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Home , Angels in America, Ashley Zukerman, A Streetcar Named Desire, Belvoir St Theatre, Biloxi Blues, Glengarry Glen Ross

Angels in America Part One Millennium Approaches Part Two Perestroika Belvoir presents A Gay Fantasia on National Themes Part One Millennium Approaches Part Two Perestroika

By Director EAMON FLACK This production of Angels in America opened at Belvoir St Theatre on Saturday 1 June 2013. It transferred to Theatre Royal, , on Thursday 18 July 2013.

Set Designer With MICHAEL HANKIN The Angel / Emily Costume Designer MEL PAGE Louis Ironson Lighting Designer NIKLAS PAJANTI Roy M. Cohn Associate Lighting Designer MARCUS GRAHAM ROSS GRAHAM Harper Amaty Pitt Composer AMBER McMAHON ALAN JOHN Prior Walter Sound Designer LUKE MULLINS STEVE FRANCIS Rabbi Isidor Chemelwitz / Hannah Assistant Director Porter Pitt / Ethel Rosenberg / Aleksii SHELLY LAUMAN Fight Director Belize / Mr Lies SCOTT WITT DEOBIA OPAREI American Dialect Coach Joseph Porter Pitt PAIGE WALKER-CARLTON Stage Manager All other characters are played by MEL DYER the company. Assistant Stage Manager ROXZAN BOWES

Angels in America is presented by arrangement with Hal Leonard Pty Ltd, on behalf of Josef Weinberger Ltd of London.

Angels in America was commissioned by and received its premiere at the Eureka Theatre, , in May 1991. Also produced by Centre Theatre Group/ of Los Angeles (Gordon Davidson, Artistic Director/Producer). Produced in at the by Jujamcyn Theatres, Mark Taper Forum with , Susan Quint Gallin, Jon B. Platt, The Baruch-Frankel-Viertel Group and Frederick Zollo in association with .

PRODUCTION THANKS José Machado, Jonathon Street and Positive Life NSW; Tia Jordan; Aku Kadogo; The National Association of People with HIV Australia. Thank you from Eamon: , Tom Conroy, Chris Edmund, Matt Lutton, Brandon Martignago, Kirsty McGregor, Matt Whittet, and the Fitzroy Street household (ring-ins included, you know who you are). BDeObia Oparei Photography Brett Boardman DESIGN Alphabet Studio 1 are only to be encountered once I finished the first draft of Millennium the plunge is made. Introductory Approaches in 1988, and the first material is for reluctant dawdlers and draft of Perestroika in 1990. So lag-behinds. A dusty grammar school Angels in America is approximately usher and a sub-sub-librarian take twenty-two years old, and I’m Writer’s Note many pages to tell you everything precisely fifty-six. Tony Kushner known about whales before each This edition incorporates changes From the revised edition of Angels in America, 2013 steps aside (well, before each dies, I’ve made to Angels over the actually) to permit you to hazard the past several years. Most of these extremely perilous, mind-, heart- and changes are to be found in Part Two, Should plays have introductions? their programs, on the way to their molecule-altering voyage that is seats, audiences passed through Perestroika, which is now I started writing in the early 1980s, Moby-Dick, in the course of which lobby displays in which murals to complete than it’s ever been. at a moment in American theatre voyage you realise that neither the related historical truths behind the I can’t quite bring myself to write when introductions and other usher nor the sub-sub, nor you, fiction to which they were about to that it’s complete. Since the day I presumably helpful apparatuses nor for that matter the crew of the be exposed. I was enamoured of finished the first draft of Perestroika, – incredibly detailed historical Pequod nor their lunatic captain this extra-theatrical informational I’ve always known that it’s one timelines, research documentation knows thing one about what a bombardment. As a young of those plays that refuses to be and theoretical notation – announced whale is. When it’s a damp, drizzly playwright, I loved reading Shaw’s entirely in harmony with itself. Some the unapologetic embrace by in your soul, Ishmael tells prefaces, and I looked forward to plays want to sprawl, some plays narrative theatre-makers of an us, plunge in without preparation! having plays of my own to preface. contain expansiveness, roughness, intellectual and political seriousness The sea awaits! I felt only slightly guilty observing wildness and incompleteness in that had previously been at home theatre-goers diligently, frantically If you’re still reading this and haven’t their DNA. These plays may, if in European theatres and among trying to absorb this embarrassment skipped ahead to the first scene, it they’re not misunderstood and American experimental theatre of supplementary illumination before could be because you strenuously dismissed as failed attempts at artists. Dramaturgs arrived for the the house lights dimmed and the disagree with me about introductions, tidiness, speak more powerfully first time on the staffs of not-for-profit play began. or you’re unconvinced or simply about what’s expansive, rough, wild regional theatres; with the advent of agnostic on the subject. You may be and incomplete in human life than production dramaturgy in America I’ve changed, and in recent years asking yourself why I’m continuing plays with tauter, more efficient, more came a new deluge of prefatory and I’ve grown averse to anything that to write this introduction deploring cleanly constructed narratives. introductory information, served up intrudes itself upon an innocent introducing – a reasonable question. Millennium Approaches has a taut, to the casts of plays from enormous audience and the play it’s about to I suppose it’s because a good deal efficient narrative, and I’ve never seen black ring binders as they sat around watch, or an innocent reader about of time has passed since I wrote any need to change it. In this edition a table in the first days of rehearsal, to read a play for the first time. If Angels, and, while I have no desire it’s substantially the same play that and then to audiences in their theatre the playwright has done his or her to introduce the two plays of which was first published nearly twenty programs. Formerly these programs job, if the production team and it’s comprised, I feel I ought to make years ago, although as a result of the were slim pamphlets containing cast are doing theirs, the text of the mention of what’s changed. And work on both parts of Angels for the lists of the production’s personnel, play should be sufficient unto itself, maybe I haven’t changed as much as Signature Theatre’s 2010 revival, a short biographies of a few of these, complete within itself. I hoped, or as much as I ought. restaurant ads, and if needed, place few minor alterations were made to it. The moment a play begins, or a I began writing these plays – I thought and time settings; staff dramaturgs Far more significantly, I discovered reader takes in the words of the at the time that I was writing a single were now instructed to jam-pack in Perestroika what I believe to be script on the first page, is as exciting play – in 1987, when I was thirty- programs with poetry, imagery, a missing thread in its narrative, and scary as any plunge into the one years old. The AIDS epidemic critical theory and facts, messages the substructural space for which, I ocean ought to be. Disappointment, was in its sixth year, the Reagan from the playwright, director and realised, I’d laid in long before I knew bewilderment, outrage or great terror, administration in its seventh. It was artistic director. Before opening how to make use of it. In this version, pity and joy may follow, but these a terrifying and galvanizing time. 02 03 with a little help from my friends Angels outlasts me, I hope it will and a very long preview period, continue to be entertaining and of that thread has been woven in. I interest and use to people for years won’t specify to which moments I’m to come. I hope there’ll be people for referring, because calling attention to years to come. it would undermine the effort made I’m writing this introduction the day to integrate the new material. Of before America goes to the polls course there are two other versions of to vote for Mitt Romney or Barack Perestroika in print, and anyone with Obama for president. So I’m writing sufficient time and interest can make this from the place from which it comparisons, but most people have seems to me I’ve always written, better things to do with their time. perched on the knife’s edge of terror Life, after all, is always shorter than Ashley Zukerman and hope. It’s familiar enough, though we think. today the edge is sharper than it’s I think a lot more about mortality ever been, and the two worlds of light at fifty-six than I did at thirty-one. and darkness it divides seem vaster, At fifty-six, I’m more certain of my respectively more brilliant and more own mortality, as it presses nearer, abysmal, more extremely opposed and much more uncertain about the than ever before. future existence of my species than Whatever tomorrow brings, the future I was when I started writing Angels. – I’m reasonably certain of this – Time has vindicated some of the remains indeterminate. plays’ conflictedly optimistic spirit; progress has been made. Angels Tony Kushner is not teleological, its apocalyptic 5 November 2012 forebodings notwithstanding. As the dead old rabbi says in Perestroika (in Introduction from Angels in America: a scene relegated in this edition to A Gay Fantasia on National Themes, Theatre the appendix), hope, when it can’t be Communications Group, New York, 2013 discovered in certainty, can almost Robyn Nevin always be located in indeterminacy, and Angels is a hopeful work. Unfortunately, the passing years have been equally if not more supportive of the plays’ aforementioned apocalyptic forebodings, which in 2012 loom darker and alter the contemporary experience of watching or reading them. Angels in America, more than twenty years old, survives, as do I. I’m utterly and happily in the dark about the longevity of my work, but I hope

04 Mitchell Butel basket? In all likelihood, all of us, (‘save yourself’), the sense of imminent whether we know it or not, have big collapse, the totalisation of identity ideas about these things. It’s just that and religion and politics and the planet we don’t tend to call on them unless itself into a global battlefield – all that there’s a crisis. Then, often, they are came into play in the 80s. So this Director’s Note all we have to live by, and we need great comedy of Tony Kushner’s Eamon Flack them absolutely. And if our big ideas is not so much a period piece as don’t serve us in crisis, then we need a kind of secular bible for our age, HANNAH: You can’t live in the world Big ideas to find some new ones. really, a modern mystery play: vast, without an idea of the world, but it’s The natural condition of history varied, hand-made and ambitious. Historical change living that makes the ideas. is one of chaos and catastrophe. Like a mystery play, it acts out in our Does history make us or do we On the whole there seems to be times the age-old battle between make history? (Tony Kushner’s Hello. This play, Tony Kushner’s enough happy accident built into the the individual and those large forces answer to this question is: ‘Yes’.) We magnificent philosophical soap opera, chaos to make us think that there of chaos and contingency which, have acquired the habit of thinking is big. Any attempt to sum it up or is some kind of big idea at work, depending on our inclinations, we of history as a shining path of settle it down is beside the point. that there is a determinable plan: variously call God’s will, history, chaos advancement and innovation, which Angels in America, like the Angel God, justice, progress, economic and so on. ignores the fact that most of the gains herself, isn’t here to be understood growth etc. Being humans, we tend of history are born of bitter struggle America so much as struggled with – and from to need to anchor ourselves in such and great loss. As the HIV epidemic This is not a play about the United the struggle comes life. That, at least, big ideas. In the West, for example, continues to demonstrate around the States of America. In the way is what it feels like seven weeks into and especially in Australia, we put world, the natural process of historical that Chekhov’s Russia is a mental rehearsals. The task of getting this our faith in the notion that life will change is merciless and meaningless. Russia, this is a play about a human astonishing behemoth onto the stage go on getting better and better, that Anything better than that – any struggle called America, and we are requires the best of ourselves. It progress is the signature quality of meaningfulness or purpose beyond all honorary Americans. America constantly demands that we summon our civilisation, and that participation that – is a human imperative and specialises in grand narratives of whatever human magnificence we in the economy is the reasonable must be fought for with everything final conflict and wholesale human can lay our hands on: to speak with median of goodness. We cling to the we’ve got. This unfinishable task of redemption. America is the Exodus power and clarity and precision, to idea that the inherent decency of our summoning up greater purpose is of our times – a self-consciously find the forward impulse, to accept civilisation always has and always will the prime function of politics, and paramount people at the end of the that we don’t know what’s next, to override its destructive and unjust politics, at least in the liberal world, is known arc of history, launching out on take a moment to stop and think, to tendencies. Personally I think this is everyone’s prerogative; I’d even go so a new age with biblical seriousness, rightfully question and refuse without a bit like believing in the resurrection far as to say it’s our duty. This task of feuding internally as though the being righteous, to share the little of the dead on the Latter Day: lovely summoning greater purpose is also actions of every individual will resonate space we have, to find the joke… but improbable and beside the point. why we argue, dream, invest in love in Heaven itself and determine the fate It’s a daunting task, but it gives The idea that there is an overarching and in family, hold religious beliefs, of the world at large. At the heart of back tenfold. So rather than deliver meaning at work in our times is put on plays etc. this America is the ongoing attempt anything summed up or settled, here bizarre. The grand narratives are to articulate and enforce the ideals instead are some tiny essays on constantly failing to make sense of 1985 by which we ought to live. However, some of the things we have talked what’s going on. History itself, real This play about a small group of unlike in Exodus, these ideals are not about – struggled with! – as we put history in the unfolding, is something marginalised individuals in New York written in stone by God. So who does this show together. else altogether. So what, if anything, in the last years of the is get to write them? is ruling our fate? What, if anything, actually a play about the beginning is deciding whether it will all hold of the era we’re now in the thick of. together or go to hell in a hand All the strange millennial politics, the weird latter-day economic ideology

06 07 Individuals Suffering in fact the rights and the liberties Every individual is potentially heroic. How much can one person take? we enjoy must be newly conceived Shaping the massive tidal motions of How much can one person take and newly understood again and history is not alone the reserve of the with the help of another person again, task without end. Constant elite. Anyone who battles privately with or a whole group of people? How renovation is the eternal agenda: to the chaos and the big ideas on which much can one person take with keep on inventing as we go, not just one’s own life flows will be contributing the accumulated and promulgated technologically but emotionally and to turning things this way or that on a wisdom of thousands of years’ morally. This task gets bigger all the larger scale. This is easier to do with worth of other people learning how time, because it means telling all the the help of others. much one can take? old stories and all the new ones as well. This may sound daunting, but Living together Love the great advantage of it is that with The vast field of chaos and undirected It’s not constant or spontaneous each new telling, the benefits of our activity – cosmic, natural, human – in or innate. It is a human habit – a society can be opened out to our which our species lives has, over the wonderful one – which probably friends on the wayside. Compassion millennia, given rise to any number suffers the same wildly varying, is a kind of progress. of human responses: god, science, endlessly complicated vicissitudes politics, law, philosophy, history, as the Dow Jones, and like the Kushner fills his play with many such economics, , brushing one’s teeth Dow Jones its ongoing wellbeing is qualities of human magnificence, and – a long list of attempts to placate the a collective task over which no one these, more fundamentally than the chaos. Taken together, these activities individual has any control. Love is political process or the economy or form various shared habits of living: not a private matter. It exists out in technology, are the basic elements in what to eat, where to live, how to the world at large, and is enjoyed of progress: language, thrive, how to love etc. Over thousands as a kind of commons: individually imagination, elan, will, love, of years, through acts of violence drawn upon, but collectively connectedness, argument, ideas, and speech and imagination and tended and nurtured. Love must be a love of life, a sense of humour… reason and so on, we have continually learned and practised. History and The list goes on for a long time. wrestled and refined these habits into society both interfere with love; this a great variety of self-conscious ways is especially true of some kinds of of life (‘gay’, ‘Mormon’, ‘conservative’ love. There are many kinds of love, etc). Each of us subscribes to one or and many ways of loving. more ways of life: in some parts of the We live for each other. world you have very little choice; in other parts you are spoilt for choice. Progress Both situations entail difficulty, because What do we want to become? I whether you have a choice of one or suspect all of us are, like Louis many, and whether you even like what in the play, more interested in you’ve got, and despite whatever belonging to the great upward your god or the constitution or your trajectory – the effervescent core stockpile of wealth might otherwise of liberal capitalist life – than to the promise, your way of life is neither wayside with all the sick and lonely eternal nor inviolable, and when change and historically downbeat. But comes everything’s up for grabs. of course life is not that simple. We have acquired the habit of thinking that the effervescent core is perpetually self-inducing, when

088 Eamon Flack09 PAULA ARUNDELL The Angel / Emily Paula graduated from NIDA in 1995. Her theatre credits include Peter Pan, , , Scorched, The Adventures of Snugglepot and Cuddlepie Biographies and Little Ragged Blossom, Paul, Peribanez, The Threepenny Opera (Belvoir); Under Milk Wood, Honour, TONY KUSHNER Writer , Loves Lies Bleeding, Life is a Dream, The Three Sisters, The Tony Kushner’s other plays include A Bright Room Called White Devil, Attempts on Her Life, Love for Love, Julius Caesar (Sydney Day, Homebody/Kabul, Caroline, or Change (a musical with Theatre Company); Are You There? (); Oedipus Rex & composer ) and The Intelligent Homosexual’s Symphony of Psalms, 3 Furies (Sydney Festival); The Torrens ( Guide to Capitalism and Socialism With a Key to the Company of South Australia); The Servant of Two Masters, Hippolytus, Scriptures. He wrote the libretto for the opera A Blizzard on Antony and Cleopatra, Henry V, The Tempest, Much Ado About Nothing Marblehead Neck, also with Jeanine Tesori. He has adapted and translated (); Company and Measure for Measure ( Theatre Pierre Corneille’s The Illusion, S.Y. Ansky’s The Dybbuk, Bertolt Brecht’s Company). Paula’s feature film credits include Disgrace, Bad Eggs, Sample The Good Person of Szechwan and Mother Courage and Her Children; People and Diana & Me, and she performed the title song vocal for Candy. She and the English-language libretto for the opera Brundibár by Hans Krasa. has appeared in numerous TV series including Farscape, All Saints, Murder Kushner wrote the screenplays for ’ film of Angels in America, Call, Children’s Hospital, Water Rats, The Alice, Out of the Blue, Home and ’s Munich and Lincoln. His books include Brundibar, with Away and Love My Way. Most recently, Paula has been seen in the series Me illustrations by Maurice Sendak, The Art of Maurice Sendak, 1980 to the and My Monsters and Slide. Paula received the Sydney Morning Herald Award Present, and Wrestling With Zion: Progressive Jewish-American Responses for Best Actress for her performance in Antony and Cleopatra, and for Henry V to the Palestinian/Israeli Conflict, co-edited with Alisa Solomon. Kushner is was awarded the Glugg Award for Best Up and Coming Actor and the Green the recipient of a Pulitzer Prize, two , three Obie Awards, two Room Award for Best Female Actor in a Featured Role. In 2013, Paula will be Evening Standard Awards, an Olivier Award, an Emmy Award and an Oscar seen in the new ABC drama series The Time of Our Lives. nomination, among other honours. In 2008, he was the first recipient of the Steinberg Distinguished Playwright Award. Tony Kushner lives in Manhattan ROXZAN BOWES Assistant Stage Manager with his husband, Mark Harris. Roxzan graduated from the Victorian College of the Arts in 2011 and was awarded the Orloff Family Trust Scholarship EAMON FLACK Director in her final year. Her stage management credits include Eamon is Associate Director – New Projects at Belvoir. He Don’t Take Your Love to Town (Belvoir); SUPERTONE graduated from the acting course at WAAPA in 2003 and (NextWave Festival); EnTrance (Yumi Umiumare); Pieces for has since worked as a director, actor, writer and dramaturg Small Spaces (Bluebottle for Lucy Guerin Inc.); and West Side Story (Victorian for Belvoir, Malthouse Theatre, Bell Shakespeare’s Mind’s College of the Arts). Roxzan has recently worked as assistant stage manager Eye, ThinIce, International Arts Festival, Darwin on Little Mercy (); An Act of Now (Chunky Move); The Festival, Griffin Stablemates, Playwriting Australia and various other companies. Marriage of Figaro (Victorian Opera); Pygmalion (Sydney Theatre Company); For Belvoir, Eamon has directed Babyteeth, and The End (which and Fashion Full Stop (L’Oreal Melbourne Fashion Festival). Roxzan also works toured to Malthouse Theatre), co-adapted Ruby Langford Ginibi’s memoir as a lighting technician and was the swing floor electrician for the Melbourne Don’t Take Your Love to Town, with , and co-devised Beautiful One season of Love Never Dies (Really Useful Company). Day. His dramaturgy credits for Belvoir include , Neighbourhood Watch, The Book of Everything and Gwen in Purgatory. Eamon’s productions MITCHELL BUTEL Louis Ironson of A Midsummer Night’s Dream (B Sharp/Bob Presents/Arts Radar) and For Belvoir, Mitchell has appeared in , Wulamanayuwi and the Seven Pamanui (Darwin Festival) have both toured The Adventures of Snugglepot and Cuddlepie, The Laramie nationally. He has adapted and directed Gorky’s Summerfolk (Bob Presents) Project, and Dead Heart. His other and his adaptation of Antigone was produced at the Perth International Arts theatre credits include Face to Face, Summer Rain, Harbour, Festival and published by Currency Press. The Republic of Myopia, Holy Day, Mourning Becomes 10 11 Electra, Tartuffe, Two Weeks with the Queen, Dead White Males, The Café Latte Kid, Summer of the Aliens, Six Degrees of Separation (Sydney Theatre Company); The Grenade, The Madwoman of Chaillot, Tomfoolery, , Piaf (Melbourne Theatre Company); Stones in his Pockets, The Venetian Twins (Queensland Theatre Company); (Bell Shakespeare); Unidentified Human Remains and the True Nature of Love (State Theatre Company of South Australia); Laughter on the 23rd Floor (Ensemble Theatre); Mad, Bad and Spooky (Theatre of Image); Blue Remembered Hills (O’Punksky’s); Boeing Boeing (Dainty/New Theatricals); A Life in Three Acts (Sydney Festival); Meow Meow’s Little Match Girl, Woyzeck (Malthouse). Music theatre credits include A Funny Thing Happened on the Way to the Forum (Gordon Frost); (Arts Asia Pacific); Orpheus in the Underworld, The Mikado (Opera Australia); (Silo Theatre, NZ); , , Sugar, , Oklahoma, (); Dusty (Dusty Productions); (Gordon Frost/SEL); Grease, Saturday Night Fever, Little Shop of Horrors (David Atkins Enterprises); and Bernadette Peters in Concert (). Mitchell has appeared in three solo cabaret shows: Mitchell Butel’s Excellent Adventure, And Now for the Weather and Killing Time (which is available on CD). Feature film credits include Gettin’ Square, The Bank, Strange Fits of Passion, Dark City, Virtual Nightmare and Two Hands. TV credits Amber McMahon include Broken Shore, Mr and Mrs Murder, Rake, Stephen King’s Nightmares and Dreamscapes, MDA, Grass Roots, Wildside, , All Saints, Twisted Tales, Close Ups, Bordertown and GP. Mitchell received for The Mikado, The Venetian Twins and Avenue Q, Helpmann nominations for Little Me, Summer Rain and The Republic of Myopia, for Hair and Piaf, Sydney Theatre Award nominations for Avenue Q and Strange Interlude and AFI nominations for Gettin’ Square and Strange Fits of Passion. Mitchell is a member of the National Performers’ Committee and has been a proud member of Actors Equity since 1988.

MEL DYER Stage Manager Mel is a 2007 graduate of NIDA’s production course. For Belvoir, Mel stage managed Every Breath and was assistant stage manager on , , Death of a Salesman, As You Like It, Neighbourhood Watch, The Seagull, The Diary of a Madman, Measure for Measure, The Promise, the 2009 Australian tour of Page 8 and the 2008 tour of Keating!. Mel also appeared on stage for Belvoir in As You Like It, Neighbourhood Watch, The Seagull and Keating!. Her other credits include stage manager for Lawn, Edgar, Remember Me, Legless (Splintergroup/Festpeilhaus, Austria); Roadkill (Splintergroup/Performing Lines); Underground (Dance North/ Performing Lines), and Night Café (Dance North), and assistant stage manager for Assembly (Chunky Move). Mel has also worked with Sydney Festival and The Australian Ballet.

12 13 Paula Arundell STEVE FRANCIS Sound Designer Business, Sins of the City, Good Guys Bad Guys, , Halifax f.p., The Battlers, G.P., The Flying Doctors, Ratbag Hero, Shadows of the Heart Steve has worked extensively in theatre, dance and and E Street. Marcus has been nominated for Helpmann, Green Room, Mo, screen. His Belvoir credits include This Heaven, Don’t Take Australian Film Institute and . He received the AFI Award for Best Your Love To Town, Babyteeth, The Book of Everything, Supporting Actor in a Television Drama for , and MO Awards for Gethsemane,, Ruben Guthrie, Baghdad Best Male Actor in a Play for and The Rocky Horror Show. Wedding, Keating!, Paul, Parramatta Girls, Capricornia, The Spook, Box the Pony, Gulpilil and Page 8. Other theatre credits include Other Desert Cities (Melbourne Theatre Company); The Secret River, Sex ROSS GRAHAM Associate Lighting Designer with Strangers, The Splinter, Under Milkwood, Les Liaisons Dangereuses, Ross is originally from New York, NY. His recent projects Pygmalion, Bloodland, Blood Wedding, The White Guard, The Removalists, include Woyzeck (B Sharp/Arts Radar); Climbing Toward Tusk Tusk, Gallipoli, The Great, Rabbit, Pig Iron People, Romeo and Juliet, Midnight (Sydney Chamber Opera); Cut Snake (Arthur); The Taming of the Shrew, Embers, The 7 Stages of Grieving, Stolen (Sydney Voices Project (ATYP); Sea Project (Arthur/Griffin Theatre Theatre Company); Between Two Waves, This Year’s Ashes, Speaking in Company); (Ensemble Theatre); The Last Five Tongues and Strange Attractor (Griffin Theatre Company). For dance Steve has Years (Stories Like These/); Bill W & Dr Bob (Carriageworks); composed music for Belong, True Stories, Skin, Corroboree, Walkabout, Bush The Underpants (NIDA Guest Artist); Silent Disco (Griffin Theatre Company); and Boomerang (Bangarra Dance Theatre); and Totem (Australian Ballet). Steve Dirlyland (Arthur); Shoehorn Sonata (Emu Plains Theatre Company); The has also composed for film and TV. His awards include two Helpmann Awards Hat Pin (Riverside Lyric Ensemble); Fremantle Candidate (Deckchair Theatre for Best Original Score in 2012, 2003 and Best New Australian Work in 2003. Company); Loves Bites (Gooding and Onward Productions); Beirut and True He also, with Alan John, won the 2011 Sydney Theatre Award for Music and West (Athena Theatre Company, New York). Ross’ music credits include the Sound Design. Australian national tour of Star Wars Burlesque. He has been resident lighting designer at the Music Hall of Williamsburg, NYC; lighting designer for artist MARCUS GRAHAM Roy M. Cohn Margot and the Nuclear So and So’s (Sony BMG 2007–2010); and Melissa Auf Der Maur (2011 Europe tour). He has also been the festival designer for New For Belvoir, Marcus has also appeared in That Face and Jersey Music Festival 2008–2011. the Melbourne season of It Just Stopped (Belvoir/Malthouse Theatre). His extensive theatre credits include Macbeth, , , Three Days of Rain, The MICHAEL HANKIN Set Designer White Devil, Who’s Afraid of Virginia Woolf?, Antony and Michael is a NIDA-trained set and costume designer for Cleopatra, King Lear, Henry IV (Part One), A Midsummer Night’s Dream, The theatre and film. His credits include The Dark Room (Belvoir); Rivers of (Sydney Theatre Company); Jerry Springer: The Opera (Sydney Fool for Love (B Sharp/Savage Productions); 247 Days Opera House); Tartuffe (Malthouse Theatre); Oedipus the King (Queensland (Chunky Move/Malthouse Theatre); Rust and Bone, The Theatre Company); (Arts Project Australia/ Adrian Bohm Ugly One (Griffin Theatre Company); Truckstop (Q Theatre/ Presents); A Number (State Theatre Company of South Australia); The 39 Seymour Centre); The Lighthouse, In the Penal Colony, Through the Gates Steps, Les Liaisons Dangereuses, The Blue Room, The Seagull, Julius Caesar (Sydney Chamber Opera); Liberty Equality Fraternity, Great Falls (Ensemble (Melbourne Theatre Company); Pericles, Othello, The Taming of the Shrew, Theatre); Miss Julie, The Letter, Macbeth (); Songs for Macbeth, A Midsummer Night’s Dream (Bell Shakespeare Company); American the Fallen, Judith (); , Women Buffalo, (Garry Penny Productions); The Rocky Horror Show of Troy (Cell Block Theatre); and the creative development of King Lear for Bell (Paul Dainty Organisation); Tourmaline (Black Swan State Theatre Company); Shakespeare. His short films include Reason to Smile, Julian and The Amber and The Heartbreak Kid (Griffin Theatre Company). Marcus has directed The Amulet (both winners of the Crystal Bear, International Film Festival). Bebop Apocalypse, (Seriousboys Theatre); and Greek He has assistant designed productions for Belvoir, Sydney Theatre Company, (Punkspace). For film, he has appeared in Three Blind Mice, Josh Jarman, Gordon Frost Organisation, English National Opera, Malthouse Theatre Horseplay, Mulholland Drive, Nicholas, Point of No Return, Crime Time and and Opera Australia. Michael received the Sydney Theatre Award for Best Dangerous Game. His television credits include Crownies, Janet King, Stupid Independent Stage Design for Truckstop in 2012, and was nominated for Best Stupid Man, Laid, Home & Away, City Homicide, Time Hackers, , Mainstage Design for The Dark Room the previous year. Blackjack: , Blue Heelers, Saturday Night Live, Charmed, Secret Men’s

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14 ALAN JOHN Composer The Bourgeois Gentleman, The Lost Echo, Mother Courage and Her Children (Sydney Theatre Company); In the Next Room, , (State Alan has a long association with Belvoir, composing music Theatre Company of South Australia); Afternoon of the Elves, The Snow for Babyteeth, Summer of the Seventeenth Doll, The Queen, The Sad Ballad of Penny Dreadful, Boo!, Moonfleet (Windmill Theatre Diary of a Madman, The Adventures of Snugglepot and Company); (Queensland Theatre Company); Bushfire Cuddlepie and Little Ragged Blossom, Peribanez, Stuff ( Festival Centre/Australian Theatre for Young People); Trouble on Planet Happens, The Chairs, The Spook, Our Lady of Sligo, The Earth, Highway Rock’n’Roll Disaster, Half Real, Please Go Hop!, Medeamaterial Underpants, Waiting for Godot, , Emma’s Nose, , and Hamletmachine (Border Project). For television Amber has appeared in The The Small Poppies, As You Like It, The Governor’s Family, Diving for Pearls, Chaser, Rescue Special Ops, My Space and Savvy TV. She has also hosted the Hate, The Tempest, and he was musical director for The Man from Mukinupin. Adelaide Fringe Club and various events as her character, Audrey. Amber is a Other theatre credits include Under Milk Wood, Les Liaisons Dangereuses, The recipient of the Adele Koh Acting Scholarship, Adelaide Critics’ Circle Emerging White Guard, , Gallipoli, The Great, Mother Courage, Artist Award and Adelaide City Council Performing Arts Award. The Season at Sarsaparilla, , The Give and Take (Sydney Theatre Company); The Duchess of Malfi, Much Ado About Nothing, The Government Inspector, Romeo and Juliet, Henry V and Henry IV (Bell Shakespeare). Major LUKE MULLINS Prior Walter music theatre works include The Eighth Wonder (Opera Australia); Through Luke trained at the Victorian College of the Arts. For Belvoir, the Looking Glass and How To Kill Your Husband (Victorian Opera). Alan’s he has appeared in Death of a Salesman, The Power of screen credits include Looking for Alibrandi, The Bank, The Shark Net, Three Yes and in Thom Pain (based on nothing) for B Sharp/Arts Dollars and COPS LAC. His awards include Helpmann Awards for Best Opera Radar. Other theatre credits include Little Mercy, The War (The Eighth Wonder) and Best Original Music (The Diary of a Madman), APRA of the Roses, Gallipoli, The Season at Sarsaparilla, The Screen Music Awards for The Shark Net, The Bank, Human Contraptions, Serpents Teeth, Tales from the Vienna Woods (Sydney Theatre Company); and an AFI Best Music nomination for Three Dollars. Alan (with Steve Francis) Long Day’s Journey into Night (Sydney Theatre Company/Artists Repertory, received a 2011 Sydney Theatre Award for The White Guard. Portland); The Duel (Sydney Theatre Company/Thin Ice); The Eisteddfod, 4xBeckett, Agoraphobe, Lally Katz and the Terrible Mysteries of the Volcano, SHELLY LAUMAN Assistant Director Untitled Intentional Exercise, Nine Days Falling and The Apocalypse Bear Trilogy (Stuck Pigs Squealing Theatre); Cloud Nine, , Oedipus Shelly works as an actor, writer and theatre-maker. She (Melbourne Theatre Company); Autobiography of (Malthouse Theatre); trained at the Victorian College of the Arts (Bachelor of Irony is Not Enough: Essay on My Life as Catherine Deneuve (Arts House/ Dramatic Art, Acting), graduating in 2005. Previously for Fragment 31); The Man with the September Face (Uninvited Guests/Full Tilt); Belvoir she has appeared in Every Breath and As You Like Mercury Fur (Theatre Works/Griffin Theatre Company); Grace (God Be in My It. She has also appeared in productions for Sydney Theatre Mouth/Theatre Works); Delicacy (Trades Hall); Catapult, Terminating, The Company, Malthouse Theatre, Queensland Theatre Company and Melbourne Maids, Bison (Wrecked All Prods); Lucrezia and Cesare, Miss Julie (Original Theatre Company. Shelly is a core collaborator with the multi award-winning, Voices); Sotoba Komachi and Kantan (Liminal Theatre). Luke’s film and TV Melbourne-based company The Hayloft Project. Her work with Hayloft includes credits include Reef Doctors, Satisfaction, Blue Heelers, MDA, Neon Skin and 3XSisters, Spring Awakening, The Suicide and The Only Child. Shelly has The Wilding. Luke was a member of the STC Actors’ Company and his awards recently been commissioned by Bell Shakespeare Company to write and include a Green Room Award for Best Supporting Actor for The Season at develop the solo show A Piece of Him, as part of their artistic development Sarsaparilla and the George Fairfax Memorial Award for Excellence in Theatre arm, Mind’s Eye. Shelly has been a member of Equity since 2005. Practice. Later this year, Luke will direct Night Maybe (Stuck Pigs Squealing Theatre/Theatre Works) and will perform for Belvoir in Kit Brookman’s Small AMBER McMAHON Harper Amaty Pitt and Tired. Amber trained at Flinders University Drama Centre. Her theatre credits include The Power of Yes (Belvoir); School Dance (Sydney Festival/Windmill Theatre Company); Optimism (Malthouse Theatre); The War of the Roses, Gallipoli, The Serpent’s Teeth, The Season at Sarsaparilla, Tales from the Vienna Woods, A Midsummer Night’s Dream, The Art of War, 16 17 Paula Arundell 18Luke Mullins 19 ROBYN NEVIN Rabbi Isidor Chemelwitz / MEL PAGE Costume Designer Hannah Porter Pitt / Ethel Rosenberg / Aleksii Mel is a Victorian College of the Arts graduate. For Belvoir, Robyn was one of the first graduates from NIDA in 1960. Mel has designed costumes for Strange Interlude, As You She has appeared with all of Australia’s major theatre Like It and The Promise, and designed set and costumes companies, in many memorable roles including Miss for and Old Man. Other costume credits include Docker in ’s for Melbourne The Suicide, The Only Child, Spring Awakening (B Sharp/ Theatre Company and later for Belvoir and Sydney Theatre Company. Her The Hayloft Project); Les Liaisons Dangereuses, Pygmalion (Sydney Theatre most recent productions with Belvoir were Summer of the Seventeenth Doll Company); Pompeii LA (Malthouse Theatre); Baal (Malthouse Theatre/ and Neighbourhood Watch. Robyn’s other theatre credits include Other Sydney Theatre Company); Vs. Macbeth (Sydney Theatre Company/The Desert Cities, Queen Lear, August: Osage County, The Drowsy Chaperone Border Project); The Nest (The Hayloft Project). Mel has also designed set and (Melbourne Theatre Company); Long Day’s Journey into Night, The Year of costumes for The Apocalypse Bear Trilogy (Stuck Pigs Squealing/Melbourne Magical Thinking, The Women of Troy, Love Lies Bleeding and The Cherry Theatre Company) and sets for Spicks and Speck-tacular (ABC/Token Events) Orchard (Sydney Theatre Company). Robyn’s film credits include The Turning, and Noye’s Fludde (Victorian Opera). Mel was nominated for a 2012 Sydney The Eye of the Storm, The Castle, Emerald City, Careful He Might Hear You Theatre Award for Best Costume Design for Les Liaisons Dangereuses. and the Matrix films. An award-winning director, Robyn was co-creator of the Melbourne Theatre Company’s 2012 Season. She has been Artistic Director of NIKLAS PAJANTI Lighting Designer both Sydney Theatre Company and Queensland Theatre Company, and was For Belvoir, Niklas has also designed the lighting for Associate Director of both Sydney Theatre Company and Melbourne Theatre Babyteeth, The Wild Duck, The Promise, Baghdad Wedding, Company. As Artistic Director and CEO of Sydney Theatre Company she Yibiyung, and Who’s Afraid of Virginia Woolf? created the celebrated Actors’ Company and her productions include Mother Other credits include Spring Awakening (Sydney Theatre Courage, Summer Rain, A Doll’s House and Hedda Gabler which toured to the Company); Australia Day, Queen Lear (Melbourne Theatre Brooklyn Academy of Music. In 1981 Robyn was awarded an AM for Services Company); When the Rain Stops Falling (Brink Productions/Sydney Theatre to the Performing Arts. Her most recent awards were a Helpmann Award Company); Not Like Beckett, One Night the Moon (Malthouse Theatre); Holiday, for Best Female Actor in a Supporting Role in a Play for Belvoir’s production Affection (Ranters Theatre); Endgame, Othello, The Winter’s Tale, King John, of Summer of the Seventeenth Doll, a Green Room Award for Best Female The Crucible (The Eleventh Hour); Axeman Lullaby (BalletLab); 247 Days, An Performer for August: Osage County, a Helpmann Award for Best Female Act of Now, Black Marrow, I Want to Dance Better at Parties, Singularity, Tense Actor in a Play for Women of Troy, and a Sydney Critics’ Circle Award for Long Dave, Three’s a Crowd (Chunky Move); Spicks and Speck-tacular – The Finale, Day’s Journey into Night, which played in Sydney and the US. Good Evening, Frank Woodley – Possessed, Lano and Woodley – Goodbye (Token Events); Kentridge – 5 Themes, Star Voyager – Exploring Space on DEOBIA OPAREI Belize / Mr Lies Screen, Dreams Come True – The Art of Disney’s Classic Fairy Tales, Tim DeObia’s theatre credits include Cymbeline, , A Burton the Exhibition – Melbourne Winter Masterpieces (Australian Centre for Midsummer Night’s Dream (Royal Shakespeare Company); the Moving Image); and Fred Schepisi’s feature film The Eye of the Storm. Haroun and the Sea of Stories, , Troilus and Cressida (National Theatre); Clubland (Royal Court Theatre); PAIGE WALKER-CARLTON American Dialect Coach The Winter’s Tale (Theatre De Complicite); Six Degrees of Paige has 27 years’ experience in the industry, ranging from Separation and Angels in America (Sydney Theatre Company). As a playwright theatre and dance to voice-overs and aerial work, but her his credits include Crazyblackmuthafuckin’self (Royal Court Theatre). DeObia’s work as a dialect coach has been some of her most fulfilling. film credits include Alien III, Moulin Rouge, Dark City, Doom, The Four Feathers, Paige is a US native and began her life in the arts at one of Thunderbirds, Pirates of the Caribbean: On Stranger Tides, Dredd and the country’s leading performing arts schools. Following on the upcoming Tula: The Revolt. His television credits include Bloodrights, from there she received her Bachelor of Fine Arts in Theatre before heading off Holby City, Desmonds, Wildside and Depth Charge. DeObia has received a to tread the boards in New York. In 2000 Paige made the journey to Australia Hollywood NAACP Award nomination for Best Lead Male, in the title role of and began teaching American dialect full time. Her coaching has seen her work Gilgamesh (Boston Court Theatre, Los Angeles). with artists including Tammy McIntosh, Dan Mor, Luke Mitchell, Hugh Sheridan, Jodi Gordon, Esther Anderson, Andy Whitfield and Delta Goodrem. 20 21 SCOTT WITT Fight Director Belvoir Staff Scott has worked for nearly 30 years as a fight director, movement consultant, actor, director and clown. As a 18 Belvoir Street, Surry Hills NSW 2010 Email [email protected] Web belvoir.com.au fight director and movement consultant his theatre credits Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444 number well over 200 professional productions, including Artistic Director Education Development Peter Pan, Beautiful One Day, Medea, Private Lives, Death Ralph Myers Education Manager Development Manager of a Salesman, Babyteeth, The Dark Room, Summer of the Seventeenth General Manager Jane May Nathan Bennett Doll, Gwen in Purgatory, That Face (Belvoir); Fool for Love (B Sharp/Savage Brenna Hobson Education Resources Philanthropy Officer & Regional Access Liz Tomkinson Productions); The Fury, Secret River, Mariage Blanc, Signs of Life, Les Liaisons Belvoir Board Cathy Hunt Corporate & Sponsorship Dangereuses, Zebra, God of Carnage, True West, A Streetcar Named Desire, Anne Britton Education Assistant Officer Caitlin Scarr Paul Hooper The Wonderful World of Dissocia (Sydney Theatre Company); Henry IV, The Mitchell Butel Andrew Cameron (Chair) Taming of the Shrew (Bell Shakespeare); (Sport for Jove); Don Giovanni Tracey Driver Administration Marketing (Opera Australia); Anatomy Titus: Fall of Rome, The Alchemist, Richard III (Bell Richard Evans Artistic Administrator Marketing Manager Gail Hambly (Deputy Chair) John Woodland Gemma Frayne Shakespeare/ Queensland Theatre Company); Macbeth, Toy Symphony, The Brenna Hobson Administration Coordinator Marketing Coordinator Crucible, School of Arts, Stones in His Pockets, Who’s Afraid of Virginia Woolf?, Ian Learmonth Maeve O’Donnell Marty Jamieson Ralph Myers Publications Manager The Glass Menagerie, Private Lives (Queensland Theatre Company); Summer Gabrielle Bonney Olivia Pascoe Finance & of the Seventeenth Doll, The 48 Shades of Brown, Way Out West, The John Operations Publicist Elly Michelle Clough Wayne Principle and As You Like It (La Boite). Belvoir St Theatre Head of Finance & Operations Board Production Trefor Clayton (Chair) Richard Drysdale Financial Administrator Head of Production ASHLEY ZUKERMAN Joseph Porter Pitt Stuart McCreery Ann Brown Daniel Potter Angela Pearman Accounts/Payroll Officer Production Coordinator Ashley graduated from the Victorian College of the Arts in Nick Schlieper Susan Jack Eliza Maunsell 2006. His theatre credits include As You Like It (Belvoir); The Kingsley Slipper IT & Operations Manager Technical Manager Peter Wilson Jan S. Goldfeder Warren Sutton History Boys, The Hypocrite (Melbourne Theatre Company); Resident Stage Manager This is Our Youth (Inside Job Productions); and BC (The Artistic & Box Office Luke McGettigan Construction Manager Programming Box Office Manager Hayloft Project). His television credits include Terra Nova, Govinda Webster Associate Director – Erin Algeo , Mr & Mrs Murder, Lowdown, The Slap and RUSH, which earned New Projects Head Mechanist Assistant Box Office Damien King him a Logie nomination for Most Outstanding New Talent. He also appeared Eamon Flack Managers Associate Producer Costume Coordinator in the feature film Blame. For his performance in BC, Ashley received a 2009 Tanya Ginori-Cairns Judy Tanner Tahni Froudist Alana Hicks Green Room Award for Best Male Supporting Performer. Ashley has been a Associate Artist Touring & Downstairs Theatre Production proud member of Equity since 2003. Stefan Gregory Resident Directors Front of House Manager Front of House Manager Adena Jacobs Todd Wilson Ohmeed Ahi Anne-Louise Sarks Senior Technician Assistant Front of Literary Manager Caitlin Porter House Manager Anthea Williams Indigenous Technical Scott Pirlo Theatre Trainee Kopara Donovan Sunday Forum The Belvoir Story

Good theatre makes you feel. It can Angels in America One building. Six hundred people. Thousands of stories. also make you think. Sometimes Parts One and Two Both the Upstairs and Downstairs you’re left thinking about it well after 11am, 7 July When the Nimrod Theatre building in Belvoir Street, Surry Hills, was stages at Belvoir St Theatre have you’ve left the theatre. You want to Persona threatened with redevelopment nurtured the talents of many renowned know more; about the play, its ideas, 3pm, 11 August Australian artists: actors including its history or how it came about. in 1984, more than 600 people Miss Julie – ardent theatre lovers together , , Toby If so then our Sunday Forums are 3pm, 29 September with arts, entertainment and media Schmitz, Robyn Nevin, Deb Mailman for you. Hamlet professionals – formed a syndicate and ; writers such We hold a forum for each of our 3pm, 24 November to buy the building and save this as Tommy Murphy, Rita Kalnejais, Upstairs performances. Each is Coranderrk unique performance space in inner- Lally Katz and ; directors different and tackles a specific 3pm, 22 December city Sydney. including , , , Rachael aspect of the production. It might Over 25 years later, this space, Although tickets are free, bookings Maza and former Belvoir Artistic be a lecture, a discussion or a known as Belvoir St Theatre, are essential and are open four Director Neil Armfield. demonstration. One might take a weeks or more before each forum. continues to be the home of one of look at the broader social context of Australia’s most celebrated theatre Belvoir’s position as one of Book online at: a play. Another might on how companies – Belvoir. Under the Australia’s most innovative and belvoir.com.au/sundayforum or a show was created. After the forum artistic leadership of Ralph Myers acclaimed theatre companies has call Box Office you have a chance to ask questions and General Manager Brenna been determined by such landmark on 02 9699 3444. of the panellists, meet your fellow productions as The Wild Duck, The Tweet while you listen Hobson, Belvoir engages Australia’s audience members and continue (or follow online) most prominent and promising Diary of a Madman, The Blind Giant the discussion informally with us in using #sundayforum playwrights, directors, actors and is Dancing, The Book of Everything, the foyer. designers to realise an annual Cloudstreet, Measure for Measure, Sunday Forums are free. It’s best season of work that is dynamic, Keating!, Parramatta Girls, Exit the to see the show before you come challenging and visionary. As well King, The Alchemist, Hamlet, because we’re bound to spoil the as performing at home, Belvoir Waiting for Godot, , ending! Check our website or call regularly takes to the road, touring to Who’s Afraid of Virginia Woolf? and Box Office to find out who will major arts centres and festivals both . appear on each panel and what the nationally and internationally. Belvoir receives government topic of discussion will be. support for its activities from the Federal Government through the See you there! Major Performing Arts Board of the Australia Council and the State Government through Arts NSW.

Robyn Nevin 25 The Hive 2013 Verity Laughton Agnes Sinclair Joanna Davidson & Ian & Siena Dune Buchanan Eileen Slarke & Family Julian Leeser Darleen Bungey Barry Smorgon OAM Julie & Jamie Garis Jan Burnswoods Tim Smyth Belvoir Donors Ruth Higgins & Andrew & Cathy Cameron Andrew Smyth-Kirk We give our heartfelt thanks to all our donors for their loyal and generous support. Liliana Munoz Michael & Dr Titia Sprague Emma Hogan & Colleen Chesterman Judy Stone Kim Hogan Timothy & Bryony Cox Catherine Sullivan Foundation Donors HLA Management Pty Ltd Wendy & Andrew Hamlin Bruce Meagher & Anne Duggan Anthony Tarleton Make a significant The Jarzabek Family John Head Greg Waters Diane Dunlop Victoria Taylor financial investment Hilary Linstead Marion Heathcote & Gerard Outram & Anton Enus & Axel & Diane Tennie in the Belvoir Creative Cajetan Mula (Honorary Brian Burfitt Fiona Holyoake Roger Henning Mike Thompson Development Fund. Member) Libby Higgin Andrew & Louise Sharpe Elizabeth Evatt John Tuckey Ross McLean & Fiona Beith Michael Hobbs Peter Wilson & Michael & Kerrie Eyers Ross Tzannes Neil Armfield AO Olivia Pascoe Peter & Jessie Ingle James Emmett Frances Garrick Louise & Steve Verrier Anne Britton Belinda & Steven Rankine Rosemary & Adam Ingle D T Gilbert Chris Vik & Chelsea Albert Andrew & Cathy Cameron Alex Oonagh Redmond Anita Jacoby Jill Gordon Sarah Walters Janet & Trefor Clayton Michael Rose & The Jarzabek Family Education Donors Priscilla Guest Lynne Watkins & Anne & Michael Coleman Jo D’Antonio Avril Jeans over $250 Sophie Guest Nicholas Harding Sharon & Hartley Cook Ann Sherry AO & Michael Margaret Johnston Provide opportunities for Dr Juliet Harper Elizabeth Webby AM Gail Hambly Hogan Corinne & Rob Johnston young people throughout Julie Hannaford Kim Williams AM & Anne & Hugh Harley Penny Ward Colleen Kane NSW to access our work. Marion Heathcote & Catherine Dovey Hal & Linda Herron David & Jennifer Watson Antoinette le Marchant Brian Burfitt Peter Wilson & Louise Herron & Clark Butler Kim Williams AM Jennifer Ledgar & Bob Lim Anonymous (2) Libby Higgin James Emmett Victoria Holthouse Cathy Yuncken Stephanie Lee Len & Nita Armfield Harrison & Kate Higgs Brian & Patricia Wright Peter & Rosemary Ingle Atul Lele Ian Barnett Dorothy Hoddinott AO Ian Learmonth & 2012/2013 B Keepers Hilary Linstead Mary G Burchell The Honourable Justice Belvoir is very grateful Julia Pincus Income received from Professor Elizabeth More Jane Diamond Johnson to accept all donations. Helen Lynch B Keepers underpins all of AM Matthew Hall John Kaldor AM & Donations over $2 are Frank & Bronwyn Macindoe Julie Hannaford our activities. Jane Munro Naomi Milgrom AO tax deductible. If you David Marr Siobhan Hannan & Dr David Nguyen Josephine Key would like to make a Rhonda McIver Anonymous (3) D & L Parsonage James Talbot Jann Kohlman donation or would like Ann Sherry AO & Robert & Libby Albert Timothy & Eva Pascoe Paul & Melissa Hobbs Ray Lawler further information Michael Hogan Claire Armstrong & Greeba Pritchard Susan Hyde Sarah Lawrence about any of our donor Victoria Taylor John Sharpe Richard & Heather Rasker Peter & Rosemary Ingle Ruth Layton programs please call Mary Vallentine AO Berg Family Foundation Colleen Roche Stewart & Jillian Kellie Margaret Lederman our Development team Kim Williams AM & Bev & Phil Birnbaum Greg Roger Olivia Pascoe Hilary Linstead Catherine Dovey Max Bonnell Lesley & Andrew Rosenberg Kate Pasterfield Joseph Lipski on 02 8396 6224 or email Ellen Borda Andrew & Louise Sharpe Chris & Bea Sochan Ross Littlewood & development@belvoir. 2012/2013 Anne Britton Vivienne Sharpe The Spence Family Alexandra Curtin com.au Dr Catherine Brown-Watt Chair’s Group Peter & Jan Shuttleworth Dr Carolyn Lowry List correct at time of printing. Supports the creative Jan Burnswoods Chris & Bea Sochan General Donors Christopher Matthies development of Mary Jo & Lloyd Capps Judy Thomson over $250 Catherine McDonnell Special Thanks Indigenous work at Brian T. Carey Sue Thomson Provide valuable support Irene Miller David Chesterman AM Belvoir. Lynne Watkins & to the projects most in Carol Mills We would like to Elaine Chia Nicholas Harding need throughout the year. Cynthia Mitchell acknowledge long-time Anonymous (1) Jane Christensen Alison Wearn Anonymous (9) John Morgan supporters Cajetan Antoinette Albert Louise Christie Paul & Jennifer Winch David Antaw Annabelle Andrews & Mula and Len Armfield. Berry Family Suzanne & Michael Daniel Ian & Judy Wyatt Ross & Barb Armfield Peter Murray They will always be Jillian Broadbent AO Tracey Driver & Barrett Casting Dr Peter & June Musgrove remembered for their Jan Chapman & Simon Robinson Corporate B Keepers Andrew & Jane Bennett Kevin O’Connor AM generosity to Belvoir. Stephen O’Rourke Constructability Recruitment Chris & Bob Ernst Baiba Berzins & Judy & Geoff Patterson Louise Christie Macquarie Group Jeanne Eve Peter Loveday Susan Pearson Kathleen & Danny Gilbert Foundation Peter Fay Angela Bowne Natalie Pelham Sophie Guest Sterling Mail Order R Godlee & A Maxwell Jillian Broadbent AO Alex Oonagh Redmond Marion Heathcote & Peter Graves Anne Bromley Catherine Rothery Brian Burfitt David & Kathryn Groves Rob Brookman & Julia Selby David Haertsch 26 Sherman Foundation 27 2013 season subscribe now to guarantee seats peter pan persona By J.M. Barrie Director Ralph Myers Conceived by Adena Jacobs, Dayna Morrissey & Danny Pettingill this heaven Based on the film byIngmar Bergman By Nakkiah Lui Director Lee Lewis Director Adena Jacobs cat on a hot the baulkham hills tin roof african ladies troupe By Writer & Director Ros Horin Director Simon Stone miss julie stories i want to By Simon Stone after August Strindberg tell you in person Director Leticia Cáceres By Lally Katz small and tired Director Anne-Louise Sarks Writer & Director Kit Brookman forget me not By Tom Holloway hamlet By William Shakespeare It’s what Optus and Belvoir have been doing Director Anthea Williams It’s what Optus and Belvoir have been doing Director Simon Stone together since 2006. angels in america the cake man together since 2006. part one and part two By Robert J. Merritt We’ve imagined a place where those who rarely have the By Tony Kushner Director Eamon Flack Director Kyle J. Morrison We’ve imagined a place where those who rarely have the opportunity can enjoy theatre through our unique ‘Charitable coranderrk opportunity can enjoy theatre through our unique ‘Charitable By Andrea James & Giordano Nanni Tickets’Tickets’ and and ‘Unwaged ‘Unwaged Performance Performance Programs’. Programs’. Concept Giordano Nanni It’s Possible. Director Isaac Drandic Gary Heery Photography: It’s Possible.

belvoir.com.au Corporate partner

Belvoir_Unwaged_Program_ART_M_0712.inddBelvoir_Unwaged_Program_ART_M_0712.indd 1 1 23/07/1223/07/12 10:47 10:47 AM AM Hi. We just wanted to introduce ourselves – it’s a bit hard to talk in the MLC Centre 108 King Street Sydney NSW 2000 back of this program. Administration + 61 2 9224 8444 Fax + 61 2 9223 3994

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The Theatre Royal is owned by GPT RE Limited and QIC Limited. Dave Kitty Sotiri Chen James Anthony Catering by Restaurant Associates P/L. www.restaurantassociates.com.au We’re a digital agency (whatever that means) called Picket Studio www.theatreroyal.net.au and we’ve helped Belvoir with their fancy, new, phone-friendly website. Perhaps one day we can help you with yours. Hope you enjoy/ed the show. picketstudio.com

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18 & 25 Belvoir Street, Surry Hills NSW 2010 Email [email protected] Web belvoir.com.au Administration (02) 9698 3344 Fax (02) 9319 3165 Box Office (02) 9699 3444 CoverD image: Luke Mullins by Brett Boardman.