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Following its premiere season at Ensemble Theatre, THE QUEEN’S NANNY by Melanie Tait is going on tour! Click below for a full list of dates and venues.
- Playwright Melanie Tait
- Director Priscilla Jackman
- Assistant Director Miranda Middleton
- Cast Matthew Backer
Elizabeth Blackmore
Emma Palmer - Production Management Secondment Sherydan Simson
- Stage Management Secondment Chelsea McGuffin
- This production is made possible by the Commissioners' Circle
- 06 Sep 2024 - 12 Oct 2024
- 90mins (no interval)
- Recommended for ages 12+
- Wheelchair Accessible
- Hearing Loop
- Audio Described (selected dates)
- Adult themes, use of theatrical haze (water based), gun shots and flashing lights
Overview
WORLD PREMIERE
Inspired by historical events, a royal scandal ignites a blistering fire between the steely Queen Mother and her children’s doting nanny in Melanie Tait’s sparkling new comedy drama.
Marion ‘Crawfie’ Crawford adored her job as governess to Princesses Lilibet and Margaret Rose… until she was ostracised without warning, despite dedicating the best part of her life to raising, educating and caring for the young royals. The reason? A tell-all memoir.
From the creative team behind the sell-out success of THE APPLETON LADIES’ POTATO RACE, this blackly funny play imagines a series of pivotal moments between two strong-spirited women harbouring complicated resentment.
Ticket Prices
For group bookings of 10+, please call Box office on (02 8918 3400) or email boxoffice@ensemble.com.au
Prices correct at the time of publication and subject to change without notice.
| PRICING | PREVIEWS | IN SEASON |
|---|---|---|
| FULL PRICE | $90 | $95 |
| SENIOR CARD | $87 | $92 |
| PENSIONER | $83 | $88 |
| GROUP 10 - 19 | $83 | $88 |
| GROUP 20+ | $78 | $83 |
| 30 OR UNDER | $40 | $43 |
| FULL-TIME STUDENT | $40 | $43 |
| MEAA/AWG | $40 | $43 |
| SCHOOL GROUPS | $25 | $25 |
Reviews
★★★★ "Tait’s tartly funny and inventive version might not please the most ardent monarchists, but she’s written it with skill and a winning wit." Limelight
★★★★1/2 "There can be no doubt that this is a superbly-written play where every emotion is felt by the audience and it sheds a new light on a much-discussed character." Musical Theatre AU
★★★★ "Melanie Tait has threaded the needle between sensationalist drama and cosy character study with the skill of a master seamstress." Cultural Binge
"Tait’s storytelling can be invigorating in its propulsive use of narration and its bursts of lyricism" The Sydney Morning Herald
"Tait and Jackman are a true team...more to come from this team I hope" Theatre Thoughts
"While actors taking on multiple roles can lead to confusion and annoyance for audiences, Backer is so talented at embodying different characters that one forgets he was, just minutes ago, playing a different role – sometimes of a different gender. The fact that he can seamlessly swap back and forth between the characters is remarkable." ArtsHub
"This is a exercise in storytelling and wonderful acting by Elizabeth Blackmore, Emma Palmer and Matthew Backer" Broadway World
"an entertaining, timely and informative play about Elizabeth II’s governess" The Conversation
"Tait’s dialogue is snappy and witty; and Priscilla Jackman’s direction keeps everything crackling along crisply." Megaphone Oz
"a sharp, heartfelt production that showcases the best of Tait’s writing and the immense talent of its cast and creative team." The Plus Ones
"This is the sort of play that reminds you why new plays are necessary and vital — not only are we entertained and delighted, we are encouraged to reevaluate history, through the lens of the marginalised, the largest cohort of them — women." Women's Agenda
"Elizabeth Blackmore is outstanding as Marion Crawford. She gives Crawfie a presence, an essence of strength and purpose, an ability to rise above condescension and class." Stage Whispers
"Tait’s script is fast and witty" Absolute Theatre
"a very full and highly satisfying 90 minutes" Canberra Critics Circle
Cast & Creatives
Melanie Tait
Melanie Tait is a writer for stage and screen with a proven track record in Australia and the UK.
Her play THE APPLETON LADIES’ POTATO RACE premiered at the Ensemble Theatre in Sydney in March 2019 and toured nationally in 2021. The play has been programmed right around Australia and New Zealand including at the State Theatre Company of South Australia, Queensland Theatre and The Court Theatre in Christchurch. Melanie also adapted the play into a feature film with EQ Media, writing the screenplay for THE APPLETON LADIES’ POTATO RACE. The feature premiered on Paramount+ and Channel 10 in 2023.
Melanie’s play A BROADCAST COUP, opened in January 2023 at Ensemble Theatre as part of Sydney Festival, while THE QUEEN’S NANNY opened in September 2024 at the Ensemble Theatre. Melanie’s latest play HOW TO PLOT A HIT IN TWO DAYS will open at the Ensemble Theatre later in the year. She also has 2 other plays under commission at NIDA and the MTC. Meanwhile she is developing a TV series with BBC Studios Australia and another series with Easy Tiger. Her first play THE VEGEMITE TALES won critical and popular acclaim, playing eight years in London, including two years on the West End. Melanie then trained as a journalist with the Australian Broadcasting Corporation, where she worked for twelve years across radio, podcasting and television.
THE APPLETON LADIES’ POTATO RACE is published by Currency Press and A BROADCAST COUP is published by Playlab.
Priscilla Jackman
Ensemble Theatre: THE QUEENS NANNY, THE APPLETON LADIES’ POTATO RACE, RELATIVELY SPEAKING, THE IMPORTANCE OF BEING EARNEST. National Institute of Dramatic Arts: THE GLASS MENAGERIE, BEYOND THE SKY AND SEA, EURYDIKE + ORPHEUS, GHOSTS, LOVE AND HONOUR. National Theatre of Parramatta: GIRLS IN BOYS CARS. Sydney Theatre Company: RBG: OF MANY, ONE, WHITE PEARL, STILL POINT TURNING: THE CATHERINE MCGREGOR STORY. Western Australian Academy of Performing Arts: AN IDEAL HUSBAND. Assistant Director: Ensemble Theatre: GOOD PEOPLE, BAREFOOT IN THE PARK. Opera Australia: ERNANI, BLUEBEARD’S CASTLE. Sydney Theatre Company: THE HANGING, THE FATHER. Revival Director: Opera Australia: THE BARBER OF SEVILLE, THE MAGIC FLUTE. Co-Director: Sport For Jove: ROMEO AND JULIET, THE TEMPEST.
Miranda Middleton
Ensemble Theatre: MASTER CLASS, A LETTER FOR MOLLY. Bell Shakespeare: THE LOVERS, TIMON OF ATHENS, ARDEN OF FAVERSHAM. Dirty Pennies Theatre Project: LEMON TREE ON DREG STREET. JRP Productions: LITTLE WOMEN. Melbourne Theatre Company: COME RAIN OR COME SHINE. Old Fitz Theatre: THE EISTEDDFOD. Rogue Projects: NOT TODAY, PEAR-SHAPED. Salty Theatre: THE GRINNING MAN, VOLDEMORT AND THE TEENAGE HOGWARTS MUSICAL PARODY. Theatre Works: SENSER. Training: National Institute of Dramatic Art.
Matthew Backer
Ensemble Theatre: THE QUEEN’S NANNY. Bell Shakespeare: HENRY V, THE TEMPEST. Belvoir Street Theatre: KILL THE MESSENGER. Dodger Theatricals/New Theatricals: JERSEY BOYS. Griffin Theatre Company: LADIES DAY, THE FOX, THE TORTOISE, WHERE IT ALL BEGAN, UNCANNY VALLEY. Hayes Theatre Company: YOUNG FRANKENSTEIN, ONLY HEAVEN KNOWS. HotHouse Theatre: FRENZY FOR TWO. Queensland Theatre: NEARER THE GODS, SWITZERLAND, BRISBANE. Sydney Opera House/Peach Theatre Company: THE HISTORY BOYS. Sydney Theatre Company: ON THE BEACH, STRANGE CASE OF DR JEKYLL AND MR HYDE, CLOUD NINE, CHIMERICA, A MIDSUMMER’S NIGHT DREAM, ORLANDO, MACHINAL. Theatre Works St Kilda: PRIVATE VIEW. Film: PLAY DIRTY, THIS TIME MAYBE, MARLEY SOMEONE. TV: PLAY SCHOOL, NEIGHBOURS, PROSPER, FIVE BEDROOMS, WELLMANIA, THE TWELVE, MIKKI VS THE WORLD, JOE VS CAROLE, HARROW, OPERATION BUFFALO, HOME AND AWAY, DEAD LUCKY, HISTORY HUNTERS. Awards: Broadway World Award for Best Actor in a Supporting Role (A MIDSUMMER’S NIGHT DREAM), 2016. Matilda Award for Best Actor in a Play (SWITZERLAND), 2017. Sydney Theatre Award for Best Male Actor in a Supporting Role in a Musical (ONLY HEAVEN KNOWS), 2018. Dendy Award for Best Live Action Australian Short for DIE BULLY DIE (Screenwriter, Producer and Actor), 2024.
Elizabeth Blackmore
GWB: DEATH OF A SALESMAN (Sydney and Melbourne Seasons). Black Swan State Theatre Company: THE VIBRATOR PLAY, A MIDSUMMER NIGHT’S DREAM, MUCH ADO ABOUT NOTHING. Barking Gecko: JASPER JONES. Belvoir Street Theatre: A MIDSUMMER NIGHT’S DREAM. Film: SKIN DEEP, THE BURNING MAN, EVIL DEAD, SLEEPING DOGS. Television: THE RIGHT STUFF, SHAMELESS, SHOOTER, AUGUST CREEK, ONCE UPON A TIME, BEAUTY AND THE BEAST, TURN: WASHINGTON’S SPIES, LEGEND OF THE SEEKER, HOME AND AWAY, SUPERNATURAL, THE VAMPIRE DIARIES. Training: Western Australian Academy of Performing Arts.
Emma Palmer
Ensemble Theatre: BENEFACTORS, CRUNCH TIME, RELATIVELY SPEAKING. Critical Stages: SYNCOPATION. Darlinghurst Theatre: KINDERTRANSPORT, REMEMBERING PIRATES, CONSTELLATIONS, RIDE, FOURPLAY, THE JUNGLE. Griffin Theatre: THE KID, ON THE SHORE OF THE WIDE WORLD. Melbourne Festival: THE TROUBLE WITH HARRY. Sport for Jove: ROMEO & JULIET, WAR OF THE ROSES. Sydney Theatre Company: TOT MOM, THE LOST ECHO. The National Theatre UK/Global Creatures: WAR HORSE. Television: PLAYSCHOOL, PIECES OF HER, ALL SAINTS, UNDERBELLY: A TALE OF TWO CITIES, OFFSIDE, BIKIE WARS, GASP! Training: National Institute of Dramatic Art.
Michael Hankin
Ensemble Theatre: WHO’S AFRAID OF VIRGINIA WOOLF, LIBERTY EQUALITY FRATERNITY and GREAT FALLS. Opera Australia: IL TRITTICO. STC: ON THE BEACH, JUMPY. Belvoir Street Theatre: INTO THE WOODS, THE BOOMKAK PANTO, WAYSIDE BRIDE, LIGHT SHINING IN BUCKINGHAMSHIRE, THE GLASS MENAGERIE, HIR, ANGELS IN AMERICA, GHOSTS, IVANOV, TWELFTH NIGHT, THE SUGARHOUSE, THE GREAT FIRE, MARK COLVIN’S KIDNEY and THE DARKROOM. Griffin Theatre: GOLDEN BLOOD, UGLY MUGS. Bell Shakespeare: THE MERCHANT OF VENICE, AS YOU LIKE IT and OTHELLO. Barbican Centre: MEMORIAL. Manchester’s Home Theatre: INSANE ANIMALS. Brink Productions: THE ASPIRATIONS OF DAISE MORROW and TARTUFFE. Theatre Royal: DIRTY ROTTEN SCOUNDRELS. Chunky Move/Malthouse Theatre: 247 DAYS. Force Majeure: YOU ANIMAL YOU and FLOCK. Film: Michael was the art director for Ireland’s 2020 entry for EUROVISION, the challenge designer for SURVIVOR AUSTRALIA (S6) and the weapons designer/co-ordinator for THREE THOUSAND YEARS OF LONGING. Training: National Institute of Dramatic Art.
Genevieve Graham
Ensemble Theatre: DIPLOMACY, THE APPLETON LADIES’ POTATO RACE, THE LAST FIVE YEARS, MURDER ON THE WIRELESS, A CHRISTMAS CAROL, BOXING DAY BBQ. The Brandenburg Orchestra: HANDEL’S MESSIAH, BITTERSWEET OBSESSIONS, NOTRE DAME. The Theatre of Image: BRETT AND WENDY: A LOVE STORY BOUND BY ART.TV: Costume designer; APPETITE (SBS), THE DISPOSABLES (ABC), OPTICS (ABC COMEDY). Costume assistant; THE COMMONS (STAN). Costume buyer; HEARTBREAK HIGH SEASONS 1&2, PAPERDOLLS, COLIN FROM ACCOUNTS SEASON 2. Short film: Costume Designer; DOG EATS WORLD, LUNA AND THE BRAIN TUNA. Feature Film: Costume assistant; SHANG-CHI, THOR: LOVE AND THUNDER. Training: National Institute of Dramatic Art. Awards: 2017 Emerging Designer for Live Performance for EURYDIKE AND ORPHEUS (A NIDA production).
Morgan Moroney
Ensemble Theatre: THE QUEEN’S NANNY, SUDDENLY LAST SUMMER, CLYDE’S, MR BAILEY’S MINDER. Australian Brandenburg Orchestra: INFERNO. Australian Theatre for Young People: SAPLINGS, SHACK. Belvoir Street Theatre: NAYIKA: A DANCING GIRL, SHITTY. Essential Workers: COLLAPSIBLE. National Theatre of Parramatta: GIRLS IN BOYS CARS, A PRACTICAL GUIDE TO SELF-DEFENCE. Opera Australia: BARBER OF SEVILLE. Pinchgut Opera: DIDO AND AENEAS. Redline Productions: CLEANSED. Siren Theatre & WorldPride: CAMP. Sugary Rum Productions: ANATOMY OF A SUICIDE. Video Designer: Ensemble Theatre: UNQUALIFIED, A LETTER FOR MOLLY. National Theatre of Parramatta: A PRACTICAL GUIDE TO SELF-DEFENCE. Assistant Lighting Designer: Opera Australia: PHANTOM OF THE OPERA. Associate Lighting Designer: Sport for Jove: OTHELLO. Sydney Theatre Company: DRACULA.
James Peter Brown
Belvoir Street Theatre: ICH NIBBER DIBBER, OEDIPUS SCHMOEDIPUS, WHO’S THE BEST? Carriageworks: LAKE DISAPPOINTMENT. CDP: THE MIDNIGHT GANG. Darlinghurst Theatre: LET THE RIGHT ONE IN, IN REAL LIFE, BROKEN ERTH: ARC, SHARK DIVE, WINTER CAMP, THE LIMINAL HOUR, BIRDFOXMONSTER. Griffin Theatre Company: WHEREVER SHE WANDERS, SMURF IN WANDERLAND, TRIBUNAL. Malthouse Theatre: REVOLT. SHE. SAID. REVOLT AGAIN. Sydney Theatre Company: STOLEN, CONSTELLATIONS, DO NOT GO GENTLE…, HOME, I’M DARLING, RULES FOR LIVING, THE DEEP BLUE SEA, THE REAL THING, LORD OF THE FLIES, MOSQUITOES. Sport for Jove: ROSE RIOT. Windmill Theatre: SUNRUNNERS. SOIT (Belgium): NOMADS, WE WAS THEM, MESSIAH RUN, THE LEE ELLROY SHOW. Film: BIRTHRIGHT, COSMOGRAPHIES, BLOODLINKS, WE CIRCLE SILENTLY, FUNGUS, VOICE ACTIVATED, A BRILLIANT GENOCIDE, BROWN LIPS. TV: TOP OF THE LAKE SEASON 1, THE MOVEMENT. Games: FALLOUT 4, FALLOUT 76, FALLOUT SHELTER. Dance: Raghav Handa: THE ASSEMBLY, FOLLIES OF GOD, CULT OF THE TITANS. Queensland Ballet: TETHERED. Kristina Chan: A FAINT EXISTENCE, BRIGHTNESS, MOUNTAIN. Victoria Hunt: COPPER PROMISES, TANGI WAI. The Australian Ballet: SCOPE. Sydney Dance Company: CONFORM. Matthew Day: THOUSANDS, CANNIBAL, INTERMISSION.
Jennifer White
Ensemble Theatre: over 18 plays including DEATH OF A SALESMAN, TUESDAYS WITH MORRIE, RAIN MAN, LADIES IN LAVENDER, THE LITTLE DOG LAUGHED, MY WONDERFUL DAY, BROOKLYN BOY. Belvoir Street Theatre: THE DROVER’S WIFE, MORTIDO, THE WOLVES, MY BRILLIANT CAREER. Melbourne Theatre Company: JULIA, SOLOMON AND MARIAN. Opera Australia: WEST SIDE STORY. Sydney Opera House: IN THE HEIGHTS, MIRACLE CITY. Sydney Theatre Company: 11 plays including RBG: OF MANY, ONE, JULIA, ON THE BEACH, A RAISIN IN THE SUN. Film: I AM WOMAN, PETER RABBIT, MORTAL KOMBAT, CARMEN, SERIOUSLY RED, JASPER JONES, TOP END WEDDING, THE HUNTER, CARGO. TV: BALI 2002, PIECES OF HER, STATELESS, A PLACE TO CALL HOME, BIKIE WARS, PACKED TO THE RAFTERS. Training: National Institute of Dramatic Art, ISCD, Theatre Nepean.
Tim Dashwood
Theatre: Ensemble Theatre: ULSTER AMERICAN, ALONE IT STANDS. Australian Theatre for Young People: SAPLINGS, THE DEB, INTERSECTIONS: ARRIVAL, WAR CRIMES. Bell Shakespeare: THE PLAYERS. Belvoir: CURIOUS INCIDENT OF THE DOG IN THE NIGHTTIME, TELL ME I’M HERE, FANGIRLS, OPENING NIGHT. Darlinghurst Theatre Company: LET THE RIGHT ONE IN. Griffin Theatre Company: JAILBABY, THE LEWIS TRILOGY. Hayes Theatre Company: ZOMBIE! THE MUSICAL, GENTLEMEN PREFER BLONDES, DUBBO CHAMPIONSHIP WRESTLING. National Theatre of Parramatta: KARIM, GIRLS IN BOYS’ CARS. Opera Australia: HAMLET, WEST SIDE STORY, MISS SAIGON, WHITELEY, KROL ROGER, FAUST. shake & stir theatre co.: FOURTEEN, FANTASTIC MR FOX, JANE EYRE. Sydney Theatre Company: STOLEN, A FOOL IN LOVE, THE IMPORTANCE OF BEING EARNEST, JULIUS CAESAR, DEATH OF A SALESMAN, NO PAY? NO WAY!, LORD OF THE FLIES. Other: President of the Society of Australian Fight Directors incorporated.
Sean Proude
THE QUEEN’S NANNY marks Sean’s debut with Ensemble Theatre. Theatre: Bell Shakespeare: MUCH ADO ABOUT NOTHING, JULIUS CAESAR. Belvoir Street Theatre: MORTIDO. Opera Australia: MY FAIR LADY, TURANDOT, AIDA, THE MAGIC FLUTE, MADAMA BUTTERFLY. State Theatre Company of South Australia: LADY DAY AT EMERSONS BAR AND GRILL. Sydney Festival: SEND FOR NELLIE. Sydney Theatre Company: AMERICAN SIGNS, NO PAY NO WAY, THE GOAT AND WHO IS SYLVIA, THE TEMPEST, THE TENANT OF WILDFELL HALL, TRIPLE X, HOW TO RULE THE WORLD, STILL POINT TURNING. Television: BIG BROTHER SERIES 3, ATP CUP TENNIS AUSTRALIA. Training: Western Australian Academy of Performing Arts.
Madelaine Osborn
Stage Manager: Arts on Tour and Lingua Franca: HIGHWAY OF LOST HEARTS. Branch Nebula: AIR TIME. Force Majeure for Biennale of Sydney: POWER. Griffin Theatre Company: JAILBABY, GHOSTING THE PARTY, IS THERE SOMETHING WRONG WITH THAT LADY? Performing Lines: SUNSHINE SUPER GIRL. Development Workshop supported by Australia Council for the Arts: GRLZ. Assistant Stage Manager: Belvoir Street Theatre: MASTER & MARGARITA. Pinchgut Opera: GIUSTINO, MEDÉE, THE LOVES OF DAPHNE AND APOLLO.
Lily Mateljan
Costume Designer/Supervisor: Belvoir Street Theatre: PROPOISE POOL 25A SEASON. Hayes Theatre Co: LITTLE WOMEN. Kings Cross Theatre on Broadway (KXT): RHOMBIOD, GRAIN IN THE BLOOD. Costume Supervisor: Australian Brandenburg Orchestra: INFERNO. Pinchgut Opera: DIDO AND AENEAS. National Institute of Dramatic Arts Production Seasons: A VERY EXPENSIVE POISON (Paid Professional), ALL THAT GLITTERS IS NOT MOULD, FALSETTOS, BETH. Head of Wardrobe: Victorian Opera: IL TABARRO. Films: APPLETON LADIES POTATO RACE, FIVE BLIND DATES. TV: HOUSE OF GODS, THE TWELVE (Season 1), HARDBALL (Season 2), THE OTHER GUY (Season 2). Training: National Institute of Dramatic Art, (BFA Costume) ENMORE DESIGN CENTRE. Awards: Nominated Best Costume Design for RHOMBOID at Sydney Broadway Awards 2023.
SCRIPT FOR SALE
In partnership with Currency Press and thanks to the generous support of Jenny Reynolds and Guy Reynolds AO, published scripts for THE QUEEN’S NANNY, which include a handy program, are available to purchase from the Box Office and Jim’s Foyer Bar.
Playwright's Note
I started working on this play around the time the Albanese Labor Government was voted in.
Full of hope, I felt certain when the play got to the stage, we’d have lived through a successful Australian Indigenous Voice Referendum and, in an election year, movement would be ramping up about a new Republic Referendum. I wanted this play to be part of that conversation.
Instead, I write this note a week after a cabinet reshuffle, where, in the wake of last year’s referendum, the Albanese Government has abolished the Assistant Ministry for the Republic. We’re about to welcome (and spend tax-payer money on) a visit from King Charles III and Queen Camilla, who’ve just had £45M of public money added to their annual income while the rest of the UK suffers a crippling cost of living crisis.
An Australian Republic is much further away than it was two years ago.
While our Head of State is a man sovereign by accident of birth, in a country on the other side of the earth, THE QUEEN’S NANNY is our story too. I hope it asks questions about the people our society values, and puts Marion Crawford’s story front and centre – a working class Scottish woman, shamed and ousted from the family she spent two decades of her life dedicated to.
She was a pioneer: the OG Royal memoirist. Her book was the first insight into the Royals behind closed doors – showing them as a relatively loving, normal family. The Queen Mother’s concern about the book was warranted – what would it mean for the people of the British Empire to know they were being ‘ruled over’ and funding a family who are really a rather average lot?
At the time, it was a PR coup for everyone but Crawfie. In the context of 2024, in a post Diana: Her True Story and Spare world, Marion Crawford’s story adds to the myriad of reasons why The Crown should be relegated to history books and Netflix series, and Australia should stand completely on its own feet.
Melanie Tait
Director's Note
When Melanie first told me about Crawfie’s story – a woman who lived in the same town as her own Scottish family, who mixed and worked amongst Melanie’s own extended family and friends, after being ousted by the royals – I was surprised it was the first I’d heard of Marion Crawford. In a contemporary world, which seems obsessed with mining all details of royal life for artistic and celebrity click bait, I was shocked Crawfie’s story was not more widely known.
However, in reading the first draft of Melanie’s beautiful lyrical text, I was instantly moved by the bold form she explores – resisting any depiction of ‘The Crown-esque’ characterisation – to create a taut, playful, yet deeply affecting commentary on power, authorship, motherhood and loyalty.
THE QUEEN’S NANNY is a play that speaks directly to our Australian audiences, interrogating, through the fallen figure of Crawfie, wider questions around our position culturally and politically within the British Commonwealth. Through Crawfie, we are invited into conversations about who is entitled to tell whose story, and how stories handed down through history are shaped by the powerful. Melanie invites us to reflect on the voiceless women who have raised some of the world’s finest leaders and shines a spotlight on the complexities of the roles of the ‘surrogate mother’ and the loyal subject.
With all of Melanie’s characteristic charm, the playful humour and deft dialogue of THE QUEEN’S NANNY and its unequivocal celebration of theatricality, invites us to enjoy a delightful night at the theatre, while raising some rueful provocations around choice, autonomy and the manipulation of the stories we tell ourselves through our shared history.
Priscilla Jackman
Watch the trailer
Production Photos
REHEARSAL PHOTOS
Photo credit: Phil Erbacher
Special performances
Audio Described
- Sat 28 Sep 2pm
- Thu 3 Oct 11am
Q&A Sessions
- Sat 14 Sep 8.15pm
- Tue 24 Sep 11am
Free Teen Night
- Wed 9 Oct 6.15pm
Partners & Supporters
This production would not be possible without the continued support of our partners and our valued supporters. Thank you.
For more information on how to support Ensemble, contact Stephen Attfield, Philanthropy & Partnerships Manager, on stephena@ensemble.com.au or call 02 8918 3400.