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Home , Bell Shakespeare, Hayes Theatre, The Play That Goes Wrong

BY DIRECTOR JAMES EVANS

NATIONAL TOUR 2018 THEATRE PROGRAM 1467_WESF - Arts Sponsorship Campaign - Impossible - Bell Shakespeare 2018 - Ad (1407)_V2.indd 1 15/06/18 12:50 PM Proud partner of Bell Shakespeare’s National Schools Program Bell Shakespeare’s National Schools Program inspires thousands of school children across Australia to learn and love Shakespeare.

Believing that all Australians should have access to Shakespeare, Foxtel is proud to have supported Bell Shakespeare’s educational program since 1999.

Foxtel marks are used under licence by Foxtel Management Pty Ltd.

1467_WESF - Arts Sponsorship Campaign - Impossible - Bell Shakespeare 2018 - Ad (1407)_V2.indd 1 15/06/18 12:50 PM COR0023_Bell_Shakespeare_FPC_A5_FA.indd 1 7/02/2018 12:21 PM Shakespeare’s work explores human experience at its limits. It was written to be performed. We ensure it lives and breathes in theatres, schools and regional venues throughout Australia, where his words can be truly appreciated. We value the beauty of Shakespeare’s ideas, language and imagery. His work helps us find modern perspectives on timeless truths. We believe Shakespeare and other great works are not stuck in the past. They are the lens through which we can explore and question the present, and imagine the future. These plays are not static. They’re constantly helping us make sense of who we are, where we’ve been, and where we’re going. And we’re not static either. We’ve been travelling the country for more than 27 years, bringing classic theatre to Australia, looking for new ways to inspire, imagine and ignite. Shakespeare and the other classic plays we present challenge our beliefs and urge us to see ourselves in a new light. Their ability to discover the things that make us human inspires us to make work that challenges preconceptions and encourages new interpretations and contemporary parallels — work that speaks to every age. 5

FROM THE EXECUTIVE DIRECTOR

Gill Perkins

I am delighted to welcome you to this production a shared experience allows us to explore of Julius Caesar, directed by our Associate our collective concerns and aspire to create Director, James Evans. a better world.

The prequel to which May I thank the commitment of our donors and kicked off our year, Julius Caesar is one of corporate partners whose generous support has Shakespeare’s most well-known plays and long been the key to our success. Last year we is performed regularly around the world. It reached almost 150,000 people with our program is a play that seems constantly current and – the Company is truly honoured to have so many as we look to our global leaders in 2018, we loyal supporters who share in our vision. might well ask ourselves how much has changed. I would particularly like to acknowledge Our commitment at Bell Shakespeare is to a and celebrate our 20-year partnership with national reach and to making our work available Wesfarmers Arts. Their unerring support has for all Australians, including those who live been integral in enabling us to increase our outside capital cities. I am very proud that reach, particularly in Western Australia. It is this production will once again visit 28 venues a brilliant partnership and we extend to them across the country and thank the Commonwealth our sincere thanks. Government, through the Playing Australia fund, And last but by no means least we thank you, for their support in making this possible. our audience. I hope you enjoy this gritty, tense This, our national tour, is one of the most production of Julius Caesar. It is our pleasure to important things we do in pursuit of our share it with you. mission. Together with our Players companies performing in schools, Bell Shakespeare reaches every state and territory of Australia. The appetite for our work continues to grow which is testament to the importance of live performance and its ability to connect us to Gill Perkins each other. In an increasingly fractured world, Executive Director 6 Bell Shakespeare

FROM THE ARTISTIC DIRECTOR

Peter Evans

Julius Caesar is a play about power, loyalty, This is a production that is sure to spark debate conspiracy and politics. We witness the original among you, our audience. How is our world today pre-emptive strike and the irony of the similar? How is it different? ‘honourable assassination’ with all the carnage Through Shakespeare, audiences have been that a power vacuum creates. The characters are grappling with these themes for centuries. complex, diverse and varied; their decisions, Theatre has the wonderful ability to connect us whether good or bad, are informed by genuine with each other and with those who’ve witnessed beliefs and desires. Audiences will recognise this story throughout history. It is our pleasure themselves and their society in Julius Caesar, and privilege to tour this play and share this story a play that is never out of date and feels with Australians in 2018. relentlessly modern.

The last time Bell Shakespeare staged Julius Caesar was 2011. While it was purely coincidental programming, you couldn’t escape the resonance with Australian politics, with leaders making entrances and exits at an alarming rate. Seven years on and we are in an age of politics, both in Australia and globally that we could not have Peter Evans foreseen. Artistic Director Antony and Cleopatra, with which we kicked off 2018, delves into the backroom dealings in politics, the decisions individuals make and their ramifications. Julius Caesar plays as a prequel. We see the formation of the conspiracy against Julius Caesar and the rise of Antony and Octavius. Though it was written more than 400 years ago, I cannot think of a more fitting play for our time. Julius Caesar 7

SYNOPSIS

Caesar has returned to Rome, triumphant The triumvirate declare war on Brutus and after a war with the sons of Pompey. Cassius, who argue bitterly with each other. Brutus reveals that his wife, Portia, has During the celebrations, a soothsayer warns committed suicide. Finally, they agree to Caesar to beware the Ides of March. march on the armies of Antony and Octavius.

Brutus, Caesar’s friend and ally, fears that the During the battle, Cassius, misled by erroneous Roman Republic will be destroyed if Caesar is reports of a loss, persuades his servant to crowned King. kill him.

Cassius and others convince Brutus to join Brutus commits suicide after his army is defeated a conspiracy to kill Caesar. Brutus’ wife Portia and Antony praises him as ‘the noblest Roman of senses her husband’s unease and pleads with them all’. him to share with her what is going on, but he shuts her out.

On the day of the planned assassination, March 15th, Caesar’s wife, Calphurnia, urges him to stay at home, but one of the conspirators, Decius, persuades him to go to the senate where the conspirators stab Caesar to death.

Caesar’s loyal ally and friend Mark Antony asks to speak at Caesar’s funeral and uses this opportunity to turn the citizens of Rome against the conspirators.

Brutus and Cassius escape and Antony joins forces with Octavius Caesar and Lepidus to rule Rome in a triumvirate. 8 Bell Shakespeare

NATIONAL TOUR DATES

ORANGE CIVIC THEATRE, ORANGE THE EVENTS CENTRE, CALOUNDRA 13–14 JULY 6 SEPTEMBER

ARTS CENTRE , MELBOURNE PILBEAM THEATRE, ROCKHAMPTON 18–28 JULY 8 SEPTEMBER

BUNJIL PLACE, NARRE WARREN MACKAY ENTERTAINMENT AND 31 JULY CONVENTION CENTRE, MACKAY 12 SEPTEMBER RIVERLINKS WESTSIDE PERFORMING ARTS CENTRE, MOOROOPNA TANKS ARTS CENTRE, CAIRNS 2 AUGUST 14 SEPTEMBER

WANGARATTA PERFORMING ARTS ARALUEN ARTS CENTRE, ALICE SPRINGS CENTRE, WANGARATTA 18 SEPTEMBER 4 AUGUST DARWIN ENTERTAINMENT CENTRE, CENTRE OF WA, DARWIN 8–11 AUGUST 21 SEPTEMBER

MANDURAH PERFORMING ARTS CENTRE, DUBBO REGIONAL THEATRE, DUBBO MANDURAH 25–26 SEPTEMBER 14 AUGUST BATHURST MEMORIAL ENTERTAINMENT BREC, BUNBURY CENTRE, BATHURST 16 AUGUST 27 SEPTEMBER

ALBANY ENTERTAINMENT CENTRE, GRIFFITH REGIONAL THEATRE, GRIFFITH ALBANY 29 SEPTEMBER 18 AUGUST WAGGA WAGGA CIVIC THEATRE, MILDURA ARTS CENTRE, MILDURA WAGGA WAGGA 23 AUGUST 2–3 OCTOBER

ALBURY ENTERTAINMENT CENTRE, JOAN SUTHERLAND PERFORMING ALBURY ARTS CENTRE, PENRITH 25 AUGUST 5–6 OCTOBER

ULUMBARRA THEATRE, BENDIGO LAYCOCK STREET COMMUNITY 28 AUGUST THEATRE, GOSFORD 8–9 OCTOBER PRINCESS THEATRE, LAUNCESTON 31 AUGUST CANBERRA THEATRE CENTRE, CANBERRA 12–20 OCTOBER REDLAND PERFORMING ARTS CENTRE, CLEVELAND OPERA HOUSE, SYDNEY 4 SEPTEMBER 23 OCTOBER – 25 NOVEMBER Julius Caesar 9

CRY HAVOC, AND LET SLIP THE DOGS OF WAR

Act 3, Scene 1

CAST CREW

Julius Caesar Kenneth Ransom Company Stage Manager Nicole Eyles Metellus / Cinna the Poet Jemwel Danao Deputy Stage Manager Bridget Samuel Brutus James Lugton Assistant Stage Manager Sean Proude Portia Maryanne Fonceca Head Electrician Steve Hendy Casca / Messala Ghenoa Gela Head Mechanist Hayley Stafford Trebonius / Soothsayer / Pindarus Neveen Hanna Head of Audio Andrew Hutchison Calphurnia / Octavius Emily Havea Head of Costume Hannah Lobelson Cassius Nick Simpson-Deeks Costume Cutter Claire Westwood Decius Cinna / Lucilius Russell Smith Costume Assistant Brooke Cooper-Scott Mark Antony Sara Zwangobani Production Assistant Matthew Schubach Design Secondment Chelsea Maron CREATIVE TEAM Set Built by MNR Constructions Lighting supplied by Chameleon Touring Systems Director James Evans Freight provided by ATS Logistics Set & Costume Designer Anna Tregloan Lighting Designer Verity Hampson Composer & Sound Designer Nate Edmondson Movement & Fight Director Scott Witt Voice Coach Jess Chambers Assistant Director Nasim Khosravi 10 Bell Shakespeare

IN CONVERSATION WITH THE DIRECTOR: JAMES EVANS

Shakespeare was obsessed with leadership. Brutus justifies the decision to kill his friend In play after play he scrutinised failed leaders by literally commanding himself, out loud, and challenged beloved ones. This could have to ‘prevent’ the hypothetical rise of Caesar. been dangerous, and Shakespeare seems to He instructs himself to ‘fashion’ the argument have walked a fine line politically, thriving at against Caesar, ‘think’ Caesar an unhatched a time when less-careful artists were caught snake and, finally, to ‘kill him in the shell’. Brutus up in the machinery of the Elizabethan police shapes his own thoughts with spoken language, state. His plays were set in Ancient Rome, which is what Shakespeare asks of us. Medieval Britain, exotic Venice, mythical lands, As a director, I am not interested in a but he was always examining his own society – conclusive interpretation of Julius Caesar. a emerging from the Middle Ages I am not interested in spoon-feeding metaphor and on the brink of ‘modernity’. It is these to the audience (Caesar = Hitler/Ceaușescu/ arms-length settings that have allowed the Trump etc.), I am much more interested in plays to speak urgently to every new generation. exploring the ambiguities woven throughout this In Julius Caesar – written at about the halfway play. Just when you think you know a character, point of his career – Shakespeare delivers a Shakespeare shows you another side of them. ruthlessly efficient exploration of politics and Ambiguity is Shakespeare’s portal to the infinite. power. The language of the play is direct and By asking more questions than he answers, he explosive: mob violence erupts, relationships demands that we step up as an audience, no fracture, and the republic crumbles, all through longer passive receivers of meaning, but active the power of the spoken word. creators of it. Julius Caesar 11

Julius Caesar was probably first performed in yesterday’s dystopia becomes today’s normality. 1599, at the brand-new Globe Theatre on the Read today’s headlines. Then imagine reading south bank of the Thames. Having just overseen those same headlines in 2015. It would be the construction of the building, Shakespeare unfathomable. And yet here we are, in a was in a metatheatrical mood. “All the world’s new reality. a stage”, a common metaphor at the time, was Julius Caesar is a jolt against complacency. enshrined by Shakespeare in another 1599 play, It is a forceful warning against the creeping , and will forever be associated with advance of tyranny, but also against using his work. tyranny’s tactics to achieve an ostensibly noble In Julius Caesar, the conspirators know they goal. I hope this production will spark debate are creating history. Immediately after the among audiences: What has changed in the murder of Caesar, Cassius says: last 419 years? And with politics now debased beyond belief, where are we headed next? “How many ages hence Shall this our lofty scene be acted over In states unborn and accents yet unknown?”

Cassius imagines himself immortalised as a saviour of Rome, presumably played by Chris Hemsworth in the movie. Of course, Shakespeare doesn’t allow Cassius to bask in victory. The assassination occurs at the midpoint of the play, and Shakespeare is more interested in the fallout than in the act itself. Julius Caesar rehearsals, 2018 The pre-emptive strike against Caesar creates © Prudence Upton a power vacuum that sets the cause of Roman democracy back by over a thousand years.

A culture of violence consumes Shakespeare’s Rome; it engulfs people at every level of society. Immediately after Mark Antony turns the mob against the conspirators, Shakespeare introduces a new character, an artist – Cinna the Poet. He is surrounded by the mob, who think he is Cinna the conspirator. When they find out he has nothing to do with the conspiracy, they decide to kill him anyway:

“Tear him for his bad verses.”

When leaders use language that provokes or normalises violence, a dark, collective urge is unleashed. And the artist is always the first target.

Our production has a steely, industrial design aesthetic. It is contemporary, but not weighed down by modern references – no iPhones or handguns on stage. My particular interest is in dystopias – especially the way in which 12 Bell Shakespeare

COSTUME DESIGN

CAESAR, OCTAVIUS, CINNA THE POET AND CALPHURNIA Julius Caesar 13

COSTUME DESIGN BY ANNA TREGLOAN

CINNA THE GHOST, BRUTUS AND ANTONY 14 Bell Shakespeare

CREATIVE TEAM

JAMES ANNA EVANS TREGLOAN DIRECTOR SE T AND COS T UME DESIGNER

James Evans is Associate Director at Bell Anna Tregloan is a multi-award winning Shakespeare. He is a graduate of the National designer, artist and creative producer. She Institute of Dramatic (Acting) and holds has an extensive history in performing and Master of Arts (English) from the University of visual arts, and a Masters in Animateuring Sydney. For Bell Shakespeare he has appeared from the Victorian College of the Arts. For Bell in Richard 3, , Macbeth, Henry IV Shakespeare she has previously designed Venus and Actors At Work, also directing productions and Adonis, Taming of the Shrew and Twelfth of Macbeth, Romeo and Juliet and A Midsummer Night. Her other theatre credits include The Night’s Dream for young audiences. His other Odyssey, Criminology, Eldorado, Tell-Tale Heart, theatre credits include Mercy for Festival of Babe in the Woods, Optimism and others with Dangerous Ideas/Bell Shakespeare; Paul and Malthouse Theatre; Spring Awakening and Homebody/Kabul for Belvoir; and Private Lives Optimism for ; My for Queensland Theatre. His television credits Bicycle Loves You and The Tale of Salmunori include Me and My Monsters, Underbelly: The for Legs on the Wall; Certia Anak for Polyglot Golden Mile, East West 101 and Young Lions. Theatre/Paper Moon Puppet Theatre; and James co-wrote and presented the acclaimed Between 8&9 for ChamberMade Opera/Sechuan iPad App Starting Shakespeare (named Best New Conservatory of Music/AsiaTOPA, along with work App by Apple in 17 countries) and co-directed with Ranters Theatre, Back To Back, Circus Oz, the ABC online series Shakespeare Unbound. Force Majeure and others. Her installations and In 2016/17, James was a visiting artist at the exhibitions include BLACK for Malthouse Theatre; University of San Diego, as well as presenting Skinflick, independently; The Ghost Project a series of Shakespeare seminars in Hong Kong, with her company The Association of Optimism; Shanghai, Tokyo, Mumbai and Singapore. James’s Wonderland and The Nightingale and the Rose for work with Bell Shakespeare in juvenile detention ACMI; Museum of Love and Protest for the Sydney centres is the subject of the feature film Kings of Gay and Lesbian Mardi Gras; Perfection, Blood Baxter, winner of Best Australian Documentary at and Attract and Repel for Science Gallery the 2017 Antenna Documentary Film Festival. Melbourne; Collette Dinnigan: Unlaced for Powerhouse Museum of Applied Arts and Sciences; and is curator and designer for the Australian Exhibition for the Prague Quadrennial of Performance, Space and Design. SUCH MEN ARE DANGEROUS. Act 1, Scene 2 Julius Caesar 15

VERI T Y NATE HAMPSON EDMONDSON L IGHT ING COMP OSER DESIGNER AND SOUND DESIGNER

Verity Hampson is an award-winning lighting Nate is an international, multi-award and projection designer. Since graduating from winning composer and sound designer. For NIDA, she has designed over 120 productions, Bell Shakespeare his credits include Macbeth, working with many of Australia’s leading directors A Midsummer Night’s Dream, , and choreographers. For Bell Shakespeare, Verity Romeo and Juliet, As You Like It and The Winter’s designed A Midsummer’s Night Dream and The Tale. His other theatre credits include Blackie Literati (with Griffin). Other theatre designs include Blackie Brown, Three Sisters, Cloud Nine, A Sami in Paradise, Faith Healer, The Drover’s Midsummer Night’s Dream, Romeo and Juliet Wife, Ruby’s Wish, The Blind Giant is Dancing and and Never Did Me Any Harm for Sydney Theatre Ivanov for Belvoir; Blackie Blackie Brown, : Company; Mark Colvin’s Kidney, Mortido, Prince of Skidmark, Machinal and Little Mercy Seventeen, Kill the Messenger and This Heaven for Sydney Theatre Company; One the Bear and for Belvoir; Diplomacy for ; Blackrock for La Boite; and The Bleeding Tree, Good Cook. Friendly. Clean., The Ham Funeral, The Boys and The Floating World for Griffin. Opera MinusOneSister, Caress/Ache, The Witches, Music, credits include Fly Away Peter for Sydney Chamber Jump for Jordan, The Floating World, Rust and Opera and Orpheus and Eurydice for Spectrum Bone and This Year’s Ashes for Griffin;Political Now Festival. For television, Verity was lighting Children, Fireface and The Hiding Place for ATYP; director for ABC’s Live at the Basement and The That Golden Girls Show! [US] and The Very Hungry Roast. Awards include a Mike Walsh Fellowship Caterpillar Show [US, CA, UK, UAE, NZ & AU] and a Sydney Theatre Award for Best Mainstage for Rockefeller Productions; Love, Remembering Lighting Design. Pirates, Savages, Good Works, Daylight Saving, All My Sons, Torch Song Trilogy, The Greening Of Grace, The Seafarer and The Paris Letter for Julius Caesar rehearsals, 2018 Company; Of Mice and Men © Prudence Upton for Sport For Jove; The Trouble With Harry, Good With Maps [UK & AU] and Misterman [UK & AU] for Siren Theatre Company; Stones in His Pockets for Critical Stages; Jatinga, Leaves and Straight for KXT; Slut, The Village Bike, Bengal Tiger at the Baghdad Zoo, I Hate You My Mother, I Am My Own Wife, and Freak Winds for Red Line Productions; The Rolling Stone, The Flick and Blackrock for ; and All My Sons [UK] for Street Theatre. 16 Bell Shakespeare

CREATIVE TEAM

SCOT T JESS WITT CHAMBERS MOVEMENT VOICE AND F IGHT COACH DIRECTOR

Scott Witt is an award-winning entertainment Jess works internationally as a voice and dialect practitioner and educator with over 30 years’ coach. For Bell Shakespeare she was voice experience. He holds an MFA (Creative Industries) coach for Antony and Cleopatra, The Merchant from QUT. His career embraces acting, clowning, of Venice, Richard 3, , Romeo and Juliet adapting, writing, fight directing, directing and and the 2014 national tour of Henry V. Her other designing movement. For Bell Shakespeare theatre credits include; as voice and dialect he was Assistant Director and Fight Director coach: Matilda the Musical in Australia for The for Richard III, and Faust. He Royal Shakespeare Company and Louise Withers; performed and was Movement Director on The and Alice in Wonderland, Sweet Charity, You Never Alchemist and Tartuffe. Recently he directed again Can Tell and Pygmalion for The Shaw Festival for The Players 2018. Some of his other theatre Theatre (Canada); as voice coach: Power Plays, and performing arts credits include for Sydney A Midsummer Night’s Dream and Battle of Waterloo Theatre Company, Melbourne Theatre Company, for Sydney Theatre Company; and Matilda the Opera Australia, La Boite Theatre, Queensland Musical in London for The Royal Shakespeare Theatre, Belvoir, Griffin, Zen Zen Zo, Queensland Company; as assistant voice coach: , Performing Arts Trust, Opera Queensland and Romeo and Juliet and Storm Boy for Sydney Queensland Ballet. Scott has taught nationally Theatre Company; as children’s dialect coach: and internationally, including at NIDA, ACA and Les Misérables for Cameron Mackintosh and QUT. He has been awarded two Arts Queensland Michael Cassel; The Sound of Music for John Grants, an Arts NSW Grant, three Matilda Awards, Frost and The Really Useful Group; and Made and was the recipient of the prestigious Paddy in Dagenham the Musical for the Adelphi Theatre Crean Award. Scott has been the Artistic Director in London. Her film credits include dialect for the International Order of the Sword and the assistance on Hacksaw Ridge. Jess trained at Pen since 2008, among numerous titles. Scott Central School of Speech and Drama, London. has been a proud platinum member of MEAA since 1988.

THIS WAS THE MOST UNKINDEST CUT OF ALL. Act 3, Scene 2 Julius Caesar 17

NASIM KHOSRAVI THE FAULT, ASSIS TANT DIRECTOR DEAR BRUTUS, IS NOT IN OUR STARS Born in the south of Iran, Nasim is a Brisbane based writer, director and performance maker BUT IN investigating the potential for cross-cultural fusion and possible ways for interactive theatre keeping OURSELVES a poetic tone. This is her first production with Bell Act 1, Scene 2 Shakespeare. Her other theatre credits include No Swinging Allowed, which was banned after its first show in Tehran; Vis and Ramin for Baran Theatre/ Metro Arts/FCAC Melbourne; and Thin Air Brush for Metro Arts Theatre. Her activism includes cooperating with the One Million Signatures Campaign for the Repeal of Discriminator Laws in Iran; organising and offering several workshops for playwriting with feminist approaches; and contributing in raising awareness for Women’s Rights by directing several street theatres. Nasim is also the founder of Iranian-Australian theatre group, Baran.

Julius Caesar rehearsals, 2018 © Prudence Upton 18 Bell Shakespeare

CAST

KENNETH JEMWEL RANSOM DANAO JUL IUS ME TELL US / CAESAR CINNA THE POET

Kenneth Ransom is an MFA graduate from This is Jemwel’s first production with Bell UCLA and trained with Shakespeare & Company Shakespeare. His other theatre credits include in Massachusetts. This is his first production A Man With Five Children for Darlinghurst Theatre with Bell Shakespeare. His other theatre credits Company; The Shape of Things for ; include Prize Fighter for Sydney Festival/La Thai-riffic! for Theatre Division; Empire: Terror on Boite; Caucasian Chalk Circle, Angels in America, the High Seas for ; Life’s Glengarry Glen Ross, Dinner, The House on a Play for Australiasian Art & Stageworks; Her the Lake, Boundary Street, Twelfth Night, Son, Jose Rizal for Fine Artist Collaboration; and The Sapphires and Citizenship for ATYP. Jemwel’s television credits for Black Swan State Theatre Company; Female include Hyde & Seek, The Hit List, Janet King of the Species for Queensland Theatre; Stuff Series 2, Behind Mansion Walls 2 and The Cut. Happens for Belvoir; Boy Gets Girl, Take Me Out, His film credits include Adventures of a Happy Metamorphoses, Duchess of Malfi, Measure Homeless Man and Seeing the Elephant. for Measure and Twelfth Night for Melbourne Theatre Company; McReele for Ensemble Theatre; and Jesus Hopped the ‘A’ Train for Red Stitch. Kenneth’s opera credits include The Abduction from the Seraglio for Opera Australia. His film and television credits include Gods of Egypt, Crocodile Hunter: Collision Course, Crocodile Dundee in LA, Doctor Doctor, Childhood’s End, Nightmares and Dreamscapes and The Secret Life of Us.

Julius Caesar rehearsals, 2018 © Prudence Upton Julius Caesar 19

MARYANNE GHENOA FONCECA GEL A PORTIA CASCA / MESSALA

Maryanne is a recent NIDA graduate based Koedal (Crocodile) and Waumer (Frigate in Sydney and was born and raised in Perth, Bird) woman Ghenoa Gela is a Sydney based Western Australia to Anglo Indian and Nepalese independent artist and proud Torres Strait Islander parents. This is her first production with Bell woman from Rockhampton, Central Queensland. Shakespeare. Her other theatre credits include This is her first production with People, Places and Things for KXT; Dear Charlotte Bell Shakespeare. Her previous performance for Hayman Theatre Company; Where We Are for credits include My Urrwai (Solo work) for Sydney Sphere/NIDA; and Request Program, A Midsummer Festival; You Animal, You for Force Majeure/Sydney Night’s Dream, Woyzeck, Realism and as Eurydike Festival; Hot Brown Honey for Briefs Factory; and in Eurydike & Orpheus for NIDA. Her film credits From the Ground Up for Circus Oz. Her television include Lead Astray. credits include Move It Mob Style and So You Think You Can Dance Australia. Some of her choreography credits include Fragments of Malungoka – Women of the Sea; Winds of Woerr; Mura Buai – Everyone, Everyone; and finale in Nothing to Lose for Force Majeure. Ghenoa also facilitates dance workshops in urban, regional and remote communities. Ghenoa was the recipient of the 2016 Keir Choreographic Award and the winner of National Deadly Funny as part of Melbourne International Comedy Festival 2017.

Julius Caesar rehearsals, 2018 © Prudence Upton 20 Bell Shakespeare

CAST

NEVEEN EMILY HANNA HAVEA TREBONIUS / CALPHURNIA / SOOTHSAYER / OCTAVIUS PINDARUS

This is Neveen’s first production with Bell Emily graduated from NIDA in 2014. She is a Shakespeare. Her other theatre credits include Sydney based actor, singer and dancer. For Future Seekers for Scene Theatre; Beirut Bell Shakespeare she was a member of the Adrenaline for Theatre Excentrique; Gallery Guard 2016 Players and in the learning production and Golden Soil for Double Dare Productions; Hell of A Midsummer Night’s Dream. Her other theatre Hath No Fury for Tunks Productions; and Dylan for credits include Kill Climate Deniers for Griffin Belvoir. Her television credits include Street Smart, Theatre Company; BU21 and Sing to Me for The Old Tidelands, The Ropes, Fighting Season, Hyde & 505; Brown Skin Girl for the WITS Festival Fatale/ Seek, Here Come the Habibs, The Principle, Old The Darlinghurst Theatre in 2016 and later School, Deadly Women, Camp, Behind Mansion remounted for Griffin’s Batch Festival 2018; and Walls, Packed to the Rafters, Australian Families Dogfight for Hayes Theatre. Emily’s television of Crime, Cops: LAC, Rake and Gangs of Oz. credits include Wentworth Season 6 and 7 Neveen’s feature film credits include The (Foxtel), Sisters (Channel 10) and Growing Up Combination 2, Australia Day, The 5th Shadow, Gracefully (ABC). Film credits include Upgrade The New Prophet and Seeing the Elephant. Her (Goalpost pictures) and the web series Resting short film credits include No Flow, Cyber Squad, Pitch Face (Google/Grumpy Sailor). Emily is Under the Hammer, Eve, Family Portrait, A Light a regular teacher/dancer for Retrosweat and Touch, Photo Shoot, Left/Right and The Return she completed full-time dance training with of Elise. Danceworld Studios in 2011. An accomplished singer, she was a backing vocalist for the EP launch of Mirrah Reflects and performs regularly with Okenyo.

Julius Caesar rehearsals, 2018 © Prudence Upton Julius Caesar 21

JAMES NICK LUGTON SIMPSON-DEEKS BRUTUS CASSIUS

For Bell Shakespeare James has previously Nick is a graduate of NIDA and Steppenwolf appeared in Richard 3 and Othello. His other Theatre Company. This is his first production theatre credits include Diplomacy for Ensemble with Bell Shakespeare. His other theatre credits Theatre; Unholy Ghosts for Griffin/Whitebox include The Play That Goes Wrong for Lunchbox Theatre; Cyrano de Bergerac, The Importance of Theatrical; Elegy for Lab Kelpie and Midsumma; Being Earnest, Hamlet, Edward II, The Crucible and The Parricide for La Mama; The Turning for Perth The Taming of the Shrew, for which he received a Theatre Company; Sweet Phoebe for Basement Sydney Theatre Aware for Best Actor in an Theatre; The Shakespeare Revue for Australian Independent Production, for Sport for Jove; The Shakespeare Festival; Handbag for Seymour Young Tycoons and Miss Julie for Darlinghurst Centre; Away and Falling on My Left Ear for Theatre; and Empire: Terror on the High Seas for Railway Street; and Masurca Fogo for Tanztheatre Tamarama Rocksurfers. His television credits Wuppertal. His musical theatre credits include include Doctor Doctor, Fighting Season, Mary: The Jersey Boys for NewTheatricals; Jerry Springer Making of a Princess, Home & Away, Wonderland, the Opera for ; Assassins, Packed to the Rafters and Paper Giants – The Birth Pacific Overtures and Company for Watch This; of Cleo. His film credits include Hacksaw Ridge Falsettos for StageArt; Floyd Collins for Angel and Joe Cinque’s Consolation. James is a member Place City Recital Hall; Ned for Groaning Dam of MEAA. Productions; Somewhere for Q Theatre; and The Windows Project for Darlinghurst Theatre. Nick’s television credits include The Circuit, Winners & Losers, Fat Tony & Co, Mr & Mrs Murder, Wentworth, The Strange Calls, City Homicide, Stormworld, The Postcard Bandit and Play School. His feature film credits include The Cup and Andy X. Nick is a three-time Green Room Award nominee, a Mike Walsh Fellow, and a recipient of Inscription’s Macquarie DEST Youth Award.

IT MUST BE BY HIS DEATH. Act 2, Scene 1 22 Bell Shakespeare

CAST

RUSSELL SARA SMI TH ZWANGOBANI DECIUS CINNA / MARK ANTONY LUCILIUS

Russ is a proud Ngarrindjeri man. Russ is graduate This is Sara’s first production with Bell of NIDA. For Bell Shakespeare he has appeared in Shakespeare. Her other theatre credits include Tartuffe. His other theatre credits include Acrobats Maggie Stone for State Theatre Company of South for Belvoir; Story of Miracles at Cookie’s Table for Australia; In the Next Room, A Streetcar Named Griffin Theatre Company; Today We’re Alive for Desire and The Crucible for Sydney Theatre Wildie Creative Enterprises; Stainless Steel Rat Company; Dirty Butterfly and Imago for B Sharp for Wayne Harrison Productions; Macquarie for Belvoir; The Girl in Tan Boots for Griffin Theatre Riverside Theatres; Shanghai Lady Killer for Stalker Company; Lyrebird for Tamarama Rock Surfers; Theatre Inc.; Wild Boys for Theatre of the Deaf; It’s and The Tempest for Harlos Productions. Sara’s A Dad Thing for TLM; Ngununy Over My Backyard television credits include Soul Mates, All Saints, and Mimih for Art Gallery of NSW; and Sleeping Packed to the Rafters, Home and Away, Starter Around for B Sharp. His television credits include Wife, Monarch Cove, Two Twisted, Love My Way Redfern Now, The Strip, Home and Away and and Water Rats. Her feature film credits include Comedy Inc. Dance Academy: The Comeback, Disgrace and The Merchant of Fairness, and her short film credits include One of the Lucky Ones and Star Baby.

Julius Caesar rehearsals, 2018 © Prudence Upton Julius Caesar 23 Ethical banking

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*Based on 2016 calendar year revenue results. Image: The Players on their national In-Schools Performance tour, NT, 2015 © Caitlin Brass Julius Caesar 25

Our education program reaches the farthest corners of every state and territory in Australia. We deliver world class training, dynamic performances and immersive learning experiences that bring Shakespeare to life, enriching teachers and students of all ages.

82,775 students and 17,932 students gasped and 31 young offenders in teachers in regional, cheered through a student- juvenile justice centres remote and urban Australia focused production of were challenged and experienced Bell Macbeth at Sydney Opera inspired by our Artist Shakespeare in 2017. House and Arts Centre in Residence program. Melbourne.

10,520 primary 30 teachers from regional We live-streamed the very aged students were Australia came to Sydney best quality theatre into introduced to the language, for intensive professional 42 of the most remote stories and magic of learning through our classrooms in Australia. Shakespeare’s work. Regional Teacher Mentorship.

1,885

2,346

7,300

50,867

3,561 4,098

9,859 2,859 26 Bell Shakespeare

THANK YOU TO OUR DONORS

FOUNDING BENEFACTOR

The late Anthony Gilbert AM We also thank the following generous donors or their contributions: LIFE MEMBERS Andrew & Catherine Caro Ilana Atlas Diane & John Dunlop Linda Herd John Bell AO OBE Greg Hutchinson AM & Lynda Hutchinson Tim Cox A O & Bryony Cox Francois Kunc & Felicity Rourke Martin Dickson AM & Susie Dickson Graham Froebel Bruce Meagher & Greg Waters Peter & Felicia Mitchell Virginia Henderson AM David Pumphrey David & Jill Pumphrey Kenneth Reed AM INFINITE SPACE Serow-Neijts Family Jann Skinner Thank you to our Infinite Space capital campaign Gene Tilbrook donors who are helping us build a future for Bell Helen Williams Shakespeare where the possibilities are infinite… We would also like to thank our donors who starting with our new permanent headquarters at contribute up to $1,000 – every gift makes Pier 2/3 as part of Sydney’s Walsh Bay Art Precinct a difference to what we are able to achieve. from 2020.

“I could be bounded in a nutshell and ARTISTIC DIRECTOR’S CIRCLE count myself a king of infinite space…” Thank you to our 2018 Artistic Director’s Circle members who are passionate about the process Hamlet, Act 2, Scene 2 of making theatre and are supporting and observing THE DREAMERS this year’s mainstage and education seasons. Special thanks to our major donors for giving Darin Cooper Foundation us the space to dream: Beau Deleuil Ilana Atlas & Tony D'Aloisio AM Lachlan & Rebecca Edwards Dr Kimberly Cartwright & Charles Littrell Shannon Finch Martin Dickson AM & Susie Dickson David Friedlander Lachlan & Rebecca Edwards Jinnie & Ross Gavin Kathryn Greiner AO Kathryn Greiner AO Anne Loveridge Linda Herd Nick & Caroline Minogue Alden Toevs & Judi Wolf Dr Anne Reeckmann & Dr Gary Holmes Julia Ritchie Ruth Ritchie Alden Toevs & Judi Wolf Anonymous (1) Julius Caesar 27

SUPPORTING CAST

We are incredibly grateful for every dollar our Giles, Richard & Anna Green, Andy & Jill Griffiths, Supporting Cast donors contribute towards our Sharon Goldschmidt, Louise Gourlay OAM, Mark & essential operating costs, ensuring that we’re able Patricia Grolman, Leigh Hammond, Steven & Kristina to focus our efforts on finding new ways to educate, Harvey, Joe Hayes & Jacinta O'Meara, Jane collaborate and recreate. Hemstritch, The Hon Peter Heerey AM QC & Sally Heerey, Linda Herd, Ken & Lilian Horler, Fiona Hulton, $50,000+ Vincent Jewell, Cam & Caroline Johnston, In Loving

Tom & Elisabeth Karplus, Sue Maple-Brown AM Memory of Dr Serge Kunstler, Hon Ian MacPhee AO & Julie MacPhee, Justice Jane Mathews AO, Marcus & $25,000+ Jessica Laithwaite, Owen Lennie, Richard & Low Family Foundation, Neil & Rachel Sinden, Elizabeth Longes, Peter & Maryclare Los, Diane Andrew Sisson AO, Smith Charitable Fund, Matthews, Maple-Brown Abbott Limited, Julianne Alden Toevs & Judi Wolf Maxwell, Banjo McLachlan & Paul Mahony, Andrew $10,000+ McWhinnie, Dr Alana Mitchell, Annabelle Mooney, NAB Private Wealth, Naylor-Stewart Ancillary Fund, Robert Albert AO & Libby Albert, Susan Burns, Philip J R Nethercote, Patricia Novikoff, Kathy Olsen & Crutchfield QC & Amy Crutchfield, Martin DicksonAM Bruce Flood, Tom & Ruth O'Dea, Mr Pieter Oomens & & Susie Dickson, Vic & Katie French, Jinnie & Ross Mrs Elizabeth Oomens, Conrad Oppen & Alice Gavin, Jane Hansen & Paul Little AO, John Hindmarsh Oppen OAM, Catherine Parr & Paul Hattaway, Rebel AM & Rosanna Hindmarsh OAM, Greg Hutchinson AM & Penfold-Russell OAM, Gill Perkins & Family, J & K Lynda Hutchinson, Anne Loveridge, Kenneth Reed Preedy, CMDR Warwick Potter RAN, David & Jill AM, Sally White OAM Pumphrey, Greg J Reinhardt, Bill & Katharine Ranken, $5,000+ Bob Richardson, Tim & Lynne Sherwood, Peter Stirling & Kimberley Kane, Anne Swann & Robert Ilana Atlas & Tony D'Aloisio AM, Bill & Sandra Burdett, Johanson, Alan & Jenny Talbot, Thales Australia, Philip Chronican, Robert & Carmel Clark, Chris Fox & Mr Michael Thompson, David & Jenny Templeman, Natalie Hickey, Kathryn Greiner AO, Dr Sue Kesson, George M Wilkins, Helen Williams AO, The Hon Ralph Penelope & John McBain AO, Diane Sturrock, Peter Willis AO & Mrs Carol Willis, Janet Whiting AM, Sturrock, Dick & Sue Viney Anonymous (7)

$1,000+ $500+ Dr Margaret Barter, Helen Baxter, Berg Family Bill & Kate Anderson, Alan Bardwell, Loretta Barnard, Foundation, Binns & Moore Generosity Fund, Dr Edward & Lucy Batrouney, Mrs Kay Beatton, Lewis & John Brookes, Jan Burnswoods, Gail & Duncan Sally Bell, Renee Boundy, Rick Burrows, Michael & Boyle, John & Alison Cameron, Dr Kimberly Roslyn Dunn, Zoë Cobden-Jewitt & Peter Jewitt, Cartwright & Mr Charles Littrell, Jenny & Stephen Jane Caro & Ralph Dunnin, The Hon Joseph C Charles, Yola & Steve Center, Darren Cook, Kevin Campbell QC, George Clark, Michael & Christine Cosgrave, Russ & Rae Cottle, Professor A T Clough, Allan W Donald, Gilles Du Puy & Vicki Arbes, Craswell, Daniel & Laura Crennan, Antony de Jong & Ernst & Young, Jeanmaree Furtado, F J Gale, Leigh & Belinda Plotkin, Joanne & Sue Dalton, Beau Deleuil, Adele Gordon, Andrew & Pam Hagger, Elizabeth M Dr Antonio Di Dio, Jane Diamond, M.S. Diamond AM Hamilton, Ms Andreé Harkness & Mr Richard Sewell, MBE, Diane & John Dunlop, Lachlan & Rebecca Lesley Harland, Tom Harley, Dr David Howell & Mrs Edwards, Elizabeth Evatt AC, Sylvia Falzon & Geoff Sarah Howell, Reverend Bill & Mrs Rosemary Tomlinson, Jean Finnegan & Peter Kerr, Justice Huff-Johnston, Dr Angela Kirsner & Dr Richard François Kunc & Ms Felicity Rourke, Diana & Richard Kirsner, Aneka Manners, Carol & Rod Mackenzie, Fisher, David Friedlander, Graham Froebel, Jennifer Brian & Helen McFadyen, J Norman, 28 Bell Shakespeare

Mathilde Kearny-Kibble, Peter & Elizabeth Kelly, Bedbrook, Virginia Brown, Christopher Campbell, Cheryl Lo, Ardelle Lohan, Rodney & Donna Mr John Cauchi AM SC & Ms Catherine Walker PSM, Ravenscroft, Bryce Raworth & Isobel Williams, Collarts, Coles Danziger Foundation, Kevin Mr Stephen Rebikoff & Ms Amy Boyd, Mary & Cosgrave, Philip CrutchfieldQC & Amy Crutchfield, Michael Regan, Debra Reinecke & Stuart Le May, Ms Patsy Crummer, Graham Froebel, Galvin / Rodney & Racquel Richardson, Mr Greg Robinson & O'Meara Family, Justin & Anne Gardener, Mary-Jane Dr Tricia Desmond, Martin & Maria Ryan, Penelope Gething, Belinda Gibson & Jim Murphy, Louise Seidler AM, Jann Skinner, Michael Sloan, Warren & Gourlay OAM, Michael & Tatty Happell, Ms Andreé Penelope Swain, Robin Syme AM & Rosemary Syme, Harkness & Mr Richard Sewell, Jane Healey, Robert & Kyrenia Thomas, Jane Turner, Kerryn The Hon Peter Heerey AM QC & Sally Heerey. Underwood, Annabel Williamson, David & Marie In memory of Armon Hicks Jnr, Mike & Stephanie Whiting, Capt W Graham Wright RAN, Anonymous (4) Hutchinson, Michael Kingston, John Knowles OAM, Marcus & Jessica Laithwaite, Jennifer Ledgar & BEQUESTORS Bob Lim, In memory of Lucy Lim, Linda Lorenza, Brian Timothy Carey Anne Loveridge, Low Family Foundation, Sarah IN-KIND SUPPORTERS Lowe, Banjo McLachlan & Paul Mahony, Luke Sam Sheppard Merrick, Lorraine Murphy, J R Nethercote, Lady Potter AC CMRI, Paul & Jacqueline Pryor, David & Jill Pumphrey, Bryce Raworth & Isobel Williams, Rodney & Racquel Richardson, Mark & Anne Robertson, SHARING SHAKESPEARE Keiko Schmeisser, The Staff of Bell Shakespeare, Douglas Sturkey CVO AM, Diane Sturrock, Rob & We would like to thank our Sharing Shakespeare Kyrenia Thomas, Helen Williams AO, Oliver & Jacque donors whose support provides life changing Yates, Anonymous (7) opportunities through our learning and outreach programs, including the John Bell Scholarship, $500+ Hearts In A Row experiences, The Players Heather Adie, Lewis & Sally Bell, Michael & Roslyn performances and Student Masterclasses. Dunn, Janet M Grace, Saul Eslake & Linda Arenella, $10,000+ M. Hargraves, Maureen Horne, Georgia Lynch, Robert Albert AO & Libby Albert, Louise Christie, Mr & Mrs D R Meagher, Louise Miller, Peter & Felicia Jane Hansen & Paul Little AO, Rosanna Hindmarsh Mitchell, Jill Morrison, Helen Swift & Les Neulinger, OAM, La Trobe Financial, Simon Lee Foundation, Bill & Katharine Ranken, Trudie Rogers, Jane Nick & Caroline Minogue, Mrs Roslyn Packer AC, Sandilands, Maria Stafford, Naum Tered, Suzanne & Annie & John Paterson Foundation, Dr Anne Ross Tzannes AM, Sally White OAM, Carolyn Wright Reeckmann & Dr Gary Holmes, Gene Tilbrook, Anonymous (1)

$5,000+ John Bell AO OBE & Anna Volska, Canny Quine Foundation, The Calvert-Jones Foundation, Michael & Christine Clough, The Alexandra & Lloyd Martin Family Foundation, Alice Oppen OAM, John B Reid AO & Lynn Rainbow Reid AM, Kate Spargo, Maureen Wheeler AO & Tony Wheeler AO, Janet Whiting AM We would also like to thank our family of donors who $1,000+ generously contributed up to $500 – every gift Colin Adams & Richard Adams, Atlas D'Aloisio makes a difference to what we are able to achieve. Foundation, Keith Bayliss & Holly Mitchell, Paul All donor lists correct as of 6 June 2018. Julius Caesar 29

BELL STAFF AND BOARD

ARTISTIC DIRECTOR ADMINISTRATION

Peter Evans Executive Director Gill Perkins Deputy General Manager John Henderson BOARD OF DIRECTORS Associate Director James Evans Writing Fellow Kylie Bracknell Anne Loveridge Chair Artistic Administrator Imogen Gardam Sally Basser Head of Education Joanna Erskine Jane Caro Education Company Manager Caitlin Brass Philip CrutchfieldQC Head of Production Daniel Murtagh Lachlan Edwards Company Manager Charlotte Barrett Peter Evans Artistic Director Technical Supervisor Andrew Hutchison Natalie Hickey Operations Coordinator Monique Johnstone Andrew Low Production Assistant Matthew Schubach Jason Murray Finance Manager Jeanmaree Furtado Gill Perkins Personnel Manager Susan Howard Gene Tilbrook Finance Officer Nirali Parikh Alden Toevs Accounts Assistant Amanda Carter Head of Development Debra Reinecke ARTISTIC ADVISORY PANEL Corporate Partnerships Manager Alexa Woldan Community Partnerships Advisor Amy Hardingham Jane Caro Development and Events Executive Brooke Shelley Peter Evans Development Coordinator Harriet Lugsdin Rebecca Huntley Head of Marketing Fiona Hulton Fran Kelly Marketing & Communications Manager Benjamin Law Sally Buckingham Sandra Levy Marketing & Communications Coordinator Nakkiah Lui Jen McGrath Ticketing & Data Manager Amelia Stubbs Education Marketing Sales Coordinator Liz Carr Marketing Assistant Julia McNamara Customer Service Assistant Alex Kelly 30 Bell Shakespeare

THANK YOU TO OUR PARTNERS

MAJOR PARTNERS

National Schools Partner

PROGRAM PARTNERS

Perth Season Partner Regional Teacher Mentorship Partner Celebrating 20 Years

COMPANY PARTNERS

Corporate Partner Accommodation Wine Partner Partner Melbourne

Accommodation Accommodation Public Affairs Advisors Printing Partner Partner Canberra Partner Sydney

Official Catering Community Partner Media Partner Partner Sydney Julius Caesar 31

CORPORATE MEMBERS

AFG BENDIGO BANK EY GILBERT + TOBIN NAB PRIVATE

COMMUNITY PARTNERS

BILL & PATRICIA SCULLY FUND RITCHIE FOUNDATION

GOVERNMENT PARTNERS

The Company is assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and by the NSW Government through Create NSW.

INDUSTRY PARTNERS

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