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Queensland Performing Arts Centre, Dead Puppet Society and Brisbane Festival,
in association with Screen Queensland, present
Dead Puppet Society’s
ISHMAEL By David Morton
A dead earth. A climate refugee. A voyage to the outer solar system.
3–18 September 2021
CREMORNE THEATRE, QPAC
Creatives and Cast
Director and Designer David Morton
Creative Producer Nicholas Paine
Associate Director Matt Seery
Composer Bec Sandridge*
Projection Designer Justin Harrison
Sound Designer and Music Supervisor Tony Brumpton
Lighting Designer Christine Felmingham
Co-Designer (props and locations) Jennifer Livingstone
Costume Designer Nathalie Ryner
Dramaturg Louise Gough
Technical Manager Benn Sargood
Stage Manager Nicole Neil
Head of Fabrication Leigh Walker
Cast Ellen Bailey, Patrick Jhanur, Barbara Lowing and Anthony Standish (voiceover)
Venue Cremorne Theatre, QPAC
Duration 85 mins (no interval)
Warnings Approved theatrical smoke, haze effects, strobe lighting and loud noises.
Photographer Dean Hanson
@deadpuppetsociety | @brisbanefestival | @becsandridge
@deadpuppetsociety | @brisbanefestival | @becsandridge
@deadpuppets | @BrisFestival | @becsandridge
The Ishmael script was commissioned by Dead Puppet Society. The production has been commissioned by
Queensland Performing Arts Centre, Dead Puppet Society and Brisbane Festival.
Additional support has been provided by Glass Half Full Productions.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and
advisory body.
This project is supported by the Queensland Government through Arts Queensland.
The Creative Sparks Fund is a partnership between the Queensland Government and Brisbane City Council to
support local arts and culture in Brisbane.
Supported by a Queensland University of Technology Innovation Grant.
*All songs are written and recorded by Bec Sandridge, except Supernatural Lies written by Bec Sandridge and Xavier
Dunn and Claustrophobia written by Bec Sandridge and Dave Jenkins Jnr. All songs produced by Dave Jenkins Jnr.
Hero artwork and photography Dean Hanson
Having worked around the globe for eight years, the past 18 months have been the most amazing homecoming for Dead Puppet Society (DPS). We’ve established our roots in the new cultural precinct of Woolloongabba and used COVID as an opportunity to create new arms to the company. We’re so privileged to make our brand of design led theatre in this city and are incredibly grateful for the ongoing support that has gone into building the creative and technical ambition behind DPS. In the company’s history, we’ve made productions under the umbrella of Queensland Theatre, La Boite, Metro Arts and Brisbane Powerhouse, but Ishmael represents DPS taking the lead as a cultural producer in Brisbane. We’ve dreamed up this work with the support of our incredible partners Brisbane Festival, QPAC, Screen Queensland and Glass Half Full Productions. Thank you for believing in our vision, we’ve cherished every moment of the journey with you. Thank you to the incredible creative team who have thrown every piece of themselves at this work to ensure that it’s the most compelling and exhilarating experience possible. You should all be so proud. We certainly are. One of the things that sets DPS apart is that we never produce work for a single season; we’re about long term relationships, commitments, and mutual growth. We can’t wait to share Ishmael with the world when it’s safe to do so. Nicholas Paine David Morton Executive Producer, DPS Creative Director, DPS
“It’s not down on any map; true places never are...” This quote from Herman Melville’s Moby Dick – the novel that inspired this production of Ishmael – could just as easily be the maxim by which Dead Puppet Society (DPS) has charted its path. There is no map, no script for the creative development this team undertakes for every new project. With each one, they break new ground and deliver a production that expands our understanding of visual theatre. In Ishmael, a combination of new and old techniques and technologies come together in service to the story. Building up scenery from miniature models projected to screen, a technique that harks back to the early days of cinema, is here given a technological twist enabling it to happen live. For many productions, such special effects work might be found behind the scenes, in the wings or backstage. But one of the many joys of a DPS production is to observe this magic taking place on stage: whether it’s a puppeteer operating one of their creations or, as in Ishmael, actors doing double duty performing in character and as special effects producers manipulating miniatures to create scenes. To focus solely on centre stage for this production would mean missing integral parts of its creation. I encourage you to peek either side of the stage at times, to take in as much of this technically ambitious show as possible. This wonderful production is a credit to the DPS team, that has always stayed true to its creative journey, no map necessary. A collaboration with DPS on any project is a pleasure and we do so again, with our partners Brisbane Festival, to proudly present this season of Ishmael. John Kotzas AM Chief Executive, QPAC
Ishmael is both timeless and contemporary. It is a relatable story with classic themes of redemption, determination and triumph of the human spirit. The latter could also be said of this world premiere production by Brisbane success story, Dead Puppet Society (DPS). I am thrilled to finally welcome audiences to experience this incredible new work after COVID-19 postponed its international debut in 2020. This is a wonderful opportunity to stage a world premiere as part of Brisbane Festival, and to celebrate a globally successful theatre company that started right here in Brisbane. The term ‘ground-breaking’ is used often but I can’t think of a more accurate description of Ishmael. The creative partnership between David Morton and Nicholas Paine has given life to a genre-defying production that has been described as “a cross between Star Wars and David Bowie’s Space Oddity”. Like the mythical Moby Dick in Melville’s novel, Ishmael is at once impressive, mysterious and a rare theatrical gem. On behalf of the Brisbane Festival Board and CEO, I congratulate the creators, cast and crew involved in this eagerly anticipated world premiere production. The Festival is delighted to have played a major role in the commissioning of Ishmael. We are grateful to our partners at QPAC and Screen Queensland for their vision and faith in this production. Enjoy Ishmael and Brisbane Festival 2021. Louise Bezzina Artistic Director, Brisbane Festival
Show synopsis
Ishmael is set on a futuristic version of earth which has suffered a catastrophic environmental
collapse. The surface of the planet is smothered in a layer of clouds, all except for the tops of the
tallest mountains which are controlled by a wealthy corporate class.
The story follows Ishmael, a refugee who has been living in a corporation sanctioned camp on
the darkened surface of earth. She’s offered a chance of a new life above the clouds, but quickly
discovers that this means a perilous voyage to the outer solar system aboard the MV Pequod – a
mining ship under the control of the notorious Captain Ahab.
Once aboard, Ishmael befriends Queequeg – the only other crew member and an escaped
experiment in artificially intelligent droids. After a rocky start, Ishmael falls into the groove of life
on board until the crew are confronted by a ruined mining ship and with the trauma of the loss of
her brother fresh in her mind, Ahab leads the crew into uncharted space to either find him alive or
avenge him.
The show is unique in that the story is told both by live performers and also using miniatures,
models and camera technology to create sweeping visuals that are both the background to the
action and carry the storytelling weight in their own right. As with most Dead Puppet Society work,
the source of the illusion is exposed and with Ishmael we’re taking it to the next level. In addition
to watching the story, the audience will be watching how it’s made – live in front of their eyes.
Ishmael – in rehearsal
Ishmael – creative development
Ishmael – in rehearsal
Director’s note – David Morton
This production began its life as two distinct ideas: the first, a space saga made live using
miniature models and cameras; and the second, a reimagining of Herman Melville’s Moby
Dick for an era where the natural world is vulnerable to human destruction rather than the
other way around. In the centuries since its publication, the way that we understand the
world around us has changed so much, and even though we know the inevitable outcome,
we continue to burn through Earth’s no longer limitless bounty.
Ishmael is a story about those who stand to inherit the system that we’re complicit in building,
those who are forced to live with the consequences that we know are coming. In our rendering
of this less than hopeful future the Earth is dead, and rather than changing our behaviour,
humanity has turned to the solar system to sustain our limitless appetite.
At the heart of this story are three characters who have been broken by the system. Ahab, a
woman who has devoted her life to building personal wealth; Queequeg, a product of a society
in the constant pursuit of perfection; and Ishmael, a young woman who lost everything when
her mother decided that it was time to find a better way. Faced with seemingly impossible
odds, our intrepid trio seek redemption through collective action, and by coming together in
the gathering darkness, find a haven to weather the storm.
Ishmael is an exercise in communal imagination, both in the creative process, and the way
that it is made, then remade live each night. I owe enormous thanks to the incredible team
of dreamers who have made this little epic a reality.
Ishmael –creative developmentIshmael – in rehearsal
DAVID MORTON NICHOLAS PAINE
Writer, Director and Co-Designer Creative Producer
David is a writer, director and designer, and the Nicholas Paine is a producer of theatre and festivals.
Creative Director of Dead Puppet Society. Over the last He is a founding member and the Executive Producer
decade he has led DPS in the creation of large-scale of Dead Puppet Society, creating original puppet-
visual theatre works developed with international based visual theatre between Australia and the United
teams. The Wider Earth (DPS, Queensland Theatre, States. DPS highlights include The Wider Earth (DPS,
Trish Wadley Productions, Glass Half Full Productions) Queensland Theatre, Trish Wadley Productions, Glass
was conceived in residence at St Ann’s Warehouse, Half Full Productions), Laser Beak Man (DPS, La Boite,
premiered with Queensland Theatre, was programmed Brisbane Festival, PowerArts) and Storm Boy (DPS,
in Sydney Festival, and then ran for six months in Queensland Theatre and Melbourne Theatre Company).
a custom built theatre in London’s Natural History Nicholas holds a Master of Creative Industries (Creative
Museum. Laser Beak Man (DPS, La Boite, Brisbane Production and Arts Management) and a Bachelor of
Festival, PowerArts) was a collaboration with Tim Creative Industries (Drama) both from the Queensland
Sharp developed at the New Victory Theater in NYC, University of Technology.
which premiered with La Boite Theatre Company as
Nicholas has worked as the Creative Producer of
a part of Brisbane Festival before touring nationally.
South Bank Corporation (2017-18), Producer for Theatre
Additional works include The Riddle of Washpool Gully
Republic, Brisbane Festival (2016), Program Manager at
(Terrapin, DPS); Argus (DPS, Lincoln Center, Queensland
La Boite Theatre Company (2012-2013), Programming
Theatre, Brisbane Powerhouse); The Harbinger (DPS, La
Associate at Performance Space 122 in New York City
Boite, Critical Stages); The Timely Death of Victor Blott
(2011-2012), Producer for Backbone Youth Arts (2009-
(DPS, Metro Arts). David has been nominated for five
2011), Project Assistant on Brisbane Festival’s Under the
Helpmann Awards and an Olivier Award. He holds a PhD
Radar (2009), Project Coordinator at Imaginary Theatre
from Queensland University of Technology.
(2008) and Market Researcher for the Brisbane Writers
Festival (2007). He has been the recipient of numerous
grants and awards from organisations both in Australia
and USA.MATT SEERY BEC SANDRIDGE
Associate Director Composer
Dead Puppet Society: As Writer and Director: Echoes Wollongong based songwriter and musician Bec
in the Dust (QMF). As Puppeteer: Laser Beak Man, Argus. Sandridge composed the soundtrack for the theatre
As Fabricator: The Harbinger, The Wider Earth (with production Ishmael with the assistance of producer
Queensland Theatre), Laser Beak Man (with La Boite Dave Jenkins Jnr. Her first foray into composing music
Theatre and Brisbane Festival), Storm Boy (with for a theatre show, Sandridge is known for a unique
Queensland Theatre and Melbourne Theatre Company). and commanding stage presence that has seen her
As Assistant Stage Manager: Laser Beak Man. tour the UK, Europe and at home in Australia.
Other Credits: As Director: Lemons, Lemons, Lemons, A multi-faceted artist, Sandridge independently
Lemons, Lemons (La Boite Theatre Young Artists released her critically acclaimed debut album, TRY +
Company), Hotlines Playreading Program (Playlab), SAVE ME, in 2019. The album deep dives into topics of
ENGLAND (Metro Arts). As Assistant Director: Blackrock identity, anxiety, coming out, and takes a tongue in
(La Boite Theatre). As Directorial Observation: Once cheek look at Sandridge’s upbringing in a Pentecostal
in Royal David’s City (Queensland Theatre). As Project Christian household.
Manager: Lost Lending Library (Imaginary Theatre and
Recorded at Melbourne’s Aviary Studios with Oscar
Punchdrunk Enrichment). As Stage Manager: Brisbane
Dawson (Holy Holy) and Gab Strum (Japanese
Festival, World Science Festival Brisbane, Supercell
Wallpaper) Sandridge sought to combine punk with
Dance Festival, Oktoberfest Brisbane.
the theatre combining gritty club synths, discotheque
Positions: Producer, Metro Arts (2018 – 2021). Sessional cowbells and fuzzed out guitars.
Academic Staff, Queensland University of Technology.
A keen eye might recognise Bec as the winner of Triple
Training: Bachelor Fine Arts (Drama) with Distinction, J Unearthed’s Yours And Owls Festival and International
Queensland University of Technology. Songwriting Competition finalist (Unsigned category)
as judged by Dua Lipa, Chris Martin of Coldplay and
Tom Waits. Other career accolades include performing
on ABC TV show Q+A and having a recent placement of
her song STRANGER on Showtime TV show The L Word:
Generation Q.JUSTIN HARRISON TONY BRUMPTON
Projection Designer Sound Designer and Music Supervisor
Justin is a sound and video creative working across Dead Puppet Society: Echos in the Dust, Hive Mind, Laser
theatre, film and television. His Dead Puppet Society Beak Man, Mega Fauna, The Wider Earth, The Harbinger.
credits include The Wider Earth (Natural History As Composer and/or Sound Designer: Queensland
Museum, London 2018; Sydney Opera House 2018; Theatre: We are the Mutable, The Taming of the Shrew,
Brisbane 2016), and Laser Beak Man (National Tour Mouthpiece (QPAC) Antigone, City of Gold (Griffin Theatre
2019/2020, Brisbane Festival 2017). He has created Company), Tartuffe, Quartet, The Odd Couple, Gasp!
visual and sound designs for Queensland Theatre, (Black Swan Street Theatre Company), The Mountaintop,
Melbourne Theatre Company, Sydney Theatre Company, Australia Day, Black Diggers (Sydney Festival), Design
Belvoir St Theatre, La Boite Theatre Company, and has For Living, Other Desert Cities, Fat Pig, The Crucible,
been the resident designer and technical manager of God of Carnage (Black Swan State Theatre Company),
Grin and Tonic Theatre Troupe for 12 years. His most Tides, Pygmalion (Sydney Theatre Company), Sacre
recent credits include Caesar for La Boite, Fangirls Bleu!, Macbeth (Brisbane Festival) I Am My Own Wife,
(National Tour 20201) for Belvoir St Theatre, Storm Private Fears in Public Places, Absurd Person Singular,
Boy for Melbourne Theatre Company and Death of a The Removalists, Waiting for Godot (deBase Theatre
Salesman for Queensland Theatre. In 2016, his design Company), Eating Ice Cream With Your Eyes Closed,
for The Wider Earth was awarded with the inaugural Beckett x3, Maxine Mellor’s Mystery Project (State Library
Matilda Award for Projection Design. His work in of Queensland), Constellations (QT youth ensemble).
television and film has been played on every national La Boite Theatre company: The Time is now; Centenary
network as well as internationally. of Canberra Festival: Kungkarangkalpa (Seven Sisters
Songlines); Brisbane Festival: Freeze Frame, King
Here After; QUT Dance: Neural Dust, Current, Accented
Bodies, Altered States. As Director/Curator: Tone Black
Productions: EETREE, The Abandonment of Memory.
Vena Cava: RABBAR. QUT: Looking through Glass, Let the
Right One In, Birds Ate My Face, Fragments of a Hologram
Rose, What Was Left (Draft 4), The Alice Project, Inferno.
Positions: Queensland Theatre: Affiliate Artist (2014);
Dead Puppet Society: Resident Artist, Tone Black
Productions (Founder); QUT: Lecturer.CHRISTINE FELMINGHAM JENNIFER LIVINGSTONE
Lighting Designer Co-Designer (props and locations)
Christine has previously worked with Dead Puppet Maker, designer and arts producer, Jennifer finds
Society on Metamorphoses (Queensland Theatre Youth constant inspiration in the natural world and is
Ensemble); The Secret Garden (Queensland Theatre currently exploring a myco-art practice through study
Youth Ensemble); and Of Little Matter (Vena Cava of the remarkable kingdom of fungi.
Productions). She has created lighting designs for IMB:
For DPS: Creative Producer/Head of Fabrication (2019-
Institute of Light (Counterpilot); Caesar (La Boite Theatre
21), Creative Producer and Co-Designer – Hive Mind
Company); Anatomy of a Suicide (BC Productions);
(2020), Designer/Maker – SLQ First 5 Forever Character
Weathering Well (Woodward Productions); Conviction
Project (2020), Puppet remount and touring/transport
(Hive Collective); Elektra/Orestes (Hive Collective); The
solution – Megafauna (2020), Props Master/Maker/ASM/
Bull, The Moon and The Coronet of Stars (Hive Collective);
Puppet Maintenance – Laser Beak Man (2017, 2019/20),
Rising (Playlab); Dirty Laundry (The Good Room); MOTH
Props Maker – The Wider Earth (2016).
(Queensland Theatre); Avoidable Perils (Counterpilot);
The Type (Pink Matter); Boyle and Waters in LEOTARD For Global Creatures: Deputy Head of Props – Moulin
(Metro Arts); STATUM (Counterpilot and Flipside Circus); Rouge, The Musical (2021). For The Walt Disney Company:
TRUTHMACHINE (Counterpilot); The Trial (Queensland Deputy Head/Head of Props – Aladdin (2018/19), Masks &
Theatre); Echo (Expressions Dance Company); Sweet Puppets Assistant – The Lion King (2015/16), Local Props
Charity (Understudy Productions); Rovers (Belloo – Mary Poppins (BNE 2012). For GWB Entertainment:
Creative); The Sound of a Finished Kiss (Now Look Here); Acting Head of Props – School of Rock (2019). For Louise
Crunch Time (Counterpilot); The Dead Devils of Cockle Withers & Associates: Rehearsal Props Technician –
Creek (Playlab and La Boite); Spectate (Counterpilot); Matilda (BNE 2016).
Short+Sweet 2017 (Short+Sweet QLD); Splendour (Now
As Producer or Associate Producer: Australasian
Look Here); Architects Reborn: Arena Spectacular
Dance Collective (formerly EDC) (2014/15 & 2016/17),
(Architects of Sound); A Slight Ache & The Lover (Now
Queensland Music Festival (2013, 2017).
Look Here); Iphigenia 2.0 (Vena Cava Productions).
Christine has bachelor’s degrees in Technical
Production and Drama through the Queensland
University of Technology and was awarded the
Inaugural Emerging Female Arts Leader Award in 2019.NATHALIE RYNER LOUISE GOUGH
Costume Designer Dramaturg
Costume Designer Theatre, Queensland Theatre: Originally from Brisbane, Louise has worked as a
Our Town (2021), City of Gold (2019). La Boite Theatre dramaturg in theatre and a story developer in screen
Company: From Darkness (2019), Medea (2015). Dance for over 30 years. She was thrilled to work with DPS on
North: Surge (2018). The Danger Ensemble: Caligula The Wider Earth and Laser Beak Man. Louise has worked
(2014). Briefs: The Second Coming (2014). Circa: Furioso across a vast number of projects as a developer,
(2008). Costume Designer Television: ABC: Handball and held a range of positions including: Head of New
Heroes (2013), Nine film and television: Hi Five season 1/ Work (Belvoir); Head of Development (Arenamedia);
American cast (2003). Development Executive (Screen Australia); Resident
Dramaturg (then called, Queensland Theatre Company);
Positions: Queensland Theatre: Costume Supervisor
Curatorial Advisor (Queensland Performing Arts Centre);
current. As Costume Supervisor La Boite Theatre
Literary Fellow (Vineyard Theatre, NYC); Development
Company: A Doll’s House, Wizard of Oz, Holding the Man,
Executive (Madman Production Company); Script
Cosi. Bangarra: Blak. Polytoxic: The Rat Trap. QPAC: The
Manager (Film Victoria); Editorial Manager (ABC TV
Flying Orchestra. Head of Wardrobe: Elision Ensemble:
Drama and Narrative Comedy); and Literary Manager
The Navigator (Brisbane, Melbourne, Moscow). Jupiter’s
(Playbox, now Malthouse). Louise is now the Executive
Casino: Tempo Rouge and Zingara.
Producer/CEO of Australian Plays Transform.
As Costumier: Jaq productions: Star Wars Return of
the Sith. Village Road Show: The Matrix Reloaded, The
Matrix Revolutions. NBC: The Frontier (pilot). Baz mark
productions: La Bohème. Opera Australia: Orpheus of the
Underworld, The Pearl Fishers, Lucia di Lammermoor,
Mikado.
Awards: Matilda Award Nomination: Co-design Caligula
(2014).
Education: Fashion Design Diploma, Ecole Jeoffrey
Byrs International Paris; Diploma in Theatre Costume,
Sydney Institute of Technology.ELLEN BAILEY PATRICK JHANUR
Ishmael Queequeg
Ellen is an actor/physical theatre performer with Patrick is a 2015 graduate of QUT. In 2017, he joined
extensive training in dance and movement. Dead La Boite’s production Single Asian Female, directed
Puppet Society credits: Laser Beak Man, Echoes in the by Claire Christian, and has since toured with the
Dust, Megafauna, Storm Boy (with Queensland Theatre/ production for their Sydney Season at Belvoir St.
MTC). Other theatre credits: Taming of the Shrew, Theatre and their Melbourne Season at the Arts Centre.
Wisdom, Much Ado About Nothing, Oedipus Doesn’t Live Stage credits include; Sydney Theatre Company in the
Here Anymore, Macbeth (Queensland Theatre); Fantastic critically acclaimed play, Banging Denmark, Terrestrial
Mr. Fox (shake & stir theatre co.); Tender Napalm (La for State Theatre Company South Australia, Australian
Boite Theatre Company); Medea, The Forwards, Viral Open at Kings Cross Theatre, Taming of the Shrew at
(Shock Therapy Productions); Roadtrain (Sydney Theatre Queensland Theatre.
Company); A Secret Place (Zeal Theatre); Armistice
Prior to studying at QUT, Patrick performed in multiple
(QPAC); HEARD*BRISBANE (GOMA); Bustown (ATYP).
Singaporean children’s TV shows and guest starred in
Additionally, Ellen was Movement Coordinator/ Sea Patrol Series 2 under the direction of Geoff Bennett
Consultant for Taming of the Shrew and Wisdom and Ian Barry.
(Queensland Theatre) and works with young people
Patrick’s screen work includes the role of Sweetpea in
across Queensland as a teaching artist.
the ABC Telemovie RIOT, ABC’s Diary of an Uber Driver
In 2017, Ellen received government sponsorship to and The Checkout as well as short films Halfsies, Cane,
undergo training with internationally acclaimed Joy Boy and Thrush.
physical-theatre companies Frantic Assembly and
Feature Film credits include I Am Woman for Goalpost
Complicité, emboldening her performance portfolio
Pictures.
which is also composed of film, television, site-specific
theatre and music video. In 2020, Patrick was a recipient of the Casting Guild of
Australia Rising Star Award.
Training: QUT, BFA Acting. Awards: Gold Coast
Film Festival – Best Actor Lavender; Matilda
Award Nomination – Best Female in a Leading Role
The Forwards.BARBARA LOWING NICOLE NEIL
Ahab, Grubb, Coffin Stage Manager
Barbara is the first Queensland graduate of The Nicole is a Brisbane based Stage Manager with
Western Australian Academy of Performing Arts a passion for innovative new work, collaborative
(WAAPA). environment and excel spreadsheets.
She has worked and performed with Playlab Theatre, Previously for Dead Puppet Society Nicole has Stage
JUTE Theatre Company, The Brisbane Powerhouse, Managed the 2018 season of The Wider Earth with
Queensland Theatre, the Melbourne Theatre Company, Queensland Theatre as a part of Sydney Festival,
The Sydney Theatre Company, The State Theatre the 2017 Brisbane Festival season of Laser Beak Man
Company of South Australia, Griffin Theatre Company, with La Boite Theatre Company and the 2019/2020
La Boite Theatre Company, shake & stir theatre co, National Tour. Nicole’s most recent credits include, As
Belloo Creative, Camarata – Queensland Chamber Stage Manager; For Queensland Theatre: The Holidays,
Orchestra, and many Australian independent theatre The Scene Project 2019, The Wider Earth. For La Boite
companies whose work is inspiring and powerful. Her Theatre Company: Naked and Screaming, Neon Tiger,
previous work with The Dead Puppet Society was with Laser Beak Man. As Deputy Stage Manager; For Opera
The Harbinger. Queensland: The Marriage of Figaro, Orpheus & Euridice
(Presented with CIRCA), Tosca, Peter Grimes, Ruddigore
In 2007 Barbara won a Theatre Critics Matilda Award
or the witches curse! As Assistant Stage Manager;
for Best Actress and two MEAA/Equity awards for
For Opera Australia: HANDA Opera on Sydney Harbour
Best Actress and Best Ensemble Cast for Away, and a
– La Bohème, HANDA Opera on Sydney Harbour – West
Goldie Award for Best Commercial Voice Over Artist,
Side Story. For La Boite Theatre Company: A Streetcar
Queensland.
Named Desire. For Queensland Theatre: Taming of the
In 2013, she was awarded the Gold Matilda award for Shrew, Much Ado About Nothing. For Opera Queensland:
her body of work. (The China Incident – QTC, Tequila The Pearl Fishers, The Barber of Seville.
Mockingbird – shake & stir theatre co, Motherland –
Nicole holds Bachelor of Fine Arts degrees in both
Belloo Creative). Barbara was also awarded Outstanding
Technical Production (2015) and Drama (2012) from the
Contribution by a Female Actress in The Groundling
Queensland University of Technology and loves nothing
Awards for her body of work in 2013.
more than solving problems using comprehensive
Barbara has been a proud Equity/MEAA member spreadsheets, that moment in tech where it all comes
since 1987. together for the first time and the weird sense of calm
that lives in the blackout before a show starts.LEIGH WALKER BENN SARGOOD
Head of Fabrication Technical Manager
With over 10 years of experience in the Design and Benn is a Production and Technical Manager who has
Management of Festivals and Events both nationally worked across Australia and New Zealand for more than
and abroad, Leigh is leading the charge as Head of a decade from his home base in regional Victoria. Benn
Fabrication on Ishmael. Passionate about creating works on a wide range of events spanning live theatre,
theatre with meaning, she brings a unique range of live music, festivals, and major events. Having worked
skills and knowledge to Dead Puppet Society. Leigh with Dead Puppet Society over a number of years,
is honoured to be a part of this heartfelt production, on several projects including Argus, Laser Beak Man
curated by a powerhouse team of creatives. and now Ishmael – he has fulfilled the roles of audio,
lighting and production management.
Benn and his company Sapphire Lighting and Audio
Fabricators
Productions specialise in things a little bit left of centre
• Leigh Walker and always push the boundaries of what is possible
• Helen Stephens on a technical front. Their focus is on reliability and
precision with a rock and roll work ethic. Benn has
• Liz Ryan taken what started as a pipe dream in the cab of a
• Liz Prior 3-tonne truck travelling across outback Queensland
and made it into a unique production company serving
• Matt Seery clients all over Australia.
Technical support
• Matt Erskine
• Chris Goeldner
• Scott BartonDEAD PUPPET SOCIETY
Creative Director Management Committee
David Morton
Sandra Gattenhof (Chair)
Executive Producer
Claire Shulver (Secretary)
Nicholas Paine
Adam Brunes
Creative Producer
Matt Seery Laura Campbell
Artistic Associate Tim Hall
Helen Stephens Katherine Hoepper
Assistant Producer Liz Prior
Jodie Roche-Jones
Fabricator and Logistics Coordinator
Leigh Walker
Fabricator
Savannah Mojodi
Dead Puppet Society wish to acknowledge the following partners for their supportQUEENSLAND PERFORMING ARTS CENTRE
PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au
Chair ACKNOWLEDGMENT
Professor Peter Coaldrake AO The Queensland Performing Arts Trust is a statutory
Deputy Chair body of the State of Queensland and is partially funded
by the Queensland Government
Leigh Tabrett PSM
The Honourable Leeanne Enoch MP:
Trust Members
Minister for Communities and Housing,
Dr Sally Pitkin AO Minister for Digital Economy and Minister for the Arts
Dare Power
Director-General, Department of Communities and
Georgina Richters Housing and Digital Economy: Ms Clare O’Connor
Susan Rix AM
Leanne de Souza
QPAC respectfully acknowledges the Traditional Owners
Executive Staff of the Lands across Queensland and pays respect to
Chief Executive: John Kotzas AM their ancestors who came before them and to Elders
Executive Director – past, present and emerging.
Stakeholder Engagement Strategy: Jackie Branch
Interim Executive Director –
Curatorial: Ross Cunningham AM
Executive Director –
Visitation: Roxanne Hopkins Patrons are advised that the Performing Arts Centre
Executive Director – has EMERGENCY EVACUATION PROCEDURES, a FIRE
Venue Infrastructure and Production Services: ALARM system and EXIT passageways. In case of an
Bill Jessop alert, patrons should remain calm, look for the closest
Executive Director – EXIT sign in GREEN, listen to and comply with directions
Business Performance: Kieron Roost given by the inhouse trained attendants and move in an
orderly fashion to the open spaces outside the Centre.Ishmael – in rehearsal
QUEENSLAND THEATRE, BRISBANE FESTIVAL AND QPAC PRESENT
TIM MCGARRY
ADAPTED FOR THE STAGE BY
DIRECTED BY SAM STRONG
30 AUG – 3 OCT
PLAYHOUSE, QPAC
QPAC.COM.AU
Brisbane Festival is an initiative of the
Queensland Government and Brisbane City Council
BRISBANE FESTIVAL BRISBANE FESTIVAL BRISBANE FESTIVAL QUEENSLAND THEATRE GENEROUSLY QUEENSLAND THEATRE
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Artistic Director Leadership Team
Louise Bezzina Dana Brown – Head of Partnerships and Engagement
Chief Executive Officer Fabienne Cooke – Head of Philanthropy
Charlie Cush Rebecca Drummond – Finance Director and Company Secretary
Board Kate Fell – Program Director
Alison Smith – Chair Julia Herne – Head of Business Administration
Philip Bacon AO – Deputy Chair Tim Pack – Technical Director
Raelene Baker Karen Soennichsen – Marketing and Communications Director
Cory Heathwood Indigenous Advisory Group
Simon Morrison Michelle Tuahine Chair – Gangulu, Ngāti Kahungunu
Amanda Newbery Aunty Raelene Rallah-Baker – Birri Juru, Birri Gubba, Wurrunghu, Yuggera
Karen Prentis Bob Weatherall – Kamilaroi Elder
Anna Reynolds Bridget Garay – Kemer Kemer Meriam Nation
Chris Tyquin Shannon Ruska – Brisbane Traditional Owner
Benjin Maza – Meriam, Tanna, Birri-Gubba and Yidindji
Brisbane Festival is an initiative of the
Queensland Government and Brisbane City CouncilCollection Limited Edition Sculptures R.V. Rachel David Morton | 2021 | 16cm | Brass and acrylic | $500 incl. GST For more info: deadpuppetsociety.com.au/collection
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