INTERVAL 2018 - Belvoir St Theatre
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
INTERVAL 2018
CONTENTS
2 Message from Artistic Director
Eamon Flack
4 Funding the Next Generation
of Theatre Makers
6 Meet our Artistic Associate
8 Change Lives with Belvoir
14 Come One, Come All:
Unwaged Performance Program
16 Writing & Investing in
New Work
20 Coming Up in 2018
Amber McMahon in Atlantis. Image: Daniel Boud
FRIENDS
Belvoir is a very Sydney kind of theatre I like the mix of old and new. It’s a very
– an old warehouse on a side-street in Sydney thing, and it’s a very Belvoir
Surry Hills. In the evenings the sun sets thing. It’s something theatre is good
right down the hill of Belvoir Street. In at – lining up the new and the old
tech weeks in winter you can stand at and figuring out how we all fit in the
stage door on your afternoon tea break picture, how we belong. That seems to
and catch the last bit of light. Used to me to be a pretty good description of
be you could look out the windows of what Belvoir is and what it does.
the Warehouse at 18 Belvoir Street and
Given our size (big and small at once),
see out over the west of the city. Now
we do a lot. More than an organisation
you look at a new apartment building.
this big is built for, really. This city is
Sydney keeps changing, faster and fast.
full of untold stories. An untold story
Belvoir remains.
is a community that hasn’t been made
We make shows for Sydney, about yet. So we have to keep pushing
Sydney. Sometimes, like Sami in onwards, figuring out how to do more,
Paradise, they’re shows about why and do it better. It’s an impossible
people from around the world want undertaking, and I love it.
to come here. Other times, like with
We rely on you to do what we do. Your
Alana Valentine’s The Sugar House,
generosity is our good fortune. I say
they’re shows about what Sydney
that on behalf of audiences and artists.
used to be, how it’s changed, how
that’s changed us, the people who live Thank you from us all.
here. Next year (which we’ll launch
in September) we’ve got a bunch
of new shows about Sydney on the
table, about our lives here, about
power, childhood, and refuge. One of
them is a very big show, the biggest Artistic Director, Belvoir
we’ve ever done, set in Sydney and in
Colombo, Sri Lanka. That’ll be a new
kind of Sydney that we’ve never seen
before on stage.
2 3
FUNDING THE NEXT
“It has been incredibly
rewarding to be able
GENERATION OF to support Belvoir
over the years in such
THEATRE MAKERS adventurous theatre
making and storytelling
A CONVERSATION WITH OUR
…and now having the
INAUGURAL ANDREW CAMERON
FELLOW: CARISSA LICCIARDELLO
opportunity to invest in
the next generation of
theatre maker.”
Andrew Cameron AM
Former Belvoir Chair
The Andrew Cameron Fellowship is supported by and in honour of
our former Chair, Andrew Cameron AM. It enables Belvoir to provide
a professional development opportunity for an emerging artistic
leader. We sat down with Carissa Licciardello, our first recipient, to
hear about the impact of the award on her and her career.
What does the Andrew Cameron best artists in the country. It’s such also moving in all the right directions philanthropic support Walking Up the
Fellowship mean for you at this a rich experience and will allow my – reflecting a contemporary Hill provided, that opportunity of an
point in your career? understanding of the craft to grow understanding of Australia and Assistant Director role would not have
exponentially. Australian stories. existed at Belvoir.
It’s a vote of confidence in me as a
young artist and emerging director Emerging artists have very few
What attracts you to Belvoir? You were Assistant Director on Ghosts
and it means I have my colleagues at opportunities to get paid to work on
in 2017, thanks to the Walking Up the
Belvoir advocating for my work, which It’s an inspiring company that their craft. You can very quickly end
Hill Foundation. How important was
is an exciting place to be. It’s invaluable punches well above its weight up broke and burnt out trying to put
this opportunity for you?
to have this kind of introduction to a in terms of the quality of work on as much work as you can out of
company and to forge relationships for produced. Belvoir is very conscious It was so important for my professional your own pocket. A lot of really great,
the future. of and connected to its history – and creative development as a director, younger artists miss out on making that
creating work that is playful, relevant and the beginning of a significant transition to a professional career.
For the next two years, I will be
and connected to its audiences. It is relationship with Belvoir. Without the
learning first-hand from some of the
4 5
MEET OUR
ARTISTIC ASSOCIATE:
TOM WRIGHT
Tom, can you tell us a little about What inspires you? What do you the ground of Sydney, less reverential,
your role at Belvoir? normally look for in a play? What constantly offering different visions of
makes a play sing? how we reconcile warring impulses.
I’m here because I remember the We are aware of that legacy and speak
eighties. I mean that only slightly For me, theatre is about how we
of it regularly, but aren’t hidebound
facetiously; theatre has a habit of reconcile with and find meaning in the
by it.
repeating its mistakes and recycling its past. I love adaptations that interrogate
triumphs and it’s important to know classics, novels, films, poems, and shine Can you tell us about your current
where we’ve come from. I read scripts light on the present. I love theatre when project, Peter Carey’s Bliss, which
along with the rest of the team, help it’s smart and a bit ratbaggy. you’ve adapted for the stage?
with the broader casting discussions, I’m writing this as we’re fine-tuning
When I read, the big thing I’m looking
meet with artists (both established before the third preview in Melbourne,
for is: does it ask enough of the actors
and emerging) who get in contact so it’s been somewhat exhausting!
and what does it ask the director to
with the company, and so on. Adapting a novel is fraught because
do? Good plays offer a challenge to a
What does a typical day consist of as good director. it’s about judicious excision; what to
an Artistic Associate? leave out is as important as what you
Belvoir has such a long history
put in. Bliss paints a big picture on a
Tom Wright is an acclaimed A meeting with the team to discuss of telling stories that wouldn’t
theatre writer, best known for his little stage. I’ve tried to keep Carey’s
what we’ve seen and what we need otherwise be heard. Can you tell
adaptations and translations. His questions alive. It’s the early 1980s
to see, how the current show is us more about Belvoir’s role in this
recent work includes his adaptation and the older protectionist thinking
travelling, forthcoming artistic issues space?
of The Resistible Rise of Arturo Ui at is being replaced by ‘floating’; the
such as a problematic set or artist dollar, interest rates, national identity,
Sydney Theatre Company and Picnic I first worked at the company in 1992
relationships. Then maybe meet a the human soul. It’s by turns absurd,
at Hanging Rock at the Malthouse as an actor, and ever since, I’ve noticed
visiting theatre artist, write a couple wry, and heartfelt. I don’t think ‘good
Theatre in Melbourne, a production that at Belvoir, with each performance
which toured to Edinburgh and of reports for Eamon, read a script blokes’ like Harry Joy can stand for
a community is established, in a way
London. His previous credits include whilst trying to not get embroiled in humanity (and never did). So we’re
that doesn’t happen elsewhere. Partly
Black Diggers (Queensland Theatre the ongoing office discussion. We’ll trying to critique the book as well
because of the circumstances of its
Company / Sydney Festival) which speak daily about the ongoing state as re-tell it, a high-wire balancing
establishment, partly because of
won the 2015 New South Wales of next year’s program (I work three act. I think it’s going to be thought-
its structure, partly because of the
Premier’s Literary Awards Nick days a week). If I’m not picking up provoking for our audiences.
exigencies of the space itself, partly
Enright Prize for Playwriting Award, one of my children I’ll check-in with
because of the leadership shown by
and War of the Roses, The Lost the director of whatever show is
previous artistic teams. The company
Echo and Women of Troy (Sydney pertinent and offer support.
has a reputation for being closer to
Theatre Company), all of which won
Helpmann Awards.
6 7
Many of our students complete their I’ve gained confidence in myself. On the
CHANGE LIVES entire schooling without seeing
a single play. They thought it was
day of the performance I learnt how
to overcome my fears and to get over
WITH BELVOIR
amazing. It was absolutely unlike butterflies. I would like to participate in
anything they had ever experienced more drama workshops just to get out
before and were quite blown away. of my comfort zone and have fun.
At Belvoir, inspiring young people and opening their hearts and minds to Teacher, Coffs Harbour High School Student, The John Berne School
theatre is central to our mission. We believe the experience of live theatre
has a major role to play in students’ learning – providing stimulation and Belvoir runs an extensive Workshop Students went well outside their
challenging them to consider alternative views of the world. Program for students and teachers, comfort zone to gain acting skills,
working with some of the best leadership skills, and in one case –
actors, directors and designers in the fantastic literacy development. A
industry. We offer these workshops challenge facing the young people who
Belvoir’s innovative and inclusive Every show in our 2018 season has
at our home in Surry Hills as well as took part in the workshop is a lack of
Education Program makes the theatre a dedicated schools’ performance
going into schools across Sydney belief in their potential. They got the
accessible to young people of all followed by a Q&A session with
and NSW. great buzz of overcoming anxiety and
backgrounds. Funded predominantly the cast. Belvoir’s Priority Schools’
receiving praise. Next year we would
through philanthropic giving, we are Program ensures that every young Students realised today that what
like the same program please!
able to offer subsidised performances, person has the opportunity to attend they are accessing has parity
Teacher, The John Berne School
school visits, workshops for students these shows by providing subsidised with city students. And they
and teachers, work experience tickets for eligible schools. were assisted in realising that
opportunities and theatre programs for their experiences can help them Youth and
Woodenbong Central School is a Education
youth at risk. achieve their dreams. They were Supporter
small school nestled in the foothills of
empowered.
the Border Ranges in Northern NSW,
Teacher, Albury High School
a 1632km return trip from Belvoir.
Students at the school were studying Belvoir’s outreach program, Youth
Jasper Jones and their teachers were Express, provides drama workshops
– 5,000 students attend a Belvoir keen to give them the opportunity to to young people at-risk, delivered
schools’ performance (20-25% see Belvoir’s production. Thanks to in partnership with youth-support
from regional NSW) our Priority Schools’ Program, eight organisations. The 16-week program
– 1,200 students experience Belvoir students were able to attend. Their culminates in a performance devised
productions free-of-charge journey began at 3.30am, meeting by young people, providing a
their teachers at Kyogle before platform for their stories to be told.
– 750 students in regional NSW driving for two hours to the Gold
participate in over 40 workshops Coast so they could fly to Sydney
– 500 students from Western for the performances.
Sydney participate in over 25 I think this play is saying that our
workshops world is constantly judging people,
– 300 students participate in our particularly in small communities
Theatre Enrichment Program when they don’t ‘fit in’ with everyone
else. Although I had already read
– 50 youth at risk participate in the book, seeing the play created a
Youth Express, culminating in a whole new level of emotion for me.
performance at Belvoir
Student, Woodenbong Central School,
after attending Jasper Jones
8 9
INSIDE THE
REHEARSAL ROOM
Clockwise from left:
The cast of Sami in
Paradise; Fayssal
Bazzi, Arky Michael
and Charlie Garber
in Sami in Paradise;
Eamon at work;
Robert Menzies
in Ghosts; Tom
Conroy in Ghosts;
Toby Schmitz and
Taylor Ferguson in
The Rover; Nathan
Lovejoy and Andre de
Vanny in The Rover.
Images: Brett Boardman
10 11
HELP US COMPLETE
THIS PICTURE
Imagine a Belvoir world
without our supporters.
What couldn’t we do?
Individual support provides
a significant portion of our
annual income.
Your support makes a huge
impact on what we can achieve
on and off the stage.
12 13
COME ONE, COME ALL
Supported by our
official airline partner
“I’m a member of MEAA and “I would like to thank
Great theatre should be for everyone. because it provides access for people also have a pension card. I you very much for
Thanks to our wonderful partner Virgin who may not have the cash to see just want to say a big THANK the wonderful theatre
Australia, who came on board in late many shows – but who are still great
2017, Belvoir is able to provide free- lovers of the theatre. Long may the YOU for all the unwaged that you have made
of-charge matinee performances to tradition continue!” performances that Belvoir available to people
every Upstairs production for unwaged
members of our community.
Belvoir’s Unwaged Performance has throughout the year for like me who just could
Program is part of our Community
Last year, 2,743 people attended our Access Program which provides each production. It is such a not afford to pay to
unwaged performances, which brings opportunities for audiences to see our terrific thing to do.” see the shows.”
us close to 70,000 free tickets since work, regardless of economic status,
Belvoir first started the program 25 age or geographic location. Benita Collings Leonie Buchan
years ago for people who otherwise
could not afford to see theatre.
Pat and Bill Dodd from Helensburg
have been coming to unwaged
performances for the past 11 years.
“When we first started coming we’d
show our pension cards and got
handed a raffle ticket,” explains Pat.
“Now the tickets are numbered. We
arrive at 12 noon when the doors open.
There’s always such a range of people
who come, which is wonderful to see
and we often chat to people in the
queue. One time we spoke to a woman
who comes all the way from Goulburn!”
“We feel extremely lucky and are very
grateful that Belvoir does this. We’ve
seen some amazing plays. They are
all so fantastic. We go with another
couple and our discussion on the train
home is all about the show.”
Actor and Board member Mitchell
Butel says it’s one of his favourite
performances in a season. “The energy
in the house is always crackling and
very vocal. I love these performances
14 15
WRITING & INVESTING
Our Artistic Director Eamon Flack
discusses the importance
of investing in new works, and
IN NEW WORK
why it’s imperative for the future
of the company.
We recently sat down with writer Alana Valentine to talk about her
creative process and how it informed her play The Sugar House.
Old stories can be told more easily OUR SUPPORTERS
than new stories. Old stories can
almost tell themselves sometimes.
MAKE WHAT WE DO
Can you tell us about your creative How did you apply this process We recognise them, we jump POSSIBLE.
process? when writing The Sugar House? in. But new stories take longer
It’s more than a gift. It’s a vote of
because you have to find the form
Much of my work is drawn from real- The play is an epic family saga confidence in the work we do, the
of the story inside the rawness
life because I am inspired by the beginning in 1967, moving through stories we tell, the world we create.
of life. And sometimes that may
authenticity of history and the veracity to 1985 and then to 2007. It takes in mean unique questions need to be Our donors are critical to our
of community. I call my process ‘close enormous social and legal change, answered by all the artists involved, operational stability and ongoing
work’ because that describes how I work so I visited the Mitchell Library and like how the Tamil language is dif- artistic vibrancy. Donations underwrite
closely with archives, oral interviews looked at Max Dupain photographs ferent in different communities, or our Education Program, community
and research. But really my work is a taken of the CSR in the ’60s, I read how long the drive is from Darwin access initiatives, Indigenous
conscious fusion of fiction, imagination books about the period and spoke to Katherine, and these investiga- programming, national and international
and felicitous details drawn, sometimes to people who lived in the suburb tions demand new theatrical ideas. touring endeavours and of course, the
verbatim, from life. through those years, I consulted And so if you want to do this type productions we present in our theatre
Hansard and I interviewed Justice of work – of opening up the culture, on the side street of Surry Hills.
Terence Sheahan about his 1985 of including as many people as
legislation to end capital punishment Support from our individual donors,
possible, of honouring real life by
which is mentioned in the play. Corporate Partners and Foundations
putting it on stage – then it takes
Because my grandfather worked at & Trusts provide a significant portion
longer. And at the moment the arts
the CSR Sugar Refinery as a fitter (19%) of our annual income. This
is not set up to do that. Our nation-
and turner, I also drew on my own allows us to continue our mission of
al policies are not set up to do that,
memories. I would describe this bringing playful, authentic and powerful
our professional structures are not
as one of my most personal plays. storytelling to the stage.
set up to do that. So we have to
Pyrmont was a very working-class invent beyond our capacities.
area, with all the soot and the grit INCOME 2017 $ %
of industry and, now, it has been It’s hard to do. It’s easier not to do
it. But it’s so much more reward- Box Office 4,245,729 40
redeveloped as Jacksons Landing into
apartments as part of ‘urban renewal’. ing, for artists and for audiences. Other Earned 2,336,473 22
I did a reading at the Pyrmont History It means working outside your Revenue
Group early in the year and was limits, it requires more time and (e.g. Bar Sales &
amazed how many residents who more commitment. It requires more Venue Hire)
are now monied actually come from resources. You’ve got to build com-
munities of artists and supporters Government 2,062,534 19
quite humble beginnings – and the
play is about that, about how identity and somehow you’ve got to con- Philanthropic 1,395,536 13
endures beyond present economic vince everyone to give the project Income
circumstances. its best shot. Not to compromise.
Corporate 634,720 6
Because it’s easy for new stories
Sponsorship
to fail. And how you give these
projects their best shot? You’ve got Total 10,674,992 100
to give them more.
16 17SCENES FROM BLISS
IN MELBOURNE
PLAYING AT BELVOIR 9 JUNE - 15 JULY 2018
By Peter Carey Clockwise from
top left: Charlotte
Adapted for the stage
Nicdao, Anna Samson,
by Tom Wright Toby Truslove, Will
Director Matthew Lutton McDonald; Marco
A co-production with Chiappi and Toby
Truslove; Amber
Malthouse Theatre
McMahon & Anna
Peter Carey’s iconic novel Samson; Anna Samson,
performed by a terrific Amber McMahon and
ensemble cast. Entertaining Charlotte Nicdao;
Will McDonald,
and a little bit epic, it might
Amber McMahon and
just offer a vision of hope… Charlotte Nicdao.
Images: Pia Johnson
18 19COMING UP IN 2018
The year is whizzing by and so are our shows!
Don’t let the moments below pass you by
and put these dates in your diary.
9 JUN – 15 JUL Peter Carey’s iconic novel will
BLISS
2019 SEASON LAUNCH
be brought to life by a brilliant
ensemble cast. This may just be
the quintessential story about
the Australian dream. Are we
Pop the date in your diary, on Monday September 3
living in paradise or hell on
we will reveal our 2019 Season for the first time!
earth?
Hear from the actors at the post-
show Q&A on Tuesday 19 June
Previews begin Saturday 9 June
7 OC T – 4 NOV 10 NOV – 23 DEC
AN THE
EMY DANCE
2 1 J U L – 1 9 AU G Vaudeville meets kitchen sink
A TASTE
with a dash of jazz in Shelagh
EN
Delaney’s revolutionary 1958
play about a girl who invents
OF
A
a new kind of family.
OF OF THE
DE TH
Stick around after the show
HONEY O
on Tuesday 31 July to hear
PE PLE
from the actors in our post-
show Q&A
Previews begin Sunday 21 July
The extraordinary Kate Mulvany Judy Davis directs a magnetic
returns to Belvoir playing a cast – Colin Friels, Pamela Rabe
scientist who dares to tell and Toby Schmitz – in one of the
HHHH TimeOut HHHH SMH inconvenient environment truths greatest marriage battles ever
2 3 AU G – 3 0 S E P penned for the stage!
HHHH Daily Review and pays the price in Ibsen’s
CALAMITY
HHHH 1/2 Arts Hub electric and timely play. Catch the final briefing
of the year 6.30pm, Thursday
JANE
Don’t miss this joyous, wild The Belvoir Briefing
and un-missable shake-up of 6.30pm, Thursday 27 September 1 November
the old 1950s musical starring
Previews open Previews open
the irresistible Virginia Gay.
Sunday 7 October Saturday 10 November
Stick around after the show
Book for Tuesday 16 October Book for Tuesday 16 October and
on Tuesday 31 July to hear
and hear from the actors in our hear from the actors in our free
from the actors in our post-
free post-show Q&A post-show Q&A
show Q&A
Final performance for 2018
Previews begin
Friday 23 December
Thursday 23 August
20 21BELVOIR DONORS
We give our heartfelt thanks to all our donors for their loyal and generous support.
CHAIR'S CIRCLE $5,000 – $9,999 Charlene & Graham Bradley AM Kate Donnelly AB* Victor Baskir*
Jill & Richard Berry Chris Brown Holly Kramer Ian Barnett* Baiba Berzins*
$10,000+
Hartley Cook** Jan Burnswoods* Robin Low Brand New You Christine Bishop
Patty Akopiantz & Justin Punch
Sue Donnelly & Michael Martin Jan Chapman AO & Sam Meers Dr Dee de Bruyn Keith Bradley AM
Sophie & Stephen Allen Sarah Meers Maxine Brenner
Eamon Flack Stephen O'Rourke*** Jessica Block
The Balnaves Foundation Naomi O'Brien Anne Britton**
Gail Hambly** Danny & Kathleen Gilbert** Andrew Bullock
Jessica Block Cecilia Ritchie Robert Burns
Louise Herron AM & Clark Butler** Cary & Rob Gillespie John Campbell
Catherine & Philip Brenner Katriina Tahka Cadmium Property
Peter & Rosemary Ingle* Sophie Guest** Sue Capon
Anne Britton Cathy Yuncken Michael & Colleen Chesterman*
Don & Leslie Parsonage Peter Graves*** Denise & Robert Dunn
Jillian Broadbent AO Darren Cook
Dan & Jackie Phillips David Haertsch*** Joanna Elliott & David Ryan
Andrew Cameron AM & THE HIVE Tim & Bryony Cox*
Doc Ross Family Foundation John Head** Bob & Chris Ernst**
Cathy Cameron $2,500 Jane Diamond*
Victoria Taylor** Libby Higgin* Susan Gabriel
Roger Feletto Jane Mary Eagger
Jennifer Ledgar & Bob Lim** Elizabeth Allen & David Langley Geoffrey & Patricia Gemmell*
David Gonski AC & $2,000 – $4,999 Anton Enus
Professor Elizabeth More AM** Anthony & Elly Baxter Linda Herd
Associate Professor Neil Armfield AO** Gillian Fenton
Dr David Nguyen** Aaron Beach & Deborah Brown Dorothy Hoddinott AO**
Orli Wargon OAM Justin Butterworth Sandra Ferman
Timothy & Eva Pascoe*** Nathan & Yael Bennett Sue Hyde*
Sarah Henry & Anne & Michael Coleman* Tim Gerrard
Charlotte Peterswald Richard, Heather & Rachel Rasker** Justin Butterworth Peter & Rosemary Ingle*
Victoria Holthouse* Verity Goitein
Anita Jacoby Richard, Heather & Rachel Rasker Michael Rose* Dan & Emma Chesterman Ruth Layton
Este Darin-Cooper & Chris Burgess Jennifer Ledgar & Bob Lim* Peter Gray
Matthew & Veronica Latham Penelope Seidler AM David & Emma Scambler
Joanna Davidson & Julian Leeser Christopher Matthies Priscilla Guest*
Ian Learmonth & Julia Pincus Ann Sherry AO*
$500 – $1,999 Tracey Driver* Ruth Nicholas
Jill Hawker
Helen Lynch AM & Helen Bauer Judy Thomson**
Robert Crossman Grania Hickley
Frank Macindoe $1,000 – $1,999 Piers Grove Patricia Novikoff
Richard Evans Ruth Higgins
Nelson Meers AO & Carole Meers Anonymous (3) Ruth Higgins & Tamson Pietsch Nicole Philps
Ross McLean & Fiona Beith* Elaine Hiley
Sam Meers & Richard Kuo Cherry & Peter Best Hannah Roache & Luke Turner Polese Family Dorothy Hoddinott AO**
Louise & Michael Nettleton Chris Smith Richard, Heather & Rachel Rasker
Catriona Mordant & Angela Pearman Allen & Julie Blewitt Robert Kidd
Simon Mordant AM Jake Blundell Peter Wilson & James Emmett* Angela Raymond Cheryl L
Steve & Belinda Rankine Ruth Ritchie
Kerr Neilson Mary Jo & Lloyd Capps*** Connie Liu
Sally & Jonathan Rourke
Cathie & Paul Oppenheim Annabel Crabb & Jeremy Storer EDUCATION DONORS Stephen & Christy Roberts Elizabeth & Richard Longes
Penny Ward
Susanna & Matthew Press Lisa Hamilton & Rob White $10,000+ Julianne Schultz Lisa Manchur
Andrew & Andrea Roberts Wendy & Andrew Hamlin*** Doc Ross Family Foundation Margie Seale Genie Melone
Sherry-Hogan Foundation
B KEEPERS Heather Doig & Rob Koczkar Peter & Janet Shuttleworth* Irene Miller*
Avril Jeans**
$5,000+ Kimberly & Angus Holden Rob Sindel Peter Mitchell
Rob Thomas AM Kevin & Rosemarie Jeffers-Palmer ***
Robert & Libby Albert*** Susie Kelly Chris & Bea Sochan* Patricia Novikoff*
Mark & Jacqueline Warburton Margaret Johnston***
Ellen Borda* Ian Learmonth & Julia Pincus* Dr Titia Sprague Judy & Geoff Patterson*
WeirAnderson Foundation A. le Marchant***
Louise Christie** Nelson Meers Foundation Cheri Stevenson
Kim Williams AM & Ross McLean & Fiona Beith* Christina Pender
Constructability Recruitment Rob Thomas AM
Catherine Dovey Stephanie Lee** Daniela Torsh Susan Pugh
Marion Heathcote & Brian Burfitt**
Peter Wilson & James Emmett Atul Lele** $5,000 - $9,999 Catherine West & Julien Fouter David & Jill Pumphrey
Bruce Meagher & Greg Waters
Cathy Yuncken Ali Yeldham & Angus Hudson Kim Rosser
Don & Leslie Parsonage* Hilary Linstead*** Patty Akopiantz & Justin Punch
Jason Yetton & Jo Lam Bernard Ryan & Michael Rowe
Jann Skinner** Louise McBride Ari and Lisa Droga
Ross Younsman Leigh Rae Sanderson
CREATIVE $3,000 – $4,999 Cajetan Mula (Honorary Member) Veronica & Matthew Latham
& Veronica Espaliat Elfriede Sangkuhl
DEVELOPMENT FUND Anonymous (1) K Nomchong SC Louise Mitchell & Peter Pether Rachel Scanlon
$10,000+ Suzanne & Michael Daniel** Jacqueline & Michael Palmer $2,000 – $4,999 Chris & Bea Sochan*
Patty Akopiantz & Justin Punch Greeba Pritchard*
GENERAL DONORS
Tom Dent Anonymous (1) $10,000+ Paul Stein
Sophie & Stephen Allen Alex Oonagh Redmond** Leslie Stern
Bob & Chris Ernst** Andrew Cameron AM & Anonymous (1)
Anne Britton** Richmond Sisters
Firehold Pty.Ltd.** Cathy Cameron** Mike Thompson*
Andrew Cameron AM Andrew Cameron AM
David & Kathryn Groves** David Round Estate of the late Angelo Comino Tom Tilley
& Cathy Cameron*** & Cathy Cameron**
Judge Joe Harman Jennifer Smith*** Rowena Danziger AM Helen Trinca
Anita Jacoby* Ross Littlewood &
Michael Hobbs OAM** Chris & Bea Sochan** & Ken Coles AM Suzanne & Ross Tzannes AM*
Helen Lynch AM & Helen Bauer** Alexandra Curtin*
Colleen Kane** Camilla & Andrew Strang John B Fairfax AO & Libby Fairfax Louise & Steve Verrier
Frank Macindoe*
Tony Maxwell & Robyn Godlee Sue Thomson* Kiera Grant & Mark Tallis
$2,000 – $4,999 Chris Vik & Chelsea Albert
Cecilia Ritchie Anonymous (2) Sarah Walters*
Chantal & Greg Roger*** Alese Watson Julie Hannaford*
Sherry-Hogan Foundation* Paul & Jennifer Winch*** Samantha Acret Elizabeth Webby AM*
Andrew & Lesley Rosenberg* Judge Joe Harman
Shemara Wikramanayake Bill Hawker
Peter & Jan Shuttleworth** David Jonas & Richard Willis
& Ed Gilmartin Timothy & Eva Pascoe
Merilyn Sleigh & Raoul de Ferranti THE GROUP Desmon Du Plessis Brian & Trish Wright
Kim Williams AM & Louisa Ward Carolyn Wright
Catherine Dovey** Patricia Wong $4,000+ Dan & Jackie Phillips
Patty Akopiantz Lynne Watkins & Nicolas Harding*
Cathy Yuncken* $2,000 – $2,999 $500 – $1,999
Catherine Brenner $500 – $1,999 * 5+ years of giving ** 10+ years
Antoinette Albert** Anonymous (8)
Jillian Broadbent AO Anonymous (9) of giving *** 15+ years of giving
Claire Armstrong & John Sharpe** Len & Nita Armfield List correct at time of printing.
Margaret Butler Nicola Atkinson Annette Adair*
Max Bonnell**
Sally Cousens
22 23BELVOIR SUPPORTERS BELVOIR PARTNERS
Our patrons, supporters and friends are right there behind us, backing Belvoir in bringing GOVERNMENT PARTNERS YOUTH & EDUCATION
to life the great old theatrical crafts of acting and storytelling. Thank you. PARTNER
Learn more about supporting Belvoir at belvoir.com.au/support-belvoir
KEY SUPPORTER TRUSTS & FOUNDATIONS
AMP Foundation The Greatorex Foundation
Indigenous theatre Andrew Cameron Family Macquarie Group Foundation MAJOR PARTNERS
at Belvoir supported Foundation Nelson Meers Foundation
by The Balnaves
Copyright Agency Teen Spirit Charitable Foundation
Foundation
Cultural Foundation
Thyne Reid Foundation
Gandevia Foundation
Walking up The Hill Foundation
ASSOCIATE PARTNERS SUPPORTING
PARTNER
Belvoir is very grateful to accept donations of all sizes. Donations over $2 are tax deductible. If you
would like to make a donation or would like further information about any of our donor programs
please call our Development Team on 02 9698 3344 or email development@belvoir.com.au
SPECIAL THANKS MEDIA PARTNERS IT PARTNER
We would like to acknowledge Cajetan Mula, Len Armfield and Geoffrey Scharer. They will always be
remembered for their generosity to Belvoir.
We also thank our Life Members, who have made outstanding contributions to Belvoir over more than
NCC
thirty years. They have changed the course of the company and are now ingrained in its fabric: Network Computing & Consulting
Neil Armfield AO, Neil Balnaves AO, Andrew Cameron AM, David Gonski AC, Rachel Healy,
Louise Herron AM, Sue Hill, Geoffrey Rush AC, Orli Wargon OAM and Chris Westwood.
These people and foundations supported the redevelopment of Belvoir St Theatre and PRODUCTION EVENT PARTNERS
purchase of our warehouse. PARTNER
Andrew & Cathy Cameron Andrew & Wendy Hamlin
(refurbishment of theatre & warehouse) (Executive Director's office)
Russell Crowe Hal Herron
(redevelopment of theatre) (The Hal Bar)
The Gonski Foundation Geoffrey Rush
& Nelson Meers Foundation (redevelopment of theatre)
(Gonski Meers Foyer) Fred Street AM
(Upstairs dressing room) For more information on partnership opportunities please contact our Development team
on 02 9698 3344 or email development@belvoir.com.au
Correct at time of printing.
24THANK YOU
FOR YOUR
SUPPORT
Belvoir St Theatre
25 Belvoir St Surry Hills NSW 2010
Administration +61(2) 9698 3344
Box Office +61(2) 9699 3444
Development +61(2) 8396 6209
development@belvoir.com.au
belvoir.com.au
follow us on:You can also read
