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Prompt Resource / English PROMPT RESOURCE / ENGLISH 6 MAY – 16 JUN SEASON ———2019 Malthouse Theatre and Black Swan State Theatre Company present Cloudstreet. Cloudstreet was first commissioned by Black Swan State Theatre Company and Company B Belvoir in 1998. © Copyright: Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2019. PROMPT PACK CREATED FOR MALTHOUSE PROMPT—MALTHOUSE THEATRE’S YOUTH AND EDUCATION PROGRAM. Cover Image / Zan Wimberley Rehearsal Photos / Pia Johnson Design / Hours After Education Coordinator / Alexandra Macalister-Bills Education Producer / Toby Sullivan English Prompt Pack written by / Jill Fitzsimons Indigenous Australians and The Aboriginal People of Western Australia pages reviewed and edited by / Jason Barrow Cultural Awareness Officer Kurongkurl Katitjin Centre for Indigenous Australian Education and Research Edith Cowan University 2 Bradford Street Mount Lawley Western Australia 6050 CONTENTS Page 05 About Malthouse Theatre Page 11 Director’s Note / Matthew Lutton Page 12 Tim Winton on Cloudstreet Page 14 Cast & Creative Bios Page 22 Curriculum Focus Page 24 Amendments to Original Script Page 26 Contextual Information Page 26 Cloudstreet – The History of the Novel Page 26 Cloudstreet – The Creation of the Play Page 27 Cloudstreet – The History of the Play Page 30 Plot Overview Page 32 Australia 1943 – 1963 Page 35 Indigenous Australians Page 36 The Aboriginal People of Western Australia Page 38 Cloudstreet – Perth 1943 – 1963 Page 38 Cloudstreet – Geraldton, Margaret River, The Wheat Belt WA 1943 –1963 Page 42 Pre-Show Activities Page 48 Post-Show Activities Page 52 Video Interview with Matthew Lutton Page 54 Video Interview with Cloudstreet cast members Ian Michael, Arielle Gray & Bert Labonté Page 58 Assessment advice Page 63 Copyright Notice #CLOUDSTREETMALTHOUSE SEASON ———2019 Page 2—3 #CLOUDSTREETMALTHOUSE SEASON ———2019 Page 4—5 YOUR JOURNEY WITH MALTHOUSE THEATRE AWAITS. At Malthouse Theatre we collaborate with local and international artists to create inventive performances that cut to the core of the human experience. Theatre has the power to interrogate, disrupt and to be an agent of change—and we think it always should. At Malthouse Theatre, the work we produce explores the world personally, socially and politically. Based in a dedicated venue, The Coopers Malthouse in Melbourne, we are a home for live experiences that entertain and provoke a dialogue with and within audiences. Welcome to Malthouse Theatre. #CLOUDSTREETMALTHOUSE SEASON ———2019 Page 6—7 #CLOUDSTREETMALTHOUSE SEASON VIDEO RESOURCES ———2019 INITIAL PRE-REHEARSAL INTERVIEW WITH DIRECTOR MATTHEW LUTTON REHEARSAL INTERVIEW WITH CAST MEMBERS IAN MICHAEL, ARIELLE GRAY & BERT LABONTÉ BONUS MATERIALS DESIGN PRESENTATION / An internal recording of the initial CLOUDSTREET TRAILER / design presentation for Malthouse Theatre’s team, in December 2018. Featuring Benjamin Oakes Contains spoilers! Don’t watch this video until you’ve seen the show. (Fish Lamb) and Guy Simon (Quick Lamb) Page 8—9 CAST & CREATIVE TEAM MATTHEW LUTTON ARIELLE GRAY BRENNA HARDING NATASHA HERBERT DIRECTOR CAST CAST CAST BERT LABONTÉ EBONY MCGUIRE MIKAYLA MERKS IAN MICHAEL CAST CAST CAST CAST BENJAMIN OAKES SCOTT SHERIDAN GUY SIMON GREG STONE CAST CAST CAST CAST ALISON WHYTE ZOË ATKINSON PAUL JACKSON J. DAVID FRANZKE CAST SET & COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN ELIZABETH DRAKE KATT OSBORNE NATALIE ROWAN DANAE CRAWFORD COMPOSITION ASSOCIATE DIRECTOR STAGE MANAGER ASSISTANT STAGE MANAGER ANGUS ROBSON ASSISTANT STAGE MANAGER #CLOUDSTREETMALTHOUSE Page 10—11 SEASON ———2019 DIRECTOR’S NOTE / MATTHEW LUTTON When I first read Tim Winton’s Cloudstreet and history that has been repressed it helped me understand what it meant and denied, demanding to be heard. to be growing up in Perth. It broadened This is not the story of Australia. This is the my understanding of living in the world’s story of two families who spend 20 years most isolated city. The feeling of distance, coming to understand that there is no ‘us’ aloneness, the sense of the supernatural and ‘them’, only ‘us’ and ‘us’. That the voices power of the Swan River, and the of those who are missing, lost and forgotten intensity of the plains. It affirmed that I in our land, are always living on with us, was living on haunted land—a land filled and that we must think into the future with wisdom and scared of its history. with these lives in our hearts and minds. One of the remarkable qualities of This theatrical adaptation of Tim Winton’s Cloudstreet is that it means something story offers a very different experience to different to everyone who experiences reading the novel. It offers a community, it. It is the story of two families who are where an audience has the opportunity forced together against their will, on land to live, for a period of time, with the they have no connection to. It is a story characters of Cloudstreet and the spirits about being homeless and making a new of the house, and to worry for them, home. It is a story about culture, spirituality, want for them, and love with them. #CLOUDSTREETMALTHOUSE TIM WINTON ON CLOUDSTREET I don’t pretend to understand the that I couldn’t account for, but just had to phenomenon at all, but Cloudstreet seems dumbly acknowledge. A lot of people seemed to have a life of its own, and since it was to feel the same way. published in 1991 I’ve mostly been reduced to Cloudstreet is a big, baggy story and finding the role of quizzical onlooker. Note to self: ways to bring it to life on stage was no shrug and smile awkwardly. simple business 20 years ago, and it can’t Initially, I was a bit sceptical about the have gotten any easier since, so I appreciate original Black Swan State Theatre Company/ Malthouse Theatre taking up the challenge Belvoir St Theatre adaptation in 1998. I just with such brio. Mad buggers. Making theatre couldn’t see how it could be done. But when isn’t for the faint-hearted. It takes a lot of art- I finally saw the play I was shaken by its workers to lift something like this into view emotional power and I came to realise that and bear aloft over the journey. Brave souls, something special was happening up on stage all. I salute them. Page 12—13 SEASON ———2019 #CLOUDSTREETMALTHOUSE #CLOUDSTREETMALTHOUSE SEASON CAST & CREATIVE BIOS ———2019 MATTHEW LUTTON ARIELLE GRAY BRENNA HARDING DIRECTOR CAST CAST Matthew Lutton is Malthouse Arielle is a performer, Brenna is one of Australia’s Theatre’s Artistic Director theatre-maker, puppeteer, most exciting young actors. and Co-CEO. Prior to this, voice-over artist and Theatre credits include The he was Malthouse Theatre’s improviser. She is a founding Wolves (Belvoir), The Almighty Associate Director and the member of The Last Great Sometimes, The Bleeding Tree Artistic Director of ThinIce Hunt theatre company and (Griffin Theatre Company), The in Perth. Directing credits for has created, performed in and Gulf (Lume Productions) and Malthouse Theatre include toured original, inventive and Jumpy (MTC/STC). Television Melancholia, Bliss, Black Rider: engaging theatre. Malthouse credits include Black Mirror, The Casting of the Magic Theatre credits include Picnic Puberty Blues, Secret City, The Bullets, The Real and Imagined at Hanging Rock. Credits for Code, My Place, Packed to the History of the Elephant Man, The Last Great Hunt include Rafters, A Place to Call Home Away, Edward II, Picnic at Lé Nør (Perth Festival), The and Glitch. Film credits include Hanging Rock, I Am a Miracle, Advisors, Stay With Us (as The Turning, which premiered Night on Bald Mountain, The Director), Monroe & Associates at the 2012 Melbourne Bloody Chamber, Dance of (Sydney Festival), Improvement International Film Festival. Death, Pompeii, L.A., On the Club, Falling Through Clouds Brenna is on the board of Misconception of Oedipus, (Sydney Festival), All That anti-homophobia organisation Die Winterreise and Tartuffe. Glitters, Old Love, Minnie and Wear it Purple and founder For STC he has directed The Mona Play Dead (Brisbane of the Sydney-based feminist Trial, The Mysteries: Genesis Festival) and the Helpmann group Moonlight Feminists. and The Duel. Other directing Award nominated productions Brenna was the recipient of credits include Love Me Tender New Owner and It’s Dark the 2014 Marie Bashir Peace for Belvoir and Don’t Say the Outside. Other theatre credits Prize and a 2012 Logie Award Words for Griffin Theatre include My Robot (Barking for Most Popular New Female Company. His opera directing Gecko Theatre). A Midsummer Talent. She was nominated for credits include Make No Noise Night’s Dream, The Dark Room a Graham Kennedy Award for for the Bavarian State Opera, and Pool [No Water] (Black Most Outstanding New Talent Strauss’ Elektra for Opera Swan State Theatre Company) and an AACTA Award for Best Australia and West Australian and the Blue Room Theatre Young Actor. Brenna was a 2018 Opera and Wagner’s The Award-winning Laika: A Staged finalist for the Heath Ledger Flying Dutchman for New Radio Play (Second Chance Scholarship. She is currently Zealand Opera. Theatre). completing a Bachelor of Communications and Creative Intelligence and Innovation at UTS. Page 14—15 CAST & CREATIVE BIOS NATASHA HERBERT BERT LABONTÉ EBONY MCGUIRE CAST CAST CAST Previous work with Malthouse Bert is one of Australia’s Ebony is an actor, writer, Theatre includes Trustees, leading actors. Malthouse facilitator and a WAAPA Away, On the Misconception Theatre credits include I Am graduate. Cloudstreet
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