The River

By Jez Butterworth
Directed by Margaret Thanos

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

Mitchell Butel

Mitchell Butel

Superb actors at the peak of their abilities, speaking the words of a playwright expert at their craft, all held by a director who creates a world so alive and evocative. Each of them diving deep into their hearts to pull out something frightening and tender and sad and hopeful.

I write this note having just come out of the final rehearsal room run of The River by Olivier and Tony Award winner Jez Butterworth and my head is spinning, my heart is hurting and my skin is tingling.

The Man in this play describes the sensation of what it can be to catch a trout: “if you catch one, it's like catching a lightning bolt. It's like jamming your finger into a socket. Like a million sunsets rolled into a ball and shot straight into your veins. And you feel it. By God, you feel it.”

That’s how I feel now having just witnessed this iteration of this ingenious play – a play that considers the mysteries of love, connection, regret. Of what we choose, of what we lose, of what we seek to repeat.

French philosopher and novelist, Albert Camus once said: “A man's work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.”

In many ways, the characters in this play are on a very similar journey. But their journey will surprise, thrill and even scare you. Get ready…

This production grew from conversations I’d been having with Miranda Otto. Like a fisherman, I tried various lures to get this actress – one of the world’s best and certainly one of Australia’s most beloved – back to the Sydney Theatre Company stage after many years away, while she conquered our silver screens. This play hooked her!

"A play that considers the mysteries of love, connection, regret."

Miranda is also an incredibly devoted and regular attendee of independent theatre in Sydney and is a great supporter of young, emerging theatre-makers. Both she and I have been dazzled by the glint of Margaret Thanos’s work, a smart, talented and wise-beyond-her-years director swimming upstream on our scene, and we’re thrilled that Margaret agreed to swim into the pool of possibility that Butterworth’s play presents and lead this production.

In Ewen Leslie and Andrea Demetriades, also beloved titans of the STC stage and heroes of our screens, who join Miranda, the picture became almost perfect. All it needed was… well, you’ll see… we got it.

We welcome back to the Company a team of brilliant designers too in Anna Tregloan, Damien Cooper and Sam Cheng.

The River will capture you but leave you with a thousand questions about your loves, your relationships and your dreams when it releases you back into the water. May the moon guide your way.

Mitchell Butel 
Artistic Director and Co-CEO
Sydney Theatre Company 

Cast & Creative Team

Cast

The Other Woman
Andrea Demetriades

The Man
Ewen Leslie

The Woman
Miranda Otto

Creative Team

Director
Margaret Thanos

Designer
Anna Tregloan

Lighting Designer
Damien Cooper

Composer & Sound Designer
Sam Cheng

Assistant Director
Kenneth Moraleda

Intimacy Director
Chloë Dallimore AM

Voice & Text Director
Charmian Gradwell

Production Team

Production Manager 
Richard Whitehouse

Deputy Production Manager
Julia Orlando

Stage Manager 
Jaymii Knierum

Assistant Stage Manager 
Mia Kanzaki

Costume Coordinator 
Sam Perkins

Backstage Wardrobe Supervisor 
Chris Harris

Wardrobe Day Maintenance
Hazel Fisher

Drafting 
Andrew Powell

Lighting Supervisor 
Ethan Hamill

Props Supervisor
Emily Adinolfi
Scenic Art Supervisor
Emily Borghi

Set Contruction Supervisor
Joe Gleeson

Sound Supervisor 
Hayley Forward

Sound Operator
Courtney Weaver

Staging Supervisor
Will Hoger

Rehearsal Photographer 
Daniel Boud

80 mins, no interval

This production premiered on 7 Apr 2026 at the Drama Theatre, Sydney Opera House

The River was first produced on 18 Oct 2012 by the Royal Court, London

Supported by the Chair's Circle

Miranda Otto and Ewen Leslie

Synopsis

On a crisp night in a remote cabin perched above a winding river, a man waits for a woman he’s invited to share a weekend of fishing, cooking and quiet escape. The place is rugged and intimate – a refuge filled with the smell of woodsmoke, the memory of past seasons, and the sound of water moving endlessly beyond the windows. 

He talks about the landscape the way some people talk about destiny: with reverence, with certainty, with an unshakable sense that the things we chase in life are somehow being drawn toward us in return. She listens, intrigued by both him and this mysterious patch of wilderness he so clearly loves. 

But as the night deepens, the cabin becomes a place where time doesn’t behave quite as expected. Stories echo, moments repeat, and the familiar lines between truth and tale start to blur. The couple navigate conversations about trust, longing, and the risks we take when we let ourselves be seen – all while something just out of view seems to be shifting. 

What follows is part love story, part ghost story, part puzzle. Butterworth invites us into an atmosphere thick with desire and uncertainty, where the natural world feels both comforting and uncanny. This is a story about the people we hold onto, the versions of ourselves we offer them, and the ones that slip quietly away. 

In this secluded cabin, nothing is entirely certain – except the pull of the river itself. 

THE MAN ... if you catch one, it’s like catching a lightning bolt. It’s like jamming your finger into a socket. Like a million sunsets rolled into a ball and shot straight into your veins. And you feel it. By God, you feel it.

Jez Butterworth, The River

Director's Note
Margaret Thanos

“In the room the women come and go 
Talking of Michelangelo. 

And indeed there will be time 
To wonder, “Do I dare?” and, “Do I dare?” 
Time to turn back and descend the stair, 
With a bald spot in the middle of my hair — 
... 
Do I dare 
Disturb the universe?” 

 from The Love Song of J. Alfred Prufrock by T. S. Eliot 

If you knew my dating history, you might say that I have been remarkably unlucky in love.  

I’ve been in love with the wrong person, been in love with a person I couldn’t be with, fallen in love with a casual lover when I wasn’t supposed to, been in love with someone who doesn’t treat me well, been in love with someone who treated me better than my behaviour deserved and the list goes on. I’ve had great loves and small loves, true ones and false ones, toxic ones and stunning ones. I’ve got stories that sit well within the horror genre, all of which started out as romance. Most recently, I ended up in my own version of The River, marooned in an apartment very far away from home with a man I realised I didn’t really know at all.  

But I – the perpetual optimist – would say I have been lucky.  

The poem included above is about a man who is scared to live and love and be loved. One of my most recent lovers read me this poem as a romantic gesture one evening, and I lay there in his arms and I cried. At the time, I didn’t know what I was weeping for, but I do now (love is always clearer in hindsight).  

It was the first moment of true, fundamental misunderstanding between us, a rupture in our relationship, because he thought it was romantic, and with my whole soul and being I thought it was the opposite. He spoke to me about how we shouldn’t dare disturb the universe, much like J. Alfred Prufrock himself. He was telling me that he was, in short, terrified.  

Margaret Thanos

Margaret Thanos

"So dare, dear audience member, dare."

But to love is to be terrified. It is wrapped up in fear because as soon as you love a person you have something to lose. If it’s going badly, you have to find a way to survive the heartbreak, and if it is going well, it is even more terrifying. What if that person gets sick suddenly? What if there is a freak accident? What if they do not choose you? So many things can go wrong at any moment. 

 This guy wanted me to share in his fear of the universe. But that has never been me. And it was in that moment that I knew I’d lose myself to this person, would lose my whole identity to try to fit into his. I still did try to fit. It evidently didn’t work out. Directing this show while heartbroken has been the hardest thing I’ve ever done. It has also helped me to understand myself on a whole new level.  

 Because even after every heartbreak and horror story, I still believe in love. I still trust that it is a fundamental human experience. I will keep falling. I will keep loving.  

 But in order to keep trying to find love, to keep floating along this river and to try to hook in the right one – one must be brave. As brave as the brown trout that heads towards the ocean, trying to become a sea trout. Eventually, you’ll reach that Norwegian fjord, you’ll evolve and you’ll come back a new creature. And you’ll try again and again until you hook your fisherperson.  

We’re living in a time where it’s become cool to be apathetic to romantic love. It’s the era of commodified dating, where swiping is designed to keep us on our phones and not out there living. I can’t tell you how sick I am of it, how ideal it would be to be in a bar and have someone actually just come and talk to you or to have someone send you a love letter. But even in this modern world we must descend the stairs. I don’t have the answers to love. Jez Butterworth’s masterpiece doesn’t offer you or me any answers because love is the eternal mystery. I don’t want to tell you what this show is about – that’s for you to decide. All we can do is keep trying to be open to life. It might feel safer, but it isn’t better to be afraid.  

So dare, dear audience member, dare.  

 Life’s too short not to disturb the universe a little bit. 

Andrea Demetriades

Andrea Demetriades

Biographies

Jez Butterworth
Writer

Jez Butterworth is a British playwright and screenwriter whose work has been staged in the UK, the US, and internationally. His first play, Mojo (1995), premiered at the Royal Court Theatre in London and received the Olivier Award for Best Comedy, along with awards from the Writers’ Guild, Critics’ Circle and Evening Standard. His subsequent plays at the Royal Court include The Night Heron (2002), The Winterling (2006), Jerusalem (2009), The River (2012), and The Ferryman (2017). Parlour Song (2008) premiered at the Atlantic Theatre Company in New York before its Almeida Theatre production in London. 

Jerusalem later transferred to the West End and Broadway and received multiple awards, including the Evening Standard and Critics’ Circle Awards for Best Play. The Ferryman, first produced at the Royal Court and later staged in the West End and on Broadway, won the Olivier Award and the Tony Award for Best Play. His most recent play, The Hills of California (2024), opened in London and subsequently transferred to Broadway. 

Butterworth’s film work includes screenplays for Birthday Girl (2001), Fair Game (2010), Edge of Tomorrow (2014), Get On Up (2014), Black Mass (2015), Spectre (2015), Ford v Ferrari (2019), and Indiana Jones and the Dial of Destiny (2023). He also directed the film adaptation of Mojo (1997). 

His awards and honours include a Tony Award, multiple Olivier Awards, the E.M. Forster Award from the American Academy of Arts and Letters (2007), and election as a Fellow of the Royal Society of Literature (2019). 

Margaret Thanos
Director

Margaret Thanos is an award-winning Cypriot-Australian director for the stage and screen, and a resident director at Belvoir St Theatre. Margaret’s directing credits include A Mirror (Belvoir St), I Hate People; or Timon of Athens (Sport for Jove), Furious Mattress (25A), Posh (Old Fitz), King John (Bell Shakespeare Play in a Day), Not Now, Not Ever: A Parliament of Women (25A), A Very Expensive Poison (New Theatre) and Labyrinth (Dream Plane Productions).  

 In 2023, she was awarded the prestigious Sandra Bates Director’s Award at Ensemble Theatre and in 2024 she was awarded the Andrew Cameron Fellowship at Belvoir St.  

 She has assistant directing credits on Grief Is The Thing With Feathers, August: Osage County, The Curious Incident of the Dog in the Night-time, King Lear and Well Behaved Women (Belvoir), Benefactors, Mr Bailey’s Minder (Ensemble), This Genuine Moment (Old 505), Animal Farm (New Theatre), Originate Project (Q Theatre), The Linden Solution (Ratcatch) and The Cherry Orchard (Chippen St).  

 Margaret is also an activist, with a particular focus on gender equality and climate justice. She is one of Plan International's Advocates and has done extensive interviews and public appearances. The River marks Margaret's Sydney Theatre Company debut. 

Andrea Demetriades
The Other Woman

Sydney Theatre Company: Home, I’m Darling, Arcadia, Arms and the Man, Perplex, Pygmalion. Other Theatre: Ensemble: Suddenly Last Summer. Red Line Production: Anatomy of a Suicide. Belvoir: The Dog / The Cat, Oedipus Rex, The Book of Everything. Bell Shakespeare: Intimate Letters Concert, Twelfth Night, Romeo and Juliet, Pericles, Actors At Work. Riverside: A Beautiful Life. Griffin Theatre: Winter. Playwriting Australia: National Play Festival. Windmill: Helly’s Magic Cup. The Uncertainty Principle: Sold. Film: Dark Whispers: Volume 1, Babyteeth, Alex & Eve, Around the Block, Nerve. TV: High Country, Return to Paradise, The Last Anniversary, NCIS: Sydney, The Artful Dodger, The Claremont Murders, The Unusual Suspects, Amazing Grace, Clickbait, Black Comedy S4, The End, The Commons, Squinters, Mr Black, Reckoning, Doctor Doctor, Murder, Janet King, Pulse, Seven Types of Ambiguity, Let’s Talk About, The Principal, Miss Fisher’s Murder Mysteries, Mr & Mrs Murder, Crownies, All Saints. Short Film: Candy Bar, Remembering Agatha, The Little House, Milk & Honey, Heidi Fires Everyone, Invisible, Little Leopold, Blind Date. Pronouns: She/Her.

 

Ewen Leslie
The Man

Sydney Theatre Company: Strange Case of Dr Jekyll & Mr Hyde, Julius Caesar, Rosencrantz & Guildenstern, The Trial (with Malthouse Theatre Company), The War of The Roses, Gallipoli, The Serpents Teeth. Other Theatre: Belvoir: Ivanov, Thyestes (Paris Tour), Hamlet, Cat on A Hot Tin Roof, The Wild Duck, The Promise, Paul. MTC: Hamlet, Richard III. Modern Convict Films: Hamlet Camp. Film: Leviticus, The Stranger, The Daughter, The Nightingale, Peter Rabbit 2, Sweet Country, The Mule, The Railway Man, Dead Europe, Sleeping Beauty, Three Blind Mice, Katoomba, Kokoda, Jewboy, Luna & The Brain Tuna. TV: The Luminaries, The Clearing, Colin From Accounts, Prosper, Exposure, The Narrow Road To The Deep North, The Twelve, Sunny Nights, Top of the Lake: China Girl, Safe Harbour, Pieces of Her, Operation Buffalo, The Gloaming, Fighting Season, Janet King, Deadline Gallipoli, Wonderland, Mr & Mrs Murder, Top Of The Lake, Rake, Redfern Now, Devil’s Dust, Mabo, My Place, Lockie Leonard, Love My Way, The Junction Boys, All Saints, The Road From Coorain, Bali 2002. Awards: Helpmann Award for Best Male Actor in A Supporting Role in a Play (The War of the Roses), Sydney Theatre Award for Best Actor in a Lead Role (The War of The Roses), Helpmann Award for Best Male Actor in a Play (Richard III), Green Room Award for Best Male Actor (Richard III), AACTA Award for Best Supporting Actor in a TV Drama (Top of the Lake: China Girl). Training: WAAPA. Pronouns: He/Him.

Miranda Otto
The Woman

Sydney Theatre Company: The White Guard, Boy Gets Girl, A Doll’s House, The Girl Who Saw Everything, Sixteen Words For Water, The Bitter Tears of Petra von Kant. Other Theatre: Royal Queensland Theatre: Gigi, Brilliant Lies. Film: Talk To Me, The Portable Door, Downhill, The Daughter, The Homesman, Reaching for the Moon, War of the Worlds, Flight of The Phoenix, The Lord Of The Rings Trilogy, What Lies Beneath, The Thin Red Line, Love Serenade. TV: Thou Shalt Not Steal, Ladies in Black, The Clearing, Wellmania, Fires, The Unusual Suspects, Chilling Adventures of Sabrina, Homeland, Through My Eyes. Awards: 2005 TV Week Silver Logie Award for Most Outstanding Actress in a Drama series (Through My Eyes), SAG Award for Outstanding Performance by a Cast in a Motion Picture (The Lord Of The Rings: The Return of the King), 2016 AACTA Award for Best Supporting Actress (The Daughter), 2003 MO Award for Female Actor in Play of The Year (A Doll’s House). Training: National Institute of Dramatic Art (NIDA). Pronouns: She/Her. 

Anna Tregloan
Designer

Sydney Theatre Company: Spring Awakening. Other Theatre: As Designer: Bell Shakespeare: Henry V, King Lear, Macbeth, Romeo and Juliet, Hamlet (2020). Malthouse Theatre: Optimism, The Odyssey, Ham Funeral/Journal of a Plague Year, Holiday (with Ranters Theatre). Sydney Chamber Opera: Oscar and Lucinda. Greenroom Music and Sydney Opera House: The Three Marys. Force Majeure: idk. Sydney Festival 2026: Wansolmoana (with Latai Taumoepeau), The Conflictorium. Exhibitions & Installations: Exhibition Design – ACMI: Wonderland, Goddess. Science Gallery Melbourne: Swarm, Perfection, Blood. Jewish Museum of Australia: Chagall, Helmut Newton. Powerhouse Museum: Collette Dinnigan Unlaced. Arts Centre Melbourne: Child of Now. Sydney Gay and Lesbian Mardi Gras: The Museum of Love and Protest. Immersive Installations – Belief System (Substation Melbourne; Chapter Arts Cardiff UK). The Ghost Project; The Colour of the Sky Today (Prague Quadrennial). Other: Powerhouse Museum and others: The Impossible Project. Positions: NSW Creative Industries Resident, Powerhouse Museum (2019–current). Curator, Australian Exhibition, Prague Quadrennial (2015 & 2019). Accredited Member, Australian Production Designers Guild (2019–current). Artistic Advisor, Polyglot Theatre (2012–2018). Australia Council Fellow, Theatre Board (2011–2012). Resident Artist, Malthouse Theatre (2005–2009). Asialink Residency, Museum of Modern and Contemporary Art, South Korea (2014). Awards: 2024 Best Multidisciplinary Design, APDG Awards (idk). 2023 Honorary Mention, S+T+Arts Prize (Child of Now). 2021 Best Stage Design, APDG Awards (The Planet: A Lament). 2020 Acknowledgement of Outstanding Advocacy, Victorian Green Room Awards (The Impossible Project). 2018 Victorian Museums Award, APDG Award & GLAMi Best of Festival (Wonderland). 2007 Best Design, Green Room Award Association (Holiday), 2006 John Truscott Award for Design Excellence, Green Room Awards Association. 2005 Best Design, Helpmann Awards (The Odyssey). 2005 Best Design, Green Room Award Association (The Odyssey. Ham Funeral/Journal of a Plague Year). Training: Master of Animateuring (Cross Modal Performance), Victorian College of the Arts, University of Melbourne.

Damien Cooper
Lighting Designer

Sydney Theatre Company: The Talented Mr Ripley, On The Beach, Blithe Spirit, White Pearl (with Riverside’s National Theatre of Parramatta), Top Girls, Dinner, A Midsummer Night’s Dream, Disgraced, Arcadia, Orlando, The Golden Age, Suddenly Last Summer, The Women of Troy, The Lost Echo, Riflemind, Tot Mom, King Lear, The Shape of Things, These People, Morph, Thyestes, Far Away, Bed, This Little Piggy, Julius Caesar, Summer Rain, Boy Gets Girl, The Metamorphosis, The Cherry Orchard, A Hard God, Fat Pig, Ying Tong - A Walk With the Goons, Self Esteem, The Art of War, The Great, The Duel (with ThinIce), Honour, Oresteia, Zebra!, Edward Gant’s Amazing Feats of Loneliness (with La Boite), Blood Wedding, Bloodland (with Queensland Theatre, Adelaide Festival and Bangarra), Pygmalion, Under Milk Wood, The Splinter, Storm Boy (with Barking Gecko), The Long Way Home, Children of the Sun, Cyrano de Bergerac, Arms and the Man. Other Theatre: Belvoir: Things I Know To Be True, Counting and Cracking, Mark Colvin’s Kidney, The Dog/The Cat, Radiance, The Glass Menagerie, Coranderrk, Miss Julie, Stories I Want to Tell You in Person, Cat on a Hot Tin Roof, Peter Pan, Private Lives, Conversation Piece, Strange Interlude, Neighbourhood Watch, The Seagull, Gethsemane, Keating!, Toy Symphony, Peribanez, Stuff Happens, The Chairs, The Spook, In Our Name, The Underpants, The Sugar House, A Taste of Honey, The Ham Funeral, Exit the King (with Malthouse Theatre, and Broadway transfer). Queensland Theatre: Summer of the Seventeenth Doll (with Belvoir), Away. Bell Shakespeare: Macbeth, The Tempest. MTC: Golden Shield. Ensemble Theatre: Kenny, Honour. Other: Designed lighting for other forms of performance art, including over 150 opera, ballet and dance productions. Awards: Three Sydney Theatre Awards – Best Lighting; Four Green Room Awards – Best Lighting; Two Australian Production Designers Guild Awards – Award for Best Lighting Design Der Ring des Nibelungen; Award for Best Lighting Design The Glass Menagerie.

Sam Cheng
Composer & Sound Designer

Sydney Theatre Company: American Signs. Other Theatre: Queensland Theatre: Malacañang Made Us, Belvoir 25A: Saturday Girls, New Ghosts Theatre Company: Cut Chilli, Albion, Born on a Thursday, Sitting Screaming, Frame Narrative, Slanted Theatre: Boom, Ching Chong Chinaman, Fruitbox Theatre: French Letters & Leather Cleaner. As Sound Designer: Hayes Theatre Co: 25th Annual Putnam County Spelling Bee. Outhouse Theatre Company: How to Defend Yourself. As Associate Sound Designer: Belvior St Theatre: Orlando, Griffin Theatre Company: Mother May We. Film: As Composer: Kariwa (2023). Training: Sydney Conservatorium of Music. Pronouns: She/He/They.

Kenneth Moraleda
Assistant Director

Sydney Theatre Company: As Director: 4000 Miles, American Signs, A Fool In Love, Rough Draft #48: Hubris and Humiliation. As Assistant Director: The Talented Mr Ripley, Happy Days, The Importance of Being Earnest, On The Beach, Playing Beatie Bow, The Deep Blue Sea, How to Rule the World. 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: Queensland Theatre Company: Malacañang Made Us. 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. 

Chloë Dallimore AM 
Intimacy Director

Sydney Theatre Company: The Normal Heart, The Shiralee, The Talented Mr. Ripley, Circle Mirror Transformation, 4000 Miles, Dear Evan Hansen, A Fool In Love, The Seagull, The Importance of Being Earnest, Sweat, On The Beach, The Tempest, A Raisin in the Sun. Other Theatre: Belvoir St: A Mirror, Big Girls Don’t Cry , At What Cost?. Hayes Theatre Co: Jekyll and Hyde, Ride The Cyclone, The Pirates of Penzance, Zombie! Griffin Theatre: Flat Earthers, Naturism, Sex Magick. Ensemble Theatre: The Lover, ARIA, The Glass Menagerie, Uncle Vanya. Opera Australia: Rent, Miss Saigon, 2025 Winter Season and 2026 Summer Season. Film: Send Help, Transfusion, and I Know What You Did Last Summer. Television: Heartbreak High, Bump, NCIS: Sydney, The Twelve, Sunny Nights, Last King of the Cross, The Artful Dodger, Playing Gracie Darling and Mix Tape. Awards: 2004 Australian Entertainment Mo Award for Female Musical Theatre Performer, 2005 Helpmann Award for Best Supporting Actor in a Musical (The Producers), 2005 Sydney Theatre Awards for Best Actress in a Supporting Role (The Producers), 2005 Victorian Green Room Association Awards for Best Leading Female Artist in Music Theatre (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: The Normal Heart, Purpose, Circle Mirror Transformation, 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.

"...to love is to be terrified. "

Margaret Thanos

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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
Sam Meers AO
Heather Mitchell AM
Kate Mulvany OAM
David Paradice AO
Annette Shun Wah
Rosie Williams

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