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29 JUL – 21 AUG
EDWARD II
#edward2
29 JUL – 21 AUG
MERLYN THEATRE
‘[Edward II] has an
ecstatic eroticism
and the plot a
non-stop volatility,
a fatal momentum.’
— The Guardian
By / Anthony Weigh
Direction / Matthew Lutton
Cast includes / Paul Ashcroft, Johnny Carr, Marco Chiappi,
Belinda McClory, Julian Mineo, Nicholas Ross
Set & Costume Design / Marg Horwell
Lighting Design / Paul Jackson
Composition & Sound Design / Kelly Ryall
Stage Manager / Tia Clark
Assistant Stage Manager / Matilda Woodroofe
Choreography / Andy Hamblin
Archery Trainer / Irene Moser
Besen Placements / Jacob Battista, Lara Kerestes, Carissa Lee
Chaperones / Penelope Thomson, Kath Gordon
Proudly supported by
——> PG 1
A NOTE FROM THE DIRECTOR
Edward II is about a
king who wants to feel
more. Always more.
His addiction to his lover
is fuelled by a desire to
feel more love, more
pain, more ecstasy, more
possession. His common
state of existence is one
of emotional numbness,
and it is from this he
wishes to constantly
shock himself.
#edward2
An introduction on Edward II from
Director Matthew Lutton
He is also a leader who has no
interest in leading. He is more
celebrity than leader. He parades
his personal life and personality in
hope of offering inspiration and
guidance, as opposed to observing
and reflecting on the emotional
undercurrents of the community.
He is therefore a leader born from
a world of hyper-individuality
and narcissism, leading a world
of individuals and narcissists.
Anthony Weigh’s set of fractured
scenes and ‘scenelets’ creates
a fictional world for Edward
II to exist within. It is a world
that merges the violence of the
fourteenth century with twentyfirst century psychology, and is a
world responding to the extremes
that we go to today to gain power
and possession over each other.
It is also a play about the ecstasy
of love. How, for the narcissist, the
pursuit of love to the exclusion of all
else is a violent act that can lead to
the annihilation of the entire world.
——> PG 1
A NOTE FROM THE WRITER
The Troublesome Reign and
Lamentable Death of Edward the
Second, King of England, with the
Tragical Fall of Proud Mortimer
by Christopher Marlowe is a big
play. It takes place over five acts
and contains 20 odd locations.
It involves a banishment followed
by a reunion followed by another
banishment. A bishop is publicly
humiliated, as is a queen. There’s
a war with Scotland and one with
France. A trip to Ireland and a
trip to France. Multiple farewell
scenes. Gay sex, straight sex.
A palace coup. Lots and lots of
talk about love and dogs and the
Goddess Diana. And of course, the
famous scene where a king meets
his end courtesy of a hot poker.
eye in a pub in Deptford and died
instantly. He couldn’t have written
his own ending better if he’d tried.
It’s the rich and multifarious
nature of Marlowe’s material that
makes it a particularly malleable
play. It’s the reason it’s been so
variously adapted over the years.
Bertolt Brecht and Lion
Feuchtwanger transformed it in
1923 for the Munich Kammerspiele
as The Life of Edward II of England
(Leben Eduard des Zweiten von
England). While it takes its
starting point from the original,
the play is an entirely new work
with its own epic structure
exploring ideas of power and
volition. Brecht said of the play,
‘We wanted to make possible a
production which would break
with the Shakespearean tradition
common to German theatres: that
lumpy monumental style beloved
of middle-class philistines.’1
For filmmaker Derek Jarman,
his 1991 film Edward II became a
means of exploring gay politics in
Thatcher-era Britain. (Thatcher’s
odious Section 28 banning the
promotion of homosexuality by
local authorities had been passed
in 1988.) Edward and his lover Piers
are persecuted by Mortimer largely
because of their love.
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On one hand, it’s a straightforward
Elizabethan history play. On
another, a tragic love story
between two men. On another,
a shrewd analysis of class and
power. On another, a play about
dysfunctional families. And yet
another, a scathing morality play
about the dangers of excess.
It’s over-stuffed and anarchic and
unruly and young … really, really
young. It’s a young person’s play.
(Perhaps this is why it’s so beloved
of university drama societies.)
Marlowe wrote it at 28. A year later
he was stabbed above the right
#edward2
Season 2016
The evolution of Marlowe’s text
by Anthony Weigh
A NOTE FROM THE WRITER
When director Matthew Lutton
and I began our own exploration
of Marlowe’s original we were
keen to see how we might mine it
for fresh perspectives. As well as
history and politics, what else might
lurk at the heart of this play?
Our starting point was to distill the
material to its essence. Its DNA,
if you like. A king. A prince. A lover.
A wife. A rival. A child. Once we had
concentrated the world into those
elements, we sought to rebuild the
story with a specific focus on the
psychology of the characters.
We came up with 40 scenes and
a single monologue which, when
arranged back inside a five act
structure, presented a psychologised
vision of Marlowe’s original.
A work about the destructive
consequences of narcissism
and how this destruction might
be mirrored in the world.
It is imperative, as we stage this
work in 2016 Australia, that we
depict gay men; meeting, falling
in love, fighting, fucking, betraying
one another, forgiving one another
and, most importantly, making
families and parenting children.
This production is, in part,
a rebuff to the cowardice of our
impoverished political class, whose
obfuscation and sophistry continues
to deny gay men and women the
opportunity to live equally with
our straight brothers and sisters.
At one stage late in the play,
Piers describes he and Ned and
Ned’s young son together on
holiday being ‘like’ a family. He is
immediately corrected by Ned.
‘Not ‘like’, Ned says, ‘A family!’
One of this work’s persistent
motifs is that the love of two men
does not approximate the love of a
man and a woman. It is identical.
Love is Love. It’s something
I feel confident Marlowe knew
instinctively, containing as he did
this story about two men with a love
so powerful that it might destroy
themselves and an entire kingdom.
1
Brecht, ‘On Looking Back Through My First Plays’
(1954). In Willett and Manheim (1970, 454).
——> PG 5
——> PG 4
As our conversation with Marlowe
across time and space took shape,
I was pleased to see how much of
the original kept asserting itself.
So many details floated to the
surface. One thing that affirmed
itself over and over again was how
utterly unremarkable Edward’s
homosexuality was. In the original
text, the objections of the court
to Edward’s lover Piers lie in his
class, not his gender. This very
unremarkableness was what made
the work so prescient. The more
we worked on the play, the more
we saw that in our current political
climate, this unremarkableness
was not just pleasing but vital.
#edward2
Season 2016
Subsequently, the king’s
followers become an army of
gay rights activists, brutalised
by a right wing police state.
CAST & CREATIVE BIOS
CAST & CREATIVE BIOS
#edward2
Season 2016
Anthony Weigh
Writer
Matthew Lutton
Direction
Paul Ashcroft
Piers
Johnny Carr
Ned
Marco Chiappi
Mortimer
Belinda McClory
Sib
Anthony is a graduate of the
Masters in Playwriting programme
at The University of Birmingham.
His original plays and adaptations
include: 2,000 Feet Away, (Belvoir/
Bush Theatre, London/Steep
Theatre, Chicago), Like a Fishbone,
(Griffin/STC/Bush Theatre, London),
The Flooded Grave (Bush Theatre,
London/Latitude Festival, UK),
The Middle Man (Bush Theatre,
London), Yerma after Lorca, (Gate
Theatre, London), The Silence of
the Sea after Vercors and Welcome
Home, Captain Fox! after Anouilh
(both for Donmar Warehouse,
London). Anthony has held the
position of Playwright-in-Residence
at the National Theatre in London,
Associate Playwright at The Bush,
and most recently Associate Artist
at the Donmar Warehouse. He is a
fellow of the Yaddo Artist Colony
in New York and has taught on the
faculty of the graduate playwriting
programme at Columbia University.
Matthew is Malthouse Theatre’s
Artistic Director. Prior to this,
he was Malthouse’s Associate
Director, and the director of Perth
theatre company ThinIce [TI]. For
Malthouse, he has directed I Am a
Miracle, Night on Bald Mountain, The
Bloody Chamber, Dance of Death,
Pompeii, L.A., On the Misconception
of Oedipus, Die Winterreise, The Trial,
Tartuffe and Picnic at Hanging Rock.
Other directing credits include The
Mysteries: Genesis (STC), The Duel
(STC/TI), and Love Me Tender (Belvoir/
TI). His opera directing credits include
Make No Noise (Bavarian State
Opera), Elektra (West Australian
Opera/TI/Opera Australia), and
The Flying Dutchman (NZ Opera).
Paul last appeared at Malthouse
Theatre in Walking into the Bigness
(2014). He is a WAAPA graduate from
2002 and current ensemble member
of Red Stitch Actors Theatre. Shows
include: The Kitchen Sink, Herding
Cats, Howie the Rookie, The Laramie
Project (10 years later), Orphans,
Belleville, Detroit, Love, Love, Love, Wet
House. Other Theatre: Shrine (Black
Swan) Let the Sunshine (QTC/MTC),
Cruel and Tender (MTC), Far Away,
The Woman Before, Checklist for an
Armed Robber, Mercury Fur and Jet
of Blood. In film and television, Paul
has appeared in Van Diemen’s Land,
That’s Not Me, Howzat! Kerry Packer’s
War, Salem’s Lot, Winners and Losers,
Blue Heelers, Hell’s Gates, Fire truck
and Cop Hard for which he won best
supporting actor at the LA Webfest.
Paul is also the inaugural recipient
of the McLeod Adair Development
Award. He is a successful musician
and singer and sat next to Dave Grohl
once, for like, 20 mins in 1996.
Johnny is a 2008 Victorian College
of the Arts acting graduate.
His theatre credits include The
Events (Belvoir/Malthouse/
STCSA)What Rhymes with Cars
and Girls (MTC); The Dream (Bell
Shakespeare); The Boys (Griffin
Theatre); M + M (Daniel Schlusser
Ensemble); The Suicide (The Hayloft
Project); Leaves of Glass and The
Rites of Evil (Red Stitch Actors’
Theatre). Johnny’s screen credits
include Stories I Want to Tell You
in Person, Rush, City Homicide and
the web series The Greatest Love
of All. In 2013, Johnny received the
Marten Bequest Travel Scholarship
for Acting. Johnny has been a proud
member of Equity since 2008.
Marco trained and graduated from
the Central School of Speech and
Drama London in 1985. He has an
extensive theatre background.
His Malthouse Theatre credits
include Edward II, Woyzeck and
Chilling and Killing My Annabel Lee.
More recent theatre credits include
Love & Information (Malthouse),
Phedre (Bell), Pygmalion (STC),
His Girl Friday, Things We Do For
Love (MTC), The Misanthrope, and
The Real Thing (STCSA) to name
a few. Recent television credits
include Offspring, The Doctor Blake
Mysteries, Deadline Gallipoli, Parer’s
War and The Mystery of a Hansom
Cab. His film credits include Holding
the Man, The Boy Castaways, Amy
and Mr Reliable.
Belinda McClory is a VCA graduate
and has worked extensively in film,
theatre and television. She has
worked for all the major Australian
theatre companies, performed
on stage in Paris, London, Vienna
and Germany, and has won both a
Helpmann and Green Room Award
for her theatre work. Previous
performances with Malthouse
Theatre include Dance of Death,
Pompeii, L.A. and The Trial. Other
recent theatre credits include
The Waiting Room and Queen
Lear with the Melbourne Theatre
Company, Splendour with Red Stitch
Theatre, Sydney Theatre Company’s
production of Gross Und Klein
(Sydney and the European tour)
and Love Me Tender with Griffin
Theatre and Belvoir St Theatre.
Belinda’s screen work includes the
television series The Doctor Blake
Mysteries and Miss Fisher’s Murder
Mysteries as well as the international
blockbuster feature The Matrix.
Belinda performed in and co-wrote
the features X and Turkey Shoot.
——> PG 7
——> PG 6
#edward2
Season 2016
Edward II was a leader
born from a world of
hyper-individuality
and narcissism, leading
a world of individuals
and narcissists.
——> PG 9
——> PG 8
CAST & CREATIVE BIOS
CAST & CREATIVE BIOS
#edward2
Season 2016
Julian Mineo
The Boy
Marg Horwell
Set & Costume Design
Paul Jackson
Lighting Designer
Kelly Ryall
Composer & Sound Designer
Tia Clark
Stage Manager
Matilda Woodroofe
Assistant Stage Manager
Julian has been acting since 2010
and has been very successful so
far. In 2013 he appeared on stage
in Mathouse Theatre’s production
of Persona. He has been working
hard on screen making his debut
at only 5 years of age in the lead
role of Hugo in the ABC’s The
Slap, which won the prestigious
Logie award for Most Outstanding
Drama Series of 2012. With this
success, he went on to appear
in numerous TV series such as
Neighbours, Beaconsfield, Winners
& Losers and Miss Fisher’s Murder
Mysteries. He has also featured
in several national commercials.
Julian hopes to grow up and be a
part-time actor, full-time fireman
and a sometimes scientist.
For Malthouse Theatre, Marg
has designed set and costumes
for I Am a Miracle, The Good
Person Of Szechuan, Tame and The
Histrionic (Der Theatermacher).
Marg has been recognised for her
outstanding work with six Green
Room Awards for her designs for
I Am a Miracle (Malthouse),
Shit (Dee & Cornelius), Savages
(Dee & Cornelius), Chapters
from the Pandemic (Angus Cerini
Doubletap, Wretch (Angus Cerini
Doubletap) and Test Pattern
(Platform Youth Theatre) and
two Sydney Theatre Awards for
Best Set and Costume Design
for Summertime in the Garden
of Eden (Sisters Grimm/Griffin
Theatre Company). Marg was
also nominated for Best Scenic
Design for the 2015 Helpmann
Awards for Marlin (Arena Theatre
Company/ MTC) Recent projects
include Peddling (MTC), La Traviata
(Sisters Grimm/Griffin Theatre),
Birdland (MTC), Nora (Belvoir),
Resplendence (Angus Cerini
Doubletap), Eight Gigabytes of
Hardcore Pornography (Griffin
Theatre) and Constellations (MTC).
Paul has designed for most of
Australia’s major and independent
performing arts companies.
Recent designs for Malthouse
Theatre include Love and Information,
Night on Bald Mountain, Meow
Meow’s Little Mermaid, I Am a
Miracle and Picnic at Hanging
Rock. He has taught at Melbourne
University, RMIT University and
VCA, and his work has featured in
festivals and programmes in the
United States, Asia, Europe and
the UK. Paul was listed in the Smart
100 in 2004, is a Churchill Fellow
and was an Artistic Associate at
Malthouse from 2007-2013. He has
received five Green Room Awards,
a Helpmann Award and a Sydney
Theatre Award.
Kelly Ryall is a composer, musician
and sound artist for theatre, dance
and film. His Malthouse Theatre
credits include Dance of Death,
On the Misconception of Oedipus,
The Trial, One Night The Moon and
The Shadow King, as well as the Thin
Ice production of Die Winterriesse,
presented by Malthouse/Brisbane
Festival and based on the music
of Schubert. His chamber opera
The Bacchae with Fraught Outfit
debuted at the Melbourne Festival
in 2015 and toured to Dark Mofo
this year. Other recent work
includes Double Indemnity, Rupert,
The Crucible, Peddling, On the
Production of Monsters, Return
to Earth, Dead Man’s Cell Phone,
God of Carnage and Savage River
(with Griffin Theatre Company)
for Melbourne Theatre Company.
Boys Will Be Boys, for Sydney
Theatre Company. Kill The Messenger,
Cinderella, Hedda Gabler, Nora,
Thom Pain and Love Me Tender at
Belvoir. The Boys, And No More Shall
We Part, Dreams in White, Mercury
Fur and Don’t Say the Words (coproduced by TTC). The House on the
Lake, Emerald City and The Floating
World at Griffin Theatre Company.
Phedre, Henry 4, Macbeth, Julius
Caesar and The School for Wives,
Romeo and Juliet, As You Like It
and Tartuffe for Bell Shakespeare
Company.
Since graduating from WAAPA
in 2009, Tia has worked as a
Stage Manager in various sectors
across the entertainment industry.
Selected Malthouse Theatre shows
include Picnic at Hanging Rock,
I Am a Miracle; Timeshare; Hello,
Goodbye and Happy Birthday;
Walking into the Bigness; Ugly Mugs;
The Government Inspector; The
Bloody Chamber; Dance of Death,
Hate, A Golem Story and Baal.
Tia has also worked on Grease
(Gordon Frost Organisation
[GFO]), A Funny Thing Happened
on the Way to the Forum (GFO),
Every Breath (Belvoir), The Rake’s
Progress (Victorian Opera), Scooby
Doo Live 2011 Tour (Entertainment
Store Group), The King and I, The
Boy from Oz, Sugar (Some Like It
Hot), Anything Goes, Kismet, Grey
Gardens (The Production Company)
and various live events both in
Melbourne and around Australia.
Matilda Woodroofe is a Set and
Costume Designer and a Victorian
College of the Arts BFA Production
Design graduate with growing
experience in other areas of
theatre making including stage
management. Matilda toured
internationally with Malthouse
Theatre earlier this year as Assistant
Stage Manager on Meow Meow’s
Little Mermaid and was previously
the Design Assistant on Malthouse
Theatre’s Walking into the Bigness
in 2014. Matilda has worked
with a myriad of performing arts
companies across both Melbourne
and Sydney including Sydney
Theatre Company, Complete Works
Theatre Company, Victorian Opera,
Melbourne Theatre Company and
Bangarra Dance Theatre. Matilda
is currently completing an artist
placement with THE RABBLE as
their Design Intern.
Nicholas Ross
The Boy
Nicholas is a student of the
May Downs School of Dancing,
training across several disciplines
including Jazz, Ballet, Tap and
Musical Theatre. Nicholas has
a passion for magic, having
performed his own magic show at
school for his year level to raise
money for charity. Nicholas plays
basketball and football, as well as
swimming, and enjoys skiing.
——> PG 11
——> PG 10
ABOUT MALTHOUSE THEATRE
At Malthouse Theatre we collaborate with local
and international artists to create work that puts
provocative, and entertaining human experiences
on stage. We champion artistic and cultural diversity;
we advocate for alternative points of view. We believe
theatre can be – and should be – an agent of change.
The theatre we produce explores the world
personally, socially and politically.
We cultivate and curate irreverent, courageous
theatrical experiences from Australia and around
the globe to captivate audiences.
Welcome to Malthouse Theatre.
GOVERNMENT PARTNERS
MAJOR PARTNER
VENUE PARTNER
EDUCATION PARTNER
#edward2
Season 2016
CONTEMPORARY,
BOUNDARYPUSHING
THEATRE IN
THE HEART OF
MELBOURNE,
AUSTRALIA.
OUR PARTNERS
ACCOMMODATION PARTNER
CORPORATE PARTNERS
MEDIA PARTNER
INDUSTRY PARTNER
TRUSTS AND FOUNDATIONS
OUR SUPPORTERS
URANIA—MUSE OF THE
STARS—$25,000+
Michele Levine, Mary-Ruth & Peter
McLennan, Craig Reeves, Maureen Wheeler
AO & Tony Wheeler AO
CLIO—MUSE OF HISTORY—$10,000+
Roseanne Amarant, Annamila Fund, John
& Lorraine Bates, Debbie Dadon AM, Colin
Golvan QC, Janine Tai, The Vera Moore
Foundation, Anonymous (1)
THALIA—MUSE OF COMEDY—$5,000+
Richard Leonard & Gerlinde Scholz, Mary
Vallentine AO, Anonymous (1)
MELPOMENE—MUSE OF
TRAGEDY—$2,500+
David Bardas, Sian Fairbank, D.L. & G.S.
Gjergja, Rosemary Forbes & Ian Hocking,
Sue Kirkham, James Penlidis & Fiona
McGauchie, Elisabeth & John Schiller, Jenny
Schwarz, Leonard Vary & Matt Collins QC,
Jason Waple, Jon Webster, Jan Williams,
Tom Wright, Anonymous (1)
EUTERPE—MUSE OF MUSIC—$1,000+
Marc Besen AC & Eva Besen AO, Frankie
Airey & Stephen Solly, Chryssa Anagnostou
TERPSICHORE—MUSE OF
DANCE—$500+
Graham & Anita Anderson, Michael Arnold,
Ingrid Ashford, Rowland Ball OAM, Sandra
Beanham, David & Rhonda Black, Ros
Casey, Tim & Rachel Cecil, Marisa Cesario,
Chris Clough, Alan Connolly, Mark & Jo
Davey, Carolyn Floyd, Brian Goddard,
Leonie Hollingworth, Brad Hooper, Irene
Irvine, Joan & Graeme Johnson OAM, Irene
Kearsey, Richard & Angela Kirsner, John
McCallum, Ian McRae AO, Kersti Nogeste,
Linda Notley, Jan Owen AM, Robert
REHEARSAL PHOTOS /
TIM GREY
COVER PHOTO /
ANDREW GOUGH
Peters, Katherine Sampson, Barbara &
Neil Smart, John Thomas, Pinky Watson,
Phil & Heather Wilson, Henry Winters,
Anonymous (4)
ERATO—MUSE OF LOVE—$250+
Simon Abrahams, Jennifer Bourke, Fiona
Brook, John & Alexandra Busselmaier,
Siu Chan, Diane Clark, Georgie Coleman,
Patricia Coutts, Jason Craig, Kerryn
Dickinson-Rowe, Orla & Rachel, Taleen
Gaidzkar, Joanne Griffiths, Peggy Hayton,
Sarah Hunt, Ann Kemeny & Graham
Johnson, David & Mira Kolieb, Robyn
Lansdowne, Sally Lindsay, Kim Lowndes,
Judith Maitland-Parr, Ian Manning & Alice
De Jonge, John Millard, Susan Nathan,
Paul Natoli, Tony Oliver, Kaylene O’Neill,
Lynette and Clare Payne, Wendy Poulton,
Gerard Powell, Gavin Roach, Rae Rothfield,
Michael & Jenny Rozen, Robert Sessions
& Christina Fitzgerald, Jill Sewell, Toby
Sullivan, Lee-Ann Walsh, Jan Watson,
Joanne Whyte, Barbara Yuncken
VOLUNTEERS
Malthouse Theatre would like to
acknowledge the generous and ongoing
support of our dedicated volunteers.
DESIGN /
HOURS AFTER
HOURSAFTER.COM.AU
——> PG 13
——> PG 12
MARKETING & ADVERTISING /
AKA +61 3 8866 8335
AKA-AU.COM
& Jim Tsaltas, Daniel & Danielle Besen,
John & Sally Bourne, Sally Browne, Beth
Brown & Tom Bruce AM, Ingrid & Per
Carlsen, Min Li Chong, Robin & Neil Collier,
Prof John Daley & Dr Rebecca Coates,
Dominic & Natalie Dirupo, Roger Donazzan
& Margaret Jackson AC, Rev Fr Michael
Elligate AM, Val Johnstone, Michael
Kingston, James Ostroburski, Rosemary &
Roger Redston, Carol & Alan Schwartz AM,
Thea & Hayden Snow, Maria Solà, Gina &
Paul Stuart, Fiona Sweet & Paul Newcombe,
Kerri Turner & Andrew White, Rosemary
Walls, Anonymous (1)
WHAT’S UP NEXT
THE FIERY MAZE
18 AUG – 4 SEP
The Fiery Maze / sets the poetry of Dorothy Porter to music composed
by Tim Finn. Conceived by Porter and Finn in 1995 as a ‘rock concert album’,
the talents of these two extraordinary artists combine to produce raw,
intimate songs about love, sex and obsession.
Each of Porter’s previously unpublished poems deals with the
disillusions of love and lust, as well as the blinding moments of blazing connection.
Porter is known for the visceral power of her language;
for crafting characters, scenarios and poems that crackle with sexual energy.
Her journey into ‘love’s hopeless fiery maze’ is no exception.
We hope you’re swept up in Edward II’s obsessions
and fall for the show. There’s still plenty more to
enjoy in Season 2016, from the provocative Gonzo,
to Gob Squad’s wild take on War and Peace, to the camp
humour of Blaque Showgirls. Why not see all three,
save big and book a Mini Malty package?
1
2
3
GONZO
WAR AND
PEACE
BLAQUE
SHOWGIRLS
Fiction and reality
unfold in a collision
of surveillance and
live action.
Not everything is
blaque and white in
Australia’s Sin City.
21 SEP – 1 OCT
A long overdue
conversation about
the impact that porn
is having on young,
malleable minds.
18 – 30 OCT
#edward2
Season 2016
Dorothy Porter and Tim Finn
in a dream collaboration.
JOIN US FOR ANOTHER JOURNEY
11 NOV – 4 DEC
Finn, onstage with Abi Tucker, will conjure a wild world of lust, paranoia
and possession; a wanton labyrinth which / maps the twists and turns of desire.
Direction / Anne-Louise Sarks
Find out more at malthousetheatre.com.au
——> PG 15
——> PG 14
By / Tim Finn & Dorothy Porter
#edward2
Season 2016
SCENE & HEARD
Each of the Melbourne-based
choirs that perform in The Events
selected one song from their
repertoire for the performance.
——> PG 17
——> PG 16
© Malthouse Theatre, the artists, designers, photographers,
collaborators and contributors. All rights reserved, 2016.
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