Belvoir 2012 Donor Report

i Dear Friends

Many stories were woven together to make In 2012, philanthropic giving contributed to Ralph’s second season as Artistic Director Belvoir’s various patron programs, including the CONTENTS another year of vibrant creativity. We collaborated B Keepers, Chair’s Group and Creative (I’m Your Man, Thyestes); broke barriers between Development Fund. Donors to our patron 1 Dear Friends theatre-dance art forms (Food, Conversation programs gain a unique insight into script and 2 Thank you from Ralph Piece); took classics to new heights (Death of a performance development, as well as life 3 Board of Directors Salesman, Private Lives); told true and compelling backstage. Through our events and activities we 5 The Andrew Cameron Family Foundation Indigenous stories (Beautiful One Day, Don’t Take aim to foster a connection both to the programs 6 Creative Development Your Love to Town); strengthened our audience our donors support, and to like-minded people 9 Indigenous Stories 11 The Balnaves Foundation connection with tours at home and beyond (The who share their passion for theatre. Book of Everything, The Wild Duck, Summer of 13 B Keepers I love stories that inspire, challenge and produce the Seventeenth Doll); and broke new ground 14 Hitting The Road strong emotions whether on stage, in a book or a 15 The Hive with The Balnaves Foundation Indigenous conversation. I have thoroughly enjoyed my first 17 Investing in Youth Playwright’s Award. year at Belvoir to see stories come to life and to 18 My Belvoir Experience 20 Belvoir Donors As a not-for-profit organisation, Belvoir relies on hear your individual stories of what motivates you the support of you, our donors, to supplement the to give and be in our theatre. income earned through subscriptions, ticket sales Enjoy this report – our news, latest developments and government support. Thus, our comparatively and some reflection on the last 12 months. You low ticket prices cover 50% of what it costs to have all played your part. bring our productions to stage. Whatever your reasons for giving, whether it is for our education programs for young people, providing community access or just enriching our cultural environment, these are important to all of us. Without your additional support, we would be unable to sustain the calibre of our programming and performances that we do. Retha Howard We are truly grateful for the support from all of Development Manager you. Each gift, large and small, is appreciated and helps Belvoir continue to create great theatre.

Image opposite. Clockwise from top left: Harry Reuben, Magdalena Blackley, Kylie Doomadgee and Rachael Maza in rehearsals for Beautiful One Day. Photo: Heidrun Löhr ii 1 Thank you from Ralph Board of Directors

Dispassionate aliens looking down on our planet and money making art, and who thrill in coming Belvoir’s Board of Directors come from a wide variety of careers and backgrounds. What they from above, watching and documenting our every along, again and again, and watching and share is a passion for great theatre, a desire to contribute to and inspire others, and an appetite move would be deeply puzzled by what we do listening to the works we make on our stages. for success. Our Board works tirelessly to create an environment conducive to delivering on here at Belvoir. The production of art in general Belvoir’s vision. They are our lead givers: of their time, contacts and money to support our And thank heaven there is a group among those would confuse them, but surely theatre would mission. We thought you’d like to meet the team behind the scenes: believers, a generous sub-set, who believe so really have them scratching their heads (assuming passionately in art, and the necessity of it in a city they had heads). ‘What are they doing spending like ours, that they give their hard-earned money Anne Britton Gail Hambly all that time and money,’ they would say to each to companies like Belvoir, to allow us to make the Member – HR sub-committee Deputy Chair, Member – Finance sub-committee other in alien-speak, ‘on something so ephemeral, theatre that we do. Andrew Cameron Brenna Hobson so fleeting and so peculiar? What a waste!’ Chair Executive Director & General Manager This report lays bare the generosity of those Horrible as it is to admit, there are beings here on Peter Carroll Ian Learmonth people and foundations. It’s been a great year earth – nay in our very city – who agree with those Member – Artistic sub-committee Member – Development sub-committee here at Belvoir. The generous donations detailed hard-headed aliens. Perhaps they are extra- Tracey Driver Ralph Myers in this report have made it possible. terrestrials, pretending to be human. Who knows. Member – Finance sub-committee Executive Director & Artistic Director But they’re out there. In numbers. But thankfully, Let’s not listen to the aliens. They’re wrong. I think Richard Evans Olivia Pascoe there are an equal number of people who what we do is of vital importance. Member – Development sub-committee Member – Development sub-committee understand exactly why we spend all this time Thank you. Ralph

From left: Richard Evans, Peter Carroll, Ralph Myers, Brenna Hobson, Olivia Pascoe, Andrew Cameron, Tracey Driver, Anne Britton and Ian Learmonth. Absent: Gail Hambly. Photo: Brett Boardman 2 3 In 2012 we had four new additions to the Board. We asked them what inspired them to join the Belvoir family… The Andrew Cameron Tracey Driver Ian Learmonth (KPMG Audit Partner) (Social Ventures Australia) Family Foundation Despite being an accountant, I My first association with Belvoir like being around artistic was in the early 90s during the I have been interested in the visual and My wife Cathy and I make our financial endeavours and have been time of Richard Roxburgh’s performing arts all my life. I believe art enriches contributions to Belvoir through the Andrew passionate about the theatre Hamlet. I thought it was a great the society that we live in and allows personal, Cameron Family Foundation. Since its inception from childhood. I look forward to getting my space and producer of great shows. After spending human stories to be told that resonate widely in 2005, the Foundation has disbursed grants to young children started in the theatre. It’s 15 years living overseas in London and Asia, with audiences. My personal interest and the arts sector totalling more than $2.5million. important to have some philanthropic involvement working in investment banking, I came back to mission is about ‘enabling’ – projects to start, In 2013, the Foundation is supporting the because it rounds you out as a person. I enjoy Australia wanting to be a part of the theatre scene. I tours to happen – especially where they may Creative Development Fund, the Downstairs being involved and giving back to local felt I could make a great contribution to Belvoir by not otherwise occur. I do this by contributing Theatre production of Small and Tired and community and the arts because they are being on the Board and lending my skills and funds where I can or through using my skills some of Belvoir’s international touring. important to society. Being on the board and contacts. I’m really passionate about this theatre. Its and connections. the finance sub-committee, I would say that our uniqueness comes from playing to both mainstream Belvoir is unique in the Australian performing funds are effectively used and are quite and adventurous theatre goers. If you’re in a position My association with Belvoir began initially as a arts landscape for its distinctive culture of considered in how they are spent. to donate, it’s important to support the artistic subscriber over 20 years ago, although I recall creative risk-taking. It’s very rewarding to be institutions that create Australian works – to keep coming to Belvoir and Nimrod before that when able to support Belvoir in such adventurous Richard Evans the Australian creative writing spirit alive and well. I was a student at Sydney University. More theatre making and storytelling. (CEO BridgeClimb) recently I have been a B Keeper, then a Creative Olivia Pascoe Development Fund supporter and Building I grew up in a musical family (Consultant) Donor. My involvement with the Board began and have worked in the arts my with the redevelopment of the theatre and entire career. I’ve admired For anyone who’s had the refurbishment of the warehouse. During that Belvoir for many years – for me pleasure of immersing in the time I chaired the Belvoir Street Theatre Board Andrew Cameron is currently Executive it has been perhaps the most important theatre Belvoir world, they come away that undertook the building works. It was hugely Chairman of a group of privately owned company in Australia. It was the voice of knowing how exceptionally satisfying to witness the transformation of companies with interests in engineering, Australian playwriting long before there was a special and progressive a theatre company it is. Belvoir once we had the new buildings and wholesaling and distribution, private Sydney Theatre Company, and who can forget For me, Belvoir’s artistic edge, playful re- functions – theatres, rehearsal and warehouse investment and winegrowing. In addition he the many remarkable productions mounted over imagining of works, and commitment to emerging space – all on one site. I was appointed to the is Deputy Chair of the Biennale of Sydney, the years. Becoming a Board member is my way artists, stood out. It was an experience and Belvoir Board in 2007 and as Chair in 2011. Board member of the Art Gallery of NSW of having a deeper association. The Belvoir community to be a part of. Having joined the Foundation, Sherman Contemporary Art space, the history and the people that have Board in late 2012, I’m excited to be launching our Foundation (SCAF), and member of the Tate inhabited it make it unique. There are friendly next frontier of patronage, The Hive – a close-knit International Council Asia Pacific committee. ghosts in the place. As a donor to Belvoir you will gang of 30 – 40 year-old theatre lovers who will get more out of the relationship than Belvoir will. nurture and showcase new Australian talent, over It’s an incredibly satisfying experience to give to the longer term. something that you think is important but more importantly to make something possible for people beyond yourself.

4 5 Meet Our Donors

Creative Development Downstairs Theatre

The Belvoir Creative Development Fund (CDF) A fantastic season of new Australian work was seen Victoria Taylor (with daughter Scarlett) helps bring ideas to life. It takes significant time in our Downstairs Theatre in 2012. For the first time, Creative Development Fund donor and effort to develop a single idea into a all five shows were Belvoir commissions and all five Favourite productions: Thyestes, production that’s ready for the stage, including played to sold-out audiences. I’m Your Man by The Laramie Project, Run Rabbit Run working with emerging directors, developing new Roslyn Oades was the toast of the Sydney Festival, and Keating! scripts, providing additional rehearsal time and and is touring across Australia in 2013. Our helping to tour successful works. Our CDF donors gastronomic co-production with Force Majeure, I first came to Belvoir as a young Bachelor are a major part of this process. Food, will also tour to Queensland and Victoria in of Arts student in 1980 on a university March/April, with more venues planned for 2014. excursion to see David Mamet’s Sexual Our Creative Development program continues Perversity in Chicago. I have been coming to grow rapidly year to year. 2012 was possibly Matthew Whittet won the Philip Parsons Young to 25 Belvoir Street ever since! I was our busiest year yet, with 10 out of 14 productions Playwright’s Award in 2010 with his pitch for a work impressed with Belvoir’s ability to achieve in our season being new Australian works. Over about fathers. In 2012, our Literary Manager, Anthea big results with so little. Belvoir still does; it the course of the year we have held four readings Williams, directed the result of this commission, punches way above its weight! of new Australian works, five script development Old Man. The production was extended for two workshops in Sydney, as well as two workshops weeks and played to packed houses every night. A meeting with Lally Katz, who wrote of Forget Me Not in Liverpool, England, with our Neighbourhood Watch, prompted me to Medea was a truly ground-breaking work. Director co-commissioning partners the Everyman and become a Creative Development Fund and co-writer Anne-Louise Sarks came to us with Playhouse Theatres. We spent over four weeks donor. I had seen the show twice, and was the idea of retelling this ancient story from the point on Palm Island creating Beautiful One Day with intrigued how it first appeared to be a story of view of Medea’s doomed children. The Creative ILBIJERRI Theatre Company and version 1.0, about an old lady, but the second time I Development Fund meant that we could extend and were able to have a week-long workshop saw it I viewed it as a young woman’s rehearsals by two weeks, and conduct a script on Conversation Piece in Melbourne before story. Speaking to Lally, she explained that development workshop. Medea won five 2012 starting rehearsals. the CDF had allowed her to develop her Sydney Theatre Awards including Best New script with the cast and crew for weeks In 2012, seven of our commissioned works were Australian Work and Best Mainstage Production. longer than usual. This inspired me and I completed. We currently have 12 new plays under We rounded out the year with Don’t Take Your thought, ‘I want to be part of this team!’ commission including those from our annual Love to Town, an adaptation by Eamon Flack and Philip Parsons Young Playwrights Award and the My Lach, Tash and Scarlett, the next Leah Purcell of Ruby Langford Ginibi’s memoir. inaugural Balnaves Foundation Indigenous generation, now love Belvoir with me. Being We had to extend its season because it sold out Playwright’s Award. Outside of commissions we a donor involves you more. Please join our to subscribers before it even went on sale to single have a further three new works in development for Belvoir family. You will love it. ticket buyers! It was the third Downstairs show of the 2013 Season. the year to be given an extended season.

Top: Kate Box and Emma Jackson in Food Bottom: Rory Potter in Medea Photos: Heidrun Löhr

6 7 Indigenous Stories

Eamon Flack, Associate Director New Projects ‘There is always more for theatre to do; there is always another Indigenous story to tell.’

Established in 2004, the Chair’s Group supports the creative development of new Indigenous work at Belvoir. A small group with a strong bond, these donors help emerging Indigenous artists to develop their voices.

After more than 25 years of supporting and presenting Indigenous stories at Belvoir, we’re still novices. No sooner do you think you have a handle on one aspect or another of the contemporary Indigenous world then you realise, what seemed like a full stop reveals itself to be yet another ellipsis. Black Australia is big and complicated and it doesn’t sit still. You can’t snap a portrait and walk away. There is always more for theatre to do; there is always another Indigenous story to tell. And there is always more to the stories we think we know.

Leah Purcell and Nardi Simpson in Don’t Take Your Love To Town Photo: Brett Boardman 8 9 Meet Our Donors

The Balnaves Indigenous Stories – continued Foundation

Brian Burfitt and Marion Heathcote, For example, in the last 18 months we sent over a The Balnaves Foundation was established to As a result The Balnaves Foundation agreed to Chair’s Group donors dozen artists, black and white, to Palm Island, in support organisations that create a better fund an Indigenous Playwright’s award that order to create a ‘beginner’s guide’ to the life and Australia through medicine, the arts and comprises a $7,500 cash prize as well as a Favourite Belvoir shows: Marion – Life times of Palms. Beautiful One Day is the result. It education with a focus on young people, the $12,500 commission for a new play. Neil Time Three: Gulpilil, Little Black Bastard and began as a project about an infamous 2004 death disadvantaged and Indigenous communities. In Balnaves AO says ‘I am thrilled to be working Page 8; Brian – Cloudstreet in custody, and became a show about what it really 2010, Belvoir had a very fortuitous meeting with with Belvoir to sustain and develop a rich Our relationship with Belvoir has been takes for Palm Island to imagine a future for itself. Neil Balnaves, founder of the Foundation. During tapestry of Indigenous theatre in Australia. Each defined by our love of the theatre and dates And that meant thinking about how Australia at this we talked about the importance of production is accompanied by a well-established back to the late 80s. At that time the theatre large might usefully take part in the task of storytelling to our culture in general and access program, to ensure these important was under a parity system of everyone being imagining a future for Indigenous Australia. This Indigenous Australia specifically. We also talked stories can be shared with people who otherwise paid equally, regardless of their position. This ambitious, unusual, varied show was made by about ambition – what we believe we can achieve would not be able to attend.’ In 2012 Nakkiah Lui shared sacrifice of people committed to what three theatre companies and a whole mob of Palm working with Indigenous artists if only there was became the inaugural winner of The Balnaves they believed in resonated with us and we Islanders – because that’s how many different financial support behind our ideas. Out of this Indigenous Playwright’s Award for her decided to find a way to contribute. In ways of thinking it takes to begin to encompass the initial meeting came a three -year commitment submission of a pitch for a new play with a addition to donating to both the B Keepers full gamut of a community like Palms. This show for The Balnaves Foundation to support an working title Koorioke. Her first play,This Heaven, and Chair’s Group programs, we have been was made in the mall at Palms, by candlelight on Indigenous-led production in both the Upstairs premiered at Belvoir in February 2013 to critical consistent subscribers since 1995 and enjoy the verandah of a lone house on a bay near the and the Downstairs Theatres as part of Belvoir’s success with an extended season. introducing Belvoir to others. This year we mission, in living rooms and beneath houses all annual season. Neil’s leadership is evident in his style of giving. have a subscriber group of 19 friends. over the island. Then it was remade in the rehearsal It’s a partnership that’s really starting to have an In contrast to many other foundations, he gives room at Belvoir. And Beautiful One Day is only a Belvoir is one of few organisations that impact and we’ve been able to program six to the arts by providing funds over a multi-year beginning – an entry-level exploration of how we at we contribute to. We donate to Belvoir incredible shows across 2011-2013. But what period. ‘We’re not great believers in writing a Belvoir might support and develop a new realm of because we believe in their stated goals, has been harder to find are new Indigenous plays cheque and walking away. We believe in building Indigenous stories. their encouragement of new talent, their and playwrights. something, giving a long-term commitment to it development of Indigenous artists and their Alongside the thoughtful, even tentative first steps and building it up.’ commitment to continually exploring the onto the stage of Palm Island, we did something boundaries of theatre. We value our personal surefooted and definite: we asked Leah Purcell to connection with Belvoir and the feeling of play Ruby Langford Ginibi in an adaptation of engagement, and especially appreciate being Ruby’s classic memoir Don’t Take Your Love to a part of a group which is encouraged to Town. Where Beautiful One Day is big and interact with everybody who contributes to searching, this show is small and finely formed. bringing these stories to the stage. And yet, the sheer massiveness of Ruby’s life echoes magnificently in Leah’s solo performance, We would encourage everyone to come and and the result is BIG! Side by side, these two see what Belvoir has to offer and to support shows encompass something of the enormity of something that they believe in. the life and times of Black Australia – both in the past and the present. Nakkiah Lui Photo: Heidrun Löhr 10 11 Meet Our Donors

B Keepers

We are lucky to have such a loyal and Hilary Linstead, B Keeper committed group of donors in the B Keeper Favourite Belvoir productions: program. This special group is at the core of Beautiful One Day, Hamlet (1994). everything that is Belvoir, making sure that we can keep producing the work that is so My association with Belvoir began back in the important to us. days of Nimrod, when the theatre was built with people like John Bell, Brian Thomson, Many of our B Keepers have been with us for a Neil Armfield and so many others. At Belvoir’s long time, starting as audience members and beginning an exceptionally large number of subscribers before becoming donors whose arts workers pooled their resources to buy a support underpins the work that we do. That’s brick for $1000 each and in so doing raised the significant aspect of the B Keeper group: the money to save the theatre by buying it. It’s their contributions assist the running of the the story of donors – it was OUR theatre. company as a whole. Many aspects of our work are vitally important but difficult to attract Belvoir is unique to me because everyone funding for. They include core education staff, contributing to a production shoots for the ensuring that each production gets the technical stars. Nothing is done to please special support that it needs, and even travel costs to interests. There is immense commitment make sure that our staff is seeing the most and creativity among the people involved. exciting new artists around the country. Artists and audience feel an ownership of the theatre. We are encouraged to have a The group maintains its close connection with drink and mingle with actors. There are free the company by being loyal attendees as well performances for people who have no as coming to the annual B Keeper brunch, money, and Indigenous work is part of the hosted by Ralph. The event is just one way fabric, not set apart. that Belvoir tries to give back to those who give so generously to us. Contributions to the I donate to Belvoir because I believe we have program start at $1000 per year. If you are to put our money where our mouth is. For interested in becoming a B Keeper please people who are considering donating to contact our Development team 8396-6209. Belvoir I would say no matter how rich or poor you are, come and sample the work, become enthused by what the theatre stands for, and give what you can afford. I donate because I believe in the transformative power of theatre, I feel part of the Belvoir family and it’s the best night out at the theatre in town!

Left: Andrew Cameron at the B Keeper brunch. Photo: Retha Howard 12 13 Hitting The Road The Hive

Touring is an increasingly important aspect of our In 2013, Belvoir introduces a new donor work. Regional and national touring means that opportunity – The Hive – in collaboration with we’re able to connect with audiences who would Playwriting Australia (PWA). The Hive is a otherwise miss out on our productions. It also collective of of like-minded, young philanthropists, provides extra employment for our artists. who think plays, in all their myriad forms, are International touring is certainly about promoting wonderful things. Like us, Hive donors are as Belvoir’s work, but more importantly is the interested in the possibilities of content as they opportunity to promote Australia as a are in works that challenge what we might sophisticated and innovative country that traditionally think of as theatre. The annual funds produces world-class performing arts. will help actors, writers, directors and other creatives strike out on new adventures in content In 2012, after very successful Sydney and and form. Melbourne seasons, our award-winning production of The Wild Duck performed in Oslo at The Hive directs funding towards one Downstairs the prestigious International Ibsen Festival to production of a new Australian play each season, sell-out crowds and wonderful reviews. This has and one Playwriting Australia (PWA) Resident led to several additional international touring Playwright and seed commission each year. invitations in 2013 including the Wiener Festwochen and the Holland Festival! Founding members of The Hive will support Lally Katz in her latest work, Stories I Want to Tell You The trip to Oslo followed our acclaimed New York in Person, in the Downstairs Theatre 21 March / season of The Book of Everything at the New 21 April, a co-production with Malthouse Theatre. Victory Theater – it was the only work for young audiences to make the New York Post’s Top There is no-one quite like Lally. In 2011, she Shows of 2012 list. brought us one of the most original and funniest Closer to home, Summer of the Seventeenth Doll plays in the last decade – Neighbourhood Watch. spent three months touring the country, and we She makes chaos charming and catastrophe toured Death of a Salesman and Private Lives to positively exuberant. She likes to be laughed at, Geelong, Wollongong and Canberra. The smaller and her method is to talk first and think later. scale of our Downstairs Theatre works means Anything could happen! that we can now offer them smaller regional venues too. As a result both Food and I’m Your Want to be part of The Hive? Man will tour regionally in 2013. Contributions are $2,500 per pair, and are tax deductible. To join The Hive, contact Belvoir’s As you can imagine undertaking this level of Development Manager, Retha Howard, on Lally Katz touring is a significant endeavour and none of it is Top: Matthew Whittet in The Book of Everything. Photo: Alexis Buatti-Ramos 02 8396 6224 or [email protected] Photos: Heidrun Löhr possible without your support, so thank you. Bottom: Eloise Mignon in The Wild Duck. Photo: Mari Ekkje 14 15 ‘This helps with my study of Drama by gaining great Meet Our Donors skills from a real actor.’ Student, Figtree High School, after participating in a Performing Monologies workshop. Investing in Youth

Belvoir’s body of work has as much to offer a Stephanie Lee, B Keeper schools audience as it does an adult audience. Favourite Belvoir productions: Our Education Program provides students and Cloudstreet, The Diary of a Madman and teachers with insights into the work of Belvoir and The Alchemist first hand experiences of the theatre-making I became a regular subscriber in 1994 and process. We assist regional schools with the often a patron of the B Keeper program in 2003. prohibitive travel costs of bringing students to see I had been to some Nimrod productions, professional theatre in Sydney. Priority Schools such as Death of a Salesman in 1982, (schools where the majority of students are from and had been subscribing to the Sydney low socio-economic backgrounds) are offered free Theatre Company (STC). Somewhere along tickets to our school matinee performances. Our the line I decided I preferred smaller theatre extensive theatre workshop program gives students venues and switched from STC to Belvoir. at schools throughout NSW hands-on learning experiences in design and the performing arts. I was especially enthusiastic about the productions Neil Armfield directed, and In 2012, over 1,500 students participated in a the way he inspired other directors and Belvoir workshop, including 852 students who performers to create wonderful theatrical participated in a workshop delivered at their experiences. I also appreciated the chance school in regional NSW. to see Indigenous performances and to ‘It’s amazing to think the program know that part of Belvoir’s mission is to started with just a few school encourage Indigenous theatre. performances and the occasional What makes Belvoir unique is its cosy and friendly atmosphere where you can workshop for students.’ exchange greetings with fellow subscribers, – Jane May, Education Manager donors, actors and creative artists. There is We played host to 7569 students (and their a great buzz in the foyer. You feel a direct teachers) who attended one of Belvoir’s 2012 connection and involvement not possible in productions. 128 students went on a free a very large organisation. It’s fantastic to ‘behind the scenes’ tour of the theatre and 307 see new and innovative works and to know students watched an archival recording of a that your donation has helped make it Belvoir production. A further 34 students available to young people and others who participated in work experience or a work would not normally go to the theatre. placement with the company.

Left: Megan Holloway, Harriet Ritchie and Alisdair Macindoe in Conversation Piece. Photo: Brett Boardman 16 17 My Belvoir Experience

As part of our Youth Express program, Kelsey Lee is a student from Warners Bay English and Drama Teacher Hannah Moloney students from Key College participate in 12 High School in Newcastle. She participated and her students from Jindabyne Central weeks of practical drama workshops, in work placement at Belvoir during pre- School have been participating in Belvoir’s culminating in a performance. They also production for Private Lives and Medea. Education Program since 2008. attend six plays each season. The kids from It was really important to me because I’m so Belvoir offers support to teachers of creative arts Key College face issues such as passionate about [theatre]. I was so, so excited no matter where they are, and it’s very affordable homelessness, drug dependence and family and intrigued to see how it all worked. So it was as well. Being able to have workshops in your breakdown with limited opportunities for really, really important to me that I even got the own school really does make it more accessible. creative expression in a safe environment. chance to go there in the first place. It gives people So the Belvoir’s Education team’s willingness to Min Bonwick, School Manager, Key College, that opportunity – normal students like me, who travel is certainly a huge asset to a school like us. Youth Off the Streets (Redfern): live two hours away – to see how it all works. Their willingness to work with us when we’re in Each year hits me that as we’re going along, Sydney is a huge help as well. In the last couple of There’s not much of that real good theatre in doing this program, it’s almost like it’s counselling, years, I’ve brought students there to do the Newcastle and you can’t get front row access to therapy – unbelievable! And it really gives you theatre tours which are fantastic. We got to spy in those theatres. So to be able to have it at Belvoir, food for thought, gives them a bit of ammunition rehearsal rooms and check costume rooms and in Sydney, that was ten times better than anything to go home and think about… Those that can make all those sorts of things that really make the you could get in Newcastle. it on drama day are very enthusiastic about it and theatre come to life for kids, you know? So it’s keen to give their ideas. You wouldn’t get two kids Thank you so much for giving me the opportunity pretty special that way. It brings that joyousness with the same ideas. I love that, it’s very creative. to have a work placement with Belvoir Theatre, you to a whole other generation that may not have no idea how much I appreciate it! Everyone I otherwise have found it. … and then there’s all these people that are met was so friendly, warm and welcoming that by invited to the performance. They come up to The benefits are huge, particularly for rural the end of the week I felt so comfortable around the students and congratulate them and schools, because these kids can’t walk down the everyone. I enjoyed finding out about production sometimes they do interviews and stuff like street and go and see their choice of 12 plays on and how the simplest of things can be turned into that. No one’s ever spoken to them like that in a Saturday night. But then having those really something amazing. Finding how the theatre works their lives and most of the people that come get intense, rich experiences that they are being has also helped me develop a greater quite emotional about it. offered does inspire them and gives them a understanding that will help me throughout my connection to an arts community that they might I think after the plays… they’re exhausted. Trying studies and careers. not otherwise have had. to work out what’s going on when you haven’t seen This page: Alex participating in Although my dream is to do acting, this week a play before. They can hardly speak after the play. I think you guys are the full package. That’s the Youth Express program. really opened my eyes to the wonderful world Opposite, left: Actors use props made what’s different. I think that you are offering We were right in the front for Food and one of our of production, in particular prop making, which by student Kelsey Lee on stage during a access to kids, you’re offering tours, you come boys was from Afghanistan. He’d never seen a I am considering studying at university. I would performance of Private Lives to schools… you have supported me. Photos: Heidrun Löhr play in his life. He couldn’t work out what was love to spend more time with Belvoir if the Opposite, right: students from Jindabyne going on. I said, “Mate, just watch it and see.” chance ever arises. Central School with Hannah Moloney after He just thought it was amazing! a backstage tour of Belvoir St Theatre. Photo: Cathy Hunt 18 19 Belvoir Donors

Foundation Donors Michael Rose & Jo D’Antonio Atul Lele General Donors Irene Miller Cheryl Henson Make a significant financial Ann Sherry AO & Michael Hogan Hilary Linstead over $250 David & Barbara Millons James Hooke & Ellie Wainwright investment in the Belvoir Creative Penny Ward Professor Elizabeth More AM Provide valuable support to the projects Carol Mills Karine Jones Development Fund. David & Jennifer Watson Jane Munro most in need throughout the year. Cynthia Mitchell Ian Learmonth & Julie Pincus Kim Williams AM Dr David Nguyen John Morgan Stephanie Lee Neil Armfield AO Cathy Yuncken D & L Parsonage Anonymous (8) Annabelle Andrews & Baz Luhrmann & Catherine Martin Anne Britton Timothy & Eva Pascoe David Antaw Peter Murray Chris & Kirstie Nygaard Andrew & Cathy Cameron Greeba Pritchard Ross & Barb Armfield Dr Peter & June Musgrove Christopher Peterson Janet & Trefor Clayton 2012/2013 B Keepers Richard & Heather Rasker Barrett Casting Kevin O’Connor AM Jacques & Camille Roizen Anne & Michael Coleman Income received from B Keepers Colleen Roche Andrew & Jane Bennett Anne O’Driscoll Geoffrey Rush Sharon & Hartley Cook underpins all of our activities. Greg Roger Baiba Berzins & Peter Loveday Judy & Geoff Patterson Anne Schofield Gail Hambly Anonymous (5) Lesley & Andrew Rosenberg Angela Bowne Susan Pearson Tess Schofield Anne & Hugh Harley Robert & Libby Albert Andrew & Louise Sharpe Jillian Broadbent AO Natalie Pelham Vivienne Sharpe Hal & Linda Herron Claire Armstrong & John Sharpe Vivienne Sharpe Anne Bromley Alex Oonagh Redmond Peter & Jan Shuttleworth Louise Herron & Clark Butler Berg Family Foundation Peter & Jan Shuttleworth Rob Brookman & Verity Laughton Catherine Rothery Sue Thomson Victoria Holthouse Bev & Phil Birnbaum Chris & Bea Sochan Ian & Siena Dune Buchanan Julia Selby John Wattiker Peter & Rosemary Ingle Max Bonnell Victoria Taylor Darleen Bungey Sherman Foundation Ian Learmonth & Julia Pincus The Wild Duck – Oslo Ellen Borda Judy Thomson Jan Burnswoods Agnes Sinclair Helen Lynch Andrew & Cathy Cameron Anne Britton Sue Thomson Michael & Colleen Chesterman Eileen Slarke & Family Frank Macindoe & Bronwyn Macindoe Ian & Janice Conley Dr Catherine Brown-Watt Lynne Watkins & Dayn Cooper Barry Smorgon OAM David Marr Peter & Kaye Dexter Mary Jo & Lloyd Capps Nicholas Harding Timothy & Bryony Cox Tim Smyth Rhonda McIver Trevor Hall Brian T. Carey Alison Wearn Anne Duggan Andrew Smyth-Kirk Ann Sherry AO & Michael Hogan Rob & Colleen Lord Elaine Chia Paul & Jennifer Winch Diane Dunlop Judy Stone Victoria Taylor Anton & Hester McLachlan Jane Christensen Ian & Judy Wyatt Anton Enus & Roger Henning Catherine Sullivan Mary Vallentine AO Lisa & Egil Paulsen Louise Christie Anthony Tarleton Kim Williams AM & Elizabeth Evatt Suzanne & Michael Daniel Corporate B Keepers Victoria Taylor Catherine Dovey Michael & Kerrie Eyers Constructability Recruitment Axel & Diane Tennie Tracey Driver & Simon Robinson Frances Garrick Belvoir is very grateful to accept all Macquarie Group Foundation Mike Thompson Chris & Bob Ernst D T Gilbert donations. Donations over $2 are tax Sterling Mail Order John Tuckey 2012/2013 Jeanne Eve Priscilla Guest deductible. If you would like to make Ross Tzannes Chair’s Group Peter Fay Sophie Guest a donation or would like further Supports the creative development of Louise & Steve Verrier R Godlee & A Maxwell Education Donors Dr Juliet Harper information about any of our donor Indigenous work at Belvoir. Sarah Walters Peter Graves over $250 Marion Heathcote and Brian Burfitt programs please call our Development David & Kathryn Groves Lynne Watkins & Anonymous (1) Provide opportunities for young people Libby Higgin Manager Retha Howard on 02 8396 Sophie Guest Nicholas Harding Antoinette Albert throughout NSW to access our work. Harrison & Kate Higgs 6224 or email [email protected] David Haertsch Elizabeth Webby AM Jillian Broadbent AO Dorothy Hoddinott AO List correct at time of printing. Wendy & Andrew Hamlin Anonymous (2) Kim Williams AM & Catherine Dovey Dr Candice Bruce & The Honourable Justice Johnson John Head Ian Barnett Peter Wilson & James Emmett Michael Whitworth John Kaldor AM & Marion Heathcote & Brian Burfitt Mary G Burchell Brian & Patricia Wright Special Thanks Jan Chapman & Naomi Milgrom AO Libby Higgin Jane Diamond We would like to acknowledge Stephen O’Rourke Josephine Key Michael Hobbs Matthew Hall long-time supporters Cajetan Mula Louise Christie Jann Kohlman Donors for Peter & Jessie Ingle Julie Hannaford and Len Armfield. They will always Kathleen & Danny Gilbert Ray Lawler International Tours Rosemary & Adam Ingle Siobhan Hannan & James Talbot be remembered for their generosity Sophie Guest Sarah Lawrence Anita Jacoby Paul & Melissa Hobbs The Book of Everything – New York to Belvoir. Marion Heathcote & Brian Burfitt Ruth Layton The Jarzabek Family Susan Hyde Anonymous (2) HLA Management Pty Ltd Margaret Lederman Avril Jeans Peter & Rosemary Ingle American Australian Association Bequests The Jarzabek Family Hilary Linstead Margaret Johnston Stewart & Jillian Kellie Francesca Beale We are very grateful to the loyal donors Hilary Linstead Joseph Lipski Corinne & Rob Johnston Olivia Pascoe Andrew & Cathy Cameron and patrons who have chosen to leave Cajetan Mula (Honorary Member) Ross Littlewood & Colleen Kane Kate Pasterfield Malcolm Carfrae Belvoir a gift in their will. This is an Ross McLean & Fiona Beith Alexandra Curtin Antoinette le Marchant Chris & Bea Sochan Rosamund Else-Mitchell incredibly generous and meaningful way Olivia Pascoe Christopher Matthies Jennifer Ledgar & Bob Lim The Spence Family Lisa Fox to contribute to the long-term future of the Belinda & Steven Rankine Catherine McDonnell Stephanie Lee company so we thank you again. Alex Oonagh Redmond Patricia McEniery

20 21 Design Alphabet Studio Back cover image Toby Truslove, Zahra Newman, Toby Schmitz, Eloise Mignon in Private Lives Front cover image Colin Friels in Death of a Salesman Photos Heidrun Löhr