Event Program - 2009 - Perth International Arts Festival
Event Program - 2009 - Perth International Arts Festival
Event Program - 2009 - Perth International Arts Festival
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Australia<br />
The War of the Roses<br />
world Premiere<br />
s y dne y t he at r e compa n y in A <strong>Perth</strong> Int e r n at ion a l A r t s F e s t i va l<br />
and Sydney <strong>Festival</strong> commission<br />
Written by<br />
William Shakespeare<br />
Adapted by Tom Wright and<br />
Benedict Andrews<br />
STC Actors Company with Cate Blanchett<br />
and Robert Menzies<br />
Directed by Benedict Andrews<br />
Set Design by Robert Cousins<br />
Costume Design by Alice Babidge<br />
Lighting Design by Nick Schlieper<br />
The War of the Roses contains work from<br />
the following:<br />
Richard II, Henry IV Parts 1 & 2, Henry V,<br />
Henry VI Parts 1, 2 & 3, Richard III<br />
WHERE<br />
His Majesty’s Theatre<br />
WHEN<br />
Friday 27 February–Thursday 12<br />
March<br />
This performance is in two parts<br />
Each part is 3 hours and 45 minutes<br />
including an interval<br />
supported by<br />
This project has been assisted by the<br />
Australian Government’s Major <strong>Festival</strong>s<br />
Initiative, managed by the Austr alia<br />
Council, its arts funding and advisory<br />
body, in association with the Confeder ation<br />
of Australian <strong>International</strong> <strong>Arts</strong> <strong>Festival</strong>s.<br />
perthfestival.com.au
The War of the Roses<br />
Part 1 and Part 2<br />
By William Shakespeare<br />
Adapted by Tom Wright & Benedict Andrews<br />
Performed by<br />
Cate Blanchett<br />
brandon Burke<br />
peter Carroll<br />
Marta Dusseldorp<br />
Eden Falk<br />
Holly Fraser<br />
john Gaden<br />
louis Hunter<br />
Ewen Leslie<br />
Steve Le Marquand<br />
Hayley McElhinney<br />
Amber McMahon<br />
Robert Menzies<br />
Luke Mullins<br />
Pamela Rabe<br />
Emily Russell<br />
Billy Shaw-Voysey<br />
Leo Shaw-Voysey<br />
Director<br />
Set Designer<br />
Costume Designer<br />
Lighting Designer<br />
Music & Sound Designer<br />
Musician & Original Music<br />
Music Design, Act Two, Part One<br />
Assistant Director<br />
Associate Lighting Designer<br />
Voice and Text Coach<br />
Crown by<br />
Production Manager<br />
Stage Manager<br />
Deputy Stage Manager<br />
Assistant Stage Manager<br />
Assistant Stage Manager<br />
Hair, Makeup & Wardrobe Supervisor<br />
Head Electrician<br />
Head Mechanist<br />
Sound System Designer & Mix Engineer<br />
Microphone Technician<br />
Production Photographer<br />
Rehearsal Photographer<br />
Marketing Photographer<br />
Benedict Andrews<br />
Robert Cousins<br />
Alice Babidge<br />
Nick Schlieper<br />
Max Lyandvert<br />
Stefan Gregory<br />
Max Lyandvert,<br />
benedict Andrews<br />
Tanya Goldberg<br />
Chris Twyman<br />
Charmian Gradwell<br />
Lisa Cooper<br />
(The Butcher’s<br />
daughter)<br />
Simon Khamara<br />
Georgia Gilbert<br />
Phoebe Collier<br />
Jamie Twist<br />
Edwina Guinness<br />
Lauren A Proietti<br />
Andrew Tompkins<br />
Steve Mason<br />
Adam Iuston<br />
Eddi Goodfellow<br />
Tania Kelley<br />
Brett Boardman<br />
Michael Mischkulnig<br />
2
Part One, Act One<br />
King Richard II<br />
Henry Bolingbroke, later King Henry IV<br />
John of Gaunt, uncle of King Richard II;<br />
father of Bolingbroke<br />
Thomas Mowbray, Duke of Norfolk<br />
Duchess of Gloucester, sister-in-law to Gaunt<br />
Earl of Northumberland<br />
Queen Isabella, wife of King Richard II<br />
Edmund, Duke of York, brother of Gaunt<br />
An Attendant<br />
An Attendant<br />
Exton<br />
A Gardener<br />
Cate Blanchett<br />
Robert Menzies<br />
John Gaden<br />
Steve Le Marquand<br />
Pamela Rabe<br />
Peter Carroll<br />
Hayley McElhinney<br />
John Gaden<br />
Marta Dusseldorp<br />
Amber McMahon<br />
Brandon Burke<br />
Peter Carroll<br />
Richard II rules England. His cousin Henry Bolingbroke is in dispute with<br />
Mowbray and they have brought their grievances before the King. Bolingbroke<br />
believes Mowbray has wasted the gold meant for paying the King’s army.<br />
Mowbray is also implicated in the recent murder of the King’s uncle, the Duke<br />
of Gloucester. Mowbray denies all charges. With the assistance of his uncle<br />
(and Bolingbroke’s father) John of Gaunt, Richard attempts to calm the men,<br />
but they insist on a duel, to be held at a later date.<br />
The widow of the dead Gloucester upbraids Gaunt for not defending<br />
her husband.<br />
With formality the ritual of the tournament begins. But before the fighting can<br />
begin, Richard intervenes and sentences both men to banishment. Mowbray is<br />
expelled forever, Bolingbroke for six years.<br />
John of Gaunt dies, foreseeing the bankruptcy of England, and Richard seizes<br />
his property and wealth. This angers Northumberland, who condemns the King<br />
for his wastefulness and tyranny. The exiled Bolingbroke is transformed by his<br />
father’s death, and despite the entreaties of the Duke of York (another brother<br />
of Gaunt), he prepares to return to England, determined to claim what the King<br />
has stolen.<br />
In the face of invasion, rebellion and desertion, the King must face the<br />
shattering of his vision of what Kingliness is. He is eventually cornered and<br />
forced to abdicate. Bolingbroke not only claims his inheritance, but claims<br />
the throne as King Henry IV. Richard is imprisoned. After hearing King Henry’s<br />
‘living fear’, one of his supporters, Exton, murders Richard. King Henry is<br />
mortified by the crime and vows to go on a pilgrimage to Jerusalem to cleanse<br />
himself of his part in Richard’s death.<br />
Part One, Act Two<br />
King Henry IV<br />
Robert Menzies<br />
Prince Henry, later Henry V<br />
Ewen Leslie<br />
Falstaff<br />
John Gaden<br />
Earl of Northumberland<br />
Peter Carroll<br />
Henry Percy, known as Hotspur, son of Northumberland Luke Mullins<br />
Prince Henry’s Brother<br />
Eden Falk<br />
A Killer<br />
Brandon Burke<br />
A Killer<br />
Steve Le Marquand<br />
Katherine of France, later Henry V’s Queen<br />
Luke Mullins<br />
Chorus 1<br />
Peter Carroll<br />
Chorus 2<br />
John Gaden<br />
Chorus 3<br />
Robert Menzies<br />
Henry IV’s reign is disturbed. His hope that a pilgrimage to Jerusalem would<br />
quell his unease over the circumstances whereby he gained the throne is<br />
thwarted by continuing warfare in Wales and Scotland.<br />
Much of the heroism in these skirmishes is being displayed by Henry Percy,<br />
known as Hotspur, the son of Northumberland. Hotspur has captured several<br />
important Scots; the King wants him to hand them over. Hotspur however first<br />
wants the King to release Hotspur’s uncle, Mortimer, who has been taken<br />
prisoner in Wales for rebellion. Henry is furious and refuses. He has made an<br />
enemy of Northumberland and Hotspur, who foment rebellion.<br />
In contrast to Hotspur’s resolution, Henry’s son, Prince Hal, is leading a<br />
dissolute life. He has taken up with Falstaff, an old soldier. The revolt brings<br />
him face to face with Hotspur, whom he fatally wounds. The crisis averted, Hal<br />
seems to return to his shady other life, and the King sickens and collapses.<br />
Hal comes to his unconscious father and believes himself to now be King.<br />
He takes the crown.<br />
When the King wakes he thinks Hal cares only for power and has no love for his<br />
father. Hal returns and persuades the King otherwise. The King tells Hal to earn<br />
Kingship by focusing England on ‘foreign quarrels’. Reconciled, Henry IV dies.<br />
Now King Henry V, Hal turns his back on his old friend Falstaff. He invades<br />
France, where he overwhelms the enemy and achieves greatness (marked<br />
by his command of language and heights of rhetoric). Having triumphed,<br />
he attempts to court the French Princess, using marriage as an act of<br />
reconciliation. There seems hope that England’s ructions are likewise healed.<br />
But the Chorus informs the audience that Henry V will die young and leave his<br />
infant son to be the new King.<br />
3
Part Two, Act One<br />
House of Lancaster<br />
King Henry VI, son of Henry V<br />
Margaret of Anjou, later Queen<br />
Edward, Prince of Wales,<br />
son of Henry VI and Margaret<br />
Suffolk<br />
Clifford<br />
House of York<br />
Richard, Duke of York,<br />
grandson of Edmund, Duke of York<br />
Edward, son of York, later Edward IV<br />
Richard of Gloucester, son of York<br />
George of Clarence, son of York<br />
Edmund of Rutland, son of York<br />
Elizabeth, later Edward IV’s Queen<br />
Gloucester the Protector, brother of Henry V<br />
Earl of Warwick<br />
A Father Who Killed His Son<br />
A Son Who Killed His Father<br />
Eden Falk<br />
Marta Dusseldorp<br />
Louis Hunter<br />
Steve Le Marquand<br />
Luke Mullins<br />
John Gaden<br />
Brandon Burke<br />
Pamela Rabe<br />
Ewen Leslie<br />
Hayley McElhinney<br />
Amber McMahon<br />
Peter Carroll<br />
Emily Russell<br />
Peter Carroll<br />
Luke Mullins<br />
With the early death of Henry V, his baby son becomes King Henry VI. Henry V’s<br />
brother, the Duke of Gloucester, is appointed Protector, but he cannot prevent<br />
the Kingdom being disrupted by the rivalry of two factions of the royal family:<br />
the followers of the Duke of York and the supporters of the infant King. The two<br />
sides meet in a garden, where they declare their loyalties by plucking roses:<br />
red for Lancaster, white for York.<br />
An ambitious member of the Lancastrian faction, the Earl of Suffolk, captures<br />
a French Princess, Margaret of Anjou. He pressures the young King into<br />
marrying her, so he can wield power. Gloucester the Protector is enraged by the<br />
marriage; it diminishes his power. The new Queen rapidly establishes herself<br />
as the real power, and she and Suffolk conspire with the Yorkists to depose<br />
and murder the Protector.<br />
Meanwhile the Yorkists’ leader, Richard, Duke of York, claims the throne based<br />
on complicated genealogical arguments. The Queen cannot protect Suffolk<br />
and he is banished, then subsequently assassinated by York’s agents. York<br />
also stirs up a wild army officer, Jack Cade, who raises a popular revolt and<br />
marches on London. Margaret’s forces subdue the uprising, supported by a<br />
Lancastrian, Clifford, who hates York for the murder of his father.<br />
York arms himself against the King, supported by his four sons: Edward (later<br />
Edward IV), George of Clarence, Richard of Gloucester (later Richard III) and the<br />
Earl of Rutland. All-out civil war erupts.<br />
York corners Henry VI, who tries to deal his way out of the crisis by offering<br />
to make York his heir. This infuriates his wife, his (now disinherited) young<br />
son the Prince of Wales and his supporters, and they refuse to condone the<br />
deal. More internecine struggles erupt, and Margaret’s side begins to prevail.<br />
Clifford traps and kills York’s youngest child, Rutland. York himself is caught<br />
and taunted before being murdered. Clifford is in turn killed. In the confusion<br />
Edward proclaims himself King Edward IV. The kingdom has two Kings. Edward<br />
presses on and defeats Margaret at Tewkesbury. The young Prince of Wales is<br />
killed by the Sons of York. Richard takes it upon himself to murder Henry VI,<br />
who has been imprisoned. Margaret is banished. Edward IV and his ‘painted<br />
queen’ Elizabeth begin their reign; the Yorkists have prevailed.<br />
Part Two, Act Two<br />
Richard of Gloucester, later Richard iii<br />
Lady Anne, widow of Edward Prince of Wales<br />
Duke of Buckingham, a kinsman of Richard III<br />
Queen Elizabeth<br />
George of Clarence, brother to Richard III<br />
Margaret, former Queen<br />
Duchess of York, mother to Richard III<br />
Brakenbury<br />
Hastings<br />
A Murderer<br />
A Murderer<br />
Tyrell<br />
Earl of Richmond, kinsman to the late Henry VI<br />
Young Elizabeth, daughter of Edward IV<br />
Young Margaret Plantagenet,<br />
daughter of George of Clarence<br />
Young Prince Edward, later Edward V,<br />
son of Edward IV<br />
Young Richard of York, son of Edward IV<br />
Ghost of Henry VI<br />
Ghost of Edward Prince of Wales<br />
Pamela Rabe<br />
Cate Blanchett<br />
Robert Menzies<br />
Amber McMahon<br />
Ewen Leslie<br />
Marta Dusseldorp<br />
Emily Russell<br />
Peter Carroll<br />
John Gaden<br />
Steve Le Marquand<br />
Brandon Burke<br />
Brandon Burke<br />
Luke Mullins<br />
Hayley McElhinney<br />
Holly Fraser<br />
Billy Shaw-Voysey<br />
Leo Shaw-Voysey<br />
Eden Falk<br />
Louis Hunter<br />
Richard reveals his ambition; despite the House of York’s triumph he aspires<br />
to be King and will remove all impediments. He spreads rumours which lead to<br />
the arrest of his brother Clarence, and he woos Anne, the widow of the young<br />
Prince of Wales murdered in the previous Act.<br />
The King is clearly ailing, and Clarence has heirs, so Richard moves quickly,<br />
organising Clarence’s murder.<br />
Queen Margaret returns in defiance of her expulsion and prophesises of the<br />
coming darkness. As a Lancastrian, she is ignored.<br />
Edward IV dies, leaving his little sons as his heirs. Richard becomes their<br />
Protector. He keeps them out of sight, and aided by his cousin Buckingham<br />
he assumes the throne. Anyone who speaks up against him is murdered.<br />
Buckingham spreads rumours that the two princes are illegitimate, and<br />
Richard is proclaimed King.<br />
Newly crowned, Richard asks his friend to dispose of the boys, but<br />
Buckingham hesitates. Instead Richard pays Tyrell to organise the murder<br />
of the princes. Buckingham’s failure, and his increasing demands, cause<br />
Richard to turn on him. Buckingham flees. Meanwhile Richard’s wife Anne<br />
dies in despair.<br />
Increasingly paranoid, he tries to marry his niece but her mother prevents<br />
this; she has learned from Margaret how to resist his eloquence. His fears<br />
are proved correct when the kingdom falls into chaos again. Buckingham<br />
is captured and executed, but it is too late. Henry Tudor, Earl of Richmond,<br />
invades. Richard prepares for a final battle at Bosworth Field. On the eve of the<br />
confrontation, he is visited by the ghosts of his victims.<br />
The following day Richmond finds Richard and kills him. Richmond is a distant<br />
relative of the Lancastrians, the red rose has finally won. But he marries<br />
Edward IV’s daughter, uniting the Houses. He becomes Henry VII.<br />
4
WARS WITHOUT END<br />
We see yonder the beginning of the day,<br />
but I think we shall never see the end of it.<br />
(Henry V, William Shakespeare)<br />
Recall the cold<br />
Of Towton on Palm Sunday before dawn,<br />
Wakefield, Tewkesbury; fastidious trumpets<br />
Shrilling into the ruck; some trampled<br />
Acres, parched, sodden or blanched by sleet,<br />
Stuck with strange-postured dead.<br />
Recall the wind’s<br />
Flurrying, darkness over the human mire.<br />
(Funeral Music, Geoffrey Hill)<br />
The bleakly apocalyptic vision of The Wars of the Roses that the contemporary<br />
poet Geoffrey Hill gives us – a landscape ‘stuck with strange postured dead’ –<br />
is also there in Shakespeare’s plays: a world in which suffering human bodies<br />
are caught up in cycles of violence that, as one of his soldiers says, ‘we shall<br />
never see the end of’.<br />
The King himself, at the start of the first part of Shakespeare’s Henry IV, asks<br />
his people to remember – and to reject – a time when, ‘the thirsty entrance of<br />
this soil / [daubed] her lips with her own children’s blood’. He renames civil<br />
war as ‘civil butchery’ and brands The Wars of the Roses a form of cannibalism.<br />
But Henry IV’s plan for a holy crusade, in which civil strife is transformed into<br />
national triumph, is inevitably postponed by ongoing conflict. And even as his<br />
son later takes up the crusade against the French as Henry V, we are asked to<br />
remember that all this will come to nothing, and that the bloodiest conflicts are<br />
always still to come.<br />
Shakespeare’s history plays ask us to remember a past in which violence<br />
has governed people’s lives. But they also prepare us for a future of yet more<br />
violence. They offer us a world that is constituted by a war that is without end.<br />
Watching these plays in the 21st century, we will be aware of the unrelenting<br />
cycles of violence in which our own countries, leaders and armies are currently<br />
engaged: conflicts without borders; internment without trial; wars without the<br />
possibility of ceasefire. If these plays offer us any sign for a way out, however,<br />
it isn’t necessarily a political solution. Instead, we find a more focused<br />
awareness of what is always caught up in this pitiless violence: the human<br />
body itself.<br />
In Shakespeare’s history plays, the problem lies with the idea of the crown<br />
and a conception of sovereignty that seems unavoidably bound up with violent<br />
conflict. Whilst hopes for a resolution may seem to rest with the individual who<br />
happens to pick up the crown, these hopes are always held in check. From the<br />
senselessly ritualised grandeur of Richard II’s court – already degenerating<br />
into corruption – right through to the naked aggression of Richard III, each<br />
successive occupant of the throne is shown to be inadequate, as much victim<br />
as victor in Shakespeare’s ongoing stories of sovereign terror.<br />
If Henry IV or Henry V offer brief hopes for resolution, their fleeting moments<br />
of glory are shadowed always by an awareness of their tenuous claims<br />
to the throne. Instead, as the internecine struggles of the English royal<br />
families advance, we witness displays of humiliation where, time after time,<br />
opportunities to assume the role of merciful ruler are superseded by yet more<br />
violence. So, as Edward IV wrests power from Henry VI in the later stages of<br />
the conflict, he might begin his brief reign by advertising his pretensions<br />
to becoming a merciful ruler, eager to put enmity behind him: ‘And now the<br />
battle’s ended, / If friend or foe, let him be gently used’. But, on discovery of<br />
Clifford, a dying enemy, mercy is quickly forgotten: ‘Now death shall stop his<br />
dismal threat’ning sound, / And his ill-boding tongue no more shall speak’.<br />
And, later, when the young Prince Edward speaks out against him in court, the<br />
young boy is slaughtered in front of his mother.<br />
It is here in the Henry VI plays – in the thick of the wars themselves – that<br />
there is most obviously a lack of hope for any salvation that might arrive in the<br />
person of the leader. These plays and this reign are not, though, exceptional<br />
cases in the cycle, but rather lay bare the conditions of sovereign power that<br />
are available elsewhere in Shakespeare’s histories – in Hal’s rejection of<br />
Falstaff; in Henry V’s threats of rape and child-murder before the gates of<br />
Harfleur; in Henry IV’s ability to order the murder of Richard II whilst, at the<br />
same time, attempting to disown responsibility for his death.<br />
Current political theorists, looking to explain the persistence of sovereign<br />
relations within a 21st century that is only apparently democratic, may offer<br />
us a way into Shakespeare’s world of cyclical violence. The Italian writer,<br />
Giorgio Agamben, in particular, tells us that the foundation of Western political<br />
systems – systems of sovereignty – begin not only in original acts of violence,<br />
but sustain themselves by continually re-enacting violent acts of exclusion:<br />
exile, abandonment, execution and internment. Politics only seems to offer us<br />
solutions – Prince Hal as the glamorous Henry V; the voting in of a new leader<br />
under 21st-century democracy. But sovereignty itself persists in the capacity of<br />
the state to exclude and to kill. Where this battle takes place, of course, is on<br />
the human body itself – suffering and humiliated.<br />
If hope for a solution cannot be found in the capacities of any one king, or any<br />
one political leader, then Shakespeare’s histories offer us a different kind of<br />
optimism. What the experience of theatre allows us to do – perhaps uniquely<br />
– is to witness the predicament of the human body in peril, trapped within<br />
the violent purview of sovereign power. At the same time, though, we see the<br />
struggle of those bodies – the bodies of the actors on stage; the bodies of<br />
those people playing at being king – to make some sense of the situation in<br />
which they are placed. The drama of these plays lies in this struggle; our hope<br />
lies in bearing witness to the attempt.<br />
Huw Griffiths<br />
Sydney, November 2008<br />
5
6<br />
A CYCLE OF HISTORY<br />
The role of history will … be to show that laws deceive, that kings wear masks,<br />
that power creates illusions, and that historians tell lies. This will not be a<br />
history of continuity, but a history of deciphering, the detection of a secret …<br />
and of the reappropriation of a secret that has been distorted or buried.<br />
(Michel Foucault, Society Must Be Defended)<br />
The War of the Roses describes the development, decline and decay of a<br />
civilization. We begin in a prelapsarian culture and we watch its king, Richard<br />
II, lose his wealth, his kingdom and his role. His usurper and successor, Henry<br />
IV, rules a wounded kingdom in a continual state of emergency and unrest.<br />
This disturbance is manifest in damaged relations between fathers and sons.<br />
The sons, Hal and Hotspur, are cast as rival twins driven to dark, glorious<br />
dreams of redemption. Hal’s killing of Hotspur, his reconciliation with his<br />
dying father and his betrayal of his friend Falstaff allow him to redeem his lost<br />
honour. As Henry V, he unifies his torn nation by leading it to acts of slaughter<br />
in France. His son is crowned Henry VI while still an infant. Under his reign, the<br />
kingdom descends into factional politics and brutal civil war. History becomes<br />
a bloody nightmare. During these wars, we witness the rise of the future<br />
king, Richard III, an exquisite monster whose rule will be a reign of death. His<br />
kingdom is a shadowland peopled by the dead.<br />
The various plays which make up The War of the Roses contain evolving<br />
descriptions of a garden. Its evocation haunts the stagings. Sometimes, it is a<br />
memory of paradise before the Fall. On his deathbed, John of Gaunt reaches<br />
back to this garden when he describes England as ‘this other Eden ... this<br />
teeming womb of kings’. Sometimes, the garden is cited as an exemplar of<br />
ideal government. Society is defined as an act of cultivation, selection and<br />
exclusion. The destruction of the garden is used to denote the deterioration<br />
of the kingdom. On his deathbed, Henry IV fears that under his wild son’s<br />
reign, the kingdom will become a ‘wilderness again / peopled by its old<br />
inhabitants, wolves’. Following the horror of war, eviscerated France is<br />
compared to a neglected garden which has degenerated into wildness and<br />
ruin. When York suggests resolving the political dispute between the Houses<br />
of York and Lancaster by plucking white or red roses from a briar, the garden<br />
provides the props which will cause the kingdom to split into deadly factions.<br />
The plucking of these ‘dumb significants’ is the germination of unfathomable<br />
violence. The tension between wilderness and civilization, between anarchy<br />
and government, between utopia and concentration camp is embedded in<br />
the metaphor of the garden. It is a walled dream of paradise, a cultivated land<br />
manured with the blood and bone of war.<br />
In his Four Quartets, T.S. Eliot wrote:<br />
We die with the dying:<br />
See, they depart, and we go with them.<br />
We are born with the dead:<br />
See, they return and bring us with them.<br />
The moment of the rose and the moment of<br />
the yew-tree<br />
Are of equal duration. A people without history<br />
Is not redeemed from time, for history is a<br />
pattern<br />
Of timeless moment<br />
History is now and England.<br />
(T.S. Eliot, ‘Little Gidding’, section 5, lines 15–24)<br />
In Shakespeare’s history plays, the bare stage is the metaphoric garden where<br />
history is played over. The Chorus in Henry V suggests that ‘a crooked figure<br />
may / Attest in little place a million’ and urges the audience to work their<br />
thoughts to re-create history on the empty stage in collaboration with the<br />
poet’s words and the actors’ play. The audience are reminded that the staging<br />
of history is a staging of illusion. It is remembrance and prophecy; epitaph and<br />
fantasy; prayer and cry.<br />
On the bare stage, our player kings are crowned and usurped nightly. The<br />
pageantry and blood pump of history are replayed nightly. History is replayed<br />
as shreds of ceremony and dusty portrayals of bare life. The words of the poet<br />
become flesh in the body of the actor. And the ghosts of history are paraded<br />
across the stage. This cycle of plays is a vast, resonating memento mori. As in<br />
the hundred shivers of Richard II’s smashed mirror, it reflects and refracts the<br />
skull rounded by the golden band of sovereignty. This crown (and the various<br />
skulls that wear it or are subject to it) is the driving force of the cycle. It is the<br />
hollow eye of the storm of history. The crown is a target of longing, a seat of<br />
power, a theatrical prop and a symbol of subjectivity.<br />
The staging x-rays the skulls of kings. The skull wears the crown. It is a little<br />
kingdom. It is behind all the masks. It is the silence behind the language.<br />
It contains the tongue that speaks history, the eyes which witness it and<br />
animates the hands that kill. It is where prophesies, splendid hopes and the<br />
languages of power echo. It is the price and the outcome of power. Dust.<br />
Benedict Andrews,<br />
Sydney, December 2008
The Eighteenth Brumaire of Louis Bonaparte<br />
Karl Marx, 1852<br />
Men make their own history, but they do not make it as they please, they<br />
do not make it under self-selected circumstances, but under circumstances<br />
existing already, given and transmitted from the past. The tradition of all dead<br />
generations weighs like a nightmare on the brains of the living. And just as<br />
they seem to be occupied with revolutionizing themselves and things, creating<br />
something that did not exist before, precisely in such epochs of revolutionary<br />
crisis they anxiously conjure up the spirits of the past to their service,<br />
borrowing from them names, battle slogans, and costumes in order to present<br />
this new scene in world history in time-honoured disguise and borrowed<br />
language. Thus Luther put on the mask of the Apostle Paul, the Revolution of<br />
1789–1814 draped itself alternately in the guise of the Roman Republic and<br />
the Roman Empire, and the Revolution of 1848 knew nothing better to do<br />
than to parody, now 1789, now the revolutionary tradition of 1793–95. In like<br />
manner, the beginner who has learned a new language always translates it<br />
back into his mother tongue, but he assimilates the spirit of the new language<br />
and expresses himself freely in it only when he moves in it without recalling<br />
the old and when he forgets his native tongues …<br />
Thus the awakening of the dead in those revolutions served the purpose of<br />
glorifying the new struggles, not of parodying the old, of magnifying the given<br />
task in the imagination, not recoiling from its solution in reality, of finding<br />
once more the spirit of revolution, not making its ghost walk again.<br />
An extract from: Society Must Be Defended<br />
Michel Foucault, 1975–1976<br />
If we look beneath peace, order, wealth and authority, beneath the calm order<br />
of subordinations, beneath the State and State apparatuses, beneath the laws<br />
and so on, will we hear and discover a sort of primitive and permanent war? …<br />
When, how, and why did someone come up with the idea that it is a sort of<br />
uninterrupted battle that shapes peace, and that the civil order – its basis, its<br />
essence, its essential mechanisms – is basically an order of battle? Who came<br />
up with the idea that the civil order is an order of battle […] Who saw war just<br />
beneath the surface of peace; who sought in the noise and confusion of war, in<br />
the mud of battles, the principal that allows us to understand order, the State,<br />
its instructions, and its history? …<br />
Who, basically, had the idea of inverting the Clausewitz’s principle, and who<br />
thought of saying: ‘It is quite possible that war is the continuation of politics by<br />
other means’, but isn’t politics itself a continuation of war by other means?…<br />
No matter what philosophico-juridical theory may say, political power does<br />
not begin when war ends. The organisation and juridical structure of power,<br />
of States, monarchies and societies, does not emerge when the clash of arms<br />
ceases. War has not been averted. War obviously presided over the birth of<br />
States: right, peace, and laws were born in the blood and mud of battles. This<br />
should not be taken to mean the ideal battles and rivalries dreamed up by<br />
philosophers or jurists: we are not talking about some theoretical savagery.<br />
The law is not born of nature, and it was not born near the fountains that<br />
the first shepherds frequented: the law is born of real battles, victories,<br />
massacres, and conquests which can be dated and which have their horrific<br />
heroes; the law was born in burning towns and ravaged fields. It was born<br />
together with the famous innocents who died at break of day. Law is not<br />
pacification, for beneath the law, war continues to rage in all the mechanisms<br />
of power, even in the most regular. War is the motor behind institutions and<br />
order. In the smallest of its cogs, peace is waging a secret war. To put it another<br />
way, we have to interpret the war that is going on beneath peace; peace itself<br />
is a coded war. We are therefore at war with one another; a battlefront that<br />
puts us all on one side or the other. There is no such thing as a neutral subject.<br />
We are all inevitably someone’s adversary …<br />
There are two groups, two categories of individuals or two armies, and they<br />
are opposed to each other. And beneath the lapses of memory, the illusions,<br />
and the lies that would have us believe that there is a ternary order, a pyramid<br />
of subordinations, beneath the lies that would have us believe that the social<br />
body is governed by either natural necessities or functional demands, we must<br />
rediscover the war that is still going on, war with all its accidents and incidents.<br />
Why do we have to rediscover war? Well, because this ancient war is a […]<br />
permanent war. We really do have to become experts on battles, because the<br />
war has not ended, because preparations are still being made for the decisive<br />
battles, and because we have to win the decisive battle …<br />
So what is the principle that explains history? First a series of brute facts,<br />
which might already be described as physico-biological facts: physical<br />
strength, force, energy, the proliferation of one race, the weakness of the<br />
other, and so on. A series of accidents, or at least contingencies: defeats,<br />
victories, the failure or success of rebellions, the failure or success of<br />
conspiracies of alliances; and finally, a bundle of psychological and moral<br />
elements (courage, fear, scorn, hatred, forgetfulness, etcetera). Intertwining<br />
bodies, passions and accidents: according to this discourse, that is what<br />
constitutes the permanent web of histories and societies. And something<br />
fragile and superficial will be built on top of this web of bodies, accidents,<br />
and passions, this seething mass which is sometimes murky and sometimes<br />
bloody: a growing rationality. The rationality of calculations, strategies, and<br />
ruses; the rationality of technical procedures that are used to perpetuate the<br />
victory, to silence, or so it would seem, the war, and to preserve or invert the<br />
relationship of force. This is, then, a rationality which, as we move upward and<br />
as it develops, will basically be more and more abstract, more and more<br />
bound up with the cunning and wickedness of those who have won a<br />
temporary victory …<br />
We have an axis based upon a fundamental and permanent irrationality, a<br />
crude and naked irrationality, but which proclaims the truth; and, higher<br />
up, we have a fragile rationality, a transitory rationality which is always<br />
compromised and bound up with illusion and wickedness. Reason is on the<br />
side of wild dreams, cunning, and the wicked. At the opposite end of the<br />
axis, you have an elementary brutality: a collection of deeds, acts, and<br />
passions, and cynical rage in all its nudity. Truth is therefore on the side<br />
of unreason and brutality: reason, on the other hand, is on the side of wild<br />
dreams and wickedness …<br />
History is the discourse of power, the discourse of the obligations power uses<br />
to subjugate; it is also the dazzling discourse that power uses to fascinate,<br />
terrorise, and immobilise. In a word, power both binds and immobilises,<br />
and is both the founder and guarantor of order; and history is precisely the<br />
discourse that intensifies and makes more efficacious the twin functions that<br />
guarantee order. In general terms, we can therefore say that until a very late<br />
stage in our society, history was the history of sovereignty, or a history that was<br />
deployed in the dimension and function of sovereignty …<br />
The role of history will, then be to show that laws deceive, that kings wear<br />
masks, that power creates illusions and that historians tell lies. This will<br />
not, then, be a history of continuity, but a history of deciphering, the<br />
detection of the secret, the outwitting of the ruse, and the reappropriation of<br />
a knowledge that has been distorted or buried. It will decipher a truth that has<br />
been sealed …<br />
Shakespeare’s ‘historical’ tragedies are tragedies about right and the<br />
king, and they are essentially centred on the problem of the usurper and<br />
dethronement, of the murder of kings and the birth of the new being who is<br />
constituted by the coronation of a king. How can an individual use violence,<br />
intrigue, murder, and war to acquire a public might that can bring about the<br />
reign of peace, justice, order and happiness? How can illegitimacy produce<br />
law? At a time when the theory and history of right are trying to weave the<br />
unbroken continuity of public might, Shakespearean tragedy, in contrast,<br />
dwells on the wound, on the repeated injury that is inflicted on the body of the<br />
kingdom when kings die violent deaths and when illegitimate sovereigns come<br />
to the throne. I think that Shakespearean tragedy is, at least in terms of one<br />
of its axes, a sort of ceremony, a sort of rememorialisation of the problems of<br />
public right …<br />
The court’s essential function is to constitute, to organise, a space for the<br />
daily and permanent display of royal power in all its splendor. The court is<br />
basically a kind of permanent ritual operation that begins again every day<br />
and requalifies a man who gets up, goes for a walk, eats, has his loves and<br />
his passions, and who is at the same time – thanks to all that, because of all<br />
that, and because none of all that is eliminated – a sovereign, The specific<br />
operation of court ritual and court ceremonial is to make his love affairs<br />
sovereign, to make his food sovereign, to make his levee and his going-to-bed<br />
ritual sovereign. And while the court constantly requalifies his daily routine as<br />
sovereign in the person of a monarch who is the very substance of monarchy,<br />
tragedy does the same thing in reverse; tragedy undoes and, if you like,<br />
recomposes what court ritual establishes each day …<br />
… The point of classical tragedy … is to constitute the underside of ceremony,<br />
to show the ceremony in shreds, the moment when the sovereign, the<br />
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8<br />
possessor of public might, is gradually broken down into a man of passion,<br />
a man of anger, a man of vengeance, a man of love, incest, and so on. In<br />
tragedy the problem is whether or not starting from this decomposition of<br />
the sovereign into a man of passion, the sovereign king can be reborn and<br />
recomposed: the death and resurrection of the body of the king in the heart of<br />
the monarch.<br />
… In the classical theory of sovereignty, the right of life and death was one of<br />
the sovereignty’s basic attributes. Now the right of life and death is a strange<br />
right. What does having the right of life and death actually mean? In one<br />
sense, to say that the sovereign has a right of life and death means that he<br />
can, basically, either have people put to death or let them live, or in any case<br />
that life and death are not natural or immediate phenomena which are primary<br />
or radical, and which fall outside the field of power. If we take the argument<br />
a little further, or to the point where it becomes paradoxical, it means that in<br />
terms of his relationship with the sovereign, the subject is, by rights, neither<br />
dead nor alive. From the point of view of life and death, the subject is neutral,<br />
and it is thanks to the sovereign that the subject has the right to be alive or,<br />
possibly, the right to be dead. In any case, the lives and deaths of subjects<br />
become rights only as a result of the will of the sovereign. What does the right<br />
to life and death actually mean? Obviously not that the sovereign can grant<br />
life in the same way he can inflict death. The right of life and death is always<br />
exercised in an unbalanced way: the balance is always tipped in favour of<br />
death. Sovereign power’s effect on life is exercised only when the sovereign<br />
can kill. The very essence of the right of life and death is actually the right to<br />
kill: it is at the moment when the sovereign can kill that he exercises his right<br />
over life. It is essentially the right of the sword. So there is no real symmetry<br />
in the right over life and death. It is not the right to put people to death or to<br />
grant them life. Nor is it the right to allow people to live or to leave them to die.<br />
It is the right to take life or let live. And this obviously introduces a startling<br />
dissymmetry.<br />
And I think that one of the greatest transformations political right underwent<br />
in the nineteenth century was precisely that, I wouldn’t say exactly that<br />
sovereignty’s old right – to take life or let live – was replaced, but it came to<br />
be complemented by a new right which does not erase the old right but which<br />
does penetrate it, permeate it. This is the right, or rather precisely the opposite<br />
right. It is the power to ‘make’ live and ‘let’ die. The right of sovereignty was<br />
the right to take life or let live. And then this new right is established: the right<br />
to make live and to let die.<br />
After the anatomo-politics of the human body established in the course of<br />
the eighteenth century, we have, at the end of that century, the emergence of<br />
something that is no longer an anatomo-politics of the human body, but what I<br />
would call a ‘biopolitics’ of the human race.<br />
Excerpts From: ‘Little Gidding’<br />
TS Eliot<br />
I<br />
(. . . .)<br />
If you came at night like a broken king,<br />
If you came by day not knowing what you came for,<br />
It would be the same, when you leave the rough road<br />
And turn behind the pig-sty to the dull facade<br />
And the tombstone. And what you thought you<br />
came for<br />
Is only a shell, a husk of meaning<br />
From which the purpose breaks only when it is<br />
fulfilled<br />
If at all. Either you had no purpose<br />
Or the purpose is beyond the end you figured<br />
And is altered in fulfilment. There are other places<br />
Which also are the world’s end, some at the sea jaws,<br />
Or over a dark lake, in a desert or a city –<br />
But this is the nearest, in place and time,<br />
Now and in England.<br />
If you came this way,<br />
Taking any route, starting from anywhere,<br />
At any time or at any season,<br />
It would always be the same: you would have to<br />
put off<br />
Sense and notion. You are not here to verify,<br />
Instruct yourself, or inform curiosity<br />
Or carry report. You are here to kneel<br />
Where prayer has been valid. And prayer is more<br />
Than an order of words, the conscious occupation<br />
Of the praying mind, or the sound of the voice praying.<br />
And what the dead had no speech for, when living,<br />
They can tell you, being dead: the communication<br />
Of the dead is tongued with fire beyond the language<br />
of the living.<br />
Here, the intersection of the timeless moment<br />
Is England and nowhere. Never and always.<br />
II<br />
Ash on an old man’s sleeve<br />
Is all the ash the burnt roses leave.<br />
Dust in the air suspended<br />
Marks the place where a story ended.<br />
Dust inbreathed was a house –<br />
The walls, the wainscot and the mouse,<br />
The death of hope and despair,<br />
This is the death of air.<br />
There are flood and drouth<br />
Over the eyes and in the mouth,<br />
Dead water and dead sand<br />
Contending for the upper hand.<br />
The parched eviscerate soil<br />
Gapes at the vanity of toil,<br />
Laughs without mirth.<br />
This is the death of earth.<br />
Water and fire succeed<br />
The town, the pasture and the weed.<br />
Water and fire deride<br />
The sacrifice that we denied.<br />
Water and fire shall rot<br />
The marred foundations we forgot,<br />
Of sanctuary and choir.<br />
This is the death of water and fire.<br />
(. . . .)<br />
III<br />
(. . . .)<br />
This is the use of memory:<br />
For liberation – not less of love but expanding<br />
Of love beyond desire, and so liberation<br />
From the future as well as the past. Thus, love of a<br />
country<br />
Begins as attachment to our own field of action<br />
And comes to find that action of little importance<br />
Though never indifferent. History may be servitude,<br />
History may be freedom. See, now they vanish,<br />
The faces and places, with the self which, as it could,<br />
loved them,<br />
To become renewed, transfigured, in another pattern.<br />
Sin is Behovely, but<br />
All shall be well, and<br />
All manner of thing shall be well.<br />
If I think, again, of this place,<br />
And of people, not wholly commendable,<br />
Of no immediate kin or kindness,<br />
But of some peculiar genius,
All touched by a common genius,<br />
United in the strife which divided them;<br />
If I think of a king at nightfall,<br />
Of three men, and more, on the scaffold<br />
And a few who died forgotten<br />
In other places, here and abroad,<br />
And of one who died blind and quiet<br />
Why should we celebrate<br />
These dead men more than the dying?<br />
It is not to ring the bell backward<br />
Nor is it an incantation<br />
To summon the spectre of a Rose.<br />
We cannot revive old factions<br />
We cannot restore old policies<br />
Or follow an antique drum.<br />
These men, and those who opposed them<br />
And those whom they opposed<br />
Accept the constitution of silence<br />
And are folded in a single party.<br />
Whatever we inherit from the fortunate<br />
We have taken from the defeated<br />
What they had to leave us – a symbol:<br />
A symbol perfected in death.<br />
And all shall be well and<br />
All manner of thing shall be well<br />
By the purification of the motive<br />
In the ground of our beseeching.<br />
(. . . .)<br />
V<br />
We shall not cease from exploration<br />
And the end of all our exploring<br />
Will be to arrive where we started<br />
And know the place for the first time.<br />
Through the unknown, unremembered gate<br />
When the last of earth left to discover<br />
Is that which was the beginning;<br />
At the source of the longest river<br />
The voice of the hidden waterfall<br />
And the children in the apple-tree<br />
Not known, because not looked for<br />
But heard, half-heard, in the stillness<br />
Between two waves of the sea.<br />
Quick now, here, now, always –<br />
A condition of complete simplicity<br />
(Costing not less than everything)<br />
And all shall be well and<br />
All manner of thing shall be well<br />
When the tongues of flame are in-folded<br />
Into the crowned knot of fire<br />
And the fire and the rose are one.<br />
Sydney Theatre Company<br />
Sydney Theatre Company, as the premier theatre company in Australia, has<br />
been a major force in Australian drama since its establishment in 1978. The<br />
company presents an annual twelve-play program at its home base The<br />
Wharf, on Sydney’s harbour at Walsh Bay, the nearby Sydney Theatre, which<br />
STC also manages, and as the resident theatre company of the Sydney Opera<br />
House. Current Artistic Directors, Cate Blanchett and Andrew Upton joined the<br />
Company at the beginning of 2008.<br />
Sydney Theatre Company offers Sydney audiences an eclectic program of<br />
Australian plays, lively interpretations of the classic repertoire and the best of<br />
new international writing. It seeks to produce theatre of the highest standard<br />
that consistently illuminates, entertains and challenges. It is committed to the<br />
engagement between the imagination of its artists and its audiences and the<br />
development of the theatrical art-form. As the state theatre company of NSW,<br />
it also produces a significant education program for schools and in its studio<br />
space produces work devised by, and for, developing artists, originating in<br />
1987 with Baz Lurhmann’s Six Years Old and, in its current identity, as Next<br />
Stage. The Company reaches beyond its home state, touring productions<br />
throughout Australia and internationally. It plays annually to audiences in<br />
excess of 300,000.<br />
STC actively fosters relationships and collaborations with international artists<br />
and companies. Renowned directors Michael Blakemore, Max Stafford-Clark,<br />
Howard Davies, Declan Donnellan and Philip Seymour Hoffman have worked<br />
with STC in recent years and in <strong>2009</strong> Liv Ullman and Steven Soderbergh will<br />
direct for the Company. STC has presented productions by Complicite, Cheek<br />
by Jowl, Out-of-Joint and the National Theatre of Great Britain. In 2001 STC<br />
performed at the Brooklyn Academy of Music in New York with its production of<br />
The White Devil, returned in 2006 with its production of Hedda Gabler and will<br />
return again in <strong>2009</strong> with its production of A Streetcar Named Desire which<br />
will also tour to Washington. Other STC productions to tour internationally in<br />
the last few years include The Cherry Pickers (UK 2002), Riflemind (UK 2008)<br />
and Blackbird (NZ, Germany 2008).<br />
STC has launched and fostered the theatre careers of many of Australia’s<br />
internationally renowned artists including Mel Gibson, Judy Davis,<br />
Hugo Weaving, Miranda Otto, Geoffrey Rush, Toni Collette, Rose Byrne<br />
and Cate Blanchett.<br />
In 2006 STC launched its first acting ensemble, The Actors Company, which,<br />
over three years, has performed an extraordinary range of repertoire including<br />
award-winning productions of Mother Courage & Her Children, The Season<br />
at Sarsaparilla, The Lost Echo and Gallipoli. The Wars of the Roses is the<br />
final Actors Company production and later in <strong>2009</strong>, STC will introduce its new<br />
ensemble of theatre-makers The Residents who will perform right across the<br />
full range of the Company’s activities including Main Stage, Next Stage and STC<br />
Ed productions.<br />
Board of Directors<br />
Artistic Directors<br />
Associate Director<br />
General Manager<br />
Executive Producer<br />
Patron<br />
Ian Darling (Chair), Cate Blanchett, Genevieve<br />
lemon, Sandra Levy, Martin McCallum, Justin<br />
Miller, Simon Mordant, Sam Mostyn, Andrew<br />
upton, Peter Young<br />
Cate Blanchett & Andrew Upton<br />
Tom Wright<br />
Rob Brookman<br />
Jo Dyer<br />
Mr Giorgio Armani<br />
sydneytheatre.com.au<br />
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10<br />
STC Actors Company<br />
Marta Dusseldorp, Eden Falk, Pamela Rabe, Peter Carroll, Emily Russell, Ewen<br />
Leslie, Brandon Burke, Amber McMahon, John Gaden, Hayley McElhinney,<br />
Steve Le Marquand, Luke Mullins.<br />
In 2004 STC invited 12 actors to assemble in their rehearsal room to begin<br />
work on Bertolt Brecht’s Mother Courage and Her Children. This was the<br />
beginning of their remarkable journey as the STC Actors Company. It has been<br />
an intense and rewarding time both for the ensemble and for audiences.<br />
Working as a single team located at The Wharf, the group rehearsed together<br />
almost every day, bringing a natural cohesion to their interpretations of<br />
classics and new writing commissioned for them.<br />
In 2008 the Company performed in two major new commissioned works:<br />
The Serpent’s Teeth by Daniel Keene and Gallipoli by Nigel Jamieson. The<br />
Company also featured in the Melbourne Theatre Company’s 2008 season<br />
with a restaging of their acclaimed production of Patrick White’s The Season at<br />
Sarsaparilla, directed by Benedict Andrews.<br />
Joining the STC Actors Company for their final production is renowned actor<br />
Robert Menzies and STC Co-Artistic Director Cate Blanchett. The War of The<br />
Roses is a highlight of the <strong>2009</strong> Sydney <strong>Festival</strong> and <strong>Perth</strong> <strong>International</strong><br />
<strong>Arts</strong> <strong>Festival</strong>.<br />
Cate Blanchett<br />
Cate is a guest of the STC Actors Company.<br />
For Sydney Theatre Company: As Director: The<br />
Year of Magical Thinking, Blackbird, A Kind of<br />
Alaska. As Actor: Hedda Gabler, Sweet Phoebe,<br />
Kafka Dances, Oleanna, Top Girls. Other theatre:<br />
includes for the Almeida Theatre: Plenty. For<br />
Company B: The Seagull, Hamlet, The Blind<br />
Giant is Dancing, The Tempest. For Griffin: Kafka<br />
Dances. Film: includes The Curious Case of<br />
Benjamin Button, Indiana Jones and the Kingdom of the Crystal Skull, I’m<br />
Not There, Elizabeth: The Golden Age, The Good German, Notes on a Scandal,<br />
Babel, Little Fish, The Life Aquatic with Steve Zissou, The Aviator, Coffee<br />
and Cigarettes, The Missing, The Lord of the Rings trilogy, Veronica Guerin,<br />
Heaven, The Shipping News, Charlotte Gray, Bandits, The Gift, The Talented Mr<br />
Ripley, Pushing Tin, Elizabeth, Oscar and Lucinda, Thank God He Met Lizzie,<br />
Paradise Road. Awards: includes Helpmann Award for Best Actress in a Play<br />
and MO Award for Best Actress in a Play for Hedda Gabler, Sydney Theatre<br />
Critics Circle Newcomer Award for Performance for Kafka Dances, Sydney<br />
Theatre Critics Circle Rosemont Award for Performance for Oleanna. Volpi Cup<br />
for Best Actress for I’m Not There, AFI Award for Best Actress, IF Award for Best<br />
Actress and FCCA Award for Best Actress for Little Fish, Academy Award for Best<br />
Supporting Actress, BAFTA Award for Best Supporting Actress and SAG Award<br />
for Outstanding Supporting Actress for The Aviator, Golden Globe Award for<br />
Best Actress and BAFTA Award for Best Actress for Elizabeth, AFI Award for Best<br />
Supporting Actress and FCCA Award for Best Supporting Actress for Thank God<br />
He Met Lizzie. Positions: Co-Artistic Director of STC; Trustee of the Australian<br />
Museum; Australian Film Institute Ambassador; Australian Conservation<br />
Foundation Ambassador; Patron of the Sydney Film <strong>Festival</strong>; Honorary<br />
Associate of the University of Sydney. Training: NIDA.<br />
Brandon Burke<br />
Brandon is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli,<br />
The Serpent’s Teeth, Tales from the Vienna Woods,<br />
A Midsummer Night’s Dream, The Art of War,<br />
The Season at Sarsaparilla, The Bourgeois<br />
Gentleman, The Lost Echo, Mother Courage and Her<br />
Children, Democracy, New Russian Play Readings<br />
– Terrorism (Blueprints), A Doll’s House, The<br />
School for Scandal, The Life of Galileo, Henry IV, No<br />
Names…No Pack Drill, The Sunny South, Cyrano de Bergerac, The Merry Wives<br />
of Windsor, The Precious Woman, Beauty and the Beast, Hamlet, Lulu. Other<br />
theatre: For Ensemble: Broken Glass. For Nimrod: Tales from Vienna Woods,<br />
Suicide, Welcome to the Bright World, Tristram Shandy, Beyond Mozambique,<br />
Il Magnifico, Zastrozzi, Cheapside, Visit with the Family, American Buffalo.<br />
For MTC: Too Young for Ghosts, Heart for the Future. For STCSA: Don’s Party,<br />
The Rover. For QTC: Money and Friends. For Old Tote: The Magistrate, The<br />
Alchemist. For Tasmanian Theatre Company: Death of a Salesman. For Philip<br />
Street Theatre: Sleuth. For Swy: Greek. For Marionette Theatre Co: Asylum,<br />
Impressions of Van Gogh. Film: The Odd Angry Shot, The Applicant, Neil Lynne,<br />
Mushrooms, Spirit, Down and Under, Liquid Bridge, The Station. TV: Small<br />
Claims, White Collar Blue, Future Tense, Backberner, All Saints, The Three<br />
Stooges, Beast Master, The Potato Factory, Flipper, Water Rats, Hyper Sleep,<br />
Murder Call, Big Sky, Hart to Hart, Janus, A Country Practice, Rafferty’s Rules,<br />
Mother and Son, Cop Shop, Glenview High, Poor Man’s Orange, Harp in the<br />
South. Training: NIDA.<br />
Peter Carroll<br />
Peter is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli,<br />
The Serpent’s Teeth, The Season at Sarsaparilla,<br />
A Midsummer Night’s Dream, The Art of War,<br />
The Bourgeois Gentleman, The Lost Echo, Mother<br />
Courage and Her Children, The Cherry Orchard,<br />
Victory, Thyestes, Harbour, The Republic of Myopia,<br />
The Christian Brothers, Endgame, The Sunshine<br />
Club, Macbeth, She Stoops to Conquer, Lush,<br />
Navigating, After the Ball, Heretic, Miracle City, The Threepenny Opera, King<br />
Lear, Uncle Vanya, Harold in Italy, Romeo and Juliet, Summer Rain, Madras<br />
House, Jonah Jones, Master Class, The Perfectionist, As You Desire Me,<br />
Chinchilla, The Sunny South, The Caucasian Chalk Circle, A Cheery Soul.<br />
Other theatre: includes for Company B: Stuff Happens, The Chairs, The Blind<br />
Giant is Dancing, The Tempest, Hamlet. For Nimrod: Suicide, The Christian<br />
Brothers, Henry IV Parts I & II, Much Ado About Nothing, Twelfth Night, The<br />
Duchess of Malfi, A Handful of Friends, The Recruiting Officer, Ginge’s Last<br />
Stand, Well Hung, Richard III, My Foot My Tutor, They’re Playing Our Song,<br />
Ride Across Lake Constance, The Seagull, The Bacchoi, Jesters, Kookaburra.<br />
For MTC: Emerald City, Hedda Gabler, Sweeney Todd, Into the Woods. For QTC:<br />
Money and Friends. For STCSA: Twelfth Night, A Hard God. For Marian St: Mrs<br />
Warren’s Profession, Dial M for Murder. For Essgee Entertainment: Eureka! For<br />
Gordon Frost: Man of La Mancha. For Gordon Frost / Adelaide <strong>Festival</strong> Centre:<br />
Crazy For You. For The Really Useful Company: Cats, Joseph. For Cameron<br />
Mackintosh: Les Misérables. For Morley Davis: Noël and Gertie. For Victoria<br />
State Opera: St Joan at the Stake. For Adelaide <strong>Festival</strong> Centre: Evita. For<br />
Tilbury: On Your Dial. For SOH Concert: You’re Gonna Love Tomorrow. For Harry<br />
M Miller: Jesus Christ Superstar. For Bell Shakespeare: Troilus and Cressida.<br />
For Follies Co: Simply Weill. For Theatre of Image: Stella and the Moon Man.<br />
Other: Proud Member of MEAA for over 35 years.<br />
Marta Dusseldorp<br />
Marta is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli,<br />
The Serpent’s Teeth, Tales from the Vienna<br />
Woods, The Bourgeois Gentleman, The Lost Echo,<br />
Mother Courage and Her Children, Victory, The<br />
Way of the World. Other theatre: As Actor: For<br />
Malthouse Theatre: Journal of the Plague Year, The<br />
Ham Funeral. For Company B: The Underpants,<br />
Cloudstreet. For Griffin: Songket, Footprints on<br />
Water. For Ensemble: All My Sons. For Darlinghurst Theatre: The Woolgatherer.<br />
For Bell Shakespeare: A Midsummer Night’s Dream. For MTC: Three Sisters,<br />
Misalliance, The Balcony. For Marian Street: No Names, No Pack Drill. As<br />
Director: For Kings Cross <strong>Festival</strong> @ The Stables: Halal El Mashakel, Seeking<br />
Dijiran. For The Old Fitzroy: Seven Acts of Love as Witnessed by a Cat. Film:<br />
Innocence, Praise, Paradise Road. TV: Blackjack, Hell Has Harbour Views, MDA,<br />
After the Deluge, Young Lions, Farscape, Backberner, All Saints, Halifax fp,<br />
Murder Call, Fable, Mercury, GP. Training: VCA.
Eden Falk<br />
Eden is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli, The<br />
Serpent’s Teeth, Tales from the Vienna Woods,<br />
A Midsummer Night’s Dream, The Art of War, The<br />
Season at Sarsaparilla, The Bourgeois Gentleman,<br />
The Lost Echo, Mother Courage and Her Children,<br />
The Miser, Away (Education). Other theatre: For<br />
Ride On / B Sharp: Loveplay. For Working Group / B<br />
Sharp: Faustus. Training: WAAPA.<br />
John Gaden<br />
John is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli, The<br />
Serpent’s Teeth, Tales from the Vienna Woods,<br />
A Midsummer Night’s Dream, The Art of War, The<br />
Season at Sarsaparilla, The Bourgeois Gentleman,<br />
The Lost Echo, Mother Courage and Her Children,<br />
The Cherry Orchard, Democracy, The Miser, Victory,<br />
Copenhagen, Major Barbara, The White Devil,<br />
As You Like It, Who’s Afraid of Virginia Woolf?,<br />
Saint Joan, Money and Friends, Coriolanus, Death and the Maiden, The Secret<br />
Rapture, The Way of the World, As You Desire Me, Amadeus, Hamlet, The<br />
Man from Mukinupin, Close of Play. Other theatre: includes For Company B:<br />
Stuff Happens, Fever, Waiting For Godot, Signal Driver. For Company B / Black<br />
Swan: Cloudstreet (national and international tour). For Company B / MTC: The<br />
Unexpected Man. For Bell Shakespeare: Henry IV. For STCSA: A Hard God, Ring<br />
Round the Moon, Hedda Gabler, Dream Play, The Winter’s Tale, King Lear,<br />
Shepherd on the Rocks, Wild Honey, The Real Thing, Dreams in an Empty City.<br />
For Opera Australia: Ariadne auf Naxos. For MTC: Hysteria, Uncle Vanya, Racing<br />
Demon, Present Laughter, The Tempest. For Nimrod: Jumpers, Galileo, Kold<br />
Komfort Kaffee, Travesties, Young Mo, Dirty Linen, The Recruiting Officer, The<br />
Duchess of Malfi. TV: includes Frontier, Mother and Son, Big Toys, Homicide,<br />
Burke and Wills. Film: Wilfull, Bartleby, A Little Bit of Soul, Thank God He Met<br />
Lizzie, Children of the Revolution, On Our Selection, Muriel’s Wedding, Caddie.<br />
Positions: Associate Director of Sydney Theatre Company from 1979 to 1984.<br />
Artistic Director of State Theatre South Australia from 1986 to 1990. Board of<br />
the Adelaide <strong>Festival</strong> from 1994 to 1996.<br />
Steve Le Marquand<br />
Steve is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli, The<br />
Serpent’s Teeth, Tales from the Vienna Woods,<br />
Don’s Party, Holy Day. Other theatre: For Company<br />
B: Paul, The Spook, Waiting for Godot, Buried<br />
Child. For Griffin Theatre Company: Borderlines<br />
– The Return, Songket. For Slem Productions: He<br />
Died with a Felafel in his Hand, The Tasmanian<br />
Babes Fiasco. Film: Men’s Group, Last Train to<br />
Freo, Kokoda, Lost Things, Vertical Limit, Two Hands, Mullet, South Pacific.<br />
Robert Menzies<br />
Robert is a guest of the STC Actors Company.<br />
For Sydney Theatre Company: Tales from the<br />
Vienna Woods, Reunion, A Kind of Alaska, Julius<br />
Caesar, Copenhagen (tour season), Three Sisters,<br />
Seneca’s Oedipus, Betrayal, Broken Glass, The<br />
Seagull. Other theatre: For Malthouse Theatre:<br />
The Ham Funeral, Journal of the Plague Year. For<br />
MTC: includes The Glass Soldier, The Visit, The<br />
Duchess of Malfi, Rivers of China, The Recruiting<br />
Officer, Our Country’s Good, The Heidi Chronicles, The Crucible, Measure<br />
for Measure, The Lover / The Collection, Absurd Person Singular, Closer,<br />
The Herbal Bed, Scenes from a Separation, The Grapes of Wrath, Cat on a<br />
Hot Tin Roof, The Selection. For Keene / Taylor Project: Half and Half, The<br />
Ninth Moon, Mysteries. For Playbox: The Ishmail Club, The Language of the<br />
Gods, Redemption, Antony and Cleopatra, Hamlet, Measure for Measure. For<br />
Queensland Theatre Company: includes Simpatico, The Winter’s Tale, The<br />
Crucible. For State Theatre South Australia: includes Our Country’s Good, Miss<br />
Julie, The Revenger’s Tragedy, Fanshen, A Midsummer Night’s Dream, ‘ Tis Pity<br />
She’s A Whore, Spellbound, Mother Courage, Silver Lining, Prince of Homburg,<br />
Royal Show. For Company B: Paul, Threepenny Opera, A Doll’s House, Scenes<br />
from an Execution, Ghosts. For Anthill: Macbeth, Peer Gynt, The Crimson<br />
Island. For Theatreworks: Pericles. For Jenny Kemp Project: Remember. TV:<br />
Monash, My Brother Jack, Backberner, Dirtwater Dynasty, One Summer Again.<br />
Film: Siam Sunset, Muggers, Lust and Revenge, On Our Selection, The Sewing<br />
Room, Stan and George’s New Life, Tender Hooks, Cactus, Floodhouse, Three<br />
Dollars, Under the Radar.<br />
Ewen Leslie<br />
Ewen is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli, The<br />
Serpent’s Teeth, Riflemind, Dead Caesar (Wharf<br />
2LOUD), Emergency Sex (Wharf 2LOUD). Other<br />
theatre: For Company B: Paul. For Old Fitzroy:<br />
This Blasted Earth. For Old Fitzroy / Opera House:<br />
Cross Sections. Film: Three Blind Mice, Katoomba,<br />
Kokoda, Jewboy. TV: includes Lockie Leonard, Love<br />
My Way, All Saints, The Road from Coorain.<br />
Training: WAAPA<br />
Hayley McElhinney<br />
Hayley is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli, The<br />
Serpent’s Teeth, Tales from the Vienna Woods,<br />
A Midsummer Night’s Dream, The Art of War, The<br />
Season at Sarsaparilla, The Bourgeois Gentleman,<br />
The Lost Echo, Mother Courage and Her Children,<br />
Bed (Blueprints). Other theatre: For Blackswan:<br />
Uncle Vanya, Proof, Buried, Darling Oscar, Family<br />
Running for Mr Whippie. For Steamworks: Medea.<br />
For Darlinghurst Theatre: Don’t Stare Too Much, Noir. For Old Fitzroy Theatre:<br />
A Moment on the Lips. For MTC: Life After George, Pride and Prejudice.<br />
Film: My Mother Frank, City Loop. TV: Twentyfourseven, Always Greener, All<br />
Saints, Blue Heelers, Love is a Four Letter Word, Backberner, Water Rats, Good<br />
Guys Bad Guys. Awards: 2006 Sydney Theatre Award for Best Supporting<br />
Actress for Mother Courage and Her Children. Training: WAAPA.<br />
Amber McMahon<br />
Amber is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli, The<br />
Serpent’s Teeth, Tales from the Vienna Woods, A<br />
Midsummer Night’s Dream, The Art of War, The<br />
Season at Sarsaparilla, The Bourgeois Gentleman,<br />
The Lost Echo, Mother Courage and Her Children.<br />
Other theatre: For STCSA: Boston Marriage, Proof.<br />
For Windmill Performing <strong>Arts</strong>: Boo, Afternoon of<br />
the Elves, The Snow Queen, Moonfleet. For QTC:<br />
Vincent in Brixton. For Kicking and Screaming: Close to Home. For Woodford<br />
Indigenous Dreaming <strong>Festival</strong> / 2004 Melbourne Comedy <strong>Festival</strong> / 2004<br />
Adelaide Fringe <strong>Festival</strong>: Black and Tran 2. For The Border Project: Please Go<br />
Hop!, Highway Rock ‘n Roll Disaster, Trouble on Earth. For Adelaide <strong>Festival</strong><br />
Centre / ATYP: Bushfire. Film: Peaches. TV: My Space, Savvy TV. Awards: 2005<br />
Adelaide Theatre Guide Award for Best Individual Performance, 2002 Adelaide<br />
Critics’ Circle Emerging Artist Award, 2002 Adelaide City Council Performing<br />
<strong>Arts</strong> Award, 2002 Best of Opera Award. Training: Bachelor of Dramatic <strong>Arts</strong><br />
(Hons). Flinders University Drama Centre.<br />
11
Luke Mullins<br />
Luke is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli, The<br />
Serpent’s Teeth, Tales From The Vienna Woods,<br />
The Season at Sarsaparilla. Other Theatre:<br />
For Melbourne Theatre Company: The History<br />
Boys, Cloud Nine, King Oedipus. For Malthouse:<br />
Autobiography of Red. For Stuck Pigs Squealing:<br />
The Eisteddfod, Lally Katz and the Terrible<br />
Mysteries of the Volcano, 4xBeckett, Agoraphobe,<br />
Nine Days Falling. For Little Death / Theatreworks / Griffin Stablemates:<br />
Mercury Fur. For Theatreworks / God Be in My Mouth: Grace. For Liminal:<br />
Sotoba Komachi, Kantan. For Victorian Trades Hall: Delicacy. For Uncle<br />
Semolina and Friends: The Uncle Semolina (and Friends) <strong>Festival</strong> of Small<br />
Pieces. For Original Voices: Miss Julie, Lucrezia and Cesare. For Wrecked all<br />
Prods: Terminating, Catapult, The Maids, Bison. Short Film: Neon Skin.<br />
TV: Satisfaction, MDA, Blue Heelers. Awards: George Fairfax Memorial Award.<br />
Pamela Rabe<br />
Pamela is a member of the STC Actors Company.<br />
For Sydney Theatre Company: As Director: The<br />
Serpent’s Teeth: Citizens. As Actor: Gallipoli, The<br />
Serpent’s Teeth: Soldiers, A Midsummer Night’s<br />
Dream, The Art of War, The Season at Sarsaparilla,<br />
The Bourgeois Gentleman, The Lost Echo, Mother<br />
Courage and Her Children, The Cherry Orchard,<br />
Blithe Spirit, Holy Day, Salt, The Beauty Queen of<br />
Leenane, Private Lives, Three Tall Women, Lost in<br />
Yonkers, Much Ado About Nothing, The Three Sisters, The Secret Rapture, The<br />
Ham Funeral. Other theatre: For Malthouse Theatre: Woman-Bomb. For MIFA<br />
/ Antechamber Prods: Berggasse 19 – The Apartments of Sigmund Freud.<br />
For MTC: over 30 productions including Things We Do For Love, Dinner, Blithe<br />
Spirit, The Misanthrope, Private Lives, A Room of One’s Own, Cosi, Much<br />
Ado About Nothing, The Taming of the Shrew, A Moon for the Misbegotten,<br />
The Heidi Chronicles, Too Young for Ghosts. For Playbox: Blue Window, The<br />
Marriage of Bette and Boo, Daniel Keene’s Cho Cho San. For Production<br />
Company: Mame. For STCSA: Miss Julie, The Rover. For Understudies / Belvoir:<br />
Gertrude Stein and a Companion. For GFO / SEL: The Wizard of Oz. For IMG /<br />
MTC: A Little Night Music. Film: The Well, Paradise Road, Lust and Revenge,<br />
Cosi, Sirens, Vacant Possession. TV: Secret Life of Us, Holly’s Heroes, CrashBurn,<br />
Mercury, The Bite, Seven Deadly Sins – Greed, The Leaving of Liverpool.<br />
Emily Russell<br />
Emily is a member of the STC Actors Company.<br />
For Sydney Theatre Company: Gallipoli, The<br />
Serpent’s Teeth, The Season at Sarsaparilla,<br />
Summer Rain, Scenes from a Separation, She<br />
Stoops to Conquer, The Crucible, The Girl Who Saw<br />
Everything, The Philadelphia Story. Other Theatre:<br />
For Theatre of Image: Stella and the Moon Man.<br />
For Bell Shakespeare: The Servant of Two Masters,<br />
Troilus and Cressida. For Picture This Productions:<br />
Mum’s the Word. For Theatre 20 / 20: Three Sisters. For NIDA: Vassa. Film:<br />
James, Spider and Rose, The Place at the Coast. TV: The Cooks, Murder Call,<br />
Police Rescue, A Country Practice, A Harp in the South. Training: NIDA.<br />
Holly Fraser<br />
For Sydney Theatre Company: debut. Other: Holly<br />
has appeared in Crime Scene Detectives and a<br />
number of TV commercials for KFC, Big Pond and<br />
Cottees. She has also modelled for Total Girl and<br />
Girl Power magazines. Holly is currently studying at<br />
McDonald College for Performing <strong>Arts</strong>.<br />
Louis Hunter<br />
For Sydney Theatre Company: debut. TV: Out of<br />
the Blue. Short Film: Moonstruck, Outcast, Hero.<br />
Other: TV commercials for Glen 20 Air Freshener,<br />
KFC, Streets Paddle Pops, Volkswagen, McDonalds,<br />
Panasonic, Samsung, Family Circle, That’s Life<br />
Magazine, Sydney Morning Herald, Puma, ING<br />
and modelling for Getty Images. Louis is currently<br />
studying at McDonald College for Performing <strong>Arts</strong>.<br />
Bill Shaw-Voysey<br />
For Sydney Theatre Company: debut.<br />
Other: Billy Shaw-Voysey is 12 years old and<br />
attends Bondi Beach public school. Billy has only<br />
recently discovered the delights of acting and is<br />
thoroughly taken with it. He is a wonderful piano<br />
player and has been studying this now for two<br />
years and also plays in a band with fellow school<br />
mates. Billy’s interests include fire stick twirling,<br />
skate boarding, fishing, cross country running and<br />
watching Dr Who.<br />
Leo Shaw-Voysey<br />
For Sydney Theatre Company: debut. Other: Leo<br />
Shaw-Voysey is nine years old and attends Bondi<br />
Beach Public School. Leo has always shown a keen<br />
interest in acting and over the last three years has<br />
attended drama and singing classes at both Brent<br />
St and The Australian Theatre for Young People.<br />
Leo has also excelled in public speaking and has<br />
represented his school several times. In his spare<br />
time Leo enjoys the beach and skate park and<br />
watching Dr Who.<br />
Benedict Andrews<br />
Adaptor / Director<br />
For Sydney Theatre Company: The Season at<br />
Sarsaparilla, Julius Caesar, Far Away, Endgame,<br />
Life is a Dream, Old Masters, Three Sisters, La<br />
Dispute, Mr Kolpert, Attempts on her Life, Fireface.<br />
Other theatre: As Director: For Company B:<br />
Who’s Afraid of Virginia Woolf?, The Chairs,<br />
A Midsummer’s Night Dream, The Threepenny<br />
Opera. For Schaubühne am Lehniner Platz, Berlin:<br />
The Dog, The Night, The Knife, Drunk Enough to Say I Love You, Stoning Mary,<br />
The Ugly One, Blackbird, Cleansed. For Malthouse: Moving Target, Eldorado.<br />
For Almeida Theatre: The Eternity Man. For Weimar 99 / Adelaide <strong>Festival</strong>: Ur /<br />
faust. For State Theatre South Australia: Closer. For Brink Productions: A Dream<br />
Play, Mojo. Other: Wounds to the Face, Storm from Paradise. For Magpie 2<br />
Theatre: Features of Blown Youth, Mercedes / In the Solitude of the Cotton<br />
Fields. As Assistant Director: Night on Bald Mountain (to Neil Armfield), Miss<br />
Julie (to Jim Sharman). Positions: 2000–2003 Resident Director at STC. 1997<br />
Artistic Director of Magpie 2 Theatre at STCSA. Awards: 2005 Sydney Myer<br />
Performing <strong>Arts</strong> Award, 2000 Helpmann Award for Best Director for La Dispute.<br />
Gloria Payten and Gloria Dawn Foundation Fellowships in 1998. Training: BA<br />
Hons, Flinders University Drama Centre.<br />
12
Tom Wright<br />
Adaptor<br />
Tom Wright was born in Melbourne and lives in<br />
Sydney. He has worked as an actor and director at<br />
MTC, Playbox, La Mama, Company B, Anthill, Gilgul,<br />
Mene Mene, Bell Shakespeare Company, Chunky<br />
Move, Black Swan Theatre Company, Malthouse,<br />
the Adelaide <strong>Festival</strong> and the Melbourne <strong>Festival</strong><br />
(MIFA). He has written or co-written a number of<br />
plays or adaptations including Ghost Train (after<br />
Kroetz) (MIFA), Excavation (with Mene Mene, Adelaide <strong>Festival</strong>), A Journal<br />
of the Plague Year (after Defoe) (Malthouse), The Caucasian Chalk Circle<br />
(Company B), Hideous Portraits (La Mama), Ubu (Company B / MIFA), This is<br />
a True Story, Lorilei, The Golden Ass (MTC), Medea (MIFA), Babes in the Wood<br />
(Playbox), Puntila and His Man Matti (ATYP), The Odyssey (MIFA, Malthouse<br />
and Black Swan), All Walls Dissolve (theatre@risk), The Lost Echo (Sydney<br />
Theatre Company), Tales from the Vienna Woods (Sydney Theatre Company),<br />
Criminology (with Lally Katz) (Malthouse / Arena), Optimism (Malthouse), The<br />
Women of Troy (STC), The War of the Roses (2008 STC & <strong>Perth</strong> <strong>Festival</strong>). He<br />
was appointed the Artistic Associate of Sydney Theatre Company in November<br />
2003 and since 2008 has been the Associate Director at the Company.<br />
Robert Cousins<br />
Set Designer<br />
For Sydney Theatre Company: The Serpent’s Teeth,<br />
The Art of War, The Season at Sarsaparilla, Fat Pig,<br />
Julius Caesar, Metamorphosis (Blueprints).<br />
Other theatre: For Company B Belvoir: Cloudstreet,<br />
As You Like It, Twelfth Night, Aliwa, Waiting<br />
for Godot, The Threepenny Opera, Gulpilil, A<br />
Midsummer Night’s Dream, Page 8, Who’s Afraid<br />
of Virginia Woolf. For Melbourne <strong>Festival</strong>: This<br />
Show is About People. For Malthouse: Moving Target. For STCSA: House<br />
Among the Stars, The Merchant of Venice, drowning in my ocean of You, Night<br />
Letters. For Almeida Theatre in London: The Eternity Man. For Comeout01:<br />
The Dreamed Life. For Sydney Dance Company: Shades of Gray. For Brink<br />
Productions: The Duckshooter. Film: Candy, Romulus, My Father.<br />
Alice Babidge<br />
Costume Designer<br />
For Sydney Theatre Company: As Designer:<br />
The Women of Troy, Self Esteem (Wharf 2LOUD).<br />
As Set Designer: The Year of Magical Thinking.<br />
As Costume Designer: The Season at Sarsaparilla,<br />
The Lost Echo Parts 1 & 2, Boy Gets Girl, Julius<br />
Caesar. Other theatre: As Costume Designer:<br />
For Company B: Who’s Afraid of Virginia Woolf?,<br />
Parramatta Girls, Capricornia. For Ross Mollison<br />
and Vallejo Gantner: Absinthe Variety Show (New York season). As Set and<br />
Costume Designer: For Griffin: King Tide, The Nightwatchman, The Peach<br />
Season, Strangers in Between. For B Sharp: 2000 Ft Away, Love, 7 Blowjobs,<br />
A Number, Half & Half. For Old Fitzroy Theatre: The Share, The Hour Before My<br />
Brother Dies. Television: For MTV / Cherub Pictures: Hammer Bay. Short Film:<br />
Underdog, Untitled Monologue. Video Clips: The Mess Hall, You Am I, Faker,<br />
End of Fashion. Training: NIDA design course 2004.<br />
Nick Schlieper<br />
Lighting Designer<br />
For Sydney Theatre Company: includes The<br />
Serpent’s Teeth, The Year of Magical Thinking,<br />
Blackbird, The Season at Sarsaparilla, A Kind of<br />
Alaska / Reunion, Hedda Gabler (2006 New York<br />
season, 2004 and in 1986), Mother Courage and<br />
Her Children, Victory, Howard Katz, Inheritance,<br />
Volpone, Don Juan, Three Sisters, Cyrano de<br />
Bergerac, A Delicate Balance, The Life of Galileo,<br />
As You Like It, Pentecost, Les Parents Terribles. Other theatre: For MTC:<br />
Ninety, The Glass Soldier, The Visit, Inheritance, Proof, Measure for Measure,<br />
The Tempest, Great Expectations, Comedy of Errors. For Company B: The<br />
Unexpected Man, Lulu, Black Mary. For Bell Shakespeare: Hamlet, Troilus<br />
and Cressida, Othello. For STCSA: Cosi, ‘Tis Pity She’s A Whore, A Midsummer<br />
Night’s Dream, Marat / Sade. For QTC: The Tempest, Good Works (and set<br />
design). Opera: For Opera Australia: Don Giovanni, Nabucco, Trovatore, Der<br />
Freischütz, Andrea Chenier, The Elixir of Love, The Abduction from the Seraglio,<br />
Tannhäuser, Falstaff, Ken Russell’s Madam Butterfly, The Flying Dutchman.<br />
For State Opera South Australia: Wagner’s Ring Cycle (lighting and associate<br />
set designer), Parsifal, Salome (and set design). For Opera Queensland:<br />
Don Giovanni (and set design). Overseas work: For Royal Shakespeare Co:<br />
The Hostage. For Theatre Clwyd: The Government Inspector. Hamburg: The<br />
Ginger Man, Armut, Reichtum. Vienna: Kasimir und Karoline, Lea’s Hochzeit.<br />
Berlin and Kennedy Centre, Washington: U.F.A. Revue. Schillertheater:<br />
Michael Kramer, Ein Florentinerhut. For State Theatre of Bavaria: Michael<br />
Bogdanov’s Macbeth and Peer Gynt. For Opera NZ: Macbeth (and set design).<br />
For Wiesbaden: Tales of Hoffmann. For Hamburg Opera: A Midsummer Night’s<br />
Dream, Billy Budd. Awards: Melbourne Green Room Awards for Falstaff,<br />
The Visit and Boomerang. 2004 Helpmann Award for Bangarra Dance<br />
Company’s Bush.<br />
Max Lyandvert<br />
Music and Sound Designer<br />
For Sydney Theatre Company: As Director: MANNA<br />
(Wharf 2LOUD). As Composer: includes The Vertical<br />
Hour, Blackbird, Riflemind, A Midsummer Night’s<br />
Dream, The Art of War, Pentecost, Doubt, Festen,<br />
Julius Caesar, Far Away, Life Is A Dream, The<br />
Lady in the Van, Three Sisters, Fireface, Life After<br />
George, La Dispute. As Sound Designer: Master<br />
Class, The Lost Echo. Other theatre: As Director:<br />
Theatre of Cruelty, The Investigation, The Maids, Notes from Underground,<br />
SHOAH: Part 4, Explosion of a Memory, I’ve Got the Shakes, My Head Was<br />
A Sledgehammer, Close Your Little Eyes, Room 207: Nikola Tesla, Now That<br />
Communism is Dead My Life Feels Empty (Melbourne <strong>Festival</strong>). As Composer:<br />
For Company B Belvoir: The Ham Funeral, King Ubu, Macbeth, A Midsummer<br />
Night’s Dream. For Weimar 99 / Adelaide <strong>Festival</strong>: Ur / faust. For Adelaide<br />
<strong>Festival</strong>: Improvising The Future (musician). For QTC: The Winter’s Tale. For Q<br />
Theatre / Belvoir Asian <strong>Arts</strong> <strong>Festival</strong>: Dead City. For Auto Da Fe: Fellini-ada. For<br />
Griffin: The Fertility of Objects, Sweet Phoebe, Wonderlands, Nightwatchman.<br />
For Kate Champion: About Face, Same Same But Different, The Age I’m In. For<br />
Playbox: Redemption. For STCSA: includes Closer, Macbeth, The Idiot, Kafka<br />
Dances. For MTC: Art and Soul, Design for Living. For Legs On The Wall: From<br />
Here to There, Under The Influence. For Malthouse Theatre: The Ham Funeral,<br />
Journal of the Plague Year, El Dorado. As Sound Design: For Marstall Theatre,<br />
Munich / Hebbel Theatre, Berlin: For Jerry. For Ontological Theatre, NY: The Four<br />
Twins. Positions: 1999 Resident Composer at STCSA. Co-founder of Kitchen<br />
Sink, a record label devoted to new music. Awards: Helpmann Award for Best<br />
Sound Design for Journal of the Plague Year. Other: Max has assisted the<br />
Italian director, Romeo Castellucci and directed his own work, The Hidden<br />
Face, at his theatre in Cesena, Italy.<br />
13
Stefan Gregory<br />
Musician and Original Music<br />
For Sydney Theatre Company: As Composer:<br />
Frankenstein. Other theatre: As Composer /<br />
Sound Designer: includes for Bell Shakespeare:<br />
Hamlet, Othello. For B Sharp: 2000 Feet Away,<br />
Faustus, Pan, Cresent Moon Yellow Star. For<br />
Company B, Ettalong Services Club: Maralinga.<br />
For Riverside / Ensemble: Hamlet. For<br />
Darlinghurst: Drowned World. Other: As a guitarist,<br />
Stefan performed live in Peribanez (Company B) and recorded for Riflemind<br />
(Sydney Theatre Company).<br />
Tanya Goldberg<br />
Assistant Director<br />
For Sydney Theatre Company: As Director: Tragedy<br />
and American Drama Workshops (Education). As<br />
Actor: 7 Seconds; In God We Trust (Blueprints),<br />
Checklist for an Armed Robber (Blueprints). Other<br />
theatre: As Director: For B Sharp / Ride On: An<br />
Oak Tree, The Merchant of Venice, Loveplay. For<br />
Griffin: Seasons. For Darlinghurst / Ride On: Bone,<br />
Weeping Women. For New Theatre: The Girl on the<br />
Sofa. As Assistant Director: For Gate Theatre Dublin / Sydney <strong>Festival</strong>: First<br />
Love, Eh Joe, I’ll Go On. For Pinchgut Opera: L’Orfeo. As Actor: For Stablemates:<br />
Family Stories: Belgrade. For B Sharp: 2000ft Away, Loveplay, The<br />
Homecoming, Women of Troy. For East Coast Theatre / Darlinghurst: Terminus.<br />
For State of Play: Iphigenia at Aulis. Film: Fat Pizza. TV: All Saints, Home and<br />
Away, White Collar Blue. Training: NIDA.<br />
His Majesty’s Theatre<br />
is managed by AEG Ogden (<strong>Perth</strong>) Pty Ltd<br />
Venue Manager for the <strong>Perth</strong> Theatre Trust Venues<br />
HIS MAJESTY’S THEATRE<br />
General Manager<br />
Deputy General Manager<br />
Technical Manager<br />
Assistant Technical Manager<br />
Operations Manager<br />
Administrator<br />
Accounts Officer<br />
Venue Maintenance Manager<br />
Head Electrician<br />
Head Mechanist<br />
Head Flyman<br />
Head Audio<br />
Board Operator<br />
Archivist<br />
Stage Door Keepers<br />
Booking Office Supervisor<br />
Front of House Managers<br />
Rodney M Phillips<br />
Belinda Dunbar<br />
Ian Studham<br />
John “Scooter” Byrne<br />
Kestin Owens<br />
Julianna Noonan<br />
Sarah Wells<br />
Tim Reardon<br />
Matthew Nankivell<br />
Matt Norman<br />
Steven Campbell<br />
John “Scooter” Byrne<br />
Daniel Perrin<br />
Ivan King<br />
Helen Gortmans,<br />
Peter Zappa<br />
Jenny Franklin<br />
Sarah Wells, Anna Locke,<br />
Meg Delahoy,<br />
Sherry McNamara<br />
Lorraine Rice<br />
Charmian Gradwell<br />
Voice and Text Coach<br />
Charmian is the STC voice and text coach. Other<br />
theatre: As Voice and Text Coach: For the Royal<br />
Shakespeare Company: Julius Caesar, The Tempest,<br />
The Canterbury Tales, A Winter’s Tale, Pericles,<br />
Days of Significance, Macbeth, Macbett, The<br />
Penelopiad, Noughts and Crosses, The Comedies<br />
London Season, Twelfth Night, A Midsummer<br />
Night’s Dream, The London Gunpowder Season.<br />
As Director, Deviser and Trainer: 1999 season at Space 2000 in Kaduna,<br />
Nigeria. The London Shakespeare Workout (Shakespeare in prisons).<br />
As Actor: For West End, London: Easy Virtue, Lysistrata, Heartbreak House,<br />
The Scarlet Pimpernel. For Chichester <strong>Festival</strong> Theatre: Antony and Cleopatra,<br />
Twelfth Night, Blithe Spirit, A Respectable Wedding, Cavalcade. For the<br />
National Theatre (education): Orwell’s England. Other productions: includes<br />
The Comedy of Errors, The Real Thing, Macbeth, Animal Farm, Romeo and<br />
Juliet, A Chorus of Disapproval, Dr Faustus, A Christmas Carol. Musicals:<br />
includes Gypsy, Bitter Sweet, Godspell, Fandango, Alice’s Adventures in<br />
Boogey Wonderland. TV: includes Howard’s Way, Wilderness Edge, The<br />
Adventure Game, Shelley, Let’s Pretend, Starlings, The Challenge. Other:<br />
Charmian has coached voice and dialects for various theatre and television<br />
companies in the UK and was the voice trainer for the London School of<br />
Puppetry. She has led voice workshops and master classes in Europe, North<br />
America and Asia. Charmian also represented Great Britain in marathon kayak<br />
racing, winning gold at the World Masters in 1997. Training: Central School of<br />
Speech and Drama (Voice), The Bristol Old Vic Theatre School (Acting).<br />
<strong>Perth</strong> <strong>Festival</strong> wishes to thank Laura Scrivano of Sydney Theatre Company for<br />
her invaluable service in the production of this program.<br />
AEG OGDEN (PERTH) PTY LTD<br />
Chief Executive<br />
General Manager Corporate Services<br />
General Manager Food & Beverage<br />
Marketing & Development Manager<br />
Publicist<br />
Marketing Coordinator<br />
Executive Assistant to the<br />
Chief Executive<br />
Financial and Systems Accountant<br />
Assets & Compliance Accountant<br />
Accounts Payable<br />
Accounts Receivable<br />
Personnel Administrator<br />
PERTH THEATRE TRUST<br />
Chairman<br />
Trustee<br />
Trustee<br />
Trustee<br />
Trustee<br />
Trustee<br />
Trustee<br />
Trustee/Director General<br />
Department of Culture and the <strong>Arts</strong><br />
General Manager<br />
His Majesty’s Theatre Foundation<br />
Chairman<br />
His Majesty’s Theatre Foundation<br />
Director<br />
Rodney M Phillips<br />
Glenn Hall<br />
Kyllie Graham<br />
Narelle Thompson<br />
Irene Jarzabek<br />
Olivia Ford<br />
Hilda Opacak<br />
Natalie Radalj<br />
Aleatha Lin<br />
Anne Fallens<br />
Kristy Butchart<br />
Anne Ellul<br />
Dr Saliba Sassine<br />
Peter Alexander<br />
Rob Butler<br />
Janet Davidson<br />
Chris Hardy<br />
Jenny McNae<br />
Marian Tye<br />
Allanah Lucas<br />
Alan Ferris<br />
Richard Thorning<br />
Astrid Jackson<br />
14
Sydney Theatre Company celebrates valued partnerships with our sponsors<br />
Principal Sponsor<br />
Major Sponsors<br />
Government Support<br />
The Australia<br />
Council<br />
the Federal<br />
Government’s<br />
<strong>Arts</strong> Funding and<br />
Advisory Body<br />
Presenting Sponsors<br />
Accommodation Partner<br />
Associate Sponsors<br />
Media Partner<br />
Premium Season Sponsors<br />
Season Sponsors<br />
Corporate Sponsors<br />
ACMN<br />
Aria Restaurant<br />
Bonds Express Couriers<br />
GEON Group<br />
GSP Print<br />
Grosvenor Australia Asset<br />
Management<br />
IDS Displays<br />
ISS Facility Services<br />
MAC Cosmetics<br />
Macdonald & Masterson Printing<br />
Newtown Picture Framing Studio<br />
Pegasus Technology<br />
For further information please contact Taryn Robinson, Development Assistant on (02) 9250 1755.<br />
15
the <strong>Festival</strong> wishes to thank<br />
FOUNDER<br />
PARTNERS<br />
PRINCIPAL SPONSORS<br />
PREMIER SPONSORS<br />
MAJOR SPONSORS<br />
PUBLIC FUNDING PARTNERS<br />
INTERNATIONAL FUNDING PARTNERS<br />
Government of Western Australia<br />
Department of Local Government<br />
and Regional Development<br />
Government of Western Australia<br />
Department of Culture and the <strong>Arts</strong><br />
Government of Western Australia<br />
Department of Education and Training<br />
THE AGENC Y FOR CULTUR AL AFFAIRS<br />
GOVERNMENT OF JAPAN<br />
SPARKLING WINE SPONSOR<br />
MEDIA SUPPORTERS<br />
MEDIA PARTNER<br />
suPPortiNG<br />
sPoNsors<br />
303 Group<br />
Friends of the <strong>Festival</strong><br />
Good reading Magazine<br />
st john of God Health care<br />
The Marketing centre<br />
sPeCiAl<br />
tHANKs to<br />
albany advertiser<br />
albany chamber of commerce and industry<br />
albany public library<br />
bankwest<br />
box deli<br />
brett & annie Fogarty<br />
carillion city<br />
devilles pad<br />
Fletcher jones<br />
Fremantle press<br />
Fonterra brands australia –<br />
connoisseur ice cream<br />
Goethe institut<br />
Harpercollins australia<br />
HbF<br />
Howard + Heaver architects<br />
insight publications<br />
jordano<br />
just jeans<br />
Kansai Electric power australia<br />
Katies<br />
Maggie T<br />
Mink<br />
Murdoch books<br />
Must winebar<br />
Myer<br />
osaka Gas australia<br />
pan Macmillan<br />
playhouse Theatre<br />
politix<br />
random House nZ<br />
resort report<br />
rM williams<br />
scribe publications<br />
state library of western australia<br />
Target<br />
The albany and Great southern weekender<br />
The brisbane Hotel<br />
unsw press<br />
vodafone / First Mobile<br />
water corporation, albany<br />
western australian Museum, albany<br />
writingwa<br />
Me diC i<br />
doNors<br />
peter & Tracey bacich<br />
Zelinda bafile & adrian iredale<br />
clive & barbara brans<br />
peter & robin briggs<br />
dr charles bro & anne Marie brittain<br />
peter & yvonne burns<br />
dr david cooke<br />
john & sarah d’onofrio<br />
Marco d’orsogna<br />
Murray & louise Etherington<br />
adrian & Michela Fini<br />
brett & annie Fogarty<br />
Graham Foreward & jackie Gilmour<br />
derek Gascoine & dale Harper<br />
peter & chris Gilmour<br />
Mack & Evelyn Hall<br />
peter & sue Harley<br />
Maxine Howell-price<br />
adam lenegan<br />
sandy & Michele MacKellar<br />
john & Elizabeth Mair<br />
Michael & sallie Manford<br />
bettina Mangan<br />
Murray & suzanne McGill<br />
ian & jayne Middlemas<br />
david & dawn Morgan<br />
professor Gerry o’driscoll & dr Halina burmej<br />
john & Helen owenell<br />
Mimi packer<br />
richard payne & cim sears<br />
dr Michael prichard & beniza panizza<br />
pearl proud<br />
Marijana ravlich<br />
bill repard & jane prendiville<br />
dr sam rogers<br />
sally savini<br />
rosemary sayer & Terry Grose<br />
leo & virginia seward<br />
jackie & Gary steinepreis<br />
dr phillip & jill swarbrick<br />
peter & jane Thompson<br />
rodney & penny Thompson<br />
Frank & rachael Torre<br />
joe & debbie Throsby<br />
Tim & chris ungar<br />
ian & Margaret wallace<br />
Melvin yeo<br />
ashley & anita Zimpel<br />
PriVAte GiViNG<br />
ProGrAm<br />
jonathan akerman<br />
Emeritus professor cora baldock<br />
bernard & jackie barnwell<br />
in memory of dr stella barratt-pugh<br />
sue boyd<br />
Ellen broerse<br />
janette brooks<br />
coral carter<br />
dr barry cassidy<br />
dr Michael & rose chaney<br />
craig colvin<br />
dr david cooke<br />
joanne cruickshank<br />
Marco d'orsogna<br />
isobel Glencross<br />
david Griffiths<br />
patricia & dr des Gurry<br />
dorothea Hansen-Knarhoi<br />
james & Freda irenic<br />
nina & ashley jones<br />
jennie Kennedy<br />
dr vivienne lawrence<br />
peter & lynne leonhardt<br />
peter Mallabone<br />
sophie Mark<br />
Gaye McMath<br />
leo Moran<br />
Mary napier<br />
alison o'dwyer<br />
wayne & pam osborn<br />
andrea shoebridge<br />
prof Fiona stanley<br />
prof Karen simmer<br />
suzanne strobel<br />
Tuite Family<br />
j. van der Merwe<br />
Enrico versteeg<br />
diana warnock<br />
justice christine wheeler<br />
dr Heather whiting & richard Hatch<br />
Margaret whitter<br />
ann whyntie<br />
associate professor Michael wise<br />
brigid woss<br />
anonymous (14)