Issued by the Australian Elizabethan Theatre Trust to Members of the Trust. MARCH, 1965. Price 1/ - BALLET AT pEAK FOR OF U.K.

by GEOFFREY INGRAM * IN its present tour of Australian cities, the Australian Ballet is fully keyed up to meet both the excitements and the challenges of its participation later this year in the Commonwealth Festival of Arts in Britain. The opportunity to measure Australian audience receptiveness against what the company is striving for in such ballets as "Yugen", "Le Conservatoire", "The Display" and "Melbourne Cup" is being very readily taken by all members of the company, for safe . passage through the tests of searching Australian criti­ cism can be a signiticant key to the company's prospects later in 1965 in the arena of international criticism. The overseas tour, assisted by a special grant from the Commonwealth Govern­ ment, has necessarily occasioned an in­ tensive re-planning of the company's development. One aspect of this re­ planning is in the choice of the 1965 rcpertoire. * * * N determining thi~ repertoire, consider­ I ation has been gIven to ballets whIch Ron Haddrick as he appeared in Robin Lovejoy's recent production of Othello at are likely to be popular not only in the Perth Festival. Haddrick will play the Othello role again when Tom Brown's Australia but also overseas. That is one new production of the tragedy is mounted at Sydney's Old Tote in the near future. of several basic reasons underlying the present production by the company of repertoire and one of the oldest ballets for ballet, but which-in a production August Bournonville's "Le Conserva­ at present being performed. A work of such as his- are of continuing universal to ire". exquisite charm and technical finesse, appeal. (See "Yugen" designs on pages The work of Bournonville is the found­ it has not been toured in Europe for at 6 and 7.) ation upon which the Royal Danish least 15 years. Other works to be toured overseas in Ballet is established-and a most mem­ With designs by Sydney's Desmond the form in which Australian audiences orable opportunity to measure the genius Digby, the artist who conceived such are now seeing them are Helpmann's of Bournonville, as dancer and teacher entrancing stage "housing" for recent "The Display" and Rex Reid's "Mel­ and choreographer, was given to Austra­ productions here of "Cosi fan Tutte" bourne Cup". Already both of these lian balletomanes in 1962 when. dancer and "Die Fledermaus", Bournonville's works are known overseas by the "cog­ Erik Bruhn from Denmark made a series "Le Conservatoire" can confidently be noscenti" who await them, if not exactly of guest appearances with the Australian counted upon to capture all audiences with bated breath, then certainly with a Ballet. with its perennial beguilements. very considerable measure of eager "Le Conservatoire" is being re-pro­ * * * interest. duced in Australia by Poul Gnatt, now SOME completely new ballet is an The company's overseas tour will be resident here after a distinguished career essential component of a touring an extensive one. The Commonwealth with the Royal Danish Ballet. It is one company's repertoire. We have this in Arts Festival itself embraces Liverpool, of the major works of the Bournonville Robert Helpmann's "Yugen", which, Cardiff and Glasgow, and the company danced to a speciaJly written score by will appear in at least two of these the Japanese Yuzo Toyama, adopts its cities in addition to London. In Lon­ * GEOFFREY INGRAM is the Ad­ theme and mood from the Japanese don, the compa'ny will gi ve two gala ministrator of The Australian Ballet. Noh drama. Helpmann's production of performances in no less a setting than He has recently been in London to this ballet of most unusual collaboration the Royal Opera House, Covent Garden. plan complete details for th e com­ is most original in its treatment of pany's overseas appearances in 1965. themes which are not new as subjects (Continued on page 11) LOVEJOY'S WORK GIVES NEW mrunt Nrms HOPE TO PLA YWRIGHTS A PPOINTMENT of p!oducer-designer Robin LQvejoy as a co-director of Sydney's Editor: LINDSEY BROWNE . .D.ld Tote Theatre .ncreases hopes that Australian plays of sufficient merit and Nab.lay for Old Tote I!r.esentation will be found, for it is to the training and encouragement of prom~smg yo.ung Australian playwrights that Mr. Lovejoy has MARCH, 1965 devoted almost all of h.s creatzve energies in the r~cent past. " Follow~~g the series of p!ofessio~al scripts to the fire and anvil of round- readtngs of Austrahan scnpts which table argument, "readings" and full­ he arranged and produced at the Old furbished production. Tote \a~t year for the pnmary ~urpose "The complaint I have never ceased to TOMORROW'S of gUldtng authors, .Robm LovejOY re- hear from our writers is that they live cently partlcl~ated.m a JOtnt A.B.C.- m a sort of limbo, cut off from theatre " Trust semtnar m which 10 young writers, Mr. Lovejoy says. "That must be AUDIENCES for a fortlllght, submitted stage and TV changed. "The writer's art, as I see it, is essenti­ The opening of the new school year ally a lonely one-but theatre writing throughout Australia has brought with Guess Who? differs from other forms of literature in it a considerable expansion both in the that it is not a direct communication Trust's own activities for school audi­ Boston Beano from writer to reader. It has to be ences and in Trust support for various AN opera by Verdi tells how i~t~rpreted by actors, directors, tech­ instrumentalities whose mission, like the lllClans; therefore, the writer has here Trust's, is the generation among young Richard, Earl of Warwick, Governor of Boston, is assassin­ a special set of factors and conditions Australians of enthusiasm and affection to contend with as he writes. I don't for the theatre arts and of understanding ated at a brilliant social function in the city which, as the then think there has been sufficient under­ of the personal enrichment that these standing among writers of what these arts give to life. stronghold of trans-Atlantic puri­ tams.m, .had absolutely nothing to factors are. qualtfy It as a setting for the very "The play-readings at the Old Tote Three companies of Young Eliza­ last year and the 'Playwrights' Work­ Itahanate gOl'ngs-on III Verdi's bethan Players, presenting carefully shop' Seminar were an attempt to expose shortened versions of Shakespearean cloak-and-dagger plot. . Nobody realised the laughable the writers to these very factors and plays set for school study, are meeting conditions in order to help them under­ busy schedules as they tour from school mcongrmty of this better than Verdi did. The change of char­ stand the . motivations, ethics, goodwill to school in New South Wales, Victoria, or otherWise of the interpretative team Tasmania, South Australia and Queens­ acter names and locale for his opera had been forced upon him -to become aware of the importance land. In New South Wales schools, of precision in writing and of the dan­ also, members of the Trust Opera Com­ by nervous official censorship which obje~ted hotly to any stage gers of impreciseness. And, at the same pany are continuing the £eries of presen­ time, we h~ve s~ught through these tations called "Opera in a Nutshell" work deahng Wi th the assassin­ atIOn of rulers, the more particu­ ventures to mtenslfy the interpretative which were inaugurated last year. team's. awareness of its obligation to Following last year's successful costumed larly as an attempt had recently been made on the life of Napoleon deal fauly and faithfully with the writer presentations of the major scenes of and his special sense of possession." "Carmen", the Trust singers (presented III in Naples. For Verdi's plot was really con­ Robm Lo~ejoy ' s ascent to his present by the N.S.W. State Opera Company) place of distinctIOn as one of Australia's are staging Donizetti's "Don Pasquale" cerned n~t with any vague Earl of WarWick but with one of the outstanding stage producers and theatre during 1965. most enlightened of 18th century thmkers began by the mere accident of an

-A. D . Hope

(A. D. Hope's prologue for Ih e special 10lh Anniversary presentation by the Trusr at the Elizabelhan Theatre, N ewtown, is reproduced hl!re in response to many requests.)

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Page 4 TRUST NEWS MARCH ~-----~------...., "The Bach of Ballet" This is the entrancing grouping of dancers as the curtain falls at the end of the Australian Ballet's presentation of the Bournonville work, "Le Conservatoire". Described by Trust Director Stefan Haag as "the Bach of Ballet", Bourno,:ville's mas/erpiece is a high-point of the ballet company's 1965 repertoire. 1t has been re-created for Australia by Danish dancer, Poul Gnatt, who appears (as the dancing master) in the centre of our picture.

"MADAME BUTTERFLY" DROPS NO DIPLOMATIC BRICKS USTRALIA is one of the few remaining opera-loving countries in the world where Puccini's "Madame A Butterfly" can still be staged without causing diplomatic difficnlties of one kind or another for authority. None of the political overtones that national anthem in his score ("The The significant lines of the aria "One have variously bedevilled productions Star-Spangled Banner") is so closely Fine Day" are as follows: of this opera overseas in the last quarter­ identified with the goings and comings One fine day we'll notice century are to be detected in the present of the naval officer that Washington's A thread of smoke arising on the Arts Council tour of New South Wales nervousness about performances of the sea, and Queensland of a Trust production opera seemed justified at the time. And then the ship appearing . . . of "Buttllrfly", with Sydney soprano, "Oddly enough," the spokesman con­ Do you see? He is coming. Mary Hayman, in the title role. tinued, "this same opera won quite extra­ "It was clear that the opera-going The tour, begun at Bowral ·early in ordinary popularity in Nazi-occupied February, will range as far north as audiences of Nazi-occupied Europe liked Europe during the later stages of World to interpret these lines not merely as Rockhampton, Townsville and Ingham War II. It became so popular, indeed, before closing at Maitland in mid-April. an expression of Madame Butterfly's that the Nazis finally banned perfor­ hope and faith, but also as a glad During World War II, according to mances of 'Butterfly' altogether. !t spokesman for the touring company, pointer to a time ahead when Allied American officialdom frowned on pro­ "There was an obvious political mean­ forces would bring liberation to them." ductions of "Madame Butterfly" because ing in the huge outbursts of public The spokesman added that, after of the adverse effect of the anti­ applause for the famous aria, 'One World War II, "Madame Butterfly" was American sympathies which might be Fine Day'- and the Nazis, once they frequently staged in Germany in ver­ raised by a story in which an American grasped the meaning of it, regarded the sions so edited as to modify the "faith­ naval officer deserts a Japanese child opera as being among the deadliest less American" implications in the role bride. Puccini's use of the American propaganda for the Allied cause." of Lieutenant Pinkerton. MARCH TRUST NEWS Page 5 DESIGNS These are some ' the He1 pmann ba designer, "YUGEN" drawings made for Yugen", by London ond Heely.

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O*f..\.:v (t'4"r'/~:; N,.'t"ft.iC:'" ·CCMZU,#," ~ BIt-;;; !"j·t:/l.{LJ"- -b;'f;:;,o p-~ .,-,,,,,> /" R);;;; - "BANDICOOT" FOR EARLY PRODUCTION BY MELBOURNE'S U.T.R.C.

FOLLOWING the opening of the U.T.R.C.'s 1965 season at the Russell Street, Theatre, Melbourne, with Noel Coward's "Present Laughter" on March 9, the company will begin preparations for the year's varied repertoire, including Marien Dreyer's prize-winning Australian play, "Bandicoot on a Burnt Ridge". Written in a Kings Cross environment as "Japan month" for, in addition to for two characters, with flashing signs "Toda-San", Adelaide audiences saw the and lights of the Kings Cross area con­ world premiere of Helpmann's Japan­ tributing to the nervy atmospherics of the inspired "Yugen" and the Harry Wren story, "Bandicoot on a Burnt Ridge" revue, "Tokyo Nights", during February. won the 1964 play competition run by Other plays for the U.T.R.C.'s season the Sydney Journalists' Club. at Russell Street include "Entertaining Mr. Sloane", recently premiered at Syd­ Hal Porter's "Toda-San", which took ney's Old Tote, and Ibsen's "An Enemy second prize in the same competition, is of the People". being staged at present in Adelaide. which may well be regarding February In "Present Laughter", directed by Moira Carleton, the key role of the egocentric actor, Garry Essendine, is Shanks' Rocket taken by Frank Thring. Bunney Brooke, Brisbane bass, Donald Shanks, recent­ Marie Redshaw, Simon Chilvers, Marea ly won the Pacific section of the Metro­ Letho, Roly Barlee, Stewart Weller and politan Opera (New York) auditions for Madeleine Orr are associated with him new talent, and will proceed to New in the cast. York to comncte against U.S. finalists. Malcolm Robertson will produce the Shanks rocketed to this success (and the Ibsen play. Mr. Robertson is producer prospect of a Metropolitan career) bare­ of the Victorian and South Australian ly eight months after joining the Trust unit of the Young Elizabethan Plavers Opera Companv. He sang the role of which is pre ~ enting "Macbeth" and "The the gaoler in "The Wise Woman" during Merchant of Venice" to schools in those the Company's 1964 season. States. (Two other units of the Young Elizabethans, directed by John Tasker, Frank Thring Sutherland! are filling similar busy schedules in New in U.T.R.C.'s South Wales, Tasmania and Queensland). "Present Laughter" Killam is a dress-circle Sydney suburb. A salesman of the " Get­ Rich-Wallingford" type once set to work to sell big blocks of land "at WIDE RANGE OF Killara" for what seemed to be astonish­ CONCESSIONS ingly cheap bargain price's. He had much success before it was discovered that there is also a Killara out in the FOR TRUST MEMBERS Darling River "never-never". THE advantages of membership of the Australian Elizabethan Theatre Trust Winston Churchill is said to have continue to increase as various other theatrical managements extend to Members protested once about the use of " his" fhe opporfunity fo book for their presentations at prices below those charged to name by a famous American novelist, who replied: "Dear Winston Churchill the general pUblic. -Is your name Winston Churchill, too? These concessions for an increasing • "Fade Out - Fade In" (Tivoli, - (Signed) Winston Churchill." number of shows enable a Trust Mem­ Sydney) . Not that either happening has any ber, for an annual subscription of £5, to particular relevance to the very free save that amount several times over in • Peter O'Shaughnessy - "Diary of a Melbourne. talk .of "Sutherland opera" the course of a year. Madman" (Independent, Sydney) III connectIOn WIth a new stage work Thus far during 1965, concession • "Entertaining Mr. Sloane" (Old Tote, by Australian composer Margaret Suth­ Sydney) erland, for which early performance is prices have been arranged for Trust being discussed. A charming craftsman, Members in connection with the follow­ • "Is Australiay Really Necessary?" Margaret Sutherland has long been ap­ ing presentations: (Tivoli, Melbourne) plauded here for the buoyancy, urbanity • Alvin Ailey American Dance Theatre • "Rusalka (Australia Cinema, Mel­ and formal qualities of her music which (Tivoli, Sydney; Comedy, Melbourne) bourne) sometimes calls to mind the co~posing • "Fin ian's Rainbow" (Princess, Mel­ • "Rosenkavalier" (Savoy Cinema, Syd­ procedures of the English Georgians. bourne) ney) • "The Knack" (Phillip Theatre, Syd­ • "High Spirits" (Princess, Melbourne) ney) Play Contest • "Who's Afraid of Virginia Woolf?" A one-act play conte'St is being con­ • "Diplomatic Baggage (Palace, Syd­ (Princess, Melbourne) ney) ducted as part of the Sesqui-Centenary • "Who's Afraid of Virginia Woolf?" Celebrations of Bathurst, N.S.W. • "The Gondoliers" (Royal, Hobart) (Royal, Hobart) The prizes offered are £50, £20 and £10. The closing date is May 31, 1965. • The Australian Ballet (Her Majesty's, "The Sentimental Bloke" (Royal, Entry forms are available from the Adelaide; Royal, Sydney) • Hobart) British Drama League Office, 153 Dowl­ • Moscow State Circus (Batman Ave., "Present Laughter" (Russell Street ing Street, Potts Point, N.S.W. Melbourne) • Theatre, Melbourne) Page 8 TRUST NEWS MARCH MOSCOW STATE CIRCUS AUSTRALIAN TOUR, 1965 ("Conquest of the Incredible by the Incomparable") The world-renowned Moscow State Circus, an enter­ tainment unexcelled in the world, will follow its opening season in Melbourne with visits to Adelaide (opening March 31), Sydney (April 15) and Brisbane (May 19).

Such feats of balance as this one are a feature of the juggle-gymnastics of Violet­ ta and Alexander Kiss. Vladimi Doveyko's famolls stilt jump which is regarded as one of the supreme circus acts of the world.

Seeing's believing in such acrobatic feats as these by the very young troupe call­ ed the Solokhiny.

The Michael Nikolael' Group, unique in their gym­ nastic feats on the bars, has already toured U.S.A., U.K., France, Canada, Italy and Japan. Straddling a hoop like an axle, this artist in the Davidovich and Zamotkin act gyrates around the ring at headlong speed.

Margarita Nazarova in a scene from her act with nine Siberian tigers.

The high-wire act of the Voljansky Family includes one episode in which the rope-walker balances his sister Marina. standing her hands, on top of head. BOOK OFFER FOR TRUST MEMBERS TWO f,amous books of the theatre-"The Complete Opem Book" by Gustave Kobbe and "The Dancer's World" by Peto and Bland - may be made (COWARD-continued from page 3) available to members of the Australian :Elitabethan Theatre Trust at heavily of Restoration comedy applies as exact­ reduced prices if a sufficient number of members are interested in purchasing ly here as it does to "Cosi fan Tutte" : both or either. "When we are amongst them, we are THE respective publishers recently It is a requirement of the publishers amongst a chaotic people. Weare not made an offer of these books to the that the price reductions can only be to judge them by our usages ... There auxiliary organisation of the Ro'yal conceded if there are enough orders to is neither right nor wrong, gratitude or Opera House known as the Friends of make a bulk sale a satisfactory business its opposite, claim or duty, paternity or l=ovent Garden, and inquiries by the proposition for them. sonship. Of what consequence is it to Trust as to the possible extension of Trust members are invited, therefore, virtue . .. whether Sir Simon or Dapper­ similar offers to Trust members have to complete the appended form and send wit steal away Miss Martha . .." been welcomed by the publishers. it to The Editor, "Trust News", 153 Dowling Street, Potts Point, N.S.W., so The play and the characters are ex­ At the present stage of discussions, that the quantity of these books to be cuses for the dialogue; and the dialogue the suggested concession price for "The ordered on their behalf may be accur­ matches the patterning, the airy vari­ Complete Opera Book" is 50/- plus ately gauged. ations, the lyrical inventiveness and in­ postage, and the price for "The Dancer's It is emphasised that the form is not consequentiality of the plot. It is rarely World" is 45/- plus postage. itself an order for the books, and is in witty, as Wilde is witty. What may pass The present retail prices for these no way binding on members whose pur­ for wit is the application of a wild kind books in Australia are approximately pose in completing it and forwarding it of sema'ntic logic to the twists and leaps 80/- and 70/-. to the Trust is merely to provide a of small talk: They have a particularly high stand­ guide to the degree of members' interest Sybil: Elyot! (Mother'S) a darling ing, not only as works of basic refer­ in this project at the present stage of underneath. ence, but also as presentation volumes. negotiation with the publishers. Elyot: I never got underneath. Hl?re the flippancy is funny, not in­ Go: The Editor-,- -- -- trinSIcally, but because it is inappropri­ "Trust News" ate to situations in which most of us 153 Dowling 'Street, Sydney. would shrivel with embarrassment "Has I I am interested in the proposed distribution to Australian Eilzabethan it ever struck you that flippancy' might Theatre Trust members of cover a very real embarrassment?" asks (I) "The Complete Opera Book" (Kobbe) at a concession price of Elyot, who, elsewhere, reproached for I approximately 50/- plus postage and handling and hitting Amanda, has retorted, "Women (2) 'The Dancer's World" at a concession price of approximately 45/- should be beaten regularly, like gongs". plus postage, The flippancy may be a form of I and, without commitment at this stage, believe that I would wish to be a irresponsibility-or would be if Coward purchaser when advised of full and final details of this offer. took his make-believe seriously-but it I Member's Name is an irresponsibility from which he wrin~s a sparkling humour, dryas soi1a I Address . and Just as effervescent. It was when he began to take himself Telephone . a'nd his characters seriously that the 1- _1 humour went flat.

(LOVEJOY-continued from page 2) did came about by accident, too, like 1961: Awarded a Harkness Fellowship artistic bent of his childhood, drawing almost every other step I took into and of the Commonwealth Fund of New and painting- the most memorable ac­ along this theatre career. It was 'Lady York (sixteen months' study and re­ complishment being the painting of his Windermere's Fan' at Sydney's Metro­ search in U.S.A. theatre) . Guest pro­ politan Theatre. The appointed designer ducer of opera at Sadlers Wells, London. father's fowls in green enamel. As the withdrew and producer May Hollin­ enamel was applied directly to the worth asked me to take over. I was 1962: Artist in Residence, Lecturer and feathers of the fowls themselves, it scared that I didn't know enough about guest Director-Designer to the Dallas was made clear that young Lovejoy how to go about it and refused-so, Theatre Centre, Texas, U.S.A. Guest wanted an art that had living movement just to provoke me, May cunningly pre­ director to the Virginia Museum The­ in it, an aspiration (or a symbol) which atre, Richmond, Virginia. none could challenge on the ground that tended to be trying to do the design the fowh all died! Indeed, most of the job herself. The provocation worked. L963-64: With the Elizabethan Trust as "qirds" he "painted" in later years I did it." producer, with special responsibility to ("You Never Ca'n Tell" and "House direct and co-ordi'nate Australian play­ of Bernarda Alba", for Sydney's Metro­ * * writing activities. politan Theatre; "Devil Take Her" and N summary, Robin Lovejoy's career I since then has been: During the period summarised above, half a dozen other operas; "The Rivals", Robin Lovejoy has produced more than "Long Day's Journey", "Ah Wilderness", 1953: Awarded the International Theatre Institute Travelling Fellowship (two 60 professional productions ("Othello", "Taste of Honey" and "The Hostage" for the Perth Festival, being the most for the Trust) took wing soaringly. years of study in Britain and Europe). 1956: Appointed as producer and de­ recent of them). His stature as a "Production just isnt being a traffic signer to the Trust; also assistant to director can perhaps be gauged from cop," Robin Lovejoy says, "The whole the Trust's general manager for drama. the fact that such international artists problem of human communication is in­ Sydney Critics' Award for "Best Pro­ as Judith Anderson, Paul Rogers, Joan volved in it all the time-a producer ducer" and "Best Designer" of the year. Hammond, Margaret Rutherford Elsie has got to advise, to sympathise, to J 958-61: Artistic Director of the Trust Moriso'n, Robert Speaight, Mari~ Col­ soothe, to upbraid . .. to uplift! And Players; responsible for both the form­ lier, Richard Lewis and Sophie Stewart tht; constant emotional drain of it! ation and administration of the company have worked under his direction. "All I myself wanted to be when I within the Trust. Member of the Board In addition to his work as a producer, came back from the war was an actor. of Studies of the National Institute of he has designed more than 30 As a matter of fact, the first design I Dramatic Art. productions.

Page 10 TRUST NEWS MARCH G.M.H. STAGE DESIGN CONTEST THE first entries in the £450 stage design contest for the General Motors- Holden's Theatre Award, 1964-65, have reached the Trust's Sydney offices, and it is CROSSWORD WINNERS expected that the inflow will steadily accelerate between now and the closing date, June 30, 1965. Two tickets for a forthcoming Trust presentation are the prizes for each of This unique contest, which is being "It is hoped that entries will include the following six winners of the cross­ managed by the Trust, gives practical designs suitable for use in all sizes and word contest in the September issue of recognition t.o the growing scope and types of theatres, and that artists and importance of the contribution Austra­ craftsmen in the related fields of design "Trust News". These were:- lian designers have been making to the -such as sculpture, architecture and Miss M. Byron, all of the theatre over recent years, both painting-will be attracted to express 52 Elmhurst Road, in Australia and abroad. their talents in terms of the ever-evolv­ Blackburn, Victoria, "It is felt that this competition will ing theatre form." Mr. Lloyd Pryce-Jones, provide a stimulus to the development 202 Old South Head Road, of young artists in this field, and bring Among the basic conditions of entry Vaucluse, N.S,W, their work to the notice of producers, (full details and entry forms may be managements and the theatre-going pub­ obtained from the Trust offices) are Mr. H. W. Saligari, lic," a Trust spokesman said last month. the following:- 19 Rebecca Road, Chadstone, SE. 10, Victoria. • Each entry shall consist of designs for settings and costumes for any full­ length theatrical presentation that may be classified under any of the following Miss Julie Simpson, terms:- 55a Brown Lane, Musical play-including grand opera, opera, operetta, musical comedy, musical. Paddington. Drama-including tragedy, comedy, drama, melodrama, straight play, experi­ Mr. E. Thomson, mental play or farce. Box 928, G .P,O., Ballet-modern or classical. Sydney. R evue-spectacular or intimate. • Each entry shall consist of:- Mr. H. D. Wolstenholme, (a) Colour sketches for setting or loettings. 17 Fairlawn Ave., (b) A ground plan of one setting to t" scale, and at least one drawing in Turramurra, NS.W. larger scale showing constructional details of some portion of th6 design. (c) A model of one setting complete to t" scale. (d) Colour sketches (showing back and front) of at least six costumes, with samples of suggested materials attached to each sketch. (e) At least one working drawing of a costume showing some constructional detail. • Each design may be submitted in terms of any size or type of stage, whether proscenium, open stage, arena or otherwise, either existing or imaginary. It must, however, be accompanied by a brief description and/or sketch plan of the theatre for which it is intended. Such sketch should include the basic dimensions of the stage, the audience capacity figure of the theatre, and an indication whether the theatre is equipped with flying facilities, trucks, revolving stages or other scene­ changing devices. u.s. Honour for Old Tote's (BALLET-continued from page 1) "Woolf" Director For such a small and young company OHN CLARK, the man whose achievements for Sydney's Old Tote Theatre liS ours, this is a unique distinction J have included the sensationally successful Australian and New Zealand tour of which, in itself, will justify the enormous "Who's Afraid of Virginia Woolf?", will leave for the United States later this effort demanded by an international tour year to take up his recently-announced Harkness Fellowship. of such magnitude. The fellowship, which is for study One of the major planning problems and travel in the U.S.A. for up to 21 of the tour is the transport of the months, will enable Mr. Clark to spend formidable number of costumes and a full academic year in the Department scenery for the two or th ree programmes of Theatre Arts at the University of which will be travelled. At least 50 California, Lo's Angeles. cwt. of scenery will have to accompa'ny the company in its 26,000-mile journey He proposes to follow this year of through three continents, with appear­ study by visiting professional and uni­ ances in at least a dozen diffe rent cities. versity theatres in California, Texas, Time-tabling of transport to ensure the Louisiana and New York. After periods arrival of scenery and costumes in each of studying organisation and procedures right place at the right time is a prob­ at the Yale University School of Drama lem calling for ~omething like military and the Tyrone Guthrie Theatre in Min­ thoroug!uJc35 and precision. neapolis, Mr. Clark will return to Aus­ The tour will certainly have notable tralia by way of England, France and value in terms of national prestige. Germany. Additionally to that, however, we can John Clark, whose Old Tote produc­ expect that its effect upon the company tions in Sydney have included "The as a performing unit will be no less Fire-Raisers", "The Bald Prima Don'na" profound and that, when the company and "Entertaining Mr. Sloane", is a returns to Australia. this memorable member of the staff of the National In­ experience will be reflected in all aspects stitute of Dramatic Art. of its work. MARCH TRUST NEWS Page 11 It may be important to establish this Trust building as far as the nearby point in reporting that ballerina Kath­ hotel (Licensee, Tasman Tilbrook). leen Gorham, to prepare for her ap­ "Eh, sport," called one of the lookers­ pearance in Helpmann's Japanese­ on, "is you stagy jokers getting your inspired ballet "Yugen", recently felt turps piped into the office now?" in need of lessons in fan-dancing. At the hotel, the barmaid was teased After a high and low hunt for any­ with the reverse theory-that culture body expert enough to instruct her in was being piped into the bar. this ancient Japanese art, she was event­ "Garn ," she protested, "the only ually introduced to five elegant little Woolf we got is schnapps." women who had been appearing at the ~o complete tennis courts, with But the Saroyan-like quality of the plenty of room between, could be Melbourne Chevron as "The Tokyo dialogue in the bar hi'n ted of "Some marked out on the huge curtain (198 ft. Little Sweethearts". And sweethearts truth in the suspected "cultural" purpose they were-for, without charge and with by 34 ft.) which was made recently for of the pipe. one of the larger Sydney Showgrou'nd much charm, they spent much time with Miss Gorham and set her on the As a man in a superbly stylish straw halls by members of the Trust's produc­ hat marched in for a middy, the local tion staff. highroad of an art known to few in the world but Japanese. wit heckled him : A machine set on a trolley, and two "Eh, bub, wait till I get .me goat!" men to support the weight of material * * * " Why bother?" asked Mr. Straw-hat to prevent its dragging at the machine BYSTANDERS were pleased to be needle, were essential parts of the trick with the other kind of dryness. "You're whimsical outside the Trust's prem­ getting m ine." by which Australia's biggest curtain was ises in Woolloomooloo recently when completed. the street was being used to measure * * * * * off a hundred yards or so of a complex, EA RD in an interval at the ballet FAN-DANCING in the Japanese trad­ rubber-cased electric cable for use at H during the present Australian tour. ition has nothing whatever to do the Moscow Circus. The heavy cable "My husband thinks an entrechat is a with fan-dancing in any other style. stretched along the 'footpath from the chat in the interval." THEATRE CROSSWORD ACROSS 45. Rent epitaph sleeper who:; e sur­ 1. The chorus is giving an order to n:lme h'\, a word in common wilh sto:p it! 5··across's. 5. Public Relations by the Trust's -16. Tent is wrecked after mee ting Executive Director reorganised all charges. some of the Australian Ballet's artistic ,direction. 47. Expression of Leo? 9. A Roman emperor. 48, The Muse of comedy and pastoral 10. Scene. pociry, 12. Nothing causes much of it in 49. Australian pianist/concluctnr ",1'0 Shakespeare. is controlling the artistic direction 13. Metal frame containing lead lype of the 1955 Suthcrland opera for printing. season. 14. What were the Volga boatman and men of his kind? DOWN 16. Producer of "Macbelh", "The I. Gilda's father. Wise Woman" "Fledermaus" and 2. Opera whlch Ausllaham mi ght ex­ "Marriage of' Figaro" for the cusably mlstake for the Puccini Trust Opera Company. opera named elsewhere (four 18. Parents. words). 19. Continue to describe somebody 3. A renowned opera-ballet of like Peter Sellers or Spike Milligan. Rameau is named "Les (what?) 20. Not home when called. Galants". 21. The Muse of lyric poetry. 4. A medium for publicity. 23. Who wrote the verses for the 5. Works written for the sake of songs of Robert Schumann's income, and not from any pro­ 37. At that time. "Woman's Life and Love" cycle? found artistic conviction-not to 39. In what city was Verdi's "Aida" performed to 24. Name of an outstanding family be confused with the witches in mar the opening of the Suez Canal, the event in the history of Australian "Macbeth". for which the opera was commissioned by the theatre. 6. It provides drainage for the Khedive. 25. Sixteen of them symbolised great Shakespeare country. 41. Girl's name. happiness for Lawler's Olive. 7. and II. Opera of the cowboy 42. I ts nippers are not its children. 26. Stack away. country, but not really defined by 44. Still. 28 . Precipitation. 23-down (five words). Results of September crossword contest all page 11. 29. Exclamation of derision gives a 8. Border. setback to the cause of Noel 11. Mae (see 7-down). Coward's fever. 12. Ammunition. Like to Compete? 30. Danny Kaye calls it an ill wind 13 . Excellent. that. nobody blows any good. 15. The practice whereby a Hindu THIS puzzle is printed for your amusement, but 31. Employers. widow was buried alive with her for a spice of competitive interest send in 33. Scarpia is just fmishing one when dead husband. yom completed diagram. the curtain rises on Act 1I of 17. Ages A fortnight after this issue is distributed the "Tosca". 19. To set into a jelly. mail will be opened and the first six correct 35. What song begins: "I think ,that 22. Egyptian sun-god. I shall never see . . ."? 23. A western (two words). entries ope)led will earn each successful entrant a 36. Finger some advice to anybody 26. I t is to be seen in the same sort voucher entitling him or her to a pair of seats with an undug garden. of silk material. to the value of not more than £3 at a show in 37. A branch of dancing. 27. Lehar and Johann Strauss were their State capital city in the near future. 38. Object of worship. often writing in it (two words). Entries must be in ink, without alterations, and 39. Roman censor. 31. A language of India. the Editor's decision will be final. Endorse your 40. Finish. 32. Fish. envelope "CROSSWORD" and send it to: 42. Spectacular musical show current­ 34. First class. ly being {oured by J.C.W. 35. Like time, it waits for no man. "Trust News" 43. Eagle's nest. 36. Somewhat moist. 153 Dowling Street, Potts Point, N .S.W.

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