Playwright’s Biography

Suzie Miller is a multi award-winning playwright, was writer in residence at Sydney’s Griffin Theatre 2012, has worked with international directors in five countries and twice been attached to the National Theatre in London with her work developed at the NT Studio development unit. Miller’s works include Caress/Ache (developed at National Theatre, London, premiering at the new Eternity Playhouse Sydney in 2014); June (atyp with Legs on the Wall); Dust (Black Swan Theatre Company). Driving Into Walls (Perth International Arts Festival 2012 with Barking Gecko Theatre Company, touring to Sydney Opera House then UK in 2013); The Sacrifice Zone (Toronto with Theatre Gargantua in 2012 and 2013); In the Heart of Darby Park (Oran Mor Theatre, Glasgow in 2013); Transparency (premiered with Ransom Theatre, Belfast in 2009); Sold (London’s Theatre 503 in 2011); Reasonable Doubt (Edinburgh Fringe Festival and NY Fringe Festival in 2008); All the Blood and All the Water (Riverside Theatre); Cross Sections (TRS and Sydney Opera House); Confused Sea Conditions (Philadelphia US April 2009; Sydney 2008); Flight/Fright Mode (Edinburgh Festival 2009, New Theatre, Sydney 2009; London’s Southwark Playhouse 2011).

In 2012 Miller was on creative attachment, working with Robert Lepage and Ex Machina in Quebec City on Playing Cards.

Miller’s awards include the 2008 National Kit Denton Fellowship for writing with courage; shortlisted 2010 and 2005 Australian Writers Guild Award for drama; shortlisted Griffin Award 2009; winner Inscription 2009; and 2006; mentored by Edward Albee 2009; winner 2008 New York Fringe Festival ‘Overall Excellence Award for Outstanding Playwriting’ and 2005 winner Theatrelab award.

For the wonderful Robert, Gabriel and Sasha

INTRODUCTION

When I first read Transparency I was sure that the playwright, Suzie Miller, had taken some artistic license in fashioning a riveting, multi-level ‘who-dunnit’ type story. It seemed unfathomable to me that someone could be forced to pay for a childhood crime, albeit horrific, for the rest of their lives through an enforced and effective removal of their past. This seemed to me a punishment that far outweighed the crime. But I was quick to learn that this is indeed a reality for some individuals who, like Simon, Miller’s protagonist, have committed the ultimate crime as children.

This element of ‘discovery’ of a new and very bleak world was one of the reasons I selected Transparency to be the Seymour Centre’s first full-produced theatre production. As part of the University of Sydney it seemed appropriate that our self-produced productions fed into the University’s culture of informed enquiry, of asking important questions. And Miller’s play is filled with questions.