NOVEMBER, 1985 Vol 9 No 10 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust

Lauren Bacall in Sweet Bird of Youth Australian Tour

SWEET BIRD OF YOUTH by Tennessee Williams Directed by Kenneth Ives Designed by Eileen Diss Lighting design by John Rayment Cast includes Lauren Bacall and Her Majesty's Theatre

"Harold Pinter's production establishes the piece as one of Tennessee Williams' very best. Bacall blossoms into magnificent iridescent col­ our, like a prize orchid. This is a splendid revival and the British theatre with the help of Lauren Bacall has done a great service to Tennessee Williams' reputa­ tion. " London Financial Times. " ... slinky as a lynx, hot as pepper, cool as. rain, dryas smoke. There's con­ siderably more to (Bacall) than staying sexy at 60. " London Observer. Harold Pinter's production of SWEET BIRD OF YOUTH opened in London in July this year to critical acclaim. Australian audiences will have an oppor­ tunity to see this remarkable production and to see Lauren Bacall in the starring role when it tours early next year. The premiere season will be held in at Her Majesty's Theatre from January 28. SWEET BIRD OF YOUTH is the story of a Hollywood drifter who brings a fading Hollywood movie queen (played by Bacall) oack to his hometown only to be cruelly and bloodily revenged by the father of a girl he had seduced. Colin Friels stars with Miss Bacall in the role of the drifter, Chance Wayne. It is a role which launched Paul Newman to interna­ tional stardom on Broadway in 1959. Lauren Bacall is a distinguished actress who became a Hollywood legend through her performances in the film classics TO Acclaimed British director Kenneth BOOKING INFORMAnON HAVE AND HAVE NOT, THE BIG Ives, who has worked extensively with Tue Jan 28 to Sat Feb 8 SLEEP and GENTLEMEN PREFER Britain's National Theatre, will mount Mon to Sat at 8 p.m. BLONDES. She has received two Tony the production in Australia based on Wed and Sat mats at 2 p.m. awards for best actress - in WOMAN Harold Pinter's London production. AETT $34.00 (Mon to Thu evg), $31.00 OF THE YEAR and APPLAUSE (in Only twenty-four performances will be (mats) presented in Sydney so Members are urg­ G.P. $38.00, $35.00 (mats) which she was most recently seen on the Pens/Stud $19.00 (mats) London stage). Her autobiography "By ed to book promptly to obtain good Two AETT tickets per member Myself" has become a bestseller. seats. 2

well-known Sydney dancers. This year Wrecked Ruggers Opera Mode the contemporary dance element will be complimented by small traditional dance LA VIDA BREVE by Manuel de Falla groups from the Torres Strait and L'HEURE ESPAGNOLE by Maurice ON THE BLIND SIDE by John Collins Yirrkala. Directed and designed by Sandra Lee Ravel Paterson Conductor: Edith Rens BOOKING INFORMATION Cast includes John Orcsik, Reg Gorman, Director: David Pross Thu Nov 14 to Sun Nov 24 John Cousins, Clive Marshall and Bill Tom Mann Theatre, 136 Chalmers St., Thu to Sat at 8 p.m., Sun at 5 p.m. Young Surry Hills AETT discount $1.00 Ensemble Theatre Bookings on 699 3273 nder the general title ESPANA, N THE BLIND SIDE is set in the U Opera Mode will present two mile­ O changing room of a Golden Oldies stone 20th-century operas - one very rugby team, the sporting equivalent of a Spanish and set in Madrid, the other very At the Q Parramatta Road car wrecker's yard. It is French but also set in Spain. Both operas REEDY RIVER by Dick Diamond a comedy but with more than a touch of will be sung in English. Directed by Jennifer West and pathos as the players face the fact that LA VIDA BREVE premiered in Nice they are "over the hill". The players' in April 1913. It is Falla's first published Ben Gabriel Designed by John Senczuk mouths are still working but the rest of work and it quickly established his pater­ Q Theatre the machinery is beginning to pack up nity in the Spanish Musical Renaissance . .. . legs pickled by drink, lungs kippered LA VIDA BREVE is a rich appeal to by smoke, the Oldies struggle against age, compassion for the perilous state of pre­ T he Australian musical classic REEDY joined by macho cameraderie, obsessed revolutionary Spain. L'HEURE RIVER makes another welcome with sexual mishaps and basic bodily ESPAGNOLE premiered at Covent return at the Q Theatre, Penrith, later functions. Garden in 1919. This opera is Ravel's this month. It will be the first profes dramatic statement that opera should be sional production of the play. Set jus propelled into the 20th century. It is a after the breaking of the 1891 shearers witty romp championing the honest poor. strike, it's a tale of mateship among the ESPANA continues Opera Mode's policy shearers and love between Joe and Mary of presenting the finest 20th-century Many favourite Australian folk songs operatic works at easily accessible prices. such as "Click Go The Shears, Boys", "Reedy River" and "My Old Black BOOKING INFORMATION Billy" are included. Nov 22, 23, 28, 29, 30 at 8 p.m. Sun Nov 24 at 5 p.m. BOOKING INFORMATION AETI discount $2.00 Nov 20 to Dec 15 Bookings on 871 2223 Wed to Sat at 8 p.m. Two AETI tickets per member Wed mat II a.m., Sat mat 4 p.m., Sun mat 4.30 p.m. AETT discount $1.00 Bookings on (047) 21 5735 The setting may be rugby, but the Stomping Ground problems the characters face are not exclusive to rugby; they are those of merican dancer Carole Johnson anyone, of any sex, trying to stave off the A visited Australia in the late sixties L.A. Comics reality of the tail end of life. The play is with the Eleo Pomare Dance Company about tackling and in turn being tackled from the USA. She returned to Australia f you want a night out before by our own limitations, fears and in the early seventies and founded the I Christmas with some laughs, Kinselas dubious achievements of our past. Aboriginal Islander Skills Development is offering a package of a fixed menu din­ Although playing at the Ensemble Scheme with the view to giving the young ner and a show by three leading L.A. Theatre, the production is not by the Aboriginals of Redfern an interest and stand-up comics. There's also dancing Ensemble but by Sandra Lee Paterson training in dance. The Scheme is funded during the interval and after the show who also designs and directs the cast of by the Aboriginal Arts Board and the with the Vitabeats, an Australian couple eleven men. Theatre Board of the Australia Council, who combine funk, comedy and big beat the NSW State Government and the and have had several national hits. A BOOKING INFORMATION Department of Aboriginal Affairs. The limited number of show-only tickets are Sat Nov 9 to Sat Nov 30 dance group's annual production is being available at $12 less than the package Mon to Sat at 8.30 p.m. held at the Belvoir Street Theatre between price. Fri and Sat at 6 p.m. November 14 and 24 and is called AETT $15.00 STOMPING GROUND. BOOKING INFORMATION G.P. $17.50 The company has developed its own Mon to Sat at 7 p.m. Pens/Stud $14.00 (Mon to Thu) AETT discount $2.00 Two AETI tickets per member style of contemporary dance using Aboriginal themes and choreographed by Bookings on 331 3100 3

trover sial circumstances, at the end of Publishers to write the story of The Ballet Book Offer 1974. She returned to the post for the Australian Elizabethan Theatre Trust whole of 1978 and earlier this year pro­ from the time of its inception in 1954 B y special arrangement with the duced COPPELIA for the company. until the present. publishers, Macmillans, we are able With the assistance from Dame Peggy, Mr. Adams, producer of many of the to offer Members the biography "Peggy the biography is rich in detail about Australian Opera/ABC Television van Praagh: A Life of Dance" by Australian and British ballet over the past simulcasts, has had a long association Christopher Sexton for the reduced price 50 years. with the arts in Australia. He has pro­ of $19.95, including postage. duced television documentaries and A key figure in the founding and literary publica~ions which, in addition to development of The Australian Ballet, Trust Biography the highly successful "La Stupenda" in­ Peggy van Praagh came to Australia first clude a biography of the painter Sir in 1960 as artistic director of the Trust Members will be interested to William Dobell and a history of the Borovansky Ballet. In 1962 she became know that Brian Adams, the respected Australian cinema. Mr. Adams is cur­ artistic director of the newly created television producer and official rently interviewing key figures in the Australian Ballet and remained with the biographer of Dame Joan Sutherland, Trust's history for his book due for company until her retirement, in con- has been commissioned by Methuens publication in 1987.

Comedy of our unfortunate visit to a bar once, is also a single mother. Two new arrivals join the Kinetic Energy's Times inmates - Miss Many More, piano Jubilee teacher, formerly of Railway Terrace, Lewisham, and Ludwig Leichhardt the DONG Xi conceived by Graham Jones in OPERA OPERA! Fifth, a central European refugee from Directed by Larry Buttrose collaboration with Peter Snow, Jepke Communism obsessed about making Goudsmit and Don Reid Presented by the A.E. T. T. money out of opera in Australia. At this Cast: Mandy Salomon, Geoff Aldridge, Presented by Kinetic Energy point, having given you a taste of the in­ The Performance Space Sally McKenzie, Paul Livingston and gredients, J think I'll leave the plot to you Miss Many More and chance. " Belvoir St. Theatre Downstairs inetic Energy is celebrating its 10th K Birthday since its founding in 1975 by Graham Jones and has just acquired few words from style consultant, newly renovated studio premises in A Fiona Smout, about Opera Opera! Newtown. "Hi, and a big Xmas Kiss to all New work to be presented at the Per­ members of the Trust. formance Space this month reflects this "Let me tell you a bit about OPERA change in direction. DONG Xi (Chinese OPERA! at the Belvoir. In this farce, the for "east-west") is based on the four anti-hero, Geoffrey, has the unfortunat? winds and Chinese calligraphy; it in­ Social Security number of cludes a birth poem and a knitting dance 0000000000000001 which doesn't quite performed to the rhythm of a text based match up to his blood alcohol level; his on knitting patterns. Both these are read nickname is 'The Brewer's Little Mate'. by Jepke Goudsmit and were written by His other hobby is the pursuit of the fast Peter Snow who is writing for the com­ buck. Mandy, his wife, is sometimes a pany under a Literature Board grant. Christian, sometimes an Orangeperson Original music for DONG Xi is by Don (or whatever colour they are these days). BOOKING INFORMATION Reid who has worked with Kinetic What she really wants to do is join the From November 26 Energy for some years. AFC (that's the Anarcho-Feminist­ Tue to Thu 8 p.m., Fri 9 p.m., Commune in Annandale, not the Sat 6 p.m. and 9 p.m. BOOKING INFORMATION Australian Film Commission). AETT $IU)() Wed Nov 6 to Sun Nov 24 G.P. $12.00 "Sharing their Darlinghurst squat is Wed to Sun at 8 p.m. Pens/Stud $6.00 Sal, the heroin addict, former prostitute AETT discount $1.00 Two AETT tickets per member Bookings on 698 7235 and failed actress, who due to a rather ,j

Bathroom Sydney Dance The Australian Ballet orthside Theatre Company at Company T he Australian Ballet's final pro­ N Marian Street Theatre has a cheerful gramme for the year will follow the frolic for this month, set in, of all places, T he Sydney Dance Company presents Sydney Dance Company into the Opera a bathroom. Harry and Tess celebrate the its final 1985 season this month at House from November 29 to December completion of their new bathroom by the Opera Theatre, S.O.H. Two brand 19. It will be a double bill with renowned throwing a party and it all turns into a new works will be presented, SHIM­ Danish dancer Erik Bruhn presenting his sort of bubble bath of confusion. The MERING and BOXES, both production of August Bournonville's LA guests won't get out of the new bathroom choreographed by Graeme Murphy. SYLPHIDE. Bruhn is artistic director of and some unexpected guests, like an ex­ SHIMMERING is a short work to live the National Ballet of Canada. In con­ wife and a mother, add to the froth. It's music composed by Karol Szymanowski trast to the classical SYLPH IDE, Paul the premiere of Donald Macdonald's se­ and will feature Andrea Toy and Alfred Taylor's AUREOLE will be the second cond play - his first was the successful Williams. The score for BOXES, which is work of the programme. It is a contem­ CARA VAN - and takes a wry look at a major work, was commissioned from porary ballet and danced to the music of relationships and cleanliness. Donald Australian rock composers Iva Davies Handel. Macdonald is also directing. and Bob Kretschmer of the band Icehouse. Davies and Kretschmer will BOOKING INFORMATION perform their music on stage as an Sun Nov 3 to Sun Nov 17 integral part of the ballet. BOOKING INFORMATION Tue to Sat at 8.15 p.m. Fri Nov 29 to Thu Dec 19 Sat and Sun at 5 p.m., Wed at 11 a.m. BOOKING INFORMATION Mon to Sat at 7.30 p.m. (except Mon Dec AETT $15.00 (Mon to Fri and mats Thu Nov 7 to Sat Nov 23 16 at 6.30 p.m.) except Nov 617 evg) Mon to Sat at 7.30 p.m. Sat mat at 1.30 p.m. G.P. $17.00 (Tue-Thu), $18.00 (Fri-Sun) AETT $20.50, G.P. $24.50 AETT $35.00, G.P. $38.00 Pens/Stud $12.00 (except Fri and Sat evg) Stud/pens $19.50 Pens/Stud $28.00 Two AETT tickets per member Two AETT tickets per member Two AETT tickets per member

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ANNUAL ART EXHIBITION delights of the new Arts Centre but wine on the lawns and a professional Son Friday, November 15 to Sunday, there'll be opportunity too to see et Lumiere performance written especial­ November 17 something of and the Vic­ ly for the celebrations. We are arranging Members and Friends are warmly invited torian countryside. The weekend will in­ bus transport and pickups will be made to attend the Opening Party of the clude performances of LOHENGRAN on the North Shore and at Strathfield and Sydney Committee's 1985 Art Exhibition by Victorian State Opera and of The Liverpool. Members are welcome to to be held for the first time in the Exhibi­ Australian Ballet's THE MERRY make their own travel arrangements and tion Hall of the Sydney Opera House. WIDOW at tbe Centre. There'll be a day meet us there if they wish. The coach will The Exhibition will be opened by Noel trip to the Dandenongs and dinner on depart Kings Cross at 4.45 p.m. Tickets, Ferrier at 7 p.m. on Friday, November 15 Melbourne's famed tram car restaurant which include transport, dinner and the and will continue from 10 a.m. to 5 p.m. which takes you around the city as you Son et Lumiere are $52 by coach or $45 if on Saturday and Sunday. As usual eat! The cost for the weekend, which in­ you use your own transport. there'll be a wide range of paintings and cludes airfares, accommodation at pottery by the well-known potter Con­ Melbourne's elegant Regency Hotel, lun­ TEA WITH THE MARIONETTES chita. Tickets for the opening night party ches, dinners, opera and ballet tickets Thursday, November 28 at 10.30 a.m. are $16.00. and the country tour, is $595. Join us for a pre-Xmas get-together in the convivial atmosphere of the Sydney CAMDEN PARK SON ET LUMIERE Sailors Home surrounded by all their VICTORIAN ARTS CENTRE TOUR Saturday, December 7 at 6.30 p.m. delightful puppets. We hope we might Friday, November 22 to Sunday, To celebrate the anniversary of Camden persuade the puppeteers to work a few of November 24 Park, the Macarthur Stanham family in­ them for us! For those who'd like to There are still places available to join vite the public to join the festivities by at­ make a day of it in The Rocks we'll be Members Committee President, Shirley tending a rare and novel evening's arranging lunch afterwards at a local Hay, on her visit to Melbourne. The tour presentation. This will involve a tour of restaurant. Morning tea tickets are $5.00 is arranged primarily to sample the the property, a three-course dinner with each. Friends are very welcome! 5

laying from November 5 to 9 at the work, THE BIG APPLE, at the One of Theatre South's most suc­ P Canberra Theatre is the ever-popular Playhouse, Canberra from November 19 cessful productions in 1984 was Carmel ROCKY HORROR SHOW. This spoof to 23. The musical looks at the way peo­ Power's WONDERFUL WOLLON­ of B grade movies by New Zealand writer ple try to excite themselves and in a series GONG. A new revue by the same author, Richard O'Brien has itself been made of musical vignettes follows the progress EVEN MORE WONDERFUL into a film which has gathered a cult of Adam and Eve from the garden of WOLLONGONG, opens at the Bridge following. Peter Batey directs this tour­ Eden to the city. It is being staged in a Theatre on November 14. The produc­ ing production which stars Joe Daniels in particularly interesting way, commencing tion includes skits, music, dancing, and a the central role of Frank-N-Furter. with a fairly sparce set which 'draws on play within a play with the title, wait for Following at the Theatre Centre on the audience's imagination. But as the it, PASSION IN THE PLATE MILL. November 21 is Tempo Theatre's pro­ production develops so too does the set Children under eight years who live in duction of HELLO DOLLY! starring - put together by a group of Droids - the Wollongong area have a special treat Leila Nixon and Simon Gallaher. With while the action on stage continues. in store for them when Melbourne's music by Jerry Herman, Hello Dolly! has Meanwhile, at the A.N.U. Arts Cen­ renowned Australian Nouveau Theatre become the third longest-running musical tre, Black Ink is mounting a production presents PUppy LOVE at the Bridge comedy on Broadway. Based on Thorn­ of JOSEPH AND THE AMAZING Theatre from November 16 to 29. Bruce ton Wilder's play THE MATCH­ TECHNICOLOR DREAMCOAT which Keller plays a puppy who shows the MAKER it tells the hilarious adventures will be presented from November 22. children the world through the puppy's of Dolly Levi, a matchmaker in New Written by Tim Rice and Andrew Lloyd eyes. York at the turn of the century. Webber it is a dazzling rainbow mix of Ken Granneman, who is well known to music, song and action which appeals to AETT discount applicable all perfor­ patrons of Theatre A.C.T., has devised all age groups. The Canberra production mances. See local press for booking information. and will direct a new musical theatre is directed by Paul Corcoran. ~_~_~_/~------

BURKE AND WILLS directed by Much of the film's interest lies in the con­ Graeme Clifford trast in the personalities of its two main Screenplay by Michael Thomas characters, the imperious Irish cavalry Produced by Graeme Clifford and John officer turned policeman Burke (Jack Sexton Thompson) and his second in command, Music by Peter Sculthorpe the stoic and gentlemanly Wills (Nigel Starring , Nigel Havers Havers), disciplined by his English public and Greta Scacchi school background. Greta Scacchi plays Opening November 7 at Hoyts Centre the beautiful soprano, Julia Matthews, who is to marry Burke when the expedi­ elbourne's big year of celebrations tion returns. Jack Thompson says he ac­ M for its 150th birthday includes the cepted the role of Burke because "the Royal Premiere of BURKE AND WILLS script is about winners and being proud before the Prince and Princess of Wales of the human spirit these men so obvious­ on November 1. Victoria is a fitting ly had". choice for the premiere as one of Burke's commissions during the fated trip was to grab land for the Victorian land barons BOOKING INFORMATION before fellow explorer and rival, John McDougall Stuart, did the same for a Concessional vouchers can be purchased from the AETI and exchanged at Hoyts, Greater Union and South Australian syndicate. Village cinemas for tickets. The vouchers are open dated but some Saturday/ Public Holiday restrictions A true tragedy that should be familiar apply to their use. See vouchers for details. to all Australians, the Burke and Wills G.U. $5.50 ($1 saving), Hoyts $5 .00 ($1.50 saving), Village $5.00 ($1.50 saving). Please note, no hand­ expedition set out with vast resources of ling fee applies to film vouchers and members may purchase as many as they wish . men, animals, wagons and equipment Discounts are also offered at the Dendy Cinema, Martin Place ($2.50), and the Academy Twin, Padding­ ton ($2.50), at all performances except after midday Saturday. Members should present their member­ only to be soon forgotten and neglected ship card at the box office. Discount available on one ticket per member. by their fickle backers in Melbourne. 6

Bullie's House in America by Irvin S. Bauer

t seems like an eternity, although only I 1980, that I attended the opening night of BULLIE'S HOUSE by Tom Keneally at the Nimrod Theatre in Sydney. I felt wired. I couldn't remember when I had been so excited in the theatre. Tom Keneally, with seven characters and one simple set had put his finger delicately on the pulse beat of humanity in a dramatic and thrilling way. His language, emotional as well as literal, fascinated me. It harked back to the titual begin­ nings of mankind, and if that's not the markings of true theatre, I don't know what is . Alas, the critics were less thrilled than I was and the play was discreetly dismiss­ ed. Of course there were things wrong with it. It was uneven, confusing in places, wordy, unintelligible at times. Simply put . . . it didn't work. But I felt it could be fixed and if it was .. . what an exciting evening's theatre it would be. I told Tom that I would option the play but I wouldn't produce it the way it was. I would bring him to New York where I Left to right, back row: Josef Sommer, Tommy Lewis, Richard Walley, Kathleen Norris, Justine Saunders, would conduct a non-performance Peter Allen and workshop to make the necessary adjust­ Kneeling: Paul Pryor, Ron Frazier ments in preparation for production in the United States. My experience con­ much ready and then the director can do It took another trip but Ken Frankel vinced me that the sheer power of the what he or she is supposed to do ... cast the Aboriginal parts and on a day in work, the relevation of the Aboriginal direct. It was during the workshop that March, 1985, Ernie Dingo from Western culture and uniqueness of the piece would Ken Frankel, Associate Artistic Director Australia, Paul Pryor from , appeal to American audiences. of The Long Wharf in New Haven, Con­ Justine Saunders, the only member of the necticut became interested in the play. I original production of BULLIE'S It took two years for me to get Tom to invited him to attend a session and he was HOUSE, Tommy Lewis - a real Ozzie New York. Gordon Chater, gracious as intrigued and asked to see the revised film star - the lead in THE CHANT OF always, consented to participate (in the script which he was immediately sent. He JIMMY BLACKSMITH, and Richard workshop), as did Michael Allison, who and The Long Wharf were enthusiastic Walley, an accomplished musician from replaced Rex Harrison in MY FAIR and finally. . . as usual, it all came down , who would play the LADY and Larry Lott, a fine actor who to money. If funds could be found to digeridoo and act as Assistant Director, had spent a number of years in Oz and transport the Aboriginal actors, then The boarded a plane for the U.S. of A. The knew the sound. Since there are no Long Wharf would schedule the play group's arrival in New Haven was Aborigines roaming the streets of New combining three American actors with auspicious. Flash bulbs popped, TV York, I used East Indians for the the four Aboriginal actors and one musi­ cameras blazed . .. news conferences Aboriginal roles. Their sound was close cian to play the didgeridoo, which was were scheduled. It was certainly a media enough and their demeanor suited the germaine to the play. Thank God for the event and the press and TV gobbled it up. play. Tom was wonderful in workshop. Australian Elizabethan Theatre Trust, Even the New York Times did a three­ Collaboration, like marriage, when it who, after reading the new version and column piece. doesn't work can be horrendous. This putting up with my ear bashing, allocated Rehearsals started immediately. The one worked. It was useful, lucid, produc­ funds to bring Ken Frankel and myself to first read throughs, with halting explana­ tive . . . and fun. All that stuff about Australia to gain the co-operation of the tions on Ken Frankel's part, were tense plays being fixed in production, forget it Aboriginal Arts Board, to do what and tentative. The American actors were ... it never happens. You have to go research we could, and hopefully cast the friendly, calm, helpful to a fault. The into production with the play pretty play for The Long Wharf. Aboriginal actors were spontaneous and 7

frightened. It was like two boxers feeling Chicka was inspiring, and they were Massachusetts, to cover the play for The each other out in the opening round with thrilled that he had come to be with them. Boston Sunday Globe wrote: "Wonger, the referee desperately trying to stay out His timing couldn't have been better. Wonger", "Djangawal", "The of the way. I'll never forget that first And they went off to do battle charged. Wawerlog Sister", and I think, "Oopsie week of rehearsal. Tommy Lewis attack­ We got through in great fashion. Nobody Doopsie". These are among the first ed the play, learned all his lines in the went up. The play remained intact . .. it words spoken in "BULLIE'S HOUSE" first days. He was a professional, wasn't even made sense and better still, the au­ which, according to Mr. Kelly's sensibil­ he? And if Tommy had done it .. . could dience responded very well. ity, "is a nearly incomprehensible play". Ernie Dingo, Paul Pryor or Justine But then we have immediately after­ Saunders do less? So by the end of the Opening night is always something wards, Kathy O'Connell's retort in her fourth day the Aboriginal actors were off special ... There were presents for the review in the Middletown Press . . . the book. The American actors walked actors. The table in the Green Room was "Thomas Keneally's BULLIE'S HOUSE the scenes, book in hand, groping, stam­ full of bottles of champagne and wine can really only be taken on its own terms. mering, struggling for meaning, while the and flowers and plants. Everyone wished Though it does employ all the traditional Aboriginal actors bounded about perfor­ everyone congratulations and good luck. elements of modern drama, it's sensibil­ ming up a storm. The fact that the lines A night of loud ovations and small ity is something else again. Unless you do were wrong most of the time or just touching gestures. The audience was en­ a bit of studying beforehand - arrive weren't there . .. pause ... pause ... thusiastic, triumph was in the air. Arvin early to read the glossary of Aboriginal pause .. . was the price. 'Twas a huge Brown, Artistic Director of The Long terms posted in the lobby (though not in mess. Then there was the eight or ten Wharf Theatre, had this to say . . . "I the programs, which would have been far hour rehearsal day. It soon became ap­ view BULLIE'S HOUSE as a completely more sensible) at Long Wharf's Stage II parent that the Aboriginal actors, due to successful experience for The Long and read the program notes carefully, experience, temperament ... living Wharf Theatre. Our audience en­ you're as likely to come away from this habits, were finding the long hours con­ countered a totally foreign set of cultural disturbing and revealing playas confused fining and a bit claustrophobic. Little by symbols, became acquainted with a new as the Boston Globe's Kevin Kelly. Kelly little the adjustments were made. Books vocabulary and responded with great ex­ ordinarily a very sensible critic called were taken in hand once more, although I citement to the individual performances 'BULLIE'S HOUSE' 'nearly incom­ don't think Tommy ever picked up his of the Aboriginal actors. The members of prehensible' and while it is not as though again. our company found themselves becoming Aboriginal culture is as readily accessible The rest of the rehearsal period pro­ unofficial interpreters of our theatrical as say that of certain regions of Africa, ceeded in the usual way . . . long ... system and the American way of life in it's not incomprehensible at all if you can repetitive, an occasional bright moment general. The stretch towards each other, grasp the most important tenent govern­ when something came together, when a of the visitors and the locals, was not ac­ ing the lives of the Aboriginal characters: little magic happened, when an actor complished free ofstress, but contact was there is a reason for everything, and a made the lines work. And it all happens made, and made powerfully. The event spirit controlling that reason. " very slowly, with painstaking concentra­ will not be forgotten for a long time to R. C. Hammerich, the Springfield tion. (Then) after weeks of intensive come. " Morning Union said, "It is a powerful rehearsal, we were finally approaching The First Preview. A week of preview performances had been scheduled before opening night to test the play in front of audiences. As the big night, Friday, April 26 arrived, everyone was tense and anticipatory. Would it all fall together .. . it was with all kinds of jangled nerves that I walked into the Green Room, the actor lounge, attached to the dressing rooms, outside the Long Wharf II and bumped into the whole group clustered around the coffee urn listening intently to Chicka Dixon, the Chairman of the Aboriginal Arts Board, who had materialised as if from nowhere. Nobody knew he was coming, yet there he was, big as life. "The first night my kids were playing in America . .. he told me later, no way I wasn't going to be there. " He Left to right: Paul Pryor (Richard Walley in background), Tommy Lewis standing over Ernie Dingo was telling the Aboriginal actors how im­ portant what they were doing was for the The audiences had loved us, could the play. The cultural and emotional points it Aboriginal community. He said that it critics be far behind? The next morning makes are strong, and it's theatrical wasn't just a play ... but for all the little was the moment of truth. Kevin Kelly, impact is impressive. " Ruth Lesser in the ones back home they were examples . . . who came all the way from Boston, New Haven Journal Courier said, "The 8

plot of BULLIE'S HOUSE is absorbing wonderful sound out of the didgeridoo on stage. He anchored the play and the and the production is impressive and ef­ . . . was the dance that Paul did really rich tones he found on the digeridoo were fective, from design through special ef­ part of a ritual? And the audiences the perfect counterpoint and fulfilment fects. " Then there were those like Mr. weren't only local. All kinds of people of the plays silent meanings. Kelly, who didn't get it, were baffled, trecked the two-hundred-odd miles from What a special group of Australian didn't like it ... couldn't recommend it. to see the play. Peter Aboriginal actors. What a special group Owen McNally in the Currant, Allen, one of music's superstars came . of actors. This is not to say that the "Australian Aboriginal traditions run because he had worked with Richard American actors were not wonderful as head on into modern white culture with Walley in Australia, was curious about well. No group of actors I have ever tragic results in 'BULLIE'S HOUSE', an the play, and I think, as a sign of solidari­ worked with tried as hard, cared as much interesting but laborious play. " Leah D. ty. You could tell that something signifi­ or performed more valiantly. They con­ Frank in the Stand ford Sunday Ad­ cant had happened in New Haven at The tinually displayed their long training and vocate: "American audiences have been Long Wharf Theatre. abundant skills in the service of the play. raised on the rapid pacing of television Then all too soon it was June 9. It was One small "but" ... they never really and films. Legitimate theatre dies if the all over. Before this last performance, I got the Australian rhythms ... so some audience, geared to quick-paced action, had walked around the dressing rooms, things never played right. Some of the knows immediately what's going to for what I knew would be the last time, humour implicit in the text was lost in happen." saying my "thank you's" to the actors. language. Some of the drama was muted. Some liked it ... some didn't get it They were, each and everyone of them This pertinent aspect of the play's fulfil­ ... all for the same reason. I guess the - Ernie, Justine, Tom, Paul and ment was compounded by the fact that proof of the pudding is in the eating. As Richard - simply terrific. They didn't go Ken Frankel, experienced and perceptive far as BULLIE'S HOUSE was concerned up in smoke as promised, walkabout, no a director as he was, didn't know that the it translated into bums on seats. And I catastrophes, performances were not rhythms were wrong and so didn't hear can tell you that people came. The houses cancelled, "because of" as predicted. or see the need for adjustments. And then were packed. The al!diences were'enthusi­ Like any other actors, they did their jobs. if you carry this line to its logical conclu­ astic. And that wasn't the end of it. Of­ They were on time for and played every sion . . . since the American audiences fers were made to move the play. performance. They were always didn't realise that there was anything Howard J. Barnett, a Broadway pro­ themselves, simple, open, friendly, wrong, they enjoyed the production for ducer, came to see it, was so taken with sometimes moody, proud, of being what it was and further believed that they the play that he wanted to move it to the Aborigines and proud to be were seeing a fully conceived rendering of Annenberg Arts Center, one of the Australians. what was meant by the text. leading arts complexes in the States,. Of course, some performances were That last night, as Tom and I watched located in Philadelphia, Pennsylvania, better than others ... But that is true of from the light booth, the audience en and then move it to the Kennedy Center any long run and four weeks rehearsal, masse rose to their feet cheering. Tom in Washington, D.C., where he felt it and six weeks of performances is a long quietly turned to me, "I'm very would be very well received because of run. And there's more. Performances touched," he said, "to discover that the diplomatic community residing in grew and were enriched. Justine for one, American actors and audiences under­ Washington. He felt that after the never stopped working. Her work as an stand the spirit and dynamics of the play Washington run it would be a natural to actress was a surprise. I had been told, ... The play actually encouraged people move on to Broadway. Mr. Barnett said with knowing assurance, that she was of diverse cultures American, Australian, that the reason he was so impressed with adequate and experienced. We would be Aboriginal, to come together . .. to the play, was that "It didn't beat it's safe to take her. Again the pundits were reach out to each other . . . to under­ chest . .. had dramatic appeal about im­ wrong. She was terrific. She kept work­ stand and feel for each other . .. to think portant basic truths, truths that we, all of ing her role long after opening night ... about each other. That was worth us, need to be reminded of To me, it was looking for insights ... asking questions doing. " I don't know where it came from not just a play about Aborigines and their ... trying for deeper shadings. And her but I found myself saying "Too right problems but was a situation everybody work and concern showed in her Digger . .. that was worth doing. " faces throughout the world every day. " increasingly fine performances. Ernie We all knew that there was no chance of Dingo made something noble out of moving the show then but it was nice to Bullie and the more he put himself into it, know we were wanted. Arrangements for Ernie Dingo is quite a piece of work, with Actors Equity provided only for a the richer, bigger, fuller the part of Bullie limited run of six weeks at The Long became and the clearer the meaning of Irvin S. Bauer is a Playwright­ Wharf and that was it. the play was felt. Tommy Lewis channel­ Producer based in New York where he A lively six-week run it was, I'll tell you led his frustration and homesickness into heads THE DEVELOPMENT that. Members of the audience lingered in a smoldering, angry performance that STAGE, a place where the Writer is the theatre after the play ended to con­ often electrified the audience. Paul Pryor encouraged to fulfil the potential of tinue the experience. They would wait by found a reservoir of humour in the old his work. He is the New York cor­ the stage door for a chance to talk to the man he played, extraordinary for an respondent for Trust News, writing actors. They wanted to know everything actor twenty-six years young. Richard "On Stage in New York" which - about the "Dream time", life in Walley, without saying one word, appears bi-monthly. Australia ... how Richard got that became an incredible haunting presence 9 ()1~on.·· u----in Ld1 by Ma'ga,,' Leask

s promised in my last column - a A brief report on Alan Ayckbourne's new comedy at the National - A CHORUS OF DISAPPROVAL. A highly entertaining play and production now in the Olivier Theatre's repertoire, CHORUS is a superb demonstration of Ayckbourne's talent for wringing laughter out of despair. Set around an amateur operatic company's production of THE BEGGAR'S OPERA, we follow the fortunes of Guy from his first ten­ tative audition to his shunning by the company (including the Welsh director, wonderfully conveyed by a shambling Michael Gambon, and his neglected wife - with whom Guy has an affair), after various business and personal deals which have gone on "behind the scenes". One of Ayckbourne's best plays, it shows "how art consumes, shapes and organises life, leaving its participants sadder and wiser".(.) Also at the National, following what appears to be irreconcilable differences between director (Peter Hall) and author over casting, John Osborne's THE ENTERTAINER has been withdrawn from the current repertoire (before going into production) and replaced by Shaw's MRS. WARREN'S PROFESSION with Gerard Murphy as Theseus and Glenda Jackson in the title role of PHEDRE at the Aldwych Theatre Joan Plowright. Meanwhile, Alan Bates opens on November 25 in the Olivier in a The Arts Council'of Great Britain has new play by Peter Shaffer - just launched a campaign to obtain more YONADAB, directed by Hall. funds for the arts from the Government In the West End, at the Lyric Theatre, at a time when metropolitan borough Lerner and Loewe's musical GIGI, councils, who have contributed con­ directed by John Dexter, has just opened siderably to the arts in the past, are being with Amanda Waring (Dorothy Tutin's dissolved. The Arts Council has produc­ daughter) as the initially gauche Gigi who ed a prospectus entitled A GREAT moves to womanly maturity. Re-written BRITISH SUCCESS STORY by which it as a stage musical, especially for the Lyric seeks to show that arts subsidy yields Theatre, it has four new additional songs substantial financial and economic and new orchestrations (from the film returns. It suggests that most of the version adapted from Colette's best­ money invested by the Government in the selling novel). With Beryl Reid, Sian arts is quickly recouped in taxes, that the Phillips and Jean-Pierre Aumont also in arts increase the employment count more the cast, it is already booking into 1986. cheaply than any other measures, and that they regenerate the depressed inner At the Aldwych until December 14, cities. It seems, however, that these Philip Prowse's production of arguments are faIling on unsympathetic PHEDRE, translated from Racine's ears - the new Arts Minister in Mrs. drama, returns to the London stage after Thatcher's Government has already an initial success at the Old Vic last year. begun to make it clear that the Govern­ Glenda Jackson repeats her stunning per­ ment, despite the fact that it is dissolving formance as Phedre, passionately and the metropolitan councils, does not feel tragically in love with her stepson. Philip any obligation to contribute more to the Prowse is one of the principal talents of arts subsidy. Can the belt be any tighter? the remarkable Glasgow Citizens' Theatre in Scotland and was recently Margaret Leask is a former editor .of much acclaimed for his production of Trust News now living in London THE DUCHESS OF MALFI at the Amanda Waring plays the lead role in GIGI at the where she is an artist's agent. Lyric Theatre National Theatre. 10 flfJ'Iit19 .-rJo'I1------m The Downstairs Theatre has been Brighton Beach Tears Before Bedtime transformed into a disco with tables and Memoirs chairs and disco music to set the ame Edna is with us all this month as atmosphere for the show. D she continues her season of TEARS C cone of the finest comedy-dramas BEFORE BEDTIME at Her Majesty's American theatre has ever had" AETT discount $3.00 Theatre. She brings us no less than three Bookings on 692 0555 is how Variety described BRIGHTON new songs created by her alter ego Barrie BEACH MEMOIRS, playing at the York Humphries. The show's curious title Theatre, Seymour Cen tre, during comes from the traditional mother's November. The hero is the teenage son of exhortation "Don't get too excited or a Jewish family in Brooklyn during the there will be tears before bedtime". Cats depression. Played by Miles Buchanan, AETT discount $3.00 (Mon to Thu) Eugene has two ambitions - to be a Bookings on 266 4800 f you don't like those noisy, nocturnal writer and to learn about sex. Against the I prowlers with their furry, flattering family background he comments to the ways, I suggest you don't go to the audience on events as they take place. It Theatre Royal because it's full of them is an autobiographical play, both funny Jonah Jones and they won't be put out with the milk and sad, by Neil Simon, which won the bottles. I'm talking about CATS of Best Play Award of the 1983 N. Y. Drama et in Redfern in the early 1900s, the course and they are in full voice with Critics Circle. The first play in a trilogy, Snew Australian musical JONAH Debbie Byrne leading the pack. It would the second part BILOXI BLUES, is play­ JONES is a mirror of the seamier side of be nice to be able to book for next week ing on Broadway and recently won the Sydney life in that period. Commissioned but with this show it's just not possible. 1985 Tony Award for Best Play. in 1979 by the , The only way to get seats is to book American director Ron Link is directing it was adapted for the stage by John ahead and we've set aside prime Stall BRIGHTON BEACH and the cast Romeril from the Louis Stone novel seats for performances in the New Year. includes Jill Perryman and Judi Farr. "Jonah". Originally envisaged as a play, it "grew" into a musical and Romeril BOOKING INFORMATION AETT discount $4.00 selected Alan John to compose the score. Mon Feb 10, Tue Feb 18, Wed Feb 26 at Bookings on 692 0555 8 p.m. JONAH JONES is a hunchback who Sat Apr 5 at 2 p.m. works as a part-time bootmaker by day AETT $37.00, G.P. $39.00 but is the leader of the feared Botany Bay No pens/stud discount Road Push at night. Enraged that his Two AETT tickets per member employee will not give him sufficient Discount unavailable at Theatre Royal work to keep his wife and child, Jonah The Real Thing opens his own shop and as "Jonah the Boot" becomes a successful business eremy Irons played the lead in the man. It's at the Wharf Theatre J Broadway production of THE REAL throughout November and stars Simon Crown Matrimonial THING, the new Tom Stoppard play at Burke as Jonah with Peter Carroll, the Opera House Drama Theatre. The Michelle Fawdon, Tony Taylor and he abdication of Edward VIII was Sydney Theatre Company production Geraldine Turner. T not only a worldwide sensation, it stars John Bell and Jacki Weaver. The was also a private family crisis in the play has strong overtones of the Coward AETT discount $3.00 House of Windsor. CROWN MATRI­ style of barbed wit, with nice lines like "I Bookings on 250 1777 MONIAL portrays the turbulence within abhor cliche. It's one of the things that the Royal Family circle in 1936. The play has kept me faithful", a quote from the is directed by Peter Williams at the Opera play within the play. That's what THE House Playhouse. In the cast is John REAL THING is about - the theatre Bouncers Hamblin who, like June Salter and and there's so much playacting going on several other players, was in the original that it's hard to distinguish what's real unning continuously in the UK since production. It will continue throughout and what isn't. Hence the title. Henry, R its premiere in 1983, BOUNCERS November. played by John Bell, is a playwright, suc­ plays at the Downstairs Theatre of the cessful, sophisticated and a polisher of Seymour Centre throughout November. BOOKING INFORMATION epigrams. His wife, Charlotte (Jacki The rituals of the provincial English disco Tue to Sat at 8 p.m. Weaver), is an actress and leading lady in scene are not pretty or decorous so the Wed and Thu at 11 a.m. Sat at 2 p.m. Henry's current West End success. Add show won't appeal to the easily shocked AETT $19.90 Nov 5 (8 p.m.) Nov 6 (11 the leading man in Henry's play and HIS but author John Godber has portrayed its a.m. and 8 p.m.) Dec 3 (8 p.m.) wife and the romantic complications are habitues in the way that Time Out December 4 (11 a.m. and 8 p.m.) endless. described as "hideously funny". The $24.90 other performances four actors work hard in this show; they G.P. $25.90 play a total of 50 roles varying from Pens/Stud $14.90 AETT discount $3.00 Two AETT tickets per member Bookings on 250 1777 nightclub bouncers to working-class girls. Great Performances.

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is a publication of the Australian Elizabethan POSTACE Theatre Trust which is produced exclusively for its 8,000 members throughout Australia. PA ID THE AUSTRALIAN ELIZABETHAN AUSTRAL IA THEATRE TRUST (incorporated in the A.C.T.) Patron Her Majesty The Queen President Sir Ian Potter Chairman Andrew Briger, AM Directors Rt. Hon. The Lord Mayor of , Alderman S. Atkinson Sir David Griffin CBE The Hon. Mr. Justice C. J. Legoe R. C. Lovejoy OBE Dr. T. Manford D. A. Mortimer N. R. Seddon AO CBE L. G. Teale L. D. S. Waddy T. Yates Chief Executive: Kathleen Norris Company Secretary: Don Grace Accountant: Barry Tree Entrepreneurial Administrator: Jeffrey Kovel Australian Content Administrator: Wendy Blacklock Executive Producer for Musical Theatre: Noel Ferrier Orchestral Director of Music: William Reid Theatre of the Deaf Artistic Director: Ben Strout Theatre of the Deaf Administrator: Priscilla Shorne Public Relations Manager: Andrew McKinnon Building, Props and Electric Supervisor: Roger Taylor Costume Hires Manager: Michael James Trust News Editor: Carole Long Membership Secretary: Carol Martin Melbourne office: Carol Ormerod Brisbane office: Denise Wadley Adelaide office: Veronica Bohm office: Janet Durack The Australian Elizabethan Theatre Trust receives financial assistance for its activities from: The Music, Theatre and Aboriginal Arts boards of The Australia Council a statutory body of the Commonwealth Government. The Department of Aboriginal Affairs. The Government through the Office of the Minister for the Arts. The Queensland Government Directorate of Cultural Activities. The Victorian Ministry for the Arts. The Government of Western Australia through the Instant Lottery. Esso Australia Ltd. The Ian Potter Foundation. The Australian Elizabethan Theatre Trust is a founder member of CAPPA. Membership enquiries should be directed to the Membership Secretary on 357 1200, 153 Dowling St., Potts Point. Postal address: P.O. Box 137, Kings Cross 2011. Registered b'l Australia Post - Publication No. NBH 1305 May be opened for postal inspection

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