HAPPY DAYS

By Samuel Beckett
Conceived and Directed by Nick Schlieper and Pamela Rabe

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

So, here’s the thing about Beckett from my point of view…  

I studied Waiting for Godot at high school and I DID NOT GET IT.  

Why were these two men endlessly complaining and why did they seem to also take such delight in their misery?  

Our class was taken to a torturous amateur production with actors barely older than us (and with, let’s just say, limited skill sets) playing Vladimir and Estragon which only made matters worse.  

But when I turned forty and found myself with knees and bones ravaged by time, I saw Andrew Upton’s terrific production with Richard Roxburgh and Hugo Weaving and I suddenly understood – while death/Godot/nothing approaches, there is so much comedy to be had in the patterns and inevitability of our collective and individual decline. We may not all swap hats like vaudevillians to fill the hours but we find other routines simultaneously banal and joyous, full of meaning and yet empty as well.  

I had seen and much enjoyed Ruth Cracknell playing Winnie for STC in 1991 in Simon Phillips’ production. That I got more than Godot and not just because I was now in my early twenties! There was something pathetic and sad but also sweet and often hilarious in her sunny optimism and ruminations, in the midst of being trapped in a mound of earth that only grew around her.  

"Is Winnie facing the music, diverting herself from it or feeling it and facing it in harmony?"

All of our feet start to sink into the earth at some point and Beckett holds a masterful torch to show us that we’re not Robinson Crusoe in feeling strange that we can feel gratitude and dread and joy and fear and regret and hope all at once as we progress from six feet over to under.  

Is Winnie facing the music, diverting herself from it or feeling it and facing it in harmony? Either way, there is such grace and marvel in how she deals with it:  

That is what I find so wonderful, that not a day goes by.... hardly a day, without some addition to one's knowledge however trifling, the addition I mean, provided one takes the pains. 

Speaking of grace and the marvellous, what a thrill to have the truly brilliant Pamela Rabe back on the Sydney Theatre Company stage and to realise this production. She has been a key and acclaimed artist for STC since appearing in The Ham Funeral in 1989 by Patrick White (an Antipodean Beckett in some senses) and I, like many, have been enthralled and dazzled by every performance she has given since.  

Equally and always dazzling has been the prolific work of theatre-maker, this production’s co-realiser and design extraordinaire Nick Schlieper who has probably worked on more shows at STC than any other artist and is of course, now represented on Broadway for his phenomenal contribution to The Picture of Dorian Gray.   

Joined by the gifted and lovely Markus Hamilton (recently seen in Sweat) as Willie and supported by a sterling creative team, I know you’ll be once more captured by the magic and mirth they are making on the mound in the midst of mortality. (Beckett liked a bit of word play too, so forgive me for the nod.) Enjoy. 

Mitchell Butel 
Artistic Director and Co-CEO
Sydney Theatre Company 

Cast & Creative Team

Cast

Winnie
Pamela Rabe

Willie
Markus Hamilton

Creative Team

Directors
Nick Schlieper
Pamela Rabe

Set & Lighting Designer
Nick Schlieper

Costume Designer
Mel Page

Sound Designer
Stefan Gregory

Assistant Director
Kenneth Moraleda

Voice & Text Director
Charmian Gradwell

Production Team

Production Manager
Joe Fletcher

Deputy Production Manager
Julia Orlando

Stage Manager
Zoe Davis

Assistant Stage Manager
Chloe Langdon

Costume Coordinator
Sam Perkins

Hair, Wig & Wardrobe Supervisor, Costume Day Maintenance
Lauren A. Proietti

Lighting Supervisor
Amy Robertson

Lighting Programmer
Corinne Fish

Lighting Operator
Oscar de Gruchy

Sound Supervisor
Hayley Forward

Sound Operator
Ben Andrews

Set Construction Supervisor
Boaz Shemesh

Props Supervisor
Emily Adinolfi

Scenic Art Supervisor
Ron Thiessen

Staging Supervisor
David Tongs

Mechanist
Oscar Broadhead

Rehearsal Photographer
Brett Boardman

1 hr 40 mins, no interval

THIS PLAY PREMIERED AT THE CHERRY LANE THEATRE, NEW YORK CITY ON 17 SEPTEMBER 1961

THIS PRODUCTION OPENED AT WHARF 1 THEATRE, SYDNEY ON 9 MAY 2025

SUPPORTED BY STC ANGELS



Synopsis

Winnie, a woman in her fifties, is buried up to her waist in a mound of earth. Her predicament – the blinding sun beating down on her, the blasted wasteland that surrounds her – does nothing to dampen her bright optimism. She moves through familiar routines: brushing her teeth, applying lipstick, and inspecting the few possessions in her handbag. She speaks incessantly to herself and to her husband Willie, clinging desperately to everyday rituals to stave off despair. Willie, mostly silent and out of sight, occasionally responds in fragmented grunts or words. Willie’s intermittent responses offer Winnie bright moments in the darkness, but her profound isolation remains. 

Time passes, and Winnie is now buried up to her neck. Her physical condition has worsened, but her cheerfulness remains. With even fewer resources for comfort or distraction, she struggles to continue.

In spite of it all, Winnie maintains her stubborn hope that the day will end happily. 

"That is what I find so wonderful... The way man adapts himself... To changing conditions."

Samuel Beckett, Happy Days

Directors' Note
Pamela Rabe & Nick Schlieper

Nick Schlieper and Pamela Rabe

Nick Schlieper and Pamela Rabe

When we first started to talk about making this production of Happy Days, we began with the usual question – why now? What does this play written 64 years ago have to say to us today? In seeking to answer this fundamental question, we pondered the many ways in which you could approach the text, the most obvious of which would be through the lens of climate change. Or post some unspecified holocaust. Or amongst the aftermath of a society choked by its own insatiable appetite for consumerism. Or even the end of Empire. The list of possibilities goes on. The text abounds with allusions to all of these readings, indeed an earlier draft more than hinted at a cataclysmic war and the play is redolent with the ramifications of climate change. Our short answer was that the play is still replete with relevance for this time and in some ways feels even more urgent, given the uncertainties of our current world. 

However we decided that to take any single one of these approaches was ultimately reductive. It narrowed the play’s scope, and it would actually shift the focus away from the universal and towards the specific. It’s no coincidence that throughout the eight drafts that Beckett worked through, he continued to strip out any specificity hinting at an actual scenario and focussed ever more on the quintessential. At its heart this work is about how human beings persevere and survive, even in the face of the most daunting conditions, whatever form those might take. To specify the particular nature of Winnie’s circumstances was to do a disservice to the much broader metaphor at the centre of the text – which in a nutshell is simply the story of an individual’s struggle to find a way of surviving in a situation that is not of their own making. And while most of us will presumably never find ourselves literally trapped inside a mound, who can’t identify with that feeling? 

Nick Schlieper and Pamela Rabe

Nick Schlieper and Pamela Rabe

Therefore, we’ve chosen to place our Winnie and her Willie in an unspecific, timeless wasteland; a landscape stripped of all features, a landscape of the mind, rather than of any particular time or place. In this mindscape, we witness an extraordinary act of human perseverance, an examination of the human spirit in the face of erasure, where Beckett tests the very limits of human endurance even as memory, identity and ultimately time itself, crumble away and slip from the grasp. 

As we continue to forensically comb through this text, it’s been fascinating to discover how perfectly logical it actually is. How much sense it all makes. Something that at first reading seems to be riddled with absurdities set in the context of a surreal metaphor, turns out to be both quite logical and terribly, movingly real. Because ultimately, we’ve all found ourselves in some version or other of Winnie’s dilemma, trapped in a life that we’d never have chosen -  if we’d had any choice. 

Biographies

Samuel Beckett
Playwright

Samuel Beckett (1906-1989) is widely recognised as one of the greatest dramatists of the twentieth century. He was awarded the Nobel Prize for Literature in 1969.

Beckett is most renowned for his play Waiting for Godot which launched his career in theatre. He then went on to write numerous successful full-length plays, including Endgame in 1957, Krapp’s Last Tape in 1958 and Happy Days in 1960. Beckett received his first commission for radio from the BBC in 1956 for All That Fall. This was followed by a further five plays for radio including Embers, Words and Music and Cascando.

Like no other dramatist before him, Beckett’s works capture the pathos and ironies of modern life yet still maintain his faith in man’s capacity for compassion and survival no matter how absurd his environment may have become.

Curtis Brown grants licences for all professional productions of Beckett’s plays in the English language throughout the world (excluding North America).

Nick Schlieper
Director, Set & Lighting Designer

In a career spanning over 40 years, Nick Schlieper has designed for all of the major performing arts companies in Australia and regularly works internationally. He is one of Australia’s most highly awarded designers having received six Melbourne Green Room Awards, seven Sydney Theatre Awards (2 for set design and 5 for lighting design), and 5 Helpmann Awards. 

Happy Days marks his 104th production for STC, the first of which was Hedda Gabler, starring Judy Davis at The Wharf in 1986. Others include the recent trilogy of The Picture of Dorian Gray, The Strange Case of Dr Jekyll and Mr Hyde and Dracula as well as Macbeth, Chimerica, The Harp In The South, Playing Beatie Bow and The Tempest, all directed by Kip Williams: The Season At Sarsaparilla, Wonnangatta, Victory and Three Tall Women (which marked the first of many collaborations with Pamela Rabe): and with Cate Blanchett; Hedda Gabler, A Streetcar Named Desire, Uncle Vanya, The Maids, Gross und Klein, The Present, Blackbird, The Year of Magical Thinking and A Kind Of Alaska. He was set and lighting designer of Face to Face, Baal and Death and The Maiden. Previous Beckett productions at STC include Waiting for Godot and set and lighting designs for Endgame in 2015. 

His many productions for Melbourne Theatre Company include, Richard III, Hamlet, Macbeth, The Tempest and North By Northwest (co-set design), all with his frequent collaborator, Simon Phillips, as well as set and lighting design for Photograph 51, directed by Pamela Rabe. 

For Belvoir St, he has designed sets and lighting for Once In Royal David’s City, The Master and Margarita and Scenes From The Climate Era as well as lighting for Ghosts, The Cherry Orchard and Twelfth Night. 

Nick’s extensive work for Opera Australia includes productions of Tannhäuser, Lohengrin, Tosca and Elisir d’amore. He was also Lighting and Associate Set designer for the epic Adelaide Ring Cycle, presented in 2004. 

International opera productions include The Greek Passion, Médée and Lear for The Salzburg Festival, The Devils of Loudon for Bavarian State Opera and Midsummer Night’s Dream and Billy Budd for Hamburg State Opera.                             

Theatre work in Europe includes The Hostage (Royal Shakespeare Co) The Ginger Man (State Theatre Hamburg) Macbeth and Peer Gynt (State Theatre of Bavaria), all directed by Michael Bogdanov, as well as productions in Berlin, Vienna and Stuttgart. He was lighting designer for Liv Ullmann’s productions of Uncle Vanya and Private Confessions at Norway’s National Theatre in Oslo. Both Priscilla, Queen of the Desert and Dorian Gray ran on London’s West End.  

In the USA, his work has been seen at BAM and the Lincoln Center in N.Y and at the Kennedy Center in Washington. Priscilla, Queen of the Desert, The Present and The Picture of Dorian Gray all had seasons on Broadway. 

Nick has served on the boards of Malthouse Theatre in Melbourne and Belvoir St Theatre Ltd in Sydney. He has taught extensively, including a 10-year post as guest lecturer at the Bayerische Theaterakademie in Munich. In 2017, he delivered the Phillip Parsons Memorial Lecture. 

Nick is currently nominated for a Tony Award for Best Lighting Design of a Play (Broadway season of The Picture of Dorian Gray).

Pamela Rabe
Director, Winnie

Pamela is one of Australia’s most prolific and highly awarded actors. She has performed and directed for major theatre companies, both nationally and internationally, in over 100 plays and musicals. As actor or director, she has collaborated with Nick Schlieper on over a dozen productions. She last appeared with Sydney Theatre Company in Cat on A Hot Tin Roof directed by Kip Williams. As a founding member of STC’s Actor’s Company, formed by Robyn Nevin, she played leading roles in many celebrated productions including Mother Courage and Her Children, Barry Kosky’s The Lost Echo, Benedict Andrew’s The Season at Sarsaparilla and as Richard III in The War of The Roses. Other performances for STC include The Children, Les Liaisons Dangereuses, The Cherry Orchard, The Beauty Queen of Leenane, Private Lives, Holy Day, Salt, Three Tall Women, Lost in Yonkers, Much Ado About Nothing, The Secret Rapture and The Ham Funeral.

For Sydney Theatre Company, Pamela has directed The Serpent’s Teeth: Citizens, Elling, In The Next Room (or The Vibrator Play) and Jumpy. For Melbourne Theatre Company, her directing projects include Elling, Solomon and Marion and Photograph 51.

Other acting credits include over 40 productions for the Melbourne Theatre Company, including Seventeen, The Cherry Orchard, Hamlet, God of Carnage, Boston Marriage, Dinner, A Little Night Music, Private Lives, A Room of One’s Own, Cosi, Much Ado About Nothing, The Taming of the Shrew, The Heidi Chronicles, Moon For The Misbegotten, As You Like It, Too Young For Ghosts and Top Girls. For Belvoir Street Theatre, performances include The Cherry Orchard, Dance of Death, Ghosts, The Glass Menagerie, Gertrude Stein and a Companion and most recently, Violet Weston in Eamon Flack’s acclaimed production of August: Osage County; Testament of Mary and Woman Bomb at Malthouse Theatre; The Rover, Miss Julie and Samuel Beckett’s Footfalls and Eh, Joe for STCSA; The Last Season for Force Majeure; Grey Gardens for The Production Company; The Wizard of Oz (GFO & VSO) and Moira Finucane’s Burlesque Hour. Pamela recently toured Europe with Alexander Zeldin’s play The Confessions, which included seasons at The National (London) and Odéon-Théâtre de l'Europe (Paris).

Pamela’s recent work in television includes Deadloch, Bay of Fires and Wentworth, for which she won a Silver Logie award for Most Outstanding Actress in 2018, and the AACTA award for Best Lead Actress in a Television Drama in 2015. Other television credits include Rosehaven, The Hunting, Fucking Adelaide and The Secret Life of Us.

Pamela has appeared in several feature films including Sirens, Paradise Road, Vacant Possession, Cosi and The Well, for which she won the 1997 AFI, Stockholm Film Festival and Variety Club awards for Best Actress.

Other career highlights include concert performances with the Kronos Quartet, Katy Abbott’s Hidden Thoughts III: Stories of Awe (MSO) and Melody Eötvös’ Ruler of the Hive (TSO & MSO).

In 2023, Pamela was appointed a Member of the Order of Australia (AM) for her distinguished services to the Performing Arts.

Markus Hamilton
Willie

Markus Hamilton is an American/Australian actor. 

Happy Days is his fourth production with Sydney Theatre Company. STC audiences remember his performances in Fences and Sweat at Wharf 1. 

Markus’ training and early work in Los Angeles was with Dee Wallace. Dee’s teaching remains a huge influence in Markus’ professional and personal life. He also studied Improvisation/sketch comedy at The Groundlings. 

While in LA, he performed in many theatre, television, voice over and film projects from Will & Grace to Men in Black II. 

Upon his relocation to Sydney, Markus has combined a busy and diverse voice-over career with appearances in several notable films including Kingdom of the Planet of the Apes (2024), Knowing (2009), and Gods of Egypt (2016). His filmography also includes roles in The Warrior's Way (2010) and VR Noir (2016). He received the Best Male Actor award for his work in the short film Going Home (2008) which he co-wrote as well as awards for his narration of the IMAX global hit documentary Angkor: The Lost Empire of Cambodia. Markus also has experience in sound work, writing, dialect and acting coaching and directing.

He will soon be seen in the upcoming film Bear Country, and you can see him now on the small screen in Strife. 

MEL PAGE
Costume Designer

Sydney Theatre Company: On the Beach, Cat on a Hot Tin Roof, Mary Stuart, Les Liaisons Dangereuses, Pygmalion, Baal (with Malthouse Theatre), Vs Macbeth (with The Border Project). As Designer: A Raisin in the Sun, Lethal Indifference. Other Theatre: As Designer: Belvoir: Song of First Desire, A Taste of Honey, The Rover, Back at the Dojo, Old Man, Medea, Small and Tired. MTC: A Streetcar Named Desire, Minnie & Liraz. Stuck Pigs Squealing: Night Maybe, Mefistofeles: Teatro dell’opear di Roma; The Apocalypse Bear Trilogy. As Set Designer: Victorian Opera: Noye’s Fludde. As Costume Designer: Belvoir: Song of First Desire, Holding the Man, Jasper Jones, Ivanov, Kill the Messenger, Seventeen, Elektra/ Orestes, The Government Inspector (with Malthouse Theatre), Nora, The Glass Menagerie, A Christmas Carol, Once in Royal David’s City, Hamlet, Angels in America, Strange Interlude, As You Like It, The Promise. National Theatre: Phaedra. Theater Basel/Residentz Theater: Three Sisters, Angels in America. Teatr Wielki: Medea. Festival Aix: Innocence. Bayerische Staatsoper: Die Teufel von Loudun, Die Tote Stadt, Salzburg Festival: Greek Passion, Medeè, Lear. Den Norske Opera: Pelleas et Melisande. Chunky Move: Depth of Field, The Complexity of Belonging (with MTC and Melbourne Festival). Malthouse Theatre: Pompeii L.A. The Hayloft Project: The Suicide, The Only Child, Spring Awakening. LG Arts Center: The Cherry Orchard. Awards: George Fairfax Memorial Award, Sydney Theatre Award Best Costume Design, Sydney Theatre Award Best Set Design, Premio Abbiati Award Best Set & Costume Design.

STEFAN GREGORY
Sound Designer

Sydney Theatre Company: The President (with Gate Theatre, Dublin), The Importance of Being Earnest, The Tempest, Julius Caesar, Wonnangatta, Cat on a Hot Tin Roof, Accidental Death of an Anarchist, The Resistible Rise of Arturo Ui, The Present, King Lear, Suddenly Last Summer, Dance Better at Parties, Face to Face, Money Shots, Baal, The War of the Roses. Other Theatre: Belvoir: The Master and the Margarita, Counting and Cracking, Stop Girl, The Cherry Orchard, Counting and Cracking, Ghosts, The Dog/The Cat, The Government Inspector, Mother Courage and Her Children, The Glass Menagerie, The Wild Duck, Medea, Strange Interlude, Thyestes,The Seagull, Measure for Measure. Melbourne Theatre Company: A Streetcar Named Desire, Mimie & Liraz, The Cherry Orchard. The National Theatre: Phaedra. Linzer Klangwolke: Mother Gilgamesh. Brooklyn Academy of Music: Medea. The Young Vic: Yerma.  Toneelgroep Amsterdam: Medea, Ibsen Huis, Husbands and Wives. Barbican: Avalanche. Salzburg Festival: Medeé. Theater Basel: Engel in Amerika, Drei Schwestern. L’Odeon: La Trilogie de la Vengeance. Film: The Rooster, Otto by Otto, Cottontail, The Dig. Other: Sydney Dance Company: L’Chaim. Legs On The Wall/Sydney Philharmonia Choir: Puncture. The Australian Ballet: There is Definitely a Prince Involved. Awards: Sydney Theatre Award (The Resistible Rise of Arturo Ui, Thyestes), OBIE Award (Yerma), Sidney Myer Creative Fellowship, Helpmann Award (Counting and Cracking). World Soundtrack Awards People's Choice Longlist (The Dig), APRA/AMCOS Screen Music Award (Best Soundtrack Album, and a nomination for Feature Film Score of the year: The Rooster). AACTA Award Nomination (Best Documentary Score, Otto By Otto). 

KENNETH MORALEDA
Assistant Director

Sydney Theatre Company: The Importance of Being Earnest, On The Beach, Playing Beatie Bow, The Deep Blue Sea, How to Rule the World. As Director: 4000 Miles, American Signs, A Fool In Love, Rough Draft #48: Hubris and Humiliation. As Actor: Muriel’s Wedding: The Musical (with Global Creatures), Australian Graffiti, Talk, Cyrano De Bergerac, A Man with Five Children. Other Theatre: As Director & Co-Writer: kwento/KXT: One Hour No Oil. As Director: CAAP/Terrapin: The Story of Chi. kwento/KXT: The Marriage Agency. kwento/Redline: Ate Lovia. NIDA/STC: Eat Me-Blowback. Blush Opera: Chop Chef. Liveworks: This Here. Land. Melbourne Fringe and Adelaide Cabaret Festival: They Say She’s Different. As Actor: Merrigong: As Luck Would Have It. 25A: Kasama Kita. Belvoir St Theatre: An Enemy of the People. Sport for Jove: Three Sisters. Disney Theatrical: The Lion King Musical. National Theatre UK/Global Creatures: War Horse. HIT: Australia Day. Black Swan Theatre Company: The White Divers of Broome. Repertory Philippines: August: Osage County. Marian Street: Afterplay. Film: As Actor: Lucky Miles, Christmess, Locusts, The Great Raid. TV: As Actor: Significant Others, Wolf Like Me, Strife, Bureau of Magical Things, The Crew’s Ship, Janet King, Schapelle, City Homicide, East West 10, Comedy Inc White Collar Blue, Playhouse Disney, Stingers, Big Sky, Water Rats, Wildside, City Life. As Facilitator: CAAP/ PWA Lotus Playwrighting Program, Hayes/CAAP: Making A Musical, CAAP: Artist Lab NSW. Positions: Sydney Theatre Company Resident Director (Present). Awards: 2023 Equity Award - Outstanding Performance by an Ensemble (Significant Others), 2008 Cinemanila International Film Festival- Best Actor (Lucky Miles). Training: NIDA. Pronouns: He/Him. Proud member of Equity since 1995. 

 

CHARMIAN GRADWELL
Voice & Text Director

Sydney Theatre Company: 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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