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Man With The Iron Neck Image by Atmosphere Photography

A C K N O W L E D G E M E N T O F C O U N T R Y

In keeping with the spirit of reconciliation, we acknowledge the Traditional Owners of Brisbane, the Turrubul and Yaggera

Peoples, and recognise that this has always been a place of creative expression. We wish to pay respect to their Elders –

past, present and emerging – and acknowledge the important role Aboriginal and Torres Strait Islander people continue

to play within our creative community.

Brisbane Festival's vision for reconciliation and healing is to meaningfully engage with Aboriginal and Torres Strait Islander

artists and communities in ways that acknowledge shared histories and look to the future, and embrace, grow respect for

and celebrate the culture of our First Nations peoples.

C O N T E N T S

G I V I N G P R O G R A M

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Brisbane Festival 2018 exceeded expectations on every level. When I reflect on my brief time at the Festival it is with a deep sense of gratitude. I’m grateful for the strong foundations laid by my predecessor Valmay Hill, to the Board for offering the opportunity to lead Queensland’s premiere international arts festival and to David Berthold and his team for creating such a layered program, full of artistic integrity.

The bright blue Brisbane skies in September provided the perfect climate for 22 days of creative exploration and a landscape for taking risks, indulging in sumptuous works of art and revelling in festivities.

There are many Partners whose contribution make this festival possible. We are proud of our long-standing Partners across many levels – our Foundation Partners in Arts Queensland and Brisbane City Council, our Star Partner Treasury Brisbane, long-term Platinum Partners Sunsuper and Channel 9 as well as our amazing Gold, Silver, Bronze, Distinguished Partners and Supporters. Your support is deeply appreciated.

Our growing base of Donors provide transformative support that allows Brisbane Festival to invest in the creation of new work by local, national and international artists and to keep our program accessible to all audiences.

A personal highlight of the festival was the meet and greet program where key festival staff and members of the Indigenous Advisory Group would welcome visiting artists and companies on their first day in the theatre. The Indigenous Advisory group shapes Brisbane Festival’s internal culture, our processes and programs and informs our aspiration for best practice when engaging with Australia’s First People.

A sincere thank you to our dedicated Brisbane Festival Board Directors, Giving Committee, and Indigenous Advisory Board and our fabulous staff, volunteers, and interns, all of whom contributed to delivering a festival of immense scale and quality and who deserve to feel very proud.

Charlie Cush Chief Executive Officer

T H A N K Y O U

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Q U E E N S L A N D ’ S H I G H E S T A T T E N D E D E V E N T

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P R O G R A M H I G H L I G H T SMaking a mark.This was a landmark year.

This year, the Festival became part of the city’s personality in a new way. More than ever, people were keen for the fresh as well as the familiar. They were keen to tell and hear our own stories, but also keen to lean curiously and confidently into the stories of others. This eagerness made for transformative experiences for individuals, and for the city itself.

The markers clearly expressed this shift. We smashed the box office record we set last year. Remarkably, we did so on Day 7 of this 22-day Festival, and kept going. In the end, we exceeded $3 million in ticket sales for the first time ever and grew our ticketed attendance by 43 per cent. That’s a huge leap.

Treasury Brisbane Arcadia saw more than 485,000 people visit – an average of more than 22,000 people a day – by far our biggest year ever at our Festival Hub. These huge crowds engaged with dozens of different performances and art installations – both free and ticketed – then stayed to eat, drink and share their experiences with one another.

Hundreds of thousands gathered to enjoy #CelebrateBrisbane River of Light and were clearly enthralled by a spectacular sharing of a Dreamtime story of the creation of the river. This old story gave the Festival, and the people of Brisbane, new spirit.

Our Theatre Republic site, where we housed 13 frontier-edge productions and which was itself a breathing work of art, saw sales increase by more than 80 per cent. This hum was heard in our other venues, too.

At Riverstage, we bookended the Festival with two specially curated, huge day-night concerts, each led by local heroes. Our opening concert was headlined by Ball Park Music, tripping the light fantastic, while our closing concert was led by Violent Soho, ripping it up amidst the fireworks.

A particular satisfaction? Across our three distinct acts – one for each week – people embraced the balance.

They flocked to the fun things: the wonderful new cabaret LIFE the show, the buoyant BANG! BANG!, the irrepressible California Crooners Club (all in The Courier-Mail Spiegeltent) and the big program of contemporary music across a range of venues.

But they equally signed up for our great risks: the world premieres.

#CelebrateBrisbane River of Light Image by Atmosphere Photography

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Brisbane Festival has a record of sustained support for these, and other, Queensland companies over the years, and it’s reaping rewards. It’s a good example of meeting our responsibility – a responsibility held by most arts organisations – to not only be demand-driven, but also to create demand for things that are new. This is the engine of progress.

Man With The Iron Neck from Legs on the Wall, drawing on artists from across Australia, was another particularly powerful premiere. It was a profoundly moving work that was not only great theatre, but also pointed to hard tensions within rural, and especially Indigenous, communities. The onstage work was matched by offstage outreach. Hope was offered through both.

What’s next for these new works? National and international tours are already planned. The legacy will be lasting.

Making it first.Major international arts festivals are often marked by the quality of the new work they enable. This year, we gave birth to 12 new works. That was very ambitious, but, more importantly, the works themselves were of high ambition. Wonderfully, the ambitions were met.

The specially commissioned premieres from Queensland companies were notable successes. Circa’s En Masse – beginning with Schubert’s endings and ending with Stravinsky’s beginnings – packed out the QPAC Playhouse. For me, it was Circa’s best work (and that’s saying something), perfectly matching live music of the highest order with acrobatic art – dance circus – of danger and nuance.

Dancenorth’s beautiful, architectural Dust filled the Brisbane Powerhouse, and signalled once again that this Townsville company is, right now, making the most striking contemporary dance in Australia.

The Good Room’s I’ve Been Meaning To Ask You, at Theatre Republic, was a marvel, handing the microphone to an inspiring group of young people. To be there was to feel good about the future.

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En Masse Images by Atmosphere Photography

A G R A N D M A S T E R W O R K T H A T C H A L L E N G E S T H E B O U N D A R I E S O F D A N C E , T H E A T R E , M U S I C A N D C I R C U S . ” T H E C O N V E R S A T I O N

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Making it big, making it boutique.Peter Grimes, the greatest opera in the English language and a cornerstone of twentieth century music drama, was our epic centrepiece. Unbelievably, it had been 60 years since this masterwork was last seen in Brisbane, and indeed it provided us with some of the most thrilling music making the city has ever seen. Stuart Skelton, the greatest Grimes alive, gave his mighty best despite early illness. To witness his final performance was to be in the presence of a tender titan.

Our new staging saw top-line international artists working alongside high-calibre Australian artists, and brought together many of our large arts organisations. Opera Queensland, Queensland Symphony Orchestra and QPAC all took up our invitation to make this monumental event such a marker. It was a great coalition.

Memorial marked the centenary of the Armistice, and did so with around 250 people onstage. This was a great coalition of another kind, with artistic and financial resources drawn from several Australian and international festivals and organisations. British composer Jocelyn Pook’s sweeping score, performed by many European musicians, accompanied both a 215-strong choir drawn from the Brisbane public and legendary Australian actor Helen Morse giving perhaps the performance of her lifetime.

The boutique proved brilliant, too. Biladurang, Joel Bray’s one-person show that played out in a hotel room for 20 people at a time, shared another Dreamtime story and elicited an empathy and generosity that left an indelible mark. Theatre Republic showcased a number of small, but perfectly formed experiences that prodded at gender and our sense of human equity. Over at our Tivoli-in-the-Round series, that treasured space felt at times like a lounge room jam, with Sarah Blasko, Gareth Liddiard and Polish Club, each on different nights, getting up-close-and-personal in an intimate new configuration.

LIFE the show Image by Atmosphere Photography

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Making it international.Great arts festivals look out to the world – and are in peril if they do not – and so it was energising to welcome so many international artists and companies to our city. Many of these artists, from Canada, South America, Europe, the Middle East and Asia, collaborated on Australian work – on Memorial, En Masse, Dust and LIFE the show to name just four – but others were invited because they had distinctive and resonant work to offer. It is at the core of why international arts festivals exist.

Geoff Sobelle’s HOME came from the United States, but was about us. We watched a house being magically built from nothing, and then many of the audience poured onto the stage to join in, helping to create the rites and rituals that make a house a home. The QPAC Playhouse became a place of joyous human connection.

The family home in Horror was of a very different kind, a place of terrifying human disconnection, including a severed hand scuttling across the stage. This Dutch production, like HOME, employed wordless stage illusion to stunning effect. It was frightening, funny, but also strangely beautiful.

The exquisite audio-visual illusions in Hamnet served a story that opened up profound questions of being, all through the perspective of Shakespeare’s 11-year-old dead son. Our friends at Irish company Dead Centre – their second Festival visit – gave us a great gift, with young Aran Murphy commanding the stage with staggering assurance. Here was a production that reminded us why Dead Centre is in such high demand around the world.

Russia’s Borodin String Quartet, for some the best in the world, concluded their concert with Shostakovich’s final string quartet, and it was here, especially, that we could see the great value of sustained artistic lineage. This matchless music was simply part of them.

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Peter Grimes Images by Atmosphere Photography

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D e l i v e r e d e x a c t l y w h a t y o u w a n t f r o m a m a j o r f e s t i v a l – s o m e t h i n g s p e c i a l , o f w o r l d c l a s s . ” T H E A U S T R A L I A N

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Image by Stephanie Do Rozario

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Brisbane Festival Closing Party Image by Atmosphere Photography

Making it personal, Brisbane. The people of Brisbane, and their stories, were firmly in the spotlight this year.

HOME, Memorial, I’ve Been Meaning To Ask You and Pub Choir all gave over their stages to members of the public in the most inclusive, creative ways. The people participated in the very act of creation.

Qweens on King saw eight local LGBTIQ couples wed in a glittering public ceremony on King Street. Their journeys were inspiring, and the generous sharing of that day gave light and acknowledgement to equality.

Symphony For Me, our joyous free concert with the Queensland Symphony Orchestra, highlighted just how diverse our local stories are – stretching as far as the Soviet invasion of Afghanistan, the military dictatorship in Brazil, and of the fall of the Berlin Wall – and just how powerful are memories made with music. These stories were from all over Brisbane, from Bridgeman Downs to Middle Park to Sunnybank and many places in between. Andrew Lofthouse, Nine News Queensland's weeknight presenter, hosted with ease and élan.

The peak Brisbane moment? That would have to be at our stand-alone closing party concert at Riverstage on our final Saturday night. With the air still humming from Sunsuper Riverfire, Violent Soho, from Mansfield, began to play Powderfinger’s ‘These Days’, and then Bernard Fanning, from Toowong, walked on with acoustic guitar in hand to play and sing. And the crowd went wild…

And now for the Next Days, driven by this marker year.

Name any great city of the world – New York, London, Berlin or Barcelona, Shanghai or Seoul, Mumbai or Moscow or Mexico City – and, in the same breath, you think of their great arts. Great cities require great arts – cities don’t truly thrive unless their arts do.

Brisbane Festival is playing its part in helping the arts, and the city, thrive. It’s clear, perhaps more than ever, that the people of Brisbane are keen to be part of the journey. They are now keen, keener than ever, to travel the world through art, to trip through the geography of the heart, and to embrace what’s intriguingly next.

David Berthold Artistic Director

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I T H O U G H T , A F T E R A L L T H E S E Y E A R S , I ’ V E F O U N D S O M E T H I N G . [ S Y M P H O N Y F O R M E ] B R O U G H T C L A S S I C A L M U S I C B A C K I N T O M Y L I F E . ” B e n a z i r A n w a r , S y m p h o n y f o r m e p a r t i c i p a n t

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Symphony For Me Image by Atmosphere Photography

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Symphony For Me Images by Atmosphere Photography

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A U D I E N C E

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Brisbane Festival diverse, multi-artform program attracts a broad spectrum audience covering all socio-economic and life-stages groups. The Festival has a comprehensive understanding of the target markets for all of its programs and their motivation to attend events. Audience profiles paint a vivid picture of entertainment, media and lifestyle behaviours of Festival attendees.

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M A R K E T I N G & P R R E A C H

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The Courier-Mail Spiegeltent Image by Atmosphere Photography

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P A R T N E R S H I P S

I ’ v e l e a r n e d t h a t p e o p l e w i l l f o r g e t w h a t y o u s a i d , p e o p l e w i l l f o r g e t w h a t y o u d i d , b u t t h e y w i l l n e v e r f o r g e t h o w y o u m a d e t h e m f e e l . ” M A Y A A N G E L O U

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It’s less important how many times people see your brand and more relevant how they feel when they see your brand.

It’s such an exciting time to be gifted the role as Development Director at Brisbane Festival. This incredible festival allows real access into people’s lives. We make a difference – now and into the future. We are influencers of cultural identity – locally as well as overseas. We are flexible – we really want to create inspiring and memorable experiences that people will talk about and think about and #shout about. This Festival creates memories that last long after the season ceases. Together with our Partners, we have the opportunity to make stories that people want to tell years into the future. By providing once-in-a-lifetime moments, we’re setting up memories that our collective audience will keep – and share – for a lifetime.

One of the best metrics for experience marketing success is the storytelling and amplification conducted for your brand by the audience (word of mouth). I love when Partners recognise the value in ensuring that experience is conducted in a way that allows and encourages people to snap, share and shout about it.

Being in the middle of a full Speigeltent, drinking a cold cocktail, singing along to a new favourite performer, surrounded by your closest friends on a balmy Spring Brisbane evening… this is an experience you will remember, and talk about, and want to relive again.

Let’s do amazing stuff that people want to talk about. The added bonus is that people don’t remember your message because they saw it 100 times, they remember it because they spoke about it.

Danica Bennett Business Development Director

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Treasury Brisbane Arcadia Image by Atmosphere Photography

“ t h e B r i s b a n e F e s t i v a l t e a m a r e w o n d e r f u l t o d e a l w i t h . T h e y h a v e a n a m a z i n g a b i l i t y t o d e l i v e r v a l u e t o t h e i r p a r t n e r s w h i l e d e l i v e r i n g t h e m o s t i n c r e d i b l e a r t s p r o g r a m o n B r i s b a n e ’ s c a l e n d a r e a c h y e a r . ” V I N A C E O U S W I N E S

“t h e T r i p l e M R o c k s t a r L o u n g e w h i c h h a s b e c o m e a s t a p l e i n o u r e v e n t s c a l e n d a r a n d s o m e t h i n g t h a t o u r l i s t e n e r s a n d c l i e n t s a l i k e l o o k f o r w a r d t o . ” S O U T H E R N C R O S S A U S T E R E O

S u n s u p e r w a s d e l i g h t e d t o a g a i n p l a y a m a j o r r o l e i n b r i n g i n g S u n s u p e r R i v e r f i r e t o t h e B r i s b a n e c o m m u n i t y , f o r t h e e i g h t h y e a r i n a r o w . ” S U N S U P E R

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Theatre Republic Image by Atmosphere Photography

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B r i s b a n e F e s t i v a l ’ s T h e a t r e R e p u b l i c t r a n s f o r m s Q U T ’ s C r e a t i v e I n d u s t r i e s P r e c i n c t e a c h y e a r a t F e s t i v a l t i m e a n d f o r t h o s e p e o p l e w h o w a n t t h e n e w o r t h e u n e x p e c t e d i t ’ s t h e p l a c e t o v i s i t . ” Q U T

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C A S E S T U D I E S

U b e r HeART of the City

As a returning Partner to Brisbane Festival, Uber were looking to take an innovative approach to their partnership in 2018. Uber’s creation of the HeART of the City campaign was the perfect way for Uber to celebrate Brisbane Festival, art and its love of Brisbane.

Engaging with local Brisbane street artist Sofles, a large-scale mural was created inside The Box in Treasury Brisbane Arcadia and nightly this piece of art was brought to life through projection The campaign was active through an extended social media campaign and an outdoor street art poster series. A truly innovative way of activating their partnership with Brisbane Festival and provided entertainment to numerous Festival goers each night of September.

L e n d l e a s e Qweens on King

As an emerging precinct in Brisbane, King Street (Lendlease) wanted to celebrate Brisbane Festival in a grand way. What would be better than a giant street party and celebrating the union of eight same-sex couples? On the Opening Day of Brisbane Festival, King Street was closed down and thousands of people joined in to celebrate the weddings of these lucky couples and enjoy a party like no other. Welcome to Bowen Hills were engaged to help create the celebrations and a range of street performers and our local icon Katie Noonan even performed the couple’s first dance song. Lendlease’s support of Brisbane Festival enabled this event to go ahead and truly left a memorable mark on many hearts throughout Festival.

Images by Atmosphere Photography

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A r c h i e R o s e Brisbane Festival cocktails

In the first year of their partnership with Brisbane Festival, Archie Rose’s goal was to make an impact in the Queensland market, with product usage and growing their local relationships around the city as the key outcomes. By collaboratively curating a range of cocktails with Brisbane Festival, the bar sales records were smashed and the feedback was overwhelmingly positive. Brisbane Festival was integral in making a range of connections with the Arts Industry, local restaurants and bars which was a key element to the growth of the Archie Rose range into Brisbane. A great platform for success into the 2019 Brisbane Festival partnership.

C u s h m a n a n d W a k e f i e l d Auslan performances

With a previous history of supporting accessibility in the Arts industry, Cushman and Wakefield were looking to partner with Brisbane Festival in a meaningful way. A partnership was created for Cushman and Wakefield to support the Auslan performances throughout Festival. These performances allowed an audience of hearing-impaired patrons to enjoy the Festival experience on a cross section of shows, including Hamnet, Betty Grumble: Love and Anger, The Owl and the Pussycat, and many more. Through Cushman and Wakefield’s support of this initiative, they enabled many Auslan performances with an audience capacity of almost 2,000, providing a more accessible and inclusive Festival.

Image by Atmosphere Photography Image by Nick Morrissey

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Divine, Treasury Brisbane Arcadia Image by Atmosphere Photography

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“ S O U T H B A N K I S T H E P E O P L E ’ S P L A C E A N D B R I S B A N E F E S T I V A L A U G M E N T S O U R M E L T I N G P O T O F C U L T U R E S , G E N D E R S , A G E S , A N D A B I L I T I E S . ” S O U T H B A N K C O R P O R A T I O N

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G I V I N G P R O G R A MMaking it happen.Brisbane Festival 2018 has been a great benchmark for the Giving Program. Spearheaded by Brisbane Festival’s extremely hard-working Giving Committee, we have continued to grow the group to more than 150 donors in only our third year.

This year’s monumental achievements were only made possible through sheer tenacity and daring, collaboration and community spirit. The generosity of Festival Donors was crucial in delivering the following programming for Brisbane Festival 2018: HOME (The Internationals), Dust, En Masse, Man With The Iron Neck (The Commissioners), all 13 Theatre Republic shows (The Independents), and Symphony For Me and #CelebrateBrisbane River of Light (BFFs) reinforcing Brisbane’s position as a celebrated creative capital and cultural destination.

In addition to the general giving categories, a determined group of die-hard opera fans, led by Brisbane Festival Deputy Chair Philip Bacon AM, pulled off a major coup in ensuring that the colossal production of Peter Grimes was performed exclusively in Brisbane by an all-star international cast, including the famous heldentenor Stuart Skelton. Members of the Peter Grimes giving circles contributed directly to the appearances of the magnificent principal artists and wonderful chorus. We particularly wish to thank Philip for matching the donations of our Peter Grimes donors dollar for dollar – we are incredibly grateful for this extraordinary expression of confidence in the programming of Benjamin Britten’s operatic masterpiece that guaranteed its success.

Brisbane Festival 2018 was most fortunate to receive a significant donation from Bank of Queensland as Community Ambassadors for the second year in a row, dedicating their gift to the worthy theme of keeping our programming free and providing access to all.

My heartfelt thanks to all our generous Festival Donors across our varied giving categories – you uplift us and enable the Festival to soar. I encourage you to join us for the thrill of creating Brisbane Festival 2019 – because Festival Donors make it happen!

Fabienne Cooke Head of Philanthropy

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Rovers Image by Atmosphere Photography

D O N O R S T O B R I S B A N E F E S T I V A L S U P P O R T T H R E E C E N T R A L A R E A S O F P R O G R A M M I N G :

◊ Bringing the best international work to Brisbane for exclusive Australian premieres

◊ Creating opportunities for local artists and companies by commissioning new work

◊ Ensuring access for all by providing reduced-priced tickets and free events

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T H E I N T E R N A T I O N A L S Donations ensured Brisbane hosts the world’s most inspiring artists through our international productionsMatt and Eliza Baxby Virginia Bishop BMD Group Simon Morrison Ben and Fiona Poschelk Courtney Talbot

T H E C O M M I S S I O N E R S Donations helped our local artists and writers bring their work to life on stage Anonymous David Berthold Bryce Camm and Mark Lightfoot Fabienne & Marshall Cooke Heidi and James Cooper Regina and John Cotter José and Lucy Coulson Charlie and Alicia Cush Cate Heyworth-Smith QC and Ben Duke Michael Hodge QC and Kim Hodge Francine and Anthony John Martin Kerrigan Ian Klug AM and Jocelyn Klug Russell Mann and Margo McLay Amanda Newbery Sarah and Joseph O'Brien Origin Foundation

Libby and Jared Patrick Susan and Matthew Pople Fraser Power Lynn Rainbow-Reid AM and John B Reid AO Paul Spiro Rupert and Penelope Templeman The Hon Justice David Thomas and Jane Thomas Tony Young

P E T E R G R I M E S P R I N C I P A L D O N O R S Donations supported the performances of our Peter Grimes Principal ArtistsStuart Skelton appeared courtesy of Philip Bacon AM Sally Matthews appeared courtesy of Tim Fairfax AC and Gina Fairfax Mark Stone appeared courtesy of Andy Greig and Ingrid Asbury Rory Macdonald appeared courtesy of Shaun and Sue Kenny

P E T E R G R I M E S C H O R U S O F D O N O R S Donations supported the performances of our Peter Grimes Chorus Anonymous Brian Bartley Gayle and Nick Carter CM and IG Furnival Ian and Cass George Ian Hanger AM QC and Dr Marika Hanger Valmay Hill and Russell Mitchell Wayne Kratzmann

C O M M U N I T Y A M B A S S A D O R S Donation ensured Brisbane audiences had access to free programming and reduced ticket prices Bank of Queensland

H I G H C O M M I S S I O N E R S Donations contributed to the development of new Queensland works Philip Bacon AM Thomas Bradley QC Paul and Sue Taylor

O U R D O N O R S

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T H E I N D E P E N D E N T S Donations ensured independent artists could showcase their work at Theatre Republic Anonymous Victor and Michelle Borzillo Melissa Brown Kerry and Greg Gillett goa Jeff and Amanda Griffin Will and Lauren Griffin Cory Heathwood Lesa and David Jackson Alvin Leach Susan Learmonth and Bernard Curran Rob and Nicole Martin Rob and Dinie McConnel Tanya McCarthy and Graham Tanner Daniel Morgan Greg and Rosamund Pankhurst Prue and James Pateras Candice Redmond Rumble Creative and Media Alison Smith Nicholas Smith Professor Mandy Thomas Andrew Tynan Jenny Usher and Peter Good Judy and David Usher Dr Phillip Vecchio and Marisa Vecchio AM

B F F S Donations ensured our programming remains accessible for all Robert Beech and Liz Ralston Penny Behan Hugo Clark-Ryan Tim and Cheryl Courtice John and Catherine Drakakis Matthew Gamble Leeor Groen Nancy and Allan Hartley Josephine Macmillan Adelaide McDonald Elizabeth McDonnell Diane Murphy Donna Orazio Tim and Katie Pack Dare and Andrea Power Charli Robinson Andrea and Craig Templeman Isabella Vecchio

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Umami Mermaids Images by Atmosphere Photography

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S T A R P a r t n e r

P l a t i n u m P a r t n e r s

G o l d P a r t n e r s

Brisbane Festival is an initiative of the Queensland Government and Brisbane City Council

F o u n d a t i o n P a r t n e r s

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S i l v e r P a r t n e r s

B R O N Z E P a r t n e r s

D I S T I N G U I S H E D P a r t n e r s

S u p p o r t e r sAria Brisbane Art Series Hotels - The Johnson Champagne Lanson Neon Signs Australia Telstra Urbis Welcome to Bowen Hills

CREATIVE & MEDIA

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A R T I S T I C D I R E C T O R David Berthold

C H I E F E X E C U T I V E O F F I C E RCharlie Cush

B O A R D D I R E C T O R SPaul Spiro Chair Philip Bacon AM Deputy Chair Cory Heathwood Ian Klug AM Simon Morrison Amanda Newbery Mick Power AM Alison Smith Professor Mandy Thomas Chris Tyquin

P R O G R A M M I N GStefan Greder Program Director Giannina Periz Senior Producer Alyssa Kielty Producer Troy Armstrong Producer Damien Cassidy Producer Chris Twite Contemporary Music Programmer Kat Murphy Associate Producer Stephanie Suess Associate Producer Alexander Butt Associate Producer Aaron Austin-Glen Associate Producer Skye Murphy Logistics Manager Sarah Farnsworth Program Administrator Margie Bowen Logistics Administrator Josh Cook Program Coordinator Ashleigh Wheeler Program Assistant

T E C H N I C A LTim Pack Technical Director Ian Johnson Senior Technical Manager Lew Bromley Operations Manager Louisa Lachi Technical Administrator Cameron Ricketts Technical Manager Simon Toomer Technical Manager Terri Richards Technical Manager Bill Hazard Technical Manager Amy McKenzie Site Designer Manager Donovan Wagner Technical Coordinator Brenton Slattery Technical Coordinator Isaac Ogilvie Technical Coordinator Dale Norris Technical Coordinator Katie Hurst Technical Coordinator Anne Boyd WHS Coordinator Vashti Greder Signage Coordinator

B U S I N E S S D E V E L O P M E N TDanica Bennett Business Development Director Dana Brown Sponsorship Manager Fabienne Cooke Head of Philanthropy Kirsty Adams Corporate Hospitality Manager Jenny Usher Philanthropy Administrator Anina Warrener Business Development Coordinator

M A R K E T I N G A N D C O M M U N I C A T I O N SMichael Adams Marketing and Communications Director Carrie Barber Marketing Manager Jen Hall Brand and Content Manager Jo Michel Ticketing Manager Zoe White Digital Marketing Manager Angela Kohler Marketing Executive Liana Praekelt Marketing Administrator Emma Symons Social Media Specialist Aruga, Heapsaflash Publicists Sean Dowling Graphic Designer Rumble Design Agency Atmoshpere Photography Festival Photographer

F I N A N C ERebecca Drummond Finance Director/Company Secretary Lorelle Edwards Finance Assistant

A D M I N I S T R A T I O NJulia Herne Administration Manager Marcia Ferreira Administration Coordinator Zac Reimers Volunteers Coordinator

S U N S U P E R R I V E R F I R E C R E A T I V E T E A MFoti International Fireworks Gordon Hamilton Soundtrack

C R E A T I V E D E S I G NArkhefield Treasury Brisbane Arcadia Sarah Winter Theatre Republic

I N D I G E N O U S A D V I S O R Y G R O U PMichelle Tuahine Chair Raelene Baker Bridget Garay Bob Weatherall

G I V I N G C O M M I T T E E Thomas Bradley QC Chair Heidi Cooper Regina Cotter Simon Morrison Ben Poschelk Courtney Talbot Paul Taylor

C O N T A C T D E T A I L S

Brisbane Festival

Level 2, 381 Brunswick Street,

PO Box 384

Fortitude Valley, Queensland, 4006

Phone 07 3833 5400

Email brisbanefestival@brisbanefestival.com.au

Online brisbanefestival.com.au

twitter.com/BrisFestival

instagram.com/brisbanefestival

facebook.com/BrisbaneFestival

3 6 | 2 0 1 8 Y E A R I N R E V I E W

Sunsuper Riverfire Image by Atmosphere Photography

B R I S B A N E F E S T I V A L 2 0 1 9 6 - 2 8 S E P T E M B E R

brisbanefestival.com.au#BrisFest