2 HOURS, 20 MINUTES (INCLUDING INTERVAL)
THIS PLAY PREMIERED AT WHARF 1 THEATRE, SYDNEY 25 JAN 2023

A NOTE FROM OUR ARTISTIC DIRECTOR KIP WILLIAMS

Happy new year and welcome to The Wharf for 2023 at STC! For the third year in a row, I’m very proud that we’re beginning our program with a new Australian work. This year is extra exciting as it marks the mainstage debut of Lewis Treston. An exciting emerging Queensland-based playwright, Lewis won our Patrick White Playwrights Award in 2016. His words offer us a perceptive and hilarious insight into the Australian psyche and the contemporary queer community as well as a rollicking night full of theatrical spectacle.

I can think of no better director to helm this premiere production than Helpmann Award-winning Director Dean Bryant, who most recently worked with us on the moving and uplifting musical Fun Home. Dean’s incredible and precise craft, his outrageous sense of humour and his great capacity to illuminate the human condition, all combine here to make this a classic Australian comedy in every sense whilst also imbuing the work with a refreshing, contemporary edge. Much of the contemporary flair comes from an incredible cast of actors, many of whom are making their STC debut with this production, while some beloved performers are returning. They’re joined by a first rate creative team that have ensured that this production is as beautiful as it is funny and poignant.

Hubris & Humiliation feels like an extremely appropriate start to this year: it’s set mostly in Sydney, it investigates many of the most pressing issues of our moment and it is a multicoloured injection of joy into the theatre during a historic moment: WorldPride, hosted for the first time in Sydney in 2023. Lewis is undoubtedly one to watch and this play is a hugely impressive, skillful and jubilant next step in his artistic development. So, cheers to this wonderful new play, and cheers to the beginning of this wonderful year of theatre at STC!

Kip Williams, Artistic Director and Co-CEO

WRITER'S NOTE: LEWIS TRESTON

When I was getting started as a playwright, people in foyers would congratulate me on the camp quality of my work. At that time, I didn’t have a firm grasp on what camp meant but they said it nicely so I presumed it must be a good thing. One evening, I googled ‘camp’ and read this quote by Susan Sontag: “it’s good because it’s awful.” This didn’t sit quite right with me. I googled some more and the more I read the less sense camp made. 

Let’s fast-forward through a few years of my wayward mental health and a serious career plateau until I decide to quit my retail job and research camp at the University of Queensland. It seemed to me that camp feeds upon a host genre that it corrupts with a heady mix of irony, theatricality, and glitter. I suggested to my supervisors that I could write a contemporary Australian camp amalgam of Jane Austen. They informed me that in academia it was a boom time for camp readings of Austen – who knew? – and the project was greenlit. 

While writing Hubris & Humiliation I indulged in fanciful daydreams in which Jane Austen and I were like-minded besties – wryly amused by the romantic travails of others but secretly yearning for love ourselves. In reality, Austen’s life is shrouded in mystery; however, it’s generally accepted that she had her heart broken at twenty and spent the next two decades inventing the romantic comedy while fleeing poverty without ever getting married and possibly never finding love again. Initially it seemed ironic that Jane Austen, one of the greatest teachers, writers and critics of love and marriage, could capture it so comprehensively in her fiction but never find it for herself. However, if you believe that we teach best what we most need to learn, then Austen’s preoccupations as an artist make perfect sense. So, a word of warning, if you learn anything about love, family, marriage, or queer values while watching my play, please note that I don’t know anything about these things in my real life. 

I had a lot of help developing Hubris & Humiliation and while I appreciate names aren’t interesting to read, they are important. Like some movie credits I’ve arranged these names by order of appearance: Stephen Carleton, Chris Hay, Riley Spadaro, Phoebe Pilcher, Bridget Boyle, Polly Rowe, Kip Williams, Kenneth Moraleda, Mark Barford, and Dean Bryant. I cannot list all the actors who contributed something of their individual wit and verve to their roles but their efforts live on in the material. Of course, I’d also like to offer a huge thank you to the entire cast and crew for their beautiful work on this premiere production.

Lastly, as much as I try to resist buying into external markers of success, I cannot deny what a bewildering honour it is to have a play I wrote premiering at the STC. So, I’d like to wholeheartedly thank STC for validating this preposterous dream that I have been nurturing since childhood. I’d also like to dedicate my play to Felicity ‘Fliss’ Morton who was an enormously talented young playwright that I was mentoring before her death in December 2022. I like to imagine that wherever Fliss might be now that her dreams are being realised in the most beautiful way.

DIRECTOR'S NOTE: DEAN BRYANT

One of the tragedies of my childhood occurred when my sister was allowed to go to dance classes and I wasn’t. Growing up on a dairy farm in a classic heteronormative family, I’d accompany my mum and sister to the next town once a week and wait outside the hall, jealously listening to “I Wanna Dance With Somebody” leaking out as they worked on their end-of-year routine. When they flooded out in their red leotards with matching tutus… well, it was a regional Cain and Abel with red tulle. 
 
Around the time I finished school, the holy trinity of Australian movies arrived, defining a specific Australian point-of-view for what felt like the first time. Still the pinnacle of our cinema (I believe) Strictly Ballroom, Priscilla, Queen of the Desert and Muriel’s Wedding somehow managed to celebrate a character that was uniquely Australian, marrying the ridiculous and truthful, the grotesque and heartfelt, the suburban and the eternal, the dark and, ultimately, the light, all of them using music and dance in ways that paid homage to the classic Hollywood musical by way of the local RSL club. 
 
I was fortunate enough to be part of the team that created the musical version of Priscilla, and travel with it everywhere from Sydney to Sao Paulo and Seoul, learning my craft on the stage version of what has become a seminal Australian text.
 
When the Hubris script arrived in my inbox, it felt like a natural heir to that classic trio of movies (Baz even gets a reference!). Lewis takes classic Australian types and puts them into ridiculous situations, heightening without mocking, all of the characters in pursuit of the same thing every classic comic protagonist wants – love. My career has been a balance of the serious and the ridiculous – for every piece about a lesbian cartoonist’s tortured relationship with her closeted father there has been an in-depth look at Britney Spears’ emotional evisceration via her songbook. To be invited to work at STC on a piece that demanded a wedding dance, a makeover and a ball was beyond anything I dreamed of doing at a mainstage company.
 
I loved the experiment Lewis was conducting with updating and referencing the marriage plots of Jane Austen, and that he took it as far as the language itself. Directing Oscar Wilde’s An Ideal Husband for MTC helped me enormously in finding and guiding the cast towards how to deliver complex text with a light touch.
 
But above all, it was the play’s commitment to the seriousness of gay love that spoke to and moved me. Though often satirical, the piece takes as a given that queer people deserve love; that the ways we love are up for discussion, not whether we deserve to. And though it’s hidden amongst the gowns and revelations, the play is quite transgressive in what it says about what we want – that attraction can be fluid across all ages and classes, and that true love isn’t about fire and passion but about building a real life with another human. 
 
As a little Elliott-type growing up who wanted to dance to Whitney and desperately needed to see models of what falling in love might look like for someone like me, it is such a pleasure to reveal Lewis’ joyous play here in this magical city, (so pivotal to the Holy Trinity of Australian Cinema and to Hubris itself) for the carnival that is WorldPride. Slay.

CAST & CREATIVES

LEWIS TRESTON
Writer

Lewis Treston is an award-winning comic playwright who proudly calls Brisbane home. Hubris & Humiliation marks his debut at the Sydney Theatre Company. Other plays include: An Ideal Husband after Oscar Wilde (La Boite), IRL (commissioned by La Boite), The Human Voice (Meat Market Stables), Meat Eaters (STC Rough Draft; NIDA), Disparate Scenes for Millennial Dreams (Meat Market Stables), Follow Me Home (ATYP), Hot Tub (Winner Patrick White Playwright’s Award), and Reagan Kelly (Metro Arts, NIDA). He is a graduate from QUT, NIDA and UQ and recently commenced his PhD.

DEAN BRYANT
Director

Dean Bryant is an award-winning director and writer, who received the Sydney Theatre Award in 2022 for his direction of Fun Home, a co-production between Sydney Theatre Company and Melbourne Theatre Company. Other recent credits include The Normal Heart (State Theatre Company South Australia) and Show People (Sydney Festival). His short film, Rhyme Time, is released later this year.

He was Associate Director of Melbourne Theatre Company from 2016 to 2019 where his credits include Torch the Place, Kiss of the Spider Woman, The Lady in the Van, An Ideal Husband, Wild, Vivid White, Born Yesterday, Skylight, I’ll Eat You Last and Next to Normal.

For Hayes Theatre Company he directed Merrily We Roll Along, Assassins, Sweet Charity (Helpmann Award) and Little Shop of Horrors (Sydney Theatre Award), for Opera Australia Two Weddings, One Bride and Anything Goes (co-production with GFO) and has directed for Red Stitch, VCA, The Production Company and Kings Head Theatre, London.

With partner Mathew Frank, he wrote Green Room Award-winning musicals Prodigal and Once We Lived Here, Virgins: A Musical Threesome, The Silver Donkey, a faux-Amy Winehouse musical for Channel 10’s Mr & Mrs Murder and their most recent musical My Brilliant Career, available on Spotify and iTunes.

He has created numerous award-winning cabarets, including the Christie Whelan-Browne triumph Britney Spears: The Cabaret, as well as verbatim plays Gaybies and Well, That Happened. WAAPA graduate.

HENRIETTA ENYONAM AMEVOR 
Chantel Ocean/Juki/Bride

Sydney Theatre Company: A Raisin in the Sun (as Understudy). Other Theatre: Outhouse Theatre: The Rolling Stone. Bomtom: The House at Boundary Road Liverpool. Tinderbox Productions: Claudel. As Community Engagement Team Member: Darlinghurst Theatre: seven methods of killing kylie jenner. As Creative Associate: Green Door Theatre Company: Chewing Gum Dreams. TV: Bump. Pronouns: She/Her.

MATHEW COOPER
Brendan Battersby/Groom

Sydney Theatre Company: City of Gold (with Black Swan State Theatre Company). Other Theatre: Queensland Theatre: Boy Swallows Universe, City of Gold (with Griffin Theatre Company). Belvoir: Coranderrk (with Ilbijerri Theatre). National Theatre of Parramatta: Stolen. Griffin Theatre Company: Cracked. Yirra Yaakin: The Sum of Us. Performing Lines: The Season. MTC/Neon: Lucky. Film: The Marshes, Last Drinks at Frida’s. TV: Redfern Now, Janet King. Training: WAAPA. Pronouns: He/Him.

ROMAN DELO
Elliott Delaney

Sydney Theatre Company: Debut. TV: includes Ten Pound Poms, Bump. Training: NIDA. Pronouns: He/Him.

CELIA IRELAND
Bernice Delaney

Sydney Theatre Company: Cyrano de Bergerac, Navigating, The Comedy of Errors, As You Like It. Other Theatre: Ensemble Theatre: Kid’s Stuff. Griffin Theatre: The Big Picture, All Souls. Belvoir: Cosi, The Headbutt. Bell Shakespeare Company: Pericles, Twelfth Night. Seymour Centre: Transparency. Film: Goddess, My Mother Frank, Thank God He Met Lizzie, Idiot Box, Floating Life, On Our Selection, Out, Rogue, Australian Rules. TV: Wentworth, Five Bedrooms, Total Control, Rake, Redfern Now, Home and Away, Packed to the Rafters, My Place, Monster House, Supanova, All Saints, McLeod’s Daughters, After the Rain, Murder Call, Petals, Water Rats, A Country Practice, Police Rescue. Awards: Silver Logie, Most Outstanding Supporting Actress – Wentworth. FCCA, Best Supporting Actress – Australian Rules. Pronouns: She/Her.

MELISSA KAHRAMAN
Paige Delaney/Colin

Sydney Theatre Company: Debut. Other Theatre: Queensland Theatre: The Almighty Sometimes. Tinderbox Productions: Claudel. Sport for Jove: Othello. Kleine Feinheiten/Brand X: Delilah by the Hour. Melbourne Shakespeare Company: A Midsummer Night's Dream. Nick of Time Productions: Suitcases, Baggage & Other Synonyms. Four Walls Theatre Company: The Apartment. Platform Youth Theatre: The Dog Watch. Film: Three Thousand Years of Longing. TV: includes Bad Behaviour, Australia on Trial: The Mount Rennie Outrage, Triple Zero Heroes. Training: NIDA. Pronouns: She/Her.

ANDREW MCFARLANE
Roland McNamara

Sydney Theatre Company: Grand Horizons (as Understudy), Mary Stuart, Woman in Mind, Corporate Vibes (with QTC), Two Weeks with the Queen, King Lear, Henry IV Part 1, Cyrano de Bergerac. Other Theatre: MTC: The Heretic, Scarlett O’Hara at the Crimson Parrott, Gulliver’s Travels. Queensland Theatre: Quartet, Who’s Afraid of Virginia Woolf?, A Month in the Country, Cat on a Hot Tin Roof. Black Swan State Theatre Company: The Seagull, Arcadia. Ensemble Theatre: After the Ball, Losing Lois, Let the Sunshine, Emerald City, Nothing Personal. Griffin Theatre Company: Family Values, Dreams in White. Darlinghurst Theatre Company: Deathtrap. Tamarama Rock Surfers: I Want to Sleep with Tom Stoppard. Gordon Frost Organisation: Fame. Film: Truth, Razzle Dazzle, Little White Lies, Boulevard of Broken Dreams, Born to Run, Doctors and Nurses, Break of Day. TV: It’s Fine, I’m Fine, The Lost Flowers of Alice Hart, Play School, Miss Fisher’s Modern Murder Mysteries, Secret City, Riot, Glitch, Newton’s Law, Seven Types of Ambiguity, Black Comedy, The Code, Cleverman, A Place to Call Home, Rake, Love Child, Devil’s Playground, Janet King, Underbelly: A Tale of Two Cities, The Alice, Halifax f.p., The John Sullivan Story, The Flying Doctors, Patrol Boat, The Sullivans, Division 4, Matlock Police. Animation voice-over: Guess How Much I Love You. Awards: 2015 ASTRA Award, Most Outstanding Performance by an Actor – Male (Devil’s Playground); 1977 Sammy Award, Best Supporting Actor in a TV series (The John Sullivan Story). Training: NIDA. Pronouns: He/Him.

RYAN PANIZZA
Warren Battersby/William D Cray

Sydney Theatre Company: Debut. Film: Avarice, Sissy, The Gateway. TV: Last King of the Cross, Significant Others, Home and Away. Training: NIDA. Pronouns: He/Him.

ISABEL HUDSON
Designer

Sydney Theatre Company: As Associate Designer: Fun Home (with MTC). As Assistant Designer: Three Sisters. Other Theatre: As Set Designer: MTC: Torch the Place. Hayes Theatre Co: Young Frankenstein, American Psycho, Cry-Baby.  As Costume Designer: Crossroads Live: The Mousetrap (and Associate Set Designer). As Designer: Belvoir Theatre: Blessed Union, Winyanboga Yurringa, Every Brilliant Thing. Griffin Theatre: Ghosting the Party. NewTheatricals: Darkness. Sydney Festival: Maureen: Harbinger of Death. Pinchgut Opera: Farnace. Hayes Theatre Co: Razorhurst, The View Upstairs, She Loves Me. 25A: Jess & Joe Forever, Tuesday. Darlinghurst Theatre Company: Let the Right One In, The Rise And Fall Of Little Voice. Seymour Centre: The Shifting Heart, Blackrock. KXT: Dry Land, She Rode Horses Like The Stock Exchange, The Walworth Farce, A Girl Is A Half Formed Thing, You Got Older. Old Fitz: King Of Pigs, Eurydices. Old 505 Theatre: Little Borders. Sydney Opera House: Chamber Pot Opera (also Edinburgh Festival and St Petersburg seasons). NIDA: Mr Burns. ATYP: Intersection, Journey’s End. Outhouse Theatre Co: The Rolling Stone. Ensemble Theatre: The Plant. Hothouse Theatre: Hurt. As Associate Set Designer: Moulin Rouge Australia and Korea. As Assistant Designer: Opera Australia: The Merry Widow, My Fair Lady. Positions: Lecturer at NIDA in Design for Performance. Awards: Kristian Fredrikson Scholarship 2022. Thelma Afford Award 2022, APDG Award for Best Set Design 2022 (American Psycho). Sydney Theatre Award for Best Set Design of an Independent Production 2019 and 2018 (American Psycho, Cry-Baby). Training: NIDA, UNSW. 

ALEXANDER BERLAGE
Lighting Designer

Sydney Theatre Company: RBG: Of Many, One, Lord of the Flies, Lethal Indifference, Cloud Nine. Other Theatre: Pinchgut Opera: Platée. Belvoir/State Theatre Company of South Australia: Dance Nation. Birmingham Royal Ballet/Sadler’s Wells: A Brief Nostalgia. Opera Queensland/Circa: Orpheus and Eurydice. Sydney Festival/Seymour Centre: Museum of Modern Love. Griffin Theatre Company: Dead Cat Bounce, Good Cook. Friendly. Clean., Nosferatutu or Bleeding at the Ballet, Thomas Murray and the Upside-down River. Ensemble Theatre: Unqualified, Marjorie Prime, The Kitchen Sink, Buyer & Cellar. National Theatre of Parramatta: Grounded. Old Fitz Theatre: Exit the King, Stalking the Boogeyman, 4:48 Psychosis, there will be a climax, Doubt, The Bitter Tears of Petra von Kant, The Whale, Howie the Rookie. Hayes Theatre: American Psycho, Cry-Baby, High Fidelity, Dogfight. Old 505 Theatre: Home Invasion, The Block Universe, Hilt. ATYP: War Crimes, Between Us. Belvoir 25a: The Overcoat. Outhouse Theatre Co/ Seymour Centre: Gloria. KXT: Ironbound. Sydney Chamber Opera: Awakening Shadow, Antarctica, Poem for a Dried Up River, Breaking Glass, La Passion de Simone, The Shape of the Earth, Victory Over the Sun, An Index of Metals (Associate Lighting Designer). Sydney Dance Company: New Breed, PPY18-22. As Director: Darlinghurst Theatre Company: Let the Right One In. Gondwana Choirs: Hypnopompia. Hayes Theatre: Young Frankenstein, American Psycho, Cry-Baby. Sydney Chamber Opera: Future Remains, Resonant Bodies, Diary of One Who Disappeared, The Shape of the Earth. Outhouse Theatre Co/Seymour Centre: Gloria. Old Fitz Theatre: Hand to God, there will be a climax. An Assorted Few: Home Invasion, The Van de Maar Papers. NIDA: Mr Burns; a post-electric play, there will be a climax. Other: 2014 Watermill Center International Summer Program, New York. Awards: 2019 Sydney Theatre Award for Best Direction of a Musical (American Psycho), 2018 Sydney Theatre Award for Best Direction of a Musical (Cry-Baby), 2017 Sydney Theatre Award for Best Lighting Design of an Independent Production (4:48 Psychosis), 2013 Peter Baynes Memorial New York Scholarship, 2014 Leslie Walford AM Award and 2019 Mike Walsh Fellowship. Training: NIDA.

MATHEW FRANK
Composer & Sound Designer

Sydney Theatre Company: As Musical Director: Fun Home (Melbourne Season with MTC). As Associate Musical Director: The 25th Annual Putnam County Spelling Bee (MTC, presented by STC), Urinetown. Other Theatre: As Composer: MTC: Lady in the Van, An Ideal Husband, Born Yesterday, Skylight, Private Lives. As Musical Director: MTC: Next To Normal, The Drowsy Chaperone. The Production Company: The Pirates of Penzance, La Cage Aux Folles, Jerry’s Girls. GFO: A Funny Thing Happened on the Way to the Forum. York Theatre Company: Prodigal. King’s Head Theatre: Once We Lived Here. New York Music Theatre Festival: Virgins. Monash University: My Brilliant Career. Cabaret: Hayes Theatre: Britney Spears the Cabaret. Sydney Festival: Show People. Cast Album: Prodigal, Virgins, Once We Lived Here, My Brilliant Career. Awards: Green Room Awards for Best Score (Prodigal), Best Australian Musical (Once We Lived Here). Training: WAAPA. Pronouns: He/Him.

NATALI CARO
Assistant Director

Sydney Theatre Company: Debut. Other Theatre: As Actor: Flightpath Theatre: Taz VS The Pleb. Giant Dwarf: All The King's Hens. PACT: Divided. As Director: Seymour Centre: That's a Sketch, By John Hughes. Film: Carmen. TV: includes The Swiping Game, Democracy Zone, The Feed, Wonderland. Radio: ABC Radio National: You May Have Missed. 3RRRFM: SmartArts. FBI Radio: Kings & Queens. CADA: The Sleep In. JOY 94.9, 2SER. Other: Seeking Representation, Sydney Comedy Festival, Thanks For Having Me, Melbourne Fringe, Sydney Fringe Comedy. Drag King in Me&(HER)pes. Training: NIDA, Les Chantery. Pronouns: They/She.

NIGEL POULTON
Fight Director & Intimacy Coordinator

Sydney Theatre Company: The Tempest, The Lifespan of a Fact, A Raisin in the Sun, Strange Case of Dr Jekyll and Mr Hyde, Top Coat, The Tenant of Wildfell Hall, Blithe Spirit, Triple X (with Queensland Theatre), Grand Horizons, Appropriate, Playing Beatie Bow, Rules for Living, The Deep Blue Sea, The Beauty Queen of Leenane, Lord of the Flies, Cat on a Hot Tin Roof, How to Rule the World, Mary Stuart, The Harp in the South: Part One and Part Two, The Long Forgotten Dream, Blackie Blackie Brown (with Malthouse), A Cheery Soul, Accidental Death of an Anarchist, The Resistible Rise of Arturo Ui, St Joan, Three Sisters, Dinner, Muriel’s Wedding The Musical (with Global Creatures), Black is the New White, Speed-the-Plow, The Golden Age, The Present, Switzerland, Macbeth, Noises Off, Cyrano de Bergerac, Romeo and Juliet, The Removalists, Romeo & Juliet (Education). Other Theatre: includes productions with The Finnish National Ballet, The Australian Ballet, The New York City Ballet, The Metropolitan Opera, Washington Opera, Opera Australia, Cameron Mackintosh, Bell Shakespeare, Circus Oz, MTC, QT, Belvoir, La Boite, Playbox, Kooemba Jdarra. Film: includes Poker Face, Thor: Love and Thunder, Escape from Spiderhead, Operation Rainfall, Pirates of the Caribbean 5, Deadline Gallipoli, The Water Diviner, Winter’s Tale, Vikingdom, Salt, I Am Legend, The Bourne Legacy. TV: includes Deadlock, Nautilus, Sea Patrol, The Good Wife, Boardwalk Empire, The Sopranos, 30 Rock, Law & Order: Criminal Intent. Positions: Teaching positions at NIDA, ACA, AFTRS, USQ. Awards: Green Room Award for Outstanding Contribution to the Melbourne Stage. Certifications: Certified Intimacy Director & Intimacy Coordinator with Intimacy Directors and Coordinators (IDC), Fight Master with the Society of American Fight Directors; Instructor, Fight Director and past President of the Society of Australian Fight Directors Inc, Honorary Fight Director with Fight Directors Canada.

SALLY DASHWOOD
Choreographer

Sydney Theatre Company: Debut. Other Theatre: Hayes: Godspell, Gentlemen Prefer Blondes. ATYP: The Deb, NTofP: Zombie Thoughts: The Things I Could Never Tell Steven. As Associate Director/Choreographer: Darlinghurst Theatre Company: A Chorus Line. As Assistant Director: Opera Australia: La Boheme, Two Weddings One Bride. As Assistant Choreographer: Opera Australia: Carmen. As Performer: Gordon Frost Organisation: Fame The Musical. Hayes: Mack and Mabel. Opera Australia: Carmen on Sydney Harbour. Film: As Choreographer: Mumlife the Musical. As Performer: Goddess, Happy Feet 2. TV: As Choreographer: Wellmania. As Assistant to the Creative Director: The X Factor. As Performer: So You Think You Can Dance, The X Factor, The Voice. Other: Creator of Girls On Tap. Awards: 2019 Rave Theater Festival NYC Award for Best Choreography (Girls On Tap), 2022 Official Selection Cannes Film Festival (Mumlife the Musical), 2022 Official Selection Sydney Film Festival (Mumlife the Musical). Training: Brent Street Studios, Robert Sturrock/Industry School of Dance. Pronouns: She/Her.

ANGELA NICA SULLEN
Voice Coach

Sydney Theatre Company: City of Gold (with Black Swan State Theatre Company), Grand Horizons. As Actor: A Raisin in the Sun (Understudy), Mosquitoes. Other Theatre: As Actor: Force Majeure: Nothing to Lose. Darlinghurst Festival fatale: Brown Skin Girl. Griffin Theatre: Batch Festival: Brown Skin Girl, Orange Thrower. Belvoir and ACO Collaboration: Bridgetower. Old Fitz: Brown Skin Girl. The Old 505: The House at Boundary Road. Film: I Am Woman. TV: Bump, La Brea, Home and Away. Vocal and Dialect Coaching: DTC: seven methods of killing kylie jenner. Old Fitz: Chewing Gum Dreams. NIDA: God’s Country. Positions: Associate Lecturer for Voice at NIDA. Training: NIDA.

PRODUCTION ACKNOWLEDGEMENTS

Stephanie Rebelo (Costume Secondment – WAAPA)

Carla D’Annunzio – Wigs

CORPORATE PARTNERS

Sydney Theatre Company is grateful to our corporate partners for their generous support of theatre and the arts. We applaud their commitment and vision.
You can find out more about our current partners here.

OUR DONOR COMMUNITY

Thank you STC Angels for your unwavering commitment to our work.

Anita Belgiorno-Nettis AM & Luca Belgiorno-Nettis AM
Jane & Andrew Clifford
Alan Joyce AC & Shane Lloyd
Gretel Packer AM
Rebel Penfold-Russell OAM
Ruth Ritchie
Rosie Williams & John Grill on behalf of the Serpentine Foundation

Thank you to our donors at all levels, who support a bright future for STC.

If you would like to help STC continue to be one of the largest employers of artists and theatre-makers in Australia, please make consider making a tax-deductible donation at www.sydneytheatre.com.au/donate

SYDNEY THEATRE COMPANY BOARD OF DIRECTORS

Ian Narev (Chair)
Ann Johnson (Deputy Chair)
Anita Belgiorno-Nettis AM
Brooke Boney
David Craig
Mark Coulter
Anne Dunn
Alan Joyce
Heather Mitchell AM
Gretel Packer AM
Mark Scott AO
Annette Shun Wah
Kip Williams

See Sydney Theatre Company’s full staff list.