Event Program - 2009 - Perth International Arts Festival

Australia 

The War of the Roses 

world Premiere 

s y dne y t he at r e compa n y in A Perth Int e r n at ion a l A r t s F e s t i va l 

and Sydney Festival commission 

Written by 

William Shakespeare 

Adapted by Tom Wright and 

Benedict Andrews 

STC Actors Company with Cate Blanchett 

and Robert Menzies 

Directed by Benedict Andrews 

Set Design by Robert Cousins 

Costume Design by Alice Babidge 

Lighting Design by Nick Schlieper 

The War of the Roses contains work from 

the following: 

Richard II, Henry IV Parts 1 & 2, Henry V, 

Henry VI Parts 1, 2 & 3, Richard III 

WHERE 

His Majesty’s Theatre 

WHEN 

Friday 27 February–Thursday 12 

March 

This performance is in two parts 

Each part is 3 hours and 45 minutes 

including an interval 

supported by 

This project has been assisted by the 

Australian Government’s Major Festivals 

Initiative, managed by the Austr alia 

Council, its arts funding and advisory 

body, in association with the Confeder ation 

of Australian International Arts Festivals. 

perthfestival.com.au

The War of the Roses 

Part 1 and Part 2 

By William Shakespeare 

Adapted by Tom Wright & Benedict Andrews 

Performed by 

Cate Blanchett 

brandon Burke 

peter Carroll 

Marta Dusseldorp 

Eden Falk 

Holly Fraser 

john Gaden 

louis Hunter 

Ewen Leslie 

Steve Le Marquand 

Hayley McElhinney 

Amber McMahon 

Robert Menzies 

Luke Mullins 

Pamela Rabe 

Emily Russell 

Billy Shaw-Voysey 

Leo Shaw-Voysey 

Director 

Set Designer 

Costume Designer 

Lighting Designer 

Music & Sound Designer 

Musician & Original Music 

Music Design, Act Two, Part One 

Assistant Director 

Associate Lighting Designer 

Voice and Text Coach 

Crown by 

Production Manager 

Stage Manager 

Deputy Stage Manager 

Assistant Stage Manager 

Assistant Stage Manager 

Hair, Makeup & Wardrobe Supervisor 

Head Electrician 

Head Mechanist 

Sound System Designer & Mix Engineer 

Microphone Technician 

Production Photographer 

Rehearsal Photographer 

Marketing Photographer 


Robert Cousins 

Alice Babidge 

Nick Schlieper 

Max Lyandvert 

Stefan Gregory 

Max Lyandvert, 

benedict Andrews 

Tanya Goldberg 

Chris Twyman 

Charmian Gradwell 

Lisa Cooper 

(The Butcher’s 

daughter) 

Simon Khamara 

Georgia Gilbert 

Phoebe Collier 

Jamie Twist 

Edwina Guinness 

Lauren A Proietti 

Andrew Tompkins 

Steve Mason 

Adam Iuston 

Eddi Goodfellow 

Tania Kelley 

Brett Boardman 

Michael Mischkulnig 

2

Part One, Act One 

King Richard II 

Henry Bolingbroke, later King Henry IV 

John of Gaunt, uncle of King Richard II; 

father of Bolingbroke 

Thomas Mowbray, Duke of Norfolk 

Duchess of Gloucester, sister-in-law to Gaunt 

Earl of Northumberland 

Queen Isabella, wife of King Richard II 

Edmund, Duke of York, brother of Gaunt 

An Attendant 

An Attendant 

Exton 

A Gardener 



John Gaden 


Pamela Rabe 

Peter Carroll 


John Gaden 


Amber McMahon 

Brandon Burke 

Peter Carroll 

Richard II rules England. His cousin Henry Bolingbroke is in dispute with 

Mowbray and they have brought their grievances before the King. Bolingbroke 

believes Mowbray has wasted the gold meant for paying the King’s army. 

Mowbray is also implicated in the recent murder of the King’s uncle, the Duke 

of Gloucester. Mowbray denies all charges. With the assistance of his uncle 

(and Bolingbroke’s father) John of Gaunt, Richard attempts to calm the men, 

but they insist on a duel, to be held at a later date. 

The widow of the dead Gloucester upbraids Gaunt for not defending 

her husband. 

With formality the ritual of the tournament begins. But before the fighting can 

begin, Richard intervenes and sentences both men to banishment. Mowbray is 

expelled forever, Bolingbroke for six years. 

John of Gaunt dies, foreseeing the bankruptcy of England, and Richard seizes 

his property and wealth. This angers Northumberland, who condemns the King 

for his wastefulness and tyranny. The exiled Bolingbroke is transformed by his 

father’s death, and despite the entreaties of the Duke of York (another brother 

of Gaunt), he prepares to return to England, determined to claim what the King 

has stolen. 

In the face of invasion, rebellion and desertion, the King must face the 

shattering of his vision of what Kingliness is. He is eventually cornered and 

forced to abdicate. Bolingbroke not only claims his inheritance, but claims 

the throne as King Henry IV. Richard is imprisoned. After hearing King Henry’s 

‘living fear’, one of his supporters, Exton, murders Richard. King Henry is 

mortified by the crime and vows to go on a pilgrimage to Jerusalem to cleanse 

himself of his part in Richard’s death. 

Part One, Act Two 

King Henry IV 


Prince Henry, later Henry V 

Ewen Leslie 

Falstaff 

John Gaden 

Earl of Northumberland 

Peter Carroll 

Henry Percy, known as Hotspur, son of Northumberland Luke Mullins 

Prince Henry’s Brother 

Eden Falk 

A Killer 

Brandon Burke 

A Killer 


Katherine of France, later Henry V’s Queen 

Luke Mullins 

Chorus 1 

Peter Carroll 

Chorus 2 

John Gaden 

Chorus 3 


Henry IV’s reign is disturbed. His hope that a pilgrimage to Jerusalem would 

quell his unease over the circumstances whereby he gained the throne is 

thwarted by continuing warfare in Wales and Scotland. 

Much of the heroism in these skirmishes is being displayed by Henry Percy, 

known as Hotspur, the son of Northumberland. Hotspur has captured several 

important Scots; the King wants him to hand them over. Hotspur however first 

wants the King to release Hotspur’s uncle, Mortimer, who has been taken 

prisoner in Wales for rebellion. Henry is furious and refuses. He has made an 

enemy of Northumberland and Hotspur, who foment rebellion. 

In contrast to Hotspur’s resolution, Henry’s son, Prince Hal, is leading a 

dissolute life. He has taken up with Falstaff, an old soldier. The revolt brings 

him face to face with Hotspur, whom he fatally wounds. The crisis averted, Hal 

seems to return to his shady other life, and the King sickens and collapses. 

Hal comes to his unconscious father and believes himself to now be King. 

He takes the crown. 

When the King wakes he thinks Hal cares only for power and has no love for his 

father. Hal returns and persuades the King otherwise. The King tells Hal to earn 

Kingship by focusing England on ‘foreign quarrels’. Reconciled, Henry IV dies. 

Now King Henry V, Hal turns his back on his old friend Falstaff. He invades 

France, where he overwhelms the enemy and achieves greatness (marked 

by his command of language and heights of rhetoric). Having triumphed, 

he attempts to court the French Princess, using marriage as an act of 

reconciliation. There seems hope that England’s ructions are likewise healed. 

But the Chorus informs the audience that Henry V will die young and leave his 

infant son to be the new King. 

3

Part Two, Act One 

House of Lancaster 

King Henry VI, son of Henry V 

Margaret of Anjou, later Queen 

Edward, Prince of Wales, 

son of Henry VI and Margaret 

Suffolk 

Clifford 

House of York 

Richard, Duke of York, 

grandson of Edmund, Duke of York 

Edward, son of York, later Edward IV 

Richard of Gloucester, son of York 

George of Clarence, son of York 

Edmund of Rutland, son of York 

Elizabeth, later Edward IV’s Queen 

Gloucester the Protector, brother of Henry V 

Earl of Warwick 

A Father Who Killed His Son 

A Son Who Killed His Father 

Eden Falk 


Louis Hunter 


Luke Mullins 

John Gaden 

Brandon Burke 

Pamela Rabe 

Ewen Leslie 


Amber McMahon 

Peter Carroll 

Emily Russell 

Peter Carroll 

Luke Mullins 

With the early death of Henry V, his baby son becomes King Henry VI. Henry V’s 

brother, the Duke of Gloucester, is appointed Protector, but he cannot prevent 

the Kingdom being disrupted by the rivalry of two factions of the royal family: 

the followers of the Duke of York and the supporters of the infant King. The two 

sides meet in a garden, where they declare their loyalties by plucking roses: 

red for Lancaster, white for York. 

An ambitious member of the Lancastrian faction, the Earl of Suffolk, captures 

a French Princess, Margaret of Anjou. He pressures the young King into 

marrying her, so he can wield power. Gloucester the Protector is enraged by the 

marriage; it diminishes his power. The new Queen rapidly establishes herself 

as the real power, and she and Suffolk conspire with the Yorkists to depose 

and murder the Protector. 

Meanwhile the Yorkists’ leader, Richard, Duke of York, claims the throne based 

on complicated genealogical arguments. The Queen cannot protect Suffolk 

and he is banished, then subsequently assassinated by York’s agents. York 

also stirs up a wild army officer, Jack Cade, who raises a popular revolt and 

marches on London. Margaret’s forces subdue the uprising, supported by a 

Lancastrian, Clifford, who hates York for the murder of his father. 

York arms himself against the King, supported by his four sons: Edward (later 

Edward IV), George of Clarence, Richard of Gloucester (later Richard III) and the 

Earl of Rutland. All-out civil war erupts. 

York corners Henry VI, who tries to deal his way out of the crisis by offering 

to make York his heir. This infuriates his wife, his (now disinherited) young 

son the Prince of Wales and his supporters, and they refuse to condone the 

deal. More internecine struggles erupt, and Margaret’s side begins to prevail. 

Clifford traps and kills York’s youngest child, Rutland. York himself is caught 

and taunted before being murdered. Clifford is in turn killed. In the confusion 

Edward proclaims himself King Edward IV. The kingdom has two Kings. Edward 

presses on and defeats Margaret at Tewkesbury. The young Prince of Wales is 

killed by the Sons of York. Richard takes it upon himself to murder Henry VI, 

who has been imprisoned. Margaret is banished. Edward IV and his ‘painted 

queen’ Elizabeth begin their reign; the Yorkists have prevailed. 

Part Two, Act Two 

Richard of Gloucester, later Richard iii 

Lady Anne, widow of Edward Prince of Wales 

Duke of Buckingham, a kinsman of Richard III 

Queen Elizabeth 

George of Clarence, brother to Richard III 

Margaret, former Queen 

Duchess of York, mother to Richard III 

Brakenbury 

Hastings 

A Murderer 

A Murderer 

Tyrell 

Earl of Richmond, kinsman to the late Henry VI 

Young Elizabeth, daughter of Edward IV 

Young Margaret Plantagenet, 

daughter of George of Clarence 

Young Prince Edward, later Edward V, 

son of Edward IV 

Young Richard of York, son of Edward IV 

Ghost of Henry VI 

Ghost of Edward Prince of Wales 

Pamela Rabe 



Amber McMahon 

Ewen Leslie 


Emily Russell 

Peter Carroll 

John Gaden 


Brandon Burke 

Brandon Burke 

Luke Mullins 


Holly Fraser 

Billy Shaw-Voysey 


Eden Falk 

Louis Hunter 

Richard reveals his ambition; despite the House of York’s triumph he aspires 

to be King and will remove all impediments. He spreads rumours which lead to 

the arrest of his brother Clarence, and he woos Anne, the widow of the young 

Prince of Wales murdered in the previous Act. 

The King is clearly ailing, and Clarence has heirs, so Richard moves quickly, 

organising Clarence’s murder. 

Queen Margaret returns in defiance of her expulsion and prophesises of the 

coming darkness. As a Lancastrian, she is ignored. 

Edward IV dies, leaving his little sons as his heirs. Richard becomes their 

Protector. He keeps them out of sight, and aided by his cousin Buckingham 

he assumes the throne. Anyone who speaks up against him is murdered. 

Buckingham spreads rumours that the two princes are illegitimate, and 

Richard is proclaimed King. 

Newly crowned, Richard asks his friend to dispose of the boys, but 

Buckingham hesitates. Instead Richard pays Tyrell to organise the murder 

of the princes. Buckingham’s failure, and his increasing demands, cause 

Richard to turn on him. Buckingham flees. Meanwhile Richard’s wife Anne 

dies in despair. 

Increasingly paranoid, he tries to marry his niece but her mother prevents 

this; she has learned from Margaret how to resist his eloquence. His fears 

are proved correct when the kingdom falls into chaos again. Buckingham 

is captured and executed, but it is too late. Henry Tudor, Earl of Richmond, 

invades. Richard prepares for a final battle at Bosworth Field. On the eve of the 

confrontation, he is visited by the ghosts of his victims. 

The following day Richmond finds Richard and kills him. Richmond is a distant 

relative of the Lancastrians, the red rose has finally won. But he marries 

Edward IV’s daughter, uniting the Houses. He becomes Henry VII. 

4

WARS WITHOUT END 

We see yonder the beginning of the day, 

but I think we shall never see the end of it. 

(Henry V, William Shakespeare) 

Recall the cold 

Of Towton on Palm Sunday before dawn, 

Wakefield, Tewkesbury; fastidious trumpets 

Shrilling into the ruck; some trampled 

Acres, parched, sodden or blanched by sleet, 

Stuck with strange-postured dead. 

Recall the wind’s 

Flurrying, darkness over the human mire. 

(Funeral Music, Geoffrey Hill) 

The bleakly apocalyptic vision of The Wars of the Roses that the contemporary 

poet Geoffrey Hill gives us – a landscape ‘stuck with strange postured dead’ – 

is also there in Shakespeare’s plays: a world in which suffering human bodies 

are caught up in cycles of violence that, as one of his soldiers says, ‘we shall 

never see the end of’. 

The King himself, at the start of the first part of Shakespeare’s Henry IV, asks 

his people to remember – and to reject – a time when, ‘the thirsty entrance of 

this soil / [daubed] her lips with her own children’s blood’. He renames civil 

war as ‘civil butchery’ and brands The Wars of the Roses a form of cannibalism. 

But Henry IV’s plan for a holy crusade, in which civil strife is transformed into 

national triumph, is inevitably postponed by ongoing conflict. And even as his 

son later takes up the crusade against the French as Henry V, we are asked to 

remember that all this will come to nothing, and that the bloodiest conflicts are 

always still to come. 

Shakespeare’s history plays ask us to remember a past in which violence 

has governed people’s lives. But they also prepare us for a future of yet more 

violence. They offer us a world that is constituted by a war that is without end. 

Watching these plays in the 21st century, we will be aware of the unrelenting 

cycles of violence in which our own countries, leaders and armies are currently 

engaged: conflicts without borders; internment without trial; wars without the 

possibility of ceasefire. If these plays offer us any sign for a way out, however, 

it isn’t necessarily a political solution. Instead, we find a more focused 

awareness of what is always caught up in this pitiless violence: the human 

body itself. 

In Shakespeare’s history plays, the problem lies with the idea of the crown 

and a conception of sovereignty that seems unavoidably bound up with violent 

conflict. Whilst hopes for a resolution may seem to rest with the individual who 

happens to pick up the crown, these hopes are always held in check. From the 

senselessly ritualised grandeur of Richard II’s court – already degenerating 

into corruption – right through to the naked aggression of Richard III, each 

successive occupant of the throne is shown to be inadequate, as much victim 

as victor in Shakespeare’s ongoing stories of sovereign terror. 

If Henry IV or Henry V offer brief hopes for resolution, their fleeting moments 

of glory are shadowed always by an awareness of their tenuous claims 

to the throne. Instead, as the internecine struggles of the English royal 

families advance, we witness displays of humiliation where, time after time, 

opportunities to assume the role of merciful ruler are superseded by yet more 

violence. So, as Edward IV wrests power from Henry VI in the later stages of 

the conflict, he might begin his brief reign by advertising his pretensions 

to becoming a merciful ruler, eager to put enmity behind him: ‘And now the 

battle’s ended, / If friend or foe, let him be gently used’. But, on discovery of 

Clifford, a dying enemy, mercy is quickly forgotten: ‘Now death shall stop his 

dismal threat’ning sound, / And his ill-boding tongue no more shall speak’. 

And, later, when the young Prince Edward speaks out against him in court, the 

young boy is slaughtered in front of his mother. 

It is here in the Henry VI plays – in the thick of the wars themselves – that 

there is most obviously a lack of hope for any salvation that might arrive in the 

person of the leader. These plays and this reign are not, though, exceptional 

cases in the cycle, but rather lay bare the conditions of sovereign power that 

are available elsewhere in Shakespeare’s histories – in Hal’s rejection of 

Falstaff; in Henry V’s threats of rape and child-murder before the gates of 

Harfleur; in Henry IV’s ability to order the murder of Richard II whilst, at the 

same time, attempting to disown responsibility for his death. 

Current political theorists, looking to explain the persistence of sovereign 

relations within a 21st century that is only apparently democratic, may offer 

us a way into Shakespeare’s world of cyclical violence. The Italian writer, 

Giorgio Agamben, in particular, tells us that the foundation of Western political 

systems – systems of sovereignty – begin not only in original acts of violence, 

but sustain themselves by continually re-enacting violent acts of exclusion: 

exile, abandonment, execution and internment. Politics only seems to offer us 

solutions – Prince Hal as the glamorous Henry V; the voting in of a new leader 

under 21st-century democracy. But sovereignty itself persists in the capacity of 

the state to exclude and to kill. Where this battle takes place, of course, is on 

the human body itself – suffering and humiliated. 

If hope for a solution cannot be found in the capacities of any one king, or any 

one political leader, then Shakespeare’s histories offer us a different kind of 

optimism. What the experience of theatre allows us to do – perhaps uniquely 

– is to witness the predicament of the human body in peril, trapped within 

the violent purview of sovereign power. At the same time, though, we see the 

struggle of those bodies – the bodies of the actors on stage; the bodies of 

those people playing at being king – to make some sense of the situation in 

which they are placed. The drama of these plays lies in this struggle; our hope 

lies in bearing witness to the attempt. 

Huw Griffiths 

Sydney, November 2008 

5

6 

A CYCLE OF HISTORY 

The role of history will … be to show that laws deceive, that kings wear masks, 

that power creates illusions, and that historians tell lies. This will not be a 

history of continuity, but a history of deciphering, the detection of a secret … 

and of the reappropriation of a secret that has been distorted or buried. 

(Michel Foucault, Society Must Be Defended) 

The War of the Roses describes the development, decline and decay of a 

civilization. We begin in a prelapsarian culture and we watch its king, Richard 

II, lose his wealth, his kingdom and his role. His usurper and successor, Henry 

IV, rules a wounded kingdom in a continual state of emergency and unrest. 

This disturbance is manifest in damaged relations between fathers and sons. 

The sons, Hal and Hotspur, are cast as rival twins driven to dark, glorious 

dreams of redemption. Hal’s killing of Hotspur, his reconciliation with his 

dying father and his betrayal of his friend Falstaff allow him to redeem his lost 

honour. As Henry V, he unifies his torn nation by leading it to acts of slaughter 

in France. His son is crowned Henry VI while still an infant. Under his reign, the 

kingdom descends into factional politics and brutal civil war. History becomes 

a bloody nightmare. During these wars, we witness the rise of the future 

king, Richard III, an exquisite monster whose rule will be a reign of death. His 

kingdom is a shadowland peopled by the dead. 

The various plays which make up The War of the Roses contain evolving 

descriptions of a garden. Its evocation haunts the stagings. Sometimes, it is a 

memory of paradise before the Fall. On his deathbed, John of Gaunt reaches 

back to this garden when he describes England as ‘this other Eden ... this 

teeming womb of kings’. Sometimes, the garden is cited as an exemplar of 

ideal government. Society is defined as an act of cultivation, selection and 

exclusion. The destruction of the garden is used to denote the deterioration 

of the kingdom. On his deathbed, Henry IV fears that under his wild son’s 

reign, the kingdom will become a ‘wilderness again / peopled by its old 

inhabitants, wolves’. Following the horror of war, eviscerated France is 

compared to a neglected garden which has degenerated into wildness and 

ruin. When York suggests resolving the political dispute between the Houses 

of York and Lancaster by plucking white or red roses from a briar, the garden 

provides the props which will cause the kingdom to split into deadly factions. 

The plucking of these ‘dumb significants’ is the germination of unfathomable 

violence. The tension between wilderness and civilization, between anarchy 

and government, between utopia and concentration camp is embedded in 

the metaphor of the garden. It is a walled dream of paradise, a cultivated land 

manured with the blood and bone of war. 

In his Four Quartets, T.S. Eliot wrote: 

We die with the dying: 

See, they depart, and we go with them. 

We are born with the dead: 

See, they return and bring us with them. 

The moment of the rose and the moment of 

the yew-tree 

Are of equal duration. A people without history 

Is not redeemed from time, for history is a 

pattern 

Of timeless moment 

History is now and England. 

(T.S. Eliot, ‘Little Gidding’, section 5, lines 15–24) 

In Shakespeare’s history plays, the bare stage is the metaphoric garden where 

history is played over. The Chorus in Henry V suggests that ‘a crooked figure 

may / Attest in little place a million’ and urges the audience to work their 

thoughts to re-create history on the empty stage in collaboration with the 

poet’s words and the actors’ play. The audience are reminded that the staging 

of history is a staging of illusion. It is remembrance and prophecy; epitaph and 

fantasy; prayer and cry. 

On the bare stage, our player kings are crowned and usurped nightly. The 

pageantry and blood pump of history are replayed nightly. History is replayed 

as shreds of ceremony and dusty portrayals of bare life. The words of the poet 

become flesh in the body of the actor. And the ghosts of history are paraded 

across the stage. This cycle of plays is a vast, resonating memento mori. As in 

the hundred shivers of Richard II’s smashed mirror, it reflects and refracts the 

skull rounded by the golden band of sovereignty. This crown (and the various 

skulls that wear it or are subject to it) is the driving force of the cycle. It is the 

hollow eye of the storm of history. The crown is a target of longing, a seat of 

power, a theatrical prop and a symbol of subjectivity. 

The staging x-rays the skulls of kings. The skull wears the crown. It is a little 

kingdom. It is behind all the masks. It is the silence behind the language. 

It contains the tongue that speaks history, the eyes which witness it and 

animates the hands that kill. It is where prophesies, splendid hopes and the 

languages of power echo. It is the price and the outcome of power. Dust. 

Benedict Andrews, 

Sydney, December 2008

The Eighteenth Brumaire of Louis Bonaparte 

Karl Marx, 1852 

Men make their own history, but they do not make it as they please, they 

do not make it under self-selected circumstances, but under circumstances 

existing already, given and transmitted from the past. The tradition of all dead 

generations weighs like a nightmare on the brains of the living. And just as 

they seem to be occupied with revolutionizing themselves and things, creating 

something that did not exist before, precisely in such epochs of revolutionary 

crisis they anxiously conjure up the spirits of the past to their service, 

borrowing from them names, battle slogans, and costumes in order to present 

this new scene in world history in time-honoured disguise and borrowed 

language. Thus Luther put on the mask of the Apostle Paul, the Revolution of 

1789–1814 draped itself alternately in the guise of the Roman Republic and 

the Roman Empire, and the Revolution of 1848 knew nothing better to do 

than to parody, now 1789, now the revolutionary tradition of 1793–95. In like 

manner, the beginner who has learned a new language always translates it 

back into his mother tongue, but he assimilates the spirit of the new language 

and expresses himself freely in it only when he moves in it without recalling 

the old and when he forgets his native tongues … 

Thus the awakening of the dead in those revolutions served the purpose of 

glorifying the new struggles, not of parodying the old, of magnifying the given 

task in the imagination, not recoiling from its solution in reality, of finding 

once more the spirit of revolution, not making its ghost walk again. 

An extract from: Society Must Be Defended 

Michel Foucault, 1975–1976 

If we look beneath peace, order, wealth and authority, beneath the calm order 

of subordinations, beneath the State and State apparatuses, beneath the laws 

and so on, will we hear and discover a sort of primitive and permanent war? … 

When, how, and why did someone come up with the idea that it is a sort of 

uninterrupted battle that shapes peace, and that the civil order – its basis, its 

essence, its essential mechanisms – is basically an order of battle? Who came 

up with the idea that the civil order is an order of battle […] Who saw war just 

beneath the surface of peace; who sought in the noise and confusion of war, in 

the mud of battles, the principal that allows us to understand order, the State, 

its instructions, and its history? … 

Who, basically, had the idea of inverting the Clausewitz’s principle, and who 

thought of saying: ‘It is quite possible that war is the continuation of politics by 

other means’, but isn’t politics itself a continuation of war by other means?… 

No matter what philosophico-juridical theory may say, political power does 

not begin when war ends. The organisation and juridical structure of power, 

of States, monarchies and societies, does not emerge when the clash of arms 

ceases. War has not been averted. War obviously presided over the birth of 

States: right, peace, and laws were born in the blood and mud of battles. This 

should not be taken to mean the ideal battles and rivalries dreamed up by 

philosophers or jurists: we are not talking about some theoretical savagery. 

The law is not born of nature, and it was not born near the fountains that 

the first shepherds frequented: the law is born of real battles, victories, 

massacres, and conquests which can be dated and which have their horrific 

heroes; the law was born in burning towns and ravaged fields. It was born 

together with the famous innocents who died at break of day. Law is not 

pacification, for beneath the law, war continues to rage in all the mechanisms 

of power, even in the most regular. War is the motor behind institutions and 

order. In the smallest of its cogs, peace is waging a secret war. To put it another 

way, we have to interpret the war that is going on beneath peace; peace itself 

is a coded war. We are therefore at war with one another; a battlefront that 

puts us all on one side or the other. There is no such thing as a neutral subject. 

We are all inevitably someone’s adversary … 

There are two groups, two categories of individuals or two armies, and they 

are opposed to each other. And beneath the lapses of memory, the illusions, 

and the lies that would have us believe that there is a ternary order, a pyramid 

of subordinations, beneath the lies that would have us believe that the social 

body is governed by either natural necessities or functional demands, we must 

rediscover the war that is still going on, war with all its accidents and incidents. 

Why do we have to rediscover war? Well, because this ancient war is a […] 

permanent war. We really do have to become experts on battles, because the 

war has not ended, because preparations are still being made for the decisive 

battles, and because we have to win the decisive battle … 

So what is the principle that explains history? First a series of brute facts, 

which might already be described as physico-biological facts: physical 

strength, force, energy, the proliferation of one race, the weakness of the 

other, and so on. A series of accidents, or at least contingencies: defeats, 

victories, the failure or success of rebellions, the failure or success of 

conspiracies of alliances; and finally, a bundle of psychological and moral 

elements (courage, fear, scorn, hatred, forgetfulness, etcetera). Intertwining 

bodies, passions and accidents: according to this discourse, that is what 

constitutes the permanent web of histories and societies. And something 

fragile and superficial will be built on top of this web of bodies, accidents, 

and passions, this seething mass which is sometimes murky and sometimes 

bloody: a growing rationality. The rationality of calculations, strategies, and 

ruses; the rationality of technical procedures that are used to perpetuate the 

victory, to silence, or so it would seem, the war, and to preserve or invert the 

relationship of force. This is, then, a rationality which, as we move upward and 

as it develops, will basically be more and more abstract, more and more 

bound up with the cunning and wickedness of those who have won a 

temporary victory … 

We have an axis based upon a fundamental and permanent irrationality, a 

crude and naked irrationality, but which proclaims the truth; and, higher 

up, we have a fragile rationality, a transitory rationality which is always 

compromised and bound up with illusion and wickedness. Reason is on the 

side of wild dreams, cunning, and the wicked. At the opposite end of the 

axis, you have an elementary brutality: a collection of deeds, acts, and 

passions, and cynical rage in all its nudity. Truth is therefore on the side 

of unreason and brutality: reason, on the other hand, is on the side of wild 

dreams and wickedness … 

History is the discourse of power, the discourse of the obligations power uses 

to subjugate; it is also the dazzling discourse that power uses to fascinate, 

terrorise, and immobilise. In a word, power both binds and immobilises, 

and is both the founder and guarantor of order; and history is precisely the 

discourse that intensifies and makes more efficacious the twin functions that 

guarantee order. In general terms, we can therefore say that until a very late 

stage in our society, history was the history of sovereignty, or a history that was 

deployed in the dimension and function of sovereignty … 

The role of history will, then be to show that laws deceive, that kings wear 

masks, that power creates illusions and that historians tell lies. This will 

not, then, be a history of continuity, but a history of deciphering, the 

detection of the secret, the outwitting of the ruse, and the reappropriation of 

a knowledge that has been distorted or buried. It will decipher a truth that has 

been sealed … 

Shakespeare’s ‘historical’ tragedies are tragedies about right and the 

king, and they are essentially centred on the problem of the usurper and 

dethronement, of the murder of kings and the birth of the new being who is 

constituted by the coronation of a king. How can an individual use violence, 

intrigue, murder, and war to acquire a public might that can bring about the 

reign of peace, justice, order and happiness? How can illegitimacy produce 

law? At a time when the theory and history of right are trying to weave the 

unbroken continuity of public might, Shakespearean tragedy, in contrast, 

dwells on the wound, on the repeated injury that is inflicted on the body of the 

kingdom when kings die violent deaths and when illegitimate sovereigns come 

to the throne. I think that Shakespearean tragedy is, at least in terms of one 

of its axes, a sort of ceremony, a sort of rememorialisation of the problems of 

public right … 

The court’s essential function is to constitute, to organise, a space for the 

daily and permanent display of royal power in all its splendor. The court is 

basically a kind of permanent ritual operation that begins again every day 

and requalifies a man who gets up, goes for a walk, eats, has his loves and 

his passions, and who is at the same time – thanks to all that, because of all 

that, and because none of all that is eliminated – a sovereign, The specific 

operation of court ritual and court ceremonial is to make his love affairs 

sovereign, to make his food sovereign, to make his levee and his going-to-bed 

ritual sovereign. And while the court constantly requalifies his daily routine as 

sovereign in the person of a monarch who is the very substance of monarchy, 

tragedy does the same thing in reverse; tragedy undoes and, if you like, 

recomposes what court ritual establishes each day … 

… The point of classical tragedy … is to constitute the underside of ceremony, 

to show the ceremony in shreds, the moment when the sovereign, the 

7

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possessor of public might, is gradually broken down into a man of passion, 

a man of anger, a man of vengeance, a man of love, incest, and so on. In 

tragedy the problem is whether or not starting from this decomposition of 

the sovereign into a man of passion, the sovereign king can be reborn and 

recomposed: the death and resurrection of the body of the king in the heart of 

the monarch. 

… In the classical theory of sovereignty, the right of life and death was one of 

the sovereignty’s basic attributes. Now the right of life and death is a strange 

right. What does having the right of life and death actually mean? In one 

sense, to say that the sovereign has a right of life and death means that he 

can, basically, either have people put to death or let them live, or in any case 

that life and death are not natural or immediate phenomena which are primary 

or radical, and which fall outside the field of power. If we take the argument 

a little further, or to the point where it becomes paradoxical, it means that in 

terms of his relationship with the sovereign, the subject is, by rights, neither 

dead nor alive. From the point of view of life and death, the subject is neutral, 

and it is thanks to the sovereign that the subject has the right to be alive or, 

possibly, the right to be dead. In any case, the lives and deaths of subjects 

become rights only as a result of the will of the sovereign. What does the right 

to life and death actually mean? Obviously not that the sovereign can grant 

life in the same way he can inflict death. The right of life and death is always 

exercised in an unbalanced way: the balance is always tipped in favour of 

death. Sovereign power’s effect on life is exercised only when the sovereign 

can kill. The very essence of the right of life and death is actually the right to 

kill: it is at the moment when the sovereign can kill that he exercises his right 

over life. It is essentially the right of the sword. So there is no real symmetry 

in the right over life and death. It is not the right to put people to death or to 

grant them life. Nor is it the right to allow people to live or to leave them to die. 

It is the right to take life or let live. And this obviously introduces a startling 

dissymmetry. 

And I think that one of the greatest transformations political right underwent 

in the nineteenth century was precisely that, I wouldn’t say exactly that 

sovereignty’s old right – to take life or let live – was replaced, but it came to 

be complemented by a new right which does not erase the old right but which 

does penetrate it, permeate it. This is the right, or rather precisely the opposite 

right. It is the power to ‘make’ live and ‘let’ die. The right of sovereignty was 

the right to take life or let live. And then this new right is established: the right 

to make live and to let die. 

After the anatomo-politics of the human body established in the course of 

the eighteenth century, we have, at the end of that century, the emergence of 

something that is no longer an anatomo-politics of the human body, but what I 

would call a ‘biopolitics’ of the human race. 

Excerpts From: ‘Little Gidding’ 

TS Eliot 

I 

(. . . .) 

If you came at night like a broken king, 

If you came by day not knowing what you came for, 

It would be the same, when you leave the rough road 

And turn behind the pig-sty to the dull facade 

And the tombstone. And what you thought you 

came for 

Is only a shell, a husk of meaning 

From which the purpose breaks only when it is 

fulfilled 

If at all. Either you had no purpose 

Or the purpose is beyond the end you figured 

And is altered in fulfilment. There are other places 

Which also are the world’s end, some at the sea jaws, 

Or over a dark lake, in a desert or a city – 

But this is the nearest, in place and time, 

Now and in England. 

If you came this way, 

Taking any route, starting from anywhere, 

At any time or at any season, 

It would always be the same: you would have to 

put off 

Sense and notion. You are not here to verify, 

Instruct yourself, or inform curiosity 

Or carry report. You are here to kneel 

Where prayer has been valid. And prayer is more 

Than an order of words, the conscious occupation 

Of the praying mind, or the sound of the voice praying. 

And what the dead had no speech for, when living, 

They can tell you, being dead: the communication 

Of the dead is tongued with fire beyond the language 

of the living. 

Here, the intersection of the timeless moment 

Is England and nowhere. Never and always. 

II 

Ash on an old man’s sleeve 

Is all the ash the burnt roses leave. 

Dust in the air suspended 

Marks the place where a story ended. 

Dust inbreathed was a house – 

The walls, the wainscot and the mouse, 

The death of hope and despair, 

This is the death of air. 

There are flood and drouth 

Over the eyes and in the mouth, 

Dead water and dead sand 

Contending for the upper hand. 

The parched eviscerate soil 

Gapes at the vanity of toil, 

Laughs without mirth. 

This is the death of earth. 

Water and fire succeed 

The town, the pasture and the weed. 

Water and fire deride 

The sacrifice that we denied. 

Water and fire shall rot 

The marred foundations we forgot, 

Of sanctuary and choir. 

This is the death of water and fire. 

(. . . .) 

III 

(. . . .) 

This is the use of memory: 

For liberation – not less of love but expanding 

Of love beyond desire, and so liberation 

From the future as well as the past. Thus, love of a 

country 

Begins as attachment to our own field of action 

And comes to find that action of little importance 

Though never indifferent. History may be servitude, 

History may be freedom. See, now they vanish, 

The faces and places, with the self which, as it could, 

loved them, 

To become renewed, transfigured, in another pattern. 

Sin is Behovely, but 

All shall be well, and 

All manner of thing shall be well. 

If I think, again, of this place, 

And of people, not wholly commendable, 

Of no immediate kin or kindness, 

But of some peculiar genius,

All touched by a common genius, 

United in the strife which divided them; 

If I think of a king at nightfall, 

Of three men, and more, on the scaffold 

And a few who died forgotten 

In other places, here and abroad, 

And of one who died blind and quiet 

Why should we celebrate 

These dead men more than the dying? 

It is not to ring the bell backward 

Nor is it an incantation 

To summon the spectre of a Rose. 

We cannot revive old factions 

We cannot restore old policies 

Or follow an antique drum. 

These men, and those who opposed them 

And those whom they opposed 

Accept the constitution of silence 

And are folded in a single party. 

Whatever we inherit from the fortunate 

We have taken from the defeated 

What they had to leave us – a symbol: 

A symbol perfected in death. 

And all shall be well and 

All manner of thing shall be well 

By the purification of the motive 

In the ground of our beseeching. 

(. . . .) 

V 

We shall not cease from exploration 

And the end of all our exploring 

Will be to arrive where we started 

And know the place for the first time. 

Through the unknown, unremembered gate 

When the last of earth left to discover 

Is that which was the beginning; 

At the source of the longest river 

The voice of the hidden waterfall 

And the children in the apple-tree 

Not known, because not looked for 

But heard, half-heard, in the stillness 

Between two waves of the sea. 

Quick now, here, now, always – 

A condition of complete simplicity 

(Costing not less than everything) 

And all shall be well and 

All manner of thing shall be well 

When the tongues of flame are in-folded 

Into the crowned knot of fire 

And the fire and the rose are one. 

Sydney Theatre Company 

Sydney Theatre Company, as the premier theatre company in Australia, has 

been a major force in Australian drama since its establishment in 1978. The 

company presents an annual twelve-play program at its home base The 

Wharf, on Sydney’s harbour at Walsh Bay, the nearby Sydney Theatre, which 

STC also manages, and as the resident theatre company of the Sydney Opera 

House. Current Artistic Directors, Cate Blanchett and Andrew Upton joined the 

Company at the beginning of 2008. 

Sydney Theatre Company offers Sydney audiences an eclectic program of 

Australian plays, lively interpretations of the classic repertoire and the best of 

new international writing. It seeks to produce theatre of the highest standard 

that consistently illuminates, entertains and challenges. It is committed to the 

engagement between the imagination of its artists and its audiences and the 

development of the theatrical art-form. As the state theatre company of NSW, 

it also produces a significant education program for schools and in its studio 

space produces work devised by, and for, developing artists, originating in 

1987 with Baz Lurhmann’s Six Years Old and, in its current identity, as Next 

Stage. The Company reaches beyond its home state, touring productions 

throughout Australia and internationally. It plays annually to audiences in 

excess of 300,000. 

STC actively fosters relationships and collaborations with international artists 

and companies. Renowned directors Michael Blakemore, Max Stafford-Clark, 

Howard Davies, Declan Donnellan and Philip Seymour Hoffman have worked 

with STC in recent years and in 2009 Liv Ullman and Steven Soderbergh will 

direct for the Company. STC has presented productions by Complicite, Cheek 

by Jowl, Out-of-Joint and the National Theatre of Great Britain. In 2001 STC 

performed at the Brooklyn Academy of Music in New York with its production of 

The White Devil, returned in 2006 with its production of Hedda Gabler and will 

return again in 2009 with its production of A Streetcar Named Desire which 

will also tour to Washington. Other STC productions to tour internationally in 

the last few years include The Cherry Pickers (UK 2002), Riflemind (UK 2008) 

and Blackbird (NZ, Germany 2008). 

STC has launched and fostered the theatre careers of many of Australia’s 

internationally renowned artists including Mel Gibson, Judy Davis, 

Hugo Weaving, Miranda Otto, Geoffrey Rush, Toni Collette, Rose Byrne 

and Cate Blanchett. 

In 2006 STC launched its first acting ensemble, The Actors Company, which, 

over three years, has performed an extraordinary range of repertoire including 

award-winning productions of Mother Courage & Her Children, The Season 

at Sarsaparilla, The Lost Echo and Gallipoli. The Wars of the Roses is the 

final Actors Company production and later in 2009, STC will introduce its new 

ensemble of theatre-makers The Residents who will perform right across the 

full range of the Company’s activities including Main Stage, Next Stage and STC 

Ed productions. 

Board of Directors 

Artistic Directors 

Associate Director 

General Manager 

Executive Producer 

Patron 

Ian Darling (Chair), Cate Blanchett, Genevieve 

lemon, Sandra Levy, Martin McCallum, Justin 

Miller, Simon Mordant, Sam Mostyn, Andrew 

upton, Peter Young 

Cate Blanchett & Andrew Upton 

Tom Wright 

Rob Brookman 

Jo Dyer 

Mr Giorgio Armani 

sydneytheatre.com.au 

9

10 

STC Actors Company 

Marta Dusseldorp, Eden Falk, Pamela Rabe, Peter Carroll, Emily Russell, Ewen 

Leslie, Brandon Burke, Amber McMahon, John Gaden, Hayley McElhinney, 

Steve Le Marquand, Luke Mullins. 

In 2004 STC invited 12 actors to assemble in their rehearsal room to begin 

work on Bertolt Brecht’s Mother Courage and Her Children. This was the 

beginning of their remarkable journey as the STC Actors Company. It has been 

an intense and rewarding time both for the ensemble and for audiences. 

Working as a single team located at The Wharf, the group rehearsed together 

almost every day, bringing a natural cohesion to their interpretations of 

classics and new writing commissioned for them. 

In 2008 the Company performed in two major new commissioned works: 

The Serpent’s Teeth by Daniel Keene and Gallipoli by Nigel Jamieson. The 

Company also featured in the Melbourne Theatre Company’s 2008 season 

with a restaging of their acclaimed production of Patrick White’s The Season at 

Sarsaparilla, directed by Benedict Andrews. 

Joining the STC Actors Company for their final production is renowned actor 

Robert Menzies and STC Co-Artistic Director Cate Blanchett. The War of The 

Roses is a highlight of the 2009 Sydney Festival and Perth International 

Arts Festival. 


Cate is a guest of the STC Actors Company. 

For Sydney Theatre Company: As Director: The 

Year of Magical Thinking, Blackbird, A Kind of 

Alaska. As Actor: Hedda Gabler, Sweet Phoebe, 

Kafka Dances, Oleanna, Top Girls. Other theatre: 

includes for the Almeida Theatre: Plenty. For 

Company B: The Seagull, Hamlet, The Blind 

Giant is Dancing, The Tempest. For Griffin: Kafka 

Dances. Film: includes The Curious Case of 

Benjamin Button, Indiana Jones and the Kingdom of the Crystal Skull, I’m 

Not There, Elizabeth: The Golden Age, The Good German, Notes on a Scandal, 

Babel, Little Fish, The Life Aquatic with Steve Zissou, The Aviator, Coffee 

and Cigarettes, The Missing, The Lord of the Rings trilogy, Veronica Guerin, 

Heaven, The Shipping News, Charlotte Gray, Bandits, The Gift, The Talented Mr 

Ripley, Pushing Tin, Elizabeth, Oscar and Lucinda, Thank God He Met Lizzie, 

Paradise Road. Awards: includes Helpmann Award for Best Actress in a Play 

and MO Award for Best Actress in a Play for Hedda Gabler, Sydney Theatre 

Critics Circle Newcomer Award for Performance for Kafka Dances, Sydney 

Theatre Critics Circle Rosemont Award for Performance for Oleanna. Volpi Cup 

for Best Actress for I’m Not There, AFI Award for Best Actress, IF Award for Best 

Actress and FCCA Award for Best Actress for Little Fish, Academy Award for Best 

Supporting Actress, BAFTA Award for Best Supporting Actress and SAG Award 

for Outstanding Supporting Actress for The Aviator, Golden Globe Award for 

Best Actress and BAFTA Award for Best Actress for Elizabeth, AFI Award for Best 

Supporting Actress and FCCA Award for Best Supporting Actress for Thank God 

He Met Lizzie. Positions: Co-Artistic Director of STC; Trustee of the Australian 

Museum; Australian Film Institute Ambassador; Australian Conservation 

Foundation Ambassador; Patron of the Sydney Film Festival; Honorary 

Associate of the University of Sydney. Training: NIDA. 

Brandon Burke 

Brandon is a member of the STC Actors Company. 

For Sydney Theatre Company: Gallipoli, 

The Serpent’s Teeth, Tales from the Vienna Woods, 

A Midsummer Night’s Dream, The Art of War, 

The Season at Sarsaparilla, The Bourgeois 

Gentleman, The Lost Echo, Mother Courage and Her 

Children, Democracy, New Russian Play Readings 

– Terrorism (Blueprints), A Doll’s House, The 

School for Scandal, The Life of Galileo, Henry IV, No 

Names…No Pack Drill, The Sunny South, Cyrano de Bergerac, The Merry Wives 

of Windsor, The Precious Woman, Beauty and the Beast, Hamlet, Lulu. Other 

theatre: For Ensemble: Broken Glass. For Nimrod: Tales from Vienna Woods, 

Suicide, Welcome to the Bright World, Tristram Shandy, Beyond Mozambique, 

Il Magnifico, Zastrozzi, Cheapside, Visit with the Family, American Buffalo. 

For MTC: Too Young for Ghosts, Heart for the Future. For STCSA: Don’s Party, 

The Rover. For QTC: Money and Friends. For Old Tote: The Magistrate, The 

Alchemist. For Tasmanian Theatre Company: Death of a Salesman. For Philip 

Street Theatre: Sleuth. For Swy: Greek. For Marionette Theatre Co: Asylum, 

Impressions of Van Gogh. Film: The Odd Angry Shot, The Applicant, Neil Lynne, 

Mushrooms, Spirit, Down and Under, Liquid Bridge, The Station. TV: Small 

Claims, White Collar Blue, Future Tense, Backberner, All Saints, The Three 

Stooges, Beast Master, The Potato Factory, Flipper, Water Rats, Hyper Sleep, 

Murder Call, Big Sky, Hart to Hart, Janus, A Country Practice, Rafferty’s Rules, 

Mother and Son, Cop Shop, Glenview High, Poor Man’s Orange, Harp in the 

South. Training: NIDA. 

Peter Carroll 

Peter is a member of the STC Actors Company. 


The Serpent’s Teeth, The Season at Sarsaparilla, 

A Midsummer Night’s Dream, The Art of War, 

The Bourgeois Gentleman, The Lost Echo, Mother 

Courage and Her Children, The Cherry Orchard, 

Victory, Thyestes, Harbour, The Republic of Myopia, 

The Christian Brothers, Endgame, The Sunshine 

Club, Macbeth, She Stoops to Conquer, Lush, 

Navigating, After the Ball, Heretic, Miracle City, The Threepenny Opera, King 

Lear, Uncle Vanya, Harold in Italy, Romeo and Juliet, Summer Rain, Madras 

House, Jonah Jones, Master Class, The Perfectionist, As You Desire Me, 

Chinchilla, The Sunny South, The Caucasian Chalk Circle, A Cheery Soul. 

Other theatre: includes for Company B: Stuff Happens, The Chairs, The Blind 

Giant is Dancing, The Tempest, Hamlet. For Nimrod: Suicide, The Christian 

Brothers, Henry IV Parts I & II, Much Ado About Nothing, Twelfth Night, The 

Duchess of Malfi, A Handful of Friends, The Recruiting Officer, Ginge’s Last 

Stand, Well Hung, Richard III, My Foot My Tutor, They’re Playing Our Song, 

Ride Across Lake Constance, The Seagull, The Bacchoi, Jesters, Kookaburra. 

For MTC: Emerald City, Hedda Gabler, Sweeney Todd, Into the Woods. For QTC: 

Money and Friends. For STCSA: Twelfth Night, A Hard God. For Marian St: Mrs 

Warren’s Profession, Dial M for Murder. For Essgee Entertainment: Eureka! For 

Gordon Frost: Man of La Mancha. For Gordon Frost / Adelaide Festival Centre: 

Crazy For You. For The Really Useful Company: Cats, Joseph. For Cameron 

Mackintosh: Les Misérables. For Morley Davis: Noël and Gertie. For Victoria 

State Opera: St Joan at the Stake. For Adelaide Festival Centre: Evita. For 

Tilbury: On Your Dial. For SOH Concert: You’re Gonna Love Tomorrow. For Harry 

M Miller: Jesus Christ Superstar. For Bell Shakespeare: Troilus and Cressida. 

For Follies Co: Simply Weill. For Theatre of Image: Stella and the Moon Man. 

Other: Proud Member of MEAA for over 35 years. 


Marta is a member of the STC Actors Company. 


The Serpent’s Teeth, Tales from the Vienna 

Woods, The Bourgeois Gentleman, The Lost Echo, 

Mother Courage and Her Children, Victory, The 

Way of the World. Other theatre: As Actor: For 

Malthouse Theatre: Journal of the Plague Year, The 

Ham Funeral. For Company B: The Underpants, 

Cloudstreet. For Griffin: Songket, Footprints on 

Water. For Ensemble: All My Sons. For Darlinghurst Theatre: The Woolgatherer. 

For Bell Shakespeare: A Midsummer Night’s Dream. For MTC: Three Sisters, 

Misalliance, The Balcony. For Marian Street: No Names, No Pack Drill. As 

Director: For Kings Cross Festival @ The Stables: Halal El Mashakel, Seeking 

Dijiran. For The Old Fitzroy: Seven Acts of Love as Witnessed by a Cat. Film: 

Innocence, Praise, Paradise Road. TV: Blackjack, Hell Has Harbour Views, MDA, 

After the Deluge, Young Lions, Farscape, Backberner, All Saints, Halifax fp, 

Murder Call, Fable, Mercury, GP. Training: VCA.

Eden Falk 

Eden is a member of the STC Actors Company. 

For Sydney Theatre Company: Gallipoli, The 

Serpent’s Teeth, Tales from the Vienna Woods, 

A Midsummer Night’s Dream, The Art of War, The 

Season at Sarsaparilla, The Bourgeois Gentleman, 

The Lost Echo, Mother Courage and Her Children, 

The Miser, Away (Education). Other theatre: For 

Ride On / B Sharp: Loveplay. For Working Group / B 

Sharp: Faustus. Training: WAAPA. 

John Gaden 

John is a member of the STC Actors Company. 






The Cherry Orchard, Democracy, The Miser, Victory, 

Copenhagen, Major Barbara, The White Devil, 

As You Like It, Who’s Afraid of Virginia Woolf?, 

Saint Joan, Money and Friends, Coriolanus, Death and the Maiden, The Secret 

Rapture, The Way of the World, As You Desire Me, Amadeus, Hamlet, The 

Man from Mukinupin, Close of Play. Other theatre: includes For Company B: 

Stuff Happens, Fever, Waiting For Godot, Signal Driver. For Company B / Black 

Swan: Cloudstreet (national and international tour). For Company B / MTC: The 

Unexpected Man. For Bell Shakespeare: Henry IV. For STCSA: A Hard God, Ring 

Round the Moon, Hedda Gabler, Dream Play, The Winter’s Tale, King Lear, 

Shepherd on the Rocks, Wild Honey, The Real Thing, Dreams in an Empty City. 

For Opera Australia: Ariadne auf Naxos. For MTC: Hysteria, Uncle Vanya, Racing 

Demon, Present Laughter, The Tempest. For Nimrod: Jumpers, Galileo, Kold 

Komfort Kaffee, Travesties, Young Mo, Dirty Linen, The Recruiting Officer, The 

Duchess of Malfi. TV: includes Frontier, Mother and Son, Big Toys, Homicide, 

Burke and Wills. Film: Wilfull, Bartleby, A Little Bit of Soul, Thank God He Met 

Lizzie, Children of the Revolution, On Our Selection, Muriel’s Wedding, Caddie. 

Positions: Associate Director of Sydney Theatre Company from 1979 to 1984. 

Artistic Director of State Theatre South Australia from 1986 to 1990. Board of 

the Adelaide Festival from 1994 to 1996. 


Steve is a member of the STC Actors Company. 



Don’s Party, Holy Day. Other theatre: For Company 

B: Paul, The Spook, Waiting for Godot, Buried 

Child. For Griffin Theatre Company: Borderlines 

– The Return, Songket. For Slem Productions: He 

Died with a Felafel in his Hand, The Tasmanian 

Babes Fiasco. Film: Men’s Group, Last Train to 

Freo, Kokoda, Lost Things, Vertical Limit, Two Hands, Mullet, South Pacific. 


Robert is a guest of the STC Actors Company. 

For Sydney Theatre Company: Tales from the 

Vienna Woods, Reunion, A Kind of Alaska, Julius 

Caesar, Copenhagen (tour season), Three Sisters, 

Seneca’s Oedipus, Betrayal, Broken Glass, The 

Seagull. Other theatre: For Malthouse Theatre: 

The Ham Funeral, Journal of the Plague Year. For 

MTC: includes The Glass Soldier, The Visit, The 

Duchess of Malfi, Rivers of China, The Recruiting 

Officer, Our Country’s Good, The Heidi Chronicles, The Crucible, Measure 

for Measure, The Lover / The Collection, Absurd Person Singular, Closer, 

The Herbal Bed, Scenes from a Separation, The Grapes of Wrath, Cat on a 

Hot Tin Roof, The Selection. For Keene / Taylor Project: Half and Half, The 

Ninth Moon, Mysteries. For Playbox: The Ishmail Club, The Language of the 

Gods, Redemption, Antony and Cleopatra, Hamlet, Measure for Measure. For 

Queensland Theatre Company: includes Simpatico, The Winter’s Tale, The 

Crucible. For State Theatre South Australia: includes Our Country’s Good, Miss 

Julie, The Revenger’s Tragedy, Fanshen, A Midsummer Night’s Dream, ‘ Tis Pity 

She’s A Whore, Spellbound, Mother Courage, Silver Lining, Prince of Homburg, 

Royal Show. For Company B: Paul, Threepenny Opera, A Doll’s House, Scenes 

from an Execution, Ghosts. For Anthill: Macbeth, Peer Gynt, The Crimson 

Island. For Theatreworks: Pericles. For Jenny Kemp Project: Remember. TV: 

Monash, My Brother Jack, Backberner, Dirtwater Dynasty, One Summer Again. 

Film: Siam Sunset, Muggers, Lust and Revenge, On Our Selection, The Sewing 

Room, Stan and George’s New Life, Tender Hooks, Cactus, Floodhouse, Three 

Dollars, Under the Radar. 

Ewen Leslie 

Ewen is a member of the STC Actors Company. 


Serpent’s Teeth, Riflemind, Dead Caesar (Wharf 

2LOUD), Emergency Sex (Wharf 2LOUD). Other 

theatre: For Company B: Paul. For Old Fitzroy: 

This Blasted Earth. For Old Fitzroy / Opera House: 

Cross Sections. Film: Three Blind Mice, Katoomba, 

Kokoda, Jewboy. TV: includes Lockie Leonard, Love 

My Way, All Saints, The Road from Coorain. 

Training: WAAPA 


Hayley is a member of the STC Actors Company. 






Bed (Blueprints). Other theatre: For Blackswan: 

Uncle Vanya, Proof, Buried, Darling Oscar, Family 

Running for Mr Whippie. For Steamworks: Medea. 

For Darlinghurst Theatre: Don’t Stare Too Much, Noir. For Old Fitzroy Theatre: 

A Moment on the Lips. For MTC: Life After George, Pride and Prejudice. 

Film: My Mother Frank, City Loop. TV: Twentyfourseven, Always Greener, All 

Saints, Blue Heelers, Love is a Four Letter Word, Backberner, Water Rats, Good 

Guys Bad Guys. Awards: 2006 Sydney Theatre Award for Best Supporting 

Actress for Mother Courage and Her Children. Training: WAAPA. 

Amber McMahon 

Amber is a member of the STC Actors Company. 


Serpent’s Teeth, Tales from the Vienna Woods, A 

Midsummer Night’s Dream, The Art of War, The 


The Lost Echo, Mother Courage and Her Children. 

Other theatre: For STCSA: Boston Marriage, Proof. 

For Windmill Performing Arts: Boo, Afternoon of 

the Elves, The Snow Queen, Moonfleet. For QTC: 

Vincent in Brixton. For Kicking and Screaming: Close to Home. For Woodford 

Indigenous Dreaming Festival / 2004 Melbourne Comedy Festival / 2004 

Adelaide Fringe Festival: Black and Tran 2. For The Border Project: Please Go 

Hop!, Highway Rock ‘n Roll Disaster, Trouble on Earth. For Adelaide Festival 

Centre / ATYP: Bushfire. Film: Peaches. TV: My Space, Savvy TV. Awards: 2005 

Adelaide Theatre Guide Award for Best Individual Performance, 2002 Adelaide 

Critics’ Circle Emerging Artist Award, 2002 Adelaide City Council Performing 

Arts Award, 2002 Best of Opera Award. Training: Bachelor of Dramatic Arts 

(Hons). Flinders University Drama Centre. 

11

Luke Mullins 

Luke is a member of the STC Actors Company. 


Serpent’s Teeth, Tales From The Vienna Woods, 

The Season at Sarsaparilla. Other Theatre: 

For Melbourne Theatre Company: The History 

Boys, Cloud Nine, King Oedipus. For Malthouse: 

Autobiography of Red. For Stuck Pigs Squealing: 

The Eisteddfod, Lally Katz and the Terrible 

Mysteries of the Volcano, 4xBeckett, Agoraphobe, 

Nine Days Falling. For Little Death / Theatreworks / Griffin Stablemates: 

Mercury Fur. For Theatreworks / God Be in My Mouth: Grace. For Liminal: 

Sotoba Komachi, Kantan. For Victorian Trades Hall: Delicacy. For Uncle 

Semolina and Friends: The Uncle Semolina (and Friends) Festival of Small 

Pieces. For Original Voices: Miss Julie, Lucrezia and Cesare. For Wrecked all 

Prods: Terminating, Catapult, The Maids, Bison. Short Film: Neon Skin. 

TV: Satisfaction, MDA, Blue Heelers. Awards: George Fairfax Memorial Award. 

Pamela Rabe 

Pamela is a member of the STC Actors Company. 

For Sydney Theatre Company: As Director: The 

Serpent’s Teeth: Citizens. As Actor: Gallipoli, The 

Serpent’s Teeth: Soldiers, A Midsummer Night’s 

Dream, The Art of War, The Season at Sarsaparilla, 

The Bourgeois Gentleman, The Lost Echo, Mother 

Courage and Her Children, The Cherry Orchard, 

Blithe Spirit, Holy Day, Salt, The Beauty Queen of 

Leenane, Private Lives, Three Tall Women, Lost in 

Yonkers, Much Ado About Nothing, The Three Sisters, The Secret Rapture, The 

Ham Funeral. Other theatre: For Malthouse Theatre: Woman-Bomb. For MIFA 

/ Antechamber Prods: Berggasse 19 – The Apartments of Sigmund Freud. 

For MTC: over 30 productions including Things We Do For Love, Dinner, Blithe 

Spirit, The Misanthrope, Private Lives, A Room of One’s Own, Cosi, Much 

Ado About Nothing, The Taming of the Shrew, A Moon for the Misbegotten, 

The Heidi Chronicles, Too Young for Ghosts. For Playbox: Blue Window, The 

Marriage of Bette and Boo, Daniel Keene’s Cho Cho San. For Production 

Company: Mame. For STCSA: Miss Julie, The Rover. For Understudies / Belvoir: 

Gertrude Stein and a Companion. For GFO / SEL: The Wizard of Oz. For IMG / 

MTC: A Little Night Music. Film: The Well, Paradise Road, Lust and Revenge, 

Cosi, Sirens, Vacant Possession. TV: Secret Life of Us, Holly’s Heroes, CrashBurn, 

Mercury, The Bite, Seven Deadly Sins – Greed, The Leaving of Liverpool. 

Emily Russell 

Emily is a member of the STC Actors Company. 


Serpent’s Teeth, The Season at Sarsaparilla, 

Summer Rain, Scenes from a Separation, She 

Stoops to Conquer, The Crucible, The Girl Who Saw 

Everything, The Philadelphia Story. Other Theatre: 

For Theatre of Image: Stella and the Moon Man. 

For Bell Shakespeare: The Servant of Two Masters, 

Troilus and Cressida. For Picture This Productions: 

Mum’s the Word. For Theatre 20 / 20: Three Sisters. For NIDA: Vassa. Film: 

James, Spider and Rose, The Place at the Coast. TV: The Cooks, Murder Call, 

Police Rescue, A Country Practice, A Harp in the South. Training: NIDA. 

Holly Fraser 

For Sydney Theatre Company: debut. Other: Holly 

has appeared in Crime Scene Detectives and a 

number of TV commercials for KFC, Big Pond and 

Cottees. She has also modelled for Total Girl and 

Girl Power magazines. Holly is currently studying at 

McDonald College for Performing Arts. 

Louis Hunter 

For Sydney Theatre Company: debut. TV: Out of 

the Blue. Short Film: Moonstruck, Outcast, Hero. 

Other: TV commercials for Glen 20 Air Freshener, 

KFC, Streets Paddle Pops, Volkswagen, McDonalds, 

Panasonic, Samsung, Family Circle, That’s Life 

Magazine, Sydney Morning Herald, Puma, ING 

and modelling for Getty Images. Louis is currently 

studying at McDonald College for Performing Arts. 

Bill Shaw-Voysey 

For Sydney Theatre Company: debut. 

Other: Billy Shaw-Voysey is 12 years old and 

attends Bondi Beach public school. Billy has only 

recently discovered the delights of acting and is 

thoroughly taken with it. He is a wonderful piano 

player and has been studying this now for two 

years and also plays in a band with fellow school 

mates. Billy’s interests include fire stick twirling, 

skate boarding, fishing, cross country running and 

watching Dr Who. 


For Sydney Theatre Company: debut. Other: Leo 

Shaw-Voysey is nine years old and attends Bondi 

Beach Public School. Leo has always shown a keen 

interest in acting and over the last three years has 

attended drama and singing classes at both Brent 

St and The Australian Theatre for Young People. 

Leo has also excelled in public speaking and has 

represented his school several times. In his spare 

time Leo enjoys the beach and skate park and 

watching Dr Who. 


Adaptor / Director 

For Sydney Theatre Company: The Season at 

Sarsaparilla, Julius Caesar, Far Away, Endgame, 

Life is a Dream, Old Masters, Three Sisters, La 

Dispute, Mr Kolpert, Attempts on her Life, Fireface. 

Other theatre: As Director: For Company B: 

Who’s Afraid of Virginia Woolf?, The Chairs, 

A Midsummer’s Night Dream, The Threepenny 

Opera. For Schaubühne am Lehniner Platz, Berlin: 

The Dog, The Night, The Knife, Drunk Enough to Say I Love You, Stoning Mary, 

The Ugly One, Blackbird, Cleansed. For Malthouse: Moving Target, Eldorado. 

For Almeida Theatre: The Eternity Man. For Weimar 99 / Adelaide Festival: Ur / 

faust. For State Theatre South Australia: Closer. For Brink Productions: A Dream 

Play, Mojo. Other: Wounds to the Face, Storm from Paradise. For Magpie 2 

Theatre: Features of Blown Youth, Mercedes / In the Solitude of the Cotton 

Fields. As Assistant Director: Night on Bald Mountain (to Neil Armfield), Miss 

Julie (to Jim Sharman). Positions: 2000–2003 Resident Director at STC. 1997 

Artistic Director of Magpie 2 Theatre at STCSA. Awards: 2005 Sydney Myer 

Performing Arts Award, 2000 Helpmann Award for Best Director for La Dispute. 

Gloria Payten and Gloria Dawn Foundation Fellowships in 1998. Training: BA 

Hons, Flinders University Drama Centre. 

12

Tom Wright 

Adaptor 

Tom Wright was born in Melbourne and lives in 

Sydney. He has worked as an actor and director at 

MTC, Playbox, La Mama, Company B, Anthill, Gilgul, 

Mene Mene, Bell Shakespeare Company, Chunky 

Move, Black Swan Theatre Company, Malthouse, 

the Adelaide Festival and the Melbourne Festival 

(MIFA). He has written or co-written a number of 

plays or adaptations including Ghost Train (after 

Kroetz) (MIFA), Excavation (with Mene Mene, Adelaide Festival), A Journal 

of the Plague Year (after Defoe) (Malthouse), The Caucasian Chalk Circle 

(Company B), Hideous Portraits (La Mama), Ubu (Company B / MIFA), This is 

a True Story, Lorilei, The Golden Ass (MTC), Medea (MIFA), Babes in the Wood 

(Playbox), Puntila and His Man Matti (ATYP), The Odyssey (MIFA, Malthouse 

and Black Swan), All Walls Dissolve (theatre@risk), The Lost Echo (Sydney 

Theatre Company), Tales from the Vienna Woods (Sydney Theatre Company), 

Criminology (with Lally Katz) (Malthouse / Arena), Optimism (Malthouse), The 

Women of Troy (STC), The War of the Roses (2008 STC & Perth Festival). He 

was appointed the Artistic Associate of Sydney Theatre Company in November 

2003 and since 2008 has been the Associate Director at the Company. 

Robert Cousins 

Set Designer 

For Sydney Theatre Company: The Serpent’s Teeth, 

The Art of War, The Season at Sarsaparilla, Fat Pig, 

Julius Caesar, Metamorphosis (Blueprints). 

Other theatre: For Company B Belvoir: Cloudstreet, 

As You Like It, Twelfth Night, Aliwa, Waiting 

for Godot, The Threepenny Opera, Gulpilil, A 

Midsummer Night’s Dream, Page 8, Who’s Afraid 

of Virginia Woolf. For Melbourne Festival: This 

Show is About People. For Malthouse: Moving Target. For STCSA: House 

Among the Stars, The Merchant of Venice, drowning in my ocean of You, Night 

Letters. For Almeida Theatre in London: The Eternity Man. For Comeout01: 

The Dreamed Life. For Sydney Dance Company: Shades of Gray. For Brink 

Productions: The Duckshooter. Film: Candy, Romulus, My Father. 

Alice Babidge 

Costume Designer 

For Sydney Theatre Company: As Designer: 

The Women of Troy, Self Esteem (Wharf 2LOUD). 

As Set Designer: The Year of Magical Thinking. 

As Costume Designer: The Season at Sarsaparilla, 

The Lost Echo Parts 1 & 2, Boy Gets Girl, Julius 

Caesar. Other theatre: As Costume Designer: 

For Company B: Who’s Afraid of Virginia Woolf?, 

Parramatta Girls, Capricornia. For Ross Mollison 

and Vallejo Gantner: Absinthe Variety Show (New York season). As Set and 

Costume Designer: For Griffin: King Tide, The Nightwatchman, The Peach 

Season, Strangers in Between. For B Sharp: 2000 Ft Away, Love, 7 Blowjobs, 

A Number, Half & Half. For Old Fitzroy Theatre: The Share, The Hour Before My 

Brother Dies. Television: For MTV / Cherub Pictures: Hammer Bay. Short Film: 

Underdog, Untitled Monologue. Video Clips: The Mess Hall, You Am I, Faker, 

End of Fashion. Training: NIDA design course 2004. 

Nick Schlieper 

Lighting Designer 

For Sydney Theatre Company: includes The 

Serpent’s Teeth, The Year of Magical Thinking, 

Blackbird, The Season at Sarsaparilla, A Kind of 

Alaska / Reunion, Hedda Gabler (2006 New York 

season, 2004 and in 1986), Mother Courage and 

Her Children, Victory, Howard Katz, Inheritance, 

Volpone, Don Juan, Three Sisters, Cyrano de 

Bergerac, A Delicate Balance, The Life of Galileo, 

As You Like It, Pentecost, Les Parents Terribles. Other theatre: For MTC: 

Ninety, The Glass Soldier, The Visit, Inheritance, Proof, Measure for Measure, 

The Tempest, Great Expectations, Comedy of Errors. For Company B: The 

Unexpected Man, Lulu, Black Mary. For Bell Shakespeare: Hamlet, Troilus 

and Cressida, Othello. For STCSA: Cosi, ‘Tis Pity She’s A Whore, A Midsummer 

Night’s Dream, Marat / Sade. For QTC: The Tempest, Good Works (and set 

design). Opera: For Opera Australia: Don Giovanni, Nabucco, Trovatore, Der 

Freischütz, Andrea Chenier, The Elixir of Love, The Abduction from the Seraglio, 

Tannhäuser, Falstaff, Ken Russell’s Madam Butterfly, The Flying Dutchman. 

For State Opera South Australia: Wagner’s Ring Cycle (lighting and associate 

set designer), Parsifal, Salome (and set design). For Opera Queensland: 

Don Giovanni (and set design). Overseas work: For Royal Shakespeare Co: 

The Hostage. For Theatre Clwyd: The Government Inspector. Hamburg: The 

Ginger Man, Armut, Reichtum. Vienna: Kasimir und Karoline, Lea’s Hochzeit. 

Berlin and Kennedy Centre, Washington: U.F.A. Revue. Schillertheater: 

Michael Kramer, Ein Florentinerhut. For State Theatre of Bavaria: Michael 

Bogdanov’s Macbeth and Peer Gynt. For Opera NZ: Macbeth (and set design). 

For Wiesbaden: Tales of Hoffmann. For Hamburg Opera: A Midsummer Night’s 

Dream, Billy Budd. Awards: Melbourne Green Room Awards for Falstaff, 

The Visit and Boomerang. 2004 Helpmann Award for Bangarra Dance 

Company’s Bush. 

Max Lyandvert 

Music and Sound Designer 

For Sydney Theatre Company: As Director: MANNA 

(Wharf 2LOUD). As Composer: includes The Vertical 

Hour, Blackbird, Riflemind, A Midsummer Night’s 

Dream, The Art of War, Pentecost, Doubt, Festen, 

Julius Caesar, Far Away, Life Is A Dream, The 

Lady in the Van, Three Sisters, Fireface, Life After 

George, La Dispute. As Sound Designer: Master 

Class, The Lost Echo. Other theatre: As Director: 

Theatre of Cruelty, The Investigation, The Maids, Notes from Underground, 

SHOAH: Part 4, Explosion of a Memory, I’ve Got the Shakes, My Head Was 

A Sledgehammer, Close Your Little Eyes, Room 207: Nikola Tesla, Now That 

Communism is Dead My Life Feels Empty (Melbourne Festival). As Composer: 

For Company B Belvoir: The Ham Funeral, King Ubu, Macbeth, A Midsummer 

Night’s Dream. For Weimar 99 / Adelaide Festival: Ur / faust. For Adelaide 

Festival: Improvising The Future (musician). For QTC: The Winter’s Tale. For Q 

Theatre / Belvoir Asian Arts Festival: Dead City. For Auto Da Fe: Fellini-ada. For 

Griffin: The Fertility of Objects, Sweet Phoebe, Wonderlands, Nightwatchman. 

For Kate Champion: About Face, Same Same But Different, The Age I’m In. For 

Playbox: Redemption. For STCSA: includes Closer, Macbeth, The Idiot, Kafka 

Dances. For MTC: Art and Soul, Design for Living. For Legs On The Wall: From 

Here to There, Under The Influence. For Malthouse Theatre: The Ham Funeral, 

Journal of the Plague Year, El Dorado. As Sound Design: For Marstall Theatre, 

Munich / Hebbel Theatre, Berlin: For Jerry. For Ontological Theatre, NY: The Four 

Twins. Positions: 1999 Resident Composer at STCSA. Co-founder of Kitchen 

Sink, a record label devoted to new music. Awards: Helpmann Award for Best 

Sound Design for Journal of the Plague Year. Other: Max has assisted the 

Italian director, Romeo Castellucci and directed his own work, The Hidden 

Face, at his theatre in Cesena, Italy. 

13

Stefan Gregory 

Musician and Original Music 

For Sydney Theatre Company: As Composer: 

Frankenstein. Other theatre: As Composer / 

Sound Designer: includes for Bell Shakespeare: 

Hamlet, Othello. For B Sharp: 2000 Feet Away, 

Faustus, Pan, Cresent Moon Yellow Star. For 

Company B, Ettalong Services Club: Maralinga. 

For Riverside / Ensemble: Hamlet. For 

Darlinghurst: Drowned World. Other: As a guitarist, 

Stefan performed live in Peribanez (Company B) and recorded for Riflemind 

(Sydney Theatre Company). 

Tanya Goldberg 

Assistant Director 

For Sydney Theatre Company: As Director: Tragedy 

and American Drama Workshops (Education). As 

Actor: 7 Seconds; In God We Trust (Blueprints), 

Checklist for an Armed Robber (Blueprints). Other 

theatre: As Director: For B Sharp / Ride On: An 

Oak Tree, The Merchant of Venice, Loveplay. For 

Griffin: Seasons. For Darlinghurst / Ride On: Bone, 

Weeping Women. For New Theatre: The Girl on the 

Sofa. As Assistant Director: For Gate Theatre Dublin / Sydney Festival: First 

Love, Eh Joe, I’ll Go On. For Pinchgut Opera: L’Orfeo. As Actor: For Stablemates: 

Family Stories: Belgrade. For B Sharp: 2000ft Away, Loveplay, The 

Homecoming, Women of Troy. For East Coast Theatre / Darlinghurst: Terminus. 

For State of Play: Iphigenia at Aulis. Film: Fat Pizza. TV: All Saints, Home and 

Away, White Collar Blue. Training: NIDA. 

His Majesty’s Theatre 

is managed by AEG Ogden (Perth) Pty Ltd 

Venue Manager for the Perth Theatre Trust Venues 

HIS MAJESTY’S THEATRE 


Deputy General Manager 

Technical Manager 

Assistant Technical Manager 

Operations Manager 

Administrator 

Accounts Officer 

Venue Maintenance Manager 

Head Electrician 

Head Mechanist 

Head Flyman 

Head Audio 

Board Operator 

Archivist 

Stage Door Keepers 

Booking Office Supervisor 

Front of House Managers 

Rodney M Phillips 

Belinda Dunbar 

Ian Studham 

John “Scooter” Byrne 

Kestin Owens 

Julianna Noonan 

Sarah Wells 

Tim Reardon 

Matthew Nankivell 

Matt Norman 

Steven Campbell 

John “Scooter” Byrne 

Daniel Perrin 

Ivan King 

Helen Gortmans, 

Peter Zappa 

Jenny Franklin 

Sarah Wells, Anna Locke, 

Meg Delahoy, 

Sherry McNamara 

Lorraine Rice 

Charmian Gradwell 

Voice and Text Coach 

Charmian is the STC voice and text coach. Other 

theatre: As Voice and Text Coach: For the Royal 

Shakespeare Company: Julius Caesar, The Tempest, 

The Canterbury Tales, A Winter’s Tale, Pericles, 

Days of Significance, Macbeth, Macbett, The 

Penelopiad, Noughts and Crosses, The Comedies 

London Season, Twelfth Night, A Midsummer 

Night’s Dream, The London Gunpowder Season. 

As Director, Deviser and Trainer: 1999 season at Space 2000 in Kaduna, 

Nigeria. The London Shakespeare Workout (Shakespeare in prisons). 

As Actor: For West End, London: Easy Virtue, Lysistrata, Heartbreak House, 

The Scarlet Pimpernel. For Chichester Festival Theatre: Antony and Cleopatra, 

Twelfth Night, Blithe Spirit, A Respectable Wedding, Cavalcade. For the 

National Theatre (education): Orwell’s England. Other productions: includes 

The Comedy of Errors, The Real Thing, Macbeth, Animal Farm, Romeo and 

Juliet, A Chorus of Disapproval, Dr Faustus, A Christmas Carol. Musicals: 

includes Gypsy, Bitter Sweet, Godspell, Fandango, Alice’s Adventures in 

Boogey Wonderland. TV: includes Howard’s Way, Wilderness Edge, The 

Adventure Game, Shelley, Let’s Pretend, Starlings, The Challenge. Other: 

Charmian has coached voice and dialects for various theatre and television 

companies in the UK and was the voice trainer for the London School of 

Puppetry. She has led voice workshops and master classes in Europe, North 

America and Asia. Charmian also represented Great Britain in marathon kayak 

racing, winning gold at the World Masters in 1997. Training: Central School of 

Speech and Drama (Voice), The Bristol Old Vic Theatre School (Acting). 

Perth Festival wishes to thank Laura Scrivano of Sydney Theatre Company for 

her invaluable service in the production of this program. 

AEG OGDEN (PERTH) PTY LTD 

Chief Executive 

General Manager Corporate Services 

General Manager Food & Beverage 

Marketing & Development Manager 

Publicist 

Marketing Coordinator 

Executive Assistant to the 

Chief Executive 

Financial and Systems Accountant 

Assets & Compliance Accountant 

Accounts Payable 

Accounts Receivable 

Personnel Administrator 

PERTH THEATRE TRUST 

Chairman 

Trustee 

Trustee 

Trustee 

Trustee 

Trustee 

Trustee 

Trustee/Director General 

Department of Culture and the Arts 


His Majesty’s Theatre Foundation 

Chairman 

His Majesty’s Theatre Foundation 

Director 

Rodney M Phillips 

Glenn Hall 

Kyllie Graham 

Narelle Thompson 

Irene Jarzabek 

Olivia Ford 

Hilda Opacak 

Natalie Radalj 

Aleatha Lin 

Anne Fallens 

Kristy Butchart 

Anne Ellul 

Dr Saliba Sassine 

Peter Alexander 

Rob Butler 

Janet Davidson 

Chris Hardy 

Jenny McNae 

Marian Tye 

Allanah Lucas 

Alan Ferris 

Richard Thorning 

Astrid Jackson 

14

Sydney Theatre Company celebrates valued partnerships with our sponsors 

Principal Sponsor 

Major Sponsors 

Government Support 

The Australia 

Council 

the Federal 

Government’s 

Arts Funding and 

Advisory Body 

Presenting Sponsors 

Accommodation Partner 

Associate Sponsors 

Media Partner 

Premium Season Sponsors 

Season Sponsors 

Corporate Sponsors 

ACMN 

Aria Restaurant 

Bonds Express Couriers 

GEON Group 

GSP Print 

Grosvenor Australia Asset 

Management 

IDS Displays 

ISS Facility Services 

MAC Cosmetics 

Macdonald & Masterson Printing 

Newtown Picture Framing Studio 

Pegasus Technology 

For further information please contact Taryn Robinson, Development Assistant on (02) 9250 1755. 

15

the Festival wishes to thank 

FOUNDER 

PARTNERS 

PRINCIPAL SPONSORS 

PREMIER SPONSORS 

MAJOR SPONSORS 

PUBLIC FUNDING PARTNERS 

INTERNATIONAL FUNDING PARTNERS 

Government of Western Australia 

Department of Local Government 

and Regional Development 


Department of Culture and the Arts 


Department of Education and Training 

THE AGENC Y FOR CULTUR AL AFFAIRS 

GOVERNMENT OF JAPAN 

SPARKLING WINE SPONSOR 

MEDIA SUPPORTERS 

MEDIA PARTNER 

suPPortiNG 

sPoNsors 

303 Group 

Friends of the Festival 

Good reading Magazine 

st john of God Health care 

The Marketing centre 

sPeCiAl 

tHANKs to 

albany advertiser 

albany chamber of commerce and industry 

albany public library 

bankwest 

box deli 

brett & annie Fogarty 

carillion city 

devilles pad 

Fletcher jones 

Fremantle press 

Fonterra brands australia – 

connoisseur ice cream 

Goethe institut 

Harpercollins australia 

HbF 

Howard + Heaver architects 

insight publications 

jordano 

just jeans 

Kansai Electric power australia 

Katies 

Maggie T 

Mink 

Murdoch books 

Must winebar 

Myer 

osaka Gas australia 

pan Macmillan 

playhouse Theatre 

politix 

random House nZ 

resort report 

rM williams 

scribe publications 

state library of western australia 

Target 

The albany and Great southern weekender 

The brisbane Hotel 

unsw press 

vodafone / First Mobile 

water corporation, albany 

western australian Museum, albany 

writingwa 

Me diC i 

doNors 

peter & Tracey bacich 

Zelinda bafile & adrian iredale 

clive & barbara brans 

peter & robin briggs 

dr charles bro & anne Marie brittain 

peter & yvonne burns 

dr david cooke 

john & sarah d’onofrio 

Marco d’orsogna 

Murray & louise Etherington 

adrian & Michela Fini 

brett & annie Fogarty 

Graham Foreward & jackie Gilmour 

derek Gascoine & dale Harper 

peter & chris Gilmour 

Mack & Evelyn Hall 

peter & sue Harley 

Maxine Howell-price 

adam lenegan 

sandy & Michele MacKellar 

john & Elizabeth Mair 

Michael & sallie Manford 

bettina Mangan 

Murray & suzanne McGill 

ian & jayne Middlemas 

david & dawn Morgan 

professor Gerry o’driscoll & dr Halina burmej 

john & Helen owenell 

Mimi packer 

richard payne & cim sears 

dr Michael prichard & beniza panizza 

pearl proud 

Marijana ravlich 

bill repard & jane prendiville 

dr sam rogers 

sally savini 

rosemary sayer & Terry Grose 

leo & virginia seward 

jackie & Gary steinepreis 

dr phillip & jill swarbrick 

peter & jane Thompson 

rodney & penny Thompson 

Frank & rachael Torre 

joe & debbie Throsby 

Tim & chris ungar 

ian & Margaret wallace 

Melvin yeo 

ashley & anita Zimpel 

PriVAte GiViNG 

ProGrAm 

jonathan akerman 

Emeritus professor cora baldock 

bernard & jackie barnwell 

in memory of dr stella barratt-pugh 

sue boyd 

Ellen broerse 

janette brooks 

coral carter 

dr barry cassidy 

dr Michael & rose chaney 

craig colvin 

dr david cooke 

joanne cruickshank 

Marco d'orsogna 

isobel Glencross 

david Griffiths 

patricia & dr des Gurry 

dorothea Hansen-Knarhoi 

james & Freda irenic 

nina & ashley jones 

jennie Kennedy 

dr vivienne lawrence 

peter & lynne leonhardt 

peter Mallabone 

sophie Mark 

Gaye McMath 

leo Moran 

Mary napier 

alison o'dwyer 

wayne & pam osborn 

andrea shoebridge 

prof Fiona stanley 

prof Karen simmer 

suzanne strobel 

Tuite Family 

j. van der Merwe 

Enrico versteeg 

diana warnock 

justice christine wheeler 

dr Heather whiting & richard Hatch 

Margaret whitter 

ann whyntie 

associate professor Michael wise 

brigid woss 

anonymous (14)

Event Program - 2009 - Perth International Arts Festival

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