THE FATHER by Florian Zeller, translated by Welcome

Florian Zeller’s The Father is a profound example of theatre’s ability to transport audiences to places and times unknown, sharing together the laughter, joy and heartbreak that life throws up.

In this case, we are plunged into André’s world – seeing his life through his eyes as he grips to the familiar and tries to make sense of the unfamiliar. Played with astonishing mastery by John Bell, The Father marks John’s very welcome return to MTC after last performing in Long Day’s Journey into Night 18 years ago.

John is truly one of Australia’s finest actors and his commanding performance, directed with great skill by Damien Ryan, is one that will stay with you long after the curtain comes down.

The Father is one of three Australian premieres at MTC this year, programmed alongside acclaimed world premieres of Australian plays and fresh takes on much loved classics.

It is also another outstanding co-production with Sydney Theatre Company. We look forward to joining creative forces with STC again in 2018 for Lucy Kirkwood’s The Children, starring Pamela Rabe, Sarah Pierse and William Zappa, and directed by our Associate Director Sarah Goodes.

We love bringing Melbourne a range of theatrical experiences each season and as we begin to look forward to 2018 there are 13 wonderful productions on the horizon. Amongst them are a further five exclusive Australian premieres of the best international works – so if you haven’t yet subscribed hurry up to secure the best seats at the best prices.

See you at the theatre.

Virginia Lovett Executive Director

Melbourne Theatre Company acknowledges the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which Southbank Theatre and MTC HQ stand, and we pay our respects to Melbourne’s First Peoples, to their ancestors past and present, and to our shared future.

MTC is a department MTC is assisted by the Commonwealth Government through the Australia Council, MTC is a member of Live of the University its arts funding and advisory body, and by the State Government of Victoria through Performance Australia and the of Melbourne. Creative Victoria. Australian Major Performing Arts Group. MELBOURNE THEATRE COMPANY PRESENTS A MELBOURNE THEATRE COMPANY & SYDNEY THEATRE COMPANY PRODUCTION THE FATHER by Florian Zeller, translated by Christopher Hampton

2 NOVEMBER – 16 DECEMBER 2017 Arts Centre Melbourne, Fairfax Studio

— Cast — — Creative Team — Laura Faustina Agolley Director Damien Ryan André John Bell Set & Costume Designer Alicia Clements Pierre Marco Chiappi Lighting Designer Rachel Burke Man Glenn Hazeldine Composer & Sound Designer Steve Francis Anne Anita Hegh Assistant Director Priscilla Jackman Woman Natasha Herbert Voice & Text Coach Charmian Gradwell Production Manager Kate Chapman Stage Manager Natalie Moir Assistant Stage Manager Katie Hankin Assistant Stage Manager Christine Bennett Rehearsal Photographer Christine Messinesi Production Photographer Philip Erbacher

— About the play — You can’t fool André. But there’s definitely something fishy going on. And while he may be eighty years old and apt to forget things, they are only ever small things. Like where he’s put his watch. It doesn’t explain why people are messing around with things in his flat. Or why his daughter allows strangers to come in and threaten him. No, something’s going on and he’ll get to the bottom of it.

For information regarding the performance running time please see a member of the Front of House team.

By special arrangement with Theatre Royal Bath Productions. Cover photo: Justin Ridler Happenstance and desire

Playwright Florian Zeller discusses his entry into the world of theatre.

I had known theatre as a reader, but I had never been to the theatre. That changed when my first novel [Neiges artificielles or Artificial Snow] came out and someone asked me to write the libretto for an opera. I didn’t know much about theatre but I knew about music so the project seduced me and, without knowing what I was doing, I was taking my first step towards being a playwright.

We created the opera in Montpellier – it was a very big team with people from the circus, musicians, singers and dancers. The experience was so impressive and left me Florian Zeller so happy, that I had to keep digging deeper into that territory. It wasn’t something that Still in his thirties, Florian Zeller has proven was calculated, that was analytical, that was himself one of France’s finest contemporary done by sacrificing something else, it was writers, winning prizes and acclaim for both simply the movement of life and desire. novels and plays. Here, he discusses his writing process and the inspirations for What were you able to explore, to find, The Father. in writing for theatre that you hadn’t found in writing novels? You began your writing career as a novelist, but have since turned largely Writing for theatre brings related joys: the to writing plays. What brought about joy of building something with other people the change? – something bigger than yourself – and the joy of a group of actors, of the theatre-life, My dream as a young boy was to be a the act of rehearsing, working and dreaming novelist not a playwright, simply because alongside other people. Also, something I wasn’t that familiar with theatre. What that truly touches me about theatre is the brought me to writing for theatre was a fact that it’s a simple art, it’s very modest. succession of happenstance and desire. You can’t get away from the illusion. It was like falling in love – I discovered this art form that I knew nothing about and As an audience, we observe the illusion, I was dazzled by it. are conscious of the theatre’s unreality, On stage: Glenn Hazeldine and John Bell

‘Theatre is the language of children, of play, of illusion.’ yet we are still touched by and sensitive actor whom I admire a lot. That was one to the destiny of the characters in front of source for my writing – I wanted to write us, even though these are actors performing for this body, this voice, this presence. emotions and feelings that are artificial. Artificial in the noble sense of the word, Did you bring with you the lessons you meaning that they have been crafted. learnt as a novelist and put them to work However, they are still communicated as as a playwright? if they were the truth. And this is what I find so deeply moving about theatre. At the same I believe they are very different paths. time as you know that everything is false, I have often been told that there are two your soul is transported as if it were true. types of theatre writers. Those who come Theatre is the language of children, of play, from theatre: actors who one day start of illusion. It’s also the language of magic – writing and who benefit from their intimacy and it’s that dimension of magic, very modest with the theatrical space. In France, the magic, that I find most striking about theatre. foremost would be Molière. And then there are others, rarer and often less talented, When you set out to write The Father, who come from literature, like Albert what was the initial inspiration? Camus or Henry de Montherlant. They are not actors and, in general, they I wrote this play for a French actor, Robert write theatre that is more literary and Hirsch, who was 88 at the time and is an less playful. In rehearsal (top): Marco Chiappi and Anita Hegh; (above from left) on stage: Glenn Hazeldine and John Bell; Natasha Herbert and Anita Hegh

I didn’t come from theatre, I wasn’t an process, it’s not the phrasing that creates actor. But I had this desire that I wanted poetry, because words don’t have an to satiate. Still, I didn’t feel connected to intrinsic value. An actor can say ‘yes’ but this family of literary authors. My material you can hear ‘no’. Behind every word can wasn’t literary. It was very simple. I felt very be hidden an infinite range of meanings, connected to the actors, to the act of play, tensions, unavowed desires. n to situations. But my only sense of this was intuitive, not experiential. Translated from French by Marie Laubie and Carl Nilsson-Polias.

What guided me was the consciousness Go online to see the full gallery that words don’t have intrinsic value. of The Father production and That’s why my theatre is not purely literary. rehearsal images. It’s not lyric. It’s not poetic. In the theatrical mtc.com.au/backstage In conversation

John Bell and Damien Ryan

On a break from rehearsal, John Bell and Damien Ryan discuss working together on The Father, being actor-directors and the last 50 years of Australian theatre.

John, is there a difference in how you approach a contemporary character like André compared with how you approach the Shakespearean roles you’re best known for? Is it still primarily the text?

John Bell: It’s totally the text. There’s truth John Bell on stage in the saying that there’s no such a thing as a character – rather, the character emerges by adding up all the dot points that the text are happening to him and around him, provides. If you’ve got some kind of created trying to put all the pieces together. character in mind and you’re thinking about It’s a bit like Hamlet in a way – Hamlet make-up and costumes, well that’s the reacts to things that happen to him and wrong way around. You simply play every tries to puzzle it out, discover what it’s all moment of the text and look at the end about. He’s not a passive character, he’s result and say, ‘Ah, so that’s it! That is the just a reactive character. Macbeth is all character.’ That applies to a Shakespeare action. So, in that sense, it’s fascinating play as much as any other. and I won’t know what it’s all about until opening night, if then! In The Father, there really is no character – there are flashes of memory and flashes Damien, what is it like to have an actor of impetus and things happen randomly and in the room like John who has directed you put all those together. It can be played so many plays? Indeed, he’s directed you. by any sort of actor – the age is important, I suppose, but there’s no description of John Bell: It’s terribly intimidating! the character as there might be at the beginning of a Bernard Shaw play (‘He is Damien Ryan: Well, having watched John 45 with a ginger moustache and a twinkle direct many times, I’ve seen that he’s very in his eye…’). There’s none of that sort collaborative. He’s always asking questions of descriptive writing in The Father. of the actors, he’s never dictatorial or telling you precisely what something is. He helps It’s a very reactive role. André doesn’t do you understand the world of the play that much, he’s always reacting to things that you are in. It’s extremely playful. ‘We have to keep reaffirming the importance of theatre, and the arts in general. ’ John Bell (Left) John Bell on stage

It’s probably a great relief for him to be an directing this show? You or me?’ And I said actor sometimes, not to be thinking about ‘OK, right, I’ll sit back and let you do it.’ the entire play and dealing with everyone’s The thing is, I trust Damien entirely and problems – just to be focussed on his own enjoy the way he works, so I feel very little perspective. Still, it is intimidating knowing temptation to barge in with ideas or it’s John Bell … suggestions. And Damien is always very collaborative and looking for people to JB: No it’s not! contribute. So, putting all those things together, I just enjoy being part of the DR: It is. But it doesn’t feel like it once we get process. And it really is a relief not to have underway with the work. We’re all working to worry about the props and the costumes, together to make sense of the play. I’ve never the lighting, the tech sessions. I just have found it a problem at all to say, ‘I don’t know to do my bit. It’s not exactly a holiday, the answer,’ and hear what actors think. but a happy change.

The thing with a play like this, as John DR: The pay-off for someone like John is was saying, is that it’s about someone trying that, when he’s directing, he does so with to make sense of their world. From the a deep knowledge of what it’s like to be outside, I think it differs to Shakespeare on that stage as an actor. He understands in that Shakespeare will use language – an actor’s perspective, he has a level of metaphors and similes – and ideas for empathy and a level of understanding characters to try and make sense of things. of how to talk to an actor to help them But in The Father, the language is very overcome something that isn’t working. economical, it’s very reactive (as John said), and it’s often trying to get to the point as JB: One problem for directors who aren’t quickly as it can. There are moments of actors is that they rarely get to see other genuine digression, when you start tripping directors at work. As an actor, you get to see on an idea, but they come almost as a many directors at work and you can then surprise. The rest of it is quite short and compare and contrast their faults and virtues. sharp, and it’s very much what is unsaid You pick the best from the good directors and that the audience is dealing with. Whereas, make that part of your armoury. in Shakespeare, so much of it is explored with and worked out through language. John, in the last few weeks, whenever you’re on a break, you’ve been running JB: When I’m acting I do enjoy turning lines. Has that always been your habit, off my directorial brain. I might throw in that the breaks aren’t really breaks? a suggestion, but I’m very conscious that it’s the director’s show – they direct it and JB: Yes, you’ve got to keep it ticking over. I’ll be part of it. At this stage of rehearsals especially, when we’re still getting the play on its feet. I find I remember once, years ago when I had this text particularly tricky to learn – and a young director directing me, I made I think I speak for the other actors as well a suggestion and he said, ‘John, who’s – because it’s very fractured and you In rehearsal: John Bell and Faustina Agolley

need to make your own links between When I first started, there were very few phrases. It’s just short grabs of text, which Australian plays, there were no professional are hard to learn. It’s easy to learn a slab theatre companies in Sydney. So, you look of Shakespeare, for instance, or Chekhov. around at the proliferation of major They write these long passages that have companies and independent theatre now, an internal logic, that might even rhyme. the acceptance of Australian writing being absolutely essential, the way in which new We’re approaching the 50th anniversary voices and causes have become part of the of Nimrod’s founding in Sydney – your first story – from female and Aboriginal writers theatre company, John – what’s changed to gay rights. These were beachheads that about the city’s theatre landscape since had to be established and I don’t think we’ll then? What have been the victories and ever go backwards from them. what are the fights that still need fighting? We have so many wonderful companies JB: We have to keep reaffirming the now made up of people who crave making importance of theatre and the arts in theatre. The passion amongst theatre general. It’s surprising how easily it can makers has just kept on growing. n be disregarded by politicians. You’d think we’d have won that fight by now, but we’re always having to remind people that we’re here, we matter, we need support. Hear from John Bell in our I’m surprised that hasn’t become a foregone MTC Talks podcast series at conclusion by now. mtc.com.au/backstage Playwright & Translator

FLORIAN ZELLER Writer

Florian Zeller is a French novelist been nominated and won awards in their country and playwright. He is, according as Best Actor, including on Broadway to The Independent, ‘one of and in London. Zeller’s plays, the hottest literary talents which have been produced in many countries, in France’. He won the Prix include: L’Autre, Le Manège, Si tu mourais (Prix Interallié in 2004 for his novel Jeune Théâtre Académie Française), Elle t’attend, Fascination of Evil, and several La Mère, La Vérité, Le Père, Une Heure de Tranquillité Molière Awards (the highest (translation Jeremy Sams), Le Mensonge, L’Envers theatrical honour in France) for La Mère and Le Père. du décor, Avant de s’envoler. Novels: Neiges Le Père (The Father) in the English translation artificielles (Artificial Snow), Les Amants du by Christopher Hampton has been nominated n’importe quoi (Lovers or Something Like It), for Best Play at the Olivier Awards and the Tony La Fascination du pire (Fascination of Evil), Awards. Many actors performing the play have Julien Parme, La Jouissance.

CHRISTOPHER HAMPTON Translator

Christopher Hampton became du Maurier’s Rebecca). Hampton’s screenplays involved in theatre while include Ali and Nino (based on the novel by studying French and German Kurban Said), Adore (based on Doris Lessing’s at Oxford University. His plays, The Grandmothers), A Dangerous Method (based musicals and translations on his play The Talking Cure), Chéri (from the novel have so far garnered four Tony by Colette), Atonement (from Ian McEwan’s novel), Awards, three Olivier Awards, Imagining Argentina (which he also directed), five Evening Standard Awards The Quiet American (from Graham Greene’s novel), and the New York Drama Critics’ Circle Award; The Secret Agent (from Joseph Conrad’s novel, and prizes for his film and television work include an which he also directed), Mary Reilly (from Valerie Oscar, two BAFTAs, a Writers’ Guild of America Martin’s novel inspired by Robert Louis Stevenson’s Award, the Prix Italia, a Special Jury Award at the Jekyll and Hyde), Total Eclipse (from his play of Cannes Film Festival, Hollywood Screenwriter of the same name, and in which he also performed), the Year, and The Collateral Award at the Venice Carrington (the first film he also directed), Film Festival for Best Literary Adaptation. His works Dangerous Liaisons (based on his play Les Liaisons for the stage include original plays (Appomattox, Dangereuses), The Good Father (from Peter Prince’s The Talking Cure, White Chameleon, Tales From novel), The Honorary Consul (from Graham Greene’s Hollywood, Treats, Savages, The Philanthropist, novel), Tales From the Vienna Woods (from the Total Eclipse and When Did You Last See My von Horváth play) and A Doll’s House (based on Mother?); plays adapted from novels (Ödön his translation of Ibsen’s play). His television scripts von Horváth’s Youth Without God, Sándor Márai’s include mini-series The Ginger Tree (from Oswald Embers, Laclos’ Les Liaisons Dangereuses, George Wynd’s novel), Hôtel Du Lac (from Anita Brookner’s Steiner’s novella The Portage to San Cristobal of novel), The History Man (from Malcolm Bradbury’s A.H.); musicals (Sunset Boulevard, Dracula: The novel), Able’s Will and The Thirteenth Tale starring Musical and, most recently, Stephen Ward, all with Vanessa Redgrave and , based on Don Black); libretti (Waiting For The Barbarians, Diane Setterfield’s novel. Appomattox and The Trial, all with composer Philip Glass); and many translations (plays by Chekhov, Ibsen, Molière, Horváth, Yasmina Reza and Florian Zeller; and a German musical based on Daphne

Cast & Creative Team

FAUSTINA AGOLLEY JOHN BELL MARCO CHIAPPI Laura André Pierre

Faustina Agolley makes her John Bell is the founder of Melbourne Theatre Company Melbourne Theatre Company Bell Shakespeare and one credits include His Girl Friday, debut as Laura in The Father. of Australia’s most acclaimed Grapes of Wrath, Macbeth, Faustina has trained in acting and theatre personalities. In a career The Rover, Dealer’s Choice, voice by Anthony Mark Barrow, of acting and directing, John has A Doll’s House, Closer, Death Diana Castle’s The Imagined Life been instrumental in shaping the of a Salesman, Duchess of Malfi Studio, Jane Fujita and mentored Australian theatre industry as and The Tempest. Other theatre: by Will Munroe in the United we know it. John has previously Away, Love and Information States. She has also received starred in Uncle Vanya, Macbeth, (both with Malthouse Theatre), training from Penny McDonald Shadowlands and Pygmalion, Jerusalem (Sydney and Anna McCrossin-Owen in (Sydney Theatre Company). Theatre Company); Edward II, Australia. As a broadcaster, Other theatre credits include Woyzeck, A Pacific Union, Faustina has hosted Video Hits Madame Butterfly, Tosca and Jerusalem (Malthouse Theatre); on Network Ten, co-hosted The Carmen (Opera Australia). John’s Phèdre, Hamlet, Merchant Voice Australia on Channel Nine previously held positions include of Venice, Richard III (Bell and the Sydney Gay and Lesbian Founding Artistic Director of Bell Shakespeare). The Lower Depths, Mardi Gras on SBS. She has also Shakespeare (1990–2015), former Ninth Moon, Funniest Man in the shared her political views on Associate Artist of the Royal World, Scissors, Paper, Rock ABC’s Q&A. In film, Faustina Shakespeare Company as well (Keene/Taylor); Serious Money, has appeared in Now Add Honey as co-founding Sydney’s Nimrod A Lie of the Mind, Cheapside, opposite Portia de Rossi and Theatre Company. John has been Our Country’s Good, Burn This Lucy Fry. Faustina also DJs and Awarded The Officer of the Order (Zootango Theatre); Popcorn has toured Australia and New of Australia and the Order of the (Black Swan); Torrez (Griffin Zealand with Oprah Winfrey for British Empire. In 1997, John was Theatre); The Misanthrope, her An Evening With Oprah named one of Australia’s Living The Real Thing, Noises Off, speaking tour in 2015. Faustina Treasures by the National Trust of The Goat or Who is Sylvia? was born in London, grew up in Australia. His many awards as an (STCSA); Dreamers, The Lower Melbourne and is a graduate of Actor and Director include 2002 Depths (fortyfivedownstairs); The University of Melbourne and and 2015 Helpmann Awards for Reckless (Theatreworks); An Ideal RMIT University in Media and Best Actor (Richard III, As You Like Husband and The Ballad of Communications, Media Studies, It), a Producers and Directors Guild Reading Gaol (The Eleventh Hour Geography and Social Science. Award for Lifetime Achievement Theatre). Television credits: Faustina is a proud member of and the JC Williamson Award Deadline Gallipoli, Parer’s War, Actors’ Equity. (2009) for extraordinary Miss Fisher’s Murder Mysteries, contribution to Australia’s Upper Middle Bogan and live entertainment industry. The Mystery of the Hansom Cab. Marco’s film credits include Holding the Man, The Boy Castaways, Amy and Mr Reliable. Proud member of Actor’s Equity. ANDREW KAY IN ASSOCIATION WITH THE KINGS HEAD THEATRE PRESENTS AMANDA MUGGLETON AS

MARIA CALLAS IN A BRAND NEW PRODUCTION OF TERRENCE M c NALLY’S MASTERCLASS DIRECTED BY ADAM SPREADBURY–MAHER WITH WILL CONYERS • JESSICA BOYD KALA GARE • ROCCO SPERANZA

SOUTHBANK THEATRE, THE LAWLER FROM 5 JANUARY SOUTHBANKTHEATRE.COM.AU PH: 8688 0800 Cast & Creative Team

GLENN HAZELDINE ANITA HEGH NATASHA HERBERT Man Anne Woman

For Melbourne Theatre Company For Melbourne Theatre Company Natasha Herbert’s credits for Glenn Hazeldine has appeared in Anita Hegh has appeared in Melbourne Theatre Company Don’s Party (with Sydney Theatre The Crucible, Top Girls, Don’s include Neighbourhood Watch, Company). Other theatre credits Party, A Single Act, Dumb Show, The Dreamlife of Butterflies, God include Away (with Malthouse The Rover, Fred, and The Duchess of Carnage, Pillowman, The Theatre), Disgraced, Arcadia, of Malfi. For Sydney Theatre Balcony, The Three Sisters, Love and Information (with Company Anita has appeared Hysteria, I’m not Rappaport and Malthouse Theatre), After Dinner, in Cloud Nine, All My Sons, Love I Hate Hamlet. Other theatre Perplex, Tot Mom, Elling, The Pig and Information (with Malthouse credits include Away (with Sydney Iron People, Julius Caesar, Theatre), After Dinner, The Secret Theatre Company), On the Victory, Love for Love, Mongrels, River, Gross und Klein, Our Town, Misconception of Oedipus, Historia, Two Weeks With The Like a Fishbone, The City, King , Kitten, Still Angela, Queen, Lear, Three Tall Women (with Black Sequin Dress, Rapture, (Sydney Theatre Company); MTC), As You Like It, and Honour, Love Child, Wolf (Daniel Sparrow Pygmalion. Other theatre credits (Malthouse Theatre); The Productions); Act One, All My include Twelfth Night, The Wild Unspoken Word is Joe, The Large Sons, , , Duck, Cut, The Seagull (Belvoir); Breast or the Upside-down Bell, , Charitable Killer Joe (B Sharp); King Tide, Inconsolable and Love Child Intent, , Rhinestone The Emperor of Sydney, Honour (Griffin);The Country (Company Rex and Miss Monica, Happiness, (Griffin); Phèdre (Queensland B); Anti-Hamlet, I Heart John Managing Carmen, Tuesdays Theatre); and Yellow Wallpaper McEnroe (Theatreworks); With Morrie, A View From The (Malthouse Theatre). Anita’s Extinction and The Village Bike Bridge, Ten Unknowns, The Ruby TV credits include Janet King, (Red Stitch); WarHorse (Global Sunrise, Rapture, Blister, Burn Catching Milat, Black Comedy, Creatures); Small Metal Objects (Ensemble); As You Like It (Bell The Killing Field, The Doctor (Back to Back); The Wall (Ranters); Shakespeare). The Judas Kiss Blake Murder Mysteries, Carlotta, Dreamers, Progress & Melancholy (Belvoir); Rhinoceros (B Sharp). Time of Our Lives, Rescue Special (fortyfivedownstairs); and Portrait A Hoax, Porn.Cake (Griffin Ops, My Place, False Witness, of Dora (La Mama). Natasha’s film Theatre); and Transparency The Informant, McLeod’s credits include The Menkoff (Seymour Centre). Glenn’s TV Daughters, Valentine’s Day, Method, X, Lake Mungo, Corroboree credits include House of Bond, MDA, Last Man Standing, Loot, and Boytown. Her television A Place To Call Home, Anzac Stingers, Water Rats, Wildside credits include Neighbours, Girls, Redfern Now, The Moodys, and State Coroner. Film: Stuffed, The Time of Our Lives, The Doctor All Saints, BlackJack, Stingers, The Last Ride, The Forest and Blake Murder Mysteries, City Water Rats, Backberner. Paradise Road. Anita is a proud Homicide, MDA, Blue Heelers. Glenn is the Vice-President of member of Actor’s Equity. Natasha’s awards include Green the NSW branch of Actors’ Equity Room Awards for Best Actor and Deputy Chair of The Actors Portrait of Dora and Best Benevolent Fund of NSW. Ensemble I Heart John McEnroe and On the Misconception of Oedipus. Cast & Creative Team

DAMIEN RYAN ALICIA CLEMENTS RACHEL BURKE Director Set & Costume Designer Lighting Designer

Damien Ryan is Artistic Director Alicia Clements is a costume Rachel Burke’s credits for of Sport for Jove Theatre. His and set designer whose passion Melbourne Theatre Company directing credits include No End for the craft has seen her work include Melbourne Talam, Buyer of Blame, his own adaptations and train around the globe. and Cellar, Cock, Solomon and of Cyrano de Bergerac and Graduating from the West Marion, The Man from Mukinupin Antigone, The Libertine, The Australian Academy of (with Belvoir), True Minds, Importance of Being Earnest, Performing Arts in 2008, Alicia Constellations, Coup D’Etat and Away, The Crucible, The Tempest, has furthered her training in True West. Rachel’s other lighting Romeo and Juliet, Antony and and London through the support credits include Black Medea and Cleopatra, The Taming of the of The Australia Council for the Night Fall (Sydney Theatre Shrew, Love’s Labour’s Lost, All’s Arts and the 2014 Kristian Company); Art to Sky, Cinderella, Well that Ends Well, Macbeth, Fredrikson Scholarship for Design Swan Lake, Dark Lullaby, Ballet Hamlet, Twelfth Night, As You in the Performing Arts. Alicia’s Imperial, Unspoken Dialogues, Like It and A Midsummer Night’s recent theatre credits include Molto Vivace (The Australian Dream (Sport for Jove). National set and costume designs for Ballet); Walking into the Bigness, tours include Hamlet, Henry V, Assassins directed by Dean Black Medea (with Belvoir), Romeo and Juliet, and Henry 4, Bryant (Hayes Theatre), Cargo, Woman Bomb, parts 1 and 2, co-directing with The Father (Sydney Theatre Parramatta Girls (with Belvoir), John Bell (Bell Shakespeare). Company); Two and The Rasputin Moth (with Arena Theatre Damien has performed in Twelfth Affair (Ensemble Theatre); and Company and Malthouse Night and Nora (Belvoir St). His set design for Ramaeu: Anacreon Theatre); Wolf, Glass Mermaid, awards include Sydney Theatre and Pigmalion (Pinchgut Opera). Good Works, The Incorruptible, Awards for Best Production Alicia also designed set and Night Fall and Rapture (Playbox). (Henry V, Antigone, All’s Well costumes for Hay Fever and After Rachel has a critically acclaimed That Ends Well, Cyrano de Dinner (STC); Barefoot in the Park body of work in the Independent Bergerac, and The Libertine); (Ensemble Theatre); ARMIDA and Theatre sector including work for Best Director (Henry V, Cyrano BAJAZET (Pinchgut Opera); and with Dee & Cornelius, Peta de Bergerac and Antigone); for Hamlet (Bell Shakespeare). She is Murray, Jenny Kemp and Nadja Best Supporting Actor (Iago in currently the Associate Costume Kostich. She has recently Othello); a Green Room Award Designer to Gabriela Tylesova on designed sold out national tours for Best Production (Henry V and Muriel’s Wedding. Alicia was the of SHIT (Dee & Cornelius) and nominated for Best Director); production designer on short The Season (Sydney Festival, Ten a Glug Award for Best Production films Problem Play; Cold Hearts; Days on the Island, MIFA 2017). (Look Back in Anger). and Sherbert Rozencrantz, Rachel’s awards include eight You’re Beautiful. Green Room Awards, 2005 and 2010 IES Victorian and National Awards of Excellence for Lighting Design and Helpmann Award nominations in 2005 and 2015. Cast & Creative Team

STEVE FRANCIS CHARMIAN GRADWELL PRISCILLA JACKMAN Composer & Sound Designer Voice & Text Coach Assistant Director

For Melbourne Theatre Company Charmian Gradwell’s theatre For Sydney Theatre Company Steve Francis has worked on credits include Cloud Nine, Priscilla Jackman is the Director The Weir, The Sublime and Other Chimerica, Gross und Klein, and Creator of Still Point Turning: Desert Cities. Other theatre Waiting for Godot, The War of The Catherine McGregor Story. credits include Talk, The the Roses, A Streetcar Named As Assistant Director at Sydney Hanging, Disgraced, Arcadia, Desire, The Maids, The Long Way Theatre Company she has worked Orlando, Battle of Waterloo, Home, Switzerland, Suddenly on The Hanging. Priscilla’s other After Dinner, Switzerland, Mojo, Last Summer, All My Sons, directing theatre credits include , Machinal, Vere Dinner, After Dinner, Hayfever, Eurydike + Orpheus (NIDA); (Faith) (with STCSA), Rosencrantz Rosencrantz and Guildenstern The Angelica Complex (Kings and Guildenstern are Dead, The are Dead (Sydney Theatre Cross Theatre); Photosynthesis Secret River, Sex with Strangers, Company); The Taming of The and Cookies (Seymour Centre); The Splinter, Under Milk Wood, Shrew, Julius Caesar, Pericles, Boatshed and The Importance Les Liaisons Dangereuses, Macbeth, A Winter’s Tale, Romeo of Being Earnest (Ensemble). Pygmalion, Bloodland, Blood and Juliet, Much Ado About Priscilla has worked as Co- Wedding, The White Guard, Nothing, Days of Significance, Director on The Tempest and Hamlet, Tusk Tusk (with ATYP), Naughts and Crosses (Royal Romeo & Juliet (Sport for Jove). Leviathan, Spring Awakening, Shakespeare Company UK); and As Assistant Director she has , Rabbit, The Pig The Lion King, Aladdin, Mary worked on Good People and Iron People, Gallipoli, The Great, Poppins dialects (Disney Barefoot in the Park (Ensemble); Romeo and Juliet, The Taming of Australia Touring). Charmian’s and A Midsummer Night’s Dream the Shrew, Embers, The 7 Stages film dialect credits include: (Sport for Jove). As an actor, of Grieving, Fat Pig, A Hard God Truth, Ginger and Rosa, Pirates Priscilla has appeared in and Stolen (Sydney Theatre of the Caribbean: Dead Men Tell The Vegemite Tales (Itchy Feet Company); A Rabbit for Kim No Tales, Reaching for the Moon Theatre); Uncle Vanya (Deadpan Jong-il, The Bull, the Moon and and Thor: Ragnarok starring Productions UK); and One World the Coronet of Stars, Between Cate Blanchett. Shakespeare (MOPA Theatre). Two Waves, This Year’s Ashes, Priscilla’s TV credits include Speaking in Tongues and All Saints, Love Child, The Power Strange Attractor (Griffin Games: The Packer Murdoch Theatre); Angels in America, Story, and FortySomething. Babyteeth, This Heaven, The Man Priscilla held the position of from Mukinupin, Ruben Guthrie, Resident Director at Sport Baghdad Wedding, Keating!, for Jove (Winter 2017). She is Paul, Parramatta Girls, Capricornia, recipient of a 2017 Rockend Box the Pony, In Our Name, Berlin New Music Opera Award Gulpilil, Page 8 and The Spook and a 2016 Sandra Bates (Belvoir). Directors Award. Pier 4, Hickson Road, Walsh Bay PO Box 777, Millers Point NSW 2000 Telephone Wharf Box Office (02) 9250 1777 Administration (02) 9250 1700 Email [email protected] Website sydneytheatre.com.au

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Board of Directors In 1980, Sydney Theatre Company’s first Artistic Director, Ian Narev (Chair) Richard Wherrett, defined STC’s mission as to provide “first Ann Johnson (Deputy Chair) class theatrical entertainment for the people of Sydney – The Hon Bruce Baird am Toni Cody theatre that is grand, vulgar, intelligent, challenging and fun.” John Connolly Years later, that ethos still rings true. Mark Lazberger Patrick McIntyre Gretel Packer STC offers a diverse program of distinctive theatre of vision Daniel Petre ao and scale at its harbourside home venue, The Wharf; Roslyn Kip Williams Packer Theatre Walsh Bay; and Sydney Opera House, as its resident theatre company. Artistic Director Kip Williams Executive Director STC has a proud heritage as a creative hub and incubator Patrick McIntyre for Australian theatre and theatre makers, developing and Director, Finance and producing eclectic Australian works, interpretations of classic Administration repertoire and great international writing. STC strives to Francisca Peña create theatre experiences that reflect Sydney’s distinctive Director, Marketing and personality and engage audiences. Customer Services Nicole McPeake Director, Private Support STC often collaborates with international artists and Danielle Heidbrink companies and, in recent years, the company’s international Director, Partnerships profile has grown significantly with productions touring Rebecca Cuschieri extensively to great acclaim. Renowned artists John Crowley, Director, Technical and Tamás Ascher, Philip Seymour Hoffman, Liv Ullmann, Steven Production Soderbergh and have all worked with Jono Perry STC in recent years and STC has presented productions by the National Theatre of Great Britain, Abbey Theatre and Steppenwolf Theatre Company.

TAG #sydneytheatreco FOLLOW @sydneytheatreco Melbourne Theatre Company Pier 4, Hickson Road, Walsh Bay PO Box 777, Millers Point NSW 2000 Telephone Wharf Box Office (02) 9250 1777 Administration (02) 9250 1700 BOARD OF Philanthropy PRODUCTION & Wigs and Makeup Zak Brown COMMISSIONS Email [email protected] Website sydneytheatre.com.au MANAGEMENT Coordinator TECHNICAL Jurga Celikiene Tom Cushing The Joan and Peter Terry Moran ac (Chair) Sytske Hillenius Technical & Wardrobe Michael Cutrupi Clemenger Sign up to our monthly enews at sydneytheatre.com.au/enews Tony Burgess Partnerships & Production Director Maintenance Marisa Cuzzolaro Commissions Professor Barry Commercial Executive Adam J Howe Stella Cadzow Leila Gerges Kylie Coolwell Conyngham am Matthew Phoenix Damien Harrison Declan Greene Partnerships & PRODUCTION SOUTHBANK Rosie Howell Professor Glyn Davis ac THEATRE Judith Lucy Patricia Faulkner ao Memberships Executive Senior Production Leighton Irwin Damien Millar Syrie Payne Manager Theatre Operations Kathryn Joy Ross Mueller Jonathan Feder Director Jane Hansen Memberships & Michele Preshaw Shivani Kanodia Roslyn Oades Partnerships Assistant Production Mark D Wheeler Laura Lethlean Magda Szubanski Larry Kamener Building Services Board of Directors Janette Kendall Vivienne Poznanski Coordinator Ross Macpherson Jean Tong In 1980, Sydney Theatre Company’s first Artistic Director, Partnerships Marta Losiewicz Manager Claire Marsh Other Commissions Sharmistha Law Adrian Aderhold Ian Narev (Chair) Ian Marshman am Assistant Props Buyer/ASM Faran Martin Hannie Rayson (with Richard Wherrett, defined STC’s mission as to provide “first Lachlan Hywood Swing House Services Natasha Milton Manhattan Theatre Ann Johnson (Deputy Chair) Martyn Myer ao Manager Susan Oliver EDUCATION Jess Maguire Yasmin Mole Club) class theatrical entertainment for the people of Sydney – Production Kam Greville Daniel Moulds NEON NEXT The Hon Bruce Baird am Brett Sheehy ao Head of Education Production Services Virginia Lovett Administrators Ernesto Munoz Commissions Toni Cody theatre that is grand, vulgar, intelligent, challenging and fun.” and Families Alyson Brown Manager Emma Palackic Jeremy Rice Nicola Gunn FOUNDATION Isobel Taylor-Rogers Frank Stoffels Faith Peter Daniel Schlusser John Connolly Years later, that ethos still rings true. BOARD Community Outreach Lawler and Events Amy Poonian Manager TECHNICAL NEXT STAGE Mark Lazberger Jane Hansen (Chair) Technical Supervisor Clare Reddan Residencies Karin Farrell Technical Manager Tom Brayshaw Adam Rogers Terry Bracks am Education Coordinator Lighting and Sound Dan Giovanonni Patrick McIntyre Liz Chappell Lighting Supervisor Richard Saxby Natesha STC offers a diverse program of distinctive theatre of vision Nick Tranter Kerry Saxby James Conway Myles Tankle Gretel Packer Fiona Griffiths Senior Production Somasundaram Janette Kendall HUMAN Staging Supervisor Bella Vadiveloo Kylie Trounson Daniel Petre ao and scale at its harbourside home venue, The Wharf; Roslyn Technician Grant Kennelly Harriet Wallace-Mead Jayne Lovelock RESOURCES Allan Hirons Commissions Virginia Lovett Sound Supervisor Ali Wheeldon Angus Cerini Kip Williams Packer Theatre Walsh Bay; and Sydney Opera House, as its HR Manager Production Terry McKibbin Rhian Wilson Sam Margis Christelle Harris Technicians Patricia Cornelius Louise Myer Head Flyman Jamaica Zuanettii Michael Gow resident theatre company. HR Administrator Adam Bowring James Tucker Leigh O’Neill Christine Verginis Scott McAlister TICKETING Benjamin Law Artistic Director Hilary Scott Stage and Technical Joanna Murray-Smith EHS Coordinator Technical Manager – Staff CRM and Ticketing Kip Williams Richard Tegoni Liz Mundell Staging Director Leah Purcell Brendan Albrey Ellen van Neerven STC has a proud heritage as a creative hub and incubator EXECUTIVE FINANCE Andrew Bellchambers Matthew Arthur Dale Bradbury Executive Director Staging Supervisor Ticketing Manager Malcolm Robertson MANAGEMENT Trent Barclay Foundation for Australian theatre and theatre makers, developing and Finance Director – HQ Tim Blundell Brenna Sotiropoulos Patrick McIntyre Artistic Director & Liz Chappell Commissions CEO Jamie Cunningham Michael Burnell Ticketing Services Finance Manager Production Design Administrator Van Badham Director, Finance and producing eclectic Australian works, interpretations of classic Brett Sheehy ao Siobhan Callanan Angela Betzien Ness Harwood Coordinator Stewart Campbell Lisa Mibus Administration Executive Director IT and Systems repertoire and great international writing. STC strives to Virginia Lovett Andrew Bailey Misha Doe Subscriptions MTC CONNECT Manager CAD Drafting Nathan Evers Supervisor Francisca Peña Executive Assistant to Michael Schuettke AMBASSADORS create theatre experiences that reflect Sydney’s distinctive the Artistic Director & Jacob Battista Eugene Hallen Jessie Phillips Samah Sabawi IT Support Officer Adam Hanley Database Specialist Director, Marketing and CEO Christopher Rhodes PROPERTIES Suhasini Seelin personality and engage audiences. Nick Doherty Luke Hawley Ben Gu Shannon Lim Customer Services Finance Officer Properties Supervisor Jake Hutchings Data Analyst Executive Sarah Thompson Geoff McGregor Vidya Rajan Administrator David Jenkins Megan Thomson Wahibe Moussa Nicole McPeake Payroll Officer Props Maker Robert Larsen VIP Ticketing Officer Annie Bourke Julia Godinho Director, Private Support STC often collaborates with international artists and Colin Penn David Letch Michael Bingham WOMEN IN ARTISTIC Payments Officer James Lipari Education Ticketing THEATRE Lisa Maundrell SCENIC ART Danielle Heidbrink companies and, in recent years, the company’s international Associate Directors David Membery Officer PROGRAM Scenic Art Supervisor Stephanie Morrell Mellita Ilich Dean Bryant MARKETING & Shane Dunn Gorkem Acaroglu Director, Partnerships profile has grown significantly with productions touring Sarah Goodes COMMUNICATIONS Josh Noble Box Office Supervisor Mary Rachel Brown Scenic Artists Adam Walsh Producer Marketing and Sophie Norfolk Fiona Bruce Rebecca Cuschieri Tansy Elso James Paul Box Office Attendants extensively to great acclaim. Renowned artists John Crowley, Martina Murray Communications Colin Harman Samantha Butterworth Literary Director Will Patterson Brent Davidson Tania Canas Director, Technical and Director Katie Dircks Tamás Ascher, Philip Seymour Hoffman, Liv Ullmann, Steven Chris Mead Vanessa Rowsthorn WORKSHOP Warwick Sadler Angelica Clunes Production Casting Director Workshop Supervisor Jonathan Schmolzer Peter Dowd Suzanne Cranny Marketing Manager Fran Hefferman Soderbergh and Isabelle Huppert have all worked with Janine Snape James Wright Aldo Amenta Lara Soulio Kellie-Anne Kimber Jono Perry Casting Executive Deputy Workshop Michael Taylor Jean Lizza Clare McKenzie Digital Manager Bridget Mackey STC in recent years and STC has presented productions by Matt Bebbington Daniel Coghlan Supervisor Michelle Thorne Dans Marie Sheehan Company Manager Andrew Weavers Alasdair Watson Debra McDougall Erin Taylor Marketing Daniel Scaffidi the National Theatre of Great Britain, Abbey Theatre and Stephen Moore Coordinator Set Makers Joy Weng Emily Tomlins NEXT STAGE Ken Best Ashlee Wohling Tain Stangret Victoria Woolley Rebecca Lawrence Subscriptions Steppenwolf Theatre Company. Administrator Lead Graphic Designer Brian Easteal Nick Wollan Sarah Thompson Nick Gray Team Leader OVERSEAS Emma Wagstaff HOUSE AND BAR Fran Hefferman REPRESENTATIVES Literary Associate Designers Philip de Mulder SERVICES Jennifer Medway Alastair Read Subscriptions Team New York Helena Turinski Bar Manager Simon Braxton Celeste Njoo Peter Rosa Stuart Thompson CATERING Keziah Warner Milly Cooper Productions Catering Manager PR and Communications WARDROBE House Supervisors Patrick Crummy Manager Andrea Purvis Wardrobe Managers Kasey Gambling Alys Daroy Assistant Manager Rosie Shepherdson- Brienna Macnish Katie Dircks Cullen Judy Bunn Anita Lyovic Keryn Ribbands Paul Terrell Peter Dowd TAG #sydneytheatreco Café staff Publicist House and Bar Chris Elliot Georgia Fox Wardrobe Staff Bev Reinmuth John Molloy Supervisor Jess Grimmond FOLLOW @sydneytheatreco Communications Drew Thomson Min Kingham DEVELOPMENT Content Producer Jocelyn Creed Emily Brewer Bar Supervisors Matthew Lilley Director of Sarah Corridon Paul Blenheim Ross MacPherson PR and Marketing Sophie Woodward Development Costume Hire Sarah Branton Faran Martin Jayne Lovelock Administration Tain Stangret Laura McIntosh Assistant Liz Symons Events Manager Millinery House and Bar Moira Millar Mandy Jones Jacqui Bartlett Attendants Lucy Payne Receptionist Phillip Rhodes Annual Giving Manager Will Atkinson Sarah Payne Chris Walters David Zierk Stephanie Barham Jolie Robichaux Tanya Batt Lee Threadgold

MTC Circles of Giving

MTC gratefully acknowledges our visionary donors

MTC LIFETIME PATRONS Acknowledging a lifetime of extraordinary support for MTC. Pat Burke Allan Myers ac qc and Dr Roger Riordan am Peter Clemenger ao and Maria Myers ac Caroline Young and Joan Clemenger ao The Late Biddy Ponsford Derek Young am

ENDOWMENT DONORS Supporting the long term sustainability and creative future of MTC. Leading Endowment Donors $10,000+ Recent Endowment Donors Prof David Penington ac and $1,000,000+ Mim and Michael Bartlett Philip Crutchfield qc and Dr Sonay Hussein Jane Hansen and Paul Little ao Carolyn and John Kirby am Amy Crutchfield Emeritus Prof Peter McPhee Prof Margaret Gardner ao and Dr Monica Pahuja $20,000+ Fred and Alex Grimwade Prof Glyn Davis ac Rosie Harkness Lady Potter ac Tony and Janine Burgess Anne and Mark Robertson oam Renzella Family Geoffrey Cohen Scholarship David and Lily Harris Terry Moran ac Steven Skala ao and Orcadia Foundation Lousje Skala Andrew and Tracey Sisson Robert Peck am and Yvonne von Hartel am Anonymous

MTC’S PLAYWRIGHTS GIVING CIRCLE Supporting the Next Stage Writers’ Program. Louise Myer and Martyn Myer ao, Maureen Wheeler ao and Tony Wheeler ao, Christine Brown Bequest Naomi Milgrom ao, Allan Myers ac qc and Maria Myers ac, Tony Burgess and Janine Burgess Dr Andrew McAliece and Dr Richard Simmie, Larry Kamener and Petra Kamener

ANNUAL GIVING Donors whose annual gifts help MTC enrich and transform lives through the finest theatre imaginable. Benefactors Circle Anonymous (2) In loving memory of Richard Park Heather and $250,000+ $5,000+ Prof David Penington ac and Bob Glindemann oam Crown Resorts Foundation John and Lorraine Bates Dr Sonay Hussein Henry Gold Packer Family Foundation Sandy Bell and Daryl Kendrick Jeanne Pratt ac Leon Goldman Dr Andrew Buchanan and Janet Reid oam and Allan Reid Roger and Jan Goldsmith $50,000+ Christopher Richardson Murray Gordon and Lisa Norton The Joan and Peter Clemenger Peter Darcy Ian and Jillian Buchanan The Robert Salzer Foundation ◆ Lesley Griffin Trust Trawalla Foundation Trust Tony Hillery and Warwick The Cybec Foundation John and Robyn Butselaar The Janet and Michael Buxton Anonymous (7) Eddington Maureen Wheeler ao and Bruce and Mary Humphries Tony Wheeler ao Foundation Advocates Circle Barry and Joanne Cheetham Peter and Halina Jacobsen $2,500–$4,999 ◆ $20,000+ Tom and Elana Cordiner ● Janette Kendall The Late Betty Amsden ao dsj Marc Besen ac and Alex and Halina Lewenberg The Dowd Foundation Eva Besen ao Dr Geraldine Lazarus and Melody and Jonathan Virginia Lovett and Jay Bethell and Peter Smart ● Greig Gailey Feder ■ ● Rose Hiscock Hutchinson Builders ● Grant Fisher and Helen Bird Carol Mackay and Greg Gjergja Family Bill Bowness ao Louise and Martyn Myer ao Robert and Jan Green Branson Caroline and Derek Young am ▲ Sandra and Bill Burdett am Dr Sam and Belinda Margis and David and Lily Harris Lynne and Rob Burgess The Vizard Foundation Jane Hemstritch NEST Family Clinics ◆ Pat Burke and Jan Nolan Dr Sue McNicol qc $10,000+ Linda Herd Diana Burleigh Peter and Kim Monk ◆ Erica Bagshaw Dr Caroline Liow Jenny and Stephen Charles ao Sandy and Sandra Murdoch The Cattermole Family Marshall Day Acoustics The Cuming Bequest Jane and Andrew Murray Christine Gilbertson ◆ (Dennis Irving Scholarship) Debbie Dadon am Dr Paul Nisselle am and Macgeorge Bequest Ian and Judi Marshman Ann Darby Sue Nisselle The late Noel Mason and Ian and Margaret McKellar Dr Anthony Dortimer and Tony Osmond and Susanna Mason ▲ George and Rosa Morstyn Jillian Dortimer Fiona Griffiths◆ The Lord Mayor’s Charitable Daniel Neal and Peter Chalk Dr Helen Ferguson Peter Philpott and Foundation Tom and Ruth O’Dea ■ Rosemary Forbes and Robert Ratcliffe Craig Semple ▲ Leigh O’Neill ◆ Ian Hocking Anne and Mark Luisa Valmorbida ▲ Dr Pajouhesh (Smile Solutions) Bruce Freeman ■ Robertson oam ◆ Max Schultz Sandy and Yvonne Constantine Larry Kornhauser and Margaret Sahhar Hilary and Stuart Scott ● Dr Cyril Curtain Natalya Gill ■ Katherine Sampson and Tim and Lynne Sherwood Mark and Jo Davey Alan and Wendy Kozica Michael Jaboor Richard and Debra Tegoni ◆ ● Jocelyn Davies Ruth and Michael Kurc ■ Susan Santoro Trikojus Education Fund – Mark and Amanda Derham Elizabeth Laverty Kaylene Savas ◆ Australian Communities Katharine Derham-Moore Joan and George Lefroy Graeme Seabrook Foundation Robert Drake Anne Le Huray Marshall Segan and Cheryl and Paul Veith Bev and Geoff Edwards Rosemary Leffler Ylana Perlov Ralph Ward-Ambler am and George and Eva Ermer Leg Up Foundation Claire Sheed Barbara Ward-Ambler Anne and Graham Evans ao Alison Leslie Prof Barry Sheehan and Price and Christine Williams Marian Evans Peter and Judy Loney Pamela Waller Margaret and Ray Wilson oam Dr Alastair Fearn Neil and Vida Lowry Jane Simon and Peter Cox Gillian and Tony Wood Jan and Rob Flew Dr Peter and Amanda Lugg Steven Nicholls and Laurel Young-Das and Heather Forbes ■ Elizabeth Lyons Brett Sheehy ao Heather Finnegan Elizabeth Foster Ken and Jan Mackinnon Diane Silk Anonymous (5) John Fullerton Alister and Margaret Maitland Dr John Sime Kate Galvin ◆ Helen Mantzis ◆ Reg and Elaine Smith oam – Loyalty Circle Nigel and Cathy Garrard Joyce and Bernard Marks Earimil Gardens Charity $1,000–$2,499 Diana and Murray Gerstman John and Margaret Mason Tim and Angela Smith Dr Katie Allen and Malcolm Allen Gill Family Foundation Garry McLean Annette and Noel and Sylvia Alpins am Brian Goddard Elizabeth McMeekin Graham Smorgon ◆ In memory of Nicola Andrews Charles and Cornelia Goode Robert and Helena Mestrovic Diana and Brian Snape am Valma E. Angliss am Foundation ◆ John G Millard Geoff and Judy Steinicke James and Helen Angus Sarah Graff Ross and Judy Milne-Pott Ricci Swart Kate Aplin Isabella Green oam and Ging Muir and Rodney and Aviva Taft Margaret Astbury Richard Green John McCawley ■ Sylvia Taylor John and Dagnija Balmford John and Jo Grigg Barbara and David Mushin Suzanne Thompson Angelina Beninati Jane Grover ◆ Nelson Bros Funeral Services Frank Tisher oam and David and Rhonda Black Ian and Wendy Haines James Ostroburski Dr Miriam Tisher Steve and Terry Bracks am Glen Harrington and Dr Harry and Rita Perelberg Susie Waite ● Jenny and Lucinda Brash Robyn Eastham Dr Annamarie Perlesz Kevin and Elizabeth Walsh ■ Tamara Brezzi ◆ Jane Hodder ◆ Dug and Lisa Pomeroy Pinky Watson Beth Brown and Tom Bruce am Sandi and Gil Hoskins Sally Redlich Marion Webster ◆ Pam Caldwell Emeritus Prof Andrea Hull ao Victoria Redwood Ursula Whiteside Alison and John Cameron Ann and Tony Hyams am Dr S M Richards am and Ann and Alan Wilkinson John and Jan Campbell Peter Jaffe M R Richards Jan Williams ■ Jessica Canning Ed and Margaret Johnson Rogers Family ■ John and Myriam Wylie Clare and Richard Carlson Katherine Kavakos ◆ Sue Rose Foundation ◆ Fiona Caro Irene Kearsey and Rae Rothfield Mandy and Edward Yencken Kathleen and Harry Cator Michael Ridley Linda Robinstein and Graeme and Nancy Yeomans Chef’s Hat Malcolm Kemp Paul Slape ● Greg Young Chernov Family Liana Kestelman ◆ Patrick Rundle and Roz Zalewski and Sue Clarke and Lindsay Allen Fiona Kirwan-Hamilton and Damien Mulvihill ■ Jeremy Ruskin Assoc Prof Lyn Clearihan and Simon E Marks sc F & J Ryan Foundation Ange and Pete Zangmeister Dr Anthony Palmer Doris and Steve Klein Edwina Sahhar Anonymous (30) Dr Robin Collier and Neil Collier

LEGACY CIRCLE Acknowledging supporters who have made the visionary gesture of including a gift to MTC in their will. Mark and Tamara Boldiston Peter and Betty Game Max Schultz Peter Philpott and Bernadette Broberg Irene Kearsey Dr Andrew McAliece and Robert Ratcliffe Adam and Donna Cusack-Muller Fiona Griffiths Dr Richard Simmie Anonymous (5)

LEGACY GIFTS Remembering and honouring those who have generously supported MTC through a bequest. The Estate of Leta-Rae Arthy The Estate of Betty Ilic The Estate of James Hollis The Estate of Freda E White The Christine Brown Bequest The Estate of Bettie Kornhauser Minson The Estate of Dorothy Wood The Estate of Ron Chapman The Kitty and Leslie Sandy The Estate of Prudence The Estate of Gordan J Compton Bequest Ann Tutton

Acknowledging Donors who join together to support innovative and inspiring programs for the benefit of our community. ▲ ARTISTIC DIRECTOR’S CIRCLE ■ YOUTH AMBASSADORS ◆ WOMEN IN THEATRE ● EDUCATION GIVING CIRCLE GIVING CIRCLE GIVING CIRCLE

To find out more about supporting MTC please call 03 8688 0959 or visit mtc.com.au/support Current as of October 2017 Thank You

MTC would like to thank the following organisations for their generous support

Major Partners

Major Media Partners

Production Partners

Premium Season Partners

Season Partners

Marketing Partners

Southbank Theatre Partners

If you would like to join our corporate family or host a private event, please contact [email protected] MTC News

VIVID WHITE by Eddie Perfect

Forget friendship, forget respect, forget human decency – this is the Australian property market. Eddie Perfect doles out a healthy dose of black comedy for a merciless new home-grown satire with songs.

18 NOV—23 DEC

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

Season 2018 opens with the National Theatre’s multiple Olivier and Tony award winning play by Simon Stephens, based on the novel by Mark Haddon, The Curious Incident of the Dog in the Night-Time. If you haven’t secured your tickets with a 2018 subscription, get in quick before single tickets for this highly sought after Australian premiere go on sale on November 13th. Book your tickets at mtc.com.au/2018

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