HEISENBERG BY SIMON STEPHENS Welcome

Any chance to see the work of renowned artists in an intimate setting like the Fairfax Studio is a special one indeed. This Australian premiere of Heisenberg delivers that opportunity, featuring the inimitable actors Kat Stewart and , with a leading creative team under the direction of Tom Healey. This play also marks our third presentation of a Simon Stephens play since we introduced MTC audiences to his work in 2015 with his revealing exploration of fame, celebrity and stardom in Birdland, and hosted him at MTC as part of the University of Melbourne’s Macgeorge fellowship. Last year his wonderful adaptation of The Curious Incident of the Dog in the Night-Time made its long awaited Australian debut in an MTC co-presentation with Arts Centre Melbourne, charming and astonishing audiences who came in droves to see the international blockbuster. And now, we present a Simon Stephens work of an entirely different scale – and one that proves his versatility and command of writing for the stage. Fostering relationships with international writers is central to bringing Melbourne the best work from overseas, and, closer to home, investing in local writers is core to MTC’s mission to enhance the Australian theatre landscape with exciting, new works from the country’s best writers. Our NEXT STAGE Writers’ Program is allowing us to do just that, and later this year you’ll see the first play to come out of this initiative – Golden Shield by the astounding young writer Anchuli Felicia King. We can’t wait to share it with you. But for now, enjoy this Australian premiere.

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 First Peoples of Country on which Southbank Theatre and MTC HQ stand, and we pay our respects to all of 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 HEISENBERG BY SIMON STEPHENS

17 MAY — 3 JULY 2019 Arts Centre Melbourne, Fairfax Studio

— About the Play — The Heisenberg Uncertainty Principle helped redefine the world of physics, but Simon Stephens is less concerned with quantum mechanics than with the atomic uncertainty of the human heart. With wit and dry humour, Heisenberg asks us to take a chance on love and embrace the magic of the unknown. — Cast — Alex Priest Peter Kowitz Georgie Burns Kat Stewart

— Creative Team — Director Tom Healey Set & Costume Designer Anna Borghesi Lighting Designer Bronwyn Pringle Composer & Sound Designer Clemence Williams Voice & Dialect Coach Anna McCrossin-Owen Choreographer Jarryd Byrne Stage Manager Jess Keepence Assistant Stage Manager Brittany Coombs Assistant Stage Manager – Swing Julia Orlando Rehearsal Photography Deryk McAlpin Production Photography Pia Johnson

For information regarding running time, please see a member of the Front of House team.

Production Partner A ripple of magic

Director Tom Healey explores how the possibility to transform exists in us all, and looks at how this concept evolves in Heisenberg.

The trajectory of Heisenberg is powered by all his writing – and of course the source a sense of loneliness, Director Tom Healey of all great playwriting, right back to says. ‘Despite that, it’s an optimistic text. Shakespeare and the Greeks. It’s tussling There’s a lot of faith in it, a fascination with with the idea of why we are the way we are. science and a ripple of magic.’ And what we endure as humans.’

Healey has directed two Simon Stephens In Heisenberg, Stephens gives us two plays at other theatre companies – Punk eccentric, complex and fascinating Rock and Birdland. Both are driven by characters. There’s Alex Priest, a 75-year- complex and violent central characters, old Irish-born butcher and fanatical diarist which Stephens explores with extraordinary who is fascinated by the ‘seams’ of animals. empathy, and – notwithstanding its decidedly He loves music – all genres; he’s a loner and more romantic quality – Healey thinks a creature of extreme routine. Then there's Heisenberg is no different. Georgie Burns, a 42-year-old, single mum from New Jersey who can’t dance but sure ‘The love that Stephens has for us, for our can swear. complexity as humans … is the source of Kat Stewart and Peter Kowitz; (opposite) Director Tom Healey with cast and members of the creative team

When Georgie enters Alex’s orbit, a greater connection in their lives. ‘It’s about great experimentation of contrasting loneliness, and loneliness is a very sad personalities unfolds. ‘You’ve got this older subject,’ Healey explains. ‘All of us have European man, with a very traditional job, experienced it. There isn’t a person alive an ancient kind of skill, and then you’ve got that hasn’t spent at least a day feeling this scatty, brash, ‘new-world’ American. lonely, if not a great deal of their time. Putting those two temperaments together is certainly deliberate. It’s like a social ‘It’s about the idea that all of us contain the experiment where you pour two ingredients possibility to transform ourselves. Whether into a test tube to get the fizz.’ we’re in a marriage, and that marriage needs transformation. Or whether we’re As the characters’ interactions deepen, single. Whatever point we’re at in our jobs, we begin to sense their desire for change. and our lives, it’s easy to get patterned or Right from the outset, the vibration of stuck very quickly. When we’re not alive to displacement and isolation swirls what is actually happening, to what is underneath the text. They are available at our finger tips, we can fall into subconsciously and consciously seeking that before we know what’s happening.’ So Heisenberg is about breaking these patterns, Healey thinks. And about opening ourselves up to the possibility of ‘really, truly, actually’ being alive. Not just existing, not just walking through the world, but rather understanding what the world is in all its miraculous dimensions.

Healey is happy to let audiences make up their own minds about what brings Georgie and Alex together. He’s still figuring out where he stands. ‘I have two theories,’ he says. ‘I think Georgie is brave – that’s incontestably true. Whether she orchestrates these events or not, I’m not sure. I’m open to the idea that she sees Alex, and for whatever reason she kisses him. And everything that happens thereafter is in the present. On the other hand, there’s the possibility that it’s more calculated, more of a science experiment … the ambiguity is delicious!’

In the Encyclopaedia Britannica, the Heisenberg Principle states that both the position and velocity of a particle cannot be measured exactly at the same time. In other words, it is the principle of uncertainty or indeterminacy of all things at the tiniest of levels. Heisenberg the play suggests that this principle is applicable to every aspect of our lives. ‘[It’s] about staring down loneliness, defying convention, and embracing the high-voltage rush of leaping into uncertainty. It’s an exquisite, life- affirming jewel of a piece.’n

Words by Sarah Corridon

Hear from actor Kat Stewart on Heisenberg at mtc.com.au/backstage (From top) Peter Kowitz; Kat Stewart; (opposite from top) Composer & Sound Designer Clemence Williams; Peter Kowitz and Kat Stewart; Director Tom Healey

‘Heisenberg is about … opening ourselves up to the possibility of “really, truly, actually” being alive.’ ‘It is the principle of uncertainty or indeterminacy, of all things at the tiniest of levels.’

Kat Stewart Cast & Creative Team

PETER KOWITZ KAT STEWART SIMON STEPHENS Alex Priest Georgie Burns Playwright

Peter Kowitz has appeared with Kat Stewart has previously worked Simon Stephens is an Olivier and Melbourne Theatre Company in with Melbourne Theatre Company Tony Award-winning playwright. Double Indemnity, The Weir and in Disgraced, The Speechmaker, His original plays for theatre are Australia Day. Other stage credits Frost/Nixon and Festen. She was Maria, Nuclear War, Rage, include Blackbird, Tot Mom, an active ensemble member at Fatherand (with Karl Hyde and Marriage Blanc, Australia Day, Red Stitch for 10 years with credits Frantic Assembly), Song from Far Talk, Australian Graffiti (Sydney including Creditors, The Little Dog Away (with Mark Eitzel), Birdland, Theatre Company); The Wild Duck, Laughed, The Shape of Things, Blindsided, Carmen Disruption, Who’s Afraid of Virginia Woolf? Bug, Dirty Butterfly and Loyal Morning, Three Kingdoms, Creditors (STCSA); The Alchemist, Women. Her television credits Wastwater, A Thousand Stars King Lear (Bell Shakespeare); include the upcoming Five Explode in the Sky (co-written with Burning, Strange Attractor, The Bedrooms, (series 1–7), Robert Holman and David Eldridge) Floating World (Griffin Theatre Mr and Mrs Murder, Get Krack!n, The Trial of Ubu, Punk Rock, Company); Taking Steps, Orange is the New Brown, True Seawall, Pornography, Marine Happiness, The Ninth Step, The Story with Hamish and Andy, Parade (with Mark Eitzel), Harper Deal, Emerald City, Rough Justice, Tangle (series 1–3), Newstopia Regan, Motortown, On the Shore of Blinded By The Sun, Table For One (series 1–3) and the original the Wide World, Country Music, (Ensemble Theatre); The Summer Of . Film credits include: Christmas, Port, One Minute, The Seventeenth Doll, Away, Twelfth Little Monsters, West of Sunshine, Herons, Bluebird. He has written Night, Who’s Afraid of Virginia and Sucker. Kat has received an English language versions of Jon Woolf?, Much Ado About Nothing, AACTA Award for Offspring, and Fosse’s I Am The Wind, Anton Falling on My Left Ear (Railway both an AFI and Logie for Most Chekhov’s The Cherry Orchard and Street Theatre); Miracle City Outstanding Actress in Underbelly The Seagull, Henrik Ibsen’s A Doll’s (Hayes Theatre) and over 25 as well as many nominations. She House, Odon von Horvath’s Kasimir productions with Queensland received Green Room Awards in and Karoline (re-titled The Funfair), Theatre, including this year playing 2003 and 2005. and Ivo van Hove and Jan Peter Willy Loman in Death Of A Gerrit’’s adaptation of Visconti’s Salesman. Peter works regularly in Ossessione. His adaptation of Mark television, most recently in Janet Haddon’s novel The Curious King. He has two AFI Awards, Incident of the Dog in the Nighttime a Variety Club Award and a Sydney has won many awards and been Theatre Award. produced in more than thirty countries. His book A Working Diary is published by Methuen. Simon Stephens is an Associate at the Lyric, Hammersmith and Professor of Scriptwriting at Manchester Metropolitan University. “Dramatic, sexy, even scary … ” – THE GUARDIAN

27 JUNE – 6 JULY | Arts Centre Melbourne

T2019-432 - 19 LAC MTC program print ad - FA.indd 1 16/4/19 10:07 am Cast & Creative Team

TOM HEALEY ANNA BORGHESI BRONWYN PRINGLE Director Set & Costume Designer Lighting Designer

This is Tom Healey's debut for Anna Borghesi is an award-winning Heisenberg is Bronwyn’s first Melbourne Theatre Company. costume designer with over 25 Melbourne Theatre Company Previous productions include years experience in film, television design. Other theatre credits Jumpers for Goalposts, The Shape and theatre. Some of her film include Alias Grace (Malthouse of Things and American Song (Red credits include the recently Theatre); American Song, The Stitch); The Kid (Griffin Theatre completed Dirt Music (dir. Gregor Realistic Joneses, The Antipodes, Company); The Spook (Malthouse Jordan, 2019), Hotel Mumbai Colder (Red Stitch); Lottie in the Theatre); Elegy, The Sign of the (dir. Anthony Maras, 2018), Ali's Late Afternoon (Kin Collective); Seahorse, Ancient Emnity, Wedding (dir. Jeffery Walker, 2017), Muckheap (Polyglot Theatre); My Insouciance, The Fat Boy and Red Dog: True Blue (dir. Kriv Life in the Nude (Maude Davey/La Falling Petals (Playbox); Let's Get Stenders, 2016), The Killer Elite Mama); Cuckoo (15 Minutes from it On (Room 8); Doris Day – So (dir. Gary McKendry, 2011), Mao's Anywhere); Coranderrk: We Will Much More Than the Girl Next Door Last Dancer (dir. Bruce Beresford, Show the Country (Ilbijerri Theatre (Boldjack); Disarming Rosetta and 2009), The Book of Revelation (dir. Company/Minutes of Evidence Inside Out (Hothouse Theatre); Ana Kokkinos, 2006), Love's Brother Project/La Mama) Yarn, Songbirds Good Evening (Token) with Shaun (dir. Jan Sardi, 2004), Ned Kelly and Angels, Aviary (La Mama); Micallef and Stephen Curry; (dir. Gregor Jordan, 2003) for Topsy, Letters from Animals, The The Man in Black (Folsom Prison which she won the AFI Award for Time is Not Yet Ripe (Here Theatre). Productions); 's Best Costume Design, Pitch Black Dance credits include Fire Monkey solo shows, Drink Pepsi, Bitch (dir. David Twohy, 2000) and Head (The Arts Fission Company/Victoria (Malthouse Theatre and tour); and On (dir. Ana Kokkinos, 1998). Chiu); SPIN, Distraction Society Angry Eddie (Chapel Off Chapel). Her most recent television credits (Anna Seymour); ButohOUT!, Tom is currently Head of Directing include Romper Stomper, Lowdown Evocation of Butoh (Yumi at Flinders Drama Centre and and Twentysomething. Anna has Umiumare). Music credits include Associate Dramaturg at Red Stitch. worked extensively in theatre, The Book of Daughters, These Previous positions include Literary designing costumes and sets for Compulsive Behaviours (JOLT Arts); Manager at the Australian Script Melbourne Theatre Company, Automation, Speak and Unspoken Centre and Artistic Associate at Belvoir, Malthouse Theatre, (Speak Percussion); Between Lands Playbox. He has been a proud Queensland Theatre and and Longings (Chamber Made); member of the MEAA since 1989. The State Theatre Company of Attacca, Shatter Me (Cathexis). South Australia among others. Bronwyn has won two Green Room Awards and four further nominations.

Cast & Creative Team

CLEMENCE WILLIAMS ANNA McCROSSIN-OWEN JARRYD BYRNE Composer & Sound Designer Voice & Dialect Coach Choreographer

Clemence Williams is a director, Anna McCrossin-Owen is a voice Originally from Wagga Wagga, composer and sound designer for and dialect coach for theatre, TV, Jarryd Byrne has forged a theatre and opera. A graduate of film, music theatre, animation, successful career on both stage National Institute of Dramatic Art voice-over and private studio. and screen. His most recent (Directing) and the Sydney Theatre credits include over 50 choreography credits include Conservatorium (Music), productions for Melbourne Theatre Dancing With The Stars, Immersive Clemence's work includes: Company including A View from Cinema's Dirty Dancing, The as a composer, Arbus & West the Bridge, Gloria, Frost/Nixon, Unbelievables and White Night (Melbourne Theatre Company); Who's Afraid of Virginia Woolf, Melbourne. Performance credits A Cheery Soul, Lethal Indifference Rock'n'Roll, Spelling Bee, Cyrano include: Nathan Starkey in Baz (Sydney Theatre Company); Romeo de Bergerac and Urinetown. Film Luhrmann's Strictly Ballroom The and Juliet (Bell Shakespeare); The credits include coaching Emily Musical (understudy Ken Railings), Wolves (Belvoir); A View From the Mortimer for RELIC; Dame Helen Burn The Floor; The Unbelievables Bridge, The Humans, Wind in the Mirren and cast for Winchester; and Shake Rattle & Roll. Jarryd is Underground, Paper Doll (Redline Margot Robbie, Chewitel Ejiofor also a resident professional dancer Productions); Chapel Perilous (New and Chris Pine for Z for Zachariah. on Dancing With The Stars and Theatre); Fallen (fortyfivedownstairs); TV credits include Glitch, The has been partnered with Olympia as director, Findr (Eternity Theatre); Family Law (series 1–3) and The Vallance, Ricki-Lee Coulter, Chamber Pot Opera (Sydney Opera Kettering Incident. She is a lecturer Jesinta Franklin and Ash Pollard. House, Adelaide, Edinburgh, St in Spoken Voice at the Victorian Petersburg); Unfinished Works College of the Arts. Anna is a (Seymour Centre); The Cherry graduate of University of Orchard (New Theatre); and Queensland (B.A.), VCA (Acting) Trancience (KXT); as Assistant and VMT (Voice), and Associate of Director, St Joan (Sydney Theatre Trinity College London and AMEB Company) and La Passion de Australia. She consults to business Simone, Notes from the and trains news journalists. Anna Underground (Sydney Chamber has been honoured by the Victorian Opera). Upcoming work includes: Green Room Association for as Composer & Sound Designer, Outstanding Contribution to the Banging Denmark (Sydney Theatre Melbourne Stage. Company); A View from the Bridge (Ensemble Theatre); as Director, Chorus (Old Fitz). Clemence received Sydney Theatre Awards nominations for Best Original Score for A Cheery Soul and Best Sound Design for The Wolves.

Melbourne Theatre Company

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