\)~~\\ ~\\~~~ by Dennis and Heidi James

Total Page:16

File Type:pdf, Size:1020Kb

\)~~\\ ~\\~~~ by Dennis and Heidi James \)~\\\\\~ ~\\~ \\~\~\ \)~~\\ ~\\~~~ by Dennis and Heidi James A few flakes of snow drifted past Englehard's store, was the top-of­ visited. The Sea Flite hydrofoil made the window as our jet took off from the-line Bladwin SD-10 nine footer. a pleasant return trip through the Columbus on November 11. Hours We rented Honda motor bikes and rainbows back to Honolulu. later we stepped off the plane into tore around the southern tip of Oahu John and Grace Jenkins saw us 80 degree weather to be greeted by taking in the local attractions. One off at the airport (more leis!), and we an equally warm reception from lei­ evening Claire and Al Watson took were off to Australia. laden ATOSers Claire and Al Wat­ us to the Polynesian Cultural Center Two days later our plane landed son and Dan Engelhard. Hawaii for a performance of authentic Pa­ in Sydney, having lost 24 hours proved to be one of those few places cific Island dancing. Thirty foot somewhere along the way. We had that is as beautiful as the travel ads waves had smashed a few houses in just enough time to grab a quick promise. The Watsons provided our the area the day before but the surf­ flight up to Brisbane where we were lovely suite in the Ilikai Hotel with a ers were out in force anyway, being greatly surprised to find ourselves balcony overlooking Waikiki Beach. tossed about like pebbles. back in tropical splendor. The next few days we were tourists November 14 was our Sunday We'll give the TOSA Queensland by day turning into musicians at morning concert date at the Hawaii group five stars for great hospitality. midnight practice sessions in the Theatre. We met the celebrated the­ Various members went to great Hawaii Theatre. The 4/16 Robert atre organist Johnny DeMello at the lengths to arrange well-planned Morton was installed in 1922 in the buffet-style get-together afterwards. excursions. Dot Herd took us to downtown Honolulu Theatre. It is He regaled us with many stories from Bunya Park where we petted and fed basically a 2/11 with an added two the Hawaiian organ scene. the wallabies, kangaroos and various coupler manuals and a 5-rank di­ Monday morning we flew to the other native animals. A particularly vision on a ventil chest. The instru­ "Garden Island" Kauai where we aggressive emu grabbed Dennis and ment features outstanding percus­ saw the Pacific Grand Canyon and ate his bag of corn, paper and all. sion and a beautifully restored con­ took a river cruise to the hanging At one point we were alarmed by a sole with ornate Hawaiian-motif fem grotto. In the very center of the terrible rumbling noise which turned carvings added by a local enthusiast. island is Mt. Waialale (why-a-la­ out to be the resident koalas snoring The crew works hard and the instru­ lay), the wettest spot on earth with in their sleep! ment was in tip-top shape for the over 400 inches of rain annually, Ted Badger took us to the beau­ concert. The piano, fresh from Dan though it was bone dry the day we tiful Gold Coast beaches and over AUGUST / SEPTEMBER, 1977 THEATRE ORGAN 39 the border to New South Wales to We were intrigued by the trolleys, try our luck on the slot machines (trams to the Aussies) that still run (we lost!). up and down the center of the Mel­ Ken Wherrett found Heidi en­ bourne streets. amored with Queensland pineapple Bill and Margaret Glasson 's home so it was off to the Glass House became our rufuge for R and R. Mountains to a tropical fruit plan­ There are so many people who made tation. We particularly enjoyed a our down-under tour a success, but stop at the excellent movie museum most of all we are indebted to Bill in nearby Buderim where we learned Glasson whose tireless managing of about the early days of Australian the myriad details made it all pos­ film. sible. Heidi took advantage of the The instruments for our concert time on Bill's home instruments to at the Kelvin Grove High School write a duet version of "Waltzing were in excellent condition. Dennis Matilda." Bill's pipe organ is a rare enjoyed the 3/ 8 Christie which has 2-manual French scroll Wurlitzer been assembled from many sources. console from England to which he is The pipework came via England and assembling various pipes and chests the console was originally a 2-manual acquired during his many travels. Christie from New Zealand. The crew We had three concerts in Mel­ skillfully converted it to 3 manuals bourne. The first was on Thanks­ with an all-new electric combination giving Day at Moorabbin Town Hall system that was a joy to work with. where we performed in an elaborate The piano brought in for Heidi was stage setting featuring mountain Buderim Movie Museum . a Yamaha G3 grand which handled back drop , picket fence and real Christie. Already the organ features like a trim sports car. trees. The organ was a 4/21 Wur­ a bright and bouncy English sound Out stay ended with a get-together litzer with added Post Horn and 32' with effective exposed percussions. with the members of the new ATOS Diaphones intact. The chambers are Sidney Torch would have approved , Chapter at the Wherreyys' where installed over the back of the stage we're sure! everyone seemed more like old area and speak via carved openings Our second and third concerts friends than newly made acquaint­ into the auditorium proper. The room were literally back-to-back on Sun­ ances. features gymnasium-like acous­ day , December 5 at the Dendy The­ Coming from the tropical north , tics and the organ becomes a bit atre. The theatre is decorated in an Melbourne 's Summer seemed a little muffled at times. It is, however, a Art Deco motif with giant geometric cool but we had to remember that very thrilling sound. flowers lit by colored lights on the even in the middle of Winter (July) We visited Cinema North where ceiling. The famous Dendy Wur­ it snows there only in the Mountains. club members are installing a 2/ 8 litzer deserves its fine reputation. It has been heard often on records with Lyn Larsen, Vic Hammett , Tony Fenelon and many others at the console. It has a crisp , clean and bold sound which eminates from chambers installed directly behind the screen. Bill Glasson generously brought in a new Danemann grand from his music store for Heidi. With barely enough time to sign autographs we plunged into the sec­ ond performance: a screening of the Fritz Lang 1926 science fiction clas­ sic Metropolis. We premiered our duet score for the film last May in London, England, and added a syn­ thesizer during the Dendy show. The joint-improvisation included various effects for the city and robots by Heidi on the piano and synthesizer while Dennis provided the contin­ uous score. We were invited to take part in a two segment history of film music documentary for Australian tele­ vision which led to our own half hour special on the ABC Network. AUGUST / SEPTEMBER, 1977 Dennis was fitted for various cos­ yard country for a picnic at the Sep­ tume changes by the wardrobe de­ peltsfield winery. partment, including a 1920's outfit The city-of-the-black-swan, Perth, and formal Phantom of the Opera was next on the tour. The atmo­ garb. The program included a tour sphere had a newly minted air about through the chambers, music to il­ it that is refreshing. We saw the lustrate the history of theatre organ Indian Ocean for the first time and and a closing segment with piano drove into the bush country with and organ in duet. host Ray Clements. Perth was a lot We spent some time visiting Aus­ like the best of Southern California sie organist Tony Fenelon as well as without the rampant commercialism meeting John Atwell, upcoming spoiling the landscapes. young concert artist. John Pearson The area has no working theatre showed us through the enormous organs as yet, so Ray arranged for Melbourne Regent Theatre which a Conn 651 for the concert at Sub­ closed in 1969 and was completely iaco Town Hall and Heidi found a stripped by auction in early 1970. elderly Bech stein grand. With a recent $2½ million grant the Getting to our own show turned theatre is scheduled to be completel y out to be somewhat of a problem. refurbished with restoration work in The taxi driver got lost and when we progress while we visited. It is hoped finally recognized a street near the the original Wurlitzer can again be hall , it had no outlet. We ended up installed for the re-opening. The Re­ walking over a small stream through gent had a small theatre underneath, a wooded area in full concert dress, the Plaza, whose 2/ 10 Wurlitzer arriving just in time to play. ended up in Adelaide where we Ray took us to a community hall stirring performance of The Messiah headed next. under construction where he will in the Opera House concert hall. The The South Australia group is one soon install a 2-manual Wurlitzer. auditorium acoustics were very nat­ of the most enthusiastic clubs we've The hall will be a multi-purpose fa­ ural and pleasing. The organ case is ever run across. The average age is cility with the console on tracks, a la in place but the instrument not fin­ younger than most and their spirit Radio City.
Recommended publications
  • Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword
    Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword Imagine a world without performing or visual arts. Imagine – no opera houses, no theatres or concert halls, no galleries or museums, no dance, music, theatre, collaborative arts or circus – and in an instant we appreciate the essential, colourful, emotive and inspiring place that creative pursuits hold in our daily life. Creating opportunities for arts to flourish is vital, and this includes realising inspiring venues which are cutting edge, beautiful, functional, sustainable, have the right balance of architecture, acoustics, theatrical and visual functionality and most importantly are magnets for artists and audiences, are enjoyable spaces and places, and allow the shows and exhibitions to go on. 4 Performing Arts Bendigo Art Gallery 5 Performing Arts Arts and Culture Performing and Visual Arts 03 08 – 87 88 – 105 Foreword Performing Musicians, Arts Artists, Sculptors and Festivals 106 – 139 140 – 143 144 Visual Arup Services Photography Arts Clients and Credits Collaborators Contents Foreword 3 Victoria Theatre and Concert Hall 46 Singapore South Bank Studio, Queensland Symphony Orchestra 50 Australia Performing Marina Bay Sands Theatres 52 Arts 8 Singapore Elisabeth Murdoch Hall Federation Concert Hall 56 Melbourne Recital Centre 10 Australia Australia Chatswood Civic Place 58 Sydney Opera House 14 Australia Australia Carriageworks 60 Glasshouse Arts, Conference and Australia Entertainment Centre 16 Australia Greening the Arts Portfolio 64 Australia Melbourne
    [Show full text]
  • Kelson Nor Mckernan
    Vol. 5 No. 9 November 1995 $5.00 Fighting Memories Jack Waterford on strife at the Memorial Ken Inglis on rival shrines Great Escapes: Rachel Griffiths in London, Chris McGillion in America and Juliette Hughes in Canberra and the bush Volume 5 Number 9 EURE:-KA SJRE:i:T November 1995 A magazine of public affairs, the arts and th eology CoNTENTS 4 30 COMMENT POETRY Seven Sketches by Maslyn Williams. 9 CAPITAL LETTER 32 BOOKS 10 Andrew Hamilton reviews three recent LETTERS books on Australian immigration; Keith Campbell considers The Oxford 12 Companion to Philosophy (p36); IN GOD WE BUST J.J.C. Smart examines The Moral Chris McGillion looks at the implosion Pwblem (p38); Juliette Hughes reviews of America from the inside. The Letters of Hildegard of Bingen Vol I and Hildegard of Bingen and 14 Gendered Theology in Ju dea-Christian END OF THE GEORGIAN ERA Tradition (p40); Michael McGirr talks Michael McGirr marks the passing of a to Hugh Lunn, (p42); Bruce Williams Melbourne institution. reviews A Companion to Theatre in Australia (p44); Max T eichrnann looks 15 at Albert Speer: His Battle With Truth COUNTERPOINT (p46); James Griffin reviews To Solitude The m edia's responsibility to society is Consigned: The Journal of William m easured by the code of ethics, says Smith O'BTien (p48). Paul Chadwick. 49 17 THEATRE ARCHIMEDES Geoffrey Milne takes a look at quick changes in W A. 18 WAR AT THE MEMORIAL 51 Ja ck Waterford exarnines the internal C lea r-fe Jl ed forest area. Ph oto­ FLASH IN THE PAN graph, above left, by Bill T homas ructions at the Australian War Memorial.
    [Show full text]
  • The Australian Theatre Family
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him.
    [Show full text]
  • MINERVA THEATRE Feasibility Study – Executive Summary
    MINERVA THEATRE Feasibility Study – Executive Summary MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Create NSW City of Sydney Minerva Theatre Feasibility Study – Executive Summary December 2020 Hawkridge Entertainment Services Tim Long Managing Director Nick Tobin Managing Director, Networked Urban Solutions Disclaimer This report (Study) has been produced independently by Hawkridge Entertainment Services (HES) on the request of Create NSW and the City of Sydney. The information, statements, statistics and commentary (together the ‘Information’) contained in this study have been prepared by HES from publicly available material and from discussions held with stakeholders. HES does not express an opinion as to the accuracy or completeness of the information provided, the assumptions made by the parties that provided the information or any conclusions reached by those parties. HES have based this Report on information received or obtained, on the basis that such information is accurate and, where it is represented to HES as such, complete. The Information contained in this Report has not been subject to an audit. Hawkridge Entertainment Services Specialist consultants in the entertainment, sports, arts and venue industries Sydney | Melbourne | Perth | Singapore Page | 2 MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Executive Summary The Minerva Theatre Feasibility Study was jointly commissioned by the City of Sydney Council and Create NSW, with the principal aim of investigating whether: 1. a refurbished Minerva Theatre would be a viable performance space in the Sydney market; and 2. there is market interest in reinstating the Minerva as a theatre. The study indicates that reinstatement of the Minerva as a commercially operated theatre is a viable proposition.
    [Show full text]
  • SOH-Annual-Report-2016-2017.Pdf
    Annual Report Sydney Opera House Financial Year 2016-17 Contents Sydney Opera House Annual Report 2016-17 01 About Us Our History 05 Who We Are 08 Vision, Mission and Values 12 Highlights 14 Awards 20 Chairman’s Message 22 CEO’s Message 26 02 The Year’s Activity Experiences 37 Performing Arts 37 Visitor Experience 64 Partners and Supporters 69 The Building 73 Building Renewal 73 Other Projects 76 Team and Culture 78 Renewal – Engagement with First Nations People, Arts and Culture 78 – Access 81 – Sustainability 82 People and Capability 85 – Staf and Brand 85 – Digital Transformation 88 – Digital Reach and Revenue 91 Safety, Security and Risk 92 – Safety, Health and Wellbeing 92 – Security and Risk 92 Organisation Chart 94 Executive Team 95 Corporate Governance 100 03 Financials and Reporting Financial Overview 111 Sydney Opera House Financial Statements 118 Sydney Opera House Trust Staf Agency Financial Statements 186 Government Reporting 221 04 Acknowledgements and Contact Our Donors 267 Contact Information 276 Trademarks 279 Index 280 Our Partners 282 03 About Us 01 Our History Stage 1 Renewal works begin in the Joan 2017 Sutherland Theatre, with $70 million of building projects to replace critical end-of-life theatre systems and improve conditions for audiences, artists and staf. Badu Gili, a daily celebration of First Nations culture and history, is launched, projecting the work of fve eminent First Nations artists from across Australia and the Torres Strait on to the Bennelong sail. Launch of fourth Reconciliation Action Plan and third Environmental Sustainability Plan. The Vehicle Access and Pedestrian Safety 2016 project, the biggest construction project undertaken since the Opera House opened, is completed; the new underground loading dock enables the Forecourt to become largely vehicle-free.
    [Show full text]
  • Darkemu-Program.Pdf
    1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers.
    [Show full text]
  • SYDNEY RACK 2010:Template 5/3/10 4:49 PM Page 3
    SYDNEY RACK_2010:Template 5/3/10 4:49 PM Page 3 Imaginative. Illuminated. Iconic. Inspired. SYDNEY RACK_2010:Template 5/3/10 4:49 PM Page 4 SYDNEY RACK_2010:Template 9/3/10 9:50 AM Page 1 Welcome to Hilton Sydney Hilton Sydney is a fond Sydney landmark and the premier venue for food, wine, conferences, events and a guest room experience unlike any other. For work, relax and play, Hilton Sydney is located right in the heart of the city with magnificent views and convenient access to Sydney's favourite destinations, offering a truly inspired experience. Local Attractions Queen Victoria Building and shopping precinct, Sydney Harbour Bridge and BridgeClimb, Opera House, The Rocks, Sydney Aquarium and Maritime Museum, AMP Tower, Darling Harbour, and Bondi Beach. hilton.com GDS CODES - Sabre: EH 9317 Galileo: EH 4963 World Span: EH 05878 Amadeus: EH SYD203 SYDNEY RACK_2010:Template 5/3/10 4:49 PM Page 5 Work Australia’s largest hotel convention and meeting place Hilton Sydney offers something unheard of in event facilities in Australia: space, and lots of it. Here you’ll find 4,000sqm of flexible floor space, with enough room to accommodate up to 3,000 delegates across four dedicated floors. There’s ballroom seating for up to 1,000 guests, extensive exhibition space and our unique Hilton Meetings product. Delegates will also enjoy plenty of natural light throughout the four level conference and function centre; function room views over Sydney’s bustling streetlife; Australasia’s most advanced audiovisual, sound and display technology; and authentic freshly prepared cuisine to suit delegates from around the world.
    [Show full text]
  • REVISED Participating Organisations Fact Sheet May
    AUDIENCE OUTLOOK MONITOR Fact Sheet: Participating Organisations Audience Outlook Monitor, Australia, May 2020 Introduction Baseline data for the Audience Outlook Monitor was collected in May 2020 in collaboration with 159 arts and culture organisations, including museums, galleries, performing arts organisations and festivals. Researchers at Patternmakers and WolfBrown worked with the Australia Council and arts agencies in every State/Territory to invite a sample of organisations to participate. The goal was to ensure a balance of organisations sent the survey to a sample of organisations, so that the Audience Outlook Monitor would provide reliable insights about all artforms, regions and organisation sizes. Organisations from all States and Territories are participating The table below displays a State/Territory breakdown of organisations that are participating in the study. Table 1: State breakdown of participating organisations State/Territory No. of organisations Australian Capital Territory 8 New South Wales 30 Northern Territory 3 Queensland 32 South Australia 16 Tasmania 4 Victoria 44 Western Australia 22 Total participating organisations 159 Most organisations are small-to-medium The majority of organisations participating are small, with 5 to 19 staff members, or medium- sized with 20 to 199 staff members. 1 AUDIENCE OUTLOOK MONITOR Around one-fifth of organisations are ‘micro’, with 0 to 4 staff members, and one-quarter are ‘large’, with 200 or more staff members. Table 2: Size breakdown of participating organisations State Micro (0-4 Small (5-19 Medium (20-199 staff) Large (200+ Total staff) staff) staff) ACT 5 1 2 8 NSW 3 11 10 6 30 NT 2 1 3 QLD 3 8 14 7 32 SA 4 4 7 1 16 TAS 1 1 2 4 VIC 3 14 19 8 44 WA 4 8 9 1 22 Grand Total 18 53 63 25 159 This study is hearing from organisations across a range artforms Participating organisations represent a range of artforms.
    [Show full text]
  • Audience Outlook Monitor 2021
    AUDIENCE OUTLOOK MONITOR Audience Outlook Monitor 2021 Participating organisations ACMI (Bathurst Regional Circa Council) Adelaide Festival Circus Oz Centre Belconnen Arts Centre Colac Otway Adelaide Fringe Bell Shakespeare Performing Arts & Cultural Centre Adelaide Symphony Belvoir St Theatre (COPACC) Orchestra Bendigo Venues & Country Arts SA Art Gallery of Ballarat Events Dancehouse ART ON THE MOVE Black Swan State Theatre Co Darwin Aboriginal Art Arts Centre Melbourne Fair Foundation Ltd Brisbane Festival Artspace Design Tasmania Brisbane Multicultural Australian Arts Centre Dionysus / Art, Not Brandenburg Apart Orchestra Brown's Mart Theatre Drum Theatre Australian Centre for Campbelltown Arts Dandenong Contemporary Art Centre (ACCA) Electronic Music Canberra Theatre Conference Pty Ltd Australian Festival of Centre Chamber Music Empire Theatres Canberra Youth Australian Museum Theatre Feast Festival Australian Theatre for Carriageworks Footscray Community Young People (ATYP) Arts Centre Centre for Bangarra Dance Contemporary Forge Theatre and Arts Theatre Photography Hub (East Gippsland Shire Council) Bathurst Memorial Chunky Move Entertainment Centre Frankston Arts Centre 1 AUDIENCE OUTLOOK MONITOR Geelong Arts Centre Melbourne Theatre Powerhouse Museum Company Geelong Gallery Queensland Art Merrigong Theatre Gallery | Gallery of History Trust of South Company Modern Art Australia Mildura Arts Centre - Queensland Ballet HOTA, Home of the Mildura Rural City Arts Queensland Museum Council Network Information + Cultural Museums Victoria
    [Show full text]
  • EXCHANGE Commercial & RETAIL SYDNEY Historical Walking Tour
    historical walking tours EXCHANGE COMMERCIAL & RETAIL SYDNEY Historical Walking Tour Front Cover Image: Sydney Arcade interior, 1890 (Image: Mitchell Library, State Library of NSW) exchange Sydney’s shops demonstrate the evolution of rom imposing banks to opulent retailing from elaborate Victorian shopping shops and old warehouses, much arcades to multi-storey department stores. of Sydney’s commercial history This walk will take you through the heart of the City’s can be seen in its buildings. financial and retail district — Martin Place, George Street and Pitt Street — pointing out landmarks, their architectural features and the history behind them. Detail from a Grace Bros catalogue, 1922 (Image: City of Sydney Archives) Sydney’s PLEASE ALLOW history 1–2 hours for this tour. is all around us. Start at Our walking tours will lead you St James Station (1) (1926) on Elizabeth Street, opposite on a journey of discovery from Market Street. early Aboriginal life through to contemporary Sydney. Clover Moore MP Lord Mayor of Sydney Historical Walking Tours — Exchange / 01. Dawes Point Walsh Bay Tar–ra Bennelong Point Dubbagullee TOWNS PL HICKSON RD LOWER FORT ST HICKSON RD HICKSON WINDMILL ST Sydney Cove Warrane ARGYLE ST Observatory Hill CUMBERLAND ST ALFRED ST KENT ST KENT Circular Quay Farm Cove HARRINGTON ST REIBY PL Wahganmuggalee HICKSON RD HICKSON GEORGE ST YOUNG ST LOFTUS ST PHILLIP ST PITT ST Darling Harbour Tumbalong GROSVENOR ST BRIDGE ST Royal Botanic PIRRAMA RD BENT ST Gardens Johnstons Bay BOND ST SPRING ST Woolloomooloo Bay MARGARET
    [Show full text]
  • State-Theatre-Company-SA.Pdf
    SUBMISSION 20-YEAR STATE INFRASTRUCTURE STRATEGY To: Infrastructure SA Level 15, Wakefield House 30 Wakefield Street Adelaide SA 5000 Attn: Mr Jeremy Conway, Chief Executive Ms Sabina Schaare, Manager, Stakeholder Engagement & Communications From: Jodi Glass Executive Director State Theatre Company of South Australia Subject: New Theatre Infrastructure – New Home for State Theatre Company of South Australia EXECUTIVE SUMMARY A. State Theatre Company of South Australia (the ComPany) is aligning with strategic partners to support the development of a new home for the Company. B. This new home will: a. give the Company the necessary platform to fulfil its strategic purpose: to become Australia’s pre-eminent storyteller, through the presentation of world-class, South Australian-produced and performed theatre; b. become the central hub for a number of professional Adelaide-based theatre companies and theatre-makers, creating a vibrant new multi-faceted theatre precinct – something Adelaide lacks but which many of the great cultural cities of the world enjoy; c. house and foster a new generation of independent artists, S2M performing arts organisations and creative entrepreneurs who will develop innovative new businesses that will spark and lead new economic opportunities, create jobs – enabling local creative businesses to go global while enriching South Australia culturally and economically. ANALYSIS About the Company 1. The Company is South Australia’s leading theatre company, classified by the State and Commonwealth Government’s as one of Australia’s 28 Major Performing Arts (MPA) companies (alongside Sydney Theatre Company, Melbourne Theatre Company, Queensland Theatre Company, Black Swan State Theatre Company, Belvoir, Malthouse and Bell Shakespeare). The Company is one of only three South Australian MPA companies, the others being State Opera South Australia and Adelaide Symphony Orchestra.
    [Show full text]
  • Entertainment Posters, Part 1 Rock Concerts, Film, Theatre & Performance
    Entertainment Posters, Part 1 Rock concerts, film, theatre & performance Collectors’ List No. 190, 2017 Online catalogue Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW p: (02) 9663 4848 e: [email protected] w: joseflebovicgallery.com 1.| |For The Term Of His Natural Life,| JOSEF LEBOVIC GALLERY 1927.| Colour linocut with letter press, 101.7 x Celebrating 40 Years • Established 1977 76.5cm. Repaired minor creases and stains Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) to margins, old folds. Linen-backed.| $1,650| Text includes “All the wealth of a nation! It cost Address: 103a Anzac Parade, Kensington (Sydney), NSW over £60,000 to produce in Australia for the world! Postal: PO Box 93, Kensington NSW 2033, Australia Australia’s peerless scenery was combed to show Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 the world the nation’s natural beauty spots, the company travelling more than 2,000 miles to various Email: [email protected] • Website: joseflebovicgallery.com locations, including picturesque Tasmania. Produced Open: Monday to Saturday from 1 to 6pm by chance or by appointment by the famous international director, Norman Dawn, for Australasian Films Ltd, it is adapted from Marcus Clarke’s world-famous book, of which millions of copies have been sold. “It is the first gigantic effort to place Australia on COLLECTORS’ LIST No. 190, 2017 the movie map. Rich in earnest human appeal this Union-Master-World-Production presents something spectacular, dramatic and historical that will live for all time. Marcus Clarke’s immortal story, produced by Norman Dawn for Australasian Films Ltd.
    [Show full text]