March 2015 4.8Mb
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Australian Radio Series
Radio Series Collection Guide1 Australian Radio Series 1930s to 1970s A guide to ScreenSound Australia’s holdings 1 Radio Series Collection Guide2 Copyright 1998 National Film and Sound Archive All rights reserved. No reproduction without permission. First published 1998 ScreenSound Australia McCoy Circuit, Acton ACT 2600 GPO Box 2002, Canberra ACT 2601 Phone (02) 6248 2000 Fax (02) 6248 2165 E-mail: [email protected] World Wide Web: http://www.screensound.gov.au ISSN: Cover design by MA@D Communication 2 Radio Series Collection Guide3 Contents Foreword i Introduction iii How to use this guide iv How to access collection material vi Radio Series listing 1 - Reference sources Index 3 Radio Series Collection Guide4 Foreword By Richard Lane* Radio serials in Australia date back to the 1930s, when Fred and Maggie Everybody, Coronets of England, The March of Time and the inimitable Yes, What? featured on wireless sets across the nation. Many of Australia’s greatest radio serials were produced during the 1940s. Among those listed in this guide are the Sunday night one-hour plays - The Lux Radio Theatre and The Macquarie Radio Theatre (becoming the Caltex Theatre after 1947); the many Jack Davey Shows, and The Bob Dyer Show; the Colgate Palmolive variety extravaganzas, headed by Calling the Stars, The Youth Show and McCackie Mansion, which starred the outrageously funny Mo (Roy Rene). Fine drama programs produced in Sydney in the 1940s included The Library of the Air and Max Afford's serial Hagen's Circus. Among the comedy programs listed from this decade are the George Wallace Shows, and Mrs 'Obbs with its hilariously garbled language. -
Keith Connolly
KEITH CONNOLLY (1897-1961) Keith Connolly performed with his parents' variety troupe from age seven and while in his teens was a member of the Young Australia League. In 1916 he enlisted with the A.I.F. and went on to serve with the Mining Corps. After returning home in 1919 he and his sister Gladys Shaw toured with such troupes as the Royal Strollers (1919) and Nat Phillips' Stiffy and Mo Company (1921-25) before forming Keith's Syncopating Jesters (1925-27). Connolly's career, which continued well into the 1950s, included engagements with George Wallace (1930), Nat Phillip's Whirligigs, Fullers All-American Revue Co (including New Zealand, 1939) and in companies featuring Roy Rene, Stud Foley, Nellie Kolle and his wife, Elsie Hosking. 1897-1918 Keith Connolly’s earliest engagements earned him enthusiastic reviews: ….absolutely the youngest character comedian on the vaudeville stage, 'Master Keith' (who is only 8 years of age)…gives remarkable imitations of the leading English and American character comedians such as Little Tich, Dan Leno etc.…1 The Sydney Daily Telegraph in speaking of this item says: - 'His songs and imitations, as well as his comic make-up, kept the audience in roars of laughter, and he was recalled again and again. We have listened to many adult comedians and have enjoyed their performances, but the extreme youth of this clever performer, coupled with his marvellous power of imitation, at once captivated all hearts.'2 Keith Warrington Connolly's father was Gerald Shaw (aka Harry Thomson) an enthusiastic basso and theatrical manager with an early interest in moving pictures. -
Encyclopedia of Australian Football Clubs
Full Points Footy ENCYCLOPEDIA OF AUSTRALIAN FOOTBALL CLUBS Volume One by John Devaney Published in Great Britain by Full Points Publications © John Devaney and Full Points Publications 2008 This book is copyright. Apart from any fair dealing for the purposes of private study, research, criticism or review as permitted under the Copyright Act, no part may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior written permission. Every effort has been made to ensure that this book is free from error or omissions. However, the Publisher and Author, or their respective employees or agents, shall not accept responsibility for injury, loss or damage occasioned to any person acting or refraining from action as a result of material in this book whether or not such injury, loss or damage is in any way due to any negligent act or omission, breach of duty or default on the part of the Publisher, Author or their respective employees or agents. Cataloguing-in-Publication data: The Full Points Footy Encyclopedia Of Australian Football Clubs Volume One ISBN 978-0-9556897-0-3 1. Australian football—Encyclopedias. 2. Australian football—Clubs. 3. Sports—Australian football—History. I. Devaney, John. Full Points Footy http://www.fullpointsfooty.net Introduction For most football devotees, clubs are the lenses through which they view the game, colouring and shaping their perception of it more than all other factors combined. To use another overblown metaphor, clubs are also the essential fabric out of which the rich, variegated tapestry of the game’s history has been woven. -
Tivoli (Vaudeville Circuit)
AUSTRALIAN EPHEMERA COLLECTION FINDING AID TIVOLI (VAUDEVILLE CIRCUIT) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 The Tivoli was established by English music hall comedian Harry Rickards in 1893, following the success of his "New Tivoli Minstrel and Grand Specialty Company"(Sydney, 1892), and grew to be the major outlet for variety theatre and vaudeville in Australia for over 70 years. “The Tiv” operated under a range of names with the shows managed and produced variously by Harry Rickards, H.D. McIntosh, H.G. Musgrove, Connors & Paul, Frank Neil, Wallace R. Parnell, Bruce Carroll and David N. Martin. The Tivoli Circuit grew to include Melbourne, Adelaide, Brisbane and Perth by the turn of the century, promoting a broad spectrum of both local and international vaudeville acts including comedians, dancers, acrobats, ventriloquists, and scantily-clad chorus girls who were colloquially known as the “Tivoli Tappers”. This list includes Tivoli vaudeville circuit shows as well as performances at the Tivoli theatres (i.e. venue hire arrangements).The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance. The list is based on imperfect holdings, and is updated as gaps in the Library’s holdings are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. ACCESS The Tivoli (vaudeville circuit) PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn3531752 Programs in the National Library’ PROMPT collection are arranged by entrepreneur and/or management company name. -
Artists, Managers and Employees
APPENDIX A HARRY CLAY'S VAUDEVILLE COMPANY SURVEY OF ARTISTS, MANAGERS, PARTNERS AND EMPLOYEES: 1901-1929 NB: An updated and revised version of this Appendix is presented in Clay Djubal's 2005 Ph D thesis "What Oh Tonight" (see Appendix H). That version includes several hundred new entries. The list is also regularly updated in the Australian Variety Theatre Archive. See: http://ozvta.com/research-lists/ (or at Pandora: http://nla.gov.au/nla.arc-143747) The following list has been compiled during the course of research undertaken for this dissertation. While every attempt has been made to locate the names and information regarding artists and employees engaged by Harry Clay’s organisation during the period 1901 to 1929, it must be conceded that the greater portion of this list has been compiled from available sources between the years 1914 and 1925. As discussed in Chapter Three of this thesis, there was little in the way of advertising or magazine reviews concerning Harry Clay’s operations during the years 1901-1913, other than in relation to the NSW/Qld tours reported in various country newspapers. While these sources have provided the survey with data concerning the tours, it is likely that many more artists were employed during those years. This situation, too, has caused some confusion as to whether several leading entertainers during this period, artists such as Jim Gerald and Clyde Cook,1 for example, were or were not associated with Clay's. Research for this thesis has so far failed to locate any definite primary evidence to support the claims that these two performers were engaged by Clay, and hence they have been left out of the survey. -
International & Australian Posters
International & Australian Posters Collectors’ List No. 157, 2012 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY Australian & International Events, Performances... Established 1977 1. “The Recruiting Officer,” 1790. Letterpress 103a Anzac Parade, Kensington (Sydney) NSW handbill, 25.1 x 17.2cm (paper). Laid down on acid- free paper. Post: PO Box 93, Kensington NSW 2033, Australia $1,250 Text includes “Theatre Royal, Covent Garden… This present Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Thursday, February 25, 1790, will be presented a comedy, called The Recruiting Officer. After which will be performed, Email: [email protected] • Web: joseflebovicgallery.com for the 39th time, a pantomime, called Harlequin’s Chpalet Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 [sic]…” A cast list for both plays is included. Written by George Farquhar in 1706, The Recruiting Officer was the Member of • Association of International Photography Art Dealers Inc. first play performed in Australia, in June 1789 in Sydney. This International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. handbill is for the London performance of 1790. 2. George E. Mason (Brit.). Mason’s Instructions For COLLECTORS’ LIST No. 157, 2012 Fingering The Fretted Violin. A Diagram For The Use Of Students, c1890. Lithograph, International & Australian Posters 64.6 x 25cm. Foxing and stains overall, repaired tears, creases, pinholes, and missing portions. On exhibition from Wednesday, 13 June to Saturday, 4 August. -
Art and Advocacy: Mary Alice Evatt in the 1930S and •Ž40s
Kunapipi Volume 26 Issue 2 Article 11 2004 Art and advocacy: Mary Alice Evatt in the 1930s and ’40s Melissa Boyde Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Boyde, Melissa, Art and advocacy: Mary Alice Evatt in the 1930s and ’40s, Kunapipi, 26(2), 2004. Available at:https://ro.uow.edu.au/kunapipi/vol26/iss2/11 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Art and advocacy: Mary Alice Evatt in the 1930s and ’40s Abstract On her return to Australia from Europe in 1939, Mary Alice Evatt remarked in an interview for the Australian Women’s Weekly that paintings devoted to gum trees, sheep, koalas and misty seascapes were the only Australian works selected to hang in World Fair Art Exhibitions. In addition she derided the decision makers who overlooked Australia’s modernist, experimental artists, many of whom were women: ‘if only those in authority were to select the paintings of Australian artists who prefer creation to photography, and were less overawed by official selection bodies,ustr A alia might find a worthy place on the art map of the world’ (Evatt 1939 32). This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol26/iss2/11 91 MELISSA BOYDE Art and Advocacy: Mary Alice Evatt in the 1930s and ’40s On her return to Australia from Europe in 1939, Mary Alice Evatt remarked in an interview for the Australian Women’s Weekly that paintings devoted to gum trees, sheep, koalas and misty seascapes were the only Australian works selected to hang in World Fair Art Exhibitions. -
Bert Button Comments on Radio – 1985
BERT BUTTON COMMENTS ON RADIO – 1985 Willie Fennell: actor of radio, films, theatre. In the post war years over 60% of radio features were imported from America and the United Kingdom. A Parliamentary Standing Committee on Broadcasting was concerned about Australian artists only participating in about 30% of locally recorded programs. It was about that time that the “Colgate Palmolive Show” was formed, which included Jack Davey, Bob Dyer, Roy Rene, Joy Nicholls, Kitty Bluett, Hal Lashwood, Dick Bentley, George Foster and Willie Fennell. Willie’s main claim to popularity was the expression “Ow are yer mate” and it could be claimed that his being typed this way did not do justice to the real ability he possessed. Perhaps the first public indication of this was when he starred in “Life with Dexter” and since then he has successfully participated in a number of TV and theatrical productions. Willie was always a fairly quiet unassuming person; not easily cultivated as a friend, but an individual who would always leave his mark in the field of entertainment. Whilst he recollects with pleasure his participation in several top rating radio shows such as “Calling The Stars” (his first appearance in radio), “Ada and Elsie”, and “The Cashmere Bouquet Show”, I’ve always felt that Willie Fennell obtained more satisfaction from his association with theatrical and film productions, although he also obviously enjoyed facing up to large audiences in club shows. Now in his sixties, Willie Fennell has been associated with several commercial and ABC TV programs such as “No. 96” and “Young Doctors”, and also stars in theatrical productions and the occasional film. -
Clay's Vaudeville Company: Artists, Managers and Employees
HARRY CLAY'S VAUDEVILLE COMPANY Survey of Artists, Managers, Partners and Employees (1901-1930) Harry Clay's Bridge Theatre, Newtown From the Newtown Diamond Jubilee Souvenir: 1862-1922 INTRODUCTION The following list was originally compiled during the course of research undertaken Clay Djubal' 1998 MA dissertation, "Harry Clay and Clay's Vaudeville Company, 1865-1930." An updated and revised version, with several hundred new entries, was published in the appendices of his 2005 Ph D dissertation, "What Oh Tonight: The Methodology Factor and Pre-1930s Australian Variety Theatre." This AVTA list carries on from those two versions and as the now definitive version will subsequently updated and revised as new information is found. Check the citation details at the end of the list for Last Updated details. While every attempt has been made to locate the names and information regarding artists and employees engaged by Harry Clay's organisation during the period 1901 to 1929, it must be conceded that the greater portion of this list has been compiled from available sources between the years 1914 and 1925. The primary reason for this is that Harry Clay did not always depend on newspaper advertising (particularly the Sydney Morning Herald) for his Sydney suburban circuit, relying to a large extent on dodgers (leaflets) and adverting both in the local area and at the venues his companies played at. Most of our information for the period 1901-1913 actually comes from his New South Wales and Queensland tours, which were given reasonable coverage in various country newspapers. It is likely, then, that many more artists were employed during those years, especially from around 1904 onwards when Clay stopped travelling with these tours and concentrated on his Sydney circuit. -
Literary Vaudeville: Lennie Lower's Comic Journalism
Literary Vaudeville: Lennie Lower’s Comic Journalism PETER KIRKPATRICK University of Sydney It is entirely possible that vaudeville never really died—at least not in Australia. Susan Lever, for one, has observed that vaudeville-style, self-consciously performative ‘characters’ have had a surprising afterlife in Australian culture. Against the scarcity of successful home-grown sitcoms, she notes the preference of local audiences for revue-style sketch comedy, as well as ‘character’-based variety shows centred upon such diverse comic figures as Graham Kennedy, Norman Gunston (Garry McDonald), and Roy and HG (John Doyle and Greig Pickhaver)—to which might be added Paul Hogan and Shaun Micallef. Even Jane Turner and Gina Riley’s caricatural Kath & Kim suggests that ‘the Australian taste for comedy remains firmly on the side of vaudeville’ (238). The comic writings of Leonard Waldemere Lower (1903–1947), better known as Lennie Lower, had a role in extending something of the energy and style of vaudeville into later media. Lower was a very popular humorous columnist on Sydney newspapers from the 1920s until his death at the age of forty-three, and he retains a toehold in the annals of Australian literature on the basis of a single novel, Here’s Luck, which has reputedly never been out of print.1 His biographer Bill Hornadge asserted that it was ‘widely acclaimed as Australia’s funniest novel’ (90), while Keith Willey saw it in somewhat more complex terms as a classic example of what he called Australian Humour in Hard Times. Such claims about the representative status of the novel normally avoid saying very much about the precise strategies of Lower’s humour. -
Short Report
COLLECTION FINDING AID Tivoli theatres Performing Arts Programs and Ephemera (PROMPT) Australian Collection Development The Tivoli was established by English music hall comedian Harry Rickards in 1893, following the success of his ʺNew Tivoli Minstrel and Grand Specialty Companyʺ(Sydney, 1892). “The Tiv” operated under a range of names with the shows managed and produced variously by Harry Rickards, H.D. McIntosh, H.G. Musgrove, Connors & Paul, Frank Neil, Wallace R. Parnell, Bruce Carroll and David N. Martin. This list includes Tivoli vaudeville circuit shows as well as performances at the Tivoli theatres (ie venue hire arrangements). This collection guide to programs in the National Library’ PROMPT collection is arranged by entrepreneur and/or management company name, then chronologically by performance. Entries for each program are arranged by year, then individually described as follows: Date (day and month); City Name of production or performer in bold italic face Headline performers etc. A page index to staged productions is provided at the end of the document. The National Library’s collection also includes: Oral history recordings and interview with a number of Tivoli performers; Scrapbooks, journals and personal papers relating to entrepreneurs and performers associated with the Tivoli – NB* these manuscript collections may include additional programs; Pictures; and Published works relating to the history of the Tivoli including broadsides. See also the Sharp theatre collection, which includes a sample of programs from the Sydney and Melbourne Tivoli circuit. www.nla.gov.au Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia January 2010 Collection Finding Aid Tivoli theatres Harry Rickards 1899 18 March; Sydney Arcadia Starring Albert McKisson, John Kearns… et al 1905 18 February; Sydney Moorish Revels plus international acts in the second half. -
Eric Guy 'The Tank' from Pier Street Eric Guy 1932- 1991
ERIC GUY ‘THE TANK’ FROM PIER STREET ( Ref 2018/11) Source: Esso- Atlantic Picture Pageant ERIC GUY 1932- 1991 Eric Guy (born: 1932) played 26 games with Dromana FC. As a teenager, in Mornington Peninsula football, Eric forged a handsome reputation with his uncompromising style of play and his mass of eye-catching blonde hair. While quite a deal is known about Eric’s football prowess with Dromana Football Club, very few local people are aware of Eric’s early years and his involvement with the 1949 Melbourne Cup winner, Foxzami… “…Eric was the youngest child born into the Guy family. According to older brother Ivan, Eric had always loved horses and had always owned one. Ivan said he and Eric would ride over to Dandenong market on their pushbikes where a horse could be bought for about 17 shillings and sixpence.... sometimes, Ivan said they would be given away for nothing. By the age of sixteen Eric had a job as a track work rider in Sydney, there he worked with the race horse Foxzami, the following year in 1949 Foxzami won the Melbourne Cup. During the 1950's Eric kept fox, stag and grey hounds for hunting. Often he and others would go into the swamps and farmland out the back of Carrum and hunt foxes…” Source: ‘A History of Families of Carrum.’ Source: Family collection ERIC GUY WITH ONE OF HIS GREYHOUNDS As is well-known, Eric played an important role in the club’s triumph over Somerville in the 1950 ‘B Grade Grand Final’ before embarking on an impressive career with Carrum , Oakleigh (VFA) and later with St Kilda FC.