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Theatre Australia

7-1979 Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979 Robert Page Editor

Lucy Wagner Editor

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Recommended Citation Page, Robert and Wagner, Lucy, (1979), Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979, Theatre Publications Ltd., New Lambton Heights, 50p. http://ro.uow.edu.au/theatreaustralia/32

Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979

Description Contents: Comment Quotes and Queries Whispers, Rumours and Facts Letters Guide — Theatre, Opera, Dance Richard Wherrett — nI terviewed by Rex Cramphorn Glynne — The am n behind the G &S tour — Raymond Stanley 1979 National Playwrights’ Conference — Douglas Flintoff alcF on Island — Terry Owen Children’s Theatre: Theatre in Education — Ardyne Reid Come Out 79 — Andrew Bleby Flying Fruit Fly Circus — Iain McCalman Children's Theatre in America — Christine Westwood Big Business and the Arts Part 1 — TA Enquiry Writer’s View: Clem Gorman A Sense of Insecurity — Ken Longworth Proliferation of Secret Britain Plays — Irving Wardle Let’s Make; Secret Marriage; D'Oyly Carte — David Gyger Coppelia — William Shoubridge The Queensland Ballet's Autumn Season — Deborah Reynolds ACT Losers — Solrun Hoaas NSW The eD vil's Disciple/American Buffalo — ucL y Wagner The irM acle Worker/Under Milkwood — Bruce Knappett NT Crossfire — Alan Youngson QLD Happy End — Jeremy Ridgman Hancock's Last Half Hour— Richard Fotheringham SA Arms and the Man — Guthrie Worby Bingo — Noel Purdon VIC A Star is Torn — Raymond Stanley The eS nsational South Yarra Show — Christine Westwood The lubC — Garrie Hutchinson Arms and the Man — Suzanne Spunner WA Well Hung — Margot Luke Something’s Afoot — Cliff iG llam Swan River Saga — Margot Luke Professionalism Italian film with a message — Elizabeth Riddell Anti-illusionism, MeyerholdandPiscator — John McCallum Thespia’s Prize Crossword No. 13

Publisher Theatre Publications Ltd., New Lambton Heights, 50p

This serial is available at Research Online: http://ro.uow.edu.au/theatreaustralia/32 f y i - c m

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Richard Wherrett heads new ^Sydney Theatre Company W Big business and the arts Aus Ballet’s Coppelia G&SandtheSA State Opera

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July 1979 Volume 3 No. 12

Richard Wherrett’s — First head of the new Sydney Theatre Co. P.7 Departments: 2 Comment 3 Quotes and Queries 5 Whispers, Rumours and Facts 6 Letters 46 Guide — Theatre, Opera, Dance Spotlight: 7 Richard Wherrett — Interviewed by Rex Cramphorn 8 Glynne — The man behind the G & S tour — Raymond Stanley 9 1979 National Playwrights’ Conference — Douglas Flintoff 10 Falcon Island — Terry Owen Features: 11 Children’s Theatre: Theatre in Education — Ardyne Reid 13 Come Out 79 — Andrew Bleby 14 Flying Fruit Fly Circus — Iain McCalman Falcon Island — Perth’s national 15 Children's Theatre in America — Christine Westwood children’s television programme. P.10 16 Big Business and the Arts Part 1 — TA Enquiry 35 Writer’s View: Clem Gorman 36 A Sense o f Insecurity — Ken Longworth International: 19 Proliferation o f Secret Britain Plays — Irving Wardle Opera: 37 Let’s Make; Secret Marriage; D'Oyly Carte — David Gyger Dance: 39 Coppelia — William Shoubridge 41 The Queensland Ballet's Autumn Season — Deborah Reynolds Theatre Reviews: 20 ACT Losers — Solrun Hoaas 21 NSW The Devil's Disciple/American Buffalo — Lucy Wagner Children's Theatre Supplement. The Miracle Worker/Under Milkwood — Bruce Knappett P.l 1 following 23 NT Crossfire — Alan Youngson 25 QLD Happy End — Jeremy Ridgman Hancock's Last Half Hour— Richard Fotheringham 26 SA Arms and the Man — Guthrie Worby Bingo — Noel Purdon 28 VIC A Star is Torn — Raymond Stanley The Sensational South Yarra Show — Christine Westwood Irving Wardle reports from London. The Club — Garrie Hutchinson P.19 Arms and the Man — Suzanne Spunner 32 WA Well Hung — Margot Luke Something’s Afoot — Cliff Gillam Swan River Saga — Margot Luke Records: 43 Professionalism Film: 44 Italian film with a message — Elizabeth Riddell Books: 45 Anti-illusionism, MeyerholdandPiscator — John McCallum 48 Thespia’s Prize Crossword No. 13

David Gyger on SA State Opera and G & S. P.37

William Shoubridge reviews Coppelia. P.39 Hiealre Australia

Editor: Robert Page Executive Editor: Lucy Wagner Ed. A sst. Ardyne Reid GUEST EDITORIAL FROM BARRY DICKINS Artist: Henry Cho

Advisory Board: Theatre Australia, what is it? John Bell, Graeme Blundell, Ellen Braye, television and menthoid-dependants. (Oh, but I Katharine Brisbane, Vivian Chalwyn, Gordon A seafood? A horse-race? A wart-cure? A fox Chater, John Clark, Michael Crosby, W.A. running through the suburbs? Glued, and pasted love that city, remember that old standard song Enright, Jack Hibberd, Ken Horler, Garrie correctly, perhaps it could be the first steam- sung in the sun in philanthropic Droop Street Hutchinson, Robert Jordan, Philip Mason, Stan operated hat. Yes, it’s all of these things, and Footscray; Marks, Jake Newby, Phil Noyce, Raymond Omodei, Philip Parsons, Diana Sharpe, Ken perhaps even further, it is none of these things. “Melbourne, City Of Light, City Of Footwear”?) Southgate, Raymond Stanley, Elizabeth Sweeting, There being a world cork shortage, it cannot even But, I digress. Marlis Thiersch, John Timlin, Tony Trench, be smoked. And this is not only an indictment As one who has had the honour of being Guthrie Worby, Richard Wherrett. egged, cabbaged, kicked, spat on, booed, brayed of the boot-trade, but publishing in general. We Advertising: received, by late mail not long ago, the at, ignored, bad, good, elegant, pedantic, Manager and Co-ordinator: Brad Keeling spectacular information that we don’t even exist. misquoted, enthusiastically reviewed and even 6/35 Orchard Road, Chatswood, NSW 2067 We exist, in fact, but sadly, not indeed. We once shot, on the stage, I feel honoured to guest edit Adelaide: here, particularly now, as theatres crumble away Brad Keeling existed in fact as well as in deed, but that ever Melbourne: (02)411-3074 crippling old shitarse, Frazer, has hopped into us beneath our feet, much like the sort of terriers Sydney: } with his double-bill, The Restraint Show, and the who attack postmen for no reason, with tiny Brisbane: Media Resources, Queensland one-actor, The Total Embarassment Show, and rows of shoe-tack teeth, as he plods up unknown (07) 262-6798 we now only exist in fact, but not indeed. concrete hills delivering bad news to all the Perth: Patrick Cordier (09) 364-2127 bickering, backstabbing red neck flesh, he asks We are read, to our knowledge, in all languages Correspondents: all over the world, even in Penrith. We are himself, always, “Why Is It Like This In N.S.W.: Editors (049) 67-4470 Australia?” enjoyed, discussed, quoted, waited for in Vic.: Raymond Stanley (03)419-1204 letterbox and lollyshop alike; we stand proudly It is like this in Australia, because there are Qld.: Don Batchelor (07) 269-3018 beside those other great canons of social fiction very few good postmen, and millions upon W.A.: Joan Ambrose (09) 299-6639 and avante garde literati, Turf News, Linoleum millions of shoe-tack teeth. A certain bad play S.A.: Michael Morley (08) 275-2204 Quarterly, The Phantom, Woods O f The World, recently bumped out at The Seymour Centre Theatre Australia gratefully acknowledges the Desk And Ruler and the rarest and most loved of after losing more dough than you could point a financial assistance of the Theatre Board of the all intellectual monthlies, The War Cry. shavingstick at, was promoted, publicised and Australia Council, the Literature Board of the praised almost beyond belief, but, as the truth of Australia Council, the New South Wales Cultural Indeed, we are popular, modern succinct, Grants Advisory Council, the Arts Grants witty, precise, and rectangular. But something is the play is in the bump-out, it would seem that Advisory Committee of South Australia, the decidedly wrong. What? those in control of our lovely country, absolutely Queensland Cultural Activities Department, the We cater to a definite need, that of don’t mind the untold millions of quids down the Victorian Ministry of the Arts, The Western Australian Arts Council and the Assistance of the popularising the stage, making known drain, as long as it’s not their drain. And, as far as University of Newcastle. forthcoming plays, introducing actors not known that goes, not their quids. Manuscripts: in Western Australia to one another, or even to Theatre Australia is also further kicked in the Manuscripts and editorial correspondence should Melbourne, that cultural tip-heap of tubes, guts by Gordon and Gotch, those standup be forwarded to the editorial office, 80 Elizabeth Continued on page 33. Street, Mayfield, NSW 2304. Telephone (049) 67-4470. Whilst every care is taken of manuscripts and visual material supplied for this magazine, the publishers and their agents accept no liability for loss or damage which may occur. Unsolicited manuscripts and visual material will not be returned unless accompanied by a stamped addressed envelope. Opinions expressed in signed articles are not necessarily those of the editors.

Subscriptions: The subscription rate is $21.00 post free within Australia. Cheques should be made payable to Theatre Australia and posted to Theatre Publications Ltd., 80 Elizabeth Street, Mayfield, NSW 2304.

Theatre Australia is published by Theatre Publications Ltd., 80 Elizabeth Street, Mayfield, NSW 2304. Telephone (049) 67-4470. Distributed by subscription and through theatre foyers etc. by Theatre Publications Ltd., and to newsagents throughout Australia by Gordon and Gotch (A’asia) Ltd., Melbourne, Sydney. Wholly set up by Tell & Sell Promotions, printed in Australia by Leader Publishing House. © Theatre Publications Ltd. All rights reserved except where specified. The cover price is ‘In keeping with our expansionist policy, I feel we must have a lash at “The Iceman Cometh maximum recommended retail price only. We’ll just have to double-up — that’s all”! Registered for posting as a periodical-category b .

2 THEATRE AUSTRALIA JULY 1979 commercial to make. Originally it was estimated fact that artistic enterprise generally in Wagga is to cost around $10,000 — you must realise that currently in a fermenting condition, as if the it was done by one of the country’s top legacy of comfortable amateurism is suddenly animators, but the concept so excited everyone being challenged by professional attitude. that in fact they dropped the price in order to do Recent events attest to this possibility. The it. director of the City Art Gallery resigned Jacka, the agency that produced it, sent it to dramatically amidst public speculation both Clio and the FACTS awards, and it has concerning the role of amateur and professional reached the finals of Clio. It is one of six input to exhibitions. The local ABC Concerts Australian Commercials that have reached the Committee failed to attract the necessary finals — but this is the only one to reach the minimum number of subscribers for its 1979 finals of the international section. season. Pro Musica, the local Musica Viva If you liken it to the Oscars where you have Australia outlet, has found itself in difficulties, Best Film, Best Actor, etc etc, this is the same both financial and managerial. The School of sort of section as Best Foreign Film would be. Arts production of Brigadoon received a frank The International section is for any commercial review in the Wagga Daily Advertiser. made outside America and this is the only prompting the Wollundry Singers to request that Bobby Limb as Scottie Templeton in Tribute. Australian commercial to reach the final of that their G & S double-bill show not be reviewed. Photo: Peter Holderness. section. And the newspaper complied with this request. Most of the advertising people think awards Granted that the Trucking Company’s TRIBUTE only run second best to the actual selling ability difficulties are part of an artistic upheaval in the of a commercial; well this has done both. It has Riverina, it is difficult to escape the conclusion BOBBY LIMB — “Scottie Templeton” not only sold the show but also been considered that personal considerations have affected meritorious. “Scottie is an entertainer, a comedian who balance of judgement and reasonable Awards are probably at the end of the month became a writer out of Hollywood and drifted up objectivity. Equally, much of the Company’s so we should know in a few weeks time if we got to New York doing pilots, TV and so on. He’s current malaise may spring from inadequate or anywhere. We may not win it but isn’t it one of those guys who finds life a big one-line merely verbal designation of duties for the tremendous to have reached the final.” gag — all hey! hey! — you know. He’s lots of salaried actors. Meanwhile, rehearsals are fun but the sort people lose their patience with. 1 proceeding with Dusa, Fish, Stas and Vi, and mean one person who does is his wife, Maggie, WAGGA: ARTS IN FERMENT also with a new one-act play by the Company’s who leaves him and then divorces him and writer in residence Sandy McCutcheon titled remarries. But she has had a son with him, a boy ADRIAN WINTLE Saturday Night at God's Place to be presented as a late-night offering. And Wagga waits to judge called Judd who is now about twenty-three and “The contract for the Riverina Trucking whether the ferment will produce good vintage this son Judd is very disillusioned with his Company’s recently appointed artistic director, — or merely grapes of wrath.” father. He’s fed up, because, as he says, living Mr Damien Jameson, expires on July 8. Various with him is like playing the straight man in a sources report that as a result of meetings comedy team all the time. between the Trucking Company Board and BERLINER ENSEMBLE STAR Anyhow Father finds out that he has disgruntled salaried members of the Company, AT NIMROD something wrong with him and tries to com­ the matter of renewal of Damien Jameson’s municate with his son. It is both funny and sad contract is currently an open question. PAUL ILES, General Manager, Nimrod. and about the most exciting thing I’ve read. It At time of writing the Trucking Company “We are delighted to announce that Ekkehard makes you laugh and cry just as you read reportedly is deeply divided in areas of artistic Schall will perform his recital of songs, texts and through it. But mainly it is a light, joyous, policy, directorial responsibility, precise role of Poems by Brecht at Nimrod during our season marvellous play. its three salaried actors, and functioning of its of The Life o f Galileo between 8th & 15th July. Since I have a twenty-three year old daughter Board. The Board incidentally consists of June Schall has been a member of the Berliner I don’t find the part difficult. I’ve played comedy Dunn, Brian Duignan, Keith Roberts Ensemble for 27 years and has played Arturo Ui before but this is comedy and drama which I (chairman), Barbara Kamler, Jenny Leslie, Eve 540 and Schweik 600 times, becoming their haven’t tried, but I'm enjoying it. I’ve got a Jackson, Ray Goodlass, Brian Stenmark deputy director and general manager in 1977. wonderful cast — Henri Szepps, Anne Semmler, (administrator) and Ian Leslie. Four of these He comes to Australia with his wife Barbara, Julianne Newbold and Tom Burlison (from The Board members — Mrs Dunn, Mr Duignan, Mr daughter of Brecht, and Helene Weigel; which Restless Years), Di Davidson who plays my Goodlass and Mr Leslie — are co-opted makes Ekkehard Schall Brecht’s son-in-law. This wife, and of course, Jackie Kott — and great members. will be the fourth foreign country where the faith in Peter Williamson. Damien Jameson has now directed two plays show has been performed — after the Piccolo It is a beautiful play and a beautiful part.” in the Company’s 1979 season, Louis Nowra’s Theatre in Milan, Denmark and Britain. Inner Voices (March) and Arthur Kopit’s The programme will include songs from Baal, THE LAUGHING HEAD______Indians (April), plays that have been staged in The Threepenny Opera, the Sword Dance from spite of a disruptive climate within the Mother Courage and “Remembering Marie A”, JOHN LITTLE, Elizabethan Theatre Trust. Company, a climate which in my view has one of Brecht’s most beautiful creations. We “That little laughing head commercial for affected the unity of each of these productions. shall be treated to music by Kurt Weill, Hanns Bedroom Farce was a very expensive There is perhaps a bitter consolation in the Eisler, Paul Desau and others; an evening of

THEATRE AUSTRALIA JULY 1979 3 who just want to have a go, and they will great promise. each other’s company; the only real way they know after the week whether they are in it or Our special thanks to KLM Royal Dutch could relate was through letters and nursery Airlines, for flying the company over the Berlin talk. In fact it was paradoxically only when they not.” wall.” were apart that they were together. After the outbreak of WWI, Mansfield first FAST 1979 SCHOOLS DAY lost her beloved brother — an event from which she never really recovered — and then BARBARA ALLEN TONY WATTS, Associate Director, MTC. contracted consumption, the great romantic “Festival of Australian Student Theatre “At MTC we’ve introduced a new idea this disease of the day. Aware of her sickness, (FAST) is in the process of being organised at year in presenting plays for schools. Rather than Katherine now needed someone she could rely the University of Queensland. FAST will be held the kids bussing in just for a matinee perform­ on, someone stronger than herself; and of from the 26th August to 2nd September. ance, we invite the schools in for a whole day. course, Murray was unable to supply that Close to campus there are four theatres, an The morning session is a ninety minute informal strength. In her last years she turned to the outdoor amphitheatre and other rehearsal/ demonstration of elements of particular interest Russian mystic George Gurdjieff and travelled workshop space, which will be available for in the production — the set design, lighting, to Fontainebleau; and there she died. FAST activities. rehearsal processes, the manufacture of The turbulent, deteriorated love affair of Productions from drama groups of all tertiary costumes, props, set dressing, and so on. We talk thirteen years had come to an end.” institutions in Australia are invited to perform. of the staging rather than the text itself, to shift A programme of wide-ranging workshops will be i the emphasis towards the theatrical rather than SCREEN ACTING SEMINARS conducted by well-experienced, professional the literary dimensions of the play. We want the tutors. The workshops will cover as many kids to see plays as performances, not simply as aspects of theatre as possible, including experi­ BRIAN MUIR, Director. dry texts to be studied and read in a class room. mental theatre, street theatre, writing and “These seminars go back to my operations in The effect of the morning session has been special technical. Queensland. I was an agent up there for about magnificent. Instead of a bored, disaffected The overall aim of FAST this year is to help eight years and I found that my clients up there “compulsory” audience, we have tense attention students to a better, more rounded under­ had little opportunity to be in the films that were broken by a roar of appreciation when the per­ standing of theatre. being made. What happened was that the film formance ends. It is hoped that working with others who are directors brought in their own people even The day finishes with a sixty minute question interested in theatre will provide an entertaining though the film was being made in Queensland session with actors, director, designer, week for all participants.” — this was for the good reason that the directors production and workshop people, and we have For details, registration and accommodation, needed people with experience — for reasons of had some highly perceptive questions and contact: Anna Pappas, FAST Co-ordinator, economy in the long run. I found that my clients comments on style and performance. They’re a University of Queensland, St. Lucia, Qld. 4067. had no actual film experience and therefore no very bright audience given the chance, and Phone: 371-1611. jobs, so obviously some type of school was hopefully we manage to convince at least some needed. of them that live theatre is an exciting, unique But I couldn’t find up there the people with QTC FLYING HIGH______and valuable experience.” the sort of ability and knowledge that I thought was needed for the standard required, so I LLOYD NICKSON, Education Officer, THE TWO TIGERS looked around for the very best trainers, or Queensland Theatre Company. actors who could be trained — and that’s how “ Who’ll Come A-Flying which the ANN ECKERSLEY, La Mama Theatre. we’ve come to use Charles Tingwell, Kurt Queensland Theatre Company will tour as part “The Two Tigers is essentially a love affair. Ludescher from Melbourne, Hayes Gordon, of this year’s secondary schools tour, sponsored It’s no way an appraisal of Mansfield as a writer Terry McDermott, Terry Donovan (Mick Peters by the Queensland Arts Council, came as the nor of Murray as a critic. Instead it should in Division 4), and now Bob Huber. result of our wanting to including something hopefully evoke compassion, and an under­ We were forced into the seminar form as we that was peculiarly Queensland in the tour. standing, and at the same time show something found people were available for only brief After I’d done some early research into the of Katherine’s vitality and fury. periods, but we found in fact that the con­ history of aviation in Queensland, I felt sure we The picture of Katherine Mansfield in the centrated programme was tremendously had the material for the kind of play that we play is almost her whole life, whereas Murray’s rewarding for retention and comprehension, and wanted. So Douglas Hedge, an experienced actor role covers only a brief portion in a much longer people were coming out of it more equipped than as well as writer, was commissioned to write for and varied life time — for Murray, Katherine from the same forty hours spread over, say, us. was simply the first of four wives. Katherine’s twenty weeks. You see everything reinforces Basically we’re presenting a documentary- closest relationships outside Murray and her everything else, and they all reinforce each revue that traces fifty years of service by brother Chummie, was Ida Baker, who makes other, and the results are simply fantastic. QANTAS. When you consider that, ten years ago, school students could watch man landing only a vague appearance in the play. Well, after eighteen months in Brisbane we Katherine and Murray were certainly a looked elsewhere and found that no one else was on the moon, I think it’s important that we help beautiful couple although not everyone doing this, so we brought it to Sydney — not them realise that all of this has developed from continued to think so. D H Lawrence, under the because there weren’t acting schools, there are such small beginnings in so short a time. guise of fiction, cruelly portrayed them in — but we are aiming at the bit players and the It’s also very much a story about the people several of his works notably as Gudren small actors and the general public (we work as involved in early aviation in Queensland, many Brangwen and Gerald Crich in Women In Love. though everyone is a beginner). We had a very of whom have descendants living in areas where The couple were both immensely selfish successful seminar with Charles Tingwell a we will be playing. This in itself has led to a lot of pre-production people and it is our recognition of this selfishness month ago — terrific — four people are even involvement in the play. We’ve had lots of that gives their relationship — and the play — doing this next one too. You see after forty letters, newspaper clippings and photographs its depth and quality. Murray lacked any sort of hours of this type of training people know sent to us by people who’ve heard that it’s in spontaneity that might have helped to set them whether they can cop the discipline needed to be Continued on page 22. both free. Never were they able to just ‘be’ in an actor, so we’re also picking up talented people

4 THEATRE AUSTRALIA JULY 1979 Company....Looks as if Tony Llewellyn-Jones is Ray Stanley’s giving away acting for a couple of years. He tells me he is now at Canberra University working for his BA....Those seminars for people interested in film and television work, which Charles Tingwell WHISPERS is constantly conducting, seem to be creating much interest. Certainly few people could be RUMOURS more qualified than “Bud” after all his overseas experience. An LP is being made of Lionel Bart’s stage show Gulliver’s Travels with Laurence Olivier as narrator and Justin Hayward and Dusty Springfield among the singers. Bart is trying to persuade Sylvester Stallone to sing the role of the Maybe a group of Australian playwrights, via Giant on the record....Lewis Fiander has taken the Australia Council, could follow the example over the lead role from Tom Courtenay in the of five Canadian dramatists who have been London production of Clouds....Believe feelers visiting arts centres around Britain as part of a were put out to Equity to import Ronald Lewis pilot project to promote Canadian playwrights to play with the MTC. Ronald Who? abroad. The five were selected, apparently, to It may be 10 years before the 200th reflect the different regional perspectives ana commemoration of the first play to be staged in stylistic approaches central to the surge in Australia (Farquhar’s The Recruiting Officer), Canadian theatre during the past ten years. but already I’ve received a telephone call with Through general discussion and selective the suggestion there should be Australia-wide readings, they have been illustrating the diversity celebrations of the fact in 1989. Maybe someone of work being done in that country today. should even start the ball rolling now...Maggie With all those tempting offers Gordon Chater Millar was certainly a busy girl during June; first is receiving overseas, one wonders if he will ever there was Run, Run Away at La Mama’s, return to Australia permanently. When, before written by Robert Kimber, and at the end of the he left these shores, 1 suggested this might month she went into Hoopla’s Miss Julie....MTC happen, he told me categorically he would Associate Director Bruce Myles leaves on always live and work principally in this November 11 (seven years to the day he returned country...but of course situations can change. to Australia) for a 10-week trip looking at theatre Meanwhile, there is a whisper he is being sought throughout Europe and the UK. to replace Frank Thring when The Kingfisher Following a personal appearance on stage at resumes its tour next year. the St. Kilda Palais, where her latest picture Some interesting names due to appear with the Kostas opened the Melbourne Film Festival, OPERA AUSTRALIA State Company of South Australia: June Wendy Hughes told me she would love to appear Bronhill in Oh, What A Lovely War, Mate, Peter in a play at the theatre. Apparently it was the All THF Carroll as Malvolio and probably Lois Ramsay as first time she had ever been inside the building, NATIONAL NEWS Dolly in The Matchmaker....FoWowing her Lydia and was most impressed....Barry Pierce, as a Languish in The Rivals, Sandy Gore is more POW officer in The Sullivans, in between INTERVIEWS WITH VISITING than happy she’ll be working again with Frank freezing takes pretending to be in a hot sweaty PERSONALITIES, Hauser, this time playing Dol Common in The Singapore, has been slipping back and forth to BACKGROUND MATERIAL ON Alchemist....Wondering if John Diedrich will be Tasmania where he’s directing a 60-minute BOTH NATIONAL AND cast as male lead in Evita when it is staged here. documentary The State Emergency for the REGIONAL COMPANY Coral Browne seems fated not to return to Tasmanian Film Corporation. PRODUCTIONS. work in her homeland. That vampire film, Hear that in New York there’s a striptease Romance in the Jugular Vein, which she and queen calling herself Fidela Castro and in THE COMPREHENSIVE husband Vincent Price were to star in, is now Hollywood two strippers are named Roberta MONTHLY off....Linda Aronson is working on a new play Redford and Paula Newman....“There WILL be OPERA NEWSPAPER with Patricia Kennedy in mind for leading role. sex after death — we just won’t be able to feel it” Patricia incidentally is to read another morning says Lily Tomlin. SUBSCRIBE NOW: serial on the ABC: Judith Wright’s ONLY $5 ANNUALLY autobiography, Generations o f M en....M itt his Special recent Playbox production of Notes From An To: Old Man’s Diary from a Chekhov short story, Circulation Manager, Birthday Opera Australia Scott Ramsay tells me he is now turning his P.O. Box R361, attention to some of Turgenev’s tales. Wine Offer Royal Exchange, NSW 2000 If everything goes according to plan, in RED & WHITE I enclose my cheque for $ ...... November Melbourne will see two Hamlets: from Please send the next 12 issues of Derek Jacobi in the Old Vic (once Prospect Opera Australia to: PENFOLDS & CAMPERDOWN Theatre) production presented by Clifford Name Hocking and the Australian Elizabethan Theatre CELLARS Address Trust, and John Walton in John Sumner’s Details on Back Cover. production for the Melbourne Theatre Postcode

THEATRE AUSTRALIA JULY 1979 5 Dear Sir, reviews: “Michael Price, although facially Dear Sir, I begin by declaring a handicap: I’m a good dissimilar to Laurel, had the little comic’s Could you please bring it to the notice of your actor who worked at the Hole in the Wall on mannerisms and Lancashire accent to WA critics that Gerald Hitchcock and Glenn David Allen’s Gone With Hardy — the play perfection, and, even as he discarded his support Hitchcock are not one and the same person. your Perth critic apparently got a lot further system on his way up, he still maintained his air Twice in recent times (most recently in TA April with in Canberra. One wonders why he bothers of rueful surprise”, Mardy Amos, The Aust­ issue), my brother Glenn has been commended with criticism. ralian, 20th March. for performances given by me. Although this I declare my handicap because the Perth pro­ “Michael Price as Stan gives a splendid delights Glenn — he has decided to subscribe to duction had sweet FA in the way of director performance, and at times he bears an uncanny your magazine — it is somewhat galling for me, interest, publicity angles, or back up, but it was resemblance to the comedian”, Barry Robertson, especially since the only time a performance of still a valid and strong production, held together Sunday Times, 18th March. mine has attracted a bad notice, the wretched by Jenny McNae’s dedication and Dawne Basically, the Perth production of Hardy was critic had the ill-grace to call me by my own Eastman’s humour and fine piano work. The a guinea pig, for director and theatre manager name. cast was great. alike; they didn’t have their act together at all, Although it is true that Glenn and I look alike, That the director didn’t care much for the and damned if I’ll see a good cast carry their can. sound alike, and are both almost nauseatingly play, and was looking forward to working on the As for Mr O’Brien’s comments, let him speak for affable, let notice be served that creeping “contemporary” City Sugar, that the theatre himself and not for audiences as a whole; he’d be paranoia is threatening to turn one of us savage. manager was more concerned about last year’s on his own in his dislike of the cast.” Yours sincerely, debt than coming up with a good publicity angle, Yours sincerely, Gerald Hitchcock, Michael Price is beside the point once the play’s up. West Perth, WA Highgate, WA. After the first week, I clashed with the director and manager, charging that they didn’t Dear sir, care about the production, and as for running a Dear Sir, Hoopla’s production of Miss Julie was theatre they’d be flat out running a soft drink In the May issue of Theatre Australia there is mentioned in the last issue as having been stand at the beach on a summer’s day. The a review by Anthony Barclay of the Actors written by Anton Strindberg. Actually Anton director saw the play once, apart from opening review by Anthony Barclay of the Actors Strindberg is well known as the author of the and closing nights, Mr Newby even less. The Company production of Othello. The headline classic, Uncle Julie. Miss Julie however was cast cannot be taken to task for box office reads BETTER THAN LAST YEAR'S written by July Strindberg. It opened in June. failure, despite Mr O’Brien’s attempt to absolve TRAVESTY. Your critic observes that the Yours sincerely, company did a disservice to the audience with its Carrillo Gantner and Roger Pulvers, Messrs McColl and Newby. Hoopla, Melbourne. To the production. According to O’Brien, the 1978 production, and that at least this year’s main source of worry, by far, was my perform­ production is “better”. He than goes on to ance of Stan. A “peculiarly remote and detached demolish the current production. The obvious Dear Sir, performance” where we (note the royal plural) inference is that last year’s Othello must have I rarely answer any written criticisms about the audience never felt empathy for Mr Price at been incredibly inept. my reviews in the pages of Theatre Australia, all. Fine. Stan didn’t want your empathy, and I directed the 1978 Othello, which was not believing that a person is fully entitled to their the way I played him he was detached. Hamlet’s reviewed by your magazine. I have no opinions of my opinions and that someone who another play, entirely, Mr O'Brien. I deliberately connection with this year’s effort. I have no gives criticism should also take it, but the leant back on Stan, because I was dead against interest in commenting on Mr Barclay's rather cockeyed, way-off-the-mark pontifications of Mr the interpretation that would have him as a badly written review, but I must object to his side Lazner, Applecross WA prompt me to make a ruthless, insensitive self-seeker, who used his swipes at my “travesty" of last year, which also reply. jokes to distance people. He was a genuine managed to garner these critical comments: What one immediately notices in his little innocent, whose great love in life was working “This honest and competent production diatribe against me is that he discusses my review on comedy gags: as a gag inventor, he is without should enjoy a profitable season. It was pleasing of the Australian Ballet’s Spartacus purely in peer, and as such was a keen observer of his to see so many teenagers in the audience — and terms of political viewpoint, there is never fellow kind. A re actor, as opposed to initiator. they were obviously enjoying the play” — anywhere any reference to the ballet Spartacus Read Dick Van Dyke’s rave about Stan — that’s Education Magazine. as such or even ballet per se. I would like to know whether he has ever seen where I was at. “There are large slabs of excitement and As to Kate, I had Stan really not knowing power. This Othello comes up with the sort of any production of Spartacus in any form, let how to handle her, not wanting to hurt her, but magic that was missing from the Old Tote's alone the Lazslo Seregi version as performed by realising she was jeopardising his film career. In Tempest" — Nation Review. the Australian Ballet. despair, he lets Jock set her up. Stan was a “An unusual and stimulating production. The 1 also doubt very much whether he had the thorough pro, born into the business — a performance has fire and spirit, is spoken clearly, chance to talk to Mr Seregi about the ballet and Lancashire gentleman who, at the time of the and keeps a good grip on the swirling events” — his views on its politics. play, was searching for his clown. Perhaps the Sydney Morning Herald. If he had met Mr Seregi, he would probably play does his reputation an injustice by harping Travesty — a ridiculous distortion; parody, have thought the man very old-fashioned and on the obvious difficulty he had in his attraction absurd caricature — Penguin English unliberated compared to all those clever, stylish and smart, stage, TV and radio people he met on to, er — out-front women. Dictionary. As yours is the only national review of the Yours sincerely, his trip to Hungary last year. play, pride, and a sense of knowing when I’ve Matthew O’Sullivan Let Mr Lazner never forget that Spartacus was done a good job, compels me to quote two other Paddington, NSW Continued on page 44.

6 THEATRE AUSTRALIA JULY 1979 Richard Wherrett

Interviewed by Rex Cramphorn / spoke to Richard over lunch. His remarks and my questions were mostly about his plans for the new state theatre company — the sequence o f topics was random and the style informal. I have rearranged the material from my notes and cast it in the third person. The result reads a little like a press release or policy statement but I was at pains to cover all the ideas Richard wanted included and the aim o f the interview was, after all, to elicit these ideas and present them as straightforwardly and clearly as possible. Richard’s appointment as director of the new Sydney Theatre Company was something of a surprise to him. We agreed that, among the Australians we knew who had applied, John Bell had seemed the likeliest contender. Now, retrospectively, Richard wonders that he should have seen himself as quite so dark a horse. He will be taking up his appointment just ten years after his return to Australia and, although he applied for the position, along with the other Nimrod directors, to satisfy a feeling that Australian directors ought to apply (since it would be pointless to complain about the acceptance of an application from overseas if no Australians had applied), he realises now that he directors were too many at Nimrod and that manager), the selection of a season of plays and wanted the job very much and that it confirms John Bell and Ken Horler will be able to divide the preparation of his first production. He plans the progress of his work in the last ten years. the work between them with, perhaps, to open at the beginning of 1980. He points out Richard’s work has been mainly with Nimrod. occasional guest director productions. that his first production for the Sydney Theatre He has been with the theatre from its inception As part of his policy of making the Sydney Company will also be the first play of the ‘80’s in and, for the last six years he has been on full-time Theatre Company a leading element in a the Drama Theatre at the Opera House. salary. The period has been good for him and thearical community rather than another Richard feels that the success of the new good for Nimrod. However, he feels that both he competitor for audiences, Richard proposes to company will depend largely on his selection of and Nimrod will benefit from the change — he have a member of Nimrod’s board (as well as plays, his presentation of them, and on his choice sees it as a necessary ‘turning-over’, a ‘fanshen’. members of, say, Q’s and Marion Street’s boards) of personnel including guest directors. He He is aware that one of his first duties at the on the board of the Sydney Theatre Company. expects to plan a six-play year with the possibility Sydney Theatre Company is the establishment of Richard has been appointed director (not of using the Opera Theatre for one extra a policy that will be demonstrably different from artistic director, he points out, implying that the production while the Drama Theatre is not Nimrod’s and he feels that this will benefit both role is seen as all-encompassing and not confined available. (Touring and transferring would also companies by making them define their roles — to ‘artistic’ decisions) of a limited company, of be possible at such times.) while the Old Tote was not doing its job independant status (that is to say it is not a Richard proposes to maintain a permanent efficiently Nimrod was forced to take over some government or public service organization) and company of ten to twelve actors on minimum of its functions. Broadly, he sees the Sydney he feels that his appointment by the interim one-year contracts. He also hopes to institute a Theatre Company as having a responsibility in board reflects a desire on the part of the board repertoire system with successful productions the area of classics and established Australian and, indirectly, of the Premier, to implement the being retained — particularly in the area of writing (he suggested that plays like Buzo's recommendations of the recent public meeting Australian plays. He feels that many plays which Makassar Reef and dc Green's Going Home held to determine public opinion on the nature of have had one production in the last ten years might well have done better in the context of the the company to be set up to replace the Old Tote. now deserve re-consideration and, perhaps, a state theatre company than at Nimrod) while When Richard leaves Nimrod (officially at the continuing existence in a repertoire. Nimrod has a rather more adventurous brief in end of the season of The Sea) his first three Richard’s aim is to make the Sydney Theatre the areas of new Australian and overseas writing. objectives will be the staffing of the company Company a major company in the way that the Richard speculates that three full-time (beginning with an administrator and production RSC and the National are major English

THEATRE AUSTRALIA JULY 1979 7 Spotlight______Glynne — The Man behind the G & S tour

play: taking stage measurements, setting up publicity and arranging for orchestras, leaving Raymond Stanley nothing to chance, but calculatedly arranging As the seventies edge into the eighties, one every single step of the tour. It is probably the name that we shall probably be hearing more first time anyone from England has come out in and more of in theatrical circles here is that of advance and done such a thing. Glynne is full of Englishman Derek Glynne. anecdotes and interesting information about the Already several of the successful tours of country, which he picked up on this exploratory English attractions we have seen in the past few trip. years have originally been set up for Australia As they did with Marceau, Glynne and his by Glynne. These have included the National wife are accompanying the D’Oyly Carte on Theatre’s production of The Front Page, Marcel its tour. During this period he hopes to set up Marceau’s last tour, and Ronnie Corbett’s production of the highly acclaimed English play Australian debut in his own one-man show. about euthanasia. Whose Life Is It Anyway?, Glynne is not just another ‘Pommie’ with which will be produced with Michael Edgley. In limited experience, jumping onto the Aussie London the lead was taken by Tom Conti (of show-biz bandwaggon in order to make a quick TV’s The Glittering Prizes). Glynne, however, is buck. He actually has years of theatrical convinced he will be able to cast it in Australia experience and know-how behind him. and probably make a star out of the actor Connected with Bernard Miles' Mermaid North American premiere of the musical Cole, playing the Conti role. Theatre ever since it first started to function in resulting in the national tour of the USA he is Although he feels some productions need an Sir Bernard’s back garden in 1951, he has been a mounting this year. overseas name to give it a boost, or that certain member of its management committee since the For a time Glynne was J C Williamson roles cannot be cast here, Glynne hopes to cast theatre opened at Puddle Dock in 1959. Theatres' representative in London, working most of his future productions in the country, In 1961 Glynne formed his first overseas then under Michael Edgley. Now Edgley will be and is full of praise for the talent he has seen. company — The London Company (Internation­ associated with all the attractions Glynne Also, Glynne, would very much like to find a al Plays) Limited — specially to present English intends for Australia. good Australian play to present in England. One attractions in North America. His was the first The big one of course is the first ever tour of he wishes he had the English rights to is John presentation of a British production at the Australia and New Zealand of the D’Oyly Carte Powers' The Last o f the Knucklemen. He is also O’Keefe Centre for Performing Arts in Toronto Opera Company, which opened in Canberra in a great admirer of Reg Livermore's. — Treasure Island, direct from the Mermaid. May and terminates in Perth September 4, Among his other activities, Glynne is the The following year saw his co-production at the playing as well in seven other cities. Three works Consultant to Derek Glynne Associates, an O’Keefe of The School for Scandal with Ralph are being staged: The Mikado, HMS Pinafore agency formed for the management of an elite Richardson and John Gielgud. Since then he has and lolanthe. group of actors, writers and technicians. He was almost annually staged British attractions at the Glynne, together with his wife Kate, spent also part-author and co-producer of a new TV O'Keefe. three months in Australia and New Zealand at series for the BBC television in colour in 1971 In May 1977, just before embarking on the the end of last year, visiting every venue in when the BBC screened 20 one-hour episodes of Australian Marceau tour, Glynne presented the which the 58-strong D’Oyiy Carte Company will the series Brett.

Perilous) and that with careful selection of plays Quay but the Maritime Services Board has not, Richard Wherrett continued. and production there is no reason why these so far, been persuaded to relinquish it. Richard companies of the sort that ‘actors aspire to and successes cannot continue. Richard hopes that, hopes that the alternative venue will fill a long- are inspired by’. He hopes that it will not be the as major user of the Drama Theatre, the Sydney felt need in Sydney theatre for a really flexible, size of salaries which will attract actors — he Theatre Company can have some influence on rough space that can be completely remade would prefer to see more subsidy applied to the policies of the Opera House Trust, and that according to the needs of each production. raising the general level of actors’ salaries — and the experience of going into the Opera House for Indications for Richard of the direction that believes that if the Sydney Theatre Company a performance can be made as pleasant and the company might take were provided (on continues to get a major share of subsidy money stimulating as looking at the building from the recent trips overseas) by the Actors’ it is for the purpose of mounting large-scale outside undoubtedly is . In one crucial area, the Conservatory Theatre in San Francisco (where productions rather than for the purpose of backstage operation of the Drama Theatre, he was impressed by the sheer flow of personnel paying disproportionately large star salaries. Richard is set to do battle on the question of from rehearsals to classes, the busy day-to-day Perhaps the only brief that Richard has been making the staff members of the Sydney Theatre process) and the double venue working situation given is the implicit one that the Sydney Theatre Company and not employees of the Opera House in London (where he saw the same company Company must continue to use the Drama Trust. This will probably not be easy. performing afternoons in The Alchemist at Theatre as its ‘home’. Prospect director, Toby Bound up with the question of the use of the Aldwych and evenings in Macbeth at the Robertson reported to the interim board that the Drama Theatre is the need for an alternative Warehouse in Covent Garden). question of venue was crucial to the formation of venue for the company. The interim Fortunately there is no requirement to solve the new company and that the limitations administration has been looking for an all the problems by the time the first production imposed on repertoire and acting style by the administrative centre. (The O'Riordan Street opens next year — the new company will have Drama Theatre were too great. Nevertheless building used by the Old Tote and the interim time to find its identity and Richard is assured productions have been presented there (he listed administration will not be retained.) The most that the wide-spread desire to see the new Threepenny Opera, Mourning Becomes Electra, likely space (ideal in size and location) is a large company succeed will provide a most favourable Season at Sarsaparilla, Lower Depths and Chapel area over the Overseas Terminal at Circular climate for its growth.

THEATRE AUSTRALIA JULY 1979 Spotlight Our roving reporter extraordinaire Douglas Flintoff assesses the 1979 National Playwrights’ Conference A Grand Event But Lacking Vision

Douglas Flintoff From the back row of the Burton Hall always a problem. They have very definite ideas Common Room a dishevelled sleepy-eyed figure heavies take over too much? Should the about the plays they have to work with, which in rises and mumbles “At the moment in Australia playwrights be given basic skills training and the hothouse workshops at the Conference can we are living through a period of theatrical historical information, or would this cramp their cause troubles. Sometimes they suppress their activity without equal since Jacobean England. style? ideas when they conflict with the playwrights, The subject of this play is the only important The Playwrights’ Conference is the only time sometimes they enforce them, sometimes they issue for the twentieth century. And it says it all in the writers’ lives that they will be coddled and actually seem to be on the same wavelength. At — we can forget that now and move on". Little pampered to and loved to such an extent. Added this year’s Conference at least four writers felt Bobby Ellis, the divine fool of Australian Drama, to this was a mini-revolt at the end of the first misunderstood by their directors, although they has spoken. The audience sinks back into their week led, it seemed, by a group of women from were all fairly tough — inside. The plays are still seats, content in the knowledge that the last Western Australia who wanted a bigger say in theirs to take away with them — but it makes milestone has passed, and for the seventh time, in talk sessions — which one would think would be the workshop process only negatively rewarding. seven public readings, a truly great Australian about as underdog as you could get, but they They now know one thing they don’t want to do. play has been seen and acknowledged. keep turning up. Naturally the playwrights are At the Conference were also various cliques of It’s like another scene, where the guy says quieter than the others — they have their private agents, administrators and academics who are “You gotta get in touch with the universe. That’s garret passions to nurse — but one plus for the beneath our notice here. There were also people the first step.” And the other guy sits quietly Conference was that the playwrights knew what called dramaturgs but nobody knows what they wondering what the second step is. they wanted to say and said it, if not always in are or where they come from. On the whole The Australian National Playwrights’ their plays. people were nice to them. Conference and Theatre Conference is in its The other group which makes the Conference The Playwrights’ Conference does need seventh year and itching. Last year people were the mighty institution which it is, is the actors. shaking up a bit — just to see what would fall arguing that you don’t change something that The pathetic performance of the academics and out. What it lacks at the moment are great and seems to be working perfectly well as it is — so critics who used to run this show was thrown energetic visionaries. There is no reason why they decided at the summing up session to leave into sharper relief by the articulate, committed, academics and critics can't be visionaries but it alone. This year people are asking Has the perceptive and exacting contributions of that they don’t seem to be doing anything about it at Playwrights ’ Conference got boring? group of little battlers whom we force to suffer the moment. It was the year of the Grand But first, is it even working? The old issues bad scripts and bad directors in endless Subject for the writers (Birth, Marriage and cropped up yet again this year. Do the directors commercials and soap operas (not to mention Death) and of passionate, comic earnestness for have too much power? Do they ride roughshod plays in theatres) but who keep bouncing up. the actors, but what would be good would be a over the poor timorous playwrights, quivering in Their enthusiasm for the Playwrights’ single or collective, narrow-minded if necessary, the corner and frozen into terrified passivity by Conference, therefore, is understandable. Their vision to tie it all together. Bob Ellis (again) was the bright lights of the Great Public Debate? public commitment to their art, along with the right when he said that the Conference was the Should the Conference worry about the plays or private passions of the writers are the twin poles most important event of the year, and that is the writers? (should they look for great works around which the Conference, and the theatre in because it gives people leave to pursue their that bring a flurry of chequebooks to the final general, revolve. dreams in peace. As in Australian theatre in readings or should they nuture the potential Uniting these two groups, by giving them a general, it is a pity that the dreams are so low- authors of boring plays?) Do the theatrical common enemy, are the directors. They are key.

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THEATRE AUSTRALIA JULY 1979 9 Spotlight

A new Children’s TV programme is being made in WA for national screening.

Falcon Island

Children’s television with a difference — Terry Owen Joan Ambrose that’s how the Australian Children’s Film Foundation describe Falcon Island, a five-part television serial presentation by the Foundation Council, Mr. F Watson, W A Pines Pty Limited and currently in post production, with national and PIFT itself. release scheduled later this year. The difference Joan Ambrose’s island adventure idea was is that the action and adventure basic to good chosen, and Skippy script editor Moya Wood story-telling for kids’ television involves this time came from Sydney for two weeks intensive work a number of contemporary social issues. on the first draft material; she had another In the first five episodes, Kate. Paul and Jock, working visit in January this year. who are part of the small Falcon Island The cast for Falcon Island was recruited community, become involved in a search for a locally, and includes Alan Cassell, Joan Sydney, Dutch wreck off the Western Australian coast. Barrie Barkla and Bevan Lee. Director Peter Their plans are complicated by a proposed sand­ Maxwell brought key technicians with him from mining venture that splits public opinion in their Sydney to join the local crew, and the six-week community and threatens the wreck site. The shoot was completed last Easter, notwithstand­ kids, with help from their friends, find proof of ing incipient cyclones and the usual hazards the actual site as the bulldozers aré about to involved in water shooting, where the exactness move in, and save the ship from total filming requires simply isn’t available. destruction. It was a very tight working schedule, and The Australian Children’s Film Foundation is Peter Maxwell had words of praise for the local administered by the Perth Institute of Film and crew and their professionalism. He also made You won't find Falcon Island on a map: it Television (PIFT) who, about eighteen months the interesting comment that the local accent came into being on paper following a visit Joan ago, set up the Falcon Island project by getting would be a real ‘plus’ for producers battling to Ambrose paid last spring to Rottnest Island, Channel 9 (Perth) interested enough to put up sell their film product on the tough American offshore from Fremantle and out of season a money for script options and script development market where the ocker diction is a very real quiet village community of some 200 permanent for a children’s television serial to be made in obstacle. residents. Western Australia and aimed at the upper For parents and public bodies anxious about Joan, who has had a lot of experience in the primary/family viewing audience. Local writers the quality and content of children’s television. business of writing for children, wanted Falcon Joan Ambrose and Ron Bunney were Falcon Island sounds just the thing. As far as its Island to be decidedly Western Australian, so commissioned to come up with a range of ideas makers are aware, it’s the only cliff-hanger serial she gave it a 17th century Dutch wreck which, for the serial. for children in production in Australia. It’s also in Australia's maritime history, only this While the search for ideas was on, PIFT was one of the very few programmes based on western coastline can claim. She believes there, is also looking for $175,000 in funding: their final original, non-literary material. PIFT as the such a thing as Western Australian writing, and package of investors includes the National Nine production organisation have scheduled the final she sees no reason why Western Australian Network, Channel 9 (Perth), the Australian eight episodes of Falcon Island to go into themes, given high quality packaging and Film Commission, the Western Australian Film production in October this year. presentation, shouldn’t be successfully marketed nationally and even internationally. The theory that regionalism is a source of energy and focus for writers as well as painters isn't new and isn't confined to isolated places like Perth: it has its adherents in working writers living, among other places, in a village in East Anglia or a small southern town in the great US of A. One of the problems facing these writers is that publishers, and booksellers, seem to believe as an article of faith that fiction with a regional setting is death to the market. But of course it’s not just a question of location. Joan Ambrose believes that the powerful impact of landscape on people, and the ways in which people deal with each other within their landscape, are legitimate and marketable ingredients for a writer to work with. As a Western Australian, her aim is to write in the way fellow Western Australian artist Robert Juniper paints.

10 THEATRE AUSTRALIA JULY 1979 ______

CHILDREN'S THEATRE Cf) A Supplement to mark the Year of the Child International Year of the Child 1979 Theatre in Education

Relevant, Vital, Concerned, Absorbing — not cessions, the youth officers with various groups the usual adjectives to describe a schoolday but Ardyne Reid surveys and both companies and the known children’s certainly the description of a group of people theatre groups and work shops and the drama intently involved in a theatre-in-education the national TIE scene experience available to most children is doubled. production — except of course that one could Without doubt though, the difficulties also add happy, or even riotous, on occasion. experienced by teachers of drama in schools are Gradually theatre and dance are joining widespread throughout all Australia. Not only is music, now up-dated to include jazz and modern, drama a non academic subject unless linked with not just in the curriculum but as part of the English for its literary merit, but it appears to be experience of learning. Whether it is through viewed with suspicion by the authorities and, as clowns helping with number work for the the realm usually of the young and inexper­ primary classes, junior secondary pupils ienced teachers, tends to be overlooked all too discussing the social aspects of Let's Run Away, frequently. the TIE play by Michael Cove about a thirteen Few schools have sufficient space for drama, year old girl who does — and learns to or can offer only a proscenium arch stage that understand why and that it was not really doubles as an assembly hall platform or a necessary; or the sixth formers’ (year 12) Little gymnasium (or both), and suitable material and Brother Little Sister (by English playwright adequate preparation and follow up is difficult to David Campton) an all too possible tale of two organise. This applies throughout the school adolescents who have grown up in a bomb years whether it is suffered by the primary shelter with only ‘Cook’ for company. Words teacher expected to teach in a largely traditional like freedom and individuality become salient manner or the secondary teacher faced with in the widest sense for any discussion following script shortages or lack of discussion time this, and the discussion will point up the play's following a TIE production — however dance is relevance and the possibility that that situation even worse off in most areas and film and could be a part of life now or in the future. At a television are rarely more than elective courses primary level of course children may even join in even at a tertiary level. and become part of a play for the time it is at Maybe the differentiation between theatre their school, for example in Prometheus. (attendance at a performance) and drama — the This participation aspect is important, for in workshop situation in which students discover, the National Report Education and the Arts the exercise and develop their abilities both in the joint study of the Schools Commission and the field of human relationships, and in response, Australia Council, it is noted that expressiveness and awareness — needs to be ... young people prefer a more eclectic and emphasised for the dramatic educator can use episodic form (of theatre), to which film and this specialised teaching method to arouse television have accustomed them interest, augment and illustrate a full range of or they don’t like sitting through the usual three topics from maths to modern languages. It is of act play, even if they do get the chance. The course especially relevant to the humanities and MTC in Victoria are also tackling this same the social sciences. Since inadequate problem but by inviting schools for an all day programmes rarely go beyond warm-up programme where the performance and pro­ exercises and drama games and there seems to duction side of the play in question are discussed be a major difficulty in developing courses that in the morning and after a special matinee there combine development and exploratory aspects of is more discussion if required. drama with an acceptable structure and content, With the TIE companies, puppet theatres, this becomes a problem area, and yet it is music ensembles and dance groups touring the essential that drama is complementary to the schools, the input theatrically must be greater Gary Fry as Crusoe & John Stone as Friday TIE experiences (whether from State companies, in Man Friday. Photo: Toe Truck Theatre. than ever before. Add this to the family con- touring puppet groups or local troupes) so that

THEATR E AUSTRALIA JULY 1979 11

___ theatre can be seen as relevant to human include two new country teams — in Ballarat New South Wales experience and not just fantasy-on-stage like a and Benalla — but only because the Centre The Toe Truck Theatre is an example for dollar peep show. decided they were important and cut their own NSW. Formed in 1976 it has been assisted by staff to provide them. These TIE Community the Theatre Board of the Australia Council and Tasmania teams have each managed to hire two pro­ the Seymour Centre and with grants from the Groups like Tasmania’s Salamanca which go fessional actors to work with them. The Schools Commission and the Disadvantaged both into schools, the community at large and Education Department in Victoria is behind the Country Areas Programme. Toe Truck has overseas, teach across subject divisions with Drama Resource Centre, it is finance that produced programmes looking at the situation of material based on specialist research and stresses mitigates against their extension despite the migrants (Man Friday, 1977), racism and sexism communication through speech, music and assistance for example of the Sidney Myer {Juke, 1978) Buzo’s Norm and Ahmed, and vision must be close to the ideal — if it hasn’t Charity Trust — but that must apply all over joined in a multicultural workshop programme reached it. Salamanca (the Tasmanian TIE Australia. in two specific resource schools. Like the TIE in company) productions will have been well Victoria, Toe Truck also produces a discussional thought through for preparatory and post per Queensland drama kit to assist teachers. It also provided formance discussion in the schools before it is The Queensland Study Group on Education In-Service Workshops and initiated a visit to even offered, as one sees from the treatment that (1977) hold the view that NSW by the SA TIE Team Troika (a SA this year’s new production The Whale is ...no school leaver has been educated until he Education Department Team). accorded. Tasmania is lucky, for Salamanca, has been involved in at least one of the creative funded originally by the Australia Council as a arts, both in doing and appreciating, to the stage ACT pilot theatre in education programme and still of having some understanding of the purpose, As with the rest of Australia, NSW children supported to the extent of two actor-teachers by values and possibilities of the medium have a number of openings and innovatory the Tasmania Education Department, is able to and this probably sums up everyone’s viewpoint. programmes available to them. It depends on include both a writer and a schools liaison With an enormous state to cover — twelve who is around and where you live. officer in their group. Their brief is to cover all areas, each of which provides approximately For instance if you live in Canberra the schools in Tasmania and they range broadly in four weeks work for a company touring schools, Jigsaw Company’s TIE programme (to ACT and both content and style — from productions like the Queensland Arts Council's ideal of one NSW schools) are complemented by their Youth Little Brother Little Sister, to a musical performance per term to every school in the Theatre and the company also supports, and is documentary review of the trade union State at a maximum admission price of 60 cents involved in an ad hoc fashion in the ACT movement I'll Be In On That or Prometheus, a is a major endeavour. TIE here is represented by Association for Drama in Education. participation play about the creation of man for the Brisbane North Education Region Team the primary levels. which produces a child centred language South Australia But this is not to say that Tasmania is the only learning experience for the primary schools, one The concept of drama as different from State with a flourishing TIE company. now being extended by the TIE teams in theatre is also specifically defined in SA where Brisbane South and Brisbane West to provide a drama, as expected, is seen as free flowing and drama situation which generates facility with Victoria related to emotions and the effective curriculum, The Education Department in Victoria have the process of language and enjoyment in doing and theatre-in-education is seen to provide the produced a fascinating booklet on their so. skills and techniques of an actor and to provide a Bouverie Street (Carlton) Theatre in Education As elsewhere, in Queensland the Arts Council link between a visit or performance in a theatre Team’s production of Old King Cole analysing sets a standard for tours; however, interested and the school curriculum. The three the effects of participation, style, conventions groups may also approach schools privately, in government, or Education Department, and theatre experience as a means of reinforcing which case the onus for standard is on the financed teams Troika TIE and the STC’s concepts of socialisation. This is of course from a principal. In NSW the TIE groups are also Magpie group, work in the schools together with Drama Resources Centre staffed by eighteen subsidised by the Arts Council and/or negotiate (in 1977) four puppet companies who are qualified teachers, nine of whom are working in with the schools to take drama into them. partially financed. Magpie’s 1978 Festival TIE and who can offer a drama consultant to presentation, the world premiere of Unde liaise with the school, advise and even team Hector and the Bohemians, commissioned by teach with a class teacher. No admission is the Goethe Institute, “dazzled with magic and charged. illusion" and is but one end of the Magpie The programmes and personnel have Continued on page 48. expanded since inauguration in 1977 and now

The Salamanca Theatre Company.

12 THEATRE AUSTRALIA JULY 1979 International Year Andrew Bleby of the Child 1979

There are great dangers in organising any task, you will agree, and one which this year it for their own expression, regardless of the celebration or concentration of kids' arts. There gave rise to 70 different events amounting to traditional restraints imposed upon it by the are temptations to capitalise on the cutesy image over 550 performances, workshops, exhibitions adult wardens of their art form. of kids — to provide patronising theatre, quaint and occurrences over a two week period. At The Parks, a new school on the industrial events in which kids entertain doting adults, and But size and scope alone do not make a outskirts of Adelaide, a group of young school­ token ‘educational experiences’ which suffer festival. Unlike Adelaide’s ‘major’ festival of girls were given the opportunity of not only from being so overloaded with good intentions arts, the success of COME OUT cannot be expressing themselves through theatre, but that they totally lack imagination or excitement. judged by the numbers of people who placed finding out what they wanted to express. The COME OUT consciously tries to avoid these their bums in seats in front of the world’s most result was Only a Girl, a revue-style production pitfalls. COME OUT 79 is the third biennial revered practitioners of the arts. Because we are presented with life and feeling about what it’s festival of visual, creative and performing arts talking of young people, we are talking of like to be a girl, and what being a girl means to for young people in South Australia, and is potential, and we are talking not only of the the rest of the world. It wasn’t Shakespeare, and possibly the most important arts festival in this quality of the finished product, but the quality of it wasn't text-book feminism, but it had a country. Indeed, it claims to be the largest the process through which those young people thoughtful, theatrical honesty that shone festival of its kind in the world, directly have gone. Processes are a vital part of COME through to tell us that theatre could still be a involving more than fifty thousand young OUT’s raison d’etre, and it is interesting to note powerful, poetic medium which doesn’t have to people in Adelaide, and many more thousands in that the most successful components of COME remain the domain of a coterie of the educated country areas. Run by the Adelaide Festival of OUT 79 were those in which there was real elite. A group of equally inspiring kids presented Arts, with major support from the South Aust­ evidence that what we were witnessing was the From a Rag to Riches, a performance detailing ralian Education Department and The Savings product of young minds who had come to gripc the takeover of a small, committed magazine by Bank of South Australia, COME OUT has now with their creative medium and been able to use a large populist publishing company. Not only reached a stage of maturity where it can no ^Andrew Bleby is Education did the actors outline the situation, but forced longer be ignored by the media or the public as the audience to take a stand on it by using the simply another thing for kids. When you Officer at the Adelaide Festival media of radio, television and newspapers them­ discover that many of Adelaide's leading young Centre, organising a varied pro­ selves to report on the predicament. artistic lights are working in the field directly gramme of performances, work­ COME OUT is not, however, simply a parade because of their experiences with COME OUT shops and other activities for of young people’s achievements in the arts. It 77, you realise that the far-reaching powers of young people in the Centre’s also involves the “adult” arts and theatre world such an artistic feast cannot be under estimated. four theatres. He is the South in working with and for young people. Apart Since its inception five years ago, COME Australian delegate of the Aust­ from helping to give legitimacy to youth arts in a OUT has attempted to provide and inspire, on a ralian Youth Performing Arts world which still scorns and patronises the ridiculously small budget, a balance of activities young, it helps to bring home to established covering the entire range of the arts, in Association and a member of the organising committee for performing companies their responsibilities performance and participation, for all ages Continued on page 34. between four and twenty-four. A mammoth COME OUT 79.

Filthy children. Soft sculptures

THLATRL AUSTRALIA JULY 1979 13 FLYING FRUIT FLY CIRCUS

IAIN McCALMAN reports on the sellout circus organised by the Murray River Performing group and performed by eighty children under a big top in Albury Wodonga. International Year of the Child 1979

‘People mutht be amuthed. They can’t be The young circus singers break into their by putting his head in a boy’s mouth. alwayth a learning, nor yet they can’t be catchy theme song, “The greatest show on The circus audience proves as diverse as the alwayth a working, they an’t made for it. You Earth is here/The Flying Fruit Fly Circus” and acts themselves. The five thousand who mutht have us, Thquire’. So says Mr Sleary, the magnificently rumbustious sounds of Boris attended over five days included doting parents circus master and horsetrainer, in Charles (Leigh Conley) and his Banana Band fill the and grandparents, tiny tots and school Dicken’s Hard Times. For Dickens the circus tent. Tiny children run into the ring juggling. children, leather-jacketed youths and boiler- represented the very essence of life, a symbol of Tumblers leap, somersault and link themselves suited labourers, businessmen and nurses. In natural man in a human community; an into a twelve man pyramid. A boy strolls in part this reflected the attraction of an assertion of the values of loyalty, imagination with flames dancing on his fingertips and entertainment-form which transcends usual and joy against the aridity of industrialism and casually begins to eat fire, whilst three firemen boundaries of class and age, in part it was the its mechanistic philosophies. Sissy Jupe, the dash frenetically about dousing each other pull of kinship. The latter must go some way child heroine of his novel who personified all expertly. A unicyclist scoots around the ring also towards explaining the intensity of the these circus traits, would have found herself at waving his hat, behind him lopes an amiable crowd reaction. The two adult acts, a slick home in Albury Wodonga during the week of camel. A giant hand waves itself to the adagio and spectacular aerial display, produced 15-19 May when the Murray River Performing audience and cocks a finger in an appreciative response, but the atmosphere Group staged their Flying Fruit Fly Circus. acknowledgement of their excited cheers. changed sharply whenever children were For not only was this a circus dedicated to Amongst the seventeen staggeringly performing. It was like a cross between a school Dickens’ ideals, but it was a children’s circus as professional acts that follow, a few stand out. prize-giving and the Melbourne Grand Final, a well. The performers were eighty children of Appropriately it is the Hi-lites who steal the compound of emotional empathy, tension, diverse ages drawn from a variety of local first half of the show. Dressed in superhero excitement and community pride. schools. An eleven year old designed the costume, accompanied by eerie astral music, The achievement of the children in poster, two other school girls wrote the theme they clamber up four ropes to perform an overcoming personal diffidence, complete tune. Children involved themselves in every alarming but graceful aerial perch act. And inexperience and adult scepticism to attain stage of the production; designing acts, erecting always there is excellent clowning to relieve the their skills in a mere six weeks is astonishing. the “Circus Oz” bigtop, making props and tension — the Sillivans and their diabolical Their discipline, dedication, concentration and helping with stage management. Perhaps for foul-bowelled baby, the ubiquitous firemen, sheer stamina (10 performances plus rehearsals this reason the audience filed into the tent on and the acrobatic El Stupidos performing in five days) would shame many professionals. the first day looking rather self-conscious, Chaplinesque “Cafe capers”. In the second half Attending teachers seemed incredulous at the expecting to have to condescend. But from the the accolade of the audience goes to a hilarious demands made and met. Indeed teachers who moment “the grand opening” began, their reverse animal act, as a shambling brown bear baulk at the horrors of conducting school doubts seemed to melt away. trains three skilful unicyclists and even risks life excursions might pause to consider the challenge associated with training eighty children of disparate age and size in the skills of clowning, tumbling, pacing, balancing, acting and juggling; or the logistic nightmare of organising them for rehearsals, prop making, make-up and scene changing. Shrewder teachers will perhaps build on this enthusiasm in future educational programmes, particularly if the circus is to become an annual event as the MRPG intend. Certainly the troupe must be congratulated for staging such a fitting celebration of the capabilities of youth in the International Year of the Child. Evaluating the artistic significance of the Flying Fruit Fly Circus for Australian theatre in general and the MRPG in particular is more difficult. Unquestionably the circus is a unique artistic event. It is the first full children’s circus in Australia, comparable only with Los Alahambras in Spain and the travelling youth circus in the USA, (though differing from both Continued on page 43.

14 THEATRE AUSTRALIA JULY 1979 Children's Theatre in America

CHRISTINE WESTWOOD reports that “Not one company appeared to see how and what they were really saying to children, and those who thought their work was somehow ‘neutral’ can’t ever have thought that even a non-statement supports some of International Year of the Child 1979 the injustices and pain of things as they are”.

In March, the Professional Children’s Theatre Presenters and Producers Committee in America organised a National Showcase of “some of the finest professional touring groups performing for young people today”. This article looks at the aims of that Committee, what the Showcase revealed about children’s theatre in America today, and reviews a selection of the sixteen companies finally selected to perform.

The formation of an official group within the theatre. If children, after seeing what was dished deals with the often painful transition from professional theatre, such as this Committee, up to them at the Showcase as the “finest”, think childhood to adulthood in a primitive society. It was an important step taken in 1977. Headed up that adults actually spend their hard-earned pay is dedicated to the memory of Margaret Mead, by the redoubtable Carol Jeschke of New York’s packets on such entertainment by choice, then and attempts to provide useful parallels for Syracuse Centre, the Committee represents “a they must truly see adults as crazy. The adolescents in contemporary western society. It unified force of over 100 people” trying to bridge productions represented at the Showcase do a is a serious effort to use the theatre to say the gap between those who create theatre for great disservice to theatre, and must be object­ something worthwhile, and to provide children and those who buy and present it in ionable to children. Children are not less characters which are real enough for ready regional theatres, large art complexes, schools sensitive, more stupid than adults — merely less identification by adolescents — and about time and community centres. The fact that such a experienced. As adults, our obligations and too. They are, for obvious reasons, a very bridge-building can be attempted at all is responsibilities to children, through art, are to difficult group to entice into a theatre, and yet remarkable. If the presenters and the producers present truthful and unsentimental entertain­ the audience present at the Showcase seemed to can indeed bury their justifiable antagonisms to ment which extends them intellectually, have delighted in a play relevant to themselves. work together, maybe the next National emotionally and artistically. But why is it that the characters play out their Showcase will not be such a smorgasbord of My objection to nearly all the shows problems in no particular “primitive society”? unpalatable and indigestible pap. And although presented was the unwitting (I hope) offensive­ Why do they wear bits and pieces from Maori, the Showcase did not aim to debate the nature ness of the form and content. It is hard to Hawaiian, African and Australian Aboriginal and function of children’s theatre, surely this imagine that in America today, people who are cultures? Does Stage One think that kids won’t year’s offerings suggested the need for a formal professionally involved in such a prominent notice this cultural inaccuracy? Or is Stage One analysis concurrent with next year’s event. aspect of our culture, can appear so totally accidentally saying that “all primitive cultures Part of the problem, which may well be solved oblivious to current educational and sociological are the same”? What would aboriginal kids think by the unlikely union of producers and research and writing. Not one company if I presented it, especially seeing whites play presenters, is the cut-throat competition between appeared to see how and what they were really non-whites? Would we, as adults, accept that in the producers for full bookings; and one can saying to children, and those who thought their our theatre, and if not, should we expect only admire the Committee’s efforts to alleviate work was somehow “neutral” can’t ever have teenagers to accept it? Yet this production is some of this competition by working towards thought that even a non-statement supports serious in intent, quite well written, with joint funding and creation of children’s theatre some of the injustices and pain of things as they moments of great insight and humour, and productions. For without such dialogue, artists are. By ignoring the social, cultural and political would provide teachers with terrific spring­ are compromising what might be “art” in favour role of art, the children’s theatre presented at the boards for social science and sociology of ill-founded notions of what the presenters Showcase was quite without integrity and discussions. Would I buy this production? want and children deserve; and then compound responsibility. Maybe. their errors by disguising them with glossy, I attended the Showcase as a potential hyperbolic and quite misleading brochures; and presenter, rather than as a reviewer. Therefore, LOVELACE THEATRE COMPANY making their productions as cheap as possible so my basic premise was: Would I buy this show, Pittsburgh, Pa Revue that they become competitively attractive to the and if not, why not? I have had to be selective, What did I, or any of the children present, get presenters. The presenters' side is as difficult. otherwise what I have written would be as dull out of forty minutes watching puppets being put Having little money within their own organ­ and repetitive as the productions themselves; but through a number of camp routines? Would a isation's budgets for children’s theatre, they are all the brochures are on file at the Adelaide child or teacher not already know enough about forced to choose the best of the worst, and in so Festival Centre (Andrew Bleby) for people who different styles of puppetry to do it themselves doing they themselves appear to lose sight of wish to follow up the companies represented at better? What value is there in having a doll-phild what constitutes good theatre. the Showcase. Annie puppet opening and closing her mouth to It is hard to believe that all these people, who a tape of “Tomorrow” (uncredited from the have presumably chosen to work in children’s STAGE ONE The Men's Cottage stage show Annie)? What value is there in theatre because of their own enjoyment of (and Louisville, Kentucky sentiment like this? Will everything be alright commitment to) good theatre, can be so unaware The M en’s Cottage, written and directed by tomorrow, as the puppeteers promise the of the elements of entertaining and challenging Moses Goldberg, is a play for adolescents which Continued on page 42.

THEATRE AUSTRALIA JULY 1979 15 TA ENQUIRY

Is there enough business support? Should the arts have to beg funds? Where does the tax-deductible dollar go?

Pick up tongued PR man from Melbourne to sweet talk Childhood Drama Development Project there. any theatre the group after a segment from one of their But they have helped with hardware in other programme and shows had appeared on the Queensland This states; the revolving stage for Marian Street, you are likely to Day Tonight (ABC TV). seating at Brown’s Mart Theatre, Darwin, and a find a few lines in Groups must, it seems clear, not be too sound system for the WA Ballet. Even their small print somewhere contentious, be by and large big, established and more unusual donations have been fairly amongst the credits that thank establishment to attract ongoing “consumable” conservative choices — a donation in 1977 to specific firms for their help — support, and if small only to look to help with the Queensland Light Opera for Elijah and someone for cigarettes maybe, bricks, mortar or hardware if they are to get any $1,000 to the Brisbane Actors’ Company for an or drinks, or the loan of furniture help at all. Ayckbourn play and $16,000 to the QTC for or musical instruments, it is a form of There are creditable exceptions such as the printing programmes. Their other major area of advertising and one does not think Myer Foundation’s support for the Murray support is for social needs in Queensland. twice about it, it is a means by which River Performing Group; Myer may not get the theatrical world and the business much actual kudos from this activity, but the CALTEX benefits to the area are substantial. It ensures world can happily and easily be of Some examples of Caltex’s support are the mutual help to each other. both community involvement, and the opportunity, for children in particular, to see Bennelong Programme, the Australian Opera and the Festival of Jazz and Dance in con­ Looking beyond this there is actually an and maybe participate in real live theatre — and junction with the Festival of Sydney. They have enormous amount of support given, some therefore provide the embryo of a future also given the Shopfront Theatre for Young openly acknowledged, some given in deliberately audience. People, Sydney, enough for a good video set-up, clandestine fashion. It can go unnoticed that To quote from the first annual report of an electric piano and a fair amount of photo­ such and such a festival, for instance, would not ARTS — a company initially set up by Myer have been able to function or that some theatre and others to pay for the relationship between graphic equipment, through their Youth Fund. company would have no transport, if one of our the business world and the arts (and about which larger firms had not come to their aid. more next month) — it is accepted that Making it all possible Surveying this area, though, what comes over the community benefits flow beyond the Their spokesman’s statement that “due to the loud and clear is that the big firms, as is so often immediate purchase of a theatre ticket, support by Qantas of various cultural and arts the case with federal and state agencies, go for painting or other product or service of the groups, Australia is able to see many overseas the large establishment companies rather than arts, and therefore justify the additional performers and artists that would not otherwise using their aid to help the experimental, the assistance that the arts require. be possible” is almost self-effacing given the innovative and the avant garde. Of course it is Further, to some extent what industry is quite large amount of traffic in performers both only natural that these firms want as much taking from people’s lives, the arts are putting ways that they handle free. However they want success to come from their tax deductible dollar back, though here one is getting into such most of this to stay out of the public eye; their as is possible to know in advance with the per­ unquantifiable benefits as “quality of life”. An desire for privacy is respected — their support forming arts. But when so many stay in the argument can be mounted, though, that the arts appreciated. background their company is hardly going to get are providing a real service and should not be egg on its face from the failure of, say, a forced into the mendicant, Oliver Twist, position Grotowski inspired theatre group or a Cage that they so often are. motivated music ensemble, to attract audiences. Still, this additional income has to be found Similarly TAA have an occasion arranged for The Festival of Sydney was sponsored this and established as an ongoing relationship. In a group to have the exclusive use of an aircraft. year in a suitably high profile way by the times of economic stress it tends naturally to They give continuous aid to the Australian Australian Gaslight Company, and the Festival disappear — as though the establishment viewed Opera and Ballet companies, work in with of Perth similarly by the Perth Building Society, the arts in such periods like last year’s mistress. cultural societies and commercial companies, Bank of NSW et al. Qantas is involved with the Overall there is ready support for both the and their theatrical section has even arranged Opera and flies the Australian Ballet for free. conservative and the classical — especially the for security protection by the Commonwealth Utah have backed the Australian Opera to the opera and ballet — stages, technical equipment, Police! hilt and at the other end of the scale, paid for the seating and buildings. The following is a survey, revolving stage for a small suburban theatre. by no means exhaustive, of the kind of help The Australian Gas Light Company Utah did give $5,000 in 1976 to the somewhat companies give. contentious Popular Theatre Troupe in Queens­ AGL’s sponsorship of the Festival of Sydney land (in which state Utah is based and gives its UX4H KAJND4TON to the tune of $100,000 this year, included the major commitment), but it would appear that Utah have disbursed over $76,000 so far this Festival of Folklife, the Gas Family Theatre and once it discovered that the company was playing year. Their present policy is to give in such a the New Year’s Eve Party. shows which questioned the role of the big way that a growing audience for the performing mining companies to the workers in the arts is ensured; hence major subsidy this year is Peter Stuyvesant Cultural Foundation industry, retrospectively deemed the grant to going to the “Opera Access” scheme. They are This Foundation disburses about $150,000 a have been an establishment one and closed the largely concerned with their home state and year. Its credits include the 1966 visit of the purse strings from then on. Another mining have funded a series of new plays by Queensland London Symphony Orchestra, Ballet Scholar- company, Comalco, actually sent a smooth­ playwrights at La Boite as well as the Early Continued on page 31.

16 THEATRE AUSTRALIA JULY 1979 Currency s Tertiary Study Texts — just one of the ways we serve Australian drama.

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18 THEATRE AUSTRALIA JULY 1979 U.K International Proliferation of Secret Britain Plays

Irving Wardle

British masochism being what it is, the public hauling in. Once inside, unspeakable homosexual attachments. It also achieves a discomforts of the 1970s have brought with degradation awaits them at the hands of top theatrical crescendo from an action that them a gleeful descant of Secret Britain plays, brass fanatics and sadistic guards. Or so we are describes a downward curve. The opening scene usually heralding a fascist takeover, and cutting told. But if things are as bad as Brenton makes in Max and Rudy’s flat could be taking place into the existing body politic to show a out, the inmates would never have got anywhere and any time, and when the SS arrive cancerous infra-structure of licensed police permission to put on a subversive show, much it is as if they were breaking into your own killings, neo-colonialist conspiracy, concentration less to lay .the blame on Churchill for everything home. On the run for two years, Max and Rudy camp contingency plans, and other constitut­ that has gone wrong since his death. are picked up again and put on a transport to ional novelties which will shortly enable the old Barry Kyle’s production is well cast and excels Dachau where they undergo the usual initiation place to catch up with Amin’s Special Research in hard-nosed military routine and charade tortures which Max survives by obeying an Bureau and the KGB. comedy, such as Raymond Westwell and Bill order to beat his lover to death. Despite my resistance to this proliferation Dean’s re-enactment of the Yalta Conference in The action so far is standardised, but at least it genre, I have to acknowledge that it sometimes a tin bath. But with this production I hope we is eventful. The original play really begins only yields effective plays; such as the latest example, have seen an end of prophetic revenge plays by in the second act, set in the camp, which consists David Leland’s Psy-Warriors (Royal Court self-styled puritans whose only message to the of little more than a duologue between Max and Theatre Upstairs), a speculative thriller on Army spectator is “You’ve got it coming to you”. his new friend Horst, as they shift stones from counter-terrorist training which opens with a From imagined holocausts to a replay of the one side of the stage to the other, and back cunning false identity trick, and develops into a real thing in Martin Sherman’s Bent (Royal again: an extreme situation in which virtually vigorously dramatised debate on the ethics of Court), set in the Germany of the mid-1930s nothing is happening. The dialogue is extremely fighting terrorism with its own weapons. At when they really knew how to run internment agile within its tight limits, but what really keeps least Mr Leland refrains (as few of his colleagues camps. The pretext — and it is a good one — for the piece alive is the recognition by Ian do) from presenting worrying possibilities as revisiting this over-exposed charnel house is the McKellen and Tom Bell that they are playing for accomplished facts. identity of the chosen victims. I knew, in a two audiences: the paying spectators out front, The grand-daddy of Secret British drama is general way, that alongside the star categories of and the unseen camp guards who keep them Howard Brenton’s The Churchill Play, which Jews and CP members, the camps also erased under constant surveillance for any signs of the Royal Shakespeare Company have brought homosexuals, blacks, gypsies and other blots on slackness on the job, or physical illness, for to London (Warehouse) five years after its the Ayrian landscape. I did not realize that in which Horst is finally driven to electrocute Nottingham premiere. It has not improved with penalising homosexuals, the Nazis were simply himself on the perimeter wire. keeping. enforcing an existing Bavarian law, nor that None of which compensates for the senti­ Originally it faithfully reflected the jittery homosexuals released after the war had to keep mentally misconceived idea of a tender personal apprehensions of the mid-seventies, but now their mouths shut for fear of renewed imprison­ relationship blossoming in a German death that its iron-age forecast for 1984 is within ment, nor that they are unable, to this day, to camp. I know that Dachau 1936 fell short of the measurable distance of not coming true, the play claim civil restitution. The last dregs of the Final full horrors of Auschwitz and Buchenwald: but, shrinks into something much smaller and more Solution thus remain to be drunk, and a bitter like them, it was a mass society successfully personally rancorous; though it fits all too well taste they leave. All honour to Martin Sherman organised to stifle individual choice and action. into the RSC’s doom-laden studio repertory. for raising the spectre of these forgotten men, The idea that one prisoner could arrange to Brenton, admittedly, writes better and has a and the complicity of straight society in their work with a friend and spend days of much stronger grasp of form than most of his fate. uninterrupted privacy with the partner of his disciples, and the opening of The Churchill Play, I would like to speak with equal admiration of choice, is one which shows how much has been with a guard of honour mounted round the dead his play. It has its points. It is capably forgotten of what was once common knowledge statesman’s coffin, supplies a fine shock intro­ researched, well organised, and unself­ about the camps. And when Max, too, kills duction to the Churchill Camp of twenty years consciously dignified in its treatment of himself on the wire, there is even a sense of how later, with a group of detainees rehearsing an lucky it was he got to Dachau and learned about entertainment for a visiting Parliamentary true love; otherwise he might have kept on committee. Likewise, when the hee-hawing racketing around Isherwood’s Berlin and wasted Westminster party do roll up for the perform­ his whole life! ance, the solemn ceremonial group revert to In brief, the National Theatre managed to Gang Show amateurs who can hardly get beat the picket line and present Somerset through their lines. Maugham’s For Services Rendered with every Between the shock opening and the bloody piece of Carl Toms’s three-set Kentish mansion Jacobean finale, we get Brenton’s vision of the intact. Thanks to some creatively original new Britain, which sets the tone for many a casting, and a playing style that carefully mutes glum evening I have passed in the theatre ever the recriminatory dialogue, Michael Rudman’s since. Freedom of speech has been quietly production reveals the play as a venemously stifled. Internment camps have sprung up Robin Bailey (Dr Prentice) and Jean brilliant dismissal of traditional British virtues, bursting with loose-mouth journalists, shop Anderson (Mrs Ardsley) in the National’s reawakening regrets that Maugham abandoned For Services Rendered. stewards, and anyone else the military feel like the theatre so soon.

THEATRE AUSTRALIA JULY 1979 19 Theatre/ACT

cavernous Albert Hall as part of the Arts direction of the flashback scenes is very Gasy Comedy Council sponsored Golden Jubilee programme conventional. In resorting to a cliche caricature LOSERS to celebrate the old hall. Pat Hutchinson’s ‘Praise be to God!’ spinster The rather slight play becomes a fairly loses edge and obnoxiousness, and adds little grit to the lovers’ dilemma. SOLRUN HOAAS diverting forty minutes mainly thanks to an Losers by Brian Friel. Fortune Theatre Company at the excellent performance from John Cuffe, backed When I saw the play again in Albert Hall any Playhouse and Albert Hall, Canberra. Opened 7 May 1979. up by a solid, but slightly ponderous earlier shakiness had disappeared, particularly Director, Pamela Rosenberg. Andy Tracey, John Cuffe; Hanna Wilson/Tracey, Tamara Ross; interpretation by Tamara Ross of the on the part of John Cuffe, who had to rush over Mrs Wilson, Liz Ferguson; Cissy Cassidy, Pat Hutchinson. (Professional) sweetheart/wife effaced by her mother. John from morning rehearsals at the Playwrights’ Conference throughout the season. But the The success of a series of lunchtime Cuffe handles with great ease the transition problems of the awkward set had not been productions has by now established the tiny from the nostalgic monologues delivered to the solved. Rather they became more obvious as the Fortune Theatre Company in the minds of audience, reminiscing on the events that made audience was closer to the stage and had to Canberra’s rather unadventurous theatre public the lovers lose out to Mum and St Philomena, to crane their necks for the monologues on one far as a provider of light and competent entertain­ the flashback scenes. There is a lot of easy side and the drunken saint-bashing, crowded in ment. Whether it will move on to challenge us, comedy in the early days of clumsy groping on a couch, Andy spouting exciting lines of Grey’s between Mum’s bed and a precariously placed once its viability is ensured, remains to be seen. screen, on the other side of the stage. No But the lunchtime shows clearly fill a gap in Elegy ... to reassure the saintly Mum in baby- blue counting her rosary upstairs, and there is attempt at adjusting performance to space had Canberra. been made. With its last production, Pinter’s The Room, potential slapstick exploited to the full as the the troupe moved into the Playhouse, seating drunken Andy breaks the news that the old Yet in transferring to new public service over three hundred. Past lunchtime shows have lady’s saint has been sacked. She loses a saint, surroundings of Treasury, National Library and used the foyer of the large Canberra Theatre. but gains a daughter on her side. the rest, Fortune seems to be reaching a new Losers, the latest lunchtime offering ran for a Much of the simple routine comedy could audience in need of something light at week at the Playhouse, then transferred to the have been exploited with more imagination; the lunchtime.

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20 THEATRE AUSTRALIA JULY 1979 Theatre/NSW M “goodness”, and Bill Conn as her younger son movable interior/exterior shells that made up the Christy was able to play the dolt to the full. But different locations, gave an excellent impression although Shaw’s message is less clear in the of the small, hand-hewn American township. writing of The Devil's Disciple than in most of Visually the production was crisp and coherent, his major works, it was not entirely helped by with the set giving a fullness to the Drama the Q’s production. Theatre stage, and the director having used the In the New Hampshire of 1777, the time of areas with a sure eye for tableau. the American War of Independence, Shaw sets The Q’s production of The Devil’s Disciple up his hero Dick Dudgeon, scapegrace son of a made an entertaining evening; it was presented puritan family, against two kinds of formal with competence and flair, if missing out a little emptiness; that of religion when adherence to a on the essential spirit of what is anyway one of moral code has replaced feeling with cold duty, Shaw’s more difficult plays. The National and that of social behaviour where courteous Theatre in England produced it as their manner conceals callous behaviour. The religion contribution to America’s bicentenary, for is puritanism and the manners English. which it made a nice point; but Shaw’s plays, like In the midst of the colonial uprising, Dick Shakespeare’s, go in and out of fashion with unexpectedly inherits the estate of his father current social and political interests, and The who has been hanged for his nationalism as an Devil’s Disciple, beyond the general colonial example by the English. While having an parallels, doesn’t seem to have a lot to say to an Peter de Salis (Dick Dudgeon) in the Q unlikely tea with the parson’s wife, Judith, Dick Australian audience at present. (Sydney Theatre Company)’s Devil’s Disciple. Photo: Branco Gaica. is mistaken for Anderson by English soldiers, The same could probably be said of David and carried off to be hung as further example. Mamet’s American Buffalo, playing at Nimrod Visually crisp and Judith falls in love with his heroism, and finally downstairs. Peter Barclay’s production seemed breaks his orders not to reveal his identity so as a solid rendition of a script which has little to coherent to save her husband. She cannot contain herself recommend it but its kinship with the new super­ during Dudgeon’s trial, during which he is pitted realism, in presenting Chicago low life. Mamet’s THE DEVIL’S DISCIPLE against General Burgoyne, or “Gentlemanly main strength would appear to be his accuracy AMERICAN BUFFALO Johnny” of the impeccable manners. in reproducing colloquial speech, a skill which Joe James plays the Rev Anderson, who turns palls over a period of two hours, particularly LUCY WAGNER soldier and saves the day, with great suavity when the actors are unable to sustain the The Devil’s Disciple by G B Shaw. Q Theatre for the Sydney which is sometimes rather at odds with Mary- necessary accent, and the subject matter of the Theatre Company, Drama Theatre, Opera House, Sydney NSW. Opened 25 May 1979. Director, Doreen Warburton; Designer, Lou Stewart’s Judith. She gives the dialogue has little intrinsic interest. Arthur Dicks; Lighting design, Jerry Luke. melodramatic role appropriately broad strokes The failure of three petty crims to work up Mrs Dudgeon, Judi Farr; Dick, Peter de Salis; Christy, Bill Conn; William, Swindon, Ron Hackett; Mrs William, Connie and wide-eyed belief in the romantic motivation the courage, to steal a coin collection which Hobbs; Titus, Sergeant, Richard Brooks; Mrs Titus, Pam Sharp; Essie, Jennifer Press; Rev Anderson, Joe James; Judith, Mary- with which she imbues both her husband includes a valuable American Buffalo is not Lou Stewart; Hawkins, Brudenell, Ben Gabriel; Burgoyne, Tim (finally), and Dick. enough to hold interest for a full-length play, Elliot. (Professional) It is in the first scene with Judith that Peter de particularly outside its very specific cultural American Buffalo by David Mamet. Nimrod Downstairs, Salis’ Dick Dudgeon first showed signs of the references. Sydney NSW. Opened 16 May 1979. Director, Tony Barclay; weakness that later somewhat upset the balance Designer, Anthony Babicci; Lighting Design, Mike Manuell. Bobby, Brandon Burke; Don, Graham Rouse; Teach, Stanley of the play. As with all Shavian heros, Dudgeon Walsh. Creating the (Professional) is not only endearing in his wit, humour and charm, but also in his intellectual strength and atmospherics Shaw wrote The Devil’s Disciple in the style sincerity; de Salis had all o^ .he first three, but of a “good Adelphi melodrama”, which he seemed almost too intent on these, and the THE MIRACLE WORKER defined as “simple and sincere drama of action melodramatic aspect, to pay full attention to the UNDER MILK WOOD and feeling”. Although technically he has kept intellectual side. Thus when he came up against within his own strictures, the subject matter of Tim Elliot’s delightfully sharp portrayal of BRUCE KNAPPETT the play is far more complex and the morals Burgoyne, the superficial politeness that leads The Miracle Worker by William Gibson and Under Milkwood more subtle than this style would normally by Dylan Thomas. Hunter Valley Theatre Company, Civic Burgoyne, for instance, to recommend death by Playhouse, Newcastle, NSW. Opened 8 May and 18 May, 1979. imply — as such the form and content are hanging rather than the firing squad given the Director, Ross McGregor, Stage Manager, Ric Mackay Scollay. With Louise Rush, Jennifer McGregor, Kirsty McGregor, somewhat at odds with each other and force the uncertain aim of the English soldiers, seemed no Linda Cropper, Peter Fisher, Valerie Bader, Janys Hayes, director into a choice of alternatives. less sound than the repartee of Dudgeon, who Henke Johannes, David Hughes. (Professional) Doreen Warburton has gone for low key appeared only to be playing the General at his melodrama in her presentation, with fairly broad own game. The joviality was carried right Ross McGregor, the HVTC’s second Artistic stereotypes in the minor roles and a more through to the gallows where the fear of dying Director has resigned. In his short time at the naturalistic approach to the principal characters. that Dick should experience, failed to be seen. helm he has directed one play in the vast Civic Hence Judi Farr’s brief appearance as Mrs Perhaps this had something to do with the Theatre {The Club) and has launched the Dudgeon made briefly and succinctly the point remarkably puny and unusable looking gallows company’s new Playhouse Theatre with three of the old lady’s dutiful, and therefore heartless, of Arthur Dicks’ set, but apart from this the shows. It is safe to say I think that all four have

THEATRE AUSTRALIA JULY 1979 21 been popular successes. One, Cabaret, became a all the way. McGregor’s daughter Kirsty was Continued from page 36. deserved sell-out and is booked for a return Helen Keller and she did him proud: she set the season. task for Louise Rush perfectly. She stumbled characters. This was where The Harp in the The Playhouse auditorium is compact, the incessantly like a pathetic barbarian, making her South scored. It was one of the few plays in the acting area fixed and small. It is as if high on the teacher wear her down, curb her into civilised festival, as Peter Williams said, in which silences back wall two small side rooms were carved out; stillness and learning. It was a moving battle. and pauses were well handled. And when people and between them on the floor is a tight semi­ The play is less than kind to the other players: spoke from offstage, they sounded like they were circular acting area, framed by the seating. Each they provide little more than family background in another room, rather than just being behind time McGregor has used the Playhouse — a to set the main conflict going, and little extra the end of the curtain. large cast musical; a weepy melodrama; and a perspective to it. Jennifer McGregor made of comic poem — he has brought it to distinctive Helen’s mother perhaps the most significant Contributions and suggestions are requested life. exception to that. Her poised nobility often gave for an ‘Amateur Theatre’ section to Theatre The last two shows (The Miracle Worker and us an intriguing viewing point of the play’s Australia. (Please address all correspondence to Under Milkwood) were designed to run in unashamedly overt emotionality. “Amateur Theatre” Editorial Office, P.O. Box weekly repertory and afford a conspicuous Under Milkwood on the other hand presented 306, Mayfield, N.S.W. 2304.) Reviews of single contrast. For the winter-with-a-hint-of-spring the actors as a happy band, alternatively in plays are probably of little interest except to the story of the blind etc Helen Keller, all was black relaxed repose and playful action. They were group concerned. Would you like more reviews and white with greys between, and the story charming guides through Dylan Thomas’s Welsh of festivals or technical help or play suggestions played itself out across the full space before us. town. Each member of the ensemble gave — or — what? For Dylan Thomas’s Llareggub, some mashing moments of their own special pleasure as they Ken Longworth is the theatre critic of the here and there had brightly coloured actors bounced roles between them like children. All Newcastle Morning Herald. grouped on cushions in front of a generous, six on the floor deserve special mention: Jennifer child like tapestry of the dream town, and McGregor, Linda Cropper, Valerie Bader, Janys Hayes, Peter Fisher, Henke Johannes and flanked by the Narrators on high. No trace of Continued from page 4. the grim world of the blind remained: all was Glenn Butcher. In times of corporate trouble green, pink, brown, yellow, apricot... they showed off as a comfortable team. David production. Ross McGregor’s success in this theatre has Hughes and Louise Rush narrated well, though A key scene involves the first Q ANT AS flight as much as anything been his ability to create it was principally the group and the blackcloth from Longreach on November 2, 1922. The first the atmospherics wherein his play can thrive. that opened Dylan Thomas’s words to us with passenger, Arthur Kennedy, had already made The Miracle Worker is really the Annie such pleasing warmth and colour. the trip overland — it had taken him eight Sullivan Story, and Louise Rush gave her a quite Ross McGregor has not stayed in Newcastle months. The flight took six hours. It is an heroic portrayal. This taut orphan teacher long, but what he has done on stage at least has excellent example of how aviation cut down the moved through angst and setbacks with such made the HVTC in the Playhouse look a strong tremendous distances of the Queensland cocky Irish resoluteness that we were with her flexible and successful company. outback.” Monash New Plays

Monash New Plays General Editor: Mary Lord A series planned to encourage new Australian plays. Each play has a small cast and simple stage settings.

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22 THEATRE AUSTRALIA JULY 1979 Theatre/NT

Esther Trewarden (Cilia) in DTG’s Crossfire. Photo: Gilbert Harrada.

and unpretentious, he has used this as a Cilia, who are financially secure yet bored, are Folk songs clarify dramatic licence for the liberties he has taken attracted to both a career and children but are with Jennifer Compton’s occasionally caught in the middle crossfire by shots of vague female dilemmas ambiguous and telivisiony treatise about myths and richochets of conflicting ideas. CROSSFIRE “Certain Liberated Women”. Esther Trewarden’s portrayal of Cilia Onslow Design wise the lovingly restored mansion ranges well from the superficially committed house is now relocated in a Sydney warehouse feminist to the realistic agony of admitting she ALAN YOUNGSON whose basic crate box and tyre furnishings has been able to fall pregnant. With her as the Crossfire by Jennifer Compton. Darwin Theatre Group, Darwin NT. Opened June 2nd 1979. Director and Designer, Robert starkly illuminate the inter-relationships and focal point of a “liberated woman” the three Kimber; Stage Manager, Colin Jacobus. dual roles of the characters who criss-cross time Jane Onslow/Janie, Jocelyn Brown; Rose Perry, Kathleen other women act as a complement and contrast. Clothier; Cilia Onslow, Esther Trewarden; Samuel Onslow/Sam, and space as they are juxtaposed on the three- Her 1910 counterpart is Jane Onslow whose life Tom Pauling; Mim Blackwell, Eve Buckley; Lam Lambert/ Tom, Kevin Squire. Folk Singers, Sand Williams and Louise quarter round playing area throughout. The revolves around completing a manuscript which Inglis. backdrop is a large graffiti blackboard upon the 1979 Janie tries to interpret. Although which the cast chalk up slogans and counter­ Jocelyn Brown looks right for this awkwardly Any theatre group, male director or critic who slogans related to the feminist movement since written role of Jane she is more at home in her attempt to perform, re-stage or review Jennifer 1910. It is this activity which first greets the pantsuit as Janie. Jane’s maid, the recently fallen Compton’s Crossfire (written during and for audience who immediately' have a frame of pregnant Rose, is delightfully delineated by International Women’s Year and originally reference from which to ponder the alternatives. Kathleen Clothier. But it remains for her entitled, No M an’s Land) simultaneously leave But the masterstroke of the interpretation is the modern counterpart, Mim Blackwell, who is themselves open to being labelled — inept inclusion of ten folk songs such as “What Do pregnant by choice, to demonstrate, as Eve interpreters, tamperers or uninformed male Women Talk About”, “Winter of Your Life” Buckley does so convincingly, that she has chauvinist pigs — by those with extreme and “Can’t You Trust Me?” which poignantly resolved her dilemmas and got it all together. ideologies. clarify the ambiguities of the original script. The men in the cast show through their dual Fortunately, Darwin Theatre Group’s pro­ Louise Inglis harmonises and guitarises the roles that they, too, have put it all together. Tom duction avoids most of the cliche pitfalls and moods most capably. Pauling is particularly appealing in his actually succeeds in presenting, clearly and However, there is an inherent danger in this humourous relationship with Mim; and Kevin concisely, the female dilemmas with which most folksong masterstroke, which was evident by the Squire cleverly contrasts the smart-assed Lam women caught in the crossfire of 1910 or 1979 cries of “encore” on opening night. With the with the tenacious Tom. have to come to terms. This success is due in no appeal of her deep, rich timbered singing voice, Successful though this interpretation and small measure to the sensitive and sensible inter­ Sand Williams may well distract the Sam staging undoubtedly is one dilemma remains. pretation by director Robert Kimber. In the light Onslows of the audience from concentrating Why devote so much time and energy to of his understanding of Darwin performers and upon the realisations they are meant to be enhancing and clarifying a script that has audiences, who prefer their theatre to be direct having, namely: how women, like their wife several shortcomings?

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24 THEATRE AUSTRALIA JULY 1979 Theatre/ Queensland

and intellectual resilience that seems to be John Milson’s particular trademark. A note has been struck in the wastes of Bowen Hills that should resound for a long time to come. Great Theatre HANCOCK’S LAST HALF HOUR

RICHARD FOTHERINGHAM Hancock’s Last Half Hour by Heathcote Williams. TN Company at the Underground Theatre, Brisbane, Qld. Director, Rick Billingshurst. Hancock, Errol O ’Neill. (Professional) He sits crosslegged on a crumpled bed, surrounded by Besser brick. In his right hand there is — wait for it, wait for it — nothing. In his left hand a pile of sleeping pills. He clenches both fists. “I’m funny”, he says, and opens a fist. Nothing. “I’m not funny”, he says, and opens the other fist. The lights have already gone out once. “My Lill, leading light of the local Sally Army, which blackout, not yours” he tells us. His decision Showmanship and is to submit unrepentently to the charms of Bill isn’t yet made. His hands clench and open, pills Cracker, persecuted member of a motley gang of spilling as he swaps them from one hand to the intellectual resiliance hoods. An alliance is formed between pure and other. Suddenly he swallows the depleted HAPPY END impure to rob a bank, which, we are assured, is handful. Is it a killer quantity? Yes. Blackout. no greater crime than owning one. “That’s yours”, he concludes, and Tony JEREMY RIDGMAN The satire is heavy-handed, but in the hands Hancock is gone. Happy End by Bertolt Brecht and Kurt Weil. TN Company at of the TN Company the action and dialogue Heathcote Williams’ Hancock is living his last the Twelfth Night Theatre, Brisbane Queensland. Director, John crackles with a tough, hard-edged brilliance — a 50 minutes in a flat in Sydney and offering us a Milson; Designer, Mike Bridges; Musical Supervision, Philip Robertson; Choreography, Jack Webster; Lighting Designer, quality reflected in Mike Bridges’ superb set of drunken memory of his life; occasionally Rick Billingshurst. black lacquer and old gold. More than any other flashing the wit and invention of his great days, Miriam, Suzanne Roylance; Johnny Flint, Steve Hamilton; Sam Wurlitzer, Jack Webster; Jimmy Dexter, Michael McCaffrey; Brecht/Weil musical however, Happy End lives strutting as Long John Silver under full sail, Bob Marker, Duncan Waff; Dr Nakamura, Geoff Cartwright; Pidgeons, Alan Endicott, Harry Scott; Bill Cracker, Harry Scott; or falls by its music; indeed, the story-line is little then burying himself under a patchwork blanket The Fly, Suzanne Roylance; Sister Lillian Holliday, Mary Haire; more than a vehicle for some of the most with his vodka bottle. He jerks from the blanket Sister Jane, Pat Thomson; Capt Hannibal Jackson, Alan Endicott; Major Stone, Pat Thomson. pungent songs Brecht and Weil wrote, most of as a primeval creature from the slime in a (Professional) them recalling the strange fascination B B had wonderful comic sequence, and then reads a Happy End has weathered its first half for the Kiplingesque mythology of the nautical press cutting from London, slamming his recent century well. Although not representative of all orient. Milson’s experience in opera pays off in show. He is in retreat from the world, driven to that is great in Brecht, it may well outlast many getting the most out of every set piece, solo and the ends of the earth. “Australia”. He opens a of his profounder pieces, being as it is more choral alike. Mary Haire, despite a tense Sydney newspaper. “Mother of twins exhibits “popular”, more susceptible to being passed off beginning, is an intelligent Weil singer, with the collection of Lemonade bottles. Oh yes it’s all as sheer entertainment. It is doubtful whether right sense of melodic harshness, sentiment happening here”. this musical was ever intended to have the without sentimentality. Her rendering of the Errol O’Neill’s performance and Rick Billings- political guts of the later plays and it certainly beautifully bitter, but imposingly long hurst’s direction make this the most entertaining lacks the metaphorical consistency of The “Surabaya Johnny” is masterly. Harry Scott and and mature presentation for a long time. This Threepenny Opera, whose enthusiastic Geoff Cartwright, two young actors of great Hancock makes us roar with laughter, and then reception a year earlier tempted Brecht and presence, lead the gang in an impeccably witty tells an equally funny joke which twists the knife Weill to try their hand at the genre again. delivery of the haunting “Bilbao Song”. In fact, in dead silence. And it makes another fine debut Ultimately however, it will be the quality of throughout, Scott’s Cracker and Cartwright’s Dr for the TN Company, whose Underground productions such as that mounted by John Nakamura are perfectly matched, the one sleek Theatre is the most exciting theatrical venue Milson and his lusty, new TN Company that and laconic, the other slick and explosive, a long since La Boite opened. Why is it that in spite of will determine the future of the flawed Happy way off from Peter Lorre. all the money invested in new theatres, one can End. Milson’s approach is bold and committed; ft is the careful combination of energy and take a bare room with wooden forms and the he goes all out for the theatrical elan needed to precision that makes Happy End one of the most lights and sound man whirring the recorder to. make the show “work”, but never obliterates its engaging pieces of theatre I have witnessed in a the next cue beside us, and put on great theatre hard core of cynicism and irony. The plot, for long time. It is there in the choreography, in the that has an honesty which those great what it’s worth, concerns the fate of Hallelujah singing and in the combination of showmanship mausoleums lack?

THEATRE AUSTRALIA JULY 1979 25 Theatre/S A

suicidal. Gain the audience’s trust and then hit them and before they get a chance to worry, get back to the successful formula. The type of plays to succeed? ... A good Shaw, Arms and the Man? Remember the necessity of small casts, and don’t do too many costume shows. They can be expensive and no change, if you keep doing them. Keep your cast numbers down if you can ... then there’s less chance of a poor perform­ ance.’ Sound advice .. still. At the same time it was thought that Shaw was a good preparation for Shakespeare. What is this then, a retreat? Had that young director taken the advice, he might have tackled the play with the same kind of intelligence and sureness which Nick Enright brings to this production! It is meticulously built around Robin Bowering’s level-headed, almost detached Bluntschli. He organises the round dance, the waltz of argument, so that it sits on the production like the broderie and fretwork borders which frame and flatter every leading edge of Hugh Coleman’s immaculately dressed stage. The difference in approach might have been that twenty years ago the farcical element would have been rougher and more obvious and that earthy quality which Brecht must have Michael Siberry as Sergius and Linden Wilkinson as Raina, in the State Theatre admired in Shaw’s works would have been more Company’s production of Arms and the Man. in evidence. The Petkoffs, Louka and Nicola heterodox individuals and amuse them with the would have advanced a stronger claim for ARMS AND THE MAN orthodox, so that they could feel sympathetic to peasant pragmatism at the expense of urbane one and superior to the other: a simple shift from twists of wit and philosophy. The whole thing GUTHRIE WORBY showing effects to suggesting causes. My guess is would have been closer to four boards and a passion. Shaw would have approved. In this Arms and the Man by Bernard Shaw. State Theatre Company, that the sort of sympathy that Shaw had in mind Adelaide SA. Opened 8 June 1979. Director, Nick Enright; was as ‘nineteenth century’ as the idealism production some of his bristle has been neatly Lighting, Nigel l.evings; Setting & Costumes, Hugh Colman. Raina Petkoff, Linden Wilkinson; Catherine Petkoff, Daphne which he hoped to undermine. ‘Superiority’ is a parted and brushed into shape. Grey; Louka, Chris Mahoney; Captain Bluntschli, Robin much better time traveller. It was not only my The performances are uniformly good and Bowering; Major Plechanoff, Robert Grubb; Nicola, Robert Grubb; Major Paul Petkoff, Leslie Dayman; Major Sergius guess either. The bloke next to me made a point consistent within the production concept and Saranoff, Michael Siberry. of writing a note to himself which began: ‘The style. Michael Siberry, suffering perhaps from a (Professional) insufferable arrogance of the socially touch of the Fitzpatricks, has overworked This is a play about chocolate not ‘sweets’. acceptable...’ Saranoff, the idealist-cum-cynic, to the point Shaw took some pains to point this out to nine­ So it’s either “Come back Bernard Shaw, all is where his stances are too easily identified as teenth century critics and audiences. It is about forgotten” or, “Forget pleasant productions of postures. Nevertheless he cuts a fine figure. self-fulfilment not self-indulgence. Pleasant plays”. Linden Wilkinson’s Raina makes up in abundant The manner in which this production was Shaw has been used rather like the Bulgarian mischief and spirit what the character lacks in greeted suggests that twentieth century theatre­ cavalry — as cannon fodder. That he has intelligence, and Bowering responds to that goers now find Shaw’s prosaic realists as well as survived, to be thus pressed again into service element with sufficient enthusiasm to make a his romantic idealists, merely a post-prandial can only be the result of a singular lack of civilised match. Robert Grubb’s enigmatic treat, and the presentation’s attempts to sort out critical ammunition on the part of those of us almost Oriental Nicola is a first rate creation — the hard and soft centres did little to persuade who admire the charge, and the theatre’s though rather more controlled than needs be. the unselective palate. ‘Wasn’t it fun ...’, ‘you generals who so deploy their dramatic reserves. His brief scene with Chris Mahoney’s could almost sing it’, was the concensus at the Tilting at romantic follies is Quixotic, and tame. determined Louka in which notions of service, exit. (The German’s did, and called it The Twenty years ago, on a TAA flight to Sydney, expediency and ambition, alliance and Chocolate Soldier). a well known theatre administrator wrote misalliance are aired, is amongst the best in the This ‘fun’ at least was entirely within the something like the following to an up and play. They work well together. So do Leslie framework of the Shavian intention. In contrast coming young director ... ‘a definite policy has to Dayman arid Daphne Grey, the almost to his Unpleasant works which were supposed to be established which will make the general ‘historical’ Petkoffs. Indeed it is in Daphne make audiences decidedly uncomfortable whilst public sure that the level is not too high ... and Grey’s performance (of Catherine) that the old- they were being entertained, the Pleasant plays be sure not to hide the comedy ... your town is a tradition, new-civilisation dichotomy is at its were constructed to charm theatre-goers with gift centre for comedy. Not to recognise that is clearest and most amusing.

26 THEATRE AUSTRALIA JULY 1979 BINGO serves some of the cast very badly. trying to make, is a gross mistake in perform­ It is fatal, at the moment, that they do not ance. Coombe is not a spiv. He is frighteningly NOEL PURDON adapt their voices and movements either to convincing in the way Goneril and Regan and Allen’s own jerky Midlands rhythms or to the Riotinto Zinc are convincing. Bond knows very Bingo by Edward Bond. Troupe at the Red Shed, Adelaide SA. real physical space in which they are well the power and the ordinariness of evil, and Opened 6 June, 1979. Director, David Allen; Designer, Paula Carter; Lighting Design, Richard Chataway. performing. he is not served well by a performance which Shakespeare, Keith Gallasch; Old Man, Ron Hoenig; Judith, Gwenda Helsham; Young Woman, Christina Andersson; Old The text is difficult. Keith Gallasch alone, as relies on the easy ciphers of nastiness. Woman, Paula Carter; William Combe, David Kirk; Son, Geoff Shakespeare, has the opportunity to thrust his Peter Dunn and Wendy Madigan rise above Revell; Joan, Wendy Madigan; Jerome, Peter Dunn; Wally, Jon Firman; Ben Jonson, Henry Salter; Second Old Woman, Ilvi lines like a knife into the audience, and he rises these ensemble weaknesses by their sheer con­ Kald. to these moments with impressive power and centration and technique, each contributing (Professional) control. Henry Salter’s vivid and reckless magnificent genre studies of the fierce, stupid, portrait of Ben Jonson is bound to succeed on fear and rage of the oppressed. The others need Troupe undoubtedly has the finest con­ the sheer attractiveness of the character’s down to remind themselves that much can be achieved centration of serious, dedicated acting and and out wit, but Salter gives him an extra by softness, stillness and directness. And David directing in Adelaide. It is, in every sense of the deformed violence which is chilling and Allen might be well advised to tell them to take word, a professional company. It is desperate. Paula Carter as the old woman and their performances down. disappointing, therefore, to see them making less Ron Hoenig as her father both give superb and The production is still early into its run. It is than an incisive account of Bingo. Bond’s play, moving performances. because it is a serious piece of theatre that the an icy reconstruction of the final days of western These four actors share an awareness of critic is forced to deal with it seriously, rather civilization’s greatest poet, seen here dying in human pain, which they communicate to each than deliver polite formal congratulations which circumstances of the utmost political and other and to the audience. But Geoff Revell, encourage no thought or change. familial squalor, depends on the sharpest clarity David Kirk, Gwenda Helsham and Tina See it. Think about it. Because in contrast to and cruelty in the execution. There is no room in Andersson are developing all sorts of falseness. some of the facile, sloppy or downright sexist it for a missed beat, a false gesture or inflection. David Kirk as Coombe is required to deliver all and reactionary groups here, Troupe offers the It is painful to see fine actors falling into styles his lines in a high Birmingham whine, which, best hope for honest and effective theatre in this which weaken their grasp of the text, their however valid the point that the director is city. playing against each other, and ultimately their credibility with the audience. Certainly, the bleak space of the Shed is visually effective. The cold white walls and bare timber are ideal for a play of this sort; the simple props, mean costumes and stark lights are a credit to those involved in their design and management. There is the potential for a tremendous atmosphere. But, except for a few scenes, it is, at the moment, missed — largely, I suspect, through a deliberate decision by the director David Allen. What is the atmosphere of the play? Its events concern the land closures in Jacobean rural England, events in which Shakespeare, as a landowner and gentleman, was historically involved. On the level of action, these are marked by a poor vagrant girl hanged, an old man shot, declarations of hatred to each other by old friends and family members. Bond’s nihilism in this play approaches Beckett. He ends on the chiming note “Nothing!”, itself a direct echo of Shakespeare’s repeated “Nothing” in Lear. We should be aware of a terrible oppression and restrained violence that would make us weep with rage, except that we are party to it. Bears are baited, and, like the Virgin herself, we enjoy it. Our overriding consciousness through­ out must also be the threat this poses to our customary cultural icon of Shakespeare as Bard, Swan and God. Here he is a shabby bourgeois, a pantaloon Prospero trying in vain to muster a cast of real people who rapidly get out of his control. What is spot-on in the production is that this feeling already exists. David Allen’s direction, at its best, has a measured music of bitterness that .the players may catch as the production gets further into its run. But it has a conflicting rhythm which is noisy, almost music-hall, and

THEATRE AUSTRALIA JULY 1979 27 Theatre/Victoria

rendering songs they allegedly were associated comedy numbers, in relief to other singers’ with.. With the exception of Jane Froman all are songs. now dead and led pretty hectic, stormy lives, As the evening proceeds we see and learn most coming to untimely ends. about Billie Holiday (whom Archer occasionally Early in the evening Archer says: “The ten manages to catch vocally), Edith Piaf (a look and women had between them almost thirty sound-alike, but marred by the trite way her husbands, two never married, two were raped, story is put over), Jane Froman (a clever vocal two raised in brothels”. impersonation), Patsy Cline (spot on and Pre-empting criticism of presentation of the mercifully brief), Marilyn Monroe (nothing like, ladies, a programme note reads: “These are not and the show’s biggest failure), Dinah impersonations, they are celebrations of Washington (great fun and occasionally like) incredibly gifted women whose songs and lives and Janis Joplin who, if the amount of time caught the public imagination of their times and devoted to her is any guide, must be Archer’s have continued to shape and alter style and favourite. consciousness in the twentieth century”. Starting the second half is the cockney music So what actually happens is that sometimes hall star Marie Lloyd, great fun as presented by Archer manages to look (with the change of Archer, but I suspect more like Lily Morris than hair-style and slight clothing additions) “Our Marie”. Detail is sparse in the show on incredibly like the woman she is portraying, Marie Lloyd, and Archer only sings one of her sometimes succeeds in catching their vocal numbers (pity!): “It’s A Bit Of A Ruin That characteristics, and at other times is far off the Cromwell Knocked About A Bit”. Although it mark in both instances. was Marie Lloyd’s most famous number, as far In the very beginning she comes on stage and as is known she never recorded it (although sings three numbers (as herself?): “Can’t Help Marie Lloyd Jnr did). Listening to Marie Lloyd’s Loving That Man”, “The Man Who Got Away" records one hears a much thinner and sweeter and “My Man”. The first two are associated voice than Archer provides. Yes, to me it with Helen Morgan and Judy Garland, both sounds more like Lily Morris. featured in the show; the third with the The last moments of the show I fail to unfeatured Fanny Brice and Mistinguett. Was understand: is Archer being herself, is it a pot­ one of the latter dropped from the programme? pourri of all the singers, or what? It can usefully Frequently edging on Archer then goes into an astonishingly lifelike be deleted. brilliance impersonation of Bessie Smith, somehow Archer is on stage exactly one hour in each managing to puff herself out and strut around half of the show, backed by two fine pianists; in A STAR IS TORN like a broody hen, at the same time filling in actual fact it all seems much longer. It is an much detail on the singer’s life and singing many amazing virtuoso performance she provides, RAYMOND STANLEY of her songs (although isn’t “Oh Daddy” more frequently edging on brilliance, and must be A Starts Torn, devised by Robyn Archer, text by Rodney Fisher. applicable to Ethel Waters?) most taxing on her. It is the first time I have seen Malcolm C Cooke & Associates, Clifford Hocking Enterprises Next, discarding the trappings for the Robyn Archer perform, and certainly hope it is Pty Ltd,, and Canberra Theatre Trust, at Universal Theatre, Fitzroy, Vic. Opened 15 May, 1979. Director, Rodney Fisher; enormous Bessie, Archer jumps onto one of the far from being the last. In my opinion she has Designer, Silvia Jansons; Lighting, Jamie Lewis; music two pianos and sings “Someone To Watch Over attempted to embrace too many characters in arranged and played by Peter Head, Robert Gavin or Paul Grabowsky. Me”. Gertrude Lawrence of course! But no — it this show and if she concentrated upon five or Robyn Archer as Marie Lloyd, Bessie Smith, Helen Morgan, six, possibly could convey more and one would Judy Garland, Billie Holiday, Edith Piaf, Jane Froman, Marilyn is supposed to be Helen Morgan! One would like Monroe, Patsy Cline, Dinah Washington, Janis Joplin. to know what prompts Archer to associate this be moved by the content, which is certainly not (Professional) number, which was almost Gertie’s signature the case. The trouble with reviewing a show of this tune, with the first Julie in Showboat who I believe direction could be improved upon. nature on its opening performance is that quite certainly never recorded it. The Morgan Sitting right in front of me was Reg Livermore’s obviously it is going to be changed, improved sequence is one of the least satisfying in the director Peter Batey, and the thought constantly upon and appear somewhat different to later show: Archer seems unable to suggest her went through my mind how much more audiences. As an example, judging Tom recent sophistication, and the dialogue is so arch one is stimulating Batey would have made it. notices, Robin Ramsay’s one-man Lawson show uncertain whether or not a ‘send-up’ is intended. The commercial managements combined in The Bastard From The Bush must have Then comes Judy Garland and, with big hair presenting Robyn Archer in this show are to be undergone changes in performance, content and bow and appropriate dress. Archer is the spitting congratulated. It undoubtedly will receive approach since that first performance image of Dorothy in The Wizard o f Oz. She much artistic acclaim and one hopes will do Melbourne critics saw. must have a thing about Garland because equally well at the box office. As seen on the first night in Melbourne, the frequently throughout the evening Archer This show also marks the first really multi-talented Robyn Archer presented to the returns to Garland at various stages of her life, professional presentation at the Universal audience eleven women (not ten as she becoming less and less like her, and never Theatre, and hopefully will put it on the map. mentioned early in the evening), in most cases succeeding vocally. It is though, through The theatre is not without its problems, but it giving varying run-downs of their lives and Garland that she is able to project a few near should be possible to sort these out.

28 THEATRE AUSTRALIA JULY 1979 It is important to recognise the value of the people teaching at St Martin’s and working in “youth theatre” there, when it is clear that Ministries of Culture are keen to use “youth theatre” as cheap window dressing to save buildings crucial to the bourgeoisie (such as Carclew in North Adelaide and St Martin’s in South Yarra); and when the alternative is the exploitation of children in the chorus of Annie or the perpetuation of an untruthful “state of innocence” in sugary Hans Christian Anderson productions. “Youth theatre”, as The Sensational South Yarra Show proves, is not only about finding and testing new forms of theatre, but searching out themes, myths and symbols which will bring theatre closer to the community which provides theatre’s inspiration and responds with reflection and a sense of being entertained. This racy and packed production is an excellent first step; the next is awaited expectantly.

easy revue-style band, they are full of confidence 00000000000000000000 Racy and packed and solidarity and sketch (if without depth) the S » class structure of South Yarra. Stylised History § 0 production Lessons, in which the audience and the cast are THE SENSATIONAL the school students, portray the rise of the g M a n u a l I SOUTH YARRA SHOW bourgeoisie. The clever cake set frames the split- level aspirations and anxieties of the trendies. § C ontrol from § The Acting School number delightfully and CHRISTINE WESTWOOD trenchantly reveals the pretentions and exploit­ The Sensational South Yarra Show: a celebration o f an Inner I S T R A N D g ations involved in acquiring Class and Culture. Suburb. The St Martin’s Youth Theatre Company at St Martin’s 0 0 Youth Arts Centre, South Yarra, Vic, Devised and co-ordinated Small vignettes using the more developed acting by Helmut Bakaitis; Directed by Helmut Bakaitis, Norbert 0 0 Mayer, Michael Mitchener; Music, James Beasley; and catalyst skills of a handful of students from ]59 0 Choreography, Wendy Tatlow; Design, Trina Parker. the Victorian College of The Arts, provide a 0 0 (Professional) 89 0 contrast in mood and cover another problem of 0 0 The Sensational South Yarra Show began “youth theatre” — that of using inexperienced *9 0 with research by young people into class and twelve or eighteen year-olds to carry whole 0 » culture five months ago, and materialised scenes by themselves. 0 0 0 symbolically on a four-tiered pink-and-blue This format, while denying the possibility of 0 0 “celebration” cake on May 9. playing with ideas, symbols and characters at 19 0 The ingredients comprise three months depth, does not allow for any indulgence or 89 0 research (involving techniques invaluable to 89 0 embarrassment from the audience, and asks 89 0 young people in eliciting material relevant to them to take seriously the findings of research 0 0 creating good community based theatre); one about them. Basing the first show of the new St 0 month of script-writing (an instructive time for 89 0 Martin’s Youth Arts Centre on the people who 89 those involved in examining structure, 0 live around it brings its own rewards as well. 89 0 appropriate symbol, use of myth, integrating Though I am uneasy when I see the South Yarra 89 0 theme and research); and six weeks realisation bourgeoisie enjoying being outraged, there was 89 0 89 Strand Electric now otters a full range of manual control systems suitable (using Helmut Bakaitis’ constant search for new an immediacy in the theatre as they strained the for amateur theatre, schools and small television installations. 0 0 A.M.C. (Advanced Manual Control) - From Rank Strand Electric a 3 forms of theatre, Norbert Mayer’s experience script to find their contribution to it, as they preset 3 group manual control system capable of controlling from 10 to 120 0 0 channels. 0 and methods as Director of the Munich sought in the performance any gossip other 0 D.M.C. (Dual Manual Control) — a 24 channel 2 group 2 preset desk designed and developed in Australia for Australian conditions. Suitable for 0 Jugendtheater, and Michael Mitchener’s research participants might have let slip, as the 0 medium sized theatres and television Installations. 0 0 S.M.C. - a Single Manual Control system designed and developed in 0 political doggedness). gap between audience and performer was Australia for the simpler installation. Ideally suited for the smaller theatre 0 and television installation. 0 The form finally evolved, that of a thematic breached by The Theatre Cleaner in the role of 0 All desks supplied by Strand Electric may be connected to any of the range of dimmers currently available from Strand. 0 revue combined with the traditions of Weimar part conferencier, part local identity. For further details and technical assistance please call or write to the 0 Republic cabaret, is both interesting and quite How much those involved understood of what addresses below. 0 different from Helmut Bakaitis’ earlier epic, they were saying about class struggle, the basic Carlota and Maximilian. It is, though theme, is probably not very important. The STRAND constrained by the box-like stage of St Martin’s process, the discovery and the means of staging ELECTRIC 0 and the tiny budget, a successful attempt to it, is the prime thing, especially if those twelve to A DIVISION OF 0 RANK 0 create theatre which is simultaneously entertain­ eighteen year olds continue on to work on future AUSTRALIA 0 ing and exploring a serious theme. It also projects of their own and thereby make a PROFESSIONAL SERVICES GROUP 0 12 Barcoo Street, East Roseville NSW 2069. Phone: 406 6176 overcomes some inherent expectations in “youth positive contribution to the development of 60 Rosebank Avenue, Clayton South Vic 3169. Phone: 541 8502 » 299 Montague Road, West End, Brisbane 4101. Phone: 44 2851 0 theatre” about the quality of script and perform­ theatre style, and learn to use the relationship 101-105 Mooringe Avenue, Camden Park SA 5038. Phone 294 6555 430 Newcastle Street, Perth WA 6000. Phone: 328 3933 0 ance. between theatre techniques and social 120 Parry Street, Newcastle NSW 2300. Phone: 26 2466 0 The “big numbers” work best — backed by an framework. MAS4843 »

THEATRE AUSTRALIA JULY 1979 29 yarns over a glass or two of ’63 Penfolds Bin 389. I mention this, because The Club is and was regarded as important to Melbourne. Now, however, the Gissing of Glen Waverly has departed for sinful Sydney, and the play is restaged. Tarnished by Sydney and New York and Washington it runs like a well oiled tram. And like a replay of a game you’ve been at, it’s a bit predictable. Not in the simple sense of knowing the story, but in the sense that the things in the play that transcended the narrative (Hooray for the subtext!) like character, and clashes of values have disappeared. I still think that they were there when I first saw The Club. So where have they gone? Firstly, I think this feeling is a function of having seen it before. The responses have been dulled, the analysis made, the emotions sorted L to R: Maurie Fields (Jock) and Warwick Comber (Geoff) in the Melbourne Theatre Company through. The second time around adds nothing, production of The Club. Photo: David Parker. it takes something away; freshness, newness, Coaches, Recruits, Presidents etc and the ones surprise. Which is why critics should go once Emphasises narrative, in the play was evident, twisted nicely and and think hard, rather than go twice to make melodrama friendly enough to get away with. In Melbourne sure. it is a local play, the sort of thing the MTC Secondly, the production itself is tired THE CLUB should have been doing regularly for years (and seemingly before the first week had played. For have — more off than on). some reason Simon Chilvers has directed it to GARRIE HUTCHINSON I’ve got no idea how a New Yorker or emphasise the narrative, the melodramatic The Club by David Williamson. MTC at the Russell Street someone from Sydney would approach it, moments and a singleness of character. I do not Theatre, Melbourne, Vic. Opened 15 May, 1979. Director, Simon Chilvers; Designer, Shaun Gurton. whether they would find any resonance in it at mean that the characters are one dimensional so Ted, Peter Cummins; Gerry, Malcolm Keith; Laurie, John Heywood; Danny, Gary Day; Jock, Maurie Fields; Geoff, all. I do, I’m from Melbourne. So the jokes pass much as lopsided. They do not seem to have Warwick Comber. easily, and work to keep the narrative flowing, been allowed to grow, nor the actors to act. I can (Professional) and as excuses for some poignant confront­ see that there are a few difficulties in the actors’ Critics rarely see a show more than once; alter ations. For example the moment when the styles. Take Maurie Fields, an estimable, opening night plays disappear from their con­ President (never played a game in his life) tells straight ahead, forceful, externalising actor used sciousness (and consciences) until dredged up for the Coach how he’d never missed a game and to music hall more than the intimate theatre, comparison at some rare later date. Fans are the could describe the Coaches first kick ... there and put him with Peter Cummins an estimable, people who see a production lots of times; they’ll we saw knowledge of each’s unspeakable lateral, close up, internalising actor, and you’re troop out dozens of times with their dollars to feelings. going to have problems. Nothing against either, view Max Phipps in Rock Ola (Yes! True! Good Second time around, these localising but in a play where the story line and simple Taste!) or Gordon Chater or John Waters. resonances, the relationship of giant Melbourne characterisations are emphasised, subtlety will They’ll turn up week after week to the same icons to we smaller spirits, and the “realness” of lose out to volume. Which is what happens to play. They enjoyed it once, so they’ll bring the play seem less important, both in the play Cummins and John Heywood, the President and another girlfriend or vice versa, twice. They are and in the production. Coach respectively. the ones who can tell a director if the production Taking the play first. On a personal note, I This is a bit of a pity because without there is dropping off, or how this one compares with well recall Williamson (then an earnest being some playing equality between the the Sydney one and so on. Fans know. Unfort­ Melburnian) taking the idea around the traps manipulators and the manipulated, the play unately at last count in Melbourne there were looking for reassurance from football fevered loses balance and becomes the merely funny only as many fans as there were critics. This is scribes and artistes. It was much debated at the story of a bit of small time bureaucratic game the parlous state “popular” theatre is in. It’s time. Some actors said they would have nothing playing. A superbly oily performance from unpopular. to do with it because it wasn’t true, or at least Malcolm Keith doesn’t help; his Administrator But there are exceptions. Williamson’s The wasn’t true enough. Other worthies thought adds to the imbalance, through no fault of his. Club is one. That shrewd marketing brain in the they'd wait for the actual one and only Great For me the ultimate let down was the scene head of the MTC has decreed that his audience Australian Football Play (The Last GAFP). towards the end of the play where the Coach has (I suspect he knows them all personally) wants it And some motivated by. malice more than finally gathered the Recruit to his fold, and in an again. Certainly it was underexploited in anything else felt that it would be a flop and they attempt to prevent the Administrator’s plans to Melbourne in its first production, and certainly wouldn't have anything to do with one of those. get rid of him (and proper football as well) is there was evidence that even apart from its So much for that judgement! A high powered going to win a few games. Hard to sack a subject matter it was sprinkled with sufficient luncheon was even organised in the basement of winning coach. Here, instead of there being a bit funny jokes to pass another night in a theatre the legendary Grace Darling Hotel, where the of doubt, even irony about the prospect of seat amusingly. So I went to see it again. Collingwood Football Club was founded, so that winning a few games, even getting into the The first time I saw it I was as impressed with Williamson might have access to the Real Stuff, Finals, we have the Coach revving the Recruit its serious moments as I was with the retelling of Genuine Leatherbound, Old Gold, Mud and and the Captain up. They say they believe it, but jokes, stories and personalities that anyone Blood Stained, Tried and True Stories. I will they act as if they think the play’s a parody. You interested in football would know. But those treasure for as long as Carlton is synonymous can read into that a message about what jokes etc were some of the things going for it in with great beer and great football the sight of happens to a production of a play where Melbourne. The relationship between real Dave and Captain Blood, Jack Dyer swapping comedy’s given the appearance of a joke.

30 THEATRE AUSTRALIA JULY 1979 vehicles for Shaw’s jibes at the Bulgarian/vulgarian nouveau riche, but as the mother Jennifer Claire brought out the full rapacity and opportunism of the role. Edward Hepple was at ease in the snivelling, Steptoe-like cameo role of the grasping servant Nicola. But it was Carole Burns as Louka the servant girl on the make and John Stanton as Bluntshli the “commercial traveller in uniform” who turned in the really hard-edged performances that kept the production sharply satirical when it showed tendencies of becoming totally farcical. Anne Fraser’s set design was as shonky as it was literally realist and detracted from the comic direction. Square metres of antiqued is fine for theatre restaurants masquerading as medieaval castles but hardly constitutes a creative input into a serious theatre production. Ironically the set exemplified the very thing Shaw was criticising — chocolate box realism; it was a victim of the expressive fallacy and not fake “idealism, which is only a flattering name for enough to be honest. Sharply satirical romance in politics and morals, is as obnoxious to me as romance in ethics or religion”; he might farce in comic opera well have added love relationships to his list of Continued from page 16. style potential Romantic distortions. ships, an International Piano Competition and a The tone of the play is set in the opening scene scholarship for Strings in 1977. The PEN ARMS AND THE MAN when Raina Petkoff, the impressionable and Congress in Sydney involved them for $14,000; provincially bred daughter of a major in the they sponsored the Touring Theatre Company Bulgarian army declares in high pitched of Sydney; the 1976 Writers’ Week at the SUZANNE SPUNNER Arms And The Man by George Bernard Shaw. Melbourne schoolgirl hyperbole that her adulation of the Adelaide Festival; and the South Australian Theatre Company, Atheneum Theatre, Melbourne, Victoria. heroics of her soldier lover, Seranoff, derives Opened 10 May, 1979. Director, Ray Lawler; Designer, Anne State Opera Company in 1978. Though its initial Fraser. from Pushkin, Byron and the Bucharest Opera. concern was with paintings, the funds of up to Raina Petkoff, Elizabeth Alexander; Catherine Petkoff, Jennifer Claire; Louka, Carole Burns; Bluntschli, John Stanton; Officer, The absurd and foolish bravado of Seranoffs $150,000 a year are now disbursed more James Shaw; Nicola, Edward Hepple, Major Petkoff, Anthony Hawkins; Sergius Seranoff, David Downer; Male Servant, James leading a suicidal cavalry charge which happened generally. Shaw. (Professional) to win unjustified success is later described by Ironically — as this brief and selective survey Bluntschli, the Serbian soldier and pragmatic indicates — the arts’ very creativity that is Arms And The Man is one of George Bernard realist, as the antics of “an operatic tenor”. recognised as vital to the health of the Shaw’s earliest plays — it was written and first Director Ray Lawler took his cue from these community, can also be its own financial ruin. staged in 1894 and at the time received popular pointers and staged the play in a vigorous comic The new, the restless, the exploratory, the avant acclaim; although it was not until the 1905 opera style. By playing to the hilt the absurdities garde, the audacious and the contentious, which production of Man and Superman by Barker and of the plot and the exaggerated character types, should keep our performing arts on the Vendrenne that Shaw achieved the fame and he created a highly entertaining farce which still vanguard of social thinking, make strange notoriety we now associate with his name. made all the satiric points Shaw intended bedfellows for the conservatism of the business Arms A nd The Man is set in the 1885 without ever becoming ponderous of didactic. world and too often too much for all but the Bulgarian-Serbian war in the Balkans. Its Lawler's strength as a director lies easiest in the very bold. ostensible theme is the demystification of the area of traditional comedy and he culled some It is sad to reflect that the old adage that the glory of war and the heroics of fighting soldiers. fine comic performances from actors who when rich get rich and the poor get poorer extends to a However to approach the play as merely being cast in more serious roles are less inspired. disturbing degree to arts funding. The arts about men and war: image and reality, reduces David Downer brought some brilliant industry is a multi-million dollar concern, yet the changing couplings of the lovers in the play flourishes to the role of Seranoff from his first while it needs huge sums to survive, it must not to the status of a decorative sub-plot, whereas entrance, he was a study in bombastic precision allow big corporation thinking to snuff out its there is ample evidence in the play to read it as a — flashing eyes, an over abundant but clipped vital spark and leave it a huge but soulless sustained satirical attack on Romanticism as it moustache and brilliantly white teeth — and a monster. Business men must be persuaded to affects and infects both human relationships and panoploy of baroquely decorative gestures; provide risk, tax-deductible capital, as they attitudes to war and heroism. seeing him remove his gloves finger joint by would for research departments within their This approach brings into sharper and more finger joint was sheer delight. As Raina, own firms. Funding from whatever source must consistent focus Shaw’s views on women as well Elizabeth Alexander began in such a high be seen as affording artists the right to fail in as men. The plot has elements of a Cosi Fan register that it was difficult to imagine where she their research for the new, the innovative and Tutte test of sincerity and fidelity of affection, could take the part, however she contained the our voice for tomorrow — not just to allow but it is more even handed in that it reveals the virginal hysteria and made convincing Raina’s bigger sets, costlier costumes and glossier equal duplicity of men and women. Shaw’s sallies transformation into Bluntscli’s future wife — the programmes for conservative and establishment against Romanticism are strengthened by his tough minded woman who could get exactly companies. linking it with the values and mores of the rising what she wanted as soon as she realised it was (Big Business and the Arts looks next month bourgeoisie. As Brecht was to show later in what she needed. at the role o f A R T S — a unique concern to Mother Courage, the working people cannot Raina’s parents, the Major and Mrs Petkoff encourage the private sector to give more afford to live by Romantic ideals. Shaw wrote, are the least interesting characters, being the support — and asks about its effectiveness.)

THEATRE AUSTRALIA JULY 1979 31 Theatre/WA W Hole’s production of City Sugar as the rather less than the hoped for sum of the parts, A nice night’s bewildered teenager, this time plays the middle- for it is neither a very successful musical nor a entertainment aged Mrs Hawkins, a funny old duck who may very gripping thriller. As a musical it fails simply or may not be the expected abortionist. The size because there is not one memorable tune (or lyric WELL HUNG______of the theatre brings her too close to the for that matter) among the eleven songs scattered audience to hide the badly applied aging through the script. And it fails as a thriller MARGOT LUKE makeup, but in a curious way this emphasises because, given its musical pretensions, it never W ell H ung by Robert Lord. Hole in the Wall Theatre, Perth, the quality of her performance. seriously tries for the whodunit kind of interest. WA. Opened 25 May 1979. Director, Colin McColl; Designer, Richard Hartley. The minor characters of Wally, the aggressive In fact, for my money, Something's Afoot Sgt Bert Donnelly, Maurie Odgden; Const Brown, Gerald half-wit and murder suspect, and Adam Turner doesn’t as much fall between two stools as in Hitchcock; Det Smart, Frank Johnson; Lynette, Merrin Canning; Mrs Hawkins, Vivienne Plumb; Wally, Klaus Schulz; the local squatter, are played with a nice feeling them. In the end, one has the Music-Hall writ Adam Turner, Steve Jodrell. for gentle caricature by Klaus Schulz and Steve large, and like musical-hall, Something’s Afoot (Professional) Jodrell. trades heavily in the safest theatrical currency, The carefully tatty police-station set suggests A singular lapse in judgement all but ruins an cliches and old troupers. A review of such august it’s going to be Williamson’s Removalists, and otherwise well-conceived production, and this is frivolity can really be no more than a checklist of then the introductory music starts up with the decision to let Frank Johnson, as the visiting who did what and how well, since the script itself Gilbert and Sullivan — ‘A Policeman’s Lot’. big-wig Detective Smart, take over with a manic pretends to nothing more than the offer of ample That’s the mixture — Antipodean cop-shop performance which totally upsets the balance of opportunity for actors and singers to strut their neatly blended into a traditional format — in the play and leaves the audience heaving a sigh music hall stuff. this case classic farce, complete with mistaken of relief every time he leaves the stage. True, the To start at the top of the tree, Edgar Metcalfe identity, conversations at cross-purposes and man is intended to be a dangerously deranged proves yet again that to be a successful director three much-used doors (clothes locker, inner monster in a position to misuse his power, of commercial theatre means understanding the office, toilet) to conceal and reveal characters at bringing chaos and death to all around him. basic conventions of the script in hand and then the most inconvenient and embarrassing However, the play is sufficiently well-written to playing it broad and fast. To keep a script so moments. make its point without the over-kill of three cluttered as Something’s Afoot is with Robert Lord’s play originated in New times life-size grotesques. gimmickery (eg exploding staircases, concussive Zealand, but it seems effortlessly at home here. Apart from this mind-blowing false note, it’s carved lions, woman eating Ming vases, One felt it might be set in Queensland, and no what might be called a nice night’s entertain­ automatic garotters, etc) and with nondescript doubt elsewhere in Australia they will think it ment. One wonders, of course, if this is going to musical routines so slick and smooth in the might be WA. be the shape of things to come — the com­ playing is no mean feat. His task was made easier It’s a clever, brash play, updating the farce- mercially-styled play feeding on the liberties no doubt by his selection of a cast which ingredients in all directions: the four-letter created by the experimental playwrights, and included a number of highly experienced music- language is natural and in character; the settling into an updated middle-of-the-road hall hands, whose understanding of the proper dropped trousers no longer have silly innocent groove? idiom of Something’s Afoot helped enormously explanations; the misunderstandings revolve in keeping the whole venture afloat. Joan around abortion, police corruption and criminal With sundry Sydney was, in this sense, the director’s right- stupidity. A heady mixture! hand woman and she shuffled, sang and twitched Colin McColl’s direction makes the most of homicidal her shoulders as Miss Tweed (a Marples like the lunacies of the stereotypes and with one1 sleuth at the centre of the “action”) with all the notable exception the cast takes every jump and chandeliers, etc. aplomb we have come to expect from one as turnabout with considerable panache. Maurie SOMETHING’S AFOOT prodigiously talented. Ivan King (the butler). Ros Ogden plays the impotent Sergeant Donnelly Barr (the maid) and Jim Beattie (the caretaker) with lazy good-natured irony; Gerald Hitchcock, were a suitably sinister downstairs trio and all did CLIFF GILLAM their various things with like aplomb, while the well-hung Constable Brown, is extremely Something’s Afoot by James McDonald. David Vos and Robert likeable in his triple dilemma of needing to Gerlach. The National Theatre Company at the Playhouse, Jenny McNae and Bill Kerr (Lady Grace and Col Perth. W.A.. Opened 3 May, 1979. Director, Edgar Metcalfe; satisfy his amorous bird (who happens to be the Designer, Sue Russell; Choreography. Barry Screaigh; Musical Gilweather) made the most of some of the finest Sergeant’s wife), finding an abortionist for her, Direction, Derek Bond; Stage Manager. Christine Randall. comic opportunities offered, as a function of Miss Tweed, Joan Sydney: Lady Grace Manley Prowe. Jenny and selling his car during office-hours to raise McNae; Hope Langdon, Lynne Crozler; Dr Grayburn, Peter their particular roles, by the script. One did not the necessary cash, without the knowledge of his Morris; Nigel Rancour, Alan Fletcher; Lettie. Rosemary Barr; expect to be, and was not, disappointed by Col Gilweather, Bill Kerr; Clive, the butler, Ivan King: Flint, the superiors. Caretaker. James Beattie; Geoffrey. Bevan Lee. performers of the experience possessed by all Merrin Canning, who has established a (Professional) those I've mentioned. reputation for classy glamour, moves down a The basic idea of the authors who concocted What was, however, surprising (and gratifying) couple of notches on the social scale and turns in Something’s Afoot, which was to take the two was to see how far both Alan Fletcher (Nigel, a truly delicious performance as the ardent genres which are usually most successful as The Rancour family black sheep) and Bevan Lee Lynette (“I must have ya!”) around whom the commercial theatre, the musical and the thriller, (Geoffrey, the juvenile lead) have progressed in action turns giddily, and one hopes that she will and combine them seems sound enough. Well, the short time they have been fully professional. have further chances of exploiting her gift for sometimes a great notion... The real problem Fletcher's acrobatic musical number “The Legal comedy. with the final product, which played through Heir” was executed with admirable flair and Vivienne Plumb, who had impressed in the May at the Playhouse, is that the whole is confidence and he twitched his villainous

32 THEATRE AUSTRALIA JULY 1979 eyebrows throughout with a panache I’d not Celebrating a that the reality of the empty stage came as a suspected he possessed. Lee’s male ingenue was momentary shock of surprise. genuinely funny and he too revealed with his memory The play has been pruned of some original performance a flexibility and a capacity to introductory material and is the better for it. extend what I'd previously thought was a SWAN RIVER SAGA There is a haunting rightness about the line “I somewhat limited range as an actor. He made an am a memory” echoing from beginning to end, excellent foil for Lynne Crazier, the company’s MARGOT LUKE and the two scenes of departure (first leaving soubrette, who was herself, whether simpering, Swan River Saga by Mary Durack. St George’s Hall, Perth, WA. England, then leaving the property Belvoir) (Original Production in 1972). Opened 17 May 1979. Director, singing, or dancing exactly as she should have Ronald Denson. provide a firm structure for the intervening span been — simply luverly. Eliza Shaw, Nita Pannell. (Professional) of years. Sue Russell’s design for the single set, the Highlights remembered from the earlier pro­ interior of an English country manor house, was Swan River Saga the second time round is duction still stand out: Eliza’s disillusionment properly lavish and also cunningly contrived to more of a celebration than a simple evening at expressed with matter-of-fact irony to her first allow the mishap-free functioning of such the theatre. It is part of the WA Sesquicentenary visitors from home — then, the best scene of all, gimmicks as the aforementioned staircase, lion, which is dominating the State, and both the her lively account of the Governor’s Ball vase and garrotter, as well as sundry homicidal theme of the play and its venue are supremely celebrating the Colony’s second anniversary — chandeliers and poison dart-firing epergnes. This appropriate to the occasion. later a scene with a young granddaughter (surely check list, by the way, must not omit Christine Perth’s oldest theatre, the small St George's that child was there on stage?) and finally the Randall whose stage management of a show Hall, a charming incongruity of a Greek Temple sad embittered questioning by the old woman of calculated to give any SM the screaming heebie- surviving in the central city district, has for the futility of a lifetime of work and suffering jeebies must have been excellent, since all the many years done duty as Government office that brought forth nothing but “bitter grapes”. bits of business seemed to happen bang on time. space — even now it belongs to the Health Alternating with acted scenes of Eliza The orchestra was under the direction of Derek Education Council. It was established by theatre conversing with visitors and family there are Bond (on loan from Romano’s Restaurant) and enthusiasts a hundred years ago, and now, episodes from diaries and letters, when the played quite well, although the fairly standard refurbished, proves that in addition to its reading voice is accompanied by excellent slides arrangements did not help the general classical facade it has lovely acoustics, though of paintings and sketches showing the innocuousness of the score much. the relationship of stage to auditorium will need beginnings of Perth and environs. So much then for who did what. Only one some rethinking. The staging of the current production is less thing remains to be said. I know why, (since the The Saga is the story of the first fifty years of skilful than the earlier one at the Hole in the house was three-quarters full on Thursday night), the Swan River Colony, seen through the eyes of Wall. The stage is awkwardly high, and Something’s Afoot was produced for The Eliza Shaw, one of the first settlers, who although good imaginative use is made of period National Theatre at the Playhouse, what I don’t combined a full and interesting life with a rare props and furnishings, the background setting is know is how the National Theatre management gift of expressing her feelings and recording her ugly and clumsy, and the lighting harsh and is able to reconcile such crassly obvious experience with precision, sincerity and humour, insensitive, making it difficult for the commercialism with the National Theatre policy giving Mary Durack a wealth of material to imagination to accept the delicately created as proclaimed in the programme — “To provide fashion into a lively portrait. invisible presences. entertaining and stimulating theatre of quality, Nita Pannell has made the play her own — However, the Saga remains a tour-de-force, producing the finest from the classical and she is Eliza Shaw, and the extraordinary feat of and one wonders if any other actress will ever modern reportoire.” No-one, I suppose would carrying the monodrama singlehanded, yet tackle it. It will survive as a piece of dramatised object to the National Theatre eking out its suggesting countless presences on stage stays history that transcends purely regional interest subsidies with the odd sure-fire money spinner long in the memory. In fact, having seen it seven yet is firmly rooted in the local soil, at the same here and there, but is there any need to have the years ago, my own memory had somehow stored time standing as a loving memorial to a woman credibility gap yawn quite so wide? the “other” characters in three dimensions, so who emerges as the quintessential pioneer-wife.

COMMENT mirror and a voice, imbued with urgency, and yet continued from page 2. delight, says, “Five minutes, Mr Crosby” will comics, who are so popular they get 50% of the become an Australian voice saying “All the time door before the show even begins, so we are in the world, Mr Gaden” (or Mr Gillies). forced to cut our magazine down in Cutback, Cutback and Cutbag become pagenumbering, a robert pagenumbing thing to Wonderment, Elegance and Glory. do, indeed, particularly as this is always defeatist There has never been a national theatrical and nearly always a prelude to another, Heaven monthly reviewing, promoting and sponsoring will be full of editors, swords, scripts, false noses, ALL theatre here; this IS the only one. The kind lighting grids, jaffas and directors, there will be of dumb rightwing weeklies are funny in the no room for the clouds, or even God himself, dunny, but Theatre Australia is a mag for all who no doubt will be forced to work for the seasons. What we need to survive the kind of ABC, no doubt, in Sound Effects, or Special blind cut throat bloody murder going on '-J7, Projects, with his teeth in a glass, and no work everywhere, is the sympathy and soul to see that whatever to do. our theatre is not tokenism and a few bob for the So, to conclude, we need, to operate at our heart by way of consolation, but an unnamable THE PERFORMING ARTS best capacity, further support from our theatrical investment in pure wonder. Blindness, Cutback BOOKSHOP brothers, The Government. Cutback, Cutback and Backlash need to work up a totally new act. 232 Castlereagh Street, and Cutback have to have their act rewritten, We take a deep breath, put our teeth in, and Sydney.2000. and that golden Hollywood moment where there go out and mow the lawn. (But, Christ, some is a sharp knock knock at the dressingroom door, bastard has pinched the wheels, and look at all Telephone: Patrick Carr as the star makes up before the illuminated that kooch grass). [02] 233 1658

THEATRE AUSTRALIA JULY 1979 33 Let’s Make an Opera. Young people again made COME OUT up a sizeable proportion of the cast, but it was a continued from page 13. self-consciously adult production stacked with middle-class values which flowed off the stage in beyond subscriber bookings. Adelaide’s three profusion proportionate to the Coca-Cola which major state-subsidised companies. The State flowed down the throats of the young singers. Opera, the State Theatre Company, and For a production which, by its own admission, J.C. Australian Dance Theatre, all prepared major attempted to prove that “opera is not stuffy and programmes for young people as part of COME artificial”, it achieved little to shake the image. WILLIAMSON OUT, and their respective productions gave rise There are bound to be failures in a festival to some interesting comparisons. such as COME OUT until the arts world come The State Theatre Company conceded their to terms with the cultural needs of young people, THEATRES prestige performance venue, the Playhouse, to but it is important to point out the successes. their Magpie T I E team for a production of Much of the stunning success of COME OUT is LIMITED local writer Rob George’s play Crabbing It. The hidden away in little rooms or in small corners of team has a strong reputation throughout a park where kids are learning and creating, Australia for its excellent Theatre-in Education manipulating the arts on their own terms. The THEATRICAL work, but suffered slightly at the hands of a so-called ‘visual arts' programme of COME SERVICES script which while not devoid of interest, has OUT 79 was a notable public success, which been compared to an episode of Bellbird. took no notice of the artificial barriers between Australian Dance Theatre, on the other hand, visual and performing arts. Soft sculptured MUSICALS FOR AMATEURS came up with a masterpiece of dance and theatre humanoids proved a disarming sight for AND SCHOOLS in Filthy Children, a stunning collection of Adelaide citizens when they appeared in city Choose from a wide selection images and realities of childhood prepared by streets, a large audience was amazed by a of old favourites and recent Ariette Taylor from the thoughts of eighteen cavalcade of ingenious hand made vehicles at young children, who dance in the production the “Perambulation Games” event, and people successes including “ Man of under the collective title of "Mummy's Little are still being delighted by COME OUT’s legacy La Mancha” , “ A Little Night Darlings" with seven members of the ADT to the State Transport Authority in the form of a Music” , “ Brigadoon” , “ The company. Perhaps it can be seen as a tribute to tram painted with landscapes by high school Desert Song” , “ The Senti­ the existence of COME OUT that it has students. mental Bloke” and many others, spawned one of Australia's most moving and Although COME OUT is now established as a including “ Vamp” — the new beautiful theatrical events which, though major artistic force in South Australia, it still vampire musical which can be created in the name of children, is neither suffers from a low profile on a national level, performed with a small rock patronising nor weak in thought or imagery. and even a local ambivalence towards youth arts group; also the pantomimes Ariette Taylor gave choreographic voice to makes it hard sometimes to reach the kids who “Dick Whittington” , “Cinderella” might benefit most. But COME OUT must those children, and they proved beyond a doubt and “ Puss in Boots” . that their voice must be heard. always be run with a primary concern for Hearing the voices was the least of the quality and the cultural needs and desires of Enquiries to Mr. John Bryson, audience's worries at the State Opera's young people. And with that to worry about, Comedy Theatre, production of Benjamin Britten's tired piece. who's got time for prestige? Exhibition Street, Melbourne. Phone 663-321 1.

Australasian Association COSTUME HIRE for Theatre Technology A large range of period and fancy costumes is available (Victoria) for hire to cover all musicals and plays. Now in its 5th successful year - for all those involved in modern theatre practice. ■ Regular meetings, demonstrations, lectures on the latest theatre techniques Contact Mrs Gwen Rutledge, ■ Social gatherings in own city rendezvous JCW Hire Dept, Cohen Place, ■ Training courses in all facets of theatre technology (Rear Her Majesty’s Theatre), ■ Advisory committee to government and other bodies on theatre buildings and Melbourne. Phone 663-2406 installations ■ Publishers of special course notes on theatre technology (latest edition - THEATRICAL PROPS AND $5 including cost of postage) FURNITURE ■ Membership open to individuals or organisations WRITE TO ADDRESS BELOW FOR INFORMATION, DETAILS OF COURSES Props, furniture and cloths PUBLICATIONS OR FREE NEWS LETTER. available for hire for the stage, films, publicity, etc. AATT (VIC) LTD Enquiries to Mr Stan Davies, GPO BOX 164B Her Majesty’s Theatre, MELBOURNE, VIC 3001 Exhibition Street, Melbourne. Phone 663-321 1

34 THEATRE AUSTRALIA JULY 1979 WRITER’S VIEW Following the success of A Manual of Trench Warfare in South Australia, Brian O’Connell (Clem) Gorman has returned from residence in London (where one of his plays was produced at the King’s Head) to take up a writer in residency with the State Theatre Company, Adelaide. Trench Warfare is to be published in the Currency/TA New Writing Series. z ì i ______v i e n i

Australian original theatre might work. The actors improvise around a given script spine, Let’s Explore Australia based on well known traditional tales — IOOI Nights, or whatever — and they work all over the shop, in and out among the audience,risking There is no more heartening trend in Australia emphasise what you see as much as what you everything at each and every moment, totally theatre over the past decade than the growth of hear; they are not predominantly literary, and vulnerable yet totally in control. When it works, Australian content and self-confidence. Amidst hardly intellectual at all. which is mostly, it is splendid and gripping. I can the closures and the unemployment, that stands It would still require scripts, but scripts in imagine aboriginal shamans working like that, or out in the memory like a sunny day in London. which songs and stage direction would be of Celtic Druids; it is colourful, immediate, Yet it remains true that in the fundamentals of equal importance to the dialogue. It might participatory, yet narrative, not an attempt to form there have been too few attempts to create involve the use of quite a bit of media merely make pictures with people and images. anything new, anything springing from original, technology. After all, Australia is a country that I believe there should be established — and we Australian roots. The theatre in Australia is still was born out of the Industrial Revolution and should not be interested in all the reasons why more Shakespearean than Australian in form. I Australians feel very much at home with it’s impossible (no funds, no confidence, am not indulging in the easy game of knocking technology. ‘experimental theatre fails too often’) — a Australia. The standard and variety, the sheer What about the content of this Australian fulltime, funded, experimental company to maturity, of Australian theatre compares at least theatre? Not too different from the content of explore Australia. When it fails, it should be favourably with anything that’s happening in the Australian plays, probably. The themes of allowed to. There is sense in which theatre with UK. But a verbal theatre with European roots Australian theatre have been well enunciated; heart simply cannot fail, though it must, can be Australian in content only. the paradoxes of an urban country that is vast sometimes, just as scientists sometimes fail, if What would an original Australian theatrical and empty, the struggle against the Interior (both progress is to be made. The point about the right form look and work like — when it was at home? on the individual and national levels), to fail should be clearly understood. To bring the To answer that question one need only look at Catholicism, materialism, suppressed whole weight of the clumsy, elitist apparatus of the elements that make up Australia. The homosexuality and all the rest. An Australian European-style theatre criticism to bear on an country first; it's hot and spacious, so perhaps an original theatre would have to tell a story; yarns exploratory theatre is an irrelevant exercise. open-air theatre using large spaces. It’s in Asia, so are part of the heritage. In short, any content can Such a theatre might operate best not as a public obviously influences from other Asian theatres be woven into its fabric; the key difference would theatre in the usual sense, though public would be present; the slow archetypal mime of be that the literary content would not be performances would of course be given, but more the Noh might adapt very well, or the colour and everything. When theatre began in Europe it was as a college or study centre. constant surprise of the Balinese dance which so a principal form of communication. Now, that Of course there are funds. Australia is one of impressed poor old Artaud. Australia’s job is done by media; what job can theatre do? I the world’s richest countries, with an aboriginals are an Asian people with their own think the answer — and it’s a highly personal unemployment rate, even in these ‘hard times’, highly developed symbolic and religious theatre, answer — is that only theatre can provide, that is the envy of any Third World country — which must obviously be a powerful element. within the context of a tale which reflects the and not a few European ones. Per capita income Of the European population, probably slightly conflicts experienced by an audience, immediate, is still within the top five in the world. Who can more than half are of Celtic origin. The Celts had live human contact, with all its fallibility. The put a price on the beneficial results of a people an extraordinarily rich theatrical and visual ‘weakness’ of the live theatre — its very human who have always lacked confidence when culture, based on music, which has been all but vulnerability — is its great strength in an age comparing their cultural product with that of obliterated by English imperialism; Celtic when many people are tired of the no-risk others, discovering that they have got something Australians are denied, in their education system, smoothness of TV or cinema. Merely to raise the that is uniquely and irreplacebly their own to any knowledge of their cultural roots. So this, curtain in the theatre is to embark upon a risk contribute to the world’s storehouse of theatrical too, must play a part. situation, as they say; this is what theatre has to riches? The reader might be thinking, at this point, offer, and this is a formal consideration, not one This will never happen while Australia is that it looks like a curry, lacking any core of of content. content only to emulate Europe and North roughage, which would slip through the system There is a Fringe company in Britain called America. Australia is not just a European like the proverbial and make about as much Shared Experience, and while not wanting for a country; it is itself, too. It is not an Ugly lasting impression as a glass of Epsom salts. Not moment to suggest that Australian theatre Duckling. It is not even a duck. Nor is it a swan. so, because all these elements have certain points should again import, lock stock and barrel and in It is something else, a new thing, waiting for its strongly in common. They are archetypal, they an uncritical mood, something ‘made in Britain’, new reflection to be flashed back at it from its are ceremonial, they involve music, mime and I must say that this group works in a way that I surroundings. I think it’s time the exploration of dance; sung words as much as spoken. They imagine might be very close to the way an Australia began.

THEATRE AUSTRALIA JULY 1979 35 Amateur A Sense of Insecurity Do amateur theatre groups feel insecure? The Newcastle, one from Maitland, and one from question sprang to my mind again and again Ken Longworth Armidale, the very energetic Armidale College of during the sixth Newcastle Arts Council drama Advanced Education Drama Group, whose festival, held in late May. reports on Newcastle’s major experimental work is always worth watching and Despite a wide range of works, play after play amateur festival which was hearing. For the third successive year, the CAE seemed to have at its heart a sense of insecurity. adjudicated by Peter Williams. took out the adjudicator’s special award, for a There were the self-doubts of the comic strip play called A Journey Into Inter-Cranial Space, character Charlie Brown, the worries of two cynically “the pots.” devised as an entertaining way of explaining to migrants about being buried as paupers in a Mr Williams is the first adjudicator to have students the functions of the various parts of the strange land, a Tennessee Williams grande dame filled that role at two Newcastle festivals. He did brain. sensing the crumbling of her social power, an the job in 1975 and had two comments to make An interesting feature of the festival, and this out-of-work Neil Simon here bitterly ranting on the differences produced by the intervening comment is NOT meant to be sexist, was the against the malaise that is New York, a shy four years. He said the standard of performances strong showing by women directors. Only four of young London clerk failing in his gauche had improved greatly, but he also expressed the fifteen plays had a woman at the helm, but attempts at wooing, and so on. disappointment that the choice of play had not. they were among the best all-round works at the But any thoughts that the choice of plays He appealed to amateur groups to read more festival, in terms both of entertainment and of reflected the collective states of mind of their widely because there were “some wonderful quality. Apart from Rosaleen Morrison’s The presenters were dispelled at the wine-and-biscuits plays” waiting to be done which amateur groups Harp in the South, Joan Packham’s production get-together which followed the presentation of never tackled. I pressed him later for some ideas of The Contract Burial (by Marjorie Grey) for awards at the final session. Normally, the crowd as to what sort of “wonderful plays” he meant, Elanora Players, won second prize. (Colin Boalch moves from the festival venue, the Arts-Drama but he was en route to getting a well-deserved won the best actor award for his role of a worried Theatre at the University of Newcastle, to the cup of coffee and despite a promise to return to migrant in the play.) And the other two fern adjoining Staff House for the function. This discuss the matter further, he was waylaid in the helmers, Jaci Cooper’s production of Three year, that building had been booked for another milling throng so that my question remains Ladies for Westleigh Players and Shirley function, so the nearly three hundred people unanswered. Bloomfield’s second act of The Prisoner of who packed the theatre stayed in it, crowding at It was a pity, because his comment on the Second Avenue for Newcastle Repertory Club, first into the narrow flat area between the tiered range puzzled me. The plays chosen this year could well have been winners. (Three Ladies did seating and the stage, but gradually moving — were a very good selection, with none of the take out the most promising actress award, with perhaps one should say returning — to the vast antique duds like an Agatha Christie and a Sue Leith the recipient.) stage itself. couple of Noel Coward pieces which turned up Peter Williams commented on the strength of The talk was, of course, about the festival and in 1978. Authors represented included Samuel the female performances and the difficulty of it was all bubbling self-confidence, along the lines Beckett, Tennessee Williams, Tom Stoppard, making his choices in these categories, but the of yes-we-did-it-that-way-but-we-liked-the-way- Neil Simon, Peter Shaffer, David Campton and male performances this year also were good. Last that-you-did-it. Many people found that brief Ruth Park. Many of the better productions were year, the adjudicator was scratching to find time of letting-down of hair more rewarding than from the pens of not-so-well-known writers like award winners among the men and several the auditorium chats initiated by adjudicator Israel Horowitz, Norman Sotherby, Marjorie groups were bemoaning the fact that they just Peter Williams or his more detailed backstage Grey and John Mackendrick, with the festival couldn’t attract male members. This year, discussions with the cast and crew of each of the offering the Australian premiere of the last matters seem to have improved and it no longer fifteen plays. 1 found myself talking for a few named’s fascinating study of loneliness among looks as if amateur theatre will become an all­ minutes to Norman Sotherby, author of one of tent show workers, Who’ll Be Next and Who'll female domain. the festival’s most effective plays. Three Ladies, Be Lucky. The strength of male playing was shown by and he outlined cuts which had been made in the The standard of production and playing was the award of the best supporting actor trophy to production and which, he believed, had the most balanced for years. Until the Marcus Williams as a cuckolded husband in weakened it. But did they? 1 asked. As staged at penultimate session, it was virtually impossible to Wherehouse Theatre’s production of Israel the festival, the play was a bit too long and a bit pick winners. In that session. Pymble Players Horowitz’s The Lipe. Two of the other three too repetitive, despite having a marvellously well staged part of their excellent production of the actors in this comedy of chaos could have been orchestrated structure in which three actresses of Ruth Park-Leslie Rees adaptation of The Harp in considered for acting awards. (Wherehouse, a very differing personalities portrayed, in parallel, the South, which quickly became the favourite Newcastle group which has brought alternative three stages in the life of a young girl who for three of the awards — best production, best theatre to the city, won the third prize for this becomes pregnant and finds it increasingly hard Australian play and best actress (Kathleen play, directed by Ian Watson.) There also were to cope as an unwed mother. Hamilton as Mumma Darcy). As it turned out, it several actors who could have won the most And this is the real value of drama festivals for got all three and two others beside, with promising actor trophy awarded to Darryl Bandy amateur theatre. They enable people from far Rosaleen Morrison, who also directed, taking out playing in Shaffer's The Private Ear (North flung areas to get together and look at and talk the best supporting actress trophy as Grandma Shore Players). about each other's work, even if. as in the case of and the sharing of the festival's technical award No play at the festival was perfect. One fault the Newcastle festival, it is only for two with another Sydney production, Phoenix from which most suffered was too little attention weekends in a year. And, while the award of Theatre's A Separate Peace (Stoppard). to vocal quality. Time and again, Peter Williams prizes is a contentious subject, it does provide for Sydney groups are predominant at the festival commented on the falling of players into the trap a sense of competition, an eagerness to do better each year, but they don't dominate it. There of picking up each other’s vocal rhythms so that and to see whether you can pip the others and were seven Sydney groups represented, often by there was not enough differentiation between take home what Peter Williams called somewhat more than one play. There were three from Continued on page 22.

36 THEATRE AUSTRALIA JULY 1979 David Gyger * Opera

Let’s Make; Secret Marriage; D’Oyly Carte Adelaide and London were the focal points of addressing — and sometimes berating — the insight. We all know about the exploitation of this particular review month for me, though big audience from the pit as he rehearsed them in the child labour in the far-off days when chimney things were also going on in Melbourne that I brief chorus bits intended to be performed by sweeps were a part of the here and now; and its missed because I had seen and reviewed them them during the opera itself. basic plot effectively precluded sufficient before (The Mastersingers p f Nuremberg and Indeed, the Let’s Make part of the evening was updating of this particular drama to make it very The Truimph o f Honour) or would see them admirable in just about every respect — down relevant to contemporary life. shortly later (the new Australian Opera even to the entertaining demonstration of stage That said, it should be re-emphasised that the production of Puccini’s Girl o f the Golden West). mechanics and lighting in the middle part of the Adelaide production was generally excellent, and In Adelaide, State Opera came up with an evening. There are all too few opportunities for featured the most impressive performance interesting mixture of the old (Cimarosa) and the the ordinary theatre-going public to experience overall I have yet seen from Keith Hempton. He relatively new (Britten); in that little bit of the anatomy of stagecraft first hand: usually the was absolutely at home, pedagogically, early in temporarily transplanted London known more name of the game is concealment of the tricks of the piece, and never faltered in presenting a generally as the Regent Theatre, Sydney, D’Oyly the trade, rather than revelation. In principle, credible portrayal of Black Bob and Tom the Carte was presenting Gilbert and Sullivan at its every theatre-goer knows that the whole stage Coachman in the opera proper. most traditional. picture can be converted green or purple at the In its own way, The Secret Marriage of The unequivocal highlight of the month was flick of a switch, that the walls of the stage Cimarosa, which alternated in this season with the breezily topical presentation of Britten’s Let’s bedroom will roll away or fly away in a few the Britten piece, was also a limited triumph: Make An Opera in Adelaide — especially the seconds with effortless ease; but actually seeing it once again, the major broadside that could be first two-thirds, the parts that come before the happen has the magical fascination of any legitimately levelled at the production was the proper opera within the performance. marginally increased insight into the artificial direct corollary of the inbuilt limitations of the Which may call for a bit of explanation for the wonders of the age. work itself. The problem was decidedly different benefit of those who are not familiar with this The major flaw in L et’s Make An Opera is that from that of Let’s Make An Opera, though, for extraordinary piece; for L et’s Make An Opera is the opera itself (titled The Little Sweep) tends to Cimarosa was no 18th-century Britten; or, to put literally what its title suggests — a dramatised be an anti-climax after the less formal it more appropriately, he was not even the account of the devising and presentation of an atmosphere built up in the first two-thirds of an beginnings of a pale shadow of his great opera for children. As such, it is somewhat evening. And because the first two parts were so contemporary, Wolfgang Amadeus Mozart. aggressively evangelistic and self-explanatory; effectively presented in Adelaide the final one Much, indeed, of the interest in a modern yet it is never obnoxiously so, and at its best — as was no doubt even less successful than it might production of such a work as The Secret presented in this particular Adelaide production have been otherwise. This is of course more a Marriage must rest on an unfavourable directed by Kevin Miller and designed by Lyn criticism of the work than the production, for comparison in the experienced opera-goer’s eye Walter (both from the Adelaide College of the The Little Sweep is more suitable story grist for a with the masterpieces of Mozart. Very often, his Arts and Education) — it can be a very effective kid’s pantomime than serious opera: it all but music epitomises classical opera at its best: it can entertainment not only for the young and lacks the vital ingredient of all opera — a libretto be as witty as Rossini, as lyrical as Mozart or inexperienced but for the not-so-young and not- that allows scope for music to add new depth of Verdi, as skilfully constructed as any ensemble too-condescending as well. As played in Adelaide, the first two-thirds of the evening were set very much in the here and now. It was in no way jarring to note — often almost subliminally — that topical Adelaide references were being infiltrated; and there was always present, occasionally submerged but never very far below the surface, that marvellous sense of spontaneity that characterises the best of child performances and which Britten knew how to exploit so admirably. There were a good many moments when the remarkably adept kids in this Adelaide cast (I saw the alternates, who were fine; presumably somebody thought another lot were even better) obviously forgot they were on stage and the whole thing became a slice of the real here and now at which a paying audience just happened to be present. And of course that is just as it ought to be — particularly in such a piece, which has a certain amount of audience participation built in anyhow. In this context the conductor of the night, Myer Fredman, also got into the act: in State Opera’s L et’s Make an Opera the middle part, he spent a fair slice of his time

THEATRE AUSTRALIA JULY 1979 37 David Gyger Opera you’d care to nominate. Its fatal inbuilt flaw is its wasn’t meant to be easy, and a reference to Patricia Leonard, who played Little Buttercup in patchiness: the fact that its brilliances are banishment to such, colourfully stereotyped Pinafore and Katisha in The Mikado a week embedded like nuggets of gold among such a Aussie locales as Woollooomooloo and later. And such dragon lady roles as Katisha by morass of alluvial mud. Katoomba. Not good enough, when old rights demand physical hugeness even if padding Without ruthless pruning, which would in Rockdale, and even the veritable Australian is necessary to achieve it. itself rob works such as The Secret Marriage of Opera itself, have been doing infinitely better for Meston Reid was an excellent Ralph the minimal artistic merit they possess by years. Rackstraw with a nice tenor voice, even if it destroying their continuity, one is unable to There were undeniable plusses in the D’Oyly seemed very precarious on the top when pushed; rectify the inbuilt defects; if they are to be Carte visit: I have never heard G and S more and Peter Lyon came up with a pleasingly sung performed at all, they must be performed more or beautifully performed, musically, than it was in Captain Corcoran even if acted a little too low less as originally conceived. this season, nor have I seen more visually key. Vivian Tierney’s Josephine was a trifle Given these inevitable problems, State Opera’s exhilarating design details, nor have I wooden in the acting department, but was Secret Marriage was very good, boasting as it did encountered more ensemble excellence or beautiful to look at and to listen to. John a very well balanced cast of Thomas Edmonds, anything like that individual quality of the Ayldon’s Dick Deadeye started off a good deal Patsy Hemingway, John Wood, Gwenyth D’Oyly Carte character vignettes. more like a furry cuddly bear, complete with Annear, Ruth Gurner and Roger Howell; an Yet it all seemed, on first glance, to be terribly fuzzy grey beard, than the fairly serious villain he excellent conducting stint from Kim Mooney wrong within the 1979 Australian context that is ought to be; but developed quite nicely in the and an equally excellent orchestral stint from the increasingly alien to the traditional Britannic second act. pit. Not to mention the brilliantly complicated motherland. The insights provided by this tour Overall, The Mikado was more successful on revolving set of Axel Bartz (which also served, in were the subtleties of richness that would opening night and got a good deal better by the this season, as an effective incidental backdrop in reinforce the faith of a devotee rather than end of its first week. Reed’s Ko-Ko was much the middle part of L et’s Make An Opera). convert a casual acquaintance with the G and S more innovative and fresh than his admiral had The Secret Marriage is the kind of flawed genre into a life-long friend. been in Pinafore; Philip Potter’s Nanki-Poo was work from the largely neglected literature of the At first contact, on opening night, the whole exquisitely costumed and acted, and very well past that deserves the occasional revival for its company seemed to be excessively self-satified sung indeed. Barabara Lilley’s Yum-Yum was admitted virtues, and State Opera deserves credit and inward-looking — as if it were slumming to nicely insipid, as G and S heroines are prone to for having revived it so admirably in the current be in the provinces at all and we Aussies ought to be: the main requirement of someone tackling context. be thankful for seeing it on any terms. This one of these roles is to look pretty and sing like The first-ever visit of the much revered D’Oyly attitude had clearly changed even by the an angel, and this she did perfectly. Carte Opera Company to Australia was an Saturday matinee following the Sydney premiere Kenneth Sandford’s Pooh-Bah was a little eminently disconcerting experience. It was of HMS Pinafore: in particular, John Reed, who lower key than we are used to in antipodean marvellous to have them here, yet desolating had just about yawned his way through the role productions, but nevertheless a highly that they were not up to the best of the of Sir Joseph Porter, KCB, on opening night, was professional comic turn: his delivery of his indigenous Gilbert and Sullivan we have seen in infinitely more committed — and, of course, marvellous little speech about tracing back his Australia in recent years. The tendency, after funnier. ancestry to a primordial protoplasmic globule first exposure, was to search rather desperately The superbly picturesque Pinafore set — with was exemplary. And I have never before seen a for reasons to excuse their failings in terms of a nice complement of real (well, nearly real) better Mikado than John Ayldon, nor do I ever local standards so as somehow to justify the rigging in the foreground and a beautiful scenic hope to see one: the person who plays this astronomical costs inevitably involved in their backdrop of ships at anchor — drew a good hand particular title role doesn’t really have much of a long trip to Australia. of applause at opening curtain, particularly go, but Ayldon made the most of it in all In terms of overtly topical G and S, the most because it was complemented by an equally departments. He looked every inch a D’Oyly Carte could offer in its first two Sydney picturesque chorus of sailors. Apart from Reed, bloodthirsty emperor, spoke with the required efforts (HMS Pinafore and The Mikado) were an most of the principals were very young — some degree of imperiousness and sang with a antediluvean Malcolmism to the effect that life might even claim too young, in particular of beautfully rich, deep-throated, bass tone. His rendition of “My Object All Sublime” was a real gem. I cannot help thinking, finally, that the visit of D’Oyly Carte this year is uncannily akin to the visit of the Stuttgart Chamber Orchestra a few years back — whose Mozart offended me deeply the first time I heard it, because it was so different to the Mozart I knew and loved. The point was that this is how they play Mozart in Stuttgart .... and they have a long tradition of playing Mozart, just as everyone else does; and who is to say our way is better than theirs? D’Oyly Carte’s way of performing G and S has the most impeccable credentials of all, of course. Which is not to claim that what it does is always right; merely to point out that its way has a special case for being taken note of, and must not be dismissed out of hand merely because it is so traditional and different from the way we are used to doing things on the other side of the Thomas Edmonds (Paolino), Patsy Hemingway (Carolina) and Ruth Gurner (Fidalma) in SO’s globe.* Secret Marriage. * David Gyger is editor of Opera Australia.

38 THEATRE AUSTRALIA JULY 1979 William Shoubridge Dance

COPPELIA — stunning sets and costumes I always enjoyed the Australian Ballet’s old training and rehearsal that it needs and should be masters the brothers Petipa. As such, any production of Coppelia mainly because it was given. Visiting guest teachers may come and go production of Coppelia, I feel, should mirror the always a production filled with life and high and the results are mirrored in the corps work for climate of the original; over much dramatic spirits and it was always extremely well a few programmes, but then things seem to go tampering will upset the balance of sympathy danced. I was always disappointed by the fact back to their usual slovenly style. I do wish they within the work. This is what happened with that it didn’t seem to exist in a recognisable could replace the current ballet masters and co­ Petit’s version, and it is what has happened with world, either real or postulated, that there was no directors with people that are more stringent in Ogilvie’s production. feeling of time or place and no sense of their demands and whom the corps de ballet will The sympathy here goes all for the purblind, community. respect. As things are now, the corps is nightly in twisted and presumptious character of Dr Now with Peggy van Praagh’s new Coppelia danger of fragmenting altogether. Coppelius. Due to Ogilvie’s direction and the we have a work that exists in a real community Scenically the ballet is beautiful (though I do gripping realisation that Ray Powell gave to (that being one somewhere in Eastern Europe, think Frederickson’s designs for Act I are a little Coppelius, the end of the second act when say Hungary or Rumania) but which seems ill- too close to those for the AO’s Mastersingers for Swanhilda’s impersonation of the “perfect” doll served by its rehashed choreography and dismal comfort or originality). Frederickson has Coppelia is exposed for the ruse it is and Dr invention. So much of the Saint Leon/Cechetti designed the usually meandering Act 2 in Coppelius realises what a fool and self-deceiving choreography has been buried under something that could only be described as maniac he is, all the sympathy goes to him, ammendations and additions, and what is new is Transylvanian Baroque and it conveys an apt slumped on the stage floor, staring into the void. flaccid. sense of eeriness and menace excellently. The He becomes a venerable old booby, essentially Perhaps memory makes the heart fonder but I designs for the intractable Act 3 which no one harmless and badly done by the louts and village don’t think the new production is as well danced can ever seem to make any sense of (including scatterbrains of this little Rumanian town. as well as the old one was either. Praiseworthy Balanchine) are as sunny and festive as one could As a result. Act 3, where Dr Coppelius is though the AB ambition may be in fostering and wish, the same goes for the wonderfully nowhere to be seen, is even more arid and nurturing new soloist calibre talent, I think this is conceived and designed costumes. tiresome than ever, especially when some of the being achieved by a lack of attention and Coppelia was one of the last flowerings of high choreographic interpolations seldom rise above concern for the corps de ballet. French Romanticism. After this and the Paris the mundane level in terms of invention. So much of the corps work is lazy and Commune that broke down just months after the The director and van Praagh have tried vainly misdirected these days, and not just in Coppelia, ballet’s premiere, things like this were no longer to put more oomph and purpose into it, it was the same with Fille mal Guardee last year. performed and balletic creativity then passed to transforming it into an almost pagan fertility Obviously the corps is not getting the optimum the Russians and their (expatriate) French ritual and mass marriage scene but all this ritual,

Josephine Jason (Swanhilda), David Burch (Franz) and Joseph Janusaitis (Priest) in Coppelia Act III. Photo: Branco Gaica.

THEATRE AUSTRALIA JULY 1979 39 William Shoubridge Dance endless divertissements, and crammed, busy rendition of Prayer one of the highlights of Act awakens to his deception but Franz also frisking about doesn’t in the least compensate. 3. “awakens” to his real flesh and blood sweetheart We feel that we are watching the closing work of Ann Jenner was perfect as far as I was who is still dressed in the clothes of the doll. a triple bill programme rather than the concerned for the central role of Swanhilda, right Metaphysical probings like this aren’t of summation of a full length work. Still, one can’t from her very first entrance until the final scene, course necessary to one’s enjoyment of the work blame it all on the producers, it is in the nature of her characterisation and method of attack as a whole, but it is heartening to see that these Coppelia’s construction to make this act the complimented each other. There is and never has themes have obviously been considered by weakest; even the rich invention of Balanchine been very much light and shade with Swanhilda, Ogilvie and his cast. Most of the audience will couldn’t save his version. she quite simply has to be portrayed as a clever, love the dancing, bask in the glories of the set The money spent on the costumes for the quick-witted ingenue who simply loves her and costumes and be (deservedly) entranced and Twleve Hours of Night must have been doltish boyfriend Franz and who is outraged that bemused by the exquisitely detailed “toys” that exorbitant judging from their lavishness, but the he seems to give most of his attention to so unnervingly come to life. But it does seem a entire segment only lasts five minutes and the “that-rather-stiff-looking-newcomer” Coppelia. shame that this act has been exhaustively choreography is so insipid that one can’t What was so appealing about Jenner’s worked on at the expense of the balance of Acts remember a single detail after the finish. There Swanhilda is that it was obvious that her love for 1 and 3. are small compensations though; Lynette Mann Franz along with her natural animal cunning Kelvin Coe was also at home in his role of dancing the Dawn solo was wonderfully fluid pushed her into impersonating the doll so as to Franz. There was not much in the way of and regal, looking a lot happier than she had in lure Coppelius away from him (and to stop dramatic angst or delicacy of character for him to the Nutcracker pas de deux in the first Coppelius killing him so as to give the doll life). It worry about and he could be left free to dance programme and also happier wearing what became, this Act 3, a very weird allegory of role with that wide, open style that is his trademark in looked suspiciously like the identical costume. playing and reality/fantasy questions. Viz, the company. At the moment though, it seems One young girl, deserving of special praise is Coppelius is overjoyed to see that he has that Mr Coe has a tendency to defer in the Joanne Michel who danced the Prayer solo. She successfully given the doll life, but Swanhilda middle of his phrases, they start cleanly and obviously has put personal care and thought into impersonates the doll to fool and distract him, finish crisply but they blur half way through and this solo and her delicate bearing, gentle shaping but Franz is also in love with the doll (or so he the enchainment, whatever it may be, loses and soft, clean phrasing and footwork made her thinks). And when the charade is over, Coppelius focus and momentum because of it. David Burch was a little better in the part, he was quick and alert to the choreographic demands, and although not as technically proficient as Coe he didn’t have that disturbing deferential quality. Christine Walsh as Swanhilda unfortunately trailed behind Jenner. In Act 1 she appeared not to register the presence of the doll at all so that the latter’s plan with her mates to invade Coppelius’ lair didn’t have any point or purpose other than the fact that they were all a flock of bored dolly birds looking for something to do. Her dancing left something to be desired too. Jenner is more technically able, this is obvious, but Walsh could have compensated by finding a different quality to elucidate in Swanhilda. The Ear of Wheat scene was vapid and confusing with her and Burch, whereas with Jenner and Coe one could see that it was part of an age old ritual of prospective young marrieds (if your partner shakes an ear of wheat and you can hear the seeds, that means he loves you, if you can’t hear them...). The Act 3 solo’s for Jenner and Walsh were altered too, the brises and levees that Jenner managed, Walsh wouldn’t. But these were small symptomatic imbalances that are primarily due to different interpretations (or lack of them) and not in the nature of the production as a whole — its problems and shortcomings are elsewhere. As far as Act 2 is concerned, it was a brainwave of the AB’s to get Ogilvie to direct the production, but in terms of the overall structure and the tricky balance of the three acts, I think they should have got someone who was more aware of the ballet’s structure and of choreographic pacing in general. Still, a lot of people are going to love this new Coppelia, and the AB can be assured of full houses; after all we mustn’t forget those stunning sets and costumes.

40 THEATRE AUSTRALIA JULY 1979 Deborah Reynolds Dance

The Queensland Ballet’s Autumn Season

Saturday night brought me my initial deux projected a strong sense of professionalism. moments. experience with the Queensland Ballet. Having Games Out o f Court with its menage a trois In tackling a programme varied as it was, a lived in Brisbane only two months, I looked theme is blatantly redundant. Choreographed by company needs not only strong technical forward to seeing the State Company. The Peter Darrell, the basis of the ballet is the various dancers, but dancers equally proficient in company, consisting of thirteen full time dancers, escapades and relationships of a man and the two dramatic and comic abilities. At this time most of presented its fall season with a varied women in his life. The scene takes place after a the Queensland dancers fall a bit short in all programme; so varied that it gave the appearance tennis match; it is a totally predictable dance categories. It is a young company and the of a kaleidoscope. It contained a bit of with an attempted poisoning and shooting strengthening of their technique and acting everything, a Bournonville of the 1850 era thrown in for good measure. Donald Macleod capabilities will evolve with time. With a bit through to a ballet recently choreographed by handled the movement well, but his acting was more stage maturity, the company will be able to Artistic Director, Harold Collins. Sandwiched overbearing and heavy. The two women, handle the varied works, currently in its between were ballets that ran the spectrum of Jacqueline Kay and Dianne Storer, danced the repertory, at a more proficient level. melodramatic, comic and dramatic. Unlike a steps with sturdy security. This is Harold Collins’ first full year as Artistic kaleidoscope, the sum of the ballets did not make Harold Collins’ Dance Space II closed the Director. In dance, time is often the measure for a satisfying whole. programme. It is a pleasant movement ballet. At between adequate quality and good quality. Not that dances must be similar or related, but moments the dancers brought life to the different With positive direction, support, ballets that suit instead, a programme should be consciously variations, which with its effective movement the personality of the company, and of course paced and constructed with a sense of patterns make it an easy dance to watch. At hard work, a company identity will form. It is not continuity. Presenting seven dances by seven times it lacked the freshness that seemed difficult to conceive seeing this company evolve very different choreographers gave the necessary and became laboured during those into a moving force in Queensland. atmosphere of a workshop production. If the programme were shortened, it would help to solve the problem. The evening began with August Bournonville ballet La Ventana. It is a Spanish flavoured piece in two scenes. The ballet has a folk dance flair and it must be performed with a joyous, light attitude. This dance can be exciting if danced very clearly and sharply. It was not the case Saturday night and the piece suffered accordingly. Though Gary Doherty had only a small role, he exacted the dance with a lightness and precision lacking from the remainder of the cast. Clowns, choreographed by Don Asker is the type of contempory work that suits the company very well. The dancers handled the dance with confidence and clarity. The ballet is imbued with a sense of mystery, which proceeds through a cycle almost ancient in feeling. The dance is traced through conflicting relationships where the theme of manipulation is strong and persistent. Kenneth Macmillan’s Valse Excentrique is a humorous ballet that pleased the audience. It seems a bit dated and trite with its theme of three swimmers, circa 1930, and their slapstick antics at the beach. The dancers treated the dance with a vaudvillian approach which was quite heavy handed at times. It may have been the intention of the choreography, if so, they were successful. The Swan Lake pas de trois was performed adequately. It is a piece that contains moments when the dancers have an opportunity to display their virtuosity. A certain excitement was lacking, but nonetheless, the trio was precise and steady in their performance. Janne Blanch and Martin Raistrick were guest artists from the Australian Ballet. Their stage maturity and strength in the Spartacus pas de

THEATRE AUSTRALIA JULY 1979 41 Children’s Theatre in America moon stuck on a broomstick in a bucket, simply and then they’ll be passive about the forces that continued from page 15. turned around when it is time to disappear? determine their lives? Do I want future Would I want children to think that the theatre generations to get away with that kind of children in the audience? Or does my respon­ hasn’t any stunning magic? No. response to life? No. sibility as a presenter of theatre include providing explanations of the way the world works, and not mere false promises? THEATRE 5 Soup To Nuts METRO THEATRE CIRCUS Ontario, Canada. St Louis, Mo. Arm in Arm THE EVERYMAN PLAYERS Am I wanting to present a notion that four The purpose of this highly talented ensemble New Orleans, La. Hey Diddle Diddle! matching blue check costumes and four adults “is to provide a live creative theatre experience Because this piece was produced by Orlin trying to be youngsters are the ingredients of for young people and to stimulate interest and Corey, long-time officer of children’s theatre good theatre, especially if accompanied by a participation in the creative arts”. However, the associations and veteran pronouncer on direct moral message? That hard work is its own techniques alone (no matter how good) are not children’s theatre, I expected something good. reward (retrenchment? unemployment?)? That enough. Without point or coherence, is it The Everyman Players brochure described this women should stay home to raise dutiful possible that we are showing children that an collection of sixty Mother Goose nursery domesticated daughters (even if they are single “expression” is empty without careful rhymes as “an orbiting celebration of action, mothers? deserted wives?)? If this performance is exploration of it, the intricacies of ratiocination songs and games” which “delightfully extends as Theatre 5’s brochure claims, “world class and integration in the world from which the idea the Everyman Players’ tradition of noted theatre”, then there’s little hope for theatre at emanated. Is “art for art’s sake” still a current literature”. It was performed by a group of all. Do I want to present a theatre company for philosophy in theatre for children? If so, why, highly excited adults in pastel costumes of frothy children which is proud of its commission by the when it has long been discarded in adult theatre? tulle, and had as much to do with theatre as United Church for an undescribed Shakespeare has to hang-gliding. Would I wish documentary, played in churches all over SOUTHERN EDUCATIONAL THEATRE to present this razzamatazz style of what is Canada — or should this kind of work be left Biloxi, Ms. Bananas essentially intimate communication between alone to form “church-in-education teams”? Do I Apart from the expansive publicity (“a adults and children? Or to support the approp­ think that Hans Christian Anderson’s moralistic moment of theatre so dazzling, so spell binding, riation of children’s own counting and chanting Fellow Traveller presented as a story “full of it will rival the most lavish production on games by simple-minded adults? Is the Company magic, romance, fantasy and wickedness” is a Broadway”), I think SET is the only company aware of the original (and often still used) suitable contribution to International Year of besides Stage One that I would consider — and intention of so many nursery rhymes? And all the Child in my theatre? Or do children deserve for entirely different reasons. Bananas is a this from the man, who besides quoting Richard a little basic truthfulness, a little explanation of vaudeville show, and coming (as it does) from Nixon a lot, said: why it was even necessary to have an Inter­ the “deep south” is quite remarkable in its com­ “I believe theatre for children must begin national Year of the Child in the first place? bination of theatrical vulgarity and attempt to with the inherent seriousness of life ... Theatre Would the cutesy wholesomeness be worthy of make a few salient points. What it says to for children demands drama of conflict within children seeking good theatre? No. children is that theatre can be vulgar, raucous the mind, a conflict about something vital ... and unpretentious dramatically. It gives children The ‘Cinderella Syndrome’ is spurious. some idea that there is a range of theatrical This is the protective philosophy that would THE TRUCK, INC. Scenes From expression, and may possibly help towards cocoon children from the consequences of Wilmette, Illinois. Shakespeare explaining to children that, as adults, we choose choice or action, that would innoculate What is the value in presenting to children six from a large range of theatre experience for our against hard-core truth, that would deny pain, funny excerpts from Shakespeare? Will it wet own satisfaction. Clearly vaudeville cannot say the tragedy, the importance of life?” their appetite for more, or make Shakespeare deeply moral things, but it certainly can alert Or is there something in Little Miss Muffett seem like a living comic book? Does trivialising young people to the intellectual and moral and Humpty Dumpty that I have missed? Do I Shakespeare reflect genuine concern with “art”, pretensions so sugar-coated in productions want children to think that theatre is all sugar with “theatre”? Do I want children to think that represented at, for example, this Showcase. and light? No. Shakespeare, no matter how well performed, There were two aspects of SET’s programme simply draws character sketches good for a which would entice me into buying besides those laugh? No. THEATRE OF YOUTH COMPANY outlined above. One is the formidable talent of Buffalo, NY. Two folk tales Ronlin Foreman as a mime — affecting in his seriousness and his vulnerability; and the other What control, as a presenter, should I exercise IMAGINARY THEATRE COMPANY is the use of a kind of Festival of Light character over the perpetuation of race stereotyping? How St Louis, Mo. Audioanimation II (one of the few well-fleshed-out can I provide children with productions from This production, for junior-senior high school characterisations in the whole Showcase), for other cultures without denigrating those audiences, attempted to use a variety of chants she expressed clearly all the attributes of a cultures? At least there was one black actor in and dramatisations to show how ideas can be repressive environment, but with an explained TOY — but what do children think of blacks teased out. But unfortunately the ideas were sympathy and caring quite beyond any of the when he plays a monkey (speaking gibberish) in banal and trivial. What would “not trivial” or stereotyping in other Showcase productions. an otherwise all-white African folk tale? Or “not banal” ideas be in this context? Has the There is a liberating aspect of theatre in this when they hear adults saying, “Gee, blacks are company a fear of presenting tough or complex production precisely because of this attention to good imitators of monkeys!”? What do they ideas to teenagers? Is “triviality” simply a short­ detail and content. Would I put this production think of the Jewish race when an otherwise cut to trying to unravel with an audience a view on with education money in school time? perfect American-speaking woman punctuates of the world, because people have a mistaken Probably, because the skill was supported by an her constant hand-wringing with “Oh voy” a lot? idea that they cannot be both serious and intention to introduce young people to the joy of How can I believe TOY’s stated objective (“we entertaining in the theatre? Does this mean that theatre, and to pay attention to issues from are concerned with developing people through the company, despite its protestations to the every day life. drama”) when it promulgates race, sex and age contrary, is playing the same role as Writing this piece has been useful, because stereotyping? Grotowski notwithstanding, how commercially controlled television: make them much theatrical effect is there in a cardboard all think they are thinking and then they won’t, Continued on page 44.

42 THEATRE AUSTRALIA JULY 1979 Roger Covell Records

Professionalism and the Vocal Ensemble

Becoming truly professional is very hard for a In this disc and in other recent records the small vocal ensemble; and it is not even certain King’s Singers can claim to have become fully that the enormous effort involved is wholly professional in skill, manner and general worthwhile. Most vocal ensembles, or consorts performing attitudes; but the danger is that their as they are often called, begin life with performances on the stage will come increasingly programmes of Italian and English madrigals, to seem simply a bag of tricks, one clever novelty French chansons, German part-songs, Spanish act after another. They will then have to decide villancicos and so on. They shuffle on stage in a whether to go in the direction marked out by half-hearted fashion, look mildly surprised and Ward Swingle’s Swingle II, who make all their sometimes even a little pained if there is recordings, including their recordings of vociferous applause and generally behave with a Renaissance and more recent part-songs, with marked lack of showmanship, not to mention the multi-channel studio techniques and actually ordinary graces of concert manners. If they are a extend these characteristics to the concert-hall truly musical group they will still attract many through the use of individual handheld admirers, who may even regard their relative microphones. I find Swingle II’s kind of gracelessness as a sign of integrity. At this stage professionalism more thoroughgoing, involving they will probably make a recording like the disc as it does a certain amount of stage movement in recently produced by Cherry Pie of the Leonine appropriate songs and the use of some stage Consort (of Sydney) under the title of The instrumentation, and ultimately more Leonine Consort's Balmain Collection. This will convincing. It is true that Swingle II’s sound is have a decent, average standard of vocal quite different from that of the traditional live performance, quite attractive in its way but recital at the Royal Festival Hall in London. performance of a vocal ensemble. Once this is hopelessly uncompetitive when compared with Record one (EME 1035) consists of the kind of accepted, however, the superb quality of the the standard reached by the most experienced music — Renaissance part-songs and interesting group’s musicianship and the complete effect of ensembles. To perform a popular Elizabethan 20th century pieces — with which they would their performances, which seems to me madrigal in a passable manner is, with all the once have made up a complete programme. essentially more serious in the best sense of that good will in the world, not really a contribution Record two (EME 1036) entirely consists of folk, term, combined to make their recent Opera to the world of professionalism. pop and novelty songs, arranged by some of the House recital entirely memorable and, except for If an ensemble goes further than this, reviving group’s regular collaborators in an artful and the distractions of television crews, very and enlivening its performances, eradicating sometimes positively dazzling manner. Another satisfying. weaknesses of tone or attack and cultivating the recent King’s Singers disc brings together one The King’s Singers have not included their certainty of long practice, the ensemble will side of songs by Flanders and Swann and original source of repertory in their recent probably become known beyond the another one of songs by Noel Coward. This is recordings; and their so-called Continental madrigal/chanson public. It may be asked, as the whimsical, wry and mildly amusing, light but not Collection (HMV OASD 3557) is entirely taken King’s Singers were once asked, to try its hand at alien to the clever and nimble style the group has up with German part-songs of the late vocal backing for light or even pop recordings established for itself in the course of its steadily Renaissance and early baroque periods and with and television sessions. It will begin to imbibe the increasing professionalism. On a new disc Spanish part-songs covering the period between awareness of experienced stage and studio entitled Tempus Fugit (EMC 3268) the King’s 1450 or so and 1650. They are charming and performers and will sharpen up its stage manners Singers go all the way into studio professionalism musically sparkling in the German songs, if a and dress and venture on some light relief in its with multichannel recording effects and little flavourless in their handling of the programming. The King’s Singers started with instrumental backing. Songs by Lennon and language; but the Spanish pieces on the other straightforward part-song arrangements of light, McCartney, David Bowie. Simon (of Simon and side of the record find them for the most part popular and folk songs as material with which to Garfunkel) and Bob Dylan, among others, bring woefully lacking in pungency of tone and fiery end a recital cheerfully or to charm the audience out the six singers of the group in British versions attack. This is very mild, sedate singing, the with an unexpected encore. They have extended of the international American accents that seem singing of a group which seems to have settled this principle backwards through the second half to be required equipment for almost every singer for the role of agreeable entertainer rather that of of the programme, as can be heard on the two entering the pop field. truly searching musical interpreter.

Continued from page 14. deadly enervation and elitism which afflicts Wodonga in less than a week must be a in actual interpretation). Yet MRPG much of contemporary theatre in a promising portent. But the challenge will be to themselves are reluctant to view it simply as an technologically infatuated world. The label of consolidate this success, to harness this isolated, if spectacular, event. community is becoming almost axiomatic with enthusiasm permanently and coax similar To them it represents rather a further stage theatre companies. All too often it is a audiences to other types of theatrical in their long term ambition of creating a meaningless title, a mask for spurious performance. For the MRPG, as for Caesar’s genuine community involvement with live trendiness. The MRPG are at least making Rome, life cannot be all bread and circuses. A theatre. The circus continues the process begun genuine efforts to give the concept some new theatre company working in the with their first show, A Big Hand fo r the meaning. That their circus managed to attract Australian country-side will find it difficult Limbs; a process aimed at overcoming the over eight percent of the population of Albury enough task to maintain a supply of bread.

THEATRE AUSTRALIA JULY 1979 43 Elizabeth Riddell Film ORDER NOW. (\3^ Italian film with a message

A gritty little film about the disadvantages of English and of Australian attitudes towards *P being an Italian immigrant in Australia is them. association sporadically on show at the Filmmakers Cinema The story is loosely linked to an Italian with the Hutchinson Group in St Peter’s Lane, Darlinghurst and may be immigrant grievance: the deportation early last THE WORLD OF rented from the co-operative. It’s title is II year of Ignazio Salemi who had first visited TENNESSEE WILLIAMS Rovescio della Medaglia (The Other side o f the Australia to participate in the immigrant workers — Richard F. Leavitt Coin) and it was made in 16 mm colour by Fabio conference held in Melbourne in 1973, then Tennessee Williams, one of the world's greatest living playwrights Cavadini. The dialogue is almost all in Italian and returned at the invitation of Melbourne Italians introduces this lavish celebration of to set up a voluntarily funded welfare centre for his life and work in over 200 until cash can be raised for subtitles there are illustrations and biographical text. none. Actually the lack of these does not Coburg and Brunswick, Vic. He started a Rrp $25.20 OUR PRICE $18.90 seriously impede understanding. newspaper, Nuovo Paese in the Italian language 1978-1979 The film, 40 minutes long, is well made with which failed to meet with the approval of FILM REVIEW Cavadini doing the camera work as well as influential Italians. The film is the first in what is — F. Maurice Speed (Ed) A highly enjoyable and indispensable directing, Suzie Walker editing and producing, hoped to be a series which will give voice to reference book to the new films lighting by Peter Gray and sound by Sandro specific migrant problems, including the fact that released during 1978-1979 period — with special feature articles. Cavadini, Chris Tillam and John Whitteron. The 50 per cent of the total unemployed are migrants, Fuly illustrated. 32 per cent of them classified as living below the Rrp $12.20 OUR PRICE $9.15 cast is made up of Darlinghurst Italians, many of them patrons of the Garibaldi Bar for pasta, poverty level. MARYPICKF0RD Cavadini has made a film with a message, but AND wine, coffee and talk. The Italians are either out DOUGLAS FAIRBANKS of work or in the lowest kind of jobs — lavatory he has made it well. It is neither boring, nor — Booton Herndon cleaning, to name one. Their talk is of bosses, tendentious, nor depressing in spite of the The inside story of the most popular couple the world has known. landlords, the police, their children who can’t references to the “condemned life in another She the most beloved woman, he learn their lessons because they do not know country” of the Italians. the most romantic and their consuming love in a golden time. Illustrated. Even if the facts above seem inconsequential Rrp $19.70 OUR PRICE $14.80 LETTERS from page 6. against Mr Lazner’s vapid argument, it cannot be created in 1962, when the cultural and social MARGOT FONTEYN: A MARGOT said to anyone with the slightest tinge of DANCER’S WORLD FONTEYN climate of Hungary was hardly as open as it is The world's leading dancer here imagination that there aren’t parallels that can be now (and yes Mr Lazner, I have experienced gives a practical guide to the world drawn between the Roman invasion of Sparta, of dance, classical and modern. |j^ Hungarian theatre etc at first hand). It should It includes a deeply felt personal the uprising of the Slaves or the subsequent A IV\M f .R'S also be remembered that while Mr Lazner is statement on the power of dance. WOK ir bloodbath, and the events of the Russian Rrp $15.40 OUR PRICE $11.60 cock-a-hoop about the openness of present invasion of Hungary in 1956. Hungarian theatre, if there was any concerted BALANCHINE'S But then perhaps Mr Lazner doesn't permit a FESTIVAL OF BALLET criticism of any kind against the politburo that ballet critic to have imagination or a sense of — George Balanchine and looked like getting common support, it would Francis Mason allusion, despite the fact the ballet is one of the soon be crushed; look what happened to Ottomar Scene by scene stories of 404 most allegorical, abstract and associative of all classical and contemporary ballets. Krecja and his Theatre National in "Demands a place in every ballet the performing art forms. library'' — Clive Barnes. Fully illus. Czechoslovakia. Rrp $19.95 OUR PRICE $14.95 Lastly, I don’t consider a review dealing with Further to this, while it may be passe to talk problems of dramatic structure, choreographic NO BED OF ROSES about the invasion of ’56, no one can tell me that invention and dancers’ execution to be “empty — Joan Fontaine that is now wiped away and forgotten by A legendary, Hollywood star and indeed”. one of the most beautiful women Hungarians still living in Hungary, especially by Yours faithfully, in the world, tells the story of her career, family and the rivalry with creative artists firmly attached to the Hungarian William Shoubridge sister Olivia de Havilland. Illus. folk heritage like Lazslo Seregi. Dance Critic Theatre Australia Rrp $14.95 OUR PRICE $11.25

DEAR WEST END Continued from page 42. — Hilary Mitchell 1 discovered that 1 was trying to determine some The West End is the theatrical centre 8 flSI of the world. This book explores criteria for children's theatre, and surprised X the theatres, the activities and the L e e 9! mysteries of London's entertainment myself by electing one quite serious work, and district. one quite vulgar. What 1 have rejected, in THEATRICAL AGENCY 15% Off Rrp $3.75 OUR PRICE $3.00 essence, are those productions which pretend to VARIETY - REVUE a moral value which is based primarily on an NAME. . PLEASE SEND ME ignorance of the real world, and a fey pre­ Contact me for any queries ADDRESS. Tennessee Williams Film Review tentiousness that what is happening is alright. about Variety or Revue. Pickford and Fairbanks Dancer's World Neither of these naive ways of looking at BANKCARD No. Ring Lillian Lee Festival of Ballet the world are, or should be, tolerable, in the EXPIRY DATE . . No Bed of Roses Dear West End education (theatre or otherwise) of children who (03)534-3318 MAIL TO: THEATRE PUBLICATIONS LTD. Include 30c per book postage are going to have to contend with extraordinary 80 ELIZABETH ST., and packing. USE BANKCARD social pressures which we, as presenters and 271 BARKLY STREET, ST. KILDA 3181. MAYFIELD NSW 2304 CHEQUE OR P.0. producers, have recognised but not changed.

44 THEATRE AUSTRALIA JULY 1979 John McCallum Books

Anti-illusionism, Meyerhold and Piscator

and holographs would have excited them enormously. The interest in technology and theatricality was, for both directors, to serve their aims for theatre in society. Piscator wanted to bring politics into the theatre and use it as a tool for the Marxist analysis of contemporary events — the new realities of industrial processes and class conflicts which the old naturalistic theatre was unsuited to treat. If Brecht was the theoretician of the Epic theatre then Piscator, as Brecht himself acknowledged, was its master builder. Meyerhold’s political aims were less specific although along the same lines. He was the first ! -a THE THEATRE OE great Soviet director but his early interest in symbolism and constructivism increasingly ERWIN alienated him from the theatrical and political PISCATOR establishment which was eventually to set up Half A century (>e POLITICS ¡NTHETHEATRE Socialist Realism as the official theatrical form. He drew on many different periods and styles (including the commedia del’ arte and the traditional Chinese theatre) to develop a theatre these disparate activities possible in one career. The Theatre of Meyerhold, by Edward Braun of grotesquery and tragic comedy which would A grim theme in both these books is the (Methuen, rrp $25.95) confront his audiences with the irrational and impact on the theatre and its artists of Stalin in The Theatre of Erwin Piscator, by John Willett the contradictory in life, and jolt them out of the the late 30s. If the Revolution and the Civil War (Methuen, rrp $25.95) complacent reassurance they got from surface created legends for early Soviet theatre to conventions. In his early days his work suffered explore, then Stalin in the 30s created many Here are two of the most important and the from actors who automatically fell back on the more, of a totally different kind. Piscator fled most interesting theatre books to be published in old tricks of the realistic theatre. A dedicated Nazi Germany to work in Russia, a disastrous this country in the last few years. This is a time communist, who was one of the first Russian exile which many German artists went into in when increasingly the scarcity of good directors artists to declare himself for the Revolution in the early 30s. It was largely luck when, on a visit is being lamented. It is a time when the debate 1917, he was eventually in a position to run his to Paris in 1936, he received a telegram from a between the advocates of Australian naturalism own Studio and train his actors (in trapped colleague which said simply “Nicht and its detractors is becoming more Conscious ’biomechanics’) to work in his way. By then, abreisen” — “Don’t leave.” and articulate. Calls are being made for writers however, he was falling foul of the authorities Meyerhold was not so lucky. A more powerful who can write action for the theatre rather than who began to find ideological faults in his work. theatrical legend could be made from his words for the page. There is a growing interest in So one of the great initial exponents of theatre as experiences after his theatre was liquidated in Brecht and in the physicality in the work of a means of agitation and propaganda came to be 1938. In the weeks following, while many friends directors such as Grotowski. And there is a new accused of Formalism — a portmanteau word stayed away from him out of fear, he had three sophistication creeping into the discussion of the, which implied that he was preoccupied with interesting visitors. They were Pasternak, who old simple division between Form (naturalism) form to the exclusion of the political message but hardly knew him personally; Eisenstein, who had and Content (the Australian National which came to include any theatrical style which a lot to lose himself but who managed to hide Character). It is appropriate that accounts of the did not conform with the accepted standard of Meyerhold’s papers in the walls of his own work of two of the greatest anti-illusionistic socialist realism. house; and Stanislavsky, one of his main directors of this century should appear now to These studies are both excellent in their theatrical opponents, who nevertheless and to inspire people and to balance the tediously different ways. Edward Braun’s, on Meyerhold, everyone’s surprise offered him a position familiar work of Stanislavsky and the Americans. is a detailed, comprehensive serious study of a directing at the Opera Theatre. Stanislavsky died The scope of Meyerhold and Piscator’s work, coherent body of work. John Willett’s more on 7 August 1938. Meyerhold was arrested on 20 even simply in terms of resources, is breathless hurried style (dotted with what June 1939 and shot in a Moscow prison on 2 breathtaking. With casts of up to 100, orchestras, Meyerhold might have called “unnecessary February 1940. He had wanted his audiences to complex settings with multiple revolves, lifts, truths”) is more suited to the confused and “question the values that endorse the existing treadmills, multiple film and slide projection and rambling career of Piscator, whose work order”. other extensive scenic, musical and literary included political productions in the Weimar As Edward Braun concludes: “Given the resources, they were able to explore the Republic, bureaucratic positions in USSR in the climate of lies, blandishments, false optimism and technology of the theatre and move beyond 30s, teaching and directing the Dramatic hypocrisy that prevailed in the Soviet Union illusionistic naturalistic scenery to make the Workshop in New York after the war, and the after the 1920s, Meyerhold’s fate can now be setting part of the dramaturgy itself. Even in discovery of the talents of Hochhuth, Kipphardt seen as inevitable, and the enormity of the crime today’s financially more restricted theatre the and Weiss in West Germany in the 60s. Willett against him becomes a grim testimony to his possibilities of computer memory boards, lasers vividly evokes a world which could make all great power as an artist.”

THEATRE AUSTRALIA JULY 1979 45 THEATRE OPERA DANCE C A.C.T. music, Sandra Ridgewell. NIMROD THEATRE (699-5003) ENSEMBLE THEATRE (929-8877) The Life o f Galileo by Bertolt Brecht; director, ANU ARTS CENTRE (49-4787) How Sleep the Brave by Philip Mann; director, Ken Horler; with Les Asmussen, Alan Becher, Australian Theatre Workshop Gary Baxter; with Steve Brown, Max Cullen, Stuart Campbell, Arthur Dignam, John The Floating World by John Romeril. Gary Daniels, Patrick Dixon, John Hagenan, Frawley, Drew Forsythe, John Gaden, Julie Director, Warwick Baxter. Tony Martin, Michael Ross and Colin Taylor. Hamilton, Gillian Jones, Chris Orchard, John 4-7, 11-14 July. To 14 July. Stone, Ian Suddards, Martin Vaughan and Paul Chapter Two by Neil Simon. Director, Hayes Wentford. Until July 29. CANBERRA THEATRE (49-7600) Gordon. Commences 19 July. Canberra Opera PLAYERS THEATRE COMPANY (30-7211) The Marriage o f Figaro by Mozart. Director, FRANK STRAIN'S BULL n’ BUSH Bondi Pavilion Theatre Johnathan Hardy; Conductor, Donald Hollier. THEATRE RESTAURANT (357-4627) Ladies in Retreat by Edward Percy and 4,6,7 July. Thanks for the Memory A musical review from Reginald Denham; director, Doreen Harrup. An Evening with David Kossoff the turn of the century to today with Noel Throughout July. 8 July. Brophy, Barbara Wyndon. Director, George 269 PLAYHOUSE (929-6804) Carden. Throughout July. PLAYHOUSE (49-7600) Evening programme unconfirmed. Fortune Theatre GENESIAN THEATRE (827-3023) Belong, along, alonga children’s musical by Uncle Vanya by Anton Chekhov. Director, Pam The Cave Dwellers by William Saroyan; Rome Warrin with 680 Players directed by John Rosenberg. 10-21 July, except Sundays. director, Alan Penney. Throughout July. Howitt. Friday, Saturday and Sunday throughout July. Kolobok Dance Company. 12-14 July. HER MAJESTY’S THEATRE (212-3411) REID HOUSE THEATRE WORKSHOP Annie (musical) director, George Martin; with QTHEATRE (047-21-5735) (47-0781) Hayes Gordon, Jill Perryman, Nancye Hayes, The Department by David Williamson; at Jigsaw Company Ric Hutton, Anne Grigg and Kevin Johns. Penrith from July 18. Nono’s Nose Throughout July. REGENT THEATRE (61-6967) The Empty House HUNTER VALLEY THEATRE COMPANY Stars o f World Ballet until July 7. A programme about roles (as yet untitled). (049-26-2755) The Two Ronnies with Ronnie Corbett and Schools in the ACT. Civic Playhouse, Newcastle. Ronnie Barker from June 16. THEATRE 3 (47-4222) Cabaret — return season. Director, Ross RIVERINA TRUCKING COMPANY Canberra Repertory McGregor; choreography, Christine Koltai, A Toast to Melba by Jack Hibberd, at Wagga. A Handful o f Friends by David Williamson. musical director, Alan McFadden. With Director, Damien Jamieson; designer, Stephen Director, Rodney Fisher. 5-14 July, Thursday to Jennifer McGregor, John Hannan, Valerie Amos. 23 June - 7 July. Bader, Linda Cropper. Saturday. ROCKS PLAYERS (358-6780/328-7638) The Resistible Rise o f Arturo Ui by Bertolt JANE STREET THEATRE (6621939) 153 Bridge Road, Glebe. Brecht. Director, Ralph Wilson. 25 July to 18 On Our Selection by Steele Rudd until July 15. The Resistible Rise o f Arturo Ui by Bertolt August, Wednesday to Saturday. Waiting fo r Godot by Samuel Beckett Brecht; director, Anthony Barclay. Commences For entries, please contact Marguerite Wells on commences July 25. Both productions directed July 27. 49-3192. by George Whaley with Sonny Blake, Mel Gibson, Sally Cahill, John Clayton, Don SEYMOUR CENTRE (692-0555) NEW SOUTH WALES Crosby, Vivian Garrett, Noni Hazelhurst, York Theatre: Robert Menzies, Barry Otto, Geoffrey Rush, An Evening with David Kossoff. July 18 to 21. John Smythe and Kerry Walker. SHOPFRONT THEATRE FOR YOUNG ACTORS COMPANY (660 2503) PEOPLE CO-OP LTD (588 3948) Programme unconfirmed. KIRRIBILLI PUB THEATRE (92^1415) Kirribilli Hotel, Milson's Point. Free workshops for young people after school ARTS COUNCIL OF NEW SOUTH WALES The Vampire Show written and directed by and on weekends in playbuilding, puppets, (357-6611) Perry Quinton. Saturdays throughout July. mime, dance, video, radio and design. A CYSS School Tours: Blinky Bill, a children's play for scheme operates throughout the week for infants and primary: Metropolitan area through­ LES CURRIE PRESENTATIONS (358 5676) unemployed people. out July. Mike Jackson traditional bush music. Touring The Shopfront Theatre Touring Company Modern Mime Theatre for infants, primary and infant, primary and secondary schools in Sydney presently touring schools with: secondary; Central and Outer West into July. Metropolitan area. Throughout July. The Playground Play for High Schools. Sontegara, a renaissance musical ensemble for MARIAN STREET THEATRE (498-3166) The Quest for the IYC for Primary Schools. infants, primary and secondary; Riverina area Fanny (musical), director, Alastair Duncan, SPEAKEASY THEATRE RESTAURANT throughout July. with Ray du Parc, Gordon McDougall, Rosalie (662-7442) Dale Woodward, glove puppeteer for infants Fletcher, Peter Cousens, Barbara Farrell, Lovely Night For It by Doug Edwards; director, and primary; North Coast and Hunter areas Arthur Pickering and Frank Lloyd. Until July 7. Jim Fishburn; with Kate Fitzpatrick. until July 27. The Chairman by Phillip Mackie; director, Peter Throughout July. The Bandels, world of magic for infants and Whitford. Commences July 11. primary; North West and Hunter areas SYDNEY THEATRE COMPANY (699-9322) throughout July. MUSIC HALL THEATRE RESTAURANT Drama Theatre: The Caucasian Chalk Circle by Dance Concert Ltd. Folk dances for infants, (909-8222) Bertolt Brecht; director, John Clark; with Peter primary and secondary; South Coast throughout Lost to the Devil written and directed by Stanley Carroll, Elaine Hudson, Steven Bisley, Kim Walsh with Ron Haddrick, Alan Wilson and July. Gyngell, Jennifer Hagen, Alan Tobin, Maggie While the Billy Boils devised by and starring Karen Johnson. Throughout July. Blinco. Jon Ewing, John McTernan, and Leonard Teale as Henry Lawson; Newcastle and MUSIC LOFT THEATRE (977-6585) Mervyn Drake. Commences 4 July. Far West areas from July 27. Adult tour. On Together written by Hilary Bamberger et al; SYDNEY OPERA HOUSE (20588) Alex Hood, folksinger; Central West and director, William Orr, with Lee Young and Ann Opera Theatre: The Australian Opera in The Metropolitan areas from July 9. Adult tour. Emery. Throughout July. Abduction from the Seraglio by Mozart, COURT HOUSE HOTEL (969-8202) NEW THEATRE (519-3403) conductor, Richard Bonynge; producer, George Oxford Street, Taylor Square. Events While Guarding the Bofors Gun by Ogilvie; Idomeneo by Mozart, conductor, Gidget Goes Down Under by Rick Maier and McGrath. Director, Wayne van Heekeren. Richard Bonynge; producer, Robin Lovejoy; Malcolm Frawley; director, Malcolm Frawley; Throughout July. and The Queen o f Spades by Tchaikovsky,

46 THEATRE AUSTRALIA JULY 1979 Guide conductor, Richard Bonynge; producer, Regina Phillips and Robin Chancellor. Music by Rob AUSTRALIAN PERFORMING GROUP Resnick. In repertory throughout July. Stewart. 7 July - 4 Aug, Weds - Sat. (PRAM FACTORY) (347-7133) NSW THEATRE OF THE DEAF (357-1200) THEATRE EXCHANGE Front Theatre: The Woman by Edward Bond. M y Home is Your Garbage Bin for primary Playhouse, Hartley CAE, Magill. 19 July - 26 Aug. Back Theatre: Rosmersholm by Ibsen. schools. King Lear by William Shakespeare. 5 July - 11 Aug. Actions Speak Louder than Words for secondary 9-14 July, 18-21 July. schools. Director, Ian Watson; with Nola COMEDY THEATRE (663 4993) Colefax, Margaret Davis, David London, Colin AUSTRALIAN DANCE THEATRE Deathtrap by Ira Levin. Director, Michael Allen and Bryan Jones. On tour throughout the (212-2084) Blakemore; with Denis Olsen, Robyn Nevin, metropolitan area. South Australian Country Tour 11-28 July. Port John Howard. Lincoln, Whyalla, Broken Hill, Loxton, THEATRE ROYAL (231-6111) Millicent, Mt Gambier. CREATIVE ARTS THEATRE (877 4056) Tribute by Bernard Slade; director, Peter Who, What, When and Where, Remedial Williams; with Bobby Limb, Diana Davidson, For entries contact Edwin R eif on 223-8610. creative drama. Henri Szeps, Jacqueline Kott, Julieanne Australia! That’s Where People Stand On Their Newbould, Tom Burlinson and Anne Semler. Heads. Throughout July. TASMANIA Take the Irk out o f Work, Touring to Tertiary Institutions. WAGGA CIVIC THEATRE (069-21-4629) Canberra Opera POLYGON THEATRE (23-6959) GAY NINETIES MUSIC HALL, GEELONG The Marriage o f Figaro by Mozart. Director, The Fantasticks. Director, Donald Gay. Fridays and Saturdays only. Johnathan Hardy; Conductor, David Hollier. Touring to St Helens 6 July, Oatlands 7 July. 13, 14 July. TASMANIAN PUPPET THEATRE (23-7996) HOOPLA THEATRE FOUNDATION (63-7643) For entries contact Carole Long on 357-1200. Touring E and W coast, 1-13 July. Kidstuff at the Warehouse Theatre, 16-31 July. Downstairs: ______QUEENSLAND______Miss Julie by Strindberg, director, Roger THEATRE ROYAL (34 6266) Pulvers. Arms and the Man by George Bernard Shaw. Statement after an Arrest by Athol Fugard. BRISBANE ARTS THEATRE (36-2344) SATC. Director, Nick Enright. 3-7 July. Opening 24 July. A Man For All Seasons by Robert Bolt; David Kossof 13, 14 July. Upstairs Theatre: Director, designer, Ian Thomson; with John George and Mildred. 17-24 July. Bertolt Brecht Leaves Los Angeles by Roger Grey, Jack Brown, Ian Grealy, Greg Toohey, For entries contact the editorial office on (049) Pulvers; director, Malcolm Robertson. Judy Brown-Beresfor. 14 June - 28 July. 67-4470. The Immortalist by Heathcote Williams. LA BOITE (36-1622) Opening 11 July. The Hills Family Show Devised by the VICTORIA HER MAJESTY’S THEATRE (663-3211) Australian Performing Group; director, Richard Sacred Cow starring Reg Livermore. Fotheringham. 12 July -18 Aug. ACTORS THEATRE (429-1630) LAST LAUGH THEATRE RESTAURANT QUEENSLAND ARTS COUNCIL (211-5900) New Adventures o f Paddington Bear. (419-6226) Queensland Ballet Company touring with Saturdays. The Circus Show. Circus Oz presents the Great The Nutcracker until 14 July. ALEXANDER THEATRE (543-2828) Cure All. Tues - Sat. Mambo Latino Argentinian Dance Group tour. Australian Dance Theatre Schools’ Programme. To 1 Sept. 3-5 July, 11 am and 2 pm. LA MAMA (350-4593, 347-6085) The Point Isn’t To Tell You devised and QUEENSLAND THEATRE COMPANY 1978 presented by The Monash Players. performed by Robert Meldrum, Jenny Kemp, (211-5177) 11-14 July, 17-21 July, 8.30 pm. (student Elizabeth Drake. 5-8 July. A Streetcar Named Desire by Tenessee concession available). Time and Space devised and produced by Judy Williams; director, Rick Billinghurst; designer, ARENA THEATRE (24-9667 or 24-1937) Raphael and Bev Geldard. 12-15 July. Peter Cooke. 11 July - 4 Aug. Musicians o f Bremen. Company One. In The Suburbs o f your Pleasure written and TWELFTH NIGHT THEATRE (52-5888) Touring primary schools. Preps, to grade 3. directed by Michael Patten. 12-15 July. TN Company Hercules and the Golden Apple. Company One. Anguish o f Departure written and directed by Travesties by Tom Stoppard; director, John Touring primary schools. Grades 4, 5,6. Graham Henderson (A Skelta Production). Milson; designer, Mike Bridges. To 7 July. Seascape by Edward Albee. Company One. 19-29 July. The Roy Murphy Show by Alex Buzo and Designed and Directed by Peter Tulloch. MELBOURNE THEATRE COMPANY The Les Darcy Show by Jack Hibberd. Director, Touring Upper Secondary Schools. John Milson. 12 -28 July. He Who Would Say ‘Yes’ or Wo’based on ideas (654-4000) of Bertolt Brecht. Devised, designed and directed Russell St Theatre: For entries contact Don Batchelor on 269-3018. by Peter Charlton. Touring lower secondary The Club by David Williamson; director, Simon Chilvers; designer, Shaun Girton. To 14 July. SOUTH AUSTRALIA schools. Winners by Brian Friel. Company Two. Errol Flynn’s Great Big Adventure Book for Designed and directed by Peter Tulloch. Boys by Rob George; director, Bruce Myles. STATE OPERA Touring upper secondary schools. To 22 Sept. The Opera Theatre Paul Palmer and his Fight against the Atheneum Theatre: The Elixir o f Love by Donizetti. Director, Colin Universals by Ernie Gray. Company Two. Uncle Vanya by Anton Chekov; director, Bruce George; Designer, Hugh Colman. Designed and directed by Peter Charlton. Myles; designer, Tanya McCallin. To 4 Aug. 9, 11, 13, 14, 16, 18, 20,21 July. Touring lower secondary schools. PALAIS THEATRE (534-0651) STAGE COMPANY Tindall’s Quest by Stephen Walker; SCAT Programme o f Excerpts by the Australian The Balcony Theatre Suitcase Activity Theatre. Ballet. 2, 3,4, 5 July. Sounds o f Silence by Ken Ross. Director, John ARENA THEATRE COMMUNITY John McLaughlin And The One Truth Band. Noble, 25 July -12 Aug. Weds - Sun. ACTIVITIES: 7 July. Youth Theatre Group 7.30 - 10.00 pm Mondays. PILGRIM PUPPET THEATRE (818-6650) TROUPE Women’s Theatre Group 7.30 - 10.00 pm The Red Shed, Cnr Angas and Cardwell Sts. Peter Pan by James Barrie adapted by Graeme T uesdays. Bent. Mon to Fri. 10.00 am and 2 pm. Misis Queen by Doreen Clarke. Director, John Saturday Morning classes 9.00 - 10.30 am — McFadyen. 19 July - 5 Aug, Thurs - Sun. Sat 2.00 pm. 6-10 yr olds. THEATRE GUILD Saturday Morning classes 11.00 - 1.00 pm — POLYGLOT PUPPETS (818-1512) Little Theatre, Adelaide Uni. Campus 11-15 yr olds. Multi cultural puppet theatre with Mogg the The Birthday Party by Harold Pinter. Director, HSC Poetry Shpw. 25 June - July. Cat and Friends. Touring schools and community centres. Graham Nerlich. 18 July - 4 Aug, Weds - Sat. ARTS COUNCIL OF VICTORIA (529-4355) Q THEATRE (21-5735) Sounds Terrific with Wayne Roland Brown PRINCESS THEATRE (662-2911) 89 Halifax Street. Country Tour. La Clemenza di Tito, Mozart. Conducted by Chrysanthemum book & lyrics by Neville Australian Dance Theatre Country Tour. Richard Divall; producer, Anthony Besch, VSO.

THEATRE AUSTRALIA JULY 1979 47 Guide TIKKI AND JOHN’S THEATRE LOUNGE NATIONAL THEATRE COMPANY (663-1754) (325-3500) With Tikki and John Newman, Myrtle Roberts, Playhouse: Vic Gordon, and guest artists. Three Sisters by Chekhov. Director, Stephen Barry. Gilbert and Sullivan Society: Ruddigore. VICTORIAN STATE OPERA (41-5061) Producer, Ray Omodei; conductor, Peter Bandy; La Clemenza di Tito, Mozart. From 7 July. design, Graham Maclean. 28 June - 14 July. Twice Upon a Time. Schools Company. Chris Langham, Superman. 17-21 July. Grimm’s fairy tales adapted by Peter Narroway. Suddenly A t Home by Francis Durbridge. Costumes by Maree Menzell; sets by Henry Director, Edgar Metcalf. From 26 July. Smith. Major Amateur Companies THE REGAL (381 1557) A Night with Edna Everage. With Barry (Please contact these theatres in the evening for Humphries. 6-21 July. further details). BASIN THEATRE GROUP 762-1082 WA ARTS COUNCIL TOURING PRO CLAYTON THEATRE GROUP 878-1702 GRAMME. HEIDELBERG REP 45-2706 WA Ballet Company: Kal On tour to Eastern MALVERN THEATRE COMPANY 211-0020 Goldfields. PUMPKIN THEATRE 42-8237 Lloyd Noble, Puppeteer. WILLIAMSTOWN LITTLE THEATRE National Theatre Pub Show with Joan Sydney 528-4267 and Maurie Ogden. 1812 THEATRE 796-8624 National Theatre TIE: Kaspar Jack and the Real Mr Jay. Written and For entries contact Les Cartwright on 781-1777. directed by Richard Tulloch. THESPLA’S PRIZE CROSSWORD NO. L WA BALLET COMPANY (325-3399) WESTERN AUSTRALIA Concert Hall: Kal based on a libretto by Name...... Elizabeth Backhouse; music, Verdun Williams; Address...... HOLE IN THE WALL (381 2403) choreography. Garth Welch. Premiere Season. The White Devil by John Webster. Director, 30 June - 7 July. Ray Omodei. From 5 July. For entries contact Joan Ambrose on 299-6639. Across:

Continued from page 12. Australia* magazine of the perforating aits 1. Buried 11 ? (8) spectrum which includes a programme designed 5. This classical punch may give one a spasm (6) Hieaire Australia 9. 500 in a rage destroy plumbing (8) to develop language skills for the children with 10. Flag for one to stop things (6) non English speaking backgrounds and an 12. She’s in an awfully diaphanous nightie ! (5) adventure story especially for slow learning Next Month 13. It is to be hoped that 9 is this (9) children. 14. Diana’s dowry will mean robbing the church (12) TA’s third birthday issue. 18. Renderings of, as it might be, 11 (12) West Australia Sydney’s Lost Theatres. 21. Idiosyncratic race slant of one’s forefathers (9) West Australia’s National Theatre’s TIE 23. Transfer back to be fastened (5) Team intentionally presents plays that will Barry Dickins on the Melbourne 24. Cuts off cover between sundry points (6) expand a child's understanding and awareness. Scene. 25. Garment that you must fix in advance (8) 26. Rags us nastily, then sweetens (6) Interestingly they also produced two Big Business & the Arts, Pt 2. 27. Estimated several directions in time (8) contemporary plays about education in the Reviews: Opera, Theatre, Ballet, D ow n: Greenroom at the Playhouse in 1978. Gotcha about two teachers and a school leaver, and Film, and lots more. 1. Walk unsteadily in tight, odd leggings (6) Gum and Goo, written for a teachers 2. ‘E touches down to see the antelopes (6) 3. Asian morn? Strange, in a European conference, about the real and imagined worlds SUBSCRIPTION RATES republic! (3,6) of a disturbed child. 4. About a note on the organ — encore for this Northern Territory performer (3,9) 6. Insect of which an incomplete picture comes The Northern Territory has an energetic Australia: to nothing (6) Education Department Drama Advisor who is 7. Fool the academic and the journalist, and himself an ex actor/director, and some TIE/DIE $21.00 Post Free for twelve issues. it’s approved (8) performances from the Community Group at 8. “Volpone ... lies languishing; his ... receives Give a gift subscription — and SAVE! presents of all,” (Jonson) (8) Browns Mart Darwin. Theirs must be possibly $36.00 for two subscriptions. 11. Hewett’s precious geriatrics? (6,6) the most difficult State to work in; but with their 15. Let us establish, say, the size of a vehicle (9) $25.00 for institutions. ideas, with giving special attention to aboriginal 16. King Edward interrupted playwright to post primary arts education & performing arts introduce orators (8) services, also an exciting one. 17. Splitting rock enguls a hundred family Overseas: members (8) One has, then, throughout Australia the TIE 19. Could be participants in 18 (6) Surface mail AS30.00 teams at least visiting and in some places also 20. Calculate to the finish and get a factor you working with the schools and thus broadening Institutions AS35.00 started with (6) most childrens’ theatrical experience. In the By air 22. Guide the ox (5) New Zealand. New Guinea AS50.00 main these teams are offshoots from the major .’/vlelWlcivils Y The first correct entr U.K.,U.S.A„ Europe AS55.00 W c t e state companies. One has also some eminently 'CONGEAL drawn on July 25th wi professional teams that are purely educationally All other countries AS70.00 receive one year’s fre oriented, and these seem to be extending from Add $ 12.00 for institutions to air mail rates. eMn' subscription to TA. ? N E the schools out into the communities. And one Bank drafts in Australian currency should be Last month’s answers. 'A C C U S £ ‘R has in some lucky schools some workshop type forwarded to Theatre Publications Ltd., 80 mMtH H o The winner of la; 'PRO C t drama as yet mainly unstructured but of Elizabeth Street, Mayfield. N.S.W. 2304, UMlW x.. month’s Crossword w e 'Ò L I V I . Ms M V Maslen, c immense importance for the childrens’ growth of Australia. SÉUÉ t understanding — and theatre. MZTgM s Shenton Park, WA.

48 THEATRE AUSTRALIA JULY 1979 I