PROMPT PACK VCE Theatre Studies Unit 3, Outcome 3 - Malthouse Theatre
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
PROMPT PACK
VCE Theatre Studies Unit 3, Outcome 3
PART B
MALTHOUSE THEATRE
TITLE GOES HERE 02——DIRECTOR & CREATOR'S NOTE
04——INTRODUCTION
ACKNOWLEDGES 06——A NEW PIECE OF THEATRE FOR A NEW
WORLD OF THEATRE
THE LAND AND 08——CAST & CREATIVE BIOGRAPHIES
18——PART B—UNIT 3, OUTCOME 3
SONGLINES OF THE 19——THEATRE STUDIES—PAST EXAMINATIONS
20——VIDEO INTERVIEWS
BOON WURRUNG 24——LIGHTING DESIGN
26——CONTEXT
AND WURUNDJERI 28——ELEMENTS OF THEATRE COMPOSITION
32——THEATRE STYLES
PEOPLES OF THE 33——ACTING
35——THEATRE TECHNOLOGIES
KULIN NATION. 36——MAJOR THEME & IDEAS
Malthouse Theatre presents Because The Night.
© Copyright: Malthouse Theatre, the artists,
designers, photographers, collaborators and contributors.
All rights reserved, 2021.
ICON KEY
PROMPT PACK CREATED FOR MALTHOUSE
PROMPT—MALTHOUSE THEATRE’S YOUTH
AND EDUCATION PROGRAM.
Cover Image / Kristian Gehradte
Photographer / Pia Johnson, Ray of Melbourne
Design / Hours After
Theatre Studies Prompt Pack written by / Robyn Kay
Editor / Jacqui Bathman LINKS ACTIVITY VIDEO MORE INFO DISCUSS
FROM DIRECTOR & CREATOR ‘BECAUSE THE NIGHT IS UNIQUE.
MATTHEW LUTTON I’VE NEVER DIRECTED ANYTHING LIKE
THIS BEFORE’
It is thrilling to witness an audience experience — Matthew Lutton (Concept, Direction & Text)
Because The Night.
Masked audience members follow actors through a maze
of rooms, listening in as they reveal the stories of the Elsinore
family. Other groups read letters hidden away in drawers or go
‘AT THE END OF THE DAY WE ARE MAKING ART
through files in the security room to uncover deeper secrets of FOR THE AUDIENCE… IT’S SHARED
the country itself. It is exhilarating to see theatre alive again and
an audience empowered to follow their own curiosities.
STORYTELLING’
For Because The Night, we have built a ‘world’ for everyone to
— Tahlee Fereday (Ophelia)
explore. The death of a King. A royal family torn between
radical change and self-preservation. Timber workers planning
violent protests as a last resort. A ransacked forest seeking
revenge, and buried past reclaiming its prominence and ‘THERE’S NO RIGHT OR WRONG WAY TO
centrality. History is in the making in Elsinore, but there
is no single truth—many narratives and point of views are EXPERIENCE THIS SHOW’
intertwining and colliding with each other. — Ras-Samuel Welda'abzgi (Laertes)
To stage a production of this nature requires the level of detail
you expect from a grand narrative—an intricacy that makes the
fictional world feel both vivid and fantastical. The actors never
leave the space, laying every private moment bare.
‘IT’S VERY INTIMATE’
With six protagonists spread across the space, it’s impossible to
see everything at once. But the characters are just one layer to
— Artemis Ioannides (Ophelia)
this story. The narrative and history is also woven into every
room, every sound, every element of the design. And you as the
audience have the freedom to carve your own path, build your
own story, encounter Elsinore’s secrets in your own time. ‘WE’VE GIVEN [THE AUDIENCE] THE
Malthouse Theatre has never created a work like Because
The Night before. We didn’t think it would be possible. But the
POWER OF CHOICE. SO, THEY GET NOT TO
world of Elsinore is ready and the adventure is yours to make. JUST BE PASSIVE AND WATCH A SHOW’
— Khisraw Jones-Shukoor (Hamlet)
‘EVERY TIME THEY [THE AUDIENCE] WALK
INTO A ROOM, THEY’RE AMAZED’
— Amelia Lever-Davidson (Lighting Design)
‘OVERALL, THE FEELING SHOULD BE THAT YOU
ARE IN A DAVID LYNCH DYSTOPIAN WORLD’
MATTHEW LUTTON /
— J. David Franzke (Composition & Sound Design)
Concept, Direction & Text
Page 2—3 #becausethenight
INTRODUCTION Welcome to Malthouse Theatre’s post show Prompt Pack (Part B). The following notes and activities are intended to support VCE Theatre Studies students and their teachers in further exploration and study of the VCAA Playlisted production, Because The Night, following attendance at the play in performance. The contents of the Pack relate to Unit 3, Area of Study 3, Outcome 3— Analysing and evaluating theatre. The Because The Night Prompt Pack (Part B) works most effectively when used in conjunction with the preshow Prompt Pack (Part A). Post show Prompt Pack (Part C) designed for Unit 4, Outcome 3, may also provide further interesting support materials to consider. Take the time to cross reference—it will be helpful to refer back to Part A to support deeper study and learning following your experience of Because The Night as an audience member. Remember that the Prompt Pack information does not provide definitive answers. Rather, the purpose is to provide inroads, insights, and information about the production. You will need to engage in your own broader research, study, and discussion. Make sure you also watch the video interviews about the creation of the production. They will assist your analysis and evaluation of the play by providing some wonderful insights into the way the creative team and the actors engaged with the play and each other to develop this incredible piece of bespoke theatre for Malthouse Theatre and its audiences. ROBYN KAY / Prompt Pack Author Page 4—5 #becausethenight
A NEW PIECE OF THEATRE FOR A NEW WORLD OF THEATRE Because The Night is a bespoke piece of theatre specifically created for and by Malthouse Theatre. An expert and dedicated team of theatre practitioners collaborated under the leadership of Malthouse Theatre’s Artistic Director, Matthew Lutton, to carefully and lovingly bring his original concept for the show to life. 'Initial inspiration? [for the play] COVID' — Matthew Lutton (Concept, Direction & Text) 'What type of experiences do we want to offer audiences when they come back? And, that led us to a form of theatre that we have never made before. And, we’ve never had the opportunity to make before' — Matthew Lutton (Concept, Direction & Text) 'I wanted to make this a multi-strand narrative' — Matthew Lutton (Concept, Direction & Text) Page 6—7 #becausethenight
CAST & CREATIVE BIOGRAPHIES CAST & CREATIVE BIOGRAPHIES
NICOLE NABOUT MARIA THEODORAKIS BELINDA MCCLORY JENNIFER VULETIC KHISRAW JONES-SHUKOOR KEEGAN JOYCE
Claudia Claudia Gertrude Gertrude Hamlet Hamlet
Having just finished filming Maria is an award-winning Belinda is a VCA graduate and Jennifer has worked Since graduating at 16th Street Keegan’s credits for Malthouse
Season 3 of Jack Irish, Nicole actor, writer, and director. an award-winning actor and writer with Australia’s most innovative in 2015 Khisraw has performed Theatre include Solaris and
is excited to be back at The Theatre credits include The Spook who has worked professionally directors in all aspects of in several productions across Cloudstreet. Other theatre credits
Malthouse. Theatre credits (Malthouse Theatre), Top Girls, across all mediums. Recent credits the industry. Theatre credits Melbourne including Oil (Red include Rules for Living (Sydney
include Good Muslim Boy Birthrights, Measure for Measure for Malthouse Theatre include include My Dearworthy Darling Stitch Actors’ Theatre), Them (La Theatre Company), Vivid White
(Malthouse Theatre/Queensland (Melbourne Theatre Company), Revolt. She Said. Revolt Again., (Malthouse Theatre/THE Mama Theatre), Romeo and Juliet (Melbourne Theatre Company),
Theatre), Oil, Wakey Wakey (Red and Who’s Afraid of the Working Class Edward ll, Dance of Death, Pompeii, RABBLE), The Women of Troy, The (The Australian Shakespeare Evie May (Hayes Theatre
Stitch Actors’ Theatre), Secret (Melbourne Workers Theatre). L.A., and The Trial. Other recent Histrionic (Malthouse Theatre/ Company), The Way Out (Red Company), Once (Gordon Frost
Bridesmaids’ Business (Playbox Screen credits include Seven Types theatre credits include Così, Di Sydney Theatre Company), Stitch Actors’ Theatre), and Organisation), Edges: The Musical
Theatre), Much Ado About Nothing, of Ambiguity and Newton’s Law and Viv and Rose, The Waiting Room, Arbus & West (Melbourne Theatre Macbeth (Melbourne Theatre (James Anthony Productions),
and A Midsummer Night’s Dream (ABC). Maria won an AACTA Queen Lear (Melbourne Theatre Company), Merciless Gods (Little Company). and Oliver! (Cameron Mackintosh/
(The Australian Shakespeare (AFI) and FCC Best Actress in a Company), Gross und Klein, The Ones Theatre/Griffin Theatre IMG). Film credits include Greg’s
Company). Nicole has worked Feature Film Award for Walking on City, Holy Day, Concussion (Sydney Company), Suddenly Last Summer First Day, Wall Boy, and Superman
extensively in TV including Jack Water. She is also a multiple Theatre Company), Feather in the (Red Stitch Actors’ Theatre/ Returns. Television credits include
Irish, Mustangs FC, Newton’s Law, Green Room Award nominee. Web, Splendour, Hir (Red Stitch Little Ones Theatre), MORAL Rake (Season 1 – 5), Please Like
Nowhere Boys, The Librarians, Upper As a writer and director, she co- Actors’ Theatre), and My Sister PANIC (Darebin Arts), Chitty Me (Season 2 – 4), Rescue: Special
Middle Bogan, The Time of Our Lives created the hit online series, Little Feather (VIMH/La Mama Theatre). Chitty Bang Bang, and Mamma Mia. Ops, and K9. Keegan released his
(ABC), Offspring (Channel 10), Acorns, which has won and been Recent TV work includes The Screen credits include Mandy the debut album Snow on Higher Ground
and in film including Three Dollars nominated for film festival awards Doctor Blake Mysteries. In film she Mullet in Wentworth (Foxtel). in 2016. Keegan has a degree
(Arena Films), and Angel of Mine in Australia and internationally has appeared in The Matrix, Redball, Jennifer has received a Sydney in Musicology from the Sydney
(Garlin Pictures). including Best Web Series, Best Mullet, darklovestory, and Acolytes. Theatre Award for Chitty Chitty Conservatorium of Music.
Writing, Best Directing, Best She co-wrote and performed in Bang Bang, for which she also
Comedy, and Best Ensemble. the features X and Turkey Shoot. received Helpmann and Green
She also was nominated for Belinda has received a Green Room Award nominations, a
Best Director at the Australian Room Award and a Helpmann Green Room Award for Merciless
Directors’ Guild. Award for her theatre work. Gods, and Green Room Award
nominations for The Women of Troy
and Nightingale and the Rose. Jennifer
is the voice of innumerable SBS
television documentaries, and
multi-award-winning audiobook
narrator (3M Talking Book of the
Year Award and TDK Unabridged
Fiction Award).
Page 8—9 #becausethenight
CAST & CREATIVE BIOGRAPHIES CAST & CREATIVE BIOGRAPHIES
RAS-SAMUEL WELDA’ABZGI HARVEY ZIELINSKI TAHLEE FEREDAY ARTEMIS IOANNIDES RODNEY AFIF SYD BRISBANE
Laertes Laertes Ophelia Ophelia Polonius Polonius
Ras-Samuel is a vessel for telling Harvey Zielinski is a 2017 Tahlee is a 2017 graduate of Artemis Ioannides is an actor, Rodney works regularly across A graduate of Flinders University
stories that are gifted to him, and National Theatre Drama School Victorian College of the Arts. singer, writer, and visual creative film, television, and theatre. Drama Centre Syd's career spans
he is on a mission to share those graduate, a 2018 Heath Ledger Before her studies she was based who works between Melbourne Rodney’s theatre credits include 37 years. He performed with
gifts with the world. He holds Scholarship finalist, and a Casting in Darwin where she hosted and Athens. Recent theatre Good Muslim Boy (Malthouse Malthouse Theatre in Night on Bald
theatre dear to his heart and is Guild of Australia Rising Star The Breakfast Show with Tahlee credits include Pomona (Red Theatre/Queensland Theatre), Mountain. Recent theatre credits
excited to be a part of history in Award recipient. Theatre credits on Larrakia Radio 94.5FM. Stitch Actors’ Theatre), Taxithi Othello (Eleventh Hour Theatre include Macbeth, A Midsummer
the making as Laertes in Because include Hir, The Antipodes, Suddenly Theatre credits include Blackie (fortyfivedownstairs), Fallen, Salt Company), Wait Until Dark, Three Night's Dream, Hamlet, and Romeo &
The Night. Ras-Samuel is also part Last Summer (Red Stitch Actors’ Blackie Brown: The Traditional Owner (She Said Theatre), and Women Sisters, The Balcony, Two Brothers, Juliet (The Australian Shakespeare
of WEYA’s Sub30 Collective, Theatre), and Gender Euphoria of Death (Malthouse Theatre/ in War (Arts Centre Melbourne). The Golden Dragon, Glengarry, Glen Company). Theatre highlights
an established collective of (Melbourne International Arts Sydney Theatre Company), Artemis' screen credits include Ross, and most recently Macbeth Fawlty Towers Live Australian
artists who are in-residence at Festival/Midsumma Festival, Astroman (Melbourne Theatre Wentworth (Foxtel), Secret Bridesmaids’ (Melbourne Theatre Company). Tour, Victory (Sydney Theatre
The Malthouse in 2021. The Mardi Gras). TV credits include Company), Fallen (She Said Business (Channel 7), and The He played a lead role in the AFI Company), and He Stumbled (The
Collective’s latest work, The Retreat, series lead Abel in the US Sci-Fi Theatre), and Love (Dee & Beautiful Lie (ABC). Artemis has nominated feature Lucky Miles and Wrestling School UK). Film
is a hybrid of film and theatre that series Don't Look Deeper (Quibi), Cornelius), which toured to been nominated for Best Female the award-winning short Azadi. credits include Dirt Music, Red Dog,
was shot cinematically Hamilton- Why Are You Like This, Get Krack!n the Venice Biennale after its Performer at the Green Room Other feature film credits include True Blue, Boxing Day, and Silent
style. Recent screen works include (ABC), and Starting From...Now! Melbourne season. As a First Awards for Angry Sexx, Best The Killer Elite, My Year Without Sex, Partner. TV credits include Stateless,
The Last Supper, BLVCK GOLD, (SBS). Film credits include My Nations and queer artist, Tahlee is Ensemble for Pomona, and Best Love’s Brother, and Serenades. Recent Conspiracy 365, and Beaconsfield.
Jebena Genie which he wrote and First Summer and Some Happy Day. an advocate for representation of Ensemble for Taxithi. screen credits include The Hunting,
produced, and he has worked Harvey is also a writer, and his minority voices on the mainstage. The Commons, Ali’s Wedding, Hotel
as a consultant for an upcoming debut feature film screenplay Mumbai, Pirates of the Caribbean,
Netflix series. When he is not received development support and six-part TV series Romper
working, you can find Ras-Samuel from the ABC. Stomper. He will also appear
training and developing his craft in the forthcoming Royal Flying
at Brave Studios where he has Doctor Show.
been since 2012 having received a
full long term scholarship.
Page 10—11 #becausethenight
CAST & CREATIVE BIOGRAPHIES CAST & CREATIVE BIOGRAPHIES
MATTHEW LUTTON KAMARRA BELL-WYKES RA CHAPMAN DALE FERGUSON MARG HORWELL MATILDA WOODROOFE
Concept, Direction & Text Text Text Set Design (Architecture) Set Design (Interiors) Associate Set Design (Interiors)
Matthew Lutton is Malthouse Kamarra is a multi-practicing Ra is a Korean-Australian writer Dale has worked extensively Marg is a multi-award-winning Matilda Woodroofe is a set
Theatre’s Artistic Director and theatre-maker and one of and actor. She is currently an with major theatre and opera designer. Recent credits include and costume designer with a
Co-CEO. Prior to this, he was Malthouse Theatre's 2021 Artist in Residence at Malthouse companies around the world. The Picture of Dorian Gray (Sydney diverse body of work spanning
Malthouse Theatre’s Associate Artists in Residence. Her recent Theatre and an alumnus of the Recent Malthouse Theatre credits Theatre Company). Marg has also across theatre, dance, television,
Director and the Artistic Director credits include Blackwrights, Besen Family Artist Program. include Away, Brothers Wreck, Night designed Blasted, Melancholia, The and film. Design associate
of ThinIce in Perth. Directing Scartrees, VIRAL, and Chopped Liver Ra has filmed five seasons of the on Bald Mountain, Dance of Death, Testament of Mary, Caravan, Revolt. theatre credits include Going
credits for Malthouse Theatre (ILBIJERRI Theatre Company). award-winning series Wentworth and Timeshare. Other credits She Said. Revolt Again., The Real Down (Malthouse Theatre/
include Solaris, Cloudstreet, In 2020 Kamarra was recognised (Foxtel). She was selected to include Counting and Cracking, Sami and Imagined History of the Elephant Sydney Theatre Company), and
Melancholia, Bliss, Black Rider: The by Hepatitis Victoria and Drama take part in the Film Victoria in Paradise, The Blind Giant is Dancing Man, The Homosexuals or ‘Faggots’, Random (Belvoir St Theatre).
Casting of the Magic Bullets, The Real Victoria for her groundbreaking funded Storylab (Cinespace) (Belvoir St Theatre), Emerald Edward II, I Am a Miracle, and The Select set and costume design
and Imagined History of the Elephant work in Social Impact Theatre and Talent Camp (AFTRS), and City, L’Appartement (Queensland Good Person of Szechuan (Malthouse credits include A Normal Child
Man, Away, Edward II, Picnic and Drama Education. is the Program Coordinator for Theatre), Oklahoma (The Theatre). Other credits include (Ridiculusmus/National Disability
at Hanging Rock, I Am a Miracle, Storylab 2.0. Ra has worked Production Company), An Ideal Salome (English National Opera), Slapstick Plan), Air Race, Trapper
Night on Bald Mountain, The Bloody across various projects in a Husband, Born Yesterday, Così, The Avalanche (Barbican), Unsere Kleine (Arena Theatre Co), and Passenger.
Chamber, Dance of Death, Pompeii, dramaturgical capacity including Weir, The Speechmaker, The Crucible, Stadt (Theater Basel), Anthem Select screen credits include Spear
L.A., On the Misconception of Oedipus, with Playwrighting Australia Top Girls, The Drowsy Chaperone (Performing Lines), Lorelei (Bangarra Dance Theatre), 2040,
Die Winterreise, and Tartuffe. For and Arts House. She recently (Melbourne Theatre Company), (Victorian Opera), Leviathan Get Krack!n, and Cleverman (ABC).
Sydney Theatre Company he has received ABC Fresh Start funding and Les Liaisons Dangereuses (Circa), Sexual Misconduct of the Matilda co-created Studio Fantasy,
directed The Trial, The Mysteries: for digital series WHITE FEVER (Sydney Theatre Company). Middle Classes, The House of Bernarda a portrait project for children as
Genesis, and The Duel. Other and is in development with Opera credits include Tosca Alba, Birdland, Cock, Constellations, part of Artplay's New Ideas Lab
directing credits include Love a TV comedy series based on (Opera Queensland), The Magic Marlin (Melbourne Theatre in 2016. Matilda completed a year
Me Tender (Belvoir St Theatre) her experiences as a Korean- Flute (Lyric Opera of Chicago), Company), How to Rule the World, long Emerging Designer artist
and Don’t Say the Words (Griffin Australian adoptee. Ra has The Riders (Malthouse Theatre/ Lord of the Flies, The Resistible Rise placement with THE RABBLE
Theatre Company). His opera received a Best Actress Award at Victorian Opera), Anything Goes of Arturo Ui (Sydney Theatre in 2016. Matilda was nominated
directing credits include Make Newport Beach Film Festival (US), (Opera Australia), Otello (Cape Company), Animal (Influx for a Green Room Award for
No Noise (Bavarian State Opera), was nominated for an IF Award Town Opera/Western Australia Theatre), Lilith: The Jungle Girl, La Outstanding Set and Costume
Strauss’ Elektra (Opera Australia/ for Face to Face in 2015, and was Opera/Opera Queensland/State Traviata, Summertime in the Garden Design (Independent Theatre) for
West Australian Opera), and awarded the Wheeler Centre Hot Opera), A Midsummer Night’s Dream of Eden (Sisters Grimm), SHIT, Mad as a Cute Snake.
Wagner’s The Flying Dutchman Desk Fellowship in 2018. (Houston Grand Opera/Canadian Love, Big Heart, and Savages (Dee
(New Zealand Opera). Opera/Lyric Opera of Chicago), & Cornelius). Marg has been
Ariadne Auf Naxos (Welsh National recognised at numerous Green
Opera/Boston Lyric Opera), and Room Awards and the Sydney
Marriage of Figaro (Opera Australia/ Theatre Awards.
Welsh National Opera). Dale has
received multiple Helpmann and
Green Room Awards for his work.
Page 12—13 #becausethenight
CAST & CREATIVE BIOGRAPHIES CAST & CREATIVE BIOGRAPHIES
J. DAVID FRANZKE AMELIA LEVER-DAVIDSON KAT CHAN BRIDGET BALODIS MARK PRITCHARD TIA CLARK
Composition & Sound Design Lighting Design Costume Design Assistant Direction Dramaturg Stage Manager
J.David Franzke is a composer, Amelia is a lighting designer Kat Chan is a set and costume Bridget trained as a director Mark Pritchard is a dramaturg, Tia is Malthouse Theatre's
sound designer, music mixer, and based in Melbourne, whose designer for theatre, dance, at Victorian College of the and the New Work Manager Production Coordinator. Prior
producer. His primary work is practice encompasses theatre, video, and installation. Originally Arts and Australian National at Malthouse Theatre. Recent to this, she was a Stage Manager
composing and designing for dance, live art, television, and trained as an architect, Kat University. She works primarily credits for Malthouse Theatre for Malthouse Theatre, amongst
live performance in theatre. It events. Theatre design credits worked in practices in Adelaide with new Australian writing and include Hello, World!, Atomic, Going other companies, since graduating
also includes film, visual art include Australian Realness, Trustees, and Tokyo before moving to is a member of theatre collective, Down, Heart is a Wasteland, Little from the Western Australian
installations, as well as the Turbine (Malthouse Theatre), Melbourne. Select set and New Working Group. As a Emperors, Turbine, and Blak Cabaret. Academy of Performing Arts
production of albums. Known Torch the Place, The Violent Outburst costume design credits include dramaturg/director Bridget has He was also dramaturg on Mormon (WAAPA) in 2009. Select
for his bold and idiosyncratic That Drew Me To You (Melbourne Torch the Place (Melbourne Theatre developed work with playwrights Girl (Hot Mess Productions) and Malthouse Theatre credits
scores, Franzke has worked Theatre Company), My Brilliant Company), From Silence, Control, Michele Lee, David Finningan, Wael Zuaiter: Unknown (Next Wave include The Testament of Mary,
with some of Australia’s most Career, Every Brilliant Thing Finding the Calm (The Australian Dan Giovannoni, Amelia Evans, Festival). He co-directed Shotgun The Real and Imagined History of
influential directors including, (Belvoir St Theatre), DIASPORA Ballet), Mother (If Theatre/Belvoir Morgan Rose, and Rachel Perks. Wedding, The Séance, and Unfinished the Elephant Man, Revolt. She Said.
Simon Phillips, Matthew Lutton, (Chamber Made), NEXT MOVE 11 St Theatre/QPAC), and The Recent directing credits include Business (NO SHOW). Mark is Revolt Again., Edward II, Picnic at
Peter Houghton, Marion Potts, (Chunky Move), They Divided The Australian Ugliness (Eugenia Lim/ She Is Vigilante (Theatre Works), chair of the Green Room Awards Hanging Rock (with Black Swan
Michael Kantor, Pamela Rabe, Sky (25A Belvoir), MORAL PANIC, Open House Melbourne). Cybec Electric (Melbourne Theatre Association Independent Theatre State Theatre Company/Sydney
and Richard Lowenstein. His Contest, NICHE, Conviction, Dream Company), MORAL PANIC Panel, a recipient of the Mike Theatre Company), I Am a Miracle,
work has toured both nationally Home (Darebin Arts), Hand to God (Darebin Arts), Desert, 6:29pm Walsh Fellowship, and an alumnus Timeshare, Hello, Goodbye and Happy
and internationally most (Vass Productions), Desert, 6:29pm, (Wuzhen Theatre Festival/Red of the Australia Council’s Future Birthday, Walking into the Bigness,
notably, Picnic at Hanging Rock for Jurassica, Foxfinder (Red Stitch Stitch Actors’ Theatre), GROUND Leaders Program. He is one half Ugly Mugs (with Griffin Theatre
Malthouse Theatre. Franzke has Actors’ Theatre), Looking Glass, CONTROL (Next Wave/Brisbane of the Centre for Dramaturgy Company), The Government Inspector
received Green Room Awards for Triumph (fortyfivedownstairs), Festival), Jurassica (Red Stitch and Curation. (with Belvoir St Theatre), The
Composition and Sound Design META (Malthouse Theatre, Actors’ Theatre/Critical Stages), Bloody Chamber, Dance of Death,
for Melancholia, Away, Picnic at Helium), and MKA Double and Kids Killing Kids (Next Wave Hate, A Golem Story, and Baal (with
Hanging Rock, and Pompeii, L.A., Feature (Melbourne Theatre Festival). In 2015 and 2016 she Sydney Theatre Company).
with a contribution spanning 25 Company NEON Festival). As lived in New York, where she Tia has also worked for companies
years in Australia’s arts industry. lighting associate, The Nico Project worked with downtown legends including Chunky Move, Gordon
(Melbourne Festival) and as tour Elevator Repair Service and Frost Organisation, and The
lighting associate, Minnie & Liraz Wooster Group alumna, Anna Production Company.
(Melbourne Theatre Company). Kohler. She was a part of the
Amelia has received multiple inaugural Melbourne Theatre
Green Room Awards nominations. Company’s Women Directors’
Amelia was awarded for her work Program and has been a recipient
on DIASPORA, Contest, Looking of the Ian Potter Cultural Trust
Glass, and for her 2015 Award, Mike Walsh Fellowship,
body of work. and Dame Joan Sutherland Award.
Page 14—15 #becausethenight
CAST & CREATIVE BIOGRAPHIES
LYNDIE LI WAN PO CECILY RABEY NATASHA NOEL COINTHA WALKEDEN
Deputy Stage Manager Deputy Stage Manager Assistant Stage Manager Assistant Stage Manager
Lyndie is a graduate of Victorian Cecily has relocated to Natasha is a graduate of Victorian Cointha has contributed her
College of the Arts, she has Melbourne and is a graduate College of the Arts, she is excited management and technical
worked as a stage manager and from The Royal Central School to be back working with the skills to a broad scope of
an assistant stage manager both of Speech and Drama in London. incredible Malthouse Theatre productions since graduating
nationally and internationally. Because The Night is her second team, previously working with from Victorian College of
Credits for Malthouse Theatre production at Malthouse Theatre. them on Solaris. She is a confident the Arts in 2018. Cointha’s
include The Importance of Being Cecily has worked nationally and energetic stage manager Malthouse Theatre credits
Earnest, Solaris, The Temple, Blasted, and internationally as a stage who thrives in a collaborative include Australian Realness. Cointha
Going Down, Picnic at Hanging Rock, manager and production manager. and creative environment. Prior has worked on Melbourne Opera’s
Wild Bore, Timeshare, I Am a Miracle, Select credits include Wake in to this, Natasha was working productions and regional tours
and The Good Person of Szechuan. Fright (Malthouse Theatre), Daddy as a dresser for Marriner for The Flying Dutchman (Regent
Select credits include Token (Arts House), FLIGHT (Darkfield/ Group, credits include Billy Theatre), FIDELIO (Athenaeum
Armies, Common Ground (Chunky Realscape Productions), Angelo Elliot the Musical and War Horse Theatre), Das Rheingold (Regent
Move), Calamity Jane (One (Little Angel Theatre), and Lost (National Theatre Tour). She Theatre), and has stage managed
Eyed Productions), Funny Girl, Lending Library (Punchdrunk). has also worked in multiple for St Kilda Festival, The Perception
Curtains, Dusty, Hello Dolly, Jesus stage management roles across Experiment (Arts House/GUTS
Christ Superstar (The Production numerous productions including Dance), The Cabin (Darebin
Company), Big Bad Wolf, Grug, Sunday in the Park with George Arts), and frequently works
Grug and the Rainbow (Windmill (Watch This), Ragtime (Production with Chunky Move and The
Theatre), Separation Street, Ants, and Company), and RENT (James Conservatorium of Music as
Cerita Anak (Polyglot Theatre). Terry Collective). a technician. Other notable
credits include stage managing
for Yo-Yo Ma’s recital for The Bach
Project/CLIMARTE and Children
of Saturn (Melbourne Fringe
Festival). Cointha has worked
on commercial music theatre
auditions for GWB Entertainment,
The Gordon Frost Organisation,
Lynne Ruthven Casting, and
for annual Melbourne events
including the AFL Grand Final
Parade and Moomba Festival.
Page 16—17 #becausethenightPART B—UNIT 3, AREA OF STUDY 3, OUTCOME 3 THEATRE STUDIES—PAST WRITTEN
EXAMINATIONS
On completion of this unit, the student should be able to analyse and Below is a link to the VCAA site where past Theatre Studies
evaluate the creative and imaginative interpretation of a written script in Written Examinations can be located. The exams that are relevant
production to an audience. are the 2019 and 2020 Sample Theatre Studies Examinations and
VCAA THEATRE STUDIES STUDY DESIGN (PAGE 22)
the end of year Written Theatre Studies Examinations. In these
examinations you can explore the questions that were asked in
DEFINITIONS 2019 and 2020 in relation to Unit 3, Outcome 3.
ANALYSE: to look at something closely, methodically and in detail and to consider how it’s
formed by its various parts or essential elements...In doing so you make sense of something
including how and why it happened.
(ACTING SMART THEATRE STUDIES V8, PAGE 8)
TWO KEY QUESTIONS
HOW DID IT HAPPEN?
WHY DID IT HAPPEN?
EVALUATE: to assess or judge the value of something... Express your opinion about the quality,
merit or success of what you have seen.
(ACTING SMART THEATRE STUDIES V8, PAGE 20)
THREE KEY QUESTIONS
WHAT DID I THINK OF THAT CHOICE?
WHAT EFFECT DID IT HAVE ON THE AUDIENCE?
WAS THE EFFECT NEGATIVE OR POSITIVE?
Essentially you are being asked to consider the ‘what’, ‘how’, and ‘why’ of the production you have
seen. To answer these questions properly you will need to support your responses with direct and
specific evidence from the interpretation you saw in performance.
The contextual information and preshow activities in Prompt Pack (Part A) should provide a
sound basis for deeper understanding and critical exploration of the script in performance.
VCAA Theatre Prompt Pack VCE Theatre Studies
Study Design Part A Past Written Examinations
Page 18—19 #becausethenightVIDEO INTERVIEWS INTERVIEW—AMELIA LEVER-DAVIDSON
(Lighting Design)
In the video interviews we will hear from J. David Franzke (Sound Design
& Composition), Amelia Lever-Davidson (Lighting Design), Tahlee Fereday
(Cast, Ophelia), Artemis Ioannides (Cast, Ophelia), Khisraw Jones-Shukoor
(Hamlet), and Ras-Samuel Welda’abzgi (Laertes)—some of the designers and
performers working on this production. Their expertise and dedication to this
huge and unique project has resulted in an extraordinary piece of theatre and a
whole new experience for its audiences. Because The Night is an incredible
journey into Immersive Theatre that challenges audiences to rethink their
understanding of how theatre can be presented and engaged with.
Q&A WITH AMELIA LEVER-DAVIDSON
1. This is a massive production to approach as a lighting designer. Direct link
Can you talk to us about the major considerations you had to take
into account when developing your design for Because The Night?
2. Could you give us a couple of examples of some of the atmospheres Direct link
you had to create and how you designed these?
3. Can you tell us about some of the equipment you use to make Direct link
different effects?
4. How does a roving audience potentially impact your lighting design?
Direct link
5. Which aspect of your design brief proved to be the most exciting Direct link
and/or challenging?
Page 20—21 #becausethenightINTERVIEW—J. DAVID FRANZKE INTERVIEW—TAHLEE FEREDAY,
(Composition & Sound Design) ARTEMIS IOANNIDES, KHISRAW JONES-SHUKOOR
& RAS-SAMUEL WELDA’ABZGI (Cast)
Q&A WITH J. DAVID FRANZKE Q&A WITH TAHLEE FEREDAY, ARTEMIS IOANNIDES, KHISRAW JONES-SHUKOOR & RAS-SAMUEL WELDA’ABZGI
1. Over 30 separate rooms, two different worlds colliding, and a roving 1. How many actors are in the show? Direct link
Direct link
audience. Can you tell us about some of the unique challenges this
production presented for you? 2. Were you familiar with the story of Hamlet prior to this show? And, if so, Direct link
how did that shape the way you approached this text?
2. Could you describe your collaborative process for us? Direct link
3. What has the development and rehearsal process been like for this show? Direct link
3. Can you give us some idea of what you want the audience experience to be? Direct link
4. What is the role of the audience in this show? Direct link
4. What kind of sound and composition techniques are you using to create Direct link
this experience? 5. Tahlee and Artemis, you are both playing the same character. Can you Direct link
tell us about how you have approached the character of Ophelia?
5. What kinds of equipment are you using to create your soundscapes Direct link
and effects? 6. Khisraw and Ras-Samuel, can you tell us about your process and how have Direct link
you worked with Matthew and Bridget to create your characters?
7. Do you have any advice or insights for young artists who are working Direct link
with a script to create a performance?
Page 22—23 #becausethenightLIGHTING DESIGN Page 24—25 #becausethenight
CONTEXT CONTEXT
◊ Isolate some elements of the lighting and composition/sound design that Think about your own journey through the separate spaces that form the whole
reflect the context of the ruling families in the world of Because The Night set. Make a list of the rooms you entered. Make notes or annotated sketches
about any design features you recall. You might refer to the set decoration, props,
◊ Isolate elements of the lighting and composition/sound that reflect the
lighting, and/or sound. If there was an actor/actors in the space, describe what
context of the Crosscutters in the world of Because The Night
they were doing and what the scene involved.
◊ Isolate elements of the lighting and composition/sound that convey the
context of the ancient/pagan world of Because The Night
◊ Discuss the contexts that are evident in Because The Night
◊ Discuss how the actors’ use of Dale, Marg, and Matilda's set and the acting
spaces reflected context/s
◊ Discuss how some of the director’s blocking choices reflected context/s
◊ Discuss some of the ways in which the use of the set and props helped to
enhance your understanding of the context/s of the script
◊ Can you identify some of the ways in which the set and props conveyed the
wider world of the play to the audience?
◊ Select three scenes that had the greatest impact on you. Describe how
the set supported and helped to convey the atmosphere and mood of your
selected scenes
SET MODEL FOR THE ROYAL OFFICE THE LIBRARY
SET DESIGN FOR THE ROYAL OFFICE INITIAL MOOD BOARD
Prompt Pack
Part A
Page 26—27
26—26 #becausethenightELEMENTS OF THEATRE COMPOSITION ELEMENTS OF THEATRE COMPOSITION
Practitioners use elements of theatre composition to organise LIGHTING
Amelia Lever-Davidson is the Lighting Designer
components of a theatre production to create a deliberate effect, for Because The Night. In her interview, Amelia reflects
realising their aims and intentions, and/or those of the creative on the creative decisions she had to make to light this
unusual production. She describes how her traditional
production team. way of lighting a theatre show had to be adapted to suit
the Immersive Theatre style.
VCAA THEATRE STUDIES DESIGN (PAGE 10)
'The process of designing for Because The Night has been
really different than a usual theatre design... we had to pursue
The elements of theatre composition are:
a different agenda' — Amelia Lever-Davidson
◊ COHESION (Lighting Design)
◊ MOTION
◊ RHYTHM ◊ Provide three examples of how lighting
◊ EMPHASIS is applied to give variation in the
◊ CONTRAST show?
◊ VARIATION
◊ Provide evidence from two scenes
where lighting supports the cohesion
COHESION: relates to two major aspects of the play in performance—the vision for
of the play in performance?
the interpretation of the work and how the concepts for the realisation of the overall
vision 'hang together' in performance to convey context, atmosphere, character,
ideas, themes, the plot, and meaning. SOUND
MOTION: is about the 'movement' of the piece. This might be the blocking of the J. David Franzke is the Composer and Sound
actors or the positioning, pattern, and arrangement of design elements. Designer for Because The Night. J. David’s role was
RHYTHM: focusses on pace and timing. These combine to create tempo. to provide a bespoke, extended composition/
soundscape for Because The Night. He was charged
EMPHASIS: relates to the areas of the production that are given strong focus with creating the atmosphere for the show, directing
or significance. the audience’s focus, and supporting the actors in
CONTRAST: is about the opposing aspects of the production. their performances. When describing his brief,
he says:
VARIATION: can relate to conflict, energy, intensity, tension (dramatic tension),
and use of space. 'The challenge has been to see how little can I do, yet still
give everyone a sense of something happening and never-
The key thing to remember is that these elements are deliberately selected and ending excitement. To try and give the audience that sense of
applied to provoke a specific level of engagement and/or reaction from the audience. wonderment. To move where the action is going to be'
In other words, the elements of theatre composition are used to create meaning for
the audience and enhance their understanding.
◊ Find three examples of moments in the
The elements of theatre composition may or may not all exist at the same time. show when the use of sound supported
Rather, they should work seamlessly together to support the interpretation of a script. the motion of the play in performance
◊ Analyse how the use of sound
◊ Analyse how one of the six elements of theatre composition has been applied at supported and conveyed variation
significant moments throughout the show during the performance
◊ Evaluate the effect your chosen element of theatre composition had on the actor- ◊ Evaluate the ways in which the sound
audience relationship design contributes to the rhythm of
the play in performance
VCAA Theatre Amelia Lever-Davidson's J. David Franzke’s Composition &
Study Design interview interview Sound Design clip
Page 28—29 #becausethenightELEMENTS OF THEATRE
COMPOSITION
SET
◊ Describe three ways in which the
compositional element of contrast is
reflected in the set design?
◊ Provide four examples of how Dale
(Set Design, Architecture) and Marg
& Matilda (Set Design, Interiors) have
used the compositional element of
emphasis in their set designs?
COSTUME
Kat Chan designed the costumes for Because The
Night. Examine the images of her costumes. Then
respond to the questions.
◊ How do Kat’s costume designs
reflect the compositional element
of emphasis?
◊ Isolate two instances when
the compositional element of
contrast was applied to the
characters’ costumes
Page 30—31 #becausethenightTHEATRE STYLES ACTING
◊ Discuss which conventions of Immersive Theatre were evident in the performance ◊ Discuss some of the moments in the performance when the use of non-verbal
language was evident. And, how the use of non-verbal language conveyed
◊ Analyse the use of the theatre style of Immersive Theatre in the performance
meaning to the audience
◊ Evaluate how the application of the Immersive Theatre style created meaning for
the audience ◊ Isolate four significant decisions made by the director to interpret the written
script for performance to a contemporary audience
FURTHER ANALYSIS & EVALUATION
◊ Analyse how one actor used voice, gesture, and movement to convey aspects of
Select one production area from: costume, direction, lighting, set or sound. his/her character
◊ Analyse and evaluate some of the creative choices that were made by the designer
in your chosen area and explain the purpose of these choices and the effect they ◊ Analyse how one actor’s delivery of the dialogue established the context of the
had on the audience script
◊ Discuss some of the ways in which the use of Dale, Marg, and Matilda’s set helped
to convey the dramatic tension of the script in performance. You might consider
the director’s blocking choices and the actors’ use of the acting space
◊ Evaluate how the actor-audience relationship was established and maintained and
how the audience was affected by this relationship
Prompt Pack Cast
Part A interview
Page 32—33 #becausethenightTHEATRE TECHNOLOGIES
The Immersive Theatre style of Because The Night poses different
challenges in mounting the production. These challenges demand highly
specialised approaches and solutions. The actors are in performance for
90 minutes with no breaks. The action occurs continuously in over 30
separate spaces and lighting and sound are needed to support the different
scenes. Sound is continuous but fluctuates at different times depending on
what action is occurring in a particular acting space.
'Rooms are activated by ‘arpeggioed’ rhythmic work and the rooms to the side reduce in intensity... more sedate...
not soporific' — J. David Franzke (Composition & Sound Design)
Similarly, lighting is needed throughout the labyrinth of the set, but, must alter when scenes are
taking place.
'… [There are] two different kinds of rooms that can operate within the play. There’s the performance rooms… the
audience need to be able to see them [the actors] properly and connect emotionally. Then there’s the fun rooms where
it’s purely an atmospheric room that the audience gets to explore in a private moment' — Amelia Lever-Davidson
(Lighting Design)
Theatre technologies are crucial to the smooth operation and application of light and sound in this
production. Usually lighting and sound operators would control these technologies via the lighting
console and a sound board. But, due to the unique challenges of this production, different ways of
controlling and activating lighting and sound effects had to be implemented.
Watch J.David Franzke’s interview and pay particular attention to the systems and
equipment he describes using to create sound for the production.
◊ Describe how the sound for Because The Night is operated
◊ What equipment did J. David use to compose the soundscape for Because The Night
◊ Select one room that you explored and one room where you watched a
performance. Describe the lighting states in each of the rooms and explain how
the lighting in those spaces affected your mood and/or understanding of the
narrative and the world of the play
J. David Franzke’s
interview
Page 34—35 #becausethenightMAJOR THEME & IDEAS
'There’s a lot of themes and big ideas underneath Because The Night.
But I think probably the big one is, does the end justify the means? I think that’s
the core idea going straight through this whole show'
— Matthew Lutton (Concept, Direction & Text)
◊ Discuss the ways in which this interpretation of the written script highlights
the major theme of:
DOES THE END JUSTIFY THE MEANS?
OTHER THEMES & IDEAS
◊ Through discussion, isolate further themes evident in the play
◊ Through discussion, isolate some of the ideas of the play
Page 36—37 #becausethenightCOPYRIGHT NOTICE
© Copyright: Malthouse Theatre, the artists, designers,
photographers, collaborators and contributors. All
rights reserved, 2021.
Theatre Studies Prompt Pack created by Robyn Kay
Malthouse Prompt—Malthouse Theatre’s Youth and
Education program.
The person who has downloaded this document is
granted a non-exclusive, limited license to print or
make up to 20 copies and distribute them to students
in the state of Victoria, for the express purpose of
participation in Malthouse Theatre’s Prompt
Education program.
These copies must be made available to those
students free of charge.
Neither this PDF (digital document) nor its printed
copies may otherwise be copied, distributed, emailed,
stored or saved on a shared or public server or file
service, in whole or in part, without the express prior
written permission of Malthouse Theatre.
This copyright notice must be preserved in its entirety
on all copies.
MALTHOUSE THEATRE
113 Sturt Street
Southbank VIC 3006
Phone 9685 5111
education@malthousetheatre.com.au
Page 38—39 #becausethenightPROMPT PACK
VCE Theatre Studies Unit 3, Outcome 3
PART BYou can also read
