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Home , Alberto Remedios, Brian Stacey, Frank Doel, Noel Ferrier, Richard Divall, Richard Wherrett

APRIL-MAY, 1987, VoI12No2 ISSN0314-3058 A publication of the Australian Elizabethan Theatre Trust

Nunsense a habit-forming, unconventional musical comedy!

A scene from the production of NUNSENSE

NUNSENSE by Dan Goggin ment of Health is about to descend on NUNSENSE has won four prestigious Directed by Barry Creyton the convent, so in order to raise enough New York awards including Best Off Musical Direction by Michael Tyack money for their burial, the Sisters decide Broadway musical of 1986, Best Music Choreography by Dolores Dunbar to organise a talent show. They aim to and Bt st Book. Lighting Design by Donn Byrnes bring in further funds by selling Sister The critics have been enthusiastic . Cast includes Joy Westmore, Myra de Julia's "Baking with The Blessed Virgin about NUNSENSE. A sample of the Groote, Chelsea Brown, Judith Roberts, Mary" which, incidentally, contains the their comments are: and Kerryn Henderson recipe for her vichyssoise. "Wickedly funny. .. the audience Comedy Theatre The variety show is, in fact, the play: laughed all night. " Sunday Telegraph the set, incongruously, is the backdrop "These nuns deserve a halo each ... for GREASE, which the nun's eighth grad­ God's sake go and see it. " ity the poor Little Sisters of Hoboken, ers are producing (the Sisters promised Andrew Urban, The Australian Pthey have a problem! Twenty-two of not to disturb the set). their members died of botulism when The five Sisters bounce through an Sister Julia Child of God (the convent hilarious, toe-tapping show. Sister chef) cooked up a tureen of contami­ Robert Anne does her impersonations nated vichyssoise. "Miraculously" five of (from Katherine Hepburn to Attila the BOOKING INFORMATION their members escaped the same fate as Nun) , Sister Mary Amnesia (her mem­ Tue Apr 28 to Sat lun 13 they were out playing bingo. The prob­ ory has failed) astounds with her ven­ Mon to Sat at 8.15pm Wed and Sat mat at 2pm lem is that after burying eighteen of their triloquist act, Sister Mary Leo performs AETT$19.50 number, the money ran out when the the ballet "The Dying Nun" and Sister G.P. $23.50 Mother Superior decided to buy a video Mary Hubert and the Reverend Mother Pens/Stud $13.50 cassette recorder; the remaining four are belt out "Just a Coupl'a Sisters" . All Two AETT tickets per member languishing in the 'fridge! The Depart- nun-stop fun . 2

Olivia Stapp, who is famous for her VSO Celebrates interpretation of Turandot will make her "First Decade Australian debut in the role and Ruma­ nian , Corneliu Murgu will sing the leading male part, Calaf. TURANDOT 987 is an exciting year for the is characterised by its strong choral sec- State as it marks the 1 . tions, and it does have a happy ending! tenth anniversary of the Company's The production will be sung in It-alian. debut season. The very first production back in 1977 was Offenbach's LA BELLE HELENE and a new produc­ tion of this operetta is a nostalgic inclu­ BOOKING INFORMATION July 25 ,28,31 , August 5,13,15,17 at sion in the program this year. The 7.30pm, August 8 at 1pm balance of the season is made up of three AETT $42 (A Res) $31 (B Res) wonderful , none of which has G.P. $46 (A Res) $35 (B Res) been performed by the VSO previously; Pens/Stud $35 (A Res) $30 (B Res) TURANDOT, THE FLYING DUTCH­ Two AETT tickets per member MAN and THE MARRIAGE OF I FIGARO. Those who would like to become sub­ scribers to the coming season should ring THE MARRIAGE OF FIGARO as Susanna and Roger Howell as Figaro. the VSO for a brochure and subscription by The artistic Director of Australian booking form on 4175061, as soon as pos­ Conducted by / Nouveau Theatre Company, Jean Pierre sible. Mignon will direct the production. He is Members who prefer to attend one or Directed by Jean Pierre Mignon well known for his innovative work at more operas on a single performance Set design by Henry Bardon Anthill and it will be interesting to see basis should fill in their grey booking Costume design by Michael Stennett how he interprets THE MARRIAGE coupon and return it to the Trust well Lighting design by Nigel Levings OF FIGARO. before May 30, as that is the date over the Cast includes Christine Douglas, Wendy counter bookings will open to the public. Dixon, Jonathan Summers, Roger . Howell, Miriam Gormley BOOKING INFORMATION State Theatre August 1,4,6,8,10,12,14 at 7.30pm AETT $38 (A Res) $28 (B Res) G.P. $42 (A Res) $32 (B Res) he music from Mozart's comic opera Pens/Stud $32 (A Res) $25 (B Res) T THE MARRIAGE OF FIGARO Two AETT tickets per member will be familiar to most people although the complexity of the plot may require a quick "refresher" before you see the THE FLYING DUTCHMAN opera. by Based on a play by Beaumarchais, it Conducted by concerns Figaro and his forthcoming Directed by Elke Neidhardt marriage to Susanna, Countess Design by Ken Wilby and Mark Almaviva's maid. Count Almaviva is Thompson pursuing Susanna with the intention of Lighting design by Nicholas Schlieper exercising his "droit du seigneur", which Cast includes Marilyn Richardson, gave the lord of the manor the right to , Malcol'{l Donnelly spend the wedding night with the brides State Theatre TURANDOT of his servants. The Countess' page, by Cherubino, plots to seduce her, and ased on the legend of a sea captain Conducted by Richard Divall although he is caught in an apparently B condemned to sail the oceans Directed by compromising situation with the Coun­ forever, unless he is redeemed by a Set design by Brian Thompson tess, he escapes with the help of Susanna woman's unselfish love, THE FLYING Costume design by Terry Ryan and Figaro. Eventually Susanna and the DUTCHMAN is Wagner in his most Cast includes Olivia Stapp, Corneliu Countess trick the Count into attempting darkly romantic mood. Malcolm Don­ Murgu, Glenys Fowles and Noel Mangin to seduce his own wife . All is forgiven in nelly, who has sung recently with the State Theatre the final scene. Although there are polit­ , returns to fea­ ical undertones, the emphasis is on fun. ture as the Dutchman, Marilyn et in ancient China, the beautiful but The cast is comprised of 's Richardson will sing Senta and Alberto Scruel Princess Turandot sends a suc­ internationally successful baritone, Remedios, one of the world's foremost cession of suitors to their deaths, when Jonathon Summers as Count Almaviva, Wagnerian , will appear as Eric. they fail to answer her riddles. Two visit­ New Zealand soprano, Wendy Dixon as The production will be sung in German ing singers will appear in this opera. Countess Almaviva, Christine Douglas with surtitles. Thought -provoking BOOKING INFORMATION From Wed Apr 22 Play from N.Z. Tue to Sat at 8.15pm Sat and Sun mat at 5.15pm FORESKIN'S LAMENT AETI$19 by Greg McGee G.P. $23 Directed by Peter Tulloch Pens/Stud $15 Two AETI tickets per member Designed by lain Aitken Cast includes Simon Westaway, Matt Kay, David Clisby, Robert Morgan, Anna McCrossin and Lynne Ruthven Universal Theatre Malcolm Donnelly as The Dutchman in the South Australian Opera Co. production. ew Zealand playwright, Greg McGee New Australian N has written that "one of the theatre's Play BOOKING INFORMATION most important functions is to act as a November 9,12,14,17,20,23,25 at social catalyst". In his play FORE­ 7.30pm SKIN'S LAMENT, which centres SHIMADA by Jill Shearer AETI $38 (A Res) $28 (B Res) around a rugby football team, he Directed by Simon Phillips G .P. $42 (A Res) $32 (B Res) examines not only the mores of football Designed by Shaun Gurton Pens/Stud $32 (A Res) $25 (B Res) but many wider issues facing society Cast includes Elspeth Ballantyne Two AETI tickets per m~mber ~ today. It is a very funny play dealing with Russell Street Theatre serious subjects such as apartheid, chauvinism, feminism, violence in sport he theme of the play has a piquancy and literary academia. The play's T and sharp immediacy in these days LA BELLE HELl3NE humour is described as "witty, dark and of multi-national business expansion. by Jacques Offenbach belly-shaking" . Two Australian soldiers, Clive and Eric, Conducted by Richard Divall having found a mateship that endured Directed by Steven Pimlott through World War II and years of Designed by Kenneth Rowell imprisonment by the Japanese, then Lighting design by Nicholas Schlieper returned home to set up a bicycle com Cast includes Geraldine Turner, John pany. This small venture, largely family O'May, Gregory Yurisich, Gregory based, has had a successful past, but now ' Dempsey, Barbara Sambell Clive is dead, Eric has reached retiring State Theatre age, and pressure from overseas trade is proving a burden. When a Japanese con ffenbach composed some of his sortium wishes to buy the firm in its Ofinest music for his entertaining scheme for Australian representation satire LA BELLE HELENE, which Clive's widow has no qualms in consider. used the aristocracy of Greek antiquity ing the bid. Eric, however, has reserva to parody the French celebrities of his tions that grow to nightmarish propor day. Gregory Yurisich, who played tions with the arrival of the Uchiyama Pooh-Bah in the Australian Opera's pro­ representative. Aged, polite and bearing duction of THE MIKADO last year, will gifts, he still awakens echoes of a hated sing the role of Calchas, while Geraldine Japanese captor of the war years .... Turner and John O'May who are cur­ This moving play will mark a Mei rently touring as Buttercup and Captain bourne directorial debut for Simon Phil Corcoran in HMS PINAFORE, have lips, a rising young director who will be been paired up again as the lovers , Helen Simon Westaway, who will star as Foreskin. joining MTC for the forthcoming sea­ and Paris. A new English translation has son. been commissioned for this special It should be noted that in New Zea­ anniversary production. land the play touched many raw nerves and created negative reactions from "community standards" campaigners BOOKING INFORMATION because of the coarse language and blat­ Wed Apr 22 to Sat May 23 BOOKING INFORMATION Mon to Fri at 8pm . December 2,3,4,5,7,8,9 at 7.30pm ant nudity in the play. Most critics, how­ Sat at 5pm i1hd 8.15pm December 5 at Ipm ever, have been enthusiastic in their AETI$17.80 AETI $32 (A Res) $25 (B Res) praise. Since its premiere in Auckland in G.P. $19.80 G .P. $36 (A Res) $29 (B Res) 1981 , FORESKIN'S LAMENT has now Pens $16.30 Pens/Stud $29 (A Res) $22 (B Res) had seventeen productions including a Stud $9.80 Two AETI tickets per member brief, sold-out season in Sydney a few Two AETI tickets per member years ago . 4

Andrew Ross has directed several new Western Australian plays including adaptations of A FORTUNATE LIFE by Albert Facey and MIDNITE by Ran­ dolph Stow and KULLARK, THE DREAMERS and NO SUGAR by Jack , Davis. Andrew is Artistic Director of the Theatre Department at Melbourne Uni­ versity.

BOOKING INFORMATION Mon Apr 27 to Sat May 16 Mon to Fri at Spm Sat at 5pm and S.15pm AEIT$10.00 G.P.$16.50 Pens/Stud $10.00 Two AEIT tickets per member

A scene from the Sydney production of CATS (, centre)

Cats is Coming Australian Premiere New Production of for Playbox Pyjama Game n , CATS, which combines 's music with I PYJAMA GAME by Richard Adler the poetry of T.S. Eliot, was awarded a and Jerry Ross (Music and Lyrics) "Best Musical" award and in New York THE HOPE by Heather Nimmo Book by George Abbott and Richard it won seven Tony awards. In Sydney the Directed by Andrew Ross Bissell show has broken records with its two Designed by Robert Juniper Directed by Alan Burrows year run and proved to be the musical Music composed by Stuart Davies-Slate Musical Direction Hugh McKelvey succeSs of the decade. The Studio, Victorian Arts Centre Cast includes Jennie Kellaway, David After constant speculation about Outtrim, Rob Constable and Donna whether or not it would be mounted in t is 1987, Bet and Michael are newly Gabriel Melbourne following the Sydney season, married and their hearts are set on the I Alexander Theatre, the producers have decided to undertake Australian Dream - to own their own ollowing their most successful the major task of remodelling the home. Like generations before them version of , c.L.O.c. interior of Her Majesty's Theatre to they have crossed the Nullarbor to seek F will present a brand accommodate the show. As each theatre their fortune, joining a rush spurred on new production of the musical THE needs individual alterations, no two pro­ by rising gold prices and the declining PYJAMA GAME at the Alexander ductions in the world are ever quite the dollar. Theatre in May. same. Work will begin in June and CATS "The Hope" is a corrugated-iron min­ will open on October 10. ing town where few fortunes are made A limited number of tickets will be and few marriages survive. Bet and available through the Trust for specified Michael . are innocents among "The performances only at the concession Hope's" hardy inhabitants. Mrs G - price. We will continue to offer conces­ fourth generation goldfields, Charlie - sion seats for various performances for the topless barmaid, Boss - the enigma­ the run of the show. tic boss man and the eerie presence of generations of previous occupants. Finally innocence is gone and Bet and BOOKING INFORMATION Michael are left stranded after the Her Majesty's Theatre honeymoon staring confused and bereft From Sat Oct 10 into the approaching desert storm. Mon to Sat at Spm Heather Nimmo was born in Scotland Wed and Sat mat at 2pm and came to with her family in AEIT $37 on Oct 12-15, 19-22, Dec 1963. She was educated at Penola and 7-12, at Spm Oct 17,21 ,24, Dec 9,12 at 2pm Adelaide and has a B.A.Hons (Psych) from GP$39 Adelaide University. Heather has worked Two AETI tickets per member as a researcher and tin miner and now lives in Kalgoorlie where she writes part-time Jennie Kellaway, who has the lead role of ~lnd teaches at Kalgoorlie College. Babe in the PYJAMA GAME. 5

Set in the Sleep Tite Pyjama Factory, They follow the amorous adventures of the plot involves a confrontation bet­ irrepressible Norman, (played by Terry Helen Morse Stars as ween the management and the workers Bader) which succeed in playing havoc in Blanche DuBois over a demand for seven-and-a-half· the household. cents an hour increase in wages. Union Alan Ayckbourn is acknowledged as a representative and emerging feminist, contemporary master of comedy. His Babe, (Jennie Kellaway) is at the centre other plays include SEASON'S A STREETCAR NAMED DESIRE of all the action. GREETINGS, and A CHORUS OF by Tennessee Williams The score of THE PYJAMA GAME DISAPPROVAL - the latter to be pro­ Directed by Roger Hodgman contains a string of hits including, "Hey duced by the M.T.C. later this year. Designed by Tony Tripp There", "Steam Heat", "Once-A-Year Cast includes Helen Morse, Sandy Day", "Hernando's Hideaway", and Harbutt, Betty Bobbitt, Paul English and "I'm Not At All In Love". Kurt Geyer Book through the Trust or directly on BOOKING INFORMATION The Playhouse, Victorian Arts Centre 2888438. TABLE MANNERS Apr 8,13-16, May 4-8. ""Tlzey told me to take a streetcar LIVING TOGETHER Apr 9, 20-24, May 11-1S .l. named Desire ... " BOOKING INFORMATION ROUND AND ROUND THE Blanche DuBois' famous first line has Fri May 1 to Sat May 16 GARDEN Apr 10, Apr 27-May 1, been mistaken sometimes as a flight of May 1,2,6-9,12-16 at 8pm May 18-22 poetic fancy , but in fact there was a Sat mat on May 16 at 2pm Man to Fri at 8.1Spm streetcar with the destination of Desire AETI $9.50 (except Fri and Sat Trilogy of plays each Saturday from in the days of Tennessee Williams' early evenings) 2pm (Spm and 8.30pm) G.P. $11.50 . AETI$18.S0 residence in New Orleans. The young Pens/StuG $8.00 (except Fri and Sat G.P. $22.S0 playwright took this powerful image of a evenings) AETI Pens/Stud $IS.00 journey towards the ultimate in human Child $6.00 (except Fri and. Sat Pens/Stud $16.90 passion and created one of the great evenings) Trilogy of Plays (Sats only) dramas of our time. Two AETI tickets per member AETI$S7.00 G.P. $S7.OO Blanche and Stella are sisters, the last Pens/Stud $47.00 remaining members of a once prominent Southern plantation family. Stella has fled this decaying heritage tq find Norman Conquests strength and fulfilment in her marriage . Trilogy Shakespeare to the lusty redneck, Stanley Kowalski. Blanche, on the other hand, is a victim of TABLE MANNERS, at the Church both her family past and a tragic mar­ LIVING TOGETHER and THE COMEDY OF ERRORS riage, and her life is haunted by the ROUND AND ROUND THE by William Shakespeare brutal aspects of desire " .. . that rattletrap GARDEN by Alan Ayckbourn Designed by Shaun Gurton streetcar that bangs through the Quarter! Directed by Simon Hopkinson Music composed by Richard Vella up one old narrow street and down Designed by Shaun Gurton The Church Theatre another.·.. " Cast includes Terry Bader, Kirsty Child, he Church Theatre will present a Robin Bowering, Christine Mahoney Helen Morse, indisputably one of fresh, contemporary adaptation of and John McTernan T Australia's finest actresses, will star as Shakespeare's COMEDY OF Athenreum Theatre Blanche; and the play will be directed by ERRORS. The themes of thwarted love, Roger Hodgman, d~scribed by Tennes­ reconciliation and mistaken identity, fter a , successful season for the see Williams as 'the best man with a script which appear in this play and in Shakes­ A M.T.C. late last year, the NOR­ I ever worked with'. MAN CONQUESTS have been re­ pearean comedies, such as THE TAM­ mounted at the Athenreum Theatre this ING OF THE SHREW and A MID­ month running through until 30 May. SUMMER NIGHT'S DREAM, provide The three plays which make up the the basis of hilarious, witty and often trilogy take place over a family weekend. bawdy entertainment. BOOKING INFORMATION May 6 to Sat June 13 Mon to Fri at 8pm BOOKING INFORMATION Sat at Spm and 8.1Spm Fri May 1 to Sat May 30 Wed mat on May 13 Mon to Sat at 8pm AETI$19.80 AETI$6.00 G.P. $21.80 G.P. $10.00 Pens $16.30 Pens/Stud $6.00 Stud $9.80 Two AETI tickets per member Two AETI tickets per member Robin Bowering as Reg and Terry Bader as Norman. 6

David Williamson - portraying a generation's emotional arid professional insecurities

{ , by Brian Kiernan

Coinciding with the recent premiere of 's new play , Trust News invited Brian Kiernan to review David Williamson's career and to comment on his latest work.

he opening of a new play by David T Williamson is by now an established cultural event, and the critics will be on their mettle as they prepare to review the latest work of the most successful Australian playwright ever. Will this be another box-office record-breaker, with overseas productions, and perhaps a film to follow? What will this new play sug­ gest, not only about the playwright's development, but also about the current state of the Australian theatre? Peter Carroll and Robyn Nevin in the production of This second question will be at least in the back of reviewers' minds because Mama, and DON'S PARTY playing and in 1973 the Evening Standard voted David Williamson and the modern almost simultaneously at the APG's him the most promising playwright of the Australian theatre emerged together. nearby Pram Factory. Both plays have year after the London Production of Born in Melbourne in 1942, a become classics of the alternative theatre . mechanical engineering student at movement of those vital, if volatile, In Australia, he won two Awgies for Melbourne and Monash Universities years, and both, with STORK, were the play, the first of the now numerous during the Vietnam years, David made into films which contributed local awards for his plays and filmscripts Williamson's first successful plays were importantly to the developing local that have followed. produced in Melbourne's alternative cinema. Looking at Williamson's body of theatre in the early 1970s. Also in 1971, as well as THE work, we do not find any formula nor These were the years of anti-war pro­ REMOV ALISTS going on to an typical Williamson play. Though he has test and calls for liberation of all kinds, acclaimed production at Sydney's consistently preferred realist conventions, national, cultural, political, sexuaL A Nimrod, the Melbourne Theatre Com­ out of a continuing commitment to new generation, both impatient with pany commissioned JUGGLERS drama's social relevance, he has con­ Australia's colonial cultural cringe and THREE, which became part of its 1972 tinually surprised expectations by varying responsive to counter-cultural influences season. the mood, as well as the characters and from the USA and the UK, was In 1973, WHAT IF YOU DIED situations, of each new play. establishing its own alternative means of TOMORROW was commissioned by the Although most frequently referred to communication and expression: Old Tote for the opening of the Sydney as a naturalist, he has by now written a newspapers and magazines, radio, film Opera House, and for the 1974 Adelaide range of comedies, comic "slices of life", and theatre. Festival the South Australian Theatre each of which finds its own appropriate Melbourne's Cafe La Mama, out of Company commissioned THE form and dominant tone. He has not which the Australian Performing group DEPARTMENT. doggedly pursued (nor offered answers emerged, provided aspiring playwrights The success of THE REMOV ALISTS to) social problems, nor weighed the with the opportunity to have their work was followed by swift recognition, and competing claims of heredity and envir­ performed before keen, if small, David Williamson was soon an estab­ onment as determinates of behaviour, as audiences. Williamson's THE COMING lished (but not establishment) figure able "naturalism" used with historical OF STORK was first produced at La to devote himself to writing full-time. accuracy would suggest. Mama in 1970. The next year saw THE The 1971 Nimrod production of THE But although there is no typical REMOV ALISTS (with the playwright as REMOV ALISTS brought him the British Williamson play, there is a characteristic the Removali~t with $10,000 worth of George Devine award, the first time this Williamson style. Smartly paced, closely machinery "ticking over" outside) at La had gone to a writer outside , interactive, unerringly accurate in idiom, the dialogue keeps characters and situa­ movies titled GALLIPOLI and PHAR CITY he takes us inside 6 ur much­ tions in simultaneous revelation, blend­ LAP, and a television series of the fall of publicised film industry. Balancing (as ing humour with serious concern. Or, in the Whitlam government. Yet rather than always) sharp, topical satire with a comic other words, a lot is happening at any seeming autobiographical in tone, or acceptance of folly, he presents the kinds moment, and, although a particular indulgently preoccupied w'ith Colin, of personalities and pettiness that prevail moment may give the impression of life EMERALD CITY is a very formal, in a multi-million dollar, but still being observed in all its banality, there is ironic comedy. primitive, local industry. usually a point underlying it that emerges In style and scale this new play is Whether Australian movies, and now ih the wider pattern of the play. closest to THE PERFECTIONIST with television series, need "go international" As the playwright has matured, along its comedy of contemporary manners and to succeed commercially, and, if they do with the audiences who have been follow­ rivalries between professionals - and the so, whether they will lose the distinc­ ing him and the rest of society, the young sexes. The demoralising role reversals tiveness that has constituted their appeal graduates of that Colin experiences with both Mike for both local and overseas audiences, are or the young marrieds of DON'S PAR­ and Kate might remind us of the ideals of questions that go back to the 1920s. For TY have given way to more middle-aged Stuart, the perfectionist, in that play. If, Colin it is the choice between writing and securely middle-class characters, to though, Colin in some explicit respects is what he feels should matter to Australian the anxieties of an older generation and a a portrait of the artist as an early middle­ audiences, and doing what will sell best later decade. This has suggested that aged celebrity, it is an ironically - which also matters, with school fees to Williamson is the chronicler, even the detached, self-deprecating portrait with be paid. But such considerations extend personal diarist of the emotional and pro­ some prominent warts, or shopping-lists beyond the particular industry (there is fessional insecurities of his own genera­ pinned on his jumper. We are invited to the parallel case of publishing for Kate), tion, and WHAT IF. YOU DIED laugh at Colin's insecurities and incon­ or even the difference in ethos between TOMORROW (1973), A HANDFUL OF sistencies, to recognise that he has more Sydney and Melbourne. The wider issue FRIENDS. (1976), and THE PERFEC­ of Mike, the "Port Jackson huckster", in raised by the play is that of reconciling TIONIST (1982) have been appreciated his make-up than he would care to admit. personal and artistic integrity with the as such, as imaginative exposures of con­ With each new Williamson play we ways of the world. temporary socio-psycho-preocc·upations. expect to be shown an aspect of how we Versions of this conflict between how live now, and also to laugh. These expec­ one ought to act and what is possible, or Other plays, however, have emphas­ tations which he established from the opportune, underlie the local and topical ised the social and the institutional more beginning of his career he has continued settings of all Williamson's plays. Behind than the personal: THE DEPART­ to fulfil, even though the subject might the satire and the comedy - for they are MENT, (1977), and SONS be, as it was in , drug­ never directly realistic "slices of life" - OF CAIN (1985). These do not form a related corruption extending to the is a moralist's perception, though not a distinct group or phase in his writing but highest levels of a state. In EMERALD moralist's easy solution. Australian a varying emphasis in his continuing con­ writers ought to be able to give their cerns with the personal and the social, the audiences the stories they feel should sexual and the political. Generalisation is matter to Australians, without having to further complicated by the tonal variety double-guess the ratings or overseas from play to play, some being more sales, or being accused of being strident broadly comic, others more satiric. nationalists. Just as Ministers of the EMERALD CITY is one of William­ Crown ought to observe the law (SONS son's more personal rather than more OF CAIN), or an intelligent couple ought social plays. Like his plays of the 1970s to be able to arrange their marriage more dealing with personal issues, especially rationally (THE PERFECTIONIST), or · WHAT IF YOU DIED TOMORROW a life-long humanitarian ought to be able with its central figure of Andrew, the to get along a little bWer with those doctor turne,d novelist, this latest play closest to him () problematises success. Has Colin, the ... and so on back through the by now former Melbourne teacher, now a top classic Williamson repertoire. writer of scripts for film and television, But the world being what it is, and sold out by moving to Sydn~y? Will he people being what David Williamson succumb to commercialism, and forsake mordantly observes them as, and with stories he feel s should involve Australian affection accepts them as, there can be no audiences, or can he retain his integrity final resolution of these contradictions. and still hope to afford a Harbour view? In the spirit of comedy we must grin and Williamson's own well-known success bear them . in scripting films, and his move from the "sodden rectitude" of Melbourne to (as it seems by comparison) the brash oppor­ Brian Kiernan is Senior Lecturer in tunism and hedonism of Sydney, invite us English at Sydney University and is David Williamson directs Max Cullen and John writing a critical biography on David to see strong similarities betweep Colin Gregg in the Sydney Theatre Company production Williamson . and his creator. Both have scripted of SONS OF CA IN pen-pal relationship with Doel and the staff. When sent food par­ cels to the bookshop during postwar rationing, the correspondence grew to include letters from all the workers at Marks & Co and became a portrayal of the similarities and differences between English and American life. Helene Hanff planned to visit London and the shop several times but it wasn't until 1969 that her dream finally came true, only to find that Frank Doel had died and that the shop had closed. 84 is a love story with a differ­ ence; ·it is Helene Hanff's love affair with literature and London.

Eugene with his specially designed viewing device in BRIGHTON BEACH MEMOIRS.

BRIGHTON BEACH MEMOIRS Neil Simon's play won the Drama directed by Gene Saks Critics Award for Best Play in 1983, as Screenplay by Neil Simon from his play well as a Tony for best director and best of the same name featured actor early last year. The Produced by David Chasman Australian production was performed in Starring Blythe Danner, Bob Dishy, Melbourne at the Comedy last year. Brian Drillinger, Stacey Glick, Judith .•...... !vey, Lisa Waltz and Jonathan Silverman ~.: . Opening early May at Russell Cinemas Anne Bancroft as New York writer 84 CHARING CROSS ROAD Helene Hanff. argely based on Neil Simon's own directed by David Jones L boyhood, BRIGHTON BEACH Screenplay by Hugh Whitemore from the DEATH OF A SALESMAN MEMOIRS is set in the rather cosy envi­ book by Helene Hanff directed by Volker Schlondorff ronment of Brooklyn. Fifteen-year-old Produced by Geoffrey Helman Adapted from the play by Arthur Miller Eugene is the second son of a Jewish Starring Anne Bancroft, Anthony Produced by Robert F. Coles berry family. As well as his parents and older Hopkins, Judi Dench, Maurice Denham Starring Dustin Hoffman, ate Reid, brother, the house is bulging at the Opening April 30 at Hoyts John Malkovich seams with the addition of a recently Now at Hoyts and Brighton Bay Twin widowed aunt and her two daughters, 4 Charing Cross Road, for the the youngest of whom is a remarkably 8enlightenment of those who have not ince its 1949 Broadway stage premiere, priggish and unpleasant little girl. known and loved the book for years, is SArthur Miller's DEATH OF A Torn between becoming a baseball the address of a former London book­ SALESMAN has become a classic of the star or a writer, Eugene keeps a diary "so shop in the theatre district. American theatre; it has been claimed that if I grow up warped or crazy the In 1949, Helene Hanff, a young and that not a night passes without it being world will know why". Every time some­ poor New York writer, read and performed somewhere in the world. thing interesting happens in the house answered an advertisement for out-of­ Dustin Hoffman had wanted to play (and there is plenty going on with such a print books placed in an American liter­ Willy Loman since he began acting in crowd), Eugene's mother despatches ary review by Marks & Co, Antiquarian 1959. In 1984 he appeared in Michael him to the local store on a trumped-up Booksellers. Rudman's Broadway production which shopping expedition. Eugene sees him­ That began a twenty year correspon­ was described by Time critic Richard self as frustrated at every turn in his dence with Frank Doel, manager of Schickel as "not. .. a reinterpretation of attempts to discover life's mysteries. Marks & Co, and a warm trans-Atlantic the play, but a virtual reinvention of it". \

\ ~ $12,000 of the $60,000 budget (funded by the AFC and Film Victoria) goes in prize money to the short film award win­ ners. Amongst the invited and entered fea­ tures received are: "SHAKE:OTIS AT MONTEREY" - Otis Redding, and "JIMI PLAYS MONTEREY" tracing the early Hendrix career ... "DI­ RECTED BY WILLIAM WYLER", a portrait of the lauded American direc­ tor, illuminated by interviews with the screen greats who quailed under his demanding hand - Bette Davis and John Huston for two .... "ROUTINE PLEA­ Dustin Hoffman as Willy Loman. SURES": the eagerly awaited second solo feature by Jean Pierre Gorin, which Willy Loman is the mediocre salesman Alfred Hitchcock in Francesco Bartolini and centres on a group of model train buffs. Claudio Masenza's film, THE THRILL OF who portrays himself to his family as a ... "THE NIGHT OF THE PENCILS", GENIUS. master of his trade, finally destroying Hector (Funny Little, Dirty Little War) both his family and himself. Hoffman Olivera's recounting of the tragic out­ slice of radical music from the States .... played Loman as "a scrappy, snappy lit­ come of student demos in Argentina. "NO PICNIC" - one of the representa­ tle bantam" according to Schickel. Now ... "BRITISH ROCK - THE FIRST tives of New York's 'Independents', is a his characterisation has been transferred WAVE", an American view of the quirky tale of one guy's lousy summer. to the screen, with Kate Reid as the world-wide impact of the U.K. 's '60s ... "TAMPOPO", a Japanese comedy of patient ·wife, and John Malkovich and music explosion .... "D. U.I." brings us a noodles, is Juzo (The Funeral) Itami's Stephen Lang as the sons who try to well received second movie. model themselves on the father they That's just a few. There's also believe to be so successful . "FATHERLAND", Ken (Kes, Poor Cow, Family Life) Loach ... "MY LIFE The 36th Melbourne FOR ZARAH LEANDER" from Christian (Under The Volcano) Film Festival Blackwood. Taiwan's Hou Hsiao Hsien's raved-about "A TIME TO reparations are well under way for LIVE AND A TIME TO DIE". P this year's Melbourne Film Festival "SHOAH", Claude Lanzmann's har­ which will be held from June 5th to 14th rowing 91f2-hour acclaimed investigation 1987 at Hoyts Mid City Centre, 200 of The Holocaust. "SAXOPHONE Bourke Street. The works of seven new COLOSSUS", Robert Mugge's tribute directors and seven women directors will to Sonny Rollins ... and many more. feature amongst the more than 40 full­ A stUlfrom LA MESSA E FINITA A Trust concession will be available. length and 100-plus short films to be (The Mass is Ended) directed by Italian For further information phone 663 1395 shown. Nanni Moretti. or the Trust office on 690 8384.

cessional vouchers can be purchased twelve months. They can be used for any Film Discounts from the Trust and exchanged at any film presented by the particular chain. Hoyts, Village or Greater Union cinema They are not therefore a guarantee of nmost editions of Trust News we have for tickets (some Saturday and Public admission to any particular screening. I a Focus on Films column which covers Holiday restrictions apply). Hoyts and You can purchase as many vouchers as highlights of the new film releases that Village vouchers can be purchased for you wish so regular film goers can keep month. We cover films which we believe $5.00, while Greater Union and supplies of vouchers on hand: Vouchers will be of interest to Members. It is Longford vouchers are $6.50 each. This can be obtained on the Trust Member important to realise, however, that film effectively means a $1.50 to $2.50 saving Booking Coupon (no handling fee discounts are available for all Hoyts, on the average general public admission applies), by phone, or in person from the I Greater Union and Village cinemas as price of $7 .50. Trust during normal office hours. Please well as films being screened at the The vouchers are open dated and are specify which cinema chain you require Longford Cinema in South Yarra. Con- valid for periods of between three and when ordering. 6 . ,:iJ!j {JfI 'fd'<-... (~ in ~ __bY _IrVin _Bau_er ---~------ti

s the 1986-7 theatre season limps seems increasingly dull and pedestrian. Bay and sang the role without great A along, comedy, once a great staple, The new theatre it played in, the 300-seat distinction I'm sorry to say. If you were now too often a pallid imitation of a TV John Houseman, was comfortable, with a lucky enough to miss the production, it sit-com, is again insignificantly repre­ terrific stage area and state-of-the-art turned up on television. A number of sented. SWEET SUE, by over-rated lighting facilities that can accommodate times . . . and for some reason if you A.R. Gurney, Jnr, stars major talents the most ambitious of theatre projects. It is wanted yet another taste .. . there was yet Mary Tyler Moore and Lynn Redgrave as a wonderful new asset to the N.Y. theatre another version from London's Covent a double version ' of Sweet Sue. The scene. Garden on another channel. This one also double vision is blurred, I'm afraid, and is Also Off Broadway we have THE featured Ms Te Kanawa and wasn't much a conceit that never really works. A CONCEPT, conceived and directed by better. You may understand why I had shame. Two major performers wasted. Lawrence Sacharow, text by Casey Kurtti great reservations about going to a small Coming off a bit better is SOCIAL in collaboration with the Company of IOO-seat opera house to see yet another SECURITY by Andrew Bergman. Again Daytop Village, which runs a very suc­ production. a small cast, six characters and a modest cessful drug rehabilitation programme, The Amato Opera Company has its single setting . . . the prescription for have improvised and arranged their own own theatre on the Bowery, that fabled Broadway straight plays; who can afford stories for dramatic purposes and to illus­ street of shabbiness and lost men, a very anything else? It is slight, moves effort­ trate the horrors of drug use. The pre­ unlikely place for opera to flourish, but lessly, ever so quickly, and at moments is sentation, a sort of " theatre as public under the direction of Tony Amato it does very funny. Especially good is Caroline service", is effective, compelling, insight­ remarkable things. His Fledermaus was Aaron, as the tough, long-suffering s,ister ful, chilling and at moments, very touch- truly inspired and wonderful. It was light, from suburbia. She seems the epitome of , ing. It is the kind of dramatic presentation effervescent, as sparkling as champagne. ' the middle-class malcontent American that could be toured to schools, youth It was sung well, if not brilliantly, and it housewife. groups and parents' associations with boasted the best performance, singing and rewarding results. acting of Prince Orlofsky that I have ever Moving off Broadway to a musical, It seems that we have just ventured seen. A charming singer named Vima La THE RISE OF DAVID LEVINSKY, through the festival of DIE FLEDER­ Vaidya is sure to make her mark on the book and lyrics by Isaiah Sheffer and MAUS by Johann Straus. This perennial opera world very soon. music by Bobby Paul, is yet another favourite seemed to be everywhere one "coming to America" musical. It seems looked. First there was the now much ethnic is " in" but why must it all be so heralded production at the Metropolitan Irvin S. Bauer is a Playwright-Producer literal and straight forward . ..? We know Opera starring Kiri Te Kanawa and based in New York where he heads the story, now give us an insight ... some directed by Otto Schenk. Ms Te Kanawa, THE DEVELOPMENT STAGE, a imaginative twist ... a fanciful curl, or is a singer much talked about these days, place where the Writer is encouraged to fulfil the potential of his work. that too much to ask in a theatre that played it like a bored housewife from Rose

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thought you may be interested in a tion in "per member costs" , which means theatre guide/booking coupon in each I recent report from our Membership we can extend the scope of our member­ issue of Trust News. Manager in Sydney, Carole Long, on ship services and increase pur capability SUGAR BABIES is still attracting membership growth during the past to negotiate better deals for our good audiences at Her Majesty's year. During 1986, we enrolled just members. Theatre, and as the season ends on under 500 new members here in Vic­ Saturday 25 April, you had better hurry toria, and the total of old and new mem­ While on the subject of memberships, if you haven't seen it y~ t . After Mel­ bers in all states had reached 9,607 at the don't forget Trust membership when bourne, the show moves back to Sydney, end of the year. This represents a growth you're thinking of a gift for Auntie Joan playing at Her Majesty's there until late of 18 per cent, which is a very healthy or for that colleague at work who's May, and then it packs up again for a sea­ situation. As Carole Long pointed out, always talking about how he'd like to go son in Brisbane. we have you, our existing members, to to the theatre more often but somehow The Trust's Theatre of the Deafwill be thank for a substantial part of this never manages to get there. Just com­ presenting its new play MOON BET­ growth. Nearly 16 per cent of our new plete the gift membership form on page WEEN TWO HOUSES (a play for chil­ members resulted from "word of mouth" 11, or ring the office with the details, and dren) at the Come Out Festival, members and as a result of gift member­ leave the rest to us. Your gift buying Adelaide's annual theatre festival for ships. It all adds up to a very encouraging couldn't be easier! If you have a friend or young people this month. The Theatre of picture for the growth of our theatre relative who'd like to know more about the Deaf is one of this country's leading audiences - and audience development our services, please let us know so we an theatre-in-education teams, working is the prime objective of Our membership send them further details or just give mainly in NSW schools. program. Another positive feature of an them a new member application form C,,,,~ · . er(/

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is a publication of the Australian Elizabethan POSTAGE I"'. Theatre Trust which is produced exclusively for its 9,000 members throughout Australia. . PAID AUSTRALIA THE AUSTRALIAN ELIZABETHAN THEATRE TRUST (incorporated in the A.C.T. ) Patron Her Majesty The Queen V'A AI R MA.AL President Sir Ian Potter Chairman Andrew Briger, AM Margaret Leask, Chief Executive Kathleen Norris C/- Quadriviwn, Directors ~ Rt. Hon. The Lord MayorofBrisbane, Alderman S. Atkinson 8 Halliford St., Sir David Griffin eBE, The Hon. Mr. Justice C. J. Legoe K. E. Cowley, Dr. T. Manford, D. A . Mortimer London. Nt. L. L. T. G. Teale, D. S. Waddy, C Yates. U.K. Company Secretary: Mark Benvau j Entrepreneurial Administrators: Dennis Linehan John Woodland ' Australian Content Director: Wendy Blacklock Executive Producer for Musical Theatre: Noel Ferrier Marketing Manager: David Martin Administrator of Orchestras: Warwick Ross Theatre of the Deaf Artistic Director: Patrick Mitchell Theatre of the Deaf Administrator: Priscilla Shorne Ticket Services Manager: Jo Litson Building, Props and Electrical Supervisor: Roger Taylor Costume Hires Manager: Michael James Membership Manager: Carole Long Membership Secretary: Carol Martin Melbourne office: Carol Ormerod Brisbane office: Denis Wadley Adelaide office: Veronica Bohm Perth office: Janet Durack The Australian Elizabethan Theatre Trust receives financial assistance for its activities from: The Music, Theatre, Literature and Aboriginal Arts boards of The Australian Council a statutory body of the Commonwealth Government. of Aboriginal Affairs. The Government through the Office of the Minister for the Arts. The Queensland Government through the Minister for the Arts. The Victorian Ministry for the Arts. The Government of Western Australia through. the W. A. Arts Council. B.P. Australia. The Ian Potter Foundation. The Australian Elizabethan Theatre Trust is a founder · member of CAPpA.

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