ON STAGE The Summer 2005 newsletter of Vol.6 No.1

Have we found it? When offered the opportunity to be directly involved in the new musical production, Eureka, Darien Sticklen found himself asking with many others: Might this be the one?

ow many of us over the years about five years—and list the creative team, have wanted to see a truly including Gale Edwards (directing and Horiginal Australian musical make co-authoring a new book with John it to hit status? Countless numbers have Senzcuk), Max Lambert and Michael Tyack tried. Here are selected extracts from (music), Peter England and Gabriella Darien Sticklen's Eureka Diary… Coslovich (set and costume design), Tony March 2004 Bartuccio (choreography) Trudy Dagleish (lighting design)…a talented team indeed. Seemingly out of the blue, I’m given a They’ve just had a workshop of the message that Simon Gallaher would like me new Act I script in Sydney and are to call him. After days of phone tag, we also planning a workshop of Act II finally speak. there in July, before rehearsals start. Simon wonders what my work schedule Their enthusiasm for the new is like in the later part of this year but is musical is infectious, of course. I very mysterious about the ‘acorn of an make it clear that I am not available idea’. Eventually he explains that on behalf during the Act II workshop period— of the producers of Eureka, he wants to this is not seen as a ‘deal- know if I’d be interested in taking the role breaker’. of resident director. I am intrigued, but I’m My first question is: very busy with various projects on the boil why do they want me, and looming, and hesitant to make any in particular, for kind of new commitment. his role? Weeks zoom by; another exchange of This is answered messages—could I meet Simon and Michael obliquely by the Harvey (composer and co-producer) as they suggestion that will be in town the following weekend? I’m not seen as Sunday, 18 April 2004 a ‘lightweight’. I meet Simon and Mike at their hotel the My next morning after the well-received opening of question is: how The Producers at the Princess Theatre (the does Gale feel Australian première of an American about my musical) and join them for yum cha at a potential restaurant in Melbourne’s Chinatown, near appointment to Her Majesty’s Theatre. this role? If I were in her They explain something of the history position, I’d certainly want of the new work—it’s been in gestation for some input into this aspect. * Simon suggests that I e-mail her in It seems she’s very busy too. a good belly laugh, and a smattering of, July 2004 Jean Burke, Simon’s friendly and charming themselves: is the storytelling clear? How well, vulgar humour. I remind myself that administration manager, introduces herself. London; he’s already sent her a publicly After a matter of days Simon advises My hectic workload doesn’t let up. My could this or that element be more effective? this is the current incarnation of the We’ve spoken on the phone; it’s a delight to available version of my résumé. (Simon that he’s spoken with Gale; he would like partner and I are seeing little of each other; Meanwhile the cast are wondering if Australian audience that flocked to the meet her in person. I walk up the street to a works fast, I gather). to contract me. Over several days we I’m so blessed and fortunate to have such their favourite line, scene or song will make Tivoli over many decades, the audience for dusty little inner-Sydney park and make I receive a copy in the mail of the draft negotiate. I’m aware that such negotiations an understanding and supportive person in it through the cuts to the next draft. Roles popular culture which still tunes in to the some work phone calls that I’d been script, and a work-in-progress recording of are likely to be still under way with many my life. After one of the most challenging that seemed large and substantial have present day equivalent (whatever that may wanting to make anyway, to ease my mind. the music. When I can eventually set aside of the cast, production team, and so on. production weeks I’ve ever experienced diminished and in some cases disappeared be) on television. Fortune smiles (has somebody pulled some some time, one evening I sit down and More weeks pass. (for one of the other major projects I’ve altogether, while others are built up. It is After the formalities I chat with a strings?) and the room is ready a little earlier read through the entire show. First A contract arrives. I consult further been working on) and an average of 2–3 rather nerve-wracking, but also exciting, as friendly older woman who is looking to than expected. A brief rest works wonders impressions: while obviously still imperfect, with colleagues (e.g., can my wonderful hours sleep per night over that period, on a new work evolves. of refreshment. this strikes me as strong music theatre writing team manage the workload of the many bring a social group to the show—‘I reckon On the final afternoon of this workshop Friday 30 July I board a very early flight to I arrive shortly before the scheduled and a good yarn—I am moved and engaged. other major projects we have on if I’m going you’re on a winner’, she says. period, Gale suggests a full read and sing- Sydney to attend the last two days of the time and this time there are people there! There’s humour—what a relief! There is to be absent for a substantial slab of time Friday, 25 June 2004 second Eureka workshop. It’s great to see some familiar faces through of both acts rather than just Act dramatic tension, certainly. Some of the from mid-August onwards?—what’s Gale A final round of auditions is being held for I arrive at the rehearsal venue about 10 including the wonderful Nancye Hayes, Two. The result is very encouraging, characterisations are drawn in what could Edwards really like to work with?—et cetera). a couple of roles still to be cast, in one of minutes before the scheduled call time—it Peter Carroll, Amanda Muggleton, Barry although the creative team is aware that be described as Dickensian colour and A major production of a new Australian the ancillary rooms at Her Majesty’s. appears deserted—when I’m told that the Crocker, Ian Stenlake, Rachael Beck, and much is still to be done. dimension. There are some especially musical doesn’t happen here that often. Pauline Whyman impresses among call time’s been changed to the afternoon. new faces who’ll also prove themselves fine As well, much will be revealed about strong female roles—hooray—as well as When offered the chance to be involved, those auditioning for Kyeema, the (I could have caught a much later flight!). talents, including Simon Gleeson and Tricia what works and what doesn’t only when the meaty roles for a variety of men. The those of us who are enthusiastic about indigenous storyteller who opens and I’m too tired to be really cross and just long Crowe...I am made to feel most welcome rehearsal process proper begins and the characters of Long Tu (emblematic of the music theatre tend to become rather excited. closes the piece, and appears throughout as to lie down. I taxi to the hotel, which is in a and sense a very positive spirit. show is really put on its feet. Chinese presence on the goldfields) and I take a deep breath and sign the contract. a key character. quiet, pleasant corner of Chippendale. It is a The workshop process is critical for the It is good for these actors to be in work, Kyeema, an indigenous female character Monday, 1 June 2004 [Pauline will later be cast in the role, lovely, sunny Sydney day. A little respite development of a new and complex work. and to be working with Gale, who is fiercely who opens the show and is threaded from the Melbourne chill is welcome. So often this process is truncated due to The group bookings launch is held at Her which will evolve to become Kardinia.] protective and supportive of her actors. She through it, read on the page as much more I meet Simon and Mike having tight budgets. Majesty’s Theatre. A sea of faces: such a I meet Gale and chat with her briefly is highly regarded as an actors’ director. than token gestures. breakfast in a nearby café. They welcome Thanks to the insistence of Gale and the crowd that it’s only afterwards I realise that between the audition appointments—Simon The producers shout the hard-working As I read, these characters emit that me warmly. Blearily I relate what’s generosity of the producers and backers, there have been so many people present and Mike take us for a quick lunch—there cast and creative and stage management thrilling potency that, as I learned long ago, happened with the rehearsal schedule. Eureka has had a two-week workshop of who I know but don’t even see, let alone are some issues to be resolved about teams a drink to mark another milestone in play texts can contain; they cry out to be There appear to be some communication Act I earlier in the year, involving in most speak to. The event appears well planned limited availability of some of the leading the life of the new show, and everyone realised in the flesh, on stage. There are hiccups between the rehearsal room and instances performers who will eventually and stage-managed: there are some stirring actors during the pending rehearsal period disperses knowing that we will all convene certain scenes where as I read, I can hear the producers’ office. An omen? appear in the fully staged production. Now musical highlights, some older, well-loved due to their existing commitments, and we again in the near future to commence music in my head accompanying the words They go off to some appointments. I go Act II is being workshopped over another performers, some new blood, some good discuss possible ways to address this. More rehearsals in earnest. and wonder what the finished score will to the hotel’s reception, to be told of course two-week period. old tub-thumping in the showbiz spruiking auditions and then Gale and company are Monday, 16 August 2004 sound like. that my room won’t be ready until 2pm. I Mike Harvey, as both composer and tradition. It seems to go very well. whisked off to the airport—we will all meet I am deeply moved by the image of the Rehearsals commence with what is up again in late July. decide to return to the café and take breakfast. co-producer, is kept intensely busy with I note again how so many people love ostensibly music week—now the entire strength, courage and rewrites as lyrics, tempi and sections of company of 30 performers, plus the full resilience of the women as songs are altered or even thrown out, and fleet of stage managers, deputies and they sew the flag of the new numbers are created to advance the assistants, props people, wardrobe Southern Cross. plot, help define character, or to serve some personnel, expanded creative team, vocal Yes, this has the other crucial dramatic purpose to increase coach, repetiteurs et al assemble, joined by makings of quite a night the effectiveness of the piece. the publicity and marketing team and in the theatre. I would like Michael Tyack the musical director, and sundry others—all important to the to be part of this process. Max Lambert as music consultant, are also enterprise in all their various departments— But I’m acutely conscious constantly in conference or in the rehearsal along with camera crews and photographers at the same time that taking room testing out various versions and possible to document and publicise the historic first the work from page to arrangements of existing and new material. day of rehearsals. stage will be a Tony Bartuccio has set some basic considerable undertaking. elements of the dance components which The cumulative effect is somewhat May 2004 assist greatly in shaping the relevant overwhelming. Gale establishes calm in a musical arrangements, and Gale has very masterly manner and directs the company More weeks pass, we’re all roughly staged certain scenes. to move their chairs into a circle—‘a true busy, I don’t notice that John Senzcuk as co-author and circle’—one of the hallmarks of her I’ve heard nothing further dramaturge (and Gale in a dual role, directorial approach—and we all introduce until another e-mail directing as well as co-authoring the new ourselves to one another. arrives from Simon, Barry Crocker as Paddy O'Malley sings book) are ever alert to every syllable and Music and dance have first priority, but asking if I’ve heard from Amanda Muggleton as Mercedes Cortés with the girls from the Eureka Hotel. 'A Beautiful Dream', in Act I. nuance of text and constantly asking Gale, which I haven’t. Gale is also understandably keen to *

Page 2 ON STAGE Summer 2005 Page 3 include as much scene work as possible—it serious nervous collapse. The tension will final auditions for the orchestra, and so on. the transitions from one location to the This is also the first occasion since Mike first to performers who have become used is a big, sprawling story with many threads eventually take its toll on some, unfortunately. Film crews and journalists come and go next in terms of timing for musical Walsh’s refurbishment of the theatre that a to the relatively less complex environment and lots of characters and the schedule she Monday, 23 August 2004 and must also be fitted into schedules. In arrangements and preparation for lighting production with such a large cast, crew and of the rehearsal studio. It’s also an has in mind for the coming weeks all, it’s a huge scheduling challenge and the and the other logistics of scene changes. orchestra has been in residence, so opportunity for any unattached members of We are now at MTC rehearsal studios stage management team are typically necessitates making a start on the scene The weeks pass—we are working day and additional rooms and quick change areas cast and crew to check out the talent. Many in South Melbourne and everyone is working from 7am to around 1pm every night, six days a week, and creative meetings are being commissioned, occupational work straight away. a backstage romance blooms at times like much happier. day. They are a troupe of ministering angels. often extend well into the wee hours of the health and safety issues double checked—a The venue for this first week is not these under the blue worklights backstage. Peter England and Gabriella Coslovich Barry Crocker is busy documenting as morning. More musical numbers are written, hive of activity akin to a multi-storey ideal, as various studios off its labyrinthine Hearing the orchestra for the first time display their set and costume designs much as of the process as he can on his some entirely new, some reprises, as the building site in the latter stages of construction. is usually a great thrill for the company of a corridors are booked out for other hirers respectively and talk us through the show digital camera (his character dies near the work is further shaped and refined. One of The theatre staff are welcoming and musical show, and this proves no exception from hip hop dance classes to brass band from their point of view—everyone is very end of Act I, so he has more free time than the biggest challenges with Eureka is to make despite the apparent chaos, there is a sense for Eureka—all the arrangements and rehearsals, but the Melbourne Theatre impressed. The text is still in a state of flux, most of the other characters to do this). As part of our Australian history come alive in that all is proceeding according to plan. orchestrations are new and being heard Company studios are not available until the however, and the demands on everyone’s the weeks pass, Barry’s output will multiply an engaging and theatrical manner. This is no One highlight is that Nancye’s huge crinoline, for the first time by anyone, anywhere in following week. time in terms of competing needs are to scores and then hundreds of unique small feat. to be worn in Act II, demands by its sheer the world. Matters reach a climax of surrealism considerable—music calls, text work, scene photographic records that will be treasured size its very own dressing area. Nancye will As dress rehearsals progress and every when a representative of the rehearsal Saturday, 18 September work, choreographic calls, vocal coaching, by cast members. later describe this strong-willed monster element of the technical production is venue management explains that one of the 2004 setting the fights, wardrobe fittings, We are fortunate to have a revolving frock as having ‘ideas above its station’. smoothed out, the cast begins to wish for downstairs (street level) tenants has On the penultimate day at MTC, we stage production meetings—all must be attended stage in the rehearsal room—not exactly I have been involved, in the evenings of the presence of an audience, who will be complained about the excessive noise and a full run-through, and crew who’ll be to, within the spread of hours indicated by what we’ll eventually have in the theatre the preceding week, in what are known as crucial to the process of deciding what vibration created by what becomes working on the show are invited along with (that will be a concentric or ‘doughnut’ ‘dry techs’. These rehearsals are undertaken works and what doesn’t. affectionately known as the ‘shovel dance’— relevant union award guidelines, along with the producers, publicity and marketing double revolve) but it is still most helpful in without the cast, but with nearly all the part of the raucous Irish jig that happens meetings with props makers and gatherers, people and other interested parties. Tuesday, 28 September staging the complicated group scenes and other elements—music, sets, props, lighting early in Act II. It is causing their set builders and painters, orchestrators, The reaction is very positive—it’s a 2004 etc.,—to solve any problems with setting or chandeliers to rattle alarmingly. show that provokes a very emotional changing scenes and the related crew tasks. The first preview—an audience of family and The venue management points out that response, since aspects of the story are, in a This is so that, by the time the actors join, friends of the cast and those associated with the terms of their lease on the premises Shakespearian sense, truly tragic. It’s every technical aspect has been thoroughly the production. The show receives a warm explicitly exclude Irish dancing, the first regarded as a good sign when there’s worked through. response—but the creative team knows that time anyone has heard of such an exclusion positive feedback from the technical crew, Inevitably, there are still issues that there are still aspects that need more work. clause in any lease. We do our best to who are often known as a hard-to-impress arise once the performers arrive—quick In the coming two weeks of previews, comply—but try to imagine Riverdance species. Again there is a sense that a changes seem as if they’ll never be achieved we will see still more rewrites of the book without the footbeats. It’s a stretch. milestone has been reached, and the cast in the available time, a piece of scenery is and the score, the insertion of extra musical Then there is the matter of the presents Gale with a card signed by all and suddenly hanging where before there was numbers, new orchestrations, the editing squeaking door. There is one particular a large floral arrangement. nothing but empty space—but the advance and paring down of certain scenes and the studio in the complex that is relatively Speeches are made; notably, David ‘teching’ saves a great deal of time and scenic relocation of others, new lighting secluded and sheltered from outside noise, Downer presents a version of the famous ensures that ensuing piano and orchestral cues created, sound balances adjusted—all of and this is where most of the text work is ‘St Crispin’s Day’ speech from Henry V…‘We dress rehearsals with the cast are conducted these changes with the intention of making scheduled. Unfortunately it transpires that few, we happy few…’. We are aware of the safely. That said, a ‘dry tech’ is about as the best show possible. the only door to the room emits a great privilege we have to be part of this exciting as watching grass grow, and seems The long days and nights continue pronounced and eerie creak each time it’s undertaking. We leave the studio floor (being to take longer. One mitigating factor with unabated. Making theatrical magic is very opened, no matter how gently or carefully disassembled by carpenters even as we pack this production is the opportunity to watch hard work. one tries to do so. Concentration is up our own belongings) to meet again on Trudy Dagleish at work. She is widely Friday, 8 October 2004 shattered each time someone comes in, the following Monday at Her Majesty’s. acknowledged as one of the finest lighting always with innocent intention to deliver a Finally! It’s the official opening night. This Monday, 20 September designers in the country: a painstaking and prop that’s been requested, an urgent has been changed from the originally 2004 brilliant artist who actually paints in layers message or some other legitimate reason. proposed date of Saturday, 9 October, due with light. After a few interruptions, a certain voice This is the first day in the theatre for the to the scheduling of the federal election. So after the dull and grinding pace of announces that ‘the next person who comes cast; however, several weeks before this, ‘Really,’ people are heard to say, ‘it’s very the tech period, it’s a pleasure for the crew through that door will be shot’ and later the bump-in and set-up has commenced— inconvenient timing’…this can be to have the cast in the theatre and on ‘the next person who comes through that the floor containing the double revolving understood in light of the fact that stage—now at last the show starts to take its door will be castrated.’ This is all said in the turntables has been installed and tested, mounting Eureka has been so all-absorbing final shape and the performers inhabit and heat of the moment but the atmosphere is, many tonnes of scenery have been hung in and all-consuming—it can be quite a surprise enliven the setting. not surprisingly, taut. the flies, lighting has been focussed and the to theatre folk when the outside world The sheer size of the crinoline worn by Nancye Hayes in Act II demanded its very Someone has the good sense to ensure initial plotting of well over 200 cues has It is noted that the actors’ performances intrudes.Physicists talk of the possibility of own dressing area. Nancye described this strong-willed monster gown as having that the offending hinges are well oiled been accomplished, sound equipment has are holding up very well as the stage parallel universes. I feel as if we are ‘ideas above its station’. before the first call next day. Somehow we been rigged and tuned, standing set-pieces rehearsals proceed, despite all the additional certainly in one on the corner of Exhibition reach the end of the first week without any built and painted in situ. elements which often prove distracting at and Little Bourke Streets. *

Page 4 ON STAGE Summer 2005 Page 5 Nevertheless, Eureka is greeted this Despite a particularly virulent strain of This is a beautiful garment of rich, evening with great enthusiasm and good flu and some minor injuries—sprains and heavy velvet, created and embellished Designs of a lifetime will by a packed house, and receives a the like, inevitable with such a physically progressively with consummate skill by the Kenneth Rowell was a star, not on the stage, but of the stage. He set the stage design standard for five decades standing ovation and extended curtain calls. demanding production—we are fortunate wardrobe and design staff of every major and the pictures he created are remembered, even now, with fondness. Vicki Fairfax outlines It feels as if all the hard work has been worth that very few people are off as the season musical production in Australia over the his brilliant career, prior to an important exhibition and sale of his works. it. But my Eureka diary is far from over… progresses. This says much about a past several decades. t hardly seems possible that it is is being planned for April this year. It marvellous cast with great professional Most recently The Producers’ artwork Sunday, 10 October 2004 already five long years since the is likely to prove a timely reminder of discipline and their efforts to maintain was added, and the youngest member of The first two reviews appear and neither is death of one of this country’s best- the virtuosity and power of Rowell’s themselves in peak condition. their ensemble handed over the cloak to I particularly good. Later in the following loved artists, theatre designer Kenneth creative genius, a genius that sustained the oldest member of our ensemble at the week, ‘good’ and ‘very good’ reviews will Sunday, 7 November 2004 Rowell. his artistic output undiminished for appear in other publications—Jim Murphy close of their Melbourne season. Notice is given by the producers to the For even the most tardy of opera more than 50 years. in The Age is very supportive and The And now we see ­is emblazoned on the assembled cast after the matinée that the and ballet-goers the mention of Rowell’s life in the theatre began, Bulletin is also very positive. cloak. We stand in a circle as the senior Melbourne season will conclude in three Rowell’s name is likely to elicit a somewhat inauspiciously, on the stage As the days pass, this mixture of member of the ensemble dons the cloak weeks’ time. While the audience reaction flood of tantalising memories of Gertrude Johnson’s National Theatre opinions—in print and electronic media—will and moves around the circle. has been positive, the attendance numbers involving romantic sets, richly in Melbourne. It did not take him too only increase. It is hard on the cast and all Then the cloak is put around the are just not consistently sufficient to decorated costumes and what can long to realise that his talent lay off- those who’ve worked so hard towards shoulders of the youngest member of the warrant the show running longer. only be described as a delicious, stage rather than on it! making the show a hit. cast, who moves past us as we take turns to It is at times like these in a show’s run visual repleteness brought about by Rowell had been bowled over by However audience response continues briefly hold and admire the detailed that the admirable professional demeanour his capacity to so perfectly and Colonel de Basil’s Original Ballet Russe to be very encouraging, and on the whole handiwork, the artistry, and even a few of artists like Nancye Hayes is invaluable in unpretentiously capture the company which toured Australia for the cast’s morale continues to be buoyant. drops of real blood that a pinprick has leading by example. psychological and emotional heart of the second time in the late 1930s and, Monday, 18 October 2004 caused to bleed from the hands of the ‘Gale is very proud of this production,’ every production. in particular, Alexandre Benois’ artisan into the embroidery. Gale returns from Sydney and her pre- says Nancye. ‘We should also be proud of There is, for example, the delicate exquisitely detailed sets and costumes Now it waits to be passed on. production work on other projects to what we have all achieved and hold on to beauty of La Belle Hélène for the for Petrouschka. In 1946 he designed The A large and responsive house gives the rework the ending of the show—the the good work.’ Victoria State Opera; the expansive, Simpleton of the Unexpected Isles for the cast a rousing reception as the performance Stockade scene—with the aim of clarifying enigmatic set for Timothy Gordon’s Melbourne Little Theatre and in 1947 Sunday, 28 November 2004 comes to an end. the story telling. With a minimum of ballet My Name is Edward Kelly with its the sets and costumes for the Marlowe Using the ancient arts of music, dance technical changes and some deft restaging The final performance, for the time being, looming tents, strings of torturous Society’s Edward II. Twenty years later and drama all combined into a on Gale’s part, this is achieved, and all of Eureka. Gale has returned for the barbed-wire and areas of deep shadow he found himself designing this play contemporary form known as music theatre, agree it is more effective. occasion and is greeted warmly by the which suggest, at one and the same again, this time for a production by owner Anita von Bibra and Rowell’s widow As the weeks progress, understudy company prior to the show. we have told an Australian story, in an time, impending doom, night encounters London’s Prospect Theatre Company Victoria Rowell who, as an artist in her rehearsals are conducted on stage at the Before the performance there is also a Australian voice. and lost dreams; and, by way of complete starring an unknown actor by the name of own right, collaborated with her husband theatre. It’s a great pleasure to work with lovely ceremony, a hallowed theatrical Tinged with imperfection perhaps, but contrast, the stark, primordial, heat-soaked Ian McKellen. n on dozens of productions, a new exhibition such a richly talented group of people. tradition—handing over the ‘Gypsy Cloak’. still a rather rare experience. landscape of Robert Helpmann’s seminal In 1948 he began what was to become ballet, Sun Music, set to Peter Sculthorpe’s a long association with Marie Rambert and remorseless score. KENNETH the Ballet Rambert, who gave him his first The Sydney Morning Herald critic wrote ROWELL professional design commission, Walter at the time, ‘As a showcase compendium of Gore’s Winter Night. He also, incidentally, virtuosic teamwork between designer, Designs of a Lifetime: designed the wedding dress for Ballet composer and choreographer, Sun Music 50 Years in the Theatre Rambert’s principal dancer Sally Gilmour’s deserves a place of pride and would deserve marriage to Melbourne doctor, Allan Woodbine Art Gallery it in any ballet company in the world’.1 Wynne! In 1949 with, surely, Léon Bakst’s 2644 Daylesford Road It is now nearly nine years since Rowell sumptuous designs for Diaghilev’s Sleeping Malmsbury designed Aïda for The Australian Opera, Beauty strongly in mind, he designed Sunday, 3 April to Sunday, 8 May (now Opera Australia), his last production. Aurora’s Wedding and, in 1952, his first 2005 In more recent times there have been two Giselle for the National Ballet (the second, exhibitions of his paintings—in 1996 and Special VTT members’ offer, for Dame Peggy van Praagh’s fledgling 1997—at the Christine Abrahams Gallery in Sunday, 3 April: Australian Ballet was in 1965). Richmond and a major retrospective Of Aurora’s Wedding Geoffrey Hutton 11am: Exhibition opening exhibition of his paintings, theatre design observed in The Argus that ‘the company… 12.30pm: Luncheon at The Stables and maquettes at the Australian Opera is developing the talents of a superb stage Pizzeria, Malmsbury, followed by a Centre in 1998, a fitting acknowledgement designer, Kenneth Rowell.’ talk by Victoria Rowell. The diggers sing 'Brave New World'. Left to right: Simon Gleeson as Sean Flynn, James Millar as Frederic Vern, Ian Stenlake as Peter Lalor of his contribution to Australian theatre by In the early 1950s Rowell left Melbourne and Christopher Tomkinson as Rafaello Carboni. the Melbourne International Festival. Details will be sent to VTT to travel to London to study at the Slade Now, thanks to the vision of gallery members closer to the date. School of Art. He had won a British *

Page 6 ON STAGE Summer 2005 Page 7 Council scholarship, his referees being no texture of the music and the mood of the less than Marie Rambert and Sir Laurence work itself. Olivier! William Akers, as production manager Once there he found that no one was for the Australian Ballet, was charged with much interested in this boy from the the task of turning Rowell’s designs into a colonies, but as it enabled him to spend physical stage reality. Working together over almost all his time at the theatre he did not many years they developed a deep friendship. mind too much. He continued his friendship ‘Ken lived on a knife-edge—and biscuits! with Marie Rambert and her company, He was sensitive, fragile. Sometimes I would designing their Swan Lake Act II and Light see his knuckles go white, then he would Fantastic for Walter Gore’s new company. erupt into a raging torrent but, at the end, Later, after meeting with John Gielgud, he would be suddenly pale and trembling. he found himself designing for the Old Vic ‘I loved him. He could produce all Company and for the Royal Shakespeare those extraordinary, elegant European Company. During this time he also formed designs but then, in Seven Little Australians what was became an enduring friendship and My Name is Edward Kelly and in the with choreographer Kenneth MacMillan street decorations that he did for the which ushered in a long and fruitful opening of the Melbourne Concert Hall association both in England and Australia. Costume designs for Edward II (1969), for the Prospect Theatre Company, London. Scene model for Queensland Lyric Opera’s 1983 production of Fidelio. [now Hamer Hall], he came to acquire a Rowell’s contribution to and influence real Australian feel.’ upon the dance has been profound, One of the most widely recognised designing more than 40 productions, 12 for aspects of Rowell’s designs has been the the Australian Ballet, alone including the panoply of exquisitely painted costumes closing season of the Borovansky Company that he produced over the years, most of with Peggy van Praagh’s still popular them executed by Victoria Rowell. For Rowell Coppélia, and George Balanchine’s Ballet it was a way of making sure that they were Imperial which ‘with its sumptuous blue and ‘drenched in the same ideas as the set’. gilt setting and costumes drew loud and The costumed figures in the designs for prolonged applause at the first raising of La Belle Hélène, Sun Music, and Fidelio with the curtain. And have continued to do so to their characteristic gestures, richly textured this day’.2 materials and idiosyncratic poses seem to At least, that is, until Balanchine, capture the very essence, or zeitgeist as Rowell liked to call it, of the production and have a sometime later, decided that the work was particularly intriguing quality to them. only ever to be performed in practice tights On the other hand the set designs— and bare stage! luminous, enigmatic, full of rhythmic Throughout the years designing for the energy and light—are capable of stirring any theatre, following the tradition of Diaghilev number of recollections; the unfolding artists like Natalia Gontcharova, Michel Costume designs for Sun Music (1968), The Australian Ballet Set design for The Australian Ballet’s production of Sun Music (1968). stories of the ballets and operas; a single, Larionov, Léon Bakst, Rowell continued to for us to interpret. It may have been much to do with the movement’s philosophy being offered for sale. As Paul Kathner points out: ‘Ken has unforgettable moment of time; a spine-tingling paint. In an interview for the catalogue to romantic or impressionistic but you always as its art. Cautious of taking the obvious tack and made a huge contribution to Australian performance; a glorious piece of music. the 1998 retrospective exhibition at the knew [from his designs] exactly what he In his designs as well as his paintings gathering the designs around a particular stage design and painting. The trouble is More than anything, however, they Melbourne Opera Centre, Rowell wanted. Ken saw a production not just as Rowell always enjoyed finding symbolic production, say Edward II or Sun Music, critics don’t think of stage designers as convey the compassionate, lively eye of commented that ‘I particularly admire decoration, he contributed to the whole expression for the forces and elements he saw which would certainly give coherence to being able to paint. You get typecast like an their creator, ‘A man,’ as Paul Kathner likes theatre designs which show a painter’s, as mood of the thing. In this way I think that contained within natural objects. His 1959 the exhibition, they are both keen to actor! Henry Bardon and William to describe him, ‘who was unquestionably opposed to a decorator’s vision on stage.’ he was like the great Sophie Fedorovich or painting Crescendos, now in the National Gallery choose works that can be viewed less for Constable both had the same trouble.’ one out of the bag’. He also declared that ‘there has never been Christian Bérard [Jean Cocteau’s theatrical of Victoria, and his designs for the Royal their intrinsic interest as a piece of ‘theatre’, One of Rowell’s particular passions, that a time when the vision of a painter might collaborator].’ Ballet’s Le Baiser de la Fée (a personal favourite than for their ‘interesting look’ as pictures will no doubt be evident in this exhibition, [Photography: John Gollings] 3 not startlingly animate a stage.’ Rowell himself has commented that, as of Rowell’s) all spring from this period. in their own right. was his unbridled delight in textures which Paul Kathner, the scenic designer and the designer, it is easy to become the star of After all this it is not hard to see why It is a strategy that is likely to be also included the sort of paper on which he 1 Quoted in Ballet in Australia. The Second painter who worked with Rowell for many the show but ‘that’s not the point. Everything there are such challenges involved in revealing, lending emphasis, as it surely chose to execute his designs. He several Act. 1940-1980. Edward Pask. Oxford years, admires him enormously as a should have equal importance.’ putting together this new exhibition. What must, to Rowell’s position as a painter of times scrapped designs because did not like University Press, 1982. painter. ‘He was a truly great artist, able to As a painter Rowell found his first to include and what to leave out from the considerable stature. It is an aspect of the paper he was using. 2 ibid. combine the way he thought as a painter exposure, at the Tate in 1959, to the New riches of a lifetime’s work is a tall ask for Rowell’s artistic output that is often Texture was everything, and the style of with the way he thought as a stage York Abstract Expressionists a revelation. It von Bibra and most particularly for Victoria overshadowed by his widely celebrated paper on which he chose to create his 3 From a letter to Helen Ibbitson Jessup designer. His work was always interesting was a response, one suspects, that had as Rowell whose collection it is, and which is reputation as a stage designer. designs was inseparably linked to the quoted in the same catalogue. n

Page 8 ON STAGE Summer 2005 Page 9 Pets of the Public Company, which consisted of some 60 touch or two of the much-advertised In July she attended the wedding of people including Thomas Kingston, Ernest maternal love thrown in to bring about an Thomas Kingston, who was marrying the The quite wonderful Olga Nethersole Leicester and Luigi Lablache, left for New honest and most unconventional pianist Adelina de Lara. Olga presented the York in the S.S.Paris, with Olga following a dénoûement.’9 happy couple with ‘a handsome crescent A triumphant American tour ends with a contract with Charles Frohman and a promise to tour her week later on the S.S.St Louis. Olga returned to England in the and star diamond brooch.’12 throughout the USA and Europe. In Part 5 of Elisabeth Kumm’s career article, Olga reappears Olga’s second tour of the United States, S.S.St Paul, reaching London on 6 May. To be continued in the next issue of On Stage. before a London audience—and the redoubtable GBS. under the management of Daniel and According to The Era (9 May 1896), ‘Miss n arriving back in London after ‘Carmen was an animal—a little devil.’ withdrawn, or as Mrs Pat described the Charles Frohman, lasted 25 weeks. She Nethersole had a most agreeable homeward Footnotes four months touring the United Olga Nethersole’s passionate performance situation: ‘this most brilliant and successful performed in New York, Boston, Chicago, voyage. The Frohmans, the Bronson 1 The Era, 15 June 1895, p.11 States, John Hare persuaded of Henry Hamilton’s play certainly didn’t play unfortunately did not survive the Philadelphia, St Louis, Cincinnati, Howards, the De Reszkes, and Madame O 2 Shaw, vol. 1, pp.126-9 Olga, ‘for the sake of their old go unnoticed by audiences or critics. change of cast.’3 Pittsburgh and Buffalo in a repertoire Calvé were on board, and the passengers 3 Peters, p.108 friendship’, to postpone her Following the closure of the including Carmen, Romeo and Juliet, Denise, gave a concert in the saloon for the benefit 4 The Era, 24 August 1895, p.7 plans for a holiday and play, Olga took a well-deserved Camille, Frou Frou and other plays. of the Sailors’ Orphanage, which realised 5 The Era, 31 August 1895, p.11 accept a short engagement rest, having been performing Among the highlights of this tour was £152, Madame Calvé and Miss Nethersole 6 Unlabelled press clipping, New York at the Garrick Theatre.1 almost without a break since the first performance of Carmen, a dramatic selling flowers by auction and getting Public Library He wanted her play August 1894. version by Henry Hamilton of Prosper extraordinary prices.’ 7 ibid. Agnes in The Notorious Three months later, Merimée’s novel. Olga’s plan to appear in London 8 The New York Dramatic Mirror, Mrs Ebbsmith, on 19 August 1895, she It opened at the Hollis Street Theatre in immediately upon her return was 4 January 1896 replacing Mrs began a five week Boston on 18 November 1895, and then unrealised, as there were no suitable 9 The Era, 2 May 1896, p.10 Patrick Campbell, provincial tour at the played in New York at the Empire Theatre theatres available. 10 The Era, 13 June 1896, p.8 who was resigning Grand Theatre, on 24 December 1895. By June 1896, however, she was able to 11 The Era, 20 June 1896 and 25 July 1896 from the role to Islington, supported Olga’s Carmen was a far cry from the secure the Gaiety Theatre for a fortnight, 12 The Era, 1 August 1896, p.10 fulfil by Ernest Leicester, pretty gypsy girl of Bizet’s opera. As she opening on 6 June with the first English an engagement William Farren Jr, explained in an interview: ‘I have studied production of Carmen. Olga’s company at the Haymarket Thomas Kingston, the story of Carmen very thoroughly. included Lena Ashwell, Eva Williams, Bibliography playing Fedora Alexes Leighton and When I decided to play it I got Prosper Helen Dacre, Alexes Leighton, Charles Reginald Clarence, The stage cyclopaedia: opposite Herbert Lilian Hingston. Merimée’s book, and simply saturated Dalton, Thomas Kingston and Luigi Lablache. a bibliography of plays (1909) Beerbohm Tree. She opened with myself with Carmen…Carmen was an As Carmen, ‘the leering streetwalker, Isaac F Marcosson & Daniel Frohman, Mrs Pat left on Camille for the first time animal—a little devil. What I do is just what with a ready mercenary smile, winking at Charles Frohman: Manager and Man (1916) the 11 May and on in England; ‘when the I feel a little devil would do…Carmen was all the men, tickling them, patting their Margot Peters, Mrs Pat: the Life of Mrs the 15th, following two curtain fell on the third act a small woman. But it is the fire of her, the faces, and allowing and taking every sort of Patrick Campbell (1984) days of rehearsals, Olga there was no longer any animalism, the devilishness that I try liberty,’ Olga had the audience transfixed. G.B.Shaw, Our Theatre in the Nineties (3 vols, 6 made her reappearance doubt as to Miss Nethersole’s hardest to convey.’ Yet reviews of the play were mixed. The Era 1932) 4 before a London audience. success in the character.’ Olga’s no-holds-barred performance felt that her portrayal was flawed and that The Era (London) Keen to present her own On 28 August the company was panned by the critics, and the more her ‘absolute misconception of the character The New York Dramatic Mirror (New York) interpretation of the role, Olga opened in Birmingham with another they riled against her ‘suggestive’ and is the more regrettable because in face, refused to visit the theatre and see first, Denise, a drama by Clement Scott ‘provocative’ behaviour, the greater the figure, and voice she has all the necessary 10 Mrs Pat’s performance as Mrs Ebbsmith. and Sir Augustus Harris, adapted from box office receipts. “means” for the embodiment of Carmen.’ The Era (18 May 1895) reported: ‘Miss Dumas’ play of the same name. It was a The prolonged kiss that she gave Ernest As in America, the production was Nethersole was under the double magnificent success, one critic reporting Leicester (Don Jose) attracted much elaborately mounted. The dance sequences Patron: Sue Nattrass AO disadvantage of having to follow an actress that Olga Nethersole’s performance ‘passes attention. One reviewer described it as were choreographed by Espinosa, though Committee 7 who had made a deep and powerful the role of Agnes Ebbsmith. One notable encomium; and an unavailing page might ‘nitro-glycerine, pure and simple’ ; another as The Era reported of Olga’s dancing, the Chairman: Henry von Bibra AO 5 said that ‘if Miss Nethersole were to reduce ‘fandango in the real Spanish style is, as impression in the character, and of exception was George Bernard Shaw, be filled for want of the right superlative.’ Treasurer: Simon Marsh suffering painfully from nervousness. In theatre critic on The Saturday Review, a post A week later she appeared at the the duration of her kisses one-half, the yet, beyond her powers’. Secretary: Philip Waldron these circumstances it would be unkind to he held from 1895 until 1898. Theatre Royal, Newcastle-upon-Tyne, performance would be over considerably On the 18 June a special matinée of 8 criticise Miss Nethersole’s performance too During his four-year tenure with the which was reopening its doors following more than a half hour before midnight.’ Carmen was presented in order that Sarah Committee Members: severely, and we prefer to postpone our journal, his marked displeasure with most extensive renovations. Once again Denise Olga’s passionate display became Bernhardt, who was performing in London Vicki Fairfax, Prof. Robin notice of her first appearance as “Crazy things theatrical became legendary, and his was on the bill, and once again it was known as the ‘Nethersole Kiss’. at the time, could attend. The two actresses Grove, Simon Abrahams, Joanna Leahy, Agnes” till repetition shall have restored to review of Olga Nethersole’s performance, enthusiastically received, much to the Olga brought her second tour of the met and Madame Bernhardt presented Julie Ross, Darien Sticklen her full command of her undoubted published on 25 May 1895, was no exception. delight of Mr Robert Arthur, the theatre’s United States to an end in Pittsburgh on Olga with a copy of a play, La Duchesse 11 histrionic powers.’1 He found the play boring, and although he new manager. 25 April 1896 with a performance of The Catherine, which she had written herself. Strangely, The Era’s promised review of thought she displayed ‘force and emotion’, Brief seasons in Manchester and Wife of Scarli, a play ‘freely’ adapted by The season at the Gaiety concluded on Editorial Committee: Olga’s performance was never published. It she lacked a ‘sense of character’.2 Liverpool followed, when Frou Frou and G.A. Green from Giuseppe Giacosa’s 20 June, after which Olga took an extended Dr Mimi Colligan, David Cullinane, seems that few critics made a point of With Olga in the role of Mrs Ebbsmith, The Transgressor were added to the repertoire. tragedy Tristi Amori, ‘a plain and simple break prior to her departure for America Elisabeth Kumm, Frank Van Straten OAM recording their impressions of the actress in the play ran another month before it was On 28 September 1895 the Nethersole drama of domestic adultery, with just a later in the year.

Page 10 ON STAGE Summer 2005 Page 11 Old Drury with the beloved Nellie Stewart. Equally bleak,1933 began with a couple month long run of Emlyn Williams’ thriller, Melbourne stage-by-stage Spanish-American comic actor Leo of transfers from the King’s, including a Night Must Fall, from 15 February 1936; More than half a century of entertainment in various structures, under a range of names, now—1909—The Carrillo interrupted the beginning of a busy fortnight of the Athene Seyler–Nicholas famous American impressionist Ruth Hippodrome was operating only on Friday and Saturday nights. In his chronology of Melbourne’s theatres, Hollywood career to star in Lombardi Ltd Hannen season from 15 April. A short-lived Draper in a series of character sketches for Ralph Marsden reports on a new name and a new entertainment phenomenon. from 29 February 1930. This ran until mid- Ben Travers farce, A Bit of a Test, followed a month from 16 May 1938; British silent April when Nellie Stewart. together with this, but for the rest of the year the theatre film star Betty Balfour in a comedy called ilm shows were beginning to oust be called, was a five storey building whose her daughter Nancye and son-in-law was used only by amateurs. Personal Appearance for a fortnight from stage melodrama in popularity with upper floors became the administrative Mayne Lynton, starred in Edward Some improvement came in 1934 with 20 August 1938; another month-long run Fthe public and on 30 July 1909 the The headquarters of Williamson’s entire Sheldon’s Romance. The same year also saw the Melbourne première of Ivor Novello’s for a thriller, Black Limelight, from 8 April site reopened ‘under new management’ as Australasian organisation. The exterior was seasons by English actor William Fresh Fields on 18 May. Then came a 1939 and American stage and screen actor ‘The Paragon Pictures’ with the boasts of Comedy modelled on a Florentine palace, the theatre Faversham and American actress Edith popular thriller, Ten Minute Alibi, followed Ian Keith in Libel during August 1939. ‘comfortable seats’ and an ‘unobstructed itself comprised the wide rather than deep Taliaferro. The Firm was not too proud to by a light comedy, The Wind and the Rain. It was also in this year that the bronze view for 4000 people’. The program was Theatre auditorium with two levels of seating in stalls, refuse a six night lease for the Victorian Both of these starred Englishman George plaque honouring George Coppin was made up of short films and a few vaudeville dress circle and boxes to a capacity of 1050. Amateur Boxing and Wrestling Thirlwell and Australia’s Jocelyn Howarth installed in the Comedy’s foyer. Unveiled acts accompanied by a ‘full Bavarian Band’. .…Rowe’s American Circus, There was much use of marble and Championships early in September either. in a run totalling 14 weeks from 25 August. by his daughter Lucy on 26 March, it was After mid-August the site was briefly The Olympic Theatre, artificial Italian stone in the foyer, and the But the longest running single dedicated to ‘The Hon. George Selth advertised as ‘Majestic Square’ but by early Coppin’s Olympic, decorations included two large, Spanish- attraction of the period was St John Coppin, Philanthropist and Father of October this was dropped in favour of The Argyle Assembly Rooms, style chandeliers and an intricately painted Irvine’s play, The First Mrs Fraser, the Theatre in Victoria.’ ‘Paragon Picture Pavilion’. The change of The Argyle Rooms, wood beamed ceiling in the auditorium. which notched up 67 performances The Comedy switched to foreign names seems to have done little to The Australian Hippodrome, There was also what was claimed as the from 26 December—a very good run film revivals in March 1940, but from popularise the venture, however, and it The Hippodrome first thermostatically regulated heating and for the times. 14 September British actress Marie closed early in November 1909. ventilating system in any Australian theatre, The Paragon Pictures, Gregan McMahon and his Ney starred for six weeks in the The Argus of 13 December 1909 according to The Argus of 27 April 1928. Majestic Square, repertory players first came to the thriller Ladies in Retirement; she reported: ‘The Hippodrome, in Exhibition Prevailing colours were green, gold and Comedy on 17 March 1931. returned from the King’s for the last The Paragon Picture Pavilion, street, has been transformed into a theatre. walnut but the original ‘unlucky’ green front McMahon, who also directed more three weeks of Private Lives on The Criterion and henceforth will be known as the curtain was held responsible for the deaths commercial fare for The Firm, had 23 December. Criterion. Rows of seats occupy the old The Olympia of several theatre personnel soon after. entered into an arrangement for the Also notable in 1940 was a two- ring, a stage has made its appearance out of 240 Exhibition Street, Melbourne Costing over £100 000, the still use of their theatres when they fell night début season by the Borovansky the wall, and an orchestra has taken the incomplete, the Comedy opened on vacant and his group were frequent Australian Ballet Company on 9 and place of the brass band. The lessee, Mr. 28 April 1928 with Canadian-born Margaret occupants of the Comedy throughout 10 December—the very first Phil Bernard, aspires to entertain his patrons Bannerman in W. Somerset Maugham’s the 1930s. Their first offering was a presentation of ballet in Australia by a with healthy dramas and musical comedies.’ society drama. Our Betters. The Bannerman comedy called Yellow Sands which locally nurtured company. A revival of an old musical, My season, which was only moderately well featured McMahon and rising local March-April 1941 saw the last Sweetheart, complete with ‘Sheep supplied received, was followed on 16 June by Ben actress Coral Brown(e). This was seasons by the Gregan McMahon by Angliss and Co.’, was the opening Travers’ farce, Rookery Nook, with Hastings followed by Galsworthy’s The Roof. Players. McMahon himself died only attraction on 11 December. Another Lynn (brother of the play’s original London Each play ran for a few months later in August—but musical followed this but by late January star, Ralph Lynn) and Basil Radford. five nights. immediately following came a fresh 1910 these had given way to weekly change The biggest success of the theatre’s first storey building on this site as being British actor Frank Harvey in a lease of life for the Comedy when melodramas which continued until about year was a four-month season by British occupied by J.C.Williamson’s scenery dock, couple of Edgar Wallace thrillers The Russian Ballet, transferring from the JCW entered into an arrangement with mid-March. and it seems more likely it was utilised as husband and wife stars Dion Boucicault Jnr interspersed with Galsworthy’s Loyalties King’s, ended the year with a week-long David N. Martin to present a series of plays According to the biography Huge Deal: such by Williamson’s for much of this time. and Irene Vanburgh, beginning on 21 July. held the stage for two months from 4 April run from Christmas Eve. from his Minerva Theatre in Sydney. The Fortunes and Follies of Hugh D. McIntosh The Firm first announced the creation Their repertoire, which occasionally echoed 1931 and returned for another month in A trio of modern comedies got 1935 off These began with Room for Two, a by Frank Van Straten, McIntosh, a of a ‘Williamson Theatre’ for comedy that of the old Brough-Boucicault company, September. to a moderate start but other offerings comedy starring Marjorie Gordon and Hal colourful entrepreneur who would later productions here late in July 1913 as a included plays by Pinero, A.A.Milne and Prior to this came a short run of the petered out by early April and returned Thompson, which ran for a month from control the Tivoli circuit, leased the site for memorial to their founder, J.C.Williamson, Frederick Lonsdale—notably a first comedy A Warm Corner, whose cast only fitfully towards the end of the year. 12 April 1941 and was followed by another a short while somewhere about this time, who had died in Paris earlier that month. Australian production of Lonsdale’s On included Ethel Morrison, Cecil Kellaway, From 11 January 1936 The Firm bowed to comedy, Susan and God, which also starred renaming it ‘The Olympia’, to stage boxing Plans were commissioned but the outbreak Approval on 20 October. Campbell Copelin and Coral Brown(e), who the inevitable and reopened the Comedy as Gordon, and ran for a then record 228 promotions. The venue seems to have of World War I halted all building The arrival of sound films and the also supported Harvey in his later season. a cinema screening first releases and performances from 17 May. fallen into disuse after this; a Melbourne operations and the idea was not revived imminent Great Depression made 1929 the Nellie Bramley and her company, with revivals, beginning with a British double Polished British actor Edwin Styles was City Council rate book of 1911 lists George until the mid 1920s. Fresh plans for a first of several patchy years. But the their policy of weekly change popular bill comprising The Constant Nymph and the resident star for almost a year from Tallis, a business partner of J.C.Williamson, smaller theatre to house repertory plays attractions included seasons by the reigning drama, came to the Comedy on 26 March Man of Aran. 4 April 1942, beginning in the comedy The as owner. were then drawn up by Albion H. Walkley imported dramatic favourite Leon Gordon, 1932 but transferred to the Palace after This policy continued over the next Man Who Came to Dinner, which ran for 161 The address is listed as vacant in and C.N.Hollinshed and imminent English actor Lewis Shaw starring in John three weeks, leaving the theatre dark—apart three years with only occasional performances. This was followed by Robert’s Melbourne directories for the next 15 years construction was announced in April 1927. Van Druten’s then sensational Young from short runs by McMahon’s Players—for interruptions for live attractions. Notable Wife, a comedy drama by St John Irvine, but a Mahlstedt map of 1923 notes a single The Comedy Theatre, as it was now to Woodley, and a short revival of Sweet Nell of the rest of that year. plays and players in this period were a Daphne Du Maurier’s romantic drama *

Page 12 ON STAGE Summer 2005 Page 13 Rebecca, and Robert Sherwood’s romantic them came the Kiwis, an all-male New American actor Arthur Franz starred as But the hit show of that year was many successful Comedy seasons on 9 July. were coming to an end. comedy, Reunion in Vienna. Zealand wartime concert party company Stanley Kowalski in this rare venture by Seagulls Over Sorrento, a farce by Australian A couple of American comedies that Another AETT presentation arrived on These and other Minerva attractions formed in Egypt in 1941. JCW into serious modern American drama author Hugh Hastings, which brought back failed to draw preceded what many 23 July 1957: British actor Paul Rogers in employed such rising or established local Now sponsored by The Firm, the Kiwis which paid off with a run of more than William Hodge as star and chalked up 221 considered the artistic highlight of the year— Vanburgh’s The Relapse, and Hamlet, with a talents as Dick Bentley, Aileen Britten, opened on 20 December 1946 in Alamein, three months. performances from 5 April. Judith Anderson in her American success, local cast including Zoe Caldwell as Letty Craydon, Keith Eden, Claude the first of three fast moving revues. Not quite as successful was Harvey, the The Kiwis also returned after this and Medea, on 20 December—the first presentation Ophelia, which played alternate weeks until Fleming, Sheila Helpmann, Lloyd Lamble, On 16 August 1947 this was replaced by American comedy that followed, despite the their two new revues again did excellent at the Comedy by the recently formed 28 August. Enid Bagnold’s The Chalk Hal Lashwood, John McCallum, Muriel a second revue, Tripoli, and on 10 January presence of famed wide-mouthed American business, with a combined run of over six Australian Elizabethan Theatre Trust (AETT). Garden, with the distinguished Dame Sybil Steinbeck and Bettina Welch. 1948 came Benghazi. On the following film comedian Joe E. Brown. months to 24 April 1953. Sailor, Beware!, another services farce, held Thorndike and Sir Lewis Casson, ran for The classic black farce Arsenic and Old 20 November came a ‘farewell’—a From 12 August The Firm took another Frederick Knott’s Dial M for Murder the Comedy stage between 18 January and over three months from 31 August. Lace was the first fresh attraction of 1943, compendium of all three shows—which ran gamble with a Doris Fitton production—an gripped Comedy audiences for four months 5 May 1956. On 12 June came a second AETT Not so fortunate for The Firm was a and was followed by the comedy My Sister until 6 January 1949. American musical fantasy called Dark of the from 30 April, and Agatha Christie’s The drama season lasting nine weeks, highlight prize winning local play, The Multi-Coloured Eileen and Lillian Hellman’s drama Watch In total the Kiwis played for a Moon. Some six weeks later this made way for Hollow, which came next, closed after just of which was a revival of the original Umbrella, which had been a success when on the Rhine. On 12 November came a phenomenal 867 consecutive the hit of the year, the R.F.Delderfield five weeks. A third William Hodge hit production of Ray Lawler’s Summer of the first produced at the Little Theatre but second month-long season by the performances—an all-time record for an wartime farce, Worm’s Eye View, which ran followed this: Reluctant Heroes, another Seventeenth Doll with Lawler himself in the closed here after three weeks. Borovansky Ballet and, from 11 December, individual attraction at the Comedy. exactly six months from 30 September with services farce, running seven months to 5 cast. An undisputed money-spinner was Kiss and Tell. Plays returned on 8 January 1949 with British immigrants William Hodge and May 1954. British husband and wife Roger Livesey Luisillo and his Spanish Dance Theatre, Garson Kanin’s comedy, Born Yesterday, ‘Suspended until further Gordon Chater in the cast. The rest of that year saw Dear Charles, a and Ursula Jeans starred in William beginning the first of several Comedy followed by a London success, Fly Away seasons on 11 March 1958. notice’ British husband-and-wife stars Evelyn comedy with Sophie Stewart and Clement Douglas Home’s comedy The Reluctant Peter, then an American farce, Separate On 22 April another Australian play Laye and Frank Lawton began a four month McCallin, doing well with a run of over Debutante for over five months from This very successful F. Hugh Herbert sponsored by the AETT, Richard Benyon’s Rooms. All these did well but the stellar five months. But a revival of White Cargo 25 August 1956 while 4 February 1957 comedy had run close to 200 performances season on 12 May 1951 in Daphne Du highlight of the year was British comic The Shifting Heart was well received prior to Maurier’s September Tide and John Van and a new Australian play, Pommy, again brought another successful expatriate, Leo when it was ‘suspended until further notice’ a London season, with an eight-week run to actor Robert Morley opposite Sophie with Bill Hodge, did poorly. The end of McKern, in The Rainmaker—though the play by an Actors Equity strike on 26 March 1944. Druten’s Bell, Book and Candle. F. Hugh Stewart in his own play, Edward, My Son, the year saw Hodge in the perennial 18 June. Herbert’s comedy, The Moon is Blue, which itself failed to please. This was the first major industrial Eight-week runs were also scored by from 2 December—the first of Morley’s Charley’s Aunt. action taken by actors in Australia and was followed, had a reputation for raciness but …As did Janus, the comedy which many successful Australian visits. expatriate star Robert Helpmann in Noël followed, despite the presence of British resolved after three weeks with victory for was only moderately well received during its Enter: Googie and John Coward’s Nude With Violin and Edwin Heated première star Jessie Matthews, nor the next, Double the strikers and the adoption of compulsory 10 weeks from 14 September. From 5 On 12 February 1955 Googie Withers and Styles and Sophie Stewart in Not in the Image, a thriller with British actor Emrys union membership for the profession. After this came the Australian première of December 1951 the Comedy housed its first John McCallum made their first duo Book. The end of the year brought For Jones. Although only introduced late in Kiss and Tell resumed on 10 June 1944 Tennessee Williams’ A Streetcar Named Desire ever Shakespearian season when John appearance in Australia with a comedy, Amusement Only, an English revue starring and went on to establish an all-time record on 18 February 1950—appropriately enough Alden’s Australian company arrived with a Simon and Laura. They followed this on 1956, the popularity of television was rising locals Toni Lamond, Tikki Taylor, for a straight play at the Comedy, with a on a summer night of overpowering heat in repertoire beginning and ending with King 14 May with Terence Rattigan’s drama, The already taking effect, and the days of four John Newman and Frank Sheldon. run of 414 performances. the as yet un-airconditioned Comedy. Lear, which ran until 29 March 1952. Deep Blue Sea, ending this first of their or five month runs for often routine plays Continued in the next issue of On Stage n Edwin Styles returned for another long stay on 23 December 1944 in The Amazing Doctor Clitterhouse, which ran until 11 April 1945 and was followed by Noël Coward’s Blithe Spirit which played even more successfully, until 7 September. A short break from the middlebrow, mostly lightweight fare now familiar at the Comedy came on 5 April 1946 when The Firm presented Doris Fitton and her Independent Theatre company from Sydney in Eugene O’Neill’s Mourning Becomes Electra. All 13 acts of this American adaptation Edward Brayshaw (Edgar), John Alden (King Lear), Leonard Bullen (The Earl of Kent), of a classic Greek tragedy were played out Barry Lovett (The Fool) in the Comedy’s first ever Shakespearian season. for 12 nights between 6.30pm and 11pm, with a 20 minute interval at 8pm. Australian born international stage stars Cyril Ritchard and Madge Elliott opened at the Comedy on 17 August 1946 in three Noël Coward one-acters, Ways and Means, Family Album and Shadow Play and played Sailor, Beware! (1956), Anthony Wager, Tony Bazell, Desmond Tester, Olive Walter, Myrtle Roberts. John Meillon in The Reluctant Debutante (1956). profitably until 14 December. Following Bill Hodge, Keneth Thornett, Henry McGee, Carl Bleasby and Deryck Barnes in Pommy, 1954. Page 14 ON STAGE Summer 2005 Page 15 are designed by architects, Reed, Smart 1957 For a brief time the Hall is home to Central Hall—a century of service and Taplin, also famous for some of the 57 Club, a theatre restaurant venture Gus n the late 19th century, if you were Company brought A Midsummer Night’s significant building—one of very few Melbourne’s most notable church founded by William P. Carr, former head of goss Irish-Catholic and needed a large Dream to the Hall.’ remaining Melbourne halls from the early buildings. A few of their original drawings drama at Gertrude Johnson’s National Imeeting hall, venues like Melbourne The possibilities are endless. twentieth century—is conserved and are held in Melbourne University Archives. Theatre. His casts include Pat Henry, Agnes It was good to see so Town Hall were closed to you. So, given ‘With the Art Gallery next door we refurbished to its original magnificence,’ Fulton, Graeme Ewer, Patsy Hemingway, many VTT members 1903 On 26 April the clubrooms open and that snub, the Catholic Archdiocese of want to develop this facility as an arts Prof. McMullen said. Melissa Jaffer and Elaine McKenna. enjoying Eureka! at the the Hall’s foundation stone is laid. Central Hall’s auditorium is 38.5m by Maj. And, a few nights Melbourne built its own large hall, precinct for the wider community. 1960s The venue is renamed Central Hall, 15.5m. It has a flat floor with flexible later, was I right in Cathedral Hall, which gave the Irish-heritage ‘We want to seek corporate and other 1904 On 10 April Cathedral Hall is blessed and the Brunswick Street portico is demolished. families of Melbourne meeting rooms and a financial assistance so that this historic and seating for up to 1200. by the Archbishop of Melbourne, Dr seeing four video 1970–1972 The Hall is transformed by grand assembly room all Special features are the Thomas Carr, and officially opened by the cameras recording the promoters John Pinder and J.J. McSpedden of their own. elegant cantilevered Chief Secretary, Sir Samuel Gillott. The show for posterity? into the T.F.Much Ballroom (named, say Throughout 2004 a balcony and the superb total cost of the complex is £15 000. The Of course it wasn’t the first time that church historians, ‘after the well-known diverse range of events fibrous plaster ceiling. second Australasian Catholic Congress is this particular piece of our history has been Australian expression of surprise and celebrated the centenary The slightly raked stage held here in October. recreated on the musical stage. I recall that delight’). It stages mind blowing theatrical of one of Melbourne’s is 11.3m x 7m and beneath to celebrate the rebellion’s centenary, New 1907 Successful fund raising allows the debt events with jugglers, comedians, wild least-known heritage are generous dressing and Theatre presented Song of ’54, and three on the hall to be liquidated. psychedelic light shows and, of course, venues—now called preparation areas. years later, in 1957, Cid Ellwood premièred newly popular rock bands such as Daddy Central Hall—at Atop the proscenium 1908 A supper room fronting Graham his rollicking Strike It Rich at the Essendon Cool, Spectrum and ‘feral’ jug band 20 Brunswick Street. arch is an imposing Irish Street is added to the east of the hall. Town Hall. Then there was Kenneth Cook’s Captain Matchbox. Later the name is These included concerts coat of arms, supported by Stockade at the Independent in Sydney 1971, 1934 Minor refurbishments, including new changed to the Much More Ballroom, as and recitals, dramatic figures symbolising peace. and Bob ‘King’ Crawford’s monumental electric lights, are undertaken in the press refuses to print the earlier name. presentations, films An orchestra pit can cater ‘sing-through’ Eureka from around 1990. preparation for the 1934 National and lectures. for up to 30 musicians. 1980s The Hall is used for 50-50 dances, This had, I remember, an open-air Eucharistic Congress. Central Hall is now The acoustics are said to community events and is the home of the performance in Melbourne after a première part of the Australian be outstanding. 1940s Film projection facilities are installed. famous May Downs dancing school. in Ballarat. Not content with that, Bob also Link: www.acu.edu.au produced a spectacular series of oil Catholic University. Pro- 1998 Central Hall becomes part of 1940s–1950s The Hall is used for live paintings on the Eureka theme. Vice-Chancellor Australian Catholic University’s new St A brief broadcasts by Radio 3XY, and a young Talking of musicals, that wonderful Professor Gabrielle Patrick’s campus. New lecture theatres are chronology Bert Newton performs here in the Peter’s Performing Arts Collection exhibition McMullen says the added to the rear of the Hall. n Pals Show. ‘Making a Song and Dance’ has had some university intends to set 1873 Tenders called by exciting spin-offs. Most are still under up an advisory architects Reed and Barnes wraps, but I hear that there’s a good chance committee to plan the for a factory for the that Peter Pinne and Don Battye’s ebullient Hall’s future. ‘We want Exhibition Boot Company. to explore how the A Bunch of Ratbags, which I remember venue can best serve the 1901 Because of difficulties enjoying at the Emerald Hill Theatre back encountered in trying to local community as well in 1966, may be seen in Melbourne again rent public venues, the as the university. some time this year. Catholic Archbishop Renaming has been And all my fingers are crossed for a suggests building a hall in suggested—Theatre proposed special performance of the 1930s the grounds of St Patrick’s Central, Central on classic Collits’ Inn at—yes—the real Collits’ Cathedral, but this is Brunswick, The Great Inn, which is still in business at Hartley dropped as it would mar Vale in the Blue Mountains. Hall. We’re looking the view of the cathedral It was great to see VTT member Diana for ideas! from Albert Street. ‘Restoration work Burleigh triumphing on ABC-TV’s has begun on the foyer 1903 The Melbourne superquiz The Einstein Factor, and anyone Archdiocese purchases the and anterooms, and the who knows Diana won’t be surprised that Exhibition Boot old supper room has her special subject was Gilbert and Company’s Brunswick been transformed into a Sullivan! I hope her success encourages her Street factory for recital room. The to write the definitive history of G&S in conversion into clubrooms Vienna Boys’ Choir sang Australia. Nobody could do it better. and classrooms; later it there in 2002 to mark By the way, Diana has documented her decides to add a substantial extraordinary Einstein Factor experiences at its reopening. hall, and the houses and www.crikey.com.au/whistleblower ‘In August 2004 the land at the rear are A 1906 Indignation Meeting (subject of unspecified) /2004/11/08-0004.html. Australian Shakespeare purchased for this purpose. - Gus, the theatre cat n Both parts of the project Page 16 ON STAGE Summer 2005 Page 17 and the disc includes some radio spots. (Oklahoma!) and Jonathan Tunick (‘Pro Show music thumbnails The show, in the style of Les Miz, Musica Antiqua’). Peter Pinne’s half-yearly checklist of new CD releases opened on 9 October 2004 at Her Best tracks are two by Dearie’s favourite Majesty’s Theatre, Melbourne, garnering writers, Cy Coleman and Carolyn Leigh, Great start for Joe Starts Again.’ Love’ and ‘You and I’, plus the rousing mixed reviews. ‘It’s Too Good To Talk About Now’, and ‘Shanty’ for the men’s chorus, and the Joe Starts Again is a one-man, one-piano, Live and luscious Until an original cast CD comes along, ‘You Fascinate Me So’ (Demi-Dozen). musical tour-de-force. boisterous ‘Serving Girls’ for the women. Chelsea Plumley—Live and Luscious is also a this sampler will have to suffice. Following its highly acclaimed Melbourne Vocals range from excellent to barely first solo album from this young acclaimed De-Lovely de-dud début, this new Australian musical picked adequate, but Stuart Pearce is a fine Rufus performer. Plumley, a singer (and pianist Connie and Carla track up the Green Room Award for Best Dawes, while Alison Farrow, as Sylvia De-Lovely (Sony 5173342000) is Hollywood’s on some of the tracks), is frequently in record Original Musical, an equally successful Vickers, acquits herself admirably. latest bio-pic on the life of composer giant chanteuse mode, but can also belt with the Sydney season, and a shot at the big-time The Connie and Carla soundtrack (Epic/ Cole Porter. A box office bomb, the movie best of the divas. during New York’s recent Musical Festival. Sony EK92430) features some wonderful does boast a high-powered musical Her natural warmth is sadly missing Alive and serious at vocal performances from Australia’s Toni performance from Australia’s Caroline from this performance the Donmar Collette and Greek-American actress Nia O’Connor (strangely missing from any which is pulled Philip Quast Live at the Donmar (PQD1) is Vardalos. publicity material for the movie). through by superior the first solo album from one of Australia’s Blossom remembered In a plot that owes a lot to Some Like It She sings and dances up a storm as musical direction by premier musical theatre performers. Hot, the girls pose as drag queens to escape Dear Blossom—Janet Seidel (La Brava Ethel Merman in the title number from Michael Tyack leading Recorded live at London’s Donmar the mob. In a score overloaded with show LB0064) is a collection of tunes associated Anything Goes to give an otherwise dull flick a small group. Theatre, Quast takes the audience on a tunes, the girls tackle everything from Gypsy with New York’s hip boite singer/pianist one of its few highlights. The album is very very personal, but relentlessly intense to Yentl with Superstar, Evita, Funny Girl, A from the ’60s, Blossom Dearie. It’s a most Awash with Porter classics, but not always big on medleys— journey. It’s an actor’s showcase without Chorus Line and Cats in between. Ex-’70s enjoyable 18-track album. performed in a classic way, best of the rest Sesame Street, Simon much joy. The show includes two of his pop singer Randy Edelman is responsible Seidel (pictured) is on piano, is Vivian Green’s ‘Love For Sale’ and and Garfunkel, and original cast performances in songs from for musical direction and he has given the accompanied by her brother David on bass Natalie Cole’s ‘Ev’ry Time We Say Goodbye.’ audition pieces, South Pacific and Sunday In The Park With whole thing a great, small combo sound. and Chuck Morgan on guitar. ‘Nobody Does It Like - Peter Pinne George, the latter providing some lighter It’s lounge singer funny! In this follow-up to her excellent Doris Me’ (Seesaw), All of the above CDs can be found at specialist relief with ‘Colour And Light’ which A bonus is having Debbie Reynolds Day CD, Seidel doesn’t sound like Dearie, ‘Wallflowers’ (The record stores or through Middle Eight Music juxtaposes the opening of the show with his guest on ‘There Are Worse Things I Could but her phrasing is spot on. Rink), etc. Plumley on (03) 9510 5109 or go to www.middle8.com wife having a baby. Do’ (Grease). All of Dearie’s distinctive songs are also seems to be going Middle Eight Music offers a generous 10 Frank Loesser’s ‘The King’s New Clothes’ here: ‘Peel Me A Grape’, ‘I’m Hip’, ‘Hey for the sympathy vote per cent discount to VTT just tell them you from Hans Christian Andersen is rarely heard John’ etc., plus material by music theatre by including Eddie are member when ordering. n these days; it also provides some comic craftsmen, Rodgers and Hammerstein Perfect’s tumour song moments from the mainly serious program. ‘What If’. There’s a tender version of Kurt Weill’s It’s easy to see why, on listening to this Best track is her opener, ‘The Singer’, ‘Lost In The Stars’ (Lost In The Stars), and It’s a fact: Gertrude Johnson in fiction cast recording that stars lyricist and author followed by ‘The Windmills Of Your Mind’ Quast also scores with Charles Aznavour’s Martin Croft (above). With Dean Joanna Stephen-Ward was 17 when she (The Thomas Crown Affair). ‘Happy Anniversary’. Several of today’s St Kilda until 1972, but for the sake of the spans six years and begins and ends in Lotherington supplying music and Mark began singing lessons with Gertrude new music theatre composers contributed story line, I have taken the liberty of having England, but most of it is set in Melbourne. Fletcher assisting on the book, this show Johnson. After three years at the National’s songs to the show, the best of which is it resident there in 1968. ‘Love affairs begin and end. Friends about a 40-something gay man who joins Term takes another bow opera school she realised her voice was not musical director Jason Robert Brown’s ‘Harriet Shaw is central to the novel. and enemies are made. Alliances form an internet dating agency, lands time and We’ve had the movie, the mini-series, now good enough for a professional career. ‘Letting You Go’, a haunting relationship Her reasons for giving up a glittering career among the students and staff. Political time again. comes the musical version of For the Term of All was not lost, however, as her break-up piece. at Covent clashes about conscription and Australia’s ‘I Like’ has a good ballad feel and a His Natural Life, another Les Miz clone—it experiences have given her the material for Garden puzzle involvement in the Vietnam War erupt. melody that keeps repeating during the seems that nowadays, all stories of social Vissi d’arte, a novel that uses some of the less her nephew Convention competes with change. show. Setting ‘Questionnaire’ as a jazz waltz injustice must be given this treatment. Eureka!, the sample public aspects of Gertrude Johnson’s life. Nicholas and his ‘And past and present collide when helps brings out the fun of the number, The show, which opened on 12 March A promotional sampler has surfaced from Joanna explains: ‘Vissi d’arte was journalist shadows from a tragedy in 1930 threaten while ‘I Shave My Balls’ is a terrific good 2001 at Mount Nelson Theatre, Hobart, was Michael Maurice Harvey’s new musical inspired by Gertrude Johnson (right) and girlfriend. the career of an innocent girl.’ old-fashioned 11 o’clock showstopper. written and directed by Don Gay, with music version of Eureka!. the character Harriet Shaw is loosely based ‘Harriet has Vissi d’Arte is published by Popham Those songs plus the emotional finale, and musical direction by Mark Hulsman. The four track CD, taken from the well- on her—but Gertrude was far kinder, more kept her secret Gardens Publishing, Richmond Business ‘A Private Love’, help give the score its Handsomely packaged with lyrics in produced concert version of the show humorous and artistically adventurous. for 40 years and Centre, 23 George Street, Richmond, resonance and make it one of the most the booklet, the CD features a large released on CD in 2003, features a mix of ‘Her personality and character were feels hunted as Surrey TW9 1HY, England. accessible in years. 18-piece orchestra and cast of 49. The several of the big anthemic numbers sung nothing like Harriet’s. her carefully It is available either in paperback, on As one New York critic said, ‘Those sound is lush, with not a synthesiser in by the company which included Rob ‘The other characters are fictional. constructed story CD in an e-book version, or as a worried about the future of the blockbuster earshot, and the orchestrations excellent. Guest, Peter Cousins, Leonie Page and ‘The National Theatre I describe is the about her past begins to collapse.’ downloaded pdf file. musical can be heartened that the chamber There are several pretty ballads— Barry Crocker. The solo ‘Beneath The real National, but the events are of my own ‘Vissi d’arte is about love and music—the Links: www.publishing foryou.com musical alternative has candidates like Joe ‘Fragment in my Mind’, ‘No Reason but Southern Cross’ is impressively sung by Guest, making. The National did not move to drama and passion associated with opera. It www.vissi-d-arte.com n

Page 18 ON STAGE Summer 2005 Page 19 Letters to the Editor Malthouse puts the lid on Playbox Oxymoron update in 1995 and played to over 80 per cent Whither the theatre After 27 years, Playbox Theatre Company it’s more multi-disciplined than that. In fact has a new name—Malthouse Theatre. The [Playbox’s founder] Carrillo Gantner I can’t resist a comment or two on Frank houses for four weeks at the Assembly. Did manager? I mention I was the lighting designer? renaming coincided with the launch of suggested a name change to The Malthouse Van Straten’s history of Australian musicals Congratulations on a well presented and I suppose there must be some argument Michael Kantor’s first season as artistic director. back in 1990.’ Gantner was one of the (On Stage, Spring 2004). informative publication. about Robyn Archer’s Café Fledermaus The new name was chosen after company’s co-founders. Nick Enright and Terry’s Summer Rain Each issue highlights the heritage Kantor also announced some important was written for the 1983 graduating class at (opening season of the Malthouse 1990) as consultation with the board, staff, friends, handed down to us in so many ways, not upgrades to the CUB Malthouse facilities. NIDA—I know because I was the stage to whether it was a musical or a play with and representatives from the company’s least in our theatre and cinema past, which The Merlyn Theatre is being refurbished manager. It played at the old Parade songs, but I was shocked that Cho Cho San subscriber base. It obviates the name was always the best in the country. and air conditioned. A new seating system Theatre, directed by Gale Edwards, and did not make your list! confusions highlighted in research with Included, also, so much information on the will be installed. was quite successful, selling well above the After starting as a puppet musical by neighbourhood residents, patrons and stars and personalities who appeared and There will also be a flexible new venue, NIDA subscription list. Handspan Theatre in (I think) 1986, it was subscribers, and capitalises on the very worked in them. the Tower Theatre, seating from 80 to 120. revised for a season in the Arts Centre strong identity of the company’s home, the Attempts to transfer it to the STC were In order that more fascinating This will facilitate a broad range of Studio by Playbox/Handspan in 1987. CUB Malthouse, which has been its base proposed by Wayne Harrison (I think) who information can be added in the future, developmental work by both the company Subsequently it toured extensively through was then dramaturge at STC, but came to VTT could approach members to provide since 1990. and outside groups. Victorian regional centres, Sydney and nothing until 1989. I still have the original details of past house managers and staff, Playbox was founded in 1976 to Kantor also confirmed the appointment Hobart in 1987. cast recording! I also have a recording of who they think may be interested in talking champion new Australian plays, but in function at the Malthouse, Kantor (above) of Stephen Armstrong as executive In 1988 the tour proceeded to Adelaide, Nick, Terry and Gale singing through the show abut their careers and experiences. recent years the quality of some of its work said he intends to change direction.‘I think producer. Kantor and Armstrong will work Perth, Darwin and regional Northern for the company at our first read through. Little has been documented on the has been criticised and its subscriber base the term “Playbox” is inappropriate for together to develop artistic content and Territory as well as Beijing, Shanghai and Riff Raff was revised as Riff Raff —the devastating effect which the coming of has dwindled. Paid attendances dropped what we have been doing and what we boost audience numbers. Jill Smith, the Nanjing in China. Plans to revise it with a Remix for the Next Wave Festival in 1988 television had on the entertainment industry from 39 000 in 2002 to 29 000 in 2003. want to do,’ he says. company’s general manager of 24 years, large orchestra in 1990 came to nought, but by Playbox, at Melbourne University’s and those who worked in it. At the Victoria Theatre Trust Christmas ‘Theatre is a larger concept than a play— will continue in her present role. n it still remains one of the most impressive Union Theatre in Parkville. Perhaps VTT could recruit a small musicals (Australian or otherwise) I have My memory is that this season did not group to interview and collate this information seen. To declare a public interest I was do well. I was production manager on for use by the editor for the magazine? production manager! National—and multicultural that one. There is, I believe, some urgency in - Robert Taylor Ray Lawler’s musical adaptations of this, for as we all know, time is passing The National Theatre has received a state General manager Robert Taylor ‘Most years our board authorises General Manager, Australian Ginger Meggs and The New Adventures of quickly, and if we lost his opportunity it will government award for providing an explained, ‘Every year we are approached around $130 000 in support from around 50 National Memorial Theatre, St Kilda Ginger Meggs in the 1950s were apparently be gone forever. accessible, reasonably priced performing by a wide variety of multicultural, ethnic, requests, many of which were fund raisers.’ great successes (long runs and a sequel, - Maurice Scott arts venue for a wide range of community- educational and community groups seeking Mr Taylor, in paying tribute to the yet!) for the National Theatre but—correct Zadora-schmadora East Kew n based multicultural organisations. assistance in the form of subsidies and National Theatre’s philanthropic supporters, me if I’m wrong—the scripts and score have The Award for Excellence in technical support for their activities. particularly mentioned the Brencorp In On Stage for Spring 2004 Robert Taylor long been lost and Ray doesn’t allow Multicultural Affairs as a Service Provider ‘Most have no financial reserves, as Foundation, Macquarie Bank Foundation, relates the delightful story of Pia Zadora in revivals of his early works. Gus goss (Arts) recognises outstanding achievements their constituencies are families, single Helen Macpherson Smith Trust, William The Diary of Anne Frank. It’s a great yarn but, Paris (the Musical) has of course had My friend Vic, the Arts by individuals and organisations in promoting parents, immigrants or the disadvantaged. Angliss (Vic) Charitable Fund and the several pro-am seasons, most recently in sorry, it’s too good to be true. Centre cat, has been very the linguistic and cultural diversities of ‘They use the arts to bind their R.E.Ross Trust. Melbourne in 2004 at the National Theatre The intriguing Urban Legends website upset recently. Catering is Victoria’s multicultural communities. communities and assist with social cohesion ‘Without these generous benefactors there and in Frankston, produced by Stella explains that the lovely Ms Zadora never not quite right, it seems. At National Theatre chairman Adrian by keeping their cultures and traditions would be no Community Access Program at Entertainment. The claim was that this was appeared in The Diary of Anne Frank on the first interval of the Gibson accepted the award at a ceremony alive. These groups are both sidelined and the National, as the program receives neither Australia’s first professional season, but this Broadway, off-Broadway, or anywhere else, morning dress rehearsal of at Government House on 8 December 2004. excluded from mainstream venues. state nor council funding,’ he said. n does not hold up. and at no point in the play do Nazi soldiers OA’s recent production of Deidre Rubenstein’s musical What’s a actually appear on stage. Manon, at around 11.45am, the bars were Girl To Do? was a mixture of Australian George Burns related the story in his serving what sandwiches they had stocked poetry, songs and monologues. 1996 book 100 Years, 100 Stories, but he up on. By the time of the second interval, Auditorium-Metro on the block again? First presented at Playbox Theatre in didn’t name the actress and, according to around 12.15pm, no sandwiches were to be The building that once housed the Figgins Diorama, housing smart international involved in the spectacular Melbourne GPO the Raw in 1992, it was given a Urban Legends, the tale had already had, but there were lots of very hungry Auditorium concert hall and later the Metro designers. In 1987 the failing enterprise was redevelopment) paid $15 million for it in professional season in 1993 at the Beckett circulated for some time, naming a variety customers. Also, Vic tells me, Wirth’s Café Collins Street cinema, may again be up for sold to Sir Donald Trescowthick for $14.5 2000, planning to rework it as a $145m, Theatre (directed by Rob Meldrum, with of minimally talented ladies, particularly is becoming known as Worse Café. Seems sale, this time complete with a permit for million. He spent another $4 million 19-level residential, office and retail Mark Jones as musical director) followed Ms Zadora. the food is so unexciting performers and apartments, retail space and offices. turning it into the Shop of Shops. When complex. by a season at the Griffin Theatre in But it is indeed a wonderful story! Have backstage staff are deserting it at mealtimes The building has had a history of failed this, too, faltered Trescowthick unloaded it The project sparked a planning dispute Sydney in 1994, when it was somewhat a look at: : www.snopes.com/movies/actors/ for the delights of the Southbank restaurants upmarket retail ventures starting in the mid- to developer David Marriner for $22.6 which was finally resolved in January 2004. reworked by director Rod Anderson and zadora.htm where there is a wonderful range of foods 1980s when the Metro theatre interior was million in 1989. Acquired in 1993 by SEAA Heritage protection will ensure that the musical director Michael Tyack. - Scott Tulloch at a variety of prices. gutted and transformed into the $22 million Enterprises for just $4.35 million, Adam elegant street frontage will be preserved. n It was invited to the Edinburgh Festival Brighton - Gus, the theatre cat n Garrisson's Wetherby Capital (recently

Page 20 ON STAGE Summer 2005 Page 21 Update One hundred glorious years... THE JOHN TRUSCOTT With a parade of legends, Ivan King, archivist of His Majesty’s Theatre, Perth, DESIGN FOUNDATION INC. concludes his paean to a theatre jewel n 1926 a local specially written for her schoolgirl entered by George Bernard Shaw. Ian eisteddfod at As Europe lurched His Majesty’s toward its second war Theatre. She won the of the century, there competition, and then developed in Perth a sailed away to communist theatre throughout the central business district of Europe to study. group called the Melbourne, the Foundation recently made Ten years later Workers’ Art Guild. two awards. she returned to that Abiding by its motto For Rob Adams, Director of City same stage as one of ‘Art is a Weapon in the Projects, City of Melbourne the citation the era’s finest People’s Fight,’ the reads: ‘From small matters of design details classical pianists, Guild presented raw, to a broader canvas of streets and Eileen Joyce. Today, angry plays reflecting laneways, from public amenities to public Dressing Room No 4 the rise of fascism in places, from street lighting to street at the Maj is named the Northern furniture, Rob Adams has shown what is in her honour. Hemisphere. W.A.G. possible in the pursuit of excellence in Following the had a colourful design in the City of Melbourne.’ groundbreaking visit membership, including For John Annert, proprietor of the from the Williamson- writer Katharine Swanston Street Flower Kiosk: ‘Colourful, Melba Grand Opera Susannah Prichard, bright and beckoning under lights, the Company—covered photographer Axel Melbourne Town Hall Flower Kiosk is set in the previous issue Poignant and a noted Sculpture by the Sea—Bondi, 2004 by the grey stone buildings in the city of On Stage—the painter who later centre, reminding us that Victoria is the next star in the worked as a scenic garden state.’ constellation was artist at the Princess In what has become a major outdoor The sculptures presented a great variety Bradley Van, Partner-in-Charge, Anna Pavlova, who Theatre in Melbourne, exhibition of sculpture, 110 works were in size, material and subject matter. Of Melbourne Office, Clayton Utz, presented pirouetted into the Harald Vike. exhibited along the Bondi cliff top and at concern was that some of the sculpture was the awards on 5 October 2004, and Maj spotlight for two Denounced from the water’s edge. The John Truscott Design submitted having little attention to the commented on the importance of amenities weeks in July 1929. the pulpit and on the Foundation again supported the work o environmentally based approach as requested. such as these. On a free floor of Parliament, the an emerging artist, Robert Hawkins Thirty works were presented in the gallery Premier’s Design Award afternoon during the Guild entered (picture above) with a further 32 on the bush track. season she hired a productions in the Link: www.sculpturebythesea.com Peter Davidson, a partner of Lab Of the 13 artists involved, four are well- cinematographer to illustrious guest from a previous year, annual drama festivals Architectural Studios, designers of Sculpture in the Bush recognised sculptors, working nearly full- film excerpts from her repertoire. That exclaimed, ‘This is as light as Pavlova!’ And then being staged at the Maj. Much to the Federation Square, has now received the —Dunkeld, Victoria time in the field, five are young and flickering black and white footage, with that, dear reader, is how your National Dish chagrin of polite society, the commos engraved Melbourne Design Prize. working at becoming established. One of company member Edouard Borovansky no was born! sometimes walked away with First Prize! The inaugural exhibition was held at (Unfortunately the trophy, dubbed ‘The the biggest joys in running this event was doubt dancing in the background, was Between World Wars I and II the Observing this cultural foment from the Aquila EcoTourism Lodges. Truscott’, had not been able to be inscribed meeting the artists and getting to know destined to be destroyed in a warehouse Theatre became a concert hall for a parade other side of the footlights was the drama The Foundation supported the in time for presentation at the awards dinner.) them. One, Dean Smith, has since moved fire. (Question: were there no copies made of magnificent singers and musicians. Apart critic for West Australian Newspapers, a engagement of an artist-in-residence, Guy The John Truscott Design Foundation permanently to Dunkeld and is preparing of the original?). from Melba, they included Amelita Galli- very conservative man who disliked the Denton, who worked during the course of commissioned Jason Nestor and Adrian to open a sculpture gallery in the main street. While in Perth, Anna Pavlova stayed at Curci, Toti dal Monte, Richard Tauber, Guild’s politics, but who praised the creative the exhibition with a variety of young Lonsdale, recent Swinburne graduates, to One work of each of the artists-in- the Esplanade Hotel, a stately colonial inn Richard Crooks, Lawrence Tibbett, Dame energy they injected into the local scene. people. Two of the artists-in-residence sold design the trophy (see On Stage, Spring residence will be sited permanently along overlooking the Swan River and air Clara Butt, Lotte Lehmann, Benno He wrote his critiques under the nom- three sculptures created on-site. 2004 issue). the planned sculpture trail, in line with conditioned by a summertime breeze Over 1000 people attended the Moiseiwitsch, Jascha Spivakovsky, Joseph de-plume ‘Polygon’. In more recent times Dunkeld’s town-planning scheme. known as the Fremantle Doctor. In 1935 Szigeti, Essie Ackland, Florence Austral, you’d have known him better as the exhibition with the majority (800) being on The John Truscott Design Link: www.ecolodges.com the hotel chef, experimenting with Dino Borgioli and a tubby teenage fiddler Governor General, Sir Paul Hasluck. the final weekend, which coincided with Foundation Inc something new to serve as dessert, known as Yehudi Menuhin. However, in With few exceptions, travel restrictions Dunkeld’s 150th centenary celebrations. A Place in the City PO Box 69, concocted a meringue-like substance that 1932, the sound of music was drowned out prevented shows from coming to the Maj Ten works were sold and two artists In its ongoing A Place in the City program, East Melbourne 3002 he submitted to the proprietress for approval. by the voice of drama when Dame Sybil through the dreadful years of WWII. So, for received commissions from the event. recognising excellence in design Phone: 9415 6796; Fax: 9415 8095 n She took one bite and, recalling her Thorndike played Saint Joan, the role the duration of hostilities, the auditorium *

Page 22 ON STAGE Summer 2005 Page 23 was transformed into a second-run cinema. Edgley brings the Moscow Circus to a town Edna Everage rose above the then appaling kind who call themselves ‘arts workers’ ballerina, Lucette Aldous.) stunned the town with The War of the Roses It is said that servicemen were often herded near you, he’s continuing a tradition begun backstage facilities to address her adoring claimed that it would become an ‘elitist The Festival Of Perth resumed its in 1988, on the exact spot where Rowan into stalls, dress circle and gallery to watch over 40 years ago by his daddy in Perth. public not once but twice, in 1965 and space’—but after the refurbishment none of annual imported offerings, the most Atkinson had delivered ‘Mr Beanish’ one- screenings of what the Top Brass referred Gladys Moncrieff’s links with HMT again in 1968. Yet despite neglect and them knocked back the offer to work brilliant of which were the Abbey Theatre’s liners the year before. David Atkins and his to euphemistically as ‘health films’. reach back to 1915, to her role as Phyllis in fading glory, the Big Names kept coming. there). But I digress… Shadow of a Gunman and the Royal National boys provided mind-blowing tapping in Hot With peace restored, Edouard Iolanthe. She ended the association in 1959 The Australian Ballet brought Dame Finally convinced, the Government of Theatre’s An Inspector Calls. One will gloss Shoe Shuffle and Mikhail Baryshnikov did Borovansky returned in October 1945, this with a farewell appearance in Many Happy Margot Fonteyn; The Scottish Ballet Western Australia bought the building from over another Festival attraction, Cleopatra. dance of a different kind with the White time with his own troupe of dancers, to Returns, sharing the bill with Jim Gerald, brought Dame Margot Fonteyn. Reg the Edgleys and the transformation began (As one said at the time, ‘Pity the asps Oaks troupe. Along came Wynton Marsalis begin a love affair with Perth audiences and—you’d better believe it—Britt Ekland! that was to last through five seasons over But let’s fast forward to 2004, the 15 years. Yes, the House Full sign was centenary year of the Maj. It began with much in demand whenever the curtain was Richard Mills’ astonishing opera, Batavia, about to rise on the Borovansky Ballet and lead by the ageless baritone voice of Bruce its stars Kathy Gorham, Garth Welch, Martin. It continued with a roof-raising Marilyn Jones and Elaine Fifield. Carmina Burana, rendered by the combined And then came the big Broadway forces of WA Opera, WA Ballet and WA musicals... Annie Get Your Gun! Oklahoma! Symphony Orchestra. South Pacific! Kiss Me, Kate! Can Can! And The Sydney Dance Company popped let’s not forget The Pajama Game, the show in for a few days. So did the Australian Ballet, that introduced Westralians to the luminous Bell Shakespeare and the previously mentioned talent of Jill Perryman. Dame Maggie Smith—all adding a word, a Under the banner of ‘Edgley and sentence, a paragraph, a chapter to the rich, Dawe’, showbiz brothers Eric Edgley and rich history of His Majesty’s Theatre on the Clem Dawe leased the Theatre in 1954 and corner of King and Hay Streets, Perth. in conjunction with the Tivoli Circuit or Celebrations culminated on the day of Tibor Rudas presented a long series of the actual centenary, 24 December. On revues featuring headliners from the world Stalls foyer Dress Circle foyer Christmas Eve, exactly 100 years after of variety and vaudeville. Pollard’s Adult Opera Company staged the Buxom showgirl Sabrina spent her 15 inaugural performance with The Forty minutes of fame in one revue. Blonde Queenie Paul and Jenny Howard — Livermore brought Betty Blokk Buster. on 1 March 1978. didn’t arrive in Act I’). Thieves, a time capsule was lodged in a wall bombshell Diana Dors hogged the spotlight described in the program as ‘the Royal There was loud applause for Googie In went architect Peter Parkinson. With After that multi-million dollar facelift, of the stalls foyer. It will be opened on in another. However, apart from these slick Family of Variety’. Our Glad! Withers and Andres Segovia, Marcel his team he spent the next two years and the Maj became home base of the WA 24 December 2105. international acts, Edgley and Dawe Perhaps the biggest attraction for 1955 Marceau and Joyce Grenfell, Peter Cook two months reviving and restoring Ballet and the WA Opera, two companies Happy birthday, Maj! productions also showcased Australians was the Old Vic Company, headed by and Dudley Moore. They queued for the ‘Australia’s only remaining Edwardian that have spent the past (almost) 25 years PS: I’ll stop now before I mention an epic soon to join our first generation of Robert Helpmann and Katharine Hepburn. touring musicals Hair, Funny Girl, My Fair theatre’. They extended foyer spaces into enhancing their productions with the called Ladies’ Night in a Turkish Bath television stars. Kate was the first Academy Award winner Lady, Fiddler On the Roof and Man of La what had been the adjoining hotel. They nation’s finest talents—and nurturing new Three who come to mind are Dawn to grace the boards of the Maj. Others Mancha. They didn’t queue for Mame. That installed air conditioning and gave the talents, as well. See ‘Happy Birthday, Your Majesty!’ page 38. n Lake, Bobby Limb and Barry Crocker. followed. Vivien Leigh arrived in the heat was a disastrous floperoo! auditorium a fabulous makeover. They also The English Shakespeare Company Then, while the Cold War was at its of January to play Viola in Twelfth Night for Shabby dressing rooms, peeling paint, created backstage comforts that would win frostiest, Eric Edgley and his older son the 1962 Festival Of Perth. The theatre poor plumbing and no air conditioning... the approval of even Dame Edna herself. Philip did something quite, quite bold. then had no air conditioning and Viv The grand old playhouse was ageing fast The gala re-opening took place on They leapt the Iron Curtain, travelled to claimed she’d not been so hot since she and the word ‘demolition’ was often heard 28 May 1980—and a sumptuous setting was Moscow and persuaded the Soviet entertained the troops in wartime Africa. in the City by the Swan. Bulldozers waited suddenly available for a succession of authorities to send their most electrifying Sir John Gielgud checked in with his in the wings to do to the Maj what they Wondershows... Cats, 42nd Street, Les entertainers Down Under to the Maj (and, Ages Of Man in 1964. Rex Harrison joined had done to so much of St George’s Terrace. Misérables, Me and My Girl, plus glorious of course, to other theatres throughout the Claudette Colbert to enact Aren’t We All? in Flatten it! revivals of South Pacific and The King and I. nation). Soon the stage was riddled with 1987. Geoffrey Rush came with The Fortunately, the visiting British Perhaps, though, musical stardom reached Russians—the Omsk Siberian Dance Importance of Being Earnest in 1991 and early comedian Derek Nimmo gained timely and its incandescent peak the nights Jill Company, the Berioska Dance Company, in 2004 Dame Maggie Smith gave us one valuable publicity when he censured Perth Perryman in a red beaded gown, the Moiseyev Dance Company, the of two Talking Heads. Another Oscar society just for contemplating knocking it descended a golden staircase and launched Novosibirsk Ballet, the Osipov Balalaika winner, Vanessa Redgrave, was guest of down. So began the cultural and highly into the title song from Hello, Dolly!. That Orchestra, the Leningrad Kirov Ballet, the honour at an Actors’ Equity reception, held political campaign to save the building—a performance is not forgotten at the Maj. Georgian State Dancers and Honoured in the same venue where her grandfather, campaign won by dedicated activists, No.1 dressing room is now the Jill Artists of the Bolshoi Ballet. Not to mention Roy Redgrave, appeared way back in 1914. concerned citizens and some members of Perryman Suite. (No.3, incidentally is Pictures: Robert Garvie their ‘minders’! So now, whenever Michael Long before her damehood, young Mrs the arts community (local thespians of the dedicated to the exquisite Australian

Page 24 ON STAGE Summer 2005 Page 25 design at that time and the need to create a this article—the ‘black box’, for all the good shared design concerns—the need for Gassed up and going great! space which could host other uses, should thinking behind it, proved difficult to flexible staging, seating and lighting. ‘Found Once the South Melbourne Gasworks supplied gas to south-eastern Melbourne. Now the Gasworks supplies fashions in theatre change. realise fully—at least when built from the spaces’ needed them as much as ‘black arts-related—and other—events to its former customers, says manager James McCaughey. Developments in 20th century theatre ground up for this purpose. boxes’ or else they risked becoming a one- y a miracle of local government coal was shipped from Newcastle to nearby their importance That building remains the beneficence, once the space had Port Melbourne Pier from where it was dominant building on the park today. Blost its usefulness as the South transported, initially by horse drawn cart, It is now known as the Gasworks Theatre. Melbourne Gasworks, the area was retained and then by truck, to the present site on the When the various buildings around the for the benefit of the whole of Melbourne, corner of Pickles and Graham Streets, park were recycled, the former pump room instead of providing unpleasant industrial Albert Park. There it was baked in ovens offered both challenges and possibilities. odours for its neighbours, or juicy real-estate and the resulting gas pumped into gasometers Most of its roof had been lost, the walls for developers. and through a network of pipes to the homes were in decay and the floor was a torn relic This spread and diversification of use of adjoining suburbs, as far away as Balwyn. of former uses. But it clearly offered responds to—and brings to the next logical Though ovens and retorts have long significant possibilities. It had an unusually stage—the development of the ‘found since gone, traces of the technology of gas wide span, pleasant dimensions, and the space’—a home not just for theatre, but manufacture are still to be seen. The old remnants of a high wood-lined ceiling many different types of events… salt works building (which produced which offered good acoustic possibilities. It Events like the annual Taste for Living by-products from the gas) still stands, as also had supporting rooms and spaces. Festival next planned for Sunday, does the two-storied administrative centre, The consideration of how to use this 27 February 2005. In this, local restaurants, the workers’ shower and changing room, space (for which a strong case had to be wineries and community groups will offer stocky bollards to stop horse-drawn drays made to the then City of South Melbourne, samples of their products in the middle of bashing into buildings, and the weigh- given the scale of expenditure envisaged) design had initially created performance Maybe audiences were not entirely off idea, their attraction spent when the first the park to raise money for the Southport bridge which checked incoming loads of was guided by developments in theatre spaces with a more immediate relationship comfortable entering a space built to resonance was used up. They had to have Community Residential Home which sits on coal, all now decorative between stage and audience. They then abstract proportions that did not have a dimensions that could allow for flexible one of the corners of the park. memories of progressed to create theatres in which that ‘feel’ of its own. configuration (not all of them did). And The artists’ spaces, galleries and theatres the past. relationship could change according to the A new quest emerged, for ‘found there was always the danger that the will exhibit visual, performing and other Just as the laboratories requirements of the play to hand, a shared spaces’, theatre buildings which had process of rendering them flexible could arts events for young and old. have been opened as a café space between actor and audience. formerly had other uses. The interest in rob them of some of their original character. On that day, the public can move and gallery for the public, Changes in theatre spaces are these (aside from the fact that they cost less Nevertheless, the choice between these through the various spaces to see and listen all of the old buildings stimulated by—and open up to—new forms to develop than a purpose-built theatre) two approaches was still a real one. When to what is happening within them, those have been transformed to of plays. In ‘shared space’ theatres the came from the sense that they already had the Playbox Theatre Company came to spaces becoming arenas for interchange, new purposes, for the park presence of the audience became a key character and resonance, an association in redevelop the Malthouse, there was a and the opening up to the public of processes now houses arts-related component. They could become the mind of the audience. question as to whether the outer skin of the by which art is made and the excitement of activities. participants in the drama, or wandering A number of theatres in Victoria were original building could be modified to the experience of the product itself. The salt works now spectators with a varying perspective on created out of such spaces—The Pram house a major performance space. As on every other day in the park’s life, houses a sculpture studio the event, to name but two possibilities. Factory in Carlton, which became home to In the outcome, most was used for the the theatre will play its role as a place of where leading Melbourne Technically and architecturally these the Australian Performing Group, La foyer and a ‘blue-box’ theatre was gathering, meeting, showing and sculptors ply their craft. changes led to the (still not completely Mama, converted from a former shirt constructed in a new shell alongside the experience, where things can happen, Other buildings house realised) desire for the ‘fully flexible space’ factory, The Church in Hawthorn, the original building. whether through performance or other ceramic artists and with its dream of reconfigurable seating, a home of Australian Contemporary Theatre, It is interesting to learn that the new kinds of events, where people gather to painters. The administrative stage which could be shaped to respond to The Temperance Hall in Napier Street, management of the Malthouse, led by watch, exchange things with each other, or building has become the requirements of the performance and a South Melbourne, developed by Anthill, Michael Kantor, is planning to redevelop listen to what others say and do Books Illustrated, an grid that could cast light anywhere in the The Incinerator in Spencer Street (which the Tower Room as a low-resource/rapid Theatre fashions and techniques may exciting centre which A Taste For Living is a feast for all the senses. space. In new theatre buildings, these existed only briefly) and the former RS&S turnover theatre. change but these human needs and fosters and displays A delicious and entertaining day with over 20 aspirations led to the ‘black box’ theatre—a Mill in Geelong, which became the home The dialogue between the original activities will continue. illustrations for children’s food stalls, art and kids’ activities, tours, talks, space neutral in dimension and feeling, of The Mill Theatre Company. building and its use for theatre continues. The Gasworks Theatre will continue to books. In access studios, live music and performance. capable of being shaped in many ways and Such spaces were used in the conviction This was the historical context within change in form and activity to meet those classes and meetings evoking many worlds. that theatre could happen anywhere, that it which the former pump room on the changes in the world around it, providing take place Sunday, 27 February 2004 Examples of this were the original need not be confined to spaces which were Gasworks Park was recycled as a theatre. an important resource within a park—a Crucial to the workings From 11am at Gasworks Arts Park, design of what is now called The George previously identified as theatres and could The decision was taken, and the case for place which people can call their own, of the original gasworks 21 Graham Street, Albert Park (Melway: 2J H7) Fairfax Theatre in the Arts Centre, and The take its form and some of its power from the renovation made, on the basis that it where they can see unexpected and were pumps. There were Space in the Adelaide Festival Centre. the new situations in which it found itself. was a fine room which could, within the remarkable things. many and they were huge, Raising funds for the Southport Community For reasons that are difficult to Despite the real discrepancies between context of current theatre practice, be used When the South Melbourne Gasworks housed in a 19th century Residential Home. understand—and lie outside the scope of ‘black boxes’ and ‘found spaces’, they for a number of kinds of performance * supplied gas to south-eastern Melbourne, style building worthy of

Page 26 ON STAGE Summer 2005 Page 27 and, should fashions change, be put to new Activity moved to small theatres in which uses, occasions, clients and expressive and different uses. predominantly text-based plays were possibilities. It has done so successfully and Exeunt The renovation created a useful and performed. It was a decade that was also to in the process become a space which takes Noelle Aitken Shropshire. After the war Jimmy became a capacious space in which a range of seating see a marked reduction in federal and state on many tones and expressive forms. full time professional musician, working at arrangements could be made and funding for new projects with potentially In the 13 years of its existence, it has 4.11.1938–23.8.2004 nightclubs, the circus, with the ABC and (compared with other theatres hosted, or produced, a wide Dancer and teacher Noelle Aitken has died 3DB orchestras and in the pit at the Tivoli, at that time) the cost of moving range of theatre, dance, music after a long illness. Princess and State (now Forum) theatres. from one to another was and community events. The Born in Melbourne, Noelle was nine He was in the bands that accompanied reasonable. It could be both flexibility of its seating and when she joined the National Theatre many top US entertainers, including Frank casual and formal and offered staging arrangements has Ballet School, then under the direction of Sinatra, Nat ‘King’ Cole, Liberace, Johnny the opportunity for bold use of favoured those who take the Lucie Saranova and Kira Bousloff. She Ray and Louis Armstrong. simple design elements opportunity to make appeared with the legendary Indian dancer Noelle Aitken Jimmy Allan Gravitating to television, Jimmy worked complementing the architecture performance of a kind which Shivaram during his 1950 tour, and when in the GTV-9 orchestra under the direction of the space. accepts the rhetoric of the space, the National presented Marjorie Lawrence of Arthur Young. From there he moved to It had modest, but and imaginatively extends it, in Aïda at the Princess in 1951, Noelle was HSV-7 where he took over from Lou adequate, support spaces. creating within it new terrains. in the supporting ballet. The following year Toppano. Jimmy made countless Like all such spaces which Of the many highlights one she danced in the National’s Australian recordings and was an extremely skilled looked to the past for the seeds thinks particularly of Tracie première of the four-act Swan Lake, and and sought-after arranger. He became of its design it also looked Mitchell’s dance season, the went on to tour widely with the National’s manager for the much loved ‘barrel girl’ forward to likely uses that imaginative use of the space by Ballet Company. and celebrity personality Panda. Their could be made of it. the VCA School of Dance After she graduated she was engaged sensational 1960 marriage was televised live The theatre was built at a Seasons under the direction of by the Victorian Education Department as Graham Bennett Ernie Fish by Channel 9. time in which there was rising Jenny Kinder, the concerts of the a physical education teacher. At age 21 she A few years later Jimmy and Panda confidence in the development Astra Chamber Music Society, went to England where she performed in a moved to Las Vegas, where Jimmy became in middle-size theatre Chambers Theatre Company’s BBC-TV production of Swan Lake starring resident musical director at the plush Hilton companies in Melbourne, and in-the-round production of Dame Margot Fonteyn. Flamingo. He and Panda ran a music a sense that much of the theatre Maxim Gorky’s A Respectable She worked for a short while for the preparation service, providing original activity in Melbourne was Family and the wonderful chaotic UK-based Australian Trade publicity unit, compositions, arrangements, music copying, being conducted in spaces too free-for-all of festivals and events but returned home to take the position of jingles and background scores for television. small to render them such as the Wickid Children’s ballet mistress with the National. And she They returned to Australia in the late economically viable. The Festival and the annual Art of continued to dance—she was in the 1980s and lived their retirement in quiet Gasworks Theatre offered a Difference Festival. National’s The New Moon at the Palais in seclusion. Panda’s autobiography, Surviving potentially larger audience The theatre is also home to 1964 and Ballet Guild’s Giselle at Kooyong Sybil Graham Ken Hannam Fame, was published by Spectrum in 2001. capacity and (coming as it did the Playback Theatre Company Stadium in 1969—and she was a busy and W soon after the unhappy demise which does distinguished projects valued teacher at many Melbourne schools. of The Church Theatre) a in work-place and other general With her partner, John Lord, Noelle Graham Bennett space in which larger and more community settings, and each moved to Canberra in 1990. There she 16.12.1933–5.11.2004 expressive theatre pieces could year stages two seasons became a specialist teacher and introduced A little over a week before his sudden death be staged. at Gasworks. adult ballet classes. At the Institute of Sport Graham was at the Arts Centre’s 20th Not all of these predictions Gasworks has revealed itself she taught dance movement to junior birthday cocktail party; he caught up with were fulfiled. The theatre was as an excellent exhibition space, gymnasts. Her achievements were many friends and colleagues, including opened in 1991 and at first where the combination of dark recognised when she was made a life several from the VTT, of which he was a became home to the Anthill walls and theatre lighting allows member of the Checchetti Society. founding member. Theatre which had outgrown for a theatrical presentation of W Gordon Hutchings Ralphine Sprague Born in Melbourne, Graham Stewart the confines of the Napier visual art. Jimmy Allan Bennett was educated at Chatham State Street Theatre. Unhappily that It is used annually for The 1926–15.11.2004 Primary School and Scotch College. He company was near the end of Gasworks Artists’ Exhibition, has Consummate musician and show business studied art and design at RMIT and went on its life cycle and closed soon hosted a number of sculpture identity James Warne (‘Jimmy’) Allan has to teach at Broadmeadows Technical College after coming into residence. ambitious design concepts. Large flexible installations and has recently housed an died at the age of 78. and at Hamilton in the Western District. Wider trends also challenged the new spaces like Gasworks need production exhibition of Melbourne mosaic artists. After studying flute with Gordon Like so many creative people of his theatre. The ’90s was a decade when most budgets and/or well-staffed companies to Incidentally, not all events conducted in Middleborough and the brilliant John generation, he gravitated to the Little of the middle-sized companies in transform them imaginatively. it are arts-related. Gasworks also is home to Amadio, Jimmy joined the Aussie Dinkum Theatre (later St Martin’s) in South Yarra. Melbourne ceased to exist and there was a The theatre (under the successive the annual visit of the Gyuto monks, when concert party, entertaining at military There he acted and worked on costumes diminished interest in the imaginative use leaderships of Elisabeth Jones, Shona it becomes half temple, half workshop, and camps around Victoria. At 17 he enlisted in and sets, forming a life-long friendship with of space as an element in theatre design. Johnson and Paula Philip) explored new is used for social events and gatherings. n Tone Travers Elizabeth Wing the Navy, serving in action on HMAS resident designer John Truscott. *

Page 28 ON STAGE Summer 2005 Page 29 Graham worked with John on the tank instructor, he was recruited by the career. She married an actor and landed a production of the South Australian Film in the late ’50s and early ’60s. friendships and back in again with Garnet H. Carroll production of The King Kiwis, the New Zealand army job ‘ghosting’ at the keyboard for Jessie Corporation. It is regarded as one of this Ralphine, who died in Southport, remarkable speed. Among her many friends and I (1962) and then on Camelot—first the entertainment unit. Matthews in her 1952 tour. country’s finest feature films and played a Queensland, in late September, was a who were in contact with her until the very 1963 JCW production, then in London and Ernie joined the troupe in Italy towards Sybil gravitated to the Phillip Street significant part in the re-birth of the Williamson stalwart from the immediate end, despite enduring some temporary later in Hollywood, on the celebrated 1967 the end of 1944. Initially he was an all- Theatre, working first in the box office and national industry. pre-war period when she toured in the banishments, were John Newman and Tikki Warner Bros. film, for which he designed rounder, a chorus-cum-sketch man, but his then in the pit. In 1965 she co-wrote the After making three more notable chorus of musicals with Gladys Moncrieff, Taylor, Bill Newman, Darryl Stewart, Jill curtains, tapestries, the patterns on women’s natural flair for comedy was soon evident. famous revue A Cup of Tea, a Bex and a features, Break of Day, Summerfield and right up to the early 1980s, when she finally Perryman and Kevan Johnston, Patsy costumes and men’s jackets, and King When the army dental unit made him a set Good Lie Down. She became the Phillip’s Dawn! and the TV series Luke’s Kingdom, retired, widowed and riddled with arthritis. Nicholson and Davvyd Brown and his Arthur’s and Guinevere’s crowns. of protruding top teeth to give him an musical director, writing Hail, Gloria Ken returned to London and resumed his No one is quite certain of her age. It family. Truscott garnered two Oscars, but endearing ‘goofy’ look, he became an Fitzpatrick for Gloria Dawn and the revue television career. In 1984 he came back to varied wildly but the general consensus was Ralphine is survived by a brother, Graham wasn’t even invited to the instant hit. ‘Was I lucky!’ he once But I Wouldn’t Want to Love There. She also Australia to co-direct Robbery Under Arms. the she was in her late 80s at the time of Grant, and a nephew, Rodney Sprague. ceremony—he didn’t have a Green Card. reminisced. ‘I had the right appearance at worked on television’s fondly remembered Ken continued directing quality British her death—although I am sure she would - Stuart Wagstaff Graham inherited the Oscars and recently the right time and with the right name for Mavis Bramston Show. television drama—Paul Temple, The Colditz deny this vigorously if she were able. W donated to them to the Performing Arts the job—comedy!’ In 1970 Sybil opened the first of Frank Story, Z Cars, The House of Eliott, The Onedin Her first job in the business was in the Tone (Lady)Travers Collection at the Arts Centre. Ernie stayed with the Kiwis for the rest Baden-Powell’s Dirty Dick restaurants in Line—until illness claimed him. One of his late 1930s in the JCW musical Balalaika. 1.3.1903–11.11.2004 From 1969 until 1989, Graham was of the Italian campaign and with them saw Perth, then moved to Adelaide, which she last productions was a movie length The stage manager, Horace Nightingale, One of Melbourne’s most colourful and Head of Art at Haileybury College. One of the horrors of the Dachau concentration made her home base. There she became an episode of The Bill. He was cremated in ran the company like a ship’s captain and generous arts patrons, Tone Travers, has the many students he inspired was Adam camp. After they were demobbed, the icon, playing in countless clubs, theatre London and his ashes returned to Australia. imposed fines of four shillings and sixpence died after suffering a stroke. She was 101. Elliot, whose animated short Harvie Krumpet Kiwis regrouped in Auckland in February restaurants and piano bars. In 1981 she W on anyone who was late coming into the Born Mercy Alicia Smith, she changed won an Oscar in 2004. 1946, prior to what was to be a short visit toured nationally as Barry Humphries’ theatre or who broke his other rules. The Gordon Hutchings her name to Tone Seymour when she In 1984 Graham designed the to Australia for J.C.Williamson’s. They accompanist and musical director. good thing about this was that the money c.1930–11.2003 embarked on a stage career. ‘The spectacular house curtain for the State opened in Brisbane on 13 April and went Even when her eyesight had started to thus collected went to the Actors’ On 23 November 2003 Australian-born Seymours,’ she said, ‘were fighters.’ Theatre and the beautiful painted ceiling in on to create Australian theatrical history fail, Sybil continued to contribute to Benevolent Fund. designer Gordon Hutchings, aged 73, was She toured extensively with a number the Vic Restaurant. More recent projects with an enormously successful national tour. Adelaide’s night life. Her dazzling For the next 30 years Ralphine went found in a suburban Hong Kong flat dead of companies, generally playing character include the decorative design details for the By the time it wound up in January keyboard delivery and her bawdy wit were from one JCW musical to another. In 1943 from multiple stab wounds to his chest and and comedy parts. A chance meeting with refurbishment of the Como Centre in South 1954, they had played to around 3.75 as sharp as ever, and she left the stage with she married Ian Roberts, one of JCW’s neck. Police are still investigating the murder. composer Jack O’Hagan led to a long Yarra, Myer windows for the International million people. her audience still shouting for more. senior stage managers, and they managed For the first 10 of his 40 years in theatre, career on radio, principally as ‘Mary Arts Festival, and the new house curtain for Ernie started a new life as a sales rep W to work together on many productions all Hutchings was a dancer. In 1957 he was a Elizabeth’ of 3AW’s children’s session. the Melbourne Town Hall. with the New Zealand TAB. In 1961 he over Australia and New Zealand. Amongst Ken Hannam member of the Elizabethan Opera Ballet. Tone married twice. Her first husband Most recently Graham was design moved to Australia to help set up a similar these were The Student Prince, Katinka, Rio 12.7.1929–16.11.2004 He travelled to England where he settled was Robert Sabine Burnard, who was also consultant for Darien Sticklen’s production operation here, selling the advertising space Rita, The Maid of the Mountains, Paint Your After a long illness, much-respected and became a naturalised British citizen. in radio. After his death she married of Camelot at the National Theatre in July 2004. on betting slips. After he retired in 1976 he Wagon, Brigadoon and Oklahoma!, in which director, actor, producer, writer, designer At the London Festival Ballet he ophthalmologist Dr (later Sir) Thomas Graham was an expert pianist. He was able to devote more time to tennis— she played Aunt Ella. and mentor Ken Hannam has died in developed his remarkable skills as a cutter Travers. Tone left radio to manage his practice. played for many productions at St Martin’s which he continued to play until My friendship with Ralphine started London at the age of 75. and he was soon working on the wardrobes She and her husband donated their and the Arts Centre, and continued to comparatively recently. Ernie retained his during the run of My Fair Lady. Because she Born in St Kilda, Ken was educated at for ballet and opera companies around the beautiful Mornington Peninsula property, entertain charity groups until recently. At love of theatre and the people in it, and had so little to do as the Queen of Walleroi College in Orange, NSW. He world, among them Moscow City Ballet, Seawinds, to the state, on the understanding the time of his death he was a resident of was a frequent visitor to Melbourne’s Transylvania, she became a sort of den began his career as a radio and theatre San Francisco Ballet, Dutch National Ballet it would be called Travers Park. Sadly this the Old Colonists’ Homes, established in Footlighters’ Club. mother to the younger kids in the show, actor, cutting his teeth at Sydney’s Phillip and Hong Kong Ballet. did not happen, but Seawinds Gardens with North Fitzroy by theatrical entrepreneur His family has donated some of his and her dressing room was a very busy Street Theatre in the 1954 revue Top of the He loved Hong Kong and decided to their William Ricketts sculptures, are still George Coppin in 1869. memorabilia the Arts Centre’s Performing place where the young ladies of the ballet Bill with Gordon Chater, Bud Tingwell and make his home there, taking up a position open, a beautiful feature of Arthur’s Seat W Arts Collection. and chorus would benefit from Ralphine’s John Meillon. teaching costume technology at the Academy State Park. W lessons in make-up, both theatrical and Ernie Fish He appeared in the 1954 film Long John for Performing Arts in 1996 from which he The Travers’ generosity also supported personal, and it would also be the clearing 15.3.1908–11.12.2004 Sybil Graham Silver, and worked with the Q, Independent had retired just a short time before his death. the National Gallery of Victoria, animal house for company gossip! Ernest Wincey Fish, one of the last c.1930–21.9.2004 and Old Tote companies. In 1958 he Hutchings’ Hong Kong friends and welfare organisations, several performing Her final performances were in a late survivors of the legendary Kiwis Revue Sybil Graham was born in Poona, India, produced Captain Fortune for television, and colleagues have created a website in his arts companies, and the Green Room 1970s’ touring production of My Fair Lady Company, has died peacefully in where her piano playing father managed Autumn Affair, our first ‘soapie’, the honour: www. gordonhutchings.com Awards Association, many of whose annual and she had a somewhat larger role in this Melbourne after a short illness. He was 96. the local turf club—and Spike Milligan and following year. W awards for excellence they sponsored. production than her earlier two-word role! Born in London, Ernie was two when his parents were near neighbours. After producing and directing many W Ralphine Sprague A few years later she wrote her highly he and his parents migrated to Dunedin in Encouraged by her father, Sybil had a drama productions for ABC-TV, he moved d. 9.2004 amusing memoirs, which she called Before Elizabeth Wing New Zealand. As a young man he dabbled classical musical education and sat for to London in 1970. There he established a ‘Charming, charming.’ For more than three Your Time, Darling. Many of us suggested 15.3.1920–22.9.2004 in amateur theatre and a wide variety of exams set in the UK. Before long she was successful career in television, initially at years, those were the only words spoken on she would earn more money by being paid One of Melbourne’s most versatile radio sports—he was Otago 220-yards champion working as a church organist. the BBC, directing series such as Dr Finlay’s stage each night by Ralphine Sprague, by us NOT to write them. and television actresses, Elizabeth Wing for three years. He was working as a men’s The family migrated to Australia in Casebook and The Day of the Triffids. during the long run of the original Although she was much loved, she was Hill, has died after a long illness. Born in tailor when he joined the New Zealand 1948, when Sybil was 18. She took a job as Ken visited Australia in 1973 to direct J.C.Williamson production of My Fair Lady a feisty lady and managed to fall out of Alphington and educated at Christchurch * army. Serving in North Africa as a Sherman a comptometrist while pursuing her musical Sunday Too Far Away, the first feature Page 30 ON STAGE Summer 2005 Page 31 Grammar, Elizabeth had voice training joined Crawford Productions where she Prisoner—in which she appeared as three The units range in price from $255 500 Foundation, which he established, now the five-month restoration. ‘It was from the age of six, grasping every was cast in a wide range of radio roles, different characters. to $515 000. More than 20 per cent are manages the estate, and also provides challenging because the instrument required opportunity to perform for fellow students, including a long stint as ‘Janet’ in the serial Elizabeth ‘retired’ several times. In her already believed to have sold. scholarships for young musicians. A major work and had been virtually teachers and parents. Inspector West. Crawford’s also featured her later years she dabbled in oil painting, voluntary Friends of Beleura group has unplayable. The soundboard had major Link: www.barklytheatre-apartments.com. While working as a secretary, Elizabeth in prestige productions such as The Melba conducted play-reading classes for U3A, been established. problems, the ribs were unglued and the au participated in local amateur groups such Story, Opera for the People and Music for the and read for the blind. With her passing we Beleura will be open to visitors by case was just a disaster,’ he said. ‘But I was Further reading: Footscray at the Flicks by as Kew Repertory Theatre, continued People. She scored, too, in Donovan Joyce’s have lost one of our most experienced, appointment only. A special tour for VTT very privileged to work on it and be able to Roger Seccombe. Published by Coora elocution classes, and attended Lloyd serial Stepmother, which had a five-year run. respected and generous character actresses. members is being planned for the near future. restore a piece of history.’ Films, 2004 Lamble’s radio school. She was soon busily In 1947 Elizabeth married John Hill, also at Over the next few months the piano On Stage learned of the deaths of Dolly working in radio drama for the ABC and home on-air in voice-overs and character Australia: Castlemaine will be played by invited musicians to ‘run Dyer and Campbell McComas as it was commercial stations. roles. Australia: Mornington Broadway malady it in’. going to press. Obituaries will appear in Beleura opening She appeared on stage for New Theatre Elizabeth and John had two children, The saga of Castlemaine’s little Phee ‘It will take some time for it to settle the Autumn edition. and for Gertrude Johnson’s National Katie and John. Although family After several years’ work under the direction Broadway Theatre continues (see On Stage, down and be ready for public Theatre Movement, for whom she was a commitments meant Elizabeth had less Thanks to Bettine Kauffman, Kate Austin, of heritage expert Anthony Knight, John Spring 2004). performances,’ Mr Ruggeri explained. ‘It’s notable ‘Jessica’ in David Reid’s production time for her acting, over the years she Beverley Dunn, Robert Foster, Joanna Landy AC, MBE, the Governor of Victoria, Mount Alexander Shire mayor Jim had a major heart and lung transplant, so The Merchant of Venice at the Princess. managed to fit in guest roles in Melbourne- Leahy, Geoff Orr, Robert Taylor and officially opened the superbly restored house Norris has cited ‘pressure’ and his family as you need to give it time to settle.’ After two years’ service with the made television productions such as Stuart Wagstaff for their help with this and gardens of Beleura at Mornington—with reasons for quitting. His resignation follows some surprise help from Dame Nellie Australian Women’s Army Corps, Elizabeth Homicide, Division 4, Cop Shop, Skyways and month’s Exeunt. n a difficult few months for the council, which Australia: Bendigo Melba!—pictured below. in August uncovered a budget black hole of Face saving Dame Nellie was a frequent guest at the more than $300 000. All the world’s a stage sprawling Victorian Italianate villa when it The blowout related to the $2 million was the seaside retreat of Sir George Tallis, Australia: Footscray Forster. It seated 1403 and opened on closed in 1961 and found new life as a redevelopment of the Phee Broadway head of the J.C.Williamson organisation. New show at the Barkly 17 October 1914. It was one of Melbourne’s bingo hall. The façade was listed on the Theatre and Library. As a result council has Actress Evelyn Krape, a Mornington Footscray’s heritage Barkly Theatre is being first purpose-built cinemas, though its state’s Register of Historic Buildings in been forced to withdraw its draft budget, resident, assisted Melba’s return to her old imaginatively converted into a complex of facilities included a large stage complete 1991. Over the years various schemes for its and Ivan Gilbert, its chief executive officer haunt. This, of course, evoked memories of 56 ultramodern units and four shops. with fly-tower, dressing rooms and recycling have been proposed and abandoned. for nine years, has also fallen on his sword. Jack Hibberd’s A Toast to Melba, the Pram The Barkly, at 277–287 Barkly Street, orchestra pit. By 2000, storms, vandalism and a Mr Gilbert was stood down on full pay Factory production in which Evelyn starred Picture courtesy CATHS was designed by architects Blackett and An early victim of television, the Barkly deliberately lit fire had caused damage in July, but controversially resigned after so successfully in 1976. estimated at $600 000, and the roof and internal and external audits relating to the A row has erupted over the fate of the John Tallis, Sir George’s youngest son, rear walls of the stage had collapsed. theatre project, policies and procedures, façade of Bendigo’s old Lyric Theatre in bequeathed Beleura to the people of The new redevelopment will retain the and fringe benefit tax practices. historic Pall Mall. Victoria in 1996 (see On Stage, Autumn elegant Edwardian façade with its two lofty The council has considered taking legal The Lyric opened as a cinema in 1911 2001 and Winter 2002). The Tallis towers—originally designed to disguise water action for defamation against an 81-year-old and closed in 1965. Two years later a fire tanks. The vast auditorium, with its deep ratepayer following the publication of an destroyed the building’s interior. The façade circle and side galleries extending almost to advertisement in two local newspapers survived and a number of business premises the stage, will be gutted. In it will be alleging financial incompetence. were constructed behind it. constructed four floors of one- and two- As Mr Norris told Melissa Iaria of the The property forms part of a large bedrooms units, accessed from a central Bendigo Advertiser, ‘It has been a tough year.’ parcel acquired by Bendigo Bank for atrium over what would have been the redevelopment as Fountain Court, a $70 stalls’ central aisle. The units’ windows will Australia: Ballarat million six-storey head office. open onto paved garden terraces Grand slam The National Trust has objected to the constructed in the open spaces on either demolition of the façade and is opposing The Royal South Street Society has side of the building. the bulk and height of the proposed welcomed back its historic grand piano The badly damaged stage tower will be after a $40 000 renovation. building. demolished and replaced with a seven- The superb Bechstein grand, formerly Heritage consultants have offered to storey tower containing more units and two owned and played by Dame Nellie Melba, represent the trust pro bono if it proceeds penthouses with spectacular views of the is now back in the Long Room at Her with a VCAT appeal. Melbourne CBD. Majesty’s Theatre. National Trust conservation manager Four two-level units at the front of the Dame Nellie used the piano on her Jim Gard’ner said that despite little being building will look onto Barkly Street. 1928 national tour. After this it changed left, the theatre was valued for its heritage The decorative mouldings of the old hands several times before being donated contribution to the Charing Cross precinct. balcony will be reproduced as architectural to the society in the 1950s. ‘The general consensus is that the Lyric features throughout the building, and it is It retains its original ivory keys and and its contribution to the precinct were an hoped to include a display of Barkly Dame Nellie’s signature. important part of the streetscape and should Theatre memorabilia in the foyer. Piano restorer Robert Ruggeri undertook be retained,’ he said. *

Page 32 ON STAGE Summer 2005 Page 33 Bendigo Bank’s architects Bligh Voller Built by the ‘Squire of Dalkeith’, James Kirsova donated all her company’s Born in 1887 in Camberwell, South top of the theatre curtain, stage right. And shout “Oh no it isn’t!”’ Nield are investigating ways to interpret the Gallop, an ancestor of WA Premier Geoff profits to charities. Her successful season in London, Karloff appeared in over 45 movies, why is Robbie Ross wearing rumpled Glyn Edwards, founder of the social importance of the old theatre. Principal Gallop, it was officially opened on September 1943 raised the equivalent of most notably as Frankenstein’s monster. He trousers three feet too long for him? information group the Punch and Judy Bill Dowzer, said the interpretative piece 27 September 1904, three months before its $3356. With this she purchased three died in 1969 and his daughter, Sara, maintains Indeed, why Oscar Wilde: The Musical at all?’ College of Professors, said ‘The violence in would be included in the new council- more famous contemporary, His Majesty’s a colourful website in his honour. A few weeks earlier, another West End Punch and Judy is like clowns tripping over owned public space, Lyric Square, created in Perth. The venerable old building on The first recipient of the bursary, Susie show, Murderous Instincts, closed within a each other. To say it encourages violence in the redevelopment. South Terrace (in the heart of Fremantle’s Walker, graduated from Central School of few days of opening. against women is like saying Robin Hood ‘It’s an important space,’ Mr Dowzer cappuccino strip) is now better known as Speech and Drama with first class honours encourages armed robbery. Politically said, ‘not just a space left over. It’s a very Metropolis nightclub. and recently joined the Globe’s education United Kingdom: Cornwall correct fundamentalists with no sense of deliberately designed space staff. During her bursary year she will take Was that the way to do it? humour cannot hear this argument.’ in front of the building. part in all aspects of the department’s work. Councillors of the ancient Cornish town of Link: www.punchandjudy.org ‘The Lyric was about Globe Education welcomes 70 000 Bodmin have banned a traditional Punch people going to the theatre students to its programs, workshops and and Judy show. and was an important part lectures each year, and through the website United States: New York It all started when Council employed of the city’s social history. reaches audiences throughout the world. Shipshape theatre puppeteer Reg Payn—known professionally We want to recreate that Senior theatre and travel lovers are being Links: www.shakespeares-globe.org as Professor Goodvibes—to entertain local with an external space. offered an innovative ‘Senior Theatre from www.karloff.com children in the town square. The show was ‘You might be able to Ship to Shore’ program in July 2005. Helene Kirsova well under way when a group from the create almost an external The 11-day package includes tickets to Women’s Domestic Violence Support theatre within that public Dalkeith Opera House 2004—a sketch of the building by United Kingdom: London Broadway and London shows, backstage Network moved in and started distributing space. To us that’s more Ben Jackson commissioned by Jamelia Gubgub. blocks of land in the inner city’s then down- Wild about Oscar tours, sightseeing and transatlantic travel on pamphlets offering ‘free confidential support meaningful than keeping a at-heel industrial suburbs of Erskineville and Oscar Wilde: The Musical, with music, book the new luxury liner Queen Mary 2. While at to any woman, including bisexual or lesbian, simple two-storey brick façade.’ The Opera House was rechristened, Glebe and equipped them as playgrounds for and lyrics by former BBC disc jockey Mike sea participants will be encouraged to who is experiencing domestic violence.’ Mr Dowzer said that two proposals first, the King’s, then the Tivoli. In 1920 it the local children. Read, opened on 19 October 2004—and perform for other passengers. The bewildered children watched as the incorporating the façade in the redevelopment became a cinema, then served as a car Sadly, it seems that only the playground closed ingloriously the next day. The adventure begins in New York on women screwed up leaflets and hurled were rejected. ‘It has allowed us to feel repair shop and a police boys’ club. Sir in George Street, Erskineville, has survived. The production coincided with the 15 July. For more information, contact Joan them at Reg Payn when he emerged from comfortable with our decision that keeping Benjamin Fuller purchased it, but his plans This was dedicated on 28 December 1943 150th anniversary of Wilde’s birth. Hahn at [email protected] or Harriet his booth. the façade would not benefit the project to reopen it as a theatre came to nothing. by the Minister for Public Works, the late As the first show in the refurbished Lynn at [email protected]. ‘The first I knew of this demo was when overall, and if we kept the façade we’d lose In 1946 the building was bought by Hon. J.J.Cahill, MLA. In a badly neglected Shaw Theatre in Euston Road, the musical I was hit in the face by a bunch of leaflets,’ the public space.’ Victor Gubgub, who was teaching boxing state, it was identified by Dr John Hood, garnered universal condemnation from the said Mr Payn. ‘The show was ruined.’ United States: New York The bank’s managing director, Rob there when it came up for sale. He became who is writing a biography of the late critics—words such as ‘bilge’ and ‘exquisite Dodger début ‘It’s appaling in this day and age that Hunt, said he acknowledged the ‘balancing a Ford dealer and the old theatre housed Peggy Sager, principal ballerina of the awfulness’ were used—and only five seats children are encouraged to watch and laugh Dodger Stages, a new US$23 million act’ between the need for business his Victor Motor Company. Kirsova Ballet (see On Stage, Spring 2002). were sold for the second night. at a baby’s head being battered and a (A$32.76 million) Off-Broadway multi- development and historic preservation, but Now jointly owned by Victor’s Dr Hood contacted South Sydney The title role was played by Peter woman being beaten with a stick,’ said entertainment theatre complex (below), warned that delays could threaten the daughter, Jamelia, her husband David Council with news of his discovery. Blake, who appeared in the similarly ill- Maggie Parks, director of the local opened on 9 September 2004 with an project’s viability and result in staff being Wallace, and nightclub manager Mario Happily the Kirsova Playground has now fated thriller Money to Burn, which closed Women’s Rape and Sexual Abuse Centre. underwater puppet show, Basil Twist’s based in Melbourne or interstate. Madaffari, the building was completely been restored and rededicated. Kirsova after two nights at The Venue in Leicester ‘I know we’ll be accused of political Symphonie Fantastique, followed by Bare, a ‘This development is an investment in renovated in 2000 and the familiar original died in London in 1963. Square [see On Stage, Summer 2004]. correctness, but we’re trying to educate pop musical. the community. It is something for Bendigo veranda and balcony were replicated. In The Guardian Elisabeth Mahoney children that abuse in the home is wrong.’ Located at Worldwide Plaza, 340 West to own and be part of and to be proud of. I Today it is what Jamelia describes as ‘the wrote, ‘You begin to wonder whether the 2 United Kingdom: London Mr Payn claimed his show is ‘part of 50th Street, the 5695m venue contains am as conscious as anyone about history and most secure nightclub in the world’. sound system is being affected by the hefty Monster prize from prize monster our heritage and tradition’. He added, five performance spaces. Less than six I don’t think people realise how long we’ve The full story of this formerly forgotten rumbling of Oscar Wilde turning in his Shakespeare’s Globe Trust has announced ‘Children at four and five know the blocks north of the dynamic Times Square been researching and planning this,’ he said. survivor was told in On Stage, Spring 2002. grave,’ while the Daily Telegraph found it that the Boris Karloff Foundation has difference between puppets and reality. It’s office and entertainment centre, this ‘city Mayor Greg Williams urged the parties ‘hard to feel anything other than Link: www.metropolisfremantle.com.au donated a four-figure sum to London’s just like Tom and Jerry violence. It is not within a city’ includes a 50-storey office to come to a resolution. ‘I don’t think it’s in incredulous contempt.’ Central School of Speech and Drama. The real. Punch and Judy is like a morality play. tower, shops, a public plaza, a health club anyone’s interests for it to get dragged In The Times, Benedict Nightingale said Australia: Sydney money will fund a bursary for a graduate to When Punch says, “That’s the way to do and a 475-car garage—all connected to a through VCAT,’ he said. ‘Council allowed that ‘it was good to see that the shabby Star’s playground work with Globe Education for 12 months. it!” after hitting someone, all the children 650-apartment residential complex. * the theatre’s demolition because it was auditorium which skulked behind a civic After 60 years, a generous gift of legendary The bursary is known as the Globe badly damaged.’ library has now become a smartly ballerina Helene Kirsova has been recognised. Purse and the recipient is called the upholstered, gently sloping amphitheatre at Danish born Kirsova was the star of the Purseholder. The fund bridges the gap Australia: Fremantle visiting de Basil Ballet Russe in 1936–1937. between study and full-time employment in the back of a slick hotel. It’s not so good to 100 not out She remained in Australia after the tour arts education. One of the more unusual witness the unprofessionalism of its On 8 October 2004 a packed house and opened a ballet school in Sydney. In stipulations is that the Purseholder must inaugural offering. Voices veer in mid- celebrated the 100th birthday of the 1941 she formed Australia’s first professional watch at least one of Boris Karloff’s films sentence, now coming from the actors’ Dalkeith Opera House in Fremantle. ballet company. and become familiar with the actor’s life. mouths, now from some amplified spot on

Page 34 ON STAGE Summer 2005 Page 35 Musical, a US$7.5 million (A$10.7 million) shows already booked include a new piece A police spokesman said issuing tickets attempt to deal with the reality of Dodger endeavour that was greeted with by the Australian comedy duo, the for mobile phone use was not a department segregation because black shoppers and nearly unanimous derision by critics. Umbilical Brothers, a concert series by priority, and the city has no record of any entertainment seekers were unwelcome in But the new Dodger Stages is not Mandy Patinkin, a new musical, The tickets being issued. the city’s predominantly white downtown designed for multimillion-dollar musicals. Immigrant and a new play, Modern Orthodox. Meanwhile one offending patron areas. Strategically located on Church Its two 499-seat theatres, two 360-seat David said he hoped all of them would offered what the Times reporter termed a Street, it is on one of the most important theatres and cosy 199-seat house, will offer feed into the creative energy of the space ‘Clintonesque’ defence: ‘OK, I picked it and oldest thoroughfares in the city whose productions that are smaller and more and provide a place for the work he and up,’ she admitted, ‘but I only whispered.’ rich variety of businesses and shops made it experimental than are usual Broadway fare. his colleagues love. ‘This is why we got in a haven for wave after wave of ethnic groups. ‘We won’t survive on projects this business in the first place,’ he said. United States: Norfolk, In 1919 a consortium of enterprising instigated, found or paid for by the ‘We hope the new complex will provide Virginia local black businessmen formed Twin Cities company itself,’ says David. ‘We are the us with an opportunity not only to Up and Attucks Amusement Corporation, and engaged a counting on other people to use this space.’ produce theatre without breaking the bank young African-American architect, Harvey The national landmark Attucks Theatre in Dodger Stages presents other but also to regain some of the youthful N. Johnson, to design a building combining Norfolk, Virginia, raised its curtain once challenges. Because they are underground, energy of the company’s early days. We a 600-seat three-level theatre with shops again on 16 October 2004 after a massive none of the theatres has flying space, still think of ourselves as a small company. and business offices. US$8 million (A$11.4 million) restoration. limiting the type of shows that can be ‘We’re so much more comfortable The Attucks, named for Crispus During its heyday the Attucks was the staged. And with all five theatres under one being a lunatic fringe.’ Attucks, a runaway slave who was the first focal point of entertainment, business, and roof, Dodger Stages will test whether the American patriot killed in the pre- Link: www.dodgerstages.com racial pride in Norfolk’s African-American cinema multiplex model can be Revolutionary War battle, swiftly became community. It symbolised the community’s successfully used in live theatre. an entertainment and cultural centre for the Interestingly, the complex has been United States: New York black community. Don’t call us... built into a space that formerly housed Over the years it featured such stars as Loews Cineplex Worldwide Plaza, a half- The New York Times reports that despite Marian Anderson, Louis Armstrong, Cab price movie house. legislation passed 19 months ago, many Calloway, Dinah Washington, Sarah It is also entering a competitive market theatregoers are still chatting into their Vaughan, Erroll Garner, Nat ‘King’ Cole, mobile phones during shows—this despite a Duke Ellington, Lionel Hampton and ‘We wanted to create a small community Other projects include the expanded already well saturated with Off-Broadway potential $US50 ($A67) fine for talking on Count Basie. of theatres in the heart of the city, a magnet stagehouse for the Orpheum Theatre in theatres, especially after a building spree in a mobile in public performance spaces, In 1933 the theatre was renovated, convenient for artists and for audiences,’ San Francisco. the last several years. There are at least six including live shows, cinemas and museums. renamed the Booker T (for black leader Michael David, a Dodger Stage Holding Dodger Stage Holding is theatrical new theatres along West 42nd Street, Enforcement is the problem. A theatre Booker T. Washington), and reopened with principal, said. ‘It will be a centre for producing partnership that originated in including the 499-seat Little Shubert, and owner said: ‘It’s a good law, and we try to the film Gold Diggers of 1933. theatre, dance, music, performance art, New York in the late 1960s when Michael five new spaces on Theatre Row, several enforce it—but because the city hasn’t Although it was regarded as one of the circus—anything that would love to be in David and a group of Yale Drama School new theatres in the garment district, provided extra officers to issue tickets, our country’s best cinemas, locals strutted its the Broadway vicinity, but can’t find the friends first began to produce theatre. They including a new US$26 (A$37.08) million employees have to leave the theatre to try stage on talent nights and churches used it right-sized venue. did ‘high-minded’ plays, worked with top project being built on West 37th Street and to hail an officer off the street or call 911. for special occasions. ‘Dodger Stages addresses the economic professionals, and, says David, ‘generally new downtown spaces like 45 Bleecker. That’s both extreme and ineffective, In 1955 a firm of clothing retailers needs of the producer, the physical needs revelled in being young Turks in a business Ben Sprecher, a Dodger competitor because the offender is usually long gone purchased the Attucks. The original of the artist, and the social, aesthetic and often dominated by old fogeys.’ who owns and manages both the Variety by the time an officer arrives.’ entrance was altered, but the interior * comfort needs of today’s audience— When they moved uptown to Broadway Arts and the Promenade Theatres off ‘Anyone talking on a mobile is a including plenty of women’s bathrooms,’ in the early 1980s, their reputation Broadway and manages the Little Shubert, significant disturbance when you’ve paid a he said. continued to grow with productions like Big said Dodger Stages would ‘change the lot of money to see a performance,’ said The design team included Beyer River (1985) and Into the Woods (1987). They topography’ of an already tough Off- councilman Philip Reed. Blinder Belle and the Sachs Morgan Studio. have shared a host of Tony and Obie Awards. Broadway landscape. He introduced the law, but now readily Beyer Blinder Belle’s previous theatre In the late 1990s the Dodgers ‘There’s not a plethora of shows waiting admits that it’s unenforceable. ‘It’s intended projects include the Ford Centre for the temporarily lost its way, with a flop musical around to be booked, and all of the sudden to embolden the community,’ he explains. Performing Arts, and the Neil Simon, version of Footloose (1998), and a series of there’s going to be all of these new stages,’ ‘It makes the public feel all right about Century and Apollo Theatres, all in New unadventurous revivals like The Music Man Sprecher says. ‘It’s not always this way, but saying, “You can’t do that.” It’s like the York City, and the Denver Centre for the (2000). There was a perception that as the it’s really thin out there right now. So I Performing Arts in Colorado. company had aged the demands of think the pecking order is going to be pooper-scooper law: it’s not enforced, but Sachs Morgan has worked on the commerce had replaced the passions of art. shook up a little bit.’ now people know they must clean up after Kennedy Centre in Washington and ‘I think we’ve always wanted an Where Dodger Stages lands in that their dogs. Hollywood’s prestigious Pantages Theatre. opportunity to do more than simply the big pecking order depends largely on how well ‘We say: have your phone on vibrate, Their Broadway interior renovations ones,’ said Michael David, now 60, ‘but it’s the principals book it, and how successful look and see who’s calling and, if it’s so include the Walter Kerr, Brooks Atkinson, the big ones that feed us and feed our those productions are. Michael David said important, take your big behind out of your Palace, Minskoff the Neil Simon Theatres. families.’ The ‘big ones’ include Dracula, the there had been no lack of interest. The seat, go outside, and call them back.’

Page 36 ON STAGE Summer 2005 Page 37 lobby and the theatre proper survived. The city contributed US$3 million The curtain is now as vivid as Harvey appeared on TV in panel shows; she taught much-loved ballet, with moveable scenery, Reading Huge Deal... you wonder where Eventually it was placed on the Virginia (A$4.27 million), the state US$500 000 Johnson Jr remembers it from when, as a drama and adjudicated at festivals. She was sets, props, and dancers. It includes the full are the Hugh Ds of today. Where are the Landmark Register and the National (A$712 225) and historic—preservation tax child, he spent a lot of time in the theatre a society hostess and a tireless worker story of the ballet, a staging guide and a brats, the scallywags, the super-risk takers? Register of Historic Places. credits provided US $2.3 million (A$3.276). his father designed. for charity. CD of musical selections. Well, many of them have tried and failed, In 1986 the building was bought by the The remaining US$2.2 million (A$3.134) ‘I never dreamed it would ever be Away from the spotlight she was a wife This unique package was written by but Hugh D tried, and won. Well, mostly. Norfolk Redevelopment and Housing came from private donations. restored like this,’ he said. ‘It’s an emotional and mother, although these roles were Jean Mahoney and designed and illustrated Frank’s absorbing page-turner reveals a Authority who envisioned bringing the One of the theatre’s special features is thing for me. often marginalised. As one of her children by Viola Ann Seddon. Melbourne-born man burning with ideas and talent to give a theatre back to life as a cultural centre. A the hand-painted 85-year-old stage fire ‘I feel so close to my father, standing in put it: ‘We didn’t have a mother, just a Viola is the daughter of the late Sir Frank range of publics what they want to see, and non-profit association was formed to curtain, three storeys high and 9m wide, the building he worked so hard on.’ father and an actress.’ Tait (of J.C.Williamson’s) and Lady Tait. parting them from their admission moneys. spearhead the renovation. depicting the Boston Massacre of 1770, the As most of the area’s African-American Her story is told by Jay McKee, who Published in the UK by Candlewick Press, But he began by living by bread alone, This included the installation of battle in which Crispus Attucks died. history has been torn apart and forgotten, had the advantage of recording many of his the book is priced at $34.95. quite literally, when he worked on a baker’s refurbished period seats from an old It had not been used for more than 40 the restoration of the 85-year old Attucks subject’s reminiscences in the months cart for a short while. Prior to this he had theatre in Northern Virginia, plus new floor years, and its meticulous year-long has provided an exciting focus for before her death in 2001. Though Babette Bloody great gift worked for BHP at Broken Hill, picking ore tiles and carpeting. restoration cost US$25 600 (A$36 470). members of the local community who have was quintessentially Brisbane, her story will from quartz, which did much to add a muscular Actors Blood (apparently officially minus an Walls and ceilings were painted deep This included a special sealing process, willingly assisted in the restoration of a delight anyone interested in the performing build to his fairly short frame, resulting in a apostrophe) might seem a somewhat red, turquoise blue and golden yellow, the as it was made from potentially deadly much-loved landmark. arts anywhere. Napoleonic look, and later, outlook. macabre title for a theatrical biography, original colours uncovered in a historical asbestos. Mould was removed, tears repaired, It reminds us of the debt we owe to so Delving deeply into McIntosh’s life, even if its subjects are producers, not analysis of the building. cracks smoothed and paint retouched. Link: sites.communitylink.or/attucks n many similar strong, motivated women, Frank has given us a well rounded picture actors. ‘Actors Blood’‚ it turns out, was the such as Doris Fitton, Gertrude Johnson, of a man who did much to introduce name of a ruby necklace that entrepreneur Irene Mitchell, Joan and Betty Rayner, Joy boxing as an entertainment. Who else could Sir Benjamin Fuller hid inside a cabbage and Mudge, May Hollingworth and, in an earlier have built the Sydney Stadium as (then) presented to his wife at her birthday party. Prospero’s books era, Kate Howarde and Nellie Bramley. Australia’s largest outdoor venue, in just six This is just one of dozens of Fuller Never Upstaged is published by Sid Harta weeks? Hugh D, that’s who. He later provided it A roundup of books of interest to people interested in theatre by Prospero, On Stage’s bookworm. family anecdotes recounted by Alastair Publishers of Hawthorn, Victoria, and with a roof, creating the largest boxing arena in Winning Oscar Gaumont film of Chu Chin Chow was not in Majesty’s Theatre. This spectacular book Duncan in his exploration of the retails for $24.95. the world (Texas with a tin roof, Bob Hope Oscar Asche has swaggered back into the colour (p.135); the singer was Inia Te Wiata documents the history of Perth’s premiere remarkable and largely undocumented called it), which lasted into the 1970s. spotlight. The past few months have seen (not Wanata, p.135); Gladys Moncrieff was showplace. Western Australian critic and Fullers and their various enterprises, Then in his days at the Tivoli he the publication of two books about this never in Chu Chin Chow (p.176); Wilkie’s broadcaster David Hough tells the story. Dare to be different theatrical and otherwise. introduced revue, produced hit musical extraordinary actor-manager, who was born first name was Allan, not Alan (p.177); Using a thematic rather than a The bustling theatre world of ‘Marvellous Best known as actor on radio, television comedies, produced films, lived like a king in Geelong, Victoria, in 1871 and died in J.C.Williamson was not alive in 1922-24 chronological approach, Hough explores a Melbourne’ is the canvas for Becoming Billy and film, Duncan has also written in Bellevue Hill, then later like a lord in London in 1936. (p.177); and so on… There are a miserly dozen aspects of the theatre’s remarkable Dare, a new novel for young readers. It’s extensively for radio; his ability to tell a England, married, had affairs, was Asche was a larger-than-life dynamo seven black and white illustrations. history. The text is complemented by the second in a quartet, ‘Children of the good story is evident on every page, and bankrupt... name it and Huge D did it. once renowned for his elaborate For an Australian retail of around $110 comprehensive and frequently fascinating Wind’, a sweeping Irish-American saga by his authority on the subject is reinforced by Like its subject, the book is chunky (at Shakespearian productions, and for his this really isn’t good enough. endnotes to each of the 12 chapters, and by Kirsty Murray. his role as the husband of one of Sir Ben’s a little over 300 pages) but full of colour opulent, long-running Arabian Nights In complete contrast is A Theatrical Life: an excellent index. After stowing away on a ship bound for granddaughters. The book’s overall and by no means a hard read. By the time musical play Chu Chin Chow. He deserves The Many Faces of Oscar Asche, an engaging A Dream of Passion is, quite simply, the Australia and surviving a shipwreck, the presentation is modest, with few illustrations you finish the last page you’ll wish you had to be remembered. labour of love written and published by most beautiful theatre book yet produced in young hero joins a travelling circus before and an inadequate and somewhat idiosyncratic 300 more to go. The books could not be more different. Chrissie Fletcher. This is a modest self- this country. Its 354 pages are crammed finding his feet in theatrical Melbourne. index. Actors Blood is published in paperback Highly recommended. n The first, Oscar Asche, Orientalism, and British published biography but it has been with hundreds of evocative illustrations, The pages sparkle with references to the by Lexington Avenue Press of Copacabana Musical Comedy, is the work of Brian compiled with the enthusiastic help of the mostly drawn from the theatre’s own Alexandra and the Bijou, Pollards’ (NSW) in its ‘Fabric of a Nation’ series, and Singleton, Head of the School of Drama at Asche family, and contains many Museum of the Performing Arts, and the Lilliputians, Table Talk and The Lorgnette, Jim retails at $24.95. Gus Trinity College, Dublin. It’s published by fascinating, previously unpublished expertise and enthusiasm of its archivist, Crilly and his ‘Living Skeleton’, Chung Order it on www.lexingtonavenue.com.au goss Remember how in the Praeger, Westport Connecticut, in their photographs. It is also admirably accurate Ivan King, is much in evidence. A Dream of Ling Soo, George Coppin and even the Spring ’04 On Stage I told scholarly ‘Lives of the Theatre Series’. and readable and augurs well for the more Passion is published by His Majesty’s legendary Bland Holt, whom we meet Son of Tiv you how my friend Clio, the As its title suggests, this does not set out ambitious publication that the author is Theatre Foundation and retails at $69.95. when he’s auditioning star horsemen for his When you had read Frank Van Straten’s State Library cat, had spilled to be a definitive biography—rather it preparing. It costs $15 and can be obtained melodrama, The Great Escape. monumental Tivoli, you just knew there was the beans on funding problems at the SLV? explores Asche’s work as ‘by far the from the author at ‘Amberley’, 35 Osborne Becoming Billy Dare is published in Grande dame a ‘Son of...’ waiting in the wings. And no Well, the Herald Sun took the hint and greatest and most prolific producer of the Road, Burradoo, NSW 2576; email: paperback by Allen and Unwin, and retails Babette Stevens was unique, if not in prizes for guessing the subject. reported, on 25 October, the Library’s $2.4 Orient on the London stage in the early [email protected]. for $14.50. part of the 20th century.’ Fair enough; on Australia, then certainly in Queensland. Well, Huge Deal, the Fortunes and Follies of million shortfall, roughly double that of last that level it’s useful. But that’s no excuse for Her formidable presence dominated the Hugh D. McIntosh is it, and it’s well worth year. Management’s answer, it seems, is indeed Ballet at home its ponderous writing and for the plethora Happy birthday, Your theatrical scene there for seven decades. the wait. Not that that was very long, staff cuts, $100 000 less for conservation, and of grammatical and typographical misprints Majesty! She danced, she sang, she acted on Aimed at slightly younger audiences—aged because McIntosh was so inextricably tied $200 000 less for acquisitions of CDs, that pepper its 220 pages. Oscar Asche is just one of the hundreds of stage and screen, she directed; she hosted between five and nine years—is The into the Tivoli, at least in its earlier days, journals and newspapers. Even more annoying are the straight out personalities who crowd the pages of A on radio, wrote theatre and film reviews Nutcracker Ballet Theatre. This delightful that to research one would be to establish a Pity. errors of fact. Some examples: The Dream of Passion—A Centennial History of His and social columns for newspapers; she pop-up book recreates scenes from the research regime for the other. -Gus, the theatre cat n

Page 38 ON STAGE Summer 2005 Page 39 Government grant for Gertrude’s grave Victoria Senator Ian of seven to be Campbell, the funded through Theatres Minister for the the program, Trust Environment and which provides Heritage, has small grants to announced a commemorate O A grant to create a nationally N ST GE memorial to significant people ISSN 1444-0156 the National and events and Theatre’s founder, to maintain the Summer 2005 Gertrude Johnson graves of former Vol.6 No.1 OBE (see On Stage, Winter 2004). prime ministers and governors-general. Contents The Australian Government’s ‘The commemoration program is a way Commemoration of Historic Events and of acknowledging and thanking those who Have we found it? 1 Famous People grants program will provide have given us so much and to whom we $3415 to the Australian National Memorial owe our gratitude,’ he said. Designs of a lifetime 2 Theatre to place a monument on the grave. ‘These memorials will also remind us of ‘Her simple grave in St Kilda Cemetery, how we became the distinctive nation that The quite wonderful Olga Nethersole 7 marked only by a commemorative plaque, we are today—through hard work, inspiration Melbourne stage-by-stage 12 does not do justice to her legacy to Australia,’ and dedication.’ Senator Campbell said. ‘The new memorial In previous years, grants have been Central Hall—a century of service 16 will reflect the significance of this talented given for plaques on the graves of Slim Australian and her dedicated creative spirit.’ Dusty, Sir Donald Bradman, Sir Isaac Gus goss 17 Sen. Campbell said the project was one Isaacs and Sir John Gorton. n Show music thumbnails 18

It’s a fact: Gertrude Johnson in fiction 19

Letters to the Editor 20

Dedicated to the preservation and promotion of our theatre heritage. Gus goss 20

Annual subscription of $25 (general), $50 (corporate and overseas), Malthouse puts the lid on Playbox 21 $10 (student)brings you a range of events, special offers, National—and multicultural 21 discounts—and four issues of On Stage Auditorium-Metro on the Contacting us: By mail: The Secretary, Victoria Theatres Trust, block again? 21 PO Box 382, Malvern, Victoria 3144, Australia By e-mail: [email protected] John Truscott Foundation Update 22

On hundred glorious years… 23 On Stage is published quarterly by the Victoria Theatres Trust. Editor: David Cullinane. The contents are subject to copyright for both text and illustrations and are not to be reproduced Gassed up and going great! 26 by any means, including print or electronic media without prior permission of the copyright

holder(s). Information published in On Stage is done so in good faith. The Trust does not accept Exeunt 29 responsibility for any errors which may occur but would be pleased to correct any error All the world’s a stage 32 or omission. Prospero’s books 38 Deadline for articles and pictures for the Autumn issue of On Stage is Friday, 25 February, 2005.

Send them to The Editor at the above postal or e-mail address. Gus goss 39 Every effort will be made to return any hard copy illustrations if a specific request is made to do Government grant for so, but no responsibility will be taken over their return. Digital images are acceptable at 300dpi. Gertrude’s grave 40 © January 2005

Page 40 O N STAGE Summer 2005