Writer Angela Betzien

Director Alex Evans

WARCRIMES

A WORD FROM THE DIRECTOR

FROM THE ARTISTICDIRECTOR

ATYPCASTANDCREATIVES

A WORD FROM THE WRITER→

FROM THE WRITER→

FROM THE DIRECTOR

15.07.15–01.08.15

WriterAngelia Betzien

DirectorAlex Evans

CastJordan Hannah CoxRicky Holly FraserJade Charlotte HazzardIshtar Odetta QuinnLara Jane Watt

DesignerEmma Reyes

Lighting DesignerAlex Berlage

Sound DesignerTom Hogan

Assistant Director /Vocal CoachGrace Partridge

Movement CoachTia Jordan

Stage ManagerSorie Bangura

Duration85 minutes (No interval)

Artistic Director Fraser Corfield General Manager Amy Maiden Finance Manager Kate di Mattina Development Manager Andrew Deane Marketing Manager Kar Chalmers Workshop Manager Robert Jago Education Manager Adèle Jeffreys Production Manager Juz McGuire

Finance & Operations Co-ordinator Chrissy Riley Education Co-ordinator Lisa Mumford

Marketing & DevelopmentCo-ordinator Elise Barton Writing Co-ordinator Jennifer Medway Graphic Designer Justin Stambouliah Administration Assistant James Handsaker Archivist Judith Seeff Geek-in-Residence Daniel Andrews Writer-in-Residence Julian Larnach

Phone 02 9270 2400

@atyp_theatre

@atyp_theatre #ATYP_WARCRIMES

Like us on Facebook

War Crimes is part of a larger project, involving six international companies funded by the European Union Cultural Fund, under the title Documents of Poverty and Hope. This extraordinary collaboration unites ATYP with Pilot Theatre from the UK, Teatro Bando from Portugal, Theatre Elsinore from Italy, The Playhouse Theatre from Vancouver and Theatre Dynamo from Montreal. ATYP has been proud to host director Alex Evans, representing Pilot Theatre, directing War Crimes. Later this year I will spend a month in England directing a production by English playwright Emteaz Hussain.  

In 2015, six works are being staged around the world related to the theme of emigration

and immigration. Documents of Poverty and Hope involves the exchange of key artists from each company.The project is about sharing experience, sharing culture and sharing the creative process. In 2016 one artist from each company will descend on Sydney to devise a new work that will be performed at ATYP before travelling to present a season in Vancouver. Supporting all of these new works are interviews with young people discussing their experience of migration in their country.

I am very pleased to have been able to include this exceptional play in this international project.

Fraser CorfieldArtistic Director

In 2007, in response to a spate of attacks on war memorials in towns and cities across Australia, a war memorial legislation amendment bill was proposed in parliament, increasing penalties for vandalising, defacing, deliberately damaging or behaving inappropriately around war memorials. While the bill was not passed it inflamed debate over the ANZAC legend and sparked a call for a resurgence of pride in this national story.

War Crimes was created in response to this and several other real, contemporary Australian events with the intention of stirring up some big questions about our national history, identity and future. The play raises the question of what is sacred to us as a nation?

Tragically, forty-three Australian soldiers have been killed in Afghanistan and Iraq since the beginning of the war declared by the United States in 2001. Figures vary considerably but some sources estimate that over a million civilians have been killed in Iraq and Afghanistan since this time. Countless others have been driven from their homes to seek refuge in other parts of the world, including urban and rural Australia. In Australia, some of our neighbours have experienced the reality of war first hand. They have fled torture, imprisonment and death on a scale unimaginable to many.

When I initially read the charged and energetic writing of Angela Betzien’s War Crimes, I was immediately blown away by the passionate and bold use of language, compelling relationships and thematic content of this stunning piece.I knew in an instant that this play was an important and unique piece of work and that I was beyond lucky to be placed in the unique position of travelling across the world to direct it at ATYP.

In the rehearsal room over the last 4 weeks the immensely talented ensemble of 5 female performers and I have interrogated, dissected and explored the text in every detail. We have used physical theatre, song and improvisation

to deepen our connection to the world of the piece. We have laughed, cried and shared experiences together to bring these unique characters to life. Outside of the room the dedicated production team has worked tirelessly in designing and creating the world of these young women on stage. Through this intense collaborative artistic engagement we have attempted to creatively conjure the world of this forgotten coastal town on the stage and make manifest the world of these characters.

War Crimes is a stunning testament to the challenges that many young women face across the world. Every scene and almost every line are steeped with prejudice, conflict, responsibility and pain. This is a world in which the audience members are powerless witnesses to these young women as they slowly tear each other and the world around them apart. Yet there is a fragile humour and energy within these relationships that suggests a glimmer of something that could emerge from these personal tragedies and provide a new sense of hope.

These last weeks have been an exhilarating and demanding experience – one that I will never forget when I return to the other hemisphere. I would like to thank

everyone at ATYP for making me feel so at home and part of this wonderful team. Australia is so lucky to have ATYP working so tirelessly for young people and young audiences. War Crimes is a testament to the bravery and tenacity of this wonderful organisation and all of the committed and talented individuals involved.

Alex EvansDirector

It seems there’s a constant debate about who belongs in this country. Whose home is it? The vast majority of this country’s population has ancestors who were immigrants at some time in the last two hundred or so years. They arrived either by boat or by plane and it’s fair to assume that all of them were seeking a place of belonging, a home. This is a human need, a human right.

In the midst of all this global and local conflict, it’s vital that we become critical of what’s happening in this country and the world, to form opinions about local, national and global events based on a variety of sources, not just the mainstream media.

Often it’s the voices that we don’t hear, such as those of young, poor, teenage girls, that can be the most insightful.

Every story is important and our common ground has to be the land we inhabit, a land that was the home of a people for thousands of years, a land that is undeniably ancient and sacred.

I’d like to thank ATYP, Alex Evans and the cast and crew for bringing this work to Sydney audiences.

Angela BetzienWriter

Writer Angela Betzien

Director Alex Evans

WARCRIMES

A WORD FROM THE DIRECTOR

FROM THE ARTISTICDIRECTOR

ATYP CASTANDCREATIVES

A WORD FROM THE WRITER → FROM THE WRITER → FROM THE DIRECTOR

15.07.15–01.08.15

WriterAngelia Betzien

DirectorAlex Evans

CastJordan Hannah CoxRicky Holly FraserJade Charlotte HazzardIshtar Odetta QuinnLara Jane Watt

DesignerEmma Reyes

Lighting DesignerAlex Berlage

Sound DesignerTom Hogan

Assistant Director /Vocal CoachGrace Partridge

Movement CoachTia Jordan

Stage ManagerSorie Bangura

Duration85 minutes (No interval)

Artistic Director Fraser Corfield General Manager Amy Maiden Finance Manager Kate di Mattina Development Manager Andrew Deane Marketing Manager Kar Chalmers Workshop Manager Robert Jago Education Manager Adèle Jeffreys Production Manager Juz McGuire

Finance & Operations Co-ordinator Chrissy Riley Education Co-ordinator Lisa Mumford

Marketing & DevelopmentCo-ordinator Elise Barton Writing Co-ordinator Jennifer Medway Graphic Designer Justin Stambouliah Administration Assistant James Handsaker Archivist Judith Seeff Geek-in-Residence Daniel Andrews Writer-in-Residence Julian Larnach

Phone 02 9270 2400

@atyp_theatre

@atyp_theatre #ATYP_WARCRIMES

Like us on Facebook

War Crimes is part of a larger project, involving six international companies funded by the European Union Cultural Fund, under the title Documents of Poverty and Hope. This extraordinary collaboration unites ATYP with Pilot Theatre from the UK, Teatro Bando from Portugal, Theatre Elsinore from Italy, The Playhouse Theatre from Vancouver and Theatre Dynamo from Montreal. ATYP has been proud to host director Alex Evans, representing Pilot Theatre, directing War Crimes. Later this year I will spend a month in England directing a production by English playwright Emteaz Hussain.  

In 2015, six works are being staged around the world related to the theme of emigration

and immigration. Documents of Poverty and Hope involves the exchange of key artists from each company.The project is about sharing experience, sharing culture and sharing the creative process. In 2016 one artist from each company will descend on Sydney to devise a new work that will be performed at ATYP before travelling to present a season in Vancouver. Supporting all of these new works are interviews with young people discussing their experience of migration in their country.

I am very pleased to have been able to include this exceptional play in this international project.

Fraser CorfieldArtistic Director

In 2007, in response to a spate of attacks on war memorials in towns and cities across Australia, a war memorial legislation amendment bill was proposed in parliament, increasing penalties for vandalising, defacing, deliberately damaging or behaving inappropriately around war memorials. While the bill was not passed it inflamed debate over the ANZAC legend and sparked a call for a resurgence of pride in this national story.

War Crimes was created in response to this and several other real, contemporary Australian events with the intention of stirring up some big questions about our national history, identity and future. The play raises the question of what is sacred to us as a nation?

Tragically, forty-three Australian soldiers have been killed in Afghanistan and Iraq since the beginning of the war declared by the United States in 2001. Figures vary considerably but some sources estimate that over a million civilians have been killed in Iraq and Afghanistan since this time. Countless others have been driven from their homes to seek refuge in other parts of the world, including urban and rural Australia. In Australia, some of our neighbours have experienced the reality of war first hand. They have fled torture, imprisonment and death on a scale unimaginable to many.

When I initially read the charged and energetic writing of Angela Betzien’s War Crimes, I was immediately blown away by the passionate and bold use of language, compelling relationships and thematic content of this stunning piece.I knew in an instant that this play was an important and unique piece of work and that I was beyond lucky to be placed in the unique position of travelling across the world to direct it at ATYP.

In the rehearsal room over the last 4 weeks the immensely talented ensemble of 5 female performers and I have interrogated, dissected and explored the text in every detail. We have used physical theatre, song and improvisation

to deepen our connection to the world of the piece. We have laughed, cried and shared experiences together to bring these unique characters to life. Outside of the room the dedicated production team has worked tirelessly in designing and creating the world of these young women on stage. Through this intense collaborative artistic engagement we have attempted to creatively conjure the world of this forgotten coastal town on the stage and make manifest the world of these characters.

War Crimes is a stunning testament to the challenges that many young women face across the world. Every scene and almost every line are steeped with prejudice, conflict, responsibility and pain. This is a world in which the audience members are powerless witnesses to these young women as they slowly tear each other and the world around them apart. Yet there is a fragile humour and energy within these relationships that suggests a glimmer of something that could emerge from these personal tragedies and provide a new sense of hope.

These last weeks have been an exhilarating and demanding experience – one that I will never forget when I return to the other hemisphere. I would like to thank

everyone at ATYP for making me feel so at home and part of this wonderful team. Australia is so lucky to have ATYP working so tirelessly for young people and young audiences. War Crimes is a testament to the bravery and tenacity of this wonderful organisation and all of the committed and talented individuals involved.

Alex EvansDirector

It seems there’s a constant debate about who belongs in this country. Whose home is it? The vast majority of this country’s population has ancestors who were immigrants at some time in the last two hundred or so years. They arrived either by boat or by plane and it’s fair to assume that all of them were seeking a place of belonging, a home. This is a human need, a human right.

In the midst of all this global and local conflict, it’s vital that we become critical of what’s happening in this country and the world, to form opinions about local, national and global events based on a variety of sources, not just the mainstream media.

Often it’s the voices that we don’t hear, such as those of young, poor, teenage girls, that can be the most insightful.

Every story is important and our common ground has to be the land we inhabit, a land that was the home of a people for thousands of years, a land that is undeniably ancient and sacred.

I’d like to thank ATYP, Alex Evans and the cast and crew for bringing this work to Sydney audiences.

Angela BetzienWriter

Writer Angela Betzien

Director Alex Evans

WARCRIMES

A WORD FROM THE DIRECTOR

FROM THE ARTISTICDIRECTOR

ATYP CASTANDCREATIVES

A WORD FROM THE WRITER → FROM THE WRITER → FROM THE DIRECTOR

15.07.15–01.08.15

WriterAngelia Betzien

DirectorAlex Evans

CastJordan Hannah CoxRicky Holly FraserJade Charlotte HazzardIshtar Odetta QuinnLara Jane Watt

DesignerEmma Reyes

Lighting DesignerAlex Berlage

Sound DesignerTom Hogan

Assistant Director /Vocal CoachGrace Partridge

Movement CoachTia Jordan

Stage ManagerSorie Bangura

Duration85 minutes (No interval)

Artistic Director Fraser Corfield General Manager Amy Maiden Finance Manager Kate di Mattina Development Manager Andrew Deane Marketing Manager Kar Chalmers Workshop Manager Robert Jago Education Manager Adèle Jeffreys Production Manager Juz McGuire

Finance & Operations Co-ordinator Chrissy Riley Education Co-ordinator Lisa Mumford

Marketing & DevelopmentCo-ordinator Elise Barton Writing Co-ordinator Jennifer Medway Graphic Designer Justin Stambouliah Administration Assistant James Handsaker Archivist Judith Seeff Geek-in-Residence Daniel Andrews Writer-in-Residence Julian Larnach

Phone 02 9270 2400

@atyp_theatre

@atyp_theatre #ATYP_WARCRIMES

Like us on Facebook

War Crimes is part of a larger project, involving six international companies funded by the European Union Cultural Fund, under the title Documents of Poverty and Hope. This extraordinary collaboration unites ATYP with Pilot Theatre from the UK, Teatro Bando from Portugal, Theatre Elsinore from Italy, The Playhouse Theatre from Vancouver and Theatre Dynamo from Montreal. ATYP has been proud to host director Alex Evans, representing Pilot Theatre, directing War Crimes. Later this year I will spend a month in England directing a production by English playwright Emteaz Hussain.  

In 2015, six works are being staged around the world related to the theme of emigration

and immigration. Documents of Poverty and Hope involves the exchange of key artists from each company.The project is about sharing experience, sharing culture and sharing the creative process. In 2016 one artist from each company will descend on Sydney to devise a new work that will be performed at ATYP before travelling to present a season in Vancouver. Supporting all of these new works are interviews with young people discussing their experience of migration in their country.

I am very pleased to have been able to include this exceptional play in this international project.

Fraser CorfieldArtistic Director

In 2007, in response to a spate of attacks on war memorials in towns and cities across Australia, a war memorial legislation amendment bill was proposed in parliament, increasing penalties for vandalising, defacing, deliberately damaging or behaving inappropriately around war memorials. While the bill was not passed it inflamed debate over the ANZAC legend and sparked a call for a resurgence of pride in this national story.

War Crimes was created in response to this and several other real, contemporary Australian events with the intention of stirring up some big questions about our national history, identity and future. The play raises the question of what is sacred to us as a nation?

Tragically, forty-three Australian soldiers have been killed in Afghanistan and Iraq since the beginning of the war declared by the United States in 2001. Figures vary considerably but some sources estimate that over a million civilians have been killed in Iraq and Afghanistan since this time. Countless others have been driven from their homes to seek refuge in other parts of the world, including urban and rural Australia. In Australia, some of our neighbours have experienced the reality of war first hand. They have fled torture, imprisonment and death on a scale unimaginable to many.

When I initially read the charged and energetic writing of Angela Betzien’s War Crimes, I was immediately blown away by the passionate and bold use of language, compelling relationships and thematic content of this stunning piece.I knew in an instant that this play was an important and unique piece of work and that I was beyond lucky to be placed in the unique position of travelling across the world to direct it at ATYP.

In the rehearsal room over the last 4 weeks the immensely talented ensemble of 5 female performers and I have interrogated, dissected and explored the text in every detail. We have used physical theatre, song and improvisation

to deepen our connection to the world of the piece. We have laughed, cried and shared experiences together to bring these unique characters to life. Outside of the room the dedicated production team has worked tirelessly in designing and creating the world of these young women on stage. Through this intense collaborative artistic engagement we have attempted to creatively conjure the world of this forgotten coastal town on the stage and make manifest the world of these characters.

War Crimes is a stunning testament to the challenges that many young women face across the world. Every scene and almost every line are steeped with prejudice, conflict, responsibility and pain. This is a world in which the audience members are powerless witnesses to these young women as they slowly tear each other and the world around them apart. Yet there is a fragile humour and energy within these relationships that suggests a glimmer of something that could emerge from these personal tragedies and provide a new sense of hope.

These last weeks have been an exhilarating and demanding experience – one that I will never forget when I return to the other hemisphere. I would like to thank

everyone at ATYP for making me feel so at home and part of this wonderful team. Australia is so lucky to have ATYP working so tirelessly for young people and young audiences. War Crimes is a testament to the bravery and tenacity of this wonderful organisation and all of the committed and talented individuals involved.

Alex EvansDirector

It seems there’s a constant debate about who belongs in this country. Whose home is it? The vast majority of this country’s population has ancestors who were immigrants at some time in the last two hundred or so years. They arrived either by boat or by plane and it’s fair to assume that all of them were seeking a place of belonging, a home. This is a human need, a human right.

In the midst of all this global and local conflict, it’s vital that we become critical of what’s happening in this country and the world, to form opinions about local, national and global events based on a variety of sources, not just the mainstream media.

Often it’s the voices that we don’t hear, such as those of young, poor, teenage girls, that can be the most insightful.

Every story is important and our common ground has to be the land we inhabit, a land that was the home of a people for thousands of years, a land that is undeniably ancient and sacred.

I’d like to thank ATYP, Alex Evans and the cast and crew for bringing this work to Sydney audiences.

Angela BetzienWriter

Writer Angela Betzien

Director Alex Evans

WARCRIMES

A WORD FROM THE DIRECTOR

FROM THE ARTISTICDIRECTOR

ATYPCASTANDCREATIVES

A WORD FROM THE WRITER→

FROM THE WRITER→

FROM THE DIRECTOR

15.07.15–01.08.15

WriterAngelia Betzien

DirectorAlex Evans

CastJordan Hannah CoxRicky Holly FraserJade Charlotte HazzardIshtar Odetta QuinnLara Jane Watt

DesignerEmma Reyes

Lighting DesignerAlex Berlage

Sound DesignerTom Hogan

Assistant Director /Vocal CoachGrace Partridge

Movement CoachTia Jordan

Stage ManagerSorie Bangura

Duration85 minutes (No interval)

Artistic Director Fraser Corfield General Manager Amy Maiden Finance Manager Kate di Mattina Development Manager Andrew Deane Marketing Manager Kar Chalmers Workshop Manager Robert Jago Education Manager Adèle Jeffreys Production Manager Juz McGuire

Finance & Operations Co-ordinator Chrissy Riley Education Co-ordinator Lisa Mumford

Marketing & DevelopmentCo-ordinator Elise Barton Writing Co-ordinator Jennifer Medway Graphic Designer Justin Stambouliah Administration Assistant James Handsaker Archivist Judith Seeff Geek-in-Residence Daniel Andrews Writer-in-Residence Julian Larnach

Phone 02 9270 2400

@atyp_theatre

@atyp_theatre #ATYP_WARCRIMES

Like us on Facebook

War Crimes is part of a larger project, involving six international companies funded by the European Union Cultural Fund, under the title Documents of Poverty and Hope. This extraordinary collaboration unites ATYP with Pilot Theatre from the UK, Teatro Bando from Portugal, Theatre Elsinore from Italy, The Playhouse Theatre from Vancouver and Theatre Dynamo from Montreal. ATYP has been proud to host director Alex Evans, representing Pilot Theatre, directing War Crimes. Later this year I will spend a month in England directing a production by English playwright Emteaz Hussain.  

In 2015, six works are being staged around the world related to the theme of emigration

and immigration. Documents of Poverty and Hope involves the exchange of key artists from each company.The project is about sharing experience, sharing culture and sharing the creative process. In 2016 one artist from each company will descend on Sydney to devise a new work that will be performed at ATYP before travelling to present a season in Vancouver. Supporting all of these new works are interviews with young people discussing their experience of migration in their country.

I am very pleased to have been able to include this exceptional play in this international project.

Fraser CorfieldArtistic Director

In 2007, in response to a spate of attacks on war memorials in towns and cities across Australia, a war memorial legislation amendment bill was proposed in parliament, increasing penalties for vandalising, defacing, deliberately damaging or behaving inappropriately around war memorials. While the bill was not passed it inflamed debate over the ANZAC legend and sparked a call for a resurgence of pride in this national story.

War Crimes was created in response to this and several other real, contemporary Australian events with the intention of stirring up some big questions about our national history, identity and future. The play raises the question of what is sacred to us as a nation?

Tragically, forty-three Australian soldiers have been killed in Afghanistan and Iraq since the beginning of the war declared by the United States in 2001. Figures vary considerably but some sources estimate that over a million civilians have been killed in Iraq and Afghanistan since this time. Countless others have been driven from their homes to seek refuge in other parts of the world, including urban and rural Australia. In Australia, some of our neighbours have experienced the reality of war first hand. They have fled torture, imprisonment and death on a scale unimaginable to many.

When I initially read the charged and energetic writing of Angela Betzien’s War Crimes, I was immediately blown away by the passionate and bold use of language, compelling relationships and thematic content of this stunning piece.I knew in an instant that this play was an important and unique piece of work and that I was beyond lucky to be placed in the unique position of travelling across the world to direct it at ATYP.

In the rehearsal room over the last 4 weeks the immensely talented ensemble of 5 female performers and I have interrogated, dissected and explored the text in every detail. We have used physical theatre, song and improvisation

to deepen our connection to the world of the piece. We have laughed, cried and shared experiences together to bring these unique characters to life. Outside of the room the dedicated production team has worked tirelessly in designing and creating the world of these young women on stage. Through this intense collaborative artistic engagement we have attempted to creatively conjure the world of this forgotten coastal town on the stage and make manifest the world of these characters.

War Crimes is a stunning testament to the challenges that many young women face across the world. Every scene and almost every line are steeped with prejudice, conflict, responsibility and pain. This is a world in which the audience members are powerless witnesses to these young women as they slowly tear each other and the world around them apart. Yet there is a fragile humour and energy within these relationships that suggests a glimmer of something that could emerge from these personal tragedies and provide a new sense of hope.

These last weeks have been an exhilarating and demanding experience – one that I will never forget when I return to the other hemisphere. I would like to thank

everyone at ATYP for making me feel so at home and part of this wonderful team. Australia is so lucky to have ATYP working so tirelessly for young people and young audiences. War Crimes is a testament to the bravery and tenacity of this wonderful organisation and all of the committed and talented individuals involved.

Alex EvansDirector

It seems there’s a constant debate about who belongs in this country. Whose home is it? The vast majority of this country’s population has ancestors who were immigrants at some time in the last two hundred or so years. They arrived either by boat or by plane and it’s fair to assume that all of them were seeking a place of belonging, a home. This is a human need, a human right.

In the midst of all this global and local conflict, it’s vital that we become critical of what’s happening in this country and the world, to form opinions about local, national and global events based on a variety of sources, not just the mainstream media.

Often it’s the voices that we don’t hear, such as those of young, poor, teenage girls, that can be the most insightful.

Every story is important and our common ground has to be the land we inhabit, a land that was the home of a people for thousands of years, a land that is undeniably ancient and sacred.

I’d like to thank ATYP, Alex Evans and the cast and crew for bringing this work to Sydney audiences.

Angela BetzienWriter

Hannah CoxJordan

Hannah’s introduction to

the stage was through playing a questionable rendition of Somewhere over the Rainbow on the Trumpet, in a local Eisteddfod, aged ten. Her passion for performance increased tenfold when, upon moving to Indonesia, she discovered acting during her final years of schooling, leading to her participation in three productions with The Jakarta Opera. After returning to Sydney to study, Hannah became an active member of SUDS, (the University of Sydney’s Dramatic Society), most recently performing as Kassandra in the SUDS 125th Anniversary Production of Agamemnon, directed by Pierce Wilcox. In addition to this Hannah was involved in the 2014 Sydney Fringe Festivals’ The Chairs, as well as numerous SUDS productions including The Removalists, Hamlet, 4:48 Psychosis and Patrick Marber’s

Closer. This is Hannah’s first production with ATYP, and marks the continuation of her passionate obsession with storytelling and performance.

Holly FraserRicky

Holly graduated from The

McDonald College of Performing Arts in 2012 and was awarded a scholarship to study at the Atlantic Acting School in NYC. Theatre credits include: The War of the Roses (STC 2009), Blood Wedding (STC 2011), Spur of the Moment (ATYP 2013), Bock Kills Her Father (107 Projects 2014). Film and TV credits include: My Place, Packed to the Rafters, In Your Dreams, The Last Race, Kid Detectives and Santa’s Apprentice.

Angela Betzien Writer

A multi-award winning writer

and a founding member of independent theatre company Real TV, Angela’s work has toured widely across Australia and internationally. Belvoir Theatre’s production of Angela’s play The Dark Room won the 2011 Sydney Theatre Award for Best New Australian work. The play had a reading in London in 2015 as part of Angela’s National Theatre Studio Attachment. Her play War Crimes won the 2012 Kit Denton Disfellowship and the QLD Literary Award for Playwriting; and was nominated for a NSW Premier’s Literary Award in 2012. Angela’s play Children of the Black Skirt toured Australian schools for three years and won the 2005 Drama Victoria Award for Best Performance by a Theatre Company for Secondary Schools. Another work, HOODS, toured extensively throughout Australia and internationally to Cortile Theatre Im Hof, Italy and

Dschungel Wien Theaterhaus, Austria in 2010. Angela’s other work includes Where in the World is Frank Sparrow? (commissioned by Graffiti Theatre, Ireland), The Girl Who Cried Wolf (commissioned by Sydney Opera House:Ed), Helicopter (Melbourne Theatre Company); TALL MAN (Creative Regions); The Teenage Alchemist (commissioned by ATYP and Camp Quality); Princess Of Suburbia (Real TV); and The Kingswood Kids (La Boite). She is the Patrick White Fellow at Sydney Theatre Company for 2014. Angela’s new commission by Playwriting Australia, Belvoir and State Theatre Company Mortido premieres at Belvoir and State Theatre Company in 2015.

Alex Evans Director

Alex is a Director, Facilitator and

Visual Artist based in London.He trained at the University of Hull (BA Hons Drama) and Wimbledon School of Art (MA Visual Theatre) and has since worked across the world on numerous projects alongside professionals, young people and communities. His work as a facilitator and pedagogue extends to creative projects and interventions in theatres, schools, galleries, healthcare settings and public spaces, producing puppetry, carnival and visual arts through accessible and inclusive processes. He has worked in collaboration with numerous arts organisations across the UK including MK Gallery, Goldsmiths University, Emergency Exit Arts, South Hill Park Arts Centre, London Bubble and the Victoria and Albert Museum. Notable projects include: Beginning (2011) and Black Stone (2012) for EEA London as part of the European partnership Platform 11+, Speech Bubbles for London Bubble Theatre Company (2007-2015), The International Maldives Whaleshark Festival, Dhigura (2013) and ReTold (2015) for Kazzum Arts Project.

Emma Reyes Designer

Since graduating from NIDA in

2004, Emma has worked as a Costume and Set designer, maker, costume supervisor and buyer. For ATYP she has worked as Costume and Set Designer for Luke Lloyd: Alienoid (2014), Compass (2013) and Max Remy Super Spy (2012); and elsewhere, as Costume Designer for Hide by Deborah Brown for the Campbelltown Arts Centre (2015); as Costume Designer for Belong by Bangarra Dance Theatre (2011); The Chronic Ills of Robert Zimmerman (AKA Bob Dylan) for Tamarama Rock Surfers; and as Costume Supervisor for Bangarra Dance Theatre shows Of Earth and Sky (2010), Fire (2009), True Stories (2007), Clan (2007) and as an assistant on Mathinna (2008). She lived and worked in London for several years, where she was a costumier at Cosprop, which produced costumes for films such as Pirates of the Caribbean, Atonement and Pride and Prejudice. Emma has also worked as a costume maker for MTC, Circus Oz, the Sydney Festival, Opera Australia, various TV shows, music videos, films, and independent productions.

Alex Berlage Lighting Designer

Design credits for ATYP include:

Between Us, Luke Lloyd: Alienoid. For The OldFitz:Men, Freak Winds,  Howie the Rookie. For Hayes Theatre: Dogfight, Everybody Loves Lucy. For New Theatre:  School for Scandal, Book of Days. For NIDA: The Tempest, The Dissolving Self, Antigone, Rausch, Winterreise, The Red Shoes, Klutz, Fewer Emergencies. As Set Lighting Designer: For The Kings Collective: The Sugar Syndrome. As Assistant/Associate Designer: Boys Will Be Boys, Velvet, Deathtrap, Ruby’s Wish. Alex was a participant atthe 2014 Watermill Center International Summer Program in New York. He was also awarded the 2013 Peter Baynes Memorial New York Scholarship and the 2014 Leslie Walford AM Award. Alex graduated from NIDA with a Bachelor of Dramatic Art (Production).

Tom HoganSound Designer

Tom is a composer and sound artist,

and also mysteriously moonlights

as writer and performance poet, Scott Sandwich. His work has been showcased nationally and internationally. Tom’s most recent designs and collaborations include Mountain by Pilar Mata Dupont (2015, PICA, WA), The Epic (2015, Blue Room, WA), You’ll Be Sorry When I’m Dead by Tarryn Gill (2014, Moana Space, WA), This House Is Mine for Milk Crate Theatre (2015), Trojans by Team Mess (2014, PACT), and The Mesh with Arthur Productions (2014, Red Stitch, VIC). He has composed for over 40 productions nationally and he feels darn good about it. He is currently performing his pet project The Epic, with Finn O’Branagáin, as part of Bondi Feast, and it’s the most fun he’s ever had.

Grace PartridgeAssistant Director / Vocal Coach

Grace’s ATYP credits include: Behind the Red Curtain event, at which Baz Lurhmann became ATYP Ambassador, Boy Overboard and Kaleidoscope. Grace was awarded a scholarship to study musical theatre at the prestigious Interlochen Arts Academy in Michigan, USA. In 2011, Grace attended LAMDA and underwent

a course in Shakespearean Theatre. In 2013, her self-devised solo show was selected for the Short+Sweet Cabaret Festival in Newtown, and in early 2014, (after continued volunteer work), Milk Crate Theatre Company offered her a yearlong position as a ‘Trainee Associate Artist’ to accompany her musical work/performance work with them. She teaches private vocal students and theatre classes weekly, and is excited to complete two undergraduate degrees at the end of this year.

Tia JordanMovement Coach

Tia Jordan’s concepts and

choreography have been embodied on stage and screen by Danielle Spencer, Toni Pearon, Justine Clarke, David Campbell, and Delta Goodrem and have been seen on TV and in music videos. She was choreographer and casting consultant on Justine Clarke’s DVD’s I Like To Sing, and Songs To Make You Smile, and was artistic consultant on Justine’s Little Day Out Live Tour. For the Australian Institute of Music, Tia was Stuart Maunder’s Associate Director on Sweeney Todd, and Director/Choreographer for the annual

AIM showcases Songs for a Desert Island, Woodstock, Electric Dreams, and AIM goes to the Movies. Musicals choreographed by Tia include My Favourite Year and Sweeney Todd (Dir Stuart Maunder), Girl Crazy (Dir Nicholas Hammond), a.Void and Virgins (Dir Kris Stewart), City of Angels and Dusty (Dir Jennifer Murphy), and an excerpt of Silver Donkey (Dir Neil Gooding). Tia is the Head of Movement and Associate Director of the full time course at the Actors Centre Australia.

Sorie BanguraStage Manager

Sorie has been with ATYP since

2002, attending many workshops and eventually making the shift to assisting and teaching. As a Stage Manager Sorie has worked on ATYP productions Rainbow’s Ending (2011) and Click (2011) and for the NSW State Public Schools Arts Unit with The Grandfathers (2012), The Miracle (2012), We Lost Elijah (2013), What Are They Like (2013), Cyberbile (2014), and DNA (2015), along with OnStage, Writers OnStage and the NSW State Drama Festival from 2012 to the present, and Pronoun (2015) with Bittersweet Productions.

Charlotte HazzardJade

Since graduating from WAAPA in 2011, Charlotte has worked with ATYP in The Voices Project, 2012: The One Sure Thing, on Channel 7’s Packed to the Rafters and crime drama Winter, the ABC miniseries Anzac Girls, and Channel 9’s Love Child; as well as in the yet to be released feature film Body In The Yard.

Odetta QuinnIshtar

Odetta Quinn is currently

completing her Higher School Certificate at SCEGGS Darlinghurst. Her interest in drama began at an early age as a regular theatre and cinema-goer and she became actively involved in drama at SCEGGS as well as in the greater community, completing several short courses at the National Institute of Dramatic Art and Screenwise. Her theatre credits include lead roles in A Voyage Round My Father (Sydney Grammar School, 2013), Becket (Sydney Grammar School, 2014), Urban Tales (The Scots College, 2014), The Shakespeare Festival (SCEGGS

Darlinghurst, 2012, 2013, 2014), in addition to working backstage in costume for Beyond the Blue (SCEGGS Darlinghurst, 2013). Odetta loves working with the team at the Australian Theatre for Young People and hopes to pursue directing and writing as career paths afterfinishing school.

Jane WattLara

Jane moved to Sydney in 2010 to

study a double degree of Arts/Science at the University of Sydney, where she was heavily involved in the Drama, sketch, improv and musical societies. In 2012 she began studying acting at the Western Australian Academy of Performing Arts. During her three years at WAAPA she performed memorable roles such as Queenie Ayre in The Golden Age (Dir. Andrew Lewis), The Actor in Arturo Ui (Dir. Michael Jenn), Helene in Festen (Dir. Andrea Moor) and Jaggers in Great Expectations (Dir. Andrew Lewis). Jane also recently starred in the ABC TV miniseries The War that Changed Us as army nurse Kit McNaughton (Dir. James Bogle and Don Featherstone). This is her first time working with ATYP.

CREATIVES

CAST OURSUPPORT_ERS

War Crimes ispresented in partnership with

Pilot Theatre from York Theatre RoyalWar Crimes is made possible through the support of

the European Union Cultural Fund as part of a projectconnecting 6 companies and 3 continents -

all discussing issues of migration and immigrationand its impact on young people in particular.

THEPRODUCERS’CIRCLEAntoinette AlbertRobert Albert AO & Libby AlbertEdward & Annie SimpsonMartin Dickson AM & Susie DicksonNancy Fox & Bruce Arnold

Alexandra Holcomb & Andrew BirdMichael Ihlein & Gosia Dobrowolska

Rebel Penfold-Russell OAMTimothy Samway &

Jemima Littlemore

Hannah CoxJordan

Hannah’s introduction to

the stage was through playing a questionable rendition of Somewhere over the Rainbow on the Trumpet, in a local Eisteddfod, aged ten. Her passion for performance increased tenfold when, upon moving to Indonesia, she discovered acting during her final years of schooling, leading to her participation in three productions with The Jakarta Opera. After returning to Sydney to study, Hannah became an active member of SUDS, (the University of Sydney’s Dramatic Society), most recently performing as Kassandra in the SUDS 125th Anniversary Production of Agamemnon, directed by Pierce Wilcox. In addition to this Hannah was involved in the 2014 Sydney Fringe Festivals’ The Chairs, as well as numerous SUDS productions including The Removalists, Hamlet, 4:48 Psychosis and Patrick Marber’s

Closer. This is Hannah’s first production with ATYP, and marks the continuation of her passionate obsession with storytelling and performance.

Holly FraserRicky

Holly graduated from The

McDonald College of Performing Arts in 2012 and was awarded a scholarship to study at the Atlantic Acting School in NYC. Theatre credits include: The War of the Roses (STC 2009), Blood Wedding (STC 2011), Spur of the Moment (ATYP 2013), Bock Kills Her Father (107 Projects 2014). Film and TV credits include: My Place, Packed to the Rafters, In Your Dreams, The Last Race, Kid Detectives and Santa’s Apprentice.

Angela Betzien Writer

A multi-award winning writer

and a founding member of independent theatre company Real TV, Angela’s work has toured widely across Australia and internationally. Belvoir Theatre’s production of Angela’s play The Dark Room won the 2011 Sydney Theatre Award for Best New Australian work. The play had a reading in London in 2015 as part of Angela’s National Theatre Studio Attachment. Her play War Crimes won the 2012 Kit Denton Disfellowship and the QLD Literary Award for Playwriting; and was nominated for a NSW Premier’s Literary Award in 2012. Angela’s play Children of the Black Skirt toured Australian schools for three years and won the 2005 Drama Victoria Award for Best Performance by a Theatre Company for Secondary Schools. Another work, HOODS, toured extensively throughout Australia and internationally to Cortile Theatre Im Hof, Italy and

Dschungel Wien Theaterhaus, Austria in 2010. Angela’s other work includes Where in the World is Frank Sparrow? (commissioned by Graffiti Theatre, Ireland), The Girl Who Cried Wolf (commissioned by Sydney Opera House:Ed), Helicopter (Melbourne Theatre Company); TALL MAN (Creative Regions); The Teenage Alchemist (commissioned by ATYP and Camp Quality); Princess Of Suburbia (Real TV); and The Kingswood Kids (La Boite). She is the Patrick White Fellow at Sydney Theatre Company for 2014. Angela’s new commission by Playwriting Australia, Belvoir and State Theatre Company Mortido premieres at Belvoir and State Theatre Company in 2015.

Alex Evans Director

Alex is a Director, Facilitator and

Visual Artist based in London.He trained at the University of Hull (BA Hons Drama) and Wimbledon School of Art (MA Visual Theatre) and has since worked across the world on numerous projects alongside professionals, young people and communities. His work as a facilitator and pedagogue extends to creative projects and interventions in theatres, schools, galleries, healthcare settings and public spaces, producing puppetry, carnival and visual arts through accessible and inclusive processes. He has worked in collaboration with numerous arts organisations across the UK including MK Gallery, Goldsmiths University, Emergency Exit Arts, South Hill Park Arts Centre, London Bubble and the Victoria and Albert Museum. Notable projects include: Beginning (2011) and Black Stone (2012) for EEA London as part of the European partnership Platform 11+, Speech Bubbles for London Bubble Theatre Company (2007-2015), The International Maldives Whaleshark Festival, Dhigura (2013) and ReTold (2015) for Kazzum Arts Project.

Emma Reyes Designer

Since graduating from NIDA in

2004, Emma has worked as a Costume and Set designer, maker, costume supervisor and buyer. For ATYP she has worked as Costume and Set Designer for Luke Lloyd: Alienoid (2014), Compass (2013) and Max Remy Super Spy (2012); and elsewhere, as Costume Designer for Hide by Deborah Brown for the Campbelltown Arts Centre (2015); as Costume Designer for Belong by Bangarra Dance Theatre (2011); The Chronic Ills of Robert Zimmerman (AKA Bob Dylan) for Tamarama Rock Surfers; and as Costume Supervisor for Bangarra Dance Theatre shows Of Earth and Sky (2010), Fire (2009), True Stories (2007), Clan (2007) and as an assistant on Mathinna (2008). She lived and worked in London for several years, where she was a costumier at Cosprop, which produced costumes for films such as Pirates of the Caribbean, Atonement and Pride and Prejudice. Emma has also worked as a costume maker for MTC, Circus Oz, the Sydney Festival, Opera Australia, various TV shows, music videos, films, and independent productions.

Alex Berlage Lighting Designer

Design credits for ATYP include:

Between Us, Luke Lloyd: Alienoid. For The OldFitz:Men, Freak Winds,  Howie the Rookie. For Hayes Theatre: Dogfight, Everybody Loves Lucy. For New Theatre:  School for Scandal, Book of Days. For NIDA: The Tempest, The Dissolving Self, Antigone, Rausch, Winterreise, The Red Shoes, Klutz, Fewer Emergencies. As Set Lighting Designer: For The Kings Collective: The Sugar Syndrome. As Assistant/Associate Designer: Boys Will Be Boys, Velvet, Deathtrap, Ruby’s Wish. Alex was a participant atthe 2014 Watermill Center International Summer Program in New York. He was also awarded the 2013 Peter Baynes Memorial New York Scholarship and the 2014 Leslie Walford AM Award. Alex graduated from NIDA with a Bachelor of Dramatic Art (Production).

Tom HoganSound Designer

Tom is a composer and sound artist,

and also mysteriously moonlights

as writer and performance poet, Scott Sandwich. His work has been showcased nationally and internationally. Tom’s most recent designs and collaborations include Mountain by Pilar Mata Dupont (2015, PICA, WA), The Epic (2015, Blue Room, WA), You’ll Be Sorry When I’m Dead by Tarryn Gill (2014, Moana Space, WA), This House Is Mine for Milk Crate Theatre (2015), Trojans by Team Mess (2014, PACT), and The Mesh with Arthur Productions (2014, Red Stitch, VIC). He has composed for over 40 productions nationally and he feels darn good about it. He is currently performing his pet project The Epic, with Finn O’Branagáin, as part of Bondi Feast, and it’s the most fun he’s ever had.

Grace PartridgeAssistant Director / Vocal Coach

Grace’s ATYP credits include: Behind the Red Curtain event, at which Baz Lurhmann became ATYP Ambassador, Boy Overboard and Kaleidoscope. Grace was awarded a scholarship to study musical theatre at the prestigious Interlochen Arts Academy in Michigan, USA. In 2011, Grace attended LAMDA and underwent

a course in Shakespearean Theatre. In 2013, her self-devised solo show was selected for the Short+Sweet Cabaret Festival in Newtown, and in early 2014, (after continued volunteer work), Milk Crate Theatre Company offered her a yearlong position as a ‘Trainee Associate Artist’ to accompany her musical work/performance work with them. She teaches private vocal students and theatre classes weekly, and is excited to complete two undergraduate degrees at the end of this year.

Tia JordanMovement Coach

Tia Jordan’s concepts and

choreography have been embodied on stage and screen by Danielle Spencer, Toni Pearon, Justine Clarke, David Campbell, and Delta Goodrem and have been seen on TV and in music videos. She was choreographer and casting consultant on Justine Clarke’s DVD’s I Like To Sing, and Songs To Make You Smile, and was artistic consultant on Justine’s Little Day Out Live Tour. For the Australian Institute of Music, Tia was Stuart Maunder’s Associate Director on Sweeney Todd, and Director/Choreographer for the annual

AIM showcases Songs for a Desert Island, Woodstock, Electric Dreams, and AIM goes to the Movies. Musicals choreographed by Tia include My Favourite Year and Sweeney Todd (Dir Stuart Maunder), Girl Crazy (Dir Nicholas Hammond), a.Void and Virgins (Dir Kris Stewart), City of Angels and Dusty (Dir Jennifer Murphy), and an excerpt of Silver Donkey (Dir Neil Gooding). Tia is the Head of Movement and Associate Director of the full time course at the Actors Centre Australia.

Sorie BanguraStage Manager

Sorie has been with ATYP since

2002, attending many workshops and eventually making the shift to assisting and teaching. As a Stage Manager Sorie has worked on ATYP productions Rainbow’s Ending (2011) and Click (2011) and for the NSW State Public Schools Arts Unit with The Grandfathers (2012), The Miracle (2012), We Lost Elijah (2013), What Are They Like (2013), Cyberbile (2014), and DNA (2015), along with OnStage, Writers OnStage and the NSW State Drama Festival from 2012 to the present, and Pronoun (2015) with Bittersweet Productions.

Charlotte HazzardJade

Since graduating from WAAPA in 2011, Charlotte has worked with ATYP in The Voices Project, 2012: The One Sure Thing, on Channel 7’s Packed to the Rafters and crime drama Winter, the ABC miniseries Anzac Girls, and Channel 9’s Love Child; as well as in the yet to be released feature film Body In The Yard.

Odetta QuinnIshtar

Odetta Quinn is currently

completing her Higher School Certificate at SCEGGS Darlinghurst. Her interest in drama began at an early age as a regular theatre and cinema-goer and she became actively involved in drama at SCEGGS as well as in the greater community, completing several short courses at the National Institute of Dramatic Art and Screenwise. Her theatre credits include lead roles in A Voyage Round My Father (Sydney Grammar School, 2013), Becket (Sydney Grammar School, 2014), Urban Tales (The Scots College, 2014), The Shakespeare Festival (SCEGGS

Darlinghurst, 2012, 2013, 2014), in addition to working backstage in costume for Beyond the Blue (SCEGGS Darlinghurst, 2013). Odetta loves working with the team at the Australian Theatre for Young People and hopes to pursue directing and writing as career paths afterfinishing school.

Jane WattLara

Jane moved to Sydney in 2010 to

study a double degree of Arts/Science at the University of Sydney, where she was heavily involved in the Drama, sketch, improv and musical societies. In 2012 she began studying acting at the Western Australian Academy of Performing Arts. During her three years at WAAPA she performed memorable roles such as Queenie Ayre in The Golden Age (Dir. Andrew Lewis), The Actor in Arturo Ui (Dir. Michael Jenn), Helene in Festen (Dir. Andrea Moor) and Jaggers in Great Expectations (Dir. Andrew Lewis). Jane also recently starred in the ABC TV miniseries The War that Changed Us as army nurse Kit McNaughton (Dir. James Bogle and Don Featherstone). This is her first time working with ATYP.

CREATIVES

CAST OURSUPPORT_ERS

War Crimes ispresented in partnership with

Pilot Theatre from York Theatre RoyalWar Crimes is made possible through the support of

the European Union Cultural Fund as part of a projectconnecting 6 companies and 3 continents -

all discussing issues of migration and immigrationand its impact on young people in particular.

THEPRODUCERS’CIRCLEAntoinette AlbertRobert Albert AO & Libby AlbertEdward & Annie SimpsonMartin Dickson AM & Susie DicksonNancy Fox & Bruce Arnold

Alexandra Holcomb & Andrew BirdMichael Ihlein & Gosia Dobrowolska

Rebel Penfold-Russell OAMTimothy Samway &

Jemima Littlemore

Hannah CoxJordan

Hannah’s introduction to

the stage was through playing a questionable rendition of Somewhere over the Rainbow on the Trumpet, in a local Eisteddfod, aged ten. Her passion for performance increased tenfold when, upon moving to Indonesia, she discovered acting during her final years of schooling, leading to her participation in three productions with The Jakarta Opera. After returning to Sydney to study, Hannah became an active member of SUDS, (the University of Sydney’s Dramatic Society), most recently performing as Kassandra in the SUDS 125th Anniversary Production of Agamemnon, directed by Pierce Wilcox. In addition to this Hannah was involved in the 2014 Sydney Fringe Festivals’ The Chairs, as well as numerous SUDS productions including The Removalists, Hamlet, 4:48 Psychosis and Patrick Marber’s

Closer. This is Hannah’s first production with ATYP, and marks the continuation of her passionate obsession with storytelling and performance.

Holly FraserRicky

Holly graduated from The

McDonald College of Performing Arts in 2012 and was awarded a scholarship to study at the Atlantic Acting School in NYC. Theatre credits include: The War of the Roses (STC 2009), Blood Wedding (STC 2011), Spur of the Moment (ATYP 2013), Bock Kills Her Father (107 Projects 2014). Film and TV credits include: My Place, Packed to the Rafters, In Your Dreams, The Last Race, Kid Detectives and Santa’s Apprentice.

Angela Betzien Writer

A multi-award winning writer

and a founding member of independent theatre company Real TV, Angela’s work has toured widely across Australia and internationally. Belvoir Theatre’s production of Angela’s play The Dark Room won the 2011 Sydney Theatre Award for Best New Australian work. The play had a reading in London in 2015 as part of Angela’s National Theatre Studio Attachment. Her play War Crimes won the 2012 Kit Denton Disfellowship and the QLD Literary Award for Playwriting; and was nominated for a NSW Premier’s Literary Award in 2012. Angela’s play Children of the Black Skirt toured Australian schools for three years and won the 2005 Drama Victoria Award for Best Performance by a Theatre Company for Secondary Schools. Another work, HOODS, toured extensively throughout Australia and internationally to Cortile Theatre Im Hof, Italy and

Dschungel Wien Theaterhaus, Austria in 2010. Angela’s other work includes Where in the World is Frank Sparrow? (commissioned by Graffiti Theatre, Ireland), The Girl Who Cried Wolf (commissioned by Sydney Opera House:Ed), Helicopter (Melbourne Theatre Company); TALL MAN (Creative Regions); The Teenage Alchemist (commissioned by ATYP and Camp Quality); Princess Of Suburbia (Real TV); and The Kingswood Kids (La Boite). She is the Patrick White Fellow at Sydney Theatre Company for 2014. Angela’s new commission by Playwriting Australia, Belvoir and State Theatre Company Mortido premieres at Belvoir and State Theatre Company in 2015.

Alex Evans Director

Alex is a Director, Facilitator and

Visual Artist based in London.He trained at the University of Hull (BA Hons Drama) and Wimbledon School of Art (MA Visual Theatre) and has since worked across the world on numerous projects alongside professionals, young people and communities. His work as a facilitator and pedagogue extends to creative projects and interventions in theatres, schools, galleries, healthcare settings and public spaces, producing puppetry, carnival and visual arts through accessible and inclusive processes. He has worked in collaboration with numerous arts organisations across the UK including MK Gallery, Goldsmiths University, Emergency Exit Arts, South Hill Park Arts Centre, London Bubble and the Victoria and Albert Museum. Notable projects include: Beginning (2011) and Black Stone (2012) for EEA London as part of the European partnership Platform 11+, Speech Bubbles for London Bubble Theatre Company (2007-2015), The International Maldives Whaleshark Festival, Dhigura (2013) and ReTold (2015) for Kazzum Arts Project.

Emma Reyes Designer

Since graduating from NIDA in

2004, Emma has worked as a Costume and Set designer, maker, costume supervisor and buyer. For ATYP she has worked as Costume and Set Designer for Luke Lloyd: Alienoid (2014), Compass (2013) and Max Remy Super Spy (2012); and elsewhere, as Costume Designer for Hide by Deborah Brown for the Campbelltown Arts Centre (2015); as Costume Designer for Belong by Bangarra Dance Theatre (2011); The Chronic Ills of Robert Zimmerman (AKA Bob Dylan) for Tamarama Rock Surfers; and as Costume Supervisor for Bangarra Dance Theatre shows Of Earth and Sky (2010), Fire (2009), True Stories (2007), Clan (2007) and as an assistant on Mathinna (2008). She lived and worked in London for several years, where she was a costumier at Cosprop, which produced costumes for films such as Pirates of the Caribbean, Atonement and Pride and Prejudice. Emma has also worked as a costume maker for MTC, Circus Oz, the Sydney Festival, Opera Australia, various TV shows, music videos, films, and independent productions.

Alex Berlage Lighting Designer

Design credits for ATYP include:

Between Us, Luke Lloyd: Alienoid. For The OldFitz:Men, Freak Winds,  Howie the Rookie. For Hayes Theatre: Dogfight, Everybody Loves Lucy. For New Theatre:  School for Scandal, Book of Days. For NIDA: The Tempest, The Dissolving Self, Antigone, Rausch, Winterreise, The Red Shoes, Klutz, Fewer Emergencies. As Set Lighting Designer: For The Kings Collective: The Sugar Syndrome. As Assistant/Associate Designer: Boys Will Be Boys, Velvet, Deathtrap, Ruby’s Wish. Alex was a participant atthe 2014 Watermill Center International Summer Program in New York. He was also awarded the 2013 Peter Baynes Memorial New York Scholarship and the 2014 Leslie Walford AM Award. Alex graduated from NIDA with a Bachelor of Dramatic Art (Production).

Tom HoganSound Designer

Tom is a composer and sound artist,

and also mysteriously moonlights

as writer and performance poet, Scott Sandwich. His work has been showcased nationally and internationally. Tom’s most recent designs and collaborations include Mountain by Pilar Mata Dupont (2015, PICA, WA), The Epic (2015, Blue Room, WA), You’ll Be Sorry When I’m Dead by Tarryn Gill (2014, Moana Space, WA), This House Is Mine for Milk Crate Theatre (2015), Trojans by Team Mess (2014, PACT), and The Mesh with Arthur Productions (2014, Red Stitch, VIC). He has composed for over 40 productions nationally and he feels darn good about it. He is currently performing his pet project The Epic, with Finn O’Branagáin, as part of Bondi Feast, and it’s the most fun he’s ever had.

Grace PartridgeAssistant Director / Vocal Coach

Grace’s ATYP credits include: Behind the Red Curtain event, at which Baz Lurhmann became ATYP Ambassador, Boy Overboard and Kaleidoscope. Grace was awarded a scholarship to study musical theatre at the prestigious Interlochen Arts Academy in Michigan, USA. In 2011, Grace attended LAMDA and underwent

a course in Shakespearean Theatre. In 2013, her self-devised solo show was selected for the Short+Sweet Cabaret Festival in Newtown, and in early 2014, (after continued volunteer work), Milk Crate Theatre Company offered her a yearlong position as a ‘Trainee Associate Artist’ to accompany her musical work/performance work with them. She teaches private vocal students and theatre classes weekly, and is excited to complete two undergraduate degrees at the end of this year.

Tia JordanMovement Coach

Tia Jordan’s concepts and

choreography have been embodied on stage and screen by Danielle Spencer, Toni Pearon, Justine Clarke, David Campbell, and Delta Goodrem and have been seen on TV and in music videos. She was choreographer and casting consultant on Justine Clarke’s DVD’s I Like To Sing, and Songs To Make You Smile, and was artistic consultant on Justine’s Little Day Out Live Tour. For the Australian Institute of Music, Tia was Stuart Maunder’s Associate Director on Sweeney Todd, and Director/Choreographer for the annual

AIM showcases Songs for a Desert Island, Woodstock, Electric Dreams, and AIM goes to the Movies. Musicals choreographed by Tia include My Favourite Year and Sweeney Todd (Dir Stuart Maunder), Girl Crazy (Dir Nicholas Hammond), a.Void and Virgins (Dir Kris Stewart), City of Angels and Dusty (Dir Jennifer Murphy), and an excerpt of Silver Donkey (Dir Neil Gooding). Tia is the Head of Movement and Associate Director of the full time course at the Actors Centre Australia.

Sorie BanguraStage Manager

Sorie has been with ATYP since

2002, attending many workshops and eventually making the shift to assisting and teaching. As a Stage Manager Sorie has worked on ATYP productions Rainbow’s Ending (2011) and Click (2011) and for the NSW State Public Schools Arts Unit with The Grandfathers (2012), The Miracle (2012), We Lost Elijah (2013), What Are They Like (2013), Cyberbile (2014), and DNA (2015), along with OnStage, Writers OnStage and the NSW State Drama Festival from 2012 to the present, and Pronoun (2015) with Bittersweet Productions.

Charlotte HazzardJade

Since graduating from WAAPA in 2011, Charlotte has worked with ATYP in The Voices Project, 2012: The One Sure Thing, on Channel 7’s Packed to the Rafters and crime drama Winter, the ABC miniseries Anzac Girls, and Channel 9’s Love Child; as well as in the yet to be released feature film Body In The Yard.

Odetta QuinnIshtar

Odetta Quinn is currently

completing her Higher School Certificate at SCEGGS Darlinghurst. Her interest in drama began at an early age as a regular theatre and cinema-goer and she became actively involved in drama at SCEGGS as well as in the greater community, completing several short courses at the National Institute of Dramatic Art and Screenwise. Her theatre credits include lead roles in A Voyage Round My Father (Sydney Grammar School, 2013), Becket (Sydney Grammar School, 2014), Urban Tales (The Scots College, 2014), The Shakespeare Festival (SCEGGS

Darlinghurst, 2012, 2013, 2014), in addition to working backstage in costume for Beyond the Blue (SCEGGS Darlinghurst, 2013). Odetta loves working with the team at the Australian Theatre for Young People and hopes to pursue directing and writing as career paths afterfinishing school.

Jane WattLara

Jane moved to Sydney in 2010 to

study a double degree of Arts/Science at the University of Sydney, where she was heavily involved in the Drama, sketch, improv and musical societies. In 2012 she began studying acting at the Western Australian Academy of Performing Arts. During her three years at WAAPA she performed memorable roles such as Queenie Ayre in The Golden Age (Dir. Andrew Lewis), The Actor in Arturo Ui (Dir. Michael Jenn), Helene in Festen (Dir. Andrea Moor) and Jaggers in Great Expectations (Dir. Andrew Lewis). Jane also recently starred in the ABC TV miniseries The War that Changed Us as army nurse Kit McNaughton (Dir. James Bogle and Don Featherstone). This is her first time working with ATYP.

CREATIVES

CAST OURSUPPORT_ERS

War Crimes ispresented in partnership with

Pilot Theatre from York Theatre RoyalWar Crimes is made possible through the support of

the European Union Cultural Fund as part of a projectconnecting 6 companies and 3 continents -

all discussing issues of migration and immigrationand its impact on young people in particular.

THEPRODUCERS’CIRCLEAntoinette AlbertRobert Albert AO & Libby AlbertEdward & Annie SimpsonMartin Dickson AM & Susie DicksonNancy Fox & Bruce Arnold

Alexandra Holcomb & Andrew BirdMichael Ihlein & Gosia Dobrowolska

Rebel Penfold-Russell OAMTimothy Samway &

Jemima Littlemore

Hannah CoxJordan

Hannah’s introduction to

the stage was through playing a questionable rendition of Somewhere over the Rainbow on the Trumpet, in a local Eisteddfod, aged ten. Her passion for performance increased tenfold when, upon moving to Indonesia, she discovered acting during her final years of schooling, leading to her participation in three productions with The Jakarta Opera. After returning to Sydney to study, Hannah became an active member of SUDS, (the University of Sydney’s Dramatic Society), most recently performing as Kassandra in the SUDS 125th Anniversary Production of Agamemnon, directed by Pierce Wilcox. In addition to this Hannah was involved in the 2014 Sydney Fringe Festivals’ The Chairs, as well as numerous SUDS productions including The Removalists, Hamlet, 4:48 Psychosis and Patrick Marber’s

Closer. This is Hannah’s first production with ATYP, and marks the continuation of her passionate obsession with storytelling and performance.

Holly FraserRicky

Holly graduated from The

McDonald College of Performing Arts in 2012 and was awarded a scholarship to study at the Atlantic Acting School in NYC. Theatre credits include: The War of the Roses (STC 2009), Blood Wedding (STC 2011), Spur of the Moment (ATYP 2013), Bock Kills Her Father (107 Projects 2014). Film and TV credits include: My Place, Packed to the Rafters, In Your Dreams, The Last Race, Kid Detectives and Santa’s Apprentice.

Angela Betzien Writer

A multi-award winning writer

and a founding member of independent theatre company Real TV, Angela’s work has toured widely across Australia and internationally. Belvoir Theatre’s production of Angela’s play The Dark Room won the 2011 Sydney Theatre Award for Best New Australian work. The play had a reading in London in 2015 as part of Angela’s National Theatre Studio Attachment. Her play War Crimes won the 2012 Kit Denton Disfellowship and the QLD Literary Award for Playwriting; and was nominated for a NSW Premier’s Literary Award in 2012. Angela’s play Children of the Black Skirt toured Australian schools for three years and won the 2005 Drama Victoria Award for Best Performance by a Theatre Company for Secondary Schools. Another work, HOODS, toured extensively throughout Australia and internationally to Cortile Theatre Im Hof, Italy and

Dschungel Wien Theaterhaus, Austria in 2010. Angela’s other work includes Where in the World is Frank Sparrow? (commissioned by Graffiti Theatre, Ireland), The Girl Who Cried Wolf (commissioned by Sydney Opera House:Ed), Helicopter (Melbourne Theatre Company); TALL MAN (Creative Regions); The Teenage Alchemist (commissioned by ATYP and Camp Quality); Princess Of Suburbia (Real TV); and The Kingswood Kids (La Boite). She is the Patrick White Fellow at Sydney Theatre Company for 2014. Angela’s new commission by Playwriting Australia, Belvoir and State Theatre Company Mortido premieres at Belvoir and State Theatre Company in 2015.

Alex Evans Director

Alex is a Director, Facilitator and

Visual Artist based in London.He trained at the University of Hull (BA Hons Drama) and Wimbledon School of Art (MA Visual Theatre) and has since worked across the world on numerous projects alongside professionals, young people and communities. His work as a facilitator and pedagogue extends to creative projects and interventions in theatres, schools, galleries, healthcare settings and public spaces, producing puppetry, carnival and visual arts through accessible and inclusive processes. He has worked in collaboration with numerous arts organisations across the UK including MK Gallery, Goldsmiths University, Emergency Exit Arts, South Hill Park Arts Centre, London Bubble and the Victoria and Albert Museum. Notable projects include: Beginning (2011) and Black Stone (2012) for EEA London as part of the European partnership Platform 11+, Speech Bubbles for London Bubble Theatre Company (2007-2015), The International Maldives Whaleshark Festival, Dhigura (2013) and ReTold (2015) for Kazzum Arts Project.

Emma Reyes Designer

Since graduating from NIDA in

2004, Emma has worked as a Costume and Set designer, maker, costume supervisor and buyer. For ATYP she has worked as Costume and Set Designer for Luke Lloyd: Alienoid (2014), Compass (2013) and Max Remy Super Spy (2012); and elsewhere, as Costume Designer for Hide by Deborah Brown for the Campbelltown Arts Centre (2015); as Costume Designer for Belong by Bangarra Dance Theatre (2011); The Chronic Ills of Robert Zimmerman (AKA Bob Dylan) for Tamarama Rock Surfers; and as Costume Supervisor for Bangarra Dance Theatre shows Of Earth and Sky (2010), Fire (2009), True Stories (2007), Clan (2007) and as an assistant on Mathinna (2008). She lived and worked in London for several years, where she was a costumier at Cosprop, which produced costumes for films such as Pirates of the Caribbean, Atonement and Pride and Prejudice. Emma has also worked as a costume maker for MTC, Circus Oz, the Sydney Festival, Opera Australia, various TV shows, music videos, films, and independent productions.

Alex Berlage Lighting Designer

Design credits for ATYP include:

Between Us, Luke Lloyd: Alienoid. For The OldFitz:Men, Freak Winds,  Howie the Rookie. For Hayes Theatre: Dogfight, Everybody Loves Lucy. For New Theatre:  School for Scandal, Book of Days. For NIDA: The Tempest, The Dissolving Self, Antigone, Rausch, Winterreise, The Red Shoes, Klutz, Fewer Emergencies. As Set Lighting Designer: For The Kings Collective: The Sugar Syndrome. As Assistant/Associate Designer: Boys Will Be Boys, Velvet, Deathtrap, Ruby’s Wish. Alex was a participant atthe 2014 Watermill Center International Summer Program in New York. He was also awarded the 2013 Peter Baynes Memorial New York Scholarship and the 2014 Leslie Walford AM Award. Alex graduated from NIDA with a Bachelor of Dramatic Art (Production).

Tom HoganSound Designer

Tom is a composer and sound artist,

and also mysteriously moonlights

as writer and performance poet, Scott Sandwich. His work has been showcased nationally and internationally. Tom’s most recent designs and collaborations include Mountain by Pilar Mata Dupont (2015, PICA, WA), The Epic (2015, Blue Room, WA), You’ll Be Sorry When I’m Dead by Tarryn Gill (2014, Moana Space, WA), This House Is Mine for Milk Crate Theatre (2015), Trojans by Team Mess (2014, PACT), and The Mesh with Arthur Productions (2014, Red Stitch, VIC). He has composed for over 40 productions nationally and he feels darn good about it. He is currently performing his pet project The Epic, with Finn O’Branagáin, as part of Bondi Feast, and it’s the most fun he’s ever had.

Grace PartridgeAssistant Director / Vocal Coach

Grace’s ATYP credits include: Behind the Red Curtain event, at which Baz Lurhmann became ATYP Ambassador, Boy Overboard and Kaleidoscope. Grace was awarded a scholarship to study musical theatre at the prestigious Interlochen Arts Academy in Michigan, USA. In 2011, Grace attended LAMDA and underwent

a course in Shakespearean Theatre. In 2013, her self-devised solo show was selected for the Short+Sweet Cabaret Festival in Newtown, and in early 2014, (after continued volunteer work), Milk Crate Theatre Company offered her a yearlong position as a ‘Trainee Associate Artist’ to accompany her musical work/performance work with them. She teaches private vocal students and theatre classes weekly, and is excited to complete two undergraduate degrees at the end of this year.

Tia JordanMovement Coach

Tia Jordan’s concepts and

choreography have been embodied on stage and screen by Danielle Spencer, Toni Pearon, Justine Clarke, David Campbell, and Delta Goodrem and have been seen on TV and in music videos. She was choreographer and casting consultant on Justine Clarke’s DVD’s I Like To Sing, and Songs To Make You Smile, and was artistic consultant on Justine’s Little Day Out Live Tour. For the Australian Institute of Music, Tia was Stuart Maunder’s Associate Director on Sweeney Todd, and Director/Choreographer for the annual

AIM showcases Songs for a Desert Island, Woodstock, Electric Dreams, and AIM goes to the Movies. Musicals choreographed by Tia include My Favourite Year and Sweeney Todd (Dir Stuart Maunder), Girl Crazy (Dir Nicholas Hammond), a.Void and Virgins (Dir Kris Stewart), City of Angels and Dusty (Dir Jennifer Murphy), and an excerpt of Silver Donkey (Dir Neil Gooding). Tia is the Head of Movement and Associate Director of the full time course at the Actors Centre Australia.

Sorie BanguraStage Manager

Sorie has been with ATYP since

2002, attending many workshops and eventually making the shift to assisting and teaching. As a Stage Manager Sorie has worked on ATYP productions Rainbow’s Ending (2011) and Click (2011) and for the NSW State Public Schools Arts Unit with The Grandfathers (2012), The Miracle (2012), We Lost Elijah (2013), What Are They Like (2013), Cyberbile (2014), and DNA (2015), along with OnStage, Writers OnStage and the NSW State Drama Festival from 2012 to the present, and Pronoun (2015) with Bittersweet Productions.

Charlotte HazzardJade

Since graduating from WAAPA in 2011, Charlotte has worked with ATYP in The Voices Project, 2012: The One Sure Thing, on Channel 7’s Packed to the Rafters and crime drama Winter, the ABC miniseries Anzac Girls, and Channel 9’s Love Child; as well as in the yet to be released feature film Body In The Yard.

Odetta QuinnIshtar

Odetta Quinn is currently

completing her Higher School Certificate at SCEGGS Darlinghurst. Her interest in drama began at an early age as a regular theatre and cinema-goer and she became actively involved in drama at SCEGGS as well as in the greater community, completing several short courses at the National Institute of Dramatic Art and Screenwise. Her theatre credits include lead roles in A Voyage Round My Father (Sydney Grammar School, 2013), Becket (Sydney Grammar School, 2014), Urban Tales (The Scots College, 2014), The Shakespeare Festival (SCEGGS

Darlinghurst, 2012, 2013, 2014), in addition to working backstage in costume for Beyond the Blue (SCEGGS Darlinghurst, 2013). Odetta loves working with the team at the Australian Theatre for Young People and hopes to pursue directing and writing as career paths afterfinishing school.

Jane WattLara

Jane moved to Sydney in 2010 to

study a double degree of Arts/Science at the University of Sydney, where she was heavily involved in the Drama, sketch, improv and musical societies. In 2012 she began studying acting at the Western Australian Academy of Performing Arts. During her three years at WAAPA she performed memorable roles such as Queenie Ayre in The Golden Age (Dir. Andrew Lewis), The Actor in Arturo Ui (Dir. Michael Jenn), Helene in Festen (Dir. Andrea Moor) and Jaggers in Great Expectations (Dir. Andrew Lewis). Jane also recently starred in the ABC TV miniseries The War that Changed Us as army nurse Kit McNaughton (Dir. James Bogle and Don Featherstone). This is her first time working with ATYP.

CREATIVES

CAST OURSUPPORT_ERS

War Crimes ispresented in partnership with

Pilot Theatre from York Theatre RoyalWar Crimes is made possible through the support of

the European Union Cultural Fund as part of a projectconnecting 6 companies and 3 continents -

all discussing issues of migration and immigrationand its impact on young people in particular.

THEPRODUCERS’CIRCLEAntoinette AlbertRobert Albert AO & Libby AlbertEdward & Annie SimpsonMartin Dickson AM & Susie DicksonNancy Fox & Bruce Arnold

Alexandra Holcomb & Andrew BirdMichael Ihlein & Gosia Dobrowolska

Rebel Penfold-Russell OAMTimothy Samway &

Jemima Littlemore

Writer Angela Betzien

Director Alex Evans

WARCRIMES

A WORD FROM THE DIRECTOR

FROM THE ARTISTICDIRECTOR

ATYPCASTANDCREATIVES

A WORD FROM THE WRITER→

FROM THE WRITER→

FROM THE DIRECTOR

15.07.15–01.08.15

WriterAngelia Betzien

DirectorAlex Evans

CastJordan Hannah CoxRicky Holly FraserJade Charlotte HazzardIshtar Odetta QuinnLara Jane Watt

DesignerEmma Reyes

Lighting DesignerAlex Berlage

Sound DesignerTom Hogan

Assistant Director /Vocal CoachGrace Partridge

Movement CoachTia Jordan

Stage ManagerSorie Bangura

Duration85 minutes (No interval)

Artistic Director Fraser Corfield General Manager Amy Maiden Finance Manager Kate di Mattina Development Manager Andrew Deane Marketing Manager Kar Chalmers Workshop Manager Robert Jago Education Manager Adèle Jeffreys Production Manager Juz McGuire

Finance & Operations Co-ordinator Chrissy Riley Education Co-ordinator Lisa Mumford

Marketing & DevelopmentCo-ordinator Elise Barton Writing Co-ordinator Jennifer Medway Graphic Designer Justin Stambouliah Administration Assistant James Handsaker Archivist Judith Seeff Geek-in-Residence Daniel Andrews Writer-in-Residence Julian Larnach

Phone 02 9270 2400

@atyp_theatre

@atyp_theatre #ATYP_WARCRIMES

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War Crimes is part of a larger project, involving six international companies funded by the European Union Cultural Fund, under the title Documents of Poverty and Hope. This extraordinary collaboration unites ATYP with Pilot Theatre from the UK, Teatro Bando from Portugal, Theatre Elsinore from Italy, The Playhouse Theatre from Vancouver and Theatre Dynamo from Montreal. ATYP has been proud to host director Alex Evans, representing Pilot Theatre, directing War Crimes. Later this year I will spend a month in England directing a production by English playwright Emteaz Hussain.  

In 2015, six works are being staged around the world related to the theme of emigration

and immigration. Documents of Poverty and Hope involves the exchange of key artists from each company.The project is about sharing experience, sharing culture and sharing the creative process. In 2016 one artist from each company will descend on Sydney to devise a new work that will be performed at ATYP before travelling to present a season in Vancouver. Supporting all of these new works are interviews with young people discussing their experience of migration in their country.

I am very pleased to have been able to include this exceptional play in this international project.

Fraser CorfieldArtistic Director

In 2007, in response to a spate of attacks on war memorials in towns and cities across Australia, a war memorial legislation amendment bill was proposed in parliament, increasing penalties for vandalising, defacing, deliberately damaging or behaving inappropriately around war memorials. While the bill was not passed it inflamed debate over the ANZAC legend and sparked a call for a resurgence of pride in this national story.

War Crimes was created in response to this and several other real, contemporary Australian events with the intention of stirring up some big questions about our national history, identity and future. The play raises the question of what is sacred to us as a nation?

Tragically, forty-three Australian soldiers have been killed in Afghanistan and Iraq since the beginning of the war declared by the United States in 2001. Figures vary considerably but some sources estimate that over a million civilians have been killed in Iraq and Afghanistan since this time. Countless others have been driven from their homes to seek refuge in other parts of the world, including urban and rural Australia. In Australia, some of our neighbours have experienced the reality of war first hand. They have fled torture, imprisonment and death on a scale unimaginable to many.

When I initially read the charged and energetic writing of Angela Betzien’s War Crimes, I was immediately blown away by the passionate and bold use of language, compelling relationships and thematic content of this stunning piece.I knew in an instant that this play was an important and unique piece of work and that I was beyond lucky to be placed in the unique position of travelling across the world to direct it at ATYP.

In the rehearsal room over the last 4 weeks the immensely talented ensemble of 5 female performers and I have interrogated, dissected and explored the text in every detail. We have used physical theatre, song and improvisation

to deepen our connection to the world of the piece. We have laughed, cried and shared experiences together to bring these unique characters to life. Outside of the room the dedicated production team has worked tirelessly in designing and creating the world of these young women on stage. Through this intense collaborative artistic engagement we have attempted to creatively conjure the world of this forgotten coastal town on the stage and make manifest the world of these characters.

War Crimes is a stunning testament to the challenges that many young women face across the world. Every scene and almost every line are steeped with prejudice, conflict, responsibility and pain. This is a world in which the audience members are powerless witnesses to these young women as they slowly tear each other and the world around them apart. Yet there is a fragile humour and energy within these relationships that suggests a glimmer of something that could emerge from these personal tragedies and provide a new sense of hope.

These last weeks have been an exhilarating and demanding experience – one that I will never forget when I return to the other hemisphere. I would like to thank

everyone at ATYP for making me feel so at home and part of this wonderful team. Australia is so lucky to have ATYP working so tirelessly for young people and young audiences. War Crimes is a testament to the bravery and tenacity of this wonderful organisation and all of the committed and talented individuals involved.

Alex EvansDirector

It seems there’s a constant debate about who belongs in this country. Whose home is it? The vast majority of this country’s population has ancestors who were immigrants at some time in the last two hundred or so years. They arrived either by boat or by plane and it’s fair to assume that all of them were seeking a place of belonging, a home. This is a human need, a human right.

In the midst of all this global and local conflict, it’s vital that we become critical of what’s happening in this country and the world, to form opinions about local, national and global events based on a variety of sources, not just the mainstream media.

Often it’s the voices that we don’t hear, such as those of young, poor, teenage girls, that can be the most insightful.

Every story is important and our common ground has to be the land we inhabit, a land that was the home of a people for thousands of years, a land that is undeniably ancient and sacred.

I’d like to thank ATYP, Alex Evans and the cast and crew for bringing this work to Sydney audiences.

Angela BetzienWriter