21 JULY - 19 AUGUST

BLOOD WEDDING

Malthouse Theatre presents

BLOOD WEDDING

By Federico García Lorca Adapted by Raimondo Cortese

Directed by Marion Potts

Set and Costume Design The Sisters Hayes Lighting Design Paul Jackson

Composition Tim Rogers Sound Design Russell Goldsmith

Assistant Director Claudia Escobar

Performed bySilvia Colloca

Nicole Da SilvaIvan Donato

Mariola Fuentes Ruth Sancho Huerga

Irene del Pilar GomezMatias Stevens

Greg Ulfan David Valencia

Stage Manager Lisa OsbornAssistant Stage Manager Rebecca Poulter

Dialect Coach Suzanne Heywood

MERLYN THEATRE21 JULY – 19 AUGUST

Blood Wedding is proudly supported by Qantas.

Developed in the Engine Room thanks to support by CAL Cultural Fund.

DIRECTOR’S NOTE

“Turning, the wheel, turning, As the wedding day arrives...”

Blood Wedding declares its plot from the outset – there’ll be a wedding and there will be blood. From the very first scene there is a sense of inevitability, a kind of fatal circularity. The future is a known quantity, and the present is just a moment the story travels through in order to get there. The dual forces of sex and death, procreation and destruction, future and past are neatly captured in the title from which love and death pour out messily but in equal measure.

Two sons are the front-line victims of this piece; the two that take the direct hit but stand for a broader community of sons and leave behind a world of spinsters and widows. It’s not so much a matriarchy but a patriarchy from which men are the warring absent, busy paying off the dues of their own violence. By default, their women are left to prop it up, to knit it into their own grief-stricken story, to perpetuate and mythologise it.

One son is literally branded (he is the only ‘named’ character in the piece) by his father’s past actions. The other almost suffocates under the weight of expectation. They both live with impossible legacies, fighting the gravitational forces that keep pulling them downwards, the traditions and the rituals that they are nevertheless bound by. Both are trying to carve out an identity and a future at a point when their very worth is being challenged.

As characters that embody a wider, collective phenomenon, they allow us to explore an enormous amount: what happens when a community lives in the shadow of an ancient and ‘great’ civilisation? How does its passing affect notions of shame and anger? How do communities assert themselves against the tide

of cultural assumptions, expectations and demands, and what does that do to our sense of self-worth? In many ways this production alludes to the demise of the great European civilizations. It is also about the ongoing challenges of a post-colonial world – about diverse globalised societies in which two or more cultural influences co-exist, interact, compete and co-depend.

Bilingualism then is an extension of this idea and activates the tension between past and present: a theatrical world that speaks an ‘old’ language and a ‘new’ language, a world that that has adopted a kind of mongrel form of expression – a world where people speak as though their experience of culture is cross-generational and has had to absorb great change. Spanish and English can be seen as a metaphor for any languages of the colonized world: the language of the invader vs. the language of the original inhabitants or the language of the inhabitants vs. the language of the migrant. Whatever the dominant culture, there is here a working metaphor for the ‘otherness’ that plays havoc with the omnipresence of history. The fact that this past is represented by the original text of Lorca, emblematic of Spain’s great cultural legacy, adds to the provocation and also poses an underlying question: how do the canonized writers of our imperial past continue to be valued or destroyed as the world changes?

‘Translation’ itself riffs on this idea. We talk about ‘conquering a language’ and the fact that they elude us often feeds our desire and fascination for them. We trip ourselves up on our own exoticism when we ‘fall in love’ with the sound of a foreign language. But it is true – if subjectively so – that few translations come close to the thrill of Lorca’s own poetry in his third act of Blood Wedding. The sound of the language and its discernible rhythms carry emotional meaning way beyond the conceptual. The art of translation is an imperfect one and embodies in itself many of the contradictions of the human race. Our version proposes this as an alternative rather than an answer: a different way of hearing.

MARION POTTS

SILVIA COLLOCABRIDE

Born in Italy, Silvia first came to prominence as Dracula’s queen bride in the feature film Van

Helsing, alongside Hugh Jackman. She went on to co-star in The Detonator opposite Wesley Snipes. Silvia also appeared in David Leland’s Virgin Territory alongside Tim Roth and in the camp classic Vampire Killers for UK producer Steven Clark-Hall. Silvia’s television credits include Packed to the Rafters, L’Avvocato, Cops LAC and ABC’s Rake. She is a trained opera singer having graduated from the Scuola Musicale in Milan. She toured the UK with the show A Night at The Opera, which culminated at the iconic London Palladium, accompanied virtuoso violinist David Garrett in his German Encore tour and recently sang the role of Orfeo in the Italian opera Orfeo ed Euridice at the PACT Space in Sydney. In 2013, Silvia will co-star in Aaron Wilson’s feature film, Triple Happiness.

RAIMONDO CORTESEADAPTER

Raimondo graduated from VCA School of Drama in 1993. He was a founding member of Ranters

Theatre, serving as Artistic Director from 1992 to 2000. Ranters have been regularly programmed in international performing arts festivals and venues since 1999, including developments and residencies. He has written over thirty plays and texts for theatre, including Features of Blown Youth, Roulette, St Kilda Tales and The Wall. His most recent works are, Holiday, which won a 2007 Green Room Award for Best Australian Writing, The Dream Life of Butterflies for MTC and Intimacy, which premiered at the Malthouse Theatre for the 2010 Melbourne International

Arts Festival. He was the recipient of a 2010 Australian Leadership Award, and was awarded the inaugural Patrick White Fellowship by the STC in 2011. His most recent work was Buried City, an Urban Theatre Projects, Belvoir St, Sydney Festival co-production. He teaches script writing master classes both here and overseas, and lectures in Masters of Writing for Performance at VCA School of Performing Arts, Melbourne University.

NICOLE DA SILVAWIFE

Nicole graduated from Theatre Nepean in 2003. Theatre credits include A Behanding In Spokane

(Melbourne Theatre Company), B.C. (The Hayloft Project) and This Is Our Youth (FortyFiveDownstairs). Nicole also produced and performed in Queen C (B Sharp) and A Life in the Theatre (Darlinghurst Theatre). Television credits include Rush (AFI Winner for Best Drama), Carla Cametti P.D (Monte Carlo Television Awards Best Actress Nomination), All Saints and East West 101. In 2008, Nicole was nominated for the Graham Kennedy Logie Award for Most Outstanding New Talent for her role as E.C in Dangerous. Nicole has been a proud member of Equity since 2003.

IRENE DEL PILAR GOMEZBEGGAR WOMAN

Irene, Madrid-born and raised, is an actress, dancer, screenplay writer, illustrator and assistant

news producer. Irene has studied acting, dance and cinema at various institutions, including the Theatre Art School of Angel Gutierrez, the Charles III University of Madrid and at the Roma Tre University, Italy. Irene has been involved in several theatre productions including: Alla fine dell Terzo Atto, The Talkers (Los Habladores), El Quijote, The Olives, The Little Prince and The Wedding. For seven years she was an ensemble member of the Chekhov Chambre Theatre in Madrid, which included a role in The Jealous Old Man (El Viejo Celoso), for which she received a best actress award on tour in San Juan, Puerto Rico. Now Melbourne-based, Irene has continued to work as a dancer and actress and has acted in short films including Barefoot and The Lark, and written and directed a theatrical version of Rapunzel for a Children’s Theatre Festival organised by the Spanish Consulate.

IVAN DONATO MOON

In the first half of 2012, Ivan appeared as Macduff in the Bell Shakespeare production of Macbeth in

Sydney, Canberra and Melbourne. In 2011, Ivan was part of the inaugural Bell Shakespeare Learning Ensemble. He graduated from NIDA in 2007. Since graduating he has appeared in stage productions including Strange Attractor for Griffin Independent, Orestes 2.0 for Cry Havoc/Griffin Independent, Bang for White Box/B Sharp at Belvoir Downstairs and The Berryman for Hothouse. Ivan was nominated for a Sydney Theatre Award for Best Newcomer in 2008.

CLAUDIA ESCOBARASSISTANT DIRECTOR

Claudia is a Colombian-born artist currently based in Melbourne. Claudia’s work has been

internationally recognised as affecting and deeply provocative. She has devised and directed a series of performances, theatre works and visual arts projects with children raising spectres of childhood and imagination. She is Artistic Director of EL TARRO the smallest performing space in the world — Official Selection of South Project 2010 and showcased in Melbourne, Sydney, Bogota, San Francisco, Buenos Aires, Berlin, Cesena and Venice. In 2011, she was visiting artist at Societas Rafello Sanzio, Italy. She has been the recipient of the 2011 Keith and Elisabeth Murdoch Travelling Fellowship, Art and Youth for Peace Award (Colombia 2010), IPCA Award (2008), Carolina Oramas Award ICETEX (Colombia 2007) and Orloff Family Charitable Trust Scholarship (2007). Claudia has recently performed in Sweat (Branch Nebula) at the In Transit Festival in Haus Der Kulturen Der Welt, Berlin, and manola (solo work) as part of a Performance Space season at Carriageworks, Sydney, and Dance Massive 2011, Melbourne. Claudia has over eight years’ experience in arts management and has worked as a consultant in cultural management. She is currently responsible for Contemporary Cultures, Marketing and Development at Multicultural Arts Victoria. Claudia has a Masters in Theatre Practice and a Graduate Diploma in Performance Making from VCA, a M.Sc. in Marketing and a B.A. in Industrial Design.

MARIOLA FUENTESMOTHER

Since making her film debut in Imanol Uribe’s award-winning Días Contados, Mariola has been a

mainstay of Spanish cinema. She has worked with celebrated film director Pedro Almodóvar on Live Flesh, Broken Embraces and Talk to Her, and appeared in several movies by director Miguel Albadalejo. Alongside her film career, Mariola has also been a regular on Spanish TV shows including A las Once en Casa and Mis Adorables Vecinos.

RUSSELL GOLDSMITHSOUND DESIGNER

Russell Goldsmith is a multiple award-winning Sound Designer, Composer, Audio Producer and

Audio System Designer. He has a diverse body of work in theatre, film, television, commercials, radio, live music, and installation art. Russell’s recent theatre projects include His Girl Friday, The Golden Dragon and Don Parties On (Melbourne Theatre Company), Persona (Fraught Outfit), The Story of Mary MacLane by Herself (Malthouse Theatre/Ride On Theatre/Performing Lines), How High The Sky (Polyglot Theatre), A Woman in Berlin (Malthouse Theatre), Total Football (Ridiculusmus for The Barbican London/Edinburgh Festival, National Theatre of Wales/Belfast Festival), Elizabeth (Malthouse Theatre), Optimism (Malthouse Theatre/Edinburgh International Festival/Sydney Festival), Exit the King – original Melbourne and Sydney seasons (Malthouse Theatre/Company B Belvoir). He had his Broadway debut in 2009, with the critically acclaimed season of Exit the King at the Ethel Barrymore Theatre, where it played for 16 weeks. Russell has been involved in a number of cross-platform works, including Rosie’s Secret (a City of Melbourne Laneway Project Commission), Panic (an audio installation beneath

Melbourne’s Federation Square for the Next Wave Festival), A Woman in Berlin (ABC Radio National) and A Packet of Seeds (a thirty-minute audio narrative for BBC London). Russell’s work has been recognised both locally and internationally. Most recently, his sound design for Exit the King won the 2007 Sydney Theatre Award for Best Sound Design/Composition, and was nominated for Best Sound Design at both the 2008 Green Room Awards in Melbourne and 2009 Tony Awards in New York. The radio adaptation of A Woman in Berlin, featuring his intricate sound design, is a finalist in the 2012 Prix Italia, and recently won the Bronze medal at the 2012 New York Festivals Radio Awards.

THE SISTERS HAYESSET AND COSTUME DESIGN

Blood Wedding marks The Sisters Hayes’ design debut

with Malthouse Theatre. The trio of sibling artists work collaboratively to conceive, research and present work in both the theatre and the visual arts. Christina graduated with a Bachelor of Fine Arts Painting at the Victorian College of the Arts in 2004. Esther received a Bachelor of Dramatic Arts majoring in Production in 2006. Rebecca gained her Bachelor of Arts: Animation and Interactive Media at RMIT in 2011. Recent production design includes the set for Finucane & Smith’s Carnival of Mysteries, in its premiere at the 2010 Melbourne International Arts Festival. In 2009, they designed the set and costumes for The Flood, a new play by Jackie Smith. Last year they were the recipients of an Arts Victoria Arts Project grant. The Sisters have held two solo visual arts shows: Big Sky Country at Rae & Bennett Gallery and A Good Death a keynote project in the Next Wave Festival. The trio have been included in a number of group exhibitions including GACPS at the NGV Studio gallery, Paradise… a hell of a place at Anna Pappas Gallery, Studio Apartment at C3 gallery, and Some Like it Boxed at TCBart.inc.

RUTH SANCHO HUERGA SERVANT

Ruth has worked on the stage for more than 20 years. She studied English Philology at the University

of Barcelona, Cultural and Social Anthropology at UNED (Castellon), Theatre Studies at Laboratorio de Teatro William Layton (Madrid) and Drama at Col.legi del Teatre (Barcelona). She is an actress, poet, playwright, and theatre and short film director. She has published and performed theatre and poetry in festivals in countries around the world including Spain, England, USA, Mexico, Colombia and Australia (at the Melbourne Writers Festival 2005, Overload Poetry Festival in 2006 and 2010 and Perth Poetry Festival 2011).

In 2010 she finished her visual poetry collection titled The Shadows of the Words. Her new Digital Interactive Poetry Project called Trip-T(l)ics, supported by the Spanish Ministry of Culture and Education, Australian National University, the European Studies Centre and RMIT University, is a collaboration with different artists and will be launched in 2012. She is pursuing a Masters in Digital Literature at IL3 University of Barcelona and a Masters by Research in Media and Communication at RMIT University and was recipient of the 2012 Australian Endeavour Postgraduate Award.

PAUL JACKSONLIGHTING DESIGN

Paul works for Melbourne firm The Flaming Beacon and is Associate Artist (Design) at Malthouse Theatre.

His design work for performance includes theatre, dance, opera and cabaret with companies as varied as Malthouse Theatre, Playbox, The Australian Ballet, The Royal New Zealand Ballet, W.A. Ballet, Melbourne Theatre Company, Sydney Theatre Company,

Chamber Made Opera, Melbourne Workers’ Theatre, Victorian Opera, W.A. Opera and many others. Paul has lectured in design at the University of Melbourne, RMIT University, NMIT and Victorian College of the Arts. A founding member of not yet it’s difficult performance group and a Churchill Fellow, Paul has received a number of Victorian Green Room Awards and nominations for design, as well as multiple Helpmann and Sydney Theatre Award nominations. He was named in The Bulletin’s Smart 100 for 2004.

LISA OSBORNSTAGE MANAGER

Lisa works as a freelance Stage Manager and Production Manager in theatre and on arts events.

Her recent Production/Stage Management credits include The Story of Mary MacLane by Herself for Ride On Theatre/Performing Lines; The Trilogy Presentation (Amplification, Miracle and Above) for BalletLab at MONA FOMA. Her Stage Management credits for Malthouse Theatre include Opera XS: Another Lament (with Rawcus/Chamber Made Opera), The Wild Duck (with Belvoir St Theatre), The Story of Mary MacLane by Herself, Baal (with Sydney Theatre Company) and Sappho…in 9 Fragments. Other credits include: When The Rain Stops Falling (Brink Productions); Me and My Shadow (Patch Theatre Company); Man Covets Bird (Slingsby Theatre Company); G, Devolution and Ignition (Australian Dance Theatre); Three Sisters, Metro Street, Attempts on Her Life, The Female of the Species, Triple Threat, Noises Off and The Government Inspector (State Theatre Company of South Australia); Cake (Ladykillers); Boom Bah!, Afternoon of the Elves, Two Weeks with the Queen and Wilfrid Gordon McDonald Partridge (Windmill Performing Arts); Beautiful Words (Oddbodies Theatre Company). Lisa has also worked in a range of roles on events including WOMADelaide, The Helpmann Awards and the Melbourne Commonwealth Games 2006 Cultural Festival.

MARION POTTSDIRECTOR

Marion is Malthouse Theatre’s Artistic Director. She has worked with many of the country’s finest

theatre companies and was most recently Bell Shakespeare’s Associate Artistic Director and Artistic Director of its development arm, Mind’s Eye. Marion was Resident Director for Sydney Theatre Company from 1995 to 1999, and Artistic Director of Pulse (Sydney Theatre Company) from 1997 to 1999. She curated the 2003 National Playwrights’ Conference, was a chairperson of World Interplay and a member of the Theatre Board of the Australia Council. Marion received the Helpmann Award for Best Direction of a Play in 2006. For Malthouse Theatre, Marion has directed Meow Meow’s Little Match Girl, ‘Tis Pity She’s a Whore, Sappho...in 9 fragments, and Venus & Adonis (with Bell Shakespeare). Other theatre directing credits include Bell Shakespeare: King Lear, The Taming of the Shrew, Hamlet, Othello. Sydney Theatre Company: The Wonderful World of Dissocia, Playgrounds, Volpone, Don Juan, Life After George, Cyrano de Bergerac, The Crucible, Navigating, Del Del, Closer, The Herbal Bed, What Is The Matter With Mary Jane?, Pygmalion, Where Are We Now?, The Café Latte Kid, The Blessing, Two Weeks With The Queen (Touring Production). Melbourne Theatre Company: Grace. State Theatre Company of South Australia: Equus, The Torrents, Gary’s House, A Number, The Goat or Who Is Sylvia? Queensland Theatre Company: Constance Drinkwater and the Final Days of Somerset. Belvoir: The Popular Mechanicals 1 and 2 (Associate Director), The Frogs (Assistant Director). Griffin Theatre/HotHouse Theatre: The Story of the Miracles at Cookie’s Table, Wonderlands. HotHouse Theatre: Big Hair In America.

REBECCA POULTERASSISTANT STAGE MANAGER

Rebecca is a graduate of NIDA (Production) and Swinburne University of Technology (Arts – Small

Companies and Community Theatre). As Assistant Stage Manager: Blood Wedding, ZEBRA!, True West and The Comedy of Errors (Sydney Theatre Company), Strange Interlude, Thyestes (Belvoir). As Production Stage Manager: The Ugly One, Shining City (Griffin Theatre Company), Pictures of Bright Lights (Little Ones Theatre Company and Tamarama Rock Surfers). As Stage Manager: Sex.Violence.Blood.Gore (MKA), Secrets (Milk Crate Theatre), Actor on a Box (Sydney Theatre Company), Judith (The Impending Room and Tamarama Rock Surfers), The Secret of the Seven Marbles (Tamarama Rock Surfers), John and Jen (Sidetrack Theatre), Women of Troy (Cell Block Theatre), Studio Q Showcase, Mash Up (Q Theatre Company), Romeo and Juliet (Eagle’s Nest), Orestes 2.0 (Cry Havoc/Griffin Theatre Company), The Comedy of Errors (Shakespeare on the Green). As Technical Stage Manager: Melbourne International Comedy Festival. As Lighting and Sound Operator: Arj Barker (Tamarama Rock Surfers). Rebecca has also held roles with The Sydney Fringe Festival, Blue Fish Events and Sydney Festival.

TIM ROGERSCOMPOSITION

Tim has been songwriter and prancing satyr for rock/lounge act You Am I for nigh on twenty years.

His songs paying homage to the noblest and most foolish of pursuits, his anatomy a testament to its calamities. Feeling his youthful doe-eyed appeal diminishing, he has, in tandem, performed with a number of other combos, both on record and in performance. Of late, his cabaret show Saligia has received the kind of acclaim usually reserved for resuscitations

and wedding night surprises. He has been employed by Malthouse Theatre to portray an exaggerated version of himself for their 2009 production of Woyzeck and again in 2011 for The Story Of Mary MacLane by Herself. With feature film and TV performances, a truckload of awards and acclaim, we are hoping one day soon an appreciation of cutlery will grace him.

MATIAS STEVENSLEONARDO

Matias Stevens, a graduate from NIDA, was born in Sydney, but grew up in Santiago, Chile. Whilst at

NIDA, Matias played the roles of Grigory Smirnov in The Bear, Evan in Don’s Party, Don Adriano de Armado in Love’s Labour’s Lost and various roles in The Laramie Project, to name a few. After graduation, Matias adapted, co-produced and acted in his first professional short film The Pain of the Macho, which won numerous prestigious festival awards. Soon after, he was cast in the short film Amanecer, for which he won Best Actor at the Colourfest Film Festival and the film itself took out the Best Short Film award at the Sydney Latin Film Festival. Matias has also had the opportunity to fulfill a successful career in Chile, having played the lead role in the twelve-part Pacific War series Adios al Septimo de Linea (Goodbye to the 7th Battalion). Other credits on TV include: Warner Brothers’ series H+, Woman of Luxury, Jobless, Secret Diary of a Call Girl (Chile) and Decibel. Film: Supay and The Exorcists. Theatre: King Lear playing Edmund, Him and Her: Two is a Crowd and Patients or Family Members?.

GREG ULFANFATHER

Greg works as a theatre actor, director and educator. As an actor, he has worked with

Melbourne Theatre Company: Frost Nixon, Festen, The Rover; Australian Shakespeare Company: Romeo & Juliet; Eleventh Hour Theatre: The Merchant of Venice Retold, Not What I Am: Othello Retold; Melbourne Workers Theatre: The New Model; Opera Australia: Nabucco; not yet it’s difficult: K, Scenes from the Beginning of the End, The Desert Project and several others; Playbox Theatre: Face to Face. Directing credits include The Roulettes (Courthouse Theatre, Theatreworks), The Room (Storeroom Theatre), Zoo Story (Theatreworks), Antigone (National Drama School) and Extremities (Red Stitch Actors Theatre). Greg has also worked in film, television and installation art, is a VCA graduate, has undergone a thirteen-year apprenticeship with Russian director Professor Leonid Verzub in the Stanislavski and Michael Chekov disciplines and is currently doing his Masters in Performing Arts at VCA, Melbourne University.

DAVID VALENCIABRIDEGROOM

David is an Australian actor of Latin American roots. Since being granted a place at NIDA in 2009, he

has collaborated on more than a dozen stage productions and has been selected to engage in master classes with Kevin Spacey and Ellen Burstyn. His theatre credits include Pains of Youth, Noises Off!, Twelfth Night, Flight, The Seagull, and A Man for All Seasons. Blood Wedding marks his debut for Malthouse Theatre.

SPECIAL THANK YOUTo the cast and crew of the 2011 Blood Wedding workshop: Alice Ansara, Leticia Caceres, Jackie Diamond, Alex Dimitriades, Laura Lattuada, Francisco Lopez, Elizabeth Nabben, Zahra Newman, Simon Palomares, Jethro Woodward, Alirio Zavarce. And to Sam from Refresh Pure Water.

MUSE DONOR PROGRAM

URANIA (MUSE OF THE STARS) Annamila Pty Ltd, The Dara Foundation

CLIO (MUSE OF HISTORY)John & Lorraine Bates, Craig Reeves, Anonymous (1)

THALIA (MUSE OF COMEDY)Frankie Airey & Stephen Solly, Betty Amsden OAM, Daniel & Danielle Besen,

Eva Besen AO & Marc Besen AO, Debbie Dadon, Roger Donazzan & Margaret Jackson AC, Neilma Gantner,

Peter & Anne Laver, Richard Leonard, Michele Levine, Judith Maitland-Parr, Peter McLennan, Elisabeth & John Schiller, Carol & Alan Schwartz AM, Anonymous (1)

MELPOMENE (MUSE OF TRAGEDY)Chryssa Anagnostou & Jim Tsaltas, Ian Hocking & Rosemary Forbes,

Val Johnstone, Jon Webster

EUTERPE (MUSE OF MUSIC)Ingrid Ashford, John Bourne, Beth Brown & Tom Bruce AM, Diana Burleigh,

Ingrid & Per Carlsen, Dominic & Natalie Dirupo, Rev. Fr Michael Elligate, Carolyn Floyd, William J Forrest AM, D.L & G.S Gjergja, Marco Gjergja, Colin Golvan SC, Michael Kingston,

Sue Kirkham, Pamela McLure, Naomi Milgrom AO, Dame Elisabeth Murdoch AC DBE, Sue Nattrass AO, Rae Rothfield, Jenny Schwarz, Tim & Lynne Sherwood,

Neil & Barbara Smart, Leonard Vary & Matt Collins, Jason Waple, Phil & Heather Wilson, Anonymous (1)

TERPSICHORE (MUSE OF DANCE) Sally Browne, Sieglind D’Arcy, Taleen Gaidzkar, Brian Goddard, Brad Hooper,

Susan Humphries, Graeme & Joan Johnson, Ann Kemeny & Graham Johnson, K & J Lindsay, Sir Gustav Nossal AC CBE & Lady Nossal, Robert Peters, Ernie Schwartz,

Gina Stuart, Fiona Sweet & Paul Newcombe, Joanne & Dr Niv Tadmore, John Thomas, Richard P Watson, Anonymous (1)

ERATO (MUSE OF LOVE)Simon Abrahams, Graham & Anita Anderson, Sandra Beanham,

John & Alexandra Busselmaier, Robyn Campbell, John Carruthers, Ros Casey, Tim & Rachel Cecil, Min Li Chong, Diane Clark, Patricia Coutts,

Tania de Jong AM, Charles Gillies & Penelope Allen, Peggy Hayton, Roberta Holmes, Irene Irvine, Vas Katos, Irene Kearsey, Patricia Keith, Ruth Krawat, Liquorice Studio,

Brad Martin, Gael & Ian McRae, Robyn & John Morris, Dr Kersti Nogeste, Linda Notley, Tony Oliver, James Penlidis & Fiona McGauchie, Irene Purcell,

John & Margot Rogers, Katherine Sampson, Morry & Anna Schwartz, Thea & Hayden Snow, Maria Sola, Ann Tonks, Rosemary Walls, Jan Watson, Joanne Whyte,

Barbara Yuncken, Angelika & Pete Zangmeister, Anonymous (7)

To find out more about the Malthouse Theatre Muse program, please contact Jaclyn Birtchnell on 03 9685 5174 /

jbirtchnell@malthousetheatre.com.au.

Donations of $2 or more are tax deductible.

at The Malthouse - 113 Sturt Street Southbank VIC 3006Box Office +61 3 9685 5111 Administration +61 3 9685 5100 Facsimile +61 3 9685 5112

Email admin@malthousetheatre.com.au Web www.malthousetheatre.com.au

Twitter @MalthouseMelb Facebook www.facebook.com/MalthouseTheatre

BOARD OF DIRECTORSSimon Westcott (Chair), Frankie Airey, John Daley, Michele Levine, Ian McRae, Thea Snow, Sigrid Thornton, Kerri Turner, Leonard Vary.

Artistic Director Marion PottsExecutive Producer Jo Porter

Associate Artist (Design) Paul JacksonAssociate Artist (Direction) Matthew LuttonAssociate Artist (Writing) Van BadhamDirector in Residence Adena Jacobs

Company Managers Nina Bonacci Lucy Birkinshaw Sioban Tuke Associate Producer Josh WrightAdministrator Narda ShanleyFinance Manager Mario AgostinoniFinance Administrator Liz White Finance Assistant Connie StellaMarketing and Communications Manager Lisa SciclunaDigital Strategy & Marketing Coordinator Carl Nilsson-PoliasDevelopment Manager Jaclyn BirtchnellDevelopment and Marketing Assistant Hiroki KobayashiMedia Manager Maria O’DwyerMedia Assistant Claire BeynonTicketing Manager Emma HowardTicketing Assistant Lauren WhiteYouth and Education Program Clare WatsonExecutive Assistant Emily FioriAudience DevelopmentConsultant Jason TamiruBuilding Manager Peter ManderslootBar Manager Cherry RiversFront of House Managers Tristan Watson & Sean Ladhams

Production Manager David MillerTechnical Manager Baird McKennaOperations Manager Dexter VarleyProduction Coordinator Lucy BirkinshawHead Electrician Stewart Birkinshaw CampbellHead Mechanist Andy MooreTheatre Technician Nathan Evers Head of Wardrobe Amanda CarrWardrobe Assistant Chloe GreavesWorkshop Supervisor David CraigSteel Fabricator Goffredo MameliScenic Artist Patrick JonesProps Master Ross Murray (lifetime recognition)

FRONT OF HOUSE/BAR STAFFLeeor Adar, Matt Adair, Michelle Baginski, Claire Beynon, Jacqui Brown, Ben Carollo, Kathryn Delaney, Tom Dent, Carla Distefano, Alice Dixon, Graham Downey, Tanja George, Josh Green, Kate Gregory, Simon Jeanes, Bridie McCarthy, Ian Michael, Anna Nalpantidis, Daniel Newell, Ruby Nolan, Syrie Payne, Kliment Poposki, Beck Rafferty, Claire Richardson, Sanna Rodenstein, Kathryn Joy, Phoebe Taylor, Jade Thomson, Lee Threadgold

BOX OFFICE STAFFJack Angwin, Liz Bastian, Paul Buckley, Mark Byrne, Rachael Dyson-McGregor, Jo Gibson, Dan Giovannoni, Kate Gregory, Michelle Hines, Ian Michael, Fiona Wiseman,Liz White

Malthouse Theatre would like to acknowledge the people of the Kulin nation on whose land this work is being presented.

Vale Marc Psaila, our Company Manager, much loved and greatly missed.

gratefully acknowledges its supporters

GOVERNMENT PARTNERS

MAJOR PARTNER

PRODUCTION PARTNERS MEDIA PARTNER

CORPORATE PARTNERS CORPORATE ASSOCIATES

COMPANY SUPPORTERS

TRUSTS AND FOUNDATIONS Slome-Topol Family Charitable Trust Australian Communities Foundation Spanish Cultural Co-operation Program

PROGRAM PARTNERS

EDUCATION & YOUTH ACCESS PROGRAM REGIONAL EDUCATION PROGRAM

ARTIST PROGRAM WOMEN DIRECTOR’S INTERNSHIP PROGRAM

Danielle & Daniel Besen COMPANY IN RESIDENCE NEW AUSTRALIAN COMMISSION & PRODUCTION

MALTHOUSE REGIONAL Annamila Pty Ltd PERFORMANCE PROJECTS ARTISTS IN RESIDENCE

Jeanne Pratt AC, Rae Rothfield, Sue Nattrass AO, Judith Maitland-Parr Tom Kantor FundTHE KENN BRODZIAK ASSOCIATE PRODUCER INDIGENOUS THEATRE PROGRAM

Malthouse Theatre is supportedby the Australian Governmentthrough the Australia Council,its arts funding and advisory body

ON THE

MISCONCEPTION

OEDIPUSOF

ARE YOU IN CONTROL OF YOUR STORY?

Malthouse Theatre presents

10 – 26 AUGUST

BOOKINGS malthousetheatre.com.au or 9685 5111

Devised by Zoe Atkinson, Matthew Lutton and Tom WrightText by Tom Wright Directed by Matthew Lutton