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Proud paner 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.

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00711-CSR-0518-WME-BS-210x148-1-2.indd 1 25/05/2018 3:03:00 PM 4 Bell Shakespeare

ABOUT BELL SHAKESPEARE SHAKESPEARE’S WORK EXPLORES HUMAN EXPERIENCE AT ITS LIMITS. IT WAS WRITTEN TO BE PERFORMED.

We ensure Shakespeare's work lives and INDIGENOUS ACKNOWLEDGEMENT breathes in theatres, schools and regional venues throughout Australia, where his words Bell Shakespeare acknowledges the people can be truly appreciated. of the land on which we rehearse and perform across Australia. We value the beauty of Shakespeare’s ideas, language and imagery. His work helps us find The Miser will be presented at Sydney Opera modern perspectives on timeless truths. House, Canberra Theatre Centre and Arts Centre Melbourne and we acknowledge the traditional We believe Shakespeare and other great works custodians on whose ancestral land these are not stuck in the past. They are the lens theatres sit. through which we can explore and question the present, and imagine the future. The First Peoples of this nation express their culture through music, dance and storytelling, These plays are not static. They’re constantly and it is a privilege to continue a tradition of helping us make sense of who we are, where storytelling and performance in this country. we’ve been, and where we’re going. And we’re not static either. We acknowledge custodians and elders, past and present, and pay respect to the cultural We’ve been travelling the country for more authority and traditions of this land. than 28 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.

6 Bell Shakespeare

FROM THE EXECUTIVE DIRECTOR AND CHAIR

On behalf of Bell Shakespeare, welcome to our and where we will continue to grow our programs first mainstage production for 2019 – Molière’s and reach. In January we welcomed our John Bell The Miser. Scholarship winners from Hamilton NSW, South Yunderup WA and Darwin NT for a week of For almost 30 years Bell Shakespeare has intensive performance training and mentorship presented audiences with timeless works from in Sydney. We’ll also welcome 30 teachers from great writers. Like Shakespeare, Molière’s work all parts of Australia including Ulverstone, TAS endures because it provokes conversation and and Herberton, QLD for the Regional Teacher reflection, and importantly, it entertains. His Mentorship. They will receive specialist training plays are filled with perceptive insights about in dynamic and innovative ways to teach humanity conveyed via masterful storytelling. Shakespeare, with ongoing support throughout He critiqued society with a sharp sense of the year. humour, challenging us to examine our imperfections but also to laugh at ourselves. Programs like this are at the heart of what we do at Bell Shakespeare – ensuring access to Translated by Justin Fleming for a 21st century the transformative power of language. Looking audience, this version of The Miser is as pertinent ahead, our national mainstage tour of Much Ado today as it was in France in 1668 when it was first About Nothing will visit 28 venues nationwide; performed. I’m certain we’ll all recognise parts of our Players companies will tour to every state our society and ourselves in this tale about family and territory in Australia delivering three, dynamics and greed; and about the conflict and brand-new shows for school students; and our chaos that can reign in the interplay between Teaching Artists will deliver specialised love, manipulation and money. masterclasses, workshops and seminars across the country. It has been a joy to watch this production come together with our Artistic Director Peter We couldn’t do this without the generous support Evans at the helm, and our Founding Artistic we receive from our government partners, Director John Bell back with us for the first time donors, members, corporate partners and trusts since he stepped away from the Company in 2015. and foundations. Together you make it possible They are joined in this production by an incredible for our programs to have a truly national impact, creative team, cast and crew, some of whom reaching more than 140,000 people annually. have worked with us on several past productions For that, we thank you. and some who are new faces to the Bell Shakespeare family. We hope you enjoy this fantastic production and we look forward to continuing to share With this production we begin another year of these timeless stories with you. vast national offerings that include not only our mainstage activities, but our far-reaching education program. 2019 will see us in theatres, schools, communities, rehearsal rooms, juvenile justice centres and many other places and spaces around Australia, sharing our love of great writing, storytelling and theatre. We also look toward 2020, our 30th anniversary year, when we will move into Gill Perkins Anne Loveridge our new home at Pier 2/3 in Sydney’s Walsh Bay Executive Director Chair The Miser 7

SYNOPSIS

Harpagon has 10,000 gold crowns buried in The matchmaker Frosine brings the sorrowful his backyard. Mariane to Harpagon’s manor, comforting her by saying that, with Harpagon’s age, she’ll soon He also has two children — Cleante and Élise be a rich widow! Meanwhile, Harpagon tricks  — each of whom, unbeknownst to him, Cleante into professing his love for Mariane. is in love. Le Fleche, incensed by Harpagon’s continual Cleante loves the beautiful Mariane. Élise loves rudeness, steals his moneybox from the Harpagon’s servant Valère, who saved her from backyard. All hell breaks loose. The conniving drowning. But as both Mariane and Valère are Master Jacques, loyal to his boss Harpagon, poor, Harpagon wouldn’t approve of these frames Valère. While trying to acquit herself, matches, and if he knew, would cut his children Valère and Élise accidently profess their love. off. Cleante tells Élise of his plan to secure a loan and elope. Signor Anselm enters as Valère reveals she’s from a wealthy merchant family from Naples, Mariane’s also caught Harpagon’s eye, and the rest of her family perishing in a shipwreck. Harpagon reveals to Cleante he plans to marry Mariane realises they are sisters. Astounded, her. He’s also arranged for Cleante to marry an Signor Anselm reveals he is their father! old, rich widow; and for Élise to marry the old, rich Signor Anselm (who happily declined a Cleante takes Harpagon’s moneybox hostage, dowry) — tonight! demanding the right to marry Mariane. Harpagon reluctantly agrees, but he won’t pay. Signor Élise is outraged. Harpagon enlists Valère Anselm steps in and agrees to pay for both to convince her to proceed with the marriage, marriages. and Élise agrees to do whatever Valère decides. To keep her position, Valère backs Harpagon, Everyone leaves, except Harpagon – who’s but secretly promises Élise they’ll run off left alone with his moneybox. and elope.

Cleante is still trying to secure a loan. He and his servant La Fleche arrange to meet a miserly moneylender. It turns out to be Harpagon, who’s livid and suspicious at his son’s spending habits.

The Miser 9

MISER

A PERSON WHO HOARDS WEALTH SKINFLINT AND SPENDS AS LITTLE MONEY PENNY-PINCHER AS POSSIBLE HAMMER-HEAD CHEAPSKATE TIGHT ARSE CAT’S PISS WALLET-WATCHER CLOSE-FIST SCROOGE-BUTT MOTHBALLS TIGHTWAD FISH-BUM

CAST CREW

Harpagon John Bell Stage Manager Danielle Ironside Frosine Michelle Doake Stage Manager Katie Hankin Élise Harriet Gordon-Anderson Assistant Stage Manager Georgie Deal Mariane Elizabeth Nabben Production Assistant Paisley Williams Signor Anselm / La Fleche Sean O’Shea Head Electrician Nick Toll Master Jacques Jamie Oxenbould Head Mechanist Bob Laverick Master Simon / Commissioner of Police Head of Costume Rosie Hodge Russell Smith Senior Cutter Robyn Fruend Cleante Damien Strouthos Costume Cutter Brooke Cooper-Scott Valère Jessica Tovey Costume Cutter Claire Westwood Tailor Gloria Bava CREATIVE TEAM Tailor Joanna Grenke Costume Assistant Janelle Fischer By Molière Dresser Belinda Crawford Writer Justin Fleming Work Experience (Costume) Director Peter Evans Tamsyn Balogh-Caristo Designer Anna Tregloan Lighting Designer Matt Cox Set Built by MNR Constructions Composer & Sound Designer Max Lyandvert Props by Jason Lowe Movement & Fight Director Nigel Poulton Scenic Artist Neil Mallard Voice & Text Coach Jess Chambers Wigs supplied by Kylie Clarke Wigs Lighting supplied by Chameleon Touring Systems Freight provided by ATS Logistics 10 Bell Shakespeare

DIRECTOR'S ESSAY BY PETER EVANS

Image right: The Miser rehearsals © Prudence Upton

I first came across Justin Fleming’s adaptations Like Shakespeare, he knew who he was writing of Molière’s works in 2005 when I stumbled on for and had things to say. He saw corruption, a copy of Tartuffe that I ended up directing at hypocrisy and pretension all around him and Melbourne Theatre Company. Thus began my skewered his targets with delight. love affair with these fresh and energetic translations that so perfectly intertwined The modern sitcom owes an enormous debt Molière’s wit with an Australian sensibility. to Molière. His plays often sit in a single location and take place almost in real time. They feature Nearly 15 years on and this will be the fifth small social groups, like the families that are the Molière production Bell Shakespeare has backbone of situation comedy. His archetypes presented, the previous being The School For are immediately recognisable. They are almost Wives (2012), Literati (2016 – co-produced with always selfish, ambitious, careless, sometimes Griffin Theatre Company) and The Misanthrope cruel and wonderfully human and, by the end of (2018 – co presented with Griffin Theatre each play, completely loveable! Forgiveness and Company) all directed by Lee Lewis, and love drive these plays. The villains end up alone Tartuffe (2014) which I was thrilled to direct. while the rest unite.

In 2015 when John Bell made the decision Many of Molière’s plays are poetic, built around to step away from the role of Artistic Director, rhyming couplets. To translate rhyming couplets I knew then that I wanted to bring him back in from the French is notoriously difficult. French a role that would be fun and engaging for him words are easy to rhyme. English words are not. and audiences alike. I considered all the great The form can often be clunky and can slow the roles that Shakespeare has to offer, but I kept speed of the characters’ thoughts. For Molière, coming back to this play – The Miser – and the the form provided pace and energy. It made for role of Harpagon. John is one of Australia’s good drama. The plays are rigorous yet plastic, acting greats, and many people recall his serious yet playful. They are tightly controlled dramatic roles; King Lear, Richard III, Hamlet. yet seemingly improvised. To tackle Molière But for me it’s John’s impeccable comedic one must be quick witted, brave and decisive. timing and inherent wittiness that I love to see him bring to the stage. For this, and so The task of the translator is to be true to the many other reasons, The Miser called to be language and the form of the original work but programmed, with John as its star and Justin if something of the energy and spirit is lost in Fleming as it's translator. translation then the work fails. Justin is a man of the theatre. He loves actors and he loves Molière was an actor, a manager and a writer audiences. Justin has an open heart and a for an ensemble. He was brave and subversive. sense of mischief perfectly suited to translating The Miser 11

Molière. He is respectful but not reverent. Sometimes we get there just before the character He wants to have a relationship with Molière. and feel close to them; we are in their head, we To discover his own voice in the plays of the are with their thoughts. Sometimes the rhyme is French master and find a way to share these not what we expect, and this surprise carries remarkable works with Australians. another kind of connection as we delight in being wrong-footed. This extremely self-conscious form I have had the pleasure of sitting with thousands of dialogue places us continuously in our own of people in audiences all over Australia, in small conversation with the characters and the play regional towns and capital cities and all have but, like a tennis match, we are never entirely been invigorated, shocked and captivated by sure how it will resolve. these works. Many have never seen a Molière play and here it is; foreign and entirely familiar, With John Bell and Justin Fleming at the heart a new play yet quite clearly an old play, Australian of this production, and an astoundingly talented yet undeniably French. ensemble of actors to play with them both, The Miser has a unique voice that allows us There is a game inherent in the rhyme schemes to connect with the work of Molière afresh Justin employs that creates a connection but also to offer a distinctive Australian twist. between the actor and the audience that’s almost childlike in its delight. It taps into A combination that I think will delight many something we experience when we are first across the country. learning. As an audience, we simply cannot predict the end of the line. 12 Bell Shakespeare

COSTUME DESIGN HARPAGON VALÈRE The Miser 13

BY ANNA TREGLOAN CLEANTE OUR PRODUCTION SETS US FIRMLY IN THE WORLD OF THE 1

A fantasy, or perhaps only mildly fantastic lampooning of the entitled ultra-rich. A world where money is a way of keeping score. Where money is not shared or for anything other than protection against the outside world but where, ironically, the hoarding of money produces only paranoia and fear. Those in our sights I think will be obvious, but we satirise in the spirit of Molière, with lightness, warmth and humour yet with a sting in our tail/tale.

ÉLISE — Peter Evans 14 Bell Shakespeare

CREATIVE TEAM

PETER EVANS JUSTIN FLEMING DIRECTOR WRITER

Peter Evans is Bell Shakespeare’s Artistic Justin is an award-winning playwright. For Bell Director. For Bell Shakespeare he has directed Shakespeare he has previously adapted Molière’s Antony and Cleopatra, Richard 3, Othello, Romeo Tartuffe, The School for Wives, The Literati and And Juliet, As You Like It, The Dream, Tartuffe, The Misanthrope. His other plays include Dresden, Phèdre, Macbeth, Julius Caesar, The Tempest, Hammer, The Cobra, Harold in Italy, The Ninth The Two Gentlemen Of Verona, and Intimate Wonder, A Land Beyond the River, Junction, Burnt Letters with the Australian Chamber Orchestra. Piano, Coup D’Etat, The Department Store and His His other theatre credits include being Associate Mother’s Voice. Justin’s librettist credits include Director at Melbourne Theatre Company from The Merry Widow for Opera Australia/State Opera 2007-2010, directing Clybourne Park, A Behanding Companies; Crystal Balls for Compact Opera/ in Spokane, Life Without Me, Dead Man’s Cell Sadler’s Wells; Tess of the D’Urbervilles for Thor Phone, The Ugly One, The Grenade, God Of Productions/Savoy Theatre, London; and Satango Carnage, Savage River, Realism, The Hypocrite, for Griffin Theatre Company/Riverside/Cockroach Blackbird, Don Juan In Soho, Who’s Afraid of Theatre. His book credits include Stage Lines – Virginia Woolf?, The History Boys, Don’s Party, Writing Scripts for the Stage and A Molière The Give And Take, Dumbshow and The Daylight Anthology. Justin’s numerous awards for his plays Atheist. In addition, credits include Pygmalion, include the New York New Dramatists’ Award; The Great, Fat Pig and The Give And Take for selection for the inaugural MTC/Centaur Theatre Sydney Theatre Company; Hamlet, Rosencrantz Exchange in Montréal; shortlisted for the Patrick And Guildenstern Are Dead, King Lear, White Award; the Banff PlayRites Residency; Copenhagen, Proof, Muldoon and The Christian and the Mitch Mathews Award on two occasions. Brothers for New Zealand’s Court Theatre; The Daylight Atheist for Queensland Theatre Company; The Yellow Wallpaper and A Poor Student for the Store Room at Malthouse Theatre; Jesus Hopped The A Train for Red Stitch Actors Theatre; Kiss Of The Spiderwoman for Theatre Adami at the SBW Stables; and The Dumb Waiter for the Studio Company at Belvoir St Theatre. The Miser 15

CREATIVE TEAM

ANNA TREGLOAN MATT COX DESIGNER LIGHTING DESIGNER

Anna Tregloan is a multi-award winning designer, Matt’s career in lighting design has spanned 15 artist and creative producer. She has an years in both Australia and the UK. For Bell extensive history in performing and visual arts, Shakespeare he has previously worked on Romeo and a Masters in Animateuring from the Victorian and Juliet. His other theatre credits include Wharf College of the Arts (VCA). For Bell Shakespeare Revue 2018 and Ruby Moon for Sydney Theatre she has previously designed Julius Caesar, Venus Company; The Seed for Company B; Symphony and Adonis, Taming of the Shrew and Twelfth for Legs On The Wall; This Much Is True and A View Night. Her other theatre credits include Spring From The Bridge for Red Line Productions; and Awakening and Optimism for Sydney Theatre Antigone, The Libertine and Othello for Sport For Company; The Odyssey, Criminology, Eldorado, Jove. His other credits include lighting design for Journey of a Plague Year, Sleeping Beauty, the Goldner String Quartet for Musica Viva; Tell-Tale Heart and Babe in the Woods for Dubboo - Life of a Songman, Our Land People Malthouse Theatre; My Bicycle Loves You and Stories, Blak and Belong for Bangarra Dance The Tale of Salmunori for Legs on the Wall; Certia Theatre; Reflections on Gallipolifor Australian Anak for Polyglot Theatre/Paper Moon Puppet Chamber Orchestra; The Mousetrap and A Murder Theatre; and Between 8&9 for ChamberMade Is Announced for Louise Withers and Associates; Opera/Sechuan Conservatory of Music/AsiaTOPA; The Aurora Spiegeltent and The Famous along with work with Ranters Theatre, Back To Spiegeltent for Sydney Festival; and His Music Back, Circus Oz, Melbourne Theatre Company Burns for Sydney Chamber Orchestra. During his and Force Majeure. Her installations and time in London, Matt worked with student exhibitions include BLACK for Malthouse Theatre; directors attending the Royal Academy of Dramatic The Ghost Project with her company The Art (RADA), the Edinburgh Fringe Festival and John Association of Optimism; Wonderland and The Stahl’s solo show Blindman. Matt currently tutors Nightingale and the Rose for ACMI; Museum of for the National Institute of Dramatic Art (NIDA). Love and Protest for the Sydney Gay and Lesbian Mardi Gras; Perfection and Blood for Science Gallery 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. 16 Bell Shakespeare

CREATIVE TEAM

MAX LYANDVERT NIGEL POULTON COMPOSER AND MOVEMENT AND SOUND DESIGNER FIGHT DIRECTOR

Max is a multi-award-winning composer, sound Nigel is an award-winning fight and movement designer and theatre maker. Max has previously director, weapons specialist, stunt performer and worked with Bell Shakespeare for Antony and actor. For Bell Shakespeare his credits include Cleopatra and The Merchant Of Venice. Other Antony and Cleopatra, Richard 3, Othello, three theatre credits include Top Girls, All My Sons, productions of Hamlet, three productions of The Testament Of Mary, The Golden Age, Endgame, Romeo And Juliet, three productions of The Children Of The Sun, Macbeth, Perplex, Waiting For Dream/A Midsummer Night’s Dream, Macbeth, Godot, Fury and Mrs. Warren’s Profession for Julius Caesar, King Lear, The Servant of Two Sydney Theatre Company; Book Of Exodus Part 1 Masters, two productions of As You Like It, Twelfth & 2 for Fraught Outfit; The Winter’s Tale for Night, and Wars of the Roses. In opera, theatre Queensland Theatre Company; Dead City, The and dance, Nigel’s credits include works with Wizard Of Oz, Oedipus Rex, The Business, The Metropolitan Opera, The Australian Ballet, The Ham Funeral, UBU and The Wizard Of Oz for New York City Ballet, Washington Opera, Opera Belvoir; Gulls, Macbeth, The Idiot, Kafka Dances, Australia, Circus Oz, Melbourne Theatre Courtyard Of Miracles, Closer, The Rose Tattoo Company, Sydney Theatre Company, Queensland and Twelfth Night for State Theatre Company of Theatre, Belvoir, La Boite Theatre, Playbox South Australia; and Art And Soul and Design For Theatre and Kooemba Jdarra. His film credits Living for Melbourne Theatre Company. Max won include Occupation 2, Pirates of the Caribbean V, an AACTA award for best music in television for The Water Diviner, Winter’s Tale and The Bourne The Kettering Incident, and composed the music Legacy. His television credits include Deadline for The Devil’s Playground. His documentary Gallipoli, The Good Wife, Person of Interest, credits include Gayby Baby and After The Wave, Boardwalk Empire, The Sopranos, 30 Rock and and film credits include Hey Hey It’s Esther Law & Order: Criminal Intent. Nigel is a practitioner Blueburger, The Sense Of It and Two Wheeled Time of Vsevolod Meyerhold’s Theatrical Biomechanics Machine. Max has won the Helpmann Award for system and is member and past president of the Best Sound Design twice, as well as receiving Society of Australian Fight Directors Inc, is a numerous other nominations. Recently Max has Certified Fight Director and Teacher with the composed the music for the Australian entry for Society of American Fight Directors, and an the Venice Biennale 2019. Honorary Fight Director with Fight Directors Canada. Nigel has been awarded a Green Room Award for outstanding contribution to the stage. The Miser 17

CREATIVE TEAM

JESS CHAMBERS VOICE AND ME? TEXT COACH WELL OFF? SLANDER AND LIES! Jess works internationally as a voice and dialect coach. For Bell Shakespeare she was the voice — Harpagon coach for Julius Caesar, The Misanthrope, The Players, Antony and Cleopatra, The Merchant Of Venice, Richard 3, Othello, Romeo And Juliet and the 2014 national tour of Henry V. Her other theatre credits include How To Rule The World, Power Plays, A Midsummer Night’s Dream and Battle Of Waterloo for Sydney Theatre Company; Matilda The Musical in Australia for The Royal Shakespeare Company and Louise Withers and in London for The Royal Shakespeare Company; and Alice In Wonderland, Sweet Charity, You Never Can Tell and Pygmalion for The Shaw Festival Theatre (Canada); as dialect coach: School of Rock for GWB Entertainment and The Really Useful Group; Jersey Boys for Rodney Rigby, TEG Dainty and The Dodgers; Les Misérables for Cameron Mackintosh and Michael Cassel; and The Sound Of Music for John Frost and The Really Useful Group; and as assistant voice coach: Noises Off, Romeo And Juliet and Storm Boy for Sydney Theatre Company. Her television credits include Frayed (ABC/Sky TV) and The Unlisted (ABC). Her film credits include dialect assistance on Hacksaw Ridge. Jess trained at Central School of Speech and Drama. 18 Bell Shakespeare The Miser 19

CAST

JOHN BELL AO, OBE MICHELLE DOAKE HARPAGON FROSINE

John Bell is the founding Artistic Director of Bell Michelle is a graduate of NIDA and has worked Shakespeare and one of Australia’s most extensively as an actor, singer and voice over acclaimed theatre personalities. For Bell artist. For Bell Shakespeare she has appeared Shakespeare he has appeared in As You Like It, in A Midsummer Night’s Dream, Measure For Henry 4, Faustus, King Lear, Anatomy Titus Fall Measure, The Merchant Of Venice, Macbeth, Of Rome, Moby Dick, Richard 3, Troilus + Cressida, The Winter’s Tale (1997 & 2014) and Romeo and Long Day’s Journey Into Night, The Tempest, The Juliet. Her other theatre credits include Arcadia, Winter’s Tale, Coriolanus, Much Ado About Nothing, Dead White Males, The Wharf Review, The Twelfth Night, Macbeth, Hamlet and The Merchant Wonderful World of Dissocia and After Dinner for Of Venice. His other recent theatre credits Sydney Theatre Company; A Little Night Music include Uncle Vanya for Sydney Theatre Company; for Melbourne Theatre Company; Japes, The Father for Sydney Theatre Company/ Birthrights, Warning: Explicit Material, Camp, Melbourne Theatre Company; and Diplomacy Cruise Control, Absent Friends and Luna Gale for Ensemble Theatre. Directing credits include for Ensemble Theatre; Mrs Warren’s Profession, Tosca, Carmen and Madame Butterfly for Opera Crimes Of The Heart and many other seasons Australia. John joined the Royal Shakespeare for Marian Street Theatre; Stories From Suburban Company in 1965 and became an associate artist Road and The Corporal’s Wife for Perth Theatre in 1966; joined Philip Hedley’s Company at Company; Meeting Mozart for CDP; and The Theatre Royal, Lincoln in 1969; became the Hatpin an Australian Musical. Her film and Head of Acting at the National Institute of television credits include Oscar and Lucinda, Dramatic Art (NIDA) and co-founded Nimrod Doctor Doctor, Puberty Blues, Rake and All Saints. Theatre Company in 1970. John’s many awards Her voice credits include Enyo, Zigby, Deadly, as an actor and director include two Helpmann Seaside Hotel, Gloria’s House and she is regularly awards for Best Actor, a Producers and Directors heard on Media Watch. Michelle has won two Guild Award for Lifetime Achievement and the Sydney Theatre Awards for Best Actress, a JC Williamson Award (2009) for extraordinary Helpmann nomination, was a recipient of the contribution to Australia’s live entertainment Gloria Payton/Gloria Dawn Fellowship and an industry. John has been a proud member of Ian Potter Fellowship. Actor’s Equity since 1963. 20 Bell Shakespeare

CAST

HARRIET GORDON- ELIZABETH ANDERSON NABBEN ÉLISE MARIANE

Harriet is a graduate of the West Australian Elizabeth is a graduate of VCA. For Bell Academy of Performing Arts (WAAPA). This is Shakespeare she has previously performed in her first production with Bell Shakespeare. Her Othello. Her other theatre credits include Picnic other theatre credits include Picnic at Hanging at Hanging Rock, Antigone and Tis Pity She’s A Rock for Malthouse; Kindertransport for Whore for Malthouse Theatre; Dance Better At Darlinghurst Theatre Company; Leaves for Kings Parties for Sydney Theatre Company; The Crucible Cross Theatre/Some Company; You Got Older for Melbourne Theatre Company; The Rover for for Mad March Hare Theatre Co; and Lifestyle Belvoir; In Real Life for Darlinghurst Theatre; of the Richard and Family for Next Wave Festival. Triangle for MKA; and The Trouble With Harry for Harriet’s film credits include The Greenhouse, MKA/Melbourne Festival. Her film and television Swiss Avalanche and Splendours of a Mind. credits include Truth, 100% Wolf, The Doctor Blake Her television credits include Love Child (Series 4) Murder Mysteries, Restoration, Winners and Losers and The Secret Daughter. Harriet received a and Childhood’s End. Elizabeth’s radio and nomination at the 2017 Performance WA Awards voiceover work includes Going and Going, Women and Green Room Awards for Best Newcomer. of Troy and SheZow. Elizabeth was nominated for Best Newcomer at the 2013 Sydney Theatre Awards and was nominated for Best Actress at the 2014 Greenroom Awards. She is a member of MEAA.

The Miser rehearsals © Prudence Upton The Miser 21

CAST

SEAN O’SHEA JAMIE SIGNOR ANSELM OXENBOULD / LA FLECHE MASTER JACQUES

Sean has worked extensively in theatre Jamie has worked in the performing arts for over throughout the country since graduating from 25 years. For Bell Shakespeare he has previously WAAPA. He has a long association with Bell performed in The Literati. His other theatre credits Shakespeare, having appeared in around twenty include Eurydice and The Village Bike for The Old productions including their UK tour of The Fitz; The Tempest for Sydney Theatre Company; Comedy of Errors, Macbeth, Richard III and more Neighbourhood Watch, The Spear Carrier, When recently, Tartuffe and Hamlet. Other theatre Dad Married Fury, Casanova, Last of the Red Hot highlights include Saint Joan, Dinner, A Flea in Her Lovers, Chapter Two, Fully Committed and Seven Ear, Mariage Blanc, The Crucible, Scenes from a Stories for Ensemble Theatre; The Dapto Chaser Separation and The Way of the World for Sydney for Critical Stages; The Hypochondriac for Theatre Company; Rupert for the Kennedy Centre Darlinghurst Theatre; and Rosencrantz & and Melbourne Theatre Company; The Rasputin Guildenstern Are Dead for Pork Chop. His film Affair, Tribes, Sweet Road and The Cavalcaders and television credits include My Place 2, Gasp, for Ensemble Theatre; Wolf Lullaby for Griffin; The Raggs, Flipper & Lopaka, Secret City 2, Playschool Taming of the Shrew for State Theatre Company and Oh Yuck. Jamie is a member of MEAA. of South Australia; Darlinghurst Nights for Hayes Theatre and The Libertine for Sport For Jove. His television and film credits include McLeod’s Daughters, Murder Call, Water Rats, Chlorine Dreams, The Rage in Placid Lake and Wonderland.

The Miser rehearsals © Prudence Upton 22 Bell Shakespeare

CAST

RUSSELL SMITH DAMIEN MASTER SIMON / STROUTHOS COMMISSIONER CLEANTE OF POLICE

Russ is a proud Ngarrindjeri man. He is a graduate For Bell Shakespeare Damien has previously of NIDA. For Bell Shakespeare Russ has appeared performed in The Merchant Of Venice, Romeo in Julius Caesar and Tartuffe. His other theatre And Juliet, The Tempest, Henry V and Actors At credits include Acrobats for Belvoir; Story of Work. His other theatre credits include Harp In Miracles at Cooke’s Table for Griffin Theatre The South for Sydney Theatre Company; Inner Company; Today We’re Alive for Wildie Creative Voices for Red Line/Don’t Look Away; Lenny Bruce Enterprises; Stainless Steel Rat for Wayne for Tamarama Rock Surfers; and The Merchant Of Harrison Production; Macquarie for Riverside Venice, Twelfth Night, All’s Well That Ends Well, Theatres; Shanghai Lady Killer for Stalker Theatre Cyrano De Bergerac, Much Ado About Nothing Inc.; Wild Boys for Theatre of the Deaf; It’s A Dad and Romeo And Juliet for Sport for Jove. Damien’s Thing for TLM; Ngununy Over My Backyard and film and television credits include I am Woman, Mimih for Art Gallery of NSW; and Sleeping Around Sydney, Don’t Stop For No One, Frayed and for B Sharp. His television credits include Redfern Wonderland. He was nominated for Best Actor Now, The Strip, Home and Away and Comedy Inc. at the Sydney Theatre Awards 2016. Damien is a member of MEAA.

The Miser rehearsals © Prudence Upton The Miser 23

CAST

JESSICA TOVEY VALÈRE

For Bell Shakespeare Jessica has previously appeared in The Merchant Of Venice. Her other theatre credits include Twelfth Night and Constellations for Queensland Theatre; Double Indemnity for Melbourne Theatre Company; Truck Stop for Q Theatre; and Seven Little Australians for New Theatre. Her television credits include Bad Mothers, True Story With Hamish And Andy, Wolf Creek, Movie Juice, Wonderland, Underbelly: The Golden Mile, Mr And Mrs Murder, Paper Giants: The Birth of Cleo, Dance Academy, Cops LAC, Panic at Rock Island, Wicked Love, Rescue Special Ops, Home and Away and Wicked Science. Her film credits include Tracks, Adoration, Lemon Tree Passage and Beast No More. Jessica is a member of MEAA.

The Miser rehearsals © Prudence Upton I GIVE TO THEE

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We deliver world class training, dynamic performances and immersive learning experiences that bring Shakespeare to life, for students of all ages and their teachers.

80,000+ students and teachers in 90 young people in juvenile justice regional, remote and urban Australia centres were challenged and inspired reached by Bell Shakespeare in 2018. by our Artist in Residence program.

10,000+ primary aged students were Almost 17,000 students gasped and introduced to the magic of Shakespeare’s cheered through a student-focused language and stories. production of Romeo and Juliet at Sydney Opera House and Arts Centre Melbourne.

30 teachers from regional Australia We live-streamed Romeo and came to Sydney for intensive Juliet into 46 classrooms across professional learning through Australia. our Regional Teacher Mentorship. 89 OF FEDERAL ELECTORATES REACHED IN 2018 26 Bell Shakespeare

THANK YOU TO OUR DONORS

FOUNDING BENEFACTOR INFINITE SPACE

The late Anthony Gilbert AM Thank you to our Infinite Space Bill Hayward OAM & Alison Hayward capital campaign donors who Linda Herd PRINCIPAL BENEFACTOR are helping us build the future Greg Hutchinson AM & for Bell Shakespeare. Lynda Hutchinson La Trobe Financial Sarah Lowe “I could be bounded in a Bruce Meagher & Greg Waters LIFE MEMBERS nutshell and count myself Peter & Felicia Mitchell a king of infinite space…” Serow-Neijts Family Ilana Atlas Lady Potter AC CMRI Hamlet, Act 2, Scene 2 John Bell AO OBE Kenneth Reed AM Tim Cox AO & Bryony Cox THE DREAMERS Helen Williams AC Martin Dickson AM & Susie Dickson Special thanks to our major donors Graham Froebel for giving us the space to dream: WE HAPPY FEW Virginia Henderson AM Sandra & Bill Burdett AM David Pumphrey Ilana Atlas & Tony D'Aloisio AM Tim Cox AO & Bryony Cox Dr Kimberly Cartwright & Michael S Diamond AM MBE ARTISTIC Charles Littrell Jim & Sue Dominguez DIRECTOR'S CIRCLE Kevin Cosgrave Eva & Timothy Pascoe Martin Dickson AM & Susie Dickson David & Jill Pumphrey Thank you to our 2019 Artistic Lachlan & Rebecca Edwards Charlie & Sandy Shuetrim Director’s Circle members who are Kathryn Greiner AO George & Sabrina Snow passionate about the process of Anne Loveridge Ezekiel Solomon AM making theatre and are supporting Andrew Low Anonymous and observing this year’s mainstage Nick & Caroline Minogue and education seasons. Dr S Anne Reeckmann & We would also like to thank our Dr Gary S Holmes donors who contribute up to $1,000 Jennifer Darin & Dennis Julia Ritchie – every gift makes a difference to Cooper Ruth Ritchie what we are able to achieve. Beau Deleuil Jann Skinner Lachlan & Rebecca Edwards Gene Tilbrook LEGACY GIFTS Shannon Finch Alden Toevs & Judi Wolf Jinnie & Ross Gavin We remember and honour those Anonymous David & Deborah Friedlander who have generously supported Bell Linda Herd Shakespeare through a bequest. THE NOBLES Andrew Low Dr Brett Archer Sam Sheppard The late Brian Timothy Carey Keith Bayliss & Holly Mitchell Alden Toevs & Judi Wolf The late Anthony Gilbert AM Andrew & Catherine Caro The late Catherine Guy Philip CrutchfieldQC & Amy Crutchfield Diane & John Dunlop Shannon Finch Natalie Hickey Justice François Kunc & Felicity Rourke Joe Hayes & Jacinta O'Meara The Miser 27

ANNUAL GIVING Gene Tilbrook The Hon Joseph C Campbell QC Sally White OAM John Cauchi AM SC & Ms Catherine We are incredibly grateful for our Walker PSM Annual Donors who contribute $5,000+ Jenny & Stephen Charles essential funds, via Supporting Cast Fiona Archer George Clark and Sharing Shakespeare. These Ilana Atlas & Tony D'Aloisio AM Collarts visionary donors ensure we are able John Bell AO OBE & Anna Volska Christine Condos to create, collaborate and educate Janet Calvert-Jones Darren Cook on the mainstage and beyond. Phil Chronican Russ & Rae Cottle Robert & Carmel Clark Jason Craig $50,000+ Kevin Cosgrave Professor A T Craswell Tom & Elisabeth Karplus David & Deborah Friedlander Joanne & Sue Dalton Sue Maple-Brown AM Joe Hayes & Jacinta O'Meara Coles Danziger Foundation Linda Herd Darin Cooper Foundation $20,000+ Julia & Nick Holder Antony de Jong & Belinda Plotkin Robert Albert AO & Libby Albert Dr Sue Kesson Beau Deleuil Philip Crutchfield QC & Justice François Kunc & Mark Dempsey & Jodi Steele Amy Crutchfield Felicity Rourke John Dever Jane Hansen & Paul Little AO Dr Kathryn J Lovric & Dr Roger Allan Dr Antonio Di Dio John Hindmarsh AM & The Alexandra & Lloyd Martin Family Michael S Diamond AM MBE Rosanna Hindmarsh OAM Foundation Jane Diamond Dr S Anne Reeckmann & Belinda Gibson & Jim Murphy Diane & John Dunlop Dr Gary S Holmes J R Nethercote Michael & Roslyn Dunn Low Family Foundation Alice Arnott Oppen OAM Dr & Mrs B Dutta Annie and John Paterson Rebel Penfold-Russell OAM Ernst & Young Foundation Susan Pugh Elizabeth Evatt AC Neil & Rachel Sinden Smith Charitable Fund Jean Finnegan & Peter Kerr Andrew Sisson AO Dick & Sue Viney Diana & Richard Fisher Alden Toevs & Judi Wolf Maureen Wheeler AO & Christopher Fox Tony Wheeler AO Graham Froebel $10,000+ Anonymous (2) Mary-Jane Gething & Joe Sambrook Susan Burns Jennifer Giles Louise Christie $1,000+ Sharon Goldschmidt Michael & Christine Clough Jennifer Anderson Louise Gourlay OAM Martin Dickson AM & Susie Dickson Dr Brett Archer Richard & Anna Green Lachlan & Rebecca Edwards Dr Margaret Barter Mark & Patricia Grolman Vic & Katie French Helen Baxter Leigh Hammond Greg Hutchinson AM & Paul Bedbrook Steven & Kristina Harvey Lynda Hutchinson The Staff of Bell Shakespeare The Hon Peter Heerey AM QC & Anne Loveridge Berg Family Foundation Sally Heerey Nick & Caroline Minogue Binns & Moore Generosity Fund Jane Hemstritch Mrs Roslyn Packer AC Christy Boyce & Stephen Roberts Natalie Hickey Kenneth Reed AM Dr John Brookes In memory of Armon Hicks Jnr John B Reid AO & Virginia Brown Lilian Horler Lynn Rainbow Reid AM James Browning M Horne Jacqui Scheinberg Jan Burnswoods Dr David Howell & Sarah Howell Peter & Diane Sturrock John & Alison Cameron Fiona Hulton 28 Bell Shakespeare

Mike Hutchinson Keiko Schmeisser Rodney & Donna Ravenscroft Vincent Jewell Tim & Lynne Sherwood Debra Reinecke & Stuart Le May John Colet School Geoffrey A Starr Heather Ridout AO Cam & Caroline Johnston Peter Stirling & Kimberley Kane Trudie Rogers Peter & Elizabeth Kelly Kristin Stubbins Jane Sandilands Michael Kingston Anne Swann & Robert Johanson Penelope Seidler AM John Knowles OAM Alan & Jenny Talbot Sam Sheppard In Loving Memory of Dr Serge David & Jenny Templeman Jann Skinner Kunstler Thales Australia Douglas Sturkey CVO AM Julie & Michael Landvogt Robert & Kyrenia Thomas Helen Swift & Les Neulinger Bob Lim & Jennifer Ledgar Mike Thompson Robin Syme AM & Rosemary Syme Owen Lennie Janet Whiting & Phil Lukies Suzanne & Ross Tzannes AM Dr Kimberly Cartwright & George M Wilkins Jeanne Vandenbroek Mr Charles Littrell Helen Williams AC The Hon Justice Anthony Whealy & Richard & Elizabeth Longes Annabel Williamson Anne Whealy Linda Lorenza Anonymous (13) Dr Peter White Adrian Lotrean & Jerome Tse Peter Willis SC & Eleneth Woolley Helen Bauer & Helen Lynch AM $500+ Marie Wright Brendan & Jodie Lyons Colin Adams & Richard Adams Anonymous (7) Ian & Wendy Macoun Bill & Kate Anderson Maple-Brown Abbott Limited Adrianne Anderson We would also like to thank our Carina Martin Ken Barton & Linda Chung family of donors who generously The Hon Jane Mathews AO Kay Beatton contributed up to $500. Every gift Diane Matthews Loretta Barnard makes a difference to what we are Julianne Maxwell Renee Boundy able to achieve. Banjo McLachlan & Paul Mahony Rick Burrows Luke Merrick Yola & Steve Center All donor lists current as of 30 Dr Diana Milliner & Robert Milliner Tim Cox AO & Bryony Cox January 2019. Dr Alana Mitchell S Ford & C Curtis Peter & Felicia Mitchell Annabel Dulhunty Annabelle Mooney Jeanmaree Furtado & Scott Wilson Jason Murray Justin & Anne Gardener Naylor-Stewart Ancillary Fund Leigh & Adele Gordon Patricia Novikoff Sue Griffin Kathy Olsen & Bruce Flood Elizabeth M Hamilton Catherine Parr & Paul Hattaway Lesley Harland Eva & Timothy Pascoe Dr Anthony Harris Meredith Paynter Mathilde Kearny-Kibble Gill Perkins & Family Dr Angela Kirsner & Dr Richard CMDR Warwick Potter RAN Kirsner J & K Preedy Cheryl Lo Paul & Jacqueline Pryor Robin Low David & Jill Pumphrey Georgia Lynch Bill & Katharine Ranken Carol & Rod Mackenzie Bryce Raworth & Isobel Williams The Hon Ian MacPhee AO & Mary & Michael Regan Julie MacPhee Greg J Reinhardt Douglas Meagher QC & Rosemary Ruth Ritchie Meagher Mark & Anne Robertson Keith Bayliss & Holly Mitchell Vio Samson J Norman The Miser 29

BELL STAFF AND BOARD

ARTISTIC DIRECTOR ADMINISTRATION

Peter Evans Chief Operating Officer John Henderson Finance Manager Jeanmaree Furtado EXECUTIVE DIRECTOR Personnel Manager Susan Howard Finance Officer Nirali Parikh Gill Perkins Accounts Assistant Amanda Carter

Associate Director James Evans BOARD OF DIRECTORS Artistic Administrator Imogen Gardam Voice and Text Coach Jess Chambers Anne Loveridge (Chair) Sally Basser Head of Education Joanna Erskine Jane Caro Resident Artist In Education Huw McKinnon Philip Crutchfield QC Lachlan Edwards Head of Production Daniel Murtagh Peter Evans Production Manager Ben Howlett Natalie Hickey Company Manager Charlotte Barrett Andrew Low Deputy Company Manager Emma White Jason Murray Technical Supervisor Andrew Hutchison Gill Perkins Education Programs Officer Monique Johnstone Gene Tilbrook Alden Toevs Head of Development Debra Reinecke Major Gifts and Philanthropy Manager Diyana Mansour (The Observership Program) Olivia Wynne Annual Giving Manager Sytske Hillenius ARTISTIC ADVISORY PANEL Community Partnerships Advisor Amy Hardingham Jane Caro Development and Events Executive Peter Evans Brooke Shelley Rebecca Huntley Partnerships Executive Elle Hrobat Fran Kelly Development Coordinator Harriet Lugsdin Benjamin Law Sandra Levy Head of Marketing Fiona Hulton Nakkiah Lui Marketing and Communications Manager Sally Buckingham Marketing and Communications Coordinator Jennifer McGrath Ticketing and Data Manager Amelia Stubbs Education Marketing Sales Coordinator Elizabeth Carr Customer Service Assistant Alex Kelly Marketing Assistant Julia McNamara 30 Bell Shakespeare

THANK YOU TO OUR PARTNERS

PREMIUM PARTNER MAJOR PARTNER

National Schools Partner

PROGRAM PARTNERS

Perth Season Partner Regional Teacher Mentorship Partner

COMPANY PARTNERS

Company Partner Accommodation Wine Partner Legal Partner Partner Melbourne

Accommodation Accommodation Catering Partner Exclusive Spirits Partner Canberra Partner Sydney Partner

Printing Partner Public Affairs Advisors The Miser 31

CORPORATE MEMBERS

AFG EY 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

The design and printing of this program has been made possible thanks to the generous support of the following: A Bell Shakespeare membership is about giving you value, whether you are looking for discounts, access to behind the scenes experiences, or just want to be part of the Bell Shakespeare family.

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