Tom Stoppard’s
Rosencrantz and Guildenstern are Dead
directed by Tony Petani
The performance will run for approximately 165 minutes including two 15 minute intervals.
CAST
Rosencrantz - Alex Comstock
Guildenstern - Thomas Dimmick
The Player - Jeff Watkins
Hamlet - Leigh Fitzpatrick
Ophelia - Emma Donald
Claudius - Peter Bruderlin
Gertrude - Kylie Sturgess
Polonius - Neale Paterson
Ambassador - Aruka Ezeugo/Emily Keys
Alfred - Tom Tasovac
Tragedian - Jordan D’Arcy
Tragedian - Daniel Suttner
Tragedian - Codey Finlay
Horatio/Soldier - Tod Trotman
Attendant/Fortinbras - Alison Greenwood-Maitland
Crew and Creatives
Director - Tony Petani
Co-Director - Emily Keys
Stage Manager - Jason Blaine
Assistant Stage Manager - Dean McAskil
Lighting Design/Operation - Fiona Reid
Costumes - Merri Ford
Makeup - Yvette Wetherilt
Programme - Grant Malcolm
Set Design/Construction - Ronald Birch
Photography - Jordan D’Arcy, Grant Malcolm and Nigel Goodwin
Fight Choreography - Nastassja Norwood
Intimacy Co-ordinator - Sarah McCabe
Thanks
Emily Archibald and St Georges College
Nigel Goodwin
Ichina Parker
Rebecca Bauert
Nichole Burchett and University Club of WA
Rob Lines and the team at UniTheatres
The Murray Music and Drama Club
Alex Comstock
Graduating in 2022 from Curtin University with a Bachelor’s Degree majoring in Theatre Arts, Alex has involved himself in theatre at every opportunity. During his time at Curtin, he has performed in or crewed over a dozen ‘lunchtime’ shows and has performed in multiple major productions, all at the Hayman Theatre. Alex has also developed two of his own ‘Lunchtime Productions’, writing the script, and bringing his vision to life onstage.
Since graduating, Alex has been fortunate enough to perform in a variety of productions. Alex has led productions as Richard III / Gloucester in the GRADS’ production of Richard III, and George in Garrick Theatre's The York Realist, and has played supporting roles in Radium Girls, The Lisbon Traviata and Antigone, among others.
When not onstage, Alex can also be found hosting pub quizzes, and looking after the Dino's at Perth Zoo. Alex is keen to continue being involved in theatre, and to work with friends old and new.
Thomas Dimmick
Thomas is a director, writer, and multi award-winning actor who has been involved in theatre for many years. Growing up he was involved with the Melbourne Theatre Company Summer Schools and graduated from Murdoch University with a Bachelor of Arts in Theatre and Drama. Thomas has dabbled in nearly all theatrical roles aside from costume making due to a lack of sewing ability. He has previously been a Finley Adjudicator and President of GRADS Theatre Company. Recent acting performances include: Red Silk (Koorliny Arts Centre), Guys & Dolls (Koorliny Arts Centre), Pride and Prejudice (Old Mill Theatre), Private Lives (Old Mill Theatre), Things I Know To Be True (Melville Theatre). Recent directing credits include: God of Carnage (Melville Theatre), Othello (GRADS Theatre Company), Ghosts (Melville Theatre), The Odyssey: The Epic Tale of Odysseus on his Super Long Journey Home (Black Martini Productions). Recent nominations and awards: Adjudication Certificate for special effects – God of Carnage (2024 Finley Awards), Adjudication Certificate for fight scene – Othello (2024 Finley Awards), Nomination for Best Director – Othello (2024 Finley Awards), Best Comedy Performance – Private Lives (Milly Awards), Best Play – Things I Know To Be True (Finley Awards).
Jeff Watkins
Jeff has been a regular face in the Perth theatre scene for 35 years, with a strong focus in Shakespearean productions. Macduff, Mercutio, Don Pedro, Don Adriano de Armardo, and so many more. Now he has been granted a dangerous, free reign of Tom Stoppard’s The Player.
One questions the wisdom of a director to unleash the gregarious personality of Jeff into the flamboyant and larger than life Player. Even insisting Jeff retain his purple hair as it was "very theatrical."
Time will tell the repercussions of this casting choice.
Emma Donald
Emma has trained in theatre and screen acting for the past six years. She was recently accepted into and completed NIDA’s Actor’s Residency program in 2024, where she was taught movement and vocal techniques, as well as acting for stage and screen. Prior to this, she trained at the Ali Roberts Studio, as well as with private tutors for accent tuition. She has performed in multiple theatre productions in the past and is enjoying pushing herself within the role of Ophelia for this production. Emma has recently completed a Bachelor of Creative Arts, majoring in Screen Arts, with a minor in Photography, at Curtin University. This course gave her skills in filmmaking, such as directing, cinematography, screenwriting, and editing.
Alongside acting, she works as a freelance graphic designer, photographer and filmmaker. Emma aspires to continue her acting in both stage and screen work for the future, continuing to hone her acting craft.
Leigh Fitzpatrick
Rosencrantz & Guildenstern is Leigh’s return to traditional theatre after a several-year hiatus to focus on their doctoral studies. If you’ve seen Leigh on stage in the last few years, it will have been in FairyFales, their award-winning (not to brag) annual Fringe show, which you should go see.
Prior to their hiatus, Leigh could be found acting and directing wherever Shakespeare was performed or myths were retold, from touring and site-specific productions of A Midsummer Night’s Dream to a GRADS production of Macbeth. Personal highlights include performing as The Father in Six Characters in Search of an Author, directing The Tempest, and facilitating devisement laboratories for local practitioners
This production has proven especially joyful for Leigh, providing the exciting challenge of embodying a well-known and well-rounded character like Hamlet, without the pressure and time commitment of a lead role.
If you want to talk to Leigh about performance theory, actor training, or folklore, please do. They are always excited to correspond or collaborate, especially when they should really be focusing on finishing their thesis.
Peter Bruderlin
Peter has been active in Perth’s performing arts community for over twenty years, with a career spanning theatre and film. On stage, he has appeared in Breathe at the Blue Room Theatre and performed in consecutive seasons of the Short and Sweet Festival, demonstrating a wide range of dramatic and comedic ability. His film work includes roles in several acclaimed short productions, most recently the multi-award-winning Choice and For Old Times Sake, which received the Audience Choice Award.
Peter is especially pleased to be performing at the New Fortune Theatre, a venue with a rich history and reputation for excellence. Collaborating with such an accomplished ensemble represents both a challenge and a privilege, and he approaches the production with enthusiasm and respect.
While he once aspired to a career in basketball, he has long since found his true home in performance, where he continues to grow as an artist.
Tom Tasovac
Tom Tasovac (he/him) is a freelance theatre maker based in Boorloo (Perth), Western Australia. Tom’s work in theatre began at Curtin University, where he got his Bachelor of Creative Arts in 2024. Over his four years of study and training with the Hayman Theatre Company, Tom has performed most notably as Brian in The Antipodes (2022), Gabriel York in When The Rain Stops Falling (2023), and Jeff Skilling in ENRON, (2024). Tom has most recently performed as Orpheus in GRADS Theatre Company’s production of Eurydice (2025). Tom is excited to be back performing with GRADS Theatre Company as the tragedian Alfred, and is keen to show audiences the brilliant work that everyone has put into the production.
Kylie Sturgess
Dr. Kylie Sturgess is a lecturer at both Murdoch and Curtin Universities in the fields of Communication and Education. She has appeared in the Murdoch Theatre Company's production of "PUFFs (Or, Seven Increasingly Eventful Years at a Certain School of Magic and Magic)" and with Hand in Hand Theatre in "Black Milk." Her love for this particular play began in the early 1990s, when her Shakespeare-purist teacher forbade her from studying it, and then the film adaptation came out and (deservedly) made it a sensation.
Daniel Suttner
Hailing in from Johannesburg, South Africa, Daniel Suttner (25) is a first year BPA student at The Western Australia Academy of Performing Arts (WAAPA). With two years of Musical Theatre training through Trinity College London and Stageworx School of Performing Arts, and two years as a professional Stage Manager, Dan brings a unique South African flavour and experience to the New Fortune Theatre stage in his first GRADS production and community theatre debut in WA. As one of the Tragedians, he is excited to have a grand old time bringing this iconic play to life.
Codey Finlay
Codey Finlay first stepped onto the stage in 2020, her debut as a haunting Nosferatu in Dracula later to perform in the comedic ‘Dracula’ (2022) with Garrick Theatre as Dr Arabella Van Helsing; in the same year she portrayed the historical figure of Anne Boleyn in the not so historically accurate ‘Ladies Who Wait’.
A proud member of Company O, Codey first worked behind the scenes before captivating audiences as the enigmatic Venus in ‘Venus in Fur’ (2023); her desire to learn classical theatre led her to GRADS and the New Fortune Theatre in 2024, where she embraced Shakespeare with dual roles—Le Beau and Audrey—in As You Like It.
That same year, she dove deeper through dramatic readings with the New Fortune Theatre project, embodying The Player Queen (Hamlet), Isabella (Measure for Measure), and Emilia (Othello). Now, Codey returns to the stage with the challenge of physical comedy as a Tragedian in Rosencrantz and Guildenstern are Dead, knowing very confidently the audience will laugh and enjoy this play every bit as much as she’s enjoyed and adored being part of this production.
Jordan D’Arcy
Jordan has been involved in the Perth community theatre and film scene for over 10 years, both onstage and behind the scenes. Her most recent onstage credits C in Cut!! (Marloo Theatre), featured ensemble and dance captain for How to Succeed in Business (Without Really Trying) (Roleystone Theatre), Ursula March in Sweet Charity (Roleystone Theatre), Miss Jolly in Seven Little Australians (Stirling Theatre), and Nurse Flinn in One Flew Over the Cuckoo’s Nest (Marloo Theatre). Jordan’s offstage credits include choreography for The Drowsy Chaperone (Stirling Players) and American Idiot (AIM), the latter of which she was nominated for best choreography, directing Clue: on Stage (Garrick Theatre) and Through the Looking Glass (and what Alice Found There) (Murdoch Theatre Company), and choreographer, producer, and PR manager for independently produced FRINGEWORLD productions The Killdeer and A Boy Wanted To. Jordan has also been cinematographer for the short film Hell Night (Inklight Productions), and contact officer for feature films She Came From the Moon and Stubbornly Here (HoneyBomb) and short films Coal County Annual Sword Fight (HoneyBomb) and Exorcise Me (HoneyBomb). Jordan is a trained dancer, having danced for 18 years, specialising in jazz, contemporary, classical ballet (Borovansky), and Irish dance, including having competed in state and national championships. Most recently Jordan has been on screen for She Came From the Moon (Honeybomb) which is currently in post production.
Aruka Ezeugo
Aruka is delighted to be performing in the Rosencrantz and Guildenstern Are Dead production with GRADS Theatre Company, as a Tragedian. Aruka is especially proud to be back on the stage this year, and for the first time in 3 years after spending the past couple years studying. She is currently part of the West Australian Youth Theatre Company, and has taken part in 2 performances so far this year. She is excited to see what else is in store for her this year.
Neale Paterson
Neale made his first appearance on stage at the New Fortune Theatre in the summer of 1980, as the French Ambassador in GRADS’ production of Shakespeare’s King John. The peacocks heralded his entry.
Since then he has been involved in many productions, on and off stage, with GRADS and other groups, with a twenty year break for good measure.
As President of GRADS he helped to revive the tradition of Summer Shakespeare in the New Fortune.
Recent roles have included Sir William Collier in the Terence Rattigan's The Deep Blue Sea (Melville) and Hamm in Samuel Beckett's Endgame (KADS).
Alison Greenwood-Maitland
Alison Greenwood-Maitland played crowd roles in various university productions in Christchurch, New Zealand, such as ‘whore’ in Bertolt Brecht’s ‘Threepenny Opera’ and ‘fairy’ in ‘A Midsummer Nights Dream’ (starring a then unknown Sam Neill as Lysander). She had one leading role in Jean Paul Sartre’s ‘Huis Clos’, where her acting was described as ‘wooden’. Wisely reverting to small parts, in Perth she’s been in a couple productions by the Irish Theatre Players.
Never thinking of treading the boards again, the attraction of ‘Rosencrantz and Guildenstern Are Dead’ was the play itself, which she’s always loved.
Less riveting than being part of this brilliant play is working as an English teacher to adult migrants at TAFE.
Emily Keys
Emily Keys (She/Her) based in Boorloo, is an emerging British/Australian artist currently undergoing a Bachelor of Performing Arts at the Western Australian Academy of Performing Arts (WAAPA). Having previously worked with the WA Youth Theatre Company (WAYTCO) as an ensemble member, she has participated in projects such as the 2022 Perth Festival collaboration with Samara Hersch ‘Body Of Knowledge’ (PICA), acting, writing, assistant directing and stage managing for both the 24 and 40 Hour Play Generator, winner of 2022 People’s Choice award for the Loungeroom Project and also having performed in Yirra Yakin’s collaborative Ngalaka Daa ensemble. Growing up, Emily engaged in contemporary, ballet, jazz and classical singing. Latest projects Emily has been a part of includes, deviser and performer in Encounter’s Perth Festival production ‘Nightwalks with Teenagers’ (2024), past performer and co-master of ceremony for Performing Arts Perspectives, ‘House Party for the Apocalypse’ at Hayman Theatre (Perth Fringe 2025), ‘Sweet Oblivion’ premiered at Perth International Film Festival (2025) and the most recent being the BPA class of 2026, ‘Generator: Precipice’.
Director’s Note
Rosencrantz and Guildenstern Are Dead has had a special place in my heart since I was 14 and saw the film version of the play, starring Gary Oldman and Tim Roth. I had just seen the Zeffirelli Hamlet (also known as the Mel Gibson Hamlet), and it just struck a chord. That said, you do not need to have seen Hamlet to enjoy this show. Stoppard is careful to ensure that all of the major points you need to know to ‘get’ this show are pointed out. However, it does reward those who know the Hamlet story well with some additional ‘easter eggs’ and call backs.
What struck me about the play though, is the modern references that were not immediately apparent to me as a kid, but which are now obvious. The Abbot and Costello bickering wordplay, the Danny Kaye tongue twisters and Laurel and Hardy physicality. Somehow, this all ties in perfectly with the Beckett existentialism and of course Shakespeare’s own musing on death to produce something unique and thoroughly entertaining.
While I loved that film from the very first time I saw it, this story belongs on a stage. Only here does the babushka doll of plays-within-plays fully work, as we follow two characters off the wings of Shakespeare and try to find out who they are when theyare not who they are told to be.
Tony Petani
Tony returns to directing after a 20-year hiatus. He had previously directed Monogamy at the Blue Room Theatre and wrote and directed Plank’s Constant for UDS. He will be familiar to GRADS audiences from several recent productions including Comedy of Errors, Romeo & Juliet and Richard III (for which he won the Finlay Award for ‘Best Supporting Actor in a play’). Long-term GRADS fans may remember Tony from a 2002 production of Rosencrantz and Guildenstern Are Dead in which he played Rosencrantz (or Guildenstern, he forgets which). In his spare time, Tony is a corporate and intellectual property lawyer, and is a current Board member for the Australian Academy of Cinema and Television Arts (AACTA) and the Revelation Film Festival.
Director -
Tony Petani
COMING IN MARCH 2026
“Something wicked this way comes...” – it’s Macbeth, one of Shakespeare’s most gripping, enduring, and (some say) cursed tales. A clash between honour and ambition sets our play in motion, as a Scottish commander encounters three mysterious witches whose prophecies invite him down a path of blood, betrayal, and psychological breakdown. Urged on by his ruthless wife, Macbeth murders his king and seizes the throne, only to find that power stolen by violence carries a terrible price. As the guilt from his traitorous act consumes him, Macbeth is haunted by ghosts, plagued by paranoia, and drawn ever deeper into a cycle of violence.
From the witches’ bubbling cauldron of “double, double toil and trouble”, to Lady Macbeth’s tormented plea of “out, damned spot!”, to Macbeth’s haunting lament that life is “full of sound and fury, signifying nothing”, this play brims with unforgettable moments that have captivated audiences for more than four centuries.
In this new production, the question of fate versus free will takes centre stage. From the moment the witches deliver their prophecy, we are drawn into the unnerving tension between our destinies, our desires, and our decisions. Was Macbeth an honourable man who tragically succumbed to temptation? A cruel figure repressing his true nature and waiting only for the right excuse to act? Or was he a man who recognised the darkness inside him and loathed it... until a chorus of voices emboldened him to unleash it?
It's a question that feels all too modern. Macbeth’s journey shows us how easy it is to be swept up by radicalisation – how validating it feels when others echo what we feel entitled to, how quickly accountability is stripped away, and how devastating the consequences can be. His downfall is a stark reminder of the need to interrogate our own beliefs and of our power to consciously choose the kind of person we want to be.
Macbeth will run from 11—14 and 18—21 March 2026 at UWA’s New Fortune Theatre, directed by Grace Edwards, a veteran performer of this stage.
Whether you are a lifelong devotee of the Bard or a Shakespeare first-timer, Macbeth promises an unforgettable night of theatre – a visceral and haunting exploration of ambition, fate, and the fragile line between power and ruin.
