DOCSLIB.ORG

CROWN MATRIMONIAL - a Royal Drama

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

JULY, 1985 Vol 9 No 6 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust CROWN MATRIMONIAL - A Royal Drama The original cast of CRO WN MA TRIMONIAL Matthew O'Sullivan as the Duke of York, June Salter as Queen Mary and John Hamblin as Edward VIII (seated left to right) Beris Marsh as the Duchess of York, Gai Smith as the Duchess of Gloucester, Brian Hinselwood as the Page, Faye Donaldson as Mabell, the Countess of Airlie, Kay Eklund as The Hon. Margaret Wyndham and Fay Kelton as the Princess Royal (standing left to right) CROWN MATRIMONIAL by penetrating study of the Royal Family Queen Mary and Edward VIII. Frank Royce Ryton during the love affair between HRH King Harris in the Daily Mirror described June Directed by Peter Williams Edward VIII and Mrs. Wallis Simpson. Salter's earlier portrayal of Queen Mary Designed by Derrick Cox . There are no surprises in the plot. The as a "dignified and petrifying picture of a Costume Design by Judith Dorsman story of the abdication of Edward VIII is rigid tradition-bound head of a family". Cast: June Saiter, John Hamblin, Faye part of history, but the play has attracted Members are invited to see CROWN Donaldson, Kay Eklund, Claire enormous attention since it was first stag­ MATRIMONIAL at five special perfor­ Crowther, Jane Seaborn, Antony Wad­ ed for the Queen's Jubilee. Its fascination mances when a $6.00 discount per ticket dington, Virginia Rooksby is in the treatment of the story by the applies. You may purchase as many Playhouse, Sydney Opera House playwright. He looks behind the tickets as you wish at these special perfor­ headlines to show the private agony of mances. See Member Activities page 9 for hillip Street Theatre director Peter the Royal Family. The follies of royalty pre-theatre dinner on October 8. Williams will remount CROWN are the follies of any family in a crisis the P BOOKING INFORMATION MATRIMONIAL for a season at the play argues. It is a touching expression of Tue Oct 1 to Sat Oct 26 Sydney Opera House in October. A human passion and anger. 'The love, the Tue to Sat at 8 p.m. director of wide-ranging talents in many tenderness, the respect, the tension, the Wed and Thu at 11 a.m. facets of theatre, Peter Williams' produc­ heartbreak, bring in turn gentle amuse­ Sat at 2 p.m. tions of CROWN MATRIMONIAL have ment or a catch in the throat," said AETT $19.90 Oct 8, 9, 10 (8 p.m.), been one of his major successes and have Norman Kessell reviewing the 1978 pro­ 5 (2 p.m.) and 10 (11 a.m.) toured nationally. duction in the Sunday Telegraph. $24.90 (other performances) CROWN MATRIMONIAL is set in The 1985 production will retain G.P. $25.90 Pens/Stud $14.90 the grandeur and privacy of Queen several cast members from the original I·' Mary's London sitting room, production including June Salter and Two AETT tickets per member (except Oct 5, 8, 9 and 10) Marlborough House, in 1936 and is a John Hamblin in the principal roles of 2 ductIon in The Australian, Helen Thom­ son said, "This is a fine production Lamond and Sheldon intriguing, visually fascinating, making a together on stage classic play accessible and enjoyable." THE MISANTHROPE's themes of MADONNA AND CHILD, written and pretentiousness, corruption and self directed by Tony Sheldon interest may be set in the 17th century bu Musical director: Ron Creager are still relevant today. Cast: Toni Lamond, Tony Sheldon, Ron Creager BOOKING INFORMATION Off Broadway T,heatre Wed Aug 28 to Sat Oct 12 " Mon to Sat at 8 p.m., Wed at 1 p.m., fter 10 years living and working in Sat at 2 p.m. A Los Angeles, Toni Lamond has AETT $13.50 (Aug 23 and Aug 27) returned to the Australian stage to play $17.00 herself in the Off Broadway Theatre pro­ G.P. $19.00 duction, MADONNA AND CHILD, Pens/Stud $13.00 opening on July 19. Two AETT tickets per member It's very much a family affair. The play with music was written by and co­ Robert Meldrum, David and Julie Forsyth stars her son, Tony Sheldon, and is the in Anthill's THE MISANTHROPE Photo by Jeff Bushby Alvin Ailey Tour true story of their real-life relationship. They last appeared on stage together in !though preferential bookings have 1966 in OLIVER - with Tony aged 9 Moliere's Misanthrope A now closed for the Sydney season of joining the chorus during school this remarkable American dance com­ holidays. THE MISANTHROPE by Moliere pany, members can still order tickets. The show includes monologues, solilo­ Directed by Jean-Pierre Mignon for the They will be given the best available seats quies and songs. "They (the audience) Australian Nouveau Theatre at the time of booking. If no A Reserve think they're coming to see a cabaret," Designed by Wendy Black seats remain then you will be contacted. says Tony. "In reality we pull the rug out Lighting design by Mark White Enclosed with this edition of Trust News from under them and give them what Cast: Robert Meldrum, Chris Ferguson, is a brochure on the company. Please they don't expect . " Bruce Keller, Julie Forsyth, Verity Hig­ ,disregard booking instructions. Members gins, Robert Lyon, Faruk A vdi, David should order their tickets in the usual way BOOKING INFORMATION Jobling, David Goldstraw and Gillian on the enclosed grey form. Seamer Friday July 19 to Sat Aug 10 Wharf Theatre Tue to Sat at 8:30 p.m. Sat mat at BOOKING INFORMATION 4 p.m. Performances: Evenings at 7.30 p.m. AETT discount $1 .00 fter .15 years of to~ring the Fre~ch Matinees at 2 p.m. Bookings on 692 0964 A prOVInces as a comIC actor runmng Programme A: Aug 20,29, 31 his own troupe, Moliere finally received Programme C: Aug 21, 24, 30, 31 (mat) the royal patronage of Louis XIV. A Programme B: Aug 22, 23 and 27 happy ending? Not quite. Moliere stirred Programme M: Aug 24 (mat), 28 .. up several hornets' nests in the court. Of Special Youth (under 26) performance the three plays he wrote and presented of Programme M: Mon Aug 26 at New Actress joins between 1664 and 1666, the first TAR­ 6.30 p.m. TUFFE was banned because it upset the AETT $32.00 the Theatre of Deaf clergy; the second DON JUAN was too G.P. $38.00 Pens/Stud $27.00 close to home for some court members in Youth (Aug 26) $20.00 arole Noonan has joined the its tale of an insatiable womaniser and Two AETT tickets per member C Theatre of the Deaf to perform was banned after fifteen performances. in ODD BODS, a new play for infant Only THE MISANTHROPE ran a full schoolchildren written by Richard season. Tulloch. Carole takes the place of To be presented by the Sydney Theatre Barry Humphries Show Colin Allen who has left Australia to Company, THE MISANTHROPE has attend the National Theatre of the been mounted by Jean-Pierre Mignon for arry Humphries returns to Sydney in Deaf's Summer School in Connec­ Melbourne's Australian Nouveau B September to present a new show, ticut, USA. Colin also hopes to work Theatre (commonly known as Anthill). TEARS BEFORE BEDTIME, at Her with deaf theatre companies in the Anthill has frequently been acclaimed for Majesty's Theatre. At the time of going USA. its innovative and startling approach to to press we had no further information. For information on and bookings the classics, including Moliere's DON Members wishing to book should for the Theatre of the Deaf's schools' JUAN for the 1984 Adelaide Festival. therefore contact the Membership office programmes, contact Richard Reviewing the original Melbourne pro- on 357 1200 for details. Payten on 357 1200. -iii -- TRUST MEMBER BOOKING COUPON I My cheque for $ is attached made payable to AETT I MR/MRS/ MISS/ MS I or charge my 0 Bankcard 0 Mastercard 0 Visa Expiry date PLEASE PRINT FULL NAME I I I I I II I I I II I I I .11 I I I I [-I ADDRESS POSTCODE I I Name Signature TELEPHONE (day) (evening) AETT MEMBERSHIP No. _______ (IN CASE WE NEED TO CALL YOU ABOUT YOUR ORDER) ! I enclose a stamped addressed envelope for return of tickets ~ I I SHOW/EVENT/ITEM 1st PREFERENCE 2nd PREFERENCE STALLS OR PRICE PER No. OF TIME TOTAL FOR OFFICE (DAY & DATE) (DAY & DATE) -------------------------------~--DRESS CIRCLE TICKET TICKETS USE ONLY BOOKING INSTRUCTIONS: Please add handling fee of60c per ticket purchased to total ticket price. Perfonnance SEND COUPON TO: and price infonnation is given at the foot of each article in Trust News. AETI Membership Office in your capital city SUBTOTAL $ If you wish to book tickets for another Trust Member please quote their membership number alongside yours so that you PO Box 137, Kings Cross, Sydney 2011 357 1200 + HANDLING can obtain the extra tickets at the Trust Member price. Although you are nonnaUy restricted to two tickets at T.M. price GPO Box 438C, Melbourne 3001 690 8384 FEE OF60c $ there is no restriction on the number of tickets you may purchase at the general public or pensioner/student price. GPO Box 1618, Brisbane 4001 221 9528 PER TICKET SPECIAL SEATING REQUIREMENTS: Ifthrough disability you have any special seating requirements, please 28 Fifth Ave, St P~ters , Adelaide 5069 3629576 contact your local membership office for inclusion in our disability register.
Recommended publications
  • Programmes, Visiting Artists and Companies Ephemera PR8492/1950-1959 to View Items in the Ephemera Collection, Contact the State Library of Western Australia

    Programmes, Visiting Artists and Companies Ephemera PR8492/1950-1959 to View Items in the Ephemera Collection, Contact the State Library of Western Australia

    Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D 1950 January Marquee Puss in Boots Bruce Carroll Bruce Carroll Eric Maxon 0 Theatre Edgar Rogers Noreen Rogers ____________________________________________________________________________________________________________________ April 10 His Majesty's "Annie Get Leo Packer Carl Randall J.C.Williamson Victor Carell 1 Theatre Your Gun" Theatres Ltd Wendy Selover Irving Berlin Wilfred Stevens ____________________________________________________________________________________________________________________ May 25 His Majesty's The Mikado Leo Packer Anna Bethell J.C.Williamson Jon Dean 1 Theatre Gilbert & Theatres Ltd Richard Walker Sullivan Leslie Rands Ivan Menzies Bernard Manning Muriel Howard Marjorie Eyre Nancy Rasmussen Evelyn Gardiner Richard Bengar ____________________________________________________________________________________________________________________ June 3 His Majesty's Pirates of Leo Packer Anna Bethell J.C.Williamson John Dean 2 Theatre Penzance & Theatres Ltd Helen Roberts Trial by Jury Evelyn Gardiner PR8492/1950-1959 Page 1 of 40 Copyright SLWA ©2011 Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D Gilbert & Sullivan Leslie Rands Richard
  • Barry Humphries (1934 - ) 2

    Barry Humphries (1934 - ) 2

    AUSTRALIAN EPHEMERA COLLECTION FINDING AID BARRY HUMPHRIES PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 Barry Humphries was born in Melbourne on the 17th of February 1934. He is a multi-talented actor, satirist, artist and author. He began his stage career in 1952 in Call Me Madman. As actor he has invented many satiric Australian characters such as Sandy Stone, Lance Boyle, Debbie Thwaite, Neil Singleton and Barry (‘Bazza’) McKenzie - but his most famous creations are Dame Edna Everage who debuted in 1955 and Sir Leslie (‘Les’) Colin Patterson in 1974. Dame Edna, Sir Les and Bazza between them have made several sound recordings, written books and appeared in films and television and have been the subject of exhibitions. Since the 1960s Humphries’ career has alternated between England, Australia and the United States of America with his material becoming more international. Barry Humphries’ autobiography More Please (London; New York : Viking, 1992) won him the J.R. Ackerley Prize in 1993. He has won various awards for theatre, comedy and as a television personality. In 1994 he was accorded an honorary doctorate from Griffith University, Queensland and in 2003 received an Honorary Doctorate of Law from the University of Melbourne. He was awarded an Order of Australia in 1982; a Centenary Medal in 2001 for “service to Australian society through acting and writing”; and made a Commander of the Order of the British Empire for "services to entertainment" in 2007 (Queen's Birthday Honours, UK List). Humphries was named 2012 Australian of the Year in the UK. The Barry Humphries PROMPT collection includes programs, ephemera and newspaper cuttings which document Barry Humphries and his alter egos on stage in Australia and overseas from the beginning of his career in the 1950s into the 21st Century.
  • Australian Radio Series

    Australian Radio Series

    Radio Series Collection Guide1 Australian Radio Series 1930s to 1970s A guide to ScreenSound Australia’s holdings 1 Radio Series Collection Guide2 Copyright 1998 National Film and Sound Archive All rights reserved. No reproduction without permission. First published 1998 ScreenSound Australia McCoy Circuit, Acton ACT 2600 GPO Box 2002, Canberra ACT 2601 Phone (02) 6248 2000 Fax (02) 6248 2165 E-mail: [email protected] World Wide Web: http://www.screensound.gov.au ISSN: Cover design by MA@D Communication 2 Radio Series Collection Guide3 Contents Foreword i Introduction iii How to use this guide iv How to access collection material vi Radio Series listing 1 - Reference sources Index 3 Radio Series Collection Guide4 Foreword By Richard Lane* Radio serials in Australia date back to the 1930s, when Fred and Maggie Everybody, Coronets of England, The March of Time and the inimitable Yes, What? featured on wireless sets across the nation. Many of Australia’s greatest radio serials were produced during the 1940s. Among those listed in this guide are the Sunday night one-hour plays - The Lux Radio Theatre and The Macquarie Radio Theatre (becoming the Caltex Theatre after 1947); the many Jack Davey Shows, and The Bob Dyer Show; the Colgate Palmolive variety extravaganzas, headed by Calling the Stars, The Youth Show and McCackie Mansion, which starred the outrageously funny Mo (Roy Rene). Fine drama programs produced in Sydney in the 1940s included The Library of the Air and Max Afford's serial Hagen's Circus. Among the comedy programs listed from this decade are the George Wallace Shows, and Mrs 'Obbs with its hilariously garbled language.
  • Phillip Street Theatre

    Phillip Street Theatre

    COLLECTION FINDING AID Phillip Street Theatre Performing Arts Programs and Ephemera (PROMPT) Australian ColleCtion Development The Phillip Street Theatre (sucCeeded by the Phillip Theatre) was a popular and influential commercial Sydney theatre and theatriCal Company of the 1950s and 1960s that beCame well known for its intimate satiriCal revue produCtions. William Orr was the Company’s founding DireCtor of ProduCtions, and EriC DuCkworth was General Manager. After taking over the MerCury Theatre in Phillip Street, William Orr re- opened it as the Phillip Street Theatre in 1954, presenting a series of “Phillip Street Revues” and children's musicals, including Top of the Bill and Hit and Run (both 1954), Willow Pattern Plate (1957), Cross Section (1957-58), Ride on a Broomstick (1959), Mistress Money (1960). These featured many noted Australian performers, many who later went on to beCome well known film, theatre and television personalities, inCluding Gordon Chater, Margot Lee, Barry Creyton, Jill Perryman, Noeline Brown, Robina Beard, Judi Farr, Kevin Miles, Charles "Bud" Tingwell, Ray Barrett, Ruth CraCknell, June Salter, John Meillon, Barry Humphries, Reg Livermore, Peter Phelps, and Gloria Dawn. The Phillip Street Theatre was demolished at the time of Out on a Limb with Bobby Limb and Dawn Lake in 1961, and the Company moved to the Australian Hall at 150 Elizabeth Street, near Liverpool Street. The Company's name was then shortened to the Phillip Theatre in reCognition of this move. Content Printed materials in the PROMPT ColleCtion include programs and printed ephemera such as broChures, leaflets, tiCkets, etC. Theatre programs are taken as the prime doCumentary evidenCe of a performanCe at the Phillip Street Theatre.
  • A STUDY GUIDE by Katy Marriner

    A STUDY GUIDE by Katy Marriner

    © ATOM 2012 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN 978-1-74295-267-3 http://www.theeducationshop.com.au Raising the Curtain is a three-part television series celebrating the history of Australian theatre. ANDREW SAW, DIRECTOR ANDREW UPTON Commissioned by Studio, the series tells the story of how Australia has entertained and been entertained. From the entrepreneurial risk-takers that brought the first Australian plays to life, to the struggle to define an Australian voice on the worldwide stage, Raising the Curtain is an in-depth exploration of all that has JULIA PETERS, EXECUTIVE PRODUCER ALINE JACQUES, SERIES PRODUCER made Australian theatre what it is today. students undertaking Drama, English, » NEIL ARMFIELD is a director of Curriculum links History, Media and Theatre Studies. theatre, film and opera. He was appointed an Officer of the Order Studying theatre history and current In completing the tasks, students will of Australia for service to the arts, trends, allows students to engage have demonstrated the ability to: nationally and internationally, as a with theatre culture and develop an - discuss the historical, social and director of theatre, opera and film, appreciation for theatre as an art form. cultural significance of Australian and as a promoter of innovative Raising the Curtain offers students theatre; Australian productions including an opportunity to study: the nature, - observe, experience and write Australian Indigenous drama. diversity and characteristics of theatre about Australian theatre in an » MICHELLE ARROW is a historian, as an art form; how a country’s theatre analytical, critical and reflective writer, teacher and television pre- reflects and shape a sense of na- manner; senter.
  • The Life and Times of the Remarkable Alf Pollard

    The Life and Times of the Remarkable Alf Pollard

    1 FROM FARMBOY TO SUPERSTAR: THE LIFE AND TIMES OF THE REMARKABLE ALF POLLARD John S. Croucher B.A. (Hons) (Macq) MSc PhD (Minn) PhD (Macq) PhD (Hon) (DWU) FRSA FAustMS A dissertation submitted for the degree of Doctor of Philosophy University of Technology, Sydney Faculty of Arts and Social Sciences August 2014 2 CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student: Date: 12 August 2014 3 INTRODUCTION Alf Pollard’s contribution to the business history of Australia is as yet unwritten—both as a biography of the man himself, but also his singular, albeit often quiet, achievements. He helped to shape the business world in which he operated and, in parallel, made outstanding contributions to Australian society. Cultural deprivation theory tells us that people who are working class have themselves to blame for the failure of their children in education1 and Alf was certainly from a low socio-economic, indeed extremely poor, family. He fitted such a child to the letter, although he later turned out to be an outstanding counter-example despite having no ‘built-in’ advantage as he not been socialised in a dominant wealthy culture.
  • Bracken's Back - Spreading Sunshine

    Bracken's Back - Spreading Sunshine

    OCTOBER, 1987 Vol 11 No 9 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust Eddie Bracken as Willie Clarke in THE SUNSHINE BOYS Bracken's back - spreading sunshine THE SUNSHINE BOYS blades (he can't hold with his shaking As well as the comedy we can always by Neil Simon hands). It is the role played by Walter expect from Neil Simon this play also Directed by Eddie Bracken Matthau in the film version of the play. has touches of pathos. It has been writ­ Cast includes: Eddie Bracken, Ray Eddie Bracken knew the two men ten out of love and deep affinity with Barrell, Pat McDonald and John portrayed in the play and claims never the theatrical scene and temperament. The New York Daily News said of the Orscik to have heard even a cross word pass between them. But altercations and play "another hit for Simon in this resh from his success in the lead role conflict make for interest and fun in the shrewdly balanced, splendidly per­ F of SUGAR BABIES which has just play. formed and rather touching slice of completed a national tour for the Trust, Ray Barrett plays Willie's partner Al showbiz life". Lewis, the role played by the-still-alive­ Eddie Bracken will direct and star in BOOKlNG INFORMATION THE SUNSHINE BOYS which comes after-all-these-years, George Bums. Pat McDonald will be returning to the stage Her Majesty's Theatre to Sydney's Her Majesty's Theatre next Tue Nov 24 to Sat Dec 12 month. Eddie Bracken plays Willie after five years as Aunt Fiona in TV's Mon to Sat at 8 p.m.
  • Manyfaces of Inspiration Conversations on Australian Creativity

    Manyfaces of Inspiration Conversations on Australian Creativity

    William Barton Bruce Beresford Tony Bilson Wendy Blacklock Joan Carden Geoffrey Chard David Clarkson Michael Crouch Rosemary Crumlin Tania De Jong Ross Edwards Robert Gard Stephen Kovacevic Greta Lanchbery Justin Macdonnell David Malouf John McCallum Elisabeth Murdoch Ted Myers Roland Peelman Helena Rathbone Rodney Seaborn John Shaw ManyFaces of Inspiration Conversations on Australian Creativity Dinah Shearing Rachael Swain ANTONY Ken Tribe Googie Withers JEFFREY Martin & Peter Wesley-Smith Many Faces of Inspiration — Antony Jeffrey.indd 1 2/09/10 4:52 PM ntony Jeffrey has worked A in arts management since 1975 when he joined the Australia Council as Music Board director. He was the first general manager of the Australian Chamber Orchestra and for many years has maintained a close association with the orchestra. Prior to that he was commercial manager of the Australian Opera. More recently he was general manager of the Song Company until 2009. He originally trained as an accountant with Price Waterhouse, where he worked in Australia and overseas until his passion for music seduced him into the professional music scene. Since that time, in addition to his executive appointments, he has worked as director or consultant to many arts organisations including the Australian Ballet, Melbourne Theatre Company, Lyric Opera of Queensland, Musica Viva, Australian Brandenburg Orchestra and the Australian Elizabethan Theatre Trust. He has been a leader in establishing philanthropy, corporate sponsor- ship and strategic planning in the arts in Australia, publishing several books in this field, notably 101 Good Ideas for Assisting the Arts. He was appointed a Member of the Order of Australia in 2008 for his services to the arts.
  • Lindsay Hardy

    Lindsay Hardy

    Lindsay Hardy the man who wrote from Lindsay Street Victor Harbor —via Adelaide & Sydney— to the Middle East, North Africa, New Guinea, to Adelaide, Melbourne, Sydney, North America —Vancouver, Hollywood, Toronto, New York— to London, Sydney, to permanent expatriacy in London Peter Adamson To Angus ‘Gus’ Dodd of the 2/48th, who, typical of the vast majority of diggers, said so little of his war service that it was only when I researched Hardy’s life that I gained an inkling of what he endured. ©2014 Peter David Adamson 7 Horn Court, Walkerville. South Australia. 5081. <[email protected]> (08) 8344-3709 2 Lindsay Hardy was Australia’s finest writer of suspense thrillers for radio. Born in Victor Harbor, South Australia, he moved to Sydney, joined the army in December 1939, was wounded twice (once in North Africa and again in New Guinea), returned to Australia, and began writing radio serials. He and his serials soon became household names. He then sought fame in Hollywood and was successful, until McCarthyite hysteria saw him refused residential status. Disappointed, he moved to Cana- da and London; came back to Sydney, then finally, with very little work in Australian radio and television for writers of drama, re- turned to England and permanent expatriacy. 3 Lindsay Hardy the man who wrote Contents Preface 5 Acknowledgments 7 Introduction: Who was Lindsay Hardy? 9 1. Starting points: from Lindsay Street Victor Harbor to Sydney 12 September 1914-December 1939 2. To World War II: the Middle East and New Guinea 15 December 1939-November 1943 3.
  • Nat Phillips' Whirligigs

    Nat Phillips' Whirligigs

    NAT PHILLIPS' WHIRLIGIGS aka Nat Phillips Revue Company / Snapshots Revue Company A specialist revusical (and later a revue) company, the Whirligigs was founded by Nat Phillips immediately after he and Roy Rene ended their Stiffy and Mo partnership in 1925. The troupe initially featured Phillips as Oscar the Aussie and Harry Huley as Percy the Pom. Phillips later teamed up with Jack Kellaway to form the partnership "Stiffy and 'Erb." He revived the Whirligigs immediately after he and Rene split for the final time in 1928. It was renamed the Nat Phillips Revue Company in 1930. Around that time he was also working in partnership with comedian Stan Foley (as "Stiffy and Stud"). The following year he and Joe Lawman became "Stiffy and Joe," followed a few months later by "Stiffy, Joe and Syd" (with Syd Beck). The troupe disbanded in 1932 following the unexpected death of its leader. Nat Phillips and Roy Rene's played their last show together in 1925 on 17 July. The split occurred during Stiffy and Mo's Adelaide season. With advertising already booked Phillips continued to present the Stiffy and Mo Revue Company without his former partner, who was at that time reportedly indisposed."1 A week later, with little fanfare Phillips announced his "newly organised musical comedy company" and heavily promoted it as a "season of joy and gladness" featuring such "clever folk" as Mike Connors and Queenie Paul, Shannon Raye, Dan Dunbar and the "Six Crack-a-Jacks" among others. It was not until the end of the third week of the new season, however, that Phillips decided to advertise the company as the Whirligigs.2 The remainder of the season comprised a selection of Stiffy and Mo revusicals and several new shows, including Flying High and East is West.
  • Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday

    Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday

    ON STAGE The Spring 2011 newsletter of Vol.12 No.4 Vivat Regina! Melbourne celebrates The Maj’s 125th birthday. he merriment of the audience was entrepreneur Jules François de Sales — now, of course, Her Majesty’s — almost continuous throughout.’ Joubert on the corner of Exhibition and celebrated its birthday by hosting the third TThat was the observation of the Little Bourke Streets. The theatre’s début Rob Guest Endowment Concert. The Rob reporter from M elbourne’s The Argus who was on Friday, 1 October 1886. Almost Guest Endowment, administered by ANZ ‘covered the very first performance in what exactly 125 years later — on Monday, Trustees, was established to commemorate was then the Alexandra Theatre, the 10 October 2011 the merriment was one of Australia’s finest music theatre handsome new playhouse built for similarly almost continuous as the theatre performers, who died in October 2008. * The Award aims to build and maintain a This year’s winner was Blake Bowden. Mascetti, Barry Kitcher, Moffatt Oxenbould, appropriate time and with due fuss and ‘“Vivat Regina!” may be a bit “over the Clockwise from left: Shooting the community for upcoming music theatre He received a $10 000 talent development the theatre’s archivist Mary Murphy, and publicity, as well as the final casting, but I top” — but then, why not?’ commemorative film in The Maj's foyer. Mike Walsh is at stairs (centre). artists and to provide one night every year grant, a media training session, a new theatre historian Frank Van Straten. am thrilled that they are spearheaded by a Why not, indeed! when all facets of the industry join to headshot package and a guest performance Premier Ted Baillieu added a special brand new production of A Chorus Line — as Rob Guest Endowment winner Blake Bowden welcome a new generation of performers.
  • Australian Theatre Archive

    Australian Theatre Archive

    Australian Theatre Archive Barry Creyton b. 1939 Barry Creyton is an actor, writer, director and composer who has succeeded as a theatre maker on three continents. He was a much adored television personality early in his career in Australia, when he was catapulted to stardom as part of the satirical television phenomenon that was The Mavis Bramston Show . Soon afterwards he hosted his own variety show. He has written three highly successful stage plays and appeared on stage and television throughout his career. Creyton has distinguished himself playing and writing comic roles although he has also played dramatic roles, and in recent years he has focused on adapting and directing classic plays. Barry Creyton is a purist who prefers live performance to television, and cautions against a tendency in directors to ‘do a concept production rather than a production which reflects the value of the play’. He has constantly challenged himself throughout his career. As soon as he achieved national celebrity status in the 1960’s he decided to leave Australia in order to work where nobody knew him, and test himself in a new environment as a working actor. Creyton is based in Los Angeles where he lives in the Hollywood Hills. He ended up in tinsel town by accident in 1991, began working as a scriptwriter, and disliked the city at first dubbing it ‘Purgatory with Palm Trees’, but soon fell in love with its glamorous cinema history, the marvellous and vibrant small live theatres and the absorbing world of entertainment that is the life blood of the city.