The New Electric Ballroom - 2009

IRELANDKeith PattisonThe New ElectricBallroomaustralian Premiereperth festival exclusiveby DruidWritten and directed by enda walshsupported byWHEREPlayhouse TheatreWHENTuesday 17– Wednesday 25 FebruaryThis performance lasts for 1 hour and20 minutes with no intervalNote: latecomers cannot be admittedPLAYHOUSE THEATREperthfestival.com.au

The New Electric BallroomCASTBredarosaleen LinehanClararuth McCabePatsyMikel MurfiAdacatherine WalshCREATIVEDirectorDesignLighting DesignSound DesignCasting Directorenda Walshsabine Dargentsinéad McKennaGregory ClarkeMaureen HughesCREWProduction ManagerCompany Stage ManagerStage DirectorProduction PhotographyTechnical Managereamonn Foxsarah Lynchlee DavisKeith Pattisonbarry O'BrienThe New Electric Ballroom received its premiereat the Kammerspiele Theatre, Munich, Germany,on 30 September 2004. Druid presented the Englishlanguagepremiere at the 2008 Galway Arts Festivalfrom 14–26 July and at the 2008 Edinburgh FestivalFringe from 3–24 August where it won an EdinburghFringe First Award.Interview with Writer /Director Enda WalshEnda Walsh’s play The New Electric Ballroom was talked into existence overtwo intense days in Germany. He discusses collaborations with directors anddramaturges, fractured narratives and how he splits himself in two to directhis own work, with Jesse Weaver.This is Enda Walsh’s moment. In April his play The Walworth Farce receivedits American premiere at St Ann’s Warehouse in New York, produced byDruid and directed by Mikel Murfi. Walsh joined forces with Druid again lastyear when his play The New Electric Ballroom, first produced by Munich’sKammerspiele, received its English-language premiere at Galway Arts Festival,in a production he also directed. The Walworth Farce ran at London’s NationalTheatre in September, while Walsh’s adaptation of Dostoevsky’s The BrothersKaramazov, entitled Delirium, also toured in the UK. To top it all off, Walsh sawhis screenwriting work on Hunger awarded with the prestigious Camera d’Or atlast year’s Cannes Film Festival.Walsh’s work is famous for its finely crafted and deeply layered theatricalworlds, all of which are cast in their own linguistic idioms. His treatment oflanguage is not only an expression of a character’s identity, but also of acharacter’s attempt to crack the formal cadences of an established mode oflanguage. While this is true of his earlier work, most notably Disco Pigs, Walshpushes his experiments with form further in The Walworth Farce, where twovery different plot forms overlap and compete with each other, culminatingin the resurfacing of an Irish immigrant family’s real reason for leaving theirnative Cork. The New Electric Ballroom, a companion piece of sorts, treadsthe same thematic ground, with three sisters in a small Irish fishing villagetrapped in an ever-present past.In a conversation with Enda Walsh in London, where he’s based, we discussedhis success with The Walworth Farce, directing The New Electric Ballroom andhow, as a playwright, he navigates the collaborative process of bringing a playto production.2

Jesse Weaver (JW): Would you usually work closely with a director on a playfrom the beginning?Enda Walsh (EW): I think I always have, in various sorts of degrees. I know withThe Walworth Farce it was a very specific thing because it was so physical. I feltas if it was right to work with Mikel – not from the very beginning, but by reallypolishing the first draft with him. But, I usually [work closely with a director],and when I don’t, that’s when the play falls apart. That’s when I’ll go back andthink, I really took my eye off the ball and I’ll never make that mistake again.JW: What kind of pitfalls do you mean by ‘taking your eye off the ball’? Justnot being in touch with the director enough?EW: Not being clear enough. I need someone, whether it’s a director or adramaturg, to argue things out, to make it clear. The New Electric Ballroom isthe sister piece to The Walworth Farce, and it was done by this German directorcalled Stephan Kimmig for the Kammerspiele in Munich. I worked with himand the dramaturg. The way that they worked was that they just listened to metalk for hours; they questioned me again and again and they just soaked me ofeverything.The dramaturg was called Tilman Raabke, who, I suppose, in the world oftheatre, would almost be my mentor. He would say, ‘just talk – what are yourideas, Enda?’ I would start talking about my ideas, and before I know it, aftertwo days we’ve created the play. Now it’s just a matter of writing it down.We played over all the aspects – we know structurally how it’s going to work,we know the big dramatic moments, we know the images and we know thedetail of the characters and the flavour of the world, as well as the potentiallanguage of it, the sounds of it. And it’s all just from talking to someone whoknows your work and goes, ‘yeah, you’ve done that before.’ I trust him insteering me dramaturgically. The writing is easy, but for me I’m constantlyinterested in the structure of a play and how you move an audience … not justto tell a narrative, A to Z, but to upset things a bit, fracture things a bit.JW: How present are you in the rehearsal room – from the first reading to thetech?EW: I don’t mind being there in the first week of rehearsal, but a lot of the timeI feel that my work’s done. I’ve had all the conversations with the director. Iknow what I want and I’m going to leave them to it. Otherwise I’ll slow thingsdown – I’ll get in the way, and they have to own it.JW: What kind of a hand do you have in casting?EW: I try to have as much as possible. Casting is vital. That’s where it’s all at,because once the play is up and running, I don’t feel as if I own it. I feel as ifit’s the actors’ piece now. With The Walworth Farce, I don’t think it’s my playanymore. I think that the actors have made it now. It’s theirs. That’s whathappens once it’s running and I’m happy with it. My relationship with this isover now. It’s even over before rehearsal when you feel as if it [the script] isthe best you can do. You put on a different hat [in rehearsal], I suppose, whereyou craft it, where you can be quite clinical about it, and not care about EndaWalsh the playwright in his attic writing plays. Forget about him – it’s EndaWalsh the dramaturg now, or whatever.JW: Is it like an internal division of labour?EW: Definitely. I’ve always thought you have to have that. You can’t imaginethat playwriting is some magical thing and this great, great art. It’s really adogged little craft and you need to keep a distance from it to be able to get tothe heart of it.JW: When you’re directing your own work with that internal division oflabour in mind, do you feel as if one role is encroaching on the other?EW: I do. I’ve only ever really done it twice. I wrote this play [Chatroom] thatdid really well at the National. I’ve directed that and I also directed Bedbound.When I was in rehearsal for Bedbound, my father died, so I was dealing withthe grief of that and directing the play. I didn’t have the clarity then to directit, as well as to argue with Enda Walsh the playwright versus Enda Walsh thedirector. With The New Electric Ballroom – the play is done, so I don’t think I’llchange the text. I was really, really happy with it three years ago and I think I’lljust look at it and go, ‘What does this mean now?’JW: How much authorial power do you think actors and directors have inbringing the play to the stage? You have the text that you’ve lived with, andthen it’s brought into this ensemble. Do you still feel the group of artistswho now have a stake in it also have some kind of authorship?EW: The play actually isn’t the production because it’s only a set of words andit’s only imagination, of course – it’s all in your head. And of course you throwa load of people in a room and you physically try to embody these characters.You try to play the themes and you try to play the subtext of it. You try to findthe rhythm of the language and you’re doing the journey of the characters andthe journey of the whole play, the structure of the play. That’s a complicatedthing to hold in one person’s head. I don’t think a playwright does all of it. Thereare all these different journeys: what needs to happen in the rehearsal room,the lighting and the sound and then getting an audience to come in and sitdown. There’s so much on the table. You wonder when a production becomes aproduction. It’s certainly not on the first night, that’s for sure. It can never be.Jesse Weaver is a playwright. This is an edited extract from an interviewconducted for his PhD thesis at University College Cork. The article was firstpublished in Irish Theatre Magazine (ITM) in summer 2008 and appearscourtesy of ITM.3

About DruidA world-class company rooted in the cultural fabric of GalwayTHE IRISH TIMESDruid was founded in Galway in 1975 by graduates of the National Universityof Ireland – Garry Hynes, Mick Lally and Marie Mullen – and was the firstprofessional theatre company in Ireland to be based outside Dublin. Sincethen Druid has toured extensively in Ireland as well as internationally to suchplaces as London, Edinburgh, Sydney, Perth, Washington, Los Angeles, NewYork and Tokyo. The company has had two artistic directors: Garry Hynes(1975–91 and 1995 to date) and Maeliosa Stafford (1991–94).Druid’s aim is to create electrifying theatre experiences for every person,in every place and every time they perform. As part of this mission, theyconsistently commission, develop, and produce new plays by a wide range ofemerging and established writers both from Ireland and abroad. Druid firstworked with Enda Walsh in 2006 when The Walworth Farce was commissionedas part of their new writing program. For two years running Druid wonthe prestigious Edinburgh Fringe First Award for his plays The WalworthFarce (2007) and The New Electric Ballroom (2008). Druid’s new writingprogram has also included premieres of Leaves by Lucy Caldwell and Empressof India by Stuart Carolan.Other Druid highlights include their production of The Beauty Queen ofLeenane, a tragi-comedy of rural Ireland by Martin McDonagh. This productiontoured extensively in Ireland and then went on to play in London, Sydney,Dublin and the Walter Kerr Theatre on Broadway, where it won four Tonyawards and was a smash hit. The play has since become part of the LeenaneTrilogy and Martin McDonagh has gone on to international renown, includingas writer / director for 2008’s acclaimed film In Bruges, starring Colin Farrellwho recently received a Golden Globe Award in the Best Actor categoryfor his performance.In 2005 Druid premiered the ambitious and highly successful DruidSynge –all six of JM Synge’s plays performed on the same day – at the Galway ArtsFestival. The production toured to Dublin, Edinburgh, Inis Meáin,Minneapolis and New York. Charles Isherwood of the New York Timesdescribed the production as ‘the highlight not just of my theatregoing yearbut of my theatregoing life’. Upon its release in 2007, the DVD box setof DruidSynge was presented to every school in Ireland by the Departmentof Arts, Sport and Tourism.Druid has toured internationally since 1982, encompassing four continents,and is one of the best known theatre companies in the English speakingworld. 2008 saw the company present 232 performances in 23 venues inthree countries, including a double-bill of JM Synge’s The Playboy of theWestern World and The Shadow of the Glen on a coast-to-coast tour of theUnited States. All of Druid’s work originates and premieres in Galway, whichcontinues to be their home base.4

ENDA WALSHWriter and DirectorEnda Walsh is one of the mostwidely performed writersin Irish theatre today. Bornin Dublin in 1967, he is aleading member of the young‘Celtic Tiger’ generation ofplaywrights, a group thatincludes Martin McDonagh andConor McPherson. His earliestinteraction with theatre wasthrough novelist Roddy Doyle,who taught him at GreendaleCommunity School in NorthDublin, wrote all the school playsand inspired the idea that theatre could be a laugh. In the early 1990s Endamoved to Cork and worked with Corcadorca Theatre Company, who producedThe Ginger Ale Boy, his second play and the first to draw interest in him asa writer. His reputation grew enormously with the national and internationalsuccess of Disco Pigs, which opened at Triskel Arts Centre in Cork in 1996.The play won the Stewart Parker Award and George Devine Award, has beentranslated and staged in 16 countries and was adapted to screen as a coproductionbetween Temple Films and Renaissance in 2001. Disco Pigstypifies a common theme in Enda Walsh’s plays, namely characters striving toarticulate or verbally communicate. In this case, Pig and Runt make up theirown language, a combination of animal noises, baby talk and Cork slang.Enda Walsh plays are commonly noted for a sense of claustrophobia and oftenexamine individuals using language to cope with disappointment or trauma.His Edinburgh Fringe First Award-winning The Walworth Farce sees a fatherforcing his sons to tell and retell the story of their exodus from Ireland – setin a small London flat. Similarly The New Electric Ballroom – also a FringeFirst Award-winner – revolves around two housebound sisters obsessed withreliving and retelling the story of one fateful night. Even earlier, The GingerAle Boy uses the metaphor of the ventriloquist. Enda Walsh is a prolific writer,working in theatre, radio and more often recently in cinema. 2008 saw therelease of Hunger, a film that chronicles the 66-day hunger strike of IRA footsoldierBobby Sands. Hunger won the Camera D’Or and international prize inCannes 2008, has garnered a number of awards at international film festivalsand has been nominated in the Outstanding British Film category of the 2009Orange British Academy Film Awards (BAFTAs). Future projects include anadaptation of his play Chatroom. Enda Walsh lives in London with his wife andtheir daughter.Druid: The Walworth Farce and The New Electric Ballroom.Other theatre: The Walworth Farce (Galway, Cork, Dublin, Edinburgh – 2007Fringe First Winner – New York, Edinburgh); Chatroom (Cottesloe, RoyalNational Theatre, March 2006, Autumn 2007); The Small Things (for PainesPlough, Menier Chocolate Factory, London and Galway Arts Festival 2005);The New Electric Ballroom (Kammerspeil Theatre Munich, winner of TheaterHeute’s Best Foreign Play 2005); two short plays, How These Men Talk (ZurichShauspielehaus) and Lynndie’s Gotta Gun for Artistas Unidos (Lisbon’sNational Theatre); Bedbound (Dublin Theatre Festival 2000, Edinburgh2001 – Fringe First Winner – Royal Court, London, New York and worldwide);Misterman (Granary Theatre); Disco Pigs (Cork, Dublin 1996; Edinburgh 1997;West End 1998 – awarded Arts Council Playwrights Award 1996, Best FringeProduction 1996, Stewart Parker and George Devine Awards 1997); TheGinger Ale Boy (Corcadorca). Also an adaptation of Dostoevsky’s The BrothersKaramazov for Theatre O, Delirium (Abbey Theatre and Barbican). Film: DiscoPigs (Temple Films / Renaissance). Hunger, (Blast / FILMFOUR), winner ofthe Camera D’Or and international prize in Cannes 2008. In development:Chatroom (for Ruby Films / FILMFOUR and Scott Rudin Films); Island of theAunts (an adaptation of Eva Ibbotson’s children’s novel for Cuba Pictures);Kinderboy (BBC).Radio: Four Big Days in the Life of Dessie Banks (RTÉ Radio – winner of the PPIAward for Best Radio Drama 2001); The Monotonous Life of Little Miss P (BBC– commended in the Berlin Prix Europa 2003).CAST BIOGRAPHIESROSALEEN LINEHAN – BredaDruid: The New Electric Ballroom (Galway,Edinburgh Festival Fringe). Other Theatre:Long Day’s Journey into Night, Gates of Gold,London Assurance, The Rivals, Happy Days,Mary Makebelieve, The Double Dealer, TwelfthNight, Heartbreak House (Gate Theatre); HappyDays (Almeida Theatre, Lincoln Centre New York,Barbican); The House of Bernarda Alba, TheImportance of Being Earnest, Mary Makebelieve,Philadelphia Here I Come, Carthaginians (Abbey Theatre); Mother of AllThe Behans (Abbey, Brighton, Edinburgh, Montreal, New York); Dancing atLughnasa (National Theatre, London, The West End, Broadway); The Ploughand the Stars, Blithe Spirit, Lost in Yonkers (Guthrie Theatre, Minneapolis);Tartuffe (Roundabout Theatre, New York); The Cripple of Inishmaan (GeffenTheatre, Los Angeles); Blood Wedding (Almeida Theatre); Bailegangaire(Royal Court, London); Des and Rosie Revues (Gaiety Theatre and on tour)As a Composer: Mary Makebelieve (Abbey & Gate); Streets of Dublin (Tivoli);Speak of the Devil (with Jim Doherty); Please Don’t Make Me Feel So Happy(with Conor Linehan); Twelfth Night (Gate), and many musical revues. Film &Television: About Adam; Happy Days (Beckett on Film); The Matchmaker; TheHi-Lo Country; Mad About Mambo; Sharpe’s Gold; Scarlett; The Butcher Boy.RUTH MC CABE – ClaraDruid: The New Electric Ballroom is Ruth's debutwith Druid. Other Theatre: The Life of Galileo(Rough Magic); Five Kinds of Silence (Calypso); TheHouse of Bernarda Alba, Prayers of Sherkin, Kingof the Castle, The Lower Depths (Abbey Theatre);The Memory of Water, Silverlands, Diary of aHunger Striker (Peacock Theatre); The Cavalcaders(The Lyric); When the Wall Came Down (Dublin,Berlin); The Man from Clare, Translations (GaietyTheatre); Bailegangaire (Royal Court); The Gigli Concert (Almeida Theatre); OurCountry’s Good (Gate Theatre); Uncle Silas, Worm in the Heart (Project). Film& Television: The Wake Wood; The Tiger’s Tail; Breakfast on Pluto; Inside I’mDancing; Intermission; Everlasting Piece; The Widow’s Son; Wild About Harry;The Closer You Get; Talk of Angels; An Awfully Big Adventure; Circle of Friends;The Snapper; The Field; The Miracle; Fatal Inheritance; My Left Foot.5

MIKEL MURFI – PatsyMikel trained at Ecole Jacques Lecoq, Paris andis from Sligo. Druid: As an actor, The New ElectricBallroom (Galway, Edinburgh Festival Fringe); TheIncreased Difficulty Of Concentration. As a directorThe Walworth Farce by Enda Walsh. Other Theatre:As an actor, The Chairs (Blue Raincoat, Sligo);The Cure (The Half Moon Theatre, Cork); The Clerkand The Clown (Galway Arts Festival); Playing ARound (Galway Arts Festival); The Morning AfterOptimism, The Playboy of The Western World (Peacock Theatre); The Tempest(The Abbey Theatre); Stokehauling, SickDyingDeadBuriedOut, Half EightMass of A Tuesday, Come Down from The Mountain John Clown, John Clown,Macbeth (Barabbas); God’s Gift (national tour Barabbas); The White HeadedBoy (Barabbas, national and US Tour), Studs, Melting Penguins (PassionMachine); Lady Windermere’s Fan (Rough Magic). At The Abbey The Comedyof Errors; The Tender Trap (Pigsback). As a director, Diamonds in The Soil, TheLost Days of Ollie Deasy (Macnas); The Mysteries (co-director, Macnas); Trad(Galway Arts Festival Production); The Lonesome West (Lyric Theatre, Belfast)Film & Television: As an actor, Ella Enchanted, The Last September, SweetyBarrett, The Butcher Boy, Love and Rage, Guiltrip, Words Upon The WindowPane, The Three Joes, The Commitments. As a director, Druma (a short film forMacnas); John Duffy’s Brother (for Parkfilms based on the Flann O Brien shortstory, screenplay by Eoghan Nolan).CATHERINE WALSH – AdaDruid: The New Electric Ballroom (Galway,Edinburgh Festival Fringe); DruidSynge (Galway,Dublin, Edinburgh, New York, Minneapolis andthe Aran Islands), The Empress of India (Galwayand Dublin Theatre Festival 2006); The Year of theHiker (Galway, Dublin and national tour), Sharon’sGrave, Werewolves. Other Theatre: Fool for Love,Eden, The Gigli Concert, Translations, Kevin’s Bed,Blackwater Angel, At Swim Two Birds, Love in theTitle (Abbey and Peacock theatres); Dancing at Lughnasa, A Christmas Carol,Phaedra (The Gate Theatre); Buddleia by Paul Mercier; From Both Hips byMark O’Rowe; Licking the Marmalade Spoon by David Parnell; The Chastituteand Big Maggie by JB Keane. Film & Television: The Family, The Ambassadorand Holby City (BBC); On Home Ground (RTE); The Last September; WhateverHappened to Bridget Cleary (RTE, Wildfire Films) Radio: All That Fall by SamuelBeckett, directed by Judy Hegerty; Eden by Eugene O’Brien; The MonotonousLife of Little Ms. P by Enda Walsh; Swanscross by Gina Moxley and Shiftwork byFrank Shouldice.SABINE DARGENT – Set and Costume DesignSabine is a French designer living in Ireland.Druid: The New Electric Ballroom, The WalworthFarce (Irish Times Theatre Award for Best Set Design2006). Other Works: City Fusion (St Patrick’sParade); The Pride of Parnell St (Dublin, London,New Haven); Circus (Dublin); The Lonesome West(Ireland); The Bacchae of Baghdad, The Importanceof Being Earnest (Abbey Theatre); Antigone, Hardto Believe (Storytellers Theatre Co); Henry andHarriet ( Belfast); To Have and to Hold (Old Museum Belfast); Days of Wine andRoses (Lyric); Dublin Carol (Everyman Palace, Cork); Ghosts (for which she wonthe ESB / Irish Times Best Set Design Award in 2003), Monged, Pilgrims inthe Park, Tadhg Stray Wandered In (Fishamble); How Many Miles to Babylon?(Second Age); The Shadow of the Glen, The Tinker’s Wedding (Big Telly);Martha, Little Rudolf (Barnstorm); Jack Fell Down, Burning Dreams, Last Call(Team); The Tempest (Blue Raincoat); Desert Lullaby (Gallowglass); Hysteria(B*spoke); Worked with Theatre A Grande Vitesse (Paris); Theatre de Chatillonand L’Epee de Bois in France.GREGORY CLARKE – Sound DesignerDruid: The New Electric Ballroom, The HackneyOffice. Other theatre: The Vortex (Apollo);Ring Round The Moon (Playhouse); CloudNine (Almeida); Pygmalion (American Airlines,Broadway); Equus (Gielgud); Journey’s End(London, UK tour and Broadway, New York DramaDesk Award winner for Outstanding SoundDesign); A Voyage Round My Father (Wyndhams);The Philanthropist (Donmar); Hayfever, LadyWindermere’s Fan, The Royal Family (Theatre Royal, Haymarket); Honour(Wyndhams); The Home Place, Whose Life is it Anyway? (Comedy); TheEmperor Jones and The Chairs (The Gate); And Then There Were None, SomeGirls (Gielgud); Waiting For Godot (New Ambassadors); What the Butler Saw(Criterion); The Dresser (Duke Of York’s); Amy’s View, You Never Can Tell(Garrick); National Anthems (Old Vic); Betrayal (Duchess); Abigail’s Party(New Ambassadors); Mum’s the Word (Albery); Song Of Singapore (Mayfair);No Man’s Land, Tristan and Yseult, The Emperor Jones (National Theatre);Great Expectations, Coriolanus, The Merry Wives of Windsor, Tantalus andCymbeline (RSC); Troilus and Cressida (European tour), The English Game (UKtour), Blackbird (UK tour), Crown Matrimonial (UK tour), Uncle Vanya (The Rose,Kingston), Pygmalion, Little Nell, Measure For Measure, Habeas Corpus, MissJulie, Private Lives, Much Ado About Nothing, You Can Never Tell, Design forLiving, Betrayal, Fight for Barbara, As You Like It (The Peter Hall Company); TheChangeling (Barbican); Nights at the Circus (Lyric Theatre Hammersmith andtour); Insignificance (Sheffield Lyceum); My Boy Jack (UK tour).6

SINÉAD MCKENNA Lighting DesignerDruid: The New Electric Ballroom.Other theatre: The Parker Project, Life is aDream, Attempts on her life, Dream of Autumnand Improbable Frequency (Rough Magic); TheBurial at Thebes, Howie The Rookie, FindersKeepers (Peacock Theatre); Last Days of The CelticTiger, Blackbird (Landmark); Circus (Barabbas);Private Lives (The Gate Theatre); Honor (B*Spoke);Macbeth, Philadelphia Here I Come, Othello, HowMany Miles to Babylon, (Second Age); All Over Town, Wunderkind (Calipo);Henceforward (Derby Playhouse); Ladies and Gents (Fringe First, Best LightingDesign Irish Theatre Awards – Dublin, Edinburgh, UK and Central Park, NewYork), God’s Grace, Adrenalin (Semper Fi); Scenes from a Watercooler, TheReal Thing, Dinner with Friends (Guna Nua); Candide, The Butterfly Ranch(Performance Corporation); Shooting Gallery (Bedrock); The Snow Queen,Merry Christmas Betty Ford (Lyric Theatre); The Gist of It (Fishamble);Hard to Believe (Storytellers); The Woman who Walked into Doors (UpbeatProductions); Diarmaid and Grainne (Passion Machine). Dance and Opera:Does she take Sugar (for Jean Butler); Swept (CoisCeim), As a Matter of Fact(Dance Theatre of Ireland); La Boheme (Co-Opera). Sinead has also designedBovinity for Tommy Tiernan, the Tongues and Fitting In tours for Des Bishop,Neil Delamere at Vicar Street and Maeve Higgins’ Ha Ha Yum.DRUIDPatronMary McAleese, President of IrelandÉarlamhMáire Mhic Ghiolla Íosa, Uachtarán na hÉireannBoardSéamus O’Grady (Chairman)Tarlach de BlácamBreda RyanEugene O’KellyDonal ShielsDonncha O’ConnellFoundersGarry HynesMick LallyMarie MullenFOR DRUIDArtistic DirectorGarry HynesFinance Directorbernie HarriganGeneral Managertim SmithLiterary Managerthomas ConwayMarketing & Development Manager Sinead McPhillipsAdministratorruth GordonFinancial Administratorcarmel CurleyACKNOWLEDGEMENTSDruid is grant aided by the Arts Council of Ireland and gratefully acknowledgesthe support of Culture Ireland.Druid wishes to express its continuing gratitude to Thomas McDonogh &Company Ltd for their support of the company and gratefully acknowledges theassistance of Galway City Council and Galway County Council.Playhouse Theatre3 Pier Street Perth WA 6000Telephone: (08) 9323 3400Email: playhouse@aegogdencperth.com.auWebsite: www.playhousetheatre.com.auThe Playhouse is managed by AEG Ogden (Perth) Pty LtdVenue Manager for the Perth Theatre Trust VenuesPERTH THEATRE TRUSTChairman – Dr Saliba SassineTrustee – Peter AlexanderTrustee – Rob ButlerTrustee – Janet DavidsonTrustee – Chris HardyTrustee – Jenny McNaeTrustee – Marian TyeTrustee / Director General Departmentof Culture and the Arts – Allanah LucasGeneral Manager – Alan FerrisAEG OGDEN (PERTH) PTY LTDRodney M Phillips – Chief ExecutivePLAYHOUSE THEATREGeneral Manager – Garry SnowdonHead Technician – Ian BoaseVenue Technician – Ashley PageOffice Manager – Mandy AllenAccounts / Administrative Assistant – Daniel BoltBox Office Supervisor – Karen Prentis (BOCS Ticketing)For ‘The New Electric Ballroom’Head Technician / Lighting Operator – Ian BoaseHead Mechanist – Ashley PageSmoking is not permitted in the auditorium and the use of cameras, videos,tape and electronic recording devices is strictly forbidden.Patrons are requested to switch off mobile phones and watches with digitalalarms prior to commencement of the performanceDruid - Flood Street. Galway, Ireland - Tel: +353 91 568 660Email: info@druid.ie - Website: www.druid.ieGo Beyond the ShowENTRÉE OR ENCOREBeck’s Music Box is your place todance under the stars, relax withfriends on a couch and enjoy adrink this summer.FREE ENTRYAfter .pm get in FREE to the hottest after parties intown. See WA’s best musicians and hear stellar internationalDJs spin jazz, Afro-fusion, electro, rock and more.Present your event ticket atselect premier bars andrestaurants for a range of dealsand delights.Before or after the show,these elite venues make yourevening a complete experience.FURTHER INFOperthfestival.com.au/booking/entreesandencores7FESTIVAL INFO 6488 5555 • VISIT PERTHFESTIVAL.COM.AU

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