BY BATHSHEBA DORANDIRECTOR ANTHONY SKUSE

10 FEB -12 MAR

THE MYSTERY OF LOVE & SEX

SUPPORTED BY IAN BARNETT

ETERNITY PLAYHOUSE

THE MYSTERY OF LOVE & SEXBY BATHSHEBA DORAN

I am very proud to lead Darlinghurst Theatre Company. We are a professional theatre company with a unique model of creating theatre. At the very heart of our company is a firm belief that theatre’s role is to promote a democracy of ideas. We develop theatre that explores our lives and forges a direct and powerful connection between artist and audiences. Most unique is that our company professionally produces and fully funds production concepts proposed and put forward to our company by artists. We offer artists the freedom to stage and tell the stories they want to tell and we ensure that diverse voices are heard on our stage. A heartfelt thankyou to artists Nicholas Papademetriou and Deborah Galanos who pitched The Mystery of Love & Sex to our company. It’s a wonderful little story about big things.

GLENN TERRY | Executive Producer, Darlinghurst Theatre Company

A DARLINGHURST THEATRE COMPANY PRODUCTION

CAST Deborah GalanosThuso LekwapeNicholas PapademetriouContessa Treffone

CREATIVE TEAM Director: Anthony Skuse

Production Designer: Emma Vine

Lighting Designer: Verity Hampson

Sound Designer: Alistair Wallace

Stage Manager: Rebecca Poulter

Voice Coach: Linda Nicholls-Gidley Set Construction: Brett Wilbe & Emily Polson

PRODUCTION TEAM Executive Producer: Glenn Terry Producer: Amy Harris Event & Front of House Manager: Rebecca Michel-Gerke Communications Manager: Tania-Lee Turbin Technical Manager: Cat Studley Administrator: Ashlee Monaghan Production Assistant: Leila Enright Photographer: Helen White Videographer: Yure Covich FOH Supervisor: Derbail Kinsella FOH Staff: Ash Adamthwaite, Elle Crumpton, Sarah Jane Kelly Sean Sinclair, Sinead Curry, Julianne Sisinni, Alex Ward & Michael Yore.Catering by Two Trout: Lockie Clifford & Theo Hlorotiris

Darlinghurst Theatre Company acknowledges the Australian Aboriginal and Torres Strait Islander peoples as the first inhabitants of the nation and the traditional custodians of the lands where we live, learn and work.

ACT ONE Winter to Summer. ACT TWO Late Spring, 5-years later.

RUNNING TIME 2-hours with interval. CONTAINS Nudity, adult themes, some coarse language and the use of herbal cigarettes.

OUR TREE was found after it had fallen on Wal and Marion’s farm in Wyong Creek on Ku-ring gai Land.

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ETERNITY PLAYHOUSE 39 BURTON STREET, DARLINGHURST

DARLINGHURSTTHEATRE.COM.AU PHONE 02 9331 3107

DIRECTOR’S NOTE “We love in two different ways. I can bear it. Most of the time. I can bear it. Most of the time. It’s fine” (Bathsheba Doran’s Parents’ Evening, 2003)

“If pressed to say why I loved him, I feel it can not be expressed except by saying: because it was him; because it was me” (Montaigne writing about his friendship with Etienne de La Boetie in Essais, 1595)

“Marriage is a great plain of emotion that takes place in private, little rooms” (Bathsheba Doran, 2016)

Marriage is the uniting thread that runs through the three plays by Bathsheba Doran that are referred to collectively as The Marriage Plays: Parents’ Evening (2003), Kin (2011) and The Mystery of Love & Sex (2015). The plays’ investigation of love and friendship provide the framework for a complex web of related ideas that are not necessarily resolved but are always present; race, gender, sexuality, family, generational conflict, guilt and grief. They run under the surface of the common place activities that make up the physical action of the play. Doran’s interest in the everyday reminds me of the early work of contemporary Australian artist Helen Eager. Eager’s domestic interiors focus on details such as the edge of a piece of furniture against an open window or doorway. Like Doran’s plays, it is a glimpse of a wider drama.

The Mystery of Love & Sex takes place in domestic spaces on the outskirts of a major city in the American south; a university dorm room, a suburban living room and a backyard shaded by a large tree that the children used to climb. It overshadows the house like the elms in O’Neil’s Desire Under the Elms; protective and watchful. The tree is an archetypal symbol of physical and spiritual nourishment, transformation, marriage and renewal. Chinese artist Cai Gui-Qiang’s work Eucalyptus 2013, in part, positions the tree as the embodiment of our legacy on a personal and global level. In the context of the American South, the tree is also a symbol of that country’s troubled race-relations. Jonny’s mother has told him that ‘they lynched a man on that tree one time’. The tree casts its shadow over the entire play.

None the less, there is a tremendous amount of compassion and joy in The Mystery of Love & Sex and Dorans examination of family – the one we are born into and the ones we create. The end of play has a bitter-sweet quality that reminds me of Shakespeares festive comedies. The plays final scene takes place in a garden in the early summer where we sense briers shall have leaves as well as thorns / and be as sweet as sharp. (All’s Well that Ends Well). I am thrilled to be working on the play in the context of the Sydney Gay and Lesbian Mardi Gras especially when the national conversation about marriage equality has be stalled by a lack of political will. To be doing a play about love, sexuality, gay marriage and families by a female playwright that champions a womans story is indeed something to celebrate. Anthony Skuse 20

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Anthony’s directing credits include: Charlotte Jones’ Airswimming (The Vaults, London); Nick Enright’s A Man with Five Children (Darlinghurst Theatre Company); Katy Warner’s Dropped (The Goods & Red Line Productions); Christopher Harley’s Blood Bank (Ensemble Theatre); Jane Bodie’s Ride & Fourplay (Darlinghurst Theatre Company); José Rivera’s The House of Ramon Iglesia (MopHead Productions); Suzie Miller’s Caress/Ache (Griffin Theatre Company); Jessica Bellamy’s Shabbat Dinner (Rock Surfers); Chekhov’s Platonov (ATYP Selects); Nick Payne’s Constellations (Darlinghurst Theatre Company) four Sydney Theatre Award nominations for 2014; Diana Son’s Stop Kiss (Unlikely Productions); Bite Me (ATYP); Simon Stephens’ On the Shore of the Wide World (Griffin Independent) two Sydney Theatre Award nominations; Amy Hertzog’s 4000 Miles (Under the Wharf, Sydney & La Boite, Brisbane); Simon Stephens’ Punk Rock (Under the Wharf) three Sydney Theatre Awards including Best Independent Production and Best Direction; Purcell’s Dioclesian (Pinchgut Opera); Tracy Letts’ Bug, José Rivera’s References to Salvador Dali Make Me Hot, Marius Von Mayenburg’s The Cold Child, Michael Gow’s Live Acts On Stage (Griffin Independent); Mark Ravenhill’s Pool (no water), The Presnyakov Brothers’ Terrorism (Darlinghurst Theatre Company). Anthony is Head of Performance at Actors Centre Australia. He was Associate Lecturer for Performance Practices at NIDA from 2009 to 2012. Training: Drama Studio Sydney. In 1997 and 2001 he worked with Javanese Movement Practitioner Suprapto Suryodarmo.

ANTHONY SKUSEDirector

BATHSHEBA DORANPlaywright

‘Bash’ is the author of various plays including The Mystery of Love & Sex which received its world premiere at Lincoln Center under the direction of Sam Gold, starring Diane Lane and Tony Shalhoub and the critically acclaimed play KIN which received its world premiere in spring 2011 at Playwrights Horizons, also directed by Sam Gold. She is the recipient of various playwriting awards and prizes including a Helen Merill Award, and she is a Susan Smith Blackburn Prize finalist. Bash also served as a writer/producer for the second season of Showtime’s hit series Masters of Sex and was a story editor on Smash for NBC. Bash wrote on season two of the acclaimed Martin Scorsese/HBO series Boardwak Empire (for which her episode received a WGA nomination). Bash is currently under commission from Atlantic Theater and Playwrights Horizons in New York City. Other current projects include a pilot for HBO, a mini series for FX about the life of Hedy Lamarr to star Diane Kruger, a new series for Channel 4 in the UK, and a feature film for Levantine Films. Her work is available from Samuel French, Dramatist Play Service and Playscripts Inc. A collection entitled The Marriage Plays was published by Oberon Books in 2016. BA/MA, Cambridge University. MA, Oxford University. MFA, Columbia University.

Since graduating from WAAPA, Nicholas has worked extensively in film and television, but the bulk of his work has been in the theatre. He has worked for all the major theatre companies in Australia including MTC, STC, Ensemble, Belvoir, State Theatre SA, Perth Theatre Company, La Boite and Doppio Teatro. He’s been in productions in London, New York, Athens and Edinburgh. Highlights include the national and international sell out tour of his one man show SNAG; the London, Sydney and Edinburgh seasons of Greek Tragedy (legendary director Mike Leigh); Rosencrantz and Guildenstern are Dead (STC); national tour 12 Angry Men and Anna in the Tropics (B Sharp). His latest work has been The Way Things Work (Bondi Pavillon); The House of Ramon Iglesia & Inner Voices (Old Fitz); Thomas Murray and the Upside Down River (Griffin Theatre); and most recently the role of George in Who’s Afraid of Virginia Woolf?.

NICHOLAS PAPADEMETRIOU Howard

Deborah, a NIDA graduate, has worked with STC, Ensemble, Belvoir St, Sport for Jove, and various independent and commercial theatre companies, including touring productions. Deborah has worked for networks and production companies both locally and internationally, in television, and in short and feature film. Her television credits include; Camp (NBC), Redfern Now, Rake, My Place, Children’s Hospital, Police Rescue, All Saints, A Country Practice, Home & Away, G.P., Neighbours and Murder Call. Film credits include; Cavity, Inside Out, The Premonition, Razzle Dazzle, Balls, No Worries, Boys From the Bush. Her theatre credits include; Who’s Afraid Of Virginia Woolf?, Antigone, Unfinished Works, Dropped, The House Of Ramon Iglesia, Misterman, The God Committee, Greek Tragedy, Mums the Word, Hotel Hibiscus, The Shearston Shift, The Heartbreak Kid, Suddenly Last Summer, Elegies, The Vagina Monologues, Boswell for the Defence, 40-Lounge Café. Deborahs received consecutive Sydney Theatre Awards nominations: in 2015 for Doloresin The House Of Ramon Iglesia at the Old Fitz, and in 2016 for her work in Sport For Joves Antigone. Recently, Deborah played Martha to critical acclaim in theatrongroups Sydney season of Edward Albees Who’s Afraid Of Virginia Woolf?.

DEBORAH GALANOS Lucinda

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South African-born Thuso graduated from NIDA at the end of 2014, snaring his first acting role immediately after graduation with the Kriv Stenders directed television drama The Principal. He then appeared in his first feature 2:22, an American-Australian thriller produced by Icon Productions. He will soon be seen in Aquarius Films’ feature Berlin Syndrome and the television series Random and Whacky for Ambience Entertainment. Thuso hosted the children’s television program Imagination Train and has narrated several programs for ABC Radio. The premiere of Prize Fighter at Brisbane Festival in 2015 marked his debut theatre performance, with Thuso garnering a Helpmann Award nomination for Best Actor in a Supporting Role. This year Thuso reprised the role for the Sydney Festival.

Originally from Perth, Contessa graduated from the National Institute of Dramatic Art in 2012. Since graduating her theatre credits include: Lord of the Flies (Kip Williams, US-A-UM/Malthouse Theatre); Children of the Sun (Kip Williams, STC); This House is Mine (Paige Rattray, Milkcrate/Darlinghurst Theatre Company); Minusonesister (Luke Rogers, Stories Like These/Griffin Theatre Independent); Unfinished Works (Clemence Williams, Bontom Productions); All My Sons (Kip Williams, STC); Fracture (Lucy Clements, Old Fitz Late Program); and most recently Tiny Remarkable Bramble (Cathy Hunt, Kings Cross Theatre/Invisible Circus).

THUSO LEKWAPE Jonny

CONTESSA TREFFONE Charlotte

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EMMA VINE Production Designer

Emma is a set and costume designer for theatre and film whose credits include: costume design for Turquoise Elephant (Griffin Theatre Company) directed by Gale Edwards; set design for Heathers: The Musical (Queensland Performing Arts Centre, Arts Centre Melbourne and Sydney Opera House); set and costume design for Garry Stewart’s Choreography (Carriageworks), The Waiting Room and Water Angel at (Sydney Opera House), All Good Things: The Voices Project (ATYP), Credeaux Canvas (Seymour Centre); co-design of Klutz; costume design for Stephen Sewell’s Kandahar Gate (NIDA) and Three Sisters (Sport for Jove).

Verity is a NIDA graduate with over 10 years’ experience as a lighting and projection designer. She has designed over 120 productions, working with some of Australia’s most talented directors and choreographers. Her recent productions include: The Pride, Death Trap and Every Second (Darlinghurst Theatre Company), Faith Healer, The Drovers Wife, The Blind Giant is Dancing and Ivanov (Belvoir St Theatre). Hamlet: Prince of Skidmark, Machinal, and Little Mercy (Sydney Theatre Company). The Bleeding Tree, The Boys, The Floating World and Angela’s Kitchen (Griffin Theatre Company). Literati and Midsummer’s Night Dream (Bell Shakespeare). For television Verity has been a lighting director for the ABC’s Live at the Basement and The Roast. She was awarded the Mike Walsh Fellowship in 2012 which took her to Broadway to work with projection designers 59 Productions. Verity was the winner of the 2013 Sydney Theatre Award for ‘Best Main Stage Lighting Design’ for her work on Machinal at Sydney Theatre Company.

VERITY HAMPSON Lighting Designer

REBECCA POULTER Stage Manager

Rebecca is a graduate of NIDA (Production). As Stage Manager: Relatively Speaking, The Good Doctor, Mothers and Sons, Educating Rita, Dream Home, Blue/Orange, Richard III, Clybourne Park, Camp (Ensemble Theatre); The Crucible, A Midsummer Night’s Dream, Much Ado About Nothing (Sport for Jove); Songs for the Fallen (Arts Centre Melbourne & NSW Regional Tour - Critical Stages); The Very Hungry Caterpillar Show (SOH Playhouse, Brisbane and Adelaide - Michael Sieders Presents); My First Time (Kay & McLean Productions/SOH); Actor on a Box (Sydney Theatre Company); Orestes 2.0 (Griffin Theatre Company). As Assistant Stage Manager; Dance Better at Parties, Australia Day, Blood Wedding, ZEBRA!, True West and The Comedy of Errors (Sydney Theatre Company); Interplay - International Tour, Countermove (Sydney Dance Company); Strange Interlude and Thyestes (Belvoir); Blood Wedding (Malthouse Theatre). As Production Stage Manager: The Ugly One and Shining City (Griffin Theatre Company). As Technical Stage Manager: Melbourne International Comedy Festival. As Lighting & Sound Operator: Arj Barker (TRS).

Our speech, the language choices that we make and our accent provide clues to our education our economic and social status and our cultural background. It’s not unusual for us to change the way we speak depending on who we’re talking to and how we want to be perceived. Most often we change because we want to fit in, but sometimes we change because we want to demonstrate our difference. These linguistic clubs happen on a predominantly subconscious level, we know who belongs and who doesn’t. The minute you open your mouth we have a problem... explains Lucinda to her husband in The Mystery of Love & Sex. How we sound can conceal or reveal our nature, this play asks us what we hide behind that sound.

Linda Nicholls-Gidley

LINDA NICHOLLS-GIDLEY Voice Coach

Linda is a voice, accents and dialect coach based in Sydney Australia. Her film and television credits include Mary: The Making of a Princess, Crouching Tiger Hidden Dragon 2, The Death of George Montgomery and The Book Club Part 1. Theatre credits include, DreamWorks’: How to Train Your Dragon Arena Spectacular and the Australian National tours of We Will Rock You, Legends, The Rocky Horror Show, Dirty Dancing, Annie the Musical and Opera Australia’s The Merry Widow. She regularly coaches accents and dialects in the Sydney independent theatre scene, including productions of Journey’s End, The House of Ramon Iglesia, Deathtrap, Constellations, The God of Hell, Stop Kiss, On the Shore of the Wide World, 4000 Miles, The Knowledge and Punk Rock. Linda is interested in the voice as a kinaesthetic experience, working from the body to create an embodied sound for the actor. She is a full-time member of staff at the National Institute of Dramatic Art (NIDA).

ALISTAIR WALLACE Sound Designer

Alistair is an actor, producer, comedian and sound designer. He graduated from Actors Centre Australia in 2010 and is an artistic associate of pantsguys Productions. Alistair’s sound design credits include: Odd Man Out, Barefoot in the Park, A History of Falling Things, Jack of Hearts and Blood Bank (Ensemble); Ride & Fourplay (Darlinghurst Theatre Company); Journeys End and The Block Universe (Cross Pollinate); A Town Named Warboy (ATYP); The Bitter Tears of Petra Von Kant, The House of Ramon Iglesia and Platonov (Mophead); Punk Rock (pantsguys/ ATYP) - winner, Best Independent Production, Sydney Theatre Awards 2012; Jerusalem - nominated Best Independent Sound Design, Sydney Theatre Awards 2013, The Real Thing and Harvest (New Theatre).

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THANK YOU

Darlinghurst Theatre Companyand The Mystery of Love & Sexteam would like to thank the following for their support in staging this production:

David Campbell, Wal & Marion Evans, Helena Harris, Richard Whitehouse, Brett Wilbe, Scott Witt, Belvoir, Carriageworks, Griffin and Sydney Gay and Lesbian Mardi Gras.

BOARD

Jim Behringer

Ian Enright

Kevin Farmer

Iain Knight

Vicki Middleton

Pat Skalsky

Dominic Tayco

A DARLINGHURST THEATRE COMPANY

20 17SEASON

ETERNITY PLAYHOUSE 39 BURTON STREET, DARLINGHURST

DARLINGHURSTTHEATRE.COM.AU PHONE 02 9331 3107

PRODUCTION PATRONS

Dawn Talbot & Richand Balanson

Ian Barnett

Karen & Neil Midalia

Stafford Morgan Family

Charmaine & Stanley Roth

Screenwise

Dominic Tayco

GOVERNMENT PARTNERS PREFFERED WINE SUPPORTER

Darlinghurst Theatre Company is supported through the City of Sydney’s Accommodation Grant Program

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