FEBRUARY,1985 Vol 9 No 1 ISSN 0314 - 0598

New David Williamson Play SONS OF KANE BY DAVID WILLIAMSON Directed by David Williamson Set and costume design by Shaun Gurton Cast: Noel Ferrier, John Gregg, , Sandy Gore, Libby Clark and Genevieve Picot Theatre Royal

t is now almost four years since David I Williamson's last play THE PERFEC­ TIONIST was premiered and in that time he has been working in other media creating a screenplay of THE PERFEC­ TIONIST and writing THE LAST BASTION for television. But the attrac­ tion of the theatre was too great for him to stay away from live performance for long and a chance conversation with journalists in a pub one night provided the inspiration for a new play. SONS OF KANE is about crime and cor­ ruption, an issue on which David Williamson has not focused his attention since THE REMOVALISTS in 1981 Poppie Nongena (coincidentally to be remounted at Phillip Street Theatre later this month). The Enthralling Musical Theatre managing editor of a big newspaper em­ pire (played by John Gregg) uncovers Based on a novel by Elsa Joubert critic of The Guardian newspaper as one clear evidence that an honest cop has Written for the stage by Elsa Joubert and of the most impressive pieces of drama to been moved out of the force because he's Sandra Kotze emerge from South in the past too much trouble. The idealism of youth Directed by Hilary Blecher decade, this production has taken Lon­ is rekindled and he brings in one of his Music by Sophie Mgcina don and New York by storm, collecting a friends (played by Max Cullen) whose Designed by Douglas Heap Lighting design by James Baird number of awards, including the career has taken a downturn to in­ Cast: Thulia Dumakude, Sophie Mgcina, prestigious Obie (for Outstanding vestigate the whole affair. Tsepo Mokone, Fena Kekana, Selaelo Musical Performance). The company The production is of particular interest as Maredi, Michelle Maxwell and Alan Coates being brought to by the Festival it is to be directed by the playwright. Footbridge Theatre of Perth will feature most of the original Although David Williamson has directed New York and cast, including a number of productions for other he internationally acclaimed anti­ Thuli Durnakude who has just been writers, this will be the first time he has T apartheid play POPPlE NONGENA named Best Actress in a new play at the directed one of his own plays. will be presented by The Australian Awards in London for The play is to be mounted by the Elizabethan Theatre Trust in association her performance in the title role. Melbourne Theatre Company and opens with The Festival of Perth, at the Foot­ POPPlE NONGENA is directed by in March in Melbourne. It will be bridge Theatre, , for a two week Hilary Blecher who worked as resident presented in Sydney in conjunction with season, commencing March 12, 1985. director at the Market Theatre, Johan­ the and opens POPPlE NONGENA is an intensely nesburg, where she directed the original at the Theatre Royal in May. See moving musical play which traces the life 1980 production with a racially integrated Member Activities p.lO for pre-theatre of a coloured servant of white South cast. dinner. African masters, from her carefree youth . BOOKING INFORMATION It to a shattered middle-age. is the true Tues May 14 to Sat June 15 story of a Xhosa woman, still trying to BOOKING INFORMATION Mon to Sat at 8 p.m. keep her family together in the face of the Tues Mar 12 to Sat Mar 23 Wed at 1 p.m. legalised violence of apartheid. The Mon to Sat at 8 p.m. Sat at 2 p.m. powerful musical score by Sophie Mgcina Sat at 2.15 p.m. AETT $14.90 (previews May 10, 11 illustrates the close involvement music AETT $13.90 (2 p.m. and 8 p.m.). 13); $15.90 (Mon to has in the daily lives of the Xhosa people. G.P. $15.90 Thurs during season) Pens/ Stud $10.00 (Mon to Thur and Sat G.P. $18.90 Based on the novel by South African Mat only) Pens/ Stud $9.90 author Elsa Joubert and described by the 2

At Marian Street the central role of the Intrigue and Jacksons will be played by and Shorts at the Wharf Espionage at Marian Ron Graham. The outstanding cast Directors: Rex Cramphorn, Wayne Harrison, brought together for the production will Anne Harvey, Michael Jenkins, Phillip Keir, Street be directed by John Krummel. The Richard Lawton, , Richard season opens on February 13 and seats Wherrett, Carol Woodrow PACK OF LIES BY HUGH WHITEMORE Production Design by Geoffrey Gifford Directed by John Krummel are available for Trust Members at a $5.00 discount on Sunday February 17 Lighting by Grant Fraser Designed by Peter Cooke Cast: Terry Bader, Gary Files, Lewis Fitz­ and Tuesday February 19. Cast: Judi Farr, Barry Creyton, Ron Graham, Gerald, Kate Fitzpatrick, , Elaine Lee, Linden Wilkinson, Melanie Katrina Foster, , , Openheimer and Mary Ann Severne BOOKING INFORMATION Diane Smith Marian St. Theatre Wed Feb 13 to Sat Apr 20 Tues to Sat at 8.15 p.m. British play based on the Gordon Sat and Sun at 5 p.m. "T he truth is that industry spends a Wed Mat 11 a.m. great deal of time and money on Lonsdale/ Krogers spy scandal of A AETT $11.90 (Sun Feb 17), $12.90 (Tue research and development while the 1960 will be presented at Marian Street Feb 19) theatre spends precious little." So said Theatre by the Northside Theatre Com­ Pens/ Stud $10.90 (Feb 19 only) Richard Wherrett, artistic director of the pany later this month. It is the first stage Bookings for other performances on Sydney Theatre Company announcing play by British television writer Hugh 498-3166 the season of SHORTS at the STC's new Whitemore and opened in London in late AETT discount $1 .00 (except Fri and Sat) . The new harbourside 1983 with and her husband venue will provide the opportunity to Michael Williams (seen here on ABC showcase new writing and new writers as television in "A Fine Romance") in the A Home for the STC well as provide special opportunities to lead roles. ith the opening of the new Wharf expose and develop promising talent and PACK OF LIES tells the story of a W Theatre at Pier 4 Walsh Bay the allow established talent to experiment in suburban family household, the Sydney Theatre Company not only has a new fields. A more unexpected role is to Jacksons, whose quiet, respectable life is splendid new venue for its more in­ house rare and neglected classic works disrupted by the arrival of a mysterious novative work but it also has a splendid and to provide a place to experiment in visitor. The family is plunged into a home to house the company's diverse new ways of presenting the classics. world of espionage and betrayal where activities. Before moving to the Wharf The season of SHORTS which opened on secret observers are hidden behind lace the company's activities were spread over curtains. The interest of the play lies in five locations: administration, rehearsal January 17 and will continue until March 22 consists of ten short plays - five the effect the secret service operations and wardrobe at one; set construction at have on the lives of the Jacksons. Writing a second; set and backdrop painting at a classic texts from the international reper­ in the London Times, Irving Wardle said: third; storage at a fourth; and of course toire and five contemporary Australian performance at a fifth - the Drama plays. As with the original SHORTS "The effect on the couple .. . is season that the STC produced at the catastrophic and extremely painful to Theatre of the . Not the ideal situation in which to develop Stables in 1981, three plays will be watch. Mr Williams, hands sinking ever presented each evening with a new play deeper into his trouser pockets, con­ good working relationships and a cohesive "house style"! being added to the repertoire each week templates the domestic crackup with an and one being deleted. The season has But the complex was not only designed impotent smile. Miss Dench changes been generously sponsored by CHAN­ for its residents; it is equally delightful from an amiable relaxed figure into a NEL 7 Sydney. twitchy recluse, withering in the climate for its patrons. A leisurely stroll down the of lies." 200-metre length of the wharf brings you PERFECT MATCH, written by Kathy to the theatre foyer with its magnificent Lette and directed by Robyn Nevin, is a views over the Harbour. Here patrons witty and fast-paced parody of the conse­ can enjoy pre-theatre or after-show sup­ quences of the current fad for computer pers, take refreshments at the bar or en­ arranged television romance. joy a cup of expresso coffee. SWALLOWING IS A VERY PRIVATE The Wharf Theatre is situated on Pier 4, THING by Ailsa Mathieson and directed Hickson Road, Walsh Bay, approximate­ by Anne Harvey is the story of a woman ly 250 metres from Pier 1 near the Har­ trying to come to grips with herself. bour Bridge and The Rocks. At night and THE BALD PRIMA DONNA, directed at the weekend parking is available in by Richard Wherrett, was written by Hickson Road and Pottinger Street. To assist those who travel by public Eugene Ionesco in 1948 and is one of the first plays in the Theatre of the Absurd transport, the STC has arranged for a bus movement. to take patrons to either Circular Quay or Wynyard at the conclusion of each per­ August Strindberg's PLAYING WITH formance. See Member Activities page 1 FIRE is a gentle middle-class comedy for Trust Member tour of the Wharf which was written in 1892. It is directed facilities and luncheon. by Michael Jenkins. 3

THE DOCTOR IN SPITE OF which is presented to coincide with its HIMSELF by Moliere will be newly The Removalists 40th Anniversary, a third return season translated and directed by Rex Returns to Phillip of the highly successful Richard Beynon Cramphorn. play, THE SHIFTING HEART and AND THE BESTMAN MAKES Street David Williamson's THE CLUB. THREE by GLADBAGS author Patricia Written by David Williamson Johnson and directed by Richard Lawton Directed by Peter Williams BOOKING INFORMATION is a new Australian work about a New Designed by Derek Cox Tues Feb 26 to Sat Mar 16 Zealand mother and her expatriate Phillip St. Theatre Mon to Fri at 11 a.m. daughter who has gone a little "punk" in Wed, Fri and Sat at 8 p.m. Sydney. hillip Street Theatre's 1984 produc­ AETT $13.90, $11.90 (Feb 27,28, P tion of David Williamson's play THE Mar 1, 2) BOOKING INFORMATION REMOVALISTS was a sell out. The G.P. $16.90 The Wharf Theatre Until March 22 Sydney Morning Herald said it was "un­ Pens/Stud $8.90 Mon to Sat at 8 p.m. Sat at 4 p.m. doubtedly one of the best plays ever writ­ AETT concession $1.00 ten - it is a timely reminder that the Bookings on 250 1777 abuse of power in our society is too deeply The Dross on the rooted a problem to be solved by an elec­ Golden Era Perth Festival tion". In 1971 when it was premiered, the play exposed for the first time on stage CHEAPSIDE BY DAVID ALLEN Cabaret Success aspects of the bottled up aggression in­ Directed by John Bell side Australian society - the basic Designed by Michael Bell he Canadian cabaret act The Nylons authoritarianism and the confrontation Cast: Denis Moore, Jim Holt, Brandon T will play at Kinselas from February 4 between the sexes which so often passes Burke, Vivienne Garret to 23. In the five years since they first for human relationships. Everest Theatre, sang for their supper at their professional debut in Toronto, the group has hanks to Shakespeare, the reign of developed a performance style which is as T the first Elizabeth has been presented much theatre as it is music. Initially they to generations of schoolchildren in a used no instruments other than the golden glow. It was the period when human voice and some percussive effects found its tongue, beat off the generated through finger snapping, foot Spanish Armada and made patriotism tapping and thigh clapping. Now the fashionable. sound effects are more sophisticated - In CHEAPSIDE David Allen has taken a tambourines, congas and electric drums. look at the other side of the coin - the The resulting inventive arrangements squalor and violence, the public hang­ combined with instant costume changes, ings, the brutality of the prisons, the dramatic lighting and d ynamic annual appearance of the plague and the choreography produce a stimulating political intrigue and spying which belong entertainment which took Perth by storm to what we would call a police state. at the 1984 Festival. Their Sydney season Set against this background, David Allen precedes a return visit to the 1985 Festival portrays the backstage squabbles of to play at the Perth Concert Hall. Their Shakespeare, Marlowe and their rival album "One Size Fits All" was voted the playwright, Robert Greene, who fell out 1983 No.1 Album of the Year in Ger­ of favour when Shakespeare and many and received the coveted Grammy Marlowe came along. The play is an in­ in Holland. triguing mixture of fact and fantasy. Kinselas have a number of theatre only CHEAPSIDE premiered in Melbourne tickets available but the majority of their Now 14 years later society has changed last June where it received critical tickets are set aside for theatre-dinner little and the play is equally relevant. acclaim. The Sydney production will be patrons. THE REMOV ALISTS opens at Phillip directed by John Bell and designed by his ,------, Street Theatre on February 26 and will be brother Michael who is an artist living in BOOKING INFORMATION Newcastle. Mon Feb 4 to Sat Feb 23 directed by Peter Williams. Cast details Mon to Sat at 8 p.m. (except Feb 11 had not been finalised at the time of and 18) going to press . Trust Member nights BOOKING INFORMATION Thurs to Sat at 11 p.m. (except Feb 7) when a $5.00 discount applies are Commences March 2 February 27 , 28 , March 1 and 2. Mon to Sat at 8 p.m. AETT $19.00 (show only), $25.00 Sat at 2 p.m. (1 course and show), $31.00 (3 course and Other programmes in Phillip Street AETT $15 .90 (except Fri and Sat evg) show) Theatre's recently announced 1985 G.P. $21.00, $27 .00, $33.00 respectively until March 23 subscription season are Tennessee G.P. $17.90 Pens/ stud $12.00 No stud/ pens concessions Williams' THE GLASS MENAGERIE 4

Flamenco Artist Returns ario Maya, who is the leading M dancer, choreographer, director and composer of his dance theatre, first visited Australia early in 1984 to perform A Y JONDO. He returns this month with his full company of 8 dancers, 2 singers and 2 guitarists to tour Australia with his new and highly acclaimed productions, AMARGO and FLAMENCO LIBRE. Mario Maya, himself a gypsy from the caves of Sacromonte, Granada, has strip­ ped flamenco of its folkloric and degenerate touristic connotations and presented its authenticity and progression as an art form in its own right. Mario's Maya's dance theatre presenta­ tions have great cultural and socio­ Spain. In his new production, BOOKING INFORMA TlON political significance. In his earlier pro­ AMARGO, Mario portrays the sym­ Everest Theatre, Seymour Centre ductions, CAMELAMOS NAZUERAR bolism and understanding of "gypsyism" Feb 6 to 9 and 13 to 16 and A Y JONDO, he made a claim for the from a poetic and "Lorcian" viewpoint. Nightly at 8.30 p.m. Sat Mat at 2.30 p.m. gypsy people in drawing attention to their Part Two of the programme, FLAMEN­ problems as a race, and then to the CO LIBRE, is comprised of a number of AETT concessions $1.00 historical persecution of the gypsies in traditional flamenco dances. Bookings on 692 0555

I'I'\fIIItflenl:y Kathleen No,,;s, VI'~ Chief Executive

elcome to the new Trust News. Performing Arts Centre, even before the Another play by Jack Davis, HONEY W Launching this monthly publication Centre is officially open. Rehearsals are SPOT, this one written for children, will for you is one of my first projects as in­ under way now for a February opening at be part of the Come Out Festival in coming Chief Executive of the Australian Sydney's Performance Space of a new ex­ Adelaide in May, and will then tour Elizabethan Theatre Trust. I think you perimental theatre piece, SLOW LOVE, South Australia. Also at the Come Out now will find more information about the written by Richard Murphett and Festival will be our Theatre of the Deaf. AETT, about performances on offer directed by Kerry Dwyer. London's Nor have we confined our activities to from other companies, and about the arts wonderful Theatre of Comedy company our own shores - in March a company and entertainment scene in general. has come to Australia to perform their of Aboriginal actors will be going to the The Trust is a bit like a benign hydra­ smash hit, RUN FOR YOUR WIFE, in United States to rehearse and perform headed monster. We try to use our many Perth and Sydney, January to March. Tom Keneally's new play, BULLIE'S heads to look at the performing arts scene Also in March, in association with the HOUSE, for the acclaimed Long Wharf in Australia, both on the service and the Festival of Perth, we will be presenting in Theatre in New Haven, Connecticut. producing/presenting side, and see where Sydney a South African company in a The Trust has been working closely with we can make the most valuable contribu­ compelling work, POPPlE NONGENA, the Long Wharf to ensure that this tions. Consequently, at anyone time, we which deals with the issue of apartheid, Australian work will have a successful have an extraordinarily diverse range of and Aboriginal playwright Jack Davis's American production. programmes under way. To give you an play, NO SUGAR, which was commis­ In upcoming issues of Trust News we will idea of this, I would like to outline some sioned by the Trust, will be performed at try to take you backstage and highlight of the performance activities we will have the Maltings Theatre during the Festival some of these specific programme areas. happening in the first six months of 1985. of Perth. We will also be discussing possible new THE PIRATES are back and playing in Donald Macdonald's Australian comedy, programmes and plans for the future. Melbourne and Brisbane. In fact, THE CARA VAN, is on the road, and will play In the meantime, best wishes for 1985, PIRATES OF PENZANCE will be the Adelaide, Launceston, Burnie, Hobart and I look forward to seeing you at per­ first show to play in the new Queensland and Brisbane by the end of April. formances throughout the year. 5

Run For Your Wife The Dream

he Australian Elizabethan Theatre pening on February 7 is Nimrod's T Trust starts off its 1985 programme O new production of A MID­ with the first stage of an international SUMMER NIGHT'S DREAM, which theatre exchange which will see a major will take a quite radical approach to the all-Australian production mounted this play's presentation. year in London's West End. Agreement The play will be set in a big city such as has been reached with both British and Sydney in the height of summer when Australian Equity to allow this exchange, everyone wants to escape from their daily the first of its kind, to happen, and in routines. The characters in the play exchange the AETT will import an all­ James Bo/am, Anita Graham and Bernard Cribbens escape into the dream, and the transition in RUN FOR YOUR WIFE British cast from the highly acclaimed from the city to the dream will be em­ London Theatre of Comedy. The com­ "When the Boat Comes In"; Bernard phasised by casting. will pany will present their most successful Cribbins sang that crazy song of many play Theseus, the man of the city, as well production to date, the hilarious Ray years ago "Right Said Fred". as Oberon, his dream alter ego. Similarly, Cooney farce, RUN FOR YOUR WIFE, Angela Punch-McGregor will play Hippolyta and Titania. at the Theatre Royal commencing BOOKING INFORMATION February 21. Thur Feb 21 to Sat Mar 30 The Theatre of Comedy Company which Mon to Sat ar 8.15 p.m. BOOKING INFORMATION was formed in 1983 includes the leading Wed and Sat at 2 p.m. Thu Feb 7 to Sat Mar 23 comedy talents in Britain and several AETT $15.50, G.P. $18.50 (Mon to Mon to Sat at 8 p.m. Sal at 2 p.m. members of the company touring Thurs and Mats) Australia will be familiar to Australian AETT $18.50, G.P. $19.50 (Fri and Sal) AETT $15.90 (Mon-Thu and Sat Mat) until Mar 9 audiences. was one of Pens/Srud $11.50 (Mon [0 Thurs and G.P. $17.90 Pens/Stud $12.00 (Mon­ "The Likely Lads" as well as starring in Ma[s) AETT discount until March 9 only Thur and Sat Mat) the popular TV drama,

our of Britain's top actresses have than any actress before her, "the role's for the building of a , The F been dominating the London stage in brutal, cynical, chirpy humour" (The Swan, in Stratford. It will be a 430-seat recent months - Glenda Jackson in Guardian). John Napier's design - of a theatre which will enable the company to Philip Prowse's production of Racine's huge, unwieldy cart/ multi purpose set on perform a large repertoire of neglected PHEDRA at the refurbished Old Vic; a centre stage axle and moved by the plays by Shakespeare's contemporaries. Judi Dench as Brecht's MOTHER actors, has caused much critical com­ The Society of West End Theatre, con­ COURAGE in the Royal Shakespeare ment! The production runs in the com­ cerned with the promotion and develop­ Company's production at the Barbican; pany's repertoire until March 1985. ment of London theatre activity, recently and and Joan Plowright as THE WAY OF THE WORLD which changed the name of its annual awards Millament and Lady Wishfort in William for achievement in theatre from the Gaskill's Chichester Festival production opened in Chichester in the summer and has now moved to the Haymarket marks S.W.E.T. Awards to the Laurence of Congreve's THE WAY OF THE Olivier Awards. Recipients in 1984 in­ WORLD at the Haymarket. a welcome return to England (from Canada) of the much loved Maggie cluded Ian McKellen, best actor in a PHEDRA is a tragedy in the grand Smith. " / think that her Mil/amenl wil/ revival (WILD HONEY), and 42ND manner and Glenda Jackson's passionate rank as one of the more adorable high STREET - Best Musical. Thuli portrayal of love for her stepson and the comedy performances of this century" Dumakude, who will shortly be touring inevitable tragic humiliation that follows, (The Guardian) - the role seems tailor Australia in POPPlE NONGENA, won in thi s intense and highly theatrical pro­ made for Miss Smith - she gives a be­ best actress in a new play for her role in duction, is excellently supported by a cast witching performance in a stylish produc­ that play. which includes Robert Eddison and tio n with eye catching costumes designed Gerard Murphy. Judi Dench's Courage, by Deidre Clancy. Margaret Leask is a former editor of directed by Howard Davies, "gives us Trust News now living in London both the battlefield vulrure and {he The Royal Shakespeare Company, from where she is an artist's agent. reckless survivor", bringing out, more its Stratford base, has announced plans 6 -~~------r,iii

In the Beginning by Pamela Heckenberg

The first in a series of articles on the develop­ ment of theatre in Australia and the role of the actor-managers. Second article will appear in May Trust News.

n 4 June 1789, Governor Arthur O Phillip and a large party of his officers attended the first theatrical per­ formance in the young colony of . The occasion was the birth­ day of King George III; the play was George Farquhar's THE RECRUITING OFFICER. And because Governor Phillip was responsible for the festivities appropriate to the birthday of his King, it seems reasonable to dub him our first theatrical entrepreneur. Among the audience on that June night was Captain Watkin Tench who, happily for us, recorded his impressions of the event, The exilarating effect of a splendid theatre is well known: and I am not ashamed to confess, that the proper distribution of three or four yards of {---- stained paper, and a dozen farthing candles stuck around the mud walls of a convict-hut, failed not to diffuse general complacency on the countenances of sometime house-breaker, Robert their fellow convicts and their overseers, sixty persons, of various descriptions, Sidaway. By 16 January 1796, however, they were, according to a report in the who were assembled to applaud the when he opened his theatre, Sidaway was Sydney GAZETTE of21 July 1827, "oc­ representation. Some of the actors ac­ not only a free citizen but one of con­ casionally honoured by the attendance quitted themselves with great spirit, and siderable means and position in the and cheered by the plaudits of some of received the praises of the audience . .. young colony. His convict built the first personages in the Colony, ladies A colonial governor and his officers playhouse (simply called the Theatre and as well as gentlemen. " assembled in a makeshift theatre to watch managed by a business associate, John a haphazard company of convicts per­ Sparrow) had a seating capacity of about While all these early ventures seemed form a play that had its roots in the in­ 120 and admission was pay?ble in either highly laudable, they were nevertheless dolent and witty world of the late cash or kind - flour, meat or spirits. amateur and transitory and ultimately Restoration, may perhaps seem an That Sidaway's theatre functioned for contributed little of significance to the unlikely beginning for a national theatre not much more than two years, perverse­ establishment of any viable theatrical life but it was, in fact , entirely appropriate. ly indicated its great popularity. When he in the young colony. In the local Our proud pioneering tradition has its decreed its closure, Governor Hunter an­ newspapers as early as 1824, the good origins as much in our theatrical past as nounced that he had noted a marked in­ citizens of Sydney had, in fact, discussed in our more familiar cultural motifs of crease in the rate of robberies in the col­ at some length the desirability of a per­ stalwart settlers improvising the trappings ony on the nights that the theatre had manent professional theatre in their of European civilisation in isolated and been open. town. But no matter how fervent the discussion, it can be no substitute for meagre huts. Indominitable energy and Apart from Sidaway's brief resumption creative vitality as well as a determination action. And when the first professional of activity in 1800, the only other records company eventually made its entrance to improvise, to adapt to an unfamiliar of eighteenth century theatrical produc­ world, to cope with often inadequate onto the Australian stage it was virtually tions were occasional convict perfor­ due to the single-minded vision, enor­ conditions, and to ignore apparently in­ mances at the Norfolk Island penal settle­ surmountable obstacles - these were mous energy and sheer tenacity of just ment during 1793 and 1794. Likewise, one man - a young free settler called essential qualities for the pioneers of our our earliest nineteenth century theatre Australian theatre. Barnett Levey who was to become our was established by convicts. This rough theatre's first professional entrepreneur. But if our first entrepreneur came here as structure on the Government Farm at His Majesty's appointed governor, our Emu Plains, thirty-six miles west of He had arrived in Sydney on 18 second came as His Majesty's reluctant Sydney, thrived between 1825 and 1830. December 1821 to join his prosperous guest. This was First Fleeter and Although its actors most often played to ticket-of-leave brother, Solomon, in 7

business. By late 1825, Barnett Levey had His first concert, advertised beneath the fects" the evening was generally pro­ opened his own wholesale and retail banner, "The Royal Assembly Rooms", nounced a success and particular praise warehouse at 72 George Street, had mar­ took place on 20 August 1829, and the was bestowed on the leading actors, Mrs ried Miss Sarah Emma Wilson, and was AUSTRALIAN's account of the event Love and Mr Meredith. advertising as an , auctioneer and clearly indicates that Levey had by no appraiser; and by mid-1826 he had means abandoned his battle for his organised his first amateur concert at theatre. THEATRE ROYAL, Hackinson's Freemasons' Tavern. The ... the farther end (of the saloon) opens SYDNEY. evening was clearly successful because upon the entrance to the pit of the -- ON WEDNESDAY. DECE1UBER the 26th. 18.11, when Levey held a second concert two theatre, which gradually became THIS THEATRE Will open for thc, firs ttimc. with N ew Sccllcry. j\lal· hincrl. weeks later, the audience could not be occupied by respectably dressed persons. nr~ s-"e s, nlld Ilccoraliolls, untle r tlu: manageme nt of contained comfortably in the tavern and The lower tier of front and side boxes MR. ~!!~ITH. the Governor granted his permission for appeared to be more filled than the pit, The Pieces .'IclcetCtl fur the OI)c ll ing arc firs t : 'I'IHT ~ HJ C" AO!\lllu:n subsequent concerts to be held in a large and the upper boxes had their share . .. Nautical ~Ielo _ Drama. room above the Court House in The proscenium displayed a green cur­ IN 1'HREE ,\eTS, Castlereagh Street. tain, surmounted by various devices .. The house was pretty well lighted. ALL IN THE DOWNS. ::X~~~J,~~~dr~~t t~I;"~~=: 1 1~~~~~S:E~·'::i~~[:::~~:~'~ ~' HI.! E 1 ' ~~n. lI . by M, Ibc ~..,~. I" .,.o n;lI~f IAIIK. by M r. "'.r!ft_ Despite the fact that Levey, always a man AUSTRALIAN, 26 August, 1829 .. ~~H\ .: U >, by ' If 'I",lor. U"'"EII, b, M r. ltolhR,I:' ..onb ." 10. b~ ~ I r """J II,\TCII ET, lor ...... lIill. , ,\II;>". hy Mr ' ,kcs of action, had built his theatre by the end WILLIAM. BY ~ IR. MEREDIT II . But Governor Darling was not to be so '" .. I(·"·.:n:o ~C~ .\ !'I . by ;\1.. Lou. OOLLY M.4. Y. ~· I .oWEn ,~ •.\1 .... W.. .., . of June 1828 and had taken steps to still Cup tniR II .•Ui l/, hipIlIfUl , .~·fl ilo r s, Vilh'fJrrs, ~ . c. JII N.: ol'.t.;oun c 't' . Mrs. W ~....,~ MADA"!:: U!::LL £(lAIIDE. Mrs: tAn be no theatre. It was not, in fact, until 16 ~ I R !!I TII O .~ .• r.I . , Ward. off. His unauthorised erection of a mill ' '''' I'crjoNAll._"" I. /" '.'l""ltJ ~ 1M 8.M oj iii. , ~,!~. ty' . 171' R.,i.u l, !1fulJ!I May 1832, almost four years after his "a-J hy u. .." •• V_, n ...... ""ow/_ct

Mazorl (Tom Hulce) in AMADEUS BOOKING INFORMATION The film takes full advantage of the op­ portunities of the medium; creating Concessional vouchers can be pur­ authentic sets, including a complete seven chased from the AETT and exchang­ hundred-seat, eighteenth-century theatre; ed at Hoyts, Greater Union and using location shots at Prague's Tyl Village cinemas for tickets. The Dilh Prall in THE KILLING FIELDS theatre and expanding the musical score vouchers are open dated but some in staging authentic versions of Mozart's Saturday/Public Holiday restrictions Schonberg'S guilt and anguish over his operas. apply to their use. See vouchers for friend's unknown fate stayed with him details. for four and a half years until he began his search for him. Then on 5 October ANOTHER COUNTRY directed by G.U. $5.50 ($1 saving), Hoyts $5.00 ($1.50 saving), Village $5.00 ($1.50 1979 Dith Pran crossed the border to Marek Kanievska Thailand, and freedom. Screenplay by Julian Mitchell saving). Srarring Rupert Everett, Colin Firrh with Discounts are also offered at the "The central friendship is not between , Bersy Trantley Dendy Cinema, Martin Place ($1.00) equals," says producer David Putnam Pitt Centre opening Feb 7 and the Academy Twin, Paddington (who also produced CHARIOTS OF ($2.50) at all performances except FIRE), "but initially between master and NOTHER COUNTR Y is an adapta­ after midday Saturday. Members servant. As such the story becomes a A tion of Julian Mitchell's play of the should present their membership metaphor for the United States' involve­ same name inspired by the Guy card at the box office. ment in South-East Asia and possibly in a Burgess/Donald Maclean incident. The more timely way, Central America. " 9

Theatre of Sound Slow Love on Prisons and Dreams Created and directed by Colin Offord Valentine's Day off Broadway Ensemble: Colin Offord, Twins Seven Seven, Greg Sheehan, Christopher Offord, Tunji SLOW LOVE by Richard Murphet REPORT TO AN ACADEMY by Franz Beier Directed by Keny Dwyer Kafka Off Broadway Theatre Designed by Edie Kurzer DESPATCHES FROM ANOTHER Sound design by Elizabeth Drake WORLD by Virginia Rose Cast: Jo Kennedy, Stephen Burton, Cathy ~ Directed by Jose Farinas I:;) Paul, Brian Joyce Designed by Ricardo Artigas The Performance Space ---- ,r -K. Cast: Justine Saunders and Athol Campion I Off Broadway Theatre modern love story written in an ex­ ~ A citingly innovative way by he central theme of the two one-act Melbourne author Richard Murphet and T plays being presented by La Troupe directed by Kerry Dwyer opens at the Theatre at Off Broadway this month is - Performance Space on Valentine's Day, survival. The main characters in both ! ~ February 14. The play breaks up the Kafka's REPORT TO AN ACADEMY traditional idea of the narrative of a love and DESPATCHES FROM ANOTHER story by showing four performers in a WORLD by Virginia Rose are survivors series of repeated action sequences which fighting their way out of the cage of develop an idea of a relationship, then civilisation that oppresses body and change and let us see another possibility. spirit. Through their determination and These sequences are separated by will to survive they gain humour and blackouts and have a cinematic quality hope . . . . like offcuts of a movie. DESP A TCHES, which is the first play The soundtrack is being designed by by Virginia Rose to receive a professional Elizabeth Drake and will consist of three performance, is an insider's report from layers; one is dialogues from the movies the frontlines of third world poverty. A which recall our collective fantasies of young widow, played by Justine love, such as the films of Lauren Bacall Saunders, takes western reporters beyond Colin Offord and Humphrey Bogart; the next is a the televised images of pathos to show number of songs from different periods them her world; where hope and courage heatre of Sound is a recently formed of history including Schubert's lieder, the are as much a part of daily life as T ensemble, directed by Colin Offord, Rolling Stones and Grace Jones; and the disaster. based around his unique "sound third is a pulse, beating like an underlying Athol Compton performs REPORT TO sculptures" and images. "It's my own music track which draws the whole piece AN ACADEMY, Kafka's devastating vi­ idiosyncratic direction in music and together. sion of the human condition as seen painting and a fusion of different art through the experience of an ape whose Richard Murphet describes the playas forms which then become a forum where ancestry is lost in the pain of modernisa­ being akin to an epileptic fit, where the people from different disciplines can tion. But, justly proud of his struggle, it actions repeat themselves in the mind at a come together. " can still laugh at the pretensions of Euro­ very rapid rate, bringing the piece close to pean civilisation. Central to Colin's work is an instrument rock and roll in its ability to energise an he calls the "Grand Redbow", a unique audience. La Troupe Theatre is a Sydney-based col­ instrument of his own devising which lective founded in 1981. They combine could be described as a one-string SLOW LOVE is the first production for diverse skills to experiment with a wide playable sculpture. After' Theatre of 1985 in the Australian Elizabethan range of theatrical concepts and tradi­ Sound's recent performance at the open­ Theatre Trust's Australian content pro­ tions to create high quality theatre. Athol ing of the Victoria Arts Centre, Tom gramme, which is administered by former Compton will be remembered for his re­ Duggan of the Melbourne Age described actress Wendy Blacklock. The aim of the cent performance in THE CAKEMAN at the "Grand Redbow" as having programme is to give Australian talent Phillip Street Theatre whilst Justine "elements of cello, side drums, double financial and administrative assistance so Saunders is renowned for her role in the bass, flute, didgeridoo and heaven knows that new work can be created in a support television production of WOMEN OF what else all mixed in. It should sound and professional environment. THE SUN. Both actors are Aborigines. atrocious but it doesn't. In fact it's undeniably pleasing. " BOOKING INFORMAnON Thur Feb 14 to Sun Mar 10 BOOKING INFORMATION BOOKING INFORMAnON Tue to Sat at 8.30 p.m. Wed Feb 20 to Sat Mar 9 February 7, 8, 9 at 8 p.m. Sat and Sun at 5 p.m. Mon to Sat at 8 p.m. AETT discount $1.00 AETT discount $1.00 AETT discount $1.00 Bookings on 692 0964 Bookini!s on 699 5091 Bookings on 692 0964 10 fJlfJ'IifI!J - No'Il------I talk-back session in a Volkswagen beetle) Zastrozzi The Marginal Farm that twist and turn their way through an or its 25th Birthday production the evening of suspense, knockabout humour imrod has started off its 1985 season and thought-provoking fun - with just a on a high note with a wickedly funny F Ensemble is presenting the first N dash of music. comedy of horrors by Canadian Sydney production of a new play by playwright George F. Walker whose play Alexander Buzo. Most of it is set in Fiji in Griffin Theatre recently won the Sydney BEYOND was the late 1950s where Buzo sets the stage Theatre Critics Guide award for ex­ presented at Nimrod two years ago. The for clashes on several levels between cellence in its pursuit of an all-Australian central character in the play is Zastrozzi, generations, between races, between col­ policy. a master criminal of Europe in the 1890s. onialism and budding independence, bet­ ween old values and ones that are prepar­ AETT discount $1.00 ing to ripen in the 1960s. The play has Bookings on 33 3817 received a generally good reception from the press. Masterclass AETT discount $2.00 (except Sat evg) he Sydney Theatre Company's until Feb 22 T presentation of The Stage Company Bookings on 929 8877 of S.A. 's production, MASTERCLASS, has opened to enthusiastic reviews from the Sydney critics. It is set in the Kremlin Slippery When Wet where Prokofiev (Dennis Olsen) and Colin Friels and Shostakovitch (Huw Williams) have been H. G. Kippax in The Sydney Morning new play by the author of LOVE summoned by Stalin (Peter Carroll) and Herald said Colin Friels as Zastrozzi "is A AND THE SINGLE TEENAGER, Zhadanov (Simon Chilvers). splendid ... exuding comic danger, which recently had a very successful The time is 1948 and Zhdanov, having insolence and diabolic glee, commanding return season at the Off Broadway already imposed his will on literature, a kind of awful delight. They are all Theatre, opened the Griffin Theatre theatre and film, has turned on good." Company's 1985 season at the Stables musicians. Theatre last week. AETT discount $2.00 (Mon-Thurs and SLIPPERY WHEN WET is a series of AETT discount $1.00 Sat Mat) until February 16 scenes (ranging from backstage at a Bookings on 692 0555 Bookings on 250 1777 ballroom dancing competition to a radio __M~-~-~------~ GOULBURN AND BRAIDWOOD since. Cost for the tour is $150 which in­ Theatre's magnificent foyer overlooking TOUR cludes bus transport, all meals, twin Sydney Harbour. The company's general Sat Mar 16 and Sun Mar 17 share accommodation (single supplement manager, Donald McDonald, will tell us The Sydney Members Committee Presi­ $15) and all entries. something of the Wharf's development dent, Shirley Hay, will lead this two-day WHARF THEATRE INSPECTION and the company's plans for its use. tour of the historic towns of Goulburn Thu March 21 at 11 a.m. Tickets are $10 each and members are and Braidwood. Saturday will be spent Pier 4, Walsh Bay very welcome to bring friends along. It lunching at Pelican Station and inspec­ The Sydney Theatre Company's new should be a fascinating morning. ting the historic homestead of Riversdale Wharf Theatre is one of the more in­ at Goulburn as well as the museums of teresting theatrical venues to be opened in SONS OF KANE DINNER Goulburn and Garroorigang. Sydney in recent times. No only does it Banks Restaurant, Wentworth Hotel On Sunday the tour will explore the town have an intimate theatre for the com­ Fri May 10 at 6 p.m. of Braidwood and Bedervale Colonial pany's more innovative work but it also Before seeing a performance of David Homestead designed by the well-known provides a home for all those activities in­ Williamson's new play, SONS OF architect John Verge who also designed volved in getting a play on stage - KANE, at the Theatre Royal, join us and Camden Park and Elizabeth Bay House. rehearsal, set building, costume making. other members for dinner at the Went­ It was built for Captain John Coghill in Our inspection of the Theatre will include worth Hotel. Tickets are $16.00 each 1836, then passed to his daughter and son all these areas of the building and then which includes a two course meal with in law in whose family it has stayed ever culminate in a basket luncheon in the wine. Guide ~ ~_,,_e______~ ~ 0.. BELVOIR STREET (699 3273) * HER MAJESTY'S THEATRE (266 4800) 2S Belvoir St, Surry Hills Quay Street, Sydney Auditoria: Upstairs and Downstairs Licensed bar and restaurant Licensed bar Wheelchair access Wheelchair access to both auditoria S1.50 service charge on phone credit Credit cards accepted card bookings On street parking Pay parking at Kings cor Thomas and Quay Sts

BONDI PAVlUON (30 7211) Queen Elizabeth Drive, Bondi Beach Unlicensed No wheelchair access * KINSELAS (331 3100) Oxford Square No credit cards Two licensed restaurants Parking in Queen Elizabeth Drive Cocktail bar Theatre restaurant No wheelchair access No service charge for credit cards On street parking * (929 8177) 78 McDougall St, Milson's Point Licensed restaurant and bar Wheelchair access SI.00 service charge for credit cards On street parking * (_ 3166) Marian St, Killara Resident company: Nonhside Theatre Company FOOTBRIDGE THEATRE (692 9955) i* Licensed restaurant and bar University of Sydney, Parramatta Rd, Wheelchair access Licensed bar No charge for credit cards Wheelchair access Theatre carpark SI.00 service charge for credit cards Parking on Parramatta Rd and Arundle St

~ GENESIAN THEATRE (267 7774) * NEW THEATRE (519 3403) 470 Kent St, Sydney 542 King St, Newtown Unlicensed Unlicensed Wheelchair access Wheelchair access No credit cards No credit cards Pay parking at Kings, 452 Kent St On street parking DON'T KEEP IT TO YOURSELFI TELL A FRIEND ABOUT AETT MEMBERSHIP ------NEW MEMBER APPLICAnON FORM MR/MRS/MISS/MS,______

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I enclose cheque for S20 (made payable to A.E.T.T.) or charge my D Bankcard • Mastercard Expiry date DDDDDDDDDDDD •• DDDD

Signature ...... · · . Membership valid for 12 months from date of joining. * OFF BROADWAY (692 0964) * ENTERTAINMENT CENTRE (266 4800) 73-79 Bay St, Glebe Haymarket, Sydney Licensed bar Licensed bar and restaurant Wheelchair access McDonald's family restaurant $1.00 service charge for credit cards Wheelchair access Free parking at Hodgson's Dye Agency, 51.50 service charge on phone credit Bay St card bookings Pay parking at Centre (access from Pier or Quay Sts)

Th * PERFORMANCE SPACE (698 7235) * SYDNEY SAILORS' HOME (273 274) Zastrozzi 199 Cleveland St, Redfern 106-108 George Street, Sydney Unlicensed Resident company: Marionette Theatre imrod has started off its 1985 season F~r Wheelchair access of Australia N on a high note with a wickedly funny No credit cards Licensed bar comedy of horrors by Canadian Sydn Parking on Cleveland St Wheelchair access playwright George F. Walker whose play Alexa No service charge on credit card the la bookings BEYOND MOZAMBIQUE was On street parking presented at Nimrod two years ago. The for c central character in the play is Zastrozzi, gener oniali * PHILLIP STREET THEATRE (232 8570) a master criminal of Europe in the 1890s. 169 Phillip Street, Sydney THEATRE ROYAL (231 6111) Unlicensed * King Street, Sydney Wheelchair access Licensed bar No service charge for credit cards Wheelchair access Parking near St. Mary's Cathedral 51.00 service charge on phone credit or pay parking under Theatre Royal card bookings Pay parking under theatre

* THE WHARF THEATRE (250 1777) * Q THEATRE (047 21 5735) Hickson Road, Walsh Bay Cnr Railway and Belmore Sts, Penrith Licensed bar and light refreshments Licensed bar Wheelchair access Colin Friels and Tina Bursill Wheelchair access SOC service charge on phone credit card No charge for credit cards bookings H. G. Kippax in The Sydney Morning Free parking in adjacent council car park On street parking Herald said Colin Friels as Zastrozzi "is splendid . . . exuding comic danger, insolence and diabolic glee, commanding a kind of awful delight. They are all * SYDNEY OPERA HOUSE (lO588) Bennelong Point, Sydney THE ROCKS PLAYERS (569 9223) good." * Resident company: Sydney Theatre Cnr Marion and Renwick Sts, Leichhardt Unlicensed Company AETT discount $2.00 (Mon-Thurs and Wheelchair access Auditoria: Concert Hall, Opera Theatre, Sat Mat) until February 16 Drama Theatre and Playhouse scenes No credit cards Bookings on 692 0555 On street parking Licensed bar and restaurant ballro Self service restaurant Wheelchair access 51.00 service charge on credit card bookings Park and ride from Domain carpark * SEYMOUR CENTRE (692 0555) (access from St Mary's Rd) Cnr Cleveland St and City Rd, Chippendale Resident company: Nimrod Wheelchair access Auditoria: York, Everest and Downstairs As accommodation for wheelchairs is Licensed restaurant and bar limited at all above venues it is Wheelchair access to Everest and essential that wheelchair space is Downstairs reserved at time of booking. 52.00 service charge on phone credit card Assistance as needed can then be given GOULBURN AND BRAIDWOOD since. bookings by the theatre to provide access to the TOUR elude Pay parking under Centre (access from auditorium. Sat Mar 16 and Sun Mar 17 share Shepherd St) The Sydney Members Committee Presi­ $15) dent, Shirley Hay, will lead this two-day tour of the historic towns of Goulburn Thu and Braidwood. Saturday will be spent Pier - lunching at Pelican Station and inspec­ The ting the historic homestead of Riversdale Whar at Goulburn as well as the museums of Goulburn and Garroorigang. On Sunday the tour will explore the town of Braidwood and Bedervale Colonial pany' Homestead designed by the well-known pro vi architect John Verge who also designed volve Camden Park and Elizabeth Bay House. rehea It was built for Captain John Coghill in Ouri 1836, then passed to his daughter and son all th in law in whose family it has stayed ever culmi TRUST MEMBER BOOKING COUPON My cheque for $ is attached made payable to AETT MR/MRS/MISS/MS PLEASE PRINT FULL NAME or charge my D Bankcard • Mastercard Expiry date ADDRESS POSTCODE ______DDDDDDDDDDDD •• DDDD TELEPHONE (day) (evening) AETT MEMBERSHIP No. ______(IN CASE WE NEED TO CALL YOU ABOUT YOUR ORDER) Signature ......

SHOWIEVENT lITEM 1ST PREFERENCE 2ND PREFERENCE TIME STALLS OR PRICE PER NO. OF TOTAL FOR (DAY AND DATE) (DA Y AND DATE) DRESS CIRCLE TICKET TICKETS USE ONLY

BOOKING INSTRUCTIONS: Please add handling fee of 50c per ticket purchased to total ticket price and send to AETT, $ P.O. Box 137, Kings Cross 2011 with stamped addressed envelope (for return of tickets). Please note that tickets for different events may be mailed separately in which case the AETT will supply the additional envelopes. Performance and price information, for those shows for which mail bookings are available, is given at the foot of each article. $

SPECIAL SEATING REQUIREMENTS: If through disability you have any special seating requirements please contact the membership office (357 12(0) for inclusion in our disability register. $

• 10 • No'!!-_fJltN--j'

Zastrozzi imrod has started off its 1985 sea N on a high note with a wickedly fu comedy of horrors by Canad' playwright George F. Walker whose p BEYOND MOZAMBIQUE w presented at Nimrod two years ago. central character in the play is a master criminal of Europe in the

H. G. Kippax in The Sydney Herald said Colin Friels as Zastrozzi splendid ... exuding comic insolence and diabolic glee, cOJ'11uzanm a kind of awful delight. They are good. "

AETT discount $2.00 (Mon-Thurs anI Sat Mat) until February 16 Bookings on 692 0555

GOULBURN AND BRAIDWO TOUR Sat Mar 16 and Sun Mar 17 The Sydney Members Committee Pr dent, Shirley Hay, will lead this two­ tour of the historic towns of Goulb and Braidwood. Saturday will be sp lunching at Pelican Station and insp ting the historic homestead of Riversd at Goulburn as well as the museums Goulburn and Garroorigang. On Sunday the tour will explore the to of Braidwood and Bedervale Colo Homestead designed by the well-kno architect John Verge who also desig Camden Park and Elizabeth Bay Ho It was built for Captain John Coghil 1836, then passed to his daughter and in law in whose family it has stayed

12

THE AUSTRALIAN ELIZABETHAN POSTAGE THEATRE TRUST (incorporated in the A.C.T.) PAID

Patron AUSTRALIA Her Majesty The Queen President Sir Ian Potter Chairman Andrew Briger, AM Directors Alderman S. Atkinson Sir David Griffin CBE The Hon. Mr. Justice C. J. Legoe R. C. OBE Dr. T. Manford D. A. Mortimer N. R. Seddon AE CBE L. G. Teale L. D. S. Waddy T. Yates Chief Executive: Kathleen Norris Company Secretary: D. F. Grace 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

The Australian Elizabethan Theatre Trust receives financial assistance for its activities from: The Music, Theatre and Aboriginal Arts boards of The Australia Codncil a statutory body of the Commonwealth Government. The Department of Aboriginal Affairs. The New South Wales Government through the Premier's Department, Division of Cultural Activities. The Queensland Government Directorate of Cultural Activities. fhe Victorian Ministry for the Arts. The Government of Western Australia through the Instant Lottery. Esso Australia Ltd. The Ian Polter Foundation.

The Australian Elizabethan Theatre Trust is a founder member of CAPPA. TRUST NEWS is a publication of the Australian Elizabethan Theatre Trust and is mailed to its 5000 members in New South Wales eleven times tJer year. Membership enquiries should be directed to the Membership Secretary on 357 1200, 153 Dowling St., Potts Point. Postal address: P.O. Registered by Australia Post - Publication No. NBH 1305 Box 137, Kings Cross 2011. May be opened for postal inspection