Sydney Theatre Company has a proud heritage as a creative hub and incubator for Australian theatre and theatre-makers.
Through the Resident Artists program, STC is committed to providing professional development opportunities, access to key personnel and resources, and encouragement and support to pursue interests and projects away from STC. Our Resident Artists also play key roles in the day-to-day artistic life of the Company.
Supported by The Resident Artist Donors
Paige Rattray has previously directed Black Is The New White, Power Plays and Boys will be boys for STC. Other work for STC includes being Dramaturg on The Golden Age, Assistant Director on Speed-the-Plow, Arms and the Man, Battle of Waterloo and Travelling North and Director on the script workshops Rough Draft #31: Martyrs and Rough Draft #13: Underland. Rattray has also directed Scenes from a Marriage, Switzerland for QT.
Paige is co-founder of independent theatre company Arthur, and was the 2011 Resident Director at Griffin Theatre Company as well as its 2010 Affiliate Director. Paige won Best Mainstage Production at the 2016 Matilda Awards for Switzerland, Best Production at the 2013 VCE Drama Awards and was the recipient of a 2015 Glorias Fellowship and a 2016 Mike Walsh Fellowship. She is a graduate of NIDA.
Imara is a directing graduate of the National Institute of Dramatic Art (NIDA), and trained at Newtown High School of the Performing Arts, the University of Veracruz in Mexico, the University of Technology, Sydney, and NIDA’s Playwright Studio.
In 2018, Imara will direct Caryl Churchill’s Top Girls and George Bernard Shaw’s Saint Joan. Previously with STC she has directed Colm Tóibín'sThe Testament of Mary, Moira Buffini's Dinner, Noel Coward's Hay Fever, Andrew Bovell's After Dinner and Sophie Treadwell's Machinal and worked as an Assistant Director on Fury, Pygmalion, Like a Fishbone, The Mysteries: Genesis and The Wonderful World of Dissocia.
Her other directing credits include: The Comedy of Errors for Bell Shakespeare; Owen Wingrave (Benjamin Britten) and In the Penal Colony (Philip Glass) for Sydney Chamber Opera; Fly Away Peter (Elliot Gyger) for Sydney Chamber Opera, Arts Centre Melbourne and Melbourne Festival; The Brothers Size for Griffin Independent; Orphans for Red Stitch; Fool for Love for Belvoir B Sharp; and Woyzeck (Wilson/Waits), Punk Rock and This Property is Condemned for NIDA. Her other assistant directing credits include: Julius Caesar and Much Ado About Nothing for Bell Shakespeare; and La Sonnambula for Opera Australia.
Imara was the 2010 Affiliate Director at Griffin Theatre Company, the 2011 Director in Residence at Bell Shakespeare and the 2012 Richard Wherrett Fellow at Sydney Theatre Company. She is a current recipient of the Glorias Fellowship. Imara has also worked in Sri Lanka as a writer with the AusAid Australian Youth Ambassadors for Development and has been involved with other human rights organisations including work as a facilitator for the Oxfam International Youth Parliament and the Amnesty Youth Drama Festival.
Elizabeth is a designer with a background in installation and performance art. In 2018, Elizabeth will work on Lucy Kirkwood’s The Children, Nakkiah Lui’s Blackie Blackie Brown: The Traditional Owner of Death and Patrick White’s A Cheery Soul. Previously with STC she has worked on Ayad Akhtar’s Disgraced, Angela Betzien'sThe Hanging, Colm Tóibín's The Testament of Mary, Caryl Churchill's Cloud Nine, and Moira Buffini's Dinner.
Her other theatre design credits include Faust: part one, Cloud 9, and the musical Woyzeck for NIDA; Bach Coffee Cake with the LBC for London Handel Festival 2013, BREMF 2014, Newbury Festival 2016, Petworth Festival 2015; Much Ado about Nothing for Sport for Jove; Epic Fail for PIAF and W.A Ballet; Ecobots and Plain Jane for Buzz Dance Theatre and Awesome Festival; The Old Maid and the Thief and The Impressario and The Bernstein Mass for the Sydney Conservatorium of Music; Costume design for The Boat People by the Hayloft Project and Rock Surfers; Cinderella for Belvoir St Theatre; Cut for Adelaide Fringe and Edinburgh Fringe 2015; A Rabbit for Kim Jong-il for Griffin Theatre Company; Orfeo ed Erudice for Spectrum Now Festival; Fly Away Peter and An Index of Metals for Sydney Chamber Opera.
She has undertaken international artist in residence positions at ArtLab San Servolo; Galerie der Kunst and took part in Underbelly at Carriageworks in 2007 and 2008. She is a recent recipient of an Australia Council Art Start Grant, a William Fletcher Scholarship and is a current resident in the City of Sydney’s Creative Living Work Space program.
She holds a Bachelor of Fine Arts from the National Art School and a Bachelor of Dramatic Arts from NIDA.
Patrick White Playwrights’ Fellow
Andrew Bovell is the current Sydney Theatre Company Patrick White Playwrights’ Fellow, which is a position for an established playwright whose work has been produced professionally in Australia.
Andrew’s recent work for the stage includes Things I Know to be True, co-produced by the State Theatre Co of SA and UK company Frantic Assembly, the adaptation of Kate Grenville’s novel The Secret River, for Sydney Theatre Company and When the Rain Stops Falling, commissioned by Brink Theatre, which premiered at the Adelaide Festival of Arts in 2008. Other works for the stage include Speaking in Tongues, Holy Day, Who’s Afraid of the Working Class, Ship of Fools and After Dinner, which was revived by Sydney Theatre Company in 2015.
His most recent screen credit is the French language film, Iris directed by Jalil Lespert (2016). His adaptation of the John Le Carre’ novel, A Most Wanted Man, directed by Anton Corbijn and starring Phillip Seymour Hoffman premiered at Sundance Film Festival in 2014 before its US and International release. His first major screen credit came in 1992 when he wrote the original screenplay for Strictly Ballroom. In 2001 he adapted his own stage play Speaking in Tongues into the acclaimed feature film Lantana. His other film credits include Edge of Darkness, Head On (based on the Christos Tsiolkas novel, Loaded); The Book of Revelation and Blessed, adapted from the stage play Who’s Afraid of the Working Class?
In 2018, Jessica will direct Anna Barnes’ new play Lethal Indifference. Previously for STC, she has directed Rough Draft #32: The Profit by Angus Cameron and Rough Draft #36: Banging Denmark by Van Badham. She has worked as assistant director with Kip Williams on Lucy Kirkwood’s Chimerica and with Andrew Upton (former STC Artistic Director) on Samuel Beckett’s Endgame. In 2017 Jessica was STC's Richard Wherrett Fellow, a position created in memory of the former Artistic Director.
Jessica’s other directing credits include Intoxication by Christopher Bryant (La Mama Courthouse), Unend by Harry Black for Never Never Theatre Company at Adelaide and Sydney Fringe Festivals, How Are You? by Laura Lethlean for Design Canberra Festival, The Sugar Syndrome by Lucy Prebble for The Kings Collective and Rausch with the guidance of Falk Richter, which led to her to undertake an internship in Germany at the Schauspiel Frankfurt for Safe Places, by Falk Richter and Anouk van Dijk. Jessica also completed a directorial secondment on The Weir by Conor McPherson at Melbourne Theatre Company.
She worked as assistant director with Kip Williams on Melbourne Theatre Company's production of Miss Julie, and Sarah Goodes (former STC Resident Director) on NIDA’s Scorched.
Jessica also directed a reading of The Other Place by Christopher Bryant (State Library of Victoria) and Someone by Coin Banks, a music video for Rage and Triple J. She was also dramaturg for Hamlet [Working Title] by David Burrowes and Drew Wilson at the Sydney Fringe Festival, Melbourne Fringe Festival and Design Canberra Festival.
Jessica holds a Bachelor of Performing Arts (Monash University 2013), including a semester of Theatre and Performance at Leeds University, UK and a Master of Fine Arts (Directing) at the National Institute of Dramatic Art (NIDA 2014/2015). Jessica is co-founder of the theatre company The Anchor.