SUN, SURF,

andNOOSA EMOTIONAL ANNUAL BLACKMAIL REPORT Truth, lies, love and embarrassment Laughter really is the Best Medicine THEATRE COMPANY Letter to Minister

21 May 2011

The Honourable Rachel Nolan MP Minister for Finance and The Arts GPO Box 611 QLD 4001

Dear Minister

I am pleased to present the 2010 Annual Report for Company. I certify this annual report complies with:

 the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009 and  the detailed requirements set out in the Annual Report Requirements for Agencies.

A checklist outlining the annual reporting requirements can be accessed at www.queenslandtheatre.com.au .

Yours sincerely,

Dr Kate Foy Chair Queensland Theatre Company

A n n u a l R e p o r t 1 Contents

Letter to the Minister...... 1 1.0 Introduction...... 4 1.1 Company profile...... 4 1.2 Vision...... 4 1.3 Purpose...... 4 1.4 Values...... 4 1.5 Goals...... 4 1.6 Functions...... 4 2.0 Chair Overview...... 5 3.0 General Manager Overview...... 6 4.0 Highlights and achievements...... 7 5.0 Background...... 8 5.1 Government objectives...... 8 5.2 Strategic plan 2010 - 2013...... 8 5.3 Operational plan 2010...... 9 6.0 Outcomes - Strategic objectives (Goals)...... 10 Summary of Key Outcomes...... 10 Key Performance Indicators...... 12 6.1 Goal One: We will create excellent work...... 14 Mainstage Season...... 15 Education Season...... 26 Regional Partnerships Program & Statistics...... 27 6.2 Goal Two: We will strengthen community and industry value...... 29 Emerging Artist Program...... 30 Artist Development...... 31 Writing Program...... 34 Youth & Education Program...... 35 Opportunities for Theatre Practitioners...... 36 6.3 Goal Three: We will create larger audience numbers...... 37 Season Ticket Holder Events & General Audience Development...... 38 6.4 Goal Four: We will create a financially strong company...... 40 Corporate Development Partnerships...... 41 Philanthropy...... 44 6.5 Goal Five: We will create a great place to work...... 46 7.0 Financial statements...... 48 8.0 Future Outlook...... 73 8.1 Strategic plan 2011 - 2014...... 70 8.2 Operational plan 2011...... 71 9.0 Governance...... 75 9.1 Management and structure...... 75 Queensland Theatre Company Board...... 72 Board Member Profiles...... 75 Executive Management...... 77 Company Employees...... 82 9.2 Compliance...... 85 9.3 Human resources...... 86 9.4 Operations...... 87

2 A n n u a l R e p o r t A n n u a l R e p o r t 3 1.0 Introduction 2.0 Chair’s overview

1.1 Company profile 1.5 Goals 2010 was a significant year in Queensland Theatre Sponsorship and philanthropy continue to be vital sources of Company’s 40 year history. After eleven years as Artistic additional funding with total cash and in-kind contribution Queensland Theatre Company is the State’s flagship theatre We will: Director, Michael Gow declined a further contract with the of more than $631,000. The Company is grateful for the company, the existence of which is continued by the Company in order to focus on his freelance writing and support of the companies found on page 43 as production  Queensland Theatre Company Act 1970. Create excellent work directing career. and program sponsors in 2010.  Strengthen community and industry value  The Company is based at 78 Montague Road in South Create larger audience numbers The Board has been delighted with Michael’s performance; Our philanthropy program continues to grow steadily  Brisbane. Create a financially strong company he’s been an incredibly fine leader and a hard-working and and it is pleasing to see the development of relationships  Create a great place to work visionary Artistic Director. Michael has launched many with donors and trusts and foundations, who support our In 2010, the Company presented an annual mainstage season Company initiatives including the Emerging Artists and activities in regional, writing, artist development and our of nine plays including timeless masterpieces, modern drama 1.6 Functions of the Company Queensland Regional Partnerships programs, as well as the youth and education programs. The State Government’s and new Australian work. Queensland Theatre Company is a statutory body. Its unique and highly sought after Queensland Premier’s Drama dollar for dollar subsidy continues to be an important existence, functions and powers are set out in the Queensland Award. incentive for donors. The Company is also dedicated to encouraging artist and Theatre Company Act 1970. artform development across the state through its Emerging Michael’s programming boldness along with his commitment These achievements would not have been possible without Artists Program, Regional Program and a Writing Program The Company’s functions include: to the Company’s writing development and education the continued and considerable support provided by the which includes the Queensland Premier’s Drama Award. (a) to promote and encourage the development and programs has meant that his tenure as Artistic Director will state and federal governments. I would like to take this presentation of the arts of the theatre; undoubtedly be seen as one of enduring importance in the opportunity to thank the state government and in particular Developing and inspiring young people to participate in (b) to promote and encourage public interest and development and maturation of Queensland’s theatre. the Premier, the Honourable Anna Bligh MP for her support theatre activities is a key focus of the Company through participation in the arts of the theatre; and interest. Our thanks also go to the Australia Council specially devised Education Performances and a wide range (c) to promote and encourage either directly or indirectly The search for a new Artistic Director began immediately for the Arts, the Australian Government’s arts funding and of activities for young people. the knowledge, understanding, appreciation and and in July, the Premier announced the appointment of advisory body. enjoyment of drama and other arts of the theatre in all Wesley Enoch as the Company’s sixth Artistic Director. In 2010, the Company toured productions regionally and their expressions, forms and media; Wesley has a long history of working in theatre, both as a My thanks also go to Queensland Theatre Company Board nationally and co-produced seasons with national and local (d) to produce, present and manage plays and other forms director and a writer, starting his career in his home state members, for their ongoing support and counsel and to organisations. In Brisbane, the Company presented three and types of theatre and entertainment in places of Queensland and then moving interstate to work across Artistic Director Michael Gow, General Manager Libby mainstage productions in the Playhouse, four productions in determined by the Company; Australia. Anstis and the whole Company team for their outstanding the Cremorne Theatre and two at its home venue, Bille Brown (e) to establish and conduct schools, lectures, courses, commitment and achievements this year. On behalf of my Studio. seminars and other forms of education in drama and Wesley has an impressive track record as a freelance artist, fellow Board members, I look forward to welcoming Wesley other arts of the theatre; significant experience in mainstage companies across Enoch to the Company. The Company has built a strong and loyal audience (f) to teach, train and instruct persons and promote Australia and internationally. He is a great advocate for comprised of Season Ticket Holders who buy packages of education and research in drama and other arts of the new work, has a strong interest in developing regional and All of the Company’s work involves many people – artists, three or more plays each year and single ticket buyers who theatre; educational activities and is a master storyteller. He will audience members, donors, sponsors and community purchase on a less regular basis. The Company also reaches (g) to provide or assist to provide theatres and program his first season in 2012. members that participate in our varied programs – we are a significant ‘audience’ base of participants through its appurtenances of theatres; and proud to offer our range of theatre experiences to enliven Education, Regional and Writing programs. (h) to encourage the involvement of persons resident in In 2010, more than 147,000 people attended a Queensland our community and beyond. Queensland in the writing of plays and other aspects of Theatre Company production in Brisbane, throughout 1.2 Vision the arts of the theatre. regional Queensland and in interstate regional and capital I trust you will enjoy this review of the Company’s activities We aim to be one of the great theatre companies of the world city venues. Throughout the year, the Company undertook a in 2010. For performing its functions, the Company has all the total of 558 performances in 105 venues. 1.3 Purpose powers of an individual and may, for example, enter into Dr Kate Foy Be living proof that theatre matters arrangements, agreements, contracts and deeds; acquire, The Company has recognised the world-wide trend of Chair hold, deal with and dispose of property; engage consultants; participation in the arts and continues to increase its 1.4 Values appoint agents and attorneys; charge and fix terms, for services that provide people with an opportunity to have goods, services, facilities and information supplied by it; The Company values: actively involvement in theatre, with more than 21,338 and do anything else necessary or desirable to be done in people participating in workshops, in-school programs and performing its functions.  Our people other activities.  Respect, trust and individual differences  A positive relationship with the community Financially, the Company had planned for an operating  Ingenuity and flexibility deficit and this was maintained as budgeted. However, the  Reflection and recognition end of year financial result is overstated to some extent, as  Sustainability a change to the Australian Accounting Standards requires grant monies to be accounted for at the time of receipt, rather than the year in which it is to be expended. It is important to note that this has no impact on Company reserves.

4 A n n u a l R e p o r t A n n u a l R e p o r t 5 3.0 General Manager’s overview 4.0 Highlights and achievements

In its 40th year, Queensland Theatre Company presented In 2010, the Go-Between Bridge opened. The Company Brisbane mainstage season Artistic Development productions and activities to entertain and inspire audiences participated in the opening celebrations with special The Company presented a diverse mainstage program of nine The Company provided 815 employment opportunities throughout Queensland and beyond. outdoor performances of Hurry Up and Wait! in the newly seasons in Brisbane to a total audience of 77,346 people. for theatre workers in 2010 in its mainstage, Youth and constructed carpark adjacent to the Company’s home in The program included classics (King Lear), contemporary Education and other program areas. The Company is moving Our activity has been shaped by the five key objectives of South Brisbane. There have been many negotiations with international (The Little Dog Laughed, Thom Pain (based on towards ensuring diversity in its artistic employment through our strategic plan with some room to participate in new Brisbane City Council, our landlord the Department of Public nothing), Fat Pig, The Clean House and Betrayal), reworked actively encouraging women directors, both in mainstage opportunities as they arose throughout the year. Works and the Hale Street Link Alliance during the planning classics (Grimm Tales) and two Australian works (Let the and education productions and through its Emerging Artists and construction phases of the bridge, and our thanks go to Sunshine and When the Rain Stops Falling). program. Our continued interest in collaborations with other theatre all organisations for ensuring the Company’s home remains companies continued, presenting John Bell in King Lear, a welcoming place for all who visit. The Company also encourages young artists through its th Youth and education in Bell Shakespeare’s 25 anniversary production, new Secondment, Creative Assistant and Emerging Artists Australian classic When the Rain Stops Falling by Brink Michael Gow’s departure was received with regret in the 32,977 people, or 22% of the total attendees and participants in 2010, were under 30. There is strong growth in the programs with 27 artists involved in professional Productions of , and Wesley Enoch’s classic, The Company, despite enthusiasm for him pursuing his writing development activities in 2010. 7 Stage of Grieving, a State Theatre Company of South career. In its 40 years, Queensland Theatre Company has number of young people attending and participating in Company activities. Australia production. only appointed five Artistic Directors, so there was an acute Writing and New Work awareness of the historic significance of the transition to In our first co-production with Melbourne Theatre Company, new artistic leadership. I’d like to thank Michael for his More than 15,000 children attended performances of Hurry The Company hosted US based writer Will Eno, who we achieved a sell-out season of a new David Williamson leadership and boldness, his energy and dedication, and for Up and Wait!, either in Brisbane or on its extensive regional undertook masterclasses, talks and presentations at the play, Let the Sunshine, opening in Brisbane before a some truly memorable moments in the theatre. Queensland tour. 7,454 students attended Waiting for Godot State Library of Queensland and Queensland University of season in Melbourne. The Clean House, directed by Kate and The 7 Stages of Grieving. Technology and attended Company events. The Company Cherry, provided another opportunity for the Company to I’d also like to thank Anna Bligh MP, Premier of Queensland undertook 11 developments of new works, including the co-produce with Black Swan State Theatre Company of and former Minister for the Arts for her ongoing interest and The Company participated in a pilot program to build a finalists in the Queensland Premier’s Drama Award and the Perth. significant support for Queensland Theatre Company; and virtual set building program, which provides students with Young Playwrights’ Program. the Major Performing Arts Board of the Australia Council the opportunity to learn about theatre set, lighting design The Company also enjoyed significant success with its for its continued contribution. Our sponsors and donors and direction. self-produced seasons of Grimm Tales, The Little Dog are critical to the ongoing success of the Company, and we Laughed and Harold Pinter’s Betrayal, which followed its appreciate your interest in our activities, and of course your Regional and Touring Cremorne Theatre season with a tour to Port Macquarie. valuable monetary support. The Company undertook an extensive national tour of We were pleased to see the debut of a number of creative Michael Gow’s Toy Symphony, a co-production with State team members and cast in Fat Pig, and bring to Australia My thanks also to Dr Kate Foy, Chair of the Board and all Theatre Company of South Australia visiting 14 venues with playwright Edward F Albee Foundation Fellow, Will Eno, board members, for their efforts and support, in particular audiences of 10,426. during the production of his play Thom Pain (based on with the appointment process for the Artistic Director. It’s a nothing). privilege to work with the artists and administrative theatre 2010 featured a diverse array of regional activity. We workers in this organisation, who show they love what they presented the new children’s show - Hurry Up and Wait! - to The Company’s Education performances, Waiting for Godot, do by the commitment and effort they put into their daily more than 11,000 students outside of Brisbane. We pioneered and The 7 Stages of Grieving, attracted strong houses of tasks. the development of an innovative 3-D digital learning students, but it was also pleasing to see many Season Ticket platform that will provide regional drama students with Holders attending these quality productions. The touring We offer a warm welcome to Wesley Enoch and look new ways to learn about theatre and connect with Company show Hurry Up and Wait! a co-production with deBASE forward to the renewal phase of artistic leadership for 2011 artists and productions. We welcomed the permanent productions, was the highest attended show of the year with and beyond. inclusion of drama to the curriculum at Charleville State an audience of 15,354 people throughout Queensland. High School in the state’s far south-west, where we have Our 40th year was a historic year – a change in artistic conducted several artist residencies since 2009. It’s not often that a new venue opens in Brisbane, so leadership, the opening of a new theatre for the Brisbane Queensland Theatre Company was thrilled to open the QUT Festival, building works, major national and intrastate tours Festival Theatre, an outdoor venue constructed especially for and a year of great stories unfolding on stage. We are proud the 2010 Brisbane Festival with a short season of Macbeth, of our contribution to making our community a vibrant featuring Marcus Graham and a fine ensemble of Brisbane place to live. actors. Libby Anstis On top of the Brisbane season, the Company also toured General Manager three mainstage productions to capital cities, and completed an extensive national tour of Michael Gow’s Toy Symphony.

6 A n n u a l R e p o r t A n n u a l R e p o r t 7 5.0 Background

5.1 Government objectives Other key areas that have informed the Strategic 5.3 Operational plan 2010 We will create a financially strong Company Plan include the following: Toward Q2: Tomorrow’s Queensland The Company’s Operational Plan 2010 was based on its  Produce timely and accurate financial analysis,  Queensland Arts and Cultural Sector Plan 2010 – 2013 planning and reporting to facilitate financially sound The Company contributes to the achievement of the Strategic Plan 2010 -2013.  Mapping Queensland Theatre – A Report by John decision making Queensland government’s Toward Q2: Tomorrow’s Bayliss  Increase earned income through existing revenue Queensland ambitions: Summary  Indigenous Theatre Forum – August 2010, Cairns streams, both earned and subsidized We will create excellent work  Women Theatre Directors - Outcomes from Action  Diversify earning potential through new initiatives Contribution to Government Objectives Planning Forum May 10 2010  Program a diverse range of productions  Maintain strong expenditure controls The plan has been established within the objectives and  Defining Artistic Vibrancy – Australia Council 2009  An ongoing commitment to high quality work  Maintain strong governance principal activities of the Queensland Theatre Company Act  Strengthen local, national and international presence 1970. The Company recognises the important role it plays Object and guiding principles  Clearly communicate artistic objectives and debriefing in contributing to the Queensland Government’s ambitions performances, in-house critical review In performing its functions, the Company must have regard We will create a great place to work of a strong, green smart, healthy and fair State as outlined  Pursue touring opportunities to the object of, and guiding principles for, the Act. The  Maintain good internal systems including in Toward Q2 – Tomorrow’s Queensland and as a statutory object of the Act is to contribute to the cultural, social and people management body, contributes to the following targets: We will strengthen community and industry value intellectual development of all Queenslanders. The guiding  Encourage and reward enthusiastic principles behind achievement of this object are:  Provide a range of professional development and employees Strong training opportunities to employees  Providing a safe working environment Creating a diverse economy powered by bright ideas (a) leadership and excellence should be provided in the arts  Support a vibrant local performing arts sector  Develop a sustainability strategy of the theatre;  Provide support and development opportunities for  Maximise the opportunities for change  Supporting a vibrant local performing arts sector (b) there should be responsiveness to the needs of writers in the Kurilpa precinct (HSL/Southbank  Providing support and development opportunities for communities in regional and outer metropolitan areas;  Provide education opportunities for students, young developments) local artists (c) respect for Aboriginal and Torres Strait Islander cultures people and educators  Actively participating in national opportunities to should be affirmed;  Implement regional activities The operational plan was not modified during the year. promote Queensland theatre (d) children and young people should be supported in  Explore the boundaries of theatre with diversity of work their appreciation of and involvement in the arts of the across media, venues and scale The Premier and Minister for the Arts did not give any Smart theatre;  Engage in public dialogue about the value of the arts to directions to the Company during or relating to the financial Delivering world-class education and training (e) diverse audiences should be developed; the wider community year. (f) capabilities for life-long learning about the arts of the  Providing education opportunities for students, young theatre should be developed; people and educators (g) opportunities should be supported and enhanced for We will create larger audience numbers international collaboration and for cultural exports,  Build brand awareness, leadership and loyalty Healthy especially to the Asia-Pacific region; and  Develop data-driven customer relationships Making Queenslanders Australia’s healthiest people (h) content relevant to Queensland should be promoted and  Engage audiences through digital media and presented. new technologies  Develop social opportunities for audiences to  Providing active participation opportunities 5.2 Strategic plan 2010 – 2013 connect with each other and the Company  Strengthen and develop industry, community Fair The Company’s 2010 - 2013 Strategic Plan set out the following strategic objectives: and promotional partnerships Supporting safe and caring communities  Provide affordable and accessible productions  Create excellent work  Instigate and participate in audience and  Reaching under-served communities  Strengthen community and industry value industry research  Create larger audience numbers Green  Create a financially strong company Protecting our lifestyle and environment  Create a great place to work

 Operating sustainably to add to community well being

8 A n n u a l R e p o r t A n n u a l R e p o r t 9 6.0 Outcomes

Summary of key outcomes

Performance - Brisbane Mainstage Performance - Education Productions Performance - Touring Productions/External Performance Attendance Number of Participants Number of Participants (Brisbane) Presentations Youth (Under 30) and Student Number of Participants

100,000 90,000 80,000 40,000 70,000 35,000 60,000 12,000 30,000 30,000 50,000 10,000 25,000 25,000 40,000 8,000 20,000 20,000 30,000 6,000 15,000 15,000 20,000 4,000 10,000 10,000 10,000 2,000 5,000 5,000

2007 2008 2009 2010 2007 2008 2009 2010 2007 2008 2009 2010 2007 2008 2009 2010

89,761 79,587 77,760 77,346 7,382 6,109 6,658 11,584 17,007 27,641 6,946 26,110 29,619 18,673 23,788 32,977

Performance - Mainstage, Education Productions, Operating Surplus Philanthropic Income Tours, Co-productions and Affiliate productions End of Year Result Donations Number of Participants

$1,200,000 $1,000,000 160,000 $800,000 $160,000 140,000 $600,000 $140,000 120,000 $400,000 $120,000 100,000 $200,000 $100,000 80,000 $0 $80,000 50,000 -$200,000 $60,000 40,000 -$400,000 $40,000 20,000 -$600,000 $20,000

2007 2008 2009 2010 2007 2008 2009 2010 2007 2008 2009 2010

126,067 127,501 114,254 147,863 $443,106 $376,523 $1,059,227 -$368,484 $62,744 $70,787 $96,200 $123,431

10 A n n u a l R e p o r t A n n u a l R e p o r t 11 6.0 Outcomes

Queensland Theatre Company Key Measures

Objective Success Performance Indicator Notes 2009 2010 2010 Variance 2011 Actual Actual Target/Est. Target/Est.

We will Create Strong audience and % of mainstage audiences who respond 1 77.0% 71.5% 70.0% 1.5% 70.0% Notes Great Work participant response positively to productions and their theatre experience, including the impact on them. 1 The Company engaged Footprints Research to conduct independent market research via emailed surveys on

audience response to four productions in the 2010 program. We will Create Larger Increased number % change and number of participants, Audience Numbers of participants reported by activity type: 2 2009 includes a 2 week Queensland tour of The School Performance of Arts and 2010 includes a 12 week national tour of i) Mainstage 77,760 77,346 80,335 (2,989) 71,420 Toy Symphony, a 9 week regional tour of Hurry Up and Wait!, 1 week of performances of Macbeth at the ii) Studio 10,740 Brisbane Festival and a 1 week tour of Betrayal to Port iii) Education 6,658 11,584 9,710 1,874 11,384 Macquarie. 2011 includes a 3 week tour of Treasure iv) Tours 2 6,946 26,110 21,690 4,420 4,000 Island. v) Co-Productions 3 21,589 31,553 28,100 3,453 39,435 vi) Affiliate performance 1,301 1,270 1,300 (30) 550 3 Includes attendance at co-producers venue. Total 114,254 147,863 141,135 6,728 137,529 2009 - The Alchemist (Bell Shakespeare) & God of Carnage (Black Swan State Theatre Company) & 2010 - Let the Sunshine (Melbourne Theatre Company) Non - Performance and The Clean House (Black Swan State Theatre i) Workshops 11,618 8,705 4,908 3,797 5,930 Company). ii) Readings 3,101 1,471 1,240 231 800 2011 - Faustus (Bell Shakespeare), Cat on a Hot Tin iii) Other 33 62 30 32 31 Roof (Black Swan) and No Man’s Land (Sydney Theatre iv) Audience Development 8,435 11,100 9,655 1,445 8,495 Company.) Total 23,187 21,338 15,833 5,505 15,256 4 Awards for 2010: Australian Business Arts Foundation:

Partnership Award, Matilda Awards: Best New Australian Grand Total 137,441 169,201 156,968 12,233 152,785 Play (25 Down), Best Mainstage Production (The Crucible), Best Actress in a Supporting Role (Andrea % change in number of participants (5.1%) 23.1% 14.2% 8.9% (2.7%) Moor - The Crucible), Michael Gow for his 11 years of programming, Richard Jordan (25 Down).

5 Co-productions for 2010: Let the Sunshine (Melbourne We will Create a Financially strong Ratio of dollar value of reserves 26.3% 21.7% 22.9% -1.2% 20% to 30% Theatre Company), The Clean House (Black Swan State Financially Strong company to total expenditure Theatre Company) and King Lear (Bell Shakespeare.) Company Gross margin as % of total income 1.3% -2.8% -2.4% -0.4% 0.3% 6 Tours for 2010: Toy Symphony, Hurry Up and Wait! and Betrayal. Dollar value of box office sales $2,484,491 $2,656,715 $2,854,920 -$198,205 $2,843,045 7 Goal Five: We Will Create a Great Place to Work is measured using qualitative methods such as employee % change in box office sales (2.0%) 6.9% 5.0% 1.9% (0.4%) opinion focus groups and performance reviews.

We will strengthen Positive industry Number of theatre industry awards 4 7 6 3 3 3 community and recognition industry value Number of co-productions undertaken 5 5 3 3 - 3

Number of tours undertaken 6 2 3 1 2 1

12 A n n u a l R e p o r t A n n u a l R e p o r t 13 6.1 Goal One: We will create excellent work 6.1.1 Brisbane Mainstage Season

The Little Dog Laughed Number of total box office performances attendance revenue By Douglas Carter Beane 35 7,746 $259,207 Cremorne Theatre QPAC 8 February – 13 March

L-R Christopher Sommers, Amy Ingram in Fat Pig. Photo: Rob Maccoll

L-R: Tom O’Sullivan, Caroline Kennison, Melanie Zanetti, Nick Cook. Photo: Rob Maccoll

Michael Gow Director “The energy, the pace and the deft touch Gow brings to Simone Romaniuk Designer the direction make this a comedy that managed to carry Jason Glenwright Lighting Designer something tragic beneath it without overplaying the Goal One: We will create excellent work Tony Brumpton Sound Designer message.” Kat Henry Assistant Director The Australian  Programming a diverse range of productions Melissa Agnew Voice/Accent Consultant Nikki – J Price Fight Choreography “…like Neil Simon on ecstasy.”  An ongoing commitment to high quality work The Courier Mail  Jodie Roche Stage Manager Strengthening local, national and international presence Kylie Degen Assistant Stage Manager “Michael Gow’s direction never misses a beat and he has  Clearly communicating artistic objectives and debriefing performances, Rheannon Martin Stage Management Secondment gathered a terrific cast. It’s the perfect show to kick off Charles Sturt University QTC’s 2010 season and deserves to be a sell-out.” in-house critical review The Courier Mail  Pursuing touring opportunities CAST Nick Cook Alex Caroline Kennison Diane Tom O’Sullivan Mitchell Melanie Zanetti Ellen

14 A n n u a l R e p o r t A n n u a l R e p o r t 15 6.1.1 Brisbane Mainstage Season 6.1.1 Brisbane Mainstage Season

Thom Pain (based on nothing) Number of total box office Let The Sunshine Number of total box office performances attendance revenue performances attendance revenue By Will Eno By David Williamson 27 4,304 $127,746 A co-production with Melbourne Theatre Company 82 37,094* $1,652,336 Queensland Theatre Company, Bille Brown Studio *Melbourne and Brisbane Seasons 15 March – 10 April Cremorne Theatre, QPAC 12 April – 15 May

Jason Klarwein in Thom Pain (based on nothing). Photo: Rob Maccoll L-R: Andrea Moor, Paul Ashcroft, John Wood, Jacki Weaver, Robert Colby in Let The Sunshine. Photo: Rob Maccoll

Jon Halpin Director “Perfectly suited for staging in the Bille Brown Studio, Thom Michael Gow Director If this is an example of what can be achieved when two of Josh McIntosh Design Consultant Pain (based on nothing) is also a great fit for a company Robert Kemp Designer Australia’s premier theatre companies work together to bring Jason Glenwright Lighting Designer nuturing an engaged, forward looking audience.” Ben Hughes Lighting Designer the work of one of our most iconic playwrights to the stage, Phil Slade Composer M/C Reviews Peter Farnan Composer then I say bring on more collaborations. Travis Dowling Assistant Director Melanie Wild Assistant Director Media Culture Reviews Nikki-J Price Fight Director “QTC’s production is witty and acerbic, more than a little confronting and yet still vulnerable.” Sue Benfer Stage Manager “This is a play guaranteed to remind you of someone you Nicola Keene Stage Manager Brisbane Times Chin Ling (Bec) Li Assistant Stage Manager know. Achieving that kind of recognition is a rare talent. Christopher Horne Assistant Stage Manager Jessica Ross Assistant Stage Manager Add in a gift for witty one-liners and you’ve got a play that will keep the punters happy.” CAST CAST Age, Melbourne Thom Pain Paul Ashcroft Rick Russell Cockerill Supernumary Robert Coleby Toby “The play is held together by beautiful performances.” Jesse Harris Supernumary Rachel Gordon Emma Herald Sun Michael Mortimore Supernumary Andrea Moor Natasha Peter Scabissi Supernumary Jacki Weaver Ros John Wood Ron

16 A n n u a l R e p o r t A n n u a l R e p o r t 17 6.1.1 Brisbane Mainstage Season 6.1.1 Brisbane Mainstage Season

King Lear Number of total box office Fat Pig Number of total box office performances attendance revenue performances attendance revenue By William Shakespeare By Neil LaBute A Bell Shakespeare production presented by Queensland 17* 12,958 $450,482 27 6,012 $186,812 Theatre Company and Queensland Performing Arts Centre *Brisbane Only Queensland Theatre Company, Bille Brown Studio 31 May – 26 June Playhouse, QPAC 5 – 22 May

Marion Potts Director Dale Ferguson Designer Nick Schlieper Lighting Designer Stefan Gregory Sound Designer L-R Paige Gardiner & Steven Rooke in Fat Pig. Photo: Rob Maccoll Bree van Reyk Composer/Musician Nigel Poulton Fight Director Peter Carroll Vocal Coach Morgan Dowsett Director “The play is beautifully executed by an ensemble of four Jessica Tuckwell Assistant Director L-R: Susan Prior, John Bell. Photo: Wendy McDougall Renee Mulder Designer actors…It is quite appalling how shallow these people are Chris Twyman Associate Lighting Ben Hughes Lighting Designer and yet still we can so readily identify with them!” Designer “Who am I to find fault with John Bell’s masterful Tony Brumpton Sound Designer 612 ABC Brisbane interpretation of this most complex of characters? His Melanie Wild Assistant Director Peter Sutherland Stage Manager command of the stage is a delight to behold and his clear Ian Rendell Projection and Motion “The play is very ably directed by Morgan Dowsett in his Jennifer Buckland Assistant Stage Manager understanding of the subtleties of the text are all that one Graphic Realisation directorial debut for QTC and it is hoped we see more of his could hope for.” Nikki-J Price Fight Director work in the future.” CAST 612ABC Brisbane Kyle Walmsley Dramaturgy Secondment 612 ABC Brisbane Keith Agius King of France University of John Bell King Lear “This is what good theatre looks and feel like. All the Southern Queensland “Typically witty dialogue from LaBute, together with tight Peter Carroll Fool elements are there, from a classic script to a well-balanced direction from Dowsett and great sound design from Tony Paul English Duke Of Albany cast, plus sophisticated stage and lighting to choreography Daniel Sinclair Stage Manager Brumpton and set design from Renee Mulder, keep the action Peter Kowitz Earl of Kent and direction.” Christopher Horne Assistant Stage Manager moving forward.” Josh McConville Edgar Brisbane Times Ashlee Hints Stage Management Secondment The Australian Jane Montgomery Griffiths Goneril Queensland University Bruce Myles Earl of Gloucester of Technology Yalin Ozucelik Oswald Anthony Phelan Duke of Cornwell CAST Susan Prior Cordelia Paige Gardiner Jeannie Leah Purcell Regan Amy Ingram Helen Justin Stewart Cotta Duke of Burgundy Steven Rooke Carter Timothy Walter Edmund Christopher Sommers Tom

18 A n n u a l R e p o r t A n n u a l R e p o r t 19 6.1.1 Brisbane Mainstage Season 6.1.1 Brisbane Mainstage Season

The Clean House Number of total box office Betrayal Number of total box office performances attendance revenue performances attendance revenue By Sarah Ruhl By Harold Pinter A co-production with Black Swan State Theatre Company 57 13,635* $441,380 37 10,460* $349,508 *Brisbane and Perth Seasons Cremorne Theatre, QPAC *Brisbane and Port Macquarie Seasons Cremorne Theatre, QPAC 6 September – 9 October 28 June – 31 July

L-R: Brooke Satchwell, Hugh Parker, Vivienne Garrett in The Clean House. Photo: Gary Marsh L-R Paul Bishop and Sibylla Budd in Betrayal. Photo: Rob Maccoll

Kate Cherry Director “The Clean House is utterly unforgettable and just about Andrew Bellchambers Designer perfect.” Jon Halpin Director “… it was so quiet you could hear the truth sink in. Alicia Clements Costume Designer Brisbane Times Bruce McKinven Designer Betrayal’s surreptitiousness proves riveting.” David Murray Lighting Designer Matt Scott Lighting Designer LifeMusicMedia Ash Gibson Greig Composer “Rarely does a play move you to the extremes of belly- Brett Collery Composer Claudia Alessi Choreographer laughter in one act and tears in the next, but The Clean Helen Howard Accent Coach “It takes a great team to do Pinter well and QTC has excelled Julia Moody Voice Coach House pulls it off without a hitch.” Cienda McNamara Assistant Director in this production. Jon Halpin is at his strongest working Emma Craig Set Design Secondment Brisbane Times Jason Glenwright Assistant Lighting Designer with layers of meaning and subtle innuendo. He’s an Western Australian Academy Jo Currey Associate Lighting Designer intelligent director who loves text and clearly ‘gets’ Pinter.” of Performing Arts (Tour) Ourbrisbane.com “The Clean House is a beautifully written piece of theatre.… Amy Leeder Stage Manager one of the funniest, entertaining and thought provoking Peter Sutherland Stage Manager (Brisbane) “Seasoned QTC director Jon Halpin has assembled the best Jessica Audsley Assistant Stage Manager plays I have seen in a while. See it if you can. You will have Jessica Audsley Assistant Stage Manager cast he could have found for this show…It is testament to (Queensland Theatre Company) a great night!” (Brisbane) the natual ability of the three actors that we get so much Natalie Moir Assistant Stage Manager 612ABC Brisbane Jessica Audsley Stage Manager (Port Macquarie) from a glance, a withheld breath.” (Black Swan) Daniel Sinclair Assistant Stage Manager Crikey (Port Macquarie) CAST Carol Burns Virginia CAST Vivienne Garrett Ana Paul Bishop Jerry Sarah McNeill Lane Sibylla Budd Emma Hugh Parker Charles Hugh Parker Robert Brooke Satchwell Matilde Peter Scabissi The Waiter

20 A n n u a l R e p o r t A n n u a l R e p o r t 21 6.1.1 Brisbane Mainstage Season 6.1.1 Brisbane Mainstage Season

When The Rain Stops Falling Number of total box office Grimm Tales Number of total box office performances attendance revenue performances attendance revenue By Andrew Bovell Adapted by Carol Ann Duffy & Dramatised by Tim Supple A Brink Productions production 19 8,723 $286,756 35 9,121 $256,668 Cremorne Theatre, QPAC Playhouse, QPAC 8 November – 11 December 20 October – 6 November

L-R: Carmel Johnson, Neil Pigot, Kris McQuade, Yarlin Ozucelik, Paul Blackwell, Anna Lise Phillips, Michaela Cantwell Photograph: Jeff Busby. *Michaela Cantwell and Paul Blackwell were not in Brisbane production, but they are in these photos

Chris Drummond Director “This is Australian theatre at its best.” L-R Melanie Zanetti, Scott Witt, Lucas Stibbard, Dan Crestani, Eugene Gilfedder, Emma Pursey in Grimm Tales. Photo: Rob Maccoll Hossein Valamanesh Designer Artshub Niklas Pajanti Lighting Designer Michael Futcher Director “Perfection is a rare thing in the theatre and I can’t Quentin Grant Composer “I adored this play. It’s one of the most astonishing and Greg Clarke Designer remember when I last saw a production in which all the TheimaGen Video Design deeply moving theatrical experiences I’ve ever had.” David Walters Lighting Designer elements married so magically and effortlessly as they do in Kay Jamieson Producer Ourbrisbane.com Phil Slade Composer this one.” Anna McCrossin-Owen Voice Consultant Scott Witt Movement Consultant The Courier Mail Ingrid Voorendt Movement “… When The Rain Stops Falling – the triumphant Australian Michelle Miall Assistant Director play that is both savage and breathtaking.” Dan Crestani Additional Choreography “… the heart of this play’s success lies in the casting. Futcher Lisa Osborn Stage Manager Scene Magazine Michelle Zahner Design Secondment has assembled an impeccable ensemble…to bring off what Nicola Keene Assistant Stage Manager Griffith University becomes an evening of sheer enchantment.” The Courier Mail CAST Peter Sutherland Stage Manager Quentin Grant Musician Shaun O’Rourke Assistant Stage Manager “What a gorgeous example of powerful storytelling and Kevin Harrington Joe Ryan (Age 50) Fiona McKeon Stage Management Queensland theatrical magic!” Carmel Johnson Elizabeth Law (Age 60s) University of Technology Ourbrisbane.com Mandy McElhinney Elizabeth Law (Age 30s) Kris McQuade Gabriele York (Age 50s) CAST “This is living, breathing storytelling. It’s the magic of Yalin Ozucelik Gabriele Law (Age 28)/ Liz Buchanan Emma Pursey theatre, live on stage. Don’t miss it.” Andrew Price (Age 28) Sallie Campbell Phil Slade Ourbrisbane.com Anna Lise Phillips Gabriele York (Age 24) Dan Crestani Lucas Stibbard Neil Pigot Henry Law (Age 40s)/ Noah Cunningham Scott Witt Gabrielle York (Age 50s) Eugene Gilfedder Melanie Zanetti

22 A n n u a l R e p o r t A n n u a l R e p o r t 23 6.1.1 Mainstage Season 6.1.1 Mainstage Season On Tour

Number of total Toy Symphony Number of total box office Macbeth for the Brisbane Festival performances attendance performances attendance revenue By Michael Gow By William Shakespeare 6 3,306 58 10,426 $264,620 Playing Australia Tour, Feb – May 2010

Toy Symphony Tour Barbara Lowing Mrs Walkham/Nurse/Crazy Woman Daniel Mulvihill Nick/ Daniel Edward Wightman Lawyer/Headmaster/Dr Maybloom/Steve Gooding/Mr Devlin/Tom Christopher Pitman Roland Henning Elizabeth Falkland Nina/Julie Pearson/Miss Beverly Lynette McKenzie

Amy Forman Stage Manager Shaun O’Rourke Assistant Stage Manager Joanne Currey Head Electrics Richard Aishford Tour Head Mechanist Geordie Brookman Director Jonathon Oxlade Designer Benjamin Hughes Lighting Designer

Venues Theatre Royal, Hobart TAS – 17 to 20 February West Gibbsland Arts Centre, Warragul VIC - 23 & 24 February Frankston Arts Centre, Frankston VIC - 26 & 27 February Capital Theatre Bendigo, Bendigo VIC - 2 & 3 March Westside Performing Arts Centre, Mooroopna VIC - 5 & 6 March Civic Theatre, Wagga Wagga NSW - 12 & 13 March Marcus Graham in Macbeth. Photo: Justin Nicholls Theatre Centre, Canberra ACT- 16 to 20 March Illawarra Performing Arts Centre, Wollongong NSW - 23 to 27 March Laycock Street Theatre, Wyoming NSW - 30 & 31 March Riverside Theatres, Parramatta NSW - 7 to 10 April Albury Performing Arts Centre, Albury NSW - 13 April Glasshouse Arts, Conference and Entertainment Centre, Port Macquarie NSW - 16 & 17 April Glen Street Theatre, Belrose NSW - 20 April to 1 May Helen Christinson Lady Macbeth Newcastle Civic Theatre, Newcastle NSW – 5 to 8 May Marcus Graham Macbeth Jason Klarwein Banquo Peter Marshall Macduff Michael Mortimore Malcolm Bryan Nason King Duncan, Witch 2 & various other Nick Newth Witch 3 & various other Betrayal Kaye Stevenson Witch 1 & various other By Harold Pinter Michael Gow Director Simone Romaniuk Designer Port Macquarie Jason Organ Lighting Designer Glasshouse Arts, Conference and Entertainment Centre Tony Brumpton Sound Designer 15 & 16 October (3 shows only) Melanie Wild Assistant Director Scott Witt Fight Director

Daniel Sinclair Stage Manager Chin Ling (Bec) Li Assistant Stage Manager Rebecca Swadling Assistant Stage Manager

24 A n n u a l R e p o r t A n n u a l R e p o r t 25 6.1.2 Education Season 6.1.3 Regional Partnerships Program Waiting for Godot Hurry Up and Wait! Pursuing Touring Opportunities By Samuel Beckett Regions Visited by Queensland Theatre Company in 2010 by Bridget Boyle and Liz Skitch A co-production with deBase Productions For students in years 10 – 12 Region Activity 22 April – 7 May For students in years Prep – 4 Airlee Beach Hurry Up and Wait! tour 22 July – 6 August Number of total box office Blackwater School Workshops, Hurry Up and Wait! tour performances attendance revenue Number of total box office Bluff Artist Residency 18 3,922 $70,216 performances attendance revenue Bowen Hurry Up and Wait! tour Director Joseph Mitchell 117 15,354 $9,484 Bundaberg School Workshops (Wesfarmers Resources Regional Acting Studio) Designer Simone Romaniuk Lighting Designer Ben Hughes Director Bridget Boyle Cairns School Workshops Sound Designer Tony Brumpton Designer Sam Paxton Movement Niki-J Price Sound Designer Tony Brumpton Caloundra School Workshops Voice Helen Howard Capella Hurry Up and Wait! tour Stage Manager Jess Audsley Stage Manager Kathryn O’Halloran Assistant Stage Manager Sarah Oates (Brisbane, Regional Qld) Charleville Artist Residency Jess Audsley Cherbourg Hurry Up and Wait! tour CAST (South Burnett Tour) Martin Blum Clermont Hurry Up and Wait! tour Jonathon Brand CAST Jimmy Futcher Clint Bolster Cunnamulla Artist Residency Frankie Futcher Liz Skitch Eugene Gilfedder Dysart Hurry Up and Wait! tour Bryan Probets Emerald Hurry Up and Wait! tour Gladstone School Workshops, Hurry Up and Wait! tour The 7 Stages of Grieving Gold Coast School Workshops, Gold Coast Arts Centre Workshops By Wesley Enoch and Hervey Bay School Workshops (Wesfarmers Resources Regional Acting Studio)

For students in years 9 – 12 Lowood Hurry Up and Wait! tour 27 July – 6 August Kingaroy Hurry Up and Wait! tour

Number of total box office Mackay School Workshops, Hurry Up and Wait! tour performances attendance revenue Maroochydore School Workshops 17 3,532 $61,710 Moranbah Hurry Up and Wait! tour

Director Rosalba Clemente Mount Isa School Workshops (Wesfarmers Resources Regional Acting Studio) Designer Morag Cook Murgon Artist Residency, Hurry Up and Wait! tour Video Production/ Lighting Designer David Gadsden Noosa Performances of Hurry Up and Wait! Sound Designer Stuart Day Assistant Director Nazaree Dickerson Proserpine Hurry Up and Wait! tour Rockhampton School Workshops, Hurry Up and Wait! tour Stage Manager Stephanie Fisher Assistant Stage Manager Christopher Horne Sarina Hurry Up and Wait! tour

CAST School Workshops (Artists In Schools) Lisa Flanagan Townsville School Workshops (Wesfarmers Resources Regional Acting Studio) Wondai Hurry Up and Wait! tour Woorabinda School Workshops, Hurry Up and Wait! tour Yeppoon Hurry Up and Wait! tour

26 A n n u a l R e p o r t A n n u a l R e p o r t 27 6.1.3 Regional Partnerships Program 6.2 Goal Two: We will strengthen community and industry value

REGIONAL ACTIVITIES Gold Coast Arts Centre Residency Nine workshops were conducted by three theatre artists at Wesfarmers Resources Regional Acting Studio Gold Coast Arts Centre. Total youth participation was 126. The Company facilitated 101 theatre workshop opportunities for 2,236 student and teacher participants in eight regional Bluff State School Residency areas including Cairns, Townsville, Mt Isa, Rockhampton, One actor completed 15 theatre workshops at Bluff State Mackay, Gladstone, Bundaberg and the Darling Downs. School with a total of 235 participants.

Video Space Theatre Bus Video Space provides on-line learning resources which relate Eleven schools from regional or disadvantaged areas directly to Company productions and activities for students received bus subsidies to assist with travel costs to and teachers throughout regional Queensland. Queensland Theatre Company in 2010.

Online video content included behind the scenes information Virtual Theatre about the Education Performance of Waiting for Godot, The Regional Program received funding from the auDA highlights from Theatre Residency Week, documentation of Foundation to develop an online learning program aimed at an artist residency at Murgon State High School and video providing innovative education opportunities for regional highlights from the regional tour of Hurry Up and Wait! schools. Ortelia Interactive Services was contracted to build a 3D virtual theatre venue modelled on Queensland Theatre JUTE Theatre - Cairns Company’s Bille Brown Studio. The Company supported JUTE Theatre by assisting with travel and living away expenses for Brisbane-based lighting Designer Simone Romanuik and lighting designer Ben designer Ben Hughes to work on JUTE Theatre’s production Hughes provided designs for Romeo and Juliet which were of Macbeth. The Company also provided administrative rendered digitally into the virtual theatre. Currently in the support to assist with an organisational review at JUTE testing phase, the finished program will aid teachers in Theatre. delivering the senior drama curriculum and will be available to schools in the second half of 2012. Noosa Long Weekend Festival – Noosa The Company presented the world premiere performance of Hurry Up and Wait! at the Noosa Long Weekend Festival on 24 June. Six performances were staged at the Noosa Arts Theatre with a total audience of 192.

Cunnamulla/Charleville Residency West End State School Students at Hurry Up And Wait! Two actors conducted three weeks of in-school workshops at Cunnamulla State School, Charleville State High School and Charleville State School. 46 workshops were conducted with 1010 students participating. Goal Two: We will strengthen community

Murgon State High School Residency and industry value Two actors conducted two, one week artist residencies at  Providing a range of professional development and training opportunities Murgon State High School in the South Burnett region. Twenty-seven workshops were conducted with a total of 579 to employees participants.  Supporting a vibrant local performing arts sector  Providing support and development opportunities for writers  Providing education opportunities for students, young people and educators  Implementing regional activities  Exploring the boundaries of theatre with diversity of work across media, venues and scale  Engaging in public dialogue about the value of the arts to the wider community

28 A n n u a l R e p o r t A n n u a l R e p o r t 29 6.2.1 Emerging Artists Program 6.2.2 Artist Development

Since 2002, the Emerging Artists Program has provided a 2010 Creative Assistants New Work Creative Development Residency number of young, talented theatre workers with the chance Kat Henry - Assistant Director The Company supported the development of new work in The Black Lung Theatre Company and Whaling Firm are to work with the Company over an extended period. Artists The Little Dog Laughed by Douglas Carter Beane, 2010 through a series of creative development workshops a Melbourne based collective who have previously worked are given the opportunity to practise their craft and to Director Michael Gow and presentations. with Malthouse Theatre, Next Wave Festival and This is undertake professional development and training specifically Not Art Festival to critical acclaim. In July, The Black Lung tailored to their individual goals. Travis Dowling - Assistant Director Jonathon Oxlade received an Australia Council grant to Theatre Company completed a three and a half week artist Thom Pain (based on nothing) by Will Eno, undertake a two week creative development of a new residency in Studio 2 at Queensland Theatre Company which The Emerging Artists Program also provides short-term Director Jon Halpin performance work The Prometheus Project. Jonathon worked involved five of its members working with seven young opportunities for professionals to gain valuable observational with collaborators Lucas Stibbard, Neridah Waters, Matthew artists from Brisbane. experience on individual productions, as Creative Assistants. Cienda McNamara - Assistant Director Ryan and Chris More and an invited audience attended a Each year Creative Assistants are assigned to productions as Betrayal by Harold Pinter, showing in Studio 2. A total of four performance outcomes were presented in either Assistant Directors or Design Assistants. These roles Director Jon Halpin Studio 2 at the end of the residency. involve observing the professional practice of the Director or Following the success of the Taking Aim masterclasses Designer and the way the Company puts on a show. Michelle Miall - Assistant Director of 2008 with Max Gillies and Guy Rundle, a small group Following successful feedback from audience members and Grimm Tales Adapted by Carol Ann Duffy & of writers led by Robert Kronk of deBASE productions participants, this work was programmed as part of the 2011 2010 Emerging Artists Dramatised by Tim Supple, continued to work together. They secured a Brisbane City Studio Season at Queensland Theatre Company. Tony Brumpton – Sound Designer Director Michael Futcher Council Creative Sparks grant to further develop their satire Tony was engaged as Sound Designer on mainstage writing skills. The Black Lung Theatre Company members were: productions including The Little Dog Laughed, Fat Pig and Macbeth for the Brisbane Festival and on Youth and The Company hosted two closed showings in Studio 2 for Liam Barton Education productions including Hurry Up and Wait!, invited audiences. Public performances of the resulting work Gareth Davies Waiting For Godot and the Youth Partnerships Residency. Uncle Tony’s Oats were held post-show during the Thom Aaron Orzech Tony was also the Company’s sound consultant on numerous Pain (based on nothing) season. Vasadenjo Wharton-Thomas productions over the year and was the recipient of an Thomas Wright Australia Council for the Arts Creative Professionals Grant. Stephen Carleton’s script 1975, which he had developed during the 2010 Will Eno masterclass, was further The young people from Brisbane included: Jason Glenwright – Lighting Designer supported by the Company through a creative development Jason was engaged as Lighting Designer on the mainstage workshop, resulting in a closed reading to select industry Charles Schache (Queensland University of Technology – production of The Little Dog Laughed and Assistant Lighting representatives. Creative Industries) Designer for Betrayal and on Youth and Education projects Anna McGahan (Queensland University of Technology – including the Youth Partnerships Residency. Jason also A script development workshop was held late in the year for Acting) observed interstate lighting designers at work during the the 2011 mainstage production Water Falling Down by Mark Nathan Sibthorpe (Queensland University of Technology– preproduction period of incoming shows. Swivel. Creative Industries) Tiarnee Kim (Queensland University of Technology – Melanie Wild – Director The three finalists in the Queensland Premier’s Drama Award Creative Industries) Melanie was engaged as Assistant Director on mainstage underwent three development workshops with director Nick Newth (University of Southern Queensland – productions including Let The Sunshine, Fat Pig and Michael Futcher and dramaturg Saffron Benner in the lead- Theatre Studies) Macbeth for the Brisbane Festival. Melanie directed Angela up to their rehearsed reading presentations and judging in Megan Gilsenhan (Queensland University of Technology – Betzien’s The Dark Room for The Works, a public showing of November. Creative Industries) playreadings as part of the Company’s writing program. She Chloe Tara (Backbone Youth Arts) also undertook the role of Dramaturgy Secondment at the Queensland Premier’s Drama Award 2010/11 development Stage Manager: Ryan Marks workshops. Movement/Safety: Niki-J Price

Melanie Zanetti – Actor Auditions In 2010, Melanie played Ellen in The Little Dog Laughed, In addition to production-specific auditions, the Company Gretel, Snow White and various other roles in Grimm Tales holds general auditions twice in each calendar year. and performed in The Works. Sixteen actors were auditioned in May by Artistic Associate Jon Halpin, Youth & Education Manager Joseph Mitchell and Director Melanie Wild.

In November 2010, Artistic Director Wesley Enoch and Artistic Development Manager Katherine Hoepper saw 26 recently graduated actors in the Graduate round of auditions.

30 A n n u a l R e p o r t A n n u a l R e p o r t 31 6.2.2 Artist Development 6.2.2 Artist Development

Unsolicited Scripts PlayWriting Australia A State of Writing Queensland University of Technology The Company continued its policy of accepting unsolicited Chris Mead, Artistic Director of Play Writing Australia, The Company signed a formal 12 month agreement with Queensland University of Technology Creative Industries manuscripts provided they are submitted through an agent, continued his association with the Company by serving A State of Writing in June 2010. Under this agreement, the partnered with the Company to fund and facilitate or the writer has a professional production history. on the judging panel of the Queensland Premier’s Drama Company is committed to branding events associated with international playwright Will Eno’s visit to Brisbane in Award in July and November 2010. Artistic Development the Company’s writing programs with A State of Writing. March 2010. Will Eno attended key Queensland University In 2010 the Company received and assessed 111 scripts Coordinator Erica Fyrberg attended Playwriting Australia’s of Technology events for one week of his three-week tour. (excluding Queensland Premier’s Drama Award entries), 56 2010 National Play Festival. The Company was represented at the monthly A State of Queensland University of Technology placed Will Eno’s solicited and 45 unsolicited. Writing meetings, established by Arts Queensland and led scripts Thom Pain (based on nothing) and Lady Grey on The State Library of Queensland by the State Library of Queensland, throughout 2010. It their curriculum for creative industries students from International Playwright Visit and Masterclass The Company partnered with the State Library of also hosted the “Staged Lives” event in association with the acting, directing and writing programs. These students were The Company brought Will Eno, playwright of Thom Pain Queensland for two “Deepen the Conversation” events as group at the State Library of Queensland. Wesley Enoch encouraged to see the Company production of Thom Pain (based on nothing) to Brisbane in February and March part of their public programs this year. “Chewing the Fat” introduced the partners’ State of Writing Celebration at (based on nothing) as part of their courses. 2010. His visit coincided with the Company’s production in May 2010 featured director Morgan Dowsett and the cast Brisbane Writers Festival. With Playlab, the Company of Thom Pain (based on nothing). Queensland University of of Queensland Theatre Company’s Fat Pig. “Re-imagining contributed regularly to the A State of Writing website and Director, Joe Mitchell hosted an information session for Technology, Playlab and Inscription partnered the Company Grimm Tales”, was presented also in partnership with the ran a blog on that site during the development period of the drama students and mentored a discussion with third year in this venture. , featuring director Michael Futcher three finalists for the Queensland Premier’s Drama Award. acting students at Queensland University of Technology. and academics Jason Jacobs and Alison Scott discussing A series of events involving Will were held during his visit, the process and nature of adaptation. This was an excellent The University of Queensland Youth Partnership Creative Development – Backbone including masterclasses to develop five local writers’ works, promotion of Grimm Tales, with audience members buying In 2010, four students from the University of Queensland Youth Arts a forum at the State Library of Queensland, access for tickets to the play during the event. drama program provided program notes to the Company as students at Queensland University of Technology and Will’s part of their course work. Under the supervision of Stephen The Company partnered with Backbone Youth Arts to presence at rehearsals, the play briefing and opening night. Brisbane Writers Festival: 1-5 September 2010 Carleton and Company staff, the students researched and develop and present four short contemporary theatre works by young artists in the Bille Brown Studio. A total of 30 The forum event, “Staged Lives”, co-hosted with Playlab, The Company continued its association with Brisbane contributed to the Let the Sunshine and Fat Pig programs. participants from Backbone Youth Arts, Griffith University featured Michael Gow, David Williamson and Will Eno in Writers Festival. The University of Queensland hosted Will Eno at the St discussion. Lucia campus for a lunch during his international visit, and Queensland University of Technology worked with three professional performance makers to shape and present new Wesley Enoch represented the Company at the State of giving staff and students an opportunity to meet with him. work which focused on group collaboration. There were two In conjunction with Inscription, five writers - David Burton, Writing Celebration forum which involved a panel discussion public performance outcomes and a total audience of 203 Stephen Carleton, Claire Christian, Maxine Mellor and Helen with Jessica Rudd and Jessica Watson. In recognition of its partnership with the Company, the Wentland (of Screen Queensland) were provided with the University of Queensland appointed Artistic Development people. opportunity to develop their scripts with Will Eno over the Winners of the 2010 Young Playwrights Program, Anna Coordinator Erica Fryberg for a three-year term as an course of a week. The Company provided the venue, actors, McGahan, Bianca Butler and Tom Slater, spoke to a full Honorary Staff Member (Research) of the Department of stage management and dramaturgy through its partnership auditorium as part of Brisbane Writers Festival’s WordPlay English, Media Studies and Art History. This has resulted in with Playlab. program. The public play readings of these three writers’ valuable access for the Company to otherwise inaccessible winning scripts from the Young Playwright’s Program were research databases and borrowing rights to the University’s PARTNERSHIPS presented at Brisbane Writers Festival for the first time this catalogues, including free interlibrary loans from other In 2010, the Company continued relationships with industry year. collections across Australia. partners including A State of Writing, Playlab, Metro Arts, Playwriting Australia, the State Library of Queensland, Brisbane Writers Festival’s Artistic Director, Jane O’Hara, Brisbane Writers Festival, Queensland University of actively supported the Company’s Writing Program, chairing Technology, The University of Queensland and Griffith the “Staged Lives” forum event with Will Eno and serving University. on the judging panel of the Young Playwrights Program.

New strategic relationships were forged in 2010 for specific projects, including with Screen Queensland, Inscription (Will Eno visit) and the Judith Wright Centre of Contemporary Arts (1975 creative development).

Playlab In 2010, the Company renewed a Memorandum of Understanding with Playlab for a further three years. Several key activities were held under the strategic partnership this year including the “Staged Lives” panel as part of Will Eno’s visit, Queensland Premier’s Drama Award judging and dramaturgical support and participation by the Company in the Playlab panel at Playwriting Australia’s 2010 National Play Festival.

32 A n n u a l R e p o r t A n n u a l R e p o r t 33 6.2.3 Writing Program 6.2.4 Youth & Education Program

The Queensland Premier’s Drama Award Young Playwrights Program Education Performance workshops Education resources The Queensland Premier’s Drama Award is a one-of–a-kind In 2010, 30 scripts were submitted into the Young Post-show workshops after performances of Waiting for Comprehensive education resources were completed for playwriting award in Australia which develops the work of Playwrights’ Program. Three playwrights, Bianca Butler, Godot and The 7 Stages of Grieving were facilitated for all Company productions in 2010. This included Teachers’ a number of writers and includes a commitment on behalf Anna McGahan and Tom Slater were subsequently selected groups of up to 40 students in the Bille Brown Studio. Notes for all shows, online video resources for popular of the Company to present a professional production of the to further develop their scripts under the guidance of These workshops provided students with an opportunity to school plays, behind the scenes video footage for workshops winning play and publication of the winning script. dramaturg Saffron Benner. explore practical theatre exercises relating to the themes and and regional residencies and a curriculum document for performance styles of the production they had seen. A total facilitating regional artist residencies. The restructure of the Queensland Premier’s Drama Award The Company partnered with Brisbane Writers Festival to of 709 people completed post-show Education Performance for 2010 – 2011 resulted in increased entries from across present a public forum for the selected playwrights to talk workshops in 2010. Youth & Education Reference Group Australia. Significantly, the award criteria were broadened about their experiences as emerging playwrights. This event The Youth & Education Reference Group is an advocacy to allow entries from teams of artists and in a variety of was hosted by Wesley Enoch. Brisbane Writers Festival also Artists in Schools workshops and steering committee with members made up from school forms. Entries closed on 30 June 2010 and a total of 94 was presented a public reading of the three short plays to an Professional theatre artists facilitate practical workshops with and university teachers as well as artists and industry received. audience of 100 people including family and friends of the students in the classroom. In 2010, 118 Artists in Schools professionals. The group met four times during the year to playwrights. workshops were held, with 2,422 students participating. discuss trends in education and youth areas and to provide The award is supported by Playlab, which provides feedback on programming for Education Performances and dramaturgical support and publication of the winning script, Director: Kat Henry In-School workshops workshops. and by Sponsor Griffith University. Stage Manager: Nicola Keene The Company advertises two-hour workshops in popular Cast: Leon Cain areas of drama study for schools in South East Queensland Members in 2010 were: In July 2010 the judges selected as finalists: Amelia Dowd each year. Name Representation Lea Ruetens Penny Everingham Board member and artist  Rebecca Clarke (Belongings) Kevin Spink In 2010, the Company facilitated 48 in-School workshops, Bernadette Pryde University of Southern Queensland  Philip Dean (Unreliable Bodies); and Lucas Stibbard with 1,024 students participating. The workshop areas Sean Box Education Queensland and  Marcel Dorney (Fractions). included Brecht, commedia, physical theatre and audition Drama Queensland techniques. Melissa Rowse Ferny Grove State High School Three development workshops were held with the finalists Gerowyn Lacaze Balmoral State High School between July and November, the latter two involving actors, Teacher professional development opportunities Joseph Mitchell Queensland Theatre Company director Michael Futcher and dramaturg Saffron Benner. Twelve teacher professional development workshops were Joy Pohlner Cannon Hill School facilitated across the State in 2010, with 188 teachers Bruce Burton Griffith University The three scripts were presented as The Works II in the Bille participating. Workshop areas included directing, cinematic Joan Cassidy Brisbane Bayside State College Brown Studio on 26 and 27 November. theatre, group devising and primary school drama. Malcolm Steele Brisbane State High School Jocelyn Moore-Carter Trinity Lutheran College The Honourable Anna Bligh, MP, Premier and Minister Theatre Residency Week Michael Beh Gregory Terrace College for the Arts announced Marcel Dorney’s Fractions as the In 2010, 107 high school students attended the Company’s Mike Tyler Education Queensland winning play on 30 November at a function for sponsors week long drama camp held at St Margaret’s Anglican Girls Kelly Redhead-Adelt Moreton Bay College and supporters. Fractions will be developed in two School. During the week, 64 workshops and three public further workshops in 2011 prior to production in the 2011 performances were offered. An audience of 200 attended the Student Advisory Panel Queensland Theatre Company mainstage season. final evening showcase. In 2010, 16 students from years 11 and 12 were selected to participate in the Student Advisory Panel. This met quarterly The Works Thanks to support from a private donor, the Company was to provide feedback and advice on a range of productions The Works 2010 developed and presented five contemporary also able to provide subsidised travel and fee support for 20 and programs presented for young people. The members Australian works across the year and created valuable participants from rural and regional areas to attend Theatre also attended Company productions and events including opportunities for former and current emerging artists to Residency Week. previews, play briefings, workshops and other programs participate and perform in the development process and identified throughout the year. public presentations. Secondments Nineteen university students completed secondments Play briefings and previews In July 2010 The Works I was held in Studio 2. Michael Gow in areas of dramaturgy, education, production and arts The Company offered complimentary tickets for teachers to directed Matthew Ryan’s Bull and emerging artist Melanie administration. attend the play briefing and first preview of each production Wild directed Angela Betzien’s The Dark Room. to enable them to prepare suitable learning activities for Work experience students attending productions. In 2010, 168 teachers In November 2010 The Works II was held in the Bille Brown Ten senior school students completed one week of work attended preview performances and 17 attended play Studio, for the presentation of the three finalists’ scripts of experience at Queensland Theatre Company in 2010. During briefings. the 2010-11 Queensland Premier’s Drama Award. Belongings the week, each student observed rehearsals, assisted in arts by Rebecca Clarke, Unreliable Bodies by Philip Dean and administration and attended Company productions. Community access Fractions by Marcel Dorney were directed by Michael Upon request, the Company provides venues tours and lends Futcher and many audience members attended all three props and sets to schools. presentations. In 2010, three building tours were conducted and three high schools borrowed Company equipment for their productions.

34 A n n u a l R e p o r t A n n u a l R e p o r t 35 6.2.5 2010 Opportunities for Theatre Practitioners 6.3 Goal Three: We will create larger audience numbers

External (Contract/Casual) Internal (Permanent) Grand total Opportunities hours Full Time opportunities hours FTE FTE equivalent (FTE) Actor/Artist 134 25579.99 12.95 1 92.00 0.05 12.99 Administration 14 127.25 0.06 19 25681.77 13.00 13.06 Creative 103 12377.25 6.26 4 1808.00 0.91 7.18 Development 2 14.50 0.01 4 5508.00 2.79 2.79 (Sponsorship & Philanthropy) Marketing & Ticketing 18 3564.75 1.80 11 12852.81 6.50 8.31 Production 325 25531.18 12.92 12 19321.89 9.78 22.70 Venue 134 2118.50 1.07 6 30.75 0.02 1.09 Workshop Artists 83 271.68 0.14 1 22.80 0.01 0.15 Other 2 100.00 0.05 1 1.00 0.00 0.05 TOTAL 815 69685.1 35.27 59 65319.02 33.06 68.32

Total Opportunities 874

Indigenous Statistics: Six indigenous people engaged over seven opportunities for theatre practitioners 620 hours of employment Indigenous people represent 0.5% of the Company’s workforce based on hours worked Indigenous people represent 0.8% of the Company’s workforce based on employment opportunities

Gender Statistics: 162 women engaged over 442 opportunities for theatre practitioners 34 female actors out of 51 actors in total 4 female directors out of 11 directors in total 78,474 hours of employment Women represent 58.1% of Queensland Theatre Company’s workforce based on hours worked Women represent 50.6% of Queensland Theatre Company’s workforce based on employment opportunities King Lear Opening Night, QPAC. Photo: Josh Woning

Goal Three: We will create larger audience numbers  Building brand awareness, leadership and loyalty  Developing data-driven customer relationships  Engaging audiences through digital media and new technologies  Developing social opportunities for audiences to connect with each other and the Company  Strengthening and developing industry, community and promotional partnerships  Providing affordable and accessible productions  Instigating and participating in audience and industry research

36 A n n u a l R e p o r t A n n u a l R e p o r t 37 6.3.1 Season Ticket Holder Events & General Audience 6.3.1 Season Ticket Holder Events & General Audience

Brand awareness, leadership and loyalty Strengthening and developing partnerships Instigating and participating in research The Company continued successful brand-building activities The Company consolidated its promotional partnerships In 2010, the Company finalised a 24-month long project throughout the year, including pre-play briefings for Season in 2010, continuing arrangements that provided a tangible designed to create an accurate and reliable methodology to Ticket Holders and audience Q&A sessions through the return on investment. measure the impact of theatre productions on our audiences. Nights With Actors program. These two initiatives alone Follow up surveys were developed and administered by a engaged 2,400 attendees in 2010. We expanded our relationship with Queensland Rail, offering third-party researcher, gauging patrons feedback on how weekend package deals to untapped customer bases north of patrons researched shows and made purchase decisions, Renewing Season Ticket Holders accounted for 74% of all the Sunshine Coast. what they thought of our venues and customer service and season ticket holders, comparable to high retention levels in how they engaged with each particular show. 2008. First-year season ticket holders were rewarded with We also partnered with the Brisbane Festival to stage an advance preview of the 2011 program before the official a short-run season of Macbeth in a 500-seat open air Surveys were conducted in relation to four productions in season launch, with nearly 250 patrons attending. amphitheatre – the most attended theatre event within the 2010 – Thom Pain (based on nothing), Fat Pig, The Clean festival line up. House and When The Rain Stops Falling. All surveys Publicity surrounding theatrical events such as the attracted a response rate of more than 25% - a remarkable Company’s co-production of King Lear with Bell Mutually beneficial promotional partnerships with map level of engagement with our customers. Shakespeare and a Queensland University of Technology magazine, ourbrisbane.com.au, Palace Cinemas, Liquid and Queensland Theatre Company co-sponsored tour by US Interactive, QPIX and Queensland Homes magazine were Quantitative and qualitative information gleaned from this playwright Will Eno further reinforced our reputation as an renewed. data was shared throughout the Company and was used by industry leader. the management team during production debriefs to gain Affordable and accessible productions insights into how best to serve patrons’ needs. At a tactical level, greater focus was given to testing and The Company managed to balance revenue imperatives measuring the effectiveness of advertising throughout 2010, with affordability and accessibility goals in 2010. Our ticket with the aim of setting benchmarks and refining media prices remained among the most competitive in comparison spending for future seasons. New media channels, including to other state theatre companies. In 2010, most season cinema and out-of-home advertising, were utilised in order tickets delivered savings of between 30-60% on market to extend the reach of promotional campaigns. As a result, ticket prices. The Company continued to offer generously the Company attracted almost 30% more first-time ticket reduced prices to full-time students, pensioners, Health Care buyers than in 2009. Card holders, Carer Business Discount Card holders and Government Seniors Card holders. Developing data-driven customer relationships Existing data-gathering processes were refined and used to The Company’s $20 Tuesday initiative, which makes $20 ensure the Company’s relationships with patrons became tickets available for every Tuesday performance when more personalised and relevant. Past purchase information, available, proved extremely popular throughout the year. play genre preferences and demographic data were used to Fewer $20 Tuesday tickets were able to be sold in 2010, ensure high response rates to marketing activities, resulting because many Tuesday night performances were sold out in in a tenfold return on some marketing tactics. advance.

Digital media and new technologies Free performances of the children’s show Hurry Up and Major adjustments were made to the Company’s online and Wait!, staged as part of the Go Between Bridge open day, digital capabilities in 2010. A new open-source website entertained approximately 400 children over the course of afforded greater control, increased flexibility and recurrent the event and introduced our home venue to thousands of budgetary savings. Newly implemented search engine potential new audience members. optimisation (SEO) and search engine marketing (SEM) strategies became an ongoing part of branding and sales An open captioned performance of King Lear was staged campaigns and gave the Company much higher online for deaf and hearing impaired audiences as part of the visibility. Company’s ongoing commitment to increasing accessibility.

The Company’s Facebook and Twitter following continues to grow steadily, with now more than 2,200 Facebook friends and 2,000 Twitter followers. Boosting these numbers significantly is key to the Company’s digital marketing strategy.

38 A n n u a l R e p o r t A n n u a l R e p o r t 39 6.4 Goal Four: We will create a financially strong company 6.4.1 Corporate development partnerships

The Company maintained a solid sponsorship base, We welcomed back URS as Season Sponsor. During the welcoming all but two existing sponsors and six new year, URS hosted three events, selecting a variety of plays at sponsors in 2010. which to invite their clients and guests.

Each year since 2005, Corporation has Freehills entered their second year as a Season Sponsor sponsored the Emerging Artists Program. During 2010, there in 2010 and entertained their clients at selected functions was strong engagement between our four emerging artists throughout the year. and Brisbane Airport Corporation: actor Melanie Zanetti and lighting designer Jason Glenwright were invited as guest The Company is grateful for the support received from speakers at a monthly Brisbane Airport Corporation staff our contra suppliers. In 2010, these companies included meeting and our primary school play Hurry Up and Wait! Arkhefield, Castlemaine Perkins, Merlo, Clovely Wines, The was performed in one of Brisbane Airport Corporation’s Sebel and Citigate , Quay West Brisbane, meeting rooms to fifty excited Hendra State School students. Phoebe Stephens Flowers, Liquid Interactive, The CEO Institute, Digital Ink, caterers Wine&dine’m, Nous and Palace The partnership between the Company and Wesfarmers Cinemas. Resources entered its third year. In 2010, there was strong growth in student participation in the Wesfarmers Resources The regional tour for Hurry Up and Wait! was supported in Regional Acting Studio. The Company toured the children’s the South Burnett region by new sponsor, Tarong Energy. play Hurry Up and Wait! to Blackwater (where Wesfarmers Touring to this area was most successful, with more than Curragh is located) and Woorabinda. A highlight for this 1,500 primary students in the region seeing the play. Tarong partnership was winning the 2010 AbaF state award in the Energy demonstrated strong community engagement, category QantasLink Regional Award. with representatives from the company attending each performance. In 2010, we welcomed Ricoh as sponsor of the Major Cast Program, a new category of sponsorship which helps support Special Events productions with a larger number of actors on stage. The Company hosted pre-show functions for each of our mainstage plays at Queensland Performing Arts Centre Valued long term sponsor Bendigo Bank selected the during the 2010 Season. production of Grimm Tales to sponsor in the 2010 Season. More than 100 clients of Bendigo Bank were entertained at Vice-Chancellor of University of Southern Queensland, Bill selected plays throughout the year. Lovegrove was guest speaker at the opening night event for The Little Dog Laughed, the first play of the Season. Ernst & Young, production sponsor for the play Let the Sunshine, hosted an exclusive function and night at As Production Sponsor of Let the Sunshine, Grant Murdoch, the theatre for 140 clients and staff. Playwright David Divisional Director, Transaction Advisory Services, Ernst Williamson, actor John Wood and Artistic Director Michael Bille Brown Studio & Young was guest speaker at the pre-show function on Gow were special guests at a boardroom lunch hosted by the opening night. firm. Karl Morris, Chairman of Ord Minnett co-hosted the opening Griffith University continued its support of the Queensland night of Betrayal and entertained 20 guests at this function. Premier’s Drama Award in the 2010/2011 cycle. The Honourable Anna Bligh MP, Premier and Minister for the PricewaterhouseCoopers Brisbane Managing Partner, Robert Goal Four: We will create a financially strong company Arts, announced the winning playwright at a special function Baker spoke at the pre-show event for King Lear. hosted by Quay West Brisbane. Marcel Dorney won the award  Producing timely and accurate financial analysis, planning and reporting for his play Fractions which will be presented as part of the The networking evening for the play Betrayal was co-hosted to facilitate financially sound decision making Company’s mainstage season in 2011. by Brisbane Airport Corporation and we were pleased to have its Chief Executive, Julieanne Alroe speak at this event.  Increasing earned income through existing revenue streams, both earned Premium Entertainment Program sponsor and subsidized PricewaterhouseCoopers were proud to be associated with the Andrew Hopper, Queensland Manager for Ricoh was the play King Lear, inviting valued clients to opening night and guest speaker at the opening night of the play When the  Diversifying earning potential through new initiatives to another function hosted during the season. Rain Stops Falling.

 Maintaining strong expenditure controls Ord Minnett, a new Premium Entertainment Program sponsor The company welcomed our sponsors and their families in 2010, supported the play Betrayal and invited their clients  to a special performance of Grimm Tales on a Sunday Maintaining strong governance to selected events during the year. afternoon in November. The children were thrilled with the ice cream spiders and a wonderful lolly display at the pre- University of Southern Queensland once again supported show function and delighted in the antics on stage and the two components of our Youth & Education Program, being excellent performance of Grimm Tales. Theatre Residency Week and In-School Workshops with both programs recording strong student attendance in 2010.

40 A n n u a l R e p o r t A n n u a l R e p o r t 41 6.4.1 Corporate development partnerships 6.4.1 Corporate development partnerships Corporate Development Partnerships 2010 THANKS TO OUR SPONSORS AND PARTNERS COMPANY SPONSOR CATEGORY PRODUCTION and/or DESCRIPTION GOVERNMENT PARTNERS PRODUCING PARTNERS PRESENTING PARTNERS 612 ABC Brisbane Media Supporter Cross promotions/media coverage Arkhefield Season Supporter Professional services Bendigo Bank Production Sponsor Grimm Tales Brisbane Airport Corporation Program Sponsor 2010 Emerging Artists Program Castlemaine Perkins/Lion Nathan season Supporter Beer Clovely Estate Season Supporter Wine Coev Hair Cutters Promotional Partner Hair Salon services Conrad Gargett Season Sponsor

Ernst & Young Production Sponsor Let The Sunshine PROGRAM SPONSORS MAJOR CAST PARTNER PRODUCTION SPONSORS Ewan Gardam Fabrics Promotional Partner Fabrics Freehills Season Sponsor regional performance sponsor Griffith University Program Sponsor 2010/11 The Queensland Premier’s Drama Award - Liquid Interactive January - July 2010 season Supporter Digital creative services Limelight July 2010 - ongoing Season Supporter Digital creative services Map magazine Media Supporter Advertising QUEENSLAND PREMIER’S DRAMA AWARD SUPPORTERS SEASON SPONSOR MEDIA SUPPORTERS Merlo Season Supporter Coffee NOUS Promotional Partner Graphic design services Ord Minnett Premium Entertainment Program Betrayal ourbrisbane.com Media Supporter Cross promotions/media coverage

Palace Centro Cinema Season Supporter Screen advertising PREMIUM ENTERTAINMENT PROGRAM Phoebe Stephens Flowers Season Supporter Floral arrangements PricewaterhouseCoopers Premium Entertainment Program king Lear Raleigh Paper Promotional Partner Paper product Ricoh Program Sponsor Major Cast Partner

Tarong Energy Regional Performance Sponsor hurry Up and Wait! SEASON SUPPORTERS The CEO Institute Season Supporter Professional Services The Sebel & Citigate King George Square season Supporter Accommodation University of Southern Queensland Program Sponsor Youth and Education – Theatre Residency Week and In-School Workshops URS Season Sponsor Wesfarmers Resources Program Sponsor Wesfarmers Resources Regional Acting Studio Wine&Dine’M Season Supporter Catering

PROMOTIONAL PARTNERS: Coev Hair Cutters, Ewan Gardam Fabrics, Raleigh Paper.

42 A n n u a l R e p o r t A n n u a l R e p o r t 43 6.4.2 Philanthropy 6.4.2 Philanthropy

Queensland Theatre Company’s 40th anniversary Foundation Support $100 - $499 Legal Chapter Many of the 2010 philanthropic activities were related to the Company’s auDA Foundation 26 Anonymous Peter Lane 1 Anonymous 40th anniversary. An anniversary event for sponsors and donors was Tim Fairfax Family Foundation Melissa Agnew Shirley Larsen Reece Allen hosted by our patron, Her Excellency Penelope Wensley AO, Governor Elizabeth Ardill Jennette Lavis OAM Michael & Anne Back of Queensland, at Government House on 30 March. A series of oral $10,000 + Leanne Austin Dr Joan Lawrence AM Sarah Bradley histories were recorded with long-term Season Ticket Holders and staff, Anonymous Gregory Ayre Lyle Lovelock Leone Costigan & Greg Mann providing an invaluable and entertaining record of audience reaction to Bruce & Sue Shepherd Dr Ben Bartel Susan Mabin Kiernan Dorney QC the Company over the years. The anniversary was also the focus of the Pauline Beames Brad Mammino James Douglas annual fundraising appeal which invited donors to nominate their favourite $5,000 - $9,999 Hugh Begbie Donald Margetson Peter & Swen Eardley Queensland Theatre Company production since 1970. Special emphasis was Melissa Bennett Phillip J Martin Erin Feros Kate Foy placed on the Youth & Education area which has been a key area of the Mark & Sue Benson Graham & Gail Maskiell Richard Fryberg Michael Gow Company since it was founded. Glenise Berry Dave Mason H G Fryberg NOUS Elizabeth Billington Shirley McCorkindale John & Lois Griffin Trusts, Grants and Foundations Robert & Caroline Bond Christine McDonald Philip Hack $1,000 - $4,999 The Australia Council continue to support the development of theatre Robyn Boydell Ian & Rhyl McLeod Barbara Houlihan & Jeff Rolls 1 Anonymous professionals, providing support for Tony Brumpton, sound technician to Anne Bradley Anthony Mellick Fleur Kingham Roslyn Atkinson & Richard Fotheringham further his training in sound design. The Tim Fairfax Family Foundation Trevor & Nan Bryce Barry & Olive Mionnet J A Logan RFD Penny Everingham provided support for the regional tour of primary school production Hurry Dr E A Byrne Henderson AM John & Cynthia Morgan Debra & Patrick Mullins Sharyn Ghidella Up and Wait! and the auDA Foundation supported the development of the John Campbell Bettina Morphett Savage Robert & Diane Parcell Sue & Mike Gowan digital theatre tool, Virtual Set Designer. Doug & Lisa Caraye Philip & Fran Morrison Walter Sofronoff QC Libby Anstis and Neil Hampton Michael & Margaret Clancy Daniel Mullholland Van de Graaff Lawyers John & Gay Hull Individual donors Robert Cleland Susan Musgrave Greg & Sally Vickery Andrea & Martin Kriewaldt Caryllin Coats Christos & Colleen Papadopoulos Support from individual donors is steadily increasing. Donors are given a Dr. G. and Mrs J. Martin Muriel Collings Manuel & Marietta Papas choice of five key areas to support: Youth & Education, Regional Program, Joanne Fettke & Lance Meikle Gary Collins Robert & Diane Parcell Emerging Artists, New Writing or Productions. Less visible aspects of the Karl & Louise Morris John Colwell Helen Parer Company’s work in the community and regionally are shared with audience Ian O’Connor John Crocker D A Pfeiffer members via dedicated pages in the theatre programs. Pauline & Terry O’Dwyer Robert & Shirley Crouch Michael & Terri Pinnock Donal & Una O’Sullivan Debra Cunningham Catherine Quinn A new initiative in 2010 was the creation of the Legal Chapter led by Board Geoffrey Rush Patricia Darrouzet John Richardson & Kirsty Taylor member Barbara Houlihan and the Managing Partner of Freehills, Michael Marie Siganto AM Prof & Mrs I Darveniza AO Skye Richmond Back. Members of the Legal Chapter attend two productions during the year Warren Tapp Heather Dias-Jayasinha Melanie Rogers and make donations towards the Emerging Artists Program. The Chapter Wendy Tonkes Amanda Jane Dinsdale Kate Robinson had 40 members in 2010. Annette Down B & L Sexton $500 - $999 Ian Duncan & Lizzie Coulson Brian & Brigid Shanley Donors to the Company continued to receive the Donor News and were 3 Anonymous Diane Eden Trish Sim invited to a range of events which included back stage tours of sets in Anne & Peter Allen Paul Evans Jill Simpson the Playhouse, tours of the Queensland Theatre Company wardrobe and Mildred & Robert Blakely Mark & Sue Farrow Merrin Smith workshop, dress rehearsals and events to meet visiting actors, directors and Robert & Linda Burns Di Francis Nicole Stimson & Glenn Steele playwrights. Over 350 supporters participated in events in 2010. John Chalk Robert Ginns Lola Taylor Win Davson MBE Ruth Greening Jack Taylor 2010 Donors Judi Ewings Pamela Greet Brent Thomson The Company wishes to thank all of its generous donors in 2010, whose Merrilyn Goos Ruth Hamlyn-Harris Elizabeth Tomlinson contributions played a vital part in enriching Queensland’s artistic and David Hardidge Yvonne Hansen Madonna Tucker cultural life. Susan Learmonth & Bernard Curran Janice Harley Alison Vala George Lech Elizabeth Hatton Coralie Van Straaten-Peretz Thank you to all our donors: Robert & Dana McCown Scott Herron Kathy Uzsoki R & B Murray James Hetherington Voyager Rare Books, Maps & Prints Dr Scott Phipps John & Petra Jones Dr Judith Wassell Tim & Kim Reid Rob & Zelle Hodge Tracy Watson Janine Scott & Stephen Panitz Olwyn Kerr Jean Weeks Marianna Serghi Tempe Keune Douglas & Annette Wells Phoebe Stephens Richard Laherty Robert & Margaret Williams Anne Street Ross & Sophia Lamont Doug & Jenny Woodward Annelies Zeissink

44 A n n u a l R e p o r t A n n u a l R e p o r t 45 6.5 Goal Five: We will create a great place to work

Encouraging and rewarding enthusiastic employees Developing a sustainability strategy The Company aims to develop as a values-based The Company has identified sustainability as a focus area for organisation, and regularly reviews and discusses the future, and has plans in place to develop a strategy to organisational values, both on special employee development reduce its carbon emissions. days, and in the monthly staff meetings. Maximising the opportunities for change in the Regular Company events such as Meet and Greets on the Kurilpa precinct first day of rehearsals for each production, barbeques, The Company joined the opening celebrations of the Go monthly staff meetings and opening and closing nights Between Bridge and has continued monitoring the impacts provide opportunities to reflect on the work in progress, on the Bille Brown Studio. celebrate Company successes and ensure the creative and administrative components of the team work effectively Two new off-street carparks have been constructed in the together. vicinity of the Bille Brown Studio – one directly opposite the Company’s base, and the other in nearby Merivale Street. Providing a safe working environment The other significant project undertaken in relation to the Queensland Theatre Company is committed to complying bridge construction is the development of the courtyard, with, or exceeding, the spirit and intent of the workplace to reposition the Company’s entry, and reduce the impact safety regulations and guidelines to protect the health and of increased traffic on the patron experience. Queensland safety of all affected by our workplace activities. Theatre Company continues to be actively involved in the As part of its overall commitment the Company has an precinct as a whole through membership of Business South effective and progressive Occupational Workplace Health and Bank, and participation in precinct activities. Safety (OWH&S) Committee whose main purpose is:

 To facilitate co-operation between the staff, management and Board of Queensland Theatre Company to institute, develop and carry out measures designed to ensure the health and safety at work of all employees; and

 To recommend and/or implement standards, rules and procedures relating to health and safety which are to be carried out or complied with at the workplace and ensure industry statutory requirements are adhered to.

Season 2011 Launch. Photo: Stephen Henry The Committee meets monthly to discuss and action specific agenda items and is comprised of eight persons across various Company departments at production and administration levels. At these meetings, policies and procedures relating to OWH&S are also reviewed as part of an OWH&S rolling audit to ensure compliance and to amend these procedures if improvement or inadequacies are identified. An annual review of OWH&S policies and Goal Five: We will create a great place to work procedures is presented to the Board. Company staff are fully  trained to meet OWH&S requirements in areas specific to the Maintaining good internal systems including people management work environment. Regular reminders and updates from the  Encouraging and rewarding enthusiastic employees Committee to Company staff ensure active participation in creating a safety-conscious culture.  Providing a safe working environment  Developing a sustainability strategy  Maximising the opportunities for change in the Kurilpa precinct (HSL/ Southbank developments)

46 A n n u a l R e p o r t A n n u a l R e p o r t 47 7.0 Financial performance

Summary of Financial performance for the year Financial Performance Financial Position ending 31st December 2010 Income Assets This summary of financial performance provides a snapshot $193,000 $14,000 $177,000 of Queensland Theatre Company’s financial performance and position. A more detailed view is included in the financial $930,000 $619,000 statements provided in this report. $110,000 The 2010 audited financial statements reveal Queensland Theatre Company to be in a sound financial position. Although the income appears to have reduced from $9.584 million to $8.809 million from 2010 to 2009, this must be understood in reference to the retrospective application of $4,159,000 $3,514,000 $3,667,000 Australian Standards Accounting Board 1004-Contributions (see Note 3 and 26 of the Financial Statements).

2010 2009 $’000 $’000 User charges Government grants Cash assets Receivables STATEMENT OF FINANCIAL PERFORMANCE Other grants and contributions Interest Other assets Property, plant and equipment Other Total Income 8,809 9,584 Total Expenses 9,186 8,525 During 2010, Queensland Theatre Company received income As at 31 December 2010, total assets were valued at Suplus/Deficit (377) 1,059 of $8.8 million. Revenues from user charges increased 29% $4.6 million, a decrease of $0.5 million from the previous in 2010. This increase was mainly driven by a 12 week year. Cash assets represents 80% of the Company’s total national tour of Toy Symphony, the production of Macbeth assets, which is directly impacted by the operating deficit of STATEMENT OF FINANCIAL POSITION for Brisbane Festival and a 6% increase in box ofice income $377,000 for 2010. from our mainstage season. Total Assets 4,573 5,113 Total Liabilities 1,693 1,863 Expenditure Liabilities Total Equity 2,881 3,250 $31,000 $155,000 $192,000

$180,000

$1,182,000 $139,000 $4,695,000 $4,305,000

Employee expenses Supplies and services Payables Employee payables - current Depreciation and amortisation Other Employee payables - non current Deferred income

Total expenditure for 2010 was $9.1 million which is an 8% As at 31 December 2010, total liabilities were valued at increase on prior year. This increase has mainly been driven $1.7 million, a decrease of $0.2 million from the previous by theatre and production expenses and travel and touring year. This change was the result of a decrease in payables, costs in relation to the 12 week tour of Toy Symphony and both with trade creditors and accrued expenses. the production of Macbeth for the Brisbane Festival. Employee expenses have increased by 5% due to CPI pay increases and an increase in total employment opportunities of 3 Full Time Equivalents. (FTE 73 for 2010. FTE 70 for 2009.)

48 A n n u a l R e p o r t A n n u a l R e p o r t 49                                     49   50      51     52   53  70          71                                                    

1. 2. 50 A n n u a l R e p o r t A n n u a l R e p o r t 51

 

                                                                               

                            

             

                                                                                 

3. 4. 52 A n n u a l R e p o r t A n n u a l R e p o r t 53

                •                                                                                                                                                                                                                                                                                 •             •             •             •                 •   •                    •        

          •                            •  •   •     6. 5.  54 A n n u a l R e p o r t A n n u a l R e p o r t 55

         

                        •                          •            •                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                           .                                                                                                      7. 8. 56 A n n u a l R e p o r t A n n u a l R e p o r t 57

         

                                                                                                                •                      •                                                                                                                 •            •                                       . •               

                              

            •                                       •                                                                                                •                            •                                                             •                                              •                               •                                       .                            9. 10. 58 A n n u a l R e p o r t A n n u a l R e p o r t 59

         

         

                                                                                                                                                                                                                                                            

11. 12. 60 A n n u a l R e p o r t A n n u a l R e p o r t 61

         

                                                                                                                                                                                                                 13. 14. 62 A n n u a l R e p o r t A n n u a l R e p o r t 63

         

                                                                                                                                                                                  

                                                  15. 16. 64 A n n u a l R e p o r t A n n u a l R e p o r t 65

         

        

          

                <  >5                           <  >5                                                                                    

17. 18. 66 A n n u a l R e p o r t A n n u a l R e p o r t 67

         

     

                                             

                                                                                                                                            

        

                     19. 20. 68 A n n u a l R e p o r t A n n u a l R e p o r t 69

         

                                                                         

 

                                                                                                                                    

21. 22. 70 A n n u a l R e p o r t A n n u a l R e p o r t 71

 

                                                                                                                                                                        

24. 72 A n n u a l R e p o r t A n n u a l R e p o r t 73

8.0 Future Outlook

8.1 Strategic Plan 2011-2014 Queensland Theatre Company’s Strategic Plan 2011-2014 sets out the following strategic objectives:

Objective Strategies Performance Indicators

Create excellent  Holistic programming of a diverse range of productions/ 70% satisfaction from audience work events/works surveys  An ongoing commitment to high quality work and the Artistic appraisal process development of an artistic culture  Ensure flexible and responsive systems to support the creation of a diversity of work  Exploring the boundaries of theatre

Reach a wider  Gain a better understanding of the Queensland theatre market Total number of theatre attendees/ audience  Develop a clear brand identity workshop participants  Attract and retain more customers in existing product 2011 – 152 000 categories 2014 – 182 000  Explore new product categories  Increase audience accessibility  Offer theatre in more places

Strengthen  Supporting a vibrant local performing arts sector # of women directors employed industry  Providing support and development opportunities for local # of indigenous artists employed relationships artists  Supporting equity and diversity  Actively participating in national opportunities and promote Queensland theatre  Providing pathways for youth and education sector  Engage with regional artists and companies

Add value to the  Providing active participation opportunities Total number of participants community  Reaching under-served communities 2011 – 15 000  Facilitating the creation of virtual and physical networks/ 2014 – 16 000 communities  Exploring effecting ways to measure and evaluate our Qualitative analysis of communities community programs served  Communicating evidence of our community value to attract new partners  Operating sustainably to add to community well being

Maintain a  Producing timely and accurate financial reporting, planning % change and dollar value of box financially strong, and analysis to facilitate financially sound decision making office sales balanced company  Better financial result for mainstage (cost effective mainstage 2011 - $2.9m productions) 2014 - $3.8m  Increasing income through existing revenue streams, both earned and subsidised  Diversifying earning potential through new initiatives  Ensuring strong expenditure controls  Ensuring strong governance

Maximise the  Maintain effective and efficient internal systems for good Annual performance review of staff potential of our decision making and Board people  Promoting a healthy, safety conscious culture  Developing a strong culture that values artists and theatre  Developing positive people management programs

74 A n n u a l R e p o r t A n n u a l R e p o r t 75 8.2 Operational plan 2011 9.0 Governance

Queensland Theatre Company’s Operational Plan 2011 Venues 9.1 Management and Structure The Audit and Risk Committee is based on its Strategic Plan 2011-2014. The Company has an excellent relationship with Queensland The Audit Committee met twice in 2010 and is responsible Performing Arts Centre, it’s major venue. The strength of this 9.1.1 Queensland Theatre Company Board for the Company’s audit and risk management processes. The 2011 key strategies relationship enables the Company to deal effectively with Committee operates in accordance with its Charter to review The Queensland Theatre Company Act 1970 provides that the Artistic team challenges regarding access, costs and brandings. the financial administration and reporting of the Company, Board consists of the number of members appointed by the monitoring compliance with statutory obligations with due With the appointment of new Artistic Director, Wesley Governor in Council. In appointing a member, regard must The opening of the Go-Between Bridge and the mitigation regard to Queensland Treasury’s Audit Committee Guidelines. Enoch, the Company’s artistic team will undertake some key be had to the person’s ability to contribute to the Board’s works such as improvements to parking and the courtyard The Committee oversees the Company’s Risk Management changes with the creation of new positions including Artistic performance and the implementation of its strategic and also makes the Bille Brown Studio a more attractive venue plan, undertakes regular internal audits of Company policies Associate (full time), Associate Artists (honorary ‘sounding operational plans. A person is not eligible for appointment as for patrons and the building more prominent to passing and oversees the financial audit. Committee members are Ms board’ role) and Affiliate Artists (director and designer a member if the person is not able to manage a corporation traffic. Barbara Houlihan (Chair of the Audit and Risk Committee) working on three or more productions). under the Corporations Act 2001 (Cth). Members are (Board member), Dr Kate Foy (Chair of the Board), Mr Bain appointed for terms of not more than three years and are A strategic shift in 2012 Stewart (Board member), Ms Libby Anstis (General Manager) Studio Season eligible for reappointment upon expiry of their terms. and Ms Nicola Gregory (Finance Manager). In 2011, the Company will introduce a Studio Program – The Strategic Plan 2011 – 2014 shows two significant phases Members are appointed on the conditions decided by the three nimble productions in the Bille Brown Studio, financed in the Company’s new strategic direction: Governor in Council. Queensland Theatre Company utilises a Risk Management by undertaking two less mainstage programs. Thus the total Plan to identify and mitigate major business and operational performance offerings in 2011 will be:  2011, current business model and planning phase for The Board met nine times during the year. risks. Compliance with the Risk Management Plan is strategic shift Note – there was a special Board meeting held on 8 June monitored by the Audit and Risk Committee.  Seven mainstage productions  2012, implementation of new business model and 2010 in relation to the appointment of the new Artistic  Three education productions artistic initiatives of Artistic Director Wesley Enoch. Director. For full details of remuneration for the Finance Committee  Three studio productions and Audit and Risk Committee members please see Note 6 of The significant strategic shift will occur in 2012, with the Members of the Board during the year were: the financial statements. Opportunities and Challenges following years reinforcing the new strategies. The appointment of a new Artistic Director presents an Board Member Meetings eligible Meetings Some of the key strategic changes proposed in 2012 are as opportunity to revitalize relationships with audiences, to attend attended follows: sponsors, donors and funding agencies, as well as the Dr Kate Foy (Chair) 9 8 local and national industry. The Company is well placed to  More commercial mainstage program to achieve growth Mr Terry O’Dwyer (Deputy Chair) 9 6 respond to change with a strong audience base, financially in audiences and box office income and organisationally stable. Mr Kent Beasley 9 8  Increased investment in the Studio program, making this a key aspect of the Company’s artistic rationale and a Ms Penny Everingham 9 5 The Mapping Queensland Theatre paper, written by John commitment to growing artistic partnerships Dr Richard Fotheringham 6 6 Baylis and commissioned by Arts Queensland undertook  Change in Company relationships with audiences, artists a survey of the Queensland theatre industry. The report Ms Sharyn Ghidella 9 5 and community highlighted the need for organisations to provide more Ms Barbara Houlihan 9 9 opportunities for independent artists and companies, as well The Company is poised for a significant shift in its place Mr Yaron Lifschitz 9 3 as ways to implement strategies to develop audiences for in the community, its key relationships and in its business Prof Ian O’Connor 9 6 independent theatre work. model. In 2011, some key steps will be undertaken to prepare Mr Bain Stewart 9 4 for more significant change in the years 2012-2014. The Company’s own market research of audience responses also highlighted the need for the Company to assist Finance Committee audiences in making intelligent choices of productions, The Company has a Finance Committee that met eight through providing sufficient information on what the times in 2010 to oversee the Company’s financial position. audience experience is likely to be. The Company reports on the finance and operations of the Company through monthly reports provided to Board members. Finance reports are provided through the Attache Accounting system and operations reports include key issues and highlights of each department of the Company. Committee members are Mr Terry O’Dwyer (Chair of Finance Committee) (Board member), Mr Kent Beasley (Board member), Dr Kate Foy (Chair of the Board), Ms Libby Anstis (General Manager) and Ms Nicola Gregory (Finance Manager).

76 A n n u a l R e p o r t A n n u a l R e p o r t 77 9.1.2 Board Member Profiles 9.1.2 Board Member Profiles

Kate Foy (Chair) Penny Everingham Mr Kent Beasley Mr Bain Stewart Kate Foy holds a PhD from the University of Hawaii at Penny Everingham is a graduate of the National Institute Kent Beasley is the Manager for Corporate Affairs and Bain Stewart is an award winning independent arts Manoa. She trained for the theatre in and began of Dramatic Art and holds a Bachelor of Dramatic Art in Sustainability of Wesfarmers Resources, a part of Wesfarmers producer and the founding Managing Director of Bungabura her professional career (as Kate Wilson) with the Company Acting. She has worked as an actor on stage and radio Limited a major diversified Australian public company. He Productions, an Indigenous media company established in in 1971. She subsequently appeared in more than 30 and in television and film as well as being experienced as has eight years experience in corporate and public affairs, Brisbane in 1996. He has produced, curated and realised productions and wrote and directed for the Company. She a Director and Stage Manager. Penny is also a puppeteer sponsorship management, communication and government iconic landmark Indigenous plays, books, visual art, films was Associate Professor (Voice) and Deputy Dean Faculty of and was a founding member of the Marionette Theatre relations. Prior to his career in the corporate sector, he and documentaries such as Box the Pony, Black Chicks Arts at the University of Southern Queensland to September of Australia (The Tintookies) where she was the Assistant was an officer with the Australian Army during which Talking and more recently Aunty Maggie and the Womba 2008. Kate has taught and published in the area of voice, Artistic Director for a number of years, touring Asia and time he held a number of regimental, training and staff Wakgun. With BSPM (Bain Stewart Personal Management), acting and theatre history. She has a national profile in Australia extensively. On moving to Brisbane, Penny joined appointments. Kent saw active service in East Timor in also established in 1996, he has steered the career of his e-learning and the use of digital technologies and is a the Queensland Marionette Theatre as Artistic Advisor. She 1999 and 2000 as part of the international force. He has partner Leah Purcell and has recently taken on an active frequent conference presenter in this field. Kate currently has been a member of the puppetry panel of the Australia previously worked with Rowland, a leading communication role in developing and mentoring local talent with several serves on the Board of Empire Theatres Pty Ltd Toowoomba. Council where she devised and coordinated a puppetry firm in Brisbane and was the Corporate Affairs Manager Queensland artists now represented. His family are from Kate was the founding Producer of Shakespeare in the Park training program for the Australia Council Theatre Board. at Enertrade, a Queensland Government Owned energy Minjerriba (North Stradbroke) and Moorgumpin (Moreton) Festival 2004. She is a founding Director of Expressive Penny was an Artistic Associate with the Company from corporation. Islands from Quandamooka (Moreton Bay) and as such Plus, a consultancy focussed on the art, craft and science of 2004 to 2005 and currently serves on the Board of Metro he is a proud Noonuccal-Ngugi Murri man. He was an personal presentation. Kate was appointed to the Board in Arts and is a mentor for the organisation. She is a member Yaron Lifschitz inaugural member of The All Roads Film Project – a August 2001 and has served as Chair since 2003. of the Actors Benevolent Fund committee and a founding Yaron Lifschitz is a graduate of the University of New South National Geographic Film Project to promote a global member of the Forgetting of Wisdom collective, a group Wales, University of Queensland and the National Institute platform for Indigenous and under-represented minority- Terry O’Dwyer of passionate senior theatre practitioners. Her most recent of Dramatic Art where he was the youngest director ever culture filmmakers. He is Deputy Chair of Indigenous Terry O’Dwyer is a chartered accountant and is the executive stage appearances have been with the Company, The Bell accepted into its prestigious graduate director’s course. Screen Australia (ISA) – a national body representing the chairman of Backwell Lombard Capital. Previously he was Shakespeare Company and the Forgetting of Wisdom Since graduating, Yaron has directed over 60 productions Indigenous screen sector which will endeavour to establish managing partner and Chairman of BDO Kendalls. Terry is collective, as well as running workshops for children and including large scale events, opera, theatre, physical theatre Australia’s first national Indigenous television station. a graduate of the University of Queensland in Commerce adults in various aspects of theatre. and circus. His work has been seen in 18 countries, across and holds a post-graduate diploma in Advanced Accounting. five continents by over 500,000 people. He was foundation Sharyn Ghidella He is a Fellow of the Institute of Chartered Accountants Barbara Houlihan Artistic Director of the Australian Museum’s Theatre Unit, Sharyn is a graduate of the Queensland University of in Australia and of the Australian Institute of Company Barbara Houlihan is a solicitor and consultant to James Head Tutor in Directing at Australian Theatre for Young Technology, majoring in journalism and public relations. Directors. He has previously held appointments as a Byrne and Rudz Lawyers. From 1985 until 2004, she was People and has been regular guest tutor in directing at She has 20 years experience in the industry as a reporter Commissioner of the Legal Aid Commission and a member a partner in the legal firm Stephen Comino & Cominos. the National Institute of Dramatic Art since 1995. He is and producer. Respected news anchor and journalist Sharyn of the Brisbane North Regional Health Authority and was She has a broad background in common law, insurance, currently Artistic Director and CEO of Circa. With Circa, joined the newsroom at Channel Seven Brisbane in February the Attorney General’s representative on the Law Society’s commercial and family law litigation and in dispute Yaron has created works such as by the light of stars that 2007 as the weekend presenter. She started her career in Grants Committee. He is Chairman of listed company Metal resolution. She has been involved in volunteer work through are no longer..., The Space Between and 61 Circus Acts in north Queensland and has worked in Ten’s newsroom in Storm Ltd and a director of Bendigo Bank Limited and Women’s Legal Service and for various environmental 60 Minutes. His recent works have been reviewed as being Brisbane and with Nine News in Sydney. She has anchored Retravision Southern Limited. groups. Barbara holds a Bachelor of Laws from the “stunning”, “exquisite” and “the standard to which all other network coverage of major events such as the Iraq war, University of Queensland, was admitted as a solicitor to circuses can aspire”. Yaron lives in Brisbane with his son, Cyclone Larry and Steve Irwin’s memorial and all major Professor Ian O’Connor the Supreme Court of Queensland and the High Court of Oscar. His passion is creating works of philosophical and network bulletins, including Daybreak, the Early News, Professor Ian O’Connor has been Vice Chancellor and Australia in 1982 and has practised continuously since. poetic depth from the traditional languages of circus. Morning News, 4.30 News and Nightline. Throughout her President of Griffith University since January 2005. Professor career, Sharyn has performed extensive work for many O’Connor holds a Bachelor of Social Work and a Doctorate Richard Fotheringham charities and has hosted numerous events and functions. She of Philosophy from the University of Queensland. He is a Richard Fotheringham was born in Roma and grew up in is also an avid theatre goer. director of the Australian Universities Quality Agency and Rockhampton. He is Emeritus Professor of Theatre Studies a foundation board member of the Australian Learning and at the University of Queensland where he was Executive Teaching Council. Dean of the Arts Faculty from 2004 to 2010. Richard was a professional actor, director and playwright for the Company and other companies during the 1970s and 80s before starting his academic career teaching drama. He has written about Australian theatre history and the staging of Renaissance plays and was the convenor of the World Shakespeare Congress held in Brisbane in 2006. He has also had a long career in educational administration including a term as Chair of the Board of Queensland Senior Secondary School Studies.

78 A n n u a l R e p o r t A n n u a l R e p o r t 79 9.1.3 Executive Management 9.1.3 Executive Management

Under the Queensland Theatre Company Act 1970, the Wesley Enoch – Artistic Director (from 19 July 2010) Libby Anstis – General Manager Director of the Company is appointed for a term of not Wesley has directed for the Company, Adelaide Festival of Libby has had more than 20 years experience in the more than five years and is eligible for reappointment upon the Arts, State Theatre Company South Australia, Company performing arts industry with a variety of key roles at expiry of the term. In the past, the Artistic Director held this B Belvoir, , Bell Shakespeare, Queensland Symphony Orchestra, the Brisbane Festival and position. In 2010, the Premier and Minister for the Arts noted Malthouse Theatre, Windmill, Melbourne Workers Theatre, Centenary of Federation Queensland. She holds a Bachelor the Board’s intention to restructure the Company’s executive Alphaville and the ERTH Festival. of Business – Communication from Queensland University management to create an Executive Director role to be the of Technology and began her career in marketing and responsible Director under the Act. As a playwright he has written The Story of the Miracles at development for Queensland Symphony Orchestra. In her Cookie’s Table (awarded the 2005 Patrick White Playwright’s seven years with the Orchestra, Libby spent the last two Michael Gow – Artistic Director (until 2 August 2010) Award), The Sunshine Club, Life of Grace and Piety, Black as General Manager of the organisation, before taking up As a director, Michael has worked with many of Australia’s Medea and he collaborated with Deborah Mailman on The the position of Producer – Music Program for the Brisbane leading performance companies including Sydney Theatre 7 Stages of Grieving. Wesley has been Artistic Director of Festival. Company, where he was Associate Director from 1991 to Kooemba Jdarra Indigenous Performing Arts and Ilbijerri 1993, Company B, Black Swan Theatre Company, Griffin Aboriginal and Torres Strait Islander Theatre, Associate Libby held two roles at Centenary of Federation Queensland, Theatre Company, State Theatre Company of South Artist with the Company, Resident Director at Sydney joining as Community Program Manager in 1999 and Australia, Australian Theatre for Young People, Playbox, Theatre Company, Director of the Indigenous section taking over as Executive Director in 2000. In 2003, she Opera Australia, Sydney Festival and Adelaide Festival. of the opening ceremony of the 2006 Commonwealth was awarded the Centenary Medal for contribution made Games, a trustee, a NSW Government to Australian society. Since 2006, Libby has participated as Michael’s writing credits for stage, screen and radio are Arts Advisory Council member and on numerous other a mentor for Backbone Youth Arts 2high Festival. She is extensive. His plays include the multi-award-winning Away, committees. also a member of the Queensland Conservatorium Advisory hailed as a modern classic of the Australian theatre and now Board and Business South Bank. one of the most performed Australian works written. His Responsibilities: most recent play, Toy Symphony premiered at Company B in The Artistic Director is responsible for conceiving, Responsibilities: late 2007 and won seven categories at the Sydney Theatre developing and implementing the artistic vision, focus The General Manager ensures that the Company’s financial, Awards including Best New Australian Work. Other plays and direction of the Company. Along with responsibility physical and human resources are maintained and, where include – The Kid, On Top of The World, Europe, 1841, the for the mainstage season each year, the Artistic Director necessary, enhanced to safeguard the Company’s long-term award-winning Furious, Sweet Phoebe, also an award winner also oversees the development of specialist programs in and short-term future; to effectively realise the Company’s and Live Acts on Stage. Artistic posts include Chair of education, artform development, artist development and Vision and Mission Statement; and to sustain the Company’s Griffin Theatre and Board member of the Australian Theatre other programs developed to meet the Company’s vision. The artistic and economic viability and community obligations. for Young People, patron of the Australian Theatre for Artistic Director plays a key advocacy role for the Company Young People’s writing program Fresh Ink, inaugural Chair and the artform within the broader community as well as The General Manager has overall responsibility for the of PlayWriting Australia and Adjunct Professor at Griffith major stakeholders and within the cultural and performing University. leadership and management of the production, marketing, arts industries. development, management team and administrative staff so that the objectives of the Company are achieved.

In collaboration with the Artistic Director, the General Manager also assumes responsibility for the management of specialist programs in education, writing, professional development and other programs as determined by the Artistic Director.

The General Manager ensures that the Artistic Director, Board and managers have access to high level advice with regard to the statutory, corporate and legal obligations of the Company and oversees reporting and effective compliance management.

The General Manager with the Artistic Director assumes an advocacy role for the Company and the artform within the broader community, as well as major stakeholders and within the cultural and performing arts industries.

80 A n n u a l R e p o r t A n n u a l R e p o r t 81 9.1.4 Management Team 9.1.4 Management Team

Fabienne Cooke – Artistic Development Manager Amanda Jane Dinsdale – Operations Manager Amanda Jolly – Philanthropy Manager Joseph Mitchell – Youth & Education Manager (maternity leave from 2 August 2010) Amanda has worked in various capacities with the Amanda joined the Company in May 2008. Prior to this, Joseph commenced working with the Company in 2006. Fabienne has worked with the Company since 2003. After Company since 2002. Her skill base is diverse having she worked in a marketing and development capacity in After completing degrees in Film and Theatre, he worked in three years as Artistic Development Manager, she turned worked in the arts, legal, human resources and health and the cultural sector both in Australia (Praxis, Fremantle camera departments for television and between 2001 and her attention to sponsorship and philanthropy. Following fitness fraternities before moving into staff training and Arts Foundation, Ausmusic, Victoria State Opera, State 2003 was a Creative Director for Loose Eye Media. During a brief hiatus during which time she worked at Brisbane implementation of best work practices and systems and Library of Queensland) and internationally (Jacob’s Pillow this time he produced television commercials, documentaries Girls Grammar School in the position of Philanthropic managing an innovative health and wellness business in Dance Festival, Massachusetts, USA, Centaur Theatre and music videos. Joseph completed post-graduate study in Programmes Manager and had a baby, Fabienne returned West End. Company, Montreal, Canada and La Direccíon de Bibliotecas, directing at the Victorian College of the Arts in 2004 and to the Company in January 2009 as Artistic Development Archivos y Museos, Santiago Chile). She holds a Bachelor has since produced, directed and tutored for youth theatre Manager. In her most recent role at the 2009 Queensland Music of Arts majoring in Music and Fine Arts, a Bachelor of companies and worked as an Assistant Director and multi- Festival, Amanda assisted in delivery of the sell-out Jurisprudence and a Bachelor of Laws from the University media artist for Melbourne Theatre Company. In 2006 Joseph From 1999 to 2003, Fabienne held artistic roles at State concert Cannot Buy My Soul – The Songs of Kev of Western Australia. In 1991, Amanda was the recipient of was as an editor for the Commonwealth Games and Asian Theatre Company of South Australia and Arts SA. Prior to Carmody, Loud In the Valley and other projects including a Mobil Fellowship for the Arts which enabled her to spend Games. He is a member of the Australian Screen Editors this, Fabienne worked in various roles at performing arts bringing 12 international and national artists over six two months researching individual giving programs at arts Guild and is Chair of the selection panel for the Youth Arts organisations including Queensland Performing Arts Centre nights to one of Brisbane’s most loved venues at The Tivoli, companies in the United States, Canada and the United Mentoring Program at Youth Arts Queensland. and theTheatre Company. Fabienne holds a Bachelor of Queensland at Home and Dancenorth’s Remember Me, both Kingdom. Arts (Drama) majoring in arts administration and a Master productions at . Nikki Porter – Corporate Development Manager of Business (International Management) from Queensland Michael Kaempff – Production Manager Nikki joined the Company in August 2007. Prior to this, University of Technology and is a student in the Creative Colin Fruk – Marketing Manager Michael joined the Company in 1997 as Production Manager. Nikki’s career encompassed more than 15 years with Industries’ Doctoral program. Over the past 10 years, Colin has worked in various He has worked with companies throughout Australia as a international hotel chains, specialising in senior sales and roles across the public, not-for-profit and private sectors. Stage Manager, including Belvoir Street Theatre, Australian marketing positions. Nikki commenced her hotel career Katherine Hoepper – Acting Artistic Development Most recently, as Marketing and Communication Manager of Opera, Sydney Theatre Company, State Opera of South with the Brisbane Hilton and was promoted to a national Manager (from 2 August 2010) the Abused Child Trust, Colin was responsible for running a Australia and New Moon Theatre Company. Michael also position with Hilton based in Melbourne. Nikki continued Katherine joined the Company in August 2010. Prior to this, national fundraising lottery, growing brand awareness and worked as a Stage Manager with the English National Opera to work in Melbourne in senior marketing roles with major Katherine established and managed MAPS for Artists, a ensuring local support for child protection centres in remote and other companies in the United Kingdom. Michael was hotels for more than 10 years. From there, Nikki worked management and producing program for independent artists Cape York communities. Colin has also worked as a public the Production Manager for the New Zealand tour of Cats at the Victorian Arts Centre in their Development team, in Queensland. She was General Manager of the 2008 Out of relations practitioner, a law clerk and an electoral officer. He and the Australian and New Zealand tour of Jesus Christ specialising in corporate philanthropy. Following three years the Box Festival, coming full circle after having undertaken holds a Bachelor of Business from Queensland University of Superstar. He has also worked as a Production Manager with of travelling and living in South Africa, Nikki returned to a university secondment on the very first festival in 1992. Technology, with a double major in Public Relations. The Bell Shakespeare Company, the Festival of Sydney and Brisbane in 2007. Katherine was Administrative Coordinator for the Company for several national touring productions. Before joining the in 1998 / 1999, then Education Manager at Sydney Theatre Nicola Gregory – Finance Manager Company, Michael was Production Manager for Ric Birch, whose company Spectak produced the 2000 Sydney Olympic Company. Katherine has worked extensively in the Brisbane Nicola joined the Company in January 2008. Prior to Games ceremonies. arts industry, including with KITE Arts Education Program, this, she worked as the Finance Manager for the National Ideas Festival and QPAC. Working with Artistic Director Geographic Channel – Australia and New Zealand. Wesley Enoch, Katherine was General Manager of Kooemba Jdarra Indigenous Performing Arts from 1995-1997. She has over 13 years of financial management experience across a variety of industries. Starting her career working Kellie May-Halpin – Operations Manager for a chartered accounting firm, after three years Nicola (until 28 May 2010) moved into commerce taking positions in both Australia Kellie joined Queensland Theatre Company in 2002. and the United Kingdom. Nicola completed a Bachelor of Previously she held the position of Venue Sales Coordinator Commerce at the University of Queensland in 1994 and was at the Adelaide Festival Centre. During this time she was admitted as a member of CPA Australia in 2001. responsible for venue contracting arrangements working closely with , State Opera of South Australia, State Theatre Company of South Australia and national and international commercial producers. Kellie completed her Bachelor of Arts, Honours in Drama in 1997 and graduated as a director majoring in theatre direction from Flinders University Drama Centre. As a component of her graduating project she was Assistant Director for The Red Sun performed in Japan and at the Adelaide Festival of Arts. In 1997, she was Assistant Director for Company B’s production of Black Mary and for the State Theatre Company of South Australia production of Tales from Arabian Nights. Her experience includes stage management for the Adelaide Festival Centre’s Compagnie Maguy Marin and Venue Coordinator for the Festival of Ideas in Adelaide as well as for The Telstra Adelaide Festival of Arts 2000.

82 A n n u a l R e p o r t A n n u a l R e p o r t 83 9.1.4 Company Employees 9.1.4 Company Employees

Board Members and Company Employees Regional Coordinator Costume Makers Damien Cassidy Millie Adams PATRON Marketing Manager Mia Andersen Her Excellency Ms Penelope Wensley, AC Colin Fruk Youth and Education Manager Marysia Aves Governor of Queensland Marketing Coordinator Joseph Mitchell Louisa Bannah Simone Taylor Education Liaison Officer Helen Broomfield BOARD OF DIRECTORS Publicity & Communications Coordinator Katie Stewart Kiara Bulley Dr Kate Foy (Chair) Amanda Doellinger (On secondment from Education Queensland) Sharon Clarke Terry O’Dwyer (Deputy Chair) Receptionist/ Marketing Assistant Youth Projects Officer Virginia Dasneves Kent Beasley Claire Lennon (until 26 February 2010) Rebecca Smith Rebekah Ellis Penny Everingham Elissa Seed (from 1 March 2010) Hannah Gartside Prof. Richard Fotheringham (from 11 May 2010) Casuals and Staff Melinda Hume Sharyn Ghidella Ticketing Systems & Services Coordinator Stage Managers Ai Kitahara Barbara Houlihan Dimity Vowles (on maternity leave from 24 May 2010) Peter Sutherland (Senior Stage Manager) Georgia Petherbridge Yaron Lifschitz Victoria Manley (from 7 May 2010) Jessica Audsley Nathalie Ryner Prof. Ian O’Connor 2011 Season Ticket Sales Supervisor Sue Benfer Maxine Thompson Bain Stewart Alice Muhling (from 5 July 2010) Jo Birch Gwenda Trueman Ticketing Officer Amy Forman State Government Representative: Jenny Galligan Maggie Holmes Tamara Kalocsai Wardrobe Maintenance Nicola Keene Louisa Bannah ARTISTIC DIRECTOR Operations Manager Ryan Marks Ai Kitahara Michael Gow (until 30 July 2010) Kellie May-Halpin (until on 28 May 2010) Sarah Oates Wesley Enoch (from 19 July 2010) Amanda Jane Dinsdale (from 17 August 2009) Kathryn O’Halloran Art Finisher Operations Coordinator Jodie Roche Nathalie Ryner GENERAL MANAGER Zoe Du Bois Daniel Sinclair Libby Anstis Operations Officer Warren Sutton Specialty Tailor Roxanne Lorenz (until 14 May 2010) Arlie McGill Executive Assistant Carlin Beattie (from 10 May 2010) Assistant Stage Managers Belinda Park (until 4 February 2010) Jess Audsley Knitter Amy Humphreys (from 1 February until 6 April 2010) Philanthropy Manager Jennie Buckland Nancy Matthews Jenny Usher (from 30 March 2010) Amanda Jolly Kylie Degen Philanthropy Assistant Christopher Horne Wig Maker Artistic Development Manager Roxanne Lorenz (from 18 May 2010) Chin Ling (Bec) Li Michael Green Fabienne Cooke (on maternity leave from 9 August 2010) Fiona McKeon Katherine Hoepper (from 2 August 2010) Production Manager Sarah Oates Wig and Hair Stylist/ Hairdresser Artistic Development Coordinator Michael Kaempff Shaun O’Rourke Michael Green Erica Fryberg Technical Coordinator Jessica Ross Artistic Officer Daniel Maddison Rebecca Swadling Make Up Artists Kellie Nicol Production Electrician/ IT Supervisor Tiffany Beckwith-Skinner Associate Director Ian Rendell Production Assistant Misha Douglas Jon Halpin (until 30 June 2010) Sound Consultant/ Audio Technician Julian Messer Jan Huggett

Tony Brumpton 2010 Emerging Artists Wardrobe Coordinators Workshop Carpenters Tony Brumpton Head of Wardrobe Gayle MacGregor Jaydn Bowe Jason Glenwright Vicki Martin Nathalie Ryner Pawel Obrocki Melanie Wild Wardrobe Coordinator Gavin Sawford Melanie Zanetti Kirsten Kaukenas Cutters Aleksis Waaralinna Wardrobe Trainee Millie Adams Corporate Development Manager Chandre Clark Karen Cochet Prop Makers Nikki Porter Catherine Douglas Marie Fitzgibbon Corporate Development Coordinator Head of Workshop Rebekah Ellis Ian Kath Helen O’Rourke Peter Sands Gayle MacGregor Suzanne Rodgers Company Carpenter/ Head Mechanist Mathilde Montredon Aleksis Waaralinna Finance Manager John Pierce Jayne Warrington Nicola Gregory Apprentice Carpenter Michelle Wiki Scenic Artists Assistant Accountant Tom Paine Shaun Caulfield Roxane Eden Melissa Creed Finance Officer Maria-Rose Payne Robin Koski Jessica Ross 84 A n n u a l R e p o r t A n n u a l R e p o r t 85 9.1.4 Company Employees 9.2 Compliance

Sound Consultant/Operator Front of House (Bille Brown Studio) Public sector ethics Right to information Guy Gimpel Carlin Beattie The Chair and all staff are bound by an internal Code of The Company is committed to providing the community with Samuel Maher Amanda Boyd Conduct in accordance with the Public Sector Ethics Act greater access to information. It takes a proactive approach Ryan Marks Zoe de Plevitz 1994. Queensland Theatre Company has developed and to disclosure of information, making documents available Leisha Du Bois implemented a Code of Conduct for all Board members and via its Publication Scheme which may be accessed at Testing & Tagging (Licensed Electrician) Thomas Gordon employees utilising the key principles contained in the Public www.queenslandtheatre.com.au. The Company complies with Michael Leggett Anita Hughes Sector Ethics Act 1994. The Code of Conduct is included the provisions of the Right to Information Act 2009. Laura Kwiatkowski in the induction program for all new employees and Board Technical Crew Belinda Locke members and all staff and Board members continue to abide Information privacy Jessica Audsley Thomas Noble by the principles contained in that Code. The Company complies with the provisions of the Scott Barton Niki-J Price Information Privacy Act 2009. Daniel Cook Thomas Quirk The Company’s administrative procedures and management Christopher Dickey Alison Rubie practices are developed and conducted having regard to the Carers recognition Thomas Edmiston Ashleigh Wheeler ethics principles set out in the Public Sector Ethics Act 1994, Scott Klupfel Sarah Winter the Code of Conduct and the Standard of Practice. The Company recognises and supports the role of carers as Iyan Mackenzie Heidi Zummo outlined in the Carers (Recognition) Act 2008 and ensures Julian Messer Public sector ethics training is offered to all staff on an that flexible work practices, including part-time work Mark Middleton Night with the Actors Host annual basis. arrangements, are available to employees. Awareness of the Ross Rideout Carol Burns Act is undertaken through the induction process and through Felicity Roberts - Thomson Melanie Wild employment policies. Public interest disclosures Matthew Strachan Warren Sutton Sunshine Coast Sales Representative No public interest disclosures were received or substantially The key strategy to improving carers’ access to services Nicholas Toll Pauline Bound verified under the Whistleblowers Protection Act 1994 during is through participation in the Companion Card program, the year. which provides complimentary tickets to carers attending Touring Head Electrician COMPANY ASSOCIATES productions with persons with a disability. Jo Currey Paul Bishop Recordkeeping Touring Head Mechanist Fraser Corfield The Company implements the requirements of the Public Richard Aishford Kathryn Kelly Records Act 2002 and is working towards compliance with the provisions of the Public Records Act 2002, Information Administration (casuals) LONDON REPRESENTATIVES Standard 40: Recordkeeping and Information Standard 31: Zoe de Plevitz Yolande Bird Retention and Disposal of Public Records. Olivia Guglielmino Diana Franklin Laura Kwiatkowski In 2010, the Company disposed of records in accordance Belinda Locke UNITED STATES REPRESENTATIVE with the General Retention and Disposal Schedule for Thomas Quirk Stuart Thompson Administrative Records. Krystal Sweedman Chelsea Thomas FOUNDING DIRECTOR Alan Edwards AM MBE Ticketing (casuals) Anna Bestevaar Kathryn Fray Cienda McNamara Rachael Regan Krystal Sweedman Rowena Taylor Kate Usher Heidi Zummo

86 A n n u a l R e p o r t A n n u a l R e p o r t 87 9.3 Human resources 9.4 Operations

Workforce planning, attraction and retention Internal Audit As at 31 December 2010, the Company’s workforce was The Company does not undertake an internal audit due to constituted of 73 full-time equivalent staff. Its permanent the relatively small scale of its operations. retention rate for the year was 81%. (For full details see Note 6 of financial statements). Consultancies During 2010 no consultancy costs were incurred. Queensland Theatre Company continues to provide a commitment to employees’ work-life balance by offering International travel flexible working arrangements for employees with children There was no international travel undertaken by Queensland and those undertaking study, as well as part-time roles in all Theatre Company employees in 2010. areas of the organisation. External scrutiny The Company is committed to creating a safe workplace for staff and has an active and effective occupational Workplace Queensland Theatre Company was not subject to any Health and Safety Committee. external audits or reviews during the financial year (other than the audit report on the financial statements.) Early retirements, retrenchments and redundancies Related entities There were no packages paid to employees for redundancies, The Company has no related entities. early retirements or retrenchments under Public Service Commission Directive 17/09. Shared services During 2010 the Corporate Administration Agency provided IT Services to the Company.

88 A n n u a l R e p o r t A n n u a l R e p o r t 89 Queensland Theatre Company 78 Montague Road South Brisbane 4101 PO Box 3310 South Brisbane BC 4101

Telephone: 07 3010 7600 Facsimile: 07 3010 7699 Email: [email protected] Website: www.queenslandtheatre.com.au

Queensland Theatre Company annual report for the year ended 2010 ISSN: 1837-767X

© Queensland Theatre Company 2010

This report is licensed under a Creative Commons Attribution 2.5 Australia licence. You are free to copy, communicate and adapt this work, so long as you attribute the Queensland Theatre Company. For more information, see http://creativecommons. org/licenses/by/2.5/au.

This annual report can be accessed at www.queenslandtheatre.com.au

Please contact reception on telephone 07 3010 7600, facsimile 07 3010 7699 or email [email protected] for further information or to obtain a hard copy of the report.

The Queensland Government is committed to providing accessible services to Queenslanders from all culturally and linguistically diverse backgrounds. If you have difficulty in understanding this report, please call 07 3010 7600 and we will arrange an interpreter to effectively communicate the report to you.

Queensland Theatre Company welcomes feedback on this annual report. Please complete our online feedback form at www. queenslandtheatre.com.au

90 A n n u a l R e p o r t A n n u a l R e p o r t 91 92 A n n u a l R e p o r t Melanie Zanetti in Grimm Tales.