MARCHI APRIL, 1987 Vol. II No 2 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust·

Sugar Babies - The Quintessential Burlesque Show

personality and his own jokes. Not all the companies, however, lived up to the audience's expectations; the comedians were not always brilliant and witty, the girls weren't always beautiful. This pr'oved to be Ralph Allen's inspiration for SUGAR BABIES. "During the course of my research, one question kept recurring. Why not create a quintessen­ tial Burlesque Show out of authentic materials - a show of shows as I have played it so often in the theatre of my mind? After all, in a theatre of the mind, nothing ever disappoints. " After running for seven years in America - both in New York and on tour - the Australian Elizabethan Theatre Trust will mount SUGAR BABIES in Australia, opening in Sydney at Her Majesty's Theatre on October 30. In February it will move to Melbourne and other cities, including Adelaide, Perth and Auckland. The tour is expected to last about 39 weeks. Eddie Bracken, who is coming from the USA to star in the role of 1st comic in SUGAR BABlES, received rave reviews from critics in the USA. "Bracken, with his rolling eyes, rubber face and delightful slow burns, is the consummate performer, " said Jim Arpy in the Quad City Times. Since his debut in 1931 on Broadway, Bracken has appeared in Sugar Babies from the original New York production countless movies and stage shows. Garry McDonald will bring back to life one of SUGAR BABIES, conceived by Harry Rigby, happened to be at the con­ Australia's greatest comics by playing his , Ralph G. Allen and Harry Rigby ference and suggested that the material be role as "Mo" (Roy Rene). . Directed and choreographed by Ernest developed into a "quintessential bur­ Joan Brokenshire will be the radiant Flatt lesque show". female star and Peter Regan, Rhonda Music by Jimmy McHugh Not too many people these days are Burchmore, Marty Coffey and Barry Rugg­ familiar with burlesque which had its less lead the supporting cast. Musical direction by Dale Ringland There will be TWO special nights for Scenery and costumes by Raoul Pene du heyday between 1905 and 1930. It had a Trust members - Monday June I and Tues­ Bois language and stylised format all of its day June 2. Members may purchase as Starn·ng Eddie Bracken, Garry own. In the first three decades of this cen­ many tickets as they wish at a very special McDonald, Peter Regan and Joan tury, there were more than 80 burlesque discount price. See page 3 for details. Brokenshire shows touring the two American circuits, Lyric Theatre as well as many stock troupes. There was no stripping, but lots of innuendo, high kicking and titillation. Spectacular dance BOOKING INFORMATION he final, definitive statem~nt on the sequences were interspersed with comedy Season begins Thursday May 28 T wonderful world of burlesque, sketches involving a variety of stock Mon to Sat at 7.30 p.m. characters - I st comic, 2nd comic, Mats Wed 10.30 a.m. Sat 2.00 p.m. SUGAR BABIES, had an unlikely begin­ AETT $24.90 (except Sat eve) ning. It grew out of a scholarly paper straight man, juvenile, soubrette. The $20.90 (June I & 2 only) presented at a conference of theatre outlines of the comedy routine were also G.P. $29.90 historians in New York by Professor standard - the restaurant scene, hotel Stu/ Pen $18.90 Ralph G. Allen who had compiled it with scene, schoolroom scene and courtroom Two AETT tickets per member. the help of a grant. Broadway producer, scene but each comic put into it his own 2

At the end ofthe school year a perform­ The capital city of OZ ance of A Midsummer Night's Dream comes to the final curtain and the Christ­ EMERALD CITY mas holidays begin. by David Williamson But the Shakespearean themes of suf­ Directed by Gregory Gesch fering, regeneration ~nd reconciliation Designed by Broce Auld continue to haunt the lIves of players and Suncorp Theatre audience alike. Three Australian families set off to the HIS latest play by Australia's most Miles and Celia in play three ojaJour play successful playwright will have been Gold Coast - the headmaster and his wife T series, Intimate Exchanges, A CRICKET are headed for a lUXUry hotel, another seen by Australian audiences in almost all MATCH. capital cities by the end of this year. . . couple with their schoolgirl daughter, to a caravan park, and the third, an English Audience acceptance and recogmtIon For instance, depending on whether or of Williamson's characters and scenarios migrant couple, to a campsite. not Celia Teasdale decides to have a In The Australian the critics said is such that major companies place a new cigarette in the first five seconds, several work in their production schedules almost "Hard to fault - fascinating, exciting, people are divorced, start affairs, have crt;g; and believable. .. before it is completed. .. . children, die or live happily ever after. Williamson is an entertammg WrIter - Always entertaining, often very funny, no matter how serious his subject, he the playwright has two possible endings BOOKING INFORMATION Thu May 7 to Sat June 13 makes us laugh at ourselves - our Aus­ for each play and leaves final decisions to tralian selves - and he rarely lectures. Wed to Sat at 8.15 p.m. Tue at 6.00 p.m. the audience. Wed at 10.30 a.m. & Sat at 2.00 p.m. EMERALD CITY is Sydney and the Alan Ayckbourn is one of Britain's bare bones of the story are the problems of AETT $11.90 most successful playwrights - he now sur­ G.P. $17.50 a Melbourne teacher, now successful passes Shakespeare as the most per­ Stu/Pen $12.50 script writer, who has moved to Sydney formed playwright in England. Two AETT tickets per member. accompanied unwillingly by his wife. The imaginative play within a play The film industry makes a good back­ CHORUS OF DISAPPROVAL is cur­ ground, there are tantalisi.ngly auto­ rently enjoying a most successful season Double ballet bill biographical parallels and BrIsbane aud­ by the Royal Queensland Theatre Com­ LEPAPILLON iences will assuredly enjoy EMERALD pany at the Suncorp Theatre. CITY as much as they did SONS OF Choreography by Harold Collins CAIN by the same author last year. Music by Jacques Offenbach BOOKING INFORMATION Design/direction by Da~id Be{1 Season begins Tue Mar 3 Lighting design by DaVid Whilworth BOOKING INFORMATION Tue to Sat at 8.00 p.m. SAVAGE EARTH Thu Mar 26 to Sat Apr II Sun at 6.00 p.m. Choreography by Pamela Buckman Wed to Sat at 8.00 p.m. Tue at 6.00 Mat Sat 2.00 p.m., Wed 11.00 a.m. p.m. Mat Wed at 10.30 a.m. , Sat at AETT $13.90 (except Fri& Sat Music by Peter Sculthorpe 2.00 p.m. eve) Design by Michael Pea~ce . AETT $11.90 G.P. $18.90(Fri & Sat eve) Lighting design by Davtd Whttworth G.P. $20.00 $16.90 The Lyric Theatre Pen/Stu $15.00 $14.90 Wed Mat Two AETT tickets per member. Stu/Pen $12.90 (except Fri & Sat N exciting double programme of eve) dramatic works opens The Queens­ $ 9.90 Wed Mat A Two AETT tickets per member. land Ballet account for 1987. One of Aus­ An Ayckbourn quartet tralia's most dynamic classically based AFF AIRS IN A TENT dance companies, The Queensland Ballet INTIMATE EXCHANGES Tue Mar 3 to Sun Mar 8 regularly wins enthusiastic reviews. by Alan Ayckbourn Tue Mar 31 to Sun Apr 5 LE PAPILLON is an enchanting story An Ensemble Theatre Production of a beautiful girl who, after being trans­ Directed by Sandra Bates A CRICKET MATCH formed into a butterfly is tragically con­ Tue Mar 10 to Sun Mar 15 sumed by the mesmerising flames of love. Designed by Tom Bannerman Tue Apr 7 to Sun Apr 12 Starring Gil!ian AXlell and Brian With Offenbach's sparkling music and i Young A GARDEN FETE popular ballerina Rosetta Cook dancing Twelfth Night Theatre Tue Mar 10 to Sun Mar 15 the role of Le Papillon, this ballet has Tue Apr 14 to Sun Apr 19 proved to be a great favourite with aud­ OLLOWING a five month Sydney iences wherever it has been performed. season playing to capacity houses, A ONE MAN PROTEST F Tue Mar 17 to Sun Mar 22 INTIMATE EXCHANGES offers Tue Apr 21 to Sun Apr 26 Brisbane audiences a chance to see the virtuoso performances by Gillian Axtell and Brian Young in this series of four Family contrasts separate but related plays. It is a saga centred on the lives of head­ AWAY by Michael Gow master Toley and his wife Celia. Each Directed bl' Babs McMillan play starts from the same part but quickly Designed by Bruce Auld changes direction as the characters (all Cremorne Theatre played by the same two actors) make small but seemingly inconsequential deci­ REMIERED in Sydney at the be­ sions: but as in life these decisions can P ginning of last year AWAY is the Dianne SLOrer( Le Papillon) and Benita have a dramatic impact on the life of latest success of Michael Gow, winner of Whalley (Hamza)Jrom The Queensland everyone around. the 1986 Writers' Fellowship. Ballet's LE PAPILLON 3

The Australian said of its 1983 pre­ ney's cartoon characters and you have the season continues to Saturday, March 28. miere "A work of great spectacle and perfect family show - something for There are no concessions for Friday 9.00 style. " everyone. p.m. and Saturday evenings, nor for the SAVAGE EARTH has as its theme Brisbane will have nine performances final week, but Trust members may still the hunter and the hunted. With com­ of this spectacular series of set pieces with book good seats through this office or manding images and sheer physicality it lots of fun and acrobatics. direct from the theatre. throws a brilliant new light on man and It is essential to book early for the best animal, their struggle for existence, their seats before bookings open to the public deeply entwined world. Music is by fore­ on March 9. most Australian composer Peter Scul­ Trust thorpe, choreographer Pamela Buckman has created an absorbing and exhilarating Social Committee new work. The Queensland Theatre Orchestra HE AETT's popular produc­ with guest conductor Neil Flottman will T tion, SUGAR BABIES opens accompany the dancers for both ballets. on May 28. On Monday June 1 and Tuesday June 2 there will be a very special discount for members and BOOKING INFORMATION their friends plus supper with the Thu Apr 2 to Sat Apr 11 at 7.30 p.m. cast after the performances, organ­ Sat Mat 1.30 p.rn. ized by the Trust's Social Com­ AETT $22.00 BOOKING INFORMATION mittee. Adults $25.00 Fri May 1 to Thu May 7 On these two nights there is NO Pen/ Stu $19.00 Fri & Sat at 8.00 p.m. Child/Unemployed $18.00 Tue, Wed & Thu at 7.00 p.m. restrictions on the number of tickets Two AETT tickets per member. (No show Mon) which members can purchase at the Mats Sat & Sun 1.00 p.m. & 4.30 p.m. discount price - a wonderful oppor­ AETT $19 Pen/ Child $14 tunity for you to introduce your G.P. $22 friends to the Trust and to enjoy a Cartoon characters Two AETT tickets per member. great show. Why not make up a large party? Olllce Ring the office for further infor­ HMS PIN AFO RE cont. mation. DISNEY ON ICE AILING along on its merry way For details about the SUGAR Boondall Entertainment Centre S with wonderful dancing and tuneful BABIES supper please call: songs, Gilbert and Sullivan's HMS Cath Mackenzie-Forbes CE shows have a particular magic - all PINAFORE continues to delight aud­ 3799225 I movement seems so effortless and iences at the Lyric Theatre. With Paul Jim Meredith 2622068 graceful. Eddington, Geraldine Turner, Marian or Rhonda Hunt 3975964 Add the wonderful world of Walt Dis- Pryor, John O'May and Tim Tyler, the _And in Additi()/1

s I write this column it is a lovely Some members are concerned that busy indeed as Q'ueensland has become A lazy summer Sunday afternoon. tickets requested either by mail or tele­ the largest membership office outside The bougainvillea is blazing scarlet at the phone are not received by return mail even head office in Sydney. end of the verandah, the allamanda and if the performance is some weeks away. I have very much enjoyed the challenge bauhinias heavy with flowers and there is Where a season of several weeks is of building up the Trust's membership, its a lovely cool breeze blowing. planned, bookings are accepted for the expanding services to members and the Brisbane is a great place to live. entire season but promoters usually only launching of this magazine. And it was a great place for theatre in release tickets for the first week or ten In particular I have enjoyed meeting so February. Three excellent and entertain­ days. Shortly before the show opens many people who ~hare my enjoyment of ing productions opened - TARTUFFE at tickets for further performances are re­ the performing arts. the Princess Theatre, CHORUS OF leased a few days at a time. However my other interests have also DISAPPROVAL at the Suncorp Theatre So although your booking is made, the expanded and it is time to move on. and HMS PINAFORE at the Lyric tickets are not available until released by Thank you for your support and your Theatre. the promoter. friendship - I am sure you will give it the I strongly recommend them all. We do remind you to book early for the same generous measure to my successor. In this edition of TRUST NEWS there best seats - before bookings are open to is a short article about RQTC's produc­ the public. tion of David Williamson's new play, F you have been frustrated by a EMERALD CITY and this is supported I seemingly continuous engaged signal by a Spotlight story on the playwright. from our telephone, do not despair - a second line is about to be installed! UST a word about booking for very This is the last time my photograph will Jpopular shows, such as HMS PINA­ appear at the end of this column. FORE. Our once quiet little office is now very 4 ~-fjtf------::------H

David Williamson - portraying a generation's emotional and professional insecurities by Brian Kiernan

Coinciding with the world premiere of David Williamson's new play EMERALD CITY, T.N. invited Brian Kiernan to review Ddvid Williamson's career and to comment on his latest work.

he opening of a new play by David T Williamson is by now an established cultural event, and the critics will be on their mettle as they prepare to review the latest work of the most successful Australian playwright ever. Will this be another box-office record-breaker, with overseas productions, and perhaps a film to follow? What will this new play sug­ gest, not only about the playwright's development, but also about the current state of the Australian theatre? SlGrs a/EMERALD CITY: left, John Bell; right, Ruth Cracknell. This second question will be at least in the back of reviewers' minds because Mama, and DON'S PARTY playing and in 1973 the Evening Standard voted David Williamson and the modern almost simultaneously at the APG's him the most promising playwright of the Australian theatre emerged together. nearby Pram Factory. Both plays have year after the London Production of Born in Melbourne in 1942, a become classics of the alternative theatre THE REMOV ALISTS. mechanical engineering student at movement of those vital, if volatile, In Australia, he won two A wgies for Melbourne and Monash Universities years, and both, with STORK, were the play, the first of the now numerous during the Vietnam years, David made into films which contributed local awards for his plays and filmscripts Williamson's first successful plays were importantly to the developing local that have followed. produced in Melbourne's alternative cinema. Looking at Williamson's body of theatre in the early 1970s. Also in 1971, as well as THE work, we do not find any formula nor These were the years of anti-war pro­ REMOV ALISTS going on to an typical Williamson play. Though he has test and calls for liberation of all kinds, acclaimed production at Sydney's consistently preferred realist conventions, national, cultu:-al, political, sexual. A Nimrod, the Melbourne Theatre Com­ out of a continuing commitment to new generation, both impatient with pany commissioned JUGGLERS drama's social relevance, he has con­ Australia's colonial cultural cringe and THREE, which became part of its 1972 tinually surprised expectations by varying responsive to counter-cultural influences season. the mood, as well as the characters and from the USA and the UK, was In 1973, WHAT IF YOU DIED situations, of each new play. establishing its own alternative means of TOMORROW was commissioned by the Although most frequently referred to communication and expression: Old Tote for the opening of the Sydney as a naturalist, he has by now written a newspapers and magazines, radio, film Opera House, and for the 1974 Adelaide range of comedies, comic "slices of life", and theatre. Festival the South Australian Theatre each of which finds its own appropriate Melbourne's Cafe La Mama, out of Company commissioned THE form and dominant tone. He has not which the Australian Performing group DEPARTMENT. doggedly pursued (nor offered answers emerged, provided aspiring playwrights The success of THE REMOV ALISTS to) social problems, nor weighed the with the opportunity to have their work was followed by swift recognition, and competing claims of heredity and envir­ performed before keen, if small, David Williamson was soon an estab­ onment as determinates of behaviour, as audiences. Williamson's THE COMING lished (but not establishment) figure able "naturalism" used with historical OF STORK was first produced at La to devote himself to writing full-time. accuracy would suggest. Mama in 1970. The next year saw THE The 1971 Nimrod production of THE But although there is no typical REMOVALISTS (with the playwright as REMOV ALISTS brought him the British Williamson play, there is a characteristic the Removalist with $lO,OOO worth of George Devine award, the first time this Williamson style. Smartly paced, closely machinery "ticking over" outside) at La had gone to a writer outside England, interactive, unerringly accurate in idiom, 5

the dialogue keeps characters and situa­ movies titled GALLI POLl and PHAR CITY he takes us inside our much­ tions in simultaneous revelation, blend­ LAP, and a television series of the fall of publicised film industry. Balancing (as ing humour with serious concern. Or, in the Whitlam government. Yet rather than always) sharp, topical satire with a comic other words, a lot is happening "at any seeming autobiographical in tone, or acceptance of folly, he presents the kinds moment, and, although a particular indulgently preoccupied with Colin, of personalities and pettiness' that prevail moment may give the' impression of life EMERALD CITY. is a very formal, in a multi-million dollar, but still being observed in all its banality, there is ironic comedy. primitive, local industry. usually a point underlying it that emerges In style and scale this new play is Whether Australian movies, and now in the wider pattern of the play. closest to THE PERFECTIONIST with television series, need "go international" As the playwright has matured, along its comedy of contemporary manners and to succeed commercially, and, if they do with the audiences who have been follow­ rivalries between professionals - and the so, whether they will lose the distinc­ ing him and the rest of society, the young sexes. The demoralising role reversals tiveness that has constituted their appeal graduates of THE COMING OF STORK that Colin experiences with both Mike for both local and overseas audiences, are or the young marrieds of DON'S P AR­ and Kate might remind us of the ideals of questions that go back to the 1920s. For TY have given way to more middle-aged Stuart, the perfectionist, in that play. If, Colin it is the choice between writing and securely middle-class characters, to though, Colin in some explicit respects is what he feels should matter to Australian the anxieties of an older generation and a a portrait of the artist as an early middle­ audiences, and doing what will sell best later decade. This has suggested that aged celebrity, it is an ironically - which also matters, with school fees to Williamson is the chronicler, even the detached, self-deprecating portrait with be paid. But such considerations extend personal diarist of the emotional and pro­ some prominent warts, or shopping-lists beyond the particular industry (there is fessional insecurities of his own genera­ pinned on his jumper. We are invited to the parallel case of publishing for Kate), tion, and WHAT IF YOU DIED laugh at Colin's insecurities and incon­ or even the difference in ethos between TOMORROW (1973), A HANDFUL OF sistencies, to recognise that he has more Sydney and Melbourne. The wider issue FRIENDS (1976), and THE PERFEC­ of Mike, the "Port Jackson huckster" , in raised by the play is that of reconciling TIONIST (1982) have been appreciated his make-up than he would care to admit. personal and artistic integrity with the as such, as imaginative exposures of con­ With each new Williamson play we ways of the world. temporary socio.-psycho-preoccupations. expect to be shown an aspect of how we Versions of this conflict between how. live now, and also t9 laugh. These expec­ one ought to act and what is possible, or Othet p'iays, however, have emphas­ tations which he established from the opportune, underlie the local and topical ised the social and the institutional more beginning of his career he has continued settings of all Williamson's plays.. Behind than the personal: THE DEPART­ to fulfil, even though the subject might the satire and the comedy - for they are MENT, THE CLUB (1977), and SONS be,. as it was in SONS OF CAIN, drug­ never directly realistic "slices of life" - OF CAIN (1985). These do not form a related corruption extending to the is a moralist's perception, though not a distinct group or phase in his writing but highest levels of a state. In EM,ERALD moralist's easy solution. Australian a varying emphasis in his continuing con­ writers ought to be able to give their cerns with the personal and the social, the audiences the stories they feel should sexual and the political. Generalisation is matter to Australians, without having to further complicated by the tonal variety double-guess the ratings or overseas from play to play, some being more sales, or being accused of being strident broadly comic, others more satiric. nationalists. Just as Ministers of the EMERALD CITY is one of William­ Crown ought to observe the law (SONS son's more personal rather than more OF CAIN), or an intelligent couple ought social plays. Like his plays of the 1970s to be able to arrange their marriage more dealing with personal issues, especially rationally (THE PERFECTIONIST), or WHAT IF YOU DIED TOMORROW a life-long humanitarian ought to be able with its central figure of Andrew, the to get along a little better with those doctor turned novelist, this latest play closest' to him (TRA VELLING NORTH) problematises success. Has Colin, the ... and so on back through the by now former Melbourne teacher, now a top classic Williamson repertoire. writer of scripts for film and television, But the world being what it is, and sold out by moving to Sydney? Will he people being what David Williamson succumb to commercialism, and forsake mordantly observes them as, and with stories he feels should involve Australian affection accepts them as, there can be no audiences, or can he retain his integrity final resolution of these contradictions. and still hope to afford a Harbour view? In the spirit of comedy we must grin and Williamson's own well-known success bear them. in scripting films, and his move from the "sodden rectitude" of Melbourne to (as it seems by comparison) the brash oppor­ Brian Kiernan is Senior Lecturer in English at Sydney University and is tunism and hedonism of Sydney, invite us David Williamson direCis Max Cullen and john writing a critical biography on David to see strong similarities between Colin Gregg in {he Sydne. ~· Th ealre COII/panv produCiion Williamson. and his creator. Both have scripted of SONS OF CA IN Romans, Vikings or Wild West gun­ \T HE plot of LITTLE SHOP OF slingers. Archie Long (Kirk Douglas) and HORRORS first surfaced in 1960 as Harry Doyle (Burt Lancaster) have been a very Jow grade horror movie which in gaol for 30 years for a train robbery. became a cult classic. It featured a brief Release is a shock; the world has changed appearance by Jack Nicholson, of all a lot in that time. They decide to ignore the people, then a newcomer to the silver parole regulations and round up their old screen, as the sadistic dentist. gang for one last big heist - from the same Soon after, Cinderella-fashion, it train they robbed 30 years before. arrived on Broadway as a musical James Orr and Jim Cruikshank saw comedy set on Skid Rowand starring a Douglas and Lancaster on the 1985 plant. But no ordinary plant. Mushnik's Academy Awards and wrote ' the script Flower Shop is renowned for its sleazy with them in mind. They were surprised greenery, wilting corsages and the bums and delighted when their models accepted lying in the doorway. Things are bad and the parts. Both actors insisted on doing Mushnik (Vincent Gardenia) is about to Kirk Douglas and Burl Lancasleras Archie many oftheir own stunts (Lancaster was a sack the staff, dizzy blonde Audrey (Ellen Long and Harry Doyle in TOUGH GUYs. circus gymnast at 18). "It's not that we Greene) and Seymour (Rick Moranis), have suicidal impulses, but there were when Seymour buys a strange plant from certain shots that wouldn't have looked an ancient Mandarin during a total eclipse TOUGH GUYS n"ght unless we were there, " said Douglas. ofthe sun. Customers flock to the shop to directed by Jeff Kanew The two are close friends. "Burt and 1 see Audrey II as it is christened. Mulched, Screenplay by James Orr and Jim have a very special interaction ... a fertilized and watered, Audrey II's real Cruikshank special chemistry when we're working tastes only surface when Seymour acci­ Produced by Jim Wizan together. Individually we're one. To­ dently cuts his finger and keeping up with Starn'ng Kirk Douglas, Burt Lancaster, gether we're not two, we're three. " Audrey II's bizarre appetite is quite a Charles Durning, Alexis Smith, Dana problem, especially as she can not only Carvey, Darlanne Fluegel and Eli eat but also talk, sing and boogie and is 12' Wallach high. Almost as weird is the bikie dentist,. Opening March 12 at Greater Union Dr Scrivello (Steve Martin), whose love cinemas LITTLE SHOP OF HORRORS for his Harley Davidson is only equalled directed by Frank Oz by his enthusiasm for inflicting pain; he HO would have thought 40 years Screenplay by Howard Ashman/rom his "handles women like Cagney on a bad W ago when Douglas and Lancaster onginal stage play day". first appeared together on film (I WALK Produced by David Geffen Audrey II was the brain child of Lyle ALONE) that they would still be sharing Starn'ng Rick Moran is, Ellen Greene, Conway who worked on the creatures of the billing in 1987 but now as comedians Vincent Gardenia and Steve Martin The Muppet Show, The Dark Crystal and rather than swashbucklers, belligerent Opening March 5 at Albert and Forum Dream Child.

and of the Australian girls who meet the HE popular theatre of the Renais­ FILM VOUCHERS Americans. Tsance, Commedia dell Arte has been Concessional vouchers can be pur­ NO NAMES, NO PACKDRILL was enjoying its own renaissance in recent chased from the AETT and exchanged made into a movie musical entitled years. at Hoyts and Greater Union cinemas REBEL starring Debbie Byrne and has for tickets. The vouchers are open The clowning, acrobatics, stock char­ dated but some Saturday/ Public Holi­ also been adapted as a play for radio by acters and improvisations which are es­ day restrictions apply to their use. See the ABC. sential ingredients of the "commedia" vouchers for details. The Shoestring Company is noted for have been received by audiences with G.U. $7.00. Hoyts $5.50. Please note, its musical productions, so it comes as no enthusiasm. no handling fee applies to film surprise to learn that director Michael THE THREE CUCKOLDS is a vouchers and members may purchase Bishop has included in the stage show naughty, bawdy romp - a traditional . as many as they wish. songs from the Fabulous Forties. scenario which Leon Katz has used to create a script which allows the perform­ BOOKING INFORMATION ers to improvise in the best commedia Fri Mar 6 to Sat Mar 28 manner. Forties drama Wed to Sat at 8.00 p.m. Sun 6.00 p.m. AETT $10.00 The colourful costumes are from the NO NAMES, NO PACKDRILL G .P. $12.00 collections held at the Brist1ane College of by Bob Herbert Stu/ Pen $ 8.00 Advanced Education, as do the authentic Directed by Michael Bishop Two AETT tickets per member. leather masks sculpted by one of the Edward Street Theatre world's foremost maskmakers, Donato Sartori. OR its first production in 1987, The A romp with La Boite F Shoestring Company has chosen the BOOKING INFORMATION popular Australian prizewinning play NO THE THREE CUCKOLDS Wed Mar II to Sat Apr 4 NAMES, NO PACKDRILL. Set in by Leon Katz Wed, Thu & Sat at 8.00 p.m. Sydney during the Second World War, it Directed by Dianne Eden and Juoy Fri 6.30 p.m. is the story of the American invasion of Pippen AETT $10 Australian shores, of American ser­ Music composed by Michael Whelan G.P. $12 vicemen intent on forgetting the horrors of Designed by Jan Sherlock Stu/ Pen $ 7 Two AETT tickets per member. war and looking for fun and a good time - La Boite Theatre 7 •••

nce again December brought the GHOSTS, which has transferred from At the other end of the scale, in a vir­ O annual theatrical prize-giving the Young Vic to Wyndhams, while tually non-dramatic but charming piece, occasions - the Laurence Olivier Anthony Hopkins' long-anticipated MR AND MRS NOBODY, husband­ Awards organised by the Society of West KING LEAR in the National Theatre and-wife team on and off the stage, End Theatres carrying the most kudos. production by David Hare has divided Michael Williams and Judi Dench, are The subsidised theatre dominated" while the critics. Michael Billington in the delighting audiences at the Garrick the commercial theatre achieved Musical Guardian sums up the response to Theatre in Keith Waterhouse's stage of the Year with Andrew Lloyd Webber's Hopkins who "is always compelling to adaptation of his "amiable literary latest hit - PHANTOM OF THE watch because he combines the strength joke", MRS POOTER'S DIARY. OPERA - at Her Majesty's Theatre, and rage of a bull with an exrraordinary Enjoyment comes from watching such an with its star Michael Crawford winning capacity for pathos. He is a gen uine expert duo at work - their timing and the award for outstanding actor in a heavyweight endowed with emotional attention to detail are worth a sighting. musical. PHANTOM, directed by finesse" . The production is in the Forthcoming productions in the West Harold Prince, is booked out for months National repertoire throughout the spring End include a new season at the Old Vic in advance and looks set to run for years! - already it's impossible to get tickets. of HOLIDAY by Phillip Barry, directed David Hare's other impressive achieve­ by Lindsay Anderson with Malcolm Christopher Hampton's adaptation of ment (this time as a writer) at the McDowell, Mary Steenburgen and Cheri LES LIAISONS DANGEREUSES for National is his double bill, THE BA Y AT Lunghi runs through February, while in the RSC, which has transferred from the NICE and WRECKED EGGS in the Cot­ Marchi April Londoners can see the Barbican Pit to the Ambassadors tesloe, with Irene Worth and Zoe recently formed English Shakespeare Theatre, won Best Play, while Lindsay Wanamaker giving superb performances Company in HENRY IV Parts 1 and 2 Duncan took Actress of the Year for her as indomitable women in settings as far and HENRY V directed by Michael role in it. Albert Finney's memorable per­ apart as Leningrad 1956 and New York Bogdanov, with Michael Pennington as formance in ORPHANS earlier in the 1986. Hal/ Henry. This is followed in Mayl year gave him Best Actor 1986, while the June by the RSC's production of the RSC's MERRY WIVES OF WINDSOR Cole Porter musical KISS ME KATE, in their Barbican repertory, made Bill directed by Adrian Noble, which comes Alexander Director of the Year. Best to London after a Stratford season. At Designer was William Dudley for his the Victoria Palace (from February 25) work at l: he National and for KAFKA'S will be Richard Eyre's production of DICK at tlfe Royal Court. The Observer HIGH SOCIETY with Trevor Eve, Special Award was given to the Lyric Stephen Rea and Vanessa Redgrave's Theatre, Hammersmith, for its produc­ daughter, Natasha Richardson. tion of THE HOUSE OF BERNARDA Current productions in the West End ALBA which has transferred to the which should not be missed include Globe Theatre. This production by Nuria Derek Jacobi in BREAKING THE Espert with Glenda Jackson, Joan CODE (Haymarket Theatre Royal) and Plowright and Patricia Hayes, shares WHEN I WAS A GIRL I USED TO (with LES LIAISONS) my personal SCREAM AND SHOUT, considered by award for the most gripping theatrical many to be one of the best new comedies experience in 1986. in recent years. It stars Julie Walters, Already there are performances in pro­ Geraldine James and Sheila Reid - the ductions going into 1987 which will be . author is Sharman McDonald. As usual, strong contenders for these awards - the theatre in London has many attrac­ Vanessa Redgrave is attracting excellent Judi Dench and Michael Williams in MR AND tions and I hope you will have the oppor­ reviews for her Mrs Alving in Ibsen's MRS NOBODY tunity in 1987 to enjoy some of these.

grammes from the world of operetta and Trust members may book by mail or direct Best loved popular musicals. by telephone quoting their membership Their Silver Anniversary series will number. Tel. 854 1554 between 10 a.m. melodies begin with a concert aptly named THE and 12 noon. GOLDEN YEARS OF OPERETTA and will be a fully-costumed presentation BOOKING INFORMATION THE GOLDEN YEARS OF of well-known arias and choruses from the Thu Mar 5,12, & 19 at 8.00 p.m. OPERETTA romantic music of Strauss, Lehar and Fri Mar 6 & 20 at 8.00 p.m. Brisbane Light Opera Company Romberg. Sat Mar 14 & 21 at 8.00 p.m. In July the company will present KISS Tue Mar 17 at 8.00 p.m. Soloists include Valerie Hanlo wand Wed Mar II at 8.00 p.m. Leonard Lee ME KATE, starring Lorretta Farrar and Sat Mat Mar 21 at 2.00 p.m. Ithaca Auditorium, Brisbane City Hall Donald Cant and a spectacular concert AETT $11.50 programme is promised for November. G.P. $12.50 OR 25 years the Brisbane Light THE GOLDEN YEARS OF OPER­ Stu/Pen $ 9.00 F Opera Company has been present­ ETTA will have ten performances in the Two AETT tickets per member. ing full-scale productions and concert pro- attractively restored Ithaca Auditorium.

., I~ . ';,: I

is a publication of the Australian Elizabethan Theatre Trust which is produced exclusively for i~s 9,000 members throughout Australia. AUSTRALIA THE AUSTRALIAN ELIZABETHAN THEATRE TRUST (incorporated in the AC.T.) " Patron Her Majesty The Queen President Sir Ian Potter Chairman Andrew Briger, AM .: Chief Executive Kathleen Norris VIA AIR MAIL Directors Rt Hon. The LDrd Mayor of Brisbane. Alderman S. Atkinson Sir David Griffin eBE. The Hon. Mr Justice c.J. Legoe K.E. Cowley. Dr T. Manford. D.A. Mortimer. L.G. Teale. L.D.s. Waddy. T.c. Yates

Accountant: Mark Benvau Entrepreneu.rial Administrators: Dennis Linehan John Woodland Margaret Leask Australian Content Director: Wendy Blacklock c/ Quadrivium Executive Producer for Musical Theatre: Noel Ferrier 8 Haliford Street Marketing Manager: David Martin LONDON U.K. Administrator of Orchestras: Warwick Ross J Theatre of the Deaf Artistic Director: Patrick Mitchell Theatre of the Deaf Admir,istrator: Priscilla Shome TiGket Services Manager: Jo Litson Building. Props and Electric Supervisor: Roger Taylor Costume Hires Manager: Michael James Membership Manager: Carole LDng Membership Secretary: Carol Martin Melbourne office: Carol Ormerod Brisbane office: Denise Wadley Adelaide office: Veronica Bohm Perth office: Janet Durack

The Australian Elizabethan Theatre Trust receives financial assistance for its activities from: The Music. Theatre. Literature and Aboriginal Arts boards of The Australia Council a statutory body of the Common­ wealth Government. The Department of Aboriginal Affairs. The New South Wales Government through the Office of the Minister for the Arts. The Queensland Government Directorate of Cultural Activities. -, The Victoria Ministry for the Arts. The Government of Western Australia through the W.A. Arts Council. B.P. Australia. The Ian Potter Fou ndation. The Australian Elizabethan Theatre Trust is a founder member of CAPPA. Membership enquiries should be directed to the AETTon(07) 2219528, SuncorpTheatre, Turbot St, Brisbane. Postal address: G .P.O. Box 1618, Brisbane, Qld 4001. Registered by Australia Post - Publication No. QBH 3056 May be opened for postal inspection.

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