STC Annual Report 2018

ANNUAL REPORT 2018 Sydney Theatre Company acknowledges the Gadigal people and Bidjigal people of the Eora Nation who are the traditional custodians of the land on which the company gathers.

We pay our respects to elders past, present and emerging, and we extend that respect to all Aboriginal and Torres Strait Islander people with whom we work and with whom we share stories.

Aims of the Company

“To provide first class theatrical entertainment for the people of Sydney – theatre that is grand, vulgar, intelligent, challenging and fun. That entertainment should reflect the society in which we live thus providing a point of focus, a frame of reference, by which we come to understand our place in the world as individuals, as a community and as a nation.” Richard Wherrett, 1980 Founding Artistic Director

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Cover: (From centre right) Rose Riley, Ben O’Toole, Benedict Hardie and Contessa Treffone in The Harp in the South. Photo: Daniel Boud Rose Riley and Guy Simon in The Harp in the South. Photo: Daniel Boud 2018 in Numbers

214% 30,031 PEOPLE SAW AN 7,648 4 000 STC 724 SHOW 323,475 AND 160 OF PROGRAM TIX PERFORMANCES WORLD PREMIERE TIX TEACHERS PAID GLOBALLY 63% AUSTRALIAN PLAYS OUTSIDE & ADAPTATIONS ATTENDEES OF SYDNEY TO STC PRODUCTIONS IN 2018 1,449 WORLD 28 9 PREMIERES AWARDS 30 13 PARTICIPANTS IN CONNECTED: ADULT PLAYWRIGHTS 200 LANGUAGE LEARNING 12 ON COMMISSION WON THROUGH DRAMA PROGRAM

2 3 Chair’s Report IAN NAREV

2018 was a year of intense activity at Sydney Theatre Company, as we artistic momentum that STC has built up over years with artists and corporate partners who support us year after year. continued our artistic renewal and our investment in the future. audiences is among STC’s most precious assets. The Board believes, as do our artistic stakeholders, that cutting back would jeopardise While STC’s value to the community is in the theatrical and Reflections on the year should always start with the art. This was this momentum. We consider that the short-term draw on reserves educational experiences we produce and share, we also deliver a Kip Williams’ first season as artistic director. The Board encouraged is a responsible investment in the future of STC, and will put STC strong return on financial investment for our government partners. him to pursue a bold vision, and was willing to invest to support on a stronger, more sustainable path once the revitalised premises Indeed, we return to the Federal Government more than twice our that vision, most notably for The Harp in the South. The season Kip are fully operational. We discuss this regularly as a Board. We grant value in PAYG and other tax revenues generated by STC, and put together explored power and social responsibility, generating have asked our artistic and management teams to put additional we pay more back to the State Government in the form of cash lots of important, thought-provoking conversation. In the delivery checks and balances in place to ensure financial conservatism and rent and outgoings than we receive in grants. Beyond that, with of the constituent part of the season, Kip showed his ability to bring prudence. We also have in place a multi-year financial plan covering more than 6% of our annual sales coming from outside NSW, we together and inspire a diverse group of established and up-and- the period from 2017 to 2023 that covers cash inflows and outflows assist in generating significant cultural tourism revenue for the coming artists. The resulting works were a major success in the eyes relating to both ongoing company operations and the Wharf State Government. Outside of Sydney, our work was experienced by of artists, critics and, most importantly, audiences. Our post-show Renewal Project. We expect that STC’s budget will return to surplus people living in all NSW Federal electorates and 80% of NSW State surveys in 2018 revealed record-high satisfaction with STC and its in 2021, and that by the end of this planning period we will be on electorates through tours, educational and community programs. work, and this has led to high subscription renewal rates coming into our way to replenishing our reserves. Our reserves are adequate 2019. for the task, having been built up during STC’s strong financial It is my great privilege to work with a group of talented and performance between 2013 and 2017. dedicated directors on the STC board. It takes a good deal of ability, The success of Kip’s season is all the more impressive given the commitment and nerve to shepherd an organisation through such practical challenges of programming around STC’s temporary Our financial result for 2018, a group deficit of $1.3 million, was a period of change. As Deputy Chair and Chair of the Foundation, departure from The Wharf at Walsh Bay, our headquarters since consistent with the multi-year plan, though at the lower end of Ann Johnson’s deserves special acknowledgement for her exceptional 1984. In June we completely vacated The Wharf to facilitate a the range we expected. Beyond the impact of business disruption service. The directors of the STC Foundation also continue to comprehensive Wharf Renewal Project. This project, the first major I have already described, two revenue drivers were particularly contribute to STC’s success by leading our philanthropic fundraising upgrade of our facilities in 34 years, has been planned to coincide relevant to this result. The first was a continued decline in corporate efforts, providing funds both for artistic and operational purposes, with the NSW Government’s rejuvenation of the Walsh Bay Arts sponsorship, which was more than $1M below the level we had four and for the Wharf Renewal project. Precinct. It will ensure that STC remains at the forefront of theatre years ago. While we are designing new approaches to corporate practice, attracting and delighting artists and audiences for the partnering, we do not consider that a return to historic levels is On behalf of the Board, I would like to thank our exceptional leaders, coming decades. likely given industry trends. The other factor was single ticket box Patrick McIntyre and Kip Williams. The passion and vision that they office revenues. Though our subscriber numbers remained strong, bring to STC inspires their teams and all the wonderful artists with This project is ambitious. From a financial point of view, it requires and responses to the program from an audience engagement whom we are privileged to work. Their work, in turn, produces the not only the $60M specifically raised towards direct project costs, viewpoint were outstanding, one-off sales for many shows fell short art that makes such an important contribution to the Australian but significant draws from reserves to offset the negative operating of our expectations. community. impacts of the temporary loss of The Wharf’s two theatres, co- located work spaces and hospitality business. This demand on The main reason we have the confidence to make ongoing financial resources will last until the beginning of 2021 when we investments and sustain momentum is the generosity of our key re-occupy The Wharf and begin to take advantage of the artistic, public and private supporters, which we do not take for granted, operational and economic benefits the refurbishment will provide. and for which we are extremely grateful. As one of the country’s 29 designated Major Performing Arts organisations, we are privileged Ian Narev Managing a succession of planned deficit results is a risky to receive multi-year funding via a multi-partite agreement between Chair proposition for a non-profit organisation, requiring careful STC, The Australia Council for the Arts – the Federal Governments’ oversight and planning. Every year that STC spends off The Wharf arts funding and advisory body – and Create NSW. In 2018, this costs us approximately $2.5M, comprised of foregone revenues, funding represented 7.4% of our total revenue, an important base the costs of replacement venues, and specific project management from which to build. This figure is down from 11% twenty years ago and logistical costs. Not all of this cost can be recovered through and 28% in the early 1980s after the company’s establishment. This changes to programming. This leaves the Board with a choice of demonstrates our success in attracting and maximising a broad significantly curtailing our output during the closure period, or range of support over time. We would like to also thank our loyal tolerating operating losses. We have chosen the latter course. The Hugo Weaving and Anita Hegh in The Resistible Rise of Arturo Ui. Photo: Daniel Boud Season Ticket Holders, and the many people, foundations and

4 5 Artistic Director’s Report Executive Director’s Report KIP WILLIAMS PATRICK MCINTYRE

2018 was a thrilling year on stage for STC and its success was well as buoying us with their conversation, curiosity and enthusiasm. Committing to a long-term plan of action requires nerve, particularly Anita and Luca Belgiorno-Nettis for their visionary gift in 2018 that in no small part due to the breadth of skill and imagination of in the non-profit sector which – perennially cash-strapped – often will help fuel the next phase of the company’s evolution. Australia’s incredible theatre practitioners: actors, writers and Aside from producing exciting work, I am also committed to feels like it lives or dies on its annual result. directors; designers; artisans and technicians. From Kate Mulvany’s increasing STC’s relevance to the community through a greater In a fickle business environment, we are proud of the long-standing extraordinary adaptation of The Harp in the South to Nakkiah Lui’s commitment to inclusivity. I am very proud of the steps the company In his chair report, Ian has outlined the disruption to our business partnerships we have built with our family of corporate partners, led Blackie Blackie Brown, from Hugo Weaving’s towering performance took towards this in 2018. More than half of our shows in 2018 were performance arising from the Wharf Renewal Project, and our by presenting partners Allens Linklaters, Colonial First State Global in The Resistible Rise of Arturo Ui to Emily Barclay’s one woman feat in directed by women, and more than half were also written by women. approach to managing it. Asset Management, Ooh! Media and UBS. Lethal Indifference, and from the moving new work Still Point Turning This is the first time in STC’s history that we have achieved parity in to that iconoclastic take on Saint Joan, I feel in 2018 we stretched the these fields, and we will do the same in 2019. Australian work made We’ve been here before. For the three years 2010 to 2012, STC 2018 was an incredible achievement for the staff of the company. Not possibilities of our art form like never before. up 80% of the program – and 75% of these were world premiere embarked on an initiative called the Business Transformation Project. only did we produce and present fifteen works in our home venues Australian plays and adaptations. Three of the fifteen productions Strategic planning had revealed a number of opportunities to the (one of them a seven hour, two part epic!), complete the world That’s not the only thing we stretched. I know that this ambitious were written by Indigenous playwrights, and the season included company in terms of audience development and fundraising that premiere run of Muriel’s Wedding, and tour three productions for slate of work was a challenge for all concerned, from the countless the premiere of Going Down, the development of which was assisted we needed to capture in order to address rising costs and slender seventeen stops across four states, but we also moved the majority hours put in by artistic teams in envisioning and creating the works, by our ongoing partnership with Contemporary Asian Australian reserves. Primarily, we needed more and different skills on the team, of our operations to temporary premises at Fox Studios Australia to the tireless commitment, innovation and skill brought by our Performance. Our commissioning and artist development programs we needed to invest in a state-of-the-art ticketing and CRM platform, in order to turn The Wharf over to the builders for its makeover. A awesome technical and production personnel. I appreciate the also demonstrate our ongoing commitment to inclusivity. and we also needed to establish an in-house IT department to service huge amount of skill, dedication, good will and sheer hard work extraordinary efforts made by you all, and I hope you share my great this. was required to make this all happen – and that was what was satisfaction in the results we achieved together. 2018 also saw remarkable efforts from our Resident Artists, with unstintingly delivered by our people. Thanks and congratulations to Associate Director Paige Rattray, Resident Director Imara Savage, A seven-figure sum was required to realise these goals. Some of everyone on an outstanding year. I also note with great pride that the slew of new works on our Directing Associate Jess Arthur, and Resident Designer Elizabeth this was raised from private sources, but the remainder was self- stages in 2018 was heartily embraced by our audiences, with sales Gadsby all producing superb works, and continuing to grow their funded, producing deficit results in 2011 and 2012. Once the new My thanks also to the STC board, led by chair Ian Narev, and the STC levels remaining high, and audience satisfaction even higher. The craft within the company. team members were in place, and the IT platform acquired and Foundation, chaired by Ann Johnson. Their combined generosity, consistently positive critical reactions to the year was a humbling operational, the company enjoyed a period of annual surpluses wisdom and experience is an enormous asset to the company, icing on the cake. We were also thrilled to pick up five of the six Developing a new generation of artists is one half our STC’s work: which not only repaid the draw on reserves but went on to put particularly during such a transformative period. Kip and I consider theatre awards at the 2018 Helpmanns, including Best Production the other is developing a new generation of audiences. In addition the company into one of the strongest balance sheet positions in ourselves very lucky to be guided and supported by such a group of for The Children, and concluded the year winning eleven of twelve to the audience development programs undertaken each year, I its history. From this position of stability, we were then able to people. Sydney Theatre Awards, including Best Production for The Harp in would like to make special note of the incredible achievements of contemplate the Wharf Renewal Project. the South. our education department. In particular, the School Drama program, As the current stewards of the company, we are acutely aware of the developed with The University of Sydney, went from strength to The Project is one of the largest undertaken by the company; risks taken and the achievements of those boards, artistic directors It will comes as a surprise to no one close to the company that 2018 strength, and in 2018 was delivered through a range of partnerships accordingly, it represents one of our most challenging risks and managers that have come before us. They have created a theatre was a very expensive year to realise. We at STC, and the theatre in metro and regional areas in six states and territories across to manage. But we are confident that our long-term planning, company in Sydney that is significant by world standards, and we makers we support, are forever grateful to those private donors Australia. School Drama was designed as a teacher professional underpinned by our seven-year Cash Strategy, will pay dividends. aim to continue that trajectory. who have provided the resources for us to continue working at this development program, skilling teachers in the use of drama based scale and breadth. In particular, our Production Patrons, the Donor activities to improve student literacy. More recently, the program We are indebted to our public and private supporters for their shared Syndicate and our Resident Artist Program Patrons made very has been trialled with equally strong outcomes in adult education belief. Their commitment to our art form, and their confidence in substantial contributions to the realisation of our work in 2018 – as with recent migrant and refugee groups. Again, these programs are our company’s ability to deliver, is crucial. While many gifts are Patrick McIntyre only possible with the generous support and commitment of our directed towards artistic and educational activities, other donors, Executive Director Education Program Patrons. from individuals to groups like The Chairman’s Council, have helped boost the performance of the company through investments in our 2018 was my second year as Artistic Director, but the first season I organisational capacity. For example, in 2018, donors supported have programmed. I’m incredibly proud of what we produced and research programs that have helped us better understand the look forward to another exciting year at the company in 2019. make-up and motivations of our audience across age, geographic and cultural background segments. Gifts large and small comprised 11% of revenue, almost as large as core government grants and corporate sponsorship combined, demonstrating the ever-increasing Kip Williams importance of philanthropy to the company. We particularly salute Creative Director

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Shari Sebbens, Tara Morice and Sarah Peirse in A Cheery Soul. Photo: Hon Boey REVENUE* EXPENSES BALANCE SHEET 2009 TO 2018 EBITDA 2013 TO 2018*

Other Education & Fundraising (2.4%) Community (1.8%) (2.4%) Partnerships (4.8%) 70,000 Facilities (8.9%) Art & Artists (58.6%) Donations 60,000 (11.3%) Administration 50,000 Rent in-kind, (11.2%) $3,000 project grants $2,000 (5.7%) 40,000 $38,345,301 $40,162,125 $1,000 30,000 $0 Core Government 2013 2014 2015 2016 2017 2018 Subsidy (7.3%) Sales & -$1,000 Marketing 20,000 -$2,000 (17.1%) Touring Productions 10,000 -$3,000 (2.9%) -$4,000 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 *excluding Capital project STC Productions Earnings Before Income Tax, Depreciation and Amortisation (65.6%) Non Current Current Non Current Current Equity *excluding Capital project Liabilities Liabilities Assets Assets

AUDIENCE NUMBERS % SUBSIDY SPENT ON ARTISTS TICKETS SOLD OUTSIDE NSW FEMALE WRITERS & DIRECTORS

450,000

400,000 500% Theatre Artisans Actors, Creatives, Writers 7.5% 70% 350,000 60% 400% 7% 50% 300,000 6.5% 40% 250,000 300% 30% 6% 20% 200,000 10% 200% 5.5% 150,000 0% 5% 2015 2016 2017 2018 2014 2015 2016 2017 2018 100,000 100% Female Writers Female Directors

50,000

0 2014 2015 2016 2017 2018 2014 2015 2016 2017 2018

Season Special Presentation Percentage of annual federal and state Major Performing Arts Touring grants spent on artist wages and royalties.

8 9 Key Performance Indicators

Stream KPI 2018 2017 2016

Art Main stage productions presented 15 16 15 Average performers per play 7.63 8.87 8.38 New Australian works and adaptations produced 11 6 6 Writers under commission 12 13 12 Readings and workshops 14 17 16 Regional and national tours 3 3 5 International tours and presentations 0 1 0

Business Subscription season - net ($’000) 786 1,464 4,311 Non-subscription activities - net ($’000) 859 775 410 Touring - net ($’000) 152 79 317 Net overheads (including funding and development income) ($’000)* -3,099 3,509 -2,726 Surplus/deficit ($’000)* -1,301 5,827 2,312 Reserves as % of turnover* 50.87% 38.76% 40.15% Total raised - net (including Foundation) ($’000)* 7,005 11,650 4,576

Paid attendance Subscription season 247,941 260,508 272,783 Non-subscription activities 75,534 137,322 109,793 Subscribers 17,563 19,064 19,493 Subscriber renewal 75.18% 78.00% 70.00%

Education Workshops, progams, initiatives Participants 14,162 14,761 14,565 School DramaTM Schools 53 52 47 Teachers 160 147 133 Students 4,000 3,675 3,225

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The cast of The Resistible Rise of Arto Ui. Photo: Daniel Boud 1. Art Distinctive theatre of vision and scale Best Female Actor (Pamela Rabe) for The Children, our co-production with Melbourne Theatre Company. At the 2018 Sydney Theatre Awards, STC’s artistic reputation is at a peak. Our 2018 season was big and bold we were nominated for a record breaking 38 nominations of which we and featured fifteen plays, including eleven Australian works, nine of won eleven, including Best Production for The Harp in the South. STC them world premieres. Over 323,000 people bought a ticket to one of received all four nominations in this category, for Harp, The Resistible our productions. For the first time in STC’s history, gender parity was Rise of Arturo Ui, Saint Joan, and Blackie Blackie Brown. It was the first exceeded in the employment of female directors and playwrights. time in the Awards’ history that one company has achieved this. The season saw a number of important new Australian works. We We were also delighted with the audience response to the season and were proud to stage two world premieres by Indigenous playwrights, to our year-long program of Insight Events. Importantly, this season’s Nakkiah Lui’s hilarious Blackie Blackie Brown: The Traditional Owner of exploration of power and social responsibility generated lots of Death and H Lawrence Sumner’s moving The Long Forgotten Dream. We thought-provoking conversation. On a grand scale, political leadership, were also delighted to bring back Lui’s Black is the New White for a run climate change, domestic violence, reconciliation and diversity were at the Roslyn Packer Theatre ahead of national touring. Kate Mulvany’s explored. On the personal level, the rich tapestry of family, history, stage adaptation of Ruth Park’s The Harp in the South trilogy was a great responsibility, truth and self-acceptance was played out. achievement. This uniquely Australian story, moving from turn-of-the- century rural New South Wales to the slums of 1940s Surry Hills, was Since 2014, STC has tracked audience responses to the company and its adapted into two parts. Seventy-eight scenes were staged over six and work via a post-show survey that asks audiences the questions: ‘Would a half hours by a cast of nineteen. We were also honoured to present you recommend this show to a friend?’ and ‘Would you recommend the full-length STC play debuts of Anna Barnes (Lethal Indifference), STC to a friend?’. It is very heartening to note that the 2018 season Michele Lee (Going Down) and Priscilla Jackman (Still Point Turning: generated the highest scores to date on both measures. The Catherine McGregor Story). To bring our season to life we partnered with Malthouse Theatre, This volume of new work contributed to the season achieving parity for Melbourne Theatre Company and the Seymour Centre to co-produce female playwrights, whose underrepresentation in the classical canon four productions. Our collaborations with small, medium and large OUR organisations are critical in helping us create distinctive theatre of is sometimes cited as one of the challenges achieving parity. Hopefully, our ongoing investment in female-authored plays will create a positive vision and scale, and to growing broader industry capacity. We thank BUSINESS and significant legacy for future generations. our fellow arts organisations for their partnership. 2018 also featured the very best of international writing, both old and We also remain ever grateful to our corporate and philanthropic new. The gender politics of Caryl Churchill’s Top Girls enjoyed a timely production supporters who helped make this incredible year of art revival. Lucy Kirkwood, one of the world’s most exciting playwrights, possible for our artists, creatives and audiences. placed the environmental realities of our time front and centre in Production sponsors: Adshel, Allens, Colonial First State Global Asset The Children. Tom Wright created a new and distinctively Sydney Management, Commonwealth Bank of Australia, UBS adaptation of Bertolt Brecht’s The Resistible Rise of Arturo Ui. Audiences Production patrons: The Donor Syndicate, The Girgensohn Foundation, were also treated to a bold revisiting of Nobel Laureate Patrick Danita Lowes & David Fite, Gretel Packer, The Petre Foundation White’s rarely produced masterpiece A Cheery Soul and Imara Savage’s iconoclastic interpretation of George Bernard Shaw’s Saint Joan. PLAN STC continued to attract some of the great contemporary theatre makers, artists and creatives. We had familiar faces taking on titanic roles, including Sarah Peirse as Miss Docker and Heather Mitchell as Catherine McGregor. Hugo Weaving’s extraordinary performance in The Resistible Rise of Arturo Ui earned him a Helpmann Award, Sydney Theatre Award and Glugs Award for Best Actor. We also celebrated a new generation of artists rising through the ranks, including Emily Barclay’s stunning solo performance in Lethal Indifference, Sarah Snook’s audacious Saint Joan, and Contessa Treffone and Rose Riley’s heartbreaking resilience in The Harp in the South. We welcomed back Neil Armfield, Jennifer Irwin, Steve Francis and Michael Scott-Mitchell and welcomed new creative talents, including the evocative music and performance of William Barton in The Long Forgotten Dream, and the collaboration between video animators Oh Yeah Wow and illustrator Emily Johnson in Blackie Blackie Brown. We were very pleased with the positive critical response to the season. At the 2018 Helpmann Awards STC received ten awards from 27 nominations, including Best Play, Best Direction (Sarah Goodes) and 13 A development powerhouse highlighted through Imara Savage’s interpretation of George and administrative centre as well as the location of our two finalisation works were nearing completion and construction Bernard Shaw’s Saint Joan. Together with EWG member Emme most intimate theatre venues, Wharf 1 and Wharf 2. After a Behind the scenes, STC’s commitment to artist and art form was about to commence. Hoy, they reframed and added additional text to the play to give generation of wear and tear we are upgrading our facilities development flourished. STC is directly managing the second part of the Project, the Joan the central voice in her own story. to keep pace with the evolution of theatre practice and technical and auditorium fit-out of our new theatres. We are Play commissions and our Rough Drafts developmental technology, and to accommodate the needs of the business Artist patrons: Anonymous (2), Robert Cameron AO & Paula Cameron, supported by internationally-renowned theatre consultants program continued to be important pathways for new work. that have changed radically since the 1980s. For instance, we Jane and Andrew Clifford, Ms Rowena Danziger AM & Mr Ken Coles AM, Charcoalblue and our Creative Advisory Panel, made up of a Three of our 2018 productions came out of our Rough Drafts now have departments that did not exist back then such as Megan Grace & Brighton Grace, Darin Cooper Foundation, Denton Family number of Australia’s leading theatre directors and designers. program – Lethal Indifference, The Long Forgotten Dream and Still marketing, sponsorship, philanthropy, HR and IT. The output Foundation, The Lansdowne Foundation, The Neilson Foundation, Oranges Point Turning. Our 2019 season will feature Banging Denmark by of our production departments also increased in 2004 with We are also raising the additional funds required to complete & Sardines Foundation, Copyright Agency Cultural Fund, Ruth Ritchie, Van Badham, which was developed through a Rough Draft in the opening of the Roslyn Packer Theatre. the Project. We have received landmark gifts from long-time Sarah Whyte, Carla Zampatti AC 2018. donors and supporters, led by the Packer Family Foundation On the world stage As well as developing plays, STC’s continued commitment to and Crown Resorts Foundation. We are indebted to them investing in artistic personnel paid dividends. Former Resident In 2018 plans were laid for STC’s first international tour of our for their transformative gifts and their leadership. Only with Directors Sarah Goodes and Sarah Giles made triumphant landmark production The Secret River. In August - September The refurbishment will retain the their support could we have embarked on such an ambitious returns to STC, directing The Children and Accidental Death of 2019 this production will be performed as part of the artistic year and continued to produce great theatre, while An Anarchist respectively. Former Resident Designers David Edinburgh International Festival and in partnership with the beloved character of The Wharf, while reaching critical Renewal Project milestones. Fleischer and Renée Mulder worked alongside former Resident National Theatre in London. We are delighted to be once again enhancing its heritage features. It will Create NSW forecasts that we will be back at The Wharf in Director Kip Williams and former Patrick White Playwrights showcasing Australian theatre achievement internationally. also provide better visitor experiences 2020 for theatre commissioning and testing. It is incredibly Fellow Kate Mulvany to bring The Harp in the South to life. Continuing our commitment to bringing exceptional works exciting to ponder the future of The Wharf, the cultural Jessica Arthur, our 2017 Richard Wherrett Fellow, was promoted and artists from abroad, we entered into a co-production of and accessibility, modernised and flexible precinct and all the artistic possibilities that we will be to Directing Associate and made her STC debut with Lethal Julia Leigh’s Avalanche: A Love Story with Barbican London and returning home to. Indifference. Former Richard Wherrett Fellow, Paige Rattray, Fertility Fest. The production will premiere in London in May theatres, and safer, more comfortable Wharf Renewal Project Patrons: Crown Resorts Foundation, Packer returned to STC in the new position of Associate Director. 2019 before touring to Sydney in August 2019. Acclaimed British and efficient work spaces for our artists, Family Foundation, Neilson Foundation, The Paradice Family Foundation, Opportunities were created for four emerging directors actor Maxine Peake will make her STC debut. Anita & Luca Belgiorno-Nettis Foundation, Frances Allan & Ian Narev, with the launch of a new program with Contemporary Asian craftspeople and staff. The project will Ian Darling AO & Min Darling, John & Frances Ingham, Will & Jane Australian Performance (CAAP), the CAAP Directors Initiative. Vicars, Mark & Anne Lazberger, Mark & Louise Nelson, W&A Johnson They will receive two years of skills development with key cement our reputation as one of the Family Foundation, The Chairman’s Council, Anonymous, The Petre STC creatives and engagement as the Assistant Director for a world’s most distinctive and creative Foundation, Louise Christie mainstage production. 2. Business Wharf Renewal Project Business as usual In May our Emerging Writers Group (EWG) was extended theatre companies, residing in one of With the Wharf Renewal Project in full swing, a core focus for a second year under the mentorship of Sue Smith, our 2017 A renewal of our home at The Wharf is underway. Opened in the world’s most exceptional theatre of 2018 was balancing the extra time, resource and financial Patrick White Playwrights Fellow. The interconnectedness of January 1984, The Wharf – a reconditioned timber shipping pier demands of this project with business as usual – to create our development work alongside our mainstage program was from the early 20th century – has been our artistic, production facilities. distinctive theatre of vision and scale that represents, includes and explores our community. Financial stability has been challenging. With The Wharf out We planned this project to coincide with the NSW of action for six months, we experienced loss of income from Government’s rejuvenation of the Walsh Bay Arts Precinct Wharf 1 and Wharf 2 shows, outside hires and The Theatre into a cultural and creative hub. In April 2017 the NSW Bar at the End of the Wharf. Spread across three sites, our Government announced a $30 million contribution to our business operations have also become increasingly complex, project, 50% of the total funds required, and incorporated our with higher logistic, travel and overhead costs involved. Our works into their broader precinct redevelopment. Together, business as usual fundraising has also been impacted by the the two projects will more than double the arts offering at capital campaign. Walsh Bay and position the precinct as a unique destination for all Sydneysiders and visitors to Sydney. We developed improved financial reporting systems to help tackle these challenges. New cost reporting and management After seven years of planning, and in close consultation with structures have enabled more timely and accurate control the artistic community, the Project is fast becoming a reality. for technical and production expenditure. We also refined In June 2018 the full company decanted from The Wharf and roles, responsibilities and processes around cost management relocated to our interim workspace at Fox Studios, as well and reporting. Our cash flow remains a primary focus area, as repurposed spaces with our Lilyfield and Roslyn Packer with cost-efficiency strategies deployed across the whole Theatre sites. organisation. Additionally, we have limited capex acquisitions Our government partners on the project, Create NSW and to business critical purchases, to ease pressure on cash Infrastructure NSW, are responsible for delivering The reserves without causing business disruption. Wharf’s external and internal works, as part of the broader Compounding this operational complexity was a challenging Precinct works, alongside the appointed builder Richard year at the Box Office. This was in part due to the crowding Crookes Constructions. By year end, demolition and design of seasons in the first half of the year, driven by the closure of

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Participants of a STC and CAAP directing workshop. Photo: Nisha Agiasotis The Wharf from July, which caused unhelpful competition CPI since 2001, with no growth in real terms. The number of Black is the New White, collaborating on marketing and The departure from The Wharf saw a number of ‘so long for amongst our own offerings. Compounding the operational of sponsors supporting the sector remains flat. While audience development activities. We also laid the groundwork now’ events that provided a great sense of collegiality for our complexity was a challenging year at the box office. This was we experienced a shortfall in cash income to target, this for the 2019 Riverside season of White Pearl, a co-production staff, artists, creatives, supporters and friends. Highlights due in part to the crowding of seasons in the first half of the was partially offset by growth of in-kind support. We are with National Theatre of Parramatta. included an Open Day for STC staff past and present to visit year, driven by the closure of the Wharf from July, which exploring a number of different value propositions for the and reminisce on The Wharf before renovation; an industry Demand for our $20 Twenties tickets continued to be strong, caused unhelpful competition amongst our own offerings. corporate market and we welcome the innovative approach night of celebration for the final performance on The Wharf with this program remaining invaluable for new audience Anecdotal reports also suggest that prevailing economic of many of our partners to fully realise and leverage the in its current iteration with the closing night of Blackie Blackie development. We also experimented with initiatives for youth conditions and consumer pessimism also appeared to soften power of arts partnerships. For example, Colonial First State Brown; and a ‘Last Supper’ in the empty workshop for Renewal audiences. STC partnered with Shopfront, a youth-led arts the entertainment market. Global Asset Management presented a thought-leadership Project donors, to thank them for making the project possible. co-operative, to participate in a new digital platform for young event in association with STC, drawing upon the themes of In our archives, we were thrilled to rediscover footage of Ruth In this environment, exploring all avenues of earned support people aged 15-19, called Playwave. Playwave helps encourage The Children. Titled ‘Changing the use-by date’, the issues of Cracknell reading David Williamson’s Ode to The Wharf at the to grow and diversify our revenue was a priority, alongside arts attendance by bringing down price points and making intergenerational responsibility it explored. 1984 opening of The Wharf, introduced by STC’s founding driving efficiencies and best practice in business thinking, ticket purchases easy, and is supported by the City of Sydney. Artistic Director Richard Wherrett and then Premier Neville systems and structures. Our Production Department is to be commended for Making our shows as physically accessible as possible remains Wran. This footage was restored and screened for our staff supporting our efforts to diversify our revenue stream, We submitted our new Strategic Plan and KPI reporting a priority. Wheelchair access, guide dog support and hearing farewell party and now lives on our website for everyone to undertaking paid production work for a number of outside to The Australia Council for the Arts and Create NSW, enhancement and headsets were available for all performances. enjoy. presenters. Underpinning this was the implementation of a reiterating our alignment to state and national cultural We hosted eleven Captioned Performances for audience new company-wide logistics procedure that was designed to The decant period also saw a number of welcome events at our ambitions and policy. In response, we were pleased to have members with hearing impairments. We also presented three improve logistics co-ordination and operational leadership. new workspaces, including a special ‘Welcome to Country’ our next three years of funding confirmed under the Major Auslan interpreted performances, and six Audio Described We are exploring models to see if we can provide this external at Fox Studios, hosted by Aunty Donna Ingram, where we Performing Arts Framework. We are grateful for the ongoing performances with pre-show tactile tours, for audience service on an ongoing basis, to generate revenue and support acknowledged the Bidjigal people and Gadigal people of the support of the Australian Government, through The Australia members with visual impairments. Making sure all artists, arts the industry. Eora Nation on whose land we work and share stories. Council for the Arts, and the NSW Government through workers and audiences have full, inclusive access to The Wharf Create NSW. The time, resource and financial challenges of balancing is a guiding pillar of our renewal project. Throughout the year we have also continued important events our Wharf Renewal Project with our core business will which bring our company together, including our quarterly STC is proud of the economic return on investment we continue for our time off The Wharf. With close and careful company meetings, our annual ‘town hall’ for casual front of contribute to the national and state economies, on top of management, we expect to return to full operational capacity house and box office staff and our staff Christmas party. These our cultural impacts. For instance, we return more to the 3. Company in The Wharf by the start of 2021, and to take advantage of were special moments to acknowledge the enormity of the year Federal government in the form of PAYG tax revenue than Match fit the operational and economic benefits the refurbishment will and celebrate our achievements together. we receive from our core grant; and NSW State investment is provide that will allow us to replenish our reserves. We thank STC strives to be a place where everyone feels safe and amply repaid in the rent we pay at The Wharf, Roslyn Packer STC believes in supporting the charitable interests of our staff. the full Company for their efforts during this challenging – supported. Theatre and the Lilyfield store, all of which are state owned. In 2018 we donated $20,000 worth of mainstage tickets to 116 but incredibly exciting – time. Additionally, with over 6% of tickets sold to customers outside In early 2018 STC took part in the first ‘Safe Theatres Forum’ local charities; raised $9,000 for Lou’s Place, a women’s refuge, of NSW, we contributed to around $4.2M in tourism revenue The People Of Sydney which brought together 47 participants from around Australia, in 2018. who made a joint commitment to making lasting cultural STC’s founding Artistic Director Richard Wherrett had change within the theatre sector in this country. We thank the a vision for the company: “to provide first class theatrical founders of Safe Theatres, Eryn Jean Norvill and Sophie Ross, entertainment for the people of Sydney”. To better support for their leadership. this, we launched a new over-arching strategic priority The passion and generosity of our patrons for the Company in 2018 called ‘The People of Sydney’, to One of the outcomes of this gathering was an agreement continues to support us, and we thank ensure that our stories and our people better reflect the between the nine major Australian theatre companies to work dynamism and diversity of our city. Our goal is to ensure that together to standardise workplace policies and procedures all our donors. All donations, no matter Sydney sees itself on stage, in the audience and on staff. The across the industry, building familiarity with these amongst the how big or small, enable our artists and project includes art form development, programming and many freelance artists who work across the country. audience development initiatives, and is based on ongoing, We also introduced wellness sessions for our casts, to bring creatives to keep making wonderful longitudinal cultural research of our audience to provide awareness to mental health issues that may arise from the benchmarks and success metrics that will allow us to measure content of our shows, plus stressors in and outside the rehearsal theatre. Donors are also the main our progress. room. Mental health training programs were also facilitated funders of our education and outreach In 2018 on stage, our productions presented diverse stories to provide tools to help identify and support staff in need and and diverse casts. One particular highlight was Going Down explain how STC can help. Amongst the support structures activity, as well as our artist and art form by playwright Michele Lee, the story of a Hmong-Australian available is STC’s Employee Assistance Program which provides development activity. writer. Following this production, Going Down was shortlisted independent, confidential counselling for all staff and artists. for both the 2019 New South Wales and Victorian Premiers’ STC also invested in a broad array of technical training and Literary Awards. professional development for staff across the business. STC is supported by a very loyal cohort of corporate partners, The company has entered into a three-year Memorandum A great place to work many of which have been with us for over ten years. We of Understanding with Riverside Theatres to collaborate particularly appreciate this commitment in the current on programming and audience development initiatives in Maintaining our close, productive and positive workplace challenging arts sponsorship environment. Arts sponsorship Western Sydney. While we have a long, successful history of culture was a priority this year, with the move off The Wharf STC staff say ‘so long for now’ to The Wharf, May 2018. Photo: Nisha Agiasotis is a mature market; the sector has tracked closely in line with touring work to Riverside, in 2018 we co-presented a season and our staff spread across three sites.

16 17 through post-show collections for the final four performances STC also welcomed 45 students to our free student learning drama to explore motivation, engagement and empathy, with we are delighted this program will continue in 2019. of Lethal Indifference; supported the Actors Benevolent Fund programs Young Wharfies and Work Experience Week, designed a focus on building self-confidence and collaborative skills. “Patrick loves the Drama Program. We are so delighted that with two fundraising initiatives; and collected food and to foster the next generation of artists and arts industry leaders. Feedback from teachers and students is positive, and in many Patrick has had the opportunity to take part in this program toiletries for the Asylum Seekers Centre through our Christmas We awarded scholarships to help enable students from outside cases, students with very low literacy levels are engaging with with the support of Holdsworth and STC. It is fabulous to see his giving tree. We were proud of this contribution and of the of Sydney to participate. quality literature for the first time. There are notable shifts in confidence and communication skills grow as he works with the generosity of our staff. “My time at STC was the most incredible experience of my life. I have confidence levels. group.” Lucy Ricardo, parent. We were also proud to acknowledge our eight staff members made so many friends and learned so much about my passion that “As trust [and] confidence developed, the boys began to who reached their ten-year milestone with the company. They I now know what I want to do when I get out of school. I’m grateful demonstrate their ability to express their emotions, demonstrate were accordingly presented with a Preston Award, STC’s long- for everyone I have met during the week and I hope that I am able compassion and imagination through creative writing and drama” service award named after our longest serving staff member, to do something like working at STC one day.” Work Experience Luciano Valeo, Dorchester Education and Training Unit “The rewards of working with the John Preston. JP clocked up 38 years with STC before his Participant, Regional NSW Our Connected: Adult Language Learning through Drama retirement and continues to be an important part of the life of participants in our class throughout Teachers program also continued, where drama strategies are used to the company. 2018 was the biggest year to date for School Drama, our seven improve language and communication skills with refugees, the year have been immeasurable both week artist-in-residence program for primary school teachers, migrants and asylum seekers across Sydney, while increasing professionally and personally. Having 4. Community using process drama-based strategies with quality children’s participants’ sense of social connectedness and wellbeing. STC literature to improve teaching and learning. partnered with Asylum Seekers Centre, MTC Australia, Red taught for over 25 years I have never Supporting programs that promote the arts and provide young Cross, Fairfield Intensive English Centre and STARTTS (NSW people with stimulating theatre experiences is part of STC’s Over 6,000 students and teachers participated in School Drama Service for the Treatment and Rehabilitation of Torture and experienced such joy, candour, patience DNA. Over 14,000 students, teachers and community members from schools in Sydney, Wollongong, Albury-Wodonga, Trauma Survivors) to deliver the weekly program, reaching were reached through our education and community programs Melbourne, Darwin, Brisbane, and Canberra. The program was over 200 participants, with around nine contact hours per and kindness of spirit in participants. in 2018. In NSW alone, we reached students and teachers in all also delivered in Perth and Auckland, New Zealand, for the first participant. A formal evaluation program with Western Each and every week our class presents NSW Federal Electorates and 80% of NSW State electorates. time. Sydney University and The University of Sydney is underway. Education Patrons: Crown Resorts Foundation, Packer Family Foundation, Our industry leadership with School Drama is widely “We’ve seen really great enthusiasm for the project here, primarily unique insights to the complexities of Simona and Leon Kamenev, Vaux Family Education & Learning Foundation, acknowledged and we are focused on expanding this reach. In for the chance to practise English, but also because our clients have living with disability” Michele Brooks & Andrew Michael, The University of Sydney, City of Sydney 2018, team members spoke at a number of national and state- found it an enjoyable and fun way switching off from their worries. based education and drama conferences, plus the prestigious BRONWYN BATCHELOR, STC TEACHING ARTIST Students Unusual friendships have formed without common languages, and International Drama in Education Research Institute I think that is down to the drama group – it is a safe way of getting Over 7,000 school students attended STC performances, with conference. STC has also commissioned an in-depth five year to know others and find a common thread to connect.” Jenny every ticket subsidised to improve access. For some students, evaluation of the program to better understand its long-term Tracey, Asylum Seekers Centre Advocacy and Leadership this was their first experience seeing live theatre. Their visits impact, with project partner The University of Sydney. are supported by bespoke online resources and documentaries “Funny, fantastic. We learn something new and we have fun. To A core tenet of STC’s work is promoting the value of the arts We thank our School Drama collaborators: Barking Gecko meet new people to learn to have fun and enjoy, to share new produced by the STC Education team, which helped attract over Theatre Company, Canberra Theatre Centre and ACT Education nationally through touring, advocacy and engagement across 45,000 page views to the Education pages of our website. ideas. I learnt some vocabulary and pronunciation. Everything is sectors. Directorate, Brown’s Mart Theatre, HotHouse Theatre and good. I am happy” Connected participant Our Priority Schools Program continued with five schools in Murray Arts, University of Auckland and Applied Theatre In 2018 our theatre productions were seen by 30,000 people Western Sydney, which focuses on reducing socio-economic Consultants, Victorian Curriculum and Assessment Authority, In 2018 STC was pleased to launch a new partnership outside of Sydney. We toured three productions, Black is and geographic barriers to arts participation. We supported Drama Victoria, Deakin University, and Brisbane Catholic with Holdsworth Community, delivering yearlong drama the New White, Hamlet: Prince of Skidmark and The Wharf 170 students with complimentary tickets, drama workshops and Education. workshops to young people and adults with intellectual Revue 2019. In total 96 performances were staged: eighteen disabilities to help improve their social skills, and verbal and backstage tours. “School Drama Hub was highly engaging, practical and the best performances in Western Sydney, sixteen in Northern Sydney, non-verbal expression of ideas. Feedback from the twenty twenty in Regional NSW, nineteen in Canberra, nineteen in professional learning I have been involved in throughout my 15 years participants and family members has been very positive and of teaching. I cannot recommend this program highly enough.” Lisa Brisbane and four in regional Victoria. Phillips, Teacher at Manly Vale Public School STC continued its industry leadership by supporting a “Whalan Public School has forged an ongoing partnership with number of small, medium and large cultural organisations. STC over the last three years. We are extremely grateful for these This included providing in-kind production and technical opportunities as they have impacted on our students’ wellbeing. support to a number of smaller theatre companies including We have seen greater confidence in our students and the ‘cherry on Hayes Theatre, The Old Fitz, Kings Cross Theatre, New Theatre the cake’ has been their prodigious improvements in writing which and La Mama Theatre. Our decant from The Wharf also we attribute directly to the impact of the School Drama Program.” enabled us to donate decommissioned lighting stock and Helen Polios, Deputy Principal at Whalan Public School theatre seats to sixteen organisations, including schools and community groups. Community STC supported training initiatives for the next generation Our program with schools within juvenile justice centres of theatre practitioners. We hosted seven students on continued. We delivered 38 drama workshops to around 70 secondment from NIDA and one student each from TAFE young people at Dorchester Education and Training Unit NSW, Toi Whakaari (New Zealand) and the Royal Academy of Participants in a Connected workshop at MTC Australia, Fairfield. (Airds, NSW) and Shepherds Park Education and Training Unit Participant in an STC drama workshop at Holdsworth Community. Dramatic Art (United Kingdom). STC was delighted to have Photo: Matt Cartwright (Wagga Wagga, NSW). The program utilises storytelling and Photo: Hon Boey two CareerTracker interns spend time with us,

18 19 Djanala Dvagelli and Ruby Rose Betham, in the education and technical teams respectively. Theatre has always stimulated both visionary conversations and practical action. In this vein, our long-term commitment to ‘Greening The Wharf’ has helped transform The Wharf into an inspirational example of environmental leadership. Despite being off The Wharf for six months, STC’s sustainability focus continued in the areas of energy, water, waste and green design. The Production department made significant environmental savings by reusing old flats, floors and stored materials. STC’s Green Team continued to raise levels of awareness within the company and four ‘Green Gnome’ Awards were presented to staff members who demonstrated STC’s commitment to sustainability. With construction underway on site, the solar panels above The Wharf and the rainwater harvesting system below The Wharf have been switched off. Green design has been at the forefront of our Wharf Renewal Project and ‘Greening The Wharf’ will enter a new, reinvigorated phase of its lifecycle once we are back home and operational.

In a year you would expect ‘business as usual’ to be disrupted, we have continued to produce outstanding theatre and operate as one, united company. Congratulations to all STC staff, artists and creatives who have helped make this possible.

20

Sarah Snook in Saint Joan. Photo: Brett Boardman Contessa Treffone, Kate Box, Helen Thomson, Heather Mitchell and Michelle Lim Davidson. Photo: Brett Boardman Emily Barclay. Photo: Prudence Upton

SYDNEY THEATRE COMPANY PRESENTS SYDNEY THEATRE COMPANY PRESENTS TOP GIRLS LETHAL INDIFFERENCE BY CARYL CHURCHILL BY ANNA BARNES “Caryl Churchill’s Top Girls remains one of the greatest plays “An exceptional work… marvellously subtle, humane, intelligent written about women’s rights, the patriarchy and the intersection and mesmerising” of same with social class. This new Sydney Theatre Company staging, led by director Imara Savage, sets the bar high and early STAGE NOISE for the best production of 2018.” TIME OUT SYDNEY WORLD PREMIERE

45 PERFORMANCES CREATIVE TEAM PRODUCTION TEAM 23 PERFORMANCES CREATIVE TEAM PRODUCTION TEAM 19,735 PAID ATTENDANCE 6,129 PAID ATTENDANCE DIRECTOR PRODUCTION MANAGER DIRECTOR PRODUCTION MANAGER CAST Imara Savage Kate Chapman CAST Jessica Arthur Mark Haslam PATIENT GRISELDA/NELL/ SET DESIGNER STAGE MANAGER WOMAN DESIGNER STAGE MANAGER JEANINE David Fleischer Sarah Smith Emily Barclay Mel Page Natalie Moir PLAYS AND Paula Arundell COSTUME DESIGNER ASSISTANT STAGE MANAGER LIGHTING DESIGNER VENUE TECHNICIAN ISABELLA BIRD/JOYCE/ Renée Mulder Jennifer Parsonage Alexander Berlage Cameron Menzies MRS KIDD Kate Box LIGHTING DESIGNER WIG, MAKEUP & WARDROBE COMPOSER & SOUND DESIGNER REHEARSAL PHOTOGRAPHER Damien Cooper SUPERVISOR Clemence Williams Christine Messinesi LADY NIJO/WIN Lauren A. Proietti Michelle COMPOSER & SOUND DESIGNER VOICE & TEXT COACH PRODUCTION PHOTOGRAPHER PERFORMANCES Max Lyandvert DRESSER Charmian Gradwell Prudence Upton Lim Davidson Carol Chor Khim ASSISTANT DIRECTOR Tee RUNNING TIME WAITRESS/KIT/SHONA Madeleine 1 HOUR 35 MINUTES, Claire Lovering HEAD MECHANIST NO INTERVAL Humphreys 23 POPE JOAN/LOUISE David Tongs Heather Mitchell VOICE & TEXT COACH Charmian Gradwell REHEARSAL PHOTOGRAPHER MARLENE Nisha Agiasotis & Helen Thomson Christine Messinesi DULL GRET/ANGIE PRODUCTION PHOTOGRAPHER Contessa Treffone Brett Boardman RUNNING TIME 2 HOURS 20 MINUTES, INCLUDING INTERVAL

DRAMA THEATRE WHARF 1 THEATRE PRODUCTION PATRONS

THE DONOR SYNDICATE 12 FEB – 24 MAR 17 FEB – 10 MAR

23 Anthony Taufa, Vanessa Downing, Shari Sebbens, Melodie Reynolds-Diarra, Tony Briggs and Geoff Morrell. Photo: Prudence Upton Brent Hill, Colin Moody (on screen), Ursula Yovich, Hugo Weaving and Ivan Donato. Photo: Daniel Boud

SYDNEY THEATRE COMPANY PRESENTS SYDNEY THEATRE COMPANY AND UBS PRESENT BLACK IS THE NEW WHITE THE RESISTIBLE RISE OF ARTURO UI BY NAKKIAH LUI BY BERTOLT BRECHT TRANSLATED BY TOM WRIGHT “A wonderfully quick-witted, sharp-as-a-tack Australian “Compelling, innovative and utterly relevant. It is irresistible.” Rom Com with a lot of heart that keeps the audience laughing – or gasping – all the way.” SYDNEY MORNING HERALD LIMELIGHT RETURN SEASON WORLD PREMIERE

13 PERFORMANCES CAST CREATIVE TEAM PRODUCTION TEAM 42 PERFORMANCES INNA, SCHUSSEL, MULLET, CREATIVE TEAM PRODUCTION TEAM CAMERA OPERATORS 7,920 PAID ATTENDANCE 32,137 PAID ATTENDANCE WAITER Philip Charles RAY GIBSON DIRECTOR PRODUCTION MANAGER Charles Wu DIRECTOR PRODUCTION MANAGER ON TOUR Tony Briggs Paige Rattray Whitney Eglington CAST Kip Williams Di Misirdjieff Daniel Boules 1 FEB – 31 MARCH GIVOLA, MAGISTRATE RPT HEAD ELECTRICIAN/ 33 PERFORMANCES NARRATOR DESIGNER STAGE MANAGER CLARK, THEATRE DIRECTOR, Ursula Yovich SET DESIGNER STAGE MANAGER PRODUCTION ELECTRICIAN 14, 312 PAID ATTENDANCE Luke Carroll Renée Mulder Todd Eichorn COURT APPOINTED PHYSICIAN Robert Cousins Minka Stevens Andrew Tompkins Playhouse, QPAC, Mitchell Butel MARIE SMITH LIGHTING DESIGNER ASSISTANT STAGE MANAGER COSTUME DESIGNER DEPUTY STAGE MANAGER RPT DEPUTY HEAD ELECTRI- Brisbane Vanessa Downing Ben Hughes Vanessa Martin DOGSBOROUGH Marg Horwell Katie Hankin CIAN/LIGHTING OPERATOR Peter Carroll IMB Theatre, Illawarra ROSE JONES COMPOSER & SOUND DESIGNER BACKSTAGE WIG & WARDROBE LIGHTING DESIGNER ASSISTANT STAGE MANAGER Harry Clegg Performing Arts Centre, Nakkiah Lui Steve Toulmin SUPERVISOR IGNATIUS DULLFLEET, MAUL- Nick Schlieper Jaymii Knierum RPT HEAD SOUND Wollongong (Parramatta, Canberra) Diane Kanara BEER, HOOK, Kevin White Miranda Tapsell VOICE & TEXT COACH 1ST MILLSTREAMIAN COMPOSER & SOUND DESIGNER WIG, MAKEUP & WARDROBE Riverside Theatres Charmian Gradwell REHEARSAL PHOTOGRAPHER Tony Cogin Stefan Gregory SUPERVISOR RPT HEAD MECHANIST Parramatta, Sydney (Brisbane, Sydney, Hon Boey Lauren A. Proietti Wollongong) GIRI, YOUNG DOGSBOROUGH CINEMATOGRAPHER Steve Mason The Playhouse, Canberra PRODUCTION PHOTOGRAPHER Ivan Donato Justine Kerrigan DRESSERS Theatre Centre, Canberra DENNISON SMITH Prudence Upton Simone Edwards RPT HEAD FLYMAN Geoff Morrell BETTY DULLFLEET, CARRU- ASSISTANT DIRECTOR Alicia Brown Chris Fleming RUNNING TIME THERS, DELLER, DEFENCE Alastair Clark JOAN GIBSON 2 HOURS 35 MINUTES, ATTORNEY Carol Chor Khim RPT DEPUTY FLYMAN Melodie INCLUDING INTERVAL Anita Hegh FIGHT DIRECTOR Tee Jason Edwards Reynolds-Diarra Nigel Poulton RAGG, GAFFLES, GAZILLO, DAY MAINTENANCE RPT FLOOR MECHANISTS CHARLOTTE GIBSON PROSECUTOR, SHORT MAN, VOICE & TEXT COACH Nyok Kim Chang Kane Mott Shari Sebbens PRIEST Charmian Gradwell Carl Avery Brent Hill SOUND SUPERVISOR FRANCIS SMITH Ben Lightowlers REHEARSAL PHOTOGRAPHER Tom Stokes ROMA Hon Boey Colin Moody FOH SOUND OPERATOR Tim Walker PRODUCTION PHOTOGRAPHER SONNY JONES DOCKDAISY, COUNSEL, Daniel Boud Anthony Taufa 2ND MILLSTREAMIAN RADIO MIC TECHNICIAN Lauren Peters RUNNING TIME Monica Sayers 2 HOURS 10 MINUTES, ARTURO UI VIDEO SUPERVISOR NO INTERVAL Hugo Weaving Dave Bergman ORIGINALLY COMMISSIONED BY SYDNEY THEATRE COMPANY WITH THE SUPPORT OF THE MALCOLM ROBERTSON FOUNDATION. ORIGINAL PRODUCTION SUPPORTED BY THE STC VIDEO MIXER DONOR SYNDICATE AND PRESENTING PARTNER ALLENS. Jason Jones

ROSLYN PACKER THEATRE PRESENTING PARTNER PRODUCTION PATRONS ROSLYN PACKER THEATRE DANITA LOWES & DAVID FITE 28 FEB – 10 MAR 21 MAR – 28 APR

24 25 Elaine Crombie (on screen projection) and Megan Wilding. Catherine Davies and Jenny Wu. Photo: Brett Boardman Sarah Peirse and Pamela Rabe. Photo: Jeff Busby Heather Mitchell and Andrew Guy. Photo: Philip Erbacher Photo: Daniel Boud

SYDNEY THEATRE COMPANY PRESENTS SYDNEY THEATRE COMPANY AND COLONIAL FIRST STATE GLOBAL ASSET MANAGEMENT PRESENT SYDNEY THEATRE COMPANY PRESENTS SYDNEY THEATRE COMPANY PRESENTS A SYDNEY THEATRE COMPANY AND MALTHOUSE THEATRE PRODUCTION A SYDNEY THEATRE COMPANY AND MELBOURNE THEATRE COMPANY PRODUCTION A SYDNEY THEATRE COMPANY AND MALTHOUSE THEATRE PRODUCTION STILL POINT TURNING: THE GOING DOWN THE CHILDREN CATHERINE MCGREGOR STORY BLACKIE BLACKIE BROWN: THE BY MICHELE LEE BY LUCY KIRKWOOD BY PRISCILLA JACKMAN TRADITIONAL OWNER OF DEATH BASED ON INTERVIEWS WITH CATHERINE MCGREGOR BY NAKKIAH LUI “[Michele] Lee’s is a fresh, funny voice and this is an undeniably “The cast are stellar... a tremendously funny work.” ambitious piece of theatre.” “An uplifting work that celebrates individual courage and brings “Nakkiah Lui’s ferocious new comedy will have you on the edge of DAILY REVIEW one transgender experience out of the shadows. It will bowl you your seat from start to finish.” LIMELIGHT over.” WORLD PREMIERE AUSTRALIAN PREMIERE SYDNEY MORNING HERALD WORLD PREMIERE LIMELIGHT WORLD PREMIERE

44 PERFORMANCES CREATIVE TEAM PRODUCTION TEAM 54 PERFORMANCES CREATIVE TEAM PRODUCTION TEAM 38 PERFORMANCES CREATIVE TEAM PRODUCTION TEAM 47 PERFORMANCES CREATIVE TEAM PRODUCTION TEAM 6,896 PAID ATTENDANCE 21,836 PAID ATTENDANCE 9,371 PAID ATTENDANCE 6,360 PAID ATTENDANCE DIRECTOR DRAMATURG DIRECTOR PRODUCTION MANAGER (MTC) DIRECTOR PRODUCTION MANAGER DIRECTOR PRODUCTION MANAGER CAST Leticia Cáceres Mark Pritchard CAST Sarah Goodes Michele Preshaw CAST Priscilla Jackman Mark Haslam CAST Declan Greene Whitney Eglington MATT DELANDER/ENSEMBLE DESIGNER ADDITIONAL DRAMATURGY ROSE DESIGNER PRODUCTION MANAGER (STC) RAHUL DRAVID/ENSEMBLE DESIGNER STAGE MANAGER JOHN SMITHSON/VARIOUS DESIGNER STAGE MANAGER Paul Blenheim The Sisters Hayes Polly Rowe Sarah Peirse Elizabeth Gadsby Kate Chapman Nicholas Brown Michael Tanya Leach Ash Flanders Elizabeth Gadsby Ryan Tate LIGHTING DESIGNER LIGHTING DESIGNER STAGE MANAGER Scott-Mitchell ASSISTANT STAGE MANAGER ANIMATION & VIDEO REHEARSAL STAGE MANAGER NATALIE YANG PRODUCTION MANAGER HAZEL YOUNG MALCOLM/GERMAN JACQUELINE BLACK Catherine Davies Sian James-Holland (MALTHOUSE) Pamela Rabe Paul Jackson Christine Bennett DOCTOR/ENSEMBLE LIGHTING DESIGNER Sean Proude Megan Wilding Oh Yeah Wow Todd Eichorn Andrew Guy Nick Schlieper Dalara Williams ENSEMBLE COMPOSER & SOUND DESIGNER David Miller ROBIN COMPOSER & SOUND DESIGNER ASSISTANT STAGE MANAGER BACKSTAGE WIG AND LIGHTING & VENUE TECHNICIAN WARDROBE SUPERVISOR PROJECTION DESIGNER Josh Price THE SWEATS PRODUCTION MANAGER (STC) William Zappa Steve Francis Jennifer Parsonage DR AMAR/SANDRA/ENSEMBLE COMPOSER & SOUND DESIGNER Romy McKanna Chantelle Jamieson Steve Francis Dynae Wood Verity Hampson TILDA GAMBLE/ENSEMBLE Lauren Makin VOICE & DIALECT COACH FOH SOUND OPERATOR FOH SOUND OPERATOR Naomi Rukavina Geraldine Steven Coyle MALCOLM/FATHER/ENSEMBLE ASSISTANT DIRECTOR VENUE TECHNICIAN COMPOSER & SOUND DESIGNER Jason Jones STAGE MANAGER Cook-Dafner Ashley Lyons Charles O’Grady Cameron Menzies Steve Toulmin LU LU JAYADI/MUM/ Kate REHEARSAL/ PRODUCTION PRODUCTION PHOTOGRAPHER ENSEMBLE Middleton-Olliver PHOTOGRAPHER CATHERINE MCGREGOR CONSULTANT FOH SOUND OPERATOR FOLEY ARTIST AND ASSISTANT Daniel Boud Jenny Wu Lyndie Li Wan Po Deryk McAlpin Heather Mitchell Kelly Glanney Luke Davis SOUND DESIGNER Nate Edmondson RUNNING TIME VENUE TECHNICIAN REHEARSAL PHOTOGRAPHER AYLA/MOTHER/ENSEMBLE VOICE & TEXT COACH REHEARSAL PHOTOGRAPHER 1 HOUR 30 MINUTES, Philip Paterson Jeff Busby Georgina Symes Charmian Gradwell Hon Boey CONCEPT ARTIST NO INTERVAL Emily Johnson REHEARSAL PHOTOGRAPHER RUNNING TIME PRODUCTION PHOTOGRAPHER Phoebe Powell 2 HOURS, Philip Erbacher FIGHT DIRECTOR NO INTERVAL Nigel Poulton PRODUCTION PHOTOGRAPHER RUNNING TIME VOICE & TEXT COACH Brett Boardman 1 HOUR 35 MINUTES, NO INTERVAL Charmian Gradwell RUNNING TIME 1 HOUR 30 MINUTES, NO INTERVAL

THE CREATIVE DEVELOPMENT OF BLACKIE BLACKIE BROWN WAS PRODUCED BY PERFORMING LINES WITH SUPPORT FROM ACMI, THE AUSTRALIA COUNCIL FOR THE ARTS AND CREATE NSW.

WHARF 2 THEATRE PRESENTING PARTNER DRAMA THEATRE WHARF 1 THEATRE WHARF 2 THEATRE

23 MAR – 5 MAY 29 MAR – 19 MAY 21 APR – 26 MAY 12 MAY – 30 JUN

26 27 Sarah Snook. Photo: Brett Boardman Wayne Blair. Photo: Heidrun Löhr

Heather Mitchell, Lucia Mastrantone, Jack Finsterer and Guy Simon. Photo: Daniel Boud SYDNEY THEATRE COMPANY AND COMMONWEALTH BANK PRESENT SYDNEY THEATRE COMPANY AND ALLENS PRESENT SAINT JOAN THE LONG FORGOTTEN DREAM BY GEORGE BERNARD SHAW BY H LAWRENCE SUMNER SYDNEY THEATRE COMPANY PRESENTS “A striking production full of fascinating ideas and stark images THE HARP IN THE SOUTH: PART ONE AND PART TWO that will be hard to forget.” “This powerful production is a generational family drama, BY RUTH PARK an epic of indigenous dispossession and a ghost story. It is AN ADAPTATION FOR THE STAGE BY KATE MULVANY beautifully produced and acted, and it includes a performance LIMELIGHT by Wayne Blair that is the best I have seen in his career.” “The Australian theatrical canon has a new epic... leading with the heart to tell a saga of love, loss and family that begins in emigration from Ireland, but belongs proudly to Surry Hills.” THE AUSTRALIAN WORLD PREMIERE THE AUSTRALIAN WORLD PREMIERE

28 PERFORMANCES LIGHTING DESIGNER RADIO MIC TECHNICIAN 38 PERFORMANCES CREATIVE TEAM PRODUCTION TEAM PART 1 - 29 PERFORMANCES ELSPETH/ADULT MARGARET JOHN KILKER/BARFLY/FATHER Nigel Poulton COSTUME MAINTENANCE DEPUTY PRODUCTION 17,870 PAID ATTENDANCE Nick Schlieper Olivia Benson 12,545 PAID ATTENDANCE 21,320 PAID ATTENDANCE DARCY COOLEY/MR KILROY/JOSEPH Nyok Kim Chang ELECTRICIAN DIRECTOR PRODUCTION MANAGER Anita Hegh MENDEL/MR GUNNARSON/ VOICE & TEXT COACH Jeff Wheeler CAST COMPOSER & SOUND DESIGNER PRODUCTION ELECTRICIAN CAST Neil Armfield Mark Haslam PART 2 - 27 PERFORMANCES EYE DOCTOR Charmian Gradwell SOUND SUPERVISOR Max Lyandvert Pádraig Ó 18,560 PAID ATTENDANCE FAIRGROUND NUN/BETSY/ RPT HEAD ELECTRICIAN SET DESIGNER STAGE MANAGER Bruce Spence Ben Lightowlers DAUPHIN/KING/ASSESSOR/ Súilleabháin SIMONE TUCKER/DEBORAH CLOTHES SELLER/SISTER PRODUCTION TEAM Andrew Tompkins GEORGE ADDITIONAL TEXT Jada Alberts Jacob Nash Sarah Smith CAST THEOPHILUS/PHYLLIS/MRS FRANCES DARCY/ENID/DELIE FOH SOUND OPERATOR Gareth Davies Imara Savage SICILIANO/LYNDALL/FLORRIE STOCK/DENISE/BRETT’S MUM RPT DEPUTY HEAD SOUND SUPERVISOR Shakira Clanton COSTUME DESIGNER DEPUTY STAGE MANAGER PRODUCTION MANAGER Tim Walker Emme Hoy THADY DARCY Lucia Mastrantone Helen Thomson Dominic Hamra ELECTRICIAN/LIGHTING INQUISITOR/ARCHBISHOP Luke Davies JEREMIAH TUCKER Jennifer Irwin Jessica Lawes Joel Bishop SWING FOH SOUND OPERATOR/ OPERATOR John Gaden ASSISTANT DIRECTOR Wayne Blair ENY KILKER/MRS WILEY JOSIE/DOLOUR DARCY DEPUTY PRODUCTION MANAGER RADIO MIC TECHNICIAN RPT HEAD ELECTRICIAN LIGHTING DESIGNER ASSISTANT STAGE MANAGER FAIRGROUND ANNOUNCER/ Harry Clegg GENERAL/EXECUTIONER Clemence Williams Andrew Tompkins Heather Mitchell Contessa Treffone Lauren Makin Jess Legg NORTH/MANDEEPD Mark Howett Jaymii Knierum KIDGER/DOCTOR EVANS/ RPT HEAD SOUND Brandon McClelland VOICE & TEXT COACH Nicholas Brown GUS MACINTOSH ALF/FLO/MISS SHEILY/MRS X/ TUG O’ WAR COMPETITOR/ STAGE MANAGER RADIO MIC TECHNICIAN Charmian Gradwell RPT DEPUTY HEAD COMPOSER & MUSICIAN SHOW HEAD MECHANIST Luke Carroll SISTER BEATRIX/MRS KILROY/ LICK JIMMY/SAILOR/DOCTOR/ Kevin White PRIEST ELECTRICIAN/ LIGHTING YOUNG JEREMIAH William Barton David Tongs SHIRLEY REPORTER/CAVES ATTENDANT/ Minka Stevens Olivia Benson Kirk Page RPT HEAD SOUND Sean O’Shea OPERATOR Brodi Cubillo Tara Morice USHER DEPUTY STAGE MANAGER HEAD MECHANIST Harry Clegg SOUND DESIGNER BACKSTAGE WIG & Damien Strouthos Steve Mason OFFICER/PROSECUTOR PRODUCTION TEAM WARDROBE SUPERVISOR George Zhao Todd Eichorn Steve Mason GLADYS DAWSON/ERICA Steve Francis FATHER DRISCOLL/PATRICK YOUNG HUGH DARCY/BARFLY/ PRODUCTION MANAGER RPT HEAD FLYMAN Socratis Otto RPT HEAD SOUND Melissa Jaffer Dynae Woods DIAMOND/BRETT’S DAD/ POLICE OFFICER/LOLLY’S CREATIVE TEAM ASSISTANT STAGE MANAGERS FLYMAN Kate Chapman ASSISTANT DIRECTOR MAN/STEVIE/SAILOR/DOCTOR/ Chris Fleming JOAN Kevin White LIZZIE/SOUTH SPIRIT Deborah Brown DRESSER HOTDOG SELLER Katie Hankin Chris Fleming Genevieve Jones BRETT/TUG DIRECTOR Sarah Snook Ningali Diane Kanara Tony Cogin Jennifer Parsonage RPT DEPUTY FLYMAN RPT HEAD MECHANIST VOICE & TEXT COACH Ben O’Toole Kip Williams REVOLVE OPERATOR STAGE MANAGER Lawford-Wolf UNDERSTUDY THADY DARCY COSTUME SUPERVISOR Jason Edwards BROTHER/BLUEBEARD/JULIAN Steve Mason Charmian Gradwell CULTURAL SUPPORT ADVISOR YOUNG MARGARET/ROIE DARCY Carl Avery Anthony Taufa Natalie Moir Sigrid Herring Finn Dauphinee SET DESIGNER Catherine Mayne YOUNG JEREMIAH Rose Riley David Fleischer FLOOR MECHANISTSS REHEARSAL PHOTOGRAPHER DEPUTY STAGE MANAGER RPT HEAD FLYMAN Wesley Patten HAIR, WIG & MAKE-UP EARL/CAPTAIN REHEARSAL PHOTOGRAPHER MARTIN DARCY/ HERB LENNON/JOHNNY Jason Edwards Lisa Tomasetti Dani Ironside Chris Fleming ADULT HUGH DARCY COSTUME DESIGNER SUPERVISOR David Whitney PASTOR HENRY GILLES/ Lisa Tomasetti SHEILY/HARRY DRUMMY/ Sam Harper PRODUCTION PHOTOGRAPHER ASSISTANT STAGE MANAGER OLD MAN GILLIES/KEITH Jack Finsterer SAILOR/ERNEST BLAINEY/ Renée Mulder Lauren A. Proietti Ashley Lyons BISHOP RPT DEPUTY FLYMAN PRODUCTION PHOTOGRAPHER Josh McConville Daniel Boud William Zappa Vanessa Martin Jason Edwards Justin Smith Heidrun Löhr REPORTER/DOCTOR LIGHTING DESIGNER BACKSTAGE WARDROBE Kane Mott NOEL CAPPER/PUBLICAN/ Rahel Romahn Nick Schlieper SUPERVISOR Nathan Seymour RUNNING TIME HAIR, WIG & MAKE-UP PART ONE: REHEARSAL PHOTOGRAPHER KING TULLA RUNNING TIME BARFLY/TOMMY MENDEL/ Simone Edwards David Tongs SUPERVISOR THADY DARCY COMPOSER 3 HOURS 45 MINUTES, Lauren A. Proietti Hon Boey Ian Wilkes 2 HOURS 15 MINUTES, SAILOR/BILL BRIGGS/BUMPER (Swing) CREATIVE TEAM Phil Dean Walford INCLUDING INTERVAL REILLY/FRANKY Jack Ruwald THE SWEATS DRESSER INCLUDING 20 MINUTE Carol Tee CHILD CHAPERONES INTERVAL AND 10 MINUTE DIRECTOR BACKSTAGE WARDROBE PRODUCTION PHOTOGRAPHER Benedict Hardie JER/SOLDIER/BOOKSELLER/ PAUSE SUPERVISOR POLICE OFFICER/ SOUND DESIGNER Alicia Brown Jessica Savin Imara Savage Brett Boardman BETTY DULLFLEET, Nate Edmondson Jai Greenaway Simone Edwards PHOTOGRAPHER/CHARLIE WIG STYLIST PART TWO: SET DESIGNER CARRUBERTIE/MAUREEN/ RUNNING TIME ROTHE MUSICAL DIRECTOR Toni Paul PRODUCTION ELECTRICIAN 2 HOURS 20 MINUTES, David Fleischer SOUND SUPERVISOR 1 HOUR 30 MINUTES, THIRSTY WOMAN/LOLLY MOLLY/LYNETTE/BERNICE/ Guy Simon Luke Byrne Pádraig Ó INCLUDING 20 MINUTE Luke Davis NO INTERVAL WIG MAINTENANCE INTERVAL COSTUME DESIGNER THE LONG FORGOTTEN DREAM RECEIVED DEVELOPMENT THROUGH SYDNEY THEATRE COMPANY’S ROUGH NURSE WATKINS/SUSE/MINNIE Súilleabháin FOH SOUND OPERATOR ASSISTANT DIRECTOR Patricia Kershaw Renée Mulder DRAFT PROGRAM Emma Harvie Jessica Arthur Tim Walker COSTUME ASSISTANT

MOVEMENT & FIGHT DIRECTOR Lauren Peters

PRESENTING PARTNER ROSLYN PACKER THEATRE PRESENTING PARTNER PRODUCTION PATRON DRAMA THEATRE ASSOCIATE PARTNER PRODUCTION PATRON ROSLYN PACKER THEATRE THE GIRGENSOHN GRETEL PACKER 5 JUN – 30 JUN FOUNDATION 23 JUL – 25 AUG 16 AUG – 6 OCT

28 29 SPECIAL PRESENTATION SPECIAL PRESENTATION

Bessie Holland, Julie Forsyth, Caroline Brazier and Susie Youssef. Sarah Peirse (on screen) and Tara Morice (in car). Rachael Beck, Douglas Hansell, Jonathan Biggins and Drew Forsythe. Photo: Daniel Boud Photo: Daniel Boud Courtney Stewart, Richard Higgins and Matt Kelly. Photo: Prudence Upton Photo: Brett Boardman

SYDNEY THEATRE COMPANY AND ADSHEL PRESENT SYDNEY THEATRE COMPANY AND SEYMOUR CENTRE PRESENT SYDNEY THEATRE COMPANY PRESENTS SYDNEY THEATRE COMPANY PRESENTS A SYDNEY THEATRE COMPANY PRODUCTION ACCIDENTAL DEATH OF AN A CHEERY SOUL THE TRAGEDY OF HAMLET: THE WHARF REVUE 2018: ANARCHIST BY PATRICK WHITE BY DARIO FO PRINCE OF SKIDMARK DÉJÀ REVUE IN A NEW ADAPTATION BY FRANCIS GREENSLADE WITH SARAH GILES WRITTEN AND CREATED BY JONATHAN BIGGINS AND DREW FORSYTHE “Kip Williams is at his best in the deft marshalling of complex A BADAPTATION OF THE BARD “Outrageously funny – this is a high-energy cast with no weak forces and multiple angles, and A Cheery Soul is no exception, the BY THE LISTIES links and Amber McMahon is an absolute maniac.” staging complex but beautifully and precisely choreographed.” “One of the funniest introductions to Shakespeare imaginable.” “So hysterical that twice I was brought to tears.”

LIMELIGHT WORLD PREMIERE LIMELIGHT SUNDAY TELEGRAPH RETURN SEASON SYDNEY MORNING HERALD

54 PERFORMANCES CREATIVE TEAM PRODUCTION TEAM 43 PERFORMANCES MR CUSTANCE/MRS JEBB/ COSTUME TECH COORDINATOR 22 PERFORMANCES CAST PRODUCTION TEAM 38 PERFORMANCES CAST PRODUCTION TEAM 23,146 PAID ATTENDANCE 16,706 PAID ATTENDANCE CHORUS/MR LICKISS/MR Catherine Mayne 6,909 PAID ATTENDANCE 30,157 PAID ATTENDANCE DIRECTOR PRODUCTION MANAGER FURZE/CHORUS Richard Higgins PRODUCTION MANAGER Rachael Beck PRODUCTION MANAGER CAST Sarah Giles Whitney Eglington CAST Anthony Taufa BACKSTAGE WARDROBE ON TOUR Matt Kelly Genevieve Jones ON TOUR Jonathan Biggins Barry Searle SUPERVISOR Simon Burke DESIGNER STAGE MANAGER 25 JUL – 18 AUG Courtney Stewart STAGE MANAGER STAGE MANAGER SUPERINTENDENT MISS PERRY/BABY PORTEOUS/ CREATIVE TEAM Carol Chor 13 SEP – 10 NOV Drew Forsythe Caroline Brazier Jonathan Oxlade Natalie Mar CHORUS/SECOND BOY Khim Tee 21 PERFORMANCES CREATIVE TEAM Tim Burns 47 PERFORMANCES Tim Burns Emma Harvie DIRECTOR 3,135 PAID ATTENDANCE 21,021 PAID ATTENDANCE Douglas Hansell LIGHTING DESIGNER ASSISTANT STAGE MANAGER VENUE TECHNICIAN SOUND & AV OPERATOR INSPECTOR BERTOZZO Kip Williams COSTUME MAINTENANCE CREATED BY James Millar Julie Forsyth Trent Suidgeest Brooke Kiss MRS CUSTANCE/MRS TOLE/ Nyok Kim Chang Declan Greene Romy McKanna Andrew Worboys Sam Harper CHORUS/MRS BLEEKER DESIGNER Riverside Theatres, Riverside Theatres, INSPECTOR PISANI ASSISTANT DIRECTOR SOUND OPERATOR Anita Hegh SOUND SUPERVISOR Parramatta Richard Higgins REHEARSAL PHOTOGRAPHER Parramatta HEAD ELECTRICIAN / LIGHTING Steven Coyle Elizabeth Gadsby Hon Boey CREATIVE TEAM REALISER Bessie Holland Heather Fairbairn Luke Davis Matt Kelly HIRE CAR MAN/MISS DANDO/ COSTUME DESIGNER The Playhouse, Q Theatre, DESIGNER Cameron Menzies MARIA FELETTI/CONSTABLE 1 COMPOSER & SOUND DESIGNER BACKSTAGE WARDROBE VIOLET PORTEOUS/FIRST BOY/ VIDEO SUPERVISOR PRODUCTION PHOTOGRAPHER SUPERVISOR Alice Babidge Canberra Theatre DIRECTOR Joan Sutherland Charles Davis COSTUME CO-ORDINATOR Annie Maynard Stefan Gregory MRS FURZE Charlie Kember Prudence Upton Diana Kanara Jay James-Moody LIGHTING DESIGNER Centre, Canberra Declan Greene Performing Arts MUSICAL DIRECTOR Scott Fisher THE MANIAC MOVEMENT DIRECTORS RUNNING TIME Centre, Penrith REHEARSAL PHOTOGRAPHER Nick Schlieper VIDEO OPERATOR TOUR DIRECTOR 1 HOUR, NO INTERVAL Andrew Worboys WIG STYLIST Amber McMahon Mike Finch REV WAKEMAN/YOUNG TOM Wagga Wagga Civic Grant Sparkes- LILLIE Philip Paterson Paige Rattray LIGHTING DESIGNER Margaret Aston CONSTABLE 2 Nigel Poulton COMPOSER Theatre, Wagga Whitehorse Centre, Carroll Brandon McClelland Clemence Williams FOH SOUND OPERATOR Wagga DESIGNER Nunawading Matt Cox EXTRA VIDEO CONTENT Susie Youssef CHOREOGRAPHER REHEARSAL PHOTOGRAPHER MRS LILLIE/SECOND GIRL/ VIDEO & SOUND DESIGNER Hayley Forward Renée Mulder VIDEO & SOUND DESIGNER Todd Decker Sarah Black Lisa Tomasetti CHORUS IMB Theatre, Glen St Theatre, David Bergman Tara Morice David Bergman HEAD ELECTRICIAN Illawarra Perform- LIGHTING DESIGNER Belrose REHEARSAL PHOTOGRAPHER LITERAL TRANSLATION PRODUCTION PHOTOGRAPHER ASSISTANT DIRECTOR Corinne Fish ing Arts Centre, Verity Hampson Lisa Tomasetti MISS DOCKER Thomas McPherson Daniel Boud Benjamin Sheen Wollongong COMPOSER & SOUND DESIGNER IMB Theatre, PRODUCTION PHOTOGRAPHER Sarah Peirse HEAD MECHANIST RUNNING TIME Illawarra Perform- VOICE & TECH COACH VOICE & TECH COACH Jed Palmer Brett Boardman 2 HOURS 30 MINUTES, SECOND FURNITURE REMOVAL David Tong Glen St Theatre, ing Arts Centre, Charmian Gradwell INCLUDING INTERVAL MAN/MATRON/MRS WATMUFF/ Charmian Gradwell Belrose VOICE & TEXT COACH Wollongong RUNNING TIME CHORUS/GIRL’S VOICE (ON REHEARSAL PHOTOGRAPHER Charmian Gradwell 1 HOUR 40 MINUTES, PRODUCTION TEAM Hon Boey NO INTERVAL TELEPHONE)/FIRST GIRL The Playhouse, Monica Sayers PRODUCTION MANAGER PRODUCTION PHOTOGRAPHER Genevieve Jones Canberra Theatre MRS HIBBLE/MR BLEEKER Daniel Boud Centre, Canberra Shari Sebbens STAGE MANAGER RUNNING TIME Sarah Smith Wagga Wagga MRS WAKEMAN/MAID/YOUNG 2 HOURS 35 MINUTES, INCLUDING INTERVAL Civic Theatre, MILLICENT LILLIE/CHAUFFEUR DEPUTY STAGE MANAGER Wagga Wagga Nikki Shiels Todd Eichorn FURNITURE REMOVAL MAN/ ASSISTANT STAGE MANAGER Newcastle Civic MRS ANSTRUTHER/MRS Jaymii Knierum Theatre, Newcastle PINFOLD/CHORUS/MAN’S VOICE (ON TELEPHONE)/LITTLE HAIR, WIG & MAKE-UP GIRL/SWAGGIE SUPERVISOR Bruce Spence Lauren A. Proietti

PRODUCTION PATRON EVEREST THEATRE, ASSOCIATE PARTNER DRAMA THEATRE DRAMA THEATRE SEYMOUR CENTRE ROSLYN PACKER THEATRE THE PETRE FOUNDATION 10 SEP – 27 OCT 5 NOV – 15 DEC 4 JUL – 22 JUL 13 NOV – 15 DEC

30 31 Awards

TOP GIRLS BLACKIE BLACKIE BROWN THE LONG FORGOTTEN DREAM

Sydney Theatre Awards Sydney Theatre Awards Sydney Theatre Awards Kate Box, Verity Hampson, William Barton, Best Supporting Actress Best Lighting Design Best Original Score

Renee Mulder, Co-produced with Best Costume Design Malthouse Theatre

THE RESISTIBLE RISE OF ARTURO UI THE CHILDREN

Sydney Theatre Awards Helpmann Awards Glugs Awards Helpmann Awards Hugo Weaving, Best Actor Hugo Weaving, Best Male Actor Hugo Weaving, Best Play in a Leading Role The Norman Kessell Memorial Mitchell Butel, Best Award for the Most Outstanding Sarah Goodes, Supporting Actor Anita Hegh, Best Female Actor Performance by an Actor in Best Direction of a Play in a Supporting Role in a Play a Leading Role (tied with Robert Cousins, Mitchell Butel - An Act of God - Pamela Rabe, Best Stage Design Darlinghurst Theatre Company) Best Female Actor in a Leading Role Image to go here Stefan Gregory, Best Sound Design Co-produced with Melbourne Theatre Company

THE HARP IN THE SOUTH: PART ONE AND PART TWO MURIEL’S WEDDING THE MUSICAL

Sydney Theatre Awards Glugs Awards Helpmann Awards AWGIE Awards Kip Williams, Best Director The Micki and Robert Davis Isaac Hayward, Music Theatre Award, Memorial Award for the Most Best Music Direction PJ Hogan with Kate Miller- Kate Mulvany, Outstanding Main Stage Heidke & Keir Nuttall (lyrics) Best New Australian Work Production Kate Miller-Heidke and Keir and Benny Andersson, Björn Nuttall, Best Original Score Ulvaeus & Stig Anderson Best Mainstage Production Kaye Mulvany, The John West (lyrics) Memorial Award for the Most Andrew Hallsworth, Best Outstanding New Australian Choreography in a Musical David Williamson Prize For Performed Work Excellence in Writing for Gabriela Tylesova, Australian Theatre, Heather Mitchell, The Norman Best Costume Design PJ Hogan with Kate Miller- Kessell Memorial Award for the Heidke & Keir Nuttall (lyrics) Most Outstanding Michael Waters, and Benny Andersson, Björn Performance by an Actress in a Best Sound Design Ulvaeus & Stig Anderson Leading Role (lyrics)

Contessa Treffone, The Jeffrey Glugs Awards Co-produced with Global Creatures Joynton Smith Memorial Award Award for the Most for the Most Outstanding Outstanding Main Stage Performance by an Actress in a Musical Supporting Role 32

Elaine Crombie (projection) and Megan Wilding in Sydney Theatre Company and Malthouse Theatre Company’s Production of Blackie Blackie Brown: The Traditional Owner of Death. Photo: Daniel Boud Plays and Performances

Subscription Season No of Performances Paid Attendance Touring No of Performances Paid Attendance

Muriel’s Wedding The Musical (from 1/1/18) 32 27,410 Black is the New White 33 14,312

Top Girls 45 19,735 Hamlet: Prince of Skidmark 18 3,135

Lethal Indifference 23 6,129 The Wharf Revue 2018 47 21,021

Black is the New White 13 7,920 Sub Total 101 38,468

The Resistible Rise of Arturo Ui 42 32,137

Going Down 44 6,896 Readings Attendance

The Children 54 21,836 Rough Draft #37 Meat Eaters 1 226

Still Point Turning 38 9,371 Rough Draft #38 Wonnangatta 1 closed performance

Blackie Blackie Brown 47 6,360 Rough Draft #39 The Listies 1 closed performance

Saint Joan 28 17,870 Rough Draft #40 Triple X 1 110

The Long Forgotten Dream 38 12,545 Patrick White Playwrights’ Award - Mirror’s Edge 1 104

The Harp in the South Part One 29 21,320 Sub Total 5 440

The Harp in the South Part Two 27 18,530

Accidental Death of an Anarchist 54 23,146 Total Performances in 2018

A Cheery Soul 43 16,706 Home Venues 623 Sub Total 557 247,941 Regional and National Touring 101 International 0

Special Presentations

Hamlet: Prince of Skidmark 22 6,909 Grand Total Performances 2018 724

The Wharf Revue 2018 38 30,157 Grand Total Performances 2017 884

Total Subscription Season and Special Presentations 2018 617 285,007 Total Paid Attendance 2018 323,475 Total Subscription Season and Special Presentations 2017 709 282,592 Total Paid Attendance 2017 397,830

34 35 Donors Wharf Renewal Project We gratefully acknowledge the leadership gifts for STC’s Wharf Renewal Program. $10,000 - $14,999 Anonymous, Ruth Armytage AM, Ms Jillian Broadbent AO, Nerida and Craig Caesar, Darin Cooper NEILSON FOUNDATION LOGO GUIDE OCTOBER 2016 Foundation, Edward Federman, Ms Anne Galbraith, Judi Hausmann, I Kallinikos, Maple-Brown Family MASTER LOGO REVERSED VERSION Foundation Ltd, The Alexandra and Lloyd Martin Family Foundation, Oranges & Sardines Foundation, The Paradice Sarah Whyte, Dr J. Yiannikas, Peter Young AM and Susan Young

CLEARSPACE SMALL SIZE VERSION TO BE USED WHEN LESS FamilyTHAN 25MM INFoundation WIDTH $5,000 - $9,999 Anon ymous (3), Mr Wayne Adams, Patty Akopiantz, Anthony and Leda Booth, Ellen Borda, David Z. Burger Foundation, Geoffrey Cousins AM and Darleen Bungey, Anita and Richard Dammery, John B Frances Allan Ian Darling ao & John & Frances Will & Jane Fairfax AO, Y Faros and P McIntyre, Ross & Jinnie Gavin, Julie Hannaford, Bill and Alison Hayward, Sally & Ian Narev Min Darling Ingham Vicars Herman, The Hilmer Family Endowment, Katia Khvatova, Helen and Michael Markiewicz, Alexandra Joel, Belinda Hutchinson AM, Sam Meers, Karen Moses, Natasha Nankivell, G I Peirce, Victoria Rati, Carolyn Mark & Anne Mark & Louise W & A Johnson The Chairman’s Anonymous The Petre Louise Christie Kay & Simon Swaney, Jan Swinhoe, Louise Taggart and Peter Homel, Victoria Taylor, Susan and Ian Lazberger Nelson Family Foundation Council Foundation Thomas, Turnbull Foundation, Alison Watkins

STC Foundation Chair: Ann Johnson, Directors: Anita Belgiorno-Nettis, Cate Blanchett, John Connolly, Mandy Foley, $2,000 - $4,999 Anon ymous (2), Michael Adena and Joanne Daly, Lyn Baker & John Bevan, Christine Bishop, Janice Burke, Judi Hausmann, Frances Ingham, Justin Miller, Heather Mitchell, Gretel Packer, Paul Robertson AM, JT Clark, R Clay, Darren Cook, Dr Bishnu Dutta & Ms Jayati Dutta, Julia Farrell, Mandy Foley, Billy Bennett Anne Schofield AM, Alex Schuman and Marguerite Gregan, G & J Hudspeth, Richard and Elizabeth Longes, The Hon Jane Matthews AO, The McBriarty Family, Emine Sermet, Robin & Jacqui Shnier, The Dick and Pip Smith Foundation, Dr Peter & Life Patrons Anonymous, Mr Giorgio Armani, Anita & Luca Belgiorno-Nettis Foundation, The Caledonia Foundation, Mrs Diana Southwell-Keely, John and Christina Stitt, Josie and Graeme Thompson, Lynne Watkins and Crown Resorts Foundation, Ian Darling AO & Min Darling, Vincent Fairfax Family Foundation, Julie &, Nicholas Harding, Sally and Geoffrey White, James & Clytie Williams, Yim Family Foundation Stephen Fitzgerald, David Gonski AC &, Orli Wargon OAM, John & Frances Ingham, W & A Johnson Family Foundation, Mark & Anne Lazberger, Danita Lowes & David Fite, Minderoo Foundation, Catriona $1,000 - $1,999 Anonymous (9), Janet Abernethy and Richard Willis, Colin & Richard Adams, Victor Baskir, David Mordant AM & Simon Mordant AM, Ilse & Cameron O’Reilly, Origin Foundation, Gretel Packer, Roslyn and Miriam Bennett, Noel Bignell, Beverly Birnbaum, Phil Birnbaum, Neil Burns, Mr James Butler/ Packer AC, Packer Family Foundation, The Paradice Family Foundation, The Petre Foundation, The Pier Promotions, Joseph Catanzariti, Bill & Ted Clark, Christopher Cosier & Christopher Webber, Peter and Group (Chair Anne Schofield AM) , Shi Family Foundation, Andrew Stuart, Upton Blanchett Family, Kim Linda Duerden, Diane & John Dunlop, Sandra Forbes, Tony Gill, Geoffrey Graham, Priscilla Guest, Williams AM & , Catherine Dovey, Carla Zampatti AC Cameron Hanson and Bridget Thomson, Neil Harvey, Cheryl Hatch, Donald Hector & Sandra Ollington, Andreas & Danielle Heidbrink, Jennifer Hershon, M. Horne, Julia Jane Pty Limited, Dr Theresa Jacques, Margaret Johnston, Richard Lancaster, Mrs Elizabeth Laverty, Gillian Long, Judith McKernan, Dr Stephen $100,000 & above Fran ces Allan and Ian Narev, Anita & Luca Belgiorno-Nettis Foundation, Jane and Andrew Clifford, Crown McNamara, Karen Michael, David Millons AM, Andree Milman, Peter and Felicia Mitchell, John and Resorts Foundation, Ian Darling AO & Min Darling, Girgensohn Foundation, John & Frances Ingham, W & A Maureen Murray, Nancy O'Connor, Sue O'Keefe in memory of Lynda Shearer, Gerard Byrne & Donna Johnson Family Foundation, Simona and Leon Kamenev, Mark & Anne Lazberger, Danita R. Lowes and David M. O'Sullivan, Ms Christina Pender, Raffi Qasabian and John Wynter, Judy Ranka, Lesley and Andrew Fite, Packer Family Foundation, Gretel Packer, The Paradice Family Foundation, The Petre Foundation, Rosenberg, Kenneth Ryan, Russell Stewart, Georgie Stromland, Mr Andrew Stuart, Mildred Teitler, Janet Will & Jane Vicars Tepper, Lynn Trainor, Madeleine Turkington, Gai Wales, Anthony and Annie Whealy, Antony Whitlam

$50,000 - $99,999 Catriona & Simon Mordant AM, The Neilson Foundation $500 - $999 Anonymous (20), Margaret Arnott, Glenn Barnes, Kaye Blaiklock, Rosemary Block, Mrs Geraldine Bull, Ms Susan Casali, Angela Compton, Andrew Connolly, Leith and Darrel Conybeare, Maura Cordial, Dr $25,000 - $49,999 Anonymous (4), Michele Brooks & Andrew Michael, Denton Family Foundation, Megan Grace & John W Dale AO & Mrs Joan Dale, Robyn Dalton, Rebecca Davidson, Graham Egan, Bob and Maria Elliott, Brighton Grace, The Lansdowne Foundation, The Vine Foundation, Charlie Elliott, Tara and David Ende, Suellen Enestrom, Diane Ferrier, Peter & Robyn Flick, Valmae Freilich, Ruth Ritchie, Vaux Family Education & Learning Foundation, Carla Zampatti AC Judy Friend, Sharon Goldschmidt, Julie & Bill Goold, WM & EL Gray, Sophie Guest, Don Hamilton, Peter Han, Lady P. H. M. Harrison, Jill Hawker, Margaret Hawkins, Yvonne & Rod Hazell, Linda Herd, Dorothy $15,000 - $24,999 Robert Albert AO & Libby Albert, Mr Neil Balnaves AO, Robert Cameron AO & Paula Cameron, Michael Hoddinott AO, Victoria & Taff Hughes, Dr George Jacobs, Julie James Bailey, Richmond and Janet Jeremy, Carapiet & Helen Carapiet, Copyright Agency Cultural Fund, David Craig, Ms Rowena Danziger AM & Mr Ken Gloria Jones, Ms Xanthi Kouvatas, Mr Ralph Lane OAM, Allan Laughlin & T Cooper, Dr Rosalind Lehane, Coles AM, David Gonski AC and Orli Wargon OAM, John M Green & Jenny Green, Keith and Maureen Kerridge, Prof Gus and Mrs Nanna Lehrer, Anne Loveridge, Andrew & Abbey McKinnon, Rosemary & Robert Peter Mason AM and Kate Mason, Robert Purves AM, Paul Robertson AO & Lenore Robertson, Michael and McCullough, Denise McOnie, Denise Melane, Justin Miller, Marie Mitchell-Stanley, Patricia Novikoff, Eleonora Triguboff, Vittoria Coffee, Kim Williams AM & Catherine Dovey Anonymous, Anonymous, George & Penny Palmer, Catherine Parr, Edwina Parsons, Anne Rein & Rod Gilmour, Jonquil, Trudie & Jenn Rogers, Mr David Rolph, Bronwyn Ross-Jones, Tom & Kica Saar, In memory Chairman’s Council Frances Allan and Ian Narev (Chair), Mr Neil Balnaves AO, Anita & Luca Belgiorno-Nettis Foundation, of Helen Kellie, Anne Schofield AM, Abhijit and Janice Sengupta, Nawal Silfani, Jann Skinner, Prof Ian & Catherine & Phillip Brenner, Jillian Broadbent AC & Olev Rahn, Mark Burrows AO, Robert Cameron AO Mrs Jan Sloan, Ann and Quinn Sloan, Ross Steele AM, Lesro Pty Ltd, Diane and Axel Tennie, Rita Thakur, & Paula Cameron, Mr Michael and Mrs Helen Carapiet, Jane and Andrew Clifford, Ms Rowena Danzinger AM Sue Thomson, Suzanne and Ross Tzannes AM, Anne B. Udy, Vera Vargassoff, Meredith Verge, Louise Verrier, & Mr Ken Coles AM, Ian Darling AO & Min Darling, David Gonski AC and Orli Wargon OAM, John M David Vincent, A. Wilmers & R. Pal, Diane Wachman, S Walker, Sue-Anne Wallace, Joan L Wilkinson, Annie Green & Jenny Green, Ann and Warwick Johnson, Keith and Maureen Kerridge, Mark & Anne Lazberger, Williams, Julia Wokes, Lynn & Neil Wykes Sandra Levy AO, Tony Llewellyn-Jones, Charlotte and Adrian MacKenzie, Peter Mason AM and Kate Mason, Martin McCallum, Catriona & Simon Mordant AM, Gretel Packer, The Paradice Family Foundation, Legacy Gifts We gratefully acknowledge those individuals who have chosen to leave us a gift in their will. The Petre Foundation, Robert Purves AM & Bronwyn Darlington, Paul Robertson AO & Lenore Robertson, Saines Family Foundation, Tony Scotford, Mr Andrew Stuart, TAG Family Foundation, Vaux Family A special thank you to all of our donors for helping to ensure the future of Australian theatre. Education & Learning Foundation, Will & Jane Vicars, Vittoria Coffee, Kim Williams AM & Catherine Dovey, To find uto more about giving at STC, please contact the Foundation on (02) 9250 1976 or Peter Young AM and Susan Young [email protected]

36 37 Our Partners Sydney Theatre Company celebrates the support of our valued partners.

Presenting Partners Season Partners

a b

Government Support

Sydney Theatre Company is supported by the Sydney Theatre Company is assisted by the Australian NSW Government through Create NSW. Government through the Australia Council, its arts funding and advisory body.

Corporate Supporters

Associate Partners City of Sydney Hospitality Management Australia iKOU

Tourism & Transport Forum

For further information please contact Rebecca Cuschieri, Director Partnerships on (02) 9250 1995

38 39 Our Staff 1 Jan – 31 Dec 2018

BOARD OF DIRECTORS RESIDENT ARTISTS Sarah Brown (to May), Ellie Sulway Joshua Forward HOUSE SERVICES Costumier/Tailor Emily Lewis to (Feb) Melody Duan, Lyn Gall, Veronica Criddle, Lewis Dean, Jason Edwards, (from Jun) Donor Engagement Executive Rebecca Wig, Make-up and Wardrobe Supervisor Habib, Elysia Hall, William Haywood- Rocio Eiras Carrancio, Cole Goddard, Ian Narev (Chair), Ann Johnson (Deputy Resident Director Imara Savage Communications Coordinator Alexia Mclean-Chan Building Facilities Manager Barry Carr Lauren A. Proietti Anderson, Petria Hogarth, Angela Carl Greenham, Terence Hulme, Chair), The Hon Bruce Baird AM, Mark Resident Designer Elizabeth Gadsby Saeck (from Jan to Apr), Caroline Philanthropy Coordinator House Services Manager Charlotte Grien Johnston, Monique Lerchner, Garry Matthew Ibanez, Martin Jenkins, Lazberger, Patrick McIntyre, Heather Patrick White Playwrights Fellow Orchard (from May to Jul) Carla Fisher (to Jun), Belinda Partyga House Managers Edward Whitmarsh- ROSLYN PACKER THEATRE Manley, Timothy Mannering, Sharni Jason Keir, Shane Kinerson, Nipon Mitchell, Gretel Packer, Daniel Petre AO, Andrew Bovell (to May), Sue Smith Lead Graphic Designer Nisha Agiasotis (from May) Knight, Laszlo Hajdu, Milan Monk (to McDermot, Morgan McPherson, Mark Kittikhoun, Grace Llanwarne, Ashley Annette Shun Wah, Kip Williams (from May) Graphic Designer Christine Messinesi (to Special Project Mar), Lee Horton (to Aug) Head of Technical Kevin Sigley Nagle, Daniel Portelli, Luke Rogers, Lyons, Kane Mott, Tarn Mott, Geoffrey Directing Associate Jessica Arthur Mar), Nadia Dubrovic (from May) Glenn Hazeldine (from Apr) Venue Manager Kerry Ireland Georgina Symes, Georgia Thorne, Murray, Joseph Newton, Douglas FOUNDATION DIRECTORS Emerging Writers Group Emme Hoy, Insights & Analytics Manager Alex Bosi STC Pier Group TECHNICAL, PRODUCTION AND Venue Coordinator Milica Pajic (to Jul), Adrian Tolhurst, Christopher Wale, Niebling, Ulisses Palla, Neil Parikh, Julian Larnach, Moreblessing Maturure, Data Analyst Louise Davidson (to Feb), Anne Schofield AM (Chair), Peggy Claire Robinson (from Aug to Dec) Samantha Young Nathan Seymour, John Shedden, Ethan WHARF RENEWAL Customer Service Telemarketing Staff Shepherd, Byron Simeonidis, David Ann Johnson (Chair), Anita Belgiorno- Disapol Savetsila Aista Adhikari (from Mar) Carter, Eve Heath, Graham Jennings, Head Mechanist Stephen Mason Public Relations Manager Katherine Richard Lyle, Virginia Pearce Head Fly Operator Chris Fleming (Oct-Dec) Chloe Brisk, Tom Crotty, Stabback, Joshua Stringer, Terron Nettis, Cate Blanchett AC, John Connolly, Director; Technical, Production and Wharf Stevenson Deputy Fly Operator Jason Edwards (to Harriet Flitcroft, Brooke Leigh, Yarran Titus, David Tongs, Wilfredo Vasquez, Mandy Foley, Judi Hausmann, Frances FINANCE AND ADMINISTRATION Renewal Jono Perry Publicist Angelina Grien COMMUNITY Oct) Regan, Lada, Volovelsky, Samantha Zachary White, Jasper Williams, Megan Ingham, Justin Miller, Heather Mitchell, Technical Manager, STC50 Paul Bearne Customer Services and Ticketing Manager Head Electrician Andrew Tompkins Young Props Casual Sophie Fletcher, Young, Maurice Zancanaro Gretel Packer, Paul Robertson AO, Anne Director, Finance and Administration Production Managers John Colvin (to Beth Deguara, Jenn Mawhinney Director Education & Community Deputy Head Electrician Harry Clegg Sandra Lawry, Jason Lowe Set Construction Reuben Alexander, Schofield AM, Alex Schuman Francisca Peña Feb), Kate Chapman, Whitney Eglington Ticketing Specialists Tomoko Tamura, Partnerships John Nicholas Saunders Head of Sound Kevin White Front of House Casual Rafael Barroso, Emil Byrne, David Drake-Brockman, Human Resources Manager Vicky Hopper (to Oct), Mark Haslam (to Sep), Lauren Heath Wilder (to Mar), Bonnie Pares- Education Projects Officer Lisa Mumford Roslyn Packer Theatre House Manager Oliver Beard, Caitlin Berry, Anne- Allan Clayton, Ryan Drum, Joseph EXECUTIVE (to Apr), Kate Crisp (from Feb) Makin (from Feb), Sarah Cowan (from Carr (from Apr) (on parental leave from Jun), Alex Plavsic Marie Brockenhuus-Schack, Erin Bruce, Gleeson, Nicholas Horne, Ryan Leech, Human Resources Coordinator Dec) Ticketing Coordinator Tomoko Tamura, Jacqui Cowell (from Jun) Stage Door Attendant Errol Robertson Peta Chiplin, Macushla Cross, Patrick Archie McKay, Mac Nordman, Stefan Artistic Director Courtney Giles Production Administrator Jack Audas Bonnie Pares-Carr Education Ticketing Coordinator Walter Cullen, Scarlet English, Cloe Fournier, von Reiche, Darran Whatley Kip Williams Accountant Helen Ban Preston Season Tickets Manager Fiona Moody Mansfield (to Feb), Kaylee Hazell (from Kate Fraser, Sean Goodwin, Marcella Sound Daniel Boules, Philip Charles, Executive Director Accounts Officer Julie Stagg Head of Stage Management Minka SYDNEY THEATRE COMPANY (on parental leave from Apr), Chantal Feb) Grien, Amy Hack, Caitlin Harris, Steven Coyle, Luke Davis, Kamil Patrick McIntyre Finance Manager Stevens OVERSEAS REPRESENTATIVE Sneddon (From Apr) Education Development Officer Harry Harvey, Lee Horton, Myles Domaradzki, Hayley Forward, Andrew Executive Assistant Reinaldo Rahn (from April) Resident Stage Manager Sarah Smith Roslyn Packer Theatre Box Office Manager Zoe Hogan Horton, Yvette Hymann, Shannon Foster, Samuel Harper, Damien Herbert, Jonathan Ware (to Sep), Wayne Cox IT Manager Alex Boling Technical Manager Barry Searle Thompson Turner Productions John Calvi (to Oct) School Drama Program Associate Robyn Johnson, Kirsty Kiloh, Grainne King, Jason Jones, Jessica Legg, Neil McLean, (from Oct) Application and Database Manager Head of Sound Ben Lightowlers (New York) Wharf Box Office Manager Jo Jenkins Ewing am Owen Little, Steve Martin, Imogen Wridley Moss, Philip Paterson, David External Relations Manager Sarah Coffey (on parental leave from Deputy Head of Sound Dave Bergman Henny Finch (UK) Customer Service Supervisors Nola Grant- Teaching Artists Georgia Adamson, McCluskey, Alison Meredith, Allegra Trumpmanis, Timothy Walker Libby Gauld Feb), Louise Davidson (from Feb) (to Sep) Whyte, Lisa Griffiths, Kaylee Hazell (to Michelle Robin Anderson, Bronwyn Monk, Milan Monk, Jodie Payne, Stage Management Jessica Burns, Tim IT Service Support Prakash Pathak Senior Head Mechanist Eric Duffy STC CASUAL AND SEASONAL Feb), Bradley Hinde (to Oct), Jonathan Batchelor, Natasha Beaumont, Victoria Chloe Perrett, Genevieve Reynolds, Burns, Alexander Dick, Melanie Dyer, ARTISTIC Receptionist Laura Berri Head of Lighting Pádraig Ó Súilleabháin STAFF Palmer, Louise Sykes Campbell , Danielle Catran, Gemma Whitney Richards, Amelia Robertson- Todd Eichorn, Ella Griffin, Katie Archivist Judith Seeff Deputy Head of Lighting Corinne Fish Customer Service Representatives Cleary, Mel Dodge, Alyson Evans, Gail Cuninghame, Jessica Rogers, Alison Hankin, Danielle Ironside, Brooke Kiss, Associate Director Paige Rattray Theatre Technician Cameron Menzies Costume Seasonal Jessica Allison, Megan Nancy Alexander, Geetha Balakrishnan, Evans, Rowan Freeman, Kaylee Hazell, Rubie, Kristina Salopek, Rorie Seddon, Jaymii Knierum, Jessica Lawes, Tanya (from Aug) MARKETING AND CUSTOMER Head of Production Chris Mercer Ashforth, Sandra Bardwell, Patricia Jake Bayssari, Vita Carbone (to Jun), Zoe Hogan, Rachael Jacobs, Felix Jozeps, Bethany Sheehan, Nathan Simon, Leach, Vanessa Martin, Natalie Moir, Literary Manager Polly Rowe SERVICES Head of Set Construction James McKay Barker, Maureen Bell, Natalie Bracher, Elizabeth Carr (to Mar), Jade Chan, Olivia Karaolis, Anna Martin, Suzannah Harriet Snaith Jennifer Parsonage, Kaytlin Petrarca, Casting Director Lauren Wiley (on Deputy Head of Set Construction Boaz Tarra Broderick, Alicia Brown, Amanda Quinn Gibbes, Lucinda Gleeson, Fiona McDonald, Rachel McNamara, Merrilee Function Assistants Casual Alison Sean Proude, Nicola Stavar, Ryan Tate parental leave from Mar to Nov), Director, Marketing and Customer Services Shemesh Bulman, Alana Canceri, Nyok Kim Hallenan-Barker (to Jan), Marietta Mills, Jena Prince , Jenelle Saunders, Rubie, Whitney Richards, Amber Stores Gregory Bloye, Hon Boey, Stuart Alex Souvlis (from Mar to Nov) Nicole McPeake Set Constructors Michael Apoifis, Chang, Simone Edwards, Hazel Fisher, Hargreaves, Tom Hatfield, Anthea Courtney Stewart, Jennifer White, Virtue Brown, Shayne Burrell, Eric Dole, Casting Coordinator Alicia Johnston Marketing Manager, Season and Andrew Craig, Mark Rowley Krystal Giddings, Martelle Hunt, Roslyn Hewett, James McQuillan (to Feb), Linden Wilkinson, Kate Worsley Lighting Benjamin Andrews, Ruby-Rose William Fisher, Jordan Griffiths, Harold (to Mar), David Koumans (from Mar to Communications Stephanie Zappala Draftsperson Andrew Powell, Keam, Lauren Kenyon, Zoe Lawson, Chelsea Nelson, Penelope Parsons-Lord Betham, Aiden Brennan, Suzanne Lander, Julie Lawrence, David Lee, Jee Oct), Caitlin Brass (from Nov) Digital Marketing Manager William Pippen Hannah Lobelson, Catherine Mayne, (from Sep), Chantal Sneddon (to Apr), Brooks, Kayla Burrett, Simon Edie, Leong, Scott Marcus, Karl Reza, Kevin Senior Producer Ben White Elyssa Haratsis PARTNERSHIPS Head of Stores and Maintenance Gary Catriona McCabe, Katrina McFarlane, Amy Wanless, Jennifer White (to Sep), Eleanor Garnett, Ian Garrard, Oscar Rigby Associate Producer Skye Kunstelj, Marketing Manager, Campaigns Everingham (to Jul) Frederick McGill, Sarah McKinley, Chris Williams Gruchy, Stephen Hendy, Lachlan Radio Mic Technicians Olivia Benson, Director, Partnerships Rebecca Cuschieri Storeman Allan Vella Mathilde Montredon, Anita Oram, Zoe O’Flanagan Bianca Oram Hogan, Samuel Hopkins, Renae Lauren Peters Corporate Partnerships Manager Miranda Head of Props Alex Stuart Cheryl Pike, Catherine Rennie, Damien Company Manager Annelies Crowe Content Manager Carl Nilsson-Polias (on PHILANTHROPY Kenward, Matthew Kruzmetra, Archival Videographer Andrew Williams Purnell Props Maker Emily Adinolfi Ross, Jane Seldon, Olivia Simpson, Kia (to Mar), Sarah Stait (from Feb) parental leave from Aug), Jordan Smith James Lister, Louise Mason, Adam Oral Historian for STC Archives’ Oral Artistic Administrator Liam Mangan (from Jul) Corporate Partnerships Executive Frankie Props Buyer / Maker Traleen Ryan Snell, Ian Tatton, Carol Tee, Christine Director, Private Support Danielle McDougall, Romy McKanna, Scott History Project Dr. Margaret Leask (to Jul), Jonathan Ware (from Oct) Marketing Coordinator Christine Petrou, Greene (to Sep), Rita Mastrantone (from Head of Scenic Art Emelia Simcox Thompson, Claire Westwood, Alison Heidbrink Milander, Jake Mortimer, Paul Najor, Voice & Text Coach Charmian Gradwell Alexia Saeck (to Jan) Oct) Deputy Head of Scenic Art Ron Thiessen Whiteford Donor Program Executive Lachlan O’Dea, Peemawat Poolpol, Writers Under Commission Digital Marketing Coordinator Events Manager Fiona Boidi (to Sep), Rita Driver / Buyer Ashley Trotter Hair & Wig Margaret Aston, Carla Georgie Neve (to Dec) Matthew Quince, Amy Robertson, Angela Betzien, Andrew Bovell, Melissa Sophie Withers (to Apr), Alexia Saeck Mastrantone (from Jun to Oct), Karina Costume Manager Scott Fisher D’Annunzio, Teresa Hinton, Diane Donor Insights and Operations Manager Gemma Rowe, Ryan Shuker, Jeffrey Bubnic, Kylie Coolwell, Brendan (from Apr) McKenzie (to Jun) Costume Coordinator Sam Perkins Kanara, Patricia Kershaw, Toni Paul, Nikki Waterhouse (on Parental leave Wheeler, Andrew Williams, Sam Wylie Cowell, Tom Holloway, Nakkiah Lui, Marketing Assistant, Season Tickets and Deputy Costume Supervisor Catherine Dynae Wood from Jul), Sally Crawford (from Jun) Props Christopher Cleary, Benjamin Kate Mulvany, Tommy Murphy, Hannie CRM Mayne Customer Service Subscription Staff (Jul- Major & Legacy Gifts Manager Rebecca Fountain, Jason Lowe, Lucy Nias Rayson, H Lawrence Sumner, Tom Anika Chapman (from May) Costumiers Joanna Grenke, Mary Anne Nov) Rachel Colquhoun-Fairweather, Warren Mechanists Casual Carl Avery, Clive Wright Marketing Assistant, Campaigns Lawler Martini Connelly, Macushla Cross, Annual Giving and Analytics Manager

40 41 SYDNEY THEATRE COMPANY LIMITED

Fox Studios Venues 103 U9, 38 Driver Avenue Roslyn Packer Theatre Walsh Bay Moore Park 22 Hickson Road NSW 2021 Walsh Bay NSW 2000 PO Box 777 Millers Point Drama Theatre NSW 2000 Sydney Opera House Bennelong Point Administration NSW 2000 T +61 2 9250 1700 F +61 2 9251 3687 Annual Report 2018 E [email protected] Project Manager Wayne Cox Contributing Writer Libby Gauld Box Office Graphic Designer Nisha Agiasotis T +61 2 9250 1777 F +61 2 9247 3584 Sydney Theatre Company Limited E [email protected] Incorporated in New South Wales A company limited by guarantee

Sydney Theatre Company sydneytheatre.com.au ABN 87 001 667 983 is a member of AMPAG