NOVEMBER, 1986 Vol 10 No 10 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust

Nunsense - a habit-forming, un-convent-ional musical comedy!

A scene from the New York production of NUNSENSE

NUN SENSE by Dan Goggin ing four are languishing in the 'fridge! Hubert and the Reverend Mother belt out Directed by Barry Creyton The Department of Health is about to "Just a Coupl'a Sisters". All nun-stop Musical direction by Michael Tyack descend on the convent, so in order to fun. Choreography by Dolores Dunbar raise enough money for their burial, the NUNSENSE has won four prestigious Designed by Peter Tyers Sisters decide to organise a talent show. New York awards including Best Off Lighting design by Donn Byrnes They aim to bring in further funds by Broadway Musical of 1986, Best Music Cast: Joan Sydney, Maggie King, Robyn selling Sister Julia's book "Baking with and Best Book. Arthur, Geraldene Morrow, Georgie The Blessed Virgin Mary" which, Parker incidentally, contains the recipe for her BOOKING INFORMA nON Footbridge Theatre vichyssoise. Tue Jan 6 to Sun Feb 1 The variety show is, in fact, the play: Tue to Thu at 8 p.m. ity the poor Little Sisters of the set, incongrously, is the backdrop to Fri at 6 p.m. and 9 p.m. P Hoboken, they have a problem! GREASE which the nun's eighth graders Sat at 2 p.m. and 8 p.m. Twenty-two of their members died of are producing (the Sisters promised not Sun at 5 p.m. botulism when Sister Julia Child of God to disturb the set!) AETT $22.50 (except Fri 9 p.m. and (the convent chef) cooked up a tureen of The five Sisters bounce through an Sat 8 p.m.) contaminated vichyssoise . ., "Miracu­ hilarious, toe-tapping show. Sister . G.P. $26.50 (Fri 9 p.m. and Sat 8 p.m.) lously" five of their members escaped the Robert Anne does her impersonations $25.50 (Tue to Thu and mats) same fate as they were out playing bingo. (from Katherine Hepburn to Attila the Pens/Stud $19.50 (except Fri 9 p.m. and Sat 8 p.m.) The problem is that after burying Nun), Sister Mary Amnesia (her memory Children $15.50 (except Fri 9 p.m. and eighteen of their number, the money ran has failed) astounds with her ventrilo­ Sat 8 p.m.) out when the Mother Superior decided to quist act, Sister Mary Leo performs the Two AETT tickets per member buy a video cassette recorder; the remain- ballet "The Dying Nun" and Sister Mary 2

farewell appearance by Nifty (you know Tasmanian TOD Tour Musical at Q who) as the ghost of Christmas past. You can see the show only, or make a night of it with dinner at Kinselas, the show and The Theatre of the Deaf are certainly If TARANTARA TARANTARA! by then dancing at the disco which follows. A an energetic group. The day after Ian Taylor Seems like a good way to spread a little ~L WAITING FOR GODOT finishes at Directed by Arthur Dicks Christmas cheer. the Seymour Centre, they leave for a Musical direction by Allan McFadden four-week tour of Tasmania. Designed by Leone Sharp The company will be performing its Cast: Barbara Morton, Julie Mullins, BOOKING INFORMATION new play for infant schools MOON Rosalie Fletcher, Ric Burchall, Dennis Mon Nov 10 to Sat Jan 3 BETWEEN TWO HOUSES by Suzanne Dinner 7 p.m., show 8.30 p.m. Scott, Jonathan Biggins, Jack Youens, AETT $18.00 show only (Mon to Thu) Lebeau, as well as SILENT VIDEO for and Waldemar Gorecki $30.00 dinner and show (Mon to Thu) schools and community groups all over Q Theatre, Penrith $33.00 dinner and show (Fri/Sat) Tasmania. The company will also con­ G.P. $20.00 show only (Mon to Thu) duct visual theatre workshops for the n traditional Q Theatre st~le, the fi.nal $32.00 dinner and show (Mon to Thu) deaf community and will be performing I produc.tion of the year IS a musIcal $23.00 show only (FriiS at) in the Salamanca Festival in Hobart. for the whole family. Set in the 1880s $35.00 dinner and show (Fri/Sat) TARANTARA TARANTARA! is a pot­ Two AETT tickets per member pourri of your favourite Gilbert and Sullivan songs woven around highlights in the careers of William Gilbert, Sir Arthur Sullivan and Richard D'Oyly Corporeal-Mime Carte. It is almost ten years now since the musical was last given a professional pro­ duction in Sydney. At the time Barry Lowe, writing in The National Times, said of the Marian Street Theatre produc­ tion (which later transferred to the Theatre Royal) "If you have forgotten what great entertainment is like, then you need look no further".

BOOKING INFORMATION Q Theatre, Penrith Fri Nov 14 to Mon Dec 15 Wed to Sat at 8 p.m. Steve Ripley and Catherine Gillard in SILENT VIDEO Wed at 11 a.m. Sat at 4 p.m. Entr'acte Theatre in T1MESCAPE Sun at 4.30 p.m. Old and New AETT discount $1.00 ntr'acte Theatre will present two new Bookings on (047) 21 5735 E works in their Performance Space season which continues until November tudents of the Aboriginal Islander 16. ON ARCHEOLOGY is conceived Dance Theatre, together with former S and created by Nick Tsoutas and students and teachers, will present a Xmas is Coming! OSTRAKA is conceived and created by season of dance works this month at Pierre Thibaudeau. They are both based Belvoir Street. Traditional dances will on the themes of memory, departure, include those from Mao Island in Torres NOTTA LOTTA SERIOUS BITS! return and repetition. Entr'acte was Strait and, for the first time this year, Directed by Bob Hudson formed in 1979 by Pierre Thibaudeau from Bathurst Island. The students have Cast: Graeme Blundell, Vince Sorrenti, and Elisabeth Burke after their return recently spent two weeks on Bathurst Penny Cook, Mike Bishop, Dave Gray, from Canada where they had been per­ Island learning about the lifestyle. In Su Cruikshank, Lyn Shakespeare forming with Omnibus. Both Pierre and contrast to the traditional dances, Kinselas Elisabeth studied corporeal-mime in modern works by choreographers such as Paris with Etienne Decroux and in Mon­ Paul Saliba and Raymond Sawyer will inselas is staging a fun show to help treal with Jean Asselin. They have also be included in the programme. K celebrate the festive season. NOTTA received continuing acclaim for their LOTTA SERIOUS BITS! is a pot-pourri innovative style of theatre. BOOKING INFORMATION of skits, jokes, sketches, songs, parodies Thu Nov 13 to Sun Nov 23 and satire (whew!). Described as BOOKING INFORMATION Thu, Fri, Sat at 8 p.m. "inspired lunacy and buffoonery", the Until Sun Nov 16 Sun at 5 p.m. show includes Penny Cook as the Virgin Tue to Sun at 8 p.m. AETT discount $3.00 AETT discount $1.00 Bookings on 699 3273 Mary, Graeme Blundell managing to play the entire N.S.W. legal profession, and a Bookings on 699 5091 If Et An Austrlliian Elizabethan Theatre Trust presentationl ______3

the role of Celia's mother, Josephine, Harrison and Colbert and - wait for it! - Rowena, Miles' Country Bound wife, who has not to date been seen but ollowing a season in Melbourne, Rex made her name off stage, as a too-briefly FHarrison and Claudette Colbert will KING OF COUNTRY by Tim Gooding clad femme fatale in the mother's race Directed by Wayne Harrison appear in Frederick Lonsdale's comedy sports day. As for the plot, we shouldn't AREN'T WE ALL? in Sydney in Designed by Michael SCOI/-Mitchell give too much away but we can mention Lighting by Nigel Levings February. Full details will be in the "cricket widows" who find that December T.N. but anyone wishing to Dramaturgy by Louis Nowra affairs are second in importance to the Choreography by Meryl Tankard make an early booking should ring the cricket match. membership office in early November by Cast: Terry Donovan, Jodie Gillies, which time we hope to have prices Valerie Bader, Mal/hew Fargher, Les available. BOOKING INFORMATION Foxcroft, George Washingmachine, the Thu Nov 27 to Sat Dec 27 Three Chord Wonders Tue to Sat at 8 p.m. Wharf Theatre More Intimate Thu at 11 a.m. Sat and Sun at 5 p.m. AETT $14.00 (Tue to Fri), $10.00 mats Exchanges! G.P. $16.00 (Tue to Thu), $18.00 (Fri and Sat evg), $14.00 (Sat/ Sun mat), $13.00 (Thu mat) A CRICKET MATCH Pens/ Stud $12.00 (Tue to Fri) by Alan Ayckbourn $11.00 (Sat/ Sun mat), $10.00 (Thu mat) Two AETT tickets per member Directed by Sandra Bates Designed by Tom Bannerman Cast: Gillian Axtell and Brian Young Ensemble Theatre Williamson Premiere

ho needs a soap opera when Sydney EMERALD CITY by David Williamson W has the continuing saga of Alan Directed by Richard Wherrel/ Ayckbourn's INTIMATE EX­ Sel/ings by Laurence Eastwood CHANGES? Four of the eight interlock­ Starring John Bell, Ruth Cracknell, Max Terry Donovan ing plays are being presented by the Cullen, Robyn Nevin, Andrea Moor he STC premiere of Tim Gooding's Ensemble and A CRICKET MATCH is Drama Theatre, S.O.H. KING OF COUNTRY opens at the the third in the series. T Wharf Theatre on December 3. Set in Gillian Axtell and Brian Young, who Tamworth, the play is about a divorced are the front runners in this dramatic A New Year's treat will be the January 1 opening of EMERALD CITY, a new Australian father who, regretting the marathon, play four characters each in ~ play by David Williamson, Australia's move he made with his family to the city the play. Boys' school headmaster, Toby, many years before, decides to return to his stodgy school-tie-and-blazer friend, most successful and prolific playwright. His last play, SONS OF CAIN, was Tamworth, back to the scene of his coun­ Miles, and the extraordinary grounds­ taken to London by the AETT following try music show-biz days and the girl he man, Lionel, are still there but they are left behind. With him goes the rest of the joined by a new character, Reg Schooner, its successful Australian season. In his new play, a Melbourne film and TV family, induding a grandfather who is a hearty cricketing type. scriptwriter moves to Sydney, the still angry about the loss of his farm in On the feminine side, Gillian Axtell "EMERALD CITY", brash and the depression. again plays the headmaster's wife, Celia hedonistic after the "sodden rectitude" A play with music with text, music and and their maid Sylvie, but she also takes of Melbourne. How will it affect his lyrics by Tim Gooding, KING OF work? There is much that is COUNTRY features Terry Donovan and autobiographical in the plot; David Jodie Gillies, last seen in the STC's Williamson was a Melbourne writer who SONDHEIM and the Three Chord moved to Sydney, and the play's hero, Wonders, rated in Tamworth as "the Colin, scripted the movies GALLI POLl hOI/est outfit around". As December and PHAR LAP, as well as a TV series performances are heavily booked, on Whitlam's downfall - as did Members are advised to book during Williamson. January.

BOOKING INFORMATION BOOKING INFORMATION Thu Jan 1 to Sat Jan 31 Wed Dec 3 to Sat Jan 31 Mon to Sat at 8 p.m. Mon to Sat at 8 p.m. Sat at 2 p.m . Sat at 2 p.m. AETT $22.00 (Mon to Thu and mat) AETT $18.00 (Mon to Thu and mat) G.P. $25.00 G.P. $20.00 Pens/Stud $22.00 (Mon to Thu and mat) Pens/ Stud $15.00 (Mon to Thu and mat) Brian Young as Lionel in INTIMA TE Two AETT tickets per member Two AETT tickets per member EXCHANGES 4 r-O~;"g Saot'__ -..,-_------ff

Shining All's Well That Ends

urists will be delighted by Graeme Well P Murphy's return to abstract dance in his new three-act ballet, SHINING, after inal presentation in the Nimrod's in many ventures into more theatrical F repertoire season is the lesser-known ballet. Shakespearean play ALL'S WELL Murphy describes SHINING as "a THAT ENDS WELL, in which Ruth celebration in dance of dance". Very Cracknell stars as The Countess. It's much influenced by the music of Polish about a woman who battles class pre­ composer Karol Szymanowski over the judice and sexual discrimination to win last year, Murphy has again used several the man she loves, a surprisingly modern of his works as the music for SHINING. character for Shakespeare's time. Also in Its Sydney season coincides with a time of the cast are Walter Brown, Simon Burke, celebration for the company. Graeme Celia de Burgh, Ron Graham and Edwin Murphy and his assistant Janet Vernon Hodgeman. The play is directed by have been with the company for ten Richard Cottrell. years, and they are all moving premises BOOKING INFORMATION down to the wonderful Wharf. Seymour Centre Man to Sat at 8 p.m. Sat mat at 2 p.m. Nov 4, 5, 6, 7, 8 (mat), BOOKING INFORMATION 10, 11, 12, 14, 15 (mat and evg), 18, 20, Opera Theatre, S.O.H. 21, 22 (mat and evg), 24, 25, 26, 27 Thu Nov 6 to Sat Nov 22 and 29 Man to Sat at 7.30 p.m. AETT $19.00 (Tue to Fri) Sat at 4 p.m. G.P. $21.00 (Tue to Sat) AETT $21.50 $18.00 (Man and Sat mat) G.P. $24.50 Pens/Stud $15.00 (Tue to Fri) Stud/Pens $19.50 $12.00 (Man and Sat mat) Two AETT tickets per member Two AETT tickets per member e _Via.ltJ9Il by Carole Long, Membership Manager

he things we do for love . . . in this Allman, Don Shanks, Richard Greager the best we can with an inadequate T case of the theatre. Annie Mangan, a and Anson Austin sang extracts from system. So please bear with us. You can deaf actress with the Theatre of the Deaf, eight operas. The musical production help by returning your renewal cheques is afraid of heights. So guess what she's team had nothing but praise for the skill as soon as possible. They're normally doing in the Theatre of the Deaf's current of the musicians who moved from opera sent out six weeks prior to the due date to production of WAITING FOR to opera with consummate ease. It's nice give time to return your card in time. But GODOT? Climbing up and down rope to hear the oft neglected musicians receiv­ remember, if there is a delay, your ladders. Her entrance and exit is via a ing the praise they deserve. membership number doesn't change and rope ladder hung from the lighting grid your card is valid for use for up to three of the Seymour Centre Downstairs. As t would be marvellous to see our months after the expiry date. I'm writing this (prior to the show's I membership administration moving opening) Annie is spending an hour a day into the twentieth century and becoming e know our Members are interested in the Trust's basement practising. Good fully computerised. But at the moment W to know about Trust productions luck, Annie, we'll be cheering you on. it's all pipe dreams and we have to and it's not easy to see at a glance in manage with a fairly antiquated system. Trust News which shows are presented by Although our membership list is on a the Trust and which aren't. So with this embers of the Elizabethan Sydney computer it's not in house so that there is edition we're identifying each Trust show M Orchestra have just had an in­ necessarily some delay in updating our with a red Trust logo. Presented like that teresting break from their usual role play­ lists to record renewals. In fact updates it's clear just how busy our production ing for the Australian Opera and Ballet. are processed on the first of each month The 7 Network is producing a series on which means if your cheque arrives short­ the life of Nellie Melba (scheduled for ly after that you could be waiting nearly a ",paIT: 6 screening next year) and members of the month for the next update to produce ESO were invited to provide your new card. I know it looks inefficient accompaniment. Yvonne Kenny, Robert and that is annoying when we're doing 5 St."fdort··· ()tIin ~ by Margare! Leask

wo new plays which will undoubtedly American cast, directed by Jonathan T feature in the end of year theatrical Miller, the production was totally absor­ prize giving have recently opened in Lon­ bing, with Lemmon dominating the stage don to strong critical approval. Brian and his stage family, ensuring the build­ (WHO'S LIFE IS IT ANYWAY?) up of tension was sustained to the Clark's new play, THE PETITION, inevitable and intensely moving final which has already played on Broadway, scene. I was also lucky to be in the started life in London at the National audience for an informal interview Theatre in an excellent production by between Jack Lemmon and Jonathan Peter Hall. John Mills and Rosemary Miller at the National Film Theatre dur­ Harris play the elderly couple discovering ing which Lemmon discussed his films frustrations and qualities about each and stage roles, and told entertaining other that many previous years of mar­ anecdotes about his friend and colleague, riage have concealed. It is an absorbing Walter Matthau. and moving drama which touches on Looking ahead in this season, London many personal and social issues, will soon have Vanessa Redgrave in including the case for and against nuclear Ibsen's GHOSTS at the Young Vic; disarmament, with both players giving Derek Jacobi in a new play by Hugh compelling performances as the balance Whitemore BREAKING THE CODE at of strength and dependence shifts the Theatre Royal, Haymarket; and between them with each new revelation. Andrew Lloyd Webber's new musical, It has now transferred to the Wyndham's Marlin Jarvis and Julia McKenzie in WOMAN IN MIND THE PHANTOM OF THE OPERA Theatre. with Michael Crawford and directed by Alan Ayckbourn's new com­ At the Lyric Hammersmith Glenda Harold Prince at Her Majesty's. At the edy/drama, WOMAN IN MIND, has Jackson, Patricia Hayes and Joan National will be Anthony Hopkins' Julia McKenzie in the central role of Plowright are three of the trapped KING LEAR, directed by David Hare, Susan, whose attempts to escape from women in Lorca's last play, THE and a new play by Stephen Poliakoff, her mundane existence into a fantasy life HOUSE OF BERNARDA ALBA, given COMING IN TO LAND, to be directed results in ohaos when the two world's col­ a tense, robust production by the Spanish by Peter Hall, with the wonderful Maggie lide. The Sunday Times considers the actress, Nuria Espert. The sense of Smith as a "spiky" Polish woman arriv­ play (Ayckbourn's 32nd!) to be one of his impending disaster and ultimate explo­ ing in London and intent on staying. The best - "his characterisation is both sion in this poetic social drama and the RSC's forthcoming Barbican season will ruthless and beguiling and the three cen­ superb performances, make it a stunning include a revival of John Whiting's A tral performances by Julia McKenzie, evening of theatre. PENNY FOR A SONG and Arthur Peter Blythe and Martin Jarvis, have a A recent pleasure was to see Jack Lem­ Miller's 1984 play, THE ARCH­ controlled, virtuoso brilliance". Directed mon as James Tyrone in Eugene BISHOP'S CEILING. by Ayckbourn, WOMAN IN MIND O'Neill's classic American drama about a opened at the Vaudeville Theatre in doomed family, LONG DAY'S Margaret Leask is a former editor of September and is drawing large JOURNEY INTO NIGHT at the Theatre Trust News now living in London where audiences. Royal, Haymarket. With an all- she is an artists' agent.

Making the most of your Trust Membership FILM DISCOUNTS The system for obtaining discounts to vouchers as you wish so regular film In most editions of Trust News we have a Hoyts, Greater Union and Village goers can keep supplies of vouchers on Focus on Films column which covers cinemas is different. Concessional hand. Vouchers can be obtained on the highlights of the new film releases that vouchers can be purchased from the Trust Member Booking Coupon (no month. We cover films which we believe Trust and exchanged at any Hoyts, handling fee applies) or in person from will be of interest to Members. It is Village or Greater Union cinema for the Trust during normal office hours. important to realise, however, that film tickets (some Saturday and Public Holi­ Please specify which cinema chain you discounts are available for all Hoyts, day restrictions apply). As the vouchers require when ordering. Greater Union and Village cinemas as can be purchased for $5.50 this effec­ well as films being screened at the Dendy tively means a $2.00 saving on the general CHANGING ADDRESS? Cinema, Martin Place, and·the Academy public price of $7.50. The vouchers are Please let us know so that we can alter Twin, Paddington. open dated and are valid for periods of our records and make sure your copies of If you wish to see a film at the Dendy between three and six months. They can Trust News are not delayed. If you're or Academy Twin simply take along your be used for any film presented by the par­ moving interstate we can transfer your membership card to the box office and ticular chain. They are not therefore a membership to any mainland State. We you will receive a $2.50 discount on one guarantee of admission to any particular have offices in Melbourne, Adelaide, ticket. screening. You can purchase as many Perth and Brisbane

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

Coinciding with the world premiere of David Williamson's new play EMERALD CITY (see Williamson premiere p. 3), T.N. invited Brian Kiernan to review David Williamson's career and to comment on his latest work.

he opening of a new play by David T Williamson is by now an established cultural event, and the critics will be on their mettle as they prepare to review the latest work of the most successful Australian playwright ever. Will this be another box-office record-breaker, with overseas productions, and perhaps a film to follow? What will this new play sug­ gest, not only about the playwright's development, but also about the current state of the Australian theatre? Peter Carroll and Robyn Nevin in the Sydney Theatre Company production of THE PERFECTIONIST This second question will be at least in the back of reviewers' minds because Mama, and DON'S PARTY playing and in 1973 the Evening Standard voted David Williamson and the modern almost simultaneously at the APG's him the most promising playwright of the Australian theatre emerged together. nearby Pram Factory. Both plays have year after the London Production of Born in Melbourne in 1942, a become classics of the alternative theatre THE REMOV ALISTS. mechanical engineering student at movement of those vital, if volatile, In Australia, he won two A wgies for Melbourne and Monash Universities years, and both, with STORK, were the play, the first of the now numerous during the Vietnam years, David made into fi lms which contributed local awards for his plays and filmscripts Williamson's first successful plays were importantly to the developing local that have followed. produced in Melbourne's alternative cinema. Looking at Williamson's body of theatre in the early 1970s. Also in 1971, as well as THE work, we do not find any formula nor These were the years of anti-war pro­ REMOV ALISTS going on to an typical Williamson play. Though he has test and calls for liberation of all kinds, acclaimed production at Sydney's consistently preferred realist conventions, national, cultural, political, sexual. A Nimrod, the Melbourne Theatre Com­ out of a continuing commitment to new generation, both impatient with pany commissioned JUGGLERS drama's social relevance, he has con­ Australia's colonial cultural cringe and THREE, which became part of its 1972 tinually surprised expectations by varying responsive to counter-cultural influences season. the mood, as well as the characters and from the USA and the UK, was In 1973, WHAT IF YOU DIED situations, of each new play. establishing its own alternative means of TOMORROW was commissioned by the Although most frequently referred to communication and expression: Old Tote for the opening of the Sydney as a naturalist, he has by now written a newspapers and magazines, radio, film Opera House, and for the 1974 Adelaide range of comedies, comic "slices of life" , and theatre. Festival the South Australian Theatre each of which finds its own appropriate Melbourne's Cafe La Mama, out of Company commissioned THE form and dominant tone. He has not which the Australian Performing group DEPARTMENT. doggedly pursued (nor offered answers emerged, provided aspiring playwrights The success of THE REMOV ALISTS to) social problems, nor weighed the with the opportunity to have their work was followed by swift recognition, and competing claims of heredity and envir­ performed before keen, if small, David Williamson was soon an estab­ onment as determinates of behaviour, as audiences. Williamson's THE COMING lished (but not establishment) figure able "naturalism" used with historical OF STORK was first produced at La to devote himself to writing full-time. accuracy would suggest. Mama in 1970. The next year saw THE The 1971 Nimrod production of THE But although there is no typical REMOVALISTS (with the playwright as REMOV ALISTS brought him the British Williamson play, there is a characteristic the Removalist with $10,000 worth of George Devine award, the first time this Williamson style. Smartly paced, closely machinery "ticking over" outside) at La had gone to a writer outside England, interactive, unerringly accurate in idiom, 7

the dialogue 'keeps characters and situa­ movies titled GALLI POLl and PHAR CITY he takes us inside our much­ tions in simultaneous revelation, blend­ LAP, and a television series of the fall of publicised film industry. Balancing (as ing humour with serious concern. Or, in the Whitlam government. Yet rather than always) sharp, topical satire with a comic other words, a lot is happening at any seeming autobiographical in tone, or acceptance of folly, he presents the kinds moment, and, although a particular indulgently preoccupied with Colin, of personalities and pettiness that prevail moment may give the impression of life EMERALD CITY is a very formal, in a multi-million dollar, but still being observed in all its banality, there is ironic comedy. primitive, local industry. usually a point underlying it that emerges In style and scale this new play is Whether Australian movies, and now in the wider pattern of the play. closest to THE PERFECTIONIST with television series, need "go international" As the playwright has matured, along its comedy of contemporary manners and to succeed commercially, and, if they do with the audiences who have been follow­ rivalries between professionals - and the so, whether they will lose the distinc­ ing him and the rest of society, the young sexes . The demoralising role reversals tiveness that has constituted their appeal graduates of THE COMING OF STORK that Colin experiences with both Mike for both local and overseas audiences, are or the young marrieds of DON'S PAR­ and Kate might remind us of the ideals of questions that go back to the 1920s. For TY have given way to more middle-aged Stuart, the perfectionist, in that play. If, Colin it is the choice between writing and securely middle-class characters, to though, Colin in some explicit respects is what he feels should matter to Australian the anxieties of an older generation and a a portrait of the artist as an early middle­ audiences, and doing what will sell best later decade. This has .suggested that aged celebrity, it is an ironically - which also matters, with school fees to . Williamson is the chronicler, even the detached, self-deprecating portrait with be paid. But such considerations extend personal diarist of the emotional and pro­ some prominent warts, or shopping-lists beyond the particular industry (there is fessional insecurities of his own genera­ pinned on his jumper. We are invited to the parallel case of publishing for Kate), tion, and WHAT IF YOU DIED laugh at Colin's insecurities and incon­ or even the difference in ethos between TOMORROW (1973), A HANDFUL OF sistencies, to recognise that he has more Sydney and Melbourne. The wider issue FRIENDS (1976), and THE PERFEC­ of Mike, the "Port Jackson huckster" , in raised by' the play is that of reconciling TIONIST (1982) have been appreciated his make-up than he would care to admit. personal and artistic integrity with the as such, as imaginative exposures of con­ With each new Williamson play we ways of the world. tem porary socio-psycho-preoccupations. expect to be shown an aspect of how we Versions of this conflict between how live now, and also to laugh. These expec­ one ought to act and what is possible, or Other plays, however, have emphas­ tations which he established from the opportune, underlie the local and topical ised the social and the institutional more beginning of his career he has continued settings of all Williamson's plays. Behind than the personal: THE DEPART­ to fulfil, even though the subject might the satire and the comedy - for they are MENT, THE CLUB (1977), and SONS be, as it was in SONS OF CAIN, drug­ never directly realistic "slices of life" - OF CAIN (1985). These do not form a related corruption extending to the is a moralist's perception, though not a distinct group or phase in his writing but highest levels of a state. In EMERALD moralist's easy solution. Australian a varying emphasis in his continuing con­ writers ought to be able to give their cerns with the personal and the social, the audiences the stories they feel should sexual and the political. Generalisation is matter to Australians, without having to further complicated by the tonal variety double-guess the ratings or overseas from play to play, some being more sales, or being accused of being strident broadly comic, others more satiric. nationalists. Just as Ministers of the EMERALD CITY is one of William­ Crown ought to observe the law (SONS son's more personal rather than more OF CAIN), or an intelligent couple ought social plays. Like his plays of the 1970s to be able to arrange their marriage more dealing with personal issues, especially rationally (THE PERFECTIONIST), or WHAT IF YOU DIED TOMORROW a life-long humanitarian ought to be able with its central figure of Andrew, the to get along a little better with those doctor turned novelist, this latest play closest to him (TRAVELLING NORTH) problematises success. Has Colin, the ... and so on back through the by now former Melbourne teacher, now a top classic Williamson repertoire. writer of scripts for film and television, But the world being what it is , and sold out by moving to Sydney? Will he people being what David Williamson succumb to 'Commercialism, and forsake mordantly observes them as, and with stories he feels should involve Australian affection accepts them as, there can be no audiences, or can he retain his integrity final resolution of these contradictions. and still hope to afford a Harbour view? In the spirit of comedy we must grin and Williamson's own well-known success bear them. in scripting films, and his move from the "sodden rectitude" of Melbourne to (as it seems by comparison) the brash oppor­ Brian Kiernan is Senior Lecturer in tunism and hedonism of Sydney, invite us English at Sydney University and is David Williamson directs Max Cullen and John writing a critical biography on David to see strong similarities between Colin Gregg in the Sydney Theatre Company production Williamson. and his creator. Both have scripted of SONS OF CAIN 8 :_~DfI Fil",s

THE FRINGEDWELLERS directed by Bruce Beresford Produced by Sue Milliken From the novel by Nene Gare Starring Kristina Nehm, Justine Saunders, Bob Maza and Ernie Dingo Now showing at Village Cinema City and Double Bay

ruce Beresford first came across Nene B Gare's THE FRINGEDWELLERS seven years ago on a second-hand bookstall in London and determined to make it into a movie when he had "enough clout". He had been told by Marta Zoffoli and Tom Conti in SA VING GRACE friends "Nobody wants to watch a film about a bunch of Aborigines". To SAVING GRACE directed by Robert M. others a troublemaker. Tom Conti was Beresford, however, a family's relation­ Young intrigued by the character of Leo XIV, ships, struggles and aspirations are the Produced by Herbert F. Solow who personified to him "the innate central theme of THE FRINGE­ Screenplay adapted by Richard Kramer goodness of man". DWELLERS, not colour and racialism. and David S. Ward from the novel by TENUE DE SOIREE (EVENING Trilby Comeaway (Kristina Nehm) and Celia Gittelson DRESS) written and directed by Bertrand her family live in a shanty town on the Starring Tom Conti, Fernando Rey, Blier outskirts of a prosperous country town. Erland Josephson, Donald Hewlett, Produced by Philippe Dussart Trilby is an attractive part-Aboriginal, Giancarlo Giannini, Edward James Starring Gerard Depardieu, Michel ambitious to escape poverty and live like Olmos and Patricia Mauceri Blanc, Miou-Miou, Bruno Cremer, Jean­ a white, and to get a job in the city when Opening November 6 at the Roma she leaves school. She convinces her Pierre Marielle, Caroline Sihol reluctant family to move to a housing Now playing at the Academy Twin, he release of SAVING GRACE has Paddington estate. There they face the problems of T been timed to tie in with the visit of black-white integration, the "patronage" Pope John Paul II to Australia. It is a ernard Blier's last two films, MY of white neighbours, the invasion of a modern fable of an "Orphan Pope" who BBEST FRIEND'S GIRL and OUR host of uninvited relations and nostalgia was a reluctant candidate for the job and STORY, were not successes, but in for the companionship of the shanty who feels he is a prisoner of his position TENUE DE SOIREE he presents a com­ town. and remote from his people and his God. bined dollop of black comedy, shock and One of Australia's best known Tom Conti, fresh from his success in some interesting variations on the roman­ Aboriginal actors, Justine Saunders, REUBEN REUBEN, stars as Leo XIV, tic triangle - a recipe that should plays Trilby's sister, Mollie, and Ernie who is accidentally locked out of the produce an exotic dish. Dingo is Phil, the handsome drover who Vatican and becomes a penniless young "There's nothing like a good shoto! also wants to make something of his life workman. In his wanderings, he comes to insolence . . . a breathless 81 minutes," and becomes emotionally involved with a rural village in southern Italy where the commented Variety. Trilby. aquaduct supplying water for the fields One of the shocks is finding rugged has been destroyed by an earthquake star, Depardieu, preferring his pal to the leaving the villagers to live by picking pal's girl. He developed a change of taste rags in a neighbouring dump and stealing while in prison on burglary charges and from strangers. Only a deaf and dumb when he lures a down-and-out couple child and a drunken ex-priest recognise into a life of crime things get even the Pope; the child cannot tell and the blacker. It would spoil the story to tell priest chooses not to. The newcomer more but if you like black comedy and insists that the aquaduct can be rebuilt fondly remember ENTERTAINING MR although some think him a madman, SLOANE then this is your film.

BOOKING INFORMATION

Concessional vouchers can be purchased from the members may purchase as many as they wish. AETT for $5.50 ($2.00 saving) and exchanged at Please specify which cinema chain you require. Hoyts, Greater Union and Village cinemas for Discounts are also offered at the Dendy Cinema, tickets. The vouchers are open dated but some Martin Place ($2.50), and the Academy Twin, Saturday/Public Holiday restrictions apply to Paddington ($2.50), at all performances except their use. See vouchers for details. after midday Saturday. Members should present their membership card at the box office. Discount No handling fee applies to film vouchers and available on one ticket per member. Kristina Nehm in FRINGEDWELLERS 9

If If SUGAR BABIES has a message, If Once a year, the AETT's Theatre of n classy Westchester County, New D it's "have a good time". For this is a A. the Deaf, one of our leading theatre­ I York, live two very different ladies ----' ~L zany, spirited nonsense, done with ~L in-education companies, mounts a one, Maude, a no-nonsense housewife style, slapstick, and stand-up comedy. It production for adult audiences. This year devoting her life to good causes and is a nostalgic slice of Americana music­ they have chosen WAITING FOR cookie baking; the other, Hanna-Mae, a ally revived with a bevy of beautiful girls GODOT by Samuel Beckett. This classic hedonistic Texan addicted to company, and comics a'plenty. Eddie Bracken, who 20th century drama is the story of two talking and coffee. Their common bond starred in the production in the US, plays people, Vladimir and Estragon, who is philandering husbands. Their growing the first comic, Garry McDonald plays amuse themselves with coilVersation, friendship is the subject of A COUPLA another. Also among the great cast are alternating between hope and despair, WHITE CHICKS, which continues at David Atkins (of CATS fame) and Joan while waiting for a person called Godot. the Footbridge until November 30. Brokenshire. It's presented by the AETT Those who have not seen a performance AETT discount $6.00 (Tue to Thu and throughout November at Her Majesty's. by this company should realise that it is mats) Bookings on 692 9955 AETT discount $7.00 neither a mime show nor a theatre for the Bookings on 212 1066 deaf. Hearing members of the cast pro­ et among Philadelphia's .high society, vide the vocal communication, the deaf STHE PHILADELPHIA STORY con­ actors provide the wonderful moving pic­ cerns the romances of one Tracy Lord. preading a little festive cheer at the tures and symbols of sign language. At Divorced from one husband, she is about SNorthside Theatre Company is the Seymour Centre, Downstairs, until to embark on another, when the first one ABSURD PERSON SINGULAR by November 8. re-appears! All good fun, while providing Alan Ayckbourn. Set on Christmas Eve AETT discount $2.00 a moving commentary on human nature. over three successive years, it is a funny Bookings on 692 0555 The Sydney Theatre Company produc­ behind-the-scenes look at Christmas tion continues at the Drama Theatre, party disasters. Directed by John Tasker, Bob Eaton wrote the musical S.O.H., until November 29. it continues throughout November. If A. LENNON as a tribute to John AETT discount $3 .00 (except Fri and Sat AETT discount $3.00 (except Sat evg ~L Lennon, and it played to standing evg) Bookings on 250 1777 until Nov 8) $1.00 (other performances ovations in London. It is the warts and all except Sat evg) biography of the most famous Beatle and ND A NIGHTINGALE SANG is a Bookings on 498 3166 traces his life from childhood, through A cheerful yet sentimental play by the early days in Hamburg with the C. P. Taylor about the resilience and Beatles group, to his tragic death in New spirit of an eccentric British family during World War II. Anne Tenney plays et another Alan Ayckbourn play, A York city. The show demonstrates the incredible depth and breadth of the man the lead role of Helen, club-footed and, Y GARDEN FETE, is at the Ensemble in her opinion, unattractive. She has an Theatre. It is one of a series of eight plays who was both creative and destructive. It is also a tribute to his marvellous music. eccentric father, a mother pre-occupied which all start at the same point, but with the church, and a sister with a which move in different directions. The Clare Venables, who directed the London production, is the director. It's presented wandering eye! At the Playhouse, plot is theatrical scrabble, the final deci­ S.O.H., until November 29. sion is yours . .. Until November 22. by the AETT at the Enmore Theatre throughout the month. AETT discount $3.00 (except FriiSat AETT discount $2.00 (Tue to Fri and evg) Bookings on 20525 mats) Bookings on 929 8877 AETT discount $4.00 Bookings on 212 1066 ontinuing throughout November at C the York Theatre, Seymour Centre, If An exciting new musical by an are Nimrod's productions of SHE A. outstanding creative team continues STOOPS TO CONQUER and THE ~L at the Stables Theatre until early MERCHANT OF VENICE. They are November. THE LAST WAKE AT joined by the final play in this series, SHE-OAK CREEK by Bob Herbert is a Shakespeare's ALL'S WELL THAT bush comedy with songs; it is the story of ENDS WELL (see Opening Soon p. 4). twenty-four hours in the life of She-Oak AETT discount $2.00 (Tue to Fri) Creek, and is full of delightful earthy Bookings on 692 0555 country characters. There are publicans who fight over who should have the footy hit of the 1984 Edinburgh Festival, cup, young lovers from warring families, A ABIGAIL'S PARTY is currently and spinsters spying on the village's enjoying its second London season. The activities. The production is presented in plot? A small get-together of neighbours conjunction with the Australian Content down the street from a teenagers' party. Department of the Australian The ensuing developments perhaps prove Elizabethan Theatre Trust, and is that never the twain should meet! At the directed by Aarne Neeme. Wharf Theatre until November 16. AETT di scount $2.00 AETT discount $2.00 (except Fri and Sat Bookings on 33 3817 A scene frolll L ENNON at 9 pm) Bookings on 250 1777 If Et An Australian Elizabethan Theatre Trust presentation ______10 M~~~_~______~ __-- ~

SUGAR BABIES DINNER costumes. (lfyou're short on ideas for a tea/coffee/sandwiches from 5.30 p.m. Tuesday, November 4 costume come and take a look at the huge and wine afterwards. selection in our Costume Hires). If you're already got tickets to the Members of the cast of SUGAR BABIES November 4 performance of SUGAR and LENNON will attend after the even­ PICNIC IN THE PARK BABIES why not make a night of it and ing performances. Table or individual Monday, January 5 at 6 p.m. join us for our Melbourne Cup dinner bookings welcomed! beforehand at Cyren's seafood One of our most successful functions this restaurant. Dinner tickets are $23.00 year was a Picnic in the Botanical each. As time is short please call the THE MAGIC OF THEATRE Gardens prior to the Elizabethan Sydney membership office. LECTURES Orchestra's concert in the Mostly Mozart Joan Long - Monday, November 24 series. It's a delightful way to start off Rocks Theatre (formerly Sailors' Home) what is always a lighthearted evening for CHRISTMAS REVEL 6 p.m. to 7.30 p.m. this popular Festival of Sydney event. Friday, November 14 Tickets are $25 which includes both the The second in our series of four lectures concert ticket and the picnic dinner. Our final social event of the year will be on the magic of theatre features Joan the Christmas Revel at Paddington Town Long, one of the most distinguished figures in the Australian film industry Member Activities should be sent in on Hall. Tickets are $35.00 each which the same grey booking coupon as your includes dinner and wines and dancing to today. She will talk freely about her theatre bookings. The handling fee does the Osbops. Dress is either fancy dress or experiences as an independent producer. not apply to Member Activities. black tie and there'll be prizes for the best Tickets are $8.00 each and include -~~~------~ If Starting in Canberra in the first week Playhouse, Walter Learning, will be Four school-age playwrights from a. of November and then touring to special guest director of the Canadian Adelaide will have their plays presented ~l NSW country towns before a Sydney thriller, I'LL BE BACK BEFORE MID­ at the Canberra Youth Theatre's Young season is Chris Willems' multi-character NIGHT by Peter Colley, to be presented Playwright's Season from November 25 solo performance, SON OF ROMEO. by Canberra Rep at Theatre 3 from to December 1, at Gorman House. The This mimed working of R & J includes, November 6 to 29. It is the Australian ages of the writers range from 10 to 14 among other joys, a sportscar-driving premiere of the play. Walter Learning and they were four of the seven finalists Paris and a memorable encounter was a member of Canberra Rep during in a competition run by Troupe Theatre between Romeo and a very silly dog. the early 'sixties when he was at the ANU in Adelaide last year. The Great China Spectacular will on a scholarship., The Orange Civic Theatre has a busy spend four days from November 3 to 6 at month ahead. On November 14, 15 and First production for Canberra's new the Canberra Theatre. It comprises 45 of 16, Jennifer Leslie is directing a cabaret, Fortune Theatre (formerly Theatre ACT) China's best performers from The Peking AN ORANGE BLITZ, presented by the will be MANICHINO, which will be Opera, Nanjing Acrobatic Troupe and Glenroy Arts Project. Michael Barkl has presented at the New Childers Street Kung-fu Troupe of Jiangsu. The written some of the music for the show Theatre from November 15 to 20. Canberra season follows performances at and it is funded by the Community Arts Directed by Don Mamouney, it has been the Newcastle Civic Theatre on Board of the Australia Council. From devised by Don and the cast of 10 and October 3D/November 1. November 27 to December 6, the Orange studies the condition of modernity and its The Demon Barber of Fleet Street, Theatre Company's production of influences. SWEENEY TODD, will be presented at ANNIE will be directed by Lou Rochelli. the Canberra Theatre for four nights Lunch-time and after work perform­ On November 30 and December 1, The from November 21. It is a joint produc­ ances by two lighthearted plays will be Bombshells from Sydney will present tion by two Canberra companies, Tempo presented by ETP Canberra at the their cabaret THE NOT TOO LATE Theatre and Opera ACT. Stephen Sond­ Canberra Theatre Centre Rehearsal SHOW. heim's musical thriller will be directed by Room during November. Chekhov's The Riverina Theatre Company will John Milson with musical director THE BEAR, a lighthearted look at the have a new artistic director in 1987. Scott Leonard Dommett and designer James battle of the sexes, will be seen until Alderdice, who grew up in the Riverina Ridewood. Ronald Maconaghie will star November 14 and from November 19 to and who has been working as a freelance in the title role supported by Bev Shean as December 5 THE MARGARINE CON­ director in Melbourne, will succeed Mrs Lovett and Shell and Sun Aria SPIRACY, a comedy in a heatwave set­ Margaret Davis, whose final production finalist, Karen Sourry, as Joanna. ting by Lissa Benyon. They will be for the company was CUT AND RUN­ The artistic director of the Vancouver directed by Carol Woodrow. NING in October. If Et An Australian Elizabethan Theatre Trust presentation ______Give the gift ofyear round theatre. Any friend, relative or business associate will appreciate your unique gift of Trust membership. It's a gift which keeps on giving throughout the year. The Trust will send the new member a distinctive card with your name and gift message or ifyou prefer, we will send you the card for personal presentation. ------SEND TO: A.E.T.T., P.O. BOX 137, KINGS CROSS 2011. PHONE: 357 1200 OJ wou ld like lO send a Gift Membershi p ($28) to:

MRlMRSlMISSlMS FULL NAME PLEASE PRINT ADDRESS POSTCODE HOME PHONE BUSINESS PHONE o Please send the card directly with the following gift message ______

o Please send the gift card to me for personal presentation.

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is a publication of the Australian Elizabethan POSTACE Theatre Trust which is produced exclusively for its 9,000 members throughout Australia. PA ID THE AUSTRALIAN ELIZABETHAN AUSTRAL IA THEATRE TRUST (i ncorporated in (he A.C.T.)

Patron Her Majesty The Queen President Sir Ian Potter Chairman Andrew Briger, AM Chief Executive Kathleen Norris Directors Rt. Hon. The Lord Mayor of Brisbane, Alderman S. Atkinson Sir David Griffin e SE, The Hon. Mr. Justice C. J. Legoe K. E. Cowley, Dr. T. Manford, D. A. Mortimer L. G. Teale, L. D. S. Waddy, T. C. Yates Director of Finance: Mark Benvau Entrepreneurial Administrators: Dennis Linehan John Woodland Australian Content Director: Wendy Blacklock Executive Producer for Musical Theatre: Noel Ferrier Marketing Manager: David Martin Administrator of Orchestras: Warwick Ross Theatre of the Deaf Artistic Director: Patrick Mitchell Theatre of the Deaf Administrator: Priscilla Shorne Ticket Services Manager: Jo Litson Building, Props and Electric Supervisor: Roger Taylor Costume Hires Manager: Michael James Membership Manager: Carole Long Membership Secretary: Carol Martin Melbourne office: Carol Ormerod Brisbane office: Denise Wadley Adelaide office: Veronica Bohm Perth 0 ffice: Janet Durack

The Australian Elizabethan Theatre Trust receives financial assistance for its activities from: The Music, Theatre, Literature and Aboriginal Arts

boards of The Australia Council a statutory body of I the Commonwealth Government. The Department of Aboriginal Affairs. The New South Wales Government through the Office '- of the Minister for the Arts. The Queensland Government Directorate of Cultural Activities. The Victorian Ministry for the Arts. The Government of Western Australia through the W.A. Arts Council. B.P. Australia. The Ian Potter Foundation. The Australian Elizabethan Theatre Trust is a founder member of CAPPA. Membership enquiries should be directed to the I Membership Secretary on 357 1200, 153 f Dowling St., Potts Point. Postal address: P.O. Registered by Australia Post - Publication No. NBH 1305 Box 137, Kings Cross 2011. May be opened for postal inspection

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