Performance Performance Performance Performance Notes for Notes for Notes for Notes for Parents and EducatorsParents and EducatorsParents and EducatorsParents and Educators

The purpose of this document is to provide parents and educators with information and resources for Queensland Theatre Company’s and State Library of Queensland’s production of Maxine MelMaxine MelMaxine MelMaxine Mellor’s lor’s lor’s lor’s Mystery ProjectMystery ProjectMystery ProjectMystery Project. . . . The activities and resources contained in this document are designed as the starting point for parents and educators to explore the themes, ideas, story and characters of the play further.

© Queensland Government (Education Queensland) and Queensland Theatre Company 2009. Copyright protects this publication. Except for the purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use is permitted by educational institutions that have a license with the Copyright Agency Limited (CAL). This material includes work from the Education Liaison Officer and is reproduced with the permission of the owner, Department of Education, Queensland, PO Box 33, Brisbane Albert Street, Queensland, Australia, 4002. Any inquiries should be addressed to the Education Liaison Officer, Youth & Education Program, Queensland Theatre Company, PO Box 3310 South Brisbane BC Queensland 4101. Produced by Queensland Theatre Company and Education Queensland

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Table of Contents How to Act at a Play Key Questions after seeing Maxine Mellor’Maxine Mellor’Maxine Mellor’Maxine Mellor’s Mystery Ps Mystery Ps Mystery Ps Mystery Projectrojectrojectroject 3 Artistic Team 4 Artist Insight: Playwright, Maxine Mellor 5 Artist Insight: Actor, Kathryn Marquet 7 Suggested Activities to do after seeing the play – Creating a Pitch 8 Creating a Character and Rehearsing 10 Script Excerpt – Maxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery Project 12 Designing a Set for a Play 13

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How to Act at a Play (when you’re not on stage) We recommend that you read through the following points with your children so they get maximum entertainment value when they see the play.

� Be in your seat or on your cushion five minutes before the show starts � Food and drinks are not permitted in the space

� Be respectful to other audience members, by not speaking when the play is running and ensure

you are not blocking another person’s view of the performance

� TURN OFF all mobile phones before entering the space

� Feel free to laugh, cry, applaud and enjoy the play

� If you need to, you may leave the theatre space quietly during the performance – the Front of House staff will assist you

Key Questions after seeing Maxine Mellor’s Mystery Project � Which character did you like the most and why?

� Was there any part of the play you didn’t understand? If so what was it?

� Describe a scene you enjoyed from the play. E.g. Was it when Mr Gardner saw the fairies, or

when Lewis went on an adventure with the white horse?

� What do you think the message was in the play?

� Could you relate to Agatha or Elspeth? E.g. Could you relate to Agatha being afraid of meeting new people, or Elspeth’s vivid imagination?

� If you were to choose a different ending for the play, what would it be?

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Artistic Team ActorsActorsActorsActors Nelle Lee Agatha Kathryn Marquet Elspeth CreativesCreativesCreativesCreatives Maxine Mellor Playwright Joseph Mitchell Director Samantha Paxton Designer Tony Brumpton Sound Designer Melissa Agnew Voice Consultant Niki-J Witt Movement/Fight Director Saffron Benner Dramaturg Nicola Keene Stage Manager

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Artists Insights: Playwright, Maxine Mellor Why did you enjoy writing Why did you enjoy writing Why did you enjoy writing Why did you enjoy writing Maxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery Project???? It’s great that Queensland Theatre Company and State Library of Queensland came together to provide a special, new piece of theatre for 9 — 12 year olds and their families, and I am grateful that I was chosen to do it. From the outset my goal was to create a memorable experience for the audience – something that credited their intelligence and ability to understand emotion, something fun and playful that highlighted the magic of live performance. With this goal in mind, I began my journey of creation – from sheer mystery into Maxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery Project. I really enjoyed being able to spend a considerable period of time using the resources of the State Library of Queensland and the creative support of Queensland Theatre Company to write this play. My own process as a writer has improved as librarians helped my research methods, guiding me in new and ‘un-thought of’ directions to assist my interests. Directors, dramaturgs, actors and designers inspired me with every new draft I wrote of the play.

Photo Courtesy of State Library of Queensland

The most enjoyable aspect of the writing process has been seeing the audience reactions to readings of the show during rehearsals. In those laughs or cringes or claps, I can instantly tell if I have come even close to my original goal. I think, then, that I have. Why do you think 9 Why do you think 9 Why do you think 9 Why do you think 9 –––– 12 year olds will enjoy this play? 12 year olds will enjoy this play? 12 year olds will enjoy this play? 12 year olds will enjoy this play? I think audiences will love the magic that unfolds before them as the actors tell stories that seem reminiscent of fairytales, reveal hidden treasures, and jump into the roles of many different characters without ever needing a costume change! It shows the audience that using their imagination can help them hypothesise and investigate in a fun way, as well as assist them in many other situations. I think the audience members will marvel at how ‘imaginary play’ is taken to the next level in Maxine Mellor’s Maxine Mellor’s Maxine Mellor’s Maxine Mellor’s Mystery Mystery Mystery Mystery Project Project Project Project – and I know, in their own play time, many will try to emulate the rapid, clear characterisations that Agatha and Elspeth demonstrate, hopefully influencing the way in which they present school projects or tell stories. What I find particularly exciting about the play, and would have relished as a child, is that it is a murder mystery with enough humour to dispel any creepiness. My favourite books at school were ghost stories and tales of spooky nights with strange occurrences. I think we are all attracted to the ‘mysterious’, and we all enjoy getting a little thrill even when we know it’s not real. I think this play will appeal to 9—12 year olds because it has a thrilling premise that compliments their growing maturity, a story that they will be engaged with, because it moves in and out of time featuring lots of peculiar characters and a style they with enjoy because of its humour and game-play.

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Could you describe your process as a playwright when writing a play?Could you describe your process as a playwright when writing a play?Could you describe your process as a playwright when writing a play?Could you describe your process as a playwright when writing a play? Usually it begins with a striking image in my head that I know will look good on stage and sets the style of the performance I would like to write. The characters build from there – who comprises this image? How did they get there? What happens next? Creating characters is a very fun part of the writing process for me. I never really have a definite picture in my head of what the characters’ faces look like – but often I can see the way they move and the way they dress, and I can pick up the quirks in their voice, helping to make them unique on the page. Story is always tricky – it has to be shuffled about and mulled over for a long time. It is often found by accident as the characters react to one another, or if there is a final image I want to end the play with. It’s around this time that I begin to discover what the themes of the play are, and therefore manipulate the story to help support those ideas. Writing a scene breakdown is very helpful in this part of the process – plotting out what happens in order and then mixing it up to create an interesting play structure (I like to think of play structures as shape. Quite a few of mine have been somewhat circular). The time spent writing happens at many different intervals – sometimes I can start writing before a scene breakdown or even before I really understand much about my characters .Though, whenever I write, if I get stuck or my brain is plotting before I can get the dialogue out, I need to quickly jot down the dot points of the rest of the scene – this will be in an economical ‘he says/she says’ or ‘he does/she does’ manner – until I find the next clincher line that I want to continue writing from. Overall, I see my whole process as weaving threads together tightly. Writing most of my plays, I am storing information delicately at the tip of my imagination about how and when things can be repeated or used, how ideas interrelate, or how and when things can be mirrored, and what all this reveals about the characters, the play’s situation, and life outside the play. It’s hard to articulate, but all these threads become more obvious to me when it comes to rewriting – that’s when I realise that if I snip this one section of script, it will fray in other sections, and I may need to pull out the whole thread or find ways to tie the loose ends to other firmer threads so that the overall affect is seamless. When writing Maxine Mellor’s Maxine Mellor’s Maxine Mellor’s Maxine Mellor’s Mystery ProjectMystery ProjectMystery ProjectMystery Project, the other major element that formed my process was the research period. I spent a few months at the beginning researching widely and generally, yet still working within the bounds of topics I found interesting for this project. It was exciting because I was able to fill my head with possibilities, create invisible threads between resources, and search for the theatricality in each story.

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Artists Insights: Actor, Kathryn Marquet What has been different about working on this play from What has been different about working on this play from What has been different about working on this play from What has been different about working on this play from others you have performed in?others you have performed in?others you have performed in?others you have performed in? It is a new work, so I have been very involved in workshopping and developing the text. Also, because there are only two actors it is very physically and mentally demanding. Maxine is a wonderful, quirky playwright and I find her text fun and rich to play with. YYYYou play a few characters in this play, who is your favourite ou play a few characters in this play, who is your favourite ou play a few characters in this play, who is your favourite ou play a few characters in this play, who is your favourite and why?and why?and why?and why? My character, Elspeth, takes on a number of other characters from the stories she makes up. My favourite is probably the horse. I enjoy the way he speaks (southern drawl) and the story he is in. It’s a lot of fun. Could you describe your process when developing a Could you describe your process when developing a Could you describe your process when developing a Could you describe your process when developing a character. What things do you need to consider?character. What things do you need to consider?character. What things do you need to consider?character. What things do you need to consider? Firstly, I look at the text and take clues from it. What does the character do and say? What do other characters say about them or behave toward them? I use a lot of Stanislavski’s techniques: Given circumstances, the magic ‘if.’ I also try to form an image in my mind of the characters and their world. Kind of like memories. For this I use a lot of photographs, illustrations, poems and music. There are also technical aspects to consider: how old is the character, do they have an accent/dialect different from my own? I also research events/places/time periods that the character experiences.

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Suggested Activities to do after seeing the Play (Appropriate for 9 (Appropriate for 9 (Appropriate for 9 (Appropriate for 9 –––– 12 year olds) 12 year olds) 12 year olds) 12 year olds) The following activities and learning experiences are for both teachers and parents. Some activities are written for teachers to use in the classroom, however this does not mean that parents can’t do them with their children at home. Other activities are written for parents to easily do with their children. In Maxine Mellor’Maxine Mellor’Maxine Mellor’Maxine Mellor’s Mystery Ps Mystery Ps Mystery Ps Mystery Projectrojectrojectroject, Elspeth and Agatha talk about ‘building’ characters. The next two learning experiences teach children how to develop a story idea and a character.

CreatingCreatingCreatingCreating a Pitch a Pitch a Pitch a Pitch

Before Maxine Mellor wrote Maxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery Project, she researched books, old diaries, films, magazines, photos and newspapers to come up with a story idea for the play. She then had to ‘pitch’ her ideas to producers at the State Library of Queensland and Queensland Theatre Company so they could choose which story they would like Maxine to write.

The following is a ‘blog’ entry written by Maxine Mellor, after ‘pitching’ her ideas:

At the pitch pitch pitch pitch session I proposed three different play ideas to staff from Queensland Theatre Company and State Library of Queensland. One of these ideas was then chosen as the story that would then be developed into a play. At the time, this story revolved around two girls (Elspeth and Agatha) who were lost in a strange, imaginary library space who had to find something that was missing. To get the clues they needed, they had to find resources in their library which they would then bring to life through pretending and acting. There was a third character also: the Librarian – a brooding, serious and dark figure who seemed to constantly be spying on the girls’ game and interrupting them. The following activity teaches children to research and develop a story idea and then create a ‘pitch’ for their friends/classmates. ResourcesResourcesResourcesResources Needed Needed Needed Needed:::: Definition of ‘pitch’, texts for research (e.g. books magazines, internet, newspapers etc.) computer and any resources that will allow the students to be creative and develop their pitch.

Teacher ActivitiesTeacher ActivitiesTeacher ActivitiesTeacher Activities StudentStudentStudentStudent Act Act Act Actiiiivitiesvitiesvitiesvities � Read through the above blog entry by the playwright Maxine

Mellor for the play Maxine Mellor’s Mystery PMaxine Mellor’s Mystery PMaxine Mellor’s Mystery PMaxine Mellor’s Mystery Projectrojectrojectroject. . . . Ensure you read it through with the students to clarify definitions of words if necessary

� Write on the board the definition and purpose of a PITCH and

discuss it with the class A pitch is when a screen writer, playwright, author A pitch is when a screen writer, playwright, author A pitch is when a screen writer, playwright, author A pitch is when a screen writer, playwright, author or journalist, tries to sell their idea to producers or journalist, tries to sell their idea to producers or journalist, tries to sell their idea to producers or journalist, tries to sell their idea to producers or editors so they cor editors so they cor editors so they cor editors so they can buy their story idea, fund an buy their story idea, fund an buy their story idea, fund an buy their story idea, fund the writer to write it and then the writer to write it and then the writer to write it and then the writer to write it and then produceproduceproduceproduce or or or or publish publish publish publish it it it it . . . .

� Listen to the teacher and discuss any terms/words from the blog you may not understand

� Brainstorm with the students what films, books, plays and computer games they have read, seen and played. Take them through the PMIPMIPMIPMI activity. What did the students like (PPPPlus), dislike (MMMMinus) or find IIIInteresting about the texts

� After the discussion, make a short list as a class identifying

what makes a good story

� Take part in the PMIPMIPMIPMI activity with your class

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� Ask students to think of a story idea they would like to write, by choosing a photo or newspaper report through research that inspires a story idea. Give them some time to research and to develop an idea. Once they have found stimulus for their story, ask them to following questions: Who will be in the story? Where and when will it be set? What will your story be about?

� Looking through magazines, watching films, reading books, newspapers, playing computer games and talking with others, find stimulus that inspires your story idea

� Answer the questions your teacher asks you to

help you think of your story idea

� Ask the students to develop a pitch for their story idea and they are to think of creative ways to pitch/sell their ideas to the class. It does not have to be a completed story, but a story idea, that includes characters, where it is set and a general idea of what happens

� They are to pretend their class are producers who are looking

for original play ideas for the theatre

� To pitch their play they may choose to act out a character’s diary entry who is from their story idea, a short scene that ‘maybe’ in the story or a power point presentation with images and text describing their creative ideas

� Listen to teachers instructions and start looking through magazines and books to find inspiration for developing your pitch

� Remind yourself of what the purpose is for

presenting a pitch then consider these questions:

• What is it that will make your story appealing

to the intended audience? Is it a particular character? Is it what the story is about?

• How will your pitch stand out from others?

� Students pitch their story ideas and as a class you can discuss whose story you would buy and why

� Pitch your story idea to the class

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Creating a Character Creating a Character Creating a Character Creating a Character and Rehearsingand Rehearsingand Rehearsingand Rehearsing The following activity enables children to develop their own interpretation of three of the characters from Maxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery Project, exploring vocal and physical aspects of the character. There is a script excerpt on page 10 to help with this activity. ResourcesResourcesResourcesResources Needed Needed Needed Needed:::: Photocopies of the script excerpt on page 12 and the lines of the characters in the ‘Teacher Activities’ table, magazines, internet, scissors, paints, glue, coloured pencils and paper.

Teacher ActTeacher ActTeacher ActTeacher Actiiiivitiesvitiesvitiesvities Students ActivitiesStudents ActivitiesStudents ActivitiesStudents Activities Ask the students to choose one of the characters below and develop a character profile. On a large sheet of paper, they are to draw their characters and create a character profile with pictures from magazines, the internet, drawings, paintings and words that show and describe your character’s physical appearance, costume, voice, movement, hand gestures and facial expressions They are to consider what their character looks likelooks likelooks likelooks like, sounds sounds sounds sounds likelikelikelike and feels likefeels likefeels likefeels like. They are to consider their character’s physical, emotional and social background Characters:Characters:Characters:Characters:

• Elspeth • Agatha • Mr Gardner

� Share the students’ character profiles

� Ask the students to find their own space in the classroom. If possible clear the space, so they can walk around without bumping into anything or each other

� Discuss the following question with the class:

• After watching the play with actors Nelle Lee, who played Agatha and Kathryn Marquet, who played Elspeth, how did they change their body and voice for the following characters?

Mr GardnerMr GardnerMr GardnerMr Gardner — Elspeth! Your mother requested I fetch you back inside! ElspethElspethElspethElspeth — What’s the matter, Mr Gardner? You believe in ghosts but not in faeries? AgathaAgathaAgathaAgatha — Were you really?

� In the space ask the students to change their bodies and become their chosen character. They are to move like them. They are not to speak as yet. Ask them to consider levels in terms of how the character uses the space E.g. Do they lie on the floor, do they sit or do they stand tall? Consider how they walk and their facial expressions

� Listen to the teacher’s instructions and create your character profile

� Find your own space in the room, without bumping into anyone and move freely

� After listening to the teacher’s questions, change your body, explore the space and move like your chosen character

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� After the students have done this, introduce the lines beside each character’s name above. Ask the students to say the line standing still, so they can explore their character’s voice. Ask the students to consider the pitch of their voice (is it deep or high), the volume and the pace of their voice

� When asked by your teacher, consider how their character speaks. Do they have a low voice? Do they have a high voice? Do they speak quickly or loudly?

� Once students have explored their character’s

voice, they are to remain focused and try to ‘stay in’ character while walking around the room as their chosen character and repeating their line and saying it in different ways

� Listening to the teachers instructions, move around the room as your character, repeating their line. You are to remain focused, staying in character and trying to be as believable as possible, while exploring the line

� Ask students to move into groups of three as they are going to perform the excerpt on page 12.

� Hand out the excerpt and read through again with

the students

� Ask the students to decide as a group, who will play each character from the piece, as they are going to learn the lines, rehearse the piece and present it to the class

� The students do not need to play the character

they have just been exploring. They can play a different character, but it would be good for them to execute the activities they have previously done to understand their new character

� Move into groups of three. You are going to perform the excerpt to the class after rehearsing the piece

� Read through the excerpt as a class

� Decide as a group together who would like to play each

character

� Try to learn the lines. You can use your script if you need to. However, you will be able to move more freely around the space and as your character, if you learn your lines

� You are to rehearse the excerpt from the play as a group

� Remember to consider the activities you have been doing

leading up to now. Consider how you character movesmovesmovesmoves and talkstalkstalkstalks and their relationshiprelationshiprelationshiprelationship with other characters. E.g. What is the relationship between Mr Gardner and Espelth like?

� Ask students to rehearse, until you feel they are

ready to perform it to the class. This may take a few lessons. You might also want to assist them in learning their lines

� Students perform their excerpt to the class

� Once each group has performed ask the students

the following questions:

• Did you notice how everyone played the characters differently? Compare students interpretations

• Which group’s performance of the excerpt did you

enjoy the most and why?

• Who performed with focus and who was believable as their character? Why do you think they were more believable than others?

• What did you find easy about rehearsing the

piece? What did you find hard about rehearsing?

� Perform your excerpt to the class and answer the questions after the performance

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Script Excerpt Script Excerpt Script Excerpt Script Excerpt –––– Maxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery Project Read the following excerpt from Maxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery Project with the class. Ask students to take on the roles. ELSPETHELSPETHELSPETHELSPETH I began to spend as much time as possible in the garden to get away from him.

But sometimes Mr Gardner would even follow me out there. ELSPETH becomes a very exaggerated MR GARDNER, waddling and puffing out to the garden.

[As MR GARDNER] Elspeth! Your mother requested I fetch you back inside! There’s mending to be done. I don’t want to go inside. I said. [As MR GARDNER] What are you doing out here? [Aside] He always said what like that. Emphasis always on the wh. Then I said: I’m playing with the fairies. [As MR GARDNER] I say now, you’re what? I’m playing with the fairies.

AGATHAAGATHAAGATHAAGATHA Were you really? ELSPETHELSPETHELSPETHELSPETH Shh. [As MR GARDNER] Whith the fairies?

Yes. They’ve gone now. You’ve scared them all away.

AGATHA has found the page in the book. AGATHAAGATHAAGATHAAGATHA The book then says, [reading] He looked at me for a very long time, very

suspiciously – you spelt suspiciously wrong. So I said: ELSPETHELSPETHELSPETHELSPETH What’s the matter, Mr Gardner? You believe in ghosts but not in fairies? AGATHAAGATHAAGATHAAGATHA [Reading] To which he replied: Elspeth, nobody has ever been able to prove that

fairies exist. ELSPETHELSPETHELSPETHELSPETH I can. And his eyes went like this: ELSPETH pulls her eyes wide open. [As MR GARDNER] Do you really think you can? Of course. All you have to do is leave me alone for a while, and I can get you

proof. And he waddled away.

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DDDDesigning a Set for a Playesigning a Set for a Playesigning a Set for a Playesigning a Set for a Play ResourcesResourcesResourcesResources Needed Needed Needed Needed: : : : Paper, texts for research (e.g. books magazines, internet etc.) the below pictures

Front Elevation Detail ShotFront Elevation Detail ShotFront Elevation Detail ShotFront Elevation Detail Shot Plan ViewPlan ViewPlan ViewPlan View Photo in front of the set design to show details Photo from above the set to show what it looks like of the set in the whole space

Sam Paxton the designer for Maxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery Project did a lot of research before designing the set and the costumes for this production. She had many discussions with the director Joseph Mitchell, when developing her creative ideas. The set and costumes represent the time and place in which the play was set. Answer the following questions:

� Why do you think a miniature library was used as the set? � How did the actors use the set to tell the story and play their characters? E.g.Think of when Lewis

was riding the white horse.

� Discuss what a prop is in the play and its purpose.

• Props are the objects used throughout the performance. E.g. The lantern Lewis’ mother holds, or the handkerchief of Mr Gardner, which is also used as the scarf for Katharina

� What other props were used in the play?

Take on the role of the designer and design an alternative set for Maxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery ProjectMaxine Mellor’s Mystery Project. Draw your ideas and consider what you would create to enable two actors to move creatively on stage. What would you include in the set to help tell the story of Elspeth’s murder?

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Queensland Theatre Company MEMBERS OF THE BOARD Dr Kate Foy (Chair) Haydon Coles Wendy Edmond Penny Everingham Jenny Galligan (State Government Representative) Barbara Houlihan Prof Ian O’Connor Terry O’Dwyer Simon Porter Sally Vickery ARTISTIC DIRECTOR Michael Gow GENERAL MANAGER Libby Anstis Executive Assistant: Belinda Park Acting Artistic Development Manager: Fabienne Cooke Artistic Development Coordinator: Erica Fryberg 2008 Emerging Artists: Kathryn Marquet Christopher Sommers Youth & Education Manager:::: Joseph Mitchell Education Liaison Officer: Katie Stewart* *on secondment from Education Queensland

Youth & Education Officer: Rebecca Smith

Finance Manager: Nicola Gregory Assistant Accountant: Roxane Eden Finance Officer: Robin Koski Finance Assistant: Heidi Zummo Marketing Manager: Bronwyn Klepp Marketing Coordinator: Simone Dahl Publicity & Communications Coordinator: Amanda Doellinger Ticketing Systems & Services Coordinator: Dimity Vowles Ticketing Officer: Maggie Holmes Receptionist/Marketing Assitant: Claire Lennon Operations Manager: Kellie May Operations Coordinator: Jenny Glover Operations Officer: Roxanne Lorenz Corporate Development Manager: Nikki Porter Corporate Development Coordinator: Helen O’Rourke Philanthropy Manager: Amanda Jolly Production Manager: Michael Kaempff Technical Coordinator: Daniel Maddison Senior Stage Manager: Peter Sutherland Head of Workshop: Peter Sands Company Carpenter/Head Mechanist: John Pierce Apprentice Carpenter: Jadyn Bowe Head of Wardrobe: Vicki Martin Head Cutter: Madeline Taylor Wardrobe Trainee: Mia Anderson FOUNDING DIRECTOR Alan Edwards, AM, MBE (1925 – 2003) Queensland Theatre Company is a member of Live Performance Australia

State Library of Queensland CHAIRPERSON, LIBRARY BOARD OF QUEENSLAND Jane Bertelsen STATE LIBRARIAN Lea Giles-Peters PROJECT TEAM Director, Public Programs: Jonathan Parsons Acting Creative Director, The Edge: Brett Howe Project Coordinator, The Edge: Kerryanne Farrer Learning Manager, The Edge: Tammy Morely Marketing and Communications Officer: Alexia Saeck Acting Marketing and Communications Officer: Paula Hackney Technical Support Officer, Public Programs: Gavin Sawford Research support, Heritage Collections: Ann Cain Research support, Reference Services: Anne-Maree Darke Graphic/Web Designer: Amy Williamson