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The Boy Who Talked to Dogs Adapted for the Stage by Amy Conroy from the Book by Martin Mckenna

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The Boy Who Talked to Dogs Adapted for the Stage by Amy Conroy from the Book by Martin Mckenna SLINGSBY AND STATE THEATRE COMPANY SOUTH AUSTRALIA IN ASSOCIATION WITH ADELAIDE FESTIVAL PRESENT THE BOY WHO TALKED TO DOGS ADAPTED FOR THE STAGE BY AMY CONROY FROM THE BOOK BY MARTIN MCKENNA 25 FEB - 14 MAR THOMAS EDMONDS OPERA STUDIO Cast & Creative Team PLAYWRIGHT Amy Conroy DIRECTOR/ARTISTIC DIRECTOR, SLINGSBY Andy Packer ASSISTANT DIRECTOR / DIRECTOR OF PUPPETRY Clara Solly-Slade EXECUTIVE PRODUCER Stacey Baldwin SONGWRITER Lisa O’Neill COMPOSER-PERFORMER Quincy Grant SOUND SYSTEM DESIGNER Andrew Howard SET DESIGNER Wendy Todd LIGHTING DESIGNER Chris Petridis COSTUME DESIGNER Ailsa Paterson MARTIN Bryan Burroughs MUSO Victoria Falconer MUSICIAN Emma Luker COVER James Smith STAGE MANAGER Laura Palombella PRODUCTION MANAGER Van Locker VENUE MANAGER/ASM Gabrielle Hornhardt TECHNICAL MANAGER/OPERATOR Darian Tregenza Costumes made by State Theatre Company South Australia Wardrobe. Set constructed by State Theatre Company South Australia Workshop. THE BOY WHO TALKED TO DOGS Adapted for the stage by Amy Conroy From the book by Martin McKenna Published by Skyhorse Publishing Developed with the assistance of Draíocht Arts Centre Ngadlu tampinthi Kaurna We acknowledge the Kaurna miyurna yaitya yarta-mathanya people as the traditional custodians Wama Tarntanyaku. of the Adelaide Plains. Parnaku yailtya, parnaku tapa We recognise and respect their purruna, parnaku yarta ngadlu cultural heritage, beliefs and tampinthi. Yalaka Kaurna Miyurna relationship with the land. itu yailtya, tapa purruna, yarta kuma We acknowledge that they are puru martinthi, puru warri-apinthi, of continuing importance to the puru tangka martulayinthi. Ngadlu Kaurna people living today and tampinthi purkarna pukinangku, pay respects to Elders past, yalaka, tarrkarritya. present and future. Writer's Note - Amy Conroy Initally when approaching this play I thought I was writing a story about ‘a boy and his dogs and all their adventures’. That would have been the sensible story, the popular story, the heartwarming story that sells. But it wouldn’t have been an honest story. To honour this boy’s incredible journey, I had to start in the difficult places, the places we don’t like to look. It’s a lot easier, and infinitely more palatable, to turn away from all that messy stuff. I am a playwright, actor and theatre maker based in Dublin, Ireland. I believe that theatre should provoke, enflame, move and delight in equal measures. I am compelled by a drive to shine a light on people, places or circumstances that are rarely seen, or rarely given much consideration. I am fascinated by what we understand on an intellectual level, but disregard on a human level. I also like to allow the story to inform how it should be told. I am of the opinion that theatre can change the world. It is a firm opinion, maybe uncool, maybe romantic, but firm. You can, however, only do that when you tell the whole story. This is a story of survival. Martin is the kid that is hard to like, he’s the kid that makes people uncomfortable, even though they should know better. Those people defined Martin’s narrative, telling him he was stupid, damaged, troublesome and awkward. They told him so often and so viciously that he believed them. Why wouldn’t he? They didn’t ask why he made them uncomfortable, or why he was troublesome, it was easier not to. But Martin found his own way through; he survived in spite of everything. I wanted to honour his journey; I wanted to give this gloriously awkward, broken, brilliant and radiant boy authorship of his own story - in his own way. Ultimately it’s a very simple one, it’s a story of a boy who wants to be loved. And I do. I hope you do too. Director's Note - Andy Packer As I write, we are three weeks away from opening this production. The world around is in chaos. Perth and suburbs are in COVID-19 lockdown, while 71 houses have been destroyed by raging bushfires overnight. Ireland, UK, Israel, Netherlands and Vietnam are in lockdown and close to 450,000 citizens of the USA have died from COVID-19. And yet, here in Adelaide we come to work each day, unmasked, and make theatre. In this moment in time it is impossible to know what future touring life this production may have, but I want us to remember the context in which we make this work. Despite the pain being felt globally, there is an abundance of hope in the room as we bring Martin McKenna’s remarkable story to the stage. Martin had experiences as a child that were incredibly traumatic. Children are powerless. They are the recipients of the world adults create for them. Globally, it is estimated that up to one billion children aged 2–17 years have experienced violence or neglect in the past year (World Health Organisation). Now as an adult, Martin, with all the power he could muster, has shared his story in the hope it will drive change. Is it possible that a piece of theatre can make an impact on curbing that violence? I hope so. Certainly, ignoring these realities is unacceptable. I believe theatre can be an empathy machine, allowing us to gain perspective on other people’s lives. We make The Boy Who Talked to Dogs with the power that we have as theatre makers, to amplify Martin’s voice. Injustice is all around us. We all have a responsibility and the power to make changes to eradicate it. To make theatre during a pandemic is an incredible privilege that would be impossible without the passion, hard work and creativity of all involved. While the future remains unclear, we take each day at a time, making the most of every moment, hoping for a future that is filled with happiness. Perhaps this mirrors Martin’s experience as a child. His persistence, resilience and creativity can be a guide to us all. Director/ Playwright Artistic Director, Slingsby Amy Conroy Andy Packer Amy is an actor, playwright and Artistic Director of Andy is a director of theatre, music theatre and HotForTheatre. Her first radio play, Hold This, was opera. He has also worked as creative producer broadcast on RTÉ Radio One in 2010. Her first stage of multidisciplinary arts programs, producer of play, I♥ Alice ♥ I, won the Fishamble Award for large-scale events and festival director. In 2007 New Writing in the 2010 Dublin Fringe Festival and Andy co-founded Adelaide-based theatre company had sold-out runs at Ulster Bank Dublin Theatre Slingsby. The company’s productions have received Festival, the Peacock stage of the Abbey Theatre 16 industry awards and toured more than 70 cities Dublin, The Irish Arts Centre in New York, Lókal and towns across 12 countries. festival in Iceland, Glasgay Festival, The World Theatre Festival in Brisbane, Auckland Arts Festival, Andy is renowned for creating original live Ten Days on the Island Festival in Tasmania, Queer performance moments that are emotionally powerful Theatre Festival Croatia, Centre Culturel Irlandais and visually bold. His work across theatre for young in Paris and The Lyric Theatre Belfast. It has been audiences, opera, cabaret, music theatre and translated and performed in Poland, Italy and symphonic concerts has pushed him to develop Iceland. It is published by Oberon. a distinctive theatrical form that is at once personal and epic. Amy’s acting credits include the critically-acclaimed production of The Taming of the Shrew at the Globe Andy has directed productions, concerts and Theatre, London, Futureproof, A Day In May, A events for Adelaide Symphony Orchestra, State Midsummers Night’s Dream, Portrait of the Artist as a Opera of South Australia, State Theatre Company Young Man and Citysong (Abbey Theatre and Soho South Australia, Adelaide Festival of Arts, Adelaide Theatre, London), for which she was nominated Best Fringe, Adelaide Festival Centre, Adelaide Chamber Supporting Actress in the 2019 Irish Times Theatre Singers, Australian String Quartet, Windmill Awards. She is a Six in the Attic Alumni, Writer in Theatre, Restless Dance, Tutti Ensemble, Rundle Residence with Rough Magic Theatre Company and Mall Management Authority and the International Associate Playwright with The Abbey Theatre. Astronautical Federation. In 2019 Andy was Show Director for the World of WearableArt Awards Show in Wellington, New Zealand. Andy was Creative Producer of Programming at Carclew Youth Arts 2003-2006, Creative Producer of Family Events for Adelaide Fringe Festival 2007-2008 and Creative Director of Come Out Festival 2011. Assistant Director/ Director of Puppetry Songwriter Clara Solly-Slade Lisa O'Neill Clara studied acting at Adelaide College of the Arts Over the years Lisa O'Neill has quietly built a and the Royal Academy of Dramatic Arts (London). reputation for herself on the Irish and international scenes and now has a growing following with She has worked as an artist with Sport for Jove her unique folk sound, strong song writing and Theatre, Pinchgut Opera, The H.E.A.T Collective distinctive voice. (New York), Working Classroom (New Mexico), and the La Mama Experimental Theatre Company (New Her debut release Has an Album was followed in York). She has directed and facilitated with young 2013 by Choice-nominated Same Cloth Or Not. people for SAYart’s, Working Classroom, Urban Her third album Pothole in the Sky was released Myth, Camp Quality, Australian Theatre for Young to critical acclaim and is filled with tension and People, Australian Refugee Volunteers and Western emotion, contextualising themes of love, loss, Sydney Migrant Resource Centre. heartache and sorrow today through referencing tales from the past with beauty, honesty and Clara is completing an Emerging Director Fellowship defiance. Lisa’s last release on the Rough Trade with State Theatre Company South Australia and imprint River Lea, Heard A Long Gone Song, has State Opera South Australia.
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