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MOTHERLAND

PRESENTER’S INFORMATION

Kerith Atkinson and Peter Cossar in the 2013 production of Motherland

Photo by Al V Caeiro

Contents

COMPANY PROFILE .............................................................................................................. 3

ABOUT THE SHOW ................................................................................................................ 3

PERFORMANCE SPECIFICS ............................................................................................. 9

AUDIENCE ENGAGEMENT .............................................................................................. 10

MARKETING ............................................................................................................................ 11

PRODUCTION DETAILS ..................................................................................................... 16

CONTACTS .............................................................................................................................. 18

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COMPANY PROFILE Ellen Belloo is Caroline Dunphy and Katherine Lyall-Watson working together to create new Australian work that combines text and contemporary performance. Caroline is a director and performance maker with decades of experience working in physical and avante garde theatre. Katherine is a playwright with a long history in theatre and a passion for words, writing and story. Together, they produce works that tell intriguing stories in new and exciting ways. Ellen Belloo formed in 2012 when Caroline and Katherine first worked together and realised that they shared a common vision and the determination to make it happen. In 2013 they co-produced Motherland (shortlisted for the Patrick White Playwrights’ Award), which went on to win awards at the Matilda Awards and the Groundlings Awards. This year they have received Arts Queensland funding to work on another new play, Tinder (shortlisted for the Queensland Premier’s Drama Award). Ellen Belloo aims to explore hybrid and contemporary form as well as tell new stories that place women in the centre of the action.

ABOUT THE SHOW SHOW SYNPOSIS Sweeping through the Russian Revolution, World War II, and Brisbane history, Motherland is an epic new work of historical fiction, informed by actual events. Caroline Dunphy uses contemporary theatre techniques to turn the text into a dance of actors, music and lighting. The performers never leave the stage and they change characters with subtle shifts of body and voice rather than any costumes or props. In Motherland, three women, exiled from their homelands, find their lives are woven together across continents and decades. Nelle Tritton, the Brisbane wife of a deposed Russian prime minister forms a close friendship with Nina Berberova, who is exiled in Paris. The woman who would tell their story is Alyona, a Russian curator whose dreams of a new Australian paradise are crushed by bankruptcy and the Fitzgerald Inquiry. Shortlisted for the Patrick White Playwrights’ Award, Motherland is a tapestry of friendship, displacement, home, and identity – a finely-crafted story of the casualties of love, ambition, and politics.

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AWARDS

Best Independent Production – Matilda Awards 2013 Best Production – Groundlings Awards 2013 Gold Matilda – Barbara Lowing (Matilda Awards 2013) Outstanding performance by an actor – Barbara Lowing (Groundlings Awards 2013) Outstanding sound composition – Dane Alexander (Groundlings Awards 2013) Finalist – Patrick White Playwrights’ Award 2013 ACKNOWLEDGEMENTS Motherland’s first production was in October 2013 at Metro Arts, Brisbane, where it was co-produced by Metro Arts and Ellen Belloo. It featured the following cast and creatives: PLAYWRIGHT Katherine Lyall-Watson DIRECTOR Caroline Dunphy CAST Kerith Atkinson, Peter Cossar, Barbara Lowing, Daniel Murphy and Rebecca Riggs. SET DESIGNER Annie Robertson LIGHTING DESIGNER David Walters COMPOSER & SOUND DESIGNER Dane Alexander DRAMATURG Kathryn Kelly PRODUCER Danielle Shankey

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BIOGRAPHIES

KATHERINE LYALL-WATSON Writer Katherine was shortlisted for the 2013 Patrick White Playwrights’ Award for Motherland. She was a finalist in the 2008/09 Queensland Premier's Drama Award for her first play Tinder, which was also selected for a Playlab/Varuna Fellowship. Her second play, Rosie Little's Cautionary Tales for Girls (an adaptation of the novel by Danielle Wood), was read at the National Play Festival, 2010. Katherine has a long history in theatre having worked as an actor, director and theatre reviewer before starting playwriting. She has a doctorate in

philosophy from the University of Queensland.

CAROLINE DUNPHY Director Caroline has worked over the past 18 years as an actor, director and teacher, working with theatre companies nationally, international screen experience, and as an acclaimed performance maker – including with the Brides of Frank (which she co-founded). Caroline is dedicated to developing innovative performance, having studied in training methodology and philosophical practice with Frank Theatre. She’s also trained with Ellen Lauren, Tadashi Suzuki, and Anne Bogart. 2013 has seen Caroline working on

several projects as actor, director and co-creator with Metro Arts and she’s come to Motherland straight from The Wizard of Oz for Brisbane Festival and La Boite. DANE ALEXANDER Composer & Sound Designer Dane has been producing, composing and performing music with the acclaimed DeepBlue Orchestra since 2006 (winner of the 2009 APACA award for ‘Excellent Audience Response’). Dane’s career has seen him compose and perform shows at theatres and festivals nationally and internationally, including: Oz Fest 2012, Delhi and Mumbai; 2012 QPAC Out Of The Box Festival (The Flying Orchestra); 2012 Taiwan Lantern Festival, Lugang; 2010 World Expo in Shanghai, China; as well as multiple headlining national tours. Recently, Dane composed for the La Boite, The Danger Ensemble co-production of The Wizard Of Oz. He is currently undertaking a PhD at QUT.

KERITH ATKINSON Actor: Nelle Kerith has performed in ten productions with Queensland Theatre Company and has also performed for La Boite Theatre Company, Kooemba Jdarra, Three Sisters Productions, Theatre Activ8, and 4MBS Classic Productions, among others. Her film and television credits include Reef Doctors, Terra Nova, All Saints, Water Rats, Farscape and the feature films, Girl Clock and The Last Man on Earth. She has most recently completed filming on Mako: Island of Secrets,

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which screens on Channel Ten. Kerith is also a popular voice over artist and proud Equity member, currently serving on the Qld Branch Council & National Performers Committee.

PETER COSSAR Actor: Chris and Kerensky In 2013, Peter has appeared in Motherland (Ellen Belloo), Medea (Zen Zen Zo), Fly In Fly Out (Debase Theatre Company) and in the film Parer’s War. Peter has performed with Queensland Theatre Company, La Boite, Opera Queensland, Zen Zen Zo, Out of the Box, Theatre UpNorth, the Philharmonic Orchestra, Street Arts and Access Arts. Peter trained as an actor at QUT Academy of the Arts and, since graduating, the bulk of his work has been in physical theatre and developing new plays. Peter has been a proud Equity member

since 1992 and is currently serving on the Qld Branch Council. KATHRYN KELLY Dramaturg Kathryn Kelly is a freelance dramaturg who works in text-based theatre, dance and contemporary performance. Credits include productions with the Queensland Theatre Company, La Boite Theatre Company, Out of the Box Festival QPAC, JUTE (Cairns), Crossroads Theatre (Mackay), Cahoots Theatre Projects (Toronto) and Theatreworks (Melbourne) as well as independent companies Polytoxic, Umber Productions, Dyson Industries and Zen Zen Zo. Kathryn has dramaturged for the National Play Festival, the Regional Theatre-makers Festival, the Australian Script Centre, and was the Executive Director of Playlab from 2004-2008, publishing 24 new Australian plays. She is now completing a PhD at the University of Queensland.

BARBARA LOWING Actor: Nina Barbara has performed in many productions for Queensland Theatre Company, including The China Incident, Toy Symphony, Prisoner of 2nd Ave, Hamlet (a co-production with South Australian Theatre Company), Away (a co-production with Griffin Theatre Company), The Memory of Water and Navigating (a co-production with Melbourne Theatre Company). She has also performed with Dead Puppet Society, Empire Theatre, South Australian Theatre Company, and La Boite

Theatre Company. She received a Matilda Award for Best Actress for Away (2006), a Goldie for Best Commercial Voiceover Artist – Female (2005/6). She was also a Montana International Documentary Film Festival Voiceover Winner in 2010 and 2005.

DANIEL MURPHY Actor: Khodasevich and Sasha Daniel’s acting credits include Taming of the Shrew and Amadeus for 4MBS; Cat on a Hot Tin Roof, Hamlet, Away, Hitchcock Blonde, The Real Inspector Hound/Black Comedy, The Forest, Taming of the Shrew and Three Sisters (Queensland Theatre Company); Red Cap, The Dance of Jeremiah, and There Goes the Neighbourhood (La Boite); Blackbird (23rd Productions); The 25th Annual

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Putnam County Spelling Bee (Oscar); and many others over 30 years, collecting two Matilda awards. His film and TV credits include Singularity, Devasdating, Reef Doctors, Mabo, K9, FARMkids, Cool, Paperback Hero, Flipper, Pacific Drive, Fire II, Time Trax and the voice of The Real Macaw. He has also written plays, screenplays, TV scripts, and the award-winning comic Platinum Grit.

REBECCA RIGGS Actor: Alyona Rebecca has decades of experience as a stage performer for Bell Shakespeare Company, Queensland Theatre Company, Darwin Theatre Company, Kooemba Jdarra, La Boite and TN! She has played Juliet, Viola and Lady Macbeth and has appeared in many modern Australian plays including the musicals Summer Rain and Boy from Oz, Sex Diary of an Infidel, Man from Mukinupin and Luck of the Draw. Fans of science fiction know her as the

irrepressible Commandant Mele-on Grayza in the Saturn Award winning Farscape and she has also appeared in many Australian television series including Backberner, All Saints, Day of the Roses, Medivac and Fire. ANNIE ROBERTSON Set Design Annie Robertson is an artist and emerging theatre designer. Originally trained in fine art, Annie has expanded her practice to theatre design with a resulting conceptual approach that operates in both disciplines. Recent projects include production design for The Brisbane Writers Festival, designer for Miss Saigon in Somerset, England, assistant designer for The Glass Menagerie at La Boite, model/prop maker for Total Dik at the Queensland Theatre Company, and art finisher for Salon at the Judith Wright Centre of Contemporary Arts. DAVID WALTERS Lighting Design For the past 35 years David has worked as a professional Lighting Designer in Iceland and Australia. His work experience spans lighting designs for opera, theatre, children’s theatre, ballet, dance, puppetry, circus, son et lumières, exhibitions, major events and architectural and landscape installations. In recent years he has designed for the Queensland Theatre Company, Melbourne Theatre Company, Sydney Theatre Company, State Theatre Company of South Australia, La Boite, Company B, Opera Queensland, The Powerhouse, QUT, QPAC, Zen Zen Zo and Bell Shakespeare Company.

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REQUIRED LOGOS:

Motherland was developed with the support of Metro Arts and premiered as part of The Season of the Independents 2013.

Motherland was supported by the Judith Wright Centre’s Fresh Ground artist-in-residence initiative, made possible through Arts Queensland.

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PERFORMANCE SPECIFICS

Daniel Murphy and Barbara Lowing in the 2013 Metro Arts Production of Motherland

Photo by Al V Caeiro

DURATION 90 minutes – no interval SUITABLE VENUES Motherland is suited to black box theatres and proscenium arch venues. MAXIMUM NUMBER OF PERFORMANCES PER WEEK 8 performances MINIMUM BREAK BETWEEN PERFORMANCES 180 minutes LICENCING AGREEMENTS Motherland is copyright to the playwright, Katherine Lyall-Watson. 10% royalties from all performances go to the playwright.

APRA OBLIGATIONS Gross Box Office Statement is due to be completed and returned within 30 days of final performance. (APRA royalties comprise 2% of gross box office.) TOURING PERSONNEL The touring party consists of 8 people.

Name Role

Barbara Lowing Actor - Nina

Kerith Atkinson Actor - Nelle

Rebecca Riggs Actor - Alyona

Peter Cossar Actor – Kerensky & Chris

Daniel Murphy Actor – Khodasevich & Sasha

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TBA Tour Manager

TBA Stage Manager

PERFORMANCE HISTORY

Year Venue Number of performances

2013 Metro Arts 15

AUDIENCE ENGAGEMENT OVERVIEW Because Motherland is based on real events and real people, audiences are fascinated to find out where fact ends and fiction begins. The Q&A session held during the Metro Arts season was very popular and had to be drawn to a close due to time, rather than any lack of questions. Audience members also regularly chose to stay behind after the show to try to talk to the actors and find out more. There is clearly a real hunger for engagement post show and Ellen Belloo is happy to offer a Q&A session as a regular event at the end of each performance.

Nelle Tritton – photo courtesy of the Tritton family Ellen Belloo is also putting together information and archival material for a foyer display that can be set up quickly and that can share historical photographs, newspaper articles and mementos. A video montage will also show interviews with key creatives describing the process of writing and creating the production. Interested venues could engage their communities to bring in items of their own from the era (WWII) and display these alongside the Motherland display.

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DESCRIPTION / DETAILS As well as the Q&A sessions and foyer displays, it may be possible (depending on distance and availability) for the writer to offer workshops on writing from real life. Workshops would be 3 hours in duration and participants would be required to bring writing materials. Participants would learn practical skills in writing real stories and the workshop would cover research, writing and getting approval. (Katherine Lyall-Watson has a PhD in Creative Writing from the University of Queensland and her doctoral project was on writing from real life.) MARKETING MARKETING COPY One line Award-winning drama encompassing world war, revolution, love and betrayal. Short Winner of best independent production (Matilda Awards) and best overall production (Groundlings Awards) and a finalist in the Patrick White Playwrights’ Award, Motherland is a play about three remarkable real women, including Nelle Tritton – the Brisbane socialite who married Russia’s deposed Prime Minister, Alexander Kerensky, and helped him escape from the Nazis in the Second World War. Told in a heightened, physical way where sound, lighting and movement create a dance through the story, Motherland covers decades, continents, revolution and World War as it explores issues of home, belonging, love and loss. Extended Winner of best independent production (Matilda Awards) and best overall production (Groundlings Awards) and a finalist in the Patrick White Playwrights’ Award, 'Motherland' blends epic storytelling and strong physicalisation. Caroline Dunphy has a long history in contemporary theatre and directs Katherine Lyall-Watson’s text with rigour and fierceness. The cast of senior artists have more than a century of professional work between them and Barbara Lowing won two awards for her performance. 'Motherland' is based on the lives of three real women (one Australian and two Russians) as they seek to find places for themselves in a world that is in turmoil. The play spans the twentieth century, three continents, World War and revolution. It is also the story of a love between two women that couldn’t be named or celebrated because of the era in which they lived. Nelle Tritton was born and raised in Brisbane but was obsessed with all things Russian. She moved to Europe where she met, worked for and then married the exiled Russian Prime Minister, Alexander Kerensky. Nina Berberova was a Russian writer exiled from her homeland and living in Europe at the time of WWII. She was also a woman who described herself as having two sexes: walking the streets of Paris at night, dressed as a man.

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Nina Berberova

Alyona was a Russian historian and museum curator who met an Australian businessman while she was preparing an exhibition on Nina’s life. She was a single mother, lured to Australia with the promise of endless Pizza Hut and sunshine, only to discover that the Fitzgerald Inquiry was in full force in Queensland and her husband’s business was bankrupt.

The real Alyona

Timeframes and locations collide and interweave as the actors play multiple characters, switching between them with barely a moment to draw breath. With a cast of five and a running time of 90 minutes, 'Motherland' is fast-paced, passionate theatre that will appeal to a wide audience with its theatrical depiction of true stories. MARKETING SUMMARY Media releases are available from Ellen Belloo. Brisbane newspapers picked up on the historical aspect of the story and ran interview pieces and photographs prior to the production. Motherland’s premier production attracted groups of seniors coming in groups from retirement homes as well as groups of university students. The age

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range attending the production went from 15 to 93 years. The contemporary form of the production broadened its appeal and gave a new perspective to performing real lives and history.

Rebecca Riggs and Peter Cossar in the 2013 production

Photo by Al V Caeiro MEDIA QUOTES “a most intelligent, and beautifully shared story” Xanthe Coward, XS Entertainment “deserves its accolades” James Harper, The Courier-Mail “The best plays sweep you up, visually and emotionally, and drop you down amongst the action. They’re so engaging you can’t escape. They’re so spectacular you don’t want to. The newest production on my Best Plays list is the phenomenal Motherland.” Weekend Notes “Motherland marks the beginning of a new era of Australian playwriting” XS Entertainment “a new and daring way of constructing a play” – Alison Cotes, Crikey “Motherland is the most elegant, most sophisticated theatrical work we’ve seen in Brisbane in years” - XS Entertainment “Beautifully written and expertly crafted, a gem of a play that weaves the epic and the personal and creates the kinds of roles actors long to play.”- Kate Foy, Greenroom “Dunphy’s inspired direction is faultless” – XS Entertainment

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Kerith Atkinson in the 2013 production

Photo by Al V Caeiro AUDIENCE REVIEWS Jessica Loudon: Every now and then, you see a show and you realise that it was so momentous, so important to our theatre community that, in the future, people will ask if you saw it and you will be able to say "I was there". Patrick B: My partner and I saw the play last night and we were blown away. […] the commitment of everyone involved in the production was apparent in the staging and performance, which to me was flawless. […] A great piece of theatre that I hope goes on to receive the exposure and acclaim it truly deserves. Don't miss it! Kerry-Anne Farrer: The best theatre is where nothing is extraneous to telling the story and it’s the layers that keeps on resonating. Thank you Motherland for the reminder of why I love good theatre - Bravo! Karen Anderson: This show needs to be seen around the country, at major theatres. COLLEAGUE RECOMMENDATIONS Lewis Jones, Program Manager, Judith Wright Centre of Contemporary Arts: “Motherland is living proof that the best theatre is not about bells, whistles or big name stars. This is simply the best drama I have seen all year.” Brian Lucas: “An amazing piece of work, full to the brim with heart, brains and guts.” Christen O’Leary: “This is a cast who stand together and commit from the first breath to the last. This is a cast united...where everyone knows what ship they are on and where that ship is sailing. This is a cast working. Truthfully. In every moment. And never resting on the laurels of their considerably impressive careers.

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“And this ship sails smoothly because Caroline Dunphy is a master. […] Her subtle shift from the epic to the intimate is masterful. This is a director with a delicate and detailed touch. The playwright and cast are in very safe hands here...and they know it.” Baz Mcallister: “Peopled by compelling characters brought to life by a skilled cast, Motherland is a gripping, intricate tale that delicately teases its fascinating interwoven stories out of Brisbane’s hidden history.” VIDEO LINKS http://vimeo.com/92098500 IMAGES Photographs displayed here: http://ellenbelloo.com/2014/02/15/motherland-photos-and-press/ High resolution versions available from ellenbelloo@gmail.com MARKETING MATERIALS Flyers and posters will be prepared. Broadcast quality footage is also available along with a 3-minute trailer that can be edited down for a TVC. Behind the scenes interviews are also available. CONTENT WARNINGS / AUDIENCES TO AVOID Motherland contains some loud noises, strong language and adult themes. It is recommended for audiences over the age of 15.

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TEACHER’S RESOURCES Ellen Belloo is happy to facilitate and compile teacher’s resources for venues that require them. Motherland is not envisaged for classes younger than grade 10.

PRODUCTION DETAILS TECHNICAL SUMMARY

Playing space is a minimum 8m wide by 6m deep. For larger venues the stage will need to be contained by masking: flat black legs, borders and a flat black smother. A black floor is required.

The set consists primarily of two suspended trapezoidal frames (very light) with dimensions approx 1.5m X 2.0m X 2.5m. These can be suspended either from a flying system or dead hung from a grid.

In addition there are 4 small benches (moved by the actors) and minimal props.

The show will tour its own show control for lights and sound

The show incorporates the use of live flame.

The show running time is 90 minutes with no interval. EXAMPLE SCHEDULE

1 hour to unload and rig set

5 hours to rig and focus lights and set up sound

1 hour to check lighting and sound plot

2 hours to tech the show with actors, lights and sound Total bump in time is 8 hours excluding meal breaks CREW REQUIRED FROM VENUE

1 mech for 1 hour

2 electrics for 5 hours

1 sound for 1 hour

FOH staff as required by venue Motherland will tour a stage manager, a head LX and a tour manager/production manager. The intention is for the stage manager to operate sound and the touring head LX to operate lights. STAGE

Playing space is a minimum 8m wide by 6m deep. For larger venues the stage will need to be contained by masking: flat black legs, borders and a flat black smother. A black floor is required.

The set consists primarily of two suspended trapezoidal frames (very light) with dimensions approx 1.5m X 2.0m X 2.5m. These can be suspended either from a flying system or dead hung from a grid.

In addition there are 4 small benches (moved by the actors) and minimal props.

Ellen Belloo to supply Frames, wires and clamps for suspending them. 4 benches All props Venue to supply

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Masking (if required) LIGHTING Ellen Belloo to supply

1 X Lighting board

2 X Martin Mac 250+ moving lights (+ 1 X spare)

8 X 12V 50W MR16 birdies c/w fused transformers

24 X 6V 30W pin spots

Venue to supply

4 X wide angle zoom profiles c/w fine break up gobos

24 X Zoom profiles (beam angles and wattage will be determined by the size of the venue)

12 X Fresnels c/w barndoors (wattage will be determined by the size of the venue)

1 X 2KW Fresnel c/w barndoor

16 X LED PARs (or equivalent)

4 X 3m booms (preferably pre-rigged?)

All necessary 240V looms/cabling + DMX cabling

A minimum of 48 X 10A dimmers

All necessary colour (some show colour will be toured).

SOUND OPERATION • QLab on Macbook Pro • Motu Soundcard (5 outputs used) MIXER Required for operation: • 5 x line inputs • LR output • 3 x auxiliary outputs MAINS • Venue PA SFX SPOT SPEAKERS • 2 x 15” PA speakers (on ground side stage in wings) • 1 x 12” PA speaker (at back of auditorium) • 1 x 8” studio monitor or foldback speaker (on ground upstage center) (no stands required) Ellen Belloo to supply • QLab on Macbook Pro • Motu Soundcard (5 outputs used) • 2 x 15” PA speakers (on ground side stage in wings) • 1 x 12” PA speaker (at back of auditorium) • 1 x 8” studio monitor or foldback speaker (on ground upstage center) Venue to supply

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• Venue PA • Mixer with:

5 x line inputs LR output 3 x auxiliary outputs

WARDROBE All costumes are on stage throughout the show as the actors never leave the stage. Ellen Belloo to supply all costumes. Venue to supply two dressing rooms (one is manageable but two is preferable). FREIGHT NOTES Touring elements will arrive by truck. Access to a loading dock preferred. CRITICAL ISSUES A sheet of paper is set alight in the play. It’s put out in a bucket treated with fire retardant and filled with sand. Members of the cast and crew have been trained in fire safety.

CONTACTS Chris Bendall – Producer & CEO, Critical Stages E: chris@criticalstages.com.au, T: 02 0351 3320 Katherine Lyall-Watson – Co-Producer E: klyallwatson@gmail.com Tel: 0404-802-800

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Alexander Kerensky and Nelle (photo courtesy of the Tritton family)