A Room With A View

E. M. Forster

Grace Chapple

Grace Chapple is an Australian playwright and screenwriter currently based in the UK. Her debut play, NEVER CLOSER, was produced for Belvoir St Theatre’s 25A program in 2022, for which it received an AWGIE nomination for Best Stage Play (Original), and was remounted for Belvoir’s mainstage season in May 2024. NEVER CLOSER has also been shortlisted for the Griffin Award, the Rodney Seaborn Award, the Shane & Catherine Brennan Playwriting Award, and longlisted for Theatre503’s International Playwriting Award. Grace was book writer on the original musical PAPER STARS, which was produced by BYMT in Exeter in 2026. Her short play DAYDREAM was produced as part of ‘All The Rage,’ a collaborative, theatrical response to the Epstein files, produced at Theatre Deli in London. Grace completed her MFA in Writing for Performance at NIDA in 2020. In 2022, she was a participant in the AWG’s First Break program for emerging screenwriters. During 2023-2025, Grace was part of Sydney Theatre Company’s Watershed: Writers group, a professional development program for emerging playwrights. Grace is currently writing a new original commission for Belvoir. She is represented by HLA Management in Australia, and Independent Talent in the UK.

Hannah Goodwin

Hannah Goodwin is Associate Director at Belvoir St Theatre. She is a director and dramaturg known for premiering and championing new work, as well as for her bold reimagining of existing plays. Her work includes: The Wrong Gods by S. Shakthidharan (co-dir. S. Shakthidharan, Belvoir & Melbourne Theatre Company), The Curious Incident of the Dog in the Night-time adapted by Simon Stephens (Belvoir), Never Closer by Grace Chapple (Belvoir, 25A & essential workers), The Almighty Sometimes by Kendall Feaver (Melbourne Theatre Company), A Very Expensive Poison by Lucy Prebble (NIDA), Blessed Union by Maeve Marsden (Belvoir & Sydney WorldPride), Wayside Bride by Alana Valentine (co-dir. Eamon Flack, Belvoir), Light Shining in Buckinghamshire by Caryl Churchill (co-dir. Eamon Flack, Belvoir), The Sorry Mum Project by Pippa Ellams (National Theatre of Parramatta, Bondi Feast), A Girl in School Uniform (Walks into a Bar) by Lulu Raczka (Kings Cross Theatre), and The Carousel by Pippa Ellams (Kings Cross Theatre, Merrigong X, Downstairs Belvoir, Shopfront Arts Co-op). As an Associate Director: A Midsummer Night’s Dream with Simone Young adapted by Eamon Flack (dir. Eamon Flack, Sydney Symphony Orchestra), Fangirls by Yve Blake (dir. Paige Rattray, Sydney Opera House). As an Assistant Director: Black Brass by Mararo Wangai (dir. Matt Edgerton, Belvoir), Stop Girl by Sally Sara (dir. Anne-Louise Sarks, Belvoir), My Brilliant Career adapted by Kendall Feaver (dir. Kate Champion, Belvoir), Packer and Sons by Tommy Murphy (dir. Eamon Flack, Belvoir), and Love by Patricia Cornelius (dir. Rachel Chant, Darlinghurst Theatre Company).

Hannah was the Andrew Cameron Fellow at Belvoir from 2020 to 2022, and the recipient of the ATYP Rose Byrne Leadership Award in 2019. She is represented by HLA Management. 

Kate Atkinson

Kate Atkinson has been a familiar face on Australian stage and screen for over 30 years. A Room With a View marks Kate’s debut at Belvoir. Her extensive theatre credits include Three Little Words, Lungs, The Waiting Room, Rockabye and Away for Melbourne Theatre Company, numerous productions for PlayBox, Barking Gecko, Echelon and Black Swan theatre companies and in the UK, Serial Killers and Romantic Comedy. Kate’s most recent stage performance was I’m With Her as ‘Julia Gillard’ for Midwinter Productions at the Perth Festival.

Her break-out role on television was the ABC’s much-loved Seachange where she appeared as ‘Karen Miller’, however it is her eight seasons as ‘Vera Bennett’ on the internationally critically acclaimed prison drama Wentworth that has brought her worldwide recognition. Kate recently played the lead in Underbelly: Vanishing Act based on the true story of Melissa Caddick. She also appears as ‘Simone’ in the Jack Irish series and her other TV appearances have included Offspring, Miss Fisher’s Murder Mysteries, Dr. Blake Murder Mysteries, Rush, Fat Cow Motel, The Cooks, Kath and Kim, Blue Heelers, State Coroner and Man from Snowy River. Her international TV credits include Synchronicity (UK), Sugar Rush 2 (UK) and Doves of War (New Zealand). On the big screen, Kate has appeared in feature films Japanese Story, The Hard Word and The Jammed.

Tom Conroy

For Belvoir, Tom’s credits include King Lear, Holding the Man, The Master and Margarita, Tell Me I’m Here, My Brilliant Career, Ghosts, Jasper Jones, Mortido, Mother Courage and Her Children, and Small and Tired. Tom’s other theatre credits include 1984, Hay Fever, Spring Awakening (Sydney Theatre Company); The Mousetrap (John Frost/Crossroads Live national tour); The Wider Earth (Queensland Theatre Company/Sydney Festival and 2022 Tour); Cock (Melbourne Theatre Company/La Boite); Romeo and Juliet (State Theatre Company of South Australia); Moth (Malthouse Theatre/Arena Theatre Company); Romeo and Juliet (Bell Shakespeare); Land & Sea (Brink Productions). His screen work includes Bump on Stan and Hamlet for Bell Shakespeare/ABC Splash Content. Tom’s performance in Something Natural But Very Childish (La Mama) garnered him a Green Room Award for Best Male Performer in Independent Theatre. He is a graduate of the Victorian College of the Arts.

Tomáš Kantor

Tomáš is a multidisciplinary performing artist working across cabaret, stage and screen.  Their professional debut was in the national tour of Fangirls (Belvoir) in 2021, the same year they played Chino in the national tour of West Side Story (Opera Australia/GWB). 

They showcase their multitudinous skills (including pop-vocals, piano and cello) in the “gender-queer, one-person powerhouse” cabaret SUGAR directed by Kitan Petkovski, for which they received a Green Room nomination for Outstanding Cabaret Artiste and a Binge Fringe Queer Performer Award nomination at the Edinburgh Festival Fringe 2025.

In Opera Australia’s powerful production of Watershed: The Death of Dr. Duncan, Tomáš performed the lead role of Lost Boy under the direction of Neil Armfield at Sydney Opera House, and formed part of the core casts of the MTC’S national Tour of Slap. Bang. Kiss, and Patrica Cornelius’ Truth directed by Susie Dee at the Malthouse Theatre, which received a nomination for Outstanding Ensemble at the Green Room Awards.

Tomáš received particularly strong reviews for their work as Feste in Bell Shakespeare’s Australian tour of Twelfth Night, and also as Toby Darling in The Inheritance (fortyfivedownstairs), which received Green Room nominations for Outstanding Ensemble and Outstanding Production.

Other credits include Eurydice (Melbourne Shakespeare Company), Instructions (Melbourne Fringe Festival), Women on the Verge of a Nervous Breakdown and An Evening With: The Music of Peter Allen (both for the Hayes Theatre Company), The Lovers (Bell Shakespeare), Gentlemen Prefer Blondes (Hayes Theatre Company), and Meow Meow’s Pandemonium (MSO/Arts Centre). Tomáš has also worked on short films and music videos, and has trained at both the Royal Academy of Dramatic Arts and Victorian College of the Arts.

Hayley McElhinney

Nathalie Morris

Patrick Williams

Patrick Williams’s stage credits include Is God Is (Melbourne Theatre Company), Strangers in the Night (Malthouse Theatre); The Sunset Limited (Ensemble Theatre); The Last Days of Judas Iscariot (fortyfivedownstairs) and Prayer Machine (Red Stitch Actors’ Theatre).

Musical theatre highlights include Bad Boy Johnny (BBJ Productions); The Buddy Holly Story (Everyday Productions); Hair (E,H&W Productions/Auckland Theatre Company); Oh! What a Night (J Nicholls Productions); An Officer and a Gentleman (Gordon Frost Organisation) and The Bodyguard (J Frost & Co). Patrick has performed with INXS, Hunters & Collectors, The Models, Tina Arena, Renee Geyer, Kate Ceberano and Stephen Cummings.

Screen credits include  Foe (See-Saw Films) and Woody Woodpecker II (NBCU Films), The Survivors (Evelyn Bay Productions), Deadloch (Amazon), The Kettering Incident (Foxtel), Wanted (Seven); Rosehaven, Fires, Laid, The Librarians (ABC), True Story with Hamish & Andy (Nine), My Life is Murder, Five Bedrooms, Riptide (Ten).
He has recently completed filming Fortitude Valley (ABC)

Luke Wiltshire

THEATRE: fortyfivedownstairs: Rumbleskin, BRINK x Adelaide Festival: Squid, CRAM Collective: Edge, Flinders Alumni: Whore, FullHouse: Massage Therapy, Daddy Algorithm, Flinders University: Coming of Age in the 21st Century, Blood Wedding, Sweet Road, The Caucasian Chalk Circle, Spring Awakening.

TV: SBS: Homebodies.

Charles Wu

Charles Wu is one of Australia’s most exciting actors of stage and screen.

Charles’ theatre credits include The True History Of The Life And Death Of King Lear & His Three Daughters The Cherry Orchard alongside Pamela Rabe, An Enemy of the People, Jasper Jones, Scenes from the Climate Era, Ms. Peony, Samson, The Overcoat: A Musical (Belvoir), The Resistible Rise of Arturo Ui alongside Hugo Weaving, The Lifespan of a Fact, The Importance of Being Earnest, Mosquitoes, Three Sisters, Chimerica (Sydney Theatre Company), Golden Blood (Griffin Theatre), The Rise and Fall of Little Voice (Darlinghurst Theatre), The Questions (State Theatre Company South Australia), Bernhardt/Hamlet and Torch the Place for which he won a Green Room award for Best Actor (Melbourne Theatre Company).

Charles is well known for his work on the popular series Doctor Doctor. His other television credits include Summer Love, The Letdown, Harrow, Here Come the Habibs, and Secret City. Charles can also be seen in the feature film Australia Day alongside Bryan Brown, and the web series Liberty Street.

Charles is the lead singer/songwriter of Sydney indie rock band Earthquake Magnificent. He is currently co-writing his first feature film and was a 2024 Heath Ledger Scholarship Finalist.

Zoë Atkinson

Zoë Atkinson is an award winning designer for stage and screen. Belvoir credits include: A ROOM WITH A VIEW, THE LIFE OF GALILEO. Selected other credits include: for Sydney Theatre Company, SIGNS OF LIFE; for Perth Festival, THE SMALLEST STAGE, BOORNA WAANGINY, HOME, MUSEUM OF WATER; for Black Swan State Theatre Company, YORK, THE TEMPEST, JANDAMARRA, THE CRUCIBLE, THE CARNIVORES, UNCLE VANYA, COPENHAGEN, THE UNEXPECTED MAN, AWAY, PLAINSONG; for Yirra Yaakin, HECATE; for Black Swan/Malthouse, THE ODYSSEY (costume), CLOUDSTREET; for Malthouse Theatre, THE RETURN, PICNIC AT HANGING ROCK, ON THE MISCONCEPTION OF OEDIPUS; for Barbican BITE/Ridiculusmus (UK)/Brisbane Powerhouse, THE IMPORTANCE OF BEING EARNEST ; for Carry Grant Players/Maison de la Culture de Nevers (France), SNARK, THE WAY OF THE BRAVEST (set, co-devisor); for Perth Theatre Company, SKIN TIGHT, BENCH, COX FOUR. Awards: Helpmann Award Best Costume Design for The Odyssey, Green Room Award Best Design for Lawn and Best Theatre Production for the co-devised On the Misconception of Oedipus, Equity Award Best Design for The Crucible and Skin Tight. Training: Prague Academy of The Performing Arts, Faculty of Puppetry and Alternative Theatre, International Institute of Figurative Theatre Czech Republic, Institute Internationale de la Marionette, France.

Amelia Lever-Davidson

Amelia Lever-Davidson is an award-winning lighting designer for theatre, dance, live art, installation and events. Belvoir credits: A ROOM WITH A VIEW, THE WRONG GODS, BLESSED UNION, MY BRILLIANT CAREER, EVERY BRILLIANT THING. Other credits include: for Sydney Theatre Company: THE SEAGULL, JULIUS CEASAR; for Melbourne Theatre Company: LOSING FACE, THE ALMIGHTY SOMETIMES, MEET ME AT DAWN, BLOOM, BERNHARDT/HAMLET, GIRLS & BOYS, SLAP. BANG. KISS, ADMISSIONS, TORCH THE PLACE, THE VIOLENT OUTBURST THAT DREW ME TO YOU; for Malthouse Theatre: GAME. SET. MATCH., MACBETH, AN UNDOING, HOUR OF THE WOLF, K-BOX, BECAUSE THE NIGHT, AUSTRALIAN REALNESS, TRUSTEES, TURBINE; for Chunky Move: NEXT MOVE 11; for Circa: LEVIATHAN; for Darebin Arts’ Speakeasy: HYDRA, MORAL PANIC, CONTEST, NICHE, CONVICTION, DREAM HOME; for Belvoir 25A: THEY DIVIDED THE SKY; for fortyfivedownstairs: LOOKING GLASS, TRIUMPH; for Red Stitch Actors’ Theatre: YOUR NAME MEANS DREAM, MONUMENT, A SIMPLE ACT OF KINDNESS, DESERT 6.29PM, JURASSICA AND FOXFINDER; for Sydney Chamber Opera: GILGAMESH.

Awards: Green Room Awards: 2020 Best Visual Design for DIASPORA, 2018 best Light Design for CONTEST, 2017 best lighting design for LOOKING GLASS, 2015 Body of Work. Australia Council ArtStart and JUMP Mentorship recipient.

Grace Ferguson

Grace Ferguson is a composer, instrumentalist and music teacher, represented as an Associate Artist by the Australian Music Centre. Selected past works for theatre include: Uncle Vanya, Rebecca (Melbourne Theatre Company); On the Beach (Sydney Theatre Company); Who’s Afraid of Virginia Woolf, (Red Stitch Actors’ Theatre; Sydney Theatre Company); ANNA X ((Red Stitch Actors’ Theatre); Julius Caesar, Hamlet and Eurydice (Melbourne Shakespeare Company); We All Know What is Happening (Zurich Theatre Spektakel; Noorderzon Festival; Arts House; Campbelltown Arts Centre; Vitalstatistix). As a musician she has released solo works: Voler LP(Music Company Records) and collaborated with celebrated Australian artists for live and recorded projects. Recognition and support for her practice includes: Best Original Score for a Main Stage Production, 2024 Sydney Theatre Awards (On the Beach, STC), APRA PD Awards finalist 2024 (Classical/Experimental), resident at La Cité internationale des arts through the support of Creative Australia, 2024 Bundanon artist in residence and 2026 resident artist at Melbourne Electronic Sound Studio (MESS).

Madeleine Picard

Madeleine is a sound designer & composer working on Gadigal land. Combining her backgrounds in technical theatre and music, she is interested in storytelling through sound and in being part of the creation of new Australian theatrical works. Recent select credits include: The Weekend (Belvoir); Life is a Dream, The Edit, Hot Tub, Shitty (Belvoir 25A); Julius Caesar (Bell Shakespeare); Dial M for Murder, Emerald City (Ensemble); Amber, All the Fraudulent Horse Girls (Old Fitz); Scab (ATYP). She has also recently worked as associate sound designer and/or realiser for a number of productions including The Wrong Gods, Song of First Desire (Belvoir); The Talented Mr Ripley, Julia (Sydney Theatre Company); Whitefella Yella Tree (Griffin); and Ride the Cyclone (Hayes). She holds a Bachelor of Fine Arts (Technical Theatre and Stage Management) from NIDA.

Hailley Hunt

Hailley is a Sydney based Set and Costume Designer, her credits as Set and Costume Designer include: Belvoir 25A: Aurat Raj, Forgetting Tim Minchin, Feminazi. Griffin Theatre Company Savior, Lacuna. Old Fitz Theatre:  Amber, sitting, screaming, Anomalies. PACT: The Changelings. ATYP: Scab. Eternity Playhouse: Christmas Unwrapped: A Very Naughty Variety Show. As Set Designer: Hayes Theatre: Phar Lap: The Electro Swing Musical, Women on the Verge of a Nervous Breakdown. Belvoir 25A: Shitty. As Associate Costume Designer: Belvoir St Theatre: Orlando. Women with Pockets: Middle Raged As Associate Set Designer: Belvoir St Theatre: Meg Mac: It’s My Party. Hayes Theatre: The Hello Girls. As Associate Production Designer: Detention. As Assistant Designer: Griffin Theatre Company: Jailbaby. Sydney Theatre Company: The Normal Heart. Awards: 2025 Sydney Theatre Awards for Best Costume Design of a MainStage Production (Orlando) with Ella Butler.

Elle Evangelista

Elle Evangelista loves dancing. Her BELVOIR choreography credits include Curious Incident of the Dog in the Night-Time, Holding the Man, The Master and Margarita, The Cherry Orchard, The Boomkak Panto, The Rep Season and Furious Mattress (25a). Her other theatre choreography credits include Mackenzie, Twelfth Night (Bell Shakespeare), A Very Expensive Poison (NIDA) and Where to Catch A Star and  How To Catch A Star (Australian Chamber Orchestra).

As a dancer she has worked for Force Majeure, KAGE Physical Theatre, Opera Australia and she has been awarded residencies to create new work by Ausdance NSW, DirtyFeet, Critical Path, March Dance, Brand X and Supercell Festival of Contemporary Dance. From 2019 – 2021, Elle was an Artist Representative on the Board of Critical Path and in 2022 a Belvoir Artistic Associate.

Elle has a Bachelor of Arts in English from UWA and a Bachelor of Arts in Dance from WAAPA. She was raised on Boorloo/Perth by her Filipino and Burmese family and currently lives on Garigal Land in Sydney with her partner and their young son.

Laura Farrell

Laura Farrell (she/her) is a Voice and Dialect Coach living and working on Gadigal land. She holds a Masters of Fine Arts in Voice from NIDA; a Post Graduate Diploma in Voice from the Victorian College of the Arts; and a Bachelor of Music Theatre from the Victorian College of the Arts. A current lecturer for NIDA’s BFA, Laura has also taught on multiple Sydney actor training programs, including NIDA’s Diploma of Stage and Screen and Diploma of Music Theatre, Actors Pulse, Sydney Acting Studio, Actors Centre Australia and The University of Wollongong.

For Belvoir, Laura’s coaching credits include Counting and Cracking directed by Eamon Flack (2024), Never Closer directed by Hannah Goodwin (2024), Lose to Win directed by Jess Arthur (2024), Holding the Man directed by Eamon Flack (2024), At What Cost? directed by Isaac Drandic, Miss Peony directed by Courtney Stewart (2023), The Master & Margarita, Into The Woods, directed by Eamon Flack (2023), Blue, directed by Deborah Brown (2023), The Jungle And The Sea, directed by Eamon Flack (2022), Tell Me I’m Here, directed by Leticia Caceres (2022), Fangirls, directed by Paige Rattray (2022) and Counting And Cracking, directed by Eamon Flack (2022).  

Other credits include Pear Shaped, directed by Miranda Middleton (Rogue Projects, 2023), F*** It Bucket, directed by Alyssa McClelland (LeftBank Productions UK, 2022),  Reluctant Sea Shanty for UNHCR, directed by Kyra Bartley (FINCH, 2022), Picnic At Hanging Rock, directed by Claudia Osbourne (NIDA, 2022), Paper Stars, directed by Miranda Middleton (Salty Theatre, 2021) and Revolt. She Said. Revolt Again., directed by Heather Fairbairn (NIDA, Sydney 2021).  

Diego Retamales

Diego is a Chilean-Australian actor and fight choreographer based in Sydney/Gadigal with a B. Performance from Theatre Nepean’s final graduating year in 2008. Recent fight choreography credits include: A Mirror (Belvoir), Grief is the Thing with Feathers (Belvoir), Purpose (STC), Timon of Athens (Sport for Jove), Taming of the Shrew (Playwrought Project), Port (December Theatre Co/KXT), POSH (Old Fitz/Queen Hades), Furious Mattress (Belvoir 25A), Werkaholics (Belvoir 25A), Pride and Prejudice (Old Fitz), SHOOK (Lost Thought/Qtopia), A Very Expensive Poison (New Theatre), The Wasp (Akimbo + Co), Apocka-wocka-localypse (Tooth and Sinew), One Man Two Guv’nors (New Theatre), Labyrinth (Flight Path) and U.B.U (Tooth and Sinew/KXT).

Diego has also spent the last 16 years in professional wrestling as a wrestler, trainer and most recently Ring Announcer for Pro Wrestling Australia (PWA)

Amy Cater

Amy Cater is part of the first cohort of qualified Intimacy Coordinator practitioners, training and working since 2018 when the profession first arrived in Australia. Previous stage works include A Streetcar Named Desire, Cost of Living, Is God Is, Seventeen, Jacky, Cyrano, Sunday, Bernhardt/Hamlet, Fun Home, As You Like It (Melbourne Theatre Company); Oscar (The Australian Ballet); and &Juliet (Michael Cassel Group). Selected screen credits include Love Me, The Newsreader, The Rooster, Bad Behaviour, The Clearing, Safe Home, Swift St, Sleeping Dogs, Erotic Stories, Better Man, Inside and Exposure. Amy has 20 years’ experience working with sexuality, embodiment, consent and intimacy; specifically within the adult industry, client therapy and education spaces. Amy was a director/senior photographer of ethical erotica for 4 years. She is a qualified psychosomatic therapist, sexological bodyworker and somatic sex educator. Amy has a trained background in theatre, dance and the performing arts. Amy mentors and consults on sexuality and gender best practice. Her work in LGBTQIA+ advocacy and education is a key component of her cultural influence in the Intimacy Coordinator industry.

Mehhma Malhi

Mehhma Malhi is an up-and-coming director. She has experience in philosophy, bioethics, and journalism and holds a Bachelor of Arts in Philosophy and Politics from New York University and a Master of Science in Bioethics from Columbia University.  

At NIDA she held the Animal Logic Entertainment scholarship. Her directorial work includes Ephemera By Anchuli Felicia King ‘23, Poof! By Lynn Nottage (Actors Centre Australia and NIDA ‘23), Dragonfly – Peach Fur Music Video (Triple J ‘24),  ALL BOYS by Xavier Hazard (KXT Storytellers Festival), The Mountain Remembers by Daley Rangi (Lysicrates Prize ‘24), Kufa the Hero by James Elazzi (Martin Lysicrates ‘24), ALL BOYS (KXT -Full Season ‘24), Amber by Nikita Waldron (Old Fitz ‘25), Fitz Happens by Melanie Tait, Mary Rachel Brown, Louis Nowra, Kate Mulvany, and Nicholas Brown (Old Fitz ‘25) and she acted as assistant director for Jessica Arthur in Kindness by Matthew Whittet.  

ALL BOYS (KXT – full season 2024) was nominated for best ensemble at the STA awards, and Mehhma won for best emerging director at the 2025 KXT awards. Dragonfly won Best Music Video in the Prague Music Awards, Best Director in the LA Music Awards, and was officially selected in the 2024 London Music Video Festival.

In between directing, Mehhma undertakes producing, note-taking, director’s attachments, and production roles for film and theatre companies across Sydney.

She is currently in development for two tv shows  with Screen Australia and is a director’s attach on a STAN documentary. Further she is Belvoir St Theatre’s Andrew Cameron Fellow. 

Mehhma is passionate about sharing everyday stories that often go unheard, inspiring empathy through the narratives she presents, and bringing ethical dilemmas to the forefront. Mehhma hopes her work will draw together all elements of community and excite audiences who otherwise would not engage with the theatre.

Bella Kerdijk

Bella graduated from the production course at the National Institute of Dramatic Art in 2008. She has worked as a Stage Manager and Assistant Stage Manager on many shows, including: for Belvoir:  Big Girls Don’t Cry, An Enemy of the People, The Dog/The Cat, The Drover’s Wife, Every Brilliant Thing, Fangirls, Girl Asleep, The Glass Menagerie, HIR, Jasper Jones, Kill the Messenger, Mother, Mother Courage and Her Children, My Name is Jimi, Stories I Want to Tell You In Person, The Sugar House, Thyestes (European Tours), Well-Behaved Women, Winyanboga Yurringa; for Griffin Theatre Company: And No More Shall We Part, Blaque Showgirls, Green Park, Replay, Sex Magick, Swim, The Smallest Hour, This Year’s Ashes, Ugly Mugs, Whitefella Yella Tree, Wicked Sisters; for Sydney theatre Company; Bennelong In London, Blithe Spirit; for Circus Oz: Cranked Up; for Darlinghurst Theatre Company: Fourplay, Ride, Silent Night; for Ensemble Theatre: Benefactors, Boxing Day BBQ, Rainman, The half-Life of Marie Curie, The Ruby Sunrise; for Legs on the Wall: Bubble; for LWAA: The Mousetrap (Australia/New Zealand Tours); for Spiegelworld: Empire; for Sydney Festival: A Model Murder. 

Maddison Craven

Maddie (she/her) is a Sydney based stage manager who is passionate about creating an inclusive environment in the arts and ensuring security in spaces for previously unheard voices. 

Some of Maddie’s previous works as an Assistant Stage Manager include Belvoir Street Theatre Company’s production of Never Closer, Jacky (Co-Production with Melbourne Theatre Company), and Big Girls Don’t Cry. Gooding and Woodward’s National Tour of The 39 Steps. Griffin Theatre Company’s production of Golden Blood (Co-Production with Sydney Theatre Company). Ensemble Theatre Company’s Production of The Roommate, The Half-Life of Marie Curie, and the 2025 production of Rhinstone Rex and Miss Monica (Co-Production with Queensland Theatre). Sydney Theatre Company’s Production of Purpose. Josh Robson’s Production of In The Heights (Co-Production with the Sydney Opera House). Training: Bachelor of Fine Arts (Technical Theatre and Stage Management), NIDA.