ANNUAL REPORT CONTENTS

2018: At A Glance 04 Chair’s Report 06 Artistic Director’s Report 08 Executive Director’s Report 10 2018 Season 12 National Touring 26 Belvoir 2018 in Review 29 Corporate Governance Statement 46 Board & Staff 51 Donors 52 In the Rehearsal Room 54 Supporters, Trusts & Foundations, and Partners 56

Zahra Newman. Photo by Daniel Boud v

WESTERN SYDNEY STUDENTS IN WORKSHOPS EDIA

612 M OWERS ,745 L CIAL 64,499 8 2018 NUMBER OF NEW SINGLE O S FOL AT A GLANCE 7 TICKET BUYERS IN 2018 5 NEW 4,816 AUSTRALIAN STUDENTS AND THEIR TEACHERS UDENTS TICIPATED IN A ,466

ORKSHOP WHO ATTENDED A SCHOOLS OR R 9 T EVENING PERFORMANCE 2 W PA 100, 33 PLAYS S ATTENDEES AT BELVOIR PRODUCTIONS

TOTAL GENDER

SPLIT ON STAGE ALE INCL . DEVELOPMENTS M FEMALE MALE 4,033,622 DIRECTED DIRECTED MALE

: E WRITERS 5050 PERFORMANCES F BOX OFFICE REVENUE

NUMBER OF STUDENT WORKSHOPS HOSTED IN 25A WORKSHOPS 124 REGIONAL 447 NATIONAL 23 SCHOOLS AT PERFORMANCES WRITERS 5 41 35 UNDER 1,32 ,101 0

COMMISSION UNIQUE WEBSITE VISITORS NCES 0 A

1 963

ENDEES STUDENTS APPLICATIONS 6,436 SUBSCRIPTIONS SOLD T WHO ATTENDED FOR 25A A FREE SCHOOL AT PERFORMANCES PERFORMANCE 5, 31,0 00 FORM ARTISTS LITRES OF FAKE BLOOD R ENGAGED THROUGH 25A ARTISTS

USED TO FILL THE STAGE UNWAGED ATTENDEESTO 2,5 130 PE ACROSS 7 PRODUCTIONS 65 205 EMPLOYED CHAIR’S REPORT Sam Meers

2018 was a strong relationships with other arts companies. year for Belvoir, Six of nine of the shows in our Upstairs both artistically and Theatre, and three of four of our Downstairs financially, with the shows, were Australian plays or adaptations, Company not only and a personal highlight in 2018 was our continuing to create introduction of the 25A program in our outstanding theatre Downstairs Theatre, fulfilling our long- experiences, but also term commitment to providing meaningful delivering an operating support to independent theatre-makers. surplus. The challenges for the performing arts I would like to start by acknowledging sector in 2018 were many and varied, and the fearless leadership of our co-CEOs, Eamon eloquently articulates these in his Eamon Flack and Sue Donnelly. Together report. Our commitment to diversity in all they have created a bold artistic vision that its forms is real and authentic and, above all, has allowed Belvoir to be optimistic and we maintain respect for all those with whom confident about the future. The delivery of we intersect and the stories with which we this vision would, of course, not be possible are entrusted. without the passion and talent of the staff at Belvoir and the many artists and creatives The costs associated with presenting who work with us, and I thank them bold, high quality theatre in the current sincerely for their support and extraordinary environment continue to challenge the commitment to the Company. sector. Notwithstanding these challenges, Taylor Ferguson, Genevieve Lemon. Photo by Brett Boardman 2018 saw us bring together an extraordinary The success of the 2018 season, and of the group of supporters around the biggest, I would particularly like to thank the of Houston Group and is regarded as one many other Belvoir programs highlighted boldest work the Company has ever members of our newly established Chair’s of the country’s leading brand and design throughout this Annual Report, is reflected undertaken, Counting & Cracking, which Circle, each of whom are committed to consultants. As National Chairman of KPMG in our solid financial result in 2018, with the culminated in a sold-out Sydney Festival fearlessly supporting the Company’s vision. Australia, Alison brings deep financial and Company achieving an operating surplus season in January 2019, and the Adelaide strategic expertise to the board. I am proud of $275k. This represents a significant Festival in March 2019. The success of On behalf of my fellow Board members, I that Belvoir continues to attract Directors improvement on the 2017 year and can Counting & Cracking, will be discussed at would also like to acknowledge and thank of such stature. be attributed to strong box office results, length in our 2019 annual report. our government supporters at both Federal increased levels of philanthropy and and State level - the Australia Council for the My deep thanks also go to the board corporate sponsorship, and a strategic We are extremely fortunate to work with a Arts and Create NSW. of Company A Limited, led by Angela review of operations throughout 2017 loyal band of donors, partners, supporters Pearman, for continuing to share and I thank each of the Belvoir board members and 2018 that delivered greater operational and subscribers, all of whom make an support Belvoir’s vision. for their energy and sustained commitment efficiencies, a more effective governance invaluable contribution to the life and to the Company. Patty Akopiantz, in her role I am so proud of Belvoir’s work, and the framework and enhanced business success of this company, and without whom as deputy chair, has provided contagious integrity that underlies it. Our season for planning. we could not do the work we do: my deep thanks go to each and every one of you enthusiasm and indispensable wisdom. In 2019 is exciting and inspiring, and already Belvoir is committed to bringing people for your faith in us. I’m delighted to report 2018, we bade farewell to Ian Learmonth delivering strong box office results. The together by telling the stories that affect that our subscriber numbers increased and Tracey Driver, and I thank them for Board is committed to continuing to us all. Throughout the arc of every Belvoir 14.5% over 2018 from the previous year, their dedication and guidance over the past support the Company to create fearless, season, we encourage the protest, debate and that revenue derived from sponsorship six years. I am delighted that we have not high quality theatre, whilst also continuing and discussion that underlies any great and philanthropy increased by 24% in the lost Ian entirely, as he has joined the board to build the Company’s financial resilience democratic tradition to encourage a corresponding period. I acknowledge the of Company A (Belvoir St Theatre Ltd). into the future. It is the shared vision and vibrant conversation with multiple voices vital support of our corporate sponsors, and We welcomed two new directors, Stuart passion of the many people who work with and diverse perspectives - all the while note that we welcomed six new corporate O’Brien and Alison Kitchen, to the Company and support Belvoir that has ensured supporting new playwriting, showcasing sponsors this year, a tribute to the strong B board. Stuart O’Brien is founder and CEO 2018 was such a success. new Australian work from all around artistic direction of the Company. Sam the country and creating collaborative

7 ARTISTIC DIRECTOR’S REPORT Eamon Flack

Our 2018 season Death. These moments are what stick out was born out of a for me in 2018. These women claiming lot of change and new room to move. The two shows that uncertainty in the didn’t make this offer - Sami in Paradise Winter of 2017. I wrote and Bliss - were the two shows that most at the time of the struggled to find their place.Sami was launch that our season a wild, imperfect show that laid some was an attempt to groundwork for another show, which I’ll keep on playing in come back to. Bliss was ambitious, but it the middle of a global felt like history had clocked over, and this mess. I don’t mean fiddling while Rome essential story of the past had run burns, or when the Titanic sinks. I mean its course. defying the taunts and the invitations to This year we reopened our Downstairs despair. Answering hate with defiance, Theatre to independent artists. 25A (the idiocy with joyous foolery, taunting with “granny flat” at 25 Belvoir St) gives the celebration, divisiveness with new kinds theatre and a rehearsal space to seven of belonging. And at our best in 2018, we indie shows a year for free. That brilliant did that. theatre has been the training ground for At the beginning of the year we redressed so many great artists over the decades. some old oversights and filled both If we can’t pay people to learn their craft, our stages with Torres Strait stories, the least we can do is make sure it costs and then with an Asian Australian them nothing. Marta Kaczmarek, Victoria Haralabidou, Fayssal Bazzi, Paula Arundell. Photo by Clare Hawley story. Single Asian Female brought a We commissioned five new works. We huge new audience to Belvoir. Many of introduced $20 tickets for artists. Carissa and all the major industry organisations That means a new sweep of artists, working those newcomers came to the show Licciardello joined the company as the to introduce an industry-wide code of in new ways, telling new stories. It also means again, a second time with their families. first Andrew Cameron Fellow. Andrew’s conduct, align our policies and processes changing how Belvoir works. There are things We welcomed Noni Hazelhurst back, generosity to Belvoir over ten years has and introduce intimacy training. The we don’t know how to do, things that other unrecognisable and brilliant in Mother. been extraordinary, and this Fellowship work continues and the goal is clear: to organisations know better. Our year ended, She brought audiences to their feet honours both Andrew and an emerging make it clear that everyone has the same fittingly, with rehearsals for a show that every night. We welcomed the great Kris artist. Louise Gough, perhaps the finest rights and responsibilities to take care of brought all these themes together. Counting McQuade back, in Alana Valentine’s smart, new-work brain in the country, joined the the safety and dignity of themselves and Cracking had been five years in the moving chronicle of what happened to Artistic and Programming department. and their peers. making, working closely with the Western the working class in Sydney, The Sugar The Balnaves Award became a Fellowship, Sydney-based company Co-Curious and House. Tom Mesker and Taylor Ferguson We continue to work for long-term bringing an Indigenous artist into the its writer/Artistic Director S. Shakthidharan. were beautiful, working out life together gender parity across the board. Like all company and into the programming Getting to day one of rehearsals was a in A Taste of Honey. The play, perhaps, companies we are part of a good-news process. This is where the future lies for major achievement in itself. It took a great didn’t meet the times, but here again turnaround when it comes to women Indigneous work at Belvoir: programmed effort of determination and cunning, and - as in Mother, My Urrwai, Single Asian writers and directors, but when it comes by Indigenous artists, on their terms. our two companies brought together an Female, The Sugar House - was a woman to women technical creatives, everyone is unprecedented coalition of partners - artists, taking over the stage on her own terms. behind. We have therefore set up targets, The revelations of #MeToo appalled the funding bodies, co-producers, philanthropists This course through the season reached mentorships and assistant positions to whole industry. The constraints imposed - to make it possible. With the beginning it heights in Calamity Jane and An begin to turn this around. by several ongoing legal cases pushed of rehearsals for Counting and Cracking Enemy of the People. Virginia Gay and a lot of conversation underground, and Almost 30% of the artists we worked with in November we got started on the real Kate Mulvany, in opposite ways in each, exacerbated a lot of hurt and anger. But this year came from diverse backgrounds. business of Belvoir in the 21st century: giving stormed the theatre. Zahra Newman gave good work began on ending harrassment This was not done accidentally or glibly. the country new, better stories for itself. the finest performance of the year in and bullying in the future. With our peer We’re working to change the storytelling Random. Pam Rabe threw off all fear and theatre companies we introduced a new Eamon landscape in Australian theatre. fashionability to give a wild, sometimes Code of Behaviour and then joined the astonishing performance in The Dance of newly-formed Safe Theatres Australia

8 9 EXECUTIVE DIRECTOR’S REPORT Sue Donnelly

Belvoir has always detailed Teaching Notes, archival been known for recordings and back up advice. Our creating work that Young Belvoir Club, for teenage theatre gathers hearts and aficionados, also thrived in 2018. minds, is often socially meaningful as well as It is over 13 years since we redeveloped the entertaining, and 2018 Belvoir theatre, on a modest budget, and was no exception. we realise that the building is starting to We managed a huge look a bit tired given all the people who’ve season – 13 shows attended in the intervening years. Hence and three tours – and employed over 200 2018 saw the start of a series of cosmetic, artists, many for the first time, in various and back of house, improvements to the roles including stage presentations and theatre, and in conjunction with Belvoir St performances, readings and creative Theatre Ltd (A.K.A. Company A) we are developments. developing options for further upgrades. Meanwhile our box office and front of In 2018 over 100,000 people attended our house staff deliver the best possible shows at Belvoir and our subscriptions service to our patrons and I’m inspired were up by 14.5% on 2017. This by the positive feedback we frequently demonstrated people’s belief in our artistic receive about them ‘going the extra mile’ work and the direction we are taking the to assist. Company. We were proud to present Virginia Gay, Sheridan Harbridge. productions from other companies in our We believe it’s important to share our Photo by John McCrae season. This provides the opportunity work nationally and the Belvoir footprint for bigger and newer audiences for went far beyond Surry Hills in 2018 with As a Major Performing Arts (MPA) funds need to be increased. Belvoir their work. Too often new work is only shows touring to Adelaide (twice), Perth, company Belvoir has a responsibility receives core funding, amounting to presented once and then disappears. Geelong, Tamworth, Lismore, Wollongong to promote sector development and we around 19% of our income (although this Belvoir believes that our quirky, corner and Melbourne, exposing our work to a managed that through our new work is less than our annual fundraising target), stage is a great place to invite others to new audience of 15,997 people. Touring is commissions, internships, mentorships, but it is of great concern to us that other perform their show for a second outing, logistically challenging, particularly when work secondments, and various in-kind innovative companies do not have a and maybe garner interest for tours. 2018 you have back-to-back shows in your own support for indie and ‘small to medium’ similar benefit. featured work from If Theatre, La Boite, theatre, and I was extremely appreciative companies through the provision of Both Eamon and I are extremely One Eyed Man Productions, Queensland of our wonderful production team and the rehearsal space, props and costumes, appreciative of the wonderful Belvoir Theatre and comedy outfit Token. We also additional contractors and casuals who readings, dramaturgy. We also introduced board, ably led by Sam Meers, who have co produced with Malthouse Theatre and successfully delivered these tours. our new 25A program. closely worked with us during our big year with Performing Lines, doing work that As a leader in the theatre sector Belvoir of change. Their belief in the vision we set alone we could not achieve. Two of these Behind the outward facing work of the was active in the various discussions has been crucial and extremely gratifying. productions were presented in association Company, 2018 was a year of internal around support for the performing arts with Sydney Festival, thus attracting other reviews of nearly all our systems to sector, including the review of MPA Finally I want to thank the wonderful people not so familiar with Belvoir. ascertain how we could work more efficiently and smarter in the 21st century. companies, to which we made submissions Belvoir staff, many of whom were new to the Company in 2018, who worked Our Education program was also very We’re still working on this rejuvenation and participated in industry forums. under sometimes frantic conditions to successful with 4,858 young people plan but we’ve at least broken the back Hopefully the results, which are yet to be make the year a big success. Theatre is coming through our doors, and another of it. In doing these reviews we have revealed, will bring about reconciliation a collaborative process and we cannot 2,767 participating in workshops either managed to control costs in a number of in the sector, which has been divided in succeed without it. 2018 demonstrated at Belvoir or at their school. In addition areas, as well as expanding our income, recent years over the consistently low what Belvoir can do when everyone comes to the schools matinees and workshops hence resulting in a healthy surplus for funding that is provided to the performing together and believes in what we do. the Education program supports teachers the year, which will go into the Company’s arts in Australia. If we are to have a truly through professional development, reserves. vibrant national performing arts sector Sue

10 11 MY NAME IS JIMI SINGLE ASIAN FEMALE SAMI IN PARADISE THE SUGAR HOUSE BLISS A TASTE OF HONEY CALAMITY JANE AN ENEMY OF THE PEOPLE THE DANCE OF DEATH Jimi Bani. Photo By Daniel Boud Hsiao-Ling Tang, Alex Lee. Photo by Daniel Boud MY NAME IS Based on a story by SINGLE Written by Dimple Bani, Jimi Bani Michelle Law & co-created with Director Jason Klarwein ASIAN Claire Christian Director Presented by JIM Jason Klarwein I A La Boite Theatre Company 5 – 21 JANUARY FEMALE Presented by production UPSTAIRS A Queensland Theatre 16 FEBRUARY – 25 MARCH Set & Costume Designer production co-presented UPSTAIRS Moe Assaad with Sydney Festival Composer & Sound Designer Set Designer Statistics Statistics Wil Hughes Simona Cosenti & Performances 18 Simone Tesorieri Performances 43 Lighting Designer Keith Clark Paid Audience 4,860 Lighting Designer Paid Audience 10,796 Daniel Anderson Stage Manager Total Audience 6,090 Total Audience 12,436 Peter Sutherland Sound & Projection Designer Box Office Income $227,828 Box Office Income $533,495 Justin Harrison Assistant Stage Manager Katie Hurst Stage Manager Peter Sutherland With Emily Burton Assistant Stage Manager Patrick Jhanur Isabella Kerdijk Alex Lee With Courtney Stewart “Simply and joyfully told, Dmitri Ahwang-Bani “A sweet-and-sour blend of Hsiao-Ling Tang as accessible to children Agnes Ban comedy and drama” and adults” Conwell Bani - The Sydney Morning Herald - The Sydney Morning Herald Jimi Bani Petharie Bani “Crafted with intense care, “A rare gem of a show” Richard Bani wringing pathos and authenticity” - The Guardian - Limelight

Indigenous theatre at Belvoir supported by The Balnaves Foundation 14 15 The Cast of Sami In Paradise. Photo by Clare Hawley Kris McQuade, Sheridan Harbridge. Photo by Brett Boardman THE SAMI Based on Stage Management Written by The Suicide by Secondment Alana Valentine IN Nikolai Erdman Katherine Moore SUGAR Director Director With Sarah Goodes Eamon Flack Paula Arundell PARADISE HOUSE Set Designer Fayssal Bazzi Adapted by Michael Hankin 1 – 29 APRIL Nancy Denis Eamon Flack & 5 MAY – 3 JUNE UPSTAIRS Charlie Garber Costume designer The Company UPSTAIRS Victoria Haralabidou Emma Vine Set & Costume Marta Kaczmarek Composer Designer Mandela Mathia Steve Francis Statistics Dale Ferguson Arky Michael Statistics Lighting Designer Lighting Designer Yalin Ozucelik Performances 31 Performances 33 Damien Cooper Verity Hampson Hazem Shammas Paid Audience 4,975 Vaishnavi Suryaprakash Paid Audience 7,978 Sound Designer Musical Direction, Michael Toisuta Total Audience 6,869 Sound Design & Musicians Total Audience 9,588 Percussion Box Office Income $219,371 Composer Box Office Income $377,633 Movement Director Jethro Woodward Mahan Ghobadi Nigel Poulton (in collaboration with Strings Hamed Sadeghi Stage Manager Mahan Ghobadi & Isabella Kerdijk Hamed Sadeghi) Assistant Stage Manager Movement Director Keiren Smith Nigel Poulton With “A funny and highly “Warm-hearted and Dialect Coach Sheridan Harbridge ­entertaining production with a Amy Hume affectionate” Sacha Horler Morning Herald big sting in its tail” Assistant Director - The Sydney Lex Marinos - The Australian Carissa Licciardello Josh McConville “Expansive and moving” Kris McQuade Stage Manager “Yalin Ozucelik as Sami brings - The Australian Nikki Shiels Luke McGettigan great comic energy to the demanding role while bringing Assistant Stage poignancy to his moments of Manager despair and defiance” Brooke Kiss 16 - The Sydney Morning Herald 17 Toby Truslove, Anna Samson. Photo by Pia Johnson Taylor Ferguson, Genevieve Lemon. Photo by Brett Boardman

Written by A TASTE Written by LISS Peter Carey Shelagh Delaney B Adapted by OF Director 9 JUNE – 15 JULY Tom Wright Eamon Flack UPSTAIRS Director Set & Costume Designer Matthew Lutton Mel Page Statistics Belvoir HONEY Presented by Composer & Sound Designer Performances 41 21 JULY – 19 AUGUST A co-production with UPSTAIRS Stefan Gregory Paid Audience 7,877 Malthouse Theatre Lighting Designer Total Audience 9,487 Set & Costume Designer Damien Cooper Marg Howell Box Office Income $377,633 Statistics Movement Director Composer & Sound Designer Kate Champion Performances 33 Stefan Gregory Statistics Malthouse Theatre Fight Coordinator Paid Audience 6,821 Performances 28 Lighting Designer Nigel Poulton Paul Jackson Total Audience 8,459 Paid Audience 3,432 Stage Manager Stage Manager Box Office Income $323,411 Luke McGettigan Total Audience 4,527 Brooke Kiss Assistant Stage Manager Box Office Income $160,585 Assistant Stage Manager Julia Orlando Erin Shaw With With Taylor Ferguson Marco Chiappi Thuso Lekwape “A fine adaptation” Mark Coles Smith “Acerbic tale still has bite” - Genevieve Lemon - Herald Sun Will McDonald The Sydney Morning Herald Josh McConville Amber McMahon Tom Anson Mesker Charlotte Nicdao “Polished and entertaining” “Fine performaces by Supported by the Nelson Meers Susan Prior - ArtsHub Genevieve Lemon and Taylor Foundation Anna Samson Ferguson as the mother Toby Truslove and daughter” - The Australian

18 19 Tony Taylor, Virginia Gay. Photo by John McCrae Peter Carroll, Kate Mulvany. Photo by Brett Boardman CALAMITY AN From the stage play Cameron Mitchell Written by by Charles K. Freeman Melissa Reeves after Henrik Ibsen Assistant Stage After Warner Bros. Film ENEMY Manager Director Presented in Vanessa Martin OF THE Anne-Louise Sarks association with J NE With Set & Costume Designer A One Eyed Man Laura Bunting Mel Page 23 AUGUST – 30 SEPTEMBER Productions Virginia Gay PEOPLE UPSTAIRS Composer & Sound Designer Written by Anthony Gooley 7 OCTOBER – 4 NOVEMBER Stefan Gregory James O’Hanlon Sheridan Harbridge UPSTAIRS Rob Johnson Lighting Designer Lyrics by Matthew Pearce Verity Hampson Statistics Paul Francis Webber Tony Taylor Statistics Stage Manager Music by Performances 44 Isabella Kerdijk Sammy Fain Performances 32 Paid Audience 11,753 Assistant Stage Manager Director Paid Audience 7,769 Julia Orlando Total Audience 13,977 Richard Carroll Total Audience 9,542 With Box Office Income $582,830 Musical Director Box Office Income $373,863 Peter Carroll Nigel Ubrihien Catherine Davies Adapted by Leon Ford Ronald Hanmer & Phil Steve Le Marquand Park Kenneth Moraleda Kate Mulvany Production designer Nikita Waldron Lauren Peters “A cracker of a show” “Powerful stuff” Charles Wu - The Age Lighting Designer - Sunday Telegraph Trent Suidgeest “An Enemy of the People has “Among the most fun Choreographer experiences you’ll have standalone excellence in a theatre” as a new work” - The Sydney Morning Herald - Artshub

20 21 Pamela Rabe, Colin Friels. Photo by Lisa Tomasetti THERE'S THE

Written by Stage Manager MORE DANCE August Strindberg Luke McGettigan, OF Natalie Moir Director Judy Davis Assistant Stage Manager Musical Director Khym Scott DEATH Nigel Ubrihien With 10 NOVEMBER – 23 DECEMBER Literal Translation Colin Friels UPSTAIRS May-Brit Akerholt Pamela Rabe MY URRWAI Set Designer Toby Schmitz Statistics Brian Thomson Georgia Avery MOTHER Performances 48 Costume Designer Paid Audience 12,123 Tess Schofield BELVOIR HA HA Total Audience 13,887 Composer & Sound Designer Box Office Income $622,649 Paul Charlier RANDOM Lighting Designer Matthew Scott Fight Coordinator Nigel Poulton Choreographer Thomas Egan “Savagely funny” Production Manager - The Sydney Morning Herald Ren Kenward

“The Dance of Death is a masterwork” - ArtsHub

22 “This perceptive, “Noni Hazlehurst delivers “Brolliant, sharp “Newman… is interactive examination… the performance of a lifetime” and clever" extraordinary” is striking” - The Sydney Morning Herald - Audience feedback - Daily Telegraph - Time Out Sydney

MY MOTHER BELVOIR RANDOM 24 JANUARY – 11 FEBRUARY DOWNSTAIRS 18 OCTOBER – 11 NOVEMBER URRWAI HA HA DOWNSTAIRS 19 JANUARY – 4 FEBRUARY 1 - 4 FEBRUARY DOWNSTAIRS DOWNSTAIRS

Statistics Statistics Statistics Statistics Performances 17 Performances 23 Performances 4 Performances 28 Paid Audience 1,162 Paid Audience 5,632 Paid Audience 965 Paid Audience 1,333 Total Audience 1,427 Total Audience 6,170 Total Audience 1,025 Total Audience 1,659 Box Office Income $41,957 Box Office Income $256,575 Box Office Income $36,665 Box Office Income $46,651

Written by Composer Written by Presented by Written by Associate Sound Ghenoa Gela Ania Reynolds Daniel Keene Token debbie tucker Designer greene Jessica Dunn Director Lighting Designer Director With Rachel Maza Niklas Pajanti Matt Scholten Mel Buttle Director Lighting Designer Anne Edmonds Leticia Caceres Rachel Burke Dramaturg With Presented by Cal Wilson Kate Champion Ghenoa Gela If Theatre Productions Designer Stage Manager Supported by Jacob Nash Kieren Smith A co-production Indigenous theatre Set, Costume & Props designer Woolcott Research with Performing at Belvoir Kat Chan Associate With Lines and supported by Designer Zahra Newman Lighting Designer presented in The Balnaves Matilda Tom Willis Supported by association with Foundation Woodroofe The Hive Sydney Festival Sound Designer Composer & Darius Kedros Set & Costume Sound Designer Designer Stage Manager The Sweats Michael Hankin Isabella Kerdijk With Noni Hazelhurst

24 Ghenoa Gela. Photo by Jamie James Noni Hazelhurst. Photo by Brett Boardman Anne Edmonds. Photo by Nicole Reed Zahra Newman. Photo by Daniel Boud 25 “A compelling performance” "…leaves you in an adrenalin- “This production

NATIONAL SEASON - The West Australian fuelled state of dizziness" can not be faulted” NATIONAL SEASON - The Adelaide Review - ArtsHub

THE EVENTS THYESTES FAITH HEALER 21 JUNE - 8 JULY 11 JULY - 14 JULY 2 MARCH - 7 MARCH 26 SEPT - 13 OCT BLACK SWAN GEELONG PERFORMING ADELAIDE FESTIVAL STATE THEATRE THEATRE COMPANY ARTS CENTRE CENTRE COMPANY ADELAIDE Statistics Statistics Statistics Statistics Performances 17 Performances 5 Performances 8 Performances 20 Total Audience 2,636 Total Audience 930 Total Audience 1,479 Total Audience 4,503

Written by Musical Director 17 JULY - 18 JULY Co-written by Head Mechanist Written by Stage Manager David Greig Luke Byrne TAMWORTH TOWN HALL Thomas Henning Thomas Pidd Brian Friel Melanie Selwood (Perth only) Chris Ryan Lyrics by Statistics Stage Manager Director Assistant Stage Benjamin Hogan Simon Stone & John Browne Eva Tandy Judy Davis Manager (Perth only) Performances 2 Mark Winter Elizabeth Webster Director Assistant Stage Set Designer Carol Young Total Audience 222 after Seneca Clare Watson (Geelong, Manager Brian Thomson With Originally created Tamworth, Isabella Kerdijk Colin Friels A co-production by The Hayloft Costume Designer Lismore, 20 JULY - 21 JULY Pip Miller with Malthouse Project With Tess Schofield LISMORE CITY HALL Alison Whyte Theatre and State Wollongong) Thomas Henning Director Composer & Theatre Company Statistics Chris Ryan With Simon Stone Sound Designer of South Australia Toby Schmitz Johnny Carr Performances 3 Paul Charlier Lighting Designer Production Benjamin Hogan Total Audience 442 Govin Rueben Lighting Designer Designer (Perth only) Verity Hampson Geoff Cobham Catherine McClements Sound Designer Carol Young Stefan Gregory Associate Lighting Production Manager 25 JULY - 28 JULY (Geelong, Tanworth, ILLAWARRA PERFORMING Designer Ren Kenward Production Lismore, Wollongong) ARTS CENTRE Daniel Barber Community Choirs Manager Statistics Richard Whitehouse Performances 5 Total Audience 1,258

26 Catherine McClements. Photo by Lisa Tomasetti Thomas Henning. Photo by Heidrun Löhr Colin Friels. Photo by Brett Boardman 27 BELVOIR 2018 IN REVIEW

THEATRICALY. Indigenous works, re-imagined classics VARIETY OF LIFE. and new international writing. FAITH IN HUMANITY. Audiences remember many landmark productions including The Drover’s Wife, Belvoir is a theatre company on a side Angels in America, Brothers Wreck, street in Surry Hills, Sydney. We share our The Glass Menagerie, Neighbourhood street with a park and a public housing Watch, The Wild Duck, Medea, The Diary estate, and our theatre is in an old of a Madman, Death of a Salesman, industrial building. It has been, at various The Blind Giant is Dancing, Hamlet, times, a garage, a sauce factory, and the Cloudstreet, Aliwa, The Book of Nimrod Theatre. When the theatre was Everything, Keating!, The Exile Trilogy, threatened with redevelopment in 1984, Exit the King, The Sapphires, The Rover, over 600 people formed a syndicate to Faith Healer, The Sugar House, Counting buy the building and save the theatre. and Cracking and many more. More than thirty years later, Belvoir St Theatre continues to be home to one Today, under Artistic Director Eamon of Australia’s most celebrated theatre Flack and Executive Director Sue companies. Donnelly, Belvoir tours nationally and In its early years Belvoir was run internationally, and continues to create cooperatively. It later rose to international its own brand of rough magic for new prominence under first and longest generations of audiences. We are proud serving Artistic Director Neil Armfield to be creating work that speaks to the and continued to be both wildly fullness of life and experience in Australia successful and controversial under and abroad, continuing our commitment Ralph Myers. Belvoir is a traditional to deliver diverse stories to diverse home for the great old crafts of acting audiences. Belvoir receives government and storytelling in Australian theatre. support for its activities from the federal It is a platform for voices that won’t government through the Australia otherwise be heard. And it is a gathering Council and the state government of outspoken ideals. In short: theatricality, through Create NSW. We also receive variety of life, and faith in humanity. philanthropic and corporate support, At Belvoir we gather the best theatre which we greatly appreciate artists we can find, emerging and and welcome. established, to realise an annual season of works – new Australian plays,

VISION: FEARLESS THEATRE THAT OUR GOALS BRINGS EVERYONE TOGETHER 1: Create exceptional theatre Mission: Belvoir shares old and new 2: Inspire, excite and grow our stories that entertain and challenge audiences us, connecting us to humanity and the 3. Invest in talent and people complexity of society. 4. Be a strong and sustainable company

ACKNOWLEDGEMENT

We acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built. We also pay respect to the elders past and present.

28 Kris McQuade. Photo by Brett Boardman 29 MAKING EXCEPTIONAL THEATRE

CREATE NEW AND CLASSIC WORK Working with Co-Curious in preparation for Counting and Cracking, Belvoir In 2018 we presented a season of 13 auditioned over 200 actors in Australia shows, made here at Belvoir, or brought and overseas. to Belvoir from around the country. Nine of them were Australian stories. Using the MPA Collaborative Arts More than a third of them were stories grant, Belvoir worked with many artists from artists and communities that have from diverse backgrounds through an been under represented on Australian artist-driven workshop process. In 2018 mainstages. During 2018 we increased we continued to collaborate with Force our artistic and programming expertise, Majeure and Co-Curious on ambitious notably through the appointment of projects that used the expertise Louise Gough as Head of New Work, and and creative networks of both these Carissa Licciardello as Andrew Cameron companies and gave us the opportunity Fellow, to support the development to work with over 80 artists with a wide and presentation of new work. We variety of experiences and backgrounds. held six readings and six development The results could be seen in Sami in workshops, with high-calibre actors and Paradise, and helped in the development external directors. of Counting and Cracking. It has also formed the basis of several future We continued to work with the Copyright projects and provided significant cross- Agency Limited in offering two standard pollination of artists to other Belvoir commissions to established playwrights ventures. every year – in 2018 we supported Melissa Reeves and Tommy Murphy. Our Touring Program saw Belvoir collaborating this year with a wide We changed our Balnaves Award into a range of artists, companies and venues: Fellowship and integrated the Indigenous Fellow into the Company as part of the THYESTES (a work from 2012) was artistic and programming staff. This remounted for the Adelaide Festival provided greater dramaturgical support FAITH HEALER (2016) was presented and reciprocal professional development. in Adelaide as part of the State Theatre A new commissioning process was Company of South Australia’s season. trialled for emerging playwrights. THE EVENTS (2016) was presented Three selected writers worked through in Perth by Black Swan State Theatre a competitive process responding to Company, in Geelong and regional NSW: a classical text. While only one full Tamworth, Lismore and Wollongong commission was offered, the model allowed us to develop good working Our new independent program, 25A, relationships with more playwrights. in the Downstairs Theatre has become a pathway for emerging talent in the ENGAGING WITH THE BEST ARTISTS independent sector with 130 expressions AND ARTS COMPANIES of interest in the first year. Belvoir works with the highest calibre of artists. The quality of actors we work with in developing our new work reflects the artists we seek to include in our season, and is often the initial point of engagement for leading actors.

30 Kate Mulvany. Photo by Brett Boardman 31 MAKING EXCEPTIONAL THEATRE continued...

OPENING UP THE REPERTOIRE OF STORIES

Artistic Director Eamon Flack has continued to develop and direct fresh and exploratory work. Sami in Paradise addressed issues about refugees as well as being a pathway to 2019’s Counting and Cracking.

In programming Single Asian Female (from La Boite), My Name Is Jimi (Queensland Theatre) and My Urrwai (Performing Lines) as part of the 2018 season, we have ensured that the most urgent and representative theatre from across the country continues to be presented in Sydney. My Name is Jimi and My Urrwai played at the same time, touring Torres Strait stories for the first time in Belvoir’s history of presenting first nation’s work.

Deepening our relationships with specific playwrights, such as Tommy Murphy, Anchuli Felicia King, Melissa Reeves and Alana Valentine, has further allowed Belvoir to commission work that addresses difficult contemporary issues.

32 Charlotte Nicdao, Amber McMahon, Anna Samson. Photo by Pia Johnson 33 INSPIRING AND GROWING OUR AUDIENCES

SHARING OUR WORK to participation. By de-mystifying the process and the craft, Belvoir engages Apart from the touring program, Belvoir with new and existing audiences and ensures that our work is shared as allows for informed conversation and broadly as possible. Ticket prices are unselfconscious immersion in the tiered and there are discounts for seniors, performance. students, 30-years-and-under, artists and other concessions. Preview performances INCREASING OUR AUDIENCE also offer audiences the chance to be the first to see a play at a greatly reduced Every theatre company aims to increase price. its audience base and Belvoir was successful in increasing subscriptions Belvoir’s Unwaged Program provides in 2018 by 14.5% and overall box office a free performance of most Upstairs attendance by 2%. We have also productions to those with low or no programmed work for new audiences, income. The program is immensely with 25% of single ticket buyers for popular, with queues often forming Single Asian Female coming to Belvoir down the block. for the first time.

The Charitable Tickets Program While programming is the paramount distributes tickets to community groups reason for a company’s success, Belvoir’s and charitable organisations for use in communications with audience members fundraising, and for staff and volunteers. are also vital. The in-kind value of tickets distributed to 24 charities amounted to $7,600 in 2018. We gauge the views of audience members through a post-show survey In 2018 four productions had audio- emailed to all ticket holders. Responses described performances for vision are analysed, distributed internally and, impaired audience members, and where appropriate, responded to. Many three productions had captioned people express appreciation that we take performances for those with hearing note of their comments. impairments. Our 58,745 social media followers Belvoir builds bridges and opens the are tracked, and messages to them door to the creative process by offering: are targeted and timed appropriately, keeping Belvoir responsive and relevant. Belvoir Briefings – free events Direct messages via social channels are before the start of a production answered and conversations monitored. where the cast and creative teams behind the production talk about Email communication is segmented the process, the story and the according to purchase behavior challenges they face (e.g. lapsed subscribers, purchasers of two or more single tickets) and messaging post-show Q&A sessions is tailored for each audience. Email open, podcasts, and click-through and subscriber rates are recorded and reported. behind-the-scenes videos. As well as savings on ticket prices, This content helps to provide context for subscribers are offered benefits and audience members, puts a human face special offers from our partners, and can to those on stage, and opens the door buy additional discounted tickets for family and friends.

34 Thuso Lekwape, Taylor Ferguson. Photo by Brett Boardman 35

INSPIRING AND WORKING WITH YOUNG GROWING OUR AUDIENCES continued... PEOPLE AND THE COMMUNITY

INCREASING BRAND RECOGNITION On top of a number of promotions to Belvoir’s education program is funded In addition to the dedicated schools engage communities through partner entirely through philanthropic and performances, 42 schools (1,480 During 2018 we worked with pro-bono organisations, such as Singapore Airlines commercial means and in 2018 we students and their teachers) attended partner Houston Group to come up with and Bourke Street Bakery, we promoted engaged with 218 different schools evening performances at Belvoir. a new strategic vision for the company special offers to new networks including across the program. which harnesses the power of the Belvoir the Environmental Defenders Office for What a privilege for our girls to be able brand. While still protecting the essence An Enemy of the People, and for UNHCR Thank you so much for supporting our to see such a wonderful production, of the original Belvoir charter, we wanted and Settlement Services International students. There is a cultural shift building driven by a female playwright, female to address the ambitions of the company during Sami in Paradise, an organisation at our school and Belvoir most certainly director and female lead characters in the 21st century. Workshops were held for whom we also raised over $28,000 contributes to a part of that. We love – in our mainstream Sydney theatre with board and senior staff members in audience donations over the course of you! For our students to see diversity companies that can be so unusual that and a presentation was made to all staff. the season. on stage inspires us as teachers to work we celebrated it with the students when Work will continue on this project in harder to provide those opportunities. we returned. 2019. We’re continuing our work on an integrated approach to customer Teacher, Granville South CAPA High Teacher, Brigidine College St Ives, after Work on increasing partnerships that services to provide a professional, School, after attending a schools seeing Single Asian Female. align with the Belvoir brand resulted in personalised, friendly and uniquely performance of Sami in Paradise. an increase of 16% in income and six new Belvoir’s Theatre Enrichment Program ‘Belvoir’ audience experience. partners in 2018. We also reviewed our Features of the program this year aims to make the form and content of corporate training offer, with critical We’ve committed to comprehensively included: our work accessible to those students with little or no experience of live theatre. input from an industry advisory group, examine how our staff in the 15 dedicated schools performances In particular the program provides senior and while revenue was down in 2018 subscriptions team, box office, in the of our productions, both in our English students attending government from corporate workshops, we expect bar and as ushers can better serve Upstairs and Downstairs theatres, high schools in regional NSW and steady and increased returns in 2019. our patrons’ needs. Initiatives in 2018 attracting 3,336 students and their Western Sydney with the language and included: teachers IMPROVING THE AUDIENCE frame of reference to write about plays EXPERIENCE updates to our online sales platform 963 of the students attending did as productions. They participate in a so that subscribers and single so through our Priority Schools program and then attend a show. In Throughout the year small but cost- ticket buyers have greater flexibility Program – a free ticket program 2018 we reached 250 students through effective changes were made to the when choosing seats and accessing that makes Belvoir’s work accessible this program, with 206 participating Belvoir Street theatre to improve special promotions to schools with students from a and attending The Sugar House and 44 audience amenity including: attending new documentation allowing ticket low socio-economic background. An Enemy of the People. 50 new chairs and additional tables, Participating schools were from holders to submit date-exchange All student responses were positive improved food and beverage Nowra, Kurri Kurri, Morisset and requests more easily with quicker especially as many come from refugee offerings resolutions Maitland; and from Sydney’s western and south-western suburbs backgrounds. For many students this a frequently updated wine list additional training and briefing was the first play they had seen. They courtesy of Handpicked Wines 51% of all school bookings material to ensure that theatre staff found the production easy to follow were from the independent and and a themed cocktail for each have up-to-date performance and and understand. This production was Catholic sector and 49% from the production by Archie Rose with audience information especially important to my group government sector a uniquely tailored talking point as some had spent time in refugee improving and promoting the camps or have family/friends who are I have never seen anything like it. Belvoir bar as a welcoming and in camps now. In 2018 we welcomed hundreds of guests comfortable venue both before and Thank you for treating us well and for to Belvoir from diverse creative and after each performance. an amazing day. Teacher, Strathfield South High School cultural communities. The Artist Register after attending a schools performance of Student, Wiley Park Girls High School which provides for $20 tickets has grown Sami in Paradise. into a list of more than 480 people in after attending a Belvoir schools 2018, with that number increasing further performance. in 2019.

36 37 WORKING WITH YOUNG PEOPLE AND THE COMMUNITY continued...

I really loved the lighting and how it gave reaching 612 students at schools in In 2018, 42 15-to-18-year-olds participated In 2018, 130 students went on a the effect that light was actually coming Liverpool, Blacktown, Parramatta, in our Young Belvoir Theatre Club. The backstage tour and 216 students through the windows. Emu Plains, Ambarvale, Condell Park, club aims to inspire and connect the watched an archival recording of one of Cranebrook, Leumeah, Hoxton Park, next generation of theatre makers with Belvoir’s productions. Popular recordings Student, Lithgow High School Glenwood, Rooty Hill, Doonside, Wiley Belvoir, foster a culture of independent, included Stolen, Parramatta Girls and Belvoir also offers a range of practical Park, Eagle Vale, Riverstone and Sefton. ongoing theatre attendance, and Neighbourhood Watch which are all two-hour workshops in Performance, engage their families and friends with set texts on the HSC Drama syllabus. In addition to workshops for students, Writing and Design. These are delivered Belvoir’s work. Club members attend Another eight high school students had two fee-paying professional by actors, directors, writers and theatre a talk in the Green Room before each the opportunity to learn more about development workshops were held makers currently working in the industry performance and after the show have Belvoir and our productions firsthand at Belvoir during the year providing and take place both at Belvoir (in our the opportunity to meet and chat to cast through our work experience program. teachers with high-quality professional rehearsal rooms and Downstairs Theatre) members in the foyer. The members are learning experiences. and in schools throughout NSW. There encouraged, through a discounted ticket are three strands to this program: metro, Belvoir’s Youth Express, which has been offer, to invite friends and family to the regional and western Sydney. running for 13 years, provides drama performances and to promote Belvoir workshops to young people. In 2018 we and our shows at school and through The Metro Workshop Program provides ran 55 workshops for young people at- their networks. workshops for a fee to schools in risk, working with organisations such as: metropolitan Sydney and to schools visiting Sydney from interstate and in Youth Off the Streets’ Key College some cases internationally. The program in Redfern connects students and teachers to our John Berne School in Lewisham artists and work, both past and present. Kool Kids in La Perouse, and In 2018 we delivered 42 workshops (34 at Belvoir and 8 at schools in Sydney) Twenty 10 in Chippendale reaching 782 students and 58 teachers. More than 61 young people participated Thank you for coming to our school and with 26 of them performing on stage in teaching us so many skills, this will be a the Downstairs Theatre. day I will never forget. A new venture in 2018 was our work with Student, Ambarvale High School after the Sydney Story Factory to deliver a participating in a Group Devising collaborative scriptwriting project for workshop Western Sydney high school students. This was part-funded by the Ian Potter In the Regional Workshop Program we Foundation. Students from four high conducted 41 workshops at 25 different schools with whom Belvoir has had a schools reaching 965 students. The long association – Ashcroft High, Evans relationships developed with regional High, Liverpool Boys High and Thomas teachers are maintained through Reddall High – worked together to write the year via our e-news and other a script. A series of 12 weekly writing communications. workshops were delivered at the four schools. The project concluded with a The Western Sydney Workshop Program rehearsed reading of the script by the focuses on students with low socio- student writers in the Downstairs Theatre economic advantage in government high to an audience of other student writers schools. These workshops are free to and students from their schools, as well qualifying schools. Belvoir delivered 31 as family and friends. workshops at 19 different high schools,

38 Pamela Rabe, Colin Friels. Photo by Lisa Tomasetti 39

INVESTING IN TALENT AND PEOPLE

PROVIDING OPPORTUNITIES FOR Eligibility for the Philip Parsons INDEPENDENT COMPANIES Fellowship for Emerging Playwrights was expanded to increase the number 2018 marked the premiere of Belvoir’s of applicants. Kendall Feaver, selected 25A program, housed in our intimate from a pool of 35, was the 2018 Parsons Downstairs Theatre. The 25A challenge – Fellow. She receives a commission open to all independent companies and to develop a new work with Belvoir’s emerging artists – is to produce a show guidance and dramaturgical assistance. for $1,500 that celebrates acting, story Playwright Alana Valentine presented the and community. Of the 130 applications accompanying Philip Parsons Lecture for the program, seven were successful focusing on the audience experience and they engaged 65 artists. More than and talking about creating conditions 5,000 people attended the seven shows. where an audience can experience the The program provides the indie simultaneous nature of both the self and companies with free access to rehearsal the group, to create a recognition that space, use of the Downstairs theatre goes beyond a sentimental familiarity and 100% of the box office (all tickets with place names and nostalgia. are $25). The companies produce and The Balnaves Foundation Indigenous market their show (with some assistance Playwright award was expanded in from Belvoir) and, because Belvoir wants 2018 and renamed The Balnaves the storytelling and acting to be the Foundation Aboriginal and Torres focus, they must make the show for less Strait Island Fellowship. Kodie Bedford than $1,500. won this $25,000 award which involves Belvoir’s commitment to independent a residency at Belvoir. She will work companies and artists extended further across production, programming and than 25A. Over the course of 2018 we development in 2019 as she develops her supported 26 independent companies new play CURSED! and artists with space for writing, Belvoir is committed to gender parity auditioning, performing and creative and in 2018 women accounted for 52% development. The in-kind value of this of all acting roles and 50% of both writer support was $66,000. and director roles. We expect to exceed DEVELOPING PATHWAYS FOR ARTISTS these figures in 2019, and we continue to work for long-term parity. The inaugural Andrew Cameron Fellow was emerging director Carissa Actors can have challenging livelihoods Licciardello. The fellowship is supported and Belvoir has long been a supporter by our former Chair, Andrew Cameron of the Actors Benevolent Fund (ABF). AM, and is a professional development Subscribers are asked to donate 50c per opportunity for an emerging artistic ticket to the ABF when completing their leader over two years. Carissa worked subscription and there is a reasonable on all aspects of the Belvoir artistic and take up. Belvoir also participated in programming process and was assistant ACTOBER the ABF’s annual fundraiser, director on two productions. resulting in $2,982 for the fund.

40 Alex Lee, Courtney Stewart, Hsiao-Ling Tang. Photo by Daniel Boud 41

FOSTERING A HEALTHY ORGANISATIONAL CULTURE

2018 was one of change and the company welcomed many new staff to build on the existing team. We also restructured some departments to better fit with the company's goals. Initiatives included:

significant work onupgrading human resources within Belvoir and implementing a new payroll system an extensive review of workplace health and safety (WHS) policies and institution of a new WHS committee implementation of annual flu vaccinations for staff an active role as part of the Safe Theatres Forum where, with the seven other members of the Confederation of Australian State Theatre Companies (CAST), Belvoir worked on updating and harmonising sexual harassment and bullying policies that will apply across all CAST companies

Training for staff in 2018 included First Aid and Fire Warden safety courses, and relevant staff attended the ANZTRUC Tessitura conference.

42 Toby Schmitz. Photo by Lisa Tomasetti 43

BECOMING STRONG AND SUSTAINABLE

GROWING REVENUE AND Two private family foundations continued CONTROLLING COSTS to support artistic positions across the company: Belvoir reviewed many of its systems in 2018. A major review of ticket pricing the Andrew Cameron Family architecture in conjunction with Port Foundation supported the Andrew Jackson Partners resulted in pricing Cameron Fellowship, and changes to keep us more in line with our the Walking Up The Hill Foundation competitors while still offering a highly supported two emerging technical desirable product at an attractive rate. roles on Random. Strong control of production costs Belvoir’s education program is heavily combined with good box office results for reliant on development income. We most 2018 productions gave us a 120% received corporate support from the improvement on the season’s budget. Academy of Film, Theatre & Television FUNDRAISING for our Education Program, along with funding from the Gandevia Foundation, With government funding at around Greatorex Foundation, and a collective 19% of our income, we rely heavily on of generous individuals. Belvoir would box office, philanthropy and corporate also like to express our sadness at the partnerships. In 2018, we secured revenue passing of our much loved Doc Ross – a from fundraising of over $2.5m or 23% generous and passionate supporter to our of our annual turnover, this included Education Program. additional funds raised for our most ambitious work ever, Counting and IMPROVING COMMERCIAL OPERATIONS Cracking. This result is an impressive 24% Belvoir’s main source of commercial increase on 2017 fundraising income. income apart from box office is through Belvoir relies on the generous support venue hire and our bar. A review of bar of donors, many of whom have been operations, food and drink offerings and part of the Belvoir family from the start. a new position of House Manager, Venue Our newest philanthropic programs, the and Events, helped increase bar revenue Chair’s Circle and The Group, flourished to its highest level in five years. Venue hire in 2018 with 16 new donors. Belvoir also revenue, however, was down due to our welcomed two new $30,000+ donors. increased support for the independent sector and less availability of space. The Nelson Meers Foundation was our most significant foundation supporter UPGRADING OUR FACILITIES in 2018, with a strong focus on our Initiatives during the year included: education and artistic programs. The Balnaves Foundation also continued its an upgrade of services and facilities long-term support of our Indigenous in both the Belvoir theatre and our theatre. warehouse headquarters Belvoir’s artistic program was also our storage crates and the workshop generously supported by the Copyright we lease at Marrickville were cleaned Agency’s Cultural Fund. out and new equipment purchased, and the boards of both Belvoir St Theatre Ltd and Company B formed a joint working group to investigate options for building improvements and 44 Ghenoa Gela. Photo by Jamie James revenue growth. 45 CORPORATE GOVERNANCE STATEMENT

INTRODUCTION to strategy development, operations strategy. The range of our directors’ to-day operations. Belvoir recognises oversight, and risk and compliance capabilities and experiences include that a sound workplace culture drives Belvoir’s mission is to share old and monitoring. theatre administration, creative the right behaviour and conduct within new stories that entertain and challenge development and artistic excellence, an organisation. Belvoir is committed us, connecting us to humanity and the The Board’s four sub-committees – finance and accounting, business, human to ensuring an ethical and responsible complexity of society. Finance, Audit and Risk Committee; resources, strategy and marketing. culture forms part of its decision-making Nominations and Governance; Audience Excellence in corporate governance is Their skills and expertise are outlined in framework, and to monitoring that Engagement; and Development – essential for the long-term performance their biographies, published in the Annual culture to keep pace with community continue to assist in the execution of its and sustainability of our company and the Financial Report and on our website. expectations. responsibilities. delivery of our strategy. This Corporate In 2018, the Board’s skills and experience We work to ensure our workplace culture Governance Statement outlines Belvoir’s The committees each consist of at were enhanced with the appointments provides an avenue for our people to governance practices and addresses the least three non-executive directors of Alison Kitchen and Stuart O’Brien. As report suspected unethical, illegal or Essential Governance Practice Principles and focus on different areas, making National Chairman of KPMG Australia, improper behaviour. Belvoir has an monitored by the Australia Council for recommendations or decisions as with responsibility for the overall objective, independent and confidential the Arts. These principles are based on necessary. Each committee has its own governance and strategic positioning of process for reporting and investigating recommendations of the ASX Corporate chair, charter and annual program, and KPMG in Australia, Alison Kitchen brings actual, suspected or anticipated Governance Council. usually meets four times a year. deep financial and strategic expertise to improprieties. All disclosures are treated PRINCIPLE I: LAY SOLID FOUNDATIONS The Board regularly reviews the the board. Currently founder and CEO of confidentially. FOR MANAGEMENT AND OVERSIGHT membership of its committees to ensure the Houston Group, Stuart O’Brien is one We continue to operate under our they continue to have the optimum mix of the country’s leading brand and design As a Board, we believe that sustainability Company Code of Conduct, introduced of skills and experience to support the consultants and previously ran Ogilvy & includes community engagement, people in 2017. The code articulates our values Board. Periodic changes to committee Mather Sydney. and workplace, responsibility to the and behaviours and is supported by our appointments allow directors to make sector and its participants, corporate These appointments underline the employee policies. The code is signed by different contributions to the board responsibility and environmental integrity and strength of the Board’s all board members, staff and contractors. throughout their tenure. management. nomination and succession planning PRINCIPLE IV: PROMOTE DIVERSITY Belvoir is committed to having a Board processes. We also put great store on governance of appropriate size, diversity and Belvoir is committed to fostering an efficiency and effectiveness, and New directors continue to be supported commitment to effectively carry out its inclusive and diverse workplace, clear delineation of the roles and by a Board Induction Program introduced responsibilities and duties. The Board including the areas of gender, age, responsibilities of management and the in 2017. is evaluated annually to make sure it ethnicity, disability and cultural Board. continues to support the Company PRINCIPLE III: ACT ETHICALLY background. The company’s policies Throughout 2018, with a new and highly effectively. AND RESPONSIBLY promote this culture. experienced Executive Director, Sue To ensure the optimum mix of directors, We are aware that every decision we Belvoir ensures fair and open recruitment Donnelly, in place, we restructured the Board, through the Nominations and make has an impact, not only on the long- and selection practices at all levels of her management team to improve Governance Committee, uses a skills term success of our business and creative the organisation. No form of workplace accountability and focus. matrix to identify the skills and experience output but also on our staff, creative discrimination, harassment, vilification or PRINCIPLE II: STRUCTURE THE needed. The matrix is one of several teams, business partners, audience victimisation is tolerated. BOARD TO ADD VALUE important tools used when considering members and stakeholders. We are potential director candidates. All key committed to acting with professionalism, Gender equality is a clear priority and In 2018, the Board continued to operate areas in the matrix are well represented honesty and integrity so all stakeholders women hold 40% of Belvoir Board in line with the principles and practices in on the board. know they can trust us to do the right (including Chair and Deputy Chair) and our Strategic Plan 2016–2020. thing. 63% of senior executive positions. We We believe our directors collectively remain committed to increasing the The Board operates under have the relevant experience, knowledge, Belvoir is committed to creating an proportion of women at all levels of the Board Charter introduced in diversity and skills required to effectively ethical and responsible workplace 2017, which sets out the duties and support Belvoir in the execution of its culture. The attitudes, values and responsibilities of the Board relating behaviours articulated in our Strategic Plan are those that we bring to our day-

46 47 the Company and to a range of broader PRINCIPLE VI: ENGAGE WITH PRINCIPLE VIII: REMUNERATE inclusion and diversity goals and initiatives. STAKEHOLDERS FAIRLY AND RESPONSIBLY Belvoir is also committed to diversity in its The Belvoir Board recognises and The Nominations and Governance storytelling, particularly stories of women respects the legitimate interests of our Committee, reporting to the Board, and immigrants. many stakeholders and meets regularly approves remuneration arrangements for We value different ways of thinking, and with our funding stakeholders. Belvoir the Executive Director and the Artistic everyone is encouraged to share their welcomes the opportunity to meet with Director (each co-CEOs). Base salary thoughts and experiences to deliver our shareholders and encourages them and any increments are determined better business decisions and solutions. to join us for our Annual General Meeting by experience, skills, marketplace We believe that an inclusive and diverse each year. We are in regular dialogue considerations, industry comparisons and workplace delivers better results for our with our partners, donors and sponsors, financial health of the Company. employees, stakeholders, business partners who are listed and recognised on season In 2018, the Executive Director completed and communities, both on and off the programs and in company marketing a review of all contracts and terms of stage. material. Belvoir has highly developed employment to ensure consistency and social media and online communications fairness. PRINCIPLE V: SAFEGUARD INTEGRITY IN to support all audience and stakeholder FINANCIAL REPORTING engagement. Non-executive directors are volunteers We are committed to the long-term and receive no compensation for their PRINCIPLE VII: RECOGNISE financial sustainability of the company. work. Artists on the Board may receive AND MANAGE RISK payment from the Company for creative One of the goals of the Board is to We recognise that risk is inherent in work (e.g. performing in a production). grow and maintain the financial reserves our business. However effective risk underpinning the Company’s future management is fundamental to Belvoir’s COMPLIANCE endeavours. The Board’s Finance, Audit long-term sustainability and reputation. We take seriously our responsibilities to and Risk Sub-committee, chaired by Board The Board and management believe that all our stakeholders, including employees, member, Peter Wilson, with Alison Kitchen effective risk management requires a risk- business partners, audience members and assuming the role in 2019, meets regularly aware culture among all employees. Our the broader community and place great to: Risk Management Framework articulates importance on maintaining the highest review the annual budget and monthly how Belvoir identifies, measures, monitors standards of governance. This Corporate accounts and forecasts and optimises risks, and the amount and Governance Statement is current as at nature of risk we are willing to accept in publication date and has been approved review all financial reports and the pursuit of our strategic and creative by the Board. statements in the statutory accounts, objectives. The framework embeds risk and recommend actions to the Board awareness into Belvoir’s broader culture monitor and review the reliability of and decision making. financial reporting A situational analysis in Belvoir’s five-year monitor the Company’s risk Strategic Plan identifies the Company’s Sam Meers management and investment operational strengths and opportunities Chair framework versus weaknesses and threats.

We continue to monitor and strengthen the The Board’s oversight, review and internal accounting and control systems to monitoring of the effectiveness of ensure accurate reporting of performance. Belvoir’s risk management is supported by management and recommendations made by the Finance, Audit and Risk Sub- committee.

48 49 BOARD AND STAFF

BELVOIR BOARD OF DIRECTORS Company Accountant Construction Manager Patty Akopiantz Barbara Lewis (Acting) Penny Angrick (resigned 17.1.18) Mitchell Butel (resigned 12.6.18) Bret Wilbe (Acting) (appointed 2.7.18) Luke Carroll MARKETING Sue Donnelly Costume Coordinator Head of Marketing Tracey Driver (resigned 27.5.18) Judy Tanner Eamon Flack Amy Goodhe Alison Kitchen (appointed 13.8.18) (maternity leave from 14.9.18) Commercial Construction Manager Ian Learmonth (resigned 27.5.18) Marketing Manager Simon Boyd (resigned 19.1.18) Michael Lynch CBE AO Aishlinn McCarthy Samantha Meers (appointed 8.10.18) FRONT OF HOUSE Stuart O’Brien (appointed 27.5.18) Peter Wilson Marketing Coordinator House Manager, Venues & Georgia Goode Events EXECUTIVE (resigned 20.4.18) Julie O’Reilly (appointed 30.4.18) Krista Tanuwibawa Deputy Front of House Manager Artistic Director (appointed 2.5.18) Eamon Flack Scott Pirlo Communications Coordinator Adam Van den Bok, Executive Director Cara Nash (resigned 23.2.18) Adam Kovarik, Alison Benstead, Sue Donnelly Hilary Shrubb (resigned 17.8.18) Amelia Parsonson, CeCe Peters, Deputy Executive Director Content Coordinator Chelsea Zeller, Emma White, Aaron Beach Michael Kennedy Emily David, Felix de Gruchy, Office Manager and Executive (appointed 5.11.18) Greta Martin, Kelsey Lee, Assistant to Eamon Flack & Luke Martin, Michael Becker, Sue Donnelly DEVELOPMENT Michael Gosden, Jessica Vincent (resigned 4.4.18) Michelle McCowage, Philanthropy Manager Vyvyan Nickels (appointed 7.5.18) Rhiaan Marquez, Rob Johnson, Jo Maunder Ryder Stevens, Sam Parsonson, Liz Tomkinson (resigned 7.3.18) ARTISTIC & PROGRAMMING Sally Lewis, Stella Encel, Whitney Partnerships Manager Richards, Will Hickey Artistic Associates Julieanne Campbell Dom Mercer (appointed 26.4.18) Tom Wright BOX OFFICE Development Coordinator Customer Experience & Head of New Work Kseniia Grishilova Ticketing Manager Louise Gough (appointed 7.2.18) (resigned 31.8.18) Andrew Dillon Associate Artist Anthony Whelan Ticketing Systems Administrator Carissa Liciardello (appointed 3.10.18) Tanya Ginori-Cairns (appointed 5.2.18) Customer Service Coordinator Artistic Administrator PRODUCTION Anna Booty (resigned 17.8.18) Carly Pickard (appointed 9.1.18) Head of Production Jacki Mison (appointed 27.8.18) Sally Withnell (resigned 8.4.18) EDUCATION Gareth Simmonds Box Office Coordinator Education Manager (appointed 14.5.18) Keila Terencio (resigned 28.9.18) Jane May Technical Manager Annabel Blake, Chris Styler, Education Coordinator Aiden Brennan Claire Bornhoffen, Erin Taylor, Sharon Zeeman Jessica Paterson, Jessica Vincent, (resigned 19.10.18) Deputy Production Manager Julia Patey, Lois Vega, Roxzan Bowes (resigned 25.7.18) Lucinda Gleeson, FINANCE & OPERATIONS Lizzie Jenkins (appointed 10.9.18) Maeve O’Donnell, Melissa Mills, Chief Operations Officer Senior Technician Millicent Simes, Miranda Aitken, Sue Procter (appointed 7.5.18) Raine Paul Nathan Harrison, Nathan Harrison, Paige Ahearn, Finance Administrator Resident Stage Manager Shyleja Paul Penelope Parsons Lord, Luke McGettigan Quinn Gibbes, CRM Manager Construction & Rosanna Pridmore. Charlotte Bradley Staging Assistant (resigned 13.3.18) Brydie Ryan (resigned 28.2.18) Jason Lee (appointed 20.8.18)

50 Noni Hazelhurst. Photo by Brett Boardman 51 BELVOIR DONORS THE GROUP David Jonas & Desmon Du Plessis* Chris Vik & Chelsea Albert $4,000+ A Juchau Louisa Ward Patty Akopiantz Ruth Layton Lynne Watkins & Nicolas Harding* Professor Elizabeth Webby AM* Sophie Allen Jennifer Ledgar & Bob Lim*** We give our heartfelt thanks to all our donors for their loyal and generous support. Richard Willis Jillian Broadbent AO Christopher Matthies* Cynthia Mitchell & Elizabeth Harry Brian & Trish Wright Margaret Butler Carolyn Wright Sally Cousens Patricia Novikoff** CHAIR'S CIRCLE Shemara Wikramanayake & Tom Dent Kate Donnelly John Peluso Ed Gilmartin Colleen Kane** * 5+ years of giving $10,000+ Holly Kramer Nicole Philps ** 10+ years of giving Jennifer Ledgar & Bob Lim*** Patty Akopiantz & Justin Punch Robin Low Richard, Heather & Rachel Rasker* *** 15+ years of giving Robert & Libby Albert CREATIVE Peter & Jan Shuttleworth** Sam Meers AO Angela Raymond* List correct as of 31 December 2018. Sophie & Stephen Allen DEVELOPMENT FUND Merilyn Sleigh & Raoul de Ferranti* Sarah Meers Margie Seale The Balnaves Foundation $10,000+ Judy Thomson** Naomi O'Brien Peter & Janet Shuttleworth* Guido Belgiorno-Nettis AM & Anonymous (1) $2,000 – $2,999 Cecilia Ritchie Chris & Bea Sochan** Michelle Belgiorno-Nettis Patty Akopiantz & Justin Punch Antoinette Albert** Katriina Tahka Titia Sprague* Jessica Block Sophie & Stephen Allen Gae Anderson Cathy Yuncken Cheri Stevenson Anne Britton Anne Britton** Claire Armstrong & John Sharpe*** Daniela Torsh Jillian Broadbent AO Andrew Cameron AM Jan Burnswoods* THE HIVE Sarah Walters* & Cathy Cameron*** Danny & Kathleen Gilbert** $2,500+ Andrew Cameron AM & GENERAL DONORS Cathy Cameron Anita Jacoby AM* Cary & Rob Gillespie* Elizabeth Allen $10,000+ Roger Feletto Ingrid Kaiser Sophie Guest** Anthony & Elly Baxter David Haertsch*** Anonymous (1) David Gonski AC & Helen Lynch AM & Helen Bauer** Dan & Emma Chesterman Libby Higgin* Ross Littlewood & Alexandra Curtin* Associate Professor Orli Wargon OAM Cecilia Ritchie Este Darin-Cooper & Chris Burgess Ken & Lilian Horler Sarah Henry & Charlotte Peterswald Sherry-Hogan Foundation* Julian Leeser MP & $2,000 – $4,999 Shemara Wikramanayake & Professor Elizabeth More AM** Anita Jacoby AM Joanna Davidson Anonymous (4) Ed Gilmartin Dr David Nguyen** Knights Family Jabula Foundation Piers Grove Robert Burns Peter Wilson & James Emmett* Timothy & Eva Pascoe*** Ian Learmonth & Julia Pincus Hannah Roache & Luke Turner Cathy Yuncken* Angela Pearman Raymond McDonald Helen Lynch AM & Helen Bauer Michael Rose* Matthew Rossi Nelson Meers AO & Carole Meers $5,000 – $9,999 Lesley & Andrew Rosenberg* Chris Smith $500 – $1,999 Anonymous (10) Sam Meers AO & Richard Kuo Jill & Richard Berry* Sherry-Hogan Foundation* Peter Wilson & James Emmett* Catriona Mordant AM & Annette Adair* Hartley Cook** $1,000 – $1,999 Simon Mordant AM Victor Baskir* Eamon Flack Anonymous (4) EDUCATION DONORS Kerr Neilson Maxine Brenner Bill Hawker Gil Appleton $10,000+ Cathie & Paul Oppenheim Kim & Gil Burton Don & Leslie Parsonage** Allen & Julie Blewitt Kimberly & Angus Holden Susanna & Matthew Press Darren Cook Victoria Taylor*** Robert Burns Stuart and Kate O’Brien Andrew & Andrea Roberts Tim & Bryony Cox** Mary Jo & Lloyd Capps*** Sam Meers AO & Richard Kuo Sherry-Hogan Foundation $2,000 – $4,999 Carol and Nicholas Dettmann Jan Chapman AO & Rob Thomas AM Rob Thomas AM Michael Coleman** Jane Diamond* Stephen O’Rourke*** Emma Domoney Weir Anderson Foundation Victoria Holthouse** $5,000 - $9,999 Jane Christensen* Anton Enus Kim Williams AM & Catherine Dovey Penelope Seidler AM Anonymous (1) Annabel Crabb & Jeremy Storer* Gillian Fenton Rosie Williams & John Grill Patty Akopiantz & Justin Punch $500 – $1,999 David & Kathryn Groves** Tim Gerrard Peter Wilson & James Emmett Louise Mitchell & Peter Pether Colleen & Michael Chesterman** Lisa Hamilton & Rob White* Cathy Yuncken David & Jill Pumphrey Peter Gray & Helen Thwaites** Sandra Ferman Wendy & Andrew Hamlin*** Priscilla Guest* Ross McLean & Fiona Beith* Nicholas Harding & Lynne Watkins $2,000 – $4,999 Linda Herd GAMECHANGERS Steve & Belinda Rankine** Judge Joe Harman Estate of the late Angelo Comino Elaine Hiley $10,000+ Richard, Heather & Rachel Rasker*** Kevin & Rosemarie Jeffers-Palmer *** John B Fairfax AO Dorothy Hoddinott AO** Anonymous (2) Sally & Jonathan Rourke Margaret Johnston*** Kiera Grant & Mark Tallis Robert Kidd Patty Akopiantz & Justin Punch A. Le Marchant*** Julie Hannaford* Cheryl L* Sophie & Stephen Allen B KEEPERS Stephanie Lee*** Judge Joe Harman Connie Liu Max Bonnell $5,000+ Ross McLean & Fiona Beith* $500 – $1,999 Anne Loveridge Anne Britton Ellen Borda* Maria Manning & Henry Maas Anonymous (12) Peter Mitchell Patricia Novikoff** Sue Donnelly Louise Christie** Kylie Nomchong SC AB* Bob & Chris Ernst Margaret & Bernard Coles Jacqueline & Michael Palmer Judy & Geoff Patterson* Ian Barnett* Christina Pender Ruveni & Craig Kelleher Bob & Chris Ernst** Greeba Pritchard* Sabina Donnelley Marion Heathcote & Brian Burfitt** Leigh Rae Sanderson Nelson Meers Foundation Richard, Heather & Rachel Rasker*** Drama NSW Bruce Meagher & Greg Waters* Rachel Scanlon Naomi Milgrom Foundation Alex Oonagh Redmond** Bob & Chris Ernst** Eileen Slarke & Family*** Don & Leslie Parsonage** Neilson Foundation David Round Sandra Ferman Chris & Bea Sochan** Greg & Chantal Roger*** Oranges and Sardines Foundation Elfriede Sangkuhl Valmae Freilich Geoffrey Starr Jann Skinner** Doc Ross Family Foundation Jennifer Smith*** Geoffrey & Patricia Gemmell* Paul Stein AMQC Victoria Taylor $3,000 – $4,999 Chris & Bea Sochan** Bill Hawker Leslie Stern Mike Thompson* Rob Thomas AM Anonymous (1) Camilla & Andrew Strang Dorothy Hoddinott AO** Suzanne & Ross Tzannes AM* Kim Williams AM & Catherine Dovey Chris Brown Sue Thomson** Sue Hyde* Louise & Steve Verrier Michael & Suzanne Daniel** Paul & Jennifer Winch*** 53 IN THE REHEARSAL ROOM

Hsiao-Ling Tang in Single Asian Female. Jimi Bani in My Name is Jimi. Photo by Stephen Henry Photo by Dylan Evans

54 Nikki Shiels and Josh McConville in The Sugar House. Photo by Daniel Boud Charlie Garber, Fayssal Bazzi, Mandela Mathia, Yalin Ozucelik, Arky Michael and 55 Nancy Denis in Sami in Paradise. Photo by Brett Boardman BELVOIR SUPPORTERS BELVOIR PARTNERS

Our patrons, supporters and friends are right there behind us, backing Belvoir GOVERNMENT PARTNERS in bringing to life the great old theatrical crafts of acting and storytelling. Thank you.

Learn more about supporting Belvoir at belvoir.com.au/support-belvoir

KEY SUPPORTER TRUSTS & FOUNDATIONS MAJOR PARTNERS AMP Foundation Macquarie Group Foundation Indigenous theatre Andrew Cameron Family Naomi Milgrom Foundation at Belvoir supported Foundation Neilson Foundation by The Balnaves Copyright Agency Foundation Nelson Meers Foundation Cultural Fund Teen Spirit Charitable Foundation Doc Ross Family Foundation Thyne Reid Foundation Gandevia Foundation MEDIA PARTNERS The Wales Family Foundation The Greatorex Foundation YOUTH & Walking up The Hill Foundation EDUCATION PARTNER

Belvoir is very grateful to accept donations of all sizes. Donations over $2 are tax deductible. If you would like to make a donation or would like further information about any of our donor programs please call our Development Team on 02 9698 3344 or email [email protected] ASSOCIATE PARTNERS PRODUCTION PARTNERS

SPECIAL THANKS We would like to acknowledge Cajetan Mula, Len Armfield and Geoffrey Scharer. They will always be remembered for their generosity to Belvoir. We also thank our Life Members, who have made outstanding contributions to Belvoir over more than thirty years. They have changed the course of the company and are now ingrained in its fabric: Neil Armfield AO, Neil Balnaves AO, Andrew Cameron AM, David Gonski AC, Rachel Healy, Louise Herron AM, Sue Hill, Geoffrey Rush AC, Associate Professor Orli Wargon OAM and Chris Westwood. SUPPORTING PARTNERS IT PARTNER These people and foundations supported the redevelopment of Belvoir St Theatre and purchase of our warehouse.

NCC Network Computing & Consulting

EVENT PARTNERS Andrew & Cathy Cameron The Gonski Foundation Hal Herron (refurbishment of theatre & & Nelson Meers Foundation (The Hal Bar) warehouse) (Gonski Meers Foyer) Geoffrey Rush Russell Crowe Andrew & Wendy Hamlin (redevelopment of theatre) (redevelopment of theatre) (Executive Director’s Office) Fred Street AM (Upstairs dressing room)

For more information on partnership opportunities please contact our Development team on 02 9698 3344 or email [email protected]

List correct as of 31 December 2018’

56 57 18 & 25 Belvoir St, Surry Hills NSW 2010 admin +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 box office +61 (0)2 9699 3444 [email protected] belvoir.com.au

Photo: Brett Boardman Editor: Ian Close