PRODUCTION:
Deeply offensive and utterly untrue

"At AWB we promote and demonstrate clearly that our business affairs and operations are at all times being conducted legally, ethically and in accordance with the highest standards of integrity and propriety. This is a fundamental principle of AWB's operations and business affairs.” AWB Corporate and Code of Conduct Policy

$290 million in bribes was paid to the regime of an evil dictator on the eve of war. Why? Government ministers and Australian Wheat Board executives all struggled to remember exactly what went on, but no one is too sure... The 8,500 pages of transcript of the Cole Inquiry into the 'wheat-for-weapons' scandal have been transformed into provocative, innovative and entertaining theatre by version 1.0, the team behind the acclaimed The Wages of Spin.

It's time to kickback the kickbacks.

VENUE:
Performance Space @ Carriage Works, Sydney
August 24- September 8, 2007

Critical praise for Deeply offensive and utterly untrue

“Most theatre companies aim to give us a good night out. Version 1.0 goes the extra mile: it entertains, informs and then contributes to the betterment of our democracy.”
Jason Blake, Sun Herald, 2/9/2007

“breathless, informative and very funny”
John McCallum, The Australian, 17/9/2007

"It's like The 7:30 Report on acid."
FBi Radio

"this production is nothing short of an exhilarating and superbly didactic piece of political theatre that shines a theatrical magnifying glass on what happened during the scandal... Deeply Offensive and Utterly Untrue is a very important production that holds a lucid mirror up to our democratic processes... the group has created its finest piece of theatre yet."
Nicholas Pickard, The Daily Telegraph, 28/8/07

"Version 1.0 has recently specialised in a sub-genre of the verbatim - inquiry theatre - and this is its most assured work yet. ... the skills and environment here (more concise condensation of material into digestible nuggets, superb video from Sean Bacon, a more defined and coherent physical language) result in the tightest and most pointed work the company ... has mounted."
Stephen Dunne, Sydney Morning Herald 28/8/07

"Informed and informative, all balls and no filler; once again Version 1.0 prove themselves as purveyors of unmissable renegade theatre on a topic that should have our country still hanging its head in shame."
Ewa Jaremkiewicz, City Hub, September 2007

PRODUCTION CREDITS:

Collaborative Team:
Sean Bacon, Paul Dwyer, Stephen Klinder, Jane Phegan, Christopher Ryan, Yana Taylor, Kym Vercoe, David Williams

Performers:
Stephen Klinder, Jane Phegan, Yana Taylor, Kym Vercoe, David Williams

Video Artist:
Sean Bacon

Dramaturgy:
Dr Paul Dwyer

OUtside Eye / Physical Dramaturgy :
Christopher Ryan

Sound Artist:
Gail Priest

Lighting Design:
Stephen Klinder

Stage Manager:
Katy Green

Producer:
David Williams

Administration & financial management :
Pip dennis

Rigging:
Bernie Regan & Garnet Brownbill

Technical Assistance:
Russel Emerson

Additional Costumes:
Steve Howarth

PRODUCTION:
The Bougainville Photoplay Project

A slide show with fireside chat

DESCRIPTION

The “ethnographic turn” in performance studies has been in full swing for over two decades. Its effects are readily apparent not only in the sheer range of genres of social and cultural behaviour that are being studied but also in the research methodologies being adopted. Less clear, however, are the implications of what some sociologists, anthropologists and communication theorists are calling the “performative turn” in ethnography.
In a presentation which combines performative renditions of field notes, oral history, slides, Super-8 film and the display of various artefacts, The Bougainville Photoplay Project grapples with the ethical, epistemological and practical dilemmas of making art and conducting research in post-colonial, post-conflict settings, particularly when the performance-maker/researcher is a citizen of the former colonial power.

The project weaves together three strands of narrative, the first of which documents a series of trips to Bougainville (Papua New Guinea) by an eminent Australian orthopedic surgeon during the 1960s, just as the era of Australia ’s colonial mandate in PNG is drawing to a close. The doctor is presented with dozens of crippled children and lepers; his operations allow many of these people to walk for the first time. The second narrative strand documents the establishment of the giant Panguna copper mine against the wishes of Bougainville’s traditional landowners, the environmental destruction caused by the mine, the struggle for Bougainville to become independent of PNG and the spiralling chaos of a brutal civil war during which roughly one in ten of the island’s inhabitants dies. The third strand of the photoplay project documents the beginnings of fieldwork study by an Australian academic, Paul Dwyer, of reconciliation ceremonies on Bougainville in the current period of post-war reconstruction.

The Bougainville Photoplay Project is politics and performance at its most personal. An intimate, moving, and constantly surprising monologue performance.

VENUE:
27 April 2007, UTS Gallery, Sydney
June 2007, Various venues across Bougainville and Papua New Guinea

PRODUCTION CREDITS:
Devised and performed
Paul Dwyer

Direction
David Williams

Video and production
Russell Emerson

PRODUCTION:
Certain Australian Companies residency

A Creative development residency for Hothouse Theatre's A Month in the Country programs

DESCRIPTION

After the insanity of their Wharf 2 Loud workshop performance, the version 1.0 team relocate to the quiet rural retreat of Albury, for a two week development residency.

VENUE:
April 2-14, 2007, Albury-Wodonga

PRODUCTION CREDITS:

Artists:
Sean Bacon, Paul Dwyer, Stephen Klinder, Jane Phegan, Chris Ryan, Yana Taylor, Kym Vercoe and David Williams.

PRODUCTION:
Push#8: Certain Australian Companies

A workshop performance for Wharf 2 Loud

DESCRIPTION

Trevor Flugge has suitcases full of cash, guns and no shirt. Why? He's not sure because he can't remember - plus he's deaf in one ear and hard of hearing in the other.

Almost $300 million in bribes was paid to a regime potentially harbouring weapons of mass destruction. Why? Ministers and executives all struggled to remember exactly what went on, but no one's too sure; as Commissioner Cole reported: 'No one asked, "What is the right thing to do?"'.

With a mere eight days of rehearsals, the 8500 pages of transcript and 76 days of the Cole Inquiry's public hearings will be transformed in to innovative, accessible, entertaining, visionary theatre. The team behind CMI and The Wages of Spin (version 1.0) will again construct one of their unique shows, making-over defiantly non-theatrical documents into provocative political theatre. It's time to kickback the kickbacks.

VENUE:
8-10 February, Wharf 2, Sydney Theatre Company

PRODUCTION CREDITS:

Artists:
Sean Bacon, Paul Dwyer, Stephen Klinder, Jane Phegan, Chris Ryan, Yana Taylor, Kym Vercoe and David Williams.