The Nargun and the Stars - 2009 - Perth International Arts Festival
The Nargun and the Stars - 2009 - Perth International Arts Festival
The Nargun and the Stars - 2009 - Perth International Arts Festival
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AUSTRALIA<br />
photo: prudence upton<br />
<strong>The</strong> <strong>Nargun</strong><br />
<strong>and</strong> <strong>the</strong> <strong>Stars</strong><br />
A <strong>Perth</strong> <strong>International</strong> <strong>Arts</strong> <strong>Festival</strong> <strong>and</strong> Sydney <strong>Festival</strong> Commission<br />
presented in association with barking gecko <strong>the</strong>atre company<br />
ERTH–Visual & Physical<br />
From <strong>the</strong> novel by<br />
Adapted by<br />
Directed by<br />
Featuring<br />
Puppeteers<br />
Produced by<br />
Associate Puppetry<br />
Director<br />
Set Design<br />
Puppet Design<br />
Composer<br />
Audiovisual Artist<br />
Lighting Designer<br />
Patricia Wrightson<br />
Verity Laughton<br />
Scott Wright <strong>and</strong> Wesley Enoch<br />
Bill Young, Annie Byron, Tom Green<br />
Colin Sneesby, Sharon Kerr,<br />
Jacob Boehme, Jo Clancy, Josh Bond<br />
Performing Lines<br />
Colin Sneesby<br />
Steve Howarth<br />
Bryony Anderson<br />
Phil Downing<br />
Samuel James<br />
Bernie Tan<br />
This adaptation is informed by ERTH’s ongoing consultation<br />
with <strong>the</strong> original story-owners, <strong>The</strong> Gunai/Kurni, Monaro <strong>and</strong><br />
Boon Warrung communities of East Gippsl<strong>and</strong><br />
WHERE<br />
Regal <strong>The</strong>atre<br />
WHEN<br />
Thursday 19 February<br />
– Sunday 1 March<br />
Preview Wednesday 18 February<br />
This performance lasts for<br />
1 hour 10 minutes with no interval<br />
CHILDREN & YOUNG PEOPLE’S<br />
PROGRAM PARTNER<br />
INDIGINEOUS PROGRAM PARTNER<br />
supported by<br />
This project has been assisted by <strong>the</strong><br />
Australian Government’s Major <strong>Festival</strong>s<br />
Initiative, managed by <strong>the</strong> Austr alia<br />
Council, its arts funding <strong>and</strong> advisory<br />
body, in a ssociation with <strong>the</strong> Confeder ation<br />
of Australian <strong>International</strong> <strong>Arts</strong> <strong>Festival</strong>s.<br />
perthfestival.com.au
photo: prudence upton<br />
2<br />
Plot<br />
<strong>The</strong> <strong>Nargun</strong> <strong>and</strong> <strong>the</strong> <strong>Stars</strong> is <strong>the</strong> story of a shocked <strong>and</strong> lonely boy named<br />
Simon who is restored to life <strong>and</strong> health through his engagement with <strong>the</strong><br />
ancient dreaming creatures of <strong>the</strong> l<strong>and</strong>scape <strong>and</strong> <strong>the</strong> careful, quiet acceptance<br />
of his elderly relatives, farmer Charlie <strong>and</strong> his kind yet matter-of-fact sister,<br />
Edie. It seems Simon is <strong>the</strong> one who must restore <strong>the</strong> upset balance of <strong>the</strong><br />
natural world when he confronts <strong>the</strong> <strong>Nargun</strong>, an ancient stone dreaming<br />
creature that has left its ‘right place’ <strong>and</strong> invaded ano<strong>the</strong>r country. He does so<br />
<strong>and</strong> in <strong>the</strong> course of his adventures finds a new sense of identity <strong>and</strong> a safe<br />
place of <strong>the</strong> heart.<br />
Origins of <strong>the</strong> story in<br />
Indigenous Culture<br />
Many Aboriginal stories about <strong>Nargun</strong>s exist in <strong>the</strong> Gunai / Kurnai, Monaro <strong>and</strong><br />
Boon Wurrung communities of East Gippsl<strong>and</strong> in Victoria, but <strong>The</strong> <strong>Nargun</strong> <strong>and</strong><br />
<strong>the</strong> <strong>Stars</strong> is not an Aboriginal story.<br />
It is said that <strong>the</strong> <strong>Nargun</strong> appears as stone but she can also appear as a hairy<br />
woman. Stories of <strong>Nargun</strong>s have been used by Aboriginal people for tens of<br />
thous<strong>and</strong>s of years to keep children from w<strong>and</strong>ering at night. It is said that<br />
she is always looking for children to keep as her own <strong>and</strong> that spears <strong>and</strong><br />
boomerangs cannot harm her.<br />
<strong>Nargun</strong>s are sometimes known by o<strong>the</strong>r names <strong>and</strong> can be anywhere – in<br />
caves or in deep holes in <strong>the</strong> ground. <strong>The</strong> Den of <strong>Nargun</strong> – located in Mitchell<br />
River National Park, Victoria – is a sacred women’s site used for initiation <strong>and</strong><br />
learning ceremonies ra<strong>the</strong>r than being <strong>the</strong> lair of <strong>the</strong> <strong>Nargun</strong>. <strong>The</strong> traditional<br />
Aboriginal custodians of <strong>the</strong> area where <strong>the</strong> Den is located ask that visitors do<br />
not enter <strong>the</strong> Den due to <strong>the</strong> cultural significance of <strong>the</strong> site.<br />
<strong>The</strong> Potkoorok, Turongs <strong>and</strong> Nyols who feature in <strong>The</strong> <strong>Nargun</strong> <strong>and</strong> <strong>the</strong> <strong>Stars</strong><br />
are also creatures from <strong>the</strong> stories of Aboriginal nations in Victoria. Patricia<br />
Wrightson has drawn toge<strong>the</strong>r some of our most magical Aboriginal creatures<br />
to tell a delightful <strong>and</strong> educational children’s story.<br />
By Jo Clancy, Aunty Ruth Mullets <strong>and</strong> Aunty Carolyn Briggs – 1 / 12 / 08
photo: prudence upton<br />
Synopsis<br />
<strong>The</strong> prologue.<br />
<strong>The</strong> <strong>Nargun</strong>, <strong>the</strong> great old dreamer of stone <strong>and</strong> earth, wakes from centuries<br />
of slumber. She ventures beyond her dreaming centre – her <strong>Nargun</strong>’s Den<br />
– <strong>and</strong> past a waterfall to gaze on <strong>the</strong> beautiful exotica of <strong>the</strong> stars. She is<br />
disturbed by <strong>the</strong> aggressive mechanical noise of earth being moved, carved,<br />
changed. She leaves her safe haven <strong>and</strong> sets out, travelling across <strong>the</strong><br />
l<strong>and</strong> until she comes to Wongadilla, a farm in <strong>the</strong> mountain country that is<br />
reminiscent of her original home.<br />
And <strong>the</strong> human story begins.<br />
Simon is a 12-year-old boy whose parents have been killed in a car accident.<br />
He comes to Wongadilla to live with his second cousin Charlie, who farms <strong>the</strong><br />
acreage with his sister, Edie. <strong>The</strong>y have both grown up here. <strong>The</strong>y are almost<br />
part of <strong>the</strong> l<strong>and</strong>. Simon is raw, angry, wounded. He trusts no one.<br />
Charlie drives Simon home to Wongadilla. As <strong>the</strong>y drive through a gully,<br />
Simon notices a bulldozer <strong>and</strong> a grader clearing some forest. He also notices<br />
an enormous stone. Edie welcomes Simon to his new home. A moth-eaten<br />
Old Ewe w<strong>and</strong>ers past. Simon goes to bed.<br />
As he sleeps <strong>the</strong> ancient Turongs lean in at his window.<br />
<strong>The</strong> next morning Simon goes exploring. In <strong>the</strong> gully he writes his name on<br />
<strong>the</strong> enormous stone he had seen <strong>the</strong> night before. At <strong>the</strong> swamp he meets<br />
<strong>the</strong> Potkoorok, an ancient water creature <strong>and</strong> a trickster. <strong>The</strong> Potkoorok sees<br />
him deal kindly with a dead frog. Henceforth Simon will be Frog Boy. <strong>The</strong><br />
Potkoorok tells Simon that a storm is coming (out of a clear sky) <strong>and</strong> that <strong>the</strong><br />
‘yellow machine’ – <strong>the</strong> grader that killed <strong>the</strong> frog – is at risk.<br />
Charlie comes past, scoops Simon up on <strong>the</strong> tractor <strong>and</strong> takes him home.<br />
Simon <strong>and</strong> Edie hear a strange high howling.<br />
That night <strong>the</strong>re is a storm. Simon runs out into <strong>the</strong> storm. He sees <strong>the</strong><br />
Potkoorok <strong>and</strong> <strong>the</strong> Turongs sink <strong>the</strong> grader in <strong>the</strong> swamp. On <strong>the</strong> way home<br />
he is threatened by a scary presence, <strong>the</strong> <strong>Nargun</strong>. As he runs from <strong>the</strong><br />
<strong>Nargun</strong>, <strong>the</strong>re is a most terrible sound. Something is dying.<br />
In <strong>the</strong> morning Edie cannot find <strong>the</strong> Old Ewe.<br />
Simon returns to <strong>the</strong> swamp. He discovers that <strong>the</strong> Potkoorok may have<br />
disposed of <strong>the</strong> bulldozer as well as <strong>the</strong> grader. Simon asks about <strong>the</strong> dark<br />
<strong>and</strong> scary thing that lives in <strong>the</strong> gully. <strong>The</strong> Potkoorok tells <strong>the</strong> mysterious<br />
thing is a <strong>Nargun</strong>, but says nothing more. Simon goes to <strong>the</strong> gully to<br />
investigate.<br />
Up in <strong>the</strong> gully he discovers that <strong>the</strong> stone on which he had written his name<br />
has moved. And he realises that it is <strong>the</strong> stone that is both <strong>the</strong> dark <strong>and</strong><br />
scary mystery <strong>and</strong> <strong>the</strong> <strong>Nargun</strong>. <strong>The</strong>n he discovers <strong>the</strong> body of <strong>the</strong> Old Ewe.<br />
He calls Charlie. Toge<strong>the</strong>r <strong>the</strong>y try to find out a bit more about <strong>the</strong> <strong>Nargun</strong><br />
via a series of attempts to make her move. <strong>The</strong>y begin to underst<strong>and</strong> how<br />
dangerous she might be, <strong>the</strong>n return to <strong>the</strong> farmhouse. Charlie keeps watch<br />
overnight.<br />
Simon dreams. From his dream he underst<strong>and</strong>s that help may come best<br />
from <strong>the</strong> rock people, <strong>the</strong> Nyols who live inside <strong>the</strong> mountain, <strong>and</strong> that <strong>the</strong><br />
Potkoorok may be <strong>the</strong> way to reach <strong>the</strong>m.<br />
Simon speaks to <strong>the</strong> Nyols. He discovers that <strong>the</strong> Nyols have stolen <strong>the</strong><br />
bulldozer <strong>and</strong> hidden it inside <strong>the</strong> mountain. <strong>The</strong>y won’t, however, help<br />
send <strong>the</strong> <strong>Nargun</strong> away. But <strong>the</strong>y do let slip that <strong>the</strong> <strong>Nargun</strong> won’t tolerate<br />
loud noises. Simon, Edie <strong>and</strong> Charlie decide that if <strong>the</strong>y make a loud noise<br />
at <strong>the</strong> farmhouse via <strong>the</strong> tractor <strong>and</strong> a loud noise via <strong>the</strong> bulldozer inside <strong>the</strong><br />
mountain, <strong>the</strong>y may perhaps drive <strong>the</strong> <strong>Nargun</strong> away from Wongadilla.<br />
It doesn’t work out like that. <strong>The</strong> Potkoorok, via a monumental act of<br />
dreaming helps <strong>the</strong>m to lure <strong>the</strong> Nyols away from <strong>the</strong>ir mountain cave<br />
long enough for Charlie to start up <strong>the</strong> bulldozer <strong>and</strong> leave it working, but<br />
… <strong>the</strong> <strong>Nargun</strong> attacks <strong>the</strong> tractor (driven by Edie) <strong>and</strong> destroys it utterly.<br />
Emboldened, <strong>the</strong> <strong>Nargun</strong> hears <strong>the</strong> noise of <strong>the</strong> bulldozer inside <strong>the</strong><br />
mountain <strong>and</strong> goes to destroy that, too.<br />
<strong>The</strong> end<br />
<strong>The</strong>re is an almighty battle. <strong>The</strong> battle ends when a l<strong>and</strong>slide caused by<br />
<strong>the</strong> <strong>Nargun</strong>’s destruction of <strong>the</strong> bulldozer entraps her inside <strong>the</strong> mountain<br />
with <strong>the</strong> Nyols. <strong>The</strong>y tend her joyously. Back at <strong>the</strong> farmhouse, Simon,<br />
restored to wholeness <strong>and</strong> with real trust in Charlie <strong>and</strong> Edie, begins his<br />
new life at Wongadilla.<br />
3
<strong>The</strong> <strong>Nargun</strong> <strong>and</strong> <strong>the</strong> <strong>Stars</strong> –<br />
Creature Details<br />
All descriptions are based on <strong>The</strong> Wrightson List by Patricia <strong>and</strong> Peter<br />
Wrightson, published by R<strong>and</strong>om House, 1998. All sketches by Bryony<br />
Anderson (Puppet Designer).<br />
Pot-kurok / Potkoorok<br />
Area: Central Victoria<br />
Group: Kulin [nation]<br />
(Bunurong, Jaara, Katubanut,<br />
Kurung, Minjambuta, Ngurelban,<br />
Taungurong, Wathaurung,<br />
Wurundjeri)<br />
Pot-kuroks are mischievous<br />
spirits who inhabit<br />
watercourses <strong>and</strong> play<br />
tricks on fishermen.<br />
<strong>Nargun</strong><br />
Reference: Massola, Aldo: Bujils Cave (p154)<br />
Area: Victoria, Gippsl<strong>and</strong> area (especially Mitchell River <strong>and</strong> Lake Tyers district)<br />
Group: Kurnai [nation] (Brabiralung, Braiakalung, Bratauolung,<br />
Krauatungalung, Tatungalung)<br />
<strong>Nargun</strong>s are monsters, described as being half human <strong>and</strong> half animal, ei<strong>the</strong>r<br />
wholly of stone or stone except for <strong>the</strong> breast, arms <strong>and</strong> h<strong>and</strong>s. No more<br />
detailed descriptions can be found.<br />
<strong>Nargun</strong>s frequent <strong>the</strong> east Gippsl<strong>and</strong> area of Victoria, particularly <strong>the</strong> Mitchell<br />
River valley <strong>and</strong> Lake Tyers area. <strong>The</strong>y inhabit dark caves <strong>and</strong> holes in <strong>the</strong><br />
ground <strong>and</strong> drag people who venture near into <strong>the</strong>ir lairs – eating <strong>the</strong>m. <strong>The</strong>y<br />
have <strong>the</strong> power to turn back whatever is thrown at <strong>the</strong>m, <strong>and</strong> for this reason or<br />
because of <strong>the</strong>ir stone bodies, <strong>the</strong>y can’t be killed.<br />
In <strong>the</strong> 1880s at Lake Tyers, a woman (Lillian Cortwine) allegedly defeated a<br />
<strong>Nargun</strong> in wrestling, but nobody knows how she managed it. This is <strong>the</strong> only<br />
known case in which a <strong>Nargun</strong> has been defeated by a human.<br />
Reference: Massola, Aldo: Bujils Cave (p155); Brough Smyth, R: <strong>The</strong> Aborigines<br />
of Victoria (p456)<br />
Nyols<br />
Area: Victoria, South East<br />
Group: Kurnai [nation] (Brabiralung, Braiakalung, Bratauolung,<br />
Krauatungalung, Tatungalung)<br />
Nyols are little people who live in underground caverns. <strong>The</strong>y are powerful<br />
wrestlers.<br />
Turong<br />
Area: Victoria<br />
Group: Kulin [nation] (Bunurong, Jaara, Katubanut, Kurung, Minjambuta,<br />
Ngurelban, Taungurong, Wathaurung, Wurundjeri)<br />
Turongs are spirits that inhabit <strong>the</strong> bush. <strong>The</strong>y are mischievous <strong>and</strong> play tricks<br />
on hunters.<br />
Reference: Massola, Aldo: Bujils Cave (p154)<br />
A hunter described how – putting his foot in a hole between rocks – he was<br />
drawn down into a cave filled with strange light. Inside <strong>the</strong> cave were many<br />
small people who dem<strong>and</strong>ed he wrestle with <strong>the</strong>m in turn. <strong>The</strong>se small<br />
wrestlers were extremely powerful. Exhausted, he was given rugs to rest on<br />
<strong>and</strong> strangely delightful grubs to eat <strong>and</strong> was left in <strong>the</strong> charge of a Nyol who<br />
showed him <strong>the</strong> way home.<br />
In ano<strong>the</strong>r incident, an apple picker was pounced on from behind <strong>and</strong> put into<br />
a skin bag. He asked <strong>the</strong> Nyol for a drink <strong>and</strong> <strong>the</strong>n complained that <strong>the</strong> offered<br />
water was not clean. <strong>The</strong> gullible Nyol left <strong>the</strong> bag to find cleaner water <strong>and</strong> <strong>the</strong><br />
victim escaped.<br />
Nyols have a very wide range <strong>and</strong> live in <strong>the</strong>ir own world, very much as humans<br />
do. <strong>The</strong>y are rarely seen by mortals.<br />
Reference: Massola, Aldo: Bujils Cave (pp74-5, 159)<br />
4
photo: Heidrun Löhr<br />
Co-Director's Note<br />
Australian children probably know more about what a fairy looks like <strong>and</strong><br />
what one does than what a Bunyip looks like <strong>and</strong> where one comes from.<br />
<strong>The</strong> <strong>Nargun</strong> <strong>and</strong> <strong>the</strong> <strong>Stars</strong> puts its foot firmly in <strong>the</strong> ring to announce that <strong>the</strong><br />
introduced mythologies such as fairies, trolls <strong>and</strong> dragons are redundant.<br />
Australians need to embrace <strong>the</strong> Indigenous stories that come from <strong>the</strong> l<strong>and</strong><br />
<strong>and</strong> in turn better underst<strong>and</strong> <strong>the</strong> l<strong>and</strong>scape <strong>the</strong>y inhabit.<br />
ERTH is launching its most significant work to date <strong>and</strong> it comes from<br />
inspiration that has haunted <strong>the</strong> company since its inception. I personally<br />
hold <strong>The</strong> <strong>Nargun</strong> <strong>and</strong> <strong>the</strong> <strong>Stars</strong> as one of <strong>the</strong> most influential stories read to<br />
me as a child. It made me want to find <strong>the</strong>se creatures whenever we went<br />
camping or bush walking. I would constantly check my peripheral vision just<br />
in case I caught sight of a mysterious creature scampering away or watching<br />
from a safe distance.<br />
I only hope that our version of <strong>Nargun</strong> inspires ano<strong>the</strong>r generation of children<br />
to embrace <strong>the</strong> mysteries <strong>and</strong> magic of <strong>the</strong> bush.<br />
<strong>The</strong> journey for me has spanned almost my entire life <strong>and</strong> has led me to great<br />
people from whom I have learnt many more things, especially respect, care<br />
<strong>and</strong> <strong>the</strong> importance of story. As part of our process with this show we have<br />
revisited <strong>the</strong> communities <strong>and</strong> people that Patricia collected her original<br />
source material from. In her words, ‘it is so important to get it right’, <strong>and</strong> <strong>the</strong><br />
importance of regaining permission has been such a valuable lesson. This<br />
is amplified when you consider that in Patricia’s time of writing <strong>The</strong> <strong>Nargun</strong><br />
<strong>and</strong> <strong>the</strong> <strong>Stars</strong>, as a white author, she was a pioneer who saw <strong>the</strong> value of<br />
Indigenous folklore as vital to <strong>the</strong> culture of future Australians.<br />
One discovery we made with our research was that <strong>Nargun</strong>s are female. And<br />
that <strong>the</strong> place that <strong>the</strong>y are known to inhabit – <strong>The</strong> Den of <strong>Nargun</strong> – was a<br />
traditional site for a women’s ceremony of initiation.<br />
I want to thank Aunty Rachel <strong>and</strong> Aunty Caroline.<br />
<strong>Perth</strong> <strong>Festival</strong> has been a major contributor to making this show a reality <strong>and</strong> it<br />
is a great honour to be part of a fantastic program for <strong>2009</strong>.<br />
Scott Wright<br />
Artistic Director, ERTH<br />
Adaptor’s Note<br />
What is wonderful in all Patricia Wrightson’s work is <strong>the</strong> way she uses<br />
language as one of <strong>the</strong> drivers of <strong>the</strong> action.<br />
Her language is dense, allusive, poetic, practical <strong>and</strong> absolutely a product<br />
of Australia. She uses it in such a way that <strong>the</strong> poetry of it pushes us to halfknowings,<br />
intuitions <strong>and</strong> sudden underst<strong>and</strong>ings of time <strong>and</strong> place <strong>and</strong> action.<br />
So. This may be a writerly preoccupation but I saw <strong>the</strong> single biggest task<br />
of adapting Wrightson’s beautiful book to <strong>the</strong> stage as being faithful to her<br />
use of language.<br />
She set herself a number of tasks, it seemed to me. <strong>The</strong> first was to give life<br />
to <strong>the</strong> mythology of this l<strong>and</strong> <strong>and</strong> its original inhabitants in a way that was<br />
absolutely respectful but that also drew newer inhabitants – most of this<br />
audience – inside its net.<br />
<strong>The</strong> second was to depict how a child who suffered an unfixable trauma<br />
never<strong>the</strong>less found a way to contain that tragedy <strong>and</strong> went on to build a<br />
new life.<br />
And <strong>the</strong> third was to weave a spell through language. <strong>The</strong> <strong>Nargun</strong> <strong>and</strong><br />
<strong>the</strong> <strong>Stars</strong>, one of <strong>the</strong> great classics of 20th-century children’s literature,<br />
is <strong>the</strong> result.<br />
In our stage adaptation of <strong>The</strong> <strong>Nargun</strong> <strong>and</strong> <strong>the</strong> <strong>Stars</strong> we hope we have<br />
honoured both Patricia Wrightson’s intentions <strong>and</strong> her achievements. We<br />
wanted to create a world in which <strong>the</strong> folk elements are in balance with <strong>the</strong><br />
human ones, where <strong>the</strong> Place is an active participant in <strong>the</strong> lives of <strong>the</strong> people<br />
<strong>and</strong> where beauty is an integral <strong>and</strong> unsentimental part of everyday.<br />
Never<strong>the</strong>less, finding a way to incorporate <strong>the</strong> language, dialogue <strong>and</strong> overall<br />
tone of <strong>the</strong> writing of such an exemplary stylist was, for me, <strong>the</strong> key.<br />
It’s been a ten-year obsession of Scott Wright, one of <strong>the</strong> founding directors<br />
of ERTH <strong>and</strong> co-director of this show, to bring this story to <strong>the</strong> stage. I’m <strong>the</strong><br />
lucky person who got <strong>the</strong> chance to have a go along with designers (sound /<br />
light / video / stage), puppet makers, actors, puppeteers, producers, directors,<br />
musicians <strong>and</strong> <strong>the</strong> composer. We all hope you enjoy it.<br />
Verity Laughton<br />
5
6<br />
photo: prudence upton
Company Biography:<br />
ERTH-Visual & Physical Inc<br />
ERTH brings <strong>the</strong> impossible to life. ERTH is dedicated to creating original new<br />
Australian visual performance works, providing audiences with eye-popping<br />
visual experiences. Giant puppetry, stilt-walkers, inflatable environments <strong>and</strong><br />
aerial <strong>and</strong> flying creatures – ERTH is all <strong>the</strong>se things <strong>and</strong> more.<br />
Founded in 1990 in Ballarat, Victoria, <strong>and</strong> now housed in Sydney’s newest<br />
contemporary arts complex, Carriageworks, <strong>the</strong> Company builds its own<br />
repertoire while also generating work for o<strong>the</strong>r resident performance<br />
companies <strong>and</strong> commissions for external organisations.<br />
<strong>The</strong>ir work spans from roving-style street <strong>the</strong>atre to larger scale, site-specific<br />
productions <strong>and</strong> <strong>the</strong>atre shows. <strong>The</strong>se include Incubator, Gargoyles,<br />
Waterheads, Caution, Bushfire, <strong>The</strong> Garden <strong>and</strong> most recently Gondwana <strong>and</strong><br />
<strong>The</strong> Petting Zoo.<br />
<strong>The</strong>ir new work is an adaptation of Patricia Wrightson’s classic novel <strong>The</strong><br />
<strong>Nargun</strong> <strong>and</strong> <strong>the</strong> <strong>Stars</strong>, written by Verity Laughton <strong>and</strong> co-directed by acclaimed<br />
Indigenous director Wesley Enoch. <strong>Nargun</strong> was commissioned by Sydney<br />
<strong>Festival</strong> <strong>and</strong> <strong>Perth</strong> <strong>International</strong> <strong>Arts</strong> <strong>Festival</strong> <strong>and</strong> premiered at <strong>the</strong> Sydney<br />
<strong>Festival</strong> in January <strong>2009</strong>.<br />
ERTH has built a national <strong>and</strong> international reputation for its work, regularly<br />
touring to major Australian <strong>and</strong> international festivals. <strong>The</strong>se have included<br />
<strong>the</strong> Sydney, Melbourne <strong>and</strong> Adelaide festivals, Hong Kong Fringe, Galway <strong>Arts</strong><br />
<strong>Festival</strong>, Stockton Riverside <strong>Festival</strong> in <strong>the</strong> UK, Singapore <strong>Arts</strong> <strong>Festival</strong> <strong>and</strong> <strong>the</strong><br />
<strong>Festival</strong> of <strong>Arts</strong> <strong>and</strong> Ideas in Connecticut, USA. ERTH undertakes community<br />
workshops, cultural development projects <strong>and</strong> mentorships <strong>and</strong> its workshop<br />
studio custom-builds for many clients. Past clients include <strong>the</strong> Sydney Opera<br />
House, Sydney Olympic Organising Committee, Centenary of Federation <strong>and</strong><br />
Opera Australia.<br />
Increasingly ERTH is bridging <strong>the</strong> gap between cultural <strong>and</strong> <strong>the</strong>atrical<br />
institutions by bringing physical <strong>the</strong>atre <strong>and</strong> puppetry to museum<br />
environments. Successful roving <strong>and</strong> aerial performances at Melbourne<br />
Museum, Old Parliament House in Canberra <strong>and</strong> Auckl<strong>and</strong> Museum have led<br />
to commissioned design, construction <strong>and</strong> performance programs that span<br />
several years each. This list also includes Powerhouse Museum <strong>and</strong> Australian<br />
Museum in Sydney <strong>and</strong> <strong>the</strong> Natural History Museum of Los Angeles, California.<br />
A small core team of artists manage dozens of freelancers. <strong>The</strong>y come<br />
from diverse disciplines such as sculpture, painting, costume design <strong>and</strong><br />
mechanical engineering <strong>and</strong> <strong>the</strong> performance arts of musical, physical, circus<br />
<strong>and</strong> aerial <strong>the</strong>atre. ERTH provides valuable development opportunities for<br />
established <strong>and</strong> emerging artists.<br />
ERTH is a non-profit organisation – an association incorporated in NSW – <strong>and</strong><br />
receives project funding from <strong>Arts</strong> NSW <strong>and</strong> <strong>the</strong> Australia Council for <strong>the</strong> <strong>Arts</strong>.<br />
ARTISTIC DIRECTOR<br />
Scott Wright<br />
CO-DIRECTOR / MANAGER<br />
Sharon Kerr<br />
CO-DIRECTOR / DESIGN COORDINATOR Steve Howarth<br />
MUSICAL DIRECTOR<br />
Phil Downing<br />
artist Biographies<br />
Patricia Wrightson<br />
AUTHOR<br />
Patricia Wrightson has written more than 15 books for children <strong>and</strong> a novel<br />
for adults <strong>and</strong> has edited several collections of stories for children. She uses<br />
Aboriginal folk-spirits to enrich her children’s fiction, which she categorises<br />
as contemporary Australian fantasy. She believes that fantasy can be used as<br />
a means of exploring <strong>the</strong> ‘o<strong>the</strong>r’ point of view, which, in turn, she hopes will<br />
stretch <strong>the</strong> reader’s underst<strong>and</strong>ing <strong>and</strong> facilitate independent thinking.<br />
Patricia Wrightson has received many honours <strong>and</strong> awards for her fiction over<br />
four decades, including <strong>the</strong> Australian Children’s Book Council Book of <strong>the</strong> Year<br />
Award for <strong>The</strong> Crooked Snake, <strong>The</strong> <strong>Nargun</strong> <strong>and</strong> <strong>the</strong> <strong>Stars</strong>, <strong>The</strong> Ice is Coming<br />
<strong>and</strong> A Little Fear, which also won <strong>the</strong> Boston Globe Horn Book Award. She was<br />
awarded <strong>the</strong> Dromkeen Children’s Literature Foundation Medal in 1984 for<br />
overall excellence in her field. In 1986 she became <strong>the</strong> only Australian writer<br />
to win <strong>the</strong> Hans Christian Andersen Medal.<br />
Verity Laughton<br />
WRITER<br />
Verity Laughton writes for most forms of <strong>the</strong>atre.<br />
Her work includes main-stage adult drama,<br />
a promenade community event, a musical,<br />
adaptations, plays for child <strong>and</strong> family audiences,<br />
work for dance, puppets <strong>and</strong> <strong>the</strong>atre of image<br />
<strong>and</strong> a ‘neutral script’. Her plays include <strong>The</strong><br />
Lightkeeper (AWGIE for Community <strong>The</strong>atre, 2004)<br />
(Mainstreet <strong>The</strong>atre <strong>and</strong> national tour), <strong>The</strong> Snow<br />
Queen (Windmill Performing <strong>Arts</strong>), Burning (Griffin Prize, 2001), Carrying Light<br />
(STSA <strong>and</strong> Vitalstatistix) <strong>and</strong> <strong>The</strong> Mourning After (three productions: Playbox<br />
<strong>The</strong>atre Company <strong>and</strong> national tour, Riverina <strong>The</strong>atre Company <strong>and</strong> Interplay<br />
Productions, NZ). Verity’s radio play Fox, created for ABC Radio National, won<br />
<strong>the</strong> 2004 AWGIE for Best Radio Play. Recent work includes Gondwana for<br />
ERTH-Visual & Physical <strong>and</strong> Davy <strong>and</strong> Moon Door for ABC Audio <strong>Arts</strong>. Sweet<br />
Thing, her latest play for adults, was shortlisted for <strong>the</strong> Griffin Award, Croydon<br />
Warehouse <strong>The</strong>atre (London) <strong>International</strong> Playwriting Award <strong>and</strong> <strong>the</strong> Rodney<br />
Seaborn Prize. She is a member of <strong>the</strong> 7-ON group of playwrights, with whom<br />
she is writing a stage adaptation of Nietzsche’s Thus Spake Zarathustra.<br />
Scott Wright<br />
CO-DIRECTOR<br />
Scott Wright is <strong>the</strong> Artistic Director <strong>and</strong> co-founder<br />
of ERTH-Visual & Physical Inc <strong>and</strong> trained as a<br />
dancer <strong>and</strong> choreographer in Victoria for three<br />
years prior. He is a multi-skilled artist incorporating<br />
puppetry (one of his greatest loves), movement,<br />
acting, aerial, stilts <strong>and</strong> pyrotechnics. He has<br />
directed most of ERTH’s successful touring shows,<br />
including Gargoyles, Garden, Bushfire, <strong>the</strong><br />
infamous Waterheads <strong>and</strong> <strong>the</strong> epic Gondwana.<br />
Scott has worked with a large variety of professional companies <strong>and</strong><br />
institutions, individual artists <strong>and</strong> community groups both nationally <strong>and</strong><br />
internationally. Over <strong>the</strong> years he has been a mentor to numerous young<br />
emerging artists throughout <strong>the</strong> country <strong>and</strong> has freelanced as a director <strong>and</strong><br />
performer to broaden his experience <strong>and</strong> enhance his professional credentials.<br />
Personal highlights include a sell-out season with 42nd Street on Broadway,<br />
acting as a research <strong>and</strong> development consultant for <strong>the</strong> Sydney Olympics,<br />
performing for <strong>the</strong> Japanese royal family <strong>and</strong> recently directing a show with<br />
over 200 community participants in which an aria was performed by six hotrod<br />
cars <strong>and</strong> three opera singers.<br />
Wesley Enoch<br />
CO-DIRECTOR<br />
Wesley Enoch is <strong>the</strong> eldest son of Doug <strong>and</strong><br />
Lyn Enoch, who hail from Stradbroke Isl<strong>and</strong> in<br />
Queensl<strong>and</strong>. He is Nuccual Nuugi.<br />
Wesley has written <strong>and</strong> directed extensively for<br />
<strong>the</strong> stage, working with most of Australia’s state<br />
<strong>the</strong>atre companies <strong>and</strong> major festivals. He has<br />
been artistic director of Kooemba Jdarra Indigenous<br />
Performing <strong>Arts</strong> <strong>and</strong> Ilbijerri Aboriginal <strong>and</strong> Torres<br />
Strait Isl<strong>and</strong>er <strong>The</strong>atre, an associate artist with <strong>the</strong> Queensl<strong>and</strong> <strong>The</strong>atre<br />
Company, resident director at <strong>the</strong> Sydney <strong>The</strong>atre Company <strong>and</strong> director of<br />
<strong>the</strong> Indigenous section of <strong>the</strong> opening ceremony of <strong>the</strong> 2006 Commonwealth<br />
Games. He is currently an associate artist at Company B <strong>and</strong> a trustee of <strong>the</strong><br />
Sydney Opera House.<br />
In 2008 he was <strong>the</strong> artistic director of Australia’s delegation to <strong>the</strong> <strong>Festival</strong><br />
of Pacific <strong>Arts</strong> in American Samoa <strong>and</strong> directed Dallas Winmar’s Yibiyung for<br />
Company B Belvoir. In 2007 his <strong>The</strong> Story of <strong>the</strong> Miracles at Cookie’s Table was<br />
directed by Marion Potts for <strong>the</strong> Griffin <strong>The</strong>atre Company, having won <strong>the</strong> 2005<br />
Patrick White Playwright’s Award.<br />
In 2003 Wesley directed Eora Crossing, a spectacular outdoor event for Legs<br />
on <strong>the</strong> Wall, Museum of Sydney <strong>and</strong> <strong>the</strong> Sydney <strong>Festival</strong>. He directed Riverl<strong>and</strong><br />
in 2004 for Windmill Performing <strong>Arts</strong> <strong>and</strong> <strong>the</strong> Adelaide, <strong>Perth</strong> <strong>and</strong> Brisbane<br />
7
international festivals <strong>and</strong> directed <strong>The</strong> Sapphires for Melbourne <strong>The</strong>atre<br />
Company, a play remounted for <strong>the</strong> 2005 Sydney <strong>Festival</strong>. <strong>The</strong>se works were all<br />
nominated for Helpmann awards with Riverl<strong>and</strong> winning Best Children’s Work<br />
<strong>and</strong> <strong>The</strong> Sapphires winning Best Production <strong>and</strong> Best New Australian work. He<br />
was also nominated as Best Director for Riverl<strong>and</strong>.<br />
Wesley directed Howard Brenton’s Paul, Alana Valentine’s Parramatta Girls,<br />
Rainbow’s End, Bitin’ Back, Headhunter, Black Medea, <strong>The</strong> Sunshine Club,<br />
Black-ed Up, <strong>The</strong> Cherry Pickers, <strong>The</strong> 7 Stages of Grieving, <strong>The</strong> Dreamers,<br />
Conversations with <strong>the</strong> Dead, Stolen, Romeo <strong>and</strong> Juliet, Shrunken Iris,<br />
Radiance, A Life of Grace <strong>and</strong> Piety, Murri Love, Capricornia <strong>and</strong> Maralinga.<br />
Steve Howarth<br />
SET DESIGNER<br />
As a co-founder <strong>and</strong> full-time member of ERTH,<br />
Steve Howarth designs or coordinates <strong>the</strong> design<br />
elements for most of <strong>the</strong> company’s productions.<br />
Outside of ERTH he also designed <strong>and</strong> performed<br />
with <strong>the</strong> Australian / Indonesian collaboration <strong>The</strong>ft<br />
of Sita, directed by Nigel Jamieson. He was puppet<br />
doctor on tour with <strong>the</strong> stage adaption of <strong>The</strong> Lion,<br />
<strong>the</strong> Witch <strong>and</strong> <strong>the</strong> Wardrobe, directed by Nadia<br />
Tass. He also mentors final-year design students as part of <strong>the</strong> Sydney College<br />
of Fine <strong>Arts</strong> professional placement program.<br />
Bryony Anderson<br />
PUPPET DESIGNER<br />
Bryony Anderson is a designer, inventor, maker<br />
<strong>and</strong> exhibiting artist who has been working with<br />
puppetry <strong>and</strong> circus companies in <strong>and</strong> out of<br />
Australia since 1997. Puppetry work includes<br />
projects with ERTH, <strong>The</strong>atre of Image, Puppetvision,<br />
Polyglot, My Darling Patricia, Born in a Taxi <strong>and</strong><br />
museums in Melbourne, Sydney, Auckl<strong>and</strong> <strong>and</strong><br />
Los Angeles, as well as numerous festivals. Circus<br />
work has included Circus Monoxide, Riggerous, Acrobat <strong>and</strong> <strong>The</strong> Flying Fruit<br />
Fly Circus. While a scholarship student at <strong>the</strong> University of Wollongong in<br />
1995, she was accepted as trainee puppetmaker at Skyworks Studio <strong>and</strong> later<br />
returned to complete her Visual <strong>Arts</strong> degree. Her sporadic career as a fine artist<br />
includes three solo exhibitions: Pets <strong>and</strong> Livestock, 1997; Scape-o-matic II,<br />
2004; <strong>and</strong> Sick People, 2008. She lives <strong>and</strong> works in Pappinbarra, NSW, in a<br />
shed in <strong>the</strong> bush.<br />
Colin Sneesby<br />
ASSOCIATE PUPPETRY DIRECTOR / PUPPETEER<br />
Since graduating from Acting at Victorian College<br />
of <strong>the</strong> <strong>Arts</strong>, Colin Sneesby has worked as an actor,<br />
dancer <strong>and</strong> puppeteer with companies such as<br />
Polyglot Puppet <strong>The</strong>atre, Snuff Puppets, Dance<br />
Exchange, MRPG, ERTH <strong>and</strong> Terrapin Puppet<br />
<strong>The</strong>atre. He has worked with choreographers such<br />
as Russell Dumas, Jude Walton <strong>and</strong> Phillip Adams.<br />
Most recently he co-wrote <strong>and</strong> performed in<br />
Terrapin’s Frankenstein <strong>and</strong> performed in Jessica Wilson’s Dr Egg <strong>and</strong> <strong>the</strong> Man<br />
with No Ear at Sydney Opera House <strong>and</strong> <strong>The</strong> <strong>Arts</strong> Centre, Melbourne. He has<br />
toured extensively with 5 Angry Men <strong>and</strong> Windmill <strong>The</strong>atre’s Twinkle Twinkle<br />
Little Fish, has performed in Europe, America <strong>and</strong> Japan <strong>and</strong> received funding<br />
to study in New York.<br />
Phil Downing<br />
COMPOSER<br />
Phil Downing has been performing <strong>and</strong> recording<br />
music for 20 years <strong>and</strong> has designed <strong>and</strong> created<br />
a number of unique musical instruments in that<br />
time. Since 1995 he has performed live with <strong>the</strong>se<br />
instruments at venues throughout Sydney under<br />
<strong>the</strong> name Philophonic Orchestra. He performed<br />
<strong>and</strong> toured with contemporary b<strong>and</strong> Dogbuoy<br />
from 1996 to 1999 <strong>and</strong> with Faker from 2005 to<br />
2007, gaining experience in <strong>the</strong> recording studio <strong>and</strong> establishing skills as a<br />
producer in his own right. From 2000, as musical director for ERTH, Phil has<br />
created live soundtracks for <strong>the</strong> numerous productions <strong>and</strong> toured with <strong>the</strong><br />
company extensively. In 2001 he gained funding from <strong>the</strong> Australia Council to<br />
run a music program at Cobham Juvenile Detention Centre.<br />
Samuel James<br />
AUDIOVISUAL ARTIST<br />
Samuel James works as a projection designer<br />
for contemporary performance companies <strong>and</strong><br />
independent dancers, mainly in association with<br />
Performance Space. His main focus is collaborating<br />
with independent dancers <strong>and</strong> making projections<br />
for live works, installations <strong>and</strong> dance films. This<br />
practice has developed since 1995, with over 150<br />
credits in that time. His work includes <strong>the</strong>atre,<br />
new media installation <strong>and</strong> filmmaking for Quietly Collapsed (Rosie Dennis)<br />
on ABC TV <strong>and</strong> Nun’s Night Out (choreographer Julie-Anne Long), a production<br />
that won Best Australian Dance Film at <strong>the</strong> Australian Dance Awards in 2006.<br />
He has worked with a diverse range of companies – from <strong>the</strong> Sydney Dance<br />
Company to Frumpus – <strong>and</strong> regularly has his videos screened in international<br />
dance film festivals.<br />
Bernie Tan<br />
LIGHTING DESIGNER<br />
Bernie Tan has worked extensively across a<br />
variety of genres, including dance, drama, opera<br />
<strong>and</strong> musicals <strong>and</strong> <strong>the</strong>atrical productions. He has<br />
worked with <strong>The</strong>atre of Image, ERTH, La Boite<br />
<strong>The</strong>atre Company, NORPA, Griffin <strong>The</strong>atre Company,<br />
Pinch Gut Opera, Sydney Conservatorium of Music,<br />
State Opera of South Australia, Performing Lines<br />
<strong>and</strong> Sydney <strong>The</strong>atre Company. His work includes<br />
Small Poppies, I Am My Own Wife, Twinkle Twinkle Little Fish, <strong>The</strong> Ring Cycle,<br />
Great Expectations, Gondwana, Macbeth <strong>and</strong> Cosi Fan Tutte to name just a few.<br />
Mark Haslam<br />
PRODUCTION MANAGER<br />
Mark is a Sydney-based director, designer <strong>and</strong><br />
production manager with credits in <strong>the</strong> UK <strong>and</strong> all<br />
over Australia. He seems to attract large, ambitious<br />
projects, having recently managed Performance<br />
Space’s mammoth LiveWorks program <strong>and</strong> Tess<br />
DeQuincey’s epic <strong>The</strong> Stirring at CarriageWorks. He<br />
was also assistant director to Nigel Jamieson for<br />
Gallipoli at <strong>the</strong> STC. He has lit some of <strong>the</strong> world’s<br />
biggest DJs, including Fatboy Slim, Sasha <strong>and</strong> Carl Cox <strong>and</strong> currently lectures in<br />
<strong>The</strong>atre at <strong>the</strong> University of Wollongong.<br />
8
Actors<br />
Stephen Klinder<br />
STAGE MANAGER<br />
Stephen Klinder graduated from UWS <strong>The</strong>atre<br />
Nepean in 1995. Since <strong>the</strong>n he has worked in<br />
Australia, <strong>the</strong> UK <strong>and</strong> <strong>the</strong> US in a number of<br />
positions. He has stage managed for independent<br />
<strong>the</strong>atre, musical events, dance <strong>and</strong> arena<br />
spectaculars, yet this is only a very small chapter<br />
in <strong>the</strong> enigmatic life of Stephen ‘National Treasure’<br />
Klinder. Google him.<br />
Bill Young<br />
PERFORMER<br />
Bill Young is one of Australia’s busiest character<br />
actors with over 20 feature films under his belt,<br />
a wealth of television experience, an impressive<br />
array of <strong>the</strong>atre credits <strong>and</strong> a reputation for being a<br />
much sought-after voiceover artist. Recent feature<br />
film work includes Superman Returns, Japanese<br />
Story, You Can’t Stop <strong>the</strong> Murders, Chopper, <strong>The</strong><br />
Nugget, <strong>The</strong> Matrix <strong>and</strong> <strong>The</strong> Road to Nhill. Recent<br />
television work includes ABC TV’s <strong>The</strong> Cut, <strong>The</strong> Hollowmen <strong>and</strong> <strong>The</strong> Prime<br />
Minister is Missing, <strong>the</strong> Spielberg / Hanks mini-series <strong>The</strong> Pacific, as well<br />
as <strong>the</strong> Logie Award-winning dramatised documentary <strong>The</strong> Bridge, in which<br />
he played <strong>the</strong> role of Jack Lang. <strong>The</strong>atre performances include roles in Don’s<br />
Party, Spinning Into Butter <strong>and</strong> Broadway Bound. He is <strong>the</strong> founder, producer<br />
<strong>and</strong> director of <strong>the</strong> Kirribilli Pub <strong>The</strong>atre. He also directs film, <strong>the</strong>atre <strong>and</strong><br />
television. His 1994 feature film <strong>The</strong> Roly Poly Man picked up a number of<br />
international film festival awards, most notably <strong>the</strong> Vincent Price Audience<br />
Award at XVth Fantafestival in Italy. He has been a member of MEAA (Actors<br />
Equity) since 1975.<br />
Annie Byron<br />
PERFORMER<br />
An actress for over 30 years, Annie Byron’s work<br />
has taken her all over Australia <strong>and</strong> <strong>the</strong> world. She<br />
has most recently appeared in Yibiyung at Belvoir<br />
St <strong>The</strong>atre <strong>and</strong> Malthouse <strong>The</strong>atre in Melbourne.<br />
Prior to that, she performed in <strong>The</strong> Age I’m In<br />
for <strong>the</strong> Sydney <strong>and</strong> Adelaide festivals 2008 <strong>and</strong><br />
Small Things at Downstairs Belvoir. She recently<br />
shot a short film called Glory for Metroscreen <strong>and</strong><br />
<strong>the</strong> feature film <strong>The</strong> View from Greenhaven Drive. O<strong>the</strong>r recent work includes<br />
Embers <strong>and</strong> Hedda Gabler for Sydney <strong>The</strong>atre Company, as well as <strong>the</strong><br />
telemovie Stepfa<strong>the</strong>r of <strong>the</strong> Bride for ABC TV. She received an AFI nomination<br />
for her role in Doin’ Time for Patsy Cline <strong>and</strong> <strong>the</strong> AFI Award for Best Actress in a<br />
Supporting Role for her work in Fran.<br />
Tom Green<br />
PERFORMER<br />
Tom Green began working professionally as an<br />
actor in 2007. He played <strong>the</strong> lead role of Zac in<br />
<strong>the</strong> telemovie Emerald Falls, directed by Peter<br />
Andrikidis, <strong>and</strong> made his stage debut as Phillip in<br />
Lockie Leonard for Merrigong <strong>The</strong>atre Co. In 2008<br />
Tom brought lead character Kaden to life in <strong>The</strong><br />
Ground Beneath, a 25-minute short film directed<br />
by Rene Hern<strong>and</strong>ez that was nominated for <strong>the</strong> AFI<br />
Best Short Film Award. He starred as Vafa in <strong>the</strong> AFTRS short film Cross-over<br />
directed by Amin Palangi <strong>and</strong> shot <strong>the</strong> comedy pilot Too Far in 2008, playing<br />
<strong>the</strong> lead role of Tom alongside Peter Rowsthorn <strong>and</strong> Corinne Grant, with<br />
directors Matt Peek <strong>and</strong> Cam Ford.<br />
Puppeteers<br />
Sharon Kerr<br />
PUPPETEER<br />
A trained school teacher majoring in Drama,<br />
Sharon left teaching to perform with Barnstorm<br />
<strong>The</strong>atre <strong>and</strong> Graffiti Dance <strong>The</strong>atre before<br />
co-founding ERTH. She has experience in<br />
improvisational movement, having trained with<br />
Al Wunder <strong>and</strong> Lynden Nicholls, a teacher best<br />
known for Animotion – work based on animal<br />
movements. She has worked with a range of<br />
people, from <strong>the</strong> very young (teaching aerobics) to <strong>the</strong> aged in care. Within<br />
ERTH Sharon is a performer, prop maker, costume maker <strong>and</strong> manager /<br />
producer <strong>and</strong> contributes creative <strong>and</strong> performance directions. She has toured<br />
to Irel<strong>and</strong>, South Korea, Singapore, <strong>the</strong> United States, New Zeal<strong>and</strong> <strong>and</strong><br />
Engl<strong>and</strong> <strong>and</strong> throughout Australia, including to <strong>the</strong> Melbourne <strong>International</strong><br />
<strong>Festival</strong>, Adelaide Fringe <strong>Festival</strong> <strong>and</strong> <strong>the</strong> openings of both <strong>the</strong> Melbourne <strong>and</strong><br />
National museums. She also appeared in an aerial pyrotechnic spectacular for<br />
<strong>the</strong> opening of <strong>the</strong> Sydney Olympics in 2000. She has performed on <strong>the</strong> sails<br />
of <strong>the</strong> Sydney Opera House, <strong>the</strong> spire of St Pauls Ca<strong>the</strong>dral in Melbourne <strong>and</strong><br />
from <strong>the</strong> 24th floor of <strong>the</strong> Nge Ann building in Singapore.<br />
Jacob Boehme<br />
PUPPETEER<br />
Jacob Boehme is a Melbourne-born artist of<br />
Narangga (Yorke Peninsula, SA) <strong>and</strong> Kaurna<br />
(Adelaide, SA) heritage. He trained in dance<br />
at NAISDA, Australia’s leading institute for<br />
Indigenous performing arts <strong>and</strong> is a choreographer<br />
<strong>and</strong> puppeteer. For <strong>the</strong> past ten years he has<br />
worked with Indigenous youth in remote areas<br />
creating visual <strong>the</strong>atre that combines traditional<br />
<strong>and</strong> contemporary dance <strong>and</strong> puppetry techniques. He recently completed<br />
a masters in Puppetry at <strong>the</strong> Victorian College of <strong>the</strong> <strong>Arts</strong> with a successful<br />
season of his show Idja (which means ‘skin’ in Narangga), a work that explores<br />
<strong>the</strong> collaborative possibilities between Indigenous storytelling conventions<br />
<strong>and</strong> Western <strong>the</strong>atre methodologies. Jacob’s artistic practice keenly focuses on<br />
education <strong>and</strong> <strong>the</strong> celebration of Indigenous culture within both Indigenous<br />
<strong>and</strong> broader communities <strong>and</strong> enhancing contemporary <strong>the</strong>atre practices<br />
through cross-cultural collaborations with o<strong>the</strong>r Indigenous cultures.<br />
Jo Clancy<br />
PUPPETEER<br />
Contemporary Indigenous dancer / choreographer<br />
Jo Clancy is a descendant of <strong>the</strong> Wiradjuri people<br />
of western New South Wales but was raised <strong>and</strong><br />
still lives on Gundungurra <strong>and</strong> Darug country in<br />
<strong>the</strong> Blue Mountains. She commenced her dance<br />
training at NAISDA Dance College in 1990 <strong>and</strong><br />
went on to <strong>the</strong> University of Western Sydney<br />
where she became <strong>the</strong> first Aboriginal person to<br />
gain a Bachelor of <strong>Arts</strong> in Dance in NSW. From 2005 to 2007 she was head<br />
of dance at NAISDA Dance College. She is currently <strong>the</strong> artistic director of <strong>the</strong><br />
Wollemi Aboriginal Dancers <strong>and</strong> is also working with <strong>Arts</strong>Outwest to deliver<br />
contemporary Indigenous dance <strong>and</strong> performance professional development<br />
to Aboriginal communities in central-west NSW. In July 2008 Jo developed <strong>the</strong><br />
first stage of a new contemporary Indigenous dance work entitled Yarringan<br />
(which means ‘like clear water’ in her language group) through <strong>the</strong> support of<br />
<strong>the</strong> Australia Council for <strong>the</strong> <strong>Arts</strong> dance board.<br />
9
photo: prudence upton<br />
10<br />
Joshua Bond<br />
PUPPETEER<br />
Joshua Bond hails from Tasmania <strong>and</strong> has<br />
worked professionally in <strong>the</strong> performing arts for<br />
12 years, primarily in circus but also in dance<br />
<strong>the</strong>atre, physical <strong>the</strong>atre <strong>and</strong> more recently<br />
puppet <strong>the</strong>atre. He graduated from NICA <strong>and</strong> has<br />
worked with companies around Australia <strong>and</strong><br />
internationally, including Lunar Circus & Bizircus<br />
(WA), Circus Monoxide (NSW), Trix Circus (QLD)<br />
<strong>and</strong> Cirque Cric in Barcelona. He is passionate about imparting his skills to<br />
young Indigenous people, having travelled, performed <strong>and</strong> taught extensively<br />
in remote communities. With Flying Fruit Fly Circus, Circus Oz <strong>and</strong> at NAISDA<br />
Dance College he has used <strong>the</strong> physical language of acrobatics as a medium to<br />
create <strong>and</strong> develop new ways of translating Indigenous material in a way that<br />
correlates to dance choreography.<br />
DESIGN AND CONSTRUCTION<br />
Puppet design <strong>and</strong> construction<br />
Set design <strong>and</strong> construction<br />
Storyboard<br />
Puppets<br />
Inflatables<br />
bryony Anderson<br />
Steve Howarth<br />
Ferdin<strong>and</strong> Manalangsang<br />
chris Covich<br />
Marty Jay<br />
Construction:<br />
Hannah Rauwendaal, Matina Moutzouris, Chloe Stanford, Kristen Alcock,<br />
Herbie Peppard, Peter Skirrow, Georgina Buchanan, Evie Meikle, Govinda<br />
Webster, Ana Roman, Rachel Buchan, Max Meyer, Hedge, Meg Roberts <strong>and</strong><br />
Gemma Lark-Johnson, Marc Trunk.<br />
Painters<br />
COFA Intern<br />
University of Wollongong Intern<br />
Frou Frou Loco, Emma Johnston,<br />
laura Wilson<br />
niki Bernado<br />
emma Lockhart-Wilson<br />
THE REGAL THEATRE<br />
Owned by <strong>the</strong> People of Western Australia through<br />
THE BAKER THEATRE TRUST<br />
Trustees:<br />
Richard V Diggins, Ian J Hocking, John C Thornton<br />
Ian Lyon, John J W Thornton<br />
REGAL THEATRE MANAGEMENT<br />
INTERSTAR PTY LTD<br />
474 Hay Street Subiaco<br />
Western Australia 6008<br />
Phone (08) 9388-2066 Fax (08) 9388-2860<br />
Email : regal@iinet.net.au<br />
Website: www.regal<strong>the</strong>atre.com.au<br />
TICKETEK BOX OFFICE 1300 795 012<br />
24 hour booking service: www.ticketek.com.au<br />
GENERAL MANAGER<br />
john C Thornton<br />
ADMINISTRATOR<br />
Stan Bird AASA<br />
ASSISTANT MANAGERS<br />
Tim Thornton<br />
Ken Smith<br />
BOX OFFICE SUPERVISOR (TICKETEK) Sonya Hayden<br />
TECHNICAL MANAGER<br />
barry Brody<br />
MERCHANDISING<br />
jivon Enterprises<br />
Cameras <strong>and</strong> Recording equipment are prohibited in <strong>the</strong> <strong>The</strong>atre without<br />
written permission from <strong>the</strong> management. <strong>The</strong> management reserves <strong>the</strong><br />
right to alter <strong>the</strong> program or replace artists without notice. <strong>The</strong> management<br />
reserves <strong>the</strong> right to refuse admission to <strong>the</strong> <strong>The</strong>atre. Latecomers may only<br />
be admitted at <strong>the</strong> discretion of <strong>the</strong> Management. Ticket holders enter <strong>the</strong><br />
venue at <strong>the</strong>ir own risk. <strong>The</strong> Management accepts no liability whatsoever or<br />
howsoever caused for any injury to persons or property while on <strong>the</strong> premises<br />
or within <strong>the</strong> precincts of <strong>the</strong> <strong>The</strong>atre.
Barking Gecko <strong>The</strong>atre Company is Western<br />
Australia’s leading professional <strong>the</strong>atre<br />
company performing for young people 5-17<br />
years <strong>and</strong> families.<br />
Gecko is committed to providing <strong>the</strong> best<br />
of <strong>the</strong> best <strong>the</strong>atre for our local audiences<br />
<strong>and</strong> ERTH-Visual & Physical’s <strong>The</strong> <strong>Nargun</strong><br />
<strong>and</strong> <strong>the</strong> <strong>Stars</strong> will be <strong>the</strong> spectacular of<br />
spectacular. A show for young people with<br />
such large-scale production values is an exciting event <strong>and</strong> one we wanted<br />
our Gecko audiences to experience. Bringing this type of production to life,<br />
<strong>and</strong> to <strong>Perth</strong>, requires <strong>the</strong> support of a whole host of people, companies <strong>and</strong><br />
organisations. Barking Gecko is proud to be a presenting partner for <strong>the</strong> <strong>Perth</strong><br />
season of <strong>The</strong> <strong>Nargun</strong> <strong>and</strong> <strong>the</strong> <strong>Stars</strong> by ERTH-Visual & Physical.<br />
Barking Gecko is dedicated to providing quality <strong>and</strong> adventurous <strong>the</strong>atre for<br />
young people <strong>and</strong> <strong>the</strong>ir families <strong>and</strong> is proud to produce new works that focus<br />
on contemporary issues. When we are not touring to remote corners of WA,<br />
visiting local schools <strong>and</strong> collaborating with national <strong>and</strong> international artists,<br />
Gecko thrives on <strong>the</strong> challenge of creating our own <strong>the</strong>atre that engages young<br />
people <strong>and</strong>, simultaneously, broadens <strong>the</strong>ir underst<strong>and</strong>ing of <strong>the</strong> world. Since<br />
1991 Barking Gecko has earned an international reputation for excellence <strong>and</strong><br />
innovation, with over 50 new Western Australian plays for young people.<br />
Look out for Fatty Wombat when he explodes onto <strong>the</strong> Barking Gecko stage<br />
in <strong>the</strong> October school holidays <strong>2009</strong>!<br />
Barking Gecko Staff:<br />
Jeremy Rice<br />
artistic Director<br />
Ka<strong>the</strong>rine McLean<br />
General Manager<br />
Eleri Evans<br />
Marketing Manager<br />
Kate Hancock<br />
education <strong>and</strong> Touring Coordinator<br />
Joy Crocker<br />
Financial Administrator<br />
Board of Directors:<br />
Michael Mitchell<br />
chair<br />
Michael Laurance<br />
Company Secretary / Deputy Chair<br />
Beau Deleuil<br />
Drew Dymond<br />
Glenn Hall<br />
Myriam Leonardy<br />
Jennifer Ridgwell<br />
Tony Scampoli<br />
Ainslie Van Onselen<br />
Barking Gecko Patron:<br />
barkinggecko.com.au<br />
Professor Fiona Stanley<br />
AC Msc, MD FFPHM, FAFPHM, FRACP, FRACOG, FASSA, Hon Dsc.<br />
PERFORMING LINES<br />
www.performinglines.org.au<br />
administration@performinglines.org.au<br />
5/245 Chalmers Street Redfern NSW 2016<br />
02 9319 0066<br />
Performing Lines develops, produces <strong>and</strong> tours new Australian performance<br />
nationally <strong>and</strong> internationally — across genres including physical <strong>the</strong>atre,<br />
circus, dance, indigenous <strong>and</strong> intercultural arts, music <strong>the</strong>atre, hybrid work,<br />
<strong>and</strong> text-based <strong>the</strong>atre.<br />
General Manager<br />
Producer<br />
Producer<br />
Producer (WA)<br />
Producer (TAS)<br />
Producer (Sound Travellers)<br />
Associate Producer<br />
Office Manager<br />
Accounts<br />
Wendy Blacklock AM<br />
harley Stumm<br />
Fenn Gordon<br />
Fiona de Garis<br />
Annette Downs<br />
Joanne Kee<br />
Kar Chalmers<br />
hannah S<strong>and</strong>ers<br />
linda Luke<br />
Performing Lines is assisted by <strong>the</strong> Australian Government through <strong>the</strong><br />
Australia Council, its arts funding <strong>and</strong> advisory body.<br />
Barking Gecko is supported by<br />
11
<strong>the</strong> <strong>Festival</strong> Wishes to thank<br />
FOUNDER<br />
PARTNERS<br />
PRINCIPAL SPONSORS<br />
PREMIER SPONSORS<br />
MAJOR SPONSORS<br />
PUBLIC FUNDING PARTNERS<br />
INTERNATIONAL FUNDING PARTNERS<br />
Government of Western Australia<br />
Department of Local Government<br />
<strong>and</strong> Regional Development<br />
Government of Western Australia<br />
Department of Culture <strong>and</strong> <strong>the</strong> <strong>Arts</strong><br />
Government of Western Australia<br />
Department of Education <strong>and</strong> Training<br />
THE AGENC Y FOR CULTUR AL AFFAIRS<br />
GOVERNMENT OF JAPAN<br />
SPARKLING WINE SPONSOR<br />
MEDIA SUPPORTERS<br />
MEDIA PARTNER<br />
suppoRtING<br />
spoNsoRs<br />
303 Group<br />
Friends of <strong>the</strong> <strong>Festival</strong><br />
Good Reading Magazine<br />
St john of God health care<br />
<strong>The</strong> Marketing centre<br />
spECIAL<br />
tHANks to<br />
albany advertiser<br />
albany chamber of commerce <strong>and</strong> industry<br />
albany Public library<br />
bankwest<br />
box deli<br />
brett & annie Fogarty<br />
carillion city<br />
devilles Pad<br />
Fletcher jones<br />
Fremantle Press<br />
Fonterra br<strong>and</strong>s australia –<br />
connoisseur ice cream<br />
Goe<strong>the</strong> institut<br />
harpercollins australia<br />
hbF<br />
howard + heaver architects<br />
insight Publications<br />
jordano<br />
just jeans<br />
Kansai electric Power australia<br />
Katies<br />
Maggie T<br />
Mink<br />
Murdoch books<br />
Must Winebar<br />
Myer<br />
osaka Gas australia<br />
Pan Macmillan<br />
Playhouse <strong>The</strong>atre<br />
Politix<br />
R<strong>and</strong>om house nZ<br />
Resort Report<br />
RM Williams<br />
Scribe Publications<br />
State library of Western australia<br />
Target<br />
<strong>The</strong> albany <strong>and</strong> Great Sou<strong>the</strong>rn Weekender<br />
<strong>The</strong> brisbane hotel<br />
unSW Press<br />
vodafone / First Mobile<br />
Water corporation, albany<br />
Western australian Museum, albany<br />
writingWa<br />
ME dIC I<br />
doNoRs<br />
Peter & Tracey bacich<br />
Zelinda bafile & adrian iredale<br />
clive & barbara brans<br />
Peter & Robin briggs<br />
dr charles bro & anne Marie brittain<br />
Peter & yvonne burns<br />
dr david cooke<br />
john & Sarah d’onofrio<br />
Marco d’orsogna<br />
Murray & louise e<strong>the</strong>rington<br />
adrian & Michela Fini<br />
brett & annie Fogarty<br />
Graham Foreward & jackie Gilmour<br />
derek Gascoine & dale harper<br />
Peter & chris Gilmour<br />
Mack & evelyn hall<br />
Peter & Sue harley<br />
Maxine howell-Price<br />
adam lenegan<br />
S<strong>and</strong>y & Michele MacKellar<br />
john & elizabeth Mair<br />
Michael & Sallie Manford<br />
bettina Mangan<br />
Murray & Suzanne McGill<br />
ian & jayne Middlemas<br />
david & dawn Morgan<br />
Professor Gerry o’driscoll & dr halina burmej<br />
john & helen owenell<br />
Mimi Packer<br />
Richard Payne & cim Sears<br />
dr Michael Prichard & beniza Panizza<br />
Pearl Proud<br />
Marijana Ravlich<br />
bill Repard & jane Prendiville<br />
dr Sam Rogers<br />
Sally Savini<br />
Rosemary Sayer & Terry Grose<br />
leo & virginia Seward<br />
jackie & Gary Steinepreis<br />
dr Phillip & jill Swarbrick<br />
Peter & jane Thompson<br />
Rodney & Penny Thompson<br />
Frank & Rachael Torre<br />
joe & debbie Throsby<br />
Tim & chris ungar<br />
ian & Margaret Wallace<br />
Melvin yeo<br />
ashley & anita Zimpel<br />
pRIVAtE GIVING<br />
pRoGRAM<br />
jonathan akerman<br />
emeritus Professor cora baldock<br />
bernard & jackie barnwell<br />
in memory of dr Stella barratt-Pugh<br />
Sue boyd<br />
ellen broerse<br />
janette brooks<br />
coral carter<br />
dr barry cassidy<br />
dr Michael & Rose chaney<br />
craig colvin<br />
dr david cooke<br />
joanne cruickshank<br />
Marco d'orsogna<br />
isobel Glencross<br />
david Griffiths<br />
Patricia & dr des Gurry<br />
doro<strong>the</strong>a hansen-Knarhoi<br />
james & Freda irenic<br />
nina & ashley jones<br />
jennie Kennedy<br />
dr vivienne lawrence<br />
Peter & lynne leonhardt<br />
Peter Mallabone<br />
Sophie Mark<br />
Gaye McMath<br />
leo Moran<br />
Mary napier<br />
alison o'dwyer<br />
Wayne & Pam osborn<br />
<strong>and</strong>rea Shoebridge<br />
Prof Fiona Stanley<br />
Prof Karen Simmer<br />
Suzanne Strobel<br />
Tuite Family<br />
j. van der Merwe<br />
enrico versteeg<br />
diana Warnock<br />
justice christine Wheeler<br />
dr hea<strong>the</strong>r Whiting & Richard hatch<br />
Margaret Whitter<br />
ann Whyntie<br />
associate Professor Michael Wise<br />
brigid Woss<br />
anonymous (14)