Dr Gary Holmes and Dr Anne Reeckmann are significant supporters of Bell Shakespeare as three-time Production Patrons of Macbeth (2023), Henry 5 (2025), and Julius Caesar (2026). Having attended productions for over a decade, we were delighted to hear from them about why they love Bell Shakespeare, both on and off the mainstage.
Can you share a little about yourselves and your story?
We followed somewhat parallel lives, but they didn’t intersect until well into middle age. We each studied geology (Anne in Melbourne, Gary in Canada and Scotland), each pursued academia with a freshly minted Ph.D., and each eventually elected to move to industry. We have both loved the arts throughout our lives.
Our paths finally crossed on foreign assignments in Houston, Texas. Retiring as early as possible, we made our way to Sydney in 2008 so we could pursue all those other interests which hadn’t received enough attention for too many years.
What is your connection to Shakespeare? Is there a story behind how you developed a love for theatre, literature, and the arts?
Anne’s early love of literature and poetry included Shakespeare. She wrote poetry, short stories and plays, and studied the Scottish Play in high school. Growing up on a farm near a small country town meant live theatre was not accessible until she went to university in Melbourne. Gary stumbled onto Lawrence Olivier’s Hamlet and Henry V on television during a couple of rainy Saturdays in his teens and was immediately hooked. His father, a fellow enthusiast, was delighted. He took Gary to Stratford, Ontario to see his first live performance – Richard III, starring Alan Bates – and there was no going back. Gary spent significant time in theatre and music performance during high school and university until the demands of his studies demoted him to being an audience member instead. At best, we both dabbled in Shakespeare for a few years.
Can you tell us how you first came to be familiar with Bell Shakespeare?
We became aware of Bell Shakespeare as soon we moved home from overseas. Although we were thrilled to see the Bard’s torch being carried high and enjoyed some wonderful performances, we did not become directly involved until a few years later. At our first rehearsal room event long ago on Argyle Street, we immediately realised what a dynamic, heartfelt and professional organisation this was. John and Gill and many others welcomed us warmly from our first appearance.
Our commitment to significant support levels really began one evening when John and his team laid out the full spectrum of Bell Shakespeare’s activities. We saw excerpts from plays, became aware of the educational focus of Jo Erskine’s school programmes, saw The Players enchant young students, and watched scenes from 'The Kings of Baxter'. It was Bell’s commitment to nationwide education that finally drew us in completely. Anne in particular knew how much it meant to students in small country towns to experience live theatre in their formative years.
What has been a highlight for you during your relationship with Bell Shakespeare?
There have been many highlights, some through performances such as Julius Caesar (2011), Henry IV, The Tempest and of course, Kate Mulvany’s Richard III. More have come through being able to watch the creative process as productions evolve from the seed of an idea to the final curtain call. Our direct involvement has been a source of constant joy.
What excites you most about being a Production Patron?
We view supporting the arts at some level as a critical social responsibility for thinking people, particularly in these times of creeping illiteracy, simple answers and angry partisan rhetoric. We both feel that the excitement and satisfaction of contributing to something as impactful as Bell Shakespeare’s work far exceeds any financial considerations.
What advice or encouragement would you offer to someone thinking about donating to Bell Shakespeare or are considering whether to be a Production Patron?
We would pass on some advice we received years ago: Get involved now, at whatever level you think appropriate. Don’t wait for a cheque from your executor to land on the desk of some organisation from the estate of someone who has heretofore been a total stranger. Enjoy the involvement in real time!
Rather than spread our limited resources too broadly, we prefer to focus them on a very few organisations that we love and respect and trust to use the funds wisely.
Finally, we do not suffer from any delusion that having donated, we are somehow entitled to become artistic advisors. The folks at Bell Shakespeare know what they’re doing – we let them decide how best to apply our contribution.
What excites you about the future of the Company?
Having seen the transfer of senior roles, first from John Bell to Peter Evans, then from Gill Perkins to James Evans, we are assured that John Bell’s legacy will be honoured and enhanced. The organisation has wonderful, capable people at all levels, and it knows how to locate, nurture and embrace them on an ongoing basis. All this speaks volumes as to Bell Shakespeare’s commitment to continuing excellence and integrity.
Please contact Bell Shakespeare’s Philanthropy Coordinator, Anna Day at annad@bellshakespeare.com.au if you want to hear more about how you can leverage your support.
