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The Blood Votes Program Final Draft

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The Blood Votes Program Final Draft 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 Queensland 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 Brisbane 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 Brisbane Powerhouse 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
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