John Mccallum
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NEW Media Document.Indd
MEDIA RELEASE WICKED is coming to Australia. The hottest musical in the world will open in Melbourne’s Regent Theatre in July 2008. With combined box office sales of $US 1/2 billion, WICKED is already one of the most successful shows in theatre history. WICKED opened on Broadway in October 2003. Since then over two and a half million people have seen WICKED in New York and just over another two million have seen the North American touring production. The smash-hit musical with music and lyrics by Stephen Schwartz (Godspell, Pippin, Academy Award-winner for Pocahontas and The Prince of Egypt) and book by Winnie Holzman (My So Called Life, Once And Again and thirtysomething) is based on the best-selling novel by Gregory Maguire. WICKED is produced by Marc Platt, Universal Pictures, The Araca Group, Jon B. Platt and David Stone. ‘We’re delighted that Melbourne is now set to follow WICKED productions in New York, Chicago, Los Angeles, the North American tour and London’s West End,’ Marc Platt and David Stone said in a joint statement from New York. ‘Melbourne will join new productions springing up around the world over the next 16 months, and we’re absolutely sure that Aussies – and international visitors to Melbourne – will be just as enchanted by WICKED as the audiences are in America and England.’ WICKED will premiere in Tokyo in June; Stuttgart in November; Melbourne in July 2008; and Amsterdam in 2008. Winner of 15 major awards including the Grammy Award and three Tony Awards, WICKED is the untold story of the witches of Oz. -
CHICAGO to Tour Australia in 2009 with a Stellar Cast
MEDIA RELEASE Embargoed until 6pm November 12, 2008 We had it coming…CHICAGO to tour Australia in 2009 with a stellar cast Australia, prepare yourself for the razzle-dazzle of the hit musical Chicago, set to tour nationally throughout 2009 following a Gala Opening at Brisbane‟s Lyric Theatre, QPAC. Winner of six Tony Awards®, two Olivier Awards, a Grammy® and thousands of standing ovations, Chicago is Broadway‟s longest-running Musical Revival and the longest running American Musical every to play the West End. It is nearly a decade since the “story of murder, greed, corruption, violence, exploitation, adultery and treachery” played in Australia. Known for its sizzling score and sensational choreography, Chicago is the story of a nightclub dancer, a smooth talking lawyer and a cell block of sin and merry murderesses. Producer John Frost today announced his stellar cast: Caroline O’Connor as Velma Kelly, Sharon Millerchip as Roxie Hart, Craig McLachlan as Billy Flynn, and Gina Riley as Matron “Mama” Morton. “I‟m thrilled to bring back to the Australian stage this wonderful musical, especially with the extraordinary cast we have assembled. Velma Kelly is the role which took Caroline O‟Connor to Broadway for the first time, and her legion of fans will, I‟m sure, be overjoyed to see her perform it once again. Sharon Millerchip has previously played Velma in Chicago ten years ago, and since has won awards for her many musical theatre roles. She will be an astonishing Roxie. Craig McLachlan blew us all away with his incredible audition, and he‟s going to astound people with his talent as a musical theatre performer. -
Remembering Edouard Borovansky and His Company 1939–1959
REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes. -
Short Report
COLLECTION FINDING AID John McCallum, AO, CBE (1918–2010) Performing Arts Programs and Ephemera (PROMPT) Australian Collection Development In collecting materials relating to prominent Australians, programs and ephemera documenting all aspects of John McCallum stage acting career in Australia and overseas. Material on McCallum’s film and television screen career is not generally collected by the Library. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. 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 by McCallum. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. Access The John McCallum PROMPT files may be accessed through the Library’s Petherick Reading Room by eCallslip request: http://nla.gov.au/nla.cat‐vn3529350. Arrangement The McCallum material in the PROMPT Collection is in the chronological order of his Australian and overseas performance and this list reflects this arrangement. Entries identify the city and the venue. All the information is taken from programs, flyers and ephemera. www.nla.gov.au Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia June 2010 PROMPT Collection Finding Aid John McCallum, AO, CBE (1918–2010) Entries for each program are arranged as follows: Year, day/s and month; Venue/Theatre (Location) Company Name of production / Creator McCallum’s role or other involvement. -
Page to Stage
PAGE TO STAGE Curriculum resources based on the extraordinary children’s classic by Roald Dahl Updated for the Australian Curriculum by Eli Erez and David Perry The World’s No. 1 Storyteller Appropriate for ages 7-12 www.qpac.com.au/event/charlie_chocolate_factory_21/ 1 LIST OF CONTENTS INTRODUCTION CONNECTIONS TO AUST CURRICULUM ACTIVITIES: ENGLISH VISUAL ARTS Slam Writing Unchartered Territory Diary Entry Setting the Scene Poetry in Motion Packaging Design Spotting Adjectives Create Your Own Chocolate Treat A Ride in the Glass Elevator Your Favourite Scene Which Words WORKSHEETS: THE ARTS 1. Character Cards DANCE 2. Poetry In Motion Making Moves 3. Spotting the Adjectives Discussing Dance 4. Mr Wonka’s Factory Creating Choreography 5. Character Portraits 6. Adventure Cards DRAMA 7. Structuring Your Scene 8. Who’s Involved? Character Portraits 9. Design A Mood Board What Would You Ask? 10. The Right Material Storyboarding a Scene 11. Dressing the Oompa-Loompas The Final Chapter 12. Read All About It Who’s Involved 13. Create Your Own Chocolate Treat The Right Material 14. Design A Chocolate Bar Wrapper Dressing the Oompa-Loompas (Parts 1, 2 & 3) 15. Design Your Own Packaging MEDIA ARTS Read All About It ADDITIONAL RESOURCES: Design an Ad Biographies of the Cast & Creative Team Spread the Word Synopsis Where Are They Now? Character Descriptions Wonka Promo Ad Other Resources MUSIC Be a Broadway Songwriter Have a Good Time with Rhyme Call and Response Special Effects The Oompa-Loompa Song 2 WELCOME TO THE WONDROUS WORLD OF THE MAJOR NEW STAGE MUSICAL Charlie and the Chocolate Factory, the deliciously dark children’s classic, has been turned into a brand-new musical from three-time Tony Award© winning director Jack O’Brien and the Grammy© and Tony-winning songwriters of Hairspray: Marc Shaiman and Scott Wittman. -
Theatre Australia Historical & Cultural Collections
University of Wollongong Research Online Theatre Australia Historical & Cultural Collections 11-1977 Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977 Robert Page Editor Lucy Wagner Editor Bruce Knappett Associate Editor Follow this and additional works at: https://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert; Wagner, Lucy; and Knappett, Bruce, (1977), Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977, Theatre Publications Ltd., New Lambton Heights, 66p. https://ro.uow.edu.au/theatreaustralia/14 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977 Description Contents: Departments 2 Comments 4 Quotes and Queries 5 Letters 6 Whispers, Rumours and Facts 62 Guide, Theatre, Opera, Dance 3 Spotlight Peter Hemmings Features 7 Tracks and Ways - Robin Ramsay talks to Theatre Australia 16 The Edgleys: A Theatre Family Raymond Stanley 22 Sydney’s Theatre - the Theatre Royal Ross Thorne 14 The Role of the Critic - Frances Kelly and Robert Page Playscript 41 Jack by Jim O’Neill Studyguide 10 Louis Esson Jess Wilkins Regional Theatre 12 The Armidale Experience Ray Omodei and Diana Sharpe Opera 53 Sydney Comes Second best David Gyger 18 The Two Macbeths David Gyger Ballet 58 Two Conservative Managements William Shoubridge Theatre Reviews 25 Western Australia King Edward the Second Long Day’s Journey into Night Of Mice and Men 28 South Australia Annie Get Your Gun HMS Pinafore City Sugar 31 A.C.T. -
1 Giselle the Australian Ballet
THE AUSTRALIAN BALLET GISELLE 1 Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones 2 THE AUSTRALIAN BALLET 2019 SEASON Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 1 – 18 MAY 2019 | SYDNEY OPERA HOUSE Government Lead Principal 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones Partners Partners Partner Cover: Dimity Azoury. Photography Justin Ridler Above: Ako Kondo. Photography Lynette Wills Richard House, Valerie Tereshchenko and Amber Scott. Photography Lynette Wills 4 THE AUSTRALIAN BALLET 2019 SEASON NOTE FROM THE ARTISTIC DIRECTOR Giselle has a special place in The Australian Ballet’s history, and has been a constant in our repertoire since the company’s earliest years. The superstars Margot Fonteyn and Rudolf Nureyev danced it with us in 1964, in a production based on the Borovansky Ballet’s. Our founding artistic director, Peggy van Praagh, created her production in 1965; it premiered in Birmingham on the company’s first international tour, and won a Grand Prix for the best production staged in Paris that year. It went on to become one of the most frequently performed ballets in our repertoire. Peggy’s production came to a tragic end when the scenery was consumed by fire on our 1985 regional tour. The artistic director at the time, Maina Gielgud, created her own production a year later. -
John Mccallum. Belonging: Australian Playwriting in the 20Th Century
JASAL 9 Reviews John McCallum. Belonging: Australian Playwriting in the 20th Century. Sydney: Currency P, 2009, 484+xi. ISBN: 9780868196589 AU$49.95 http://www.currency.com.au/cultural-studies-and-history.aspx John McCallum’s Belonging: Australian Playwriting in the 20th Century is unlike many other books on Australian drama published this decade. Recent publications have been strongly inflected in scope, content and rhetoric by discourses of gender and race, and by the politics of feminism, sexuality, migration, post-colonialism and reconciliation. Their authors offer incisive readings of plays in performance, selectively nuanced by subjective positions, archival research on theatre productions, and the embodied phenomenology of theatrical experience. McCallum’s readings of Australian plays are also incisive and nuanced, but the book incorporates those identity-based divisions within a broader embrace. Belonging restores to the criticism of Australian drama the national scope of earlier books like Dennis Carroll’s Australian Contemporary Drama (1985), Peter Fitzpatrick’s After ‘The Doll’ (1979) and Leslie Rees’s The Making of Australian Drama (1973). Beginning with the popular 1912 stage version of Steele Rudd’s On Our Selection and the ‘nationalist theatre’ of Louis Esson and the Pioneer Players, McCallum traces the formation of Australian drama through the ‘genre playwrights’ of the 1930s and 1940s, and the ‘backyard realism’ of the 1950s and 1960s, into the New Wave of the early 1970s. In fact, McCallum dismantles the apparent coherence of the ‘New Wave’: ‘The central four—Hibberd, Romeril, Buzo and Williamson—now look like as disparate a bunch of writers as you might find’ (140). -
Googie Withers and John Mccallum Brian Mcfarlane
CLASS ACT: GOOGIE WITHERS AND JOHN MCCALLUM BRIAN MCFARLANE s I talked to the McCallums in May this year, I had to keep reminding myself that they are both in their nineties and that they’ve been in the business of entertaining us for over seventy years. Anyone who saw them in any of the films or plays in which they co-starred will know how well they Aplayed together professionally. As you watch them together now, complementing (and complimenting) each other, you can’t help wondering how much of their professional success was a spin-off from a stimulating partnership off-screen or off-stage. It seems timely to pay tribute to them for what they achieved in the performing arts in Australia and elsewhere. googie Googie Withers came to prominence in British films in the 1940s, when British cinema was enjoying its finest hours and when there was a flurry of memorable women stars. If they are not well known today, they certainly were then: Sally Gray with the eloquent voice and slightly melancholy mien; patrician Valerie Hobson; Ann Todd of the ambiguous, chiselled blonde features; Phyllis Calvert, so much smarter than the goody- goody image that was foisted on her; Margaret Lockwood, flaring her nostrils and baring her cleavage in a refined version of passion; sexy bad-girl Jean Kent getting into a lot of entertaining trouble; and Anna Neagle being so ladylike that you wanted her to slip 103 04_Essays.indd 103 29/7/09 3:36:53 PM on a banana skin. But Googie Withers was something else. -
James Cassius Award® Rules
JAMES CASSIUS AWARD® RULES The James Cassius Award is named in honour of and commemorates the memory and achievements of JC Williamson - 1 - LIVE PERFORMANCE AUSTRALIA©™ JAMES CASSIUS AWARD® Table of Contents Chapter 1 - Introduction ................................................................................... 2 Rule 1 – These Rules ........................................................................................ 2 Rule 2 – The James Cassius Award® ..................................................................... 2 Chapter 2 – Organisation and Conduct of the James Cassius Award® .............................. 4 Rule 3 – Nomination of Candidates ....................................................................... 4 Rule 4 – Recognition and Eligibility ...................................................................... 4 Rule 5 - Criteria ............................................................................................. 4 Rule 6 – The James Cassius Committee ................................................................. 5 Rule 7 – Selection of the Candidates ..................................................................... 5 Rule 8 – Consent of the Recipients ....................................................................... 6 Rule 9 – Presentation of the James Cassius Award® .................................................. 6 Rule 10 – James Cassius Trophy ........................................................................... 6 Chapter 3 – Commercial Matters ........................................................................ -
1 Cinderella the Australian Ballet
THE AUSTRALIAN BALLET CINDERELLA 1 B:250 mm T:240 mm S:216 mm Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. B:340 mm S:306 mm T:330 mm 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones 2 THE AUSTRALIAN BALLET 2019 SEASON Telstra_BalletDancerAwards_MainstageProgramAd_121818.indd Project Title: Ballet Dancer Awards Job Number: None E.C.D. C.D. A.C.D A.D. C.W. Client: Telstra Bleed: 250 mm x 340 mm Creative Director: None Media: None Trim 1: 240 mm x 330 mm Art Director: None Copywriter: None Photographer: None Live: 216 mm x 306 mm Art Buyer: None STUDIO PRODUCTION IA PRODUCER ACCOUNT EX. ART BUYER Illustrator: None Gutter: None Studio Artist: Olga Lamm None Insertion Date: None Print Producer: Account Executive: None Publications/Delivery Company: Inks Mainstage Program Ad Cyan, Magenta, Yellow, Black Fonts TELSTRA AKKURAT (REGULAR, LIGHT, BOLD) LINKS: MAY18_TELSTRABALLET_JADE_HERO_0317_VERT_EXT_CMYK.tif (CMYK; 446 ppi; 67.22%), TAB-Telstra-Logo-White.ai (11.8%) FILE IS BUILT AT: 100% THIS PRINT-OUT IS NOT FOR COLOR. 450 West 33rd Street New York, NY 10001 212.946.4000 Round: 1 Version: A 12-18-2018 1:57 PM B:250 mm T:240 mm S:216 mm Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. B:340 mm S:306 mm T:330 mm 19 – 28 MARCH 2019 | ARTS CENTRE MELBOURNE 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones Government Lead Principal Partners Partners Partner Ingrid Gow, Amy Harris, Jessica Wood and Leanne Stojmenov. -
Australian Ephemera Collection Finding Aid (PROMPT): Joan Sutherland and Richard Bonynge 2
AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN SUTHERLAND, OM, AC, DBE AND RICHARD BONYNGE, AC, CBE PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA APRIL 2018 The Sutherland/Bonynge file in the Library’s PROMPT collection documents the extensive and intertwined Australian and overseas careers of opera singer Joan Sutherland, and orchestral conductor Richard Bonynge. This husband and wife team of musicians helped the career of the other by frequently performing together, her usually as principal singer under his baton. It was Bonynge who discovered Sutherland’s ability to sing the great bel canto roles and to this end he researched and conducted the operatic repertoire which most suited his wife’s unique coloratura voice. 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 by Sutherland/Bonynge. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for these artists are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. For a list of Joan Sutherland’s performances to 31 December 1990, please refer to Richard Bonynge’s A prima donna's progress : the autobiography of Joan Sutherland. ACCESS The Sutherland/Bonynge PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn2657303.