OCfOBER/NOVEMBER 1987. Vol 12 No 5 ISSN 0314 - 3058 A publication of the Australian Elizabethian Theatre Trust

Max Gillies stars in Trust-Williamson production

THE DEPARTMENT by David Williamson Direued b.l' Rodney Fisher Designed bl' Shalln GlirlOn LiKhting b.l' Nick Schlieper Cast: Ma.\ Gillies, Tracy Mann, Helmllt Bakaitis, Ben Gabriel, Ron Graham, JertMorrell, Mallhew O'Sul/ivan, Kris Ralph, John Sheerin, Palll Williams

" VJ 'illiamson 's best pIa)' is an assured, rounded, acid!.\, lInderslanding dissec­ lion at bureaucracy. " Garrie Hutchinson. The Australian

"The Jimnier it Kets - and it is very Jimny - the more urgently Williamson asks: hOH' can anylhing be made to work, Fom a relationship belween lM'O people right through to an educational institution lI 'hen human beings are the headstrong, contrar.\', passionate and sel(seeking crealllres lhat the,l' are?" Ron Blair, Sydney Morning Herald

It Often hailed as Williamson's best A. play, perhaps because it mirrors his ~l early life as a teacher and, there­ fore, a lot of its content comes from his own experience, THE DEPARTMENT is an ascerbic dissection of the world of the committee meeting, Robby, the head of the department, desperately .\la.r Gillies tries to conduct a staff meeting - he to the 1960s - confrontation. No won­ every part in the opera, and is totally contrives, he cajoles, he manipulates, der it was such a success in bureaucratic unable to delegate. In THE DEPART­ sometimes he flounders, but always Canberra; no wonder it continues to be MENT he once again takes on a "power" manages to remain ahead (just) of the so apt today, exposing the bumb1edom part. Whether it's Hawke, Dafydd or rest! There are marvellous cameos in of public service in Australia. As ever, Robby, as Gillies says, HI just don't get the rest of the staff: Gordon, the plai n­ David Williamson is the chronicler of offered many parts as wimps:' talking technician, tolerated because of his own generation. his practical abilities; Bobby, the per­ petual procrastinator, never able to fin­ Max Gillies in the lead role of Bobby BOOKING INFORMATION ish his ,work because he had to have a heads a strong cast, which also includes The Athenaeum Opens 1st week Jan. yarn with someone he ran into in the Tracy Mann, who has just completed a Mon to Sat 8 pm corridor; AI , perpetually in a turmoil season at the Wharf Theatre in WHEN Wed and Sat mats at 2 pm because he hasn't had time to get any­ I WAS A GIRL. Max Gillies needs little AETT $23.90 (Mon-Thurs & mats) thing done; and Peter Ph.D., whose introduction. He became a national $24.90 (Fri/Sat) attitude to student radicals'harks back treasure with his remarkable imperson­ Trust Nights Mon. Jan 11 & ations in TV's THE MAX GILLIES Tues Jan 12 $19.90 GIFT OFFER! SHOW, and has been playing in G.P. $26.90 (Mon-Thurs & mats) Alan Aychbourn's A CHORUS OF $27.90 (FriiS at) Give a Gift Membership be­ DISAPPROVAL for the Melbourne Pens/Stud $19.90 fore December 24 and receive Theatre Company. He performed the role (Mon-Thurs & mats) free a box of Cabaret Choco­ of Dafydd, the director of an amateur Two AETT tickets per member except lates. See page 11 for details. operatic society, a character well-suited to Trust Nights Gillies' personality since he loves to play It E:l An Australian Elizabethan Theatre Trust presentation ______2

Jacki Weaver and Peter Carroll will return Life, Death and Melbourne Versus as Kate and Colin, the couple who are be­ Sydney set by demons in their search for a Water? fabulous Emerald City in the Land of Oz.

MY SON THE LAWYER IS EMERALD CITY DROWNING By David Williamson BOOKING INFORMATION Written by Doug Macleod Directed by John Sumner Commences Nov 11 to Dec 5 Directed by Peter Oyston Designed by Richard Roberts Mon to Fri at 8 p.m., Designed by John Beckett Starring Jacki Weaver, Peter Carroll, Gary Sat at 5 p.m. and 8.15 p.m. The Studio, Victorian Arts Centre. Day, Maggie Kirkpatrick, AETT $18.80 Genevieve Mooy and Gerard Maguire. GP $21.80 Pens $8.90 Playhouse, Vic. Arts Centre Stud $7.80 laybox presents the Australian Two AETT tickets per member P Premiere of MY SON THE LAWYER he MTC presents a special four week IS DROWNING as the last laugh (final T return season of David Williamson's production) in their season of Captivating most recent addition to his string of smash Comedy. It concerns Alan and Miriam hits - EMERALD CITY. In both Sydney Anthill Plays Host Isaacs, a middle-aged suburban Jewish and Melbourne return seasons are about to A STRETCH OF THE IMAGINATION couple who are disturbed when a highly commence, which is quite ironic as the sub­ By Jack Hibberd unusual family move in next door. Simul­ ject of the play, for those who don't al­ Directed by Richard Murphett taneously the beloved only son of the Isa­ ready know, or haven't already seen it, is in Designed by John Butler acs arrives home from Law school. Danny fact the rivalry and supposedly contrasting Starring Ian Campbell is interested in the new neighbours but values and attitudes between these two Miriam is not keen on Danny fraternising 'ever sparring monsters'. A1lthill Theatre with them, even if they can exist quite hap­ pily with their human neighbours. n an exclusive Melbourne session, I Anthill hosts The Mill Theatre in In the midst of this difficult situation, God presenting Jack Hibberd's classic of arrives in a variety of confusing guises to Australian Theatre, A STRETCH OF announce the coming of a second flood. THE IMAGINATION. Seen throughout Humans will have to compete with a new Australia and abroad, (a production race for inheritance of the planet. directed by Carillo Gantner is currently being performed in China) Monk O'Neill Alan Isaacs can't place boat - building at is one in a long tradition of Australian yarn the top of his list of 'things I do best', but spinners and entertainers, a somewhat learning will be half the fun! eccentric recluse who lives in splendid isolation in a corrugated iron hut and faces Doug Macleod is a prolific young writer the realities and crudities of life with with many theatre, radio and television courage and a certain amount of scripts for both adults and children to his tastelessness, and certainly with humour credit. As well Doug is responsible for five

and pathos. I The usual formality of the Anthill Theatre will be transformed into an informal cabaret environment with tables and chairs L to R - Jacki Weaver, Peter Carroll, Genevieve Mooy and Gary Day. where patrons may eat and drink. Light refreshments will be provided. Monk As soon as the MTC announced in their O'Neill can only be seen for two weeks at last season their plans to present EMER­ Anthill so book early for this great ALD CITY, the rush was on. And by the Australian classic. end of the season nearly 42,000 people had seen the production which shattered the records set by the MTC's previous BOOKING INFORMATION box-office winners, THE PERFEC­ Opens Oct 14 TIONIST and SONS OF CAIN, also by Wed-Sun at 8 pm Williamson. So those of you who missed AETT $13.50 out last time, it would perhaps be a good G.P. $16.00 idea to book as soon as possible as it is Bookings through Mill Theatre probably unlikely that it will return to the (052 22 2318) and Anthill 699 3253 Melbourne stage for some time. 3

published children's titles and the editing U.S. The play was first presented by the of the International Youth Year anthology, Belvoir St. Theatre in Sydney as part of the Great Performers KISSING THE FROG. His latest poetry 1986 Sydney Festival Festival and is collection, SISTER MADGE'S BOOK OF returning to Belvoir St. before coming to his is the sixth Great Performers series NUNS, is currently on the short list for the Melbourne in early November. which brings together internationally 1987 Australian Children's Book of the T acclaimed concert artists and ensembles Year awards. The role of Alice B. Toklas will be played from Australia and overseas. Performed by Pamela Rabe who would be well known will be some of the greatest works of the to Melbourne audiences for her perfor­ most revered composers in Melbourne's mances in many MTC productions BOOKING INFORMATION excellent venue, the Melbourne Concert including HEARTBREAK HOUSE, A From Mon Nov 9 to Sat Nov 28 Hall. Mon to Fri at 8 p.m. SERVANT OF TWO MASTERS and Sat at 5 and 8.15 p.m. most recently in the Playbox production of AETT $11.00 CHOCHOSAN. G.P. $16.50 The Australian String Quartet with Conc $10.00 Explaining why GERTRUDE STEIN Stephen McIntyre begins the series with an Two AETT tickets per member AND A COMPANION has had such evening of superb chamber music. Formed world wide success, Miriam Margoyles in April 1985, the Australian String Quar­ once said "First, It's a love story between tet made its striking debut at the Adelaide women; second it involves some of the Festival in 1986 and has appeared with Remarkable Women giants of 20th Century art and Literature; great success in all major cities. Stephen and thirdly it's very funny, lot's of laughs. McIntyre who has been described as a So you see, it's got something for pianist of outstanding brilliance, studied everyone!" in Paris and has toured extensively in Eu­ GERTRUDE STEIN AND A rope, India and Japan, makes a welcome COMPANION return to the Concert Hall stage. Written by Win Wills Directed by Sonia Fraser Set and Costume design by The Australian Chamber Orchestra con­ Sue Ayres/ Co-ordinated in Australia by ducted by Christopher Hogwood will per­ Tess Schofield form the second concert in the series. The Lighting by Donna Broadbridge ACO was formed in 1975 and is led by Carl Universal] Pini, the renowned British violinist who is also Artistic Director. Over the past decade uWin Wills has written with such compas­ the ACO has toured allover the world and sion, clarity and subtlety that we are has been conducted by Sir Neville Mar­ instantly entwined in the two characters riner, Sir David Willcocks and Sir Charles . .. we are surprised at how much we care Mackerras. On this occasion the Orchestra for the two figures on stage . .. thoroughly will be conducted by Christopher Hog­ entertaining" wood, another in this long line of distin­ guished conducters, who previously THE AUSTRALIAN, Jan. 86 appeared with the ACO as a soloist playing the harpsicord. ritten by the late Win Wells, WGERTRUDE STEIN AND A COMPANION explores the life long rela­ tionship between two remarkable women, BOOKING INFORMATION the formidable Stein and Alice B. Toklas Melbourne Concert Hall and is an intriguing look at a love affair Australian String Quartet with which spanned forty years. The play also Stephen McIntyre examines the extraordinary group of peo­ Thursday, November 19 ple which Stein and Toklas gathered about Miriam Margoy/es as Gertrude Stein AETT $21.50 them at the legendary 27 Rue de Fleures in GP $23.50 A Reserve Paris in the early 1900's which included BOOKING INFORMATION Hemingway and Picasso. Commences Wed Nov 4 Australian Chamber Orchestra Tues-Sat at 8pm, Wed mats at 2pm, with Christopher Hogwood The English actress, Miriam Margoyles Sat and Sun at 5 p.m. Wed November 25 will again portray Gertrude Stein after first AETT $17 AETT $24.50 establishing the role at the 1984 Edinburgh GP $21 GP $26.50 A Reserve Festival (where the production won a Pens/ Stud conc. $13 Bookings through the Victorian Arts coveted Fringe First Award). Its success Bookings through Universal Theatre Centre or Bass continued with two sellout seasons in or Trust. Two AETT tickets per member. London in 1985 and a popular tour of the 4

Theatre Tours Theatresports Meets Bernhardt's Story Lewis Carroll AFTER THE LIONS By Ronald Harwood f you haven't experienced THEATRE­ Directed by Paula Iland or those of you who could quite Designed by Wendy Black happily exist on a constant diet of I SPORTS yet you've been missing out F on one of the most energetic, hilarious and Cast: Evelyn Krape, Dennis Moore, Lynda theatre and everything associated with the Gibson and Rodney Sharp. stage, or those who belong to groups or so­ risky events taking place on Melbourne cieties who have completely run out of in­ stages. Teams with names such as Athenaeum 2. spiration for new activities, you will be FREUDIAN SLIPPERS, BRONTE SAW thrilled to hear of a new company called US and AD LIBERACES compete in a series of improvised games which require "They will see me in a body bereft but a Live Performance Tours. The brainchild of spirit indestructable" Maireid Sullivan, an ex-tour guide with the team members to think at the speed of Victorian Arts Centre, Live Performance light, and the audience is part of the Sarah Bernhardt. Tours combines the arts and tourism in a proceedings too ... coming up with topics way never seen before in Melbourne which for the teams and showing how they feel has so much to offer in both these areas. about a particularly good idea or save. LASH RAT presents its final show for Tours so far have included TWELFTH F 1987 starring the marvellous Evelyn NIGHT, NINE, THE ROCKY HORROR Krape in Ronald Harwood's AFTER THE SHOW, A STREETCAR NAMED LIONS. Harwood is the award winning DESIRE, comedy themes, backstage tours author of THE DRESSER and in AFTER with performances included, tours of THE LIONS examines the latter years of historic theatres in Melbourne, trams filled the great French actress, Sarah Bernhardt, with performers of all types for transport, when at seventy with a wooden leg she tours which last one day or one week (The toured America with the Ringling Brothers Intrepid Theatre - goer's Deluxe Tour), The Circus - her act '.. .after the lions and be­ Roar of the Greasepaint, Smell of the fore the elephants'. Crowd tour..... the list is endless, and of course Maireid can tailor a tour exactly to your Bernhardt was declared insane by her requirements. secretary, smelly and unclean by her maid, Any Trust members interested in organis­ and was adored throughout the world. ing a tour can ring the Trust office for de­ Harwood has created a funny, moving, im­ tails. Trust members will be able to obtain a mensely theatrical celebration of the un­ discount on the tour price and a free place quenchable spirit and indomitable will of is included for the group organiser. So The National Theatresports Champions this remarkable woman. Koy Ann & Squatsi with MC Simon Rogers don't waste hours and many brains cells trying to come up with something different There will be a special Benefit night at the .... let the Trust and Maireid do it for you! Melbourne Concert Hall to raise funds to send Melbourne's National Champions Director Paula Iland knew exactly who she KOY ANN & SQUATSI to Canada to wanted to play the great Bernhardt. Evelyn compete in the International Theatre­ Krape's past performances in productions sports Festival which is part of the 1988 such as FEMALE PARTS, OPEN COU­ Winter Olympics. The benefit will take the PLE and many more displayed the sort of form of a fun-filled tribute to Lewis Car­ charisma and skill required for the role and roll and his love of nonsense. And don't the talents of the supporting cast for forget that Theatresports can be seen every AFTER THE LIONS should prove to make it an exciting production to end the ..!:l Sunday night at the Playhouse (Vic. Arts c3 Centre) at 7.30 p.m. year for FLASH RAT. -'"? Ii:: ~ BOOKING INFORMATION BOOKING INFORMATION '0> Melbourne Concert Hall Sat Oct 10 to Sun Nov 8. 1; a Saturday October 31 7.30 pm Tues to Sat 8 p.m. Sun 5 p.m. AETT$13 AETT $12 (Tue, Wed, Thu) JERRY'S GIRLS, that most marvellous tribute to GP $16 G.P. $16.60 the famous ladies in Jerry Herman's musicals, is As this is a Benefit, only two tickets Pens/Stud concession $10 coming to Melbourne and the casting is now com­ AETT per member. Bookings plete.Angela Ayres and Lola Nixon have joined the Bookings through Trust and cast and please note that the opening date is now through Trust, Bass and Playbox. Athenaeum. October 23. 5

Australian Pops BITTER SWEET and DANCING we say? The Cambridge Buskers are leap­ YEARS. The APO will be conducted by ing through Melbourne stopping only long Orchestra Julian Quirit with guest artists Nance enough for one show ... See them live be­ Grant, Deborah Reidel, David Ashton­ fore their cartoon comes to our television The Australian Pops Orchestra will be Smith and the Ashton-Smith Singers. screens! presenting something for everyone in their BOOKING INFORMATION concerts for the latter months of this year BOOKING INFORMATION Melbourne Concert Hall and early 1988. Dallas Brooks Hall Mostly South Pacific - Sat Nov 7 Thurs Oct 8 Mostly South Pacific - This concert will AETT $23 AETT $19.90 feature SOUTH PACIFIC and many other GP $27 Circle, $25 stalls & balcony G.P. $21.90 Richard Rodgers items and will be New Year's Eve Launch Wed Dec 30. Pens/Stud concession $14.90 conducted by Douglas Gamley. Guest AETT $25 Bookings through Trust office artists Deborah Riedel, Greg Ryerson, GP $29 Circle, $27 Stalls & Balcony and Bass. David Ashton-Smith and the Ashton­ Ivor Novello & Noel Coward Smith Singers will be performing a Sat Feb 27 delightful musical program featuring AETT $25 The Last Laugh Lives! 'June is Busting Out AllOver', 'Some GP $29 Circle, $27 Stalls & Balcony Enchanted Evening', plus more than Booking through Trust Office BIZARRE LAUGH TRIANGLE IN twenty other popular melodies. BERMUDA SHORTS Cambridge Buskers Directed by Shane Bourne New Year's Eve Launch - For those of you Additional material by Richard Stubbs who could not endure another New Year's Confess! Starring Russell Gilbert, Eve of heavy imbibing, the Twelve O'clock Trevor Marmalade and Glen Robbins. Attack and the inevitable hangover to see he dynamic duo of Michael Copley in the New Year, avoid all of that by T and David Ingram make up the Cam­ Last Laugh Theatre Restaurant attending this spectacular program of bridge Buskers but they have been com­ music from Opera, Ballet, Stage and here is life for the Last Laugh after pelled to make public the confession that T John Pinder ... New owners Rick their name is in fact misleading and untrue McKenna and Mary Tobin have initiated - the duo are now so successful that they some changes in the format such as white no longer have time to carry out the very tablecloths and flowers (and a new chef) activity which gave them their name and without damaging the humour and anar­ their profession, busking! chy for which the Last Laugh is so justly famous. Beginning on Blackfriars Station in Lon­ don where they sang to earn their train fare Gilbert, Marmalade and Robbins all start­ home, they have since progressed some­ ed their comedy careers at Le Joke (the up­ what and now catch a cab. Not true, but it stairs comedy venue) so it is appropriate to is true that they have been busy performing see them performing together on stage at on stage playing to capacity crowds in the Last Laugh. Their routines centre on places as diverse as Dallas, Damascus, parodies of Ockers and Suburbia with Edinburgh and Paris. laughs aplenty. See the Heckler verus the Comedian Challenge and a parody of Vietnam war films which is most appropri­ ate considering the flood of such films re­ cently. Director Shane Bourne, most recently seen as a Melbourne Theatre Company ensem­ Screen to be conducted by Douglas ~ ble member has succeeded in the challenge ~ Gamley. This maestro performance by the :l of keeping these three comedians in line. APO will include from OLIVER, MAN c:Q See the result at the Last Laugh, the home OF LA MANCHA and the music of Cole '"00 ~ of Melbourne Comedy. Porter. Artists will include Robert Docker or> E at the piano, Suzanne Johnston, David u'" BOOKING INFORMATION Ashton-Smith and the Ashton-Smith '" Tues to Thurs. Show only singers. ~ AETT $10 They have also had their own series on the GP$13 Ivor Novello and Noel Coward - This BBC, have appeared on major British Wed and Thurs. Dinner and Show evening will feature the immortal tunes of variety shows including two Royal Com­ AETT $24 Ivor Novello and Noel Coward mand Performances and created enough GP $28 including selections from GLAMOROUS of impact in Japan to become the subject Bookings through Last Laugh NIGHT, PERCHANCE ro DREAM, of their own cornic strip. What more can 6

Stage management - the fine art of staying calm through the crises by Jo Litson

or many the initials S.M. conjure up calls. "says Bader. "We sit down and go Fsado-masochism. In theatre they through all the biographies and photo­ mean stage manager, but considering graphs ofever yone in the show. so on the the extraordinary number of hours a first day of rehearsals we know who is stage manager works, the problems he who. "Once rehearsals begin stage man­ has to resolve and the tantrums he agement generally work a 12-hour day, sometimes has to put up with, they six-day week, during which time they might well for some be synonymous stick as close to the director as possible. terms! But not for Michael Bader and "You become his right-hand man. " says Liz Allen. For them a stage manager's Bader, "and take in all his ideas so you lot is a very happy one. can use them to rehearse the Liz Allen has only been out ofNIDA understudies once he leaves." On for two years and is still learning her SUGAR BABIES this meant working craft as an Assistant Stage Manager at with the American director and chor­ Sydney's Nimrod Theatre, having eographer. After the first few days, once worked predominantly in subsidised everyone had found their feet, the stage theatre. Michael Bader, on the other management start notating all the hand, trained not. as a stage manager moves and cues onto a script which but as a chef, began in theatre as a becomes known as The Bible. "Infact." mechanist and has now been working says Bader, "there are two Bibles - one in stage management for over 10 years, for cast moves and a technical Bible. If mainly in commercial theatre, on one of those Bibles is ever lost you can shows such as WEST SIDE STORY, basically kiss the show goodbye, unless CAMELOT, SWEET BIRD OF you have a very, very good memory. It is YOUTH, LA CAGE AUX FOLLES locked up at night and checked as soon and now SUGAR BABIES, where he is as you get into the theatre." Bader Deputy Stage Manager. Different recalls an occasion during WEST SIDE though their backgrounds and experi­ STORY when the first three pages went ence may be, they both have similar missing. The stage management team II tales to tell. got together and somehow managed to The pigeon scene from SUGAR BABIES Asked what is the biggest responsi­ remember the innumerable lighting I bility or problem that a stage manager stage manager needs in abundance. A cues now lost. "We still to this day don 't faces, both immediately reply "dealing workman had managed to sever a know what happened. I'm just hoping it I with people", though Bader adds chil­ power cable that morning, plunging the never happens to me again!" I dren, animals and overseas stars to the theatre into darkness for several hours, Once the show is running, it is The list, which Allen has yet to which meant that none of the washing Bible that the stage manager uses in the I experience. machines and driers were operating in prompt corner to call the cues to all the A stage manager is a mediator, wardrobe, and on a show like SUGAR technicians. peace-maker, psychiatrist and some­ BABIES or LA CAGE AUX FOLLES times piggy-in-the-middle. It is he who in particular, the mountains oflaundry "A lot ofpeople think that's all we do. makes sure that the show runs have to be seen to be believed. Michael The stage manager is always there smoothly and that everyone does the had just organised for all the laundry to before the actors arrive, checking every­ right thing at the right time, from the be done elsewhere when the power thing is in order, is always there with the first day of rehearsal to the moment the returned. first-aid kit, is always there with cos­ last curtain falls. Bader has been with SUGAR tumes for publicity calls, is in fact When I arrived at Her Majesty's BABIES since the beginning. The first always there! People don 't realise how Theatre, Sydney, between shows one phase is termed pre-production. The many hours they spend in the theatre. If Wednesday, where SUGAR BABIES stage management start a week or two only they knew!" laughs Bader. was playing a return season, it had been before rehearsals commence so that When a show goes on tour, the stage one of "those" days for Michael Bader. every possible preparation imaginable manager oversees the bump-in and' Not that you would ever know. He was is ready. "We have lists for props, scene bump-out, packing everything, still cheerful and calm - qualities a changes, costume fittings and publicity freighting it to the next city and 7

reassembling it all again. Bader recalls country tours when you're in one town one night and the next morning 500 miles away. "You spend halfyour life in the back of a bus, ~ bumping across strange territory that you've never seen before and hope you'll never see again! I would not swap it for the world, though. " Bader sees himself as a "cast stage manager", rather than a "technical stage manager". His brothers Terry and Stephen, and his sister, Valerie, are all performers, so he understands actors well. A stage manager doesn't need to be a technical whizz, but they need to understand every area well enough to communicate their requirements. Bader learned by doing it. He started as a mechanist, worked the flies, props, Gillian Jones and Greg Saunders in EUR'OPE has done a little sound, lighting and wardrobe. But basically the stage experiences the most problems. "We whether they were going to 'do ' anything manager's skill is to deal with people. don't have the same star system as they on stage, whether they were going to Liz Allen agrees. When I arrive at the do in the States, "he says, "so Australian behave on stage or howl their way Seymour Centre it appears that some stars don't make the same demands." through the finale which they frequently tempers have flown, but not hers. "The He found that Lauren Bacall treated did. It was very funny, though Hayes hardest thing is to keep calm and not people here as "second-class citizens. It Gordon wasn't very impressed!" In allow other people's emotions to affect was the way Richard Harris behaved in SUGAR BABIES the stage manage­ yours, " she says. "You have to have the CAMELOT", In CAMELOT more ment have to contend with pigeons, right temperament - that's very than any other show Bader found him­ which Bader has sensibly off-loaded important. Anyone can learn the paper­ self acting as a mediator, because onto the A.S.M. work involved, but the real skill is to Harris brought not only American The major problems that stand out in communicate with people. " actors with him but American crew. "It his mind are a night during ANNIE ended up being a bit like the American when two trucks, one bringing the chil­ Having stage-managed Michael mafia and the Australian mafia. You Gow's play EUROPE at Sydney's dren on, and one taking scenery off, are the peacemaker, If you see a prob­ Stables Theatre for the Griffin Theatre somehow got caught and started to lem arising you jump on it real fast. " Company, when she basically did twist the set around. Quick as a flash everything - bought props, oversaw Lauren Bacall and Richard Harris Bader stopped everything. Once the rehearsals, and did all the lighting and both expected personal calls. Normally show is running he is responsible for sound cues herself because that's the the stage manager will make general everything, including the safety of the way a small company like Griffin half-hour, five minutes and beginners performers. Once during rehearsals for works, particularly on a small show as calls over the tannoy. With Miss Bacall WEST SIDE STORY a dancer fell into EUROPE - she is now broadening her he would knock on her door and the pit. Fortunately he wasn't injured. experience at Nimrod. She chose to be announce it personally. He would then "Seven ofus peered into the pit and there what they call a rehearsal A.S.M. take her to the wings and wait with her he was, sprawled over the drums!" If he until about 20 seconds before curtain had been hurt it would have been up to She basically buys and looks after the Bader to control the situation. props, and once the stage manager has up and answer all her questions. Eddie Bracken is not the same. "He likes to get None of this daunts Bader's ardour organised all the rehearsal schedules, for theatre. It is his love and his life and costume fittings, publicity calls and involved with the company and so he will take the beginners call the same as his fiancee must acknowledge that in music calls, follows that through, mak­ many ways theatre is like a mistress. ing sure everything happens as anybody else, which I think is terrific, " Other than a faulty lighting board on planned. an opening night at Griffin, nothing Still at the beginning of her career, Barry Humphries had an even disastrous has happened to Liz Allen she is keen to try everything'and would stranger role for the stage manager. yet. "But I'm sure it will," she laughs. love to go on a big commercial tour, When he arrived at the theatre he That's one thing a stage manager does a though she admits, "[ love working with expected the stage manager to read the lot. Laugh. a smaller company because I feel more local newspapers to him to get some involved and want to do more for them. " colourful allusions for the show that Jo Litson is a freelance writer who is Michael Bader is drawn to commer­ night. In ANNIE the problems were also manager of the Trust's half-price cial productions, his main love being stage mothers and dogs! "The kids I ticket booth, Halftix, located in Martin musicals. Big musicals often involve could cope with - the dogs were a Place, Sydney. big overseas stars and here Bader worry!" laughs Bader, "Worrying /

CARAVAGGIO Newsweek said of CARAVAGGIO 'It's a ISHTAR strange, singularly modern tale. The spec­ Written and Directed by Elaine May Written and Directed by Derek Jarman tacular, painterly camera work makes this Produced by Warren Beatty film one of the most visually satisfying in Produced by Sarah Radelyffe Starring Dustin Hoffman, Warren Beatty, Starring Nigel Terry, Nigel Davenport, recent years. The mood is much like that of Isabelle Adjani, Charles Grodin, Jack Tilda Swinton, Spencer Leigh, Sean Caravaggio's paintings; brooding, sensual, Weston pagan in the extreme~' Bean, Dexter Fletcher and Robbie Opening November 12 at Hoyts Coltrane. Brighton Bay Twin Cinema GROUND ZERO f another team had written, directed, (Trust membership card produced at Directed, written by Michael Pattinson I produced and starred in ISHTAR, it box-office will reduce ticket price from and Bruce Myles might well sound like an updated version $8 to $5.50) Screenplay by Jan Sardi and Mac of Hope and Crosby's ROAD TO Gudgeon MOROCCO. Elaine May's career has en­ erek Jarman, the 'enfant terrible' of Starring Colin Friels, Jack Thompson and compassed television, radio, and stage ap­ British cinema struggled through D Donald Pleasence pearances, writing plays and screenplay some fifteen scripts of CARAVAGGIO be­ and of course her memorable comedy fore finally making the film for under Opening October 1 at Hoyts team with Mike Nichols. Warren Beatty is £475,OOOCARAVAGGIO, the early 17th not just a pretty face, he has produced five Century painter who was probably the A gainst the very topical background of previous films (BONNIE AND CLYDE, most controversial of the Italian Renais­ ~he Royal Commission into the A SHAMPOO, HEAVEN CAN WAIT, and sance, scandalised his contemporaries with Bomb tests in the fifties at Maralinga in REDS). Dustin needs no biography. But his resistance to the social mores of the South Australia, GROUND ZERO is a who could resist seeing Hoffman and rimes and also with the controversial na­ contemporary Australian thriller. Beatty as two down-on-their-luck ture of his art. His revolutionary use of singer/songwriters in the middle of a coup light and dark (chiaroscuro) made him a Harvey Denton (Colin Friels) is a top ad­ in the middle east escaping across the highly appropriate subject for a film. vertising cameraman, at his home leads to desert with a beautiful revolutionary a visit to ASIO and operative Tony Trebil­ (Isabelle Adjani) on a blind camel! Caravaggio was a poet of the low life - the cock (Jack Thompson). polarity of his existence was paralleled in his religious paintings by his depiction of There he is told the astonishing news that sacred figures using prostitutes, pimps and the body of his father, a documentary homosexuals as models which led to the filmmaker who disappeared 30 years be­ mystery in which Caravaggio was em­ fore, has been found in a highly radioactive broiled in the last years of his life. He had plane at the test site. For Denton it is the been involved in a brawl in Rome in which beginning of a searching for the truth, and one Ranuccio Thomasini had been killed. matching his wits against the vested in­ After being on the run for four years he terests of both ASIO and the British Secret died in 1610, leaving a painting, 'The Be­ Service. heading of St. John' which when cleaned in 1970 showed a Latin inscription in the Denton is helped by Prosper (Donald flow of blood from the severed neck of the Pleasence) a disgruntled British test vete­ Saint which read 'Caravaggio did this'. ran who lives underground near the site From this Jarman developed the idea that and is verging on madness. VINCENT the painting was confessional and related Direction and scenario by Paul Cox to the intense relationship between the Jack Thompson says that his involvement Produced by Tony Llewellyn-Jones painter and his lover/ model, Ranuccio. with nuclear disarmament gave the film Starring Norman Kaye, Jean-Pierre Mig­ special meaning to him. "The bombs were non, Louise Kovacs, Gabi Trsek, and the dropped virtually on Adelaide's doorstep. voice of John Hurt And the result is that there's more radioac­ tive material in Maralinga today than there Opening October 8 at Rivoli is in Japan~' oted Australian filmmaker Paul Cox N (LONELY HEARTS, MAN OF BOOKING INFORMATION FLOWERS, MY FIRST WIFE, CAC­ GU $5.50 TUS) was born in Holland and came to Hoyts $6.00 Australia orginally as an exchange student. Village $6.00 VINCENT not only reflects Cox's back­ Longford $6.00 Capital $6.00 ground but is also his tribute to Holland's Please note: No handling fee applies most famous artist, Van Gogh, who died to film vouchers and members may nearly 100 years ago, unknown and a purchase as many as they wish. pauper. 9

The story of the man who is as famous for Director John Boorman says, "It was a GINGER AND FRED cutting off his ear and sending it to Gaugin magical, marvellous time for a child with Directed by Federico Fellini as for his influence on modern art is told only the occasional queasy moment, just Screenplay by Federico Fellini, Tonino through his letters to his brother Theo. In the right mixture of exhilaration and ter­ Guerra and Thllio Pinelli them he writes of the parts of Europe he ror, which is what I hope I have captured Produced by Alberto Grimaldi explored and the scenes of his inspiration, in the film:' Starring Giuletta Masina and Marcello and tells of his experiences with colours Mastroianni and seasons. Screening at the Longford and Capitol Cinemas late October/early November.

INGER AND FRED is both a bitter­ HOPE AND GLORY G sweet and biting look at lost love - a collision between the worlds of the past Directed, written and produced by John and present. Amelia and Pippo, delighted Boorman. music-hall audiences following World War Starring Sarah Miles, David Hayman, 2 with their reverent interpretation of the Derrick O'Connor and Susan Wooldridge. world's most famous dance partners. Village Centre and Suburbs. Thirty years have passed since they last performed together then parted as lovers and friends to go their separate ways. OPE AND GLORY is set during the H Blitz of World War 2, the story of an ordinary family living in extraordinary Unexpectedly fate intervenes and offers times, seen through the eyes of a young boy the now ageing couple the chance to per­ who is now the Director of this film, John form together again, except this time the Boorman. venue is a modern television station which becomes a circus where all the absurdities It is a tale about a family, but HOPE AND of modern life seem to intersect. GINGER GWRY also deals with class structure, the AND FRED is Fellini's tribute to the art of new middle-class emerging during the illusion and those dedicated to serving the 'thirties, and as a child remembers, a time Muse while at the same time criticizing the of tremendous excitement and enjoyment. new era of illusion created by television, A time also when women came into their and finally the distinction between magic and exploitation. own, while the men went to war the women Bill (Sebastian Rice-Edwards) and were left to remain in charge. Sue (Geraldine Muir) in HOPE AND GWRY

_Vi9~e___ ~ _~_mt_y~_na ______

fter six years with the Trust I am waited . . . Just before 10, Roger Myers Now a few details about my new job - I A tidying my desk, fixing up my files arrived and let me in. No-one had told me am going to the National Trust as a Project and making preparations to leave. As I do that it was a ten o'clock start! My office Officer to assist with the organisation of so I am feeling surges of excitement at the had been given a fresh coat of paint by one Heritage Week and the associated prospect of my new job, but at the same of the backstage staff, (how thoughtful) Bicentennial Program for next year. I will time, mingled with the excitement is a except that he had used left-over paint be based at Tasma Terrace, so you never strong sense of sadness and the realisation from some production and I was know, I may see some of you there. that I will miss many aspects of the Trust, confronted by a primrose yellow ceiling, two green walls and two pink walls! particularly all the members I have come Carol Ormerod. to know so well, either personally or I met one of my best friends (ex Australian through telephone conversations. Christy Opera chorus) on the backstage stairs at Farewell Carol, thanks for your many years has given me this "guest"' spot" in the Princess. I was passing a group of of excellent service and the seeking out of "Dialogue" so that I can reflect, reminisce druids who were waiting to rehearse for marvellous tickets for Trust members, and and say goodbye. NORMA when one ofthem slapped me on we wish you all the best in your new I remember clearly the day in 1981 when I the bottom (spontaneously he said), "Who position. I'm hoping it's not something started with the Trust. I arrived before 9 did it?" I shrieked indignantly, but as you that I said! We'll make sure that the service o'clock, somewhat nervous about my first know, it is hard to tell one druid from remains at the standard you have kept it for day and not wanting to be late, only to find another, particularly when they are all the last five years .... Good luck! the Stage Door of the Princess Theatre laughing. firmly locked. I waited and waited and 10 On

by Margaret Leask

ummer time in the U.K. sees not Music of another kind is packing Sonly an influx of tourists but also an them in at the Royal Albert Hall over astonishing range of performing arts the next few months - the annual BBC companies from all over the world who Promenade Concerts at the Royal feature, along with the best of British, Albert Hall this year features music in festival programmes throughout the from the dance and inspired by dance country. This year's Edinburgh World (which gets away from the otherwise Theatre season in August had the current musical pre-occupation in Lon­ Gorky Theatre of Leningrad; the Gate don of the music of Gershwin whose Theatre, Dublin; the Raun, Raun genius seems to be celebrated daily). Theatre from Papua New Guinea and This year's programme is the first the Berliner Ensemble; as well as com­ devised by the new BBC Controller of panies from Israel, Japan, China, Fin­ Music, John Drummond, previously land and France - would that I could director of the Edinburgh Festival. see the dance/drama THE SOUL OF Once again the Proms feature eminent THE TERRACOTT A ARMY from musicians from all over the world - as China - maybe some will come to well as veteran dancer Merce London on their way home - and Lon­ Cunningham performing John Cage's don does have some good things to spectacular ROARA TORIO! offer even if the international input Always wish there was more room to here is largely translated or adapted, talk about such delights as a new play, rather than the real thing. At the MUMBO JUMBO, which won its National Theatre, Brian Friel's adap­ author, Belfast-born Robin Thornber, tation for the stage (more a play in its the Joint First Prize in the 1986 Mobil own right) of Turgenev's FATHERS Playwriting Competition. It was pre­ AND SONS, has opened to generally sented by the Manchester Royal favourable reviews. I found it fascinat­ Exchange Company at the Lyric ing and very moving - the fathers and Alan Bales and Carole Nimmons in Simon Gray 's Hammersmith a few months ago. A MELON older generation make a greater impact wonderful statement about growing up - perhaps because they include Alec - particularly growing up in trouble­ McGowan, Richard Pasco and Robin torn Northern Ireland - it was sheer Bailey in finel y tuned, sensitive per­ pleasure to watch and listen to - I formances which serve to highlight not hope it comes your way. For those plan­ only the political implications (the ning trips to the U .K. in 1988 you may remaking of society as opposed to like to know well in advance Jonathan reforming it) but also the perpetual Miller's season recently announced for human problems in parent-child the Old Vic - it's ambitious but never relationships. Another novel adap­ dull , and includes Racine ' s tation in the RSC Mermaid Theatre facing, as a mid-life publisher, the ANDROMACHE in January, N. F. American season is less successful adultery of his wife. The trauma is Simpson's ONE WAY PENDULUM despite committed performances from initially concealed behind a veneer, but in May, BUSSY D ' AMBOIS, a the cast. Ray Herman's new play, from ultimately leads to his disintegration. Jacobean tragedy by George Chapman, the novel by Horace McCoy, THEY The production , directed by in August, and the satirical musical SHOOT HORSES, DON'T THEY?, is Christopher Morahan at the Theatre (music by Bernstein), CANDIDE, in set in a dance hall, Los Angeles, in the Royal Haymarket, carefully preserves December, among other productions. depression year 1936 and maps the past Gray's thin line between reality and On a personal note - a brief but and future fortunes of several couples fantasy. Another West End addition enjoyable meeting took place recently taking part in a marathon to earn prize dealing with reality and fantasy is the in London when your London corre­ money. The major dramatic problem just opened Stephen Sondheim musical spondent met with Trust News' Irvin of the play lies in the inclusion of many FOLLIES at the Shaftesbury with Bauer from New York. We bemoaned '30s songs sung by the MC and various Diana Rigg, Daniel Massey and Julia the shortage of copy space and how we dancers. Credibility is lost and con­ Mackenzie - if I can get a ticket soon, always had more to say than there was fusion sets in when the musical num­ more about this in my next copy - it room for - and he lightly chided me bers increasingly work at odds with the looks set to run for a long time - every­ for being too serious (sometimes) ... intended purpose - the indictment of one is raving! We raised our glasses to Trust News, the glamour of showbusiness. How­ hoping we are at least whetting the ever, performances by Henry Good­ appetite! man as the MC and Imelda Staunton as the embittered Gloria are worth the evening in the theatre. Margaret Leask is a former editor of Trust News who now lives in London New in the West End is Simon Gray's where she is an artists' agent. intriguing MELON with Alan Bates 11

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