Lindsay Hardy

Total Page:16

File Type:pdf, Size:1020Kb

Lindsay Hardy Lindsay Hardy the man who wrote from Lindsay Street Victor Harbor —via Adelaide & Sydney— to the Middle East, North Africa, New Guinea, to Adelaide, Melbourne, Sydney, North America —Vancouver, Hollywood, Toronto, New York— to London, Sydney, to permanent expatriacy in London Peter Adamson To Angus ‘Gus’ Dodd of the 2/48th, who, typical of the vast majority of diggers, said so little of his war service that it was only when I researched Hardy’s life that I gained an inkling of what he endured. ©2014 Peter David Adamson 7 Horn Court, Walkerville. South Australia. 5081. <[email protected]> (08) 8344-3709 2 Lindsay Hardy was Australia’s finest writer of suspense thrillers for radio. Born in Victor Harbor, South Australia, he moved to Sydney, joined the army in December 1939, was wounded twice (once in North Africa and again in New Guinea), returned to Australia, and began writing radio serials. He and his serials soon became household names. He then sought fame in Hollywood and was successful, until McCarthyite hysteria saw him refused residential status. Disappointed, he moved to Cana- da and London; came back to Sydney, then finally, with very little work in Australian radio and television for writers of drama, re- turned to England and permanent expatriacy. 3 Lindsay Hardy the man who wrote Contents Preface 5 Acknowledgments 7 Introduction: Who was Lindsay Hardy? 9 1. Starting points: from Lindsay Street Victor Harbor to Sydney 12 September 1914-December 1939 2. To World War II: the Middle East and New Guinea 15 December 1939-November 1943 3. Back in Australia November 1943 -December 1944, then off to Britain 21 4. Back in Australia in 1946, Hardy begins writing for radio then or 1947 26 5. Hardy moves to Sydney in 1950 31 6. Writing in Hollywood and New York 1952-1953 39 7. To Canada, London, New York, London, Sydney, London, Sydney 1953-57 49 8. To London—never to return—1958-1994 58 9. The writer and the man: Who was Lindsay Hardy? 84 Appendices 1. More on Hardy’s trial for attempted rape 91 2. Hardy on the British Medical Establishment 95 3. Chronological bibliography of Lindsay Hardy’s known writing 98 4. Lindsay Hardy’s novels and television serials in translation 101 5. Lindsay Hardy’s ‘recycled’ plots 102 6. Cast and character lists of Major Gregory Keen radio serials 103 7. Robert Aldrich’s lies about the writing of World for Ransom 104 8. Serial production costs & profits, writers’ & actors’ remuneration 107 9. Photographs of Mr & Mrs Hardy in chronological order 110 Bibliography and other sources 117 Endnotes 118 4 Preface Although I have tried to write a chronologically accurate account of Lindsay Hardy’s life, and especially of his writing, there will be errors, because often I have had to rely on memories of events that occurred from 20 to over 90 years ago. My search for people who knew Hardy began with pleas in the letters-to-the- editors columns of Adelaide papers. Anthony Laube, who helped mount an exhibition on Victor Harbor’s history, read one and contacted me. A few years previously he had been sent some information from Sydney by Mark Day, Hardy’s nephew, about the Har- dy family. I rang Mark, who knew very little about his uncle’s life, but was able to tell me why: he had disgraced himself in the opinion of his family, and so Mark’s mother, Alfreda, maintained an unbreakable wall of silence about him.1 Mark told me how to contact Hardy’s surviving sister, Marjory, who said to me: ‘I know nothing about him … I was his younger sister and they told me nothing about him. I have no memories of him.’2 ‘They’ were her parents and older sister Alfreda. This raised several ques- tions. Did they tell her nothing, and if so why? Was it because he had disgraced himself? Or, did she know nothing? Being only three years younger than Lindsay, at least until he left home, she should have known a lot about him. Four years later Al- freda’s other son, Paul de Burgh-Day, recalled that ‘As a child, I remember hearing about … Uncle Lindsay. … he was my Uncle, but he was the family black sheep, he was not a good person.’3 Back to the mystery—what had Hardy done? Very little information from other sources is readily available about Hardy. His war record only gives an outline: it states where he was, what injuries and illnesses he had, when he went AWOL and the like. But, critically, it does not mention what bat- tles he fought in. The only other significant sources of information that I found, if one can call them that, were the blurbs on two of his books. That he was a private man is another reason for the shortage of material: for four years I was unable to learn anything about Hardy’s wife except her name and the year of their marriage; during four years I found only one line of his about himself, a comment in a British magazine. And that leads to the final reason for the shortage of information: he spent most of the last half of his life in England, about which I found little more than the line mentioned above and the synopses of scripts that he wrote for television. It seems that after returning to England in the late 50s he ceased nearly all contact with Australia, except for occasional meetings with the now deceased radio producer Donovan Joyce and the actor Guy Doleman. What information there was about Hardy was often hard to get. When I first rang the R.S.L. in Adelaide to see if any of his battalion mates were still alive I was told by a man that most were dead and that the memories of the remaining few had all been de- stroyed by dementia. I was bitterly disappointed. About a year and a half later I tried again, hoping to speak to a different person and have a better result. I spoke to a wom- an, and within 48 hours I had the phone numbers of three men who had served with him. I’ve never told those three helpful, knowledgeable men that they had been written off with advanced dementia. When I learnt that Hardy had attended Victor Harbor High School I rang the school. The receptionist told me that the school had no archives, and so nothing on Hardy. (She should have known that the school had archives because its 5 history had been published. But then she did not tell me of that either.) However, gentle probing revealed that they had boxes of records beginning in 1930. As that was the year Hardy spent there I asked her to look. She did and replied, ‘We have nothing on Anderson.’ She had looked under my misheard name. When I reminded her that I was researching Lindsay Hardy, not me, she found his report card with his grades on it. ‘Could you tell me what they are?’ She replied, ‘They mean nothing to me.’ Fortu- nately she agreed to send me a copy. I received a standard Education Department re- port (still used in the 1960s) with all marks expressed simply as percentages. History research should not have to be this hard. I was keen to find, what seemed to be the last possible source of information, the ‘niece’ who provided the details for Hardy’s death certificate. I wrote to her address at the time of his death in Southampton and received no reply. No one of that name was listed in the telephone directories, so I checked the British electoral roll and found only one possible. I wrote to her in Cheshire—no reply. Was she the woman that I want- ed? If only people would return mail addressed to the wrong person. All the time I thought that I was racing against time for Lindsay’s niece, if 20 years younger than Lindsay, would be about 75. Was she still alive? Finally, on Boxing Day 2009, I decided to make one last attempt to contact the niece, whom I thought was a niece of his deceased wife. If this attempt failed I would end the search and write up what I had. I rang Mark Day, who thought that her name was familiar. A few days later he emailed her address to me. She had been living in Australia since a few days after her uncle’s death in London, and was his grandniece— and no where near 75. I quickly contacted her. Not only had she provided the details for Hardy’s death certificate, she had visited her ‘Uncle Lindsay’ in London. Through her I contacted her mother and uncles. Then unexpectedly the information drought was significantly broken when her mother kindly lent me 100 pages of Hardy’s letters to his mother and sister Marjory. A year later Mark Day came across two packets of docu- ments (including passports, a seaman’s identity card and wage book), photographs and letters written to his mother. Before proceeding, some words on series and serials because Hardy wrote both. A se- ries can include several serials but not the other way around, as in ‘Hardy became fa- mous for his series of serials about Gregory Keen.’ More commonly though in the writing world a series is a group or set of separate or stand-alone or self-contained sto- ries on similar themes or featuring the same leading characters.
Recommended publications
  • Australian Radio Series
    Radio Series Collection Guide1 Australian Radio Series 1930s to 1970s A guide to ScreenSound Australia’s holdings 1 Radio Series Collection Guide2 Copyright 1998 National Film and Sound Archive All rights reserved. No reproduction without permission. First published 1998 ScreenSound Australia McCoy Circuit, Acton ACT 2600 GPO Box 2002, Canberra ACT 2601 Phone (02) 6248 2000 Fax (02) 6248 2165 E-mail: [email protected] World Wide Web: http://www.screensound.gov.au ISSN: Cover design by MA@D Communication 2 Radio Series Collection Guide3 Contents Foreword i Introduction iii How to use this guide iv How to access collection material vi Radio Series listing 1 - Reference sources Index 3 Radio Series Collection Guide4 Foreword By Richard Lane* Radio serials in Australia date back to the 1930s, when Fred and Maggie Everybody, Coronets of England, The March of Time and the inimitable Yes, What? featured on wireless sets across the nation. Many of Australia’s greatest radio serials were produced during the 1940s. Among those listed in this guide are the Sunday night one-hour plays - The Lux Radio Theatre and The Macquarie Radio Theatre (becoming the Caltex Theatre after 1947); the many Jack Davey Shows, and The Bob Dyer Show; the Colgate Palmolive variety extravaganzas, headed by Calling the Stars, The Youth Show and McCackie Mansion, which starred the outrageously funny Mo (Roy Rene). Fine drama programs produced in Sydney in the 1940s included The Library of the Air and Max Afford's serial Hagen's Circus. Among the comedy programs listed from this decade are the George Wallace Shows, and Mrs 'Obbs with its hilariously garbled language.
    [Show full text]
  • Phillip Street Theatre
    COLLECTION FINDING AID Phillip Street Theatre Performing Arts Programs and Ephemera (PROMPT) Australian ColleCtion Development The Phillip Street Theatre (sucCeeded by the Phillip Theatre) was a popular and influential commercial Sydney theatre and theatriCal Company of the 1950s and 1960s that beCame well known for its intimate satiriCal revue produCtions. William Orr was the Company’s founding DireCtor of ProduCtions, and EriC DuCkworth was General Manager. After taking over the MerCury Theatre in Phillip Street, William Orr re- opened it as the Phillip Street Theatre in 1954, presenting a series of “Phillip Street Revues” and children's musicals, including Top of the Bill and Hit and Run (both 1954), Willow Pattern Plate (1957), Cross Section (1957-58), Ride on a Broomstick (1959), Mistress Money (1960). These featured many noted Australian performers, many who later went on to beCome well known film, theatre and television personalities, inCluding Gordon Chater, Margot Lee, Barry Creyton, Jill Perryman, Noeline Brown, Robina Beard, Judi Farr, Kevin Miles, Charles "Bud" Tingwell, Ray Barrett, Ruth CraCknell, June Salter, John Meillon, Barry Humphries, Reg Livermore, Peter Phelps, and Gloria Dawn. The Phillip Street Theatre was demolished at the time of Out on a Limb with Bobby Limb and Dawn Lake in 1961, and the Company moved to the Australian Hall at 150 Elizabeth Street, near Liverpool Street. The Company's name was then shortened to the Phillip Theatre in reCognition of this move. Content Printed materials in the PROMPT ColleCtion include programs and printed ephemera such as broChures, leaflets, tiCkets, etC. Theatre programs are taken as the prime doCumentary evidenCe of a performanCe at the Phillip Street Theatre.
    [Show full text]
  • The Life and Times of the Remarkable Alf Pollard
    1 FROM FARMBOY TO SUPERSTAR: THE LIFE AND TIMES OF THE REMARKABLE ALF POLLARD John S. Croucher B.A. (Hons) (Macq) MSc PhD (Minn) PhD (Macq) PhD (Hon) (DWU) FRSA FAustMS A dissertation submitted for the degree of Doctor of Philosophy University of Technology, Sydney Faculty of Arts and Social Sciences August 2014 2 CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student: Date: 12 August 2014 3 INTRODUCTION Alf Pollard’s contribution to the business history of Australia is as yet unwritten—both as a biography of the man himself, but also his singular, albeit often quiet, achievements. He helped to shape the business world in which he operated and, in parallel, made outstanding contributions to Australian society. Cultural deprivation theory tells us that people who are working class have themselves to blame for the failure of their children in education1 and Alf was certainly from a low socio-economic, indeed extremely poor, family. He fitted such a child to the letter, although he later turned out to be an outstanding counter-example despite having no ‘built-in’ advantage as he not been socialised in a dominant wealthy culture.
    [Show full text]
  • Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday
    ON STAGE The Spring 2011 newsletter of Vol.12 No.4 Vivat Regina! Melbourne celebrates The Maj’s 125th birthday. he merriment of the audience was entrepreneur Jules François de Sales — now, of course, Her Majesty’s — almost continuous throughout.’ Joubert on the corner of Exhibition and celebrated its birthday by hosting the third TThat was the observation of the Little Bourke Streets. The theatre’s début Rob Guest Endowment Concert. The Rob reporter from M elbourne’s The Argus who was on Friday, 1 October 1886. Almost Guest Endowment, administered by ANZ ‘covered the very first performance in what exactly 125 years later — on Monday, Trustees, was established to commemorate was then the Alexandra Theatre, the 10 October 2011 the merriment was one of Australia’s finest music theatre handsome new playhouse built for similarly almost continuous as the theatre performers, who died in October 2008. * The Award aims to build and maintain a This year’s winner was Blake Bowden. Mascetti, Barry Kitcher, Moffatt Oxenbould, appropriate time and with due fuss and ‘“Vivat Regina!” may be a bit “over the Clockwise from left: Shooting the community for upcoming music theatre He received a $10 000 talent development the theatre’s archivist Mary Murphy, and publicity, as well as the final casting, but I top” — but then, why not?’ commemorative film in The Maj's foyer. Mike Walsh is at stairs (centre). artists and to provide one night every year grant, a media training session, a new theatre historian Frank Van Straten. am thrilled that they are spearheaded by a Why not, indeed! when all facets of the industry join to headshot package and a guest performance Premier Ted Baillieu added a special brand new production of A Chorus Line — as Rob Guest Endowment winner Blake Bowden welcome a new generation of performers.
    [Show full text]
  • VPA Abstracts
    14-15 February 2013, University of Technology, Sydney PROGRAM Under the auspices of: With the support of: ABSTRACTS SESSION 1 Diane Hughes (Macquarie University, Sydney) – Imperfect Perfection: The Technological Processing of Vocal Artistry. This paper addresses technological processing of the contemporary singing voice in live and recorded contexts. While the acoustic instrument is embodied in a singer’s anatomy, physiology and biopsychology, the singing voice in popular culture is typically realised in formats that can be far removed from the singer. Technological applications facilitate the embodied instrument to be transformed into electrical signal that can then be manipulated and altered with creative and/or purposeful intent. Producers, engineers, equipment, software and treatments may significantly influence any resultant vocal aesthetic. By analysing the perspectives of singer and industry professionals, this research identifies the impact of technological processing on the grain (Barthes, 1978) of the singing voice. The ways in which the singers shape and identify their unique vocal sound is detailed, and the emergent influencers and influences on contemporary vocal artistry are discussed. In industries where pervasive technologies are applied to the singing voice, perfected vocal aesthetics are typical. Processing therefore has the potential to undermine and devalue the inherent artistry of the acoustic instrument while contemporaneously having the capability to facilitate creative and artistic intent. While technological processing essentially focuses on the ways in which the resultant vocal sound is conceptualised sonically, the dichotomy between creative or corrective processing intent reveals that conceptualisation is developed, maintained and mediated in a variety of contexts. These contexts, together with the prevalence of perfected recorded performance, provide distinct challenges for singers intent on maintaining artistic integrity.
    [Show full text]
  • Programmes, Visiting Artists and Companies Ephemera PR8492/1870-1899 to View Items in the Ephemera Collection, Contact the State Library of Western Australia
    Programmes, visiting artists and companies Ephemera PR8492/1870-1899 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D 1980 April 12 Octagon Theatre John Mills Zenith Music John Mills 1 (Guitarist) ____________________________________________________________________________________________________________________ May ? Perth Entertain- Evita Harold Prince Michael Edgley Jennifer Murphy 1 ment Centre Andrew Lloyd International Peter Carroll Webber John O'May ____________________________________________________________________________________________________________________ May 1 Regal Theatre Rattle of a Simple John Manford John Manford Trevor Bannister Man by Charles Rowena Wallace Dyer Michael Loney Includes Review and notes by Peter Kemeny ____________________________________________________________________________________________________________________ June 7 His Majesty's "Duet for One" John Tasker Interstar Helen Morse 1 Theatre Tom Kempinski Don Reid ____________________________________________________________________________________________________________________ June 15 His Majesty's "La Traviata" Guiseppe Bertinazzo W.A.Opera Graham MacLean 0 Theatre Guiseppe Verdi Company Margaret Haggart ____________________________________________________________________________________________________________________ June 21 Perth Entertain- The Mansudae Art Michael Edgley The Troupe 0 ment Centre Troupe International PR8492/1980-1989 Page
    [Show full text]
  • Who's Watching You Tonight?
    Australia’s new audience... Who’s watching you tonight? and how to capture it Australia’s new audience... and how to capture it! Acknowledgements Front cover colour photograph courtesy of participants at an Information Update seminar at the Over 50s Association Published by the Office of Senior Victorians, Rural and Regional Health and Aged Care Services Division Victorian Government Department of Human Services Melbourne, Victoria 2002 ISBN 0731159918 Also published on the Office of Senior Victorians Website at www.seniors.vic.gov.au Copyright State of Victoria Foreword Contents The images the media use to represent older people So much of what we see on our screens in Australia comes from the Introduction 4 in our community clearly affect the way we feel United States and this research shows that young and middle age peo- about growing older. They also critically affect the ple dominate. It seems that as characters age they simply disappear The Grey Dollar: perception younger people have of older people from our screens. A Consumer Profile 5 and their role in society. What we are finding is actually a fadeout of older people - of images of Hearing the Message: People, of all ages want to see themselves and their older people. And of those older characters we do see, most lack the What Older People Want 6 lives reflected on screen in ways which are realistic status, value and effectiveness of younger characters with whom they and meaningful. Older people are represented in all share the screen. The Grey Viewer Demographics 8 strata of society today - in the workforce, (both paid and unpaid), as family members, as educators and learners.
    [Show full text]
  • Ned Kelly & the Movies 1906-2003
    Ned Kelly & the Movies 1906-2003: Representation, Social Banditry & History A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy Stephen Gaunson Bachelor of Arts (Honours) School of Media and Communication Design and Social Context Portfolio RMIT University April 2010 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Stephen Gaunson April 5, 2010 i Acknowledgments This thesis would not have been completed without the support and encouragement from my wife, Lauren-Eve Purdey. Her many cups of tea, patience, positive attitude and osteopathic treatments allowed me to forge ahead when the end was in sight. This thesis is hugely indebted to my supervisors Dr Adrian Danks and Professor Ina Bertrand, who consistently provided encouragement, reliable direction, academic and practical support, access to resources, funding and academic opportunities. I am forever grateful to Ina who taught me the importance of „doing things correctly‟, and welcoming me into her country home. I also am thankful to Adrian for his meticulous concentration to detail and encyclopaedic breadth of cinema knowledge. I finish this study a better writer and researcher because of the care taken by Adrian and Ina.
    [Show full text]
  • Bert Button Comments on Radio – 1985
    BERT BUTTON COMMENTS ON RADIO – 1985 Willie Fennell: actor of radio, films, theatre. In the post war years over 60% of radio features were imported from America and the United Kingdom. A Parliamentary Standing Committee on Broadcasting was concerned about Australian artists only participating in about 30% of locally recorded programs. It was about that time that the “Colgate Palmolive Show” was formed, which included Jack Davey, Bob Dyer, Roy Rene, Joy Nicholls, Kitty Bluett, Hal Lashwood, Dick Bentley, George Foster and Willie Fennell. Willie’s main claim to popularity was the expression “Ow are yer mate” and it could be claimed that his being typed this way did not do justice to the real ability he possessed. Perhaps the first public indication of this was when he starred in “Life with Dexter” and since then he has successfully participated in a number of TV and theatrical productions. Willie was always a fairly quiet unassuming person; not easily cultivated as a friend, but an individual who would always leave his mark in the field of entertainment. Whilst he recollects with pleasure his participation in several top rating radio shows such as “Calling The Stars” (his first appearance in radio), “Ada and Elsie”, and “The Cashmere Bouquet Show”, I’ve always felt that Willie Fennell obtained more satisfaction from his association with theatrical and film productions, although he also obviously enjoyed facing up to large audiences in club shows. Now in his sixties, Willie Fennell has been associated with several commercial and ABC TV programs such as “No. 96” and “Young Doctors”, and also stars in theatrical productions and the occasional film.
    [Show full text]
  • John Pearce (“For the Love of Mike”)
    “FOR THE LOVE OF MIKE” Autobiography by John Pearce – OBE Formatted by Bruce Carty – Ph.D. CHAPTER 1. There is a temptation to start with the line "I was born at an early age." But, I can top that. I wasn't supposed to be born at all! Oh, nothing to do with lack of contraceptive knowledge back in those pre-pill days, days when men walked into pharmacies, asking to speak to "the male chemist". I was born because my brother had died. My dear old Pommy dad was the last of the line. It was a pretty long line, dating back several centuries, and having a title somewhere - probably lost due to non-payment of rates, or other handouts demanded of the King of the day. Preservation of the line meant a lot in those days. My dad had two of sisters who had also come to live in Australia. They both married, but none of them to anyone called Pearce. My dad's firstborn was Edward; but, at the age of about eleven, he died of something people don't much die of these days {well, not as much as they did} - rheumatic fever. By this time my sister was very much alive, a couple of years younger than the lamented late Ted. But she would never be a male Pearce, able to carry on the name. And that's where I came into being. I've never believed I have lived on borrowed time, but, if Edward has been sitting on a cloud "up there" watching all these years, thank you, older brother, for letting me have a great life.
    [Show full text]
  • The Pirates of Penzance - Return Sydney Season
    DEC/ JAN, 1985/ 6 Vol 9 No 11 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust The Pirates Of Penzance - Return Sydney Season THE PIRATES OF PENZANCE by ollowing an Australia-wide tour the to the irreverent send-up as originally en­ Gilbert and Sullivan FVictoria State Opera/ Australian Eliza­ visaged by Gilbert and Sullivan who were Reproduced by Craig Schaefer after the bethan Theatre Trust co-production of the Monty Python of their day. In addi­ New York Shakespeare Festival produc­ THE PIRATES OF PENZANCE returns tion, the music, while faithful to the tion to Sydney in January and will play in the original tunes, is presented in a modern Cast: Jon English, Simon Gallaher, June Lyric Theatre, Entertainment Centre. This style, complete with synthesisers. " Bronhill, Dennis Olsen, Rosemary Boyle venue will give the scope to present the Jon English, Simon Gallaher and June and Tim Tyler production on a much larger scale than Bronhill will return with the production. Lyric Theatre, Entertainment Centre was possible within the limited staging They will be joined by Dennis Olsen as the facilities of the Regent Theatre. Major General, Tim Tyler as the Police "It was such a joyous romp it won cheers Sergeant and Rosemary Boyle as Mabel. The Australian production of THE Prime seats have been held for and a thunderous standing ovation . PIRATES OF PENZANCE is based on bursts with outrageous fun, often pure Members for the matinee and evening per­ the New York Shakespeare Festival's pro­ formances on Saturday, January 4 and the slapstick but done with such speed and duction which was first performed in Cen­ vigor that audience laughter is almost non­ Monday and Tuesday evening perfor­ tral Park four years ago with Kevin Kline mances on January 6 and 7.
    [Show full text]
  • A Note from Reg Livermore
    A NOTE FROM REG LIVERMORE Nancye and I have keenly anticipated this chance to work together again, throughout the course of our extensive careers our paths have crossed too rarely. While playing in Opera Australia’s 2008 production of My Fair Lady we talked of devising a kind of autobiographical entertainment that might catch us an audience. Almost two years ago I began to write a show that is now called Turns, it isn’t exactly the show we discussed but it does I think give us a chance to show what we’re made of, show what we like to do on stage and what we think we do best, a series of theatrical turns tailored especially for this occasion. More than that it salutes the particular traditions in the theatre to which we are significant links; what we’ve done and observed in show business for so long now informs the nature and essence of our performances. Turns is a broad reflection on show business, matters of identity, of family and dependency, of the memory, and the commonality of an experience that lies ahead for most of us. Intertwined are some outrageous fun and games, elements of mystery, echoes of slapstick, 1940’s film noir gets a nod as does the music-hall, vaudeville, cabaret, above all traditional pantomime. This kaleidoscopic rainbow of theatrical styles underscores our storyline and makes for an evening in the theatre we hope is appealing and moving. We wouldn’t be standing up in front of you at all but for our producer, Christine Dunstan who has been enthusiastic from the outset; she is a rare breed, a commercial producer prepared to initiate, encourage and develop a show from scratch, she is one whose great love of the theatre has always emboldened her to take the risks.
    [Show full text]