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BLACK SWAN THEATRE COMPANY We gratefully acknowledge the support of our partners. Principal Partner: Black Swan Theatre Company PO Box 3232 Broadway PO Crawley WA 6009 Telephone: (08) 6389 0311 Fax: (08) 6389 0322 Email: [email protected] Web: www.bstc.com.au Blog: www.myspace.com/blackswantheatre Founding Patron – Janet Holmes à Court Honorary Patrons – Marcus Graham, Jill Perryman, Ningali Lawford-Wolf Chair – Richard Duldig Treasurer – Tony Douglas-Brown Directors – Jennifer Grove, Izan, Rob McKenzie, Robin Pascoe, Ricki Smith. Artistic Director – Tom Gutteridge General Manager – Pamela Foulkes Marketing and Development Manager – Nancy Hackett Production Manager – Andrew Earle Financial Controller – Sue Aston Artistic Coordinator – Pippa Davis Marketing Coordinator – Michelle Xa Associate Director – Adam Mitchell Wardrobe Supervisor – Sara Walker Education Manager – Alena Tompkins Ticketing and Administration Officer – Chantelle Iemma Marketing Assistant – Madolyn Grove Perth Institute of Contemporary Arts Perth Cultural Centre James Street, Northbridge, WA 6004 Telephone: (08) 9228 6300 Email: [email protected] Website: www.pica.org.au Principal sponsor The Hotbed ensemble Government Partners: Department of Culture and the Arts Government of Western Australia Black Swan Theatre Company is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Education Partners: Holmes à Court Family Foundation Media Partners: Wine Partner: GSBOLMBOE FTUBUF XFTUFSO BVTUSBMJB Black Swan Theatre Company Edward Albee’s presents Who’s Afraid of Virginia Woolf? Director – Amy Barrett-Lennard Business Manager – Richard Mackay-Scollay Communications Manager – Georgia Malone Curator – Melissa Keys Performance Program Manager – Chrissie Parrott Venue Production Manager – Andrew Beck Front of House Manager – David Fussell Designer – Tom Mùller Installation Manager – Eli Smith Administration Assistant – Bayoush Demissie Directed by Marcelle Schmitz Set & Costume Design by Bryan Woltjen Lighting Design by Andrew Lake Sound Design by Kingsley Reeve Featuring: Tamara Cook, Stuart Halusz, Renée McIntosh and Greg Stone 17 May – 1 June 2008 Playhouse Theatre Book at BOCS on 9484 1133 or www.bocsticketing.com.au. Groups 6+ call 9321 6831. Visit www.bstc.com.au for more information. Principal Partner Production Partner We’re happy to support WA’s emerging artists. Principal Sponsor The HotBed Ensemble Black Swan Theatre Company Presents the Hotbed Ensemble the hotbed ensemble A Masterpiece of Epic Theatre Translated by Frank McGuinness The Caucasian Chalk Circle By Bertolt Brecht Director Adam Mitchell Set & Costume Design Brad Reid Lighting Design Andrew Earle Composer & Musical Director Steve Hearne Choreographer Claudia Alessi Assistant Lighting Designer Jarrad Jenkins Stage Manager Khat Kerr Scenery Construction Graham Mell Photographer Gary Marsh Featuring The HotBed Ensemble: Anita Erceg, Brendan Ewing, Jo Morris, Thomas Papathanassiou, Ben Russell and Amanda Woodhams 28 February – 16 March 2008 Perth Institute of Contemporary Arts – Perth Cultural Centre, James Street, Northbridge Duration: 2 hours 30 minutes [with interval] The Hotbed Ensemble The HotBed is Black Swan Theatre Company’s Emerging Artists Program, proudly supported by the RAC from 2008. Black Swan Theatre Company through The HotBed aims to mentor, stimulate, challenge and showcase a selection of Perth’s most daring and challenging theatre-makers. The Hotbed Ensemble was initiated in 2006 to provide a bridge to mainstage work for talented theatre artists making their mark in the independent theatre scene or recently graduated from training. The program includes exclusive training opportunities, close contact with Black Swan artists, and creative opportunities in HotBed productions. As artists of the future, The HotBed Ensemble members also keeps Black Swan in touch with new ideas and trends in the performing arts. A NOTE FROM THE DIRECTOR If I had to describe the rehearsal process of this production in one word it would be ‘slippery’. It seems the harder we tried to contain, direct and control this epic play the more twists and questions it threw up at us. I knew long before we began this process that, in addition to the absorbing narratives that come crashing together in the final act, it was the mash of styles, verse and the ever-changing rhythm that made this work so enticing and mysterious. We certainly added another degree of difficulty to the experience by re-imagining the work for only six actors and composing a new musical score. In our re-working of the play we have excluded the original prologue. One purpose of the prologue was to create a contemporary framework in which to view the ancient story of the chalk circle, a narrative borrowed from a Chinese fable. However, working with the text some 60 years after it was written, I feel we now need a new prologue to allow our audience into this strange fairytale world. It is interesting to note that the prologue was not included in the performance until 10 years after it was first produced, as its strong communist themes were thought too risky for Brecht, who was living in America at the time and was being investigated by the House Committee on Un-American Activities. The Caucasian Chalk Circle was one of Brecht’s final plays before his death and I believe his most optimistic. He objected to the small scope theatrical experience of naturalism that was the popular style of the time. His hope that the ideas contained in his plays would have a life outside the theatre and not just be an avenue of escapism was arguably successful. My hope is that we have found a balance between Brecht’s educational model of theatre, which he believed was its ‘noblest function’, and good old-fashioned entertainment. I share Brecht’s hope that this intricate and magical play will keep our audiences musing about our production long after they have left the theatre. Enjoy! Adam Mitchell ADAM MITCHELL – Director Adam Mitchell is the Associate Director for Black Swan Theatre Company. For Black Swan Theatre Company he has directed The Laramie Project, Falling Petals and Heart’s Desire for the HotBed Ensemble and was Assistant Director for Uncle Vanya. Other Theatre: As Director: For Melbourne Theatre Company The Pillowman (Assistant Director), For DAMAGE Theatre: The Brick and the Rose, Kitchen, A Change in the Weather. For ARTRAGE: Loving the Alien. For Lyons Productions: The Messenger. For The Cabaret Soiree Series Downstairs at the Maj: Damaged and Ramblings of a Random Redhead. For The Hayman Theatre: Away. As Performer: For The Cabaret Soiree Series Downstairs at the Maj: You Oughta Know. For DAMAGE Theatre: From Sondheim to Sinatra (2002 Edinburgh Festival, one man cabaret). Chaplins: Dick Whittington, UK national tour. For ARTRAGE: Lost Hellfire. For Entrophy/DeckChair Theatre Co: Under Milk Wood. Other: In 2005 Adam was a participant in the SPARK program mentored by Tom Gutteridge. Awards: Best Independent Production Blue Room Awards for The Brick and the Rose, 2003. Bertolt Brecht – Playwright Bertolt Brecht (1898 -1956) is the most influential German dramatist and theoretician of the theatre in the 20th century. Also a poet of formidable gifts and considerable output, Brecht first attracted attention in the Berlin of the 1920s as the author of provocative plays that challenged the tenets of traditional theatre. In the 1950s he became an internationally acclaimed playwright and director through productions of his plays by the Berliner Ensemble, a company based in East Berlin and headed by his wife, actor Helene Weigel. Brecht achieved enormous popular success following the 1928 premiere of his collaborative effort with German composer Kurt Weill, The Threepenny Opera. Forced to flee Germany in 1933 because of his leftist political beliefs and opposition to the Nazi regime of Adolf Hitler, Brecht and his family spent 14 years in exile in Scandinavia and the United States. Although he tried hard to become established in the United States, Brecht failed to make a breakthrough either as a scriptwriter in Hollywood, California, or as a playwright on Broadway. He returned to Europe in 1947. Two years later he moved to East Berlin and remained there until his death. Brecht’s first major plays were Baal (1922), Drums in the Night (1922), and St. Joan of the Stockyards (1932), in which a modern-day Joan of Arc advocates the use of force in the fight against exploitation of workers. Brecht’s narrative style, which he called ‘epic theatre’, was directed against the illusion created by traditional theatre of witnessing a slice of life. Instead, Brecht encouraged spectators to watch events on stage dispassionately and to reach their own conclusions. To prevent spectators from becoming emotionally involved with a play and identifying with its characters, Brecht used a variety of techniques, notably the alienation or estrangement effect. Around 1940 Brecht began writing the dramas for which he is primarily known today, including Galileo (1947), the antiwar play Mother Courage and Her Children (1937), the parable play The Good Woman of Setzuan (1940) and The Caucasian Chalk Circle (1945). Apart from Brecht’s greatest theatrical hit, The Threepenny Opera, which had a seven-year run in New York City in the 1950s, he provided the stage with a rich array of texts. Perceived as a liberating influence in South America and East Asia, Brechtian theatre has often been declared outmoded by critics in Europe and North America. But no serious director can ignore Brecht, and his plays continue to be produced all over the world. Frank McGuinNess – Translator Frank McGuinness was born in Buncrana on the Inishowen Peninsula, County Donegal in the Republic of Ireland. He was educated locally and at University College Dublin. He first came to prominence with his play The Factory Girls, but established his reputation with his play about World War I, Observe the Sons of Ulster Marching Towards the Somme, which was staged initially in Dublin’s Abbey Theatre and then internationally. It won numerous awards including the London Evening Standard Award for Most Promising Playwright for McGuinness. McGuinness has also written new translations of classic dramas, including works by Anton Chekov, Bertolt Brecht and Henrik Ibsen. In addition, he wrote the screenplay for the film Dancing at Lughnasa, adapting the stage play by fellow Irishman Brian Friel. McGuinness’ first poetry anthology, Booterstown, was published in 1994. Several of his poems have been recorded by Marianne Faithfull, including Electra, After the Ceasefire and The Wedding. McGuinness previously lectured at the University of Ulster and the National University of Ireland, Maynooth. Frank McGuinness’ version of The Caucasian Chalk Circle was published to coincide with the National Theatre’s production touring the UK. This version was first presented by the National Theatre in 1997 and revived in 2007, opening at the Gulbenkian Theatre, Canterbury, on 8 January. BRAD REID – Set & Costume Designer The Be Active BSX Theatre production The Laramie Project marked Brad Reid’s design debut for Black Swan Theatre Company. Positions: Formerly the Corporate Event Designer for Staging Connections Perth and Executive Director/Producer for Proud TV (Access 31 & CTV). Other: In 2006 Brad secured an industry placement with Brian Thomson on the productions of Priscilla the Musical, The Dame Edna Show, Holding the Man and Keating!. Training: WAAPA Graduate 2006. andrew earle – Lighting Designer Theatre: Previous lighting designs include Widows (Arts Academy University of Ballarat). For the Blue Elephant Theatre (London): Heroes, Electric Halos, A Christmas Carol and WC, For Absolute Theatre (London): The Shoe Maker’s Wife, Queen Christina, Murder Mystery and The Box. For Embassy Theatre (London): The Possibilities, The Art of Success and The Memory of Water. For the Custard Factory Theatre Company (Birmingham): The Tinker’s Wedding. Other: Re-lights: Transitions Dance Company (European Tour) and Hermosura for El Descueve (Argentina). Positions: Formerly lectured in Theatre Production at the Arts Academy University of Ballarat and Head of Production at the Central School of Speech and Drama London. Andrew has also worked extensively around the world as a Production and Technical Manager. He is currently the Production Manager for the Black Swan Theatre Company. Training: Bachelor of Arts (Performance) 1989. steve hearne – Composer & Musical Director Theatre: As Composer/Sound Designer: For Black Swan Theatre Company/Steamworks: Nocturne, Medea. For Perth Theatre Company/ Shakespearience: Dogs Barking. For Perth Surgeons: Mickey.com. For Luke Milton Productions: Reprehensible. As Composer: For Hoopla/ Perth Theatre Company: Hamlet. As Composer/Sound Designer/Actor/MD: She Told Me So. As Composer/Arranger/Sound Designer/Actor MD: For Luke Milton Productions: Big Fun (sometimes). Arranger/Session Musician: For Andrew Horabin Productions: What a Man’s Gotta Do. Other: Steve is a founding member of Perth electronic outfit ARG, and has also released his music throughout Europe and the UK. claudia alessi – Choreographer Black Swan Theatre Company: The Lady Aoi. As Choreographer and/or Performer: Claudia has worked with Chrissie Parrott Dance Company, skadada, Sydney Theatre Company, West Australian Opera, in collaboration with Leigh Warren’s ADT and Foundation JeanPierre Perreault of Canada, Fieldworks Performance Group, Shadow Industries Theatre, Spare Parts Puppet Theatre, Media Lab France with Motion Capture Technology, Thwack Dance Company, Co Loaded, Plasticien Volants of France, Legs On The Wall Physical Theatre Sydney, STRUT dance inc, Steamworks, with independent choreographer Sue Peacock and Australian Dance Theatre. Claudia has also produced and performed in her solo work, Point of Entry, 4by2 A Series of Encounters. Positions: Rehearsal Director for Buzz Dance Theatre. Board member of Strut dance inc. and Ausdance WA. Other: Associate Producer for Crossfire, Artrage Northbridge Festival. Currently lectures at WAAPA where she is completing a Master of Creative Arts Degree. Claudia has lectured, choreographed, conducted master classes and directed for various schools, universities, events and festivals throughout Australia. KHAT KERR – Stage Manager Black Swan Theatre Company: Operation Pilbara Wide Horizons 2007. Other Theatre: As Stage Manager: for deckchair theatre: Twelfth Night, The Comedy of Errors, As You Like It. For J V McPherson: Menopause the Musical. For Eventainment: Rent. For Spirit Entertainment: The Complete Works of William Shakespeare (Abridged). For HMC: Barry Humphries and Friends; Back with A Vengeance. For WA Youth Theatre Company: Two Weeks with the Queen. Khat has also worked with various dance schools music and community festivals. As Production Manager: Artrage festivals. For The Gilbert and Sullivan Society: The Mikado. For Spirit Entertainment: The Complete Works of William Shakespeare. For WA Youth Theatre Company, Two Weeks with the Queen. As Tour Manager: For Spirit Entertainment: The Complete Works of William Shakespeare. Khat has worked in other aspects of technical theatre such as: lighting, audio, props making, set and costume design and as tour and production assistant for music festivals. Training: Khat is a WAAPA Stage Management Graduate. ANITA ERCEG – Natella Abashvili/ Aniko/ Others 2008 marks Anita’s debut with Black Swan Theatre Company. Theatre: For The New Theatre: The Voysey Inheritance. For deckchair theatre: As You Like It. For Old Fitzroy Theatre: Shakespearealism. For the Seymour Centre: The 11 O’Clock. Film: Frownhein’s Syndrome. Short Film: Perspective. Anita graduated from NIDA Acting in 2005. She also holds a Bachelor of Arts in Mass Communication and Drama Studies from Murdoch University. BRENDAN EWING – Azdak/ Governor/ Corporal/ Jessup/ Others Black Swan Theatre Company: BSX Theatre: The Visit. For the HotBed: Woyzeck. Other Theatre: For Maj Monologues: The Young are Revolting. For Barking Gecko Theatre Company: Run Kitty Run. For Red Ryder: The Mozart Faction. For Weeping Spoon: Deathtrap. For Side Pony Productions: The Manic Pony. Training: Bachelor of Arts, Contemporary Performance from Edith Cowan University. JO MORRIS – Doctors/ Peasant Woman/ Lawyer/ Mother/ Ludovica/ Others Black Swan Theatre Company: The Crucible, The Laramie Project (2007 Be Active BSX Theatre). Other Theatre: As Actor: For Agelink Theatre: The Greatest Woman in the World. For Tanya Denny Productions: Twelfth Night. For Darlinghurst Theatre: Eenie Meenie Miny Mo. As Writer: Lipstick and Hessian (Blue Room Theatre), Cowgirl Beat (Blue Room Theatre) and Eenie Meenie Miny Mo. Film: Jog (Sam Barrett), Bingle and The Projectionist (Winner of AFI Award for Best Animated Short Film). Training: NIDA Graduate 2003, Curtin University Graduate. THOMAS PAPATHANASSIOU – Simon/ Fat Prince/ Old Man/ Husband/ Lavrenti/ Others 2008 marks Thomas’ debut with Black Swan Theatre Company. Other Theatre: IMG/David Atkins Enterprises: Australasian touring production of Chicago – The Musical. VCA: Contemptuous Perplexity and The Things You Cannot Know. The Wild Blue Company: The Wild Blue Project. His self-devised solo show Looming the Memory has been performed to successful seasons in Melbourne, the 2006 Adelaide Fringe Festival, and Perth. Film: Music video clip for Along the Run (The Art Of Fighting). As a Director: For St Martins Youth Arts Centre: Picasso’s Children. Teaching: Head of Drama (Camp Seneca Lake, USA), Charles Sturt University, VCA, St Martin’s Youth Arts Centre, Barking Gecko Theatre Company and Black Swan Theatre Company. Awards: Winner of Best Actor 2006 WA Guild Equity Awards and Best Production 2007 Blue Room Theatre Awards for Looming the Memory. Training: Graduate of Curtin University in Theatre Arts/Literature, WAAPA in Music Theatre, VCA Grad Dip in Animateuring - Performance Creation. BEN RUSSELL – Monk/ Adjutant/ Soldier/ Michael/ Landlord/ Nephew/ Others Black Swan Theatre Company: BSX Theatre: The Visit. Other Theatre: For the Blue Room Theatre: Reprehensible, The End of Sophie and All Her Friends. For ThinIce Productions: The Gathering. For Weeping Spoon Productions: Deathtrap. Film: ABC Docodrama The AE2 Galipollo’s Submarine; Two Fists, One Heart. Other: Ben is a member of the Big Hoo Haa improvised comedy group and performs stand up comedy around Perth as well as his own regular comedy night Comedy at the Llama Lounge. AMANDA WOODHAMS – Grusha/ Others 2008 marks Amanda’s debut with Black Swan Theatre Company. Other Theatre: She has appeared in shows for Kalamunda Youth Theatre, WA Youth Theatre Company and other amateur productions. Education: Amanda just graduated from high school in 2007. Thank You Black Swan Theatre Company would like to thank Arts Angels, Sohan Ariel Hayes, Michael Barlow, Geoff Bickford and Dessein, Cathy Penglis, George Shevtsov and Spare Parts Puppet Theatre.