In 1996, Sydney Theatre Company was the first performing arts
company in Australia to establish its own dedicated archives'
repository to house its corporate records, and to employ a trained
STC Archives collects and preserves significant records created
by or for STC and makes them available to researchers for
STC has produced over 1,400 plays, workshops, playreadings and
events since inception in 1978. Archived material and information
is used in the daily operation of the Company, and adds to the
heritage of performing arts in Australia.
There are two main groups of records:
Administrative records including annual reports, minutes of
meetings, licences, contracts, departmental operating files,
correspondence, etc.; and
Production information found in season brochures, programs,
posters, archival recordings, production photographs, reviews,
prompt copies, scripts, designs for sets, props, costumes, lighting
and sound, etc. (Please note: amount and variety of material
differs from play to play.)
STC Archives is open to the public on Tuesdays and Wednesdays
between 10am and 5pm, by appointment with the archivist, Judith
Seeff. Telephone (02) 9250 1745 or email email@example.com
Access is available to most records, some material may be
copied, archival recordings of productions may not be borrowed or
copied, but may be viewed, by appointment. Costs: research service
fee $10; photocopies $0.30 a page; photographs, upon application.
Limited searches can be conducted for remote researchers or those
unable to come in to the archives.
STC is grateful for the support of the STC Pier Group and the
Vincent Fairfax Family Foundation in the establishment and
subsequent refurbishment of the archives.
Visiting The Wharf?
The Walkway Project, curated by Tania Kelley, is a retrospective
of Sydney Theatre Company production photographs, dating from the
Interim Season of the Company in 1979 to the present.
Designed to be an evolving exhibition, The Walkway Project is a
testament to the creativity of the Company and its commitment to
its history, and would not have been possible without the generous
support of Ian Darling.