sign in sign up
<<
Home , Alison Bell (actress), All Saints (season 10), All Saints (season 11), All Saints (season 12), All Saints (season 9), At Home with Julia

Death of a Salesman Belvoir presents

By Director Belvoir’s production of Death of a Salesman opened at on Wednesday 27 June 2012.

Set Designer RALPH MYERS Costume Designer ALICE BABIDGE Lighting Designer NICK SCHLIEPER Composer & Sound Designer STEFAN GREGORY Assistant Director JENNIFER MEDWAY Fight Choreographer SCOTT WITT Stage Managers LUKE McGETTIGAN, MEL DYER (from 31 July) Assistant Stage Managers MEL DYER, CHANTELLE FOSTER (from 31 July) Stage Management Secondment GRACE NYE-BUTLER

With The Woman / Jenny / Miss Forsythe BLAZEY BEST Biff Ben Linda / Letta GENEVIEVE LEMON Happy HAMISH MICHAEL Charley / Stanley PIP MILLER Bernard / Howard LUKE MULLINS

PRODUCTION THANKS Tri-point Rigging, Incu Men’s and Women’s Wear, Angela Greenaway from Reuze Vintage. Photography Heidrun Löhr DESIGN Alphabet Studio BGenevieve Lemon 1 Simon Stone in conversation with Ralph Myers

Ralph: Why this play? and turns in on itself in order to purge some kind of perceived danger. Simon: I reread it a couple of years And both of those scenarios have ago and I was astounded at this occurred throughout history and will play about the decline of American continue to occur as long as there are capitalism, which in a post-GFC humans on the planet. context seemed incredibly prescient. It was as if it had been written and Ralph: Reading of put in one of those time capsules – course we all know that it’s a thinly to be found in 2012. veiled analogy for the McCarthy trials, but with Salesman it wasn’t until I In its original production it would watched it in rehearsals the other day have been a play about a particular that I realised how subversive and man failing where other men frankly socialist in its outlook it is, or at have succeeded. In this era it is least how political. about a dream which was never going to work anyway. So Willy Simon: People don’t seem to have Loman becomes much more of an noticed it’s a very anti-American play. everyman. It’s a scathing attack on the most sacred principle at the core of the Ralph: Do you think plays begin their American Dream: that anybody can lives as being about a specific set of become anything they want. The play circumstances and become universal actually says that some people are over time? just not going to be able to make it, Simon: I think location and time are and the day they realise that they’ll be always of incidental importance in the happier. That’s almost nihilistic. great plays. It’s often hard to tell if a Ralph: Or is it deeply conservative master playwright has written one of to say that some people rise to the their great plays until you have some top because they’re really great and perspective on it. Of Miller’s two some people like Willy Loman just great plays, one of them, Death of a aren’t? Salesman, is about all of the dreams that parents have for their children Simon: It doesn’t seem to be a play and the fundamental inability for a about what kind of person rises to child to both live up to those dreams the top though. It’s about: if you’re and to become their own person – not the sort of person who rises to how paradoxically impossible that the top, what’s the best way to be is. The other, The Crucible, is about happy? It’s a survival guide for losers. how a society becomes cannibalistic We are all at some point in our lives

Luke Mullins Simon Stone 03 like Willy Loman. If we are able to Ralph: This afternoon in rehearsal we are attached to America. It’s such But the thing about the American find a way out then it’s by accepting Colin was putting his face in his a seminal moment: as we give away Dream is the notion that the pinnacle the situation we are in as the first hands, saying: I can’t bear it, I can’t that dream we can finally reflect on of achievement is the same for every tenet. But for Willy, who’s living the watch this scene, I can’t be involved, it and think about what it has meant single person in the country, which American Dream, you never give up it’s too painful, it’s too emotional to to us. And we’re doing that, we’re is fundamentally unrealistic since and you never admit that you’ve lost. take. Why did you cast Colin Friels in starting that phase now. only one person gets the job. There the role of Willy? are going to be a lot of disappointed Ralph: So if it’s a play about the There will be a point in time where it people if everyone grows up thinking American Dream how come your Simon: It was just an instinct at becomes like King Lear. It’s too full of that they’re going to be the President actors aren’t using American first. Which Colin has retrospectively references we still understand for it to of the United States. accents? justified through showing me how be a completely timeless classic. But Willy Loman needs to be played. I’ve in 50 years or 100 years time it will be Ralph: Well you were born in Simon: Because the American never seen a great dreamer on stage like King Lear. It’s essentially Lear and Switzerland, I was born in ; Dream has been dreaming us since before. People play dreamers a lot; The Cherry Orchard put together. It’s we have no chance, you have to be a the Second World War. Because we they reach after it but I genuinely get about a man giving away his empire natural-born citizen. live in the American empire. Look the feeling that Colin is like an open and his terrible fear that he won’t at Europe right now; it’s falling over Simon: Dammit. wound when he sees and hears and have a legacy. In every culture there’s because of a post-Second World smells the world. The world has such that fear of death and the desire to War American Dream. It’s actually an overwhelming effect on Colin; leave something behind. And the important for Salesman, as a searing he’s deeply moved by it. When he’s only way most of us do that is by indictment of this dream of capitalism, evoking all of these worlds on stage procreating. to be produced in the countries that that we can’t see literally because weren’t even part of the invention of Ralph: Or planting seeds desperately of the sparseness of the production, that dream; it was just thrust down in your vegetable garden before you he’s taking us to all of those places their throats. kill yourself. with every turn of phrase. The Ralph: I love that as an audience production that we came up with Simon: Because we all know we member you absorb the fact that wouldn’t be able to work if we didn’t can’t escape death, but we want to they’re speaking in Australian have Colin in that role. If it doesn’t feel like we had some sort of effect on accents, and that there’s a tension exist at all on stage it has to exist in the world before we leave it. between that and the context of the the audience’s imagination and that Ralph: I think that’s a really interesting play and the references but you don’t can’t start without a great dreamer point of this play: Loman wanted to care. It’s like watching Shakespeare in provoking their imagination. Colin is feel like he had an effect on the world, our own voice. that great dreamer. yet he would have been much better Simon: Yeah, that’s right and Ralph: When does a play stop being off had he been one of those people Shakespeare proved that you a contemporary play and start being who was happy just existing. Instead don’t need to have any realistic a classic? he’s wasted his life. representation of any place on the Simon: I think there are two phases, Simon: That’s true, one of the lines is stage for audiences to be able to actually. I think the first is when it Charley saying ‘…forget about it’, in paint the picture of Padua or Verona starts being relevant again. At that relation to his worries about Biff. And or Ancient Rome. time it experiences its first important Willy replies, ‘then what have I got revival. And I think for Australia to remember?’ That idea of having the first time Salesman has meant to place memory into the world, of anything other than its original context yourself and your deeds. is now. The first moment historically of us cutting the apron strings by which

04 05 Colin Friels On Miller Gabrielle Bonney

I have, I think, provided actors with was destroyed and they lost almost some good things to do and say. everything. The theatre critic Michael What people may find in them, Ratcliffe said of the effect of this or fail to find, is not in my control momentous event on Miller: ‘This first anymore. I can only say that life great discord of the American century has not been made less for what informs all his work. Like Dickens I’ve done, and possibly a bit more. and Ibsen, he drew from his father’s financial disaster the lifelong convictions Arthur Miller The writer of 36 stage plays as well that catastrophe could strike without as radio plays, screenplays and warning and that the crust of civilised fiction, Arthur Miller was a prolific order was perilously thin.’ for Drama, the Tony Award for Best contempt of Congress – he was author whose sensitivity to the Play and the New York Drama Critics’ fined and given a suspended jail The Miller family subsequently moved social and political eras he lived Circle Best Play Award. It won a sentence. Others called before to Brooklyn, and after graduating in through and acute understanding slew of Tonys that year, including HUAC were willing to testify and Lee 1932 from Abraham Lincoln High of the human condition led him to Best Director for , who J Cobb eventually succumbed to School, Miller worked at several create timeless dramas including Miller later recalled ‘was the first of the pressures, naming 20 people as menial jobs to pay for his college , A View From the a great many men – and women former members of the Communist tuition. He attended the University Bridge, The Crucible and Death of – who would tell me that Willy was Party. Miller remembered: ‘I could of Michigan, and in 1941 began a Salesman. From the late , their father.’ Miller himself was highly not help thinking of Lee Cobb, my writing the first of his dramatic works, when his plays began making an critical of the play, written when he first Willy Loman, as more a pathetic The Man Who Had All the Luck – impact on Broadway, until the early was just 33 years old: ‘I knew nothing victim than a villain, a big blundering it became his first professionally 60s Miller found himself in the public of Brecht then or of any other theory actor who simply wanted to act, produced play when it arrived on eye, testifying before the House of theatrical distancing: I simply felt had never put in for heroism, and Broadway in November 1944 but Un-American Activities Committee, that there was too much identification was one of the best proofs I knew of was badly received and ran for only receiving the with Willy, too much weeping, and the Committee’s pointless brutality four performances. The tables turned and, in 1956, marrying the world’s that the play’s ironies were being toward artists. Lee, as political however with his next drama, All biggest film star of the time, Marilyn dimmed out by all this empathy.’ as my foot, was simply one more My Sons, and Miller became, along Monroe. dust speck swept up in the thirties with his contemporary Tennessee Meantime, in 1947 the House idealisation of the Soviets, which Born Arthur Asher Miller on Williams, a true force on America’s Un-American Activities Committee the Depression’s disillusionment had 17 in Harlem, New theatrical scene. Opening in January (HUAC) (created by the US House brought on all over the West.’ York City, Miller was the second of 1947, All My Sons was directed by of Representatives to investigate three children of Isidore and Augusta the talented and enterprising Elia disloyalty and subversive Miller followed Salesman in 1953 Miller, Polish-Jewish immigrants. Kazan with whom Miller would forge organisations) was attempting to with the sharply incisive The His father worked in the ragtrade, a a long association. The play won the smoke members of the Communist Crucible, based on the Salem witch wealthy, respected owner of a large New York Drama Critics’ Circle Award Party out of Hollywood. In the 50s trials with unambiguous parallels manufacturing business. They lived and ran for 328 performances. Miller testified that he had allied to Senator Joe McCarthy’s political on Manhattan’s Upper East Side himself with some Communist witch-hunts of the time. In A View Upon its Broadway debut on and owned a summer house in Far and Popular Front causes but from the Bridge (1955/56), a Sicilian- 10 February 1949 with Lee J Cobb Rockaway, Queens. In the Wall Street denied ever being a member of the American longshoreman, Eddie in the lead role as Willy, Death of a Crash of 1929 the family business Communist Party. His refusal to give Carbone, driven by sexual interest Salesman won the triple crown of information about his friends and in his niece breaks his community’s theatrical artistry: the Pulitzer Prize 088 colleagues led to his conviction of 099 code of silence by betraying illegal with many Chinese and foreigners immigrants. Both The Crucible and doubting that the Chinese audience Biographies explored would understand the very American themes that Miller was increasingly play. As it turned out, we needn’t concerned with: what he called have worried. Salesman is about ‘responsibility and guilt for this world a family and business, and the we cannot quite believe we made.’ Chinese practically invented both, SIMON STONE Director and their reaction was little different Apart from a period of relative than audience reaction had been in Simon is a graduate of the Victorian College of the Arts. In inactivity coinciding with his marriage New York City and in theaters in any 2007 he founded ensemble The Hayloft to (1956–1961), other Western city.’ The play became Project. For Hayloft he co-wrote and directed Thyestes, Miller continued to write plays, radio a staple in the repertoire of Chinese which was commissioned by and originally produced at plays, screenplays and fiction up theatre and played all over the Malthouse Theatre (winner of 2010 Green Room Awards for until the time of his death at the country. And it strongly influenced Best Production, Best Adaptation and Best Ensemble), co-wrote and directed age of 89 in 2005. Many see his the generation of China’s playwrights The Only Child (with B Sharp, winner of Theatre Award for Best overtly autobiographical play After that followed. Independent Production), adapted and directed The Suicide, Spring Awakening the Fall (1964) as his most mature (both with B Sharp) and , was one third of the multi-director project and complex work. Lesser-known Death of a Salesman was first 3xSisters, and directed Rita Kalnejais’ B.C. In 2009 Simon directed The dramatic works include A Memory produced in Australia in 1953 at Promise for Belvoir and in 2011 he became the company’s Resident Director. of Two Mondays, , the Independent Theatre. Rodney In his first year in the role, Simon wrote and directed after , The Archbishop’s Ceiling, Fisher, John Sumner, Robin Lovejoy Ibsen (winner of three 2011 , including Best Play; winner I Think About You a Great Deal, The and Stephen Barry have all directed of four 2011 , including Best Production and Best Last Yankee and . productions of this seminal work Direction) and directed Neighbourhood Watch (four 2011 Sydney Theatre He wrote the screenplay The Misfits since then. Award nominations, including Best Production). For in 1961 for Monroe, and adapted Thirty years ago, in 1982, George and Malthouse Theatre, Simon co-translated and directed Baal (winner of two Death of a Salesman in 1985 for Ogilvie directed the Nimrod Theatre 2011 Sydney Theatre Awards). This year, Simon has again directed Thyestes a made-for-television film starring Company production at the Seymour for Belvoir, and written a new version of and directed . As an as Willy and John Centre, with in the actor, Simon performed in Belvoir’s 2007 production of Who’s Afraid of Virginia Malkovich as Biff. He wrote many lead (who reprised his award-winning Woolf? and appeared in the films Jindabyne, Kokoda, Balibo, Blame, The Eye works of non-fiction, including texts performance in several productions of the Storm and Being Venice (2012 Sydney Film Festival). Simon was the accompanying photographs by his including at ’s National 2008 recipient of the biennial George Fairfax Memorial Award. Later in 2012, third wife, . Theatre). The inimitable Judi Farr Simon will be co-writing and directing a stage version of Ingmar Bergman’s Later in life, Miller occasionally played Linda and a very young filmFace to Face for Sydney Theatre Company. In August he will be taking his directed, and in 1983 he was the took on the role of Biff. production of The Wild Duck to the International Ibsen Festival, , Norway. first foreign theatrical director in Sixty-three years on since the play’s the People’s Republic of China, 1949 premiere, Death of a Salesman ALICE BABIDGE Costume Designer directing Death of a Salesman endures. Still now, as Ogilvie said in Since graduating from NIDA’s design course in 2004, with Chinese actors at the Beijing his director’s note in 1982, it ‘seems Alice has designed costumes and sets for theatre, People’s Theater, the equivalent to have lost none of its relevance, opera, film and TV. She has been the resident designer of the Moscow Art Theater. In an its poetry nor its compassion for the at Sydney Theatre Company for the last two years. For article he wrote for The New York human condition.’ Belvoir Alice created the costumes for Every Breath (and Times six years later at the time of set), Babyteeth, That Face, Who’s Afraid of Virginia Woolf?, Parramatta Girls Sources: ‘Op-Ed: Death in Tiananmen’, Arthur the Tiananmen Square massacre, and Capricornia. Her other costume credits include Gross und Klein, True he recalled: ‘There was a lot of Miller, The New York Times, 10 September 1989; Death of a Salesman program, Nimrod Theatre West, The Trial, Honour, The War of the Roses, The Season at Sarsaparilla, skepticism surrounding the project, Company, 1982 – notes by Alison Lyssa, George The Lost Echo, Boy Gets Girl, Julius Caesar (Sydney Theatre Company). Ogilvie, Debra Oswald and Alison Summers; 10 Spartacus Educational; Wikipedia. 11 Alice designed both sets and costumes for The White Guard, Next Stage Shorts, The Oresteia, The Mysteries, The Women of Troy (Sydney Theatre Company); Self Esteem (Wharf 2LOUD); King Tide, The Nightwatchman, The Peach Season, Strangers in Between (Griffin Theatre Company); The Share, The Hour Before My Brother Died (Old Fitzroy Theatre) and the opera The Navigator (2008 Festival). She created the sets for The Year of Magical Thinking and The Wonderful World of Dissocia (Sydney Theatre Company). Alice has designed music video clips for artists such as The Mess Hall, End of Fashion and You Am I. She most recently co-designed the costumes for the feature film Snowtown. Alice’s work also includes costumes for the operas Caligula, The Return of Ulysses (English National Opera); Rigoletto (Komische Opera, Berlin); Bliss and The Marriage of Figaro (Opera Australia). Alice received a 2011 Sydney Theatre Award for Best Costume Design for Gross und Klein.

BLAZEY BEST The Woman / Jenny / Miss Forsythe For Belvoir, Blazey has appeared in the touring production of Summer of the Seventeenth Doll and The Threepenny Opera, and in Bang for B Sharp. Her other theatre credits Genevieve Lemon include Much Ado About Nothing, Troilus + Cressida, Colin Friels Richard lll, A Comedy of Errors, The Servant of Two Masters, The War of the Roses (); , Troupers, Summer Rain (Sydney Theatre Company); Strange Attractor (Griffin Theatre Company); Babies Proms (); and Hedwig and the Angry Inch (Showtune Productions). Blazey has also appeared on TV in Water Rats, , and Wildside, as well as in the feature film Ten Empty. Blazey was nominated for a Sydney Theatre Award for Strange Attractor. In August she will tour to Norway with Belvoir’s production of The Wild Duck.

PATRICK BRAMMALL Biff Patrick’s stage appearances include The Importance of Being Earnest, , The Ugly One, Apologia, Moonlight and Magnolias ( Theatre Company); The White Guard (Sydney Theatre Company ); As You Like It, The Comedy Of Errors and Just Macbeth! (Bell Shakespeare), which toured to the Edinburgh Fringe Festival where it received a Herald Angel Award. In 2006 Patrick was awarded The Philip Parsons Young Playwright’s Award (with John Leary) for co-writing The Suitors, which is currently being developed for television. The subsequent writing commission led to the production of Vital Organs (B Sharp/Easily Distracted). Patrick also worked as assistant director to Neil Armfield for Belvoir’s production of Peribanez. Patrick will be seen in ABC’s new comedy series This Christmas, the second series of Lowdown and the multiplatform comedy series, The Strange Calls. Patrick has an extensive list of television credits including Rush, The Librarians, All Saints, , Canal Road, Home and Away, Pip Miller 12 Patrick Brammall 13 , The Alice, Hawke and Some Say Love for UKTV. In 2011 The Man Who Sued God, Dark City, Mr Reliable, Cosi, Angel Baby, A Good Man Patrick made his feature film debut in Leon Ford’s Griff the Invisible, which in Africa, Dingo, High Tide, Malcolm, The Coolangatta Gold and Monkey Grip. screened at the Toronto and Berlin International Film Festivals. Colin received a Helpmann Award for Best Male Actor for , a TV Week Logie Award for Best Actor in Water Rats, an AFI Award for Best Actor in a MEL DYER Assistant Stage Manager Television Drama for Water Rats, and a Best Actor AFI Award for Malcolm. (& Stage Manager from 31 July) STEFAN GREGORY Composer & Sound Designer Mel is a 2007 graduate of NIDA’s production course. She was recently stage manager for Belvoir’s production of Stefan is an associate artist at Belvoir, and has been Every Breath. As assistant stage manager she has worked composer and sound designer on Belvoir’s productions on Belvoir’s productions of As You Like It, Neighbourhood of Strange Interlude, Old Man, Thyestes, As You Like It, Watch, The Seagull, The Diary of a Madman, Measure for Measure, The Neighbourhood Watch (in which he also played the Promise, the 2009 Australian tour of Page 8 and the 2008 tour of Keating!. chemist), The Seagull, The Wild Duck, Measure for Mel also appeared on stage for Belvoir in As You Like It, Neighbourhood Measure and That Face. He also composed and performed in The War Watch, The Seagull and Keating!. Her other credits include stage manager for of the Roses and Frankenstein (Sydney Theatre Company). Other recent Lawn, Edgar, Remember Me, Legless (Splintergroup/Festpeilhaus, Austria); credits include Infinity: There is Definitely a Prince Involved( The Australian Roadkill (Splintergroup/Performing Lines); Underground (Dance North/ Ballet); Baal (Malthouse Theatre/Sydney Theatre Company); The Suicide, Performing Lines), and Night Café (Dance North), and assistant stage manager B.C. (The Hayloft Project); Silent Disco, The Call (Griffin Theatre Company); for Assembly (Chunky Move). Mel has also worked as a swing assistant A Midsummer Night’s Dream (B Sharp/Bob Presents/Arts Radar); King Lear, stage manager for The Nutcracker – The Story of Clara and Sleeping Beauty Hamlet and (Bell Shakespeare Company). Stefan was nominated for (Australian Ballet). a Sydney Theatre Award for Best Score or Sound Design for Measure for Measure, nominated for a Helpmann Award for Baal, and nominated for a CHANTELLE FOSTER Assistant Stage Manager Green Room Award for Thyestes. His work with the band Faker has earned (from 31 July) him a gold album, a platinum single and several ARIA nominations. Chantelle is a graduate of the National Institute of Dramatic STEVE LE MARQUAND Ben Art (Production). This is her first production with Belvoir. As assistant stage manager her credits include Romeo and Steve has appeared in numerous productions for Belvoir Juliet (Bell Shakespeare); Never Did Me Any Harm (Force including Summer of the Seventeenth Doll, Paul, The Majeure); Ruby Moon, Money Shots and Bigger Then Jesus (Sydney Theatre Spook, and . Other Company); and My Bicycle Loves You (Legs On The Wall). Chantelle has also theatre credits include Don’s Party (Melbourne Theatre stage managed for Checking In Checking Out and the Young Actors Studio Company and Sydney Theatre Company); The War of the (NIDA Open Program). Roses, Gallipoli, The Serpent’s Teeth, Tales from The Vienna Woods, Holy Day (Sydney Theatre Company); Songket, Borderlines – The Return (Griffin COLIN FRIELS Willy Loman Theatre Company). He co-wrote, produced, directed and starred in the stage adaptation of He Died With a Felafel in His Hand. On film Steve has been seen Colin’s theatre credits include (Melbourne Theatre in A Few Best Men, Beneath Hill 60 (Film Critics’ Circle of Australia nomination Company); Zebra, Victory, Copenhagen, The School for for Best Supporting Actor), Men’s Group, Razzle Dazzle, Last Train to Freo Scandal, Macbeth, The Temple (Sydney Theatre Company); (AFI and FCCA nominations for Best Lead Actor), Kokoda, Lost Things, Mullet, Shadow and Splendour, The Cherry Orchard (Royal , Vertical Limit and Two Hands. TV credits include : Queensland Theatre Company); The Incorruptible (Playbox Razor, Small Time Gangster (ASTRA nomination for Most Outstanding Actor), Theatre); Cloud Nine, Miss Julie and The Bear (Nimrod). Colin’s television Laid, Rake, Sea Patrol, All Saints, Farscape, Crash Palace, Young Lions, Blue credits include Mabo, : Bad Debts, Wild Boys, Killing Time, Bastard Heelers, Wildside, GP, , Big Sky, Water Rats, Home and Away Boys, Blackjack, Temptation, My Husband My Killer, The Farm, For The Term and . Steve won Best Actor at in 1996 for his own short of His Natural Life and Water Rats. His film credits include The Eye of the film,Cliche . Steve is an avid Penrith Panthers supporter and plays cricket for Storm, A Heartbeat Away, Tomorrow When the War Began, Matching Jack, the Cricketers Arms Cricket Club. The Informant, The Nothing Men, Solo, The Book of Revelation, Tom White, 14 15 GENEVIEVE LEMON Linda / Letta Playwriting Australia’s 2012 National Play Festival. As a freelance dramaturg, Jennifer has developed work including How It Is or As You Like It as part of the Previously for Belvoir, Genevieve has appeared in The Ashfield Council Artist-in-Residency Program, which will be performed at the Cosmonaut’s Last Message. Her other theatre credits 9th Women Playwright’s International Conference in Sweden, and The Bull for include Billy Elliot (London and Sydney seasons, Working the Ashmolean Museum, Oxford, by Van Badham. She has also developed new Title); Priscilla Queen of the Desert (Priscilla on Stage); work as part of the Merrigong Theatre Company Independent Artist’s Program, Summer Rain, Victory, The Republic of Myopia, Harbour, the Space Program at PACT and the Shopfront Summer YAK Residency Hanging Man, Morning Sacrifice(Sydney Theatre Company); Arthur Miller’s Program. She has devised and performed pieces for the Underbelly Arts Festival, (Ensemble Theatre); and Piaf (Melbourne Theatre Company.) Brisbane Festival’s Under the Radar program and the CRACK Theatre Festival. Genevieve’s television credits include , After the Beep, Three She is the current associate producer of the CRACK Theatre Festival and will be Men and a Baby Grand, Heartland, and Prisoner. Her film credits the co-Artistic Director in 2013. include The Water Diary, Suburban Mayhem, Holy Smoke, Soft Fruit, Billy’s Holiday, and Sweetie. Genevieve has performed in the Wharf Revue and many other cabarets in Australia and London, and has an album HAMISH MICHAEL Happy of her Sydney Opera House concert, Angels in the City. Genevieve received Hamish recently appeared in the Belvoir production of As Helpmann, Sydney Theatre Critics Circle and Green Room awards for her role You Like It. Other theatre credits include The Trial (Sydney in Billy Elliot, and received AFI nominations for her roles in Suburban Mayhem Theatre Company/Thin Ice Productions/Malthouse Theatre); and Sweetie. Optimism, Woyzeck, Moving Target, Eldorado (Malthouse Theatre); Ray’s Tempest and Two Brothers (Melbourne LUKE McGETTIGAN Stage Manager Theatre Company). His television credits include Howzat: Kerry Packer’s War, Crownies, Spirited, City Homicide and . For film, Hamish has Luke is Belvoir’s Resident Stage Manager. For Belvoir he appeared in The Great Gatsby, Lucky Miles, Em4Jay and Tom White. He was has stage managed Babyteeth, Summer of the Seventeenth nominated for the Graham Kennedy Award for Most Outstanding New Talent Doll, Neighbourhood Watch, The Wild Duck, Namatjira at this year’s Logies, and also for Green Room Awards for his roles in Eldorado (Belvoir/Big hART), Page 8, The End, That Face, The and Ray’s Tempest. Hamish has also received a Helpmann Award nomination Promise, Scorched, Antigone, Keating!, The Caucasian for Best Male Actor in Two Brothers. Chalk Circle and The Little Cherry Orchard. His other credits include The Pig Iron People, The Give and Take, Bed, La Dispute (Sydney Theatre Company); Like a Fishbone (Sydney Theatre Company/Griffin Theatre Company); The PIP MILLER Charley / Stanley Government Inspector, The Tempest, The Servant of Two Masters, The Pip has worked extensively in theatre, television and film, Comedy of Errors, The Taming of the Shrew (Bell Shakespeare); Paradise City, in both Australia and the UK. For Belvoir, Pip has previously Through the Wire (Performing Lines); Alive at Williamstown Pier (Griffin Theatre appeared in The Book of Everything, The Seed, Stuff Company); Scam, Abroad With Two Men (Christine Dunstan Productions); Happens and The Goat, or Who is Sylvia (State Theatre Flexitime, Market Forces, Shoe Horn Sonata, Blinded by the Sun (Ensemble Company of South Australia/Belvoir). Other theatre credits Theatre); The Complete Works of William Shakespeare (Spirit Productions); include Give and Take, The Price (State Theatre Company of South Australia), , Arms and the Man, Much Ado About Nothing, Spring Awakening Tender (Griffin Theatre Company); The Vertical Hour, The Cherry Orchard (Railway Street Theatre Company); Barmaids, Radiance (New England Theatre (Sydney Theatre Company); The Clean House (Melbourne Theatre Company); Company); My Girragundji (Canute Productions); and Dog Logs (Marguerite Othello, Twelfth Night, As You Like It, Hamlet (Bell Shakespeare); and A Pepper Productions). Midsummer Night’s Dream (Sydney Symphony). Pip spent several years with the Royal Shakespeare Company and also appeared at the National Theatre, JENNIFER MEDWAY Assistant Director the and on the West End in roles including Valmont in Les Liaisons Dangereuses, and the Inspector in . His film credits include Jennifer is currently an associate artist (dramaturgy) at Wish You Were Here, Lucky Country, Sliding Doors, Star Wars: The Return of Belvoir where she most recently worked on Strange Interlude. the Jedi. On television he featured in Rescue Special Ops, To Catch a Killer, Jennifer completed an internship in the literary department Hammer Bay, All Saints, Supernova, The Bill, The Trial and Retribution IV, of the Royal Court, London, earlier this year. In 2011 Jennifer Grafters and Heartbeat. Coming up on ABC TV, Pip will appear in the role of was the literary assistant at Belvoir and a script assessor for John Reid in Fremantle Media’s minseries Devil’s Dust. 16 17 Patrick Brammall 18Hamish Michael 19 LUKE MULLINS Bernard / Howard NICK SCHLIEPER Lighting Designer Luke trained at the Victorian College of the Arts. He last Nick has designed for all of the major performing appeared for Belvoir in The Power of Yes and in Thom companies in Australia, and works regularly in Europe. For Pain (based on nothing) for B Sharp/Arts Radar. Luke has Belvoir Nick’s credits include Every Breath, Measure for also appeared in Long Day’s Journey Into Night (Sydney Measure, Lulu, Black Mary and The Unexpected Man. His Theatre Company/Artists Repertory, Portland); The War many other theatre credits include Gross und Klein, Baal of the Roses, Gallipoli, The Season at Sarsaparilla, The Serpents Teeth, (and set), (also in Washington), Hedda Gabler and A Streetcar Tales from the Vienna Woods (Sydney Theatre Company); The Duel (Sydney Named Desire (both also in New York), The Wars of the Roses, The City, Theatre Company/Thin Ice). Other work includes The Eisteddfod, 4xBeckett, The Season at Sarsaparilla, Victory, The Three Sisters, Don Juan, Cyrano Agoraphobe, Lally Katz and the Terrible Mysteries of the Volcano, Untitled de Bergerac (Sydney Theatre Company); Richard III, Hamlet, The Visit, The Intentional Exercise, Nine Days Falling and The Apocalypse Bear Trilogy Tempest (Melbourne Theatre Company); ‘Tis Pity She’s a Whore, Marat/ (Stuck Pigs Squealing); Cloud Nine, , Oedipus (Melbourne Sade (State Theatre Company of South Australia); Good Works (and set) Theatre Company); Autobiography of Red (Malthouse Theatre); Irony is Not (Queensland Theatre Company). Other productions include Priscilla, in Sydney, Enough: Essay on My Life as Catherine Deneuve (Arts House/Fragment 31); London and New York and Love Never Dies. Nick’s work in Europe includes The Man with the September Face (Uninvited Guests/Full Tilt); Mercury Fur productions for The Royal Shakespeare Company and the State Theatres of (Theatreworks/Griffin);Grace (God be in My Mouth/Theatreworks); Delicacy Berlin, Hamburg and Munich as well as productions in Vienna and Stuttgart. (Trades Hall); Catapult, Terminating, The Maids, Bison (Wrecked All Prods); His work in opera includes The Marriage of Figaro, Don Giovanni, Rinaldo, Lucrezia and Cesare, Miss Julie (Original Voices); Sotoba Komachi and Kantan Nabucco, Tannhäuser, Il trovatore, and Der Freischütz, (Opera Australia); Faust, (Liminal Theatre). Luke’s film and TV credits include Satisfaction, Blue Heelers, Madam Butterfly (Victorian State Opera); The Ring Cycle (also Associate Set MDA, Reef Doctors, Neon Skin and The Wilding. Luke won a Green Room Designer), Parsifal (State Opera of South Australia); Don Giovanni (and set) Award for Best Supporting Actor for The Season at Sarsaparilla and The (Opera Queensland); Macbeth (and set) (Opera NZ); Billy Budd, Midsummer George Fairfax Memorial Award for Excellence in Theatre Practice. Night’s Dream (Hamburg State Opera). Nick has received six Green Room Awards, four Sydney Critics’ Awards and three Helpmann Awards. RALPH MYERS Set Designer SCOTT WITT Fight Choreographer Ralph is Belvoir’s Artistic Director. For Belvoir he has designed Summer of the Seventeenth Doll, The Seagull, Scott has worked for over 25 years as a fight director, The Wild Duck, Measure for Measure, Toy Symphony, movement consultant, actor, director and clown. As a Parramatta Girls, Ray’s Tempest, The Spook, The Fever, fight director and movement consultant his theatre credits Conversations with the Dead and The Cosmonaut’s include Babyteeth, The Dark Room, Summer of the Last Message to the Woman He Once Loved in the Former Soviet Union. Seventeenth Doll, Gwen in Purgatory, That Face (Belvoir); Ralph’s other credits include The City, , Blackbird, A Fool for Love (B Sharp/Savage Productions); Spring Awakening, God of Midsummer Night’s Dream, A Kind of Alaska/Reunion, The Lost Echo, Mother Carnage, A Streetcar Named Desire, The Duel, Elling, The Wonderful World Courage and Her Children, Boy Gets Girl, This Little Piggy, Far Away, Morph, of Dissocia (Sydney Theatre Company); The Taming of the Shrew, Romeo Endgame, The 7 Stages of Grieving and Frankenstein, which he also directed and Juliet (Bell Shakespeare); Anatomy Titus: Fall of Rome, The Alchemist, (Sydney Theatre Company); Enlightenment, Cruel and Tender, Dinner, Frozen Richard III (Bell Shakespeare/Queensland Theatre Company); Toy Symphony, (Melbourne Theatre Company); Othello (Bell Shakespeare); Wonderlands The Crucible, School of Arts, Stones in His Pockets, Who’s Afraid of Virginia (Griffin Theatre Company/Hothouse Theatre Company); Borderlines and Sweet Woolf?, , The Estimator, (Queensland Phoebe (Griffin Theatre Company); Eora Crossing (Legs on the Wall/Sydney Theatre Company); Summer of the Seventeenth Doll, The 48 Shades of Festival); Caligula (English National Opera); Peter Grimes, Così fan tutte (Opera Brown, Way Out West, The John Wayne Principle, As You Like It (La Boite); Australia); La Bohème ( Opera); and Two Faced Bastard (Chunky and Hamlet (Sport for Jove). Move). Later this year, Ralph will be directing Private Lives for Belvoir.

20 21 Sunday Forum The Belvoir Story

The bigger picture, the story behind Death of a Salesman One building. Both the Upstairs and Downstairs the show, the who’s who and the Sunday 5 August Six hundred people. stages at Belvoir St Theatre have Thousands of stories. what’s what – Sunday Forum is the Conversation Piece nurtured the talents of many renowned new window into our work. There’ll Australian artists: actors including Sunday 16 September When the Nimrod Theatre building be a Sunday Forum for every , , Toby in Belvoir Street, Surry Hills, was Upstairs show in 2012, at 3pm Private Lives Schmitz, , Deb Mailman threatened with demolition in on the second to last Sunday of Sunday 4 November and ; writers such 1984, more than 600 people – the season. Join us in the theatre Beautiful One Day as Tommy Murphy, Rita Kalnejais, ardent theatre lovers together with and we’ll have a panel of special Sunday 16 December Lally Katz and ; directors arts, entertainment and media guests – performers, creatives, including Simon Stone, Benedict professionals – formed a syndicate commentators, reviewers, pundits Andrews, , Rachael to buy the building and save this – for a discussion on the show and Maza and former Belvoir Artistic unique performance space in how it fits into the world at large. Director Neil Armfield. inner-city Sydney. You’ll have a chance to ask your Belvoir’s position as one of Over 25 years later, this space, burning questions during the Australia’s most innovative and known as Belvoir St Theatre, forum, and continue the discussion acclaimed theatre companies has continues to be the home of one of informally with us in the foyer been determined by such landmark Australia’s most celebrated theatre afterwards. productions as The Diary of a companies – Belvoir. Under the Madman, The Blind Giant is Dancing, Sunday Forums are free, and you artistic leadership of Ralph Myers don’t need to have seen the show Cloudstreet, Measure for Measure, and General Manager Brenna Keating!, Parramatta Girls, Exit the yet to be involved. Each topic will Hobson, Belvoir engages Australia’s be firmed up once the show opens; King, The Alchemist, Hamlet, Waiting most prominent and promising for Godot, The Sapphires, Who’s check our website or call Box Office playwrights, directors, actors and for updated information. Afraid of Virginia Woolf? and Stuff designers to realise an annual Happens. See you there! season of work that is dynamic, challenging and visionary. As well Belvoir receives government Bookings are essential and are as performing at home, Belvoir support for its activities from the available four weeks before each regularly takes to the road, touring to Federal Government through the forum. major arts centres and festivals both Major Performing Arts Board of Book: belvoir.com.au/sundayforum nationally and internationally. the Australia Council and the State or call Box Office on 02 9699 3444. Government through Arts NSW. Belvoir Donors We give our heartfelt thanks to all our donors for their loyal and generous support.

Foundation Donors Cajetan Mula (Honorary Member) Rosemarie & Kevin Julie Hannaford Dorothy Hoddinott AO Belvoir is very grateful to Make a significant financial A.O. Redmond Jeffers-Palmer Siobhan Hannan & James Talbot John Kaldor AM & accept all donations. investment in the Belvoir Michael Rose & Jo D’Antonio Margaret Johnston Beth Harpley Naomi Milgrom AO Donations over $2 are tax Creative Development Fund. Ann Sherry AO Rob & Corinne Johnston Dorothy Hoddinott Despina & lphygeni Kallinikos deductible. If you would like Victoria Taylor Phil Kachoyan Susan Hyde Su Kennedy to make a donation, or would Neil Armfield AO Penny Ward Colleen Kane Peter & Rosemary Ingle Josephine Key like further information about Anne Britton David & Jen Watson Antoinette le Marchant Stewart & Jillian Kellie Margaret Lederman any of our donor programs Rob Brookman & Verity Laughton Dr Candice Bruce & Michael Jennifer Ledgar & Bob Lim Robyn Kremer Ross Littlewood & please call our Philanthropy Andrew & Cathy Cameron Whitworth Stephanie Lee Margaret Lederman Alexandra Curtin Coordinator Pearl Kermani Janet & Trefor Clayton Kim Williams AM Atul Lele Zula Nittim Heidrun Lohr on 02 8396 6219 or email Anne & Michael Coleman Cathy Yuncken Hilary Linstead Patricia Novikoff Christopher Matthies [email protected] Hartley & Sharon Cook A & R Maxwell Judith Olsen Catherine McDonnell List correct at time of printing. Gail Hambly 2011/2012 B Keepers Prof. Elizabeth More AM Martine Robins Patricia McEniery Anne Harley Income received from Dr David Nguyen Peter & Jan Shuttleworth David and Barbara Millons Hal & Linda Herron B Keepers underpins all of D & L Parsonage Chris & Bea Sochan John Morgan Special Thanks Louise Herron & Clark Butler our activities. Timothy & Eva Pascoe The Spence Family J P Morrison Victoria Holthouse Richard & Heather Rasker Kerry Stubbs Jane Munro We would like to acknowledge Peter & Rosemary Ingle B Keepers Greg Roger Jane Westbrook Annabelle Andrews & Peter long-time supporters Cajetan Ian Learmonth & Julia Pincus Anonymous (5) Geoffrey Rush Zee Yusuf Murray Mula and Len Armfield.T hey will always be remembered for their Helen Lynch Robert & Libby Albert Andrew & Louise Sharpe Dr Peter & June Musgrove generosity to Belvoir. Frank & Bronwyn Macindoe Gil Appleton Vivienne Sharpe General Donors Irena Nebenzahl Macquarie Group Foundation Claire Armstrong & John Sharpe Peter and Jan Shuttleworth Andrew & Toni Noble Berg Family Foundation over $250 David Marr Edward Simpson Provide valuable support to Anne O’Driscoll Ann Sherry & Michael Hogan Bev & Phil Birnbaum Chris & Bea Sochan Kate Pasterfield Max Bonnell the projects most in need Victoria Taylor Victoria Taylor throughout the year. Judy & Geoff Patterson Mary Vallentine AO Ellen Borda Judy Thomson Natalie Pelham Kim Williams AM & Anne Britton Sue Thomson Anonymous (13) Greeba Pritchard Catherine Dovey Dr Catherine Brown-Watt Brian Thomson & Jes Andersen Marguerite Rona Mary Jo & Lloyd Capps Budi Hernowibowo Ross & Barb Armfield Lesley & Andrew Rosenberg 2011 Chairs Group Brian T. Carey Mary Vallentine AO Catherine & Chris Baldwin Mark and Ruth Sampson Supports the creative Elaine Chia Alison Wearn Andrew & Jane Bennett Vivienne Sharpe & development of Indigenous Jane Christensen Judy & Sam Weiss Baiba & Peter Berzins Tim McCormick work at Belvoir. Louise Christie Paul & Jennifer Winch Alec Brennan Agnes Sinclair Peter Cudlipp & Barbara Schmidt Iain & Judy Wyatt Kim Burton Eileen Slarke and Family Anonymous (2) Suzanne & Michael Daniel Andrew & Cathy Cameron Tim Smyth Antoinette Albert Chris & Bob Ernst Corporate B Keepers Michael & Colleen Chesterman Paul Stein Jillian Broadbent AO Jeanne Eve Constructability Recruitment Judy Cole Lee Tanabe Keith & Leslie Bryant Peter Fay Macquarie Group Foundation Dayn Cooper Anthony Tarleton Jan Chapman & Stephen Peter Graves Sterling Mail Order Timothy and Bryony Cox Chris Vik & Chelsea Albert O’Rourke David & Kathryn Groves Diane Dunlop Sarah Walters Louise Christie Sophie Guest Education Donors Anton Enus & Roger Henning Lynne Watkins and Warren Coleman & Therese David Haertsch Provide opportunities for R.D & P.M Evans Nicholas Harding Kenyon Wendy & Andrew Hamlin young people throughout Leon Fink David Watson Kathleen & Danny Gilbert Beth Harpley NSW to access our work. Valmae Freilich Sam & Judy Weiss Girgensohn Foundation John Head Frances Garrick Peter Wilson & James Emmett Marion Heathcote & Brian Burfitt Marion Heathcote & Brian Burfitt Anonymous (5) Dr Ronald Lee Gaudreau Brian & Patricia Wright HLA Management Pty Ltd Michael & Doris Hobbs Ian Barnett Helen Thwaites & Peter Gray Carolyn Wright Belinda Hutchinson AM Peter & Jessie Ingle Judy Binns Phillip & Vivien Green The Jarzabek Family Rosemary & Adam Ingle Mary G Burchell Yoram & Sandra Gross Cassandra Kelly Anita Jacoby Jan Burnswoods Priscilla Guest Hilary Linstead The Jarzabek Family Rae de Teliga Juliet Harper Ross McLean & Fiona Beith Avril Jeans Jane Diamond Julie Hannaford John Morris Priscilla Guest Libby Higgin

24 25 Belvoir Staff 18 Belvoir Street, Surry Hills NSW 2010 Email [email protected] Web www.belvoir.com.au Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444 Artistic Director Education Front of House BURIED city Ralph Myers Education Manager Front of House Manager 6 JANUARY – 5 FEBRUARY By Raimondo Cortese General Manager Jane May Ohmeed Ahi Brenna Hobson Education Resources Assistant Front of & Regional Access House Manager I’m YOUR MAN Belvoir Board Cathy Hunt Brooke Louttit 12 JANUARY – 5 FEBRUARY by Roslyn Oades Education Assistant Anne Britton Lisa Mumford Rob Brookman Development Thyestes Andrew Cameron (Chair) Development Manager Retha Howard 15 january – 19 february by Thomas Henning, Peter Carroll Administration Artistic Administrator Partnerships Coordinator chris ryan, simon stone, mark winter Michael Coleman John Woodland Zoë Hart Tracey Driver Administration Coordinator Philanthropy Coordinator Gail Hambly Maeve O’Donnell Pearl Kermani BABYTEETH Brenna Hobson 11 february – 18 march By RITA KALNEJAIS Ian Learmonth Finance & Marketing Frank Macindoe Marketing Manager Ralph Myers Operations EVERY BREATH Head of Finance & Tina Walsberger 24 MARCH – 29 APRIL by Operations Marketing Coordinator Belvoir St Theatre Richard Drysdale Marty Jamieson Board Financial Administrator Publications Coordinator FOOD Trefor Clayton (Chair) Ann Brown Gabrielle Bonney 26 april – 20 may By STEVE RODGERS Stuart McCreery Accounts/Payroll Officer Publicist Angela Pearman Susan Jack Elly Michelle Clough Nick Schlieper IT & Operations Manager STRANGE INTERLUDE Kingsley Slipper Jan S. Goldfeder Production 5 may – 17 june by SIMON STONE after eugene o’neill Peter Wilson Production Manager Box Office Chris Mercer Production Coordinator OLD MAN Artistic & Box Office Manager 7 JUNE – 1 JULY By MATTHEW WHITTET Programming Katinka Van Ingen Eliza Maunsell Associate Director – Assistant Box Office Technical Manager Len Samperi New Projects Managers DEATH OF A SALESMAN Acting Technical Manager Eamon Flack Tanya Ginori-Cairns 23 JUNE – 12 AUGUST By ARTHUR MILLER Warren Sutton Associate Producer Alana Hicks Resident Stage Manager Tahni Froudist Luke McGettigan Literary Manager CONVERSATION PIECE Construction Manager Anthea Williams 25 august – 23 SEPTember by LUCY GUERIN Govinda Webster Resident Director Head Mechanist Simon Stone Damion Holling Associate Artists PRIVATE LIVES Costume Coordinator 29 September – 11 November By NOËL COWARD Stefan Gregory Judy Tanner Jennifer Medway Downstairs Production & PlayWriting Australia Venue Manager MEDEA Resident Playwright Daniel Potter 11 october – 25 NOVEMBER by kate mulvany & Tommy Murphy Theatre Technician ANNE-LOUISE SARKS after EURIPIDES PlayWriting Australia Caitlin Porter Associate Playwrights Kit Brookman BEAUTIFUL ONE DAY Nakkiah Lui 17 NOVEMBER – 23 DECEMBER by PAUL DWYER, Mei Tsering EAMON FLACK, RACHAEL MAZA LONG, DAVID WILLIAMS Emerging Indigenous Producer Louana Sainsbury don’t take your love to town 29 NOVEMBER – 23 DECEMBER by EAMON FLACK & 26 Medea 11 october – 25 november

By Kate Mulvany & Anne-Louise Sarks after Euripides Original Concept & Director Anne-Louise Sarks

death of a salesman

Bookings 02 9699 3444

Corporate partner belvoir.com.au/OLDMAN

“They show the world in CONVERSATION PIECE all its colours, shapes and 23 june – 12 august creative outlets; beauty, Choreographer and Lighting Designer With symmetry, elegance...” Director Damien Cooper Megan Holloway Lucy Guerin Sound Designer Alisdair Macindoe Erin, Avant Card fan Set & Costume ROBIN FOX Rennie McDougall Designer Harriet Ritchie ROBERT COUSINS Matthew Whittet (The plays aren’t bad either...)

A co-production with

Avant Card is a proud supporter of Belvoir; pick up a free postcard from the foyer. Bookings 02 9699 3444

Corporate partner belvoir.com.au/conversation Belvoir.MAY.2012.FP 4/5/12 10:36 AM Page 1

RECEIVE A 2 YEAR MOVIE CLUB MEMBERSHIP FOR THE PRICE OF 1! Devious Feisty

Humble Seductive

To purchase your Movie Club Membership visit www.palaceshop.com.au. Select a one Uncertain Despondent year membership and enter promo code “SALESMAN”. Hurry, offer expires 30.8. 2012. At Optus, we know our role in theatre. $ $ $ OK, so Optus aren’t the world’s finest thespians. But we do know For just 19.00 (save 9, valued at over 36) you will receive: • $13.50 tickets for you & a guest. how to make theatre possible for everyone, through our special • An 'Admit two' complimentary pass upon joining. collaboration with Belvoir. Our unique ‘Charitable Tickets’ • A birthday gift of an 'Admit one' complimentary pass. and ‘Unwaged Performance Programs’ offer free tickets to • PLUS much more! those who rarely have the opportunity to enjoy the theatre. For session times & advance tix: www.palacecinemas.com.au Palace Cinemas, proudly supporting

OPT11094

274755_OPT11094_162x92_Mono.indd 3 8/05/12 4:40 PM Just $4.19 a week SAVE $67

Subscribe today and save $67 Supporting Belvoir Subscribe to the Herald ‘your choice’ package and receive: for more than • Saturday’s Sydney Morning Herald and The Sun-Herald 15 years • 7-Day Digital Edition access via your computer or iPad • Extra Sydney Morning Herald on a weekday of your choice if you subscribe by 12 August. Visit subscribe.smh.com.au/belvoir or call 13 66 66 www.bakermckenzie.com/australia

Offer ends Sunday, 12 August , 2012. For full terms and conditions visit subscribe.smh.com.au/belvoir VINI PROUD SUPPORTER OF BELVOIR

3/118 DEVONSHIRE ST (ON HOLT) SURRY HILLS 9698 5131 TUES-FRI NOON - LATE SAT 5PM - LATE

CALL FOR POST- THEATRE DINING

121BC ITALIAN WINE SHOP OPEN 364 NIGHTS! IS NOW OPEN ACROSS FROM VINI Eat-in, delivery, pick-up Belvoir Sponsors

Corporate Partner

Major Sponsors Supporters

THE DEVONSHIRE is pleased to offer Belvoir patrons any two courses from the a la carte menu for just $45 per person. Indigenous Theatre at Belvoir supported by The Balnaves Tables for pre-theatre dining are available Foundation from 6pm, vacating before 8pm.

RESERVATIONS T: 02 9698 9427 E: [email protected] thedevonshire.com.au 204 Devonshire Street, Surry Hills Besen Family Foundation Coca-Cola Australia Foundation Copyright Agency Cultural Fund Associate Sponsors Enid Irwin Charitable Trust managed by Perpetual Events & Stays in the Vines Gandevia Foundation BOUTIQUE ACCOMMODATION The Greatorex Foundation Media Tree Thomas Creative Event Sponsors Vincent Fairfax Family Foundation

Government Partners

Silver Spoon Caterers Dinner and a show?

Al Aseel – 50 steps from For more information on partnership opportunities please contact our centre stage. Development Manager Retha Howard on 02 8396 6224 or email [email protected] Will you take that phoney dream and burn it before something happens?

corporate partner

18 & 25 Belvoir Street, Surry Hills NSW 2010 Email [email protected] Web www.belvoir.com.au Administration38 (02) 9698 3344 Fax (02) 9319 3165 Box Office (02) 9699 3444