1 6 J U N – 9 J U L

REVOLT. SHE SAID. REVOLT AGAIN.

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S E A S O N 2 0 1 7

1 6 J U N – 9 J U L MERLYN THEATRE

BY / Alice Birch

DIRECTION / Janice Muller

CAST / Elizabeth Esguerra

Ming-Zhu Hii Belinda McClory

Gareth Reeves Sophie Ross

SET & COSTUME DESIGN / Marg Horwell

LIGHTING DESIGN / Emma Valente

SOUND, COMPOSITION & AV DESIGN James Brown

STAGE MANAGER / Tia Clark

ASSISTANT STAGE MANAGER /

Hannah Bullen

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Revolt, as I understand it—psychic revolt, analytic revolt, artistic revolt—refers to a permanent state of questioning, of transformations, an endless probing of appearances. — JULIA KRISTEVA

Language uses us as much as we use language. — ROBIN LAKOFF Language and Woman’s Place

The ‘quiet carriage’ of a country train was probably not the most suitable place for a first encounter with Alice Birch’s play Revolt. She said. Revolt again. With its stylistic innovation, taut brilliant language and bold scope—the words leapt off the page. The urge to whoop, howl with laughter or burst into tears was hard to contain.

It’s rare to feel so excited by a script. Here is a writer who loves language. Who not only thinks deeply about words and their meaning, but understands the rhythm and music of language. Birch’s vision is in turns angry, horrifying, playful, hilarious, subtle and explosive. I immediately admired the courage of a relatively young writer for simply squaring off with such an enormous subject—that is what it might mean to be a woman in the 21st century.

This play came out of a commission from the Royal Shakespeare Company in 2013. The provocation was a famous statement made in 1976 by American historian Laurel Thatcher Ulrich: ‘well-behaved women rarely make history’. Infuriated and spurred by this sentence, Birch churned out Revolt. She said. Revolt again. in just three days. One of her suggestions for staging is that the play itself should not be well-behaved. The permission this offers is both thrilling and terrifying.

Birch comes from the rich tradition of British playwriting and there are echoes of Pinter, Churchill, Crimp, Stephens and Kane in her work. Yet her voice is unbelievably distinct. Her smart writing demands the audience keep up. As a director, my first questions were something like: How do you stage that bit? And what about that bit?

Rather than discussing anything fundamentally new, Revolt. She said. Revolt again. asks us to think about questions and problems that never seem to go away. If you view history as one long war against women and their bodies, then this piece feels as prescient and urgent as ever. As the mother of two young girls, who will

JANICE MULLER: ONE LONG WAR AGAINST WOMEN

AND THEIR BODIES

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A N O T E F R O M T H E D I R E C T O R

soon face the challenges of becoming women and making their way in the world, this play spoke to me.

A huge thanks to the generous and intelligent people who have worked with me to realise this production: Belinda McClory, Ming-Zhu Hii, Elizabeth Esguerra, Sophie Ross and Gareth Reeves, Marg Horwell, Emma Valente, James Brown, Tia Clark, Laura Hartnell, Hannah Bullen and M’ck McKeague.

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Janice Muller DIRECTOR

Janice is a theatre and opera director. For Malthouse Theatre

she has directed Turbine by Dan Giovannoni for Suitcase

Series (2016); curated a season of White Rabbit Red Rabbit by Nassim Soleimanpour (2012) and with Meredith Penman,

directed & co-adapted A Woman in Berlin (2010). Other credits include: Biographica (Sydney

Chamber Opera, Sydney Festival); Lake Disappointment (Carriageworks); The Tribe for

Bankstown Live (Urban Theatre Projects, Sydney Festival,

Belvoir, Castlemaine State Festival & The Substation)

Alaska by D.C Moore ATYP; The Country by Martin Crimp (Belvoir) and Crave by Sarah

Kane (The Storeroom, Belvoir). Janice was nominated for a 2016 Sydney Theatre Award for Best

Director for Lake Disappointment. She received the Goethe

Institut /Playwriting Australia Dramaturgy Scholarship

in 2006, the VCA’s Keith & Elisabeth Murdoch Travelling Fellowship in 2003, and was a participant at the Royal Court

International Residency in 2001.Janice was Malthouse Theatre’s

2016 Director in residence, supported by Craig Reeves.

Alice Birch WRITER

Works include: Anatomy of a Suicide, Ophelias Zimmer, Revolt.

She said. Revolt again (Royal Court Theatre); We Want You To Watch (National Theatre);

The Lone Pine Club (Pentabus); Little Light (Orange Tree);

Little on the inside (Almeida/Clean Break); Salt (Comedie

de Valence); Many Moons (503). Film includes: Lady Macbeth.

Awards include: George Devine Award (Revolt. She said. Revolt again); International Critic’s

Prize (FIPRESCI Prize) at San Sebastian International

Film Festival, Critic’s Choice Award for Best First Feature at Zurich Film Festival (Lady Macbeth); Arts Foundation

Award for Playwriting.

C A S T & C R E A T I V E B I O S

Elizabeth Esguerra CAST

Elizabeth is a trained actor, singer and musician from Sydney. She holds a

Bachelor of Dramatic Arts from VCA, during which

time her graduating show, Mission Unsexable (for which

she was a performer and co-deviser), was featured in the 2015 Melbourne Fringe Festival. Since graduating,

she has performed in Turbine (Malthouse Theatre),

Parasites (La Mama Theatre), Out of the Bars (Midsumma

Festival) and devised Seconds during a residency at PACT

Theatre. She is of mixed Filipino, African and Spanish

descent and is fluent in Filipino (Tagalog).

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C A S T & C R E A T I V E B I O S

Ming-Zhu Hii CAST

Ming-Zhu is an actor, director, writer and multidisciplinary artist. A graduate of VCA, she has had an extensive

performance career in theatre, television and film. Theatre

includes: Lifeline (Uwe Mengel/Melbourne Festival), Traitors (Branch, La Mama), Dinner,

Realism (MTC), Metamorphosis (STC, Malthouse Theatre), Ghosts (Branch), Lovers & Haters (Adelaide Festival),

and White Rabbit, Red Rabbit (Malthouse Theatre). Television

includes: Comedy Inc, White Collar Blue, House Husbands, Offspring, Party Tricks, The

Ex-PM, The Let Down, The Future Is Expensive and Newton’s

Law. Feature films include: That’s Not Me, Stem and Sony Pictures’ forthcoming Peter Rabbit. As a writer, director and maker, credits include: Attract/Repel (Storeroom, TMTP), Until Then, Then (La

Mama, The Public Studio) and This Is Beautiful (Malthouse Helium, The Public Studio).

Short films: Close Observations of a Single Subject and Edit

(Post-Production). Installations: Dead Drop (Mailbox Art Space). Additionally, she has several narrative and

experimental cinema projects in development. Ming-Zhu is a

proud member of Actors Equity.

Belinda McClory CAST

Belinda McClory is a VCA graduate who has worked

extensively in film, theatre and television. She has worked for

all the major Australian theatre companies, performed on

stage in Paris, London, Vienna and Germany, and has won

both a Helpmann and Green Room Award for her theatre work. Recent theatre credits include: Edward II, Dance of Death, Pompeii L.A. and The

Trial (Malthouse Theatre), The Waiting Room and Queen Lear (MTC), Splendour (Red Stitch), Gross Und Klein (STC) and Love Me Tender (Griffin, Belvoir). Her screen work includes four series

of The Doctor Blake Mysteries, the web comedy series Little Acorns, Miss Fisher’s Murder

Mysteries and the international blockbuster feature The

Matrix. Belinda co-wrote and performed in the features X

and Turkey Shoot. She will soon be seen in the second series of

Glitch and the feature film The Wheel.

Gareth Reeves CAST

This is Gareth’s Malthouse Theatre debut. A graduate of Te Kura Toi Whakaari O

Aotearoa: The New Zealand Drama School, Gareth’s most

recent work includes Richard 3 (Bell Shakespeare) and Straight

White Men (MTC). Other theatre credits include: Julius

Caesar, Macbeth and The Dream (Bell Shakespeare), Middletown

(Red Stitch Actors Theatre), Orphans (Q44), Arden V Arden (The Hayloft Project), Venus in Fur (Darlinghurst Theatre

Company), WarHorse (National Theatre of Great Britain, Global

Creatures), Angels in America and Plenty (Silo Theatre),

Caligula, The Crucible, Who’s Afraid of Virginia Woolf, Cat on a Hot Tin Roof, The Pillowman

and August: Osage County (Auckland Theatre Company) and King Lear, Hamlet, Othello, Proof and The Cherry Orchard

(The Court Theatre). Film credits include: Pete’s Dragon,

Tracker, A Song of Good and I’m Not Harry Jenson. Television credits include: Wentworth,

Miss Fisher’s Murder Mysteries, The Leftovers, Mary: Making of a Princess, Underbelly 2: A Tale of Two Cities, The Cult, The Insiders

Guide to Love, Go Girls and Frontiersmen. Gareth is a proud

member of Actors Equity.

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Emma Valente LIGHTING DESIGN

Emma is a freelance director, dramaturg and lighting

designer. She is the Co-artistic director and Co-CEO of

feminist theatre company THE RABBLE. Recent lighting design credits include: Little Emperors (Malthouse Theatre), Book of Exodus Part I (Fraught Outfit)

Testament of Mary, Manna (STC), Wizard of Oz, Cain and Abel (Belvoir), More Female Parts (Fairfax Theatre, Arts

Centre Melbourne), Calamity!, Myth Project: Twin, Story of

O (MTC NEON, Arthur), Frankenstein (THE RABBLE, Malthouse Theatre), Room of Regret (Melbourne Festival,

Theatre Works, THE RABBLE), The Golden Dragon (MTC), For a Better World (Griffin). Emma has been nominated for nine Green

Room Awards and a Sydney Theatre Award, including two nominations for most

Outstanding Contemporary Performance (Room of Regret, Frankenstein). In 2016 she won

the Green Room Award for Design Integration for Special.

C A S T & C R E A T I V E B I O S

Sophie Ross CAST

Malthouse Theatre debut. Sophie is an actor, dramaturg, devisor and educator. As an actor, Sophie has performed in Disgraced, Gross und Klein, Before/After, Hamlet, Blood Wedding, Money Shots, VS

Macbeth, Oresteia, Comedy of Errors, Leviathan, Mysteries:

Genesis, Romeo & Juliet, Waikiki Palace/Hip Hip Hooray, Woman

in Mind (STC), What Rhymes with Cars & Girls, The Waiting

Room, Cock (MTC), The Sleepover (Arena), Narrative

(The Royal Court), Ladybird (B Sharp), Stoning Mary (Griffin). Sophie is a proud member of

Actors Equity.

Marg Horwell SET & COSTUME DESIGN

Marg is a multi-award winning designer and the Designer In Residence at Malthouse

Theatre. Marg has won seven Green Room Awards and two

Sydney Theatre Awards for her work and was nominated

for a Helpmann Award for Marlin (MTC and Arena

Theatre) Credits include: The Homosexuals, Edward II, I Am A Miracle, The Good Person of Szechuan, The Histrionic, Tame (Malthouse Theatre). Birdland, Peddling, Constellations, Cock,

Music, The Dream Life Of Butterflies, The Water Carriers, Circle Mirror Transformation,

I Call My Brothers (MTC). Eight Gigabytes of Hardcore

Pornography (Griffin), The School For Wives (Bell Shakespere).

Nora (Belvoir). Lilith The Jungle Girl, La Traviata, Summertime in the Garden of Eden (Sisters Grimm). Shit, Savages (Dee & Cornelius). Chapters From

The Pandemic, Save For Crying, Wretch, Resplendence (Angus

Cerini Doubletap).

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James Brown SOUND, COMPOSITION

& AV DESIGN

James Brown is a Sydney based composer and sound designer. His process often

involves creating music cohesively along with the development of a project,

creating a strong connection between the material and

sound. Selected theatre work includes: Lake Disappointment

(Carriageworks), Broken (Darlinghurst Theatre), The Lee

Ellroy Show (KVS, Brussels), and We Was Them (SOIT). He

has composed for dance works including: Tangi Wai, Copper Promises (Victoria Hunt), A

Faint Existence (Kristina Chan), as well as contemporary ballet scores Scope, Muse (Australian

Ballet). James has also composed the score for feature

documentaries A Brilliant Genocide (Ebony Butler), and Bloodlinks (William Yang). His

work also includes music for the miniseries Top of the Lake (Jane Campion) for and

the videogame Fallout 4 (Bethesda). He holds a Visual

Arts Degree from Sydney College of the Arts, and a

Master’s Degree in Acoustic Physics from Sydney University.

Tia Clark STAGE MANAGER

Since graduating from WAAPA in 2009, Tia has

worked as a Stage Manager in various sectors across the entertainment industry. Her previous Malthouse Theatre

credits include: Edward II, Picnic at Hanging Rock (with BSSTC),

I Am a Miracle, Timeshare, Hello, Goodbye and Happy Birthday,

Walking into the Bigness, Ugly Mugs (with Griffin), The Government Inspector (with

Belvoir), The Bloody Chamber, Dance of Death, Hate, A Golem Story and Baal (with STC). Tia

has also worked on Anti—Gravity (Chunky Move), Grease (Gordon

Frost Organisation [GFO]), A Funny Thing Happened on the

Way to the Forum (GFO), Every Breath (Belvoir), The Rake’s Progress (Victorian Opera),

Scooby Doo Live (Entertainment Store Group), The King and I, The Boy from Oz, Sugar (Some Like It Hot), Anything Goes, Kismet, Grey Gardens (The Production

Company) and various live events both in Melbourne and

around Australia.

Hannah Bullen ASSISTANT STAGE

MANAGER

Hannah graduated from Monash University in 2013

with a Bachelor of Performing Arts. She has since received

an Outstanding Achievement Award for her studies of Live

Production and Technical Services. Hannah has most recently worked as a Stage Manager on The Flick (Red

Stitch and Queensland Theatre), Uncle Vanya, You Got Older, and The Honey Bees (Red Stitch). Hannah

has also worked for festivals such as WOMADelaide and

Melbourne International Comedy Festival for a number

of years. This is Hannah’s first time working with

Malthouse Theatre.

C A S T & C R E A T I V E B I O S

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WHATHAPPENSNEXTAt Malthouse Theatre we collaborate with local and international artists to create inventive performances that cut to the core of the human experience.

Theatre has the power to interrogate, disrupt and to be an agent of change— and we think it always should. At Malthouse Theatre the work we produce explores the world personally, socially and politically.

Based in a dedicated venue, The Coopers Malthouse in Melbourne, we are a home for live experiences that entertain and provoke a dialogue with and within audiences.

Welcome to Malthouse Theatre.

A B O U T M A L T H O U S E T H E A T R E

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O U R S U P P O R T E R S

GOVERNMENT

VENUE MAJOR

MEDIAEDUCATION ACCOMMODATION

CORPORATE INDUSTRY

T R U S T S A N D F O U N D A T I O N S

O U R P A R T N E R S

URANIA—MUSE OF THE STARS—$25,000+ Carrillo Gantner AO, Michele Levine, Mary-Ruth & Peter McLennan, Craig Reeves, Maureen Wheeler AO & Tony Wheeler AO

CLIO—MUSE OF HISTORY—$10,000+ Roseanne Amarant, Annamila Fund, John & Lorraine Bates, Debbie Dadon AM, Colin Golvan QC, Janine Tai, The Vera Moore Foundation, Anonymous (2)

THALIA—MUSE OF COMEDY—$5,000+ Richard Leonard & Gerlinde Scholz, Mary Vallentine AO, Anonymous (1)

MELPOMENE—MUSE OF TRAGEDY—$2,500+ David Bardas, D.L. & G.S. Gjergja, Rosemary Forbes & Ian Hocking, Sue Kirkham, James Pendilis & Fiona McGauchie, Sue Prestney, Elisabeth & John Schiller, Dr Jenny Schwarz, Fiona Sweet & Paul Newcombe, Leonard Vary & Dr Matt Collins QC, Jason Waple, Jon Webster, Jan Williams, Tom Wright, Anonymous (1)

EUTERPE—MUSE OF MUSIC—$1,000+ Frankie Airey & Stephen Solly, Chryssa

Anagnostou & Dr Jim Tsaltas, Marc Besen AC & Eva Besen AO, John & Sally Bourne, Sally Browne, Beth Brown & Tom Bruce AM, Ingrid & Per Carlsen, Tim & Rachel Cecil, Min Li Chong, Prof John Daley & Dr Rebecca Coates, Andrew Curtis, Mark & Jo Davey, Dominic & Natalie Dirupo, Roger Donazzan, Rev Fr Michael Elligate AM, Dr Sian Fairbank, Brian Goddard, Val Johnstone, Fiona Kelly, Michael Kingston, Susan Nathan, James Ostroburski, Rosemary & Roger Redston, Carol & Alan Schwartz AM, Robert Sessions & Christina Fitzgerald, Thea & Hayden Snow, Maria Solà, Gina & Paul Stuart, Toby Sullivan, Kerri Turner & Andrew White, Rosemary Walls, Pinky Watson, Henry Winters, Anonymous (1)

TERPSICHORE—MUSE OF DANCE—$500+ Graham & Anita Anderson, Michael Arnold, Rowland Ball OAM, Sandra Beanham, David & Rhonda Black, Ros Casey, MaryAnne Carroll, Chris Clough, Alan Connolly, Jason Craig, Evelyn Firstenberg, John & Helen Gibbins, Linda Herd, Leonie Hollingworth, Brad Hooper, Dr Irene Irvine, Joan & Graeme Johnson

OAM, Dr Irene Kearsey, Dr Angela Kirsner & Dr Richard Kirsner, Virginia Lovett, John McCallum, Ian McRae AO, Jan Owen AM, Robert Peters, Katherine Sampson, Barbara & Neil Smart, Janice Taylor, John Thomas, Neil Waters, Phil & Heather Wilson, Anonymous (4)

ERATO—MUSE OF LOVE—$250+ Simon Abrahams, Jennifer Bourke, Fiona Brook, John & Alexandra Busselmaier, Siu Chan, Diane Clark, Georgie Coleman, Patricia Coutts,Kerryn Dickinson-Rowe, William Donaldson, Brian Doyle, Carolyn Floyd, Orla & Rachel, Taleen Gaidzkar, Damyn Gordon, Joanne Griffiths, Peggy Hayton, Ted Hocking, Arechea Hounsell, Sarah Hunt, Ann Kemeny & Graham Johnson, Mira & Dr David Kolieb, Robyn Lansdowne, Sally Lindsay, Kim Lowndes, Judith Maitland-Parr, Ian Manning & Alice De Jonge, John Millard, Dr Kersti Nogeste, Linda Notley, Tony Oliver, Kaylene O’Neill, Gerard Powell, Gavin Roach, Pauline Robert, Rae Rothfield, Dr Michael & Jenny Rozen, Viorica Samson, Dr Jill Sewell, Andrew Stocker, Chris Teh, Lee-Ann Walsh, Jan Watson, Gary Westbrook, Gayl Morrow & Gib Wettenhall, Joanne Whyte, Barbara Yuncken

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M A L T H O U S E T H E A T R E S T A F FM A L T H O U S E T H E A T R E S T A F F

BOARD OF DIRECTORSFiona McGauchie (Chair), Debbie Dadon AM, Colin Golvan QC, Michael Kantor, Jan Owen AM, Sue Prestney, Pamela Rabe, Nick Schlieper, Kerri Turner & Mary Vallentine AO.

ARTISTIC & PROGRAMMING

Artistic Director & CO-CEO / Matthew Lutton

Executive Producer & CO-CEO / Sarah Neal

Resident Dramaturg / Mark Pritchard

Resident Artist / Declan Greene

Resident Designer / Marg Horwell

Director In Residence / Sapidah Kian

Producer / Toby Sullivan

Associate Producer / Jason Tamiru

Company Manager / Alice Muhling

FINANCE & ADMINISTRATION

Finance Manager / Mario Agostinoni

Finance Administrator / Liz White

General Manager / Amanda Macri

MARKETING & COMMUNICATIONS

Marketing & Communications Manager / Caraline Douglas

Communications Coordinator / Alex Sadka

Marketing Assistant / Jacqui Bathman

Publicist / TS Publicity

TICKETING & BOX OFFICECRM & Ticketing Manager / Prue Sutherland

Box Office Manager / Dan Allemann

Box Office Team Leaders / Jo Basilios Fiona Wiseman Kate Gregory

Box Office Staff / Abbey Barnes, Ian Michael, Lauren White, Michelle Hines, Paul Buckley

DEVELOPMENTDevelopment Manger / Fiona Kelly

Philanthropy Coordinator / Belinda Locke

Sponsorship Coordinator / Olivia Satchell

PRODUCTIONProduction Manager / David Miller

Workshop Manager / Goffredo Mameli

Head Carpenter / David Craig

Technical Manager / Baird Mckenna

Operations Manager / Dexter Varley

Head Technician / Mark Anderson

Venue Head Mechanist / Ivan Smith

Head Of Wardrobe / Delia Spicer

Theatre Technician / Nathanael Bristow

Workshop Assistant / Elizabeth Whitton

EDUCATIONYouth & Education Manager / Vanessa O’Neill

VENUE MANAGEMENTVenue Manager / Aaron Rowlands

Front of House Managers / Sean Ladhams & Anita Posterino

Front of House Staff / Jo Bassilios, Abi Murray, Alice Hill, Alice Dixon, Aly Grace, Amelia O’Brien, Amy Dowd, Andrew Foord, Anna Nalpantidis, Carissa Godwin, Daniel Moulds, Daniel Newell, Dirk Hoult, Emma Corbett, Fiona Moody, Gem Clarke, Ian Mitchell, James Chantner, Kate Calton, Kate Gregory, Kathryn Joy, Kirilie Blythman, Lara Kerestes, Lee Threadgold, Leon Rice-Whetton, Mark Hoffman, Mitchell Brotz, Pamela Cupit, Sam Harrison, Sanne Rodenstein, Sophia D’Urso, Syrie Payne, Tanja George

ABORIGINAL & TORRES STRAIT ISLANDER COMMITTEE Uncle Jack Charles, Richard Frankland, Tony Briggs, Lisa Maza, Pauline Wyman, Melodie Reynolds-Diarra & Jason Tamiru

Malthouse Theatre acknowledges we are on the Land of the Boon wurrung Peoples within the Kulin Nation.

DESIGN / HOURS AFTERHOURSAFTER.COM.AU

PHOTOGRAPHY / ZAN WIMBERLEYTIM GREY

MARKETING & ADVERTISING / AKA +61 3 8866 8335 AKA-AU.COM

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GOOD THINGS COME IN THREESYOUR CHEATSHEET TO SEASON 2017

Know you want some Malthouse Theatre in your life but not sure what to see? We’ve prepared a cheatsheet for the

remaining shows of Season 2017 to help guide your choices.

BLACK RIDER: THE CASTING OF THE

MAGIC BULLETS+

YOU’RE NOT ALONE+

THE REAL AND IMAGINED HISTORY OF

THE ELEPHANT MAN

YOU’RE NOT ALONE

+BLACK RIDER:

THE CASTING OF THE MAGIC BULLETS

+REVOLT. SHE SAID.

REVOLT AGAIN.

THE TESTAMENT OF MARY

+REVOLT. SHE SAID.

REVOLT AGAIN. +

BLACK RIDER: THE CASTING OF THE

MAGIC BULLETS

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THE REAL AND IMAGINED HISTORY OF

THE ELEPHANT MAN+

YOU’RE NOT ALONE

+REVOLT. SHE SAID.

REVOLT AGAIN.

REVOLT. SHE SAID. REVOLT AGAIN.

+THE TESTAMENT

OF MARY +

HEART IS A WASTELAND

HEART IS A WASTELAND

+BLACK RIDER:

THE CASTING OF THE MAGIC BULLETS

+REVOLT. SHE SAID.

REVOLT AGAIN.

FIND OUT MORE MALTHOUSETHEATRE.COM.AU/ PAGE/GOOD-THINGS-COME-IN-THREES

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The Centre for Theatre and Performance presents a Monash meets Malthouse Theatre panel on Revolt. She said. Revolt again.

Some savvy theatre-goers prefer an expert discussion to get the most out of their experience. To coincide with Malthouse Theatre’s theatrical assault on the language that has reinforced violence against women for centuries, Monash University’s Centre for Theatre

and Performance will present a panel discussion on rebellious speech and contemporary feminism.

Our Major Partner, Monash University, will offer their scholarly expertise in a special afternoon conversation between the matinee and evening performance of Revolt. She said. Revolt again. on Saturday 8 July.

M O N A S H M E E T S M A L T H O U S E

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MONASH MEETS MALTHOUSE THEATRE: REVOLT. SHE SAID. REVOLT AGAIN.P R E S E N T E D I N P A R T N E R S H I P W I T H M O N A S H U N I V E R S I T Y

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In the rehearsal room, the cast & creatives read excerpts

from many theorists, including Australian feminist Dale Spender’s

Man Made Language (1980). We highly recommend it.

SCENE & HEARD

© Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2017.

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