Our History

Theatre Works History (and Herstory) 1980-2019

Theatre Works (TW) is a creative hub and producing company with a venue at The Christ Church Parish Hall in Acland St, St Kilda, Melbourne. It will celebrate its fortieth anniversary in 2020, making it one of Australia’s longest running independent theatre companies. Its programs cover a wide range of the performing arts including Theatre, Physical Theatre, Dance, Circus, Opera, Music Theatre, Puppetry, Contemporary Performance and Comedy. As well as presenting professional independent performance, Theatre Works is committed to connecting with its community. Theatre Works celebrates diversity – it works with and actively develops audiences amongst people in St Kilda and Melbourne’s south east and beyond, supporting works aimed at people living with physical/intellectual disability, mental illness and financial and cultural disadvantage, including women, young people, Aboriginal and Torres Strait Islander, LGBTQI+, Jewish and other community members.

The First Decade: 1980-89

1980 – the company was first founded and named as TheatreWorks while members of its founding ensemble were still in their final year at the Victorian College of the Arts Drama School, under founding Dean Peter Oyston.

1981 – TW was formally incorporated as the Eastern Suburbs Community Theatre Company.

People: Founding company members/performers included Caz Howard, Susie Fraser, Peter Finlay, Peter Sommerfeld, Hannie Rayson, Amanda Ma, Mary Sitarenos, Steve Scully and Tony Kishawi.

Directors in its early years included Richard Murphet, Robin Laurie, Mark Shirrefs, Nancy Black, Merfyn Owen and company members. Writers included Hannie Rayson, Peter Finlay, Paul Davies, Susie Fraser, Caz Howard, Andrew Bovell, Paul Brown and Bill Garner. Designers and technicians included Peter Sommerfeld, Peter Aland and Kevin Mortensen.

Artistic Directorate established mid 1980s – Caz Howard, Paul Davies, Peter Aland, Peter Sommerville, Wolfgang Wittwer (company administrator).

Highlights – early work included ‘popular professional’ theatre: Hannie Rayson’s touring play Please Return to Sender (1980), and seasons at the Phoenix Theatre Burwood including Peter Sommerfeld’s Dee Jay View; group devised work The Go Anywhere (within reason) Show; and site specific ‘location theatre’ including Paul Davies’ Storming Mont Albert by Tram (1982). Several projects evolved from workshops in community, including Rayson’s Mary (1982).

1982 – the company’s name was officially changed to TheatreWorks Inc, while in its Annual Report, the company reaffirmed its commitment to two strands of work in community and ‘the staging of professional, original Australian theatre’.

In 1984, CEP (Commonwealth Employment Program) funding allowed the formation of The TheatreWorks Troupe, a second ensemble of formerly unemployed young people including Leonie Hurry, Phil Ceberano, Debbie Helloran, Helen King, John Wood-Ingram, Louis Dingemans and Kate Kantor.

1985-86 – the company began to explore a move from the suburban East to the grunge of St Kilda. Successes in the transitional period included Hannie Rayson’s Room to Move; Paul Davies’ Living Rooms, performed at nearby Linden Gallery; and The Pub Show at the Esplanade Hotel.

1986 – lease signed on the Christ Church Parish Hall in Acland St.

1986-87 – the first show staged in the Parish Hall, Cake! an Acland St Comedy opened on November 5 1986 – script Bill Garner, directed by Mark Shirrefs with a cast including Caz Howard, Paul Davies, Chris Barry, Lynda Gibson, Val Lehman and Brian Nankervis. It was followed in 1987 by other political and community-based plays including Errol O’Neill’s Popular Front, Paul Davies’ Last Train to St Kilda? and Peter Sommerfeld’s Why People Go to Traffic Accidents, the first play in Australia about AIDS, with performers from the local community and design by visual artist Kevin Mortensen.

1988 – was a high point for TW. The Tram Show was reimagined as Storming St Kilda by Tram, with the first departure launched with champagne by St Kilda Mayor Elaine Millar; the company hosted an extended season of Andrew Bovell’s first successful play After Dinner and a groundbreaking production of Aboriginal playwright Bob Maza’s The Keepers by South Australia’s Mainstreet Community Theatre Company; the year finished with TW’s own locally based ‘Christmas panto’, Paul Davies’ On Shifting Sandshoes.

1989 – saw the company’s governance formalised, and its connections to artists of the previous New Wave generation of Australian theatre artists cemented,

with the establishment of a three person Artistic Directorate: Caz Howard, Paul Davies and Administrator Wolfgang Wittwer, plus a group of Associate Artists including Susie Fraser, Peter Finlay, Mark Shirreffs, Andrea Lemon, Leonie Hurry, Bill Garner, Nancy Black, Rob Meldrum, Jenny Kemp, Cliff Ellen, Ian Scott, Shirley Sydenham, Dennis Moore and Rosie Tonkin. Audience numbers also peaked. By the end of that year, the company had produced 34 original Australian plays since 1980 and established a pattern of alternating its own productions at the Parish Hall with works by guest artists and companies.

TW’s ongoing commitment to community engagement, to process and to cultural politics with a strong emphasis on feminism was shown in works like Hairpin Bends – script by Susie Fraser, Caz Howard, Peter Sommerfeld and Paul Davies – which traced its origin in the Women of Three Generations project at the Canterbury Gardens Centre in 1982. The year finished with a double bill: Bill Garner and Sue Gore’s Perfecting My Nature Strip and Tes Lyssiotis’ A White Sports Coat featuring Mary Sitarenos, directed by Robert Draffin, who went on to become the company’s first sole Artistic Director the following year.


The Second Decade: 1990-1999

1990 – marked the company’s 10th anniversary, but also a significant change in creative direction following the illness and subsequent death of founding member Caz Howard. With Susie Fraser and Mark Shirrefs holding the fort as joint Artistic Directors, emphasis shifted to work with a broader coalition of Associate and invited artists. In a difficult year, highlights included Adelaide-based The Red Shed company’s In Cahoots and Max by Patricia Cornelius and Susie Dee.

1991- 95 – the appointment of Robert Draffin as Artistic Director led to a significant change in creative direction, marked in July of that year by a watershed production of Shakespeare’s Pericles. The company’s output in this next phase was balanced between work informed by Draffin’s vision of a ‘community of artists’ drawing on mythology, storytelling and cross-disciplinary performance and works by associate and invited artists, such as through the Melbourne Fringe Festival New Short Works Season presented at TW that year.

Strong productions by other artists included the gritty I Don’t Get Paid to Find Dead Bodies, written and performed by Laura Lattuada and Kate Gillick, with further insight into the contemporary AIDS crisis in the US through Larry Kramer’s The Normal Heart directed by Tom Healy in October 1991 and Vicki Reynolds’ The Daily Grind, a play about women and the sex industry co-produced with Melbourne Workers Theatre in 1992. The Really Moving Theatre Co., a spinoff from the original company, presented the Tram show in Melbourne and at the Adelaide Fringe in 1992 and 1994, retitled yet again as Storming Glenelg ...

Draffin meanwhile worked with a shifting ensemble of accomplished actors to create a series of new works, mostly adaptations from the classics such as Pericles (1991), The Idiot (1992) and Titus (1993) but also including a successful production of the third play in Tes Lyssiotis’ “Greek Australian” trilogy, Blood Moon (1993). From 1994, a growing interest in opera and cross-disciplinary performance led to original and revisioned productions including The Last Supper  (1994) and the MADMAN, BLACKMAN, FATMAN trilogy, comprising Rigoletto – A Perversion (1994), Otello – A Subversion (1996) and Bodysongsthe fatman tour (1998), based on the character of Shakespeare’s Falstaff. These and other works were devised in collaboration with artists such as writer Humphrey Bower and contemporary composer Richard Vella. The overall program could be described as creatively successful, with The Last Supper touring Japan in 1995 and Rigoletto receiving an Age Performing Arts Award, but their intensive development proved financially unsustainable. The theatre moved into a ‘2 phase’ stage, describing itself as a company ‘divided into two parts: theatre production and venue management’. Ongoing financial difficulties together with growing internal and external tensions resulted in a crisis; the company was on the brink of eviction from the Parish Hall, but with support from the public and guarantees from Arts Victoria, a new lease was negotiated in 1995 by the Hon Clyde Holding, then MLA for Melbourne Ports.

1996-99 – the company’s financial difficulties continued, with the loss of ongoing State and Federal funding. AD Robert Draffin resigned towards the end of 1998, followed by GM Paul Monaghan in 1999. The Board made the difficult decision to discontinue TheatreWork’s own program of produced works. TW survived, but only as a ‘bare bones’ operation, operating as a venue for hire with annual support from Arts Victoria. Under new GM (and sole fulltime employee) Kim Webster, infrastructure available to hirers was gradually and substantially improved. New seating was installed, and both technical and front of house facilities were brought up to industry standards. On the creative side, Company in Residence arrangements were formed with physical theatre company Born in a Taxi and critically acclaimed integrated theatre ensemble Rawcus, a joint initiative with the City of Port Phillip and SCOPE disability services. A formal collaboration with the School of Creative Arts at Deakin University resulted in annual community based performance residencies (1996-1999) including a final revival of Storming St Kilda by Tram. Significant productions by guest companies and artists in this period included David Pledger’s Suzuki method-based Taking Tiger Mountain by Strategy (1995) and Chamber Made Opera’s Fresh Ghosts (1997).


The Third Decade: 2000-2009

TW began its third decade in much reduced circumstances. Arts Victoria continued to support venue rental and some infrastructure costs but there was very little left over; casual staff wages and other expenditure were funded from earned income. GM Kim Webster was succeeded by Heather Gourley; operations as a venue for hire continued and with careful management, the company was in a position by the end of 2000 to begin to take some control of its own creative strategy and direction.

From 2001 – the company began to steer its own course once again. TW hosted Live @ Theatreworks, a day of works in progress by local artists, as part of the St Kilda Festival. TW was also happy to partner with City of Port Phillip on the Bless Your Big Blak Arts Festival 2001-3, which included a notable production of No Parking by John Harding (2001) and on a co-operative agreement (2002-3) which supported the development of three works, Triptych by company in residence Born in a Taxi, Dead Tragic, the first scripted work by long term TW hirers Impro Melbourne, and St Kilda from the Ground Up, a performance based workshop program for local financially-disadvantaged youth.

2002 – saw the establishment by the TW Board of a hardworking (and all-volunteer) Artistic Subcommittee which oversaw use of the company’s accumulated resources in a ‘bootstrapping strategy’ to attract artists, build audiences and improve the creative quality of works presented at the Parish Hall venue. Chaired by Alison Richards, members up to its reorganisation in 2009 included Kaarin Fairfax, Heather Ruck, Amanda Douge, Nadine Nabout, Sarah Austin, Richard Vabre and Naomi Edwards, with strong support from Kathryn Ross of Ballyhoo Publicity, GM Heather Gourley and later Operations manager Angela Pamic.

2003 – the TheatreWorks Companies Initiative program was announced – 22 submissions were received for limited packages including reduced rental, with technical and PR support offered to 2 selected companies. TW’s goal was to partner with leading independent companies, and to extend greater curatorial control over works presented.

2004 – TW presented the first two Companies Initiative productions, Shakespeare’s Macbeth by regionally based The Old Van Theatre Company directed by Fiona Blair and Catalan playwright Sergei Belbel’s Caresses by Vicious Fish Theatre, directed by local artist and long term TW staffer Scott Gooding. Reviews for both were positive, heralding a revival in critical attention. This was followed in September of that year by an equally well-received curated season of short works, St Kilda Bangs!

2004-8 – the success of the Companies Initiative program was seen over the next five years in improved audience attendances, greater critical and peer recognition and success in project submissions to funding bodies by successive GMs Heather Gourley, Nic Clarke and Angela Pamic, whose title was later changed to Operations Manager to reflect her combined administrative and technical expertise. Small project grants from CoPP were followed by the company’s first successful national level project grant application in many years, from the Community Cultural Development Board of the Australia Council for a project with local young people, Tribes of St Kilda, co-ordinated by Stefo Nantsou and John Butler, with students from Swinburne’s Small Companies and Community Theatre program.

Productions to achieve recognition with awards and award nominations included liquidskin’s Aoroi (Melbourne Fringe Festival Movement Award 2004), a Melbourne Fringe Festival Most Outstanding Production Award for the collaboration between TW’s Companies in Residence, Rawcus and Born in a Taxi Not Dead Yet , plus the Melbourne Festival Award to Rawcus Artistic Director Kate Sulan (2005) and Green Room Award Best Ensemble nominations for Ignite Theatre’s Jet of Blood directed by Olivia Allen (2005) and the Stuck Pigs Squealing production of Lally Katz and the Terrible Mysteries of the Volcano directed by Chris Kohn (2006). Luke Mullins was nominated best male performer for his role in Little Death Productions’ Mercury Fur in 2007 and Kellie Jones best female for Complete Works’ Inky in 2008.

TW’s long term involvement with St Kilda based inclusive company RAG Theatre, facilitated by Scott Gooding and Trudy Radburn with the support of CoPP, was recognised with the inaugural Melbourne Fringe Festival Community Cultural Development Award for Crisis and Rhapsody, a collaboration with SPARC Theatre (2007) and a Highly Commended nomination for the same award in 2008. This period also saw TW’s strong relationship with artistic director Aaron Joyner and Magnormos, Melbourne’s own innovative music theatre company, rewarded with Green Room Award nominations for Sue Goessling’s musical direction on Magnormos Prompt!’s production of Mary Bryant (2007) and Lyall Brooks’ performance in The Thing About Men (2008).

2009 – at the end of a difficult decade, TW was once again making its mark as a creative leader and a venue of choice for independent artists and companies from Melbourne and interstate. The venue was nearing full occupancy, audience numbers had increased by 15% and, after years surviving on annual funding, TW was finally successful in its application to Arts Victoria for triennial funding in 2009-11. The increased funding allowed staffing to rise to the dizzy heights of 1.7 EFT! including the new ongoing positions of Administrator (.625) and Senior Supervising Technician (.2). In a major rebranding exercise, the company’s name was finally established as Theatre Works (with a space), resolving the TheatreWorks/ Theatreworks confusion inherited from its early days. The Companies Initiative program was rethought and renamed with two streams, Selected Works and In the Works. 32 companies were supported in the course of the year, including through specialised seasons Moving Works (Dance) and Circus Works (Circus) coordinated by Operations Manager Angela Pamic.


The Fourth Decade: 2010-2019

2010 – TW’s thirtieth anniversary was an opportunity to look forward as well as back. A year-long program of celebrations included a special Birthday Dinner hosted by stalwart local supporters Claypots Seafood Bar which brought artists, Board members and other supporters together, in some instances reconnecting with the company for the first time in many years. The energy and commitment shown at this event reinforced confidence in the company’s significance within the ecology of Melbourne theatre and marked the start of a renewed – and successful – drive for patrons and advocates. The creative program included a higher than ever proportion of works curated and presented by TW through its Selected Works, In the Works, Moving Works, Circus Works and a new Girls at Work! program for the Melbourne Fringe Festival, with several of the supported companies and artists going on to tour work nationally and internationally.  Mutation Theatre won the inaugural Theatre Works Fringe Festival Award for original Australian work by an independent company. Nicola Gunn’s restaged production of At the Sans Hotel picked up 4 Green Room Awards nominations and was invited to tour to Sydney’s Liveworks Festival (2010) and the Next Stage Festival in Toronto, Canada (2011).  2010 was also a year of organisational change. A Board Visioning Day was followed by a comprehensive staff review commissioned from Andrew Bleby and Associates; this recommended that TW ‘bite the bullet’ and invest its accumulated surplus in a new staffing structure to take advantage of the momentum built up over the past decade and allow the company to stake a credible claim for creative leadership in the years ahead. After a national search, Daniel Clarke was appointed as Theatre Works’ inaugural Creative Producer, to begin work in 2011.

2011-13 – a key goal for TW in this period was to secure recognition as a key national arts organisation and to win new sources of funding, including inviting the Australia Council to renew its investment in the company after a ten year hiatus. Daniel Clarke and new GM Mark Crees hit the ground running in this regard, securing a three year Producers grant from the Australia Council for 2012-15, together with an increased commitment from the City of Port Phillip which had to that point only supported TW on a project basis. The creative program for 2011 was well received, attracted good audiences, critical and peer acclaim, including several Green Room Award nominations. TW’s partnership with Magnormos culminated in two Green Room Awards; Best Ensemble for the cast of Peter Fitzpatrick’s flowerchildren and a special Outstanding Support for New Australian Musical Theatre award to Magnormos itself. The creative program for 2012, the first wholly selected by Daniel as Creative Producer, created further excitement, starting with a supercharged Midsumma Festival season, including the presentation of US theatre artist Nilaja Sun’s acclaimed No Child at the Victorian Arts Centre for the Melbourne Festival and concluding with Present Tense Ensemble’s new Australian musical Margaret Fulton: Queen of the Dessert directed by Bryce Ives and Nathan Gilkes. Fraught Outfit’s restaging of Ingmar Bergman’s Persona directed by Adena Jacobs attracted sell-out crowds and critical plaudits, winning Green Room Awards in five categories including Best Production; Nicola Gunn’s Hullo My Name Is … was also nominated for Best Production. The program for 2013 broke all previous records. No Child returned for another successful season at TW; audience attendances for the year were up by another 12% with a record 15 Green Room Award nominations. Awards went to Genevieve Guiffre for her performance in Little Ones Theatre’s Psycho Beach Party; the Daniel Schlusser Ensemble’s M+M, one of two TW commissions in that year’s Melbourne Festival, won two Awards including Best Ensemble. M+M and TW’s other work in the Festival, The Rabble’s Room of Regret, were both nominated by The Guardian as national cultural highlights for 2013. Another bold new initiative mid year was the inaugural fundraising party, Abundance, held as a benefit for TW’s partner companies; now a continuing annual tradition.

2014-5 – international connections continued with the wildly successful presentation of UK theatre artist Bryony Kimmings’ Sex Idiot at Melbourne Town Hall for the Melbourne International Comedy Festival 2014, followed by tours to Adelaide and Perth in 2015. In an overlapping season, Kimmings presented the delightful Credible Likeable Superstar Role Model to a quite different audience at TW with fellow performer, her 11 year old niece Taylor. TW’s contribution to FOLA was recognised, along with presenting partners Arts House and Footscray Community Arts Centre, with a special Green Room Award for Curatorial Contribution to Contemporary Performance. TW went on to become a commissioning partner on Kimmings’ Fake It ‘Til You Make It with Southbank Centre London, with seasons at TW for the Comedy Festival, Adelaide and Perth in 2015. Back home, 2014 saw the launch of The Bridge donor program, TW’s first organised attempt to secure ongoing support from its friends and patrons. Highlights of the 2014 season at TW included Elbow Room’s highly original The Motion of Light in Water, Dirty Pretty Theatre’s stylish adaptation of Émile Zola’s Thérèse Raquin, Watch This Productions’ staging of Stephen Sondheim’s Pacific Overtures and Uninvited Guests’ I Heart John McEnroe. These productions attracted 18 Green Room Award nominations between them, with the Award for Best Ensemble going to the cast of McEnroe. This success was almost equalled in 2015, with a total of 12 nominations shared between Fabricated Rooms’ Grief and the Lullaby, Don’t Look Away’s timely revival of Alma de Groen’s The Rivers of China, St Martin’s Youth Theatre and Fraught Outfit’s extraordinary reimagining of The Bacchae, and Little Ones Theatre’s high camp Dracula – although on this occasion none resulted in an Award. The year finished with Present Tense’s ambitious pop operatic retake on JS Bach, Ricercar. Other events in 2015 included the mid year appointment of new GM Kate Hancock, the FLIGHT Festival of New Writing, featuring works by graduates of the VCA’s Masters in Writing for Performance, and the inaugural Directors Lab, curated by Daniel Clarke as part of the Melbourne Festival, with support from the Ian Potter Foundation, The University of Melbourne, the Besen Family Foundation and the US Consulate General Melbourne. The success of this project saw it return twice more, through to 2017.

2016-7 – Daniel’s time as Creative Producer/CEO at TW was capped in January by his success in winning the prestigious Facilitator’s Prize at the annual Sidney Myer Performing Arts Awards, with a citation recognising him as ‘a visionary arts leader who transformed Theatre Works to become one of Melbourne’s leading theatre venues’. He had however already decided to pursue other options; the Board was actively seeking his successor and in March, John Sheedy was appointed with the new title of Creative Director. 2016 season highlights included Black Hole Theatre and the Netherlands based Duda Paiva Company’s imaginative meld of dance and puppetry, Blind, for FOLA; the New Working Group’s bracing production of Mark Wilson’s Anti-Hamlet; OpticNerve Performance Group’s hauntingly beautiful adaptation of George Eliot’s The Mill on the Floss and INFLUX’s gutsy and confronting Animal. These shows attracted a total of 12 Green Room Award nominations between them; Animal scooped the pool with no less than 4 Independent Theatre Awards including for lighting and sound design, Best Ensemble and Best Direction for Susie Dee. In December, the Commonwealth Government Department of Communication and the Arts awarded a grant to TW through its Catalyst program of just over $250,000 over 3 years, for an Artist Future Fund. A new shift in direction was announced for the 2017 season; time and resources would be allocated to just 8 productions over the year, with a strong focus on new Australian work. The overall goal was to maximise the longevity of productions and support the careers of participating artists. The year also saw more significant staff changes, with outgoing GM Kate Hancock replaced by Di Toulson in September. Apart from the first play, Lifetime Guarantee by Ross Mueller, directed by John Sheedy himself and the second last, the immersive All My Friends Were There by ‘live art production house’ The Guerilla Museum, the season presented works by companies and artists already familiar to TW audiences, including The Rabble, Fraught Outfit, Don’t Look Away, Rawcus, Lally Katz, Patricia Cornelius and Susie Dee. The season was generally well received by critics, garnering 13 Green Room Awards nominations across 4 productions with the final show for the year, Rawcus and Invenio Ensemble’s Song for a Weary Throat, the standout with 3 Green Room Awards from 4 nominations – for Best Ensemble, Best production, music composition and sound design, the latter shared by Jethro Woodward and Invenio’s Gian Slater. But despite the support offered by the Catalyst grant, audience numbers failed to make up for the weeks devoted to rehearsal and development; Sheedy’s resignation was announced for December, following the season launch for 2018.

2018-19 – planning for 2018 returned to a focus on keeping the theatre ‘live’. The number of productions in the season more than doubled, along with special events including a writers’ Sunday afternoon event and a performance season of Hello, Beautiful written and performed by TW founding member (and current Board member) Hannie Rayson. Highlights included OpticNerve Performance Group’s production of Robert Lepage and Marie Brossard’s Polygraph, and Red Dog Theatre’s production of Connor McDermottroe’s gritty and moving Swansong, which returns to TheatreWorks in 2019 prior to an extensive regional tour. Little Ones Theatre’s adaptation of Oscar Wilde’s The Nightingale and The Rose garnered two Green Room Award nominations, including for best Performer (Jennifer Vuletic) and Lighting Design (Katie Sfetkidis). Chris Beckey was also nominated in the Performance category for his work in The Danger Ensemble’s The Hamlet Apocalypse.

Incoming Artistic Director Bryce Ives responded to the challenge of boosting audience numbers by outlining a new creative direction for Theatre Works. Over several months in mid 2018, Bryce conducted a series of in depth conversations with community members, with artists and with Theatre Works’ stakeholders, patrons, friends and supporters. Out of this came proposals to recalibrate the theatre and its program in 2019 and beyond, followed by detailed action plans. Staff and Board members were prompted to reach out beyond the ‘bubble’ of the theatre scene, to build audiences, to actively and creatively re-engage with Theatre Works’ existing networks and to forge new links with diverse local cultures and communities. While Bryce’s tenure was relatively short, his questions, Why this, Why here? and the response Because Now, Because Heart, helped spark a renewal of the passionate engagement with cultural equity and social change, joy in critical thinking and the commitment to new work and new partnerships that has characterised the best of Theatre Works’ program activity over the past four decades.

This renewal has already borne fruit in the success of Laura Bridgeman and Julie McNamara’s local production of The Butch Monologues, a partnership with Arena Theatre to produce and tour Jolyon James’ Robot Song, and in the promise of a 2019 season full of new work, new partnerships, new provocations, local connections and new offers to new audiences, in the lead up to Theatre Works’ 40th anniversary in 2020.

2020 and beyond – forty years! A huge achievement for a company run in a church hall on an oily rag by an independent Board of Directors, one that depends so much on its relationships with community, with artists, with supporters and with audiences, one that continually forges those bonds anew through its commitment to Australian culture and a belief in the ongoing relevance of new theatre and new ideas. One that lives and breathes the idea ‘think global, act local.’ Why here? Why now? Because it’s so worth it. Theatre Works.


Davies, Paul Really Moving Drama: Taking Theatre for a Ride CreateSpace Independent Publishing Platform 2016

Milne, Geoffrey Theatre Australia (un)limited: Australian Theatre since the 1950s Amsterdam: Rodopi Press 2004

Plus: Paul Davies’ Theatre Works Chronology, together with public and private domain statements and reports including press releases; Annual Reports; funding submissions, announcements and acquittals; and documents accessed by the author through her membership of the Theatre Works Board 2002-10 and/or kindly provided by past and present staff and Board members of Theatre Works. I have endeavoured to check all facts where possible, any omissions and errors of fact or interpretation are my own.


Alison Richards

Melbourne, January 2019

Skip to content