the Queensland Theatre Company QTC

QTC Early History

A COMPANY united

The Queensland Theatre Company (today, now known as “Queensland Theatre”) is the state theatre company of Queensland, established by statuteDownload PDF format on 8 April 1970, with Royal Assent given to the Act of Parliament, which incorporated the company on April 10, 1970, and the 3rd largest in Australia.  In 2020, it virtually celebrated 50 years.

In the 1960’s, a quasi-professional performing arts group called the “College Players” led by director Bryan Nason at the University of Queensland, having no theatre of their own, led the charge to establish a fully professional state theatre company had been attracting attention throughout Brisbane and the parts of the State to which they regularly toured.

In the late ’60’s, the Australia Council had made a decision to fund a state company in every Australian state. On February 11, 1969, the Queensland government State Cabinet decided that a Board be appointed to form a State theatre company. This was the first time in Australia that a theatre company had been incorporated by Act of Parliament and it was regarded by many as an unusual. In introducing the bill which became the Queensland Theatre Company Act 1970 to Parliament, The Hon. A.R. Fletcher (later Sir Alan), then Minister for Education and Cultural Activities stated, “The formation of the Queensland Theatre Company is a natural, logical and necessary stage in the growth of the creative and performing arts in this lusty young state.”

co Australian Elizabethan Theatre TrustThe Australian Elizabethan Trust, were suggesting that Peter Shaffer’s THE ROYAL HUNT OF THE SUN could be presented as QTC’s first production. By coincidence, the College Players were planning a Brisbane season of the same play, to be directed by the Players’ leader, Bryan Nason. While on tour, the Players’ Production Manager, Don Batchelor, discovered the parallel plan.

QTC Poster THE ROYAL HUNT OF THE SUN 1969 QTCA meeting between the QTC Board and the College Players was arranged, resulting in the appointment of Bryan Nason as guest director and Don Batchelor as Production Manager for QTC’s inaugural presentation of THE ROYAL HUNT OF THE SUN which opened on 1 October 1969 at the SGIO, Produced, Directed and Designed by Bryan Nason with Reg Cameron, Jane Harders, Allen Lander, Peter Lavery and Rod Wissler.  The opening night saw processions along Turbot Street accompanied by band music and flaming torches. Inside the SGIO Theatre the play was welcomed by an enthusiastic audience. The audience responded well to the play’s spectacle. By its closing date, over 8,000 people had attended. [See more images of QTC’s The Royal Hunt of the Sun]

Around the same time, the board had to choose between the various options of promoting one of the local amateur companies to professional or starting a new company. The board failed to come to an agreement and the government intervened. The Queensland Theatre Company (“QTC”) was established as a brand new entity, granted statutory recognition in 1970 and became the first federally funded professional theatre company in Queensland. It is a non-profit statutory authority governed by a Board of Directors and its Patron, the Governor of Queensland.

Alan Edwards photo (QTC) 10th AnniversaryA recruitment campaign by the Queensland Theatre Company received a total 61 applicants scattered worldwide for the post of Artistic Director. Bryan Nason was not engaged as the founding artistic director in favor of Englishman Alan Edwards, at the time a tutor in acting at the National Institute of Dramatic Art (NIDA) at the University of New South Wales. He’d been in Australia for 5 years and as well as teaching and directing at NIDA he had acted at Sydney’s Old Tote Theatre and on A.B.C. and commercial TV. He’d received his training at the Old Vic Theatre School, and, after acting in English theatre, films, radio and TV, he taught and directed plays at the Royal Academy of Dramatic Art (RADA) and at the Central School of Speech Training and Dramatic Art in London. He was considered (and proven to be) the most suitable. On July 15, 1969, Alan flew to Brisbane for the interview. While awaiting his return flight at the airport, he received a page to take a phone call, where the QTC board chairman, Sir David Muir, told him he got the job.
co SGIO Ad Logo
The QTC moved into the 611 seat SGIO Theatre.— “a theatre of distinction, and fully air-conditioned!”  The SGIO Theatre served as the administrative, creative and marketing hub of the QTC, as well as providing rehearsal space and of course its primary performance space.

QTC Poster A Rum Do 1970 QTCThe first production Alan Edwards directed was the premiere of an Australian musical with book and lyrics by Rob Inglis and music by Robin Wood called A RUM DO! which opened on April 10, 1970 coinciding with the day that Royal Assent was given to the Act of Parliament which incorporated the Company and its selection influenced by the Captain Cook Bi-Centenary Celebrations. A RUM DO! was set in Sydney in 1825. It told the story of Governor Macquarie and his achievements as a builder and of Francis Greenaway the convict architect who helped him achieve his aims. In development, before transitioning to a musical form, it was called THE OLD VICEROY. 

A RUM DO! was designed by Cliff Simcox with choreography by Keith Bain and a cast headed by Raymond Duparc, Elaine Cusick, Ken Kennett, Geraldine Turner and Murray Foy. None of the creative team was very happy with the final title, but all agreed it was better-suited to the regal occasion than the working title, EVERYBODY SNIFF YOUR NEIGHBOUR. A special performance on April 13, 1970 was held in the presence of HM Queen Elizabeth II, HRH The Duke of Edinburgh and HRH The Princess Anne [Official Itinerary Book in PDF]. Critical reaction was mixed, ranging from David Rowbotham of the Courier Mail The finest Australian musical I’ve seen” to “The disappointment of the decade”. Following a 4 week run of 27 performances, 11,076 people had attended. A RUM DO! toured Queensland to Stanthorpe, Toowoomba, Roma, Longreach, Innisfail, Cairns, Ingham, Townsville, Mackay, Rockhampton, Bundaberg and Nambour. [See more images of QTC’s A Rum Do!]

The ‘Golden Years’

QTC oh what a lovely warQTC youre a good man charlie brownQTC godspellQTC gypsyQTC annieQTC hello dolly 1QTC applause

For the first years the company began each season with a musical and these were its best attended productions, for example, early musicals OH, WHAT A LOVELY WAR (the first time the HOUSE FULL signs were produced and stayed on display); LOCK UP YOUR DAUGHTERS; YOU’RE A GOOD MAN CHARLIE BROWN; GODSPELL; GYPSY; ANNIE; HELLO, DOLLY! and APPLAUSE were some of the iconic QTC musicals.

A core group of now iconic actors formed the base acting company pool, and whom quickly became recognizable and adored by audiences. Alan Edwards regular performances were a feature of the QTC under his leadership.

Theatre of Influence (1974 QTC) feature Elizabethan Trust News pg 1  Theatre of Influence (1974 QTC) feature Elizabethan Trust News pg 2

The Actors' & Entertainers Benevolent Fund of Queensland AEBFThe charity The Actors’ & Entertainers Benevolent Fund of Queensland was started by Alan in 1975 and he was the inaugural president of the organization. Alan served in that role until 1994.

As the company established itself the audience base grew, thanks additionally to a clever subscription program supported by large team of volunteers, the unique introduction of the Wednesday morning matinee with 100% attendances and a gutsy programming model including both commercial lineup of annual musicals, Shakespeare, famous dramas, along with Australian plays and occasionally edgy (for it’s time and place) picks…

QTC Poster EQUUS 1975 QTCThe Queensland Theatre Company opened its 1975 season with Peter Shaffer’s EQUUS, complete with an infamous 3-minute nude scene. Under then Premier of Queensland, Joh Bjelke-Petersen’s conservative reign, the idea of the state theatre company staging a scene with actors in the buff made most of Brisbane very nervous, but the controversy meant the city was buzzing too.  The young duo of David Waters and Gaye Poole would appear naked, and for whom the threat of arrest was very real.  The Company soothed any jitters by agreeing to cover their legal fees. In the end, tact, diplomacy and cool heads prevailed. Despite a police presence at the show at the SGIO Theatre, there were no pickets, and more than 20,000 audience members saw EQUUS during its smash hit run. There was not a single complaint. [See more images of QTC’s Equus]

By 1979, total Queensland, attendance figures at QTC productions reached 2,078,326 theatregoers which included 1,155,197 primary and secondary school students throughout Queensland. Major productions in Brisbane hosted 749,363 patrons and some of the best of these shows toured the state to a further 173,766 ticket buyers.

QTC a midsummer nights dreamQTC as you like itQTC the tempestQTC much adoQTC henry v

In 1979 the QTC opened its first outdoor play, A MIDSUMMER NIGHT’S DREAM, staged as part of the Warana Festival celebrations in Albert Park which was so successful, the annual tradition of performing a Shakespeare play continued in the Albert Park for many years, with AS YOU LIKE IT (1981), THE TEMPEST (1982), MUCH ADO ABOUT NOTHING (1983), HENRY V (1984) and THE MERRY WIVES OF WINDSOR (1987).

Many of the Albert Park Shakespearean presentations aimed at celebrating the professional performing arts in Brisbane, and the standards they had reached in such a short time. They generally involved the 3 major state companies — the Queensland Theatre Company, the Queensland Ballet Company and the Queensland Opera Company. The Queensland Theatre Orchestra also participated along with dancers from the newly-formed Australian Youth Ballet.

Spotlight Joe MacColum (1979 QTC) feature Theatre AustraliaIn 1979, in place of a resident company of artists, the policy evolved to cast as wide as possible for the best ad hoc cast available for each production. This gave audiences a continual stream of new faces, many of them established identities. Resident Director Joe MacColum, finished his full time duties on December 31, 1978 and was replaced by John Krummel. Since his graduation from NIDA, where he had been a pupil of both Alan Edwards and Joe MacColum, John Krummel had won many acting awards but now turned his talents to directing and occasional acting.

Gregory Gesch was appointed as Resident Director in late 1982, replacing John Krummel, and stayed in that role until 1990.  Greg first joined the QTC in 1972 for a Theatre in Education tour of ANTIGONE (1972) making his association one of the longest serving in company history, zig-zagging as both a beloved actor and director entirely during the golden years.

Amadeus  Long Days Journey QTC  Saturday Sunday Monday  Cat on a Hot Tin Roof   Richard III  Streetcar Named Desire  King Lear  Man Who Came to Dinner  Hedder Gabler


Map of QueenslandTheatre in Education (TIE) was an important element of the company’s artistic creative work, reaching vast audiences and influencing many lives over a long period of time. One of QTC’s major objectives was to stress the “Queensland” part of its title by serving not just the capital city but the entire state and regularly to rural NSW. From the beginning, as part of its charter, the QTC reached out to the entire state. More than any other state company.  See more about the extensive and incredible achievements of the Theatre in Education programs.

QTC 10th Anniversary StickerBy the end of its first 10 years, the Queensland Theatre Company emerged as one of Australia’s leading companies, riding high in public prestige in its own state and its interstate reputation had never been stronger. Lewis Savage’s subscription management with a stimulating innovation in 1979 was the formation of the Queensland Theatre Company Guild led by Magda Wollner, which helped season ticket subscriptions reach 10,000 patrons, an incredible achievement.

co QTC Tangent

QTC Tangent Productions was formed in 1981 to mount experimental work in a converted office building on Edward Street. The plays were innovative and entertaining. QTC Tangent Productions gave artists a chance to extend and develop their horizons. QTC commissioned new works and music and produced world premieres. It’s 4 years of creative success was an important building block of the companies development.

RQTC logoRoyal visit A RUM DO (1970 QTC)The company sought and received a Royal Charter, and was granted the prefix “Royal” in 1984 when renamed the Royal Queensland Theatre Company (“RQTC”). This extraordinary achievement coming within 15 years since inception was celebrated with multiple Royal visits to company productions. Royal Charters are tightly controlled and reserved for Commonwealth organizations that work in the public interest, which helped greatly raise the public profile and status of the company. The RQTC became one of a tiny handful of theatre companies outside of the UK celebrated as such.

In 1985 the RQTC opened the new Cremorne Theatre in the Queensland Performing Arts Complex (QPAC) with a production of CHEAPSIDE by David Allen.

After 19 years, Alan Edwards retired as artistic director in 1988, but continued to direct and act in many productions.

Taming of the Shrew 1975 QTC construction workshopAlong with Alan’s vision, creativity and leadership, which can never be over-estimated or accurately assessed, a large number of people deserve tribute, not the least the hardworking and industrious members of the Board, executive and production staff. At the Board level the guidance and community influence inaugurated by Sir David Muir continued by his successor, W.R.J. Riddel. During his 7 years as Production Manager John Watson was responsible for the soaring growth of QTC’s technical production resources, from a work-bench to a thriving enterprise. Gillian Coar, the Executive Officer and Secretary to the Board, was the one member of the staff to have worked from the very beginning to Alan’s departure.

The names of Joe MacColum, Murray Foy, Gregory Gesch, Lloyd Nickson and Arthur Frame will always be found high on the list of those who shared the dedication, persistence, inspiration and hard work of Alan’s stabilizing and guiding influence.

See a glimpse behind the scenes of these golden years.


Theatre Australia press March 1977 regarding QPAC wwwIn 1997, the RQTC after complaining for serious need for a rehearsal space the State Government gave the QTC an old Brisbane building called “The Shed” so for the first time in its history the company now had its own rehearsal rooms, and a place in the emerging arts precinct of South Bank.  This now gave the RQTC two places to perform…  The Shed and The South Bank Playhouse.

QTC marriage of figarroOn August 31, 1997 the RQTC production of Director Neil Armfield’s take on the 1778 play THE MARRIAGE OF FIGARO — the basis for the Mozart opera starring Geoffrey Rush, Bille Brown, Robyn Nevin, Jennifer Flowers, Andrew Buchanan, Leah Purcell and Gerry Connolly, opened the new 850 seat South Bank Playhouse (then called “Optus Playhouse”) built within the QPAC complex.

co QTC 2001 2016 logosSurprisingly, the company decided to drop the ‘Royal’ prefix from the company’s name in 2001 returning its name to the original iconic Queensland Theatre Company, yet while introducing an array of different brand logos under different Artistic Directors.

During rehearsals for THE TRAGEDY OF KING RICHARD THE SECOND in September 2001, Alan Edwards made the painful decision to permanently retire from acting.

In 2002 the Queensland Theatre Company moved from its previous home in The Shed to a new purpose-built site on Montague Road. The building includes two performance spaces: Bille Brown Theatre and the Diane Cilento Studio,  The Bille Brown Theatre is a 351-seat theatre and the main venue for Queensland Theatre which reopened in October 2018 after a $5.5 million renovation which converted it from the former 228-seat Bille Brown Studio. The new site brought together all sections of the company under one roof. The three-storey building contains costume and props departments, administration offices, a box office and production facilities. It is also next door to the company’s set construction warehouse.

In January 2003, QTC founding Artistic Director Alan Edwards AM MBE passed away.

SGIO Theatre (Brisbane, QLD) (circa 2019) Artist MemorialSadly the SGIO Theatre (renamed the Suncorp Theatre in 1986) was demolished in July 2007. In 2009, a permanent art installation to celebrate the vast production history of the QTC at the SGIO Theatre was unveiled on the exterior facade of Turbot Street.

The Queensland Theatre Company dropped the “Company” from its name in 2016, thereafter known only as “Queensland Theatre“.

In 2017, Queensland Theatre (company) reached its largest audience in the 50-year history of the entity when over 188,450 saw a Queensland Theatre (company) show in 55 theatres around the world. The season included the highest grossing show ever in Queensland.

In 2019, Queensland Theatre (company) maintained 6,869 season ticket holders, a 20 year high.

None of the Queensland Theatre Company’s success would have been possible without the financial assistance received from the Queensland State Government through Arts Queensland and the Commonwealth Government through the Theatre Board (Major Performing Arts Board) of the Australia Council, nor the QTC’s loyal and dedicated subscribers.


Queensland Theatre Company
Productions 1969-1989

The Royal Hunt of the Sun (SGIO) [1 October 1969] A Rum Do! (SGIO & Tour) [10 April 1970] Words and Music (TIE Tour) [1970]  Philadelphia Here I Come! (SGIO & Tour) [3 July 1970] Wait Until Dark (SGIO) [23 September 1970] A Great Prince in Prison Lies (TIE Tour) [1970] The Jewel in the Head of the Toad (TIE Tour) [March 1970] The Wrong Side Of The Moon (SGIO) [1971] Oh What a Lovely War (SGIO) [12 March 1971] Hadrian VII (SGIO) [10 April 1971] The Ghost Train (SGIO) [8 May 1971] A Cloak, A Crown and a Sword (TIE Tour) [1971] Meet Mr. Brutus (TIE Tour) [1971] Poetry is People (TIE Tour) [1971]  The Associates (SGIO) [5 June 1971] She Stoops to Conquer (SGIO & Tour) [16 July 1971] Burke’s Company (SGIO) [13 August 1971] The Wind in the Sassafras Trees (SGIO) [10 September 1971] The Legend of King O’Malley (SGIO & Tour) [29 December 1971] Antigone (TIE Tour) [1972] Puss in Boots (SGIO) [1972] That’s What I Said (TIE Tour) [1972] What’s In It For Me? (TIE Tour) [March 1972] Lock Up Your Daughters (SGIO) [10 March 1972] Assault with a Deadly Weapon (SGIO) [7 April 1972] The Man, the Spirit Fish and the Rainbow Snake (TIE Tour) [31 May 1972] The Badly Behaved Bunyip (TIE Tour) [31 May 1972] The Schoolmistress (SGIO & Tour) [16 June 1972] Twelfth Night (SGIO) [14 July 1972] The Ruling Class (SGIO) [11 August 1972] You’re a Good Man, Charlie Brown (SGIO & Tour) [September 1972] A Masque in Honour of the City of Brisbane (SGIO) [29 September 1972] The Masks (TIE Tour) [1972] Rain, Rain Go Away (TIE Tour) [1972]  Mr Punch (TIE Tour) [1973/1974]  Expresso Bongo (SGIO) [1 March 1973] Juno and the Paycock (SGIO) [29 March 1973] The National Health or Nurse Norton’s Affair (SGIO) [26 April 1973] President Wilson in Paris (La Boite) [22 May 1973] White with Wire Wheels (La Boite) [4 June 1973] The Chocolate Frog and The Old Familiar Juice (La Boite) [18 June 1973] Pygmalion (SGIO) [5 July 1973] The Imaginary Invalid (SGIO) [2 August 1973] Old Times (SGIO) [30 August 1973] The Effect of Gamma Rays on Man-In-The-Moon Marigolds (SGIO & Tour) [1 November 1973] Suddenly at Home (SGIO) [29 November 1973] Aladdin (SGIO) [27 December 1973] The Two of Us (Tour) [1973] Sir Oliver Crumple (TIE Tour) [1973/1974] Dumb Waiter (TIE Tour) [1973] Color Me Proper, Blue (TIE Tour) [1973] Good Morning 9B2 (TIE Tour) [1973]  Mandrake (SGIO) [1974] Godspell (Tour) [March 1974] Death of a Salesman (SGIO) [21 March 1974] Godspell (SGIO & Tour) [2 May 1974] The Rivals (SGIO) [27 June 1974] The Philanthropist (SGIO) [25 July 1974] Summer of the Seventeenth Doll (SGIO) [22 August 1974] Present Laughter (SGIO) [19 September 1974]  The Doll’s House (SGIO) [21 November 1974] The Owl and the Pussycat Went to See… (SGIO) [26 December 1974] Punch No. 11 (TIE Tour) [1974] The Carrot & The Munchy Monster (TIE Tour) [1974] The Maiden at the Gate (TIE Tour) [1974] The Maiden and the Jester (TIE Tour) [1974] Under Milkwood (TIE Tour) [1974] An Evening with Merlin Finch (TIE Tour) [1974] The Happy Journey (TIE Tour) [1974] Butterflies are Free (Tour) [1975] The Rainmaker (Tour) [1975] Equus (SGIO & Tour) [12 February 1975] The Taming of the Shrew (SGIO) [2 April 1975] Coralie Lansdowne Says No (SGIO) [21 May 1975] The Importance of Being Earnest (SGIO) [18 June 1975] The Removalists (La Boite) [16 July 1975] One Flew Over the Cuckoo’s Nest (SGIO) [20 August 1975] An Evening with Robert Burns (SGIO) [7 September 1975] The One Day of the Year (SGIO) [24 September 1975] Da (La Boite) [15 October 1975] Springle (TIE Tour) [1975] Abra-Ka-Dabra (TIE Tour) [1975] Robbo (TIE Tour) [1975] The Maiden at the Gate (TIE Tour) [October 1975] The Carrot and the Munchy Monster (TIE Tour) [October 1975] Equus (SGIO) [20 November 1975] The Last Voyage of EggFroth the Frithed (TIE Tour) [February 1976] Hamlet (SGIO) [11 February 1976] Jumpers (SGIO) [24 March 1976] Kingdom of Earth (SGIO) [28 April 1976] Poetry is People (TIE Tour) [May 1976] Tufff… (TIE Tour) [May 1976] The Typists (TIE Tour) [May 1976] The School for Scandal (SGIO) [26 May 1976] Fourth of July (SGIO Event) [4 July 1976] Savages (SGIO) [21 July 1976] The Department (SGIO) [18 August 1976] A Toast To Melba (SGIO) [15 September 1976] The Mangrove Man (TIE Tour) [8 November 1976] And the Big Men Fly (SGIO & Tour) [24 November 1976] For Years I Couldn’t Wear My Black (SGIO) [9 February 1977] Hobson’s Choice (SGIO) [16 March 1977] The Merchant of Venice (SGIO) [13 April 1977] Genesis (Darling Downs) [May 1977] War Cry (TIE Tour) [1977] Inside Out (TIE Tour) [1977] Prunes (TIE Tour) [1977] Tufff… (TIE Tour) [1977] Eggfroth the Frithed (TIE Tour) [1977] The Last of the Knucklemen (SGIO & Tour) [22 June 1977] Why Not Stay For Breakfast? (Tour) [July 1977] Saint Joan (SGIO) [20 July 1977] The Brass Hat (SGIO) [24 August 1977] Otherwise Engaged (SGIO) [26 October 1977] Confusions (SGIO) [23 November 1977] Flight Path (SGIO) [25 January 1978] The Club (Theatre Royal) [7 February 1978] When We Are Married (SGIO) [1 March 1978] The Club (Her Majestys) [7 March 1978] The Aussie Battler Show (Tour) [1978] Don’t Piddle Against the Wind, Mate (SGIO) [5 April 1978] Robbo’s Dream (Tour) [10 May 1978] King Lear (SGIO) [17 May 1978] Dreamtime and Dionysus (TIE Tour) [22 May 1978] Then and Now (TIE Tour) [22 May 1978] The Thoughts of Chairman Alf (Her Majesty’s) [12 June 1978] Point of Departure (SGIO) [21 June 1978] Dreamtime & Dionysus (Tour) [1978] Then and Now (Tour) [1978] Mangrove Man / Patchwork Poetry (TIE Tour) [3 July 1978] City Slicks and Country Hicks (Tour) [10 July 1978] Big Toys (SGIO) [16 August 1978] The Cherry Orchard (SGIO) [20 September 1978] Sleuth (Tour) [9 October 1978] Habeas Corpus (SGIO) [25 October 1978] Sleuth (SGIO) [6 December 1978] Clowneroonies (SGIO) [8 December 1978] You Never Can Tell (SGIO) [7 February 1979] Breaker Morant (SGIO) [14 March 1979] The 20’s and All That Jazz (Tour) [19 March 1979] Hedda Gabler (SGIO) [18 April 1979] Whatsisname (TIE Tour) [May 1979] I Know the Type (TIE Tour) [May 1979] Who’ll Come a-Flying? (TIE Tour) [May 1979] The Man Who Stole the World (TIE Tour) [May 1979] The Boy Who… (TIE Tour) [May 1979] Gone with Hardy (SGIO) [6 June 1979] A Streetcar Named Desire (SGIO) [11 July 1979] Deathtrap (SGIO) [15 August 1979] A Midsummer Night’s Dream (Albert Park) [26 September 1979] Clowneroonies (Tour & Sydney Festival) [1979] The Man Who Came to Dinner (SGIO) [31 October 1979] Damper: a Poetry Anthology (TIE Tour) [1980] The Boy Who… (Tour) [1980] The Voices of Green Willow Pond (Tour) [25 February 1980] Accommodations (Tour) [March 1980] Gypsy (SGIO) [7 March 1980] The Taming of Dennis and Sharon (Tour) [April 1980] The Playboy of the Western World (SGIO) [18 April 1980] Richard III (SGIO) [23 May 1980] Travelling North (SGIO) [4 July 1980] Mourning Becomes Electra (SGIO) [8 August 1980] Deathtrap (Tour) [September 1980] Outside Edge (SGIO) [12 September 1980] Geraldine Turner Sings (SGIO) [25 September 1980] Candida (SGIO) [17 October 1980] Accommodations (Tour) [1980] The Taming of Denis & Sharon (TIE Tour) [1980] The Boy Who… (TIE Tour) [1980] The Voices of Green Willow Pond (Tour) [1980] Is He Talking to Me? (EDU) [1980] Crushed by Desire (SGIO) [21 November 1980] Annie (SGIO) [13 February 1981] Aesop’s Fables (Roadwork Tour) [23 March 1981] MachinACTions (Roadwork Tour) [23 March 1981] Coming! Crazy or Not! (Roadwork Tour) [23 March 1981] Cat on a Hot Tin Roof (SGIO) [27 March 1981] The Circle (SGIO) [8 May 1981] Eat Your Heart Out (Tour) [30 May 1981] No Names … No Pack Drill (SGIO) [12 June 1981] A Season at Clayton’s (Tangent / Edward St) [24 June 1981] The Seagull (SGIO) [17 July 1981] Upside Down at the Bottom of the World (Tangent / Edward St) [22 July 1981] Is He Talking to Me? (Tour) [3 August 1981] I Sent a Letter to My Love (SGIO) [21 August 1981] As You Like It (Albert Park) [25 September 1981] New Sky (Tangent / Edward St) [14 October 1981] Travelling North (Tour) [1981] Eat Your Heart Out (Tour) [1980] On Our Selection (SGIO) [6 November 1981] Annie (Tour & Her Majesty’s) [26 November 1981] Hello, Dolly! (SGIO) [2 February 1982] Long Day’s Journey into Night (SGIO) [16 March 1982] The Warhorse (SGIO) [27 April 1982] Amadeus (SGIO) [8 June 1982] Virginia (Tangent / Edward St) [7 July 1982] Saturday Sunday Monday (SGIO) [13 July 1982] Einstein (SGIO) [24 August 1982] The Tempest (Albert Park) [5 September 1982] Demolition Job (Tangent / Edward St) [3 November 1982] The Company We Keep (Tour) [1982] That’s Me (Roadwork Tour) [1982/1983] The Lamplighter (Roadwork Tour) [1982/1983] Aesops Fables (Roadwork Tour) [1982] The Front Page (SGIO) [9 November 1982] Applause (SGIO) [1 March 1983] The Perfectionist (SGIO) [12 April 1983] Betrayal (Tangent / Edward St) [11 May 1983] Cannibals in the Wet Heat (Tangent / Edward St) [22 May 1983] The Life of Galileo (SGIO) [24 May 1983] The Little Foxes (SGIO) [28 June 1983] Beecham (Tangent / Edward St) [27 July 1983] The Parker Pen (Tangent / Community Arts) [7 August 1983] Signal Driver (SGIO) [9 August 1983] The Company We Keep (Tour) [1983] Scratch and Scamper (Roadwork Tour) [1983/1984] Signal Driver (Athenaeum, Melbourne) [7 September 1983] Much Ado About Nothing (Albert Park) [13 September 1983] 84 Charing Cross Road (SGIO) [25 October 1983] Educating Rita (SGIO) [November 1983] Cloudland (Tangent / Edward St) [2 November 1983] The Trial of Brer Rabbit (SGIO) [5 December 1983] They’re Playing Our Song (SGIO) [21 February 1984] Duet for One (SGIO & Tour) [27 March 1984] The Parker Pen (Tangent / Edward St) [8 May 1984] Side by Side by Sondheim (Tangent / Edward St) [1984] Love for Love (SGIO) [29 May 1984] Love for Love (Rialto) [15 June 1984] Gulls (Edward St) [17 July 1984] Godsend (SGIO) [7 August 1984] Henry V (Albert Park) [25 September 1984] The Devil I Know (Roadwork Tour) [1984] Percy & Rose (SGIO) [23 October 1984] In Duty Bound {RQTC} (SGIO) [27 November 1984] Insomnia {QYT/RQTC} (SGIO) [5 November 1984] In Duty Bound {RQTC} (SGIO) [27 November 1984] The Real Thing {RQTC} (SGIO) [12 February 1985] The Jade Garden {RQTC} (Roadwork Tour) [25 February 1985] Tufff… {RQTC} (Roadwork Tour) [25 February 1985] Three Sisters {RQTC} (SGIO) [12 March 1985] Once a Jolly Jumbuck {RQTC} (Roadwork Tour) [29 April 1985] Flowers for Algernon {RQTC} (Roadwork Tour) [29 April 1985] Cheapside {RQTC} (Cremorne & Redcliffe) [30 April 1985] Pack of Lies {RQTC} (SGIO) [11 June 1985] Side by Side by Sondheim (Tour) [1985] Salonika {RQTC} (Cremorne) [2 July 1985] Insignificance {RQTC} (SGIO) [30 July 1985] Macbeth {RQTC} (Suncorp) [3 September 1985] The Family Room {RQTC} (Lyric) [8 October 1985] The Legend of King O’Malley {QYT/RQTC} (Woodward) [21 October 1985] Stranger than Reality {QYT/RQTC} (Woodward) [1985] A Pair of Claws {RQTC} (Cremorne) [October 1985] Pride and Prejudice {RQTC} (Tour) [26 November 1985] Baby {RQTC} (SGIO) [18 February 1986] Flowers for Algernon {RQTC} (Roadwork Tour) [10 March 1986] New Australian Kid {RQTC} (Roadwork Tour) [10 March 1986] Sons of Cain {RQTC} (Suncorp) [8 April 1986] The Jade Garden {RQTC} (Roadwork Tour) [28 April 1986] Tufff… {RQTC} (Roadwork Tour) [28 April 1986] Benefactors {RQTC} (Cremorne) [15 May 1986] The Slaughter of St. Teresa’s Day {RQTC} (Suncorp) [3 June 1986] Who Cares? {RQTC} (Cremorne & Tour) [8 July 1986] Animal Farm {RQTC} (Suncorp) [12 August 1986] Love’s Labour’s Lost {RQTC} (Lyric) [23 September 1986] Camille {RQTC} (Suncorp) [October 1986] The Adventures of Awful Knawful {QYT/RQTC} (Brisbane) [1986] Snoopy {RQTC} (Cremorne) [28 October 1986] Shutterbug {RQTC} (Roadwork Tour) [1987/1988] Tufff… {RQTC} (Roadwork Tour) [1987] A Chorus of Disapproval {RQTC} (Suncorp) [17 February 1987] The Jade Garden {RQTC} (Roadwork Tour) [23 February 1987] Skinfree {RQTC} (Roadwork Tour) [16 March 1987/1988] Emerald City {RQTC} (Suncorp) [24 March 1987] Away {RQTC} (Cremorne & Gold Coast) [5 May 1987] I’ve Come about the Suicide {RQTC} (Cremorne) [24 May 1987] Arms and the Man {RQTC} (Suncorp) [9 June 1987] Snoopy {RQTC} (Gold Coast) [1987] Comrades {RQTC} (Cremorne) [7 July 1987] Briefs {RQTC} (Cremorne) [7 July 1987] Polychrome {RQTC} (Cremorne) [7 July 1987] Well, You Can’t Win em All {RQTC} (Cremorne) [7 July 1987] Comrade {RQTC} (Cremorne) [7 July 1987] God’s Best Country {RQTC} (Suncorp) [8 September 1987] The Merry Wives of Windsor {RQTC} (Albert Park) [29 September 1987] Hard Times {RQTC} (Cremorne) [10 November 1987] Who Cares? {RQTC} (Tour) [1987] Count Dracula {RQTC} (Suncorp) [24 November 1987] The Sentimental Bloke {RQTC} (Suncorp & Expo) [2 February 1988] Les Liaisons Dangereuses {RQTC} (Suncorp) [8 March 1988] A Different Drummer {RQTC} (Suncorp) [12 April 1988] Night and Day {RQTC} (Suncorp) [19 July 1988] A Spring Song {RQTC} (Cremorne, Expo & Tour) [23 August 1988] The Recruiting Officer {RQTC} (Albert Park) [4 October 1988] Invaders {RQTC} (Tour) [Roadwork 1988] Peacemaker {RQTC} (Roadwork Tour) [1988] The Barretts of Wimpole Street {RQTC} (Suncorp) [22 November 1988] Major Barbara {RQTC} (Playhouse, S.A.) [1989] Dinkum Assorted {RQTC} (Suncorp) [21 February 1989] A Month of Sundays {RQTC} (Cremorne) [March 1989] Major Barbara {RQTC} (Suncorp) [23 May 1989] The Barretts of Wimpole Street {RQTC} (Marian St) [7 June 1989] Ghosts {RQTC} (Cremorne) [4 July 1989] Kaspajack {RQTC} (Cremorne) [27 July 1989] The Taming of the Shrew {RQTC} (Suncorp) [17 August 1989] Lost Weekend {RQTC} (Cremorne) [28 September 1989] The Man From Mukinupin {RQTC} (Suncorp) [16 November 1989]


~1,000 people worked for the
Queensland Theatre Company
during its first 2 decades
from 1969 until the late 1980’s

PERFORMERS: Grant Adams Peter Adams Kerrie Adams Stephen Agnew Jeff Ahern Bill Aitken Mark Albiston Elizabeth Alexander Robert Alexander John Allen Marilyn Allen Doug Anders Judith Anderson Justine Anderson Owen Anderson Bryan Andrews Narelle Arcidiacono Victoria Arthur Robert Arthur  Victor Ashelford  Les Asmussen John Atha Paul Atthow Jenny Austen Bill Austin Terry Bader Helmut Bakaitis Phyllis Ball Vincent Ball Janis Balodis Janis Balodis Peter Barley Ray Barrett Brian Barrie Charles Barry Douglas Barry Megan Bartlett Don Batchelor Mark Battershill Jonathon Baxter John Bayliss Anne Bazeley Roger Beames Danica Beckett Patricia Bein Bernadette Bein Kathryn Bein Randall Berger Stephen Bergin Diane Berryman Kathy Bertram Zoe Bertram Chris Betts Allen Bickford Pat Bishop Paul Bishop Alexandra Black Wendy Blacklock Brian Blain Leila Blake Lesley Blanning Jennifer Blocksidge Lindy Bloor Michael Boddy Peter Bodnar Lisa Bolte Elaine Bolton Cornelis Boogaart Allan Booth Andrew Booth Helen Booth John Bowman Terry Brady Sheila Bradley Simon Bray Jacquie Brennan Bille Brown AM  Noeline Brown OAM Olivia Brown David Brown Larry Brown Judy Brown-Beresford Graham Bruce Joan Bruce Maria Buckler Craig Burgess Rhonda Burchmore Marcella Burgoyne William Burke   Tom Burlinson Cathy Burnett Carol Burns Deanne Burns Glen Burns Petah Burns Vicki Burns Laurel Burton Simon Burvill-Holmes Chryss Cahill Shane Calcutt Reginald Cameron OAM Sally Camm Bradley Campbell Duncan Campbell Merrin Canning Justin Cannock Brian Cannon Tony Carew Mal Carmont Kerrianne Carr Melvin Carroll Geoff Cartwright Lynnette Cassells Jenny Castle Ron Challinor  Gessi Cavassa Melissa Cheers Alistair Cheyne Peter Chenoweth Diane Cilento Tricia Circosta Janine Claire Jennifer Claire Liddy Clark Peter Clarke Stephen Clark John Clayton Eileen Clelland David Clendinning Stu Cochrane Rona Coleman Paul Collings Peter Collingwood John Collingwood-Smith John Collins Warwick Comber Warwick Comber Athol Compton Judi Connelli Michael Coogan Rosetta Cook Jan Cooper Cynthia Cooper Malcolm Cork Peter Cottrell Adam Couper Peter Cousens AM  Brian Cox Kevin Cox Roger Cox Suean Cox John Craig Andrew Cromption Rachel Crompton Karen Crone Don Crosby Brian Crossley Claire Crowther Pauline Cuffe Max Cullen Lynette Curran Elaine Cusick Alan Dale Jane Daley Rouna Daley Ross Daniels Peter Darch Vivien Davies Robert Davis Paul Dawber Susan Day Paul Dellit OAM Carmel Dennis Danelle Denny Jane Denver Leon Devine Janet Devlin James Dickson John Diedrich Arthur Dignam Grant Dodwell Garry Doherty Don Doherty John Dommett Paul Donald Natalie Doorey Kathleen Dorahy Barry Douglas John Dovey Nigel Drews Alan Dukes Roslyn Dunbar Rod Dunbar Carmen Duncan Susan Dunn Raymond Duparc Sue Dwyer Christine Dwyer Ian Dyson Nicholas Eadie Alan Edwards AM MBE Robert Eastgate John Eastman Mark Eckleston Mark Eckersley Dianne Eden James Elliott Les Evans Peter Everett Jon Ewing Howard Eynon Anna Farnworth Barbara Farrell Susan Fauvel Barbara Fawcett Michele Fawdon James Fels Gavan Fenelon Willie Fennell Noel Ferrier AM Michael Ferguson Jennifer Fern Wayne Findlay Ron Finney Judith Fisher John Fitzpatrick Kate Fitzpatrick Neil Fitzpatrick Rosalie Fletcher Rosalie Fletcher Jennifer Flowers Terry Fogarty Matt Foley Kym Ford Steven Ford  Margery Forde Michael Forde Ross Forsyth Billy Forsythe  Richard Fotheringham AM Noel Fox Murray Foy Arthur Frame AM  Kerry Francis Gavin Fraser Kimlarn Frecker Kimlarn Michael Freeland Bill French Susie French Debbie Fulloon Hilary Furlong Michael Futcher Ben Gabriel Nathy Gaffney Frank Gallacher  Paul Galbraith Frank Garfield Jane Gelhaar Gregory Gesch Shaun Gibbons Vikki Gibson-Miller Isobel Gidley Noel Gilbert Reginald Gillam Eugene Gilfedder Monica Gilfedder Tony Girdler Gordon Glenwright Richard Glover Catherine Glynn Margaret Glynn David Goddard Janet Goldsmith Ron Graham Vivean Gray Trevor Green Jennifer de Greenlaw John Gregg Jo-Ann Greig Elise Greig Peter Grose Ray Gurney Robyn Gurney Ron Hackett Stephen Haddan Ron Haddrick AM MBE Bryan Hain Jacqui Hall Jenny Hall Chris Hallam Neil Hallam Peter Hanlon John Hannan Pamela Hanson Danae Harbottle Tereska Harbottle Dian Harbulot Jane Harders Veronica Harding Catheryn Harker Martin Harris Terry Hartung Allen Harvey Graham Harvey Robin Harvey Robyn Harvey Trevor Harward Daniel Havas Anthony Hawkins Louise Hayes Russell Heading Douglas Hedge Mark Hembrow Annie Henderson Stephen Henderson John Heywood Kevin Hicks Kevin Hides  Keely Hocking Noel Hodda Laurence Hodge Norman Hodges Dudley Hogarth Janet Hollingworth Lorna Holloway  Patricia Holmes Ross Honeywell Katy Hopkins Bob Hornery Rodney Horton Sally Horton-Perry Paul Hourigan Kathryn Houston Carolyn Howard Kevin Howard Edward Howell  Hazel Howson Jade Huckins Jade Huckins  Jan Huggett  Tim Hughes Darryl Hukins Ronald Hunt Gillian Hyde Rob Inglis Wilson Irving Kevin Jackson Joe James Brian James Curt Jansen John Jarratt Anna Jeppesen Peter Johnson Dale Johnston Ross Johnston Johnny Johnstone Alida Rae Jones Lewis Jones Margery Jones Patricia Jones Timothy Jones Colleen Jong Peter Jordan James Kable Ivar Kants Jacki Kay Jacqueline Kay Robert Keane Mel Keenan Malcolm Keith Fay Kelton Kay Kelton Stuart Kemp Stuart Kemp Laura Keneally Patricia Kennedy Ken Kennett OAM Trevor Kent Steve Kenyon Russell Kiefel Jonathon King Lloyd King Robert Kingham Jacinta Kinnane John Krummel OAM Peter Knapman Penny Knox Katina Komino Peter Kowitz Colin Kratzing Bruce Kronberger Peter Lamb Toni Lamond AM Graham Lancaster Allan Lander Kerry-Anne Langenbaker Nicholas Langton Christopher Latham Peter Lavery Ron Layne Alan David Lee Elaine Lee Heidi Lee Lyn Lee Mark Lee Robyn Leggett Valerie Lehman Ian Leigh-Cooper David Leith Dirk Leonard Jan Levi Bettina Lewers Bernard Lewis Susie Lindeman Glenda Linscott Charles Little Davidson Little Alfred Lizzio Barbara Llewellyn John Llewellyn Andrew Lloyde Frank Lloyd Margot Lloyd Mark Lloyd Hunt Victoria Longley Melissa Lovejoy Barry Lovett Alayne Lowein Barbara Lowing Brian Lucas Betty Lucas Susan Lyons Donald MacDonald Robert van Mackelenberg Donald Macleod Andrew McFarlane Vanessa Mafe Gerard Maguire Janet Mahoney Scott Maidment Frank Malet Tracy Mann Robert Manning Paul Marriott Berys Marsh Peter Marshall Andrew Martin Sharonlee Martin Ingrid Mason-Chan Yvonne Mathew Leanne Mauchlin Monica Maughan Chris Maver Tony Maw Michael McCaffrey Rikki McDonald Gordon McDougall Kay McFeeter Scott McGeever Anthony McGill Alethea McGrath Scott McGregor Siobhan McGregor Kerry McGuire Kerry McKay Janine McKee Rohan McKenna Sally McKenzie Sarah McKenzie Geoff McLean Katie McNeil Geoffrey McSkimming Bill McStay Don McTaggart Warren Meacham Ray Meagher Sean Mee Robert Menzies Gus Mercurio Peter Merrill Geoff Metcalf Keith Michell Hilary Miller Heather Mitchell Warren Mitchell Richard Moir Brian Moll Andrew Molock Margaret Moore Sharon Moore Lyn Moorfoot Peter Morris Geraldene Morrow Helen Morse Elizabeth Mortison Rebecca Morton Phil Moye Amanda Muggleton Rosalind Muir-Smith Jeremy Muir-Smith Gail Muller Tim Mullooly Hugh Munro Dale Murison Daniel Murphy Fiona Murphy David Napier John Nash Phillip Nash Dr Bryan Nason AM Veronica Neave Denise Nenke Maggie Nevins Roger Newcombe Russell Newman Jennifer Nixon Peter Noble Kirrily Nolan Maggie Noonan John Norman Pamela Norman Lindsay Norris Judy Nunn Christine O’Connor Di O’Connor Sean O’Connors Christen O’Leary Errol O’Neill Barry O’Sullivan Matthew O’Sullivan Gina Ogilvie Barry Otto Denise Otto Mark Owen-Taylor Louise Pajo John Paramor Bruce Parr Sandra Lee Patterson Bill Pengelly Dale Pengelly Mark Penman Roslyn Pennell Kay Perry Anthony Phelan Bill Phillips Bruna Phillips Hazel Phillips OAM Patrick Phillips Ross Philp Rod Pianegonda Anna Pike Geoff Pittam Brian Plumb Gaye Poole James Porter Jim Porter Terence Porter Lynne Porteous Christopher Pozzi Beth Prescott Stephen Preston Brent Purdy Robin Ramsay Peter Raymond-Powell Martin Redpath Wayne Rees Yvette Rees Krista Reeves John Remess Timothy Reuther Lance Reynolds Nigel Rice Antony Richards Kate Richter Marcia Rickertt Rosemary Ricketts Sue Rider Rebecca Riggs Sean Riordan Sally Robertson Sue Robinson Joyce Rogers Des Rolfe Michael Rolfe Betty Ross Stephen Ross Bill Rough Sue Rowe Anne Roylance Suzanne Roylance Deidre Rubenstein Greg Rudd Geoffrey Rush AC John Rush Louise Rush Larry Ryan David Ryan Zameel Saba Zoe Salmon June Salter AM John Saltzer David Sandford Mary-Jane Saunders Richard Scholes Colin Schumacher Peter Schwarz Lyn Semmler Harry Scott Barry Searle Jenny Seedsman Ron Shand Bev Shean Anthony Shearsmith Kate Sheil Tony Sheldon Gillian Shergold Paul Sherman Roch Shipton Tony Short Jon Sidney Toby Simkin Meg Simpson Carole Skinner David Slingsby Diane Smith Trevor Smith Gwen Soares Walt Sofronoff Paul Sonkkila Julian St. John Michael Stanford John Stanton Michele Stayner Peter Steer  Babette Stephens AM MBE Barbara Stephens Lisa Stevens Kaye Stevenson Mary-Lou Stewart Darien Sticklen David Stockwell Peter Stokes Dianne Storer Diane Storer Lance Strauss Lisa-Jane Stockwell Rosanne Stower Stewart Stubbs Justin Stuhmcke Paul Sugars  Ric Summers Inara Svalbe   Tracey Tainsh Brian Tait Eddie Talbot Steven Tandy Kit Taylor Sally Taylor Rex Taylor-Craig Leonard Teale Genevieve Thackwell-James Stephen Thomas Caroline Thompson Nadia Thompson Elizabeth Thompson Ian Thomson Pat Thomson Russell Thomson Frank Thring Tony Thurbon Maree Timchur Alan Tobin Robyn Torney Rosemary Traynor  Lyn Treadgold Ruth Turnell Geraldine Turner OAM Rory Vanery Alison Venning Brent Verdon Peter Vickery Anna Volska Michael Wade Terry Walduck Peggy Wallach Janet Walsh Susan Walsh Susan Walsh James Wardlaw Duncan Wass Joshua Wass Peter Wass Phyllis Wass David Waters Gail Watson Graham Webster Jack Webster Owen Weingott Gaynor Wensley Angela West Julie West Benita Whalley Gwen Wheeler Denis White Michelle White Timothy Whitehill David Whitford Peter Whitford Stephen Whittaker Eric Wickham Susan Wilkinson Huw Williams Kate Wilson Alan Wilson Tracey Wilson Paul Wilstead Peter Windsor Rod Wissler Shane Withington Leo Wockner Don Wood John Wood Jackie Woodburne Judith Woodroffe Paul Woods Deborah Wray Allen Wright Lynne Wright Alan Wylie Barbara Wyndon

DIRECTORS: Norman Ayrton Helmut Bakaitis Don Batchelor John Bell Rick Billinghurst Ron Blair Ronald Branscombe Ken Boucher Christine Campbell Robert Chuter Richard Cottrell Ted Craig Rex Cramphorn Peter Duncan Alan Edwards AM MBE Amanda Field Rodney Fisher AM Richard Fotheringham Murray Foy  Arthur Frame AM Frank Gallacher Gregory Gesch Mary Hickson John Hoenig Simon Hopkinson Marcus Hughes Robert Kingham John Krummel OAM Robin Lovejoy OBE Babs McMillan Joe MacColum  Aubrey Mellor OAM Dr Bryan Nason AM Lloyd Nickson John Noble Terence O’Connell Mark Radvan Sue Rider Michael Rodger Mick Rodger Anne Roylance Geoffrey Rush AC Inara Svalbe John Tasker  John Thompson Lyn Treadgold Duncan Wass John Watson

DESIGNERS: John Anderson Bruce Auld Mike Bridges  Andrew Carter Greg Clarke Timothy Clark Dr Peter Cooke AM Stephen Curtis William Dowd Paul Edwards Gregory Gesch Stephen Gow Shaun Gurton Jann Harris Silver Harris Bill Haycock John Heywood Beverley Hill Lorraine Hillard Beverley Ann Jansen Richard Jeziorny Edie Kurzer Lindsay Megarrity Graham Maclean Jamie Maclean Robby Nason Gillian Page-Lee Peter Penwarn James Ridewood Fiona Reilly John Senczuk Cliff Simcox Alan Stewart Neil Tapner Lesley Thelander Tony Tripp Randy Vellacott Kate Wall Duncan Wass Stephen Gow (Design Assistant) Bill Shannon (Design Assistant) Duncan Wass (Design Drafting)

CHOREOGRAPHERSJudith Anderson Paul Atthow Keith Bain Pamela Buckman Harold Collins MBE Karen Crone  Annette Downs Hugh Munro Beverley Nevin Maggi Sietsma Inara Svalbe Natalie Weir Ton Witzel  Roma Egan (Ballet Mistress)

WRITERS: Michael Boddy Bille Brown AM  Richard Fotheringham  Arthur Frame AM Warren Meacham Peter Noble  Paul Sherman David Williamson AO Kate Wilson

COMPOSERS: Linda Aronson Faye Bendrups Anthony Bowles Colin Brumby Jim Cotter Roger Covell George Dreyfus Eugene Gilfedder Larry Grossman Alan Lawrence Richard Peaslee Andrew Schultz Peter Sculthorpe David Shire Darien Sticklen  Robin Wood Robert Keane Joe Wolfe  Raymond Cray (orchestrator)

MUSICAL DIRECTORS: Adam Couper Robert Boughen Peter Casey John Curro Eugene Gilfedder Ronald Hamner  Robert Keane George Lawrence Anthony McGill Max Olding Dale Ringland John Rodgers Brian Stacey Michael Wheelan

MUSICIANS: Antoni Bonetti Stephen Brockman Charles Bromley Vic Cerezo Julia Chapman Ken Clark  Liddy Clark Robert Clark Tom Coyle Juli Crook  Martin Crook Peter Dart Robert Davidson Peter Done Lachlan Easton Gordon Flemming  John Fodor  Colin Fox Ron Gowans  Janine Grantham Katie Harrison John Helman Anne Hickey Joyce Jessop Anne Knightley  Malcolm Liddell Donald MacDonald ★ Michael Monaghan  Michael Morgan Trevor O’Connell Simon Oswell  Simon Overt Paul Pallister Kaishik Paul  Ken Poggioli Tom Pommerel Geoff Proud John Pyers  John Pytro John Reichard Philip Robertson Marija Svilans Ross Smith Therese Sopinski Deborah Stong Olgs Thorpe Judith Tully  Elizabeth Warr  David Wellman Anthony Wood Martin Wooley  Alan Wilkie  Garry Williams Chen Yang

PRODUCTION MANAGEMENT: Don Batchelor Alan Colegrave Arthur Frame AM ★ Dennis Law ★ Graeme McCoubrie John Watson  (Production Managers) David Lee (Assistant Production Manager) Jane Murray Norma Knight (Tour Managers)  Vicki Birch Yvette (Capt) O’Brien Myra Terry (Production Secretary)

STAGE MANAGEMENT: Vito Arena  Victor Ashelford  Paul Atthow ★ Brian Barnes Bruce Bolton Sandy Bowman Russell Boyd David Brindley  Gary Cameron Eileen Clelland Margaret Crompton  Louise Cullinan  Annette Downs  Lindsay Fairman Steven Ford Trevlyn Gilmour David Glinster David Gration Richard (Rick) Harrison Cathy Healy  Jamie Henson Chris Heron  Libby Higgin Louise Hucks Sussanne Humphries Ben Jansen Glenda Johnson  Timothy Jones  Ellen (Lenny) Kennedy  Dave Laing Dave Laing Peter Lavery Kathyrn Lloyd  Mark Lloyd Hunt Owen MacDonald Richard Mackay-Sollay Caroline Mackie Kim Mahler  David McCrudden Barry Melville Andrew Molock Ric Moore Reg Murphy Kit Oldfield Ruth Owens lan Perkins Rowan Pryor  Peter Reeve Kristin Reuter Jody Robb Ric Mackay-Scollay Cate Sharp Peter Shoesmith Toby Simkin David Spiller Oliver Sublette Rodney Therkelsen Scott Thiele Patrick Whelan Jullianne White John Williams Colin Wilson

WARDROBE: Patricia Allen Cynthia Bowen  Heather Brown Danny Healy Jenny Hurley Jay Mansfield-Askew Gayle MacGregor  Marie Perry-Watson Nelda Strydom (Supervisors) Steven Billet Kenn Bushby Byron Clayton Thelma Cope Sarah Elizabeth Meredith Fogg Jo Forsyth Marianne Frederiksen Merrin Glasgow Gail Gunn Jo Hardie Jane Harrison Lesa Hepburn Lorraine Hillard Caroline Hullock Jane Hyland Jenny Kants Caroline Keene Karen Litzow  Anne Long Robyn Martin Pamela Martin Arlie McGill Shane Neisler Heather Noble Margaret Reeves Luke Roberts Anne Maree Spratt Nelda Strydom Kate Vosiliunas Terry Walduck Lexie Wright Kerry Yates (Costumers)  Dawn Grieg Leslie Holstein (Wardrobe & Wigs Hire)

PROPERTIES: Gary Cameron Tim Fulford David McCrudden Kevin McLean David Palm Paul Parkinson  James Pearce Kristin Reuter Michael Schroeder John Williams Mike Wormald Darryl McLoughlin

CARPENTRY & SCENIC ART: Howard Steele David Tanner (Head Carpenter)  Geoff Bielefeld Cornelis Boogaart Ken Clarke Des Dougan Fred Driver Stan Fritsch Allan Maguire Chas Morris Peter Sands Gary Vaughan-Wilson Peter Vosiliunas (Carpenters) Caroline Gyucha Paul Marriott Kathleen O’Brian (Scenic Artists)

LIGHTING: Victor Ashelford John Beckett Donn Byrnes Pam Collings Tony Everingham Jamie Henson Nigel Levings Graeme McCoubrie David McCrudden Kenneth Rayner David Read Peter Shoesmith Geoff Street  Stephen Terry Paddy Teuma David Walters John Watson  David Whitworth Tony Youlden (Lighting Designers) Les Alberts Peter Baynes Bernadette Cochrane David Lee David Malacari Christine Platzer Murray Wright (Lighting Operators)

SOUND: Bruce Ames Kevin Davidson David Gurney Peter Freeman Toby Simkin Ian Stevenson

SPECIALTY CONSULTANTSChris Betts  John Humphreys (Fight Direction) Jan Huggett Bill Peacock (Make up Artist)  David Laird  Geraldine Owens Toby Simkin (Animal Wrangler) Richard Scholes Ton Witsel (Mime Consultants) Barry Cannon (Circus Consultant)

EDUCATION: Murray Foy  Arthur Frame AM Lloyd Nickson Christine Campbell (Education Officer)

STAFF: June Craw OAM (Finance & Business Officer) Gillian Coar (Executive Officer)  Lewis Savage Colin Nye, A.I.C.M.(Subscriptions & Ticketing) Des Adams Bart Hosking Ken Kennett OAM Jim Martin Margaret Mackay-Payne Margaret McKenzie Forbes Christine Walsh Jim Wright (Public Relations & Publicity Officer) Bart Hosking Jim Martin Peter Maclean (Publicists) Richard Magnus (Fundraising Chairman) Yvonne Aitken Jan Annesley Susan Brazier Cheryl Buglar Yolande Bird  Yvette Capt Amanda Collins Mary Dooley Janet Hayes Judy Holland Brian Horton Diane Leith  Marjorie Kerr Ron Litchfield Helen Mayes (Administrators)  Jan Annesley  Susan Bonning Jennie Lewis Camilla Priauix  Toby Simkin Myra Terry (Receptionists) Diana Franklin (London Representatives) Irvin Bauer Michael Menzies Stuart Thompson (New York Representative) Derrick George Gregory Gesch Ivan/Gloria Pierce (Photographers)

S.G.I.O. THEATRE: Don Fergusson Brian Horton Ron Litchfield Shaun O’Sullivan Alban Riley Eric Wallis Jim Wright (Managers) Dallas Black Joan Bolton Kay Fifas (Booking Office)  Geoffrey Bielefeld Ray Calcutt Ken Clarke Mark Gover Tony Maher Ben Jansen Petar Petrovich  Brian Wallace (Head Mechanists) Elaine Acworth Bruce Barker Greg Grainger David Hobbs Tony Maher Vic Schulga (Mechanists)  Derek Campbell John Drake David Lee David Malacari Keith McLaughlan  Max Shayler Patrick (Paddy) Teuma Ian Tinney (Head Electricians)

ALBERT PARK THEATRE: Wayne McKenna (House Manager)  Margo Morris (Box Office)

QTC GUILD: Magda Wollner (Chairwoman) Alice Beacroft Joan Chamberlain Bobbie Glyn Evans Maureen Fallon Sonja Farmer Beryl Foote Neil Fulwood Dolores Garland Elaine Heath Edna Heathwood Margaret Hill Ena Huppert June Jamieson Eva Klug Irene Lefman Patrick Mellick Hillary Mosten Maureen Mortensen Barbara Nielsen Joyce Nixon Smith Gloria Phillips Vivienne Reddy Marea Reed Melina Reed Margaret Robinson Grace Reynolds June Sheedy Ann Shevill Toby Simkin Sybil Simpson Elaine Skinner Anne Smith Jess Yeowart

BOARD: Sir David Muir, CMG  W.R.J. Riddel AM OBE (Chairman) Colin James Brumby Mr. L.W.H. Butts CBE Sir Walter Benjamin Campbell, AC, QC Professor P.D. Edwards, M.A., Ph.D. Lady Groom OBE Mr. Ian V. Gzell Q.C. The Lady Mayoress, Mrs. Clem Jones Mr. P. Jones The Lady Mayoress, Sylvia Ada Jones Mr. G.E. Littlewood Mr. K. C. Mackriell Professor Donald William McElwain AO, ED, FBPsS, HonFAPS Mr. J. Maher Mr. J.D. McLean Mrs S. Shubert Babette Stephens AM MBE Miss Joan Whalley OAM (Board Members) Gillian Coar Mr. D. Doherty (Secretary to the Board).

PATRONS: His Excellency The Honourable Sir Alan James Mansfield KCMG KCVO, Governor of Queensland (1969 – 1972) ★ His Excellency Air Marshal the Honourable Sir Colin Thomas Hannah KCMG KCVO KBE CB, Governor of Queensland (1972 – 1977) ★ His Excellency Commodore the Honourable Sir James Ramsay KCMG KCVO CBE DSC, Governor of Queensland (1977 – 1985) ★ His Excellency The Honourable Sir Walter Benjamin Campbell AC QC, Governor of Queensland (1985 – 1992).

Without this company of artists, technicians,
administrators, and creatives
leading the way,
Australian theatre
would be very different today.

QTC Golden Era


QTC Whos Who Gregory Geschby Gregory Gesch

Why do I personally think the formative years were a ‘Golden Period’? Nostalgia, definitely, the blinkers of youthful wonder and the shiny brightness of new experiences, undoubtedly, but there was something unique in being part of the impossible. When I grew up the mere idea of being an actor or there being a professional theatre company here was a fantasy. These things happened elsewhere to other people in other countries (England mainly), but absolutely anywhere else in the world but here.

Luckily for me and my confreres Australia around this period totally changed. The Australian Council for the Arts had magically appeared, as had State Arts Funding bodies and there was a thrust to get things happening, the faster the better, the more the merrier – just get going! (This first period of joyous enabling was eventually to be followed by the age of careful policing of public funds before segueing into today’s paying the piper.)

When Alan Edwards was appointed as the first director of the QTC it was for several skills he possessed apart from being an actor and director. He came from the tradition of the Actor Manager and would handle both the artistic and administration of the Company; he was a teacher who was going to find and develop a talent pool of creatives; he would pass on professional expectations, standards and ethics in not only pursuing excellence but demanding it; he would have a state wide focus.

Originally his plan was to spend the first year or so auditioning around the state and then training up a company of actors who would launch themselves onto an astonished world. This plan however was eclipsed by the opening of the SGIO Theatre (the home of the Company by statute) and the decision by the Board to mount the christening production of it with ‘ROYAL HUNT OF THE SUN’. This was further compounded by the Royal Visit when the Queen would personally sign the Company into existence (it was felt that there should be some production for her to see for all her effort) – so his best laid plans were somewhat thwarted.

Did this original plan manifest? It certainly did, mainly through a total focus on the actors, the creatives and the crews.


Firstly Alan created a core company of actors (along with creatives and crew). They were employed by the season in the tradition of the English Repertory system – rehearsing during the day, performing in the evenings. The core was usually guaranteed certain roles during the season and for the rest they would be ‘as cast’. This often meant being the lead in this production and then playing a walk on in the next, but inevitably playing a range of ages and character types over the season. This core company was augmented by outsiders when required – which was often. In that period large cast productions were common and I was one of those outsiders who would be employed in a few shows a year.

The seasons were also structured to cover a range of production types: a musical, a period piece, a modern classic, a newer piece, a Shakespeare. Not only were the audiences given a broad range of plays, but so were the performers. This core company concept was in time replaced by a ‘cast by show’ model though still, where possible, actors were given multi-production contracts at the beginning of the year so they could be assured there was future work. (After eighteen years in the job Alan’s final year with the Company still had two actors on a season’s contract.) As well as the main house shows there were other additional productions mounted just for touring in conjunction with the Queensland Arts Council (while many main house productions toured as well).

The other major employer of actors were the Theatre in Education teams on long contracts. Both Primary and Secondary school companies toured exhaustively taking productions to the far flung corners. Murray Foy, the TIE head, was the first creative Alan employed for the Company, both believing that educating future audiences should be a major focus of the fledgling QTC. Other productions were also mounted such as Tangent Productions which ran several seasons in the 1980’s.


Keeping in mind that this was the period before the advent of tertiary theatre training – apart from NIDA – so most of the actors who came into the company came from the amateur theatre and had never had the opportunity to focus just on their craft.

For the first couple of years the Company ran a one or two week full time residential school for the general public and for the actors who were coming into the company. I have a fantasy it also teamed up with the Opera Company to present one in Townsville –but I may be mistaken. These surprisingly still exist today having morphed into the residential schools for high school students.

Alan’s teaching background and passion came to the fore and he instituted QTC Hour. At the beginning of the workday before rehearsals all company actors would attend an hour class. The content and tutors would vary covering voice or movement or stagecraft (what a wonderfully old fashioned word) or something relevant to the current production such as broad sword fighting or perhaps the language of the fan (true) for period productions.

The other thing these classes provided was a bonding experience for all the performers who might be working on productions other than the main house, such as the TIE companies or actors from touring productions. These daily sessions continued until the trained actors from the tertiary courses began to infiltrate the ranks and they were no longer thought necessary.

Another training tool was the use of understudies. If you were doing a smaller role you would likely be understudying as well – indeed on occasion actors, including myself, would be employed only in this role (in one case I covered both Laurel and Hardy, but that’s another story).

(As a side note another interesting trial we were subjected to was the 10.30 Wednesday morning matinees – that certainly kept you on our toes.)

The actors also got to work with different in-house directors. Initially Alan directed productions along with another full-time director (originally the unforgettable Joe McCollum, an associate from Alan’s NIDA days) so that the actors were guided by familiar directors who knew their strengths and weaknesses and pushed their boundaries (as a policy people were often cast to make them stretch themselves). As well there were guest directors who would arrive to shake things up and give performers a fresh experience.

As well as managing the Company and directing Alan would also appear as an actor, giving the performers and himself an opportunity to be one of the gang and cementing a further element of comradery to the relationships.


Having written this, and with the benefit of hindsight, I can see now that the focus of the times (nationally and locally) wasn’t firstly about satisfying audiences, but about setting up the infrastructure and creating a professional class of artists for the country. The Company was envisaged and essentially set up for we would-be professionals to be trained and developed and shaped. It was because of this that the Company wasn’t viewed internally as just a production company but as a nurturing one. For those of us lucky enough to have been a part of this family it was indeed a golden age in spite of its toughness and rigor and dramas– or perhaps because of them.

Times have moved on and I’m sure those coming after have had, and are having, their golden moments. Long may they continue!
Greg Gesch


by Toby Simkin

QTC was my family, the SGIO Theatre my sanctuary

For the first time in my life, working at the Queensland Theatre Company, I felt normal, wanted and loved. The physical SGIO Theatre (State Government Insurance Office) became my personal temple.  I had the utter joy of working on an array of productions with tremendously creative and loving people. When I wasn’t paid to work on a particular show, I volunteered in the offices, or assisted stage management. I worked on 26 shows and saw another 20 or so. I could not get enough of learning and devouring every aspect of the theatre, I could not get enough of the feeling of warmth and creativity.

Heres why:
Toby at Brisbane Grammar School (1979) with drama awards
In 1976 after returning from Washington D.C., I was sent to Brisbane Grammar School where I skipped a year of school – my older brother was captain of the rugby team at the school. My parents then went through a messy divorce (I found my Dad in bed with our neighbors’ wife).

At school, I was bullied badly by another student for being a year younger, not into sports and for topping highest grades in Australia in the new ‘drama’ subject which at the time automatically made me a “poofta“.

I got involved in the school drama programs, and found myself hiding within them, since I could not live up to my sportsman brother, nor to my parents’ expectations.

Along with a smattering of other non-sports school friends, we collectively produced, directed, designed, stole the props, made the costumes, marketed, technically managed, found the sound effects, swept the floors, gestetner’d programs, sold tickets for and acted in various school productions including SWEENEY TODD; HOTEL PARADISO; CAESAR AND CLEOPATRA; TOAD OF TOAD HALL; DARK OF THE MOON; CHARLEY’S AUNT (I played Col. Sir Francis Chesney Bart) and THE REAL INSPECTOR HOUND in the schools Centenary Hall. My first “resident” theatre.

My conundrum was the more successful at drama, and winning school awards for drama, made me a target for more bullying.  In a school solely focused on sport and manliness, I felt hopeless and worthless. Despite my protestations to the headmaster, I was sexually molested by the pedophile school counselor to whom I was sent to.

With advice of a family friend, a military man that encouraged me to ‘start somewhere, just start’ within the theatre world, I met a friend of my mothers who was setting up a ‘little old lady land’ guild for the Queensland Theatre Company.  Starting in late 1978, every day at 3:15 pm, I would escape school and literally run away down the hill through the Brisbane city to volunteer at the Queensland Theatre Company Guild which was being setup and recruiting help. Some days I would arrive at the Guild in tears. The Guild’s Chairwomen, Magda Wollner, welcomed me with open arms, warm cuddles, fresh coffee & biscuits and gave me a sense of purpose working largely on handling subscription mailings and my helping support opening night and PR events for Ken Kennett. I never told Magda (or anyone else) the details of what I was enduring at the school, but Magda always sensed something was seriously wrong. She and my mum became lifelong friends as a result.

At the Queensland Theatre Company Guild, I would support the QTC strategy of subscriber (season ticket buyers) engagement, where guild volunteers would stay in regular contact with season ticket subscribers (via telephone, hand written cards and letters) to subliminally keep them compelled to renew each year (although not a lot of effort needed, since patrons loved the QTC so much back then, so it was mainly listening to patron reviews on a particular show or actor). From a massive, sterile office space donated by a board member (I had the joy of decorating it with theatre posters and QTC props), we would also encourage happy subscribers to help put together subscription groups, or at least, convince their neighbors to join them. The subscriber attrition rate was remarkably tiny. QTC patron loyalty was one of its secret strengths.

My guild work opened doors quickly for me at the Queensland Theatre Company itself. I became a volunteer odd-job boy for the stage management and administration teams at the Queensland Theatre Company studying and taking in everything I could learn. I loved being a fill-in receptionist, making coffee, operating the copy machine, and running around town to buy office supplies. I even loved watering the plants of Alan Edwards, the Artistic Director, at his home when he was on vacation. I considered it a high honor and serious responsibility since at the time, he was my god. Alan generously took me under his wing and often invited me to rehearsals and assist his fellow creatives in a PA type role.

In my spare time, I acted in a couple of shows at the local amateur theatre, The Arts Theatre on Petrie Terrace, which was nearby the school, once wearing tight white tights as a footman in a production of THE SLEEPING PRINCE, and once wearing very short football shorts in a leading role in a production of AND THE BIG MEN FLY.

Having just topped Australia with the highest national grades in the new national school subject of drama, in October 1980, as a guest of presenter Clifford Hocking, I attended a performance Victor Borge at Brisbane City Hall, and his performance of ‘Phonetic Punctuation’.  When I met him backstage, in my mind I wanted to present him globally. To this day Victor Borge is my absolute favorite memory of comedy brilliance, it further convinced me that theatre was the right place for me, and that moment is when I decided I wanted to be a producer. My biggest career regret was not producing him.

I matriculated school and was full-time in the workforce at age 16.  “young, keen and green” as the QTC Production Manager, Arthur Frame described me.  Due to my hideous grammar school experience, I vowed never ever to go to any educational institution again. I had zero interest in any college or university, including NIDA.

Elizabeth Bequest Scholarship to Toby Simkin (The Courier Mail)With encouragement from many of the Queensland Theatre Company staff, I was awarded the 1981  ‘Elizabeth Bequest Scholarship’ which is essentially a paid hands-on mentorship with the best of the best. This led me to go on full time with both the T.N. Theatre Company and the Queensland Theatre Company thanks entirely to the mentorship of Bryan Nason (of T.N.) and Alan Edwards (of QTC) and his fabulous company of lovely creative people.

For the T.N. Theatre Company, I was an actor / designer / stage manager on productions including THE CHOIR; HAMLET; SKITZ N’ FRENZY and STARSTUD.

Thanks to introductions from James Ridewood, I also worked with the Queensland Marionette Theatre and Lyric Opera of Queensland, at a time when Brisbane Theatre was going through rather dramatic changes with the loss of major venues.

But it was the Queensland Theatre Company and the SGIO Theatre that was my safe haven and the fabulously creative people within it became my mentors and my chosen family, without many knowing it.

My QTC shows

I primarily worked in stage management, and occasionally as an actor in many productions for several years:

The Queensland Theatre Company production of Much Ado About Nothing (QTC, Brisbane) The Queensland Theatre Company production of Beecham (QTC, Brisbane) The Queensland Theatre Company production of The Little Foxes (QTC, Brisbane) The Queensland Theatre Company production of Betrayal (QTC, Brisbane) The Queensland Theatre Company production of Applause (QTC, Brisbane) The Queensland Theatre Company production of The Front Page (QTC, Brisbane) FEATURED Project DemolitionJobQTC The Queensland Theatre Company production of The Tempest (QTC, Brisbane) FEATURED Project SaturdaySundayMondayQTC The Queensland Theatre Company production of Amadeus (QTC, Brisbane) The Queensland Theatre Company production of The Warhorse (QTC, Brisbane) The Queensland Theatre Company production of Long Days Journey Into Night (QTC, Brisbane) The Queensland Theatre Company production of Hello, Dolly (QTC, Brisbane) The Queensland Theatre Company production of On Our Selection (QTC, Brisbane) The Queensland Theatre Company production of As You Like It (QTC, Brisbane) The Queensland Theatre Company production of Cat On A Hot Tin Roof (QTC, Brisbane) The Queensland Theatre Company production of Annie (QTC, Brisbane) The Queensland Theatre Company production of Outside Edge (QTC, Brisbane) The Queensland Theatre Company production of Richard III (QTC, Brisbane) The Queensland Theatre Company production of Playboy of the Western World (QTC) The Queensland Theatre Company production of Gypsy (QTC, Brisbane) The Queensland Theatre Company production of The Man Who Came To Dinner (QTC, Brisbane) The Queensland Theatre Company production of A Midsummer Nights Dream (QTC, Brisbane) The Queensland Theatre Company production of A Streetcar Named Desire (QTC, Brisbane) The Queensland Theatre Company production of Hedda Gabler (QTC, Brisbane) FEATURED Project KingLearQTC

My awakening.

My life finally had a purpose, and the community of actors, management, technicians and creative staff gave me family. For the first time, I felt a sense of accomplishment, and being proud of who I was.  The Queensland Theatre Company was my safe haven and the fabulously creative people within it, my mentors and my family. I was a teenager in thespian heaven.  Little did I know then, but these are now often referred to by my peers as the golden years of the company under the leadership of Alan Edwards AM MBE.

My life’s education.

These are just a few of my favorite, vivid and wonderful QTC moments:

  • James Ridewood's Designer Creative MindStudying James Ridewood’s meticulous focus and steady hand using a scalpel to craft an exquisite set model in his natural light studio with every wall showcasing previous magnificent designs atop the SGIO Theatre.
  • Allowed to walk past gatekeeper Gillian Coar’s desk (Executive Officer and Alan’s secretary) into Alan Edwards windowless office with every inch of space piled high with scripts to hear him welcome me with “my boy” and a smile.
  • The first music rehearsal for APPLAUSE with Peter Casey on piano hearing Noeline Browns initial rendition of “Fasten Your Seat Belts”.
  • Walking chickens in the streets around the theatre, on string leashes, during ON OUR SELECTION.
  • The sense of excitement drawing nearer as I drove the QTC white van towards Arthur Frames‘ workshop of creativity in Salisbury North – the carpentry hall & props cage to the left, the furniture & costumes to the right, with his and Yvette O’Brien’s office smack dab in the centre of theatrical wonderland.  The entire workshop even maintained a uniquely theatrical smell which was like perfume to me.
  • Shaving my head for a role in SATURDAY, SUNDAY, MONDAY at the request of a fabulously brilliant (& conniving) director John Krummel.
  • The absolute pride of walking down the ramp from the 2nd floor parking to enter the stage door from within the Turbot St. car park.
  • Climbing the scaffolding tower in Albert Park each night of THE TEMPEST & MUCH ADO ABOUT NOTHING to call the show.
  • Ken Kennett OAM Brisbane, Queensland Actor Director Producer Publicist QTCKen Kennett’s opening night, press and subscriber parties in the studio with cheap champers, and hundreds of glasses to wash in plastic tubs in a tiny butler’s pantry.
  • Searching, recording and working through the nights splicing sound effects obtained from the ABC radio station, onto reel-to-reel machines for various shows.
  • Watching Hugh Munro’s choreography coming together in the rehearsals of HELLO, DOLLY!
  • Finding a source for macrobiotic food items for the soft hearted and generous Keith Michell, starring in THE TEMPEST.
  • The darkness of stage left backstage at the SGIO, with Jamie Henson’s lighting shimmering over the faces of small groups of actors & technicians locked together watching magic onstage from the wings in nearly every show.
  • Driving (what seemed like monthly) the hilariously delightful David Clendinning to yet another costume fitting at the workshop in the Salisbury suburb.
  • Running the switchboard when the receptionist was on holidays, and feeling proud handling mundane administrative chores between calls.
  • Salivating the ear porn at the Sitzprobe led by Brian Stacey for ANNIE.
  • Purchasing stage makeup and pints of fake blood from Paul Wright’s dance supply shop in a dusty Brisbane Arcade a couple of blocks from the theatre.
  • Listening to the whispers in quadraphonic sound bouncing around the auditorium during the sound check of the opening scene of AMADEUS, and even hand mopping the shiny black stage floor in concentric circles outward with towels wrapped around my knees to protect James Ridewood’s design for that show.

During my time at QTC, I had the the joy of working with so many Australian legends such as Sheila Bradley Bille Brown AM Noeline Brown OAM Carol Burns Reginald Cameron OAM Geoff Cartwright David Clendinning Dr Peter Cooke AM Elaine Cusick Alan Edwards AM MBE Arthur Frame AM Gregory Gesch Ron Haddrick AM MBE Ken Kennett OAM John Krummel OAM Mark Lee Nigel Levings Graham Maclean Andrew McFarlane Scott McGregor Keith Michell Warren Mitchell Peter Noble Hazel Phillips OAM James Ridewood Geoffrey Rush AC June Salter AM Brian Stacey Frank Thring Geraldine Turner OAM Duncan Wass Gwen Wheeler Leo Wockner


Thank you dear QTC family.  Thank you, thanks and ta muchly for everything.


  • Alan Edwards AM MBE
    (QTC/RQTC from 1970 to 1988)
  • Aubrey Mellor
    (RQTC from 1988 to 1993)
  • Chris Johnson
    (RQTC from 1993 to 1996)
  • Robyn Nevin AM
    (RQTC from 1996 to 1999)
  • Michael Gow
    (RQTC/QTC from 1999 to 2010)
  • Wesley Enoch AM
    (QTC from 2010 to 2015)
  • Sam Strong
    (QTC/QT from 2015 to 2019)
  • Lee Lewis
    (QT from 2019)


Royal Queensland Theatre Company Act of 1970The functions of the Company as set out in section 12 of the Queensland Theatre Company Act of 1970 are:

  1. to promote and encourage the development and presentation of the arts of the theatre;
  2. to promote and encourage public interest and participation in the arts of the theatre;
  3. to promote and encourage either directly or indirectly the knowledge, understanding, appreciation and enjoyment of drama and other arts of the theatre in all their expressions, forms and media;
  4. to produce, present and manage plays, and other forms and types of theatre and entertainment in places determined by the theatre company;
  5. to establish and conduct schools, lectures, courses, seminars and other forms of education in drama and other arts of the theatre;
  6. to teach, train and instruct persons and promote education and research in drama and other arts of the theatre;
  7. to provide or assist to provide theatres and appurtenances of theatres;
  8. to encourage the involvement of persons resident in Queensland in the writing of plays and other aspects of the arts of the theatre;
  9. to perform the functions given to the theatre company under another Act;
  10. to perform functions that are incidental, complementary or helpful to, or likely to enhance the effective and efficient performance of, the functions mentioned in paragraphs (a) to (i);
  11. to perform functions of the type to which paragraph (j) applies and which are given to the theatre company in writing by the Minister.


Offices: S.G.I.O. Theatre, Turbot Street, Brisbane, 4000 (Telephone: 221 3861)
Workshop: Precision Street, Salisbury North, Queensland 4107 (Telephone: 277 4722)

Theatrical Brisbane Shows DB since 1865 Search historical QTC shows

QTC Book The Company We Keep Douglas HedgeQTC actor Douglas Hedge, whom I worked with, wrote a booklet The Company We Keep” – The First Ten Years of the Queensland Theatre Company.Download PDF format [58mb]

Great to see some history of one of the greatest Australian theatre companies preserved.

QTC Fading MemoriesMy lifetime archives were destroyed in 9/11 when I was living in New York. I’ve since been racing against the human aging clock to try and re-assemble, digitize and record QTC history before it’s too late, since whatever is left of the physical historical archives are not accessible for the majority of us while locked away inside boxes of the Queensland Theatre (QT) or at the Queensland Performing Arts Centre (QPAC) archive, likely never to see the light of day in my lifetime.  I have had terrific help from other QTC’ers in obtaining stories, facts, program and photo scans, and will continue to try and assemble more. It’s all a work in perpetual progress.

Queensland Theatre Links


Queensland Theatre Company: QTC Golden Years 1970 1988Queensland Theatre Company: QTC Behind the Scenes of the Golden YearsQueensland Theatre Company QTC Who's Who Hall of Fame Golden Years 1970's & 1980sAlan Edwards in MemoriumQTC Tangent Productions from the Queensland Theatre CompanyQueensland Theatre Company QTC TIE Theatre In Education RoadworksSGIO TheatreBrisbane Theatre History 2022Brisbane Theatre Shows DBBrisbane Shakespeare SocietyPuppet PeopleBrisbane Actors CompanyFrame and Kennett PromotionsBrisbane Theatre Restaurants & Dinner TheatreAustralian Theatre Companies

Facebook Visit the official Facebook QTC history site
with thousands of photos & programs.

~ + ★ ☆ {:-)-:}   + ~ | |
Biography | Portfolio | Blog | Consulting | Theatre History | ObituariesContact
Facebook #PreservingHistory1ShowAtATime