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CALPURNIA
DESCENDING
13 – 30 November
Malthouse Theatre and Sydney Theatre Company present
CALPURNIA
DESCENDING
By / Sisters Grimm
Created by / Ash Flanders & Declan Greene
Direction / Declan Greene
Set & Costume Design / David Fleischer
Lighting Design / Katie Sfetkidis
AV Design / Matthew Gingold
Animation / Matt Greenwood
Composition & Sound Design / Jed Palmer
Stage Manager / Lisa Osborn
Assistant Stage Manager / Amy Burkett
Cast / Paul Capsis, Ash Flanders, Sandy Gore, Peter Paltos
Merlyn Theatre
13 – 30 November 2014
A co-production with
Sydney Theatre Company.
Calpurnia Descending features the video art piece
Aborted Triplets for BATALJ by Alexandra Macdonnell.
Andrew Curtis
A note from Malthouse Theatre’s Artistic Director
Theatre
to relish
Welcome to our last show for the
year! What better way to celebrate
2014 than to have the delightful and
wondrously talented Paul Capsis return
to our stages. Paul has a long-standing
relationship with Malthouse Theatre
and has bowled over audiences with
his virtuosic abilities – most recently
in the very successful Angela’s Kitchen.
On stage with him tonight, one of the
great actors of our stage, Sandy Gore.
Sandy has had an enormous influence
on our theatre culture and is not only a
fantastic talent but has been a role model
and mentor to many in the industry.
Sisters Grimm are therefore keeping fine
company these days, complementing
this team with their own precocious and
prodigious imaginations. Their fearlessness
and unique satirical perspective on just
about everything tends to engender a
spectrum of responses: it’s refreshing,
confronting, joyous, rude, forgiving,
acerbic, funny, exacting – and seems
to live effortlessly somewhere between
sanity and insanity. More than anything,
the Sisters never forget their audience
and remain true to their strong instinct
to entertain and to relish theatre.
Gender subversion, an overtly camp
aesthetic and a celebration of queer
culture are all qualities that define them.
Their close observation of film and
different artistic genres often provides
a parodic frame and in this case, they
take on more than the genre itself –
exploring the very form through the
making of Beverly Dumont’s final show.
Marion Potts /
Artistic Director
Brett Boardman
A note from the Creators
Old age is no
place for sissies
‘At the core of gay hero
worship is its own negation;
at the heart of glamour the grotesque. Beneath
the diva’s loveliness were
the seeds of the ridicule
that was to come.’
— Daniel Harris, The Death of Camp
‘Fasten your seatbelts.
It’s going to be a
bumpy night.’
— Margot Channing
I’ve clearly been working on this play for
too long. Because this morning, much like
Calpurnia, I woke up from a horrifying
vision. In it, a Big Brother contestant was
being interviewed by the Today show
about the important work they were
doing overseas. They were in a bleak,
hostile country – somewhere unsanitary
and dangerous (a place I would like to
put all Big Brother contestants). At some
point during the interview, two feral
cats begin fighting in the background. I
heard the Today hosts laugh hysterically
as the camera slowly zoomed in on the
hissing, biting, scratching animals. Then,
on live TV, the smaller cat devoured the
larger one. The segment ended with a
shot of the cat’s red, foaming, bloody
mouth. I woke up with a heavy feeling of
dread, as well an idea for a fresh, hot TV
show I know Channel Nine would love.
Though it’s been around for decades,
the ‘diva feud’/‘backstage melodrama’
story arc of films like All About Eve (1950),
Opening Night (1977), Morning Glory
(1993), Showgirls (1997) and Black Swan
(2010) has never lost its fascination for
audiences. In its most basic reading, this
narrative reminds us that beyond every
glamorous surface lies a seamy world
of ambition, cruelty and betrayal. But
these films are also vessels for some of
Pia Johnson
the great, towering diva performances
of all time. Swanson, Davis, Hepburn,
Rowlands – creating loosely fictionalised
versions of their own struggle for agency
and relevance. Writers like Vito Russo,
Daniel Harris and Pamela Robertson have
focused on these diva personas as sites
of identification for queer audiences.
Historically, they’ve been vessels for our
fantasies of social power and equality – our
own desperate desire to live in defiance
of gender and sexual norms. But as the
diva ages, as she loses her desirability as a
figure of identification, her gay audience is
as quick to ‘turn’ as any cartoon Broadway
producer. The logic of camp marks the
aged diva as an object of fond ridicule
– placing her in a space somewhere
between revulsion and idolatry. This was
the macabre fate of Judy Garland, Marlene
Dietrich, Mae West – whose increasing
fallibility we (gay audiences) resented
as our own. As Bette Davis famously
said: ‘Old age is no place for sissies.’
For the general public, though, these films
also speak to the innate fear we all have
of being surpassed. Of becoming a relic
in a world that no longer needs us. And
in 2014 the space between the new and
the old has never been smaller. We are
bombarded by a 24-hour news cycle. Our
friends exist on a constantly refreshing
Pia Johnson
feed. We have garbage dumps full of
outdated phones, clothing and celebrities.
To stand still in this world is to become
irrelevant. The contemporary diva – Lady
Gaga, Katy Perry, Nicki Minaj – faces this
threat every hour of every day. She is
forced to constantly update and augment
herself as a product – while articulating a
core non-belief that signals ‘authenticity’
while never threatening mass-appeal. ‘Be
yourself!’ ‘Heal the world!’ ‘You were born
this way!’... Dancing silently in the spotlight,
until a smaller, younger cat snaps her up.
Creating this show with these actors
and creatives has been a wild, ridiculous,
intense party, and we’re very grateful to
Malthouse Theatre and Sydney Theatre
Company for giving us the keys to their
house (sorry about the vomit on the
couch). We’d also like to unreservedly
thank our exceptional stage management
team – Lisa Osborn and Amy Burkett –
as well as the four brilliant performers
who contributed ideas, insight and
dramaturgical advice to this project
over the course of its development:
Jane Montgomery Griffiths, Belinda
McClory, Nick Pelomis and Mark Wilson.
Ash Flanders (with Declan Greene) /
Sisters Grimm
Pia Johnson
Biographies
Amy Burkett / Assistant Stage Manager
Amy’s assistant stage manager credits include The Effect (Sydney Theatre
Company/Queensland Theatre Company); Mrs Warren’s Profession
(Sydney Theatre Company); Australia Day and Youth Showcase 2013
(Queensland Theatre Company); The Wizard of Oz (La Boite Theatre
Company); Martin Place Christmas Concerts (City of Sydney); and Giselle
(Paris Opera Ballet). As stage manager: The Wizard of Oz (La Boite
Theatre Company, Lismore Tour); and The Lighthouse (Sydney Chamber
Opera). As production manager; The Cooktown Re-Enactment 2013;
The Old Tote Celebration (NIDA); and Rooted (Don’t Look Away). Amy is
also the associate producer of independent theatre company Don’t Look
Away. She is a graduate of NIDA.
Paul Capsis / Performer
For Malthouse Theatre: Angela’s Kitchen (with Griffin Theatre
Company), The Threepenny Opera (with Sydney Theatre Company/
Victorian Opera), Die Winterreise and Boulevard Delirium. Other theatre
includes: Pinocchio (Sydney Theatre Company/Windmill Theatre/
State Theatre Company of South Australia); The Lost Echo, Tales from
the Vienna Woods, Volpone, Thyestes, Playgrounds and Sydney Stories
(Sydney Theatre Company); All About My Mother and The Resistible
Rise Of Arturo Ui (Melbourne Theatre Company); The Caucasian Chalk
Circle and Frogs (Belvoir); Little Bird and The Emerald Room (State
Theatre Company of South Australia); Three Furies (Performing Lines);
Sisi Sings the Blues (Vienna Festival); and The Rocky Horror Picture Show
(Dainty Group). Recordings include: Make Me a King, Paul Capsis Live,
Everybody Wants to Touch Me and Boulevard Delirium. His film credits
include: The Boy Castaways, Head On and Carlotta. Paul has won the
following Helpmann Awards: 2012 Best Male Actor in a Play and Best
New Australian Work (Angela’s Kitchen), 2007 Best Male Actor in a
Supporting Role in a Play (The Lost Echo), 2006 Best Performance in
an Australian Contemporary Concert (Boulevard Delirium), Best Live
Music Presentation 2002 (Capsis Vs Capsis). He won the 2003 and
2006 Green Room Awards for Best Cabaret Artist. Other awards
include: 2010 Sidney Myer Performing Arts Individual Award; 1998 Film
Critics Circle Award Best Supporting Actor (Head On).
Ash Flanders / Writer/Performer
Ash is one half of theatre-making duo, Sisters Grimm. At Malthouse
Theatre, Ash has performed in: Tame and I Love You, Bro (with The Famous
Spiegeltent). Other theatre credits as writer/performer include: Little
Mercy (Sydney Theatre Company); The Sovereign Wife (Melbourne Theatre
Company NEON); Fat Camp, Bumtown, Cellblock Booty and Mommie &
The Minister (Adelaide and Edinburgh Fringe Festivals); Negative Energy
Inc. (Midsumma Festival); and Special Victim (Feast Festival). Theatre
credits as performer include: Hedda Gabler (Belvoir); Psycho Beach Party
(Little Ones Theatre); The Golden Dragon (Melbourne Theatre Company);
A Black Joy (fortyfivedownstairs). His short film The Divine Decadence
of Cheesecake recently toured the USA after screening at Frameline
Film Festival. In 2014, Ash won the Green Room Award for Best Male
Performer (The Sovereign Wife).
David Fleischer / Set & Costume Design
David’s work as set and/or costume designer includes: Children of the
Sun, Mojo, Travelling North, Machinal, Romeo and Juliet, Fury, Little Mercy,
Mariage Blanc and Actor on a Box: The Tale Maker (Sydney Theatre
Company); Hedda Gabler and Woyzeck (Belvoir); Between Two Waves,
The Sea Project and The Brothers Size (Griffin Theatre Company); Pictures
of a One-Night Stand (Sydney Dance Company); Griselda (Pinchgut
Opera); 10,000 Beers, No Way to Treat a Lady and Kiss of the Spiderwoman
(Darlinghurst Theatre); Dirtyland (New Theatre); Intersections (Milkcrate
Theatre); Bill W. and Dr. Bob (Serenity Productions); Der Gelbe Stern (Three
Fish Productions/Seymour Centre); and The One Sure Thing (ATYP). As
associate/assistant designer: Under Milk Wood, The Oresteia, The White
Guard and Face to Face (Sydney Theatre Company); and Boundary Street
(Black Swan State Theatre Company). David is a NIDA graduate.
Matthew Gingold / AV Design
Matthew’s sound design work includes: The Experiment (MFI); Prompter
(Arts House/HydraPoesis); Multiverse (Australian Dance Theatre); Tomb
(BalletLab). As director/composer: ZeroZero (Dancehouse); Filament Orkestra
(Perth Institute of Contemporary Art); Conversations (Melbourne Museum);
and Perfect Artist (National Portrait Gallery of Australia). He has undertaken
residencies at: Werkleitz/Transmediale (EMAN/EMARE); Futurelab (Ars
Electronica); Interactivos ’12 (Medialab-Prado); InterLab (Yamaguchi Centre
for Media Art); Atelier Eden (Aphids); and Tactical Media (CIA). His positions
include: Research Fellow at the School of Interactive Arts, Simon Fraser
University; and senior developer at openFrameworks creative code project.
He is the former director of Seventh Gallery, and the co-founder of Outpost
AV performance collective. He was awarded the 2012 Prix Ars Electronica
Best Interactive Artwork with Van Sowerwine and Isabel Knowles. He is a
graduate of RMIT and Melbourne University.
Ten years is an awfully long time in
the life of an actress, Violet. Often, ten
years is the whole life of an actress.
I look in the mirror, and I scarcely
recognise the woman staring back
at me. She’s older. Scared.
—Beverly Dumont
Pia Johnson
Biographies
Sandy Gore / Performer
Sandy’s theatre credits include: Under Milk Wood, Uncle Vanya
(Kennedy Center, Washington DC; Lincoln Center Festival tours),
Scenes from a Separation, Morning Sacrifice, Chasing the Dragon,
Amy’s View, Medea, Les Parents Terribles, The Gift of the Gorgon,
Antony and Cleopatra, The Normal Heart, Sons of Cain, Extremities,
Pillars of Society and A Happy and Holy Occasion (Sydney Theatre
Company); Small and Tired (Belvoir); The Taming of the Shrew (Bell
Shakespeare); Much Ado About Nothing, The Removalists, Coralie
Landsdowne Says No, Makassar Reef, As You Like It, The Rivals, Electra,
The Alchemist, Uncle Vanya, Ring Round the Moon, Pericles, Pygmalion,
The Sea, Jugglers Three, Tom and The Doll Trilogy – Kidstakes, Other
Times, Summer of the Seventeenth Doll (Melbourne Theatre Company);
Retreat from Moscow, Daylight Saving, Wit and A Conversation
(Ensemble Theatre); Party Wall (Nimrod). As associate director she
worked on Love, Loss and What I Wore (Sydney Opera House). Her
film credits include: Now Add Honey, Australia, Evil Angels, Norman
Loves Rose, Lorenzo’s Oil, Undercover and Paws. Her television credits
include: Rake, Grass Roots, Brides of Christ, Farscape, Halfway Across
the Galaxy and Turn Left, Twenty Good Years, I Can’t Get Started,
Rafferty’s Rules and I Can Jump Puddles. She is a graduate of NIDA.
Declan Greene / Writer/Director
Declan is a theatre-maker based in Melbourne, and one half of
Sisters Grimm. As a writer, his credits include Pompeii, L.A. and Tame
(Malthouse Theatre); Eight Gigabytes of Hardcore Pornography (Griffin
Theatre Company/Perth Theatre Company) and Moth (Malthouse
Theatre/Arena Theatre/Studio Theatre, Washington DC/Bush Theatre,
London). As writer/director, his credits include Little Mercy (Sydney
Theatre Company); The Sovereign Wife (Melbourne Theatre Company
NEON); Summertime in the Garden of Eden (Griffin Theatre Company/
Theatre Works/Sisters Grimm), Cellblock Booty, Bumtown, Mommie &
the Minister and Fat Camp (Adelaide and Edinburgh Fringe Festivals).
His awards include: Max Afford Playwright’s Award, Green Room
Award for Best Original Writing, AWGIE (Theatre for Young Audiences),
Malcolm Robertson Prize, R.E. Ross Playwright’s Development Award
and the ANPC Bursary.
Matt Greenwood / Animation
Matt Greenwood is a Melbourne-based artist. His work incorporates
video, animation and music to create collages of post-internet
abstraction. Although his work’s primary home is the internet, it has
been featured in various animation festivals on an international scale,
including 2009 and 2010 Melbourne International Animation Festival,
2010 Ottawa Animation Festival, 2012 Fest Anca (Slovakia), 2012
Fantoche Festival (Germany) and 2013 Flatpack Festival (England).
Lisa Osborn / Stage Manager
Lisa’s stage management credits for Malthouse Theatre include
The Good Person of Szechuan, Night on Bald Mountain, White Rabbit,
Red Rabbit, Persona (with Fraught Outfit), Pompeii, L.A., On the
Misconception of Oedipus, Blood Wedding, Opera XS: Another Lament
(with Rawcus/Chamber Made Opera), The Wild Duck (with Belvoir), The
Story of Mary MacLane by Herself, Baal (with Sydney Theatre Company)
and Sappho…in 9 Fragments. Other credits include: When The Rain
Stops Falling (Brink Productions); Me and My Shadow (Patch Theatre
Company); Man Covets Bird (Slingsby Theatre Company); G, Devolution
and Ignition (Australian Dance Theatre); Three Sisters, Metro Street,
Attempts on Her Life, The Female of the Species, Triple Threat, Noises
Off and The Government Inspector (State Theatre Company of South
Australia); Cake (Ladykillers); and Grug, Boom Bah!, Afternoon of the
Elves, Two Weeks with the Queen and Wilfrid Gordon McDonald Partridge
(Windmill Theatre). Her production/stage management credits include
The Story of Mary MacLane by Herself (Ride On Theatre/Performing
Lines); and The Trilogy Presentation (Amplification, Miracle and Above)
for BalletLab at MONA FOMA. Lisa has also worked in a range of roles
on events including WOMADelaide, the Helpmann Awards and the
Melbourne Commonwealth Games 2006 Cultural Festival.
Jed Palmer / Composition & Sound Design
Jed’s theatre credits include: Tame (Malthouse Theatre); The Sovereign
Wife (Sisters Grimm/Melbourne Theatre Company NEON); Take Up
Thy Bed (Vitalstatistix Theatre) and Howling Like a Wolf (Restless Dance
Theatre). For film he has worked as composer/sound designer on The
Infinite Man, Ukraine is Not a Brothel, The Boy Castaways and Wasted
on the Young; and as sound editor on Galore, Noise and Boytown. For
television he has worked as sound editor on Danger 5, Cloudstreet and
Underbelly. He has worked as producer for the recordings Vincent
Giarrusso, Everything is Singing… Everything; The Sea Thieves, They Will
Run; and The Sirens of Venice, self-titled.
Brett Boardman
Biographies
Peter Paltos / Performer
Peter’s theatre credits includes: Salomé (Malthouse Theatre Helium/
Little Ones Theatre); Summertime in the Garden of Eden (Sisters
Grimm/Griffin Theatre Company); The Sovereign Wife (Sisters Grimm/
Melbourne Theatre Company NEON); Psycho Beach Party (Little Ones
Theatre); Savage in Limbo (The Honeytrap); and The Economist (MKA).
He is a graduate of 16th Street Actors Studio.
Katie Sfetkidis / Lighting Designer
Katie’s theatre credits include: Tame (Malthouse Theatre); Salomé
(Malthouse Theatre Helium/Little Ones Theatre); Summertime in the
Garden of Eden (Sisters Grimm/Griffin Theatre Company); The Sovereign
Wife (Sisters Grimm/Melbourne Theatre Company NEON); Little Mercy
(Sisters Grimm); Psycho Beach Party (Little Ones Theatre); Dangerous
Liaisons (Little Ones Theatre/Melbourne Theatre Company NEON);
Exil (Sydney Chamber Opera); Happy Ending (Melbourne Theatre
Company); Elektra (Fraught Outfit/The Dog Theatre); and Thérèse
Raquin, The Bitter Tears of Petra von Kant and Acts of Deceit (Dirty
Pretty Theatre). Katie is a graduate of Victorian College of the Arts and
the Rory Dempster Lighting Internship.
Pier 4, Hickson Road, Walsh Bay PO Box 777, Millers Point NSW 2000
Telephone Wharf Box Office (02) 9250 1777 Administration (02) 9250 1700 Fax (02) 9251 3687
Email [email protected] Website sydneytheatre.com.au
Board of Directors
David Gonski ac (Chairman)
The Hon Bruce Baird am
Jonathan Biggins
Toni Cody
John Connolly
Ann Johnson
Mark Lazberger
Patrick McIntyre
Justin Miller
Ian Narev
Gretel Packer
Daniel Petre ao
Andrew Stuart
Andrew Upton
Peter Young am
Artistic Director
Andrew Upton
Executive Director
Patrick McIntyre
Director, Programming
and Artistic Operations
Rachael Azzopardi
Director, Marketing and
Customer Services
Nicole McPeake
Director Private Support
Danielle Heidbrink
Director, Community & Corporate
Partnerships
Paul O’Byrne
Head of Production
Simon Khamara
In 1980, Sydney Theatre Company’s first Artistic Director, Richard
Wherrett, defined STC’s mission as to provide “first class theatrical
entertainment for the people of Sydney – theatre that is grand, vulgar,
intelligent, challenging and fun.” Almost 35 years later, under the
leadership of Artistic Director Andrew Upton, that ethos still rings
true.
STC offers a diverse program of distinctive theatre of vision and scale
at its harbourside home venue, The Wharf; Sydney Theatre at Walsh
Bay; and Sydney Opera House, as its resident theatre company.
STC has a proud heritage as a creative hub and incubator for
Australian theatre and theatre makers, developing and producing
eclectic Australian works, interpretations of classic repertoire and
great international writing. STC strives to create theatre experiences
that reflect Sydney’s distinctive personality and engage audiences.
Strongly committed to engagement in the community, STC offers
an innovative School Drama™ program; partners with groups in
metropolitan Sydney, regional centres and rural areas; and reaches
beyond NSW touring productions throughout Australia.
The theatre careers of many of Australia’s internationally renowned
artists have been launched and fostered at STC, including Mel Gibson,
Judy Davis, Hugo Weaving, Geoffrey Rush, Toni Collette, Rose Byrne,
Benedict Andrews and Cate Blanchett.
STC often collaborates with international artists and companies
and, in recent years, the company’s international profile has grown
significantly with productions touring extensively to great acclaim.
Renowned artists Tamás Ascher, Philip Seymour Hoffman, Liv
Ullmann, Steven Soderbergh, Michael Blakemore, Max Stafford-Clark,
Howard Davies, Declan Donnellan and Isabelle Huppert have all
worked with STC in recent years. STC has presented productions by
the Abbey Theatre, Traverse Great Britain and Steppenwolf Theatre
Company.
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Sam Oster
Pia Johnson
Pia Johnson
Our Supporters
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Thank you, Malthouse Muses, for supporting our artistic vision and helping
us to create a unique and dynamic environment for artists and audiences.
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& Rhonda Black, John & Alexandra Busselmaier,
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Rosie Purcell, Charles Gillies & Penelope
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Our Staff
Board of Directors
Michele Levine (Chair),
John Daley (Deputy
Chair), Ian McRae AO,
Sarah Morgan,
Nick Schlieper,
Thea Snow,
Sigrid Thornton,
Kerri Turner,
Leonard Vary
Artistic Director
Marion Potts
Executive Producer
Sarah Neal
Associate Artist
(Direction)
Matthew Lutton
Associate Artist
(Writing)
Lally Katz
Associate Artist
(Composition)
David Chisholm
Dramaturg
Mark Pritchard
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in Residence
Clare Watson
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Engagement
Jason Tamiru
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Josh Wright
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Alice Muhling
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Nicole Benson
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Mario Agostinoni
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Nathanael Bristow
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Liz White
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Delia Spicer
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Manager
Lisa Scicluna
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Rebecca Dunn
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& Marketing
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Coordinator
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Baird McKenna
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David Craig
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Patrick Jones
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Managers
Sean Ladhams,
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Cherry Rivers
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Abbey Barnes,
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Michelle Hines,
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Head of Lighting
Stephen Hawker
Front of House/
Bar Staff
Matt Adair,
Thomas Banks,
Jacqui Brown,
Emma Corbett,
Ray Chong Nee,
Nadine Dimitrievitch,
Alice Dixon,
Graham Downey,
Tanja George,
Kate Gregory,
Mark Hoffman,
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Anna Nalpantidis,
Ruby Nolan,
Syrie Payne,
Claire Richardson,
Sanne Rodenstein,
Phoebe Taylor,
Jade Thomson,
Lee Threadgold,
Noel Turner,
Matilda Woodroofe
Malthouse Theatre
would like to
acknowledge the
people of the Kulin
nation on whose
land this work is
being presented.
Malthouse Theatre
would also like to
acknowledge the
ongoing support
of its volunteers.
A SHARED
CREATIVE
VISION
Victoria University is proud to be Malthouse Theatre’s official Education Partner.
We share a vision and commitment to excellence, opportunity, community
and individual empowerment.
Together we help future teachers make the arts accessible and engaging for students, provide
theatre work placements for our students, and offer individuals from diverse backgrounds
opportunities to experience live theatre.
Our collaboration in research and contemporary creative arts practice means
that Victoria University graduates are empowered to reach their goals by
acquiring exceptional skills, knowledge and experiences.
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