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Theatre Australia Historical & Cultural Collections

6-1977

Theatre Australia: Australia's magazine of the performing arts 2(2) June 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(2) June 1977, Theatre Publications Ltd., New Lambton Heights, 82p. https://ro.uow.edu.au/theatreaustralia/10

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(2) June 1977

Description Contents: Departments 2 Comment 3 Quotes and Queries 76 Guide: Theatre, Opera, Dance 5 Letters 74 Whispers, Rumours and Facts 69 International Theatre Institute Features 8 Chorus Line A photoessay of the Sydney production by Peter Holderness with a preview by William Shoubridge 13 Cover story: Thring interviewed by Raymond Stanley 32 Floating Parachute Wilton Morley, entrepreneur, talks to Robert Page 22 Fred Schepisi Australia Focus on Tasmania 16 Hobart's Historic Theatre Royal Ross Thorne 20 The Tasmanian Theatre Company Karl Hubert 20 Small State, Big Plans John Unicomb talks to Stan Marks 30 They tell it like it was Axel Kruse Playscript 35 The Fall Guy: Act One 36 Playwright, Linda Aronson, on the drama behind the play Opera 65 Lingwood’s Crisis of Identity David Gyger International 24 New Zealand Theatre Reviews 47 Queensland The Merchant of Venice Something’s Afoot Three Queensland Plays Queensland Playwright’s Conference 50 A.C.T. Chidley 51 South Australia The Cherry Orchard Jack the Ripper 53 New South Wales Diamond Studs Double Edge The Alchemist Caesar and Cleopatra Medal of Honour Rag Alison Mary Fagan Twelfth Night 58 Western Australia Crossing Niagara Ashes Absent Friends 62 Victoria Juno and the Paycock The Painted Devil and Peter Pan Film 64 Pure Shit and Don’s Party Barry Lowe Records 73 The Real Rachmaninov? Roger Coveil Books 75 Drag Show Helen van der Poorten

Publisher Theatre Publications Ltd., New Lambton Heights, 82p

This serial is available at Research Online: https://ro.uow.edu.au/theatreaustralia/10 . P Frank Thring/Drawing for TA by Alex Stitt Playscript: The Fall Guy, Act 1 of of the performing arts Playscript: Guy,The Fall Act 1 Cou ie htesy Australia’s magazine Line: Photoessay AChorus 099k / THE / caORFEO^Enjoy the glorious music of Monteverdi’s With Ian Cousins / Halina Nieckarz. Full supporting cast, and chorus of the Victoria State Opera. THE CONCENTUS MUSICUS OF MELBOURNE Conducted by Richard Divall Director Robin Lovejoy Designer Maree Menzel * Saturday July 2 / Friday July 8 / Saturday July 9 THE PRINCESS THEATRE, 8pm.

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* By courtesy o f the Melbourne Theatre Company Departments 2 Comment Theatre 3 Quotes and Queries A ustralia 76 Guide: Theatre, Opera, Dance 5 Letters 74 Whispers, Rumours and Facts 69 International Theatre Institute June 1977 Volume 2. Number 2 Features 8 Chorus Line A photoessay of the Sydney production by Peter Holderness with a preview by William Shoubridge 13 Cover story: Thring interviewed by Raymond Stanley 32 Floating Parachute Wilton Morley, entrepreneur, talks to Robert Page 22 Fred Schepisi Focus on Tasmania 16 Hobart's Historic Theatre Royal Ross Thorne 20 The Tasmanian Theatre Company Karl Hubert 20 Small State, Big Plans John Unicomb talks to Stan Marks 30 They tell it like it was Axel Kruse Playscript 35 The Fall Guy: Act One 36 Playwright, Linda Aronson, on the drama behind the play Opera 65 Lingwood’s Crisis o f Identity David Gyger International 24 New Zealand Theatre Reviews 47 Queensland The Merchant o f Venice Something’s Afoot Three Queensland Plays Queensland Playwright’s Conference 50 A.C.T. Chidley 51 South Australia The Cherry Orchard Jack the Ripper 53 New South Wales Diamond Studs Double Edge The Alchemist Caesar and Cleopatra Medal of Honour Rag Alison Mary Fagan Twelfth Night 58 Western Australia Crossing Niagara Ashes Absent Friends 62 Victoria" Juno and the Paycock The Painted Devil and Peter Pan Film 64 Pure Shit and Don’s Party Barry Lowe Records 73 The Real Rachmaninov? ra tio n a l Roger Coveil Theatre Opera Dance Books 75 Drag Show Helen van der Poorten G u id e i76 way traffic, is needed for Australian Theatre Australia culture to be enriched and, as importantly, for our contribution to enrich the whole COMMENT English-speaking tradition. Other coun­ Editor: Robert Page tries obviously feel this need. The British Executive Editor: Lucy Wagner Council has offices all over the world, in­ Associate Editor: Bruce Knappett cluding Australia, with the task of Assistant: Jayne Farrell It has often been noted that the fare here promoting all aspects of British perfor­ bears a strong resemblance to that of the ming arts through bringing out companies Advisory Board: West End 18 months or two years before. and circulating publications and scripts, John Bell, Graeme Blundell, Ellen Braye, Alongside it last year, there were plenty of and each year pays for someone — a Katherine Brisbane, Vivian Chalwyn, Gordon designer, actor or director — to come out Chater, John Clarke, W.A. Enright, Lynda our own plays — Hibberd’s A Toast to Gray, Jack Hibberd, Ken Horler, Garrie Melba, Williamson’s The Department and and work with an Australian company. Hutchinson, Robert Jordan, Philip Mason, A Handful o f Friends, Power’s Last o f the The Australia Council, which could Stan Marks, Jake Newby, Phil Noyce, Ray­ Knucklemen, Cove’s The Gift and others. perhaps act as a central body for overseas mond Omodei, Philip Parsons, Diana Sharp, promotion, as the Film Commission or the Ken Southgate, Raymond Stanley, Elizabeth But the traffic is one way. These Aus­ Sweeting, John Timlin, Tony Trench, Guthrie tralian plays are unlikely to be in the British Council does, has little money for Worby, Richard Wherrett West End seasons of two years hence. overseas fieldwork. And, despite a foun­ Don’s Party and What I f You Died ding principle “to promote Australian art Tomorrow did make it — and there was in other countries” , it appears to view this Publisher: John Curtain The Doll and now Steve Spears: these as a low priority. Theatre companies can Art Director: Alex Stitt successes are few and at best sporadic. We use the council’s grant-funding to tour Production Editor: Forbes Miller began to ask why. productions overseas if they wish, and, The Australian Film Commission is do­ more directly, the Australia Council does fund individuals to attend international Correspondents: ing somewhat better. Let The Balloon Go Sydney, Sue Manger (02) 456 2068 is on release in the United States, Picnic at theatre conferences and seminars. The Melbourne, Raymond Stanley (03) 419 1204 Hanging Rock there and in Britain, Dot money the council has is restricted, it is Brisbane, Don Batchelor (07) 269 3018 and the Kangaroo (an animated full-length true, but then comes the question of Perth, Joan Ambrose (092) 94 6639 feature film) has been sold to Germany, priorities. Adelaide, Michael Morley (08) 275 2204 and Caddie is soon to be released in Bri­ The Association of Australian Artists was founded in London at the end of 1975 tain. These, along with numerous shorts Theatre Australia gratefully acknowledges the dubbed in many languages, have been sold with the intention of presenting new financial assistance of the Australia Council, abroad: a good record, consistent and Australian drama, showing Australian the Literature Board of the Australia Council, developing. The reason seems to be solid talent at its best, and actively promoting the New South Wales Cultural Grants Board, the creative theatrical image of Australia the Arts Grants Advisory Committee of South marketing; the Film Commission has Australia, the Queensland Cultural Activities agents in countries throughout the world abroad. So far, it has managed to get Department, the Victorian Ministry of the Arts, — Britain, America and Europe — and at Mates and The Christian Brother on at the the University of New South Wales Drama present is particularly interested in break­ Mermaid, and McNeil’s The Old Familiar Foundation and the Assistance of the Univer­ ing into the Latin American market. A Juice — to excellent reviews — at the sity of Newcastle. delegation is off to Cannes, not for the Roundhouse. McNeil’s play was spon­ prizes but for the sales platform it provides sored by the Jim Hunt, the chairman, per­ Manuscripts: for such new films as Raw Deal, The sonally. At the moment the association is Manuscripts and editorial correspondence Singer and the Dancer and Fantasm 2. The negotiating for a three-month season of should be forwarded to the editorial office, 7 lunchtime theatre at the King's Head President Place, New Lambton Heights, New international market provides the profit South Wales 2305, telephone (049) 52 5976. where the home market covers basic costs. Theatre Pub. It also puts on rehearsed Whilst every care is taken of manuscripts and The ABC, often conservative, has a readings in odd rooms in Australia House visual material supplied for this magazine, the similar dynamic approach to overseas (rent-free) in the hope that a full-scale publishers and their agents accept no liability West End production may result. for loss or damage which may occur. Un­ sales. Again, it has agents in London for solicited manuscripts and visual material will Britain and Europe, and in Canada and the The AAA applied for a grant from not be returned unless accompanied by a United States. The policy is for all major Canberra, but none has been received. stamped addressed envelope. Opinions express­ productions to be sent abroad for potential Australian-based companies in Britain ed in signed articles are not necessarily those of sale, and a good deal does get sold to the have donated a total of 15 pounds in con­ the editors. English and European markets. Right tributions! now, Power Without Glory and Certain Perhaps the only short-term hope of Subscriptions and advertising: Women are on air in England and A Big becoming a recognised branch of the The subscription rate is $19.80 post free within Country and Wild Australia have been sold. English-speaking theatre tradition is via Australia. Cheques should be made payable to What is being done for the sale of the the commercial theatre. Rumour has it Theatre Australia and posted to the publisher’s that Reg Livermore will be appearing in address. performing arts abroad? The Federal For advertising information contact the Government makes noises about tight London before long, and even that Gordon publisher in Melbourne (03) 42 0583 or Sue budgets, and for the short time there has Chater might be going with The Elocution Manger in Sydney (02) 456 2068. been any kind of cultural programme o f Benjamin Franklin to New York. En­ (since the mid-sixties), that programme trepreneurs Paul Elliott and Bernard Jay, feeling much maligned about bringing Theatre Australia is published monthly by has been included as part of Foreign Af­ Playhouse Press Pty. Ltd., 114 Cremorne fairs activity. Australia has only two shows in, are also negotiating to take the Street, Richmond, Victoria 3121. Distributed cultural attaches, one in Jakarta and the Australian product to other countries by subscription and through theatre foyers etc. other in Tokyo — none in English- Let’s hope that by some lucky accident by Playhouse Press and’ to newsagents throughout Australia by Gordon and Gotch speaking countries. The policy is that — there’s no design — it’s not too long (A’asia) Ltd., MELBOURNE SYDNEY. Set attention be focused on the Asian area. before our great successes are playing con­ by Abb-Typesetting Pty. Ltd., and printed by There the record is not bad for visits by sistently in the West End and on Broad­ Norman J. Field & Co. Pty. Ltd., 114 ballet companies, orchestras, chamber- way. And that eventually the Government Cremorne Street, Richmond 3121. © music groups, painting and photographic Playhouse Press Pty. Ltd. 1977. All rights will wake up to the need for proper cultural reserved except where specified. The cover price exhibitions. No theatre gets to Asia representation abroad for the performing is maximum recommended retail price only. because it runs against the language arts in the way the Film Commission and Registered for posting as a periodical — barrier. True cultural exchange, not one­ the ABC have for film and TV. category C.

2 THEATRE AUSTRALIA JUNE 1977 THERAPEUTIC THEATRE “What RMIT Union has realised is that “Of the plays we’re not actually IN DIFFICULTY they can provide salaries, along with day- workshopping, we are reading profes­ to-day running costs and a wide range of sionally Bernard Matthew’s exciting JUDY MORTON, Arts Access, Mel­ facilities, to enable a group of artists from prison play Tumbling Dice and John Lee’s bourne: “The survival of Arts Access, different disciplines to work together in­ modern Chinese opera based on the Patty an innovative community arts project, is side the campus community for eight Hearst story. I’m circulating the most ex­ threatened after three years of successful weeks to 10 June. citing plays (including runners-up) to operation. Linking up arts resources, par­ “The artists include Nanette Hassall, theatre companies who ask me about ticularly in the performing arts, with Eva Karczag, Libby Demster, Bill Fon­ them, and feel that the most promising welfare needs, the project in this time has tana, Simon Hopkinson, Russell Dumas, plays are getting an airing this year.” reached more than 27,000 institutionalised David Hinckfus, Stephen Jones. and isolated people in prisons, hospitals, “ Initially, the artists will create work TRUSTTAKES UP training centres and children’s homes in derived from the immediate environment TARANTA RA!______Melbourne, and more recently throughout which, despite structural formality, will be Victoria. presented to the campus community infor­ JUDY OLDING, Marian Street Theatre: “The programme has obvious advan­ mally. “ Tarantara! has finished at the Royal now, tages for all participants: arts organi­ “The intention is not to confront where it did terribly well, and now the sations reach new audiences, while health students and staff with the creative Trust are taking the production — our and welfare groups benefit in terms of en­ processes, but rather to stimulate their show and our cast — to Melbourne, joyment and personal and social growth. perception of the possibilities for creativity Hobart, Brisbane and Adelaide, which which are part of their everyday surroun­ takes it up to the end of August (starting dings. from 23 May in Melbourne). Naturally, “The possibilities are enormous and for we’re all delighted and the cast are thrilled this reason the project has been entitled to be going on tour. It has definitely been The Exchange.” the most successful show this theatre has ever done, though Something’s Afoot ran SCHIZOPHRENIA: for 10 weeks: longer than usual for us. We can’t anticipate further commercial back­ ing, but the phone is running hot for HELEN VAN DER POORTEN, Double Edge and we’ve all got our fingers Playreading Committee, Playwrights’ crossed. Next we’ve got The Happy Conference: “I am constantly amazed by Hunter by Feydeau, then Confusions, the the natural ‘trends’ which turn up in new Alan Ayckbourn which was in the Playwrights’ Conference entries: last West End last year. We will premiere it in year’s plays tended to include psychiatric Australia. We’re happy to stay where we plays with Pirandellian overtones and this are happily being enjoyed by all and sun­ year’s entries contained a high percentage dry.” “The Victorian Government has so far of split-personality plays in which the declined to fund Arts Access. While hero/heroine battles with an alter-ego. I’ve ENTREPRENEURIAL recognising the value of the project, each no idea what it all means, but we’re doing State Government body — that is Arts, two of the ‘split’ plays at the conference — Welfare and Health — has suggested that Debbie Oswald’s Two-Way Mirror and TONY FREWIN, Adelaide Festival Cen­ another body is a more appropriate source Rivka Hartman’s Dream Girl. tre: “The reason we’re so busy, and doing of funds. The combination of arts and “The plays shortlisted themselves very so well, is that the Festival Centre Trust welfare, so fruitful in practice, on the easily this year, but it is a pity we still is the biggest entrepreneur in South financial side appears to be a liability. get so many Upper-North-Shore-type Australia. Since July 1976, it has en- “We believe that, for the health and mannered comedies full of endless off­ trepreneured 333 performances of 35 welfare group, the arts are not just icing on stage tennis games. different attractions, which have played to the cake, but should be considered as an in­ more than 150,000 people! The perfor­ tegral part of any therapeutic programme. mances ranged across all entertainment Our task is now to persuade the communi­ from film to vaudeville, and have included ty and the Government of the value of the overseas artists and companies, interstate contribution the arts make to these groups artists and companies, and several locally and the enormous potential for interac­ initiated shows. The biggest success has tion.” been My Fat Friend in the Playhouse, which played to 101 per cent capacity THEARTSOF houses every night. Also the Gilbert and EVERYDAY Sullivan season in the Playhouse at Christ­ mas played to 50,000 people, and recently DONNA GREAVES, artistic consultant, the Victorian State Opera’s La Belle Royal Melbourne Institute of Technology: Helene did very well in its five-night “A major problem facing artists today is season. The SATC in 1977 is having the how to operate as a genuine part of the best houses of any season they’ve ever working environment. done; School For Scandal was their best

THEATRE AUSTRALIA JUNE 1977 3 show ever. star. “At the moment, we’re preparing for a “ I am opposed to bringing in overseas controversial production of The Maids stars because this often degrades our own directed by Alex Hay, which will go on in actors and tends to re-inforce the general the Space. Alex Hay first did the play last public’s parochial opinion that all local year in Perth, and we will be touring it to swans are geese. I'm certainly not opposed Sydney, Melbourne, Canberra, Brisbane to commercials, but we shouldn’t have to and Tasmania. It’s the first Festival Centre depend on them. We are a subsidised production that we are touring. Eric Dare drama company, not a commercial man­ will be touring My Fat Friend, possibly agement. with Lynn Redgrave in the lead. The “ But if we don’t have a commercial AETT always hand over the things they success downstairs, we can’t do any pro­ tour to us when they go on in the Festival ductions of experimental theatre in the Centre — they think we do it better — so Greenroom. “One problem is that our State funding- we will be managing Tarantara! while it’s MULTI-MEDIA body is duplicating its spending. In effect, here. MESS-UP “We also have a very strong commit­ it is subsidising amateur theatre. That ment to local community theatre, and money should go to the professional LUCY WAGNER, executive editor, from June to mid-July are bringing three theatre. In that way we could bring the Theatre Australia: “The Beatles — Away new Australian productions, with pro­ very best to the public and extend the plan with Words, “the biggest multi-media fessional directors and using the pool of more fully our present involvement with show in the worlds” , currently touring talent from the amateur scene here, into workshops, education and amateur Australia, has something of the the Space for a season called A.C.T.3. groups.” atmosphere of a travelling magic-lantern First will be a double-bill, Hunting by show. The three huge, slightly ramshackle Veronica Sweeney and Glitter by Philip SHEER ENTERTAINMENT screens, and stroboscopes installed along Murphy, directed by Martin Christmas; the entire front of the auditorium, and on COLETTE MANN, of Hats: “ Hopefully, then Don’t Piddle Against the Wind, Mate the night I saw it, the failure of the show to we're helping Australian legitimate theatre by Ken Ross, directed by Patrick Frost; start for some 15 minutes, and the sporadic stay alive. It is up to groups like us and All and last a musical called Food by Tony appearances of worried-looking, youthful That Jazz. People these days are seeking Strachan, directed by Malcolm Blaylock. technicians, gave something of this out entertainment in the theatre, a real And they’re all Adelaide writers.” impression even before the show started. good night out. We are optimistic about Eventually, the screens lit up and flickering theatre and about shows like ours, and slides and the odd film-clip, mostly MTC TO GET NEW because people are standing up and saying superimposed either on each other or on PRODUCTION HQ psychedelic patterns, began to appear. The SIMON SEMPHILL, Melbourne Theatre first section is on the birth and early days Company: “On 4 April, the Vice- of rock, but certainly not in chronological Chancellor of the Melbourne University, order, nor with music synchronised to and chairman of the MTC board of visuals, even with the film-clips. management, Professor David Derham, The slides and films of the young announced the purchase of the 73,000- Beatles — in the Cavern, at the Albert square-feet Nathan Blight Building in Hall, in the street, in the bath — can South Melbourne for the Melbourne hardly fail to evoke some degree of Theatre Company’s administrative and nostalgia, but as the show goes on the production headquarters. slides become less and less chronologically “The State Government financed the ordered, and they and the music less purchase of the building ($92,000). For the related to each other. Slides and films of, past six years the MTC has been housed in for example, Nixon, the Ohio student a building owned by the Melbourne and killings, beautiful sunsets and naked black Metropolitan Board of Works in Norman- girls (to the music of “ Blackbird”) begin to by Road, South Melbourne. The company predominate over the Beatles themselves. has been renting the building which is in a By the end one has heard at least a few dilapidated state and will be required for notes of most Beatles (and post-Beatles) roadworks after the completion of the songs, though there are some notable Westgate Bridge. The MTC will transfer exceptions, and probably seen most of the its operations into the new building photos and film shots, including clips of all progressively over the next few months, their films, of the Beatles that exist, but the though things probably won’t be finished way they are put together seems totally ad there for several years. what they think about Australian theatre. I hoc. “The company is obviously delighted shudder when I think that not very good Overall, the show adds up to neither a with this move to a permanent head­ overseas productions attract audiences full and comprehensive biography of the quarters, and is most grateful to the Vic­ when local shows with top local actors Beatles, showing the development of their torian Premier, Mr Hamer and his don’t pull them in as well, just because music, nor a commentary on what their Government for their continuing generous overseas people are seen on TV. Hats is a musical and sociological influences have been on the sixties and early seventies; it support.” family show and has brought many people back two or three times to see it. We do isn’t even a springboard to indulging in nostalgia — unless the projection and WHY SUBSIDIES change, but basically it is the same show. extreme speed remind you of home FOR AMATEURS? We would like to do a TV comedy series or show. I’m optimistic about our Sydney movies. Often the music is painfully loud, AARNE NEEME, National Theatre season; word of mouth has helped a lot up the slides annoyingly flickery and the Perth: “As a State drama company we here, especially with the younger audi­ strobes flashed at the audience at odd and shouldn’t have to be in the situation of sub­ ences.” unrelated times make viewing impossible. sidising ourselves. But in effect this is what • Eric Dare has booked Hats for an in­ The saddest thing is it could — should — we’re doing. We have to plan for a com­ definite run, which started in Sydney in have been so good; with material like that mercial success, usually with an imported April at the Speakeasy. it must be hard to go wrong.”

4 THEATRE AUSTRALIA JUNE 1977 KILLARA 680 COFFEE THEATRE

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In Theatre Australia No. 8 (March/April) NIDA itself. By contrast, the sessions on A fun show to celebrate the Anniversary of Marlis Thiersch reported in rather fav­ Old Tote methods of financial control the Queen's Silver Jubilee ourable terms on the pilot short course probably left many participants with little Tues. Wed. Thurs. Frid. at 8.30 p.m. in Theatre Administration conducted by useful information. Sat. at 9.00 p.m. NI DA in February of this year. In con­ I believe that a more appropriate Reservations: (02) 498 7552 teaching method would be seminars and Excellent Theatre Party Concessions tradiction, my own impressions were that available. the NIDA short course was most un­ discussion-groups. Guest lecturers could satisfactory as a course, and for a substan­ briefly outline the basics of a particular tial number of the participants. subject area; the group could then break My main criticisms of the pilot course into smaller groups to pursue lines of in­ relate to: terest under guidance of guest lecturers (i) Undiscriminating selection criteria and the course staff. Rose Street, (ii) Poor teaching methods (iii) Preparation for the course. To me, it Ferntree Gully, (iii) Insufficient preparation was obvious that there was insufficient Victoria (iv) Inappropriate staffing. preparation for the pilot short course, on (03 ) 796 8624 (i) Selection criteria. Approximately 50 the part of the course staff and of the guest (03) 758 3964 people attended the pilot short course, lecturers. Several of the lecturers simply representing interests as diverse as pro­ talked on an*anecdotal way “ off the cuff”. fessional theatre companies, amateur While this approach certainly can be very theatre groups, theatre centres, symphony interesting, it generally cannot replace a orchestras. careful, concise survey of the subject Season Two 1977 The level of experience of the people matter, backed up by written material. For Alan Ayckbourn’s attending, and their expectations of the example, when dealing with budgeting, I Relatively Speaking course, varied greatly and thus made the think it is important for lectures/ Directed by Pauline Lowe appropriate level of instruction very dif­ discussions to be supported by the pro for­ Nightly at 8.30 p.m. ficult to establish. I think that short ma that the lecturers themselves use in the Thursday June 2 to Saturday July 2. courses in theatre administration can have preparation of their own organisation’s several different purposes, and therefore budget. This would give a clear indication separate courses, or at least streaming of the steps involved within the one course, is desirable. With regard to the preparation of the For example separate courses could be course itself, I believe that the failure of established for: the three “practical exercises” to mat­ (a) Experienced theatre administrators to erialise was just one indication that the THEATRE AND RESTAURANT meet to evaluate their own effec­ course was under-prepared, or insufficient­ 498 3166 tiveness and update their approaches. ly thought out in terms of the time avail­ Lynn Rainbow, Phillip Hinton, (b) Inexperienced theatre administrators able for instruction. Al Thomas and Company. (whether artistic or administrative per­ (iv) Staffing. The staffing approach of the Directed by Alastair Duncan sonnel) to be given a basic grounding pilot short course was to invite, as guest in THE HAPPY HUNTER in theatre administration. lecturers, executives of the major perfor­ (c) Amateur administrators to study and ming arts companies, particularly the Old by Georges Feydeau develop appropriate administrative Tote. In many cases, this led to the situa­ TUESDAY TO SATURDAY 8.15, procedures for their own organ­ tion where the lecturer was discussing SUNDAY 4.30 May 26 — July 9 isations, drawing on general principles procedures, not in general terms, but in OPENING FRIDAY JULY 15 of arts management. terms of the operation of his/her own par­ Alan Ayckbourn’s new English comedy (ii) Teaching method. In the pilot short ticular company. Often this information CONFUSIONS course the teaching method adopted was was irrelevant to most participants, who 2 MARIAN ST., KILLARA the presentation of lectures to the whole face problems entirely different in both group. In the course of the lectures, scale and nature to those of the major per­ questions were invited; however, extension forming arts organisations. (One example into discussion, between lecturers and of this was the possibility mooted by one participants, or between participants lecturer that the administrator/production themselves, was generally discouraged. On manager may be faced with the necessity the whole, the lectures were unsuccessful in of reducing technical staff from 40 to six establishing an understanding of the sub­ while on tour away from the city theatre.) ject matter as the level was often too ad­ In the pilot short course the choice of vanced for some participants, yet elemen­ guest lecturers was often appropriate: tary for others. One result of this was that Michael Crosby to talk about Actors’ the whole of some lectures was lost to Equity, Ken Horler to talk about legal many participants. I believe it may be a structures and fund-raising, the Depart­ common experience that one of the most ment of Services representative to talk valuable sessions was the Thursday after­ about theatre licensing. However, in other noon when a considerable time was spent cases the guest lecturers talked in a examining, in an informal way, the ad­ prescriptive way about structures or ministrative records and procedures of procedures, rather than outlining their own Give friend.

6 THEATRE AUSTRALIA JUNE 1977 approach, and relating this to general prin­ “Out of Creative Waters?” (Theatre Saint Mary’s Kid. ciples. One example of this was the in­ Australia, April/May, p. 3) had nothing to As I see it, these amateur activities are sistence of several lecturers that a board of do with any comment by Mr Timlin, and absolutely essential to the sophisticated directors structure is both desirable and in­ that it was written by an independent com­ professional world, as they provide the evitable; in fact, several groups represented mentator. grass-roots in training the community to at the course are successfully exploring and regard theatre as at least as valid as foot­ developing alternative approaches to I was interested to read in your Comment ball or clubland. I believe the recent report responsibility and management, e.g. co­ section of Theatre Australia the statement on the arts supports my belief, and I take operatives, artist participation in manage­ that had been made about lack of training your editorials to imply that you also hold ment, commercial entrepreneurs etc. here for the theatre and that you intended no brief for a dead museum culture In this analysis of the pilot short course, to follow this up. operating in an elite ghetto. I have dwelt upon the problems and The newly formed 680 Drama School Yours outside the ghetto, in Fringe, failures of the course in order to provide a (started by John Howitt of the Killara 680 JEAN BURTON critical input into the evaluation process. Theatre, following the failure to purchase Camden, NSW. To balance this, I would like to say that the Independent Theatre School of even the pilot short course was of value to Dramatic Art) is providing very good Re: “ Vision and Myth’’: William many participants, both through the training for the theatre. Shoubridge on the Kinetic Energy Dance material presented and from the oppor­ It is an evening school only, at the mo­ Company and the Dance of Life Company tunity to meet other administrative per­ ment, with three core classes of movement (Theatre Australia, March/ April). sonnel. The range of subjects covered by with Keith Bain, speech and acting with As an artist and as a dancer, I have been the course was comprehensive and forms a additional classes in dialect, make-up, insulted. I feel compelled to speak. good basis for future courses. It might, script study, Film and TV techniques and Mr Shoubridge stated, “ Practically any however, be necessary to extend the dura­ practical experience with workshop pro­ fool can walk in off the street, put on a tion of the course to permit an effective ductions every Five weeks and graduation costume and act, but people who are will­ discussion and learning process. plays. The acting training covers every ing to go in for the gruelling years of train­ I believe that there is a very great need aspect of theatre styles and our staff have ing and daily exercises as well as the in Australia for short courses in theatre ad­ been trained at RADA, the Royal stringent self-discipline to keep themselves ministration; the strong response to the Academy of Music and Drama, the Old in shape just to go into an amateur dance NI DA course, both from New South Vic School, as well as being working direc­ company for no financial remuneration, Wales and interstate, is just one indication tors from the theatre and the ABC and don’t exist.” of this deficiency in our arts/education professional actors. We are having our Shall I take him by the hand and lead structure. The National Institute of own premises built at Mosman, with our him through the streets of New York, Lon­ Dramatic Arts is an appropriate institu­ own theatre and video room. don, Paris (yes, and even Melbourne) to tion in New South Wales to conduct short GILLIAN OWEN show him the spartan conditions in which courses in theatre administration (other in­ Director, 680 Drama School, | dancers live and grow? Dancers do not stitutions also may have the capacity and Mosman, NSW. dance for money, but for art itself. They resources to establish such courses); deny all in order to give all. They dance however, a much more thoughtful and con­ Your editorial (Theatre Australia, whenever, wherever, they are given the op­ sidered approach should be taken to the March/April) came as a challenge. (“All portunity. preparation and conduct of the course in the eternal truths running around in our I was appalled by Mr Shoubridge’s lack the future. little parish” . . .), so I hope you will con­ of sensitivity in understanding and ap­ PETER SUTHERLAND, sider the parish of Sydney’s suburbs (con­ preciating modern creative dance. Quite by Administrator, taining a quarter of the city’s population in accident I attended the Dance of Life Canberra Children’s Theatre. the west/south area) and allow me to in­ Company’s presentation of The Phoenix. I troduce FRINGE. immediately went back to view the next Your anonymous scribe in the Fringe is a committee made up of performance. It was by far the most March/April issue of Theatre Australia is representatives from more than 20 creative, most inventive, most magical right in saying that the Australian Perfor­ amateur theatre groups, covering an area dance company which I have ever witness­ ming Group played (mostly) to bad notices that extends from Turramurra in the north ed in Australia. Melbourne appreciated it, in Perth and (mostly) to poor attendances to Springwood in the west, and Camden in as seen by the continuing sold-out houses. in Adelaide. As for looking like “fishes out the south.(Each of these is more than 60km Paris would be more than happy to have it. of water” when moved from the “super­ apart.) Let the photos featured in the review speak roughness” of the Pram, it might be useful The committee began with the Whitlam for themselves! to look for causes other than the lack of Government’s attention to the previously I do wish that Mr Shoubridge would creature comforts afforded by our modest neglected western suburbs, and has had ex­ stick to classical ballet criticism and leave premises in Melbourne. The great majority pert help from Arthur Pike, then a modern creative dance alone, for it is quite of our touring productions have been member of the Theatre Board, as well as evident that he lacks the insight to judge enthusiastically attended and rapturously founding grants which enabled the com­ anything new of value. Better yet, if Mr reviewed. Your editor Lucy Wagner asked mittee to employ a professional director to Shoubridge woukfgracefully bail out of an me for a comment on “going national” . At visit each group to instruct and advise. aeroplane and depend on his “intelligent the time I thought it was too early, but Each year a festival has been held which depth” rather than a parachute, then with the Hills Family wowing them in attracts entries from 12 or more groups, creative dance would rejoice in the out­ Sydney, Soapbox Circus having performed and this year a combined production was come, even if he did manage to land on his to more than 41,000 people this year, Max presented. ass. Gillies (renowned for his “affected Membership currently includes one RICHARD BOULEZ, amateurism”) in demand from Darwin to professional theatre, the Q Theatre which Camberwell, Vic. Hobart for his performance in Stretch o f has supported Fringe theatres in many • William Shoubridge points to his con­ the Imagination, I can assure your ways, and which has moved out from tinuing concern with the Dance Company somewhat churlish commentator that our Sydney to Penrith. It also includes the NSW and the Australian Dance Theatre to cash-flow is good, morale high, and in­ Deaf Theatre of NSW., which has per­ show his enthusiasm for modern novation, as usual, proceeds in spite of our formed in the Seymour Centre, and the Australian ballet/dance. His contention is dilapidated dunnies not because of them. Youth Theatre Workshop, which was able simply that there are amateur groups JOHN TIMLIN, to make a real contribution to the Sydney “disguise their lack of choreographic abili­ Australian Performing Group. Festival by presenting a home-grown ty with costumes, effects, cliches and over- • Lucy Wagner points out that the item, musical of relevance and quality, The simpliFications”. H

THEATRE AUSTRALIA JUNE 1977 7 Sydney production The concept of A Chorus Line is deceptive­ American and British audiences clamour­ photographed by Peter Holderness ly simple. There are 17 dancers auditioning ing for seats and which has almost over­ for parts in a Broadway show, but only night put this show into the annals of the eight (four male, four female) are needed. American musical theatre. Never before William Shoubridge The selection, weeding-out and auditioning have critics been so unanimous in their for those eight constitutes the format and praise and audiences so personally touch­ previews the dramatic tension of the musical (no ed. “An innovation trouble with plot-turns in this show). But it It is a backstage musical, and Broadway is this dramatised process, placed on a has a heavy history of such shows, but this of terrific magnitude” stage and thus defined, that has had one, because of the intense personal in-

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8 THEATRE AUSTRALIA JUNE 1977 volvement in its creation, breaks the line, tested and, if good enough, used. talk about themselves and why they chose barriers of the form. A Chorus Line, by Bayyork Lee, member of the original this sort ot livelihood. They see the change implication, and by projecting its theme cast and Michael Bennet’s assistant on that comes over those dancers as the show out into the lives of “ordinary” people, has such shows as Follies, Company and strips away their protective barriers and become, for those audiences who have seen Promises Promises, who is here to direct makes them see themselves anew. But it, a palpable symbol of personal exertion, the Sydney cast, says that it is the love and more than that. Hopefully, the audience discipline, hope, dignity and the right to the honesty of the show that makes it effec­ will change. Instead of sitting at one start again if one has failed. It is, in effect, tive. remove, making their own choices about the ultimate job-interview: an arena where “Also change,” she says. “Audiences who should be selected and who shouldn’t, one’s qualities and abilities are put on the watch a group of dancers being forced to they will come to identify with those peo-

THEATRE AUSTRALIA JUNE 1977 9 mggm

pie up on stage — come to realise that the usual JCW over-decoration) is extremely with faked glamour, with insincerity; when situation applies to them as well, in their austere. those in authority can no longer be trusted. own way. The show should give people a “A Chorus Line arrived at just the right After Vietnam and Watergate, the sense of the importance of human dig­ moment,” says Bayyork Lee. “ Broadway American psyche took a severe battering. nity.” — America — was ready for us!” People lost their faith and their self­ But why has A Chorus Line made such True enough, the show might have assertiveness; there was very little to grab an enormous impact? Its music is ser­ flopped miserably a few years ago. But hold of and believe in. What audiences viceable but hardly memorable, there are now it is here at a time when Americans, wanted for a change was honesty. some dreadful cliches in the text and the and because of their pervasive influence, Dancing is probably one of the most staging (especially for those used to the the rest of the Western world, are fed up honest artistic expressions there is. You

10 THEATRE AUSTRALIA JUNE 1977 cannot disguise lack of technique or inflex­ have always been a background for the been put through the same sort of trials as ibility. Either you have natural rhythm or star, nothing more. This show makes peo­ we had in the original team,” she says. you don’t. If the body is not fit and dis­ ple realise that dancers are human beings “True, the Australian kids aren’t as ex­ ciplined, it just cannot perform, and if your too.” perienced as we were, but a lot of heart isn’t in it, it will soon show. The inevitable question arises concer­ themselves has come out in the work that “ But,” says Miss Lee, “dancers, es­ ning the abilities of the kids in the we’ve done together already. Audiences pecially Broadway dancers, have been put Australian cast. “They are young,” says are going to see a lot of love in this show. down for so long. For a lot of them it’s Miss Lee, “and therefore there is a hell of “Anyway, this cast is lucky. It’s been their only livelihood and it is getting a lot of enthusiasm there.” pampered, just as we in the original were. harder and harder all the time. Dancers But that is not enough. “These kids have The other casts, the London, San Fran-

THEATRE AUSTRALIA JUNE 1977 11 W i 4 / AJ Tk Æ

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cisco, Toronto and Los Angeles casts — there’s anticipatory interest at least. Pacific Overtures? “ I don’t know”, she well, we just churned them out like a fac­ “ It’s not particularly American,” Miss says. “ It wasn't his sort of thing.” tory, at an incredibly quick rate. Things Lee says energetically, “ it is about Sondheim and Prince hhve been for a are more relaxed here, and the kids are so dancers, and by extension, people in long time typed as the “innovators” of dedicated.” general. Audiences will understand.” Broadway. A Chorus Line is an innovation But one still doesn’t know how the Where to from here? “ I really don’t of such terrific magnitude that perhaps Sydney audiences will take to it (although, know. I don’t envy the person who comes there is little left but for the others to pick by the time this article appears, the show after us. We have, in a way, broken the up the pieces of an expanded form and try will have properly opened after three mould. The ‘old’ musicals won’t work after again. But A Chorus Line didn’t go out of weeks of previews, and judgment will have this. But we didn’t worry about that when its way to be innovative, merely for its own been passed). we created the show; we just gathered sake; the content dictated the form. Miss Lee allays my fears. “ I have taken together with a collective feeling that “ We didn’t realise to start with that it cabs around the city,” she notes, “and I’ve Broadway was dying and maybe there was would make such an impact,” says Miss been amazed at the number of people who something we could do about it. We did it, Lee. “ But even if it had flopped, all of us in have already seen the show in the States we were honest about it, there was no the cast would have gone away so enriched, and loved it and are going to see it here, beating about the bush and, well, we have having learnt so much about stagecraft and who are going to tell their friends to changed the face of the industry. Some that we would have gone out to work with see it. I think it will work wonderfully.” people disliked the show. Stephen Sond­ new energy and knowledge. We would Whatever the final outcome, at the mo­ heim, for example, hated it.” have been proud to be dancers. Like I said, ment of writing the show has received Sour grapes, perhaps, for stealing the it’s a show about dignity.” more than 69,000 advance bookings, so thunder of the Tony Awards from his

12 THEATRE AUSTRALIA JUNE 1977 Raymond Stanley Interview THRING: “I hate directing ... I loathe actors. I think they are the dullest people . . .”

Few people can be unaware of Frank the radio station, nobody dared demur. Theatre Company (later known as the St Thring, whose larger-than-life stage per­ The role gained him a Listener-In award. Martin’s), working for Irene Mitchell, formances, emperor-type film roles and He then went into radio in a big way, earning money by day in radio. abrasive wit have made him into a living becoming well known, and created on After the war, Thring went to Europe legend. Countless Thring tales are told, radio the aboriginal detective Napoleon for two years, travelling all over the Conti­ embellished with lifelike vocal imper­ Bonaparte in a series adapted and directed nent and taking in all kinds of theatre not sonations. Once looked upon as rather a by Morris West. seen in Australia. This was his way of joke, then considered a ham, today he Around this time, Ray Lawler wrote his studying. mainly is regarded with awe and respect by first play, Hal’s Bells, about a re­ Back in Australia, he went into the fellow-thespians, particularly the younger incarnation of Henry VIII, staged by the Sydney Independent’s touring production ones. amateur Middle Park Repertory Theatre. of Rusty Bugles for Kenn Brodziak, toured Thring began in radio — as sound- Since Thring at 19 resembled the much- the Tivoli Circuit with Arthur Askey, effects boy — at a period when most actors married monarch, he was cast in the role, played the psychiatrist opposite Doris Fit- were working a 12-hour day in radio and the play successfully transferred to the ton when Black Chiffon came to serials. When one day an actor was too in­ National Theatre, run by Gertrude John­ Melbourne, and also went into See How ebriated to perform, Thring said, “ I can son and William P. Carr. From this Thring They Run. This play, presented by Brod­ play that part”, and, since his father owned graduated to the non-professional Little ziak, was scheduled to tour, but Thring, at

THEATRE AUSTRALIA JUNE 1977 13 his own request, was released from his con­ Cargill. He intended playing Othello Stoll. Here Kirk Douglas saw him per­ tract. again, but Harold Hobson, critic of the form, which led to film work for Thring, He then formed his own company, and Sunday Times, had so praised his perfor­ playing more emperors (impressing people for the next two years presented plays at mance in Salome that the play transferred back home far more than the fact he had the Arrow Theatre, engaging directors like to the St Martin’s and ran for a while. acted with the Oliviers!). Irene Mitchell, Robin Lovejoy, Alan Having proved he was up to West End Since then, Thring has been able to play Burke and the English Frederick Farley. standards, Thring became homesick and most of the parts he has wanted to, and so Here the mould was set for the type of returned to Australia, where the typical the legend has grown. Back in Australia, character Thring would play in the future: comment was: “Oh, he must have been an he played Caligula in Frenzy at the Herod in Salome, Volpone, Whiteside in appalling disaster. Why would anybody National, the title roles in The Strange The Man Who Came to Dinner, Essendine come back to Australia?” Infuriated by Case of Dr Jekyll and Mr Hyde at the Lit­ in Present Laughter, Othello (with Zoe this, Thring made certain he obtained tle, and in 1959 joined the Melbourne Caldwell as Desdemona), Mr Dulcimer in front-page coverage when he received a Theatre Company (then known as the The Green Bay Tree, and Oedipus Rex. He cable from Anthony Quayle inviting him Union Theatre Repertory Company) and surrounded himself with some of the best to join Laurence Olivier and Vivien Leigh frequently has been one of its main forces people available at the time and frequently in the cast of Peter Brooks’s Stratford since, enjoying a good working designed the sets and costumes. production of Titus Andronicus — to play relationship with founder-director John

Eventually Thring became bored with the evil Emperor Saturninus. Sumner. the Arrow and asked Farley how he Titus was an enormous success, and In his first season with the UTRC, thought he would go down in London. Thring stayed on in London; otherwise, Thring had a huge personal success play­ “You're so extraordinary, you’d probably Australia would say he had been a flop ing Ahab in Orson Welles’s Moby Dick do quite well,” he was told. (Comments with the Oliviers! He played Captain Hook — Rehearsed, which he repeated in Thring: “ A cross between Robert Morley in Peter Pan, traditionally doubling the 1967. Other roles have included a succes­ and Charles Laughton at the age of 25 — part of Darling. (“The only production of sion of religious dignitaries, including the who could ask for anything more?”) Peter Pan", says Thring, “where Mr Darl­ Archbishop in Romanoff and Juliet So, together with Farley and the ing has scared the children more than (programmed as H.E. Rod), Dracula, costumes, Thring went to London and Captain Hook!”) Macbeth, repeats of his roles in The Man leased Jack de Leon’s Q Theatre for eight Next Thring went into a twice-nightly Who Came to Dinner and Present weeks. Here he repeated his roles in stage version of Doctor in the House at the Laughter, Burgoyne in The Devil’s Disci­ Salome and The Green Bay Tree, Victoria Palace for Jack Hylton. On the ple, Falstaff, Gaev in The Cherry Orchard, appeared in Ebb Tide (adapted from R. L. point of returning home again, he received Sandor in The Play’s The Thing (at his Stevenson by Donald Pleasence) and in a telephone call from Olivier inviting him sparkling best in a typical Thring role) and between presented new plays with actors to play in a revival of Titus to tour the more recently the Mother Superior in The like Patrick McGoohan and Patrick Continent and then a season at London’s Nuns.

14 THEATRE AUSTRALIA JUNE 1977 Perhaps his most surprising role — and away from the MTC. Loathing the up­ from Australians, written specially for one which gave him personal satisfaction heaval of finding accommodation in him. He was surprised to read in an earlier in playing — was Max in Pinter’s The another city, the role has to be something issue of Theatre Australia that Steve Homecoming. As he says, “ I’m not extra-special to attract him. He was of Spears had written The Elocution o f Ben­ anybody’s idea of a 70-year-old cockney course Mr Barrett in the musical Robert jamin Franklin with him originally in butcher who fucks his daughter-in-law, am and Elizabeth (“I’d always wanted to play mind. “One hardly fits into what David I?” Seeing the play in London, Sumner Edward Moulton-Barrett anyway”), was Williamson writes . . . one hardly fits into cabled he had found a marvellous part for in JCW ’s Hadrian VII and went to The Summer o f the 17th Doll. One doesn’t him. “John, you must be insane,” said Adelaide last year when George Ogilvie in­ fit into the normal Australian scene, or Thring after having read the script. “One’s vited him to play Othello again. what most Australians seem to write always covered with red velvet and rubies, One would expect that, having once been about, anyway.” walking down flights of stairs being an actor-manager, he would at some time Has he ever thought of writing a play emperors . . . I don't know that I can do a want to form another company, but not at himself? “ Frequently — but I’ve never had cockney accent.” But Thring did, won all­ all. He maintains he formed one previously the patience. I’ve got a very good thriller, round critical acclaim for his performance, because it was the only way to play the but I can’t think of any way to end it.” and gained Best Actor for 1966 award. roles he wanted to; now Sumner does it all A one-man show? Yes, he has con­ Thring was not present at that awards for him, and much better, he believes, than sidered this too, but “one’s first preference

ceremony. Rumour at the time had it he he could do it himself. Neither has he any is to do Oscar Wilde — and Micheál thought the award should have gone to real desire to design sets and costumes MacLíammóir has beaten me to that.” Raymond Westwall for his portrayal of again. His interpretation of roles usually is a Dylan Thomas. Today Thring implies this Once he directed Entertaining Mr collaboration between himself and the was not exactly so. Sloane for the MTC (“ Mmmm — magic director, in mutual agreement over the “ I was never happy with those awards,” moments!”); why not more directing? “I part. (“ It’s no good a director saying, ‘I’ve he says, “because the critics were all such hate directing,” Thring declares. “I loathe always seen them as being dressed in idiots. I’m not sure that they’ve changed. actors. I think they’re the dullest people, plastic jock straps.’ You know that you One didn’t pay very much attention to the and to watch them wandering around lear­ just do not do it with that director!”) critics. When they said people were ning their lines incessantly and screwing What about his Shylock, a role he never terribly bad, you thought, ‘Oh, screw everything up is my idea of hell.” wanted to play as he was put off it at them’, so why accept their bloody award Thring admits there are very few roles school, but, having seen a few perfor­ when they say you’re good? One doesn’t go left he wants to play. One, though, is Tam- mances recently — including a NIDA one into a nervous breakdown when they say burlaine. He would have liked to play — has he new thoughts on it? How is he you’re lousy, so why take . . . I dislike the Richard III (“ But now I'm too old, and going to play that? Is it going to be very whole system of awards.” too ta ll. . . I was always too tall”). Jewish? Thring refuses to provide any hint. These days he seldom does stage work Strangely, he is not deluged with plays One must just await the production.

THEATRE AUSTRALIA JUNE 1977 15 Theatre buildings Ross Thorne Hobart’s historic

“The theatre is not a museum piece; the evolutionary process of improvement is continuing’’

“ How well 1 remember our first visit to the small upper tiers produce for the audience $12,000 for the purchase of the threatre. Theatre Royal, Hobart . . . 1 think I shall seated in them that feeling of encirclement Money was then raised to renovate and re­ never forget seeing the Theatre for the first of, and concentration on, the action which decorate the theatre. Work was hurried time — in the morning when we went to is today usually achieved only by thrust along early in 1952 when a command per­ arrange the Stage for our evening perfor­ stages with their seating rising up and formance had been arranged for the visit of mance — I think we both felt it was an around in a half-circle. the then Princess Elizabeth and Duke of Edinburgh. The death of King George VI ideal theatre — the right size — not from Because of its relatively small size and prevented this visit, but by then the Royal the financial side, alas — but splendid for narrow galleries, there are no problems had been redecorated and four boxes had performance by actors. At night I was with acoustics at the Royal. The acoustics been added to the two upper tiers. thrilled by its intimacy — the perfect are quite good for generally listening to Although I personally would prefer the acoustics and the feeling of real Theatre — drama and to small opera or musical com­ audience and actors performing a Ritual edy orchestras; the hard thick plaster on tiers continuing unobstructed to the proscenium wall, the boxes make the Act together. Yes, it’s a gem of a Theatre, the ceiling and walls assists in reflecting auditorium more Victorian in appearance, and an honour to Hobart, and to high frequencies, increasing the articulate following the original design by architect Tasmania . . .” qualities of speech and lending a quality of William Pitt for the major alterations of So wrote Dame Sybil Thorndike as the brilliance to music which is attractive. foreword for Michael Coe’s History o f the 1911. Theatre Royal from 1834. One can Most actors who have performed in this What one sees in the foyers and recreate in one's mind Dame Sybil’s rich, theatre have, like Dame Sybil, appre­ auditorium is not the oldest theatre in measured tones, full of enthusiasm and ciated it as a good theatre. Sir Laurence Australia. These areas, in design, are pure sincerity for a theatre in which she per­ Olivier and Vivien Leigh performed there William Pitt. Although of 1911 vintage, formed with her husband, Lewis Casson, in 1948 with the Old Vic Company, and they seem late 19th century, as Pitt un­ more than 20 years ago. Olivier supported the citizens of Hobart at necessarily included a large number of that time when the theatre seemed fated to Hobart's Theatre Royal is one of the columns supporting the tiers, and the demolition for the re-routing of road traf­ best theatres in Australia for an intimate decoration is of heavy Victorian style. actor-audience relationship, yet it is fic. Nearly 25 years before mainlanders Ballarat's Memorial Theatre auditorium is basically a Victorian design. As the view of began to attack the developers for their older: it is a combination of 1875 and 1898 removal of historic theatres such as the auditorium shows, the three tiers in the construction. However, parts of the Sydney's Royal, and before building short depth rise high above the stage and Royal's side and foundation walls and the resultant almost-wall of audience for a workers' green bans sealed the continuing basement rooms date back to the original life of many historic buildings, including full house encourages the sensitive actor to building finished in 1837 and to the first the Sydney and Melbourne Regent project his personality and role to each major reconstruction in 1856-7. The lower member. In turn, the strongly curved, Theatres (which can now be counted as portion of the street front was also com­ “live”), lovers of the Hobart Royal fought pleted in 1857, the upper part in 1911. The ROSS THORNE is Associate Professor of off the challenges to the country’s most original auditorium and its enlarged Architecture at the University of Sydney. His historic theatre. Finally, in 1949, the then successor have entirely disappeared, as, research into theatre and cinema buildings Tasmanian Government passed an Act too, have the foyers of each, although from began in 1963, originally in relation to acous­ tics, but history got the better of him. This work providing for the incorporation of the viewing the exterior it can be seen that por­ has led into other areas, such as arts and National Theatre and Fine Arts Society of tions of the old walls have never been cultural facilities in country areas. Tasmania, which in turn was granted replaced in the rebuilding processes. Part

16 THEATRE AUSTRALIA JUNE 1977 THEATRE AUSTRALIA JUNE 1977 17 for for such a small theatre. rather grand proportions showing a showing of proscenium Cross Cross section (post 1911) ! 1 ! r ! LUL Conjectural Conjectural restoration of the street front of Degraves’ Long Long section after the rebuilding of but 1911 prior to original original theatre of 1837. to to the proscenium in 1952. the the addition of boxes adjacent n n n of the original stage walls adjacent are also “A Theatrical Committee was ap­ best provincial Theatres in England, . . . I visible, but most of the design of the stage pointed and I was requested to furnish a respectfully raise the question, whether one otherwise is late 19th century. plan, elevation, and section: which having patent Theatre is not more than sufficient been approved of by Mr. John Lee Archer for our little City of Hobarton . . .” THE BUILDING FROM 1834 (the Honorary Architect) my plan, and The first performance had been held in In 1846, Peter Degraves wrote a letter tender was accepted, and the structure be­ the then-incomplete theatre on 6 March from his Cascade Brewery to the Colonial ing half built only, a disastrous change in 1837. By 26 March, it had gained the title Secretary attempting to dissuade the the times took place, the subscriptions of “New Theatre Royal”, replacing the government from issuing a theatre licence were not half paid up, I was £2,500 in ad­ former venue for theatricals in Hobart, the other than that for his own Theatre Royal vance with a mortgage which I was obliged Theatre Royal Argyle Rooms” . in Campbell Street, Hobart. The letter is to foreclose, and at the auction sale there What was this original theatre like? interesting for the light it throws on the was not a single bidder beyond the amount Degraves’s dimensions provide the shape town of Hobart as well as theatrical con­ of my claim! of the envelope. Various brief contem­ ditions of the time. It says in part: “ . . . Suffice it to say that I finished, porary descriptions likened it to a . . First I have to represent for the infor­ and furnished it; and in a style greatly sur­ warehouse, store or house with the main mation of his Excellency, that in 1834 the passing the first intention, and so greatly entrance having no “attempt at effect” . It monotony of this Town was much relieved, to my loss . . . was claimed that the building “did not an­ by the arrival of Mrs. Cameron, a very “ For the information of His Excellency nounce its purpose in construction” . A talented actress in Tragedy as well as com­ its dimensions are 100 feet long by 50 feet much later photograph shows the upper edy, and the Town at that time affording wide, walls 34 feet high — 3 feet thick portion of the old front wall behind the no better accommodation for Theatrical from foundation to the upper Boxes and 1857 extension. It shows tops of wide flat purposes than the Freemasons lodge, at saloon, and 2 feet from thence to the wall piers between which would have been win­ the bottom of Harrington Street (the plates (supporting the roof), and so well dows. Thus it can be assumed that the dimensions of which were only 44 by 17 timbered throughout, and braced with facade was typically simple Colonial feet) it was found impossible to change iron, as to be beyond all question as to its Georgian of the day. It must be scenery in such a narrow space with due permanent solidity. remembered that Degraves was an effect — or for the females of the Dramatis “The dressing rooms are commodious, engineer and probably not accustomed to Personae to change their dresses with due and arranged with a decorous view to the building architectural gems, and possibly regard to decency, the Townspeople then due separation of the sexes, and the in­ resorted to pattern books for much of the in flourishing times resolved, to build a terior with a view to the due classifications visual design. commodious theatre by subscription, and of the several orders of society, and well Working backwards from architects’ the list was fitted up with names to the ventilated throughout. working drawings of alterations of 1856, amount of 3,000 and upwards in one “With a Theatre such as I have describ­ the dimensions of the foyer-saloon, evening!! ed equal in every respect to most of the auditorium and stage can be ascertained.

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View from the dress circle showing the enveloping effect of the horseshoe tier focussing attention on the stage.

18 THEATRE AUSTRALIA JUNE 1977 The auditorium would have been only to the roof. The level of the dress (circle) would be jug and basin. The actors had to about 45 feet wide by about 47 feet long to boxes was raised so the pit (stalls) could walk the length of, and beneath the the curtain or act-drop line; the stage penetrate beneath, as we are accustomed auditorium to arrive at the stage. would have been the same width by 30 feet to seeing in more recent theatres. The new The interior of the auditorium seemed to depth from the act-drop. There was no fly- gallery was pushed tightly against the old be quite richly decorated, mostly in white tower, only space sufficient to pull cloud roof structure, headroom being obtained relieved by blue, with mouldings in bur­ borders up out of sight. Scene-changing by putting the ceiling above the roof nished gold. Fabrics on benches and the would have been carried out with flats in timbers and tucking an alcove into the roof vice-regal box were of crimson satin grooves after the Georgian/Regency style. above the rearmost seats. The 300 patrons damask, while draperies of the private This continued to the last decade of the in the gallery had only one entrance-exit, a boxes, dress circle and gallery slips were century; an advertisement in Melbourne’s three-feet-wide masonry-enclosed circular blue-and-gold damask. A dome was tuck­ The Lorgnette (2 March, 1889) seeking stair to the basement! The pit patrons also ed into the existing roof; it was divided into companies to visit Hobart quotes the entered via the basement, up steps at the eight panels and decorated with groups il­ following particulars: “ Proscenium open­ rear of the auditorium; however, they had lustrative of Shakespeare’s “ Seven Ages” ing 21 feet, Height of Grooves 14 feet, a refreshment bar to slake their thirst. One and Shakespeare himself. Plenty of Stock Scenery, Good Limelight wonders at the magnitude of the interval In 1882, the stage was extended etc.” . crush which would have occurred with the rearward by fifteen feet and a more I have argued previously* that the only pit access-lobby being five feet wide satisfactory system of exits made to the original auditorium would have been and space to stand in front of the 10-feet- gallery and pit. Georgian in style, with the boxes at stage long bar being only three feet wide! Space The theatre was sold in 1889 and the level being entered from the ground-floor and safety standards have certainly chang­ new owners initiated more changes, this saloon and the gallery above being entered ed in the intervening 120 years. time to the stage. In 1890, the stage was from the first-floor saloon, the pit only be­ The extended front section of the base­ further extended rearwards and the ing slightly lower than the boxes, being ment now included three ladies’ and two original roof removed and the present high entered either through the ground floor gentlemen’s dressing-rooms and one mansard-style roof in corrugated iron con­ saloon or via subterranean passages in the ladies’ and one gentlemen’s general structed to house a fly-tower. The stage basement, which also contained a tavern. dressing-rooms, all with small fireplaces was “framed for traps, viz. 2 quarter traps, The first Theatre Royal had a chequered and no windows. There was also a closet grave trap, bridge rise and sinks (3). A part career; it was sold in 1853 after Degraves’s for each sex. These were airless internal of the stage is screwed with joists to lift for death. Richard Lewis bought it and major lavatories, measuring five feet by three feet water scenes. There is also a large trap 16 alterations took place in 1856-7. These six inches, probably at best, of the earth- feet by 4 feet for raising scenery . . . the affected the auditorium and the front-of- closet type, or at worst, of the removable- grid is 40 feet from the stage.” (The Mer­ house accommodation from the basement pan type. Of course, washing facilities cury, Hobart, 19 September 1890). Thus the stage could house any Victorian melodrama with its associated spectacle and the new-style box sets. In 1911 the last rebuilding took place; this time it was to be the auditorium and front of the house — as it is today. William Pitt’s original design working-drawings, however, show that he envisaged a larger theatre. He had proposed cutting off some of the stage-house at the auditorium and extending it the equivalent amount rearwards. In the newly gained space in the auditorium, he had proposed proscenium boxes at stalls and dress-circle level, but the stage remained unaltered and the auditorium was smaller and without the boxes (until 1952) which provide the delightful intimacy of today. The theatre is not, however, a museum piece; the evolutionary process of improve­ ment is continuing. Last year, it was re­ roofed and new fire-escapes constructed, as, too, were new toilets for the public. The building has been re-wired and a new lighting board installed at the prompt cor­ ner. For actors, removal of the old sub­ stage dressing-rooms seems in sight: stage one of a three-storey extension at the rear of the theatre is being constructed. This will finally supply space for loading-dock, workshop, paint-frame, new dressing- rooms with showers etc., rehearsal room, administrative offices and, hopefully, a The auditorium of small museum to house relics and today much as it ephemera of the Theatre Royal. ■ would have appeared in 1911. Off-whites, cream and red * See Theatre Buildings in Australia to 1905 : plush fabric. from the time of the first settlements to arrival of cinema, by Ross Thorne, 2 vols.

THEATRE AUSTRALIA JUNE 1977 19 Tasmanian Theatre Company Karl Hubert PRESENTING THE PRESENT IN THE PAST

opera was given a prominent place, and “Experiment usually has been tempered one of the reasons was the arrival of Walter Stiasny, a musician and conductor by the need to appeal to mainly who had learned his craft in Vienna. Two seasons were given each year with conservative audiences. . the help of singers from the Mainland and The Tasmanian Theatre Company is Since then, the Royal has been ren­ the then ABC Orchestra. Many of the pro­ young compared with the Old Tote or the ovated and re-decorated and heating in­ ductions paid their way, which in things Melbourne Theatre Company; however, it stalled. Today, the Royal is the perfect operatic was something unheard of. possesses a priceless asset: the tradition of small theatre: perfect in design and Ballet came to the Royal in 1958 with Hobart’s Theatre Royal. proportions and also in acoustics, and it Borovansky, and light opera in the follow­ When established in 1973, it inherited takes a high and honourable place in the ing year. This, in short, was the tradition the Royal, Australia's oldest stage and cultural life of Tasmania. the Tasmanian Theatre Company acquired also a 140-year-old theatrical tradition. It must be noted that under NATFAS when established in 1973. It also took over From its beginning in 1837, the Royal’s the old traditions were carefully main­ Fred, the Royal’s resident ghost who work encompassed the whole spectrum of tained and in substance the Royal remain­ appears rarely and only when he is happy. the theatrical arts, from dance to drama ed what it had been all along: a stage which He has made two appearances since the and from operetta to opera, with oc­ had to look after the performing arts in company took over. casional orchestral concerts thrown in. total, although the emphasis occasionally The Tasmanian Theatre Company This versatility was what early Tas­ shifted. In the post-war years, for instance, emerged from a re-organisation of the per- mania required. In a stratified society, the Royal had to cater for all tastes; after all, those were the times of unsubsidised SMALL STATE: BIG PLANS theatre and box-office receipts were all im­ portant. Productions had to be of good John Unicomb, the different aspects of theatre. For in­ standard or audiences would fall away and stance, we put on Pinter and had full they had to be sufficient in number to keep director of the houses for our in-the-round production: interest in theatre alive. 12,000 people over 10 performances. If we put on an occasional piece like The Sound Among those who developed theatre in Tasmanian Oj Music and do it well, we get five times the 1830s in Hobart, and even before the more people; then we look better and more Royal was built, was Samson Cameron Theatre Company, who staged Kotzebue’s The Stranger, The people are interested in our efforts. The

Married Bachelor, The Rendezvous and Sound Of Music played to over 15,500 people. other productions. Seasons were long — talks to Stan Marks up to five months. Marks: Is it working? The Samson Cameron company also Unicomb: Yes, it is working; it’s all a gave the opening performance at the newly matter of standards. We are trying to have built Theatre Royal on 6 March 1837. The something for everyone — a mixed bag. programme listed Speed the Plough and Our grant has stayed the same this year the farce The Spoiled Child. and so has Theatre-in-Education’s. We get Mrs Clark and Mr Capper were among $115,000 from the Council and $25,000 the early entrepreneurs who managed the from the State Government. Royal. They took over in 1840 and in the Marks: What decided your move to Marks: What are you doing this year? following five years presented musicals, Hobart? Unicomb: We are bringing in Benjamin drama including Charles II, The Merry Unicomb: I first came to Hobart to be Franklin at the end of May. We don't Monarch, Karl Maria von Weber’s Der manager of the Theatre Royal and then mind mainland groups coming in; indeed Freischuetz, and Macbeth. Mrs Clark in­ became executive director of the Tasma­ we encourage this, as it helps advance curred heavy financial loss and in 1845 left. nian Theatre Company. theatre here. It is possible we will bring in By this time, the function of the Royal in Marks: What were you doing before you the Ridiculous Theatre Company of New Hobart’s cultural life had been well defined moved? York and the Polish Mime Theatre. There and a tradition established by which it Unieomb: Sydney-born, I had extensive may be a couple of commercial ventures experience on the stage and in TV, in­ managed to face often-difficult times. In we can support. How The Other H alf 1839, the Royal nearly came under the cluding with the Philip Street Theatre, Loves will be on later in the year. We auctioneer’s hammer, but happily this Once upon a Mattress, various musicals, would like more people to be involved on never came to pass. with the John Alden Shakespeare Com­ the managerial side. It’s difficult to set up pany, was resident villain for the Music In 1869, John Davies, who then was too far ahead; this year it's a one-man Hall and appeared on TV in many lessee, added a gallery and a classic facade. band. But it’s fun if you don’t weaken. A features, including The Outcasts. I have The Davies family has remained connected worry is that no one is really being trained stage management experience, in England to come up. with the Royal which owes much to them from 1952 to 1958, in TV and repertory. I and to the Hobart Mercury. Marks: How are you off for theatres in returned to Sydney in 1958 and I moved to Tasmania? In recent times, the Royal was nearly Tasmania in 1970. After a while, the Aus­ sold to become a warehouse. There was a Unicomb: With the completion of the tralian Council of the Arts wanted some public outcry. The Royal became the first Civic Centre, Burnie, there are now body, more representative locally which national theatre in the British Com­ reasonably satisfactory drama auditoria in had drama, to which it could channel three Tasmanian centres. The Theatre monwealth incorporated by charter and money. Royal, Hobart, holds 496 on two levels; the National Theatre and Fine Arts Socie­ the Princess, Launceston, 428 on one level; ty (NATFAS) was formed in 1949 to ad­ Marks: What has been your policy in and the Civic, Burnie, 400 on one level. minister it. It was largely through the Tasmania? Marks: Does this give you great audience genius and energy of Mr Bruce Piggott IJnicomb: To get people into the theatre, potential? that this was achieved. whet their appetites and introduce them to

20 THEATRE AUSTRALIA JUNE 1977 forming arts in 1973. Established were the additions is now being built with a in the past was taken over and shaped to Tasmanian Theatre and Performing Arts $200,000 grant from the Federal Govern­ meet contemporary standards. This policy Council and the Theatre Royal Board. The ment and $108,000 from the State Gov­ did not remain unrecognised by the Theatre Royal Bill, passed by Parliament ernment. theatre-going public, including the young in 1973, established the board as trustee Mr Unicomb also suggested that the generation. and landlord of the Royal, with the job of Shades, an area under the stalls which was That such a policy was and is making managing and maintaining the theatre. originally a tavern, be redeveloped as a great demands on the company is self- John Unicomb, previously manager of restaurant. evident. The company has to be versatile the Royal, was appointed executive direc­ In its first four years the Tasmanian — by necessity must be able to compro­ tor of the TTC. He continues to hold the Theatre Company has succeeded in widen­ mise, except in artistic standards — and it post. Mrs Fay Thompson, previously ing Tasmania’s theatrical horizon. The must be able to make ends meet with secretary of NATFAS, was appointed erstwhile comfortable provincialism is relatively modest means. Theatre Royal manager. The TTC, main changing into something that resembles Financially, things have become tighter user of the Royal, became its resident com­ Sydney and Melbourne attitudes, and this since the “Whitlam Spring” . The company pany. From the start John Unicomb ad­ is being achieved without sacrificing local has adjusted. Today the principals are vocated extensions to the old Royal to flavour. engaged on a season-to-season basis, often provide a full wardrobe department, Plays of a more controversial character for one production. They usually are well- showers and modern dressing rooms, were introduced into the theatre pro­ known Sydney or Melbourne actors who workshop facilities, adequate loading gramme: Sticks and Bones, Savages, welcome the opportunity to appear on access, rehearsal area and staff offices. Kennedy’s Children, The Removalists, Australia’s oldest stage and before audi­ He sees the Theatre Royal, with these Sizwe Banzi is Dead, and Equus. ences who still like to laugh in theatre, but additions, as being a first-class theatre cen­ It is remarkable that this process of in­ who do not like an over-sweet diet. tre, a factory providing professionally corporating late 20th century theatre was The company has not been afraid of ex­ mounted productions for Hobart and the accomplished without burning bridges. periment. It has left the Theatre Royal on rest of Tasmania. The first stage of these Indeed, what was found to have had value three occasions to present theatre-in-the- round in Hobart as part of a varied Unicomb: Within an hour's drive of theatre development, experiments and programme. But experiment usually has Hobart, Faunceston and Burnie, there is a many things. We could embrace the been tempered by the need to appeal to total population of just on 400,000. This historical aspects of this island even more mainly conservative audiences. makes it a larger audience to play to than into the theatre scene; have plays written An example of this artistic policy is the if one was considering just one centre. It around aspects of life here, now and in the 1977 season which should get the nod from also gives a wider potential to the main­ past; experiment with reviews; tie in with the middle-class and middle-aged heads; it land groups we plan to bring in, and so schools more, and broaden our base. should please the young generation and helps with the exchange of local companies Imagine re-staging the first, or one of the also those with cultivated taste. with those across the strait. earliest productions, that was on at the Sound o f Music, which has just finished Marks: Are you optimistic about theatre Theatre Royal, or going to Faunceston a three-week season, was a quality produc­ in Tasmania? and using the Faunceston Hotel, one of the tion which gave local talent the opportuni­ Unicomb: Yes. I have been having dis­ earliest centres of Australian drama! The ty to work with Sydney actors. Count cussions with the APG, Nimrod and others Hobart Theatre Society, which celebrated Dracula comes next. There will be a school about coming over in the future. Why not? its 50th year in 1976, could also be in­ production in July, an intimate revue in They help us to see more theatre. One has volved, utilising its intimate theatre September-October, and How the Other to do better here than anywhere else. That holding more than 300. Half Loves will be staged in November is so our sums add up. They do if we get Marks: Do you really think productions and December. 2800 people to see each production, and it like The Sound O f Music help foster All productions, except Sound o f Music, should be possible to do better than that. theatre? will have seasons at the Civic Theatre in We have to get a lot of financial support or Unicomb: Yes. More people are given a Burnie and the Princess Theatre in the programme suffers. theatre awareness and then come to see Launceston. Marks: What is the Cue 3 project? our other productions. One thing whets the The company also acts as entrepreneur Unicomb: A co-operative as a working appetite for another and, of course, we and plans to bring five productions from body for all things theatre. It supplies have to get people to come to the theatre. the Mainland. The first, The Elocution oj public relations, technical assistance, acts And The Sound O f Music is good, highly Benjamin Franklin, opens at the Royal on as an agency and is a general entre­ popular; look at the numbers it attracted. 26 May. This will be followed by Taran- preneurial organisation. It looks at bringing Marks: Then you are optimistic about tara! Tarantara! from the Marian Street mainland and other groups to Tasmania. I your group’s future? Theatre, Sydney (28 June - 9 July). see this side of things, the entrepreneurial Unicomb: Yes. We have a relatively small The season is more popularly oriented one, as really aiding our aims and population and hard economics to face, this year to ensure larger audiences and to programme wishes throughout the year. but we do have flexibility in our activities. present a complete theatre programme. Marks: How will you use a modernised We are helping more young people An important branch of the company is Theatre Royal? through our education programme to take Theatre-in-Education. In 1972, Barbara Unicomb: Oh, in many different ways. an interest in the theatre and to seek more Manning was appointed, and her brief was One example is making it a centre of and more productions. There is a growing to introduce a theatrical programme which awareness of theatre. Of course, much proscenium theatre in Australia — really would bring young people into the theatre remains to be done, but I feel we are on the doing things in this direction. A basis for and also to take theatre in schools. Actors way. After all, in theatre, from audiences Australian plays from the mainland, those not cast in a current production were to local talent, we only have a small pool to written in Tasmania and for trying out available for these ventures. call on. bold, new ventures by a variety of Aus­ From that modest beginning Tas. TIE tralian writers and actors. It could also Marks: Do you ever feel like returning to has grown to a permanent company of the mainland theatre permanently? become a special type of acting school, in nine, and the team tours Tasmania and training selected people in short-term Unicomb: I have a job here, one that is sometimes other States. very taxing, especially in terms of time, but courses. We should develop the plays, the After five successful, strenuous and ex­ full of challenges — some quite fascinating actors, the set-designers and really be a ploratory years as an offshoot of the and different because of local conditions. centre for innovations, try-outs and all Tasmanian theatre company Tas. TIE is But, we shall continue. And, we will always sorts of ventures for Tasmania and main­ now preparing to become an autonomous be pleased to see mainland groups. Very land groups. We could join in festivals and group to be known as the Tasmanian welcome they are. be a centre of community and Australian Theatre in Education Company Ltd. ■

THEATRE AUSTRALIA JUNE 1977 21 a creative film-maker, an artist, a film nut, with a wealth of commercial experience

Fred Schepisi’s approach to feature film of Cinesound and called it “The Film of his own. He arranged distribution in the making has been that of the old bull, and House” . capital cities himself and controlled the nothing has been left on the fence in a rush Fred and The Film House developed a promotion, ensuring that it wasn’t buried to either artistic or commercial success. business catering mainly to advertising in an art house, but took its chance on the Working as a producer and director in agencies and his commissions, awards and main street. In Melbourne it ran at the advertising, documentary and public experience in the medium grew. Bryson for eight months. relations films has not blunted his creativ­ He continued to run The Film House He took it overseas personally, and after ity; just taught him a lot about film and while drawing on his own experience to the Cork Festival in June it opens at the the business of film. write, direct, produce and arrange distribu­ Columbia theatre in Shaftesbury Avenue. He knows how to visualise, use a tion of The Devil's Playground. He also Schepisi sees his feature film-making as camera, pace scenes, read a location, light organised the money which included much project based and personal. He plans to

NickTate Arthur Dignam Simon Burke Written and Directed by Fred Schepisi

a shot, work with an editor or composer, discipline individual enthusiasm for a scene within the context of a film — all the things you may be taught. But he has also had to organise shooting to a budget he has quoted, know what it takes to form a crew, and sell clients on his ideas. Fred Schepisi is not a commercial film maker turned to features. He is a creative film-maker, an artist, a film nut, with a wealth of commercial experience. “So many films look as if someone said, let’s make a film and then looked around for a story, actors and crew. You need an idea that has to be made into a film.” He spent a young year in a Marist train­ ing college, joined Carden Advertising in a dogsbody capacity, was assistant film producer at Paton’s to Phillip Adams, and became Melbourne manager of Cine- sound. At Cinesound he wrote and directed documentaries, and after the newsreel business faded from the screens was joined by friends to purchase the Melbourne end John Curtain

work on one film at a time and see it “Jimmy Blacksmith is a harder project novel, always a film, that’s its medium”, through all stages. “One person has the than The Devil's Playground. You have to why choose a novel as the base for his film idea of a film, and one person follows it analyse all the writer’s reasons; see the and not just take the outline of the original through. If you demand total personal writer’s position in the book. You have to Jimmy Governor story for his screenplay? freedom you are then responsible for stan­ find your justification in the book too. It’s He sees the structure as important, the ding up for that creation and selling it.” hard to get a run on as you can when you structure of a novel with a rich tapestry of His first film was very personal. He are writing yourself, when occasionally details building up “not just the man, but wrote it. It was of his experience. His next your thoughts outpace your capacity to the man in his time, the man in his film is different. The Chant o f Jimmy write them down. Working from a novel relationship to his environment” . And it is Blacksmith is Fred Schepisi’s screenplay . . . it’s more like whittling.” a very visual book, Schepisi adds, which of Thomas Keneally’s novel. If The Devil’s Playground is “not a does not sit in the necessarily novel milieu of, say, Voss. There will be slight changes of attitude A F /L M B y between the novel and the film because FF0>scFcris>i each has different tools of communication. F 2Q M 7H Ç Schepisi feels that Keneally would now agree with him that the novel has too little sympathy for the whites. The film will not KSNSAU^y see them as inhuman, more as products of their time. A novelist who develops his own work of art must feel some pangs when this offspring is adopted and nurtured by another artist. Tom Keneally, using the cook, in one episode, has obviously grown fond of his character and would like him to have his scene. Schepisi, in writing the screenplay is worried about detailed treat­ ment of this episode interrupting the cine­ matic flow. Schepisi outlines the problem with sen­ sitivity, explaining the difference between how novels and films appropriately say what they say and concluded his explica­ tion of this artistic dilemma with, “Anyway, I’m bigger than he is!” Jimmy Blacksmith is a different film in many ways. The Devil’s Playground had a setting which was largely confined to the college. The action saw the same group of players throughout the film. The crew and cast liv­ ed around the college; Fred could “direct at night over a drink” and felt very strong­ ly the common enthusiasm of his team, as it developed through this growing con­ tinuous association. With Jimmy Blacksmith there are many locations. The setting is the bush. There are few main characters but many who are only required for shooting for a day or two. The logistics of the film are different. There is not the same familiar home base. And the creative ideas are based on Keneally’s. The film is being planned very carefully. It has to be. The fifteen weeks of shooting will cost $75,000 a week. In avoiding time losses it is probably fortunate for Schepisi the producer that Schepisi the director loves filming in rain and fog. Another happy combination in this man of art and reality.

THEATRE AUSTRALIA JUNE 1977 23 International NZ report

Mike Nicolaidi for home-grown talents the signs are good

Mike Nicolaidi, 38, is a former director of the Queen Elizabeth II Arts Council (1971-3), New Zealand’s equivalent of the Australia Council. He is currently theatre critic and parliamentary lobby correspondent for Wellington’s Evening Post. He recently served as cultural adviser to the Task Force on Economic and Social Planning, whose report New Zealand at the Turning Point, has resulted in the Government es­ tablishing the New Zealand Planning Council. Mr Nicolaidi has had a long association with the arts, particularly theatre and film. While London correspondent of the New Zealand Press Association, 1965-8, he free-lanced as theatre critic of The Scotsman.

Take: one locally-written play and the Glide Time was Wellington’s new aggression, about what he calls “the need brief return here o f Kiwi actor-director professional theatre, Circa, established to create an energy surge for indigenous Jonathan Hardy, on loan from the early in 1976 by a group of local freelance theatre”. Melbourne Theatre Company. actors. It happens to be the only In a profile in the influential and widely- Result: revitalisation o f New Zealand professional theatre in the country not sub­ read New Zealand weekly magazine The theatre’s longest-running, continuing sidised by the state — at least, for the Listener, he hit hard, saying New Zealand debate: what emphasis should be placed on moment. theatre lacked “a sense of excitement . . . indigenous work in the programmes o f our The other ingredient, Jonathan Hardy, something in the air” . professional community theatres? is a punchy, beetle-browed ball of high- People who hawked “international The play is Roger Hall’s Glide Time, an powered, home-brew talent. For the last theatre”, he suggested, only made New uproarious comedy — with a sting in its two months he has been at Auckland’s Zealanders feel more lonely, because they tail — about life in the civil service, which Mercury Theatre, the largest, and did not understand it. showered an unsuspecting Wellington with probably most “ Establishment”, of the “If a theatre cannot command an delight last winter. Such was its appeal in community theatres. audience, I believe it’s the theatre’s own the bureaucratic heartland that it kept As well as directing a much-praised fault,” he said. returning for the remainder of the year, in­ production of John Powers’s The Last of Hardy's balls-and-all attack brought cluding two short, house-full seasons in the the Knucklemen, and appearing in his one- forth some predictably sour comments capital’s 1570-seater Opera House. man show, Gogol’s Diary o f a Madman, from some sections of the country’s Significantly, the theatre to discover he has waxed eloquent, and with raunchy theatrical Establishment.

Glide Time Knucklemen

24 THEATRE AUSTRALIA JUNE 1977 indigenous work, have tended to pro­ gramme conservatively. Their eyes have seemed fixed to contem­ porary overseas plays, even though they know that a London success, either com­ mercial or critical (or both), no longer en­ sures full houses on the other side of the world. But they are gradually beginning to believe in the obvious growing fascination “new” theatre audiences are developing for home-grown writers. As well as Circa’s recent success with Glide Time, Downstage had a long run with Jo Musaphia’s Mothers and Fathers early last year. This “ sex” comedy is now destined for production by Sydney’s Old Hardy Alderton Tote. “ Hardy is forgetting that in a country The fundamental unanswerable, of and whose Well Hung was given lacking the ethnic variety of Melbourne, course, is what comes first, the chicken or Australian airing by Nimrod Theatre a few overseas plays are essential for combating the egg — or, in this case, the secure es­ years back) will be tackled by Christ­ insularity and parochialism,” wrote tablishment of theatre companies, or a church’s Court Theatre. Auckland University lecturer, critic and concentration on New Zealand work to These auguries reflect the spirit, if not sometime actor Colin Duckworth. produce a truly living, communicable exactly the frontal impatience, of a Somewhat waspishly, he added: “ It’s all theatre? Jonathan Hardy. Yet it seems we need our very well for Jonathan Hardy to say, ‘If The conundrum has endless per­ Hardys to bring down to earth much that you haven’t an audience, it’s your own mutations. is both debated and presented in our fault.’ Even if you have, you can’t educate At the recent annual conference of the theatres. for the future without adequate funds . . .” Australasian Universities Language and Theatre should be neither precious nor In many ways, the debate mirrors the in­ Literature Association, held in Wellington, prissy, and the injection of a certain security New Zealand’s theatre companies even Marlis Thiersch, who is passionately ruggedness, or “balls” , can only encourage still feel, even though eight, judiciously devoted to the cause of indigenous drama and heighten the fundamental connection spread throughout the country, are now in Australia, was unable to give a clear it must have with its “native” , or “nation­ receiving financial support from the answer. al” , audience. government through the Queen Elizabeth While saying that without its own cor­ pus of writers a nation cannot claim to Significant developments (not previous­ II Arts Council. State subsidy for the Mer­ ly mentioned) in theatre across the have its own theatre, she stressed the need cury, and Downstage, in Wellington, has, Tasman over the last six months have to build up a viable theatre system before in both cases, now reached six figures. been: the promotion of new plays was possible. Recently, the subsidised theatres formed — the appointment of Anthony Taylor When, or at what point of establish­ an Association of Community Theatres (director of Circa’s Glide Time) as artistic ment, is a theatre system viable? Too much (ACT), which is currently in the forefront director of Downstage; concentration on the “ system” , without of politicking for an increase in this year’s — the appointments of Robert Alderton, creating that “something in the air” that total Arts Council budget. executive director, and Ian Mullins, artis­ Hardy speaks of and that sparks real com­ tic director (a British import) at Mercury; While council chairman Hamish Keith munication between stage and audience, — a $6,000 Arts Council fellowship, and has been stumping the country pleading can spell disaster. honorary doctorate of literature (Uni­ the case for a million-dollar hike in the However, the success of Glide Time, and versity of Wellington) for New Zealand’s overall government grant to the arts (from the leadership and programming courage “living” and most idiosyncratic, theatri­ $1.8 million to $2.8 million), ACT has set shown by Downstage over the last five cal “institution”, Bruce Mason. Mason, down its particular dilemma in a telegram years, appear certain to add momentum to who has achieved fame well beyond his campaign to all members .of parliament. the indigenous drama cause. shores, has in the past 12 months added The measure of the problem? Collectively, Playmarket Inc., an organisation es­ two new solo pieces to his repertoire, Not the eight theatres need $200,000 extra this tablished four years ago to encourage the year just to keep functioning. writing and production of New Zealand Christmas but Guy Fawkes and Courting Blackbird. Audiences throughout the With the notable exception of plays, recently conducted a survey of Downstage, most of the community forthcoming productions. The signs are country are flocking to him and eating out of his hand. WM theatres, while supporting the principle of good. Apart from eight planned new produc­ Mason Taylor tions of Glide Time over the next few months, local playwrights Gordon Dryland, Craig Harrison, Robert Lord and, of course, Musaphia, are receiving close scrutiny. Upcoming at Downstage, for instance, are main-bill seasons of Dryland’s new play Fat Little Indians, and Harrison’s Perfect Strangers. Indians is described as a timely, truthful comedy about a quartet of flat-dwellers attempting to come to terms with the liberated life-styles they’ve adopted, while the Harrison piece looks compassionately at the problems of racial integration and tolerance. Dead and Never Called Me Mother, by Lord (who is now domiciled in New York

THEATRE AUSTRALIA JUNE 1977 25 International PLAYING COMEDY STRAIGHT

New Zealand playwright JOSEPH MUSAPHIA writes of the disturbing experience of acting in his own plays

egotism. I do have the audacity to think this impulse about two seconds after an “I find it difficult to that I know what a part and a play I have audience was totally unamused by it. written are capable of. Nowadays, I like to think I have proven explain that I am Particularly when it comes to comedy. I — certainly to myself — that playing it happen to hold to the highly unoriginal straight keeps the character in the play and trying to write funny theory that good comedy is a serious the play in character, as well as getting business. As Charlie Chaplin said, if what the biggest laugh. I’ve even altered what tragedies rather than you’re doing is funny, you don’t have to be was coming across as a punch line so that funny doing it. Unfortunately it can be a it became something nearer a natural line farcical comedies” decidedly unfunny business trying to con­ of dialogue. vince some actors that trying to expand a This hasn’t as yet earned me less of a funny line or situation with their own fun­ laugh than was there originally, and in ny business, can reduce a laugh to a sym­ some cases it’s earned me more. But it’s Joseph Musaphia was born in London in 1935. pathetic smile and a believable character made me feel like a playwright, rather than He lived in Melbourne between the ages of three to a preposterous caricature. a scriptwriter for a stand-up night-club and 11, then moved with his family to I find it difficult and embarrassing to ex­ comedy act. By acting in my own com­ Christchurch, New Zealand. He has worked as plain to actors that I am actually trying to edies, I feel I now know how thin a a cartoonist, commercial artist, actor, and write funny tragedies rather than farcical dividing-line there is between what is funny owner of a fish-and-chip shop, and is at present comedies. I often had the feeling I was be­ and what is silly. a writer for the press and the theatre. His plays I’m not claiming comic perfection. I’m include Free (1960), The Guerilla (1971), Vic­ ing tolerated at rehearsals as some psuedo- tims (1973) and Obstacles (1974). He played the intellectual hack under the impression he simply saying that performing my lines the lead role in the original production of Obstacles was Wellington’s answer to Moliere. way I originally wrote them has helped me and acted in his most recent comedy, Mothers In the end I had no choice but to prove to carry on striving for that comic perfec­ and Fathers (to be produced soon, by the Old to myself that what I write is hilariously tion. Tote, Sydney), which played to packed houses funny if played deadly serious. If I had to sum up my idea of first-rate in New Zealand in nine different productions. To be honest I found there were two casting, scripting and acting of comic reasons why it’s difficult not to attempt a tragedy — the kind of thing I wish I’d Acting in your own plays could be describ­ bigger laugh on top of the one already created — it would be in the form of a real- ed as mixing egotism with masochism. existing in a script. life incident which occurred at Stagecraft Egotism in the sense that you think you are The first reason I suppose applies to years ago. I’d acted in and directed a stage the only person capable of interpreting every actor. It’s because there’s no lovelier, version of a short radio-play to open the your own wonderful lines. And masochism more invigorating sound for a performer renovated theatre we’d created inside the in the sense that you suffer two sets of to elicit from an audience than a roar of old house rented to Stagecraft by the City nerves on opening nights — those of the laughter. It can be intoxicating enough to Council. actor and those of the writer. make you forget your place completely. After the nerve-racking opening night, I began acting in and directing my own The second, more personal, reason is we all went into the green-room to have plays for Stagecraft Theatre — a related to getting a good laugh while per­ coffee with the audience, as was Wellington amateur group — in the early forming in your own play. Stagecraft’s usual habit. A couple ap­ sixties. I could list some fascinating artistic The actor-writer can be even more proached me — a short bright woman and reasons for doing this, but I must be honest tempted to build a laugh upon a laugh, and a very tall sad man. She told me my inter­ and admit that the main reason I acted in have the line or scene topple over into ab­ pretation of a typical Kiwi male in the play them and directed them was because no one surdity and embarrassment. After all, you was spot on. “New Zealand men really are else was interested in doing it. Whereas in think, it’s my words, making it my laugh, so weak, aimless and easily led,” she said, those days it was all masochism, nowadays and I’ll play with it as much as I like if I then snapped her gaze up to her husband. it’s balanced with a fair amount of want to, so there! I managed to suppress “Isn’t that right, Henery?” “ Yes dear.”®

26 THEATRE AUSTRALIA JUNE 1977 William Shoubridge Ballet

The Australian Ballet The Dance Company (NSW)

claim an international reputation of being adventurous and vital. The Australian Ballet and its audiences, along with the rest of the world, have to move with the times. All of which is not to say that the Australian Ballet should gradually do away with the classics and focus entirely only on “modern” works; there are other companies to do that. The company is a classical ballet company, and it has a duty to present the classics in a professional manner. But, then, what are classics? Swan Lake was too daringly innovative for the audiences of its time; now it’s a classic. The Ballet Russe caused continual uproars with the works it premiered; now some of those are classics. All things change. Woolliams is a stickler for discipline as well as adventurousness. This may be why some members of the company dislike her. The company has needed a thorough cleaning-up in technique and application for a long time, having been so used to nonchalantly wandering through the “ Modern-dance audiences will never grow fripperies of the Widow. It takes time and application. out of classical ballet fans...” The present season, however, has not The Australian Ballet and its artistic direc­ having shown faith in Miss Woolliams in made the conservatives very happy and tor, Anne Woolliams, have come in for a the first place by asking her to become conversely others have complained of its lot of criticism lately, much of it negative director, do not go back on their decision lack of interest and innovation. and unsubstantiated. now. Also that the dancers in the company As far as I’m concerned, such works as The furore surrounding Don Asker’s have sufficient faith in her to peer now and Raymonda, Serenade and Giselle have Monkeys in a Cage has had some mem­ then out of their severely closeted been chosen to highlight that strength in bers of the audience ripping up their preconceptions and see just what she is try­ technique and ability, while Monkeys and programmes and demanding their money ing to do to revitalise an almost moribund Billy the Kid are there to show audiences back at the box-office. There have been performing company. that the company has enough ability to outraged letters to the Sydney Morning If the company is content to rehash the tackle material well off the beaten path of Herald demanding the return of Sir Merry Widow again and again, as well as conventional ballet. While others still like Robert Helpmann (some of which have other pleasant but stagnant pieces of frou­ Les Patineurs and Sebastian illustrate the gone before the board of directors) and one frou, they may keep themselves and the differences of the company from what it well-known “personality” of the airwaves audiences happy, and subscriptions renew­ was when these works were last performed. has once again shot his mouth off about ed, but they will soon lose the right to Apart from anything else, it has been a the calculated insult and “a waste of time” careful selection, made so as not to that Monkeys in a Cage seems to be. alienate too many people and therefore It is a known fact that modern-dance keep the company on an even financial audiences will never grow out of classical- keel. ballet fans, the two forms are (to them) In the first programme Les Patineurs worlds apart. was dredged up from the past as an effec­ If the reactions to the various works tive curtain-warmer. This aged ballet of shown in the latest season of the company Sir Frederick Ashton is looking a little the in Sydney are anything to go by, audiences worse for wear these days. The steps are do not want ballet to say anything about danced correctly, I suppose, and Kelvin the world we live in. They see it as only a Coe as the Blue Boy has all the speed, social occasion and a pleasant after-dinner assurance and clean line that is so diversion. necessary for the “show-off’ character of Of course, anything with so determined his part. Walter Bourke, in the second an outlook on life as Monkeys, developed cast, wasn’t quite so definite and effortless. in so stringently modern a manner is The ensemble dancers, by and large, were bound to cause a furore among the reac­ passable overall, but some of the little tionaries. Audiences did and said the same choreographic jokes fell flat and at no time things about Nijinsky’s Fame and Rite of was I really conscious that the dancers Spring 65 years ago! were in fact impersonating ice-skaters. The important thing is that the board, Perhaps they should get John Curry in to

THEATRE AUSTRALIA JUNE 1977 27 help. choreographically speaking, is that too agination of the reader. But this of course Eugene Loring’s famous work Billy the much of the ensemble work is blurred and can misrepresent the choreographer, his Kid closed the programme and it illustrated unfocused, too contrived and messy, un­ dance piece and the whole feel of his work. another of the things that we must thank able to convey sufficiently the mechanisms Leigh W arren’s M irage (m usic, Miss Woolliams for. She gives dancers of a community being set up and Tangerine Dream's “ Rubicon”) strikes me with specific abilities encouragement and destroyed. The confusion is intensified by as being about the mirages of sight, form gets them to star in works that suit them. the music which offers no assistance or and emotional relationships. If this con­ Eugene Loring saw the qualities of a even sympathetic background to the chore­ cept is fair, as I think it is, I fear that hitherto unnoticed dancer Danilo Rado- ographic argument. The set design is Warren had lost sight of his theme half­ jevic, wanted him to dance the star part in capable, but hardly useful or illuminating way through the work, and padded it out Billy the Kid and Miss Woolliams con­ to the audience. with some extraneous gymnastics. The curred. The same goes for David Burch Apparently, on the strength of the male solo in the middle, full of shoulder- with the star part in Monkeys. opening-night performance, the creators stands and jetes into arabesque, while be­ Billy the Kid is superficially a strange were not satisfied with some parts of the ing extremely well executed by Andris choice for the company. If it was to give a work and have subsequently set to work on Toppe, is inconsequential because it sop to the American Bicentennial, there them, so perhaps some of these faults will seemingly had nothing to do with what had are other works that would have said a lot be cleaned up. gone before. more about the American spirit than this; The work is a long-overdue shot-in-the- Mirage starts well with three girls slowly Martha Graham’s Appalachian Spring for arm for the company; it cannot be their promenading towards the front of the example (if she would have given permis­ staple diet, of course, but it shows that, stage as if walking on foam-rubber. It is sion for the piece to be danced by a “mere” given the impetus, they can bring concen­ dream-like and exploratory. This gluey ballet company). tration and effort to a new work and force wading is then interrupted by the arrival of Anyway, Billy the Kid is what we got audiences to see the other side of dance. the boys, who stand, bend and support the and it was well enough danced. It is gutsy, Let us hope that the lesson is learned and girls in long, langourous falls to the floor. colourful and dramatic and these qualities will not be lost, either to the company or They seem to act as a catalyst, as the pace have always been the strong point of the its subscribers. soon builds; the girls race off in quick, company. In the next issue I will go into greater angular turns, and the road is left open for A potted version of the history of this depth about the other works in the first the afore-mentioned solo, a quick, soaring legendary Wild West figure, it has a Sydney season for this year, Balanchine’s segment from the girls, which I found sustained dramatic thread and plenty of Serenade, Butler’s Sebastian and the rather pointless, choreographically unsub­ choreographic invention closely tied to its Petipa/Nureyev Raymonda Act 3, as well stantiated and irritating because of cons­ theme and Aaron Copland's music. There as the beautiful revival of the Coralli/ tant repetition. are hoe-downs, gun-fights (well-translated Perrot classic Giselle. Towards the end the whole team re­ into the balletic vocabulary) and a real enter; there is a slow, sad solo for feeling of a frontier community, closely In searching for the broad line and Stephanie St Claire who seems to have knit, paranoid, hard, yet not without its thematic focus it is easy to overlook the realised that whatever she wanted has turn­ moments of caring and lyric gentleness. subtleties of the brushstroke. This thought ed out to be only a mirage. The main work in this first programme, occurred to me recently when watching a I don’t think Mirage will go down in the though, was Don Asker’s Monkeys in a performance of Leigh Warren’s Mirage, annals of Australian dance as a great Cage. one of the new works in the Dance Com­ breakthrough. It is fairly well put together, pany (NSW) season in the Opera House. but still shows the strain of construction. Melbourne-born Asker has been for the To those attuned to dance always con­ Contractions and expansions and other past two or so years the resident choreo­ cerning itself with a clear theme or modern techniques seem to be merely grapher of the Nederlands Dans Theatre, message, it becomes difficult to get the pasted on top of a rather insecure that aggressively modern and pioneering sightlines of modern dance right. “What is classicism, a serious flaw that does nothing group that was at the top of its form a few it about!" people always ask. Sometimes to improve the form and image of the years ago with the Glen Tetley-Hans van emotional situations, relationships or work. Warren has also allowed himself to Manen axis, but which now (I saw it last delicately stated concepts. Quite often it is be too strongly dictated to by the music. year while on holidays) seems to be resting concerned with shape, line, form, develop­ But still there are moments in this work on its laurels and lacking any real ment and the presence of well-tuned bodies when one is gripped by tiny flashes of in­ definitive character. performing in a clear, uncluttered space. sight, moments of expressive beauty that In his rather pretentious programme The dance critic has one of the hardest are all too soon swallowed by a lot of busy, note, Asker says that Monkeys in a Cage is jobs in writing his appraisals. It's one thing rumbustious to-ing and fro-ing. These the Human Predicament. One can see to tie oneself into intellectual knots to moments are the subtle brushstrokes that I parallels, of course: the urge for com­ review a play, it is another to communicate mentioned earlier. panionship, the desire to claim one’s per­ a purely physical, kinaesthetic experience This performance was part of the Dance sonal territory, the realisation of one’s in words. So often one is left with either a Company’s season in the Sydney Opera creativity and the natural occurrence of dreary catalogue of what happened (“She House, which is intent on extending the tension when others are introduced into stuck her leg in the air; he grabbed it and dancers and building up new audiences. As that territory. dragged her around the stage”) or else a Jonathon Taylor told me earlier in the Both Asker and his composer, Geoffery series of very coloured, emotive and purely week, the audience for modern dance will Madge, claim the influence of the writings subjective adjectives, for example, “the not come from the ranks of the aged of Samuel Beckett and Pinter, as well as still, dark menace of the bottom of a stag­ dowagers that comprise a lot of the the paintings of Bosch. The mechanism of nant pool” . And then again, what happens Australian Ballet’s audiences; it will come those writers is clearly unmistakable. The when one is confronted with pieces like from a younger generation that has not sense of aloneness and desolation, the Balanchine’s Agon or Episodes where the been preconditioned as to what dance is all dramas between individuals and “inter­ work is concerned only with shape and about. This audience is also one that will lopers” , the hostility when an established form in space and time, totally stripped of not stand for empty whimsicality or pom­ community and an order are upset. emotional connotations? Critiques of these pous, misthought sermonising. It wants David Burch, in the central role, is start to read like an essay in advanced something that is strong, vibrant, has wit riveting. Tireless in his performance, he physics with talk of “linear flow” and and intelligence and, moreover, something makes the drama work because his under­ “ mathematical precision”. to say. Modern dance with a “social con­ standing of it and identification are at one The best one can do is, I suppose, to give science” . with that of the creator. a subjective appraisal of what one saw and Anne Sokolov certainly has a social con­ My only real criticism of this work, attempt to leave graphic detail to the im­ science and her dance work Deserts poses

28 THEATRE AUSTRALIA JUNE 1977 the proposition that life is futile, joy sonal experience and spiritual armoury to deux for Murphy and Janet Vernon which ephemeral and personal contact only relay convincingly Sokolov’s message to reminded me a little too much of the fleeting. Deserts certainly has impact the world. Siren’s dance from Balanchine’s Prodigal when first seen, but continual viewings of it It was good planning on the part of the Son, with the woman standing upright on leave me indifferent, irritated and highly Dance Company to have this as the central the knees and thighs of her crouching critical. I distrust anyone who is extreme in work, closing with Graeme Murphy’s partner, right down to the Theda Bara any direction, and Sokolov as personified award-winning, eagerly awaited piece of headdress. in Deserts is too unrelentingly pessimistic Australiana, Glimpses. Glimpses is clever If there is one fault with Murphy’s to ring true. She, like Samuel Beckett, has (undoubtedly so), wry, bawdy, orgiastic, choreography in this thoroughly enter­ wrung her works out of a literary and comical, pastoral, historical and whim­ taining work, it is a tendency to use dance philosophical concept with little beaiing on sical. It is a strange work, one of those as a series of steps to get his dancers out of life as it is lived. Mr Beckett and Ms “story” ballets without a story. Taking his one pose and into another; dance is as Sokolov tell us, “Why bother? It’s all a inspiration from the famous Norman much about transitions as it is about sculp­ cruel, unmerciful joke, anyway.” Lindsay prints of the nymphs and satyrs, tured poses. Sokolov has a right to hold her vision; I and Margaret Sutherland’s “sketches”, However, Glimpses is an ideal work to just question the mastery of her staging of “ Haunted Hills”, Murphy has created an build up audiences, as is the company’s it. Deserts looks sparse and arid, and adult dance pantomime involving two Studio season in Woolloomooloo. Though Sokolov is telling us that there are deserts terribly moral Victorian ladies (Robert I don’t think the cramped quarters are of the mind, the soul and the imagination Olup and Geoffrey Cichero in drag) peer­ entirely worthy of the project, the as well as those of the earth and the ing through the rushes on an Australian Woolloomooloo experiment is useful in cosmos. Phew! It is a work that could once river and being deliciously affronted by the trying out new choreographers before a have been called “ la nouvelle vague” , but orgiastic cavortings they see. paying audience so as to get an idea of which now looks a little “ancienne” . Fists Through these occasional peerings, or their worth before risking a full-scale clenched, arms raised to the sky in glimpses, we witness a densely production. Murphy’s stated intention of supplication, frenzied bouts of action con­ choreographed session of group sex, the using Australian dancers and choreo­ trasted with long stretches of stasis build airborne cavortings of three satyrs (remin­ graphers, with commissioned works by up the image that we are all islands cast ding me of the male pas de trois from Australian designers and composers, is adrift from each other. Cranko’s Romeo and Juliet) and various a praiseworthy idea, and brings a lot of It was a lot more concise and persuasive erotic pairings going along this particular talent into the company. (One of the when performed last year at the Seymour river bank. There is some marvellous greatest delights of this season was the Centre after Sokolov herself had come to choreographic invention in this work; a masterly lighting of Bill Akers.) It is a bold mount it on the company. But now, with group of dancers on the ground with their venture and one hopes that the process will an almost completely new cast and on a legs waving in the air becomes the reeds be on-going and that the company builds in larger stage, it has lost its impact. Most of that the two ladies wander through; a tree strength so that soon it will be able to face the dancers are young and classically train­ built up of dancers clambering up on each interstate tours and maybe an overseas trip ed, so it would not be totally unfair to say other that the ladies shelter under (which is (finance being available) without any that perhaps they have not yet got the per­ wheeled off later); and a beautiful pas de qualms. ■ ■

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Sole Australian Agents for L. Lelchner K.G., West Germany Tasmanian Axel Kruse Theatre-in-Education this year received the highest grant for TIE from the Australia Council and the 1976 Critics’ Award for Tasmania THEY TELL IT LIKE IT WAS

Award for Tasmania for “services to “It was so bloody good it brought theatre”. Before her appointment in 1972, Bar­ tears to my bloody eyes” bara Manning worked as a drama Tasmanian Theatre-in-Education an ex­ specialist in education, as an actress and At a football club in Whyalla, one of the emplary company, a major resource centre director, and for some years as a current men thought the back-cloth was for a strip for ideas, standards, and scripts for affairs and art interviewer with ABC radio show. What he saw was a theatre-in­ Australian theatre-in-education. The com­ and television. The company’s four main education programme that works as pop­ pany is the result of the work of Barbara programmes in 1976-7 reflect her view that ular theatre. He said he stayed to the end Manning since her appointment in 1972 as theatre-in-education is the use of theatre because it was so bloody good it brought youth activities officer to the Tasmanian within the whole range of education, and bloody tears to his eyes. At the Hobart Theatre Company. After five years, Tas­ that education is concerned with the Matriculation College, students saw the manian Theatre-in-Education is an inde­ development of individuals in social show that worked for the men in the club pendent company of eight with a special groups, with choices and social expec­ in South Australia, with Renaissance art position in Australian theatre-in-education tations as much as facts and academic as the back-cloth for songs and jokes about which earns it a high income from sub­ skills. sex roles in society. sidies, including $70,000 for 1977 from the Anne Harvey’s I ’ll Be In On That for Performances such as these make Australia Council, the highest subsidy paid upper secondary and tertiary students is by the Australia Council for theatre-in- the most widely successful of the four Axel Kruse is a lecturer in modern drama at the University of Sydney. He has written particu­ education. This year, over the head of the 1976-7 programmes. Anne Harvey works larly about the plays of Beckett, Patrick White Tasmanian Theatre Company, the com­ out of Sydney and until the last few years and Tom Stoppard. pany was given the National Critics Circle most of her work was as a theatre and tele-

30 THEATRE AUSTRALIA JUNE 1977 vision actress in Sydney and Melbourne. pany with two teacher-actors on second­ She wrote I ’ll Be In On That and I Must ment, and the work of the company is part Have One o f My Own with the help of a of the established range of experience of director’s development grant from the children in Tasmanian schools. One of the Australia Council. After seeing I ’ll Be In first decisions was that their programmes On That in Tasmania, John Clark asked would be based on social issues directly her to use it as the basis for the first relevant to children. theatre-in-education course at NIDA, in The present company includes 1976. A third production by John O’May professional actors, university graduates for Children's Arena Theatre toured Vic­ without teacher training, and trained torian schools for six months last year and graduate teachers. Beyond their main per­ was seen by more than 30,000 students. formances in schools and community This year a national company of actors theatre, their activities include arts camps provided by the main state theatre-in­ for children and work in special schools education groups, directed by Anne and with special groups. In Hobart they Harvey, and under the organisation of help trainee policemen prepare for AYPAA in New South Wales, will take domestic intervention work through par­ I'll Be In On That to an international ticipation in structured theatre situations. festival in Wales in July. Tasmanian Theatre-in-Education is a I’ll Be In On That is about the history of democratic group, committed to open trade unions in Australia from the Tol- munity theatre. They combine interest in debate about different ideas in its day-to- puddle martyrs in the 1830s to the ACTU ideas and a lot of commitment to well-tried day working conditions, opposed to doc­ in the 1970s. The script is written for a conventions of popular entertainment. The trinaire stances and definitions. Four company of five. Two characters, Jack and style is part of a world-wide movement members of the 1977 company are Libby Bill, representing Labour and Capital, that includes plays as different as Tom Wherrett, an honours graduate in social agree to “tell it to them like it was” . The Stoppard's elitist entertainment Travesties work, Iain Lang, a NIDA graduate with performance is documentary theatre, and the Australian Performing Group’s considerable success in professional much of the speech is quotation from The Hills Family Show. In fact, there is a theatre in Sydney, Martin Chadwick, a documents and straight facts and figures. long tradition of popular theatre that com­ graduate in architecture from Sydney, and The style is intimate and theatrical, with bines ideas and performance that seems to David O’Connor, a graduate teacher with song-and-dance routines and a com­ be a game or celebration. The two Tas­ experience in the professional theatre. In bination of realism, soap-box oratory, and manian theatre-in-education programmes conversation they say their success or vaudeville. Jack and Bill are joined in the explore social issues in an intelligent form failure depends on communication skills. nineteenth century by a character whose of theatre with broad appeal. They enter­ They stress that they can teach across sub- catch-cry is that he’ll be “in on that”, be­ tain without intellectual heaviness, and ject divisions, presenting attractive cause he’s a joiner — he’ll join anything. without the anti-intellectual bias of syn­ material based on specialist research. He becomes a scab, a shearer with comic thetic ockerism. Their approach assumes that theatre-in- patter written in nineteenth-century In the first half of 1977, the company’s education is art-in-education, useful idioms, and a 1970s union member. Jack two main programmes are / Must Have because it communicates in more than one and Bill stage the strikes of the 1890s as a One O f My Own and I f He Squeals. I f He way (through speech, music and visual fight in a boxing-ring. When arbitration Squeals was developed in workshop. The arts), and important to children as art, in comes into the picture they sing the “Arbi­ subject is prejudice, fitting in, and the idea something the same way as school visits to tration Song” (to “The Battle Hymn of the of difference. In their preparation, the ac­ conventional theatres, art galleries and Republic”) with a chorus about how “The tors focused on the idea that fitting in to a museums. day has come for judgment and the law peer-group is one of the important issues The company want better understand­ will lend a hand/When the gentle breeze of for first- and second-year high-school ing between teachers and themselves, more arbitration blows across the land.” students. time for preparatory and follow-up work, In the first half of 1976 the company In 1972, the company began with the more use of printed material to support toured schools in Tasmania with I'll Be In youth activities officer and two actors not programmes. Discussion turns on finance. On That and John Patterson’s Pro­ involved in the current production at the The other side of the coin about their in­ metheus. They also took the trade union Theatre Royal. Starting from an outline come from grants and the Tasmanian programme to the Adelaide Festival. suggested by Michael Boddy, they devised Education Department is that the budget is They played at colleges of advanced educa­ a half-day structured participation pro­ “ realistic and minimal” . That is, it de­ tion and with Albert Hunt’s The White gramme about the history of communi­ mands constant effort to keep costs down, Man’s Mission on a memorable hot Sun­ cation. and choices in favour of programmes day afternoon in the outdoors amphi­ While the programme was on tour, Bar­ rather than salaries and administration. theatre at the Festival Centre. In August, bara Manning paid her way to England But within schools the company com­ Chris Westwood invited the company back and the United States for three months bines professional theatre and established to Adelaide to the Space at the Festival and looked at developments in theatre-in­ educational methods. Theatre-in­ Centre for performances of Prometheus education. On her return she immediately education of this kind is a recent inter­ and the first performances of Anne asked for funding from the Australia national movement. It draws on the widest Harvey’s sex-roles programme I Must Council for a pilot theatre-in-education possibilities for theatre, from experi­ Have One O f My Own. After Adelaide, programme to use actor-teachers with the mental, radical theatre to the more con­ they toured schools in Port Augusta and co-operation of the Tasmanian Education ventional drama that can seem out of Whyalla and tried out the sexism show as Department. In March 1973, with $15,000 touch with what theatre could be about. community theatre. In the second half of from the Australia Council, the company The growth of interest in Australia comes the year the company toured Tasmanian made a second start with an actor, Bill from people trained to more conventional schools and performed I Must Have One Pearson, and a teacher, Louise Sanders theatre. School audiences and adult O f My Own as community theatre in coun­ (who now runs Free Wheels, a theatre-in­ audiences react with real involvement. The try towns, in Hobart at the State cinema education group in New South Wales). whole field of theatre-in-education and following a film, and then in December for Later in 1973, the Education Department community theatre raises the issue that a successful season at the small Colony provided a teacher on secondment, general audiences seem to want theatre Theatre in Hobart. Richard Meredith, who is still with the that maintains standards in art and enter­ I'll Be In On That and I Must Have One company. The Tasmanian Education tainment and appeals to wide interest in O f My Own work as successful com­ Department continues to support the com­ facts and discussion.

THEATRE AUSTRALIA JUNE 1977 31 Wilton Morley is an Englishman. And the money, and said to them, ‘Look I’ve got Entrepreneur son of a very famous Englishman, Robert this play; would you like to do it?’ They Morley: one indeed renowned for por­ seemed agreeable, so I asked if they would WILTON MORLEY traying the epitome of the British upper- take a share, but then they said ‘Oh no, we class gent, if rather loveable and bumbling can’t have that because we don’t allow talks to at the same time. Brother Sheridan edits employees to invest in our productions.’ So books on the British theatre, exercises his I said, ‘OK, I'll take it to Kenn Brodziak if ROBERT PAGE dryly urbane style as the theatre critic of that’s how you feel.' So they said, ‘Perhaps Punch, and appears in numerous tele­ we can bend the rules.’ That’s how it all vision arts programmes. started.” All members of the Morley family are Parachute Productions, his company, intelligent and, of course, theatrically managed the play in Sydney, with Louis minded. Yet Robert did not approve of Fiander and Nancye Hayes. When Louis schooling in conventional Eton-Oxford went back to England, Wilton bought out sense. Sheridan did manage to reach the the Williamson share and put Graeme cloisters of that august university, but only Blundell in the role. Graeme has become a by his own efforts and with the back­ great friend and important influence on ground of the rather bohemian education Wilton’s thinking. They admire one imposed on both boys by their parents. another and constantly spark ideas off Wilton, with one show under his belt and each other. Benjamin Franklin now under his com­ Having made money with the play, pany’s management, is shaping up to Morley is convinced that audience at­ becoming one of the most significant titudes to overseas stars are changing “ . . the best thing forces in commercial management here. rapidly in Australia. “I think that’s the His ideas are fresh and challenging, his ap­ way things are going. I’m not crusading; that could happen proach to keep an ear firmly to the ground it’s as much self-interest as anything. If I would be a ban on and get there first. promote Australian talent and give Aus­ It was father’s touring activities which tralian actors a chance before overseas overseas actors” first brought him to these shores four years people, there’s more chance of people com­ ago “to see how the other half lives” . This ing to me — they’ll send me plays and so came after a two-year stint at the Wyman on. Managements using imported actors Theatre, Swindon, as a manager: a posi­ will find themselves progressively more tion he didn’t like because of the red tape and more cut off from the actors and the of civic theatres. It was good training, audiences. Part of the thing that went though, and having liked what he saw in wrong with JCW’s was that the actors the Antipodes, he went around to Miller, were always just instruments to be moved Edgley and Williamson’s looking for a job. from A to B — but it’s the actors who Williamson’s took him on and set him create your business; that’s the first thing on the road to his own entrepreneurial ac­ to consider. tivities by appointing him tour manager, We’ve got people here like Helen Morse, which over two years took him to most Jack Thompson, Graeme Blundell who do places in Australia. And being the open, sell tickets. They must be given work and hearty and loquacious chap he is, he made promoted properly. Nancye Hayes was many friends and contacts in the business. last in a play 15 years ago (Sweet Charity) His feelings about JCW’s are mixed: on before this one. Some have said her name the one hand he is grateful for the excellent doesn’t sell tickets, but this tour has prov­ grounding he received in an organisation, ed them wrong. Graeme says he doesn’t as it was, unique in the world, but on the want to be a star, but there must be stars other hand he is appalled by the mis­ here if theatre is to be Australian. I believe management which he considers was people go to see stars more than plays. responsible for the firm’s downfall. “They People go to Benjamin Franklin because had it coming to them for a long time they know Gordon Chater and go to see because it was such an absurdly badly run Same Time Next Year because of Graeme organisation — to the point of financial and Nancye.” suicide. At the top were accountants who, Morley is quick to stress that his com­ to my mind, had little idea about the pany (he owns it 100 per cent) spends its theatre: the sort of people who saw nothing money in Australia, with very little going else and never went near the MTC or the out. Not only does he see imported actors Old Tote. They could have made Don's as a threat to the talent here, in that Party a tremendous success by putting the audiences have been trained to think that money into the production that I think it only overseas TV stars are worthy of tak­ needed; another example is Dimboola. ing lead roles, but also that the country is With all this kind of thing they could have being used as a money-making machine had first choice if they’d had their feelers for outside managements with inevitable out. The good people, like Betty Pounder damage to commercial organisations here. and John Robertson, who did know what “What they do is make sure that, if a play was going on, were never really listened to they’ve got the rights for is to be staged because of the structure of the organ­ here, then they mount it and put the money isation.” in. Which also means they take the profit Wilton Morley knew that the end was in out. It’s exactly the same as English actors sight for Williamson’s when he went to coming. Pretty unfair.” The peculiarly New York and was offered the rights for weak Equity set-up is largely responsible. Same Time Next Year. After taking up the Nor is Morley convinced by the argu­ offer, he went back to his firm with the ment that at least imported shows provide proposal. “ I fished around and got some work here and keep theatres open which

32 THEATRE AUSTRALIA JUNE 1977 would otherwise be dark. "They say that unless you bring in people like Paul Elliott to mount long seasons at the Theatre Royal, you wouldn’t have anything in the theatre. That’s not true, or shouldn't be. A product properly promoted creates need for more. The time has come for us to be fiercely Australian. In fact, I think the best thing that could happen would be a ban on overseas actors so that people could dis­ cover that they like to see their coun­ trymen just as much. It’s a fallacy to say that we learn anything from the people who come in. We don’t. Most of the stuff is dreadful anyway — those awful English comedies!” Apart from Benjamin Franklin, though, Morley has no short-term plans for promoting local plays. He says rather defensively that, though he thinks Same Time Next Year is a super and universal play, if he had had an Australian play he would have preferred to do that. He adds that no one has sent him anything as yet. Nonetheless, despite having seen some of the better home-grown fare, nothing else has so far managed to capture his enthusiasm. At present, he is captivated by a four-hander for women, Dusa, Fish, Stas and Vi, which had a season before Christ­ mas at the Hampstead Theatre Club. Again it’s a comedy, though on the dark side; at the moment he thinks people are more easily pleased by comedy than drama. The play is written by women and will be cast from local actresses (Helen Morse is reading the script) and directed by a woman. “ I’m thinking of approaching Graeme’s wife, Kerry — there aren’t many women directors here.” Morley’s use of an American director for Same Time Next Year brought him into conflict with Ken Horler of the Nimrod. Here he is unrepentant because of the very American character of the play. ("You have to compromise when it's necessary.”) Another play on the stocks, again from England, is Willy Russell’s John, Faul, George, Ringo and Bert, which, if it comes off, is likely to have Graeme playing Ringo, and Shirley from the Skyhooks in somewhere. Using rock personalities, with their enormous drawing-power, appeals as a way of bringing younger people into the theatre. The best ones, he argues, have stage presence and thus the potential for straight acting, "and the people who manage Shirley seem keen on putting some money into theatre, which shows I'm not the only one who thinks the barriers can be crossed.” John, Paul, George appeals to a whole generation in a way Sergeant Pepper couldn’t. That was a balletic show based on the music from the album. The Willy Russell play works on the (oft-mooted) idea of the Beatles getting back together and necessitates that the ac­ tors look like them sufficiently to convince the audience at first sight. Morley wants to make use, in part, of the publicity gim­ micks which surrounded the group, and recreate the press conferences which brought forth a zany competence from the Liverpool four.

THEATRE AUSTRALIA JUNE 1977 33 would be healthy. It has been proven that a theatre should not try out a worthwhile Entrepreneur theatre opposite one that’s packing them in new play with a commercial management does good business too. So rivalry is waiting in the wings to tour it if the WILTON MORLEY good.” response were sufficient. The use of the talks to Morley’s admiration for Brodziak is ap­ resources and of the expertise of each in parent. “ He is a tremendously asute this way could provide a new possibility for ROBERT PAGE businessman who knows and cares about promoting the local product. “ I’m already the theatre. With the new JCW’s he’s cer­ interested in doing things with Graeme’s tainly got the upper hand in terms of company, Hoopla — and hope to take up Again, though, it is likely an outside venues, but there would be no real Bon Bons if it is successful. Of course, such director would be brought in, though problems there — one can always book an arrangement would be tremendous Graeme would have been used — “he un­ those. He told me that, if I wanted the from my point of view — to take over a derstands that classless thing” — if he Comedy for Benjamin, he would try to find complete package, but I don’t know at this weren’t already the first choice for Ringo. me some dates — I've a lot of time for stage how far theatres like Nimrod would “ I'd like someone who knows the north of him. go in joint ventures like this.” England. Perhaps Alan Dosser, who “ I don’t know why he’s bringing out Parachute may operate softly, softly to directed the original production, but he’d Boeing Boeing with Richard O’Sullivan, catch the audience monkey at the moment, probably come out for only four weeks, though. Surely he could find a nice, funny, but the family is still there to help Wilton where I’d like someone who would be fast Australian play, perhaps for someone move quickly. Sheridan keeps him posted around for the whole run of the produc­ like John Waters to do, and push that, or with reviews and advice from London. tion. It’s got to be someone I can work get Jack Thompson back on to the stage. “Then I react instinctively — often closely with, for I’d like to be very in­ Why bring out O’Sullivan, who has without having read the play — and place volved, though I don’t think I'm ready to nothing to do with Australia? The thinking an international call and offer say 500 plunge in and direct it myself.” behind it seems to be a bit dated. Still, I pounds with 10 per cent royalties. They At the moment, Parachute can only wouldn't like to say too much about Brod­ give a year’s option; then if you do the handle one show at a time. Partly it is a ziak: he’s too powerful! I hope he makes play, the initial money comes off the question of management capability and money from Chorus Line — certainly a lot royalties — if not, you haven’t lost too partly because of the finances. Dusa, Fish, of money has gone into it.” much.” Interestingly, it was his father who Stas and Vi will probably be mounted in Morley is also looking into the possibili­ suggested the name Parachute (“one leap September, with the Beatles show to go on ty of linking up with subsidised theatre in — and it may not open!”), and in one sense after that (February?) if the backing is something of the way it has turned out, Robert is always in reserve to break any forthcoming. While the company con­ though in that case without preplanning, fall. “ If I needed some quick money, I tinues to work from production to pro­ with Benjamin Franklin. The big could always bring Dad out with his one- duction, it is too small to represent a real stumbling-block is working out the man show — but I don't want to have to.” threat to Miller, Brodziak and Edgley. finances, but if that could be overcome, At present Wilton’s floating quite happily “ But if it came to the stage of rivalry that there seems little reason why a subsidised on his own.

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34 THEATRE AUSTRALIA JUNE 1977 Playscript

n r T T -r T T T T T T ~r T + + + + + + + + + + + + + + + + + + + + + + + 4- 4- 4- + 4- + + + + + + + + + + + 4- 4- 4- + + + + + + 4- + 4- 4- 4- + + + + + + + 4- + 4- 4- + + + + + + ( Linda Aronson J 4- + 4- + 4- + + + + + + + + + + 4- + 4- 4- 4- + + + + + + + + + + + + + + + + 4- 4- 4- 4- 4- 4- 4- + + + + + + + + + + + + + + + + 4- 4- + + 4- + 4- 4- + + + + + + + + + + + + + + + + 4- 4- 4- + 4- 4- 4- + + + + + + + + + + + + + + + + 4- 4- 4- 4- 4- 4- + 4- + + + + + + + + + + + + + + + + 4- 4- + 4- + 4- 4- + + + + + + + + + + + + + + + + 4- 4- + 4- 4- 4- + 4- 4- + + + + + + + + + + i + + + + 4- + 4- 4- + + 4- 4- + + + + + + + + + + + + + 4- 4- + + 4- 4- 4- 4- 4- + + + + + + + + + u + + + 4- 4- 4- 4- 4- 4- 4- 4- + + + + + + + + + rh + + 4- 4- + + 4- + 4- 4- 4- + + + + + + + -K + + + 4- 4- 4- + 4- 4- + 4- 4- + + + + + + + + + 4- 4- 4- 4-, 4- 4- 4- 4- 4- + + + + + + + + 4- 4- 4- 4- 4- 4- + + + + + + + + + + + +j 4- 4- 4- 4- + + + + + + , + + + "hi 4- + 4- 4- 4- + + + + + + + + + + + 4- 4- + 4- + + + + + + + , 4- 4- 4- 4- 4- + + + + 4- 4- 4- 4- 4- 4-- + 4- 4- 4- 4- 4- + 4- + 4- 4- + + + 4- 4- 4- + 4- 4- 4- 4- + jik + g 4- 4- 4- 1 L + + + 4- + 4- 4- É + i f + 4- 4- + W- + + + 4- 4- 4- r+ 4- 4- 4- 4 » + + + 4-mf 4- + 4- 4- r l ( + 4 - 4 - 4 - m . + + + 4- + 4- J + 1 + + + + 4^^^fc^k+ + + : : 4- 4- + + w + -Si + + + + + 4- + 4- + 4- 1L + + + + + ^ ^ ^ + + 4- + 4- 4- 4- _4- + + + + + 4* + +!>:::!!* 4- 4- 4- + + + + + +» + 4- 4- 4- + + + + + + + +] + 4- 4- + + + + + + ^ l^ + 4- + + + + + + + + + + + 1+ + + + T + + + + + ifc + + 4- 4- + i+ 4- +’*f + + + + 4- 4- +J + + + + + + + 4- 4- 4- + + + + + + + + 4- + 4- + + + + + + + 4a 4- 4- 4- + + + + + + + + 4- 4- 4- + + + + + + + 4- + + + + + + + + + 4- 4- 4- + + + + + + + 4- 4- 4- + + + + + + + + HfgF 4- 4- 4- ______+ + + + + + + w g 4- 4- 4- + + + + + + + + + + 4- + + + + + + + + + + + + + 4- 4- 4- + + + + + + + + + + + + + + 4- 4- 4- + + + + + + + + + + + + +1 4- 4- 4- 4- + + + + + + + + + + + + + 4- 4- 4- + + + + + + + + + + + + + 4- 4- + 4- + + + + + + + + + + + + + + 4- + + + + + + + + + + ■ + + + , 4- 4- + + + + + + + + + + + A A- + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Linda Aronson THE DRAMA BEHIND THE PLAY Linda Aronson was born in London in 1950 Educated at state school, she studied English Literature at the New University of Ulster and St. Hilda's College, Oxford She is currently working on a Ph.D. at Sydney university. She began writing as a child but has concentrated on playwriting only since arriving in Australia in 1973. The Fall Guy is the first of her plays to be produced professionally. Her first Australian play, Closing Down — about a family that runs a seedy, penny-in-the-slot amusement hall — was to have been produced at both the Bondi Pavilion and The Stables, Sydney. Her Australian play, Lonely for my Garden, had an amateur season at the Australian Theatre last year. Linda Aronson has also published poetry and written revue material for ABC radio and Sydney’s New Theatre.

The idea of writing The Fall Guy came to me when 1 first saw the Seymour Centre's York theatre. The stage area suggested vaudeville: in particular, a comedy duo. I finished the first draft in November 1975 and the second draft eight months later. That version, bar a major overhaul on the gay dance section and the odd line here and there, represented the finished script. The plot remained virtually unchanged, although its presentation was different. Gordon, for example, neither met the boys nor witnessed the dance. The first draft was really two plays: Jack and Gordon and Hughie and Sean. The problem lay in com­ bining the two; also in improving structure, pace and characterisation. The redrafting period was a crucial one. With hindsight, the problem was to choose between the complex plotting and characterisation of full naturalism and something more symbolic — based in naturalism but employing archetypes to portray the comedy duo as a caricature of partnership. It was at this time that I first encountered The Entertainer. Until then I hadn't known the play at all. It was worrying, partly because I’d thought Fall Guy was original (and it was depressing, if salutary, to see what could be done with the idea); but largely because I was frightened of being influenced. The fears were well-founded. I began to write a Norman Kaye as Jack complicated naturalistic play, then, realis­ and Gordon brawling while Jack per­ hours of debate and several stiff drinks, I ing something was w'rong, ground to a halt formed. The third version had Jack perfor­ concluded they were right. It was more in total confusion. Months later, and still ming his act facing the theatre audience. credible, and made Jack’s humiliation no further, I concluded that what must be The fight occurred later, outside the dance- more powerful, since triumph preceded. interesting me was not so much the story hall. The final version is the fourth draft The use of a scrim was also suggested that or characters, but rather the nature of minus about half the dialogue, including a afternoon — tossed in casually, almost partnership. Since a comedy duo derives part where Hughie breaks down. despairingly, at the eleventh hour. I’d its humour largely from the joke of two The problems were considerable be­ never heard of a scrim. I seized the idea bickering but inseparable friends, why not cause a great deal regarding plot and because, as well as making possible the expose the truth behind that joke through characterisation had to be explained “backstage” effect I’d wanted but hadn’t the joke itself? That is, create some bicker­ credibly without loss of pace — in fact, in known how to stage, it added a strong ing couples and point the resemblance to something like three minutes. My main visual element and the opportunity for vaudeville comedy. And that — although worry was that the dance episode might visual symbolism. with no such clear idea of it — I tried to duplicate the last scene: hence the attempts Needless to say, I was more than pleas­ do. with tape-recordings and “backstage” ed with the production. My thanks to all The gay dance section was the play’s effects. concerned. problem-area. It went through five ver­ The turning-point came when the cast sions. In the first draft, the scene was simp­ and director suggested that the gay dance Next issue: Act 2 of The Fall Guy and ly taped and heard during the blackout. audience — which, until the fourth draft, The Fall Guy Casebook, Mark II resembled the final version but catcalled Jack off the stage — should re­ with no scrim, more dialogue, and Hughie spond favourably towards him. After six by Mick Rodger

36 THEATRE AUSTRALIA JUNE 1977 The Fall Guy was first performed by the Melbourne Theatre Company at the Russell Street Theatre, Melbourne, on 29 March 1977. The original cast was: JACK, Norman Kaye GORDON, Terence Donovan HUGH IE, Mervyn Drake SEAN, Stephen Oldfield. The play was directed and designed by Mick Rodger and choreographed by Jon Finlayson. CHARACTERS JACK: Mid-fifties. His left arm is paralysed and hangs useless at his side. GORDON: About fifty. HUGH IE: Early twenties. SEAN: Early twenties.

JACK’S GAG FOR SYNOPSIS THESET LATECOMERS

The play concerns the disintegrating rela­ An empty stage (preferably a thrust) with (This may be inserted anywhere in Act 1 tionships of two male couples: Jack and an entrance set centre-back. except during the songs.) Gordon, a vaudeville comedy team; and On one side of the doorway is a flimsy Jack: Wait! Stop! Stop everything! Hold Hughie and Sean, two young homo­ metal table with four metal chairs. These it! (To latecomers.) Did you find it all sexuals; all of whom, in some respect, are are required for all scenes except. I,i and right? Second door to your left through the the “ fall guy” of the title. II,ii and may remain on stage throughout foyer. (Or whatever is appropriate.) the play, if so desired. Anyone else wanna go? It’s your last On the 28th anniversary of Jack and For Jack’s flat, two old armchairs and a chance. (To, if possible, a cross-legged Gordon’s partnership, Gordon tells Jack small movable cabinet (holding a tele­ member o f the audience.) What about you, that their feeble and violently anti­ phone, an old portable record-player and mate? (or dear?) You can't sit cross-legged homosexual act must be changed. Jack, LPs, bottles of spirits and glasses) are plac­ the whole night. No? Na, but . . . (Con­ self-willed, bigoted and an alcoholic, ed on stage. Alternatively, the contents of tinues where he left off.) refuses, and the pair split up. Unable to the cabinet may be concealed in built-in find work but determined to keep face, cupboards or placed on drop-down flaps Jack suggests to Hughie — whom he has screwed on to the flat. On one side of the met, with Sean, in a pub — that they two doorway is hung a large disintegrating form a variety act, Hughie, who has been photograph of Jack and Gordon, in fifties- sending up Jack without Jack realising it, style evening dress, performing their act. SCENE 1 agrees — partly as a joke and partly to an­ For the scene inside the pub (I,iii), two noy Sean. large block-mounted ads for beer are hung Ultimately, without Sean or Gordon’s on either side of the doorway, one of them concealing the photograph. A pay-phone is knowledge, Hughie cons Jack into perfor­ I he RSL Club. ming his act at a gay dance. Gordon beats placed on some sort of stand to the up Hughie and goes off with Jack. Whether doorway. Man’s Voice (through a loudspeaker): And Sean and Hughie remain together is left For Act I, Scene i, the block-mounted now, ladies and gentlemen, Jack Harvey unclear. The play concludes as it opens — beer-ads are reversed to show (a) the and Gordon! with Jack and Gordon’s act. But Jack, un­ Australian flag; (b) the emblem of the Lights. Jack and Gordon run on stage and able to forgive Gordon — and perhaps the Returned Services League (RSL). sing When you're smiling”, accompany­ world — humiliates Gordon on stage, thus For Act II, Scene ii. the back flat is ing the song with an energetic dance destroying the act, Gordon and himself. completely bare., routine in which much comic play is made

THEATRE AUSTRALIA JUNE 1977 37 of Jack’s paralysed arm. In the last bars o f They give him an IQ test, reckoned he’d whiskies, offers one to Gordon. )Here. the song. Jack and Gordon dance to the been dead for four years. Na, it’s em­ Gordon: No thanks. Mind if I use your doorway and collect hand-held micro­ barrassing. Lives in a world of his own; phone? phones from two people concealed behind they all do. Take the other day. Y'know Jack pauses, stares at Gordon. the flat. These may be stage-crew or what he does for a living! Tell ’em what Jack: What’s the matter with you? Hughie and Sean — as long as the two y’do for a living. Gordon: Nothing. Look, can I use the latter keep their faces hidden. Gordon: Gents’ hairdresser. phone? Jack: Thank you, thank you, good evening Jack: Right. Now what you and me know Jack: Help yourself. (Gordon starts dial­ . . . (Gordon is simpering affectedly at the is that barbers don’t only sell haircuts. ling a number.) Who y’ phoning — Myra? audience.) That’s right, just keep on smil­ (Taps his nose significantly.) Oo, she Gordon: Yeah. (Pause.) ing . . . Thank you. (Noticing Gordon.) knows — look at her — you know what Jack (amused): Jesus, that old Mick got Jesus Christ, the original Gay Gordon! I’m talking about don’t y’? Yes! I mean plastered, didn’t he? Will you stop that! when I was sixteen I had the shortest hair­ Gordon: Hallo? Myra? Look Dari.; I’m at Gordon: Ooo! Jealous! cut in Sydney. I did! Think about it! Think Jack’s . . . I know . .. Sorry, love, I Jack (to audience): You might think it’s about it! But he doesn’t understand that, see. couldn’t get away . . . Yeah . . . No, I funny, mate. You wanna try living with it. What happens? There he is, flouncing round haven’t yet . . . All right. . . Yeah, soon as (Gordon’s eyes light up.) Makes y’weep. with his hair-creams and hair-sprays — no, I can. ’Bye. Well are you enjoying yourselves? That’s you tell ’em. Gordon replaces the receiver. Uncomfor­ the main thing. You enjoying yourself, Gordon: Well, a man came in and asked table pause. dear? Are you? Where you from? Eh? me if I kept Gossamer. Jack: You’ll give yourself a hernia if you Wollongong! Don’t worry, you’ll get over Jack: And what did you say? don’t stop laughing. it. Anyone else from Wollongong? Knew a Gordon: Supersoft or hard-to-hold? Gordon: Ah . . . girl from Wollongong once. She used to Jack: Na, don't laugh, it’s pathetic. Na, Jack: Well what’s the matter with tap-dance with her right leg, do the can­ when you think about i t . . . Married once, everyone! First it’s Barney, now it’s you can with her left leg, and between the two would y’believe! Weren’t y’? Great, big girl . . . This is s'posed to be a celebration. she made her living. True! Na, it’s all this . . . ! Still, she had her good points. Twenty-eight years together! Me, you and permissive society business. Poofters, (Gesticulates to indicate giant breasts.) — Barney, twenty-eight years today — and witchcraft, wife-swapping. Tried to swap two of ’em! Na, but you shouldn’t laugh. you’re more worried about bloody Myra. my wife once. Best offer I got was two You shouldn't. (Indicating a woman in the Gordon: She is my wife, Jack. stubbies and a broken lawnmower. audience.) Ah, she’s off! Look at her, she’s Jack: No! I thought she was your Great- (To the “Wollongong” woman in the off! No shame, some of ’em . . . Na, Aunt Fanny. audience.) Aw, she’s offended now. Dunno seriously, this is a sad story. Tragic story. Gordon: Look, it’s two o’clock in the mor­ why — we all know what goes on in He bumped her off. Didn’t y’? Yes. Suf­ ning. I said I'd be home at eleven. What’s Wollongong. Aw yeah. Na, but things are focated her — stuck a pillow down her wrong with phoning! different these days. Go up King’s Cross, throat while she was asleep. Aw, nasty! He Jack: Nothing! Nothing! Why don’t you there’s sex-shops, massage parlours, dirty denies it, but, don't y’? He reckons she get a two-way radio! (Mimics.) “Gordon films. What sorta society’s that? I ask you. was dreaming about eating marsh­ to Myra, Gordon to Myra, request permis­ I mean, why should we have to travel all mallows. It’s true! My oath! But stupid! sion to piss.” (Pause.) that way to get it? Disgraceful. Have we He’s so stupid . . . ! Tell ’em what you did. Gordon: I’ll go home if you want. got anyone from interstate? Anyone Gordon: I buried her in the back yard. Jack: Siddown! (Pause.) Thought you travelling interstate? Where from? Jack: Too right you buried her! (To might be a bit more interested, that’s all. Queensland! Banana country! You know, audience.) Aw, he buried her, all right. (Pause.) We had this planned for months first time I went to Queensland I saw a Buried her with her bum sticking right up — you, me, Barney, bitta grog, bit of a fella walking down the street with a outa the patio! sing-song. banana in his ear! Fair dinkum! I said, Gordon: Well, I had to have somewhere to Gordon (wearily): You had it planned for “Ay you, y’know y’got a banana in your park my bike! months; we didn’t. You know Barney can’t ear?” I did! “ Speak up,” he says, “Can’t Introductory bars to “Side by Side’’. Gor­ drink. hear y’ — got a banana in me ear.” Oo yes, don drops his effeminacy, and both go into Jack: Here we go. Barney’s bloody you got it, didn’t you dear? Oo yes. Got her a song-and-dance routine, singing Side by kidneys. at her wits’ end. Side.) Gordon: Barney is a sick man, Jack. You (To another member o f the audience.) can laugh. If you don’t watch the grog Wits, I said, wits. Where d’y’think you (Bowing.) Thank you! Thank you! you'll end up like him yourself. are? The Opera House? Na, but seriously, They run out through the doorway, Jack: Look, mate, as far as I’m concerned it’s a violent society these days. Can’t even possibly lifting o ff the fa g and the RSL Barney coulda sat there drinking bloody walk the streets — no custom. It’s true! emblem as they go. Blackout. liver salts so long as he’d turned up. It (Indicating Gordon.) Ask him — he stood wasn’t asking much for him to turn up. so long at the end of our street, he got a (Pause.) I haven’t seen him for weeks. grant from the National Trust. Didn’t you, Theatrical agent! More like a bloody eh? Eh? Na, it’s a shame. Country’s going SCENE2 secret agent. to the dogs. Fulla poofters, wogs, cripples. Gordon (evasively): He must have been (Indicating his paralysed arm.) S’pose crook. yous’ll have noticed that. (Sighs.) Ah well, Jack: Too right! Tripped over his wallet that’s life. Can’t brood about it. We must Jack's fa t. and broke a leg. (Pause. Jack mimics Gor­ take what the good Lord sends. But . . . Darkness. While the set is being changed, don and himself.) “Well, Jack mate, I’ve but . . . (Pause.) I’d give me right arm to Jack and Gordon are heard offstage. Milk enjoyed these twenty-eight years to­ have it back! bottles toppling, jingling o f keys, muttered gether.” “Aw, Gordon . . .” “Na, Jack, best (To a woman in the audience.) Oo, had ya curses, interspersed with Jack’s tipsy years of my life.” “Well, I’ve enjoyed worried there, didn’t I! Eh! Na, but I don’t rendering o f “Side by Side”. Lights. Jack them as well, Gordon. I hope we have many believe in mollycoddling the sick. It’s and Gordon enter, still in evening suits but more years together.” “I’ll drink to that about time the lame dogs learnt to stand minus bow-ties and somewhat the worse Jack — oops, I haven’t got a drink.” on their own feet. for wear. Jack is carrying a whisky bottle. “That’s all right, Gordon; we all know (Indicating Gordon.) I mean, if he can Gordon is subdued and ill-at-ease. Jack you’re a hen-pecked piker.” stand on his own feet, anyone can. Aw, gets two glasses from the cabinet. Gordon: Stow it. he’s dumb y'know. Dumb! Tried to sell his Jack: Well come on, mate. What y’ Jack: Well, for Christ’s sake say some­ brain for science once. Didn’t you, eh! frightened of? Landmines? (Pours out two thing will y’!

38 THEATRE AUSTRALIA JUNE 1977 {Pause.) Jack: Don’t ask me. You made the deci­ Gordon: I’m asking you to change the act, Gordon {wearily, comically lacking con­ sion. We’re finished. {Pause.) that’s all. Just give me a bit of it. Give me viction): It’s been good working with you, Gordon: All I want to do is change it a bit. something to do up there. Jack. Jack: Aw, grow up! You can’t change an Jack: And if I don’t, you walk out, do you? Instead o f the anticipated comic retort, act like that! We go out on the stage, they {Gordon looks at his feet.) What you gon­ there is silence. Jack is hurt. He stares at expect you to act the poofter. That’s how na do, eh? What you got lined up? You’ve Gordon for a moment. they know us! That’s our image! You got something, or else you’d nevera Jack: Go home, Gordon. change that, boy, an’ you’re done. brought it up, would you? Gordon: I’m sorry, mate. I . . . Gordon: But I wasn’t always the poofter! Gordon {evasively): I haven’t got anything. Jack: Go on, go home. Not at the beginning . . . Jack: Oh yes you have. I’ve known you for Gordon: Jack . . . Jack: The beginning was twenty-eight too long, mate. You can’t kid me, sonny. Jack: Just let me know about that club years ago! They don’t remember that! What’s she got Fixed up for you, eh? Eh? date will you. {Pause.) Jesus Christ. . . ! What’s old Myra lined up for her lover- Gordon: That’s what I wanted to talk to Gordon {aggressively): Well, I’m sorry, boy, eh? you about. It’s off. mate, but if it isn’t changed I go. Gordon: Nothing. Jack: Aw. Barney got anything else lined Jack: Well, go — and good bloody rid­ Jack: The brother-in-law! The brother-in- up? dance. {Pause.) You know, I can’t under­ law’s firm, that’s it! She’s put you in there, Gordon: No, nothing. stand you. I work for years to build up an hasn’t she! Jack: Nothing! Whadya mean “nothing”? act, years, and all the time you’re pick, Gordon: I’ve got responsibilities, Jack . . . That club was the only thing between now pick, pick underneath, picking away, Jack: Don’t tell me! Chief shit-kicker in and January! What’s the stupid bastard destroying everything . . . the rich brother-in-law’s firm! doing with himself! Gordon: That’s the point, Jack. It is your Gordon: Well, I'll earn a darn sight more Gordon: Jack, I got him to cancel the lot. act. from that than from being with you, won’t Pause. Jack is thunderstruck. Jack {vehemently): Yeah; well, if that’s so, I! And Barney’ll do what he can! {Pause.) Jack {briskly, with controlled fury): All I'm not the one to blame, mate. I’m not Jack {bitterly): Well. She’s really done you right, come on, what’s the game? Well the one who walks out every time the going proud this time. Even got bloody Barney come on! gets rough. on side. {Pause. Laughs ironically.) You Gordon {with difficulty): It’s about the act. Gordon: Twice I’ve done th at. . . ! know what? You know, it wouldn’t matter I’m not happy with it, Jack. It’s just . . . Jack: My oath. {Sarcastically.) Gordon, if it was you — if it was really you doing it, It’s cheap smut. I mean, all this business my mate, my partner. Well, I s’pose I if you came out in the open . . . about me being a poofter. I feel like a ven­ should thank you for giving me a bitta Gordon: I’ve got responsibilities, Jack. It’s triloquist’s dummy up there. I’m a comic, warning, shouldn’t I? Makes a change all right for you; I’ve got a wife and family same as you . . . Look, I don’t feel like it’s from last time. to think o f. . . a double act any more. Either we change it Gordon: Look, after what you did . . . Jack {furiously): Haven’t y’got me to think o r . . . Jack: What did I do, eh? Eh? Told Myra a of! Haven’t y’got any responsibility to me? Pause. Jack nods his head in disgust. few home truths you shoulda told her Who d’y’think I am, eh? Eh? Twenty-eight Jack: So we’re on to that again, are we? yourself years ago, the bitch. years, mate; that’s what I am. Ever heard We’re on to that. What y’got lined up for Gordon: All right, cut it o u t. . . of loyalty . . . ! yourself this time? More cats’-meat com­ Jack: She couldn’t take it, could she? First Gordon: It's not a matter of loyalty . . . mercials? her husband spending all his time with Jack: Well, it is as far as I’m concerned! Gordon {attempting to remain calm): I Jack, then her kids wanting Jack in her {Pause. They confront each other.) You haven’t fixed up anything. That’s what house — in front of all her nice friends. Oh know what today is? Do you? Do you? we’re here to talk about. no, wouldn’t do would it! Gordon {wearily): I know . . . Jack: Oh, is it? Bit late in the piece for Gordon: Jack, the kids asked her to tell During the following speech, Jack rushes talking. you. They were growing up. They wanted to the record-player, removes a 78 rpm Gordon: I kept trying; you wouldn’t listen. their own sorta parties. They loved you record from its sleeve and sets it on the Jack: So you rig this up! I s’pose Barney’s there when they were littlies, doing all the turntable. in it as well, is he? Is he? {Gordon turns conjuring tricks, b u t. . . Gordon {in a frenzy): This is what today away.) Aw that’s beaut. That’s beaut. Jack: Danny was twelve years old! Twelve is. The anniversary of this. Twenty-eight Twenty-eight years! You really choose years of age! years, mate. Before Barney, before Myra your moment, don’t you. Gordon: Kids are funny at that age. They — you and me, two days after we met. Gordon: Jack. , wanna be grown up. They don't want their Gordon: Don't put it on. Jack: Don’t you bloody Jack me. {Pause.) parents’ friends hanging around. They Gordon: It was the only way. I kept tryna want their own friends. suggest changes; you wouldn’t have it. Jack: Look, if he’d felt like that he woulda {Pause.) told me himself! Danny and me were Jack: S’pose little Myra’s got her finger in mates, always were. That kid worshipped the pie. Aw yeah. Doesn’t like her big me . . . ! bruiser acting like a poof, eh. Gordon: He didn’t wanna hurt your Gordon: It’s got nothing to do with Myra. feelings. I made the decision. Jack {contemptuously): Hurt my feelings Jack: You wanna crucify a perfectly good ! act, and it’s nothing to do with Myra? Gordon {angrily): Well, what did you ex­ Gordon: It’s a lousy act. Our time-spots pect him to say? “Don’t come to my party, are getting shorter and shorter — Barney Uncle Jack, ’cos all the kids at school spends more time on us than on the rest of laugh at me when you come in drunk and them put together. try to juggle and can’t, and besides the way Jack: Ah yeah, good old Barney! Where you swing your bad arm about makes me was bloody Barney ten years ago when we feel sick.” {Jack is hurt. Pause.) Anyhow, coulda got that TV contract, eh? Eh? that’s all in the past. Didn’t see him flogging his guts out then, Jack: Except for one small thing. You did we? walked out on me then, and you’re gonna Gordon: We’d nevera got that job. Don’t walk out on me now. blame Barney. {Pause.) What are we gon­ Gordon: I’m not walking out on you. na do? Jack: What are you doing then! Jack sets the needle on the record. Crack­ Jack: My arse! You couldn't write a joke Hughie: What, not even if I fawned? You ling sounds. The voices of Gordon and Jack to save your life. know, pleaded crime of passion? (Sean as youths. Gordon: I’ve been writing for Curly Mason looks up, annoyed. Hughie laughs.) Oh Gordon s Voice: Is it going yet? for the last six months. (Pause.) God, the look on his face . . . ! Solid, Jack’s Voice: Course it’s going! Come on; Jack: Well! Little ripper aren’t you? When respectable, earnest Sam . . . ! You’ve got the money'll run out. d'you do that? Between ironing Myra’s to hand it to him. He must be the only per­ Gordon’s Voice: Aw, I can’t. smalls? son in the world who could get a dish of Jack’s Voice: Come on\ Right. One, two, Gordon: No. While you were getting goulash over himself and still manage to three. yourself drunk with your alco friends. look dignified. Jack launches into "Side by Side", follow­ (Pause.) Sean (writing): He got severe burns on the ed uncertainly by Gordon. After a few bars Jack (quietly): Anything else you'd like to chest. ' Gordon starts laughing and Jack stops add? Hughie: Yeah. I should’ve thrown the singing. Gordon: Yes. I hoped it wouldn’t turn out cheesecake. Gordon’s Voice: Aw fuck . . . like this, but that’s the way you want it. Sean (looking up): You shouldn’t have Jack's Voice (amused): What’s so funny? You're a parasite, Jack. For years I tried thrown anything. You're lucky he didn’t Gordon’s Voice: Your breath. Smells like a . . . made excuses for you, watched you cut take you to court. hurricane in a brewery. me out of the act, saw you insult my wife, Hughie: Take me to court . . . ! He was Jack's Voice (amused): Aw, come on. try to take over my kids. And all the time I trying to feel you up. Jack starts singing again. Gordon con­ thought, “ He can’t know, he can’t realise Sean: He was not! tinues to giggle. . . .” But you realised all right. Well I’m Hughie: Aw, come on! I could see him! Gordon's Voice: Stop breathing on me, will sick of it. I’ve had it up to here. Now if you Why else was he standing in the queue? y’! wanna turn into a drunk, you do it. I can The bloody proprietor of the place queu­ Both dissolve into laughter. do very nicely on my own. Barney thinks ing up for his dinner . . . ! Jack's Voice (gasping): Aw dear. Look we he can get us work if we change the act — Sean: He doesn’t believe he should get gotta sing. tone down the gags, cut out the poofter, preferential treatment. Gordon’s Voice; Well, you sing if you put in more singing. It’s your choice. I’m Hughie: Balls! want. Pause. Whispers, giggles. giving you one more chance, and I’m war­ Sean: It’s the policy of the place; you know Jack's Voice (singing, to the tune o f "M y ning you, if you don’t take it, you’re done. that. Bonnie Lies Over the Ocean’’): (Pause.) Hughie: But of course; how silly of me! My bastard lies over the ocean. Jack (contemptuously): You’re giving me The Cezanne wine-bar, hot-bed of Gay My bastard lies over the sea, one more chance are you? You! Well. You militancy, Valhalla of Leftist-intellectual My bastard lies over the ocean, can stick your bloody chance, mate. I poofterdom. (With an American accent.) Thank God it’s not living with me. don’t need you, I never did — or your Yes folks, a few paltry dollars buys you Gales o f laughter. Gordon, unsmiling, bloody mate Barney. And I'm warning brown rice with Bolsheviks, Moussaka removes the needle from the record. Pause. you. Don't you come back here with your with Marxist-Leninists ... ! This has to be Gordon (going): I’ll ring you tomorrow. tail between your legs and expect me to moral dynamite! Don’t miss it! The Jack (quietly): Doesn't that mean anything take you back, mate. 'Cos you'll wanna Cezanne wine-bar, home of the semi­ to you? come back; you know that, don’t you? You literati! (Pause. Sean stares angrily at Gordon stops, gazes at Jack. bastard. (Pause. Furiously.) I won’t forget Hughie who winks cheerfully. Sean returns Gordon: It means two kids laughing at a this, mate, don’t you worry. I’m gonna get to his notes. Hughie gazes around, focuses dirty joke. Jack . . . look . . . that was over you. I’m gonna bloody well get you! on something in the distance, grins, a long while ago. Stop kidding yourself. I They confront each other for a moment. chuckles.) Hey, I'm being given the eye. wanted to believe in it. I put up with a lot Gordon exits; Jack stares after him. Here Sean, Sean, watch this! (Sean looks ’cos I wanted to believe in it. “Jack and Blackout. up impatiently. A grotesque parody o f an Gordon”, “Side by Side", “ Mates for admiring sigh.) Oooo . . . ah! Get ’em off! life” . Well that’s all right for the stage, (Collapses into laughter. Sean stares at believe in it for the stage, but . . . him coldly.) Look! Look! Made their day! Gordon stops. Aw, the irony . . . ! Ooo . . . ah! Ah yes, Jack: What’s the matter? Forgotten your SCENE 3 there’s nothing quite as bracing as good, words? Or didn't Myra coach you enough. solid, wholesome, down-to-earth bad taste. Gordon: It’s nothing to do with Myra! Bad taste and unashamed vulgarity. There Why d’you always think Myra’s behind you are, thesis-topic for you. “Vulgarity; a everything! Inside the pub. perspective.” No, that’s not right. How Jack snorts ironically, turns away. Hughie and Sean sit at the table. Two half- about “Vulgarity; a fuckin’ eyeful”. Jack (quietly, bitterly): All right for the empty glasses o f beer in front o f them. “There was a young lady named Olga, who stage, eh? Well, I believed in it, mate. I Sean is studying a university prospectus was most unbelievably vulgar . . .” bloody believed in i t . . . and taking notes on a pad o f paper. Sean (tersely): Hughie, J’m trying to con­ Gordon: Jack . . . Hughie, bored, amuses himself for a while centrate. Jack: And believe me, what you had to put by throwing peanuts into the air and Hughie: And I'm trying to distract you. up with from me was nothing to what I catching them in his mouth. Stops, regards (Snatches prospectus. Reading.) “Sex in took from you and that stuck-up bitch. But Sean. the Market Place: American Women at then I believe in friendship, I believe in Hughie: You know something? You're a WorL. Fiona Crep.” (Flicks over some human decency . . . compulsive note-taker. (Pause.) pages. Reading.) “Students will be re­ Gordon: You believe in number one. Spare Sean: Mmm? What? quired to take an oral.” me the hearts and flowers, mate, (Pause.) I Hughie: I said, you're a compulsive note- Sean returns to his notes. Watched by came here to talk, Now if you wanna talk taker. My God, taking notes from a uni­ Hughie, Jack emerges from the bar, things out, Fine. If not, I'll go. versity prospectus! stands mentally deliberating whether or Jack You go. You get out, mate. You get Sean (with a touch o f pride): Ah well, sign not to make a phone-call. Impulsively out and see what you’re like without me. I of a true academic. picks up the phone, starts dialling but loses made you . . . Hughie snorts contemptuously. Sits look­ his nerve, hangs up and goes back into the Gordon: You didn’t make me; you used ing round idly, then gets out his wallet and bar. me. counts his money. Sighs. Hughie: See that? Jack: Yeah? Yeah? Whdt w£s it? Imper­ Hughie: D’you think they’d give me back Sean (impatiently): See what? sonations and conjuring tricks? my job at Cezanne's? Hughie: That’s the second time he’s done Gordon: I was a comic. Sean: Doubt it. that — that old guy with the paralysed

40 THEATRE AUSTRALIA JUNE 1977 I arm. He comes out to the phone, dials a Sean: I'm certainly not prepared to risk it’s run at the moment. Get on the com­ number and hangs up. my whole career for the sake of a six- mittee, help Ken organise the dances, do Sean: Hughie, if you wouldn’t keep in­ month jaunt across Europe . . . ! photos for Breakout — your work’s a hun­ terrupting me I'd be finished much sooner. Hughie (melodramatically): “ My whole dred times better than Steve's. You're not Hughie grimaces. Pause. career! In ruins!” even working on your photography any Hughie; “Come down to the pub,” he says. Sean: Well I’m not! more . . . Why don’t you talk to Sam . . . “Celebrate the end of my exams,” he says Hughie: Nobody’s asking you to! Hughie: Nobody talks to Sam, they ooze Sean (furiously): Look, Hughie, you’ve into his presence. Sean: Look, you suggested coming here, been trying to sabotage this MA for the Sean: Well, at least he’s doing something. not me. You knew I had to map this out last three months! Hughie: Aw come on! He couldn’t give a Hughie: I have not! stuff — it’s one long ego-trip, that’s all. Hughie: Map what out! You’re applying to Sean: I sent for two application forms by Pamphlets, letters, talk-back shows with do an MA, not scaling Mount Everest! For post and you tore them up. Thought I guilty straights. “ Sam Rogers, the poofter God’s sake, just fill out the form and get it didn’t notice, didn't you? Well, you should with the human face.” ( With heavy in. get rid of the evidence next time. You left Australian accent.) “ Ay Bluey, it’s that Sean: That’s exactly what I’m trying to do! the bits in the waste-paper basket. poofter bloke on the TV again.” “ Yeah, (Pause.) I’m sorry, Hughie . . . Look, it’s Hughie: Do you often go grubbing through never credit it, would y’? They reckon he such a late application . . . They’ve gone to waste- paper baskets? plays Aussie rules.” “Aw well, in there a lot of trouble — I can’t afford to an­ Sean- Only when I’m looking for my mail. with all the fellas I s’pose.” Want me to tagonise them by not knowing what A tense moment. Hughie suddenly bursts turn out like that — like good old Sam­ courses . . . into laughter. my? Maybe you do. Hughie: Yes, yes, yes, yes. All right, go on, Sean; It’s not funny! Sean: And what’s that supposed to mean? “map it out” — map out the rest of your Hughie: Oh God! Your face when you A long pause. Hughie is beside himself life. (Sean sighs.) I haven’t said a word. If found them! If only I’d had my camera! with impatience. you want to rot away in that neo-Gothic Innocence outraged! Hughie: Well, say something! Punch me in mausoleum, you do it. (Sean sighs, con­ Sean: I thought you left them there on pur­ the eye! Knock me down! Do something, tinues writing.) Nothing to do with me, pose. Sean! God, you’re so civilised, so . . . after all. (Pause.) Ah yes, I can see it now. Hughie: Well, you might have thought bloody . . . (Pause.) “ Newcastle Mick makes good: Sean they got lost in the post. . Sean (quietly): So bloody what? (Pause. O’Sullivan, BA, MA, scholar and Sean (amused, despite himself): Aw . . . Hughie looks away.) All right. I'll tell you. sodomist.” (With an Irish accent ) “Sure Hughie: Well anything could've happened! That Saturday . . . and away, we’re proud of ye, Sean — but Come on! Look, what am I asking? Six Hughie: Sean, I am tired of hearing about couldn’t ye give up that doirty business months of your time. We could even go to your dreary infidelities. with the lads, now?” Tasmania again. You can do the MA next Sean: That evening . . . Sean: Hughie, I'm not going overseas with year. Hughie: Dear Dorothy Dix . . . you, now I know what you think about the Sean: Things might be different in the Sean: . . After you'd had that fight with MA, but I’m going to do it, and if you had department next year. I’m not in a position the man in the milk-bar, Hughie, I felt. . . any sense you’d do the same yourself. So to bargain . . . Hughie: “ Randy" the word you’re looking please stop trying to distract me. Now, Hughie: Oh God! The inferiority complex for? let’s leave it at that, shall we? rears its ugly head. Sean (angrily): I felt if I heard your voice Hughie: Oh sure, just leave it at that. (Sean Sean: That’s right, sneer. It’s all right for again, if you nagged me any more . . . I sighs.) No 1 will not be quiet. You really you . . . wanted to be with someone reasonable, I expect me not to put up a fight! For Hughie: Aw yeah, the great white hope of wanted a bit of peace . . . Christ’s sake, half an hour of your time. the dole queue, me . . . Hughie roars with laughter. You couldn't care less, could you? Sean: That's what sickens me. You could Hughie: Tell that to the judge! (With an Sean: You know that’s not true. do so much, Hughie — there’s no reason Hughie: Prove it. why you shouldn’t still apply . . . Sean stares angrily at Hughie. Hughie: Terrific! I can just see it! — the Sean: I can’t take much more of this. oldest ingenue in the business! Honestly, sometimes I wonder what makes Sean: Rubbish! you tick . . . Hughie: I wouldn’t waste my time . . . Hughie: Yes, I don't know what you see in Sean: Oh, and I s'pose hanging round pubs me. Why don’t you go and consult Sam? all day isn’t a waste of time . . . More cosy little fireside chats about my Hughie: Of course it is! If it wasn't a waste psychology. of time I wouldn’t waste my time on it. Sean: I'm not going through all that again. (Pause.) Oh, go on, finish your notes. (Tersely.) Why are you like this, Hughie? Sean (grudgingly): I'll manage with what You know, sometimes I think you hate me, I've done. you want to punish me. Hughie: Oh well, all we need do now is sit Hughie leans earnestly forward back and enjoy ourselves. (Pause.) Hughie: I thought you'd never notice. Sean: And why you want to come here — (Sean turns away impatiently.) Well, it’s of all places! (Pause. Softening.) It’s only bloody obvious, isn’t it? You prefer your two years. MA to me, that's all. Hughie: Two years! What am I supposed Sean (wearily): I could say exactly the to do for two years? Sit and watch you sort same thing about you. You’re going your card-index? overseas and leaving me . . . Sean: There's the movement. . . Hughie: That’s different. Hughie: The movement! Christ! Even the Sean: Oh, that’s different, is it? name's absurd! (High-pitched voice.) Hughie: It is! Christ! You’re like an old “And have we had our movement today?” man! You know that! Risk something, (Gruff, Australian voice.) “No, nurse, Sean! Take a risk for once in your life! musta been those hard-boiled eggs we had Sean: What’s that got to do with it! last night.” Hughie: Everything. You’re not prepared Sean: Look, you could do a lot for it, real­ to risk anything — for me or anything else. ly you could. Okay, you don't like the way Irish accent.) “Sure ’twas just for a bitta with you . . . Yeah! How ’goin’, mate, all thought that up? peace, Your Honour.” right? Gordon, Gordon Dobbs . . . Yeah — Hughie: No. Sean stares coldly at Hughie. mattera fact Gordon and me . . . Aw no, Jack: Good old Jacky boy. Not that I Hughie: Well what do you expect me to it's a miracle you remembering us at all! begrudge him. If an old-timer can’t help do? Applaud? You’re in the big league now, mate! Yeah, out the newies, something’s gotta be Sean stares coldly at Hughie for a mo­ me and Gordon always followed what you wrong. But all those fellas at the top, you ment, gets up, begins gathering together bin up to, you know — haven’t seen him can bet your life they trod on some backs his belongings as if to go. lately — we split up about a month ago. to get there. Hughie: Oh yes, here we go, the grand exit. He’s working for his brother-in-law. . . . Hughie: Did he steal your routine, then? Well, go on, walk away. But I warn you, No getting tanked up every night with Jack: Aw well, not word for word. But the you do, and it’s the last time. I mean it, Larry these days, I reckon! (With a touch feel of it, y’know, the feel of it. Sean. I’m sick of that trick. (Sean o f impatience.) Ah, you remember Larry! Pause. hesitates.) What’s the matter? Go on — if I Larry the bouncer! Big fella with a bald Sean: Hughie, shall we go home now? make your life such a misery. Although, as head — always drank rum . . . Yeah! . . . Hughie: Just a minute! (To Jack.) I I recall, I was supposed to be quote the Yeah! . . . Aw, we had some laughs, never wonder . . . you must get fed up with peo­ most valuable person in the world unquote. laughed so much in all my life, those days! ple asking you this . . . but my mother’d (Pause. Sean sighs, slumps into his seat, . . . (Desperately maintaining his joviality.) really like your autograph. eyes downcast. Hughie scowls at him for a New York! How many phones you got, Jack: Aw, be pleased to. moment, then softens. With a mixture of then! Course I remember the time when Hughie grabs Sean’s pen and a page o f his impatience and affection.) Come on. (No you . . . Aw well, no worries, I’ll leave you notes. response.) Think of it — we’ll go all to it. . . . No, no — no trouble, mate . . . Hughie: Here. through Asia, Europe. We’ll get to Lon­ Aw, just ringing for a bit of a chin-wag, Sean (snatching at the page): Give me that don, get you into an MA course. You you know, about the old days . . . Yeah, back! haven’t got any faith in yourself. You’d well, same to you Johnny. Be seeing you. Hughie: Ah, don't be ridiculous; you don’t have dropped out at the end of third year if (Hangs up. Stands pondering for a mo­ need th a t. . . I hadn’t bullied you through! Wouldn’t ment then looks over his shoulder and The page tears. Sean turns away angrily. you? (No response.) Look, I tell you what. shouts, again with forced joviality.) Ay Jack: Look, I gotta bitta paper if you You apply for the MA here. Get the Jock! Come on you old bastard, I’ll buy want. application in, get if off your mind. If you you a drink! (Pause.) Aw well, bugger you, Hughie: No, no, no. He was only doodling decide to come with me, you just then, don’t. on it. Here, on the back. withdraw. If not, well . . . (Shrugs his Jack stands thinking. He catches Hughie Jack: What’s your mother’s name? shoulders. Sean sighs impatiently. Hughie staring at him, looks away. Looks back at Hughie: What? brightens.) Aw, come on! Can’t do much Hughie, who nods a greeting. Jack is sur­ Jack: Her name, her first name. better than that, can I! You’ll have three prised and a little suspicious, but nods Hughie: Oh, yes. Gladys. clear months to think it over. back. Jack signs his name slowly and with in­ Sean (weakly): I’ve already thought it over Hughie: Pretty hot, isn’t it? 'bout time we tense concentration. had some good weather. Jack: There y’are. Not much of an Hughie: Well think it over again! (Pause.) Sean looks up. autograph. I was a mollyduke, see. Left- Sean: If I promise to think it over, will you Jack: I reckon. handed. Had to learn everything all over promise not to heavy me? Hughie: Clouding over a bit now, though. again. Even had to re-learn my writing. Hughie grins mischievously. Jack: Yeah, probably see rain before we’re Hughie: Really? Hughie: Look at it this way: I’ll be twice as much older. Jack: Yep. Know what the MO said to bad if you don’t. (Sean sighs, capitulating. Pause. me? “ Harvey” , he said, “Harvey, you’re Hughie becomes businesslike.) Okay, Sean: Hughie . . . the best-adjusted man we’ve had in here.” come on, where’s the form? Have you got Hughie (to Jack): You’re er . . . Jack Lot of ’em can’t get used to it, can’t adapt, the form? Harvey, aren’t you? reckon their lives are over, y’know. Now Sean: I can’t fill it in here! Jack (brightening): That’s right. ’Ow me, I accepted it. An’ I didn’t only accept d’you know that? Hughie: Why not? it, I used it. Said to myself: “No bloody Hughie: Oh, my mother’s a great fan of Sean: Well, look, it’s filthy? paralysed arm’s gonna get the bettera Hughie: A few Nobby’s nuts won’t hurt it! yours. She used to have a photo of you. Jack Harvey, no way.” So y’know what I Sean: Aw b u t. . . ! Jack: Aw yeah! did? You know what I did? Hughie: All right, I’ll do it if you w ant. . . Hughie: Yeah. She and my Dad used to go Hughie: No. Sean: No, no, it’s okay. to all your shows. There was one, I Jack: Turned it into my living. I had a Sean sighs, begins filling in the form. remember, ages ago . . . somewhere in the Hughie watches him, a slow smile Haymarket, I think. You and Gordon comedy act going, so I make it parta the act, made it into a big joke. (Proudly, ex­ spreading across his face. Chuckles vic­ Dobbs were doing a show with Johnny cited, amused.) See, I’m standing there, toriously, tosses a peanut into his mouth. Dyer. She never stopped talking about it. giving ’em a few gags an’ I start talking Jack emerges, goes to the phone with great Now where was i t . . . ? about my arm, real sad, y’know. Then, determination and dials a number. Hughie, Jack: Musta been at the old Tiv! when their chins are scraping the ground, I chewing peanuts, watches him. Hughie: That’s right! That was it! say with this real straight face I say: Jack: Hallo? I wanna talk to Johnny Dyer Jack: Yeah, that was a show, all right! “ Yeah, I’d give my right arm to have it . . . I’ll wait on . . . Aw, just tell him an old Remember one night, some fella laughed back.” Gets ’em every time. Ah dear. See, mate . . . No, he’ll know. so much he had a heart attack! Had to an audience admires that. Takes a big man Hughie (in a low voice): Well, what d’you carry him out on a stretcher! Shouldn’t to do that. know! laugh, I s’pose . . . Ay, you’ll never credit Pause. Sean: Eh? it. I was just having a jaw with Johnny Hughie: He’s finally screwed up the Dyer on the phone! Hughie: Yeah. Well. You seem to manage courage. Hughie: No! all right. Sean returns to his writing. Jack fidgets. Jack: Pair dinkum. Course, he’s come a Jack: Ah, all parta the business. You gotta Hughie continues to observe Jack. long way since the days of the old Tiv. be professional. See, y’can’t take your self Jack (nervously jovial): Hello? Hello, Hughie: Yeah. on to a stage, know what I mean? However Johnny? Guess who this is? . . . Give you a Jack: Ah, paid the price, but. You know, you feel, whatever your problems, you got­ clue. Nineteen fifty-eight, Haymarket, Ar- the first routine he did — I mean, the first ta get out there an’ make ’em laugh. nie’s Bootlegger Jazz Men . . . Jack! Jack one that came up trumps for him — you Hughie: The show must go on. Harvey! Me and m’mate were in cabaret know whose idea that was? You know who Jack (missing the sarcasm): My oath!

42 THEATRE AUSTRALIA JUNE 1977 You're there to entertain and God help you attention to you, the next I’m supposed to the time about my work — polishing it up if you don’t. Because an audience is a thing be nagging you. I don’t know what to do. here, rounding it off there. That’s without mercy. They know no mercy . . . If you explained, if we talked it o u t. . . professionalism. You see, when you’re a Hughie (singing, to the tune o f “I f You Hughie: If we talked it out. Yes. Well, I’m comedian, it’s not a job, it’s your life. Knew Suzie’’): If you knew mercy like I afraid this isn’t one of Sam’s select little Never let up. Never let anything past you. know mercy . . . soirees — all sitting around dribbling over (Drinks.) What’s you line a business? Sean (hurriedly): Hughie, don’t you think our boring neuroses . . . Sean: Me? I’m a student. Jack (delighted, with a great guffaw): Ha! Sean: I didn’t think there was anything Jack: Ah yeah. What y’studying? Y’bastard! You’re pulling m’leg! boring about Rex threatening to kill Sean: Psychology mostly. Hughie and Jack (singing): himself. Jack: Always wanted to be a vet myself. If you knew mercy Hughie: Well, I did. Anyone who’s failed Lotta money in that. Course you need Like I know mercy, as many times as he has ought to have the strong nerves. Takes a lotta nerve to stick Ow, ow, ow — common decency to keep it to themselves. you hand up a cow’s bum, I reckon! What a girl! (Pause.) Jack starts drinking. Hughie and Jack break o ff into laughter. Sean: Oh God, you’re sick! Hughie: Takes even more to stick it up a Jack: That’s like the one — hear the one Hughie (suddenly savage): No Sean, you bull’s bum. about the vicar with three daughters, are, you and all the rest of them. Rex’s life Jack, caught mid-swallow, laughs, Faith, Hope and Charity? He ended up on is a total misery to him. He is old, boring, coughing. Sean rescues and wipes his an incest charge, ’cos Charity began at ugly, untalented and poor. He has nothing notes. home! and he knows it and he wants out. Now, Jack: Stupid bugger! Ah, sorry mate! Sean: Hughie, I think we’d better be going that being the case, I don’t see how your Sean (stiffly): It’s all right. No harm done. attempts at preventing him, all the mock- Jack: Na, I'm serious. Make a fortune if Jack: Ah, you’re not going, are y’? Have a heroics — midnight vigils, frisking him for you’re a vet. Course, in my day it was leave beer before you go; my shout. Valium, dragging him out of the gas-oven school at fourteen, out to work and like it. Hughie: Ah thanks Jack. when he’s weeping to be left there — I The university of hard knocks. Uni was the Sean: Sorry, b u t. . . can’t see how that’s anything more than a place for bludgers and poofs. Different Jack: Beauty! Won’t be a minute. I’ll get morbid sort of ego-trip, and if anyone these days. I mean, every Tom, Dick and old Jock out here. You’ll like old Jock. derives any comfort from it, it’s certainly Harry's a uni student these days. No Jack exits. Hughie watches him go then not Rex. offence a course. shakes his head in a mixture o f amazement Sean: And how long have you been Hughie: Oo, I dunno that’s it’s any and contempt. polishing up that little speech? different these days. I’d say there were still Hughie: Where do they come from! Pause. They stare at each other. Jack is bludgers and poofs, myself. Specially Sean: If you let this turn into another fight heard offstage. poofs. . . . Why did you have to give him all that Jack (off): Ah, come on! Well all right, Jack (warming to the subject): Well, it’s crap about your mother? when it’s finished then! Ah, y’don’t wanna what you’d expect! I mean, to look at some Hughie (getting out the autograph): Oh watch that, do y’! Getting into your second of ’em . . . ! (Conspiratortally.) Y’know, I yes, let’s see, what did he write? (Reads.) childhood mate, that’s what’s wrong with was in here last week, one of ’em walks in “To Gladys. Keep your sunny side up. you. (Appears at the doorway carrying a the fucking bar! Camp as a row of tents, Jack (The one-armed bandit) Harvey.” jug o f beer.) Silly old bugger wants to mind you! Straight up to the bar, bold as God, that’d go down well with the old girl. watch Sesame Street. (Over his shoulder.) brass, buys a bottle of wine! (With a high-pitched upper-class accent.) Change your mind and come in here! All Hughie: Go on! “ Hughie darling, just what is a sunny right, please yourself. (Going to the table, Jack: My fucking oath! If that’d happened side?” shaking his head.) That’s old Jock for you. ten years ago there’d a bin a riot. Sean: Hughie, he’s pathetic. Why don’t You know, you’d never credit it, looking at Hughie: What did happen? you leave him alone? him now, but he used to be one of the best Jack: Nothing! Fucking barmaid’s all over Hughie: Leave him alone? What have I singers in the business. Here. him like a fucking rash! Na, ten years ago done to him? Pretended my mother was his Jack puts the jug on the table, sits down. you knew where you were. Kept greatest fan? So what? Where’s the harm? Hughie and Sean each take a glass. themselves to themselves then. Now Just boosted his ego, that’s all. He’s hardly Sean: Thank you. y’can’t move for ’em. Even on the TV. likely to meet her, and if he did, she’s so Hughie: Ah, thanks. Ever seen that fella — what’sisname? vague she’d probably think she was his Jack: Yeah. Gone to bloody pieces. Used greatest fan. to sing all the old stuff, y’know — with Sean: Let’s go before he comes back, shall that wobbly sorta voice they all used to we? have. He'd sing you opera, the lot. Hughie: Why? Course, all that went outa fashion. Old Sean: Why . . . ! Give me one good reason Jock went out with it. Mind you, his voice for staying! was going a bit even then. Still, he was all Hughie: (a) He’s buying us a drink; (b) he right — wife had a bitta money. Knocked interests me. the stuffing out of him, but. Yeah. Get Sean: And (c) because you want to annoy enough beer into him and he’ll still sing for me. you — “ Banks an’ Braes a’ Bonnie Doon”, Hughie (singing to the tune o f “Cecilia’’): that sorta stuff — in a cracked old voice, Paranoia, you’re breaking my heart, Adam’s apple shaking away like a scraggy you’re shaking my confidence, baby . . . old chook, for all the world like a scraggy Sean: What have I done, Hughie? Why are old chook. Poor old bastard. Y’dunno you acting like this? Just tell me what I’ve whether to laugh or cry. done, will you? (Hughie groans.) I’ve got a Sean: And he just sits in there all day, does right to know! he? Hughie: Shut up, Sean, please. Jack: Yeah. But there again, it’s like I was Sean: Well, what’s the matter with you! telling . . . er . . . Hughie (exasperated): Aw, Hong Kong Hughie: Hughie. Hughie and Sean. dong! (Pause.) Spare me the under­ Jack: Yeah, it’s like I was telling Hughie a graduate psychology, will you? Just leave while back: he couldn’t adapt. He shoulda me alone — stop nagging me. changed with the times, changed his songs, Sean: One minute I’m not paying any but he couldn't. Now me, I’m thinking all Plays Aussie rules . . . Sean: At that party last week. You offered Jack: If you wanna talk, you talk here. Hughie (delighted): Not Sam Rogers . . . ! to in exchange for half a bottle of red. Sean:Jack . . . Jack: Yeah. Sam bloody Rogers. He's on Hughie: Christ, what else did I offer! Oh Jack: Stay where you are, son. If he’s got the TV so much you'd think he was the look, he can’t possibly keep me to that. anything to say, he can say it here. He’s a bloody Prime Minister! “What d’y’think Sean: You insisted you were sober. bit too fond a talking behind people’s about this, Mr Rogers? what d'you think Hughie: Well, I’m not going. Ken’s off his backs. about that, Mr Rogers . . . ?” 1 wouldn’t head — inner peace and strange beatific Pause. Gordon and Jack sit down. mind, but there's fucking kids watching grins. Christ! Gordon: It’s about work. that. . . ! Sean: You promised, Hughie. Jack (unhelpfully): Ah yeah. Hughie: Turns your stomach. Hughie: Stiff. Gordon: Can’t we talk in the bar? (Jack Jack: My oath! Playing Aussie rules — Jack reappears at the doorway, moves over smiles grimly at Gordon, enjoying his dis­ and they wonder why we lose the Olympic to the table. comfort. Gordon suppresses his irritation.) games! Here, know what Jock calls him? Jack: Na, he won’t budge. All right. I've been thinking over what Hughie: I dunno. Hughie: Still watching Sesame Street? happened last month and I reckon — well, Jack: Have a guess, go on, have a guess. Jack: Yeah, silly old bugger. Getting I reckon I mighta been a bit unfair on you. Hughie: I give up. senile. My oath, I hope I go before I get (Jack maintains a contemptuous smile.) I Jack: Poof in boots! like that. said some things — well I reckon we both Hughie and Jack roar with laughter. Hughie: Well, let's hope that won’t be for a said things . . . And after all these years, if Sean: Let's go, Hughie. long time yet. Cheers. we can’t . . . After twenty-eight years, Jack: Ah, y’not going yet! Jack: Yeah, I'll drink to that. (Drinks. To well. . . Hughie: No! (To Sean.) Sit down — you Hughie.) What do you do for a living? Pause, Jack ’s smile broadens. haven’t even finished your drink! Hughie: I don’t. I'm redundant. Jack (sweetly): How’s Myra, Gordon? Jack: Yeah, old Jock might be long in the Unemployed and unemployable. Gordon: All right, you’ve had your fun. tooth, but he’s not past it yet. (Getting up.) Jack: What’s your trade? Jack: Ah no, I haven’t started yet. I Tell y’what, I'll try and get him out here. Hughie: Well, I'm a whiz in Roman haven't even started. How is Myra — and (Goes to the doorway.) Ay Jock! Jock history, but there's not much call for us how’s good old Barney, and the brother-in- mate! (Pauses as if listening.) Come out these days. law and you mate Curly Mason — all the here, will y’! (Pauses again, then exits with Jack: Well, you can't stay on the dole all pals who were gonna help you out? How a gesture o f impatience. Offstage.) You your life. they going? don’t wanna watch that! Hughie: Oh, I’ll get a job. I’ll get Pause. Hughie bursts into laughter. something. (Flamboyantly.) I’ll go on the Gordon (quietly): Listen, Jack, Curly Hughie: Poof in boots! Oh God, I can’t stage, become a film-star! Australia’s might be giving me a spot on the show. wait to see Sam's face. (Pompously.) “ A answer to King Kong. Nothing fixed, nothing settled, but he’s series of programmes designed to increase (Hughie impersonates an angry King been dropping a few hints and I reckon it's public awareness of the movement for Kong. As Jack delivers the next lines, odds-on I’ll getta chance. Now if that homosexual rights, ‘Poof in Boots!’ Hughie as King Kong, suspiciously happens and they like me, it could mean a Superb! snatches up Sean's prospectus, sniffs it to TV contract with Curly next summer. If he Sean: That’s not funny; it’s bloody tragic. see if it is edible, impatiently tosses it over offers me something, if it comes off, I want Hughie (amused)'. Oh stop being so self- his shoulder. Sean picks it up.) you to be in on it. It’s up to you, but you'll righteous. What d’you expect? Sam goes Jack: You’re bloody mad! (The phone have to make up your mind ’cause I’ve got­ on TV and the next day blokes like Jack rings. Catching Jack's excitement, Hughie ta be ready to negotiate. drop dead of a guilty conscience. drops his act. All three pause for a mo­ Pause. Sean: No, I don't expect that. On the other ment. Jack rushes anxiously to the phone.) Jack: 1 thought I’d had my last chance. hand, I don’t expect to spend my spare Hallo? Jack Harvey speaking. Who? Gordon: I've said I’m sorry, Jack. time having that sort of bigotry rammed (Crestfallen.) Na, you got a pay-phone Jack: And you think that makes it quits, down my throat. Why d’you get into here, mate. Yeah. Ah no. No worries. do you! situations like this? What is it? Some sort (Hangs up. Broods. With forced good Gordon: I’m offering you a job! of escapism? humour.) Wrong number. Fella wanting to Jack: Well, I don't need your bloody job! Hughie (unruffled): You're the escapist. I hire a tip-truck! Dunno how he got that Gordon: Ah, come off it . . . ! (Pause.) face the facts. number. (Pause.) Word gets round, Jack. I'm sorry. Sean: You encouraged him! Sean (rising): Yes. Well, I think we’d Pause. Hughie (innocently): Who? Me? better be making a move . . . Jack (calmly): What y’sorry about? I said Sean: Very droll. Jack: Ah, don't go yet! I don't need your job. 1 don't. I'm working Hughie: Temper, temper! Unnoticed by Jack, Gordon enters left. on a new act. Brand new. Going for a Sean: If this turns into another fight . . . Hughie: We don’t have to go yet. younger audience. (Indicating Hughie.) Hughie (passifyingly): Relax! Look, he in­ Jack: Sit down! Have some more beer. Matterafact, this is my new partner, terests me, that's all. Hughie: I'll drink to that! Hughie. Hughie, Gordon. Sean: Oh, really? Why don’t you take his Sean: Thanks Jack, but. . . Hughie (deadpan): Pleased to meet you. photo? A choice specimen of local colour? Jack: Come on, finish it up. Pause. Gordon is unconvinced. He’s no fool, Hughie. He's going to realise Jack turns, notices Gordon and falls silent. Gordon (to Jack): Listen . . . Look, I know you're sending him up. Gordon: G'day Jack. how you feel. . . Hughie: Oh stop clucking. What harm am Jack (triumphantly): Well. Look what the Jack: Well, all I know is you can keep your I doing? I'm just passing the time of day cat’s brought in. job. And don’t only keep it, stick it. with him. Anyhow, you must admit, he’s Pause. Sean starts to go, indicating to Gordon: You're cutting off your nose to quite a character. Hughie that he should do the same.) spite your face, you know that. (Pause. Sean: If you like that sort of thing. Jack: Na, it’s all right, son. You sit down. Gordon rises.) If you change your mind Hughie: Well, at least he's got a bit of life. This won’t take a minute. (Sean sits, reluc­ you know where to reach me. Come on, what else have we got to do? tantly. To Gordon.) What brings you to Jack: I won’t change my mind. Sean: For a start, you're supposed to be this neck a the woods? Gordon stares suspiciously from Jack to helping Ken with those posters. Gordon: I wanted a word with you. I Hughie, exits left. Sean sighs. Hughie: What posters? thought I'd find you here. Hughie (amused): Well, thanks for the job. Sean (impatiently): Extra posters for the Jack (sarcastically): Pull up a chair! Make Jack (embarrassed, with forced disco. The gay dance on Saturday. You yourself at home. heartiness): Sorry about that. Couldn’t promised. Gordon: I . . . er . . . I wanted to talk to let that bugger get away with . . . you Hughie: Ah, you’re kidding. When? you in private. know.

44 THEATRE AUSTRALIA JUNE 1977 | Hughie: That's all right. Pleased to assist. Hughie {dropping into an armchair): Well, yourself at home! Liberty Hall, here — Jack: He walked out on me, see. After I don’t think I've missed my vocation. you can take any liberties you want! twenty-eight years. Just like that. Course, Jack {giggling): Ay, that cop's face . . . ! Jack collects his own whisky. I d been carrying the act for years, but . . , {Hughie and Jack roar with laughter.) Sean: It's all right. I'd rather stand. He was trynna take over, y’know. Turned Reckon he thought he was seeing things Jack (dropping into an armchair): Well, 'em all against me — all the agents, all the . . . {More laughter.) Aw dear . . . Whadya I’m glad someone around here can still clubs. Him and his mate Curly Mason. having, beer or scotch? stand, eh! Frightened of the competition, see. Na, Hughie {high-pitched, Scottish accent): A Hughie: Sit down, Sean; you’ve made your they got it all sewn up — got a protection wee scotch and water please, Dr Cameron. point. racket going. Curly's in it up to here. {Gruff Scottish voice.) Aye, Janet, coming Sean grudgingly moves to the table. That’s how he made his money. Talent . . . up. {High Scottish voice.) You’ll watch Jack: What point? What's the matter with Remember all those clubs that burnt your manners Dr Cameron. him? down? Bloody Curly Mason. Common Hughie dissolves into drunken giggles, Sean sits. knowledge. muttering. Sean looks on in disgust. Hughie: Well. You see, Sean doesn’t ap­ Hughie: I thought they’d caught the people Jack {to Sean): Sean? Whisky? prove of me becoming your partner. who did that. Sean: No thanks. I’ve had enough for Jack {annoyed): Aw yeah, what’s wrong Jack: Ah yeah! Said it was a pack of tonight. with me? Eyeties! Can y'imagine it, pack of Eyeties Jack: Ah come on! We haven’t started yet! Sean: It's not you; it's him. Pie’s just . . . organising that . . .! Na. Na, the big boys Sean: No, honestly . . . He can't sing and dance. He'll ruin your are all right. (Rubs his finger and thumb Jack {offended): All right, please yourself. act together.) No worries. Curly bloody {Pouring out two whiskies.) Sortin' out the Jack: Yeah. Well, I'll be the judge a that. Mason's all right, men from the boys now, eh Hughie! Sean: Jack, I'm not suggesting you don’t Pause. Hughie: My word! know your own business . . . Sean (attempting to conclude the Jack: Terrible thing not to be able to hold Jack: What are you suggesting? proceedings): Oh well, sounds as if you’re your liquor — for a man, that is. {Moving Hughie laughs. better off out of it. to doorway, holding a glass.) Course, it’s Hughie: Poor old Sean! Look, Sean, take Jack: Out of it! Who's out of it! No one’s an advantage in a woman, eh! Knew a girl some advice from an old friend. Just be gonna push out Jack Harvey, mate. They once — two glasses a sherry . . . ! Had a quiet. Come on, Jack, down to business; won't get me out. queue a mile long waiting to buy her a ignore him. What do I have to do? Hughie: Can't keep an old dog down, eh? drink. Ah dear! lack: Well, all depends on what sorta Jack: Too right. {Pause. Jack looks at Jack goes out through the doorway. audience we’re aiming for. See y’can’t treat Hughie.) I'm . . . er . . . I'm serious, you Sean {in a hoarse whisper): All right. How a bunch of teenagers like you would a know, about the job. much longer are you going to let this go bunch a fellas. Stands to reason — Hughie: What? on? different sense a humour. You gotta be Jack: The partnership, you and me. Hughie {sleepily drunk): What? adaptable. That’s professionalism. Now. Hughie: What! Sean: You know perfectly well. It’s not We can do any one of a numbera things. Jack {with a touch o f desperation): Why funny. Song-and-dance, character parts, imper­ not! You've got the talent! You’re a Hughie: Don’t you think so? 1 think it’s sonations. All depends what sorta audience natural! First thing 1 noticed about you! superb. I think we make a lovely couple. we're after. An' that depends on what you I'd show you the ropes! Sean: Do you honestly think he’s not going can do. Pause. Hughie stares at Jack with a mix­ to realise? Hughie: Me? ture o f amusement and surprise. His smile Hughie {quizzically): Realise what? Maybe Jack: All right, y'can't dance. When we broadens. I'm serious. “ Hughie and Jack’’ — Rome, getta bitta money, we'll get you lessons. Hughie: You’ve got yourself a deal. Paris, New York! That’s got you worried, What we gotta do is find out your real Jack gives a crow o f laughter and slaps hasn’t it? In any case, I think I could just talent. Find that out and base everything Hughie on the back. Sean watches in con­ about defend myself against a one-armed round it. Now. Ever done any acting? Can sternation Blackout. drunk. you act? Do different accents, that sorta Sean: Yes, you could. It doesn’t occur to thing? you to think of his feelings. Hughie: Aaah . . . Mr Nice Guy. Mr Nice SCENE4 Guy Sean Smug O’Sullivan. Grow up. If he was fifteen years younger he'd beat you up without a second thought. Sean: Yes, but he’s not, is he? Jack’s flat. Hughie: Give him a good night's sleep and While the set is being changed, Jack and he won't even remember we existed. Hughie are heard drunkenly laughing and Sean: You saw his face — of course he talking offstage. will. Hughie, he's pitiful. Jack {off): Na, na, na! Like this. One, two, Hughie: Save your pity for those who three and . . . deserve it. Scuffling sounds, as Jack demonstrates a Sean: The people who really need pity dance step. never deserve it. Hughie {off): I can’t do that; I’ll rupture Hughie gives three slow hand-claps. myself! How about this? Hughie: Next time you see Sam, tell him Scuffling sounds, laughter. I'm intrigued. Does he set aside time for Jack {off): Silly bugger! Come inside and inventing facile paradoxes, or do they just I'll show you properly. come to him, in inspired moments on the Hughie {off): Just a minute, I’ve got it. parallel bars? Right. One, two, three and . . . Pause. Jack enters, carrying the glass o f Scuffling sounds, milk-bottles toppling. whisky and water. Lights. Set on the table are the remains o f Jack: Here y'are, get this down y\ Tried to Jack’s last meal: an empty can o f beer. get y' some ice but the freezer’s jammed. Jack and Hughie enter, falling about with (Gives Hughie the glass.) Still, it's not the drunken laughter. Sean follows sober and ice you’re worried about, eh! {To Sean.) annoyed. Come on, mate! Take a seat, make Hughie: Ah well, now you're talking. Ac­ out better than m’last partner. Gordon long. But y’can’t live like that — y’gotta ting's one thing I really can do. bloody Dobbs. [Pause.) Ah, he was all survive, y’gotta fight — or else you’re Jack: Right, we’re in business. We’ll in­ right. Wife ruined him. Was all right till he finished. Through. Kaput. [Pause.) Now vent a character for you and build on that. met her. Whatever y'do, don’t get married. I’ll help a mate out. Do m’darndest for a Hughie: What sort of character? Seen it happen too many times. Decent mate. Like when young Hughie turned up. Jack: Anything you like. Vicar’s a good young bloke, gets married; that’s it. That’s Young fella, decent bloke, just startin' in one, so’s a poof — or a drunk. You can do the end of him. the business. What harm’s it do me giving a lot with a drunk. Hughie: You married? him a start? Na, if y’can’t help your mates Hughie: I bet. What'll you do? Will you Jack: Me! You’re kidding! Na, never . . . if an old-timer can’t show the newies take a character? needed to, mate, no worries. [Pause.) the ropes. [Pause.) Course, in my time Jack: Could do. Depends what we can Came near it a few times. Na, I was lucky. . . . ! No one ever helped this fella. No one think up. [Taps his left arm and winks.) This fella. ever gave Jack Harvey something for Hughie (assuming a thoughtful frown): [Pause. Chuckles.) Ay, ay, gonna tell nothing. [Pause. Bitterly.) All right after Well now, let’s see. How about . . . I'm a y'something. Tell y’a secret, tell y’ a secret. the war. Aw yeah, marvellous. You were a poof and you’re a drunk? Hughie: What? hero then, defended your country. Jack (unenthusiastically): W ell. . . Jack (indicating his left arm, giggling): People’d come up to y’ in the street, all the Hughie: Well, how about two poofs? Lot He's got a name. Guess what his name is, girls, pat you on the back. “How d'it of easy jokes there. go on. happen, tell us how it happened?” “Aw, Jack: Now you’re talking! I’ve got Hughie: Dunno. took some odds and ends in m’shoulder material for that. Jack: Jack! His name’s Jack! Every mor­ and chest.” [Pause. Meditatively.) Sean gets up. ning I say to him — he’s lying there — I Twenty-three years old. They nearly am­ Sean (tersely): I'm going. say: “Get up Jack, you old bastard’’ putated. [Pause.) Not so obvious like that. Hughie (innocently): Sean! Whatever’s the [Giggles.) “Get up, you bastard; I know Don’t notice it so much like this. [Pause.) matter? you're faking.” [Giggles.) Ah dear. Yeah, Na, nobody helped Jack Harvey. [Pause.) Sean looks angrily at Hughie for a mo­ old Jack knew how to deal with the What happens? He walks out. After ment, then goes out through the doorway. women, my oath. Old Jack knew how to twenty-eight years. Twenty-eight years. Hughie stares after him. Pause. turn ’em off, didn't y’mate? He gave ’em [Pause.) Ah, good riddance. Good bloody Jack (conversationally): Well . . . ! He’s the cold shoulder all right! He gave ’em riddance. [To the photograph.) You don't got a flea in his ear! Moody bastard. Still the cold shoulder. get me down, mate. [Brightening.) Push (Giggling.), when a man's gotta go, a Jack continues giggling. Hughie, who has me down and I bob right up again. [Grins.) man’s gotta go, eh? Eh? (Getting up.) been staring seriously at Jack, is suddenly Got myself a new act, new partner, Yeah Come on, drink up, we got a long way to struck by the black comedy o f the situa­ — you know what you can do with your go yet! 'nother one? tion. Begins to laugh. bloody charity, mate! Hughie [grimly, holding out his glass): Jack [delighted): You reckon I’m mad, Grins, his mind racing. Rushes crowing to Why not? don’t you? You reckon I gotta screw loose, the telephone and dials a number, assum­ Jack collects the whisky bottle from the y'bugger! ing a tragic tone when the call is answered. table. Hughie, eyes closed, shaking with Hallo? Myra? This is Jack. Can I have a Jack: See, the trouble about character acts laughter, waves his hand in denial. Jack word with Gordon please? . . . Yes, I know is that they've all been done before. You regards Hughie with drunken affection. what the time is. It’s . . . it’s very impor­ gotta bring in a new gimmick, give ’em Jack: You’re a good bloke — you know tant . . . Could you get him out of bed? I something new to laugh at — or they’ll that? Wouldn't give me Aunt Fanny’s cat wouldn't do this normally, Myra, but . . . crucify y’. (Pours out drinks.) Crucify y’ at for most of them these days, b u t. . . you’re [Covers the mouthpiece and cackles the drop of a hat. So. What we gotta do is a good fella. Good sense a humour. That’s silently.) Yes. Thanks, Myra. [He waits, get a gimmick. A gimmick. I'm all right, what I like in a fella. Most a them, they got his eyes flashing around with delight and got a ready-made gimmick right here. (In­ these . . . ratty faces. You noticed that? anticipation. His tone to Gordon is as dicating his left arm.) You’re the one we Ever since the war. Wouldn't trust ’em as tragic as before.) Gordon? Look mate, I’m gotta worry about. [Thinks for a moment. far I could throw ’em. That’s why, when I . . . I’m sorry to get you up at this time. Enthusiastically.) Tell y’ what, how about saw you, I thought: “Now there’s a good It’s just . . . Jees you’re a pal, mate. you pretending your arm’s crook — so we bloke. There’s a genuine fella.” You got a [Cackles silently.) . . . Yeah, well, I just both come on like this. [Leaps to his feet, good face. A good, open face, good smile. . . . [Humbly.) All I wanted to say was . . . executes a mincing walk, swinging his An Aussie face. None a this greasy, Eyetie He blows a loud raspberry into the paralysed arm to grotesque effect. look. A beaut, young Aussie bloke. receiver, hangs up and collapses into Collapses, laughing, into his chair.) Aw, Pause. Hughie gets up. beaut two of us coming on . . . ! Whadya Hughie: I’ve gotta go. I’ve gotta get out of reckon! [Pause.) this place. Hughie: Tell you what. You work it out Jack [still laughing): Come over tomorrow and I’ll do whatever you say. night. [Rising.) I’ll have something ready Jack: Aw, come on! What’s the matter! by tomorrow night. Hughie (winningly): Jack, I don’t know Hughie staggers out, motioning Jack to anything about these things. You're the stay where he is. Jack drops laughing into professional; you decide. his chair. Sighs, giggles, looks at the Jack: You’re not bullshitting are y’, about photograph o f Gordon, giggles. joining the act? ’Cause if you are . . . Jack: Well up you, Gordon! Up you, Gor­ Hughie: I’m not! I'm not! don bloody henpecked bloody Dobbs! [Sits Jack: Yeah. Well, you’d better not be. grinning drunkenly.) Na. No way. [Sits Lotta young fellas’d give their eye-teeth grinning.) When I decide to do something, for the chance you're gettin', mate. There’s I do it. Look, when you’re bin in the not many old-timers who’d take on a business as long as I have . .•. ! Na. youngster, specially with no experience. Pause. His tone and manner gradually [Pause.) Well, here’s to the act! change as he begins to fantasise a conver­ Hughie: To the act! sation, focusing on a imaginary listener. Pause. Jack's drunkenness gradually When I first started in this game, I was a grows more apparent. He looks at the mug. Thought everyone was m’mate. photograph o f himself and Gordon. Everyone was fair dinkum. Everyone was Jack [morosely): Yeah. Well. Hope y’turn as honest as . . . honest as the day was

46 THEATRE AUSTRALIA JUNE 1977 Theatre / Queensland

By contrast, the QTC Merchant was without cumbersome set changes. Basical­ highly intelligible even in its detail. The ly, James Ridewood’s idea of some noble reason for my one dropping eye was that it yet elegant archways cross-slatted with remained largely unaffecting. Only oc­ timber which could be front-lit to suggest casionally did Alan Edwards’s direction solidarity in Venice, and back-lit for a strike that spark which ignites the creative more ethereal Belmont was good. In prac­ energies of a cast and transforms the or­ tice, the atmospheric difference between dinary into the exceptional. the two situations was insufficient, and Such was the case in the Bassanio casket Venice in particular suffered from being scene. Here, sensing that Portia’s racing altogether too clean-cut a place. “If this M erchant did emotions could not be contained in the es­ The production was set in the Regency tablished, and by now habitual ceremony, period, and if there is any dramatic or not reap big dividends Edwards allowed free rein to the actress, social significance in this, it escapes the Robyn Gurney, and she responded with flimsy net of my historical knowledge. It in excitement, what was for me the best scene of the play, certainly provides stylish costumes, and culminating in the tenderly generous Ridewood made the most of it in some it was for want of speech: “You see me, Lord Bassanio, really excellent work. In this he was well where I stand.” The response from Tim served by the wardrobe department, whose risk and enterprise” Hughes as Bassanio was eager and sen­ cutting and making caught the line and THE MERCHANT sitive. Indeed, in company, these two spirit of the period admirably. OF VENICE______generated an excitement absent elsewhere. In the end, then, the achievement was Tim Hughes gave the best performance of one of craft not art. A lot of care, effort DON BATCHELOR the evening — nicely ardent. It was in­ and money were invested in this Merchant. teresting to see that, beguiled by the SGIO If it did not reap the big dividends in terms The Merchant o f Venice by William Theatre, he employed a dynamic range of excitement, it was for want of risk and Shakespeare. Queensland Theatre Company at that meant we lost significant words too enterprise. the SGIO Theatre, Brisbane. Opened 13 April often. 1977. Director, Alan Edwards; designer, James Don Crosby simply did not command Ridewood; music composed by Colin Brumby; the part of Shylock. At first appearance “Keep it moving, lighting, John Watson; stage manager, Ric the portrayal suggested a man world- Mackay-Scollay. weary in his bitterness, his hatred for An­ play it broad and Antonio, David Clendinning; Salerio, Bruce tonio being coldly malevolent rather than Parr; Solanio, Tom Burlinson; Bassanio, Tim scorching. It flared promisingly after belt it is the required Hughes; Lorenzo, Ron Layne; Gratiano, Douglas Hedge; Portia, Robyn Gurney; Nerissa, Jessica stole off with Lorenzo (and the Kate Wilson; Stephano, Old Gobbo, Warren loot), but then it fizzed. Hampered by a style. . .That’s Meacham; Shylock, Don Crosby; Prince of sort of incantatory delivery, the perfor­ Morocco, Tubal, Russell Newman; Lancelot mance approached neither the heights of what this cast did” Gobbo, Phil Moye; Leonardo, Prince of understandable rage nor the depths of Aragon, Peter Kowitz; Jessica, Louise Rush; reprehensive malice. SOMETHING’S AFOOT Portia’s Messenger, Bradley Campbell; An­ Counterpointed against this low-key tonio’s Messenger, Johnny Johnstone; adversary, David Clendinning’s Antonio DON BATCHELOR Balthazar, Bernie Lewis; Duke of Venice, Reg came across as melodramatic. A further Cameron; Attendants, Gavin Fraser and Rory imbalance of interpretation in this role was Vanery. caused by the director’s allowing Antonio Something’s Afoot, based on Agatha Christie’s I came away from the QTC production of to become peripheral to the closing action. Ten Little Niggers, devised by James He is after all the core of the play. He is McDonald, David Voss, Robert Gerlach and Ed The Merchant o f Venice as ’twere “with Linderman. Twelfth Night Theatre, Brisbane. one auspicious and one dropping eye”, or the Mercnant of Venice. He is the one Opened 14 April 1977. Director, Joan Whalley; perhaps the auspicious part of my anatomy who actually does “give and hazard all he designer, Jennifer Carseldine; musical director, was an ear. For I would rate highly, with hath”; and though he has only seven lines Kingsley Boorer. Clive, Joe James; Lettie, Rosalind Muir-Smith; Flint, Wilson Irving; one or two exceptions, the general fluency in the final Belmont scene, five of them Hope Langdon, Liz Burch; Dr Grayburn, Joe and clear sense of the speech on this occa­ represent his ultimate giving of himself for Sorbello; Nigel Rancour, Paul Charlton; Lady sion. It is no mean compliment to say that his beloved friend Bassanio — “ I dare be Manley-Prowe, Liz Harris; Col. Gillweather, at the level of craft, the vocal work was a bound again, my soul upon the forfeit.” In Jeremy Muir-Smith; Miss Tweed, Sandra-Lee pleasure to hear. this play about self-giving, is there a Patterson; Geoffrey, Andrew Gibson. Some days before, the Camerata character more central? The fortunes of theatre companies are Theatre’s version of The Winter’s Tale had The Merchant presents some cyclic. The best of them get in a bind from been poor in this department. David Git- stimulating problems to a designer. The time to time. Often all that’s needed to get tins, the director had managed to iron out action switches back and forth between things moving again is an effective excesses of poeticising, but, for all the Venice and Belmont, and in this structure theatrical laxative, so to speak, and that’s coaching, sense phrases were mangled, and a sort of spiritual counterpoint is intended. exactly what Joan Whalley administered in one or two people (notably Wendy Nugent The design challenge is to capture the Twelfth Night’s production of Some­ as Hermione) were largely incomprehensi­ starkly contrasting worldliness, turmoil, thing’s Afoot. Whatever it achieves for the ble. This was the more astounding since and decay of Venice and the idyllic, serene, theatre, it did me a power of good. the staging was delightfully intimate. timelessness of Belmont, but to do so Laxatives are less than inspiring things

THEATRE AUSTRALIA JUNE 1977 47 to analyse, and the ingredients of this one tradiction is married to the drama of per­ do not represent a break-through in “La Boite’s season sonal psychology. In The Boat a man sits theatrical science. Take one of those in a fishing dinghy in his living-room; in preposterous Agatha Christie situations produced one of the Nocturne an elderly woman monologues where a bunch of upper-class (English) to a man playing a ‘cello on a mountain­ misfits, mysteriously gathered at some best studies of side; in The Kite a traditional clown flying rural baronial retreat, are suddenly and a kite encounters a girl contemplating conveniently cut off from the outside world Australian women suicide. by the elements, and one by one are done The Boat has been widely admired, but in by an unknown murderer. Scatter their I’ve seen — a major to me its various elements failed to mesh. brains a little more than usual, spoof if all The fisherman is the father of the family, up a lot, add a few bouncy patter songs, play, in fact” driven by dismissal from his job into his and stir. One of Granny's recipes that can't own private fantasy world. His wife and fail. The effect is immediate, not lasting, 3 QUEENSLAND PLAYS son indulge him out of love, but into the though this one is likely to persist in the house barges the boy’s girlfriend: an amateur repertoire for some time. RICHARD FOTHERINGHAM abrasive student unconvincing in her Keep it moving, play it broad, and belt it sudden domination of the scene and her is the required acting style. Certainly that's determination to make the father face what this cast did, with the additional oc­ In Beauty it is Finished by George I.anden reality. (“ I’ve studied psychology.”) The casional bit of inventiveness, especially Dann. Brisbane Repertory Theatre at La Boite boy and girl closely resemble Hughie and during the feature number which nearly Theatre, Brisbane. Opened 25 March 1977. Jan from The One Day o f the Year, and Director, Rick Billinghurst; stage manager, everyone gets. The backbone of the piece is Peter Baillie; lighting, Kristin Reuter; sound, the action seemed a lightweight reworking Miss Tweed (played by Sandra-Lee Patter­ Ian Thompson. of the character conflict of that play. But son). Like a sort of musical Miss Marples, David Edmonds, Gil Perrin; Mary Edmonds, the myth of Anzac is an important part of Ms Patterson possessed the role with dotty June Lynch; Joyce, Shirley Lambert; Marion, our culture; the harmless delusions of an enthusiasm. She grabbed every song with Di Eden; Tom Stepple, Joe Woodward; Annie, old man are not. The focus of the play relish and gave it crisp, clear, comic treat­ Olive Murphy. moves squarely therefore on to the effects ment. The other outstanding performance, The Kite: The Boat: Nocturne by Jill Shearer. of the conflict on the son, and the part was and the highlight of the evening, was Ros Brisbane Repertory theatre at La Boite too underwritten and defeatist to sustain Muir-Smith as the demented maid Lettie. Theatre, Brisbane. Opened 30 March, 1977. my interest. In the One Day an eventual Director, Fred Wessely; assistant director, When the characters were falling like flies, David Jessop; stage manager, Jacki Teuma; compromise is reached; in The Boat the I kept praying she would be spared a little lighting, Gordon Saunders. The Kite. Girl, girl is repulsed and the play ends with the longer so as not to be robbed of a superbly Evelyn Ferguson; Man, Peter Murphy. The son sitting in the dinghy with his father. timed, beautifully controlled performance. Boat. Sel, Les Evans; Mary, Beverley Wood; The Kile is more modest in its aims. The She played it on a knife-edge between pea­ Brian, Peter Murphy; Jane, Evelyn Ferguson. clown tries to re-awaken in the girl the sant hysteria and lower-class aggressive­ Nocturne. Cellist, Godfrey Wagner; Woman, desire to live, and their better thought-out ness born of the will to survive. The effect Beverley Wood. and more deeply felt attitudes made the was hilarious. Treadmill by Lorna Bol. Brisbane Repertory cut-and-thrust of the dialogue a real Musically the show is bright and sub­ Theatre at La Boite Theatre. Brisbane. Opened pleasure. W ithin the limitations of the one- 1 April 1977. Director, Jennifer Blocksidge; stantial as a bubble, but quite cunningly act play, it's more successful, but Jill devised for all that, so that no strenuous assistant director, Bronwen Doherty; stage manager, Chrvs Stevenson; lighting, Ian Baker; Shearer's prodigious output — seven full- vocal demands are made on the average sound. Bill Muntz. length plays in six years — made me actor/singer. This team sounded pretty Ruby, Nicole Lecompte; Ma, Kaye Stevenson; wonder if 1 d only sampled the icing on her good. They were well supported by piano Dot, Alison Fraser. creative cake. and drums. The musical director (Kingsley Which brings me to Treadmill, about Boorer) concentrated on accompanying La Boite's season of three Queensland which (in the immortal words of Jeff the performers rather than indulging in plays produced one historical curiosity, a Thompson) I'm rapt. It's Lorna Bol’s first scene-stealing bravura. The result was a bit bracket of interesting short works and one play and I’m not sure if the script's a great tame, but always secure. Perhaps both play which I'll venture to describe as one of one, but the combination of script, careful director and musicians might have con­ the best studies of Australian women I've workshopping, and a beautiful production trived an overture with fire, but this would seen on our stages — a major play, in fact. by Jennifer Blocksidge made for a memor­ probably have required a piano with more George Dann’s In Beauty it is Finished able performance indeed. Re-writing cut tonal brilliance. (written in 1931) seemed to me stilted and out an unnecessary male policeman and Jennifer Carseldine’s design succeeded awkward, no doubt reflecting the fact that left five women (writer, director, and the to a degree as a dusty shamateur box-set, the subject matter — the sexual involve­ three players) presenting a simple story of but for a musical those vast expanses of ment of an ex-prostitute with a part- a girl's life in a small coastal town in unmitigated brown walls and black floor aboriginal man — was an awkward one to northern New South Wales with such were somewhat oppressive. There needed present in 1931. But the furore surroun­ veracity and care for detail that the to be more humour in the design, more of ding the first production should not blind character of the girl became one of the the spirit of a send-up. us to the fact that Dann wrote only six most detailed and complete statements I Props had a field day, and Jennifer years before Xavier Herbert's Capricor- can recall of what it was like to be a Muir-Smith deserves an accolade. The nia, which is a world away in attitude and woman in Australia in the years before devilish ingenuity of the killer in the play is in the scope of its treatment of similar prosperity and the pill. such that the props become a feature. themes. What society allows as public The story is of a mother and her While at the preview the timing of one or utterance has lagged far behind what it daughter, with the daughter’s friend acting two effects was astray, the mechanics were accepts on paper or celluloid (which as messenger and confidante. Economic always efficient and the results amusing. doesn't absolve the theatre from chicken­ survival has turned the mother into an There is no denying that towards the end heartedness in this regard); and nearly half obsessive automaton — sweeping floors, my enthusiasm was waning fast, partly a century of social change has turned con­ collecting eggs, looking after the flats she because the show winds down rather badly troversy into an occasional curiosity. lets to tourists in the holidays. Even when with a cumbersome device involving a Jill Shearer’s three short plays were the the death of her son is reported to her at gramophone. Whatever the reason, it was closest to contemporary comment. Two the end of the first scene, she doesn’t crack: a timely reminder that an overdose of lax­ (The Boat and The Kite) recently won the it’s no more than she expects from life. atives can have an effect beyond the Utah-Cairns Centenary Competition. In It’s the daughter’s fight against this bounds of desirability. each of the plays an absurdist visual con­ drudgery and dulling of the emotions that

48 THEATRE AUSTRALIA JUNE 1977 holds our interest throughout. What’s par­ hurst. He argued that companies receiving ticularly impressive is that this is achieved large public subsidies had a responsibility without the sentimental involvement Queensland to put those funds at risk; to operate on (“We’re all the same underneath”) of, say, other than commercial principles. And the film Caddie. Treadmill is coldly objec­ Playwrights’ that one major use of risk funds should be tive, and the girl Ruby uses every weapon to present the work of new — particularly youth and cunning have given her. Conference local — writers. The SATC and QTC When the play opens, Ruby is living at counter is that in Australia not enough home being badgered by her mother to people want theatre at all, and ultimate assist in the chores and is two months preg­ success depends on building audiences for nant by a young married man who hurried­ at least 10 years by giving them only the ly leaves town. Her brother gets into a tried and proven. fight over the rumours and later dies. The QTC has just made a tentative step Three weeks later, Ruby makes her first towards helping local writers by offering a move: a registry office wedding to a rather $1000 prize for the best script by a Queens­ simple-minded admirer. It’s a calculated land resident submitted before September. step which solves the waistline problem The company I work with considers that and gets her out of her mother’s house. spending $5000 a year employing me is A year later, she’s back in the house justified within a total subsidy figure of with a baby daughter and the widow’s pen­ about $40,000; they do so for exactly the sion. She’s sorry for her husband’s death reasons I outlined in my discussion of (in a tractor accident), but that doesn’t Treadmill — the importance of writer, stop her enjoying to the full the advantages Malcolm Fraser’s favourite world I’m told director, and actors working together as a a year’s marriage have given her: the abili­ is responsibility, and everyone’s jumping creative team. For the QTC to offer $1000 ty to stand up to her mother and turn her on the haycart, proving they’re responsible out of a total subsidy of $500,000 (?; I’m into a useful baby-sitter, and a knowledge by defining responsibility to mean what guessing), and to do so in a way which fails of contraception which is clearly going to they’re doing already. Cynical as I am, I to break down the amateur isolation of come in handy when the wealthy young think we ought to be able to use language writers from the theatrical profession and men staying in the flats invite her and her and logic more profitably than that. from the production process seems to me girlfriend out on all-night boating ex­ Of the groups and group represen­ to be a token gesture only. peditions. But then she blows it, using a tatives present at La Boite, Brisbane, for Everywhere, it seems, I hear the quiet, taunt (the rumours about her own paren­ the Queensland Playwrights’ Conference tired voices of those I think are making tage) which her mother can’t take. The on 2 and 3 April, two at least had a valid magnificent contributions to Australian mother suicides, and suddenly Ruby’s left claim to be making a responsible effort to theatre. And then I hear the confident with the baby, the flats to look after, the help Queensland writers. Rick Billinghurst voices of our state directors proclaiming chooks to feed, the eggs to collect, and the (artistic director of La Boite) had provided public responsibility while they boldly drag chances of escape considerably diminished. the original suggestion for a conference, our incipient theatrical renaissance back Intensive discussion, improvisation, and the venue, and all three of the Queensland into the tradition of English provincial rep, re-writing have honed the first two scenes plays in performance on the Sunday after­ fobbing off cultural nationalists and to a very high standard of craftsmanship. noon and evening. Playlab, who’d organis­ those who want a major reassessment of It’s a perfect example of why it’s essential ed the conference, had arranged for priorities with the plea: Give us time, give for our playwrights to have access to good Katherine Brisbane to talk on “ Problems us time. directors and actors working towards full of Publishing New Plays” ; Alan Edwards May I offer, then, a parable? performance. Rehearsed readings such as (artistic director of the QTC) to talk on It is 1981. Hitler, having overrun West those undertaken by the local writers’ “ Problems of Performing New Plays” ; Irian and East Timor, covets Papua New group Playlab are only a pale substitute for and a number of workshops and demon­ Guinea. Historians will later point to Ger­ the intensive and goal-oriented work that stration classes on playlabbing scripts, man army documents dating back to the took place during this production. The writing for young people, etc. West Irian takeover which openly potentially melodramatic first scene now There was a hell of a lot more to the proclaim Germany’s ambitions in this builds credibly and flawlessly to its climax, weekend than a discussion of respon­ regard. CIA-induced political instability and the daughter’s departure — a scene sibility to writers, but that’s what has stuck and a series of coups in Port Moresby give which must read very flatly on paper — in my mind as the crucial issue raised. It Hitler the excuse to move in. Australia’s developed its spine and progression encapsulates the feeling which I hear ex­ Prime Minister flies to Berlin and through the detailed rehearsal of action: pressed widely at present, and which is returns waving a uranium sales agreement, the mother replacing emotion with dogged summarised thus: Playlab’s doing as much saying, “ Papua was in Germany’s sphere house-cleaning, the daughter countering as it can, La Boite can afford to take on of influence. Peace in our time!” When with steady purposeful packing as she something as uncommercial as three un­ Hitler takes Christmas Island, however, prepares to leave, and the dialogue shaped tried local plays only when it gets special Australia declares war, but is quickly to flow smoothly oveF this bass rhythm. subsidy to do so (a Utah Foundation grant overrun. Australian nationalist guerrillas, More work still needs to be done on the in the present case). Where do we go from huddling in their humpies, console second half of the play, particularly the en­ here? themselves. “ Many nations” , they say, ding, where the daughter, caught in the Both Alan Edwards in his speech to the “have had their territories overrun. But same economic trap that crippled her conference and Colin George (the new ar­ history shows that it is a people’s culture mother, starts echoing her phrases and tistic director of the SATC) in Peter which survives and unites them in times of actions. Ruby may be down, and in the end Ward's article on him in the Australian oppression. Let us appoint a revolutionary. out, but we’ve come to believe too strongly recently, attempted to define the respon­ Minister of Culture.” By secret campfires in her quick-wittedness to accept a sudden sibility of a state theatre company to the the chosen candidate’s policy speech is total capitulation to fate. community. Their attitudes were virtually heard. “ We need time” , says the Minister, It’s a fine play — a little dated perhaps identical: responsibility for public moneys “before we can have a truly Australian in its debt to the kind of script written 30 means building subscription audiences by a culture. I suggest we begin therefore, with years ago by Tennessee Williams, a little steady programme of classics — and ad­ Charley’s Aunt." Rough and unkempt restricted in its small cast and dependence ding “new things” later. Writers were Australians rise to their feet in spon­ on an intimate playing-space. But its quiet scarcely mentioned by either. taneous acclaim. ‘Thank God’, they cry as honest voice and thorough craftmanship This concept was challenged at the con­ one, ‘for an artist with a sense of respon­ were pleasure indeed. ference, most notably by Rick Billing­ sibility.’ § ■

THEATRE AUSTRALIA JUNE 1977 49 Theatre/ACT

by most managements and characters had body. She herself, however, was not free . . a case of not to be of the warts-and-all variety to be con­ enough with her body. Too many times on sidered produceable. Any poetic content or the mattress she pulled her dress down self­ being able to see true beauty only squeezed through while consciously. Chidley’s discovery of the the Board of Governors wasn’t looking. automatic Hoover method of penetration the church for all the The love triangle sub-plot has been with demands a scene on the bed at the end of Alma’s plays since The Sweatproof Boy Act One where both actors use their bodies scaffolding that (called, by the way, by a certain Dutch very skilfully. Chidley’s message is one of dramaturge The Sweatenpvooî Boy!). It expansive mind over expanding matter. It hid i t . . surfaces again in Chidley, but this time is serious — that men go around with erec­ merely as banal contrast to Chidley-the- tions in their pants and that this constitutes man’s flights of prophecy. It makes a great the threat of violence. By refusing to have deal of sense dramatically and highlights a an erection, Chidley was denouncing CHIDLEY wonderful bitter pettiness from which violence against women and in this he was ROGER PULVERS Chidley-the-man must escape. no less profound or earnest than Gandhi. Unfortunately, Joyce MacFarlane’s But the scene in bed managed to de- production of the play for Rep never did emphasise Chidley’s revelation and show it escape from the domestic sub-plot. The up as a crazy comic interlude in a kind of Chidley by Alma de Groen. Canberra Repertory result of the production is melodrama of bedroom soap-opera. Society, Theatre Three, Canberra. Opened the homespun, home-cooked, and awfully Chidley was written specifically for the March 31. Director, Joyce MacFarlane; set homely variety. The character of Walt, for small space at the old Nimrod. It didn’t designer, Ross McGregor; lighting designer, instance, was a problem here. Bernard fare well on Rep’s wide stage for the same Sandie Wright; costumes, John Stead; stage McLindon played the part, perhaps reasons that intimate plays don’t work in manager, Pat Davis. because he wasn’t stopped by the director, the Drama Theatre of the Opera House. William James Chidley, Hugh Buckham; Ada in the style of a Woolloomooloo High This play requires a focused centre where Turnbull, Bernadette Vincent; Walt Turnbull, School production of Pinter’s The all or most of the drama should take place. Bernard McLindon; The Judge, John Caretaker. This added frightfully to a By spreading it out to fill a long stage it Bartholomaeus; Inspector Branston, Ian Hunter; Dr Wilson, Colin Gilbert; Maiden and cliche. loses some of its power. The last scene, in Rutherford, Ian Telford. In Chidley, a play partly about habits of particular, was done to one side, in the dress, the costumes are very important. back, behind glass. This muffled Chidley’s Chidley’s belief was that oppressive beautiful final monologue and subtracted Alma de Groen’s work — caustic, witty, English-style clothing was not fit for our something from the play’s message. poetically fanciful, cutting — has had two climate. This production didn't spend Before she re-wrote it, Alma de Groen currents rushing inside it; the social enough thought on costuming. The inspec­ had Chidley immolating himself in the cen­ message, the idea in the play, overriding a tor wore a suit that didn’t fit the style of tre as the climax. The new ending, written basically naturalistic sub-plot. The only the rest. And Chidley himself looked for the Hoopla production, is better. But in play that didn’t follow this pattern was The hideous in the robes and nightshirts they the Rep production it was sidetracked and After-Life o f Arthur Cravan, up to Going gave him rather than looking liberated and barely came off. Home, her most profound but mis­ comfortable as he must have. Alma de Groen's plays combine several understood drama. Bernadette Vincent’s performance as theatrical elements and they combine them Her plays share this with Dorothy Ada was the best thing about the produc­ with skill, thought, and dramatic integra­ Hewett’s, although Dorothy Hewett’s tion. She was the “good sort” that the play tion. But they are not easy to produce, es­ poetic line is hardly matched by anybody. calls for, spunky, compassionate of pecially if the domestic-character structure Both playwrights, too, shared the neglect Chidley’s philosophy if ignorant of its overpowers the truth in them. This produc­ of the early seventies of our theatre where challenge, a woman caught between two tion was a case of not being able to see the blood-sweat-tears realism was demanded husbands, one of the mind and one of the church for all the scaffolding that hid it. ■

50 THEATRE AUSTRALIA JUNE 1977 Theatre/S A

ruinous love affair, lie behind her. But they Ranevsky is really one of a great line of “There are . .. are still matters of scandal and concern as flighty heroes and heroines who have been she returns home to forget, having for­ presented by 19th and 20th century writers valuable insights into gotten that she is as ruined in Russia as she and film-makers to illustrate social decay, was in France. moral insecurity and bad faith. the play . . . and yet Only the son of a serf tries to help, and The Cherry Orchard is thus a tragi­ argues for the subdivision of the great es­ comedy of immense and subtle complexity, it is not satisfying” tate so that it can be sold as dacha sites on and has always taxed its directors and which members of the new urban middle- casts. Stanislavsky’s first production for class can take their holidays. the Moscow Arts Theatre set the pattern of Madame Ranevsky responds to the problem by playing it with great som­ THE CHERRY ORCHARD Lopakhin as you would expect a lady in breness. To my mind, this is a perfectly her position to respond: the notion is PETER WARD justifiable reading, but is offended Chek­ beneath contempt, is crassly mercenary, hov, who complained that it should not to say impertinent coming from the have been played more comic. The South son of a man the family once owned! If Australian Theatre Company’s production only he would behave properly and marry has taken this cue and developed it as far The Cherry Orchard by Anton Chekhov. South her daughter Varya; that would solve as I think it could go without dangerously Australian Theatre Company, Playhouse, everything and life could proceed with interfering with sense and the playwright’s Festival Centre, Adelaide. Opened 7 April 1977. sweet inconsequentiality, despite Bis­ Director, Colin George; designer, Rodney Ford; basic scheme. But somehow it doesn’t dances by Michael Fuller; assistant director, marck’s armaments and Lenin’s scrib- work. There are high moments, moments Brian Debnam; lighting, Nigel Levings; stage blings. of tension and tenderness, valuable insights manager, Gabrielle Bridges. And then the house, the grand old house into the play if not into the characters, and Mrs Ranevsky, Ruth Cracknell; Anya, Anne through which once strutted admirals and yet it is not satisfying. Like the song, you Pendleburv; Varya, Dorothy Vernon; Gayeff, generals, that now can only command sta- want to keep asking: “ Is that all there is? Brian Janies; Lopakhin, Dennis Olsen; tionmasters and post-office clerks. It is Is that all there is to . . . ?” Trofimoff, Ronald Falk; Pishtchik, Kevin Miles; still the house — solid, substantial, One of the main problems that Colin Charlotta, Daphne Grey; Epihodoff, Leslie gracefully and even romantically run­ Dayman; Dunyasha, Michele Stayner; Fiers, George’s production had to deal with was Edwin Hodgeman; Yasha, Patrick Frost; a down, as much by the measure of time as Rodney Ford’s design. It set a tone incon­ Stranger, Craig Ashley; Post Office Clerk, Alan by the loss of fortune. Such old places do sistent with the play’s drive. Brightly Andrews; Servants, Michael Fuller, Colin Friels, not need to put on modern show to patterned, and decorative, it lacked the sub­ Doug Gautier, Michael Siberry, Rebel Russell. proclaim their importance, for they belong stance needed to make property and where they are, and it has always been so. history important, valuable, and worth It is mid-summer in Old Russia, the And so when Madame Ranevsky has paying for. The house and orchard should revolution is only a decade or so ahead, the arrived, flushed with excitement and have had a physical presence as actual as emancipation of the serfs is still a novelty, enthusiasm, surrounded by family, friends Fiers is himself, while in Act 2 we should the bourgeoisie is rising and the old and servants, penniless and flighty, she is have been able to see something of the families falling, and property — above all, greeted by Fiers, the family’s old retainer, orchard in the twilit distance, as the property — is changing hands, dividing a serf who regards his emancipation as a abstracted shapes of the grave stones families, obscuring the past and distorting tragedy, and who, in Madame Ranevsky’s pointed the moral of change and decay and the future. world of property-relations badly handled, dying fall. In short, the fin de siecle mood In The Cherry Orchard the fruit is is really just another chattel to be left was wrong for the business of a play about withered and sour; the old gnarled trees are behind. a house more than a century old, one about to be swept away by economic When all fails; when Lopakhin himself almost as old and gnarled as the cherry history, just as their owners, the ailing buys house and orchard but does not trees. rural gentry, are to be swept away by marry Varya; when Madame returns to The point needs to be laboured a bit: political history. The storm has been her Paris lover and the family and neither old Russia or old money was building for decades and now lowers over household are dispersed; when the axeman helped by the lack of substance, and I was the great plains that Chekhov knew so is heard in the distant orchard and the ex- sorry for the actress who had to rhapsodise well. As a political commentator he is only hilerated Lopakhin has locked up the about it, tradition and age as ephemeral an eddying wind; but as an artist, moralist house — enter Fiers, locked in with the gauze flats waved around her as if in some and observer of the times, he is a poet. duster-covered furniture, mumbling his balletic confection. It is after all a pros- Madame Ranevsky belongs to that rural life’s alienation: “ Life has gone by as if I’d cenium-arch play — there has to be a gentry. She is a silly, scatter-brained never lived.” frame of some kind to provide a credible woman who likes to make large emotional In these times you have to say The context in which the characters can gestures. But so rapidly are things happen­ Cherry Orchard is really a modern morali­ develop and work. ing to her and Russia that all she has time ty play and that one of the reasons why it is And work, of course, is the word. In to do is look askance at history and life so consistently misunderstood is because another sense, some of the characters in with a bewilderment that is made dizzying the morality is socialist rather than Chris­ this production didn’t entirely, especially by prejudice and class and a coquettishness tian or humanist. The play belongs to its Patrick Frost’s Yasha, the callow young that sits foolishly on her middle-age. time and the great intellectual ferment that valet, and Brian James’s Gayeff, Madame She is “in love” with her manor house Russia was in then, and to fix it in time like Ranevsky’s fool of a brother. Patrick and its orchard. Paris, fashionable blue­ that is to indicate and centre its contem­ Frost tried for a kind of nonchalant stylish stocking interests, and a financially porary relevance then and now. Madame callousness, but did not reach it — for an

THEATRE AUSTRALIA JUNE 1977 51 actor such nonchalance should be made of Festival Centre Trust presents Adelaide Theatre of grand guignol and genuine melodrama. tenser stuff. Brian James, on the other Group. The Space, Adelaide Festival Centre. In that sense, the production falls short of Opened 15 April, 1977. Director, Brian hand, worked hard and almost made it, but Debnam; Choreography, Rex Reid; Musical the requirements of melodramas like unfortunately was all too rushed and flap­ Director, Richard McDonald; Designer, David Sweeny Todd or Maria Martin. But the pable, the latter an unfortunate quality Brinson. broad characterisation and outrageously since it is Lopakhin who is required to of­ Marie Kelly, Jenufa Scott-Roberts; Lizzie cliche-ed dialogue are for the most part Stride/Queen Victoria, Myfanwy May; Annie fend by his lack of control and tendency to Chapman, Virginia Baxter; Polly Anne effectively realised and .some of the flap his arms about. Nichols, Sue Angel; Liza Pearl, Lani Gruigan; musical numbers were especially good. Denis Olsen played Lopakhin with his Martha Tabram, Christina Mackay; Catherine None more so than a superb “Police­ usual style and vigour; but his reading of Eddowes, Sue Wylie; Francis Coles, Michelle men’s Chorus”, in which Len Power Draper; Rosie Wunmore, Dina Panozzo; Mon­ the character was not ideal. He was a kind tague Druitt, Bill James; Chairman, Jon and his lads appeared in uniforms of country doctor, clean, well-groomed, Nicholls; Daniel Mendoza, John Noble; Dinky with skirts underneath and sang of the in­ man-about-town, a man at times gleefully Nine-eights, Jim Holt; Blue Nose Stack, David genious plan to trap Jack the Ripper by satisfied with life. And while there is Read; Slop Wallace, Michael Lester; Lord disguising (!) themselves as women of the Overcoat, David Hursthouse; Police Sergeant something of these qualities in Lopakhin, Coles, Len Power; Paper Boy, Mark streets — and of pleasure. In an effort to there should also be a sense of insecurity in Muggeridge; Charlie at the Piano, “Fingers” go the whole hog (?) one of them — David his manner and attitude towards Madame McDonald. Hursthouse — was sporting a fetching Ranevsky, together with a buoyed-up ex­ creation in pink tulle (I think), with hilaration when he finally becomes better I have occasionally toyed with an idea matching broad-brimmed hat and reso­ than his betters. which would no doubt be considered nant bass voice. The number itself was the Anne Pendlebury’s Anya, Dorothy Ver­ heretical by our high priests of drama. It high-point of the show: the lyrics funnier non’s Varya, Michele Stayner’s Dunyasha, would involve organising an equivalent of than in any of the others and the and Daphne Grey’s excellent Charlotta, one of those tours on which the par­ choreography and performance of the song were all solid people and performances, ticipants, suffering from gout, over-eating high-spirited and overblown. Mr Hurst­ and Leslie Dayman’s Epihodoff was a nice, or cirrhosis of the liver, used to take the house in particular was a delight: he rude mechanic of a man. On the other waters at various centres. In my — oh yes, has the advantage of a rich voice, good hand, while it is hard to question the init­ utterly utopian — theatrical equivalent of presence — especially in drag — and a ial conception, Kevin Miles’s roaring this mineral cure, critics and public alike good sense of the ridiculous which, neither Semyonoff-Pishtchik was a little hard to would be able to dispel the indigestion and here nor elsewhere, degenerated into arch take, pitched too out-front and bullishly. flatulence which are all too often guying of himself or the others. He was in marked contrast to Ronald nowadays the reward (?) for an evening in Likewise, John Noble made a suitably Falk’s eternal student, Trofimoff, the man the legitimate (?) serious (!) theatre, by brutal and coarse Mendoza: and what his who most clearly knows where Russia is regular attendance at circuses, melo­ voice occasionally lacked in projection he heading and is hoping to travel there too. dramas, pantomimes, music-halls, satirical made up for with enthusiasm and energy Ronald Falk is clearly one of the most im­ cabarets and market-places. — qualities indeed, which marked portant acting acquisitions Colin George In such surroundings the prevalent need everybody’s contribution. Jon Nicholls has made in the past few months. for solemn complacency, intellectual looked the part, but was neither domineer­ And finally Edwin Hodgeman’s Fiers lethargy and dumb admiration for every ing nor vocally strong enough to provide and Ruth Cracknell’s Madame Ranevsky. lofty and significant thought and gesture the contribution called for in the central On opening night, Ruth Cracknell’s per­ would no longer be met. The energy, role of the Music-Hall Chairman. Overall, formance was uncertain, almost tentative, crudeness, directness and fantastic aspects the women were vocally weaker, though and clearly she was not relaxing in the role. of a performance would come back into Jenufa Scott-Roberts was in turns appeal­ A week later, she was far more in control, their own and be recognised for what they ing and brassy as Maria, and certainly far closer to the right pitch of bitter-sweet are — the basic ingredients of theatre. End showed the others up when it came to pro­ middle-aged foolishness, inaction and of sermon. jecting her songs. Myfanwy May made the regret. But it was still not quite there, the The text for this month which has most of her occasional turns as Queen Vic­ heart was still missing, and it was as if she provided the starting-point for what in toria, though she too had some difficulty was watching herself, rather than feeling some circles might be considered the with clear articulation. herself, act. deranged musings of a malignant doc­ Tying the production together was the But not so with Teddy Hodgeman’s trinaire is the Adelaide Theatre Group’s musical contribution of Richard Mc­ brilliant Fiers who tottered around the production of Jack the Ripper. It’s easy to Donald on piano, who also did the place, the butt of malice and callous un­ criticise the haphazard, at times non­ musical direction. On both counts — ladies concern, the character who is as essential existent plot; the derivative nature of many and gentlemen, hats off! The music is to the play as Madame, the house and the of the songs, the sketchy, ill-drawn mostly uncomplicated: the tonic-dominant orchard, who ties the past and the present characters. But the production itself or-sub-dominant shift becomes monotonous together and who is spared not only the deserves praise and plenty of it: there’s and at times all the songs coming storm but any further attenuation more energy, verve and sense of theatrical sounded as if they were going to slide into of life as a funny old, gnarled old, property. effectiveness in five minutes of this crude, “There was I, waiting at the church” . But clumsy and frankly shoddy work than in the chorus work throughout was excellent, the whole two and a half hours of the the individual group-numbers well realised “It’s easy to criticise. bloodless, inert example of serious drama and Mr McDonald’s piano contributions running in the same building. splendidly stylish, accurate and unfailingly But the production The script — by Ron Pember and Dennis rhythmic. To keep the pulse of the show de Marne — is sired by Lionel Bart’s going was largely his responsibility: and he deserves praise and Oliver out of the Brecht/Weill Threepenny never lapsed for a moment. Opera, Gilbert and Sullivan's Pinafore and Perhaps the Adelaide Theatre Group plenty of it . . .” Pirates, and just about every or any music- will now give us some more music-hall: on hall song you care to name. It’s a messy this showing they certainly lose little in pastiche; sprawling, disconnected and comparison with the Sydney product. JACK THE RIPPER totally unashamed. It never at any stage Their enthusiasm is both real and catching: MICHAEL MORLEY approaches pretentiousness. and although some might see it as a At times it seemed that the director youthful distemper, I hope they will not try could have paid more attention to the to cure it by small doses of repentance and Jack the Ripper by Ron Pember and Dennis De chill in the blood and half-serious, half- regular outward applications of “cultural Marne. Music by Ron Pember. The Adelaide humorous frisson which are so much a part experience” . ■

52 THEATRE AUSTRALIA JUNE 1977 Theatre/NSW

stunningly effective and became merely highly effective. The pianos were then put to other uses. They became the counter of a bank, the podium of the local hall, a locomotive, a bank safe, and produced money and cash-bags and notices from un­ der their lids. One of the pianos, of course, was the orchestra, and, played by John Rosengren, the musical director, it very nearly was an orchestra on its own. With three guitars, a harmonica and a washboard (played by Les Winspear as the great Jesse James himself); with a clarity of diction that is a great luxury in these times, and with harmonies that were always pleasant even when not accurate, the cast bounced through two hours of sendup and slapstick and sent their audience away singing. Despite the superb score, in which the lyrics are as hard-hitting, and sometimes as beautiful, as the music is infectious, the play had never been performed outside the United States, and with some reason. The script assumes familiarity with American folklore, history and geography. For Australians who have heard of Jesse James death story of Jesse James the American and the American Civil War but who know . the cast bounced outlaw complete with American accents, little of solid fact about them, the exposi­ both Southern and Yankee, sleepy Mexican tion was really not adequate. Reedy River through two hours guerillas, hillbilly pappies, Southern belles might have the same effect on an and shady ladies, to the manner born. American audience. The MC’s historical of sendup and Their cow-cow-yippee nasal Western songs and geographical comments, though and magnolia-scented lullabies had the delivered in a faultless accent, meant little slapstick that sent audience, admittedly an audience of par­ to an audience who could not tell the tisans, clapping and stamping and singing- Missouri from the Mississippi, and the the audience away along with utter good humour. “Watch historical name-dropping throughout the out, Wagga,” the director warned in the play (what on earth were Quantrill’s singing” programme notes. “The Trucking Com­ guerillas or the Federales, for instance?) pany’s out to get you.” And get them it likewise fell on deaf ears. DIAMOND STUDS did, with a reshuffled and recycled cast, But what do history and geography who had originally been chosen for a matter in the theatre? This play is theatre MARGUERITE WELLS production of Equus and who just happen­ for the sake of theatre. It sets out to prove ed to have the oomph and the singing absolutely nothing, and the director, Terry Diamond Studs by Jim Wann and Bland Simp­ voices plus the finesse needed for this O’Connell, whose inspired choice it was, son. Riverina Trucking Company Theatre, delightful and unpretentious musical com­ Riverina CAE Wagga, NSW. Opened 14 April wisely took advantage of the fact. Believ­ 1977. Director, Terry O’Connell; designer, Fred edy. True, a certain glaze in the eyes of ing that musicals, and particularly Aus­ Lynn; musical director, John Rosengren. some of the cast in the first half hinted at tralian musicals, are often too earnest Belle Starr, Street Singer, Federale, Janine the need for more than four weeks’ rehear­ for their own good, he gave his production Bishop; Pinkerton, Yankee, Ruffian, Preacher, sal, but some fine acting (particularly from Tim Bottoms; Zee James, Street Singer, the air of a Southern country concert (an Federale, Beth Collins; Greencheese, Street Jenny Leslie) and fine singing from all the air most appropriate to Wagga!), and aim­ Singer, Federale, Janet Hastie; Bob Ford, cast (but especially Janine Bishop with “ I ed to “bring back memories of Saturday Cashier, Gonzales, Pappy, Old Maid, Noel Don't Need a Man to Know I’m Good”) afternoons at the local Hoyt’s, when the Hodda; Porkbarrel, Zerelda Samuels, Federale, carried them through high and dry. By the Jenny Leslie; Bob Younger, Whicher, Murphy, world was maybe a little simpler” . Brakeman, Ken Moffat; Newshawk, Yankee, gutsy, pulse-thumping finale of Act I The world is not really very simple for a Ruffian, Conductor, Myles O’Meara; Cole (“Cakewalk into Kansas City, Wearing professionally oriented and innovative Younger, Pancho Villa, Toby Prentice; Quan- Diamond Studs Tonight”), it was obvious theatre company in a big country town in trill, Henry Clay Dean, Warden, John Treloar; that Wagga had a smash-hit on its hands. Frank James, Governor Crittendon, Mark southern New South Wales. The Riverina Twigden; Jesse James, Les Winspear; Jim This is more than partly due to the work Trucking Company was named at a Younger, Engineer, Tourist, Peter Wright. of designer Fred Lynn, whose splendid set barbecue in 1976 and two days later had was composed of three pianos forming the the rights to Hamlet on Ice and a budget of It is in some ways a sad comment on wings, with concealed ramps, so that peo­ $500, — $50 from each of the 10 original Australian society that the Riverina ple appeared suddenly on top of pianos. members. Their lights were made from Trucking Company performs this life-and- After the first half-hour this stopped being jam tins and their dimmer-board with

THEATRE AUSTRALIA JUNE 1977 53 dimmers from Coles, and despite dire on, not just brought in at the end. that has helped to make Marian St. one of predictions about the tastes of Wagga 2. The puzzle must be solved rationally, our most successful regional theatres. audiences, the play was a success. They not by “supernatural” powers. turned people away from full houses in 3. No more than one secret room or their production of Kennedy’s Children, passage to be used. “John Howitt... is but their next production, Soozuu, a play 4. No “undiscovered” or “undetectable” devised by the company, being street poisons. always a hysterically theatre for children, brought in no money. 5. No sinister foreigners, particularly Sixteen column-inches of credits in the Chinamen. welcome sight on programme show where the shoestring 6. The puzzle must not be solved by a funds come from and the extent to which lucky accident. stage” the company’s work has community sup­ 7. The detective must not have com­ port, but the names of almost all the actors mitted the crime himself. also figure in the list of donors. 8. Nor must he conceal clues or reasons HELLO LONDON Fred Lynn, working full-time for no for his deductions. pay, not only did the set and lighting 9. A “Watson”, if such a character be BARRY EATON design, but with an army of hammerers, used, must not conceal his opinions. painters and cleaners, has converted an 10. There is a special veto against using Hello London, devised and directed by John abandoned hall at the Riverina CAE into a identical twins or “doubles” . Howitt. Killara 680 Coffee Theatre, Killara, flexible and functional space. Though the Double Edge, which comes almost direct Sydney. Opened 14 April 1977. With: John lights are not jam tins this time, they do from a run of nearly 12 months in London Howitt, Peter Parkinson, Cherie Popp, Jane have to be back in the school hall as soon last year, is by British authors Leslie Dar­ Hamilton, and Richard Hill. as the season ends, and the real owners bon and Peter Whelan. They have con­ There are some things in life that I look have to have their seating back for just one trived an unusual and ingenious who-dun- forward to with great relish. The list is night in the middle of the run. It is not call­ it which — in the absence of a butler — varied and I won’t attempt to reproduce it ed the Riverina Trucking Company for provides a teasing challenge to discover (a) here. But right at the top is my regular visit nothing! what was done and (b) who did it. to the Killara 680 Coffee Theatre. Terry O’Connell, the director, originally Obviously, consideration for future Perhaps one of these visits will result in came to Wagga to direct the Wagga audiences inhibits too much elaboration, my being disappointed with the show. For­ School of Arts production of Cabaret as but the plot examines an attempted tunately that hasn’t happened yet. his graduation exercise for NIDA. Since assassination of the British Prime Minister I have in an earlier issue explained the then he has directed the Wagga produc­ which resulted in Avril Monk, wife of the style of entertainment offered at the tions of Coralie Lansdowne says No and Home Secretary, being shot dead. Killara 680. Over-simplified, it is mime The Les Darcy Show, as well as the All this happens before curtain rise and done in way-out costumes in a high camp Trucking Company's productions. At the we find Professor Helen Galt, in pursuit of style. moment, he has an Australia Council direc­ her self-appointed task of solving the Hello London lives up to the standard of tor’s development grant (but only until puzzle, recalling the incident by means of previous shows and breaks new ground for June), and the rights to Byeplane in projected slides — made, we are told, from John Howitt, Mr 680 himself. Concert, The Coming o f Stork and Jesus a television film — and a recorded I am very glad to report that John is Christ Superstar! I for one, will be making description of the events as they occurred. back to full-time star status in the shows. the trip to Wagga again. Wagga has good Were the worthy Monsignor Knox still He was thinking of easing more into direc­ theatre. alive, he might well also condemn such ting, as I mentioned in that previous dubious detection devices because of the Theatre Australia review; I urged John to problems they present to the performers. reconsider and fortunately for us all he “. . . a stream of Immaculate timing is essential, and so has. many things can go wrong with the equip­ Whether it is as Queen Victoria, Queen surprise twists, most ment it’s a wonder the actors don't claim Elizabeth II, a dustman, a wardrobe mis­ danger money! As it was, on opening, two tress, a drunken wine-taster or a dirty old of them eminently minor technical hitches occurred that madeira-swilling seducer of young virgins, lessened somewhat the impact of the John’s six-feet-four-inch frame is always a plausible” dramatic denouement. hysterically welcome sight on stage. His But back to the plot. Ms Galt’s wires get facial expressions are incredible and his somehow crossed and two men vitally in­ comedy timing superb. All the more DOUBLE EDGE volved in the affair — a Left -Wing suspect brilliant, as he directs as well as stars in the on the run and the Home Secretary — show. NORMAN KESSELL meet unexpectedly in her apartment. Peter Parkinson once again excels. I From this tense confrontation emerges a particularly liked his drunk-at-the-airport Double Edge by Leslie Darbon and Peter stream of surprise twists and turns, most of sketch. Cherie Popp makes the third Whelan. Marian Street Theatre, Killara, them eminently plausible. member of the experienced 680 trio and Sydney. Opened 14 April 1977. Director Ted The dialogue throughout is crisply her great versatility is put to good effect. Craig; designer, Brian Nickless. economical and some of the laugh lines Two newcomers, Jane Hamilton and Helen Galt, Anne Haddy; Tony Price, Peter Adams; Henry Monk, Max Meldrum. have so strong a local application that I Richard Hill, both fare well and have suspect them of having been interpolated. quickly settled into the feel of things. This Monsignor Robert Knox’s 10 rules to be The play is tautly directed by depen­ is Richard’s first professional engagement followed by writers of detective fiction are dable Ted Craig, with first-class perfor­ and he made a good impression on the meticulously observed in Double Edge, a mances from Anne Haddy as Helen Galt, tough press crew that were in the audience. new thriller at Sydney’s Marian Street Peter Adams as the slangy Left-Winger, All of this sounds like a bit of a rave. But Theatre. Tony Price, and Max Meldrum as Henry when you have such a marvellous night’s With a sort of smug superiority, these Monk, the plum-voiced Home Secretary. entertainment, why not enthuse, says I! are conveniently set out in the programme Setting is Helen’s extremely comfor­ This could well be the last show in the and will, I think, bear repetition as a table modern apartment atop Dorset present location, as John Howitt has a reminder to any budding playwright con­ College in Oxford, beautifully realised as lease on new premises in Mosman. John templating this field of endeavour. They an angle-walled attic by designer Brian looks forward to bigger and brighter things are: Nickless — another outstanding example in the future. His new school of Dramatic 1. The Criminal must be mentioned early of the attention to staging and presentation Art is prospering.

54 THEATRE AUSTRALIA JUNE 1977 must have been the keynote of the play’s Alan Lees’s set gives good feeling of the “Shaw and Jonson contemporary success is now, at least to period, although its construction betrays some extent, a matter for footnotes and its intention by allowing massive beams to both thrived on careful puzzling. Acting, direction and a wobble and door-frames to quiver. It few discreet word changes can still coax provides elevated upstage areas and a good controversies and most of the meaning out of this dialogue, sense of Subtle’s kitchen/cellar below but it is still an antique and not the racy them. The only inadequacy seems to be the rivalries . . model that Jonson made. downstage front area which, with only a On the level of action, the play is nearer one-step-level change, serves as both the to a modern audience’s expectations: street outside and the main inside acting almost dangerously near, since the farcical THE ALCHEMIST area, separated by an imaginary wall. For characteristics — coincidental entrances, me the spaces were too close, too un­ CAESAR AND CLEOPATRA off-stage bedrooms, and panic-stricken differentiated in the context of a set with REX CRAMPHORN hide-and-seek — lead to expectations of steps and doors and levels. On an open something like nineteenth-century, well- stage, imagining everything else, I’m sure made form with a sudden denouement at there would have been less sense of strain­ The Alchemist by Ben Jonson. Old Tote the height of the complications. Jonson’s ed credibility. Theatre Company at the Parade Theatre, plan is much more schematic: the return of Among the cast I particularly enjoyed Sydney. Opened 6 April, 1977. Director, John the master and the discomfiture of the Clark; designer, Allan Lees; lighting, Jerry the look of Bruce Spence’s Face — to play Luke; stage management, John Frost, Geoff tricksters is treated in full detail and the a wily servant called Face seems to de­ Gougeon, embroilment of the master in a whole new mand interesting visual casting and Bruce Subtle, Colin Croft; Face, Bruce Spence; Doll convolution of plotting is designed to insist Spence is surely that. John Krummel’s Sir Common, Sandra McGregor; Sir Epicure Mammon, John Krummel; Dapper, Peter on the interweaving of money and greed in Epicure becomes the best performance in Rowley; Pertinax Surly, Peter Whitford; every part of the social fabric. the play, although he does not allow it to Drugger, Alan Tobin; Lovewit, Peter As for characters, the play has a rich develop for us, to creep up on us. Instead Collingwood; Tribulation Wholesome, Red­ assortment: the nicely differentiated Face he gives us the head-on impact of the mond Philips; Ananias, Stanley Walsh; Dame Pliant, Kerry Walker; Kastril, Brandon Burke; and Subtle, their doxy Dol, and the gallery character from his first entrance. I would Neighbour, Dio O’Connor; Officer, Michael of dupes that ranges from the splendidly have liked the quavering and doddering Ferguson; Parson, Garry Cosham; Neighbour, excessive Sir Epicure Mammon to the aspects, for instance, to appear in relation Margot Giblin; Officer, Grant Dodwell.______humbly naive Abel Drugger. to mounting expectation or crushed disap­ Caesar and Cleopatra by George Bernard Shaw. In all this — rich and varied language pointment rather than passim. Still, the Old Tote Theatre Company at the Drama with a strong flavour of its contemporary performance is delightful and the daft Theatre, Sydney Opera House, Sydney. Opened time and place, unified plotting in the ser­ humanitarianism of the character makes 20 April, 1977. Director, William Redmond; designer, Shaun Gurton; costumes, Mike vice of a heartfelt satire on human greed him one of the more sympathetic figures in Bridges; music, Nigel Butterfly. and guile, and as lively a set of characters the gallery. Of the main characters, Colin Caesar, Richard Meikle; Cleopatra, Robyn as a comedy could wish for — Jonson is Croft’s Subtle seemed curiously uncom­ Nevin; Apollodorus, John Waters; Ftatateeta, admirable, even awesome. The negative mitted and dull, insisting on all of the taw­ Jaqueline Kott; Pothinus, John Frawley; Britan- nus, Wallas Eaton; Lucius, Ron Graham; Rufio, lurking behind this tribute is my own lack dry and none of the magic of alchemical James Condon; Theodotus, Harry Lawrence; of affection for the play and the gullery. Sandra MacGregor’s Dol is vivid Achillas, Patrick Ward; Belzanor, Des Rolfe; playwright: I find it and him cold, coarse­ in presence but left me with a feeling of dis­ Charmian, Lorna Lesley; Iras, Elaine Hudson; grained and not a little depressing. Perhaps appointed expectations; Peter Whitford's Sentinal, Geoff Williams; Centurian, Ian Dyson; Ptolemy, Rodney Bell or Matthew Larkum. that is only another tribute to his sincerity Surly and pseudo-Spaniard is a tower of and his success in conveying a rather bleak strength and absolutely convincing (How I have been told that one of the great max­ world-view. Of course, people began say­ thorough Jonson is! The one character ims of the box-office is that safety lies in ing similar things about Jonson and his who sees through the deceptions is the presentation of a famous play that has plays in his own life-time, and have gone powerless to intervene and even, it seems, not been seen recently. Both plays current­ on saying them ever since, but the reputa­ impotent with the widow!); Kerry ly offered by the Tote come into this tion and the plays have survived very nicely Walker’s Widow Pliant is a kind of comic category and both, especially the Shaw, on admiration and made do quite well bonus that arrives in Act IV and makes should do the maxim proud. without affection. you wish she had come sooner. Jonson is perhaps doubly unfamiliar: With speed the essence of comedy and not only is his work performed infrequent­ complexity the essence of the dialogue, Shaw and Jonson are not a bad pair. ly, even by comparison with that of other John Clark’s production takes what is They both had sketchy educations and a Jacobeans, but the very tone of a play like probably the only practical approach: he tendency to wear their erudition and in­ The Alchemist — ferociously literate gives it to us clear and fast and the devil tellectuality a little conspicuously. They satire — seems unfamiliar in the theatre, take the hindmost, while supplying as both thrived on controversies and rivalries satire having become the province of much action and business as the plotting while retaining a reputation for generosity television or what remains of revue. But can suggest to reinforce the meaning. The and faithfulness in friendship. The follow­ then I suppose Shaw is in the same posi­ result is that, if one does not have time to ing description of Jonson, while admittedly tion — Caesar and Cleopatra is not only sound the depths of what is said or fairly generalised, could certainly serve for infrequently performed but in its strong in­ speculate on its resonance, at least the Shaw: “ In person he was arrogant and tellectual commitment to a world-view and broad shapes of meaning are kept clear. quarrelsome, a good fighter but a staunch in its gently debunking intention, Caesar John Krummel’s Sir Epicure in particular friend, warm-hearted, fearless, and in­ and Cleopatra, too, is doubly unfamiliar. shows how strong and capable vocal tellectually honest.” In The Alchemist the characters speak a technique can retain clarity at a spanking William Redmond’s bland and un­ variety of jargons — alchemical, reformed pace, even in some of the most high-flown demanding production of Caesar and church, gambling, gallantry, pseudo- language in the play. Cleopatra will do well at the box-office for Spanish, contemporary low-life, and trade I suppose one of the main problems in the reasons proposed above. It also has the — and this clashing interaction (as in the the presentation of such a play nowadays is advantage of the services of Robyn Nevin. disputation between the clerics and the the devising of a set which will support the If anyone had told me they were going alchemist) is both the vehicle of the play’s meaning in -the way we have become ac­ to present Caesar and Cleopatra because it meaning and a sort of running symbolic customed to expect of sets, while allowing was a great part for an actress, I would commentary on it. This carefully observed, the flexible and barely naturalistic action have doubted the wisdom of the choice. structurally consistent, and brilliantly originally designed for an open stage to When you read the play, the playwright orchestrated dialogue of jargons, which develop as the playwright has written it. seems to be all on Caesar’s side, making

THEATRE AUSTRALIA JUNE 1977 55 him “part brute, part woman, and part god send-up: the very blend that the stage never Two small-cast one-act plays at the — nothing of man in me at all”. That managed to give visually. Ensemble in April, however, wrestled doesn’t leave Cleopatra much to be — a gamely inside the straitjacket of their primitive, a spoilt child, a woman im­ minuscule populations, and one succeeded pressed by Caesar’s qualities, aping him “I felt myself being magnificently. The other, Medal of Honor but condemned j to failure by her own Rag, though a more qualified success, savagery and femininity. All through the lifted out of the seat forcefully dramatised, in one confronta­ play, which debunks love and sentiment, tion with a psychiatrist and one soliloquy, “improving on Shakespeare's Antony and by the sheer the true case history of a Vietnam war hero Cleopatra” by giving us a “puritan” view wracked with guilt at being alive while all of history, Cleopatra is a cross between a originality of what of his closest buddies were dead. The vastly savage and a shop-girl and, in playing, the bearded psychiatrist (Arnie Goldman), in battle can turn out to be hers. She is chang­ I was undergoing” his own words “a specialist in impacted ing; the play draws our attention to her grief’, and in the veteran's opinion a star- attempts to change, to her failure to do it, fucker, slowly bleeds from his agitated to her fatal weakness for “ round, strong MEDAL OF HONOR RAG Negro patient (Fred Steel) an account of arms” . Caesar, on the other hand, witty, ALISON MARY FAGAN the incident in which he won the Medal of charming, intellectual, is, nevertheless, Honor — the burning tank, the screaming static. His character has nowhere to go ex­ BOB ELLIS lump of charcoal that was his closest cept- towards grand old age and defeat at friend, his solitary massacre of 18 Viet the hands of unregenerate mankind. Cong, one with his rife-butt, and the Medal of Honor Rag by Tom Cole. Ensemble In his role as actor-manager, Lord Productions, Ensemble Theatre, Sydney. Open­ recurring nightmare of the enemy rifle- Olivier presented Vivien Leigh as both ed 31 March, 1977. Director, Hayes Gordon; barrel that inexplicably jammed in his Shaw’s and Shakespeare’s Cleopatra — a designer, Doug Anderson. face. The two reprieves from the death that balanced view. Of her performance as the Doctor, Arnle Goldman; Dale Jackson, Fred overtook his friends (the other was when Steele; Hospital Guard, Lindsay Norris. former Tynan wrote: “ . . .she keeps a firm Alison Mary Fagan by David Selbourne. he was transferred the night before the bat­ grip on the narrow ledge that is in­ Ensemble Productions, Ensemble Theatre, tle out of the tank that burned) are more disputably hers; the level on which she can Sydney. Opened 31 March, 1977. Director, than he can bear, and in due course he ex­ be pert, sly, and spankable, and fill out a Michael O’Reilly; designer, Doug Anderson; piates his guilt (the story is true) by being producer, Zika Nester; stage manager, Roslyn small personality. She does, to the letter, Forrest. shot to death while holding up a grocery what Shaw asks of his queen, and not a Alison Fiske, Margie Brown.______store in Chicago. Out of this material both semi-colon more.” Robyn Nevin, whose playwright Tom Cole and the performers career seems to have been dotted with Vi­ There is a good deal of compelling make a little less than they might have. vien Leigh roles (including an almost- evidence that live theatre is at an end. One longs for battle flashbacks on a screen Scarlet' as well as last year’s Blanche) When the economics of it, as now is the and for more nuanced performances needs no balancing role and gives many case, force more and more managements (though neither actor was at all un­ hints of the Shakespeare Cleopatra which, into putting on plays with casts of three, or believable), especially in the psychiatrist apparently against Shaw’s will, lurks at the two, or one, the burden on the playwright whose part had the potential of the psy­ heart of his own. Having seen the role to grip or delight an audience becomes too chiatrist in Equus — for the television played like this, I realise that Shaw must great. The burden on the performer, too, play, in short, that it might have been. have been well aware of the odds against and only a few theatrical geniuses (Reg Hayes Gordon’s direction, however, has his Caesar, that his emphasis on Caesar’s Livermore is one) can handle it. The momentum and restraint, and the impact qualities was only a determined attempt to natural minimum cast number for an ab­ of the confrontation is considerable. That redress a perceived imbalance. The part- sorbing night in the theatre is 10: a play being said, it must be added that Fred woman in Caesar’s character is not enough like The Cherry Orchard or Twelfth Night Steele, a black American of noble bearing to hold out against the full tide of feminini­ could not be written with a cast of three, or and some grace, has a large future as an ty as represented by Cleopatra. Richard two, or one, and it’s plain to see why: it actor, so impressive are his natural at­ Meikle sits back on his Caesar, content, it depends on an abundance of melodic in­ tributes, and so has Tom Cole as a writer, seems, that the words give him the victory. teractions and malicious counter­ if they wish to seek it out. But Shaw’s worst fears are confirmed and stratagems that is not available in a cast of The second play, Alison Mary Fagan by the actress walks away with the evening. three, or two, or one. Imagine a Hamlet David Selbourne, with Margie Brown as The production was unable to make the with only Hamlet and Claudius in it, or a the one character in it, was an astonishing political situation in Alexandria any Death o f a Salesman with only Willy and experience, superficially comparable, I clearer to me than a quick reading had Biff. Yet these are the kinds of choices that suppose, to Wonderwoman, but not much done. The set trundled portentously to no managements tell writers make economic like it really, though every bit as impactful. great purpose, exhibiting acres of wood sense. I felt myself being lifted out of the seat by and canvas pretending to be other things, Audiences, moreover, are not all that in­ the sheer symphonic originality of what I without even giving us a sphinx with paws terested in driving through the cold across was undergoing. for the first scene. No one plunges off the a city in order to see three people grumbl­ In a sort of limbo, inhabited only by a Old Tote’s Pharos and Ftatateeta, “lying ing in an ante-room about their lot when star-shaped glory-box in which are inset dead on the altar of Ra, with her throat Roots is available in lush and sweaty several mirrors, a woman with a square cut, her blood deluging the white stone” , colour free of charge at home. They need jaw, stocky figure and full bosom arrives leaving Cleopatra alone and child-like in more people on stage to drag them out at dressed up as a marching-girl, introduces the great moonlit hall, is lit like a night. The most commercially successful herself as Alison Mary Fagan, nee Fiske, delicatessen and takes place in a space Australian dramas also support this view enumerates in ludicrous detail her bodily about the size of three phone-boxes, — Don’s Party, Melba, King O’Malley, measurements, first stripping down to fronted by a shower curtain. There’s not Martello Towers, A Hard God, Dimboola black tights to emphasise them, and in a much action in the play, but there wouldn’t and Season at Sarsaparilla all had casts of sort of litany repeats the phrases, “This is be room for it if there were. seven or more and so did Hair and the body. This is how I am. I was born into Despite many shortcomings in the Superstar. Fraserian austerity in the the world to be happy, and I shall be hap­ production, the judgment which gave us theatre, like Fraserian austerity in the py, whatever it costs me. I shall be pure as Miss Nevin as Shaw’s Cleopatra was country at large, is bad economics, and till a poppy.” astute and we must be grateful for it. I also it stops, the audiences will shrink to one of She prowls about the stage, with liked Nigel Butterley’s music — the right those black holes in space, of infinite movements like a ballet dancer's exercises, blend of mystery, grandeur and Shavian weight and dimension. and recites a litany of bourgeois hopes

56 THEATRE AUSTRALIA JUNE 1977 culminating in a vividly suggested Drew Forsyth; Malvolio, Neil Fitzpatrick; coat, spats, squashed hat, white gloves and wedding-night as a virgin bride with a Feste, Peter Carroll; A Priest, Robert Alex­ running-on-the-spot exits. He plays ander; First Officer, Graham Thorburn; Second strong husband — interleaved with porten­ Officer, Robert Alexander. burlesque with a beach umbrella, farce tous womanly doubts and long-gazing lusts with the dropped love-letters, Mack (let us play the goat together; no, no); then, After the Nimrod and John Bell’s inspired Sennett chase-scenes and black, black dressed as a nun, articulates a series of Much Ado, audiences were entitled comedy in the dark house, like some nunnish beliefs (I shall be pure as a poppy) perhaps to expect a corresponding delight strange visitation from the old movie- involving Christ’s chaste possession of her. in Twelfth Night. houses somehow strayed into a world of Then, dressed in nothing at all but smeared But this is another country, and besides Sir Toby in plus-fours, Sir Andrew in kilts, with paint and in half-dark looking like the wench is dead. The two comedies are and Feste in trad motley with a gashed one of Blake’s purgatorial crawling very different kettles of fishes. The surface face. humanoids or one of Francis Bacon’s glitter of the court and the marvellous wit Here too is Barry Otto as a melancholic, smears of horrid nightmare, she reverts to and style of Beatrice and Benedict made handsome Duke in a dressing-gown the archetypal cave-bred female, speaking Much Ado the perfect vehicle for the Bell “changeable as taffeta”, and Anna Volska in cadences increasingly like those of T.S. pyrotechnics. looking unbelievably beautiful in great Eliot (I am sick of this brute city you smile Illyria is a magical place with a dark hats and trailing gowns, giving the am­ at. The councillors and clerics of the city side to its moon. Viola has a mortal bivalent comic lines the Volska touch; a who may as.well go on all fours), ar­ sadness at her witty heart, and the Duke is great comedy cast containing such in­ ticulates some long final cry of the female never half good enough for her. imitables as Drew Forsyth and Gordon heart I cannot hope adequately in this Feste sings constantly of death. The McDougall. space to describe. Duke and Olivia personify the folly of love, Why then am I uneasy about the The writer, David Selbourne, an Oxford and the twins mock love’s constancy. The Nimrod’s Twelfth Night? The pace of the don, has in this extraordinary work ambivalence and duality at the heart of the play will quicken and the fragmentariness brought theatre back to the impact of its play are both highly sophisticated and in­ dissolve as the season continues. Viola poetic Greek origins and also said a few credibly tender. looks beautiful, but cannot compete with things about woman which no other male Kim Carpenter’s stage design was a Neil Fitzpatrick or Peter Carroll; there­ apart from Ingmar Bergman has got brilliant conception, but was it the right fore the balance of the play is lopsided. anywhere near. one: slatted wood, jetties, platforms stain­ It is a production which seems a kind of For the direction, by turns tender and ed with bird-shit, striped awnings, lapping danse macabre of blonde mirror-imaged hell-hard and overhung with dark Miltonic light and water, the sound of gulls . . . boys with high cheekbones and oblique fury, I have nothing but praise, and for Typically Sydney to translate one of eyes, a heavy brutal Feste without grace in Margie Brown's performance, not only its Shakespeare's marvellous transvestite command of all, and a brilliant surrogate womanly courage, but its irony, its vocal heroines into Elizabethan reality! Viola is Buster Keaton doing Mack Sennett com­ mellifluity, its equine grace, I have feelings played by a boy (but not Olivia.) The edy routines by a Venetian pier. approaching, well, worship not wholly un­ translation is interesting. Viola and John Bell, as always, has mounted a mixed with, not exactly lust, but something Rosalind have always had a tomboyish super-stylish, highly intelligent Twelfth stronger. With such a performer the swagger. It is part of their charm. But, ex­ Night, but where is enchanted Illyria and audience unwittingly and very reluctantly cept for the first scene, when, draped and the enchantress Viola? becomes flesh of her flesh, because they cowled in rough linen, he has a passing have no choice. She drinks them up into resemblance to the young, gawky Hep­ her moral universe; they become one with burn, Russel Kiefel’s Viola, sailor-suited, her. How she achieves this without any with blonde fringe and knowing, slanted particular physical beauty or even the eyes, has a distinct resemblance to the bloom of youth to fall back on is beyond Death in Venice boy. The Death in Venice Limited Edition me. boy is a watcher, depending upon a silent, I shall tremble with the ifterglow of this mysterious, physical beauty. He is not an experience for many months. I applaud the innovator, a brave wit, a carrier-off of dis­ only!! Ensemble’s courage in putting it on. guises, an adventuress, a coward, a tender lover or a sender-up-of-herself, as Viola is. Therefore many of the great speeches tend “ Malvolio translated to sound, not charmingly bisexual, but flat and underplayed. The personality blurs, into the ultimate and the play’s centre swings dangerously Performing Arts towards Peter Carroll’s Feste. An odd burlesque, the silent- Feste too! John Bell’s Illyria has a savage stylised centre. Therefore a savage Feste Year Book movie ghost of makes sense in such a world, and unifies Buster Keaton . . .” the “ Malvolio-in-the-dark-house” enigma. Chillingly, on the opening night the of Australia “sophisticated” Nimrod audience laughed TWELFTH NIGHT quite loudly at Malvolio trussed in a straitjacket writhing centre-stage under the 1976 DOROTHY HEWETT brutal ministrations of Father Topaz. I think that says something terrifying a SHOWCAST publication about our Clockwork-Orange-Taxi-Driver Twelfth Night by William Shakespeare. Nimrod Theatre, Upstairs, Sydney. Opened 23 world, and the blood spilling on to $20.00 postage paid in Australia, April, 1977. Director, John Bell; designer, Kim thousands of lounge-room carpets from Carpenter; music composed by Cameron Allen; the colour TV sets. lighting design, Grahame Murray; stage from manager, John Pleffer. Which brings me to Malvolio, and a SHOWCAST Publications Pty. Ltd., Orsino, Barry Otto; Valentino, Dennis Scott; brilliant performance from Neil Fitz­ P.O. Box 141, Curio, Graham Thorburn; Viola, Russell Kiefel; patrick, one of our greatest actors. Here is Sebastian, Tony Sheldon; Captain, Robert Spit Junction, a Malvolio translated into ultimate Alexander; Antonio, Dennis Scott; Olivia, Anna N.S.W. 2088. Volska; Maria, Berys Marsh; Sir Toby Belch, burlesque, the silent-movie ghost of Buster Gordon McDougall; Sir Andrew Aguecheek, Keaton, complete with masked face, frock-

THEATRE AUSTRALIA JUNE 1977 57 Theatre/WA W

wants to purge Blondin of the cheap com­ take the play as far in one direction as the . . a mixture of mercialism his stunts involve. He also realistic and often funny verbal battles of wants him to achieve the impossible: walk­ the two men take it in the other. Visually poetry and ing on air without the limitations of the the production attempts to mirror these wire. He bullies and pays homage in equal aspects. The tatty circus tent gives way to profound yet measure, and once Blondin has become swirling mists, the dapper Blondin reads convinced that the lad is more than a books while suspended upside-down from teasing insight” hanger-on or an opportunist, he becomes a trapeze, the playful miming of the boy intrigued. Their dreams merge — they with a wheelbarrow is superseded by more CROSSING NIAGARA share the vision of space-walking, and the subtle miming of the final scene that draws idea of crossing Niagara together seems to the audience into the game of total illusion MARGOT LUKE occur in a spontaneously shared moment. just long enough to become aware that The preparation and actual walk they have, in fact, become involved in the are a continuous exploration of their game. relationship: mutual dependence of con­ Crossing Niagara by Alonso Alegría. Hole-in- trasting qualities creating a third person, the-Wall Theatre, Perth. Opened 20 April, “The first two acts 1977. Director/designer, John Milson. Icaron, a new creature, formed by the two Blondín, Robert van Mackelenberg; Carlo, Alan of them and greater than either of them Fletcher. separately. Also wiser than Icarus, be­ are intense and Crossing Niagara is about so many things cause, as Carlo says, any fool knows — ambition, fear, obsession, the give-and- wax melts in the sun. Alan Fletcher, as moving . . . But with take of partnership, the clash and com­ Carlo, has just a touch too much of the plementing of contrasting temperaments. boyish energy that drives them on, but he the third Rudkin It’s also a demonstration piece about that contrasts well with the reined-in, seemingly old preoccupation with the relationship of imperturbable Blondin, eagerness versus leaps off the deep earthbound body and soaring spirit. Best experience, wild enthusiasm versus cau­ of all, it’s a play based on optimism. How tion. end” amazing, in the context of contemporary Their confessions of dreams and fears theatre, to find a tightrope walker who and motivations take the play beyond the doesn’t end up falling to his death to il­ immediate concerns of a two-man team lustrate the playwright's tough attitude to attempting a daring feat and become a CLIFF GILLAM reality! psychological blueprint, archetypes in ac­ The real Blondin, as shown in the tion. When we finally see Carlo perched on smudged 19th-century reproduction in the Blondin's shoulders, we do witness the Ashes by David Rudkin. National Theatre programme, had a solid, no-nonsense look birth of Icaron, the creature that can both Company. Greenroom, the Playhouse, Perth. about him. Robert van Mackelenberg, be­ walk sure-footed and soar in flights of Opened 22 April 1977. Director, Andrew .Ross; fancy. designer, Jas Cartwright; stage manager, Tony ing wiry rather than bulky, has to suggest Reagan. an inner strength, which has to persuade us The dramatic tension (even though Colin Harding, Dennis Miller; Anne Harding, that he can, indeed, carry a man across the history records that Blondin didn’t crash at Pippa Williamson; Jennifer, Receptionist, 1100 feet over the Niagara Falls. He plays 45) is sustained throughout the walk. Dur­ Valerie, Nurse, Assistant, Adoptions Officer, ing their final preparations Carlo has last- Adele Lewin; Doctor, Seminologist, Gynae­ the part as an arrogant loner, self-reliant, cological Surgeon, Area Adoptions Officer, Ian professional, a little vain. The costume — minute stage fright. Emergency measures Scott. acrobat’s rompers, contrasts arrestingly are rehearsed at fever-pitch. And our con­ with the neatly bearded face of the cern works two ways: Carlo is unstable, he Going along to the Greenroom on an un­ charlatan, creating a sort of Tudor look — can either lose his nerve and bring them seasonably hot April night, I found myself an Elizabethan adventurer in a circus tent, both down, or he can give way to his free­ hoping with even more than the usual with a clothesline background and under­ wheeling imagination and force them both fervency that the real magic would be pants hung up to air. At the time of the off the wire in sheer exultation. Either way, worked. Without airconditioning, -the play, Blondin is 45 and a celebrity, having he makes a dangerous backseat driver. But Greenroom, a tiny little box of a theatre, walked tightropes ever since he was an ex­ it is Blondin, strained to the point of ex­ makes a fair try at an accurate 20th- ploited boy-wonder of five. He achieves haustion, who causes our moment of pan­ century reconstruction of the Black Hole breath-taking things suspended 160 feet ic. At the halfway mark he freezes, and it is of Calcutta and one needs the real above the chasm, now with a wheelbarrow, the visionary, Carlo, who talks them theatrical magic to transport one from the now with an omelet pan. But he cheats across the rest of the way, pleading, swear­ gross and fleshly earth where sweat trickles over the number of eggs he uses, and this is ing, joking, cajoling. It is a mighty scene. irritatingly down the face and neck and the the point of contact with young Carlo, a Throughout, they manage to sustain the il­ breath comes short and gaspingly in a fetid determined lad with a telescope, who has lusion of the tightrope with the faint atmosphere of hot, thick and still air been watching Blondin for 14 years — ever suggestion of vertical swaying, whilst a liberally suffused with the garlic after­ since at the age of four he conceived the swirl of mist and distant thunder supports odours supplied by the lucky gentleman in ambition to ride on the great man's the illusion. the seat behind, who obviously enjoyed a shoulders and share his unique experience The play is a mixture of poetry and pre-theatre Italian meal. Without the of walking in the great void. profound and yet often teasing insight. The magic, one comes away remembering little Carlo is an idealist with an obsession — images of unfettered sky-walking and the of the play and altogether too much of the a hothead with a plan of campaign. He whole complex web of dreams and fears discomfort of the place.

58 THEATRE AUSTRALIA JUNE 1977 Unfortunately, the current production ourselves into extinction. A metaphor, in runs counter to the kind of demand the of David Rudkin’s Ashes does not deliver fact, for just about everything about which play makes for our sympathy with its cen­ the goods. It comes annoyingly close, but it is currently fashionable to be both tral characters. ultimately fails. I think there are two pessimistic and concerned. And in doing so Lack of directorial authority is most evi­ reasons for this failure: the first is intrinsic he overloads the play. Complexity of sym­ dent in the case of the support female ac­ to the play, the second to the direction. bolic reference is fine in a piece that tress, Adele Lewin, who plays sundry To begin with the play. Ashes is achieves coherence, but in Ashes is merely nurses, adoption officers and friends re­ Rudkin’s first success after the powerful confused. The interconnected themes of quired by the script. One scene calls for a Afore Night Come. It depicts, in harrow­ senseless violence, disinheritance and a particularly insensitive female called ing detail, the attempt of two sensitive and general extinction in which the species Valerie to chat with a bed-bound Anne intelligent people to become parents, in the collaborates do not emerge in any about babies, pregnancy and related face of a seeming inability to conceive. The necessary or inevitable manner from matters. Miss Lewin played Valerie in a extended agonies of sperm tests, ovulation Rudkin’s depiction of the particular case broad comic style, and within the para­ charts, copulation by calendar are borne of Colin and Anne, but seem rather as if meters of that style played her well, with by Colin and Anne Harding with the they have been tacked on afterwards. but the style was badly against the grain of help of a wry and self-deprecatory humour Consequently Rudkin, in trying for greater the rest of the production, and the director and by dint of a tender caring for one “significance”, has corrupted what could should not have allowed the interpretation another. Finally conception is achieved, have been a very good play, and done to stand. but, cruelly, the pregnancy fails, Anne mis­ himself a great disservice. Pippa Williamson seemed better able carries and in consequence has a hysterec­ The confusion intrinsic to Rudkin's play than the other performers to maintain her tomy. Sterility is now a fact and Colin and is abetted in the Greenroom production, by conviction in her part, and gave a very con­ Anne’s last hope, to become parents by Andrew Ross’s direction. With a play sistent and finely controlled performance, adoption, founders on the rock of a deliberately structured so as to implicate distinguished by a fine judgment of the bureaucratic ruling of “unsuitability” . the audience in the action, as Ashes does, character-audience balance mentioned the actors must maintain a fine distinc­ before. Ian Scott, playing sundry members So far so good — the first two acts are tion between sympathetic interaction of of the medical profession and county intense and moving. There is a feeling of character and audience and the kind of bureaucracy, did well with relatively un­ autobiography about it all, and scene after actor-audience conspiracy more ap­ demanding material. scene is shot through with a pressure of im­ propriate to true comedy or the epic The inconsistencies and confusions of mediate experience realised as dramatic theatre. The director must insist on this this production are summed up in the truth. But with the third act, and a long distinction, and Andrew Ross has not. frankly irrelevant extract from Clive soliloquy from Colin about a return jour­ Consequently there is an inconsistency Lumpkin's The Battle of Bogside which ney to his lacerated homeland, Ulster, about the performances, which is most graces the programme and indicates a Rudkin leaps off the deep end. He makes marked in the case of Dennis Miller, an ac­ quixotic insistence on somebody’s part that the truth of Colin and Anne’s shared ex­ tor of considerable talent, who plays Colin. the play is “about” the Irish Problem. It is perience of sterility a metaphor for the There are moments between Miller and a case of Rudkin having tried to enforce failure of will in the Irish to end their Pippa Williamson (Anne) which are ab­ such a connection in Ashes and having senseless slaughter of one another, a solutely convincing, but there are other succeeded only in throwing up sufficient metaphor for the sterility of welfare-state moments, particularly when Miller has the dust to obscure its very real merits, which government, a metaphor for our unfor­ stage to himself, when misjudged audience remain the honesty and compassion with tunate tendency, as a species, to pollute by-play creates an alienation effect which which the predicament of Colin and Anne is treated, an occasional marvellous use of language and, in the first two acts, a sure and economical management, scene by scene, of a painful journey through concep­ tion to failure and sterility. I dislike having to be unkind, so it’s pleasant to be able to balance the forego­ ing comments on Ashes with a few short, but laudatory comments on some amateur theatre currently going forward in Perth. The Undergraduate Dramatic Society at the University of Western Australia cam­ pus is currently presenting a season of three one-acters at lunchtimes in The New Dolphin Theatre. So far we have had Strindberg’s Creditors and Max Richard’s Cripple Play. Creditors was directed by student, Karl Zwicky, who handled this notoriously difficult writer with remarkable assurance, eliciting good per­ formances from his student cast. The role of the wife was played by a young actress, Greta Scachi, who is possessed of a fine presence and mature control. The second play, New Zealander Max Richard’s harrowing monologue for female voice, The Cripple Play, makes enormous demands on the performer, who delivers, from a wheelchair, a rambling 45-minute speech laced with bitterness and irony. Two student actresses alternated in the part for the season of one week. I had the great pleasure of seeing Wanda Davidson give a faultless and moving performance.

THEATRE AUSTRALIA JUNE 1977 59 The next play will be the all-female Rites, But this contrivance is only the basis for a ugly instinct for emotional self-preser­ and one hopes the high standard already more extended look at emotional patterns vation disguised as geniality. That is what achieved in the first two plays will be main­ in marriage, which focuses the comedy on finally disgusts Diana. tained. The existence of a pool of develop­ another kind of absurdity altogether. As might be expected, the production ing talent of the high order evident in UDS The play quietly reveals the pathos of came to grief most seriously at those productions so far this year augurs well for several marriages and relationships which moments when emotions, which had been the future of theatre in Perth. are in the process of failing because, in repressed out of deference to the social oc­ each case, one partner’s genuine feelings casion, came to the surface. Such moments and constructive efforts are rebuffed by the are characteristically accompanied by a “The relentless pace opposite number’s habitual insensitivity, touch of grimly funny bathos in Absent selfishness, passivity or implacable host­ Friends, requiring a very tactful balance. of the production ility. The irony is that only the bereaved Diana’s collapse, for instance, begins with Colin is happy, indeed, distressingly the pouring of a jug of cream over her . . . allowed no time happy, with his sentimental memories. He, husband’s head. Happily, the pace of the too, is one of the ironclad survivors in the second act, in which these crises occur, was for the emotional game of love. pulled back a little, presumably in prepara­ The pattern of stresses which develops tion for the emotional high points. For that patterns to develop” between the characters reaches a climax reason the second act seemed more when Diana has a nervous breakdown at promising, but any moderation of pace tea, a crisis which is jointly precipitated by came too late to base the crises firmly on the sub-text. ABSENT FRIENDS the discovery of her husband’s infidelity and by her inability to penetrate Colin's Another weak point in the production BILL DUNSTONE remorseless geniality. Ayckbourn develops was its failure to get the social back­ this emotional pattern through skilful un­ grounds of the sets of characters into derstatement and comic deflection of the sharp focus. Perhaps the force of class- crises which lead up to the breakdown in distinctions in British society is difficult for Absent Friends by Alan Ayckbourn. National Act 2. Characters like Marge, who us to grasp. The problem may be generic. Theatre Company by arrangement with Michael Codron, at the Playhouse Theatre, humours her grotesquely hypochondriacal So, too, may be our apparently habitual Perth. Opened 21 April 1977. Director, Aarne husband over the telephone, and Diana, inability to appreciate the extent to which Neeme; designer, Anna French; stage manager, who cracks after years of marriage to the character is determined by class in a socie­ Christine Randall. hideous Paul, are sympathetically depicted ty based upon fine gradations of class- Diana, Carole Skinner; Evelyn, Tiffany Evans; Marge, Leith Taylor; Paul, Leslie Wright; John, by Ayckbourn as victims made vulnerable distinction. Class-distinction is built with fan Nichols; Colin, Alan Cassell. by their own honesty and generosity. Absent Friends as a factor contributing to Carole Skinner, as Diana, and Leith the conflicts and attitudes of the The Playhouse production of Absent Taylor, as Marge, seemed to understand characters, and thus as a determinant of Friends suffers from too keen a devotion to this grim comic irony, but they pitched the ills which befall marriage. The knack broad farce where more subtle direction their performances to the relentless pace of of portraying the subtle but telling and playing would have been in order. the production, which allowed no time for differences between the behaviour of a cou­ Aarne Neeme's direction concentrates the emotional patterns to “gel” or develop. ple who have “made it” into the executive almost soley on getting a quick response to They were also hampered by a lack of class and that of a couple who are still “on the rather slender farcical situation in the support from the male roles. Alan Cassell the make” seems to have been beyond the play, at the expense of the sustained com­ seemed to be astray in his interpretation of stylistic resources of the present company. edy of characters which holds the play Colin as a gormless, grinning inept. The But then, there was no place for such together and provides the basis for whole of the second act, and Diana’s nuances in a version of the play which sub­ Ayckbourn's sobering reflections on sub­ break-down in particular, depend on the stituted mannerism for accurately observ­ urban marriage. It could be that the direc­ portrayal of Colin as a man with a rather ed manner. ■ tor deliberately stepped up the pace and laid on the emphasis in order to get the play across the dead spaces which divide the stage from the audience at the Playhouse, but even so, the tone and pace THEATREMUSIC of the production lacked variety, and the We offer Australia's widest selection of specialist music. No pop music stridently mannered acting was no sub­ no dreaded 'middle-of-the road' and no A BBA. We do offer the best in stitute for the understated playing of the Spokenword, selected Classical, Political, Folk Arts, Early Jazz, Blues, sub-text called for by the play. New Songwriters, Ozmusic and Ethnic music. Our 'mixed' racks offer As Ayckbourn has said in an interview, plays, theatre music, odd sounds, whales grunting and anything else you Absent Friends is far removed from the might need for theatre production. Our records pop up at the best contrived patterns of action of the “ well- theatres in Australia. made” play. The main emphasis in the play is on character, and its action is Mail Order: Send a S.A .E. for our 40 page catalogue. deliberately scaled down to a series of con­ versations at a suburban tea-party. There is an element of farcially absurd contrivance in the action, in that Colin, whose fiancee has recently drowned, has been invited to a tea by Diana to receive the condolences of three of his old friends, who, inexplicably, have not seen him for three years. The other contrivance is that one of the guests, Evelyn, has recently had a “once- 58 Oxford St., Paddington, 2021 off” affair with Diana’s husband. Diana knows; and Evelyn’s husband, also at the (near Victoria Barracks) Ph: 33-3980 party, condones the affair because of his open normal business hours. business interests with Diana’s husband.

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THEATRE AUSTRALIA JUNE 1977 61 Theatre Victoria

presentations on TV, Alfred Hitchcock’s somewhat haywire and believed there was 1930 film version. too much comedy creeping in. Yet that “On opening night According to director Hitchcock, it was shrewd critic James Agate, reviewing the “just a photograph of a stage play” . But it first London production in 1925, wrote: the actors were did contain three of the 1925 London “Jw/70 and the Paycock is as much a production’s original cast: Sara Allgood as tragedy as Macbeth, but it is a tragedy far from working Juno, Sydney Morgan as Joxer and Maire taking place in the porter’s family. Mr O'Neill as Mrs Madigan. The Irish sisters O'Casey’s extraordinary knowledge of as an ensemble” Sara and Maire, together with the latter’s English taste — that he wrote his play for husband, Arthur Sinclair, in fact acted in the Abbey Theatre, Dublin, is not going to several productions of the play, with Miss be allowed to disturb my argument — is JUNO AND THE PAYCOCK O’Neill playing Juno when her sister was shown by the fact that the tragic element in RAYMOND STANLEY unavailable. Juno was said to be Miss All­ it occupies at the most some 20 minutes, good’s favourite role, and she was still per­ and that for the remaining two hours and a forming it on Broadway in 1940. half the piece is given up to gorgeous and Lacking the film version, we have Ray incredible fooling.” Juno and the Paycock by Sean O’Casey. Lawler’s production at the Athenaeum, The background to the play is the Athenaeum Theatre, Melbourne. Opened 5 which, hopefully, will be in better shape Civil War in Ireland, but the production May. Director, Ray Lawler; designer, Tony Tripp. when the company has given more perfor­ manages to make this appear merely in­ Mary Boyle, Natalie Bate; Juno Boyle, Pat mances. On opening night, after two dress cidental, one never gets a feeling of fear Evison; Johnny Boyle, Gary Down; Jerry rehearsals officially known as Young behind everything. Maybe this is what peo­ Devine, Peter Curtin; Captain Jack Boyle, Parents’ Previews, the actors were far ple meant by the stress on comedy. Frederick Parslow; Joxer Daly, Edward Hepple; Sewing-Machine Man, Roy Baldwin; Coal Ven­ from working as an ensemble. The Juno of Pat Evison seemed to be dor, Peter Dunn; Charlie Bentham, David When the lights went down, one was hit played throughout in a minor key. She Downer; Mrs Maisie Madigan, Sandy Gore; by a barrage of Irish accents of varying appears such a nice, timid, subdued intro­ Neighbour, Sally Cahill; Mrs Tancred, Jac­ dialects, which made the first quarter of an vert that one cannot see for one moment queline Kelleher; Needle Nugent, Robert Hewett; The Mobiliser, Barry Hill; First Fur­ hour hard to follow. Now, there is nothing why her husband should be so scared of her niture Man, Roy Baldwin; Second Furniture better than a rich Irish brogue, and it can as to hide his friend Joxer at her approach. Man, Robert Hewett; Irregular, Peter Dunn. be quite hypnotising as Micheál Mac­ It was altogether a lightweight perfor­ Líammóir has frequently demonstrated. It mance, which, in my view, unbalanced the In the television ads Ivan Hutchinson tells can also camouflage an indifferent perfor­ play; a prime case of mis-casting. us that we won't see Juno and the Paycock mance. Most of the members of the cast In contrast, Frederick Parslow’s Cap­ on that station, we won’t see it on any appeared so engrossed with retaining their tain Boyle ranted — much too loudly — other station, in the cinemas or the drive- accents it quite obviously affected their ac­ and gave little indication of the “peacock” ins, but we can see it that night and every ting; occasionally Juno’s Celtic had a Scot­ image O'Casey intended. One has seen other night live at the Athenaeum Theatre: tish ring to it. Parslow play Irishmen to much more on “Channel 5” . Perhaps it would have On opening night several people with effect than this. been better had Hutchinson arranged for whom I spoke, not acquainted with the The stand-out role in the play is the us to see, among his Movie Milestones play, considered the production had gone short cameo provided by Mrs Tancred,

62 THEATRE AUSTRALIA JUNE 1977 grieving for her recently killed son. It is a Mackenzie; Judas, Terry Dansic; Duke, Phil Peter Pan, instead of being treated as a wonderful part, and here was given full Gardiner; Secretary, Geoff Street; La Belle diversion for small, dreamy children has Jehanne, Rosemary Springle; Lady-in-Waiting, justice by Jacqueline Kelleher (Mrs Ray Karen Judd; Physicians/Priests, Ian Mathieson, been turned into a dream-like adult enter­ Lawler), who had taken it over at short Adrian Ryan; Priest, Bishop, Peter McMullen; tainment. It casts a fat, balding Australian notice because of the enforced absence of Count, Peter Freeman; Duchess, Helen Brieder. as Peter, a gay skinny male as Tinkerbell, Irene Inescourt. She brought out in one Peter Pan, adapted from J. M. Barrie. Fringe a John-Cleese-like Mr Darling/Captain Theatre, Guild Theatre, Melbourne. Opened 14 brief scene the gusto, the “ bigness” and April, 1977. Hook, and blonde ingenue as Wendy and pathos so lacking in the production’s Juno. gives plenty of room for interpretation of One performance which seemed exactly Melbourne University has been one of the what really went on between parents and right was Edward Hepple’s Joxer, every unsung heroes of the Australian theatre, children, Wendy and Hook, and everyone minute inch of him looking and acting like mainly, I suppose, because those people with the pirates, mermaids and Indians. an Irishman born and bred. The Mary who have gone through the place would The main axis of the production is the Boyle of Natalie Bate grew in stature so rather forget the institution that caused all dichotomy between the real, mundane, that by the end of the play she was really that pain and aggravation. Also because, boring, exploitative world of parents and fine; and Gary Down, as her one-armed unlike American factories, “creativity” oc­ work, and the free, dreamlike, imaginative brother Johnny, also improved as the even­ curs in spite of the courses rather than world of children. But these children, or ing progressed. David Downer, the one because of them. Melbourne University Wendy at least, are growing up, becoming actor with the MTC who consistently gives has existed as a sometimes benevolent, aware of their sexuality. It is still Peter a good performance, was again a stand-out sometimes nasty milieu where a great Pan, but a knowing Peter Pan. as Charlie Bentham, the smooth seducer of many people have done a great deal in the This style, of jumps in time and place, of Mary. theatre. bizarre apparitions, of nightmares and Maisie Madigan provided Sandy Gore Immediate examples are the Melbourne magic has been achieved in very simple with another character to add to her Theatre Company, which began as the ways. The setting is just a blue floor with gallery of visual grotesques. In Summer of Union Theatre Repertory Company and three white cubes on it. The ocean is a the Seventeenth Doll she gave every still maintains a few useful apronstrings: parallel series of ropes a few feet from the appearance of being a drag queen; here she Barry Humphries, Jack Hibberd, Graeme floor. Mr Darling becomes Captain Hook resembles Widow Twanky, straight out of Blundell and a number of others in­ with the addition of a twisted coathanger pantomime, which is merely a disguise for strumental in the creation of La Mama on one hand. Troops of Indians and the good-natured Sandy Gore beneath. and the Australian Performing Group. In Pirates and Lost Boys jump and yell from Despite performances and deficiencies George Whaley’s time as director of stu­ time to time. The whole thing does, in production, every so often there are dent theatre, many excellent productions however, achieve some sort of coherence. wonderful moments when Lawler, for of new Australian plays were mounted, in­ It could have done with half an hour whom one has the highest regard, has a cluding Dorothy Hewett's Chapel Perilous chopped out, some of the grosser physical firm grip on the proceedings. There are a and Bill Reed’s Truganini. Jam es and vocal excesses pruned, and some of the poignant few minutes, for example, when McCaughey began Theatre Projects there. parts better cast, but it was still an en­ one hears the sounds of young Tancred’s More recently, under the current Direc­ joyable evening. The use of rhetorical funeral outside. tor of Theatre, David Kendall, a new speech and some very formal, almost Tony Tripp’s set — a large room in a period of fruitful work has occurred. Ken­ mechanical blocking worked quite well. decaying house which has certainly seen dall, this year is reproducing a range of better days and is now adapted to accom­ Australian plays to mark the decade from The Painted Devil, is concerned with modate the impoverished Boyles — is fully his first production of White With Wire just as weighty issues — life, death, religion, up to his usual standard, which is very high Wheels in 1967, and the important in this case. It is not so much a perfor­ indeed. Hibberd season, Brainrot, in 1968. Not mance piece as a kind of ceremonial When the MTC mounted O’Casey’s The coincidentally, this year is also the 10th an­ procession by one Rost, a painter, ac­ Plough and the Stars a few seasons back, it niversary of the first production of La companied by Aleyt, a whore, through was a milestone and one had hoped Juno Mama, again unsurprisingly a Hibberdian various bizarre, Bosch-like experiences would have reached such a peak. Alas, this piece entitled Three Old Friends. with madmen and priests, actors and time the ingredients seem all wrong. But these birthday celebrations are not death. This Rost is some combination of the only important things happening. Candide and Quixote and Everyman, There is also the arrival of several much concerned with observing and trying, “A good student groupings of students and semi-students ruefully, to figure out what this medieval who seem to be committed to working in Ship of Fools is all about. production gives a the theatre. Several shows last year, in­ There’s a crazy Duke with an immense cluding Wedekind’s Spring Awakening, growth on his stomach. There’s a troop of mediocre production H andke’s Offending the Audience, strolling players doing Judas, or perhaps it Chekhov’s The Seagull and Shepard’s is Judas. There’s God and the Devil, with by anyone else a run Geography o f a Horse Dreamer, were works by the latter. There’s cannibalism, among the most imaginative that I saw. the plague and other assorted joys. There’s for its money” They were done by Melbourne University a lot of Latin. Student Theatre, Fringe Theatre and Mel­ It all adds up to quite an experience, ex­ bourne University Theatre Experiments. tremely well performed, especially by THE PAINTED DEVIL That is not to say that they weren’t student Peter Finlay as Rost and Bernadette PETER PAN productions with a problem or excess or Brouwers as Aleyt. It’s also a bit two, only to say that, as student produc­ mysterioso and religious for my liking, GARRIE HUTCHINSON tions, they were exceedingly good, and that coming across as a sort of cross between a good student production gives a The Seventh Seal and A Stretch o f the mediocre production by anyone else a run Imagination, but there's no denying the in­ for its money. tegrity of Edwin Batt’s production. The Painted Devil by Colin Ryan. Melbourne University Theatre Experiments for the Two new shows indicate that last year’s Colin Ryan is a playwright worth Melbourne University Union, Guild Theatre, momentum has not been lost. They are an watching, but he, like all the current crop Melbourne. Director, Edwin Batt; designer, adaption of J. M. Barrie’s Peter Pan, by of actors, directors and writers at Barbara Ciszewska; lighting, Robert Hall; stage Fringe Theatre, and a new Australian play Melbourne University, will soon have to manager, John McLoughlin; music, Caz Masel. Child Death, Barbara Ciszewska; Nicholas The Painted Devil, by Colin Ryan, for get out. There’s no future there, beyond Rost, Peter Finlay; Aleyt, Bernadette Brouwers; Melbourne University Theatre Experi­ disappearing up the ivory tower never to be Despair, Greg Moylan; Melancholia, Margaret ments. seen again. ■■

THEATRE AUSTRALIA JUNE 1977 63 Barry Lowe Films

Pure S Don s Par tv

thinking goes, if everyone was out enjoying “Although the subject of the film did not themselves, who would run and work the factories? The film will probably find its affront me, audience reaction did” audience among the converted, the univer­ sity and alternative-culture cinemas. It’s a pity, for the lifestyle portrayed, albeit romanticised, is as restrictive and un­ satisfying as the alternative. Where does this leave the people like me who find little difference between what each culture offers?

Top of the repulsive stakes, however, must be the people who turn up at Don’s Party on the eve of the 1969 Federal election. David Williamson’s stage satire of ageing radicals comfortably secure in their well­ paying jobs and their suburban homes has misfired somewhere in its transfer to the screen. Don’s Party is a play I love, but the film seems to have foresaken much of its I’m a pretty passive sort of person and I harmful, and his treatments are no more scatalogical humour to concentrate on believe in the rights of the individual to in­ than experiments with human guinea-pigs. those tiresome yobbo Ockers. I have very dulge in anything he wants to provided it The police are presented as their little patience with the film, directed by does not interfere with the rights of others. derogatory nom de plume, “pigs” , would Bruce Beresford, which I find tiresome and So I have no objections to people who wish suggest. And again, having had ex­ plodding. The acting is adequate, but to take drugs, to have an abortion, or com­ periences with paying off police (no dear, many of the cast were unable to bring mit suicide. So the subject of Pure Shit, commissioner I have no proof) and being much to life. Graham Kennedy is good as directed by Bert Deling, about 48 hours in hassled by them for no reason, their por­ the poor sap who likes to photograph his the life of heroin-users did not affront me. trayal as power-crazed bionic morons is mates making love to his wife, and Ray I did not, like one Melbourne critic, find it spot on. The film, and I concur with the Barrett is good as the loud-mouth friend of “the most evil film ever made”, nor did I view, does not suggest that all police are Don, but Harold Hopkins is too hip and find it one of the best new local films, as corrupt. But to paraphrase a particularly good-looking as the womanising Cooley. I Bob Ellis did. Though if not one of the apt line from Boys in the Band, “ Show me longed for the cheeky exuberance of John best, it is certainly one of the better films a good cop and I'll show you a dead one.” Ewart and, in the role of the Liberal lady, from our current upsurge in cinematic At last to the film itself. Pure Shit, or the scatter-brained qualities of Wendy creativity. Pure S, as it was euphemistically called on Blacklock. Although the subject of the film did not posters and in newspaper ads, follows two The film offers a chance at self- affront me, audience reaction did. In a girls and two boys in their search for a hit. flagellation, to exorcise the Ockerness we scene in which Gary Waddell and friend It shows that the addicts are the other all have within us. We all know people who hold up a chemist shop in their search for side of the consumer coin to the capitalists behave like the guests at Don’s Party. In drugs, they use violence, which I abhor. and their obsession with materialism. Both fact, in one way or another, we all behave Even though a monkey-wrench and a knife get their kicks from consuming: one from like them. The Ocker tradition lies dor­ are used in the robbery, the audience were the “high” that his drug gives him, the mant in all of us. all onside with the thieves and hissed loud­ other from the “high” he gets from I’m not convinced yet that Williamson ly when a customer in the shop wrestled material wealth and executive power. One can write for the screen. His stage plays do the knife from one of the thieves and cut spends his life working/stealing to get the not transfer from one medium to the other. him on the head. When it comes to pre­ drugs he craves, the other works/steals for His larger-than-life stage creations become judice and cliche, the Wasp (White Anglo- the power and prestige he craves. monsters on film. In Don’s Party, Bruce Saxon Protestant) society does not have a The drug world is more openly hed­ Beresford has opened out the script and monopoly. onistic, but it, like Big Brother’s world had added nothing, and the film has lost all Much space was devoted in the press to outside, has its own mores and moral code. the satirical bite of its stage model. The the portrayal of authority/establishment It has its own strata in which one class words are the same, but Beresford has figures in the film as antagonistic, brutal looks down on another: in the film divided created, not a maliciously witty film, but a and/or stupid. But in the context of the into heroin and non-heroin users, the boring booze-up. film the depictions are understandable. pimps, the cheats, the egotists, and the The critics, falling over one another to Psychiatrists have never been a strong offbeat. There is as much madness there as show how sophisticated and anti-Ocker love of mine since I worked at Sydney’s there is in the mainstream. they are, laughed on the outside while cry­ Gladesville Hospital, and the smug com­ The milieu of Pure Shit is alien to ing on the inside, no doubt complimenting placency of Max Gillies as a television hip the great “silent majority” who are themselves on their lack of similarity to the mental medico who extols the merits of “educated” by newspaper and television characters. As for me, I found it a bloody methadone treatment rings true. His con­ current affairs programmes which are out bore and could hardly wait for it to be descension to drug-users is appalling and to uphold the status quo. After all, the over.

64 THEATRE AUSTRALIA JUNE 1977 David Gyger

Lingwood’s crisis of identity

to adjust — to achieve the dual viewpoint “I like to convey the gut feeling at the required in this situation. You must be able to let the design side ride, once you essential level where the audience is have done your best in that department, and look at the work solely from a direc­ compelled to react. . . ” tor’s viewpoint. In this situation you have an enormous responsibility to the perfor­ “ If you are, like me,” says Tom Ling- ming artists — even more than as a wood, “more than just a designer, you designer pure and simple. It’s enough to can't tolerate the situation of being flung in keep you lying awake at night.” with others in a production team. It’s very Following the Perth Carmen, which was hard to find a director one can make a hap­ acclaimed as a success, Lingwood was un­ py marriage with; in opera, it’s harder yet expectedly asked to be producer-designer than in straight theatre because there are of the AO’s 1976 Carmen at extremely three people involved; director, conductor short notice. The problems were immense and designer.” and Lingwood, anyhow, is out of sympathy Lingwood, who has been resident with the view of Carmen held by Richard designer for the Australian Opera since Bonynge, who conducted the opening per­ 1972, and has recently become a member formances of the production starring of the Theatre Board of the Australia Huguette Tourangeau in the title role. Council, is talking about his most recent Bonynge, he says, views Carmen as the crisis of identity. His last previous one, he end of a French opera tradition, whereas says, was largely responsible for his com­ he thinks Bizet consciously set out in this ing to Australia in the first place. work to create something radically Then, in the late 1960s, he was dis­ different. “ I was faced with the problem of illusioned with the commercial theatre either going along with Carmen as a world of London and not aesthetically at­ beautiful French opera of the Massenet/ tracted to the money-dominated precincts Gounod sort or trying to bend the concept of the television world. He was at as an afterthought; in 1971 he did Nabucco to the demands of the drama — it was like something of a loose end professionally; and was expecting to do Trovatore, working within an enormous straitjacket,” but even so he first came to this country although that fell through. Then he was says Lingwood. more or less by accident. He was bemused offered Richard Strauss’s Der Rosen- He sees the production, as it finally by his first negotiations with the then kavalier for 1972, on very short emerged, as “a little conservative” . It was, Elizabethan Trust Opera Company, pre­ notice — so short, he recalls, that he of course, planned with Donald Smith as cursor of the Australian Opera. First he couldn’t do it by post and told the com­ its initial Don Jose, though Smith left the was asked to design Verdi's Otello, and pany so. Whereupon he was offered a per­ AO just before it opened and has never then Fidelio, and each time he said Yes; manent job, and left London to settle in appeared in it; by the end of its first year, but the company changed its mind a sec­ Australia, where he has been ever since. four Carmens and three Don Joses will ond time and finally asked him to design “ I can’t say I’ve not been pleased with have sung the leading roles. La Boheme, which was to be directed by the strengths and successes that have Carmen is the third AO production in Renzo Frusca and conducted by Carlo come my way during that period,” says which Lingwood has had a directing hand: Felice Cillario, both of whom were in Lingwood; but increasingly he has ended he co-directed the 1975 Aida with Stephen Europe at the time. Cillario was conduc­ up in conflict with directors he has found Hall, and his first design-directing stint for ting in London, and Lingwood recalls hav­ himself working with almost by accident. the company was the 1976 concert-hall ing gone round to see him to ask whether Thus arose his current crisis of identity, version of Richard Strauss’ Salome. He he should have anything to do with this an­ which he now thinks may result in his em­ agrees that Carmen, at opening, was not tipodean company that seemed unable to bracing a whole new career as a designer- dramatically as good as he would have make up its mind about what it wanted director. It all started off, as so many liked. him to do. things do in a creative life, virtually by ac­ “ But we have been working at it very “ You go to Australia,” said Cillario; cident. hard since,” he says, “and we are winning. and Lingwood, impressed by the man with “ I seemed to be faced with a clear-cut The company has come around behind me whom he had struck up a friendship that choice,” says Lingwood. “ Either I could in the past year; we have gone a long way has lasted to the present, obeyed. stay at the Australian Opera in some pure­ ahead and I’ve gained the courage and “ I arrived to do Boheme," he recalls, ly administrative capacity and give up CQnfidence to believe I am able to operate “expecting nothing very pleasant; but I fell designing altogether — which I didn’t want successfully on the level of a designer- in love with the company.” And what had to do — or I could get out of the AO and director. begun as a tentative filling-in of a gap in be a free-lance guest designer. I was think­ “ I know I’m still a beginner as a direc­ Lingwood’s career developed quite rapidly ing about these alternatives when the Perth tor, but I’m much more confident now that into a long-term association, if not always Carmen came up in 1975 — a combined I won’t let them all down. It’s a grim time an untroubled love affair, with the com­ designer-directing stint — and I tried it. when you’re in the middle of a host of pany which has dominated his professional “ It was a whole new thing,” which had problems, but if you can fight them life ever since. its problems, Lingwood says in detached through they can turn out to be the best In addition to Boheme in 1970, he recognition of the schizophrenic role any things you ever do. There’s a tendency in designed Verdi’s Force o f Destiny almost designer-director must play. “ It takes time Australia to give up at just the moment

THEATRE AUSTRALIA JUNE 1977 65

when a little more effort would do the The trouble with working in Australia, backstage difficulties of the Opera House: trick. Nothing worth while or memorable he says, is that you are so cut off from the “As long as that building stands, it will is ever achieved except by that extra world and so are your audiences. “Some always be a battle — like working with attempt.” people say everything's marvellous; others one arm tied behind your back,” says Right at the moment, Lingwood is in the say nothing is any good; and both extremes Lingwood. “The company has given much middle of one of those “grim times”, beset are, of course, wrong. The way of life here to the Sydney Opera House; but the by the problems involved in designing a is very much more American than British. building gives a lot in return. It helped to new production of Tchaikovsky’s Swan I like the enthusiasm and energy, the slight put Australia on the world cultural map; Lake for the Australian Ballet — to be roughness around the edges, the tendency the whole madness of ever having built it is premiered in Melbourne later in the year. for things to be blocked in rather than fine­ an inspiration of a sort. Without it, would Apart from a couple of productions for ly finished.” And he sees in the performing we have had all those other new arts com­ Sydney’s Music Hall Theatre Restaurant, arts the reflection, perhaps, of these plexes: the Adelaide Festival Centre, it is his only non-operatic work since he national characteristics. Melbourne, Brisbane, etc.?” joined the AO. But he laughs when asked if “What still exists here,” Lingwood says, But after such a great leap as the one this will be his first venture into the field of suddenly focusing very specifically on the required by Sydney’s $100 million sculp­ designing for ballet. It's only since he came Australian Opera, “is that it’s a company. ture of an arts complex, how does one to Australia, he says, that he’s become so There's a genuine enthusiasm and belief in forestall a sliding backwards? “You must closely associated with opera. “ I’ve always what they’re doing. In Europe you often have inspiration in the moment of believed in a mixed-media career,” he get polish and style and detail at the ex­ decline,” says Lingwood, “a cause to help says. In fact, it was through a ballet he pense of the heart of the matter — that’s you build up enough inner charge to give of designed in 1951 that Lingwood first broke not even there, sometimes. I like to convey your best at every performance. Otherwise into the big-time theatre world of London. the gut feeling — drama, horror, etc. — at the artists rely purely on technique; they Lingwood had a mad three-year career the essential level where the audience is can achieve competence, but their work in the British Army — worthy grist for a compelled to react. You can lure an will lack excitement.” Sellers or a Guinness comedy — during audience in with carrots, but unless you In this area, he says, good administra­ World War II. Assigned to a map-drawing can get through to them they won’t come tion is vital; and he is not uncritical of unit in the North African desert, he at­ back. The basic thing is to grip them some aspects of the administration of the tached himself unofficially to a British before you go for the deeper, more intellec­ AO in recent years. “ Management must be drama company in Cairo and subsequently tual levels . . .” businesslike and capable, but it must also spent most of his tour of duty in the Mid­ Yet Lingwood does not feel the be part of the performance. However well dle East building theatres and designing Australian Opera has succeeded as well as it handles administrative matters, it will shows to entertain the troops from Malta it could have — particularly over the past not be totally effective unless it helps to to Nairobi to Haifa and Tel Aviv. When he year or so, in the inevitable let-down in the produce and maintain the necessary was due to be demobbed, he was branded aftermath of the opening of the Sydney emotional charge within the company. We as a deserter and had some anxious Opera House. “ It had to make a huge leap are selling humanity; human beings in moments before the army finally let him in 1973,” he says, “and then, having done dramatic situations are our stock in trade; go. that, the problem was to maintain the and managements must never forget this. When he left the service, he spent some emotional charge necessary to keep on giv­ “Everybody involved in the company time in the English provinces and had ing top-rate performances.” must be part of it: the performers, the enough success to convince him to try his Everyone knows by now about the backstage staff, and so on right down to hand in London. He had a rough time of it the last secretary. There’s no room for to start with, but eventually met a friend tokenism in a performing-arts company.” on a bus who suggested he should try the As a captive company in a small world, Ballet Rambert, which ran workshop says Lingwood, the AO has its own sessions on Sunday evenings at the historic peculiar problems; but everyone knows Mercury Theatre. Lingwood designed an they will be together next week, and a abstract one-act ballet there in 1951, which sense of camaraderie can arise from that went well; and after he had done a couple very fact. Such a sense helped the AO to more, he was noticed by the London cope with last year’s financial crisis and Festival Ballet, where he created a jazz the emotional let-down in the aftermath of ballet in 1952 called Symphony for Fun — the opening of the Sydney Opera House. which was so successful it toured the world “The company said to itself it simply for 11 years, and even reached Australia. wasn’t going to put up with going along the Then Lingwood was on the way, and had bottom of a trough; it must rise above it — considerable success not only in ballet, but and it did.” in drama and musicals. At one stage, in Lingwood sees a danger, though, that 1954, he had six plays running at once in the AO may fall into a real artistic rut if it the West End for a fortnight. Then he was doesn’t watch out. “Sydney is beginning to lured into commercial TV, when it started take its massive twin opera seasons each in London, by the big money involved, and year for granted; Melbourne people feel from that he moved into film. But they’re in a trough because of the Sydney Lingwood had set his sights on the classical Opera House; they are waiting for their theatre — Shakespeare, Ibsen, Shaw, own Renaissance.” Chekhov — and was thoroughly dis­ And suddenly we're talking politics, satisfied with the nature of much of the almost without knowing. The politics of work he was doing. During his career, he the performing arts in post-Whitlam has had lots of success overseas with Shaw Australia, in particular. Logically, Ling­ (“The Shaw plays are very operatic,” he wood agrees, the AO should be able to drops into the conversation as a casual reside in Sydney permanently, but then he aside). He has been asked by the Old Tote goes on without even pausing for breath to to do Major Barbara and Caesar and point out why this will not come to pass in Cleopatra in Sydney, but has not been able the foreseeable future. Touring, he agrees, to accept. But Lingwood adds ruefully: Orianna Santunione and John Shaw is a big problem for any such company not “To this day, in 30 years, I’ve not been only because it costs money in fares and asked to do a Shakespeare play.” accommodation allowances, but because it

THEATRE AUSTRALIA JUNE 1977 67 reduces potential box-office income by problem? If the AO, with the best will in necessarily be the expensive, elaborate restricting the number of performances a the world, can maintain only a token ones; if we don't become more adven­ company can stage in a given period. presence outside of Sydney (and perhaps turous in our thinking next year, the artists “ But it is a simple fact of life, and one Melbourne), might it perhaps not have will start feeling bored — as if they’re in a we must accept, that Australia’s national been better to split available Federal sub­ pensionable job. identity in the arts is bound up with sidies six ways right from the start, and let “ In 10 or 15 years, when all the new politics. The Australian Opera and the each State develop its own opera company, cultural centres in the various States are Australian Ballet receive massive funding even as each now has its own ABC open, we may need two or three more ma­ on the basis of being national companies. orchestra and its own drama company? jor companies to encompass the full range In the case of the AO, even the occasional The answer is a simple No: “ If the opera of music theatre works; but I’m against a loans of artists to Western Australia and subsidy had been split six ways, you three-headed AO in the long run. It’s much Tasmania have been cut off now. Canberra wouldn't have had any of the companies better to have several totally separate com­ is a must, if only as a demonstration to the reaching international standard within 10 panies, each with an identifiable identity.” national government, diplomats, etc., that years.” But eventually, of course, you Adventurousness, perhaps, is the key we take our national franchise seriously.” might have five or six Australian opera word: "I still believe we should be con­ Melbourne may complain that it's hardly companies reaching international level. stantly aware of the necessity to be adven­ done by, but it’s still on the touring agenda But then, there's often more than one turous and at the same time get as much every year; Adelaide misses out this year, way of dealing with a problem; maybe, back for each cent spent as possible. This but Brisbane may still get an opera season says Lingwood, there’s another way of inevitably involves taking calculated risks. late in 1977. looking at the opera dilemma which seems It's a continual problem, too: one can be “You can’t gainsay that we ought to to be confronting Australia at the moment. too gimmicky, but it’s even worse not to be travel,” says Lingwood. “Only when — if “ I'm very cautious and conservative by gimmicky enough.” — Australians acquire an emotional feel­ nature,” he says, “ but every now and then Finally, though, everything comes down ing of Sydney as the nation’s cultural I get myself geared up to take a great leap to money; while we can support an Old capital would it be possible for the AO to into the dark. Tote and an MTC and a QTC and sit there all year round. If it sat there now, “We should be looking much more at equivalent drama companies in the other under present circumstances, it would what can be done to improve the situation States with an annual average subsidy of gradually lose its national status.” Along, in the cities other than Sydney: how we about $600,000, Australia simply can’t af­ of course, with its claim to such massive can present more repertory in a more ford the millions that would be required to subsidies from the Federal Government. economical way. Aida could be mounted in support a similar amount of opera activity. And the AO is not necessarily substan­ a semi-staged version in stadiums, “At the Australia Council,” Lingwood dard, as has sometimes been claimed, perhaps. We should be touring popular says ruefully, “we have endless arguments when it is out of Sydney; “We can be as things to Brisbane — good entertainment about money, but money always has to be good when we're on tour,” says Lingwood, — and possibly flying people to Sydney for tied to something happening. Dreaming “but it's a lot harder. Different orchestras, the Wozzecks and the Albert Herrings. A about ideals and talking about money . . .” different stages, the flu epidemic that hits small-scale season at the Seymour Centre, Too much of the time, that’s what ad­ us every year in Melbourne.” including Wozzeck and Bluebeard's Cas­ ministration of the performing arts seems What, then, is the answer to the opera tle, maybe. The answers needn’t always to boil down to these days.

Pre-publication offer to readers o f Theatre Australia Directed by Ken G. Hall will be published by Lansdowne in late June at a recom­ mended price of $14.95. You can reserve your copy now at $12.50 post free for delivery on publication. This autobiography, illustrated with per­ the ABC under the series title “Click Go sonal photos and stills from his Cinesound the Years” features and newsreels, recounts the life of A large proportion of the book is devoted the pioneer of the Australian film industry. to explaining the past, but Ken Hall draws In the thirties and forties Ken Hall made on his long experience to review the seventeen feature films such as “ Dad and current state of the industry, and in the Dave”, “Orphan of the Wilderness”, and latter part of the book he offers trenchant “ Smithy” , many of which were shown by criticism of recent policies and con­ To Playhouse Press Pty. Ltd. structive ideas for change. 114 Cremorne Street, Richmond, Victoria, 3121 Please reserve m e ...... copies of Directed by Ken G. Hall at the special pre­ publication price of $12.50 post free. I enclose a cheque f o r ...... made payable to Playhouse Press Pty. Ltd. N a m e ...... Address Postcode This offer is valid only until 15 June 1977. Copies will be despatched on publication in late June as stocks are made available from the publishers.

68 THEATRE AUSTRALIA JUNE 1977 Australian Centre International Theatre Institute

YOUTH THEATRE TO TOUR MUSIC THEATRE TRAINING ADDITIONS TO ITI LIBRARY The Australian Youth Performing Arts The International Dance Section of the A Guide to the Australian Theatre. Association has been invited to take part ITI has organised a 10-day seminar on Edited last year by June Collis for the ITI at an International Children’s Theatre music-theatre training at the Roy Hart and dealing mostly with professional Festival in Wales in July. The invitation Theatre, Anduze, France, from 12 August theatre, its policies, subsidies and manage­ was extended by the British/Welsh Centre to 22 August. ment, this informative booklet also con­ of ASSITEJ — the International Associa­ Practical work will consist of group ex­ tains a section on TIE teams, youth theatre tion of Theatres for Young People — of ercises in movement and voice-training, as and puppets, as well as listing some con­ which Australia is a member. well as individual help in singing, acting temporary Australian playwrights, uni­ The production, which will be toured and dancing. Instruction will mostly be versity theatres, and a dozen Australian around Wales and England, is Anne given by members of the Roy Hart drama and theatre books. Harvey’s light-hearted look at the trade Theatre, although participants may join in Directory of Canadian Plays and union movement in Australia, I ’ll be in on instruction also. Playwrights, 1977. This informative direc­ That. This play was commissioned and The dedication of the Roy Hart Theatre tory contains synopses of more than 300 performed by the Tasmanian Theatre-in- members to involvement in inter- plays (including children’s plays), Education Company in 1975. Anne disciplinary-training and life-style will be biographies of 100 playwrights and an out­ Harvey will direct the production with Don the basic structure which all participants line of the work of the Playwrights’ Co­ Bridges (Tasmanian TIE team), Michael will be obliged to respect. operative, Canada’s “ largest fulfilment Siberry (South Australian Theatre Com­ No fees will be required. However, there centre for contemporary Canadian pany), Nano Nagle (Magic Mushroom will be a modest charge for accommoda­ drama” . Mime Troupe, Melbourne) and Kate tion. People interested in attending the The Playwrights’ Co-operative Wilson (Queensland Theatre Company) as seminar should contact the Australian “publishes and distributes contemporary members of the group. Centre, ITI. Applications close at the end stage plays, provides a reading and con­ The Australia Council will help the pro­ of May. sultative service for new and developing ject and support is being sought from other Canadian playwrights, and acts as an sources. The company will leave Australia 30TH HOLLAND FESTIVAL agency and service bureau” . on 30 June. “A Festival of Fools” , a festival of young Scripts can be ordered from the co-op as Companies from Canada, Poland, Iran, performers for young audiences, is one of long as they are prepaid, and discounts are the U.S., England, France and other coun­ the exciting events planned for the 30th available. tries will be at the three-week festival, Holland Festival, being held from 1 June Copies of the directory are available for based in Cardiff. It is the first time an to 23 June this year. $1 (Canadian) each to cover postage and Australian theatre company performing Mozart and Puccini works will be per­ handling from: The Playwrights Co-op, 8 for young audiences has travelled overseas. formed by the famous Komische Opera York Street, 6th Floor, Toronto, M5J Further information from AYPAA, from Berlin and the Netherlands Opera 1R2, Ontario, Canada. 21/6 Farrell Avenue, Darlinghurst, Company; contemporary dance perfor­ Sydney, 2010. Phone: 358 1939. mances will be given by Carolyn Carlson and Le Groupe de Recherches, from Paris; HUNGARIAN PUBLICATIONS the Joyce Trisler Dans Company and Jen­ Dance Information No. 1 THEATRE OF THE NATIONS nifer Muller; The Works from New The International Dance Section of The third world season of the Theatre of York, and the Netherlands Dance Theatre. ITI has decided to publish information on the Nations is being held in Paris from The Dutch National Ballet will present the art of dance all over the world. The May to July. Giselle. Hungarian ITI Centre is collecting, Theatre companies from Belgium, The Birmingham Repertory Theatre publishing and distributing information on Colombia, Japan, Poland, Rumania, the will present Measure for Measure, by professional dance companies’ residence U.S., Venezuela, Yugoslavia, and Spain William Shakespeare, and The Devil is an and staff, first nights and revivals, guest have arranged programmes, and more Ass, by Ben Jonson, in contrast to the New performances abroad and participation in countries are expected to take part. York Shakespeare Festival’s performance competitions in the current year and in the Two workshops are planned, one For Coloured Girls who Have Considered coming season. The first bulletin contains organised by the New Theatre Committee, Suicide when the Rainbow is Enuf, information from professional dance com­ another on the situation of emigrated dramatised poetry on the subject of young panies in Finland, Hungary, Iran and theatrical companies who are temporarily black womanhood. USSR. settled in France. Music-lovers will attend a wide variety Repertory of New Plays, 1976. This The New Theatre Committee is still in­ of orchestral, chamber music, choral con­ bulletin contains information and synopses terested to hear from experimental com­ certs and workshops. of new plays presented in 1976 in German panies wanting to take part in presentation Although Amsterdam will be the major Democratic Republic, Denmark, Finland, of work and discussions. Groups interested centre, events have been planned in other France, Hungary, Israel and Yugoslavia. should write to the secretary of the New parts of Holland. Playscript. We have received an English Theatre, Jean-Michel Ribes, Centre Fran­ People interested in obtaining tickets or translation of the play Matthew by Iceland çais du Theatre, 7 rue du Helder, 75009, programmes should contact the KLM playwright Guomundur Steinsson, Paris, France. Airlines office in Sydney. published by the Hungarian ITI Centre.

THEATRE AUSTRALIA JUNE 1977 69 David Gyger Opera

concert hall Aida in 1975. But the 1976 Audiences are burgeoning, b u t. . . winter season was without noticeable in­ novation and no 20th-century work, or a “Has the AO done as much as it could single note of Australian music, is to be performed by the national company in . . . to fulfil its national brief?” 1977. Four of the five new productions for this year come from the pens of some of Sydney’s dead, or at least low-key, musical and Joan Sutherland have not performed the best-known composers of the 19th- theatre period between the end of the staged opera in Melbourne in recent years, century, though not all the works are well- national company’s summer opera season though they have been regular visitors to known: Puccini (Madama Butterfly), and the opening of its major subscription Sydney. Donizetti (Lucrezia Borgia), Verdi season early in June, has not been without In view of the national brief of the AO, (Macbeth) and Wagner (77m Flying interest — even stimulation and excite­ have the admittedly thorny problems of Dutchman)', the fifth, Daniel Francois ment — this year. touring its biggest performing names been Auber’s Fra Diavolo, was premiered in Even the Australian Opera itself has faced squarely and dealt with as well as 1830 and is merely a lesser-known work in not subsided wholly into the touring possible during the Winther years? Admit­ a thoroughly familiar idiom. We do not woodwork of Canberra and Melbourne ting the immense costs of touring a full- know, of course, how the blame for this where most of its performing activities scale opera company, has the AO done as retreat into the standard repertory ought have been taking place: it has teamed up much as it could to cater for opera-lovers to be apportioned as between Winther and with the ABC to present a concert perfor­ in Adelaide, Brisbane and Canberra? his board; nor does it really matter. The mance of Wagner’s Parsifal at the Opera There are people who love both art forms fact of the contraction itself does. House, and it has evoked a positive who insist that the Australian Ballet — The economic crisis the AO has had to barrage of big headlines in the daily and despite a good deal more overseas touring face in the past few months has had a weekly press through the resignation of — is fulfilling its national brief a good deal parallel crisis in the equally — perhaps one general manager, John Winther, and more effectively than the Australian even more — important area of creative the appointment of another, Peter Hem- Opera: showing its flag in more Australian direction. For better or worse, subsidy mings. Of the Parsifal, more anon; first, I cities, and more regularly. There are money is the lifeblood of any professional would like to say a little about the change differences, yes; but there are a good many opera company; but a sense of artistic of helmsmen at the AO. more similarities in the two art forms and direction, and continuing proof that a Under Winther, who took over the the two companies. heavily subsidised company like the AO is Australian Opera in 1973, the company In the repertory area, equally disturbing conscious of its duty to reach as many, and has made giant strides forward in the ar­ problems arise with the Winther years; for as widely spaced, Australians as possible tistic area. Its general level of performing the only truly innovative period during — and to present home-grown works — is standards has risen dramatically — to the those years came so close to their begin­ essential. Otherwise, why should the com­ point, indeed, where the name of the AO is ning as to cast doubt on the share of munity at large bother to sustain a very increasingly known and respected in world responsibility — or blame — Winther large and expensive performing institution opera circles. Audiences and box-office himself could properly assume after the dedicated to perpetuation of an art form takings have continued to burgeon, par­ event. The only native-born operas the AO many people regard as anachronistic, even ticularly in Sydney, where interest in opera has ever staged were presented in 1974 — irrelevant, in the 1970s? Of course, opera was already rapidly escalating — in an­ first, a number of subscription perfor­ isn't irrelevant to these or any other days; ticipation, at least partly, of the imminent mances of Peter Sculthorpe’s Rites o f but it must be able and willing to articulate opening season at the Opera House — Passage, which was also aired later in its own idea of its function in modern before Winther arrived on the local scene. Adelaide and Melbourne; then the double Australian society, to argue intelligently And despite tightening economic con­ bill of Felix Werder’s The Affair and with critics, to tailor its hopes and ditions in the past year or so, Sydney Larry Sitsky’s superb one-act Lenz, which aspirations to accord with realities; to con­ seems to be maintaining the ability to fill received a paltry two performances early tract its operations when the economic rather long opera seasons to a phenomenal in 1974 and have not been seen since. The climate is bleak and to expand them when 90 to 95 per cent of audience capacity. only other AO venture into the realms of things are on the affluent upswing. It must But the AO’s success has not been near­ home-grown musical theatre was the dis­ continually be innovative in a way thé AO ly so great in other cities, most notably astrous Craig McGregor rock opera Hero, has not been toward the end of the Winther Melbourne, where much shorter seasons which had a brief, costly and wholly un­ years, regardless of who has been responsi­ have not been able to achieve anything like inspiring run at Sydney’s Seymour Centre ble. the same audience response. Reputedly, in 1976. Like Stephen Hall and Donald B. artistic levels have not always been as high There were other ventures off the beat­ McDonald, who preceded him at the helm in Melbourne as in Sydney, and certainly en track, of course: the spectacularly of the national company, John Winther there are no longer any premieres of new successful production of Leos Jana- has fulfilled a vital role in the development AO productions out of Sydney. And there cek’s Jenufa in 1974, the disastrous of the Australian Opera; but his departure is no doubt that Melbourne feels keenly its dance/commedia dell’ arte programme is not necessarily the omen of evil things isolation from the biggest things the AO is early in 1976; the excellent presentation of ahead for the company that some people doing these days, just as Sydney opera- Benjamin Britten’s Albert Herring in the have been claiming in recent weeks. His lovers were miffed, a few years ago, when same season; the good attempt at the successor, Peter Hemmings, has an ex­ Melbourne and Adelaide saw Tito Gobbi Brecht/Weill horror musical, Rise and cellent reputation both as an efficient ad­ and Marie Collier in Tosca and they Fall o f the City o f Mahagonny early in ministrator and for his adventurous ap­ didn’t. Edward Downes, Richard Bonynge 1975; the innovative staging triumph of the proach to repertory planning with Scottish

70 THEATRE AUSTRALIA JUNE 1977 Opera, where he has been administrator the major principals did not: it played unable to appear in this Eraclea at all.) since it was founded in 1962. We all regret magnificently from the 4 p.m. start to the There were too many female voices the end of the long and mostly fruitful end at 10.30 p.m. or so. (some of the relevant parts, of course, association between John Winther and the And Cillario lasted it out too, of originally sung by male castrati when AO; but I for one am very enthusiastic that course — without missing a beat or flag- Eraclea was first presented in 1700), he is to have such a promising successor as ing in his absolute control of the unfold­ though it was hard to fault the singing of Peter Hemmings. ing performance. He was the unequivocal Beverley Bergen in the title role; or Judy mastermind of a musical experience that Glen as Livio or Robyn Cantle as Decio or thoroughly convinced many of the sceptics, Grant Dickson as Alfeo. These singers who had come prepared to endure one act were outstanding in a remarkably even of make-do Wagner, to tarry on to the very cast where there were few musical lapses end and go home thoroughly satisfied — and no painfully weak links; Dickson, in even exalted — by the experience. particular, is singing much better this year Of the soloists, only Reid Bunger as than I have ever heard him before. (In the Klingsor was able to beat the orchestra March-April issue of Theatre Australia, I without fail; but then he has only to last inadvertently accused him of vocal short­ Both the AO-ABC concert version of out half an act, vocally, whereas Kundry comings in the AO’s summer Magic Flute, Wagner’s Parsifal and the recent Universi­ and Gurnemanz have two big acts and Par­ when 1 meant to refer instead to Clifford ty of New South Wales Opera’s staged ver­ sifal himself a harrowing three. Ronald Grant, who sang Sarastro.) sion of Alessandro Scarlatti’s Eraclea were Dowd made a valiant attempt at the title And despite the visual precariousness of ambitious undertakings which didn’t come role, but could not quite match its the production, it was by and large off quite as well as they might have. demands; Donald Shanks’s first act por­ successful in avoiding the kind of In terms of its long-term significance trayal of Gurnemanz was superb, but he mesmerising staticness that is all but for the future of blockbuster opera in was measurably less effective in Act III. endemic to modern-day productions of Australia, the Parsifal was far and away Lone Koppel-Winther, inspired perhaps to baroque opera, with its interminably long the more significant: I thoroughly disagree some extent by Bunger’s stiff competition arias and its general lack of meaningful with those of my colleagues who have ob­ in Act II, gave the performance of her life dramatic action built into the text and the jected to the whole undertaking on the as Kundry; and the audience rightly ig­ score. ground that it was a concert version of nored the “kind request” in the pro­ what ought to be a fully staged work. The gramme not to applaud until the end of biggest obstacles to the live presentation of the performance, giving its warmest ova­ all the late Wagner works are orchestral; tion at the end of Act II. John Shaw (Am- modern stagecraft can cope with, or fortas) and Alan Light (Titurel) were both sidestep if need be, the more fanciful excellent. demands of Wagner’s incredibly detailed Finally, one missed the additional bonus stage directions, but nothing can get of a fully-staged Parsifal much as one round the gruelling, insistent demands of might miss the frosting on a very rich and the music itself. Nor can one get round the exotic gourmet cake: there was more than The Gilbert and Sullivan Society, whose fact that a big orchestra — a full enough musical sustenance to satisfy the Mikado was all but swallowed alive by the symphony orchestra, and not just a normal most demanding Wagnerian appetite, but opera theatre at the Sydney Opera House pit orchestra of 70 or 80 — is required to it would have been even nicer to have gone a year ago, coped a good deal more do justice to these scores. that last inch after having trod so many successfully with the venue when it Nobody is more aware than I of the im­ miles. Perhaps next year — and the year presented The Gondoliers for a brief mense strides taken by the Elizabethan after that, maybe — a start on the very season toward the end of March; though Sydney Orchestra in recent years, to the Ring itself. . . for all that, something of the sparkle and point where, at its best, even the Syd­ spontaneity of the earlier production was ney Symphony Orchestra, generally ac­ missing. Doug Kingsman’s sets were knowledged to be the best of all the perhaps a trifle too picturesque, but not Australian orchestras, could hardly be its obtrusively so; Brian Phillips’s direction better for standard repertory opera. But and costume designs were thoroughly in the ball-game is quite different when one tune with the piece and the capabilities of comes to late Wagner: even if players of the company. Bransby Byrne kept firm sufficient quality are available casually, control of the judiciously augmented which is doubtful, it is simply not possible forces in the pit and produced an overall to augment an ESO to SSO size overnight The other major operatic event of the pleasing musical result. and achieve the meticulous ensemble so month, Eraclea, was an achievement of William Murray was an outstanding vital to do justice to the big Wagner scores quite a different sort. Listening to Roger Grand Inquisitor; and Doreen Morrow in live performance. Covell’s musically excellent Scarlatti, at and Petah Burns were excellent as the true Everything about these operas is testing the University of New South Wales’ loves of the gondoliers of the title, Gianet- in performance — everything musical in science theatre, was an almost unequivocal ta and Tessa. Robert Hatherley, Mary particular; and the great, unequivocal joy; watching the unfolding of Bernd Blake, John Wirth-Linquist and Roslyn triumph of the Parsifal at the Sydney Benthaak’s precarious production on Dansie were their usually effective selves Opera House on 2 April last was the stun­ Fiona Reilly’s stark scaffolding of a set as the Duke and Duchess of Plaza-Toro, ning performance of the SSO. Oh, and more often evoked the heart-in-the-mouth Marco and Casilda respectively; Patrick then there was Carlo Felice Cillario, who feeling one gets while watching the death- Donnelly (as Giuseppe Palmieri, the reputedly was wielding the baton for his defying high trapeze act at the circus — es­ baritone gondolier) was superb, setting a first-ever Wagner performance! (He is to pecially when one was forever being visual­ new personal performance standard both conduct all performances of the fully stag­ ly reminded that one of the principals, vocally and dramatically. The Australian ed AO Flying Dutchman later this year, no Grant Dickson, had been injured in rehear­ Opera is to tackle The Gondoliers for a mean feat in itself when one considers the sal by the twin facts that he carried one three-week season starting on 28 Sep­ fact that 16 of them, including six in one arm in a sling and a not-quite-unobstrusive tember in the same venue: it will be eight-day period, are scheduled between 3 fieldsman was always lurking below him most interesting to see how it copes with August and 14 October. In brutal terms, just off stage, forever vigilant lest he the demands and pitfalls of this piece, the fact about this Parsifal was that the should lose his footing. (Carolyn Vaughan, which is one of the more difficult G. and S. SSO lasted the distance on a night when all also injured in a rehearsal accident, was operas to bring off successfully.

THEATRE AUSTRALIA JUNE 1977 71

Roger Coveil Records

The real Rachmaninov?

timbre give the impression that he is trying “The Bells . . . is a splendid piece which too hard to underline the points of mean­ ing in the text and create an impression of gives us a new understanding of what restlessness and anxiety to please. Unfortunately, the older recording is ap­ Rachmaninov’s career might have been . . .” parently not now available except as part of a big box containing most of Rach­ maninov’s major orchestral works. This means that the new recording is the Rachmaninov is often spoken of as a com­ Bells made under Andre Previn’s direction only one that most listeners will be able to poser of second-rate music with first-rate in London (HMV ASD 3284 stereo I afford to acquire, especially if they already ambitions. Justly so, in my opinion, if we quad compatible). I am not competent to have satisfactory versions of other Rach­ confine ourselves to the orchestral works say how successfully they surmount this maninov works in which they may by which he is mainly represented in our challenge. Certainly, Robert Tear, the be interested. With this in mind, we can concert halls: the richly melodious but dis­ tenor soloist, has a great deal of experience take a more encouraging attitude to the jointed piano concertos, the alternately in singing Russian and has recorded for new version and recommend it as certainly torpid and gushing symphonies. On the Argo a complete disc of Rachmaninov likely to win friends for the The Bells. The evidence of his choral symphony, The songs (Argo ZRG 730). If we compare the recording is well proportioned and lively, Bells, we should probably view Rach­ new recording with the version issued a few even if some of its incidents are — and this maninov as a composer destined to years ago on Melodiya/HMV (ASD is surprising from a conductor like Previn reach very high rank indeed with the set­ 2539}, we certainly notice a different — executed with less rhythmic precision ting of words in a vocal/orchestral texture flavour in the sound of the chorus and in than in the older recording. Previn’s main but whose natural abilities in this field some of the passages for soloists. That limitation as an interpreter of the work were stifled through the circumstances of recording was made by Russian soloists seems to be that he wants to make it sound his life and career. As an exile from and chorus with the Moscow Philharmonic more ingratiating than his Russian Russia after the Bolshevik revolution Symphony Orchestra conducted by Kiril counterpart. I do not think it needs to Rachmaninov was cut off from the singers Kondrashin. Some of the differences, no sound ingratiating, especially in the wild who should have performed his music in doubt, can be accounted for by different clamour of the third movement, which the language in which he set it and from methods of vocal production as well as by matches the nightmarish tone of Poe's the choral organisations which would have small differences in enunciation. If that words, and in the iron fatalism of the last looked to him for new works. In the West were the only point in favour of the older movement. That suggestion of a softening he had to make his way as a composer of recording, it would not deter most people, of fibre or a small addition of sugar or symphonies and concertos, genres in which I imagine, from getting hold of the new fairy-floss to the essence of the music also barriers of alien cultural tradition (in version. In fact, however, the older recor­ makes itself felt in the short piece that fills terms of social organisation and language) ding is a particularly splendid performance out side two, the famous Vocalise in did not apply. The pity of this is that and still sounds extremely vivid, immediate Rachmaninov’s own orchestral transcrip­ Rachmaninov apparently needed the extra and generous in sound as well as in inter­ tion. The Vocalise is a lovely work and musical stimulus and continuities provided pretation. The soloists in the Russian seems all the lovelier when its wordless by words to create truly convincing and recording are notably convincing. Mikhail appeal is treated in an objective manner. consistently interesting and varied large- Dovenman strikes the greatest contrast; Previn, a conductor of real liveliness and scale structures. The Bells, based on the with his steady, clear and supple voice he wide sympathies, seems over-concerned on poem of the same name by Edgar Allan immediately sets the tone of this sym­ this occasion to primp its curls into place Poe, is superior in cohesion, variety, im­ phony’s silver-tongued and cheerfully for our admiration. petus and rhythmic interest to all of his tingling opening movement. Robert Tear For repeated listening I would prefer to purely instrumental compositions in­ in the new version employs that avuncular turn to the original version for voice volving orchestra. It is, in fact, a splendid manner into which he seems to be in­ and piano as performed by Galina piece which gives us new understanding of creasingly settling and which makes him Vishnevskaya (soprano) with Mstislav what Rachmaninov’s career might have sound as though he is preparing to take Rostropovich on a recent disc of songs by been if political events had not caused him over the oratorio style of Richard Lewis. Rachmaninov and Glinka (DGG 2530 to be one of the culturally homeless out­ In addition to that, his voice has developed 725). Although Vishnevskaya is far from casts of the 20th century. a very wide vibrato indeed. The combina­ having an ideal voice for the performance tion of these factors means that he cannot of this piece, she manages to keep the Rachmaninov did not set Poe’s words in easily persuade us that he is singing about vibrato increasingly evident in her singing their original form; he worked with a free the bells of youth, sparkling enchantment under control and she treats it as a song of translation made by the Russian symbolist and sleighs in the snow. The other Russian some substance instead of merely as gilded poet Konstantin Balmont, the same poet, soloist who is far from being matched decoration. This disc of songs, in which the incidentally, whose words Stravinsky set in by his English counterpart is Aleksei great cellist's piano-playing is particularly his early and hugely difficult choral piece Bolshakov. His rock-like strength and sympathetic, is eloquent in its treatment of The Kingdom o f the Stars. It is essential, freedom from over-expressive mannerisms Rachmaninov but rather more interesting therefore, to record the work with the Rus­ make an altogether more awesome and for its eight Glinka songs, which retain the sian text that Rachmaninov actually set. fatalistic effect in comparison with the shapeliness and modesty of the earlier This is a daunting occupation for the singing of John Shirley-Quirk. Shirley- Russian song tradition and seem to wear English-speaking soloists and chorus Quirk is an extraordinarily intelligent bass better in repeated listening than the Rach­ assembled for the new recording of The baritone with a fine voice; but his style and maninov songs, fine though these are.

THEATRE AUSTRALIA JUNE 1977 73 McManus, who did such notable work in ed playing in Shaw’s Candida (opposite Sydney, and was a big hit in JCW’s Dennis Quilley) in London, she’ll appear in Ray Stanley’s musical Half A Sixpence, has been playing it here. Maybe. Mark Antony in the National’s Julius Now it can be revealed: At one time Caesar, with John Gielgud in the title role. negotiations were taking place to bring Katherine Hepburn in A Matter o f Gravi­ WHISPERS Theatre Australia editor Rob Page is ty for brief seasons in Sydney and directing a production of Dorothy Melbourne last April, but . . . Mention in RUMOURS Hewett’s Bob-Bons and Roses for Dolly last month’s Theatre Australia of Ruth for Newcastle University. A well-known Cracknell as “first lady of the Australian actress will probably play lead role. And stage’’ is being queried by folk in there’s talk of Melbourne seeing a Melbourne, where Ruth is little known. professional production of the play . . . I Gloria Dawn, Jill Perryman and Patricia understand Julia Anthony, fresh from Kennedy all seem more eligible. There was London, will soon be giving concerts a time when Googie Withers was disputed . . . Maybe after Deborah Kerr has finish­ “ first lady”. ■ Lots of eyebrows were raised when Graeme Blundell replaced Lewis Fiander for the tour of Same Time Next Year, yet New local label’s first release. Alex Stitt in the London production same role, played by Michael Crawford, has been taken over for eight weeks by Derek Nimmo . . . Looks as if the smash hit The JJKZ&JJOZ Twenties And All That Jazz, with its cast, could be exported. Two London producers and two from New York are all displaying interest . . . Don't be surprised if Yootha Joyce and Brian Murphy come out in a comedy later in the year. Title? George and Mildred of course! Ex-MTC trainee-director Nick Enright, who was in charge of youth activities, has turned down job of assistant-director for the upcoming Broadway musical Merton o f the Movies. Directed by Mel Shapiro, it J&J-001 SIDE was scheduled to open around April. Nick TOM BAKER'S 33Vj R P M worked on the pre-production, but now it SAN FRANCISCO JAZZ BAND 1. Cushion Foot Stomp (Williams) 3.06 (Allans) won’t go into rehearsal until the end of 2. My Sweetie went Away (Handman-Turk) 3.24 (Control) -3. Melancholy Blues (Bloom-Melros« the American summer, and if he waited he Schoebel) 4.37 (Chappell) - 4. Annie Street probably would encounter major visa and Rock (Watters) 3.25 (Control) - 5. Dusky Stevedore - Vocal Tom Baker (Razaf- money problems . . . Wonder who the en­ Johnson) 3.1 5 (Control) - 6. Stomp Time Blues (Jasper-Taylor) trepreneur is who’s trying to entice Peggy 2.56 (Control) Mount to make a second tour here? . . . Prod, by Bill Armstrong And there are whispers that Googie © 1 9 7 7 Withers and John McCallum could be back, this time in their London success, Maugham’s The Circle.

Some of the most unlikely people get to play Malvolio, which Neil Fitzpatrick has Bill Armstrong probably believes in the The album provides a good cross-section been doing at the Nimrod. I understand Australian recording industry more than of the band’s extensive repertoire in twelve Tony Llewelyn-Jones was first choice, but any other individual in or out of the tunes from the twenties — by Scott Joplin, was committed to a TV series that did not business. Throughout his long career as a Lu Watters and King Oliver, among eventuate. Vaudeville comic Max Wall has recording engineer, producer, and now ex­ others. been playing the part in London, Olivier emperor of a minor recording empire, Bill Tom, a native of the West Coast of the had a great success with it at Stratford in has employed a quirky mixture of U.S. who came to Australia as a teenager, the fifties, and Noel Coward once told me philanthropy and business acumen to did not play jazz until 1972, after studying it was the one role in Shakespeare he dear­ launch names, labels and albums into the music at high school and university. ly would have loved to a c t. . . Could be we Oz marketplace. Sydney jazz people will be aware of this won’t after all see Harvey with James tall 24 year old from his regular Stewart and Mona Washbourne. And Last month he was at it again, or still at appearances with several bands, and from Miss Washbourne is such a good ac­ it, when he released the first album on his the 30th Australian Jazz Convention in tress! . . . Haven’t read or seen Richard new ‘Jazz & Jazz’ label: Tom Baker’s San 1975, when he formed the San Francisco Bradshaw’s Bananas, but its theme does Francisco Jazz Band. Bill celebrated the Jazz Band. sound a little like Sandy Wilson’s His occasion by bringing the Sydney-based Bill Armstrong was at the Convention. Monkey Wife. band to Melbourne for the launch, where He says, “ I decided to record the band two Sad to hear of the recent death at the they performed, among other things, a free minutes after I heard them. We got round age of 64 of that fine actress Dorothy concert in the park and a Sunday night to doing it last October. The recording ses­ Reynolds, who, of course was co-author, special at Smacka’s Place, the trad jazz sion started informally, without much fuss. with Julian Slade, of Salad Days, Free As Mecca of Melbourne. A few guests including Eric Child cramm­ Air and other musicals . . . I see Ray In the flesh, Tom and his mates are an ed into the control room at AMI Sydney. Westwell, who spent many years here enthusiastic lot who perform engagingly By lunch time we had 15 takes and 10 good (mainly in Perth and Melbourne) as actor and tirelessly, and their high spirits and tunes. After lunch the band seemed more and director, is in the Royal Shakespeare accomplished musicianship are well relaxed. Another 12 takes, 7 more good Company’s Wild Oats . . . And Mark represented in this, their recording debut. tunes and the session was over.”

74 THEATRE AUSTRALIA JUNE 1977 Helen van der Poorten Books

Drag Show

transvestism and female impersonation of “A triumphant tribute to the pluralistic the kind dealt with in Peter Kenna’s Mates. The psychiatrist, in commenting on society in which conventional the contrast between the two plays sees sexuality is not the only way ...” Kenna’s drag queen as a “pseudo-trans­ vestite” effeminate homosexual, while he considers Spears’ elocution teacher a plain effeminate homosexual with his off­ stage friend Bruce a standard “heterosex­ ual transvestite” . I am dubious about the value of these distinctions in such a short article, but at least they inspired me to reconsider the speech of the characters to see whether I found his categories useful. His inclusion of Dick Emery and Danny LaRue would bear further examination, as would his brief reference to transvestite disguise in Shakespeare’s comedies. But perhaps I should not object to brevi­ ty in the article, as it leaves room for the far more valuable interviews with and statements by the men/women with whom Drag Show is concerned. Even so, with the tantalising inclusion of Aunty Jack (where was Edna Everage while this book was being designed?), Wonder Woman and Cinderella at the beginning, one cannot ed looking at them, at any rate, the help musing on the popularity of drag in Drag Show: featuring Peter Kenna’s Mates and Steve J. Spears’ The Elocution of Benjamin questions have been asked which, in my Australian theatres. If it is so, as Alex Franklin. Currency Press Pty. Ltd., 1977. case, led me to read the rest of Drag Show Hay suggested in a paper at the 1976 Play­ Recommended Retail Price: $6.95. non-stop. wrights’ Conference, that the actor is es­ Ironically, the publication of Drag Show sentially an androgynous being, then drag “At last, the Ultimate Theatre Book!” marks the demise of pure play publication is much more basic to all drama and boast the publishers of Currency’s Drag by Currency, as the Kenna and Spears theatre than some of Currency’s 'writers Show, and indeed the lavender-and-pink- plays disappear in the midst of articles on would have. Reminding us that most peo­ paged book which marks their entry into transvestism (“Life is not a Drag”, we are ple are only prepared to tolerate “legiti­ the coffee-table market does provide an assured by Reg Livermore), transexuality mate departures” from the “mythical assault on the mind and senses in a (“I’ll just be an older woman,” hopes Rose norm” when they appear in art, New refreshingly theatrical way. Twice articles Jackson), and legal problems associated South Wales Civil Liberties Council are written up in dramatic dialogue, and with drag. A psychiatrist reminds us of Secretary Zdenkowski sees some possible with female impersonator Holly Brown the Deuteronomy’s injunction against cathartic effect as the best result this book emotive stage directions (“Holly re-enters, transvestism, and there is a pessimistic can hope for. But surely, if all drama is of sweeping expansively”; “Holly: at a loss conclusion to the whole by George all sexes, then there is reason to think peo­ with the change of subject” etc.) actually Zdenkowski on the police view that ple could be confronted by the trans­ illuminate the person. This is not only transvestism is tantamount to homosex­ vestism they so love on the stage. entertaining and readable, but it helps the uality, but overall this new book emerges Certainly the book is cathartic. Not interviewer get over some difficult as a triumphant tribute to the pluralistic quite my choice as a birthday present for moments, such as where Holly evades his society in which conventional sexuality is my maiden aunt, it must nevertheless questions about when in a sexual encounter not the only way. appeal to many people who want to look at she tells a man she too is a man. A husband'belonging to Seahorse (the the pictures and consider the different To most people, though, the great club for heterosexual transvestites) tells of kinds of drag about which they may never delight at first glimpse must be the pictures his wife’s prohibitions against his dressing have thought. While I was carrying the — I kept wishing for more. There are drag up at home, while another introduces us to book around to review, numerous people, comedians, drag showgirls, panto dames, his wife and mischievously tolerant no doubt arrested by the gross picture of popular drag folk-heroes (heroines?), children who call him “Dad” even when he Livermore on the cover, stopped me to ask feminine and masculine drag-wearers, pic­ is dressed up as his other half “Trina” . The about it, and most of them had some kind tures from the plays, and an extraordinary first man describes his realisation of the of story or question about transvestism. I picture of The Incredible Orlando playing “femininity which glows within us” after he have to say that most of those questions Herodias in which his body seems quite had joined with other men who like female are answered within this book. All power divorced from its dressing. Some of the garb, then Trina raises the question of to Currency and to their courageously out­ personal pictures are quite painfully in­ whether transvestism might not be “The spoken subjects who have put Drag Show timate, but the more formal ones capture most asexual of all deviation” . Through so reasonably within reach of the coffee the kind of beauty which perhaps the whole the various articles and pictures we are tables. On second thoughts about it, I book can define. By the time you’ve finish­ asked to distinguish between private might just send a copy to my maiden aunt.

THEATRE AUSTRALIA JUNE 1977 75 THEATRE OPERA DANCE

Elke Neidhardt. Marilyn Richardson as A Man For All Seasons, by Robert Bolt, Olympia, Giulietta, Antonia and Stella. directed by Colleen Clifford, with Michael Bowie and Elizabeth Sarks (from 18 June). AUSTRALIAN THEATRE, Newtown (51 3841) HER MAJESTY'S (212 3411) (Offen- A Chorus Line, original production con­ une. A ceived, choreographed and directed by A.C.T. Proscenia Theatre production directed by Michael Bennett; co-choreographer, Bob William Abernethy; musical director, Avian; book by James Kirkwood and CANBERRA OPERA (47 0249) Greg Hocking. Nicholas Dante; music by Marvin Hansel and G re tel (Humperdinck) in The Glass Menagerie, by Tennessee Hamlisch; lyrics by Edward Kleban; English (continuing on tour of A.C.T. Williams. An Opus Theatre Group choreography and direction recreated for primary schools, involving child par­ production directed by Frank Hahn and Australia by Baayork Lee and Jeff ticipation). designed by Paul Nikotin. With Barbara Hamlin. Cast of 30 (from 21 May). THEATRE THREE (47 4222) Marcot (from mid-June). HUNTER VALLEY THEATRE Canberra Repertory Society COMPANY, NEWCASTLE (26 2526) Three Sisters from Anton Chekhov; AUSTRALIAN THEATRE FOR Hunter Theatre (61 3519). adapted and directed by Ross McGregor YOUNG PEOPLE (699 9322) Hamlet by William Shakespeare; directed (to 4 June). / Suppose I'll Have To , , by Michael by Terence Clarke with Alan Becher and How Does Your Garden Grow by Jim Cove; directed by Raymond Omodei; The Pat Bishop, (to 18 June). McNeil; directed by Ross McGregor. (23 Advance, by John Mulligan; and Doolan, The Breakwater by John O'Donoghue; June-16 July). by Richard Tulloch, both directed by John directed by Terence Clarke. (24 June-16 W'regg; all designed by Yoshi Tosa (con­ July). tinuing on schools tour of north-west New INDEPENDENT (929 7377) South W'ales). Our Town, by Thornton Wilder; directed by Doris Fitton, costume designs by Bar­ BALMAIN BIJOU (827 3652) bara J. Mason, lighting by Mick Schlieper. l Vonderwoman, by Reg Livermore; (to 4 June). directed by Peter Batey (continuing). Hamlet, by William Shakespeare; directed by Colin Kenny, (from 8 June). NEW SOUTH WALES BONAPARTE'S THEATRE RESTAURANT (357 2555 or 357 2596) You’re A Good Man, Charlie Brown, by ACTORS' COMPANY (660 2503) Cruise o f a Lifetime, by Ron Fraser and Clark Gesner; directed by Hugh Munro, The Naked Hamlet, by William John MacKellar. With Beryl Cheers and designed by Hugh Munro. With Hugh Shakespeare, adapted by Joseph Papp; Ronne Arnold (continuing). Munro, Cecily Slade and Robert Wells, and Rosencrantz and Guildenstern Are (continuing; Saturday matinees only). Dead, by Tom Stoppard (playing in reper­ BONDI PAVILION THEATRE (30 7211 KILLARA 680 COFFEE THEATRE tory from 2 June). or 29 8335) (498 7552) The Cake Man, by Robert Merritt, Hello London, devised by John Howitt; AUSTRALIAN OPERA (26 2976) directed by George Ogilvie; designed by with John Howitt, Peter Parkinson and Sydney Opera House (2 0588) Wendy Dixon. With Brian Syron, Justine Cherrie Popp (continuing). Opera Theatre: Lucrezia Borsia (Donizet­ Saunders, Robert Faggetter, Max Cullen MARIAN STREET (498 3166) ti) in Italian: 4 June (eve), 7, 11 June (eve), and George Szewcow, (to 4 June). Double Edge by Leslie Darbon and Peter 14, 18 June (eve), 22, 25 June (eve), 28 Whelan; directed by Ted Craig, designed June. Conductor, Richard Bonynge; CONSERVATORIUM OF MUSIC (27 by Brian Nickless. With Anne Haddy and producer, George Ogilvie; designer, Kris­ 4206 or 27 9271) Max Meldrum, (to 21 May). tian Fredrikson; resident producer, The Bartered Bride (Smetana) in English: The Happy Hunter by Georges Feydeau, Michael Beauchamp. Joan Sutherland as 24, 26, 28, 30 June. Director, Ronal directed by Alastair Duncan, designed by Lucrezia Borgia. Jackson; musical director, Eric Clapham; Brian Nickless. With Lynn Rainbow, The Barber o f Seville (Rossini) in Italian: set designer, Michael O'Kane. Mark Hashfield, Phillip Hinton, Marion 10, 16 June, 18 June (mat), 24, 29 June. Johns, Al Thomas, Kenneth Laird, Conductor, Richard Bonynge; producer, ENSEMBLE (929 8877) Damien Parker, Gay Poole (from 26 Medal o f Honor Rag, by Tom Cole; John Cox (rehearsed by Michael May). Beauchamp; designer, Roger Butlin. designed by Doug Anderson, directed by Fra Diavolo (Auber) in English: 17 June, Hayes Gordon, with Arnie Goldman and MARIONETTE THEATRE OF 25 June (mat), 30 June. Conductor, Fred Steele. AUSTRALIA (357 1200) Richard Bonynge; producer, John Copley; Alison Mary Fagan, by David Selbourne; Roos, written and directed by Richard designers, Michael Stennett (costumes) directed by Michael O'Reilly, designed by Bradshaw; and Hands, devised by the com­ and Henry Bardon (sets); resident Doug Anderson, with Margie Brown (con­ pany and directed by Richard Bradshaw producer, Elke Neidhardt. Robert Gard as tinuing). (schools tour, Melbourne to Sydney, from Fra Diavolo. GENESIAN (827 3023) 14 June). Les Contes d'Hoffmann (Offenbach) in The Glass Butterfly, by William Golding; MUSIC HALL THEATRE French: 23, 27 June. Conductor, William directed and designed by Margaret RESTAURANT (909 8222) Reid; producer, Tito Capobianco; Remeck; with Dennis Allen and Pauline Lust for Power: or Perils at Parramatta, designer, Jose Varona; resident producer, Furlong (to 11 June). written and directed by Michael Boddy,

76 THEATRE AUSTRALIA JUNE 1977 with Alton Harvey, John Allen and Anne June and 16-19 June). Grealy and Toni Pankhurst. Sender (continuing). Bye Plane: one performance (11 June). The Shifting Heart by Richard Beynon, MUSIC LOFT THEATRE director Jennifer Radbourne (opens June RESTAU RANT (977 6585) ST JAMES LUNCHTIME PLAY­ 30). Once More With Feeling, by Peggy Mor­ HOUSE (232 8570) timer and Enzo Toppano; directed by Before Dawn by Sir Terence Ratigan; LA BOITE (36 1932) Peggy Mortimer, with the Toppano Fami­ directed by Peter Williams (to 10 June). Oedipus by Seneca: director, Rick ly and Lee Young (continuing). Something Unspoken by Tennessee Billinghurst (10 June-2 July; Thurs-Sat NEW TH EATRE (519 3403) Williams; directed by Peter Williams 8 p.m.; Sun, 26 June, 5.30 p.m.). The Merry Wives o f Windsor by William (from 13 June). Shakespeare, directed and designed by CAMERATA (36 6561) at the Avalon Theatre. David M. Martin, (to 4 June). SEYMOUR CENTRE (692 0555) The Seagull by Anton Chekhov: director, Enter A Free Man by’Tom Stoppard; Downstairs: Crow based on the poetry of Ted Hughes; co-directed by Geoff Doyle Anne Monsour (continuing to 18 June, directed by Paul Quinn, designed by An­ Thurs-Sun. 8 p.m.). drew Blaxland (from 18 June). and David May. A Theatre Workshop’ NIMROD (69 5003) presentation (to 28 May). Kinetic Energy Dance Company, schools COMMUNITY (3569311 A/H 356 9936) Upstairs: Twelfth Night by William Kelvin Grove. programme and new adult programme (6- Shakespeare; directed by John Bell, Going Home by Alma de Groen; director, designed by Kim Carpenter. With Neil 18 June). Measure for Measure by William Gary O’Neil; designer, Ian Jeffries, (to 4 Fitzpatrick, Peter Carroll, Barry Otto, June). Anna Volska, Russell Kiefel and Drew Shakespeare; directed by Neil Armfield, Forsythe (to 11 June). presented by the English Department HER MAJESTY’S (221 2777) drama studies unit (from 27 June). Much Ado About Nothing by William The Australian Ballet. Onegin (1-8 June); Shakespeare; directed by John Bell, SPEAKEASY THEATRE RESTAUR­ Merry Widow (10-18 June). designed by Larry Eastwood (sets) and ANT, Kensington (663 7442) Kim Carpenter (costumes). With Robert Hats written and presented by Ron LIVING ROOM THEATRE Alexander, Maggie Blinco, Peter Carroll, Challinor and Collette Mann (continuing). RESTAURANT (221 2805) Ralph Cotterill, Robert Davis, Judi Farr, Jam on Your Spanish Flv. director and Drew Forsythe, Ivar Kants, Deborah SYDNEY OPERA HOUSE (2 0588) designer, Frank Mesh; musical director, Kennedy, Tony Lleweliyn-Jones, Berys Exhibition Hall: The Theatres o f Sydney Stan Smyth. With Brian Tait and Sheila Marsh, Gordon McDougall, Stephen (to 5 June). Bradley. Thomas, Alan Tobin, Anna Volska (from 18 June). THEATRE COSMOPOLITAN POPULAR THEATRE TROUPE (36 1745) Downstairs: Goins Bananas, directed by (300 0157) Millionaire's Handicap. Fall-Out and Richard Wherrett: Bananas by Richard Plaza Theatre, Bondi Junction Follow Me, Stampede are in repertoire. Bradshaw, The Coroner's Report by John La Traviata (Verdi) in English: 27, 28 Townsville Pacific Festival (1-11 June), Summons, and The Flaw by Mil Perrin May; 1, 3, 4 June; school matinees, 6, 7, 8, (continuing). 9 June. Producer, Gary Stonehouse; Tully (14 June), Cairns (16, 17 June),’ musical director, David Andrews; costume Innisfail (18 June). OLD TOTE (663 6122) designs, Myriam van Sint Jan. With Drama Theatre, Opera House: Caesar and Margaret Andrews as Violetta, Roy QUEENSLAND THEATRE COM ­ PANY (221 5177 Cleopatra by George Bernard Shaw; Ramsden as Alfredo, Vadim Laptev as The Last o f the Knucklemen by John directed by William Redmond, designed Germont. by Shaun Gurton and Mike Bridges, with Powers; director, Joe MacCollum; de­ THEATRE ROYAL (231 6577) signer, Peter Cooke. (On tour to 17 June. Robyn Nevin and Richard Meikle, (to 7 Doctor in Love produced by Gary Van Eg- June). Opens Brisbane 22 June; Tues-Sat, 8 p.m. mond and Paul Dainty, with Robin Mats. Wed. and Sat.) With Phil Moye, Parade Theatre: The Alchemist by Ben Nedwell, Geoffrey Davis (to 11 June). Jonson; directed by John Clark, designed David Clendinning, Peter Kowitz, Bruce Funny Peculiar by Mike Stott; directed by by Allan Lees, with Bruce Spence, John Parr and Douglas Hedge. Jeffrey Cambell, designed by Patrick Krummel, and Colin Croft, (to 24 May). Robertson. With George Layton and QUEENSLAND OPERA COMPANY Unspeakable Acts by Colin Free, directed Bruce Spence (from 18 June). Not playing in June. by Peter Collingwood, designed by Yoshi Tosa. With Ron Haddrick, Shane UNIVERSITY OF NEW SOUTH Porteous and Reg Gillam (from 1 June). WALES OPERA (662 3412) York Theatre, Seymour Centre: Wild Oats Science Theatre: Joan of Arc (Verdi) in by John O’Keeffe; directed by Mick English: 28, 31 May; 3 June. Directed by Rodger, designed by Anne Frazer (from 22 Bernd Benthaak; musical director, Roger June). Coveil. With Beverley Bergen (Joan of Arc), John Main (King Charles VII), Neil SOUTH AUSTRALIA Q THEATRE, Penrith (047 21 5735) Easton (Giacomo). What The Butler Saw by Joe Orton; directed by Adam Salzer, designed by FESTIVAL CENTRE (51 2292) Arthur Dicks, (at Railway Institute, Pen­ Space: Association of Community rith, 19-22 May and 8-12 June; Civic Cen­ Theatre. tre, Bankstown, 25-29 May; Marsden Hunting by Veronica Sweeney and Glitter Rehabilitation Centre, Parramatta, 1-5 by Philip Murphy; directed by Martin June). Christmas (2-1 1 June). A Hard God by Peter Kenna; directed by Kevin Jackson, designed by Arthur Dicks. QUEENSLAND Ken Ross; directed by Patrick Frost (16-25 (Railway Institute, Penrith, from 22 June.) June). Food, a musical by Tony Strachan; RIVERINA TRUCKING COMPANY, ARTS THEATRE (36 2344) WAGGA (064 21 2134) directed by Malcolm Blaylock (30 June-9 Abelarde and Heloise by Ronald Millar; July). The Coming of Stork by David William­ director, Ian Thomson (continuing to 18 son; directed by Terry O’Connell, (9-12 June, Wed.-Sat. 8.15 p.m.). With Ian For Playhouse see SATC

THEATRE AUSTRALIA JUNE 1977 77 Pram Factory: Back Theatre. ROYALTY THEATRE MARIONETTE THEATRE OF Yesterday’s News by Jeremy Seabrook AUSTRALIA The Physicists by Friedrich Dürrenmatt; and the Joint Stock Theatre, England (to 5 directed by Alan Lovett (to 4 June). Roos, written and directed by Richard June). Bradshaw; and Hands, devised by the com­ SHERIDAN THEATRE (267 3751) The Death Show, performed by The Stasis pany and directed by Richard Bradshaw / Sat With My Love by Barbara Eite; Group (from 16 June). (at Alexander Theatre, Monash Universi­ directed by Helen Cunningham (to 4 ty, to 21 May; schools tour, Melbourne to June). Sydney, from 14 June). COMEDY THEATRE (663 3211) SOUTH AUSTRALIAN THEATRE Lauder, devised, created and performed by PLAYBOXTHEATRE COMPANY (51 5151) Jimmy Logan; presented by Paul Elliott The Elocution o f Benjamin Franklin, by All My Sons by Arthur Miller; directed by (to 21 May). Steve J. Spears; directed by Richard David Williamson, designed by John Doctor in Love by Richard Gordon; Wherrett, designed by Larry Eastwood. Cervenka (to 18 June). produced by Garry Van Egmond and Paul With Gordon Chater (from 10 June). Too Early to Say by Michael Cove and Dainty. With Robin Nedwell and Geoffrey Davies (from 15 June). REGENT PALACE (419 5088) Ron Blair; directed by Colin George, The Rocky Horror Show: presented by designed by Rodney Ford (23 June-9 July). Harry M. Miller (to 25 May). HER MAJESTY’S THEATRE (663 3211) TOTAL TH EATRE (663 4991) The Twenties and All That Jazz, a musical Let My People Come, a musical celebra­ recollection with John Diedrich, Caroline tion of sex by Earl Wilson Jnr; directed by Gillmer and John O'May; musical direc­ Peter Batey; presented by Eric Dare. tor, Michael Tyack; choreography, Jillian VICTORIA STATE OPERA (41 5061) Fitzgerald; design, Trina Parker; Geoffre y Goodsound Meets Dr TASMANIA presented by J.C. Williamson Productions Wrongnote and The Horrible Honkv Ltd. and Michael Edgley International Tonks, by Peter Narroway (on schools Pty. Ltd. THEATRE ROYAL (34 6266) tour, Term 1). Same Time Next Year by Bernard Slade; Paper and Flowers and Things; or, The directed by Gordon Hunt, with Graeme LA MAMA (347 6085) Three Lives o f Penelope Paper by Peter Blundell and Nancye Hayes (to 4 June). Two plays by Barry Dickens; The Inter­ Narroway (on schools tour, Terms 2 and view directed by Lew Luton; The Great 3)- ______MARIONETTE THEATRE OF Oscar Wilde Trial directed by Peter Green WINDSOR REGIS (51 6979) AUSTRALIA (19 May-5 June). Son o f Naked Vicar by Tony Sattler and Roos, written and directed by Richard Let's Murder Manet, written and directed Gary Riley. Bradshaw; and Hands devised by the com­ by Graham Parker (10-26 June). pany and directed by Richard Bradshaw (to 11 June). LAST LAUGH THEATRE The Elocution of Benjamin Franklin by RESTAURANT (419 6226) Steve J. Spears; Nimrod Production, Canned Peaches and Tin Sailors; with directed by Richard Wherrett, designed by Henry Maas, Peaches La Creme and Jean Larry Eastwood; with Gordon Chater (lb- Paul Bell. 25 June). Tarantara! Tarantara! Gilbert and MELBOURNE THEATRE COMPANY WESTERN AUSTRALIA Sullivan revue; Marian Street production, (645 1100) directed by Ted Craig; designed by Ian Athenaeum: Juno and the Paycock by CIVIC THEATRE RESTAURANT (72 Brinson (from 28 June). Sean O’Casey; directed by Ray Lawler; 1595) designed by Tony Tripp (to 11 June). The Five Past Nine Show, with Joan The Wild Duck by Henrik Ibsen, adapted Sydney and John Rennie by Ray Lawler; directed by John Sumner; settings designed by Richard Prins, HOLE IN THE WALL (81 2403) costumes designed by Maree Menzel (from Travesties by Tom Stoppard; director, 16 June). John Milson (25 May-18 June). With Russell Street: The Fall Guy by Linda Edgar Metcalfe as Henry Carr. Aronson; directed and designed by Mick The Human Voice by Jean Cocteau; direc­ VICTORIA Rodger (to 21 May). tor, John Milson; performed by Judy The Club by David Williamson; directed Nunn. A late night show opening 3 June. AUSTRALIAN OPERA by Rodney Fisher; designed by Shaun Gur- Princess Theatre (662 1355) ton (from 26 May). THE PLAYHOUSE(25 3344) The Marriage o f Figaro (Mozart) in Theatre-In-Education. Otherwise Engaged by Simon Grey; direc­ English: 19 May. Producer, John Copley; Life It Or Leave If, scenario by Jonathan tor, Aarne Neeme. (2-25 June). With Den­ designers, Michael Stennett (costumes) Hardy. The Reluctant Rebel by John nis Miller, Ian Scott, Alan Cassell, Ian and Henry Bardon (sets); conductor, Peter Powers; director Greg Shears. Man Friday Nicholls, Leith Taylor, Leslie Wright, Robinson. With Cynthia Johnston, Nance by Adrian Mitchell; directed and designed Carole Skinner. Grant, Jennifer Bermingham, Rosina by Robert Love. Company A: Mentone, Green Room; Raisbeck, Ronald Maconaghie, John 23 May-3 June; Dandenong, 6-17 June;. Going Home by Alma de-Groen; director, Pringle, Robert Gard and Neil Warren- Oakleigh, 21 June-1 July. Company B: Andrew Ross (opening 1 June). Smith.______Doncaster, 23 May-3 June; Ringwood, 6- AUSTRALIAN PERFORMING 17 June; Ferntree Gully, 20 June-1 July. WA BALLET GROUP (347 7133) No public performances until September. Pram Factory: Front Theatre MORELAND THEATRE WA OPERA COMPANY The Hills Family Show (to 5 June). RESTAURANT (36 5042) In recess. The Uranium Show by John Romeril; Going to Town, a musical revue produced WA THEATRE COMPANY directed by Carol Parker (from 30 June). by Tony Scanlon (Mon-Sat). In recess during building.

78 THEATRE AUSTRALIA JUNE 1977 Appointments The National Institute UNIVERSITY OF MELBOURNE PERFORMING ARTS COMMITTEE - THEATRE BOARD of Dramatic Art at The University of New South Wales THREE ACTORS IN RESIDENCE Sydney, Australia The Theatre Board of the University of Melbourne calls for Applications are invited for applications for two (2) positions as actors in residence and one (1) LECTURER IN SPEECH AND VOICE position as an actor/director in residence. Applications will be accepted from either individuals or a group of three (3) actors (one Duties: of whom must be able to undertake a directorial role.) To teach voice and speech to students of the acting The positions shall be for 8 weeks commencing June 20th, at a course; to work with the directors of play productions; salary (inclusive of allowances) in the region of $150/week. and to take other voice and speech classes as required. The Board envisages that the successful applicants will work together to: Qualifications: (a) encourage the development of student writing for the Experience of teaching voice and speech as they relate to theatre by workshop and production of student texts; the actor; experience of work in the professional theatre (b) help to develop the quality of student acting; and an appropriate teaching qualification are desirable, (c) undertake exploratory work in theatre of their own choice but not essential. with a view to the presentation of work in progress; (d) provide a resource for the use of drama in the teaching life Salary: of the University. The salary would be within the range of $(A) 13,850 and Applicants should have professional experience in the theatre. $(A)18,389, according to qualifications and experience. Written applications giving an outline of experience and some A superannuation scheme is available. indication of how the applicant might approach the project should be directed to: Applications close on July 30, 1977. Duties would commence in February 1978. The Secretary, Theatre Board, University of Melbourne, The National Institute of Dramatic Art is the first full­ PARKVILLE 3052 time tertiary school for the professional theatre in Australia offering courses in acting, technical produc­ tion, design and direction. Applications close 6th June, 1977. Further information is available from P. Gardner. Phone: 341-6926. Applications giving all relevant details and names of two referees to: The Director, The National Institute o f Dramatic Art, P.O. Box 1, Kensington, N.S.W. 2033 A.T.J. BELL Australia. Phone: 663 3815. R egistrar

TOWNSVILLE CITY COUNCIL MANAGER FOR NEW CIVIC THEATRE Around $15,000 negotiable Applications are invited for the position of Theatre Manager to operate the modern Civic Theatre now being constructed by the Townsville City Council. The Manager will be asso­ ciated with the final preparations for opening in about March 1978. He will be responsible to the Town Clerk for the viable operation of the theatre including marketing, planning, promotion, staffing, operating, maintenance and financial results. This is a rare opportunity to establish the operation of a new theatre and influence the cultural development of a major city. A background of successful theatre management and an established reputation, in the entertainment industry are essential. A salary of around $15,000 is offered. A higher figure may be negotiated for an outstanding applicant. Security: P.A. offers you complete security. No information is given to our client and no enquiries are made unless specifically authorised by you. Please forward relevant details quoting Reference Number 408650 to: David O' Dowd P.A. CONSULTING SERVICES PTY. LTD. M.M.I. Building 344 Queen Street, Brisbane 4000

J a

PRA 2717 Classified Advertisements

VICTORIA NEW SOUTH WALES

CLAYTON THEATRE GROUP, The GENESIAN THEATRE, A Man for All Legend of King O’Malley by Michael Seasons, directed by Colleen Clifford. Boddy and Bob Ellis directed by Dean Fridays and Saturdays 8.15; Sundays 7.30 Nottle. From Friday 19 June to 27 June. from 2 July. 420 Kent St. Sydney. Clayton Auditorium, Cooke St. Clayton. Bookings 827 3023 Bookings 232 2535 BLACK STUMP PLAYERS present NEW THEATRE, Waiting for Lefty by Lunchtime Theatre at 12.50 p.m. Tuesdays Clifford Odets directed by Don Munro. to Fridays, State Office Block, Philip and Every Friday, Saturday, Sunday from 15 Bent Streets, Sydney. Next production July to 14 August. The Organ Factory, from 12 July for two weeks. Contact Tony Page Street, Clifton Hill. Bookings Ralph for details 20 586. Theatre Australia Classifieds are $4.00 per 317 7923 30 character line (minimum $12.00). Send THE ROCKS PLAYERS will be presen­ copy and cheque to cover the above rate to TRINITY COLLEGE, This Old Man ting in July, Impromptus for Leisure, Theatre Australia Classifieds 114 Comes Rolling Home by Dorothy Hewett French playlets in English, at the Orient Cremorne Street, Richmond, Victoria, directed by Ian Robinson. From 21 June to Hotel in The Rocks. Can we offer to play 3121 by the 5th of the month preceding 25 June. Union Theatre, Melbourne in your Tavern or Coffee Bar or anywhere publication. Copy received after that date University. Bookings 347 4186 ...? Contact Bill Pepper 231 2155 or will be run in the following issue. Slater Smith 221 2144

For that after-theatre supper of sweet a n n McDo n a l d or savory crepes . . . COLLEGE OF DANCING (Est. 1926) Late Letters

Ballet (R.A.D.) Examinations 1 have been made aware of your insulting in all grades, pre-preliminary and pointed remarks about Douglas Fair­ THE PANCAKE to solo seal. banks Jnr. You have every right to say Full-time day classes also anything you desire about my activities as PLACE Classes and Private Tuition a senior producer of this season, but no Ballroom, Latin American, right to insult a leading member of, not Old Time, Social, Theatrical, only the theatrical profession, but a dis­ 376 LYGON PLACE, CARLTON. Modern, Jazz and Classical. tinguished military, business and a public The Greenwood Hall Complex service figure. 196 Liverpool Road, I can think of no further words to say on 12-12 7 days Burwood. N.S.W. 2134 this subject but to take the opportunity to (1 a.m. Frid. & Sat.) Phone 74 6362 (A.H. 428 1694) enclose a detailed biography of Mr Fair­ banks so that you will not make the same ignorant mistake again. PAUL ELLIOTT, Sydney. As a devoted admirer of Jack Hibberd's Coming up in plays, I felt mentally like a squashed fly after reading his review of The Game o f Love and Chance in the Feb/March issue. Although the lines have not the wit that makes A Flea In Her Ear delectable, sure­ ly the gay, nonsensical, inconsequential romp with its ironical slant has its place. It was deliciously staged at the South Yarra production and admirably acted and a most welcome antidote in this world with its accumulation of man's inhumanity to David Marr on the Australian Elizabethan man. Also, please allow me to resuscitate the Theatre Trust; Peter Kenna on Vaudeville subject of Petrouchka. I did not see any mention of the fabulous production of this Follies; Puppets and the Theatre Awards. ballet by the Colonel de Basil Company at Sydney's Theatre Royal (the old one), in 1939. I have the programme still. It was unforgettable. Have you taken out your subscription yet? BETTY HOWARD, Richmond, Vic.

Overseas subscription rates Credits Surface mail AS25.00 All other countries AS70.00 Photos: Peter Holderness 8-12; David Parker Bank drafts in Australian currency should be 13-15, 36; Dave Excell 18-19; Michael Tubberty By air forwarded to Playhouse Press Pty. Ltd.; 114 24; Bill Beavis 25; David Burch 27; Mim Flynn AS45.00 New Zealand, New Guinea Cremorne St., Richmond, Victoria 3121, 53; and the theatre companies. U.K., U.S.A., Germany, Greece, Italy AS50.00 Australia. Information services: M & L Casting Pty. Ltd.

80 THEATRE AUSTRALIA JUNE 1977