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Belvoir 2012 Donor Report

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CONTENTS1 Dear Friends2 Thank you from Ralph 3 Board of Directors 5 The Andrew Cameron Family Foundation 6 Creative Development 9 Indigenous Stories 11 The Balnaves Foundation 13 B Keepers 14 Hitting The Road 15 The Hive 17 Investing in Youth 18 My Belvoir Experience 20 Belvoir Donors

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Dear FriendsMany stories were woven together to make Ralph’s second season as Artistic Director another year of vibrant creativity. We collaborated (I’m Your Man, Thyestes); broke barriers between theatre-dance art forms (Food, Conversation Piece); took classics to new heights (Death of a Salesman, Private Lives); told true and compelling Indigenous stories (Beautiful One Day, Don’t Take Your Love to Town); strengthened our audience connection with tours at home and beyond (The Book of Everything, The Wild Duck, Summer of the Seventeenth Doll); and broke new ground with The Balnaves Foundation Indigenous Playwright’s Award.

As a not-for-profit organisation, Belvoir relies on the support of you, our donors, to supplement the income earned through subscriptions, ticket sales and government support. Thus, our comparatively low ticket prices cover 50% of what it costs to bring our productions to stage. Whatever your reasons for giving, whether it is for our education programs for young people, providing community access or just enriching our cultural environment, these are important to all of us. Without your additional support, we would be unable to sustain the calibre of our programming and performances that we do.

We are truly grateful for the support from all of you. Each gift, large and small, is appreciated and helps Belvoir continue to create great theatre.

Image opposite. Clockwise from top left: Harry Reuben, Magdalena Blackley, Kylie Doomadgee and Rachael Maza in rehearsals for Beautiful One Day. Photo: Heidrun Löhr

In 2012, philanthropic giving contributed to Belvoir’s various patron programs, including the B Keepers, Chair’s Group and Creative Development Fund. Donors to our patron programs gain a unique insight into script and performance development, as well as life backstage. Through our events and activities we aim to foster a connection both to the programs our donors support, and to like-minded people who share their passion for theatre.

I love stories that inspire, challenge and produce strong emotions whether on stage, in a book or a conversation. I have thoroughly enjoyed my first year at Belvoir to see stories come to life and to hear your individual stories of what motivates you to give and be in our theatre.

Enjoy this report – our news, latest developments and some reflection on the last 12 months. You have all played your part.

Retha Howard Development Manager

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Thank you from RalphDispassionate aliens looking down on our planet from above, watching and documenting our every move would be deeply puzzled by what we do here at Belvoir. The production of art in general would confuse them, but surely theatre would really have them scratching their heads (assuming they had heads). ‘What are they doing spending all that time and money,’ they would say to each other in alien-speak, ‘on something so ephemeral, so fleeting and so peculiar? What a waste!’

Horrible as it is to admit, there are beings here on earth – nay in our very city – who agree with those hard-headed aliens. Perhaps they are extra-terrestrials, pretending to be human. Who knows. But they’re out there. In numbers. But thankfully, there are an equal number of people who understand exactly why we spend all this time

and money making art, and who thrill in coming along, again and again, and watching and listening to the works we make on our stages.

And thank heaven there is a group among those believers, a generous sub-set, who believe so passionately in art, and the necessity of it in a city like ours, that they give their hard-earned money to companies like Belvoir, to allow us to make the theatre that we do.

This report lays bare the generosity of those people and foundations. It’s been a great year here at Belvoir. The generous donations detailed in this report have made it possible.

Let’s not listen to the aliens. They’re wrong. I think what we do is of vital importance.

Thank you. Ralph

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Board of DirectorsBelvoir’s Board of Directors come from a wide variety of careers and backgrounds. What they share is a passion for great theatre, a desire to contribute to and inspire others, and an appetite for success. Our Board works tirelessly to create an environment conducive to delivering on Belvoir’s vision. They are our lead givers: of their time, contacts and money to support our mission. We thought you’d like to meet the team behind the scenes:

Anne Britton Member – HR sub-committee Andrew Cameron Chair Peter Carroll Member – Artistic sub-committee Tracey Driver Member – Finance sub-committee Richard Evans Member – Development sub-committee

Gail Hambly Deputy Chair, Member – Finance sub-committee Brenna Hobson Executive Director & General Manager Ian Learmonth Member – Development sub-committee Ralph Myers Executive Director & Artistic Director Olivia Pascoe Member – Development sub-committee

From left: Richard Evans, Peter Carroll, Ralph Myers, Brenna Hobson, Olivia Pascoe, Andrew Cameron, Tracey Driver, Anne Britton and Ian Learmonth. Absent: Gail Hambly. Photo: Brett Boardman

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In 2012 we had four new additions to the Board. We asked them what inspired them to join the Belvoir family…

Tracey Driver (KPMG Audit Partner)

Despite being an accountant, I like being around artistic endeavours and have been passionate about the theatre

from childhood. I look forward to getting my young children started in the theatre. It’s important to have some philanthropic involvement because it rounds you out as a person. I enjoy being involved and giving back to local community and the arts because they are important to society. Being on the board and the finance sub-committee, I would say that our funds are effectively used and are quite considered in how they are spent.

Richard Evans (CEO BridgeClimb)

I grew up in a musical family and have worked in the arts my entire career. I’ve admired Belvoir for many years – for me

it has been perhaps the most important theatre company in Australia. It was the voice of Australian playwriting long before there was a Sydney Theatre Company, and who can forget the many remarkable productions mounted over the years. Becoming a Board member is my way of having a deeper association. The Belvoir space, the history and the people that have inhabited it make it unique. There are friendly ghosts in the place. As a donor to Belvoir you will get more out of the relationship than Belvoir will. It’s an incredibly satisfying experience to give to something that you think is important but more importantly to make something possible for people beyond yourself.

Ian Learmonth (Social Ventures Australia)

My first association with Belvoir was in the early 90s during the time of Richard Roxburgh’s Hamlet. I thought it was a great

space and producer of great shows. After spending 15 years living overseas in London and Asia, working in investment banking, I came back to Australia wanting to be a part of the theatre scene. I felt I could make a great contribution to Belvoir by being on the Board and lending my skills and contacts. I’m really passionate about this theatre. Its uniqueness comes from playing to both mainstream and adventurous theatre goers. If you’re in a position to donate, it’s important to support the artistic institutions that create Australian works – to keep the Australian creative writing spirit alive and well.

Olivia Pascoe (Consultant)

For anyone who’s had the pleasure of immersing in the Belvoir world, they come away knowing how exceptionally

special and progressive a theatre company it is. For me, Belvoir’s artistic edge, playful re-imagining of works, and commitment to emerging artists, stood out. It was an experience and community to be a part of. Having joined the Board in late 2012, I’m excited to be launching our next frontier of patronage, The Hive – a close-knit gang of 30 – 40 year-old theatre lovers who will nurture and showcase new Australian talent, over the longer term.

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The Andrew Cameron Family FoundationI have been interested in the visual and performing arts all my life. I believe art enriches the society that we live in and allows personal, human stories to be told that resonate widely with audiences. My personal interest and mission is about ‘enabling’ – projects to start, tours to happen – especially where they may not otherwise occur. I do this by contributing funds where I can or through using my skills and connections.

My association with Belvoir began initially as a subscriber over 20 years ago, although I recall coming to Belvoir and Nimrod before that when I was a student at Sydney University. More recently I have been a B Keeper, then a Creative Development Fund supporter and Building Donor. My involvement with the Board began with the redevelopment of the theatre and refurbishment of the warehouse. During that time I chaired the Belvoir Street Theatre Board that undertook the building works. It was hugely satisfying to witness the transformation of Belvoir once we had the new buildings and functions – theatres, rehearsal and warehouse space – all on one site. I was appointed to the Belvoir Board in 2007 and as Chair in 2011.

My wife Cathy and I make our financial contributions to Belvoir through the Andrew Cameron Family Foundation. Since its inception in 2005, the Foundation has disbursed grants to the arts sector totalling more than $2.5million. In 2013, the Foundation is supporting the Creative Development Fund, the Downstairs Theatre production of Small and Tired and some of Belvoir’s international touring.

Belvoir is unique in the Australian performing arts landscape for its distinctive culture of creative risk-taking. It’s very rewarding to be able to support Belvoir in such adventurous theatre making and storytelling.

Andrew Cameron is currently Executive Chairman of a group of privately owned companies with interests in engineering, wholesaling and distribution, private investment and winegrowing. In addition he is Deputy Chair of the Biennale of Sydney, Board member of the Art Gallery of NSW Foundation, Sherman Contemporary Art Foundation (SCAF), and member of the Tate International Council Asia Pacific committee.

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Creative DevelopmentThe Belvoir Creative Development Fund (CDF)helps bring ideas to life. It takes significant time and effort to develop a single idea into a production that’s ready for the stage, including working with emerging directors, developing new scripts, providing additional rehearsal time and helping to tour successful works. Our CDF donors are a major part of this process.

Our Creative Development program continues to grow rapidly year to year. 2012 was possibly our busiest year yet, with 10 out of 14 productions in our season being new Australian works. Over the course of the year we have held four readings of new Australian works, five script development workshops in Sydney, as well as two workshops of Forget Me Not in Liverpool, England, with our co-commissioning partners the Everyman and Playhouse Theatres. We spent over four weeks on Palm Island creating Beautiful One Day with ILBIJERRI Theatre Company and version 1.0, and were able to have a week-long workshop on Conversation Piece in Melbourne before starting rehearsals.

In 2012, seven of our commissioned works were completed. We currently have 12 new plays under commission including those from our annual Philip Parsons Young Playwrights Award and the inaugural Balnaves Foundation Indigenous Playwright’s Award. Outside of commissions we have a further three new works in development for the 2013 Season.

Top: Kate Box and Emma Jackson in Food Bottom: Rory Potter in Medea Photos: Heidrun Löhr

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Downstairs Theatre

A fantastic season of new Australian work was seen in our Downstairs Theatre in 2012. For the first time, all five shows were Belvoir commissions and all five played to sold-out audiences. I’m Your Man by Roslyn Oades was the toast of the Sydney Festival, and is touring across Australia in 2013. Our gastronomic co-production with Force Majeure, Food, will also tour to Queensland and Victoria in March/April, with more venues planned for 2014.

Matthew Whittet won the Philip Parsons Young Playwright’s Award in 2010 with his pitch for a work about fathers. In 2012, our Literary Manager, Anthea Williams, directed the result of this commission, Old Man. The production was extended for two weeks and played to packed houses every night.

Medea was a truly ground-breaking work. Director and co-writer Anne-Louise Sarks came to us with the idea of retelling this ancient story from the point of view of Medea’s doomed children. The Creative Development Fund meant that we could extend rehearsals by two weeks, and conduct a script development workshop. Medea won five 2012 Sydney Theatre Awards including Best New Australian Work and Best Mainstage Production.

We rounded out the year with Don’t Take Your Love to Town, an adaptation by Eamon Flack and Leah Purcell of Ruby Langford Ginibi’s memoir. We had to extend its season because it sold out to subscribers before it even went on sale to single ticket buyers! It was the third Downstairs show of the year to be given an extended season.

Meet Our Donors

Victoria Taylor (with daughter Scarlett) Creative Development Fund donor

Favourite productions: Thyestes, The Laramie Project, Run Rabbit Run and Keating!

I first came to Belvoir as a young Bachelor of Arts student in 1980 on a university excursion to see David Mamet’s Sexual Perversity in Chicago. I have been coming to 25 Belvoir Street ever since! I was impressed with Belvoir’s ability to achieve big results with so little. Belvoir still does; it punches way above its weight!

A meeting with Lally Katz, who wrote Neighbourhood Watch, prompted me to become a Creative Development Fund donor. I had seen the show twice, and was intrigued how it first appeared to be a story about an old lady, but the second time I saw it I viewed it as a young woman’s story. Speaking to Lally, she explained that the CDF had allowed her to develop her script with the cast and crew for weeks longer than usual. This inspired me and I thought, ‘I want to be part of this team!’

My Lach, Tash and Scarlett, the next generation, now love Belvoir with me. Being a donor involves you more. Please join our Belvoir family. You will love it.

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Leah Purcell and Nardi Simpson in Don’t Take Your Love To TownPhoto: Brett Boardman

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Indigenous Stories

Established in 2004, the Chair’s Group supports the creative development of new Indigenous work at Belvoir. A small group with a strong bond, these donors help emerging Indigenous artists to develop their voices.

After more than 25 years of supporting and presenting Indigenous stories at Belvoir, we’re still novices. No sooner do you think you have a handle on one aspect or another of the contemporary Indigenous world then you realise, what seemed like a full stop reveals itself to be yet another ellipsis. Black Australia is big and complicated and it doesn’t sit still. You can’t snap a portrait and walk away. There is always more for theatre to do; there is always another Indigenous story to tell. And there is always more to the stories we think we know.

‘There is always more for theatre to do; there is always another Indigenous story to tell.’

Eamon Flack, Associate Director New Projects

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Indigenous Stories – continued

For example, in the last 18 months we sent over a dozen artists, black and white, to Palm Island, in order to create a ‘beginner’s guide’ to the life and times of Palms. Beautiful One Day is the result. It began as a project about an infamous 2004 death in custody, and became a show about what it really takes for Palm Island to imagine a future for itself. And that meant thinking about how Australia at large might usefully take part in the task of imagining a future for Indigenous Australia. This ambitious, unusual, varied show was made by three theatre companies and a whole mob of Palm Islanders – because that’s how many different ways of thinking it takes to begin to encompass the full gamut of a community like Palms. This show was made in the mall at Palms, by candlelight on the verandah of a lone house on a bay near the mission, in living rooms and beneath houses all over the island. Then it was remade in the rehearsal room at Belvoir. And Beautiful One Day is only a beginning – an entry-level exploration of how we at Belvoir might support and develop a new realm of Indigenous stories.

Alongside the thoughtful, even tentative first steps onto the stage of Palm Island, we did something surefooted and definite: we asked Leah Purcell to play Ruby Langford Ginibi in an adaptation of Ruby’s classic memoir Don’t Take Your Love to Town. Where Beautiful One Day is big and searching, this show is small and finely formed. And yet, the sheer massiveness of Ruby’s life echoes magnificently in Leah’s solo performance, and the result is BIG! Side by side, these two shows encompass something of the enormity of the life and times of Black Australia – both in the past and the present.

Meet Our Donors

Brian Burfitt and Marion Heathcote, Chair’s Group donors

Favourite Belvoir shows: Marion – Life Time Three: Gulpilil, Little Black Bastard and Page 8; Brian – Cloudstreet

Our relationship with Belvoir has been defined by our love of the theatre and dates back to the late 80s. At that time the theatre was under a parity system of everyone being paid equally, regardless of their position. This shared sacrifice of people committed to what they believed in resonated with us and we decided to find a way to contribute. In addition to donating to both the B Keepers and Chair’s Group programs, we have been consistent subscribers since 1995 and enjoy introducing Belvoir to others. This year we have a subscriber group of 19 friends.

Belvoir is one of few organisations that we contribute to. We donate to Belvoir because we believe in their stated goals, their encouragement of new talent, their development of Indigenous artists and their commitment to continually exploring the boundaries of theatre. We value our personal connection with Belvoir and the feeling of engagement, and especially appreciate being a part of a group which is encouraged to interact with everybody who contributes to bringing these stories to the stage.

We would encourage everyone to come and see what Belvoir has to offer and to support something that they believe in.

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The Balnaves Foundation was established to support organisations that create a better Australia through medicine, the arts and education with a focus on young people, the disadvantaged and Indigenous communities. In 2010, Belvoir had a very fortuitous meeting with Neil Balnaves, founder of the Foundation. During this we talked about the importance of storytelling to our culture in general and Indigenous Australia specifically. We also talked about ambition – what we believe we can achieve working with Indigenous artists if only there was financial support behind our ideas. Out of this initial meeting came a three -year commitment for The Balnaves Foundation to support an Indigenous-led production in both the Upstairs and the Downstairs Theatres as part of Belvoir’s annual season.

It’s a partnership that’s really starting to have an impact and we’ve been able to program six incredible shows across 2011-2013. But what has been harder to find are new Indigenous plays and playwrights.

The Balnaves Foundation

As a result The Balnaves Foundation agreed to fund an Indigenous Playwright’s award that comprises a $7,500 cash prize as well as a $12,500 commission for a new play. Neil Balnaves AO says ‘I am thrilled to be working with Belvoir to sustain and develop a rich tapestry of Indigenous theatre in Australia. Each production is accompanied by a well-established access program, to ensure these important stories can be shared with people who otherwise would not be able to attend.’ In 2012 Nakkiah Lui became the inaugural winner of The Balnaves Indigenous Playwright’s Award for her submission of a pitch for a new play with a working title Koorioke. Her first play, This Heaven, premiered at Belvoir in February 2013 to critical success with an extended season.

Neil’s leadership is evident in his style of giving. In contrast to many other foundations, he gives to the arts by providing funds over a multi-year period. ‘We’re not great believers in writing a cheque and walking away. We believe in building something, giving a long-term commitment to it and building it up.’

Nakkiah LuiPhoto: Heidrun Löhr

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B KeepersWe are lucky to have such a loyal and committed group of donors in the B Keeper program. This special group is at the core of everything that is Belvoir, making sure that we can keep producing the work that is so important to us.

Many of our B Keepers have been with us for a long time, starting as audience members and subscribers before becoming donors whose support underpins the work that we do. That’s the significant aspect of the B Keeper group: their contributions assist the running of the company as a whole. Many aspects of our work are vitally important but difficult to attract funding for. They include core education staff, ensuring that each production gets the technical support that it needs, and even travel costs to make sure that our staff is seeing the most exciting new artists around the country.

The group maintains its close connection with the company by being loyal attendees as well as coming to the annual B Keeper brunch, hosted by Ralph. The event is just one way that Belvoir tries to give back to those who give so generously to us. Contributions to the program start at $1000 per year. If you are interested in becoming a B Keeper please contact our Development team 8396-6209.

Meet Our Donors

Hilary Linstead, B Keeper

Favourite Belvoir productions: Beautiful One Day, Hamlet (1994).

My association with Belvoir began back in the days of Nimrod, when the theatre was built with people like John Bell, Brian Thomson, Neil Armfield and so many others. At Belvoir’s beginning an exceptionally large number of arts workers pooled their resources to buy a brick for $1000 each and in so doing raised the money to save the theatre by buying it. It’s the story of donors – it was OUR theatre.

Belvoir is unique to me because everyone contributing to a production shoots for the stars. Nothing is done to please special interests. There is immense commitment and creativity among the people involved. Artists and audience feel an ownership of the theatre. We are encouraged to have a drink and mingle with actors. There are free performances for people who have no money, and Indigenous work is part of the fabric, not set apart.

I donate to Belvoir because I believe we have to put our money where our mouth is. For people who are considering donating to Belvoir I would say no matter how rich or poor you are, come and sample the work, become enthused by what the theatre stands for, and give what you can afford. I donate because I believe in the transformative power of theatre, I feel part of the Belvoir family and it’s the best night out at the theatre in town!

Left: Andrew Cameron at the B Keeper brunch. Photo: Retha Howard

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Hitting The RoadTouring is an increasingly important aspect of our work. Regional and national touring means that we’re able to connect with audiences who would otherwise miss out on our productions. It also provides extra employment for our artists. International touring is certainly about promoting Belvoir’s work, but more importantly is the opportunity to promote Australia as a sophisticated and innovative country that produces world-class performing arts.

In 2012, after very successful Sydney and Melbourne seasons, our award-winning production of The Wild Duck performed in Oslo at the prestigious International Ibsen Festival to sell-out crowds and wonderful reviews. This has led to several additional international touring invitations in 2013 including the Wiener Festwochen and the Holland Festival!

The trip to Oslo followed our acclaimed New York season of The Book of Everything at the New Victory Theater – it was the only work for young audiences to make the New York Post’s Top Shows of 2012 list.

Closer to home, Summer of the Seventeenth Doll spent three months touring the country, and we toured Death of a Salesman and Private Lives to Geelong, Wollongong and Canberra. The smaller scale of our Downstairs Theatre works means that we can now offer them smaller regional venues too. As a result both Food and I’m Your Man will tour regionally in 2013.

As you can imagine undertaking this level of touring is a significant endeavour and none of it is possible without your support, so thank you.

Top: Matthew Whittet in The Book of Everything. Photo: Alexis Buatti-RamosBottom: Eloise Mignon in The Wild Duck. Photo: Mari Ekkje

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The HiveIn 2013, Belvoir introduces a new donor opportunity – The Hive – in collaboration with Playwriting Australia (PWA). The Hive is a collective of of like-minded, young philanthropists, who think plays, in all their myriad forms, are wonderful things. Like us, Hive donors are as interested in the possibilities of content as they are in works that challenge what we might traditionally think of as theatre. The annual funds will help actors, writers, directors and other creatives strike out on new adventures in content and form.

The Hive directs funding towards one Downstairs production of a new Australian play each season, and one Playwriting Australia (PWA) Resident Playwright and seed commission each year.

Founding members of The Hive will support Lally Katz in her latest work, Stories I Want to Tell You in Person, in the Downstairs Theatre 21 March / 21 April, a co-production with Malthouse Theatre.

There is no-one quite like Lally. In 2011, she brought us one of the most original and funniest plays in the last decade – Neighbourhood Watch. She makes chaos charming and catastrophe positively exuberant. She likes to be laughed at, and her method is to talk first and think later. Anything could happen!

Want to be part of The Hive?Contributions are $2,500 per pair, and are tax deductible. To join The Hive, contact Belvoir’s Development Manager, Retha Howard, on 02 8396 6224 or retha@belvoir.com.au

Lally Katz Photos: Heidrun Löhr

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‘This helps with my study of Drama by gaining great skills from a real actor.’

Student, Figtree High School, after participating in a Performing Monologies workshop.

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Investing in YouthBelvoir’s body of work has as much to offer a schools audience as it does an adult audience.

Our Education Program provides students and teachers with insights into the work of Belvoir and first hand experiences of the theatre-making process. We assist regional schools with the often prohibitive travel costs of bringing students to see professional theatre in Sydney. Priority Schools (schools where the majority of students are from low socio-economic backgrounds) are offered free tickets to our school matinee performances. Our extensive theatre workshop program gives students at schools throughout NSW hands-on learning experiences in design and the performing arts.

In 2012, over 1,500 students participated in a Belvoir workshop, including 852 students who participated in a workshop delivered at their school in regional NSW.

‘It’s amazing to think the program started with just a few school performances and the occasional workshop for students.’ – Jane May, Education Manager

We played host to 7569 students (and their teachers) who attended one of Belvoir’s 2012 productions. 128 students went on a free ‘behind the scenes’ tour of the theatre and 307 students watched an archival recording of a Belvoir production. A further 34 students participated in work experience or a work placement with the company.

Meet Our Donors

Stephanie Lee, B Keeper

Favourite Belvoir productions: Cloudstreet, The Diary of a Madman and The Alchemist

I became a regular subscriber in 1994 and a patron of the B Keeper program in 2003. I had been to some Nimrod productions, such as Death of a Salesman in 1982, and had been subscribing to the Sydney Theatre Company (STC). Somewhere along the line I decided I preferred smaller theatre venues and switched from STC to Belvoir.

I was especially enthusiastic about the productions Neil Armfield directed, and the way he inspired other directors and performers to create wonderful theatrical experiences. I also appreciated the chance to see Indigenous performances and to know that part of Belvoir’s mission is to encourage Indigenous theatre.

What makes Belvoir unique is its cosy and friendly atmosphere where you can exchange greetings with fellow subscribers, donors, actors and creative artists. There is a great buzz in the foyer. You feel a direct connection and involvement not possible in a very large organisation. It’s fantastic to see new and innovative works and to know that your donation has helped make it available to young people and others who would not normally go to the theatre.

Left: Megan Holloway, Harriet Ritchie and Alisdair Macindoe in Conversation Piece. Photo: Brett Boardman

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My Belvoir ExperienceAs part of our Youth Express program, students from Key College participate in 12 weeks of practical drama workshops, culminating in a performance. They also attend six plays each season. The kids from Key College face issues such as homelessness, drug dependence and family breakdown with limited opportunities for creative expression in a safe environment.

Min Bonwick, School Manager, Key College, Youth Off the Streets (Redfern):Each year hits me that as we’re going along, doing this program, it’s almost like it’s counselling, therapy – unbelievable! And it really gives you food for thought, gives them a bit of ammunition to go home and think about… Those that can make it on drama day are very enthusiastic about it and keen to give their ideas. You wouldn’t get two kids with the same ideas. I love that, it’s very creative.

… and then there’s all these people that are invited to the performance. They come up to the students and congratulate them and sometimes they do interviews and stuff like that. No one’s ever spoken to them like that in their lives and most of the people that come get quite emotional about it.

I think after the plays… they’re exhausted. Trying to work out what’s going on when you haven’t seen a play before. They can hardly speak after the play.

We were right in the front for Food and one of our boys was from Afghanistan. He’d never seen a play in his life. He couldn’t work out what was going on. I said, “Mate, just watch it and see.” He just thought it was amazing!

This page: Alex participating in the Youth Express program. Opposite, left: Actors use props made by student Kelsey Lee on stage during a performance of Private LivesPhotos: Heidrun LöhrOpposite, right: students from Jindabyne Central School with Hannah Moloney after a backstage tour of Belvoir St Theatre. Photo: Cathy Hunt

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My Belvoir Experience

Kelsey Lee is a student from Warners Bay High School in Newcastle. She participated in work placement at Belvoir during pre-production for Private Lives and Medea.

It was really important to me because I’m so passionate about [theatre]. I was so, so excited and intrigued to see how it all worked. So it was really, really important to me that I even got the chance to go there in the first place. It gives people that opportunity – normal students like me, who live two hours away – to see how it all works.

There’s not much of that real good theatre in Newcastle and you can’t get front row access to those theatres. So to be able to have it at Belvoir, in Sydney, that was ten times better than anything you could get in Newcastle.

Thank you so much for giving me the opportunity to have a work placement with Belvoir Theatre, you have no idea how much I appreciate it! Everyone I met was so friendly, warm and welcoming that by the end of the week I felt so comfortable around everyone. I enjoyed finding out about production and how the simplest of things can be turned into something amazing. Finding how the theatre works has also helped me develop a greater understanding that will help me throughout my studies and careers.

Although my dream is to do acting, this week really opened my eyes to the wonderful world of production, in particular prop making, which I am considering studying at university. I would love to spend more time with Belvoir if the chance ever arises.

English and Drama Teacher Hannah Moloney and her students from Jindabyne Central School have been participating in Belvoir’s Education Program since 2008.

Belvoir offers support to teachers of creative arts no matter where they are, and it’s very affordable as well. Being able to have workshops in your own school really does make it more accessible. So the Belvoir’s Education team’s willingness to travel is certainly a huge asset to a school like us. Their willingness to work with us when we’re in Sydney is a huge help as well. In the last couple of years, I’ve brought students there to do the theatre tours which are fantastic. We got to spy in rehearsal rooms and check costume rooms and all those sorts of things that really make the theatre come to life for kids, you know? So it’s pretty special that way. It brings that joyousness to a whole other generation that may not otherwise have found it.

The benefits are huge, particularly for rural schools, because these kids can’t walk down the street and go and see their choice of 12 plays on a Saturday night. But then having those really intense, rich experiences that they are being offered does inspire them and gives them a connection to an arts community that they might not otherwise have had.

I think you guys are the full package. That’s what’s different. I think that you are offering access to kids, you’re offering tours, you come to schools… you have supported me.

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Belvoir DonorsFoundation DonorsMake a significant financial investment in the Belvoir Creative Development Fund.

Neil Armfield AO Anne Britton Andrew & Cathy Cameron Janet & Trefor Clayton Anne & Michael Coleman Sharon & Hartley Cook Gail Hambly Anne & Hugh Harley Hal & Linda Herron Louise Herron & Clark Butler Victoria Holthouse Peter & Rosemary Ingle Ian Learmonth & Julia Pincus Helen Lynch Frank Macindoe & Bronwyn Macindoe David Marr Rhonda McIver Ann Sherry AO & Michael Hogan Victoria Taylor Mary Vallentine AO Kim Williams AM & Catherine Dovey

2012/2013 Chair’s Group Supports the creative development of Indigenous work at Belvoir.

Anonymous (1) Antoinette Albert Jillian Broadbent AO Dr Candice Bruce & Michael Whitworth Jan Chapman & Stephen O’Rourke Louise Christie Kathleen & Danny Gilbert Sophie Guest Marion Heathcote & Brian Burfitt HLA Management Pty Ltd The Jarzabek Family Hilary Linstead Cajetan Mula (Honorary Member) Ross McLean & Fiona Beith Olivia Pascoe Belinda & Steven Rankine Alex Oonagh Redmond

Michael Rose & Jo D’Antonio Ann Sherry AO & Michael Hogan Penny Ward David & Jennifer Watson Kim Williams AM Cathy Yuncken

2012/2013 B KeepersIncome received from B Keepers underpins all of our activities.

Anonymous (5) Robert & Libby Albert Claire Armstrong & John Sharpe Berg Family Foundation Bev & Phil Birnbaum Max Bonnell Ellen Borda Anne Britton Dr Catherine Brown-Watt Mary Jo & Lloyd Capps Brian T. Carey Elaine Chia Jane Christensen Louise Christie Suzanne & Michael Daniel Tracey Driver & Simon Robinson Chris & Bob Ernst Jeanne Eve Peter Fay R Godlee & A Maxwell Peter Graves David & Kathryn Groves Sophie Guest David Haertsch Wendy & Andrew Hamlin John Head Marion Heathcote & Brian Burfitt Libby Higgin Michael Hobbs Peter & Jessie Ingle Rosemary & Adam Ingle Anita Jacoby The Jarzabek Family Avril Jeans Margaret Johnston Corinne & Rob Johnston Colleen Kane Antoinette le Marchant Jennifer Ledgar & Bob Lim Stephanie Lee

Atul Lele Hilary Linstead Professor Elizabeth More AM Jane Munro Dr David Nguyen D & L Parsonage Timothy & Eva Pascoe Greeba Pritchard Richard & Heather Rasker Colleen Roche Greg Roger Lesley & Andrew Rosenberg Andrew & Louise Sharpe Vivienne Sharpe Peter & Jan Shuttleworth Chris & Bea Sochan Victoria Taylor Judy Thomson Sue Thomson Lynne Watkins & Nicholas Harding Alison Wearn Paul & Jennifer Winch Ian & Judy Wyatt

Corporate B KeepersConstructability Recruitment Macquarie Group Foundation Sterling Mail Order

Education Donors over $250Provide opportunities for young people throughout NSW to access our work.

Anonymous (2) Ian Barnett Mary G Burchell Jane Diamond Matthew Hall Julie Hannaford Siobhan Hannan & James Talbot Paul & Melissa Hobbs Susan Hyde Peter & Rosemary Ingle Stewart & Jillian Kellie Olivia Pascoe Kate Pasterfield Chris & Bea Sochan The Spence Family

21

Belvoir DonorsGeneral Donors over $250Provide valuable support to the projects most in need throughout the year.

Anonymous (8) David Antaw Ross & Barb Armfield Barrett Casting Andrew & Jane Bennett Baiba Berzins & Peter Loveday Angela Bowne Jillian Broadbent AO Anne Bromley Rob Brookman & Verity Laughton Ian & Siena Dune Buchanan Darleen Bungey Jan Burnswoods Michael & Colleen Chesterman Dayn Cooper Timothy & Bryony Cox Anne Duggan Diane Dunlop Anton Enus & Roger Henning

Elizabeth Evatt Michael & Kerrie Eyers Frances Garrick D T Gilbert Priscilla Guest Sophie Guest Dr Juliet Harper Marion Heathcote and Brian Burfitt Libby Higgin Harrison & Kate Higgs Dorothy Hoddinott AO The Honourable Justice Johnson John Kaldor AM & Naomi Milgrom AO Josephine Key Jann Kohlman Ray Lawler Sarah Lawrence Ruth Layton Margaret Lederman Hilary Linstead Joseph Lipski Ross Littlewood & Alexandra Curtin Christopher Matthies Catherine McDonnell Patricia McEniery

Irene Miller David & Barbara Millons Carol Mills Cynthia Mitchell John Morgan Annabelle Andrews & Peter Murray Dr Peter & June Musgrove Kevin O’Connor AM Anne O’Driscoll Judy & Geoff Patterson Susan Pearson Natalie Pelham Alex Oonagh Redmond Catherine Rothery Julia Selby Sherman Foundation Agnes Sinclair Eileen Slarke & Family Barry Smorgon OAM Tim Smyth Andrew Smyth-Kirk Judy Stone Catherine Sullivan Anthony Tarleton Victoria Taylor Axel & Diane Tennie Mike Thompson John Tuckey Ross Tzannes Louise & Steve Verrier Sarah Walters Lynne Watkins & Nicholas Harding Elizabeth Webby AM Kim Williams AM & Catherine Dovey Peter Wilson & James Emmett Brian & Patricia Wright

Donors for International Tours

The Book of Everything – New York Anonymous (2) American Australian Association Francesca Beale Andrew & Cathy Cameron Malcolm Carfrae Rosamund Else-Mitchell Lisa Fox

Cheryl Henson James Hooke & Ellie Wainwright Karine Jones Ian Learmonth & Julie Pincus Stephanie Lee Baz Luhrmann & Catherine Martin Chris & Kirstie Nygaard Christopher Peterson Jacques & Camille Roizen Geoffrey Rush Anne Schofield Tess Schofield Vivienne Sharpe Peter & Jan Shuttleworth Sue Thomson John Wattiker

The Wild Duck – OsloAndrew & Cathy Cameron Ian & Janice Conley Peter & Kaye Dexter Trevor Hall Rob & Colleen Lord Anton & Hester McLachlan Lisa & Egil Paulsen

Belvoir is very grateful to accept all donations. Donations over $2 are tax deductible. If you would like to make a donation or would like further information about any of our donor programs please call our Development Manager Retha Howard on 02 8396 6224 or email retha@belvoir.com.au

List correct at time of printing.

Special Thanks We would like to acknowledge long-time supporters Cajetan Mula and Len Armfield. They will always be remembered for their generosity to Belvoir.

Bequests We are very grateful to the loyal donors and patrons who have chosen to leave Belvoir a gift in their will. This is an incredibly generous and meaningful way to contribute to the long-term future of the company so we thank you again.

Design Alphabet Studio Back cover image Toby Truslove, Zahra Newman, Toby Schmitz, Eloise Mignon in Private Lives Front cover image Colin Friels in Death of a Salesman Photos Heidrun Löhr