Moon Bureau in association with bAKEHOUSE Theatre Company are thrilled to present the World Premiere of Wally by Nick Vagne at KXT on Broadway!
When the staff of Northern Rivers News uncover a horrifying secret buried deep within their own servers, the cold case of missing boy Wally resurfaces plunging the network into a chilling nightmare where no one can be trusted.
As past and present collide, the team spirals into confusion, paranoia, and fear, with each revelation threatening to unravel both the network and themselves. What secrets lurk in the shadows, and how far will they go to ensure the truth remains buried?
Supported by Shopfront Arts Open Shop program.
WRITER’S NOTE
I would often joke to my close collaborators that the theatre I enjoy most is the projects that treat me a little rough. That welcome me into the theatre to only place me in the most heinous jury-rigged homemade roller coaster, blindfold me, and just before the ride starts the ground ruptures and falls out beneath us.
I love challenging work where I’m not just a passive observer but an active member of the experience in front me. Work where I have no idea what’s going on or what’s going to happen next. So, I guess it comes as no surprise that Wally turned out the way it did.
I’d love to tell you more but that’s the thing with a thriller. I literally can’t or it’s a spoiler.
There are so many people to thank when it comes to the piece. Firstly, to our fantastic director Amelia who took this wild play and turned it into the magical piece you will see tonight. Thank you to the incredible Moon Bureau team for creating that vision. Thank you to our designers and production team of Alicia, Margot, Frank and Dom who have left their mark on this project and I’m so happy that they have. It’s truly unforgettable and I wouldn’t have it any other way. My thanks to the cast who have created a world that truly makes me feel so many emotions at once, from spine-chilling fear to heartbreaking tears to hilarious joy. Thank you Shopfront Arts Co-Op for all the space, help and assistance you have given us.
Thank you KXT and bAKEHOUSE for having us here on Broadway as a part of the 2025 season. Thank you to everyone that read early drafts of the play, that gave me feedback on Wally over the years, that believed in it.
It really means the world to me. Thank you.
And to everyone reading this now that’s supporting the show, new work and us. My deepest thanks especially. You are the reason we all do this. You are incredible and I hope you enjoy the show.
Nicky Vagne
DIRECTOR’S NOTE
For me, Wally began a little over a year ago, over a coffee with Nick. We’d actually met to discuss a completely different project, but as these things often go, we found ourselves wandering into many tangents—eventually landing on Wally. What followed was a series of conversations, brainstorming, and rewrites, and after a few months, we decided it was time to dive into development (thank you Shopfront for the space!). That stage became a playground for the script, and we were incredibly lucky to have so many of our cast members with us, contributing their energy and talent as we brought Wally to life.
What excites me most about this work is its experimental structure. Nick’s script is a collection of vignettes spanning a three-year period, each one a snapshot in time. This non-linear approach meant that we had the freedom—and the challenge—of deciding the order of events ourselves, creating a fluid, experimental process. It was a deeply collaborative experience, and I couldn’t have asked for a better team to explore that with. One of the greatest joys was having the playwright in the room throughout the process, their presence allowed the show to evolve and shift as we made new discoveries, and it felt like this very alive thing we were shaping.
Wally doesn’t shy away from the ugly, the uncomfortable, or the complicated. It’s a world filled with terrible acts and flawed people, there are layers of complexity and humanity. These are characters who are deeply real—troubled, messy, and sometimes even irredeemable—but they’re also fascinating and full of contradictions. The themes we explore are challenging, but they’re ones that I believe we need to examine, especially now. It’s been a privilege to work with a team that embraced those complexities and were so committed to bringing them to life on stage.
I also want to extend a heartfelt thank you to our incredible designers and production team, who thankfully didn’t run for the hills when I first shared my wild vision (that we had a very limited period to pull off!). Your trust, your creativity, and your unwavering support in building this world has been nothing short of inspiring. Watching you build the world of Wally with such beauty and thoughtfulness has been spectacular.
Finally, I want to express my thanks to everyone who has contributed to Wally’s journey. Each of you brought something unique that has made this show what it is. To everyone who supported our development and made this season possible—thank you. And to our audiences, thank you for joining us on this adventure. We can’t wait to share the results of this collective effort with you.
I hope you enjoy our experiment as much as we’ve enjoyed creating it.
Amelia
CAST
Andrew Badger (SAM)
He/Him
Andrew is a fresh-faced, Sydney based actor. His theatre experience began with his training at Sydney Theatre School, Chippendale (STS) with plays such as The Warren and Romeo and Juliet. Since then, he has worked with the Genesian Theatre and Bittersweet Productions on stagings of Plaza Suite, Strangers on a Train & The Lies We Tell. He is excited to be a part of Wally as Sam, and has enjoyed working alongside the talented cast to bring this play to life!
Madison Chippendale (LOU)
She/Her
Madison Chippendale is a performance maker and actor who graduated from The University of Wollongong (BCA Performance). She was the 2013 recipient of the BBM Award for theatre and is a 2024 KXT Step up Artist. Most recently, Madison has wrapped her first feature film, “To The Tooth” (currently in post-production). She played Olivia in “Twelfth Night” for Whale Chorus, presented “30-50 Feral Hogs” at the Real Festival in Penrith for Q Theatre, and premiered “Hemlines” at the Sydney Fringe. Previous credits include Audrey in “As You Like It” with Such Stuff Productions, Agnes in “A Dream Play” directed by Tim Maddock, “Hamletmachine” directed by Chris Ryan, “Beguiled” devised with PACT Ensemble, and Kate in “As I Lay Dreaming” directed by Catherine McKinnon.
Lana Filies (KATE / Associate Producer)
She/Her
Described as ‘The one to watch’ (Theatre Travels) Lana Filies is a South African/ Australian Actor, Writer, Director, Singer, Theatre-Maker, and Choreographer who grew up on Dharawal Country and currently resides on Gadigal land. Her devised practice aims to champion women’s voices and create work that sparks conversation and has a social impact. She graduated from the University of Wollongong in 2018 with a Bachelor of Performance (Acting.) Currently Lana is
the Head Drama Teacher at Shopfront Arts Co-Op, leading Young People in weekly drama workshops.
Currently, Lana is developing ‘Our Hearts Beat’ (Karen Cummings) as apart of the Merrigong X Program. Her Independent works in development are ‘Hemlines’ (Moon Bureau) and ULTRA (Lana Filies and Sammy Read). Lana wrote and starred in her debut play ‘Expiration Date’ (produced by Purple Tape Productions) at Adelaide Fringe (March 2023) and Meraki Arts Bar (April-May 2023).
ACTING/PERFORMING CREDITS STAGE:
Hemlines (Moon Bureau, Sydney Fringe 2024)
THE ANTS (Polyglot, May 2024), A Flea in Her Ear: DEVELOPMENT (Siren Theatre Company, April 2024), SOLACE ( Milk Crate Theatre x Box Of Birds, November 2023), Paper Planet
(Polyglot x Sydney Opera House, September 2023), THE HOOFER (Fondue Set, Night time
Right Time Festival, October 2023), CAMP (Siren Theatre Company, January 2023), WE ARE HERE: ENSEMBLE (2023 ongoing, Emma Saunders), ‘Where Shall We Meet’, (Harness
Ensemble, Shopfront Arts Co-Op 2022) , ‘DUST’ (Milk Crate Theatre X Sydney Theatre
Company 2022), ‘Playpen’ (Dollhouse Collective X KXT 2022), ‘Tiny Universe’ (Shopfront Arts Co-op x Milk Crate Theatre, 2021).
ACTING CREDITS SCREEN:
Home and Away (2017), A Place to Call Home (2016), Heartbreak High: Season Two (2024),
Play Dirty (Filming in 2024)
DIRECTING CREDITS:
‘TENDER: A ORIGINAL MUSICAL’ (Shopfront Arts Co-Op, 2023), TEEN ANGST: AN
ORIGINAL MUSICAL (Shopfront Arts Co-op, 2022), Young Company (Shopfront Arts Co-Op,
MCA GEN NEXT FESTIVAL 2022).
Lana is a proud MEEA Member
Tammie Harper (ALAN)
They/She
Tammie Harper is an actor dedicated to creating dynamic performances and rich multidimensional characters. With early experiences in indie projects as a teen, Tammie has since showcased their versatility across various works, including The Lies We Were Told, Snails and Rocks, Curbsquatters, Teen Angst, and Hit Reset.
What drives Tammie in their craft is their commitment to building a deep understanding of their roles. They thrive on the process of developing characters, allowing them to evolve whilst delving into their motivations and complexities.
Whether on stage or in front of the camera, Tammie’s passion for the craft and their ability to connect with audiences make them an actor to keep an eye on in the years to come.
Iley Jones (REN)
She/Her
Iley Jones is a creative who tries to dip her toes in pretty much anything except Wombat poo. With a background as a writer, director and actor she’s been on and offstage in a number of productions including: “Life’s Contracts”, “Dead Not Dying”, “Good Talk” and “What Day is it Anyway?”. With a love of collaboration and world building she looks to find and create stories in all the unusual places. Including Wombat dens.
Suz Mawer (SUZIE)
She/Her
Suz Mawer is a graduate of Queensland University of Technology (BA Drama). Her theatrical performances include Wil & Grace (Rogue Productions), Coram Boy (KXT bAkehouse), The Bed Party (Old 505),37 Ways to Say I’m Gay (Tunks Productions), Macbeth (SheShakespeare), Visiting Hours (KXT bAkehouse), Jatinga (KXT bAkehouse), The Laden Table (KXT bAkehouse).
Suz’ television credits include Strife, Doctor Doctor, The Secrets She Keeps, The Other Guy, Frayed, Soul Mates, Home & Away, Wonderland and Crownies. Her film credits includeWelcome to the Galaxy, Overcaterers Anonymous, The Void in Joy and web series Spook Siblings.
Suz has twice been nominated for a Sydney Theatre Award for Best Supporting Actor for her work in The Laden Table (2017) and in Wil & Grace (2021).
Cheng Tang (NED)
He/Him
Cheng Tang is a formally-trained theatre nerd with a background in improvisation that he confesses the knowledge of which has all been lost to the passage of time. His unique look has netted him some high-profile commercial work just in Sydney, Australia alone. Cheng does weight-lifting and you might have seen him during the 2024 Olympics broadcasts – not as an Olympian, but in some ads (like mentioned before): ALDI, Westpac, maybe even Children’s Panadol.
Across his training and acting experiences, Cheng has been described as having a strong stage/screen presence and easily able to access emotional vulnerability. In 2020, Cheng was nominated for ‘Best Actor’ at the Made in the West Film Festival for his lead role in the short “P’s Get Degrees” (dir, Prudence Bernadette). He has previously appeared on Stan in Aussie-made Originals The Other Guy and The Commons. Cheng continuously hones his craft by attending regular classes at the Sydney Anthony Meindl’s Actor Workshop (AMAW) under the tutelage of Amy Kersey and Georgina Symes. His previous training includes a Bachelor of Performance from the Australian Institute of Music – Dramatic Arts, Long-form impro at ITS – Improv Theatre Sydney and the Ivana Chubbuck technique taught by Anthony Brandon Wong.
Chad Traupmann (GIDEON)
He/Him
Chad Traupmann was heavily involved in theatre during the late 90s in Perth, performing in productions for the West Australian Youth Theatre Company, UWA’s University Dramatic Society and at the Blue Room Theatre. After a 20 year hiatus from acting where he successfully climbed the corporate ladder, Chad re-discovered his creative passion in 2023 when he had his Sydney stage debut as Peter/Taxi Driver in the New Theatre’s production of Off The Record by Chris Aronsten. That same year he also appeared as Dr John Cristow/Inspector Colquhoun in the Genesian Theatre’s production of The Hollow by Agatha Christie in August, and portrayed Iago in Streamed Shakespheare’s production of Othello in November. In 2024 Chad was in Deadhouse’s production of The First Council, along with two productions at the New Theatre: Ink as Frank Nicklin and Shakespeare in Love as Lord Wessex. He also completed work on 2 upcoming Indie Feature Films: Welcome Back to My Channel and To The Tooth which are due to release in 2025. He currently studies at Sydney Acting Studio and is represented by Studio Management.
CREATIVES
Nick Vagne (Playwright / Co-Producer)
They/Them
Nick is a queer nonbinary Playwright, Theatre-Maker and Dramaturg from regional New South Wales. A founding member of the performance collective Vaguely Adjacent, Nick’s body of work consists proudly of new work either recently devised or written. Vaguely Adjacent’s debut work ‘Squatch Watch Live:’ is currently in development as a part of the MerrigongX program with Merrigong Theatre Company.
Nick’s writing style showcases work through unconventional writing structures and experimental form, to create a unique theatrical presentation of work that often holds the theme of uncovering tragic elements within comical situations. Nick describes it as “if a warm stranger opened a door for you, and then punched you in the chest as you walked through”. They take most of their inspiration from fringe groups, media personalities and conspiracy theories, they write and create new work for a range of voices presented through different performative styles and camp aesthetics.In 2023 Nick has been a part of multiple amazing programs to create new work. These include Co-Directing for Milk Crate theatre in collaboration of the Waterloo creative ensemble for Manifesto a performative instillation about the investigation into the creative process and engaging with community about what makes all of us artists. As well as writing another play for young people for the Drama Studio’s Final draft program “Big trouble, Little Putter, an absurd short play about a kid’s birthday party going wrong and dressing adults as gnomes to escape the law.
Amelia Gilday (Director / Producer)
They/Them
Amelia Gilday is a Director, Designer and Producer (sometimes they write things). They have a Bachelor of Arts in Film and Theatre from The University of Notre Dame, an Advanced Diploma of Music Creation and Composition from TAFE NSW, and completed their Masters of Applied Theatre at the University of New England.
Most recently Amelia co-created and directed ‘Hemlines’ as part of KXT’s 2025 Step Up season and Sydney Fringe, co-directed ShopFront Arts Co-op’s Senior Ensemble work ‘When I Grow Up’, and was a 2024 OFA 30 Under 30 Winner. Currently, Amelia is developing ‘Under the Influence 2.0’ supported by Critical Path and is a resident artist with KXT/bAKEHOUSE.
In 2023 Amelia was a resident artist at ShopFront Arts Co-op where they developed their new multidisciplinary performance work, Under the Influence, which played at 107 Projects in Sydney. Their film Pieces of You won Best Short Film and the Governors Award at Short Shorts & Asia. In 2022 they directed Next Step at the Festival of Regional Theatre and Short+Sweet Sydney, the work earning awards at both festivals; they devised and performed Where Shall We Meet? as part of ShopFront’s Harness Ensemble, stage managed Who’s Afraid at Belvoir 25A (Four One One), and produced Waiting in Soho with Moon Bureau for Sydney Fringe Festival.
Other credits include, directing Good Talk (Moon Bureau) at Adelaide Fringe Festival (2021) and Anywhere Festival Brisbane (2021); devising and directing Illuminated (Moon Bureau) which toured Sydney (2018), Adelaide and Darwin Fringe Festivals (2019); co-writing and directing Coming Out on Broadway through Open Shop Residencies at Sydney Fringe Festival (2019), and producing Two Quarters Full at Flight Path Theatre (2019). Directing HMS Headwind, which won Judges and Audience Choice at Short+Sweet Sydney (2018); assistant directing The Spoils by Jesse Eisenberg at Flight Path Theatre (2019). Facilitating Home Theatre (2020), an online script development and performance workshop series with 18 artists from around Australia culminating in several live streamed performances. Directing and producing award winning short film Girls Pty Ltd. (2018) and co-writing and directing award winning series License to Succeed (2018).
Alicia Badger (Production Manager / Lighting Designer)
She/Her
Alicia first fell in love with acting was when she was 13 years old and appeared in Dan Mitchell’s short film ‘Canon in D’, which appeared at the Cannes Film Festival that year. Her love only continued to grow throughout high school, leading her to decide to continue her education in university by enrolling for a Bachelor of Arts majoring in Theatre Studies at the University of Notre Dame. It was during her time there that her passion shifted from solely appearing on stage as an actor to also developing skills more on the technical side of things, especially in regards to lighting and sound design.
With the skills she has since acquired in lighting and sound design within live theatre settings, filmed theatre adaptions, and a few short films she has come to realise that what truly captures her imagination and intrigue is the way that lighting and sound can elevate what is appearing on the stage/screen, and how a change in the lighting/sound can affect the audiences perception of what is appearing in front of them. With this in mind, she hopes to have a hand in the creation and development of unique and experimental productions where lighting and sound are utilised in diverse ways.
Having experienced the lack of easy and affordable access to learning and/or further developing skills within the theatre community, she also hopes to be able to provide an avenue for those in the community to gain the requisite skills to develop their careers.
Alicia recently completed a technical theatre diploma at NIDA and currently works with Bondi Pavillion, ATYP, and Bell Shakespeare and has previously worked as a lighting technician and operator for ACA.
Margot Politis (Set and Costume Designer)
She/Her
Margot Politis is an impassioned artist and leader in the space of Community Arts and Cultural Development (CACD) best practice, whose focus is to advocate and make space for the expression of people who do not have neurotypical access to public performance platforms. For over 20 years, Margot has worked in the inclusive arts practice as a performer, director, choreographer, film director, and devisor of interdisciplinary and immersive performance works comprising theatre, movement, light, sound and set design. She proudly identifies as living in recovery from addiction and mental health issues.
Margot began her career performing with Adelaide’s Restless Dance Theatre in 2004, after graduation from the Flinders University Drama Centre, performing Sustenance (2005), Vocabulary (2005), and the Continual Unfolding of Now (2006). In 2009, she moved to Sydney and worked until 2015 as the Accessibility Director at Shopfront Arts Co-op, directing Bodylines and Harness Ensembles of young people with disability in various works; including the film Reaching Out Over & Over – an official selection of the 2016 NYC Indie Film Festival.
Independently Margot has worked with Ausdance NSW, Accessible Arts NSW, Murmuration, Dirty Feet, The Song Room, Rozelle Neighbourhood Centre and Autism Spectrum Australia, and has studied with various companies and artists in the USA and the UK. In May 2015 she was artist in residence at Tasdance, Launceston, to facilitate skills development in inclusive practice, and in 2016 premiered her independent work, The Forest Unyielding, building an activated immersive forest space representing the living brain of a person experiencing addiction. In 2017 Margot choreographed the Shopfront Arts Co-op and ATYP co-pro, Dignity of Risk alongside Natalie Rose, which won the Sydney Theatre Award for Best Production for Young People.
Margot was appointed Artistic Director of Milk Crate Theatre in 2018, after two years serving as Associate Director, and since then has designed and directed the company’s major productions Natural Order (2019), Tiny Universe (2021) with Natalie Rose (Shopfront Arts Co-op), MCT: A Retrospective (2022) and DUST (2022). Margot is currently deeply engaging in set design, aesthetics, space, DIY and ASMR, to keep redefining the boundaries of performance and what they mean to people with varied lived experiences and neurodiversity. Her work can be viewed on Instagram @margotmovingtheatre.
Frank Dwyer (Sound Designer)
He/They
Frank is an emerging composer and sound designer living and working on Gadigal land. He trained at the Sydney Conservatorium of Music, where he was mentored by electronic music composers such as Ben Carey and Daniel Blinkhorn. His current practice centres around the creation of electro-acoustic soundscapes and installation-based work. He also composed for chamber ensembles, choir, electroacoustic and electronic ensembles, and does sound design and composition for theatre productions.
As a composer, Frank’s work is typically rooted in a sense of place. He is drawn to the ambient sounds of natural phenomena and the built environment, drawing inspiration from the sound-making systems that are inherent to these settings. They strip back the sounds of the everyday world that surrounds us, recontextualising them as textural, evolving and evocative soundscapes.
Frank’s work has been supported by organisations such as the EDGE Greenway Festival, Shopfront Arts Co-op, Brand X, PACT, APAM, and Merrigong.
Dom Hort (Stage Manager / Operator)
He/Him
Dom Hort is a 24-year-old actor and theatre technician. Dom has worked in technical roles with numerous theatre companies such as: the Sydney Opera House and Seymour Centre as a lighting operator, lighting designing a few shows with Shopfront Arts Co-Op and Whimsical Theatre Company, and Stage Managing for Clockfire Theatre Company at BrandX, Sydney Fringe Festival and the Adelaide Fringe Festival. Dom has also recently co-founded an Illawarra-based theatre company – Dead Fruit Theatre Co. – where he similarly dons the hat of Theatre technician, producer, and stage manager. With this theatre company, they recently made their professional debut with ‘Iris’ at the Sydney Fringe Festival (2024). On the side Dom likes to refine his acting skills in community theatre productions and write theatre scripts, however, Dom prefers working in the technical side of theatre and hopes to continue down this profession for the foreseeable future.
SPECIAL THANKS
Tyler Fitzpatrick and Shopfront Arts Co-Op
Daniel Potter and Paper Jam Partners
Dead Fruit Theatre Co.
The Seymour Centre
Inner West Council
Phoenix Theatre
Jarrod Riesinger
Kirsten Berg
Jay Harthun
Thomas ‘Wombat’ Goth-Towney
Justin Clarke
Zachary Hanlon
