A DOLL’S HOUSE, PART 2 BY LUCAS HNATH Welcome

A Doll’s House, Part 2 was one of the most talked about shows on Broadway last year, and for good reason.

Lucas Hnath has taken Henrik Ibsen’s classic and told the story of what happened next. An audacious act by Hanth, for sure, but one executed with such skill that it honours the original beautifully while giving new life to the infamous characters.

The result is a creation with a unique voice, infused with humour and a masterful blend of the traditional and the modern. We couldn’t be happier that Melbourne gets to see it in its first international production. 11 AUGUST—15 SEPTEMBER, 2018 Directed by 2018 Helpmann Award-winner and MTC Associate Director Sarah Goodes, Southbank Theatre, The Sumner A Doll’s House, Part 2 stars Marta Dusseldorp, 20 years after last performing with the Company, alongside Zoe Terakes, making her MTC debut, and Company favourites Deidre Rubenstein and Greg Stone. This stellar line-up, along with the brilliant design team, have brought the show to life impeccably.

We’re busily gearing up for our 2019 Season Launch on Tuesday 4 September when all the exciting details of the productions and artists joining MTC next year will be revealed. We can’t wait to share it all with you and look forward to another fantastic year of theatre.

Brett Sheehy ao Virginia Lovett Artistic Director & CEO Executive Director & Co-CEO

Melbourne Theatre Company acknowledges the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which Southbank Theatre and MTC HQ stand, and we pay our respects to Melbourne’s First Peoples, to their ancestors and Elders, and to our shared future.

MTC is a department MTC is assisted by the Commonwealth Government through the Australia Council, MTC is a member of Live of the University its arts funding and advisory body, and by the State Government of Victoria through Performance Australia and the of Melbourne. Creative Victoria. Australian Major Performing Arts Group. MELBOURNE THEATRE COMPANY PRESENTS A DOLL’S HOUSE, PART 2 BY LUCAS HNATH

11 AUGUST—15 SEPTEMBER, 2018 Southbank Theatre, The Sumner

— About the play — In 1879, Nora Helmer handed her husband her keys and left home, slamming the door behind her. But what ever happened to this famous literary figure from Henrik Ibsen’s A Doll’s House? A Doll’s House, Part 2 continues Nora’s story in a fascinating and funny sequel-of-sorts.

— Cast — — Creative Team — Marta Dusseldorp Nora Director Sarah Goodes Deidre Rubenstein Anne Marie Set & Costume Designer Tracy Grant Lord Greg Stone Torvald Lighting Designer Niklas Pajanti Zoe Terakes Emmy Composer & Sound Designer Chris Williams Video Designer Josh Burns Stage Manager Julia Smith Assistant Stage Manager Benjamin Cooper Voice & Dialect Coach Leith McPherson Design Attachment Emily Collett Rehearsal Photographer Deryk McAlpin Production Photographer Jeff Busby

Opening Night Partner For information regarding running time, please see a member of the Front of House team. A Doll’s House, Part 2 is presented by special arrangement with Dramatists Play Service, Inc., New York. Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner and John Johnson. Media Partner Commissioned and first produced by South Coast Repertory.

Cover Photo: Justin Ridler Marta Dusseldorp and Zoe Terakes The return of Nora Helmer

A Doll’s House, Part 2 gives new life to theatre’s infamous Nora.

When Henrik Ibsen’s A Doll’s House However, this was quickly countered by premiered in 1879 at the Royal Theatre many declaring his reimagining of Ibsen’s in Copenhagen, people were outraged. characters both audacious and thrilling. The theatre had typically provided an experience where its bourgeois audience This sequel-of-sorts picks up 15 years after could have their values upheld, rather than Ibsen’s story, and speculates the futures challenged, yet here was a play that and fates of its iconic characters. Hnath encouraged people to reconsider how they says he wrote A Doll’s House, Part 2 partly viewed their own lives and the societies out of love for Ibsen’s work and partly out they were part of. of an interest in the state of marriage and relationships in our modern age. ‘I’d say Set in a time where women were defined by that the action that takes place at the end domestic duties, Ibsen’s protagonist, Nora [of Ibsen’ play] was a shock when it was first Helmer, ends the play by slamming the door produced and it’s still a shock today … on her husband, children and middle-class You hit that final scene where Nora says, existence to pursue the one thing she’s “We need to talk.” That is such a resonant never had – independence. moment, and it’s such a familiar moment, too. It cuts to the heart of a problem in all When the production transferred to intimate relationships.’ Germany, the cast notoriously altered the ending so that Nora did not leave and the The bones of the play took shape while audience were left guessing the outcome. Hnath was on a trip through Croatia. He sat Ibsen later described the alteration as ‘a on a bus busily scribbling an adaptation of barbaric outrage’. A Doll’s House and when he reached the infamous door slam, he couldn’t shake In 2017 Lucas Hnath’s A Doll’s House, Part 2 the thought, ‘what happens next?’ opened on Broadway and his defiance in meddling with a classic was duly noted.

‘Ibsen’s protagonist, Nora Helmer, ends the play by slamming the door … to pursue the one thing she’s never had – independence.’ (Below) Zoe Terakes and Marta Dusseldorp; (opposite, clockwise from top left) Greg Stone with Director Sarah Goodes; Deidre Rubenstein; cast and creative team have a round table discussion

LUCAS HNATH Playwright In 1878, a year before he penned A Doll’s Lucas Hnath’s plays House, Ibsen wrote: ‘A woman cannot be include A Doll’s House, herself in the society of the present day, Part 2 (8 Tony nomina- which is an exclusively masculine society, tions, including Best with laws framed by men and with a judicial Play); Hillary and Clinton; Red Speedo; The Christians; system that judges feminine conduct from A Public Reading of an Unproduced a masculine point of view.’ Screenplay About the Death of Walt Disney; Isaac’s Eye; and Death Tax. He has been In the century and more since the original produced on Broadway at the John Golden debuted, the play and the role of Nora have Theatre, Off-Broadway at New York Theatre Workshop, Playwrights Horizons, Soho Rep, taken on iconic status; UNESCO’s Memory and Ensemble Studio Theatre. His plays of the World register calls Nora ‘a symbol have been produced nationally and throughout the world, for women internationally with premieres at the fighting for liberation and equality’. Humana Festival of New Plays, Victory Gardens, and South Coast Rep. He has been a resident playwright at New Dramatists since 2011. Awards: Kesselring Prize, Guggenheim Fellowship, Whiting Award, two Steinberg/ATCA New Play Award Citations, Outer Critics Circle Award for Best New Play, an Obie, and the Windham-Campbell Literary Prize.

Director Sarah Goodes with Marta Dusseldorp and Greg Stone; (opposite) Marta Dusseldorp and Greg Stone ‘You hit that final scene where Nora says, “We need to talk.” That is such a resonant moment, and it’s such a familiar moment, too. It cuts to the heart of a problem in all intimate relationships.’

In finding a voice for his modern Nora, Hnath told Vogue that he felt A Doll’s House Hnath researched profusely, looking into was Ibsen’s way of defining what freedom nineteenth-century Norwegian divorce was, and through Nora, challenging the law, reading books including Ibsen: audience’s perception of it. ‘Fears about The Dramaturgy of Fear and Marriage, reputation and how we’re viewed in the a History and seeking advice from feminist world, and anxieties about money and academics. He had strong reference points social standing – I think those are all in his life too, his own mother a divorcee shackles that remain today.’ n and ordained minister; a profession that remains dominated by men.

REFERENCES Rustin, S. (2013) ‘Why A Doll’s House by Henrik Ibsen is more relevant than ever’ on theguardian.com; UNESCO (2018) ‘Henrik Ibsen: A Doll’s House’ on unesco.org Shulman, M. (2017) ‘The Feminist Consultants for A Doll’s House, Part 2’; The New Yorker, newyorker.com Green, A. (2017) ‘How Rock Star Playwright Lucas Hnath Brought A Doll’s House, Part 2 to Broadway’; Vogue, vogue.com Government Lead Principal Partners Partners Partner

Kevin Jackson, Robyn Hendricks and Ty King-Wall. Photography Justin Ridler Collisions by design

Set & Costume Designer Tracy Grant Lord connects the classic and contemporary.

Director Sarah Goodes (centre) with Assistant Stage Manager Ben Cooper, Marta Dusseldorp, Zoe Terakes and Deidre Rubenstein; (inset) set model

Tracy Grant Lord joined the throes of MTC creatives back in the early 80s, when she crossed the Tasman Sea from New Zealand and started working alongside directors such as Simon Phillips and actors like and Pamela Rabe. ‘In many ways, I’m a product of MTC,’ Grant Lord says warmly. Goodes would have a clear vision to inform Having never worked with the Company’s her designs. ‘You take the ingredients from Associate Director Sarah Goodes, Grant the director and you work with that,’ Lord was thrilled to be offered A Doll’s she says. House, Part 2 after her friends Peirse and Rabe raved about Goodes’ process working It just so happens that a set of parameters on The Children. had also been established by the playwright, Lucas Hnath. The author’s request for an From their earliest discussions about the empty, or partially empty room, and an work in August 2017, Grant Lord knew arena or forum type space was the first Marta Dusseldorp and Greg Stone

‘It takes the classical form and honours it completely, while still keeping the contemporary voice powerful.’

consideration Grant Lord had to make. the design. This choice pays homage to Hnath’s directions read: ‘The play takes Ibsen’s original text and helps place the place in a room. It’s quite spare. Some essence of the play’s themes – tradition, chairs, maybe a table, not much else. pride and independence – on stage. Grant It ought to feel a touch like a forum. Lord also wanted to explore the pressures I wouldn’t be sad at all if the play were and expanse of an outer world beyond the played in the round. And it’s crucial there walls of the room. She found inspiration be a door. A very prominent door to for this exterior setting in the paintings of the outside.’ Norwegian artists such as Hans Dahl, who worked in the era of Ibsen, as well as It was important to Grant Lord that a contemporary Scandinavian photographers Scandinavian aesthetic, both architecturally like Elina Brotherus who specialises in and geographically, was incorporated into self-portraits and landscapes. The play takes place in 1894, but uses colloquial language of the present day. ‘It takes the classical form and honours it completely, while still keeping the contemporary voice powerful. I think it will speak to many generations,’ Grant Lord says. This juxtaposition of the traditional and contemporary worlds can be found threaded throughout the work from script to design, and there are both intimate and epic themes (Clockwise from top left) Greg Stone and Deidre Rubenstein; at play, requiring the design to represent Zoe Terakes and Greg Stone, Director Sarah Goodes with members of the creative and stage management team in the and reflect these various collisions. background; Marta Dusseldorp and Greg Stone

Finding the sensibilities that speak to both periods of history is challenging, Grant Lord says. However, it is the finding and planting See the full gallery of A Doll’s of these visual clues that keeps her excited House, Part 2 production by her craft after all these years. ‘When it and rehearsal images at works, it’s the best thing.’ n mtc.com.au/backstage

Cast & Creative Team

MARTA DUSSELDORP DEIDRE RUBENSTEIN GREG STONE Nora Anne Marie Torvald

Award-winning actress Deidre has appeared for Greg Stone is well known to Marta Dusseldorp has worked Melbourne Theatre Company theatre audiences around extensively in theatre, film and many times, most recently in Australia. MTC highlights include television. For Melbourne Theatre Ladies in Black, North by Ladies in Black, , The Company her credits include Northwest, His Girl Friday, Circle Waiting Room, Once (also GFO), Misalliance, Three Sisters and Mirror Transformation, Life , Clybourne The Balcony. Other theatre Without Me, Richard III, August: Park, Life Without Me, Poor Boy, highlights include The Way of Osage County, Cat on a Hot Tin Blackbird, Cloud Nine, Stones in The World, Victory, Like a Roof, The History Boys, The Clean his Pockets (also for STC), The Fishbone (STC), The Lost Echo, House, The World’s Wife, Birth Beauty Queen of Leenane, The War of The Roses, Mother Rights, Life x 3 and The Seagull. Seagull, , Courage (STC Actors Company); Stage highlights elsewhere are Assassins, Lady Windermere’s Cloudstreet, The Underpants My Fair Lady directed by Julie Fan, and . (Belvoir); A Midsummers Night Andrews, Violet, A Murder is Greg’s extensive acting credits Dream (Bell Shakespeare); Never Announced, The Glass include Oklahoma! and Funny Girl Did Me Any Harm (Force Menagerie, Thursday, Loving for The Production Company; Hir, Majeure); Gloria (Griffin Theatre Repeating, Three Sisters, Cloud , Baby Teeth, and Stuff Company); and Scenes from a Nine, Candide, Mother Courage, Happens (Helpmann and Green Marriage (QT). Her film credits Top Girls, Wild Honey, Les Room Award-winner for Best include Innocence, Praise, Liaisons Dangereuses, Broken Actor) for Belvoir; Who’s Afraid of Paradise Road and Burning Man. Glass, The Winter’s Tale and Virginia Woolf? and Life X 3 for Marta currently stars in popular Absurd Person Singular. Deidre Black Swan; Merrily We Roll television series A Place to Call created and performed in highly Along and Summer Rain for STC; Home on FOXTEL; Jack Irish and acclaimed solo shows What’s a The Wars of the Roses for Bell on ABCTV in which she Girl to Do and Confidentially Shakespeare; Pompeii LA, Golem plays the titular role, and for Yours, touring nationally and Story, Julia 3, and The Emperor which she received an ACCTA internationally. Television work Regrets for Malthouse/Playbox; award for Best Lead Actress in includes Introducing Gary Petty, and Don’s Party and a Television Drama. Marta also , G.P., Mercury, Water for STCSA. His numerous guest won a Helpmann Award for her Under the Bridge, , roles on television include Glitch, work in War of the Roses and MDA, The Secret Life of Us, Blue The Doctor Blake Mysteries, the Sydney Theatre Award for Heelers and Palace of Dreams, The Ex-PM, Underbelly, Winners Best Actress for her portrayal which won her an AFI Award for and Losers, City Homicide, of Gloria. Best Actress. Film work includes The Librarians, , Force of Destiny, Salvation and SeaChange, Halifax f.p. and Hey Hey It’s Esther Blueburger. Stingers, while on film he appeared in Oranges and Sunshine, Swerve, Van Diemen’s Land, The Bank, Sunset Six and Is This the Real World? Cast & Creative Team

ZOE TERAKES SARAH GOODES TRACY GRANT LORD Emmy Director Set & Costume Designer

Heralded for her theatrical debut Melbourne Theatre Company For MTC Tracy has designed in , Zoe Associate Director Sarah Goodes Hysteria, Arcadia, The Herbal Bed, Terakes has gone onto perform in last directed The Children which Measure for Measure, Inheritance, Metamorphoses directed by Dino recently won three Helpmann The Blue Room, Les Liaisons Dimitriades and The Wolves (Old Awards including Best Production Dangereuses, The Glass Soldier, Fitz Theatre) directed by Jessica and Best Direction. Also for MTC Rock’n’Roll, The Importance of Being Arthur. Zoe made her on screen she directed Three Little Words Earnest, His Girl Friday, Queen Lear, debut as ‘Pearl Perati’ in the following her critically acclaimed True Minds, Private Lives and critically acclaimed third season direction of John and Switzerland. The Distance. Other credits include of the ABC’s Janet King opposite Sarah’s reputation as a leading Romeo and Juliet, Cinderella, Marta Dusseldorp, receiving director of new Australian and Abhisheka, Ihi Frenzy (Royal New strong reviews for her international work has been built Zealand Ballet); A Midsummer performance and further, was on wide-spread praise and Night’s Dream, Cinderella shortlisted for a Logie for Best multiple award nominations. (Queensland Ballet); Relic (The New Talent. Zoe received both Formerly Resident Director at Australian Ballet); OrphEus (New the 2017 Sydney Theatre Award , Sarah Zealand Dance Company); The for Best Female Actor in a directed The Hanging, Disgraced, Barber of Seville (Seattle Opera/ Supporting Role in an Independent Orlando, Battle of Waterloo, Opera Queensland/Opera New Production and jointly shared the Switzerland, The Effect, Vere Zealand); Rigoletto, Falstaff (Opera Best Newcomer Award for her (Faith), The Splinter, and Edward Australia); Don Giovanni, The Flying outstanding portrayal of Gant’s Amazing Feats of Dutchman (Opera New Zealand); Catherine in A View from the Loneliness. Sarah most recently In the Next Room, Sex with Bridge. Directed by Iain Sinclair the directed The Sugar House at Strangers, The Miser, Threepenny production was also recognised Belvoir Street Theatre. Her other Opera (STC); for Queensland with the Sydney Theatre Award directing credits include Elling, Theatre, Twelfth Night; for Auckland for Best Independent Production Black Milk, The Sweetest Thing, Theatre Company Billy Elliot the and was reprised at Glen Street and The Small Things (Down Musical, High Society, Wind in the Theatre. Zoe also received the Stairs Belvoir); The Colour of Willows, Poor Boy, , A Don Reid Memorial award at the Panic (Sydney Opera House); Streetcar Named Desire, Travesties, GLUGS for this performance. Vertigo and the Virginia, The The Graduate, Vita and Virginia, Schelling Point, Hilt, and What The Judas Kiss, Masterclass and Happened Was (Old Fitzroy Dancing at Lughnasa. Tracy has Theatre); and The Unscrupulous also exhibited at Prague Quadrenni- Murderer Hasse Karlson Reveals al and World Stage Design. the Gruesome Truth about the She received an Olivier Award Woman Who Froze to Death on nomination for Best New Dance a Railway Bridge (Darlinghurst Production for Romeo and Juliet, Theatre Company). In 2015 she and Helpmann Award nomi- was the recipient of the Gloria nations for In the Next Room and Payten Travel Scholarship. The Importance of Being Earnest. Cast & Creative Team

NIKLAS PAJANTI CHRIS WILLIAMS JOSHUA BURNS Lighting Designer Composer & Sound Designer Video Designer

For Melbourne Theatre Company Chris Williams is a composer and For Melbourne Theatre Company, Niklas has designed the lighting conductor whose works have Josh’s work as audio visual/video for Rupert, Australia Day (with been performed by Melbourne designer has been seen in STC), The Cherry Orchard, The Symphony Orchestra, Tasmanian Australia Day, His Girl Friday, Beast, and Queen Lear. Other Symphony Orchestra, London All About My Mother, Richard III, theatre credits include When Musical Theatre Orchestra, Joyful Godzone, Scarlett O’Hara at the the Rain Stops Falling, Spring Company of Singers, The Song Crimson Parrot, Rock ‘n’ Roll, Awakening, I Want to Dance Company, The Australian Voices, Hitchcock Blonde and North by Better At Parties (STC); One Night Cavaleri Quartet, Schola Northwest. He also works as a the Moon, Not Like Beckett Cantorum, and filmmaker and audio visual (Malthouse Theatre); Angels in Chamber Choir. Chris’ San-Shih- designer, creating moving image America, Wild Duck, Babyteeth, Fan was commissioned by and content for museums and Who’s Afraid of Virginia Woolf, premiered at New York’s Carnegie galleries, and producing The Pillowman (Belvoir); Sunday Hall. Other credits include Cloud web-based videos and media. in the Park with George (Victorian Nine, A Midsummer Night’s Opera). His dance credits include Dream (STC); Fascination Specktra, Dust (Dancenorth) (Arcola Theatre); The Cold Clear Complexity of Belonging, An Act Elsewhere ( Fringe). In of Now, Black Marrow 247 Days, 2017 Chris won the compositional Singularity (Chunky Move); Piece prize at the Australian International for Person and Ghetto Blaster Chopin Competition and received (Nicola Gunn); The Collapsible a Sydney Theatre Award Man and Appetite (KAGE). nomination for Cloud Nine. Other Exhibitions include Wonderland, work includes Compositional Game Masters, Star Voyager: Techniques and Harmony Exploring Space on Screen Tutor at University of Oxford; (ACMI), Tim Burton The Exhibition Composer-in-residence with The (MOMA), Hollywood Costume Australian Voices; Creative Arts (V&A Museum). Niklas has won Fellow at National Library of two , a Australia; and Music Librarian at Helpmann and Sydney Theatre Central Music Library of the BBC. Award and has received 10 Green He is Associate Artist at the Room Award nominations. Australian Music Centre. Chris holds a Masters in Composition from University of Oxford and is a graduate of the Sydney Conservatorium of Music. VICTORIAN COLLEGE OF THE ARTS 2019 SEE THEM HERE FIRST

The Victorian College of the Arts prepares emerging artists for future careers in theatre performance, directing, writing and production, and is proud to see its graduates succeed all over the world. We wish Sarah Goodes (VCA alumna 1998), Marta Dusseldorp (VCA alumna 1995), Niklas Pajanti (VCA alumnus 1997) and the MTC cast and crew the best for their season of A Doll’s House, Part 2.

To find out more about the VCA’s upcoming end-of-year seasons – including The Skin of our Teeth by Thornton Wilder, presented by VCA Acting Company 2018 and VCA Production, directed by MTC Associate Director Dean Bryant – sign up for our E-News, and you won’t miss a show.

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MTC’S PLAYWRIGHTS GIVING CIRCLE Supporting the Next Stage Writers’ Program. Louise Myer and Martyn Myer ao, Maureen Wheeler ao and Tony Wheeler ao, Christine Brown Bequest Naomi Milgrom ao, Allan Myers ac qc and Maria Myers ac, Tony Burgess and Janine Burgess Dr Andrew McAliece and Dr Richard Simmie, Larry Kamener and Petra Kamener

ANNUAL GIVING Donors whose annual gifts help MTC enrich and transform lives through the finest theatre imaginable. Benefactors Circle The Lord Mayor’s Charitable Matsarol Foundation Debbie Dadon am $250,000+ Foundation Ian and Margaret McKellar Ann Darby Crown Resorts Foundation Bruce Parncutt ao George and Rosa Morstyn Dr Anthony Dortimer Packer Family Foundation Craig Semple ▲ Daniel Neal and Peter Chalk and Jillian Dortimer Dr Caroline Thew Tom and Ruth O’Dea ■ Melody and Jonathan Feder ■ $50,000+ Luisa Valmorbida ▲ Leigh O’Neill ◆ Dr Helen Ferguson The Joan and Peter Anonymous Dr Kia Pajouhesh (Smile Rosemary Forbes and Clemenger Trust Solutions) Ian Hocking The Cybec Foundation $5,000+ John and Lorraine Bates In loving memory of Richard Park Bruce Freeman ■ Maureen Wheeler ao and Prof David Penington ac and Gaye and John Gaylard Tony Wheeler ao Sandy Bell and Daryl Kendrick Bill Bowness ao Dr Sonay Hussein Heather and $20,000+ Dr Andrew Buchanan and Jeanne Pratt ac Bob Glindemann oam Betty Amsden Foundation Peter Darcy Janet Reid oam and Allan Reid Henry Gold Dr Geraldine Lazarus and Ian and Jillian Buchanan Kendra Reid Roger and Jan Goldsmith Greig Gailey Sandra and Bill Burdett am The Robert Salzer Foundation ◆ Murray Gordon and Lisa Norton Hutchinson Builders ● John and Robyn Butselaar Trawalla Foundation Trust Lesley Griffin Louise and Martyn Myer ao The Janet and Michael Buxton Ralph Ward-Ambler am and Fiona Griffiths and Caroline and Derek Young am ▲ Foundation Barbara Ward-Ambler Tony Osmond ◆ Victorian Department of Barry and Joanne Cheetham Anonymous (5) Tony Hillery and Warwick Eddington Education and Training Tom and Elana Cordiner ● Advocates Circle The Vizard Foundation The Dowd Foundation Bruce and Mary Humphries $2,500–$4,999 Peter and Halina Jacobsen $10,000+ Gjergja Family Marc Besen ac and Irene Kearsey and Erica Bagshaw Leon Goldman Eva Besen ao Michael Ridley Joanna Baevski ▲ Robert and Jan Green Jay Bethell and Peter Smart Janette Kendall ◆ The Cattermole Family David and Lily Harris Lynne and Rob Burgess Alex and Halina Lewenberg Christine Gilbertson ◆ Jane Hemstritch Pat Burke and Jan Nolan Virginia Lovett and Linda Herd ■ ● Anne Le Huray Diana Burleigh Rose Hiscock ● Macgeorge Bequest Marshall Day Acoustics Jenny and Stephen Charles ao Dr Sam and Belinda Margis The late Noel Mason and (Dennis Irving Scholarship) Diane Cregan ◆ and NEST Family Clinics ◆ Susanna Mason ▲ Ian and Judi Marshman The Cuming Bequest ● Peter and Kim Monk ◆ Sandy and Sandra Murdoch Dr Robin Collier and Neil Collier Dr Sharmistha Law Family ■ Jane and Andrew Murray Sandy and Yvonne Constantine Malcolm Kemp Sue Rose Dr Paul Nisselle am and Prof Barry Conyngham am and Fiona Kirwan-Hamilton Rae Rothfield Sue Nisselle Deborah Conyngham ● and Simon E Marks sc Anne and Laurie Ryan Hilary and Stuart Scott ● Dr Cyril Curtain Doris and Steve Klein F & J Ryan Foundation Tim and Lynne Sherwood Mark and Jo Davey Larry Kornhauser and Edwina Sahhar Ricci Swart Jocelyn Davies Natalya Gill ■ Margaret Sahhar am Richard and Debra Tegoni ◆ ● Natasha Davies Alan and Wendy Kozica Susan Santoro Cheryl and Paul Veith Tania de Jong am ◆ Pamela Lamaro ◆ Kaylene Savas ◆ Price and Christine Williams Mark and Amanda Derham Elizabeth Laverty Graeme Seabrook Margaret and Ray Wilson oam Katharine Derham-Moore Rosemary Leffler Marshall Segan and Gillian and Tony Wood Robert Drake Joan and George Lefroy Ylana Perlov Laurel Young-Das and Bev and Geoff Edwards Leg Up Foundation Prof Barry Sheehan Heather Finnegan George and Eva Ermer Alison Leslie and Pamela Waller Anonymous (5) Anne and Graham Evans ao Dr Caroline Liow Diane Silk Marian Evans Peter and Judy Loney Dr John Sime Loyalty Circle Dr Alastair Fearn Lord Family ◆ A Simon $1,000–$2,499 Grant Fisher and Helen Bird Elizabeth Lyons Jane Simon and Peter Cox Dr Katie Allen and Malcolm Allen Jan and Rob Flew Ken and Jan Mackinnon Reg and Elaine Smith oam – Prof Noel and Sylvia Alpins am Heather Forbes-McKeon ■ John Mann and Tina Mitas ● Earimil Gardens Charity Valma E. Angliss am Elizabeth Foster Helen Mantzis ◆ Tim and Angela Smith James and Helen Angus John Fullerton Dr Hannah Mason Annette and Kate Aplin Kate Galvin ◆ John and Margaret Mason Graham Smorgon ◆ Margaret Astbury Nigel and Cathy Garrard Garry McLean Diana and Brian Snape am John and Dagnija Balmford Diana and Murray Gerstman Elizabeth McMeekin Geoff and Judy Steinicke Sandra Beanham Gill Family Foundation Robert and Helena Mestrovic Dr Mark Suss ■ Angelina Beninati Brian Goddard John G Millard James and Anne Syme Tara Bishop ◆ Charles and Cornelia Goode Ross and Judy Milne-Pott Rodney and Aviva Taft David and Rhonda Black Foundation ◆ Ging Muir and Suzanne Thompson Steve and Terry Bracks am Sarah Graff John McCawley ■ Frank Tisher oam and Jenny and Lucinda Brash Isabella Green oam and Barbara and David Mushin Dr Miriam Tisher Tamara Brezzi ◆ Richard Green Jacquie Naylor ◆ Susie Waite ● Bernadette Broberg John and Jo Grigg Nelson Bros Funeral Services Kevin and Elizabeth Walsh ■ Beth Brown and Tom Bruce am Jane Grover ◆ Nick Nichola and Ingrid Moyle Anthony Watson and Pam Caldwell Ian and Wendy Haines Susan Oliver ● Tracey McDonald Alison and John Cameron Mark and Jennifer Hayes ● Dr Harry and Rita Perelberg Pinky Watson John and Jan Campbell The Hon Peter Heerey am qc Dr Annamarie Perlesz Marion Webster ◆ Jessica Canning and Sally Heerey Peter Philpott and Penelope and Joshua White Clare and Richard Carlson Barbara Higgins ◆ Robert Ratcliffe Ursula Whiteside Fiona Caro Jane Hodder ◆ Dug and Lisa Pomeroy Ann and Alan Wilkinson Kathleen Cator Sandi and Gil Hoskins Sally Redlich Jan Williams ■ Chef’s Hat Emeritus Prof Andrea Hull ao Victoria Redwood Mandy and Edward Yencken Chernov Family Ann and Tony Hyams am Christopher Richardson Greg Young Sue Clarke and Lindsay Allen Peter Jaffe Anne and Mark Ange and Pete Zangmeister Assoc Prof Lyn Clearihan and Ed and Margaret Johnson Robertson oam ◆ Anonymous (34) Dr Anthony Palmer Prof Shitij Kapur and Roslyn and Richard Rogers

LEGACY CIRCLE Acknowledging supporters who have made the visionary gesture of including a gift to MTC in their will. Mark and Tamara Boldiston Peter and Betty Game Dr Andrew McAliece and Robert Ratcliffe Bernadette Broberg Fiona Griffiths Dr Richard Simmie Max Schultz Adam and Donna Cusack-Muller Irene Kearsey Peter Philpott and Anonymous (8)

LEGACY GIFTS Remembering and honouring those who have generously supported MTC through a bequest. The Estate of Leta-Rae Arthy The Estate of Betty Ilic The Estate of James Hollis The Estate of Freda E White The Christine Brown Bequest The Estate of Bettie Kornhauser Minson The Estate of Dorothy Wood The Estate of Ron Chapman The Kitty and Leslie Sandy The Estate of Prudence The Estate of Gordan J Compton Bequest Ann Tutton

Acknowledging Donors who join together to support innovative and inspiring programs for the benefit of our community. ▲ ARTISTIC DIRECTOR’S CIRCLE ■ YOUTH AMBASSADORS ◆ WOMEN IN THEATRE ● EDUCATION GIVING CIRCLE GIVING CIRCLE GIVING CIRCLE

To find out more about supporting MTC please call 03 8688 0959 or visit mtc.com.au/support Current as of July 2018 Thank You

MTC would like to thank the following organisations for their generous support

Major Partners

Major Media Partners

Production Partners

Premium Season Partners

Season Partners

Marketing Partners

Southbank Theatre Partners

If you would like to join our corporate family or host a private event, please contact [email protected] 2018 Partners current as of July 2018. MTC’S NEXT STAGE WRITERS’ PROGRAM

Ten new writers have joined our NEXT STAGE Writers’ Program with commissions awarded to Louris van de Geer, Tom Holloway, Anchuli Felicia King, Joe Penhall, and co-authors Chris Ryan, Mark Leonard Winter and composer Megan Washington.

We also welcome three new writers-in-residence, Declan Furber Gillick, Melissa Reeves and Chris Summers, who begin placements with the Company later this year.

Meet the writers and find out more about our landmark $4.6 million play development initiative at mtc.com.au/NEXT STAGE.

This program is supported by the Foundations and Donors of MTC’s Playwrights Giving Circle.

Coming Up

THE ARCHITECT ASTROMAN by Aidan Fennessy by Albert Belz Linda Cropper stars in this deeply moving An irresistibly funny and heart-warming world premiere production. tale of family and friendship.

27 SEPTEMBER—31 OCTOBER 27 OCTOBER—8 DECEMBER

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