FEBRUARY, 1986 Vol 10 No 1 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust

Australian Classic Adapted For The Stage

AN IMAGINARY LIFE based on the novel by David Malouf Directed and designed by Kim Carpenter Music by Richard Vella Lighting by John Rayment Cast: , Alexander Hay, Christine Mahoney, Mary Haire, Ira Seidenstein and Lorenzo A valia Belvoir Street Theatre

rom the tinkle and chatter and glitter F of the cocktail party circuit, a celebrated poet, the toast of the town, is suddenly plunged into exile. In coat and hat, he finds himself in a timeless barren world, so cold it freezes for eight months of the year. Its people are voluminously cloaked against the cold, and speak a language that is totally strange. · In this alien world he is taken in by a family and develops some communication; he glimp­ ses a wild boy who seems to represent the innocence of his lost childhood. Obsess­ ed, he captures the boy and a touching relationship develops. From the Poet being ' the boy's protector, the roles gradually reverse and the boy opens the Poet's eyes to the beauty of his child's world. When director-designer Kim Carpenter first read David Malouf's award-winning During workshop for AN IMA GINA R Y LIFE. (Left to right back) Lorenzo Avolio, Mary Haire, Christine book AN IMAGINARY LIFE, three Mahoney, Alexander Hay (sitting), Norman Kaye, Ira Seidenstein years ago, he didn't expect it to be transferred to the stage, but it stayed in "He has a Jacques Tati quality. We had tion; the absurdity of a man in a hat and his subconscious, and the idea of it being worked together before and there was a coat stranded in the desert." AN translated into a piece of visual and rapport and a lot of trust between us", he IMAGINARY LIFE opens at the Belvoir musical theatre gradually developed. said. Skills in singing, dance and mime Street Theatre on February 19. February were a pre-requisite for all members of 21 is Trust Members night when the Carpenter's idea of the story being told the cast. Premier and Minister for the Arts, the through images and sound with minimal Hon. Neville Wran who awarded AN dialogue appealed to David Malouf. To produce the mix of wordless human IMAGINARY LIFE his literary prize in With the guarantee of financial and pro­ voices and instruments that composer 1979 will be guest of honour. Tickets are duction support from the AETT's Vella envisaged for the , he used a $20 which includes after show supper. Australian Content Department, which is computer and the facilities of the NSW (See Member Activities p. 8). subsidised by the Theatre Board of the Conservatorium to produce a tape to Australia Council, a workshop was set up back up the live music and voices on stage. in October last year with the six actors, BOOKING INFORMATION composer Richard Vella, the stage Tue to Fri at 8 p.m. manager and director -designer Carpenter AN IMAGINARY LIFE poses a lot of Sat at 5 p.m. and 8 p.m. to explore the book and consider its questions. Is the Poet's journey real for Sun at 5 p.m. theatrical possibilities. example or is he living out his next book? AETT $11.00 Carpenter claims that despite its serious G.P. $15.00 Norman Kaye who starred in the film underlying mysteries, the play has its Pens/Stud $7.50 was, to Carpenter, light side. "There is a lot of irony and Two AETT tickets per member the ideal choice for the role of the Poet. humour because it's a ridiculous situa- 2

The programme opens with her Billie Whitelaw in reading of a short story, ENOUGH, a Beckett Triple Bill monologue about a sometimes difficult, sometimes luminous, long-ago but well , , & remembered relationship which might be ENOUGH by construed as a love affair. This is follow­ Directed for the New York season by the ed by FOOTFALLS, in which, pacing late Alan Schneider endlessly in a small rectangle of light, she Starring Billie Whitelaw talks with the offstage voice of an aged Everest Theatre, Seymour Centre and ailing mother. In frayed gown and bent-backed, she is a middle-aged crone eckett afficionados and in fact, any trapped by circumstances and barely Bkeen theatregoers, will be excited by relating to reality except through the the coming visit to Australia of Billie sound of her footsteps. Whitelaw, the English actress who has The final play, ROCK-A-BYE is a been described as "the voice, body and prime example of Beckett's playwriting soul of Samuel Beckett". After five per­ genius. A woman in a rocking chair rocks formances at the Adelaide Festival early herself to death; she speaks only one Julie Haseler in ME AND MY GIRL in March, she will present three short word, "more", repeated four times, but year and the Australian production open­ Beckett pieces (in the one programme) at the words are interspersed with taped ed in early last month. The the Seymour Centre from March 8 to speeches, the tortured final convolutions Australian production was mounted by March 29. of her consciousness and her desolation, the original director, Mike Since her first Beckett play in 1964, waiting for death. Ockrent'. Reviewing the production in Billie Whitelaw has worked together THE AUSTRALIAN, Dennis Davison closely with Beckett on each of his plays BOOKING INFORMATION said, "the spectacular sets, splendid in which she has appeared. "Beckett says Sat Mar 8 to Sat Mar 29 (excluding Mar 17, period customes, the tuneful songs ... that when he writes he hears my voice. 18 and 28) the vigorous dancing, the crystal-clear When I perform I hear his. So what Mon to Thu at 8.30 p.m. . .. lyrics, the deft direction, all combin­ you've got coming out of my mouth is a Fri and Sat at 7 p.m. and 9 p.m. ed to produce a dazzling entertainment. " AETT $18 .00 (until Mar 21) mixture of my voice and his, and I think ME AND MY GIRL, is the story of a G.P. $21.00 sharp-witted, lovable Cockney lad who that's unique", she says. Pens/ Stud $16.00 (except Fri/ Sat) New York critics raved about her turns out to be a long-lost earl. Along appearances last year in the triple bill she with his Lambeth sweetheart, Sally, he will present in Australia. "It's possible creates chaos at his ancestral seat, that you haven't really lived until you've Thirties Musical Hareford Hall as his noble relatives watched Bill Whitelaw die ... Mr attempt a Pygmalion style integration. As Beckett and Miss Whitelaw make time Revived well as a tap-dancing duet to the title song stop and it 's a sensation that no by Bill and Sally, the songs include the theatregoer will soon forget ", said Frank show-stopping "Lambeth Walk", Rich of The New York Times. ME AND MY GIRL by Noel Gay "Leaning on a Lamp Post" and "Once Book an lyrics by L. Arthur Rose and you Lose Your Heart". Douglas Furber Revised by Stephen Fry BOOKING INFORMATION Directed by Mike Ockrent Mon to Sat at 8 p.m. Set design by Martin Johns Wed and Sat mats at 2 p.m. Costume design by Ann Curtis AETT $23.90 (Mon to Thu), $25 .90 (Fri & Cast: David Waters, Julie Haseler, David Sat), $20.90 (mat) Ravenswood, Faye Donaldson, Jackie G.P. $27 .90 (Mon to Thu), $29.90 (Fri & Rees, Tony Harvey and Ron Shand Sat), $22.90 (mat) Her Majesty's Theatre Pens/ Stud $23.90 (Mon to Thu), $18.90 (mat) Two AETT tickets per member he first production of Noel Gay's ME T AND MY GIRL opened in London at the Victoria Palace in 1937 and ran for a Graeme Blundell Joins phenomenal 1,646 performances. It featured a famous song, "The Lambeth Kinselas Walk" which became a dance craze and a famous star, Lupino Lane in the central ell-known Australian actor/ direc­ role of Bill Snibson. The show was revis­ W tor Graeme Blundell has accepted ed and revived with great success at Lon­ an appointment as artistic director of Billie Whitelaw don's Adelphi Theatre in February last Kinselas nightclub. He remains associate 3

director with the Melbourne Theatre lies, a mistress, wife, girlfriend, jealous Brisbane, Perth and Adelaide before Company and will continue to visit boyfriend and husband, all combining to reaching in mid-April. Reviewing Melbourne regularly. Graeme hopes to produce the style of comedy we have the opening night performance in the establish stylistic continuity at Kinselas so come to expect from Alan Ayckbourn. It Newcastle Herald, Mick Scanlon said people know to expect a certain type of is directed by Sandra Bates. "Larry Shue's richly comic play THE show there. The first show with which he FOREIGNER has all the ingredients of will be involved will open at Kinselas in BOOKING INFORMATlON hilarity and seems set for a long run March. It is a transfer season of Ensemble Theatre around Australia". BOUNCERS which played at the Mon Mar 10 to Sat Mar 29 THE FOREIGNER is set in Georgia Seymour Theatre Downstairs at the end Mon to Sat at 8 p.m. where a British Army officer, a demoli­ of last year. BOUNCERS follows Mats Thu at 11 a.m. and Sat at. 5 p.m. tions expert, comes to an inn on an Kinselas current season of SIRENS by AETT $14.00 (Tue to Fri), $16.00 (Sat assignment, bringing with him a friend the Sydney Dance Company. evg), $11.00 (mats) called Charlie, whom he must leave there Further details will appear in March G.P. $15.00 (Tue to Fri), $17.00 (Sat evg), from time to time. Charlie, a shy man, is T.N. $12.00 (mats) overcome with panic at the thought of Stud/Pens $11.00 (Tue to Fri), having to make conversation with $9.00 (mats) Two AETT tickets per member strangers and so pretends to be a Theatre of the Deaf foreigner who can't speak English. Soon all the occupants of the lodge are reveal­ Mounts New Play ing secrets and inner thoughts to this man The Foreigner - they think can't understand them. It is all he Theatre of the Deaf will add one rich fodder for comedy and the results T new show to its theatre-in-education Australia-wide Tour are predictably hilarious. programme for the beginning of 1986. plays the central role of the foreigner with Anne Tenney of A The new production, SILENT VIDEO, is THE FOREIGNER by Larry Shue the second play to be written for the com­ Directed by Terence Clarke COUNTRY PRACTICE and Val Lehman from in key roles. pany by well-known young people's Designed by Hugh Colman See Member Activities (p. 8) for pre­ theatre playwright, Richard Tulloch. It is Cast: Anne Tenney, Nick Tate, Val designed for primary age children and Lehman, Alan Docker, Philip Dodd, theatre dinner. shows the frustrations and difficulties of Russell Newman and Martin Redpath deafness and challenges hearing people's Footbridge Theatre perceptions of what deaf people can and BOOKING INFORMATlON cannot do. Wed Apr 16 to Sat Apr 26 Mon to Fri at 8 p.m. Tulloch's first play for the Theatre of he Australian Elizabethan Theatre the Deaf, ODD BODS, a very successful Sat at 2 p.m. and 8 p.m. T Trust has mounted a production of AETT $17.90 (mat $16.90) show for infants schools, will continue to the American comedy THE run for the first term of 1986 along with G.P. $22.90 (mat $18.90) FOREIGNER for an Australia-wide Pens/ Stud $17.90 (mat $16.90) the company's popular secondary school tour. The production opened in January Two AETT tickets per member production, THE BUNDLE OF in Newcastle and will have played in STICKS, by Greg McCart. All three plays will be available from Monday, February 24, plus demonstrations and workshops in the techniques of non­ verbal communications and visual theatre for all ages. Bookings can be made with Susan Bell on 357 1200. Alan Ayckbourn Season

ontinuing their Festival of Laughter, C the Ensemble Theatre will present a play by one of England's most popular and prolific dramatists. Alan Ayckbourn's plays have delighted audiences everywhere with their gentle humour at the expense of the English middle classes and their marital power games. RELATIVELY SPEAKING has its fair share of mistaken identities, white Val Lehman, Nick Tale, Alan Docker and Anne Tenney in THE FOREIGNER 4

The Indonesian Dance Company, save $25 on a pair of season tickets) From the Adelaide KECAK, will present THE MONKEY should contact the Q on 047 21 5735. Festival DANCE, one of the most haunting and The season opens in March with a new mesmeric experiences of South-East Australiap play, HIDDEN AGENDA by Asia. Seated in concentric rings around a Greg Elliot and Neil Quintrell. It's a com­ HALIA THEATRE COMPANY single lamp, fifty men imitate the sound edy set in a conference centre where a T which is based in Adelaide was of monkeys with rhythmic chanting as group of people are attending a seminar formed with the aim of closing the their leader's incantation tells of a tradi­ on dynamics and communication. It will artificial gap between European culture tional Hindu story. They re-enact a battle be followed by Dorothy Hewett's play - often perceived as intellectually described in the Ramayana, the epic THE MAN FROM MUCKINUPIN sophisticated, visually brilliant, interna­ poem of ancient India, in which hordes which follows the hopes and scandals in a tionalist - and Australian culture, often of monkeys come to aid Prince Rama as W.A. wheat belt town at the time of denigrated as rough and ready, anti­ he battles against the evil King Ravana. World War I. The play was successfully intellectual and parochial. Born in Kecak will perform for one performance produced by the Sydney Theatre Com­ Poland, award-winning director Bogdan only In Sydney in the Concert Hall, pany a few years ago. Koca has rapidly developed a reputation S.O.H. on March 16. TREA TS by leading British playwright in Australia for directing exciting theatre. Christopher Hampton is followed by For the Festival he is directing HAMLET and a comedy thriller. BOOKING INFORMATION Shakespeare's HAMLET and THE DEATHTRAP by Ira Levin. One of the Mar 16 most successful comedy thrillers ever MARRIAGE by Witold Gombrowicz. AETT $9.00 The latter is a 20th-century Polish classic G.P. $12.00 written, it concerns the relationship about a war veteran's dream of family, Pens/Stud $8.00 between an aspiring playwright and his friends and homeland, played in a swift, Two AETT tickets per member mentor, a successful but rather jaded uncluttered style. Both plays will be seen playwright. in Sydney and star Koca's wife Gosia Of the few plays Joe Orton wrote Dobrowolska. before his premature death, LOOT, NEXUS, the world's top percussion perhaps his most well known will be BOOKING INFORMATION group, draws its music from the tradi­ presented at the Q in October. It is a HAMLET Apr 4,8, 10, 14, 16, 18,22 and tions of Africa, India, the Orient, the black farce in which few things are 24 at 8 p.m. Caribbean - sometimes soft and sacred, complete with a body in a ward­ Apr 5, 12, 19 and 26 at 2 p.m. meditative, sometimes vibrant and robe, robbery and impotent policeman! THE MARRIAGE Apr 5, 7, 9, II, 12, 15, danceable. Their collection of in­ The Q rounds off its year with that 19,21,23,25 and 26 struments from around the world in­ delicious pot pourri of Gilbert and AETT $14.00 cludes ratties, bird calls, wood blocks and Sullivan music TARANTARA TARAN­ G.P. $18.00 TARA! Further details of each produc­ Pens/Stud $13.00 tin cans as well as xylophones, marimbas, Chinese gongs, Japanese temple bells and tion will be given through the year in Two AETT tickets per member T.N. Recorder Hall, S.O.H. West African drums. With these they blend the sounds of East and West, ancient and modern, exotic and familiar, with incomparable virtuosity and unfail­ ing good humour. Nexus will perform in the Recording Hall, S.O.H. on March 13 The Lion in Winter and 14.

HE LION IN WINTER by James BOOKING INFORMATION Mar 13 & 14 T Goldman, which is best known from AETT $10.00 its film version with Peter O'Toole and G.P. $14.00 Katharine Hepburn, will open at the Pens/Stud $9.00 Genesian Theatre on February 8. Two AETT tickets per member Directed by Ray Ainsworth, the leading roles will be played by Bob Moore and Gaynor Mitchell. Allan Walpole has designed the sets. Performances will be at 8.15 p.m. on Fridays and Saturdays and at 4.30 p.m. Sundays. The closing date is New Season For Q February 22.

penrith's Q Theatre has just announc­ BOOKING INFORMATION ed details of its 1986 season and AETT discount $1.00 subscription bookings have opened. Bookings on 5299190 Gosia Dobrowolska Members who wish to subscribe (and 5

AIDS - A New Deficiency Syndrome. The production two of their most popular productions - was developed by the company following THE FATHER WE LOVED ON A Perspective interviews with people whose lives have BEACH BY THE SEA and SLIPPERY been changed by AIDS. They heard WHEN WET. SOFT TARGETS developed by the Grif­ stories that were not making the press - fin Company stories of personal break-throughs, the Directed by Peter Kingston support network, the extraordinary work BOOKING INFORMATION Cast includes: Paul Hunt, Jim Bean, being done by nurses, volunteers and the Tue Feb 18 to Sat Mar 1 Chris Jeffrey, Lisa Kelly and Wanda family and friends of those who are Wed to Sat at 8.15 p.m. Bodurka fighting. Sat & Sun at 5 p.m. AETT $1 J.(X) Stables Theatre The play is directed by Peter Kingston G.P. $12.00 he second play in Griffin's 1986 who was appointed artistic director of the Pens/Stud $8.00 T season touches on a highly emotive Griffin Theatre Company late last year. Two AETT tickets per member subject - that of Acquired Immune He had previously directed for Griffin

~~_d~_·_··b_YMarg_aretL_eask ______~

he decision-makers of the STAN­ Stevenson's Rosalind has been highly T DARD DRAMA AWARDS and the praised. Another RSC production not to AWARDS (the be missed is now playing at the Comedy two major annual U.K. theatre prizes) Theatre - Pam Gems' CAMIL ~ . were in agreement over the best actor for Gems is the author of PIAF and her 1985 - Antony Sher, for his perfor­ CAMILLE (Frances Barber) explores the mance in the RSC's RICHARD III, for life crisis of another "legendary" woman the Comedy of the Year - Alan in a production directed by Ron Daniels. Aykbourn's A CHORUS OF DISAP­ There are a number of new plays in the PROVAL, and for the Best Director "­ West End - two at least of which are Bill Bryden, who directed the National largely dependent on their star casts - Theatre's much acclaimed (and recently THE DRAGON'S TALE by Douglas shown on TV) THE MYSTERIES. The Watkinson with , at the Standard Award gave Best Actress to Apollo and INTERPRETERS by Ronald for her performance in Harwood ("The Dresser") with Maggie THE SEAGULL while the Olivier Smith and Edward Fox at the Queens. Awards acknowledged Yvonne INTERPRETERS exposes the humour Bryceland for her performance in Athol and tension in a relationship between two Fugard's THE ROAD TO MECCA Juliet Stevenson and Hi/ton McRae in AS YOU interpreters - she's English, he's LIKE IT which has recently returned to the Na­ Russian. tional's repertoire. The Standard named in December from the Barbican to the In early December, Peter Shaffer's the Brenton/ Hare PRAVDA as Best Play Palace Theatre and has settled in for a new play, YONADAB, opened at the while the Olivier Awards gave the same long run. Despite some critical carping National in a production by , accolade to Peter Barnes' RED NOSES. about trite lyrics etc, there is no denying with Alan Bates in the lead. Described by Other productions receiving awards in­ it makes a strong theatrical impact on the Yonadab himself as "A tale of hypocrisy, cluded Alan Bleasdale's ARE YOU audience, both technically and intrigue, family rows, incest and LONESOME TONIGHT? (Best emotionally - it is hard not to be swept calculated murder", the play and produc­ Musical, Standard Awards) with Martin up in the excitement of such scenes as the tion have received mixed reviews. The Shaw receiving much praise for his por­ storming of the barricades so effectively Sunday Times felt that like all Shaffer's trayal of Elvis Presley in the last years of created by John Napier's set. I unders­ plays it is theatrical without being his life, LES MISERABLES for Patti tand an Australian production is in the dramatic, and Alan Bates "plays Lupone's Best Performance by an Ac­ pipeline. Yonadab like an old-fashioned panto tress in a Musical, and the National The RSC's new Barbican season (con­ demon. " , Theatre won the Observer Award for An­ tinuing until March), includes an thony Hopkins' much admired playing in "emotionally spell-binding" (The Times) Margaret Leask is a former editor of PRAVDA. production by Adrian Noble of AS YOU Trust News now living in London LES MISERABLES, the RSC's "pop­ LIKE IT which has come to London where she is an artist's agent. opera" (The Sunday Times), transferred from Stratford, and for which Juliet / 6

_Spdi----=---lifd_____ ----;-I Investing in New and Unchartered Territories The Trust's Quiet Achiever

Everybody knows that the Australian Elizabethan Theatre Trust manages two orchestras, has a large service division that hires props, costumes and lighting equipment, and an entrepreneurial department that presents exciting com­ mercial productions from both the inter­ national and local arenas. But what about its Australian Content Depart­ ment? Wendy Blacklock, who has been with the department since its inception in 1982, talks about its growth and its plans for the future.

n 1975 the Commonwealth Govern­ I ment established the Australia Council to formulate and carry out policies aimed at raising the standard of the arts in Australia, to encourage more Australians to become involved in the arts and to make Australians and people in other countries more aware of Australia's Ernie Dingo, Alan Kickell, Robert McGuire and Lynette Narkle in Jack Davis' THE DREAMERS, which cultural heritage and achievements. ACD remounted following the 1982 Festival of Perth and toured around Australia for seventeen weeks A great deal has been achieved in the But there must be a continuing of artistic Merritt's work, THE CAKEMAN. We ensuing 10 years. Our feelings of purpose - an impetus to creativity. And agreed to help, and after many "cultural cringe" have gone. This term that seemed to be the role for the ACD vicissitudes not only was the work re­ coined by Arthur Phillips over 30 years .. . one of encouragement, support, and mounted in Australia, but the company ago, was seized upon back in 1975 and above all flexibility ... combined with took the production to the World Theatre used to assert Australia's need to good management skills, administration, Festival in Denver, Colorado followed by cultivate her own identity. The money marketing, publicity and technical sell-out seasons in Melbourne and the poured into the arts by the Australia expertise. Warana Festival in Brisbane. I will never Council saw the proliferation of writers, We began tentatively, travelling, learn­ forget the previews at the Parade Theatre companies and artists across a wide ing, meeting existing companies, con­ in Kensington, when I had worried that spectrum. stantly looking for unknown writers, not many people had booked and sud­ In 1982 the Theatre Board of the young people with fresh ideas and denly hundreds turned up at a quarter to Australia Council stated that a percen­ unusual exciting projects. In our first eight. The queue stretched out of the tage of its annual grant to the A.E.T.T. year of operation we made a decision to Parade grounds onto the street. Parents should be spent on the development of focus on assisting existing companies had brought children, even babies in theatre, especially innovative theatre and which had insufficient funds or ad­ arms, to give a tremendous send-off to the Australian Content Department ministrative back-up to tour beyond their the first Aboriginal play to be performed (ACD) was created. home base. The Human Veins Dance outside Australia. It was one of the many What you may ask is innovative? Company, Circus Oz, The Flying Fruit exciting evenings for myself and the Robert Hughes has talked about the Flies, and the Queensland Ballet were all department when the performance itself "shock of the new", but new doesn't stay able to reach new audiences with our and the audience response to it make any new. It doesn't even stay shocking. So help. We also kept our eyes open that production problems we might encounter where to begin. Successful theatre cannot year looking for other opportunities to recede into the background. be made by committee. It is a col­ assist in the creation of new work and Our first year ended with a very am­ laborative art, but the collaborators must new audiences. And one day an old bitious piece of puppetry theatre reflect strongly individual points of view. friend, Brian Syron, walked into my of­ presented at the Sydney Opera House. As the New York Shakespeare Festival's fice with the idea for what was to become FORBIDDEN FRUIT was advertised as Joe Papp said, "The worst thing in the our first Aboriginal project. an adult fantasy combined with live per­ theatre is one voice. It is the multiplicity Brian wanted to remount a production formers and life-sized puppets and was of voices that makes us so interesting. " of Aboriginal playwright Robert based on a Christina Rossetti poem, 7

"Goblin Market." It had a mixed recep­ Content Department exists to serve. countered all the problems associated tion, but we believed in the production Meryl had worked with the Australian with country touring - the pressures of enough to re-present it the following year Ballet before touring the world with the one or two-night stands, the lack of at the International Puppet Festival in renowned West German Pina Bausch suitable venues and the difficulties of Adelaide. Company as a soloist. Returning home promoting a show in half-a-dozen dif­ The ACD's work has never been un­ she shared her knowledge with a specially ferent venues at once. It was a production controversial. However, we have been chosen company of ten people. It is a that had received international acclaim as sustained by the support of the Australia source of great pride for me that Meryl's Menotti had chosen it for the Spoletto Council, and that of our colleagues debut as a director was in Australia under Festival and it had been seen by 10,000 within the industry. Every year I get the auspices of the Trust. people in five countries. dozens of proposals, and scores of Our third show - the i).ighly con­ Meanwhile, NO SUGAR, an scripts. Some productions develop troversial 1984 AD was produced with Aboriginal play which ACD had commis­ however, not from a script but from an our assistance in the Adelaide Festival, sioned from lack Davis, had been com­ idea generated by an artist whose body of and then brought to Sydney. The brain pleted and was mounted for the 1985 work is exciting. Such an artist is Mike child of Ljubisa Ristic (whose wonderful Perth Festival where it attracted great at­ Mullins. production of THE LIBERATION OF tention. It was subsequently chosen to SKOP JE had delighted audiences at an represent Australia at the World Theatre Mike's LONG LONG TIME AGO earlier Sydney Festival) this was a very Festival at Vancouver Expo '86. As this must surely be among the most con­ ambitious project that was loosely based goes to press we are still trying to raise the troversial projects the department has on both Aeschylus' "The Persians" and funds to take it to Canada and to tour it ever undertaken. It was originally plan­ Orwell's book. It managed to polarise around Australia. Jack Davis' children's ned for a season at the Sydney Opera both critics and audiences who either Aboriginal play, HONEYSPOT (another House, but when the management heard walked out or returned time and again to ACD commission), has been seen in Cape that 26 tons of sand was to be used as the see it. Yorke, Port Pirie, Port Augusta and flooring, they started to worry about the After several Sydney based shows it Adelaide as well as Melbourne and will be airconditioning system, and the" venue seemed time to hit the road and it was a remounted in 1986 for further school was changed to the Performance Space. great challenge to find new enthusiasts shows. By the time the sand was in there was for the corporeal mime company, And what of plans for 1986? We con­ little room for the audience, but those Entr'acte, who performed REFRAC­ tinue to be invited to send our shows who did come stood or walked around to TIONS in four cities as well as holding overseas by interested Festivals and we see the action. My favourite part of the local workshops for artists, architecture are very excited at presenting Kim work ~as the appearance of one per­ students, dancers and even models. Carpenter's adaptation of David former who had been buried from the Malouf's novel AN IMAGINARY LIFE beginning, breathing through a snorkel (see front cover story). This is a fine until his "entrance". example of a combination of exCiting We won our way back into the affec­ talents brought under the Trust's um­ tions of the Sydney Opera House with brella to work on a special project. JACARANDA BLUE. This stylish per­ The Department is proud that it is formance by the One Extra Dance Com­ sponsored so strongly by the Theatre pany was presented there in March 1983 . Board of the Australia Council, and that One Extra had been performing for years over the years it has also received in church halls, and the quality of their assistance from the Literature Board, the work made it clear that they deserved an Aboriginal Arts Board and the Music injection of extra funds, and marketing Board. I would also like to pay tribute to and production support. Our investment the enormous support given to me by paid off, since following the Sydney Robin Lovejoy who died late last year. Opera House season the company made a Robin was a director of the A.E. T. T. but successful tour of Melbourne and the help he gave me was far beyond the Canberra. Increased funding from the responsibility of a board member. It was Theatre Board has followed, and the born out of the vision he had for an Trust is very proud to have been able to Australian theatre, a vision he had car­ give this company a boost. ried with him since his earliest days at the The ACD strengthened its program of Metropolitan Theatre. We had been innovation by presenting three more A scene from Handspan Theatre Company's friends for many years, he had directed unusual shows. SUSPENSE combined production of SECRETS me as an actress at the Old Tote, and it the talents of circus performers, stunt was he who suggested that I go learn the artists and dancers, while ECHO POINT This tour was followed by an even "other side of the business" with the was the first work to show off the direc­ more difficult one with the Handspan Trust. He will be sadly missed but I am torial skills of Meryl Tankard. Tankard is Puppet Company's production of Nigel positive he would join me and our first a perfect example of the type of per­ Triffitt's SECRETS. We took SECRETS corporate sponsor, BP Australia, in re­ former who must be nurtured here in to Wagga, Orange, Scone and Newcastle iterating WE MUST INVEST IN NEW Australia, and whom the Australian as well as Canberra and Brisbane and en- AND UNCHARTED TERRITORIES. members include Penny Cook, Kevin theatre awards. It is set in London in The Nerd Miles, John Derum, John Allen and 1968 where David Kitzinger and his wife Jennifer West. It is directed by Edgar Jane are a busy and successfully married ecently opened in Adelaide to en­ couple. The Kitzingers lend a hand to thusiastic response from the public Metcalfe. R their near , Colin and Sheila, and most of the media is THE NERD by BOOKING INFORMATION who are in less-fortunate circumstances American playwright Larry Shue. It is the Wed Feb 19 to Sat Mar 15 ... But who is really taking and who is story of a dismally unfortunate chalk in­ Mon to Thu at 8 p.m. really giving? The Northside Theatre spector from the American mid-West Fri at 6 p.m. and 9 p.m. Company production will be directed by who arrives in the house of an architect to Sat at 2 p.m. and 8 p.m. Richard Cottrell and includes Jennifer take up a standing offer of hospitality. In AETT $19.90 (Mon to Thu & Fri 6 p.m.) Hagan, Neil Fitzpatrick, John Gregg and Vietnam he saved the architect's life and $18.90 (Sat mat) Jane Harders in the cast. so he is greeted with enthusiasm; but this G.P. $22.90 wanes as the Nerd exposes his full-frontal Pens/Stud $14.90 (Mon to Thu & r------, Nerdity and then announces that he has Fri 6 p.m.). BOOKING INFORMATION come on an open-ended visit. $13.90 (Sat mat) Sun Feb 9 to Sun Feb 23 Two AETT tickets per member Chris Langham, who plays the Nerd in Tue to Sat at 8.15 p.m. Sat and Sun at 5 p.m. Wed at 11 a.m. the Australian production, has come to AETT $15.00 (Mon to Fri and mats except Australia with a formidable reputation in Benefactors Feb 12/13) the field of comedy - the result of work­ G.P. $17.00 (Tue-Thu), $18.00 (Fri-Sun) ing with , Monty Python ichael Frayn's play BENEFAC­ Pens/Stud $12.00 (except Fri and Sat evg) and his own one-man shows that he M TORS which opens at Marian St. Two AETT tickets per member toured here in 1978 and 79. Other cast shortly has won all three major London M~_~_~______~

AUTUMN RACES AT RANDWICK send you the Festival programme and We hope that many members and their Wednesday April 2 at 12 noon tour itinerary. friends will want to join us. Tickets which The Sydney Committee's luncheon at the include both the theatre and supper are spring races is always oversubscribed so $20. we thought we'd give members a second THEATRICAL TOUR OF CHINA Wednesday June 4 to Monday June 23 opportunity this year to enjoy a day at THE FOREIGNER DINNER Randwick. The luncheon takes place in The Support Committee of the Sydney Wednesday April 16 at 6 p.m. Theatre Company has organised a China the Doncaster Room in the members Do join us for dinner at the Glebe tour with a strong theatrical and cultural stand. Tickets are $30.00 which includes Terrace Restaurant, 36 Glebe Point emphasis. Trust members are warmly in­ luncheon, afternoon tea and entries. Road. It's easy walking distance from the vited to join the tour which will be led by Footbridge Theatre where the AETT's former STC Board Member and production of THE FOREIGNER will be 1986 ADELAIDE FESTIVAL Chinaphile Thea Waddell. The tour cost playing. Dinner tickets are $18.50 which Friday March 1.4 to Monday March 17 is $3,500 on a share-twin basis which in­ includes two courses, wine (or orange Sydney Committee President, Shirley cludes all China costs and bed and juice) and coffee. Theatre tickets should Hay invites you to join her weekend visit breakfast for the three-day Hong Kong be ordered separately. to the Festival City. There'll be an oppor­ sector. Booking forms are available from tunity to see some fine theatre as well as the membership office on 357 1200 or for two day trips - out to the Clare and further information please ring Thea HAYLEY'S COMET WEEKEND Barossa Valleys - and time to stroll Waddell on 337 4686. Friday April 11 to Sunday April 13 around Adelaide to take in its Festival There's so much interest in seeing this spirit. All-inclusive cost for the weekend remarkable sight from a good vantage is $749 (for twin share) which includes SUPPER AT BELVIOR ST. point that Sydney Committee President airfares, accommodation at the Oberoi Friday February 21 Shirley Hay is organising a weekend in Hotel in North Adelaide, all dinners, The world premiere of David Malouf's the Bathurst/Orange/ Parkes area. Full tours and two luncheons. All you need to THE IMAGINARY LIFE (see p. 1) is a details will be in March T.N. but if in the pay for separately is your theatre tickets special occasion for us so we're meantime you'd like more information which we will arrange for you. Ring the celebrating with a supper for the cast and please ring the membership office on membership office on 357 1200 and we'll guest of honour the Hon. Neville Wran. 357 1200. 9

A PRIVATE FUNCTION directed by AGNES OF GOD directed by Norman Malcolm Mowbray Jewison Screenplay by Alan Bennett from the Screenplay by John Pielmeier from his original story by Alan Bennett and stageplay of the same name Malcolm Mowbray Produced by Patrick and Norman Produced by Mark Shivas Jewison Starring , Music by Georges Delerne and Denholm Elliott Starring Jane Fonda, Anne Bancroft and Opening early February at Academy Meg Tilly Twin Cinema Opening February 20 at Hoyts Centre

roba.bly the .last tir:ne a pig starred in a lone on a cold winter night, a young P movie was III Ammal Farm, but the' pampered porker in A PRIVATE A nun gives birth. Moments later the FUNCTION is more than just a porcine baby is found strangled. The novice has star, he is a catalyst in a Yorkshire town no memory of either the conception or planning its celebrations for the marriage the birth, and a forensic psychiatrist of Princess Elizabeth and Lieutenant (J ane Fonda) is called in to determine if Philip Mountbatten. Agnes is mentally fit to stand trial for In the midst of rationing and austerity, murder. Much of the film revolves around the three leading but villainous citizens are in PLENTY secretly fattening up the unregistered pig diametrically opposed attitudes of the and two other talented Australians, com­ to be the centrepiece of an invitation-only psychiatrist and the Mother Superior poser Bruce Smeaton and director of banquet. Into town comes a timid (Anne Bancroft), a conflict between logic photography Ian Baker, as well as New chiropodist (Michael Palin) and his and faith, the scientific approach and the Zealand's and actor-cum-lead­ religious belief in the possibility of socially ambitious wife (Maggie Smith), singer-with-Police, Sting. who accidently discover and kidnap the miracles. But it's not a movie that relies on big pig. To reveal more of the plot would be Written originally for three actresses names only. As befits an actress of unfair, you will appreciate the potential on a bare stage and since performed in 14 Streep's standing and ability, the leading of the situation when you know that countries in seven languages, the film is character of Susan Traherne is no paste­ Michael Palin was a member (' 'the quiet set in a cloistered Quebec convent (in up celluloid dolly heroine. A young reality a former boys academy). one") 'of the Monty Python team as well Englishwoman working as a Special as a noted English comedy writer (The Operations Executive Agent during Frost Report, Ripping Yarns etc.). World War II, she can find no role for "The best English comedy for years herself in postwar England and its days ... the script crackles with perfect one­ of plenty. Streep portrays Susan over a liners" said National Times reviewer, period of 20 years, in her wartime role Harvey Mitchell. and her affair with agent Lazar (Sam Neill), her marriage to diplomat Brock (Charles Dance), her friendship with Bohemian Alice Park (Tracey Ullman) PLENTY directed by Fred Schepsi and her relationship with Mick (Sting). Screenplay by David Hare from his stage But of far more importance is her por­ play of the same name trayal of the character of Susan in her Produced by Edward R. Pressman and rebellion against the deceitfulness and Joseph Papp emotional stultification she encounters Starring Meryl Streep, Charles Dance, and her outbursts against them which Tracey Ullman, John Gielgud, Sting, Ian gradually lead to the ruin of her marriage McKellen and Sam Neill and her own slide into instability and Now playing Pitt Centre Anne Bancroft and Jane Fonda in AGNES OF possible madness. GOD hen you put together a team like W that assembled for PLENTY, it's a BOOKING INFORMATION bit like reading a Who's Who of the cinema world - Pressmen and Papp Concessional vouchers can be purchased from the AETT and exchanged at Hoyts, Greater Union and from whose Public Theatre N.Y. HAIR Village cinemas for tickets. The vouchers are open dated but some Saturday/PublIc HolIday restrictIOns and A CHORUS LINE began their apply to their use. See vouchers for details. memorable runs, top American actress G. U. $6.50 ($1 saving), Hoyts $5.50 ($1.50 saving), Village $5.50 ($1.50 saving). Please note, no hand­ ling fee applies to film vouchers and members may purchase as many as they WIsh. Streep, Sir John Gielgud, Charles Dance Discounts are also offered at the Dendy Cinema, Martin Place ($2.50), and the Academy Twin, Padding­ who starred in the TV blockbuster ton ($2.50), at all performances except after midday Saturday. Members should present theIr member­ JEWEL IN THE CROWN, award­ ship card at the box office. Discount available on one ticket per member. winning Australian director Fred Schepsi, 10 e tJd'!-_fJltN'_1l!J______

nly at Kinselas could you find such a hat indefatiguable writer of musicals, nder the title of MIXED DOUBLES, O mixed bag of femmes fatales as T Stephen Sondheim, wrote COM­ U the Sydney Theatre Company is Pavlova, pop singer Madonna, Tennessee P ANY about marriage and non-marriage presenting six one-act plays during the Williams' Blanche DuBois, Yma Sumac and the pros and cons thereof. It's a first quarter of 1986 at the Wharf (or is it Amy Camus?) of amazing vocal light-hearted look at the subject and the Theatre. Two plays are presented in each range, and others. disagreements between those for and programme. From February 1 to 14 the They are all included in SIRENS, a against, but both sides agree that the company will stage FAMILY cabaret specially designed by artistic important thing is "Being Alive", one of FAVOURITES by Australian playwright director of the Sydney Dance Company, the hit songs of the show. It's being Linden Wilkinson and POTTY PLOY by Graeme Murphy, to suit the restaurant presented by the Sydney Theatre Com­ Georges Feydeau. A political and social theatre setting of Kinselas. Among the pany at the Opera House, Drama satire set in a Brisbane suburb, FAMILY SDC dancers portraying the SIRENS are Theatre, and is directed by Richard FAVOURITES is directed by Robyn Janet Vernon, Victoria Taylor and Nina Wherrett. Nevin. It is a world premiere season. Veretennikova, supported by male AETT discount $5.00 (Mon to Thu and POTTY PLOY which is directed by Rex dancers of the company. These irresist­ mat) Cramphorn is a bedroom farce written in ible ladies will be vamping their audiences Bookings on 250 1777. 1910. In the second half of February throughout February. FAMILY FAVOURITES continues with AETT discount $2.00 Tennessee Williams' SUDDENLY LAST Bookings on 331 3100. SUMMER directed by Michael Jenkins. The outstanding cast for the season includes Robert Grubb, Rhys he Rocks Players opened their 1986 McConnochie, Robyn Nevin, Deidre T season last month with a double bill Rubenstein and . which continues until mid-February. AETT discount $2.00 (Mon to Thu & mat) Both plays are written by young Bookings on 250 1700 playwrights (both under 21) and were presented at London's Royal Court Theatre. RITA, SUE AND BOB, TOO ear dress circle seats are all that by Andrea Dunbar is about two baby­ remain for the current season of sitters who become involved with a mar­ R SWEET BIRD OF YOUTH at Her ried man. GONE by Elizabeth Majesty's Theatre but it's still a rare Krechowiecka is about two holidaying John O'May and Jodie Gillies in COMPANY opportunity to see such a distinguished girls who develop emotional en­ actress as Lauren Bacall. Miss Bacall tanglements. Both plays are directed by plays opposite in the story of Derek Glenn and are presented Thursday !though the Festival of Sydney is a Hollywood drifter and a fading to Saturday at 8 p.m. and Sunday at 5.30 officially ended, you can still catch A Hollywood movie queen. The production p.m. TOM FOOLERY downstairs at the is based on Harold Pinter's original AETT discount $1.00 Seymour Centre until February 15. The London production which received rave Bookings on 569 0223 wacky songs of Tom Lehrer have been reviews from the critics. collected together to make this show - if AETT discount $4.00 (Mon to Thu & mat) you aren't too young, you'll remember Bookings on 266 4800 egular readers of this column will the success of his LPs in the fifties and Rknow that CATS has taken out a sixties and his numerous nightclub and seemingly permanent lease on space - it concert performances in various coun­ ichael Gow, whose outstanding play just won't go away and we're finding it tries. THE KID was presented at Nimrod, harder each month to try and say AETT discount $2.00 (Mon to Thu) M has a new play A WAY being presented something original 1 All there really is to Bookings on 692 0555 say is that it's still at the Theatre Royal by the Griffin Theatre Company at the and that half the population of Sydney is Stables Theatre until February 9. Set at still singing "Memories". Timelines for AST DANCE, by Australian Terry Xmas 1967 (when Harold Holt disap­ advance bookings are improving though L Stapleton, continues at the Ensemble peared), A WAY follows the lives of three and we can offer you tickets both this Theatre until mid-February. It is the first families in various states of collapse from month and in March. of three comedies - one Australian, one the end-of-year play to the first day back English and one Australian - which are at school in 1968. All these people had being presented at the theatre under the one thing in common . . . they all went BOOKING INFORMATION title FESTIVAL OF LAUGHTER. A W A Yl A WA Y is the company's first Wed Feb 26, Tue Mar II, Thu Mar 20 Directed by Sandra Bates, LAST production since Peter Kingston (who at 8 pm DANCE deals with the humourous side directs the production) became Griffin's AETT $37.00 artistic director and the company receiv­ G.P. $39.00 of marriage breakdown, separation and No pens/stud discount reunion. Bookings can be made for the ed a guarantee of continuity of tenure at Two AETT tickets per member full season or individual plays. the Stables Theatre. Discount unavailable at Theatre Royal AETT discount $1.00 AETT discount $1.00 Bookings on 929 8877 Bookings on 33 3817 The uietAchiever. Investing in new &uncfiarted territories.

The theatre was needed today is pushing to help them the art of achieve their performance goals. into previously At BPwe unexplored areas. New plays are always ready to invest in are heading in unthought of new and exciting projects. directions. And we quickly recognised Older works are receiving a kindred spirit. a new lease of life. Of course, investments such The Australian Content as these provide no financial Department of the Elizabethan returns. Theatre Trust is at the forefront But their value cannot be , of this experimental and measured in terms ~ cerebral approach. of money alone. W And as with any exper­ AUSTRALIA imental organisation, finance 1he QuietAchiever. 12 . t

is a publication of the Australian Elizabethan POSTAC E Theatre Trust which is produced exclusively for its 8,000 members throughout ,Australia. PAID THE AUSTRALIAN ELIZABETHAN AUSTRALIA THEATRE TRUST (incorporated in the A.C.T.) " , Patron Her Majesty The Queen President Sir Ian Potter Chairman Andrew Briger, AM Directors Rt. Hon. The Lord Mayor of Brisbane. Alderman S. Atkinson Sir David Griffin e BE The Hon. Mr. lustice C. 1. Legoe K. E. Cowley Dr. T. Manford D. A. Mortimer N. R. Seddon AO e BE L. G. Teale L. D. S. Waddy T. Yates Chief Executive: Kathleen Norris Company Secretary: Don Grace Accountant: Barry Tree Entrepreneurial Administrator: leffrey Kovel Australian Content Administrator: Wendy Blacklock Executive Producer for Musical Theatre: Noel Ferrier Orchestral Director of Music: William Reid Theatre of the Deaf Artistic Director: Ben Strout Theatre of the Deaf Administrator: Priscilla Shorne Building. Props and Electric Supervisor: Roger Taylor ( Costume Hires Manager: Michael lames Membership Manager: Carole Long Membership Secretary (Syd.): Carol Martin Melbourne office: Carol Ormerod Brisbane office: Denise Wadley Adelaide office: Veronica Bohm Perth office: lanet Durack The Australian Elizabethan Theatre Trust receives financial assistance for its activities from: The Music. Theatre and Aboriginal Arts boards of The Australia Council a statutory body of the Commonwealth Government. The Department of Aboriginal Affairs.

The New South Wales Government through the Office .1 of the Minister for the Arts. The Queensland Government Directorate of Cultural Activities. The Victorian Ministry for the Arts. The Government of Western Australia through the , W.A. Arts Council. B.P. Australia. The Ian Potter Foundation. The Australian Elizabethan Theatre Trust is a founder member of CAPPA. Membership enquiries should be directed to the Membership Secretary on 357 1200, 153 Dowling St., Potts Point. Postal address: P.O. Registered by Australia Post - Publication No. NBH 1305 Box 137, Kings Cross 2011. May be opened for postal inspection