9-25 March ASB Waterfront Theatre - Auckland Arts Festival
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9–25 March ASB Waterfront Theatre
Auckland Arts Festival and GWB Entertainment in association with WELCOME TO 1984
Auckland Theatre Company and State Theatre Company South Australia presents
the Headlong, Nottingham Playhouse & Almeida Theatre production of
“All rulers in all ages have tried to
impose a false view of the world GEORGE ORWELL
Author
upon their followers.” Eric Arthur Blair (George Orwell)
— George Orwell, 1984 was born in 1903 in India, where his
father worked for the Civil Service.
The family moved to England in 1907
Tēnā koutou katoa. and in 1917 Orwell entered Eton,
where he contributed regularly to the
First published nearly 70 years ago, George Orwell’s various college magazines.
1984 is not only part of the popular lexicon today From 1922 to 1927 he served with
the Indian Imperial Police in Burma,
but is more chilling and prescient than ever. Since an experience that inspired his first
the election of Donald Trump, the invention of novel, Burmese Days (1934). Several
years of poverty followed.
“alternative facts” and the almost hourly denial of
Starring plain truths, Orwell has surged back into the public He lived in Paris for two years
before returning to England,
Bill Allert Paul Blackwell Tom Conroy Terence Crawford consciousness and conversation. where he worked successfully as
a private tutor, schoolteacher and
Simon London Guy O’Grady Fiona Press Rose Riley In step with the times, this literary classic has bookshop assistant, and contributed
reviews and articles to a number of
Madeleine Walker Tia Ormsby received a daring stage adaptation by British periodicals. Down and Out in Paris
and London was published in 1933.
theatremakers Robert Icke and Duncan MacMillan In 1936 he was commissioned by
Adapted & Directed by Robert Icke & Duncan MacMillan for Headlong Theatre, which has wowed both West Victor Gollancz to visit areas of mass
unemployment in Lancashire and
End and Broadway audiences. Yorkshire, and The Road to Wigan
Pier (1937) is a powerful description
Designer Lighting Designer Sound Designer Video Designer
Now Auckland Arts Festival and Auckland Theatre of the poverty he saw there.
Chloe Lamford Natasha Chivers Tom Gibbons Tim Reid Company introduce this urgent international At the end of 1936 Orwell went to
Spain to fight for the Republicans and
production to New Zealand audiences in was wounded. Homage to Catalonia
Associate Director (Australia) Associate Lighting Designer collaboration with GWB Entertainment and in is his account of the civil war. He
was admitted to a sanatorium in 1938
Corey McMahon Gavin Norris association with State Theatre Company South and from then on was never fully
Australia. This presentation has seen AAF and ATC fit. He spent six months in Morocco
and there wrote Coming Up for
work together to present an international hit on Air. During the Second World War
Associate Sound Designer Associate Video Designer
the occasion of our 10th and 25th anniversaries he served in the Home Guard and
Richard Bell Ian Valkeith respectively. 1984 is a powerful, electrifying
worked for the BBC Eastern Service
from 1941 to 1943. As literary editor
production mounted on a scale and of a style rarely of the Tribune he contributed a
This production opened in Adelaide, Australia at Her Majesty’s Theatre on Tuesday 16 May 2017. regular page of political and literary
seen in Aotearoa and which will sit perfectly on the commentary, and he also wrote
This adaptation of 1984 was first presented at Nottingham Playhouse on 13 September 2013 and, following a UK tour, stage of the intimate ASB Waterfront Theatre. for the Observer and later for the
opened at Almeida Theatre on 8 February 2014. Manchester Evening News.
Nineteen Eighty-Four by George Orwell (copyright 1949) by permission of Bill Hamilton as the Literary Executor of the Our sincere thanks to Auckland Council and Creative His unique political allegory, Animal
Estate of the late Sonia Brownell Orwell, in a new adaptation by Robert Icke and Duncan Macmillan. Farm, was published in 1945, and it
New Zealand, core funders of both AAF and ATC. was this novel, together with Nineteen
State Theatre Company South Australia is supported by: Arts South Australia, Australia Council for the Arts. Eighty-Four (1949), which bought
him worldwide fame.
COLIN McCOLL ONZM JONATHAN BIELSKI George Orwell died in London in
Artistic Director Artistic Director January 1950.
Auckland Theatre Company Auckland Arts Festival
1BEGINNING AT THE END superseded by Newspeak. The appendix Does this sound like an overcomplication?
yields fascinations about a totalitarian Worrying where the book stands in relation
state’s control of language – and by to the appendix actually consolidates our
extension thought. It also affords final appreciation of its sophistication. Icke and
flourishes of grim humour (“Ultimately Macmillan’s approach – which brings the
it was hoped to make articulate speech act of reading centre-stage, so that the
issue from the larynx without involving story is being pored over, anticipated,
the higher brain centres at all. The aim responded to and enacted – pulls off a
was frankly admitted in the Newspeak theatrical correlative to doublethink, a state
word DUCKSPEAK, meaning ‘to quack like of contrary interpretation. We are rendered
a duck’”). Above all, though, its primary as disorientated as the protagonist by the
achievement is to reduce the reader’s dream-like stage action. As Icke suggests:
ability to be certain about the narrative. “This could be the future that Winston
imagines when he starts to write the
Recalling his initial approach to the Orwell diary. It could be us thinking about Orwell.
estate for the stage rights, Icke explains: Or it could be the people who write the
How paying close attention to the He doesn’t know it but his words do “I remember saying quite forcefully at
appendix in Nineteen Eighty-Four led survive, after a fashion. Orwell is explicit appendix… looking back at the primary text
the start, ‘I think the appendix is the most of Orwell’s novel or Winston’s diary.”
co-creators Duncan Macmillan and Robert that they do. Nineteen Eighty-Four important bit. I think it’s structurally the
Icke to rip up the theatrical rule book. doesn’t simply run in the “real-time” of thing that defines the whole… I don’t know The final word goes to Macmillan: “I think
Winston’s experience – the birth of his how you can adapt this novel if you don’t the overriding thing was: how do we
It’s not enough that Winston Smith knows rebellion culminating in his inevitable
in his heart of hearts that the world he’s touch the appendix. I don’t know what find a theatrical form for the prose form
destruction – it’s also a remembered time. it means’.” He continues: “It’s a book of what Orwell is doing?… How do we
living in is monstrous – and that he hates As Duncan Macmillan and Robert Icke
it. He needs to write those thoughts that’s about unreliability… and Orwell puts achieve doublethink, how do we deliver the
astutely observe, as soon as you grasp the something at the end that a lot of people intellectual argument, and also can we take
down, give vent to his thoughtcrimes. But importance of the appendix, you have to
who is he writing for? Almost from the hilariously and ironically haven’t bothered along a 15-year-old who has never read the
regard the novel in a different light. It’s not to finish. One of the things the novel really book while satisfying the scholar who has
moment he puts forbidden pen to precious some disposable organ, it’s integral.
paper, he senses that his gesture of thinks about is the status of the text, and read this book 100 times? And once you’ve
individualistic defiance, his lonely groping Though The Principles of Newspeak only what text means – and whether text can seen it and go back to the book, is it all still
after some kind of sanity, is futile: runs to some 4,000 words, and has have any authority when it has been there…?” He asserts with calm confidence:
the sheen of something academic, arid messed with. How you can trust words to “I think we’ve ended up being incredibly
In front of him there lay not death and extraneous, it crucially reframes the deliver any information?” faithful to the book.” Having seen their
but annihilation. The diary would action. In a sense it at once cancels out remarkable, risk-taking, mind-expanding
be reduced to ashes and himself to Who is giving us Winston’s story, and why? version when it premiered in Nottingham
and future-proofs the “prophetic” aspect
vapour. Only the Thought Police would of the story by thrusting it into the past, Icke further elaborates: “From the moment last year, I’d double-vouch for that.
read what he had written, before making it a historical document. you read, ‘It was a bright cold day in April,’
they wiped it out of existence and Dominic Cavendish, February 2014
you’re reading the book with somebody
out of memory. How could you make Winston’s vantage point is 1984, or else, because that person has footnoted
appeal to the future when not a trace thereabouts, whereas the anonymous Dominic Cavendish is Lead Theatre Critic for the Daily
it and written you an appendix, so there’s Telegraph, founding editor of theatrevoice.com and a
of you, not even an anonymous word author of the postscript could be writing another reader in your experience of the founding member of the Orwell Society. In 2009, to mark
scribbled on a piece of paper, could at any point up to or beyond 2050, the novel at all times.”
the 60th anniversary of Nineteen Eighty-Four’s publication,
he created Orwell: A Celebration at Trafalgar Studios.
physically survive? moment Oldspeak was to have been
2 3LANGUAGE
Language is more than simply words. For example, in French the idea of a ‘tree’ to describe different types of rain, which
It shapes the way we think. In the appendix is represented by the word ‘arbre’ whilst would suggest that the both the English
to Nineteen Eighty-Four, Orwell tells us in German it is represented by the word and the Welsh understanding of the world
that Newspeak is a language deliberately ‘baum’. These two words for the idea of is a very watery one.
designed to limit the range of people’s a ‘tree’ do not sound similar in any way.
thoughts and to make certain ideas There is no innate relationship between If the words of a language reflect the
unthinkable. It can be argued, however, the word and the idea that it represents. way in which the people who speak that
that all languages, like Newspeak, limit the Instead, the word ‘tree’ represents the language understand the world, then it is
range of ideas that it is possible for people idea of a ‘tree’ because the group of also possible that our understanding of
to understand. people who speak the English language the world is shaped by the language that
have agreed that this is so. we speak. Words not only reflect the way
Words represent ideas. For example, the that we understand the world but they
word ‘tree’ represents the idea of a ‘tree’ If language is built out of words which define it as well. Is it possible to think an
– the large woody leafy plant that you represent ideas, then it makes sense that idea if there are no words in the language
find might lining the streets of a city, in the range of words within a language that you speak to represent it? If you
gardens, in parks, in the countryside or in reflects the ideas that are present in the spoke a language, such as Newspeak,
forests. When I talk to you about a tree, we culture of the group of people who speak that had no words to describe the idea
both have the same basic image of what I it. Different languages present different of ‘freedom’ would you be able to even
mean in our heads, even if the tree in my understandings of the way that the world think about the idea of being ‘free’? Would
head is an pine tree and the tree in yours works. The French linguist, Ferdinand you have any understanding of what
is a chestnut tree. The trees we imagine de Saussure, argues that an Inuit would ‘freedom’ was? Or would the thought be
might be slightly different but we both not understand what an English person completely unthinkable? Orwell argues
understand the basic idea that is being meant when they used the word ‘snow’ that in Newspeak, where there is no word
communicated. because for the Inuit there is no one to describe the idea of ‘freedom’, it would
thing that is ‘snow’. Instead, for Inuit be as impossible for a person understand
We like to think of language as something people, there are many different ideas the idea of ‘freedom’ as it would for a
natural and innate. You could argue that of ‘snow’ because it snows a lot and in person who had never heard of chess
the word for the idea of a ‘tree’ is ‘tree’ lots of different ways. Each Inuit idea to understand that the words ‘queen’ or
because there is something innately of ‘snow’ would have its own features ‘rook’ could represent chess pieces.
tree-like about the sound of the word. which defined it from other types of snow
The essence of the idea of a ‘tree’ is and there would be a different word to Orwell’s Newspeak is an extreme example
contained in the word ‘tree’ and that is represent each different kind of ‘snow’. of the ways in which a language could
why this particular word is associated The Inuit language, Saussure argues, has be used to limit the range of people’s
with this particular idea. If this was true lots of different words for snow because thoughts. However, the languages that we
then the word for the idea of a ‘tree’ this reflects the way that Inuit people speak everyday do shape both the way
in every language would surely be the experience their world. In contrast, the that we think about the world and what it
same or at least very similar in sound. English language has a large number of is possible for us to think in subtle ways.
However, the word for the idea of a ‘tree’ words for different types of water, while
in different languages is very different. Sarah Grochala, October 2013
Welsh language has the most single words
5IDEOLOGY
Ideology shapes the way that we think that people behave and think puts you in a alternative versions of how the world against. Julia states that she thought that
and behave as members of society. position of great power. might work. They were only allowed to they had always been at war with Eurasia.
An ideology is a set of conscious and see the world the way that Stalin and his She is so caught up in the ideology of her
unconscious ideas and beliefs that a In Stalinist Russia, children were taught a government wanted them to see it. Stalin’s society that she doesn’t question the new
group of people hold about the way that version of history that glorified the society communist government tried to eradicate narrative about the war, even though she
the world works. These ideas shape their in which they lived. In their history books, any institutions that challenged their should remember from her own experience
sense of what is right and wrong. They the story of the Russian revolution made version of how the world worked. They that things were once different.
shape their sense of what is normal and Stalin a much more prominent and heroic attempted to shut down the churches in
abnormal behaviour. They define their figure in those events than he actually Russia, because they offered the people In the West, we like to think that we don’t
ambitions and their goals. At a deeper was. Events that reflected badly on Stalin a different way of thinking about the how live in an ideological society, that all our
level, they shape their sense of reality. and his regime were not included in the world works. The church was a threat choices are our own. But if an effective
version of history in school textbooks. to Stalin and his government because it ideology is something you can’t see, how
We are not born with an innate sense of There was no mention of the great famine offered a competing ideology. would you know if your thoughts and
how the world works. Instead, we are taught in the Ukraine in the 1930s, in which behaviour were being shaped by an ideology
how the world works as we grow up. The millions of people starved to death as a Ideology is easy to see from the outside. rather than being wholly your own?
way that we are taught the world works is result of Stalin’s government’s economic When we look at Stalinist Russia, we can
not neutral or natural but differs from culture and agricultural policies. People who can see that Stalin created a version of how the The best place to start is to ask yourself
to culture, from society to society. criticised the regime were deleted from world worked that supported his position how you think the world works. What
history. Trotsky, who had played a major of power as head of the Communist seems to you to be ‘common sense’ or
We are taught to see the world in line role in the Russian revolution alongside government. We would say that Stalin ‘natural’ or ‘something everyone knows’?
with the prevailing ideology of the society Lenin, was removed from the history of lied to the people of Russia, both about Is it ‘common sense’ to always look out
of which we are part. We learn about those events. Most famously, a picture their history and about current events. In for number one? Are women ‘naturally’
the way that the world works in school, in which Trotsky is stood by Lenin was Nineteen Eighty-Four, it is clear to us as more emotional than men? Is the fact that
through representations of the world in altered so that Trotsky disappeared from readers that the government of Airstrip a happy life consists of earning lots of
art, in science and in literature. We learn the picture completely. One is manipulating history in order to money ‘something that everyone knows’?
about the world through the eyes of the make its citizens view the world in a Would the answers to any of these
religion that we practice, through the eyes Artists in Stalinist Russia created art particular way. questions be different, if you had grown
of our parents and through the eyes of and literature that praised Stalin and his up in a different culture or at a different
the media. We are told stories about the government. Spectacular parades were It is, however, very difficult to identify an point in history? By starting to question
history of our society and other societies. staged that demonstrated the strength ideology when you are living under it. It the things that you take for granted about
All these perspectives on the world are and mite of Stalin’s communist Russia. simply the way that you think the world the way the world works, you might be
coloured by the ideology that prevails in The newspapers only ran stories that works. In Nineteen Eighty-Four, Julia able to start to see the way that ideology
the society in which we live. either congratulated the government on finds it difficult to see how the government colours your own views and beliefs.
their successes or criticised those who is manipulating her view of the world.
Ideology is ultimately about power and criticised the regime. Censorship meant Winston tells Julia about having to remove Sarah Grochala, November 2013
control. If you can control the way that that any works of art or newspaper any scrap of evidence that Oceania was
people think the world works, then you articles that contradicted the ideology of at war with Eastasia instead of Eurasia, Sarah Grochala is a British playwright and Senior Lecturer,
can control the way that they behave and Writing for Theatre at the Royal Central School of Speech
Stalin and his government were banned. after the government decides to switch the and Drama. Her plays include S-27 (Griffin Theatre, 2010).
they think. Being in control of the way People did not have any access to any identity of the enemy that they are fighting Her books on playwriting include The Contemporary
Political Play (Bloomsbury Methuen Drama, 2017).
6 7CAST
BILL ALLERT PAUL BLACKWELL TOM CONROY TERENCE CRAWFORD SIMON LONDON GUY O’GRADY
Martin Parsons Winston O’Brien Charrington Syme
Bill is a graduate of the Stella Adler Paul has worked widely across the Tom graduated from the Victorian Terence began his career in his home Simon has established a fine career, Guy graduated from the National
Studio of Acting. Theatre credits industry in theatre, film, television College of the Arts, and has since city of Newcastle in 1980 before acting in theatre, film and television Institute of Dramatic Arts in 2015.
include: The Duck Shooter, Drums in and radio. He is perhaps best known held a very successful stage career. studying at NIDA. His more recent in Australia, New Zealand and the His stage credits include Long Tan,
the Night, Killer Joe (State Theatre on the stage having worked for all Tom’s theatre credits include stage credits include The Seagull, UK. He has worked extensively in Tartuffe (Brink Productions & State
Company SA/Brink); Salt (State the major theatre companies and Ghosts, Jasper Jones, Mortido, Hedda Gabler, Attempts on her theatre, recent Australian work Theatre Company of South Australia);
Theatre Company SA/Vitalstatistix); in children’s theatre as well as for Mother Courage and Her Children, Life, King Lear, Romeo & Juliet and including the critically acclaimed The Call (Junglebean); The Lesson
The Birthday Party, Translations Opera Australia and the symphony Small and Tired (Belvoir); Hay Speaking in Tongues (State Theatre The Pride and Remembering Pirates (Accidental Productions); Rough
(Flying Penguin); One Long Night orchestras in Adelaide and Hobart. Fever, Spring Awakening (Sydney Company of South Australia); The with Darlinghurst Theatre Company, for Theatre II, The Possibilities (go
in the Land of Nod (Floogle); The Theatre Company); The Wider Earth Hypochondriac (Brink Productions); Taking Steps for the Ensemble begging); and An Enemy of the People
Ecstatic Bible (Brink/The Wrestling Recent appearances for State Theatre (Queensland Theatre Company/ and Blackbird (Flying Penguin Theatre and The Judas Kiss with (ActNow Theatre). During his studies
School); The Caretaker, A Lie of the Company include Volpone, Eh Joe, Sydney Festival); Cock (Melbourne Productions). Terence’s film credits Redline. at NIDA, Guy appeared in Much Ado
Mind, Blue Remembered Hills, Ursula, The Seagull, Babyteeth and the title Theatre Company/La Boite); Romeo include The Babadook, A Month of About Nothing, Choreography, Boys
The Dream Play, The Europeans role in Vere (Faith), a co-production & Juliet (State Theatre Company of Sundays, Boys in the Trees, Rabbit New Zealand theatrical highlights and A Dream Play.
(Brink). Later in 2018 he will appear with Sydney Theatre Company. South Australia); Moth (Malthouse/ and Remembering the Man. include When the Rain Stops Falling
in That Eye, The Sky for State Arena Theatre Company); Romeo & and The Boys in the Band with Silo On screen, he has appeared in the
For Brink Productions he appeared As a playwright, Terence has had Theatre; The Duchess of Malfi and feature film One Eyed Girl. He has also
Theatre Company SA, directed by in Thursday and The Aspirations of Juliet (Bell Shakespeare); and Land &
Kate Champion. Sea (Brink Productions). work produced by Griffin Theatre The Gift with Auckland Theatre featured in a number of radio plays.
Daise Morrow, When the Rain Stops Company, New Theatre, Theatre of Company; Romeo & Juliet with
Bill is also a directing graduate Falling (with State Theatre Company) He has worked on script developments Image and Sydney Theatre Company Downstage; The Beauty Queen of Guy is a proud member of
of the VCA Film and Television and The Hypochondriac. for Belvoir, Playwriting Australia, Bell and has had work produced on radio Leenane and Three Sisters with The Actor’s Equity.
School, and has had films screen For Sydney Theatre Company, he Shakespeare, Brink, and Queensland and television. His plays include Court Theatre; and the national tour
at festivals including the Brisbane appeared in Tartuffe, The Government Theatre Company. His screen work Shondelle the Tiger, Fuck ‘em if they of Disco Pigs with A Different Light.
International Film Festival, Flickerfest, Inspector, The Ham Funeral and The includes Hamlet for Bell Shakespeare/ can’t take a joke, and Love’s Triumph. Simon was co-creator of the The
the St Kilda Film Festival, Tropfest, Trackers of Oxyhrinchus. For Belvoir, ABC Splash Content. Generation of Z, which enjoyed two
and the London and Melbourne In 2005, Currency Press published successful New Zealand seasons and
credits include Antigone, Ubu, The Tom’s performance in Something Terence’s first book on acting, Trade
International Comedy Festivals. Bill is Underpants, Picasso at the Lapin subsequently toured to the Edinburgh
a professional speaker and spoke at Natural But Very Childish (La Mama) Secrets, and in 2011 published his Festival and London.
Agile, The Frogs and The Popular garnered him a Green Room Award second, Dimensions of Acting: An
TEDxAdelaide 2016. Mechanicals and Pop Mecs 2, On for Best Male Actor in Independent Australian Approach. Terence is Head Simon’s feature films include The
Parliament Hill. His Windmill credits Theatre. of Acting at Adelaide College of the Hobbit: The Desolation of Smaug, The
include The Composer Is Dead, a Arts and is an Adjunct Professor of Hobbit: Battle of the Five Armies,
co-pro with the Adelaide Symphony Adelaide University’s J.M. Coetzee My Wedding and Other Secrets and
Orchestra and in The Clockwork Centre for Creative Practice. Shock Room. In television, Simon
Forest (Windmill Theatre/ Brink has most recently been seen in Love
Productions). For Patch Theatre He has been a proud member of Child, Doctor Doctor and Wonderland.
Company he was a co-creator on the Equity since 1980, and is a founding Further screen credits include The
award winning Mr McGee and the member of the Arts Party. Cult, The Bill, Legend of the Seeker,
Biting Flea, Who Sank the Boat? and Go Girls, Shortland Street and
The Happiest Show on Earth. telefeatures Bliss and Waitangi: What
Film credits include Red Dog, Dr Really Happened?
Plonk, Candy, December Boys, The
Quiet Room, Charlie’s Country and The
Boy Castaways.
8 9Fiona Press and Guy O’Grady
in rehearsals for the
2017 Australian Tour
FIONA PRESS ROSE RILEY MADELEINE WALKER
Mrs Parsons Julia Child
Fiona has been treading the boards Rose Riley graduated from the Madeleine Walker, eleven years
of Australia’s theatre companies for Western Australian Academy of old, played the lead role in Emily
more than 30 years. Some of her Performing Arts (WAAPA) in 2013. Perkins’ adaptation of A Doll’s
standout favourite experiences: Third House by Auckland Theatre
World Blues, Two Weeks with the Rose made her main stage theatre Company. She has also played
Queen, Antony and Cleopatra (STC); debut in the acclaimed 2014 Belvoir Annie in a community production,
A Fortunate Life, A Midsummer Street production of The Glass has appeared in productions of
Night’s Dream (MTC); Wild Honey, Menagarie in the role of Laura, Jungle Book and Whistle Down
The Recruiting Officer (STCSA); directed by Eamon Flack. Rose was the Wind, commercials for General
The Department Store (Old Fitz); nominated for a Sydney Theatre Electric and Westpac, in the
Navigating Flinders, Neighbourhood Award for this role; and in the 2016 television series Cul de Sac, and
Watch (Ensemble); Romeo & Juliet season at Malthouse, Rose went on has won many awards for speech
(Bell Shakespeare); Is This Thing to win the 2017 Green Room Award and drama, and singing.
On?, Capricornia (Belvoir); and Men for Best Actress.
Should Weep (Q). Most recently, she In 2016, Rose played the role of
played Dot in Wayne’s Harrison’s Hermia in A Midsummer’s Night
production of The One Day of the Dream for Sydney Theatre Company,
Year at the Finborough Theatre, directed by Kip Williams. And in 2017,
London, and led the chorus in Sport Rose played the role of Lady Anne
for Jove’s Antigone in Sydney. in Richard 3 for Bell Shakespeare,
She has appeared as all the usual directed by Peter Evans.
guest suspects in television, including In film, Rose has featured in Truth
in Rake, Crownies and Mary: the and The Life and Death of Otto
Making of a Princess; in lots of small Bloom; and in television Rose has
roles in big films such as Tracks played roles in the upcoming mini-
and Oscar and Lucinda, and in big series Mystery Road for ABC, and in
roles in small films such as The Secret City for Foxtel.
Spy Who Liked Me and Sparks. Her TIA ORMSBY
biggest roles in her biggest films: she Child
won the 1991 AFI Best Supporting
Actress for Waiting, and Disgrace, an Tia Ormsby, eleven years old, was
adaptation of the great South African previously cast in a leading role
novel by J.M Coetzee. in Auckland Theatre Company’s
production of Billy Elliot the Musical.
Fiona has been a proud member of She has also featured in productions
Equity since 1983. of Charlie and the Chocolate Factory,
Alice in Wonderland, Dreamgirls and
Honk!; in a commercial for TSB; and
was the writer and presenter of a
short film, Save our Unique Landscape.
10CREATIVES
ROBERT ICKE CHLOE LAMFORD NATASHA CHIVERS TOM GIBBONS TIM REID COREY MCMAHON
Co-Adaptor / Director Designer Lighting Designer Sound Designer Video Designer Associate Director (Australia)
Robert is a writer and theatre director. Chloe trained in Theatre Design at Natasha’s theatre credits include: Tom trained at Central School of Speech Nominated for the 2014 ‘Knight Corey McMahon is an award-winning
He is currently Associate Director at Wimbledon School of Art. Her awards Hamlet (West End, Almeida); 1984 and Drama. Recent theatre includes: of Illumination’ Award for Theatre director and producer based in Adelaide.
the Almeida where his work includes include: Arts Foundation Fellowship (Broadway, Australia, West End, Hedda Gabler (National Theatre); The Projection Design for 1984, Tim has He trained at the Flinders University
adapting and directing Mary Stuart, Award for Design for Performance in Touring); Lady Chatterley’s Lover, Red Barn (National Theatre); Sunset worked as head of video for the Drama Centre, graduating in 2006. He
Uncle Vanya, Oresteia (also West End) Set & Costume, Theatrical Management Annie Get Your Gun, The Village Bike, at the Villa Thalia (National Theatre); National Theatre of Scotland and toured subsequently completed his Master of
Association Award for Best Theatre Happy Days (Crucible Theatre); Sunset The Crucible (Walter Kerr Theater); internationally. His work has been seen Creative Arts in Directing, also at the
and 1984 (co-created with Duncan
Design (Small Miracle). at the Villa Thalia, Statement of Regret People, Places and Things (National in places as diverse as Sydney Opera Drama Centre.
Macmillan, also Broadway, West End, (National Theatre); Taming of the Theatre, Winner for Best Sound House and the Shetland Isles.
National and International tours). She is an Associate Designer for Shrew (Shakespeare’s Globe Theatre); Design, Olivier Awards 2016); Oresteia He is currently the Artistic Director of
the Royal Court Theatre. Her work Adler & Gibb, The Mistress Contract, (Almeida Theatre/Trafalgar Studios); Recent productions include: Mary Stuart theatre company, Theatre Republic.
As director, his productions include includes: Unreachable, Ophelia’s (Almeida); FRACKED! (Chichester);
Gastronaughts, The Djinns of Eidgah Anna Karenina (Manchester Royal
Hamlet (starring Andrew Scott, also Zimmer, The Twits, How to Hold Your Oresteia (Almeida and West End); 1984 For State Theatre Company SA: After
(Royal Court); Praxis Makes Perfect Exchange); Elephants (Hampstead Dinner by Andrew Bovell; Romeo &
West End); The Fever, Mr Burns Breath, God Bless the Child, 2071, Teh (Almeida / Headlong / Nottingham
(Neon Neon / National Theatre Wales); Theatre); White Devil, As You Like It Juliet by William Shakespeare (co-
(Almeida); The Red Barn (National Internet is Serious Business and Circle Macbeth (National Theatre Scotland (RSC); Translations (Sheffield Crucible); Playhouse / West End); Meeting Bea
Theatre); Boys, Romeo & Juliet, Mirror Transformation. (The Old Laundry Theatre); The Red production with Adelaide Symphony
/ Broadway / Lincoln Center); Green A View From the Bridge (Young Vic/ Orchestra); 1984 by George Orwell,
Decade (Headlong, where he was Snake (National Theatre China); The Wyndham’s – nominated for Best Sound Barn (National Theatre); Show Boat
Associate Director until 2013). For Designs for theatre include: The Maids (Sheffield Crucible / New London adapted and directed by Robert Icke and
(Toneelgro Amsterdam); Amadeus, Shawl (Young Vic); The Talk of the Town Design Olivier Award 2015); Happy Duncan MacMillan (Associate Director,
Oresteia, Robert won the ‘Best (Dublin Festival); The Radicalisation Days, A Season in the Congo, Disco Pigs Theatre); If You Kiss Me Kiss Me (Young
Rules for Living, The World of Extreme Vic); Blood Wedding (Dundee Rep / Australia, NZ and Asia-pacific tours);
Director’ Critics Circle and Evening of Bradley Manning (National Theatre (Young Vic); Mr Burns, 1984 (Almeida);
Happiness (National Theatre); 1984 (West Graeae / Derby Playhouse); Stemmer Eh Joe by Samuel Beckett (Beckett
Standard Theatre Awards in 2015, and End/Headlong Almeida UK and Wales); 27, The Wheel, The House of The Absence of War, Romeo & Juliet Triptych, co-production with Adelaide
the Olivier Award for ‘Best Director’ Bernarda Alba, Empty / Miracle Men, (Headlong); Lion Boy (Complicite); (Bergen National Opera); Scale (Scottish
International Tour); Atmen and Ophelis Dance Theatre); La Musica (Young Vic); Festival); Between Two Waves by Ian
in 2016. Zimmer (Schaubühne, Berlin); Our Home (National Theatre Scotland); Henry IV (Donmar); Julius Caesar Meadows.
And the Horse You Rode in On (Told (Donmar, St Ann’s Brooklyn); Grounded Letters Home: England in a Pink Blouse
roberticke.com Ladies of Perpetual Succour (National (Grid Iron / Edinburgh International
Theatre Scotland); The Tempest by an Idiot); Sunday in the Park with (Gate Theatre); The Spire (Salisbury For Griffin Theatre Company: Music by
George (West End); The Wolves in the Playhouse); London, The Angry Brigade Book Festival); A Christmas Carol Jane Bodie; Rust and Bone by Caleb
(Donmar Warehouse); Het Hamilton (Royal Lyceum, Edinburgh); The Effect,
Complex (Hetpaleis, Antwerp); Salt, Walls (National Theatre Scotland / (Paines Plough); Roundabout Season Lewis.
Improbable); That Face (Royal Court / (Shoreditch Town Hall, Paines Plough); Love Your Soldiers, The History Boys
DUNCAN MACMILLAN Root and Roe (Donmar Warehouse); The (Sheffield Crucible); Quiz Show, Tree of For Out of Joint (UK): A View from
West End); Othello, Dirty Wonderland, The Rover (Hampton Court Palace);
Co-Adaptor / Director Events (ATC and Young Vic); The Knowledge (Traverse Theatre); Carousel Islington North by Caryl Churchill; Mark
History Boys (Sheffield Crucible); Disco pool (no water); Peepshow, Hymns, Sell Love Love Love (Royal Court); Island
Out (Frantic Assembly). (National Theatre, Tour); Dead Heavy (Royal Conservatoire of Scotland); White Ravenhill and David Hare (Associate
Plays include: City of Glass, adapt. Pigs and Sus (Young Vic); My Shrinking
Fantastic (Liverpool Everyman); Plenty Rose (Firebrand Theatre); 8 (Glasgay Director).
Paul Auster (2017 – 59 Productions, Life, Appointment with the Wicker Man, Her dance credits include: Strapless Festival); Biding Time (Remix); A Band
HOME and Lyric Hammersmith); Knives in Hens (National Theatre (Crucible Studio, Sheffield); Encourage
(Royal Ballet/ Royal Opera House); Called Quinn (Tromolo Productions); Other directing credits include: Chinese
People, Places and Things (2015–17 Scotland); Praxis Makes Perfect, The the Others (Almeida); Wasted (Paines
Gravity Fatigue (Sadlers Wells); Broken Ghost Patrol (Scottish Opera / Music New Year Concert (Adelaide Symphony
Radicalisation of Bradley Manning Plough, Tour); Chalet Lines, The
– National Theatre/Wyndham’s (Motionhouse); Motor Show (LIFT Theatre Wales); Educating Ronnie Orchestra); The Good Son by Elena
(National Theatre Wales); Boys (Headlong Knowledge, Little Platoons, 50 Ways
Theatre); 1984, adapt. George Orwell / Brighton Festival); Electric Hotel To Leave Your Lover (Bush Theatre); (HighTide / MacRobert Arts Centre, Carapetis (The Other Ones); The Share
(2013–17 – Headlong/Nottingham Theatre); Cannibals, The Gate Keeper (Sadler’s Wells / Fuel); God’s Garden Stirling); Can We Talk About This? by Daniel Keene; The Eisteddfod by Lally
(Manchester Royal Exchange); The Hairy Ape, Shivered, Faith, Hope and
Playhouse/Almeida/West End and (Arthur Pita / Open Heart / Linbury (DV8); Clockwork (Visible Fictions / Katz; That Face by Polly Stenham (five.
History Boys (Sheffield Crucible); It Charity, The Hostage, Toad (Southwark
international tour, co-adapted/ Studio); Electric Counterpoint (Royal Scottish Opera); Girl X, 99… 100, Peter point.one).
Felt Empty… (Clean Break); Small Playhouse); Sold (503); The Chairs
co-directed with Rob Icke); Every Opera House); Scattered (Motionhouse (Ustinov Bath); The Country, The Road Pan (National Theatre of Scotland);
Miracle (Tricycle/ Mercury, Colchester). As Assistant Director: Resident
Brilliant Thing (2013–17 – Paines Tour / Southbank Centre); Run!, To Mecca, The Roman Bath, 1936, Playback (Ankur Productions); The Not-
Assistant Director for The Bush Theatre
Plough/Pentabus Theatre/Edinburgh Designs for opera and dance include: Renaissance (Greenwich+Docklands The Shawl (Arcola); Utopia, Bagpuss, So-Fatal Death of Grandpa Fredo, Bright
(UK) and Paines Plough (UK); Ghosts by
Festival/UK, international tours/ Pelleas et Melisande, Alcina (Aix en International Festival); Beyond Belief Everything Must Go, Soho Streets (Soho Black (Vox Motus); We Dance, wee
Henrik Ibsen (STCSA); Holding the Man
HBO); 2071, co-written with Chris Provence Festival); Verkarte Nacht (Legs on the Wall / Sydney); Encore Theatre); Hitchcock Blonde (Hull Truck). groove (Stillmotion); Treasure Island,
by Tommy Murphy (STCSA).
Rapley (2014–15 – Royal Court (Rambert); The Little Sweep, Let’s (Sadler’s Wells). One Giant Leap (Wee Stories); Promises
Promises (Random Accomplice); Awards and Nominations: Emerging
Theatre/Hamburg Schauspielhaus); Make An Opera (Malmo Opera House, As well as Babs (BBC) for television,
Sweden); The Magic Flute (English Cresseid (Edinburgh International Artist of the Year (2009, Adelaide
The Forbidden Zone (2014–16 – Natasha was nominated for an Olivier
Touring Opera); War and Peace (Scottish Festival); White Tea (Fire Exit); The Critics’ Circle); Best Drama for The
Salzburg Festival and Schaubühne, Award in 2016 for Oresteia (White Light Tailor of Inverness (Dogstar). As Video
Berlin); Wunschloses Unglück, adapt. Opera/ RCS). Share (2010, Adelaide Theatre Guide);
Award for Best Lighting Design). She Co-designer: Ten Billion (59 Productions Best Ensemble for The Good Son (2015,
Peter Handke (2014 – Burgtheater has won the Theatre Award UK in 2011 / Royal Court); As One (Royal Ballet). As Adelaide Critics’ Circle); Best Individual
Vienna); Reise Durch die Nacht, for Happy Days (Best Design) and an Projection Designer: Wild Swans (Young Achievement (nomination, 2010
adapt. Friederike Mayröcker (2012–14 Olivier Award in 2007 for Sunday in Vic / ART). Adelaide Critics’ Circle); Best Ensemble
– Schauspielhaus Köln, Festival the Park with George (Best Lighting
for Between Two Waves (nomination,
d’Avignon, Teatertreffen); Lungs Design).
2014 Adelaide Critics’ Circle).
(2011–16 Paines Plough and Sheffield
Theatres/Studio Theatre, Washington
DC); and Monster (2006 – Royal
Exchange).
12 13THE PRINCIPLES OF NEWSPEAK
An excerpt from the appendix of Nineteen Eighty-Four by George Orwell
Newspeak was the official language intended that when Newspeak had been From the foregoing account it will be one could come to doing so would be to
of Oceania and had been devised to adopted once and for all and Oldspeak seen that in Newspeak the expression swallow the whole passage up in the single
meet the ideological needs of Ingsoc, forgotten, a heretical thought – that is, a of unorthodox opinions, above a very word crimethink. A full translation could
or English Socialism. In the year 1984 thought diverging from the principles of low level, was well-nigh impossible. […] only be an ideological translation, whereby
there was not as yet anyone who Ingsoc – should be literally unthinkable, When Oldspeak had been once and for Jefferson’s words would be changed into a
used Newspeak as his sole means of at least so far as thought is dependent all superseded, the last link with the past panegyric on absolute government.
communication, either in speech or on words. […] Newspeak was designed would have been severed. History had
writing. The leading articles in The Times not to extend but to diminish the range of already been rewritten, but fragments of A good deal of the literature of the past
were written in it, but this was a tour thought, and this purpose was indirectly the literature of the past survived here was, indeed, already being transformed
de force which could only be carried assisted by cutting the choice of words and there, imperfectly censored, and so in this way. Considerations of prestige
out by a specialist. It was expected that down to a minimum. long as one retained one’s knowledge of made it desirable to preserve the memory
Newspeak would have finally superseded Oldspeak it was possible to read them. In of certain historical figures, while at the
Oldspeak (or Standard English, as we Newspeak was founded on the English the future such fragments, even if they same time bringing their achievements
should call it) by about the year 2050. language as we now know it, though many chanced to survive, would be unintelligible into line with the philosophy of Ingsoc.
Meanwhile it gained ground steadily, all Newspeak sentences, even when not and untranslatable. […] Take for example Various writers, such as Shakespeare,
Party members tending to use Newspeak containing newly-created words, would be the well-known passage from the Milton, Swift, Byron, Dickens, and some
words and grammatical constructions barely intelligible to an Englishspeaker of Declaration of Independence: others were therefore in process of
more and more in their everyday our own day. […] translation: when the task had been
speech. The version in use in Nineteen We hold these truths to be self-evident, completed, their original writings, with
The name of every organisation, or that all men are created equal, that all else that survived of the literature
Eighty-Four, and embodied in the Ninth body of people, or doctrine, or country,
and Tenth Editions of the Newspeak they are endowed by their creator with of the past, would be destroyed. These
or institution, or public building, was certain inalienable rights, that among translations were a slow and difficult
Dictionary, was a provisional one, and invariably cut down into the familiar
contained many superfluous words and these are life, liberty, and the pursuit of business, and it was not expected that
shape; that is, a single easily pronounced happiness. That to secure these rights, they would be finished before the first or
archaic formations which were due to word with the smallest number of
be suppressed later. It is with the final, Governments are instituted among second decade of the twenty-first century.
syllables that would preserve the original men, deriving their powers from the […] It was chiefly in order to allow time for
perfected version, as embodied in the derivation. In the Ministry of Truth, for
Eleventh Edition of the Dictionary, that consent of the governed. That whenever the preliminary work of translation that the
example, the Records Department, in any form of Government becomes final adoption of Newspeak had been fixed
we are concerned here. which Winston Smith worked, was called destructive of those ends, it is the right for so late a date as 2050.
The purpose of Newspeak was not only RECDEP, the Fiction of the People to alter or abolish it, and to
to provide a medium of expression for institute new Government… “The Principles of Newspeak.”
Department was called FICDEP, the Appendix: Nineteen Eighty-Four
the world-view and mental habits proper Teleprogrammes Department was called
to the devotees of Ingsoc, but to make all It would have been quite impossible to
TELEDEP, and so on. […] render this into Newspeak while keeping By George Orwell. Reprinted with permission.
other modes of thought impossible. It was
to the sense of the original. The nearest
14 15GLOSSARY OF NEWSPEAK
ANTI-SEX LEAGUE FACECRIME NEWSPEAK SEXCRIME
Organisation advocating celibacy among Party members Any improper expression that carries the suggestion The official language of Oceania. Designed to make Having sex for enjoyment. In Oceania, the only approved
and the eradication of the orgasm. In Airstrip One, love of abnormality or of something hidden. A nervous tic thoughtcrime impossible, its vocabulary gets smaller purpose of sex is procreation for the Party.
and loyalty should exist only toward Big Brother and or unconscious look of anxiety could be a punishable every year, asserting that thoughtcrime – and therefore
the Party. offence. any crime – can not be committed if the words to TELESCREEN
express it do not exist. Implementation of Newspeak is Two-way screens installed in the homes of all Party
AIRSTRIP ONE GOLDSTEIN’S BOOK referred to as ‘The Project’. members to broadcast information and ensure constant
A province of Oceania, known at one time as ‘England’ Referred to simply as “The Book,” Emmanuel Goldstein’s surveillance. There is no way to control what is
or ‘Britain’. record is a compendium of all the heresies, of which OCEANIA broadcast, only its volumes, and the screen cannot be
Goldstein was the author and which circulated One of three superstates over which Big Brother turned off.
BIG BROTHER clandestinely here and there. exercises totalitarian rule. Its neighbouring territories are
The dictatorial leader of the Party, and its cofounder Eurasia and Eastasia. THOUGHTCRIME
along with Goldstein (see Goldstein, Emmanuel). Life in GOODTHINKER All crime begins as a thought, therefore all crime
Oceania is characterised by perpetual surveillance and A person who adheres to the principles of Newspeak. OLDSPEAK is thoughtcrime. A person who has committed
constant reminders that “Big Brother is watching you.” The version of English preceding Newspeak. In thoughtcrime is a thought criminal, even before
INNER PARTY Newspeak, words that represent politically incorrect committing the act itself. Thoughtcrime is “the essential
THE BROTHERHOOD Oceania’s political class, who enjoy a higher quality of ideas are eliminated. crime that contains all others in itself.”
An underground network founded by Emmanuel life than general Party members. They are dedicated
Goldstein, an original member of the Inner Party. entirely to Big Brother and the principles of Party rule. OLDTHINK THOUGHT POLICE
Goldstein turned on Big Brother and was one of the few Ideas and patterns of thought that are inconsistent with Law enforcement department designed to detect mental
to escape during the revolution (see also Resistance, MINISTRY OF LOVE (ALSO MINILUV) the Party’s principles. political transgressions.
Emmanuel Goldstein.) Oceania’s interior ministry, enforcing loyalty and love
of Big Brother through fear, oppression and thought THE PARTY TWO MINUTES’ HATE
BLACKWHITE modification. As its building has no windows, the interior The general population of Oceania, comprising middle A daily broadcast showing instances of thoughtcrime.
The ability not only to believe that black is white, but to lights are never turned off. class bureaucrats and other government employees.
know that black is white and forget that one has ever Comprising approximately 13% of population. There UNGOOD
believed the contrary. MINISTRY OF PEACE (ALSO MINIPAX) is a huge gap between the standard of living of Inner The opposite of good.
The defence arm of Oceania’s government, in charge of and Outer Party members. Outer Party members have
DOUBLEPLUS its military. very few possessions, and almost no access to basic UNPERSON (ALSO UNWRITE)
An example of how comparative and superlative consumer goods. All Outer Party members have a The process of altering and erasing records in order
meanings are communicated in Newspeak. ‘Plus’ MINISTRY OF PLENTY (ALSO MINIPLENTY) telescreen in every room of their apartment. to eradicate someone from cultural memory. Once
acts as an intensifier, and ‘double’ even more so. In The management of Oceania’s economy lies with this unpersoned, an individual’s previous existence can
Newspeak, ‘better’ becomes ‘plusgood’ and even better arm of government, which oversees rationing and RESISTANCE be denied.
is ‘doubleplusgood.’ maintains a state of poverty, scarcity and financial The revolutionary group said to have been led by
shortage while convincing the population that they are Emmanuel Goldstein in an uprising against the Party. YOUTH LEAGUE
DOUBLETHINK living in perpetual prosperity. Every ill of society is blamed on this group, which may Group for children in which membership is mandatory.
The ability to hold two contradictory beliefs in one’s mind or may not exist. Members’ primary task is to monitor the activities of
simultaneously and accept both of them. MINISTRY OF TRUTH (ALSO MINITRUE) their parents.
The Party’s communication apparatus, by which ROOM 101
historical records are amended in keeping with its A room in the Ministry of Love where thought criminals
approved version of events. are taken.
16 17PRODUCERS
China and Ghost The Musical which in Asia with Disney’s High School Superstar, Groundhog Day, Sunset
toured to 14 different cities across Musical also playing seasons in Boulevard, Thriller Live, Evita,
tours in 2015, 2016 and 2017. Hong Kong and Taiwan and Ghost Hair, Avenue Q and Joseph and the
In 2011, GWB was approached The Musical playing Macau, Taiwan Amazing Technicolour Dreamcoat
HEADLONG
by Shanghai Culture Square and Singapore. GWB is currently in territories as diverse Asia,
GWB ENTERTAINMENT Theatre conceive and produce providing General Management Australia, UK, New Zealand, USA Via a combination of bold artistic American Psycho (Almeida); The
the theatre’s opening production. on the upcoming Korean tour of and South Africa. GWB has recently leadership and championing of Seagull (Nuffield Theatre/Derby
With operations in the United A unique producing collaboration Andrew Lloyd Webber’s Cats. In announced they will be producing visionary artists, we are able to Theatre/UK tour); The Effect (NT),
Kingdom and Australia as well between GWB and Culture Square Australia, GWB coproduced the a brand new Australian production create spectacular work with Medea (UK tour); Boys (HighTide
as local presence in mainland resulted in the development and Australian premiere and national of Andrew Lloyd Webber’s hit show the highest possible production Festival/Nuffield Theatre /Soho
China, GWB Entertainment is an presentation of Ultimate Broadway tour of Ghost The Musical in 2016 School of Rock the Musical, opening values. We position the next Theatre); Romeo & Juliet (Nuffield
internationally recognised theatrical a production which has gone on to and in 2017 is coproducing the in Melbourne November 2018. generation of theatre makers Theatre/Nottingham Playhouse/
producer and presenter specialising have subsequent seasons in 2012 national Australian tour of the hugely alongside artists of international Hull Truck/UK tour); Decade (St
in conceptualising, producing and and 2015 featuring leading principal successful West End production of Directors
standing, aiming always to create Katherine Docks); Earthquakes in
managing first class theatrical performers from the US and UK 1984. In 2013, GWB also produced Torben Brookman
work that is bold and original. London (NT/UK tour); and ENRON
productions. Over the last decade, along with local Chinese performers. the sell-out concert of Broadway Richelle Brookman
We place digital innovation at the (Chichester Festival Theatre/
GWB has been at the forefront of In Korea, GWB produced an arena and film star Kristin Chenoweth Paul Warwick Griffin
heart of all our activities, working Royal Court/West End/UK tour/
the development of the commercial production of Jesus Christ Superstar, at the Sydney Opera House. In Gareth Hewitt Williams
in partnership with digital artists Broadway).
musical market in mainland China which played to over 5,000 people addition to the above, over the last Associate Producer to create innovative content
as well as touring significantly to per night in Seoul before transferring 20 years, the directors of GWB Zac Tyler that accompanies and enhances Artistic Director
other major Asian markets such as to Busan, as well as the Korean have individually been intimately audiences’ engagement with our Jeremy Herrin
Production Coordinator
South Korea and Taiwan. In China, premiere of the Tony Award winning involved with many other significant Lauren Elphick work. Our projects tour the UK and Executive Director
GWB has opened new markets Avenue Q, which played at the theatrical productions such as the world; many transfer to the Alan Stacey
with tours of Disney’s High School Charlotte Theatre in Seoul. GWB has The Phantom of the Opera, Cats, Finance Office
West End, including People, Places Finance Manager
Musical touring to seven cities in toured extensively to other markets Ghost The Musical, Jesus Christ Mirella Innocente
and Things, Enron, Chimerica, Julie Renwick
Six Characters in Search of An
Author, The Nether and 1984. Administrative Producer
We have won numerous Olivier Fran Du Pille
bring the creation of theatre and the Graphic Design & Digital Producer Carpenter & Prop Maker awards, most recently for our Office Manager
relationship between performance Robin Mather Patrick Duggin co-production with the National & Executive Assistant
and audience to the centre of all of Publicist Carpenter/Metal Worker Theatre, People, Places and Things Amber Poppelaars
its activities, placing value on the Sophie Potts Guy Bottroff (Best Actress, Denise Gough; Best Producer & Tour Booker
idea that theatre can do something Sound Design, Tom Gibbons) and
Development & Marketing Assistant Scenic Art Amy Michaels
STATE THEATRE COMPANY that no other art-form can: it can previously for our production of
create communal joy; make emotional Zelda Chambers Sandra Anderson Chimerica, which played at the Assistant Producer
OF SOUTH AUSTRALIA
excavation a shared process and Events & Database Coordinator Head Electrician Almeida Theatre and for a sold- Alecia Marshall
State Theatre Company South offer intellectual insights that are Ben Roberts Sue Grey-Gardner out run in the West End in 2013. Associate Director
Australia is the state’s flagship accessible to all. Finance Manager Workshop Previous work includes: 1984 Amy Hodge
professional theatre company Natalie Loveridge Michael Ambler (Playhouse Theatre); Observe the
Artistic Director Production Manager
performing an annual season of Sons of UIster Marching Towards
Geordie Brookman Artistic & Finance Administrator Prop Shop Simon Evans
classic and contemporary Australian the Somme (UK and Ireland tour);
and international theatre works at Executive Director/Producer Fiona Lukac Robin Balogh Boys Will Be Boys (Bush Theatre); Press Agent
its main performance home – the Jodi Glass Administration Coordinator Head of Wardrobe People, Places and Things (NT); Clióna Roberts
Dunstan Playhouse. The Company Resident Artist Edwina Ward Kellie Jones The Glass Menagerie (West Marketing Officer
is a major community and cultural Elena Carapetis Production Manager Wardrobe Production Yorkshire Playhouse/ Liverpool Olivia Farrant
resource for all South Australians Gavin Norris Supervisor/Buyer Everyman & Playhouse/ UK tour);
Resident Designer Development Manager
and is vital to artistic life in the state. Enken Hagge The Absence of War (Sheffield
Geoff Cobham Deputy Production Manager Joshua Chua
State Theatre Company also plays an Theatres/Rose Theatre, Kingston/
important role in the bigger picture Resident Sound Designer Gabrielle Hornhardt Costume Maker/Cutter UK tour), The Nether (Royal Court/ Outreach Associate
of the Australian theatre scene, & Head of Audio Props Coordinator Martine Micklem West End); Spring Awakening (Headlong Futures)
contributing touring productions and Andrew Howard Stuart Crane Overseas Representatives (West Yorkshire Playhouse/ Rob Watt
providing employment and career Artistic Program Manager Production Trainee (London) Nuffield Theatre/UK tour);
opportunities for artists and technical Shelley Lush Alira Mckenzie-Williams Henny Finch
and administrative staff. We are Overseas Representative
committed to the development of Youth & Education Manager Workshop Supervisor
Kimberley Martin John Meyer (New York)
new works for the stage and to the Stuart Thompson
development of South Australian Acting Manager Marketing Leading Hand
artists through our creative fellowship & Communications Areste Nicola *Julian Meyrick’s services are provided
programs. The Company aims to Cat Turner courtesy of Flinders University
18 19You can also read
