ON STAGE The Autumn 2010 newsletter of Vol.11 No.2

$3m refit for Geelong’s performing arts flagship Frank Van Straten finds these are exciting times for Victoria’s second city.

t last, we’re on our way,’ says which will open the refurbished theatre on balcony, is a closely guarded secret, Jill Smith, gazing at the 12 May. although Peter Woolard has hinted at a Aworkmen busily ripping out the ‘We’ll have a vastly improved auditorium clean, modern, dramatic interior. seating in Geelong’s Ford Theatre. and stage, and a new name, too. The Ford Local firms are playing a vital role in Jill, general manager of the Geelong Theatre will become the Playhouse.’ the refurbishment. The new Australian- Performing Arts Centre, is overseeing a The 800-seat Ford, a reworking of the designed seating will be covered in fabric major upgrade of the city’s principal live old Plaza Theatre, opened in 1981. woven locally by Geelong Textile. Another venue. The first stage of a planned bold ‘Thirty years is a long time without an local firm, Mill Direct, has sourced the redevelopment of the centre, the $3 million upgrade,’ says Jill. ‘It was really on its last timber finishes for the walls and balcony project has been developed by Peter legs. It would only have lasted another five front, which will enhance the theatre’s Woolard of Geelong-based Studio 101 years or so.’ acoustics. There will be a handsome new Architects. Despite his impressive portfolio, The overhaul is partly aesthetic, partly house curtain and new carpets supplied by this is Peter’s first theatre project. practical and partly technical. Geelong firm Godfrey Hurst. Auditorium ‘We’re on a pretty tight schedule,’ says The final design of the auditorium, lighting and cabling will be upgraded and Jill. ‘We started mid-February and we’ve got which still retains the original Plaza disabled access in the stalls will be brought to be ready for Tony Briggs’ The Sapphires, up to modern standards. * Outdated technical infrastructure is function rooms, performance and creative ‘Geelong’s not really a regional centre contribute $2 for every $1 raised by the centre was formally opened by Premier the Australian Ballet, Bangarra, and the being replaced, including speaker rigging spaces and specialised retail outlets. The any more,’ says Jill. ‘Geelong and its local community. Eventually individuals Rupert Hamer. country’s major theatre companies. Many systems, audio visual cabling and upgrades Little Malop Street end of the building— surrounds are Victoria’s second city—larger and businesses raised $800 000. In the ensuing years, the centre has are remembered in a huge collection of to radio microphone systems. There will now the main entrance—would feature an than Darwin and Hobart. There are around The Plaza closed in November 1977 hosted a vast number of shows, and the list autographed posters that adorn the theatres’ also be a new dedicated digital projector expanded Blakiston Drama Theatre with 270 000 people living in the area now, and with a variety presentation, A Night of of star performers is dazzling: Peter Allen, backstage walls. and vision switching system. 500 seats. This would share a large it’s estimated that this will grow to 500 000 Nostalgia. Three years and $7.8 million Billy Connolly, Jose Feliciano, Eartha Kitt, The Ford also helped launched the Looking forward backstage area with the Playhouse. by 2040.’ later, the new centre, with its Ford and Roy Orbison, Slim Whitman, Spike careers of Guy Pearce, Rachel Griffiths and Additional flexible performance spaces Blakiston Theatres, was ready. The Plaza’s Milligan, Rolf Harris, Ronnie Corbett, Slim operatic duo Peter Coleman-Wright and ‘We’re working to a $500 000 master plan Looking back catering for smaller scale productions proscenium arch, balcony and much of the Dusty, John Farnham, Dame Edna, Toni Cheryl Barker. developed for the state government and the The history of the Geelong Performing Arts would be included on land adjacent to the auditorium were recycled for the Ford. Lamond, Marina Prior, Robyn Archer, City of Greater Geelong in 2006-07,’ says Centre stretches back to 1856 when a main building. There would be improved On 27 April 1981, during a concert by the James Morrison, Don Burrows, Joe Link: www.gpac.org.au Jill Smith. Mechanics’ Institute Library opened in Melbourne Symphony Orchestra, the Camilleri, Derek Jacobi, Ian Richardson, With thanks to Jill Smith and Robert Foster. She emphasises that the current upgrade stage access and enhanced outdoor areas, Ryrie Street. A concert hall was added is only the first part of a grand plan to including food and beverage services. shortly after. In the 1920s, after the Geelong Performing Arts Centre redevelop not just the entire centre, but the There will also be upgrades and building was badly damaged by fire, the Geelong Performing Arts Centre operates under the Geelong operating income from non-government sources and delivered cultural facilities in the surrounding precinct redevelopments for Courthouse Arts and hall was rebuilt as the 950-seat Plaza Performing Arts Centre Trust Act 1980. It is one of the Victorian a $33 792 profit for the year. as well. Back to Back Theatre’s headquarters, which Theatre. It functioned as a cinema and as government’s seven cultural institutions (the others are the Arts Names for the centre’s venues reflect original major The GPAC development envisages an are next door to the Old Courthouse live venue, catering for a steady stream of Centre, the Australian Centre for the Moving Image, Museum corporate support: The main theatre was originally named eventual major realignment of the centre’s Building in Little Malop Street, and the local amateur groups and smaller live Victoria, National Gallery of Victoria, State Library of Victoria and after former major sponsor, the Ford Motor Company. The cultural facilities and venues. This includes a Library and Heritage Centre, Geelong Art touring attractions. Chrissy Amphlett and the Public Record Office of Victoria). second theatre was named after Blakistons, a local transport new main entry from Ryrie Street, utilising Gallery and Johnstone Park, which are on Barry Crocker got their start there. The Centre, which also runs the Deakin University’s 1500-seat company; the main foyer after Shell Petroleum; and the the original Plaza Theatre entrance; it and the opposite side of the street—all part of In the late 1960s, with local pressure concert venue, Costa Hall, operates under a government-appointed courtyard after Alcoa Aluminium. However, as these contracts the adjacent 1857 Steeples church building, the Geelong Future Cities project, a state building for a Geelong performing arts board. Total attendances for 2008–09 were 147 000 for GPAC and have expired, GPAC is seeking new sponsors for the naming would be transformed into teaching studios, and local governments’ initiative. centre, the state government agreed to 69 498 for Costa Hall. The centre derived 75 per cent of its rights of the redeveloped spaces.

Page 1: The centre’s present main entrance on Little Malop Street. Page 2, clockwise from top left: A full house at the Plaza, c. 1970. The last night of the old Plaza Theatre, November 1977. .Demolishing the Plaza, 1978 Page 3, clockwise from left: Refurbishing work in progress on the stage of GPAC’s Playhouse­, formerly the Ford Theatre. The old Mechanics’ Institute, Ryrie Street. Jill Smith, general manager, Geelong Performing Arts Centre. The Ford Theatre auditorium before the present refurbishment. Contemporary images: Frank Van Straten; other images courtesy of GPAC. n

Page 2 ON STAGE Autumn 2010 Page 3 High note for noted mezzo The boys from Jersey and the lady from A glittering 50 year career is honoured in the Green Room Awards. Mtsensk go gloriously Green ne of Australia’s greatest singers, early training and her first chance to sing on Theatre Heritage Australia congratulates all recipients of the Green Room Awards for 2009. Lauris Elms AM, OBE, Hon D Mus the grand opera stage. O(Sydney) was the recipient of this In turn this led to an impressive concert t a well-attended ceremony at Female Supporting Performer: Rebekah A Streetcar Named Desire. year’s Green Room Awards’ Lifetime and operatic career that took her to starring the Playhouse at the Arts Stone: August: Osage County. Supporting Male: Stuart Skelton—A Achievement Award. The honour recognised roles at Covent Garden as well as enormous ACentre on 15 March 2010, the Male Supporting Performer: Ashley Streetcar Named Desire. a glittering 50-year career in which she sang successes with the Australian Opera. Green Room Awards Association presented Zukerman: B.C. Conductor: Sir Richard Armstrong—Lady for the Queen at Covent Garden and at the Her phenomenal vocal range and its 2009 awards commemorating excellence Set Design: Hossein Valamanesh—When the Macbeth of Mtsensk. opening of the Sydney Opera House. flexibility, her wonderful sense of colour and in Melbourne theatre. Rain Stops Falling. Set/Costume Design: Hildegard Bechtler The award presentation was a highlight her ability to ‘become’ a character made her Jersey Boys was the big winner in the Composition/Sound: Mark Jones and and Tess Schofield—Lady Macbeth of Mtsensk. of the Green Room ceremony at the Arts performances in Samson et Delilah, Carmen, hotly contested Music Theatre category, Jethro Woodward—Goodbye Vaudeville Lighting: Jean Kalman—Lady Macbeth Centre Playhouse on 15 March. There was a Il Trovatore and The Barber of Seville treasured winning seven awards including Best Charlie Mudd. of Mtsensk. reception for Lauris’s colleagues, family and memories internationally. Production, while Opera Australia’s Lady Lighting: Niklas Pajanti—When the Rain New Work: Andrew Ford and Sue Smith— friends at the Arts Centre the following day. ‘I was very pleased and surprised to be Macbeth of Mtsensk garnered six of the 10 Stops Falling. Rembrandt’s Wife. The 78-year-old mezzo soprano was born remembered in this way because it’s been a opera awards. Theatre—Independent Dance and trained in Melbourne, but has lived in long time since I lived in Melbourne,’ she said. The Green Room voting year is from Production: Alice in Wonderland—Four Concept/Realisation: Splintergroup— Sydney for many years. Lauris Elms received the Order of the 1 January to 31 December 31. Nominations Larks Theatre. Roadkill. In a delightful acceptance speech she British Empire in 1974 and was made a and awards are made by the Green Room Direction: Bagryana Popov—Progress and Male Dancer: Grayson Millward—Roadkill paid tribute to the pioneering efforts of Member of the Order of Australia in 1982. Lauris Elms acknowledges her Green Room membership of industry professionals, Melancholy. and Lawn. Gertrude Johnson and her National Theatre Her autobiography, The Singing Elms, was Lifetime Achievement Award. through subcommittees for each discipline. Female Performer: Helen Morse—Prophet Female Dancer: Lana Jones—Dyad 1929 Opera Company, which gave her invaluable published in 2001. n The 2009 Green Room Awards and Loss. and Firebird. recipients are: Male Performer: Todd Macdonald—Progress Ensemble: Lawn. Victoria victorious Music Theatre and Melancholy. Betty Pounder Choreography Award: Production: Jersey Boys—Dodger Ensemble: Alice in Wonderland. Graeme Murphy—Firebird. South Australian designer, Victoria Lamb, is the first recipient of the Theatricals, Newtheatricals, Dainty Design: Marg Horwell—Wretch. Composition/Performance: David Kristian Fredrikson Scholarship for Design in The Performing Arts. Consolidated and Michael Watt. Lighting Design: Richard Vabre—Progress Chisholm and Myles Mumford—Miracle. ittingly, Victoria Lamb’s winning of Virginia Woolf? (2003), Waiting for Godot Direction: Des McAnuff—Jersey Boys and Melancholy. Design: Mark Howett and Benjamin the inaugural Kristian Fredrikson (2006), Lion, Pig Lion (2007), Blue Orange Leading Female Artist: Esther Sound/Composition: Darrin Verhagen, Cisterne—Roadkill. Scholarship for Design was announced (2008), Ghosts (2008) and King Lear (2009). F Hannaford—Once We Lived Here . Martin Kay, Nick van Cuylenburg—Poet #7 Cabaret during the Green Room Awards presentation She designed the world première of Leading Male Artist: Matt Hetherington— New Venue—The Dog Theatre Production: Songs from the 86 Tram—The at the Arts Centre Playhouse on 15 March Elena Kats-Chernin’s opera Undertow for Dirty Rotten Scoundrels. Theatre—Alternative/ Bedroom Philosopher. 2010. the 2004 Adelaide Bank Festival of Arts. It Featured Artist: Luke Joslin—Avenue Q . Hybrid Performance Artiste: Tim Minchin. Award founder Anna French said: ‘The was later seen in Budapest and Helsinki. Featured Ensemble: Chicago Production: en route—bettybooke. Ensemble: The Suitcase Royale—Space Show. selection committee felt that Victoria is an Victoria also designed the State Musical Direction: Luke Hunter— Creative Collaboration: en route—bettybooke. Musical Direction: Iain Grandage— outstanding designer and that she will gain Theatre/Arts Asia Pacific production of Jersey Boys. Composition/Sound Design: Iain Wunderschön. great benefit from her international travel Matthew Robinson’s Australian musical Choreography: Sergio Trujillo—Jersey Boys. Grandage and Luke Smiles: Lawn. Original Songs: Tim Minchin—Ready and work experiences.’ Metro Street. Costume/Set Design: Klara Zieglerova Projection/Video Design: Martyn Coutts— for This. The award commemorates the work of This had its world première at the (scenery)—Jersey Boys . The Harry Harlow Project. Innovative Use of Form: The Suitcase Royale. brilliant designer Kristian Fredrikson (1940– Dunstan Playhouse in Adelaide in 2009 Lighting: Howard Binkley—Jersey Boys. Lighting: Bluebottle and Jenny Hector— 2005). Fredrikson’s prolific output included and was subsequently presented in Daegu, Sound: Steve Canyon Kenney— Jersey Boys. The Kristian Fredrikson Miracle. designs for drama and opera, but it was for Korea. A national tour is planned for 2011. New Australian Musical: Dean Bryant Scholarship for Design in Set/Costume Design: Zoë Atkinson—Lawn. his work in dance that he is especially Thanks to her award, Victoria plans to and Mathew Frank—Once We Lived Here. the Performing Arts remembered. He had particularly productive travel to England to undertake a secondment Opera and scenic artist for many theatre Victoria Lamb. collaborations with choreographers Stanton working alongside an international designer Theatre—Companies companies. Production: Lady Macbeth of Mtsensk— Welch and Graeme Murphy. on a major new production. Association Awards In 1999 she completed a Bachelor of Production: When the Rain Stops Falling— Opera Australia. ‘It is wonderful to receive such a Some of Victoria’s design work will be Visual Arts, winning the University of South Brink Productions/MTC/MIAF. Direction: Francesca Zambello—Lady New Writing: Andrew Bovell—When the prestigious award,’ said Victoria, ‘especially on display in the Arts Centre’s Smorgon Australia’s medal for academic achievement. Direction: Simon Phillips—August: Macbeth of Mtsensk. Rain Stops Falling. as it honours such an iconic figure in Family Plaza until 3 June. Since then she has freelanced as a designer Osage County. Leading Female: Susan Bullock—Lady Technical Achievement: Geoff McGregor Australian theatre design.’ and model-maker. Her models have been Links: www.fredriksonscholarship.org www. Female Performer: Robin Nevin—August: Macbeth of Mtsensk. and Colin Penn. Following her graduation from South exhibited in Europe, USA and New Caledonia. victorialamb.com Osage County. Leading Male: Tobias Cole—Xerxes. Lifetime Achievement: Lauris Elms am, Australia’s Centre for the Performing Arts in Victoria’s design work for State Theatre Male Performer: Mark Jones—Goodbye Supporting Female: Antoinette Halloran— obe, hon d mus (syd). n 1989, Victoria worked as a stage manager - Text and image: Frank Van Straten n of South Australia includes Who’s Afraid of Vaudeville Charlie Mudd.

Page 4 ON STAGE Autumn 2010 Page 5 including his celebrated ‘water can’ escape, then Houdini would leap through the curtains, office when he was paying ‘The Handcuff No escaping the Houdini magic which he had introduced in 1908. The dripping wet but smilingly triumphantly. King’. ‘Houdini was a casual type,’ he said. Frank Van Straten pays a centenary tribute to ‘The Handcuff King’. advertisements promised: ‘Escaping Out of Another spectacular escape involved ‘He had been packing his aeroplane, and an Air-Tight Galvanized Iron Can, filled to Houdini being tied with linen bandages, was dressed in overalls as he came in for lthough the wildly as the little plane the brim with water and locked with six rolled mummy-like in several strong sheets, his final cheque. “Well, Guv’nor”, he said to legendary headed back for a perfect padlocks. To fail means Death by Drowning. and then securely strapped to the iron Rickards, “I don’t know how the biz has Aescapologist died landing. The Aerial League Bring your own padlocks.’ frame of a hospital bed—an operation been, but I kept my part of the bargain and in 1926, Harry Houdini’s of Australia awarded him its A panel from the audience would be solemnly conducted by three attendants got out of everything, didn’t I?” fame lives on. He is still trophy; engraved were the invited to examine the can, which was similar from a local asylum It took Houdini 37 ‘The Guv’nor sniffed and said, “Too recognised as one of the words: ‘To H. Houdini, for in shape to a large milk container. While minutes of squirming, rolling, stretching, right you did, Harry, even to buying me a world’s greatest showmen. the First Aerial Flight in Houdini changed into a bathing costume, straining, bending and kicking—in full view drink!” Houdini very soon rectified that One hundred years ago, Australia’. At Diggers Rest assistants would fill the can with water. Then of the audience—until finally he was free. little oversight.’5 Harry Houdini made his there is a commemorative Houdini would step in and slide down Although his name is still synonymous Link: www.ctie.monash.edu.au/hargrave/ only visit to Australia. plaque on Holden Road, inside. The cover would be placed in position with escapology, Houdini’s repertoire houdinibio.html In June 1909, when near the site of the flight, a and secured with six padlocks supplied by included a wide range of magical illusions With thanks to Gerald Taylor. Tivoli entrepreneur Harry monument on the Old the audience. A cloth cabinet was then and coin manipulations. Rickards saw him perform Calder Highway, and a drive placed around the can and the hushed Harry Rickards brought many other References in London, Houdini was at named in Houdini’s honour. theatre would wait anxiously while the vaudeville greats to this country, Paul 1. Milbourne Christopher: Houdini: the height of his sensational An Air Week was minutes ticked by. Cinquevalli, Carl Hertz, Chung Ling Soo, The Untold Story, pp.113–14. career. Makeshift seating organised at Rosehill An assistant, ominously armed with an Sandow and Marie Lloyd among them, 2. Ibid, pp 118–123. had been set up on the Harry Houdini at the controls of his Voisin Racecourse to coincide with Houdini’s visit axe, would stand by the cabinet, listening but—like Kenn Brodziak and the Beatles—his 3. Ibid, pp 114, 118–23. stage to help accommodate the crowds, and biplane, Diggers’ Rest, March 1910. to Sydney and it was announced that he would intently. After three unbearably tense name will always be linked with Houdini. 4. Tivoli Songster, Number 49. hundreds were turned away at the doors. fly daily, weather permitting, between 9am minutes, the assistant would frown and raise One of Rickards’ resident comedians, 5. Sporting Globe, 24 June 1930. n Unfortunately there are no records to tell Houdini what he thought of the flavour of and 3pm. Admission was one shilling. The the axe, ready to smash open the can. And Charlie Vaude, recalled being in Rickards’ us exactly what salary Rickards offered the Yarra. Harry grimaced and said, ‘The press disclosed that Rickards was paying Houdini, but he claimed that it was the least toothsome I have ever tasted.’2 Houdini £20 000 for 10 five-minute flights. highest he had ever paid. Houdini insisted Houdini’s baggage included not only This figure was invented for publicity In the Ath pit that a special clause should be added to the dozens of boxes of equipment for his stage purposes, and has little basis in fact, but it contract so that he would get full salary while act, but also a crated Voisin biplane. certainly drew the crowds. Houdini wrote to Melbourne’s Athenaeum theatre now has an orchestra pit! on board ship: ‘So I get paid for 12 weeks’ Although he became interested in aviation a friend: ‘Even if history forgets Houdini the s reported in On Stage, Spring seats and carpets are eagerly awaited to rest and 12 weeks’ work—otherwise I would only a short time before he had departed for Handcuff King, it must write my name as the 2009 and Summer 2010, the further enhance the experience. Placing the not go all that distance,’ he boasted Australia, Houdini was already an accomplished first man to fly here.’ Then he added ruefully: Awell-worn but well-loved orchestra in the pit has made a marked to reporters.1 pilot. He was determined to bid for the honour ‘Not that it will put any jam on my bread.’3 Athenaeum in Collins Street is having an difference to the sound quality, with the Promoted as ‘The Talk of the Town in of being the first man to fly in Australia. Meanwhile at the Opera House, $877 000 upgrade. stalls now experiencing a balanced sound Train, Tram and Taxi’, Houdini’s Australian With him was a French mechanic named complementing Houdini’s aerial exploits, Eva An important feature of the project is mix along with the dress circle and tour opened in Melbourne on 5 February Brassac, who had taught him to fly. Brassac Wilson and Clara Keating introduced a the installation of a much-needed orchestra balcony. And what a glorious sound it is.’ 1910 at Rickards’ New Opera House (later uncrated the Voisin at Diggers Rest, 32km prescient little musical trifle called ‘In My pit. The top picture was taken on 14 January rechristened the Tivoli). from Melbourne. Houdini would grab a few Aeroplane’. It even managed to predict 2010 during the excavation work. - Images: Frank Van Straten n The act started with films of his sensational hours’ sleep after his performance at the space travel: Although the full renovations are far underwater escapes in Philadelphia, Paris and theatre, and then make a pre-dawn dash to from complete, the new pit was ready for Soon I’ll carry my sweet Elaine, Berlin. Then, in elegant evening dress, Houdini the makeshift airfield in the hope that the the first performance of Melbourne Opera’s Sweet Elaine, in my aeroplane. entered, ready for his nightly battle with weather would be favourable. production of The Barber of Seville on Caring nothing for wind or rain, handcuffs, chains, padlocks and straitjackets. He had some formidable competition: 10 March. We’ll fly sky high. On 18 February Houdini treated Melbourne Colin Defries at Victoria Park Racecourse in The results were acclaimed by Round the other side of the moon, to one of the most exciting free shows in its Sydney, Fred Custance at Bolivar, near reviewers. In The Age, John Slavin said: I know a beautiful place to spoon. history. Twenty thousand people lined Queen’s Adelaide, and an American, Ralph Banks, ‘Housed in their new pit, the Melbourne Ev’ry Sunday afternoon Bridge and the banks of the Yarra to see who was also at Diggers’ Rest; all aspired to Opera Orchestra, conducted by Greg We’ll canoodle in the sky. Houdini, heavily manacled, jump from the be the first to achieve controlled powered Hocking, brings out Rossini’s dazzling Gliding round the twinkling stars bridge into the murky waters. The hushed flight in Australia. instrumental colouration.’ Calling at Venus, calling at Mars, crowd waited anxiously. While aviation historians are still arguing Simon Parris, reporting online for We’ll spend our honeymoon far from After what seemed like an eternity there over who should hold the title, it’s indisputable Theatre People said: ‘This season marks the the crowed, was a swirl of water as Houdini, gasping for that early in the chilly morning of 18 March, first to use the brand new orchestra pit of Not at the sea-side but up on a cloud.4 breath, broke the surface, free of the bag and Houdini achieved a controlled flight lasting a the Athenaeum. The gleaming wood and chains. There was a tremendous roar of relief, full minute at an estimated 80.4 kmh. A Houdini’s stage act was superb. He had a red velvet pit is a welcome addition to this followed by wild applause. A reporter asked crowd appeared from nowhere and cheered large repertoire of bewildering feats, grand old space, and the promised new

Page 6 ON STAGE Autumn 2010 Page 7 remember once Sir Augustus Harris cabinets were filled with wonders of the once she seemed more than delighted with Sir Seymour remembers Dame Nellie (known to the London of his day as goldsmith’s art, all of them presentations a dedication I wrote to her in a little book The first of a new series in which Robert Morrison mines the memories of people Druriolanus) saying that the only way he from the most noble and the most famous called Hullo, Australians! We were sitting at a who knew Australia’s great diva. was able to conciliate various stars when of every land she had enthralled with her restaurant in Sydney, when she suddenly travelling together, if he was obliged to God-given voice. said, ‘I hear you are writing a book about n 1924–25 British actor-manager- public, but by kings and princes, it is very place one great singer over the other in the The one story she loved to tell against my country. Is that so?’ When I replied that playwright-author Sir Seymour Hicks wonderful that she should not have become sleeping berths, was to have a placard with herself was that of a gentleman on board a it was true and that I was dedicating it to (1871–1949) toured Australia and New absolutely intolerable; but, though difficult, I ‘and’ placed between them, so that the lady P&O liner bound for Australia. her, she became greatly interested, and Zealand with his wife, actress Ellaline Terriss she was to be forgiven and in a sense in the lower bunk would feel that she was asked what form the dedication was to take. (1871—1971) and daughter, Betty (who made applauded, for she was not only crowned by on perfectly equal terms artistically with Frankly, I had not thought of it, but I her stage début in Melbourne), under the the world ‘Queen of Song,’ but had crowned her sister who scribbled on the back of the luncheon management of Sir Benjamin and John herself the legitimate Queen over everyone slumbered menu a line which I think gave her Fuller, in partnership with Hugh J. Ward. who challenged her supremacy on the overhead. pleasure. It was: ‘To a nightingale whose The tour commenced at the ‘new’ Palace operatic stage. As a business voice was hushed when Melba sang.’ Theatre, Melbourne, on 23 February 1924 Her acting was poor, but her technique woman, Melba In his early days Landon (now Sir with Hicks’ adaptation of the French farce The as a singer beyond words marvellous, for had the brain of a Landon) Ronald was invariably her Man in Dress Clothes. even as an old woman, when the Voice had business man and accompanist at the piano, and while he Concurrent with the Hicks tour (which waned with the years, she could hold vast saw life through the always addressed her as ‘Queen’, she included Sydney, Newcastle and Adelaide), audiences spellbound with the magic of her spectacles of her took a delight in teasing him about his was that of Dame Nellie Melba, making the knowledge of the art in which she had been Scottish ancestors. nose, which is, as he himself often first of her ‘Farewell’ tours of Australia under pre-eminent. Of gentleness she remarks, an outside size in noses. She the management of J.C.Williamson Ltd. This I heard her in Bohème at her farewell had little, of humour would chaff him unmercifully, a thing launched at the newly re-christened ‘His’ performance in Melbourne, a ghost of her none. Her fun was which this great musician and Majesty’s Theatre in Melbourne on 29 great self, but still a giant.2 Her series of the obvious, and charming gentleman always took in March 1924. Sir Seymour Hicks farewells was considered a thing to jest about. commanding as she very good part. It was while at In 1938 Seymour Hicks wrote of his But why? She was clever enough to know did the applause Douglas, Isle of Man, that on my friendship with Melba in his ‘third person’ Singers? I have met very few. I was that with her technique alone she still held all 1 courtiers are trained to asking Landon to come out with memoir Night Lights … almost going to say, ‘Thank the Lord,’ for comers at bay, and although Shakespeare give to Royalty for the me for the afternoon, he replied: the ladies who imagine that they presented himself wrote that farewell was easily said, I most futile of sallies, she ‘Well, yes, I will, I have nothing A wag of a scribe once replied to his editor the Almighty with the vocal cords which beg to differ, for ‘Farewell!’ is, I think, the was mercifully unaware particular to do here, except to on being asked by him to write a set of have earned them fame and also are sure saddest word in our beautiful language. that had she not been look after Melba.’ His reply called Tabloid Biographies, giving intimate they explained to the Deity exactly where Operatic artists are known to be the most Melba, a yawn would forth a yell of laughter from the glimpses of well-known people, that he would they wished them placed, are, as a rule, a jealous people in the world, and Melba was have replaced the ever- assembled company, all of whom rather not do so, as to tell the real truth about pest, possessed of nothing but airs and no exception, for I well remember her ready guffaw. From the front page of the Melbourne Herald, knew the diva and were well the famous would be either to make them anything but graces. undisguised annoyance at the advent on her To me she was always 14 October 1924: Melba says ‘Farewell’ at the aware that to look after her and obey her delightfully infamous or duller than ditch- One superlative artist I did know very horizon of Tetrazzini. It was at a supper party extraordinarily kind and, end of her performance as Mimi in La Bohème commands was very nearly a three-man water, before he had spoiled a single page of well, however, over a period of some five- she gave, while singing in the Isle of Man, although I can say I was never easy in her at His Majesty’s Theatre. job. his precious paper. and-thirty years. This was Melba, and that on some one mentioning Tetrazzini’s presence, I was fond of her, though It was Melba who discovered the genius I, however, do not share this merry mighty singer though she was, never in recent triumph in London, not only did she frightened of her moods, which found birth of that great throat specialist, Sir Milsom fellow’s opinion. This may be, of course, private life was she other than a very direct explode verbally, but even went to the length of in a quick mentality always just ahead of This worthy, quite unaware that the one Rees, and I think she was never happy because on glancing at the list of ladies I and down-to-earth lady. rising from the table and prancing about, the moment. and only Melba was on board, was unless he was within call, for he understood have been bidden to remember, no single She was possessed of a dominant saying, ‘This is what Tetrazzini will do, no I have said there was little gentleness splashing about in his bath the first day out her delicate and sensitive vocal organs as no one could possibly be anything but ‘Pretty personality, one which I fancy inspired doubt, if she sings on horseback, and this’ about her, but there I was wrong, for the at sea, and, hearing some one singing in the other man ever did. Thoughts’ from the borders of Lavender, admiration and respect, but seldom (making snorting noises) ‘is what I suppose face which was hard and by no means next cabin, shouted out: ‘Oh, for heaven’s Never shall I forget going with her to a which trim the paths they have trodden in a spontaneous affection, from those with the poor horse will do which is obliged to beautiful, softened beyond measure as she sake, shut up!’ His consternation may well throat doctor in a great northern city, for garden which has ‘Rosemary’ written across whom she came in contact. Indeed, I think carry her.’ played with her little grand-daughter (now be imagined when later in the afternoon it she made the poor man, metaphorically, its lichen-covered gate. she rather made those about her fearful of For an artist in her zenith—I speak of 40 grown into a charming young lady), for was made known to him that the voice sink through the floor. As I sit wondering with whom and how her displeasure, for she was intolerant of years ago—such a performance seemed to me whom, I remember, she took delight in belonged to a lady who would have She had caught a slight cold and after to begin this series of reminiscences of ordinary people, and was the last person to incredibly petty, and yet, might she not have watching as the child played with a lamb probably charged him a thousand guineas this good gentleman had examined her famous ladies, my eye lights upon a brook opposition, even over the most thought that her citadel was being stormed she had bought for her in Melbourne, and had he engaged her to sing at his private carefully, she inquired of him what he treasured picture on which is written ‘With trivial matters. and suddenly have developed an inferiority which she had brought back in triumph to house, and that only if she could have been proposed to do. ‘Paint your throat with love from Nellie Melba’; so, as this is surely In speaking of her like this I must not complex? If this were so she was to be her lovely home, called ‘Coombe Cottage’ persuaded to do so. nitrate of silver,’ he replied. ‘What?’ she the voice of an old friend calling, why be accused of condemning her in private forgiven, for surely greatness must always be at Lilydale, some five and twenty miles Melba was often very pleased with almost screamed, ‘Paint my beautiful vocal should I not commence with one who linked life; on the contrary, considering that she looked upon with a kindly and forgiving eye. from that entrancing city. simple things, although accustomed to the cords with stuff of that kind? You must be with Adelina Patti as Patti linked with Jenny for many years had the world at her feet In thinking of the difficult times managers Her jewels were marvellous and her best the world could offer, and I remember mad,’ and paying him his fee, she flounced Lind—a century of song. and was fawned upon, not only by the have with the majority of people in opera, I out of the house like a whirlwind. * Page 8 ON STAGE Autumn 2010 Page 9 On her singing nights she whispered all years, long after I had finished telling her all human being, who felt that a sin atoned for foyer prior to the performance. originally accompanied her husband The Man in Dress Clothes right through day and, indeed, seldom spoke at all, so I could about our mutual friend, she sat should not be made punishable for ever. La Bohème was also broadcast live and daughter on the Australasian tour to the tour, and played opposite her careful was she of the gifts she treasured. silent, looking through the rose-covered It is sad to think I shall never meet from the theatre by radio station 3LO convalesce from a recent illness, she husband in Sleeping Partners and Why she was never waylaid at night- pergolas of her lovely garden out into the Melba again, and on returning to Australia, as its inaugural transmission. This stepped into the breach at some 30 Broadway Jones as well. time on her motor ride from Melbourne to bluest of blue Australian skies, so far as I hope to some day, it will be, I fear, like prompted a ‘run’ on the sale of radio hours’ notice when Hicks’ regular Nineteen-year-old Betty Hicks made her country house was a thing at which I removed from the drab streets of our great wandering through a beautiful garden, receivers prior to the event, which was leading lady, Barbara Hoffe, was her stage début under the name of have often marvelled, for unattended she metropolis which surrounded an opera house straining my ears in vain to hear an echo of consequently heard by a listening suddenly stricken with typhoid fever, ‘Elizabeth Seymour’, playing small parts would often carry with her the thousands in Covent Garden to which Haddon, in the lovely voice the angels have welcomed audience estimated at 150 000. apparently contracted during the in The Man in Dress Clothes and Scrooge and thousands of pounds’ worth of company with many another of her devoted to their choir. On the voyage from Britain aboard Ormuz’s stopover in Ceylon. (which preceded Sleeping Partners as a jewellery she had worn at the theatre. friends, had so often accompanied her. Notes the Orient liner Ormuz, the Hicks had Despite not having played the role curtain-raiser at the Palace Theatre from For a fellow countryman of hers, Not the least of Melba’s many great 1. Originally published in the chapter befriended British journalist and before, Terriss learnt her lines and stage 5 April). Haddon Chambers, she had the greatest qualities was the staunch way, come good ‘Famous Ladies of the Stage’ in Night novelist Beverley Nichols. ‘blocking’ under her husband’s direction, She also played a supporting role in Old admiration as an author, and was very fond or ill, she stood by those of whom she was Lights by Seymour Hicks (Cassell & He had come to Australia as private and acted the female lead with such Bill, M.P., which was staged during of him as a man. fond. Socially, of course, she was big Co., London: 1938). secretary to Melba during her tour and success that she earned an ovation from Hicks’ return season at the Palace from She was not in London when this witty enough to do this, but there are many who n 2. At His Majesty’s Theatre, Melbourne, on also as ghost-writer of her the first night audience and was acclaimed 20 September 1924. man of the world died, and when she would have hesitated to stand by some 13 October 1924. Ellaline Terriss and autobiography Melodies and Memories, in the subsequent Melbourne press inquired of me the details of his death and unfortunate, whom the world refused to her daughter, Betty Hicks, assisted with which was first published in 1925. reviews. At the request of the as to how he had succeeded in his later pardon.The great singer was a big-hearted selling souvenir programs in the theatre’s Although Ellaline Terriss had management, Terriss retained her role in

Just a Mo You little trimmer!—Mo’s back!

have fond memories of Roy Rene from when I was growing up,’ says sculptor IRobert ‘Alfie’ Hannaford. ‘I can remember listening to his radio comedy series McCackie Mansions when I was a boy. To be asked to craft a sculpture of such an iconic comedian was a great honour.’ The Lord Mayor of Adelaide, Michael Harbison, unveiled Hannaford’s statue on 4 March 2010. Appropriately located in Hindley Street, near the Leigh Street corner, it is just across from the site of the old Theatre Royal, and a soft shoe shuffle from the house where Roy Rene was born, 118 years ago. ‘Roy Rene was a great figure in the South Australian entertainment landscape especially during the Great Depression,’ said the mayor. ‘Many of his favourite catchphrases are still part of the Australian vernacular. “Strike me lucky”, “Don’t come the raw prawn”, “Fair suck of the sav” and “You little trimmer” were all part of his act.’ Roy Rene was born Harry van der Sluys to a cigar-making family that lived further down Hindley Street. He busked as a kid at the Central Market, appeared at the Theatre Sculptor Robert Hannaford and his tribute to Mo. Strike a light! Pick the Mo. ‘Roy Rene’ with a quartet of look-alikes. Images courtesy of FIVEaa, Adelaide there. ‘After making the maquette or full Royal, and went on to national fame with scale model, I used clay to create a mould cartoonist for the Adelaide Advertiser in the Nat Phillips in the brilliant and bawdy Rene’s ‘return’ to Hindley Street was the where he was born. I can see he’s going to bronze statues of pigs near the rubbish bins and had it cast in bronze using the “lost 1960s. The Roy Rene sculpture was vaudeville act, ‘Stiffy and Mo’. result of years of negotiations and be very, very popular,’ said Harbison at the in Adelaide’s main shopping mall.] wax” method.’ Hannaford also created the commissioned by the Adelaide City Council ‘The sculpture took about a month to perseverance by the West End Traders’ unveiling. ‘I think he’ll be a bit like the bronze of Sir Donald Bradman outside the as part of its annual Public Art Program. n complete,’ says Hannaford, who was born in Association, and was ‘the greatest joy’ of his Rundle Mall pigs, but for grown-ups.’ With thanks to Marie-Luise Ambacher, Adelaide Oval and worked as political The Lord Mayor Harbison said Roy Riverton, South Australia, and is still based time as mayor. ‘He’s back in the place [Editor’s note: There are much-loved

Page 10 ON STAGE Autumn 2010 Page 11 News from the Performing Arts ‘Everybody had a good time’ Collection Peter Pinne concludes his chronicle of the seven children’s musicals he and Don Battye created rare collection Toy Sun, a costume worn by Olive as a for the Alexander Theatre at Monash University between 1973 and 1980. providing a child, accessories such as masks and a ur first three Professor and made the most Asignificant insight headdress, and magic Alexander shows of his three songs. Best song in had been hits, but into magic in Australia during props. O the score was undoubtedly the first half of the 20th century Photographs our next effort proved we ‘Home’, which ended the first has been recently acquired for provide a sense of the were far from invincible. It act. The show played a two- the Arts Centre’s Performing scale and atmosphere wasn’t exactly a flop, but on week (20-performance) season Arts Collection. of the act, as do band the other hand it wasn’t to about 50 per cent houses The new acquisition parts for musical exactly a hit either. during the school holidays, documents the career of numbers such as ‘In A Don Battye and I had starting 24 August 1976, and Australian magician Claude Pagoda’, ‘Chinese been toying with the idea of closing 4 September 1976. Guest, who performed a Lantern Dance’ and writing a small show set in In hindsight, the Alex was Chinese-inspired act under ‘Oriental Fox-Trot’. the bush. Billabong Bill was probably the wrong theatre the stage name of Wong Toy Programs, handbills, an original story that had for this piece, which was Sun. Claude Guest promoted printing plates, glass slides conservation as its theme. designed to play in a small himself with titles such as and newspaper cuttings all The animals’ water is being space, actors in jeans and ‘The Marvellous Chinese contribute details of polluted by the Useless T-shirts with a guitar Conjurer’ and ‘The Guest’s career. Chemical Company, and accompaniment. In keeping Chinese Miracle Man’. His interest in—and Bill, a Swaggie, assisted by with the environmental Like other magicians, he association with—leading the animals, helps to stop Billabong Bill (1976), left to right: Gil Tucker theme, small tree seedlings, drew on the widespread magicians of the time is also the contamination. (Mitch), Keith Reid (Bill), Anne Phelan (Nurse courtesy of the local council, were given out fascination with the Orient evident from scrapbooks The score included ‘Pretty Cocky’, Manna), John Garrett (Big Red) to the kids as they left the theatre which the or the East during the and correspondence within ‘You’re Gonna Be A Champion’, ‘I’ve Got cast encouraged them to plant. early 1900s. the collection. A Cure’, ‘Kiss It And Make It Better’, ‘I (1962) and The One Day of the Year (1962). The following Christmas it was back to The stage persona of Primary material such as Won’t Be Happy’, ‘This Is The Time That He later did Camelot (1964), for the traditional fairytales: Hans Christian Wong Toy Sun was this is an important resource We Need A Chorus’, ‘Home’, ‘Stop, Stop, J.C.Williamson’s and Fade Out—Fade In Andersen’s The Little Tin Soldier. The whole clearly influenced by the for documenting the history Stopped’, ‘From Now On’, ‘No-One’s (1965) for the Tivoli Circuit. Don and I had show was set in Toyland. A tin soldier is famous Chung Ling of magic in Australia.The Going To Stop Me’, ‘Never Break A previously worked with Kevin when he tossed out the window by a wicked Goblin. Soo, a character created, Claude Guest Collection Promise’, ‘Be Prepared’, ‘Useless Chemical directed a production of out Don’t Tell Helena He floats down to the sea in a paper boat, both on and offstage, complements other magic- Company’ and a title tune. at the Union Theatre in 1963. sinks to the bottom of the ocean, and is by American magician related items held by the Keith Reid played the title character Sally White (The Age) headlined her swallowed by a fish, before he ends up back William Ellsworth Robinson. Chung Arts Centre. (Bill), Anne Phelan was a Koala (Nurse review ‘A double goof—children deserve with his friends in Toyland. It had Ling Soo first performed in Australia in 1909 Claude Guest performing as Wong Toy Sun. We are grateful to magician, Manna), Gil Tucker a Minor Mitchell better,’ and went on to lay the blame everything a show could need—drama, and Claude Guest began appearing on stage Gift of Ian Munro, 2009, the Arts Centre, magic historian and Performing Arts Cockatoo (Mitch), John Garrett a Kangaroo squarely at the authors’ feet. ‘It has comedy, and spectacular effects. The script as Wong Toy Sun from around 1910. Performing Arts Collection. Collection volunteer Gerald Taylor for his (Big Red), and Burt Cooper the evil confrontation of goodies and baddies, allowed designer Graham McGuffie endless Several items in the collection also assistance and advice regarding this notable professor (Professor). It was directed by talking animals, some catchy tunes. But the possibilities. His sets were inspired. indicate that Guest drew directly on Soo’s Melbourne, and promoted himself as the acquisition.- Margaret Marshall, curator, Kevin Hanily, designed by Mervyn Trim, confrontation is diffuse, the talking animals The songs included; ‘Toyland’, ‘Pretty image in creating his own. ‘first and only manufacturer of conjuring Theatre, Performing Arts Collection. n with wardrobe by Anne Peterson and rather dull and the catchy tunes too few Ballerina’, ‘Lullaby’, ‘From A Paper Boat’, Guest married English theatrical dancer tricks and illusions’. By 1909 he had moved musical direction by Conrad Helfrich. among a welter of indifferent ones.’ ‘It’s The Custom Here’, ‘The Kingdom Of Florence Bell in 1910 and their daughter his shop to the Royal Arcade. Anne Phelan had appeared at Russell Roger Sanders (Sun News-Pictorial), Neptune’, ‘The Music, The Music’, ‘No Olive performed as an assistant in his act Throughout his career, Guest also made Street in Flash Jim Vaux (1973), at St Martin’s however, liked the use of man-made threats One’s As Handsome As Me’, ‘Tap You Little from the age of six until her mid-20s. and supplied equipment for other magic in All My Sons (1973) and Birds on the Wing to the environment as subject material, Tootsies Off’ and a title tune. The melody of He appeared in theatres around shops and magicians including Chung Ling (1972), and had played Kitty Lang in Sweet saying, ‘Pinne and Battye cleverly tap this ‘No One’s As Handsome as Me’ was Australia and also toured to New Zealand Soo, Howard Thurston and Servais Le Roy. Patron: SueNattrass AO Fanny Adams (1974). Kevin Hanily had just response while keeping the songs and recycled. It had originally been written for a Committee and South Africa. His shows were well The Claude Guest Collection has been returned from a 10-year stint working in storyline simple enough to appeal to a wide revue and called ‘Revive’, President: Peter Johnson received by audiences and gained generously donated by Ian Munro, to Treasurer: Howard Cordner CPA New York with trade shows and touring age group… Reid gets across well to the Geraldene Morrow doubled as the cook Secretary: Graeme McCoubrie consistently favourable reviews. Guest whom the late Olive Wallace (née Guest) companies. His previous Australian credits young audience and his handling of the and Queen Neptune, Chris Bradke was the Committee Members: included work as an actor in continued to perform as Wong Toy Sun until bequeathed the material. She had retained Wilma Farrow, Margaret Marshall, Bells Are theme song, “Billabong Bill” is a highlight.’ Little Tin Soldier, Katy Brinson played the Bruce McBrien OAM, Delia Taylor (1958), and stage management for his retirement. the items in the family home in Melbourne Ringing Anne Phelan, a born comedienne, was Ballerina he is in love with, Rob Constable Claude Guest was also a skilled maker of since her father’s death in 1964. Editorial Committee: the Union Theatre Repertory Company hysterically funny as the Koala, with Gil was an evil Green Goblin, Darren Cartwright Dr Mimi Colligan, David Cullinane, (MTC) where he worked on Summer of the magical apparatus. In 1903 he owned a The collection includes two elaborate Elisabeth Kumm, Frank Van Straten OAM Tucker again an audience favorite. Burt played Mark the young boy who owns the ‘magical depot’ at 213 Little Collins Street, Asian-style jackets worn by Guest as Wong Seventeenth Doll (1962), The Shifting Heart Cooper also had his moments as the Tin Soldier, and Peter Allen was the *

Page 12 ON STAGE Autumn 2010 Page 13 Golliwog, Water Rat and King Neptune. playing games. Emperor’s New Clothes at the Alexander a musical version of Beauty and the Beast. designed the sets, Mervyn Trim was the costume The series gave career starts to many There were also six ballet girls who played We again wrote the piece in a soft rock Theatre is a musical extravaganza with all Our version pretty much stuck to the designer and Robert Gavin musical director. people. Julianne White played Stacey Daniels, Tin Soldiers, Ballerinas, and were the Coral style. The songs included ‘Terribly, Terribly the stops pulled out. This must be the most traditional story where a handsome Prince is Frank Howson had previously appeared the hooker-with-a-heart-of-gold in Grundy’s Society under the sea. Marie Cumisky Him’, ‘All The Colours Of The Rainbow’, lavishly mounted children’s show seen in turned into a beast by a wicked witch, but is in Gypsy (1975), Oliver! (1967) and Stop the TV soap Waterloo Station (1983), then went to directed and choreographed; Anne Peterson ‘I Don’t Want To Know About That’, Melbourne for years.’ restored to his normal self by the love of the World, I Want to Get Off (1964), had written England where she married pop composer did the costumes; Graham McGuffie designed ‘Happiness And Love’, ‘I Don’t Want To Be The cast was also praised. Singled out most beautiful girl in the land. two children’s musicals, The Faraway Land of Mike Batt, best known for co-authoring the sets; Robert Gavin was musical director. A Fool’, ‘Back On Top’, ‘The Emperor’s were: ‘Bruce Kerr is the perfect peacock’… The score featured: ‘Fairytales’, ‘Right Magical Frank (1976) and The Boy Who Dared the title tune from the Andrew Lloyd Webber It wasn’t Gavin’s first time working at New Clothes’, ‘I Always Win’, ‘We’ve Done ‘Bob Hooke and Chris Bradke make an Hand Man’, ‘One Red Rose’, ‘Perfection’, to Dream (1978), and was a songwriter of note version of The Phantom of the Opera (1987). the Alex. He had previously played one of It Again’, ‘There’s An Art In Playing Chess’ amusing pair of rogues’…‘Julianne White ‘Witches’ Brew’, ‘I Like To See My Garden with his work recorded by John Paul Young Conrad Helfrich became a musical the keyboards in Jack and the Beanstalk. Rob and ‘Position’. The melody of ‘Terribly, and Steve McLardie sing sweetly’ and and Trevor White. Bob Hook had Sovereign director of note conducting The Rocky Horror Constable’s credits included working with Terribly Him’ was recycled. It was originally Penelope Richards ‘gives a first class musical Hill Music Hall credits to his name. Show (1992), Sweet Charity (1997), Singin’ in Children’s Arena Theatre. written for a revue number called ‘Sunday comedy performance’. Mary Lord (The Australian) again praised the Rain (2002) and High Society (2004). Sally White (The Age) said: ‘There is one Morning Fashion the show highly: ‘It isn’t often that a stage He married Penelope Richards and they thing that can be guaranteed about a new Parade’. show offers so many colorful scenes, tuneful both worked on Nine (1987), and Me and My children’s musical from the prolific local Bruce Kerr songs, comic sequences and glittering dance Girl (1994). Currently he’s musical supervisor team Don Battye and Peter Pinne. The show played the routines,’ while The Herald on all international productions of Dirty will be bright, wholesome and non-exploitive.’ Emperor, Julianne claimed Dancing (2004). She went on to say, ‘Pinne and Battye have White was back ‘Theatrical Robert Gavin also carved an impressive returned to the format of revamping for the Princess surprises by niche as a musical director, working on A favourite stories after their less-than-total ingénue role. the score make Star is Torn (1980), Piaf (2000), Buddy: The success with Billabong Bill last year.’ In her Opposite her was Beauty and the Buddy Holly Story (2001) and Altar Boyz (2009), eyes we had redeemed ourselves. Steve McLardie as Beast a visual among others. Bob Crimeen (Sun News-Pictorial) young Fredrik, delight.’ Sally Nora Spitzer and Liz Pain worked headlined his review ‘Pantomime team a Penelope Richards White (The Age) backstage in stage management and lighting delight again,’ and The Herald enthused was the usurped agreed: ‘Bright, on several shows and followed that work with: ‘This show is a glorious fantasy, designer Madame, fast and full of path into commercial theatre. Spitzer became loaded with plenty of Nutcracker-style Rex Callahan was colour and dazzling a stage manager for the Australian Opera, enchantment, colour and movement.’ the Prime effects.’ and Pain did likewise for the Union Theatre Graham McGuffie’s sets and effects were Minister, and Bob The critics before going into event management. amazing, especially his underwater scene. Hooke and Chris The Little Tin Soldier: Geraldene Morrow (Queen Neptune), Peter Allen thought Bob Hook John Alsop, who was the Pan Pow Best and most memorable moment in the Bradke were the two (King Neptune), and the Coral Choir. played the witch with ‘considerable Convenor for The Little Tin Soldier, became a show was the second act ‘Tap Your Little rogues, Wheeler and verve’, ‘Beverley Gardiner sings sweetly scriptwriter for television and with Sue Smith Tootsies Off’ when the characters were all Dealer. while looking like a Gainsborough lady’, co-authored the award-winning mini-series trapped inside a whale and to get out they Marie Cumisky directed and choreographed, We, as the authors, also came in for our Chris Bradke’s Prince was a ‘neat The Brides of Christ (1991) and The Leaving of had to tickle him by doing a tap routine. with Graham McGuffie as set designer, share of plaudits, being called ‘Australia’s performance’, and Frank Howson as his Liverpool (1992). Led by Geraldene Morrow as Queen Hazel Rodgers handling costumes, and top writing team in the field of children’s Right Hand Man was ‘at times a shade Steve McLardie kept on singing and Neptune, the number stopped the show. Robert Gavin as musical director. musicals,’ (Sun News-Pictorial) and ‘Nobody more princely than his master’. joined the music group Polyphony. Happily, The Little Tin Soldier played to Bruce Kerr’s credits included work for in Australia has a more consistent good Bob Hook’s over-the-top And the established performers only added full houses, all 44 of them. It opened on the Sydney’s Ensemble Theatre in Generation record in writing musical shows for children’, performance as the witch certainly to their laurels: Betty Bobbitt hit television 4 January 1977 and closed on 29 January. A (1967) and Where’s Daddy? (1966), for (Listener In-TV). dominated the show and the kids big-time and found herself a slew of sheet music Vocal Selection of four songs from J.C.Williamson’s in 1776 (1971), and Othello Graham McGuffie’s sets were even more loved him. Chris Bradke and Frank international fans when she played Judy the show, ‘The Little Tin Soldier’, ‘The (1976) at the Russell Street Theatre. Rex spectacular than those for The Little Tin Howson teamed well on ‘Right Hand Man’ Bryant on Prisoner (1981); likewise Gil Music, The Music’, ‘Toyland’ and ‘Pretty Callahan was a senior sound effects officer Soldier, and Hazel Rodgers’ costumes were and Bradke tugged at the heartstrings with Tucker, who became a national favorite as Ballerina’ was sold at the box office. for ABC Radio, Melbourne. truly dazzling. There were some good songs Growing’, ‘You Can’t Judge A Book By Its ‘Will She Love Me?’, probably the best ballad Constable Roy Baker in Cop Shop (1977); When you’re on a good thing, stick to Apart from working on John Cargher’s in the score—‘Happiness and Love’ was a Cover’, ‘In the Magic Mirror’, ‘I Can’t See we ever wrote for the series. Anne Phelan won major awards for her it—and we stuck to Hans Christian Andersen music programs, he also produced drama strong ballad for the young lovers, ‘We’ve Any Reason’, ‘Will She Love Me?’ and ‘If The show did great business for 38 portrayal of Mumma in the TV mini-series by adapting The Emperor’s New Clothes as the and schools broadcasts. Done It Again’ was a fun number for the con You Want To Be A Wicked Witch’. performances, opening 3 January 1980, and Harp in the South (1987) and its sequel Poor 1978 holiday offering. We fleshed out the Laurie Landray (Listener In-TV) said: ‘An men, but best of all was ‘All The Colours Of Beverley Gardiner, who was last seen in closing on 26 January. Man’s Orange (1987); Geraldene Morrow traditional story of a couple of con men who entertaining format that presents one of the The Rainbow’, which was certainly the hit The Shoemaker and the Elves, was back to play Beauty and the Beast was our swan song at starred in La Cage Aux Folles (1985), Big River scam an emperor into thinking he’s wearing best children’s stories in a contemporary of the show. Beauty, Chris Bradke was the Beast, Frank the Alex. We thought it was time to say (1989) and The Phantom of the Opera (1990). new clothes, when he’s wearing none at all, soft-rock glitter style,’ while Michele Maloney Again we had capacity houses, with the Howson his Right Hand Man, Bob Hook goodbye to witches and goblins, princes, Frank Howson went into film production, by creating a royal designer who’s miffed (Sun News-Pictorial) claimed: ‘It’s a slick show opening on 3 January 1978, playing 40 the Witch, with Rob Constable as Beauty’s princesses and fairytales. It had been a founded Boulevard Films in 1980 and wrote when she’s usurped by the upstarts and production with great detail paid to the performances, and closing on 28 January. father. There was also a chorus of six male heady and fantastic ride. We’d learnt a lot, and produced Boulevard of Broken Dreams determines to win back her position. We costumes, which are terrific.’ Mary Lord It was e two years before we were back and female dancers. Marie Cumisky handled had a lot of laughs, and produced a body of (1988), What the Moon Saw (1989), and Heaven also made the Emperor vain, with no (The Australian) went even further: ‘The at the Alex. The last show in the series was direction and choreography, Graham McGuffie work that is still performed today.1 Tonight (1990), among others. In the 1990s * interest in running the country, only in Page 14 ON STAGE Autumn 2010 Page 15 Kevin Hanily became company manager for Custom Here’, ‘Lullaby’, ‘No One’s As ‘My mother took me to the Alexander when West Side Story (1994), Joseph and the Amazing Handsome As Me’) and two from Beauty and I was 10. It was an afternoon of pure wonder, The search for Syria Technicolor Dreamcoat (1993), Sunset Boulevard the Beast (‘Right Hand Man’ and ‘Will She and hooked me for life on the boldness and Because of the interest raised by Andrew Lamb’s article on forgotten Australian entertainer Syria Lamonte (1996) and The Boy from Oz (1998). Love Me?’). The album was arranged and importance of theatre.’ (Summer 2010 issue), On Stage asked him to document his extraordinary journey of discovery. Performing in The Shoemaker and the Elves produced by Michael Harvey, with Don And that’s what it was all about—creating was a life-changing experience for Lester Battye as executive producer. wonder and enchantment for the audience. It t began when Rob Morrison, as an Since the NLA project did not yet Morris. He found it so rewarding playing to In his liner notes Jim Murphy described was a joy to write for children, and to see e-mail attachment, sent a letter he permit downloading of articles in the children that in 1985 he joined the touring ‘Happy Shoes’ as a ‘joyous blend of words and and hear them respond at every performance Ihad received from writer-producer Melbourne Argus, Rob Morrison obliged company of Snow White and the Seven Dwarfs, music’, ‘Lullaby’ as ‘limpidly lovely’, ‘Silver’ to the magic of theatre. Yes, indeed— Peter Burgis. Peter listed subjects he was with the first of two visits to extract and stayed with it for 20 years, eventually as a ‘deft spoof of 1950s pop’ and ‘Will She everybody had a good time! currently researching, of which Rob information from microfilm copies in the buying the production and becoming Love Me?’ as an ‘unaffected and affecting expressed particular interest in Syria State Library of Victoria. However, no sign Special thanks to: Phil A’vard, Graham producer (See On Stage, Summer 2007). ballad.’ The album was voted one of the top Lamonte, claimed by some as the first of Syria Lamonte on the London musical McGuffie and Scott Taylor. In 1999 when I set up Bayview 10 show music releases in the US in 2000.2 artist to record in London for the stage around 1898 seemed to exist. Recording Company in the US, the first Phil A’Vard, talking about our series of Newspapers and magazines sourced for this Gramophone Company. ‘Who knew she Musical theatre historian Kurt Gänzl release was All the Colours of the Rainbow shows at the Alex, said ‘The huge success of article include: The Age, The Australian, The was a Melbourne soprano?’ asked Rob, confirmed the fact. (Bayview RNBW001), a newly recorded album the Battye and Pinne pantomimes led the Herald, Listener In-TV, Sun News-Pictorial, On referring to one piece of information Peter There was also the puzzle of whether of 14 songs from five of the shows. It featured Alexander Theatre to become a leader in the Stage. had unearthed. ‘Syria Lamonte’ was a real name. Searches Geraldine Turner, Simon Burke, Marie presentation of theatre for families with Rob also sent references from by Rob Morrison and Roger Neill of Johnson and Brydon Stace, with orchestra young children. For more than 20 years Notes Jerrold Northrop Moore’s biography of Victorian births, marriages and deaths recording pioneer Fred Gaisberg, databases drew a complete blank. So too and chorus. There were three songs from thousands of children were introduced to live 1. The performing rights to all of the Pinne/ quoting a recollection of his (Gaisberg’s) did a similar search of NSW records by Jack and the Beanstalk (‘Pantomime’, ‘At The theatre in its many forms—an achievement of Battye children’s shows are controlled by own supposed reference to Lamonte as Anton Crouch in Sydney. Fair’, ‘Let The Sun Put A Smile In Your which all concerned can be very proud.’ David Spicer Productions. www. having ‘served drinks—in Rule’s, the pub Tony Locantro now brought into the Hand’, three from The Shoemaker and the Since the Alex years I’ve frequently come davidspicer.com next door to the first [London] e-mail exchange two authorities on Elves (‘Silver Sequin’, ‘Happy Shoes’, ‘Great across people who tell me their introduction 2. All The Colours of the Rainbow (Bayview recording studio’. recording history—Peter Adamson at St Big Country Shoehouse’) four from The Little to theatre was seeing one of our shows there. RNBW001) is available from Middle 8 Although well aware of Syria Andrew’s University and Peter Martland at Tin Soldier (‘From A Paper Boat’, ‘It’s The Neighbours writer Scott Taylor was one of them: Music. www.middle8.com n Lamonte as one of the first gramophone Cambridge. The former had unravelled record artists, I was equally unaware of much of the chronology of the earliest her having been Australian and having London recordings and had already The Emperor’s New Clothes company appeared on the Melbourne musical published indications of Lamonte having in rehearsal (1978). stage in the 1890s. There, though, the an early career in Australia. Rob Morrison matter rested for a few months until— in turn added Frank Van Straten to the completely independently—my Sydney- group, an Australian entertainment born London-resident colleague and historian, who besides his own substantial EMI historian, Tony Locantro, knowledge and collection, could act as a mentioned a BBC program on Fred go-between with Peter Burgis, who lacked Gaisberg in which he was due to e-mail access. appear, making reference to those first Then music-hall song chronicler London gramophone recordings. Michael Kilgarriff produced the vital Some days after the broadcast my information that references to Syria The recently discovered portrait of Syria e-mail dialogue with Tony got round to Lamonte in England did exist—but in the Lamonte from Melbourne Punch, 19 October Syria Lamonte and mention of the variety theatre. An old (2000-vintage!) 1899, courtesy of Robert Morrison. correspondence with Rob Morrison four CD-ROM of the London stage newspaper months earlier. Tony, too, was unaware that Roger contacted the National Library of The Era for the second half of 1899 duly Syria Lamonte was Australian; what was more, Australia and provided an internet link to its threw up a few references. Then a search on he was working with Roger Neill, an database of Australian newspapers. ancestry.co.uk produced a record of Syria authority on Australian singers, on a CD Although still under development, this Lamonte arriving at Southampton from anthology of recordings by Australian provided various references to Lamonte South Africa in 1897. singers. Perhaps Syria Lamonte should be appearing in concert and musical comedy in The surprise was compounded when the included in it? Could Tony perhaps forward Melbourne and Brisbane in the 1890s. on-line Times Archive produced an intriguing Peter Burgis’s letter to Roger Neill? With Was she, though, Syria Lamont without news item about the confiscation of diamonds Rob’s approval, he did. the ‘e’, as some had it, or Syria Lamonte given to her while she was in Johannesburg. Roger was in ready agreement with with the ‘e’? It seemed she may have started From US passenger immigration records including Syria Lamonte in the anthology. without the ‘e’, but that it certainly became at ellisisland.org, Peter Adamson then came However, we lacked biographical information. standard later. up with details of the arrival in America in *

Page 16 ON STAGE Autumn 2010 Page 17 1906 of someone with a name transcribed as But the real gem was a 1900 report of a photograph of Syria Lamonte. It was in Tyria Lamonte. divorce case with Syria Lamonte as respondent. terrible condition; but the application of Reprieve for ‘significant icon’ Reference to the original document And, if there is one almost sure-fire Photoshop techniques could make restoration Sydney’s Hub Theatre, Newtown, looks likely to have received a reprieve from redevelopment. confirmed it was indeed Syria Lamonte. means of penetrating the real identity behind no problem. he National Trust (NSW) has Finally a long-intended, long-prevented, an assumed name, it’s a divorce case! Thus, over a period of some six weeks, announced that, in co-operation cross-London trek to the British Library’s So it proved, unlocking the information virtually from nothing, and with with the owner, proposals are Newspaper Library at Colindale became that Syria Lamonte had married a man named correspondence criss-crossing between T being developed to re-open the iconic Hub possible. There the word-searchable 19th Joseph Pearl, had had two children, and was Australia and the UK, Syria Lamonte’s life Theatre in Bedford Street, Newtown. Century British Library Newspapers and previously known as Sarah Cohen. Further and career was reconstructed from birth to Having finally inspected the building, 19th Century UK Periodicals electronic information rapidly followed from NSW and death—her appearances in four continents, the Trust is preparing to add it to its Register. databases produced extensive detail on Syria Victorian databases. Anton Crouch produced her three marriages, and some seven or This follows Marrickville Council’s Lamonte’s British variety theatre engagements the record of her birth and parentage, Roger eight different names. Set out as above the unanimous rejection of a $3m development up to 1900. Neill and Rob Morrison those of the births steps taken may seem logical; but it was proposal that would have seen the building Thanks to some quirk, the latter even and deaths of her two children, together with not necessarily clear at any one time where converted into retail and commercial space. provided a photograph of Syria Lamonte the certificates of her death as Sarah Senior to turn next. The rejection was based on ‘a substantial published not in a British periodical but in and her marriage to George Arthur Senior. There was misleading information as demolition of the existing building, resulting the Melbourne Punch in 1899. This last, however, threw up the well as helpful, and there were wrong turns in the loss of a significant icon’. Best of all, one remarkable stroke of good complication that she married not as Sarah as well as right ones. As a result, the owner is offering a fortune finally provided the means of unlocking Cohen, Sarah Pearl or Syria Lamonte, but as That it could ever have been achieved three-year lease (with three-year option) at Syria Lamonte’s real identity… Syria Jonescu. Fortunately it also revealed owed everything to the internet and the $350 000 per year (ex-GST), or nearly The evening before the trek to Colindale that former husband Jonescu had died in electronic technology now available. It $7000 a week. Alternatively a short term I had chanced to revisit the NLA’s 1908. That suggested a search of online UK demonstrated not only the internet’s lease is available at $5000 a week (ex-GST). Australian Newspapers site and had marriage indexes, which duly revealed the astonishing power but also the way its The Hub (originally the Bridge) was discovered that, since we had begun our marriage in 1905 of Anton Vincent Jonescu possibilities are increasing. Even a week or built in 1911 by vaudeville entrepreneur quest, the database had expanded to include to the gloriously named Syria de Lamonte two earlier the 1900 Melbourne Argus Harry Clay on a site previously occupied further references to Syria Lamonte in the Cowane. A marriage certificate was duly reference that provided the crucial by E.I.Cole’s open air Hippodrome. Melbourne Argus. Two related to her 1912 ordered. To put the icing on the cake, an breakthrough to Syria Lamonte’s real Born in 1865 at Singleton, NSW, Clay loss of luggage, permitting hard copy to be e-mail to John Culme, compiler of the online identity was simply not there. n made his début at Sydney’s Alhambra for obtained from British Library microfilms. Footlight Notes, produced an original cabinet Frank Smith around 1885. Venturing into management he soon Remember this pic? established a circuit of vaudeville theatres around the suburbs of Sydney: the Princess, n Stage took this picture at the near Central Railway, the Gaiety in Oxford Princess Theatre following a VTT Street, the Coliseum (later the Independent) (the old THA) visit to the O in North Sydney, and his pride and joy, the University of Ballarat Arts Academy’s ubiquitous little Bridge Theatre. production of Kiss Me, Kate in December 2006. At one time Clay also ran shows around It was published it in the Summer 2007 edition. Newcastle and operated a rural circuit The smiling subjects are course including Bathurst, Cowra, Goulburn, co-ordinator Kim Durban and Joshua Grenfell, Harden, Katoomba, Lithgow, Piterman, who shone as the male lead, Fred Murrumburrah, Wagga Wagga, Yass and Graham. Young. Clay’s audiences were tough: if you Many members felt they’d seen a star in could get across to a Saturday night crowd the making.Well, they had. Josh was in the at the Hub, you could make it anywhere. cast of the MTC’s sensationally successful The It was on Clay’s unpretentious stages Drowsy Chaperone and, now 24, he has just that George Wallace, George Sorlie, Dinks landed the lead in the new national Paterson, Charles Norman, Amy Rochelle, production of West Side Story. It opens at the Syd Beck and an army of other Australian Lyric Theatre in Sydney on 1 July and at the vaudevillians served their apprenticeships. remodelled in the 1930s. The Hub is eventually—porn films. It closed some years Regent in Melbourne from 20 August. Generous, a non-drinker and a non- believed to be the oldest building in NSW ago and although it was partly refurbished Says Josh: ‘It’s crazy. Everything is smoker, Clay presided over his tight little continuously licensed as a theatre and/or it has not been used for many years. happening in my life at the moment. I just got empire until a stroke early in 1920 left him cinema, and the state’s only surviving Compiled with thanks to the Marrickville engaged in November. Performing alongside bedridden. He died in obscurity in 1925. original vaudeville house. Heritage Society, Dr Robert Mitchell and Geoffrey Rush is something I will never forget… Renamed the Hub, Clay’s headquarters After the introduction of TV, audiences Simon Rumbole. and now this. I couldn’t have scripted it better.’ became a cinema. It was substantially dwindled, so the Hub turned to ethnic and— –Frank Van Straten n

Page 18 ON STAGE Autumn 2010 Page 19 A new concrete ceiling and The Times remained an ‘hour Melbourne stage-by-stage floor were installed to eliminate show’ until a regular feature policy a ‘rat nuisance’; there was also a was inaugurated on 28 March 1969 elbourne’s first and longest- sound news to the screen of the Times new proscenium in the with the first screening of a surviving newsreel theatrette Theatrette ONE HOUR AFTER THE auditorium and a new foyer—a German sex education film, Helga— was the Times, located beneath The M EVENT OCCURS, so that any special novel feature of this being a The Intimate Life of a Young Woman. the Melba (latterly the Liberty and Odeon) happening will be sound photographed with large illuminated clock set into Pronounced ‘a solemnly Theatre in Bourke Street. Times the special high speed plant and immediately the floor. Accommodation was Teutonic lecture, with diagrams After Greater Union Theatres was dashed to the screen of the Times Theatrette. increased to around 330 and the and animation on the reproductive refused accommodation at the Town Hall Theatrette No pictures of dramatic interest will be rear screen projection system organs, conception, and the for their newsreel venture early in 1932, shown. Only News and Interest pictures was retained, according to growth of the foetus’ by The Age they set about plans for excavating a space alone, therefore the Times Theatrette is the Department of Health files. critic, this unreeled here for 23 beneath the floor of the Melba Theatre. The natural PLACE TO SEND YOUR The Times reopened on 4 weeks and was followed by a Argus of 15 September 1932 recorded: CHILDREN for clean entertainment and October 1951 with a program of mixed batch of mildly sensational ‘Day and night for two months visual education.’ newsreels, cartoons and a sports short. It offerings, interrupted only by a closure workmen drilled and dug out the soil The all-newsreel policy did not last long, continued to flourish, much as before, for three weeks of renovations and without interrupting the screenings in the however, and by 1934 occasional cartoons for the next few years—even enduring redecorations in March 1970. theatre above. The old bluestone and or comedy shorts were being added to make the installation of a CinemaScope screen Australia’s first ‘R’ certificate feature concrete walls of the Victoria—now the a generally ‘softer’, more entertainment- in mid-1956. The advent of local was screened at the Times from Melba Theatre—had to be heavily oriented program. This format continued up television late the same year signalled 19 November 1971: Percy, a lowbrow but underpinned as the excavation went on… to early 1939 when the Times, together with the beginning of the end for cinema very popular British farce about the When the Victoria Hall was a place of the Melba, closed for a rebuilding which newsreels and most theatrettes were world’s first penis transplant. vaudeville entertainment a liquor bar, was intended to transform it into ‘one of the forced to switch to screening features by This created a house record with a almost on Bourke Street, was one of its most luxurious theatrettes in the world’, the early 1960s. run of 31 weeks. From then on, the most popular attractions. Even bar floors according to an Argus report of 7 January. Although the Times had experimented Times housed ‘R’ certificate eroticism of sometimes have cracks, and the workmen Aaron M. Bolot, the architect of the new with one or two varying qualities to excavating for the little theatre found a upstairs Liberty theatre, was also in charge feature runs even the exclusion of all number of old coins, including one dated of renovations to the lower. before the else, apart from its 1757, beneath where the bar had been. The 283 Bourke Street, site of Accommodation was increased to 250, a introduction of last attraction, stump of a gum tree, 2ft [61cm] in diameter, Centrepoint Shopping Centre small foyer was added and the auditorium television, and had Summerfield, an was found, as it had been left when the tree was enhanced with art deco embellishments. begun to program Australian thriller. was sawn through and the floor of the Following his chronicle of the The rejuvenated theatrette reopened on occasional After this ended on Victoria Hall was built above it years ago.’ Colosseum (later the Melba, 8 April 1939 with a 75-minute continuous ‘condensed’ features 2 February 1978, The Times, designed by architects Liberty and Odeon), program of newsreels and variety featurettes in the late 1950s and the Times, together Cowper, Murphy and Appleford, was Ralph Marsden as before. The renovations proved opportune, early 1960s, by 1964 with the Odeon, 44.2m long, 10.97m wide and 3.96m high. delves into the history of the little for the outbreak of World War II saw the it stood alone in closed forever. It seated 210 people, but because of the low theatre constructed beneath it. Times, and all other newsreels, begin what was opting to cater to Although the ceiling, rear projection was used, with all probably their busiest and most important the dwindling band upper theatre was the apparatus set up behind the 2.13m by ever phase, screening the latest footage from of ‘newsreel’ to be demolished, 1.52m screen; the sound speakers, usually trip through Soviet Russia, and a descriptive the various battle fronts to increasingly devotees; advertised the new owners of placed behind the screen, were here travel talk on the native customs of Borneo. anxious but information hungry audiences. as ‘Melbourne’s only the site originally located at either side. Last minute items of today’s happenings at The end of the war brought a gradual hour show’ it offered intended to utilise The Times, 'Talkie Newspaper Theatre the Melbourne Royal Show will be return of the softer programming of the ‘60 minutes of non- the Times in the Unique', was first opened to the public on presented… The programme will be 1930s, but the fire in the upstairs Liberty on stop variety’, which shopping centre 16 September 1932 with an 80-minute preceded by a short talkie made especially 12 October 1950 put a temporary end to usually included development, but program of newsreels running continuously for the occasion by the Lord Mayor, Cr. this. The Times escaped damage from the three featurettes eventually this plan from 10am to 11pm. A Herald report on the Gengoult Smith.’ flames but it was flooded by water from the (Chaplin, Laurel and was abandoned. eve of opening advised that these would A Herald advertisement of the same date fire hoses and, although restorable, it was Hardy, The Three Top: An advertisement from an August 1932 State Theatre program, heralding the opening of include ‘pictures of Claire Dennis winning further advised: ‘Greater Union Theatres decided to keep it closed and undertake In the next edition Stooges or Pete Smith the Women’s Olympic Breast Stroke Ltd., co-operating with Cinesound The Times. Image courtesy of the Cinema and Theatre Historical Society. extensive renovations at the same time as of On Stage, Ralph slapstick comedy Championship; King George taking control Productions Ltd and “The Herald and the upstairs theatre was being rebuilt. These Marsden will begin shorts were always The interior of the Times during demolition, 1978. Image courtesy of Stan Gunn and the of the Grand Fleet at Portland; President Weekly Times” Ltd, producers of the were carried out by Cowper, Murphy and his history of the popular), one or two Cinema and Theatre Historical Society. Hoover addressing the U.S. Senate on the Herald–Cinesound News Review, gives the Associates and involved widening the Apollo Music Hall in colour cartoons, plus Geraldine Turner as Betty and Nick Tate as Simon Robinson in Summerfield, the Australian film Budget; first pictures of the Seabury Times Theatrette not only the exclusive use auditorium to the full width of the site by Bourke Street. n what there was of the Investigation into the affairs of Mr James of Australia’s greatest Newsreel, but the removing a machine room and offices from that closed the Times in February 1978. surviving ‘newsreels’. Walker, the former Mayor of New York; a organisation has been created for bringing the right hand side. Page 20 ON STAGE Autumn 2010 Page 21 like us to think. The young people take to it as come our way over recent years. Operas very good thing too. We don’t need an The making of Edna and Sandy a duck takes to water. such as La Boheme, Il Traviata, The opera house here in Sydney. What we do Noted Australian writer, director and actor Peter O’Shaughnessy was there at the birth of Now a word I’d like to offer a few little Mikado, La Trovatore, and Porgy and Bess, need is what I’ve said. two of Barry Humphries’ most iconic characters. suggestions for what they’re worth as regards not to mention forgetting of course that A word about the artitectural [sic] the amentities [sic] and general facilities of design of this so called opera house. n 1957, Barry Humphries thought an Australian woman could be so this particular building. Unless these It’s not my place to tell the artitect [sic] that with the Melbourne 1956 opinionated. An Amazonian figure amentities are provided, ladies, I see how to go about his business any more Olympics well and truly over, his I began to take shape. Surely the Opera very little likelihood of any mother than I’d want him to tell me how to sketch ‘The Olympic Hostess’ had had House must take account of a woman’s dragging herself from the comfort of her run my home but this I will say—Give its day. Far from being laid to rest, needs. It must have the right ‘amenities own home all the way out to Benelong the job to an Australian boy lad—tell however, Edna Everage would grow and facilities’. Finally, she showed her Point when she could go to a local him we don’t want umbrellas or sea and grow until she attained Amazonian true colours: Culture was so suspect picture show, and for a fraction of the shells for our new civic centre. We dimensions and developed opinions that the building she had in mind would price. want an opera house that looks like a and ‘causes’ on which she would hold become a vast hive of crèches and rest- Is it too much to expect that real civic centre. That’s what we want. forth at large to audiences only too rooms buzzing with housewives. We provision be made for rest rooms and ready to listen. didn’t, at first, think of her as Mrs play centres for the kiddies. Shouldn’t Barry submitted the sketch to the Barry was then working in revue at Everage. I suppose Barry just reached there be Are not we mothers entitled to Phillip Street management who agreed Sydney’s Phillip Street Theatre. We for Edna’s persona because clothes comfortable lounges where our kiddies to give it a trial. wrote to each other regularly and were at hand in Phillip Street when he and loved ones could come after school This Amazonian creature was talked of writing and presenting a would don her gear for ‘The Olympic or business and relax in comfortable up much less farcical, more opinionated, provocative revue with social bite and Hostess’. to date surroundings, with perhaps TV. closer to life than the original Olympic sting. Barry would spend about 18 I typed out the script on a sheet of facilities and the wherewithal for a quiet hostess whose horizons had never months with Phillip Street and, foolscap and, after he read it, Barry glass of sherry before dinner. Shouldn’t reached beyond the front door of her although this term must have made a few alterations in his own hand. there be a lovely dining room where we lovely home in Moonee Ponds. The developed his skills as a performer, he Two or three years ago I turned it up. mothers could be sure of getting a good Edna who stepped into her shoes was became heartily sick of the titivating The earliest known portrait of Edna, 1955. Barry Humphries with his first wife, actor and Here it is. Passages which Barry excised home cooked three course meal, essentially the Mrs Everage who would be naughtiness of the material. Photo: Gerard Vandenberg. , passages which he added dancer Brenda Wright, Sydney, 1955. are marked thus moderately priced. made a Dame and who, with her sublime He wrote to me: ‘Fortunately, “The are rendered in . italics Is it too much to expect that trained platitudes, would twinkle, pout, simper, Olympic Hostess” is in the programme— published and, but for that serendipity, nurses and qualified medical men be on loveliest of all the grand opera classics, harangue and bully audiences on anything rewritten in much tighter form. Naturally, Ladies and gentlemen I’m not going to Edna Everage might have gone into oblivion. call should the occasion arise? Those of us Bizet Carmen Jones. or anybody her basilisk eye lighted on. all my other material was judged unsuitable make a long speech tonight; I’d much We started to work on a sketch that with a growing family of kiddies know only My scheme would have the added After a couple of nights’ trial, the theatre for Phillip Street, which demands a facile rather you listened to what I have to say in would be a Philistine attack on the very too well that accidents will happen. advantage of leaving the hall completely director, Bill Orr, decided the sketch was compromise with middle-class values. A a mood of friendly informality. The idea of an opera house. Acting as director/ What provision is being made for the vacant over an extensive period of time. too ‘way out’ and it was withdrawn. In sketch which I wrote about the popular decision as regards the erection of the new critic, I contributed ideas and criticisms but, teenage youngster? [Insert] Have the Wouldn’t it then be possible to hire the hall August 1957, after some acrimonious press and its attitude to artists was rejected Grand Opera House at Benelong [sic] Point although he has credited me with being menfolk thought of that? Have they given out to some of our more reputable negotiations with the Phillip Street Theatre, through the fear that my comment on the is the particular matter on which I’d like to co-author of the sketch, as I recall it, all of any thought to that, I wonder? (How are Sydneyside Ladies Guilds? The young folk Barry managed to get a release from his Goossens disaster (a cause de scandale in say a few words. the actual script was the invention of Barry. we to keep them him or her as the case may contract and come back to Melbourne to Sydney) might be considered in bad taste... ‘All work and no play makes Jack a At first we thought the monologue be off the streets and out of harm’s way?) We were in winning vein. play Estragon in my production of Waiting This is something we have often discussed, very dull boy’—You know that’s an old should be delivered by an archetypically Is it too much to expect the powers for Godot—the Australian première of the play. but the time seems ripe for an heroic act of saying but it’s a true. As a matter of fact I Where to harness the suburban man who would talk about the that be to provide a well-equipped up to In December came the thumping espionage. Certainly, to be distrusted and remember not so very long ago taking our momentum? waste involved in expenditure on ‘cultural date gymnasium and swimming pool for success of the Bunyip and the Satellite—a play hated looks like a state of Grace in this little Valmai along to see the opera Carmen matters’. In rehearsing this character the theses [sic] citizens of tomorrow? What’s I had devised with the express intention of country.’ Jones when the picture was out our way, voice Barry adopted was not unlike that good enough for Melbourne is good too will find the hall at Benelong Point an giving Barry an opportunity to show his Later in the year I accepted an and it was a really lovely night’s with which he would endow the yet-to-be- enough for Sydney—that’s all I can say. ideal setting for their coming out balls and sad-sack strain as a clown. It was his first invitation to direct a couple of plays at the entertainment for the little lass, and a real born Sandy Stone. But the sketch didn’t Now a word about the entertainers. I other teenage functions? starring part. Independent Theatre in Sydney and often education too for both young and old alike. seem to be working—it seemed implausible mean of course those professional opera When all’s said and done is there any We were in winning vein. Where to stayed overnight at the flat Barry and his As a matter of fact Valmai wouldn’t give that such an emasculated figure, such a singers who have hopes of dodging real reason to call this building a grand opera harness the momentum? January, February then wife, Brenda, rented at Tamarama her father a moment’s peace until he’d whingeing, wheezing old geezer, would work and making an easy living at the house at all? When Norm showed me the of 1958 went by and torpor threatened. We near Bondi. Over long night drinking promised he’d go along and see it too. Well make a challenging public address. If the taxpayer’s expense: Can we afford to paper the other morning the first thing I said talked again about that REVUE! sessions stretching into the early hours of he did, and had the time of his life, came character was to be funny, its preposterous support these misfits—talented though they was, ‘Perhaps I’m blind Norm, but that Barry decided that ‘The Olympic the morning we talked about the revue we home from the theatre whistling and proposals must be delivered in a voice may be—when the need for new schools doesn’t look like an opera house to me.’ Hostess’ had had its day, and I found a hoped to put on when we got back to our humming all the tunes. Norm said it was as which sometimes bristled with indignation and health centres grows daily? Would it Does it look like an opera house to you simple solution for reanimating it: ‘Change hometown, Melbourne, but, as yet, we had refreshing as a drive through the hills, a as it issued a challenge: if the proposals not be more economical to screen during ladies—and gentlemen? Does it? I ask you— the name to “The Migrant Hostess” and not got a single finished script down on very nice type of show, he said. So, there were not adopted, it threatened, this would selected months of the year some of the more does it? It isn’t an opera house. Oh no, it edit the text to conform to the change,’ I paper. But we did. Jørn Utzon’s plans for you are, you see, Grand Opera’s not so hard be a public scandal. lovely lovelier of the opera films that have isn’t it’s not an opera house at all—and a said. Barry did. * the Sydney Opera House had just been Eureka! We had found a solution. Only to appreciate understand as some folk would Page 22 ON STAGE Autumn 2010 Page 23 Percy would be pleased! Frank Van Straten test-runs an innovative resource for the soon-to-be-reopened Grainger Museum in Melbourne. ith his penchant for music manuscripts and recordings, film embracing the new and and radio footage, photographs, artworks, Wexciting, Australian correspondence, Grainger’s composer Percy Grainger (1882–1961) autobiographical and philosophical would be delighted with an innovative writings, and musical instruments and multimedia resource that will greet inventions, such as Grainger’s famous visitors when his museum at the ‘free music’ machines. University of Melbourne reopens in a Meanwhile, restoration of the few months’ time. museum itself is nearing completion. The DVD-ROM has been developed Built between 1935 and 1938, the iconic with the support of the Hugh building was designed by architect John Williamson Foundation. The foundation Gawler to Grainger’s own specifications. carries on the philanthropic work of It is being fitted out with six Hugh Dean Williamson CBE (1901–1985). exhibition galleries. Five will cater for The Williamson Grainger Museum rotating exhibitions, each highlighting a project aims to establish a better different aspect of the museum’s understanding of Percy Grainger not The art moderne inspired interactive unit collection. The sixth gallery is for only as a musician, but as a man of wide- that will greet Grainger Museum visitors. The temporary exhibitions. There is also a A Phillip Street finale: Humphries (third from left), Max Oldaker (centre), Gordon Chater not to lay her to rest. This is what the local ranging interests and accomplishments. interactive display is based on the museum’s multi-purpose space for seminars and small- (second from right), Brenda Humphries (seated left). Photo: Ward Studios, Sydney. paper had to say: ‘Barry Humphries showed The computer-based interactive research unique floor plan. audience performances. Now where could I give the regenerated agreed. At Wangaratta, Edna came a highly developed talent for caricature, tool will allow visitors and At the rear of the building, Edna Everage an opportunity to address an flouncing on stage just after I had finished particularly at the expense of confused and scholars to delve into Grainger’s but not impinging on its audience? Colin Badger, the director of reading a story by Henry Lawson. ‘Excuse talkative women portrayed in two sketches... world from a multiplicity of architectural integrity, a small Victoria’s Council of Adult Education, had I,’ she said and, after a few ad libs, the lady he is an actor of quality.’ perspectives. The applications café area has been added. invited me to do a solo program for the was off to a new lease of life, delivering the will range from a specially The museum’s priceless Wangaratta Festival and I seized on the Opera House sketch. I think the audience In the next edition of On Stage, Peter designed unit at the museum that collection of 100 000 items will opportunity to ask if I could include some was a bit bemused by Edna, but they O’Shaugnessy reveals the mother of Dame will act as a guide through the be housed in an offsite climate- sketches by Barry in the program. Colin responded enough for us to be encouraged Edna Everage. n exhibition spaces as well as controlled facility, but will be Grainger’s life, through to a made available to researchers DVD-ROM that can be used as on request. Bendigo—somewhat prematurely, as it’s still development of three Australian musicals. I’m an off-site resource for schools, In 1955 Percy Grainger Gus the subject of bitter argument. We not sure what happened to them, but there libraries and other presentations. wrote to architect John Gawler: congratulated the National on its was a sense of déjà vu when I heard the goss To realise the project, the ‘What a delight 25th birthday Centre’s Andrew Moon make an eerily museum worked with the your building is to us, in I can hardly believe and the Capitol similar announcement at the Green creative and technical support of every way… In every it, but this is the 42nd on its 75th. We Room Awards presentation on 15 Melbourne based Megafun, a respect it realises our hopes edition of On Stage. published the first March this year, except now there are firm specialising in creative and and meets all our We’re in our in Elisabeth five musicals, and the project is being technical services to theatre, practical needs… Every eleventh year, and I Kumm’s ‘Pets of the run in conjunction with the Australia events, exhibitions, public art detail [has been] dealt with couldn’t resist dusting Public’ series. Council. and interactive multimedia. so originally and with off our very first Elisabeth has Over the following decade, Their previous projects include such wonderful taste… issue, back in Summer 1999. contributed to every thanks to editor David Cullinane, ACMI’s Screen Worlds Gratefully and admiringly Our first feature article was a piece by issue of On Stage writer Frank Van Straten, and exhibition, the Melbourne yours, Mimi Colligan on—appropriately—Melbourne’s since. On the back dozens and dozens of dedicated Museum’s Welcome Map, work - Percy Grainger.’ first theatre. Mimi is still on the editorial page we had a ‘stop contributors, this magazine has with choreographer Lucy More than half a century committee. We paid tribute to the passing of press’ announcing Mike become indispensible for anyone Guerin, and the Cat Stevens Wild later, we’re sure Percy wouldn’t three theatrical legends—Kenn Brodziak, Walsh’s timely interested in our theatre history and heritage. World stage show. want to alter one word! Queenie Ashton and Hayes Gordon—setting acquisition of The Maj. If you haven’t got a complete run of On For the interactive display the pattern for ‘Exeunt’ which is such an We ran to only 12 pages back then, but Stage, don’t despair. Copies of most issues Grainger curators sourced visual The new café area at the rear of the building. - Text and images: important feature of our pages. we found space to mention that the Arts are still available. and audio material including Frank Van Straten n We hailed the plans for a new theatre for Centre had announced funding for the - Gus, the theatre cat n

Page 24 ON STAGE Autumn 2010 Page 25 The Maj you’ve never seen

Mary Murphy, the honorary archivist at Her Majesty’s, recently treated On Stage to a ‘behind the scenes’ tour. Here are of some of the theatre’s backstage nooks and crannies. Compiled with thanks to Mary Murphy, Matthew Peckham and John Kellett. Images: Frank Van Straten, John Kellett.

A sealed off stairway that once led from the under- stalls area to Little Bourke Street.

The upper fly floor with its forest of 85 lines for flying scenery.

Honorary archivist Mary Murphy with a poster from the 1985 campaign to save the theatre from demolition.

The sealed off area under the back stalls. The framed A technical conference on the stage, as seen from the OP grid. Section of the newly installed audio patch boards. poster is from the Oscar Asche season of 1923.

The under-stage area, now cleared of the elaborate lifts installed for The cheekily named entrance to the fly floor. The scorched Billy Elliot. The steps on the left lead to the newly-enlarged orchestra pit, The fly floor with ‘all mod cons’ for the stage mechs. brickwork on the right is a reminder of the fire of 1929. which can now cater for up to 40 musicians. Detail of an iron capital from the under-stalls area A few of the 85 fly lines can be seen on the left.

Page 26 ON STAGE Autumn 2010 Page 27 reception, the London production notched on 5 October 1896 with the same cast: enjoyed an unprecedented success with Winging it up 109 performances. ‘The Hobby Horse is well worthy of revival,’ Shakespeare’s Much Ado About Nothing, which In Part 11 of her account of Arthur Wing Pinero’s plays in Australia, Writing about the play in 1892, Malcolm opined The Era. ‘It is far too clever a play to was withdrawn from the stage at Melbourne’s Elisabeth Kumm introduces one of his rare disappointments, The Hobby Horse. C. Salaman observed that audience be relegated entirely to St George’s Hall and Bijou Theatre on 12 February 1892, after an expectations had matured in the six years other haunts of the amateur actor. Mr Pinero eight-week run. uring the mid-1880s, Pinero Mrs Gaston Murray as Mrs Porcher, with following the play’s first production: has shown his great skill in the construction The comedy season commenced the enjoyed a successful collaboration C.A.Somerset as Mr Pinching and Fuller ‘Perhaps The Hobby Horse, in its defiance of the piece, and it contains a liberal share of following evening with The Hobby Horse, with with John Clayton and Arthur Mellish as Tom Clark. D of the conventional demand for wholesale that sparkling dialogue for which the author G.S.Titheradge as Mr Spencer Jermyn, Cecil of the Court Theatre in London, with When the play opened at the St James’s conjugal happiness in the last act, though an is famous.’9 Percy Lyndal as the Reverend Noel Brice, the farces The Magistrate, The Schoolmistress on Saturday 23 October 1886, it received ample supply was conceded, was a little When Hare took the same company to Florence Brough as Mrs Spencer Jermyn, and Dandy Dick. mixed reviews. At the fall of the opening before its time; perhaps in 1886 it still America, he opened his season at the Cecil Ward as Mr Pinching, and Dot Boucicault In 1886 he was engaged by the Hare night curtain the expectant cheer from the required the Ibsen controversy to clear the Knickerbocker Theatre in New York on as Tom Clark. and Kendal management at the St James’s audience was not forthcoming and some theatrical air for the acceptance of such a 4 January 1897 with The Hobby Horse.10 The play was well received by the first Theatre to write them a new comedy. people even ‘hissed’ during the performance. progressive step as the sacrifice of the curate’s On his return to London, he revived the night patrons: Although his comedy Mayfair had just been Both Hare and Pinero were shocked at feelings and future domestic comfort ‘The audience seemed to enjoy it withdrawn from the stage at the St James’s the response. It was felt that by combining to the artistic design and satirical ‘What is the matter with the play thoroughly, every point in the dialogue after a disappointing run, his earlier plays satirical comedy and emotional drama in 7 purpose of the play.’ told, every situation—and these were The Money Spinner and The Squire had the one play Pinero had confused the is the distortion and debasement He continued on to say that had numerous—excited general hilarity, proved popular vehicles for John Hare and audience and provoked a negative reaction: of all its qualities to suit the the play ‘been produced at the and the call at the end of each act was Mrs Kendal. ‘Mr Pinero stands facile princeps among childishness and vulgarity of the present time, it might have met with spontaneous and hearty.’13 This new piece was Pinero’s first the makers of farcical comedy, but in greater success.’ theatre of ten years ago.’ Of Mrs Brough’s performance, the attempt at a sentimental comedy, but one writing The Hobby Horse he seems to have During the following years a same Argus reviewer observed: that also contained a dash of satire. In it had ever present the remembrance that the number of amateur productions were staged play yet again, this time at the Court Theatre, ‘Mrs Brough has found in Mrs Jermyn an Pinero pokes fun at those do-gooders farcical pur et simple is not exactly in accord in London and the provinces, and it seemed where it played for 20 performances from entirely congenial part, and one of those in whose schemes of charity end in bitter with the traditions of the St James’s possible that it would not be staged again by a 15 May 1897. the delineation of which she is beginning to disappointment when their benevolent management,’ said The Era. ‘He has halted professional company. Arch-cynic G.B.Shaw, reviewing the play excel. It is “pure womanly” without being natures are imposed upon by others. He between two opinions, and has then gone Madge Kendal as Mrs Spencer Jermyn in Further favourable comments, such as for The Saturday Review, saw the piece as a ideally so. She is not “a perfect woman nobly also ridicules the fashionable amusement of on to attempt to satisfy both. The result is a The Hobby Horse. those written by T. Edgar Pemberton in his victim of its time: planned” &c., but a creature whose finer ‘slumming’, which saw many people from curious commingling of the serious and the 1895 biography of John Hare, may have ‘It has character, humour, observation, qualities are alloyed by foibles which would the privileged classes keen to experience play ends with all the characters reunited at comic—so curious, indeed, and so fantastic assisted in the play being given another genuine comedy, and literary workmanship be irritating if they were less diverting… Mrs London slums for themselves.1 Jermyn’s estate, where identities are that it is difficult to say in what category of chance in England: in it as unmistakably as The Benefit of the Jermyn is au fond, tender, affectionate, and The Hobby Horse, as the play was revealed. Mrs Jermyn vows to give up stage productions his work should be ‘To my mind, Mr Hare has rarely been Doubt has them. What is the matter with the high principled; and the softer and finer cleverly titled, was in three acts: A Chapter philanthropy, Mr Jermyn’s project is also placed.’4 seen to greater advantage than in Mr Pinero’s play is the distortion and debasement of all attributes of a character, upon which the in Philanthropy; A Chapter of Sentiment; and found to be untenable, and he resolves to The negative reaction to the play three-act comedy The Hobby Horse, produced its qualities to suit the childishness and dramatist has evidently bestowed great pains, A Chapter of Expiation.2 spend more time with his wife and son. compelled Pinero to write to Daly: at the St James’s on 23 October 23 1886. As vulgarity of the theatre of ten years ago.’11 are brought out with nice insight, delicate The plot focuses primarily on the While working on the piece, Pinero was ‘I will come over to help at rehearsals if Spencer Jermyn, the cheery, spruce, and In Australia, the play was performed by tact, and much sweetness by Mrs Brough.’ escapades of Mrs Spencer Jermyn, the in contact with Augustin Daly in New York, you think the piece is likely to repay us all precise “patron of the turf,” the dramatist the Brough–Boucicault Comedy Company. Dot Boucicault was also praised for his second wife of a middle-aged sportsman. sending the American producer copies of for the trouble and expense. If, on the other had taken his measure to a nicety, and fitted During April 1891 Alex Mayne, the portrayal of Tom Clark, imparting ‘a breezy The young wife is a philanthropist with ‘a the sets and raising other matters of concern. hand, your faith is weak pray save me the him like the proverbial and much quoted business manager for the B&B Company, left freshness and buoyancy’ to the role. penchant for saving the souls of waifs and Daly had produced The Magistrate in New long journey & yourself the responsibility glove. No better stage portrait has ever been for London to make arrangements for the Despite the positive review, the play was strays’. In her quest to help, she grasps the York, and Pinero was hoping that Daly of producing the play. limned that this alternatively urbane and purchase of new plays and the engagement withdrawn after only a week, and although opportunity to spend some time in would also take on his new play: ‘I take it that it is to the interest of us peppery little gentleman, so happily nick-named of new artists for the forthcoming season. announced for production in Sydney it was Whitechapel; this involves impersonating ‘I commence rehearsing the piece the both that we only play pretty sure cards. I “Nettles” by his affectionate but much In England, he formalised the position of not performed there. Perhaps, as alluded to by Miss Moxon, the new companion of the day after tomorrow at Liverpool—we have none of the small vanities of an perplexed wife… When, with Mr Hare in his the B&Bs as the sole agents in Australasia of Mrs Brough in an interview with The Sydney niece of the Reverend Noel Brice. produce Oct. 23rd. Kendal, who has been author, I hope and think.’5 original character of Spencer Jermyn, it is—as A.W.Pinero, Sydney Grundy and Charles Morning Herald, audiences were confused by Believing Mrs Jermyn to be unmarried, acting doleful parts lately, will play Clearly Daly’s interest in the play was assuredly it must be—revived, it will, if I Wyndham, which gave the company access the mix of farce and sentiment and the young clergyman, who also resides in “Pinching” and Mr Waring…will do the waning. He had asked Pinero to alter it to 8 mistake not, make a great mark.’ to The Cabinet Minister, The Hobby Horse, The disappointed in the unconventional ending: the house, falls in love with her and Curate. We are having great difficulty in suit his company, but Pinero had refused, The following year, perhaps encouraged Weaker Sex and The Times, all by Pinero; ‘Now Sydney audiences will find The proposes marriage. Coincidently, Mr casting the part of “Tom Clark”—he is not saying, ‘All the pieces that I write are the by Pemberton’s comments, Hare revived his Sunlight and Shadow by R.C.Carton; New Hobby Horse full of smart lines and pretty Jermyn (who has a philanthropic project of in the St James’s Compy. and I don’t see result of long consideration and when they original character during a provincial tour, Lamps for Old by Jerome K. Jerome; and The sentences; and indeed, the serious and the his own) arrives at the curate’s house him in yours. The part wants a very bright are done, they are done, and I can’t look at supported by Frank Gillmore as the Reverend Love That Kills and Passion Flower, both by facetious jostle each other so closely that hoping that Brice will accept the position of handsome young fellow of about 21.’3 them again.’ Noel Brice, May Harvey as Mrs Spencer Jocelyn Brandon.12 spectators are apt to laugh in the wrong Warden at the home for ‘decayed jockeys’ The final cast at the St James’s included With these words, the possibility of a Jermyn, and Susie Vaughan as Mrs Porcher. The Hobby Horse was scheduled for place. Perhaps the play was not fully that he has founded on his estate. Here Herbert Waring as the Reverend Noel New York production at this time was Positive reviews led to it being staged for a production in the second week of February appreciated in Melbourne, but I feel sure that Jermyn also encounters ‘Tom Clark’, his Brice, John Hare as Mr Spencer Jermyn, ended.6 short season at the Grand Theatre, Islington, 1892. The B&B Comedy Company had just will not be the case here. The actors in it *l estranged son from his first marriage. The Mrs Kendal as Mrs Spencer Jermyn, and Nevertheless, despite its mixed

Page 28 ON STAGE Autumn 2010 Page 29 all loved The Hobby Horse, and the enthusiasm 4. The Era, 30 October 1886, p.14. The Era (London) more than 30 years’ experience in music the problem as a potential Cats-type had only four minutes to run; the attendants’ of the first night was very genuine.’14 5. Letter to from A.W. Pinero to Augustin The New York Times and theatre. Andrew Lloyd Webber musical: ‘Perhaps representatives said that it was more like 40, Clearly Mrs Brough’s conviction alone Daly, 22 December, 1886, in Wearing, The Sydney Morning Herald Organisers hope that international something about a family of theatrical mice and they were apparently concerned there was not enough to make its production viable. p.90. John Dawick, Pinero: A Theatrical Life, Shakespeare academics and actors will rub trying to get a show on the West End in the was no provision for overtime payments. As with so many of Pinero’s plays in 6. Letter to from A.W.Pinero to Augustin University of Colorado Press, Niwot, shoulders with well-known local actors and face of concerted opposition from pesky After audience members shouted ‘Shame Australia, The Hobby Horse entered the Daly, 1 February 1887, in Wearing, p.87 Colorado, 1993. academics. There will be specifically designed and irritating humans? on you’ at the attendants and ‘Play on’ to the domain of amateur theatricals in the early 7. Malcolm C. Salaman, introduction to The Hamilton Fyfe, Sir Arthur Pinero: Plays and events for primary and secondary students. ‘Mice-ical the Musical—”Just when you musicians, an attempt was made to resume 20th century, when it was revived for two Hobby Horse, p.viii. Players, Ernest Benn Limited, London, The university is funding the festival’s thought it was safe to go backstage”.’ the concert, but the music was again nights only by the Sydney University 8. T.Edgar Pemberton, pp.110-111. 1930. development and implementation, supported interrupted by an official. The audience was Dramatic Society at the St James’s Hall in 9. The Era, 10 October 1896, p.10. T Edgar Pemberton, John Hare, Comedian, by a $200 000 events funding grant from England: London ushered out into the rain. Sydney on 11 and 12 August 1911. Mrs 10. The New York Times, 5 January 1897, p.7. 1865-1895: a Biography, George the state government. The incident has opened a heated debate Court in the act E.H.Knowles—better known as Lily 11. George Bernard Shaw, vol, Routledge and Sons, London, 1895. Tourism Tasmania says that over two on the power of Italian public employees and The Sloane Square-based Royal Court Titheradge—gave her services, performing 111, pp.136–137. A.W.Pinero, The Hobby Horse, William million arts patrons worldwide choose the trade unions that back them. Theatre is presenting a six-month season in the role of Mrs Jermyn, with her husband, 12. The Argus, 22 August 1891, p.10. Heinemann, London, 1892. Shakespeare festivals as their primary The cultural minister, Sandro Bondi, has a disused shop in the Elephant and Castle E.H.Knowles, as the Reverend Noel Brice.15 13. The Argus, 15 February 1892, p.7. George Bernard Shaw, Our Theatre in the reason to travel. It believes the Tasmanian apologised, saying it had given an ‘intolerably shopping centre. 14. The Sydney Morning Herald, 27 February Nineties, 3 vols, Constable and event has the potential to become the hateful image’ of Italy. References: This launches the Royal Court’s 1892, p.5. Company, London, 1932. nation’s flagship Shakespeare festival. The incident can be viewed on YouTube. 1. Hamilton Fyfe, p. 55. ‘Theatre Local’ project, which aims to take 15. The Sydney Morning Herald, 12 August J.P.Wearing, The Collected Letters of Sir Arthur 2. A.W.Pinero, The Hobby Horse, p.xi. plays into new locations and new communities. 1911, p.17. Pinero, University of Minnesota Press, 3. Letter to from A.W.Pinero to Augustin England: London Bloomberg is providing £100 000 USA: New York Minneapolis, 1974. n Daly, 20 September, 1886, in Wearing, Bibliography: Please don’t say ‘Cheese’! ($A164 334) sponsorship over three years. Centre of excellence pp.87-88. The Argus (Melbourne) Three quarters of the 250 West End actors Royal Court artistic director Dominic The landmark neo-Moorish City Center on quizzed in a recent Equity survey said their Cooke believes this is the first time a major West 55th Street, is to have a $US75 million theatre had a ‘problem with vermin and theatre has engaged in such an experiment. ($A8.76 million) renovation and restoration. All the world’s a stage infestations’ and two thirds agreed there was ‘It’s about looking at how we can reach The architects, Polshek Partnership, have beyond our buildings, make new relationships Australia: Sydney signed by visiting artists; the backdrop ‘evidence of vermin in the dressing rooms’. worked on renovations to Carnegie Hall, the The survey included actors from Billy with new audiences, and take our best work Brooklyn Museum and the Public Theater. Living in State designed by Pro Hart for the Australian Elliot, Dirty Dancing, The Lion King, Love to the heart of the community. ‘It’s a wonderful, quirky building and a The upper floors of the historic State Ballet’s production of Red Earth (the only Never Dies and The Phantom of the Opera—but ‘There are many, many people who are venue that is so loved, so whatever we do to Theatre building in central Sydney are to be time Hart was involved in a theatrical not, understandably, The Mousetrap, the willing to engage with the theatre but don’t enhance it, we want it to still be City Center,’ transformed into a luxury hotel—QT Sydney. production); a giant red and gold tassel from longest-running play in the world. like the idea of going to a theatre building. says Polshek’s Duncan Hazard. Amalgamated Holdings has unveiled a the long-gone Theatre Royal in Hindley The results also revealed that a third of They find it intimidating; find it not in their ‘We’re concentrating on curing a lot of the $50 million scheme to link the State building Street; 19th century Punch and Judy puppets London’s theatres have temperamental orbit. We feel those people should have the limitations that the venue has always had. with its next door neighbour, Gowings and theatre; the oversized ‘coin pile’ props heating, half problems with ventilation, a chance to connect with the best of our work.’ The priority is improving the sightlines, Buildings, to create the new hotel. Its 196 from the Festival Centre’s production of 42nd third are dirty, and a third have grotty He also said the new space would give redesigning the building so all the seats have rooms will be accessed through the State’s Street; and letters written by author Patrick lavatories. Royal Court practitioners an opportunity to a full view of the stage.’ grand lobby. White to John Tasker, who directed the first Equity vice-president, actor Malcolm explore the relationship between audiences Their plans include a newly raked floor, The scheme includes restoration of the stage adaptations of White’s stories. Sinclair, said that even refurbished theatres and performers. ‘Given the space restrictions improved seating and sightlines, a new theatre’s Market Street facade, including The exhibition runs in the Dunstan have problems: ‘The first thing you notice of the venue, the performances will be illuminated glass-and-bronze canopy, and reinstatement of statues and stonework. Playhouse Artspace Gallery from 27 March when you go into your dressing room is the staged with minimal sets.’ restoration of the ornate mosaic walls, As the parent company of Greater to 25 April 2010. mousetrap under your table.’ He said it was The venue will seat 70 to 80 people. arabesque ceilings and wonderfully detailed Union Theatres, Amalgamated has long Link: www.adelaidefestivalcentre.com.au important to clean theatres immediately after plasterwork. Back of house there will be a owned the State. It acquired the Gowings a show. ‘If you leave it untill the morning, then Italy: Rome new ‘sprung’ stage floor suitable for dance, all property in 2006 for around $69 million. It Australia: Hobart the rats and mice have an overnight party Off with the show new technical systems, and completely also outlayed $12.5 million to purchase the Shakespeare festival on the food scraps left by the audience.’ A Sunday evening concert on 28 February refurbished dressing room tower. Mick Simmons building next door in An August Australian Shakespeare Festival is Nica Burns, president of the Society of in Rome’s famous 2000-year-old Pantheon City Center comprises a 2753-seat George Street (see On Stage, Summer 2006). the centrepiece of this year’s winter attractions London Theatre and owner of five West came to an abrupt end when an attendant auditorium, two smaller theatres, four studios Work is scheduled to begin in early 2011 The red and gold tassel from Adelaide’s in Tasmania. End theatres, said: ‘Every theatre owner I grabbed a microphone and ordered the and a 12-story office tower. It is home to and finish the following year. The State Theatre Royal Organised by the University of Tasmania’s know spends an awful lot of money on pest audience out. Alvin Ailey American Dance Theater, Paul Theatre will continue to operate throughout Festival Centre’s Performing Arts Collection Conservatorium of Music, the three-week control. It costs me £30 000 ($A49 350) a ‘The Pantheon is about to close,’ he Taylor Dance Company and the Manhattan the construction phase. It includes the significant, the quirky, the Festival will explore the works of Shakespeare year, but the location and design of the advised. ‘Please move towards the exit. The Theater Club. In 1994 the Center launched its unusual and sometimes the everyday things through theatre, opera, concert, conference buildings means that rodents are a fact of concert is over, because today the Pantheon first Encores! Great American Musicals in Concert Australia: Adelaide we have forgotten—all demonstrating 31 and film. life. I wanted to introduce cats, but I was closes at six o’clock.’ productions—Jeanne Pratt’s inspiration for the years of collecting. Treasure trove Guiding the Festival are the Conservatorium’s talked out of it by the experts. If you have The performers, a sextet from Russia, Melbourne-based Production Company. The display includes plywood panels A new exhibition highlights some of the Professor Kevin Purcell and artistic director cats, you can’t use poison pest control.’ were playing a piece by Vivaldi. City Center was built in 1923 as a from Hindley Street’s La Cantina restaurant, rarely seen ‘Treasures’ in the Adelaide Paige Newmark. Between them they have Thinking positively, a Times reader saw According to the organisers, the concert Shriners’ meeting hall. It became * Page 30 ON STAGE Autumn 2010 Page 31 Manhattan’s first designated as the state million ($A968.9 million) merger, but to process to deliver music to fans. merger will benefit consumers. ‘It will give us major performing theatre of California. ensure price competition, the new behemoth Opponents contend that it grants too greater flexibility in how we promote, market arts centre on Actors such as Jean will have to create a pair of rivals. much control to a single entity and will and sell tickets to events,’ says Ticketmaster’s 11 December 1943, Arthur, Eve Arden, Under the agreement, Live Nation result in higher ticket prices. Azoff. ‘It will provide alternative pricing and with Mayor La Raymond Burr, Entertainment is prohibited from retaliating Ticketmaster has dominated entertainment fee structures.’ Guardia himself Tyrone Power, Dustin against venue owners that go to competitors. ticket sales for two decades. Some show biz observers welcomed the conducting the New Hoffman and Gene Ticketmaster will give Anschutz Entertainment In 2008 it sold more than 141 million heightened scrutiny that the 10-year settlement York Philharmonic in Hackman have Group access to its technology so that AEG, tickets worth more than $US8.9 billion will bring. the national anthem. appeared there, and which owns and manages nearly 100 venues, ($A9.7 billion) and had a market share of ‘This puts Live Nation Entertainment under In the 1940s and several of its can create its own ticketing service. more than 83 per cent. a microscope, a place we wished Ticketmaster ’50s, it was a productions have gone Ticketmaster must also divest Paciolan, Its next-biggest competitor’s share was and Live Nation were under a long time ago,’ popular, affordable on to runs elsewhere, a subsidiary that provides software for just under four per cent. said Seth Hurwitz, a Washington, DC, club alternative to such as the musical venue operators to sell their own tickets. In December 2008 Live Nation began owner and concert promoter. Live events Broadway theatre, adaptation of the film Comcast Corp’s sporting events division, selling tickets for its own venues and for have been the only relatively healthy segment the Metropolitan Sister Act, currently Comcast Spectacor, has signed a letter of others. It quickly grabbed 16.5 per cent of the ailing US music business in recent years. Opera House and playing in London. intent to acquire Paciolan. market share, nearly all from Ticketmaster. In 2009 North American concert revenue Carnegie Hall. The Playhouse is Proponents of the merger, including Just two months later the two companies was a record $US4.4 billion ($A4.8 billion). New York City the second-largest Ticketmaster chief executive Irving Azoff, announced their intention to create a new New York’s City Center, outside and in. Opera and New York City Ballet were non-profit theatre in the US to close amid say the deal will help revive the music entity worth about $US2.5 billion ($A2.75 Compiled with thanks to Robert Morrison, founded there before moving to Lincoln The non-profit company’s 37 employees the economic turbulence. Opera Pacific, industry by creating a more efficient billion). Company executives say that the Bruce Tannock and Ian Williams. n Center. Actors including Paul Robeson, are out of work. based at the Orange County Performing Arts Orson Welles, Judith Anderson and ‘Keeping it going on the present hand- Center in Costa Mesa, filed for Chapter 7 Letters to the Editor Tallulah Bankhead performed on its stage; to-mouth basis is impossible,’ said Eich. bankruptcy in November 2008. Bob Fosse and Walter Matthau appeared ‘The downturn in the economy took a toll North Shore Music Theatre in Beverly, Remembering George Remembering Robert there in revivals of Broadway musicals. on donations. Now we’re hoping to develop Mass., closed last year $US10 million Regarding Mimi Colligan’s article Your tribute to the late Robert ‘Mac’ Harvey After the opening of Lincoln Center, a plan to set the company on its feet. ($A10.90 million) in debt. Many smaller ‘Which Barlow?’ (On Stage, (On Stage, Summer 2010) brought back the building was under-used and threatened ‘Our first step is to hire a lawyer to advise companies have also succumbed. Summer 2010), she does not memories of his wonderful performance as with demolition. on such matters as a possible bankruptcy Before the downturn, Pasadena Playhouse mention that Billy Barlow was the Wild Horse in the original Australian It was saved in the 1970s when it was filing, and whether our 8000 subscribers had plans for bigger things. most famous character of the production of Annie Get Your Gun at His rededicated as a home for dance and given will be reimbursed.’ In 2007 it announced that architect Frank entrepreneur and low comedian Majesty’s in 1947. landmark status. It is owned by the City of The Playhouse had hoped to find Gehry was donating his services to design a George Coppin, and was based on a I thought THA members might like to New York, which has committed more than someone who would give $US5 million new 300- to 400-seat theatre to augment its London street comedian and see this autographed photograph of him in $US35.6 million ($A38.98 million) to the ($A5.45 million) to have the 684-seat main 684-seat main stage. Gehry was also going to balladeer of the 1820s. that role. I have treasured it for 63 years! renovation project. stage named in his or her honour, but he or redo the existing second stage, the 86-seat Coppin (1819–1906), between being - Bruce McBrien, she hasn’t materialised. Carrie Hamilton Theatre. a grand property owner and Kooyong, Vic. n USA: Pasadena The theatre was founded in 1917, but Remembering Kathryn member of the Victorian state parliament, USA: Washington Passing of the Pasadena Playhouse the present Spanish Colonial Revival The recent obits for Kathryn Grayson sent continued to perform as Billy Barlow all his California’s famous Pasadena Playhouse, a building, designed by Elmer Grey, dates Major merger me rummaging in my photo album for the life, making up ballads to satirise society and 90-year-old landmark theatre, closed on from 1925. In 1937 the Playhouse was The United States’ dominant ticket seller, attached pic of the lady when she was its politicians. 7 February after the final performance of its Ticketmaster, and the performing with Howard Keel in Sydney in He may have been the performer seen controversial new production of Camelot California: the Pasadena world’s largest concert June 1969 at the South Sydney Junior at Maldon in 1896 but would have been 77 (see On Stage, Summer 2010). Playhouse, outside and in. promoter, Live Nation, Leagues Club. years old, not 85. ‘The Playhouse is essentially out of cash, have merged. The shows were free, financed by profits I believe it to be unlikely that the real said executive director The newly formed from poker machines. My mother, Olga Barlows mentioned were performers of the Stephen Eich. Live Nation Entertainment Locantro, and her friends used to go to all Billy Barlow character. ‘We face more than will be able to book of them, sit in the front row and then go to There is an entry on ‘Billy Barlow’ by $US500 000 ($A545 000) concerts, sell tickets and see the stars backstage afterwards! June Elizabeth Webby in Philip Parsons (ed.), in immediate bills, as merchandise, and manage Bronhill was of course another favourite Companion to Theatre in Australia (Currency well as payments on artists, all under one roof. that always pulled in the crowds. I assume Press, 1995) and a chapter on Coppin and more than $US1.5 Following the first from the rather poor definition that the his character in Kath Leahy, Lords and million ($A1.635 major review for Obama picture was taken with whatever cheap and Larrikins: the Actor’s Role in the Making of million) in bank loans administration anti-trust cheerful camera my mother happenedd to Australia (Currency House 2009). and other debts that regulators, the US own at the time. - Katharine Brisbane, have dogged us since Justice Department has - Tony Locantro, Currency House Inc., the mid-1990s.’ approved the $US889 London, England Sydney, NSW

Page 32 ON STAGE Autumn 2010 Page 33 In the limelight Out and about among the Who’s Been Seen Where on the theatre scene.

This page, clockwise from top left: Vicki Charleston, Robyn Collins and Bett Arnold at the La Trobe University’s Burlesque Symposium at ACMI, 12 February 2010.

Original cast members Faye Bendrups (Rose), Michael Bishop (Ginger Mick) and Don Bridges (The Pilot Cove) recreate a scene from George Dreyfus’s 1985 musical version of The Sentimental Bloke at the launch of George’s latest book, Don’t Ever Let Them Get You! at Chapel off Chapel, 14 March 2010.

Carrillo Gantner and Anna French at a reception at the Arts Centre on 15 March 2010, honouring Victoria This page, clockwise from top left: Bruce McBrien Lamb, the first recipient of the Kristian shares his memories of Melbourne theatre with Fredrikson Design Scholarship, which Theatre Heritage Australia Inc. members at the Anna founded in 2008. THA Annual General Meeting, Fawkner Park Kiosk, 20 March, 2010. Warren Scott Kermond at the launch of his Sammy Davis tribute, Candy Man, at At the launch of the Production Company’s 2010 the Arts Centre Playhouse, 22 March 2010 season at ‘Raheen’, 9 March 2010:

Promoter and music historian Brian de Ken MacKenzie-Forbes with Christie Whelan, who Courcy and record producer Bill has the title role in Sugar. Armstrong at the launch of George Matt Hetherington and Mitchell Butell, who play Dreyfus’s book, Don’t Ever Let Them Get the cross-dressing musicians Jerry and Joe in Sugar. You! at Chapel off Chapel, 14 March 2010. Emily Xiao Wang, cast as Tuptim in The King and I. Colin Peasley reminisces about Sir Robert Helpmann in his Spotlight lecture Silvie Paladino, who plays Lady Thiang in The King at the Arts Centre, 18 March 2010. and I. Todd McKenney, who will star as Peter Allen in a All pictures: Frank Van Straten. re-staging of The Boy from Oz. n

Page 34 ON STAGE Autumn 2010 Page 35 (Guinea). Margaret Davis directed and Playbox Theatre Company, at the Only Heaven Knows choreographed the piece, with design by Victorian Arts Centre’s Studio, where it The ninth in a series of articles by Peter Pinne spotlighting important Australian musicals. Judith Hoddinott, musical direction by opened on 6 February 1989. This time Grant Ovenden (piano), and saxophone the role of Tim was played by Michael n 13 March 1995 Stephen Dunn and Alan are former lovers in their late 20s and clarinet by Amanda Jones. Pope, Guinea by Caroline Gillmer, with claimed in The Sydney Morning who share a flat. They were both The reviews were good. Bob Evans Alan Andrews (Lea Sonia/Lana), Robert Herald: ‘Home-grown gay theatre dishonorably discharged from the army O (SMH, 6 May 1988) said: ‘It is a much Morgan (Cliff) and Kurt Geyer (Alan). has finally ascended to the temple of culture when they were discovered engaging in needed affirmation of love and Robert Meldrum was the director, on Bennelong Point.’ He was speaking about fellatio with each other. Tim gets a job in a community. There are moments of great Amanda Johnson the designer, with the transfer of Alex Harding’s Only Heaven deli, where Cliff spots him, and despite the humor and scenes of tenderness and musical direction by Tyrone Landau on Knows, Australia’s first gay musical, to the difference in their ages they fall for each other. tragedy, thrillingly played, especially by piano, and wind instruments played by Sydney Opera House. A sellout season at the On New Year’s Eve the five friends go newcomer Steve Kidd, who catches the Ken Schroder. Stables Theatre, Sydney, had precipitated the to the Artists’ Gala Drag and Drain Ball. It innocence, the energy and vulnerability ‘The highlight of this production is move. It was just another crowning success is raided by the police, but fortunately none of young Tim.’ undoubtedly the excellent acting…’ in the story of this humble little musical that of them is arrested. Michael Morton-Evans (The Australian, Alison Croggon wrote in The Bulletin began back in 1988. Act Two is 10 years later and Sydney 6 May 1988), found: ‘It is very funny in (21 February 1989), ‘[It] makes all of Only Heaven Knows was originally a has changed dramatically. Tim and Cliff are parts, and in parts very touching,’ and Harding’s characters live and makes Bicentennial commission. According to Alex living together but are being discrete about called Harding a writer of ‘considerable Only Heaven Knows as he intended, a Harding: ‘I sensed shock waves when some being gay for fear of losing their skill and talent’. The Daily Telegraph said celebration of their courage in appallingly of the committee came along to a accommodation which has happened many ‘this is a brave and often poignant piece’ difficult situations. presentation work-in-progress. I think they times. Tim is pretending to be Cliff’s Alex Harding and claimed there is ‘much pleasure in ‘While I never forgot I was watching were expecting an Australian Cabaret, a Sally cousin. Guinea and Lana are running a Program for the première production, 1988. this heaven’, while the Star Observer a play centrally concerned with the issue Bowles equivalent with decadent theatrical hire shop, and Alan has been rejoiced: ‘at last a Bicentennial surprise.’ of homosexuality, this was subsumed by heterosexuals at play, but were shocked to persuaded to have electro-aversion therapy Only Heaven Knows has a strong the larger human issues it raises: the discover how seriously homosexual the piece to ‘cure’ his homosexuality. contemporary theatre score. complexities of love and personal was, hoping it would quietly disappear never Tim gets a dream job offer to go to Tim is well served by the composer discovery in an often hostile society.’ to be seen or heard of again’1 England to work on the London production with three solos: ‘This Is It’, ‘Sydney, Dennis Davison headlined his review In his grant application Harding had of Lawler’s Summer of the Seventeenth Doll, You’re Wonderful’ and the standout title in The Australian (6 February 1989) with: cleverly omitted the word ‘gay’, and replaced but it will mean leaving Cliff. After tune, one of the best ballads ever written ‘Sensitivity that’s neither gay abandon it with ‘demimonde’.2 becoming violently ill with his treatment, for an Australian musical. Guinea has a nor a drag.’ He called it a theatre piece But it didn’t go away: it went on to be Alan, with the help of Lana, moves towards raucous moment with ‘Ain’t It A Shame which is a ‘mixture of cabaret, stand-up produced many times around the country to self-acceptance. That Your Itty-Bitty Mama’s Gone comedy, musical numbers, camp parody, critical and audience acclaim. The playscript After much soul-searching, Tim accepts Fishin’ With Somebody Else’; Lea drag-queen exhibitionism and serious has been published twice, the cast recording the London offer and although devastated, Sonia’s ‘Stealin’ It Every Way That I drama’. He thought Harding’s music of the 1995 Sydney production has been Cliff gives his blessing. As Tim boards the Can’ (later just called ‘Stealin’’), is a ‘caught the flavour of the 1940s. The released internationally, and there are ship for London they refrain from showing second act highlight; while Cliff’s lyrics wisely refrained from trying to ape several versions of the show’s title tune affection for fear of being arrested, but then ‘Without Him’ and Alan’s ‘Where Is The musical comedy big numbers and the available on record, making it the most finally give in to their emotions and hug Love?’ are very effective emotional pleas. men sang with feeling, if not with recorded song from an Australian musical each other. Two songs were cut before opening: Gillmer’s expertise’. of recent times. The first time the project saw the light Top: Steve Kidd as Tim in the first production, ‘Dear Dorothy Dix’, in which Alan Leonard Radic (The Age, 7 February The show was inspired by Jon Rose’s of day was in a reading at the Rocks Stables Theatre, 1988. contemplates writing to the agony aunt for 1989) also praised Gillmer: ‘Unlike the book At The Cross: Growing Up in King’s Cross, Theatre, Sydney, in 1987. Mary Haire read Above: Andrew McNichol (Tim) singing ‘Only advice on his attraction to men, and ‘Lucky men, she can sing. She also brings a Sydney’s Soho (Andre Deutsch, 1961). unable to return to America because of the Guinea, direction was by Margaret Davis, Heaven Knows’, Hobart, 1990. For You’, a song for Cliff and Tim. warmth and naturalness to all her roles.’ He According to Robert Dessaix it was ‘one of war. Australian audiences loved him/her (‘...is with Harding on piano. Although the The show also uses recordings to help called it ‘a sympathetic study of gay living,’ the first post-war books for a general she really a man?’) so convincing s/he was in Bicentennial Committee was not impressed, recreate the period. It opens with the ’40s King’ and ‘Auld Lang Syne’. When Lea and said, ‘Only Heaven Knows is a musical readership which described in positive tones women’s clothing. S/he was a huge star and others at the reading were. Harding then pop song ‘Six Lessons From Madam La Sonia returns at the end of Act One, play with the strengths, but also the what was in a sense a gay culture in Sydney often headlined at the Tivoli alongside Mo. applied for, and received, a grant of $29 000 Zonga’. From a 1941 Lupe Velez movie of ‘Everyone’s Gone To The Moon’ was limitations of the genre. The blues and jazz during World War II.3 S/he was murdered when she was bashed from the Performing Arts Board of the the same name, this was the real Lea Sonia’s played to denote the character was in a music is atmospheric. But the plot itself is Only Heaven Knows is called a ‘Romantic and pushed under a tram by a drunken Australia Council. This enabled the musical signature tune. more contemporary place. novelettish, and thin on both motivation Musical Comedy’ and is set in Sydney during American serviceman on 30 January 1942.4 to get up as a co-production with the Griffin Other recordings included ‘Praise the The show played Tuesday to Sunday and psychology.’ the 1940s (Act 1) and 1950s (Act 2). Each act Act One takes place in Sydney in 1944: Theatre Company.5 Lord And Pass The Ammunition’ (replaced and was so successful that the season had to The show played Monday to Saturday, is topped and tailed by the Ghost of Lea 17-year-old Tim has left home in Melbourne It opened at the Stables Theatre, by ‘Moonlight Serenade’ in the 1995 be extended. It closed on 12 June 1988, seven performances each week, and once Sonia, Australia’s leading female to try his luck as a writer in Sydney. He rents Sydney, on 4 May 1988, with a cast production), ‘In The Mood’, ‘When You after playing 35 performances. again, business was so good the season had impersonator of the ’40s. Based on a real a room in a Kings Cross boarding house run including Steve Kidd (Tim), Paul Hunt Wish Upon A Star’, Frank Sinatra’s version The next production on this show’s to be extended until 11 March 1989. Like character, Lea Sonia was actually an by night-club singer Guinea Newbolt, who (Cliff), James Bean (Alan), John Turnbull of ‘One For My Baby’, plus ‘God Save The groundbreaking journey was by the Sydney, it too clocked up 35 performances. * American who was caught in Australia, introduces him to her male friend, Lana. Cliff (Lea Sonia/Lana) and Jacqy Phillips

Page 36 ON STAGE Autumn 2010 Page 37 One year later The Old Nick Company reinserted in Act Two, and Guinea’s Act One saying the production had survived the shift that show—mind you I think we only did The show has not been without Masquerade); ‘…the disc does boast as presented the show at the University Studio song was now listed as ‘Itty Bitty Momma’. It from the intimate Stables venue to the larger three or four performances—but it was controversy. According to Harding, one leading man David Campbell, who is Theatre, Hobart. Opening on 15 August was later retitled ‘Ain’t it a Shame’. Playhouse with the loss of intimacy made up really, really well received. People felt very reviewer of the initial season, failing totally excellent’ (Ken Mandelbaum, broadway.com); 1990, it played a 10-night season, closing on ‘Everyone’s Gone To The Moon’ had been for by more ‘settled performances’. Scale, moved by the piece. I think the atmosphere to see the politics of the piece, couldn’t get and ‘Alex Harding’s music and lyrics are 25 August. With direction by Glenn dropped from the end of the first act, and an Phillips and Langley still received plaudits, of the Blue Room in Perth really added—it past the fact that Only Heaven Knows is a pop hook laden enough to hold interest.’ Braithwaite, who also played the role of Cliff, epilogue had been added for Lea Sonia in with Hunt giving Cliff a ‘nicely down-played was very intimate.’ love story between two men—and while he (Jonathan Padget, GLAA Metro Weekly). the cast included Andrew McNicol (Tim), Act Two. blokey realism’, and Campbell ‘dramatically Since 1996, Only Heaven Knows has been was quite correct, he nevertheless felt The title tune has been recorded by Mark Weeding (Alan) and Amy Vogel ‘Campbell is absolutely terrific as the fine but somewhat vocally tenuous’. revived twice in Melbourne. During the obliged to demand that there be some sort David Campbell on his album Yesterday Is (Guinea), with the roles of Lea Sonia and young Tim, all fresh-faced with a sweet voice It was David Campbell’s breakout role. 1998 Midsumma Festival it played the of warning on the poster in order to alert Now (Philips 532 714-2), and No.1 Musicals Lana being played by two separate actors, to match,’ raved James Waites (SMH, He was nominated for a Mo Award for ‘Best David Williamson Theatre, Prahran, from potential theatergoers! A similar thing was Album (Polygram 539-736), by the Sydney Cameron Hartley and Anthony Speed. 7 February 1995). ‘Gary Scale, of Tilbury Musical Theatre Performer’ of 1995, and later 22 January to 14 February. The cast to occur during the Opera House season. A Gay and Lesbian Choir on Something to Sing Various other bit parts, which had been Hotel fame, offers us his Lea Sonia, and a moved to New York where he made a name included Luke Gallagher, Larry Hunter- group of American tourists walked out About (ABC LRF 295, 1993), and Sydney doubled in previous productions, were hilariously prune-faced Lana.’ He also liked in cabaret and starred in Stephen Sondheim’s Stewart, Kurt Kansley, Catherine Rutten declaring that ‘…if this play and these Gay & Lesbian Choir (Larrikin LRF-481, handled by Andrew Harper, Kate Johnson Cogin, Langley, and said Phillips as Guinea Saturday Night and the Encores production of and Michael Smallwood, with Nigel actors ever come to Milwaukee, we’ll shoot 1997), Les Ms on Les Ms—Therapy (L-M, and Mimi Phoenix. This time the musical was ‘total class’. Solomon came in for his Rodgers and Hart’s Babes in Arms. Ubrihien on piano. Midsumma Festival was them!’ And in Melbourne at the Arts 1998), and by Jason Stephenson on Found accompaniment was by Ben Sibson on piano share of accolades: ‘It takes good old- In October 1996, an off-campus play- also responsible for a later production Centre a booking clerk was advising people (2000). This album also contains a version and synthesizer, and Phillip Bywater on fashioned professionalism to who wanted to see the show of ‘Where Is The Love?’. clarinet and saxophone. Production design make a show like this work and ‘…oh, you won’t like that, it’s Harding’s version also turns up on was by Keith Bates. that’s what Les Solomon’s about two poofters!’ An Musicals From The Land Of Oz (Bayview ‘This warm and, for the most part, gentle production has in bucketloads.’ internal hunt to expose said RNBW 012), Just One More And Then I’ll Go story of homosexual love is told with comedy Bryce Hallett (The booking clerk failed, but gave (AH 196 CD, 1996), which also has ‘Sydney and compassion,’ said Wal Eastman in his Australian, 17 February 1995) the show added publicity. You’re Wonderful’, ‘Stealin’’, and ‘Where Is Hobart Mercury review (16 August 1990). It has said Harding has ‘fashioned an And the work wasn’t The Love?’ on it, and on a cassette released ‘plenty of romance, rollicking humour, good intelligent and immensely without its gay critics. Outrage for the benefit of the Australian AIDS tunes, a brief naked-lovers-in-bed-scene, and appealing gay musical that magazine complained that the Memorial Quilt Project. a plot with its fair share of misunderstandings evokes Sydney, or more show was ‘all white’—i.e. there There are two tracks on the cassette, the and making up.’ He said Braithwaite ‘excels’ specifically King’s Cross were no Aborigines in it.6 other being ‘Fly Away’, which was used in as Cliff, and McNicol matches him in a bohemia in the ’40s and ’50s’. The show has been the cabaret Beauty and the Beat (1991). Mark ‘sensitive performance as Tim.’ He called the production ‘a published twice by Currency Fuller, who played Cliff in the 1998 New In 1991 a group of gay Adelaide actors timely, life-affirming theatrical Press. The first version Theatre production, also features ‘Lucky presented a play reading of the first act. This occasion’, and went on to appeared in 1989 and a second For You’ and ‘Stealin’’ on his live album resulted in them mounting a full production praise Scale for his ‘humour revised edition in 1996.Festival Mark Fuller—Songs About Adam (Pride as a Fringe Festival attraction during the 1992 and warmth’ and Phillips for Music published a single sheet 010LPD, 1996). Adelaide Festival of Arts. Calling themselves her ‘knockabout experience of the title song in 1988. Continued in the next edition of On Stage. Theatre Sagitta—The Theatre of the Times, and a slightly unhinged madness’. The 1995 Stables Theatre they hired the Sheridan Theatre for a two The praise was also echoed cast recorded the complete Notes: week season of the show, 17–28 March 1992. by (19 February score (OHK95). It contains a The Sun Herald Above: David Campbell (Tim) and Anthony 1. Liner notes from Bayview CD reissue. Tom Maloney played Lea Sonia, and Paul 1995): ‘Harding tells his story through words, directed by Adrian Barnes at Chapel Off ‘Prologue’, ‘This Is It’, ‘Night-Time In The Cogin (Cliff), Sydney, 1995. 2. Phillip Bilton-Smith in Australasian Drama Halton was Tim. action and, perhaps most emphatically, Chapel, 17 January to 3 February, 2001. City’, ‘Sydney You’re Wonderful’, ‘Would Right: Gary Scale (Lea Sonia), Sydney, 1995. Studies No 31, October 1997, pp57–70. Next up was a new production of the music—songs that haunt: that raunch. This Sydney has also experienced two You Like That Too?’, ‘Ain’t It A Shame’, 3. Ibid. show by Umbrella Productions for the 1995 company delivers his story with lots of flash reading of the show was given by Music revivals, both at the New Theatre. The first ‘Asking Me Questions’, ‘Act 1 Scene 15’, 4. Liner notes from Bayview CD reissue. Sydney Gay and Lesbian Mardi Gras. Again and zing.’ Theatre students from the Western Australian ran from 7 November to 19 December 1998. ‘Act 2 Scene 1’, ‘Lucky For You’, ‘Where Is 5. Michael Huxley: A Guide to Gay & playing at the Stables Theatre, it opened on The production won the Sydney Gay and Academy of Performing Arts. Presented It featured Paul Flynn (Tim), Mark Fuller The Love?’, ‘Stealin’’, ‘Without Him’, ‘Only Lesbian Writing in Australia. Allen & 3 February 1995. The cast included Gary Lesbian Mardi Gras Award for Outstanding during Gay Pride week, the reading was (Cliff), Lloyd King (Alan), with Benjamin Heaven Knows’ and an Epilogue. Unwin, 1996. Scale (Lea Sonia/Lana), Anthony Cogin Performing Arts Event, 1995. directed by John Milson, with Denis O’Reilly (Lea Sonia), Alice Livingstone In 2000 this cast recording was reissued 6. Alex Harding correspondence with (Cliff), Jason Longley (Alan) and newcomer The show played 30 sellout performances Follington as musical director. It featured a (Guinea), George Hoad (Lana) and Mary in the US and distributed in the UK on the author. David Campbell (Tim). Jacqy Phillips was at the Stables until it closed 5 April 1995. It cast of performers on the brink of their Lindsay, Don Ferguson and Karren Lewis. Bayview Records (RNBW005) with six back again to play Guinea as she had done in careers. Tyran Parke played Tim, Kane moved immediately to the Playhouse at the Direction was by Pete Nettell, with John bonus tracks by the composer: ‘Sydney References: the original 1988 production. Sydney Opera House, opening on 11 April McErvale (he later changed his name to Short as musical director. The second was a You’re Wonderful’, ‘Stealin’’, ‘Where Is The , , , Les Solomon handled direction, Jason and playing another 37 full-houses until it Kane Alexander) was Alan, with Nathan One-Off Moved play-reading on 4 Love?’, ‘Only Heaven Knows’, the cut The Age The Australian The Bulletin , (UK), (Hobart), Langley did set design, and Michael Huxley closed on 13 May. Carter (Cliff), Larissa Gallagher (Guinea) and December 2002, with basically the same ‘Dear Dorothy Dix’ and a full version of Guardian The Mercury The , was musical director. The production used For the Opera House season Paul Hunt Peter Cathie White (Lea Sonia). Other roles cast and director. Musical direction was ‘Lucky For You’. Sydney Morning Herald Sydney Star Observer CD Liner notes Judith Hoddinott’s Sydney Harbour Bridge replaced Anthony Cogin as Cliff. Stephen were filled by Peter Eyers, Sharon handled by Andrew Davidson. An The US and UK reviewers enthused: Theatre programs backdrop design from the 1988 production. Dunne (SMH, 13 April 1995) headlined: Wisniewski and Mathew Dale. unofficial video of the complete 1988 ‘The score is excellent, a lovely blend of Playscripts n A reduced version of ‘Lucky For You’ was ‘Quirky charmer still joy to watch,’ also Parke remembers: ‘I really loved doing production survives. poignant and witty songs’ (Mike Gibb,

Page 38 ON STAGE Autumn 2010 Page 39 fortyfivedownstairs since the fortyfivedownstairs is producing fortyfivedownstairs first Burlesque Hour in 2004, fortyfivedownstairstechnicalinformation two new Australian plays—in 2010 In just nine years fortyfivedownstairs has evolved from a hidden treasure to a significant production house, has returned again and again. The fortyfivedownstairs gallery comprises two spaces—a 156sqm Patricia Cornelius’ award winning gallery space with a total hanging area of 42.9m and a 36sqm gallery Huge numbers have crowded play Do Not Go Gentle, directed by producing award winning new plays. Ben Starick reports. space with a total hanging area of 20.7m. There is also a bar, making the down the stairs to see this Julian Meyrick, and in 2011 Café ortyfivedownstairs is a unique gallery beautiful lower ground gallery space. Soft included Julie Dowling (presented by area usable for weddings, cocktail parties and corporate functions. extraordinary work—the most Scheherazade, by Thérèse Radic, and theatre space located in Flinders natural light from a south facing window; gently Artplace), Elizabeth Milsom, Damien The theatre space is approximately 245.1sqm with a ceiling height of recent incarnation, The 4.34m from the floor. There are four structural pillars in the centre of directed by Bagryana Popov. Lane in Melbourne’s CBD. Hidden weathered floors, still showing evidence of Broomhead, Stephen Nova, Prudence Flint, f Burlesque Hour—The Legends the room. There is a stock of blacks which can turn the space from its Do Not Go Gentle received the below ground, as its name implies, in a 19th their early industrial history; and lofty, pressed- Richard Stringer, Peter Daverington, Cathy included the headline acts raw brick décor to a black box theatre, allowing a flexible use. 2006 R.E.Ross Trust Playwrights’ century bluestone warehouse, this curious art tin ceilings create a warmth and ambience Drummond, Richard Wastell (presented by Ursula Martinez, Paul Capsis The seating bank is constructed on rostra and can be set up in a Script Development Award and space exudes a charm that adds to its reputation that provides a distinctive background for Bett Gallery), Nobby Seymour and many, number of formations, including theatre style, studio style and cabaret. It and Toni Lamond—and 2006 Patrick White Playwrights’ as not only one of the most beautiful galleries the presentation of artists’ work—both visual many others. can accommodate 90 people on the rostra, 150 using seating or 120 in audiences went wild! Award—and will have its world in the city, but also as an innovative theatre art and theatrical performance. In 2007 fortyfivedownstairs expanded its cabaret style. Several award winning première in August. space for the presentation of outstanding fortyfivedownstairs’ doors opened with horizons and took over the derelict basement shows have premièred in the subsidy, and continues to be a vital niche in One of the judges of the Patrick contemporary performance. works from the Keene Taylor Theatre of number 45 to create a dedicated performance new theatre space: The Lower Depths by Melbourne’s theatre and gallery world, White Award described the work as: ‘a play Established in 2002 by Mary Lou Jelbart, Project—a series of outstanding short plays by space on the lower, lower ground floor. Gorky, directed by Ariette Taylor; and seeking and offering new production and brilliant in conception and execution [presenting] its artistic director, assisted by Julian Daniel Keene, directed by Ariette Taylor. Upstairs, the gallery space became two Shakespeare’s Cymbeline, directed by John presentation possibilities to exciting artists. a potent blend of ambition and originality, Burnside qc, its chairman, fortyfivedownstairs From its inception the venue gained a spaces, continuing to hang visual art of all McManus were nominated by The Age In 2008 fortyfivedownstairs began sorrow and optimism, exhilaration and dismay’. has presented more than 800 works in its reputation for presenting remarkable theatre styles and having a particular focus on theatre critic Cameron Woodhead as two of operating as a co-presenter for a number of Do Not Go Gentle will be at first nine years—visual arts exhibitions, productions. contemporary photography, with exhibitions his top three independent productions for productions, including two seasons of fortyfivedownstairs in August. After a preview theatre, forums, music and dance events. Seasons included a series of contemporary by a wide range of photographers, including 2008. Eleven Green Room nominations Finucane and Smith’s The Burlesque Hour, on 5 August, the season runs 6–29 August 2010. Until the middle of the 20th century, European and new Australian works by Bryan Dawe, Jo Daniell, Ian Roberts, Imogen were received for 2009 productions, five of Ariette Taylor’s The Lower Depths (2008), and fortyfive, in common with its neighbours in Theatre @ Risk, Keep Breathing, Ranters Hall, Charlie Sublet, Lyndal Walker, Kim Further details: 03 9662 9966 which won their categories including And When He Falls (2009) presented by John Flinders Lane, housed the industrial equipment Theatre, Black Hole and many other Lawler and Tim Handfield in the recent past. [email protected] Bagryana Popov, as Best Director, for Progress Stanton and acclaimed pianist-composer Dr and cloth bales of the rag trade, humming with contemporary, established and emerging Deeper downstairs, outstanding Link: fortyfivedownstairs.com.au and Melancholy. Tony Gould. In 2009 and 2010 a season of the whirr of sewing machines and clatter of theatre artists. Seasons and performances have contemporary Australian productions Mary Lou has supported artists young and experimental and short individual With thanks to Mary Lou Jelbart, Helen its predominantly eastern European workforce. been staged for the Melbourne International continue: Ollie and the Minotaur (Floogle old, experienced and emerging, from all performances were supported in Rickards and Abby Storey. In the early 1990s, with Span Galleries Festival, the Next Wave Festival, the Comedy Theatre, SA), Three Dog Night by Petra Kalive disciplines and genres by making this intimate Searchlight—a program modelled after the on the ground floor, the lower ground Festival and the Melbourne Fringe; events (based on Peter Goldsworthy’s book), Angus and extraordinary venue available, accessible New York Under the Radar festival. warehouse space was first set up as a and launches held for the Melbourne Fashion Cerini’s Chapters from the Pandemic and Left: The Burlesque Hour by Finucane and Smith. and open to new work and innovative fortyfivedownstairs has also hosted series of commercial gallery but by the end of the Festival, Mietta’s Forums and Writers Week; Melburnalia (2007)/Melburnalia No. 2 (2009) Image: Brad Hick, Six6Photograph. creative ideas. rehearsed readings of plays which were century it was dark. Mary Lou took over, play-readings and book launches became by White Whale Theatre, seasons by Below left: Deborah Leiser-Moore’s At first, she ran fortyfivedownstairs recipients of the R.E.Ross Trust Playwrights’ founding fortyfivedownstairs in 2002 with a frequent, and music recitals from classical, Platform Youth, Tanya Gerstle’s remarkable performance of Cordelia Mein Kind during the assisted only by a full time student volunteer Script Development; several have since gone vision for it to be a special, curated space for contemporary and jazz to folk and multicultural physical theatre Yes and Five Kinds of Searchlight Festival 2010. Image courtesy of and a part time event manager. Today, the on to full production, with five scheduled to both live performance and visual art. performances became regular fixtures in the Silence, and Bagryana Popov’s Progress and fortyfivedownstairs. venue still operates with a skeleton staff (three be presented at fortyfivedownstairs this year. For its first five years exhibitions and venue calendar. Melancholy—to name a few! people), some generous donations but no In a further new venture, Right: Visual installation by Naomi Ota for the theatre productions alternated in the Artists exhibiting in the gallery have Moira Finucane, a fixture at Tony Yap Company. Photograph by Jave Lee. n

Page 40 ON STAGE Autumn 2010 Page 41 The good old days of Sorlie’s First reading Maryborough (Qld.)-based member Denis Melksham remembers one of Australia’s greatest travelling A roundup of books of theatrical interest for people interested in theatre. he name Sorlie’s probably doesn’t us Oriental Cavalcade, Ziegfeld Follies, a couple The big Boomerang This unpretentious little book contains mean much to the younger of ice shows and what became the longest Jane Albert: dozens of annotated exterior photographs of generation, but I am sure that T running stage show in Australia, Snow White House of Hits city, suburban and country cinemas, taken anyone around my age and older remembers and the Seven Dwarfs. Arthur Benton toured Who could have known that a humble clock by the author, mainly in recent years. the days when show week was a big event in this show for years. repair shop founded in Newtown, Sydney, Raccoon Tail Books, 2007. 84 pp. RRP $15 our lives. The husband and wife team of Max in 1885 would become the great Australian Not only did we have the agricultural Reddy and Stella Lamond were the parents music house of today. Albert’s is one of this What are you laughing at? show to go to with its many added of Helen Reddy and Toni Lamond. Stella country’s oldest family-run businesses, and attractions in sideshow alley. At night there Tim Ferguson: became one of the favourite characters of in this book a fifth generation Albert tells its were the travelling vaudeville shows to keep The Cheeky Monkey: Writing Bellbird on ABC–TV. story, from its pioneering ‘Boomerang’ the festivities alive. Narrative Comedy I remember one episode in which her mouth organs and songsters to Strictly My grandmother used to come up from What makes us laugh? What are the old trouper experience came to the fore Ballroom and AC/DC. The only the farm at Dundowran 28k away with my principles behind a good joke and narrative when a young actor playing the part of a disappointment is the illustrations, which uncles, go to the show, have tea with us, and comedy? And what is it we find so attractive young policeman obviously forgot his lines. seem to have been shoehorned in as an then it was off to Sorlie’s. about those who make us laugh? Comedian Out of the corner of her mouth annoying afterthought. As a young child I often Tim Ferguson answers these questions, Stella Lamond fed him his line (as Hardie Grant 2010. 378pp. RRP $49.95. demonstrates his ‘revolutionary approach to wondered what Sorlie’s was, quite often happened on stage). George Dreyfus speaking at the launch of his comedy writing’ and features what he calls and in 1951 at the age of He repeated it and the episode latest book, Don’t Ever Let Them Get You! at With a Wil ‘primal comedy’. eight, I found out. went to air as if nothing had Chapel off Chapel, 14 March 2010. Ferguson has toured his Cheeky Monkey Outside the gate of the happened. Wil Anderson: Image: Frank Van Straten. Maryborough West School The Great Levante had his Friendly Fire Comedy Writing Courses worldwide. (Newtown) at lunch time tent at the back of what is now the This collection of musings from one of this Jennifer Isaacs on George’s Sextet for Currency Press, 2009. 256 pp. RRP $32.95. there was Dick Whittington’s Maryborough City Council office. country’s cheekiest stand-up comedians Didgeridoo and Wind Instruments; by cat doing wonderful things He was a well known Australian includes some telling accounts of relationship Rosemary Richards on George’s now Jazz across the big pond on the back of one of Sorlie’s magician and not only toured the problems and therapy sessions, but it’s legendary Box Hill Gloria; and by John Richard Hardie and Allan Thomas (eds.): trucks! I still have the country centres but performed in mostly laugh-out-loud funny. Whiteoak on George’s brass band music. Jazz Aotearoa: Notes Towards a handbill in my collection to cities all over the world. On kids, for instance, Anderson decides The autobiographical section, although Mobile entrereneur George Sorlie (1885–1948). New Zealand Jazz History this day. Many of those vaudevillians like Val that like democracy or dangerous roller- frequently sad and revealing, is spiced by A compendium of authoritative articles on Needless to say I was taken to the Sorlie’s tent theatre at Broken Hill, c. 1960. Jellay, Maurie Fields and Stella Lamond coaster rides, they’re great ideas in principle, some intriguingly vengeful attacks on the New Zealand’s jazz history, including ‘Across pantomime matinée on the Saturday Picture: Jeff Carter. appeared in our television programs. Others but definitely not things of which he should local musical establishment. There’s also a the Big Pond: Mapping Early “Jazz” Activity afternoon. Gloria Dawn played Dick. This were: Ronnie Shand, Lucky Grills, Sid be left in charge. complete list of the composer’s works and a in New Zealand through Australian Jazz was my introduction to live theatre and I It was in 1931, while performing in the tap Heylen, Vic Gordon and Vicki Hammond. Ebury Press, 2009. 245 pp. RRP $32.95. list of his recordings. Historiography and Sources’ by John Whiteoak. have loved it ever since. dance duo of Chanti and Le Brun at Ted Sadly those days are no longer with us. Black Pepper, 2009. 178 pp. RRP $25.95. Steele Roberts, Wellington, 2009. 104 pp. I never missed seeing any of Sorlie’s Sacre’s Newtown (Qld) Palais, that the man They really were great entertainment. Grade A $NZ29.99. pantos from then until they closed, even who eventually took over the show—Bobby Sorlie’s’ mottoes were, ‘It’s always a You did ask Lewis Chester: though by then I had graduated to the Le Brun—first saw George Sorlie perform in good show at Sorlie’s’ and ‘The show with All My Shows Are Great: The Life of Marc Fiddian: ‘naughty’ nightly revues. the tent erected in the vicinity of the the reputation’—and how true they were. QBC goes gold Lew Grade The Best of Music Trivia For many years Val Jellay played the Maryborough Chronicle office. In 1981 Bobby Le Brun was awarded Marcella Hunter: The last of the old-time media moguls, Lew A diverting anthology of musical minutiae Principal Boy and Maurie Fields was the My mother had fond memories of the Order of Australia for services in the Keeping the Dream Alive—Fifty Years of the Grade was a genuine show business tycoon, from Australia and overseas. Did you know, Demon King. Much later they were both George Sorlie himself. He apparently could field of entertainment. Queensland Ballet Company still working when he died in 1998 in his for instance, that Eileen Joyce had Red regulars in The Flying Doctors on TV. do almost anything, and while singing and He was held in such high esteem by his Queensland Ballet has marked its 50th early 90s. For many years his office Setters named Doh and Ray, and a Pekinese In 1961 the principal boy part of Aladdin dancing could make his ‘pee wee’ hat run fellow performers that a reunion of birthday by commissioning this represented the Tivoli Circuit in the UK. named Me-Fah? Or that Richmond footballer was played by Warren Kermond, a wonderful up and down his arms and back on to his ex-Sorlie’s performers was held in the commemorative publication that tells the Aurum Press, UK, 2010. 320 pp. Arthur Danks’ middle name was Beethoven? performer. He did not have the same appeal, head. He was wonderful, she said. Bankstown RSL Club with Bobby and his company’s colourful story from its founding RRP $49.99. Raccoon Tail Books, 2009. 112 pp. however, because I had come to expect Val Apart from Sorlie’s, which in my days wife Grace as guests of honour. He and by the inspirational Charles Lisner to its RRP $19.95. Jellay, who was a favourite for so many years. always pitched their tent in what is now the Grace had retired and lived in Newcastle. present status as a major Queensland arts I forgave her when I learned she was pregnant. car park opposite the Federal Hotel, there In 1982 they did a quick trip up the Music to our years institution, bringing quality dance to Cinemas in the frame (We couldn’t have a pregnant boy, now was McKay’s Gaieties at the Bungalow coast and paid us a short visit in George Dreyfus: audiences in Australia and overseas. Theatre up the road. could we?) Maryborough where they still had many Don’t Ever Let Them Get You! Marc Fiddian: Focus, 2009. 78 pp. RRP $39.95+$10 p&h Sorlie’s was started in the 1920s by George Later Stanley McKay teamed up with friends. Sadly Bobby passed away in 1985. Like the man himself, George’s third book is Curtain Up, Curtain Down—The Cinema www.queenslandballet.com.au * Sorlie and the company mainly presented Max Reddy and Arthur Benton and Grace still lives in Newcastle and remembers, as hard to categorise. There are essays by in Australia melodramas. Later they changed to vaudeville. presented The Follies. Later still they brought I’m sure we all do, those days when

Page 42 ON STAGE Autumn 2010 Page 43 Roxon rocks Expressions, 2009. 205 pp. RRP A useful career-oriented study of $40+$10.90 p&h. Helpmann, with appendices listing the Robert Milliken: ‘I live at the Tiv.’ PO Box 869, Fortitude Valley, Qld 4006. works he choreographed and the roles he Mother of Rock—The Lillian Roxon Story For 20 years Wendy Lee was able to make the claim that home was at the Tiv… To order a copy phone Expressions on (07) danced, plus a chronology of his life and Born in Italy and raised in Brisbane, y father and I moved into a flat playing (as the sound was miked to the spot 3257 4222. career—though, sadly, the information on Lillian Roxon cut her writing teeth in above the Tivoli Theatre, box at the back of the auditorium and my his Australian activities, particularly during Sydney. Based in New York from 1960, she Melbourne, in 1947. I was five bedroom window faced the back wall and spot his early years, is far from complete. M documented the cultural revolution that A life of laughs years old—my Dad was 60! You may have box), and then Andre with his double bass. Dance Books, Alton, UK, 2009. 206 celebrated youth, sexual freedom, women’s Akmal Saleh: heard of him. He was vaudeville performer The next room to Andre was rented by pp. RRP $32.95. liberation—and rock’n’roll. The Life of Akmal Nick Morton. ‘old Marie’—Marie Lynch, who read the tea Her landmark Rock Encyclopedia was One of Australia’s best known and loved In those days the Tivoli had two leaves. Marie had quite a little business going published in 1969. comedians charts his early life in Egypt with QPAC commemorated corridors leading from Bourke Street to the and customers came up the stairs to her to The woman dubbed by Rolling Stone ‘the his eccentric family, his first gigs at bikie Christopher Smith & Justine Walpole: main foyer. In between the two entrances have their futures looked at. unchallenged queen of the New York rock conventions (coming on stage before the QPAC 25 there was a tailor shop and a brown door The downside of Marie living there was scene’ died in 1973, leaving a vast collection strippers), his marriage, and his ever- Curator Christopher Smith introduces and opening directly on to Bourke Street. That that she had a ‘bucket under the bed’ for of memorabilia, which has provided the basis increasing success on stage and TV. annotates this elegant souvenir of the door lead to a large dark Victorian-era flight night-time. So you didn’t want to pass old for this biography by Milliken, a Sydney- Ebury Australia, 2010. 294 pp. RRP $34.95. exhibition mounted to celebrate a quarter of stairs that took you to the offices on the Marie on the stairs carting up her bucket based journalist and author. century of the Queensland Performing Arts first floor. The offices shared this floor with next morning! Federal Health Minister Nicola Roxon is Sand and cinema Centre. The book reproduces 25 portraits the dress circle lounge of the theatre. Next to Marie and occupying a flat that Lillian’s niece. of Queensland performing artists The next two floors of the building were exactly mirrored Dad’s and mine at the Roger and Barbara Seccombe: Black Inc., 2010. 368 pp. RRP $27.95. commissioned from photographer Justine flats for rent. other end of the passage was—Mrs Urquhart. Coming Soon…to A Beach Near You! Walton, together with the sitters’ comments I loved the place—though those stairs We paid our rent to Mrs Urquhart. I loved The latest in the Seccombes’ ever expanding 25 years of dance on what the centre has meant to them. could be a bit spooky at night if I was by going with Dad to do this because Mrs series of books on cinema history, this time Among those included are Bille Brown, myself. In our lounge room, I loved having a Urquhart’s ears fascinated me. She was a Denise Richardson: concentrating on movie-going at Victorian Diane Cilento, Judi Connelli, Gerry window that opened out to Bourke Street; I Me with my dad, comedian Nick Morton. roundish, softish old lady with grey hair and Brookes Street to Brooklyn— beach resorts. Connolly, Wesley Enoch, Simon Gallaher, could watch all the people passing by. The huge earlobes; they dangled right down Expressions Dance Company 1984–2009 Coora Films, 2009. 180 pp. RRP $45 Lisa Gasteen, Stephen Page, Leah Purcell, window was great for events like the Anzac next flight of stairs. It was rented to a double because she always wore very heavy old A documentation of Expressions’ 25-year Available from PO Box 79, Mitcham, Geoffrey Rush, Donald Shanks, Sigrid Day marches, when the servicemen who bass player called Andre Schuster. Andre crystal earrings. evolution from modest beginnings to a Victoria 3132. assembled in Bourke Street would look up For a kid, the long flapping earlobes multi-award winning, internationally Thornton and Garth Welch. played double bass around the clubs in and wave at me from year to year. I felt quite were a wonderful sight to see! celebrated contemporary dance company QPAC, 2010. 32 pp. RRP $8 + $2 Melbourne. Often after he got home—very royal having this window. Mrs Urquhart was Frank Neil’s sister. Mr creating works that push the boundaries of The incomplete Helpmann postage. late—he would serenade a girlfriend he had The next flat to us wasn’t really a flat at Neil ran the Tivoli. both dance and theatre, where dance, Kathrine Sorley Walker: Phone orders: QPAC Reception - (07) bought back with his double bass playing. So n all—it was a room for rent, and the occupants Up to the next floor: Val Eastwood rented dialogue and visual media combine and Robert Helpmann: A Rare Sense of 3840 7400. as a little girl I went to sleep each night, first had the use of a common bathroom up the the flat directly above us. She had moved * confront each other. the Theatre hearing the Tivoli show that was currently

Alexander hagiography has it that after rewarding. Whether they confirm or A close look at The Alexander Technique success in his home state of Tasmania he challenge attitudes towards the claims made toured New Zealand where he is said to have by practitioners would be interesting to explore. ctors and other performers are Eugene Schlusser of before it stops being the Alexander - Eugene Schlusser the greatest beneficiaries of the Technique? Arguably Feldenkrais (who knew developed further, and began to codify, his Seven S Productions is researching Alexander Technique, a system of Alexander) and Pilates are, at least in part, ‘method’. Staring sleuths through the available Jeroen Staring: A a documentary on F.M.Alexander. developed by Tasmanian-born actor variations on Alexander’s work. evidence in newspaper articles, advertisements, Frederick Matthias Alexander 1869–1955. If any readers feels they can contribute Frederick Matthias Alexander (1869–1955). To establish what is authentic and what letters and reports. Here also he plays the Integraal, Nijmegen, 2005 (RRP $A120.00, please contact him at eugensc@ Described as an alternative medicine and isn’t, Jeroen Staring has undertaken part of the sceptic and finds convincing incl P&P). 671pp. netspace.net.au. evidence to confirm his attitude. Alexander educational discipline, The Technique impressively extensive research into the Jeroen Staring: didn’t do what he said he did, in New Zealand. focuses on bodily co-ordination, including members of the Royal Shakespeare Company origins of Alexander’s work. He has taken Frederick Matthias Alexander in To underline the legitimacy of his views, psychological principles of awareness. It is and the National Theatre. the position of an extreme sceptic of the New Zealand 1895. Staring has published details of his very used to develop freedom of movement, in In Australia, it is little known that the originality of Alexander’s work. The man Integraal, Nijmegen, 2009 (RRP $A70.00 extensive sources in a separate booklet. the performing arts, and for general self- Alexander Technique originated here, but who married Alexander’s niece, Wilfred incl P&P). 188pp. improvement affecting poise, impulse control was almost forgotten by the 1960s. Today, Barlow, who taught the Technique and wrote Alexander made some big claims and Jeroen Staring: and attention. however, a resurgence is in train and there is a on it widely, refers to Alexander at one stage had some questionable attitudes. Any system 1300 Alexander Technique References. Flautist James Galway never gives a large number of teachers throughout the land. as a ‘rogue’, likening him to ‘the confidence- practiced as widely as the Alexander Integraal, Nijmegen, 2010 (RRP $A20.00 master class without an Alexander teacher With prominence come arguments about man who discovers that he has a method of Technique deserves constant examination. present to correct ‘use of self’. A picture of the orthodoxy of the Technique. Who are making genuine gold bricks…’ and then calls influences and sources for his ‘gold bricks’ in Opposing views are doubly useful. incl P&P). 63pp. Judy Dench is on the cover of a CD issued the true inheritors of Alexander’s work and him ‘a genius’. Staring’s sceptical view many directions. It is a fascinating and Alexander teachers and others will find these These books are available from jeroen. by Sue Laurie, who has provided sessions for who is straying? How far can you stray uncovers, unacknowledged by Alexander, persuasive trail of detective work. books provocative but ultimately highly [email protected] n

Page 44 ON STAGE Autumn 2010 Page 45 into the Tiv at the had a balcony out same time as we over Bourke A Shrine to Things Well Done had, because Street and this flat Purple prose on the birth of the Theatre Beautiful. prior to living at had a kitchen t was Boxing Day, 26 December 1922, cream fretwork of the proscenium arch is the Tiv Dad and sink, something when Hugh J. Ward Theatres unveiled detailed by the electric light behind, but it I had lived with our original flat their refurbishment of the Princess Theatre. will require a lot of feather dustering, as will Val at her parents’ lacked! I To emphasise its new splendour, they the cream appointments elsewhere. house in Ivanhoe. In the flat christened it ‘The Theatre Beautiful’—in The only criticism that can be legitimately Also, Val worked directly below us contrast to their other Melbourne theatre, levelled against the theatre is that the Dress at Dad’s dance now were the the Palace around the corner, which became, Circle vestibule is rather over-dressed in gold- studio, the Betty offices of the even more quaintly, ‘The House Exquisite’. leaf, whilst the painted ladies, lounging along Lee Dancing famous Tiv In the Princess’s refurbishment the 1886 the incurve joining the walls to the ceiling, Academy. costume and set William Pitt auditorium was gutted and are not the goddesses one has a right to expect. Actually Val was designer Angus replaced with the interior we know today, 8 February 1923: my surrogate Winneke… designed by Henry E. White. As well, there From ‘Dido’: I wonder if the refurbishing of mother for a time. A dreadful were substantial alterations to the foyer Melbourne’s Princess’s has entirely outed the Val’s flat was accident arrangements and the street frontage. spook that once haunted the circle, and which an exciting place, happened one Here’s how the diligent reporters and threw three or four actors and actresses out always filled with night. I ran a bath readers of The Bulletin covered the changes. of their stride. Interest in the goblin was people, parties, for myself and It’s interesting to note that The Bulletin reawakened by the action of a young decorator guests, and artistic things being somehow left the water running continued to refer to the theatre as the employed on the job of dressing up the theatre. created. There were painters there— with the plug in the bath. The Princess’s, in spite of its ‘official’ renaming as Working overtime one night he was discovered Vennie Stephens and Bill Plowman, to bathroom flooded and the water Aglow with self-confidence, a concept ‘The New Princess’… to have a candle burning by that third post name two. poured into the downstairs space— rendering of the new (1925) exterior of the 4 January 1923 against which the ghost had always been The front room was just packed completely wrecking much of Princess Theatre. Standing behind a new veranda with electric seen leaning in Hamlet-like cogitation. Asked to overflowing with canvases in Angus Winneke’s work. t was a Governing directors of Hugh J. Ward globes emphasising its length in the dark, the what the Gehenna he was doing endangering various stages of completion, tubes of complete disaster, Theatres, from the top: Sir Benjamin Fuller Princess’s Theatre, in Spring Street, Melbourne, the safety of the house, he replied that it was paint, easels, palettes, and brushes but he was so nice about it, (1875–1952), Hugh J. Ward (1871–1941) and has forgotten its more or less dingy past and a blessed candle he was burning to lay the galore sticking out of every vase, considering the wreckage I had John Fuller (1879–1959). started out on a fresh career as the handsomest spirit he had seen clinging to that pillar. And coffee cup or mug that you could caused to his work. playhouse in Australia. he swore he had never before heard a find. Val also started a photography By April 1967, vaudeville had New shops have been built into the word of the Princess’s ghost. business here too, so there were huge died and left the Tiv. It had become frontage without damaging Hugh 1 March 1923: pieces of white cardboard, umbrellas, a not very successful picture theatre. Ward’s cherished plan of an imposing From ‘Dido’: The alterations to spotlights, fabric backdrops…cameras It was screening Angelique the promenade, whilst the bewildered Melbourne’s Princess’s serve to restore the all over the place. night I awoke to a hideous crackling patrons of the ‘gods’ now enter through Dress Circle to its former dignity. The The rooms next to Val were sound and looked out my bedroom bevelled glass doors in Spring Street and circle seats are brought so far forward that, rented by the Macs, an old vaudeville window to see the whole three- have tip-up chairs instead of the old in the foremost rows, one has the couple that I very rarely saw (I think storey auditorium of the Tiv on wooden benches. impression of being in a small theatre they were sick by this stage). The last fire—so close to me! In the auditorium the deep curve of where you are in more intimate touch flat was used by the Tivoli as the I was married by this time, so the old circle has been abolished, and with the performers than you were even in usherettes’ change room. This also my husband and I quickly woke my another enclosure on the cantilever the Bijou of the Brough and Boucicault provided a lot of excitement, as the Dad, ran downstairs to old Marie, principle gives a closer view of the days. The circle is so withdrawn from the usherettes at the Tiv were mostly out- the only other tenant of the building stage. The seats, with moveable backs, stage in other theatres that patrons of-work dancers—girls who hadn’t got besides us by this time. are roomy enough for the largest wishing to be able to exchange ‘nods and into the current show. So they were all Left: The Tiv in November 1958—I was 16! As the electricity was off, we made our dowager, and are all upholstered in the becks and wreathed smiles’ with the girls gorgeous, glamorous, dressed to the nines in Right: A corner of our lounge room at the Tiv. way down the stairs in the pitch dark and Rose du Barry pink, which is the in the front ranks of the ballet were taffeta frocks, tulle petticoats, tons of .The windows looked out over Bourke Street out into Bourke Street. prevailing tint of the magnificent curtain driven into the stalls, which became, of makeup and perfume, and high heeled shoes Me a few weeks ago, with a section of the iron We rang the fire brigade and within a and blushes in the candle-brackets quite recent years, the most fashionable that clattered so loudly on the stairs as they balcony salvaged from the front of the few minutes Bourke Street was filled with fastened to the boxes and walls. The part of the house, and to get there you flew up or down to the theatre. Tiv building. fire engines, sirens, lights, hoses and boxes are prettily decorated lean-overs, were often penalised a bob or two. The I could quite often meet interesting stars extension ladders to fight the huge fire. without the suffocating roofs and renovated Princess’s Dress Circle should on the stairs as they came up to get their pay In 1956 the Tivoli closed for renovations We stood in Bourke Street in our curtains of the old-fashioned pens, and become popular with the Very Best or have a meeting in the offices. I met Winnie and the management asked Dad if he and I pyjamas, water swirling above our ankles, each one is entered by glass-panelled People again, if only for the charming Atwell that way. And Sabrina, Tommy Trinder, would swap flats with the usherettes. We said holding the cage containing our budgie, the doors offering its users an unexampled view of the really delightful interior it Roy Barbour, to name a few. a big ‘Yes’ to this because it meant we now one thing we rescued. entrée in full sight of the house. The affords. *

Page 46 ON STAGE Autumn 2010 Page 47 The following description is taken from the Art Institution of the theatre. His long association responsibility of the cars so parked, patrons program for The O’Brien Girl, the first with the highest branches of the Theatre may take it that every precaution will be Exeunt production in the refurbished theatre. The Proper gives distinction to the choice. exercised by those detailed to look after original capitalisation has been retained. Thus has been told the Story of an Ideal. motors. The Princess Theatre has a mission—an Commodious cloak rooms for ladies and A Shrine obligation—to reflect in its true phases all that gentlemen in the stalls and dress circle are a This Temple of Art is unique, the commonplace is encompassed in the Art of the Theatre, special feature of the Princess. Patrons may shall find no welcome here; it is a Shrine and as the crucible from the dross draws have the use of these gratis, but the management dedicated to Things Well Done. forth the pure gold, so shall we stretch forth will not assume the responsibility for any An institution built upon the Mighty Rock a welcoming hand to those who are articles deposited therein, although of course of Experience, on the Highway of Ideals; marching upon the Broad Highway of every care will be taken of anything left in where all may enter and worship at its altar. Dreams towards the Shrine of the Ultimate. charge of the attendants. Here will be found the Laughter of the The location of the Princess Theatre, Morag Beaton Leon Becker am Kerry Eccles Kenneth Gillespie Ruby Hunter Gods intermingled with the Shades redolent of intense neighbourhood of Romance. The truest phases of the individuality and interest, likewise excites Art of the theatre shall find its fullest an unusual fascination upon the entire expression within this Great Temple. metropolis! Thus the patrons of this Presentations of the most theatre have a bond in common with noteworthy of plays, those that the management, to make this the reflect the highest Ideals of the Stage; most talked of theatre in the great City of productions that possess true artistic values Melbourne, where only the artistic theatrical and higher qualities of entertainment only productions shall be staged. No little measure will be the units embraced upon the of credit is due to those who have brought to programme of the Princess Theatre. Simon Leadley Kevin McBeath Nehama Patkin Ian Robinson Fritz Schulz a realisation this Shrine of the Drama is due Within the walls of the Princess Theatre, to Henry White & Gurney, Architects. Under Art shall have its Great Moments. Its thrill the able direction of Mr A. Walsh the Australia were as Santuzza in Cavalleria After his retirement, Becker devoted shall be Pleasure’s Delight upon the Road Morag Beaton following Craft Masters have created ‘The Rusticana in 1972. himself to the preservation of Australian of Time. 2.7.1926–1.4.2010 Theatre Beautiful’: Her last public appearance was in an radio history. He recorded a vast number of Stage decores [sic] in tinted Bacchanalia The brilliant soprano, Morag Beaton, has Masonry & Marble: W. Train & Co. operatic recital at the Sydney Opera House interviews with radio veterans for the of a thousand hues will feed the imagination died in Sydney, aged 83. Once Structural Steel: Johns & Waygood Ltd. in February 1983, though she continued to oral history project. These with their motifs as each setting discloses a Edinburgh-born, Beaton won a Upon a Wireless Ornamental Plastering: Millsom & Sons, sing at private functions and for friends. are preserved in the National Film and play in Harmonious Colours. The Poets in scholarship that enabled her to study in and Picton Hopkins. John Cargher said Beaton’s was ‘one of Sound Archive in Canberra. Pigment, Gown and Motley shall break the London and Salzburg with the great soprano Metal Ceilings: Wunderlich Ltd, R. Mytton the greatest voices I have heard in my time.’ In 1990 Leon Becker was made a chains of Traditions; Artificiality shall be Architect Henry E. White (1876–1952) who Elisabeth Schwarzkopf. In 1963 she won the & Co. Member of the Order of Australia in banished and worshipping at the Throne of created the present Princess Theatre interiors. Triple Prize at the International Singing W Sprinkler System: Wormald Bros. recognition of his service to the media and Art instead—the King of Reason-—Originality. Competition at Verviers, Belgium. Shortly Wood Trimming: Alex. Kemp & Sons. to the community. Of this monument of thought and Skill— In addition to providing playgoers of after her 1963 début at the Berlin Staatsoper, Kalamein Work & Decorative Painting: the Theatre proper—a word may describe it: Melbourne with artistic and diverting she was engaged by Richard Bonynge as a Leon Becker AM Geo. McLeish. W ’Majestic’. Its ceiling, one great dome; its productions equal to those presented in the principal singer for the 1965 Sutherland- 1925–27.2.2010 Tiling: Australian Tessellated Tile Co. sunburst of opalescent clusters effuse their best theatres in London and New York, Williamson Grand Opera tour of Australia. Leon Joseph Becker started his career in Mosaic & Terrazzo: Professor C. Taveralli. Kerry Eccles radiant tones in soothing silhouettes upon its Hugh J. Ward Theatres have endeavoured to It was a turning point in her career: after radio in 1940, as an office boy at 2KA, Electrical Work: Chas. McKenzie & Ed. L. many comfortable lounges; housed in this place at the disposal of the public of Melbourne further study with Bonynge, she was chosen Katoomba. His war service included a stint 21.10.1945–1.2.2010 Forrest. wonderful Cameo of Architecture. a modern theatre, second to none in the world. by Bernard Herrmann to sing the leading with RAAF Radio in PNG. Born in Frankston, Victoria, Kerry Anne Stage Lighting Effects & Stage Curtain: Graceful Lounges of distinction and People who visit the New Princess, the role of Cathy in the internationally After a short ‘apprenticeship’ at 2KY Eccles (née McErlain) emerged from tertiary J.H.Edgcombe Ltd, London. comfort which will become the meeting Theatre Beautiful, will find appointments not acclaimed complete recording of his opera Sydney, he joined Sydney’s 2UW, where he studies at Melbourne Teachers’ College and Art Glass: Brooks, Robinson. place for friends, a Social Centre which will generally associated with the theatre in Australia. Wuthering Heights. worked with George Wallace, Coral Wood Melbourne University with BAs in Classical Vacuum Cleaning Machines: Millers. glisten with M’Lady’s jewels and tinkle with In the ladies’ retiring salon, adjacent to the Beaton became famous for her portrayal and David McNicholl. Studies, History and English—and with an Uniforms, Ushers’ Costumes & Theatre her laughter. Dress Circle Lobby, will be found a special of Turandot, which she first sang in the In 1950 Becker joined 2GB. There his insatiable love of the performing arts. Furnishings: Myer & Co. Each play requires the most intelligent private telephone service. Gentlemen have Australian Opera’s 1967 season. She colleagues included Jack Davey, John Dease, In the 1970s, as the first female teacher at Stage Scenery & Settings: Rege Robbins. embellishment. Thus shall the Pipes of Pan also been catered for on a similar plan, a migrated to Australia that year. John Harper, Keith Eadie, Keith Walshe and St Joseph’s, North Melbourne, she introduced Opera Chairs: A.G. Sadler & Co. become a rhapsody to sway the soul in a telephone having been installed for their use As leading soprano with the Australian Eric Baume. He eventually became 2GB’s students to fine arts, film and theatre studies. Brass Work: J.E. Andrews. rhythm of colourful pantomime where the in the men’s lounge. Opera, she excelled in roles such as assistant general manager After a spell as deputy principal at Geoghegan Timber: H. Beecham & Co. Music shall be mooded to each production A special watchman has been provided Abigaille (Nabucco), Venus (Tannhäuser), Eboli In 1954 Becker moved to Artransa Park College in Broadmeadows, she became Hardware: T.M. Davie & Co. as the people throb with the Breath of Life. for patrons desirous of parking their cars in (Don Carlos), Preziosilla (The Force of Destiny), Studios. As executive producer he was administrator of the School of Art at the VCA, Shop Fronts & Fittings: T.S. Gill & Son. To Hugh J. Ward, as Director, has been the street, to the left of the Princess. While Ulrica (A Masked Ball) and Maddalena responsible for more than 7000 film and then taught at Eltham College, also managing * entrusted the Artistic Success of this National the Management cannot accept the With thanks to Neil Litchfield n (Rigoletto). Her final appearances in opera in television productions. their Artist-in-Residence program.

Page 48 ON STAGE Autumn 2010 Page 49 In 1984 Kerry and Sue Ingleton with Gillespie as lead dancer. Its repertoire Orchestra to create Ruby’s Story, which 1923 he took over Thomas’ piano shop in She was piano soloist with all the Australian floats for Sydney’s Mardi Gras Parade. co-produced Sue’s first big one-woman comprised classical ballets as well as documented her search for identity and Bourke Street. symphony orchestras, and others overseas. In 1998 Robinson moved to Adelaide show, A Chip off the Old Cock, at Kinsella’s in contemporary works and dance hope through songs about her past. It Kevin started his career with She wrote music for several children’s ballets where he worked on a vast range of projects, Sydney. Later, as Strip Jack Naked, it enjoyed interpretations of poetry. premièred at the Sydney Opera House in Melbourne radio station 3XY, juggling a and in 1969 composed music for the from awards ceremonies to shop interiors, successful seasons in Sydney and Melbourne The company toured throughout July 2004 and won a Deadly award for variety of broadcasting commitments with Australian Ballet’s Arena, choreographed by from fireworks shows to community and at the 1985 Edinburgh Fringe. Tasmania and the mainland. In 1974, with ‘Excellence in Film and Theatre Score’. behind-the-scenes music and sound work Jack Manuel. fundraisers. In 1987, with Lois Ellis, Kerry established federal and state government support, the Hunter died of a heart attack; Archie for Frank Thring at the Arrow Theatre, for As a freelance accompanist she played Ian Robinson is survived by his partner a producing partnership called Flash Rat, Tasmanian Ballet became fully professional. Roach survives her. the Little Theatre in South Yarra and for for J.C.Williamson’s and at the Princess, of 38 years, theatre photographer and designed to support and elevate women in In 1979 Gillespie resigned and his Melbourne University student productions. Tivoli and Union Theatres. lighting designer Peter Holderness. W theatre. For two years, though still teaching company disbanded. Gillespie moved to He became an expert in contemporary From 1987 to 2002 Nehama produced W full-time, Kerry produced a string of Newcastle, and in 1981 his studio became music, particularly Stravinsky and Walton. ‘Proms for Preps’—symphony concerts for challenging shows, mainly at the Universal the base for TasDance. Australia’s first Simon Leadley He produced and performed in several school children—under the auspices of the Theatre in Fitzroy. These included Pennies dance-in-education company, its role now presentations of Walton’s Façade, one of Arts Education Program at the Arts Centre. 28.10.1956–28.2.2010 Fritz Schulz Before the Holidays, After The Lions (with includes more theatre-based performance, which he issued on a highly acclaimed LP— In 2003–04 she presented her own one- Simon Leadley, one of Australia’s leading 10.12.1910–1.2.2010 Evelyn Krape) and pieces by Jan Friedl, Jan dancer development and community work. it was the world’s first complete recording woman cabaret show, It’s All New but audio craftsmen, has died of cancer. The circus world is mourning the loss of Cornall and a Steve J. Spears play, Glory. In 1989 Gillespie’s contribution to the of the score. Nothing’s Changed, for two seasons at Chapel Simon Charles Anthony Leadley was legendary animal trainer Fritz Schulz, who Friend and colleague Sue Ingleton international world of ballet was honoured After a spell broadcasting for the ABC, off Chapel and for the Jewish Festival of Arts. born in Henley on Thames, UK. His family has died at Ormeau, Queensland, in his described her as ‘A mover and a shaker at a with a knighthood of the Order of St John of he and the late Clifford Hocking took over Her involvement with music and dance, moved first to Melbourne then, when 100th year. time when no women were producing in Malta and Rhodes. Thomas’, transforming it into the city’s and particularly in the educational field, Simon was seven, settled in Sydney. Born in Germany, Schulz got his start as theatre. She could corral critics, get funding, leading classical record retailer. John earned Nehama the Medal in the Order of W He studied electronic engineering at a butcher with Europe’s biggest circus, scrounge sets and generally coerce all-and- Cargher, who worked there as manager, Australia in 1988, a Churchill Fellowship, UNSW and played rock guitar with several Sarrasani. He graduated to assistant animal sundry to make it happen. And if she wasn’t described it as: ‘A famous small “salon”, and the Avon Spirit of Achievement Award local bands. In 1976 he set up one of trainer, spent some time with Circus Knie, doing that she was a loyal member of the where you might be offered a cup of coffee, for Women in the Arts. Ruby Hunter Sydney’s first digital recording studio and then worked with the renowned trainer audience. If someone she knew was 31.10.1955–17.2.2010 not to mention stimulating conversation, attracted clients such as INXS, the Divinyls, W Alfred Court. He presented an animal act performing in a show, she was there to while buying a single LP. A Ngarrindjeri woman, Ruby Hunter was Midnight Oil, Icehouse and Do-Re-Mi and in Blackpool, England, in 1937 and 1938, support them. It mattered not if the show was Packed at all times, the shop was a born in South Australia, beside a Murray became a pioneer in digital mastering. toured Germany and Scandinavia, then in Melbourne, Sydney, London or Tasmania. music lovers’ paradise.’ River billabong. Simon introduced digital technology to Ian Robinson joined Ringling Bros and Barnum & Bailey And she never accepted a free ticket,’ In 1963 Kevin produced a ground- ‘When I was born,’ she said, ‘I was Australia’s largest children’s animation 9.7.1949–17.1.2010 in the US. He was interned in Baltimore Ingleton said. breaking series for the ABC, A Pageant of rubbed in the ashes and held up to the production company, Yoram Gross Films. Adelaide-based theatre and events designer during the war. ‘She was an original. She was one of the Australian Music. moon.’ She remembered singing with her In 1998 he set up a music-for-film division Ian Robinson has died of cancer. He started his 50-year Australian career Lords of Life.’ family at night, and the memories stayed with In his later years, Kevin devoted his W at Soundfirm, a production house at Born in Perth, Robinson was still at high in 1949, working first with Wirths’, then spare time to cataloguing the audio her after she was taken away as a child. Sydney’s Fox Studios. He was music editor school when he designed a production of Ashton’s and, later, Sole Bros. At the age of collection at the State Library of Victoria. Nevertheless, she became one of the nation’s for films such as Master and Commander, Oedipus Rex at His Majesty’s Theatre. He 74 he appeared in New Guinea with the In 2002 he donated to the library his Kenneth Gillespie most admired singers, a proud voice of Happy Feet, Australia and Moulin Rouge, for spent 1968 studying design at NIDA, and visiting South American Bruno’s Circus. extensive collection of papers and research 8.3.1929–8.2.2010 indigenous Australia and a compelling teller which he received a Hollywood Golden 1969 as resident designer at the Playhouse Schulz was best known as a lion and notes on music, the recorded sound Launceston-born dancer, choreographer and of stories. Reel Award. Theatre in Perth. elephant trainer, but he was equally expert industry and the history of Thomas’. teacher Kenneth Gillespie has died of It was at an Adelaide Salvation Army Leadley’s greatest creation was the He returned to Sydney in 1970 and for with tigers, leopards, jaguars, Himalayan stomach cancer in Newcastle. drop-in centre that Hunter met singer- Trackdown Scoring Stage at Fox Studios. W 12 years taught design and stagecraft at the and polar bears and dogs. Gillespie was 16 when he moved to songwriter Archie Roach. They became life Recognised as one of the five best National Institute of Dramatic Arts (NIDA). All through his long career Schulz never Melbourne to dance with the Borovansky partners and musical collaborators, going on orchestral recording rooms in the world, it He designed for Q Theatre, the sustained a serious injury. Ballet, where the role of Lieutenant Brandt to develop musical careers, separately and is a favourite venue for the Sydney Nehama Patkin OAM Independent, NIDA, Belvoir Street, Theatre ‘If a trainer is attacked,’ he said, ‘it’s his in The Black Swan was created for him. He together, that won admirers across the world. Symphony, the Australian Chamber 24.5.1939–26.3.2010 South and Nimrod—including Going Home own fault, never the animal’s. The trainer went on to dance with the English National Hunter made her acting début in the Orchestra, the Whitlams, John Mayer, the Nehama Patkin was one of this country’s (1977) and Travelling North (1979). He probably lost concentration.’ Ballet, the Royal Ballet, the Opéra Monte 1988 film Evil Angels. She was in an episode Angels and many more. most loved and most versatile musicians. designed Robyn Archer’s Songs from W Carlo and the New York City Ballet. In 1960 of Correlli (1995) and in 2001 appeared with Born in Melbourne, Nehama was the Sideshow Alley (Paris Theatre, 1980) and W he returned to live in Launceston, where he Paul Kelly in the film One Night The Moon. first student to graduate from Mount Sydney Theatre Company’s spectacular established Tasmania’s first dance school in She was also a key member of the Black Scopus Memorial College, which her father Sunny South (1980) and Cat on a Hot Tin On Stage also pays tribute to Peter a converted coach-house studio behind his Arm Band, the indigenous performing arts Kevin McBeath had founded. In 1959 she took a master’s Roof (1981). Graves, Betty Irvine, Minyak, Gloria grand Wellington Street home. collective that has toured the world and that 21.11.1924–23.3.2010 degree in music at Melbourne University, His work was also integral to Sugar Nord, Hayden Spencer and Robbie He shared his passion for dance with also features Roach, Shellie Morris, Jimmy Melbourne music has lost its ‘grand old where she studied piano with Roy Shepherd. Babies (1987), Lend Me a Tenor (1990), The Urban. thousands of students, including Graeme Little, Bart Willoughby, Ursula Yovich man’—broadcaster, performer, scholar and Nehama was one of the early members Wizard of Oz (1991), A Chorus Line (1994) Murphy, Michelle Hawkins, Natasha and others. music retailer Kevin McBeath. of the Playschool team on ABC–TV; she and The Secret Garden (1995). American actor Peter Graves died on Middleton, Claire McHugh and Glenn Her story was brought to wider attention Kevin’s father, Donald, was a noted went on to devise and present music Robinson’s other design commissions 15 March, aged 83. In 1960–61 he starred Murray. The students fed a performing when Hunter and Roach joined forces with Australian violinist who toured the world programs for children, both nationally and included casino productions at Surfers as Christopher Cobb in the Australian TV ensemble known as the Tasmanian Ballet, Paul Grabowsky and the Australian Art with renowned tenor John McCormack. In internationally, for more than 40 years. Paradise and in Korea and Malaysia, and series Whiplash; he went on to achieve *

Page 50 ON STAGE Autumn 2010 Page 51 fame as Jim Phelps in the now-legendary Compiled with contributions from Lee TV series Mission: Impossible (1966). Christofis, Circus Fans of Australasia Inc., Caroline Florance (TasDance), Peter Betty Tennis Irvine, died on 2 February Holderness, Sue Ingleton, Robert Mitchell, 2010, aged 88. For many years she was Charles Murray, Mervyn Nairn, Brian George Fairfax’s secretary at the Little Sutton, Lorraine Tropp and Jill Watson. n Theatre (later St Martin’s).

Minyak, Sole Bros Circus’ last remaining elephant, died in December 2009 at the Gus Perry family’s farm. goss O S A E Platinum blonde American ice skating Regular On Stage N T G beauty Gloria Nord, who died on 30 contributor Peter Pinne ISSN 1444-0156 December 2009, toured the Tivoli Circuit in was in Los Angeles 1959–60, starring in the revue Ecstasy on Ice during the recent Autumn 2010 and the pantomime Robinson Crusoe on Ice. earthquake. ‘I was in the Vol.11 No.2 She was 82. Ahmanson Theatre, watching Dreamgirls,’ he told me. ‘They Contents Hayden Spencer, a stalwart of St Martin’s were about to sing the last number in the $3m refit for Geelong’s Theatre, died in March 2010. He was 63. show when the scenery and lights started performing arts flagship...... 1 Robert ‘Robbie’ Urban, 62, was killed on swaying. Some audience members started High note for noted mezzo...... 4 18 December 2009 when crossing a road in leaving the theatre, but the actors kept on Victoria victorious...... 4 Luddenham, NSW, where he was appearing singing. I never actually felt it—I think I was The boys from Jersey and the lady with Weber’s Circus. He was a member of too immersed in the show—but I realised from Mtsensk go gloriously Green 5 the famous Urban troupe—a family of what was happening. I stayed until they No escaping the Houdini magic.... 6 Hungarian teeterboard artists who came to finished the song and then fled. It’s a In the Ath pit...... 7 Australia for Sole’s in the 1970s and for production of Dreamgirls I’ll never forget!’ Sir Seymour remembers some time ran their own circus here. - Gus, the theatre cat Dame Nellie...... 8 Just a Mo...... 10 News from the Performing Arts Collection...... 12 ‘Everybody had a good time’...... 13 Dedicated to the preservation, renovation and promotion of our theatre heritage. The search for Syria...... 17 Annual subscription Remember this pic?...... 18 Reprieve for ‘significant icon’...... 19 Individual: $40* Life membership (includes Melbourne stage-by-stage...... 20 Student (requires ID): $20* postage and handling): $750 The making of Edna and Sandy.. 22 Family/Couple: $50* *Overseas members add $25 Corporate: $75* to cover postage and handling. Gus goss...... 24 Non-profit organisation: $40* All costs are in Australian dollars. Percy would be pleased!...... 25 Contacting us: By mail: The Secretary, Theatre Heritage Australia Inc., The Maj you’ve never seen...... 27 PO Box 382, Malvern, Victoria 3144, Australia Winging it...... 28 By e-mail: [email protected] All the world’s a stage...... 30 Letters to the Editor...... 33

On Stage is published quarterly by Theatre Heritage Australia Inc. Editor: David Cullinane. In the limelight...... 34 The contents are subject to copyright for both text and illustrations and are not to be reproduced Only Heaven Knows 36 by any means, including print or electronic media without prior permission of the copyright fortyfivedownstairs...... 40

holder(s). Information published in On Stage is done so in good faith. THA does not accept The good old days of Sorlie’s...... 42 responsibility for any errors which may occur but would be pleased to correct any error First reading...... 43 or omission. A close look at The Alexander Technique...... 44 Deadline for articles and pictures for the Winter issue of On Stage is Friday, 30 July 2010. ‘I live at the Tiv.’...... 45 Send them to The Editor at the above postal or e-mail address. A Shrine to Things Well Done.... 47 Every effort will be made to return any hard copy illustrations if a specific request is made to do Exeunt...... 49 so, but no responsibility will be taken over their return. Digital images are acceptable at 300dpi Gus goss...... 52 © April 2010

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