CIRCLE MIRROR TRANSFORMATION

By Annie Baker
Directed by Dean Bryant


Sydney Theatre Company acknowledges the Gadigal of the Eora nation who are the traditional custodians of the land and waters on which the Company gathers. We pay our respects to Elders past and present, and we extend that respect to all Aboriginal and Torres Strait Islander people with whom we work and with whom we share stories.

Welcome from Artistic Director,
Mitchell Butel

“Annnnnnnnd spacejump…”  

Words that inspire joy in some and terror in others.  

The theatre game, the improvisation, the group share – things that every actor knows well. And not just actors, these days creative drama exercises pervade schools, corporate roleplay boardrooms, the psychologist’s suite.  

I’ve participated in and supervised many a theatre game and in them, I’ve seen some glorious moments of connection fire between two previously nervous players but some very awkward moments of collapse from even the best of practitioners.  

Annie Baker is a rare and beautiful playwright who thrives when things are at their most awkward, held and conflicted. Each phrase she writes is the tip of a large emotional iceberg but the silences and interior monologues she encourages between those phrases reveal truths just as epic.  

Director Dean Bryant knows a thing or two about using a drama exercise to unlock a rehearsal room so it’s fitting that he wanted to explore Baker’s play and these beautiful, flawed, yearning characters who are searching for connection and for themselves by pretending to be a tree or a baseball glove. He’s corralled a beautiful and expert cast and team to reveal them in all their tender and messy humanity.   

"I’ve participated in and supervised many a theatre game and in them, I’ve seen some glorious moments of connection fire between two previously nervous players but some very awkward moments of collapse from even the best of practitioners."

The play contains a moment where two characters imagine their future selves and meet. I’ve used this exercise often, particularly with very young students who don’t yet know cynicism and those conversations, full of hope and possibility, have sometimes made me reach for a tissue to hide a teacher’s tears. You may well feel a similar urge when you watch this fine production.  

And, as I write this from a city apartment at night, I am literally looking into an office block where I can see some middle-aged workers in a circle, lit by fluorescent light, playing a theatre game called Zip where players send a clap to each other and then around the circle. Who knows why, who knows who they are. Maybe it’s a team building exercise, maybe it’s a therapy session, maybe they are budding actors themselves. But they’re part of a world of theatre game lovers who are searching for a way to connect. Like many before them, they’re all looking for a campfire where they can listen and where they can be heard. Here’s to the theatre, here’s to the campfire and here’s to something being lit in your heart when you watch this remarkable play and production. 

Mitchell Butel 
Artistic Director and Co-CEO
Sydney Theatre Company 

Cast & Creative Team

Cast

Lauren
Ahunim Abebe

Schultz
Nicholas Brown

James
Cameron Daddo

Marty
Rebecca Gibney

Theresa
Jessie Lawrence

Creative Team

Director
Dean Bryant

Designer
Jeremy Allen

Lighting Designer
BROCKMAN

Composer & Sound Designer
Clemence Williams

Assistant Director
Connor Reidy

Associate Sound Designer
Daniel Herten

Intimacy Coordinator
Chloë Dallimore

Voice & Text Director
Charmian Gradwell

Production Team

Production Manager
Alexandra Moon

Stage Manager
Sarah Smith

Assistant Stage Manager
Yasmin Breeze

Costume Coordinator
Scott Fisher

Wardrobe, Wig, Hair & Make-up Supervisor
Lauren A. Proietti

Wardrobe Day Maintenance
Hazel Fisher

Lighting Supervisor
Tim McNaught

Lighting Programmer
Ethan Hamill

Lighting Operator
Sam Scott

Props Supervisor
Leandro Sanchez

Scenic Art Supervisor
Ron Theissen

Set Construction Supervisor
Boaz Shemesh

Sound Supervisor
Hayley Forward

Video Supervisor
Ben Andrews

Staging Supervisor
David Tongs

Drafting
Andrew Powell

Rehearsal Photographer
Daniel Boud

1 hr 50 mins, no interval

This production opened at Wharf 1 Theatre, Sydney on 17 July 2025.

Playwrights Horizons, Inc., New York City, produced the World Premiere of CIRCLE MIRROR TRANSFORMATION Off-Broadway in 2009.

CIRCLE MIRROR TRANSFORMATION was developed, in part, with the assistance of the Sundance Institute Theatre Program, with additional support from the Sundance Institute’s Time Warner Storytelling Fellowship.

This production is supported by STC Angels.

Associate Partner


Synopsis

In a small-town community centre in Vermont, five strangers gather for a six-week adult drama class.

Led by their earnest and free-spirited teacher Marty, the group includes her husband James, a former actress, a recently divorced carpenter, and a shy high school student. Together they engage in a series of deceptively simple acting exercises. As the weeks unfold, these games and improvisations begin to reveal the characters’ hidden desires, regrets, and vulnerabilities. 

MARTY. Okay. Who else has a story? And don't forget to really listen, you guys. We're gonna have to remember these.

Annie Baker, Circle Mirror Transformation

Director's Note
Dean Bryant

Dean Bryant and Team

Dean Bryant and Team

This play has lingered in my mind for fifteen years. When I first read it, I couldn’t get my head around how this collection of acting exercises and break-time conversations was working its magic and leading me towards a feeling I’d call transcendent. Now that I’m in the thick of rehearsals, spending hours exploring with the cast why a particular exercise is pushed up against a snatch of conversation, I can feel the subtle ingenuity of what Annie Baker built into the spine of the piece. She was pushing back against the heavily plot-driven work she was seeing in NYC at the time; fast, loud, shocking revelations, big stakes. She wanted to see what happens on stage if we take our time and pay attention to the small moments. 

Because primarily that is how we spend our days. Trying to connect with the people who pass by us. Not because they might be the love of our lives, because they are in front of us. To pay attention to someone is a form of love, of regard for their essential humanity. Annie Baker wants you to come into a room together, put away your phones, and give your time to watching how people behave around each other. How they reveal what they feel when they aren’t talking.  

Jessie Lawrence, Rebecca Gibney and Nicholas Brown

Jessie Lawrence, Rebecca Gibney and Nicholas Brown

Her plays are known for their pauses and silences, scored almost like music. She has said that without honouring those pauses and silences, the play is a satire, rather than a weird little meditation. It’s no surprise that she adores the plays of Chekhov. I came into the process nervous about the rhythms of the play, having spent a lot of my time on pieces that are fast and furious, where silence is a rarity, and the aim is to keep things moving. To honour the stage direction “the room is empty for twenty-five seconds” feels almost transgressive. And yet…once you trust the flow of the play, trust the cast to shade silences the way they do her minutely observed conversation, trust the audience to fill the space with curiosity, the power of Baker’s work makes itself known. 

The play also takes me back to where so many of us started in the theatre; awkward and confusing acting games that are fun and silly but not necessarily what we thought was “real acting”. For these games to work, they require trust, they require you to give yourself over, they require that you listen. Theatre only comes alive when we listen. Life only comes alive when we listen. Baker has carefully sculpted a world where for six weeks, five people come together as they learn to listen. 

Biographies

Annie Baker
Writer

Annie Baker's plays include Infinite Life (Atlantic Theatre Company, National Theatre, Drama Desk nomination for Best Play); The Antipodes (Signature Theatre, National Theatre); John (Signature Theatre, National Theatre, Obie Award); The Flick (Playwrights Horizons, Pulitzer Prize for Drama, Obie Award for Playwriting, Susan Smith Blackburn Prize); Circle Mirror Transformation (Playwrights Horizons, Obie Award for Best New American Play, Drama Desk nomination for Best Play); The Aliens (Rattlestick Playwrights Theater, Obie Award for Best New American Play); Body Awareness (Atlantic Theater Company, Drama Desk and Outer Critics Circle nominations for Best Play/Emerging Playwright); and an adaptation of Chekhov's Uncle Vanya (Soho Rep, Drama Desk nomination for Best Revival), for which she also designed the costumes. Other honors include a MacArthur Fellowship, Guggenheim Fellowship, Steinberg Playwriting Award, American Academy of Arts and Letters Award, and the Cullman Fellowship at the New York Public Library. She is Associate Professor of Practice at the MFA in Playwriting Program at the University of Texas, Austin, and wrote and directed the film Janet Planet for A24 and BBC Film.

Dean Bryant
Director

Dean Bryant is an award-winning writer/ director who directed Dear Evan Hansen for the company (with Michael Cassel Group). His other STC credits include Bloom, Hubris & Humiliation and Fun Home (with Melbourne Theatre Company) for which he received Sydney Theatre and Green Room awards. He co-wrote the smash musical adaptation of My Brilliant Career, which premiered at Melbourne Theatre Company, and received 5 Green Room Awards including Outstanding Production and Outstanding Writing.

Recent directing credits include Candide (Opera Australia/Victorian Opera, Green Room Award), La Boheme (Opera Australia), A Little Night Music (Hayes Theatre, Sydney Theatre Award), The Laramie Project (AAA/Tectonic), Giustino (Pinchgut), The Normal Heart (STCSA), Show People and It’s A Sin: Songs of Love and Shame (both Sydney Festival).

Dean was Associate Director at Melbourne Theatre Company 2016-2019 where his other credits include Torch the Place, Kiss of the Spider Woman, The Lady in the Van, An Ideal Husband, Wild, Vivid White, Born Yesterday, Skylight, I’ll Eat You Last and Next to Normal. Other credits for Hayes Theatre include Merrily We Roll Along, Assassins, Little Shop of Horrors (Sydney Theatre Award) and Sweet Charity (Helpmann Award). For Opera Australia, Two Weddings, One Bride and Anything Goes (and GFO) as well as directing for Darlinghurst Theatre, Red Stitch Actors’ Theatre, VCA and The Production Company.

With composer Mathew Frank, he wrote Green Room Award-winning musicals Prodigal and Once We Lived Here, and Virgins: A Musical Threesome, The Silver Donkey, songs for Mr & Mrs Murder and (with co-writer Sheridan Harbridge) My Brilliant Career. Dean has created many solo shows, including smash-hit Britney Spears: The Cabaret, as well as verbatim plays Gaybies and Well…That Happened and made his film directing debut with short Rhyme Time.

AHUNIM ABEBE 
Lauren

Sydney Theatre Company: Debut. Other Theatre: State Theatre Company South Australia: The Puzzle, Jack Maggs. Bell Shakespeare: A Midsummer Night's Dream. Voices of Women Inc.: Embellishment. Short Film: Consume. Training: NIDA. Pronouns: She/Her. 

NICHOLAS BROWN 
Shultz

Sydney Theatre Company: The Long Forgotten Dream, Still Point Turning. Other Theatre: As Actor: Belvoir: Counting and Cracking, The Curious Incident of the Dog in the Night-Time. Queensland Theatre: Bernhardt/Hamlet, Taming of the Shrew. Griffin Theatre: Lighten Up. New Theatricals: Come From Away. As Writer: Griffin Theatre: Sex Magick, Lighten Up. Film: R.U.R., Jimpa, Sahela, A Perfect Pairing, Christmas On The Farm, Laka, Sedition, Dance Academy: The Movie, Pratichhaya, Unindian, Random 8, Love You To Death, Kites, A Man’s Gotta Do, Temptation. TV: Fake, NCIS: Sydney, In Our Blood, The PM’s Daughter, Upright, After The Verdict, Joe vs Carole, Amazing Grace, Wakefield, The Unlisted, Harrow, The Letdown, Play School, The Code 2, The Elegant Gentlemen’s Guide to Knife Fighting, Mr and Mrs Murder, Home & Away, Underbelly: The Man Who Got Away, City Homicide, The Cooks, White Collar Blue. Radio: ABC Conversations: A wild Bollywood adventure, from Sydney to Mumbai and back again. Other: Lead singer and songwriter with The Modernists and Luck Now, album Big Score and singles including I Spent My Rent On A Record. Contributor to the anthology Growing Up Indian in Australia. Awards: 2024 Nick Enright Prize for Playwriting (Sex Magick). Training: NIDA. Pronouns: He/Him.

CAMERON DADDO
James

Sydney Theatre Company: Debut. Other Theatre: DTC: Once. Prince Moo Productions: The Haunting. ATC: Holding the Man. GFO: The Rocky Horror Picture Show, The Sound of Music, Legally Blonde. Glen St Theatre: I Hate Hamlet. VSO: The Wizard of Oz. GFO: Big River. Film: How to Please a Woman, One Fine Step, Nerve, Anthrax, Inland Empire, Big Mommas House 2, Confession, Pterodactyl. TV: Last Days of the Space Age, Home and Away, Stitchers, Romantically Speaking, NCIS LA, The Doctor Blake Mysteries, Packed to the Rafters, Nikita, Beaconsfield, Rizzoli and Isles, Leverage, The Mentalist, NCIS, Eleventh Hour, 24, Without a Trace, Scorched, Boston Legal, CSI Miami, She Spies, Riverworld, Monk, The Outer Limits, West Wing, Hope Island, Anne of Green Gables, FX The Series, Models Inc, Bony, Tracks of Glory, GP. 

REBECCA GIBNEY
Marty

Sydney Theatre Company: Debut. Other Theatre: Comedy Theatre Melbourne: Mum’s The Word 2: Teenagers. Paul Dainty Productions: Happy Days. Film: Lowdown Dirty Criminals, The Dressmaker, Mental, In Her Skin, The Map Reader, Clubland, Lost & Found, Joey, Lucky, Break, I Live With Me Dad, Mr Wrong, Among The Cinders. TV: includes Under The Vines, Happiness, A Remarkable Place to Die, Prosper, The Brokenwood Mysteries, Back to the Rafters, Halifax: Retribution, Wanted, The Circle, Peter Allen: Not the Boy Next Door, Winter, The Killing Field, Packed to the Rafters, Wicked Love, Tripping Over, Nightmares & Dreamscapes, Small Claims, Salem’s Lot, Halifax, Stingers, Finding Hope, The Day of the Roses, 13 Gantry Row, Kangaroo Palace, Snowy, All Together Now, Come In Spinner, G.P., The Flying Doctors, The Great Bookie Robbery, The Zoo Family, Sea Urchins, Pioneer Women, Inside Straight. Other: Host/Narrator: Luxury Escapes: The World’s Best Holidays, Bathing Boxes, Sensing Murder, Mars and Venus, The Silver Brumby. Awards: 2024 Logie Awards Hall of Fame, 2013 Film Critics Circle of Australia Award for Best Actress in a Supporting Role (Mental), 2012 AACTA Audience Choice Award for Best Performance in a Television Drama (Packed to the Rafters), 2010 & 2009 Silver Logie for Most Popular Actress (Packed to the Rafters), 2009 Gold Logie for Most Popular Personality (Packed to the Rafters), 1994 & 1993 People’s Choice Award for Most Popular Television Actress, 1991 Silver Logie for Most Outstanding Actress on Television (Come In Spinner), 1990 AFI Award Best Actress in a Mini Series (Come In Spinner). Pronouns: She/Her.

JESSIE LAWRENCE 
Theresa

Sydney Theatre Company: Debut. Other Theatre: Auckland Theatre Company: King Lear, North by Northwest. The Court Theatre: Strictly Ballroom The Musical, Venus in Fur. The NZ tour of Jersey Boys. England tour and Edinburgh Fringe: Re-Production. Pop-up Globe: Julius Caesar, The Tempest. Q Theatre: The Effect. TV: includes Happiness, Westside, EastEnders, Shortland Street, My Life is Murder, 800 Words. Other: Cartoon Network: Elliott From Earth. Training: Bachelor of Performing and Screen Arts. Pronouns: She/Her.

JEREMY ALLEN
Designer

Sydney Theatre Company: Sweat, Dear Evan Hansen (with Michael Cassel Group), Fences, The Goat or, Who is Sylvia? (with State Theatre Company of South Australia), White Pearl (with National Theatre of Parramatta, toured to Queensland Theatre, Canberra Theatre and OzAsia Festival). Other Theatre: State Theatre Company of South Australia: The Questions, The Normal Heart. Griffin Theatre Company: The Lewis Trilogy, Orange Thrower. Ensemble Theatre: Summer of Harold, Is There Something Wrong with That Lady? Hayes Theatre Company: A Little Night Music, Merrily We Roll Along, The Rise and Disguise of Elizabeth R. Red Line Productions: Cleansed, Angels in America, 4:48 Psychosis. Darlinghurst Theatre Company: Small Mouth Sounds, Savages. Outhouse Theatre Company: Gloria, John. Pinchgut Opera: Dido and Aeneas, Giustino, Orontea, The Loves of Apollo and Dafne. Sydney Chamber Opera: Fumeblind Oracle, The Diary of One Who Disappeared. Kings Cross Theatre: If We Got Some More Cocaine I Could Show You How I Love You, Ironbound. National Theatre of Parramatta: Flight Paths. New Theatre: Stupid Fucking Bird. Training: NIDA, University of South Australia. 

BROCKMAN
Lighting Designer

Sydney Theatre Company: American Signs, Constellations, A Fool in Love. Other Theatre: Queensland Theatre Company: Family Values. Griffin Theatre Company: Family Values, Splinter, Replay, Diving for Pearls. National Theatre of Parramatta: Things Hidden Since the Foundation Of The World (AUS/UK), Lady Tabouli, Girl in the Machine, The Girl/The Woman, The Sorry Mum Project, Let Me Know When You Get Home. Darlinghurst Theatre Company: Overflow, Torch Song Trilogy, Broken, Detroit, Motherfker with the Hat, Tinder Box. Hayes Theatre Company: Ride the Cyclone, Gentlemen Prefer Blondes, Carmen Alive or Dead, Razorhurst. Belvoir 25a: Horses, Jess & Joe Forever, Greater Sunrise. Ensemble Theatre: Tribes, The Big Dry, The Plant, Neville’s Island. Pinchgut Opera: Farnace. Critical Stages: Alphabetical Sydney. CDP: Are we there yet?, Guess How Much I Love You, Spot Live On Stage. Sydney Mardi Gras Festival: Sissy Ball 2022, Sissy Ball 2020. Campbelltown Arts Centre: Mirage. Apocalypse: Cleansed, Metamorphoses, Angels in America: Part 1 and 2. bAKEHOUSE: Coram Boy, Dresden, Visiting Hours, The Laden Table, Jatinga. Squabbalogic: Day of the Triffids (development), Good Omens (musical development), Herringbone, Grey Gardens The Musical, Man Of La Mancha. Little Eggs Collective: Symphonie Fantastique. Legs On The Wall: Cat’s Cradle, The Raft, Water's Edge. Shaun Parker & Company: In the Zone, King. Dance Makers Collective: The Rivoli, Wolverine. Awards: APDG Award for best lighting design for a Live Performance or Event (Cleansed), Best Lighting Design for a Mainstage Production 2023 (Constellations), Best Lighting Design for an Independent Production 2019 (Metamorphoses), Best Lighting Design for an Independent Production 2021 (Symphonie Fantastique). Pronouns: They/Them. 

CLEMENCE WILLIAMS
Composer & Sound Designer

Sydney Theatre Company: Into the Shimmering World, The Tenant of Wildfell Hall, Blithe Spirit, Death of a Salesman, Grand Horizons, Playing Beatie Bow, The Picture of Dorian Gray, Banging Denmark, Lethal Indifference, Oil. As Composer: Dracula, Strange Case of Dr Jekyll and Mr Hyde, A Cheery Soul. As Associate Director: Fun Home (with MTC). As Assistant Director: Saint Joan. Other Theatre: MTC: Heisenberg, Torch the Place, Arbus and West. Bell Shakespeare: Romeo and Juliet. Belvoir: The Wolves. Ensemble: A View from the Bridge. Old Fitz: Chorus, A View from the Bridge, Wind in the Underground, Paper Doll, The Wolves. KXT: A Girl is a Half-Formed Thing. Old 505: Little Borders. New Theatre: Chapel Perilous. Periscope Productions: Lemons Lemons Lemons Lemons Lemons. As Director: Sydney Chamber Opera: earth.voice.body, Breaking Glass (Commute, The Invisible Bird). NIDA/Sydney Conservatorium: The Magic Flute. Red Line: Chorus. Seymour Centre: Unfinished Works. New Theatre: The Cherry Orchard. KXT: Transience. Edinburgh Fringe: Chamber Pot Opera. PACT: The Threepenny Opera. JackRabbit Theatre: FINDR. As Assistant Director: Sydney Chamber Opera: La Passion de Simone, Notes from Underground. Sydney Conservatorium: La Calisto. Film: Last Night, Noli Me Tangere. Awards: 2021 APRA AM-COS Art Music Award for Best Live Performance (Commute). Training: Sydney Conservatorium, NIDA. 

CONNOR REIDY
Assistant Director

Sydney Theatre Company: Debut. Other Theatre: State Theatre Company of South Australia: Hibernation, The Normal Heart, Prima Facie. Theatre Republic: Lines, The Bleeding Tree. Flying Penguin Productions: Oleanna. As Director: The CRAM Collective: NEW WORLD COMING, Something Big, THE FUTURE IS YOU, Fag/Stag. Theatre Republic: The Worst. Famous Last Words: Proud. Flinders Drama Centre: pool (no water), BC, Control, Iphigenia in Orem, The Seagull, Lungs. Training: Flinders Drama Centre. Pronouns: He/Him.

DANIEL HERTEN
Associate Sound Designer

Sydney Theatre Company: The Picture Of Dorian Gray, Rules For Living. Other Theatre: Belvoir: Grief Is A Thing With Feathers, Furious Mattress, The Curious Incident Of The Dog In The Night-Time, Miss Peony. Griffin Theatre Company: The Lewis Trilogy, Whitefella Yella Tree, SISTREN, Flat Earthers: The Musical, PONY, Sex Magick, Green Park, Wherever She Wanders. Bell Shakespeare: Twelfth Night. Ensemble Theatre Company: The Half-Life Of Marie Curie. Hayes Theatre Company: The Pirates Of Penzance, Ride The Cyclone, Murder For Two. National Theatre Of Parramatta: FADE. Clockfire Theatre Company: Plenty Of Fish In The Sea. Darlinghurst Theatre Company: Let The Right One In. Tinderbox Productions: Black Box The Musical. Essential Workers: Collapsible. Sydney Festival: William Yang: Milestone. Rising Festival: Set Piece. ERTH: ARC, Shark Dive. Arc Circus: In the Arms Of Morpheus. Performance Space: Follies Of God. Sport For Jove: A Midsummer Night’s Dream. Red Line Productions: The Chairs, Hand To God. Training: NIDA. Pronouns: He/They.

CHLOË DALLIMORE
Intimacy Coordinator 

Sydney Theatre Company: 4000 Miles, Dear Evan Hansen (with Michael Cassel Group), A Fool in Love, The Seagull, The Importance of Being Earnest, On the Beach, The Tempest, A Raisin in the Sun. Other Theatre: Belvoir: Who’s Afraid, Counting & Cracking, Boomkak Panto, Miss Peony, The Cherry Orchard. Hayes Theatre Co: Jekyll & Hyde, The Bridges of Madison County. GWB: Jagged Little Pill, Girl from the North Country. Film: Three Thousand Years of Longing, The Lost Flowers of Alice Hart, Five Blind Dates, Transfusion. TV: The Twelve, Heartbreak High, Bali 2002, Pieces of Her, The Secrets She Keeps 2, Wellmania, Barons, Vanishing Act, After the Verdict, The PM’s Daughter, Aftertaste, Home & Away, Doctor Doctor, Frayed, Wakefield, Between Two Worlds. Awards: 2005 Helpmann Award for Best Supporting Actor in a Musical (The Producers). Training: London Studio Centre, London, UK; Intimacy on Set, London, UK; Intimacy Directors and Co-ordinators, NYC, USA. 

CHARMIAN GRADWELL
Voice & Text Director

Sydney Theatre Company: Happy Days, Picnic at Hanging Rock, 4000 Miles, Sweat, The President (with Gate Theatre, Dublin), No Pay? No Way!, Into the Shimmering World, Dear Evan Hansen (with Michael Cassel Group), Dracula, Stolen, A Fool in Love, The Seagull, The Importance of Being Earnest, Constellations, Do not go gentle..., Fences, The Tempest, The Lifespan of a Fact, Strange Case of Dr Jekyll and Mr Hyde, Fun Home (with MTC), The Beauty Queen of Leenane, Mary Stuart, Accidental Death of an Anarchist, The Harp in the South, The Long Forgotten Dream, Saint Joan, Blackie Blackie Brown (with Malthouse Theatre), Still Point Turning, The Resistible Rise of Arturo Ui, Lethal Indifference, Top Girls, Dinner, The Father (with MTC), Black is the New White, Talk, Chimerica, A Flea in Her Ear, All My Sons, Disgraced, Hay Fever, Arcadia, The Golden Age, King Lear, The Present, Suddenly Last Summer, After Dinner, The Long Way Home, Travelling North, Machinal, Waiting for Godot, Romeo and Juliet, Rosencrantz and Guildenstern are Dead, Storm Boy (with Barking Gecko), The Maids, Mrs Warren’s Profession, Sex with Strangers, Under Milk Wood, Gross und Klein, Bloodland, In the Next Room (or The Vibrator Play), Uncle Vanya, A Streetcar Named Desire, The War of the Roses, Tot Mom. As Director: The Comedy of Errors. Other Theatre: As Voice & Text Coach: QT: Triple X (with Sydney Theatre Company). Royal Shakespeare Company: The Taming of the Shrew, Julius Caesar, The Tempest, The Canterbury Tales (tour), A Winter’s Tale, Pericles, Days of Significance, Macbeth, Macbett, The Penelopiad, Noughts and Crosses, The Comedies (London season), Twelfth Night, A Midsummer Night’s Dream, Gunpowder (London season), Romeo and Juliet, Comedy of Errors. As Dialect Coach: Musicals: Muriel’s Wedding: The Musical (with Global Creatures), Aladdin, Assassins, The Lion King, Mary Poppins, The Tap Brothers, Xanadu the Musical. As Director/Trainer: A year with Space 2000 in Kaduna, Nigeria. Film: As Dialect Coach: Elvis, Peter Rabbit 2, Thor: Ragnarok, Pirates of the Caribbean: Dead Men Tell No Tales, Reaching for the Moon, Truth, Ginger & Rosa. Other: Voice trainer, London School of Puppetry. Member of London Shakespeare Workout, which brings Shakespeare into UK prisons. Training: Central School of Speech and Drama. 

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SYDNEY THEATRE COMPANY BOARD OF DIRECTORS

Ann Johnson (Chair)
David Craig (Deputy Chair)
Anita Belgiorno-Nettis AM
Brooke Boney
Mitchell Butel
Sarah Constable
Mark Coulter
Anne Dunn
Heather Mitchell AM
Kate Mulvany OAM
David Paradice AO
Annette Shun Wah
Rosie Williams

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