Download twelfth night - Black Swan State Theatre Company

Black Swan State Theatre Company presents
twelfth
night
By william shakespeare
24 july - 8 August theatre
playhouse
Duration approx 2 hours 45 minutes [including interval]
W i n e Pa r t n e r
www.bsstc.com.au
A s s o c i at e Pa r t n e r
P r i n c i pa l Pa r t n e r
Featuring ................................................................ Renée Hale (McIntosh), Stuart Halusz,
Brendan Hanson, Luke Hewitt,
Kirsty Hillhouse, Geoff Kelso, Ingle Knight,
Samantha Murray, Will O’Mahony,
Kelton Pell, Kenneth Ransom, Kazimir Sas,
Steve Turner, Amanda Woodhams
Director................................................................... Roger Hodgman
Set Designer........................................................... Christina Smith
Costume Designer................................................ Alicia Clements
Lighting Designer................................................. Jon Buswell
Composer/Sound Designer.............................. Ash Gibson Greig
Assistant Director.............................................. Stuart Halusz
Fight Director....................................................... Andy Fraser
Casting Director................................................. Annie Murtagh-Monks
Stage Manager...................................................... Hugo Aguilar López
Assistant Stage Manager................................. Nicole Gillespie
Wardrobe Manager............................................. Sacha Mahboub
Wardrobe Assistant/Head Cutter................ Penny Mazzuchelli
Directing Secondment....................................... Gemma Gurney (NIDA)
Daniel Monks
Design Secondment............................................. Lauren Clark (WAAPA)
Stage Management Secondment................... Erin Coubrough (WAAPA)
Stephen Moore (WAAPA)
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Synopsis
This beguiling comedy follows the romantic adventures of Viola and
her identical twin Sebastian, both shipwrecked in the enchanted
dukedom of Illyria. After being washed ashore in Illyria, Viola has
lost contact with Sebastian and believes that he has drowned.
Disguising herself as a young man named Cesario, she gains
employment as a page with Duke Orsino. The Duke sends
“Cesario” to court the beautiful Countess Olivia for him, but when
Olivia falls for “Cesario” instead of Duke Orsino, an intricate love
triangle between Duke Orsino, “Cesario” and Olivia is created
which sets in motion a chaotic chain of events.
Entering into this intricate plot are members of Olivia’s household. Her rowdy drunkard
uncle, Sir Toby; his foolish friend, Sir Andrew, Olivia’s witty and pretty waiting-gentlewoman,
Maria, and Feste, the clever clown of the house. Together they conspire against Malvolio, the
pompous steward who always attempts to spoil their fun, by engineering a practical joke to make
Malvolio think that Olivia is in love with him.
Sebastian reappears, arriving in Illyria with his friend and protector Antonio and they set off for
Orsino’s domain, in spite of the fact that Antonio and Orsino are old enemies. Meanwhile, Sir
Andrew becomes aware that Olivia has fallen in love with “Cesario” and challenges the young
page to a duel. However when Sebastian, who looks just like the disguised Viola appears, a case
of mistaken identity occurs and Sir Andrew and Sir Toby end up coming to blows with Sebastian,
rather than “Cesario”.
Olivia enters amid the confusion and seeing Sebastian she thinks he is “Cesario” and asks him
to marry her. Sebastion is baffled by this proposal, as he has never met Olivia before, but is
willing to go along with it as he can see she is both wealthy and beautiful. To make matters more
complicated, Antonio has been arrested by Orsino’s officers and begs “Cesario” for help, mistaking
him for Sebastian.
The practical joke played on Malvolio
has lead Olivia to believe he is mad and
he has been locked away for treatment.
Kindly, Sir Toby begins to think better
of the joke and a letter is sent to Olivia
asking for Malvolio to be released.
Eventually, all characters meet and
it is revealed that “Cesario” and
Sebastian are two separate people
and the twins are joyfully reunited.
Now that it is known that “Cesario”
is actually a woman, Orsino
realises he loves Viola and asks
her to marry him. The practical
joke played on Malvolio is revealed to him, mistaken
identities are corrected and the happy couples are left to celebrate.
Excerpts taken from: SparkNotes Editors (2003). SparkNote on Twelfth Night. Retrieved July 5, 2010,
from http://www.sparknotes.com/shakespeare/twelfthnight/.
WILLIAM SHAKESPEARE PLAYWRIGHT
William Shakespeare was born in Stratfordupon-Avon, presumably on April 23, 1564.
Church records from the Holy Trinity Church
indicate that he was baptized there on April
26, 1564. Young William was born of John
Shakespeare, a glover and leather merchant
and Mary Arden, a landed local heiress.
It was documented that Shakespeare was
married to Anne Hathaway on November 28,
1582. William was 18 at the time and Anne
was 26 - and pregnant. Their first daughter,
Susanna, was born on May 26, 1583. The
couple later had twins, Hamnet and Judith,
born February 2, 1585. Hamnet died in
childhood at the age of 11, on August 11,
1596.
Shakespeare produced most of his known
work between 1589 and 1613. His early plays
were mainly comedies and histories, genres
he raised to the peak of sophistication and
artistry by the end of the sixteenth century.
He then wrote mainly tragedies until about
1608, including Hamlet, King Lear and
Macbeth, which are considered some of the
finest works in the English language. In his
last phase, he wrote tragicomedies, also
known as romances, and collaborated with
other playwrights. Many of his plays were
published in editions of varying quality and
accuracy during his lifetime. In 1623, two of
his former theatrical colleagues published the
First Folio, a collected edition of his
dramatic works that included all but
two of the plays now recognised as
Shakespeare’s.
Shakespeare wrote his will in 1611,
bequeathing his properties to his
daughter Susanna (married in 1607
to Dr. John Hall). To his surviving
daughter Judith, he left £300 and to
his wife Anne left, “my second best
bed.” William Shakespeare allegedly
died on his birthday, April 23, 1616.
This is
probably more
of a romantic
myth than
reality, but
Shakespeare
was interred
at Holy
Trinity in
Stratford
on April 25,
1616.
Shakespeare’s company
was the most successful in London in his
day. Never before had a playwright enjoyed
sufficient acclaim to see his works published
and sold as popular literature in the midst
of his career. In addition, Shakespeare’s
ownership share in both the theatrical
company and the Globe itself made him as
much an entrepreneur as an artist.
William Shakespeare’s legacy is a body of
work that will never be equalled in Western
civilisation. His words have endured for 400
years, and still reach across the centuries as
powerfully as ever.
Information courtesy of Pressley, J. M., Shakespeare
Resource Center, June 6, 2010, http://www.bardweb.
net/man.html.
ROGER HODGMAN DIRECTOR
Black Swan: The Memory
of Water, Closer, Art,
Copenhagen, Private
Lives (Melbourne Theatre
Company’s touring
production). Other Theatre: Roger has
directed numerous productions for Melbourne
Theatre Company, Vancouver Playhouse,
Shaw Festival (Canada), Sydney Theatre
Company, Queensland Theatre Company,
State Theatre Company of South Australia,
The Production Company, IMG, Victorian
Opera, NZ Opera, Queensland Opera and
Oz Opera. Plays: Numerous productions
of a range of plays. Musicals: She Loves
Me, Guys and Dolls, Annie Get Your Gun,
Kiss Me Kate, Thoroughly Modern Millie,
The Gilbert and Sullivan Show, Follies, She
Loves Me, Wonderful Town, Respect, Dirty
Rotten Scoundrels. Opera: Rigoletto, La
Cenerentola, Xerxes. TV: Lockie Leonard,
The Secret Life of Us, MDA, Holly’s Heroes,
Wicked Science, CrashBurn, White Collar
Blue, Blue Heelers, Stingers, Stepfather of
the Bride, Elephant Princess, City Homicide.
Positions: Roger began his career with the
ABC, where he directed a range of programs.
He worked in England and Canada between
1971-1983 where he taught acting at
East 15 Drama School and the Vancouver
Playhouse Acting School, conducted acting
workshops, taught university and directed
numerous theatre productions. He held the
position of Artistic Director of the Vancouver
Playhouse for three years. A highlight of
his time in Vancouver was working closely
with Tennessee Williams on two premieres
of Williams’ plays. In 1983 Roger became
Dean of the School of Drama at the Victorian
College of the Arts. In 1988, he was appointed
the Artistic Director of Melbourne Theatre
Company. Among the over fifty productions
he directed for Melbourne Theatre Company,
highlights included a series of modern dress
Shakespeare and four critically acclaimed
productions of Stephen Sondheim musicals.
He left Melbourne Theatre Company in 1999
and has since conducted a busy freelance
career directing plays, operas, musicals and
numerous TV dramas in Canada and New
Zealand as well as throughout Australia.
Awards: Roger received two Green Room
Awards for Best Director for Who’s Afraid of
Virginia Woolf? and A Little Night Music, the
Sydney Theatre Critics Awards for Best Music
Theatre Production for Sweeney Todd and the
Silver Bear for Best Telemovie at Chicago Film
festival for Stepfather of the Bride.
A NOTE FROM THE DIRECTOR
Twelfth Night is one of Shakespeare’s
most performed and loved plays and for
good reason. I was delighted to accept
Kate Cherry’s offer to have another go
at it. I’ve admired Black Swan from its
birth nineteen years ago and enjoyed
the other productions I’ve done for
the Company. One of the greatest
pleasures is to work with a number of
Perth’s talented acting community.
The play’s subtitle What You Will gives
some clue to the number of possibilities
in approaching it. It has scenes of great
romanticism, others of high and low comedy,
melancholic songs and very dark aspects as
well. No one production can fully exploit all
these elements but we hope to touch on all
of them. Most of the characters of the play
begin their journey in a state of unhappiness
or sadness. The two great houses of Illyria
are in a dysfunctional state – the one being
dominated by the Duke (or Count) Orsino’s
obsessive and hopeless love for the wealthy
Olivia. She in turn is obsessively mourning
her dead father and brother and presides over
a house with little joy. Into this world comes
an adventurous young woman, Viola, herself
mourning the recent probable drowning of her
twin brother. By the end of the play most of
the characters have found peace of mind and
happiness – at least, as a cast member said
on our first rehearsal day, the good characters
are happy! A couple of the others are not.
An early task in approaching a play by
Shakespeare is to consider its setting and
costuming. In his day there was a more or less
bare stage with a couple of doors and maybe
an upper level. Props were minimal. The
audience was asked to use its imagination,
helped of course by the brilliant images in his
writing. Our Set Designer Christina Smith and
I decided very early on that we would follow
this approach, with a very simple space to
create, with the cast, an imaginary world in
which the play could take place.
There are subtle references to the sea coast
nearby and to Elizabethan England.
The ‘costumes’ in the Elizabethan theatre
were the clothes of the day, probably handed
down from great aristocratic houses and
almost certainly having no reference to place
and time. The audience recognised aspects
of the character from the clothes they wore
and this practice of costuming the plays
with clothes contemporary to the particular
production continued to the early nineteenth
century. It’s a practice Alicia Clements, our
Costume Designer, has adopted for this
production.
The play is set in Illyria, a place on the Adriatic
coast. I think it’s fair to say Shakespeare knew
no more about Illyria than we do, possibly
choosing it for its similarity to the word
‘Elysium’ and the pleasing sound (not that
far from his key female characters Viola and
Olivia). Many of the references in the play are
to Elizabethan places and habits and I have
no doubt that the Elizabethan audience felt
they were seeing people and behaviour that
they recognised. I hope you do too.
Roger Hodgman
Black Swan’s 1991 production
of Twelfth Night
Front cover to the 1991
Twelfth Night programme
1991 Twelfth Night poster
Black Swan’s production
of Twelfth Night, 1991
Black Swan’s production
of Twelfth Night, 1991
Shakespeare’s Development of the English Language
The most striking feature of any of Shakespeare’s work is his command of language. His effect
on the development of the Early Modern English language is unsurpassed. Without even being
aware, our everyday speech is full of words and phrases invented by Shakespeare. It is all the
more astounding when we not only consider Shakespeare’s sparse formal education but also the
limited curriculum available to Shakespeare in his time.
In spite of these factors, Shakespeare is credited by the Oxford English Dictionary with the
introduction of nearly 3,000 words into the language. His vocabulary, as collected from his works,
numbers upward of 17,000 words.
In Shakespeare’s time, English was wonderfully flexible as a language. Couple this with
Shakespeare writing as a dramatic poet and playwright and you can gather that writers of the
time were able to invent new words and new phrases with great colloquial freedom. It allowed
endless possibilities for Shakespeare in his artistic license.
Shakespeare’s English, in spite of the calamitous cries of high school students everywhere, is
only one linguistic generation removed from that which we speak today. The Elizabethan dialect
slightly differs from Modern English but the principles are relatively the same.
This facility with language and the art with which he employed its usage, is why Shakespeare is
such an enduring writer and his works still remain relevant today.
As if all the words and literary works that Shakespeare produced were not enough, his command
of the English language can be seen in the creation of sayings by putting common words
together. Many of these phrases are still commonly used today:
• all that glitters isn’t gold
• method in his madness
• be all and end all
• mind’s eye
• break the ice
• one fell swoop
• catch a cold
• to thine own self be true
• green eyed monster
• too much of a good thing
• heart of gold
• wear one’s heart on one’s sleeve
Excerpt taken from No Sweat Shakespeare:
http://www.nosweatshakespeare.com/resources/
shakespeare-early-middle-english.htm.
Costume Design for Twelfth Night
Given that Shakespeare can be transported into virtually any time period or
setting, designing the costumes for Twelfth Night allowed me to have a
completely unique kind of artistic freedom. For this production we
have imagined the characters as wealthy jetsetters who inhabit
a resort-like island, in the manner of the French Riviera or
Greek Islands.
Inspired by the specially designed ‘resort’ collections of many high-end
designers, the Count Orsino and Countess Olivia are dressed in the
manner of Armani and Chanel, while the servants, dressed in tennis
whites, have become personal assistants, sports trainers and stylists.
The tightly controlled colour palette reflects the natural environment and
the fabrics are light and breezy in the manner of linens and silk chiffons.
By contrast, the dark eccentricity of the fool, Feste
or Sir Andrew’s stuffy tweed costume highlights
their displacement within this world.
ALICIA CLEMENTS COSTUME DESIGNER
Set Design for Twelfth Night
One of the more potent images that remained with me
upon reading Twelfth Night was that of the shipwreck.
What if Illyria itself was the result of a shipwreck, an island
created by the impact of natural forces upon a man-made environment?
I wondered what a classical ‘set’ would look like, should it find itself
violently wrecked upon the stage of the Playhouse Theatre in Perth.
The idea of a space that was once whole being torn into two parts,
serves not only as distinct parts of the ‘island’ representing Olivia and
Orsino’s houses but also as a metaphor for the separation of the twins
at the start of the play. The sharp and ever present division of the
back wall acts as a constant reminder that the siblings are apart and
‘halved’.
Just like the forces of a storm, there are many
influences that have converged to inspire this design;
Coney island boardwalks,
traditional Elizabethan sets,
the tempestuous brushwork
of Joseph Mallord, William
Turner and the wonderful rope
installations of architect and
designer Luis Longhi are among
many.
CHRISTINA SMITH
SET DESIGNER
RENÉE HALE (Mcintosh) Valentine
Black Swan: Who’s Afraid of Virginia Woolf?, Honour, Uncle Vanya, Educating Rita.
Other Theatre: Black Swan/Happy Dagger Theatre: Cyrano de Bergerac. ThinIce/
Sydney Theatre Company: The Duel. Happy Dagger Theatre: The York Crucifixion,
Oleanna. Perth Theatre Company: Charitable Intent, Amadeus, The Corporal’s
Wife. Deckchair Theatre: Much Ado About Nothing,The Comedy of Errors. Hole in
The Wall: Long Day’s Journey into Night, Ghosts. Barking Gecko: The Buzz. ThinIce: The Gathering,
Bed. Gossip’s Feast Productions: Construction of the Human Heart. Entropy Productions: Under
Milk Wood. Film: Edgar and Elizabeth, What About James, Exit Strategy, FB Holden, Sleeper. TV:
Wormwood, The Sleepover Club. Positions: Happy Dagger Theatre Producer, PACS Board member.
Other: Renee is a proud member of Equity. Awards: Renée was the 2008 winner of the Member’s
Choice Award for Who’s Afraid of Virginia Woolf?. Training: 2002 WAAPA Graduate.
STUART HALUSZ Fabian/Sea Captain
Black Swan: Much Ado About Nothing, The Memory of Water, Far Away, Who’s
Afraid of Virginia Woolf?. Other Theatre: Red Ryder Productions: Loveplay.
Perth Theatre Company: The Big Picture, Taking Liberty, Marmalade and Egg,
Skin Tight, Noble Rot for Uncut Gems. Deckchair Theatre: The Comedy of Errors,
As You Like It. Shakespeare Globe Centre: King Lear, Sonnet Stroll. Australian
Shakespeare Company: A Midsummer Night’s Dream. Agelink Theatre: Dear Heart, As Ships Pass
By, Here to Stay, Christmas Spirit. Belvoir Street Theatre: Essington Lewis: I Am Work. Performing
Arts Productions: Homme Fatale – The Joey Stefano Story, Lady Chatterley’s Lover, Anne of Green
Gables. Ensemble Theatre: Dags. Downstairs at the Maj: Pinter’s People. TV: Cloudstreet, The
Great Escape, Air Australia, CNNNN, The Secret Life of Us, Blonde, Blue Heelers, Thunderstone,
Big Sky, Fallen Angels. Film: Victim. As Director: Midnite Youth Theatre: Troilus and Cressida.
WA Youth Theatre Company: Romeo and Juliet. Other: Stuart has done extensive narrating for
the Royal Blind Society, Performing Arts Perspectives, Radio Drama for the ABC and narration for
Vision Australia Audio Books among others. Stuart has been a proud member of Equity since 1995.
Awards: Stuart received the 2000 Narrator of the Year Award. Training: Stuart trained at WAAPA.
He has also completed SAFDi Basic Stage Combat and represented Australia at the inaugural
International Artistic Fellowship, Shakespeare’s Globe Theatre, London.
BRENDAN HANSON Curio/Priest
Black Swan: Much Ado About Nothing. Other Theatre: Brainbox Productions:
The Last Five Years, Lebensraum. Deckchair Theatre: Checklist for an Armed
Robber, The Lonely Hearts Club, Twelfth Night, The Comedy of Errors, As You
Like It. Logos Productions: The Spook. Shakespeare Festival NSW: A Midsummer
Night’s Dream. Sydney Theatre Company: Neon Street. Mildura Arts Festival: Water
to Wine. Brainstorm Theatre: Misfits. Agelink Theatre: As Ships Pass By. TV: Air Australia, Under One
Roof. Film: South Pacific. Opera: Opera Australia: Tristan und Isolde. WA Opera: Carmen, Orpheus
in the Underworld, The Magic Flute. Singapore Lyric Opera: Die Fledermaus. Musicals: David Atkins:
Singin’ in the Rain. Cameron Macintosh: Les Miserables. Production Company: Mame, She Loves
Me. Action Theatre, Singapore: Chang & Eng – The Musical. Gordon Frost: Grease. Other: Brendan
is a regular on the Perth cabaret scene and has appeared in Sharing’s Not for Everyone, Who threw
that Jaffa? and Are We There Yet? for the Brainbox Project, Downstairs at the Maj. He toured his
one man show Homeward Bound and Gagged around Australia in 2000. Brendan has been a proud
member of Equity since 1990. Training: WAAPA graduate.
LUKE HEWITT Sir Toby Belch
Black Swan: Much Ado About Nothing, Red Dog, One Destiny. Other Theatre:
Black Swan/Happy Dagger Theatre: Cyrano de Bergerac. Perth Theatre
Company: Speed-the-Plow, Face to Face, Milk and Honey. Deckchair Theatre:
Krakouer!, Wonderlands, Twelfth Night, Much Ado About Nothing, A Midsummer
Night’s Dream, Romeo and Juliet. kompany M: Bone Dry, Tours of the Gun,
Roadtrain. Sydney Theatre Company: One Day in ’67. Yirra Yaakin: One Day in ’67, King Hit. EHJ
Productions: Twelfth Night, Much Ado About Nothing, The Taming of the Shrew, Romeo and Juliet,
The Wind in the Willows. Jedda Productions: Windows. Make a Mile Productions: Road Train. Mark
Turton: Strong Left Hand. White Crow Productions: Bombs and Suitcases. The Blue Room: The
Monkey Bomb, Green Meat is for Takeaways. Handzon Theatre: Chat – The Musical. Shining Wit:
Bouncers. Fairweather Productions: Thermophobia. Hole in the Wall Theatre: A Tuna Christmas.
Swy Theatre: 1959 Pink Thunderbird Convertible. TV: Pipe Dreams, Streetsmartz, Parallax, Shark
Net, Bush Patrol, Ship to Shore, The Copopple. Film: Two Fists One Heart, To Hell and Back, Crush,
Wormwood, Wait Till Your Father Gets Home. Other: Luke is a founding member of kompany M
and has appeared in TV commercials and countless voice-over roles for both TV and radio. Luke
has been a proud member of Equity since 1986.
KIRSTY HILLHOUSE Olivia
Black Swan: Much Ado About Nothing, The Merry-Go-Round in the Sea, Last
Cab to Darwin. Other Theatre: Perth International Arts Festival/Deckchair
Theatre: Grace. Deckchair Theatre: Twelfth Night, Love, Much Ado About
Nothing, A Midsummer Night’s Dream, Hysteria, Romeo and Juliet. Perth
Theatre Company: Talk About the Passion, Tango, The Vagina Monologues,
The Return. Sydney Theatre Company: Gift of the Gorgon. Bell Shakespeare:
Actors at Work (Hamlet, Twelfth Night, Romeo and Juliet, King Lear). Belvoir Street: Girls Night
Out, GNO Reprieve. Perth International Arts Festival: Dennis Cleaveland. Porkchop Productions:
Night of the Seamonkey, Wank. Australian Shakespeare Company: Twelfth Night. Effie Crump
Theatre: Irish Stew. Shakespeare in the Vineyards: A Midsummer Night’s Dream. Theatre of Plants:
Linnaeus Prince of Flowers. TV: Cloudstreet, The Circuit I, The Circuit II, The Sleepover Club,
Foreign Exchange, Water Rats, GP, E Street. Radio: The Return. Kirsty also has an established
career as a voice over artist. As Movement Designer: Black Swan/Porkchop Productions: Ruby’s
Last Dollar. As Director: Delira Productions/Perth Theatre Company: The Haunting of Daniel
Gartrell. Other: Kirsty has worked extensively in physical theatre performance, choreography
and stunt coordination, working with Legs on The Wall, NIDA, Bell Shakespeare, Xena, Porkchop
Productions, Two Planks and a Passion, Icarus Stilt Theatre, Black Swan and Deckchair Theatre
among others. She has made four animated multi-path movies for CD Rom and worked as a
director and dramaturge. She has initiated and run several performance companies, developing
new performance in alternative performance spaces. These companies have performed for Sydney
Festival, Canberra Festival, Floriade Festival, Powerhouse Museum and Natural Museum. The
performances included installation work, aerial performance, musicals, interactive performance and
cabaret. Kirsty represented Australia in ‘new performance’ at the Istrapolitana Project in Bratislava
and the World Theatre Training Festival in USA in 1992. Kirsty has been a proud member of Equity
since 1992.
GEOFF KELSO Malvolio
Black Swan: Much Ado About Nothing, The Memory of Water, Jandamarra,
Accidental Death of an Anarchist, Uncle Vanya, Art, Copenhagen, Welcome to
Broome, The Floating World, Waiting for Godot, Sister Girl, Twelfth Night. Other
Theatre: The Pinjarra Project: Bidenjarreb Pinjarra (touring Australia since 1994).
Sydney Theatre Company: Ying Tong: A Walk with the Goons, Democracy.
Company B: As You Like It, Up the Road, Dead Heart, The Royal Commission into
the Australian Economy. Perth Theatre Company: Shadow of the Eagle, Soulmates, Brilliant Lies.
State Theatre Company of Western Australia: Model Citizen, The Country Wife. Hole in the Wall
Theatre: The Recruiting Officer, Our Country’s Good, Seasons Greetings. Opera: Opera Australia:
Die Fledermaus. TV: Cloudstreet, Murder in 3 Acts, Sharknet, Streetsmartz, Ship to Shore, Bush
Patrol, The Gillies Report, Good News Week, A Country Practice, Rafferty’s Rules. Other: This is the
second time Geoff has played Malvolio for Black Swan. The first time was in Black Swan’s inaugural
production of Twelfth Night alongside Kelton Pell in 1991. Geoff has been a proud member of
Equity since 1976. Awards: Geoff won the 2003 Best Actor WA Equity Award for Shadow of the
Eagle, the 1991 Swan Gold Award for Best Actor for Twelfth Night and the 1977 National Theatre
Awards for Best Actor WA and Best New Talent WA.
INGLE KNIGHT Sir Andrew Aguecheek
Black Swan: Uncle Vanya, The Crucible, Educating Rita. Other Theatre: Perth
Theatre Company: The Matchmaker, Amadeus, Silly Cow, Dead Funny, Hedda
Gabler, Under Milkwood, Crystal Clear, Cheapside, Gasping. Barking Gecko: Alice in
Wonderland, Don Quixote, The Emperor’s New Clothes, Golden Valley. Including the
above, Ingle has appeared in over 40 professional theatre productions. Film: Under
the Lighthouse, Dancing, Two Fists One Heart. TV: Wormwood, The Sleepover Club,
Ship to Shore, Prisoner, Neighbours. As Writer: Ingle has had more than thirty of his plays, musicals
and films produced for theatre, radio and television. Other: Ingle has written and performed two solo
shows, The Getaway Bus and The Exploding Breakfast, both of which have received national and
international tours. Awards: In 2009 Ingle won a WA Equity Guild Award for Best New Play for his script,
Taking Liberty. In 2000, Ingle received the WA Fringe Best Drama Award for The Getaway Bus. In 2003
Ingle’s script Shadow of the Eagle received the Best Play of the Year Award at the WA Equity Awards.
He also won the 1999 Premier’s Award for Best Script for Milk and Honey.
SAMANTHA MURRAY Maria
Black Swan: The Lady Aoi, Proof, A Man with Five Children, Meekatharra.
Other Theatre: The Blue Room: October. Deckchair Theatre: Wonderlands,
Shakespeare in the Park (Twelfth Night, A Midsummer Night’s Dream, Romeo
& Juliet), Too Far to Walk. Steamworks/Deckchair Theatre: The Danger Age.
Perth International Arts Festival/ThinIce: Antigone. Perth Theatre Company: The
Turning, The Heidi Chronicles. Prickly Pear Ensemble: Tough Love. Film: Needle,
All the Way, Love in Limbo, Holy Smoke, The Director, Little Man, My Shout. TV: 3 Acts of Murder,
MDA, A Country Practice, Creative Spirits. Other: Samantha is a founding member of Southern
Edge Arts and a proud member of Equity.
WILL O’MAHONY Sebastian
Black Swan: The HotBed Ensemble: pool (no water), The Dark Room. Other
Theatre: Perth Theatre Company: The Haunting of Daniel Gartrell. Shakespeare
WA: The Taming of the Shrew, A Midsummer Night’s Dream. Riverside Theatre:
Shakespeare’s R&J. Other: Will is a proud member of Equity. Training: Will graduated
from Acting at WAAPA in 2007 and has returned this year to study Directing.
KELTON PELL Antonio
Black Swan: Jandamarra, The Island, Cosi (2000 & 1995 productions), Welcome
to Broome, Dead Heart, Waiting for Godot, Tourmaline, Twelfth Night. Other
Theatre: The Pinjarra Project: Bidenjarreb Pinjarra (touring Australia since 1994).
Urban Theatre Projects: The Fence. State Opera of South Australia: Ingkata.
Deckchair Theatre: Strategy for Two Hams, The Removalists, King for this Place,
The Silent Years. Yirra Yaakin: Inside Out, Solid, Cruel Wild Woman, Runumuk,
King Hit. South Australian Theatre Company: Crow. Swy Theatre: Wild Cat Falling. Kelton has also
appeared in No Sugar, Honey Spot, Barungin, The Dreamers, First Born Trilogy and Our Town.
TV: Cloudstreet, The Circuit II, Bush Patrol. Film: Mad Bastards, Aunty Maggie and the Womba
Wagkun, The Last Ride, Bran Nue Dae, Stone Bros, September, Cold Turkey, Confessions of a
Headhunter, Where Two Rivers Meet, Australian Rules, One Night the Moon, Blackfellas. Other: This
is the second time Kelton has performed Twelfth Night for Black Swan. The first time was in Black
Swan’s inaugural production of Twelfth Night alongside Geoff Kelso in 1991. Awards: Kelton won
the Contemporary Performing Arts Award for Best Collaboration in 1996, the Swan Gold Award for
Best West Australian Actor in 1994 and the WA Aboriginal Artist of the Year Award in 1991.
KENNETH RANSOM Orsino
Black Swan: The Sapphires, Much Ado About Nothing. Other Theatre: Ensemble
Theatre: McReele. Company B Belvoir: Stuff Happens. Queensland Theatre
Company: The Female of the Species. Melbourne Theatre Company: Boy Gets
Girl, Take Me Out, Metamorphoses, Twelfth Night, Measure for Measure, The
Duchess of Malfi, Macbeth, Hamlet Explorations. Shakespeare & Co: As You
Like It, The Tempest, Julius Caesar, A Midsummer Night’s Dream, The Comedy of Errors. Mark
Taper Forum: Julius Caesar, Life Without Men. Opera and Musical Theatre: Opera Australia: The
Abduction from the Seraglio. Theatreworks: Rigoletto. TV: Nightmares & Dreamscapes, Scooter
Secret Agent, Code 1114, Counterstrike, The Secret Life of Us, Border Patrol, Crash Zone,
Backberner, China Beach, Hotel, Fame. Film: Voodoo Lagoon, Crocodile Hunter – Collision Course,
Crocodile Dundee in LA, Dead End, There Goes My Baby. Other: Kenneth has been a proud
member of Equity since 1996.
KAZIMIR SAS Court Male/Police Officer 2
Black Swan: The HotBed Ensemble: pool (no water), The Dark Room. TV: Storm
World, Time Trackers, All Saints, The Alice, Parallax, The Shark Net, The Gift. Film:
Teesh and Trude. As Writer/Director: Film: Little Charmer. Other: Kazimir is a
proud member of Equity.
STEVE TURNER Feste
Black Swan: Much Ado About Nothing, The Glass Menagerie, The Crucible,
The Carnivores. Other Theatre: Black Swan/Happy Dagger Theatre: Cyrano
de Bergerac. Perth Theatre Company: Speed-the-Plow, The Turning, Tango,
Talk About The Passion, Relatively Speaking, Italian American Reconciliation.
Deckchair Theatre: Grace, Much Ado About Nothing, The Comedy of Errors,
Twelfth Night, Bell in the Storm. kompany M: The Gun, Luv Struk, Bone Dry, Road Train, Jeepers
Creepers. The Blue Room: October, Killer Joe. Positions: Steve is a founding member of kompany
M. Other: Steve has been a proud member of Equity since 1987. Awards: Steve won the 2001
WA Equity Guild Award for Best Actor for To Whom It May Concern and the 2002 WA Equity Guild
Award for Best Actor for Below. In 2007 Steve was given WA Equity Guild Award Members Choice
for The Crucible.
AMANDA WOODHAMS Viola
Black Swan: The HotBed Ensemble: Portraits of Modern Evil, The Caucasian
Chalk Circle. Other Theatre: Black Swan/HotHouse Theatre: The Web. The Blue
Room/This One Show Productions: Motortown. Film: Goodbye Cruel World,
The Toll. TV: Cloudstreet (in the role of Red Lamb), Stormworld. Other: Amanda
is a Board Member of WA Youth Theatre Company. She recently worked as the
Assistant Director on WA Youth Theatre Company’s production DNA. Awards: Amanda received
the 2008 Actor’s Equity Award for Best Newcomer. Amanda would like to dedicate her performance
to Maggie Anketell, her first acting mentor at age 11.
CHRISTINA SMITH SET DESIGNER
As Set and Costume Designer: Black Swan: The Swimming Club, Much Ado
About Nothing, The Year of Magical Thinking. Other Theatre: Melbourne Theatre
Company: Blackbird, Who’s Afraid of Virginia Woolf?, The Clean House, Things
We Do For Love, The Daylight Atheist, Honour. Frank Woodley/Token Events:
Possessed. Queensland Theatre Company: The Female of the Species. Sydney
Theatre Company: Troupers. Jim McPherson Inc: Respect. Belvoir St/Malthouse Theatre: Black
Medea. Bell Shakespeare: The Two Gentlemen of Verona. Victorian Opera: The Turn of the Screw.
Cosi Fan Tutte. Ilbijerri Aboriginal and Torres Strait Islander Theatre Company: Rainbow’s End.
Playbox: Julia 3, Ruby Moon, Svetlana in Slingbacks, Post Felicity, Inside 01. Red Stitch: Jesus
Hopped the A Train. Store Room: A Poor Student. La Mama: The Babe, She, Believe Me Oscar Wilde.
Neonheart Theatre: The Eskimo. As Costume Designer: Black Swan: Blackrock. Other Theatre:
Melbourne Theatre Company: Realism, Humble Boy, Proof, Sweet Bird of Youth, Three Days of
Rain. The Australian Ballet: Personal Best. Victorian Opera: Don Giovanni. West Australian Ballet:
The Nutcracker. As Set Designer: The Hoist: The Government Inspector. La Mama: The Barbeque.
Melbourne Theatre Company: Boy Gets Girl. Other: In addition to her theatre work, Christina’s other
projects include the design of the scenic elements for the Tim Burton exhibition at ACMI, the redesign
of the Circa theatrette installation at the National Museum of Australia, and the 2006 Commonwealth
Games Opening and Closing Ceremonies (as part of the design team). Awards: Christina was
awarded the 2005 Green Room Award in theatre design for her work on Honour, The Daylight Atheist
and Julia 3. Training: Christina studied Set and Costume Design at WAAPA, where she was the
recipient of the Town and Country Scholarship.
ALICIA CLEMENTS COSTUME DESIGNER
Black Swan: The Clean House. The Hotbed Ensemble: pool (no water), The
Dark Room. As Set and Costume Designer: Steps Youth Dance Company:
Powdermonkey. As Costume Designer: Deckchair Theatre: Krakouer!. Onward
Production: Singular Women. As Set Designer: John Curtin College of the
Arts: The King and I. As Assistant Designer: Deckchair Theatre: Checklist for
an Armed Robber, The Lonely Hearts Club. Awards: Alicia received the David Hough Award for
Outstanding Achievement in 2008 at WAAPA. Training: Alicia graduated from WAAPA in 2008.
JON BUSWELL
LIGHTING DESIGNER
Black Swan: The Glass Menagerie, The Female of the Species. Other Theatre
(Australia): Melbourne Theatre Company: All My Sons, The Clean House, Ray’s
Tempest, Cheech, Boy Gets Girl, Things We Do for Love, The Glass Menagerie,
Love Song, The 39 Steps. Sydney Theatre Company: A Midsummer Night’s
Dream. Tinderbox Productions: Talking Heads. Theatre (Britain): Royal Exchange
Theatre, Manchester: Twelfth Night, Sherlock Holmes in Trouble, A Midsummer Night’s Dream, Port.
Theatre Royal Haymarket, London: Lady Windermere’s Fan, The Royal Family. Chichester Festival
Theatre: Stairs to the Roof, The Accrington Pals, Wild Orchids, The Coffee House. Apollo Theatre:
My Brilliant Divorce. Lyric Theatre: Al Murray – Who Dares Wins. Ballet: West Australian Ballet: La
Bohème, Ballet at the Quarry, The Nutcracker, Ballet at the Regal. The Australian Ballet: Raymonda,
Constant Variants, Symphonie Fantastique, Interplay. Royal New Zealand Ballet: Giselle, Swan Lake,
Don Quixote. Opera: Victorian Opera: Cosi Fan Tutte, The Coronation of Poppea. Lyric Opera of
Chicago: Otello. The Royal College of Music: Gianni Schicchi, Oedipus Rex, Die Zauberflöte.
ASH GIBSON GREIG COMPOSER/SOUND DESIGNER
Black Swan: The Clean House, Much Ado About Nothing, The Memory of Water,
The Messiah, Accidental Death of an Anarchist, The Lady Aoi. Other Theatre:
ThinIce: Red Shoes, Bed, The Gathering, The Visit. Barking Gecko: Gogo Fish, The
Troll from the Bowl, Hidden Dragons, The Feather Surfers. Tinderbox Productions:
Talking Heads. TV: Who Do You Think You Are?, Skippy: Australia’s First Superstar,
A Royal Romance, Desperately Seeking Doctor, Time Trackers, Great Escape: The Reckoning, Stress
Buster, Marx & Venus, Death of the Megabeasts, Gallipoli’s Submarine, Saving Andrew Mallard. Film:
No Through Road, Plum Role, The Actress, Iron Bird. Awards: Ash won the 2009 WA Screen Award for
Excellence in Craft - Music Composition. In 2007 Ash was the recipient of the APRA/Australian Guild of
Screen Composers Award for Best Music for a Short Film for Iron Bird.
THANK YOU
Black Swan State Theatre Company would like to thank Brian Heller and The Arts
Angels, Geoff Bickford and Dessein, Cathy Penglis, Artsworkshop, WAAPA, Louise
Grimshaw, Jenny Poh, Scott Fussell, Lance Robinson and Jennifer and Sean Friend.
Black Swan greatly appreciates the help of Bradricks Boxing Club and
Bang & Olufsen in providing props for Twelfth Night.
Black Swan would also like to thank Garry Snowdon and the Playhouse
Theatre staff for their generous support and assistance during 2010.
ABOUT BLACK SWAN STATE THEATRE COMPANY
Black Swan State Theatre Company is Western Australia’s Flagship Theatre
Company and one of Australia’s foremost theatre companies.
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) and The Odyssey.
As State Flagship Theatre Company, Black Swan presents a broad ranging programme including
the creation of new work, contemporary international works and reinterpretations of classic
plays that reflects life in Western Australia. Our vision is for Black Swan to be at the forefront
of Australian theatre, earning critical acclaim, attracting capacity audiences and offering our
diverse community rich, meaningful theatre experiences. Black Swan aims to produce theatre of
exceptional quality that celebrates life, while entertaining and enriching the hearts and minds of
Australians.
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 a professional development
program for emerging Western Australian artists, The HotBed Ensemble (supported by the RAC).
Both the Rio Tinto Black Swan Commissions and The HotBed Ensemble are initiatives that are
unique amongst Australian state theatre companies. Black Swan State Theatre Company will be
the Resident Company in the new State Theatre Centre of Western Australia, to open in late 2010.
Black Swan’s 2010 season consists of five mainhouse productions. Twelfth Night follows Sarah
Ruhl’s magical realism play, The Clean House, the world premiere of Hannie Rayson’s new work
The Swimming Club and the hugely successful musical The Sapphires by Tony Briggs. Our
season concludes with J.T. Rogers’ Madagascar.
Black Swan’s HOTBED ENSEMBLE
the hotbed ensemble
The HotBed Ensemble is Black Swan State Theatre Company’s professional
development program for emerging Western Australian artists. It was initiated to
provide a bridge to mainstage work for talented theatre artists making their mark
in the independent theatre scene or recently graduated from training.
In partnership with the RAC, the program includes exclusive training and
mentoring opportunities, close contact with Black Swan artists and creative opportunities in
HotBed productions. There is also the opportunity to be involved in play readings, secondments
to Black Swan State Theatre Company mainhouse productions and exclusive master classes
with national and international visiting artists. As artists of the future, the Ensemble also keeps
Black Swan in touch with new ideas and trends in the performing arts.
The HotBed Ensemble presented their first production for 2010 at the Perth Institute of
Contemporary Arts, with Neil LaBute’s successful and savage play, The Shape of Things.
Following this is Yellow Moon: The Ballad of Leila and Lee by David Greig, a gritty contemporary
tale of young love, looming tragedy and the unexpected, performing from 6-22 August 2010.
The HotBed Ensemble receives support in memory of Bern Ranford.
RIO TINTO BLACK SWAN COMMISSIONS
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. Black Swan aspires to create beautifully
crafted stories that matter to Western Australians and are seen throughout Australia.
Our brand of dynamic contemporary theatre aspires to promote Western Australian
theatre artists as an integral part of the national cultural agenda through co-productions, tours and
the creation of new work. Our commissioning program enables us to contribute to the national canon
through plays we have developed and produced at Black Swan State Theatre Company.
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. The new work that is created through the
commissioning program takes various forms. Sometimes writers are offered a commission because we
would like to see how they intend to develop an idea that intrigues us or because we would like to foster
an ongoing relationship with the playwright and we want them to continue writing.
Occasionally, Black Swan offers a substantial commission to a writer of national stature to deliver a
script that we are convinced, based on the writer’s track record, will go straight to the main stage. The
most recent result of that is our production, The Swimming Club by Hannie Rayson. When I heard about
Hannie’s vision for this play, I knew we had to commission her to write it and I hope you were as pleased
with the result and we were!
Black Swan’s commission of Kate Mulvany resulted in the production of The Web in 2009. Writers
currently under commission include Reg Cribb, Matt Dyktynski, Aiden Fennessy, Hilary Bell and Bill
McCluskey. We look forward to sharing the fruits of their work with you, now and over the coming years!
Kate Cherry
entertainer
er
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madaGAsCAR
By J.T. Rogers
“A subtle and haunting piece...
powerfully captures how little
we know about those we love”
The Telegraph
In the haunting tale of an unsolved
disappearance that forever alters three lives,
each individual story unfolds at different
points in time in the same hotel room in
Rome. Unravel the mystery of Madagascar
as the stories weave back and forth to form
one gripping tale of love and loss.
23 October - 7 November
Playhouse theatre
Book Now! Tickets are available through BOCS Ticketing
on 9484 1133 or www.bocsticketing.com.au
“An engaging journey of selfdiscovery with a dark heart...
an intricate and beutifully paced
account of a love affair on the run”
The Guardian
yellow moon
The Ballad of Leila and Lee
By David Greig
A gritty, contemporary tale of young love,
looming tragedy and the unexpected.
Two teenagers from opposite worlds
never meant to get mixed up in murder,
but now they are on the run and need
a place to hide. But refuge isn’t always
what it appears to be.
6 - 22 August Pica
Book Now! Tickets are available through BOCS Ticketing on 9484 1133 or
www.bocsticketing.com.au and PICA on 9228 6300 or www.pica.org.au
Black Swan’s move into the State Theatre Centre of
Western Australia draws closer
2010 marks a big and exciting change for
Black Swan, as we prepare to move into the
State Theatre Centre of WA. We will take up
residency in the new theatre by the end of
this year, with our first production in the new
theatre slated for early 2011.
Designed by award-winning Kerry Hill
Architects, the State Theatre Centre will be the
centre-piece of the Performing Arts Precinct
in the Perth Cultural Centre. It will feature the
575 seat Heath Ledger Theatre, the 200 seat,
flexible Studio Underground, The Courtyard
- a multi-purpose outdoor event space, two
rehearsal rooms and two flexible use private
suites. With work progressing quickly, here is
the latest update:
• In the Heath Ledger Theatre installation of
the timber cladding is nearing completion.
The upper balcony is under construction
and the orchestra pit lift and removable
apron are complete.
• The flying system has been tested and is
now operational.
• The decorative ceiling to the Bronze Box
is approaching completion along with the
glazing of the box office and the main
theatre.
• External earthworks for the preparation of
landscaping have commenced near The
Courtyard at the James Street entrance.
• The Studio Underground and Rehearsal
Rooms 1 and 2 have had their floors
completed and are structurally finished.
Project Profile: Percent for Art
As part of the WA Government’s Percent for Art Scheme, the State
Theatre Centre will have two unique public artworks. The artwork
commission will reflect the contemporary nature of the architecture
and contribute to the audience experience with the venue.
The first of the artworks is an interactive light installation, “Comets” by
artist Matthew Ngui. The second artwork by Audrey and Arif Satar is
a sound installation that is integrated within the fabric of the building.
Both artworks will engage audience members from the very moment
they enter the venue, building anticipation and telling a story long
before the curtain goes up.
With construction progressing quickly, visit
http://www.statetheatrecentre.dca.wa.gov.au for the latest news.
External image by Kerry Hill Architects. All other images Eva Fernandez.
Private Giving 2010
Founding Patron Janet Holmes à Court AC gives annually to support Black Swan’s commissioning
program and to promote its educational activities, directly assisting young Western Australians. Her
generosity and support over many years is highly appreciated and has provided a platform for the
future development of Black Swan and its giving program.
Creative Development Fund
Our Patron Sally Burton has kindly assisted
us with the establishment gift for the new
Creative Development Fund, aiming to attract
gifts of a minimum of $10,000 over a four year
period. Our aim is to raise $2 million over the
next four years to ensure we are consistently
investing in the theatrical work we produce
for both artists and audiences, ensuring Black
Swan’s sustainability in the long term.
Black Swan wishes to thank the following
individuals, including Black Swan Board
members that have generously committed to
donating to this Fund over the next four years:
Andrew Drayton & Alecia Benzie
Alan Cransberg
Rob McKenzie
Kate O’Hara
Vicki Robinson
Alan Robson AM
Sam & Leanne Walsh
Craig Yaxley
If you are interested in supporting this
future Fund, please contact our Fundraising
Manager, Estelle Hajigabriel on 6389 0311. All
donations over $2 are tax deductible and you
can remain anonymous and/or keep your gift
amount undisclosed. Examples of projects
that require support include:
1. To mentor two West Australian young
designers to work alongside established
designers for a production in 2011
$5,000 per designer.
2. A creative development period for two
current commissions $15,000 per
commission.
3. Puppetry for a future production at the
new State Theatre Centre $20,000.
Black Swan would like to thank the McCusker
Charitable Foundation for their recent
generous gift towards a new program in 2011,
providing the opportunity for emerging artists
to develop their career in Perth, WA.
If you are interested sending a significant
gift to Black Swan or to host your own
private giving event, please contact our
Fundraising Manager, Estelle Hajigabriel
on 08 6389 0311 or email
[email protected].
Encore!
Thank you to the following people who have kindly donated to Black Swan’s giving programme –
Encore!
Encore!
Applause
$10,000
$5,000
Programmed Facility Management
Opening Act
$2,500
First Call
$1,000
Natalie Angliss
Annie Fogarty
Terrie O’Shea
Felicity Bailey
Nicola Forrest
Mimi Packer
Mary Caporale
Janine Goyder
Ingrid Puzey
Linda Coli
Evelyn Hall
Pam Quatermass
Shane Colquhoun
Chris Hedges
Veronique Ramen
Caroline Crabb
Sandy Honey
Marianna Ravlich
Arianne Cullen
Peter Iancov
Stephanie Robson
Libby Dadd
Nicola Iffla
Linda Savage
Joanne Della Maddalena
Linda Kenyon
Sally Savini
Ash Donner
Cathy Leunig
Lisa Telford
Didi Downie
Heather Lyons
Debbie Throsby
Sally Everist
Sallie-Ann Manford
Shareen Traub
Michela Fini
Paul Mar
Becky Vidler
Denise Fisher
Rose Moore
Virginia Ward
Behind The Scenes $500
Kaye Armstrong
Jim & Freda Irenic
Tania Hudson & Damon Ezekiel
Dr Gordon & Nena Johnston
Garnett Skuthorpe
Louise Herron
We would also like to recognise Michael Kiernan for his generous donation to the Encore!
Programme.
Black Swan would like to thank the following individuals who recently sent gifts
between $50 - $499:
Patricia Berridge
Amanda Luke
Cameron Blythe
Ross McLennan
Katherine Cheng
Sandra Napier & Mike Ryan
Stephen Dennis
Jeff Skates
Maggie Down
Flora Smith
Shirley Egan
Margaret McKenna & Brian Webber
Jarrad Seng & Ella Hickman
Anon (8) Encore! gives you the opportunity to help Black Swan deliver high quality productions.
To become part of Encore!, please visit our website at www.bsstc.com.au to make
your donation online or contact us on 6389 0311.
black swan
state theatre
Company
Black Swan State Theatre Company
Box 3232 Broadway PO
Crawley WA 6009
The Playhouse Theatre is managed by
AEG Ogden (Perth) Pty Ltd Venue Manager
for the Perth Theatre Trust Venues
Telephone: (08) 6389 0311
Perth Theatre Trust
Fax: (08) 6289 0322
Chairman Dr Saliba Sassine
Email: [email protected]
Trustees Peter Alexander, Rob Butler, Janet
Web: www.bsstc.com.au or find us on Facebook!
Davidson, Sandra Liu, Jenny McNae, Marian Tye
Founding Patron Janet Holmes à Court AC
Patron Sally Burton
Chair Sam Walsh AO
Trustee/Director General Department
of Culture and the Arts Allanah Lucas
General Manager Alan Ferris
Deputy Chair Andrew Drayton
AEG Ogden (Perth) Pty Ltd
Deputy Chair Duncan Ord
Chief Executive Rodney M Phillips
Treasurer Craig Yaxley
Directors Alan Cransberg, Rob McKenzie, Kate
O’Hara, Vicki Robinson and Prof Alan Robson AM
Playhouse Theatre
General Manager Garry Snowdon
Head Technician Ian Boase
Artistic Director Kate Cherry
Head Mechanist Graeme Mell
General Manager Shane Colquhoun
Office Manager Mandy Allen
Director, The HotBed Ensemble Adam Mitchell
Account/Administrative Assistant
Production Manager Ashley Page
Ma Asuncion (Sonjie) Cortez
Artistic Coordinator Chantelle Iemma
Casting Director Annie Murtagh-Monks
Wardrobe Manager Sacha Mahboub
Finance Manager Amanda Luke
Ticketing & Administration Officers Fleur Hardy
and Nicole Inkster
Education Manager Alena Tompkins
Fundraising Manager Estelle Hajigabriel
Marketing & Sponsorship Manager
Nancy Hackett
Marketing Coordinator Kerry Miller
Marketing Assistant Shona Saxton
Photographer Gary Marsh
Box Office Supervisor
Linda Hutchison (BOCS Ticketing)
For Twelfth Night
Head Technician/Lighting Operator Ian Boase
Head Mechanist Graeme Mell
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 vary advertised programs
and to add, withdraw or substitute artists as necessary.
Cover Image Frances Andrijich
Overseas Representatives
London: Diana Franklin and Yolande Bird
New York: Stuart Thompson
Privacy Policy
Black Swan respects the privacy of individuals in
accordance with the Privacy Act.
2010
Band – Guitar
Andrew Weir
Dramaturg
Michael Cathcart
Directing Secondment
Jeffrey Jay Fowler (NIDA)
Band – Drums
Daniele Di Paola
Voice and Dialect Coach
Leith McPherson
Set Design Secondment
Emma Craig (WAAPA)
Touring Company
Manager
Michael Norman
Voice Consultant
Geraldine Cook
Stage Manager
Rebecca Gibbs
Assistant Stage Manager
Nicole Gillespie
Rehearsal Stage
Manager
Peter Sutherland
the sapphires
Featuring
Aljin Abella
Hollie Andrew
Christine Anu
Jimi Bani
Casey Donovan
Kylie Farmer
Kenneth Ransom
Oliver Wenn
Director
Wesley Enoch
Musical Director
Peter Farnan
Stage Manager
Alyson Brown
Assistant Stage Manager
Natalie Moir
Sound Editor
Ben Collins
Directorial Secondment
Brigid Gallacher
Dresser
Erryn Hanson
Lighting Secondment
Amy Hammond
(Yirra Yaakin)
the clean house
the swimming club
Featuring:
Carol Burns
Vivienne Garrett
Sarah McNeill
Hugh Parker
Brooke Satchwell
twelfth night
Featuring
Renée Hale (McIntosh)
Stuart Halusz
Brendan Hanson
Luke Hewitt
Kirsty Hillhouse
Geoff Kelso
Ingle Knight
Samantha Murray
Will O’Mahony
Kelton Pell
Kenneth Ransom
Kazimir Sas
Steve Turner
Amanda Woodhams
Director
Roger Hodgman
Lighting Designer
Trent Suidgeest
Featuring
Tina Bursill
Caroline Gillmer
Megan Holloway
Sarah McNeill
Nicholas Papademetriou
Igor Sas
John Waters
Choreographer
Tony Bartuccio
Director
Kate Cherry
Lighting Designer
David Murray
Composer
Ash Gibson Greig
Sound Supervisor/
Operator
Tom Brickhill
Set and Costume
Designer
Christina Smith
Composer
Ash Gibson Greig Stage Manager
Hugo Aguilar López
Assistant Director
Kyle Morrison
Lighting Designer
Matt Scott
Choreographer
Claudia Alessi
Assistant Stage Manager
Nicole Gillespie
Assistant Musical
Director/Lead Musician
Simon Burke
Sound Designer/
Composer
Russell Goldsmith
Voice Coach
Julia Moody
Directing Secondmnet
Daniel Monks
Gemma Gurney (NIDA)
Band – Sax
Ben Collins
Movement Director/
Choreographer
Claudia Alessi
Set Designer
Richard Roberts
Costume Designer
Tim Chappel
Director
Kate Cherry
Set Designer
Christina Smith
Set Designer
Andrew Bellchambers
Costume Designer
Alicia Clements
Costume Designer
Alicia Clements
Lighting Designer
Jon Buswell
Stage Manager
Amy Leeder
Assistant Stage Manager
Natalie Moir
Design Secondmnet
Lauren Clark (WAAPA)
Set/Costume Designer
Fiona Bruce
Stage Management
Secondments
Erin Coubrough (WAAPA)
Stephen Moore (WAAPA)
Lighting Designer
Tess Reuvers
the hotbed ensemble
Sound Designer/
Composer
Peter Dawson
Moving Image Designer
Mia Holton
madagascar
Featuring
Rebecca Davis
Greg McNeill
Amanda Muggleton
Movement Director
Claudia Alessi
the shape of things
Director
Kate Cherry
Set and Costume
Designer
Alicia Clements
Lighting Designer
Jon Buswell
Composer
Ben Collins
Stage Manager
Anna Dymitr Hawkes
Assistant Stage Manager
Hugo Aguilar López
yellow moon: the
ballad of leila & lee
Featuring
Austin Castiglione
Adriane Daff
Melanie Munt
Tim Solly
Director
Adam Mitchell
Stage Managers
Genevieve Jones
Hugo Aguilar López
Young Writers Program
Gita Bezard
Eva Bujalka
Chris Isaacs
Daniel Kershaw
Steve McCall
Nathanial Moncrief
Jane Rait
Demelza Rogers
Production
Electrics
Benjamin Davis
Benjamin Fry
Erryn Hanson
Driver
Kim Westbrook
Staging
Alex Giles
Graeme Mell
Brad Rose
Stage Management
Paula Coops
Jennifer Friend
Chris Isaacs
Jason Thelwell
Artsworkshop
Ian Parsons (Director)
Rod Jones (Director)
Les Hickford
Alison Little
Marek Szyler
Wardrobe
Pattern Maker/Head
Cutter
Mandy Elmitt
Penny Mazzuchelli
Machinist
Lyndell Darch
Sandy Mitchell
Costume Beading
Holly Barker
Costumier
Sue Kerr
Wigs
Deanna Nishi
Black Swan State Theatre Company gratefully
acknowledges the support of our Partners:
Principal Partner
Government Partners
Department of
Culture and
the Arts
GOVERNMENT OF
WESTERN AUSTRALIA
Black Swan State Theatre Company is assisted by the Australian Government
through the Australia Council, its arts funding and advisory body.
The Hotbed Ensemble
Production Partner
The Clean House
Madagascar
Associate Partners
The Swimming Club
The Clean House
Twelfth Night
Season Partners
Accommodation Partner
Education Partner
Wine Partner
FRANKLAND
ESTATE
WESTERN
AUSTRALIA
Media Partners
online Partner
Subscriber Incentive Partners
technology Partner
Legal advisors
... part of our extended family
There is nothing more important than family; and ours has really grown after 12
years with the state’s flagship theatre company. We are proud to share stories
from Western Australia through the first of the Rio Tinto Black Swan Commissions
in 2010 and as principal partner look forward to the continued growth of our family.
www.ciwa.riotinto.com.