Thanks and acknowledgements

Queensland Government UQ Faculty of Humanities and Social Sciences UQ Faculty of Drama Holy Trinity parish and community, Fortitude Valley Mary Kelly Theatre Western Dyer Productions Dean Moulds (Gala Night beverages) Front-Of-House and Backstage Volunteers Australian War Memorial (ARTV10140, RC0037, RC00313)

Queensland Shakespeare Ensemble presents THE BLOOD VOTES A play by Michael Futcher, directed by Rob Pensalfini Conscription – a nation at war

Alone among the combatant nations of WWI, in 1916-17 Australians experienced a long and tormented debate on the issue of compulsory military service. Conscription, and the arguments it sparked, dominated home front life during 1916 and 1917, posing difficult questions about citizenship, duty, loyalism and free speech. It seemed the very character of Australian democracy was on trial.

As casualties mounted, town halls and parliamentary chambers across the country echoed with voices of urgency, moralism and dissent. Men and women, the young and old, voiced their heartfelt views on either side, for or against, often inflected by grief, anxiety, and the dreadful personal cost of this ‘Great War’.

As we remember WWI, no other aspect of home front life so clearly captures the strains of the ANZAC generation as they coped with the appalling stresses of mass warfare.

The Blood Votes is dedicated to the memory of Errol O’Neill. It is staged with the generous assistance of the Queensland Government and the UQ Faculty of Humanities and Social Sciences.

Director’s notes

Like most people educated in Australia, I was brought up on the Anzac myth of a nation forged and united by its involvement in World War I. I knew nothing of the deep divisions within the country at the time, divisions not caused by the war but brought to the forefront by the moral, practical and civic (if not always civil) dilemmas it posed. It is easy to fall into a romantic view of the past as a simpler time of greater certainty, or imagining the present as a more progressive era, but neither complexity nor progress develop in a linear fashion.

The Blood Votes shows us a time in our nation’s recent history (as recent as some of Shakespeare’s history plays were to him) when we faced political and physical uncertainties to rival those of our own times, when we seemed to be on the brink of social collapse, and in which a variety of voices emerged to persuade from a range of perspectives. QSE Community Partners

Historical drama not only helps us question how we got here today, but perhaps provides an The Queensland Shakespeare Ensemble is proud to partner with the Arafmi aesthetic distance through the lapse in time to interrogate our own values. The Blood Votes deals Queensland, The Australian Red Cross, and Communify to bring A Night at the with macro-social matters of immigration, industrial relations, the individual’s responsibility to the Theatre to people who may not have otherwise had the opportunity to see a show. To state and vice versa, but also shows in a heartfelt way how these interact with micro-social issues donate to this rare initiative, go to http://www.qldshakespeare.org/night_at_the- of family, romance, and friendship. It is easy to see ourselves in its characters and stories. atre.html

Social inclusion is a large part of the work that Red Cross undertakes with community, and evidence shows the A script like this one, in which the perspectives and actions of a number of characters fall together positive impact that social inclusion can have on the wellbeing of people and communities. This initiative will to drive the narrative (rather than it being driven by the actions of one or two) is perfectly suited to enable QSE to distribute free theatre tickets, via Red Cross and other community organisations, to people who the Queensland Shakespeare Ensemble, our aesthetics and values. I am very grateful to have been may not otherwise be able to attend the theatre. Red Cross is pleased to support this worthwhile initiative that included in the project’s planning and execution from the start, and hope that you find attending will have a positive impact on many of the people and communities with whom Red Cross works. the production as rewarding and stimulating as I have found directing it. My greatest hope is that, - Danieka Montague, Australian Red Cross like me, you may have come asking “where did we come from?” and leave asking “where are we going?”

2. 11. Stage Manager Cast Matthew Filkins…...... Billy Hughes, Mr Davis, Officer Josie Dodson has stage managed: Hamlet (2018), Rosencrantz and Guildenstern Ellen Hardisty…...... Ruby Crawley, Ceclia John Are Dead (2018), Bogga (2017); The Winter’s Tale (2017); Dare to Share: 7 Deadly Sins Lilliana Macarone…...... Mrs Reibe, Mrs Patterson, (2017), Twelfth Night (2016). Other credits include: ACPA- Awakening (2017); Matilda Awards (2016- 2017); Magnetic North: Cassandra and the Boy Doll Munro Ferguson (Anywhere Theatre Festival, 2016); Letters I Never Sent (Backbone 2High Festival, Frances Marrington…...... Amy Reibe, Mrs Mitchell, Adela Pankhurst, 2016); Griffith University: Visitors Day (2016), 18 Victoria (2016), #MedeaSlays Eva Lynch (2015), Tough! (2015). Josie has a Bachelor of Arts in Contemporary and Applied Rebecca Murphy…...... Kathleen O’Neill, Mrs Crawley, Mabel Lane Theatre, Grffith University. Paige Poulier……...... Margaret Thorp Dudley Powell…...... Robert O’Neill, Joseph Cook, Policeman, Costume Designer Pat Brosnan Silvan Rus…...... Reverend Taylor, Recruitment Official, Kirily Jago is an emerging based costume designer. After studying Ernie Lane, Frank Tudor, Ray Crawley, Fashion Communication at the Queensland University of Technology, Kirily Officer, Policeman started working with Brisbane Arts Theatre, as one of their resident costume designers. Her work this year includes The Act For Kids: Charity Gala Ball, The Real Creative Team Story of Little Red Riding Hood and Alice in Wonderland. Kirily is also interested in Director…...... Rob Pensalfini working with costume on other platforms, most recently expanding into film as an Assistant Director…...... Kat Dekker Assistant Stylist for Brisbane band Port Royal's music video One of a Kind. The Musical Director…...... Antony “Tnee” Dyer Blood Votes is her first production with the Queensland Shakespeare Ensemble. Lighting Design…...... Steven Tibbits Musical Director Costume Design…...... Kirily Jago Set, Props and Posters…...... The Geoff Ginns Tnee Dyer is Co-Artistic Director of Western Dyer Productions who are Graphic Design ...... Jess White responsible for a range of musical, theatre, cabaret and screen productions. He is a full time musician and performing artist dividing his time between musical directing, creative producing, jazz piano, covers musician and digital content Production Team creation. He has worked on A Very Naughty Christmas at the Executive Producers…...... Beck Hurst (QSE) and Geoff Ginn (UQ) in December 2017 and was music director for the Matilda Awards ceremony that Production Manager…...... Kylii Davies year. At the end of 2016 Western Dyer Productions toured three of their own Stage Manager…...... Josie Dodson productions to over 20 regional centers around Queensland, culminating at the Mount Isa Carols by Deputy Stage Manager ...... Ashleigh de Lautour Candlelight to a 2000+ audience. He has a Graduate Diploma in Education (Music) with distinction Front of House Manager ...... Tahlya Grennan (QUT, 2010) a Bachelor of Arts Griffith University and an Advanced Diploma of Music, Jazz Music Institute (2006). Lighting Operator ...... Brandon McCrae Marketing Team…...... Rebecca Murphy, Dudley Powell Photography and Video…...... David Granato, Polygranate Films

QSE Committee President…...... Beck Hurst Vice President…...... Cate Carter Treasurer…...... Lisa Durnian Secretary…...... Miles Reid 10. 3. Kat Dekker is a Brisbane-based director and applied theatre practitioner. She has worked extensively with the Queensland Shakespeare Ensemble’s Shakespeare Prison Project, including directing The Merchant of Venice (2017) and Macbeth Order of Proceedings (2016). Kat also worked as assistant director on QSE’s Rosencrantz and Guildenstern are Dead (2018). Other recent work includes directing new production Love You Hate You Drive You Wild for Metro Arts and co-directing Growl Theatre’s Hamlet. In addition to directing, Kat works with theatre in marginalised communities as a 7.30 Act I facilitator and Joker.

8.45 Interval Production and Stage Management Executive Producer (QSE) 9.05 Act II Beck Hurst is the President of the Queensland Shakespeare Ensemble’s 10.00 Performance concludes Management Committee. She is also the School Manager of the School of Historical and Philosophical Inquiry (currently on leave). Rebecca has 20 years' experience in higher education management in Queensland and the UK in the 11.00 Gala concludes (opening night only) fields of science, humanities and the nexus between the two. Her own qualifications are in comparative history and literature, with some training in (Sunday matinee, November 11, commences at 2.00) drama and performance experience in musicals. While in London she performed with, and was Secretary to the Tabard Singers for over 10 years. In the distant past she worked on the production teams of high school musicals in Brisbane, including original works. The Blood Votes is her first play as a Producer.

Executive Producer (UQ)

Geoff Ginn is a historian with research and teaching interests in About QSE nineteenth-century British history, Queensland history and Australian public history. He serves on the Board of the , and is Director of Engagement for the UQ School of Historical & Philosophical Inquiry. The Blood

We use Shakespeare as a platform for positive change. Votes is his first adventure in theatre since Working with the Amardean Players in 1989. The Queensland Shakespeare Ensenble exists to bring the language of Shakespeare to communities. QSE strives to strengthen the connections between and within communities by sharing epic and eternal stories with a live audience; creating evocative, engaging experiences in communities; Production Manager making Shakespeare accessible to all; and giving a voice to the Kylii Davies has been involved with many backstage roles at the Brisbane Arts marginalised. Theatre over the years including: Stage Manager for The Accrington Pals, Educating Rita, The Trojan Women, Sleeping Beauty, Yesteryear for the New Year, My Fat Friend, Support QSE Funny Money and Sylvia; Lighting Operator for Anthems from 45 RPMs; Backstage The Queensland Shakespeare Ensemble is an artist-run theatre company Crew for Aladdin, ZigZag Street as well as being a member of the Brisbane Arts and the founder of such initiatives such as the Shakespeare Prison Project Theatre's Drama Festival Organising Committee. With QSE: Deputy Stage Manager for The Merchant of Venice; Production Manager for Two Gentlemen of Verona and the A Night at the Theatre initiative. If you want to support this rare (2012); A Midsummer Night’s Dream (2013); The Tempest and The Bombitty of Errors model of theatre making, go to www.qldshakespeare.org/donate.html (2014); Voices Inside/Out and Titus (2015); Twelfth Night (2016); The Winter’s Tale and Bogga (2017), Hamlet and Rosencrantz & Guildenstern Are Dead (2018) as well as managed the Advanced Training performance season, Dare to Share (2016-2018). 4. 9. Matthew Filkins is a UQ graduate from the University of Queensland with a Bachelor of Arts, extended Drama Major and has also studied at Shakespeare and Company in the US. His past theatrical credits include: The Merchant of Venice and Half-hour Hamlet (Queensland Shakespeare Ensemble), Ruby Moon, Detective Smart and the Mathematical Underpants, The Buggulugs Bum Thief, Fair Play and Hermes and the Naked Flame for QMF Youth Touring Program/Arts Council. Julius Caesar, Henry V, The Taming of the Shrew, Romeo and Juliet, The Comedy of Errors and 60-minute Shakespeare (4MBS Classic FM) One was Nude, and One Wore Tails and The Virtuous Burglar (Room to Play Productions), The Seagull (Now Look Here TC). His self-devised works Indefatigable and Goodnight Daphne were both produced at the 2014/2016 Short and Sweet festivals. Film/TV credits include Harrow, Gruen Planet, Evil, The Digger: A History, Waste and Day of the Deadline. He is a puppeteer for Camp Quality as well as a proud Equity Member and a committee member for the Actors and Entertainers Benevolent Fund.

Silvan Rus relocated from Sydney to work with the Queensland Shakespeare Ensemble in 2013 and has stayed in Brisbane ever since. His QSE actor credits include Hamlet, Rosencrantz & Guildenstern Are Dead, The Winter’s Tale, Twelfth Night (Matilda Award Nomination - Best Supporting Actor & Best Sound Design/Composition), Titus (Matilda Award Nomination - Best Supporting Actor), The Tempest, The Bomb-itty of Errors, Mary Stuart, and A Midsummer Night’s Dream. Other credits include Nineteen with Wax Lyrical Productions/Brisbane Powerhouse, Morsels from the Heart for La Boite Theatre Company/BrisAsia Festival, Time Capsule for Seeing Place Productions, and Cold for The Earthcrosser Company. In 2015, Silvan took part in PlayWriting Australia’s Lotus Playwriting Program to write his first play Carpe Noctem or The King of Spades. He is now studies at the University of Queensland, double-majoring in Philosophy and Chinese (Mandarin).

The Directors

Rob Pensalfini was one of QSE’s founders and has been Artistic Director since 2001. In 2002, Rob directed QSE’s first full production, As You Like It. In 2005, he directed The Comedy of Errors for QSE to critical acclaim. In 2008, Rob directed Twelfth Night (for which he was nominated for a Matilda Award) and directed QSE’s Where the Wild Things Are. In 2012 Rob directed Two Gentlemen of Verona and in 2013 directed the multi award winning production of A Midsummer Night’s Dream. In 2018 Rob directed Hamlet. His acting credits include, Touchstone in As You Like It In 2002. In 2003, he appeared as Coriolanus in QSE’s Coriolanus. In 2007, he played Benedick in Much Ado About Nothing. In 2010, Rob played the title role in Richard III, and Shylock in The Merchant of Venice. In 2017, Rob played Leontes in The Winter’s Tale and had his first full-length play, Bogga, produced by QSE. Rob is also the founder of the Shakespeare Prison Project that has been ongoing since 2006, and composes and performs music for most of QSE’s productions.

8. 5. Cast Biographies Rebecca Murphy is currently QSE’s Acting General Manager, Training Co-ordinator and part of the marketing team. Rebecca’s directing credits include Shakespeare’s Shorts, Dare to Share (2015), the world premiere of Bogga and QSE’s Paige Poulier received nominations at the 2016 Matilda Awards in the Best 2018 in-rep season production of Rosencrantz & Guildenstern Are Dead. She has also Supporting Actress category, as well as for the Bille Brown Emerging Artist Award been Assistant Director on The Winter’s Tale, Twelfth Night and Titus. Performance for her role as Sir Toby Belch in QSE’s production of Twelfth Night. She performed credits for QSE include Grave digger in Hamlet, Paulina in The Winter’s Tale, Tamora her original work The Roasting for the 2015 Queensland Short and Sweet Festival. in Titus, Mary Stuart in Mary Stuart, Twelfth Night, The Tempest, A Midsummer Night’s Paige won the overall Best Actor award, the Best New Talent award, and The Dream, The Two Gentlemen of Verona, The Merchant of Venice, Metamorphoses, and Much Ado About Nothing. Roasting won Best Theatre Production for 2015. This year Paige also played the Other credits include Tales of Rain with Niz Jabour/ La Boite Theatre Company, Mullah Nasrudin (stage rationalizing Guildenstern in QSE’s in-rep season of Hamlet and Rosencrantz & manager) for La Boite Indie/ Full Throttle Theatre Company, A Midsummer Night’s Dream for Harvest Guildenstern Are Dead. Ellen previously performed with QSE in: Hamlet Rain Theatre Company, Who’s Afraid of Virginia Woolf, LovePuke, The White Whore and the Bit Player, Romeo (Rosencrantz), Rosencrantz & Guildenstern Are Dead (Rosencrantz), Conscription and Juliet for Tropic Sun Theatre. As a facilitator Rebecca has devised and delivered workshops for a (2017), The Winter's Tale (Old Shepherd/Emilia) and Bogga. Paige graduated with an Advanced number of companies, schools and extra-curricular programs, and is currently a casual tutor for NIDA Diploma of Fine Arts (Acting) from Southbank Institute of Technology in 2015. Open and the senior teacher at Brisbane Drama Studio.

Lilliana Macerone has worked for three years with QSE, where her credits Frances Marrington has trained, facilitated workshops and performed include: Hamlet (Gertrude), Rosencrantz & Guildenstern Are Dead (Gertrude), The around Australia and overseas since graduating with a B.A. (Theatre Studies) from Winter’s Tale (Camillo), Twelfth Night (Duke Orsino), and Shakespeare’s Shorts – QUT in 2002. She first trained with QSE in 2001, and has - between other Midsummer’s Mechanicals, (Bottom), Instant Romeo & Juliet (Mercutio/Friar), Half- performing pursuits - been an associate artist with the company in 2009, during Hour Hamlet (Polonius/Horatio). A musician and songwriter, she has also which period she performed in Half-Hour Hamlet, Where the Wild Things Are, and As composed for and performs in the QSE Band. Liliana has a BA in Film and You Like It. 2018 will be her first year as a core ensemble member in which she Television Production from Grith University and studied acting with David Amitin played the pompous, old man Polonius in Hamlet and Rosencrantz & Guildenstern Are Escuela de Teatro in Madrid. Other training includes: Shakespeare and Dead. Her other theatre credits include: The Odyssey, Zeitgeist, Gaia, and Swan Lake (with Queensland Contemporary Theatre Intensive at the Guildhall School of Music and Drama in Ballet) for Zen Zen Zo Physical Theatre; The Golden Show for Dairakudakan (Japan); The Ship That Never London, Improvisation with Keith Johnstone and Patti Styles, and Voice Over with the AFTRS. Was for Round Earth Theatre; Half of Nothing, Vienna Syndrome, and The History of the World (in 7.5 Minutes) for Short+Sweet; Minefields and Miniskirts, Play It Again Sam, and The Merchant of Venice for Ellen Hardisty is thrilled to be a core ensemble member of QSE. She trained Brisbane Arts Theatre. Frances is also a registered high school drama teacher, a working voice-over with the ensemble as an apprentice in 2011, then took four years to work in artist and performs on occasion as a stilt-walker, children’s entertainer, face painter, and roving theatre throughout Europe before returning to QSE in 2017. This year, she is entertainer. She is a proud mother of two. delighted to be combining her love of Shakespeare with her desire for social change while working on QSE’s new Shakespeare Beyond Youth Detention Dudley Powell Dudley Powell has worked with the Queensland Shakespeare Project. Ellen previously performed with QSE in: Hamlet (Rosencrantz), Ensemble since 2016, appearing in Hamlet (2018) and Rosencrantz & Guildenstern Rosencrantz & Guildenstern Are Dead (Rosencrantz), Conscription (2017), The Winter's Are Dead (2018) as Horatio, The Winter’s Tale (2017) as Florizel and Twelfth Night Tale as the Old Shepherd and Emilia and Bogga. Other theatre credits include: Blue (2016) as Antonio. Dudley was accepted into QSE’s apprentice program in 2016 Murder (4 stage theatre); The Dark Lord and the White Witch, Lip Gloss, Teechers and thrived in an ensemble with like-minded actors with a passion for classical (German Tour); A Midsummer Night's Dream, The Merry Wives of Windsor (Cambridge Shakespeare stories. Other theatre credits include COSI, Much ado about Dragons – Tropical Arts Festival); Mick and Beth, Monster Madness, Throne Raiders, Under the Sea (Spanish Tour); Charlie Charleston Theatre Company, Doubt, Woman in the Window, Blasted, Children of the Levant, A Man (Italian Tour); We'll Meet Again (UK Tour); George and the Dragon and Old King Cole (UK and Republic of for All Seasons and The Removalists. He is also a graduate of James Cook University Ireland Tour); Government Inspector (London Theatre Collective); A Midsummer Night's Dream (The with a BA in Creative Industries Majoring in Performance and Business, he holds the marketing Actor's Workshop); and Please Release Me (Metro Arts Theatre). portfolio for QSE, a duty he shares with fellow ensemble member Rebecca Murphy.

6. 7.