MICHAEL BODDY has worked in theatre, television, radio and film as a writer, actor and director. A bio-dynamic farmer for the past twenty-five years, he now writes about farming, horticulture, natural history, food, consumer affairs and scientific matters.

ALMA DE GROEN'S early plays feature in the history of some of Australia's most iconic and ground-breaking theatre companies such as Nimrod in Sydney, and The Pram Factory in Melbourne. Her plays, apart from Chidley and The Afterlife of Arthur Cravan, focus on female emotional identity in works such as The Sweatproof Boy, The Joss Adams Show, Perfectly All Right, Going Home, Vocations, The Rivers of China, The Girl Who Saw Everything, The Woman in the Window (included in Lucy Kerbel's 100 Great Plays for Women) and Wicked Sisters. Along with cities throughout Australia, her work has been seen in the U.K., the U.S., Canada, New Zealand, Asia, the Czech Republic and Poland. She has been writer-in-residence at universities in Queensland and Western Australia and Rollins College in Florida. Television writing includes Man of Letters, After Marcuse, Singles, and Rafferty's Rules. Her writing for radio includes Available Light and the Australian 1996 Prix Italia entry Stories in the Dark (with Ian Mackenzie). Awards include AWGIES for theatre and television, the NSW Premier's Award for Drama and the Louis Essen Prize for Drama in the Victorian Premier's Literary Awards. She was the first playwright to receive the Patrick White Literary Award.

BOB ELLIS is the author of seventeen books. His work for film and stage has won numerous nominations and awards for writing and direction, including three Premier's Literary Awards. He was co-author, with Michael Boddy, of the landmark play The Legend of King O’Malley published by Currency.

JACK HIBBERD is one the most innovative Australian playwrights of his generation. His career began in 1967 and his prolific output extends vigorously into the new century. His early plays have endured the test of time and continue to be performed, studied and read for pleasure. He has written over forty works for the stage.

JOHN ROMERIL, AM has been a prolific writer whose plays have been performed at every state theatre company in Australia as well as internationally in Asia, Canada, Europe. John has received multiple awards for his work. These include: NSW Premiers Literary Award for Playwrights 2002, Australian National Playwrights Centre Award 2003, Australia Council Literature Board Fellowship 2003, The Patrick White Literary Award 2008, three AWGIES including the Dorothy Crawford Award for outstanding contribution to the profession 2016, Other lifetime achievement awards have included Sydney Theatre Award 2013 and Green Room Award 2011. For more than a decade as a house writer for the Australian Performing Group he penned more than 30 works including: The Floating World and Chicago, Chicago. Since then he has produced a body of work made with and about the Asian region including Love Suicides and Miss Tanaka. He also co-wrote Jack Charles Vs the Crown together with Jack Charles and One Night the Moon for screen and stage( film with Rachel Perkins). He has served on several Boards including as Chair of the Australian National Playwrights Centre and on the Literature Board of the Australia Council for the Arts.  Early plays include the major works I Don’t Know Who To Feel Sorry For, Chicago, Chicago and The Floating World. Other plays are Mrs Thally F, Carboni, The Kelly Dance, Lost Weekend, Black Cargo, Bring Down the House, Doing the Block and Red Sun Red Earth. He has studied under Australia Council grants in Europe, Canada and the United States. In 1993–96 he was recipient of an Australian Artists’ Creative Fellowship. More recent works published by Currency are Love Suicides and Miss Tanaka. He has acted as Playwright-in-Residence for many theatre companies and tertiary institutions and served as Chair of the Australian National Playwrights’ Centre. In 2003 he received the inaugural ANPC Award which honours Australian playwrights who have made a significant contribution to national theatre and culture.

DAVID WILLIAMSON is Australia’s best known and most widely performed playwright. Some of his 55 produced plays over the last 50 years include The Coming of the Stork, The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Money & Friends, Dead White Males, The Jack Manning Trilogy, Up for Grabs, Soulmates, Nothing Personal, When Dad Married Fury, Rupert, Cruise Control, Dream Home, Odd Man Out, Sorting Out Rachel, Nearer the Gods, The Big Time, Family Values, Crunch Time, The Great Divide, The Puzzle and Aria. His plays (also in translation) have been performed internationally, including in London, Los Angeles, New York and Washington. David has adapted many of his plays into feature films to great acclaim and his original feature screenplays include Gallipoli, Phar Lap, The Year of Living Dangerously, Balibo (as co-writer) and On the Beach (adapted for television). David’s many awards include 12 Australian Writers’ Guild Awards, 5 Australian Film Institute Awards for Best Screenplay and, in 1996, the United Nations Association of Australia Media Peace Award. David has received four honorary doctorates and been made an Officer of the Order of Australia, as well as having been named one of Australia’s Living National Treasures.

KATHARINE BRISBANE AM, Hon.Ph.D (UNSW, UWA) was co-founder in 1971 of Currency Press Pty Ltd, the performing arts publishers and its publisher for 30 years. In 2001 she founded Currency House Inc. as a non-profit association to assert the value of the performing arts in public life. She was a theatre critic for 21 years, notably national critic of the Australian 1967–74 during a time of radical change; and has published extensively on the history of Australian theatre, including Not Wrong, Just Different: Observations on the Rise of Contemporary Australian Theatre (2005) and on drama in The Cambridge History of Australian Literature (ed Peter Pierce, 2009). Over 40 years she has received many awards for service to the performing arts.