EVERY BRILLIANT THING By Duncan Macmillan with Jonny Donahoe Belvoir presents EVERY BRILLIANT THING By Duncan Macmillan With with Jonny Donahoe

Directed by Kate Champion Every Brilliant Thing Co-Directed by Steve Rodgers is supported by The Nelson Meers This production of Every Brilliant Thing Foundation opened at Belvoir St Theatre on Wednesday 13 March 2019.

Set and Costume Designer Isabel Hudson Amelia Lever-Davidson Sound Designer Steve Francis Stage Manager Isabella Kerdijk

If Every Brilliant Thing has raised any concerns for you following the performance, Lifeline offers a 24 hour counselling service and can be reached at 13 11 14. Additional information can be found on their website, lifeline.org.au. Other services which may be of assistance include mental health advocacy organisation, Beyond Blue (beyondblue.org.au, 1300 224 636), and youth mental health foundation, Headspace (headspace.org.au). We also advise speaking to a trusted source or engaging your local GP.

We acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built. We also pay respect to the Elders past and present, and all Aboriginal and Torres Strait Islander peoples.

PRODUCTION THANKS PHOTOGRAPHY Nathan Weyers and NJW Designs Daniel Boud, Michael Kennedy, Jack Saltmiras DESIGN Alphabet Studio

03

Kate Mulvany DIRECTORS' NOTE KATE CHAMPION & STEVE RODGERS

Almost all of us have had some The lengthy conversations we’ve experience of living with mental shared in the rehearsal room health issues, whether it be first hand together have deeply informed our or through a loved one or friend. It is interpretation of the piece. The gift of a recognisable part of being alive and the show is that it is never the same human. Yet we rarely treat it as such twice yet at its heart never wavers a common occurrence. We give our from its purpose. failing bodies far more press than we Through a personal account we give our fragile minds. are encouraged to be personally Every Brilliant Thing takes this accountable. subject and gently yet firmly, with The list of every brilliant thing is also pathos and humour, guides us to a certainly not given as a solution yet place where we can see it for what it stands as a beautiful and heartfelt it is - something to be unashamedly offering by a seven year old to a spoken about within the communities situation that can’t be easily be we live in. remedied. Every Brilliant Thing is almost not a Sometimes the seven year old in us . Its form is stripped down to the is surprisingly wise. essentials which allows the simple act of communion with others to define its nature and ultimate purpose.

It doesn’t aim to give simple solutions or feel good remedies but instead suggests we deeply consider how we talk about suicide, how we treat the loved ones of someone who has died by suicide, and how the media reports on it.

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Kate Mulvany & Kate Champion spread wide in glorious mirth. I loved friends and loved ones and strangers that PERFORMER'S NOTE this man. listened as I spoke; and shared their own memories, thoughts and experiences with Mark also had a mental illness. He often me. These people truly saved me. KATE MULVANY lived with the darkest of shadows within. Anxious voices whispered to The thing is, talking about suicide; talking him constantly. Utter despair often about mental illness; checking in on each Ten years ago, I lost my partner to suicide. malevolent bullshit. A dangerously consumed him, made him disappear for other; acknowledging the darkness, one-sided conversation. His name was Mark. He was my best mate. days on end. He was a force of nature, along with all the light - that’s the most My soul mate. My ally. My everything. The only thing that kept me going, but sometimes the force was too great, important part of understanding our ironically, was Mark. His truth. His legacy. too powerful. This was part of Mark. humanity. Of creating a loving community His death ripped my world apart. Ripped The fact that despite his death at the This was another element of who he was. of empathy and compassion. Of taking a lot of people’s worlds apart. age of 32, he led a simply remarkable This was still the man I loved dearly. care of ourselves and each other. Of healing, of asking for help, of offering The maelstrom of emotion, heartache, life. He was a beautiful human being – When Mark died, these were the things – assistance. It doesn’t bring back the trauma and grief that came from Mark’s ridiculously funny. Mind-blowingly smart. the light and the shadows, the opposing person we have lost. But it may help stop suicide was almost unbearable. Almost Caramel-hearted. in the best of forces within – that I wanted to talk losing someone else. unlivable. Along with the traumatic ways. He loved stray cats and singing about. I wanted more of that human who self-questioning that comes from losing musical numbers at the top of his lungs was no longer in the world. I wanted to So when this play was put in my hands, a loved one to suicide, I had the added and farts and astrophysics and the hear stories I hadn’t been told. I wanted it took my breath away. Here was prodding and poking from a press, babies of friends. He was brilliant at his to sit at someone’s feet and hear about everything I’d ever wanted - an honest, impatient for information. (Mark was work, generous beyond belief, filled to my beloved best friend, and about communal conversation between friends a well-known actor, therefore certain the brim with love and pride for others. others like him. I wanted to talk and talk and strangers on mental health. With no journalists deemed his life and death as He had the most comical knock-knees and talk so that even if I couldn’t work judgment. No apologies. No demand for “public property”.) When I refused to and the softest brown hair and blue out why the world had lost him the answers. No explanations. No speculation. comment on his death – I couldn’t, even eyes that couldn’t lie. When he laughed, way we had, I could at least rejoice and Just a simple exploration of the brilliant if I wanted to, such was my state - many and he laughed a lot, it started with reminisce and reconcile all that he was things in life, even when there are publications and programs made up a full-voiced “HA!” – which would be when he was alive. shadows, even when there is despair. It’s a their own stories. Cruel, uninformed, punctuated by a thigh slap and hands reminder that there are hearts to feel for But god it was hard to find people you, ears to listen to you, minds to assist to talk to. Paradoxically, while I was you, mouths to converse with you, hands shooing away thoughtless “reporters”, to lead you, arms to hold you, and humans I couldn’t find anyone to actually talk – many, many humans – to walk alongside to. Suicide makes people shut up. Shut you as your allies. down. Through discomfort. Through shame. Through guilt. Through their Thank you for taking part in this own grief. Through not having the conversation, inside a lived experience, words. Through fear of saying the inside a theatre, inside a community, inside wrong thing. When I tried to talk about a city, inside a country, insidenside a worldworld,, Mark, often my attempts were seen inside humanity. as me “not dealing with it”, or that I’d Like Mark, you are a somehow “lowered the tone”. I ended up brilliant, brilliant thing. in many a quiet corner, crying alone. Or whispering to Mark in the dead of night, I’m so glad you under my blankets. But eventually I did are here. find my community – the people who were happy to talk about Mark. Who welcomed the dialogue. Those glorious

07 1. BIOGRAPHIES

DUNCAN MACMILLAN Writer THE SOUND Duncan is a playwright and director from the United Kingdom and former recipient of the Bruntwood Prize. Plays include: People, Places and Things (2015-17 – National Theatre/Wyndham’s Theatre, West End / St Ann’s Warehouse, New York/UK Tour); OF OLD 1984, adapt. George Orwell (2013-17 – Headlong / Nottingham Playhouse / West End / Broadway / international tours, co-adapted / co-directed with Rob Icke); Every Brilliant Thing (2013-17 - Paines Plough / Pentabus Theatre / RECORDS Edinburgh Festival / UK and international tours / HBO); City Of Glass, adapt. Paul Auster (2017 – 59 Productions, HOME and Lyric Hammersmith), 2071, co-written with Chris Rapley (2014-15 - Royal Court Theatre / Hamburg Schauspielhaus); The Forbidden Zone (2014-16 - Salzburg Festival and Schaubühne, Berlin); Wunschloses Unglück, adapt. Peter Handke (2014 - Burgtheater Vienna); Reise Durch die Nacht, adapt. Friederike Mayröcker (2012-14 - Schauspielhaus Köln, Festival d’Avignon, Teatertreffen); Lungs (2011-16 Paines Plough and Sheffield Theatres / Studio Theatre, Washington DC) and Monster (2006 - Royal Exchange).

JONNY DONAHOE Original Performer and Co-Writer Jonny is an actor, comedian, playwright, screenwriter, broadcaster, musician, orthodox off-spinner, decent slip-catcher and frustrating lower-order batsman. His one-man show Every Brilliant Thing, (which he co-wrote and originally performed), has played more than six hundred times over four continents, including five months off-Broadway at The Barrow Street Theatre. The show was filmed by World of Wonder and screened as a special on HBO. He is the frontman of musical-comedy-satirists, Jonny and The Baptists, as well regularly performing stand-up in his own right. His play 30 Christmases, (starring himself and Rachel Parris), premiered at The Old Fire Station in Oxford, before transferring to the New Diorama Theatre in London. Upcoming is a twelve-part series on parenthood 5. 9. with real-life partner Josie Long called Josie and Jonny Are Having a Baby (With You) for American Podcast Network, MidRoll. He has been nominated for a Drama Desk Award, Lucille Lortel Awardrd and an WATCHING CHOCOLATE Off-Broadway Alliance Award for his performance in Every Brilliant ThingThing. THINGS GROW

09 KATE CHAMPION Director Kate Mulvany Narrator Kate was the founding Artistic Director of Force Majeure (2002-15), Kate has a BA and honorary doctorate from Curtin University, Western a ground-breaking theatre company based in . She . She is an award-winning playwright, screenwriter, librettist, has worked in theatre, dance, film, circus, and dramaturg and actor. Kate has performed extensively across Australia, with arts companies and institutes including Belvoir (Under The in roles including Dr Stockman in Enemy of the People (Belvoir), Influence, Cloudstreet, Food, My Urrwai, A Taste of Honey), Sydney Antigone, Lady Macbeth, Cassius (in Julius Caesar), Dorine (Tartuffe) Theatre Company (Never Did Me Any Harm, Spring Awakening), STCSA (That Eye The and a highly acclaimed turn as Richard of Gloucester (Richard III). As writer her plays Sky, A View From The Bridge), The English National Opera (The Prisoner, La Strada), include The Seed and Jasper Jones for Belvoir, as well as The Danger Age, Masquerade, Opera Australia (Bliss, The Ring Cycle, La Boheme), The Hayes (Evie May), NIDA (Not the musical Somewhere with music and lyrics by Tim Minchin, Medea – co-written with Who I Was, Meat Eaters), National Theatre of (Swallow) and DV8 Physical Anne-Louise Sarks, and an adaption of Ruth Park’s The Harp in the South trilogy and Mary Theatre - London. Stuart for . Her feature film work includes The Great Gatsby, The Final Winter, Griff the Invisible, The Turning, The Little Death and The Merger, both She has created and performed two critically acclaimed solo shows, Face Value and of which saw her nominated for an Australian Academy of Cinema and Television Arts About Face. As Artistic Director of Force Majeure, Kate also directed Same, Same Award. Kate has appeared on television in The Chaser’s War on Everything, Chandon But Different, Tenebrae – Part 1 and 2, Already Elsewhere, The Age I’m In, Not In a Pictures, The Hamster Wheel, the tele-movie The Underbelly Files – The Man Who Got Million Years, and Nothing to Lose. Kate has been awarded Helpmann, Green Room Away, Winter, Miss Fisher’s Murder Mysteries and the highly acclaimed Secret City. Kate and Australian Dance Awards. also starred in a leading role in the series Fighting Season and will be seen in the upcoming series Lambs of God. Kate is a proud member of Actors Equity. STEVE RODGERS Co-Director Steve trained at Theatre Nepean at Western Sydney University and STEVE FRANCIS Sound Designer has been working as an actor for thirty years. Theatre credits include Steve has worked extensively in theatre, dance and screen. His Belvoir Cloudstreet, Twelfth Night, The Blind Giant Is Dancing, Night on Bald credits include The Sugar House, The Great Fire, Angels in America, Mountain, The Pillowman, The Kiss, A Christmas Carol and Jasper This Heaven, Don’t Take Your Love To Town, Babyteeth, The Book of Jones (Belvoir) Riflemind, Three Sisters, Dance Better At Parties, Everything, The Power of Yes, Ruben Guthrie, Baghdad Wedding, Democracy, As You Like It, (Sydney Theatre Company), Dreams in White, Eight Keating! , Paul, Parramatta Girls, Capricornia, Box the Pony, Gulpilil Gigabytes of Hardcore Pornography and Diving for Pearls (Griffin Theatre Company), and Page 8. His other theatre credits include The Children, The Weir, The Sublime, Boys Next Door and Street Car Named Desire (), A Midsummer Other Desert Cities ( Theatre Company); Still Point Turning, The Father, Talk, Night’s Dream, Macbeth, and Antony and Cleopatra ( Company). The Hanging, Disgraced, Orlando, Battle of Waterloo, Switzerland, After Dinner, Vere, Steve’s most recent television credits include Upright, Kikki and Kitty and The Code Mojo, The Long Way Home, The Secret River, Machinal, Sex with Strangers, Travelling while film credits include Goldstone, The Daughter, The Men’s Group and the short North, The Splinter, Bloodland, The White Guard (Sydney Theatre Company); Hamlet, Snare, which is off to SXSW film festival in Austin this year. Henry V (Bell Shakespeare); and A Rabbit for Kim Jong-il, Between Two Waves, This Steve’s writing credits include the plays Ray's Tempest (Belvoir; MTC), Food (Belvoir/ Year’s Ashes, Speaking in Tongues (Griffin Theatre Company). For dance, Steve has Force Majeure), Savage River (Griffin/MTC), and Jesus Wants Me for a Sunbeam composed music for Bennelong, Our Land People Stories, Lore, Belong, True Stories, (National Theatre of Parramatta) and most recently King of Pigs at the Old Fitz. Skin, Corroboree, Walkabout, Bush and Boomerang (). Steve has also composed for film and TV. His awards include two Helpmann Awards for Best Original Score in 2012 and 2003 and Best New Australian Work in 2003, as well as Sydney Theatre Awards for Music and Sound in 2011 and 2014.

10 11 Jimi ISABEL HUDSON Set and Costume Designer AMELIA LEVER-DAVIDSON Lighting Designer Isabel was recently the Set and Costume Designer for The Rise Amelia is a lighting designer based in Melbourne, whose practice & Fall of Little Voice at the Darlinghurst Theatre. Her 2018 credits encompasses theatre, dance, live art, television and events. Design include designing set and costumes for: The Shifting Heart (White credits include They Divided The Sky (Belvoir 25A), Next Move Box Productions), The Walworth Farce (dir Kim Hardwick), A Girl Is 11 (Chunky Move), Trustees, Turbine, The Listies Ruin Christmas, A Half Formed Thing (dir. Erin Taylor), You Got Older (Kings Cross Meta (Malthouse Theatre), Moral Panic, Contest, Niche, Conviction, Theatre dir. by Claudia Barrie) and King of Pigs (Red Line productions dir. By Blazey Dream Home (Darebin SpeakEasy), Hand to God (Vass Productions), Looking Glass, Best). Earlier this year Isabel set designed Cry Baby (dir. Alex Berlage),The View Triumph (45 Downstairs), Desert 6.29pm, Jurassica, Foxfinder (Red Stitch Theatre), Upstairs (dir. Shaun Rennie) and She Loves Me (dir. Erin James) at the MKA Double Feature (MTC Neon), Ground Control, Camel, Hello There We’ve Been Co. In 2018 Isabel was the Winner of Best Independent Scenic Design at the Sydney Waiting for You (Next Wave Festival). As Tour Lighting Associate Minnie and Liraz Theatre Awards. She is graduate of the NIDA Design Course (2015), holds a Bachelor (MTC). Amelia has worked as both Lighting Director and assistant for Channel Nine, of Arts (Screen and Sound) from the University of (2012) and was ABC, Channel Ten and NEP. Amelia’s work has been recognised with two Green awarded the William Fletcher Foundation Tertiary Grant for emerging artists in 2015. Room Awards for Looking Glass and her 2015 body of work. Amelia is an Australia Isabel is also a lecturer a lecturer in the Design for Performance program at NIDA. Council ArtStart and JUMP Mentorship recipient, and a past participant in The Malthouse Besen Family Artist Program and The Melbourne Theatre Company’s ISABELLA KERDIJK Stage Manager inaugural Women in Theatre Program. Amelia was also awarded the Ian Pottter Travel Scholarship and Australia Council Development Grant in 2017 to travel to the Isabella graduated from the production course at the National UK for professional development and mentorship opportunities. Institute of Dramatic Art in 2008. She has worked as Stage Manager and Assistant Stage Manager on many shows. Her work for Belvoir includes An Enemy Of The People, The Sugar House, Mother, My Name Is Jimi, HIR, The Dog / The Cat, Girl Asleep , The Drover’s Wife, Jasper Jones, Mother Courage and Her Children, Kill the Messenger, The Glass Menagerie, 20 Questions, Stories I Want to Tell You in Person (national tour) and Thyestes (European tours). Isabella’s other credits include The Smallest Hour, Replay, And No More Shall We Part, This Year’s Ashes, Ugly Mugs (Griffin Theatre Company); Silent Night, Ride & Fourplay (Darlinghurst Theatre Company); Rainman, The Ruby Sunrise (Ensemble Theatre); Empire (Spiegelworld); Cranked Up (Circus Oz); The Mousetrap (Australia/NZ tour – LWAA); and Bubble (Legs On the Wall). Isabella has worked as Production Coordinator on Carmen (Opera Australia on Sydney Harbour) and Production Manager/Stage Manager for Puppetry of the Penis (A-List Entertainment). She has also worked on various festivals including The Garden of Unearthly Delights, Sydney Festival and the Woodford Folk Festival.

12 13 THEATRICALITY. VARIETY OF LIFE. BARBARA FAITH IN HUMANITY. & THE CAMP DOGS Belvoir is a theatre company on a side Angels in America, Brothers Wreck, 4 - 28 APRIL street in Surry Hills, Sydney. We share our The Glass Menagerie, Neighbourhood street with a park and a public housing Watch, The Wild Duck, Medea, The Diary estate, and our theatre is in an old of a Madman, Death of a Salesman, industrial building. It has been, at various The Blind Giant is Dancing, Hamlet, times, a garage, a sauce factory, and the Cloudstreet, Aliwa, The Book of Everything, Nimrod Theatre. When the theatre was Keating!, The Exile Trilogy, Exit the King, threatened with redevelopment in 1984, , The Rover, Faith Healer, over 600 people formed a syndicate The Sugar House and many more. to buy the building and save the theatre. Today, under Artistic Director Eamon More than thirty years later, Belvoir St Flack and Executive Director Sue Theatre continues to be home to one Donnelly, Belvoir tours nationally and of Australia’s most celebrated theatre internationally, and continues to create companies. its own brand of rough magic for new In its early years Belvoir was run generations of audiences. We are cooperatively. It later rose to international proud to be creating work that speaks Written by Ursula Yovich prominence under first and longest- to the fullness of life and experience in & Alana Valentine serving Artistic Director Neil Armfield and Australia and abroad, continuing our Director Leticia Cáceres continued to be both wildly successful commitment to deliver diverse stories Songs by Ursula Yovich, and controversial under Ralph Myers. to diverse audiences. Alana Valentine & Adm Ventoura Belvoir is a traditional home for the great Belvoir receives government support for Presented in association with old crafts of acting and storytelling in its activities from the federal government Vicki Gordon Music Australian theatre. It is a platform for through the Australia Council and the Productions Pty Ltd voices that won’t otherwise be heard. And state government through Create NSW. it is a gathering of outspoken ideals. In We also receive philanthropic and short: theatricality, variety of life, and faith corporate support, which we greatly in humanity. Indigenous theatre at appreciate and welcome. Belvoir supported by At Belvoir we gather the best theatre The Balnaves Foundation belvoir.com.au artists we can find, emerging and established, to realise an annual season of works – new Australian plays, Indigenous works, re-imagined classics and new international writing. THEY WILL ROCK YOU. Audiences remember many landmark productions including The Drover’s Wife,

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BELVOIR BOARD MARKETING DEVELOPMENT BARBARA AND THINGS I KNOW FANGIRLS Patricia Akopiantz (Deputy Acting Marketing Manager Philanthropy Manager 12 OCT – 10 NOV Chair), , Luke (mat. leave) Joanna Maunder THE CAMP DOGS TO BE TRUE About being young, 4 – 28 APR 8 JUN – 21 JUL crazy and glorious. Carroll, Sue Donnelly Aishlinn McCarthy Partnerships Manager About singing for your life. About family. Eamon Flack, Alison Kitchen Marketing Coordinator Julieanne Campbell PACKER Michael Lynch AO, Sam Meers Krista Tanuwibawa Development Coordinator WINYANBOGA LIFE OF AO (Chair), Stuart O'Brien Content Coordinator Anthony Whelan AND SONS Peter Wilson Michael Kennedy YURRINGA GALILEO 16 NOV – 22 DEC PRODUCTION 4 – 26 MAY 3 AUG – 15 SEP About power and Sydney. BELVOIR ST BOX OFFICE & Head of Production About gathering to honour the past. About truth and politics. THEATRE BOARD CUSTOMER SERVICES Gareth Simmonds Ian Learmonth, Stuart Head of Customer Experience & Deputy Production Manager McCreery, Angela Pearman Ticketing Elizabeth Jenkins (Chair), Sue Rosen, Nick Andrew Dillon Technical Manager Schlieper, Mark Seymour Ticketing Systems Administrator Aiden Brennan Kingsley Slipper, Susan Teasey & CRM Coordinator Senior Technician Tanya Ginori-Cairns Raine Paul ARTISTIC & Customer Service Coordinator Resident Stage Manager PROGRAMMING Jacki Mison Luke McGettigan Artistic Associates Box Office Coordinator Acting Staging & Tom Wright Oliver Lee Construction Manager Dom Mercer Box Office Staff Brett Wilbe Head of New Work Paige Ahearn, Miranda Aitken, Costume Coordinator Louise Gough Alison Benstead, Lucy Gleeson, Judy Tanner Andrew Cameron Fellow Nathan Harrison, Melissa Mills, Carissa Licciardello Maeve O'Donnell, Jess Paterson, Artistic Administrator Millicent Simes, Erin Taylor, Lois Carly Pickard Vega, Jessica Vincent Balnaves Foundation Fellow Kodie Bedford FRONT OF HOUSE House Manager, ADMINISTRATION Venue & Events Office Manager and Julie O'Reilly Executive Assistant to Eamon Assistant Front of Flack & Sue Donnelly House Manager Vyvyan Nickels Scott Pirlo SUBSCRIBE NOW Front of House Assistants EDUCATION Education Manager Alison Benstead, Summer Bonney- Jane May Tehrani, Emily David, Stella Encel, BELVOIR.COM.AU 17 WANT MORE? 18.

BELVOIR BRIEFINGS POST-SHOW Q&A LEMONS Belvoir Briefings are your chance to Have you ever wished you could sit hear directly from the artists about down with the cast and crew after every show before it hits our stage. the performance, hang out and ask questions about what you’ve just seen? 33. For each production, the creative Guess what? You can! team talks about why they wanted to tackle the story, how it’s evolved Directly following one performance OPENING in the rehearsal room, and what of each production, select cast and audiences can expect from the crew will return to the stage for an PRESENTS show. It’s your ticket backstage. informal chat led by Belvoir Artistic Associate Tom Wright. This is your Belvoir Briefings are FREE but chance to ask about the show and to we’d like you to book online at delve deeper into the performance. belvoir.com.au/events/belvoir-briefings so we can save you a spot. Just stay in your seat after these performances… Our next Belvoir Briefings are... Every Brilliant Thing Barbara and the Camp Dogs Tuesday 19 March 6:30 pm, Tuesday 2 April Winyanboga Yurringa Barbara and the Camp Dogs 6:30 pm, Friday 26 April Tuesday 16 April 700. EGGS 987. SNEEZING 2798. THINGS WITH STRIPES

1919 Kate Mulvany Kevin & Rosemarie Jeffers-Palmer *** EDUCATION DONORS Chris & Bea Sochan** BELVOIR DONORS Margaret Johnston*** $10,000+ Titia Sprague* A. Le Marchant*** Doc Ross Family Foundation Cheri Stevenson WE GIVE OUR HEARTFELT THANKS TO ALL OUR DONORS FOR THEIR Ross McLean & Fiona Beith* Kimberly & Angus Holden Daniela Torsh LOYAL AND GENEROUS SUPPORT. 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Chris & Bea Sochan** Chris Vik & Chelsea Albert * 5+ years of giving ** 10+ years Geoffrey Starr Louisa Ward of giving *** 15+ years of giving Paul Stein AMQC Lynne Watkins List correct at time of printing. Leslie Stern & Nicholas Harding* Mike Thompson* Professor Elizabeth Webby AM* Suzanne & Ross Tzannes AM* Brian & Trish Wright MAJOR PARTNERS Louise & Steve Verrier

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BELVOIR SUPPORTERS MEDIA PARTNERS YOUTH & EDUCATION Our patrons, supporters and friends are right there behind us, backing Belvoir in bringing to life PARTNER the great old theatrical crafts of acting and storytelling. Thank you. Learn more about supporting Belvoir at belvoir.com.au/support-belvoir

KEY SUPPORTER TRUSTS & FOUNDATIONS AMP Foundation Naomi Milgrom Foundation Indigenous Andrew Cameron Family Nelson Meers Foundation theatre at Belvoir Foundation Neilson Foundation ASSOCIATE PARTNERS supported by Copyright Agency Cultural Fund The Balnaves Oranges & Sardines Foundation Foundation Doc Ross Family Foundation Teen Spirit Charitable Foundation Gandevia Foundation Thyne Reid Foundation The Greatorex Foundation Walking Up The Hill Foundation Macquarie Group Foundation

Belvoir is very grateful to accept donations of all sizes. Donations over $2 are tax deductible. If you PRODUCTION PARTNERS ACCOMMODATION PARTNERS would like to make a donation or would like further information about any of our donor programs please call our Development Team on 02 9698 3344 or email [email protected]

SPECIAL THANKS NCC We would like to acknowledge Cajetan Mula, Len Armfield and Geoffrey Scharer. They will always be Network Computing & Consulting remembered for their generosity to Belvoir. We also thank our Life Members, who have made outstanding contributions to Belvoir over more than thirty years. They have changed the course of the company and are now ingrained in its fabric: EVENT PARTNERS Neil Armfield AO, Neil Balnaves AO, Andrew Cameron AM, David Gonski AC, Rachel Healy, Louise Herron AM, Sue Hill, AC, Associate Professor Orli Wargon OAM and Chris Westwood.

These people and foundations supported the redevelopment of Belvoir St Theatre and purchase of our warehouse.

Andrew & Cathy Cameron The Gonski Foundation Hal Herron (The Hal Bar)

(refurbishment of theatre & & Nelson Meers Foundation Geoffrey Rush warehouse) (Gonski Meers Foyer) (redevelopment of theatre) Russell Crowe Andrew & Wendy Hamlin Fred Street AM (redevelopment of theatre) (Executive Director’s Office) (Upstairs dressing room) For more information on partnership opportunities please contact our Development team on 02 9698 3344 or email [email protected] Correct at time of printing. 22 23 A CHEEKY WEEKEND IN HOBART. How can our performance OR MAYBE help yours? EY’s support of the arts helps institutions HONG KONG to grow, innovate and become more accessible to our local communities. With over 40 domestic and 415 international destinations, you can ey.com/au/arts go and see more of the world with Virgin Australia and our partner airlines.

MAJOR PARTNER OF BELVOIR © 2015 Ernst & Young, Australia. All Rights Reserved. Liability limited by a scheme approved under Professional Standards Legislation. S1528806. EDNone. APAC No. AU00002474 CONTEMPORARY KOREAN

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DONATE TODAY TO HELP US CONTINUE TO MAKE THEATRE THAT IS INSPIRING, BOLD, PLAYFUL & AUTHENTICTIC

If you have any questions about supporting Belvoir, please contact our Philanthropy Manager, Joanna Maunderder on 02 9698 3344 or [email protected] belvoir.com.au 18 & 25 Belvoir Street Surry Hills NSW 2010

Email [email protected] Administration (02) 9698 3344 Fax (02) 9319 3165 Box Office (02) 9699 3444

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Cover image by Daniel Boud