by tim winton - Black Swan State Theatre Company

B L A C K s wa n s tat e t h e at r e c o m pa n y P r e s e n t s
31 15
Aug
Heartbreak in
a landscape
inhabited by
ghosts.
Sep
heath ledger
Theatre
State Theatre
centre of WA
SHRINE
BY
TIM WINTON
Warning:
Shrine contains coarse language, smoking,
atmospheric haze, male full frontal nudity and drug use
Duration Approx. 85 mins (no interval)
RADIO Partner
Print Media Partner
CAST Partner
ASSOCIATE & Regional
Partner
Production & Regional
Partner
PRINCIPAL Partner
www.bsstc.com.au
F e at u r i n g
If you would like to
find out more about
Black Swan State
Theatre Company, visit
www.bsstc.com.au and sign up
to the mailing list, become our fan
on
Facebook, follow us on
Twitter @BlackSwanSTC or
follow us on Instagram
at BlackSwanSTC
Paul Ashcroft
John Howard
Luke McMahon
Sarah McNeill
Will McNeill
Whitney Richards
Jack Mansfield
Kate Cherry
Trent Suidgeest
Kyle Bockmann
Ben Collins
Fiona Bruce
Emily McLean
Chrissie Parrott
Michael Maclean
Emily Stokoe
Marie Nitschke-McGregor Artsworkshop Director
Set & Lighting Designer
Associate Lighting Designer
Sound Designer
Costume Designer
Assistant Director
Movement Director
Stage Manager
Assistant Stage Manager Wardrobe Assistant/Dresser
Set Construction
Adam Mansfield
Will
Mary Mansfield
Ben
June Fenton
3
Sy n o p s i s
“The way in which we try to own our dead, and the way
in which they come to own us” Tim Winton
Night time. A siren howls by, a phone rings, there’s a knock at the door. Adam and Mary
Mansfield are reliving the night they find themselves standing by their son’s lifeless body.
Jack was the victim of a car accident on the long road back to Perth from the family beach
house down on the south coast of WA.
A year later, Adam has sold the winery he used to own, but his trips down south are
becoming more frequent. Anything to avoid Mary’s silent suffering. Adam regularly
visits the roadside shrine where the crash occurred, still grieving and struggling to come
to terms with what’s happened. One day, he is surprised by a brief encounter with June,
a young woman he used to employ as a cellar hand on his winery. June knows her way
around a vineyard and all about wine. She also knows a lot about his son, Jack.
June climbs a locked gate and makes her way into Adam’s beach house where she finds him
drowning his sorrows. There she begins to tell him her story. A story involving an encounter
on a beach with Jack and his friends Ben and Will and the night they shared together. A
story she needs to share with Adam – the story of his son’s final hours.
Opening the curtains
to creativity for
the West Australian
community.
4
Tim Winton ▲ Playwright
One of Australia’s preeminent novelists, Tim
Winton has published
twenty-four books for
adults and children and his
work has been translated
into twenty-eight languages. His literary
reputation was established early when
his first novel, An Open Swimmer, won
the 1981 Australian Vogel Award; his
second novel, Shallows, won the Miles
Franklin Award in 1984; and his third
book, Scission, a collection of short
stories, won the West Australian Council
Literary Award in 1985. Tim is the only
Australian writer to have won the Miles
Franklin Award four times for Shallows,
Cloudstreet, Dirt Music and Breath. He
has been shortlisted twice for the Man
Booker Prize for The Riders and Dirt
Music.
Tim’s fifth novel, Cloudstreet, the story
of two working-class families rebuilding
their lives, has been a bestseller since
its publication, and is regularly voted
the most popular Australian novel
by readers around the country.
Cloudstreet was adapted for
the stage by Nick Enright
and Justin Monjo for Black
Swan State Theatre
Company and played to
sell-out houses around
Australia and on two
international tours
in 1991 and 2001.
A mini-series based on the book, written
by Tim Winton and Ellen Erwin, was
released in 2011. In 2013 his collection
of short stories, The Turning, was turned
into a movie with Cate Blanchett and
Hugo Weaving.
Tim is Patron of the Tim Winton Award
for Young Writers sponsored by the City
of Subiaco, Western Australia. Active
in the environmental movement in
Australia, he was awarded the Centenary
Medal for service to literature and the
community. He is the Patron of the
Australian Marine Conservation Society
and the Stop the Toad Foundation. He
lives in Western Australia.
A new novel, Eyrie will be published by
Hamish Hamilton (Australia) in October
2013.
Shrine is the third play penned by Tim
for Black Swan following Rising Water
and Signs of Life.
5
Kate Cherry ▲ director
Black Swan: The Importance of Being Earnest, Arcadia, The White Divers
of Broome, Rising Water, A Midsummer Night’s Dream, Boundary Street,
Madagascar, Much Ado About Nothing, The Glass Menagerie, The Year
of Magical Thinking. Black Swan/Sydney Theatre Company: Signs of Life.
Black Swan/Queensland Theatre Company: Other Desert Cities, Cat on a
Hot Tin Roof, The Clean House. Black Swan/Melbourne Theatre Company:
The Swimming Club. Other Theatre: Kate’s extensive theatre credits include: Melbourne
Theatre Company: Flora, Take Me Out, Honour, The Glass Menagerie, Humble Boy, The
Goat or Who is Sylvia?, Cloud Nine, Laughter on the 23rd Floor, Sweet Bird of Youth, The
Duchess of Malfi, Three Days of Rain, Betrayal, Death of a Salesman, Art and Soul, All
My Sons, The Clean House, Burnt Piano, The Woman in the Window, Life After George.
Queensland Theatre Company: The Female of the Species. Playbox: The Sick Room, The
Tempest, Miracles, Spring Awakening. WAAPA: Cloudstreet, Three Sisters. Other Theatre
(International): American Conservatory Theatre: Romeo and Juliet. Shakespeare and
Company: Cymbeline. California Shakespeare Festival: Pericles. As an inaugural member of
Lincoln Center’s Director’s Lab, Kate was invited to direct Speaking in Tongues and The Bay
at Nice (American premiere) for the Lab. She has also directed The Love of the Nightingale,
Fen, Statements Made After an Arrest, Capoeira and White Trash in Love (the musical).
Opera: Victorian Opera: The Turn of the Screw, The Coronation of Poppea. Opera Australia:
Brundibar. Positions: Artistic Director of Black Swan State Theatre Company. Her previous
roles include Associate Director at Melbourne Theatre Company 1999-2005, Artistic
Associate at Playbox and Professer of Directing at University of California and Colorado
College. Awards and Fellowships: Kate received a Helpmann nomination and Green
Room Award for Life After George. Her achievements in the US include New York Drama
League Directing Fellow and a Gielgud Award for Best Emerging Director of the Classics.
Training: MFA from UCLA and B.A. in English Literature from Bard College.
6
A wo r d f r o m t h e d i r e c to r
Tim Winton is a generous, warm
hearted, fun collaborator: a wonderful
listener, contributor, an inspirational
conversationalist, and fearless social
commentator. For the past three
years, Tim has given Black Swan the
opportunity to bring his work to life. His
work has been daring in its dramaturgy
and subject matter. Sydney Theatre
Company, Melbourne Theatre Company
and the Canberra Centenary Festival
have embraced the opportunity to
showcase Black Swan’s representation of
Tim’s theatrical adventures.
Shrine goes to the heart of parenthood.
We love our children, we want them to
fly, be fearless, daring, rise above the
crowd, be the leader, take chances, and
yet because we love our children we want
them to be safe, fit in, take no chances,
not stick their head out of the crowd,
live forever, and never hurt themselves.
Parenting is a delight and a terror, as a
new father wrote to me once, it is like
having your heart ripped open and filled
with everything, love, joy, pain, and
terror.
Tim’s ability to bring a landscape to
life and reveal the psychology of the
inhabitants is unique. His decision to
let theatre and film explore bringing his
story telling to life in different mediums
is daring. The vast array of theatrical
vocabulary we could choose to bring
his work to life is testament to his
extraordinary story telling skills.
Like every contemporary playwright,
Tim plays with form, and he knows his
stuff, employing the direct address of
Shakespeare, the static devotion to
language of more formal theatre with
bursts of energy, and the brilliant shifts
in form, moments of expressionism,
heartfelt confrontations, battles
with unruly landscape that shift into
surprising embrace. Tim has given us
license to play and explore characters
that don’t usually grace the main stage:
surfers, privileged boys, underdogs, and
drop outs.
In bringing these amazing array of
characters to life, Tim has explored the
idea of class and privilege in a society
that likes to believe there is no such
thing, and he has exposed our great
fear. Why is it so hard to get our boys
safely through being teenagers? Why
is our landscape dotted with shrines to
broken dreams and lost opportunities?
Why is it so hard for us to talk about
teenage deaths in cars without reducing
terrible sorrow and grief to cliché? Tim
never dictates how we view his work, but
creates questions about us. He makes
our fears and ambitions and desires
mythological in our own landscapes.
Thank you Tim for your generosity,
you grace and for your compassion for
Australians from all walks of life. You can
pay us no greater compliment than to
give us the gift of your words. I hope you
come back and play again soon.
Kate Cherry
Director
7
Connecting
communities with art
Hawaiian believes in live performances
and the impact they can make on
audiences.
For many years Hawaiian has taken
the messages of our partners to
our communities and brought our
communities to arts activities. Helping
grow the audiences of today and
foster audiences for tomorrow.
By engaging with various Arts
companies, Hawaiian has seen how
communities have been touched by
the magic of performance art.
Hawaiian has proudly partnered
Black Swan State Theatre Company
since 2010
8
A n ot e f r o m t h e S e t a n d L i g h t i n g D e s i g n e r
I started the process of designing this production by looking at the
landscapes of the coast, Karri forest silhouettes, the shape of a headland
meeting the sea, beach and sand dunes, the terror of road trauma.
Kate and I always knew we wanted
to create a stylised version of those
landscapes, to allow the language of
the play to float in a transformational
setting. I wanted to find a fusion of
the shapes we were looking at and
eventually arrived at a wave/sand dune/
headland/winding road surface as the
primary playing area.
The design needed to build towards the
climactic moment in the play, so we end
up with a stylised waveform, a cacoon of
beauty, a void, unclear where the horizon
ends and the water begins.
The long vertical shadows of the
Karri forest surround the stage – the
distinctive shape of a specifically SouthWest Australian native – people can
appear/disappear/linger in the shadows.
The Karri tree with car wrapped around
is the most naturalistic elements on
stage. A freeze-frame of the moment of
impact, and the haunting image of the
car being cut apart at the scene.
With a car in three pieces, it was a
natural and evocative progression for
the furniture of the car to become the
furniture of Adam’s living room. It means
the characters of the play are able to
inhabit the car again, Adam and Mary
sitting in the driver’s seat.
The right of the raked floor is detailed
with cat’s eye reflectors suggesting the
road edge and framed with the reflector
posts, which echo Jack’s shrine into the
distance.
I was drawn to all of the textures of our
locations: the wet, inky ripples of water;
glossy car wreck; and the dry, gritty
sparkle of the sand and asphalt.
Starting with a black sandpaper finish,
the rest grew from there, creating a world
of varied textures of black. The darkness
of the set design was quite intentional,
particularly for this play, it allows me to
paint the stage with whichever colour
and texture I desire. I can pluck the
characters out against the dark void.
Trent Suidgeest
Set & Lighting Designer
My work on this production is dedicated to
my incredible grandmother. 89 years old,
left this life during our rehearsal process.
Loving grandma of her 49 grandchildren
and Oma to her 25 great-grandchildren.
9
The Cast
Paul Ashcroft ▲ Jack Mansfield
Black Swan: Shrine marks Paul’s debut with the Company. Other
Theatre: Red Stitch: Herding Cats, Orphans, The Laramie Project – 10
Years Later, Howie The Rookie. Queensland Theatre Company/Melbourne
Theatre Company: Let The Sunshine. Theatre @ Risk: Checklist For An
Armed Robber, The Woman Before. Little Death Productions: Mercury Fur.
Melbourne Theatre Company: Macbeth (Exploration), Cruel & Tender.
Ignite Theatre: Jet of Blood. TV: Winners & Losers, Howzat! The Kerry Packer Story,
Blue Heelers, Love Bytes, The Ship. Film: Van Diemen’s Land, Salems Lot, Evil Never Dies.
Short Film: Shotgun!, Hells Gates, One For Sorrow, Firetruck, FB Holden.
Training: 2002 WAAPA Graduate.
John Howard ▲ Adam Mansfield
Black Swan: Rising Water. Other Theatre: Christine Dunstan
Productions: Scam. Sydney Theatre Company: The Recruit, Mongrels,
The Life of Galileo, Dead White Males, Coriolanus, The Crucible, Much Ado
About Nothing, Measure for Measure, The Life and Adventures of Nicholas
Nickleby, The Cherry Orchard. Playbox: The Incorruptable. Belvoir: A Doll’s
House. State Theatre Company of South Australia: The Rover, King Lear.
Queensland Theatre Company: Gift of the Gorgon. Melbourne Theatre Company: Nothing
Sacred. Nimrod Theatre: King Lear, On Our Selection. TV: Janet King, City Homicide,
Packed to the Rafters, All Saints, Jessica, Always Greener, Changi, SeaChange, State
Coroner, Heartbreak High, Wildside, Children’s Hospital, Blue Heelers, Cop Shop, Silent
Reach, A Town Like Alice, Young Ramsay. Film: Mad Max Fury Road, 25, Jindabyne,
A Man’s Gotta Do, Japanese Story, In A Savage Land, Blackrock, Young Einstein,
Razorback, The Club. Other: Associate Director of Sydney Theatre Company 1992-1996.
Awards: 2001 Silver Logie for Most Outstanding Actor, 2009 and 1992 Stage Actor
Awards - Variety Club of Australia Heart Awards, 1991 Sydney Critics Circle Awards for
Best Stage Actor. Centenary Medal for Service to the Arts and the Community.
Luke McMahon ▲ Will
Black Swan: Shrine marks Luke’s debut
with the Company. Other Theatre: Union
House Theatre: Rhinocerus. Brainstorm
Productions: Sticks and Stones. Eagle
Eye Theatre Company: Blackrock.
Short Film: WASA: Choices.
Training: 2012 WAAPA Graduate.
11
Sarah McNeill ▲ Mary Mansfield
Black Swan: The Clean House. Black Swan/Melbourne Theatre Company:
The Swimming Club. Other Theatre: Janus Productions: Blood Brothers,
Shanghai Lil Productions: Three On, One Off. The Brainbox Project/
DownStairs at the Maj: Pinter’s People. Perth Theatre Company: Chat Room,
Social Climbers, The Censor, The Vagina Monologues. Effie Crump Theatre:
Events on a Hotel Terrace, Affairs in a Tent, Man Woman and Shaw, Allison’s
Rub, Deckchairs, Ernest the Musical, Conjugal Rites. Civic Theatre Restaurant: Five Past
Nine. Phoenix Theatre Company: Dusa, Fish, Stas and Vi. TV: The Circuit, Minty, Bush
Patrol, Carson’s Law, Prisoner. Other: Sarah toured nationally in the production Chat
Room and wrote and presented The Beautification of Mary MacKillop. She is also the arts
editor with Post Newspapers. Training: Sarah trained at LAMDA/Tavistock Repertory
Company in London and the Royal Melbourne Institute of Technology in Film and
Television.
Will McNeill ▲ Ben
Black Swan: Arcadia. Other Theatre: The Brainbox Project/DownStairs
at the Maj: Pinter’s People. Film: An Accidental Soldier, Desert Rats. Other:
At Wesley College he played the cynical parrot in the musical Aladdin and
the title role in Lockie Leonard Human Torpedo for which he won the college
drama colours.
Unmask
the cast
Proud Cast Partner
of Black Swan State
Theatre Company
12
Whitney Richards ▲ June Fenton
Black Swan: Boy Gets Girl, Arcadia. Other Theatre: Perth International
Arts Festival: La Marea. MS Society: Little Red Riding Hood. Class Act:
Ghosts. Fringeworld 2012: Pollyanna. Performing Lines: They Ran Til’
They Stopped. Jedda Productions: Anytown. His Majesty’s Theatre: Maj
Monologues. Aleela Creatives: Mummy Loves You Betty Ann Jewel. Fish in
a Vortex: House of Fun. Kay & McClean Productions: The Graduate. Hold
Your Horses: Heart of Gold. Bare Naked: Hamlet. Class Act/Bare Naked: The Importance
of Being Earnest. Film: Little Sparrows, By Shank’s Pony, Basement on a Hill. As Assistant
Stage Manager: Black Swan: The Damned, Ninety. Black Swan/Melbourne Theatre
Company: National Interest. As Child Chaperone: Black Swan: Cat on a Hot Tin Roof.
As Assistant Director: NIDA Independent: Shopping and F**king. Training: Media and
Information at Curtin University.
C r e at i v e s
Trent Suidgeest ▲ Set & Lighting Designer
Black Swan: Death of a Salesman. As Lighting Designer: Black Swan:
The Importance of Being Earnest, The Motherf**ker With The Hat, Boy Gets
Girl, Arcadia, The White Divers of Broome, When The Rain Stops Falling,
Ninety, A Midsummer Night’s Dream (with Graham Walne). Black Swan/
Belvoir: The Sapphires. Black Swan/Queensland Theatre Company: Other
Desert Cities, Managing Carmen. Black Swan/Melbourne Theatre Company:
National Interest. The HotBed Ensemble: pool (no water), The Dark Room. Other
Theatre: Sydney Festival: I Am Eora. Yirra Yaakin: Waltzing The Wilarra. The Production
Company: Kismet, The King and I. Barking Gecko: Duck, Death and the Tulip, The
Amber Amulet, Fatty Wombat. Perth Theatre Company: An Oak Tree. Steps Youth Dance
Company: Try Hard, Compact Dance, Moonwebs and Scorched Thongs. Strut Dance/
Alice Lee Holland: Tiny Little Tragedies. Aimee Smith: Wintering. Buzz Dance: Genie(us).
Secondments: Billy Elliot The Musical (Broadway), High School Musical (Australian
Tour), Wicked (Australia). Installations: PIAF: Festival Gardens 2012. Training: 2008
WAAPA Graduate.
Kyle Bockmann ▲ Associate Lighting Designer
As Lighting Programmer: Black Swan: A Midsummer Night’s Dream.
Other Theatre: Belvoir: Angels in America. SOH Presents: This Is Our
Youth. Sydney Festival: IOTA, Young, Hard & Solo. Vivid Festival: Karen-O,
Stop The Virgens. Opera: Opera Australia: Tosca, La Forza Del Destino,
Die Tote Stadt, The Marriage of Figaro, Lucia Di Lammermoor, Partenope,
The Merry Widow. Training: 2008 WAAPA Graduate.
13
Ben Collins ▲ Sound Designer
BLACK SWAN: Death of a Salesman, Boy Gets Girl, Signs of Life, The White
Divers of Broome, When The Rain Stops Falling, Ninety, Madagascar. Black
Swan/Queensland Theatre Company: Cat on a Hot Tin Roof. Black Swan/
Onward Production: Seven Deadly Sins, Four Deadly Sinners. The HotBed
Ensemble: pool (no water), The Dark Room. OTHER THEATRE: The Hayman
Theatre: Attempts on Her Life. AS SOUND EDITOR: BLACK SWAN: Black Swan/
Melbourne Theatre Company: The Swimming Club. FILM: The Expert, Happy Haven,
Eternus, Dox, Miss Coolbaroo, Time Enough, The Adjuster. AWARDS: 2008 WA Screen
Award for Best Original Score for Dox, 2004 WA Youth Jazz Orchestra Award for
Scholarship for Contribution, 2004 Jaxter Artist Award in the Jazz Category for Big
Mama Nelson. OTHER: Ben has composed for the West Australian Youth Jazz Orchestra,
Mace Francis Orchestra and St Hilda’s Concert Orchestra and played saxophone in
Black Swan’s production The Sapphires. Mixed Media Dance Project: Reality In a Box.
Buzz Dance: Behind the Veneer. Ben has performed with many artists including James
Morrison, Don Burrows, Tommy Tycho, Ben Folds, Peter Farnan, Rob Guest, Anthony
Warlow, Lesley Garrett, Grace Knight, Pete Murray, Christine Anu and Casey Donovan.
TRAINING: 2003 WAAPA Graduate.
Fiona Bruce ▲ CostUme Designer
As Set and Costume Designer: Black Swan: Boy Gets Girl. The HotBed
Ensemble: Yellow Moon: The Ballad of Leila and Lee, The Shape of Things.
BSX Theatre: Falling Petals. As Assistant Designer: Black Swan: Rising
Water, A Midsummer Night’s Dream, Much Ado About Nothing. Other
Theatre: Deckchair Theatre: The Fremantle Candidate, Lorelei. The Blue
Room/Red Ryder Productions: Fat Pig. The Blue Room/ Little y Theatre: Glen
Garry Glen Ross. The Blue Room/theMOXYcollective: The Polite Gentleman. As Costume
Designer: Perth Fringe/Steamworks: Standing Bird. As Set Designer: Deckchair Theatre
Company: Ruby Moon. Awards: 2010 Equity Guild Award Best Design, 2009 David
Hough Award for Stage Design. Training: 2009 WAAPA (Production and Design), 2006
Curtin University (Performance Studies).
Emily McLean ▲ Assistant Director
Black Swan: The Memory of Water. Black Swan/Queensland Theatre
Company: Other Desert Cities. As Director: Other Theatre: Red Ryder
Productions: The Duck Variations, Dealer’s Choice, A Moment on the Lips,
The Mozart Faction, Dying City, Fat Pig. Perth Theatre Company/Red Ryder:
Dealer’s Choice, Loveplay. WAAPA: Summer of the Aliens, Grimm Tales.
Deckchair Theatre: Not Like Beckett. Curtin: The Messenger, Broken Valley.
theMOXYcollective: Virgie. Little y: Slut. Shangai Lil: Three On, One Off. Downstairs at
the Maj: Maj Monologues. Lockwood Productions: Short Four Play. Awards: Equity Award
for Best Director for Dealer’s Choice in 2006, Equity Award for Best Director for The
Mozart Faction in 2007. Training: WAAPA Directing Graduate in 1997. Sydney Theatre
Company Affiliate Director in 1998.
14
Chrissie Parrott ▲ Movement Director
Black Swan: Shrine marks Chrissie’s debut with the Company.
As Choreographer: Other Theatre: Chrissie has choreographed works
for Perth Theatre Company, Sydney Theatre Company, Malthouse Theatre
and Thin Ice, as well as a digital dance work for the Heath Ledger Theatre
Gala opening and a dance piece for UWA’s centenary celebrations. Other: Chrissie has created a repertoire of over 70 works, most particularly
within the context of the Chrissie Parrott Dance Company. Commissions include works
for WA Ballet, Australian Dance Theatre, Queensland Ballet, Tasdance, Sifonietta de
Lorraine (France), Theater Vorpommern (Stralsund, Germany), Crameer Balletten
(Sweden) and Tanz Forum (Germany). In 2012 Chrissie and composer/animator Jonathan
Mustard opened ChrissieParrottArts Space, an artist run initiative venue that presents
a program of Multi Arts. TV: Wrath, Coppélia, Hawk II and Motel Deception [Bluemoon
film and video, Screen West DCA- ABC]. Positions: Previous positions include: Adjunct
professor at Queensland University of Technology and Senior Research Fellow ECU.
Program Manager at PICA. Board member for Artrage Fringe Festival. Consultant to
the PIAF dance program under artistic director David Blenkinsop. Founding Director of
LINK Dance Company. Awards: Sidney Myer Performing Arts Award. Swan Gold Award.
Sounds Australia Award. Western Australian Citizen of the Year 2000. Centenary Medal.
Ausdance Award for outstanding choreography
Michael Maclean ▲ Stage Manager
Black Swan: Death of a Salesman, The Motherf**ker with the Hat.
Other Theatre: Belvoir: Measure for Measure, Cut, The Kiss,
Neighbourhood Watch. Perth Theatre Company: Alienation. Other: Behind
the scenes footage for Son of a Gun and The Turning. Training: 2012 WASA
Cinematography Graduate. 2010 WAAPA Stage Management Graduate.
Emily Stokoe ▲ Assistant Stage Manager
Black Swan: Shrine marks Emily’s debut with the Company. Other
Theatre: Perth Theatre Company: The Ugly One. Shakespeare WA: Much
Ado About Nothing. As Stage and Production Manager: Mythophobic
Productions: A History of Drinking, Hope Is The Saddest (New York, South
Africa). Strut Dance: Shortcuts, Strut-a-thon. Western Australian Youth
Theatre Company: Earth. As Stage Manager: Red Rabbit Collective: Flirt
Fiction (Perth, Edinburgh). As Production Manager: Western Australian Youth Theatre
Company: Another Twin. As Production Designer: Ellandar Productions: Pity. Film: As
designer: See You Next Wednesday, He Loves Her, She Loves Cake, I Love You Fish. As
Producer: On-On, Alan Wants A Baby. as art department: Foreshadow. Awards: Best
Production Designer at WASA. Training: 2011 WAAPA Graduate in Stage Management.
2012 WASA Graduate.
15
How We Remember
T h e r i s e o f r oad s i d e s h r i n e s
By Nick Maclaine
It is a common practice in most cultures – and among adherents to the
world’s major religions – to mark the final resting place of a person’s body
or remains. But what lies behind the growing phenomenon of roadside
shrines, whereby the places where people have been killed (or fatally
injured) become semi-sacred sites? Does the comparatively modern
trauma of violent death at high speeds account for their necessity to
grieving loved ones? And as well as being tributes to the dead, do such
memorials double as warnings – even gifts – to the living?
A growing practice
Memorials created by the family or
friends of road casualties usually take
the form of small crosses or plaques,
accompanied by flowers and personal
mementos. It is also common to see street
furniture and tree trunks transformed
into shrines with the aid of flowers and
wreaths. (A related practice has also
sprung up in major capitals like New
York City, London and Amsterdam: if the
victim was cycling when he or she was
killed, a ‘junk bike’ will often be painted
white and chained up near the site, as a
ghostly reminder to passers-by.)
Roadside shrines are banned in some
American states. They are subject to
administrative penalties in Russia; have
come under governmental attack in
South Africa; and can be removed after
three months in some parts of the United
Kingdom. But people in western and
European countries around the world
continue to erect them to mark the
passing of parents, children, partners and
friends – regardless of the legal postures
of their governments. And in Australia,
the practice has been conspicuously on
the rise for decades, to the point where
something like one in five road deaths
are memorialised with shrines.
Private, but public
Roadside shrines reflect how Australians
are increasingly taking ownership of
the sacred. As church attendance in
mainstream denominations declines,
communities have largely accepted the
proliferation of idiosyncratic memorials
that have come about without the
blessing or involvement of a church.
It doesn’t follow, however, that the
prcatice is necessarily secular. What
our tolerance of shrines reflects is that
it has become acceptable, admirable or
even fashionable to publicly express
a personal understanding of one’s
spirituality. Whether or not Princess
Diana’s fatal accident in the Pont de
l’Alma tunnel in Paris was a catalyst,
shrines are now part of how many
Australians cope with loss.
In an interview for Radio National,
one family revealed that they visited
their father’s shrine every Fathers Day,
Christmas Day and Anzac Day (he had
been a soldier for nearly thirty years).
When asked why they visited a makeshift
memorial and not the formal one at the
cemetery, their response was emphatic:
“[We] won’t go out to the cemetery
because that’s not where he is. He’s here.”
16
I n 2 0 1 3 , B lack Swa n
w i ll b r i n g T i m
W i n to n ' s S h r i n e
to A lba n y a n d
Canberra!
Life savers?
Roadside shrines attract the most
controversy when they incorporate
physical artifacts from the accident. This
is the case with young men’s shrines in
particular, as they often include wreckage,
alcohol bottles, irreverent humour and
personal messages hinting at hero-worship
of the deceased. The personal significance
of a shrine is always positive to its
curators, but the ways in which shrines
like these commemorate the dead make
some people uncomfortable. Arguably,
though, this is what respecting unique
interpretations of spirituality is all about.
There’s also evidence that shrines can
serve as useful road safety reminders.
Main Roads recently surveyed public
attitudes to them, and found two-thirds
of respondents felt shrines encouraged
them to drive more cautiously. (Other
studies confirm that crash markers can
dramatically reduce road deaths.) In
this way, shrines are not only public
expressions of private grief – they express
the hope that the living will learn from the
dead, and so may add to the good of all.
Albany
Shrine is playing at the
Albany Entertainment Centre on
19 and 20 September 2013 at 8pm.
For more information and
to buy your tickets, go to
www.albanyentertainment.com.au.
Canberra
Shrine is playing at the Playhouse,
Canberra Theatre Centre from
26 to 29 September 2013. For more
information and to buy your tickets, go
to www.canberratheatrecentre.com.au
The Canberra season is part of the
Collected Works: Australia 2013
program for the Centenary of
Canberra celebrations. The program
brings together a selection of theatre
and drama from each State and
Territory. Black Swan is proud to be
involved in this celebration of work
by Australian companies.
17
APW_AD_SwanTheatre_AW2.pdf
1
2013-02-27
4:00 PM
Ack n ow l e d g m e n t s
Black Swan State Theatre Company
would like to acknowledge the Wadjuk
people from the Noongar nation who are
the traditional owners and custodians of
this land. We pay respect to the Elders;
for they hold the history, the cultural
practice and traditions of their people. It
is a privilege to be together on Noongar
country.
Black Swan State Theatre Company
would like to thank Brian Heller
and the Arts Angels, Emily Friend,
Kaycee Graham, Samantha Jackson,
Ali MacKellar, Nick Maclaine, Claire
Mouchemore, Nicole Pearce, Cathy
Penglis, Jess Russell, Jim Vining, LucyKate Westbrook.
C
M
Thank you also to ChrissieParrotArts,
Erryn Hanson (transfer technician) and
Kim Westbrook (transfer freight) and
the following people on secondment
with the Company: Stephen Carr
(production department), Patrick Howe
(set design), Philippa Nilant (costume
design), Brent Smith (sound design).
Black Swan would also like to thank
Brendon Ellmer, Alice Jorgensen and
staff at the State Theatre Centre of
Western Australia.
Y
CM
MY
CY
CMY
K
ameliaparkwines.com.au
18
A b o u t B lack s wa n s tat e t h e at r e c o m pa n y
Black Swan State Theatre Company is Western Australia’s Flagship
Theatre Company and one of Australia’s foremost theatre companies.
Theatre Centre, Black Swan presented
the world premiere of Rising Water,
the first piece written by Tim Winton
specifically for the stage. In the same
year, Black Swan was the first Australian
theatre company to broadcast a live stage
performance, when Shakespeare’s A
Midsummer Night’s Dream, directed by
Kate Cherry, was broadcast in real time
to audiences across regional Western
Australia. Since then, live broadcasts
to regional WA have become an annual
event for Black Swan, complementing the
Company’s annual regional touring and
workshop programs.
Since its inception in 1991, Black
Swan has earned both critical and
popular acclaim for its world premiere
productions and highly distinctive (re)
interpretations of international theatre
classics – all of which are infused with
the unique culture of Western Australia.
These have included such landmark
productions as Bran Nue Dae, Sistergirl,
Tourmaline, Corrugation Road (winner
of the prestigious The Age Critics’
Award), The Merry-Go-Round in the
Sea, Cloudstreet (Perth, Sydney, London
and Dublin seasons) The Odyssey and
The Sapphires (Perth, Canberra, London
and Korea seasons).
Performing in its new home at the State
Theatre Centre has resulted in a surge
of popularity for Black Swan: In 2013,
Black Swan was part of the Fringe World
Festival with a smash hit production of
the hipster comedy The Motherf**ker
with the Hat in the State Theatre
Centre’s Studio Underground, followed
by popular productions of classics
The Importance of Being Earnest and
Death of a Salesman and contemporary
productions of Day One, A Hotel,
Evening and Other Desert Cities to
critical acclaim.
Under the leadership of Artistic Director
Kate Cherry, Black Swan has also created
the Rio Tinto Black Swan Commissions,
a new commissioning program
investing into WA’s creative future and
showcasing Western Australian stories.
The Company also runs professional
development programs for emerging
Western Australian artists and emerging
writers.
Black Swan has been a Resident
Company in the State Theatre Centre of
Western Australia since its opening in
January 2011. In its first year at the State
19
B lack Swa n ’ s R e s i d e n t A r t i s t s P r o g r a m
As Western Australia’s State Theatre Company, Black Swan aims to
inspire potential artists of the future with performance, imagination and
innovation, and foster the talent of upcoming artists in our community.
Black Swan’s Resident Artists Program
will support up to five emerging artists
annually by offering a year-long
involvement working on a minimum
of two Black Swan productions. The
Resident Artists Program is targeted
at creatives in their first five years of
professional practice – they can be
directors, designers, writers, composers
or actors.
The program provides access to training,
mentoring and state of the art theatre
practice in order to facilitate learning
and performance. Resident Artists
are actively engaged with local works,
productions and the performing arts
sector. They will have the opportunity to
work closely with Artistic Director, Kate
Cherry and nationally regarded creative
teams on Black Swan’s mainstage
productions.
Each Resident Artist will provide at least
one mentor opportunity during the year
for a final year or recent graduate to work
alongside them during a Black Swan
production.
Supported in part by the McCusker
Charitable Foundation and The Ian
Potter Foundation. The Resident Artists
Program also receives support in
memory of Bern Ranford.
FIONA BRUCE,
Set & Costume Designer
Ben Collins,
Sound Designer/Composer
Adam Mitchell,
director
Trent Suidgeest,
Lighting designer
For more information, visit www.bsstc.com.au
20
RIO TINTO B L AC K SWA N C OMMISSIONS
Part of Black Swan State Theatre Company’s role as Western Australia’s
Flagship Theatre Company is to engage audiences on a profound level by
celebrating and promoting Western Australia’s cultural identity.
The Rio Tinto Black Swan Commissions are unique in Australia. Through collaboration
with our Principal Partner, Black Swan has created a research and development wing of the
company that offers commissions, dramaturgy and workshops for new work.
Our commissioning program enables us to contribute to the national canon through plays
we have developed and produced and promote Western Australian theatre artists as an
integral part of the national cultural agenda.
To date the Rio Tinto Black Swan Commissions have produced four mainstage works, Aidan
Fennessy’s National Interest (2012), Hilary Bell’s The White Divers of Broome (2012),
Hannie Rayson’s The Swimming Club (2010) and Kate Mulvany’s The Web (2009), with a
fifth play, The Damned (2011) by Reg Cribb in the Studio Underground.
Writers currently under commission include Hilary Bell, Ingle Knight, Damon Lockwood,
Caleb Lewis, Suzie Miller, Tommy Murphy, Hellie Turner and Brendan Hanson and Tim
Cunniffe.
B L AC K SWA N ’ S EMERGING WRITERS g r o u p
The Emerging Writers Group is designed to provide support and mentoring
for emerging writers and assists them in the creation of new work.
The program will equip emerging
playwrights with the skills, networks and
techniques to foster their own careers and
give them the ability and confidence to
manage their works and rights effectively.
The group is led by Black Swan’s Literary
Manager Damon Lockwood and identifies
up to 11 playwrights per annum to be
part of the Emerging Writers Group. The
playwrights are encouraged to develop
a clear understanding of Black Swan’s
creative vision, audience demographics
and style.
Emerging writers are actively engaged
with local works and productions,
including the opportunity to work closely
with nationally regarded playwrights on
Black Swan’s productions.
Black Swan will provide sustainable
pathways for emerging writers wanting
to produce work for the stage that can be
considered in the future for Black Swan
programming.
We look forward to sharing more fruits of
the playwrights’ work with you over the
coming years.
The emerging writers for 2013 are:
▲▲ Gita Bezard
▲▲ James Marzec
▲▲ Sandi Buckley
▲▲ Nathaniel
Moncrieff
▲▲ Nate Doherty
▲▲ Alexander
▲▲ Jordan Nix
Fisher
▲▲ Madeline Page
▲▲ James Forte
▲▲ Electra Reissi
▲▲ Chris Issacs
Supported in part by the Malcolm
Robertson Foundation.
21
G i v i n g t o B lack S wa n i n 2 0 1 3
Founding Patron, Janet Holmes à Court AC has played a significant role in
assisting young Western Australians by giving annually to support Black Swan’s
artist development which helps promote its educational activities. Her generosity
and support over many years is highly appreciated and has provided a platform
for the future development of Black Swan and the overall theatre experience.
The generous contribution of Andrew and Nicola Forrest to Black Swan is assisting our
future development and security as Western Australia’s State Flagship Theatre Company.
Their support will underpin the future growth and development of Black Swan’s core artistic
program and help retain our local artists in Western Australia. Nicola Forrest has also been
honoured as Black Swan’s Number 1 Subscriber for 2012 and 2013.
Black Swan also wishes to recognise the contribution of Sam and Leanne Walsh to Black
Swan. Their support and leadership has been a significant factor in Black Swan’s successes
and we are thrilled to continue our relationship with Sam as our Patron.
Black Swan’s Board
Black Swan wishes to thank the following Board members, who have generously committed
to donating and shown outstanding leadership in their commitment to private giving to the
performing arts.
▲▲ Mark Barnaba
▲▲ Andrew Drayton
▲▲ Kate O’Hara
▲▲ Linda Savage
▲▲ Alan Cransberg
▲▲ Rob McKenzie
▲▲ Vicki Robinson
▲▲ Craig Yaxley
Foundations
McCusker Charitable Foundation
Black Swan is extremely grateful to the
McCusker Charitable Foundation for
their generous gift towards the Resident
Artists Program in 2013, providing the
opportunity for emerging artists to develop
their careers in WA.
The Ian Potter Foundation
The support of The Ian Potter Foundation
allows Black Swan to extend the
Resident Artists Program and allow
wider engagement with more
emerging artists to assist in
the early development of their
careers.
McCusker Charitable Foundation
Malcolm Robertson Foundation
Malcolm Robertson Foundation has
provided much needed funding to Black
Swan’s Emerging Writers Group, to assist
playwrights in Western Australia and in
turn provide national and international
access to more inspiring and
innovative Western Australian
playwrights and scripts.
22
White Swans
Over the past three years, the generous
support and combined effort of Sandy
Honey, Michela Fini and Sallie-Anne
Manford has established and developed
the White Swans into a successful and
innovative private giving donor circle.
White Swans enrich Perth’s growing
enthusiasm for the arts by highlighting
the great level of talent, excitement and
potential of Western Australian theatre. As
a giving circle they jointly give to make a
bigger difference. In 2013 the White Swans
supported Black Swan’s production of Day
One, A Hotel, Evening by Joanna MurraySmith. Thank you for your support:
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
Linda Savage
Kelly & Michael Sertorio
Jill & Jeremy Shervington
Natasha & Ross Taylor
Debbie & Joe Throsby
Julie & Eddie Van Beem
Alison Wooles
Anonymous (1)
Local Larrikins
Local Larrikins is an initiative founded by
Janet Holmes à Court AC supporting a
Western Australian focused production
each year. The group aims to engage young
Western Australians with the theatre. Local
Larrikins have contributed to the Tim
Winton productions Rising Water and
Signs of Life. In 2013 they will be supporting
Shrine. Thank you for your support:
Jo & Ian Adamson
Katrina & Craig Burton
Debbie & Peter Chappell
Linda & Warren Coli
Tracey & Charles Crompton
Joanne & Camillo Della Maddalena
Marco D’Orsogna
Sally & Giles Everist
Bobbie & John Fahie
Evi Ferrier & Katherine Kalaf
Michela & Adrian Fini
Annie & Brett Fogarty
Nicola & Andrew Forrest
Simone Furlong
Janine & Richard Goyder
Christine & John Hedges
Sandy & Peter Honey
Stephanie & Peter James
Dianne & Theo Kailis
Peter Lee & Shareen Traub
Heather Lyons, Marijana Ravlich
& Eric Ripper
Sallie-Anne & Michael Manford
Dr Toby and Tony Manford
Sue McDonald & Mark Westbrook
Chris & Bruce McLeod
Rose & Tim Moore
Mimi & Willy Packer
Philippa & Ron Packer
Ingrid & Mark Puzey
Veronique & Kim Ramen
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
23
Janet Holmes à Court AC
Peter & Sue Blackmore
Bill Bloking & Debbie Cozart
Doug & Dallas Buckley
Maggie Down & David Cruse
Paul Hanrahan & Mariella HarveyHanrahan
Jeremy Herdman
Garrod & Despene Keightley
John McGlue & Sharon Dawson
Stephen Moloney
Kate O’Hara
Karl & Andrea Paganin
Stephen Scaffidi
Simon & Alison Stewart
Tim & Chris Ungar
Cally Unsworth & Roly Hill
Terri-ann White
Tony Wilkie
Anonymous (2)
Wild Swans
Wild Swans is a new giving circle for
Perth’s emerging business leaders. Wild
Swans offers its members professional
networking opportunities and education
on the arts and business. The group will
support the creative workshopping of the
Rio Tinto Black Swan Commissions. We
would like to thank the following Wild
Swans committee members for their
support:
▲▲
▲▲
▲▲
Belinda Buratto
Joanne Dunn
Rachel Huber
▲▲
▲▲
First Call $1,000 to $2,499
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
Trina Mahon
Jane McEvoy
▲▲
▲▲
▲▲
▲▲
We would also like to thank the Wild
Swans giving circle for their support:
▲▲
▲▲
▲▲
▲▲
▲▲
Tamryn Barker
Kely Cannane
Antony Crossland
Catriona Della
Martina
Jamie Fini
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
Eva Lin
Vincenzo Nici
Andrea Righetti
Bree Rowswell
Anonymous (1)
▲▲
▲▲
▲▲
Behind The Scenes $500 to $999
▲▲
▲▲
Encore!
Encore! is Black Swan’s general giving
program. Thank you to the following
people who have kindly donated to Black
Swan’s giving program Encore! to support
the 2013 season.
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
Encore! $10,000 and above
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
Lesley & Peter Davies
Nancy Hackett
Jonathan & Sharon Hynes
Nicola Iffla
Jim & Freda Irenic
Mary Ellen MacDonald
David & Sharon Parry
Alan Robson
Gavin Toovey & Jae Han Lee
$50 to $499
Janet Holmes à Court AC
McCusker Charitable Foundation
NRW
The Stan Perron Charitable Trust
The Ian Potter Foundation
Malcolm Robertson Foundation
Linda Savage
Sam & Leanne Walsh
In memory of Bern Ranford
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
Opening Act $2,500 - $9,999
▲▲
Shane Colquhoun & Leigh Cathcart
Richard Douglas
Lianne Gianoli
Rod & Marilyn Hager
Gordon & Nena Johnston
Garrod & Despene Keightley
Francis Landels
Paul Mar
Kevin Mattaboni & John Foster
Andrée McIntyre
Michael Murphy & Craig Merrey
Delys & Alan Newman
Ron & Philippa Packer
Alan Robson
Thurston Saulsman
Richard Tarala & Lyn Beazely AO
Elizabeth Townsend
Bradley Van Luxemborg
Anonymous (2)
▲▲
▲▲
Rick & Carol Crabb
Andrew Crocker & Dianne Sunderman
Walter Millsteed
M & H Tuite
Anonymous (1)
▲▲
▲▲
▲▲
24
David & Winnette
Ambrose
Graham Anderson
Robin Beech
Sue Boyd
Katherine Cheng
Helen Clanachan
Jan Connor
Andy Copland
Paul Coppard
Stephen Dennis
& Alan Stobie
Terry Edwards
Shirley Egan
Wesley Enoch
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
Karen Fleischer
Toni Frank
Lisa Hando
Brian & Glenis
Holliday
Colin & Cara Hoppe
Jennie Kennedy
Miriam & Lou
Landau
Amanda Luke
Deborah Luke
Jillian & Lee Mather
Donna McCrory
Joan & David
McIntyre
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
Ross & Sally
McLennan
Margaret Medcalf
Terence & Judith
Middleton
Kerry Miller
Frances Moon
Roger & Alexis
Mullen
Anthony Munro
Jordan Nix
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
▲▲
Carol Shannon
Lindsay Silbert
Jeffrey Skates
Kelly Slater
Patricia Sugars
Ross Symonds
Robyn Tamke
David Walker
Joy Wearne
Christopher Wray
Anonymous (13)
Other Support
▲▲ Ungar Family Foundation
To become part of Encore! please visit
our website at www.bsstc.com.au
Private Giving 2013
Bequests
Leaving a bequest marks your meaningful
bond with the theatre, and your belief in
the future of Western Australian art and
culture. Your bequest is a truly enduring
way to ensure that younger generations
are able to experience and enjoy the thrill
of stage performance. By leaving a bequest,
you will leave your own legacy of theatre.
Thank you to our generous patrons who
have committed to leaving Black Swan a
bequest.
Playing your part
If you are interested in supporting Black
Swan, please contact our Philanthropy
Manager, Andree McIntyre on
[email protected] or 0417 187 025.
Donations are tax deductible and you can
choose to remain anonymous.
B L A C K s wa n s tat e t h e at r e c o m pa n y
09 24
A misbehaving bridesmaid,
a bag of money and
Japanese rope bondage.
NOV
Nov
State Theatre
centre of WA
midsummer
[A PLAY WITH SONGS]
BY
DAVID GREIG
&
Gordon McIntyre
“You float out laughing as if you’ve
just swallowed sunshine on a spoon.”
The Guardian
Director
Damon Lockwood
Brendan Hanson, Claire van der Boom
Featuring
25
B o o k @ TI C K ETE K . C OM
. AU
OR
1300 795 012
S ta r t E x p lo r i n g Yo u r S tat e T h e at r e C e n t r e !
The State Theatre Centre of Western Australia is an architectural
delight located in the heart of Perth. We thought we would provide
you with some information to assist you with your visit to the venue.
Box Office
The State Theatre Centre is also a Ticketek agency. The box office is located
on the ground floor and is open from 10am to 5.30pm Monday to Friday
and closed on Saturday and Sunday, except on performance days. The box
office is also open one hour prior to performances for collection of prepurchased tickets.
Eating and Drinking at the State Theatre Centre
The Centre features a number of licensed bar and function facilities.
Bars open one hour before, during interval and after each major performance.
If you’re feeling a little peckish, you can also pre-order an Amelia Park
Wine and cheese plate package at just $18 to enjoy post-show. To preorder an Amelia Park Wine and cheese plate package, ask any of the
Centre’s bar staff prior to that evening’s performance.
Venues with
a difference
HIS MAJESTY’S THEATRE PERTH CONCERT HALL
STATE THEATRE CENTRE OF WA SUBIACO ARTS CENTRE
ALBANY ENTERTAINMENT CENTRE
Functions & Catering (08) 9231 9941 | creatingevents.com.au ...Creating events with style
26
Accessibility
Black Swan and the State Theatre
Centre welcome disabled patrons.
We offer:
▲ an
infrared hearing system for deaf
and hearing impaired patrons
▲ an Audio Description Service for
blind or vision impaired patrons
▲ Captioned Performances for
patrons with hearing impairments
Please inform the Centre’s box office
staff if any assistance is required.
Getting To and
From the Venue
Taxis
Pick up and set down only points are
available outside the State Theatre Centre on William Street.
This area is also classed as a Taxi Zone when not being used for parking.
If you would like to have a taxi pre-ordered for you, please contact the Front of House
Manager before or after the performance.
Parking
There are three City of Perth parking locations in close proximity to The Centre.
▲ State
Library Car Park, 15 Francis Street (7 ACROD bays)
▲ The Cultural Centre Car Park, 2 Roe Street ( 4 ACROD bays)
▲ Roe
Street Car Park, 68 Roe Street (5 ACROD bays)
Rail and Bus
The Centre is directly opposite the Perth train station and Transperth’s Blue CAT buses
travel frequently from the CBD to Northbridge.
For the most up to date information on the State Theatre Centre,
go to: www.statetheatrecentrewa.com.au
or www.bsstc.com.au.
27
LITERARY ADVISeR Perth Theatre Trust
Finance Manager The Hon. Peter Blaxell
Finance & Administration
Officer Kelly Slater
Jim Adamos,
Rob Butler, Helen Cook,
Janet Davidson, Max Kay AM,
Morgan Solomon
Polly Low
Amanda Luke
Black Swan State Theatre
Company
PO Box 337
Northbridge WA 6865
Telephone (08) 6212 9300
Fax (08) 6212 9318
Email [email protected]
Web www.bsstc.com.au
Facebook Black Swan State
Theatre Company
Twitter @BlackSwanSTC
Instagram BlackSwanSTC
Founding Patron Janet Holmes à Court AC
Patron Sam Walsh
Chair Mark Barnaba
Deputy Chairs Andrew Drayton, Kate O’Hara
Treasurer Craig Yaxley
Directors Education & Community
Access Manager Alena Tompkins
Education Assistant Nicole Pearce
Philanthropy Manager Andree McIntyre
Philanthropy Coordinator Jordan Nix
Marketing & Sponsorship
Manager Nancy Hackett
publicity Irene Jarzabek
Marketing Coordinator Chairman Trustees Trustee/Acting Director
General Department of
Culture and the Arts Alan Ferris
Acting General Manager Rudi Gracias
AEG Ogden (Perth)
Pty Ltd
Chief Executive Rodney M Phillips
Kerry Miller
Marketing & Sponsorship
Coordinator Shona Saxton
Ticketing & Administration
Officer Rob Dodd
Resident Fight Director Andy Fraser
Cover photo Robert Frith
design Dessein
Overseas Representatives London Diana Franklin
and Yolande Bird
New York Stuart Thompson
STATE THEATRE CENTRE
OF WESTERN AUSTRALIA
General Manager Brendon Ellmer
Deputy General Manager Alice Jorgensen
Technical Manager Graham Piper
Operations Manager Alan Cransberg, Andrew
Harding, Rob McKenzie,
Vicki Robinson, Linda Savage
Lorraine Rice
Artistic Director Assistant Technical
Manager General Manager Head of Lighting Mitch Thomas
Kate Cherry
Shane Colquhoun
Production Manager Garry Ferguson
Technical Manager
Boyd Midgley
Wardrobe Manager Lynn Ferguson
The State Theatre Centre
of WA is managed by AEG
Ogden (Perth) Pty Ltd
Venue Manager for the
Perth Theatre Trust
Venues
Sam Elbery
Head of Audio Tim Collins
Head Mechanist Matt Norman
Deputy Wardrobe Manager Mandy Elmitt
Artistic Coordinator Chantelle Iemma
CASTING DIRECTOR
(2013 SEASON) Annie Murtagh-Monks
Literary Manager Damon Lockwood
ipads, ipods, cameras and other recording devices are strictly forbidden.
Patrons are requested to switch off mobile phones and watches with digital
alarms prior to commencement of the performance. Latecomers may not
be given access to the auditorium until there is a convenient break in the
program. Smoking is not permitted.
Change of Artist Black Swan reserves the right to withdraw or
substitute artists as necessary.
Privacy Policy Black Swan respects the privacy of individuals in
accordance with the Privacy Act.
28
I n 2 0 1 3 t h e a r t i s t i c C o m pa n y i n cl u d e s :
The Motherf**ker
with the Hat
Men’s Tailor
Cathryn Ashton
Set & Costume
Designer
Associate Lighting
Designer
Kyle Bockmann
Milliner
Tracy Grant Lord
Susi Rigg
Lighting Designer
Matthew Marshall
Costume Designer
Wig Maker & Hair
Consultant
Composer
Sound Designer
Wardrobe Assistants
Stage Manager
Assistant Director
Wardrobe Assistant/
Dresser
Assistant Stage
Manager
Movement Director
Set Construction
Artsworkshop
Wardrobe Assistant/
Dresser
Sound Designer
James Luscombe
Death of a Salesman
Set Construction
Stage Manager
FEATURING
FEATURING
Fayssal Bazzi,
Austin Castiglione,
Rhoda Lopez,
Kenneth Ransom,
Alison van Reeken
Director
Lexi Hobbs & Rosie Hodge
Adam Mitchell
Set & Costume
Designer
Bryan Woltjen
Lighting Designer
Trent Suidgeest
Michael Maclean
Assistant Stage
Manager
Natasha Deacon
Wardrobe Assistant/
Dresser
Marie Nitschke-McGregor
Set Construction
Artsworkshop
The Importance
of Being Earnest
FEATURING
Virginia Hawdon
Ash Gibson Greig
Lisa McCready
Marie Nitschke-McGregor
Liam Murray
Marie Nitschke-McGregor
Artsworkshop
Austin Castiglione,
Adriane Daff,
Eden Falk,
Luke Hewitt,
Talei Howell-Price,
Josh McConville,
Caroline McKenzie,
Jo Morris,
Ben O’Toole,
Igor Sas,
John Stanton
Other Desert Cities
Director
Assistant Director
Set & Lighting Designer
Set & Costume
Designer
FEATURING
Christina Smith
Costume Designer
Trent Suidgeest
Sound Designer
Tony Brumpton
Stage Manager
Lauren Edwards
Director
Michael Maclean
Kate Cherry
Set Designer
Alicia Clements
Costume Designer
Lynn Ferguson
Lighting Designer
Composer
Stage Manager
Ben Collins
Assistant Stage
Manager
Assistant Stage
Manager
Briana Dunn
Wardrobe Assistant/
Dresser
Liam Murray
Wardrobe Assistant/
Dresser
Stage Manager
Michael Maclean
Assistant Stage
Manager
Emily Stokoe
Wardrobe Assistant/
Dresser
Marie Nitschke-McGregor
Set Construction
FEATURING
Set Design Concept
Lynn Ferguson
Chrissie Parrott
Director
Adriane Daff,
Jenny Davis,
Rebecca Davis,
Stuart Halusz,
Michael Loney,
Pete Rowsthorn,
Scott Sheridan,
Pauline Whyman
Alicia Clements
Emily McLean
Artsworkshop
Emily McLean
Trent Suidgeest
Ben Collins
Janet Andrewartha,
Conrad Coleby,
Robert Coleby,
Rebecca Davis,
Vivienne Garrett
Kate Cherry
Adam Mitchell
Fiona Bruce
Marie Nitschke-McGregor
Lexie Hobbs
Midsummer
[a play with songs]
Brendan Hanson,
Claire van der Boom
Director
Damon Lockwood
Set & Costume
Designer
Fiona Bruce
Lighting Designer
Trent Suidgeest
Musical Director/
Sound Designer
Ben Collins
Stage Manager
Michael Maclean
Assistant Stage
Manager
Georgia Landre-Ord
Wardrobe Assistant/
Dresser
Lighting Designer
Marie Nitschke-McGregor
Wardrobe Assistants
Set Construction
Sound Composer
Jessica Roche,
Rosie Hodge
Artsworkshop
Set Construction
Vocal Coach
Set Construction
Shrine
Production
Trent Suidgeest
Ash Gibson Greig
Julia Moody
Movement Coach
Lisa Scott-Murphy
Design Liaison
Lauren Ross
Assistant Director
Damon Lockwood
Stage Manager
Erin Coubrough
Assistant Stage
Manager
Georgia Landre-Ord
Artsworkshop
FEATURING
Paul Ashcroft,
John Howard,
Luke McMahon,
Sarah McNeill,
Will McNeill,
Whitney Richards
Day One, A Hotel,
Evening
FEATURING
Jacob Allan
Humphrey Bower,
Matt Dyktynski
Michelle Fornasier,
Roz Hammond,
Claire Lovering
Director
Kate Cherry
Set & Lighting Designer
Trent Suidgeest
Director
Peter Houghton
29
Marie Nitschke-McGregor
Artsworkshop
Kim Westbrook (Driver)
Rohan Best
Ruby Smedley
Boyd Midgley
Artsworkshop
Ian Parsons (Director)
Rod Jones (Director)
Les Hickford
Alison Little
Marek Szyler
B l ac k Swa n Stat e T h e at r e Co m pa n y g r at e f u l ly
Principal Partner
Government Partners
Black Swan State Theatre Company is
assisted by the Australian Government
through the Australia Council, its arts
funding and advisory body.
Staging Partner
Cast Partner
Opening Night Partner
R
Associate Partners
The Importance of
Being Earnest
Death of a
Salesman
Day One, A Hotel,
Evening
Season Partners
Regional Partner
Wine Partner
Airline Partner
Sparkling Wine Partner
Print Media PartnerR
Beer Partner
30
Hospitality Partner
ac k n ow l e d g e s t h e s u p p o rt o f o u r pa r t n e r s :
Production Partners
Production &
Regional Partner
The Importance of
Being Earnest
Death of a
Salesman
Day One, A Hotel,
Evening
Associate & Regional Partner
Other Desert
Cities
Shrine
Radio Partner
Technology Partner
Foundation PartnersDesign Partner
McCusker Charitable
Foundation
31
Shrine
Another world
premiere of a Western
Australian story.
15 YEARS
OF SUPPORTING
BLACK SWAN STATE
THEATRE COMPANY
Shrine.
Brought to you by