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 M­­­elbourne’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. at a nominated industry event in 2012. message. Mike Walsh described the film as: it says everything there is to say about “this ● Theatre Heritage Australia Inc. is congratulated by compère Bert Newton and The evening included two performances To mark the 125th anniversary, the ‘A touching and often very humorous business we call show”. congratulates Mike Walsh and his team, Kellie Dickerson, head of the judging panel and from each of the six finalists, plus program opened with a 10-minute film review of all those exciting and sometimes ‘We continue to adjust the programming and warmly wishes The Maj well for the musical director for the evening. contributions from established performers outlining the theatre’s colourful history. scary years in the history of the theatre. and the various uses of “The Maj”. next 125 years. Mike Walsh OBE in the stalls at The Maj. such as Lucy Durack, Lucy Maunder, This was commissioned by theatre owner ‘Ups and downs are the only things ‘Rest assured, also, that opera, plays Rhonda Burchmore, Melissa Langton, Alex Mike Walsh OBE, and directed by Peter J. predictable in this business, but I am very and ballet will be there along with the The company on stage for the finale of the Rob Rathgeber, Rob Mills, David Harris, Adams. It featured a feast of historic footage, excited with the shows we have so far blockbuster musicals — all very exciting for See ‘Voices from Her Majesty’s Past’ special Guest Endowment Concert. Belinda Wollaston and the casts of Love plus interviews with Mike and veterans such confirmed for the next three years and beyond. us, and for the theatre’s many fans and CD offer on page 52. Never Dies and Rock of Ages. The evening as Jill Perryman, Nancye Hayes, Toni ‘For reasons of business confidentiality, supporters,’ Mike concluded. Summing up was hosted by Bert Newton. Lamond, Stuart Wagstaff, Peggy Shea, John they will be announced individually at the the The Maj’s ‘Big 125’, Mike added: Images: Shelton Muller and THA

Page 2 ON STAGE Spring 2011 Page 3 Curtains for Sydney’s Royal? Bran Nue Dae The cancellation of Rock of Ages leaves the theatre with no firm bookings for 18 months. Part 1 of the twelfth in a series of articles about important Australian musicals by Peter Pinne.

he fate of Royal’s 1200-seat capacity ran Nue Dae holds the distinction of Theatre Company, Tasmania’s Salamanca Along the way he meets up with his Uncle Sydney’s makes it ideal ‘for smaller being not only Australia’s first Theatre, and the Aboriginal National Theatre Tadpole and two hippies, Marijuana Annie TTheatre Royal and mid-scale musicals, BAboriginal musical, but also the Trust, which included the script in their National and Slippery. He also encounters police hangs in the balance, though it can work with first hit Australian musical to be made into a Playwrights’ Conference and Workshop in brutality, and has his first experience of sex. 6 following the some compromise for larger major feature film. Sydney in 1989. Father Benedictus pursues Willie and ‘postponement’ of a musicals. It can also be used Yes, there had been two previous stage Chi’s plot, set in the early ’70s and eventually they all meet up on the beach at planned four-month for larger scale drama, works committed to celluloid, Kenneth loosely based on his life story, opens in Broome for a happy reunion and season of the ‘power although the acoustics are Cook’s Stockade (1971), which simply took Broome, where Willie, an Aboriginal reconciliation when they discover they are 7 ballad’ musical Rock such that intelligibility can Sydney’s Independent Theatre’s stage teenager, has his world turned on its head all related to one another. of Ages. be a significant issue and its production and filmed it at the Colonial when his Auntie Theresa sends him to Perth The story opened with Willie and Rosie The show enjoyed a scale is a little too large for Australiana Village, Wilberforce, north of for a Christian upbringing. going to the movies at the Sun Picture 1 successful run at the most theatre other than large Sydney, and Frank Howson’s What the Moon At the Catholic mission Willie steals some Gardens Cinema in Broome, an open-air Comedy in Melbourne, ensemble work. The Saw (1990), which was based in part on his food and is subject to harsh discipline meted movie house with seating on canvas-backed before a transfer to the incursion of noise from stage musical Sinbad the Sailor—The Last out by Father Benedictus. Missing his girlfriend chairs. The 80-year-old cinema still operates 2 Queensland Performing trains passing nearby is a Adventure (1982) , but Bran Nue Dae was very Rosie, he decides to run away back to Broome. and is the last remaining open-air cinema Arts Centre. On 28 perennial problem but one different. Whereas Stockade had left in Australia. October the show’s to which audiences have been seen only in Sydney, and The first commercial producer, Rodney become accustomed.’ Sinbad the Sailor in Melbourne, production of the musical took Rigby’s newtheatricals, ‘Lacks ambience and street presence’ says The report continues: Bran Nue Dae had toured place at the Octagon Theatre, pulled the plug on the Sydney season, which ‘Planning Sydney’s Cultural Facilities’ report: ‘The configuration of the theatre is not nationally and was a very well- Perth, during the 1990 Festival of was to start previews on 11 January 2012. Outside and inside the Theatre Royal’s main ideal, with the steepness of the Dress Circle known musical long before the Perth, in a co-production between Rigby explained that his decision was entrance on King Street. Images: THA. being a concern for older audiences. cameras started rolling. Bran Nue Dae Productions and due to ‘the current economic downturn ‘Technically the theatre presents To date the movie has grossed the Western Australian Theatre impacting on ticket sales problems with its limited $7.6 million, becoming one of the Company. The work was credited in Sydney’. All tickets wing space and equipment. top 50 Australian films of all time to Chi and Kuckles, with the band 3 sold will be refunded. The location of the main at the local box office. providing the musical The show would have foyer underground means Bran Nue Dae had its origins in accompaniment and Stephen had to compete with that the theatre lacks the 1980s when Jimmy Chi (b. Pigram, one of its members, as Annie at the Lyric, Love ambience and street presence. 1948), a self-taught Aboriginal musical director. Andrew Ross, a Never Dies at the Capitol, The décor is badly in need musician and composer based in big supporter of the project, Broome-based band Kuckles (from left): Patrick Bin the Sydney Festival and of refurbishment.’ the pearling port of Broome, handled the direction, and Amat, Stephen Pigram, Jimmy Chi, Mike Manolis, Mick Opera Australia’s La Some years ago the Western Australia, wrote some Michael Leslie choreographed. Connoly (engineer), Gary Gower. Traviata on a floating stage Theatre Royal housed songs which were performed by Prior to opening, the company had in Sydney Harbour. large-scale shows like Cats, Kuckles, a local band. rehearsed for eight weeks, six in 8 This leaves the Royal Les Misérables, The Phantom The first public viewing of the Broome and two in Perth. with no firm bookings of the Opera and Nicholas work as a piece of musical theatre took place The cast included Ernie Dingo (Uncle for the next 18 months, Nickleby but, since the in 1986 at a workshop produced by the Tadpole), Michelle Torres-Hill (Rosie), John though its owners say opening of the Lyric, the Aboriginal Writers’ Oral Literature and Moore (Willie), Bob Faggetter (Father 4 they are ‘in very early Royal’s less-than-desirable Dramatists’ Association in Perth. Benedictus), Lynda Nutter (Marijuana discussions with the capacity has meant that it The work received a positive reaction. Annie), Alan Charlton (Slippery), Stephen producers of a show that has struggled to attract Chi was encouraged to continue working on ‘Baamba’ Albert (Pastor Flakkon) and would have followed long-running shows. the piece by playwright and poet Jack Davis, Maroochy Barambah (Auntie Theresa). Rock of Ages’. an expanded retail area which would have For the last few years Marita Darcy of Broome who persuaded him Critical reaction was unanimous. Ron There have been persistent rumours that utilised part of the theatre, but these were its utilisation has been sporadic. to get the songs down on paper, and Peter Banks (The West Australian) headlined his the Royal might close temporarily or eventually abandoned. Instead, last August, The Theatre Royal was built in 1976 to Bibby, editor of Magabala, the recently review ‘Aborigines put on satirical side’, permanently because of the need to renovate GPT Group announced it would sell its 50 replace the earlier Royal in Castlereagh created Aboriginal publishing company in while Peter Ward (The Australian) called it a the 33-year-old MLC Centre in which it is per cent share in the complex. Co-owner Street, which was demolished in 1972 after Broome. By now the band Kuckles had also ‘boisterous sunrise of engaging charm’. The housed, the façade of which is ageing Queensland Investment Corporation is also nearly a century of operation. become involved in the project and had written Financial Review claimed ‘the humour is rapidly. The building is regarded as one of believed to be ready to sell. some songs for it. Chi was a member of the direct and frequently outrageous. With thanks to Bruce Tannock. n 5 architect Harry Seidler’s most important works. The recent ‘Planning Sydney’s Cultural group. ‘One of the most obscene — and wildly At one stage there were plans to develop Facilities’ report (see page 51) notes that the Interest was shown by Robyn Kershaw, funny — songs ends with condoms being and later Duncan Ord of the Western Australian thrown into the audience.’ * Page 4 ON STAGE Spring 2011 Page 5 The Bulletin said, ‘Bran Nue Dae’s joyous Theatre. Later, with minor cast changes 19 performances before transferring to the Theatre Company, an organisation that the director, Michael Leslie the CD by Polydor (BNDCD001). effect on an audience was apparent as its (Rohanna Angus as Rosie, Sylvia Clarke as Seymour Centre’s York Theatre on 22 January evolved from discussions between Janet choreographer, design by Steve Nolan, with Continued in the next issue of On Stage. message of universal humanity — helped by Auntie Theresa and Stephen Albert as Uncle 1991 for a further 22 performances, closing Holmes à Court, Andrew Ross, Duncan musical direction chores being shared by References: an immortal borrowing of “Ich Bin Ein Tadpole) it toured from6 to 29 September 1990 on 9 February 1991. Ord and Will Queckett, following the Stephen Pigram and Chong Lim. The 1. Andrew Pike & Ross Cooper: Australian Aborigine!” — struck home,’ while Jill Sykes to the Western Australian regional towns of Melbourne was the only capital city not premiere of the first production of the production had also acquired Lindsay Field as Film 1900-1977. Oxford, 1981, p.335. in The Sydney Morning Herald enthused, Kununurra, Derby, Broome, Port Hedland to see the show, but Leonard Radic did musical in 1991, with help from Minister for vocal arranger.11 2. Scott Murray: Australian Film 1978-1992. ‘Once in a while, something very special and Karratha, with Darwin the last stop.9 review a performance he attended at the York the Arts, David Parker. Their charter was to A cabaret version was devised to travel Oxford, 1993, p.307. emerges in Australian theatre — something In Broome the musical came full circle Theatre, Sydney, for The Age: ‘Bran Nue Dae produce distinctive regional theatre.10 to Fiji and other places.12 3. Wikipedia like Bran Nue Dae.’ when it played five sold-out performances at stands out for its warmth and simplicity. It is Twenty years later, Black Swan is the In 1991 a documentary by Tom 4. Chi & Kuckles: Bran Nue Dae playscript. The actors were also praised: ‘There is the Sun Picture Gardens Cinema. a good-natured, unpretentious show which major State-funded theatre company of Zubrycki about the making of the musical Currency/Magabala, 1991. an especially fine performance from Dingo, The production then played six bounces along and the life of Jimmy Chi, Bran 5. Ibid. while Moore and Torres-Hill are appropriate performances at the Canberra Theatre, with engaging Nue Dae, premièred at the State 6. Ibid. matinee idols’ (The Australian), although it Canberra, 2–6 October 1990 (The Canberra cheerfulness.’ Film Theatre, Melbourne. 7. Ibid. was also noted that ‘Some of the lesser Times called it ‘A joyous parody’) and 13 He echoed Reviewing the film in Green Left 8. Ibid. experienced cast members had trouble with performances, 10–20 October 1990, at the these sentiments Weekly, Peter Boyle said he 9. ausstage.edu.au vocal projection.’ (The West Australian). Playhouse, Adelaide. The Advertiser’s Tim two years later wished he hadn’t missed the 10. Ibid. The Financial Review, while endorsing the Lloyd was equally laudatory: ‘As simple as a when he again stage version, and called it 11. bsstc.com.au show, did carp: ‘Aspects of the scripting, road movie, often very funny, and complex reviewed the ‘Jimmy Chi’s Magical Musical’. 12. Philip Parsons: Companion to Theatre in performance, direction and choreography, and even disturbing at the same time.’ musical when it In 1994 Josie Ningali Lawford Australia. Currency/Cambridge, 1995, for example, are simply awful. But after a Ernie Dingo returned to the role of finally reached created a one-woman show that p.97. while you realise that this is not the point. Uncle Tadpole when the production played Melbourne in a traced her life from the Newspapers and magazines sourced: There is an authenticity to Bran Nue Dae 12 performances at the Lyric Theatre, Brisbane, co-production Kimberleys to her stage career The Advertiser (Adelaide), The Age, which heralds the arrival of, not only a new from 12 December 1990. Peta Koch (Courier between the in Bran Nue Dae. Produced by The Australian, The Bulletin, The Canberra musical form, but — more importantly — a Deckchair Theatre, it played the Times, Courier Mail (Brisbane), The Daily new form of black theatre.’ Courtyard Studio in Canberra, Telegraph/Mirror (Sydney), The Financial And he was right — Bran Nue Dae did from 10 to 15 October 1994. Review, Green Left Weekly, Herald Sun have a ring of authenticity about it. Later the Aboriginal Theatre (Melbourne), Los Angeles Times, MTV Granted it was rough and raw, but it was Program of the Community Arts Australia, Orange County Examiner, The also fresh, invigorating, irreverent, funny and Centre of Newcastle mounted a Sunday Age, Sunday Mail (Adelaide), Sun- at the same time, uplifting. production of the musical at the Herald, The Sydney Morning Herald, Voice, Although it touched on Aboriginal issues Newcastle The West Australian. such as alcohol, drugs and police Community Arts harassment, its treatment of Aboriginal culture Centre, where it Australian ARIA Albums Chart. was light-hearted and positive. played from 8 to 16 All images courtesy of Black Swan Theatre Chi’s exuberant score set the tone of the December 1995. Company, Perth. n piece. Drawing on Broome’s mix of The musical Koepanger (pearl fishermen), Malay, won the Sidney Chinese, Japanese, European and Aboriginal Myer Performing Gus cultures and his own background with a Scots/ Arts Award in 1990. Bardi/Aboriginal mother and a Chinese/ The following year goss Japanese/Anglo-Australian father, the songs the playscript with I believe the were a mix of country, rock, Gospel, reggae Clockwise from top left: Jimmy Chi, creator lead-lines of the Arts Centre has and musical comedy. Mail) called it ‘a pearl of a play... theatre at of Bran Nue Dae songs was published leased the large Audiences could not resist the infectious its most captivating and heartwarming.’ The original cast of Bran Nue Dae. by Currency Press dining area title tune with its insistent reggae beat, or the Sydney critics went overboard when the Stephen ‘Baamba’ Albert (left) as Uncle and Magabala that is part of country sensibility of ‘Long Way Away From same production became part of the Festival Tadpole with the cast of Bran Nue Dae, 1990. Books Aboriginal the Hamer My Country’ and ‘(Feel Like) Going Back of Sydney, opening on 4 January 1991 at the Bran Nue Dae in rehearsal at the Octagon Corporation. It won Hall Home’. ‘All The Way Jesus’ and ‘Child of Riverside Theatre in Parramatta: ‘Infectiously Theatre, Perth, 1990. Western Australia. The cast for the tour the Special Award in the Western redevelopment to Frank and Sharon Van Glory’ were pure Gospel, but the joyous, irreverent and life-affirming,’ (Sun- included Leah Purcell (Marijuana Annie), Australian Premier’s Book Awards. Haandel, who also operate the Stokehouse showstopper was the satirical ‘Nothing I Herald); ‘Bran Nue Dae is in a world of its own Trevor Jamieson (Willie), Alice Haines The 1990 cast recorded the score in on St Kilda Esplanade and Mr Tulk at the Would Rather Be (Than To Be An A great celebration and a wonderful experience Melbourne Theatre Company and Black (Rosie), Steve Kidd (Slippery), James Broome. It was released on cassette State Library. Aborigine)’, which never failed to bring to share’ (Bob Evans, The Sydney Morning Herald); Swan Theatre Company. It opened on 2 July Hancock (Father Benedictus), Stephen Albert (BND001) and was only available from the And the name they’ve chosen for their thunderous applause. ‘Joyous, vibrant, wildly funny… sings with a voice 1993 at the Playhouse, Victorian Arts Centre, (Uncle Tadpole), Sylvanna Doolan (Chorus), Broome Musicians’ Aboriginal Corporation. Hamer Hall brasserie? Trocadero — a The musical was the hit of the Festival unequivocal and unique’ (Frank Gauntlett, The during the 1992/93 national tour. Sylvia Clarke (Chorus), and Josie Ningali Later the 1992 Black Swan Theatre gracious tribute to the old dance hall that and played 15 performances at the Octagon Daily Telegraph/Mirror). The musical played The tour was produced by Black Swan Lawford (Chorus). Andrew Ross was again production was recorded and released on once occupied the site. — Gus, the theatre cat Page 6 ON STAGE Spring 2011 Page 7 but at the teacher who is responsible for a now in shadow, her voice rising and falling Et le temps des roses Melba — or never again ruined voice. And often she has gone round in cadences of unearthly beauty. Something Ne reviendra plus… afterwards to the singer’s dressing-room with of the languor of Venice seemed to be by Beverley Nichols That is what I feel about Melba’s voice. a few words of advice. echoing in those tones — something that was omebody who does not usually mother used to beg me to stop my tried to make me force my top notes, to do Never again shall we know a fragrance such Those words of advice have sometimes neither old nor young, but beyond time. Song rhapsodise wrote to me yesterday humming. It used to get on her nerves. “stunts,” to sing rôles which were unsuitable as she has given us. developed into a singing lesson. Nobody who followed song, and always there was the saying: ‘It’s a boy’s voice. It has a Every tune that I ever heard I would hum; for me. I always refused. I always S has seen Melba giving a singing lesson will lapping of the water and the dappled This article originally appeared as Chapter timbre which seems to have risen, like a star, and, since my opportunities for hearing remembered Marchesi. Well — well it has ever forget it. In Australia there was a little sunlight as a hidden chorus to her plaint. The XLIII of Beverley Nichols’ Are They the above sex, above passion, above the strife of music were exceedingly limited, I can paid, hasn’t it?’ Italian soprano with a charming lyric quality last song, I remember, was that exquisite Same at Home?, published by Jonathan Cape years, into a realm of pure beauty.’ imagine that my efforts must have been The echoes of that ‘boy’s’ voice at Covent in her voice who was making the night thing by Chausson: Ltd, London, 1927. A further reminiscence He, like I, had been at Covent Garden pretty monotonous.’ Garden the other day are her best answer. hideous by bellowing her top notes. Melba of Melba by Beverley Nichols will appear in when Melba bade farewell to the stage over The other vital principle of the Melba Le temps des lilas took her in hand, and spent many afternoons a future edition of On Stage. n which she has reigned for so Method, which I should like to see at the piano making that girl sing softly. many years. ‘Piano! Piano! Pianissimo! Softer still. Ten times I did not more softly. Fifty times more softly. If you go Remembering Nichols see her on on singing like this you’ll have no voice at all that remembering Melba in five years.’ That same little Italian singer — wonderful who seemed, when I first heard her, to be …as remembered by Robert Morrison night. I am galloping down the road to ruin — has now ritish novelist and journalist genuine, and there was no reason for ill at ease had some of the best criticisms of any of the Beverley Nichols (1898 –1983) him either to denigrate her memory or among singers at Covent Garden this season. Baccompanied Dame Nellie score points over the (then) recently- masses of There — that is the trouble about so Melba on her 1924 Australian ‘Farewell’ deceased diva, even if it was not bouquets and hurried a portrait — one can only sketch a opera tour, both as personal secretary widely-known at the time that he was greasepaint, single fleeting mood. Melba is wonderful and ‘ghost-writer’ of her autobiography also responsible for ‘ghosting’ her and attendant permanently ‘copy’ wherever she is. To see her groping Melodies and Memories, which was first memoirs. worshippers. printed on about in old furniture shops with an uncanny published the following year in serial Irela was a composite character — a Besides, one the doormat instinct for a bargain; to see her in ecstasies form in the American magazine Liberty. fictional creation who shared some of was so émotionée of every over the art of Yvonne Printemps; to see her Nichols’ 1932 novel Evensong* the personality traits of Melba and of that the cool air singing making confusion worse confounded by a (published a year after Melba’s death) many other operatic prima donnae of of the streets teacher in this sudden spasm of weeding in her garden — told the story of the twilight years of an the period, merely for literary and seemed infinitely country, has these things and many more I might have ageing egocentric Irish operatic diva dramatic effect. Nichols also knew, welcome. But been a told. Out of pure selfishness I shall ignore bearing the stage-name ‘Irela’. however, that controversy of any kind the next morning consistent them, to record an entirely personal impression. The author subsequently dramatised was certainly no impediment when it I saw her. She respect Melba’s voice, so often described as it in collaboration with Edward came to book sales — indeed quite the had been at a for the golden, has never been golden to me. It has Knoblock. With Edith Evans in the lead, contrary! party till three Dame Nellie Melba, c. 1920. composer. I been silver — a metal of far greater loveliness. the play enjoyed a successful run at the When he initially told Dame Nellie o’clock, had risen at eight, and was dancing Beverley Nichols. Photograph by Alexander have seen copies of songs used by other It has the coolness of silver, and its sparkle. Queen’s Theatre in London beginning of his idea for the novel, she about the house as though she had slept for Bassano, London, 1937. singers scored all over with alterations. It is at once brilliant and chaste. in July 1932 and reached the screen in reportedly responded: ‘Go ahead and twelve hours. I told her what her unknown I have seen phrasing hacked to pieces, Always I shall carry with me the memory 1934, courtesy of Gaumont-British, as a write it. Everyone will think that it is lover — please let me use that beautiful ‘l’ turned into crescendos, middle diminuendi of a Venetian morning when, of the many, starring vehicle for Evelyn Laye. about me anyway!’ (quoted by Thérèse word, for who may not be allowed to fall in The next stage in the Melba Method ‘Cs’ thrust breathlessly into the upper many times that I have heard her sing, she Curiously, in December 1934, when Radic in Melba — The Voice of Australia, love with a voice? — had said. arrived when she spent that vital nine register. Melba has never done that. Her seemed to sing most beautifully. That fine the film was scheduled for release in Macmillan, published in 1986.) ‘Ah, that’s the Melba Method! I’ve never months in Paris under the tutelage of score of has a few notes in pencil by Bohème American, pianist, George Copeland, had Australia, the Commonwealth Film As a participant in the 1971 ABC– swerved once from my principles. And I Mathilde Marchesi. Melba has herself paid Puccini himself. Apart from that it remains a come over from the Lido to our hotel in Censor banned it for unspecified TV documentary Melba — The Voice, think I can be proud of the result. Can’t I?’ public tribute to this great teacher. But one is score of . She told me once, ‘I was so Bohème order to play over some songs which she was reasons. The embargo was lifted in compèred by Wilfred Thomas, I wonder if you can quite understand all inclined to under-estimate the pupil’s fidelity proud when Puccini said to me, “You sing going to give at a concert the next day. The February 1935. The film still gets an Beverley Nichols’ admiration for Melba that is implied in the Melba Method, and, to the Marchesi ideal. Marchesi’s system was my music. You don’t sing Melba-Puccini.”’ rehearsal was in a great room that looked out occasional airing on ABC–TV in the remained undiminished. which is more, the tenacity with which one of classical simplicity, a system which That has been always the standard rule of onto the Grand Canal. Sunlight was flooding early hours of the morning. The official Beverley Nichols Melba has adhered to it. went straight to nature and regarded any her life, and I like to think that it has also the room, and through the open window Given Nichols’ past association with website is www.beverleynichols.com The Melba Method began as soon as she ‘forcing’ as anathema. When Melba first become the rule of some of those with whom came the lap, lap of water on the steps and Dame Nellie, there was some *An abridged version of Evensong, was old enough to go out into the harsh made her dazzling success at Brussels in she has come in contact. Many times have I the unforgettable sound — which bears with it controversy in Australia at the time as as originally published as a free Australian sunshine and play in the shadow Rigoletto she had every temptation to swerve sat by her at an opera or a concert, and seen all the deathless magic of Venice — of to whether Irela was in fact a thinly- supplement to The Australian Women’s of the gumtrees. For she was always from her ideals. As she herself said, ‘They all her face contorted with agony as a young gondolas straining against the wooden piles. veiled portrait of Melba herself. Nichols’ Weekly edition of 23 February 1935, can humming, one of the finest vocal exercises came, singers, teachers, friends, enemies, and singer forces her top notes. She almost He began to play. She sang. As she sang, admiration for Melba, however, both as be accessed at http:// nla.gov.au/nla. yet discovered. She once said to me, ‘My tried to make me sing as they sang. They growls with indignation — not at the singer, she walked round the room, now in sunshine, an artiste and a person, was sincere and news-article47231994 n

Page 8 ON STAGE Spring 2011 Page 9 researching the historic characters that were The Myer Mural Hall is a lasting tribute to The Myer Mural overhaul to be portrayed. Some of the contemporary Sidney Myer’s love of art and beauty.’ Frank Van Straten discovers a ‘theatrical, emotional and aesthetic experience’. subjects sat for him, others were posed by Link: www.muralhall.net.au escribed by art historian Kenneth installed at floor level. Adjacent were a bowls filled with yellow tulips, red roses, pink his art students at the Melbourne Technical Bibliography: Park as Melbourne’s finest Art grillroom and a tearoom, all serviced by a sweet peas or antirrhinums. Immense bowls College (today’s RMIT). Stella Barber: Your Store — Myer. Focus, DDeco interior, the much loved vast kitchen. of vivid rhododendrons and Japanese iris The murals were not painted directly Sydney, 2008; The History of the Napier Mural Hall has been meticulously restored The venue was originally known as the were set against the ivory walls. Pictorial onto the Hall’s walls — possibly to avoid Waller Murals. Myer Stores Ltd, Melbourne, as part of the recent extensive refurbishment ‘Dining Hall’, as it opened without the chandeliers can change their lights to suit disrupting the day-to-day use of the venue. 1994; Alan Marshall: The Gay Provider. F.W. of the Myer Bourke Street store. Napier Waller murals. differing colour schemes. When the Instead, they were painted on canvases at Cheshire, Melbourne, 1961. n The Hall opened in October 1933, in decorations are complete there will be artistic Waller’s studio at Fairy Hills in Ivanhoe, and time for the Melbourne Cup Carnival. It was mural panels all around the hall designed by later fitted into frames on the walls. Left page, bottom: The Myer Mural Hall today. a feature of the new Myer Emporium, a vast Mr Murray [sic] Waller. Only one, entitled Although the Hall and its murals were Right: Detail of Napier Waller’s ‘Opera’ mural, eight-storey department store created when “Women in Literature” is finished at present. critically acclaimed, many of the store’s dominated by Dame Nellie Melba. Sidney Myer combined his three existing ‘Altogether 1000 people can be accommodated senior staff thought it squandered a large Bourke Street properties, unifying them with in this hall and the adjoining grillroom and amount of valuable selling space. Time, of Centre: A mannequin parade in the 1950s. course, has proved them wrong. Myer’s an imposing Art Deco façade. With this tearoom. The grillroom is Spanish in style, lit Bottom: Gay Funston and her Concert and investment has since paid for itself many ambitious project, Myer saluted his adopted by golden candelabra, while the rustic tearoom Rhythm Orchestra play at the Myer Mural times over, as generation after generation city, which was then preparing to celebrate has aquamarine furniture, and its vases were Hall, mid-1930s. its centenary, and expressed his confidence filled yesterday with buttercups and field flocked to the Hall to dine, to admire the in its future - and, not coincidentally, he also flowers. The dining room and kitchen staffs murals, and to attend a wide range of events created hundreds badly needed jobs during total 250.’ from mannequin parades to art shows. the worst years of the Depression. Sadly Sidney Myer did not live to see the It was Melbourne Festival director Leo The 1933 refurbishments were designed Hall resplendent with its murals. He died on Schofield who realised the Hall’s potential as by F.W. and H.B.Tompkins, at that time 5 September 1934; installation of the murals a sophisticated cabaret venue. Broadway star Melbourne’s leading commercial architects, was not complete until early 1935. The Barbara Cook made her Australian début Sidney Myer by L.F.Reynolds, in 1926, from although it is thought that architect Howard commission had taken Waller two years. there during the 1994 Festival. She was Smith’s Weekly. Desbrowe Annear may have had some One of Australia’s most admired artists, followed by Michael Feinstein (1995), Betty involvement; the Tompkins partners and It was launched with a celebratory Napier Waller is remembered particularly for Buckley (1996) and Joel Grey (1997). The Annear also worked on ‘Cranlana’, the Myer luncheon and mannequin parade on his mosaics and murals. After losing his right Feinstein show was telecast nationally on ABC. family home in Clendon Road, Toorak. 31 October 1933, the proceeds of which were arm while serving in World War I, he spent Myer has now leased the Mural Hall The grand hall, 45.72m long, 18.3m wide, donated to Melbourne hospitals. time in England learning to work with his left. to the privately owned company, The and 7.3m high, was the most imposing of several The Argus report of 1 November described Waller and Myer had become friends. Myer Big Group. dining areas in the building: it could the scene: ‘The general colour scheme in the wanted the 10 murals to celebrate women and ‘Sidney Myer knew there was more to accommodate and cater for 500 diners. dining hall is of ivory, apricot and an to highlight their achievements throughout successful retailing than selling,’ says Myer Although designed primarily as a exquisite soft green. The long windows are history. They were to include depictions of historian, Stella Barber. ‘To him retailing was restaurant, it could be easily adapted for veiled with fine ivory net and hung with influential figures in the worlds of art, history, a theatrical, emotional and aesthetic experience. other functions, especially fashion parades — narrow gold brocade curtains. Little apricot music, literature, dance and fashion — as well the twin stairways on the north wall led from or parchment cloths cover the tables which as some of Myer’s and Waller’s personal friends. dressing rooms to a runway which could be were adorned yesterday with aquamarine Waller spent months at the State Library

Page 10 ON STAGE Spring 2011 Page 11 Jenny scanned the proffered sheets. Her discovered; it was included in the CD What is the symbol that we should ‘A Brown Slouch Hat’ — 70 years on quick mind and gifted eye for words and accompanying Frank Van Straten’s 2003 all know? Eddie Trigg joins in the chorus of Australia’s most popular World War II song music told her that this was what she had book Tivoli. [Sung:] had in mind. ‘Have you shown this to George wrote many other songs. Those It’s a brown slouch hat with the side ustralia’s ‘first real Crazy probably have to stay in Australia for the anyone else, George?’ she asked. published included ‘There’s A Boy Of Mine’, turned up, Show’ opened at the time being. They threw themselves ‘No,’ he said. ‘I only wrote it last night, ‘Mother! Speak To Ethel’, ‘Big Brother’, ‘I’ll And it means the world to me. Melbourne Tivoli on wholeheartedly into doing all they could A and finished it off this morning. You’re the Build A Little Home For You’, ‘Roaming’, It’s the symbol of our Nation — the land 17 June 1940. to assist the country and the people who first to see it.’ ‘They’ll Smile Again’ and ‘Just For Tonight’. of liberty. The cast included Tiv ‘regulars’ such had been so generous to them. Without further ado Jenny went to the None, however, achieved anything like the And as soldiers they wear it, how as George Wallace, Edwin Styles and This they did, and in no uncertain way. telephone and rang someone at J.Albert and success that ‘A Brown Slouch Hat’ enjoyed. proudly they bear it, Marjorie Lou — billed as ‘The Oomph They decided that as far as they possibly Sons, the Australian representative of Feldman’s Jenny was convinced that George Wallace for all the world to see. Girl’ — plus two acts that audiences could, they would make sure that all music publishing house in London. Soon she did not receive the credit he deserved, either Just a brown slouch hat with the side would swiftly take to their hearts. home-based forces were provided with was singing it, unaccompanied, over the phone. as a comedian or as a composer. ‘He should turned up, One was Bob Dyer, ‘The Last of entertainment of the highest order. The moment she had finished, the voice have become to Australia what George M. heading straight for victory. the Hillbillies’; he’d visited Australia Of course, that entertainment included on the other end said ‘We’ll take it. Have it Cohan became to America’ was her final before, back in 1937, with a touring songs, and Jenny began to realise the Don’t you thrill as young Bill passes by? sent over and we’ll let you have a completed assessment of the man. American revue called The Marcus Show. anachronism inherent in her repertoire: Don’t you beam at the gleam in his eye? copy straight away.’ George Wallace died in 1960, aged 65. The other was Jenny Howard, a to her it seemed pointless that she was Head erect, shoulders square, tunic spic Thus was born a song that became Jenny Howard died in 1996, aged 94. brilliant British singer and comedienne, inviting the audiences and troops to be and span, associated with ANZAC troops all over the who was travelling with her husband, taken back to ‘Dear Old Blighty’ or telling This article is based on extracts from Howard Ev’ry inch a soldier and ev’ry inc world, its very title explaining to all nations producer and sometime stage partner, them that it was ‘A Long Way to Tipperary’. Is Variety, Eddie Trigg’s unpublished biography a man. the country of its origin. The song was, of Percy King. Like Dyer, they’d been to It was time, she decided, that the of his friend, Jenny Howard. course, ‘A Brown Slouch Hat’. As they swing down the street, aren’t Australia before; Jenny and Percy had Australian Forces had their own song, Jenny was due to entertain the troops they grand? played the Tiv Circuit in 1929. something that was specially created for A Brown Slouch Hat stationed at Puckapunyal army camp, Victoria, Three abreast to the beat of the band, George Wallace was at the height them, something that would give them and, as she said, ‘There was no better place [Spoken:] But what do we remember when the of his popularity. On stage and off he pride in the fact they were Australian. to try the song out. Many of the boys there There is a symbol, we love and adore it, boys have passed along? was the ultimate cheeky, big-bellied, In June 1942, during the run of Beauty were due to go out to the Middle East and You see it daily wherever you go. Marching by, so brave and strong. knockabout ‘Ocker’. on Parade at the Melbourne Tivoli, she prior to my going on stage they had been Long years have passed since our fathers He was usually dressed in a check expressed this view to the members of Just a brown slouch hat… n doing exactly what I had been complaining once wore it, flannel shirt, and baggy sagging trousers. the company who had gathered in her about — singing ‘It’s A Long Way To Tipperary’. He had perfected a prickly Aussie dressing room between a matinée and an The first thing she asked them when she vocabulary which he delivered in a rich, evening performance. In the group was got on stage was whether they were interested Lifetime Achievement Award for Maggie Dence gravelly voice in outrageous routines her co-star, George Wallace. in Tipperary or whether they even knew where Veteran Australian actress Maggie Dence’s extensive like ‘Stanley the Bull’, ‘Fanny By this time, a great friendship had it was. Maggie Dence has been stage career dates back to 1959 Shovelbottom’s Friend’ and ‘The Drongo developed between them. As Jenny was The answer on the whole was a definite ‘No’. honoured with the 2011 Equity when she appeared in Volpone at from the Congo’, and his sublime drag fond of repeating, she never failed to ‘Right-o,’ said Jenny. ‘I’m going to teach Lifetime Achievement Award. Sydney’s Independent Theatre. She creation, ‘Sophie, the Sort on the Bus’. marvel at the man’s versatility and his you a new song written by a real dinky-di Actors Equity president went on to tread the boards at the Jenny Howard had never encountered modesty. She had discovered that apart Australian for all of you dinky-di Aussies, and Simon Burke said: ‘For more Phillip Theatre, the Parade at anybody like him. from being a brilliant comedian, he was a it’s all about you and it’s going to be all yours.’ than four decades, Maggie has Kensington, Nimrod, the She recalled: ‘This strange apparition beautiful dancer, both tap and ballroom, ‘Then I hit them with it,’ Jenny recalled. delighted both audiences and Ensemble, the Northside at walked through the door and held me in spite of his ungainly size; also he was ‘The tune was simple but catchy, the lyric fellow performers, creating Killara, the Riverside at spellbound. He looked very rugged and no mean artist with the brush. She was was a simple description of something they unforgettable characters in Parramatta, the Q at Penrith, the I don’t think he had shaved. His tie had soon to find out that he possessed yet were all closely associated with and were Australian television series such Tilbury Hotel, the Athenaeum in stains on it and his clothes were covered another talent. proud of, and in no time at all 1000 voices as Rose Sullivan in The Sullivans, Merle Melbourne (in the 1970 revue Oh, Sir Henry!) in cigarette ash. George agreed with Jenny about the were joining with me telling the world about Bulpitt in Kingswood Country, Dorothy Burke and the Theatre Royal, Hobart. She has ‘But what really fascinated me was Nevertheless, it was the start of a warm need for an Australian song for the “A Brown Slouch Hat”. in Neighbours, Bev Baker in Prisoner and the appeared with all the State theatre companies. I’d never seen anyone keep his trousers up friendship and a magic, if unlikely, stage Forces and modestly mumbled that he ‘From that very afternoon the seeds were legendary Mavis Bramston in The Mavis The Equity Lifetime Achievement Award without braces before. He had this enormous partnership. Because of their great success, would try to do something about it. sown that were eventually to grow into Bramston Show. is sponsored by Foxtel. Chief executive and stomach and his pants were somewhere Jenny and Percy’s ten-week contract was In spite of the surprises he had produced something completely Australian.’ ‘Maggie’s long-time commitment to the managing director Kim Williams AM said: beneath it. He croaked in a funny voice, extended again and again. Jenny’s popularity in the past, Jenny thought little of it until the The song was, of course, an immediate Actors Benevolent Fund — which raises funds ‘Throughout her career Maggie has entertained “I’m Wallace. I’m a natural lair”. Never grew with every new show she starred in, next day. hit. It was duly published by Alberts. It was for performers who are unable to work due and uplifted Australian audiences and, time having heard the word I thought perhaps he and in many of them she shared top billing When she arrived at the theatre George recorded by HMV, sadly not by Jenny but to injury, illness or disability — stands and time again, has given us a fresh perspective meant he was an Aboriginal. with George Wallace. was waiting for her with a couple of sheets by a little-known local singer called Myree alongside her fantastic career and makes her on Australia. Speaking personally, she has In my best British accent I said, “How Soon Jenny and Percy realised that the of music in his hand. Parker. Many years later a remarkable a more than worthy winner of this year’s always been part of my life and I, like many do you do?” He replied, “I’m all right. I’m a escalation of the war in Europe and the start ‘What do you think of this, Jenny?’ he recording of Jenny singing the song ‘live’ was Equity Lifetime Achievement Award.’ others, thank her wholeheartedly!’ n bit rough in the morning”.’ of hostilities in the Pacific meant they would asked shyly.

Page 12 ON STAGE Spring 2011 Page 13 worse off for seeing and hearing than those as he was a magician — by which time the ‘farewell’ on 13 July 1872 and the Royal Melbourne stage-by-stage of the shilling gallery. The popular site was advertised as ‘St George’s Hall’ once company closed its season on 12 August Ralph Marsden visits a much-renamed theatre site in the heart of Bourke Street. department of the hall is not half large more. The arrival of comic singer Harry Rickards prior to departure for Adelaide. enough…and, if the present system is with a small company on 9 December 1871 After this the hall lapsed into the same mbrose Kyte was an Irish they appeared, were treated by the audience continued, hundreds will be turned away brought a change of fortune for the hall. pattern as before: for much of late 1872 and immigrant who had risen from with as little consideration as is usually shown from this quarter every night, while the other Rickards was already an established star of even more of 1873 it remained dark, apart Ahumble beginnings to become a The Esquire by university undergraduates towards illustrious portions of the auditory are but sparsely London music halls and in this, his first from occasional short stints by variety or substantial man of property in Melbourne. personages on a Commemoration Day.’ Kyte attended.’ Australian season (after a one-night début at minstrel troupes. The year 1874 was much By mid-186l he controlled Melbourne’s himself was ‘received with general applause; The arrangements were evidently altered, the Princess’s) he also hit popular taste, enjoying busier: the Rickards company returned in finest playhouse, the Theatre Royal. but the Mayor of Melbourne, strange to say, for The Age’s apprehensions proved unfounded a 96-performance run up to 30 March 1872. mid-May and other attractions included On a narrow site on the left side of the was greeted with hisses as well as cheers. The and the minstrels prospered for several minstrels; a panorama of Ireland; Mr and Royal, which had formerly housed a bowling same fate awaited the Rabbi Sneersohn when successful seasons up to mid-January 1870. Mrs George Case, ‘drawing room saloon and rifle gallery, Kyte built St George’s he presented himself, in company with the Legitimate drama came to the hall when entertainers’; the ubiquitous Madame Carandini Hall. This was designed by a ‘Mr Austen, senior’, Rev. M. Rintel.’ Miss Cleveland, an independently minded and daughters; Dr Charles Sylvester, a according to an Argus report of 8 December The flamboyant, eccentric Shakespearean former member of the Theatre Royal company, magician known as ‘the Fakir of Oolu’ who 1862 — most likely James Edward Austin, the actor Walter Montgomery, who had electrified formed her own troupe and attempted to became a regular over the next few years; architect of Kyte’s villa, Oakley Hall, in audiences at the Royal with his sensational break George Coppin’s monopoly on and a diorama of the US Civil War. Dandenong Road, St Kilda East. Hamlet in July 1867, was the first star performer dramatic performances in Melbourne. The Civil War diorama was memorable St George’s Hall was first opened for a at the hall. He first appeared on 12 October Despite a Supreme Court injunction, Miss enough to inspire this reminiscence from Scotch College speech day on 16 December 1867, reciting excerpts from Shakespeare, Poe Cleveland opened ‘Weston’s Opera House’ an anonymous columnist in The Age of 1862, attended by the Governor of Victoria, and Tennyson. on 12 February 1870 with Play, a ‘drama- 20 September 1909 -— one of the few Sir Henry Barkly. He returned for a longer season from comedy’ by T.W.Robertson and A Winning records of this once popular but now The narrow, unprepossessing Bourke Street 9 December until 11 January 1868 and a two Hazard, a ‘comedietta’. forgotten form of entertainment. The writer entrance gave onto three flights of stairs leading night ‘farewell’ on the following 5 and 6 June. The Argus of 14 February praised her efforts, likens the diorama to the new novelty of to the hall itself. This lay on the same level as Another star attraction was the distinguished noting that the small stage was ‘no doubt a motion pictures and recalls: ‘The “film” the dress circle of the Theatre Royal and English soprano Anna Bishop, who began a disadvantage which no amount of art can weighed several tons. It “moved” across the comprised a gallery at its southern end facing week-long series of concerts on 20 June 1868, remove, but the inadequacy of stage room stage per medium of strong men on a windlass Ambrose Kyte, the man who built a simple platform. Beneath the main hall, on returning late in March and early April 1869. did not interfere much with the success of handle, and it stopped when they wanted to ground floor level, lay a second hall, sometimes Saturday night’s performance.’ St George’s Hall. spit on their hands or take a drink. Most of 238 Bourke Street, Melbourne - site of the Ambrose Kyte had died on 16 November referred to as the ‘lower hall’. This first housed The legal action was successful, however, the time the band played “Marching Through western portion of Target Centre. 1868 aged 46, after an illness exacerbated, it The hall narrowly escaped destruction and Miss Cleveland and her company Georgia” or “Yankee Doodle”, while the roar a bowling saloon, was later used as a venue was said, by money troubles. Inevitably his during the Theatre Royal fire on 19 March for lectures and exhibitions — most notably played for only three more nights before of war was realistically produced by means of St George’s Hall death brought about a change in the managerial 1872. The only damage was caused by lead Kreitmayer’s Waxworks between 1869 and being forced to disband. After this the hall a heavy stick, a sheet of galvanised iron, a big Weston’s New Opera House direction of the property: late in March 1869 from the roof melting in the tremendous heat 1871 — then was finally converted into a reverted to housing a variety company. The drum, a lot of six-shooters, and bullseye Weston’s Opera House the new lessee, minstrel entrepreneur Frank and dropping onto the stage in several places. billiard room. sublease had been granted on condition that lanterns, which flashed through holes in the The New Opera House Weston, announced imminent renovations to The hall itself profited from the fire, for as The Age of 17 December 1862 gave the no dramatic performances be staged. film. When the war was temporarily The Cambridge Theatre the hall which would ‘be fitted up in complete soon as the Rickards season ended, George dimensions of the main hall as ‘length, 108 Although not directly involved, Coppin suspended by the blast of a whistle, the Tours of the World style, after the most approved fashion of the Goppin arranged to lease it for six months feet, breadth, 44 feet, and height, over 30 feet’. was undoubtedly behind these manoeuvres; lecturer had a chance, and what he said was The Thripelodeon American minstrel halls’ with a ‘new stage, while a new Theatre Royal was built. Coppin The roof was semicircular and illuminated by significantly, there were no objections raised always worth hearing. The effects were New St George’s Hall proscenium, dress circle, &c.’, according to installed a reduced Royal Star Company three ‘sun-lights’ — large circular gas burners. when he was forced to transfer his Royal sensational and exciting. The children loved it, Hoyt’s Pictures press advertisements. and, limitations of accommodation and stage The hall could seat 1500 persons company to the hall after the catastrophic and they nearly all had nightmares after it.’ Hoyts De Luxe Theatre The hall reopened on 31 May 1869 as notwithstanding, they opened at the hall on ‘comfortably’ but on opening night ‘there Theatre Royal fire two years later. The hall seems to have found its niche Hoyts Theatre De Luxe ‘Weston’s New Opera House’ with Weston 1 April 1872 with an ‘emotional drama’, The ‘Nothing but disaster seems now to after this; for the rest of the 1870s it maintained could not be less than 3000 persons and Hussey’s Minstrels. The Daily Telegraph of Serpent on the Hearth , as the featured offering. characterise this so recently popular place of a reputation as a reliable venue for enjoyable present… There is little architectural beauty 1 June, which condemned the old hall us ‘one The company continued with the then amusement. Has the fatality been transferred if unspectacular amusements. These remained in the new hall…if we except the cornices notable evening, on 21 January 1863 — the of the frowsiest and dullest interiors of which usual mixed bill of fare: popular drama, by a kind of metastasis from the Haymarket much as before with minstrels, magicians, which run along the four sides of the room. day of the burial of the remains of the public building ever boasted’ hailed the new burlesque and occasional variety or novelty to Weston’s?’ The Australasian of 16 April ventriloquists and variety entertainers These are beautifully executed in the Grecian explorers Burke and Wills — it was the venue ‘as elegant a place of entertainment as the most items. 1870 enquired. predominating. The bills only very occasionally style, and surmounted by a neat moulding, for a public meeting to honour the sponsors fastidious amusement seeker need wish’. Prominent in the troupe at this time was Apart from a seven-week season by Weston yield a name or item of much enduring above which is gilt beading. The ceiling, also of the expedition including Kyte himself, The Age of the same date, however… ‘doubted Tasmanian born Hattie Shepparde, a young and La Feuillade’s Minstrels from 18 June 1870, interest — among them were the American in the Grecian style, which was painted by who had donated £1000. ‘Upwards of 2000 whether the present arrangements are such as actress of great charm who was a particularly bad luck seemed to afflict the hall; it housed Royal Illusionists led by Harry Keller (later Mr Hennings, reflects great credit on his taste.’ persons were present,’ The Argus of 22 January to give the venture the best chance of success. successful comedienne. Her career was cut only a handful of short term attractions for the adjusted to Kellar), the Baldwins with their Kyte was a shrewd businessman but also reported. ‘On the platform were certain The so-called orchestra seats at the highest tragically short when she died in September rest of 1870 and most of 1871, the most notable strange spirit manifestations, and the famous a generous philanthropist; in its first years, members of the Exploration Committee, prices occupy the body of the hall, right to 1874 from peritonitis following childbirth. of which was a season in April by the amazing Professor Pepper with his still startling his hall housed mostly charitable events such some members of the Legislative Assembly the gallery pillars; and the occupants of the Harry Rickards returned to appear with Robert Heller, who was as brilliant a pianist ‘Pepper’s Ghost’ illusion. * as concerts, balls, bazaars and lectures. One and the City Council… The notabilities, as second seats, situated behind, are much the Royal company for a three-week

Page 14 ON STAGE Spring 2011 Page 15 On 5 June 1877 the hall briefly became followed this with a pirated version of Gilbert opened on the same night, 7 June 1879. Although the Cogills retained the lease, a proclaimed the hall to let ‘at reduced specialty attractions until 14 April 1893. The ‘The New Opera House’ when Martin and Sullivan’s HMS Pinafore — one of two The hall was cleaned and redecorated prior mesmerist, ‘Professor’ T.A.Kennedy, who rates… electric lighted and newly hall was used by only a handful of short term Simonsen began a month-long season of unauthorised Melbourne productions that to another minstrel season in September 1879, promised ‘120 laughs in 120 minutes’ was decorated’ with ‘seating for 900’. There tenants for the rest of that year. The last quit opera by his company. but seems to have been shut up for well the popular attraction of 1889, with two were few takers, however, until the following early in January 1894, by which time the Of this enterprise The Age of 6 June over a year from early June 1883. separate seasons of Board of Health had commented: ‘The available space was so The next mention of it in newspaper seven and six weeks, condemned the building small that when the chorus was on the amusement columns seems to be late in from 20 April and 28 as a fire-trap. The owner, stage it was next to impossible for anyone August 1884 when a series of September respectively. J.G.Aikman, was to make a proper entry or exit. Labouring advertisements advises: ‘St George’s Hall In between came compelled to undertake a under these difficulties, and with the will be finished about the end of another Harry Rickards major reconstruction. additional disadvantage that the hall was September. Tenders will be received for season and a short stint After amended plans so small that the volume of sound occupancy about the 10th prox’. by the Cogill company, by architect William produced when principals, chorus and It reopened on 1 November 1884 which returned for a Salway were approved, band were engaged was simply deafening… ‘renovated and decorated during the past longer stay on 9 rebuilding was completed it is astonishing to [acknowledge] that week or two’, according to an Argus note of November. This ended late in 1894, at a cost of some of it was enjoyable to a very that date; The Age of the same date with another Cogill– more than £2500. considerable degree.’ mentions ‘extensive alterations’ but gives Rickards combination in ‘It is lofty and cool On 6 April 1878 Kelly and Leon’s no details. The reopening attraction was the May 1890, after which and, in addition to Minstrels made their Melbourne début at Irish-born comic female impersonator, John Rickards soldiered on seating space on the the hall with American female impersonator F. Sheridan, in his famous vehicle Fun on the solo until mid-June. ground floor, contains Francis Leon the star of the troupe. ‘It is Bristol; ‘the performance was exactly as it By now the land two galleries at one end difficult for a man masquerading in feminine was previously given at the Bijou,’ said The boom depression was known as “the family garb to deceive a fair critic, but on this Age of 3 November. taking its toll: the hall circle” and “the gallery”,’ occasion, ladies were most positive in The hall again endured a rather thin was more often vacant The Argus of 17 December claiming Leon as “one time after the end of this than not for the rest of reported of the new hall, of themselves”… his three-week season but 1890 and all through now called ‘The Cambridge mimicry of Mddle De minstrel companies 1891. This depression Theatre’. The Age of Murska’s style of gradually returned in evidently affected the 14 December elaborated: execution would have 1885: Harry Rickards was Cogills, for they were ‘The old hall has been justified almost anyone back for eight weeks from given a ‘Monster completely gutted, the in believing the 5 September and for Complimentary Matinee floor being removed, the performer a lady with another three weeks from Benefit tendered by the billiard room, which a powerful soprano Boxing Day, while the whole of the Theatrical, formerly occupied the voice’, The Argus of Leon and Cushman Musical, Variety and ground floor having 8 April reported. An combination followed for Equestrian professions disappeared… On one all-female troupe, The nearly three months from now in Melbourne’ at side of the proscenium is Blondette Lady 23 January 1886. the Theatre Royal on 30 a subway leading direct Minstrels, began a Sheridan’s Fun on the October 1890. ‘The into Little Bourke Street; month long season on Bristol returned for a month benefit…attracted a the main entrance is 21 December 1878, from 18 September 1886 crowded audience...the widened to 11 feet 6 inches, preceding a return by — but again the hall had management will have the pleasure of Top: The only known photograph of a and an additional gallery has been added, the Kelly and Leon been left vacant prior to handing over a substantial sum,’ observed presentation of 'The World's Touring Car'. stone steps prevailing throughout. The lighting combination in mid- this for most of the year’s The Age of 31 October. Above: ‘The Grand Ball given by the Dutch will be electric, supplemented by gas for use February 1879. winter months. ‘Edison’s phonograph will be exhibited Consul at St George’s Hall’, from Illustrated in case of failure, both before the curtain and on On 17 May 1879 Top: Minstrel man Charles W. Cogill. Only after the arrival tonight at St George’s Hall’, an Argus item of Melbourne News, 18 June 1865. the stage, which is large enough to accommodate came Rainbow Revels, ‘A medley of mirth, of the Cogill Brothers’ Minstrel and Burlesque 1 November 1890 noted. ‘Professor Douglas a comedy company at least.’ Above: Clearing the site of the old Opera Image courtesy of Dr Mimi Colligan music, mischief and mimicry’ written by Company on 30 July 1887 did the hall enjoy Archibald MA…who delivers the lecture on The Cogills were again the lessees, opening House, Bourke Street, in 1900, provided this Garnet Walch for the Stewart family — father continuous year-round occupancy for the first the instrument, has received a number of year when minstrel troupes like Frank M. on 15 December 1894, but their minstrel interesting view of St George's Hall in its Richard and daughters Nellie and her half- time. The Cogills (Charles W. and Harry P.) new “records”, which will be reproduced Clark and Pope and Sayles tried their luck troupe stayed only until 4 January 1895, after incarnation as Kalman's Music Depot. The sisters Docy and Maggie. Each member of took a long lease and with constantly tonight for the first time.’ with short seasons. The Cogills took up the which the Cambridge was closed ‘pending a bulk of the hall can be seen at the rear of the the family played, sang and danced in a changing attractions — minstrels, variety The phonograph had first been demonstrated lease again in mid-April 1892 and brought few slight alterations’. The theatre reopened small two-storied frontage. The hall rubs number of different roles and, although she artists and a series of comic plays, plus in Australia at the Athenaeum Hall late the their minstrel company back a month later. with a series of comic plays on 16 March for shoulders with its much larger neighbour, the had been on stage in small parts since the occasional visiting stars such as Harry Rickards previous June. This week-long revival ran over A new Rickards company joined them on a season ending on 1 June. The next Theatre Royal, just visible to the right. age of six, this marked the start of Nellie — remained a popular fixture until their ‘501st the beginning of the spring racing season. 20 August, remaining until 7 October, after which attraction was a minstrel and burlesque troupe Image courtesy of Dr Mimi Colligan Stewart’s great adult career. The Stewarts performance’ on 8 March 1889. Press advertisements of August 1891 the Cogills persevered with other occasional for two months from 24 August. *

Page 16 ON STAGE Spring 2011 Page 17 Professor Kennedy, the mesmerist-showman, The hall’s other offerings were few and around 1904–05 as ‘Hale’s Tours’. The idea returned to St George’s Hall (as the site was far between; it now seemed virtually abandoned was so successful that, within a year or two, now, occasionally, again advertised) on as an entertainment venue. ‘The Australian there were several hundred ‘Kale’s Tours’ Light fantastic 26 October for a for a five-week stint. Museum and New Waxworks’, which included throughout the US and various other versions The John Truscott Design Foundation ensures a well-known Melbourne water feature flows on. The hall had an even harder time after vaudeville acts amongst its attractions, was playing in cities all over the world. hanks to funds provided by the The Coles Fountain is a vast geometric support will enable younger designers to be this, with less than a dozen short term the last 19th century entertainment offered Each ‘tour’ lasted for the length of a reel John Truscott Design Foundation assembly of tubular stainless steel set on involved in changes for special events, attractions advertised for the years 1896 and on the site. After this closed on 17 May 1900 of film shot from the front or rear of a moving Inc, one of Melbourne’s most bluestone paving, constructed so that people festivals, and even to reflect the changing 1897: Dan Barry and his dramatic company the hall became a music warehouse for the locomotive and projected for between seven T striking fountains is not only flowing, it is can walk into its centre and be almost seasons of the year. presenting The Factory Girl of Melbourne for a next four or five years. and ten minutes. There were usually two or literally glowing. surrounded by water. The funding was provided as part of fortnight from 31 October 1896 and William In 1905 the site housed an ‘oyster saloon’ three tours to different countries per program The Coles Fountain in Parliament It was turned off in 2006 because of the John Truscott Design Foundation’s Cosgrove’s comedy company for ten weeks but entertainment returned when an attraction and each program lasted about twenty minutes. Gardens is one of six important city severe water restrictions. innovative ‘Place in the City’ project, or so from 16 October 1897 are virtually the advertised as ‘World’s Touring Car’ opened The ‘World’s Touring Car’ opened with fountains — or ‘water features’ as they now Martin Carlson, director of the John which recognises significant design only attractions of interest in this period. here on 22 December 1906. films taken along the Hudson River Valley tend to be known — that are being brought Truscott Design Foundation Inc., explained initiatives in Melbourne, John Truscott’s Kennedy returned again, as popular as The Age of 24 December elucidated: ‘The in the USA and the Engadine Valley and back to life in a $900 000 scheme initiated that the Foundation decided to provide home town. n ever so it seems, for a month from 9 April Australian Amusement Co. has introduced… Alps in Switzerland. by Melbourne’s Lord Mayor, Councillor funding for the fountain’s new lighting 1898 (‘heavy fines for overcrowding have no the latest development of the biograph. The There were shows every half hour from Robert Doyle. scheme because of its position. influence on his great power’ ran a 2 May audience are seated in a luxuriously fitted up 12 noon on week days and 10am on Saturdays, The refurbished fountains will not draw ‘It’s right opposite the Princess Theatre,’ press ad); but the rest of that year was as imitation Pullman car, which, by means of with admission prices of threepence and on the city’s precious water supply. Instead he said, ‘and that’s where John got his first quiet as its predecessors had been. ‘The cleverly constructed machinery, is made to sixpence. The films, which were usually they are largely draught-proof, using rainwater, professional design commission — the Chronophograph’, a forerunner of motion swing as a real car would, while the bioscope changed every week, included footage shot storm water and recycled water. costumes and sets for Garnet H. Carroll’s pictures, was exhibited at the hall from shows the moving landscapes as seen through in different parts of the USA, Europe, Russia, John Truscott Design Foundation Inc, The Coles Fountain, a gift from the production of The King and I in 1962. 29 August 1898. ‘The Cinematograph’ per se an observation window. The illusion is heightened China, South-east Asia… in fact, just about PO Box 69, East Melbourne, Victoria 3003 Coles retailing family, was installed in 1981. ‘That of course led to his designs for seems first to have been seen here as part of by the movement of the air caused by anywhere there was a railway running email: [email protected] It was designed by Robert Woodward, Camelot in Australia, London and Hollywood, the program of a Saturday night minstrel revolving fans fixed to the ceiling and the through some reasonably interesting scenery. The Foundation is listed on the whose fountains can be seen in public two Academy Awards and worldwide Register of Cultural Organisations and and variety concert on 5 November 1898. rattle of the machinery. Mr John Wallace is All in all, the ‘World’s Touring Car’ places throughout Australia, perhaps most recognition.’ donations are tax deductible. The original Dante, the magician, was the specially engaged, and gives an interesting seems to have been quite successful, notably at the High Court in Canberra. The new lighting scheme was conceived most popular attraction of 1899, with an eight- description of the scenery through which the operating for nearly nine months up to late by council staff, but the Foundation’s week season from 15 April and a fortnight’s car travels.’ September 1907 — its longevity only limited, farewell from 3 November, following which, on This motion picture novelty had been perhaps, by the inevitable exhaustion of the 25 November, he died in a shooting accident at invented by a Kansas City Fire Chief, supply of novel locales. Dubbo, New South Wales. George G. Hale, and introduced in America Continued in the next issue of On Stage. n Richard Watson’s recorded legacy n the Spring 2009 and Summer 2010 editions, On Stage published Wayne ITurner and Robert Morrison’s study of the life and career of the notable Australian bass Richard Watson (1902–1968). Although he was best known for his work in Gilbert and Sullivan, Watson had an impressive list of credits, from grand opera to art song. Robert Morrison has now prepared a comprehensive listing of all of Watson’s known recordings, uncovering many forgotten treasures. The discography includes extracts from reviews in The Gramophone and details of material currently available on CD. THA will be happy to make this discography available either in hard copy format or as an email attachment. If you would like a copy, email THA at Image: Peter Johnson [email protected] or drop a line to THA at P.O. Box 382, Malvern, Victoria 3144. n

Page 18 ON STAGE Spring 2011 Page 19 dedicated her teaching. greatest problems today is that many young very much ahead of her time. It was an era The Teachers: Maie Hoban What interested me particularly was the actors simply cannot project their voices. of elocution classes where young hopefuls Continuing his occasional series, Peter Stephenson Jones pays tribute to the much respected Maie Hoban. fact that Maie was way ahead of her time. There is a mistaken belief that because of would recite parrot fashion certain pieces She actually accepted the pedagogical new technology an actor doesn’t need a voice without having any idea of what they were principal of individual differences. This was that reaches all parts of a theatre. If you ask really about. n the JCW theatre programs of the owes much to him and his vision. not to be to a catch-phrase until the 1970s, any top voice teacher today they will tell you On Sunday nights Maie often had 1950s and 1960s you’ll usually find Following Daniel’s death in 1931 but Maie believed all students learned that this is a fallacy. If an actor knows his or performances and, as she called them, ‘showings’. an advertisement for acting and Maie was left to care for five children. I differently. Her classes would often start with her voice and has the ability to fill an auditorium Barbara Barrett was one of many students who drama tuition with Maie Hoban who She was also faced with a mortgage breathing exercises; she would drill students with a good voice and clear projection he or got to strut their stuff. She smiles as she recalls was the Principal of the Pilgrim Theatre débâcle with the banks. In those days, to speak a whole speech on one breath. This she will also have the ability to know when Maie taking her to task for laughing at her own at 471 Albert Street, East Melbourne. being a single mum was particularly kind of work is still done today. and how to lower it. Maie clearly understood jokes in a performance of Toad of Toad Hall. How many audience members, I tough and although it’s clear Maie had The breathing exercises were often that. She also understood how to use a Maie’s influence was particularly evident wonder, would have been tempted to a remarkable talent, she was also a gutsy conducted by a lady by the name of Mabel microphone. She certainly would not be in the early days of the Union Theatre Repertory try their luck at the school, rather than woman. Her dedication to her family Terry who was described by Barbara and impressed with some singers today who seem Company, later to become the MTC. watching from the auditorium? was particularly inspiring. others as Maie’s right hand. almost to gobble up the microphone, distorting Many of Australia’s top actors studied Maie Hoban’s School of the Stage Similarly, Maie Hoban was one of Maie’s early classes were with Maie. One of the most famous seems to have put a special emphasis those inspiring women dedicated to her conducted in rented rooms at Allan’s was the fine Australian actress Patricia on voice and speech training, art. It was Maie who created the Maie loved the stage, but she had great Music Store, Kelvin Hall, and at Her Kennedy obe. Miss Kennedy has had including special classes for what Australian Repertory Players, while vision: she knew television was just Majesty’s and the Garrick Theatres — a remarkable career in all facets of the used to be called ‘New Australians’. renting various spaces in Melbourne to where in April 1936 she presented around the corner. In 1948 she travelled performing arts. She is truly one of the Our new arrivals had come from conduct her classes. In those days the her ‘Un-named Players’ (her pupils) great ladies of the Australian theatre. all over the world and in those days classes would have had many more female to the USA and the UK, and worked in the first Melbourne production of Miss Kennedy describes Maie’s own there were not many avenues where than male students and, like many a hard to increase her knowledge of Gordon Daviot’s Richard of Bordeaux. speech as somewhat mannered, but they could learn to improve their teacher, she had to search for plays with In 1939 she moved her school, the new medium. always speaks of her with great English and speech skills. predominantly female casts. A popular by then known as the Modern School respect as a fine teacher. She assisted many immigrants favourite was Christa Winsloe’s Children in of Voice Culture, Speech Craft and Drama, to a diction and looking quite ridiculous. It is not that surprising that Maie’s own with the incredible complexities of Uniform. She also took on some very brave workroom/studio in the grounds of St Peter’s Although Maie Hoban is best known as a speech was precise, because she had to work English pronunciation. choices, such as Jean Cocteau’s The Eagle has Maie Hoban in 1944. Church of England, Eastern Hill, which she speech and drama teacher, she was also a with many students who had limited English. Born at Spring Mount near Creswick, Two Heads as well as plays by T.S.Eliot, Picture courtesy of Keith Hoban. converted into a small theatre — the Pilgrim fine director, working with her own and She was a beaming example of how important Victoria, on 29 September 1887, Mary Oscar Wilde, J.M.Barrie and John Galsworthy. Theatre — although most of her larger other groups, such as Gertrude Johnson’s diction and clarity are. Elizabeth ‘Maie’ Butler went to Ballarat’s In these productions Maie productions were staged at the nearby National Theatre Movement. Another notable actress who studied with Mary’s Mount Convent. demanded strict discipline from her National Theatre. Maie loved the stage, but she had great Maie was Coral Browne. Browne has had a Ballarat has a proud performers. It is easy for many Maie frequently prepared her students vision: she knew television was just around very impressive career on the stage and in history of eisteddfod and directors today to lament the for overseas exams in voice and speech, for the corner. In 1948 she travelled to the USA film. Her performances in Auntie Mame through this Maie was passing of women like Maie who example the Trinity College exams. Already and the UK, and worked hard to increase her opposite Rosalind Russell and her icy cold encouraged to study in were able to instil in students a a public figure, she was a frequent commentator knowledge of the new medium. She had the Miss Mercy in The Killing of Sister George were London at the Royal truly professional attitude. I on controversies concerning Australian foresight to predict that television would soon outstanding. In 1986 Miss Browne appeared School of Music and discovered that Maie would be speech. Australians, she maintained, spoke become a powerful source in Australia and in a sadly under-rated film, Dreamchild, based Trinity College. It appears very tough on students who were more correctly than other English-speaking many well-known stage performers would on the story Alice Liddell, the real Alice in she was a fine pianist and not punctual and she had a clear nations, but their voice production was poor. soon have to find work in the new medium. Lewis Carroll’s classic tale of Alice in organist and gave many vision about what a student was She was able to understand that breath was She toured the USA again in 1954, partly Wonderland. concert recitals. She was ready to do. I heard stories of the engine that drove the voice and breathing investigating television production. In England Of course many celebrities sought Maie’s however then best known Maie even sacking students who exercises had a special significance for her. she attended a course sponsored by the British experience and guidance. In those days for preparing children and did not live up to her professional I heard an actor claim that Maie put too Drama League. She also studied remedial managements imported many players; in adults for Ballarat’s famous ideals. Good on her! much emphasis on voice but, frankly, I could speech techniques. fact, not a few of them got their biggest break South Street eisteddfods. Maie was devoted to the development of not disagree more. As one who has auditioned Although totally aware of the new medium in Australia, often carrying the lead in a show. In 1915 Maie married Australian talent, including writers. She confident man and not unfamiliar with countless actors over the years, I believe of television she maintained a love of the classics. One was Robin Bailey, the wonderful Daniel James Hoban in St Patrick’s conducted competitions to encourage another kind of stage, the auctioneer’s good voices that can be heard and understood Her students were stretched intellectually and Henry Higgins in JCW’s production of My Cathedral, Melbourne. Australian writers, though she often lamented platform! A good auctioneer needs to be a in all parts of the auditorium are very rare. artistically to work on speeches such as Viola’s Fair Lady. While Bailey had performed in the During the war, Daniel served his country their lack of understanding of stagecraft. good performer, and there is no doubt in my Stanislavski was once asked the three most speech from Shakespeare’s Twelfth Night and West End, he had not had to carry such a with distinction, but he sustained serious a One student who studied with Maie was mind that Maie would have offered plenty of important elements of acting. He surprised other classical pieces. demanding show for such a long and injury and a leg was amputated. His courage Barbara Barrett of the Adelphi Players, and I good feed-back. many when he responded by saying that the One thing Maie did as a teacher was to successful season. This was at a time before was remarkable and Maie was a strong force am very grateful to Barbara for her reflections. Despite his disability he had what three most important elements are voice, ask the students to explain to her clearly technology allowed actors to cover up weak in his life. Barbara attended classes with Maie in 1949. appears to be a very successful career in real voice and voice. what a speech was about. This was rare at voices with impressive sound and body Daniel was also an extremely interesting She says Maie believed speech training was estate; indeed the city of Springvale, Victoria, As mentioned previously one of the the time and shows, once again, a teacher mikes. The actor needed great skill and, person. From what we know of him he was a vital, and describes Maie as a woman totally above all, vocal technique. Mr Bailey * Page 20 ON STAGE Spring 2011 Page 21 experienced some voice strain and found the it was merely an attack of nerves, even The fun, the learning, laughter and love perfect teacher in Maie. She gave him some though Celeste tried to insist she couldn’t that she shared was something that I will Winging it tips that helped him enormously. My Fair breathe, let alone deliver the speeches demanded always hold in my heart forever.’ In Part 17 of her account of Arthur Wing Pinero in Australia, Elisabeth Kumm raises the curtain on Lady was his greatest triumph. in Hamlet. Maie took Celeste through a series Miss Fraser was fascinated by Maie’s The Second Mrs Tanqueray, one of his momentous ground-breaking plays. The voice is an actor’s bread and butter of exercises lasting over two hours. In time poise and her capacity to stimulate an ‘ he modern English drama was Eventually, the honour of staging the as part of the family; Aubrey’s friends reject and Maie had a great deal to offer actors. she was breathing properly. Then Maie told awareness of an inner life. ushered into being on the night of first production went to George Alexander, her; her own friends are an unpleasant She was able to teach them to project Others who studied with Maie were the 27 May 1893, when The Second Mrs actor-manager at the St James’s Theatre, reminder of the life she is trying to leave without strain and possible voice damage. wonderful Australian actors Terry T Tanqueray, by Arthur Wing Pinero, was acted where it opened on 27 May 1893. behind. In the third act, her fate is sealed It was not just those in theatre that Norris and Fred Parslow. for the first time on the stage when one of her former lovers sought Maie’s skill as teacher. In 1947 Norris became very well of the St James’s Theatre, becomes the fiancé of her step Ron Casey attended classes with Maie. known to television audiences as London.’ So observed Clayton daughter. For Paula, the only Casey wanted more than anything to Joe Turner, one of the most loved Hamilton in the introduction solution is suicide. work in radio but there was a problem, characters in the hugely popular to a collection of Pinero’s Social Audiences found the story an enormous problem if your aspirations series Bellbird. For a while he put Plays in 1917.1 compelling and enthusiastically were radio and later television — Ron his acting career on hold for a The decade between 1885 applauded Mrs Patrick had a speech impediment. very impressive stint in the and 1895 has been identified Campbell’s portrayal of Paula He persevered under Maie’s Victorian parliament. as one of momentous change, Tanqueray, which has been guidance. She had him reading pieces Fred Parslow has appeared and one which Henry Arthur described as ‘a beautiful, of classical poetry as well practicing countless times for the MTC and Jones, writing in 1895, referred passionate, impulsive, her strict regime of breathing techniques, also took the lead in The Odd to as ‘The Renascence of the uncontrolled woman, and soon Ron Casey conquered his Couple, sharing the stage with Keith English Drama’.2 sometimes course and vulgar, speech problems. He became a true Peterson. Anyone who saw this With the appearance of The torn by conflicting emotions, icon on Australian television, hosting production of Neil Simon’s smash Second Mrs Tanqueray in 1893, sometimes hysterical, Channel Seven’s World of Sport for hit comedy will never forget it. England was seen to have truly alternately vicious and helpless many years. Mae’s grandson, Keith Hoban, rediscovered its playwriting as a child, struggling Another well-known identity also studied with Maie, as did many heritage. No doubt influenced desperately against her own who studied with Maie is Celeste family members by the first productions of self, the world’s judgement, and Walters. Celeste is a fine actor and He says: ‘This great lady had Ibsen on the British stage, the destiny that seemed her studied at and participated in Maie’s been teaching for many years and was Pinero responded by inexorable master’.7 productions at the Pilgrim. Celeste has had always very professional. ‘discarding soliloquies, Nevertheless, despite creating an impressive career as a teacher, and many Maie Hoban, from a feature in The Age, ‘It made no difference whether or minimising asides, and a woman of ‘flesh and blood’, will know her for her outstanding 28 August 1937. not you were a relative because Maie concentrating his powers of many critics were angry at contribution as a lecturer in language, insisted on standards. She had prepared characterisation’.3 Pinero for ‘killing her off’ in literature and, of course, drama at Deakin her to ‘take the air’ and have a light meal. many students for various festivals such as The Second Mrs Tanqueray was the last act. University. She is also highly regarded as So the show did indeed go on — and South Street and her insistence on Pinero’s second social-problem A few weeks prior to Mrs an author. Celeste gave an excellent performance. She excellence was legendary. drama, the first being The Tanqueray opening in London, All actors of any worth believe in the old recalls Maie’s dictum: ‘Remember the power She also loved to introduce her students Profligate which had been Oscar Wilde’s A Woman of No adage ‘the show must go on’, and I recall an of words, Celeste… the power of words.’ to the great classics, rather than some of Mrs Patrick Campbell as Paula in The Second staged at the Garrick Theatre Importance was given its première. old trouper saying, ‘Never let your understudy It was not just performers and television the rather dull extracts voice students have Mrs Tanqueray at the St James’s Theatre, in 1889. In this play Wilde’s Mrs Arbuthnot is go on — she might be better than you are’. personalities who sought Maie’s assistance. to read today.’ London, 1893. Pinero had trouble finding a manager to also a ‘wicked woman with a past’, but he Maie certainly respected the discipline of One student was Australia’s Olympic In 1968 Maie closed her school, but she stage his play. He had originally hoped In essence The Second Mrs Tanqueray is allows her a chance of happiness after the theatre, as Celeste Walters confirms. In the champion Dawn Fraser AO MBE. Miss Fraser was still teaching well into her 70s. According John Hare (who had staged The Profligate) the story of a ‘wicked woman with a past’. final curtain fall.8 1950s, when she was just 17 years old, described Maie to me as: ‘A wonderful to those who knew her, she remained alert would produce it at the Garrick Theatre, Unlike similarly themed plays, Pinero’s Pinero had explored a similar theme in Celeste was to play the title role in one of woman who I have very fond memories of. and ‘on the ball’. with Hare as Cayley Drummle and Paula Tanqueray is a woman of flesh and The Profligate but as he explained ‘he dealt with Maie’s Sunday night performances. This time ‘Not only did she teach me to speak the Though Maie was a religious woman, Johnstone Forbes Robertson as Aubrey blood, and the play concerns her futile it very superficially and with the idea solely it was Hamlet! English language but also how to address an brought up as a Catholic and devoted to Tanqueray, but Hare dismissed the play as attempt to enjoy a new life as the second of telling a story and not of posing a On the Saturday night Celeste had an audience, whether it be ten people or a her faith, it seems pretty clear that she did ‘immoral’.4 Next he approached Herbert wife of Aubrey Tanqueray. She is the problem’.9 asthma attack. This was in the days before thousand. I remember the first time that I not force her religious ideals onto her Beerbohm Tree who also turned it down.5 antithesis of Tanqueray’s first wife — For the most part the cast was drawn Ventolin and other asthma-relieving met her it was in her studio. students. She often organised fund-raising Pinero showed it to William Archer who described by one character as an iceberg: from the ranks of the St James’s company: medications. On the Sunday morning Celeste’s ‘When she turned the lights down, it was events and supported charities. recommended that he approach the ‘I believe she kept a thermometer in her George Alexander (Aubrey Tanqueray), mother called Maie to let her know how ill very dark. She put you on the stage and Maie Hoban died on 10 September Independent Theatre, but Pinero rejected this, stays and always registered ten degrees A.Vane-Tempest (Sir George Orreyed), Ben her daughter was. turned one light on, just onto your face and 1984 and was buried in Springvale. saying that ‘a theatrical breakthrough was below zero.’ Webster (Captain Ardale), Nutcombe Gould Maie summoned them to be at the then told you to read what was on the stand. With special thanks to Keith Hoban, only worth making in a West End theatre From the beginning, Paula’s attempts to (Misquith) and Alfred Holles (Morse), along with Pilgrim at 3pm. They did not have a car, so ‘My time with Mrs Hoban was one of Barbara Barrett, Dawn Fraser AO MBE and before a large audience and over a long turn her back on her past are thwarted: her Cyril Maude (Cayley Drummle), Amy Roselle they had to go by taxi. Maie told Celeste that the most wonderful experiences in my life. Celeste Walters. n run’.6 step daughter, Ellean, refuses to accept her (Mrs Cortelyon) and Maude Millett (Ellean). *

Page 22 ON STAGE Spring 2011 Page 23 The biggest challenge had been finding appearance in Australia. What makes the play so marvellous is the she was asked by The Sketch how she liked 7. Michael Booth, English Plays of the 16. The Argus, 30 July 1894, p.7. an actress to play Paula.10 Marion Terry, As in England, critics were divided in fact that people are able to take so many and the part: ‘I simply glory in it. It is the most Nineteenth Century, volume 2, p.248. 17. Much has been written about the Alexander’s leading lady, was considered too their opinions, and with little encouragement such widely divergent views of it.’13 powerful and most beautiful part I have ever 8. The Bulletin (Sydney), 23 March 1895, p.8. rehearsals, which were fraught with old for the role, the character of Paula being the play soon became the topic of much According to newspaper anecdote, Dion played. It is so fine to act, and I consider it the 9. The Review of Reviews, vol. xi, January–June tension between Mrs Patrick Campbell described in the play as ‘a young woman of discussion. One thing that critics agreed on, Boucicault wanted to engage Lily Hanbury greatest privilege an actress could have to try 1895, p.146, quoting an interview with and the playwright. See John Dawick, about twenty-seven: beautiful, fresh, however, was the strength of Mrs Brough’s to play Paula, but Pinero insisted that Mrs to play a part like this. It is so full of emotion, Pinero in the January 1895 issue of The ‘The first Mrs Tanqueray’, Theatre innocent-looking’. performance and the brilliant ensemble Brough be entrusted with the part.14 and brings so many faculties into play. Humanitarian. Quarterly, 9 35, 1979, p.79. Table Talk Mrs Patrick Campbell’s qualities were playing which was achieved by the Brough– It seems that Pinero’s faith in Mrs Brough’s ‘Some people say I don’t make the character 10. According to Barry Duncan in St James’s (Melbourne) John Dawick, Pinero: a brought to the attention of Pinero by George Boucicault Company under Dot Boucicault’s abilities paid off, for it gave her the opportunity coarse enough; that it is too refined. It seems Theatre: Its Strange and Complete. History, Theatrical Life, University of Colorado Alexander’s wife and Graham to demonstrate her versatility as an to me that if the part were coarsely and 1835-1957, Pinero had conceived the role Press, Niwot, Colorado, 1993. John Robertson, a family friend, after they actress by embracing a type of role vulgarly played, Aubrey Tanqueray is not the of Paula with Olga Nethersole in mind, Dawick, ‘The first Mrs Tanqueray’, saw her performing at the Adelphi in which had, as yet, been outside her sort of man to marry such a woman. Then a but subsequently rejected her when John Theatre Quarterly, 9 35, 1979. Alan Dent, the drama The Black Domino. On their experience. good many people also express their opinion Hare refused to release her from contract. Mrs Patrick Campbell, Museum Press, recommendation she was invited to an As a consequence of Boucicault’s that all the sympathy is intended for Aubrey, Margot Peters, in her biography of Mrs London, 1961. Barry Duncan in St audition. Pinero was impressed and failed attempts to secure a London and none for Paula. Pat, says Pinero’s enthusiasm for James’s Theatre: Its Strange and Complete immediately offered her the role. actress, Mrs Brough was given only ‘I can’t say that I agree with this view. I Nethersole cooled, with him considering History, 1835-1957, Barrie and Rockliffe, Complications arose over her three weeks to prepare her part, prior think Paula is a woman who excites the Janet Achurch, Lily Hanbury, Julia London, 1964. English Plays of the contract at the Adelphi, however, and to the play’s première in Sydney. tenderest and profoundest sympathy. My Neilson, Lena Ashwell and Maude Millett Nineteenth Century, volume II, edited by Mrs Pat was forced to turn down the In reviewing Mrs Brough’s sympathy is with her entirely, and perhaps for the role, prior to Mrs Patrick Michael Booth, Oxford University offer. Thus the search for Paula performance, The Sydney Morning Herald that is one reason why I am able to play the Campbell being suggested. Press, 1969. Hamilton Fyfe, Sir Arthur continued, with Elizabeth Robins, a declared: ‘Mrs Brough is not an part so well as some people are kind enough 11. Alan Dent, Mrs Patrick Campbell, p.57, Pinero’s Plays and Players, Ernest Benn, young American actress who had emotional actress in the technical sense to say I do. But these are points on which I 12. Prior to playing Paula Tanqueray, Mrs London, 1930. Anthony Jenkins, The received acclaim playing Ibsen of the term, and if Paula’s nature were would so much like to consult Mr Pinero! It Patrick Campbell had achieved some Making of Victorian Drama, Cambridge heroines at the Opera Comique, being capable of deep emotion the role would is a great advantage for an actress to be moderate success in London and the University Press, Cambridge, 2006. assigned the task. As luck would have not be within the scope of her powers. advised by the author on the subtleties of a provinces. She first came to the attention Margot Peters, Mrs Pat: the Life of Mrs it, The Black Domino was withdrawn from But she gave a telling impersonation of part, and I can quite understand, in a character of playgoers in 1891, playing Rosalind in Patrick Campbell, Hamish Hamilton, the Adelphi, leaving Mrs Pat finding the brilliant, reckless creature of the of this kind, what an immense benefit it must As You Like It at a matinée performance London, 1985. A.W.Pinero, The Social herself available. first two acts; the explosive violence of have been to Mrs Patrick Campbell to have at the Shaftesbury Theatre. She Plays of Pinero, volume 1, edited by When Pinero found out, he took her jealous rage was that of the rehearsed under Mr Pinero’s supervision.’17 subsequently joined the Adelphi, where Clayton Hamilton, AMS Press, New Elizabeth Robins aside and explained thorough-pace vixen, and so impressive The B&B company played The Second Mrs she was seen to good effect in The York, 1969 (first published 1917). the situation. Thus ‘in the most unselfish was her picture of unmanageable Tanqueray in Sydney for three weeks; with Trumpet Call, The White Rose, The Lights of J.P.Wearing, The Collected Letters of Sir manner imaginable’, she resigned the femininity that the audience were performances in Brisbane (three performances Home and The Black Domino. With the Arthur Pinero, University of Minnesota part in favour of the other actress.11 unable to accept Paula’s statement that from the 13 July 1894); Melbourne (three weeks withdrawal of the last-named play she Press, Minneapolis, 1974. Peter Contemporary reviewers, such as Mrs Brough as Paula and Grace Noble as the theft of her husband’s letters was from the 28 July 1894); and Adelaide (six joined Alexander at the St James’s, where Whitebrook, William Archer: a Biography, Clement Scott, William Archer and George Ellean in The Second Mrs Tanqueray, “the most caddish thing she ever did”. The performances during October and November The Second Mrs Tanqueray catapulted her Methuen, London, 1993. n Bernard Shaw (who reviewed the play on its Lyceum Theatre, Sydney, 1894. effect of this cleverly repellent acting was 1894) to follow, before embarking on a tour into the limelight. publication two years later), were divided as mitigated by the beauty of the actress and of New Zealand. 13. The Sketch, 8 May 1895, p.98. polished direction. to the merits of the writing, but all agreed the elegance of her dress.’15 The Second Mrs Tanqueray remained in the 14. According to Table Talk, 17 August 1894, With little or no experience in tragedy, that with Mrs Patrick Campbell Pinero had Later, when the play was produced at the B&B’s repertoire for the next decade. Boucicault hoped to engage Lily Hanbury and no opportunity to witness the play in discovered an extraordinary talent.12 The Princess’s Theatre in Melbourne (opening on Details of these revivals and other for the role but she refused to go to London or receive direction from Pinero as Gus Second Mrs Tanqueray held the stage at the St 28 July 1894), The Argus observed: ‘Mrs significant Australian and overseas Australia. On 18 August 1894, in an to how to portray the character of Paula, it James’s Theatre for 225 consecutive Brough’s Paula is both a surprise and a productions will be explored in the next interview with The Boomerang, Florence goss was necessary for Mrs Brough to form her I hear that Melba performances. gratification; a surprise on account of the issue of On Stage. Brough told the following story: ‘Pinero own ideas about the play: ‘My sympathies Recordings, established Almost a year after it was launched in tragic intensity of feeling she has developed insisted on having a voice in choosing are entirely with Paula,’ Mrs Brough told a Footnotes: by the indefatigable London, Australians had the opportunity to see in this character; and a gratification because the Australian cast. Charles Cartwright, reporter on The Sketch: ‘From the very 1. The Social Plays of Pinero, volume 1, p.3. Maria Vandamme in Pinero’s ‘ground breaking’ new play. It opened the general result of the performance is so our London agent, submitted the names moment she comes on the stage — from that 2. Henry Arthur Jones, The Renascence of the 2000, is to embark at the Lyceum Theatre, Sydney, on 14 April 1894. effective…There is, in both her voice and of a number of English actresses willing English Drama: Essays, Lectures, and Fragments, period of her life, her one idea, her one aim, manner, a certain underlying stratum of on a bold new In addition to Florence Brough, who to come out to play Paula. None of Macmillan and Co, London, 1895. venture — a film about played Paula, other roles were sustained by is to lead a good life. elegance and refinement which is them, however, would suit, and, 3. Anthony Jenkins, The Making of Victorian Melba. It’s still in the G.S.Titheradge (Aubrey Tanqueray), Dion ‘If Paula had been utterly bad she would inconsistent, if not with the career of the Drama, p.172. fortunately for me, he preferred that I scripting stage, but I Boucicault (Cayley Drummle), Cecil Ward never have suffered as she did. If she had woman she impersonates, at any rate with 4. Hamilton Fyfe, Sir Arthur Pinero’s Plays and should take the part. I suppose he was believe it will focus on how our Nellie (Sir George Orreyed), GP Carey (Misquith), been the utterly depraved woman some the intention of the dramatist and with Mrs Players, pp.135-6. guided by the criticisms on my rendering collaborated with Oscar Hammerstein to Elizabeth Romer (Mrs Cortelyon), Grace people try to make out, she would never Campbell’s fulfilment of it.’16 5. John Dawick, ‘The first Mrs Tanqueray’, of other characters of his. Of course, I break the monopoly of the New York Met, Noble (Ellean) and Henry Renouf (Captain have killed herself.She would have gone This last point is an interesting one, and Theatre Quarterly, 9 35, 1979, p.79. consider it a great compliment.’ and her scandalous affair with Louis Philippe, Ardale). Renouf was making his first back to her old life. Paula’s suicide is the final one that Florence Brough touched on when vindication of the nobility of her character. 6. Peter Whitebrook, William Archer, p.155. 15. The Sydney Morning Herald, 16 April 1894, p 6. the Pretender to the French throne. n Page 24 ON STAGE Spring 2011 Page 25 ounded in ad 914, Waterford is The Royal’s intimate, three-level, 434- Waterford in 1811. Educated at Eton, he first violin in the orchestra of the Theatre Ireland’s oldest city. Today, with its seat auditorium, with its magnificent central Wonderful Waterford made his début at Drury Lane in 1827. His Royal, Dublin; later he became deputy leader. Fpopulation of 50 000, it is the Waterford chandelier, has been recently Frank Van Straten discovers there’s more to Waterford than crystal. reputation grew, and in 1848 Queen In 1835 he emigrated to Australia with republic’s fifth largest. refurbished. The stage Victoria made him his wife, son, his brother Wellington, a To most people, Waterford is synonymous facilities have been director of her private flautist, and his sister Elisabeth, a soprano. with fine crystal. Sadly the centuries-old upgraded, and a smart theatricals held at In Sydney in 1836 he opened company ceased trading a couple of years new annex housing a Windsor Castle. Australia’s first music school. ago, but a new Waterford Crystal has recently café and booking With his actress A fine violinist, he earned the sobriquet emerged. Most of its products are now made facilities added. wife, Ellen, and a small ‘the Australian Paganini’. in Europe, but local production has A new dressing company, he toured In 1838 he fled to Valparaiso, leaving recommenced, though so far only in a fairly room block is planned Australia in 1863–4. debts of £2000. modest way. for the future. The Keans’ letters His opera Maritana was triumphantly The new management has recently The Theatre Royal home provide a unique produced at Drury Lane in 1845; sadly, opened a sparkling new showroom on the has hosted the Waterford picture of colonial there is no evidence for the tradition that Mall, in the heart of Waterford’s most historic International Festival of theatrical life; they were he composed it in the colonies. precinct, the ‘Viking Triangle’. Light Opera since its published as Emigrant in His later operas included Lurline, Nearby is the huge bulk of Reginald’s inception in 1959. Motley in 1954. Matilda of Hungary, The Amber Witch and The Tower, the oldest urban building in Ireland, The theatre Despite the warmth Desert Flower. Regarded as Ireland’s greatest the oldest to retain its original Viking name, continues to welcome with which Australians composer, he died in 1865. and the first to use mortar. many local companies, accepted them, the His sister, Elisabeth, settled in Sydney The city has a surprisingly rich performing touring shows and acts, Keans’ fortunes faltered; and married a singer, John Bushelle; she arts history. Directly opposite the Waterford conferences, seminars, when they sailed for died in 1878. Crystal headquarters is the wonderful live HD broadcasts of California, Ellen To mark its millennium, the City of Theatre Royal. It opened as the Assembly international opera and remarked, ‘I never left Waterford created William Vincent Wallace Rooms and Playhouse, a typical Georgian ballet presentations — any place with so little Plaza, an al fresco performance area on the theatre designed by local architect John and weddings: the elegant The Theatre Royal, The Mall, Waterford. regret’. Charles died in edge of the River Suir, and in 2005 a new Roberts. Building began in 1783 — the same foyer is a perfect setting California in 1868. corporate and residential centre was named year that the crystal factory was founded. for special events. Maritana Gate. in successive years, were born two men who In 1876 the theatre was extensively The roll call of famous names who have Among them are singers Val Doonican, William Vincent Wallace There is a bust of Wallace in the foyer, have special places in our own performing remodelled and incorporated into the City trodden the Royal’s boards is too long to list Brendan Bowyer and Gilbert O’Sullivan, Born in Waterford in 1812, William Vincent and another stands outside the Theatre Royal. arts history. Hall. One of its walls abuts a remnant of here (though Oscar Wilde demands inclusion), all of whom were born in Waterford. Wallace was the eldest son of the Irish Waterford’s old city defences. but performances on its stage undoubtedly For Australians, however, a little house Charles Kean band-sergeant of the 29th Regiment. With thanks to Nathan Sandison, Theatre Today the theatre is the focus for much inspired several Waterford youngsters to in Colbeck Street, just a stone’s throw from Actor-manager Charles John Kean, son of At eight years of age he composed Royal, Waterford. of the city’s busy performing arts activity. aspire to careers in the performing arts. the theatre, has a special fascination. Here, tragedian Edmund Kean, was born in marches for his father’s band; at 16 he was

From left: The Theatre Royal auditorium and stage. The house in Colbeck Street where both Charles Kean and William Vincent Wallace were born, Links: and the mis-spelt plaque. www.theatreroyal.ie The bust of William Vincent Wallace outside the Theatre Royal. www.waterfordintlmusicfestival.com Charles Kean, from The Illustrated London News, 1868. http.//waterfordireland.tripod.com/waterford_ biographies.htm n Page 26 ON STAGE Spring 2011 Page 27 play has Wilde’s plot and characters. ‘I’m All the world’s a stage completely comfortable calling it a play by Oscar Wilde. We do credit De Saix, Henri de Australia: Horsham Village Cinema, Toorak (1935). Other famous painted dome. notable Hollinshed designs include the Briel and Osborne as translators and adapters.’ Heritage hall rescued The stalls floor and the stage have both Comedy Theatre (1928), the Metro, Collins He says that Wilde’s son, Vyvyan Community action has saved one of visibly bowed. A full assessment of this Street (1934), the 3AW Studios in Lonsdale damage cannot be undertaken until all the Holland, believed that much of the dialogue Australia’s Art Deco treasures — the Street (c.1936) and the reworking of Her water is removed from the orchestra pit and bore the authentic mark of his father’s hand. Horsham Town Hall. Majesty’s, Adelaide (1962). Hollinshed was surveyors can get underneath the stalls floor. But was it all worth the trouble? In his Designed by noted Melbourne architect married to Janet Tait, a daughter one of the Telegraph review of 22 September 2011 Charles N. Hollinshed, the hall and Tait brothers who, with George Tallis, ran At one point more than a metre of water filled the pit, and the theatre’s grand piano Dominic Cavendish wrote: ‘The problem is and about 200 function chairs floated that Constance — named after Wilde’s long- forlornly in it. suffering spouse — is so threadbare it makes The ‘gods’ will need a major refit no sense to get excited about it. Its main including new seating, ceilings and access storyline — concerning a virtuous wife whose stairs, and the theatre’s management offices, industrialist husband’s flagrant infidelity drives kitchen, staff rooms and its dress circle her into the arms of a handsome Duke — rises function room will need to be partially effortfully to a pitch of indifferent melodrama. demolished and rebuilt. Wit? There’s precious little. You wait in vain for a quotable epigram. If it genuinely does Extensive earthquake strengthening was ‘Gobsmackingly gorgeous’: Newcastle’s £12.8 million ($A19.57 million) cost of bear traces of Wilde, those traces are so undertaken in 1999 but, under the city’s new restored Theatre Royal. re-opening the historic building. code, further strengthening will be needed lacklustre as to suggest he had become a challenges, including shrinking public The Friends of Winter Gardens group is before the theatre can reopen. This will take shadow of his former playwriting self. On a finance, but Newcastle’s Royal, run by an now considering its next move. Evelyn 14–16 months. cramped King’s Head stage, 10 hard-working independent charitable trust, paid for the Archer, who has been campaigning to Although insurance will cover most actors (and a little dog) toil valiantly on restoration largely via a private funding stream — re-open the theatre for 23 years, said the repair costs, a major fundraising drive will be behalf of not very much.’ its own audience. Since 2008 it has imposed announcement was a ‘crippling blow’. needed before the theatre can be fully The King’s Head won an Olivier Award a £1.75 ($A2.68) levy on every ticket sold. ‘I think the main reason was there was no On restored. It is not expected to reopen until for its production of La Bohème (see Audiences have therefore ‘painlessly’ evidence of any financial support from the Stage, Spring 2010). January 2013. contributed £3.9 million ($A5.9 million) city council. Taking on this building was a UK: Newcastle towards the £4.9 million ($A7.5 million) huge responsibility. We could see the benefits, The gracious Art Deco interior of the UK: London Going for gold restoration. The rest has come from private but it’s just a shame the council didn’t.’ Horsham Town Hall. Wilde about Oscar municipal office complex was built in 1939. The historic Theatre Royal in Newcastle and trust donations, plus £300 000 Mrs Archer said the £4m grant would Oscar Wilde’s grandson has accused the It served its community splendidly until ‘The Firm’, J.C.Williamson Ltd, so it was not reopened on 12 September 2011, ($A458 760) from the Heritage Lottery Fund have triggered matched funding from the King’s Head Theatre in Islington, North 2010, when Horsham Rural City Council unexpected that Hollinshed assumed the meticulously restored to its former glory. and £250 000 ($A382 250) towards essential North West Development Agency, and an mantle of JCW House Architect.. London, of ‘dishonesty’ over its claims that it decided it should make way for a new After a fire destroyed the original auditorium, structural work from Newcastle City Council, application for a further £4.5m ($A6.88 The Winter 2011 edition of the ADMS is staging ‘the world première of the only performing arts venue. The building was not it was redesigned in Edwardian splendour in the theatre’s owner. million) from the Heritage Lottery Fund. magazine Spirit of Progress includes a unproduced Oscar Wilde play’. included in the relevant Heritage overlay 1901 by Britain’s greatest theatre architect, Asked to describe the restored Grade One Stuart Langhorn, leader of Lancaster City profusely illustrated feature by Simon Merlin Holland told The Guardian that his and Council automatically issued a Frank Matcham, whose masterpieces include listed building, chief executive Philip Bernays Council, said: ‘The council is committed to Reeves on the Horsham Town Hall and its grandfather did no more than devise a demolition permit. the London’s Coliseum and Palladium. put it simply: ‘It’s gobsmackingly gorgeous.’ Morecambe’s continued regeneration, and a architect. ‘minimal’ scenario —- just a few paragraphs - A group of concerned residents, Historic theatre consultant and Matcham rejuvenated Winter Gardens has the potential for a drama called Constance. UK: Morecambe supported by the Art Deco and Modernism New Zealand: Christchurch expert David Wilmore hunted down Is it the end?: Morecambe’s struggling ‘Wilde jotted it down in a letter of 1894. Winter Gardens of discontent Society (ADMS), appealed to the Victorian Crisis continues Matcham’s original electrical wiring drawings Winter Gardens He never wrote a word of the play,’ says Plans to restore a Civil Administrative Tribunal. The aftershocks of 13 June have significantly and digitally enhanced old glass plate Holland. ‘It is by other writers, based on the Grade II-listed theatre Fortunately VCAT determined that the delayed restoration work on Christchurch’s negatives to reveal previously unnoticed scenario. It should really have been billed as in Lancashire have building should not be demolished, and Isaac Theatre Royal. The theatre was thought painted cherubs. “A play based on an idea by Oscar Wilde, suffered a setback. Heritage Victoria subsequently added it to to have survived the earlier earthquakes Several companies that worked on the written in French by Guillot de Saix, The Morecambe the State Heritage Register. relatively unscathed, but recent work has 1901 project still exist and were commissioned translated into English and further adapted Winter Gardens missed The Council is now consulting with the revealed that the damage is worse than again, including Yorkshire-based Firth Carpets by Charles Osborne”.’ out on funding from Sea community on other options for a new expected (see On Stage, Spring 2010 and and Craven Dunnill, a ceramic tile company He added, ‘It is a pretty appalling piece Change, a government performing arts centre. Autumn 2011). in Shropshire. David Wilmore was adamant of work, peppered with a few aphorisms program to regenerate Apart from his commercial and The main problem is weather damage to that the restoration should not resort to residential projects, architect Charles Neville from other plays, marginally altered in order seafront areas. the gable above the proscenium arch, which cheaper gold paint, so the restoration used Hollinshed (1899–1993) designed some of to sound a bit like Oscar Wilde. It’s the worst Lancaster City joins the 103-year-old auditorium to the 37 000 pieces of gold leaf. ‘Gold leaf never this country’s most significant theatres. His sort of bad melodrama.’ Council had applied recently rebuilt stage block. oxidises — it doesn’t go dull,’ he said. ‘Cut designs for the Horsham Town Hall are The King’s Head’s artistic director and for £4 million ($A6.1 strongly reminiscent of his work on the The arch has now partially collapsed, back on the gold leaf at your peril!’ producer Adam Spreadbury-Maher says the million) towards the rebuild of Her Majesty’s (1934) and the endangering areas of the auditorium’s Britain’s theatres face tough economic Page 28 ON STAGE Spring 2011 Page 29 to be yet another catalyst for that. The pedestrian precinct, netted an astonishing manuscript page of the Godspell song ‘Day By revitalisation of the Winter Gardens is a key $US547 658 ($A520 713) for the charity Day’ signed by composer Stephen Schwartz, part of the council’s economic vision and we Broadway Cares/Equity Fights AIDS. The raised $US3500 ($A3328). are obviously very disappointed.’ inaugural event in 1987 raised $US12 000 Next year’s event is scheduled for Mrs Archer remains defiant and said she ($A11 409). This year’s total is $70 000 ($A66 Sunday 23 September 2012. would not be abandoning her campaign. ‘I’m 556) up on last year, and brings the 25-year USA: New York not the sort of person who gives up,’ she said. grand total to $US9 185 327 ($A8 733 408). Wicked, isn’t it! ‘No, it’s not the end.’ On a bright late summer day, the theatre Mosaic Legends has partnered with the hit The Winter Gardens complex, which district was packed with 63 stalls weighed musical Wicked to ‘go green’ with the Wicked included a ballroom, seawater baths and bars, down with rare and unique Broadway Mosaic Electronic Program Book, a digital opened in 1897. The theatre is all that remains. memorabilia, while a parade of celebrities alternative to the traditional elaborate fronted up to the Autograph Table and Photo USA: New York souvenir program. Booth, and 203 special items were sold at auction. Lots to remember The first of its kind, the Wicked Mosaic The day’s top-selling lot was ‘A Day at New York’s theatre world may well be still includes pictures from international productions The Phantom of the Opera’, a package that recovering from the 25th annual Broadway of Wicked, as well as more than 1700 trivia included a walk-on role with special Flea Market and Grand Auction held on facts, lyrics, behind-the-scenes details, costumes and makeup, which went for 25 September 2011. production timelines and costume sketches. $US21 000 ($A19 968). The all-day fund-raiser, which sprawled The app is available for iPhone and iPod A one-of-a-kind photograph of Elizabeth from West 44th Street into the Times Square through the App Store. Taylor taken during her run in The Little App reviewer Bryan M. Wolfe was Tony Sheldon, Australian star of Priscilla, Queen Foxes in 1981 was knocked down for $US10 Back in business: Moscow’s restored Bolshoi. was plagued with problems. The general Lyriques. The event was part of the city’s dismissive: ‘At its core this app is a slick of the Desert, and Patina Miller from the new 000 ($A9509). architect quit, half-a-dozen repair chiefs Early Music Festival at the Musikaliska marketing tool, letting you buy tickets to musical Sister Act, ready to sign autographs at Opening night performance and party celebrities from all over the world. were fired and dozens of companies concert hall, which has become famous for Wicked productions worldwide and shop for the 25th annual Broadway Flea Market. tickets for 12 upcoming Broadway shows involved in the project were replaced when its innovative advertising. merchandise online. What it lacks is the one Russian President Dmitry Medvedev collectively raised $24 150 ($A22 962), and a the state’s Audit Chamber uncovered The promotion was created by Johan component that makes the show opened the gala, which was broadcast live flagrant financial malpractice. Gustafson and Peder Anzén, working with fascinating — the music. For an app on a screen outside the theatre, on Russian Amid the general elation there were Creative Director Pia Högberg at the APW about a musical to lack music is just television, the Internet and in movie some dissenting voices. Bolshoi premier Stockholm advertising agency. plain dumb. And there’s no iTunes theatres in 36 countries. dancer Nikolay Tsiskaridze said: ‘Everywhere With thanks to Robert Morrison and link! Finally, the price of $US1.99 Medvedev called the Bolshoi ‘one of I see cheap substitutes for the original pieces Bruce Tannock. n ($A1.89) is really unacceptable. our greatest national brands’. He added: of the former interiors, parquet floors in ‘As a promotional piece it should ‘Our country has always found the money many corridors replaced with ceramic tiles, The controversial promotion for Farinelli — be free. My advice: wait until a to keep the Bolshoi in a proper condition. I original bronze candelabrum missing from The Story of a Castrato. newer version includes music, or am absolutely sure that everything that has the walls and rehearsal auditoriums so they make it free.’ been done will for many more years serve small that if you raise a ballerina in your Some purchasers disagreed. One the generations of our citizens, all those arms she is risking breaking her head!’ said, ‘Compared with the cost of a who love the Bolshoi Theatre, and inspire Tsiskaridze complained that he was ticket and the price of the printed new miracles.’ kicked off the opening program in response souvenir, $1.99 is a bargain.’ Another One such ‘miracle’ was the start of the to his criticism. commented, ‘It had never occurred gala: the elaborate red and gold curtain The Bolshoi’s 236th season opened with to me that Wicked is bigger than rose to reveal an orange Kamaz truck new productions of Glinka’s opera Ruslan Broadway and that there are rolling across the stage, followed by scores and Ludmila and Tchaikovsky’s ballet The companies in Japan and Australia.’ of men and women wearing construction Sleeping Beauty. The Australian production of overalls and helmets.Suddenly they Wicked opens at the Grand Theatre stopped, faced the auditorium and sang Sweden: Stockholm at the new Marina Bay Sands resort ‘Glory!’ a chorus from Mikhail Glinka’s A billboard with balls in Singapore on 7 December. opera A Life for the Czar. What will probably be regarded as the most Russia: Moscow The theatre’s space has been more than provocative performing arts promotion of doubled to almost 73 000m2 as the building 2011 saw Stockholm plastered with a Bolshoi back in business expanded about 24 meters deep into the startling poster for a concert paying tribute After six years and a staggering ground, where a new performance venue to the world’s most famous castrato. $A665.6 million restoration, the called Beethoven Hall was created for small- For Farinelli – The Story of a Castrato historic Russian State Academic scale productions. Swedish mezzo Ann Hallenberg Bolshoi Theatre reopened with a The restoration was massively over ‘channeled’ the famous singer, accompanied gala two-hour concert on 28 October budget, took far longer than expected, and by the French orchestra Les Talens 2011 attended by politicians and

Page 30 ON STAGE Spring 2011 Page 31 tickle-power’. The show opened on 12 February Orr’s success at the Metropolitan encouraged ‘Beautiful Blue Eyes’, ‘Single Bed Sit’, ‘Genie’, ‘One day I’ll go around the world’ 1953 and played Thursday to Saturday for him to look for alternative premises. He found ‘The Count and The Waiter’ and ‘One For two months, for a total of 29 performances — them at the 300-seat St James Hall in Phillip The Road’. The SMH called O’Hara ‘splendidly Peter Pinne relates the story of an unsung Australian composer. long enough to spawn a second edition. It Street. He renamed it the Phillip Street Theatre outrageous’ and liked Tingwell ‘bewailing his n 1963 Matt Monro recorded ‘One Day’, ‘The Nut Song’ and ‘It’s Hard To Get The was the forerunner of what became the and opened there on 10 June 1954 with the solitariness’ in ‘The Dead Heart’ and Barrett a song by Australian composer Lance Merchandise’. Brian Southwell, again writing legendary Phillip Street revues. intimate revue Top of the Bill. Material by ‘ogling and gurgling as a Genie-with-the- IMulcahy (originally Mulcahey). With a in Honi Soit, said: ‘The biggest bouquet goes, Although Mulcahy was in residence at Mulcahy, Donovan and McKellar was the light-brown-hair’. The show created a new lyric line that went, ‘One day I’ll go around of course, to the music, which was night on piano at the Metropolitan, he was backbone of the show. The cast included record for the theatre, running for more than the world’, it’s an apt metaphor for outstanding. It is a pity that most of these still finishing his degree. Somehow he found Gordon Chater, Margo Lee, Lyle O’Hara, 100 performances. Mulcahy’s career which saw him enjoying songs will never be heard again, for some time to work on his last revue for the University Charles Tingwell, Lola Brooks, David Mulcahy, McKellar and Donovan were success on three continents. are undoubtedly Hit Parade material and Players, Maid to Order (May 1953). Donovan Nettheim, Ken Hannam and John Meillon. back for Hat Trick which opened on 14 March Lance Mulcahy was born on 17 April others are even better.’ Little did he know was back to write lyrics, but McKellar came The SMH called it a ‘smart and hearty 1955. Former J.C.Williamson matinée idol 1931 in Sydney, Australia. His first composer what was in store for Mulcahy. ‘The Nut on board as well. Together they created revue’, especially praising Chater’s moth- Max Oldaker headed the cast, which also credits appeared when he was 20 in Low and Song’ was called a ‘little gem’; Mulcahy and ‘Another Kind Of June’, ‘I’ll Pay The Piper’, eaten leopard-skin strong-man ‘Mr Sydney’, included Lyle O’Hara, Diana Davidson, Behold (1951), a revue by the Sydney Stannard again handled the accompaniment ‘Li’l Ole Me’, ‘Ain’t My Baby Grand’ and the O’Hara’s wickedly unkind ballerina in ‘Point Aileen Britton, June Salter, Paula Langlands University Players. At the time Mulcahy was on twin pianos. title tune. Mulcahy wrote ‘It’s Dangerous’ Number’ and Chater and Tingwell’s snooty and Sheila Helpmann. studying dentistry. He teamed with fellow Searching around for revue writers, with Donovan, and supplied both words and Market Street shop-walkers in ‘White The Mulcahy, McKellar and Donovan dentistry student Jerry [Gerry] Donovan to Glasgow-born producer William [Bill] Orr music for ‘Strange As It Seems’. Carnations’ – all Mulcahy-McKellar-Donovan numbers included ‘Heaven Centaur’, ‘The create three songs for the show: ‘Union took a look at Into the Woods; impressed with The second show directed by Orr at the numbers. The second act featured a ‘Watch Red Shadow’ and a second act ‘Skit Parade’, Night’, ‘Two Freshettes’ and ‘To Have And what he saw, he invited Mulcahy and Metropolitan was Maid in Egypt (1953). These Tunes’ segment which included ‘You which included ‘But’, ‘Mudgee Moon’ Hold’ had music by Mulcahy and lyrics by Donovan to work with him on Merry-Go- Although billed as a musical, there was more Came From Out Of Space’, ‘H-Bomb’ and (originally titled ‘Kings Cross Moon’) and Lance Mulcahy, 1953 Donovan. Fellow alumnus Peter Stannard, Round at the 200-seat Metropolitan Theatre than a touch of undergrad humor about it. ‘Begone the Beguine’-and ‘Celebrity’ was ‘Beside Myself’. The SMH described it as who was studying Arts, also composed for at Railway Square, Sydney. Orr’s plan was to Set in the palace of a Pharaoh who talked recycled once again. Orr directed, with ‘Hearty fun from start to finish’, particularly the show. Mulcahy and Stannard being ‘sung in hormony by Nancy Crispin- introduce theatergoers to topical revue on a with a Brooklyn accent, it featured a Seer Mulcahy and Neil Jones accompanying on mentioning Oldaker’s ‘Red Shadow’ send-up accompanied on twin pianos. Smith and Cynthia Leech’. Cartoonist Emile weekly basis. It was the first time Mulcahy named Sukka and a Sayer called Sooth. twin pianos. of his matinée-idol days, and O’Hara’s ‘daisy- Writing in the university’s magazine Honi Mercier contributed the artwork for the and Donovan worked with John McKellar, a Leonard Thiele [Teale], Joe McCormack, After a good three-month run, Orr munching Centaur’ and her ‘piercingly clever’ Soit, Brian Southwell said: ‘[This] revue is program cover. recent Sydney Teachers’ College graduate, Patricia Martin, Lola Brooks and John Ewart followed with Hit and Run which opened on ‘Beside Myself’. Mulcahy and Neil Jones were [the] dirtiest ever,’ adding ‘This will The following year, Mulcahy and who was one of the other scriptwriters. headed the cast. Written by Mulcahy (music) 1 September 1954. With material once again again at the pianos. undoubtedly assure its success’. Undergrad Donovan were back to supply material for Three Mulcahy/Donovan items were and Donovan and McKellar (book and lyrics), by the formidable trio, Mulcahy, Donovan To celebrate the Phillip Street Theatre’s humor was in evidence throughout the Into the Woods (1952), which also had music recycled from Into the Woods: ‘The Nut Song’, the songs included ‘What Have You Done and McKellar, and basically the same cast, first birthday, Bill Orr produced Happy Returns program, which listed ‘Two Freshettes’ as by Stannard . It was directed by Peter ‘I’ve Never Felt This Way Before’ and To Your Face?’, ‘A Little Ray Of Sunshine’, Chater, Tingwell, Nettheim, Brooks and (1 May 1955), a ‘best-of’ from Top of the Bill, Benjamin, soon to become Stannard’s ‘Celebrity’. Twin pianos were played by ‘I’d Rather’ and ‘I’ve Never Felt This Way O’Hara, plus newcomers Bettina Welch, Ray Hit and Run and Hat Trick. The cast included From left: The Phillilp Street creative team: John writing partner on the musical Lola Mulcahy and Neil Jones. Alastair Duncan, Before’, which was recycled yet again. Critics Barrett and June Salter, the show ran a Madge Ryan, Terry McDermot, Diana McKellar, Gerry Donovan and Lance Mulcahy, 1954. Montez (1958). The Mulcahy–Donovan Diana Davidson and David Nettheim called it ‘fun’ and said ‘it is often sharply healthy four months. Mulcahy’s musical Davidson and Shirley Sunners. In addition Gordon Chater as ‘Mr Sydney’ in Top of the Bill, Phillip items this time included ‘I’ve Never headed the cast. The Sydney Morning Herald witty’. Maid in Egypt opened on 16 July 1953 credits included ‘Bugle Bead Rag’, ‘The Last guest artists Gordon Chater, Margo Lee, Lyle Street Theatre, Sydney, 1953. Felt This Way Before’, ‘Celebrity’, called it ‘witty’ and said it had ‘a high rate of and played 19 performances. Time We’ll See Paris’, ‘The Dead Heart’, O’Hara, June Salter, Ray Barrett and John Ray Barrett as ‘The Genie with the Light Brown Hair’, Meillon appeared throughout the Hit and Run , Phillip Street Theatre, 1954. season. In the program Orr Hit and Run June Salter in ‘The Bugle Bead Rag’, , Phillip credited the trio of Mulcahy, Street Theatre, 1954. McKellar and Donovan for the Hit and Run The cast of , with Lance Mulcahy at the success of the theatre and told how piano, Phillip Street Theatre, 1954. five of their compositions had been published that year: ‘I Never Felt This Way Before’ (with Maid in Egypt credit), ‘To Have And Hold’, ‘The Nut Song’ (both with Merry- Go-Round credits), ‘Begone The Beguine’ and ‘You Came From Outer Space’ (both with Top of the Bill credits). The last two were recorded commercially, ‘Begone The Beguine’ by Margo Lee and William Sampson’s Orchestra and ‘You Came From Outer Space’, by Edwin Duff with William Sampson and *

Page 32 ON STAGE Spring 2011 Page 33 his Space Men.1 The success of the ‘Skit Parade: ‘Beside Myself’, ‘The Great and ‘Is There Anyone There?’ – all sung by by Robert Gould and sung by Pip Hinton. oddly eccentric flavour all its own’. He Like Mayfair’, ‘The Girl On The Merry-Go- Mulcahy, McKellar and Donovan writing Highway of Life’ and ‘Wapping Moon’ Maggie Fitzgibbon. The Times claimed the show had ‘Sketches praised John Wood and Patricia Routledge, Round’, ‘Don’t Make A Tango Of It’, team had been noticed by ABC executives, (formerly ‘Mudgee Moon’). Mulcahy and With the success of Pieces of Eight, that hit their target’ and that Baxter and calling them ‘outstanding, particularly in ‘Rose’, ‘A Hurricane Named Flo’ and ‘Love who contracted them for their own radio Albert Gordon accompanied on twin pianos. producer Michael Codron decided to Marsden were ‘both in fine fettle’, but the revue’s best number, a gritty hymn on In Unexpected Places’ (recycled from series, Myths for Moderns. It was so successful The Times said: ‘Neither Mr Lance Mulcahy’s mount a sequel, One Over the Eight. carped that [Bob] Stevenson, [Victor] the vogue of religious plays’. The Times gave London’s Out of My Mind). that additional programs were commissioned music nor the unremarkable lyrics are made Opening on 5 April 1961, the show again Duret, [Greta] Hamby and Stubbs ‘dance a praise to Routledge for ‘Rose’. Out of My Phillip Street Revue (27 April 1960), a to extend the series. viable by the singing of Mr Paul Vieyra, starred Kenneth Williams, with Sheila number of meaningless dances with polish’. Mind played a short season at compilation of the best and most popular Meanwhile, after Happy Returns’ six- whose personal charm does not conceal a Hancock, Lance Percival, Toni Eden, Sheila Mulcahy’s final show for 1961 was the Hammersmith before moving to Brighton. material from all the Phillip Street revues, month run, Two to One opened at the Phillip tendency to go flat’. But Ashton, described O’Neill, Lynda Baron, Irving Davies, revue Out of My Mind which opened at the The following year Mulcahy was in toured to Melbourne and Adelaide. It Street Theatre on 10 December 1955. Max as a ‘thoroughbred revue performer’, was Robin Hawdon and John Howard. Lyric, Hammersmith, on 29 November Nottingham for the revue Yer What?. With included Mulcahy’s songs ‘Red Shadow’, Oldaker led a cast that included Wendy praised for ‘The Letter Song’, as was O’Hara Mulcahy’s numbers, all with lyrics by John 1961 with a cast including Jill Ireland, John direction by Frank Dunlop and Anthony ‘The Last Time I Saw Paris’, ‘Heavenly Blacklock, Barbara Wyndon, Diana Bell, who was said to be ‘an actress whose slack, Law, included ‘This Must Be The Place’, Wood, Gillian Lynne, Patricia Routledge, Bowles, words by Willis Hall, Keith Centaur’, ‘Golden Hair’, ‘Flop Forty’, ‘The Gina Curtis and Diana Field. Together economical gesture and swivel eyes can ‘Stop Following Me Around’, ‘Sitting Robin Palmer and Malcolm Clare. Waterhouse, Michael Payne, David Genie’, ‘Circulation’, ‘Stratford Blues’, Mulcahy, McKellar and Donovan created point a flat joke with agonizing precision’. ‘Rose’, ‘The Lady Of High Repute’, ‘The Lonely Sea’, ‘Earthlight Serenade’, ‘I’ll McKellar and Donovan decided to return ‘Tasmania’, ‘That’s What A Top Hat Entails’ Take Poison’, ‘Pickin’ Up The Pieces’, to Australia, while Mulcahy opted to stay in and ‘Picking Up The Pieces’. ‘Medieval Me’, and ‘I Talk To Myself’. London. It was a wise decision: he was about Mulcahy and McKellar wrote ‘Tasmania’, to hit the big-time. When the revue Pieces of Concluded in the next On Stage. ‘Katoomba’, ‘Yucatan Waltz’, ‘The Eight opened at London’s Apollo Theatre on Kookaburra’ and ‘Gone To Gowings’. 23 September 1959, Mulcahy had four music Special thanks in the preparation of this Mulcahy also wrote ‘Lean Times with Garth credits: ‘A Man Is’, ‘Lost Chords’ and article to: Rexton Bunnett, Jenny Fewster Nettheim, ‘The Letter Song’ with John ‘Sawdust Song’, all with lyrics by John Law, (www.ausstage.edu.au), Desmond Heeley, Taylor and ‘You Can’t Lose’, ‘I’m a Witch’, and ‘We’re Going to the Moon’, in which he Cheryl Hoskin (University of Adelaide ‘Theatre Bookings and ‘Lady Bea’ with shared a music credit with Edward Scott and Library Special Collections), Richard C. Bruce Wishart. Lenny Addelson and John Law wrote the Norton, Peter Stannard, Frank Van Straten. lyrics. Mulcahy was in good writing The critics liked Wyndon’s ‘Love Letters’, Reference: but wanted more of the ‘shrewd sardonic wit company: other contributors included Peter of Diana Bell and Gina Curtis’. Oldaker scored Cook, Harold Pinter, Sandy Wilson and 1. Peter Pinne: Australian Performers, with a rollicking send-up of his home state, Laurie Johnson. The show starred Kenneth Australian Performances, Performing Arts ‘Tasmania’. Two to One was the last show for Williams and Fenella Fielding, with Peter Museum, Victorian Arts Centre, 1987. the trio of Mulcahy, McKellar and Donovan. Reeves, Josephine Blake, Valerie Walsh, Sources: Evening Standard, Honi Soit, The During the run they sailed for London to try Myra de Groot, Terence Theobold and Ben Sydney Morning Herald, The Times, theatre n their luck there. Aris. Under the headline ‘Second half best in programs, sheet music. It took some time for Mulcahy to get new revue’, The Times said: ‘There was some established in London, but with royalties delightful clowning’ by Williams and Kenneth Williams and Fenella Fielding in Pieces coming in from Two to One, which ran Fielding and ‘Whether the songs and dances Pretty’, ‘High Stakes’, ‘Fairground Song’, of Eight, Apollo Theatre, London, 1959. Campton, Donald Cotton and Emrys Theatre throughout 1956, he wasn’t destitute. were good, bad or indifferent they were ‘Torch Song’, ‘Give ’Em Enough Rope’ and Judy Carne, Betty Marsden and Pip Hinton in Bryson, and music by Mulcahy, the show On the Brighter Side, Phoenix Theatre, London, 1961. Heritage Mulcahy’s first London credit was as greeted with full throated applause’. The the title tune. Other writers were Peter opened at the Nottingham Playhouse on 24 producer of Damn the Expense, a revue which show quickly became a hit, ending up Cook, N.F.Simpson, John Mortimer and July 1962. The program did not indicate Australia opened on 7 May 1957 at the New Lindsey playing 429 performances and running just Lionel Bart. The Evening Standard called it Mulcahy’s credits included ‘Love In which items were musical and which were Inc. Theatre Club, Palace Gardens Terrace, over a year. ‘Scandalously funny’, but The Times thought Unexpected Places’ and ‘Rose’ (with John sketches. Patron: Sue Nattrass AO Bayswater. With a cast that included Marcia Don’t Shoot – We’re English!, which was the comedy material was ‘thin’, explaining McKellar and Gerry Donovan); ‘Hymn’ Yer What? was Mulcahy’s final English Committee Ashton, Lennie Mayne, John Roberts, Paul billed ‘An Exhibition devised by Michael ‘all too many of the humorous sketches and a recycled ‘I’m Walking Beside Myself’ credit. He was about to move to New York. Vieyra, Patrick Blackwell and former Phillip Bentine’, gave Mulcahy his first West End stop just short of making an assured success’. (with Donovan); ‘The Letter Song’, ‘It During his London period Mulcahy President: Peter Johnson Street performers Lyle O’Hara and Shirley show poster credit for music; again he Still they liked Williams and Hancock. The Never Happens To Me’ and ‘Recognition’ continued to contribute material to Phillip Treasurer: Howard Cordner CPA Sunners, the revue mostly used recycled worked with John Law on lyrics. The show show was a hit; it played 415 performances, (with John Law); ‘Dance’ (with Malcolm Street revues, mostly with lyrics by Secretary: Graeme McCoubrie numbers from Mulcahy/McKellar and opened at the Cambridge Theatre on 2 June almost as long as its predecessor. Clare); ‘Little Nibble’ (with Eric Davison); McKellar and Donovan. Around the Loop (1 Donovan’s Phillip Street canon. ‘Heaven 1960 with a cast that included Michael Next up was On the Brighter Side (12 April ‘White Collar Spiritual’ (with Alistair August 1957) included ‘Blue Stockings’ and Committee Members:

Centaur’, ‘The Letter Song’, ‘Point Number’, Bentine, Dick Emery, Clive Dunn, Maggie 1961) at the Phoenix Theatre. Stanley Sampson and Rhoderick McKelvie); and ‘The Nut Song’; Cross Section (12 September Wilma Farrow, Bruce McBrien OAM, ‘The Genie’ and ‘I’ve Never Felt This Way Fitzgibbon, Bruce Lacey and Frank Baxter and Betty Marsden top starred, with Mulcahy going solo with ‘The Multi- 1957) included ‘Darlinghurst Desert Song’; Delia Taylor Before’ were given another workout, while Thornton, with the Paddy Stone Dancers. Pip Hinton Ronnie Barker, Judy Carne, Colored Bush’. Critic Felix Barker Bats (1 October 1958) included ‘Wow Of A the first act contained a segment called The music featured several dance numbers: Una Stubbs and Amanda Barrie. Mulcahy headlined his review ‘Out of My Mind is best Frau’, ‘You Don’t Have To Cook’ Editorial Committee: ‘Broadway Melody of 1984’ which featured ‘Bass Beat-Flat Feet’, ‘Bottle Party’, ‘School contributed two songs, ‘Little Instant Me’, out of sight’ and called it an ‘awful show’. (dropped), ‘I Knew Her When’, ‘Cuckoo’ Dr Mimi Colligan, David Cullinane, the songs ‘H-Bomb’, ‘Outer Space’ and Days’ and ‘In Orbit’, and the songs ‘Follow with lyrics by Gerry Donovan, sung by Robert Muller was kinder, saying it ‘is not and ‘Circulation’; Hey Diddle Diddle (21 Elisabeth Kumm, Frank Van Straten OAM ‘Earthlight Serenade’. The second act had Me’, ‘No Resistance’, ‘Who Needs A Man?’ Judy Carne, and ‘Be Your Age’, with lyrics likely to shake the world, but it has an October 1959) included ‘It’s Hard To Look

Page 34 ON STAGE Spring 2011 Page 35 Peace of Pav? Australian picture palace history. In the book’s army of adoring ‘Gallery Girls’. Other First reading first part, ‘Shadowed Lands’, Roger explores Helen Leach: chapters highlight restaurateur Val A roundup of books of theatre interest for people interested in theatre. the ‘rituals’ of old-style cinema presentation The Pavlova Story — A Slice of New Zealand’s Eastwood and the legendary Freddie and documents the Film Society movement; Written with a will creating a performance. An actor, writer and and rehearsal rooms, including images, Culinary History Asmussen, designer of countless Myer in the second section, ‘The Lost Picture windows, store displays and Moomba floats. John Bell: teacher, Crawford identifies eight Dimensions reviews, and interviews with practitioners. While Australians and New Zealanders have Show’, Barbara details how Disney’s Snow Australian Lesbian and Gay Archives, On Shakespeare as the building blocks for a performance: the University of Western Australia Press, long debated which country invented the White and the Seven Dwarfs helped shape her 2011. 172 pp. RRP $40 + $6 postage. Bell describes this book as ‘The thoughts and Environment and Dramaturgy of the play, 2011. 287 pp. RRP $39.95. Pavlova dessert, Helen Leach is in no doubt. life, her later appreciation of film aesthetics, http://www.alga.org.au reminiscences of a theatrical insider, and an the History and Activity of the character, the The Professor of Anthropology at the Focus on performance and her years teaching film appreciation. Australian one at that’. Characterisation and Personalisation of the University of Otago, she offers a convincing The book contains a wealth of Speaking about showbiz In what could become a manual for actor, the Aesthetic of the production and, Peter Wyllie Johnston: argument for her country’s claim, telling ‘the illustrative material but, unfortunately, many Richard Wilkins: everyone interested in acting, directing or finally, the bedrock for all actors — From the Melburnian — Essays and Articles, real story’ of the ballerina’s visit to the of the images have been grotesquely simply exploring Shakespeare, he shares Communication in performance. 1992-2011 Antipodes and the emergence of three Black Ties, Red Carpets, Green Rooms distorted for no apparent reason. As the Entertainment Editor for the Nine secrets gleaned in his 50-year career. He The trick, he says, is knowing what to use The engaging articles in this anthology were distinct types of pav. Coora Films, 2010. 238 pp. RRP $44 Network and a veteran of 17 years reporting discusses, in turn, the tragedies, histories, and when. originally written for the now-defunct arts She reveals the contributions of a for the show, Richard Wilkins has comedies and romances, skilfully interweaving Currency Press, 2011. 208 pp. journal The Melburnian. The 60-odd pieces gelatine manufacturer, a Dunedin spinster and Today interviewed the cream of the international Elizabethan politics, personalities and events, RRP $32.95 are presented in four sections: The Broadway numerous New Zealand housewives. She From a gay perspective entertainment industry — from Madonna to while looking for the universal core of each Musical, The Australian Musical, Opera, and includes a selection of tempting pavlova Graham Willett, Wayne Murdoch & Ring on the Rolling Stones, and from Andrea play and the elements that will strike a chord Classical Music. Each is prefaced by a short recipes and dozens of evocative colour Daniel Marshall (eds): Bocelli to Nigel Kennedy. with a modern audience. Anne Doggett and Gwyn Gillard: piece putting the item into contemporary illustrations. Chapters include: ‘The Pavlova Secret Histories of Queer Melbourne He recalls his early years in rural New Bell covers every acting prejudice, advocates See How They Ring! — Travelling Bellringers focus. Wars’, ‘Some Sticky Issues’ and ‘Why A collection of 50 illustrated vignettes of Zealand where, at the age of 18, he dictionary study and an awareness of cadence, on the Australian Popular Stage The articles reveal as much about the Pavlovas are Important’. Melbourne locations with gay associations. struggled to support his wife and Down’s phrasing and pitch, and even lists the ways to A minutely researched and splendidly presented author as they do about their subjects: a Otago University Press, 2008. 192 pp. The ‘Theatreland’ chapter shines the syndrome son, his encounters with the identify a bad actor. account of the long and persistent history of composer, performer and writer, Johnston’s RRP $40 spotlight on the illustrious Cyril Ritchard, world’s showbiz celebrities, and his Allen & Unwin, 2011. 448 pp. bellringing in Australia, saluting the ubiquitous vast knowledge, deep understanding, and recounts the unfortunate fates of the far favourite, strangest and most embarrassing RRP $39.99. Lynch Family Bellringers, and the Corricks, enthusiasm and love of music and the people On going to the pictures less known chorus boy Travis McGuire and star encounters. the Quintrells, the Fausts, the Steele-Paynes who make it is evident on every page. Roger and Barbara Seccombe: actor Selwyn Lindsay. New Holland, 2011. 254 pp. Belvoir birthday and the many other groups who travelled the Ellikon Publishing, 2011. 326 pp. The Haunted Palace There’s also a warm tribute to musical RRP $32.95 n Robert Cousins (ed.): country entertaining successive generations. RRP $29.95 This is the ninth and final volume in the comedy star Gladys Moncrieff, her faithful 25 Belvoir Street There are links with circus, pantomime Seccombes’ nostalgic journey through ‘companion’ Elsie Wilson, and to Gladys’s In this impressive celebration of the 25th and vaudeville, and entrepreneurs such as anniversary of Sydney’s Belvoir Street George Coppin and Harry Rickards. The Letters to the Editor book includes a wealth of rare photographs Theatre, a superb collection of vivid A present for all Lucas family links ‘Fairholme’, his mansion at 67 Alexandra and other illustrative material, and is a must photographs is complemented by essays by Street, East St Kilda, has been beautifully for anyone interested in the byways of I was somewhat saddened to read in the Winter I found the article on the centenary of the Robert Cousins, Ralph Myers, Robert preserved and is now the Rabbinical College edition of On Stage of the passing of Nita Princess Theatre in Launceston (On Stage, McFarlane, Rhoda Roberts, James Waites, Australian popular entertainment. Johns who has been greatly involved in the arts Winter 2011) really fascinating, particularly the of Australia and New Zealand. Alan John, Rita Kalnejais, Benedict Andrews Ballarat Heritage Services, 2011. 244 pp. scene in Victoria, including the Arts Centre, references to the enterprising Lucas family. ‘Yamala’, his brother Anthony’s property at and Neil Armfield. $40 + $8 postage and was a member of Theatre Heritage Australia. Happily, not just Mareeno Lucas’s Princess Daveys Bay near Frankston, which was renovated These trace the social and political www.ballaratheritage.com.au When I retired (first) on my 65th birthday theatre survives. His other Launceston theatre, and landscaped by Walter Burley Griffin, is also background from which Belvoir emerged and in 1991, I decided to celebrate both events by the Majestic, in Brisbane Street, is now Neil still there. I believe it is currently on the market. document how the building itself has found The Bard in Australia personally hiring the Concert Hall (Hamer Hall) Pitt’s menswear store. His Victory cinema in Keep up the great work! a way into our imaginations. Kate Flaherty: and entertained nigh on one thousand guests Wattletree Road, Malvern, closed in 1956, - Gerald Walters, This is a handsome, fitting and intimate Ours as We Play It: Australia Plays Shakespeare with 35 performers accompanied by a 30 and also became retail premises. At present it Seaford, Victoria record of a company that has been described Arguing that Shakespeare’s plays cannot help piece orchestra, all of whom I had worked houses a Lincraft fabrics store. as ‘the heart and soul of Australian theatre’. but resonate with local concerns, Kate Flaherty Mareeno Lucas’ mansion ‘Fairholme’ today. n with on stage over a period of 40 years. Belvoir, 2011. 264 pp. RRP $77. closely examines his plays as performed by Nita orchestrated all the behind-the-scene Available at selected Sydney bookshops Australian theatre companies in contemporary arrangements for me and, being a Sunday or via www.belvoir.com.au/belvoirbook Australia. She analyses several contemporary evening, The Arts Centre car park would productions of three plays, exploring masculinity normally have been closed, but Nita arranged Acting the Australian way and madness in Hamlet, the place of to have it opened for my guests, free of charge, Terence Crawford: landscape and the multiple roles of Rosalind as a ‘birthday present’ to me. Dimensions of Acting — An Australian Approach in As You Like It, and hierarchies of gender No wonder I will always remember her A comprehensive study of the craft of acting and social order in relation to Australian Jeanne Pratt ac launches Peter Wyllie Johnston’s From The Melburnian with much affection and appreciation! from a distinctly Australian perspective. understandings of power in A Midsummer book at the Victorian - Bruce McBrien oam Sophisticated, frank and passionate, Night’s Dream. The book draws on a wealth College of the Arts’ Federation Hall on 1 September 2011. Image: Steven Wylde. Kooyong, Victoria Dimensions of Acting explores the process of of primary resources from theatre archives Page 36 ON STAGE Spring 2011 Page 37 mouth, said, “All we need is for a dog to be in the theatre until 4pm and recording On the final afternoon the children were The Sound of Music—50 years on come on behind them, and we’ll be really had to stop by 6pm. There were two having trouble with “Do Re Mi”. We were A generation of Australians cut their theatregoing teeth on a show which went to Garnet H. Carroll by default, home and hosed!”’ alternatives for each of the three elder approaching six o’clock and an ultimatum reports Frank Van Straten. So successful was the Garnet H. Carroll children and three for each of the younger came from the orchestra: “Only one more t’s hard to believe, but half a century has attended a gala charity evening at the production that EMI decided to record an ones. ‘I have no idea which ones are on the take and that’s it.” The children responded passed since the Australian première of Princess. He spent the interval telling Garnet’s Australian cast album — the first time an recording,’ Ron admitted. nobly and there was a loud cheer after they IThe Sound of Music. Rodgers and son, John, what a big hit The Sound of Music Australian production of a major imported He recalled another challenge: ‘On the managed to give us a first class take. Then Hammerstein’s masterpiece — and their final would be in Australia. John conveyed Menzies’ musical had received that honour. night before we were due to start, Lola we discovered we hadn’t recorded June’s show — opened at the Princess Theatre on 20 enthusiasm to his father. ‘Go to New York,’ Because producer Ron Wills couldn’t Brooks and Eric Reiman objected to their introductory dialogue — so we set her up in October 1961, staged with flair and care by said Garnet, ‘and if you like the show, buy it.’ find a suitable studio in Melbourne, he share of the principals’ royalties. They a passage outside the recording room, and Garnet H. Carroll. Which, of course, he did. decided to make the record in the theatre, demanded instead lump payments of £25 each, she did it there.’ In what now seems a monumental error As Australia’s Maria, Carroll cleverly cast with the cast on the stage, the orchestra in or they would withdraw. They had me over On its first run, the Australian Sound of of judgement, Sir Frank Tait of J.C.Williamson’s the ebullient, golden-voiced June Bronhill, the pit, and the recording equipment in a a barrel, so I agreed. The record turned out Music album sold more than 27 000 copies had chosen not to produce the show. Why? who had created such a sensation in The room at the back of the stalls. to be a best seller and Lola later admitted and earned June Bronhill a gold record. There is a number of theories; they could all Merry Widow in 1960. Recording the children presented a that she had been naughty and very unwise!’ The Sound of Music ran for eleven months be wrong, but the truth is probably hidden June recalled that she was paid $1000 a major problem, as they were not allowed to Ron says that the orchestra, too, was ‘a in Melbourne, playing to 370 429 patrons somewhere in them. week, which was remarkably good money June Bronhill as Maria, with the Trapp children, militant bunch. The union rule was that they and grossing £384 154 – huge figures for Sir Frank and Lady Tait saw the show in for the early 1960s. To play Captain Von Princess Theatre, 1961. Image: Len Drummond. were to play no more than three-hour shifts. their time. * New York. In her book A Family of Brothers, Trapp Carroll chose the English musical Viola Tait claims her husband rejected both comedy veteran Peter Graves. June called The Sound of Music and The King and I him ‘tall, elegant and aristocratic’. Graves’ because of ‘the problems [they] presented wife, Vanessa Lee, a notable star in her own with our education authorities in having so right, understudied June and substituted for many children under age appearing her during a period of illness. nightly.’ It was June Bronhill who suggested the Nevertheless Sir Frank did produce Ballarat-born soprano Rosina Raisbeck, then Oliver!, which needed far more youngsters singing with Covent Garden Opera, for the than The Sound of Music. Lady Tait added that alienate non-Catholics. role of the Mother Abbess. Others in the Frank’s decision was also ‘greatly influenced ‘We had first refusal of all the rights from exceptional cast were Lola Brooks as Elsa by Alf Duncan, a New Zealand director [of Rodgers and Hammerstein, but another Schraeder, Eric Reiman as Max Detweiler, The Firm] who, after seeing it, said it management was in the field for the rights, Lorna Forbes as Frau Schmidt, Barry Balmer wouldn’t stand a chance in New Zealand.’ our friendly rival, Garnet H. Carroll. as Franz, Halinka de Tarczynska as Sister In his book on the history of the Sydney ‘Frank was the “Hesitate” part of the Tait Berthe, Beryl Cheers as Sister Margaretta, Theatre Royal, Ian Bevan notes that it was brothers,’ McCallum says. ‘The deadline we Tony Jenkins as Rolf, Julie Day as Liesl and almost unknown for the Taits to take any had been given was a Monday. At lunch Norman Yemm as Admiral Von Schreiber. notice of their New Zealand directors, but he time on Saturday, Frank agreed with Claude Notable among the children were Patti does agree with Lady Tait’s assertion that, ‘If that we should buy The Sound of Music, and McGrath and Yvonne Barrett, alternating as Frank didn’t like a show, no amount of we drafted a cable accepting the terms. Louisa. The musical director was Eric Clapham, persuasion would make him buy it’. ‘The secretaries had left the office, and with Ruben Fineberg as his associate. Bevan also offers another possibility for Frank said that he would send it as soon as The director was Charles Hickman; he Sir Frank’s antipathy. He says that both Sir Frank he got home. He never did, and we lost a had a string of West End musicals and and Lady Tait were staunch Protestants, and musical that could have grossed as much as Sadler’s Wells productions — including The that he had been told by ‘the Roman Catholic My Fair Lady.’ Merry Widow — to his credit. wife of one of Tait’s closest aides that the It was left to the then Australian Prime The Sound of Music opened at the Princess blame lay with Lady Tait, asserting that she Minister, Sir Robert Menzies, to save the day. Theatre in Melbourne on 20 October 1961. was ‘violently anti-Catholic’. Although Lady During a New York visit, Sir Robert was June Bronhill recalled, ‘I have never experienced Tait denied this, John McCallum agreed. taken to see The Sound of Music and after the the same excitement — apart from The Merry In his memoirs, McCallum relates: show he was introduced to Mary Martin. As Widow — as was generated throughout the ‘Frank and I had only one major difference well as being its star, Miss Martin was also one theatre and into our dressing rooms that night. of opinion over policy in our seven years of the show’s producers. She knew that ‘When the children made their appearance together [at The Firm]. Claude Kingston and Williamson’s had let their option lapse, and on stage, the audience went absolutely berserk. I were convinced that The Sound of Music was that Australia was potentially a valuable There is an old saying: you should never the logical successor to My Fair Lady, but market, so she used her charms on Sir appear on stage with children or animals! I Frank had reservations, mainly because of its Robert. ‘I’ll see what I can do,’ he promised. turned to Peter Graves, who was standing religious content — he thought it might Menzies’ opportunity came when he next to me, and out of the corner of my

Page 38 ON STAGE Spring 2011 Page 39 When the show transferred to the Tivoli She stayed with the show through the on CD by London-based Stage Door of Australia’s live performance industry. Best Contemporary Music Festival: Best Visual or Physical Theatre Production: in Sydney from 28 September 1962, there rest of its lengthy Australian tour, during Records. Included on the disc are 10 rare And the 2011 ‘Bobbies’ go to… Splendour in the Grass 2010. Not in a Million Years. were a few cast changes. Among the which Norman Yemm replaced Peter bonus tracks. Best Comedy Performer: Best Regional Touring Production: children was a youngster called Rory Graves as the Captain. Later, in New It is available from Middle 8 Music, Music Theatre awards: Denise Scott, Denise Scott Regrets. Mathinna, Bangarra Dance Theatre. O’Donoghue: a decade later he became Zealand, Margaret Nisbett played Maria www.middle8.com, at $19.95 plus postage. Best Supporting Male Actor: familiar as Thin Arthur in the Aunty Jack with Stuart Wagstaff as the Captain. Best Cabaret Performer: Best Australian Contemporary Concert: Philip Quast, Mary Poppins. television series. Australia has seen two more major Bibliography: Eddie Perfect, Misanthropology. Powderfinger — Sunsets: The Farewell Tour. As the run progressed it became increasingly professional productions of The Sound of Ian Bevan: The Story of the Theatre Royal. Best Supporting Female Actor: Best Costume Design: obvious to the bemused audience that the Music: in 1983 with Julie Anthony and Currency, Sydney, 1993. Opera awards: Esther Hannaford, Hairspray. Gabriela Tylesova, Love Never Dies. virginal Maria was pregnant! June Bronhill Bartholomew John, and in 1999 with Lisa John McCallum: My Life with Googie. Best Supporting Male Performer: Best Male Actor: gracefully retired, making way for a new McCune and John Waters. Both were fine Heinemann, London, 1979. Best Scenic Design: Kanen Breen, Partenope. Matt Lee, Mary Poppins. Maria, Renée Guerin. Miss Guerin, quaintly presentations, but neither came close to Viola Tait: A Family of Brothers. Heinemann, Gabriela Tylesova, Love Never Dies. promoted as ‘the only famous musical capturing the magic and excitement Melbourne, 1971. Best Supporting Female Performer: Best Female Actor: Best Lighting Design: comedy and theatrical star to emerge from generated by June Bronhill for Garnet H. Ron Wills: Reminiscing in Tempo. MediMedia Elizabeth Campbell, Aïda. Verity Hunt-Ballard, Mary Poppins. Nick Schlieper, Love Never Dies. the largest of the American states, Alaska,’ Carroll 50 years ago. Australia, Sydney, 2002. Best Male Performer: Best Choreography: had been the standby Maria in the original The original Australian cast recording Best Sound Design: With thanks to Michael Mace. n John Wegner, La Fanciulla del West. Matthew Bourne and Stephen Mear, Broadway production. of The Sound of Music has just been released Peter Grubb, Mary Poppins. Mary Poppins. Best Female Performer: Best Original Score: Emma Matthews, Partenope. Best Direction: Alan John, The Diary of a Madman (Belvoir). Richard Eyre and Matthew Bourne, Helpmann Awards for 2011 Best Direction: Best Individual Classical Performance: Mary Poppins. Nigel Jamieson, La Fanciulla del West. Mary Poppins was ‘practically perfect’ at the Helpmanns. Sir Simon Rattle, Berlin Philharmonic Orchestra. Best Musical: he Disney musical Mary Poppins The Awards were presented at the Named in honour of the late Sir Robert Best Opera: Best Chamber &/or Instrumental Mary Poppins, Disney & Cameron Mackintosh flew away with eight coveted Sydney Opera House on 1 August 2011 in a Helpmann, the Awards were established in Partenope, Opera Australia. Ensemble Concert: ‘Bobbies’ — including Best Musical — gala ceremony that was broadcast live on 2001 by Live Performance Australia to T Garrick Ohlsson in recital. The James Cassius at the tenth annual Helpmann Awards. Foxtel’s Studio channel. recognise, celebrate and promote all facets Drama awards: Williamson Award for Best Symphony Best Supporting Male Actor: Lifetime Achievement: Concert: Anthony Phelan, The Wild Duck. Berlin Nancye Hayes oam Philharmonic Best Supporting Female Actor: Toni Lamond am Orchestra. Anita Hegh, The Wild Duck. Jill Perryman am mbe n

Best Music Best Male Actor: Direction: Geoffrey Rush, The Diary of a Madman. Stephen Brooker Gus Best Female Actor: and Michael Tyack, Cate Blanchett, Uncle Vanya. Mary Poppins. goss Best Direction: Her Majesty’s in Best New Neil Armfield, The Diary of a Madman. Ballarat has been Australian Work: screening opera from Tim Minchin vs the Best Play: the New York Met and Sydney Symphony. The Wild Duck, Belvoir. other overseas Best Presentation Dance/Physical Theatre theatrical productions for Children: awards: for some time, but I see Me and My they’ve now launched an impressive Shadow, Patch Best Male Dancer: advertising campaign to try to lure patrons Theatre Paul White, In Glass. from seeing the shows in run-of-the-mill Company. cinemas. The ads promote the Ballarat Maj Best Female Dancer: as ‘the only real theatre in Australia Best International Kristina Chan, In Glass. screening the Met direct from Lincoln Contemporary At the 2011 Helpmann Awards: Host Todd Centre, New York, and the National Concert: Best Choreography: McKenney greets Lifetime Achievement Award Theatre LIVE from London’s Southbank… Leonard Cohen @ Natalie Weir, Where the Heart Is. winners Jill Perryman, Nancye Hayes and Toni Experience the world’s best in Australia’s Hanging Rock. Best Ballet or Dance Work: Lamond in the Sydney Opera House foyer. oldest’ — which may ruffle a few feathers Where the Heart Is, Expressions Dance down in Hobart. Company and QPAC. - Gus, the theatre cat n Page 40 ON STAGE Spring 2011 Page 41 Doug Ashton oam towns. You had to be a jack of all trades, but Harold Collins mbe Exeunt 19.11.1918—3.11.2011 I loved it.’ 1942—30.7.2011 Douglas Joseph Ashton, the patriarch of Doug Ashton died of cancer. Dancer, choreographer and teacher Harold what is believed to be the world’s oldest W Argyle Collins has died in Brisbane. family-run circus, died as he lived his life — Born in Armidale, New South Wales, Diane Cilento in his caravan, on tour in Western Australia Collins began his training with his mother, a with his grandson’s Circus Joseph Ashton. 5.10.1933—6.10.2011 former dancer with the Kirsova Ballet. Later The son of Joe and Ivy Ashton, Doug Actress, director, producer and author Diane he studied with Avril Binzer and Charles was born into the family business, which was Cilento was born in Mooloolaba, Queensland. Lisner, and at the Royal Ballet School in started by his great grandfather, James A scholarship to the Royal Academy of London. 1960 he was a founding member of Henry Ashton, in 1847. Dramatic Art took her to London in the the Lisner Ballet in Brisbane. Doug went on the road when he was just early 1950s. She soon scored roles on screen Between 1965 and 1974 Collins danced in Doug Ashton oam Diane Cilento Harold Collins mbe Joy Youlden Connor Christopher Doig cnzm mbe six days old. and stage. In 1956 she was nominated for a the US, UK and Europe and England before It was through the circus that he met his Best Supporting Actress Tony Award for her returning to Australia to become a principal wife, Phyllis, whose parents were members work as Helen of Troy in Tiger at the Gates . dancer with Queensland Ballet. From 1979 to of the company. They married when he was Her other Broadway credits include Heartbreak 1997 he was Queensland Ballet’s artistic director, 16 and she 17. They had three children while House (1959) and The Good Soup (1960). maintaining the policies of his mentor, and on the road — Lorraine, Mervyn and Jan. In 1963 she earned an Academy Award the company’s founder, Charles Lisner, by After World War II, Doug and Phyll took Supporting Actress nomination for Tom Jones. encouraging choreographers to work within the helm and turned Ashton’s into She starred with Charlton Heston in the the classical medium. Australia’s biggest and best-known circus, 1965 film The Agony and the Ecstasy and with His choreographic achievements for with an enormous entourage of elephants, Paul Newman in the 1967 western Hombre. Queensland Ballet included Carmen (1980), Rose Jackson Rhyl Kennell Jeffrey Kovel Gracie Le Brun Geoff McComas tigers, lions, monkeys, parrots, a giraffe, a From 1962 to 1973 she was married to Romeo and Juliet (1982) and Salome (1986), bear and even a hyena. At one stage actor Sean Connery; they had one son, actor which was also staged by the Finnish National Ashton’s was touring with more than 120 Jason Connery, with whom Diane appeared Ballet. Most recently Collins was artistic people, 80 animals and millions of dollars’ in the 1984 film The Boy Who Had Everything. director of Queensland Youth Ballet and worth of equipment. The circus also visited In 1985 she married playwright Anthony choreographed on a freelance basis. In 2001 New Zealand and Papua New Guinea. Schaffer, whom she met during the filming he created a new ballet for the Hong Kong Doug and Phyll performed in as many as 12 of his screenplay The Wicker Man. Dance Academy. acts, including elephant displays, bareback Cilento continued to work on stage and Collins was made a Member of the Order horse riding, clowning and trapeze work. At in films and TV. Her Australian stage credits of the British Empire in 1989. one stage there were 38 family members include The Taming of the Shrew (QTC, 1975), W involved in the show. Guest stars included Agnes of God (Athenaeum, 1984), The Cherry Albert McPherson Bill Newman David Ngoombujarra Peter Oyston Muriel Pasky Orchard (QTC, 1981) and Galatea’s Hands ‘Western’ star Will Hutchins, boxer Lionel Joy Youlden Connor Rose and TV personality Tommy Hanlon Jnr. (Athenaeum 2, 1994). 21.10.1919—28.9.2011 Doug also started Australia’s first lion In the 1980s she settled in Mossman, Margery Joy King Youlden was born at parks — in Bacchus Marsh, Victoria, Loganlea north of Cairns, Queensland, where she built Hawthorn, Victoria. She was educated at in Queensland and Raymond Terrace, New her Karnak Playhouse, an innovative Firbank Grammar, where she developed her South Wales, where Ashton’s bred lions and amphitheatre in the midst of the lush rain interest in drama. tigers for many parts of the world. forest. It opened on 8 August 1992 with Shaffer’s Extremely athletic and graceful, Joy joined Doug represented Australia at the Festival play Murderer. It has since become a home Melbourne University as a Physical Training of the World’s Greatest Circuses in Monte for an eclectic selection of plays and music — undergraduate in 1939. She was immediately Carlo. In 1996, he and Phyll were awarded everything from flautist Jane Rutter to the Kenny Powell Tikki Taylor ‘Madam’ Pat Thompson attracted to the Melbourne University Dramatic George Pikler Ray Taylor the Order of Australia Medal for their services raucous musical Hedwig and the Angry Inch, as Club and she and Keith Macartney, an associate to the entertainment industry and charity. well as the Kransky Sisters, Lorna Luft and professor in the English Department, became Phyll died 2000. Their children, the Queensland Youth Orchestra Big Band. the most active of the club’s directors. Joy’s grandchildren and great grandchildren carry In 2001 Diane Cilento was awarded the productions included You Can’t Take It With on the grand family tradition. Centenary Medal, recognising her ‘distinguished Yo u , The Merry Wives of Windsor, Angel Street A couple of years ago, Doug told an service to the arts, especially theatre’. She and Peer Gynt, which featured troll masks interviewer: ‘I’ve always lived in a caravan. I wrote two novels, Hybrid and The Manipulator, designed and executed by Frank Thring. just liked being in the ring with the public. and an autobiography, My Nine Lives, which When she wasn’t directing, Joy was When I was a kid I was a bit of a show-off, was published in 2006. Her nephew, choreographing, and designing and making and I’ve always enjoyed performing. I also Sebastian Cilento, is also an actor. costumes. After she graduated Joy worked Pamela, Lady Vestey Jon Weaving Andy Whitfield enjoyed putting up the tent, pulling it down W with JCW, most notably in comedy leads in* and doing the one-night shows in country

Page 42 ON STAGE Spring 2011 Page 43 The Girl Friend of 1942, Let’s Face It and a Peter Grimes. He featured in the world In 1969 Dawn O’Donnell opened Jeffrey Kovel what remained of the enterprise, and put it Cathedral and Chaplain for the Arts, was revival of White Horse Inn. As the war premières of Richard Meale’s Voss and Larry Capriccio’s in Oxford Street, offering drinks, 29.3.1934–20.6.2011 back on the road with the help of George’s unique among clergy of all churches: He progressed, she participated in numerous shows Sitsky’s The Golem. a dance floor and a lavishly costume drag Born in Newcastle, NSW, Jeffrey Kovel widow, Grace. combined a calling to the priesthood with a for troops and charities. Doig was director of the New Zealand show. It wasn’t long before Rose was the trained in Sydney, but found fame in with Gracie Le Brun danced, participated in deep knowledge of, and commitment to, all After marrying Desmond Connor in 1944, International Festival of the Arts from 1992 undisputed star, her persona embodying an Anton Dolin’s Festival Ballet in London. It comedy sketches, arranged the ballets and facets of the arts. she returned to the Union. ‘Des’ — co-founder, to 1995. That year he relinquished his full- elegant femininity. At the same time her was there he met his future wife, Spanish made the costumes. The show would begin Born in the Melbourne suburb of designer and sometime director of the Union time singing career to become chief design talents were deployed in a string of more dancer Estella Nova its year in Newcastle with a Christmas Richmond, he left school at age 14, and started Theatre — had been associated with university executive of New Zealand Cricket, transforming ‘conventional’ professional theatre productions. They came to Australia in 1959 to appear pantomime, before setting off on a 48-week his working life in a succession of Melbourne theatre since the early ’30s, when he had NZC into a dynamic modern business and In 1983 David Mitchell and David Penfold as specialty dancers in the JCW production 24 000 km trek through NSW and Queensland. bookshops. In the early 1950s he sold books mounted and directed the first revues at the sporting organisation. created Rose’s Turn, a show fondly based on of the musical Grab Me a Gondola. After this With Bobby and Gracie at the helm, at Foyle’s in London. When he came home Palace Theatre. He was employed on a retainer He was chairman of Creative New Zealand, her life and career. It played at Kinsella’s they joined the Borovansky company. Sorlie’s sailed on until 1961. After that came he was soon acting at the Little Theatre in and used on a paid professional basis by the Arts Council of New Zealand and the and was a huge success. In 1960 Kovel was an outstanding ‘Franz’ floor shows and TV in Coolangatta, Brisbane South Yarra. He also participated in the groups who hired the theatre. His technical Southern Opera Trust, which was responsible Rose then opened her own club, Rose’s, in Peggy Van Praagh’s staging of Coppélia, and Newcastle. liturgy at St Peter’s, Eastern Hill; this led to knowledge was extensive and innovative; it for Placido Domingo’s recent visit to on Goulburn Street. There she performed alternating the role with Robert Pomie. Eventually Bobby and Gracie retired to him being accepted for ordination in the was at the Union that back projection was Christchurch. He also led ‘Project Opera’, with stars including Judi Connelli and Tony When the Borovansky company disbanded, their Newcastle home, where Bobby died in Anglican diocese of Melbourne. first introduced to Melbourne audiences. dedicated to ensuring the survival of opera Sheldon. Rose, said Sheldon, was the Kovel and his wife joined a small group of 1985. Gracie has arranged for their extensive He entered Trinity College, graduating After Des Connor’s death in 1951 Joy in the South Island as well as serving on the inspiration for his interpretation of ex-Boro dancers for an Arts Council tour of collection of memorabilia to go to the National BA (Hons) in 1963; a licentiate in theology Youlden assumed the role of theatre manager boards of the NZRU, Rowing New Zealand, Bernadette in Priscilla, Queen of the Desert — NSW and Queensland, led by Paul Grinwis. Library in Canberra and the Performing followed in 1965. Ordained deacon in 1966 for the next year or so, until a new manager the Winter Games Trust and the New Zealand The Musical. After this he rejoined London’s Festival Ballet, Arts Collection in Melbourne. and priest in 1967, he served curacies at — John Sumner — was appointed. She went Symphony Orchestra Foundation. Reservoir and in Sydney, at St James Church W but later returned to Australia, dancing with W on to teach movement with Irene Webb’s Doig was awarded the New Zealand the newly formed Australian Ballet. in King Street. He became director of the Commemorative Medal in 1992, the OBE Theatre Crafts school in Kew, visited London Rhyl Kennell In 1966, in a brave attempt to provide Geoff McComas church’s drama group, the St James Players. in the late 1950s and returned to Melbourne for services to the Arts in 1992 and a Green Sydney with a permanent professional A scholarship took him to Union Theological 4.6.1939—1.2.2011 14.6.1923–10.9.2011 to work on early variety shows at Channel 7. Room Award in 1993 for his portrayal of Sydney-based dance group, Kovel founded Seminary in New York to study the relationship Rhyl started her ballet training in Brisbane. The son of an Albert Park bandmaster, For many years Joy produced Firbank’s Herod in OA’s Salome. the New South Wales Ballet Company, but it between the church and art. Experience on In 1959, when she was 20, she joined the Geoffrey Charles McComas fell in love with annual show and generously supported its He was made a Companion of the New was not a success. the staff of the Cathedral of St John the Divine, Borovansky Ballet Company in Melbourne. radio while recovering from tuberculosis. drama program. Her house became ‘a home Zealand Order of Merit in June this year. Kovel moved on to an administrative New York, alerted him to the potential for After Boro died and the company He started as a junior announcer at 3BA away from home’ for theatre folk, and she Doig died of bowel cancer. position with the Australian Elizabethan partnerships between clergy and artists. disbanded, Rhyl joined the Australian Ballet Ballarat in 1945. Two years later Eric Pearce never lost her enthusiasm and love for the Theatre Trust. With Michael Edgley, he was After graduating Master of Sacred W for its inaugural season in 1962. She eventually gave him a job at 3DB. He stayed for 36 years, performing arts and its people. instrumental in bringing the Peking Opera Theology in 1971 he returned to Melbourne, became ballet mistress and assistant to Ray compering such shows as Stars in Overalls, In 2009, its centenary year, Firbank Company to Australia in 1983. More recently where he was appointed special projects officer Rose Jackson Powell and Dame Peggy van Praagh, touring The Minstrels and Music for the People. He Grammar honoured her as one of its ‘100 he was general manager of Bell Shakespeare. at St Paul’s Cathedral. Later, as precentor, he was 11.9.1935—21.7.2011 extensively with the company in this capacity. Women of Achievement’. eventually became general manager. responsible for the Cathedral’s liturgical life Sydney has lost one of its most loved gay icons, When Rhyl left the Australian Ballet she W He compered the Miss Australia and the and for arranging special services and W celebrated entertainer and costumier went to the National Theatre to study the Sun Beach Girl quests and, until recently, celebrations. In 1972 McPherson produced Rose Jackson. Christened Barry Jackson, Rose Cecchetti method with Madam Lucie Saronova. Gracie Le Brun the prestigious Herald-Sun Aria competition. and directed a remarkable season of rock Christopher Doig cnzm obe claimed that ‘from the minute I was born I She continued under Athol Willoughby, 1912—1.8.2011 He later read news on Channel 9 and operas at St Paul’s. The first presentation was 4.4.1948—13.10.2011 knew that a male body was not right for me.’ attaining her Fellowship and the Enrico Gracie Le Brun, one of the last links with the acted as a judge on TV talent shows. the Melbourne première of the full version Tenor Christopher Keith Doig was born and By the age of 18, Jackson was working as Cecchetti Diploma. She taught at the National, After his broadcast career, McComas glory days of Australian travelling shows, has of Joseph and the Amazing Technicolor Dreamcoat, educated in Christchurch, New Zealand. He a window dresser at David Jones. He became then opened her own school in East St Kilda. died in Newcastle at the age of 99. established Speech Dynamics, specialising in narrated by Russell Morris. The two subsequent graduated from Canterbury University with a display manager for Curzon’s women’s store This was the start of a teaching career that speech and media training. His first client Gracie Violet Boyd was born in the Sydney shows were locally written: The Prodigal Son Masters in English. in Pitt Street, designing and supervising produced many professional dancers and working class suburb of Balmain East. She was the late Richard Pratt, who retained him by Ray Lee and Brian Adamson starred John After winning the 1972 Mobil Song Quest seasonal window displays and co-ordinating helped countless teachers to master the as a staff trainer. was 14 when she landed her first theatre job. Farnham and Marcie Jones; and David and a he became a principal tenor at the Vienna fashion parades. He spent five years working Cecchetti method. She was the initial Cecchetti McComas operated his company until last Still in her teens, she was dancing at the Golden Throne by David Sankey and Julian State Opera and spent the next 10 years singing in London, Paris and Stockholm before teacher at the VCA Secondary School. Sydney Tivoli when she met a bright young year. Pratt also supported the 400-seat Geoffrey Cairns, starred Colleen Hewett. in the major European opera houses including returning to Sydney in 1964. In 1995 Rhyl was returned to the comedian billed as ‘Bobby Le Brun — Just McComas theatre at Scotch College’s James For the cathedral’s centenary in 1980 Stuttgart, Hamburg, La Scala, Barcelona, Linz He discovered the Jewel Box drag club Australian Ballet in a guest artist to dance Forbes Academy. for Fun’ (his real name was Eric Marshall). McPherson produced a son et lumière and Cologne, and at the Salzburg and and soon began to dress as a woman, the role of ‘Mar’ in Robert Ray’s The They married in 1941. Geoff’s son, the brilliant speech satirist spectacular and an Australian Folk Mass by Vienna Festivals. rechristening himself ‘Rose’ after Marilyn Sentimental Bloke. Over the next few years they appeared Campbell McComas oam, died in 2005. George Dreyfus. He also created and produced His first role with Opera Australia was Monroe’s character Rose Loomis in the film Rhyl joined the governing body of together in a string of Tiv shows and in the W the multi-arts celebration of the life of Nerone in Monteverdi’s L’incoronazione di Niagara. By the late 1960s Jackson was living Cecchetti Ballet Australia in 1996, having Newcastle-based touring revue Barton’s George Fairfax at the cathedral in 1996. Poppea in 1988. He went on to sing principal fully as a woman, making costumes for the served on the Victorian Administrative Follies. In 1933–7 Bobby had been principal Canon Albert McPherson Early in his ministry he was appointed roles in OA’s Die Meistersinger von Nürnberg, Old Tote Theatre Company by day, and at Council since 1970. comedian in Sorlie’s touring revue company. chaplain of the Actors’ Church Union. He La Clemenza di Tito, Rigoletto, Jenufa, Katya night performing at the Purple Onion club 5.10.1927–19.8.2011 W George Sorlie closed his show in 1945 and became a familiar figure at the Victorian Arts Kabanova, Adriana Lecouvreur, Salome, Lulu, in Kensington. Rose and the other drag Albert Bayne McPherson, an Anglican priest died in 1948, but in 1949 Bobby bought Centre and provided informal pastoral care * Madama Butterfly, The Trojans, Carmen and artistes lived on the premises.. who was precentor of Melbourne’s St Paul’s

Page 44 ON STAGE Spring 2011 Page 45 to many artists. After he retired in 1993, he (1962), Bobby Limb’s Sound of Music (1963) Peter Oyston Noreen Kershaw, and his children, Dominique born in Hungary into a musical family. A After the war, Powell played in stylish was invited by Sue Nattrass to formalise this and later Barry Crocker’s Sound of Music (1969), 20.5.1938—8.10.2011 and Benjamin Oysten. Dominique, a noted child prodigy, he learnt clarinet at the Budapest London nightclubs. He worked with jazz arrangement and become chaplain for the and two ABC musical series, Between Ourselves Peter John Oyston, the eldest son of the late soprano, is married to bass-baritone David Conservatorium, where he studied under Bela violinist Stephane Grappelli and actor-singer arts, a position he held until his retirement (1964) and The Saturday Show (1978). actress Sheila Florance, was born while his Gould. Bartok and Zoltan Kodaly. Diana Dors, and had a brief affair with Ava last year. His brother John Newman, co-founder of Over the years, he learnt many more Gardner. Apart from his playing engagements, parents were living and working in London. W Albert McPherson was a foundation Tikki and John’s theatre restaurant in Melbourne, He arrived in Australia at the age of 10 and instruments, including piano, saxophone and Powell was busy as a composer and arranger, member of Theatre Heritage Australia. organised a luncheon in Bill’s honour at his went on to become an internationally known Fay Pasky accordion, developed formidable sight-reading working on The Benny Hill Show, The Avengers, Nerang home on 4 December 2011. theatre and film director, teacher and painter. skills and an amazing facility for transposing. Sunday Night at the London Palladium, The Tom W 16.3.1935—9.4.2011 In Australia, he was on the board of the George and his brothers Miklos and Robert Jones Show and Morecambe and Wise, on which W Muriel Fay Pasky (née Hooper) was born in MTC, served as artistic director of Playbox formed the Pikler Brothers’ Orchestra. They he played piano for a guest appearance by the Bill Newman Brisbane, where her mother played jazz on and was founding dean of Drama at the were playing in Indonesia in 1942 when the Beatles. 18.7.1926—6.11.2011 David Ngoombujarra the piano to entertain American troops on Victorian College of the Arts from 1976 to 1983. Japanese invaded, surviving for three years He also worked with Sammy Davis Jnr, ‘The voice with muscles in it’ was an apt 27.6.1967—17.7.2011 R&R during World War II. Fay was taught He championed theatre companies such in a labour camp only because their captors Cyd Charisse, Nancy Wilson, Peggy Lee, description of singer-actor William (Bill) Indigenous Australian actor David Ngoombujarra several instruments, including the accordion, as The Murray River Performing Group, The wanted them to play for them at the camp. Juliet Prowse, Shirley Bassey, Spike Milligan, Newman, who has died at Nerang on the died in Fremantle Hospital after being found piano and guitar — visiting virtuoso Andrés Flying Fruit Fly Circus, West Theatre and After the war, Pikler stayed in Java until Judy Garland, Dionne Warwick, Vera Lynn, Gold Coast after a long battle with cancer. in a nearby park. Police said the circumstances Segovia gave her some lessons — but her Theatre Works, and taught and directed 1952, then settled with his family in Australia. Liza Minnelli, Harry Secombe, Frank Sinatra Born in Geelong, Victoria, Bill sang as a were not suspicious. He was 44. favourite was the mandolin. many talented emerging indigenous performers. By 1957 he had his own ABC radio program, and Frankie Howerd. boy soprano in a local church choir. He A member of the Yamatji people, She began her professional career in a In Britain, Oyston was founding director which ran for many years. His octet specialised In 1972 he married an Australian, Maggie went on to compete successfully in several Ngoombujarra was born David Bernard Starr band at the Waterford Hotel near Beenleigh, of the Duke’s Playhouse, Lancaster, and ran in continental and light classical music. McConaghy, and moved to Australia. Here eisteddfods, including the Ballarat South in Meekatharra, Western Australia. Removed soon moving on to popular local coffee houses the Century Mobile Theatre for three years. In 1961 Pikler was one the founding he had a 30-year stint as Kamahl’s musical Street competitions. from his family under Commonwealth and, in 1944, a spot in the revue Folies He was associate director of the Mermaid members of the Music Arrangers’ Guild of director. In the 1970s he arranged for the He got his first break when the great government policy, he was raised by a white Bergère at the Theatre Royal in Brisbane. Theatre, the Liverpool Playhouse and Australia. By 1963, he was the band leader at ABC Showband, and in the 1980s and 90s Marjorie Lawrence heard him sing and family in the Perth suburb of Coolbellup. By 1956 she was based in Melbourne, directed at the Royal Court, the Young Vic, Spelson’s restaurant in Sydney, backing wrote for Jim McLeod’s jazz program. recommended that he take singing lessons Inspired by black actors such as Sidney but led a nomadic life, supplementing her Birmingham Rep and many other theatres. international artists such as Nat King Cole and An always lively and inspiring part of the from her own vocal coach, Ivor Boustead. Poitier and David Gulpilil, Ngoombujarra began income from music with daytime work as a He taught regularly at the Royal Academy local talent such as Tommy Tycho, Kamahl Sydney jazz scene, Kenny was playing This led to an audition for Frank Tait of his entertainment career in the early 1980s typist. For some time she lived in Cooma, of Dramatic Art in London. and Frank Ifield early in their careers. anywhere and everywhere until shortly J.C.Williamson’s. busking in Adelaide, Melbourne and Sydney. entertaining the diverse community working Over his long career he directed more He was musical director on The Keith before his death. Bill was immediately cast in South Pacific In 1987, while performing at Circular on the Snowy Mountains Scheme. Later she than 200 productions in Japan, France, the Walshe Show on Channel 7 and arranged for (1952). He took over from Robert Moore as Quay in Sydney, he was spotted by a moved to the remote South Australian opal W USA, the UK and Australia. His long list of several other shows. He also recorded gypsy Marine Cpl Hamilton Steeves, and producer and given bit parts in Breaking mining town of Andamooka, again drawn local credits range from acting roles with the music under the name Gyuri Patko. understudied the role of Emile de Becque Loose and Young Einstein. He made his stage by the multicultural environment. Ray Taylor Little Theatre in South Yarra in the early In 1972, Pikler married a singer, Marta Kuty. when cast changes were made in 1953. It was début in 1990 in In Our Town at the In 1965–67 Fay worked in Europe. On her 27.7.1927—2.5.2011 1960s to directorial work with Playbox, the At 95 he was still composing his own music during South Pacific that he met Eunice Bevage, Playhouse, Perth. Over the next few years he return she performed in pubs in North William Raymond Taylor was born in Harrogate, Universal, St Martin’s Youth Arts Centre, and writing arrangements for artists such as who was playing Ensign Dinah Murphy. appeared frequently at the Playhouse. He was Melbourne and Fitzroy. In 1972 she began Yorkshire. After a brief period with the Carlton Court House, Chapel off Chapel, Deborah De Graaf and Lauris Elms. When They married soon after the show closed. also seen in productions at Deckchair in teaching for the Victorian Education Department, Combined Services Entertainment Unit during Monash University and Gasworks. Pikler turned 101, he received a congratulatory In Paint Your Wagon (1954) Bill played Fremantle, at Belvoir Street, the Performance working at schools across Melbourne, including the war, he worked for a while with CBC in In 1970 he directed the feature documentary letter from the Hungarian ambassador. Sandy Twist, and took over the role of Julio Space and the NIDA Theatre in Sydney and MLC and Carey Baptist Grammar. At one Canada before coming to Australia in 1953. The Sea Wolf. In 1983 he directed Ray Mooney’s George’s brother Robert was principal viola Valveras when the American import, at the Playhouse in Adelaide. stage in the 1980s she had three jobs: music His local career started with a stint as an Hard Labour Mate at the Old Melbourne Gaol with the Sydney Symphony Orchestra. He also Richard Curry, lost his voice. In 1955 he Ngoombujarra’s breakthrough film role teacher during the day, driving instructor in her announcer at 2GN Goulburn which led to a and he and Bomber Perrier created the circus- conducted, taught and helped found Music created the role of Judge Aristide Forestier came in 1993 with his performance as Pretty free hours, and weekend musician. She even succession of high profile engagements on based rock musical Amore — Circus of Dreams Viva and the Sydney String Quartet. He died in opposite Sheila Arnaud’s Pistache in Can-Can, Boy Floyd in Blackfellas. It won him the first found time to play the domra in the Sadko Russian radio and, eventually, TV. His radio credits which played at the Forum Theatre in 1998. 1984. George’s daughter, Evie, is a well-known and in 1957 he played Sid Sorokin opposite of his three AFI Awards — the others were Balalaika Orchestra in Melbourne; she toured included the ABC’s Hospital Half Hour, In 1990 Peter accompanied his mother and singer, and his son, Arthur, is a musician. Toni Lamond’s Babe in The Pajama Game. for Black and White and The Circuit. the US with them in 1991, and with an all-women Drivetime on 3AW and the breakfast shift on several other members of the cast of the TV In London he worked on Eurovision Ngoombujarra was seen in Melbourne in group, the Cheltenham Buskers. W 2BL. On TV he fronted Four Corners, a game series Prisoner on a tour of Britain. and on radio and TV for the BBC. He No Parking at Theatreworks, St Kilda, in 2001 After she retired from teaching, Fay formed show and a succession of Tonight shows. Peter was also a highly regarded fine artist. appeared at the Adelphi Theatre as Sir and Conversations with the Dead at the CUB duos playing different music styles: with mouth Kenny Powell Taylor was a skilled comedy writer. He He held exhibitions of his spiritual paintings Harry in Once Upon a Mattress in 1960, Malthouse in 2002. organist Coral Trimmer it was music of the 13.3.1925–19.6.2011 provided material for the Phillip Street/ of the Australian bush in Paris, London, working alongside Jane Connell and Max His last stage appearance was in Belonging 1940s and 50s as well as Klezmer; with violinist Kenneth Guy Powell was born in Surrey, Phillip Theatre revues Yes, Please! (1961), At It Liverpool and Manchester, and he is Wall. It was in London that he met his for Tandanya Theatre, Adelaide, in 2009. Joseph Sukaro it was mostly Gypsy jazz. England. He took up accordion and piano Again and What’s New? (1962) and There Will represented in collections in Japan, the UK second wife, Eileen, a member of the His many film credits include Crocodile Fay died of Alzheimer’s Disease; she was 76. (which his mother played) and, at 12, Be an Interval of 15 Minutes (1967). He appeared and France. His home base was his Wallaby famous Bluebell Dancers. Dundee in Los Angeles, Ned Kelly, Rabbit-Proof became the accordion champion of southern on stage in At It Again and toured Australia in Dreaming Art Gallery at Bend of Islands W When he returned to Australia, Bill Fence, Kangaroo Jack and Australia. England. By age 16 he was a professional 1967 with Ron Randell in the English farce near Yarra Glen in Victoria. featured in a national ABC radio program musician. He toured with the Harry Parry There’s a Girl in My Soup. In the 1970s Taylor W Oysten died from prostate cancer. He is George Pikler We Sing Your Songs, but from then on he Sextet, and played in London during the worked in the US, providing material for Bill survived by his first wife, writer and dancer 22.4.1910—27.6.2011 worked almost exclusively in television. He Blitz. When he was drafted, he joined an Cosby, Richard Pryor, Bob Hope, Lily Tomlin, Helen Martineau, his second wife, actress Hungarian-born Gyuri (George) Pikler was was a regular on Channel-9’s Sing-A-Long army band stationed in Germany. Peter Sellers, Cher, Dinah Shore and *

Page 46 ON STAGE Spring 2011 Page 47 Johnny Carson, and scripts for All in the and John’s a couple of doors away. Eventually Away from the spotlight, at home in collection of Melba’s stage costumes to the premières that he said were ‘better forgotten’. Spartacus: Blood and Sweat, which was filmed Family and Barney Miller.Taylor’s memoirs, the much-loved Tikki and John’s made way Bermagui, NSW, Pat was a passionate Arts Centre’s Performing Arts Museum. She Also with Kiel he commenced a long in New Zealand. He also starred in the 2010 The Man Who Came to Breakfast, were for further innovative Newman family ventures, advocate for social justice, an indefatigable was patron of the Melba Conservatorium series of Wagnerian ‘heroic’ roles. thriller The Clinic. published in 1992. including Squizzy’s Theatre Restaurant, Tikki writer of letters to editors, prime ministers until it closed in 2008, and then endowed Widespread European engagements included In March 2010 Whitfield was diagnosed Taylor is survived by his wife, former and John’s Crazy House, Dracula’s Melbourne, and presidents, an entertaining and informative the Dame Nellie Melba Opera Trust with the world première of Rashomon, based on with non-Hodgkin lymphoma. He died 18 singer Annette Klooger. Dracula’s on the Gold Coast, Doctor Shagnasty’s columnist for a local community publication, $150 000 to help continue ‘the quest for the Japanese film, which was presented at months later, aged 39. His place in the Comedy Clinic, Café Crypt and the five- and a much-loved ‘Aunty’ to the local another Melba’. Munich during the 1972 Olympics. Spartacus sequel was taken by another Australian W storey Haunted House in the heart of Surfers Indigenous population. With her death, custody of Coombe Cottage In 1973 he sang both Siegfrieds in the actor, Liam McIntyre. Paradise. John continues to head the family Pat disarmingly described herself as ‘an passes to her two sons, who own the Yarra now famous Andrew Porter Ring Cycle at Tikki Taylor W firm, working closely with his and Tikki’s old vaudevillian belter,’ adding, ‘What I Valley Winery Coombe Farm Estate. In 1996 Covent Garden. It was the first of many further 30.6.1928—1.9.2011 children, Paul, Marc and Haydie. have is a love of what I do, a love of the Lady Vestey wrote and published Melba — A Rings all over Europe. On Stage also pays tribute to: Melbourne-born Joyce Taylor studied dancing Tikki maintained an active interest in the people I sing to, and a love of life itself.’ Family Memoir. It was reprinted in 2000. Weaving’s return to Australia coincided with the famous Jennie Brenan school and British set designer Roger Butlin. who died family business, always ready to help with Her sell-out farewell performance, at the with a concert tour with pianist Geoffrey made her stage début when she was six. At W on 23 July, aged 76. Among his many credits advice, encouragement, and her incomparable Spiegeltent in Melbourne in December Parsons. He recorded Malcolm Williamson’s Christmas 1940 she was featured in the were the designs for the Australian Opera’s show business knowhow. 2008, was moving proof of this statement, opera The Violins of St Jacques for the ABC Sleeping Beauty pantomime at Her Majesty’s, Jon Weaving The Barber of Seville for the opening season of and an intensely emotional experience for and sang with all Australia’s major orchestras where her mother worked in wardrobe. W 23.2.1931—19.10.2011 the Sydney Opera House in 1974 — a everyone present, who knew they were and guested with the Victoria and When she was still in her teens, The Maj Born in Auburn, Victoria, Jon Weaving first production that was still being staged in privileged to be witnessing something very Queensland State Opera companies. For became her professional home, and it was ‘Madam’ Pat Thompson sang in public at the age of nine. A job in 1989. Butlin returned in 1976 to design Albert special coming to a close. Opera Australia he sang the Götterdämmerung there, under the J.C. Williamson management, 4.1923—26.7.2011 the 3UZ record library led to on-air work Herring and in 1980 for Katya Kabanova. Fortunately ‘Madam’ Pat Thompson’s Siegfried under Sir Charles Mackerras and that her career really started. Adopting her Music came naturally to brilliant jazz and with Cliff (‘Nicky’) Nichols , and later the charismatic art is preserved on CD. Her Siegmund in Die Wälküre, both at the Sydney Music teacher Lilias Jessie Carmichael mbe nickname, Tikki, she graduated from chorus blues entertainer ‘Madam’ Pat Thompson. ABC — -all the while studying singing with engagingly racy memoir, She’s a Fat Tart, Opera House. died from a heart attack on 13 September 2011. and ballet work to minor roles and eventually She was born in humble circumstances in Browning Mummery and Jessye Schmidt. ain’t She? was published by Ginninderra Jon and his second wife, Swedish soprano She was 93. Born in Terang, Victoria, Jessie to a sensational portrayal of Ado Annie in Melbourne. Her mother, Kitty Brand, was a He competed in the 1950 Mobil Quest. Press in 2002. Monique Brynell, appeared frequently on devoted her life to choral music. She the third season of Oklahoma!. It was when pianist and somehow, despite the Depression, With his first wife, Margaret Nisbett (winner ABC-TV and radio, and Jon occasionally encouraged countless singers, young and old, she was in South Pacific that she and fellow the family managed to retain their treasured W of the 1951 Quest) he headed for London for ‘stood in’ when John Cargher was unable to to participate in choirs. The story of her performer John Newman decided to marry piano. By the time she was seven years old, further tuition from Dino Borgioli, Joan Cross present his perennial Singers of Renown radio success with a group of Lake Boga primary and try their luck overseas. Pat was dancing on tables at the Beaumaris Pamela, Lady Vestey and his friend Richard Bonynge. It was program. For many years Jon and Monique students in the 1951 Jubilee Choral Festival They played in night clubs in the Far East, Hotel with her sister. 12.9.1918—2.9.2011 Bonynge who took his voice from bass- operated a successful singing academy at Kew. was retold in a recent documentary, Seriously Italy and France, before reaching Britain. There She later joined her parents in a touring Lady Vestey was born Pamela Helen baritone to tenor. They also taught at the Victorian College of Singing. Jessie was also involved with the they toured with the Australian illusionist the show and appeared on the Tivoli Circuit as Fullerton Armstrong, the daughter of Evelyn Weaving made his début at Danilo in the Arts and at the Melbourne University Swan Hill National Theatre and the Swan Great Levante. Appearances in variety a soubrette. (Evie) Doyle, a Brisbane-born singer, and opposite June Bronhill in the Sadler’s Wells Conservatorium. Earlier this year they Hill Shakespearean Society. She received the culminated in a booking at the famous Pat’s career was put on hold when she George Armstrong, Dame Nellie Melba’s production of The Merry Widow at the London moved to Sweden where they opened a school MBE in 1977. London Palladium. married, suffered the premature loss of her only child. She was christened at Melba’s Coliseum. Later Wells engagements included in Ljunskile, Gothenburg. It was there that Returning to Australia, Tikki and John husband, and raised a family. Then, one Coldstream home, Coombe Cottage, leading roles in , Neil Collins, finance and membership manager Eugene Onegin La Traviata, Weaving died of pancreatic cancer. rejoined the JCW fold. Tikki’s big break came evening in 1981, when she was 58, Pat was As a child Pamela frequently accompanied , , at Live Performance Australia, died on Roméo et Juliet Orpheus in the Underworld Die Jon is survived by his first wife, soprano in 1957 when she was cast as Gladys in the persuaded to belt out ‘Frankie And Johnnie’ Melba on her overseas tours. She was in Fledermaus, Merrie England and La Vie Parisienne. 8 November 2011 after a short illness. He Margaret Nisbett mbe, his second wife, soprano at the Narooma (NSW) Bowling Club. The London for Melba’s farewell season there. was 67. Neil had worked with LPA since first local production of The Pajama Game. In 1962 he returned to Australia with the Monique Brynell, whom he married in 1969, rest, as they say, is history. She was 12 when Melba died in 1931. 2007 and was well known and respected Later they appeared in Can-Can (with Tikki Sadler’s Wells productions of The Merry and by his sons, Jon and Jack. Jon is a well- She formed a life-changing friendship with In 1939 she married Captain William throughout the Australian entertainment as Claudine), the revue For Amusement Only, Widow and Orpheus in the Underworld. He and known writer and Jack is a member of the jazz pianist David Bates, with whom she Vestey, the only son and heir of the 1st industry. The Australian Society of Practising and Grab Me a Gondola. There was also early Suzanne Steele starred on ABC-TV in The Australian electro punk rock group Dukes of formed a band — her ‘Orkestra’ — that Baron Vestey, ennobled for his charitable Accountants recently honoured his 40-year TV variety, with featured spots on shows World of Operetta. In New Zealand he directed Windsor, currently based in Berlin. such as Bobby Limb’s Sound of Music. eventually took them to highly acclaimed work during the Great War. They had two and played Frederic in The Pirates of Penzance contribution to the profession. It was in 1965, while Tikki was playing performances in Paris, Prague, Vienna, sons, Sam and Mark, before William was at Her Majesty’s, Auckland. W Versatile British entertainer Betty Driver Minnie Fay in Hello, Dolly!, that she and John Frankfurt, Edinburgh and London. killed in action in 1944. Eventally Sam In l966 he was chosen by Benjamin Britten died on 15 October, aged 91. Though she — frustrated that they couldn’t get a cup of Reporting her first Edinburgh Festival became the 3rd Baron Vestey. His wife is a to re-create the role of Macheath in The Andy Whitfield will be best remembered for her 40-year stint coffee after the show — took the plunge and appearance, The Guardian said: ‘She filled godmother to Prince Harry. Beggar’s Opera, presented at Covent Garden 17.7.1972—11.9.2011 as barmaid Betty Turpin in 2500 episodes of started a late night coffee house at 163 the Spiegeltent with a huge presence and a In recognition of her husband’s death in and in Paris, Lyon and at the 1967 World Welsh-born Andy Whitfield studied engineering Coronation Street, she started as a singer and Exhibition Street, near Her Majesty’s. They voice cracked like parchment. In the guise of action, Pamela was granted the rank of a Expo in Montreal. in Sheffield and came to Australia in 1999 to then turned to comedy. In 1954 she came to called it Tikki and John’s, and it was Australia’s Madam and her Orkestra, she belts Fats Waller baron’s widow, becoming Pamela, Lady He joined the Kiel Opera in Germany, work as an engineer at Lidcombe, NSW. Australia to replace the ailing Joy Nichols in first theatre restaurant. black and blue with a heartfelt sad joy, while Vestey. where he débuted in Lohengrin. Then came After studies at the Screenwise film school the Tivoli revue Take It From Me, later retitled With its intimacy, conviviality, good food her superb four-piece band captured the Lady Vestey devoted herself to maintaining Tchaikovsky’s The Queen of Spades and Pique he landed roles in TV series such as All Big Time. and rollicking music hall style entertainment, essence of slouchy barrel house jazz — there Coombe Cottage as it was in her grandmother’s Dame, and Otello, Andrea Chenier and The Saints, Packed to the Rafters and McLeod’s Tikki and John’s soon became a Melbourne is a great, sleazy grandeur here, of the old time, and to perpetuating her memory. She Tales of Hoffmann. He had lead roles in Daughters. His first prominent role was in the Although the public knew John Howard institution. In 1975 Barry Humphries laid the blues shouters as well as a hilarious, donated many items of memorabilia to the Lehár’s The Land of Smiles and The Count of supernatural Australian film Gabriel (2007). Davies mainly for his debut performance in the foundation stone for a bigger, better Tikki unpretentious semi-pastiche.’ Yarra Ranges Regional Museum and a superb Luxembourg, and participated in four world He had the title role in the 2010 TV series title role in David Lean’s film Oliver Twist (1948),

Page 48 ON STAGE Spring 2011 Page 49 he became one of the most successful Virtuoso jazz clarinettist John McCarthy Little, Christine Anu, Jackie Love, Nancye directors and producers of British TV died in Balmain, NSW, on 7 October 2011. Hayes and Jennifer Murphy. Soul-searching in Sydney comedy, with credits including Monty Python, He was 81. In his long career his Benny Brilliant animator, artist, filmmaker, artist Fawlty Towers, The Goodies, Steptoe and Son, Goodman-style enriched many notable local and writer Sarah Watt died of cancer in Sydney needs a new theatre, and it needs it now. The World of Beachcomber, Yes Minister, Mr Bean groups, including the Ray Price, Dick Hughes, Melbourne on 4 November 2011. She was hat Sydney is in dire need of a the central business district, where there is and many more. In the early 1960s he Graeme Bell, Bob Barnard, Tom Baker and 53. Always intensely personal, her films new theatre is the verdict of little business or residential growth potential. worked in Australia, stage managing Crime Port Jackson bands. He also led the house included the animated shorts Small Treasures TPlanning Sydney’s Cultural ‘We consider the Sydney CBD a seaside Passionel at the Adelaide Playhouse, The band at the Paddington—Woollahra RSL. (1995) and Living with Happiness (2001), and Facilities, a major new report prepared for retirement centre,’ she said. ‘Within the next Sound of Music at the Princess and on tour McCarthy won the Australian Jazz Critics’ the features Look Both Ways (2005) and My the New South Wales government, which 15 years, western Sydney will be home to and Orpheus in the Underworld, again at the Award for clarinet in 1991 and 1992. Year Without Sex (2009). Her books include highlights a litany of major problems and roughly half of greater Sydney’s population Princess. He died on 22 August 2011, aged 72. Clem Always Could and Worse Things Happen suggests some controversial solutions. and it’s unfair to expect these people to sit Boxer Lionel Rose mbe died on 8 May at Sea, which she wrote with her husband, The report was prepared by Sweet in traffic, or rely on public transport, to Prolific scriptwriter Peter Hepworth, who 2011. He was 62. In 1969 Rose scored a Gold actor William McInnes. Reason Pty Ltd, an arts consultancy headed travel into the CBD each time an event is died on 19 September 2011 at age 62, was Record hit with the Johnny Young song ‘I by Rob Brookman AM, formerly Sydney being held. We could fill such a venue. the son of writer Oriel Grey and columnist Thank You’. It sold 50 000 copies. He later The British actress Noël Coward affectionately Theatre Company’s general manager and ‘We are not that far from the eastern John Hepworth. Early in his career he released an LP album called Jackson’s Track. dubbed ‘Gracie Dull’, Dulcie Gray cbe. artistic director of a number of high profile suburbs, we have a vibrant restaurant and café appeared on stage for the MTC, in the TV In 1971—72 Rose toured as an entertainer died in London on 15 November 2011, just arts festivals. district, and we’ve got parking and transport.’ series Alpha Scorpio and Bellbird, and in the with Ashton’s Circus. a few days short of her 92nd birthday. The 168-page document distils the Producer John Frost disagrees: ‘When I musicals Oliver! and Fetch Me a Figleaf. He With her husband, the late Michael TV scriptwriter Sheila Sibley died on results of extensive research and analysis go to New York or London, I don’t go out started writing for Bellbird in 1968 and went Denison, she enjoyed a long career on 15 September 2011, aged 89. A former and 94 interviews with key stakeholders. It to the suburbs to see a show.’ He added that on to work on Cop Shop, The Sullivans, Zoo stage and in film. She was seen in this journalist, her credits included Bellbird, All the includes comparisons with facilities he would not co-build a new theatre, ‘But I Family, The Flying Doctors, Blue Heelers, and country in 1956 as the star of the controversial Way, GP, The Maestro’s Company and Willing elsewhere in Australia and internationally. would want to run one or buy a lease on it.’ many other TV series and feature films. play Tea and Sympathy at the Princess in and Able, and she adapted Golden Fiddles and The report’s key concerns: are: Frost and other producers have lobbied Melbourne and the Theatre Royal in Sydney. Victorian Labor opposition leader Allan Ship to Shore for the small screen. She also for a new Broadway-style theatre to help Clyde Holding became Arts Minister in the appeared in the early TV series People in Compiled with thanks to Lyn Boyd, Peter Main stage lyric theatre: secure musical premières for Sydney. He Hawke government, where he fought for arts Conflict. Her teleplay The Marriage Counsellor Burgis, Circus Fans of Australasia Inc., Sydney needs an additional mixed-use, says the lack of theatres will mean Sydney institutions suffering under the forces of was produced in Britain, with Felicity Robert Foster, Henry Gay, Joan Harris am, large scale, centrally-located 2000-seat Rob Brookman: am will not see The Book of Mormon for several economic rationalism. He supported the Kendall in the lead. Athol Hawke, Peter Johnson, David and theatre, able to accommodate musicals, ‘A once-in-a-generation opportunity’. years. National Film and Sound Archive and Film Margaret Knight, Estella Kovel, Jack Mitchell, opera and ballet. Estimated cost: $150 Sydney Opera House chief executive Best remembered for his portrayal of Mr Australia, championed contemporary artists, Jim Murphy, Jon Nicholls, Denis Melksham, million, or $73 000 per seat. If current Richard Evans agrees that the city should be Beauregard in the 1971 film Willy Wonka and and lobbied for the establishment of the Peter Pinne, Loretta Sutherland, Gerald Taylor, trends continue, a second new lyric theatre infrastructure), the Opera House Concert Hall building cultural facilities wherever the the Chocolate Factory, American character National Museum of Australia. He was Robert Taylor, Eddie Trigg, Michael Wilkie. n would be needed in 15 years. (acoustics) and the Sydney Theatre (acoustics). centre of population is, but this should not actor Leonard Stone died at his San Diego responsible for the appointment of Betty detract from funding major upgrades at home on 2 November 2011, two days before Churcher as director of the Australian Rehearsal and studio space: Sydney Opera House Opera Theatre: existing facilities such as the Opera House. his 88th birthday. In 1962 Stone played Luther We were wrong National Gallery. Holding died of Alzheimer’s The city has insufficient rehearsal space for The report notes that despite the massive ‘A lot of people want to come into town Billis in the original JCW production of South Some corrections to On Stage, Winter 2011: Disease on 31 July 2011, aged 80. large musicals and opera, and for small to cost of upgrading this venue, its limited for that special feeling,’ Evans says. Pacific. While in Australia he wrote Keepy, an n Kevin Adams tells us that the illustration medium performing arts companies. Large seating capacity will remain a problem. It ‘The Opera House is a world heritage Brilliant Australian comedy acrobat Max engaging children’s story about a kangaroo identified as the St Kilda Memorial Hall on scale rehearsal space could be linked to a new also records the reluctance of opera Australia icon, and the number-one tourism attraction Kitson died earlier this year at Tweed Heads, who never grew up. It was issued on LP by page 18 is in fact the Canterbury Memorial lyric theatre; estimated cost $3.5–$5 million. and the Australian Ballet to move from their and performance space in Australia. where he had been living in retirement. In the Melbourne-based Spotlight label, and has Hall, on the corner of Canterbury Road and iconic home. ‘So it should not be an either/or thing.’ the 1940s he and Lou Sachse teamed to recently reappeared on Kindle and Nook. Keats Street, Canterbury. Outdoor multipurpose space: The report concludes: ‘Sydney has a create The Maxwells, a unique slow-motion Greg Stevens, TV scriptwriter, storyliner Ian Smith adds that the hall was As existing venues, such as the Domain, have It is the recommendation for a new lyric once-in-a-generation opportunity to create comedy balancing act. They toured Australia and story editor, died of throat cancer at designed by Leighton Irwin and Roy many inherent problems, a mid-scale theatre that is causing most controversy. something of extraordinary value and this and New Zealand with several Tivoli revues, Sunshine Coast Hospital, Queensland, on Stevenson and opened in 1923. It was used amphitheatre-style venue for both free and The report discusses the possibility of review argues strongly that the conscious then went to the UK and the US, where they 10 October 2011. He was 59. His credits for dances, dinners and meetings; former ticketed events is needed. reconstructing the stage facilities of the State development of Barangaroo/Walsh Bay as a appeared on The Ed Sullivan Show. They learnt included Sons and Daughters, Waterloo Station, Prime Minister R.G.Menzies was no stranger Theatre as an alternative to building a new cultural precinct should be of the utmost priority.’ to skate and in 1952 toured the US and Europe Home and Away, Neighbours and, more recently, to its stage. Sydney Entertainment Centre: theatre, but comes down firmly in favour Arts Minister George Souris said it was in Ice Capades and Holiday on Ice. Max and Lou productions in Sweden, Germany and Hungary. The hall was demolished in 1979 to This venue is outdated and nearing the end of a new ‘iconic’ venue with striking too early to say what proposals would be retired the act in 1974. make way for the Canterbury Soldiers’ of its useful life, and could be replaced by a architectural features. supported, but that the report’s The career of Sydney-based vocal coach Bob Circus aerialist Bento Lima died in Melbourne Memorial Home Units. purpose-built facility in the new Sydney It strongly recommends that this should recommendations would be considered in the Tasman-Smith (25.6.1932—29.9.2010) on 19 September 2011. He was 88. Lima was Multi-purpose Convention Centre. be sited at Barangaroo, the new coming months. stretched back to ABC radio at age 16, then n Dr Mimi Colligan points out that the a catcher in Frank Gasser’s Circus Royale development at Walsh Bay. The report can be accessed on line at: the Tivoli Circuit, music theatre and the picture caption on page 28 should read: flying act. He also worked as an electrician Technical deficiencies: This drew the ire of Parramatta lord www.arts.nsw.gov.au/wp-content/ National Opera. He became one of this The Kreitmayer family, c.1900: Olive on Royale and Circus Olympia. Lima was a The report highlights serious problems at mayor, Lorraine Wearne. She says it would uploads/2011/09/Executive-Summary- country’s most respected vocal coaches, with Kreitmayer with her father, Maximilian, brother to Gasser’s wife Manuella. Carriage Works (equipment and be ‘madness’ to commit more arts funding to Planning-Sydney's-Cultural-Facilities-Final.pdf a client list including John Farnham, Jeanne and her brother Jack. n

Page 50 ON STAGE Spring 2011 Page 51 Voices from Her Majesty’s past ust as Her Majesty’s Theatre was The hour-long programs, which were preparing to celebrate its 125th presented ‘live’ on what was then 3LO, Janniversary, tapes were discovered of were compered by John Cook and Frank two ABC radio programs that were broadcast Van Straten. They feature interviews back in 1986, at that time to mark the with ‘Maj’ personalities Evie Hayes, theatre’s 100th birthday. Stephanie Deste, Charles Norman and Lady Tait, plus rare archival recordings O A Viola, Lady Tait, the former G&S star Viola N ST E of past stars such as Minnie Love and G Wilson who married JCW managing director Carrie Moore, our very first ‘Merry ISSN 1444-0156 Sir Frank Tait. Widow’. The tapes, which had badly Spring 2011 Vol.12 No.4 deteriorated, were restored by audio expert Jamie Kelly. Now, thanks to Contents Geoff Orr of Lyric Records, they have been transferred to two CDs. Vivat Regina!...... 1 Lyric is making the two CD set available to THA members for just Curtains for Sydney’s Royal?...... 4 $20, including postage. Bran Nue Dae...... 5 If you’d like a set, order from Gus goss...... 7 Geoff at Lyric Records, 10 Otira Road, Melba — or never again...... 8 Caulfield North, Victoria 3161, Email: [email protected] Remembering Nichols phone: (03) 9527 5795. n remembering Melba...... 9 The Myer Mural overhaul...... 10 ‘A Brown Slouch Hat’ — 70 years on...... 12 Dedicated to the preservation, renovation and promotion of our theatre heritage. Lifetime Achievement Award Annual subscription for Maggie Dence...... 13 Individual: $50* Non-profit organisation: $50* Melbourne stage-by-stage...... 14 Pensioner: $45 Life membership: $850† Student (under 25 years; *Overseas members add $25 to cover Richard Watson’s recorded legacy...... 18 requires ID): $20* postage and handling. Family/Couple: $80* †Life membership includes postage Light fantastic...... 19 Corporate: $85* and handling. The Teachers: Maie Hoban...... 20 Winging it...... 23 Contacting us: By mail: The Secretary, Theatre Heritage Australia Inc., PO Box 382, Malvern, Victoria 3144, Australia Gus goss...... 25 By e-mail: [email protected] Wonderful Waterford...... 26 Website: www.theatreheritage.org.au All the world’s a stage...... 28 On Stage is published quarterly by Theatre Heritage Australia Inc. Editor: David Cullinane. The contents are subject to copyright for both text and illustrations and are not to be reproduced First reading...... 36 by any means, including print or electronic media without prior permission of the copyright Letters to the Editor...... 37 holder(s). Information published in On Stage is done so in good faith. THA does not accept The Sound of Music — 50 years on.... 38 responsibility for any errors which may occur but would be pleased to correct any error Helpmann Awards for 2011...... 40 or omission. Gus goss...... 41 Deadline for articles and pictures for the Summer issue of On Stage is Friday, 27 January, 2012 Exeunt...... 42 Send them to The Editor at the above postal or e-mail address. Every effort will be made to return any hard copy illustrations if a specific request is made to do Soul-searching in Sydney...... 51 so, but no responsibility will be taken over their return. Digital images are acceptable at 300dpi Voices from Her Majesty’s past...... 52 © December 2011

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