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Trust News Is Published Quarterly by the Australian Elizabethan Theatre Trust, 153 Dowling Street, Polts Point, N.S.W

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Trust News Is Published Quarterly by the Australian Elizabethan Theatre Trust, 153 Dowling Street, Polts Point, N.S.W tl the australian elizabethan theatre trust PATRON: HER MAJESTY THE QUEEN. PRESIDENT: Colonel Aubrey H. L. Gibson, E.D. VICE-PRESIDENTS: Sir James Darling, C.M.G., O.B.E., Sir Warwick Fairfax, Sir Robert Knox. CHAIRMAN: Sir Ian Potter. DIRECTORS: A.C.T. Professor J. A. Passmore. N.S.W. Claude Alcorso, Mrs. P. W. E. Curtin, Miss Margaret Gillespie. Sir Charles Moses, C.B.E., Maurice Parker, Dr. Lloyd Ross, O.B.E. P. Sonnino, Maurice C. Timbs. QLD. L. W. H. Butts, C.B.E., Sir Reginald Groom. If you'd like to change your S.A. N. F. Hopkins, C. J. Legoe, Bruce Macklin, O.B.E. holiday routine, we'll make TAS. sure you get the holiday of your J. B. Piggott, C.B.E., Sir Peter Lloyd, Ald. C. G. Pryor, M.B.E. lifetime. No matter where you VIC. want to go, or what you want to Hon. Vernon Christie, M.P., Mrs. F. Massy Burnside, Albert Monk, C.M.G., Sir George Paton, Miss M. E. Roper, N. R. Seddon, C.B.E., do - on a package holiday - a Sir Arthur Smithers, C.B.E. personally escorted holiday - or W.A. Emeritus Professor Frederick Alexander, C.B.E., T. A. S. James. a tailor-made holiday. See your Travel Agent, or any office GENERAL MANAGER: of Ansett Airlines of Australia. Jeffry Joynton-Smith. SECRETARY: Colonel John McCaffrey. ADMINISTRATOR OF ENTREPRENEURIAL ACTIVITIES: Tony Gould. DIRECTOR OF PUBLICITY: Hugh McGowan. PRODUCTION MANAGER: Peter Smith. MEMBERSHIP: Linda Jacoby. MANAGER OF SUBSCRIPTIONS: Noel Laughton. HEAD OFFICE: 153 Dowling Street, Potts Point, N.S.W. 2011. Telephone: 357 1200. VICTORIAN REPRESENTATIVE: James Mills. OFFICE: 163 Spring Street, Melbourne, Victoria 3000. Telephone: 6622911. SOUTH AUSTRALIAN REPRESENTATIVE: Miss Margaret Morris. OFFICE: 1st Floor, Central Market Building, 45-51 Grote Street, Adelaide, S.A. 5000. Telephone: 51 8444. ANSETT AIRLINES OFAUSTRALIA QUEENSLAND REPRESENTATIVE: , a million holiday ideas John Devitt, O.B.E. ~ OFFICE: S.G.1.0. Theatre, Turbot Street, Brisbane, Qld. 4000. Telephone: 21 9528. A.C.T. REPRESENTATIVE: Professor J. A. Passmore, C/- Australian National University, Canberra, FRONT COVER: Jack Murdock as Bentley in the Hartford (Conn., A.C.T. 2600. U.S.A.) Stage Company's production of Alex WESTERN AUSTRALIAN REPRESENTATIVE: Buzo's ROOTED. Emeritus Professor F. Alexander, C.B.E., 77 Victoria Avenue, Claremont, W.A. 6010. Telephone: 86 3443. DESIGNED BY~ TASMANIAN REPRESENTATIVE: John Unicomb, Theatre Royal, 29 Campbell Street, Hobart 7000. Telephone: 34 6266. PRINTED BY MASTERCRAFT PRINTING The Elizabethan Trust News is published quarterly by The Australian Elizabethan Theatre Trust, 153 Dowling Street, POltS Point, N.S.W. 2 THE ELIZABETHAN TRUST NEWS-JUNE 30, 1972 THREE PLAYWRIGHT! and their mark on our theatre by Kevan Kemp" The recent great revival in Australian theatre is Until big commercial seasons are possible in Buzo's eyes suddenly lit with recollected humour. now so evident and so accepted that it has no Australia for his own and other local writers' "I don't think I acted on anyone's suggestions news value at all. Only theatre critics seem to plays, Buzo sees the best return for writers in at the workshop." get at all excited about it, about the fact that overseas productions. The February production Alex Buzo is often tagged as being occupied the four or five main subsidised drama com­ of ROOTED at the Hartford Stage Company, with Australian "mateship" but this is not the panies now draw more paying audience than all Connecticut, a modest season by Broadway stan­ whole truth. Though mateship is an element of the country's music concerts and recitals, more dards, stilI was able to return him some hundreds the Australian life, Buzo is, as ROOTED shows than opera, more than ballet-though these other of dollars a week. particularly, also very concerned with what lies arts have much greater subsidy than drama. ROOTED is shortly to have an off-Broadway behind the apparent features of our style. Critics, too, tend to be pleased at the way in production in New York, and German theatres There are ghosts littering the physical Australian which the theatre audiences in Australia have will be playing it as well as THE FRONT landscape-the hundreds of thousands of Abori· been growing younger in average age; with some ROOM BOYS. Buzo is very happy with this gines directly or indirectly killed by settlers as leading companies more than half their audiences internationalism; it is the way overseas play­ close to us as our grandfathers; the plunder and are 22 years of age or younger. Although these wrights work-living and writing in one country, erosion of the soil; the brothels and brawls of big audiences are coming to see, for the most but getting returns from productions all over the gold days, bawdinesses most people seem part, a calculated blend of classics and out­ the world. still to wish kept hidden. standing contemporary plays, they are also seeing His latest play, MACQUARIE, has just been In the same manner, ghosts are littering the more and more new Australian plays. Amongst prOduced by the Melbourne Theatre Company, minds and personalities of contemporary Aus­ well-known names like Moliere and Brecht, a where Buzo is spending a year as the company's tralians-racism, intolerance, insecurity, la.ck of good handful of new and Australian identities resident playwright. MACQUARlE was a de­ charity to others. From his first success, the are finding their plays sprinkled into the re­ parture for Buzo, but he says "I wanted to do short play NORM AND AHMED, Alex Buzo pertoire; authors such as John Romeril, Alex it. The Australia around us now is pretty fas­ has been worrying at these shadows in the Aus­ Buzo, David Williamson, Michael Boddy, Jack cinating, but so is the past Australia, and I tralian make-up. Not in any overtly moralistic Hibberd, and Barry Oakley are finding that at found Macquarie a good example of the man or didactic way, but by holding a very bright least some success seems prepared to come their with good intentions who goes wrong in their mirror up to the people around us. way quite quickly on their native country's stages. execution." Buzo has, and this is a distinguishing feature Of these writers, Buzo, Oakley and Williamson This play was worked over very thoroughly in of almost all the current group of younger play· are distinctive and special samples; it is worth a director and actor workshop, and I asked wrights, a remarkable ear for the rhythms and the playgoer's time to look at them in turn. Buzo how he felt about this sort of notion, of words of vernacular Australian. ALEX BUZO has already set some sort of a having others pass their opinions on his work. Recently, in Melbourne, after seeing a produc­ literary record for this country by having been, I mentioned Eugene O'Neill's attitude, which by tion of ROOTED there, I was sitting in the bar for some time, a purely professional playwright. and large was one of complete refusal to alter at the airport and next to a table of young men. A cordial, beautifully self-contained young a line of his plays to please a producer or They discussed their girl friends, their cars, and married man, Buzo rather enjoys telling people actor. If the writing's rough, said O'Neill, then their skis-and each topic was mainly expressed of a lunchtime pub talk with a watersider, met it's rough; the roughness is part of me as well in figures. The dialogue was abSOlutely fascinat­ casually, whose astonishment that anyone could as the smooth; and the great man would not be ing; when it wasn't pure Buzo it was equally actually earn a living from writing plays was altered or cut or sandpapered. Buzo's reply pure Jack Hibberd. complete. reassured me: "You don't have to take any In real life we are apt to overlook such people This professionalism is important for Buzo; he notice," he said. "I found it very valuable, be­ altogether; the importance of Buzo is that he puts feels it is imperative to be able to be free to cause I could see in front of me how the play them up before us, and shows us exactly where write his plays, and to be able to earn enough shaped, and I could see for myself where I they fit into the Australian mosaic, and what from them for a reasonably secure life. He has felt things might be changed. Certainly, actors their relative importance is to the pattern. been rewarded by several overseas productions and directors make suggestions, sometimes many After ROOTED the people around one in an of his plays-THE FRONT ROOM BOYS and of them, but it's up to oneself to weigh them." Australian city or suburb are no longer the ROOTED have had English and U.S. staging, Behind the thin silver rimmed spectacles that same; the playwright has turned all the stereo· and others are to come. make a modish contrast to his ebullient hairstyle, types around and shown us the seamy and sinis- 1. Alex Buzo 2. Barry Oakley 3. David Williamson THE ELIZABETHAN TRUST NEWS-JUNE 30, 1972 3 ter patchwork that lies behind the hail-fellow relations, and presently is a writer for the Depart­ think I got about sixty-five dollars for Mannix" front. ment of Trade. said Oakley, " but I d~n't grudge that, I was ve;y Buzo has recently finished the first draft of his Quietly radical in his views, Oakley supports and glad for them to do It." draws support from avant-garde, community­ latest play, TOM, and with another distinguished Williamson, for a time, drew a salary from the Australian, Michael Blakemore, is working on a politics-oriented Australian Performing Group, who, in their once very crude Pram Factory A.P.G.
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