reputation for artistic excellence, innovation and audience development. Armed with the spirit of collaboration, Zephyr Quartet has become a leading exponent of collaborative arts practice, drawing inspiration from work- ing with artists from diverse backgrounds, including theatre, dance, literature, visual art, Danielle Mullins environmental art, design, film and media Assistant Stage Manager art, to produce work that is vital, current and courageous. Since graduating from AC Arts in 2012, Danielle has worked extensively within Adelaide including WOMADelaide, Adelaide Festival Centre and State Theatre Company of South Australia. This Danielle’s second production with Brink after working on Thursday in 2013. In 2016 Danielle will be working on the upcoming national tour of The Sound of Music. state theatre company

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