HOLDING
THE MAN
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9 Mar – 14 Apr 24 Upstairs Theatre
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2 hours 20 mins (incl. 20 min interval)
Directed by Eamon Flack
Holding The Man contains strong language, adult themes, nudity, explicit sexual references and gratuitous ejaculation. Theatrical haze and herbal cigarettes are in use.
Should you wish to speak to a member of staff regarding running times, content warnings or any other show related queries, our box office can be contacted on 02 9699 3444.
At a Jesuit boys’ school, in 1970s Australia, Tim’s eye falls on the footy captain, John. To their mutual incredulity, they fall in love. A love that lasts as they — and the society around them — change, mature.
When they both test positive to something called HIV, dreams, liberations, boundless possibilities vanish into the ether. But Tim and John have each other, and they’ll need to hold on tight for what’s to come.
Deeply felt, frank and moving, Tim Conigrave’s memoir of living and dying changed Australia. Tommy Murphy’s 2006 adaptation became an instant hit, and brought a new audience to this heartfelt and laugh-out-loud-in-the-sadness story of queer identity and the quirks of love.
Tim’s book is more than a memoir, it’s a social history of our country told through the love and lives of a gay couple – particularly that vanishing time of the 70s, 80s and 90s. Tommy’s adaptation is joyful and bold and crying out for a new production as we reach the thirtieth anniversary of Tim’s death. And these two actors are perfect, perfect for it. It feels right to return it to the Sydney stage so we can remember what we lost and remind ourselves what we found. – Eamon
To bring Holding The Man to life, we’re transforming Belvoir yet again!
Some seats will be available opposite the usual seating banks – and the seating will be couches! There will also be one couch of three seats available for audience to purchase tickets to, which will sit in front of one of the seating banks.
Patrons sitting on couches will enjoy reduced ticket prices.
Seating on stage (in the round) will include a mixture of 1, 2 and 3 seat couches. All tickets are seated – your usher will show you to your correct seat.
Full price tickets for couches and tables start from $55 and concession tickets start are $45. All tickets for couches are $40 for previews.
Length of time
Patrons will be seated on stage for the entire run of the performance, which is approximately 2 hours and 20 minutes, with an interval. Ushers will be on hand to assist you to and from the seating both before and after the performance, and during interval.
Participation
Patrons will not participate in the performance unless they have explicitly agreed to beforehand. The nature of live theatre, however, means that nothing is guaranteed, although we will try our best!
Sound & lights
On-stage patrons will experience bright stage lights. Please keep this in mind before purchasing on-stage seating.
Cloak your stuff
We recommend you cloak your personal belongings at box office before the show commences. Bags and jackets will not be permitted on stage.
Access
If you have queries about accessibility and sitting on stage (such as the comfort of the couches – which will likely be lower than typical theatre seats), please contact Box Office on (02) 9699 3444.
Belvoir Staff
Belvoir staff will be on hand to direct you to your seat on stage and answer your questions.
Tommy’s theatre credits include Packer & Sons, Mark Colvin’s Kidney, Peter Pan and Gwen in Purgatory (Belvoir St Theatre), Troy’s House (SUDS, ATYP), Strangers in Between (Griffin Theatre Company, Trafalgar Studios West End), Blood Wedding (Royal and Derngate Northampton Theatre, UK), On the Beach and Saturn’s Return (Sydney Theatre Company). He created and was the […]
Tommy’s theatre credits include Packer & Sons, Mark Colvin’s Kidney, Peter Pan and Gwen in Purgatory (Belvoir St Theatre), Troy’s House (SUDS, ATYP), Strangers in Between (Griffin Theatre Company, Trafalgar Studios West End), Blood Wedding (Royal and Derngate Northampton Theatre, UK), On the Beach and Saturn’s Return (Sydney Theatre Company). He created and was the Head Writer and Script Producer for the ABC original television series Significant Others (Fremantle, nominated for the 2023 Logie for Outstanding Drama). Tommy has also written episodes on The Twelve, Bloom, Fighting Season, The Devil’s Playground and Offspring. Tommy wrote and was Associate Producer on the feature film Holding The Man (Goalpost Pictures) directed by Neil Armfield. He won the AWGIE Award for Best Writing in a Feature Film and Critics Circle Award for Best Screenplay. Tommy’s long association with Tim Conigrave’s memoir Holding The Man began with his 2006 stage adaptation for Griffin Theatre Company which travelled to the West End. Tommy was the recipient of Sydney Theatre Company’s Patrick White Playwrights Fellowship (2016), The Writers’ Guild and Screen Australia Creators Program in Hollywood (2023), and Australia Council National Award for Theatre (2020). His other notable awards include winner of the 2022 AWGIE Award for Audio Fiction for his radio play Call You Back and winner of the N.S.W. Premier’s Literary Awards for Best Play for both Holding The Man and Strangers In Between and the W.A. Premier’s Prize for Gwen in Purgatory.
Eamon Flack is the Artistic Director of Belvoir St Theatre in Sydney. He is a director, writer, dramaturg and script developer for stage and screen. Eamon was born in Singapore and grew up in Singapore, Darwin, Cootamundra and Brisbane. He has a BA (English and History) from the University of Queensland, and trained as an actor […]
Eamon Flack is the Artistic Director of Belvoir St Theatre in Sydney. He is a director, writer, dramaturg and script developer for stage and screen.
Eamon was born in Singapore and grew up in Singapore, Darwin, Cootamundra and Brisbane. He has a BA (English and History) from the University of Queensland, and trained as an actor at WAAPA from 2001 to 2003. He has worked around Australia and internationally, from the Tiwi Islands to Sri Lanka and the UK. He has led Belvoir’s new work development in various guises since 2006, and has commissioned and developed many of the company’s most acclaimed new works over the last 15 years.
His productions of The Glass Menagerie, Angels in America and Counting and Cracking won the Helpmann Awards for Best Play in 2015, 2016, and 2019.
His key directing credits include: Counting and Cracking (with Associate Director S. Shakthidharan, winner of the Helpmann Award for Best Direction of a Play and nominated for the Sydney Theatre Award Best Direction of the Mainstage Production), The Jungle and the Sea (co-directed with S. Shakthidharan, winner of Best New Work and Best Production at the Sydney Theatre Awards), Angels in America, The Glass Menagerie, Into the Woods, Tommy Murphy’s Packer & Sons, Rita Kalnejais’s Babyteeth, Alana Valentine’s Wayside Bride (co-directed with Hannah Goodwin), Tom Wright’s adaptation of Brecht’s Life of Galileo, Eamon’s own adaptations of Hendrik Ibsen’s Ghosts and Chekhov’s The Cherry Orchard and Ivanov (Sydney Theatre Awards Best Production and Best Director), as well as The Rover, The Blind Giant is Dancing, As You Like It, and Beckett’s The End. His other directing credits include A Midsummer Night’s Dream (Bob Presents/B Sharp) and Wulamanayuwi and the Seven Pamanui by Jason de Santis (Darwin Festival).
His writing and adaptation credits include: Associate Writer of S. Shakthidharan’s Counting and Cracking (winner of the Nick Enright Prize for Playwriting at the NSW Premier’s Literary Awards, the Victorian Literary Prize and the Victorian Premier’s Award for Drama, Helpmann for Best New Work), co-writer with S. Shakthidharan of The Jungle and the Sea (Winner, Best New Work, Sydney Theatre Awards 2022); a stage adaptation of Christina Stead’s The Man Who Loved Children; Chekhov’s The Cherry Orchard and Ivanov, Gorky’s Summerfolk, Sophocles’ Antigone and Ibsen’s Ghosts; co-adapter with Leah Purcell of Ruby Langford Ginibi’s memoir Don’t Take Your Love To Town; and co-deviser of Beautiful One Day with artists from ILBIJERRI, version 1.0, and the community of Palm Island.
For orchestral concert he has adapted and directed A Midsummer Night’s Dream alongside Mendelssohn’s score for the Sydney Symphony Orchestra and Belvoir St Theatre conducted by Simone Young, and directed and co-created Beethoven and Bridgetower with Anna Goldsworthy, Rita Dove and Richard Tognetti for the Australian Chamber Orchestra.
Danny Ball is an actor, writer and producer. He grew up in Melbourne to Italian-Australian parents before moving to Sydney, graduating from NIDA with a BFA (Acting). Previous theatre credits include The Italians and Darwin’s Reptilla (Belvoir 25a). Other theatre credits include Loaded (Malthouse Theatre), Cleansed (Old Fitz), The Making of Sasha Fein (ARA Theatre), […]
Danny Ball is an actor, writer and producer. He grew up in Melbourne to Italian-Australian parents before moving to Sydney, graduating from NIDA with a BFA (Acting).
Previous theatre credits include The Italians and Darwin’s Reptilla (Belvoir 25a). Other theatre credits include Loaded (Malthouse Theatre), Cleansed (Old Fitz), The Making of Sasha Fein (ARA Theatre), Much Ado About Nothing, The Players (Bell Shakespeare). Screen credits include Totally Completely Fine (STAN), A Beginner’s Guide to Grief (SBS), Home & Away (Seven Network).
Danny’s debut play The Italians premiered at Belvoir 25a in 2022 to a sold-out critically acclaimed season and was subsequently filmed by Australian Theatre Live. His play Scab was the 2022 winner of the ATYP Foundation Commission and in 2024 will be published by Playlab.
For Belvoir, Tom’s credits include The Master & 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 […]
For Belvoir, Tom’s credits include The Master & 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.
Russell’s Belvoir credits include Baby Teeth, Toy Symphony, Stuff Happens, Yibiyung, Ray’s Tempest, The Ham Funeral, The Underpants, and The Laramie Project; Born Yesterday, Twelfth Night for Melbourne Theatre Company; God of Carnage, Wonderful World of Dissocia, The Unlikely Prospect of Happiness for the Sydney Theatre Company; Not Like Beckett for Malthouse Theatre; and Below […]
Russell’s Belvoir credits include Baby Teeth, Toy Symphony, Stuff Happens, Yibiyung, Ray’s Tempest, The Ham Funeral, The Underpants, and The Laramie Project; Born Yesterday, Twelfth Night for Melbourne Theatre Company; God of Carnage, Wonderful World of Dissocia, The Unlikely Prospect of Happiness for the Sydney Theatre Company; Not Like Beckett for Malthouse Theatre; and Below for Griffin Theatre Company.
Russell appeared in the ABC television series Rake (Series 1- 4). Other TV credits include Fires, Why are You Like This?, Spirited, Wild Boys, My Place, Scorched, Loot, Black Jack, Irreverent, The Last King of the Cross and In Limbo. Some film credits include Romulus My Father, Slam, Oranges and Sunshine, Clubland, Lantana, Garage Days, Ned Kelly, View From Greenhaven and Hey Hey it’s Esther Blueburger.
Russell’s awards include AFI Award Best Actor in a Leading Role (Soft Fruit), Helpmann Awards (The Lion King, The Addams Family, Stuff Happens, Toy Symphony), Brisbane Theatre Critics Matilda Award (Children of the Devil). His nominations include AACTA Award (Rake, Season 4), AFI Awards (Romulus my Father), Sydney Theatre Award (The Lion King, Toy Symphony), Victorian Green Room Award (Children of the Devil) and Film Critics Circle of Australia (Soft Fruit).
Russell will soon be appearing in the highly anticipated ABC TV series Ladies in Black.
Rebecca Massey is considered one of Australia’s most versatile and accomplished film, television and theatre actresses. She’s been nominated and won numerous awards including a Green Room Award for Best Actress, and two Helpmann nominations. Rebecca has appeared in starring roles for flagship theatre companies all over Australia. Her company Club House Productions produced 44 Sex […]
Rebecca Massey is considered one of Australia’s most versatile and accomplished film, television and theatre actresses. She’s been nominated and won numerous awards including a Green Room Award for Best Actress, and two Helpmann nominations.
Rebecca has appeared in starring roles for flagship theatre companies all over Australia. Her company Club House Productions produced 44 Sex Acts in One Week, as part of this year’s Sydney Festival. She performed Dance Nation for the State Theatre Company of South Australia, The Misanthrope for The Bell Shakespeare Company, Kill Climate Deniers for Griffin Theatre Company, and Chimerica, Dinner, After Dinner, Perplex and Travesties for the Sydney Theatre Company. Belvoir credits include Cat on a Hot Tin Roof. The Book of Everything, Exit the King, It Just Stopped, Stuff Happens, The Underpants, Macbeth, Cloudstreet, The Small Poppies amongst others.
Rebecca has a string of both comic and drama television credits in award winning shows including, Metro Sexual (Seasons 1 & 2), Deep Water, Total Control, Upright, The Principal, Chandon Pictures (Seasons 1 & 2), Lowdown, (Seasons 1 & 2) and Utopia (Seasons 2 – 4). Her film work includes Bad Girl, Accidents Happen, The Black Balloon and Backyard Ashes. She is soon to be seen in ABC’s yet to be released Barons and Del Kathryn Barton’s feature, Blaze.
She is the voice of ‘Mary’ in the Kate’s serial podcast Slushy and ‘Special Agent Maddie Rigs’ for Working Dogs’ adult animation, Pacific Heat.
Shannen Alyce Quan (they/she) graduated from WAAPA in 2014 with a Bachelor of Arts (Music Theatre). Shannen is excited to return to Belvoir this year, after previously performing in Fangirls (2021). Other theatre credits include The Dismissal (Squabbalogic), Metropolis (Hayes Theatre), City of Angels (Joshua Robson Productions), Six The Musical (Sydney Opera House), Spring Awakening […]
Shannen Alyce Quan (they/she) graduated from WAAPA in 2014 with a Bachelor of Arts (Music Theatre).
Shannen is excited to return to Belvoir this year, after previously performing in Fangirls (2021). Other theatre credits include The Dismissal (Squabbalogic), Metropolis (Hayes Theatre), City of Angels (Joshua Robson Productions), Six The Musical (Sydney Opera House), Spring Awakening (CPCA) and Priscilla Queen of the Desert – The Musical (Michael Cassel Group), The Gathering (Vic Theatre Company), Post: A New Musical (Something Blue Productions), Boat People and Tejas Verdes (Theatre 451) and Romeo and Juliet (Australian Shakespeare Company).
Shannen recently finished filming the highly anticipated 6-part limited Netflix series Apple Cider Vinegar, based on the true story of Belle Gibson.
Shannen won two Performing Arts WA Awards: Best Actor and Best Newcomer in Next to Normal (Black Swan State Theatre Company). They were also nominated for Best Performance in a Supporting Role in a Musical at the 2023 Sydney Theatre Awards for their performance in Metropolis.
Guy Simon is a proud Birripi, Worimi, Waddi Waddi and Walbunga man and is the 2024 Balnaves Fellowship recipient. His theatre credits include: My Brilliant Career (Belvoir), Jasper Jones (Belvoir- Return Season & NSW Tour,) The Visitors (STC), Jacky (MTC), The Tempest (STC), White Yella Tree (Griffin Theatre Company), The Return (Malthouse Theatre), Grand Horizons […]
Guy Simon is a proud Birripi, Worimi, Waddi Waddi and Walbunga man and is the 2024 Balnaves Fellowship recipient. His theatre credits include: My Brilliant Career (Belvoir), Jasper Jones (Belvoir- Return Season & NSW Tour,) The Visitors (STC), Jacky (MTC), The Tempest (STC), White Yella Tree (Griffin Theatre Company), The Return (Malthouse Theatre), Grand Horizons (STC),Playing Beatie Bow (STC), First Love is the Revolution (Griffin Theatre Company), Cloudstreet (Malthouse Theatre), The Harp in the South (STC), Strangers in Between (Cameron Lukey Presents), Bright World, (Theatre Works), Jasper Jones (MTC), Blaque Showgirls (Malthouse Theatre, The Battle of Waterloo (STC), The Myth Project: Twin (Arthur, A Theatre Company), Black Diggers (QLD Theatre Company), This Fella, My Memory (Mooghalin Performing Arts, Yellamundie (Mooghalin Performing Arts), Junction (Bakehouse Theatre),Stolen (STC), Lucky (IPAN Productions).
Film: Undertow, Around the Block. TV: The Secret She Keeps S2, Wakefield, The Wrong Girl, Redfern Now 2. Other: Online Series: A Chance Affair. Training: NIDA. Pronouns: He/Him
Awards: 2017 Helpmann for best Male Actor in a Supporting role in a Play
Stephen’s extensive design career spans four decades and embraces set and costume design for features, short films, dance, drama, opera, physical theatre and musicals, including major collaborations with Australia’s leading directors, choreographers, festivals and performance companies. He designed the sets for Company B Belvoir’s first production Signal Driver and has subsequently designed sets and or […]
Stephen’s extensive design career spans four decades and embraces set and costume design for features, short films, dance, drama, opera, physical theatre and musicals, including major collaborations with Australia’s leading directors, choreographers, festivals and performance companies. He designed the sets for Company B Belvoir’s first production Signal Driver and has subsequently designed sets and or costumes for Cursed!, Things I Know To Be True, Barbara And The Camp Dogs, The Drover’s Wife, Twelth Night, The Business, Gwen In Purgatory, Scorched, The Adventures Of Snugglepot & Cuddlepie And Little Ragged Blossom, The Cake Man, It Just Stopped, In Our Name, The Underpants, Svetlana In Slingbacks, Emma’s Nose, The Small Poppies, Cosi, POPULAR MECHANICALS 1 & 2, THE HEADBUTT, Picasso At The Lapine Agile, The Alchemist and The Blind Giant Is Dancing.
Other theatre credits include Platee for Pinchgut Opera; The Secret River for Sydney Theatre Company/London/Edinburgh Festival; I Am Eora for Sydney Festival; Lulu, The Cunning Little Vixen and La Boheme for Opera Australia; Der Ring Des Nibelungen (The Ring Cycle) for State Opera of South Australia; The Hypocrite, Two Brothers and The Blue Room for Melbourne Theatre Company; The Winter’s Tale and Henry Iv for Bell Shakespeare Company; Once In Royal David’s City, Black Diggers and Pygmalion for Queensland Theatre Company.
As a production designer Stephen’s film credits include Looking For Alibrandi, Bedevil and Night Cries. Stephen has published two books, Staging Ideas: Set And Costume Design For Theatre as a guide to the art of theatre design, and The Designer: Decorator Or Dramaturg? as a Platform Paper interrogating the contemporary role of the performance designer.
Mel is a set and costume designer. Costume designs for Belvoir St Theatre include: Japser Jones, Ivanov, Kill The Messenger, Seventeen, Nora, The Glass Menagerie, A Christmas Carol, Elektra/Orestes, The Government Inspector, Hamlet, Angels In America, & Strange Interlude. Set & Costume designs include: Taste Of Honey, Enemy Of The People, Back At The Dojo, Medea and Small & Tired. […]
Mel is a set and costume designer.
Costume designs for Belvoir St Theatre include: Japser Jones, Ivanov, Kill The Messenger, Seventeen, Nora, The Glass Menagerie, A Christmas Carol, Elektra/Orestes, The Government Inspector, Hamlet, Angels In America, & Strange Interlude. Set & Costume designs include: Taste Of Honey, Enemy Of The People, Back At The Dojo, Medea and Small & Tired.
Opera designs include costumes for Lear & Médée for Salzburg Festival; Die Tote Stadt for Bayerisch Staatsoper & Theater Basel and Pelleas Et Melisande for Den Norske Opera & Ballet.
Other theatre credits include costumes for Engel In Amerika for Theater Basel; Drei Schwestern for Theater Basel & L’Odeon; Cat On A Hot Tin Roof, Mary Stuart Les Liasions Dangereuses and Baal for Sydney Theatre Company; La Pompeii for Malthouse Theatre and Complexity Of Belonging for Chunky Move. Set and costume designs include: Lethal Indifference for Sydney Theatre Company; Night Maybe for Theatreworks; Minnie & Liraz and The Apocalypse Bear Trilogy for Melbourne Theatre Company.
Mel was the proud recipient of the 2016 George Fairfax Memorial Award, and has won a Sydney Theatre Award.
Phoebe Pilcher is lighting designer with an interest in new work and collaborative processes. Phoebe is a graduate from WAAPA (Production and Design) and NIDA (MFA Design for Performance). Recent credits include: The Italians (Belvoir 25A), Never Closer (Belvoir 25A) A Streetcar Named Desire (Redline Productions at the Old Fitz), La Cage Aux Folles (State […]
Phoebe Pilcher is lighting designer with an interest in new work and collaborative processes. Phoebe is a graduate from WAAPA (Production and Design) and NIDA (MFA Design for Performance). Recent credits include: The Italians (Belvoir 25A), Never Closer (Belvoir 25A) A Streetcar Named Desire (Redline Productions at the Old Fitz), La Cage Aux Folles (State Theatre and Arts Centre Melbourne), 2024 will see Phoebe make her mainstage debut with Holding The Man directed by Eamon Flack and the transfer production of Never Closer directed by Hannah Goodwin, both for Belvoir.
Alyx Dennison is a singer, composer and sound designer living and working on Gadigal Land. She is a fierce advocate for equality in education and the arts, with a particular interest in work which illuminates (and works to dissolve) systems of class, power and hierarchy. She cut her teeth on experimental pop duo kyü, who toured […]
Alyx Dennison is a singer, composer and sound designer living and working on Gadigal Land. She is a fierce advocate for equality in education and the arts, with a particular interest in work which illuminates (and works to dissolve) systems of class, power and hierarchy.
She cut her teeth on experimental pop duo kyü, who toured extensively and released two critically acclaimed albums (Popfrenzy/Inertia) before disbanding in 2012. She continued her study of classical and experimental vocal traditions abroad as well as some studies in Interactive Composition at the VCA before joining Nick Wales’ ensemble for Shaun Parker Company’s Am I (as vocalist and multi-instrumentalist) which toured internationally. In 2015, she released and toured her self-titled solo LP (Popfrenzy/Caroline) which was lauded as an evolution from her previous work.
She has performed at Meredith Music Festival, Mona Foma, Carriageworks, The State Theatre and played with acts such as LAMB (UK), Sarah Blasko, Juana Molina (Argentina), Xiu Xiu (US) and Deradoorian of The Dirty Projectors (US).
Alyx’s composition and sound design credits for stage include; Grey Rhino by Charmene Yap and Cass Mortimer Eipper for Sydney Festival/Carriageworks 2022, Limbic by Cass Mortimer Eipper for Australasian Dance Collective 2022; The Mother Project a multi-disciplinary work directed by Clemence Williams 2022; for Agatha Gothe-Snape; The Outcome is Certain 2020 and Wet Matter 2020 (lead by Evelyn Morris) for MUMA, Double Beat by Sara Black for Form Dance Projects 2019-2022; for Griffin Theatre Company: Splinter by Hilary Bell and directed by Lee Lewis 2019 and Superheroes by Mark Rogers and directed by Shari Sebbens 2020 (associate to Dave Bergman); for Karul Projects: Mi:wi by Taree Sansbury for Next Wave Festival 2018, WOLLUMBIN / / WARNING 2017 and CO_EX_EN by Thomas E.S. Kelly for Dance Massive 2019, Story Club Solo by Zoe Norton-Lodge for Sydney Opera House 2017. Film credits include; Nataptedi by Yolanda Lowatta for Art_Apart 2022; Liminal for Australasian Dance Collective 2020 and ID for Transit Dance Company 2020 – both choreographed and directed by Cass Mortimer Eipper; a series of short films born of Liverpool Girls’ Highschool’s Refugee Art Project, and Outbreak Generation by Brooke Goldfinch which premiered at Sydney Film Festival in 2017.
She has performed in works by internationally renowned artists such as Agatha Gothe-Snape, Oliver Beer (UK), Patricia Piccinini, Lauren Brincat; and has performed alongside legendary new music vocalist Joan La Barbara (NY), and has appeared in works presented at The Art Gallery of NSW, The Bienale of Sydney, Liveworks Festival of Experimental Art, National Gallery of Australia, MONA and Opéra National de Paris. She has cultivated a practice that enables her love (and compulsion for) experimentation, connection and collaboration, and is honoured to be joining the Belvoir family for Rep Season.
Elle Evangelista loves dancing. Her BELVOIR choreography credits include Holding the Man, The Master and Margarita, The Cherry Orchard, The Boomkak Panto, The Rep Season and A Midnight Summer’s Dream with the Sydney Symphony Orchestra. Her other theatre choreography credits include Twelfth Night (Bell Shakespeare), A Very Expensive Poison (NIDA) and How To Catch A […]
Elle Evangelista loves dancing. Her BELVOIR choreography credits include Holding the Man, The Master and Margarita, The Cherry Orchard, The Boomkak Panto, The Rep Season and A Midnight Summer’s Dream with the Sydney Symphony Orchestra. Her other theatre choreography credits include Twelfth Night (Bell Shakespeare), A Very Expensive Poison (NIDA) 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.
Nigel is an award-winning movement director, fight and intimacy coordinator, SAG-AFTRA/MEAA stunt performer and actor, with over 25 years of professional experience. Selected theatre credits include: for Belvoir St Theatre, Holding the Man, The Master and Margarita, Miss Peony, Packer and Sons, Things I Know To Be True, Stop Girl, Blessed Union, At What Cost?, […]
Nigel is an award-winning movement director, fight and intimacy coordinator, SAG-AFTRA/MEAA stunt performer and actor, with over 25 years of professional experience. Selected theatre credits include: for Belvoir St Theatre, Holding the Man, The Master and Margarita, Miss Peony, Packer and Sons, Things I Know To Be True, Stop Girl, Blessed Union, At What Cost?, The Jungle and the Sea; for Sydney Theatre Company, Oil, On The Beach, Do Not Go Gentle, Fences; for Bell Shakespeare, Twelfth Night, Romeo and Juliet, Macbeth; for Melbourne Theatre Company, Bernhardt/Hamlet; for Ensemble Theatre, Memory of Water, Mr Bailey’s Minder, Suddenly Last Summer. Nigel’s film and television work includes: Deadloch, Nautilus, Poker Face, Thor: Love and Thunder, Spiderhead, Ding Dong I’m Gay, Occupation 2, Pirates of the Caribbean V, Deadline Gallipoli, The Water Diviner, The Bourne Legacy, Vikingdom and Winter’s Tale.
In 2021, Nigel was awarded the status of Fight Master with the Society of American Fight Directors, as one of only two recipients outside the US with this accolade. He has also won a Green Room Award for outstanding contribution to the stage.
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 […]
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 Into The Woods, directed by Eamon Flack (2023), Blue, directed by Deborah Brown (2023), 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).
Matty James is a Sydney based sound designer, engineer and composer practicing and creating on Gadigal land. Matty is an Alumni from the Australian Institute of Music, a trained recording engineer and lover of heavy vintage synths. A familiar face in the Belvoir family, Matty has mixed a range of shows for the company and […]
Matty James is a Sydney based sound designer, engineer and composer practicing and creating on Gadigal land. Matty is an Alumni from the Australian Institute of Music, a trained recording engineer and lover of heavy vintage synths. A familiar face in the Belvoir family, Matty has mixed a range of shows for the company and brings a wealth of technical and creative expertise to any production.
Matty’s Belvoir credits include The Master and Margarita (FOH Mix Engineer), Robyn Archer: An Australian Songbook (Technical Sound Designer), Lady Day at Emerson’s Bar and Grill (FOH Mix Engineer), The Weekend (FOH Audio Engineer), Miss Peony (FOH Audio Operator), Into The Woods (Microphone Tech).
Other Theatre credits include INdance – Audio Programmer (Sydney Dance Company); Lohengrin – Sound Designer, Aida – Sound Engineer, Madame Butterfly -Sound Engineer, Le Juive – Sound Engineer, La Traviata – Sound Engineer, Marriage of Figaro – Sound Engineer, La Boheme – Sound Engineer, Turandot – Sound Engineer, Attila – Sound Engineer, Aida – Sound Engineer (Opera Australia).
ALICE OSBORNE is a theatre maker, director and puppeteer. For Belvoir, she was Puppetry Director for RUBY’S WISH. For Sydney Opera House, she co-wrote and directed WHAT THE OCEAN SAID and multiple productions for the Creative Leadership in Learning program. Alice was Puppetry and Movement Director for the Australian production of WAR HORSE (National Theatre […]
ALICE OSBORNE is a theatre maker, director and puppeteer. For Belvoir, she was Puppetry Director for RUBY’S WISH. For Sydney Opera House, she co-wrote and directed WHAT THE OCEAN SAID and multiple productions for the Creative Leadership in Learning program. Alice was Puppetry and Movement Director for the Australian production of WAR HORSE (National Theatre of Great Britain), THE SPLINTER (Sydney Theatre Company), DIARY OF A WOMBAT, POSSUM MAGIC and EDWARD THE EMU (Monkey Baa), ALPHABETICAL SYDNEY and BLACK SUN/BLOOD MOON (Critical Stages), and Justine Clarke’s LOOK LOOK IT’S A GOBBLEDYGOOK. As Performer, Alice was a member of Compagnie Philippe Genty (Paris), and My Darling Patricia (Sydney). She co-created and performed FALLING WOMAN (Performance Space). Her television credits as Puppeteer include DIDI & B (Nickelodean), ME & MY MONSTERS, FIVE MINUTES MORE, FARSCAPE (The Jim Henson Company), and THE UPSIDE DOWN SHOW (Sesame Workshop). Alice holds a Bachelor of Theatre/Media from Charles Sturt University, Bathurst. She also holds a Master of Occupational Therapy from The University of Sydney and is a registered Occupational Therapist working in inpatient mental health.
James is an award winning playwright, screenwriter and director. His plays have been nominated in the NSW Premier’s Literary Award three years consecutively, shortlisted twice in the Rodney Seaborne Award, four time award winner in the Sydney Theatre Awards and is a three time Silver Gull Playwriting Award shortlist. Son of Byblos 2022 Belvoir 25. […]
James is an award winning playwright, screenwriter and director. His plays have been nominated in the NSW Premier’s Literary Award three years consecutively, shortlisted twice in the Rodney Seaborne Award, four time award winner in the Sydney Theatre Awards and is a three time Silver Gull Playwriting Award shortlist. Son of Byblos 2022 Belvoir 25. In 2023-2024, James wrote, directed and produced his second short film about Lebanese migration, Seeds of Gold. In 2022, James directed and produced his short film Yannis which has officially been selected in more than 17 Film Festivals around the world including Los Angeles, Poland, Lebanon, Greece and Italy. It has since won Best Performances in the 2022 LGBTQI+ Los Angeles Film Festival and nominated 7 times in the Made in The West Film Festival, including best director and screenplay, winning best Lead Actor. James’ sold out theatre stage plays include Lady Tabouli, Queen Fatima and Omar and Dawn.
Thinesh Thillainadarajah is an Eelam Tamil Queer creative hailing from Toronto, Canada. Whilst his formal training was in law, sound design and music production, his creative interests have been multi-faceted. His ideas around community, multiculturalism and identity were heavily influenced by his upbringing in Toronto and shows up in the work he creates. Thinesh’s previous […]
Thinesh Thillainadarajah is an Eelam Tamil Queer creative hailing from Toronto, Canada. Whilst his formal training was in law, sound design and music production, his creative interests have been multi-faceted. His ideas around community, multiculturalism and identity were heavily influenced by his upbringing in Toronto and shows up in the work he creates.
Thinesh’s previous community engagement work includes work for the Darlinghurst Theatre Company, Griffin Theatre Company and the Belvoir Street Theatre. Outside of his community engagement work, he is the creative producer of Hot Sauce, curating intimate gatherings to roving dance parties that aim to create an intentional space to celebrate the lives of queer people of colour.
Thinesh also guest produces episodes for Shoes Off, a podcast series exploring and celebrating what it means to be Asian in Australia. Most recently, he won for Best News & Current Affairs at the Australian Podcast Awards for You Have Been Told A Lie, a podcast series chronicling the Nadesalingam family’s journey to Australia, the geopolitical and national forces at play when it comes to Australia’s immigration policy, and what this all says about Australian identity.
Luke is Belvoir’s Resident Stage Manager. For Belvoir, he has stage managed Holding the Man, Master and Margarita, The Weekend, Scenes from the Climate Era, Blessed Union, The Jungle and the Sea, Tell Me I’m Here, Opening Night, The Boomkak Panto, Stop Girl, My Brilliant Career, A Room of One’s Own, Packer & Sons, Things […]
Luke is Belvoir’s Resident Stage Manager. For Belvoir, he has stage managed Holding the Man, Master and Margarita, The Weekend, Scenes from the Climate Era, Blessed Union, The Jungle and the Sea, Tell Me I’m Here, Opening Night, The Boomkak Panto, Stop Girl, My Brilliant Career, A Room of One’s Own, Packer & Sons, Things I Know To Be True, Counting and Cracking, The Dance of Death, A Taste of Honey, Sami in Paradise, Barbara and the Camp Dogs, Ghosts, The Rover, Mark Colvin’s Kidney, Faith Healer, Twelfth Night or What You Will, The Great Fire, Mortido, Seventeen, Elektra/Orestes, Radiance, The Glass Menagerie, Brothers Wreck, Once in Royal David’s City, Miss Julie, Forget Me Not, Peter Pan (including New York tour), Private Lives, Death of a Salesman, Babyteeth, Summer of the Seventeenth Doll, Neighbourhood Watch, The Wild Duck (including UK and Europe tours), Namatjira (Belvoir/Big hART), Page 8, The End, That Face, The Promise, Scorched, Antigone, Keating!, The Little Cherry Orchard and The Caucasian Chalk Circle. His other credits include The Pig Iron People, The Give and Take, Bed, La Dispute (Sydney Theatre Company); Like a Fishbone (STC / Griffin); The Government Inspector, The Tempest, The Servant of Two Masters, The Comedy of Errors, The Taming of the Shrew (Bell Shakespeare); Paradise City, Through the Wire (Performing Lines); and Alive at Williamstown Pier (Griffin).
Mia Kanzaki is a Sydney based stage manager who is passionate about diverse stories and inclusive practices in the arts. She is a graduate of WAAPA’s Bachelor of Performing Arts (Stage Management). As Stage Manager, her credits include Tiddas (Belvoir) and The Face of Jizo (Red Line Productions). As Assistant Stage Manager, her credits include Holding the Man, Blessed Union, […]
Mia Kanzaki is a Sydney based stage manager who is passionate about diverse stories and inclusive practices in the arts. She is a graduate of WAAPA’s Bachelor of Performing Arts (Stage Management). As Stage Manager, her credits include Tiddas (Belvoir) and The Face of Jizo (Red Line Productions). As Assistant Stage Manager, her credits include Holding the Man, Blessed Union, the At What Cost? National Tour, The Weekend (Belvoir), and Summer of Harold (Ensemble Theatre).
Sam Rechichi (he/him) is a graduating student of WAAPA’s Bachelor of Performing Arts (Stage Management). Credits include: Holding the Man (Belvoir), Assistant Stage Manager: Night Songs at Coney Island (Sydney Festival), Stage Manager: Cats (WAAPA), Deputy Stage Manager: Caress/Ache (WAAPA), Orchestra Manager: The Pajama Game (WAAPA), Assistant Stage Manager: Cabaret (WAAPA).
Sam Rechichi (he/him) is a graduating student of WAAPA’s Bachelor of Performing Arts (Stage Management). Credits include: Holding the Man (Belvoir), Assistant Stage Manager: Night Songs at Coney Island (Sydney Festival), Stage Manager: Cats (WAAPA), Deputy Stage Manager: Caress/Ache (WAAPA), Orchestra Manager: The Pajama Game (WAAPA), Assistant Stage Manager: Cabaret (WAAPA).
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AUSTRALIAN CLASSIC
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Deborah was last at Belvoir in Company B’s Greek Tragedy. Other theatre credits include: Wicked Sisters (Griffin), Lady Tabouli (National Theatre Of Parramatta/Sydney Festival), Gods Of Strangers (State Theatre Company South Australia), The God Committee, Heartbreak Kid (Ensemble/tours), The Shearston Shift (Sydney Theatre Company/Australian People’s Theatre/tours), I’m With Her, The Mystery of Love & Sex (Darlinghurst Theatre Company), Metamorphoses (Apocalypse/Old Fitz), Unfinished Works, Homesick (Bontom), Seagull (Secret House), Mum’s The Word (Burberry Productions/Australian tours/SOH Playhouse/Glen Street), Dropped (The Goods Theatre Company/Old Fitz), House of Ramon Iglesia (MopHead/Old Fitz), A Kind of Alaska, Suddenly Last Summer, Hotel Hibiscus (NIDA company), Antigone (Sport For Jove), Boswell for the Defence (Sydney Festival), Who’s Afraid of Virginia Woolf? (theatrongroup). Television credits: Children’s Hospital, My Place, Police Rescue, G.P., Pulse, Rake, Redfern Now (ABC), Camp (NBC/Matchbox), Murder Call (Nine Network), A Country Practice, All Saints, Home and Away (Seven Network). Film credits: Chasing Comets, Balls, Boys From The Bush, Cavity, Inside Out, No Worries, The Premonition, and Razzle Dazzle. A NIDA, Trinity College London, and Sydney University graduate, Deborah’s been nominated for several Sydney Theatre Awards, and is a proud MEAA Member since 1990.
Deborah was last at Belvoir in Company B’s Greek Tragedy. Other theatre credits include: Wicked Sisters (Griffin), Lady Tabouli (National Theatre Of Parramatta/Sydney Festival), Gods Of Strangers (State Theatre Company South Australia), The God Committee, Heartbreak Kid (Ensemble/tours), The Shearston Shift (Sydney Theatre Company/Australian People’s Theatre/tours), I’m With Her, The Mystery of Love & Sex (Darlinghurst Theatre Company), Metamorphoses (Apocalypse/Old Fitz), Unfinished Works, Homesick (Bontom), Seagull (Secret House), Mum’s The Word (Burberry Productions/Australian tours/SOH Playhouse/Glen Street), Dropped (The Goods Theatre Company/Old Fitz), House of Ramon Iglesia (MopHead/Old Fitz), A Kind of Alaska, Suddenly Last Summer, Hotel Hibiscus (NIDA company), Antigone (Sport For Jove), Boswell for the Defence (Sydney Festival), Who’s Afraid of Virginia Woolf? (theatrongroup). Television credits: Children’s Hospital, My Place, Police Rescue, G.P., Pulse, Rake, Redfern Now (ABC), Camp (NBC/Matchbox), Murder Call (Nine Network), A Country Practice, All Saints, Home and Away (Seven Network). Film credits: Chasing Comets, Balls, Boys From The Bush, Cavity, Inside Out, No Worries, The Premonition, and Razzle Dazzle. A NIDA, Trinity College London, and Sydney University graduate, Deborah’s been nominated for several Sydney Theatre Awards, and is a proud MEAA Member since 1990.
Deborah was last at Belvoir in Company B’s Greek Tragedy. Other theatre credits include: Wicked Sisters (Griffin), Lady Tabouli (National Theatre Of Parramatta/Sydney Festival), Gods Of Strangers (State Theatre Company South Australia), The God Committee, Heartbreak Kid (Ensemble/tours), The Shearston Shift (Sydney Theatre Company/Australian People’s Theatre/tours), I’m With Her, The Mystery of Love & Sex (Darlinghurst Theatre Company), Metamorphoses (Apocalypse/Old Fitz), Unfinished Works, Homesick (Bontom), Seagull (Secret House), Mum’s The Word (Burberry Productions/Australian tours/SOH Playhouse/Glen Street), Dropped (The Goods Theatre Company/Old Fitz), House of Ramon Iglesia (MopHead/Old Fitz), A Kind of Alaska, Suddenly Last Summer, Hotel Hibiscus (NIDA company), Antigone (Sport For Jove), Boswell for the Defence (Sydney Festival), Who’s Afraid of Virginia Woolf? (theatrongroup). Television credits: Children’s Hospital, My Place, Police Rescue, G.P., Pulse, Rake, Redfern Now (ABC), Camp (NBC/Matchbox), Murder Call (Nine Network), A Country Practice, All Saints, Home and Away (Seven Network). Film credits: Chasing Comets, Balls, Boys From The Bush, Cavity, Inside Out, No Worries, The Premonition, and Razzle Dazzle. A NIDA, Trinity College London, and Sydney University graduate, Deborah’s been nominated for several Sydney Theatre Awards, and is a proud MEAA Member since 1990.
Deborah was last at Belvoir in Company B’s Greek Tragedy. Other theatre credits include: Wicked Sisters (Griffin), Lady Tabouli (National Theatre Of Parramatta/Sydney Festival), Gods Of Strangers (State Theatre Company South Australia), The God Committee, Heartbreak Kid (Ensemble/tours), The Shearston Shift (Sydney Theatre Company/Australian People’s Theatre/tours), I’m With Her, The Mystery of Love & Sex (Darlinghurst Theatre Company), Metamorphoses (Apocalypse/Old Fitz), Unfinished Works, Homesick (Bontom), Seagull (Secret House), Mum’s The Word (Burberry Productions/Australian tours/SOH Playhouse/Glen Street), Dropped (The Goods Theatre Company/Old Fitz), House of Ramon Iglesia (MopHead/Old Fitz), A Kind of Alaska, Suddenly Last Summer, Hotel Hibiscus (NIDA company), Antigone (Sport For Jove), Boswell for the Defence (Sydney Festival), Who’s Afraid of Virginia Woolf? (theatrongroup). Television credits: Children’s Hospital, My Place, Police Rescue, G.P., Pulse, Rake, Redfern Now (ABC), Camp (NBC/Matchbox), Murder Call (Nine Network), A Country Practice, All Saints, Home and Away (Seven Network). Film credits: Chasing Comets, Balls, Boys From The Bush, Cavity, Inside Out, No Worries, The Premonition, and Razzle Dazzle. A NIDA, Trinity College London, and Sydney University graduate, Deborah’s been nominated for several Sydney Theatre Awards, and is a proud MEAA Member since 1990.