What to Expect: Life of Galileo

• Life of Galileo was written by German playwright Bertolt Brecht in 1939 and first performed in Zurich, Switzerland in 1943, during the Second World War.

• Belvoir’s production of Life of Galileo is an adaptation by Australian playwright and Belvoir’s Artistic Associate, Tom Wright. Wright describes his adaptation as exploring three key themes: ‘what is truth and what are facts, the gap between what something costs and what its value is [and] the idea of the hero’.

• Life of Galileo opened at Belvoir on Wednesday 7th August 2019 and is directed by Belvoir’s Artistic Director Eamon Flack. The show runs for approximately 2 hours and 30 minutes, including one interval.

• The play is set in Italy in the 1600s. The action of the play takes place at pivotal moments during the life of the mathematician and scientist, Galileo Galilei, from the invention of the telescope and discovery of the solar system, through the Inquisition and his house arrest. The play begins in the year 1609 and ends in the year 1639.

• The action takes place at various locations in (or near) three cities – Padua, Rome and Florence.

• The play contains 16 scenes, which each explore ideas through moments or vignettes of Galileo’s life. Each scene is presented with a title displayed on an LED screen in the theatre. These surtitles frame the scene to allow the audience to focus on the ideas presented instead of the action.

• The play is performed by nine actors. Actor Colin Friels plays the character of Galileo throughout the production. All other cast members play multiple roles.

• This production is set in the round. The design specifically places the audience in sight of the actors and each other, with low house lights up for the entire production. Students should be prepared to be visible to both the actors and other audience members.

• The costuming is contemporary - a deliberate choice in this production to draw parallels between the denial of science during Galileo’s time and the denial of climate science today.

• The play references historical, scientific discoveries of the age. Students may find it useful to know the scientific understanding from that time period, for example people believed the moon created its own light, that earth was the centre of the universe, and that planets and sun orbit the earth.

• The production incorporates many Brechtian techniques typical to Epic Theatre including text on screens, breaking the fourth wall, actors speaking in and out of character, the use of music to disorient, themes of contrast: e.g. Power vs. powerless. This is a dialogue driven play, where possible, we encourage students to read the synopsis beforehand. The audience may benefit from an understanding of what is happening in each scene to allow them space to understand the ideas discussed.

• The play is set during the Inquisition and contains representations of religion and power, which may be confronting for some students. The production contains one scene in which the pope appears for a short time wearing long underwear while he is being dressed, onstage, into his robes.

• The production contains some very occasional strong language - ‘b**ch’ and ‘sh**’ are used once each in colloquial phrases. Characters are seen drinking alcohol in some scenes during the play.

• Please be aware that this production contains strobe lighting effects, theatrical haze and occasional loud music and noises.

• Schools performance tickets are not sent out beforehand, please collect your tickets from the Box Office in the foyer of the theatre upon arrival on the day– phone our box office on 9699 3444 if you need to check your booking.

• Students need to be briefed about theatre etiquette. Please turn mobile phones off completely and refrain from eating in the theatre. Students need to know that the performance is live and that the actors see and hear them in the audience. Taking notes shouldn’t happen during performances.

• Schools shows are followed by a Question and Answer session with the cast. Let students know they can ask questions about aspects of the play that they don’t fully understand afterwards.