APRIL 2 - MAY 5

THE HISTRIONIC (DER THEATERMACHER)

Malthouse Theatre and Sydney Theatre Company present

THE HISTRIONIC (DER THEATERMACHER)

By Thomas BernhardTranslated by Tom Wright

Directed by Daniel SchlusserSet and Costume Design Marg Horwell

Lighting Design Paul JacksonComposition and Sound Design Darrin Verhagen

Performed by Bille Brown, Kelly Butler, Barry Otto, Josh Price, Katherine Tonkin, Jennifer Vuletic, Edwina Wren

Stage Manager Meg Deyell Assistant Stage Manager Alice Fleming

The Histrionic opened in the Merlyn Theatre, The Malthouse,

on Tuesday 10th April, 2012.

MERLYN THEATREAPRIL 2 – MAY 5, 2012

The Histrionic is proudly supported by Sofitel Melbourne On Collins.

DIRECTOR’S NOTE

There is no better place to start than at the Salzburg Festival, where Bernhard premiered The Ignoramus and the Madman in 1982. The play demanded one complete blackout – including the turning off of the emergency EXIT signs - and this was granted, for the preview. On opening night, however, the fire brigade refused permission under orders from the town hall. Although the premiere went ahead without the blackout and was a smash-hit, Bernhard was outraged and cancelled this incredibly expensive show after that one performance. The political and artistic point of this mess was summed up in a telegram to the festival’s president on that day: “A society that can’t deal with two minutes of darkness can do without my play.”

On one hand, a storm in a teacup; on the other, a European scandal – just the way Bernhard liked it. And a trap had been set, only to be sprung two years later, when Bernhard returned to the Salzburg Festival, to the very same stage, with Der Theatermacher (The Histrionic) the cloak of fiction was whisper-thin. His protagonist Bruscon rails against the petty officialdom that won’t let him turn off the EXIT signs, expanding his complaint to link what he sees as the stupidity of the theatre, the audience and the culture at large with the intolerance and backwardness that he suggests is endemic to Austria and to Austria’s ugly twentieth-century history.

There are two observations to make. The first is to note that not only did Bernhard return to the Salzburg Festival at all, but returned, indeed, as a repeat offender. His whole life was a high-wire balancing act: he was ceaselessly scathing in his social criticisms while maneuvering himself with remarkable dexterity within the hallowed halls of High Art. This contradiction is embodied in Bruscon, a character whose considerable offensiveness is in high rotation with his considerable charm.

The second point is to note the sheer cheek, the bravado, not just of staging his own public performance - the “artist as drama queen” - in the first instance, but also of then returning to the scene of the crime and rubbing his audience’s nose in the mess he was partially responsible for. The Austrian pejorative, “Nestbeschmützer” translates as “someone who dirties his own nest.” Revealingly, this phrase is not applied to the guy who takes a dump in his own living room, but to the guy who follows him in and then complains about the smell.

This is but a detail in Bernhard’s biography, a life spent enmeshed in this dangerous, sophisticated game of cultural revelation and provocation. He relished his role as cultural scapegoat. To enjoy Bernhard, one has to see the glint in his eye, the deliberate hypocrisy, the game of “how far can I go?” that can be seen in children playing, while also knowing that the existential game of “how far can I go?”, in its most profound Beckettian sense, is being played with utmost seriousness. For underneath it all is an understanding that is implicit in the form of theatre: in the theatre we find a perfect illustration of the philosophical premise that all life is a fiction; we are all acting our roles. The problems begin when, in the quest for the fulfillment of our ideal selves, we start pretending that we are not pretending, that is, we lie. Bernhard performed his ostentatious public role in full knowledge of what his lines were and where he should stand, but, like his alter-ego Bruscon, he knows only one certainty: that both hilarity and disaster are always waiting in the wings.

DANIEL SCHLUSSER

BILLE BROWN BRUSCON

Bille has an international acting, directing and writing career in theatre, film, and television. A

former member of The Royal Shakespeare Company, The Chichester Festival Theatre and The New York Shakespeare Festival, he has performed on Broadway and theatres in Paris, Vienna and Berlin. His version of Aladdin played The Old Vic in London for two seasons with Sir Ian McKellen. Bille returned to the Australian stage in 2008 to play ‘King Arthur’ in Spamalot. Other recent theatre credits include The Seagull, Fonteyn Remembered, Elizabeth, Dirty Rotten Scoundrels, Exit The King, Twelfth Night, Judas Kiss, The School of Arts and Bill & Mary, both in which Bille wrote. Bille’s film credits include The Killer Elite, The Eye of the Storm, The Chronicle of Narnia – The Voyage of the Dawn Treader, The Man Who Sued God, The Dish, Oscar and Lucinda and Fierce Creatures, starring John Cleese. Bille also directed Cleese in his one-man show touring New Zealand, California, and Arizona. Most recently for television, Bille had roles in Miss Fisher’s Murder Mysteries, Wild Boys, All Saints, Heartbeat, Hollowmen, Blackjack and White Collar Blue. The Bille Brown Studio, Queensland Theatre Company’s home venue is named after him.

KELLY BUTLER THE LANDLADY

Kelly has appeared on stage in Sydney Stories, Dead White Males, Third World Blues, The John

Wayne Principle and Corporate Vibes (Sydney Theatre Company); Blue Murder (Belvoir); Passion and The Kid (Griffin Theatre Company); Later Than Spring (Marian St Theatre); Soldier Boy (Canute Productions) and The Jungle (Darlinghurst Theatre). Kelly has also been seen in numerous Australian television series including the award winning series, Love My Way (series 1,2 and 3), The Cut, Farscape, Small Claims, Water Rats, To Catch A Killer, Chandon Pictures, All Saints, The Alice, Cops LAC, The

Strip, McLeod’s Daughters, Packed to the Rafters and most recently, the second series of Foxtel’s Spirited. Kelly’s feature film credits include Matrix II and Matrix III directed by Larry and Andy Wachowski, Twists of Fate, Straight to You, The Last Chip, Tony Krawitz’s Jewboy, The Last Confession of Alexander Pearce, The Crop and in 2011, Stuart Beattie’s Tomorrow When the War Began, based on the novel of the same name by James Marsden.

BARRY OTTO THE LANDLORD

Barry has worked in the performing arts in Australia for more than 35 years. His performance as Doug

Hastings in Strictly Ballroom received two awards for Best Supporting Actor from the Australian Film Institute and Film Critics’ Circle. His film credits include South Solitary alongside his daughter Miranda, The Legends Of The Guardians: The Owls Of Ga’hoole, Australia, Three Blind Mice, Rogue, Newcastle, Oscar And Lucinda, Kiss Or Kill, Dead Letter Office, The Nice Guy with Jackie Chan, Lilian’s Story, On Our Selection, Cosi, Love’s Brother and Bliss. He will next be seen in Baz Luhrmann’s The Great Gatsby. Barry’s theatre performances include the Malthouse Theatre production of Optimism which had successful seasons in both Melbourne and Sydney and as part of the Edinburgh Comedy Festival, Bell Shakespeare’s Hamlet. Tartuffe, Faust and Cosi for the Melbourne Theatre Company. HEROES, TROUPERS, Boy Gets Girl, Proof, Volpone and King Lear at the Sydney Theatre Company and the Griffin Theatre production of The Falls. Last Cab To Darwin for Pork Chop Productions and for Belvoir Wasp, Night On Bald Mountain and The Tempest. Barry has also worked extensively in television with credits including Utopia Girls, The Jesters, Stupid Stupid Man, Through My Eyes, Loot, Farscape and Secret Life Of Us.

JOSH PRICE FERRUCIO

As a member of The Daniel Schlusser Ensemble Josh has appeared in Peer Gynt at the VCA,

Life is a Dream at The Storeroom and The Dollhouse at Fortyfivedownstairs. Other theatre credits include Self Torture and Strenuous Exercise (Artisan Collective); Something Natural But Very Childish (La Mama/ Dirty Pretty Theatre); Delectable Shelter (The Hayloft Project); Provocateur: The Rebellious Text (Melbourne Festival/ Red Stitch) and his 2010 green room nominated performance in Elektra (Fraught Outfit/ The Dog Theatre). In 2011 Josh made his cabaret debut as a member of The Lovebirds for Melbourne Festival. Film and TV credits include: City Homicide, Underbelly: Infiltration, Australia on Trial, John Doe and The Nurses. Josh is a graduate of the VCA.

KATHERINE TONKIN ERNA

Since graduating from WAAPA Katherine has performed with a number of Australia’s leading

mainstage and independent theatre companies, as well as playing to festivals both nationally and overseas. Her credits include: Baal (STC/Malthouse Theatre), Smashed (Griffin/The Storeroom), Apocalypse Bear Trilogy (MTC/Stuck Pigs Squealing/Melbourne International Arts Festival), 3XSisters (The Hayloft Project), The Eisteddfod (Malthouse Theatre/Stuck Pigs Squealing/B Sharp Belvoir/Brisbane Powerhouse), OT: Chronicles of the Old Testament (Malthouse Theatre/Uncle Semolina & Friends), Cloud Nine (MTC), All My Sons (MTC), Explorations: A Streetcar Named Desire (MTC), Uncle Semolina & Friends Festival of Small Pieces (winner MIAF award ‘04), Gilgamesh (Uncle Semolina & Friends/Next Wave Festival/Melbourne International Arts Festival/ Festival of Contemporary Theatre in China, The Barbican (London)/ ASSITEJ: World Congress of Theatre for Young People), The Man With The September Face (Uninvited Guests/Full Tilt/Auspicious Arts Projects), Actors At Work

and the Bell Leadership Program (Bell Shakespeare Company), Jet of Blood (winner best ensemble Melbourne Fringe ‘06/ Ignite Productions/Theatreworks/Adelaide Festival Centre) and Off The Canvas (Complete Works Theatre Company). Katherine’s screen and radio credits include: for television City Homicide (series 3 & 4), Blue Heelers, Kick, Snake Tales, and Neighbours: for film Punch (short) and Macbeth (Mushroom Pictures), and for ABC Radio National The Spook, Smashed, Dear Mate and Red Random.

JENNIFER VULETIC MADAME BRUSCON

A NIDA graduate from the class of 1984, Jennifer has enjoyed a varied career travelling all over the

world - Tokyo, Hong Kong, Turkey, Sweden, Singapore, New York, New Zealand - and all over Australia in her work as an actress and singer. She has worked for The Sydney Theatre Company, Queensland Theatre Company, Belvoir Street, South Australian Opera Company, Western Australian Opera Company, South Australian Theatre Company, Griffin Theatre Company, Riverina Theatre Company and Darwin Theatre Company. She toured internationally & nationally (2003-2005) with the hit show Mamma Mia, playing the role of ‘Tanya’, and went straight from that to another hit show, Menopause the Musical which toured Australia and New Zealand. She later performed in the award-winning Barrie Kosky production (STC/Malthouse) of The Women Of Troy and was thrilled to be in Jerry Springer - The Opera at the Sydney Opera House performing the role of ‘Zandra’. Most recently she was seen reprising the role of ‘Tanya’ in the 10th anniversary tour of Mamma Mia; as ‘Areti’ in Café Rebetika (Eastern Coast Tour, Sydney Opera House and Arts Centre Melbourne) and ‘Harmony’ in Dumped - The Musical for the Ditched and Dateless. She has penned six cabarets (including Balkan After Midnight which won an award at the 2001 Sydney Cabaret Convention).

EDWINA WREN SARAH

Since graduating from the VCA, Edwina has developed and performed work with some of

Melbourne’s most interesting theatre makers including among them The Hayloft Project, Uncle Semolina & Friends, Brigid Jackson, Leisa Shelton, Optic Nerve and Daniel Schlusser. She is a core member of Daniel Schlusser’s ensemble and for Daniel has performed in Dollhouse, Peer Gynt, Poet No. 7 and a development of The Master & Margarita. In 2008 Edwina worked with visual artist David Rosetzky, Margaret Cameron and Lucy Guerin on the video installation Think Of Yourself As Plural. Other credits include: For theatre: Spring Awakening (Hayloft Project/Belvoir), Two (Ming-zhu Hii/Spark), Dogs Barking (Sam Strong/Chapel off Chapel), La Musica (Andrew Gray), Checklist For An Armed Robber (Theatre at Risk), Tales From The Watchman (Laurence Strangio/La Mama), UFO Show (Uncle Semolina & Friends), Quiet (Anthea Williams/45Downstairs), The Drowned World (Kate Wild/Storeroom), Remembrance Of Things Past (Di Trevis/Melbourne International Arts Festival). For screen: Film - Canopy, Triple Happiness, Macbeth, and Television - Offspring, Rush, City Homicide, Secret Life Of Us, Blue Heelers, Neighbours, and numerous short films. Edwina works extensively as a voice artist in radio and audio narration.

BRIDGET BALODIS

ASSISTANT DIRECTOR

Bridget is a 2010 graduate from the directing course at the Victorian College of the Arts. While at the VCA she directed Mud and Of Feathers and Skin and was awarded the Grace Marion Wilson Trust Scholarship. In 2011 Bridget interned with Elevator Repair Service in New York and also completed a directing secondment at Melbourne Theatre Company on Return to Earth. Prior to Melbourne, Bridget was based in Canberra where she directed Hoods and The Eisteddfod for The Street Theatre and The Goat and East for the graduate company at The Australian National University. This year she has been involved in MKA’s workshop of Underage House Party Play by emerging playwright David Finnigan and is currently co-directing Shotgun Wedding for the 2012 Next Wave Festival.

MEG DEYELL STAGE MANAGER

With a wealth of experience spanning a decade and the globe, Meg switches between roles such

as Production, Stage, Tour and Orchestra Manager across disciplines including music concerts, theatre, film, television and musical theatre. Career highlights include the multi-award winning Richard III (MTC), Blood Wedding (STC), Stravinsky’s A Soldier’s Tale (ACO/Bell Shakespeare Co), touring Japan and Europe with George Orwell’s Animal Farm, feature films Taj and These Empty Streets, Fox8’s Ultimate School Musical, directing A Midsummer Night’s Dream in the Melbourne International Comedy Festival and supervising the music at Russell Crowe’s wedding. For Malthouse: Intimacy (Ranters Theatre), A Commercial Farce regional tour (Regional Arts Victoria). Meg travels annually to Germany as Associate Program Coordinator and Mainstage Director of the European youth festival TeenStreet.

ALICE FLEMING ASSISTANT STAGE MANAGER

Alice has recently returned from a tour of Australia as stage manager on Spicks & Speck-tacular – The

Finale Tour. Previous Malthouse Theatre credits include Look Right Through Me), Meow Meow’s Little Match Girl. Other theatre credits include Melbourne Theatre Company: The Gift, Clybourne Park. Peepshow Inc: A Bird, A Tree, The Moon. KAGE: Sundowner. Fortyfivedownstairs: Do Not Go Gentle... , Australian Shakespeare: Wind in the Willows. Alice’s event experience includes Melbourne Symphony Orchestra’s The Doctor Who Symphonic Spectacular, WOMADelaide Festival, The Australian Ballet’s Target Full Year Business Update, Australian Dance Awards, The Next Wave Festival’s Sports Club Project, Fringe Festival, Castlemaine Arts Festival, All Tomorrow’s Parties and The Falls Festival. Alice will follow this project by joining Back to Back Theatre for their European premiere of Ganesh Versus the Third Reich in Vienna and London.

MARG HORWELL SET AND COSTUME DESIGNER

Marg is a Melbourne-based freelance theatre designer, installation artist and photographer. She

has won three Green Room Awards (2005, 2007, 2009) and two Melbourne Fringe Festival awards for Set and Costume Design. Marg was the Designer in Residence for the Lawler Studio with Melbourne Theatre Company in 2011, is a regular collaborator with Angus Cerini Doubletap and is a member of the Daniel Schlusser ensemble. Her most recent projects include: Ophelia Doesn’t Live Here Anymore directed by Daniel Schlusser (Bell Shakespeare Company/Chambermade Opera) Circle Mirror Transformation by Annie Baker ,directed by Aidan Fennessy (Melbourne Theatre Company), The Dream Life of Butterflies by Raimondo Cortese (Melbourne Theatre Company), The Water Carriers by Ian Wilding (Melbourne Theatre Company), Save

For Crying by Angus Cerini (La Mama Theatre/ Angus Cerini Doubletap), Bare Witness directed by Nadja Kostich (La Mama Theatre and fortyfive downstairs), Do Not Go Gentle by Patricia Cornelius, directed by Julian Meyrick (fortyfive downstairs), Wretch by Angus Cerini (La Mama Theatre/ Angus Cerini Doubletap), and Life Is A Dream directed by Daniel Schlusser (VCA and Storeroom). Marg is currently working with the Bell Shakespeare Company on their touring production of School For Wives directed by Lee Lewis.

PAUL JACKSON LIGHTING DESIGNER

Paul works for Melbourne firm The Flaming Beacon and is Associate Artist (Design) at Malthouse Theatre.

His design work for performance includes theatre, dance, opera and cabaret with companies as varied as Malthouse, Playbox, The Australian Ballet, The Royal New Zealand Ballet, W.A. Ballet, MTC, STC, Chamber Made Opera, Melbourne Workers’ Theatre, Victorian Opera, W.A. Opera and many others. Paul has lectured in design at the University of Melbourne, RMIT University, NMIT and Victorian College of the Arts. A founding member of not yet it’s difficult performance group and a Churchill Fellow, Paul has received a number of Victorian Green Room Awards and nominations for design, as well as multiple Helpmann and Sydney Theatre Award nominations. He was named in The Bulletin’s Smart 100 for 2004.

DANIEL SCHLUSSER DIRECTOR

Daniel most recently directed and performed in Ophelia doesn’t live here anymore (Chamber

Made Opera/Bell Shakespeare’s Minds Eye). Other recent directing credits include The Dollhouse (fortyfivedownstairs), Life is a Dream (The Store Room) and Poet #7 (Full Tilt). Peer Gynt (2008) was the research component of Schlusser’s Masters of Art (Directing) from The Victorian College of the Arts. Previous productions include: It’s a Family Affair and The Government Inspector (the hoist theatre group), Siebensekunden, Genoa 01 and Terrorism (Dublin International Theatre Festival, 2003), Medea (Melbourne Festival, 2002), The Visit, The Prodigal Son (Playbox 2001), Legacy, Long Time No See, The Barbecue, In the Service of Beauty, Maude and Me and The Early Hours of a Reviled Man, (all La Mama), The Death of Ivan Ilych, The Zombie State (Melbourne Workers Theatre and Union House Theatre), Yellow Peril (Platform Youth TC), Odyssey of a Prostitute, The Overcoat and Blood on the Cat’s Neck (Behemoth TC). Performing credits include: Cageling, Salome, Camus’ The Fall and Kill Hamlet. In 1996, Daniel was invited to the Young Directors Theatre Forum at the Berlin Theatertreffen. In 2003, Australia Council and Goethe Institute grants enabled him to work with Armin Petras (Intendant of the Gorki Theater, Berlin). In 2008, he was awarded a Besen Family Fellowship and he was assistant to Bruce Gladwin on Back to Back’s Tour Guide development for the Festival Linz ‘09 in Austria. He was an Artistic Associate at The Store Room and is an Associate Artist of The Rabble. With his ensemble, Daniel is currently developing a production based on Bulgakov’s novel The Master and Margarita in association with Theatre Works.

DARRIN VERHAGEN COMPOSER & SOUND DESIGNER

Darrin is a freelance composer for Theatre, Dance, and Screen. His scores have included work for

Malthouse Theatre, Melbourne Theatre Company, Chamber Made Opera, Sydney Theatre Company, Chunky Move, Australian Dance Theatre, and Lucy Guerin Inc. His Meat Party, Life is a Dream and Birthday Party scores were nominated for Green Room “Best Composition/Sound Design”, an award he won in 2005 and 2010 for his soundtracks to Memory of Water and Poet #7 respectively. He has performed at the San Francisco Museum of Modern Art, The Transmediale Festival, Berlin, and mounted a Shinjuku Thief tour across Europe for Cold Meat Industries. His large “EPA” audiovisual performance was recently featured in the Hue Arts Festival Vietnam and he has been a regular participant in the Liquid Architecture, and Immersion Festivals in Melbourne, Brisbane and Sydney. He lectures in Sound Design, and Art, Music & the Brain at RMIT University and is currently undertaking postgraduate research into Noise Music and neurology.

gratefully acknowledges its supporters

GOVERNMENT PARTNERS

MAJOR PARTNER

PRODUCTION PARTNERS MEDIA PARTNER

CORPORATE PARTNERS CORPORATE ASSOCIATES

COMPANY SUPPORTERS

TRUSTS AND FOUNDATIONS Slome-Topol Family Charitable Trust Australian Communities Foundation Spanish Cultural Co-operation Program

PROGRAM PARTNERS

EDUCATION & YOUTH ACCESS PROGRAM REGIONAL EDUCATION PROGRAM

ARTIST PROGRAM WOMEN DIRECTOR’S INTERNSHIP PROGRAM

Danielle & Daniel Besen COMPANY IN RESIDENCE NEW AUSTRALIAN COMMISSION & PRODUCTION

MALTHOUSE REGIONAL Annamila Pty Ltd PERFORMANCE PROJECTS ARTISTS IN RESIDENCE

Jeanne Pratt AC Rae Rothfield Sue Nattrass AO Tom Kantor FundTHE KENN BRODZIAK ASSOCIATE PRODUCER INDIGENOUS THEATRE PROGRAM

Malthouse Theatre is supportedby the Australian Governmentthrough the Australia Council,its arts funding and advisory body

TOM WRIGHT TRANSLATOR

Tom is the Associate Director of Sydney Theatre Company. He started as a member of Barrie

Kosky’s Gilgul in the early 90’s, then with Michael Kantor’s Mene Mene in the late 90’s. He has worked as an actor and director at the Melbourne Theatre Company, STCSA, Sydney Theatre Company, Playbox, La Mama, Company B, Anthill, Gilgul, Mene Mene, Bell Shakespeare Company, Chunky Move, Black Swan Theatre, Chamber Made Opera and the Adelaide, Sydney, Edinburgh, Perth and Melbourne Festivals. He has written a number of plays or adaptations, including A Journal of the Plague Year, The Caucasian Chalk Circle, Ubu, This Is a True Story, Lorilei, Medea, Babes in the Wood, Puntila and His Man Matti, Tense Dave, The Odyssey, The Lost Echo, Criminology (with Lally Katz),Tales From the Vienna Woods, The Women of Troy, The War of the Roses, The Duel, Baal, Optimism, Oresteia and The Histrionic. The radio version of his play Lorilei won the Gold Drama Award (British Radio Academy) and BBC Radio Drama Award, 2007. His adaptation of Ovid’s Metamorphoses, The Lost Echo, won five Helpmann awards in 2007, including Best Play. His adaptation of Shakespeare’s History Plays, The War of the Roses, won six Helpmanns in 2009, including Best Production.

at The Malthouse - 113 Sturt Street Southbank VIC 3006Box Office +61 3 9685 5111 Administration +61 3 9685 5100 Facsimile +61 3 9685 5112

Email admin@malthousetheatre.com.au Web www.malthousetheatre.com.au

MUSE DONOR PROGRAM

URANIA (MUSE OF THE STARS) Annamila Pty Ltd, The Dara Foundation

CLIO (MUSE OF HISTORY)Berry Liberman & Daniel Almagor, John & Lorraine Bates, Michele Levine,

Anonymous (1) THALIA (MUSE OF COMEDY)

Frankie Airey & Stephen Solly, Betty Amsden OAM, Daniel & Danielle Besen, Eva Besen AO & Marc Besen AO, Debbie Dadon,

Roger Donazzan & Margaret Jackson AC, Neilma Gantner, Colin Golvan SC, Peter & Anne Laver, Richard Leonard, Elisabeth & John Schiller,

Philanthropy Squared, Trawalla Foundation, Anonymous (2)MELPOMENE (MUSE OF TRAGEDY)

Chryssa Anagnostou & Jim Tsaltas, Terry Cutler, D.L & G.S Gjergja, Ian Hocking & Rosemary Forbes, Peter McLennan, Simon Westcott & Dr. Ben Keith,

Tom Wright, Anonymous (1)EUTERPE (MUSE OF MUSIC)

Ingrid Ashford, Beth Brown & Tom Bruce AM, Ingrid & Per Carlsen, Dominic Dirupo & Natalie Dwyer, Rev. Fr Michael Elligate, Carolyn Floyd, William J Forrest AM, John & Helen Gibbins, Brian Goddard, Scott Herron,

Leonie Hollingworth, Valerie Johnstone, Michael Kingston, Naomi Milgrom AO, Dame Elisabeth Murdoch AC DBE, Rae Rothfield, Tim & Lynne Sherwood,

Neil & Barbara Smart, Leonard Vary & Matt Collins, Jason Waple, Phil & Heather Wilson, Angelika & Pete Zangmeister, Anonymous (1)

TERPSICHORE (MUSE OF DANCE) Roger Blythman, Sally Browne, Diana Burleigh, David Byrne, Min Li Chong, Sieglind D’Arcy, Taleen Gaidzkar, Brad Hooper, Graeme & Joan Johnson,

Ann Kemeny & Graham Johnson, K & J Lindsay, Pamela McLure, Sir Gustav Nossal AC CBE & Lady Nossal, Robert Peters, Karen Russell,

Ernie Schwartz, Dr. Jenny Schwarz, Gina Stuart, Fiona Sweet & Paul Newcombe, Joanne & Dr. Niv Tadmore, Anonymous(2)

ERATO (MUSE OF LOVE)Stephen Alley, Graham & Anita Anderson, Amanda Bede, Sandra Beanham,

John Carruthers, Tim & Rachel Cecil, Dianne Clark, Patricia Coutts, Mary Crean AM, Tania de Jong AM, Doreen Dempster, Paul Gardner, Charles Gillies & Penny Allen,

Peggy Hayton, Shirley Hickey, Roberta Holmes, Susan Humphries, Irene Irvine, Vas Katos, Irene Kearsey, Patricia Keith, Ruth Krawat, Gael & Ian McRae, Brad Martin,

Robyn & John Morris, Dr. Kersti Nogeste, Linda Notley, David O’Connell & Jarrod Haberfield, Tony Oliver, Irene Purcell,

John & Margot Rogers, Maria Sola, Thea & Hadyn Snow, John Thomas, Ann Tonks, Rosemary Walls, Jan Watson, Joanne Whyte, Henry Winters,

Dr. Roger Woock & Fiona Clyne, Angharad Wynne-Jones, Barbara Yuncken, Anonymous (13)

To find out more about the Malthouse Theatre Muse program, please contact Philanthropy Manager Tamara Harrison on 03 9685 5162 /

tharrison@malthousetheatre.com.au. Donations of $2 or more are tax deductible.

BOARD OF DIRECTORS

Simon Westcott (Chair), Frankie Airey, John Daley, Michele Levine, Ian McRae, Thea Snow, Sigrid Thornton, Kerri Turner, Leonard Vary.

Artistic Director Marion PottsExecutive Producer Jo Porter

Associate Artist – Design Paul JacksonAssociate Artist – Direction Matthew LuttonAssociate Artist – Writing Van BadhamDirector in Residence Adena Jacobs

Company Managers Nina Bonacci Lucy Birkinshaw Clare Watson Associate Producer Josh WrightAdministrator Narda ShanleyFinance Manager Mario AgostinoniFinance Administrator Liz White Finance Assistant Connie StellaMarketing and Communications Manager Emma CalverleyPhilanthropy Manager Tamara HarrisonDigital Strategy & Marketing Coordinator Carl Nilsson-PoliasDevelopment Manager Jaclyn BirtchnellMedia Manager Maria O’DwyerTicketing Manager Emma HowardTicketing Assistant Lauren WhiteYouth and Education Program Clare WatsonActing Administrative Assistant Kate GregoryAudience DevelopmentConsultant Jason TamiruBuilding Manager Peter ManderslootBar Manager Cherry RiversFront of House Managers Tristan Watson & Sean Ladhams

Production Manager David MillerTechnical Manager Baird McKennaOperations Manager Dexter VarleyProduction Coordinator Lucy BirkinshawHead Electricians Michele Bauer & Stewart Birkinshaw CampbellHead Mechanist Andy MooreHead of Wardrobe Amanda CarrWardrobe Assistant Chloe GreavesWorkshop Supervisor David CraigSteel Fabricator Goffredo MameliScenic Artist Patrick JonesProps Master Ross Murray (lifetime recognition)

FRONT OF HOUSE/BAR STAFFMatt Adair, Michelle Baginski, Claire Beynon, Rebecca Bower, Jacqui Brown, Ben Carollo, Tom Dent, Alice Dixon, Graham Downey, Tanja George, Eden Gery, Kate Golding, Chloe Greaves, Kate Gregory, Simon Jeanes, Gabrielle Lowe, Bridie McCarthy, Anna Nalpantidis, Daniel Newell, Ruby Nolan, Kliment Poposki, Felix Preval, Beck Rafferty, Claire Richardson, Caleb Shea, Mimosa Schmidt, Kathryn Stuckey, Phoebe Taylor, Jade Thomson, Lee Threadgold, Pete Walker, Janine Watson.

BOX OFFICE STAFFLiz Bastian, Paul Buckley, Mark Byrne, Sonja Fea, Rachael Dyson-McGregor, Dan Giovanni, Kate Gregory, Michelle Hines, Ian Michael, Fiona Wiseman, Janine Watson, Liz White.

Malthouse Theatre would like to acknowledge the people of the Kulin nation on whose land this work is being presented.

Vale Marc Psaila, our Company Manager, much loved and greatly missed.