THE SHIRALEE
By D’Arcy Niland
Adapted for the stage by Kate Mulvany
Directed by Jessica Arthur
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
To what degree are we transformed by carrying a burden? To what extent does generational trauma dictate the kind of burdens we have to carry or choose to carry? Can that burden actually become the thing that redeems us? And in a country where generational trauma is so deeply and painfully present, does sharing a burden help to lighten it?
Many a question came to mind while watching the powerfully moving and heart-filled final rehearsal room run of Kate Mulvany’s stunning adaptation of D’Arcy Niland’s iconic and beloved Australian novel and brought to life by a team of beautiful actors, led by Sydney Theatre Company favourite, the exquisitely true Josh McConville and in their STC debut, a no doubt star of the future, Ziggy Resnick.
The meaning of “shiralee” seems multiple. Some say it refers to a swagman’s physical swag (sometimes also called a matilda), some claim it is a First Nations word for “burden”, some say it derives from a Hebrew word for “song” and some link it to an Irish word – tiaralai – meaning “toil”.
All in some way evoke what our scarred and bruised central character Macauley has to carry when he decides to take his daughter Buster on the road with him.
In her poem epigraph to her husband’s novel, author Ruth Park writes:
The shiralee, the tether
The load too heavy to be born
He cursed it in the welter
But now unrolls with humble hands
And lies within its shelter
Like the swag itself, Buster in some ways becomes her father’s ultimate shelter – a home for admitting his pain, a symbol of his awakening to the possibility of love and connection. And parent though he is to Buster, she helps heal the child within him.
This production has many parents and the love that they have all shown their “child” in bringing to life this tale has been extraordinary to witness.
"The meaning of “shiralee” seems multiple. Some say it refers to a swagman’s physical swag (sometimes also called a matilda)"
The production’s director Jess Arthur is no stranger to caring for and encouraging adaptations of great Australian novels take their first steps onto the theatre stage, having previously and expertly directed The Dictionary of Lost Words.
Once again, she has assembled a team of big-hearted and hugely talented artists to create theatrical magic.
Our thanks to her, the team and to the herculean work of the Sydney Theatre Company workshop and wardrobe and props teams who have helped conjure a time in Australian history with such detail and care.
We hope you enjoy walking the road with us.
Mitchell Butel
Artistic Director and Co-CEO
Sydney Theatre Company
Cast & Creative Team
Cast
Donny/Cheetham/Jack & Others
Stephen Anderson
Desmond/Ruby Razzle & Others
Paul Capsis
Matilda/Bella & Others
Lucia Mastrantone
Mac
Josh McConville
Marge/Grace & Others
Kate Mulvany
Beauty/Tommy & Others
Aaron Pedersen
Buster
Ziggy Resnick
Lily/Minny & Others
Catherine Văn-Davies
Creative Team
Director
Jessica Arthur
Designer
Jeremy Allen
Lighting Designer
Trent Suidgeest
Composer & Sound Designer
Jessica Dunn
Assistant Director
Guy Simon
Dramaturg
Kip Williams
Cultural Advisor
Mathew Doyle
Fight & Safety Director
Tim Dashwood
Music Rehearsal Associate
Victoria Falconer
Intimacy Coordinator
Chloë Dallimore
Voice & Text Director
Charmian Gradwell
Swaggie of Happiness
Vinnie Pedersen
Production Team
Production Manager
Alexandra Moon
Stage Manager
Tim Burns
Assistant Stage Manager
Sean Proude
Costume Coordinator
Sam Perkins
Hair Wig and Makeup Supervisor
Lauren A. Proietti
Backstage Wardrobe Supervisor
Chris Harris
Dresser
Josh Carter
Wardrobe Day Maintenance
Catriona McCabe
Lighting Supervisor
Amy Robertson
Head Lighting Technician
Filip Wyker
Sound Supervisor
Hayley Forward
Sound Operator
Al Bremner
Staging Supervisor
Chris Fleming
Head Mechanist
Nathan Williams
Drafting
Andrew Powell
Props Supervisor
Jason Lowe
Scenic Art Supervisor
Ron Theissen
Set Construction Supervisor
Boaz Shemesh
Rehearsal Photographer
Prudence Upton
2 hr 30 mins, including interval
This production opened at Drama Theatre, Sydney Opera House on Oct 10, 2025.
This production is supported by STC Angels in association with the Donor Syndicate: Supporting Women in Theatre.
Synopsis
Macauley is a rugged swagman who roams the rural roads of mid-century Australia, taking on odd jobs to survive. Buster is Macauley’s young daughter, living with her lonely mother Marge in a run-down home in Kings Cross, Sydney.
One fateful night, Mac is compelled to take Buster on the road with him, despite father and daughter barely knowing each other. Chased into the deep outback of New South Wales, Mac and Buster encounter characters and events that will change their lives forever as they wrestle with what it is to be each others’ shiralee…
Playwright's Note
Kate Mulvany
G’day. Welcome…
After adapting Ruth Park’s Harp in the South trilogy and Playing Beatie Bow for the Sydney Theatre Company, there was one more story I yearned to explore - The Shiralee by D’Arcy Niland, who was Ruth’s husband.
Niland’s extraordinarily dark and desolate novel pre-dated Cormac McCarthy’s celebrated father-child pilgrimage The Road by 50 years. Niland’s novel is a violent exploration of the Australian male psyche told through the lens of a swagman named Macauley who snatches his daughter Buster out of spite and concern and now finds himself stuck with this burden - his “shiralee”.
Josh McConville and Kate Mulvany.
Josh McConville and Kate Mulvany.
Despite the horrific murk of Niland’s book, most iterations have been rather golden in nature - they temper down Macauley’s brutal view of the world and focus instead on what he teaches his daughter Buster in their time in the outback. But in this new stage adaptation, I wanted to shift the lens once again and return to the lurking violence of Niland’s book and acknowledge what Buster teaches her father in their time on the road together.
"And it is the story of community - the friendships that can and should be celebrated in this incredible ancient country we are so lucky to call home."
The Shiralee you are about to experience is the story of a child courageously challenging the norms expected of them. This play explores, from Buster’s unique perspective, what it is to walk through the world as a girl surrounded by violence. Buster may only be a mere speck in the vast Australian landscape, but she is endlessly curious, funny and wise, and has her own giant world of ideas growing inside her own mind and heart. It is also the story of Mac, who was forced to become an adult before his time, and now must learn to accept the broken child within. And it is the story of community - the friendships that can and should be celebrated in this incredible ancient country we are so lucky to call home.
In this play, I have also woven in aspects of my own childhood with my father Danny - a silently raging Vietnam War veteran road worker - who would often take me “out bush” with him in rural Western Australia. These trips could see us rescue a joey from its dead mother’s pouch, stumble across a country wedding, and witness a brutal bar fight in the same day, before curling up in a ute tray as the sun set over the west coast. These magical and malevolent trips have stayed with me always, so it’s little wonder that the story of Buster and Mac and everyone they meet is so close to my heart. So this one’s for you, Dad.
I am so honoured to bring this retelling of D’Arcy Niland’s book to the stage, as well as return as an actor to the STC boards after 17 years. I hope The Shiralee will have everyone, no matter who they are, rejoicing their inner Buster and reaching out to any lost Macs and realising that some burdens can also save you.
My gratitude to the astoundingly brilliant team of creative swaggies who have brought this adaptation to life, especially Jess Arthur. We have walked, run, danced and sang the long dusty road together to bring this to you, and we’re so glad you’ve joined us on the road.
Use yer boots. Enjoy.
Paul Capsis and Kate Mulvany.
Paul Capsis and Kate Mulvany.
Director's Note
Jessica Arthur
Mac doesn’t want to ask for help. He has found a way to wade through life without burdening others or being a burden himself. In fact, he prides himself on it. Mac’s fears, vulnerabilities and shame ripple beneath the surface of The Shiralee by D’Arcy Niland. These fears rupture, before being tidily buried away beneath the tough exterior of a man trying to ignore his violent upbringing.
Buster is an accidental truth-teller of Mac’s tenderness, jarring with how he presents himself to the world. This play is a love story between Buster and her dad - inspired by the bush poets, caretakers and ‘wanderous loners’ that speckle the land. Her innocence and imagination unveils the gentle truths of the land and its people, through her we witness the heart of community and the ways of mutual care in a tough and lonely world.
Guy Simon, Josh McConville, Catherine Van-Davies and Jessica Arthur.
Guy Simon, Josh McConville, Catherine Van-Davies and Jessica Arthur.
Kate’s adaptation illuminates the joys of difference, the individual note in the chorus of community. Kate’s empathetic instincts lead to our discovery that we hold the capacity to change in spite of and through the pain of our stories. This play doesn’t shy away from the darkness and violence of our nation’s past - to see our histories is to see ourselves.
"This play is a love story between Buster and her dad - inspired by the bush poets, caretakers and ‘wanderous loners’ that speckle the land."
The design of this play reflects the gruff patriarchy of the early colony, its rough and upending edges are the play's foundations. The woolshed floor incubated this early colony flung to distant shores and left to become itself. One corner of the floor is lifted to create a ridge, the beginning of an upending of the built structure and an acknowledgment that the land sits underneath as the true foundation.
As a team, we have aimed to breathe life into this gritty tale of an Australia that was fading away even then. Reflecting the joy, sorrow, vulnerability and humour that has given this country its heart. New works require trust, patience and hard work from cast and creatives and this team has been nothing but committed to giving this work everything.
Guy Simon and Jessica Arthur.
Guy Simon and Jessica Arthur.
BUSTER:
Now hear this, Macauley! I'll walk along the road, all the roads, and keep goin on the road, 'cos I know you always walk on the roads and I'll find yer! No matter where you are, I'll find yer!
Kate Mulvany, The Shiralee
Biographies
D’Arcy Niland
Novelist
D'Arcy Francis Niland was an Australian author who wrote prolifically during his lifetime. He is well-known for his classic novel The Shiralee, a best-selling book which has never been out of print since its first publication in 1955. His major interest was in the craft of short story writing. He produced over five hundred short stories published in Australia and abroad.
D'Arcy Niland was born in Glen Innes, NSW on 20 October 1917. He was educated at St Joseph's School in Glen Innes and it was here, he was encouraged to write by the nuns who saw a literary potential in their young pupil.
Having to leave school by the age of fourteen to help support his large family, he took on varied employment in shearing sheds, potato fields, opal mines, circus tents and boxing shows. He educated himself by reading the dictionary and practised his writing craft when he could.
The Niland family left Glen Innes around 1933, to live in Sydney. D'Arcy Niland worked as a copyboy at the Sun newspaper. He supplemented his small income by working at the railway sheds at Redfern, Sydney.
In 1942 he married Ruth Park, a New Zealander, with whom he had been corresponding for several years about their like-minded goals as writers. Once married, the couple decided to make a concerted effort to pursue their dream to live entirely by writing. They worked in partnership and alone, producing an enormous output of stories, songs, jingles, plays, factual articles, scripts, poems and novels.
In Balgowlah, NSW, they raised their family of five children, whilst juggling writing commitments.
Achieving wider recognition through winning various literary prizes, D'Arcy Niland was awarded £600 by the Commonwealth Literary Fund in 1952 to write a novel.
The result was The Shiralee published in 1955. It was an international success. There have been over sixty-five editions and many translations. It was made into a film of the same name in 1957, starring Peter Finch, and a cast of well-known Australian actors. The Shiralee was also made into a popular television mini-series in 1987, with Bryan Brown as Macauley.
D'Arcy Niland continued writing to the end of his life completing his last novel Dead Men Running two days before his death on 29 March 1967.
Niland’s novels include; The Shiralee, Call Me When the Cross Turns Over, Gold in the Streets, The Big Smoke, The Apprentices, Dead Men Running. His short story collections include; The Ballad of the Fat Bushranger and Other Humorous Stories, Logan’s Girl and Other Stories, Dadda Jumped Over Two Elephants, Pairs and Loners, The Penguin Best Stories of D'Arcy Niland.
Kate Mulvany
Playwright and Performer (Marge/Grace & Others)
Kate Mulvany is a multi-award-winning writer, actor and producer. In her 30- year artistic career, she has received the Mona Brand Award, several Australian Writers Guild awards, the prestigious Sidney Myer Award, an Honorary Doctorate from Curtin University and an Order of the Medal of Australia for her contribution to the arts.
As a playwright, Kate’s works have been performed internationally and include critically-acclaimed adaptations of Ruth Park’s The Harp in the South and Playing Beatie Bow; Jasper Jones; Mary Stuart; Masquerade; and Medea (co-written with Anne-Louise Sarks). Her original work includes The Mares; The Rasputin Affair; The Danger Age; The Web, the musical Somewhere (music by Tim Minchin); the oratorio Towards First Light (composition by Iain Grandage) and her lauded autobiographical play The Seed.
As a screenwriter, Kate co-created and wrote on the internationally-acclaimed TV series Upright, the popular ABC series Summer Love, the Emmy-winning animation series Beat Bugs, and has written two episodes of the upcoming Disney Plus series two of The Artful Dodger.
Kate is also an award-winning stage and screen actor. She recently starred as Sarah Bernhardt in Bernhardt/Hamlet for Melbourne Theatre Company and won the Best Actress Helpmann Awards for the title role in Richard III for Bell Shakespeare and Every Brilliant Thing for Belvoir. She has also had critically-praised turns as Lady Macbeth (Macbeth), Cassius (Julius Caesar), Dr Stockman (An Enemy of the People) and Dorine (Tartuffe).
Kate’s screen credits include leading roles in Hunters (Amazon) alongside Al Pacino; The Clearing (Disney Plus); The Twelve (Warner Bros); Baz Luhrmann’s Elvis and The Great Gatsby; and double AACTA-nominated roles in the films Better Man and How to Make Gravy. She will soon be seen as Augusta Beecham in the Netflix adaptation Miles Franklin’s iconic novel My Brilliant Career.
Kate is an ambassador for survivors of Agent Orange, and also volunteers as a mentor to emerging playwrights, particularly those with disabilities.
Jessica Arthur
Director
For Sydney Theatre Company, Jess has directed The Dictionary of Lost Words (with State Theatre Company South Australia), Chalkface (with State Theatre Company South Australia), The Tenant of Wildfell Hall, Grand Horizons, Home, I’m Darling, Wonnangatta, Banging Denmark, Mosquitoes and Lethal Indifference. Jessica was Associate Director on Julius Caesar and The Tempest. She has worked as Assistant Director on Dinner, The Harp in the South: Part One and Part Two, Chimerica and Endgame. In 2017, Jessica was STC’s Richard Wherrett Fellow, in the following year became Directing Associate and was Resident Director from 2019–2022. Jessica’s other directing credits include; Koreaboo (Griffin); Lose to Win (Belvoir), The Wolves (Belvoir and The Old Fitz); The Bugalugs Bum Thief (Riverside); Kindness, Realism (NIDA); All the Fraudulent Horse Girls, Lose to Win, Tongue Tied, Amongst Ruins (The Old Fitz); The House at Boundary Road Liverpool (Old 505); Two Hearts, How Are You? (The Anchor); Intoxication (La Mama Courthouse); Unend (Never Never Theatre Company); The Sugar Syndrome (The Kings Collective) and Miss Julie (MTC) as Assistant Director.
STEPHEN ANDERSON
Donny/Cheetham/Jack & Others
Sydney Theatre Company: Debut. Other Theatre: As Actor: Michael Cassel Group: Titanique. Cameron Mackintosh: Mary Poppins. Crossroads Live: Charlie and the Chocolate Factory. Opera Australia: Gold Diggers. Louise Withers and Associates: Mamma Mia!. Royal Shakespeare Company: Matilda The Musical. Monkey Baa Theatre Company: The Bugalugs Bum Thief. Squabbalogic: Man of La Mancha. Darlinghurst Theatre Company: Falsettos. The Old Fitz: DNA. As Writer: Adelaide Cabaret Festival: My Vagabond Boat. Melbourne Fringe: Don’t Hate Us Because We’re Good. TV: Whitlam: The Power and the Passion. Awards: 2024 Sydney Theatre Award for Best Performance in a Supporting Role in a Musical (Titanique). Training: NIDA.
PAUL CAPSIS
Desmond/Ruby Razzle & Others
Sydney Theatre Company: The Deep Blue Sea, The Threepenny Opera (Malthouse Theatre and Victorian Opera), Tales From the Vienna Woods, The Lost Echo, Thyestes, Volpone, Playgrounds, Calpurnia Descending (with Malthouse Theatre). Other Theatre: FortyFive Downstairs: De Profundis. Brink Productions: The Bridge Of San Luis Rey. Force Majeure: The Last Season. Malthouse Theatre: Calpurnia Descending (with STC), The Black Rider, Die Winterreise, Boulevard Delirium. Melbourne Theatre Company: All About My Mother, The Resistible Rise of Arturo Ui. Company B Belvoir: The Wizard of Oz, Caucasian Chalk Circle, Frogs. Griffin Theatre: Lady Tabouli, Angela’s Kitchen. FortyFive Downstairs: Resident Alien. Hayes Theatre and Athenaeum: Cabaret. Windmill Theatre/Southbank Theatre London: Rumpelstiltskin. Newtheatricals: The Rocky Horror Picture Show. Film: Head On, Love is Now, Carlotta, The Boy Castaways, True History of the Kelly Gang. TV: My Favourite Album, In Siberia Tonight, The Sideshow, Sunday Arts, Spicks and Specks, Art Nation (guest presenter). Awards: 2002 Helpmann Award – Best Live Musical Presentation (Capsis vs Capsis, Sydney Opera House). 2004 Green Room Award – Best Cabaret Artiste. 2012 Helpmann Award – Best Actor in a Lead Role (Angela’s Kitchen). Pronouns: He/Him
LUCIA MASTRANTONE
Matilda/Bella & Others
Sydney Theatre Company: The Importance of Being Ernest, Death of a Salesman, The Harp in the South: Part One and Part Two, Talk, Mariage Blanc, The Tale Maker, Romeo & Juliet. Other Theatre: Belvoir/Malthouse: Looking For Alibrandi, Belvoir: The Cherry Orchard, Atlantis, Twelfth Night, My Vicious Angel, Macbeth, Under the Influence (with Legs on the Wall, Edinburgh, Hammersmith London), The Book of Everything, Scorched, The Popular Mechanicals, Love & Magic in Mama’s Kitchen. Showtunes: La Cage Aux Folles, Hayes Theatre: Young Frankenstein. Griffin Theatre: Jailbaby, Window-Cricket-Bat, Dead Cat Bounce, Kill Climate Deniers, Ladies Day. Shaun Parker Dancers: Blue Love. (European/National tour) House of OZ Edinburgh: Summer of Harold, Bell Shakespeare: The Duchess of Malfi. Ensemble Theatre: Master Class. State Theatre Company of South Australia: The Merchant of Venice, The Venetian Twins, Six Characters in Search of an Author, Verona, A Little Like Drowning, The Rover. Melbourne Theatre Company: Venetian Twins. Theatre of Image: Gypsy Boy. Adelaide Festival: The Longest Night, Filling the Silence, Une Feste Di Nozze, Ricordi (Co-pro Doppio Teatro, Hammersmith London), Olive Tree, Under Southern Eyes. Magpie/MTC: Roald Dahl’s Snow-White and Red Riding Hood. Canberra Theatre: Red Like the Devil. Film: Dog, Strangers, Look Both Ways, Stealth, Jewboy, Spank, Blackrock, Napoleon, Bad Boy Bubby. TV: Significant Others, Secrets She Keeps S2, Home and Away, Pacific Heat, Rake, Tangle, All Saints, Water Rats, 3-4 Ever, Inside Out, Police Rescue. Awards: Oscart Critics for Best Actress, Co-win Humanitarian Award, Queen’s Trust Award.
JOSH MCCONVILLE
Mac
Sydney Theatre Company: Oil, Do not go gentle..., Triple X (with Queensland Theatre), Death of a Salesman, Cat on a Hot Tin Roof, Cloud Nine, A Midsummer Night’s Dream, All My Sons, Hay Fever, Arcadia, After Dinner, Cyrano de Bergerac, Mojo, Noises Off, Romeo and Juliet, Gross und Klein, In The Next Room (or The Vibrator Play), Loot, Gallipoli. Other Theatre: Belvoir: Packer & Sons, The Sugar House, A Taste of Honey. Bell Shakespeare: Hamlet, King Lear. MTC: Sunday, Golden Shield, The Sublime. Revolver: Moving Parts. Black Swan State Theatre Company: Death of a Salesman. Griffin Theatre Company: The Boys, Strange Attractor, Dealing with Claire, The Call. Coogee Arts Festival: The Servant of Two Masters. Film: Elvis, The Correspondent, Fear Below, Bear Country, Fantasy Island, M4M, Top End Wedding, Standing Up For Sonny, The Merger, 1%, Escape & Evasion, War Machine, Joe Cinque’s Consolation, Down Under, The Infinite Man, The Turning: Commission. TV: No Escape, Optics, Black Snow 2, Plum, NCIS: Sydney, In Limbo, Significant Others, Wakefield, Mr Inbetween, Home and Away, Cleverman, The Killing Field, Wild Boys, Underbelly: A Tale of Two Cities. Awards: AACTA Award Nomination – Best Supporting Actor 1%; Sydney Theatre Awards – Best Male Actor in a Leading Role in a Mainstage Production The Boys, Best Actor in a Supporting Role in a Mainstage Production Noises Off, Best Newcomer The Call & Strange Attractor. Training: NIDA.
AARON PEDERSEN
Beauty/Tommy & Others
Aaron is from the Eastern Arrernte and Arabana Nations. Sydney Theatre Company: Signs of Life (with Black Swan State Theatre Company), The Club, The Visitors (as Understudy). Other Theatre: Black Swan State Theatre Company: The Accidental Death of an Anarchist. MTC: Cost of Living, King Lear. Queensland Theatre: Dear Son, Eating with Your Eyes Closed. Film: Mystery Road, Goldstone, High Ground, Dirt Music, Back to the Outback, The Fear of Darkness, Killing Ground, Spear, Dead Heart, Saturday Night, It Will Find You, The Red, 1%. TV: Mystery Road, Jack Irish, Total Control, The Gloaming, The Code, East West 101, A Place to Call Home, The Circuit, High Country, Total Control, Blue Murder: Killer Cop, City Homicide, Water Rats, Wildside, The Secret Life of Us, The Code, MDA, Blackjack. Awards: AACTA International Award for Best Actor in a Series (Mystery Road), Rolling Stone Australia Award for Actor of the Year (Mystery Road), Film Critics Circle Australia Award for Best Actor (Goldstone, Mystery Road), Outstanding Performance by an Ensemble in a Drama Series (Mystery Road, High Country), Green Room Award for Best Actor in a Leading Role (Conversations with the Dead).
ZIGGY RESNICK
Buster
Sydney Theatre Company: Debut. Other Theatre: As Actor: Bell Shakespeare: Henry V, The Players. Griffin Theatre Company: A is for Apple. National Theatre of Parramatta: Girls In Boys’ Cars, Bugalugs Bum Thief. Belvoir 25A: Feminazi. Old Fitz Theatre: Probe, The Eisteddfod, How to Defend Yourself. Fortyfivedownstairs: Rumbleskin. Theatre Works: Pear Shaped. Opera Australia: Ernani. As Writer: Theatre Works: Pear Shaped. Film: Oi, Billie and Jesse, +One, Binchook, Real.Bright.Hard. As Writer: Billie and Jesse. Training: NIDA. For Alex Stamell. I walk the road with you.
CATHERINE VǍN-DAVIES
Lily/Minny & Others
Sydney Theatre Company: American Signs, Constellations, Playing Beatie Bow, No Pay? No Way!, White Pearl (with Riverside's National Theatre of Parramatta), Going Down (with Malthouse). Other Theatre: Red Line: A Streetcar Named Desire. Griffin Theatre Company: Sex Magick, Turquoise Elephant. Bell Shakespeare: Titus Andronicus, The Misanthrope, The Merchant of Venice. Chunky Move: Complexity of Belonging (with Falk Richter), Belvoir: An Enemy of The People, Back at the Dojo, The Kiss. Apocalypse Theatre Company: Angels in America. Little Ones Theatre: The Happy Prince, Dracula, Dangerous Liaisons. Arthur: The Myth Project: Twin, Cut Snake, Superhero Training Academy, Waltzing Woolloomooloo: The Tale of Frankie Jones. MKA: sex. violence.blood.gore. Milk Crate Theatre: Various productions. TV: Home and Away, Return to Paradise, Austin, Mother and Son, Wolf Like Me, The Claremont Murders, The Twelve, I’m Fine It’s Fine, Barons, Amazing Grace, Hungry Ghosts, The Letdown, Pet Killer. Awards: 2023 Sydney Theatre Award for Best Performance in a Leading Role in a Mainstage Production (Constellations), 2023 Sydney Theatre Award for Best Supporting Actor in an Independant Production (A Streetcar Named Desire), 2020 Sydney Theatre Award for Best Supporting Actor in an Independent Production (Angels in America), 2020 Sydney Theatre Award for Best Ensemble (White Pearl), 2021 Equity Ensemble Award (Hungry Ghosts). Training: QUT, HB Studio (NYC). Proud member of Actors’ Equity.
JEREMY ALLEN
Designer
Sydney Theatre Company: Circle Mirror Transformation, 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.
TRENT SUIDGEEST
Lighting Designer
Sydney Theatre Company: Picnic at Hanging Rock, Stolen, The Dictionary of Lost Words (with State Theatre Company of South Australia), The Tenant of Wildfell Hall, Appropriate, Accidental Death of an Anarchist, Hay Fever, Talk, Muriel’s Wedding The Musical (with Global Creatures). Other Theatre: Sydney Opera House and John Frost for Crossroads Live: Elf: The Musical. Dark Mofo: Night Mass (2023 and 2025). Shake and Stir Theatre Co: The Lovers, Grimm, Frankenstein, Tae Tae in the Land of Yaaas!, Fourteen. Belvoir Street Theatre: Miss Peony. Bell Shakespeare: The Lovers. Opera Australia: Carmen, Sydney Opera House – The Opera [The Eighth Wonder], The Rabbits (with Barking Gecko Theatre). Sugary Rum/LPD/Sydney Opera House: RENT. Redline Productions: The Seven Deadly Sins & Mahagonny Songspiel, Betty Blokk-Buster reimagined (with Sydney Festival). Griffin Theatre Company: Prima Facie, First Love Is The Revolution, The Homosexuals or ‘Faggots’ (with Malthouse Theatre). Hayes Theatre Co: Dubbo Championship Wrestling, Young Frankenstein, Calamity Jane, The Rise and Disguise of Elizabeth R, Gypsy, Only Heaven Knows, Darlinghurst Nights, The View UpStairs. Darlinghurst Theatre: Let The Right One In, The Rise and Fall of Little Voice. Ambassador Theatre Group: The Beast. Belvoir/BSSTC: The Sapphires. Ensemble Theatre: Black Cockatoo, Folk. Performing Lines: I Am Eora (with Sydney Festival). QT/BSSTC: Managing Carmen, Gasp!, Other Desert Cities. MTC/BSSTC: National Interest. Black Swan State Theatre Company: 20+ designs including When The Rain Stops Falling, Next To Normal, The White Divers of Broome, Summer Of The Seventeenth Doll, Extinction. Yirra Yaakin Noongar Theatre: Waltzing The Wilarra. Barking Gecko Theatre Company: Jasper Jones, Duck Death and the Tulip. As Set & Lighting Designer: Australian Brandenburg Orchestra: The Lover, Gloria & The Four Seasons, The Soprano, Noel Noel. Club House Productions: 44 Sex Acts In One Week. BSSTC: Shrine, Dinner, Death of a Salesman. Public Art Installations: A Mirrored City by WITCH+GHOST (Vivid Sydney, Illuminate Adelaide). As Assistant Lighting Designer: International Theatre Amsterdam/Wiener Festwochen: Kings Of War. Awards: 2015 Mike Walsh Fellowship, 2015 WA Department of Culture and the Arts Young People Fellowship. Training: WAAPA.
JESSICA DUNN
Composer & Sound Designer
Sydney Theatre Company: 4000 Miles, Chalkface (with State Theatre Company of South Australia). As Sound Designer: Dracula, On the Beach. As Programmer: The Tempest, Julius Caesar. As Associate Sound Designer: Wonnangatta. As Composer’s Assistant: The Harp in the South: Part One and Part Two. Other Theatre: Griffin Theatre Company: Blaque Showgirls, A is for Apple, Is There Something Wrong with that Lady?. Legs on the Wall: Trestle, Beetle, The Lovers. KXT: Girl in A School Uniform Walks into a Bar. Tasmanian Theatre Company: The Mares (with 10 Days on the Island). Ensemble Theatre Company: Photograph 51, Alone It Stands, Colder Than Here, McGuffin Park. Siren Theatre Co: CAMP (with Sydney World Pride). As Associate Sound Designer: Belvoir: Counting and Cracking. As Performing Musical Director: Belvoir: Barbara and the Camp Dogs (2017 and 2019 seasons). As Musician: LWA/Sydney Opera House: SIX The Musical. TV: It Starts With Us. Film: Date 3. Positions: Artistic Director of Sirens Big Band. Awards: 2020 APRA Arts Music Award for Best Performance (Bridge of Dreams). Training: Sydney Conservatorium of Music.
GUY SIMON
Assistant Director
Guy Simon is a proud Biripi Worimi, Wadi Wadi, Walbanga man. Sydney Theatre Company: As Actor: The Tempest, Grand Horizons, Playing Beatie Bow, The Harp in the South, The Battle of Waterloo, Stolen. Other Theatre: Belvoir: August: Osage Country. As Actor: Melbourne Theatre Company: Jacky, Jasper Jones. Griffin Theatre Company: White Yella Tree, First Love is the Revolution. Belvoir: Big Girls Don’t Cry, Holding the Man, My Brilliant Career, Jasper Jones. Malthouse Theatre: The Return, Cloudstreet, Blaque Showgirls. Cameron Lukey Presents: Strangers in Between. Theatre Works: Bright World. Arthur, A Theatre Company: The Myth Project: Twin, Queensland Theatre Company: Black Diggers. Mooghalin Performing Arts: This Fella, My Memory, Yellamundie. Bakehouse Theatre: Junction. IPAN Productions: Lucky. Film: Undertow, Around the Block. TV: The Secret She Keeps, Wakefield, The Wrong Girl, Redfern Now 2, Top End Bub. Other: Online Series: A Chance Affair. Positions: 2023 Balnaves Foundation Aboriginal and Torres Strait Islander Fellow. Awards: 2017 Helpmann Award Best Male Actor in a Supporting Role in a Play. Training: NIDA. Pronouns: He/Him.
KIP WILLIAMS
Dramaturg
Sydney Theatre Company: As Director: The Picture of Dorian Gray, Strange Case of Dr Jekyll & Mr Hyde, Dracula, Under Milk Wood, Suddenly Last Summer, The Harp in the South, Part One and Part Two, The Resistible Rise of Arturo Ui, Macbeth, Cat on a Hot Tin Roof, A Midsummer Night’s Dream, Julius Caesar, Romeo & Juliet, The Tempest, Lord of the Flies. Other Theatre: As Director: West End, Noël Coward Theatre: Dracula (upcoming, with Kindred Partners, Michael Cassel Group and Sydney Theatre Company), Donmar Warehouse: The Maids (upcoming). Broadway, The Music Box: The Picture of Dorian Gray (Michael Cassel Group). West End, Theatre Royal Haymarket: The Picture of Dorian Gray (Kindred Partners and Michael Cassel Group). Melbourne Theatre Company: Miss Julie. Kip’s plays have been performed at Adelaide Festival, Auckland Arts Festival, Perth Festival, Princeton Summer Theater and RISING Festival. Opera: As Director: Aviva Studios: Angel’s Bone (upcoming, with English National Opera, Factory International, and the BBC Philharmonic Orchestra). Carriageworks: Gilgamesh (with Sydney Chamber Opera and Opera Australia), An Index of Metals (with Sydney Chamber Opera), The Rape of Lucretia (with Victorian Opera and the Sydney Chamber Opera), The Lighthouse (with Sydney Chamber Opera). Sydney Chamber Opera: Through The Gates (for the 18th Biennale of Sydney), Ich Habe Genug + Nunc Dimittis (Parade Playhouse NIDA). Film: The Picture of Dorian Gray (upcoming, Dirty Films). Positions: Artistic Director & Co-CEO, STC (2016–2024); Resident Director (2013–2016); Directing Associate (2012). Awards: Helpmann Award for Best Director (Suddenly Last Summer); Sydney Theatre Awards: Best Director and Best Production (The Harp in the South, The Picture of Dorian Gray, Strange Case of Dr Jekyll & Mr Hyde); Green Room Awards: Best Director and Production (Miss Julie, The Picture of Dorian Gray); Drama Desk Award: Unique Theatrical Experience (The Picture of Dorian Gray); APRA-AMCOS Art Music Awards: Performance of the Year, Work of the Year – Dramatic (Gilgamesh). Training: University of Sydney; NIDA (MFA Directing). Pronouns: He/Him.
MATTHEW DOYLE
Cultural Advisor
Muruwari/Yuwalaraay. Sydney Theatre Company: As Cultural Advisor and Additional Composition: Playing Beattie Bow. Other Theatre: Bankstown Arts Centre: Black Drop Effect. As Dancer: Belvoir: The Cockroach Opera. As Dancer/Singer/Composer: Wiritjiribin the Lyrebird. As Cultural Consultant/Singer/Co-composer: Bangarra Dance Theatre: Patyegorang, Bennelong. As Director: NAISDA: Mura Kaimel. Film: My Spirit is Black, Message Stick, The Message of the Lyrebird, Play School, Didgeridoo Track, Baz Luhrmann's Australia. Positions: Founder of Wuruniri Music & Dance. Uncle in residence and Cultural Advisor at NIDA. Dancer at AIDT The Company. Dancer at Bangarra Dance Theatre. Artist in Residence for the Department of School Education. Training: NAISDA College.
TIM DASHWOOD
Fight & Safety Director
Sydney Theatre Company: The Talented Mr. Ripley, Picnic at Hanging Rock, Sweat, Stolen, A Fool in Love, The Importance of Being Earnest, The Tempest, Julius Caesar, Death of a Salesman, No Pay? No Way!, Lord of the Flies. Other Theatre: Opera Australia: Carmen, Hamlet, Miss Saigon, Whiteley, West Side Story on Sydney Harbour, Krol Roger, Faust. shake & stir theatre co.: Fourteen, Fantastic Mr Fox, Jane Eyre, George’s Marvellous Medicine. Griffin: Nucleus, Jailbaby, The Lewis Trilogy. The Ensemble: Primary Trust, Ulster American, Alone it Stands. ATYP: Saplings, The Deb, Intersections: Arrival, War Crimes. Belvoir: Tell Me I’m Here, Fangirls, Opening Night, The Life of Galileo. Hayes Theatre Company: Pirates of Penzance, Zombie! The Musical, Gentlemen Prefer Blondes, Dubbo Championship Wrestling. National Theatre of Parramatta: Karim, Girls in Boys’ Cars. Bell Shakespeare: The Players. Darlinghurst Theatre Company: Let The Right One In. Kwento: One Hour, No Oil, Ate Lovia. Empress Theatre: Cyprus Avenue.Sport for Jove: Rose Riot, Servant of Two Masters, Measure for Measure, Fallen. As Actor: shake & stir theatre co.: Fantastic Mr Fox, Animal Farm, Dracula, Wuthering Heights, George’s Marvellous Medicine.Kay & McLean Productions: The Graduate. Bell Shakespeare: Richard III. Darlinghurst Theatre Company: A Chorus Line (As Understudy), Deathtrap. Gordon Frost Organisation: Fame: The Musical. Queensland Theatre Company: Managing Carmen, The Odd Couple, Romeo & Juliet, Macbeth, Rabbithole, The Importance of Being Earnest, The Exception and the Rule. Positions: President of the Society of Australian Fight Directors incorporated, Board Member: River City Voices. Training: University of Southern Queensland, Certified by the Society of Australian Fight Directors incorporated.
VICTORIA FALCONER
Music Rehearsal Associate
Sydney Theatre Company: Debut. Other Theatre: As Music Director: Melbourne Theatre Company: My Brilliant Career. GWB: Hedwig & The Angry Inch. Sydney Opera House: In The Heights. Hayes Theatre Co: Ride The Cyclone, Gentlemen Prefer Blondes, Godspell. Black Swan State Theatre Company: Oklahoma. As Music Supervisor: Sport For Jove: Bright Star. Hayes Theatre Co: The Pirates of Penzance. As Actor: Sydney Opera House: Calamity Jane. Slingsby/State Theatre Company South Australia: The Boy Who Talked To Dogs. As Writer/cabaret performer: Sydney Festival, Auckland Arts Festival: Smashed - The Nightcap. Adelaide Cabaret Festival: The Vali Myers Project, The Parlour. Dark Mofo: The Sight. Positions: Co-Artistic Director of Hayes Theatre Co (2022 - current). Awards: 2024 Asian-Australian Leadership Award for Arts & Culture, 2025 Green Room Award for Best Music Direction (My Brilliant Career).
CHLOE DALLIMORE
Intimacy Director
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, 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: 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.
VINNIE PEDERSEN
Swaggie of Happiness
Sydney Theatre Company: The Visitors (with Moogahlin Performing Arts, Inc). Other Theatre: QT: Dear Son. MTC: Cost of Living. Film: My Brother Vinnie, The Red, High Ground. TV: High Country, Mystery Road, Water Rats, Jack Irish, City Homicide, MDA, Wildside.
GALLERY
Vinnie Pederson and Aaron Pedersen
Vinnie Pederson and Aaron Pedersen
Kate Mulvany, Paul Capsis, Stephen Anderson, Lucia Mastrantone, Aaron Pedersen, Josh McConville and Catherine Văn-Davies.
Kate Mulvany, Paul Capsis, Stephen Anderson, Lucia Mastrantone, Aaron Pedersen, Josh McConville and Catherine Văn-Davies.
Catherine Văn-Davies and Josh McConville.
Catherine Văn-Davies and Josh McConville.
Lucia Mastrantone.
Lucia Mastrantone.
Stephen Anderson and Josh McConville.
Stephen Anderson and Josh McConville.
Spotlight on the Donor Syndicate: Supporting Women in Theatre
Ziggy Resnick and Jessica Arthur.
Ziggy Resnick and Jessica Arthur.
2025 marks the 10-year anniversary of the Donor Syndicate, a group of generous, theatre-loving women who nurture and profile female creative talent.
Established by previous Sydney Theatre Company Board and Foundation Director Jillian Broadbent AC, the Donor Syndicate supports one Sydney Theatre Company production each year – a work that champions female voices, subject matter, and creative teams.
This year, the Donor Syndicate is proud to support the production of The Shiralee, adapted by Kate Mulvany and directed by Jessica Arthur.
In the last decade, the Donor Syndicate have raised over $1 million in support of female creatives at Sydney Theatre Company: a story that illustrates the power of collective giving.
The group has supported a diverse range of works, and the artists behind these acclaimed productions have grown into industry leaders, including Sarah Goodes, Imara Savage and Paige Rattray.
“Creating work can be challenging and it makes such a difference knowing there is a group of people dedicated to the support of female-led productions,” says The Shiralee director and former Resident Artist Jessica Arthur. “The Donor Syndicate have been a special part of mine and my peers’ careers and I'm forever appreciative for their encouragement.”
As a group, Donor Syndicate members follow one play’s development from inception to Opening Night, gaining insights into the creative process from page to stage. Members also enjoy opportunities to network and build relationships with each other and the wider Sydney Theatre Company donor family.
If you would like to be part of the group, or to find out more information about the program, please contact Sally Crawford, Philanthropy Manager, at scrawford@sydneytheatre.com.au or 02 9250 1715.
Thank you to the Donor Syndicate:
Jillian Broadbent AC (founder), Kate Beattie, Sandra Bourke, Michele Brooks, Dr Sharron Brown, Nerida Caesar, Sarah Constable via Donus Australia Foundation Ltd, Michelle Guthrie, Meredith Hellicar, Sally Herman OAM, Dell Kingsford Smith, Alex Knights, Sheridan Lee, Virginia Leitch, Clare Loewenthal, Alexandra Joel, Sam Meers AO, Susie Moore, Karen Moses OAM, Natasha Nankivell, Caroline Perkins, Dr Kathrine Reynolds, Anne Schofield AM, Jan Swinhoe, Claire Wivell Plater, Anonymous (2).
Ziggy Resnick, Josh McConville, and Kate Mulvany.
Ziggy Resnick, Josh McConville, and Kate Mulvany.
Past STC productions the Donor Syndicate has proudly supported:
2015
Orlando written by Virginia Woolf, adapted by Sarah Ruhl, directed by Sarah Goodes.
2016
The Hanging (World premiere) written by Angela Betzien, directed by Sarah Goodes.
2017
Black is the New White (World premiere) written by Nakkiah Lui, directed by Paige Rattray.
2018
Top Girls written by Caryl Churchill, directed by Imara Savage.
2019
Mosquitoes (Australian premiere) written by Lucy Kirkwood, directed by Jessica Arthur.
2020
Planned support was for The Writer written by Ella Hickson, directed by Jessica Arthur. Funds were instead allocated to support Sydney Theatre Company during the COVID-19 shutdowns.
2021
Grand Horizons (Australian premiere) written by Bess Wohl, directed by Jessica Arthur.
2022
The Tenant of Wildfell Hall (World premiere) written by Anne Brontë, adapted by Emme Hoy, directed by Jessica Arthur.
2023
Oil written by Ella Hickson, directed by Paige Rattray.
2024
Sweat (Australian premiere) written by Lynn Nottage, directed by Zindzi Okenyo.
Support Resources
The Shiralee deals with content that some audience members might find distressing. Content warnings include: strong language, mature themes including violence, description of miscarriage, alcohol and drug addiction, theatrical blood, theatrical haze and dust effects, herbal cigarettes, flashing light effects, complete blackout.
If you or someone you know needs information or support, these organisations are there to help:
1800RESPECT
Call 1800 737 732 or visit https://1800respect.org.au/
24/7 support for people impacted by domestic, family or sexual violence.
Kids Helpline
Call 1800 55 1800 or visit https://kidshelpline.com.au/
Australia’s only free, confidential 24/7 online and phone counselling service for young people aged 5 to 25.
13 YARN
Call 13 92 76 or visit https://www.13yarn.org.au/
A confidential crisis support line for mob who are feeling overwhelmed or having difficulty coping.
NSW Domestic Violence Line
Call 1800 65 64 63
Provides counselling and referrals to women experiencing domestic violence.
Alcohol and Drug Information Service
Call 1800 250 015
This 24/7 support line provides free and confidential information and support for people who have concerns about their own, or someone else’s alcohol and/or other drug use.
Support ACTober at select performances of The Shiralee
ACTober is the annual month-long fundraising campaign for Actors Benevolent Fund of NSW. Each year we assist hundreds of performers, creatives and crew through tough times due to accident, illness and unexpected severe adversity.
Through October you will find us in theatre foyers across Sydney collecting the much need funds that will help us to continue our work.
We ask you to play your part and support Actors Benevolent Fund of NSW by making a donation this ACTober. Please give when you see one of our volunteers in a foyer or go to our ACTober web site and donate now.
COMING UP
Who’s Afraid of Virginia Woolf?
Kat Stewart takes the STC stage with real-life husband David Whiteley in an exquisite new production of Edward Albee’s explosive classic.
Congratulations, Get Rich!
Merlynn Tong’s thrilling, semi-autobiographical family drama is a historic international collaboration.
Production Acknowledgments: Phillippa Murphy-Haste, Rubi Howlader, Calvin Welch, Steve Francis, Brendon Boney.
Media Planning by Anthem.
CORPORATE PARTNERS
Sydney Theatre Company is grateful to our corporate partners for their generous support of theatre and the arts. We applaud their commitment and vision.
Find out more about our current partners.
OUR DONOR COMMUNITY
Thank you STC Angels for your unwavering commitment to our work.
Anita Belgiorno-Nettis AM & Luca Belgiorno-Nettis AM
Jane & Andrew Clifford
Gretel Packer AM
Rebel Penfold-Russell
Rosie Williams & John Grill AO
Thank you to our donors at all levels, who support a bright future for STC.
View your acknowledgement.
If you would like to help STC continue to be one of the largest employers of artists and theatre-makers in Australia, please consider making a tax-deductible donation.
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
See Sydney Theatre Company’s full staff list.
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