Queensland Performing Arts Centre, Dead Puppet Society and Brisbane Festival, in association with Screen Queensland, present

3–18 September 2021CREMORNE THEATRE, QPAC

I S H M A E LBy David Morton

Dead Puppet Society’s

A dead earth. A climate refugee. A voyage to the outer solar system.

Creatives and CastDirector and Designer David MortonCreative Producer Nicholas PaineAssociate Director Matt SeeryComposer Bec Sandridge*Projection Designer Justin HarrisonSound Designer and Music Supervisor Tony BrumptonLighting Designer Christine FelminghamCo-Designer (props and locations) Jennifer LivingstoneCostume Designer Nathalie RynerDramaturg Louise GoughProduction Manager Benn SargoodStage Manager Nicole NeilHead of Fabrication Leigh WalkerCast Ellen Bailey, Patrick Jhanur, Barbara Lowing and Anthony Standish (voiceover)

Venue Cremorne Theatre, QPACDuration 85 mins (no interval)Warnings Approved theatrical smoke, haze effects, strobe lighting and loud noises.Photographer Dean Hanson

@deadpuppetsociety | @brisbanefestival | @becsandridge

@deadpuppetsociety | @brisbanefestival | @becsandridge

@deadpuppets | @BrisFestival | @becsandridge

The Ishmael script was commissioned by Dead Puppet Society. The production has been commissioned by Queensland Performing Arts Centre, Dead Puppet Society and Brisbane Festival.Additional support has been provided by Glass Half Full Productions.This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.This project is supported by the Queensland Government through Arts Queensland.The Creative Sparks Fund is a partnership between the Queensland Government and Brisbane City Council to support local arts and culture in Brisbane.Supported by a Queensland University of Technology Innovation Grant.*All songs are written and recorded by Bec Sandridge, except Supernatural Lies written by Bec Sandridge and Xavier Dunn and Claustrophobia written by Bec Sandridge and Dave Jenkins Jnr. All songs produced by Dave Jenkins Jnr.

Hero artwork and photography Dean Hanson

Having worked around the globe for eight years, the past 18 months have been the most amazing homecoming for Dead Puppet Society (DPS). We’ve established our roots in the new cultural precinct of Woolloongabba and used COVID as an opportunity to create new arms to the company.

We’re so privileged to make our brand of design led theatre in this city and are incredibly grateful for the ongoing support that has gone into building the creative and technical ambition behind DPS. In the company’s history, we’ve made productions under the umbrella of Queensland Theatre, La Boite, Metro Arts and Brisbane Powerhouse, but Ishmael represents DPS taking the lead as a cultural producer in Brisbane. We’ve dreamed up this work with the support of our incredible partners Brisbane Festival, QPAC, Screen Queensland and Glass Half Full Productions. Thank you for believing in our vision, we’ve cherished every moment of the journey with you.

Thank you to the incredible creative team who have thrown every piece of themselves at this work to ensure that it’s the most compelling and exhilarating experience possible. You should all be so proud. We certainly are.

One of the things that sets DPS apart is that we never produce work for a single season; we’re about long term relationships, commitments, and mutual growth. We can’t wait to share Ishmael with the world when it’s safe to do so.

Nicholas Paine David Morton Executive Producer, DPS Creative Director, DPS

“It’s not down on any map; true places never are...”

This quote from Herman Melville’s Moby Dick – the novel that inspired this production of Ishmael – could just as easily be the maxim by which Dead Puppet Society (DPS) has charted its path. There is no map, no script for the creative development this team undertakes for every new project. With each one, they break new ground and deliver a production that expands our understanding of visual theatre.

In Ishmael, a combination of new and old techniques and technologies come together in service to the story. Building up scenery from miniature models projected to screen, a technique that harks back to the early days of cinema, is here given a technological twist enabling it to happen live.

For many productions, such special effects work might be found behind the scenes, in the wings or backstage. But one of the many joys of a DPS production is to observe this magic taking place on stage: whether it’s a puppeteer operating one of their creations or, as in Ishmael, actors doing double duty performing in character and as special effects producers manipulating miniatures to create scenes.

To focus solely on centre stage for this production would mean missing integral parts of its creation. I encourage you to peek either side of the stage at times, to take in as much of this technically ambitious show as possible.

This wonderful production is a credit to the DPS team, that has always stayed true to its creative journey, no map necessary. A collaboration with DPS on any project is a pleasure and we do so again, with our partners Brisbane Festival, to proudly present this season of Ishmael.

John Kotzas AM Chief Executive, QPAC

Ishmael is both timeless and contemporary. It is a relatable story with classic themes of redemption, determination and triumph of the human spirit. The latter could also be said of this world premiere production by Brisbane success story, Dead Puppet Society (DPS).

I am thrilled to finally welcome audiences to experience this incredible new work after COVID-19 postponed its international debut in 2020. This is a wonderful opportunity to stage a world premiere as part of Brisbane Festival, and to celebrate a globally successful theatre company that started right here in Brisbane.

The term ‘ground-breaking’ is used often but I can’t think of a more accurate description of Ishmael. The creative partnership between David Morton and Nicholas Paine has given life to a genre-defying production that has been described as “a cross between Star Wars and David Bowie’s Space Oddity”. Like the mythical Moby Dick in Melville’s novel, Ishmael is at once impressive, mysterious and a rare theatrical gem.

On behalf of the Brisbane Festival Board and CEO, I congratulate the creators, cast and crew involved in this eagerly anticipated world premiere production. The Festival is delighted to have played a major role in the commissioning of Ishmael. We are grateful to our partners at QPAC and Screen Queensland for their vision and faith in this production.

Enjoy Ishmael and Brisbane Festival 2021.

Louise Bezzina Artistic Director, Brisbane Festival

Show synopsisIshmael is set on a futuristic version of earth which has suffered a catastrophic environmental collapse. The surface of the planet is smothered in a layer of clouds, all except for the tops of the tallest mountains which are controlled by a wealthy corporate class.

The story follows Ishmael, a refugee who has been living in a corporation sanctioned camp on the darkened surface of earth. She’s offered a chance of a new life above the clouds, but quickly discovers that this means a perilous voyage to the outer solar system aboard the MV Pequod – a mining ship under the control of the notorious Captain Ahab.

Once aboard, Ishmael befriends Queequeg – the only other crew member and an escaped experiment in artificially intelligent droids. After a rocky start, Ishmael falls into the groove of life on board until the crew are confronted by a ruined mining ship and with the trauma of the loss of her brother fresh in her mind, Ahab leads the crew into uncharted space to either find him alive or avenge him.

The show is unique in that the story is told both by live performers and also using miniatures, models and camera technology to create sweeping visuals that are both the background to the action and carry the storytelling weight in their own right. As with most Dead Puppet Society work, the source of the illusion is exposed and with Ishmael we’re taking it to the next level. In addition to watching the story, the audience will be watching how it’s made – live in front of their eyes.

Ishmael – in rehearsal

Ishmael – creative development

Ishmael – in rehearsal

Director’s note – David MortonThis production began its life as two distinct ideas: the first, a space saga made live using miniature models and cameras; and the second, a reimagining of Herman Melville’s Moby Dick for an era where the natural world is vulnerable to human destruction rather than the other way around. In the centuries since its publication, the way that we understand the world around us has changed so much, and even though we know the inevitable outcome, we continue to burn through Earth’s no longer limitless bounty.

Ishmael is a story about those who stand to inherit the system that we’re complicit in building, those who are forced to live with the consequences that we know are coming. In our rendering of this less than hopeful future the Earth is dead, and rather than changing our behaviour, humanity has turned to the solar system to sustain our limitless appetite.

At the heart of this story are three characters who have been broken by the system. Ahab, a woman who has devoted her life to building personal wealth; Queequeg, a product of a society in the constant pursuit of perfection; and Ishmael, a young woman who lost everything when her mother decided that it was time to find a better way. Faced with seemingly impossible odds, our intrepid trio seek redemption through collective action, and by coming together in the gathering darkness, find a haven to weather the storm.

Ishmael is an exercise in communal imagination, both in the creative process, and the way that it is made, then remade live each night. I owe enormous thanks to the incredible team of dreamers who have made this little epic a reality.

Ishmael –creative development

Ishmael – in rehearsal

David is a writer, director and designer, and the Creative Director of Dead Puppet Society. Over the last decade he has led DPS in the creation of large-scale visual theatre works developed with international teams. The Wider Earth (DPS, Queensland Theatre, Trish Wadley Productions, Glass Half Full Productions) was conceived in residence at St Ann’s Warehouse, premiered with Queensland Theatre, was programmed in Sydney Festival, and then ran for six months in a custom built theatre in London’s Natural History Museum. Laser Beak Man (DPS, La Boite, Brisbane Festival, PowerArts) was a collaboration with Tim Sharp developed at the New Victory Theater in NYC, which premiered with La Boite Theatre Company as a part of Brisbane Festival before touring nationally. Additional works include The Riddle of Washpool Gully (Terrapin, DPS); Argus (DPS, Lincoln Center, Queensland Theatre, Brisbane Powerhouse); The Harbinger (DPS, La Boite, Critical Stages); The Timely Death of Victor Blott (DPS, Metro Arts). David has been nominated for five Helpmann Awards and an Olivier Award. He holds a PhD from Queensland University of Technology.

DAVID MORTON Writer, Director and Co-Designer

NICHOLAS PAINE Creative Producer

Nicholas Paine is a producer of theatre and festivals. He is a founding member and the Executive Producer of Dead Puppet Society, creating original puppet-based visual theatre between Australia and the United States. DPS highlights include The Wider Earth (DPS, Queensland Theatre, Trish Wadley Productions, Glass Half Full Productions), Laser Beak Man (DPS, La Boite, Brisbane Festival, PowerArts) and Storm Boy (DPS, Queensland Theatre and Melbourne Theatre Company). Nicholas holds a Master of Creative Industries (Creative Production and Arts Management) and a Bachelor of Creative Industries (Drama) both from the Queensland University of Technology.

Nicholas has worked as the Creative Producer of South Bank Corporation (2017-18), Producer for Theatre Republic, Brisbane Festival (2016), Program Manager at La Boite Theatre Company (2012-2013), Programming Associate at Performance Space 122 in New York City (2011-2012), Producer for Backbone Youth Arts (2009-2011), Project Assistant on Brisbane Festival’s Under the Radar (2009), Project Coordinator at Imaginary Theatre (2008) and Market Researcher for the Brisbane Writers Festival (2007). He has been the recipient of numerous grants and awards from organisations both in Australia and USA.

Dead Puppet Society: As Writer and Director: Echoes in the Dust (QMF). As Puppeteer: Laser Beak Man, Argus. As Fabricator: The Harbinger, The Wider Earth (with Queensland Theatre), Laser Beak Man (with La Boite Theatre and Brisbane Festival), Storm Boy (with Queensland Theatre and Melbourne Theatre Company). As Assistant Stage Manager: Laser Beak Man.

Other Credits: As Director: Lemons, Lemons, Lemons, Lemons, Lemons (La Boite Theatre Young Artists Company), Hotlines Playreading Program (Playlab), ENGLAND (Metro Arts). As Assistant Director: Blackrock (La Boite Theatre). As Directorial Observation: Once in Royal David’s City (Queensland Theatre). As Project Manager: Lost Lending Library (Imaginary Theatre and Punchdrunk Enrichment). As Stage Manager: Brisbane Festival, World Science Festival Brisbane, Supercell Dance Festival, Oktoberfest Brisbane.

Positions: Producer, Metro Arts (2018 – 2021). Sessional Academic Staff, Queensland University of Technology.

Training: Bachelor Fine Arts (Drama) with Distinction, Queensland University of Technology.

MATT SEERY Associate Director

BEC SANDRIDGE Composer

Wollongong based songwriter and musician Bec Sandridge composed the soundtrack for the theatre production Ishmael with the assistance of producer Dave Jenkins Jnr. Her first foray into composing music for a theatre show, Sandridge is known for a unique and commanding stage presence that has seen her tour the UK, Europe and at home in Australia.

A multi-faceted artist, Sandridge independently released her critically acclaimed debut album, TRY + SAVE ME, in 2019. The album deep dives into topics of identity, anxiety, coming out, and takes a tongue in cheek look at Sandridge’s upbringing in a Pentecostal Christian household.

Recorded at Melbourne’s Aviary Studios with Oscar Dawson (Holy Holy) and Gab Strum (Japanese Wallpaper) Sandridge sought to combine punk with the theatre combining gritty club synths, discotheque cowbells and fuzzed out guitars.

A keen eye might recognise Bec as the winner of Triple J Unearthed’s Yours And Owls Festival and International Songwriting Competition finalist (Unsigned category) as judged by Dua Lipa, Chris Martin of Coldplay and Tom Waits. Other career accolades include performing on ABC TV show Q+A and having a recent placement of her song STRANGER on Showtime TV show The L Word: Generation Q.

Justin is a sound and video creative working across theatre, film and television. His Dead Puppet Society credits include The Wider Earth (Natural History Museum, London 2018; Sydney Opera House 2018; Brisbane 2016), and Laser Beak Man (National Tour 2019/2020, Brisbane Festival 2017). He has created visual and sound designs for Queensland Theatre, Melbourne Theatre Company, Sydney Theatre Company, Belvoir St Theatre, La Boite Theatre Company, and has been the resident designer and technical manager of Grin and Tonic Theatre Troupe for 12 years. His most recent credits include Caesar for La Boite, Fangirls (National Tour 20201) for Belvoir St Theatre, Storm Boy for Melbourne Theatre Company and Death of a Salesman for Queensland Theatre. In 2016, his design for The Wider Earth was awarded with the inaugural Matilda Award for Projection Design. His work in television and film has been played on every national network as well as internationally.

JUSTIN HARRISON Projection Designer

TONY BRUMPTON Sound Designer and Music Supervisor

Dead Puppet Society: Echos in the Dust, Hive Mind, Laser Beak Man, Mega Fauna, The Wider Earth, The Harbinger. As Composer and/or Sound Designer: Queensland Theatre: We are the Mutable, The Taming of the Shrew, Mouthpiece (QPAC) Antigone, City of Gold (Griffin Theatre Company), Tartuffe, Quartet, The Odd Couple, Gasp! (Black Swan Street Theatre Company), The Mountaintop, Australia Day, Black Diggers (Sydney Festival), Design For Living, Other Desert Cities, Fat Pig, The Crucible, God of Carnage (Black Swan State Theatre Company), Tides, Pygmalion (Sydney Theatre Company), Sacre Bleu!, Macbeth (Brisbane Festival) I Am My Own Wife, Private Fears in Public Places, Absurd Person Singular, The Removalists, Waiting for Godot (deBase Theatre Company), Eating Ice Cream With Your Eyes Closed, Beckett x3, Maxine Mellor’s Mystery Project (State Library of Queensland), Constellations (QT youth ensemble). La Boite Theatre company: The Time is now; Centenary of Canberra Festival: Kungkarangkalpa (Seven Sisters Songlines); Brisbane Festival: Freeze Frame, King Here After; QUT Dance: Neural Dust, Current, Accented Bodies, Altered States. As Director/Curator: Tone Black Productions: EETREE, The Abandonment of Memory. Vena Cava: RABBAR. QUT: Looking through Glass, Let the Right One In, Birds Ate My Face, Fragments of a Hologram Rose, What Was Left (Draft 4), The Alice Project, Inferno. Positions: Queensland Theatre: Affiliate Artist (2014); Dead Puppet Society: Resident Artist, Tone Black Productions (Founder); QUT: Lecturer.

Christine has previously worked with Dead Puppet Society on Metamorphoses (Queensland Theatre Youth Ensemble); The Secret Garden (Queensland Theatre Youth Ensemble); and Of Little Matter (Vena Cava Productions). She has created lighting designs for IMB: Institute of Light (Counterpilot); Caesar (La Boite Theatre Company); Anatomy of a Suicide (BC Productions); Weathering Well (Woodward Productions); Conviction (Hive Collective); Elektra/Orestes (Hive Collective); The Bull, The Moon and The Coronet of Stars (Hive Collective); Rising (Playlab); Dirty Laundry (The Good Room); MOTH (Queensland Theatre); Avoidable Perils (Counterpilot); The Type (Pink Matter); Boyle and Waters in LEOTARD (Metro Arts); STATUM (Counterpilot and Flipside Circus); TRUTHMACHINE (Counterpilot); The Trial (Queensland Theatre); Echo (Expressions Dance Company); Sweet Charity (Understudy Productions); Rovers (Belloo Creative); The Sound of a Finished Kiss (Now Look Here); Crunch Time (Counterpilot); The Dead Devils of Cockle Creek (Playlab and La Boite); Spectate (Counterpilot); Short+Sweet 2017 (Short+Sweet QLD); Splendour (Now Look Here); Architects Reborn: Arena Spectacular (Architects of Sound); A Slight Ache & The Lover (Now Look Here); Iphigenia 2.0 (Vena Cava Productions). Christine has bachelor’s degrees in Technical Production and Drama through the Queensland University of Technology and was awarded the Inaugural Emerging Female Arts Leader Award in 2019.

CHRISTINE FELMINGHAM Lighting Designer

JENNIFER LIVINGSTONE Co-Designer (props and locations)

Maker, designer and arts producer, Jennifer finds constant inspiration in the natural world and is currently exploring a myco-art practice through study of the remarkable kingdom of fungi.

For DPS: Creative Producer/Head of Fabrication (2019-21), Creative Producer and Co-Designer – Hive Mind (2020), Designer/Maker – SLQ First 5 Forever Character Project (2020), Puppet remount and touring/transport solution – Megafauna (2020), Props Master/Maker/ASM/Puppet Maintenance – Laser Beak Man (2017, 2019/20), Props Maker – The Wider Earth (2016).

For Global Creatures: Deputy Head of Props – Moulin Rouge, The Musical (2021). For The Walt Disney Company: Deputy Head/Head of Props – Aladdin (2018/19), Masks & Puppets Assistant – The Lion King (2015/16), Local Props – Mary Poppins (BNE 2012). For GWB Entertainment: Acting Head of Props – School of Rock (2019). For Louise Withers & Associates: Rehearsal Props Technician – Matilda (BNE 2016).

As Producer or Associate Producer: Australasian Dance Collective (formerly EDC) (2014/15 & 2016/17), Queensland Music Festival (2013, 2017).

Costume Designer Theatre, Queensland Theatre: Our Town (2021), City of Gold (2019). La Boite Theatre Company: From Darkness (2019), Medea (2015). Dance North: Surge (2018). The Danger Ensemble: Caligula (2014). Briefs: The Second Coming (2014). Circa: Furioso (2008). Costume Designer Television: ABC: Handball Heroes (2013), Nine film and television: Hi Five season 1/American cast (2003).

Positions: Queensland Theatre: Costume Supervisor current. As Costume Supervisor La Boite Theatre Company: A Doll’s House, Wizard of Oz, Holding the Man, Cosi. Bangarra: Blak. Polytoxic: The Rat Trap. QPAC: The Flying Orchestra. Head of Wardrobe: Elision Ensemble: The Navigator (Brisbane, Melbourne, Moscow). Jupiter’s Casino: Tempo Rouge and Zingara.

As Costumier: Jaq productions: Star Wars Return of the Sith. Village Road Show: The Matrix Reloaded, The Matrix Revolutions. NBC: The Frontier (pilot). Baz mark productions: La Bohème. Opera Australia: Orpheus of the Underworld, The Pearl Fishers, Lucia di Lammermoor, Mikado.

Awards: Matilda Award Nomination: Co-design Caligula (2014).

Education: Fashion Design Diploma, Ecole Jeoffrey Byrs International Paris; Diploma in Theatre Costume, Sydney Institute of Technology.

NATHALIE RYNER Costume Designer

LOUISE GOUGH Dramaturg

Originally from Brisbane, Louise has worked as a dramaturg in theatre and a story developer in screen for over 30 years. She was thrilled to work with DPS on The Wider Earth and Laser Beak Man. Louise has worked across a vast number of projects as a developer, and held a range of positions including: Head of New Work (Belvoir); Head of Development (Arenamedia); Development Executive (Screen Australia); Resident Dramaturg (then called, Queensland Theatre Company); Curatorial Advisor (Queensland Performing Arts Centre); Literary Fellow (Vineyard Theatre, NYC); Development Executive (Madman Production Company); Script Manager (Film Victoria); Editorial Manager (ABC TV Drama and Narrative Comedy); and Literary Manager (Playbox, now Malthouse). Louise is now the Executive Producer/CEO of Australian Plays Transform.

Patrick is a 2015 graduate of QUT. In 2017, he joined La Boite’s production Single Asian Female, directed by Claire Christian, and has since toured with the production for their Sydney Season at Belvoir St. Theatre and their Melbourne Season at the Arts Centre. Stage credits include; Sydney Theatre Company in the critically acclaimed play, Banging Denmark, Terrestrial for State Theatre Company South Australia, Australian Open at Kings Cross Theatre, Taming of the Shrew at Queensland Theatre.

Prior to studying at QUT, Patrick performed in multiple Singaporean children’s TV shows and guest starred in Sea Patrol Series 2 under the direction of Geoff Bennett and Ian Barry.

Patrick’s screen work includes the role of Sweetpea in the ABC Telemovie RIOT, ABC’s Diary of an Uber Driver and The Checkout as well as short films Halfsies, Cane, Joy Boy and Thrush.

Feature Film credits include I Am Woman for Goalpost Pictures.

In 2020, Patrick was a recipient of the Casting Guild of Australia Rising Star Award.

PATRICK JHANUR Queequeg

ELLEN BAILEY Ishmael

Ellen is an actor/physical theatre performer with extensive training in dance and movement. Dead Puppet Society credits: Laser Beak Man, Echoes in the Dust, Megafauna, Storm Boy (with Queensland Theatre/MTC). Other theatre credits: Taming of the Shrew, Wisdom, Much Ado About Nothing, Oedipus Doesn’t Live Here Anymore, Macbeth (Queensland Theatre); Fantastic Mr. Fox (shake & stir theatre co.); Tender Napalm (La Boite Theatre Company); Medea, The Forwards, Viral (Shock Therapy Productions); Roadtrain (Sydney Theatre Company); A Secret Place (Zeal Theatre); Armistice (QPAC); HEARD*BRISBANE (GOMA); Bustown (ATYP).

Additionally, Ellen was Movement Coordinator/Consultant for Taming of the Shrew and Wisdom (Queensland Theatre) and works with young people across Queensland as a teaching artist.

In 2017, Ellen received government sponsorship to undergo training with internationally acclaimed physical-theatre companies Frantic Assembly and Complicité, emboldening her performance portfolio which is also composed of film, television, site-specific theatre and music video.

Training: QUT, BFA Acting. Awards: Gold Coast Film Festival – Best Actor Lavender; Matilda Award Nomination – Best Female in a Leading Role The Forwards.

Barbara is the first Queensland graduate of The Western Australian Academy of Performing Arts (WAAPA).

She has worked and performed with Playlab Theatre, JUTE Theatre Company, The Brisbane Powerhouse, Queensland Theatre, the Melbourne Theatre Company, The Sydney Theatre Company, The State Theatre Company of South Australia, Griffin Theatre Company, La Boite Theatre Company, shake & stir theatre co, Belloo Creative, Camarata – Queensland Chamber Orchestra, and many Australian independent theatre companies whose work is inspiring and powerful. Her previous work with The Dead Puppet Society was with The Harbinger.

In 2007 Barbara won a Theatre Critics Matilda Award for Best Actress and two MEAA/Equity awards for Best Actress and Best Ensemble Cast for Away, and a Goldie Award for Best Commercial Voice Over Artist, Queensland.

In 2013, she was awarded the Gold Matilda award for her body of work. (The China Incident – QTC, Tequila Mockingbird – shake & stir theatre co, Motherland – Belloo Creative). Barbara was also awarded Outstanding Contribution by a Female Actress in The Groundling Awards for her body of work in 2013.

Barbara has been a proud Equity/MEAA member since 1987.

Nicole is a Brisbane based Stage Manager with a passion for innovative new work, collaborative environment and excel spreadsheets.

Previously for Dead Puppet Society Nicole has Stage Managed the 2018 season of The Wider Earth with Queensland Theatre as a part of Sydney Festival, the 2017 Brisbane Festival season of Laser Beak Man with La Boite Theatre Company and the 2019/2020 National Tour. Nicole’s most recent credits include, As Stage Manager; For Queensland Theatre: The Holidays, The Scene Project 2019, The Wider Earth. For La Boite Theatre Company: Naked and Screaming, Neon Tiger, Laser Beak Man. As Deputy Stage Manager; For Opera Queensland: The Marriage of Figaro, Orpheus & Euridice (Presented with CIRCA), Tosca, Peter Grimes, Ruddigore or the witches curse! As Assistant Stage Manager; For Opera Australia: HANDA Opera on Sydney Harbour – La Bohème, HANDA Opera on Sydney Harbour – West Side Story. For La Boite Theatre Company: A Streetcar Named Desire. For Queensland Theatre: Taming of the Shrew, Much Ado About Nothing. For Opera Queensland: The Pearl Fishers, The Barber of Seville.

Nicole holds Bachelor of Fine Arts degrees in both Technical Production (2015) and Drama (2012) from the Queensland University of Technology and loves nothing more than solving problems using comprehensive spreadsheets, that moment in tech where it all comes together for the first time and the weird sense of calm that lives in the blackout before a show starts.

BARBARA LOWING Ahab, Grubb, Coffin

NICOLE NEIL Stage Manager

LEIGH WALKER Head of Fabrication

BENN SARGOOD Technical Manager

Benn is a Production and Technical Manager who has worked across Australia and New Zealand for more than a decade from his home base in regional Victoria. Benn works on a wide range of events spanning live theatre, live music, festivals, and major events. Having worked with Dead Puppet Society over a number of years, on several projects including Argus, Laser Beak Man and now Ishmael – he has fulfilled the roles of audio, lighting and production management.

Benn and his company Sapphire Lighting and Audio Productions specialise in things a little bit left of centre and always push the boundaries of what is possible on a technical front. Their focus is on reliability and precision with a rock and roll work ethic. Benn has taken what started as a pipe dream in the cab of a 3-tonne truck travelling across outback Queensland and made it into a unique production company serving clients all over Australia.

With over 10 years of experience in the Design and Management of Festivals and Events both nationally and abroad, Leigh is leading the charge as Head of Fabrication on Ishmael. Passionate about creating theatre with meaning, she brings a unique range of skills and knowledge to Dead Puppet Society. Leigh is honoured to be a part of this heartfelt production, curated by a powerhouse team of creatives.

Fabricators

• Leigh Walker

• Helen Stephens

• Liz Ryan

• Liz Prior

• Matt Seery

Technical support

• Matt Erskine

• Chris Goeldner

• Scott Barton

DEAD PUPPET SOCIETY

Creative Director David Morton

Executive Producer Nicholas Paine

Creative Producer Matt Seery

Artistic Associate Helen Stephens

Assistant Producer Jodie Roche-Jones

Fabricator and Logistics Coordinator Leigh Walker

Fabricator Savannah Mojodi

Management Committee

Sandra Gattenhof (Chair)

Claire Shulver (Secretary)

Adam Brunes

Laura Campbell

Tim Hall

Katherine Hoepper

Liz Prior

Dead Puppet Society wish to acknowledge the following partners for their support

QUEENSLAND PERFORMING ARTS CENTREPO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au

Chair

Professor Peter Coaldrake AO

Deputy Chair

Leigh Tabrett PSM

Trust Members

Dr Sally Pitkin AO

Dare Power

Georgina Richters

Susan Rix AM

Leanne de Souza

Executive Staff

Chief Executive: John Kotzas AM

Executive Director – Stakeholder Engagement Strategy: Jackie Branch

Interim Executive Director – Curatorial: Ross Cunningham AM

Executive Director – Visitation: Roxanne Hopkins

Executive Director – Venue Infrastructure and Production Services: Bill Jessop

Executive Director – Business Performance: Kieron Roost

ACKNOWLEDGMENT

The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government

The Honourable Leeanne Enoch MP: Minister for Communities and Housing, Minister for Digital Economy and Minister for the Arts

Director-General, Department of Communities and Housing and Digital Economy: Ms Clare O’Connor

QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

Ishmael – in rehearsal

ADAPTED FOR THE STAGE BY TIM MCGARRYDIRECTED BY SAM STRONG

QUEENSLAND THEATRE, BRISBANE FESTIVAL AND QPAC PRESENT

QPAC.COM.AU

Brisbane Festival is an initiative of theQueensland Government and Brisbane City Council

30 AUG – 3 OCTPLAYHOUSE, QPAC

QUEENSLAND THEATRE PRODUCTION PARTNER

GENEROUSLY SUPPORTED BY

QUEENSLAND THEATRE PRINCIPAL PARTNER

BRISBANE FESTIVAL STRATEGIC PARTNER

BRISBANE FESTIVAL GIVING PROGRAMQPAC PRINCIPAL PARTNER QPAC PRINCIPAL PARTNER

BRISBANE FESTIVAL FOUNDATION PARTNERS

Artistic Director

Louise Bezzina

Chief Executive Officer

Charlie Cush

Board

Alison Smith – Chair

Philip Bacon AO – Deputy Chair

Raelene Baker

Cory Heathwood

Simon Morrison

Amanda Newbery

Karen Prentis

Anna Reynolds

Chris Tyquin

Leadership Team

Dana Brown – Head of Partnerships and Engagement

Fabienne Cooke – Head of Philanthropy

Rebecca Drummond – Finance Director and Company Secretary

Kate Fell – Program Director

Julia Herne – Head of Business Administration

Tim Pack – Technical Director

Karen Soennichsen – Marketing and Communications Director

Indigenous Advisory Group

Michelle Tuahine Chair – Gangulu, Ng ati Kahungunu

Aunty Raelene Rallah-Baker – Birri Juru, Birri Gubba, Wurrunghu, Yuggera

Bob Weatherall – Kamilaroi Elder

Bridget Garay – Kemer Kemer Meriam Nation

Shannon Ruska – Brisbane Traditional Owner

Benjin Maza – Meriam, Tanna, Birri-Gubba and Yidindji

BRISBANE FESTIVAL 2021 MANAGEMENT TEAM

Brisbane Festival is an initiative of theQueensland Government and Brisbane City Council

ADAPTED FOR THE STAGE BY TIM MCGARRYDIRECTED BY SAM STRONG

QUEENSLAND THEATRE, BRISBANE FESTIVAL AND QPAC PRESENT

QPAC.COM.AU

Brisbane Festival is an initiative of theQueensland Government and Brisbane City Council

30 AUG – 3 OCTPLAYHOUSE, QPAC

QUEENSLAND THEATRE PRODUCTION PARTNER

GENEROUSLY SUPPORTED BY

QUEENSLAND THEATRE PRINCIPAL PARTNER

BRISBANE FESTIVAL STRATEGIC PARTNER

BRISBANE FESTIVAL GIVING PROGRAMQPAC PRINCIPAL PARTNER QPAC PRINCIPAL PARTNER

BRISBANE FESTIVAL FOUNDATION PARTNERS

R.V. RachelDavid Morton | 2021 | 16cm | Brass and acrylic | $500 incl. GST

For more info:deadpuppetsociety.com.au/collectiondeadpuppetsociety.com.au/collection

CollectionLimited Edition Sculptures

R.V. RachelDavid Morton | 2021 | 16cm | Brass and acrylic | $500 incl. GST

For more info:deadpuppetsociety.com.au/collectiondeadpuppetsociety.com.au/collection

CollectionLimited Edition Sculptures