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4-1978

Theatre Australia: Australia's magazine of the performing arts 2(9) April 1978

Robert Page Editor

Lucy Wagner Editor

Bruce Kappett Associate Editor

Follow this and additional works at: https://ro.uow.edu.au/theatreaustralia

Recommended Citation Page, Robert; Wagner, Lucy; and Kappett, Bruce, (1978), Theatre Australia: Australia's magazine of the performing arts 2(9) April 1978, Theatre Publications Ltd., New Lambton Heights, 54p. https://ro.uow.edu.au/theatreaustralia/17

Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 2(9) April 1978

Description Contents: Departments 2 Comment 5 Quotes and Queries 7 Whispers, Rumours and Facts 49 I.T.I. Roundup 50 Guide: Theatre, Opera Dance Features 8 Old Tote Crisis — Douglas Flintoff examines the situation behind the Totes losses. 10 Illusion Comique — in interview with Roger Pulvers. 10 National Theatre Award Nominations 12 Theatre Training — and Bea Star give contrary views of N.I.D.A. Spotlight 3 Spotlight on Stephen Barry, Robert A lexander and Robert Van Macklenburg 48 ‘Where are the writers?” Desmond O’Grady in Rome Playscript 28 A Happy and Holy Occasion John O’Donoghue Act II Opera 41 David Gyger’s Survey: Australian Opera Summer Season Ballet 39 Australian Ballet: Swan Lake William Shoubridge W.A. Theatre Reviews 17 WA The Norman Conquests Othello & The Rape of Lucretia The Wakefield Mystery Days 19 VIC. Rock 'ola Survey Dusa, Fish, Stas & Vi ‘Breaker’ Morant 22 QLD. Flight Path Small Change 23 S.A. Survey Oedipus 25 N.S.W. Marxisms, Stubble, Everyman Edith Piaf Ned Kelly Survey Film 43 Elizabeth Riddell/Terry Owen Records 45 Roger Coveil 46 John McCallum

Publisher Theatre Publications Ltd., New Lambton Heights, 54p

This serial is available at Research Online: https://ro.uow.edu.au/theatreaustralia/17 ralia’s magazine ofthe performing arts April 1978 $1.50 lliealre Australia Interview: Rex Cramphorn Comprehensive Review Section Old Tote crisis including film, ballet, Merry Widow opera, etc. National Swan Lake G uide PARACHUTE PRODUCTIONS in association with the AUSTRALIAN ELIZABETHAN THEATRETRUST presents THE MELBOURNE THEATRE COMPANY PRODUCTION OF »USA, FISH, STAS AND VI

by PAM GEMS

Starring Nancye Hayes, Carol Burns, Pat Bishop and Vivienne Garrett

Perth Playhouse March 30th - April 22nd Adelaide Union Theatre April 26th - May 20th *The Sydney Theatre Royal May 30th - June 25th *By arrangement with the MLC Theatre Trust Departments 2 Comment T h eatre 5 Quotes and Queries A u stralia 7 Whispers, Rumours and Facts 49 I.T.I. Roundup 50 Guide: Theatre, Opera Dance

Features 8 Old Tote Crisis — Douglas Flintoff examines the situation April 1978 behind the Totes losses. Volume 2 No.9 10 Illusion Comique — Rex Cramphorn in interview with Roger Pulvers. 10 National Theatre Award Nominations 12 Theatre Training — Richard Mills and Bea Star give contrary views of N.I.D.A.

Spotlight 3 Spotlight on Stephen Barry, Robert A lexander and Robert Van Macklenburg

International 48 ‘Where are the writers?” Desmond O’Grady in Rome

Playscript 28 A Happy and Holy Occasion Act II John O’Donoghue

Opera 41 David Gyger’s Survey: Australian Opera Summer Season

Ballet 39 Australian Ballet: Swan Lake William Shoubridge

Theatre Reviews 17 W.A. The Norman Conquests Othello & The Rape o f Lucretia The Wakefield Mystery Days 19 VIC. Rock 'ola Melbourne Survey Dusa, Fish, Stas & Vi ‘Breaker’ Moran t 22 QLD. Flight Path Small Change 23 S.A. Adelaide Survey Oedipus 25 N.S.W. Marxisms, Stubble, Everyman Edith Piaf Ned Kelly Sydney Survey

Film 43 Elizabeth Riddell/Terry Owen

Records 45 Roger Coveil ra tio n a l Theatre Opera Dance Books 46 John McCallum G u id e p50 Theatre Australia

E d ito r: Robert Page Executive Editor: Lucy Wagner The Award season is upon us again with the continuing presentation of new and especially Associate Editor: Bruce Knappett Art Director: David Hill National Critics’ Circle having just presented Australian plays, with its “consistently high their gongs for 1977 and the nominations for the standard of presentation”; Joan Whalley in National Theatre Awards to be presented at this Queensland for the immense work she has done year’s Playwrights’ Conference in , personally for the furtherance of drama in that appearing in this issue of Theatre Australia and state; and in the award has Advisory Board: John Bell, , Ellen Brave, the current Equity Newsletter as well. gone to Helen Weller for her individual “effort Katharine , Vivian Chalwyn, Gordon Awards are accepted in most areas of the and commitment" to keeping Artlook magazine Chater, John Clark. W.A. Enright. Lynda entertainment business, but in the theatre world afloat (we send personal congratulations, being Gray, Jack Hibberd, Ken Horler, Garrie Hutchinson. Robert Jordan, Philip Mason. mention of them tends to excite vigorous all too aware of the dedication that takes). In Stan Marks. Jake Newby. Phil Noyce, Raymond argument, perhaps largely because they are still the award went to Liviu Omodei. Philip Parsons, Diana Sharp. Ken Southgate, Raymond Stanley. Elizabeth Sweeting, at a comparitively youthful stage by comparison Ciulei for his magnificent production of The John Timlin, Tony Trench. Guthrie Worby, with their film, TV and writer's counterparts. In Lower Depths, unquestionably the high point of Richard Wherrett ten years perhaps there will be no brouhaha the Tote’s '77 season. Pleasingly it isn't just an and people will wonder, if they still remember, award for an outsider, but one which “should be what all the fuss was about. seen as a tribute to a talented Australian cast Already the Critics’ Circle presentations have and to the ability of (those) actors to respond to been judged by Marietta as “a farce" (see John good direction.” In Tasmania Peter Wilson took Publisher: Theatre Publications West’s reply in Quotes and Queries) and in the award for his direction, with the Tasmanian M a n a g e r: Jaki Gothard Advertising: Jaki Gothard/Sue Manger Melbourne Ray Lawler has refused his award Puppet Theatre production of Momma's Little for The Doll trilogy. John Sumner is reported to Horror Show (see TA July 1977). have said that had the award that the MTC as a With the inauguration of the National whole received been a personal one for him he Professional Theatre Awards last year, the Correspondents: would have responded exactly as Mr Lawler did. argument of proliferation was raised, and in the N .S .W .: Editors (0491 67-4470 The whole matter seems to stem from a fairly press by Len Radic of The Age. This again V ic .: Raymond Stanley (031419-1204 Q ld .: Don Batchelor (07) 269-3018 bitter round of argument last year when the seems unfair when, as the rejoinder said “two W .A .: Joan Ambrose (09) 299-6639 critics responded unfavourably to the classic does not make a crowd”. There are many S .A .: Michael Morley (08) 275-2204 season at the Athenaeum for which these two differences between the two awards; one is from gentlemen shared the directorial responsibility. the critics who are finally giving single accolades The belief is that if an award is accepted when at the end of the year in several categories of the Theatre Australia gratefully acknowledges the financial assistance of the Australia Council, the Literature Board of the the critics are positive, one is obliged to accept performing arts, the other is industry Australia Council, the New South Wales Cultural Grants Board, their remarks when they are negative. recognition in six categories from each state, in the Arts Grants Advisory Committee of South Australia, the theatre alone. One, then, is from without, the Queensland Cultural Activities Department, the Victorian There is not the time to open up the whole Ministry of the Arts and the Assistance of the University of critics vs professionals debate yet again, but the other from within; the one can go to any Newcastle. implication seems to be that the critic is merely achievement of excellence in Australia (hence the front line publicist for the theatre, and that the Ciulei award), the other can only go to earned the rebuff from Shaw that “a dramatic Australian residents. Comparisons are not Manuscripts: invidious, each are effective in their own way, Manuscripts and editorial correspondence should be forwarded critic is the servant of a high art, and not a mere to the editorial office, 80 Elizabeth Street, Mayfield, N.S.W. advertiser of entertainment", and it should be and if each stimulate the press to give more 2304. Telephone (049) 67 4470. recommended for the MTC’s attention that coverage to the performing arts and their artists, Whilst every care is taken of manuscripts and visual material supplied for this magazine, the publishers and their agents accept there is an article by the American critic Richard then both should be supported. no liability for loss or damage which may occur. Unsolicited Gilman on “The Necessity for Destructive Sadly this issue is the first after the departure manuscripts and visual material will not be returned unles of Playhouse Press from Theatre Australia, and accompanied by a stamped addressed envelope. Opinions Criticism" wherein he says “you do not expressed in signed articles are not necessarily those of the patronise or act generously towards an artistic the loss of the Melbourne team who did so much editors. accomplishment — you identify it”. The award to achieve such accolades as “the best theatre to Ray Lawler was a recognition, with no strings magazine in the world” from Ian Herbert, the attached, of one of the unquestionable peaks of editor of the international Who's Who of Subscriptions and Advertising: Australian drama; it seems to have been rejected Theatre published from . After the The subscription rate is $18.00 post free within Australia. Cheques should be made payable to Theatre Australia and not because of an in principle disagreement, but unfounded doubts expressed in Marietta’s posted to the publisher’s address. pique at an ungenerous response to a season of column in The Australian (Leb 18-19 1978) we For advertising information contact Jaki Gothard/Sue Manger — Sydney Office (021 92-5405, 14th Floor/77 Pacific Highway, would like to assure readers that the reversion to plays. Nth Sydney, N.S.W. 2060. It is this recognition aspect of awards which is Theatre Publications, who first published the the important one and one overlooked by those magazine and have continued to provide all the editorial, will not affect its continuity. The who derogate them for an assumed competitive Theatre Australia is published by Theatre Publications Ltd., 80 aspect. The Doll trilogy was a major magazine is strengthening its circulation all the Elizabeth Street, Mayfield, N.S.W. 2304. Telephone (0491 achievement of the MTC (soon to be screened by time and increasingly being recognised and 67-4470. Distributed by subscription and through theatre foyers etc. by Theatre Publications Ltd. and to newsagents throughout Channel 7), as is the contribution of La Mama, sought abroad. Prom this issue Theatre Australia by Gordon and Gotch (A’asia) Ltd., Melbourne, who shared the Victorian award, to Australian Australia is to be published monthly in the last Sydney. Wholly set up by and printed by Tell & Sell Promotions. week of the month prior to that which appears © Theatre Publications Ltd. All rights reserved except where theatre over the past ten years, a decade specified. The cover price is maximum recommended retail price celebrated last year. Elsewhere in drama on the cover. All enquiries should be addressed only. Registered for posting as a periodical — category B. Troupe, in Adelaide, was acclaimed for its to the Editorial Office.

2 THEATRE AUSTRALIA APRIL 1978 c Australian work, O’Donoghue’s A Happy and audience loyalty, and at the same time the Stephen Barry Holy Occasion. The Greenroom similarly practice of engaging a cast for each individual new director of the balanced with Gotcha, hoping to attract a youth play shows more concern for artistic demands audience, and Strindberg’s Miss Julie, Beckett's than job-security for actors. This decision to National Theatre Waiting for Godot, and finally Hancock’s Last have no permanent resident company has Half Hour. already caused a certain amount of controversy. Company, The already active Theatre-in-Education will Previous seasons had often been marred by talks to Margot Luke be expanded, and a series of Lunchtime Poetry squeezing round actors into square parts, and it Readings and Concerts will be introduced. is tempting to think that from the audience’s Stephen Barry’s own preferences lie in the point of view the change must be beneficial. The direction of Shaw, Ibsen and Chekhov, and he question is, of course, whether actors will stay in has no burning desire to present earth-shattering Perth without a firm contract, or rush off to new interpretations of Shakespeare. Sydney and Melbourne with their more varied His approach to the job is ungimmicky, possibilities. professional, energetic and friendly. Despite the Stephen Barry does not believe that the actor innovatory use of a businesslike public relations will be disadvantaged. "We will foster local organisation, there is an emphasis on personal talent, he says, and our aim will be two-way contact: phone calls are returned promptly, exchange with other companies. I do not think interviews squeezed in despite ringing Perth should think of itself as an importer of telephones and frenetic activity. His background talent only, but an exporter as well. The point seems almost extravagantly suitable — not only should be reached where a Perth production was his mother an actress with the Old Vic, but would establish its identity to the point where it his father. Sir Gerald Barry, was the wartime will be invited to appear in other states”. editor of The News Chronicle and Director- Will he encourage local writers? Yes, there General of the Festival of Britain in 1951. will be workshopping, but more practically, he Stephen Barry Why did he come to isolated W.A. suffering has already engaged Richard Tull to write for Chatting to a new broom has its problems. So what many people would see as an interruption the Theatre in Education wing of the company. many of the questions are concerned with of an already distinguished career in England Apart from this, he has deliberately refrained intentions rather than achievement. Will our (working at the Mermaid and National from promising the discovery of good be in good hands? Will you be able to Theatres, also at Guildford, Cheltenham, and Australian plays. If a good new play is carry out your bright visions? most recently completing a four year stint as discovered in Perth it's obviously going to be Stephen Barry, new Artistic Director of the Artistic Director of the Harrogate Theatre Australian. After all, an English Company National Theatre Company at the Perth Company.) Wanderlust and challenge, he says. would not promise to premiere only good new Playhouse is very much aware that the promise After Harrogate (pop. 65,000) Perth is more like English plays. of a dazzling new future is an intangible thing. a large provincial town in England. In In his ten years in the theatre (he's 32), what But already he has set about providing tokens of Harrogate he achieved the goals he had set has been the highlight, I ask. No hesitation at a new era with attention to peripheral matters. himself'— four years being a kind of optimum all. Directing Sir Alec Guinness in an Good relations with the press. A pleasant nosh- period for establishing patterns and getting interesting, though unlucky play — Time out o f up, reinforced by very professional press-kits things running smoothly — after that Mind, by Brigid Boland. Watching Sir Alec he giving setting out past qualifications and future complacency sets in. The challenge of Perth, of learnt about directing and acting, much of it a plans. A bright new sign saying Playhouse course, is not merely the size. He feels that the matter of silences, relaxing, and listening. flashes on and off, lending a touch of theatre- theatre scene in Australia is in a state of flux, The Ayckbourn trilogy will be our first look at land to an otherwise drab Pier Street. Photo­ less fettered by tradition than the repertory Barry in action. Hardly a play of silences — why graphs of the first production have a West End movement in England. He sees his task as being did he choose it? Again, the idea of challenge gloss about them. Catering to thirsty theatre sensitive to the undercurrent of demand and applies. To the actors, remembering which of patrons (in this hottest summer in Perth’s satisfying major tastes, but also developing the plays they are doing — their roles are the history) is streamlined, the incompetent wider tastes in audiences. same in each, with individual developments of muddlers behind the bar have disappeared but The first season as announced leans heavily character. There will be one marathon the friendly and efficient front of house staff toward the former. Clearly Barry is using the performance of all three plays in one day, but remain and are duly appreciated. Audiences will first year to feel his way, and it seems both previous to that there are two week seasons of be encouraged to become regular patrons on a tactful and intelligent to have the first two big each play and finally they will go into subscription basis. Australian productions presented by the alternating repertoire. The challenge to the So the packaging is fine. How about the Melbourne Theatre Company who created audience will be to remember what has gone contents? The first season shows cautious them. The third Australian play A Happy and before. He regards it as consolidating all that’s balancing: for the Festival in February, the Holy Occasion will surface in June, directed by best in Ayckbourn, being funny and Ayckbourn trilogy, The Norman Conquests. A Stephen Barry himself. entertaining enough to attract audiences, but visit from the M.T.C. with Dusa, Fish etc. and If one wants to affix a label to the new clever and painstaking enough to be taken Williamson’s . Eater there’ll be approach, one might call it more audience- seriously as a demonstration piece for a new Streetcar and The Ghost Train, and another orientated. The subscription booking aims at director to show his mettle.

THEATRE AUSTRALIA APRIL 1978 3 Two rounds of Treasure Island — this time a As an actor Robert Van Macklenburg has a Robert Alexander goodie, Dr Livesey — were “an unforgettable range and depth of performance, but it wasn’t so experience” as was Inner Voices in a very long ago that he was mostly cast as a juvenile. different role — the lugubrious Leo who got his And in the beginning this seemed as if it would Lucy Wagner throat cut. be a major stumbling block to his career. 1976 in Newcastle with the first year of the “The problem was” he said, “that at the Hunter Valley Theatre Company proved an Mercury Theatre in New Zealand where I Now you see him___ exhausting and extending experience in offering trained, it was a sort of apprenticeship/bursary a great range of roles: from an ex-admiral in system whereby the theatre was given a grant to The Floating World, a play which deeply train four young actors a year, and at the end of shocked the outlying Hunter Valley regions; to two years the Company had the option of Dame Gertrude in on Ice, an unbeatable employing the students. But obviously there pantomime performance; to a moving and were always too many juveniles for the sympathetic Mr Strang in Equus; back in time to Company to absorb. Eventually the only the youthful and charming gentleman caller in permanent work I could get was as a stage Glass Menagerie: the harrassed, cuckolded manager. Which I hated. But it brought me to academic in Bedfellows; simple, Irish Denny in Australia.” the acclaimed local play A Happy and Holy It was as a stage manager that he came to Occasion; and finally singer actor and dancer in Perth for the first time, and eventually he an end of year revue Four On the Floor, the title became contracted to the Playhouse and was of which summed up the state of the company at offered a juvenile part in Peter Kenna’s A Hard that time. God beautifully produced by Terry Clarke. It Robert Alexander As the company reduced to three actors with was in that play that the promise of the future Photo: June Cann Management. and Kerry Walker and director could be seen in the performance that he gave. A lot of audiences — especially Sydney Terry Clarke, and they faced the daily possibility There were more small parts and then the audiences — have enjoyed performances by of liquidation the group feeling tightened, opportunity to play Alan Strang, the Robert Alexander, but out of those, I wonder sometimes stiflingly so. Perhaps Robert emotionally wracked boy who blinds the horses, how many can put a face to the name. Not that Alexander is right when he says he thinks he’s a in Equus. This part proved to be rather more the performances weren't enjoyable and late developer. He finds he’s getting over the than Robert expected. It became a cause celebre. memorable in themselves, but Robert finds feeling of needing to belong to an entity and able Equus is something that he is prepared to talk himself to an extent in the double bind of a to take things much more as they come. But he about now, but it was obviously very traumatic. certain kind of character actor; that of doesn’t plan to stop submerging himself in his Although Equus had been performed all over subsuming his own personality in performance characters, “that’s when you know you've got the world, without any objection to the nude so fully into that of his stage character that the them right”. scenes, and even had two seasons in Perth to creative artist behind it is forgotten. The greats packed houses, it was while the play was on he himself most admires evidence a similar country tour that complaints were made to the situation; Ralph Richardson is now a household Robert Van police, with the resulting charge of indecent name through sheer longevity, but how many of exposure. Although the charges were eventually Leonard Rossiter’s roles spring to mind? Macklenburg dismissed “At the time,” he said, “it was a pretty A need to become very much part of horrendous experience, mixed with total something has been a trade mark of Robert disbelief that it could be happening at all.” It was Alexander’s work, from his first chosen career of Joan Ambrose a difficult period and it took some time for the music teacher which took him round the world. effect it had upon him, to fade. One of the people most keen for him to take But at about this time, the juvenile roles were the plunge into theatre was childhood and all- The critics nomination replaced by offers of parts that were varied and time friend Richard Wherrett — “he’s been a complex. For this we can thank John Milson, great risk taker all his life” — and they worked in Western Australia director of The Hole in the Wall who quite early together early on at the ‘Q’ Theatre in Sydney in on realized that Robert was an actor who could a production of Balance o f Payments with for the Best Actor be developed. Robert gives John Milson the Maggie Dence and Peter Rowley. Also at the Q, credit for the ways in which his talents have were a couple of parts in Too Old For Spring, a One of the outstanding qualities Robert Van grown and his levels of interpretation have mini musical written by the Resurgents group, a Macklenburg has as an actor, is an extra­ deepened. prison warder called Wally, and the camp ghost ordinary ability to project the part he is playing “After thinking, at one time, that I might of Ned Kelly! through movement. never get into theatre, I feel I have really been Working at Nimrod from 1975 consolidated He moves with the exactitude and skill of a very lucky. I have had marvellous people to Robert’s casting type as a character actor; a trained dancer — which he is not. So apparently work with. And in small companies there’s a lot straight part in Richard Wherrett’s Richard III it is an innate quality that allows him to create of rapport. At The Hole there’s always a good meant playing in rep in John Bell’s Much Ado. character with hands, eyes, voice and face, but feeling — and in working in such plays as Long Don John’s evil, moustache-twirling side-kick above all with an extra dimension of body Day's Journey into Night and My Fat Friend at Borachio was a memorable role, and one that expression that is rare. His Napoleon stance was The Regal, on each occasion there, there were brought a great feeling of belonging to a A Man o f Destiny; his interpretation of only four of us, but it was a fantastically good company especially when that production Marlowe’s Edward the Second portrayed an and close working experience.” played at The Space in Adelaide. Even Gordon emotionally and physically vulnerable weakling, Robert Van Macklenburg has come a long McDougall, that well-seasoned player, said he’d especially in his childlike dependence before his way since he had “a cough and a spit” in Faustus never experienced anything like it when the last death; his Blondin in Allegria’s Crossing Niagra just a few years ago. Now what? night audience gathered applauding round the created the illusion of tension over a chasmic “I want to continue to do as much as I can, as edge of the stage, while the cast, stood, moved to void; and by contrast his Sir Joseph Porter in varied as possible, and to go on extending and tears by the recognition. H.M.S. Pinafore was a physical bumblewit. developing”.

4 THEATRE AUSTRALIA APRIL 1978 Sydney, I paid to see it one Wednesday, and was for the show to go to New York at some point, amazed to find most of my rewrites intact and possibly the end of this year.” uncredited in what appeared to be forty per cent of an appalling evening. Deciding Reg alone should not be blamed for this ear-splitting pogrom on our national history, I generously sued and await developments with interest.” AWARD REJECTED______

Ray Lawler was awarded the Critic’s Circle Drama Award for , but BLOCK BUSTER SCHEDULE refused to accept it. RAY LAWLER: It would be hypocritical MICK RODGER: “I don’t think I’ve ever and inconsistent of me to keep the award. I don’t been so busy. Right at this moment I have thirty want anyone to feel awkward, it’s a personal plays to read for the Playwrights’ Conference decision and not to be taken as one made by the and actors and directors to cast whilst working MTC. I’m not very much in favour of awards; I on the biggest production I’ve ever undertaken. think that if you accept such awards, one is recognising the right of critics to make a definite Carol Burns (Fish), Vivienne Garrett (Vi), Pat In fact I think Richard III is probably one of the opinion. If one accepts that right when they’re in Bishop (Stas) and Nancye Hayes (Dusa) in the biggest productions the MTC has ever MTC production of Dusa, Fish, Stas and Vi, presented. It’s certainly a block buster of a show your favour then one must accept it when they photo by David Parker. with a cast of twenty five. But I am very excited go against you. Dozens of times I have read about being artistic director of the Playwrights' things, not necessarily about our shows, that I REG NOT BLAMED ALONE Conference and about participating in the don’t agree with.” artistic direction of the MTC during John : “In late 1973 when Sumner’s absence. Trouble is there just aren't preliminary tapes of Ned Kelly, a zinc-bright enough hours in the day. I have to stick to a very labour of love by Reg Livermore (in one high tight schedule: I’m trying to read an average of tingling moment Ned aches for the office of PLAYS FOR YOUR ENJOYMENT two plays a day (over breakfast, lunch or king, while his sister Kate likewise pines for the whenever I have a break) » and working on powers of a bird, as those would enable her to PETER COLLINGWOOD (excerpt Richard III at night.” fly), crushingly musicked into multi-national from The Cat and the Canary Programme): portentousness by of Kent and “The 1978 policy for the Parade Theatre is quite Michael Carlos of California, and raucously clearly to present plays which we believe you, sung by the Superstar cast and Janice Slater in our audience, will enjoy. Not plays calculated to the rich accents of and Alabama, “instruct”, to be “socially relevant” or which proved insufficiently intellectual for the taste of RICHARD WHERRETT: Mainly I “cry out to be done”, but just those which will Clyde Packer, its patient entrepreneur, Flynn, uck by a new attitude to Australia while I make you feel on leaving the theatre “I am so my brazenly gifted collaborator on The James London. People were saying, yes it glad we came. I really enjoyed that!” It has been Dossier, Caddie and Sunday Too Far A way, sounds like an interesting place to go. When I said that we will be doing “popular plays”. paid me a thousand dollars to rewrite as much of left seven years ago it was considered as Though a convenient label, I feel that the term it as seemed retrievable. Without much pleasure something akin to a visit to hell. I must say this implies a choice based primarily on the play’s I did so, force feeding seven songs through my touched my patriotic heart strings. It's part of proven popularity with audiences elsewhere, cheesegrater mind and my rhyming dictionary the political scheme and at a national level, but usually overseas. What is important, of course, while Reg howled abuse and Clyde nodded it is a lot to do with the Australian film and is the popularity of a play here in Sydney. The corpulently, and writing three new ones, “What theatre situation - but nothing to do with the idea that a West End or New York success is Ft i . a , , Else Is New”, “The Blood of the Irish” and television shows ting, they ve got necessarily a success in Sydney has, one hopes, “Queen Victoria’s Fuzz”. The record was cut terrible ratings! been finally exploded. In fact the reverse is and released, in which, correctly, I got a credit At the first preview of Benjamin Franklin the sometimes true — a moderate success or even for Additional Lyrics, and the designated stage audience cheered — and I got the shock of my failure overseas can appeal greatly to audiences director Sir Robert Helpmann and Reg went off life. I thought it must be a mistake! Then they here. to London together to discuss in depth a new cheered at each succeeding preview, and on the “Commercial plays” is an even less concept of the show emphasising Ned’s opening night, and it became more and more satisfactory term. It has a cynical ring, implying penchant for dressing up in women’s clothes. I meaningful. I think it’s fair to say that 95% of that it doesn't matter whether a play is good or heard nothing more for three years until the the reviews were favourable, and they were bad, provided it has got something which will opening in Adelaide of an eponymous electric universally raving about Gordon personally. pull in the public. Such a policy ignores a need musical, without my credit on it, led me to Gordon is of course delighted; he is prepared to for quality, and surely quality should always be believe that Reg had reverted to his initial do the play wherever he is asked, he enjoys a prime consideration in the selection of plays inspirations. Uninvited to the opening night in doing it so much. There’s very strong planning for this company.”

THEATRE AUSTRALIA APRIL 1978 5 Brisbane, Adelaide, Melbourne. We are also at REPLY TO MARIETTA present, actively seeking new members, and ask them to contact me on (02) 44-6212.”

JOHN WEST, Head of the Critics' Circle: FASCINATING COINCIDENCES! “There is no obligation on critics to join the Critics' Circle; they are invited to do so and MERVYN RUTHERFORD: The those who don't do not invalidate the people most fascinating aspect of Departmental so far is who do join. Maria Prerauer was a prominent a series of coincidences which have occured in member of the music critics’ arm until she left relation to the play and the MTC. When I met after the last awards. the director. Bruce Myles, we toned at one stage Our funding comes from the Arts Education to talking about football, only to find that in Fund — it is $14,000 this financial year and that successive years we had played rugby league for has to pay for every expense in every state. It is the same football club in Sydney. not taking money from some aspiring student, It was also while watching football that I though I think Maria thought the money would mentioned to fellow Eastern Suburbs supporter be better used if involved in more direct Alexander Buzo, that I had submitted some application. plays to the MTC. Buzo was unusually non­ None of the Sydney Morning Herald music Brian Young. committal, but on seeing the programme for the critics ever belonged to the Circle; Roger Coveil MTC season I noticed that his new play was always against it, but it has Australian, RIP IT OUT Makassar Reef will precede mine. Telegraph and Sunday Telegraph The most poignant of the coincidences representation. Dance and Drama are both BRIAN YOUNG: “After o f affecting the play deals with its eventual represented from all papers. Second Avenue, I’m really pleased about acceptance by the MTC, but that’s a story on The lady has given a new construction to the directing the next play at the Ensemble, called its ow n.. phrase “Naughty Marietta”! Vanity. It’s a three-handed female play, you see them just out of school, graduating from university and then finally about six years later. Basically it’s about the explosion of the myth that being popular is the most desirable thing. By new playwright Jack Heffner, it was only written at the end of last year and takes an unusual form; it has three vanity tables on stage and the cast set them up. put their makeup on there, and change the scenes. I'm trying to get an all female crew also, I'm sure they will be able to help me a lot from their own experiences. The cast are Kathy Thomson, Bronwyn Fullerton and Debbie Trengove. We were going to do Happy Families when this arrived. Yes, it’s good to be in Sydney after Tasmania; much more exciting, it’s a very pacey city, I think it’s faster than London. But it’s a whore of journey Among Women a city, doesn't give you anything, you have to rip it out. Everyone’s saying it’s so good to have you in Sydney, but there’s no actual work! Though there are rumblings about film and TV work later in the year.” 'Bailetfs THE IASI DESIGN EXHIBITION \NRIE AILSA CARPENTER, Administrator, Designers’ Association in the Performing Arts. "The Designers’ Association has been in existence for some time, but last year really got SPECTRUM FILMS going again with a whole new committee. Now where the shoot ends and the movie begins it is to reach something of a milestone with a major exhibition of costumes, designs, set models, hand props and photographs from T.V., 141 Penshurst St. Willoughby N.S.W. 2068 theatre and film. The works on show at the Opera House Exhibition Hall, 8th-21 st May are (02) 4124055 from thirty of the members of the Association, drawn from all over the country, Perth,

6 THEATRE AUSTRALIA APRIL 1978 Trevor White, Robin Ramsay and Tom Dysart. Broadway is an all-black version of Kismet. Ray Stanley’s And now Barry and Frank are working on their Titled Timbuktu! it stars Eartha Kitt and first adult musical, which will be based on the Gilbert Price, whom Melbourne theatregoers Melbourne ’20s underworld character Squizzy may recall played one of the leads in the musical WHISPERS Taylor. There’s also a Ferrier Flowson Two Gentlemen o f Verona. . .There’s going to screenplay in the wind. be a Broadway revival of the Newley-Bricusse RUMOURS Stop The World / Want to Get Off. Starring Sammy Davis Jnr., it will be called simply Stop the World. . .And Stephen Sondheim’s newest & /y FACTS Kenn Brodziak and Robert Ginn of JCWs musical will be Sweeney Todd, based on the old now overseas finalising details for the Australian melodrama and starring Angela Lansbury. production of Annie, having talks with Cyma Rubin about Oh! Kay, and looking at other (fr-VO possibles for Australia. . . and Unbelievably A Chorus Line is doing much Brian Murphy likely to be here in 1979 in a stage better business in Melbourne than Sydney, with version of their TV series George and Mildred. . standing room at most performances. And for all . .With all the TV names being mooted for those doubters: ballet dancer Garth Welch turns Australia, wonder why someone doesn’t bring in a stand-out performance as Zach. . .Suzanne out the Two Ronnies (Barker and Corbett). Steele later in the year is to star in Orpheus in Could be that the Great Australian musical They’d surely be a wow. . .So much talk about the Underworld for the Victorian Opera writing team that has been so elusive will turn Ben Travers’ The Bed Before Yesterday being Company, to be directed by Betty Pounder. . . . out to be Barry Ferrier (music) and Frank staged here, by the time it is it’ll surely be The Actor Max Gillies is turning producer for the Flowson (book and lyrics). Their children’s Bed Before Tomorrow. film version of Dimboola. Max may also be seen musical The Faraway Land o f Magical Frank, in the picture too. staged at Melbourne’s Total January 1976, has been recorded by E.M.I. with Reg Livermore, A new trend for titles for musicals? Latest on Arthur Dignam and . Another Broadway is Working, a new musical by Stephen Is the pendulum going to swing back to those children’s musical, The Boy Who Dared to Swartz, who this time around has also written bygone days when theatres presented curtain Dream, staged at Northlands Shopping Centre the book and directed. Then there’s Bob Fosse’s raisers? I hear vague murmurings that one of last Christmas with Tom Dysart, Burt Cooper Dancin’, which uses classical and contemporary our subsidised companies is going to introduce and Anne Pendlebury in the cast, also has been music from such people as Cat Stevens, Neil ‘platform theatre' which, as described to me, issued as an LP by Crest featuring , Diamond, Bach and Mozart. . . Also on sounds very much like the old curtain raisers.

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THEATRE AUSTRALIA APRIL 1978 7 OLD TOTE CRISIS

There are people who find it Sydney, behold, this was the gratifying to see the Old Tote Old Tote, facing liquidation. At the time By the time this is read, of writing, mid February, heads however, it is probable that the are nodding wisely all over Tote will be on its feet again, if Australia, as the minds in them perhaps reeling. In any case the contemplate' how the mighty crisis should be over and most are fallen — a lesson to all lesser of what is reported here may be theatre companies of the a matter for theatre historians, dangers of theatrical imperial- This, then, is simply a report on ism. Sons and daughters of how things stood four weeks ago.

8 THEATRE AUSTRALIA APRIL 1978 The crisis is simply a problem of too many so the Tote may be a test case. The trouble is commitments and not enough money. The that under the Companies Act the official purchase of the million dollar building in manager is supposed to be appointed by the O’Riordan St., Alexandria, was prompted by the creditors to trade it out of difficulties. Apart demands of the Opera House, where there is no from the worrying implications this notion of a rehearsal or workshop space — but there is still a theatre as a trading company has, it conjures up significant mortgage on it. This, combined with the idea of an official manager who is going to a serious failure at the box-office in the second produce a series of smash hit box-office half of 1977 (and I can hardly put it more nicely successes to put the company in the black. We than that) led to a situation where the Tote all wish him well. There is a rumour which has would simply run out of money by the end of come to our ears at Theatre-Australia which, if February 1978. (Even the more or less successful true, suggests how he is expected to do this. It is Alan Ayckbourn trilogy. The Norman that when the Board of Directors asked Brian Conquests fell considerably short of Sweeney what an official manager could do that expectations.) Whether there is a more deep they couldn’t do, he replied, an official manager seated reason for the problems coming when it would have the $600,000. did — to be found in the financial management 3. A single artistic director. This is of the company over the last few years — is a something the Tote has had before, and would matter between the Tote and their accountants, doubtless still like to have. At the moment Peter but there is no reason to look for that sort of Collingwood and Ted Craig are theoretically in mismanagement to explain the present crisis. artistic control of things. There is the by now Indeed, the Tote had expected difficulties. boring issue of whether or not Robert Quentin is They had perhaps not anticipated the box-office a sort of Machiavellian artistic eminence grise failures of 1977, but in their submission to the behind the Tote. There is no doubt that he is in a Australia Council for 1978 they pointed out that position to exercise some personal (for they would need more money — most obviously example, on the proposed list of plays for 1978). because of their purchase of the O'Riordan St. He must have some authority, if only because of building. When their request was cut from his position and reputation, and all that he has $900,000 to $600,000 they approached the State done for the Tote over the years. This is in fact Government and argued that they could be acknowledged by his being called “Artistic considered a State Company — if only because Advisor” in addition to being on the Board. they are the biggest users of the Opera House At this point the State Government spoke up. (and lose on the operation $100,000 a year on A letter from Neville Wran, presumably written Old Tote Rehearsal Room, Alexandria Building. their State subsidy). There was a long pause. by Evan Williams, was received by the If anything the problem is caused by the Chairman of the Board, Dale Turnbull. It said Tote's over extending themselves without any nothing about démocratisation, something of sort of financial guarantee — other than a vagud the artistic direction, and its only mention of the hope for federal and state subsidy to be official manager was a reference to “radical increased. They have expanded into three changes” which would have to be made if the theatres, which may or may not appear a good Tote was to get more money. It was in fact thing, according to what you think of the shows gloriously ambiguous, and can be used later to they have done in them. In any case they have prove that the State Government had any increased the number of bums in seats from just attitude which it then feels it ought to have had. under 100,000 at the Parade in 1976 to around It has been suggested that this letter cruelled the 200,000 in 1977. pitch for the Australia Council — that the Board Then there came the ultimatum from the would have been prepared to compromise (in Australia Council. Presumably the Council saw spite of the recalcitrance of some of the more the Tote’s crisis as an opportunity to push angry members) but that they now felt justified through certain changes which they had been in holding out. This is probably over dramatising the situation, but certainly holding out was what wanting for some time. With some speculation The Tote’s recent offering at the Parade Theatre, everyone seemed to be doing as this was written. as to the Council’s motives, these are the three The Cat and the Canary. points of the ultimatum. There are many possible courses of action — all accounted by the Hungerford people in their 1. “Démocratisation” The Council has report — which range from staying in all three apparently been concerned for years that the theatres and getting all the money to retreating public should have some say in the running of into the Parade and selling the Alexandria publicly subsidised companies. It appears that building. It is probable that the Board would be the Tote has for some reason been allowed to prepared to consider any of these as long as apply for exemption. If implemented this they knew exactly what money they would get proposal would presumably mean that for them. It is also probable that the Tote will subscribers at least could become members of stay in the Parade, because it costs them next to the company. They would not have a Board of nothing (the University of New South Wales Directors to elect, however, because that is even cleans it for them) and in the Opera House, about to disappear under point 2. Are they, because no one else would move into it. That then, to elect... leaves the to be abandoned — 2. An Official Manager. This is another the theatre which most people (including, one thing which the Australia Council seems to gathers, the subscribers) felt would be the most The future of the Drama Theatre? want for publicly subsidised artistic bodies, and exciting. Typical.

THEATRE AUSTRALIA APRIL 1978 9 thought out a season of five plays by the ILLUSION COMIQUE playwrights I mentioned. We went ahead, contracted actors, and... but we were never sure what was happening from the Old Tote’s REX CRAMPHORN standpoint! I mean, they were too non­ committal on things, as if it was all a secret or interviewed by Roger Pulvers something. At the point of anger, we even found ourselves questioning whether they would really I wanted to find out how he felt about the season of plays excised go ahead with it. But eventually they just told us before his eyes by the governors of the Old Tote. Rex Cramphorn is they had a cash flow problem or whatever they a modest man, with no taste for revenge. There is not the biting call money there, and we thought we were just anecdote or the catty personal aside. He tells the story exactly as it being a little overly worried or something. Then must have happened, and we try to understand what it all there were the rumours from lots of Sydney represents for Australian theatre. people that the Tote was going broke. ‘It was a few days before Christmas that (Robert) Quentin called us in to tell us of the ‘The main point was to put on a season of using the Seymour Centre. It had been booked Tote's disastrous plight. I remember he used plays without any sense of “the alternative": by them before. We suggested a season that those words, “disastrous plight". He said there Bond. Shepard, and three Australian plays by involved using all the theatres of the Centre, were three alternatives: , Dorothy Hewett, and Louis with music, dance, drama, and film, perhaps a Nowra. Just look like anywhere else in the modern German season, Herzog, Fassbinder, One, go into liquidation on 31 December. world. you know... Two, go into liquidation after The Cat and the ‘It started when and 1 were ‘The Tote rejected this proposal as too large. Canary had closed, which would be about asked by the Old Tote to submit a proposal for They just wanted a season of plays. So we February. National Theatre Awards

The National Professional Theatre Awards are now in their second year. The 1977 Awards will again be presented at the Theatre Forum section of the Australian National Playwrights’ Conference in Canberra in May. Choice of winners rests solely on the votes of members of the theatre industry who are recognised by Equity. Actors, directors, designers, writers and stage crew are therefore asked to vote on the nominations listed, which are the result of a national poll of critics. There is an extra space for those who wish to vote for someone other than those nominated. Votes received after 1st May, 1978 cannot be considered. If you are eligible to vote fill in the form (or make out a list) and post to:- 1977 National Theatre Awards Theatre Australia 80 Elizabeth Street Mayfield, N.S.W. 2304 All votes will be scrutinised in confidence by Equity, and the Designers Section by the Designers Association, who officially endorse the Awards.

10 THEATRE AUSTRALIA APRIL 1978 And three, do an “austerity season”, that is, plays more than anything because they had been do the plays exactly as announced but do them written for us. in front of a black curtain or something ‘After that the PR machine set in motion, ridiculous like that! Quentin even recalled to us editorials in The Herald, a thing in The an “austerity version” of Fidelio that was done Australian, that “the Old Tote had encountered years ago in Sydney and said it was the best ever! difficulty” but the Seymour Centre season “had ‘Jim and 1 went away wondering how we been re scheduled”. And we knew there was could save money on our productions. Then, a virtually nothing left of the season at all! week later, another meeting was called. It was ‘We thought of letters to the editor, etc. But the Friday of the Christmas party and lots of we finally just resigned. The Tote rang Louis actors thought it would be the Tote’s last fling. and Dorothy to ask for somebody else to direct We were then told that the three separate their plays, but both said their contracts gave seasons (Opera House, Parade, and Seymour them right of approval and nixed any other Centre) would begin on schedule, and then they directors. Patrick (White) spontaneously joined could re-evaluate things if they went wrong and in that. mix around the plays and venues, but still do all ‘The upshot is that we still feel we want to do the plays, I mean, just do them in different those three Australian plays, so we went back places. to the original idea of encompassing all theatres The next meeting was the week after at the Seymour and made a proposal to the Christmas. Jim, Quentin, (Ken) Southgate, and NSW Government to do this in February- me. Quentin said that the “best thing” was to cut March ’79. The proposal has been completely the Seymour Centre season altogether. Then costed and we are really hoping it will come into Rex Cramphorn. they would try to fit in Dorothy’s and Louis's Continued on Page 49 Photo: Willy Young. plays somewhere else. We wanted to do these

VOTING FORM

Nam e

Address

Professional Status (actor, writer, director etc.)

THEATRE AUSTRALIA APRIL 1978 11 The Proof of the Pudding NIDA The National Institute of Dramatic Art Assembled by Richard Mills

A Drama School’s contribution to the theatrical , , John Gregg, now in continue. All are currently pursuing successful community is a twosided coin. Positively, it The Glittering Prizes, is employed with the careers in theatre or film, and feel that NIDA rests with the number of well trained, talented National Theatre Company in London. Gary was not for them. One, who went young, feels graduates the school can release into the theatre () MacDonald, contrary to that she might perhaps benefit now from some world — and how easily and permanently they belief in some quarters, is a NIDA graduate — advanced work. All are very glad of that one can find employment. earned, not honorary; Murray Foy of the year. Negatively, it is more difficult to estimate — Queensland Theatre Company, Rick NIDA began in 1959, with Robert Quentin as the amount of ‘talent’ or spontaneity that it Billinghurst of La Boite are NIDA graduates. its first director. Grounds and free serviced formalises to extinction, disillusions or rejects. premises were made available on the campus of More significant is that a recent survey of Any form of show-business requires that the the University of New South Wales largely graduate employment conducted by the school artist form a performing identity, and develop through the efforts of the then Vice Chancellor, revealed that eighty five per cent of the total that individuality. Any school, while Sir Philip Baxter. Funding was by the graduate force are currently employed in the encouraging a student to round out and extend Elizabethan Theatre Trust, passing to the theatre or related areas. No estimate was made his potential abilities, must also encourage the Australian Council for the Arts and in 1978 to of those who had retired through illness or development of an individual identity. The the Commonwealth Education Department. The marriage. Neither RADA nor the American extent to which it refuses to recognise this, Trust still provides much assistance in the way schools can show such figures, although that letting the graduate system requirements of costumes and props, though not money. may not be a very fair comparison given the cir­ become formalised to the extent of churning out From the beginning, the approach was non- cumstances. a factory product, is the extent of its negative academic. The concept was to be that of contribution. Of the three people that 1 have spoken with involving students in professional theatre, of Many graduates of the National Institute of who were ‘not asked to continue their studies’ at teaching the crafts and techniques of theatre Dramatic Art have gone on to successful acting NIDA after the first year, none regrets either while providing an atmosphere conducive to careers, notably Robyn Nevin, Kate Fitzpatrick, their attendance, or that they were not able to individual artistic development. The object was

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Exclusively Representing DIANE CILENTO Sold and serviced nationally by 4 Whiting Street, Artarmon 2064. Telephone 439 1962 in Australia. 19 Trent Street, Burwood 2134. Telephone 29 3724 50-52 Vulture Street, West End, Brisbane 4101. Telephone 44 2851 14th Floor, A.D.C. House, 101-105 Mooringe Avenue, Camden Park, SA 5038. Telephone 294 6555 STRAND 430 Newcastle Street, Perth 6000. Telephone 328 3933 77 Pacific Highway, ELECTRIC 120 Parry Street, Newcastle 2309. Telephone 26 2466 North Sydney. 2060 922 4494 25 Molonglo Mall, Fyshwick 2600. Telephone 95 2144 X® X® X ® X® i t * X ® X ® X * X® It4 It® X® It® X® X® X * X® X® X® X® X® X® X® X® X® Xs X® X® X® 12 THEATRE AUSTRALIA APRIL 1978 to turn out working theatre people, schooled in theatre techniques. “The first year is really the depersonalising the basic skills of either acting or technical Technical production and design students one. You’re all lumped in together. Second year production; to expose them to professional work together for the first year, studying props, is the heavy year — you start to get right into theatre; to open doors to employment in the sound, design, history of theatre, music, and the techniques, to feel yourself beginning to use form of contracts; and to encourage students to lighting, as well as life drawing classes and them. That is the main year.” extend their artistic awareness. production meetings. “It’s going to be good to get out. Like, its not The school, under current director John Actors in the second year move on to fencing, exactly fake but — it's a controlled environment. Clark, still professes to that attitude. There are makeup, dialect and acting while continuing You come out into the real world.” four full time diploma courses offered at NIDA. movement and history of theatre. “If you are doing something wrong, you can Three-year courses are acting, technical Technical production course includes business go and ask a tutor and he will spend as much production, and design. A one-year course in studies and history of theatre. Design specialises time as it takes with you. But if you don’t, it direction is limited to two more experienced more in actual stage and costume design. comes out in front of everyone at the critical students per year, and gives a basic concept in all In the third year, for the actors the course sessions. You can lose a lot of confidence.” three other areas combined with opportunities includes singing and dancing lessons, and “The atmosphere is incredible. It is a creative for direction both in the school, and attached to technical students are being encouraged to atmosphere where everyone is working to build outside companies. follow their own special areas, while something together. It is one of the most Applications for all courses close in October, maintaining studies over the whole spectrum of exciting things I have been involved with. The and entry to the school is by arranged audition production and design. level of commitment is amazing.” (Visiting and interview, held throughout Australia over All classes are in the morning, as the entire director.) November-December each year. Competition is school is involved in various productions from “The secret of NIDA is that it is painstakingly fierce, with about fifty new entrants each year two in the afternoon. Much of the tuition is by craft-oriented, specifically non-academic. I don’t being selected from nearly a thousand outside instructors, either on a part-time basis yet know which direction (in production outside applicants. There is also an advanced course, while attached to professional companies, or as NIDA) I will take. But I do know that all the run in conjunction with the Jane Street Theatre visitors. doors are open to me.” — a NIDA offshoot — and a recent course in The ABC provides assistance in the form of The atmosphere is something that im­ theatre administration held in early February technical help and tuition in television tech­ mediately impressed me, too. In all the classes I 1977 proved so overwhelmingly successful that niques. Visitors cover film work, specialist fields, attended, where I was sometimes introduced, it is likely to be repeated. and added administration and production sometimes not, I made little impression. From The courses are arduous, physically and tuition. Richard Wherrett, currently producing first years up, the students were there to do a mentally. Students work all day, from 9 to after Once in a Lifetime with the third-year students, job, and my presence made no difference. An 5, and if in production, at night and weekends. is a regular visitor. occasional eye flicked in my direction as I In the first year, the acting students have hour- I gathered some comments at random — scribbled furiously, but the lesson was un­ long classes in voice, movement, language, students are sensibly required not to give press affected, the students completely involved. history of theatre, masks, improvisation, and interviews — while waiting to watch rehearsals. Classes I visited included a third year move-

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THEATRE AUSTRALIA APRIL 1978 I3 potential as either a stage manager or designer. rather than drop a full class of graduates on the It’s indefinable. You go on as much as you can workforce at a given time. I would be surprised, tell from an interview where there are no paper though, if all this year’s class weren’t working by qualifications. We give applicants a choice of early next year.” one of three plays, and they are asked before I put a few of the obvious possible criticisms they come to build a set model as they would of such a school to John Clark. stage the play. At least that tells us whether they “I think basically that a theatre school is as understand the scale enough to do a model, and good as its graduates. On the other hand. I’ve we discuss in depth how he would design the known a number of people who came here and play, maybe light it. If he has a speciality we not responded to the course — especially in the discuss it. At least we can find out what he earlier years, when we were less selective and doesn’t know.” used the first year to sort them out — and then He goes on to explain the courses, and that in go out and work successfully in the profession. I the final year students are attached to outside think that’s terrific. companies for much of the time. I later saw two “But the thing that amazes me is how many letters to Kevin from the Williamson (of those who did not graduate) that are now organisation, reporting on students Moss working successfully will at interviews describe Cooper, Garry Snowden, and Murray Taylor themselves as NIDA graduates. who had been assisting in the production of A “A lot of kids come here with talent, but too NIDA design student at work. Chorus Line. I quote the last paragraph from young — they are straight out of school, and Sue Nattrass, production director. have no developed work attitudes. Sometimes ment class under Keith Bain. The accent was on “May 1 add that all three students who the shock of not being invited back for a second bodily awareness, students being required to worked on A Chorus Line were a credit to year will stimulate them to the attitude they gain a feeling for the expression and attitude of NIDA, both in their work and in their attitudes, need. their bodies by moving with closed eyes, gauging and we greatly value their participation in the “My approach to student problems — pro­ distances, and feeling emotionally rather than production.” fessional or personal, which often affect work — consciously manipulating the movements. This third year outside attachment, says is that as long as I know about it 1 can do Aubrey Mellor was working on vocal Kevin, besides giving professional experience, is something to help. 1 encourage them to come to techniques with second year acting students. a golden opportunity for students to make staff with any worries. Starting slow and soft and building up speed and contacts and investigate the employment field “Invariably when you come to somewhere volume, they would then discuss the emotions before they are thrown on the workforce. like NIDA you go through a period of loss of occasioned by the delivery style, while “In exceptional circumstances the NIDA confidence. It’s like a really good tennis amateur correcting faults in delivery and finding Board of Studies will allow students to take paid who decides to take lessons from a pro. The pro individual limits. The lesson seemed to aim at positions with some professional company, and suggests that he change his grip — and for a both polishing vocal technique and providing complete their year in full employment with while his game is shot to hell. But the important another avenue for role understanding. It was them. But of course, we only do this because the thing is that in the long run, he will get further interesting to note that as each finished a companies ask — we flex, at the Board’s faster with the new technique than he would reading, often leaving some high emotion discretion, and the individual student’s have with the old.” floating around, Mellor brought the discussion development, according to job opportunity, down to a very low key in pace and volume. When the next student got up, he faced a neutral, relaxed atmosphere. Betty Williams explained with a grin that her first year voice class of twelve had had a first night the previous evening, with the usual after­ play party. She began to wake them up with business-like physical exercises. Jogging and counting, letting the sound come out of its own accord. Spinal undulations and flexing to free the rib cage — “I don’t want any energy to that sound. Now develop it — just be surprised that your breath has gone.” I had to leave to catch Wherrett’s rehearsals. Kevin Palmer runs the technical course, George Whaley the acting. Kevin showed me round the technical premises — woeful in their size. It was surprising to see the standard of work that was being done, especially with flats usually being painted outside through lack of space. All productions are handled completely by students, with staff either advising and directing or just advising a student director. They appear usually in the NIDA Theatre — the old tin shed where the Old Tote was born as an offshoot of NIDA in 1963. “In a first year (technical) student”, Kevin NIDA’s A Midsummer Night’s Dream. 1976 Final year students. Palmer says, ”we are looking simply for good

14 THEATRE AUSTRALIA APRIL 1978 But What About The Ingredients?

NIDA from an applicants-eye view by Bea Star (Stage name of course dahling!)

Once the prospect of auditioning before the the lady was pencil thin, fifties, but in a dress professionals was an awesome thought. Now it’s tied at the sides all the way down and nothing just a sick joke. beneath it. The interviewer seemed more I arrived on the appointed day and sat down interested in my relationships with staff at a with another thirty-six starry eyed applicants, previous institution than where my interests lay. who ranged from a bewildered girl in pigtails, to My private school education was jibed at, and a trendy whose head was a living memorial to the production of a gin bottle as a prop elicited Elvis, to the collection of lovely lads seated a the remark “I suppose you pinched that from little distantly, with their equally debonair Daddy’s liquor cabinet this morning”. suitors in tow. On finding out that I couldn't sing I was told First off we were herded into a class-room to to sing a song — a sleazy night club song, do ‘warm up’ exercises with a NIDA student making up the while to, yes, the pimpled track who seemed to think that wearing a track suit on suit. An improvisation scene with same — shop­ a sweltering day proved him to be the epitome of lifting, because that would be foreign to a fitness. The exercises included, of course, the private schoolie — was virtually impossible as positively vile clap-clap-this-is-my-name game my partner’s responses were so stupid. The male (with the optional addition of this-is-my-suburb interviewer actually laughed when I said as for those who cared to reveal it) and other well much in the context of the scene. worn routines used to subdue and embarrass, In fact he seemed decidedly enthusiastic by and bolster the authority of the person in charge. the end. and said that a telephone call would be The facade of fairness was shattered early forthcoming shortly. But the disapproval of with “anonymous questionaires” that required Edna, Madge and the eel must have over ridden you to fill in the number assigned to you along the end of which I was sternly asked if I had him for I later received a negative letter. By then with such essential information as marital played the part before. No, of course not, but it was a relief. I couldn’t help but reflect on first status, parents marital status, religion schooling they looked disbelieving. When everyone had hand knowledge I had of two unsuccessful (never admit to private education!), and how finished, the same pieces all had to be repeated, applicants (both private school), one now- often parents visit the theatre. When I enquired but this time with auditionees standing in for working for the South Australian Film about the anonymity problem I was told 1 was other characters where required. If the lovely Corporation, and the other having since the only person who had noticed. I still had to laddies were supposed to be addressing women, graduated from RADA. fill in my number in spite of my exceptional they chose their gentlemen friends; when a girl If anyone should be applying to NIDA for perspicacity. A short address by the surrogate chose me to play a male she was smartly told to next year’s intake, a few tips. Try not to be a head-man preceded our actual auditions, in choose a man. Of course, I thought, if men can woman. If you are, slim for all you’re worth and which we were informed of NIDA entrance play female parts they don’t need so many grow your down to your bum; turn up in policy; thirteen men and nine women would be women undergraduates. Another large lady, not the most cut-away leotard you can find and chosen from the hundreds of hopefuls. No quite on the high frequency NIDA wavelength authentic looking rehearsal socks; cultivate a explanation was given as to why there was this (who, having picked her Moliere piece from an pretentious but not educated voice, look bored, carefully structured sexual discrimination — audition book, wasn't sure who wrote it — but don’t forget to call everyone darling. Men, whether the powers that be considered that this “Milly someone 1 think”) nonetheless delivered turn camp and bring along your boyfriend to do was all the business could take, or that they her speech with panache, but on seeing Dame what spade work he can in the corridor while couldn’t find end of year plays with a high Edna take not a note — a sure sign of you’re performing. enough complement of female parts — but when disapprobation — flashed a large bosom by a Sour grapes this may be, but audition asked what if there were ten good actresses, he quick flick of the wrap-around dress in preparations were strenuous and nerve told us that ten couild be squeezed in at a push, dissatisfied response. wracking, and though admission when there are but certainly no more. Why not just choose the Lunch was a cosy affair, with the acne ridden, so many candidates is not expected, a degree of twenty two best applicants; surely merit is a track-suited second year student attempting mannerliness and consideration is. If enduring more equitable, not to mention satisfactory, more than friendly overtures with me. There direct attacks of sexism and conscious criterion than sex? was a general air of reluctance as we traipsed humiliation are part of being an actor, NIDA All auditionees had two prepared pieces to do back for round two; individual interview and may feel it suitable to include these in the and we were split into two groups. The panel second audition piece. course, but if because it is the major recognised assessing my group was a duo to put Norm and Interview: “Meeting of persons face to face... training establishment in the country and hence Edna Everage to shame. She sat, all seventeen oral examination of candidate” (O.E.C.). On has great competition for places, it feels it can stone of her, kaftan, batwing glasses covering entering the interview room my proffered afford to select from a kind of socio politico thick layers of makeup reducing him to a “hello” went ignored until I asked if I might sit sexual in-group, I fear its reputation and wriggling eel beside her. I performed my piece at down. Again a man and a woman, but this time standards will suffer.

THEATRE AUSTRALIA APRIL 1978 15 <5 - Currency Press Pty Limited 8 Australia’s Drama Publisher 87 Jersey Road, Woollahra, NSW 2025, Telephone: (02) 32 4481 Currency Plays are distributed in Australia by Cambridge University Press

16 THEATRE AUSTRALIA APRIL 1978 Theatre/WA

PERTH FESTIVAL

course, the Norman who makes the character, bits of business are relished, Should a theatre feel Conquests is a very seventies character— inanimate objects take on a personality of totally amoral—lies to all his women but their own (like the rug, scene of memor­ apologetic about makes them happy. He’s played by Paul able seductions, or the too-small chair Mason in an assortment of dreadful invariably destined for the largest and being entertaining. clothes, and a sense of humour that ranges slowest guest.) Even the demanding and from the manic to the gently wistful. (Why presumably querulous invalid mother does he specialise in playing stuffed shirts upstairs, establishes an invisible presence. on television, one wonders?) Sue Russell’s sets are practical and just attractive enough not to be boring even MARGOT LUKE The women who are conned (if that’s the right verb to go with conquest) are Judy when the setting is supposed to be Nunn, hilarious as Norman’s excessively brownish and vaguely oppressive to The Norman Conquests by Alan Ayckbourn. short-sighted and spiky wife, who proves suggest a family home in need of National Theatre Company at the Playhouse, rather touchingly vulnerable to his charms refurbishing and a new life. Perth, W.A. Opened 3 February, 1978. Director, all over again; his unmarried sister-in-law It’s a good lively start to the season, and it might even lure those nebulous “middle Stephan Barry; Designer, Sue Russell; (Leith Taylor) who is a marvellously of the road” audiences back to the theatre. Lighting Designer, Tony Youlden; Stage complex creature of awkward charm, romantic longings and an exasperated Manager, Christine Randall. sense of reality; and his other sister-in-law, Norman, Paul Mason; Tom, Robert a bossy, totally unreasonable creature, who Faggetter; Sarah, Rosemary Barr; Reg, henpecks her husband unrelentingly, but Edgar Metcalfe; Ruth, Judy Nunn; despite her intense disapproval of Norman Annie, Leith Taylor. (or because of it?) falls victim to his From the charms. Rosemary Barr shows a flair for elegance, and her movements suggest disappointing to the Ayckbourn’s trilogy The Norman Con­ lovely nuances of upper-suburban pre­ quests launches a new season at the Perth tension. One cannot help comparing her mainly sublime Playhouse, also its new director, Stephen style to that of Penelope Keith who played Barry, and the drama segment of the 1978 the role in London, but the similarity does Festival of Perth. Opinions were divided not discredit her performance. on the suitability of the vehicle to carry its All three of the women become more COLLIN O’BRIEN burden. Did the fact that it is funny make likeable in the second play, and although it too trivial? Did the fact that it was a Judy Nunn was at ease from the start, play-cycle, i.e. massive, redeem it? Should there was a striking improvement in the Othello by William Shakespeare. Chichester a theatre feel apologetic about being more subtle playing of both Leith Taylor Festival Theatre Company at the Concert Hall, entertaining at a time when it ought to be (who toned down her gestures) and Perth, W.A. Opened 4 February, 1978. Director, Making a Cultural Mark? Rosemary Barr (who became funnier and Peter Dews; Designer, Finlay Jam es. although still formidably awful, rather less The play is vintage Ayckbourn, circa Othello, Keith Michell; Iago, Roy Dotrlce; strident.) 1974, funny without the blackness or even Desdemona, Nyree Dawn Porter; Roderigo, bleakness that made critics give his later As the long-suffering Reg (henpecked plays more serious consideration. It also husband) Edgar Metcalfe created a perky Tony Robinson; Emilia, June Jago; takes the jigsaw element of the previous little man, much given to the odd barking Cassio, Richard Cornish; Brabantio, Nigel plays to the limit: not two simultaneous laugh at his own jokes, and fanatically Stock; Lodovico, Paul Maxwell; Duke of dinner parties, nor two co-existing flats, earnest about board games. There is a Venice, Rex Robinson; Grationo, Peter marvellous sequency in Living Together, nor three consecutive kitchens, but rather Sugden; Bianca, Jeannette Sterke; where he not only explains some elabor­ a complex pattern of simultaneously Montano, Philip Anthony; Cypriot, Colum developing actions in three different areas, ately impossible rules of a game he Qallivan; Officer, Alan Haywood; Mes­ split up into three different plays. The invented himself, but gives a frenzied tensions of one play turn into the impersonation of chess-pieces in action to senger, Barry Quin; Soldiers, Clive seductions in another; the quarrels of one prove a point. Johnstone, John Patrick; Servants etc., are resolved elsewhere. The sheer sleight- Bob Faggetter plays the slow-witted vet, Michael Boothe, John Newton, Elliot (he has difficulty even persuading cats to of-hand virtuosity would be worthy of Cooper, Roberta Symes, Jessica Turner. attention even if Ayckbourn didn’t come out of trees) and half-hearted suitor manage to make so many witty and nicely to the unmarried sister, with an engaging The Rape o f Lucretia by Benjamin Britten. focussed observations about manners, affability that rescues the character from attitudes and stereotypes encountered the borders of idiocy. Boyish and ele­ W.A. Opera Company with Festival of Perth at “living in the seventies”. phantine he so clearly means well that one the Octagon Theatre, Perth, W.A. Opened 8 The title is funny when you’re in the half hopes he’ll finally take the plunge and February, 1978. Musical Director and Principal know, but alas, some potential audiences declare himself, even if one does wish the Conductor, Alan Abbott; Producer, Brian girl could land herself a more promising (especially those not in the habit of Crossley; Designer, Graham Maclean; keeping up with theatre news) are put off lover. by the fear that this will turn out to be The production is leisurely without Stage Manager, Ken Campbell-Dobbie. something dauntingly medieval. In fact, of being slow. Time is taken to establish Male Chorus, Gerald Stern; Female Chorus,

THEATRE AUSTRALIA APRIL 1978 17 Daphne Harris; Collartinus, Cliff Arndt; well if you just play it straight and let the which seemed conceived and continuously Junius, Ian Westrip; Tarquinius, Lyndon dramatic structure take care of things for tuned in to the context in which the play Terracini; Lucretia, Lesley Stender; you. was set. Here was the pokerbacked, Bianca, Anne Watson; Lucia, Louetta All of which means that a production longserving Sar’major, the excellent non­ commissioned officer who effectively runs Farrar. cannot afford to be cautious and middle- of-the road but must be inventive and the Regiment but is not, for class reasons, adventurous if it is to make us sit up, considered office timber, unlike the Sand­ There exists an apocryphal story about which is precisely where the Chichester hurst man Cassio. As this Iago confides to Shakespeare and his leading actor Richard production fell down. It was in the main us his fears about his wife’s infidelity a Burbage. It seems that they were getting professionally and sincerely performed but tight, manic smile plays on his lips, which sloshed together one day in the Mermaid rarely provided those insights which we brought to my mind the thinlipped, tavern. More than half full of Bacchic rightly ask of a good production of such a coldeyed smile of as he bravado, Burbage prodded a hamfisted well known classic. I had expected more, speaks of ‘repatriating British-born forefinger into the pigeonchest of the since the director Peter Dews had amply immigrants’. Behind this, Iago’s stiff upstart crow from Stratford and declared demonstrated in both the TV series A n upper lip a ghastly cankerworm of envy in that resounding, vibrant baritone which Age of Kings and The Spread of the Eagle gnaws away ‘mining all within’. A brill­ had so often disturbed the rats in the that he is an intelligent and perceptive iantly conceived and executed perform­ thatch of the Globe: ‘Willie, laddie, interpreter of Shakespeare, capable of ance. anything you can write, I can act!’. Those translating his insights into relevent stage The Perth Concert Hall was a disastrous abstracted, Droeshout eyes narrowed for action. place to present this (or indeed any) play. an instant, but Shakespeare said nothing. I would have expected the nineteenth Since this Othello was designed for a Next day, however, he began work on century British Empire setting of the play Guthrie style openstage theatre, of which Othello. to produce reverberations so often lost in Perth has a fine example in the Octagon, The play can prove intractable to the fancy dress Elizabethan versions, but the inappropriateness of venue was all the limehungry namepart actor, and the except for Roy Dotrice’s Iago the context more galling. Doubtless considerations of reasons are structural. It is Iago who leads did not seem to have informed the actors’ finance—the Octagon seats only about us by the hand through the action, who work, the setting was largely gratuitous 700—forced the choice, and I suppose we takes us into his confidence in the more and the performances would have worked must be glad that the play was not intimate, closeup, nudge-nudge solilo­ exactly the same in Elizabethan costume. relegated to that aeroplane-hangar white quies. Othello is more aloof and stout- Keith Michell gave an honest, straight­ elephant the Entertainment Centre. But pedestalled, with a fine but distinctly forward interpretation of the role of people could not hear halfway back in the distancing line in somewhat windy Othello, although at times the gestures Concert Hall, and when one adds the rhetoric. and vocal gracenotes seemed to bear the two-dollar rip-off for the programme I’ve always thought of Othello as the stamp of the actor’s personal style rather (leftover from the Chichester, which told sort of chap who would be a disaster at a than be the result of a conception of the us much about The Apple Cart as well) I dinner party. While the soup got cold he part. Nyree Dawn Porter’s Desdemona was can imagine many a nextday sorehead. would be regaling the company with affectionate and graceful, but lacked the But from the disappointing to the outrageous whoppers about his ex­ sensuality which the part calls for (it has mainly sublime—Benjamin Britten’s The periences among the Anthropophagae, always seemed to me one of the supreme Rape of Lucretia. With no claims to incidentally a tribe unhead of before or ironies of the play that the more passionate connoisseurship in twentieth century since (perhaps they knew when they were Desdemona is, the more will Othello be opera, I have nevertheless always been licked). Before the fish course was done he inclined to credit that she might be bowled over by Britten’s operas. No would be namedropping exotic oceanic unfaithful). June Jago’s Emilia has been wonder this one was greeted with such scenarios such as ‘the Pontic sea whose icy much praised for a sensitivity so often enthusiasm on its first appearance. Britten current and compulsive course ne’er feels lacking in the part, but again I find myself has managed to bring intellectual weight retiring ebb but keeps due on to the in a double bind: I have always thought to a genre often condemned for rank Propontic and the Hellespont’, or that Emilia’s earthy peasant pragmatism melodramatic plotting, self-indulgent sounding off about his prowess in dealing juxtaposed to the more sophisticated lyricism and encore-seeking. with the more recalcitrant citizens of Desdemona’s simple virtue one of the Britten’s seriousness informs the very Aleppo, doubtless demonstrating his skill strong dramatic contrasts of the play, a structure, using two chorus figures not by leaning across the mahogony and lifting contrast which Miss Jago’s interpretation only to provide a Byzantinesque link a fellow diner bodily from his chair by the naturally diminished. Roderigo was played between a pagan story of virtue and the lapels to show how he ‘took by the throat as the usual twit—here Dickensian rather Christianity which was 500 years off, but to the circumcised dog and smote him— than the more usual Andrew Aguecheeck add weight through recitative and THUS!’. All in all, decidedly heavy abroad, but still with the high pitched commentary reminiscent of the Evangelist weather among the crisp, show-white voice suggesting that his underpants were in a Bach Passion. The music is austere napery and Waterford crystal. too tight. And those Cypriots! Perhaps and classical in all the best connotations of Iago is a fine deflator of such pomposity they are an irredeemable lot, what one these terms, with a simplicity which masks and pretension. When he tells Roderigo critic describes as ‘bints who are no better its sophistication and a sparing and that Desdemona loves Othello ‘but for than they should be and bumboat men’. therefore all the more effective use of bragging and telling fantastical lies’, we in The girls were all baubles, bangles and lyricism. Alan Abbot’s conducting was the stalls tend to go along with him. He beads with lots of Carmenesque flounce, taut and controlled, the singing generally also has a line in unmitigated bastardry leftovers from the chorus of some itinerant excellent and only occasionally incompre­ which appeals to the fallen Adam in us all. Gypsy Baron company; the men wore hensible. There is no point in the moralists telling us traditional Greek costume, but contrived One does have a quibble with the design we should loathe such a creature: all the to look like uncomfortable extras, un­ however. The stage is fussily dressed, world loves an arch bastard, just so long as certain and insufficiently made up. It was Lucretia’s bedroom neoclassical rather we are not the ones on the wrong end of his as though the Concert Hall manager Nigel than Roman, with even a hint of milady’s escapades. Prescott had been asked to fill out the boudouir. The revolve was not exploited Another aspect of the play which makes company by pressing into service younger for its possibilities in changed setting, and it difficult to present credibly is that the members of the cleaning and bar staffs, the mechanics of staging tended to militate action depends on Othello believing a like Falstaff’ ‘discarded, unjust serving- against the fragile fabric of such a piece. palpable lie. The problem is to make him men, younger songs to younger brothers, Lucretia’s bed, for example was a narrow do so without appearing stupid or forgoing revolted tapsters and ostlers tradefallen, couch. Perhaps I am too imbued with our belief in his heroic stature. Unfortun­ the cankers of a calm world and a long Shakespeare’s conception, all drapery and ately the play as it stands is not as much peace’. heavy breathing, but this couch looked help as some. Unlike The Winter’s Tale Which leaves me to commend Roy unlikely for a comfortable nap, let alone for example it will not work reasonably Dotrice’s Iago, the only performance accommodating a rampaging Tarquin.

18 THEATRE AUSTRALIA APRIL 1978 Theatre/Victoria

When at one point he leaped onto it, the seemed to me connected with this choice. irreverant thought sprang to mind that he Firstly the cultural context in which these might be about to replace a faulty products of medieval piety were to be lightglobe. Nor did the furtive sneaking on presented, that of suburban Australia in and off in the halflight help. But musically the late ’70’s, seemed to militate against Britten was well served, and I will both the possibility of an adequate especially carry in mind the elegant and recreation of the spirit of the cycle, and powerful Male Chorus of Gerald Stern, against large-scale interest in the beautifully and articulately sung. The community generally. Western Australian Opera Company is to On first night, therefore, I was prepared be congratulated for their enterprise in to be a little bored. I was however, presenting a highlight of the Festival. surprised and delighted to discover that Prof. Max Jones’ entirely new script The heart might be provided a most workable text, conveying with ease much of the spirit of broad in the right place but colloquial humour leavened with reverence the dramaturgical in which these plays must first have been Particularly in view presented. Director John Milson made the evidence isn’t. most of this script, and also gave full vein of the problems___ to his powers both of orchestration of movement and flow across the vast area JACK HIBBERD this production must and triple levels of his stage, and as a deviser of the properly theatrical effect, be counted a success. thereby ensuring that the pageant of Rock’ola by Tim Gooding. Hoopla! Theatre episodes from creation through Lucifer’s Foundation at the Playbox, Melbourne, Vic. rebellion, the fall of man, the slaughter of Opened 15 February, 1978. Director, Adam Abel, the flood, the Age of the Prophets, Salzor; Designer, Peter Corrigan; Audio CLIFF GILLAM the nativity and the Herodian massacre of the Innocents, was constantly lively, never Animator, Red Symons; Lighting Design, degenerating into the static declamation I John Beckett; Stage Manager, Sandra The Wakefield Mystery Plays modern text by had feared. Only during the latter half of Matlock. Max Jonas. Festival of Perth, University the Herodian episode, the last before Jet de Luxe, Max Phipps; Velvet, Jennie Performing Groups presents 1978 New Fortune interval and the longest by a good deal, did Cullen; Angel Sugar, Nano Nagle; Pagliacci, Company, New Fortune Theatre, Perth, W.A. I feel that the pace, energy and vigour of Graeme Blundell. Opened 10 February, 1978. the production had begun to flag. Director, John Mllson; Designer, Amanda The second half, made up basically of the key episodes in the life and passion of Hearn; Musical Director, Ban Christ, with a Doomsday sequence at the This article represents a change in my Macpharson; Stage Manager, Nall Qodfray. end to complete the long cycle of the general policy of not reviewing the works With Patar Carroll, Max Jonas, Jamas sacred history, I felt to be less interesting of Australian contemporaries. I’ve done Beattie and Elizabeth Calocob. and dynamic as theatre, more frequently this because of a suspicion about the succumbing to the demands of pageant atmosphere: a critical notice might be seen than of drama. This was despite what one as sour grapes, a favourable one as a Each of the last three Festivals in Perth thinks of as an inherently more dramatic buttering-up. All that can be said, as I now has seen a fruitful collaboration between action (in the New Testament material) step into the fray, is that I am dead keen to director John Milson and University and a very fine performance as Christ by see a wealth and diversity of fine new Performing Groups. The 1977 Festival as Peter Carroll (in startling contrast to his Australian plays, and that this the well as the current one, has seen the Noah earlier on, a little masterpiece of perspective from which I write, whether in participation also of Sydney actor, Peter broad comic acting). anger or glee. Carroll, making a triune relationship The standard of acting by a largely Tim Gooding’s Rock’ola is Hoopla’s particularly appropriate to the specifically student cast supported by such seasoned inaugural main theatre production. The religious drama chosen for performance, performers as James Beattie (God), Max previous show, The Elocution of Benjamin T.S. Eliot’s Murder In The Cathedral and Jones (Herod), Elizabeth Caiacob (Uxor Franklin, was entrepreneured from Sydney the Wakefield Mystery Plays. and Mary Magdalene) and of course Peter and has since thankfully been exported to I must confess to having had consider­ Carroll, was uniformly good. It seems a where it belongs, the West End, the home able doubt about the success of a Festival little unfair to single out such as Karl of camp elocutionary theatre. season of the Wakefield Mystery Plays. Zwicky as Lucifer and Desmond Lukey as That Rock ’ola was first workshopped at The doubt was not connected with Cain from a cast in which so many student the 1977 Australian National Playwrights’ Milson’s capacity to effectively utilise the performers did so well in such a variety of Conference and most favourably received vast playing area and many levels of the roles. Design for the production, a vast is an unhappy reflection on the critical New Fortune Theatre, since he had already undertaking, was by student designer climate of that convocation. All kinds of proved this capacity with his 1976 Faery Amanda Hearn and was generally ex­ excesses and infelicities should have been Queene, and one could in any case see the tremely effective in terms of both costume ironed out before it landed on the New Fortune being well suited to the and set. doorsteps of Nimrod and Hoopla. The episodic character of the Wakefield plays. On the whole, and particularly in view of Conference has not done a service to Tim Nor was there any doubt that Carroll, as the problems outlined earlier, this pro­ Gooding. the featured performer, could use his duction of the Wakefield Mystery Plays The play sings out for a thorough considerable talents in ensuring a point of must be counted a success. I will be rehabilitation, the kind of procedure, for concentration and focus for the sprawling interested to know at the end of the season example, that actors, director and writer action of even a truncated version of the whether, despite a good text, judicious (on working critically, constructively, and full Wakefield cycle. And finally, success­ the whole) editing of the Cycle, inventive collaboratively in a theatre for some weeks ful union with student colleagues in the and sympathetic direction and a generally can provide. A tough yet amicable past by both director and leading actor high level of performance, the faintly detachment is required, particularly on the seems to augur similarly successful collab­ antiquarian and overtly religious aura part of the director. A director who can oration. which surrounds the very title of the pen the following sentiments in a pro­ My doubts were simply in connection production, does not dissuade the happily gramme note would not seem on the face with the choice of the Wakefield Mysteries hedonistic heathens of Perth from of it to possess these attributes: as a Festival offering. Two huge problems attending. “The games we play are not good or

THEATRE AUSTRALIA APRIL 1978 19 left alone to exhilarate and astound the imaginations of the audience. Actors creatively need, thrive upon, this kind of electricity emanating from the crowd. A top example of this was provided by Nano Nagle when she sang her song in the last act with Brechtian aplomb—hard, earthy, ungiving, yet right from the ovaries. The Playbox stage is an awkward one—high and raked to above the heads of the stalls audience. Peter Corrigan, whose design life has been dedicated to enabling, inspiring, the actor to get on with the job, seems to have been defeated here or lowered his standards for once. The electric chairs, though pragmatically de­ ployed, don’t add a lot to the sense of the play, unless privately, symbolically he wished to electrocute the play and its characters a la Sing-Sing. Hoopla have made an injudicious choice with this play, especially as an opener (though mercifully they haven’t gone for a safe piece of naturalism). Once having made the choice, however, I think they should’ve stepped in and either pepped it Angel (Nano Nagle) and Pagliacci (Graeme up (more songs, routines, choreography, Blundell) In Hoopla’s Rock’ola zap etc.) or firmly and sympathetically bad—they are merely the ‘protective skins’ director’s skin metaphor) imaginable for kneaded it into a more substantial and coherent shape. All this said, it is really the of ‘set behaviour patterns’ that will allow the soul, the self etc., but will not bear a job, the craft, the art, or the writer to us to come closer to our neighbours quasi-religious, metaphysical or political develop his own critical faculties, to without burning ourselves or them.... burden in itself, regardless of all the cultivate in himself the ability to stand Rock’ola is about the ‘skins’ of the ‘war legends. back from his beloved work and loathe it, and post war baby’ generation....I cried Stripped of the camouflage concerning to put it through the most severe skeptical (almost) when I saw the real results of an rock’n’roll, circus, shows, surf beaches, test, to imagine the worst, and then maybe unloved generation....Thanks Tim for war etc. Rock’ola gropes towards dealing the best will imaginitively survive. seeing it, and the cast for expressing it.” with four characters (respectively rootless, The major failures of communication in over-hardened, comically inept and naive), Rock’ola belong to the author and not the whose aspirations have failed. If the play theme. The play quite simply lacks a had concentrated more on fleshing and strong dramatic centre and its own lucid detailing the characters and their re­ The summer of our logic; it is too loose, too clotted and static. lations, then a lot of things it is attempting The heart might be in the right place but to say might have emerged organically and content. the dramaturgical evidence isn’t. Within not have had the sense of being imposed. the world of the play, we really wish to The other direction would have been know why, or how, the four disaffected simply to create a spunky rock musical. In JOHN LARKIN rock-freaks decide or are compelled to this production, there seems to be a basic engage in a suicide flight. That the play is indecision about these possibilities. unnaturalistic is not enough; it is merely Rock ’ola kicks off with an extended hip Cop Out Melbourne Theatre Co., Russell Street, short on the appropriate pain, despair, monologue that unfortunately reminded Theatre. and futility. me of Heathcote Williams’s much-adored Ring Around the Moon MTC, Athenaeum Allusions to World War II, tail-gunners, gibberish in Ac/Dc. Max Phipps manfully, Theatre. Hiroshima, the children of the bomb, are heroically, strutted through it all to arrive A Chorus Line J.C. Williamsons. Her Majesty’s not sufficient unless they are dramatically at a song: “Just Because”. Ironically, that integrated and plausibly generative. Simi­ song said in a few moments as much as all Theatre. larly with allusions to the more morbid the preceeding effusions. Side By Side By Sondheim, Comedy Theatre. (and romantic) side of rock mythology, its The best patches in the whole evening A Mad World M y Masters Australian Per­ purported revolutionary nature, its alleged are those in which characters sing songs forming Group. Pram Factory. later sell-out to commercialism etc. Unless (composer, Red Symons), contend with they are convincingly cobbled into the each other dramatically, or peel off some action-matrix of the play, they seem rather facts about their existence. token. Under the circumstances, Nano Nagle, Cop Out! interrupted what had been a There is no such thing as ‘healing music’ Graeme Blundell, Max Phipps (who has by most successful season by the Melbourne (early rock’n’roll). The healing has to be far the most indigestible role) and Jennie Theatre Company at Russell Street. A new found within ourselves. To believe in Cullen all acquit themselves with grit and Australian play by Cliff Green, it probably ‘healing music’ is to believe in a surrogate spark. Nano Nagle cleverly takes her suffered to some extent by coming after and vicarious world, an escapism at the character on a journey (one dimension to ’s The Club, which is a opposite pole to revolution, alternative two). Graeme Blundell, too adroit at times hard act to follow, but considered alone, it societies, anarchy, existentialism etc., and will all the tricks of the trade, brings off a has to be seen as a good idea gone astray. one that in the end is a potential prey to couple of most affecting songs. Too often, The story is about a commercial TV fascism or the sick militarism and however, the actors are not given enough station and its police drama series, a hari-kiri cults of a Mishima. to get their teeth into. A good image subject near, if not dear, to Mr. Green, as The play indulges itself; it doesn’t seem appears (like the man swimming in the he used to write scripts for Homicide and aware of a more sardonic and positive view ocean with a trombone strapped to his . The events are the on all this, as is the master of this genre, back) and it is cruelly flogged to ex­ machinations of the sausage machine . Music is ultimately the tinction. As in the best of Sam Shepard, factory and its desperate people as they finest ointment (to improvize on the the play should swarm with such images, fantasise on giving the viewers what they

20 THEATRE AUSTRALIA APRIL 1978 want. There is a black comedy side as well, us thinking about our society and seems to be to expose us to a short period with the studio “police” taking their parts corruption. in the lives of four women in order to too literally and dealing with a scriptwriter Marvellous, Melbourne needed the present them both as women and persons. who is a threat by wanting to change them; nudge! Set out in simple terms, the plot smacks The script suffers from some overstate­ of Number 96. The action takes place in a ment of the obvious and moralises too London flat inhabited by four diverse much, while the direction, by Paul Karo is The value of the play females. Vi is heavily into yoga and not disciplined enough so that overacting mysticism. Housewife Dusa’s husband has also results. But there was a fine “police” lies in its essential left her, kidnapped their children and fled performance by Frank Wilson, ex­ overseas. Fish is a political activist who has television himself, who has now found a compassion for people. split with her boyfriend. Stas is a nurse new career as a character actor in who is making extra money on the side Melbourne theatre, closely followed by working as an escort girl, in order to fulfil her ambition to study marine biology in Jonathon Hardy as the ex-patriate writer, IAN ROBINSON whose promise of a golden goose turns into Hawaii. a lame, tame duck. Vi eventually collapses from mal­ The M.T.C. classics season at the Dusa, Fish. Stas & Vi by Pam Qams. Mel­ nutrition, and comes back from hospital a Athenaeum, which was on a long run of bourne Theatre Company and Parachute changed person, mainly due to the pills she disasters, has been redeemed by Ring Productions Pty. Ltd., Russell Street, Melbourne, is on. Dusa finally gets her children back. Fish cannot live with her own obsessive­ Round the Moon. Under John Sumner’s Vic. Opened 24 January, 1978. Director, direction, it has been lifted to a high level ness about her lost lover and commits Qaorge Ogllvie; Designer, Marae Manzal. of farce, morality, muddle and style, with suicide. Stas finally accumulates all her superb set by Anne Fraser, of the Vi, Vlvianna Garrett; Dusa, Nancya money and buys her ticket to Hawaii. The conservatory in which Anouilh’s people act Hayas; Fish, Carol Burns; Stas, Pat Bishop. difference between this and the out their redemption from the not-really- is Pat Gems’ real concern for the so-sweet-life. A strong selection of players characters she has created and her skill in from the M.T.C. classic rep., at last cast To most Australians, including presenting them with great depth and correctly, presented several highly individ­ Australian critics, ‘to criticise’ seems to understanding. ual offerings, the best of which came from mean ‘to find fault with’. But I believe that The playwright has been well served by David Downer as the twin brothers Hugo the central role of the critic is to point to the M.T.C. production. George Ogilvie, by and Frederic, and Bruce Myles as the what is valuable or useful or notable in any recruiting outside the M.T.C. regulars, has deranged secretary Bombelles, Irene work, to say what it is that an audience put together a very talented cast. The four Inescort as Madame Desmortes, the iron might get out of it. actors in question—Vivienne Garrett, butterfly with wings of silk, and Sandy To do this it is sometimes necessary to Nancye Hayes, Carol Burns and Pat Gore as the dancing Lady India. Ron discourage false expectations of a play by Bishop—give sustained and sensitive per­ Challinor’s choreography was dreamy, also saying what it is not. The most formances. The director and cast have also. important misconception to correct about achieved a real sense of actors playing A Chorus Line has swept in from Sydney Dusa, Fish, Stas and Vi is that it is a together rather than playing as individuals to Her Majesty’s to pump Melbourne full feminist tract, a piece of didactic theatre. to an audience; an ensemble feel often of post-Christmas adrenalin and super­ This is by no means the case. The lasting missing from M.T.C. productions. lative adjectives and leave both body and impression one has of the play is that it is George Ogilvie has created a balanced mind excited for long after the experience. an humane and caring piece of writing. and well-paced action, although the The flaws were a few flat spots in the The fact that the four characters in it are relationship he wished to set up between singing, some Australian accents among all women seems almost incidental — the actor and audience was not always clear. the American, and a little too much pathos value of the play lies in its essential Sometimes we were unsure whether we passed off for love. But these were compassion for people. were expected to be invisible voyeurs forgotten in the pleasure of being so Of course, being a play by a woman through the fourth wall, or a palpable stimulated by the music, the words, the about women, the trials and tribulations, presence sharing jokes and insights with realism and the dancing which spun us up extasies and exhalations of the second sex the characters and being wittingly shown out of our seats and into great sensory provide the specific and concrete occasion off to by them. delights. Not an event to be analysed, for the expression of this concern. But Designer Marcee Menzel has resisted simply one to enjoy. Pam Gems does not seem to be involved in the trend towards overstatement in recent A pre-Christmas treat which exceeded making political or philosophical points M.T.C. sets and given us the very minimal expectations was Side by Side by about women in general. Her intention amount of clutter which perfectly supports Sondheim, at the Comedy. The better reception than it got in Sydney was no doubt due to the improved expertise of Bartholomew John, and Geraldine Morrow, now more familiar from experience and able to refine the numbers. But it is believed the show got a great lift from the new presence of Noel Ferrier, the compere and go-between, who ad libbed at his most funny and fierce. The others, as did the audience, had a very positive response to him. The Australian Performing Group, after a fairly flat 1977, got going early for the New Year with A Mad World, My Masters, at the Pram Factory, which enabled them to be their best at their most boisterous and irreverent. A bleak comedy by English dramatist Barrie Keeffe, which leaves nobody unscathed in a class war, it is a brilliant (if treasonable!) post-script to the Queen’s Silver Jubilee year, thanks to actors Tim Robertson, and Kerry Dwyer, and the A.P.G. collective for deciding to get on with a production to get Nancye Hayes (Dusa), Vivienne Garrett

THEATRE AUSTRALIA APRIL 1978 21 Theatre / Queensland With the possible exception of The Wild Duck, ‘Breaker’ Morant is the best thing the Melbourne Theatre Company has presented at the Athenaeum since it took over the one-time cinema early last year. Harry Morant, the son of an English admiral and born in Devon, came to Australia about 1884, where he was first employed on cattle stations droving and breaking in horses. Later he became a bush poet and a contributor to The Bulletin and other publications. On outbreak of the Boer War Morant enlisted and became a lieutenant. Follow­ ing the orders of a senior officer (and going against his own instincts) he and fellow lieutenant Handcock had Boer prisoners court-martialled and shot for committing Carol Burns (Fish), Nancye Hayes (Dusa), atrocities. Because of this the two officers in Dusa, Fish, Stas & Vi. were themselves court-martialled (the Photo: David Parker senior officer who gave the orders had RICHARD FOTHERINGHAM since died) and, although the original the action without getting in its way. The instructions were said to have come from most unsatisfying thing about the play was Kitchener, they were executed. Flight Path by Beverly Mahoney. its ultimately depressed and depressing After a rather confusing beginning, Queensland Theatre Company at S.G.I.O. view of life. Despite all her humanity, Pam establishing the various characters, it Theatre, Brisbane, Queensland. Opened 25 Gems seems unable to see her characters rapidly becomes a fascinating document­ January, 1978. in any but a pessimistic way. She offers us ary-type drama. It is mainly centred no way out, no glimpse of hope, no light at around the actual court-martial with Director, Alan Edwards; Designer, Fiona the end of the tunnel. flashbacks. Possibly author Kenneth Ross Reilly; Stage Manager, Rick Mackay- One is getting a bit tired these days of has sometimes stuck too closely to facts Scollay; Lighting Design, Derek being told it as it is. Hasn’t anyone got a and, not knowing enough of the main Cam pbell. realistic vision of what it might be or, at characters’ backgrounds, has not dared to Mavis, ; Ian, Mark least, how we might begin to get there? guess or elaborate, and so somehow the Battershill; Trevor, Douglas Hedge; Jan, roles occasionally appear under-written. Director Sumner has, in the main, Claire Crowther; Tony, David Clendin- achieved one of his finest jobs, incor­ ning; Susan, Fay Kelton; Andrew, Roger porating useful slides of the period and Newcom be; Police Sergeant, Russell striking lighting effects. Sumner has, Newm an; Police Constable, Ron Layne. however, failed to restrain his customary Possibly the best thing tendency to play for cheap laughs, as for There were sixty-three entries for the instance the heavy parade stamping of feet Q.T.C.’s Playwriting Competition, and the MTC have when certain soldiers go in and out of the Beverly Mahoney’s Flight Path was the witness box. unanimous choice of the three judges. One presented at the In most cases members of the M.T.C. of them, the Q.T.C.’s Artistic Director Athenaeum since they excel in performances. In the title role Alan Edwards, has directed the subse­ Terence Donovan provides a rounded quent production, and I’m told that all took it over. character with a sense of gusty humour, concerned have worked furiously to make manages to convey well Morant’s more the script live. They’ve been rewarded by a intellectual side and also deftly handles the puzzling, unexpected, but undeniable recitation of his poetry. He is well backed commercial success. RAYMOND STANLEY by John Stanton and Gary Day as the two Flight Path compares the lives of two soldiers court-martialled with him. Out­ Brisbane women. Mavis, a single women ‘Breaker’ Morant by Kenneth Ross. Mel­ standing as the President of the Court is with at least four children, lives at Cribb bourne Theatre Company, Athenaeum Theatre, Barry Hill, and Gerard Maguire makes a Island—an extremely depressed bay area fine prosecuting officer, whilst Edward Melbourne. Opened 2 February, 1978. soon to be resumed for airport runway Hepple, Anthony Hawkins and Michael extensions. Susan ‘the daughter of Queen­ Directed and designed by John Sumner. Edgar provide several telling cameos. sland’s most outspoken politician’ lives at ‘Breaker’ Morant, Terence Donovan; The only really discordant note in the Hamilton—Brisbane’s Toorak or North George Witton, G ary Day; Peter Handcock, production for me (and here it is obvious Shore, but geographically at the other end John Stanton; 1st Interrogator, President of others are not in agreement) is the of the same airport. The rich and the poor Court Martial, Barry Hill; 2nd Interrogator, interpretation of the defence officer by both have their eardrums shattered, and . For some odd reason, Dr. Johnson, Officer, Edward Hepple; 3rd the principal idea behind the play is that although clearly written straight and Interrogator, Mr. Robinson, Officer, Colonel two women so different in their class probably much more effective had it been backgrounds can have their lives shattered Hamilton, Anthony Hawkins; Major Thomas, performed that way, Hardy builds up a regardless of their bank balances. Jonathan Hardy; Major Bolton, Q erard mild, bumbling amusing character which In the original script, Mavis’s son Ian Maguire; Kitchener, Simon Chllvers; has echoes of Peter Sellars, , breaks into the Hamilton house intent on Sergeant, Major Drummitt, Rob Harrison; Dustin Hoffman and goodness knows who. theft and brains Susan when she catches Trooper, Trooper Botha, Trooper, Gary Down; It frequently goes against the lines and, for him; but this is the only link between the me at least, grates and spoils some two households. The process of script Corporal, Captain Taylor, Corporal, Michael otherwise fine ensemble playing. revision has turned what another judge Edgar; Trooper, Corporal Sharp, Trooper, I understand two screenplays have called an “austere study of two women” Roy Baldwin; Trooper, Van Rooyan, Trooper, already been written about Morant, but into a well made play bristling with Ian Suddards; Trooper, Officer, Trooper, apparently have not been acceptable. coincidence. Susan’s friend Jan becomes Peter Dunn; Officer, Detlef Bauer; Trooper, Maybe someone will pick up this script by Ian’s teacher, and the plot consequences of Michael Morrell. Kenneth Ross, which would appear to be this extend the chain of coincidence to a ideal film material. ridiculous length; the same judge however

22 THEATRE AUSTRALIA APRIL 1978 Theatre/SA felt that the commercial success of the is highly evocative and falters only in production was very much the result of this certain over-effusive passages given to the dramatic reconstruction. Beverly Mahoney dreamer, Gerard. Gill presents the lives of told me she was quite happy with the his four richly drawn characters—two changes she’d been asked to make, and at Cardiff mums and their respective sons— least one production idea—the simul­ in a sort of mosaic form. All possible taneous staging of the Hamilton and the combinations of actors are explored with Cribb Island settings—contributed strong­ plenty of variety and colour (though not ly to the visual presentation of her avowed with enough humour), and the scenes leap theme, although it meant a major con- about in time and space gradually fitting structual revision of the script. I haven’t together like a jig-saw puzzle. What read the original draft, but I suspect that emerges is a picture of four meagre lives, the character of Ian is improved by her limited by working class circumstances being able to go from one house to the and an inability to make loving connection After the demise of other, and that this is the major positive with one another. The central pathos is spin off from the well-made reconstruct­ provided by an unrealised “love” affair the extravagant ion. between Gerard and Vincent, which is Ultimately however no amount of handled sensitively and without mawkish­ Ned Kelly local Lofty tinkering for either artistic or commercial ness. Its genesis is in a memory Vincent reasons can hide the fact that Flight Path has of seeing a young boy through a wasn’t too bad. is trivial and limp stuff. The idea that two window, dancing...“he couldn’t have been women so different in their backgrounds more than nine”. Gerard is aware that he has been watched, and years later, in could be united by common oppression is BRUCE McKENDRY adolescence, this incident gives him the one with current value, but the author Three Australian plays workshopped. S.A. seems to be only dimly aware of this confidence to draw the other boy into some theme. Her Hamilton household is a minor sexual adventures. Yet, when Creative Workshops. tissue-thin imitation of soap opera, with Vincent responds, Gerard backs off, Errol Flynn’s Great Big Adventure Book for Susan a creature of passive indulgence. fearful that their love may in some way be Boys, Stage Company, Sheridan Theatre. Life on Cribb is more perceptively insufficient. Happy End Sheridan Theatre. presented and Pat Thomson’s Mavis is the For each of the boys, Mum looms major character and the major perform­ significantly in the background, but firmly ance in the play. But try as one may to feel on stage, whereas all other family Inevitably Adelaide simmers in a pre warm towards a local writer and a members are present only in reminiscences Festival lull. The theatregoer faces lost commendable effort by the Q.T.C., it’s still and anecdotes. Gerard’s mother is grittily nights of inventing spectacles or a visit to a true by any criteria that this is an independent and finally very alone, cinema to take in yet another Australian apprentice script by a writer largely shutting herself off in an old peoples’ movie. However the impassioned per­ ignorant of the possibilités of theatre and home. The other Mum has married formances in the Dunstan-Salsbury epic unaware of the requirements of good beneath herself and is torn by infatuation continue to enthrall its audience. dialogue. Nevertheless it’s been a local for her husband, guilt about neglecting the One group that one can rely on for success, and that in itself is a step forwards children, and despair about their material consistant entertainment is the South for writing in Queensland. circumstances—all carried to the point of Australian Creative Workshops. Having suicide. been in existence for five years now some What is good about the play is that it overall policy seems to have evolved. With does not ignore the responsibility the few other resources than people and people bear for being short-changed by energy the group moves in low budget, A skilfully contrived life. What reduces it all is the feeling that thought provoking regions. Being mostly the attraction between the two boys does part-timers the standard of performance chamber piece for not amount to a love that could last. This by its members is really creditable. Under weakens the play at its heart. the direction of Martin Christmas, who four performers. The production, by Rick Billinghurst, has managed to weather the Adelaide displays his usual admirable qualities in cultural rapids, S.A.C.W. “is an in­ handling this sort of play—economy, pace, dependent company pursuing a non-elitist DON BATCHELOR and a good ear for verbal orchestration. path via unusual or new plays that have There is patience and that special sensi­ something to say.” Small Change by Peter Gill. La Boite Theatre, bility needed to make detail live. The plays they produced at their Brisbane, Qld. Opened 3 February, 1978. The performers are disciplined, sen­ Warehouse Theatre (yes it was hot) were Director, Rick Bllllnghurst. sitive, and well cast. Michael McCaffrey I ’ve come about the Assassination by Tony Gerard, Michael McCaffrey; Mrs Harte, continues to mature as an actor of Morphett; Out at Sea by Slavomir Eileen Beatson; Vincent, Mark Bayly; technical facility. He has happily rid his Mrozeck and Frenzy for Two by Eugene work of an arch quality which once Ionesco. The plays revealed a good Mrs Driscoll, Bev Langford. infected it. On this occasion, there was a company at work (and not always on good Small Change is a 1976 English play lack of commitment to the romantic bent material) under concise and to the point having its Australian premiere in this of the character so that his “poetical” direction. Being mostly allied to the production. outbursts sounded hollow. Eileen Beatson teaching trade a slightly educational It is a skillfully contrived chamber piece was the best I have ever seen her, investing approach to acting surfaced. Out at Sea for four performers which is well worth a Mrs. Harte with world-weary resignation provided an apt platform for actress Anne place in the theatrical currency. However, which was never sentimental. Whilst Demidowicz and Ionescos’ piece simply it cannot measure up to the critical physically good, her speech was blurred by good theatre well done. inflation apparently afforded it by Harold occasional lazy vocal lapses. By compari­ A new company to emerge in answer to Hobson...“as much a challenge as Waiting son, Bev Langford was exemplary in this the South Australian Theatre Company’s for Godot was twenty years ago”. There is area. Indeed, hers was a high quality institutional and non-exploratory policies nothing innovative about the play’s performance all round, taut yet well is the Stage Company. They intend to method. It reasserts simply but well the controlled, deeply introspective yet clearly operate on a professional basis but age-old values of the actor, of the spoken projected. Mark Bayly was vocally only meantime perform at the Sheridan home word, and of the “imaginary forces” of an adequate, but his portrayal of the Vincent of the Adelaide Theatre Group where all audience. character had a directness, simplicity, and service are devotional. Under the direction The playwright, Peter Gill, shows truth which would be the envy of many of Brian Debnam, formerly of the himself a capable craftsman. His language veteran actors. S.A.T.C., the company staged Errol

THEATRE AUSTRALIA APRIL 1978 23 Flynn’s Great Big Adventure Book for Boys by Rob George. It is interesting that Rob George wrote a rock musical called Lofty which had a low budget presentation at Her Majesty’s Theatre and now Adelaide’s very own Opera Theatre. Many are saying after the demise of the extravagant Ned Kelly that local Lofty wasn’t too bad after all. Mr. George rises once more from a dreadful fate of TV commercials and critical scorn. Director Malcolm Blaylock, ex co­ director of the Circle Theatre Co., which crumbled with Lofty’s poor reception and Oedipus thoughtfully contemplating the Sphinx whose riddle he was able to answer. poor houses, is now active amongst the From a 5th century Kylix. local theatre groups. Lately he directed a production of Brecht’s Happy End at the Sheridan again. A great cry has gone up amongst the theatre hirers of Adelaide Apart from being a complex play, because the university which used to be a tomed to think of the attic world as a place Oedipus is a good choice as a festival cheap source of venues, namely the Little of light and purity among the olive groves. production. After all this drama, or rather Theatre and the Union Theatre, have This Thebes may be a place of kings and dramas, were written for the Dionysiac upped the hire charges, taking them out of gods and fate. It is also a place of tribal festivals two and a half thousand years the question for amateur groups. In reply savagery. ago. Then how better for the State to the lack of economic performing areas Oedipus at Colonus where the pathetic company to mark the latest arts festival in and the need for a good dancing space the self-blinded old man finally reaches his the Athens of the South? Australian Dance Theatre and the Assoc­ mysterious end is lighter in look and feel. Oedipus the King and Oedipus at iation of Community Theatres have con­ The chorus masks have a more tolerant, Colonus, which the South Australian verted an ex-ballroom, ex-ballet studio human look. They also have a byzantine Theatre Company presents in one evening into what is now the Balcony Theatre. look which I least found occasionally in just under three hours with an interval, Unusual in design and exciting in possi­ jarred. are also classically uplifting and can be bilities it is to be opened on the 24th of Some of the effects used had been seen theatrically flamboyant, the very stuff of February and thereafter to be danced in by in the company’s some months interstate groups during the Festival of festivals. back, masks and red streamers for blood, The SATC in its Playhouse home Arts. for instance, together with movement And Adelaide pauses for the wave to brought out the big guns for the occassion. techniques. Then it was disconcerting. reawaken. Every second year everyone is Director Colin George and designer Tanya Here it was much more successful. mad with what they’ve seen, what they Moiseiwitsch, working very much in Mention of movement provides an should have seen and what they are about tandem with the production, behind the opportunity for mention of Michael Fuller. to see. Hail the Festive time when the state scenes and Denis Olsen and Edwin His work has previously been well worth bequeaths its gifts. Hodgeman heading those on stage. watching. For this production it is a The conception follows classic con­ delight. The difficult chorus is handled vention with the actors masked, wearing very well and while both plays have at platform shoes (looking, such are the times a balletic quality it is not at the vagaries of fashion, in this quite modish) expense of the words. making largely stylised gestures and men There is not the space here for a further Classically uplifting taking the women’s parts (liberationists analysis of Sophocles, his world and that of take heart, there are female actors in the Oedipus but the elements highlighted in and can be theatrically chorus). Mr. George’s interpretation are those of In these circumstances the choice of hubris, the overweening pride the gods flamboyant. Olsen and Oedipus on his long, tragic and find so intolerable and sometimes con­ pathetic journey is an especially good one. flicting notions (to the modern mind With the character masked, voice takes on anyway) of disaster by chance, of destiny an added importance and the Olsen voice, and of the virtues of living by the law. TONY BAKER honed on the work of conventional Although in such a production the Oedipus The King. Oedipus A t Colonus by playwrights and polished on Gilbert and actors’ place is secondary particular Sullivan, is an expressive and powerful mention should be, besides Olsen and Sophocles. Translated by John Lewin. South instrument heard here to very good effect. Hodgeman, of Ronald Falk who on Australian Theatre Co., The Playhouse, But in such circumstances, too, the opening night in another, later classic Adelaide S.A. Opened 25 February, 1978. production stands or falls on the designer tradition overcame an attack of mumps to Director, Colin Qoorge; Costume, mask and director. Miss Moiseiwitsch is cele­ appear and to perform exceedingly well as design, Tanya Molselwitsch; set design, brated for her work with Sir Tyrone Iocaster and Polyneices and of Brian Richard Roberts. Guthrie and later with the Royal Shakes­ James as chorus leader. Mention, too, in an unhappier way of Kevin Miles as the Oedipus, Denis Olsen; Priest, Messenger, peare and the National in London. The concept for the SATC follows old shepherd in Oedipus the King. He Antigone, Robin Bowering; Creon, John through her pioneering work there. The set enters with a kind of bowlegged strut Qaden; Tiresias, Man from Corinth, Ismene, is minimal and austere, such artefacts as which is irrelevant to the play and which Edwin Hodgeman; Locesta, Polyneices, there are symbolic and the masks are he has affected too often in his SATC Man of Cobrius, Messenger, Ronald Falk; powerful, even elemental, to provoke a roles. Old Shepherd, Theseus, Kevin Miles; Chorus proper awe among an audience watching There are, then, faults in this evening’s Leader, Brian James; Chorus, , men caught up in their destiny, creatures theatre. But it is theatre in the traditional of the gods but archetypal themselves. sense, the clash of symbols and height­ , Michael Fuller, Mel While the total design is obviously the ened, unique experience. It enlists the Qlbson, Wayne Jarrat, Chris Mahoney, work of one hand there are differences in intelligence and the emotions, no-one Tony Prehn, Peter Schwarz, Michael the two halves of the evening. The tragic, could regard this entertainment as less Siberry, Paul Sonkella, Michele and to my mind more successful, Oedipus than or imitative of cinema and television. Stayner. the King is dark in colour and sombre in Theatre hot and strong, that is what tone quite startlingly so for those accus­ festivals are all about.

24 THEATRE AUSTRALIA APRIL 1978 Theatre/NSW The ingredients are pre-packed, the recipe is simple...

NORMAN KESSELL Intellectual diversion Edith Piaf Je Vous Aime, a musical tribute devised by Libby Morris. Marian Street Theatre or sketches preciously (opened 1st February, 1978). Director, Alastair Duncan; designer, Michael Jennifer McGregor in Nimrod’s Stubble. treated? O ’Kane; choreography, Leith Little; musical Photo; Robert McFarlane. direction, Craig Scott; new English lyrics by Fran Landesman, Ronnie Bridges and ability and artiness by their musical Peter Reeves; additional material by ROBERT PAGE requirements: viz, a cellist for the first a soprano for the second. Alastair Duncan; musical arrangements by “Don’t put an empty head on an Chuck Mallet, Ronnie Bridges and Peter Nimrod Theatre Downstairs, Sydney, NSW. intelligent pillow” is one of the miriad of Reeves. Opened 10 February, 1978. aphorisms whispered, sung, barked, cried, With Bunny Gibson, Doug Kingsman, taped, and hurled at the audience through Maureen Elkner, Rod Dunbar. Krausmann’s Everyman. John B ell’s There is an air of preciousness at the direction, as with the first two shorts, has Nimrod Downstairs present offering. The endowed the cast with a tremendous There are obvious reasons for the three plays range from a tribute to the assurance and delivery but in some senses continuing spate of small-scale musicals Marx Brothers comedy team — not the to my mind has gone against the intention based on the work of single composers or political propagandist — through a plight- of the text. All it is is 1,100 sentences performers. The ingredients are pre­ of-woman divertissement, to a devoid of plot, situation, character, etc. packed, the recipe is simple and the “Sprechstucke” (see, it’s catching), or but it is these which Bell constantly and mixture fairly economical to prepare and 1,100 assorted aphorisms without stage variously attempts to re-impose on the to serve. directions or assignment of speaking script. If the piece is as he notes “a So far we have imported such variable parts; from Marxisms to maxims if you legitimate challenge to what constitutes concoctions as Cole, Cowardy Custard, like. our ideas of ‘drama’ ” then falling back on Tarantara! Tarantara! and Side By Side The first two pieces by Moya Henderson various improvisation excersises, be­ by Sondheim. Melbourne even enjoyed one are both delicious — especially for the ginning with the well-worn mirror game tasty home-cooked sample, but the local actors — and fully accessible, almost to (actors aping each other’s movements), chefs over-looked a vital preservative the point of being pedestrianly so. Playlet through barber’s shop quartet singing, called copyright and the dish went sour! one is a series of classic poses and routines through market research interviews, In Sydney, so far, the best offerings have culminating in a love affair between through teacher and pupil relationships been at the enterprising Marian Street Groucho and a cello with all the innuendo and so on, seems rather to duck the issue Theatre, always well presented with care­ that string-tickling and curvaceous line in a way, say, that one can’t with Beckett’s fully selected trimmings, thereby earning following afford. The ingenuous portrayal Play (1964) where three actors are stuck in well-deserved kudos and lucre. Maitre of Harpo, later metamorphosing into urns to deliver three broken monologues. d’Alastair Duncan opened his 1978 season Chico, by cellist Pierre Emery was received There a story emerges (twice!). Here the with a piquant sample of the genre — first with endeared patronage then aston­ cascade of mock truths can only point up Edith Piaf, Je Vous Aime, a collation of ishment when he turned to his real craft as the absurdity of man trying verbally to the Little Sparrow’s best-loved songs with musician—even playing the cumbersome categorize his experience. The sheer a light dressing of narrative sauce. instrument classical guitar fashion. With stylishness (not to mention memory - This was a trifle tasty enought to tempt Groucho almost a parody of himself any faculty) of the whole somewhat leavens the most palates, but it was savored to its impersonation milks laughs, but John doubts but one couldn’t dismiss the feeling fullest, I feel, only by the connoisseurs, the McTernan gave nothing short of a of this being a trip back into the sixties, dedicated Piaf fans. As one of the latter, I rejuvenation, with all the incompetent even the poster derives from early 60’s pop played a small part in promoting this authority, sentimental core, and toothy, art, and to have gained finesse though lost nostalgic feast. Writing of Bunny Gibson’s cigared grin finely studied. vitality and that sense of “profound performance in Irma La Douce at this Stubble is not much more than a sketch mystification” in the ageing process. theatre, I compared her voice to that of with Jennifer McGregor putting her fine Handke’s sentences in Offending the Piaf. Alastair Duncan then told her, in voice to the service of a woman’s primping Audience (1966) and Self-accusation roughly these words: “One day there’ll be and preening toilet as she prepares for the (1966) questioned theatre and self develop­ a show about Piaf. If we can get it you’ll night out. She plucks and snips her way ment respectively in a much more cogent play in it.” Well, Canadian-born actress through the facial and bodily hair—to fashion. Indeed both the playwrights owe Libby Morris eventually came good with vocal accompaniment—eyebrows, much to the German tradition—one is of the show, Alastair got the rights and moustache, armpits, nipples and pubes, Austrian birth, the other just back from a Bunny is there, as promised. then dons a fur coat (get it?) and off into three year sojourn there—and wholly This show is different to its predecessors the night. A surrealist tinge is added by the indebted to its cerebral approach, seized in that there are no dramatised incidents vanity cabinet including an enormous upon I’m sure after that race missed out and no one speaks as Piaf. It is left entirely mechanical mouth presumably symbol­ on the Renaissance which swept the rest of to the descriptive nature of the songs plus ising the carnivorousness of the male. Europe. Full credit to the performers, commendably short narrative notes drawn My concern about these two plays is that Nicholas Enright (welcome back), Jennifer from the biography written by Edith’s half despite their author receiving the McGregor and John McTernan again, sister and lifelong companion. Simone Kranicksteiner Prize of 1974, they are and Anna Volska but finally rather an Bertault (W.H. Allen, London, 1970) to really the stuff of Monty Python, i.e. evening of sketches treated preciously than sketch in superficially her birth in a Paris university revue, given some fake respect- the intellectual diversion expected. street in 1915, her unbringing in a brothel,

THEATRE AUSTRALIA APRIL 1978 25 her success as a singer, her parade of Ned Kelly, Nick Turbin; Aaron Sherritt, when Joe shoots his best friend, the traitor lovers, her addiction to alcohol and drugs, Jeremy Paul; Joe Byrne, Doug Aaron Sherritt, and rather than fake blood her tragic end in 1963. Parkinson; Superintendent Hare, A rthur he pulls from Aaron’s stomach a long The thirty three songs in the show were band of red gauze. Likewise Ma Kelly’s Dignam; Ma Kelly, Qeraldine Turner; Mr shared between the four performers— lines of washing, squares and triangles of Bunny Gibson, Maureen Elkner, Doug Tarleton, Timothy Bean; Kate, Beverley cloth traversing the stage, made the Kingsman and Rod Dunbar. The women Evans; Steve Hart, Ric Herbert; Dan Kelly, contrast of lightness, warmth and fresh­ were magnificent, the men a mistake. This Stephen Thomas; Graham Lowndes, ness to the dark oppressiveness of so much was no discredit to them, both skilled and Paul Smythe. else in the Kelly lives. Finally the proven performers. It was simply that Glenrowan fire, with growing sheets of trying to balance the sexes to please mixed flame-coloured cloth wafted between audiences did not work. They faced an people, blown about and pulled up the impossible task tackling songs written back of the stage in increasing fury — and solely for so individualistic a singer as Piaf. then switched abruptly to black, from Kingsman scored best with personalised behind which, Ned, in armour for the first1 versions of “Catherine” and “The and last time — was a most memorable Lovers”, but Dunbar, though he sang and image of elemental destruction, culmin­ danced well in the concerted numbers was ating in utter loneliness. quite bad in his solo efforts at simulating Patrick Flynn’s music may indeed cull a the Piaf vocal style. little from everywhere to make its whole, It probably would have been too much but it is a coherent and cohesive body of for the two women to sustain the whole work of much greater depth than mere show alone—Maureen Elkner’s voice was . sing-along rhythm. The Livermore beginning to show strain at the end of the (/Ellis?) lyrics are at times moving and night I was there—but four women would always articulate, but then they need to be have been better, even if two of them were for there is no dialogue, nor even much in to handle only the less distinctive songs. the way of linking passages between the Bunny Gibson had most of the better- songs. known numbers—“La Vie En Rose”, If the opera lacks a centre it is because “The Accordioniste”, “Milord”, of the major singers; Geraldine Turner as “Amsterdam”, “Les Blouses Blances” and M a Kelly and Arthur Dignam as Super­ “Je Ne Regrette Rien”— but Maureen intendent Hare both turn in excellent Elkner had a show-stopper in “The Right performances, vocally and charismatically to Love” and scored also with “Mon and it is unfortunate that they should in Legionnaire”, “I Don’t Care”, “Mon both respects surpass Nick Turbin as Ned. Dieu” and “Cri de Coeur”. It seems sad that someone with a more A special pleasure was to hear many of powerful, even aggressive, stage presence the songs sung in English for the first time, When Ned Kelly opened in Adelaide, should not have been cast, like with excellent new translations by Frank Shirley Despoja of the Adelaide Advertiser as on the original record (or in Landesman, Ronnie Bridges and Peter gave vent to one of the most vitriolic the film of the same name). Mr. Turbin Reeves. attacks on a show that has been seen for puts over a basically agreeable personality, I was disappointed in the women’s some time. Her main dislikes of the piece but scarcely one to sustain the angry, sad, dressing—unbecoming modern frocks in were that it cost a lot of money, that it used bitter and finally exuberant facets of the pastel pink and blue respectively, with a lot of technical tricks, that it had lavish assorted colored scarves for variety. In the publicity, that it was “vulgar” and “pre­ character, though this is not to ignore the second half, at least, they should have been tentious” and that the show was mounted unstinting effort he brings to it. in black, which Piaf invariably insisted on with loving care! If there is any theme taken up, wearing when performing. Ms Despoja’s complaints seem, then, to extraneous to the basic facts of the story, it Direction by Alastair Duncan, respon­ be that Ned Kelly was a big theatrical is a rather anomolous line on religion. sible for some additional material, was show; the very grounds on which I found it After his first murder Ned sings that he well-served by Keith Little’s choreography a reasonably enjoyable production. cannot return home as “Jesus shut the and excellent musical backing directed by Certainly the money spent showed in the door”, which refrain recurs several times, bass player Craig Scott. sets and technical effects; the visual and but the song of his finale, a post mortem Michael O’Kane, from the Old Tote musical aspects of the opera are its appearance, outlines the sentiment that Company, provided a neatly serviceable set greatest strengths. Even from the striking people like Ned help us live in a world using subdued but evocative back- board with Ned Kelly’s words in eighteen projection. where we know there’s no heaven in the inch high letters, that acts as curtain sky—yet is sung a la Salvation Army. before the opening, and the slow, silent In these days of stringency it is a matter start on Spencer Street Station where of habit to cringe at such words as The backdrop... was carefully controlled dry ice filters the “indulgence” and “extravagance”, but a dimensional red and green platform lights rock opera is an expensive, showy medium a star performance in as Superintendent Hare (Arthur Dignam) and only successful as such. That the Kelly collects his police force to start the journey gang should appear in a mirror-ball its own right to Glenrowan, the atmosphere is built by balloon that is never seen again, and Ned’s the sets. The impressionistic wooden armour should be saved solely for the structures at the side of the stage readily Glenrowan siege is entirely suitable. LUCY WAGNER support the identity of police station, Chorus Line, though sparser to the eye hotel, bank, pub, prison and finally apparently cost much more, and one gallows. wonders whether, had this been an import, Ned Kelly, written, directed and designed by The backdrop made entirely of hurri­ the press response in Adelaide would not Reg Livermore; music by Patrick Flynn. cane lanterns was certainly an “effect” have been wholly different. Can’t we ever Trust and Eric Dare in without much more relevance, but as a applaud our own and recognise that Reg asscn with the Australian Elizabethan Theatre background to a solo from the eponymous Livermore is little short of a theatrical Ned it was a star performance in its own Trust. Her Majesty’s Theatre, Sydney, NSW. dynamo who might all too easily be lost to right. Other staging techniques, though, the international circuit. I congratulate the Opened 4 February 1978. Musical direction and were purely theatrical and far removed Festival Centre Trust too for daring so arrangements, Michael Carlos; Choreo­ from indulgent expense. The use of cloth much. Let them not be disheartened from graphy, Keith Bain. throughout was stunningly effective, as more ventures of this kind.

26 THEATRE AUSTRALIA APRIL 1978 Again - though more so - the comedy has misdirection. Acamp clod-hopping Successes and its black side with the hero of Prisoner of portrayal of Ariel, a Caliban who owed Second Avenue moving quickly through more to Roots than Shakespeare, and a distresses retrenchment and breakdown to recon­ Prospero a long way from the range and ciliation as the noisome, rack rented living, vocal prowess the part demands — not rotting garbage smelling, aspects of met­ much Will Power here. Like poor Prosper ROBERT PAGE ropolitan life become all too much. Brian all that seems left for the Tote at the Young is brilliant as the Prisoner taking moment is to “be reliev’d by prayer... The Club — Nimrod at the Theatre Royal all the moods readily in the stride of a which frees all faults”. Again its a raging Prisoner o f Second A venue — Ensemble well-seasoned actor; the wife, (Jinx Huber) success. “Look on my works....and despair! Treadmill — Ensemble at the Stables who repeats the process, appears slighter Nothing remains of that colossal wreck....” Rock’ola — Nimrod Upstairs at first but develops through accretion as The Cat and the Canary — Old Tote, Parade the evening progresses. Theatre. Far less can be said of the Loma Bol’s Treadm ill at the Ensembles’ newly The Tempest — Old Tote, Drama Theatre. acquired Stables Theatre. Written, EURO HAIR CENTRE Miss Julie/Black Comedy Old Tote Drama directed and acted by women it should Theatre. have been an exciting venture but largely Suite 511, 5th Floor, suffered from portraying boredom boring­ 381 Pitt St., Sydney. Well, let’s not get carried away. Just as I ly- Telephone: 233-4125 was despairing at the sight of this new Splendid actor performances abound in Tim Gooding’s R ock 'ola at Nimrod, but it Ozymandias along comes M iss Julie and HAIRPIECES — WIGS — BEARDS — Black Comedy in a double bill. The first has proved, I believe in Melbourne too didn’t quite build up the fetid, blood-up where it had a simultaneous take off, to be MOUSTACHES — SIDEBURNS FOR passion of a Scandinavian Midsummer’s a kamikaze flight not only of a washed up THEATRE, FILM & TELEVISION. Eve (despite Strindberg’s lines I think Julie foursome from the sixties but theatrically should begin flushed not pale) though the too. At the Playwright’s Conference where sheer concentration and presence of it took a test flight sets were suggested by Handmade in our own workshop Robyn Nevin, the eponymous Julie, the mind’s eye; given them, there is little by experienced craftsman. brought all to rights. Of the second, the for the mind to do except attempt blue-rinses marvelled while the trendies recognition of the thousands of 60’s song COMPARE OUR PRICES denounced it as silly, but Shaffer’s play is a lyrics which bestrew the text. Two points, Telephone: 233-4125 brilliant farce which I have never seen fail. one: it was that decade’s life style and The major idea, from a famous Chinese sub-cultural solidarity which - despite play, is to have the lights on when they “American Pie” - died, not the music; two: should be off and off when on: so we see actors even as top-flight as Robin Ramsay, Barry Otto and the rest of the cast groping , Kris McQuade and Tony around in blazing light, and apparently Llewelyn-Jones can’t, without music at the moving normally in total darkness, and least, have any of the presence of even the confusion builds frenetically from there. poorest pop group - a presence which the The only grounds for Black Comedy play constantly reaches for but never being part of the supposed classic season grasps. It could have been saved somewhat seem to be that it was once coupled with by recourse to a very large blue pencil and M iss Julie at England’s National Theatre. pair of scissors. That was twelve years ago; I thought we The Cat and the Canary has far less of were only eighteen months behind. But the longuers but even less point, being then the whole season is based on the everything one expects from the old National repertoire which shows that the comedy thriller. It has the polish which the apron strings are still as strongly held onto Tote can often bestow, but the surface as ever. A sad situation, but nonetheless scarcely covers the disturbing clash of better and more effective than usual, even styles which look like a bob each way if the two plays in question prove strange (straight thriller/farce) by director bedfellows. Collingwood. The state companies were to Having had year round ups in our last “pursue excellence” according to issue, John Bell’s careful and stylish Australia Council funding policy, but production of The Club missed out. surely the quality was supposed to go more Williamson, unquestionably Australia’s than skin deep. most successful playwright has scored It appears the epitome of yesterday’s again and had his ball in the net before the men thinking for blue rinse appeal and as teams even turned out, with a transfer such an indictment of the artistic policy, of arranged before rehearsals began; theatre the company. Subsidy is about the right to boardrooms are becoming as concerned as fail, not (at nearly a million dollars a year) to where they stand in the audience stakes to succeed like this. It will of course pack and financial league every bit as much as them in, if word gets around the middle their Australian Rules counterparts. Well brow traps. made, unashamedly commercial packag­ Will the tempest blowing around the ing in the direction and, bar queries as to Tote abate? Looking at its other offering why overcomes being in the Drama Theatre, I fear not. It THE PERFORMING ARTS “smashed” too easily for naturalism, a seemed more than symbolic sitting there as sharp piece with, to my mind, a disturbing the thunder rolled across the oppressive BOOKSHOP line of attack in how sincere, if overbrash, Drama Theatre ceiling, thinking it must 232 Castlereagh Street, people can quickly find they have outlived cave in, and the Tote with it, at any their usefulness and be removed by moment. The set was a useless excressence Sydney. 2000. smooth-tongued administrators:, who (cell one side, hole in all too obvious flat at Telephone: Patrick Carr these days seem to be the new ruling class. t’other for Miranda and Ferdinand’s chess Williamson’s American counterpart game, arabesqued circle at centre) trying [02] 2331658 Neil Simon is also achieving high marks on in a hopeless baroque fashion to cover the the audience ratings at the tiny Ensemble. emptiness of, in my view, hopeless

THEATRE AUSTRALIA APRIL 1978 27 Playscript:

28 THEATRE AUSTRALIA APRIL 1978 Slcf 3 mo

ALL seated as supper finishes Miss Siss: No, no. Thank you, Mr O’Mahon. O ’Gorman (joins in): Thank you, Tocky. I can wait. Let Mrs Hosanna in the highest, Miss Siss: That was a very satisfying supper, O’Mahon have her own way. Hosanna to your king. Mrs O’Mahon. It does you credit. The Tocky: ‘Shamus O’Brien’ is very relaxing. Houses (alone): lamingtons were a delight. I always say one Mary: And so is Father O’Gorman. Listening Hosanna in the high... cannot have a social evening without to him will relax us all. You know I think he’s My God! It is high! I’m no Richard Crooks. Get lamingtons. got a better voice than Bing Crosby. me a drink Denny. Mary: Thank you, Miss Siss. I’m pleased you O ’Gorman: You can’t compare me to the Miss Siss: I don’t know why you rave on liked them. swinging Bing. Anyway he’s a crooner. about Richard Crooks, Houses, when our own Miss Siss: I did. Well! Now that the inner Houses: Crooners! There’s some awful singers Count John McCormack has such a glorious man is refreshed and replenished what is the about today. The Andrew Sisters! Ugh! They voice. Now there’s a singer for you. The Boy next thing on the agenda. nearly make me puke! And frankly I don’t go for from Athlone! The clearest, sweetest voice in the Mary: Would you like to see Christy in his this Bing Crosby fellow much, either. I reckon world. soutane? he’s having a bad effect on the younger Houses: You’re right, Miss Siss. A glorious Miss Siss: Well, I wasn’t going to suggest generation: all them bobbysoxers and short- voice. I remember him in Adelaide in 1917 when that. haired louts. Now the singer I like is Richard he was on his Australian tour. He gave a Mary: He looks beautiful in it. Crooks. Good, strong stuff. marvellous performance. And at the end of it the Miss Siss: Perhaps he does. But, then again, is Tocky: He’s got warts on his tonsils. Adelaide audience stood up and sang “God Save the occasion altogether suitable? Houses: Who? Richard Crooks? the King’ at him! Denny: Mary, I don’t think its the most Tocky: No. Bing Crosby. That’s why he sings O ’Gorman: Sang ‘God Save the King’ at him? suitable time. It's... It’s not a fancy dress party. the way he does. It’s an affliction. What did they do that for? Mary: Fancy dress party! What are you talking Houses: It’s an affliction listening to him. Houses: Because he had become an American about? It’s his soutane! What do you think, Miss Siss: He’s a very good Catholic. citizen. They let him know they didn’t approve. Father? Houses (astounded): What! Bing Crosby a Miss Siss: Well, Sydney treated him a little O ’Gorman: Well. . . Well? What does Christy Catholic? more politely. I well remember seeing him in the think? Miss Siss (primly): Mass and holy communion Sydney Town Hall. Such a magnificent Mary: Christy? every Sunday; family rosary every night. I read presence. Such poise. He just stood on the stage Christy: No, Mum. No. I don’t want to put the it in The Annals o f Our Lady o f the Far East. and liquid gold poured from his mouth. His soutane on. Anyway it’s packed away. All the Houses (genuinely amazed): Well I never! voice floated on his breath. I’ll never forget him pleats will get out of place. Fancy that! Go on! Bing Crosby a Catholic! I’ll singing ‘Believe Me If All Those Endearing Mary: So your grandfather’s not going to see have to listen to him a little more carefully. Young Charms’. you in your soutane before you leave. Breda: What else would he be with a name like Mary: That’s it! That’s the song. ‘Believe Me If Miss Siss: I was going to suggest that at this Crosby? All Those Endearing Young Charms’. I have the stage of the evening’s festivities Houses recite Miss Siss: It doesn’t always follow. Only last music here. Father can sing it. It’s just the song. ‘Shamus O’Brien’. week I saw in the funeral notices in the It’s just the song. Mary: Oh, for God’s sake, no! It lasts all night! Newcastle Morning Herald where an O'Sullivan Miss Siss: I don!t think it’s the type of song Let’s have some singing. Let’s hear Father was buried in the Presbyterian section of Father would wish to sing. Thurlie. I want to hear him. He’s got a beautiful Sandgate Cemetry. Mary: Why not? What’s wrong with it? It’s a voice. Haven’t you, Father? Tocky: That’s nothing! I saw something worse beautiful piece. O ’Gorman: Self praise is no absolution, Mary. a couple of months ago: an O’Brien was Miss Siss: It’s not exactly the most suitable Miss Siss: For myself, I’d prefer to hear cremated at Beresfield. Cremated! song for a priest to sing. ‘Shamus O’Brien’. Miss Siss (resignedly): We can only pray for Mary: Well, what do you want him to sing: Mary: Later! Later! When I’m doing the dishes. them. ‘Hail Queen of Heaven’? I won’t have to listen to it. I’ve heard it all my Mary: Father, will you sing now? Miss Siss: That would be more suitable. life. Houses: Sing ‘The Holy City’, Father. Mary: Come, Father. Let’s hear you sing Miss Siss: Well, if you insist. It is your O ’Gorman: I couldn’t manage it, Houses. It’s ‘Believe M e.. evening. too high for me. O ’Gorman: I could sing ‘The Mountains of Mary: Thanks. I do insist. Houses: It’s a great song. Richard Crooks Mourne’. Denny: Perhaps it might be better to hear really handles it well. Mary: After you’ve sung ‘Believe Me’. Houses first. He begins to sing. Denny (concerned): Mary, are you sure you Tocky: For myself I’d like to listen to Houses. I Jerusalem, Jerusalem can handle it? think he does a stirring job on ‘Shamus’. Lift up your gates and sing Mary: Of course I can. Look! The nuns used to

THEATRE AUSTRALIA APRIL 1978 29 say that I had the makings of another Eileen Denny: Are you sure you’re all right? Is there Breda: He’s a man, Mary. A rather charming Joyce. Come, Father, I’ll give you an anything I can get you? one, I’ll give you that, but a man nevertheless. introduction. Mary: Christy can get me a Bex powder. And he’s ordinary in so far as he’s flesh and She seats herself at the piano. O'Gorman takes (Denny signifies to Christy who exits.) You’d blood the same as any man. He’s got the same up a 'tenor'position, arm resting on the top o f better go out with the rest of them. Go on. urges and desires of any man. the piano, facing Mary. He waits fo r Mary to Denny goes at Breda’s gesture. Breda pours Mary: A priest is above all that, Breda. Those find the music. It appears that she is going to herself a whisky and lights a cigarette. Enter things don’t worry him. That’s why I hope play. But as her fingers reach towards the Christy. Christy goes through with it. He won’t have to keyboard, she stares at the music completely Christy: There's no Bex. Dad must have worry about all that dirt and filth. All the frozen. O ’Gorman quietly bends down to her. finished them. You all right. Mum? Mum. . I'll trouble that it brings. O ’Gorman: All I need is the note, Mary. I can dress up in the soutane, if you want me to. Breda: No one can run away from life, Mary. sing without accompaniment. Mary (shaking her head): No, Christy. Not Mary: But you can run above life. A priest is Mary: No! No! I must accompany you. (She now. It's time you were getting ready for bed. above things. He’s a man of the spirit. Father peers at the score, trying to concentrate on the (sudden thought, brightening) Christy! You Thurlie’s values are spiritual values. music.) There! There! That’s it! Perfect! Grand! could dress up in your new pyjamas and dressing Breda: Come off it, Mary. He’s not the bloody I’m right now. gown and slippers! You can be ready to say Holy Ghost! O 'Gorman begins to sing, gazing at Mary. Miss goodnight to them when they come back. And Mary: Father O’Gorman has been my ideal of a Siss looks askance at him. Mary looks up Christy! Christy! Put your biretta on! priest ever since I first met him thirteen years rapturously at O'Gorman, who is pleased that Christy: Aw, Mum. ago. He’s everything a priest should be. It’s my she is now smiling. He sings to her. She tries to Mary: Yes! Your biretta! great hope that Christy takes after him. Father accompany him, but makes a hopeless mess o f Breda: Go on now, love. O'Gorman is every inch my idea of a priest. the music. O'Gorman, discomfited, tries gamely Breda beckons Christy away. Christy exits, Breda: You’re romanticising him, Mary. He’s to sing above the cacophony. Miss Siss thumps puzzled. just a priest; not a bloody film star. her walking stick on the floor, bringing the song Breda: He’s going to look a geek in his dressing Mary (intrigued): He’d look well in a film. Just to an end. gown and biretta, Mary. A real geek! like Nelson Eddy. Miss Siss: That will be enough! That will be Mary: He’ll look beautiful, Breda! Beautiful! Breda: Well, you’re no Jeannette McDonald, enough! My little priest! so stop kidding yourself. Mary: What do you mean — enough? Breda pours Mary a whisky and takes it to her. Mary: I never said I was. (suddenly) Miss Siss is Miss Siss: I think we've heard enough. Mary: I don’t want a drink, Breda. jealous, isn’t she? She’s jealous because Father Mary: But Father hasn't finished yet! He’s Breda: There’s no Bex: you might as well have Thurlie smiles at me more than at her. That’s singing beautifully! Beautifully! this. why she stopped him singing. That's it. She’s Miss Siss: I think we’ve heard enough, Mrs Mary gulps the whisky. Breda massages Mary. jealous! (laughing) The old bag! Fancy! At her O’Mahon. Mary: Thanks, Breda. I thought Father Thurlie age! Mary: He sounds just like John McCormack. was singing beautifully. And it was wonderful Mary: But I didn’t think ... Miss Siss: Father O’Gorman is no John accompanying him. The old bitch! “That will be Breda: No, Mary. It isn't apparent to you. But McCormack; and you're no Eileen Joyce. enough”. Who does she think she is? “You’re it is to others. And quite possibly Miss Piss may Mary: I never said I was. no John McCormack”. My God! What does she not have liked Thurlie’s singing of her song. He’s Miss Siss: I think it’s time we heard Houses expect in Mayfield West? Caruso? I know I'm no certainly no John McCormack. recite ‘Shamus O’Brien’. Eileen Joyce, I’m so out of practice. But Father Mary: Breda, how can you say that? He’s got a Mary: Not in here! Not in here! Over my dead Thurlie was singing beautifully. Whatever got glorious voice. body! into her to stop him singing? Breda: It’s a fair, passable voice, Mary. He Denny: Calm yourself, Mary. Where else can Breda: Are you sure you don’t know, Mary? might get on the Amateur Hour but no more. we hear Houses if not in here. Mary: I can’t for the life of me work out why. Mary: Breda! How can you say that? Mary: You can all go out on the front verandah Unless she just likes throwing her weight Breda: I’ve got ears on my head. and listen to the blessed thing out there. But not around. And in my house! My God! The Mary: And you’re sticking up for Miss Siss. I in here! woman’s got a hide. didn’t think you'd do that. Not after what she’s Miss Siss: The front verandah! That might be Breda: Mary, it’s Christy’s evening, not Father done to you. a good idea. It’ll be much cooler out there. It is a Thurlie’s. Breda: Mary, no one has more reason to dislike trifle warm in here. Mary: What do you mean, Breda? the woman than I have. But I’m trying to get Denny: Yes. That might be just the thing. Breda: You’re paying too much attention to you to see things as they are. I’m not sticking up Miss Siss: Well, let’s go. Come Houses! We’ll Thurlie O’Gorman. for her. She may have a point, although I don’t hear ‘Shamus O’Brien’ yet! Come, Father. I Mary: But he’s the only one with a good singing like the way she makes it. want to hear you sing The Lark in the Clear voice. No one else can sing. Certainly not in the Mary: She’s got a hide. Coming into my home Air’. same class as Father O'Gorman. and throwing her weight around as though she She walks out followed by Houses and Tocky. Breda: Mary, is it just his singing voice that owned the place. O ’Gorman hesitates, his loyalty with Mary, but attracts you? Breda: She’s used to it, Mary. She did the same eventually follows, only to return immediately Mary (confused): What do you mean, Breda? to me ten years ago. for the unopened bottle o f whisky. (some clarity) Breda, what are you saying? Mary: You ought to take her up on that, Breda. O ’Gorman: For the vocal chords. Breda: You know what I mean? Breda: I think I’m in trouble enough already. I Mary: He’s gone. She won. Mary: I do. I think I do know what you mean. smoked a cigarette. (Pause.) Will you have the Denny: M ary... Are you going to join us? But no, Breda. No! Father’s a priest. other half. Mary: No! Leave me alone! You can all get out! Breda: He’s also a man. Mary: (hesitant): No. No thanks. Denny: Mary, will you try and pull yourself Mary: Yes but not an ordinary man, Breda. Breda: Do you feel up to joining the mob together. There’s no need to be going on the way Breda: An ordinary man, Mary. An ordinary, outside? you’re doing. ordinary man. Mary: No, I’ll just sit here. Mary: Leave me alone, Denny. You go out Mary: You’re wrong Breda! Wrong! Wrong! Breda: I think you should. Denny would want with the rest of them. He’s a priest! it.

30 THEATRE AUSTRALIA APRIL 1978 Mary: All right. (Moves to go.) Will you come man when he married you, I didn’t think that he Breda: Don’t worry, Mary. Some men aren’t with me? would have the gall six months later to ask me to happy unless a woman’s twelve month’s Breda: Christ no! The excitement would kill be... pregnant with her first child. Just to be on the me. I’ll go out into the kitchen and be getting on Mary (interrupting): Seven months later! safe side. Then no one can say they tickled the with the dishes. Christy was premature. peter before marriage. It’s an awful dirty Mary: (at door): Thanks, Breda. Tocky: Premature! Premature! Rubbish! You business, sex is. There’s only two types of Breda leaves. Mary returns to the piano. Stays all say that! There’s no such thing! It’s just an women, aren’t there, Tocky? Virgins or whores. awhile, nervously determined to play. She then excuse. If you’re not one, then you’re the other. goes across and pours herself a whisky. She Mary: He was premature. He weighed only Tocky: I haven’t said anything like that. drinks it, showing little skill in the operation. She three pounds. Ask Denny. Breda: Women! We’re just a source of rturns to the piano and plays some notes Tocky: He was too ashamed to talk about it. temptation, aren’t we? Satan’s handmaidens! tentatively. Tocky enters. Mary is aware that he He knew why I refused to be Christy’s But I bet you’ve got a few secret little habits of is in the room and turns. godfather. All I said to him was: “The woman your own, haven’t you, Tocky? Tocky (almost menacing): Don’t let me disturb tempted you and you fell”. He couldn’t look me O’Gorman enters on this line, now showing you. I just came in for a drop of whisky. Father in the eye. He just turned away in shame. effects o f drink and holding depleted bottle. O’Gorman’s keeping the other bottle to himself. Mary: Did he ask you to be Christy’s godfather? O ’Gorman: Secret habits? Who’s got secret I suppose he’s trying to lubricate the vocal Tocky: Of course. Who else would he ask? habits? chords. He’s due to sing again in a few minutes. Mary: I told him not to ask you. And he did. Tocky: What do you mean? Houses has nearly finished ‘Shamus O’Brien’. Tocky: And I refused. Breda: Tocky. He plays with himself. And then Denny’s going to tell his little joke. It’s Mary: I said to Denny: “I don’t want that little Tocky: I don’t do anything of the sort. a wonderful little concert we’re having on the slug, Keating, to be godfather”. And off he goes Breda: I bet you masturbate. Of course you do. front verandah. No arguments. I haven’t and asks you and all he gets is a sermon. Well. Anyway, you can easily tell a man who enjoyed myself so much for such a long time. So that’s what’s got into you all these years. masturbates. Pity Father has to sing without music. Still, he’ll Tocky: Denny and me were good friends until Tocky (uneasily): Ah, get out with you. Drop manage. He did earlier. It’s a nice, cosy, comfy, you came along. And he was a good living man it. little concert we’re having. too. Breda: He grows little black hairs in the palm Mary: Get out! Mary: Oh my God! You’re twisted! of his left hand. Tocky: I see you’re having a private little Tocky: Watch what you say. You’re the last Tocky (quickly glancing at his left hand): I concert all by yourself. one to start giving off at other people. haven’t got any.. . Mary: Get out! Mary: Get out! I feel like vomiting on you. He realises he has been caught. Tocky: It’s getting to be a habit of yours telling Tocky: Lovely! Lovely! That’s a nice way for a O ’Gorman: Don’t let it worry you, Tocky old people to get out. lady to talk. cock. A few black hairs never hurt anyone. Mary: Leave me alone! Mary: Get out or you’ll hear worse in a Every cripple has to have his own way of Tocky: It’s a pity in a way that Father has to moment. walking. sing without any musical accompaniment. I Tocky: No doubt you could say worse too. Tocky: Look to yourself. suppose we could move the piano onto the front You’re just the type. I’ve always thought so. Mary (ignoring others, eagerly to O ’Gorman): verandah. But, then again, I don’t suppose you’d Mary: Get to buggery out of here! Are you enjoying yourself? let anyone touch your precious piano. Tocky: What did I tell you? You’d think butter O ’Gorman (turning slightly guiltily to Mary): I He deliberately puts his glass on top o f the wouldn’t melt in your mouth. But I know! I sang beautifully. Beautifully. A lovely Irish piano. know! I’ve got you summed up. tenor. . . I’m sorry. Tug-of-war. Pulled here, Mary: Get your glass off my piano or I’ll throw He deliberately puts his glass on the piano. pulled there. (Swayingslightly) Never get steady. it in your face! Mary: Get that glass off my piano! Get that Breda: The bottle won. Tocky (taking glass away): Easy now. Easy. glass off my piano! O ’Gorman: Every cripple has to have his . . Temper! Temper! Ah, you’re sure a high and She takes the glass o ff the piano. In the ensuing .(Looks up as he hears noises off.) mighty one. You do give yourself airs and struggle Mary spills drink over Tocky. Breda: Hello. It must be near News time. Here graces. Anyone would think you were a great Mary: Get your effing hands off me, you slimy comes the rest of the happy front-verandah concert pianist or something. You can’t play the bugger! crowd. piano! Father O’Gorman makes your fingers go They cease struggling. Complete silence. Both O ’Gorman (aside, as Miss Siss enters, the all fluttery, doesn’t he? bewildered. others trooping behind): Old Miss Barley Water Mary: Would you please go? You’re making me Tocky: What did you say? herself! sick. Mary: You heard. Miss Siss: We’ve had a very interesting little Tocky (sneering): Your piano! You know, Tocky: You’re nothing but a foul-mouthed concert on the front verandah. earlier tonight, Denny came begging to me for slut! You deserve to be beaten! You’re a dirty Breda (aside): We’ve had a pretty interesting $5 to help with Christy. I told him his worries trollop. little one here too. would come to an end if he sold his piano. Breda (entering): What’s going on? Mary? Miss Siss: You should have stayed, Tocky. Mary: It’s not his to sell. Mary: I told him to get his effing hands off me. Tocky: I had to come in. The smoke and the Tocky: That’s what he said and I told him he Tocky: She threw drink all over me and then soot from the steelworks was interfering with was a fool. tried to hit me with the glass. my tubes. Mary: It’s my piano. Mary: You bloody liar! It was an accident. He’s Miss Siss: You missed Father singing ‘The Tocky: I suppose selling it wouldn’t do any been at me all night. You’re a queer bastard, Lark in the Clear Air’. He sang it beautifully. good. It would be wasted on Christy. Keating. Mrs O’Mahon, I’m sure you would have liked Mary: Wht do you mean? Breda: You can say that again. Houses’ rendition of ‘Shamus O'Brien’. And Tocky: I don’t think he’ll make it. Tocky: It’s a wonder she’s got the hide to front your husband told his joke about the murderer Mary: Why? the altar rails of a Sunday. With a mouth like going to confession with great dash. And he Tocky: Because he’s got you for a mother! hers. And the holy host resting on a tongue like added a very interesting touch to it tonight. Only Mary: What’s wrong with me? hers. Me Inside! I thought that was very funny. The Tocky: When I stood next to Denny as his best Mary: He won’t believe Christy was premature. joke improves with the telling. Wonderful

THEATRE AUSTRALIA APRIL 1978 31 evening. Houses: He’s a fine young fellow. You should Mannix replied: “He’ll probably be called Pope Mary: I’m pleased you enjoyed yourselves. be proud of him Denny. Baloney the First”. Denny: Are you feeling better now, Mary? Denny: I am that! I am! We both are! Miss Siss: All jokes aside. Archbiship Gilroy (She nods.) Where’s Christy? Miss Siss: He looks like a little priest already. stands a very good chance. Such a smile and Mary: He’s getting ready for bed. He’s going to Houses: Come here to your grandfather, such a lovely speaking voice. come out in his dressing gown. Christy. What’s this thing he’s wearing? Tocky: An Australian! Pope! Australia’s Denny: That’ll be lovely Mary! Lovely! Denny: It’s a dressing gown. nothing in the Church! It’s just a backwater! Mary: I’ll go out and get him. Houses: I thought you only wore those things Why, it hasn’t even got a saint of its own. It has Mary goes. O’Gorman hums O Little Town of when you went to hospital! to import its saints. Mayfield West’. Miss Siss: He does look smart. The dressing Mary: Hasn’t the cause of Mother Mary Denny: You all right, Tocky? gown looks like a vestment. It’s like a chasuble McKillop been taken to Rome? Tocky: I’m all right. or dalmatic. Miss Siss: I believe it is going to be. But I've O ’Gorman: Tocky’s been in the wars. Houses: It does too. He could almost say Mass heard of another nun who may beat Mother Houses: You’ll be soon knowing what the war this very minute. Mary McKillop. I’ve heard a strong rumour that holds for you, Tocky. The News should be on Miss Siss: He’s just like a little priest. there's a nun somewhere in Australia who’s got shortly. You never know, Tocky: you could be O ’Gorman (drunken slur): Just like a little the stigmata. It’s been kept very hush-hush for in line for a slouch hat. priest! the moment. Won’t it be wonderful for Australia Tocky: Oh my God! That would be the last Miss Siss: Cardinal Moran must have looked to have its own Theresa Neumann. thing I’d want. The Australian Army! Huh! exactly the same a hundred years ago. Houses: What are they keeping it quiet for? Houses: What’s wrong with the Australian Denny: He might end up like Moran. O ’Gorman: Bloody nuns. They’re all stupid. Army? Miss Siss: Romanitas! Romanitas! Let’s hope They get chilblains on their hands and they Tocky: It’s full of Australians. he goes to Rome. think they’ve got the stigmata. Nuns are bloody Houses: And what’s wrong with Australians? O ’Gorman (singing): Be it ever so humbug, keystones, as Houses would say. I’m an Australian! there’s no place like Rome. Houses: I wouldn’t call a nun a keystone. But Tocky: You’d never think so to hear the way Miss Siss (to Houses): I think Father’s had at the same time I don’t think Australia’s first you goon. more than enough. saint should be a woman. Houses: Well, I’m Irish-Australian. The finest O ’Gorman (singing): Breda: Why not? type there is. What’s wrong with us? Full in the panting heart of Rome, Houses: It wouldn't be fitting. Australia’s a Tocky: I can’t abide Australians. They’re Beneath the Apostle’s crowning dome... man's country and Australia’s first saint should arrogant. Full of their own importance. A fellow Sorry! Sorry! It’s a hymn. be a man. And we’ve got the right fellow here. A pulled me up the other day walking through the Miss Siss: Father’s got the Irish failing. boy born and bred in this district whose cause Open Hearth and he asked me with a sneer if I Houses: Thank God drunkenness is not a sin. for canonisation should have been taken to was a Pommy. I told him I was Irish. “That’s all Miss Siss: But it can be embarrassing. And it’s Rome ten years ago. right”, he said. “We don’t mind you Irish! It’s not the best example in front of Christy. Miss Siss: Who’s that, Houses? the Pommies we can’t stand”. Houses: It won’t affect Christy. Christy! We’ll Houses: Les Darcy! Houses: What’s wrong with that? I can’t stand see you crowned in Rome. You'll go one better All (general incredulity, with exception o f Pommies myself. than Moran. You’ll end up Australia’s first Tocky) Les Darcy! Tocky: Talk about arrogance! “We” don’t Pope. Houses: Yes, Les Darcy. It’s not as silly as it mind you Irish! My God! Who did he think he Tocky: They haven’t made an Irishman Pope seems. Darcy led a saintly life. Father Coady was? yet. What chance has an Australian got? over at Merewether will testify to the sanctity Houses: There’s no one more arrogant than Miss Siss: It’s not beyond the bounds of and purity of Darcy’s life. It wasn’t all just mass your Pommy. The greatest, snootiest snobs you possibility. This new young Archbishop of and communion with him. ever met. Have you heard the story of the Sydney. . . Gilroy. Well he could very likely Miss Siss: I believe you’re right, Houses. Les English lord who spoke down to Joe Lyons. Joe become next Pope. Darcy did live a saintly life. He never looked at a Lyons, the greatest prime minister this country’s Tocky: Gilroy’s not even a cardinal. Mannix woman. ever had, was over in London some years ago for will be Australia’s next cardinal. What chance Mary: He did have a girl: Winnie O’Sullivan. some Empire conference. And this pompous, has Gilroy got of being Pope? poofter Pommy lord, who hadn’t bothered to do Miss Siss: I’m sure he'll be made a cardinal Myra Noblet (Cecilia McManus), Michael his homework, said to Joe Lyons (imitating a and then the prophecy of Nostradamus will have Madigan (Christy O’Mahon), Brian James fruity English voice): “I say, Lyons, old chap! to be taken into account. (“Houses” O’Halloran) and Leslie Dayman (Denny O’Mahon). Are there many Catholics in Orstralya?” Joe Tocky: Nostra what? said: “Yair. A few. A few”. “Well watch them Miss Siss: Nostradamus. He’s prophesied that Photographer: David Wilson Lyons, old chap. Watch them! They breed like the next Pope will be “pastor et nauta”. That’s rabbits!” And Joe Lyons was a tike: the father of Latin for “shepherd and sailor”. Now Gilroy’s ten kids! an excellent shepherd and coming from a Miss Siss: He used to call his family the country that’s full of sheep, the ‘shepherd’ is Australian First Eleven! Joe Lyons was a great doubly significant. But what really clinches man. He’d be alive today only Bob Menzies everything in his favour is the ‘sailor’ bit. There stabbed him in the back! wouldn’t be too many sailors in the Sacred O ’Gorman: Pig Iron Bob. College of Cardinals. Now Gilroy has been a Christy appears with Mary, dressed in red sailor. He was in the Royal Australian Navy. He dressing gown, green pyjamas and black slippers. fought at Gallipoli! The whole ensemble is most incongruously set Tocky: I suppose he’ll call himself Pope o ff by a biretta on his head. Exclamations o f Gallipoli the First. surprise and admiration when Christy appears. Houses: That reminds me of a funny story Denny: He looks wonderful, Mary! about Mannix. Somebody told him that the next Miss Siss: My word he does look smart. Pope would be an American for sure and

32 THEATRE AUSTRALIA APRIL 1978 Miss Siss: He treated Winnie like a nun. He outskirts of Singapore are fighting with Steelworks, September 1953. never looked at a woman with lust in his eyes. incredible contempt for death.” Miss Siss: He always thought he would Tocky: Who is this fellow, Darcy? Bells now begin to ring. The bells keep tolling outlive me. He hoped I would leave him a little Houses: You’ll never make an Australian, throughout the death scenes until the something in my will. “He who makes a spinster Tocky. resumption o f the News. laugh”. Hah! It was me who had the last laugh. Miss Siss: He was an Irish boy. Miss Siss: Death! I outlived them all! Four I Denny was killed in the Ferro-Alloy Mill of the Houses: Poisoned by the Yanks. outlived physically, one mentally and one BHP. He was tapping a chrome furnace when he Miss Siss: Born in Maitland, New South spiritually. was showered with molten chrome and Wales; martyred in Memphis, Tennessee. She walks to the left side o f the apron, in line incinerated. O ’Gorman: Rubbish! He was crucified by his with and opposite Christy. Chrome is a cranky metal. It shot out all over own countrymen. Crucified. Christy: The death of Thomas Oliver Keating: him in a great, gushing spurt. When they came Tocky: But what was he? What did he do? New Guinea, December 1942. to bury him there was more chrome in the coffin Houses: He was a prize fighter. The greatest Tocky moves to the apron o f the stage, next to than on it. Poor fellow! He didn’t have much to ever. He would have been world champion, only Miss Siss. live for. the Yanks poisoned him. Miss Siss: On the seventh of June 1942, Denny who has come to the apron, kneels. Miss Tocky: A prize fighter! A boxer! You don't Japanese submarines shelled the city of Siss pinches his cheek. seriously say he should be canonised? Newcastle. Tocky, true to the solemn vow Christy: The ‘death’ by mental burning of my Miss Siss: He never looked at a woman. which he had made in the O’Mahon home on mother, Mary O’Mahon: Morriset, September Breda (striking classic Darcy boxing pose): the night of the thirteenth of February 1942, 1953. Should make an interesting statue next to some joined the Australian Army. He was posted to Miss Siss: At Denny’s death poor Mary went high altar. Boxing shorts and all. New Guinea. mad and had to be locked away. The good nuns Tocky: A boxer. Patron saint of Australia. Tocky did not fall in battle. He died from in the Catholic Hospice did the best they could That’s the limit. dysentery. (Tocky stiffly begins to kneel.) But he wilh her. But the poor thing was well gone. She Houses: Well, at least he’s a native-born led a clean, wholesome life and we may be sure had always lacked stability. It’s a pity she ever Australian. More than can be said for that he died in the colour of sanctity. saw herself as the mother of a priest. If God French Carmelite nun over there on the wall: St Miss Siss pinches the cheek o f the now kneeling gives vocations to priests. He also gives Therese of Lisieux — the little Flower of Jesus. Tocky. vocations to the mothers of priests. And poor, Miss Siss: Darcy was the flower of the Hunter Christy: The death by drowning of Breda silly Mary was never truly called, except to the Valley. Mulcahy: Stockton Beach, January 1948. madhouse. Houses: He was the flower of Australian Breda moves to the apron and stands next to Mary (walking towards the apron, searching for manhood. And not quite twenty-one when he Tocky. her syllogism): God the Father... God the Son.. died. Ah, I’ll never forget his funeral: the biggest Miss Siss: Breda Mulcahy was drowned on a (shrieking her moment o f illumination) Then the district’s ever seen. Sunday morning at Stockton. She had not been God the Holy Ghost must be a woman. God Miss Siss: Ah, it was the grandest I ever to Mass that morning. She was carried out to sea The Father! God the Son! (yelling) Then God attended. I’ll never forget seeing his embalmed with her lover, both of whom were swimming in the Holy Ghost is a woman! God the Holy body lying in the shop window in East Maitland, the nude. His swollen body was washed up on the Ghost is a woman! dressed in the habit of a Carmelite monk. beach some days later. Hers was never found. (She reaches the apron, next to Denny) (Slowly, sibilant, making cheek-pinching motion Mary: Breda came no more to land. I want to have a baby! I want to have a special in the air) His cheek felt so cold. So very cold. Miss Siss: Damned! Damned! Damned! baby. I want to have the baby Jesus! God the The Com. Steel whistle blows. Cries o f “The O ’Gorman: Twixt the stirrup and the ground. Holy Ghost is a woman, is a woman, is a News” etc. Denny turns the volume up. The Twixt the stirrup and the ground. woman, a woman, a woman, a woman... signature tune for the ABC News for the period Miss Siss: Damned! Damned! Damned! Mary refuses the pinch on the cheek. She is heard — ‘Advance Australia Fair’ —followed O ’Gorman: 'Twixt the stirrup and the ground. remains standing. by the voice o f the newsreader. Twixt the stirrup and the ground. Christy: The death by cardiac arrest of my Newsreader: Here is the National News Mary: Farewell Breda! Farewell, most lovely of grandfather, Vincent de Paul O’Halloran: from the ABC read by Heath Burdock. Irishwomen, most generous-hearted, most Newcastle, March 1970. The situation in Singapore tonight appears beautiful of humans. Breda! Star of the Sea! Houses moves to the apron. Miss Siss, now both grim and confused. The BBC says: Miss Siss pinches the cheek o f the kneeling visibly aging in gait and voice, approaches him. “Without thought for their own lives Allied Breda. Miss Siss: Houses was eighty-three years of troops are still trying desperately to stem the Christy: The ‘death’ by spiritual drowning of age when he died in March 1970. He died from a burning tide that threatens to submerge the Thurlogh John O’Gorman: Newcastle, June heart attack in the saloon bar of a certain island. The war is now on the outskirts of this 1949. Newcastle Hotel after being told a ribald shaken bastion of the Empire. The cruel, uneven O ’Gorman walks to the apron o f the stage and story. He died laughing. He died laughing fight goes on. But there is no talk of surrender”. stands next to Breda. without the benefits of the sacraments. A t this point Christy rises and very formally and Miss Siss: His was the worst death of all Houses kneels. Miss Siss bestows the pinch on slowly, with biretta on head, walks to the right because he suffered eternal damnation. He was the cheek. side o f the darkened apron o f the stage and takes spiritually drowned. Better a millstone had been Christy: The death of Cecilia Claire McManus up a position facing left. tied around his neck and he had been cast into of natural causes: Newcastle, December 1970. Newsreader: Tokyo Radio reports that the depths of the sea. He committed an act of Miss Siss totters to her place in the line, next to Australian troops are fiercely resisting around impurity with a Child of Mary. Houses. She kneels with great difficulty. the reservoirs near Pasor Panjang, about seven O ’Gorman remains standing. He refuses the Christy: Miss Siss died nine months after my miles from the centre of Singapore. pinch on the cheek. grandfather. She was ninety-nine years of age. Rome Radio reports that casualties are heavy. Miss Siss: Damned! Doubly damned! Better She left all her money to the Passionist Fathers (Miss Siss rises.) “Every inch of the northern they had both been drowned in the depths of the at the Shrine of Perpetual Adoration in Chicago, part of the city is being disputed,” the report sea. for masses to be said for her soul for the next says. “It is simply hell on earth. The British, Christy: The death by burning of my father, three hundred and fifty years. She left it to the Australian, Chinese and Indian troops on the Dennis Patrick O’Mahon: Newcastle Americans because they gave her the best value

THEATRE AUSTRALIA APRIL 1978 33 for her money. concentration of forces. You have to make a pretty, I first set my eyes on sweet Breda The seven dead (who have been silently stand somewhere. Mulcahy. Breda! Breda! telling their beads, become more audible): Have Breda: Christ, you change your tune. Breda: Thurlie darling, you’re getting pissed. mercy upon us, now and at the hour of our Miss Siss: Could you moderate your O ’Gorman: Breda! I have something serious death. (Ad lib and not in unison.) language, Miss Mulcahy. You just took the holy to say to you. I want to hear your Confession. Fade to brown-out and the continuation o f the name in vain, to say nothing of the rude word Breda: Gawd! You are pissed! News. you used a moment ago. O ’Gorman: You must let me hear your All back in places as formerly, lights up. Breda: Bullshit! I'll moderate my language confession. Newsreader: However at 2 a.m. today a when Houses moderates his one-eyed views. Breda (laughing): I’d keep you up all night, I dramatic message was heard coming from the Houses: Well all I'm saying, come to think of have so many sins to confess. garrison on Singapore over Singapore Radio it, is that the southern halFs more important O ’Gorman: I’d gladly stay up all night for you, after its transmitter had been silent for twenty- than the top half. There’s only a lot of Abos Breda. four hours. It said: “We are not only going to running around up there. It’s the east coast Breda: I bet you would stay up too — all night. fight — we are going to win. We shall emerge that’s important. Newcastle, for instance. Thurlie, can I tell you a secret? from the struggle”. Tocky: Newcastle! Newcastle’s a dump. O ’Gorman: Do, Breda. Do. Pause. Houses: Newcastle might be a dump, Tocky, Breda: Thurlie, I’ve never slept with a priest. Meanwhile, it was announced in Canberra this but it’s an important dump. As far as this war’s O ’Gorman: Breda, it’s not your body I’m evening that the federal government had concerned, Newcastle’s strategically a prime interested in. It’s your soul. assumed total powers under the National target. Look at all the heavy industries: Rylands, Breda: Is there any difference in a woman’s Security Act to place any part of Australia under Lysaghts, the Com. Steel, the state dockyard, the body and her soul? martial law in the event of an emergency. BHP itself. They could all go. O ’Gorman: I’d hate you to be switched into Mr Forde, the Minister for the Army, said Miss Siss: The BHP? What would happen to eternity without the benefit of the sacrament. that martial law would apply immediately to any my shares, Houses? Breda: Thurlie, if you ever hear of me being part of Australia invaded by the enemy. Houses: They’ll be worthless. You can paper switched into eternity, think of the old saying: Houses (jumping up and turning wireless off): your dunny with them. ‘Twixt the stirrup and the ground, she My God! Did you hear that? “Martial law”! “If Miss Siss: Sweet Jesus! I think you should redemption sought and found’. any part of Australia is invaded”. That doesn’t join up, Tocky. O ’Gorman: ‘Twixt the stirrup and the sound too good. Houses: We might all have to join up. Martial- ground...’ It doesn’t give you much time, Breda. Miss Siss: Are we going to be invaded? bloody-law! Breda: It’s an eternity of time. It’s all I’ll need. Houses: Well, they’re talking about it. Miss Siss: Nothing would happen to you, (They gaze at each other in amicable unison.) “Martial law”. Tocky, you mightn’t be the only Tocky. Sure you’d be wearing Our Lady’s Watch the whisky, Thurlie. one conscripted. We might all end up with a rifle scapulars and I would give you a St Christopher O ’Gorman: I’m celebrating my coming of age. in our hands. medal and a medal of Our Lady Help of They say a Catholic priest should never touch Tocky: Ah. They’re making a big mouthful Christians. whisky until he’s forty. I’ve just turned forty. about nothing. You heard. “Singapore hasn’t O’Gorman: And I’ll give you a medal of St Breda: Well, watch it. It’s a bad age for a man. fallen”. Jude: the patron saint of the Impossible. Thunderclap which wakens Christy. Miss Siss: That’s right, Houses. Singapore Tocky: The hope of the hopeless. You’re both Denny: I think it’s going to rain. (He exits.) hasn’t fallen. You heard what they said: “We are very generous. I’ll be wearing more medals going Breda crosses to Christy. not only going to fight, we are going to win. We into battle than most soldiers have coming out. Christy: Hello, Breda. shall emerge from the struggle”. Denny: It’s not a bad life, the army. No Breda: Hello, Christy love. Here. I said I had Houses: That sounds like bloody Churchill. worries. something for you. Don’t let Tocky see it. He’ll (Imitating Churchill) “We are not only going to Tocky: Not you too, Denny. have a heart attack. fight — on the beaches — but we are going to Miss Siss: It’s a great calling. A wonderful She hands Christy a pair o f rosary beads. win” Blah. Blah. Blah. All talk. Singapore’s as vocation. Christy: Rosary beads! Thanks, Breda! I didn’t good as gone. Houses: It will be like going on a crusade. think... Miss Siss: Things are serious then, Houses? Tocky: Will you let me live my own life. In my Breda: I know. You needn’t say anything. (She Houses: Dead serious, Miss Siss. Desperate. own way. O.K. O.K.! If Newcastle ever gets Singapore’s as good as down the drain. And attacked I’ll consider joining up. But it will be we’re next on the list. We’re on our Pat Malone. my decision and no one else’s. Kevin Miles as Father O’Gorman in Britain’s no help. A Happy and Holy Occasion by Houses: That’s a promise? John O’Donoghue. Breda: Hasn’t John Curtin asked the Ameri­ Tocky: You can take it as a vow. But I don’t Photographer: David Wilson cans for help? think I’ll ever be called on to honour it. Houses: Curtin! Curtin’s a keystone. He was Miss Siss: God bless you, Tocky. If need be, probably drunk when he got in touch with the I’ll light a candle for you every day. Yanks. Breda: Our Lady’s little Digger! O ’Gorman: John Curtin hasn’t touched a drop Tocky: Stop pestering me. Leave me be. in years. Here’s to John Curtin — a great Pause. Australian. Miss Siss (getting up): Well. That’s been Houses: Great Australian, all right. It was brought to a satisfactory conclusion. (Coyly to Curtin and his mob who thought up the Mary) Oh. . .Mrs O’Mahon. . .Could you. Brisbane Line. What a keystone of an idea. Give show me the rest of the house? half Australia away without putting up a fight. She departs with Mary. Breda: Bullshit, Houses. Curtin and the Labor O ’Gorman: She’s gone to light a candle for Party had nothing to do with the Brisbane Line. you, Tocky. It was your mob who thought that one up, Houses laughs, yawns and nods o ff Houses. O ’Gorman (advancing drunkenly on Breda): Houses: Well, I suppose it does allow for In Newcastle’s fair city, where the girls are so

34 THEATRE AUSTRALIA APRIL 1978 smiles.) You didn’t expect that, did you? United National Tory Socialists. woman! Barmaid at the Bottom Pub in Christy: No, I didn’t. Houses (intrigued): Catholic United National Waratah. How low can a Catholic woman sink! Breda: You'll have to get them blessed. Tory Socialists! That’s a mouthful! How do the Mr O’Mahon! I’m disappointed! I thought this Christy: I’ll get Father Thurlie to bless them. initials go? C — U — N — was to be a happy and holy occasion! It has Breda: You'd better not. I don’t think Thurlie Miss Siss (shrieking): Don’t say it, Houses! turned into a farce! You and your wife are can tell one hand from the other. Don’t say it. She’s trying to put it in your mouth. deluding yourselves. This does not augur well Christy: They’re beautiful beads. They’re real Houses (realizing the acronym): Oh my God! for the future! I think you know what I mean. I strong. Thanks, Miss Siss. frankly don’t think you are fit parents for a Breda: They’re Irish horn. (She laughs.) Irish Miss Siss: Christopher O’Mahon go to bed! priest. I’m afraid I must leave. Mrs O’Mahon, horn! (She sees Christy blush and realises that he Poor boy, you’ve heard enough for one night. my bag and missal. sees the play on words.) Ah. Little boy knows Go! Go! Denny: I’m sure Breda doesn’t bear you any more than his prayers. Irish born. Ah, wicked Christy: Goodnight. grudge, Miss Siss. Breda has made him blush. (He begins to laugh.) Christy departs. Miss Siss advances on a Miss Siss: It’s not a point about her bearing Ah, that’s better. Ah, my little boy. My innocent laughing Breda. me a grudge. I’m the one from whom little boy. I spend all my life figuring ways to Breda: I’m sorry. I didn’t think you had one. forgiveness is required. But I am not a vindictive stop having babies but I’d love you for my son. Miss Siss: Your mouth needs washing with woman. (To Breda.) I shall go over to the Denny enters from the verandah. Lysol. You need a scrubbing brush and sandsoap monastery in the morning. Thank you, Mrs Denny: Breda, I think it’s time we all said to your tongue. O’Mahon. I shall light a candle for you, Mrs goodnight to Christy. He’s got a big day ahead of Mary enters. Casey. him. Denny: I’m sure Breda didn’t mean anything, Breda: You know what you can do with your Christy: Thanks, Breda. Thanks for Miss Siss. I’m sure it just slipped out. bloody candle. everything: the pound note and.. .the Irish horn. Miss Siss: Just slipped out! I’d hate to hear Miss Siss: That’s it. I shall hear no more. . .rosary beads. what she’d say when she’s really trying. Mr Good evening! Mr and Mrs O’Mahon 1 think Houses: Let’s drink a night-cap to Christy. O'Mahon, I’m surprised that you’ve invited a you should reconsider your aspirations with And let’s talk politics also. woman like this one to your home tonight. Just regard to your eldest son. The signs are not O ’Gorman: Politics! What are you on about who is she? auspicious! Mark my words! Goodnight to you man? Denny: Breda’s an old friend of the family. all! Houses: If he’s old enough to begin his Miss Siss: How come you have a friend like She leaves. studies for the priesthood, he’s old enough to her? I really don’t think she goes to Mass. Am I Denny: Saints in heaven. It couldn’t have been begin his study of politics. right? You’re a bad Catholic, aren’t you? worse. O ’Gorman: For God’s sake, let the lad be. Let Breda: You’re right. I haven’t darkened a Houses: There goes your $500. You can kiss him off to bed. church door in years. that goodbye. Houses: We haven’t drunk to him yet. Denny: Breda! O ’Gorman: You were grand, Breda. Grand. Miss Siss returns. Breda: The last time I attended Mass was a Denny: I wish you hadn’t been so forthright, Breda: Let Christy go! Drink to him? certain Sunday in 1932. It was in the height of Breda. For Christy’s sake. Denny: Breda, Miss Siss has returned. I think the Depression. The Easter Dues were being Breda: Denny, you’ve got your picture of we should all farewell Christy with a drink and a read out. Remember! Most of the people in that Cardinal Moran. That’s all Christy’s going to prayer. congregation found it hard to scrape together get. You’ve lost nothing. Breda (to Christy): Go on, love. Help your dad five shillings to give as their donation. You gave Denny: You certainly waded into her. with the drinks. twenty guineas! Even the poor old statues got a Breda: She wasn’t too backward on the way Houses: I only wanted to whisper in his ear: to shock. And you were up the front, preening out herself. put him right politics-wise. We need the clergy yourself like a great pharisee! It starts to rain. to set an example in politics. It should worry Miss Siss: Pharisee! What are you talking Denny: I wish she hadn’t said that. you, Father, the way things are going. Scullin about? I’ve always given generously to the Mary: Yes! It was a curse! About the future. dead: a great Catholic. Lyons is dead. And he Church. I love the Catholic Church. For Christy. The signs are not auspicious. The had to cross the floor of the House. What have Breda: You are the Church! You love yourself, signs do not augur well for the future. The signs! we got in the Labor Party? Curtin? you dried-out withered old harridan. The signs! Miss Siss: Hasn't darkened a church door in Denny: Breda! O ’Gorman: Come, Mary, come! Let me show years. Miss Siss: Mr O’Mahon, I did not come here you an auspicious sign. Give me your hand, Houses: Chifley? to be insulted. Mary. You can always tell the hand of a priest’s Miss Siss: The same. Hasn’t darkened a Breda: The day after you had given so mother. That’s right! Look. See here. You have church door in years. magnanimously to the Church you evicted me the letters I H S in the palm of your left hand. Houses: Both bad Catholics. No wonder the from my home in Crebert Street. They say that the mother of every priest has Labor Party is riddled with left-wing elements. Denny: Breda! Breda! It’s all past. those letters. It’s an infallible sign. They stand Socialists and communists! What Australia Breda: Do you remember a Mrs Breda Casey? for ‘Iesus Hominum Salvator’ — ‘Jesus Saviour needs is a party of principles, a true Labor Party. Miss Siss: Breda Casey! So that’s who you of Men’. O ’Gorman: What are you going to call your are! Now 1 remember. You were behind in your Mary: You’re right! You’re right! I have the Party: the RWRC’s — Right-Wing Roman rent. sign! I have the mark. I have the letters I H S. Catholics. Breda: Only six bloody weeks. Breda: Oh, sweet Jesus! What are you up to, Houses: There’s no sense in bringing religion Miss Siss: And where’s your husband? Thurlie? openly into politics. We could call it the TLP: Breda: God knows. He went looking for work O ’Gorman (Hand fondling): Yes. Yes. You the True Labor Party. That sounds good: TLP. soon after and hasn’t come back. I divorced him have the mark! You have the mark! The same as Miss Siss: Why don’t you call it the People’s four years ago. my mother! Better in fact. The letters are Labor Party? Miss Siss: You’re divorced! clearer, better formed, more clearly etched. Houses: PLP? Yes. That would go. I suppose Breda: Yep. And I don’t work at Scotts. I’m a Better than my mother. My mother cheated! She you can get a lot of combinations. barmaid at the Bottom Pub in Waratah. gouged the ‘S’ out with a razor blade! She Breda: Why don’t you call it the Catholic Miss Siss: Oh, sweet Jesus! A divorced cheated!

THEATRE AUSTRALIA APRIL 1978 35 Mary (now almost trance-like, her hand still Mary: He’s a Priest! A Priest! He’s above all brew. held by O'Gorman): But I have another sign too. that! Tocky: She deserved it! Remember when I was carrying Christy and you Denny: He’s a randy farmer’s son. I H S! Denny: I suppose she did. paid a family visitation? I was playing the piano You’ve no more got those letters on your hand T oc ky: You’re not angry with me are you? and you were sitting here on the lounge. And than you’ve got them on your arse. Denny: No, Tocky. No. I’m not angry with Christy jumped in my womb. And when I lay on Mary: I have the letters! I have the sign! you. the lounge you blessed Christy in my womb; you Denny (grabbing her hand and scrutinising the Tocky: She deserved it. Say she deserved it. made the sign of the cross on my bare flesh. I felt palm): The only letter you have is the letter ‘M’. Denny: She deserved it. the power of the Holy Ghost entering me. I ‘M’for moll. Tocky: Thanks, Denny. Thanks. Here. Here. knew then that I was carrying a son and that he Mary: No! Mother! Mary! Here's what you've been after all night. would be a priest. Denny: O my sweet Jesus, what have you Denny: Five pounds Tocky! Five pounds! O ’Gorman’s hand is dropped. Mary begins to done? You’ve brought filth and dirt into this That’s wonderful! I knew you wouldn’t let me chant from the Proper o f the Mass for the house. You destroy everything for me. Look! down. You’re a grand little scout! Annunciation, part o f the Reading from Isaih I’m only a common labourer — a pitman in a Tocky: Things will be the same? the Prophet. furnace and I’ll be that till the day I die. But I Denny: Thanks a lot, Tocky. Things will be the Mary: Hear ye, therefore, O House of David: didn’t want that for my boy. I want something same. The Lord Himself shall give you a sign. Behold a better. And you drag him down! Tocky: Denny! I can’t taste the kerosine. virgin shall conceive and bear a son, and his Tocky: And six months from the altar. Have Denny: I told you the taste would go away. name shall be called Emmanuel. He shall eat you forgotten that? Tocky: I can’t taste the kerosine. butter and honey, that he may know to refuse Mary: You keep out of this, you slimy bugger! Denny: It’s raining hard. the evil, and to choose the good. Denny: You destroy everything for me! Just Tocky: Forget the rain. Forget the rain. It’s (Yelling) To hell with Miss Siss. To hell with her listen to the way you speak! How can Christy be nice and cosy in here. curse! I have my signs! I have my signs! And a pure priest with a mother like you? Denny: Nice and cosy. they shall not be taken from me! And they shall Mary: What have I done? All I wanted was a Tocky: No women to disturb us. not be taken from me! blessing on my unborn babe. Nothing else. Denny: No women to disturb us. All stare at Mary. Houses goes across and pulls Tocky: You did! You wanted more! Tocky: Singapore won’t fall, will it Denny? O ’Gorman to the door. Mary: I swear before God all I wanted was a Denny: No, Tocky. Singapore won’t fall. Houses: Come on, Father. Let’s go. You've consecrated hand on my belly! Tocky: I won’t have to go away and fight. done enough damage for one night. Denny rips a long, loping fist low and deep into Denny: You won’t have to go away and fight. O ’Gorman: Benedictio te omnipotentis, Patris her abdomen. Mary falls to her knees groaning. Tocky: Singapore won’t fall. (He falls against et Filii et Spiritu Sanctis. Denny backs off. the piano and slides to the floor where he lies He is jostled out o f the door by Houses. Mary Denny: There’s a blessing on your belly. (He prone. Bloody piano. does not see them go. Breda gets up and goes gulps a whisky.) Denny: Are you all right, Tocky? across to Mary. Tocky: Get up! Get up! You're only Tocky: I'm all right, Denny. Let me be. I just Breda (gently shaking Mary): Mary! Mary! shamming! Get up! You haven’t had all that's want to rest. Singapore won't fall. Mary (coming out o f trance): What is it, Breda? coming to you. Get up! Denny: Rest, Tocky, rest. I'll lie down here on Breda (leading Mary to chair): Sit down, Mary. He roughly pulls Mary to her feet. Mary pushes the sofa. (He turns the light off.) Goodnight, Just relax a moment. I’m going to make you a him off. Tocky. Pleasant dreams. (No answer from glass of warm milk. And then I’ll put you to bed. Mary: Get your fucking hands off me! Tocky.) The little sod’s gone to sleep. All right? Tocky: What did you say? Denny falls asleep on the sofa. Noise o f heavy Mary: All right, Breda. Mary: You heard me. rain. Christy, in crumpled pyjamas enters. Long Breda goes. Long pause. Tocky: I did too. Take that. pause. He stands surveying the scene. Then Breda Denny: Why did you let O’Gorman touch you? Tocky coldly and methodically proceeds to belt joins him. Why did you let him bless you on your naked her. She falls to the floor. Tocky, breathing Christy: What’s happened Breda? What’s belly? heavily, moves away from her. Mary cries out. wrong? Mary: I wanted a proper blessing. I wanted him Breda enters with a glass o f milk. to get as close to my unborn child as possible. Breda: Mary? What happened? Denny: And you took your clothes off? Tocky: She’s all right. Mary: No! No! I simply lifted my dress and Mary: He hit me. Barbara West (Mary O’Mahon) and lowered my bloomers — just enough to let him Breda: What? Leslie Dayman (Denny O’Mahon). bestow a large blessing on my baby — a large Mary: He belted me. Photographer: David Wilson sign of the cross. Tocky: She deserved it. Denny: How could you let a man do that to Breda: Denny? (Denny looks away. Breda you? turns to Tocky.) Did you enjoy it, Tocky? Did Mary: A man? He’s not a man! He’s a priest! it give you a great thrill? Better than an old- Denny: He’s a man, and a randy one at that! fashion naughty. You’re still a virgin. He had no right to touch you. Tocky: She deserved it. Mary: No right to touch me! What are you Breda: You shit! You twisted. . .Come, love, talking about? If a doctor can touch me when I’ll take you to bed. I don’t understand you, I’m pregnant, why can’t a priest? Denny. Denny: You stupid, blind woman! What gets Denny: I lost control of myself. I’m sorry. into you? Priests don’t go round touching up Breda: I just don't understand you. I’ll look women, pregnant or not. What is there between after you, Mary. I'll stay the night. You two can you and O’Gorman? What’s been going on all stay out here. You deserve each other. night? You’ve been mooning away at him as Breda leads Mary out. though he’s Errol Flynn. You want his shoes Tocky: Let me have another whisky. under your bed, don’t you? Denny: Finished. Here, have some of my home

36 THEATRE AUSTRALIA APRIL 1978 Breda: Nothing’s wrong, little man. Nothing’s Breda: Come with me, Christy. Let’s start a Pillar, the Crowning with Thorns, the Carrying wrong! new day together. I’ll lie with you. of the Cross, the Crucifixion. Christy (pointing to Tocky and Denny): I don’t Christy: You’ll sleep with me? (Pause.) Come on Christy love. understand! Breda: Yes, darling. Breda will sleep with you. They walk o ff stage together, Breda holding Breda: You will one day. You’re only a little And we’ll say the rosary together. That’s a great Christy closely. boy. way of falling asleep. Better than counting Long, mournful Com. Steel whistle. sheep. Have you got the rosary beads I gave you. Christy: What whistle’s that? Christy: Yes, Breda. I’ve got them here. Breda: Dogwatch. Breda: Well come, little man. Let’s go to bed Christy: Dogwatch! It’s midnight! I’ve never and say the rosary. The Sorrowful Mysteries if I been up so late. I heard the noise — and the rain. can still remember them. Yes. I think I can: The I can’t sleep. Agony in the Garden, The Scourging at the

THE DANCE COMPANY IN ASSOCIATION WITH THE MLC THEATRE STAGING ROYAL C O M P A N Y PRESENT CONSULTANTS 49 DARLINGHURST ROAD, KINGS CROSS.

Staging Consultants’ shows □ currently in production THE CASSIDY ALBUM by Peter Kenna

Produced by the Adelaide Festival Centre Trust • A HARD GOD • FURTIVE LOVE •AN EAGER HOPE a trilogy direct from the Adelaide Festival Arts, currently playing at the York Theatre, Seymour Centre.

• Set design and construction, wardrobe, props, lighting design, sound, total production co­ ordination and staffing. THE 2 0 ’s AND ALL THAT JAZZ produced by the Arts Council of N.S.W. currently touring N.S.W.

• Set construction and painting, props, lighting, sound effects and staffing. A DANCE-THEATRE EXPERIENCE We can design, build and CHOREOGRAPHY AND PRODUCTION |W MUSIC paint sets in our own fully : ' CARL VINE equipped workshops, mount entire productions, locate THEATRE ROYAL APRIL 12-22 a t 8PM MATINEES SATURDAY a t 2PM a single prop or costume. Party Bookings Available Adults $8.40 A Reserve, $7.40 B Reserve for Minimum of 20 S6.40 AETT, Australian Ballet Subscribers $7.40 GET YOURACT (Phone Julie Meeking 231 6111 Pensioners and Students $4.50 TOGETHER COUNTER BOOKINGS OPEN MARCH 2 2 .THEATRE ROYAL DAVID JONES A N D ALL MITCHELLS AGENCIES 3 5 7 -1 0 5 7 Qantas supports the Dance Company

THEATRE AUSTRALIA APRIL 1978 37 IT'S NOT TOO LATE ! SUBSCRIBE NOW & SAVE UP TO $28 on single ticket prices on a pair of tickets to the season.

THE NEW SEASON AT THE ATHENAEUM AT RUSSELL ST. THEATRE RICHARD III MAKASSAR REEF by William Shakespeare (Mar 14 - Apr 29) by Alexander Buzo (Mar 21 - May 13) THE BEAUX STRATAGffl by George Farquhar (May 2 - June 10) by Mervyn Rutherford (May 23 - July 8) ElECTRA JUST BETWEEN by Sophocles (June 13 - July 22) OURSELVES THE PLAYBOY OF by Alan Ayckbourn (July 18 - Sept 9) THE WESTERN WORLD by John M. Synge (July 25 - Sept 2) (May 15 - 20, July 10 -15, Sept 11 - 16) THE THEATRE IS FOR EVERYONE AND IT'S SO EASY TO SUBSCRIBE

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38 THEATRE AUSTRALIA APRIL 1978 William Shoubridge Ballet

A moment of light and joy to relieve the general, all-encompassing gloom.

The news that almost a dozen dancers from century (mainly French) fell into disrepute, reassessment of the score, especially in the final the Australian Ballet have left the company to treated as a pleasant after dinner entertainment scene as Odette and Siegfried dance their final seek greener pastures in Europe and the United at best and a glorified tit and bum show for the pas de deux in a totally bare stage. He has kept States, would apparently set a grim tone to the Paris Opera Jockey club at worst. the mood dark and elegaic by using an future of the Company; this year at least. The Petipa and Ivanov were the point of departure interpolation from Tchaikovsky’s Hamlet fact that the majority of the dancers are for all of the Diaghilev choreographers, Fokine, instead of the rather rum-te-tum music usually established stars and principals makes the Massine, Nijinsky, Nijinska and Balanchine. used and Woolliams has rechoreographed this problem worse, there are too few reliable talents Swan Lake once there was a staging that was scene also keeping the mood and emotion left to replace them. It was of course on the equal to the power and depth of the music, interior and heart-breaking; no grand Bolshoi books that such action would be taken once became the sine-qua-non of classic ballet. lifts or phoney flailing of arms to approximate Anne Woolliams had finally left the Company. Mention ballet to the man in the street and he unconsummated love and passion. Some of the dancers left out of sympathy with will nearly always think of Swan Lake. It is just There are faults in the work of course, and her, others left because they are fed up with the this familiarity that can so easily make the work something should be done about them. Act I is constricting climate and artistic repression a cliche when improperly handled. far too busy with ambassadors, cavaliers, within the Company, brought about mainly by It is Anne Woolliams’ great triumph, in knights and pages wandering about with a lack the interference of a conservative, box-office conjunction with John Lanchberry (arranger of purpose and position. The scene for the male obsessed administration. But I’ve gone over all and conductor) and Tom Lingwood (set and corps at the end of the act as they entice of that before, and to say it again would be just costume designer) that the work makes an Siegfried to go hunting with them is sloppy, repititious. overall impact, it works together cohesively. The fussy and atrociously danced. The latter fault The quality of the Company has fallen, as has old production of the Company, the one that could be due to the lack of rehearsal time for the its image in the eye of the public, at least the Fonteyn and Nureyev danced in, was male corps, after all Swan Lake is still an public that knows about dance and what it can serviceable enough, but the mood and essentially female dominated ballet. The men will be. Many members of the Press openly snigger atmosphere was pasted on top of the dancing, probably get their chance to shine in Spartacus about the Company and give it condescending, the sense of period was hardly ever there. It had later this year. scant or non-existent notice in the papers. With no image. Lingwood and Woolliams have set But the merits of the production far outweigh matters the way they are, with the power this new production firmly in medieval the debits. pyramid still intact, things are going to get worse Germany; dark, forbidding and mysterious; the Woolliams has wisely kept the Ivanov before they are going to get better. sort of setting where you can believe in evil choreography for Act II, it would be silly to do But at least last year, there was a moment of barons holding young maidens in thrall under a otherwise, apart from being a sacrilege, because light and joy to relieve the general, all- spell; where you accept young princes dying to one would have to be a world famous master encompassing gloom, Anne Woolliams' escape the suffocating panoply of court ritual choreographer to come up with something just remounting of the Petipa Ivanov classic Swan and arranged marriages. as expressive and poetic, or else do a complete Lake. There were of course the usual voices But one of the greatest beauties of the new overhaul on the whole ballet, like John raised (mainly by those who know nothing about production is that there is a feeling that it Neumier's staging for the Hamburg ballet, dance) questioning why the Australian Ballet belongs to the Australian Ballet, almost as if the which turned the whole thing into a dream should be doing Swan Lake anyway, it seemed to work had been newly created on them. There fantasy of mad King Ludwig II of Bavaria. them to be nothing but an old cliched war horse. are parts in it that were specifically fashioned for But Woolliams and her co-choreographer Ray The simple answer to all that is that the certain dancers within the Company, and Powell have done marvels with Act IV. The Company did it because, like Everest, it is there. therefore it is a work that will grow and expand scene fairly drips with remorse, regret and A classical ballet company without a Swan and deepen in interpretation as the Company impending tragedy from the very raising of the Lake is like an opera company without Verdi or continues to perform it. curtain. The deep intakes of breath and applause Puccini or a theatre company without Woolliams, following recent precedent has from the audience were well deserved. The only Shakespeare; Swan Lake is the central well welded together Acts I and II ensuring the shape on the stage at the beginning of the act is spring of classical ballet. One of the great greatest contrast between the encrusted regalia that of a huge wing shape of prone swans on the strengths of the work is that it is the greatest of court mannerism and the free, wind blown stage floor arching back in solemn despair and dramatic ballet in the repertoire, acceptable beauty of the first lakeside encounter. regrouping in quick flights like trapped birds dancing is not enough to get a performer It must be mentioned here that one of the winging from one side of a cage to another; a through. It demands convincing acting ability as most successful innovations of the production is succint and beautiful image. But of course, well. It stretches a dancer, in all aspects of his or the palpable and real role played by the lake nothing in Swan Lake, either the dancing or the her art, not only the principals, but the corps de itself. As designed by Lingwood it is a drama would be what it is without the principal ballet in general and the female dancers in continuous presence, lit so that it broods and roles, Odette/Odile and Prince Siegfried. particular. seethes through out the story and in the final In terms of a partnership the first night team Unlike opera, the nineteenth century classics scene shimmers in release and freedom, it is the of Ross Stretton and Michaela Kirkaldie was the that can be still effectively produced can be dramatic eye of the storm for the whole ballet. best. Although flung into the part at short notice counted on one hand. Ballet in the nineteenth Lanchberry too has done masterly they worked so well in collaboration that I’m

THEATRE AUSTRALIA APRIL 1978 39 sure they’ll be paired off together in a lot of Act III was much more attuned to her hard and before. When I saw Stretton as Romeo back in performances and not only of Swan Lake. They brilliant style of dancing. 1975, I noted his promise. By now he’s weren’t quite so convincing in the star parts of But far and away, all things being considered, undoubtedly matured, as has Kirkaldie. When The Merry Widow again perhaps for lack of the finest Odette/Odile of the lot of them was they appear together this time. I’m sure the preparation but in Swan Lake, they were Vanessa Harwood, hailing from the National partnership will be something to watch out for. excellent. Kirkaldie had the right manner and Ballet of Canada. I hope Australia sees more of The season for Sydney includes Spartacus, the deep haunting face that suited her her, she is a dream, and one soon due to become Mamzelle Angot, La Fille Mai Gardee and interpretation, that of the Swan Queen being a star of international standing. She points the . Other works include Jerome essentially a chimera, a vision, an idealisation of line of a dance, she phrases it with exactitude Robbins’ Faune works by new wave European the Prince’s fancy. Her dancing, especially in the and perfect graciousness. As Odette she fell into choreographers Jiri Kylian and Louis Falco as Act II pas de deux was fluid without being the Prince’s embrace, as Odette she didn’t just well as Australian, Graeme Murphy. Later on droopy, dramatic without being grandiloquent rise en pointe, she hit it. From soft melancholy the Company will appear at the Spoleto Festival and just so gently poised as to retain enough of a to cold, glittering allure and back again in the final in an evening of works tailored to the music of vestige of humanity to make the love scene real. act. A masterly interpretation. Kelvin Coe Janacek (this year’s theme apparently). Murphy Ross Stretton, a strong and positive partner, opposite her was sure, fleet and an admirable will be choreographing something of Janacek’s acted the part as Siegfried, making him no idle partner, but he just didn't project, he rarely does. Sinfonietta. From Spoleto the Company Hamletesque dreamer but a forthright male who He treated Harwood as just another ballerina, embarks on a tour of Israel. knew his own mind; very Byronic. the lack of identification with both role and All very prestigious I would imagine, but The later partnership of Gary Norman and story was obvious. unless there are enough good dancers to take the guest star Galina Samatsova was not quite as A pity it was missing something, the dancing place of those who have defected, I don’t think good. They were equal in height and stature, but was marvellous, but the sense of convincing the move will be greatly to the Company’s Norman seemed preoccupied and nowhere near realism was not apparent with this team benefit. One only hopes that the Sydney season as convincing as Stretton in his part, while (together) as it was from Stretton and Kirkaldie. will uncover some new raw talent in the home Samotsova as Odette was as dry and brittle as a The latter partnership 1 hope to see in Romeo team otherwise there will have to be some hefty packet of crisps. Her balances and attack for the and Juliet this year in Sydney. They’ve been recruitment from overseas. part of Odile, the malevolent Odette alter ego in tried out in other cities in this particular ballet

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40 THEATRE AUSTRALIA APRIL 1978 David Gyger Opera

A total success or half a disaster

Buchanan was vocally ravishing as Valencienne, the costuming was splendidly opulent, changing This year’s summer season of The Australian if marginally immature dramatically. its color scheme from each act to the next. Opera at the was either a The host of minor character roles were filled It was a long evening, due to the restoration of total success or half a disaster, depending to a superbly by a proliferation of AO principals, some usual cuts, the addition of a rather considerable degree on how you feel about demonstrating once again the wealth of talent extensive (but well conceived, if not impeccably heavily subsidised companies possessed by the company. Particularly worthy executed) ballet at the beginning of the third act, delving into the realms of operetta. of note was Rosina Raisbeck’s Praskovia, a gem and the inclusion in this act of two arias not Even those who, like me, doubt seriously the of a dragon lady caricature worthy of the wildest usually heard. wisdom of the AOs of this world presenting extravagances of the genre. Finally, though, the greatest joy of the Franz Lehar’s Merry Widow and its ilk had to The major trouble with this Widow was the evening was to experience Sutherland the comic concede the whole exercise was perhaps almost venue: the concert hall at the Opera House is actress. She delivered her spoken lines with worth while for the undeniable pleasure of simply not hospitable to operetta with spoken obvious enjoyment, considerable nuance, and seeing perform the title role, dialogue. Despite discrete — too discrete — utmost clarity: had the rest done half so well, the even if it afforded her grossly minimal opport­ amplification, few of the spoken words came overall result would have been a good deal unities to display her incredible vocal artistry. across to most of the audience. The effect would harder to fault. Other aspects of the production were a good deal probably have been much more satisfactory in a Even those who had serious reservations less inspiring. proscenium arch situation; but of course the about the choice of The Merry Widow for Neither of the season’s Danilos, Ron Stevens opera theatre at the Opera House was inclusion in this all concert hall summer season and Pieter van der Stolk, was anywhere near as unavailable during this period due to work on could hardly have objected to the choice of dashing and debonair as the role demands, the enlargement of its orchestra pit. Verdi’s Nabucco as its stable mate; and indeed it though Stevens came a good deal closer to that Within the limits of the venue, Kristian pretty well lived up to advance expectations. mark once he had settled thoroughly into the Fredrikson’s set design was most effective, This was a semi-new production incorporating production. Anson Austin shone as Camille de particularly from the dress circle where its the costumes of Tom Lingwood’s 1971 Rosillon, setting a new personal standard in essential bulk (to mask off the permanent seating proscenium arch production for The Australian vocal beauty and dramatic credibility. Isobel behind the stage proper) was less noticeable; and Opera as well as two of its male leads, Robert

Joan Sutherland (The Widow), Gordon Wilcock (Baron Zeta), John Germain (Count Kromow) and Donald Solomon (Count Pritschilch) in the AO’s Merry Widow.

THEATRE AUSTRALIA APRIL 1978 41 to the cast in the role of Fenena, using the dark lower reaches of her rich mezzo to fine effect to give the character far more weight and importance than she sometimes has. Though occasionally the role may have been a trifle high, she showed no noticeable signs of difficulty in coping with its vocal demands on opening night. Lamberto Furlan was a very good Ismaele though of course the part is very much overshadowed vocally by the three main protagonists who get just about all the vocal fireworks to themselves. Bernd Benthaak’s production was very successful in conveying a real sense of fluidity of action, aided immensely by the flight of steps which made it possible to freeze performers in spectacular instants of action and allow them to belt out their thrillingly vehement torrents of sound against Verdi’s excitingly syncopated orchestral backing. In the proscenium arch situation, this physical arrangement would not have worked because anyone very far up the steps would have been swallowed vocally by the stage tower; but in the concert hall it worked marvellously. Similarly, the chorus was most impressive throughout — but particularly, of course, in its famous big moment, Va pensiero, when the captive Hebrew slaves sing in typical Verdi style of the delights of freedom, homeland and religious zeal. Richard Bonynge's conducting was sensitive and accurate throughout, and the Elizabethan Sydney Orchestra responded well. Bonynge’s overall interpretation leaned a little too far for my taste toward the lyrical side of the spectrum as opposed to the fire-and-brimstone side, making the score sound at times uncannily more like Bellini or Donizetti than the fairly unsubtle early Verdi it is. There were of course musical compensations in terms of pure beauty of sound; but here and there I found myself lamenting the loss of a significant amount of the enormous dramatic impact built into the work. Space prevents me from reviewing in detail any of the large number of year-end productions Ron Stevens (Danilo) in the AO’s Merry Widow. I was able to see in Adelaide, Melbourne, Canberra and Innisfail, as well as The Allman in the title role and Donald Shanks as Nabucco's palace and to the Hanging Gardens Australian Opera’s Gilbert and Sullivan season the high priest Zaccaria. of Babylon in quick succession. But Nabucco’s at the Sydney Opera House and a couple of Lingwood’s new set design to suit the concert first entrance, silhouetted many times larger productions by the minor Sydney opera groups. hall situation is simple yet starkly effective in than life against a white curtain high above the Brief mention of three highlights must suffice: establishing the mood of the piece as soon as the rest of those on stage, was highly impressive; as 1. Robin Lovejoy’s production for the audience enters the hall: a single enormous flight was the burning of the temple at the end of Act Victoria State Opera of Debussy’s Pelleas and of steps, black and sombre, aimed directly at the I, with the whole vaulted ramparts of the Melisande in November, under the masterful audience, with a huge darkly glittering Star of concert hall going up in projected flames in full musical direction of , starring David suspended high above the performing view of the audience. Yvonne Kenny, Graeme Wall, John Pringle and area. Both Allman and Shanks were in fine voice Noel Mangin. The scene changes are minimal when and impressive acting form, further refining the 2. Ken Healey's Canberra/Innisfail realisation compared with the spectacular visual trickery of already excellent performances they had given of Menotti’s Amahl and the Night Visitors, Lingwood’s 1975 . This is no fault in itself, in this opera in its earlier version. Lone Koppel- especially for the superb performances of Tom perhaps, since the demands of Nabucco are Winther was a thoroughly committed Abigaille Allan in the title role and Belia Allen (no inherently much less spectacular; though there dramatically, but lacks a measure of the vocal relation) as the boy’s mother. were perhaps too few visual clues to make it resources necessary to do full justice to the 3. Bernd Benthaak’s staging in the round of clear to those who had not read their plot rapidly changing demands of the part in purely the colonial revue, Australian Yesterdays, for summaries in advance that the action was histrionic terms. Roger Coveil’s University of New South Wales moving from a temple to various parts of was an interesting newcomer Opera late in October.

42 THEATRE AUSTRALIA APRIL 1978 Elizabeth Riddell / Terry Owen Film

Summerfield and Beyond

Elizabeth Alexander and in Summerfield.

And who has star quality ? The two names that come off the top of the head are Helen Morse and John Waters.

Just before beginning this article I was would have been proud to have known." watching even when they are merely on the edge browsing through the film sections of the There are two points to be made from this. of the action. For instance, in Summerfield. London heavies (Observer, Sunday Times and so One is that some Australian films get shown in Waters held the attention while sitting doing on) mostly to discover what the critics had to say Britain and some get reviewed and some get nothing, with a lute unplayed in his arms, while about Ken Russell’s film, Valentino, when I good reviews, for instance Picnic at Hanging Nick Tate and Michelle Jarman were talking came on some remarks about Caddie. Rock, Caddie and (most of all) The Devil's and “acting". Caddie started a run in London early in Playground. (Films actually travel better than Which is not to say that Nick Tate did not do October. One critic wrote: "Caddie is quaintly books. Among the only novels from Australian as well as the script allowed him in Summer- sentimental. . . taking not much more than sources to be reviewed recently in London, have field. But some changes in personality and swipe at old-time beeriness, with a covert plea been Robert Drewe’s The Savage Crows and performance will have to be made before he for the nursey facilities which the modern Frank Moorhouse’s Tales of Mystery and actually “commands” the screen. 1 shouldn't be Australian woman has probably still not got. Romance, which were published in London by surprised if they happen. Caddie has a very pretty performance by Helen Collins and Angus and Robertson and a ten Stars are accidental, but the industry needs Morse." years old Thomas Kenneally, a reprint of The them. It also needs star-spotters, and managers Another: “Nothing much happens by the Survivors, also published by Collins.) and promoters, people who will see talent and standards of soap opera but all the life-size small The other point is the use of the phrase “star who will be willing to sweat on it, to last the defeats and minor victories of existence hold our quality”. Star quality will come to mean more boring unproductive distance between vision interest without flagging. Helen Morse, an and more on the domestic market as well as and accomplishment. They will of course also actress of star quality, makes Caddie a tousled overseas. have to overcome the performer's ego (which beauty whom it is a pleasure to follow down And who has star quality? The two names will assure him or her that there is nothing to deadends, through inconclusive friendships and that come off the top of the head are Helen learn, that it all comes naturally) and educate quarrels, celebrations and disappointments Morse and John Waters. That is, people will go actors in the need to understand the body, and until she disappears seven years later in the to a cinema to see them regardless of the film. how physical minuses can be turned into pluses, Depression, a free and independent woman one They are the performers the audience is vague attainments into positive talents.

THEATRE AUSTRALIA APRIL 1978 43 Which brings us to Summerfield. Summerfield come. Because a year or so ago that kind of White short story of the same title, got going in has a lot of things going for it — it is contemp­ audience would not have been seen dead at an November. The Irishman, starring Michael orary, for a change; it has a magical setting in Australian film, and would never have Craig and some splendid Clydesdales and Phillip and Churchill Islands; it has John encounted the Summerfield cast except on written and directed by Donald Crombie (who Waters; it has Nick Tate, interesting to watch television. directed Caddie) finished in the spring, with a again after his masterly depiction (awarded with But it was clear from the conversation of $685,000 budget. Hugh Atkinson’s novel about a Sammy) of the nicely ockerish Brother in The people behind me — there is a theory that people the prejudices latent in small country towns (a Devil’s Playground; it has the remarkable (star now talk all through movies because they have theme that has served a lot of American quality coming up?) Elizabeth Alexander, a cool grown accustomed to talking all through filmmakers well in its time) was made into a and talented beauty; it has a cute kid, Michelle television in their living rooms — that they movie called Weekend o f Shadows directed by Jarman; it has Bud Tingwell’s country doctor, all expected something to come of, for instance, Tom Jeffrey (who made the ill-fated The tweed and bird-watching. Add splendid camera our hero's ambiguous conversation with about four years ago) with John work by Mike Molloy, and that seems a lot. policeman; that they were puzzled how anybody Waters and . And there is Dawn, What it doesn’t have is a good script, and could get the car from the sea below the cliffs with Ken Hannam (Summerfield) directing, on a because it doesn't have a good script it doesn’t into a shed in a paddock; that they didn’t budget of $735,000; , written by the have good direction. Or could good direction understand the significance of the artefact that redoubtable Bob Ellis for a half million dollar have saved it from banality, silliness, false clues, went boom-boom; that they thought the budget, about the days of Cinesound and Fox scenes that lead nowhere? And that includes not incessant introduction of bird life was Movietone whose works, mixed judiciously with setting a mood, and not getting the genetic facts significant. And that, like me, they soon caught overseas clips of royalty, presidents and sinking right. It is simply not true that incest, any more on to the “mystery” of the child's father. ships, used to precede the feature in move than mating with cousins, produces hereditary The few months leading up to Christmas were houses in the good old days. defects. very busy for filmmakers. ’s The Late last year the Australian Film Com­ So once you get the story wrong, and once Chant o f Jimmy Blacksmith, shot in the New mission released a list of projects which had been you start laying false trails, what is there? Well, England District of N.S.W. and on the central given the go ahead (that is, the cash) for script there are those nice things I mentioned earlier. coast, took sixteen weeks and SI.2 million. The development and pre-production, and for pro­ I am not however presuming to say that Mango Tree, from Ronald McKie’s book of the duction. These included Space Trip; Mary Loves Summerfield won’t get audiences. I caught it at a same name, produced by Michael Pate and Peter Loves Paul; The Ridge and the River, morning session in a Sydney cinema. The place directed by Kevin Dobson on a budget of from Tom Hungerford's book, Four Wheel was about two thirds full of the kind of people $650,000 with a lot of familiar names — Drive; All the King's Horses; Daisy Bates; The who go to morning cinema — mature males and Christopher Pate, Gloria Dawn, Robert Odd Angry Shot (from a novel about the females without jobs, or on shiftwork, or on Helpmann, Geraldine Fitzgerald (imported) and Vietnam War by William Nagle); The Rowan holiday. They were an appreciative audience, Gerard Kennedy — was struggling to get Connection; The Last Tasmanian; Patrick, and with goodwill towards the Australian movie, exposure in time for Christmas. The Night the Sparks were also pending. which is in itself a reflection of how far we have Prowler, Jim Sharman’s film of the Patrick Elizabeth Riddell

and it's a hell of a lot better than some story telling, assisted by David Rapsey’s editing, The Bucks Party established Australian directors’ second and makes those of us with a speculative turn of third feature films. Granted that at forty five mind want to ask why some Australian males minutes, it’s around half the usual feature length are locked into these social stereotypes. The film and therefore not justly to be compared directly clearly offers its own point of view on this with features, it’s a copybook example of a good question, but it also makes space for the viewer’s dramatic idea being given small scale treatment creative imagination to get to work driving appropriate to available local resources and home after the film in the drunken Friday night coming off very successfully because of, rather traffic. than in spite of, those resources. The director handles action very well indeed Steve Jodrell, who is a part time actor, part for a beginner, and the two nastiest scenes, one time stage director, part time film maker and full involving a stripper and the other a drunken time lecturer in film and television at the ‘accident’, are totally convincing. Jodrell says Western Australian Institute of Technology, that almost everything in the movie has made the film in 1976 with an all amateur cast happened at various bucks' parties he’s been to, and a production budget of $15,000, including and his film makes you believe them. $12,000 from the-Australian Film Commission’s Tony Buckley, one of Australia’s foremost Experimental Film and Television Fund. As its film producers and editors, saw the film during title says, it’s about that strange Australian its sellout opening season at Cinema 16, the male ritual, the pre-wedding booze up with the new screening area in the Perth Institute of Film mates which has delivered a lot of Aussie and Television complex at Fremantle. Buckley grooms sick as dogs to their loving brides. said the film is the most powerful statement Jodrell’s buck's party takes place in a secluded about the Australian male since Wake In Fright, bush setting, with a sparkling river pool and old and he took a print back to Sydney with him, straggly gums as the peaceful backdrop to the with the aim of getting it blown up to 35mm to noisy, crude and mindlessly violent games Ron give it a chance to get full commercial theatre and his mates play with their friend Kenny, the release as a support. groom. There’s a vengeful edge to the The next step for Jodrell is into the bigtime humiliating nastinesses they deal out to Kenny full length feature, so watch for his name among The Bucks Party is Western Australian and anyone else in the mob who looks or acts ‘a the credits over the next year or two. writer/director/producer Steve Jodrell’s first film, bit different’. We feel that edge, and Jodrell’s Terry Owen

44 THEATRE AUSTRALIA APRIL 1978 Roger Coveil Records

Rossini and Elizabeth I of England Rossini’s Elisabetta, Regina d ’Inghilterra is an Enrico, Matilde’s brother, to a mezzo-soprano. older disc of the same wind-and-percussion opera that could give a nasty surprise to an Unusually, the principal villain of the opera, the scoring conducted by Charles Mackerras and inattentive or under informed radio announcer. Duke of Norfolk, is another tenor and so is the complying much more closely with the full wind It begins with a piece of music that everyone sympathetic captain of the guard. The opera’s specifications of the original (Mackerras knows as the overture to The Barber o f Seville. need for three tenors and no baritones or basses gathered the players together from the leading Rossini’s use of it for Elisabetta was an earlier is the sort of circumstance that makes many London orchestras, I understand, after concert occasion; but it will be some time, even with the opera companies shy away nervously from the hours in a late night session) is still preferable help of the first complete recording of the opera task of reviving the serious operas of Rossini. and may be available still on the Pye label. It is (Philips 6703 067; 3 discs), before it shares its This recording has a good cast, an excellent at least listed in the latest catalogue I have to well-known comic identity with Rossini’s serious chorus (the Ambrosian Singers) and a first class hand. If you can’t get hold of the Mackerras opera on the subject of the first Queen Elizabeth orchestra, the London Symphony Orchestra, all recording on Pye, then at least this recent disc is and her relationship with the Earl of Leicester. conducted with sympathy and flair by worth hearing and includes some more music Elisabetta was an unusually splendid and Gianfranco Masini. I recommend the set as long scored for military or quasi-military opulent piece designed by its composer to quell as any prospective listener to it is not worried by instrumental formations by Lully, J.P. Krieger, the jealous suspicions directed towards him by its travesty of history. The court librettist at Telemann and Handel himself. the Neapolitans on the grounds that he was a Naples wrote the text, it seems, out of his Argo has reissued on disc (and also on foreigner who had gained his reputation memory of a stage play he had attended on a cassette) a beautifully performed selection of elsewhere. Rossini writes none of the secco similar subject and no doubt added his own twelve of the collection of madrigals composed recitative with keyboard accompaniment alone fancies to the liberties the play took with history. in honour of Elizabeth I and entitled The which had been standard in most operas up to Rossini no more worried about historical Triumphs o f Oriana (ZK 25). If you have a dim this time. The recitatives in Elisabetta are accuracy than he felt abashed at borrowing recollection of reading in an older history of always accompanied by the orchestra. Further, music from his own earlier work. The overture music that the collection was intended not for Rossini appears to have begun with this opera itself (the one which is now attached in most Elizabeth but for Anne of Denmark, be assured his practice of writing out in full all the people’s minds to The Barber o f Seville) was that musical research has since disproved that embellishments which singers had formerly slightly adapted from an overture written two particular theory and restored the collection to added to the vocal line according to their own years earlier for an opera called Aureliano in the great queen. Furthermore — though this is taste and fluency. Rossini’s object was not to Palmira. For that matter, he used part of much more debatable — there is now a theory stop embellishment but to keep it within bounds Elisabetta’s entrance aria for a section of that the Oriana madrigals were intended for a and to make sure that it was relevant to the Rosina’s famous cavatina, Ena voce poca fa in festive performance at a ceremonial shape of the original melodic line. Sometimes the The Barber. Rossini was incidentally appalled tournament. If the madrigals were indeed meant regularity and symmetry of Rossini’s written-out when he first realised that his music would be for. a festive court performance it is at least vocal ornamentation may repel us by its subjected to the process of being printed in a possible that the singers would have been seemingly mechanical profusion on the printed collected edition and he would have been equally reinforced by instruments. Taking this hint as page. When the singers are in command of the dismayed to think that it would have been his cue, Grayston Burgess on this disc directs not notes, however, and are not merely bullied by possible, increasingly, for us to compare each of only the Purcell Chorus of Voices, but also the them the effect can be utterly enchanting. The his operas on disc. He wrote for an opera London Cornett and Sackbut Ensemble and the music needs great singers; and these from all the industry in which the only interesting opera was Elizabethan Consort of Viols. It is an old fallacy evidence available must be much rarer now than the next one and he never had any thought at that madrigals of this period were invariably they were in Rossini’s lifetime. the time of writing for posterity or eternity. sung unaccompanied. The descriptions and Montserrat Caballe, who takes the role of Handel wrote his Royal Fireworks Music to surviving scores of many entertainments of the Elisabetta is certainly among the most illustrious celebrate the Peace of Aix-la-Chapelle at a period, not to mention the surviving court of present day singers; and she understands performance in Vauxhall Gardens, London. accounts, make it abundantly clear that the Rossini’s style, as she has demonstrated on Because King George II is known to have been festive madrigal was a different kind of piece and previous recordings and as she proves in this anxious that the instruments involved should was presented with the utmost splendour and new recording, notably in the marvellous scene belong to the military tradition there is reason to variety of resources, in contrast to the madrigal of resignation and renunciation with which it believe that the original version was for intended for domestic or non-festive use. There ends. Her voice is not always as beautiful an woodwind, brass and drums only. Michel Piguet is a certain amount of what some listeners might instrument as it once was; and some of her and his woodwind ensemble together with the call gimmickry on this record: noises of crowds, particularly ferocious accents in this recording Edward Tarr Brass Ensemble have recorded the tournament effects, a couple of readings from are not very pleasant to hear. Fireworks Music with forces close to its original George Peele’s Anglorum Feriae, and so on. But In general, nevertheless, this is singing worthy specifications (Erato STU 70944), but with these can always be eliminated after a first of the music and worthy of this first recording. reductions in numbers (sixteen oboes instead of hearing and they in no way intrude on the music Jose Carreras, Caballe’s protege, sings the part the original twenty four, for example). I believe proper. Four anonymous instrumental pieces of Leicester with his characteristically young, that the suite sounds better in this original form give variety to the recording. The best of the not over-polished vigour. Valerie Masterson, an than in the various arrangements in which it is Oriana madrigals are among the greatest English singer of talent, is Matilde, a daughter of normally played in the concert hall. achievements of the English madrigal school; Mary Stuart whom Leicester is supposed to have I cannot give an outright recommendation to and it is good to hear them sung with such married, thereby risking deep disgrace and even the sound of this disc. The tone it gives off is vigour and skill and without the precious death from Elizabeth. The lingering inheritance rather shallow, lacking the full presence and twittering that sometimes passes for madrigal of the castrato tradition in Rossini’s music flavour that an ensemble of this kind should singing. declares itself in the assigning of the part of have been able to achieve on record. The much

THEATRE AUSTRALIA APRIL 1978 45 John McCallum Books

Plays Volume I (Eva Perón, The Homosexual, of great theatrical interest. Goethe perhaps lived race (and that of Truganinni herself, who was The Four Twins, Lorretta Strong), by Copi. in a simpler age when everyone was presumed to finally cremated last year after 100 years as a John Calder, $4.50. have more or less the same idea of what was museum curiosity). The treatment of the last East, Agamemnon, The Fall o f the House o f good taste. two survivors, especially after they died, has Esher (Playscript 78) by Steven Berkoff. John Copi is an Argentinian designer, cartoonist become something of a symbol for the guilt felt Calder, $11.50. and playwright, who also has acted in his plays. about the extermination; a guilt expressed by Truganinni (Australian Theatre Workshop 15), The final script in this volume, Loretta Strong, is Bill Reed and examined last year in Robert by Bill Reed. Heinemann Educational, $2.25. a weird surrealistic monologue which he Drewe’s novel The Savage Crows. Destiny, by David Edgar. Eyre Methuen, $3.00. performed in Washington (as part of the French Destiny, by David Edgar, is a dystopian Marcus Brutus, Silver Queen Saloon (Playscript to the American Bicentennial celebrations) political drama showing the rise of a neo-fascist 77), by Paul Foster. John Calder, $12.75. wearing only high-heeled shoes and green body- party in England — the Nation Forward Party, Gimme Shelter & Abide With Me, by Barrie paint. As with all the scripts in this book there a familiar sounding name. It is the most con­ Keeffe. Eyre Methuen, $3.00. are no stage directions, and it is interesting to ventional of this group of plays, ending with a speculate on what exactly he did on stage as neat and effective way of saying: this could Loretta; in her strange Burroughs-like spaceship, happen — it’s up to us to stop it now. Except for as rats crawl up her vagina in pursuit of sexual an early scene in which these respectable gratification and get tangled between her lights English workers and businessmen stand around and her liver. The cover shows Copi prancing toasting Hitler and pledging their loyalty to him naked with a giant rat attached to his groin. The in German it is all too credible. It is a pity in a other plays are equally intriguing. Part of the way that such a great effort is made to present point of leaving out stage directions is to both sides of the case, the play relying for its stimulate a director or actors to capture the impact on an automatic horror-response to manic sexual energy of these scripts in the fascism. A slight twist could make it pro-fascist. specific conditions of their theatre and with the Paul Foster is an early product of New York’s specific inhibitions of themselves and their La Mama theatre. His play Marcus Brutus is audiences in mind. It is suggested, for example, about a playwright trying to write a play about that the title role in Eva Peron, and Mme Garbo Marcus Brutus; which seems a fairly thin idea in The Homosexual, may be played by women but if novelists can spend so much time writing or by men in drag: according to taste. The most about novelists writing novels there seems no coherent and interesting of the scripts is The reason why playwrights can’t do the same thing. Four Twins, which shows four women (or men, Foster’s play is slightly more than a piece of self­ presumably) repeatedly shooting up heroin and searching. It pretends to explore the events Goethe said that there is nothing more killing each other in an endless comic nightmare, which drive a rational man, such as Brutus, to dreadful than imagination without taste. These again reminiscent of William Burroughs. murder — but with the surrealistic relationship 6 books, containing 17 scripts, are presumably a From the linking of drugs and death (“I'll die between the playwright (in the play) and his random collection, coming as they do from young but it’s like kissing God”, Lenny Bruce characters it turns out to be the playwright different publishers to the offices of this said) we come to the linking of sex and violence. (which one? one wonders) who is driven to a magazine in time for this issue, but they go Steven Berkoffs “loving appreciation of the symbolic murder, rational though he feels he is. together to illustrate his aphorism — both as male and female form” in East finds sexual The playwright’s (in the play) moll wanders in examples of some of the less attractive products energy released in violence in London’s East every now and then bringing him cartons of of unbridled imagination, and as illustrations of End. The characters speak in an odd and wonton soup as he wrestles, almost literally, the complexity of the issue of taste. And if there powerful mixture of Cockney slang and with his characters. In return for what she is an area which can bring out imaginative Shakespearian diction and allusion. (“My pure considers unorthodox sexual favours he lets her excesses, it is violent, sexual or violently sexual and angel face, my blessed boat did, on that play Cleopatra. The play is probably a lot human behaviour, which in one way or another sacred night receive his homage. . .red did flow funnier than it reads and there is an element of form the subject of all these plays. — I knew my cheek was gaping open like a flag”, self-parody which leavens its self-indulgence. To renew a collection of playscripts is like begins a description of a knife-fight in Jack the Gimme Shelter, by Barrie Keeffe, is another reviewing recipes — there’s no way of telling Ripper territory.) Agammemnon and The Fall trilogy — less formally adventurous than Reed’s what might become of them in the hands of the o f the House o f Usher are horrific retellings of and more successful in a safe sort of way. It artists for whom they are written. What seems their originals. deals with the defiance of unsuccessful members unpleasant or unworkable to read might on the Bill Reed’s trilogy, Truganinni, presents of the English working class whose small talents stage prove theatrically revealing and exciting. aspects of the genocide of the Tasmanian and aspirations are ignored or wasted by a In the publisher’s blurb to the volume of Copi aborigines and compares the violent rape system that leaves little room for them. Whereas scripts it is claimed that although they “may not practised by the whites with the quiet will-to-die Steven Berkoffs characters react with violence be to every taste”, they “could never be which stopped the tribes breeding when they and energy., Keeffe’s falter and subside into described as boring or untheatrical.” Indeed, if were transferred to Flinders Island. The third their misery and frustration. In Abide With Me the chief aim of a play is to avoid boring the play of the three, King Billy’s Bones, is about the they devote their energies to the institutionalized audience, then there is every sign in these scripts desecration of the corpse of the last male of the rebelliousness of the football fan’s rampage.

46 THEATRE AUSTRALIA APRIL 1978 seaso n 4 : m arch 10 to june 2 5 : w i l l i a m SHAKESPEARE'S TOmeO and juliet RIVERINA The smallest and brightest theatre

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THEATRE AUSTRALIA APRIL 1978 47 being performed. What is being sought, it seems, International is writers working with a company in which mutual respect is mutually beneficial. A step in this direction will be made with the Desmond O’Grady season of nine contemporary Italian plays to be presented in Rome from November. The Italian Drama Institute has decided that rather than Where are the playwrights? continue to give small grants to many companies it will provide $3-5000 to companies which will or present a three-week season of a new play in Rome and then tour it. Sixty million characters in search of an author. One of the plays is Don Juan by Dacia Maraini, the best-known writer associated with Rome's feminist theatre. A well-known novelist and film director, Alberto Bevilacqua, is joint author of another of the plays Police is Beautiful, a monologue by a proletarian policeman. The nine-play season is a pointer to the paucity of contemporary Italian works in the A sign in a Neapolitan bus spoke volumes: major theatres. Shakespeare figures prominently “Don’t talk to the driver — he needs his hands there. Some interesting work has been done in for steering”. In Italy, theatre is readily found in stressing the Italian originals of Shakespearian the streets. There is also the public theatre acted characters but it is not clear whether this will be out by politicians whose spectacle is rather like a an aspect of this season’s The Tempest which Kabuki play seen by a foreigner: verbose, incom- Giorgio Strehler will stage in Milan; Carmelo rehensible, dull but when it seems nothing will Bene’s Richard III; Proclemer and Albertazzi in ever happen, there are rapid, dramatic events. Anthony and Cleopatra; L'Aquila Repertory’s But there is life in Italian theatre as well as As You Like It; and Measure for Measure at the theatricality in Italian life. There is intense Rome municipal theatre which will also present theatrical activity and a paucity of playwrights. Brecht’s Terror and Misery o f the Third Reich It is largely a directors’ theatre whether in plush and Ben Jonson’s Volpone. locales or in the innumerable converted garages Classics are the staple: three big Moliere and basements of the Roman “off-off’. productions are listed in this Italian season, The most memorable productions I have seen which began in October, while Goldoni’s in recent years were both directors’ triumphs. One was Luca Ronconis' Orlando Furioso, the other Franco Enriquez’s Kasimir and Karoline. Ronconi worked with Eduardo Sanguinetti’s Alcena The Witch. Photo: G.B. Poletto. stage version of Ariosto's epic poem. It was presented in Rome’s covered sports stadium with not seem to have anything urgent to express. wheeled wooden horses trundled impetuously Perhaps my prejudice is showing: I am for a on stage and fantastical creatures sustained by theatre of words, a theatre in which words’ wires overhead. A scene would begin but before essential role is recognised whereas much of the it finished audiences would be drawn elsewhere Italian avant garde is determinedly anti-word. by a spectacular entry of, say, a mounted knight It is partly an attempt to liberate Italian vowing heroic feats... Spectators ambled among theatre from the literary. Academic and literary the various islands of action dazzled by the traditions are so powerful that plays are magical and marvellous, horrified by the horrid, considered proclamations of speeches shaped by plunged into Ariosto’s world. authors in magnificent isolation; this was the Enriquez staged Odin von Horvath’s 1932 accusation recently made by directors when the play in Rome’s Tent theatre. A five-piece discussion revived on “why are there so few orchestra played music composed for the Italian playwrights”, which could also be called occasion and, in what seemed a director’s “sixty million characters in search of an author”. innovation, slides were projected on Hitler’s rise Writers snapped back. Novelist Goffredo to power which gave a deeper dimension to the Parise claimed Italians understood only gestural girl-meets-disreputable-boys story. not metaphoric theatre. He claimed they wanted My experiences with avant-garde directors the identification of actor and person which have been less than ecstatic. I have missed out means only writer-actors, such as the Neapolitan on Giancarlo Nanni, who works mainly in Eduardo de Filippo or the extreme leftwinger Genoa, but the highly-quoted Meme Perlini Dario Fo, could emerge. An Italian Beckett seems to have mainly a repertoire of tiresome would not stand a chance, Parise concluded, gimmicks (use of almost total darkness, nerve- which explains why most writers are not racking noises, or variations on the appear- tempted to try their hand. ances/reality theme) designed to terrorise Mutual accusations between theatre people spectators, while another prominent avant-garde and writers have not prevented works of well- director, Mario Ricci, makes charming use of known writers (Alberto Moravia, Natalia The Battle o f Paris. Photo: G.B. Poletto. masks, mime and film projections but he does Ginzburg, Giovanni Testori, Enzo Siciliano)

48 THEATRE AUSTRALIA APRIL 1978 Gemelli (the same theme as A Comedy o f Errors) is being presented in Rome. Australian Centre, Three Pirandello plays were staged in Rome in November: Vestire gli ignudi, Como, la International bestia, la virtu, and Enrico IV. It marked a resurgence of interest in Italy’s most challenging Theatre Institute modern playwright who does not seem to have any heirs. 153 Dowling Street, Potts Point, N.S.W. 2011, Australia. Phone: 357-1200 A glance at the bigger companies’ playbills President: Prof. Robert Quentin. Hon. Sec.: D'r Marlis Thieisch. shows that people are not going to theatres for Editor: Susan Paterson reflection on how they live. But efforts are being made to find a new relationship between audiences and theatre through decentralisation of performances. This summer, for the first time, MUSIC THEATRE TRAINING The Performance Arts Summer School offers Rome municipal theatre gave open-air, night An interdisciplinary encounter for singers, exploratory workshops in the inter-relationship performances in schools in outer suburbs whose dancers and actors will be held at Queekhoven of dance, drama and music with supporting inhabitants would never think of attending the House, Bruekelen, Holland, from June 6th to classes in the three disciplines. Day long and inner-city theatres. the 25th, 1978. The organisers are the Eduart ongoing projects will be a feature of the A new audience, it is argued, will revitalise van Beimum Foundation and the Musical programme as well as exploration of “Popular Italian theatre. Luca Ronconi is at work to Theatre Committee of the I.T.I. contemporary arts, dynamic personal create a new audience, and a new relationship The international team of instructors will be interaction through the arts, man and miss, arts between theatre and territory, in a triennial under the artistic direction of conductor Lars of by chance, multi-media improvisation.” experimental project which is underway at Malmborg; Choreographer/Producer Donya The Summer School will be staffed by Prato, near Florence. Feuer (both from Stockholm); Composer Peter Polytechnic staff who have pioneered the new An iron, rather than a theatrical, curtain Schat (Amsterdam) and others. B.A. Performance Arts Course. seems to protect Ronconi’s project from view Those interested in attending should contact The second course offered, “Many ways of but indications are that it is as elaborate as Peter this office immediately for further information. moving 1978”, focuses on the whole person, Brook’s International Centre for Theatre promoting a healthy body and developing Research in Paris. Brook, with Ford Foundation ENGLISH SUMMER THEATRE movement awareness throughout our society. help, went through a million dollars behind WORKSHOPS For further information write to David closed doors. Money for theatre in Italy is scarce Two short course/congresses will be held Henshaw, Middlesex Polytechnic, Trent Park, as hen’s teeth but Ronconi is doing well, thank simultaneously at the Middlesex Polytechnic, Hertford Shire, EN40PT, England. you, with a yearly research budget of $77,000. Trent Park, from July 21-30, 1978. - US I.T.I. Newsletter, Feb., 1978.

certain number of plays a season, so-many closed, by the nature of our funding and our Continuedfrom Page 11 weeks rehearsal with actors brought in for the institutions, to a different concept, even one so limited occasion, and, finally, in times of practised and excellent as Rex Cramphorn’s. ILLUSION COMIQUE austerity, new ideas and experiment sacrificed ‘In working — back in the ideal days — I with little regret. much preferred to be there and work with a Rex Cramphorn does not feel at home in the ‘The way I work as a director, too, is not to writer and actors. I like old texts, where I’m free routine mode of production in Australia. His stand there telling everybody what to do, where to remake the play for myself. I don’t think own method is to work with a single group of to stand, etc. I see it as providing myself as a theatre in Australia has a bright future. It looked actors for a long time, developing a script as he kind of common denominator through which so good in the late ’60s. What are we doing works, and performing it again and again, often everybody can work. The trouble with working about audiences now? I’ve still got plans. I want in different production styles. now is that I’m doing all the things I hate, telling to do Mother Courage. It might happen through ‘In the old days, people used to say that our actors whom I don’t know well “move over NIDA, at Jane St., about mid-year. I’m working production of The Tempest formed some bridge there” and things like that.’ on a film script with David Malouf, of his novel between Australia and Asia. That’s a feeling I He spent some weeks in Canberra in February Johnno. want to have, an instinct for that aspiration. directing an outdoor version of the Salzburg ‘But I’ll never get to do what I want to do. No, “The old days”. . . it’s pretty bizarre, but for a Everyman. There are other things on his I’d better not say that. I did really conclude that moment there was the Performance Syndicate calendar. An up-coming production of the Ran most of the ideals I had about theatre were more when we all went around between ’70 and ’74. It Dan Club, an anonymous and as yet upper- closely achieved years ago than recently. I even was the best time because I was working with a formed play from 1834. Illusion Comique at the tried full-time gardening a while ago. I found group of people. Yes, I’d like to set up a group of Seymour Centre, in connection with the French there was more in plays. But I feel even now that my own like that again. I know a lot of actors Department at Sydney Uni, where language I want to stop. I’d love to do a popular musical. I who would like to work like that. Yet no grant students will be able to see rehearsals and view a loved Chorus Line. Had a lot of arguments with givers or management want to back it. In those play they are studying from the practical point. people about that! I really like Bond. The Sea four years it was even against Australia Council There’s also the work at NIDA, which he sees as and The Fool both are wonderful. I can’t believe policy. They wanted to give only project grants a kind of alternative to NIDA within NIDA. the English reviews. They’re poisonous! More or grants administered by bodies’. (‘There are students there who don’t want to go than everything, I always wanted to go overseas Perhaps this is what comes out of the Old into television’.) with a group of actors. We had a Tempest that Tote experience. That the structure of theatre But what comes out of an interview with Rex was uniquely ours, and uniquely Australian. But funding in Australia, now at a set level, works Cramphorn, and from mulling the cynical step there was never enough push from here. against any development of theatre that does not of the Old Tote, is that our theatre now is so Nothing happened. That kind of ambition I find fit the pattern of a large administrative body, a lacking in varieties of approach to theatre, so hard to let go’.

THEATRE AUSTRALIA APRIL 1978 49 THEATRE OPERA DANCE

Diedrich, Caroline Gilmer and John O’May. Michael Boddy. Continuing. A.C.T. Director, John Diedrich. With Richard Hill, MUSIC LOFT THEATRE RESTAURANT Elizabeth Mortison. David Slingsby. NSW ALBERT HALL (977-6585) country tour continuing to 24 April. Canberra Opera (47-0249) Encore written and produced by Peggy While the Billy Boils by Henry Lawson. Starring Papageno (one-hour version of ) Mortimer, with the Toppano family. Leonard Teale. South NSW country tour 3 April Conductor, Keith Wilson; Director, Eileen Gray; Continuing. to 30 April. Design, Michael Salmon. 28 March - 1 April. Wayne Roland Brown, instrumentalist. Schools NEW ARTS THEATRE, GLEBE (660-3922) THE BARD’S THEATRE RESTAURANT tour West NSW and Sydney continuing. East by Steven Berkoff. Performed by the (47-6244) Bob Fillman and Friends. London Theatre Company. From 5 April. Blue Hat Productions Ventriloquist/magician/puppeteer. Schools tour NEW THEATRE (519-3403) Command Performance in honour of the visit of Sydney, South NSW and Riverina during April. Saved by Edward Bond. Director, Ken Boucher. H.M. Edward VII on the occasion of the Dale Woodward Rod Puppet Workshop. Designer, Igor Nagy. Federation of the Commonwealth of Australia. Schools tour Hunter Valley during April. Devised and directed by Gordon Todd, with NIMROD (69-5003) AUSTRALIAN BALLET Monsieur Frederick. Thursdays to Saturdays Upstairs: Curse o f the Starving Class by Sam See Sydney Opera House. (continuing). Shepard. Director, Ken Horler. Designer, AUSTRALIAN THEATRE FOR YOUNG Martin Sharp. With Hugh Keays-Byrne, Carole CHILDERS STREET HALL PEOPLE (699-9322) Skinner, Malcolm Keith, Suzy Roylance, A Stretch o f the Imagination by Jack Hibberd. Kaspajack by Richard Tulloch. Director, Des George Shevtsov, Benjamin Franklin, Ray Director, Ralph Wilson; Monk, Harry Schmidt. Davis — for infant schools. Anderson. To 16 April. 28 March - 1 April, April 4-8. Proceeds to The Fabulous Cappucinos by Richard Tulloch. Comedy o f Errors by William Shakespeare. A.N.U. Arts Centre. Director, Jane Westbrook. Director, John Bell. To 23 April. CANBERRA THEATRE (49-7600) Running Away by Michael Cove. Director, NO. 86 THEATRE RESTAURANT, Canberra Philharmonic Society Raymond Omodei. St Leonards (439-8533) The White Horse Inn. Conductor, Don The Actor at Work in Othello and Romeo and A l Capones Birthday Party by Pat Garvey. Whitbread; Producer, Bill Stephens; Guest Juliet. Director, Raymond Omodei. North West Director/producer, Pat Garvey. Choreography, Artist, Brian Crossley as Grinkle. April 6-8, 12- Arts tour ’78. Keith Little. Sets, Doug Anderson. Costumes, 15. (929-8877) Ray Wilson. Continuing. JIGSAW COMPANY (47-0781) Vanities by Jack Heisner. Director, Brian OLD TOTE (663-6122) In repertory; Act Now, a documentary for Young. During April. Drama Theatre, Opera House: Miss Julie by adults, on self-government in the A.C.T.; GENESIAN (827-3023) August Strindberg, and Black Comedy by Peter Crumpet and Co., a participation play for Heartbreak House by George Bernard Shaw. Shaffer. Director, Ted Craig. With Robyn children; The Empty House, a participation play Director, Kevin Jackson. To 6 May. Nevin, Trevor Kent and . To 11 April. for preschools. Various locations. The Misanthrope by Moliere. Director Ted HER MAJESTY’S (212-3411) TIVOLI THEATRE RESTAURANT (49-1411) Craig. With Kate Fitzpatrick, Barry Otto, Othello by William Shakespeare. Chichester Canberra Professional Group Russell Kiefel, Trevor Kent and Raymond Festival Theatre Production. Director, Peter Vaudeville Capers, devised by Tikki Taylor and Duparc. From 26 April. Dews. 10 to 15 April. 24 to 29 April. John Newman; Director, Jim Hutchins. Fridays Parade Theatre: Just Between Ourselves by The Applecart by George Bernard Shaw. and Saturdays (continuing). Alan Ayckbourn. Director, Peter Collingwood. Chichester Festival Theatre Production. With Peter Whitford, Joan Bruce, Jenny THEATRE 3 (47-4222) Director, Patrick Garland. With Keith Michell, McNae, Alan Becher and June Thody. 5 April Canberra Rep. Nyree Dawn Porter and Ray Dotrice. 17 to 22 to 23 April. Music Hall. April 6-8, 13-15, 20-22, 27-29. April. 1 to 6 May. Da by Hugh Leonard. Director, Peter MARIAN STREET (498-3166) Collingwood. With Tom Farley, Maggie Piaf je vous aime devised by Libby Morris. Kirkpatrick, Alan Tobin and Clare Crowther. Director, Alastair Duncan. From 8 April. From 31 April. NEW SOUTH WALES Journey’s End by R.C. Sherriss. Director, OSCARS HOLLYWOOD PALACE Alastair Duncan. From 14 April. ACTORS COMPANY (660-2503) THEATRE RESTAURANT, Sans Souci. Othello by William Shakespeare. Director, MARIONETTE THEATRE OF AUSTRALIA (529-4455) Mathew O’Sullivan. To 8 April. (357-1638) Fasten Your Seat Belt by Don Battye and Peter Romeo and Juliet by William Shakespeare. Alitji in Wonderland, written and directed by Pinne. Director, Jon Ewing. Continuing. Richard Bradshaw. Sydney Western suburbs Director, Steve Agnew; Designer, Matthew Q THEATRE, Penrith (047 21 -5735) tour 3-7 April. Lorrimer. From 17 April. A Day in the Death o f Joe Egg by Peter Nichols. ARTS COUNCIL OF NEW SOUTH WALES MUSIC HALL THEATRE RESTAURANT Director, Richard Brooks. Penrith to 2 April; (31-6611) (909-8222) Bankstown 5 April to 9 April; Parramatta 12 The Twenties and All That Jazz by John Crushed by Desire written and directed by April to 16 April.

50 THEATRE AUSTRALIA APRIL 1978 Absurd Person Singular by Alan Ayckbourn. by Johann Strauss. Director, John Thompson. Director, Doreen Warburton. From 26 April. Conductor, Graeme Young. Designer, Peter Cooke. With Catherine Duval and Peter Lees. RIVERINA TRUCKING COMPANY 10 April - 29 April. (069 25-2052) Rose Street, Ferntree Gully, Babes o f '53. Music and Lyrics by Ken Moffat LA BOITE (36-1622) Victoria and Terry O’Connell. 12 April to 23 April. The Beast by Snoo Wilson. Director/designer, (03) 796 8624 Diamond Studs by Bland Simpson and Jim David Bell. With Greg Silverman, Marina (03) 758 3964 Wann. Wagga, 29 April to 14 May. Touring, 15 Bossov, Lorna Bol and Stewart Stubbs. To 8 to 21 May. April. Young Mo by Steve Spears. Director, Rick SEYMOUR CENTRE (692-0555) Billinghurst. Designer, David Bell. With Rod York Theatre: The Cassidy Album Trilogy. A Whissler, Kay Stevenson, Kay Perry and Sean Hard God, Furtive Love, An Eager Hope by OPEN AUDITION Mee. Opens 14 April. Peter Kenna. Director John Tasker. With Sunday, April 16th at 7.30 p.m. Maggie Kirkpatrick, Alan Wilson, Phillip Ross, QUEENSLAND THEATRE COMPANY Enquiries: (03) 796-8624 , Janice Finn, Tony Sheldon, (21-5177) - Bernie Lewis, Vic Rooney. Don't Piddle Against the Wind, Mate by Everest Theatre: The Grand Adventure by Kenneth Ross. Director, Bryan Nason. Phillip Edmiston. Marionette musical show. Designer, Fiona Reilly. 5 April - 22 April. Schools shows 4 April to 19 April. TWELFTH NIGHT (52-5889) Downstairs: The Ran Dan Club by Theatre Not operating during April. Workshop Cartwheel Theatre. Director, Rex — Q theatre Cramphorn. Designer, Russell Emerson. A DAY IN THE DEATH OF JOE EGG SYDNEY OPERA HOUSE (20-588) SOUTH AUSTRALIA by PETER NICHOLS Opera Theatre: Australian Ballet, two March 1 5 - April 2 — Penrith programmes: Symphony in D, The Dream AUSTRALIAN DANCE THEATRE April 5 - 9 — Bankstown Town Hall Caravan. Romeo and Juliet. Throughout April. (212-2084) April 12-16 — Marsden Auditorium, Exhibition Hall: Designers Association Workshop. April 6-11. Parramatta. Exhibition. Throughout April. SOUTH AUSTRALIAN THEATRE ABSURD PERSON SINGULAR THEATRE ROYAL (231-6111) COMPANY (51-5151) by ALAN AYCKBOURN M y Fat Friend by Charles Laurence. With The Glass Menagerie by Tennessee Williams. April 26 - May 1 4 — Penrith Paula Wilcox and Bill Farley. To 8 April. Directed by Ron Blair, designed by Richard May 17-21 — Bankstown Town Hall May 24 - 28 — Marsen Auditorium, Poppy New South Wales Dance Company Roberts. April 5-29. Parramatta. choreographed by Graeme Murphy. 10 April to THE STAGE COMPANY 22 April. THEQTHEATRE Sheridan Theatre: Love They Neighbour Television cast. From 24 P.O. BOX 10, PENRITH 2750. Tel: (047) 21-5735 The Right Man by Ken Ross. Directed by John April. Dick. April 6-29. WHITE HORSE HOTEL, Newtown (51-1302) STATES OPERA (51-6161) MARIAN The R.S.L. Show by Foveaux Kirby and Peter Opera Theatre: STREET THEATRE Stephens. Director, Ian Tasker. Designer, Peter Marriage o f Figaro. Opens May 3. and Fisher. To 22 April. Restaurant 2 Marian Street, , 2071 QUEENSLAND______TASMANIA 498-3166 Bunny Gibson, Doug Kingsman, THEATRE ROYAL (34-6266) Maureen Elkner and Rod Dunbar ARTS THEATRE (36-2344) in The Glitter Sisters devised and written by Gary Mary Stuart by Friedrich Schiller. Director, Bill Music and Magic of Paris Down and Jon Finlayson. Directed and staged Hill. With Jenepher Debenham, Jennifer THE EDITH PIAF (Je vous aime) SHOW by John Finlayson. 6 April - 15 April. Devised by Libby Morris — Directed by Alastair Duncan Radborne, Kevin Radbourne and Ian Thomson. Tuesday to Saturdays at 8.15 p.m. Showboat. Theatre Royal Light Opera To 15 April. Dinner from 6.30 p.m. — Sunday at 4.30 p.m. Company. 21 April to 6 May. The Waltz o f the Toreadors by Jean Anouilh. Commencing April 14th at 8.1 5 p.m. “ JOURNEY’S END” by R C Sherriff Director, Yve Morrison. Designer, Max Hurley. TASMANIAN PUPPET THEATRE LICENCED FOYER AND RESTAURANT BARS 20 April - 20 May. Indonesian tour sponsored by ITepartment of The Witch, the Wizard and the Giant Cook by Foreign Affairs. 31 March to 15 April. Eugene Hickey. Director, Barbara Webber. Magic Shadow Show. Tasmanian schools tour Childrens Theatre each Saturday. 15 April to 30 April. HER MAJESTY’S (221-2777) Othello by William Shakespeare. Chichester WESTERN AUSTRALIA Festival Theatre Company production. Director, Peter Dews. Designer, Finlay James. CIVIC THEATRE RESTAURANT (272-1595) 28 March -1 April. Laughter Unlimited. Review. Director, Brian The Applecart by George Bernard Shaw. Smith. Director, Patrick Garland. Designer, Eileen Diss. Costumes, Raymond Hughes. 3 April - 8 HOLE IN THE WALL (81-2403) April. The Seagull by Anton Chekov. Director, Mike Queensland Opera Company: The Gypsy Baron Morris. 17 March - 22 April. ensem ble

THEATRE AUSTRALIA APRIL 1978 51 NATIONAL THEATRE (25-3500) The (next door) Vaudeville Theatre: Playhouse: Sparkling Vaudeville Show. Through April. Dusa, Fish, Stas and VI by Pam Gems. ARTS COUNCIL OF VICTORIAN STATE OPERA COMPANY Melbourne Theatre Company production. 30 (41-5061) SOUTH AUSTRALIA March - 22 April. Sid the Serpent Who Wanted To Sing produced in association with The Club by David Williamson. Melbourne by Greg Shears and Betty Pounder. Music by Clifford Hocking Enterprises, Theatre Company production. 27 April - 20 Malcolm Fox. All schools throughout Vic. presents May. during year from April. Greenroom: Gotcha by Barry Keefe. Director, Andrew Ross. 4 April - 22 April. PAM REGAL THEATRE (81-1557) No Sex Please, We’re British by Marriott and Australia^ magazine of the perfuming arts Foot. 30 March and continuing. H ieaire Australia AYRES W.A.I.T. HAYMAN THEATRE (350-7026) Hitting Town by Stephen Poliakoff. Director, IN CONCERT Stephen Barry. 5 April - 15 April.

VICTORIA

AUSTALIAN DANCE THEATRE National Theatre: New Work. First programme April 18-22. Second programme April 25-29. AUSTRALIAN PERFORMING GROUP (347-7153) Pram Factory: Back to Bourke Street. A group developed show. March 21 - April 19. The Radio Show. Radio Show Company. April 24 - May 7. COMEDY THEATRE (663-3211) For Coloured Girls. . . Adelaide Festival Production. March 28 on. FIRST NATIONAL TOUR HER MAJESTY’S (663-3211) OF AUSTRALIA Chorus Line Expected to continue through April. N ext Month 26th MAY ADELAIDE (Opera Theatre) HOOPLA THEATRE FOUNDATION Commercialism in subsidised (63-4888) theatre 27th MAY Playbox Theatre: ADELAIDE (Opera Theatre) Perfect Strangers and The Christian Brothers by The Sage of Twelfth Night Ron Blair. Two plays co-produced by Nimrod 30th MAY - 10th JUNE Reviews, Opera, Theatre, Ballet, and Hoopla. (South Aust. Country Centres) Dance, lots more. LA MAMA (380-4593) 12th JUNE - 17th JUNE Stingray Play written and directed by Sun Ring. MELBOURNE, CANBERRA, Thurs.-Suns. April 7-30. SYDNEY, PERTH. LAST LAUGH THEATRE RESTAURANT Venues to be announced. (419-6226) OVERSEAS SUBSCRIPTION True Romances. Busby Berkeleys with Peaches RATES HIT OF THE 1978 La Creme and Henry Maas. Through April. ROYAL COMMAND Surfaceman AS25.00 MELBOURNE THEATRE COMPANY VARIETY PERFORMANCE By air (699-9122) New Zealand, New Guinea AS45.00 Athenaeum: Enquiries: Phone Richard The Third by William Shakespeare. U.K., U.S.A., Germany, Greece, Italy AS50.00 All other countries AS70.00 Adelaide 212-2644, Directed by Mick Rodger. March 16 - April 29. Melbourne 62-4884 The Beaux Stratagem by George Farquhar. Directed by Frank Hauser. May 4 - June 10. Bank drafts in Australian currency should be forwarded to Theatre Publications Ltd., 80 Russell Street: Makassar Reef by Alex Buzo. Directed by Elizabeth Street, Mayfield, N.S.W. 2304, Pam Ayers Tour Aarne Neeme. March 23 - May 13. Australia. is supported by TIKKI AND JOHNS (663-1754) The Savings Bank of Tikki and John at the Musical Hall. April 1-30. South Australia and Channel 7

52 THEATRE AUSTRALIA APRIL 1978