Download Who`s Afraid of Virginia Woolf? - Black Swan State Theatre Company

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.