78 Montague Road South Brisbane PO Box 3310 South Brisbane BC Queensland 4101
Telephone: 07 3010 7600 Facsimile: 07 3010 7699 Email: [email protected] Website: www.qldtheatreco.com.au
Front cover: Georgina Symes Photo: Craig Ratcliffe The Crucible L-R: Brad McMurray, Melanie Zanetti, Francesca Savige, Nelle Lee, Bryan Nason, Amelia Dowd, Sue Dwyer, Chris Betts, Christopher Sommers, Andrew Buchanan, Robert Coleby, Bob Newman, Leo Wockner, Kathryn Marquet, Paul Bishop, James Stewart. Photo: Rob Maccoll Contents
Letter to the Premier...... 2
Introduction Company profile...... 3 Strategic overview...... 4 Functions of the Company...... 5 Queensland Government objectives...... 6 Chair’s report...... 7 Artistic Director’s report...... 8
Outcomes Summary of key outcomes...... 9
Create excellent work...... 12 Mainstage Season...... 14 Education Performance Season...... 23 2010 Outlook...... 26
Strengthen community and industry value...... 27 2010 Outlook...... 34
Larger audience numbers...... 35 2010 Outlook...... 39
A financially strong company...... 40 Philanthropy...... 42 Corporate Development...... 43 Supporters Acknowledgement...... 44 2010 Outlook...... 46
A great place to work...... 47 2010 Outlook...... 50
Corporate Governance...... 51
Financial statements...... 53
Appendices Appendix A: Organisational chart...... 75 Appendix B: Board of Directors and staff...... 76 Appendix C: Executive Staff...... 79 Appendix D: Board Members...... 81
A n n u a l R e p o r t 1 Letter to Premier Company Profile
17 March 2010 Queensland Theatre Company is the State’s flagship theatre company established in 1970 by an Act of Parliament. The Honourable Anna Bligh MP Premier and Minister for the Arts The Company presents an annual mainstage season of nine Department of the Premier and Cabinet plays including timeless masterpieces, modern drama and PO Box 15185 new Australian work. CITY EAST QLD 4002 The Company is also dedicated to encouraging artist and artform development across the State through its Dear Premier Youth & Education Program, Emerging Artists Program, Regional Program and Writing Program, which includes the I am pleased to present the Annual Report 2009 for Queensland Theatre Company. Queensland Premier’s Drama Award.
I certify that this Annual Report complies with: Developing and inspiring young people to attend theatre, the prescribed requirements of the Financial Accountability Act 2009 and the Performance and Management Standard learn about the art form and participate in theatre activities 2009, and is a key focus of the Company through an annual season of the detailed requirements set out in the Annual Reporting Requirements for Queensland Government Agencies. Education Performances and a wide range of activities for young people. A checklist outlining the annual reporting requirements can be accessed at http://www.qldtheatreco.com.au/footer/righttoinformation.aspx In 2009, the Company toured productions regionally and nationally, and co-produced seasons with national and local Yours sincerely organisations. In Brisbane, the Company presented three mainstage productions in the Playhouse, four productions in the Cremorne Theatre, and two at its home venue, Bille Brown Studio.
Queensland Theatre Company has built a strong and loyal audience comprised of Season Ticket Holders who buy packages of five or more plays each year, and single ticket buyers who purchase on a less regular basis. The Company also reaches a significant ‘audience’ base of participants Dr Kate Foy through its Education, Regional and Writing Programs. Chair of the Board
2 A n n u a l R e p o r t A n n u a l R e p o r t 3 Strategic overview Functions of the Company
QUEENSLAND THEATRE COMPANY is a Statutory Authority of (2) Without limiting subsection (1), the theatre company has the Queensland Government established by the Queensland the powers given to it under this or another Act. Theatre Company Act 1970. (3) The theatre company may exercise its powers inside and The object of the Act as set out in section 1A is to contribute outside Queensland, including outside Australia. Vision to the cultural, social and intellectual development of all Queenslanders. (4) In this section – We aim to be one of the great theatre companies of the world power includes legal capacity. The principles intended to guide the achievement of the object of the Act as set out in section 1B are the following – The functions of the Company as set out in section 12 of the Act are Purpose a) leadership and excellence should be provided in the arts of the theatre; (a) to promote and encourage the development and Be living proof that theatre matters presentation of the arts of the theatre; b) there should be responsiveness to the needs of communities in regional and outer metropolitan areas; (b) to promote and encourage public interest and participation in the arts of the theatre; Values c) respect for Aboriginal and Torres Strait Islander cultures should be affirmed; (c) to promote and encourage either directly or indirectly the We value our team that knowledge, understanding, appreciation and enjoyment acknowledges our people as our greatest asset d) children and young people should be supported in of drama and other arts of the theatre in all their is committed to innovation and flexibility their appreciation of and involvement in the arts of the expressions, forms and media; encourages respect and trust theatre; (d) to produce, present and manage plays and other forms is supportive e) diverse audiences should be developed; and types of theatre and entertainment in places values individual differences determined by the theatre company; allows time for reflection and celebration f) capabilities for life-long learning about the arts of the theatre should be developed; (e) to establish and conduct schools, lectures, courses, exceeds our customers’ expectations and provides exceptional service seminars and other forms of education in drama and g) opportunities should be supported and enhanced for other arts of the theatre; international collaboration and for cultural exports, especially to the Asia-Pacific region; (f) to teach, train and instruct persons and promote Goals education and research in drama and other arts of the We will: h) content relevant to Queensland should be promoted and theatre; presented. create excellent work (g) to provide or assist theatres and appurtenances strengthen community and industry value The general powers are outlined in section 14 of the Act of theatres; create larger audience numbers create a financially strong company (1) For performing its functions, the theatre company has all (h) to encourage the involvement of persons resident in the powers of an individual and may for example – Queensland in the writing of plays and other aspects of create a great place to work the arts of the theatre; a) enter into arrangements, agreements, contracts and deeds; and (i) to perform the functions given to the theatre company under another Act; Our focus areas 2009 – 2012 b) acquire, hold, deal with and dispose of property; and (j) to perform functions that are incidental, complementary breaking expectations/challenging assumptions about the nature of theatre c) engage consultants; and or helpful to, or likely to enhance the effective and uitilising and embracing new technologies efficient performance of, the functions mentioned in strengthening our national presence d) appoint agents and attorneys; and paragraphs (a) to (i); growing our philanthropic base e) charge, and fix terms, for goods, services, facilities (k) to perform functions of the type to which paragraph (j) diversifying audiences and attracting new people and information supplied by it; and applies and which are given to the theatre company in developing and implementing sustainability strategies writing by the Minister. maximising precinct upgrade opportunities – Kurilpa developments f) do anything else necessary or desirable to be done in performing its functions. The Company’s vision, goals and key strategies have been established within the context of the guiding principles and functions of the Queensland Theatre Company Act 1970, and the State Government’s objectives.
4 A n n u a l R e p o r t A n n u a l R e p o r t 5 Queensland Government objectives Chair’s Report
Queensland Theatre Company as a Statutory Authority contributes to Towards Q2: Tomorrow’s Queensland The 2009 year started with some dire predictions on Our thanks also goes to the numerous Season Sponsors who Queensland’s Vision for 2020 ambitions in the following way: the financial front, as the world grappled with the likely assist the Company in its endeavours. impacts of the global financial crisis. The Board reviewed the Company’s position early in the year and determined Our Philanthropy Program saw some significant growth Strong: Creating a diverse economy powered by bright ideas that the Company’s strong financial position provided the in 2009, with support from trusts and foundations, and Investing in skills and creativity, to boost the productivity of our people backing to hold steady to the planned range of activities and a number of events that attracted new donors, and built programs. This decision proved critical, as the Company’s relationships with existing donors. The State Government’s supporting a vibrant local performing arts sector non-performance activities continued to grow, with a slight dollar for dollar subsidy continues to be a great incentive for providing support and development opportunities for writers drop in attendances at mainstage productions. donors to contribute to the Company’s activities.
Facilitating collaboration between research institutions and industry, and among firms that can learn from each other In fact, the global economic circumstances produced some Funding from State and Federal Governments continues to opportunities for the Company to highlight and continue be vital and the Company strives to maximise the benefits to strengthening local, national and international presence through touring and co-productions with national and its work in adding public and industry value through its the community through considerable investment community international companies Regional, Youth & Education and Artistic Development programs and activities. I would like to take this opportunity Programs. Attraction of diverse investment from both public to thank the State Government, and in particular the Premier and private sources enabled these programs to extend their and Minister for the Arts, the Hon Anna Bligh MP, for her Green: Protecting our lifestyle and environment reach across regional Queensland. enthusiastic support and interest in Queensland Theatre Improving its own carbon footprint, by reducing the emissions created by government buildings and vehicles Company and the arts in Queensland. Overall, more than 114,000 people saw a Queensland Theatre developing a sustainability strategy Company production in 2009, in most major capital cities, My thanks also goes to Artistic Director Michael Gow and small venues in Central and Western Queensland, and in General Manager Libby Anstis for balancing artistic risk and schools, libraries and Indigenous Knowledge Centres in Far financial stability, and the whole Company team for a year of Smart: Delivering world-class education and training North Queensland. In total, the Company presented a total great achievements under pressure. My thanks also go to my Funding and delivering flexible, high quality, post-school training, that works for employers and those seeking training of 433 performances in 54 venues. In Brisbane, the Company colleagues on the Queensland Theatre Company’s Board for presented 254 performances in its mainstage season of 9 their counsel. providing education opportunities for students, young people and educators productions. However, all the Company’s work is directed at our Our aim to provide audiences with a diverse range of community – the artists, donors, sponsors, audience Healthy: Making Queenslanders Australia’s healthiest people experiences was realised featuring fresh perspectives on members, and people that participate in various other Encouraging Queenslanders to live healthier lifestyles so they can avoid the need to be admitted to hospital international classics such as Arthur Miller’s The Crucible, activities – to which we offer our recognition of the unique and new works such as 25 Down, by Queensland Premier’s and cooperative art that is live theatre making. developing social opportunities for audiences to connect with each other and the company Drama Award winner, Richard Jordan. providing affordable and accessible productions Financially, it was an eventful year, and early budget predictions of a deficit did not eventuate, with the end of year result being a surplus of $109,676 taking the accumulated reserves to $2,237,788.
Sponsorship continues to be a vital source of additional funding with total cash and in-kind contribution of more than $500,000. The Company was pleased to have the following Dr Kate Foy companies as production and program sponsors in 2009: Chair Bendigo Bank, Philip Bacon Galleries, Brisbane Airport Corporation, Brookfield Multiplex, Griffith University, CS Energy, Wesfarmers Resources, Wesfarmers Curragh and University of Southern Queensland.
6 A n n u a l R e p o r t A n n u a l R e p o r t 7 Artistic Director’s report Outcomes
In 2009 we promised a year of truth, beauty and courage, The Education Performances in the Bille Brown Studio, Summary of key outcomes and to celebrate the joy of facing life in all its wondrous Eating Ice Cream With Your Eyes Closed, and Bertolt Brecht’s extremes. And as the global powers watched their apparently The Exception and The Rule were well received by teachers fragile economies crumble, these themes became an ever and students and provided evidence that the flexible Performance - Mainstage Performance - Education Productions 100,000 Number of Participants Number of Participants powerful reminder of the value of theatre and ideas. curriculum requirements create opportunities to program beyond the predictable for this important segment of our 90,000 We opened the year with The Alchemist, a co-production audience. 80,000 8,000 with Bell Shakespeare, exposing the ridiculous lengths the gullible and greedy will go to in the pursuit of an easy We continued our commitment to regional Queensland and 70,000 7,000 fortune. That Face, a hilarious and unsettling exploration in 2009 expanded the Wesfarmers Resources Regional Acting 60,000 6,000 of a family in freefall, written by London’s hottest young Studio, developed a professional development program playwright, Polly Stenham, was created by a young for teachers in regional areas and undertook extensive 50,000 5,000 Queensland creative team in a powerful production. Our community workshop programs in Cunnamulla, Charleville, 40,000 4,000 other Bille Brown Studio production, 25 Down, by Richard Murgon and Kirwan. Jordan, examining Generation Y’s quarter-life crisis combined 30,000 3,000 to provide two highlight productions for our younger Our two actors in the Emerging Artists Program, Christopher audiences. Sommers and Kathryn Marquet, experienced a broad range 20,000 2,000 of mainstage, touring and Education Performance seasons 10,000 1,000 God of Carnage, examining the lives of two affluent couples adding to their depth and breadth of skills as professional and their quick descent into simmering resentment and artists. In addition, a number of other emerging creative 2006 2007 2008 2009 2006 2007 2008 2009 blistering bad manners, was an opportunity for the Company professionals developed their skills under our Creative to undertake its first co-production with Black Swan State Assistants program. The continued support of Brisbane Theatre Company in Perth. Airport Corporation has been critical in providing this Performance - Mainstage, Education Productions, Co-production Income Tours, Co-productions and affiliate productions Performance - Mainstage important part of the development process for Brisbane Number of Participants The Company joined the State-wide Q150 celebrations with artists. The School of Arts by Bille Brown, a warm evocation of $800,000 small-town country life and the impact of a visiting theatre Also in 2009, we had a keen interest in the development of troupe. Life imitated art when this show went on the the Go Between Bridge, and are pleased that Brisbane City 140,000 $700,000 road, visiting Blackwater, Biloela, Rockhampton, Murgon, Council has assisted us in taking steps to make sure that the Chinchilla and Warwick, with box office income going to local Company’s premises are a great place to work and visit. 120,000 $600,000 charities in each centre. We were grateful for the support of 100,000 $500,000 QPAC and Q150 to undertake such a large-scale new work in Dr Kate Foy and all the Queensland Theatre Company Board this historic year for Queensland. members continue to provide support when it’s needed, and 80,000 $400,000 contribute to the Company’s activities in important ways 60,000 $300,000 We also presented some of the best touring productions and I continue to be privileged to work with amazing and in 2009, with Melbourne Theatre Company’s production dedicated people who show they love what they do by the 40,000 $200,000 of Ninety, Joanna Murray-Smith’s latest play, and Joan commitment and effort they put into their daily tasks. 20,000 $100,000 Didion’s The Year of Magical Thinking, a Sydney Theatre Company production, featuring Robyn Nevin in a remarkable I would also like to thank the State Government through Arts performance under the direction of Cate Blanchett. Queensland, and other departments that assist the Company 2006 2007 2008 2009 2006 2007 2008 2009 in various ways, and the Federal Government through the The Company’s production of Arthur Miller’s The Crucible Australia Council. We are thrilled that the corporate sector Operating Surplus Number of Participants $500,000 End of Year Result 25,000 Workshops, Readings, Audience Development was a highlight in the year for the Company and for me. It in this fast growing State also understands the benefits of and other non-performance was such a privilege to work with 19 of Brisbane’s finest contributing to a vibrant cultural community and a growing $450,000 actors in front of sell-out Playhouse shows. list of individuals whose combined contribution make a $400,000 20,000 meaningful difference. The year ended with my play Toy Symphony in a new $350,000 production directed by Geordie Brookman – a co-production 2009 might have been a tough year, but I’m pleased that with State Theatre Company of South Australia that will so many people watched stories unfold on stage, felt the $300,000 15,000 undertake an extensive national tour in 2010. thrill of learning a new skill, tried their hand at performing $250,000 themselves, or that a child in a remote community saw a Our Youth & Education Program continued to cover new performance for the first time – and that Queensland Theatre $200,000 10,000 territory, pushing audiences to experience new and bold Company could make our community a little richer as a $150,000 productions, and undertaking a new creative development result. process with our first co-production with the State Library $100,000 5,000 of Queensland, Maxine Mellor’s Mystery Project. After its $50,000 Brisbane season at the Library, this production went on to tour extensively in Far North Queensland, visiting Indigenous Michael Gow Knowledge Centres, libraries and schools in the region. Artistic Director 2006 2007 2008 2009 2006 2007 2008 2009 8 A n n u a l R e p o r t A n n u a l R e p o r t 9 Outcomes Outcomes
Objective Success Performance Indicator 2008 2009 2009 vAriance 2010 NoteS Actual Actual Target/Est. T tArget/Est.
We will Create Strong audience and % of mainstage audiences who respond NA 77% 70% 7.0% 70% The Company engaged Footprints Research in mid 2009 to conduct independent Great Work participant response positively to productions and their theatre market research via emailed surveys on audience response to the final 5 plays of experience, including the impact on them. the 2009 program.
We will Create Larger Increased number % change and number of participants, Audience Numbers of participants reported by activity type: Performance i) Mainstage 79,587 77,760 81,189 (3,429) 80,335 The 2009 actual attendance is 2% less than the prior year. 2010 only includes ii) Education 6,109 6,658 6,990 (332) 9,710 two productions to be performed at the Playhouse (805 seat theatre). 2008 and 2009 include three productions performed at the Playhouse. iii) Tours 27,641 6,946 5,430 1,516 21,690 2008 includes a 15 week national tour of Heroes , 2009 includes a 2 week Queensland tour of The School of Arts and 2010 includes a 12 week national tour of Toy Symphony.
iv) Co-Productions 12,836 21,589 23,310 (1,721) 28,100 Includes attendance at co-producers’ venue. v) Affiliate performance 1,328 1,301 1,300 1 1,300 2008 - Anatomy Titus Fall of Rome (Bell Shakespeare) Total 127,501 114,254 118,219 (3,965) 141,135 2009 - The Alchemist (Bell Shakespeare) & God of Carnage (Black Swan State Theatre Company) 2010 - Let the Sunshine (Melbourne Theatre Company) and The Clean House (Black Swan State Theatre Company). Non - Performance i) Workshops 6,019 11,618 5,253 6,365 4,908 2009 figures includes 3,237 for Cunnamulla Artists in Residence program ii) Readings 2,911 3,101 1,480 1,621 1,240 which was unbudgeted. iii) Other 30 33 30 3 30 iv) Audience Development 8,323 8,435 11,605 (3,170) 9,655 Total 17,283 23,187 18,368 4,819 15,833 Grand Total - Performance and non - Performance 144,784 137,441 136,587 854 156,968
% change in number of participants (5.1%) (5.7%) 0.6% 14.9%
We will Create Financially strong Ratio of dollar value of reserves to 26.7% 26.3% 24.3% 1.9% 20% to 30% a Financially total expenditure Strong Company Gross margin as % of total income 4.5% 1.3% 0.3% 1.0% (2.0%)
Dollar value of box office sales $2,535,922 $2,485,479 $2,650,000 ($164,522) $2,670,000
% change in box office sales (14.6%) (2.0%) 5.0% (7.0%) 5.0%
We will strengthen Positive industry Number of theatre industry awards 7 7 3 4 3 Awards for 2009: Australian Business Arts Foundation: Partnership Award; community and recognition Matilda Awards: Best Mainstage Work (Anatomy Titus Fall of Rome); Best industry value Director (Rabbit Hole); Best Actress (Rabbit Hole), Best Actor (I Am My Own Wife), Best Actor in a Supporting Role (Female of the Species), Best Technical Design (August Moon).
Number of co-productions undertaken 1 5 4 1 3 Co-productions for 2009: Black Swan State Theatre Company (God of Carnage ), Bell Shakespeare (The Alchemist), State Theatre Company of South Australia (Toy Symphony), QPAC/Q150 (The School of Arts), the State Library of Queensland (Maxine Mellor’s Mystery Project).
Number of tours undertaken 2 2 1 1 1 Tours for 2009: Maxine Mellor’s Mystery Project and The School of Arts.
10 A n n u a l R e p o r t A n n u a l R e p o r t 11 Create excellent work Create excellent work Diverse productions and high quality work
Queensland Theatre Company aims to provide a diverse Company's key measures. Survey participants record their range of productions in its mainstage season offering new scores in the areas of entertainment, captivation, challenge, Australian work, the classic repertoire and contemporary reflection, intellectual engagement, emotional stimulation international plays. The season includes the very best artists and personal relevance as well as respond to their overall and creative personnel around the country and provides level of satisfaction with the production. In 2009, audiences opportunities to encourage and support Queensland artists for The School of Arts, Ninety, The Year of Magical Thinking, and theatre practitioners. The Crucible and Toy Symphony were surveyed with an average of 77% of responses reporting that they were very Local, national and international presence satisfied or extremely satisfied with the performance. The Company’s growing reputation on the national stage was evidenced by an increase in co-producing partners The Company undertakes a thorough debrief after each in 2009 including Bell Shakespeare, Black Swan Theatre mainstage and Education season, reporting on successes Company and State Theatre Company of South Australia. and key learning areas. The Company also solicits general The Company also presented productions from Melbourne feedback from patrons, replying personally to each Theatre Company and Sydney Theatre Company as part of its correspondence received. mainstage program. Touring opportunities Locally, the Company also developed successful partnerships Maxine Mellor’s Mystery Project by Maxine Mellor with Queensland Performing Arts Centre, Q150 and the A co-production with the State Library of Queensland, this State Library of Queensland to present both mainstage and production for 9 to 12 year olds toured to primary schools, Education seasons. Indigenous Knowledge Centres and Public Libraries in regional Queensland during 2009. International playwright visit As part of its Writing Program and to coincide with the The tour was further extended to schools around the Towns- Australian premiere of That Face, Queensland Theatre ville area through grants received from the E Robert Hayles Company brought Polly Stenham, playwright of That Face, to and Alison L Hayles Charitable Trust and the Russell McKim- Australia from 12 – 22 April 2009. Queensland University of min Charitable Trust, managed by Perpetual. Technology (QUT) and Playlab partnered the Company in this venture. Regional Tour 20 July – 11 September 2009 Total performances 53 A series of events involving Polly were held during her time Schools 35 here, including a forum at Metro Arts, access for students Indigenous Knowledge Centres 2 at QUT, and Polly’s presence at our U30 Studio Nite for post Public Libraries 4 show discussion. The forum event, co-hosted with Playlab at Total audience 5,342 Metro Arts, promoted three Queensland Theatre Company productions simultaneously – That Face, Maxine Mellor’s The School of Arts by Bille Brown Mystery Project and 25 Down – with all three playwrights As part of the Q150 celebrations, and in partnership with part of a panel discussion ‘Hot off the Press’. It was the QPAC, this production toured to regional Queensland biggest and best-attended Playlab event ever, with standing following the Brisbane season. Six regional charities became room only, and received national coverage through broadcast involved hosting key community events and the touring The Alchemist interviews on ABC Radio National Artworks Program. company visited schools, sponsor organisations and charity L-R: Georgina Symes, Patrick Dickson venues. Photo: Rob Maccoll Polly’s trip was a triumph for the Company, spreading the word about the Company’s great work nationally and Tour Attendance internationally, as well as strengthening community and 4 August 2009 Blackwater Civic Centre 190 We will achieve this by: writing industry value locally. 6 August 2009 Rockhampton, Pilbeam Theatre 339 8 August 2009 Biloela Cultural Centre 504 programming a diverse range of productions Artistic objectives and critical review 11 August 2009 Mundubbera Shire Hall 175 an ongoing commitment to high quality work Each performance and major activity is reviewed by 13 August 2009 Chinchilla Cultural Centre 135 15 August 2009 Warwick Town Hall 261 strengthening local, national and international presence the Company, examining the program in relation to its contribution in achieving the Company goals, and in terms of Total audience 1,604 clearly communicating artistic objectives and debriefing performances, in-house critical review its operational efficiency in delivery. Co-production touring pursuing touring opportunities The Company engaged Footprints Research in mid 2009 to Through relationships with the co-producing partners, three conduct independent market research via emailed surveys mainstage productions toured to various locations including on audience response to the 2009 program of plays. The Sydney, Perth, Melbourne, Canberra and Adelaide. Toy surveys were designed to measure the success indicator Symphony, the final mainstage production for 2009, will ‘Strong audience and participant response’ as part of the undertake an extensive national tour in 2010. 12 A n n u a l R e p o r t A n n u a l R e p o r t 13 Create excellent work Create excellent work Mainstage Season Mainstage Season
The Alchemist Performances 73 That Face Performances 27 By Ben Jonson Audience Attendance 28,572 By Polly Stenham Audience Attendance 5,938 Gross Box Office $1,130,211 Gross Box Office $184,751 A co-production with Bell Shakespeare Bille Brown Studio Playhouse, QPAC, Brisbane 23 February – 14 March 2009 23 March – 18 April 2009 Playhouse, Sydney Opera House, Sydney 18 March – 18 April 2009 Playhouse, Canberra Theatre Centre, Canberra 24 April – 9 May 2009 His Majesty’s Theatre, Perth 15 May – 23 May 2009
L–R: David Whitney, Georgina Symes L–R: Helen Howard, Leon Cain Photo: Rob Maccoll Photo: Rob Maccoll Director: John Bell Director: Nic Dorward Designer: Bruce McKinven Designer: Kieran Swann Lighting Designer: Matt Scott Lighting Designer: Carolyn Emerson Assistant Director: Christina Koch Composer/Sound Designer: Steve Toulmin Fight Director: Scott Witt “Written four centuries ago, The Alchemist, under Fight Choreographer: Niki-J Witt “…you will find the piece rewarding not only for its Production Crafts/ Dialect Coach: Helen Howard Costume Secondment (NIDA): Marianne Close John Bell’s able directorial hand, is an accessible and gritty explorations of some tough themes but also at times, hilarious comic piece.” Stage Manager: Jodie Roche because there are so many very fine performances.” Stage Manager: Peter Sutherland The Australian Assistant Stage Manager: Kylie Degen 612 ABC Radio Assistant Stage Manager: Jennifer Buckland “Don’t miss this rollicking romp of a play. The Cast “Brisbane theatregoers have struck gold in seeing Cast Lucas Stibbard Leon Cain Alchemist will turn your night out into gold.” material of this calibre, of such truth and beauty, Sandro Colarelli Richard Sydenham Amelia Dowd Scene Magazine performed locally. Don’t miss the chance.” Patrick Dickson Georgina Symes Eugene Gilfedder www.australianstage.com.au Russell Kiefel Andrew Tighe Helen Howard Peter Kowitz David Whitney Lauren O'Rourke Bryan Probets Scott Witt Ashley Ricardo Liz Skitch
14 A n n u a l R e p o r t A n n u a l R e p o r t 15 Create excellent work Create excellent work Mainstage Season Mainstage Season
Presented by arrangement with David Pugh and Dafydd Rogers Performances 51 25 Down Performances 28 Audience Attendance 11,671 By Richard Jordan Audience Attendance 5,802 God of Carnage Gross Box Office $366,748 Gross Box Office $169,966 By Yasmina Reza Translated by Christopher Hampton Bille Brown Studio A co-production with Black Swan State Theatre Company 8 June – 4 July 2009
Cremorne Theatre, QPAC 4 May – 6 June 2009 Playhouse Theatre, Perth 13 June – 28 June 2009
L–R: Benj D'Addario, Veronica Neave, Jodie Buzza L–R: Liam Nunan, Kathryn Marquet Photo: Rob Maccoll Photo: Rob Maccoll Director: Michael Gow Director: Jon Halpin Designer: Robert Kemp Designer: Bruce McKinven Lighting Designer: Bernie Tan-Hayes Lighting Designer: Ben Hughes Sound Designer: Tony Brumpton Composer/Sound Designer: David Montgomery Assistant Director: Morgan Dowsett Assistant Director: Hayley Milner “Jordan's writing is deft, sharp, witty, and at the same Assistant Sound Designer: Guy Gimpel “This delightful comedy is a must see for anyone who Stage Manager: Anika Vilee Lighting Design Secondment (NIDA): Sarah Kenyon time emotionally engaging on a deeper level.” fancies a light-hearted night at the theatre.” Assistant Stage Manager: Chin Ling (Bec) Li The Courier Mail Stage Manager: Sue Benfer www.artshub.com.au Assistant Stage Manager: Kathryn O'Halloran Cast “There are moments of extreme poignancy, of clever Brad Ashwood “I simply love this production. I'd happily sit through humour and of in-your-face cruelty.” Cast Julian Curtis it again” www.alittlegossip.com.au Andrew Buchanan 612 ABC Brisbane Kathryn Marquet Jodie Buzza Daniel Mulvihill Benj D'Addario Liam Nunan Veronica Neave Hugh Parker Steven Tandy Production SponsorS
16 A n n u a l R e p o r t A n n u a l R e p o r t 17 Create excellent work Create excellent work Mainstage Season Mainstage Season
The School Of Arts Performances 33 Ninety Performances 33 By Bille Brown Audience Attendance 12,693 By Joanna Murray-Smith Audience Attendance 8,035 Gross Box Office $337,854 Gross Box Office $274,288 A co-production with QPAC/Q150 A Melbourne Theatre Company production
Playhouse, QPAC, Brisbane 13 July – 1 August 2009 Mundubbera Shire Hall, Munduberra 11 August 2009 Cremorne Theatre, QPAC Blackwater Civic Centre, Blackwater 4 August 2009 Chinchilla Cultural Centre, Chinchilla 13 August 2009 5 August – 5 September 2009 Pilbeam Theatre, Rockhampton 6 August 2009 Warwick Town Hall, Warwick 15 August 2009 Biloela Cultural Centre, Biloela 8 August 2009
L–R: Christopher Sommers, Sally McKenzie, L–R: Rachel Gordon, Kim Gyngell Bille Brown, Leon Cain, Christine Amor Photo: Rob Maccoll Photo by Rob Maccoll Director: Michael Gow Cast Director: Simon Phillips Designer: Anna Borghesi Christine Amor “…the 11 actors produced Designer: Andrew Bellchambers Lighting Designer: Matt Scott Bille Brown great bits of theatrical Lighting Designer: Nick Schlieper Composer/Sound Designer: Phil Slade Leon Cain Composer: Ian McDonald business that distract Archival Documentary Film Maker: Mark Gould Sophia Emberson-Bain Assistant Director: Naomi Edwards “Such is the power of great theatre that the audience and amuse, none more so is taken on a trip, through this captivating and Indigenous Artistic Consultant: Roxanne McDonald Andrew Legg Stage Manager: Alyson Brown than Brown, who lights up accomplished performance, in all facets, through Indigenous Language Consultant: Eve Fesl Peter Marshall Assistant Stage Manager: Jennifer Buckland Indigenous Cultural Consultant: Nurdon Serico Sally McKenzie the stage every time he flashbacks, vignettes and innuendos, in exactly ninety Fight Director: Scott Witt Joss McWilliam* appears.” Cast minutes! Bravo.” Assistant Director: Melanie Wild Paula Nazarski The Courier Mail Rachel Gordon www.artshub.com.au Associate Lighting Designer: Jo Currey Bryan Probets* Kim Gyngell Design Assistant: Kitty Taube Christopher Sommers Production Sponsor “The seconds count down to zero but Murray-Smith is Lighting Assistant: Jason Glenwright Ian Stenlake too smart to tell us the outcome. Like all good drama, Producer (QPAC): Cristian Pilditch we are left to carry on the debate.” Stage Manager: Peter Sutherland *Bryan Probets, The Courier Mail Assistant Stage Manager: Jessica Audsley Brisbane season Secondment Stage Manager (QUT): Annie Cavanagh *Joss McWilliam, tour
18 A n n u a l R e p o r t A n n u a l R e p o r t 19 Create excellent work Create excellent work Mainstage Season Mainstage Season
The Year of Magical Thinking Performances 33 The Crucible Performances 21 By Joan Didion Audience Attendance 9,028 By Arthur Miller Audience Attendance 14,624 Gross Box Office $307,678 Gross Box Office $447,065 A Sydney Theatre Company production Playhouse, QPAC Cremorne Theatre, QPAC 26 October – 14 November 2009 16 September – 17 October 2009
Robyn Nevin L–R: Andrew Buchanan, Andrea Moor, Photo: Heidrun Löhr Leo Wockner, Kathryn Marquet Photo: Rob Maccoll Director: Cate Blanchett Director: Michael Gow Cast Associate Director: Jennifer Flowers Designer: Robert Kemp Chris Betts Designer: Alice Babidge Lighting Designer: Ben Hughes Paul Bishop Costume Designer: Giorgio Armani Sound Designer: Tony Brumpton Andrew Buchanan “The 19-strong ensemble barely Lighting Designer: Nick Schlieper Voice Consultant: Melissa Agnew Robert Coleby “Raw and direct, Didion tells her tale and Nevin Amelia Dowd Sound Designer: Natasha Anderson Fight Director: Scott Witt missed a beat on opening night, recounts this in an episodic blow by blow monologue. Sue Dwyer demonstrating a familiarity and Stage Manager: Malcolm Hughes Assistant Sound Designer: Guy Gimpel There is no intermission and ninety minutes does Penny Everingham obvious love of the weighty script Assistant Stage Manager: Jennifer Buckland move quickly.” Stage Manager: Peter Sutherland Nelle Lee Kathryn Marquet to inject great pathos into the The Independent Assistant Stage Manager: Sophia Dalton Cast Secondment Stage Manager (USQ): Christopher Horne Brad McMurray relationships and competing and Robyn Nevin Secondment Production Manager: Julian Messer Andrea Moor complex psychologies.” “It is simply beautiful writing, imbued with self- Stage Manager Lighting Design Bryan Nason www.australianstage.com.au awareness and shaped with the precision of a poem.” Secondment (USQ): Kallan Roi Paula Nazarski The Courier Mail Bob Newman Francesca Savige Christopher Sommers James Stewart Leo Wockner Production Sponsor
20 A n n u a l R e p o r t A n n u a l R e p o r t 21 Create excellent work Create excellent work Mainstage Season Education Performance Season
Toy Symphony Performances 35 Maxine Mellor’s Mystery Project Performances 77 By Michael Gow Audience Attendance 6,194 By Maxine Mellor Audience Attendance 7,298 Gross Box Office $181,532 Gross Box Office $10,592* A co-production with State Theatre Company of South Australia A co-production with the State Library of Queensland
Cremorne Theatre, QPAC State Library of Queensland, Brisbane Regional Queensland Tour 9 November – 12 December 2009 11 – 25 April 2009 23 July – 16 August 2009 Aitkenvale, Aloomba, Annandale, Ayr, Bentley Park, Blackwater, Cairns, Charters Towers, Cooktown, Freshwater, Hermit Park, Hopevale, Ingham, Julatten, Kirwan, Kuranda, Malanda, Mareeba, Millaa Millaa, Mossman, Nelly Bay, Parramatta, Pentland, Port Douglas, Ravenswood, Rollingstone, Stratford, Stuart, Tolga, Townsville, Trebonne, Wajul Wajul, White Rock, Woodstock, Wonga, Wulguru, Yarrabah
L–R: Barbara Lowing, Chris Pitman Nelle Lee and students from West End State School Photo: Rob Maccoll Photo: Stephen Henry Director: Geordie Brookman Director: Joseph Mitchell Designer: Jonathon Oxlade Designer: Sam Paxton Lighting Designer: Nigel Levings Sound Designer: Tony Brumpton Composer/Sound Designer: Brett Collery Dramaturg: Saffron Benner Assistant Director: Melanie Wild “…Toy Symphony is a thoroughly engaging work. The Voice Consultant: Melissa Agnew “I just wanted to say how much the students enjoyed Associate Lighting Designer: Ben Hughes cast is strong and their comic timing is skilled.” Movement Consultant: Niki-J Witt the play. It was such a joy to have a play that was Voice/Accent Consultant: Melissa Agnew Assistant Sound Designer: Guy Gimpel The Australian engaging and intelligent.” Movement Consultant: Scott Witt Stage Manager: Nicola Keene Teacher, Townsville Grammar School, Townsville Design Secondment (QUT): Jessica Ross “Here is a play that is at once totally unpretentious Stage Manager: Amy Forman Cast and utterly enchanting. I cannot remember when I saw Assistant Stage Manager: Shaun O'Rourke Nelle Lee Secondment Stage Manager (QUT): Brendan Cooney a more surprised and delighted audience at a first Kathryn Marquet night, or a better choice of play to end a season.” Cast The Courier Mail * The regional tour was supported by the E Robert Hayles Lizzy Falkland Chris Pitman and Alison L Hayles Charitable Trust and the Russell Barbara Lowing Ed Wightman McKimmin Charitable Trust, managed by Perpetual. The Daniel Mulvihill grant allowed the performances to be free of charge on the regional tour. 22 A n n u a l R e p o r t A n n u a l R e p o r t 23 Create excellent work Create excellent work Education Performance Season Education Performance Season
The Exception and The Rule Performances 15 Eating Ice Cream With Performances 13 By Bertolt Brecht Audience Attendance 2,869 Audience Attendance 2,355 Translated by Ralph Manheim Gross Box Office $49,353 Your Eyes Closed Gross Box Office $39,321 By David Brown Bille Brown Studio 13 – 22 May 2009 Bille Brown Studio 29 August – 7 July 2009
L–R: Anthony Standish, Tim Dashwood L–R: Chris Betts, Damion Hunter, Nick Cook Photo: Angus Martin Photo: Stephen Henry Director: Joseph Mitchell Director: Joseph Mitchell Designer: Helen Jacobs Designer: Simone Romaniuk Lighting Designer: Ben Hughes Lighting Designer: Ben Hughes Sound Designer: Phil Slade Sound Designer: Tony Brumpton Voice Consultant: Melissa Agnew Voice Consultant: Melissa Agnew Movement Consultant: Niki-J Witt and Jason King “Students really gain a deeper understanding of Movement Consultant: Niki-J Witt “This was a fantastic play with solid complex Assistant Sound Designer: Guy Gimpel Stage Manager: Sophia Dalton Brecht’s theory when seeing a vibrant production such characters and fabulous direction. It had a great energy Assistant Stage Manager: Jessica Audsley as this. It’s great to have a production this professional Stage Manager: Sophia Dalton and held our attention throughout.” as well as experimental." Assistant Stage Manager: Shaun O’Rourke Teacher, Wynnum North State High School, Brisbane Cast Teacher, Concordia College, Toowoomba Tim Dashwood Cast Christopher Sommers Chris Betts Steven Rooke Nick Cook Anthony Standish Damion Hunter
24 A n n u a l R e p o r t A n n u a l R e p o r t 25 Create excellent work Strengthen community and industry value 2010 Outlook
Goal 1: We Will Create Excellent Work
We will achieve this by:
Programming a diverse range of productions annual season of mainstage productions that includes the much-loved, the familiar, the challenging and the provocative consideration of new and diverse audiences, and identifying new target audiences, when programming partnerships with regional organisations to develop local theatre expertise Youth & Education Program that develops young artists, reflects the needs of the education sector and inspires young people to connect with theatre
An ongoing commitment to high quality work good relationships with venues and suppliers supportive environment for artists high production values
Strengthening local, national and international presence one co-production with national or international organisation expand international connections – 2011 and beyond attract artists with a national identity to work with the Company present at least one guest company production each year
Clearly communicating artistic objectives and debriefing performances, in-house critical review internal and external assessment of the Company’s work through debriefs annual review process with staff members and Board recording objectives of each mainstage production against Company goals during the programming process
Pursuing touring opportunities tour one mainstage production nationally build relationships with presenters through annual conferences and events develop strategies for touring Education Performances and activities develop and implement new touring products Regional Program Actor Peter Cook with students from Cunnamulla State School Photo: Jodie Brown
We will achieve this by: supporting a vibrant local performing arts sector providing support and development opportunities for writers providing education opportunities for students, young people and educators implementing regional activities exploring the boundaries of theatre with diversity of work across media, venues and scale engaging in public dialogue about the value of the arts to the wider community providing a range of professional development and training opportunities to employees
26 A n n u a l R e p o r t A n n u a l R e p o r t 27 Strengthen community and industry value Strengthen community and industry value Supporting a vibrant performing arts sector Supporting a vibrant performing arts sector
Industry partners Ideas Festival 2009 Emerging Artists Employment opportunities for the sector In 2009 the Company has continued and strengthened Queensland Theatre Company took part in the Ideas Festival Christopher Sommers – Actor Actors 83 existing relationships with industry partners and forged new for the first time, presenting a forum ‘Designing Theatre Christopher Sommers performed in Bille Brown’s The School Assistant Directors 7 strategic relationships. Worlds’. Artistic Director Michael Gow, Designer Robert of Arts as Ted Buckridge, Ezekiel Cheever in Arthur Miller’s Carpenter 13 Kemp, Director Nic Dorward and Designer Kieran Swann The Crucible, and multiple roles in the Education Performance Cinematic Theatre Designer 1 Playlab formed the panel and explored the creative process behind of Bertolt Brecht’s The Exception and The Rule. Christopher Composer / Sound Designer 12 Several planning discussions have been held with Playlab theatre set design, comparing how theatre spaces have also worked with Queensland Theatre Company on the 2009 Costume Maker / Cutter 13 throughout 2009 to identify key strategic directions and been manipulated in design for two of the Company's 2009 Young Playwrights Program. Design Assistant 2 possibilities for future project collaborations into 2010. productions – That Face and God of Carnage. Designer 12 Queensland Theatre Company provided a letter of support for Kathryn Marquet – Actor Director 14 Playlab’s annual funding application to Arts Queensland, and Queensland University of Technology Kathryn Marquet played Emma in Richard Jordan’s 25 Down, Documentary Film Maker 1 the amount of in-kind support from Playlab has increased. Queensland University of Technology (QUT) placed the in the creative development and mainstage performance Dramaturg 2 The new Executive Director Saffron Benner will also serve on script of That Face on the curriculum for some of the creative season of this production as part of the Queensland Premier’s Fight Director/Choreographer 7 the judging panel of the 2010 – 2011 Queensland Premier’s industries students (both under & post-graduate courses) Drama Award. Kathryn also worked with Queensland Theatre Hair Stylist/Wig Stylist/Dresser 11 Drama Award. Following the success of the co-hosted ‘Hot off from acting, directing and writing programs. These students Company on the 2009 Young Playwrights Program, toured Head Electrician 16 the Press’ event in April 2009, Queensland Theatre Company were advised to see the production as part of their courses with Maxine Mellor's Mystery Project and played Mary Head Mechanist 4 is working with Playlab to present a similar event in 2010. which translated into increased ticket sales in the season. Warren in The Crucible. Indigenous/Cultural Consultant 3 Lighting Designer 14 PlayWriting Australia A State of Writing Christopher Sommers and Kathryn Marquet participated in Lighting Design Secondment 3 a series of professional development activities in the week Movement / Safety Consultant 5 Queensland Theatre Company was represented by Jon Halpin, Queensland Theatre Company is represented at monthly commencing 14 September 2009 during which time they also Playwright 8 Artistic Associate at the National Play Festival in Hobart, meetings of a newly formed group called A State of Writing, rehearsed the readings for the Young Playwrights Program. Production Electrician 15 where he directed Marcel Dorney’s Hypatia and Lally Katz’s established by Arts Queensland and led by the State Library The actors’ professional development included skills training Production Manager 4 Return to Earth. He has since been appointed an advocate for of Queensland. Queensland Theatre Company hosted two in voice with Melissa Agnew and stage combat with Scott Production Secondment 4 the organisation. The National Script Workshop was held at events in association with A State of Writing to celebrate Witt, as well as seminars in legal matters with Elliot Bledsoe Props Maker 7 the Judith Wright Centre of Contemporary Arts from 27 June our involvement with the new group and Australian plays from Creative Commons and in financial matters with Brian Rehearsal / Production Photographer 3 to 10 July. Erica Fryberg, Artistic Development Coordinator – the 2009 December monthly meeting of the group, and a Tucker from Brian Tucker Accounting. Scenic Artists 13 attended a showing of scripts in development from the Studio performance of Toy Symphony. Sound Designer/ Consultant / Operator 16 Program on 3 July. The Company provided some casting Program Sponsor: Stage Management Secondment 9 assistance for the workshops. Mentorships Stage Manager 36 There were three formal mentorships facilitated by Tailor 4 The State Library of Queensland Queensland Theatre Company in 2009. General Manager, Tour Manager / Driver 2 A ‘Deepen the Conversation’ event with Bille Brown and Libby Anstis provided an arts administration mentorship 2009 Creative Assistants Tutor 66 Michael Gow was held at the State Library of Queensland, to through Youth Arts Queensland and Joseph Mitchell, Youth & Christina Koch Voice/ Dialect Coach / Consultant 6 a warm and very appreciative audience of around 50 people. Education Manager and Bronwyn Klepp, Marketing Manager Assistant Director The Alchemist by Ben Jonson Wardrobe Buyer 8 The event was recorded by the Library for podcast. mentored young arts administrators as part of Backbone Director John Bell Wardrobe Coordinator 5 Youth Arts’ 2High Festival. Wardrobe Maintenance 14 Brisbane Writers Festival Morgan Dowsett In 2009 Queensland Theatre Company continued the General Support Assistant Director God of Carnage by Yasmina Reza Total Opportunities for Theatre Practitioners 443 association initiated in 2008 with the Brisbane Writers The Company continues its broad support for the industry Director Michael Gow Total Opportunities for Queenslanders 401 Festival. On the day designated by the Festival as the through provision of rehearsal space, lending costumes and celebration of writers and writing, Queensland Theatre props, marketing assistance and support of funding applica- Haley Milner Company presented a forum to promote the Queensland tions for independent theatre companies and artists. Assistant Director 25 Down by Richard Jordan Creative Professionals Grant Premier’s Drama Award with Artistic Director Michael Gow, Director Jon Halpin Saffron Benner from Playlab and Karyn Brinkley from the Wigmaking & Repairs Mentorship – Michael Green Department of the Premier and Cabinet appearing. In 2009 Queensland Theatre Company and Brisbane Jason Glenwright hairdresser Michael Green were the recipients of the Lighting Design Assistant The School of Arts by Bille Brown Australia Council for the Arts – Creative Professionals Grant Lighting Designer Matt Scott, Director Michael Gow undertaking a Wigmaking & Repairs Mentorship. Michael Green spent five weeks in Sydney developing his skills in wig Kitty Taube and facial hair making. He was trained by and worked under Design Assistant The School of Arts by Bille Brown the guidance of some of the industry’s leading professionals Designer Anna Borghesi, Director Michael Gow including Annette Miles, Kylie Clarke, Caroline Lee and Opera Australia’s wig department. Michael’s skills development in Melanie Wild this field has benefited Queensland Theatre Company and Assistant Director The School of Arts by Bille Brown the whole of the Queensland performing arts industry. Director Michael Gow Assistant Director Toy Symphony by Michael Gow Director Geordie Brookman 28 A n n u a l R e p o r t A n n u a l R e p o r t 29 Strengthen community and industry value Strengthen community and industry value Support and development for writers Education opportunities
Commissions Unsolicited scripts Workshops Playwright Maxine Mellor was commissioned by Queensland Queensland Theatre Company accepts unsolicited Workshops in theatre and drama activities for students and Theatre Company and the State Library of Queensland to manuscripts provided they have been submitted through teachers were conducted in schools and venues at various write a new play suitable for 9 to 12 year olds using the an agent, or the writer has a professional production locations around the state. A summary of workshop activity resources available at the State Library of Queensland, history. Queensland Theatre Company accepts unsolicited and attendance is provided in the chart below: including the John Oxley library. manuscripts provided they satisfy one of the following criteria: Workshop Program Area Total Workshops Participation The production was staged at the State Library of the professional production of at least one script Education Performance Workshops 36 1,017 Queensland in the Easter Holidays and week one of term two. a professional workshop or reading of the submitted Young Playwrights Program 5 15 script Teacher Professional Development (Brisbane) 7 58 Young Playwrights Program the submitted script has been forwarded by a theatrical Teacher Professional Development (Regional) 10 95 Three playwrights between the ages of 15 – 26 were selected agent In-School Workshops (South East Qld) 29 728 to participate in the Young Playwrights Program in 2009. the submitted script has been recommended to the Theatre Residency Week 53 476 Over four months, each playwright completed dramaturgy Company by a theatre professional known to the School Workshops - South East Qld 54 865 sessions with Saffron Benner from Playlab. In September, a Company School Workshops – Mackay* 19 391 staged reading of each play was presented at Queensland the submitted script has been recommended to the School Workshops – Rockhampton* 13 317 Theatre Company’s Bille Brown Studio by a cast of four Company by a professional theatre company or script School Workshops – Cairns* 6 87 actors. This event had an audience of 200 people. development agency known to the Company and with School Workshops – Townsville* 35 570 the most recent complete reviews/reports attached School Workshops – Bundaberg* and Gladstone* 7 164 Queensland Premier’s Drama Award School Workshops – Blackwater* and Capella 9 124 2008 – 2009 In 2009 the Company received 93 scripts. 44 of those were School Workshops – Western Cape 60 1,695 solicited and 49 were unsolicited that met the criteria above. School Workshops - Murgon 11 230 Three creative development workshops of Richard Jordan’s 25 School Workshops - Other areas 22 205 Down were held between November and April 2009, leading School Workshops - Cunnamulla and Charleville 115 3,237 to the presentation of this winning play in the Queensland Behind the Scenes Tours at QTC 3 48 Theatre Company mainstage season. The Premier attended Totals 494 10,268 Opening Night on 11 June and announced continuation of the Queensland Premier’s Drama Award in 2010 – 11. Workshop Program Audiences Events Attendance Theatre Residency Week 4 245 Queensland Premier's Drama Award Program Sponsors: Young Playwrights Program 1 185 School Workshops - South East Qld 2 230 School Workshops – Murgon 1 280 School Workshops – Townsville 1 50 School Workshops – Blackwater and Capella 1 200 School Workshops – Other area 2 300 School Workshops – Cunnamulla and Charleville 3 585 Totals 13 1,490
* Portion of participants involved in the Wesfarmers Resources Regional Acting Studio
Work experience Teacher professional development There were 10 work experience placements provided A total of seven Teacher Professional Development events by Queensland Theatre Company in 2009. Each work were held in Brisbane and a further ten in regional areas of experience placement is one week long and involves each Queensland. The workshops focused on skill specific areas participant observing rehearsals, attending at least one of theatre including directing, puppetry, design and primary Company performance and assisting with duties in Company school drama. departments.
Secondments Queensland Theatre Company hosted 15 secondment places in 2009. The duties and requirements for each secondment were tailored to suit the needs of each placement, and a relevant supervisor was appointed for each secondment within the Company.
30 A n n u a l R e p o r t A n n u a l R e p o r t 31 Strengthen community and industry value Strengthen community and industry value Regional activities Public dialogue – building public value
JUTE Theatre Artist in Residence Program New philanthropy advertisements were designed for the This methodology attempts to quantify the benefits which Queensland Theatre Company continued its long running Queensland Theatre Company received funding to conduct production programs highlighting some of the community non-profit organisations provide to the community. Dollar partnership with JUTE Theatre by providing financial support a long-term artist residency project in the Cunnamulla and activities of the Company such as Writing, Youth & Education values are assigned to the benefits of a particular program for Brisbane actor Peter Marshall to reside in Cairns during Charleville region. The aim of the program was to work with and Regional activities. Personal testimonies were used through its positive outcomes, reduced reliance on other the rehearsal and presentation of JUTE Theatre’s production Indigenous students at Charleville State School, Charleville including Maxine Mellor, emerging artist and young public services and community benefit. The project examined of The Shining Path by Victoria Carless. State High School and Cunnamulla State School to help playwright, Nicola Keene, Stage Manager of the extensive the Company’s Artist-in-Schools partnership with Western develop confidence through drama as well as improve reten- schools touring program, and Sam Foster, actor and Cape College in Weipa. The very positive review of the Noosa Longweekend Festival tion. The project was facilitated by Amy Humphreys and Peter workshop facilitator. program was presented at the Australia Council offices to an audience of funders, major philanthropists and Queensland Theatre Company presented a play reading of Cook and involved 120 in-school workshop events with 3,237 Early indicators that the philanthropic message is representatives from national trusts and foundations. David Williamson’s Let The Sunshine at the Noosa Longweek- participants in total. penetrating are shown in the response to the request for end Festival. There were 3 performances with an audience of donations made in the 2010 season brochure: the Company The pilot project was a ground breaking step in establishing 820 people attending. Wesfarmers Resources Regional Acting Studio is experiencing both a significant increase in new donations the Company’s profile on a national level as worthy of With support from Wesfarmers Resources, Queensland Thea- and a trend towards higher donations. support by major funders, foundations and philanthropists tre Company was able to facilitate 46 workshops with a total Western Cape College and has provided a stimulating debate of value to the of more than 1,000 participants in a wide range of regional Queensland Theatre Company conducted three weeks of Social Return on Investment Pilot Project broader industry. workshop activity at the three campuses of Western Cape Col- areas through Queensland including Mackay, Rockhampton, The Company has been exploring different ways of lege in Weipa, Mapoon and Ararkun. Artists Adam Drake and Blackwater, Bundaberg, Hervey Bay, Gladstone, Townsville measuring the impact of its community activities, and in Rebecca Roberts facilitated a total 60 workshops with a total and Cairns. The workshops were conducted at secondary 2009 undertook a study, funded by the Australia Council, participation of 1,695 students. schools and included opportunities for students between years 8 – 12 as well as Teacher Professional Development of one of its regional activities using the Social Return on Investment Model (SROI). Lighthouse Program workshops. Queensland Theatre Company was successful in obtaining an Arts Queensland grant to facilitate workshops for Indigenous Program Sponsor: students in the regions of Murgon and Kirwan during 2009. The aims of the workshops were to provide introductory drama skills and look for ways to improve retention at both schools. Artists Simon Hapea, Tristan Meecham and Thomas Staff professional development Larkin facilitated 30 workshops during the 4 weeks of resi- dency for this project. Company members play an active role in the wider arts During 2009, staff professional development supported by community with many staff members engaged at a national Queensland Theatre Company included the following: and local level on a number of boards, committees and organisations, assisting to develop the future direction of the computer training of various staff in Microsoft Word, Exploring the boundaries of theatre making industry. Excel, Outlook and Project several staff attended Australian Business Arts The Company assisted staff members to augment their skills Foundation short courses by attending conferences, training programs and seminars. practical skills building including online marketing, Taking Aim The Company continued its Wardrobe Trainee position and in communication skills and teambuilding The Taking Aim project created opportunities for 12 writers Bryan Probets. Four writers were identified as having the 2009, Workshop Apprentice Jaydn Bowe came to the end of strategic planning day for the whole Company to develop the craft of satire writing over 5 weeks (over 30 potential to continue working on satire for the stage – Robert his apprenticeship with the organisation. Occupational Workplace Health and Safety training hours of master classes) with industry experts Max Gillies Kronk, Alastair Tomkins, Libby Pulsford and Sean Melville. courses (eg. first aid, fire safety and rehabilitation and Guy Rundle, and to see their work performed on stage Supported by Queensland Theatre Company, Robert Kronk courses) by professional actors. A very upbeat crowd filled the has submitted a grant application to the Brisbane City Australia Council for the Arts Marketing Summit Bille Brown Studio at the presentation of Campbell Tunnel Council Creative Sparks program to assist with a continuation visits to interstate theatre companies to compare best Syndrome on 22 August. The scripts produced through of the satire writing project Taking Aim. The Taking Aim practices and further develop industry knowledge within the masterclass series were of a varied standard but the project was assisted by the Sidney Myer Fund. specialised arts areas performance outcome was excellent thanks to the hard visits to major philanthropic foundations work of the creative team – Max Gillies, Guy Rundle and training in Social Return on Investment (SROI) evaluation Jon Halpin, and a talented ensemble of actors – Bridget methodology Boyle, Louise Brehmer, Adam Couper, Daniel Murphy and
32 A n n u a l R e p o r t A n n u a l R e p o r t 33 Strengthen Community And Industry Value Larger audience numbers 2010 Outlook
Goal 2: We will strengthen community and industry value
We will achieve this by: Supporting a vibrant local Performing Arts sector support individuals and organisations through a variety of formal and informal means such as skill sharing, mentorships, letters of support, attendance at industry fora and consultation current awareness of the local industry by attending professional, independent and new works professional development opportunities through the Emerging Artist Program (at least two) and Creative Assistant positions (at least four) employment opportunities for theatre practitioners through non-mainstage activities including Education Performances, playreadings and workshops Providing support and development opportunities for writers at least one Australian written production each year one new production by young or emerging theatre artists commissioned every two years as part of the annual Youth & Education Program at least four new works developed each year, resulting in a public reading at least one masterclass or similar event for the local writing community at least three collaborations with organisations such as Playlab, the State Library of Queensland and Metro Arts an annual playwriting development program for young people Providing education opportunities for students, young people and educators an annual season of Education Performances programmed specifically to support the curriculum and engage young audiences workshops for students, young people and educators which support curriculum learning and provide artistic development opportunities educational opportunities through the Work Experience and Secondment Programs. At least ten work experience students, and at least ten secondment students annually Implementing regional activities tour one mainstage production and one Education Performance in regional areas workshops with young people in regional areas local partnerships and cooperative performing arts projects in regional areas Exploring the boundaries of theatre with diversity of work across media, venues and scale develop a work in 2010 that draws heavily on creative expertise from an artform such as dance, music or one of the visual arts, and so takes full advantage of opportunities for cross-artform collaboration an Artist In Residence program (outside of text based theatre) in 2010 subject to funding application 2009 Season Launch, State Library of Queensland Photo: Stephen Henry identify opportunities to produce small scale, quality productions locally or as touring works Engaging in public dialogue about the value of the arts to the wider community ensure the Company’s relevance and benefits to its audiences are consistently presented in marketing materials and We will achieve this by: internal/external communications participate in national and State wide advocacy campaigns building brand awareness, leadership and loyalty collect testimonials and build case studies from audience and participants about what the Company adds to their lives developing social opportunities for audiences to connect with each other and the Company and the community developing data-driven customer relationships Providing a range of professional development and training opportunities to employees engaging audiences through digital media and new technologies wardrobe traineeship and apprentice carpenter positions strengthening and developing industry, community and promotional partnerships annual training and professional development programs for full time staff providing affordable and accessible productions instigating and participating in audience and industry research
34 A n n u a l R e p o r t A n n u a l R e p o r t 35 Larger audience numbers Larger audience numbers Brand awareness, loyalty and social opportunities Digital media and new technologies
The Company provided a number of incentives, rewards and In 2009 internet sales were the most popular way to special offers to Season Ticket Holders and opportunities for purchase single tickets and Company digital advertising audiences to connect with each other and the Company. In through ourbrisbane.com had higher than average (for online 2009 these included: advertising) click through rates.
a movie night at Palace Cinemas in August 2009 The viral internet campaigns for That Face and The Crucible Play Briefings for all 9 mainstage plays. Season Ticket were used to target the U30 market. E-trailers were sent to Holder attendance at these is strong with average contacts in the Company’s database, for sending on to their attendances around 150 people per briefing friends. Recipients who forwarded the video and provided Night with the Actors – hosted by Carol Burns, is held for their friend’s email addresses were eligible to win tickets to each play and allows the audience to interact with the see the play. The e-trailer for That Face received 696 visits, actors after the play via Q&A down from our usual viral campaigns; however it was also U30 Studio Nites – for That Face and 25 Down allow posted to a number of Facebook sites. The Crucible viral Under 30s to socialise after the performance email campaign ‘Dancing in the Woods’ received an open rate the Company participates in the QPAC Admit One of 35% and a 40% rate of click-through to the website (3,302 promotion where patrons attend alone and can meet visits) – an impressive response to an online promotion. like-minded theatre enthusiasts and socialise at a special function after the show Facebook, Twitter and YouTube were used as digital channels to communicate important information to audiences and also Renewing Season Ticket Holders accounted for 72.6% of all as a mechanism for feedback. The Company currently has Season Ticket Holders in 2009, slightly down from 74% in 994 followers on Twitter and 743 Facebook fans. 2008.
Developing data-driven customer relationships Strengthening and developing partnerships
The Company continues to drive ticket sales through The Company encourages active cross-promotional building relationships with single ticket buyers and Season partnerships with a broad range of organisations to attract Ticket Holders with the objective of increasing frequency of new audiences and promote shows relevant to specific attendance. In 2009, the Company undertook a pilot direct- markets. For example, Richard Jordan’s 25 Down, attracted mail campaign utilising specialised data research on ticket significant new audiences through active involvement of the buying behaviours and attendance patterns. Company Hype Agents, Fortitude Valley clubs and gay media outlets.
36 A n n u a l R e p o r t A n n u a l R e p o r t 37 Larger audience numbers Larger audience numbers Affordable and accessible productions 2010 Outlook
The Company endeavours to provide affordable and To further bolster the U30 program, the Hype Agent initiative Goal 3: WE WILL CREATE LARGER AUDIENCE NUMBERS accessible theatre productions. Ticket pricing structures was implemented. Hype Agents were recruited as brand allow this via concession card holder discounts (full time ambassadors for the Company and were encouraged to Students, Pensioners, Health Care Card, Carer Business use word of mouth in their youth networks to create buzz Discount Card and Government Seniors card) and discounts about the mainstage season. The program aimed to develop We will achieve this by: on matinee and preview performances. Every Tuesday, the relationships between Queensland Theatre Company and Company places 20 tickets for the evening performance Hype Agents which would continue after the Hype Agents Building brand awareness, leadership and loyalty on sale for $20. This is advertised in MX street press and had completed their year of the program. Another aim of increased brand image and marketshare included in the Company’s Facebook and Twitter updates. the program was to provide opportunities for the agents to increase total audiences gain more knowledge about the industry. While sales for The increased audience retention rate The Under 30 program (U30), aimed at fostering access to Crucible in the U30 market were considerable, it is difficult live theatre for people under 30 was a great success in 2009. to gauge whether the Hype Agent program directly generated Developing social opportunities for audiences to connect with each other and the Company Through the program, the Company staged two U30 Studio these increased ticket sales. However, there is a qualitative implementation of new ticket packages incorporating face to face social networking – at least four in 2010, with one or two Nites for That Face and 25 Down where young people were indicator of the success of the program – the number of Hype more in subsequent years, and the most successful packages continued in following years encouraged to engage directly with the creative team, and Agents who want to continue their relationship with the increased retention rate year on year for ongoing ticket packages attend an U30 event after the performance in the Bille Brown Company past 2009. implementation of at least two social networking events for existing audiences per year, with attendance figures growing Studio. The Crucible was particularly successful in U30 ticket year on year sales with 2,041 attendees. Developing data-driven customer relationships increased audience acquisition and reactivation year on year Engaging audiences through digital media and new technologies increased online presence updated marketing team position descriptions to include online activities increased engagement with audiences through new technology Instigating and participating in research – at least three pilot programs in 2010, one or two in subsequent years, with the most successful continued in following years – increased digital single ticket purchases by 7% per year Test Drive the Arts The Company participated in Arts Queensland’s Test Drive Strengthening and developing industry, community and promotional partnerships the Arts initiative. The company offered free tickets to increased partnerships by at least 30 per year The Alchemist, God of Carnage and The School of Arts to people who had registered on the test drive website, having Providing affordable and accessible productions never attended theatre before. The program aimed to raise increased attendance for $20 Tuesdays interest and awareness of the Arts. Follow-up offers were increased presence at community events given to the patrons to encourage them to attend theatre increase publicity and promotion of non-mainstage activity again in the future.
Instigating and participating in audience and industry research inclusion in Australia Council for the Arts ADVICE Project tri-annual market research project
38 A n n u a l R e p o r t A n n u a l R e p o r t 39 A financially strong company A financially strong company Financial analysis and expenditure
The Company maintains appropriate expenditure controls through regular re-forecasting of predicted income and expenditure, quarterly review of performance measures, and ongoing monitoring of critical areas of income and expenditure, particularly of each production.
Increasing income
Queensland Theatre Company aims to increase earned income such as touring, box office income, philanthropy and sponsorship. The Company also continues to search for potential new revenue streams to ensure that new initiatives that are developed are sustainable over the long term. 2009 was a significant year in that the Company dramatically increased its co-production income, which provided some protection against the broader economic downturn.
New Initiatives
Events Frequent events for donors throughout the year assist the Company in further establishing relationships with donors and potential donors, as well as providing information and highlighting some of the key support areas of Company activities. 2009 events included:
backstage set tours of The Alchemist, The Exception and The Rule, The School of Arts and The Crucible The Crucible reception at Government House to celebrate 40 years L-R: Christopher Sommers, Paul Bishop, Bryan Nason, James Stewart, Robert Coleby since the Company’s first production, The Royal Hunt of Photo: Rob Maccoll the Sun workshop and wardrobe tours of Queensland Theatre Company premises attendance at dress rehearsal for God of Carnage and the We will achieve this by: Young Playwrights Program reading producing timely and accurate financial analysis, planning and reporting to facilitate financially Awards sound decision making In 2008, Queensland Theatre Company and URS Australia launched Queensland’s first Green Theatre and delivered maintaining strong expenditure controls a carbon neutral production of the play The Importance increasing income through existing revenue streams, both earned and subsidised of Being Earnest. This initiative was recognised in 2009 by the Australian Business Arts Foundation when the two diversifying earning potential through new initiatives organisations were awarded the Marsh Partnering Award, maintaining strong governance Queensland for the best arts/business partnership. Governance (See page 51 for details) 40 A n n u a l R e p o r t A n n u a l R e p o r t 41 A financially strong company A financially strong company Philanthropy Corporate development
Trusts, Grants and Foundations Individual donors Sponsorship Production Sponsors The Company enjoyed significant success in applications There were three key goals for the Philanthropy Program in The economic crisis proved a challenging time however all but The 2009 season featured the winning production of the to private and government funding initiatives, grants and 2009 – increase the total money raised, increase the number two sponsors continued their support of Queensland Theatre Queensland Premier’s Drama Award 25 Down co-sponsored foundations in 2009. Total income received was $154,300 of donors to the Company and build on relationships with Company during 2009. We also welcomed new program and by Brookfield Multiplex and Griffith University. Bille Brown’s compared to nil in 2008. existing donors. production sponsors during the year. new play The School of Arts opened in July at QPAC and was sponsored by Bendigo Bank, who hosted more than 100 of A summary of grants and foundations funds received is as The following outlines the key results in individual donations: Program Sponsors their valued clients during the play’s season in the Playhouse. follows: Our Emerging Artists Program enjoyed great support from Philip Bacon Galleries proudly sponsored Arthur Miller’s The 2008 2009 Brisbane Airport Corporation, who have sponsored this Crucible, a gripping night of theatre. Grants Received in 2009 *New donors 144 137 program since 2005. This program offers opportunities to Sidney Myer Fund Total donors 263 298 talented artists including actors, directors, lighting and sound Season Sponsors Taking Aim – Artist in Residence Program 30,000 designers, many of who have been able to advance their In 2009, law firm, Freehills came on board as a new Season Total raised $70,787 $84,032 Sponsor providing cash and contra services. Queensland Perpetual careers on the national stage. * 2008 new donor figure includes all donors that did not donate in 2007 Theatre Company is also grateful for the support we receive Maxine Mellor Mystery Project Tour 30,000 (Earlier data unavailable) Wesfarmers Resources continued their commitment as in contra services from Arkhefield, Castlemaine Perkins, Auda Foundation Program Sponsor of the Wesfarmers Resources Regional Merlo, Clovely Estate, The Sebel and Citigate King George Virtual Drama Workshop Program *20,000 The Company continues to promote five key areas of support: Acting Studio. This program more than doubled in growth Square , Phoebe Stephens Flowers, Liquid Interactive, The Youth & Education, Emerging Artists, Regional Program, new Tim Fairfax Family Foundation from 2008 to 2009 and toured to seven towns throughout CEO Institute, Digital Ink, Wine&Dine’M, NOUS and Palace writing and productions. Many of these areas demonstrate Hurry Up and Wait – Tour *35,292 regional Queensland. Queensland Theatre Company toured Cinemas. the Company’s commitment to adding value to the community Australia Council Maxine Mellor’s Mystery Project to Blackwater, the location it serves. This message was communicated both internally Creative Professionals Grant – Wigmaking 20,000 of Wesfarmers Resources Curragh mine. As part of this We were thrilled to welcome PricewaterhouseCoopers as and externally and will be reinforced in future fundraising sponsorship, Bille Brown, actor and playwright, visited the Premium Entertainment Program Sponsor in October 2009. Australia Council appeals and marketing materials. Emerging Artist Grant – Director *19,000 Brisbane office of Wesfarmers Resources and met with the team. Special events $154,292 Queensland Theatre Company hosted seven pre-show *Project proceeding in 2010 Our Youth & Education Program continues to establish itself functions on opening nights with strong attendance from as one that provides opportunities for young people to both existing and potential sponsors who enjoy the chance to engage with the arts through participation and attendance. mingle with the arts community. Two components of this program are sponsored by the University of Southern Queensland, who have continued their The Corporate Development team hosted a Christmas ‘thank valued support of Theatre Residency Week and In-School you’ lunch for sponsors at The Sebel Citigate King George Workshops during 2009. Square, one of our valued Season Supporters.
The regional tour for The School of Arts was supported by two new sponsors, CS Energy and Wesfarmers Curragh. CS Energy sponsored the performances in Biloela and Chinchilla, whilst Wesfarmers Curragh supported the Blackwater performance.
42 A n n u a l R e p o r t A n n u a l R e p o r t 43 A financially strong company A financially strong company 2009 Supporters 2009 Donors
GOVERNMENT PARTNERS Queensland Theatre Company wishes to thank all of its generous donors in 2009 whose contributions play a part in enriching Queensland’s artistic and cultural life.
Thank you to all our current donors:
PRODUCING PARTNERS PRESENTING PARTNERS
Trusts and $10,000+ $1,000-$4,999 $500-$999 Foundations Anonymous Anonymous Anonymous Bruce & Sue Shepherd Reece Allen Anne & Peter Allen Sidney Myer Fund Joanne Fettke & Lance Meikle Mildred & Robert Blakeley The E Robert Hayles Mike & Sue Gowan Corey Burns & Natasha Dunn & Alison L Hayles Barbara Houlihan Penny Everingham Charitable Trust, $5,000-$9,999 Andrea & Martin Kriewaldt Merrilyn Goos PROGRAM SPONSORS managed by Perpetual Dr. G. and Mrs J. Martin David Hardidge PRODUCTION SPONSORS Foy Family Donal & Una O'Sullivan John & Gabrielle Hull Russell McKimmin NOUS Charitable Trust, Dr. Marie Siganto AM Susan Learmonth & Bernard Curran managed by Perpetual Warren Tapp The Honourable Justice J.A. Logan RFD Dave Mason Robert & Dana McCown R & B Murray Ian O'Connor QUEENSLAND PREMIER’S DRAMA AWARD SUPPORTERS Pauline & Terry O'Dwyer Dr S Phipps Marianna Serghi Phoebe Stephens
premium entertainment program $100-$499
19 Anonymous Mrs Win Davson M.B.E Ian & Rhyl McLeod Adrian Simpson Leanne Austin Dr Jonathan Dwyer Anthony Mellick P & M Smith SEASON SPONSORS Performance Sponsors Gregory Ayre Paul Evans Barry & Olive Mionnet Betty Smout Judith Banks Judi Ewings John & Cynthia Morgan Anne Street Pauline Beames Cindy Gallois P & F Morrison Lola Taylor Rev Dr Hugh Begbie Ruth Hamlyn-Harris Daniel Mullholland Olga J Thew Anthony & Denise Benjamin Yvonne Hansen Christos & Colleen Papadopoulos Alison Vala MEDIA SUPPORTERS Mark & Sue Benson Noel Harders Robert & Diane Parcell Coralie Van Straaten-Peretz Trevor and Nan Bryce Janice Harley D A Pfeiffer Patrick Wallas R & L Burns Ted Henzell Lynn & Pat Pieper Patricia & Ray White Dr E A Byrne Henderson AM Scott Herron Michael & Terri Pinnock Robert & Margaret Williams Margaret Cameron James Hetherington James & Gloria Poulos Doug & Jenny Woodward John Campbell Olwyn Kerr Catherine Quinn SEASON SUPPORTERS Michael & Margaret Clancy Tempe Keune John Richardson & Kirsty Taylor Robert Cleland Ross & Sophia Lamont Melanie Rogers Caryllin Coats Shirley Larsen Andrew Russell John Colwell Alan & Jennette Lavis Mayanne Russell John Crocker Joan Lawrence Vic & Marie Sampson Patricia Darrouzet S. McCorkindale B & L Sexton
PROMOTIONAL PARTNERS: Coev Hair Cutters, Ewan Gardam Fabrics, Raleigh Paper.
44 A n n u a l R e p o r t A n n u a l R e p o r t 45 A financially strong company A great place to work 2010 Outlook
Goal 4: WE WILL CREATE A FINANCIALLY STRONG COMPANY
We will achieve this by: Producing timely and accurate financial analysis, planning and reporting to facilitate financially sound decision making developing, monitoring and controlling Company budget highly effective financial management systems relevant measures for planning, reporting and monitoring progress quarterly reforecast of yearly financial result Maintaining strong expenditure controls analysing and reviewing expenditure to improve efficiencies maintain strong procurement and authorisation procedures Increasing earned income through existing revenue streams, both earned and subsidised grow Philanthropy Program maintain existing and increase acquisition of new sponsors achieve box office targets for mainstage season and grow box office income over three years continual review and development of revenue streams successful grant applications for increased or new project funding breakeven or better yearly financial result over three year period effective advocacy and lobbying successful government budget bids Diversifying earning potential through new initiatives new initiative development to include feasibility testing, costing and potential funding options prior to implementation at least one co-production per year a package of ‘ready to go’ projects available for potential donors and sponsors annual touring at least one guest production per year Maintaining strong governance annual review of board policies and procedures compliance with funding agencies framework for governance effective Finance subcommittee effective Audit subcommittee regular Board discussion of Company goals Queensland Theatre Company annual Board self-assessment program including board charter Photo: Florian Groehn
We will achieve this by: maintaining good internal systems including people management encouraging and rewarding enthusiastic employees providing a safe working environment developing a sustainability strategy maximising the opportunities for change in the Kurilpa Precinct (Go Between Bridge/Southbank developments)
46 A n n u a l R e p o r t A n n u a l R e p o r t 47 A great place to work A great place to work Engaging employees – management, encouragement, rewards Sustainability strategy
The Company aims to develop as a value-based organisation, Regular Company events such as ‘meet and greets’ on The Company has identified sustainability as a key focus area and regularly reviews and discusses organisational values, the first day of rehearsals for each production, BBQs, for the future, and has plans in place to develop a strategy both on special employee development days and in the monthly staff meetings and opening and closing nights to reduce its carbon emissions. In 2009, the Company was monthly staff meetings. The staff meetings are also an provide opportunity to reflect on the work in progress, recognised in the Australian Business Arts Foundation opportunity for employees to share triumphs and challenges. celebrate Company successes and ensure the creative and Awards for its innovative partnership with URS, to undertake administrative components of the team work effectively a ‘green theatre’ initiative. The project undertook a study of Employee performance is managed through an annual together. the carbon emissions produced by one mainstage production, performance review process and a quarterly review of goals and the sponsor company paid to offset the entire for each department. production. This has been developed as a model that can be further developed within a sustainability strategy.
Safe working environment The Kurilpa Precinct
Queensland Theatre Company is committed to complying The Committee meets monthly to discuss action specific The development of the Go Between Bridge, connecting with, or exceeding, the spirit and intent of the workplace agenda items and is comprised of eight persons across South Brisbane with Milton and the inner city bypass, has safety regulations and guidelines to protect the health and various Company Departments at production and been a major focus for the Company since the project was safety of all affected by our workplace activities. administration levels. At these meetings, policies and first proposed in 2006. The Company has been working procedures relating to OWH&S are also reviewed as part closely with the owner of its buildings, the Department As part of its overall commitment Queensland Theatre of a rolling audit to ensure compliance and to improve if of Public Works and the Brisbane City Council to mitigate Company has an effective and progressive Occupational inadequacies are identified. An annual review of OWH&S the impacts of the construction and to maximise the Workplace Health and Safety (OWH&S) Committee whose policies and procedures is presented to the Audit Committee. opportunities of the changes in the Precinct. main purpose is; Company staff are fully trained to meet OWH&S requirements in areas specific to the work environment. Regular reminders In 2009, two new off-street car parks have been constructed to facilitate co-operation between the staff, management and updates from the Committee to Company staff ensure in the vicinity of the Bille Brown Studio, one directly opposite and Board of Queensland Theatre Company to institute, active participation in creating a safety-conscious culture. the Company’s base and the other in nearby Merivale Street. develop and carry out measures designed to ensure the The other significant project undertaken in relation to the health and safety at work of all employees; and bridge construction is the development of the courtyard, to reposition the Company’s entry and reduce the impact of to recommend and/or implement standards, rules and increased traffic on the patron experience. procedures relating to health and safety which are to be carried out or complied with at the workplace and ensure The Company has also been actively involved in planning industry statutory requirements are adhered to. for the Kurilpa precinct, with a Company representative on the South Brisbane Riverside Planning Community Planning Team. The Company has provided submissions for the plan, focussing on mixed use development that continues to provide affordable working spaces for artists in the precinct.
48 A n n u a l R e p o r t A n n u a l R e p o r t 49 A great place to work 2010 Outlook Corporate Governance
Goal 5: WE WILL CREATE A GREATE PLACE TO WORK Queensland Theatre Company Board Audit Committee The Queensland Theatre Company’s Board met nine times The Audit Committee meets bi-annually and is responsible during the year. The Chair and members of the Board are for the Company’s audit and risk management process. The We will achieve this by: appointed by the Governor in Council for a term of not Committee operates in accordance with its Charter to review more than three years, under sections 6, 9 and 10 of the the financial administration and reporting of the Queensland Maintaining good internal systems including people management Queensland Theatre Company Act 1970. Under section 6 Theatre Company, monitoring compliance with statutory of the Act, the Governor in Council must have regarded the obligations with due regard to Queensland Treasury’s induction program completed for all new employees person’s ability to contribute to the Company’s performance Audit Committee Guidelines. The Committee oversees the annual planning forum and the implementation of its strategic and operational Risk Management Plan, undertakes regular internal audits annual performance reviews including goal setting and identification of skill development plans. Under section 8 of the Act, a person is not eligible for of Company policies and oversees the financial audit. quarterly goal reviews for Managers appointment if the person is disqualified from managing a Committee members include Barbara Houlihan, Chair, Dr Kate current and clearly communicated policies and procedures, develop rolling review process to keep policies and procedures corporation under the Corporations Act 2001 (Cth). Foy – Chair of Queensland Theatre Company, Bain Stewart – up to date Board Member, Libby Anstis – General Manager and Nicola an effective Information Technology (IT) system that supports Company requirements Board attendance in 2009 was as follows: Gregory – Finance Manager. annually assess and implement IT business requirements and supplier arrangements as per IT Rolling Plan effective management of risk Board Member eligible to attend Attended Queensland Theatre Company utilises a Risk Management whole of Company and departmental review and development of Risk Management Plan Plan to identify and mitigate major business and operational review annually external supplier relationships and contracts Dr Kate Foy (Chairperson) 8 8 risks. Compliance with the Risk Management Plan is incorporating review of operational requirements with programming decisions Terry O'Dwyer (Deputy Chair) 8 7 monitored by the Audit Committee. Kent Beasley 5 4 Encouraging and rewarding enthusiastic employees Haydon Coles 2 2 For full details of remuneration for the Finance Committee timely, efficient and transparent recruitment processes Wendy Edmond 2 2 and Audit Committee members please see Note 22 of the prompt, confidential and effective handling of grievances if required financial statements. regular review of job design and work practice Penny Everingham 8 6 all full time employees receive annual increase of Consumer Price Index or better Sharyn Ghidella 5 3 Internal Audit opportunities for staff and artists to mix Barbara Houlihan 8 8 The Company does not undertake an internal audit due to the undertake annual audit of employee satisfaction Yaron Lifschitz 5 3 relatively small scale of its operations. regular discussion of Company Goals and Values with all staff Prof. Ian O'Connor 8 4 time for reflection, celebration and to share triumphs and challenges Company wide Consultancy costs Simon Porter 2 2 Consultancy costs to the total value of $11,618 were incurred Providing a safe working environment Bain Stewart 5 5 in relation to undertaking an organisational review and an effective and progressive Occupational Workplace Health & Safety (OWH&S) Committee Dr Sally Vickery 2 2 performance review of the Artistic Director. staff fully trained to meet OWH&S requirements, including regular reminders and updates from Committee Note – There was no meeting in April or May. active participation in creating a safety-conscious culture – The June meeting was only for returning board members. International travel annual review of OWH&S policies and procedures by Board Finance Committee Name Michael Gow, Artistic Director Developing a sustainability strategy Destination UK, Europe, USA The Company has a Finance Committee that meets monthly Dates 19 May – 7 June 2009 develop charter for sustainability strategy working party to oversee the Company’s financial position. The Company Reason for Travel Building and enhancing international recruit cross-company sustainability strategy working party reports on finance and operations of the Company through relations with theatre companies. develop environmental sustainability strategy in 2010 monthly reports provided to Board members. Finance reports Attending theatrical productions both as implement short and medium term objectives of the strategy in 2010 are provided through the Attache Accounting system and professional development and operations reports include key issues and highlights of each possible future productions for Maximising the opportunities for change in the Kurilpa Precinct (HSL/Southbank department of the Company. Committee members include Queensland Theatre Company. developments) Terry O’Dwyer – Chair, Kent Beasley – Board Member and Dr Identifying international market develop and implement appropriate mitigation strategies for Go Between Bridge Kate Foy – Board Member and Chair of Queensland Theatre opportunities for Queensland theatre stay abreast of proposed developments in the Kurilpa Precinct to maximise opportunities for the Company Company, Libby Anstis – General Manager and Nicola Gregory audiences. active involvement in discussions with local and state governments to ensure the Precinct adds value to Company activities – Finance Manager. Agency Cost $19,140 clear and proactive communication to staff and patrons on Go Between Bridge and other developments Michael Gow met with our London representatives and whilst there viewed productions at the National Theatre, Hampstead Theatre and Novello Theatre. He spent time in Berlin viewing productions at the Deutsche Theatre followed by New York with our local representatives who recommended off- Broadway and off-off Broadway productions. Michael met with playwrights, Artistic Directors and Creative Directors during his time overseas. There were no contributions from other agencies or sources to fund the trip.
50 A n n u a l R e p o r t A n n u a l R e p o r t 51 Corporate Governance Financial Report
Public Sector Ethics Act 1994 Queensland Theatre Company has developed and implemented a Code of Conduct for all Board members and employees utilising the key principles contained in the Public Sector Ethics Act 1994. The Code of Conduct is included in the induction program for all new employees and details of the ethics obligations and a copy of the Code of Conduct are available to all staff on the Company’s shared database. Copies of the Code of Conduct are available to all staff and members of the public from the office of Queensland Theatre Company. 54
Whistleblowers Protection Act 1994 55 During 2009, no public interest disclosures were received. 56 Related entities 57 Queensland Theatre Company has no related entities. 58 Governance Records management 72 Queensland Theatre Company implements the requirements 73 of the Public Records Act 2002 and is working towards compliance with IS40. In 2009, the Company moved towards developing a Business Classification Scheme and disposed of records in line with the General Retention and Disposal Schedule for Administrative Records.
Voluntary early retirement and retrenchments In 2009, there were no packages paid to employees for redundancies, early retirements or retrenchments under Public Service commission Directive 17/09.
Workforce planning, retention and turnover In 2009 the Company undertook an organisational review in line with the strategic plan 2009 – 2012. The number of full- time equivalents in 2009 was 70. (For full details see Note 14 of financial statements)
52 A n n u a l R e p o r t A n n u a l R e p o r t 53 Financial Report Financial Report
54 A n n u a l R e p o r t A n n u a l R e p o r t 55 Financial Report Financial Report
56 A n n u a l R e p o r t A n n u a l R e p o r t 57 Financial Report Financial Report
58 A n n u a l R e p o r t A n n u a l R e p o r t 59 Financial Report Financial Report
60 A n n u a l R e p o r t A n n u a l R e p o r t 61 Financial Report Financial Report
62 A n n u a l R e p o r t A n n u a l R e p o r t 63 Financial Report Financial Report
64 A n n u a l R e p o r t A n n u a l R e p o r t 65 Financial Report Financial Report
66 A n n u a l R e p o r t A n n u a l R e p o r t 67 Financial Report Financial Report
68 A n n u a l R e p o r t A n n u a l R e p o r t 69 Financial Report Financial Report
70 A n n u a l R e p o r t A n n u a l R e p o r t 71 Financial Report Financial Report
72 A n n u a l R e p o r t A n n u a l R e p o r t 73 Financial Report Appendix A • Organisational Chart
The Hon. Anna Bligh Premier and Minister for the Arts
Queensland Theatre Company Board of Directors
Artistic Director Michael Gow
General Manager Libby Anstis
Artistic Development Corporate Marketing Operations Production Youth & - Artistic - Venue - Workshop Education Development - Media Finance -Front of Philanthropy - Wardrobe Development - Sponsorship - Ticketing -Regional - Writing House - Technical
A complete list of employees is outlined in Appendix B & C
74 A n n u a l R e p o r t A n n u a l R e p o r t 75 Appendix B • Board of Directors and Staff Appendix B • Board of Directors and Staff
Patron Head of Wardrobe Costume Makers Her Excellency Ms Penelope Wensley, AO Gayle MacGregor (until 27 February 2009) Marysia Aves Governor of Queensland Vicki Martin (from 16 February 2009) Carla Binotto Head Cutter Kiara Bulley Board of Directors Madeline Taylor (until 24 April 2009) Sharon Clarke Appointed expiry Kirsten Kaukenas (from 2 March 2009) Rebekah Ellis Dr Kate Foy (Chair) 27 March 2009 30 June 2010 Wardrobe Trainee Nomiki Glynatsis Terry O’Dwyer (Deputy Chair) 27 March 2009 26 March 2011 Mia Andersen Kimberley Hamilton Kent Beasley 4 June 2009 26 March 2011 Sean Hoban Haydon Coles 30 August 2007 26 March 2009 Head of Workshop Isobel Hutton Wendy Edmond 30 August 2007 26 March 2009 Peter Sands Danielle Masters Penny Everingham 27 March 2009 26 March 2011 Company Carpenter/Head Mechanist Nathalie Ryner Yaron Lifschitz 4 June 2009 26 March 2011 John Pierce Annette Silva Sharyn Ghidella 4 June 2009 26 March 2011 Apprentice Carpenter Barbara Houlihan 27 March 2009 26 March 2011 Jaydn Bowe Wardrobe Maintenance Prof. Ian O’Connor 27 March 2009 26 March 2011 Kiara Bulley Simon Porter 30 August 2007 26 March 2009 Youth & Education Manager Nathalie Ryner Mr Bain Stewart 4 June 2009 26 March 2011 Joseph Mitchell Annette Silva Dr Sally Vickery 12 October 2006 26 March 2009 Education Liaison Officer Katie Stewart* Specialty Tailor State Government Observer Jenny Galligan *On secondment from Education Queensland Arlie McGill Youth & Education Officer Artistic Director Marketing Manager Rebecca Smith Knitter Michael Gow Bronwyn Klepp (until 16 October 2009) Regional Coordinator Nancy Matthews Interim Marketing Manager Damien Cassidy (from 1 June 2009) General Manager Olivia Guglielmino (from 19 October until 11 December 2009) Wig Maker Libby Anstis Marketing Coordinator Stage Managers Cheryl Newton (Cheryl Newton Postiche) Fiona Skelton (until 11 March 2009) Peter Sutherland (Senior Stage Manager) Casuals and staff Simone Dahl (from 30 March 2009) Sue Benfer Wig Stylist/Dresser and Hairdresser Publicity & Communications Coordinator Sophia Dalton Michael Green Executive Assistant Amanda Doellinger Amy Forman Debra Martin Belinda Park Ticketing Systems & Services Coordinator Nicola Keene Lynne Swain Dimity Vowles Jodie Roche Artistic Development Manager Receptionist/Marketing Assistant Daniel Sinclair Make Up Artists Delia O’Hara (until 21 January 2009) Claire Lennon Anika Vilee Tiffany Beckwith-Skinner Acting Artistic Development Manager Ticketing Officer Misha Douglas Fabienne Cooke (from 27 January 2009) Maggie Holmes Assistant Stage Managers Jan Huggett Artistic Development Coordinator Jess Audsley Erica Fryberg Operations Manager Jennie Buckland Art Finisher Artistic Associate Kellie May-Halpin (maternity leave from 24 August 2009) Sophia Dalton Nathalie Ryner Jon Halpin Interim Operations Manager Kylie Degen Amanda Jane Dinsdale (from 17 August 2009) Chin Ling (Bec) Li Bootmaker 2009 Emerging Artists Operations Coordinator Kathryn O’Halloran Pendragon Boot Company Kathryn Marquet Zoe Du Bois Shaun O’Rourke Christopher Sommers Operations Officer Workshop Carpenters Roxy Lorenz Wardrobe Coordinators Hugh Daly Corporate Development Manager Rosa Hirakata Justine Nicolson Nikki Porter Philanthropy Manager Nathalie Ryner Gavin Sawford Corporate Development Coordinator Amanda Jolly Aleksis Waaralinna Helen O’Rourke Cutters Production Manager Margaret Adam Prop Makers Finance Manager Michael Kaempff Catherine Douglas Ian Kath Nicola Gregory Technical Coordinator Rosa Hirakata Aleksis Waaralinna Assistant Accountant Daniel Maddison Kathryn Lee Roxane Eden Production Electrician/IT Supervisor Gayle MacGregor Finance Officer Ian Rendell Madeline Taylor Robin Koski Jayne Warrington
76 A n n u a l R e p o r t A n n u a l R e p o r t 77 Appendix B • Board of Directors and Staff Appendix C • Executive Staff
Scenic Artists Operations (casuals) Michael Gow – Artistic Director Fabienne Cooke – Acting Artistic Development Shaun Caulfield Carlin Beattie As a director, Michael has worked with many of Australia’s Manager Melissa Creed leading performance companies including Sydney Theatre Fabienne first commenced in the position of Artistic Samantha Ford Marketing (casuals/contract) Company, where he was Associate Director from 1991 to Development Manager in January 2003. After three years, Jessica Ross Carlin Beattie 1993, Company B, Black Swan Theatre Company, Griffin she turned her attention to sponsorship and philanthropy Zoe de Plevitz Theatre Company, State Theatre Company of South Australia, in the role of Corporate Development Manager until August Sound Consultant/Operator Helen Suter Australian Theatre for Young People, Playbox, Opera 2007. Following a brief hiatus during which time she Tony Brumpton Krystal Sweedman Australia, Sydney Festival and Adelaide Festival. worked at Brisbane Girls Grammar School in the position Ryan Marks of Philanthropic Programmes Manager and had a baby Ticketing (casuals) Michael’s writing credits for stage, screen and radio are girl named Cosette, Fabienne returned to the Company in Testing & Tagging (Licensed Electrician) Nick Backstrom extensive. His plays include the multi-award-winning Away, January 2009 as Acting Artistic Development Manager. From Michael Leggett Kathryn Fray hailed as a modern classic of the Australian theatre and now 1999 to 2003, Fabienne was Artistic Administrator at State Ben Hartney one of the most performed Australian works written. His Theatre Company of South Australia and during this time Technical Crew/Bump In & Out/Drivers Brett Howe most recent play, Toy Symphony premiered at Company B in was seconded to Arts SA as Manager Lead Agencies. Prior Scott Barton Victoria Manley late 2007 and won seven categories at the Sydney Theatre to her four years in Adelaide, Fabienne worked in various Daniel Black Cienda McNamara Awards including Best New Australian Work. Other plays roles at performing arts organisations including Queensland Leon Cain Alice Muhling include – The Kid, On Top of The World, Europe, 1841, the Performing Arts Centre and Queensland Theatre Company. Lewis Carney Rachael Regan award-winning Furious, Sweet Phoebe, also an award winner, Fabienne holds a Bachelor of Arts (Drama) majoring in arts Jo Currey Katie Ross and Live Acts on Stage. A number of his works have been administration and a Master of Business (International Naomi Dalton Krystal Sweedman produced and performed internationally including major Management) from Queensland University of Technology Christopher Dickey Rowena Taylor seasons in the UK and US. For television he has written the and is a current student in the Creative Industries' Doctoral Matthew Erskine Alexandra Young mini-series Eden’s Lost, directed by Neil Armfield, and for program. Guy Gimpel Heidi Zummo ABC Television Art’n’Life; for radio, Michael adapted his play Scott Klupfel Europe for broadcast in Australia and Europe, and wrote The Amanda Jane Dinsdale – Interim Operations Manager Toni-Louise Lennon Youth & Education/Regional (casuals) Astronaut’s Wife for ABC Radio. Artistic posts held by Michael Amanda has worked on and off with Queensland Theatre Mark Middleton Amy Humphreys include Chair of Griffin Theatre and Board member of the Company since 2002. Her skill base is diverse having Rebecca Rees Australian Theatre for Young People. He is the patron of the worked in the arts, legal, human resources and health and Ross Rideout Front of House (Bille Brown Studio) Australian Theatre for Young People’s writing program Fresh fitness fraternities before moving into staff training and Felicity Roberts-Thomson Nick Backstrom Ink, inaugural Chair of PlayWriting Australia and Adjunct implementation of best work practices and systems and Gavin Sawford Carlin Beattie Professor at Griffith University. managing an innovative health and wellness business in West Matthew Strachan Amanda Boyd End. Warren Sutton Amy Bradney-George Libby Anstis – General Manager Jeffrey Warnick Zoe de Plevitz Libby has had more than 20 years experience in the In her most recent role at the 2009 Queensland Music Edward Welsh Emily Devers Festival, Amanda assisted in delivery of the sell out Leisha Du Bois performing arts industry with a variety of key roles at Queensland Symphony Orchestra, the Brisbane Festival Riverstage concert Cannot Buy My Soul – The Songs of Kev Touring Head Electrician Sena Du Bois and Centenary of Federation Queensland. She holds a Carmody, Loud In the Valley and other projects including Daniel Black Anita Hughes Bachelor of Business – Communication from Queensland bringing 12 international and national artists over 6 nights Touring Head Mechanist Audrey Moran University of Technology and began her career in marketing to one of Brisbane’s most loved venues at The Tivoli, Jaydn Bowe Thomas Noble and development for Queensland Symphony Orchestra. In Queensland at Home and Dancenorth’s Remember Me, both Touring Mechanist Ashleigh Wheeler her seven years with the Orchestra, Libby spent the last two productions at Brisbane Powerhouse. Guy Clarke Sarah Winter as General Manager of the organisation, before taking up Touring Head of Wardrobe Niki-J Witt the position of Producer – Music Program for the Brisbane Annette Silva Heidi Zummo Nicola Gregory – Finance Manager Festival. Touring Tech Manager Nicola joined Queensland Theatre Company in January 2008. Rebecca Rees Night with the Actors Host Prior to commencing with Queensland Theatre Company, Libby held two roles at Centenary of Federation Queensland, Touring Head of Audio Carol Burns Nicola was working as the Finance Manager for the National joining as Community Program Manager in 1999 and taking Ryan Marks Jon Halpin Geographic Channel – Australia and New Zealand. over as Executive Director in 2000. In 2003 she was awarded the Centenary Medal for contribution made to Australian Artistic Development (casuals/contract) London representatives She has over 13 years of financial management experience society. Since 2006 Libby has participated as mentor for Louisa Gordon Yolande Bird across a variety of industries. Starting her career working for Backbone Youth Arts 2High Festival. She is also a member Kellie Nicol Diana Franklin a chartered accounting firm, after three years Nicola moved of the Queensland Conservatorium Advisory Board and Shaun O’Rourke into commerce taking positions in both Australia and the Business South Bank. Helen Suter United States representative United Kingdom. Nicola completed a Bachelor of Commerce Stuart Thompson at the University of Queensland in 1994 and was admitted as Finance (casuals) a member of CPA Australia in 2001. Heidi Zummo Founding Director Alan Edwards, AM, MBE
78 A n n u a l R e p o r t A n n u a l R e p o r t 79 Appendix C • Executive Staff Appendix D • Board Members
Amanda Jolly – Philanthropy Manager Kellie May-Halpin – Operations Manager (maternity Kate Foy (Chair; Finance and Audit Committee) Wendy Edmond (Until 26 March 2009) Amanda joined Queensland Theatre Company in May 2008. leave from 21 August 2009) Kate Foy holds a PhD from the University of Hawaii at Wendy Edmond brought to the Board a life-long love of Prior to working with Queensland Theatre Company she Kellie joined Queensland Theatre Company in 2002. Manoa. She trained for the theatre in London and began her the theatre together with experience of government at worked in a marketing and development capacity in the Previously she held the position of Venue Sales Coordinator professional career (as Kate Wilson) with Queensland Theatre the highest level. Following a career in health in Nuclear cultural sector both in Australia (Praxis, Fremantle Arts at the Adelaide Festival Centre. During this time she was Company in 1971. She subsequently appeared in more than Medicine and Radiation therapy that took her around the Foundation, Ausmusic, Victoria State Opera, State Library responsible for venue contracting arrangements working 30 productions, and wrote and directed for the Company. world and back to Brisbane, Wendy moved into Parliament in of Queensland) and internationally (Jacob’s Pillow Dance closely with the Australian Ballet, State Opera of South Formerly Associate Professor (Voice) and Deputy Dean Faculty 1989 as the member for Mt Coot-tha. During her 14 years in Festival, Massachusetts, USA, Centaur Theatre Company, Australia, State Theatre Company of South Australia and of Arts at the University of Southern Queensland (USQ) – to Parliament, Wendy served on many committees, community Montreal, Canada and La Direccíon de Bibliotecas, Archivos national and international commercial producers. Kellie September 2008, Kate was appointed Hon Professor in 2009. organisations, and the University of Queensland Senate. y Museos, Santiago Chile). She holds a BA majoring in Music completed her Bachelor of Arts, Honours in Drama in 1997 Kate has taught and published in the area of voice, acting She served as Minister for Employment and Training, and as and Fine Arts and a B Juris and LLB from the University of and graduated as a director majoring in theatre direction and theatre history. She has a national profile in e-learning Minister for Health for nearly six years during the rebuilding Western Australia. In 1991 Amanda was the recipient of a from Flinders University Drama Centre. As a component of her and the use of digital technologies and is a frequent of the public health system. After returning to Brisbane Mobil Fellowship for the Arts which enabled her to spend graduating project she was Assistant Director for The Red Sun conference presenter in this field. Kate currently serves on in 1984, Wendy became a Season Ticket Holder and has two months researching individual giving programs at arts performed in Japan and at the Adelaide Festival of Arts. the Board of Empire Theatres Pty Ltd Toowoomba. Kate was followed the maturing of the Company with interest. companies in the United States, Canada and the United the founding Producer of the ongoing Shakespeare in the Kingdom. In 1997, she was Assistant Director for Company B’s Park Festival 2004. She is a founding Director of Expressive Penny Everingham (From 27 March 2009) production of Black Mary and for the State Theatre Company Plus, a consultancy focussed on the art, craft, and science of Penny Everingham is a graduate of the National Institute of Michael Kaempff – Production Manager of South Australia production of Tales from Arabian Nights. personal presentation. Kate was appointed to the Board of Dramatic Art (NIDA) and holds a Bachelor of Dramatic Art in Michael joined Queensland Theatre Company in 1997 Her experience includes stage management for the Adelaide Queensland Theatre Company in August 2001 and has served Acting. She has worked as an actor on stage and radio and in as Production Manager. He has worked with companies Festival Centre’s Compagnie Maguy Marin and Venue as Chair since 2003. television and film as well as being experienced as a Director throughout Australia as a Stage Manager, including Belvoir Coordinator for the Festival of Ideas in Adelaide as well as for and Stage Manager. Penny is also a puppeteer and was a Street Theatre, Australian Opera, Sydney Theatre Company, The Telstra Adelaide Festival of Arts 2000. Kent Beasley (Finance Committee) (From 4 June 2009) founding member of the Marionette Theatre of Australia (The State Opera of South Australia and New Moon Theatre Kent Beasley is the Manager of Corporate Affairs and Tintookies) where she was the Assistant Artistic Director for Company. Michael also worked as a Stage Manager with the Joseph Mitchell – Youth & Education Manager Sustainability at Wesfarmers Resources. He is a graduate of a number of years, touring Asia and Australia extensively. English National Opera and other companies in the United Joseph commenced working with Queensland Theatre the Royal Military College Duntroon and following a career On moving to Brisbane, Penny joined the Queensland Kingdom. Michael was the Production Manager for the New Company in 2006. After completing degrees in Film and as an Officer in the Australian Army has held a number of Marionette Theatre as Artistic Advisor. She has been a Zealand tour of Cats, and the Australian and New Zealand Theatre, he worked in camera departments for television and corporate affairs roles. He holds a Masters of Business member of the puppetry panel of the Australia Council where tour of Jesus Christ Superstar. He has also worked as a between 2001 and 2003 was a Creative Director for Loose Eye Administration from the University of Southern Queensland she devised and coordinated a puppetry training program for Production Manager with The Bell Shakespeare Company, Media. During this time he produced television commercials, and a Bachelor of Arts from the University of New South the Australia Council Theatre Board. Penny was an Artistic the Festival of Sydney and for several national touring documentaries and music videos. Joseph completed post- Wales. Kent also serves on the Board of the Australian Coal Associate with Queensland Theatre Company from 2004 – productions. Before joining Queensland Theatre Company, graduate study in directing at the Victorian College of the Association Low Emission Technologies Limited. 2005 and currently serves on the Board of Metro Arts and is Michael was Production Manager for Ric Birch, whose Arts in 2004 and has since produced, directed and tutored for a mentor for the organisation. She is a member of the Actors company Spectak produced the 2000 Sydney Olympic Games youth theatre companies and worked as an Assistant Director Haydon Coles (Audit Committee) (Until 26 March Benevolent Fund committee and a founding member of the ceremonies. and multi-media artist for Melbourne Theatre Company. In 2009) Forgetting of Wisdom collective, a group of passionate senior 2006 Joseph was an editor for the Commonwealth Games and Haydon Coles retired as Head of Corporate Banking theatre practitioners. Her most recent stage appearances Bronwyn Klepp – Marketing Manager (until 16 October Asian Games. He is a member of the Australian Screen Editors Queensland for the Commonwealth Bank in October 2004. have been with Queensland Theatre Company, Bell 2009) Guild and is Chair of the selection panel for the Youth Arts He is a fellow of the National Institute of Accountants and a Shakespeare and the Forgetting of Wisdom collective, as Bronwyn was promoted to the position of Marketing Mentoring Program at Youth Arts Queensland. Graduate of the Australian Institute of Company Directors. well as running workshops for children and adults in various Manager in October 2004, after four years as Queensland He has 42 years of diverse banking experience with the aspects of theatre. Theatre Company’s Publicity & Communications Coordinator. Nikki Porter – Corporate Development Manager Commonwealth Bank, in 3 states, specialising in Corporate Prior to this time she held a number of marketing, sales Nikki joined Queensland Theatre Company in August 2007. Relationship Management and Business Development. Prior Sharyn Ghidella (From 4 June 2009) and promotions roles in the tourism industry. Since 2005, Prior to working with Queensland Theatre Company, Nikki's to being appointed to a Senior Executive role in Queensland Sharyn is a graduate of the Queensland University of Bronwyn has voluntarily worked as a Marketing and Public career encompassed more than 15 years with international in 1990, Haydon spent four years as the Bank’s General Technology, majoring in journalism and public relations. Relations mentor for emerging arts administrators through hotel chains, specialising in senior sales and marketing Manager in Hong Kong. Haydon also serves on the Boards She has 20 years experience in the industry as a reporter Youth Arts Queensland's Young Artist Mentoring Program positions. Nikki commenced her hotel career with the of the International River Foundation and Anglican Financial and producer. Respected news anchor and journalist and Backbone Youth Arts 2High Festival. Bronwyn holds Brisbane Hilton from where she was promoted to a national Services (ANFIN). Sharyn joined the newsroom at Channel Seven Brisbane a Bachelor of Arts from University of Queensland and a position with Hilton based in Melbourne. Nikki continued in February 2007 as the weekend presenter. She started Graduate Diploma in Business from Queensland University to work in Melbourne in senior marketing roles with major her career in north Queensland and has worked in Ten's of Technology (QUT). She is also a Member of the Australian hotels for more than ten years. From there, Nikki worked newsroom in Brisbane and with Nine News in Sydney. She Marketing Institute and an Associate of the Public Relations at the Victorian Arts Centre in their Development team, has anchored network coverage of major events such as Institute of Australia. specialising in corporate philanthropy. Following three years the Iraq war, Cyclone Larry and Steve Irwin's memorial and of travelling and living in South Africa, Nikki returned to all major network bulletins, including Daybreak, the Early Brisbane mid 2007. News, Morning News, 4.30 News and Nightline. Throughout her career, Sharyn has performed extensive work for many charities and has hosted numerous events and functions. She is also an avid theatre goer.
80 A n n u a l R e p o r t A n n u a l R e p o r t 81 Appendix D • Board Members Appendix D • Board Members
Barbara Houlihan (Chair – Audit Committee) Terry O’Dwyer (Deputy Chair; Chair – Finance Sally Vickery (Until 26 March 2009) Barbara Houlihan is a solicitor and consultant to James Byrne Committee) (from 16 June 2009) Sally Vickery is a retired General Practitioner with special and Rudz Lawyers. From 1985 until 2004 she was a partner Terry O’Dwyer is a chartered accountant and is the executive interest and experience in Geriatric Medicine, Palliative in the legal firm Stephen Comino & Cominos. She has a chairman of Backwell Lombard Capital. Previously he was Care and Transfusion Medicine. She has also in the past broad background in common law, insurance, commercial managing partner and Chairman of BDO Kendalls. Terry is a run her own health planning consultancy as well as being a and family law litigation and in dispute resolution. She has graduate of the University of Queensland in commerce and lecturer in Health Policy and Planning. She has undertaken been involved in volunteer work through Women's Legal holds a post-graduate diploma in advanced accounting. He is post-graduate formal study in Health Policy and Planning, Service and for various environmental groups. Barbara holds a fellow of the Institute of Chartered Accountants in Australia Education, Government, Economics, English Literature a Bachelor of Laws from the University of Queensland, was and of the Australian Institute of Company Directors. He and Theology; and her involvement in a range of diverse admitted as a solicitor to the Supreme Court of Queensland has previously held appointments as a Commissioner of community organisations reflects this. Sally is interested and the High Court of Australia in 1982 and has practised the Legal Aid Commission, a member of the Brisbane North in Indonesia’s people and culture and her first on-line continuously since. Regional Health Authority and was the Attorney General’s publication Teman – teman from the start, which promotes representative on the Law Society’s Grants Committee. He is friendship between Australia and Indonesia, was chosen Yaron Lifschitz (From 4 June 2009) chairman of listed company Metal Storm Ltd and is a director in 2007 by the National Library of Australia for permanent Yaron Lifschitz is a graduate of the University of NSW of Bendigo Bank Limited and Retravision Southern Limited. archiving in Pandora. She has had a life-long interest in all and NIDA. Since graduating, Yaron has directed over 60 the performing arts and actively works to promote their productions including large scale events, opera, theatre, Simon Porter (Chair – Finance Committee) (Until 26 development in Queensland; her special interests being physical theatre and circus. His work has been seen in 18 March 2009) training and education and philanthropy. countries across 5 continents by over 500,000 people. Simon Porter was formerly a Partner with Accenture, He was foundation Artistic Director of the Australian leading their government practice in Queensland. Simon Jenny Galligan State Government Observer Museum’s Theatre Unit, Head Tutor in Directing at Australian holds a Bachelor of Commerce degree from the University Jenny Galligan is the Executive Director of Arts Development Theatre for Young People and has been regular guest tutor in of Queensland and has been Chairman of the Queensland in Arts Queensland. She has extensive experience in public directing at NIDA since 1995. He is currently Artistic Director Branch of the Australian Information Industry Association administration and policy development in the Queensland and CEO of Circa. (AIIA), the Queensland Information Technology and government. Jenny has held numerous leadership positions Telecommunications Awards and the Queensland Information during her career, primarily in the education sector, in areas Professor Ian O’Connor (From 27 March 2009) Technology and Telecommunications Forum. He is currently such as educational computing, curriculum, professional Professor Ian O’Connor has been Vice Chancellor and Deputy Chairman of the Mater Foundation and is further development and Indigenous education. She has previously President of Griffith University since January 2005. Professor engaged in local school and community organisations that worked in the arts and cultural sector on education and arts O’Connor holds degrees of Bachelor of Social Work and involve his five sons. policies. Doctor of Philosophy from the University of Queensland. He is a director of the Australian Universities Quality Agency and Bain Stewart (Audit Committee) (From 4 June 2009) a foundation board member of the Australian Learning and Bain Stewart is an award winning independent arts producer Teaching Council. working in the area of Indigenous film, theatre, television and publishing. He has run the media company Bungabura Productions since 1996 with his long time partner Leah Purcell and has produced such seminal works as Box the Pony, Black Chicks Talking and Aunty Maggie and the Womba Wakgun. Through Bain Stewart Personal Management he has managed Leah Purcell’s career from the outset and is now passing on that experience and support through a formal relationship with the Brisbane based Aboriginal Centre of Performing Arts where Bungabura Productions is producing their mainstage productions as well as mentoring and managing their graduates, past and present. Bain was born in Brisbane and with his mother’s family from North Stradbroke and Moreton Island’s in South East Queensland. He maintains close ties to the Quandamooka peoples as a proud Noonuccal-Ngugi-Goenpul Murri man.
82 A n n u a l R e p o r t A n n u a l R e p o r t 83 Queensland Theatre Company 78 Montague Road South Brisbane PO Box 3310 South Brisbane BC Queensland 4101
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ISSN 1837-767X
The Annual Report documents Queensland Theatre Company’s activities, initiatives and achievements during 2009 and shows how it met its objectives for the year and addressed government policy priorities.
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Annual Report for the year ended 31 December 2009 © State of Queensland (Queensland Theatre Company) 2009
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