THE PILLOWMAN

Company B presents

THE PILLOWMAN
Written by MARTIN McDONAGH
Directed by CRAIG ILOTT
The Company B production of The Pillowman opened at
Belvoir St Theatre on 4 June 2008
Set Designer NICHOLAS DARE
Costume Designer JO BRISCOE
Lighting Designer NIKLAS PAJANTI
Composer & Sound Designer JETHRO WOODWARD
Assistant Sound Designer CHRIS MERCER
Fight Director KYLE ROWLING
Stage Manager KYLIE MASCORD
Assistant Stage Manager SARAH SMITH
NIDA Secondment (Stage Management) ISABELLA KERDIJK
NIDA Secondment (Technical) JACK HORTON
Consultant Clinical Psychologist DR RACHAEL MURRIHY (BA PGDip DPsych)
With
AMANDA BISHOP Mother
MARTON CSOKAS Tupolski
LAUREN ELTON Girl
DAMON HERRIMAN Katurian
STEVE RODGERS Michal
DAVID TERRY Father
DAN WYLLIE Ariel
PRODUCTION THANKS: Chameleon Touring Systems, Kylie Clarke, CODA Audio,
Joel Edgerton, Dr Tony Kidman and the UTS Health Psychology Unit, Maurice
Menswear Marrickville, Kirsty McGregor, Neil Phipps, Thomas Creative, David
Trethewey and Martin McDonagh’s agent – The Rod Hall Agency Limited of 6th Floor
Fairgate House 78 New Oxford St London WC1A 1HA.
The Pillowman was first presented by the National Theatre at the Cottesloe,
London, directed by John Crowley, on 13 November 2003.
The production was subsequently produced on Broadway by the National Theatre,
Robert Boyett Theatricals LLC and RMJF Inc. in association with Boyett Ostar,
Robert Fox, Arielle Tepper, Stephanie P. McClelland, Debra Black, Dede Harris / Cover Image: Alex Craig
Morton Swinsky / Roy Furman / Jon Avnet in association with Joyce Schweickert, Photography: Heidrun Löhr
opening at the Booth Theatre, New York City, on 10 April 2005. DESIGN: Tim Kliendienst
DIRECTOR’S NOTE
Katurian: A great man once said is the relationship between art and
‘The first duty of a storyteller is to politics? And perhaps a key question
tell a story’. Or was it ‘The only duty for artists – is writing or telling a
of a storyteller is to tell a story’? story enough? There are no answers.
Or at least none are required for the
I read The Pillowman a few years ago
survival and momentum of this play.
while on a play-reading binge and fell
It moves of its own volition. In much
in love with its beauty and the power
the same way that four words seem
of its storytelling. Page by page Martin
to generate their own power – once
McDonagh drew me in. I’d never read
upon a time...
anything like it. No play had ever
gripped or excited me in this way. Themes are littered throughout The
What it came down to was a burning Pillowman. Strong among them is
desire – to know what happened art as legacy and the attention given
next – to savour the incredible to what we leave behind. Should
suspense borne of McDonagh’s gift. that be more important than what
By the time I finished reading I was we do here and now – our everyday
hooked on what seemed a compelling intentions and our capacity to
experiment: how dark can a work love? McDonagh’s way is to throw
be, and remain funny? There’s no questions out there without nailing
getting around it – the content in The down any answers. He exploits
Pillowman is at times gruesome. By the innate human desire for one
McDonagh’s own admission he walks meaning – to find one answer. It’s
the line between comedy and cruelty. the key to the suspense in his plot
“It’s more interesting to start from a as well, but constantly undermines
darker place and see where that goes,” the expectations it creates, short-
he says. circuiting all the simple meanings
we’ve been conditioned to notice.
Couched in this gripping tale is a
He is the master of the red herring.
labyrinth of questions and musings  
on the very purpose of art. And he And just when we think we can
forces us to wonder: Is art capable resign the story to fantasy, along
of corrupting? Does it feed off come the Fritzl family from Austria.
suffering? Should writers be brought Not all that far-fetched I suppose
to task for dealing in violence and Once upon a time, yesterday...
child abuse? Is the artist responsible
for the consequences of art? What Craig Ilott
MARTIN McDONAGH
on writing and influences
“I find that I enjoy telling interesting “For me, my background is in writing
stories. It’s fun. I love to surprise plays that have a strong balance of
myself and make myself laugh. And darkness and comedy. I think it’s
you know, you have to attempt to kind of the way I see the world in
leave something decent behind you.” lots of ways: naturally bleak but
New York Times, 25/1/98 naturally funny.”
Minnesota Daily, 7/2/08
“I read everything I could find
by Borges straight through, and “I walk the line between comedy
that got me going in terms of and cruelty because I think one
storytelling. And of thinking outside illuminates the other… I tend to push
of your own little locale…” things as far as I can because I think
The New Yorker, 6/3/06 you can see things more clearly
through exaggeration than through
“Story is everything – story and a reality.”
bit of attitude.” The Guardian, 24/3/01
The Guardian, 24/3/01
“I think that anything done well
“I could see that [Harold Pinter] was improves the world. No matter how
using dialogue for its own sake, not dark that piece of art is, a world with
just to convey information or carry one more piece of art is still a better
the plot, and I was drawn to the place.”
sinister aspects of the writing.” Steppenwolf Backstage, Vol. 5, Gustave Doré, le Petit Poucet, 1862
The New Yorker, 6/3/06 2006-2007
THE USES OF
ENCHANTMENT
““Little Red Riding Hood was as the folk fairy tale. True, on an into awareness, then eventually
my first love. I felt that if I could overt level fairy tales teach little the person’s conscious mind will be
have married Little Red Riding about the specific conditions of partially overwhelmed... However,
Hood, I should have known perfect life in modern mass society; these the prevalent parental belief is that
bliss.” This statement by Charles tales were created long before it a child must be diverted from what
Dickens indicates that he, like came into being. But more can be troubles him most: his formless,
untold millions of children all over learned from them about the inner nameless anxieties, and his chaotic,
the world throughout the ages, problems of human beings than angry, and even violent fantasies.
was enchanted by fairy tales. Even from any other type of story within Many parents believe that only
when world-famous, Dickens a child’s comprehension.” conscious reality or pleasant and
acknowledged the formative wish-fulfilling images should be
“… the paramount importance of
impact that the wondrous figures presented to the child – that he
fairy tales for the growing individual
and events of fairy tales had had should be exposed only to the sunny
resides in something other than
on him and his creative genius. side of things. But such one-sided
teachings about correct ways of Gustave Doré,
He repeatedly expressed scorn fare nourishes the mind only in a
behaving in the world – such Little Red Riding Hood, 1867
for those who, motivated by an one-sided way, and real life is not
wisdom is plentifully supplied in
uninformed and petty rationality, all sunny.”
religion, myths, and fables. Fairy
insisted on rationalizing,
stories do not pretend to describe “There is a widespread refusal to
bowdlerizing, or outlawing these
the world as it is, nor do they let children know that the source
stories, and thus robbed children
advise what one ought to do… The of much that goes wrong in life is
of the important contributions
unrealistic nature of these tales due to our very own natures – the
fairy tales could make to their
is an important device, because it propensity of all men for acting
lives. Dickens understood that
makes obvious that the fairy tales’ aggressively, asocially, selfishly, out
the imagery of fairy tales helps
concern is not useful information of anger and anxiety. Instead, we
children better than anything else
about the external world, but the want our children to believe that,
in their most difficult and yet
inner processes taking place in an inherently, all men are good… ‘Safe’
most important and satisfying
individual.” stories mention neither death nor
task: achieving a more mature
aging, the limits to our existence,
consciousness to civilize the chaotic “In child or adult, the unconscious is
nor the wish for eternal life. The Extracts from Bruno Bettelheim’s
pressures of their unconscious.” a powerful determinant of behaviour.
fairy tale, by contrast, confronts the The Uses of Enchantment: The
When the unconscious is repressed
“Nothing can be as enriching and child squarely with the basic human Meaning and Importance of Fairy
and its content denied entrance
satisfying to child and adult alike predicaments.” Tales, Vintage, New York: 1977
THE POWER OF
STORY

Words have no power to impress Man is always a teller of tales, he Let us suppose our world is The writer’s work is to name the
the mind without the exquisite lives surrounded by his stories attacked by war, by the horrors unnamable, to point to frauds, to
horror of their reality. and the stories of others, he sees that we all of us easily imagine. Let take sides, start arguments, shape
Edgar Allen Poe – The Narrative of everything that happens to him us suppose floods wash through the world and stop it from going to
Arthur Gordon Pym of Nantucket through them; and he tries to live his our cities, the seas rise… the sleep.
own life as if he were telling a story. storyteller will be there, for it is our Salman Rushdie – The Satanic
Deeper meaning resides in the fairy But you have to choose: live or tell. imaginations which shape us, keep Verses
tales told to me in my childhood Jean-Paul Sartre – Nausea us, create us for good and for ill. It
than in the truth that is taught is our stories, the storyteller, that Those who tell the stories
by life. will recreate us, when we are torn, rule society.
Friedrich Schiller – The Piccolomini hurt, even destroyed. Plato – The Republic
Doris Lessing – On not winning the
Nobel Prize, Nobel Lecture
 film Candy. Craig received a Green (Bell Shakespeare – seminars and

BIOGRAPHIES Room Award for Best Musical

Direction for Hedwig and the Angry
Actors at Work); Losing Louis, Dags
(Ensemble Theatre); Angry Penguins
Inch. This production also won (The Olympic Arts Festival/
Best Musical at the 2006 Sydney Tilbury Productions/Sydney Opera
Theatre Awards and was nominated House); Boston Marriage (Gaiety
for Best Musical, Best Director and Theatre/Darlinghurst Theatre);
Best Actor at the 2007 Helpmann Vicious Streaks (Roar/Darlinghurst
Awards, with iOTA winning Best Theatre); A Girl in a Car with a
MARTIN Actor. Craig’s other awards and Man (Red House/Tamarama Rock
McDONAGH craig ilott nominations include The Sun Herald Surfers/Studio Theatre); Bird’s
Writer Director Best Independent Production Award Eye View (Max ‘n’ Loop/Tamarama
for Dealer’s Choice and nomination Rock Surfers); Music & Mandy &
Martin’s plays include The Beauty Craig graduated from NIDA and has for The Decameron as well as the Scott (Tamarama Rock Surfers/
Queen of Leenane, A Skull in worked as both actor and director. Sydney Theatre Award nominations Griffin Theatre Company); Spyring
Connemara, The Lonesome West, His previous work with Company for Best Independent Production for (Barestage); The King & Di, Bite
The Lieutenant of Inishmore, B includes his performance in As Edmond and The Suitors. Later this My Chilli (Glen Street Theatre); Not
The Cripple of Inishmaan, The You Like It. As a director his credits year Craig will direct The Pig Iron In My Back Yard, The Secret of the
Pillowman, The Banshees of include Love Song (Melbourne People for Sydney Theatre Company. Seven Marbles (Surf ‘n’ Theatre
Inisheer, The Retard is Out in the Theatre Company); the national Company) and Opera Divas (Leave It
Cold and Dead Day at Coney. His tour of the concert Let It Be (Spirit To Diva). Amanda has also produced
screenplays include Barney Nenagh’s Entertainment); I Get The Music In Lessons in Flight (Australia
Shotgun Circus, Suicide on Sixth You (Ensemble Theatre); Hedwig Council for the Arts funded launch
Street and Seven Psychopaths. He and the Angry Inch (Showtune of a Sydney Indigenous theatre
has also written and directed the Productions); Sunday in the Park company/Darlinghurst Theatre). Her
AMANDA
film In Bruges, released earlier this with George, Can’t Pay, Won’t film credits include the feature films
BISHOP
year and the short film Six Shooter Pay! (NIDA); Three’s Company The Venus Factory and Fresh Air, the
Mother
which was awarded an Academy (Glen Street Theatre); The Present recent short films Amorality Tale,
Award for Best Live Action Short (La Mama); Fiddler on the Roof Amanda is a WAAPA graduate and Tea For Two, Survival of the Fittest.
Film. Among his other awards are (Darwin Theatre Company) and also holds a Bachelor of Music from She was also the writer, director and
the Lawrence Olivier Award for The Suitors (Easily Distracted). For the University of New England. actor on The Big Check-out. Her
Best New Play for The Pillowman, his own company, Albedo Theatre, She performed in the 24 Hour television credits include the ABC
the Critics’ Circle Theatre Award Craig has directed The Decameron, Play Project for B Sharp and in the TV series Review with Myles Barlow,
for Most Promising Playwright and Dealer’s Choice and Edmond which Belvoir St Downstairs Theatre she My New Best Friend (including
the Tony Award nominations for was a co-production with B Sharp. worked on Fallen Angels (Mixed additional writing), All Saints, Blue
The Pillowman, The Lieutenant of He was Resident Director on Nuts) and Two For The Road (Group Heelers, BackBerner, Sunrise, The
Inishmore, The Lonesome West and The Makropoulos Secret (Opera Theatre). Other theatre credits Midday Show, Breakfast Show and
The Beauty Queen of Leenane. Australia) and was assistant to include Shylock/Olivia/Sir Toby/ Sesame St/Blink Films’ The Upside
director Neil Armfield on the feature Lady MacBeth/Goneril/Gertrude Down Show with the Umbilical
Brothers. Later this year Amanda America (Griffin Stablemates) and Arcadia, Angels in America
will appear in Sydney Theatre Flotsam and Jetsam (Jigsaw Theatre (Auckland Theatre Company); As
Company’s Wharf Revue. Company). As Costume Designer You Like It (Academy); Amy’s View,
her credits include Reunion/A Glorious Ruins (Circa Theatre);
Kind of Alaska (Sydney Theatre Dancing at Lughnasa, Casement
Company); On the Case (Legs (Court Theatre); Three Sisters,
on the Wall); The Suitors (Easily The Cherry Orchard, Happy End
Distracted); Wilde Tales (B Sharp/ (National School); Frontmen, Kvetch
State of Play); What the Umbrella (Maidment Theatre); Te Whanau a
Did Next (Australian Theatre for Tuanui Jones (Depot); Anglophiles
JO BRISCOE
Young People); Lawrence and (Watershed) and Possibilities
Costume Designer
Holloman (Darlinghurst Theatre) (Enzentium). His international
Jo holds a Master of Fine Arts in and King Lear (Studio Company/ film work, both commercial and
Theatre Design from Penn State Riverside Theatres). Jo has also independent, includes Romulus,
University. Her credits as Set and worked as a Production Designer on My Father, Asylum, Rain, Monkey’s
Costume Designer for theatre a number of film clips, series pilots, Mask, Kingdom of Heaven, The
include the B Sharp productions commercials and short films. Bourne Supremacy, Triple XXX,
La Ronde (Hailstorm Productions), Aeon Flux, The Great Raid, Broken
Elling (Splinter Theatre Company), English, Twilight of the Gods, Game
Greek Tragedy (Theatron Group) With No Rules, Lord of the Rings,
and Chicks Will Dig You! (Silver Plaintastes and Evilenko. Marton
Productions); along with October, was nominated for Best Actor in
Mr Bailey’s Minder, Nailed (Griffin a Lead Role for Who’s Afraid of
MARToN
Theatre Company); Ruby Moon Virginia Woolf? at the 2007 Sydney
CSOKAS
(Sydney Theatre Company Theatre Awards and won a 2007 AFI
Tupolski
Education); La Vera Costanza Award for Best Supporting Actor for
(Sydney Conservatorium); Marton trained at Te Kura Toi Romulus, My Father.
Stories in the Dark (Australian Whakaari o Aotearoa/The New
Theatre for Young People); Jay’s Zealand Drama School. For
Place (Jay’s Place P/L at Sydney Company B he has performed in
Theatre); A Moment on the Lips Who’s Afraid of Virginia Woolf?,
(Maelstrom/Whoosh); Vertigo and Peribanez and Twelfth Night. His
the Virginia, A Girl in a Car with other theatre credits include Antony
a Man (Tamarama Rock Surfers) & Cleopatra (Theatre for a New
and The Memory of Water and Audience, New York); Riflemind
Noir (Darlinghurst Theatre). Her (Sydney Theatre Company); The
credits as Set Designer include Herbal Bed (Melbourne Theatre
Myth, Propaganda and Disaster in Company) and in Aotearoa/New
Nazi Germany and Contemporary Zealand: Julius Caesar, Closer,
 Company); Laughter on the 23rd
Floor (Ensemble Theatre); Soar
(Tamarama Rock Surfers) and St
James Infirmary (Melbourne Theatre
Company). His film credits include
NICHOLAS DARE LAUREN ELTON Candy, House of Wax, Ned, Praise,
Set Designer Girl The Big Steal and the upcoming
Australian film The Square. On
Nicholas graduated from NIDA in Lauren’s love for acting began as television he was most recently seen
2001 with a Bachelor of Dramatic Art a student at Newtown Performing in Love My Way. His other television
in Design. He has since designed set Arts, where she was in the credits include Stupid Stupid Man,
and costumes for a range of theatre drama company for three years Stingers, South Pacific, Water Rats,
productions in the commercial, and appeared in many school All Saints, Murder Call, GP, Elly and
subsidised and independent sectors. productions. Her film credits include Jools and Brides of Christ. Damon
His credits include set design for Razzle Dazzle and an appearance won a Penguin Award for his guest
Honour Bound (Sydney Opera as an extra in The Square. Her performance in The Flying Doctors
House/Malthouse Theatre); set and television credits include All Saints and has been nominated for three
costumes for Hedwig and the Angry and a Foxtel commercial. Lauren has Logie Awards. Other awards include
Inch (Showtune Productions); the also been involved with Brent Street a Best Actor award at the 2008 St
Louis Nowra trilogy The Emperor Studios for eleven years. Kilda Film Festival for his portrayal
of Sydney, The Marvellous Boy and of a mildly autistic man in the short
The Woman With Dog’s Eyes (Griffin film Len’s Love Story. In recent years
Theatre Company); Halpern and he has also begun acting in the US,
Johnson, Trying, They’re Playing with credits including the television
Our Song, Losing Louis (Ensemble series Cold Case and The Loop, as
Theatre) and production design for DAMON well as twice working with David
Edmond and Dealer’s Choice (Albedo HERRIMAN Mamet on the television series
Theatre). He has worked as Assistant Katurian The Unit and the new feature film
Designer on several productions Redbelt.
including The Boy From Oz and Dame Damon has been working as an
Edna: Back With A Vengeance and actor since the age of eight, making
continues to work on Priscilla: The his debut in The Sullivans. With
Musical. He has also art directed and Company B he has performed
production designed a number of in The Spook, The Underpants,
short films and video clips. Earlier Buried Child and Cloudstreet. Other
this year Nicholas designed the set stage credits include The Cripple
and costumes for Melbourne Theatre of Inishmaan, Two Weeks with
Company’s production of Lovesong. the Queen, Summer of the Aliens,
Lost in Yonkers (Sydney Theatre
 Rivals, Leftovers, The Telling and the Olympic and Paralympic Arts
White Russian and the Production Festivals 2000. Kylie also teaches
Manager for Summerfolk. technical theatre at The Australian
Academy of Dramatic Art. She is
JACK HORTON currently Company B’s Company
NIDA Secondment Stage Manager.
(Technical)
Jack is a third year NIDA production
student, currently on secondment
KYLIE MASCORD
with Company B. Other placements
Stage Manager
have included work for Sydney CHRIS MERCER
Festival in the Domain and working Kylie graduated from Technical Assistant Sound
on Australia Day events in Hyde Production at NIDA in 2000 and Designer
Park. Most recently for NIDA he was has worked with Company B since
Production Manager for The Servant 2001. Her Company B credits Chris graduated from the University
of Two Masters. His design credits include The Seed, Toy Symphony, of Wollongong with a Bachelor
for NIDA include lighting for MPV: 1, Who’s Afraid of Virginia Woolf?, of Creative Arts in 2005. Since
2 & 3, Agent’s Day 2007, sound for Paul, The Adventures of Snugglepot graduating he has worked as a
Moving On and multimedia design & Cuddlepie and Little Ragged technician for a variety of companies
for Closer and Illusions ‘07. Blossom, It Just Stopped, Peribanez, throughout Sydney. He stage
Stuff Happens, Ray’s Tempest, managed The United States of
The Spook, Gulpilil, A Midsummer Nothing (Griffin Stablemates)
Night’s Dream, The Threepenny and was Touring Assistant Stage
ISABELLA Opera (Festival Iberoamericano Manager for the 2005 Croc Festival.
KERDIJK de Teatro de Bogota, Colombia), He was Co-Producer and Technical
NIDA Secondment Run Rabbit Run, The Fever, The Director of the 2005 and 2006
(Stage Lieutenant of Inishmore, Macbeth, Unhinged Short Play Festivals
Management) Buried Child, My Zinc Bed, Emma’s and worked as a venue technician
Nose and The Laramie Project. She for the 2006 and 2008 Adelaide
Isabella is a third year NIDA has also worked as the Production Fringe Festivals. Chris started with
production student, currently on Stage Manager for the MusicOz Company B as the Downstairs
secondment with Company B. Other Awards 2006, Company Stage Technical Manager in 2006,
companies she has worked with Manager for the Australasian tour becoming Technical Manager
include Sydney Festival, Circ Ici, The of The Merchants of Bollywood, in 2007.
Famous Spiegeltent and Woodford Program Coordinator for Australia
Folk Festival. At NIDA she was Day 2003, Event Coordinator for
the Lighting Designer for Illusions, Australia Day 2002 and 2001,
the Sound Designer for The and the Production Assistant at
 Niklas also worked as an Assistant
Lighting Designer on Teorema, The
Hive, Crossing Live (Chamber Made)
and Scenes of the Beginning from
the End and K (Not Yet It’s Difficult).
NIKLAS PAJANTI He was awarded the Victorian Green
Lighting Designer Room Award for Lighting Design for
Dance for Under the Weather and
Niklas works as a lighting designer has had six nominations for lighting
across contemporary dance, drama design from the association. Currently
and events. He is a graduate of the Niklas is Principal Lighting Designer
Victorian College of the Arts and for Trafficlight.
holds postgraduate qualifications
in Illuminating Engineering from
The Royal Melbourne Institute
of Technology. For Company B
he designed for Who’s Afraid of
Virginia Woolf?. Other lighting
designs include For Samuel Beckett STEVE RODGERS
(Endgame), Not What I am - Othello Michal
Retold, Winter’s Tale, King John,
The Crucible, Yet each man kills Steve trained as an actor at Theatre
the thing he loves, Because of the Nepean. His acting credits with
Increasing Disorder (The Eleventh Company B include Night on Bald
Hour); When the Rain Stops Falling Mountain, The Blind Giant is Dancing,
(Brink Productions); Not Like Beckett Cloudstreet and Twelfth Night. Other
(Malthouse Theatre); Holiday stage credits include Riflemind, Three
(Ranters Theatre); Osama the Hero Sisters, The Comedy of Errors, As
(The Rabble); I Want to Dance Better You Like It, Democracy, The Miser
at Parties, Singularity, Tense Dave, (Sydney Theatre Company); The
Three’s a Crowd (Chunky Move); Boys Next Door, All My Sons, Lobby
Frank Woodley Possessed, Spicks and Hero, A Streetcar Named Desire,
Specktacular, Lano and Woodley- Diving for Pearls, Humble Boy
Goodbye (Token Events); Murundak (Ensemble Theatre); A Midsummer
(Black Arm Band/Melbourne Night’s Dream, Macbeth (Bell
International Arts Festival) and Shaun Shakespeare); Last Cab to Darwin
Parker-This Show Is About People (Porkchop Productions) and That
(Shaun Parker/Marguerite Pepper/ Eye the Sky (Burning House Theatre
Melbourne International Arts Festival). Company). He has worked with some
of Australia’s best screen directors, include Pan (Henson Company) and Manager on Shout! The Legend of
having appeared in films such as The White Devil (Sydney Theatre the Wild One for the Melbourne and
The Bank, La Spagnola, Oscar and Company – New York Tour). He has Sydney seasons (Shout Services Pty
Lucinda, Dead Heart and Children also worked with Opera Australia, Ltd). She also stage managed the
of the Revolution. More recently he Ensemble Theatre, Marion Street Candy Man (Exciting Entertainment).
appeared in the feature films The Theatre and Bell Shakespeare. He has She has worked with Sydney Theatre
Men’s Group and Bitter and Twisted. taught and choreographed theatrical Company on productions such as The
Steve has numerous television credits, violence for such institutions as NIDA, Lost Echo, Bourgeois Gentlemen and
his most recent being the telemovie Victoria College of the Arts, The Summer Rain and with Opera Australia
Valentines Day, due to air on the Actors Centre and the Actors College as Assistant Stage Manager on
ABC in July. His first full-length play of Theatre and Television in Sydney. Carmen, The Pearl Fishers and Lulu.
Ray’s Tempest was workshopped at Kyle’s stage combat skills have
the Australian National Playwrights’ secured him performance work in Star
Conference, short listed for the Wars Episode II, Star Wars Episode III
Patrick White Playwrights’ Award and and Icon Productions’ Invincible. He
received two mainstage productions, was Eric Bana’s personal weapons
one with Company B in 2005 and one trainer for his role as Hector in the
at the Melbourne Theatre Company period epic Troy. Kyle also runs and DAVID TERRY
in 2006. This year his second play, is the Director of The Sydney Stage Father
Savage River was workshopped at Combat School in Sydney, providing
the Playwriting Australia Festival in stage combat classes, certified David is a 1995 NIDA Graduate.
Brisbane. courses and weapons rental. His B Sharp credits include Edmond
(Albedo Theatre) and Knives in Hens
(The Working Group). Other stage
credits include Dinner with Friends,
Unscrupulous Murder, Fuddy Meers,
Sixty Six Minutes (Darlinghurst
SARAH SMITH Theatre); Last of the Knucklemen
KYLE ROWLING Assistant Stage (Brand X/Bondi Pavillion); The
Flight Director Manager Impossible Dream (Just Us Theatre
Ensemble); Dealer’s Choice (Albedo
Kyle is one of only six certified Originally from Western Australia, Theatre); After Dinner (Dirty Bird
fight directors in Australia. He has Sarah completed her degree at the Productions/Edinburgh Festival) and
been choreographing stage combat Western Australian Academy of Don’s Party (New Theatre). His film
sequences for professional theatre Performing Arts in stage management credits include Amorous Martyr and
companies since 1996. His most before moving to Sydney. Since SOS. On television he has appeared in
recent Company B credits include moving Sarah has worked with All Saints, White Collar Blue, CNNNN,
Paul, Parramatta Girls and Black numerous arts organisations. Most Young Lions, BackBerner, Outriders,
Medea. Other theatre credits recently she was the Deputy Stage Water Rats, Big Sky and Roar.
 by the Ian Potter Cultural Trust,
researching innovative approaches to
sound design and operation.
JETHRO
WOODWARD
Composer &
Sound Designer
Jethro is a composition graduate
of the Victorian College of the
Arts School of Music. His previous DAN WYLLIE
Company B credits include Antigone: Ariel
The Burial at Thebes and the For Company B, Dan has appeared
Company B season of Black Medea in The Lieutenant of Inishmore,
(Malthouse Theatre). For B Sharp Cloudstreet, The Alchemist, Twelfth
he sound designed The Eisteddfod Night and Suddenly Last Summer.
and The Black Swan of Trespass Other theatre credits include Blackrock
(Stuck Pigs Squealing). His other (Sydney Theatre Company); Child
theatre credits include Criminology Dancing (Griffin Theatre Company)
(Arena Theatre Company/Malthouse and Don Juan in Soho and The
Theatre); Waikiki Hip (Sydney Theatre Pillowman (Melbourne Theatre
Company’s Wharf2LOUD); Lally Company). On film, he can be seen
Katz and the Terrible Mysteries of in Peter Pan, Chopper, Unconditional
the Volcano (Stuck Pigs Squealing); Love, Holy Smoke, Muriel’s Wedding,
Hunger (Rawcus/Melbourne Romper Stomper, The Thin Red
Symphony Orchestra); Sideshow Line, Redball, The Roly Poly Man
(Rawcus) and Autobiography of and Spotswood. He has appeared
Red (Malthouse Theatre). Jethro on television in Underbelly, Love My
has received Green Room Award Way, The Shark Net, Curtin, Bastard
nominations for his work on Hunger, Boys, The Kangaroo Creek Gang and
Criminology, Black Medea, Duets Bad Cop Bad Cop. Dan’s awards and
of Desire, The Damask Drum, The nominations include a TV Week Silver
Eisteddfod and Sideshow. As a bass Logie for Love My Way, a Green Room
player, guitarist or singer he has Award nomination for Cloudstreet and
performed with ensembles such as a Helpmann Award nomination for
Cordrazine, SFC, Astra Choir and the The Pillowman.
Byrne Band. Recently he undertook
professional development in New York
and Ann Arbor, Michigan, supported
COM PA N Y B H I STO RY
Company B sprang into being out of the unique action
taken to save the Nimrod Theatre building from demolition
in 1984. Rather than lose a performance space in inner
city Sydney, more than 600 arts, entertainment and
media professionals as well as ardent theatre lovers,
formed a syndicate to buy the building. The syndicate
included nearly every successful person in Australian show
business.
Company B is one of Australia’s most celebrated theatre
companies. Under the artistic leadership of Neil Armfield,
the company performs at its home at Belvoir St Theatre
in Surry Hills, Sydney and from there tours to major arts
centres and festivals both nationally and internationally.
Company B engages Australia’s most prominent and
promising playwrights, directors, actors and designers to
present an annual artistic program that is razor-sharp,
popular and challenging.
Belvoir St Theatre’s greatly loved Upstairs and Downstairs
stages have been the artistic watering holes of many of
Australia’s great performing artists such as Geoffrey Rush,
Cate Blanchett, Jacqueline McKenzie, Noah Taylor, Richard
Roxburgh, Max Cullen, Bille Brown, David Wenham,
Deborah Mailman and Catherine McClements.
Sellout productions like Cloudstreet, The Judas Kiss,
The Alchemist, Hamlet, Waiting for Godot, Gulpilil, The
Sapphires, Stuff Happens, Keating!, Parramatta Girls, Exit
the King and Toy Symphony have consolidated Company
B’s position as one of Australia’s most innovative and
acclaimed theatre companies. Company B also supports
outstanding independent theatre companies through its
annual B Sharp Season.
For more information visit www.belvoir.com.au
Company B presents
COM PA N Y B STA F F

SCORCHED
18 Belvoir Street, Surry Hills NSW 2010
Email [email protected] Web www.belvoir.com.au
Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444
Written by Wajdi Mouawad
Translated by Linda Gaboriau ARTISTIC DIRECTOR Downstairs Theatre Director DEVELOPMENT
Directed by Neil Armfield Neil Armfield AO Annette Madden Philanthropy Manager
GENERAL MANAGER Acting Education Manager Christine Sammers
Brenna Hobson Robyn McLean Partnerships Managers
Education Assistant Janine Collins
COMPANY B Cathy Hunt Frances McDonald
BOARD
Neil Armfield AO ADMINISTRATION MARKETING
Anne Britton Artistic Administrator Marketing Manager
Andrew Cameron John Woodland Ali Gordon
Michael Coleman Administration Coordinator Marketing &
Russell Dykstra Natalie Wall Publications Coordinator
Louise Herron Christine Bradburn
FINANCE & OPERATIONS Marketing & Development
Brenna Hobson Head of Finance & Operations
Brian Thomson AM Assistant
Richard Drysdale Nathalie Vallejo
Mary Vallentine AO
19 july – BELVOIR ST
Financial Administrator
Ann Brown
Publicity
Siobhan Robertson
7 september THEATRE BOARD
Accounts Payable
Jane Powles
(Mollison Communications)
Maureen Barron Operations Manager
Trefor Clayton Jan S. Goldfeder
Tim Game PRODUCTION
Head of Production
“I read Scorched and was totally floored. Jane Jose
Stuart McCreery
BOX OFFICE
Assistant Box Office Liam Fraser
Then I read Khaled Hosseini’s The Kite Runner Russell Mitchell Managers Technical Manager
Chris Mercer
and it was like I was in the same world. Kingsley Slipper Paul Robson
Lucy Marinelli Production Deputy
I think this play is a masterpiece.” ARTISTIC
Glenn Dulihanty
Company Stage Manager
AND PROGRAMMING FRONT OF HOUSE
NEIL ARMFIELD Kylie Mascord
Associate Artists Front of House Manager
Damien Storer Production Coordinator
Wayne Blair Shaun Poustie
Wesley Enoch Assistant Front of House
Manager Head Mechanist
Artistic Associate Thane Browne
BOOKINGS 9699 3444 Eamon Flack Bianca Rowe
Costume Coordinator
Literary Associate
or www.belvoir.com.au Sam Strong
Judy Tanner
Downstairs Technical Manager
Eddi Goodfellow
 COM PA N Y B K EE P E R S Shakespeare
B Keepers are a unique group of individuals whose financial support is alive and well!!
So is Chekhov!
is a reflection of their passion for, and commitment to, Company B.
The B Keeper program is one of the ways we can continue to create the
kind of theatre that we love and that has attracted and inspired audiences

Not to mention Beckett,

here in Sydney, around Australia and across the world.
We gratefully acknowledge our B Keepers for their loyal and generous support

Corporate B K eeper
Sterling Mail Order
Gogol and Patrick White...
... and the new Australian playwrights not yet born.
Patron B K eepers
Anonymous (9) David Haertsch Mary Jane McKerihan You might not write plays, but you too can leave a
Robert & Libby Albert Erica Hahn Professor Elizabeth More lasting legacy. By leaving Company B a gift in your
Gil Appleton Andrew & Wendy Hamlin Rae & Peta Morris
Amazing Paper Marion Heathcote Dr David Nguyen
will, you can ensure your favourite theatre company
Phil & Beverley Birnbaum Louise Herron Timothy & Eva Pascoe continues to create inspiring , thought provoking
Max Bonnell Michael & Doris Hobbs David Patterson theatre for generations to come.
Anne Britton Sue Hunt Bob, Sheila & Katie Pitts
Denise & Neil Buchanan Peter & Jessie Ingle Colleen & Larry Roche If and when the time is right for you to make a will, or
Brian Burfitt Rosemary & Adam Ingle Greg Roger
Andrew & Cathy Cameron Anita Jacoby Geoffrey Rush add to the one you’ve already made, consider leaving
Mary Jo & Lloyd Capps Jarzabek family John Sharpe & a bequest to Company B. Please remember us, after
Elaine Chia Avril Jeans Claire Armstrong your family, and contribute to the long term future of
Jane Christensen Chris Jennings Sherman Pictures
Louise Christie Margaret Johnston Peter & Jan Shuttleworth our theatre.
Peter Cudlipp & Kachoyan family Edward Simpson
Barbara Schmidt Sue Kennedy Judith & Howard Smith We don’t save lives, but we make many lives a lot better.
Suzanne & Michael Daniel Ian & Nan Landon-Smith Julie & Rob Smith
Ian Darling Linda & Richard Laznik Victoria Taylor Yours sincerely,
Jeanne Eve Antoinette Le Marchant Brian Thomson &
Chris & Bob Ernst Jennifer Ledgar & Bob Lim Budi Hernowibowo
Peter Fay Stephanie Lee Hilary Vallance
Margaret Fink Atul Lele Mary Vallentine AO
Jennifer & Ross Glasson Hilary Linstead Orli Wargon
Peter Graves Peter & Carolyn Lowry Paul & Jennifer Winch
David & Catherine Groves Iain & Judy Wyatt Please call our Philanthropy Manager Christine Sammers
on (02) 8396 6219 to discuss any ideas or questions
you might have regarding bequests. All enquiries will be
donations handled with the utmost confidentiality.
Company B is grateful to accept all donations. Your gift will be directed towards our
foundation which will be used to further the artistic goals and provide opportunities
for the artists of Company B. Donations over $2 are tax deductible.
If you would like to consider making a donation, or would like further information Katurian: It’s not about being or not being dead.
about becoming a B Keeper, please call our Philanthropy Manager It’s about what you leave behind.
Christine Sammers on (02) 8396 6219 or email [email protected] Martin McDonagh, The Pillowman Martin McDonagh
 COM PA N Y B D O N O R S
Company B wishes to thank the following donors who have
generously contributed over $100 in 2008 to:

Company B Foundation or the Building Redevelopment Fund

Anonymous (10), Rosemary Allen, Gillian Andrew Lampe, Elizabeth & Colin Laverty, Chairman’s Group -
Appleton, Len Armfield, Ross Armfield, Sarah Lawrence, Tom & Marilyn Lawson, supporting the development of Indigenous theatre at Company B
Frank Barnes, Sally Begbie, Trish Booth, Jennifer Ledgar & Bob Lim, John Lewis,
Rebecca Bourne Jones, Gina Bowman, David & Trish Lieberman, Eileen & Terry Anonymous (2), Bazmark Inq, Susie Louise Herron, Victoria Holthouse, Belinda
Elizabeth Brennan, Margaret Bruce, Lustig, Anne McCallum, David & Barbara Carleton, Berg Family Foundation, Jillian Hutchinson, Shirley Jarzabek, Dr Ruby C Y
Sienadune & Ian Buchanan, Graeme Butler, Millons, Cynthia Mitchell, Russell Mitchell, Broadbent, Louana Butler, Lin & family, Hilary Linstead, Robin Love,
Deborah Byers, Margaret & Timothy Margaret Murphy, Dr Peter & June Musgrove, Chapman Films, Louise Christie, Carol Helen Lynch, Robyn Neasmith, Kate Richter,
Cavanough, Victor Cohen, Ruth Collerson, Ross & Louise Nicholas, Brian & Lyn Oliver, Dettman, Danny & Kathleen Gilbert, Anne Jillian Segal, Victoria Taylor, Kim Williams.
Jenny Coopes, Bryony & Timothy Cox, Hugh Anne Owens, Clifford Pain, Ken Pattemore Harley, Isabel Herron,
Cranswick, John Crocker, Alan & Catherine & Marian Hegarty, Angela Raymond, Shefali
Cunningham, Marie Delaney, Vlasta & S. Rovik, Mark & Ruth Samson, Selwyn
Peter Dodd, Susan Donnelly, Carmel & Shineberg, Jann Skinner, Eileen Slarke, Youth Express 2008 –
Charles Dwyer, Christine & Robert Ernst, Jean Smail, Deborah Stow, Lee Tanabe, Company B Education Outreach Program
Elaine & Bill Evans, Sue Field & Ian Phillips, Ingmar Taylor, Caren & Mike Trafford, Mary
Anonymous (8), Wendy Blaxland, Jenny Hannaford, Peter Ingle, Avril Jeans, David
Judith Freckman, Colin Gageler, Ronald Lee Vallentine, Louise & Steve Verrier, Edwina
Bond & Chris Sheedy, Rob Charlton & Jo & Helen McCosker, Anna Kerdijk Nicholson,
Gaudreau, Sandra Gross, Sophie Guest, Waddy, Margaret Ward, Elizabeth Webby,
Foster, Susan Donnelly Patricia Novikoff, Kovacs & Chambers
Siobhan Hannan, Bronwyn Haddock, Louise Nicky & John Whiteing, Brian Wright,
Jeanne Eve, Patricia & Geoffrey Gemmell, Children, Sandra See, Kerry Stubbs, Helen
Hamshere, John & Bobbie Harries, Louise Patricia G Wright, Elisabeth Wynhausen.
Thomas Goodman & Garry Webb, Julie Thompson, Geoff Webster, Bev White.
Herron, Elaine & Geoff Hiley, Ailsa Hocking,
Dorothy Hoddinott, Helen & John Hookey,
Peter Ivany, Corinne & Robert Johnston,
Ronaele Jones, Danielle & Christopher Kell, We also sincerely thank:
Nicole Kidman, Pauline & Leof Kingsford-
The Redevelopment Donors who have donated over $1,000 and are now acknowledged on
Smith, Carol & Geoffrey Lack, Gayle Lake,
our new Belvoir St Theatre Redevelopment Donors Board 2004-2006, designed by Robert
Cousins and located in our Gonski/Meers Foyer.

The Seats & Steps donors whose plaques are now permanently in place.
 OPT9557/A
What we
do behind
the scenes...

Optus and Company B are bringing ...helps our customers

theatre closer to everyone. perform at their best
Optus and Company B are bringing theatre to a wider audience through our unique
Community Access Program. Supporting numerous charities and community groups,
our Charitable Tickets and Unwaged Performance Programs provide free shows and
tickets to those who don’t normally get the chance to enjoy the theatre. Call 1800 010 045
Getronics is a leading Information and Communication Technology
company that offers a global network of experience.
Getronics has been a proud supporter of Company B for 10 years.
“Contemplative of our
times, this powerful, William McInnes A socially
Monic Hendrickx
poetic love story peels responsible printer
away layers of hurt and
mistrust to reveal the beauty
of freedom, hope and choice.”
– Brisbane International Film Festival

Unfinished Sky
Audience Award Official Selection
Brisbane International Toronto International
Film Festival Film Festival
For information call:
Kelly Bourke • 02 9549 2100

Belvoir ad.indd 1 4/10/07 2:49:58 PM

www.unfinishedsky.com
ONLY AT THE MOVIES! JUNE 19
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potts point, sydney
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Company B’s home away from home

[email protected]
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Surry Hills
TAKE THE DRAMA OUT OF
Baker & McKenzie BUYING
SELLING
is proud to support &
MANAGING PROPERTY
Company B 437 Crown Street, Surry Hills
www.bakernet.com 9698 5500
Sydney +61 2 9225 0200 | Melbourne +61 3 9617 4200
www.ljhooker.com.au/surryhillls
 COM PA N Y B T H A N KS YOU

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Alex Craig Photography, Avant Card, Boomerang One to One, Coopers, Gilfillan Soundwork, iMedia,
LJ Hooker, Sierra Slammer, Silver Spoon Caterers, Moves Travel Group,
The Greatorex Foundation, The Ian Potter Foundation, Matana Foundation for Young People,
Foundation for Regional and Rural Renewal, Vincent Fairfax Family Foundation, Westpac Foundation.

For more information on corporate partnership opportunities please contact our

Partnerships Managers on (02) 8396 6224 or email [email protected]
 18 Belvoir Street, Surry Hills NSW 2010
EMAIL [email protected] WEB www.belvoir.com.au
Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444