AUGUST, 1986 Vol 10 No 7 ISSN 0314 - 0598 A publication of the Australian Elizabethan Trust

Lennon - The Musical of the Legend

surprise he found himself standing and cheering too. LENNON was on its way to Australia. LENNON tells the warts and all story of the most famous Beatie fro!1l his childhood to that fateful day in December 1980 when he was killed. Its dialogue is derived from interviews with Lennon or from interviews with people who were close to him. Thirty-two Beatles or Lennon musical numbers illustrate different events in Lennon's life. "It's very difficult to describe because it's all on its own, it doesn't have any theatrical links really," says Ms. Venables. "The nearest is a documen­ tary. It's like a cross between a documen­ tary, a cabaret, a straight and a rock concert. It unites the generations very powerfully because people of my age who lived through that period have that passion reactivated and young people who didn't live through it are feeling that themselves. " Auditions were recently held in and Sydney and the casting was far from easy. There are 40 roles in LENNON played by a cast of nine, seven men and two women. Each member of the cast has to be able to play at least two instruments, sing, act and, above all, master the Liverpudlian accent. Against the odds nine very talented people were found to fill the bill, even a left-handed bass player for the role of Paul McCartney. LENNON opens at the Enmore Theatre on October 16. Trust Members John Lennon are invited to purchase tickets on Tues­ day, October 21 and Wednesday, LENNON by Bob Eaton LENNON was written by Bob Eaton October 22, at a $9 discount and may Directed by Clare Venables immediately after Lennon was shot and purchase as many tickets as they wish. Musical direction by Chris Monks killed outside his New York apartment. It See Member Activities for details of post Designed by Michael Scott-Mitchell was staged as a remembrance for Liver­ theatre supper on October 21. Enmore Theatre pool, his home town, at its Everyman Theatre where Eaton was artistic direc­ BOOKING INFORMATION "J ohn (Lennon) had a unique capacity tor. Clare Venables restaged it at the Thu Oct 16 to Sun Nov 16 for taking on new ideas about how Crucible Theatre, Sheffield, and later it ·Tue to Thu at 7.30 p.m. to live. He made colourful mistakes but went to London, playing the Astoria ·Fri and Sat at 5.30 p.m. and 9 p.m. he was extraordinary." Thus director Theatre at the "Redfern" end of ·Sun at 5 p.m. Clare Venables shows her enthusiasm for Shaftesbury Avenue. There standing AETT $21.00 (except Fri and Sat 9 p.m.) the man and the era "celebrated" in the ovations were the norm and the produc­ $16.00 (Oct 21122) musical LENNON, opening in Sydney in tion was voted Best Musical of 1985. G.P. $25.00 October. It will be mounted by the Noel Ferrier, Executive Producer of the Pens/Stud $17.00 (except Sat evg) Trust's Division, saw the .Provisional times to be confirmed Australian Elizabethan Theatre Trust, Two AETT tickets per member except musical one cold afternoon when he had who will then tour it throughout Oct 21122 Australia. nothing better to do with his time. To his 2

Political Games Jim McNeil Tribute THE AMBASSADOR by Slawomir JACK and THE OLD FAMILIAR Mrozek JUICE by Jim McNeil Directed and designed by Bogdan Koca Directed by Rob Steele Cast: Patrick Dickson, Wenanty Nosul, Designed by Jack Ritchie Bert Charles, Bogdan Koca and Kris Stables Theatre McQuade Bay Street Theatre im McNeil's career as a playwright Jlasted only a few years. Imprisoned iding high on a wave of success after for armed robbery he wrote his first plays R their highly acclaimed Adelaide in Parramatta Gaol as a debating society Festival and Sydney House exercise. He had never been to the theatre seasons of HAMLET and THE MAR­ and the first play he ever read was his RIAGE, Thalia Theatre Company open­ own. When he was released from gaol in ed their latest production last month at 1974 he was hailed as a "prison the Bay Street Theatre (formerly off­ playwright". Although he was given wide Broadway) coverage, the press was distracted by his KIDS' STUFF is a charming and cap­ THE AMBASSADOR is directed and criminal record and his literary worth was tivating solo which designed by Bogdan Koca, who is also all but ignored. He was ill-prepared for recreates a French boy's childhood - a artistic director of Thalia Theatre Com­ life outside prison and died a derelict in whole world of people portrayed through pany. Born in Poland, he worked as an 1982. ' his eyes . Warm and innocent, Julie actor, teacher and director before coming THE OLD FAMILIAR JUICE Forsyth becomes a little French boy who to Australia four years ago. He has since (generally considered to be his best play) tells the audience all he sees. The boy's striven to bring the Anglo-Celtic tradition and JACK are being presented by the name and age are never given. What is of theatre face-to-face with other theatre Griffin Company in the hope that they discovered, however, is that he has a forms and in so doing has developed a will focus public attention on one of young friend called Marcel and that they company with a unique theatrical style. Australia's foremost playwrights. The both have a healthy, pre-pubescent Bogdan Koca describes the playas a first play turns the prison cell into a inquisitiveness about the world. When "political cultural satire" although he is microcosm of the world and examines they aren't peeping over the fence to hesitant to put the play into anyone what bare necessities a man needs to live watch the butcher at work slaughtering category. It is a "Yes, Minister" with bite with himself and others. It describes how his animals, the two boys are peeping - an absurd exploration of Twentieth men are brutalised by the prison system through the keyhole of Marcel's sister's Century political games. and the seduction of a new, young bedroom. The end of the play begins to inmate. JACK demonstrates his changed expose the source of the of life attitude to life outside a prison through the child's eyes; the senselessness environment. of adult hypocrisies and failures of nerve. KIDS' STUFF is directed by Jean-Pierre BOOKING INFORMATION Mignon for the Australian Nouveau Sun Aug 24 to Sun Sep 7 Theatre. Wed to Sat at 8.15 p.m, Sat and Sun at 5 p.m. BOOKING INFORMATION AETT $11.00 Tue Sep 2 to Sun Sep 14 G.P. $12.00 Tue to Sun at 8 p.m. Pens/ Stud $8.00 AETT $13.00 Two AETT tickets per member G.P. $15.00 Pens/Stud $10.00 Kids' Stuff Returns Two AETT tickets per member KIDS' STUFF by Raymond Cousse Pirandello Play Translated [rom the French by Katharine Sturak A FAULT-LINE by Luigi Pirandello Directed by Jean-Pierre Mignon Directed by Richard Lawton Starring Julie Forsyth Cast: Dasha Blahova, Brandon Burke, Belvoir Street Theatre Upstairs Tracey Callander, Danny Mitchell and Wenanty Nosul hose of you who missed the oppor­ Downstairs, Seymour Centre BOOKING INFORMATION T tunity to see one of 1985's finest Until August 16 productions, Julie Forsyth in KIDS' he Theatre Studies Service Unit of Mon to Sat at 8 p.m. STUFF, will be delighted to know that it T The University of Sydney is mounting AETT discount $2.00 Pirandello's last completed play, A Bookings on 692 0964 is to return to Belvoir Street in September. FAULT-LINE ("Non Si Sa Come") this 3

month. The production is timed to co­ had a long association with the Ensemble The role of Adrian Mole is being incide with two major conferences, the and Gillian Axtell played in their recent played by Miles Buchanan, who had such ADSA conference on performance success BAREFOOT IN THE PARK. a SU5,:cess earlier this year playing Eugene analysis and the Frederick May Founda­ in the Neil Simon play BRIGHTON tion conference on Italian Culture and BOOKING INFORMATION BEACH MEMOIRS. Mon to Sat at 8 p.m. Italy today. Delegates attend Mats Thu at II a.m. and Sat at 5 p.m. BOOKING INFORMATION and observe the whole process involved in AETT $14.00 (Tue to Fri), $16.00 (Sat Wed Sep 17 to Sun Sep 28 the transformation of a dramatic text evg), $11.00 (mats) Tue to Sat at 8 p.m. into a event. are then G.P. $15.00 (Tue to Fri), $17.00 (Sat Wed at 11 a.m. Sat at 2 p.m. opened to the general public. evg), $12.00 (mats) Sun at 5 p.m. A FAULT-LINE has been described as Pens/Stud $11.00 (Tue to Fri) , $9.00 AETT $18.90 (except Sep 23) a "lyric tragedy" and is an intense per­ (mats) G.P. $23.90 sonal dealing with human guilt Two AETT tickets per member Pens/Stud $16.90 and responsibility. One man's "innocent Children (under 12) $13.90 Two AETT tickets per member crime" totally disrupts the lives of those Adrian Mole's World around him. BOOKING INFORMATION THE SECRET DIARY OF ADRIAN STC Premiere Wed Aug 20 to Sat Aug 30 MOLE by Sue Townsend Mon to Sat at 8 p.m. Adapted by Sue Townsend ON TOP OF THE WORLD by Michael AETT discount $2.00 Directed by Terry O'Connell Gow Bookings on 692 3511 Cast: Miles Buchanan, Debbie Newson Directed by Peter Kingston and Amanda Muggleton Design by Robert Kemp Footbridge Theatre Cast: Ron Haddrick, Lois Ramsay, Greg Saunders and Lorna Lesley Ayckbourn Marathon pening in Sydney in September Wharf Theatre Ofollowing seasons in Melbourne and AFFAIRS IN A TENT by Alan Perth is the Michael Edgley production ichael Gow is rapidly acquiring a Ayckbourn of Sue Townsend's THE SECRET M formidable reputation as a Directed by Sandra Bates DIARY OF ADRIAN MOLE. This playwright, and director Peter Kingston Designed by Tom Bannerman funny and heartwarming look at the has enjoyed being associated with him Cast: Gillian Axtell and Brian Young world through the eyes of a teenager, from the outset. He considers himself Ensemble Theatre Adrian Mole, has been on the best-seller fortunate to have been at the lists since it was written. Playwrights' Conference when Gow's ntimate Exchanges is a related series of first play THE KID was read, and I eight plays (each with two alternative directed the successful production of endings) devised by British master of A WAY at the Griffin earlier this year. , Alan Ayckbourn. The play The Sydney Theatre Company season of begins with a woman faced with a small, ON TOP OF THE WORLD will be a fairly trivial decision. Should she resist world premiere. having the first cigarette of the day The play is set on the Gold Coast on before 6 p.m.? On some nights her will­ the roof of a luxury apartment where power is strong enough, on others it isn't. father (played by Ron Haddrick) has At the end of the first scene, another retired. The action, which is continuous character has to make a further decision, within the time frame of the play, takes this time of a slightly more important place at a family birthday party where the nature. As each scene ends, further and characters reveal their long pent-up more crucial choices have to be made. frustrations and anger. It is not, The result is that, depending on whether however, a domestic drama but a bitter­ or not Celia Teasdale decides to have a sweet comedy with some achingly funny cigarette in the first five seconds, several moments. Michael Gow himself describes people are divorced, start affairs, have Miles Buchanan and Bernadette Ryan the playas "A post baby boom family children together, die and even, very comedy with epic overtones"! occasionally, live happily ever after. Adrian sees himself as qualified to The Ensemble Theatre will present make judgements of the wider world of BOOKING INFORMATION four of the more irresistible of these plays politicians and international affairs due Tue Aug 26 to Sat Sep 20 between September and January, starting to his self-assessed status as an "intellec­ Mon to Sat at 8 p.m. with AFFAIRS IN A TENT. Both end­ tual". He believes that when he grows up Sat mat at 2 p.m. ings of each play will be presented at all he will be on a par with the likes of James AETT $18.00 (Mon to Thu and Sat mat) G.P. $20.00 performances. The series will be a tour de Joyce. That is when he is not too cast down in desperation about the develop­ Pens/Stud $15.00 (Mon to Thu and force for the actors, Gillian Axtell and Sat mat) Brian Young, who playa myriad of roles ment of yet another image-threatening Two AETT tickets per member throughout the season. Brian Young has pimple. It's school holiday time again soon and we publish for your information a sum­ mary of the theatre available for young people. Because of the low prices associated with young people's theatre, a Member price concession is not normally available.

ACT theatr~ offers activities for both P teenagers and 3- to 9-year-olds at the Corn Exchange, 173 Sussex Street. The first week of the holidays there will be workshops for teenagers which include both theatre skills and performance experience. The second week at 11 a.m. and 1.30 p.m. young children are invited to see PACT Youth Theatre's production of THE DO IT YOURSELF P ANTO­ MIME KIT. It's presented without a defined stage area to allow for the maxi­ mum interaction between audience and actors. Bookings on 29 8239.

oliday activities at Shopfront he Marionette Theatre of Australia . usual the production is presented H Theatre in Carlton will centre on T has a treat in store for both adults downstairs at Marian Street on a small juggling with plans for both juggling and children alike when they mount their podium which allows for lots of audience workshops and performances by Shop­ new production of THE WIND IN THE participation. It will be presented at 10.30 front's own juggling troupe. Other WILLOWS. Val Donlon has written the a.m. and 1 p.m. during the holidays and activities at Shopfront over this period script and written the melody lines for the on Saturday afternoons from August 9. include the presentation of DECADE, a eighteen songs. Judy Bailey wrote the THE BEE AND THE BUTTERFLY is play " written by Errol Bray to com­ music and will perform it along with suitable for ages 3 to 9 and bookings can memorate Shopfront's tenth birthday; a Errol BuddIe. Norman Hetherington as be made on 498 3166. tour to Newcastle for the Mattara puppet maker and Miehael Creighton, Festival of PIECE BY PIECE, a group director, complete the team. Perfor­ own at the Opera House holiday devised play about peace which toured to mances will be given at 10 a.m. and 12 D time means story, time and these Canada and the U.S. last year; a Show noon during the holidays and on Satur­ holidays the storytelling will be with Day on August 23 with shows, activities day afternoons throughout September music. Both traditional and contem­ and stalls being run to raise funds to when birthday parties are catered for porary stories are presented in an hour­ expand Shopfront's premises; and the after the production. THE WIND IN plus programme. It will be presented at 10th National Young Playwrights' THE WILLOWS is suitable for 4- to 11 a.m. during the first week of the weekend from September 11 to 14 when 12-year-olds. Bookings on 27 3274. holidays and is suitable for 4- to 8-year­ the work of young playwrights will be olds. The previous week (August 18 to he Australian Theatre for Young workshopped. Enquiries on 588 3948. 22) the storytelling is geared to the 8- to T People which has recently moved their base down to The Rocks Theatre 12-year-old age group and is presented at will hold their usual workshops for young the same time. Bookings should be made people at The Rocks, Mosman, Parra­ on 250 7111 (Bennelong programme). matta and Sutherland. The workshops he three little pigs certainly aren't which last a full day (10-4 each day) T what they used to be. Appearing as include mime, improvisation and Elton John, John Denver and Dolly Par­ theatrecrafts. Enquiries on 251 3900. ton they'll take the lead roles in Phillip HE BEE AND THE BUTTERFLY Street Theatre's holiday pantomime THE T was one of the most popular THREE LITTLE PIGS GO COUNTRY children's productions that Northside AND WESTERN. Directed by Peter Theatre Company has mounted. It's the Williams, the panto has lots of audience delightful story of a bee that is tired of involvement and will be appreciated by being busy and a butterfly who's tired of adults and kids alike. Geared for the 3- to being a beauty with no purpose in life. 12-year-olds, performances are given at They meet and agree to change places for 10 a.m., 12.30 p.m. and 2.30 p.m. Mon­ a day. The result is a light-hearted look at day to Friday and Saturday at 1.30 p.m. A scene from Shopfront's PIECE BY PIECE coming to terms with who you are. As Booking is essential on 2324900. - 5

anberra's theatre scene will receive a AND JOHNNY, which is danced to a ting of middle-class Australia and the C boost with the re-launching later jazz score and was a popular success permissive society. this month of Canberra's professional when it was premiered earlier this year in Theatre South, Wollongong, will pre­ theatre company, Theatre ACT. Don Brisbane. It is choreographed by Andros sent Bernard Slade's SAME TIME Mamouney has been appointed artistic Toppe who has choreographed a number NEXT YEAR from August 8 to 30 at director. The first production of the new of works for the Sydney Dance Com­ The Bridge Theatre. Directed by Des company will be presented later this year pany. Other works in the programme Davis and designed by Jill Halliday, it is and has been tentatively named NOT include SHAMAN by Rosetta Cook and about a couple who meet briefly once a ANOTHER APOCALYPSE. LA MER by Pamela Buckman. year over a period of 25 years in a cottage Following its Sydney premiere last Visitors to Canberra may think that in northern California. It is a hilarious month, the National Institute of our national capital is a beautiful but dull and often touching play which was made Dramatic Art's production of Louis place full of public servants, confusing into a movie with Alan AIda and Ellen Nowra's new play, THE GOLDEN circular roads and rather boring dorm­ Burstyn. AGE, will open at the Canberra Theatre itory suburbs. E.T.P. Canberra's new The Riverina Theatre Company will be Playhouse on August 6 for four evening production, AN OCEAN OUT MY moving from its Hely Avenue Theatre to performances. It is directed by Neil Arm­ WINDOW, proves the myth wrong as the new Riverina Playhouse in the spring. field . THE GOLDEN AGE is the haunt­ five strangers, all ordinary Canberra To celebrate the end of a lO-year associa­ ing story of the discovery in the wilds of residents, get involved in a series of tion with the Hely Avenue Theatre, the Tasmania of an unknown community of bizarre meetings. It will play at the company is presenting BEACH people, who have their own history and Canberra Theatre Centre BLANKET TEMPEST from August 13 traditions and whose origins are a Room from August 6 to 16. to 30 as their last show. Written by Den­ mystery. The play was written for the nis Watkins and Chris Harriott, BEACH Melbourne Playbox Theatre Company The Hunter Valley Theatre Company's BLANKET TEMPEST is another and had its world premiere at the Vic­ production of one of 's Shakespearian spoof (the R.T.C.'s first torian Arts Centre in 1985. The actors are early plays, WHAT IF YOU DIED production in 1976 was HAMLET ON the graduating students of NIDA. TOMORROW, continues until August 9 ICE) based on THE TEMPEST. It's a From August 13 to 16, the Queensland at the Playhouse. More than a shade rock musical set on the coral island of Ballet Company will be presenting a autobiographical, it portrays a young Avalon which is caught in a time-warp triple bill·of new works at the Canberra writer battling the problems of parents, and ruled by fading rock star Tony Theatre. The major work is FRANKL publishers and domestic strain in the set- Prospero.

._pi8ltJ!J"e. by Carole Long, Membership Manager

he Trust's head office in Kings Cross LENNON are given on page one. It's a send you a copy of the interstate edition T is an old warehouse with loads of major undertaking for the Trust and of Trust News so you'll know what's on character. That's real estate jargon for a plans have already been made to tour to before you get there and, if you wish, building that doesn't have a lift and was Brisbane and Melbourne following the arrange tickets for you. definitely built before sound proofing Sydney season. Two weeks later the was even thought of. This particular AETT production of SUGAR BABIES hose healthy types among us who are shortcoming was amply demonstrated opens at Her Majesty's Theatre prior to a T taking part in this year's City to Surf recently when hordes of hopeful young national tour. Those of you who keep up should keep an eye open for members of musicians came to audition for with theatre overseas may perhaps our Elizabethan Sydney . Not LENNON. The building reverberated to remember the Mickey Rooney/ Ann quite where you'd expect to find the sounds of "Love, Love Me Do" - Miller production on Broadway six years members of an orchestra, but thirteen of quite entertaining the first few times, but ago. It's a celebration of the wonderful them led by Stephen Hague are taking a five days later? . .. Rehearsals start on era of vaudeville, burlesque and variety. break from accompanying The September ,8 so we'll all have to get Details of this production and the Australian Opera to run in support of the ourselves equipped with ear plugs. Pity Chinese spectacular which opens on N.S.W. Cancer Council. They're looking the Theatre of the Deaf, whose rehearsal October 13 will follow in September T.N. for sponsors; anyone willing to back room is directly underneath the them should ring Penne Dawe on LENNON studio. They'll be rehearsing mentioned the Trust's head office 357 1200. their new adult production, an adapta­ I above. I wonder how many Members tion of WAITING FOR GODOT, which realise that we are a national organisation opens in Sydney in October. and have offices in all mainland States. They each produce their own editions of ctober will be quite a month for the Trust News and provide similar member­ O Trust with four productions opening ship services to our own. If you plan to be in Sydney. Full details of the musical interstate on holiday or business we can 6

The Role of the Theatre Critic

by Jeremy Eccles

The role of the critic is a matter for con­ actually placed arts criticism behind hob­ freelances, i.e. not on the staff of the tinuing debate between the critic and the bies, gardening, handyman hints and the newspaper or radio station where their theatre practitioner. This month T.N. women's page in their order of priorities. work appears. You cannot live by writing invited Jeremy Eccles to present the Depressing stuff! even four reviews a week - and critic's view and John Gaden that of the therefore other work has to be found theatre practitioner. which takes up the time which might have been spent researching a play, or just heatre critics in Australia are a pretty thinking about its production. T confused bunch at the moment It's hardly likely therefore that any because recent events have given us cause critic in Australia is going to match the to think seriously about the job we do. A power and authority of such full-time major event was a pair of meetings for greats as Clive Barnes in New York or CrItICS, with theatre and newspaper Michael Billington in London. But is that people, held in Sydney last year and in necessarily bad? Most Australian cities Adelaide during the recent Festival. They are more like New York than London . .. were initiated by the Australian Theatre we do not have a variety of up-market Studies Centre of the University of newspapers offering a plurality of views . N.S.W., and helped in Adelaide by the So Michael Billington's dislike of a pro­ Adelaide Festival Centre Trust. duction in the Guardian won't kill a From a tremendous variety of views show. Clive Barnes can, and does. put, it remains uncertain as to whether we Here, most critics have enough respect exist to add some acid sparkle to the for the immense collective effort it takes readers' or listeners' breakfast corn­ "' Hedda, dazzling in its display of variety and contradiction, " said H , G, Kippax in to put on a show not to want to kill it on flakes, or whether we're there to The Sydney Morning Herald, , , the sort of critical one person's say-so .. . however con­ pontificate at length about what theatre acclaim which can do so much to help a show's box fident they are of their own rightness. We (and life) ought to be like? It could also office sales and which caused the STC's HEDDA accept that however much effort we've be that we should nurture a young GABLER to sell out within days put into our evaluation of the produc­ Australian theatre through buckets of But, as most Australian theatre critics tion, we don't have the right to object­ TLC? And maybe we're just filling a hole have emerged from journalism (rather ively judge its success or failure. Our in newspaper or radio programme? You than moving over from theatre itself or views are inevitably subjective. see why we're confused. academia), we're a pretty resilient mob. Of ' course everyone, apart from the But you - the reader or listener - all We may be depressed that newspapers too often invest our words with an aura critics, is quite sure what they want from cut and hack away at our brilliant copy a review. The artists want understanding. of objectivity ... "if he says it 's bad, with shears rather than nail scissors, and The theatre-going public wants guidance that's good enough for me". It may just we may pray for an arts editor who is as to whether a show is worth seeing. The be an excuse not to payout money or there long enough to win both our and non-theatre-going public wants to be make the effort to go out, but it's rarely their employer's respect - but we have a stimulated and perhaps amused by the writer's or broadcaster's intention. passion for the theatre that sends us off writing that aims for the heights of a Of course we have our blinkers. I myself head high to every single opening. Shaw or a Tynan. And the newspaper often wonder why on earth I've wasted And that passion, I can assure you, is just wants to sell copies. three hours at an evening of stylish and pretty necessary as a substitute for hard Well, perhaps not all newspapers want glossy entertainment which hasn't engag­ cash . Most Australian theatre critics are to do it as baldly as that. The Age and the ed my mind in the slightest. Other critics Australian Financial Review emerged Jeremy Eccles is a writer and broadcaster can't abide what they dismiss as Marxist honourable from the conferences as whose work has appeared in the Sydney or feminist "tracts". newspapers which accepted that their Morning Herald, the Financial Review, Interestingly, a difference emerged in journals would be incomplete without The Australian, Arts National and The Adelaide between newspapers and radio responsible coverage of the arts - Bulletin; and on ABC radio stations in in the way our views are received by the whether readers actually bought them for Sydney, Canberra, Melbourne and public. The black and white immutability it or not. The Adelaide Advertiser, on the Brisbane. Currently he is working to of a newspaper adds god-like gravitas to establish two national theatre magazines. other hand, informed us that readers the written word. But on radio (or, if we 7

should ever get reviews on the tele), the I suppose the way in which we ought to audience? Is it to be simply the voice tone of the reviewer's voice reminds think about criticism is that it is going to which says, "I came along like you did; listeners that he or she is but a human help us all to get an objective view on this is what you can expect to find when being, and may be accorded only the things that we often find it hard to be you go to the theatre". That, to me, is an same authority as a woman at the office objective about. If I may take DREAMS area of journalism. or the man in the garden next door. IN AN EMPTY CITY. This was an I think the role of the critic requires So, all we can hope to do is to be immensely difficult play. When it arrived very special qualities ... of understand­ honest, to mediate between the audience, with us, it was a big play. The rehearsal ing, of perception of wider issues beyond the playwright and the production, and period was five weeks. We worked from what they're seeing in the theatre that to send you along to the production well 9.30 in the morning until 9.30 at night, night. I think it requires toughness. It's enough informed to get the most out of six days a week. We spent most of the tough to have it meted out to you, and it. We, in the words of visiting English time in the room; it was extremely long, it's quite tough to mete it out. guru John Drummond (Edinburgh extremely arduous. There was a great Now I'm saying all this in the light of Festival, the BBC and a critic), can only deal of passion flying about. I think the reviews of DREAMS IN AN EMPTY be by-standers . . . the witnesses who anywhere that Stephen Sewell is, there CITY - which is a new play, a difficult come into court and say how the accident will be argument, debate, of a wonderful play, by someone who, to me, is one of happened. You are judge and jury. kind. There was input from all kinds of the most important playwrights working people - not least the actors - and the in the world. I wouldn't for a moment process was one of enormous ferment, say that what we are putting before the vigour, intensity. Now, you don't come public is perfect. It has many flaws. But I out of that very objective - you simply do believe that new plays that are by The following is an edited version of a don't. You hope that the momentum that serious writers should be given some paper delivered by John Gaden to the you've developed will in some way propel special consideration, because this par­ Adelaide Festival Theatre Critics' Sym­ itself on to the stage, and into the ticular play would benefit enormously posium. John is the Artistic Director of audience's mind. And, to some extent, I from production elsewhere. the State Theatre Company of South think that happened. But also, to some But some of the criticism it's received Australia, which had just opened Stephen extent, some of the criticism has been will not help that to happen. And it's of Sewell's DREAMS IN AN EMPTY perceptive of the problems we couldn't major concern when something reviewed CITY. . John Gaden starred in the see, and I think it will be useful to at the Adelaide Festival won't be going production. Stephen in further writing. anywhere else as a result of reviews sent There is a chance for criticism to be of to Sydney and Perth newspapers. It don't think I am going to be able to great use to the system we're all involved means that an enormous audience has no I give you a definitive answer to the with. Perhaps it would be good if we ability to enter into debate about the question "Does the Australian Theatre worked more together, and critics came play. They simply have the word of one need changes in the Australian Press?". into the theatre, if we briefed them, if person that it was no good. The only thing I can say is that I would they came to rehearsals. But that also has I want to finish off by saying that you, think we would need to first resolve the problems. For I think the critics' job is to the press, are our posterity in a business wider question of whether Australian maintain some kind of separateness. that is so ephemeral. You are the only society needs changes in the Australian So I think we have to sort out where record we will have. And that's our press. Because of the demands that are the critic's responsibility lies. Is it to the posterity. There is a duty to get it right. made on the press, the kind of role it per­ forms in our society of being an instant reflector of events of sensationalism, something like the arts page, theatre CrIticism and theatre reporting, are bound to suffer along with that malaise. But, nonetheless, the daily battle goes on. It has to exist because within the theatre I don't know of an actor, or director, or theatre company that puts on plays irresponsibly. None of us do that. We pour our heart and soul into things . . . it's like our daily bread. But the mere fact that we pour our heart and soul into things shouldn't affect what you and the audience finally see there ... and that is part of the con­ flict that exists between us. It is a real problem, because it's like most of the time being in a state of war, and the standard of appreciation on both sides John Caden and Russell Kiefe{ in the State Theatre Company of South Australia's production of DREAMS doesn't really go very deep. IN AN EMPTY CITY 8 1'IfJ'IifI!J -tJo"!------+II avid Williamson is back with perhaps Company and stars Penny Cook. It con­ motion picture production by Gabriel D his best play, THE DEPARTMENT. tinues at The Stables Theatre until Pascal in 1938 or more recently when it Drawing on his experiences of life as a August 17. was adapted as a musical, MY FAIR technical college lecturer, the play AETT discount $1.00 LADY. It is the story of a phonetics satirises the trivia in which bureaucracy Bookings on 33 3817 expert who wagers he can transform a can get bogged down: if you've ever been flower girl with a cockney accent into a to a staff meeting you'll have no trouble he Guardian hailed GULLS as the lady and pass her off in high society. At identifying with this play! John Clayton T most outstanding play from Australia the Phillip Street Theatre with Wendy and Barbara Stephens star in THE for some years when it premiered in Lon­ Strehlow and John Gregg, it will run until DEPARTMENT which is directed by don. Written by Robert Hewett, it deals early August. John Krummel. At the Northside Theatre with Bill, a brain-damaged man whose AETT discount $1.00 Company's Marian Street Theatre, the sister has given up career and marriage to Bookings on 232 8570 play will close on August 16. look after him. He ultimately finds AETT discount $1.00 (except Sat freedom in the only way he can, in flight. imrod's season continues at the evenings) The subject is serious, but there's a lot of N Seymour Centre with SHE STOOPS Bookings on 498 3166 warm humour and excellent perfor­ TO CONQUER by Oliver Goldsmith and mances from Jill Perryman and Simon Michael Frayn's adaptation of Chekhov's WILD HONEY . SHE t the Ensemble Theatre, the new Chilvers. At Belvoir Street Theatre until August 10. STOOPS is one of the masterpieces of A subscription season has just opened eighteenth-century comedy, full of good with NEVER IN MY LIFETIME, a play AETT discount $4.00 Bookings on 699 3273 humour, vivid characterisation and deals set among the turmoil of Northern brilliantly with the age-old theme of Ireland. Written by Shirley Gee originally money, love and marriage. WILD for radio, its stage <;ldaptation won the HONEY is a comedy of love and despair Samuel Beckett Award. It's a modern which stars John Bell as Platanov, a Romeo and Juliet story of Irish girls from gloomy schoolmaster, who finds women Belfast and British Army regulars, caught lying helpless at his feet. in the Irish conflict. Intensely human and AETT discount $2.00 (Tue to Fri) moving, it is directed by Sandra Bates, Bookings on 6920555 and will run throughout August. AETT discount $1.00 ub-titled YOU'LL DIE LAUGHING, Bookings on 929 8877 SCORPSE continues throughout August at the Footbridge Theatre, with ontinuing the Belvoir Street Theatre's its thrills, surprises, tricks and laughter. C 1986 programme is PELL MELL - Set in London, it tells the story of twin a comic and poignant look at a girl grow­ brothers, one of whom plots to murder ing up in Myrtle Bank, Adelaide, during the other in most unusual circumstances. the 1960s and '70s. Written by Melanie John Howard and Ben Franklin in MEASURE Needless to say, plans do not go as they Salomon, the play portrays the characters FOR MEASURE should, nor are things quite what they of that world from the old next-door EASURE FOR MEASURE is one seem. The twins are played by Barry neighbour dwelling forever in the past to M of Shakespeare's lesser-known Creyton, with Gordon Chater as the hit the head prefect peering down the works and certainly one of his darker man. corridors of the future. You will . Set in a bustling city where law AETT discount $3.00 doubtless recognise some of them from and order have given way to corruption, Bookings on 692 9955 your own school assembly, or even licence and vice, a young woman is amongst your next-door neighbours. forced to choose between chastity and her Until August 17. brother's life. The play brings John UYS AND DOLLS has stood the AETT discount $2.00 Howard and Susan Lyons together again G passage of time well since it was Bookings on 699 3273 for the first time since they starred first produced in 1950. Damon Runyon's together in NICHOLAS NICKLEBY. well-known musical is full of characters, igrants adapting to a new life in MEASURE FOR MEASURE is directed unforgettable music and all the colour M Australia is not a new subject for by Nick Enright for the Sydney Theatre and life one associates with New York theatre, but it can not have been more Company and continues at the Wharf City. The characters feverishly lie their sensitively dealt with than in BORDER Theatre until August 16. way through life, desperately searching COUNTR Y by Anne-Marie Mykyta. As AETT discount $2.00 (Mon to Thu and for a crap game, equally desperately try­ a first-generation Australian, the author mats) ing to avoid matrimony. The director is knows only too well the heartache of not Bookings on 250 1777 David Toguri, who staged the London belonging and of moving from one production. Until August 16 at Her school to another, being constantly here can be few people who have not Majesty's. rejected. This gripping piece of contem­ T enjoyed seeing George Bernard AETT discount $2.00 (Mon to Thu and porary Australian theatre is directed by Shaw's PYGMALION in one form or mats) Peter Kingston for the Griffin Theatre another - on the stage, as an early . Bookings on 266 4800 "

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P 'N' UNDER by John Godber won underneath the comedy is a portrait of anguish finding enthusiastic acceptance U the 1984 Laurence Olivier Award disintegration as the world of Les among teenagers and their elders alike. for Comedy. For a bet, a determined gradually breaks up. An ex-prisoner of It's at the Everest Theatre, Seymour II trainer takes over a gormless seven-a-side war of the Japanese, his mind is a time Centre until August 16. rugger team with an unbroken record of bomb, ticking towards detonation. It's a AETT discount $1.00 defeat and leads them to victory over the Sydney Theatre Company production at Bookings on 692 0555 best side in Yorkshire. The final scene has the Drama Theatre, S.O.H. until August the seven actors playing both sides in a 16. he Australian Opera's winter season very funny seven-a-side match. It's at AETT discount $2.00 T continues at the Sydney Opera House Kinselas until the end of August. Bookings on 250 1700 throughout August. Tickets have been set AETT discount $2.00 (except Fri and Sat aside for members for productions of show only) o a teenager, or the parents of one, MACBETH on August 19 and THE Bookings on 331 3100 T the word "dag" is all encompassing CONSUL on August 20. Verdi's - it means boring, inept, an outsider, MACBETH stars Marilyn Zschau as he year 1974 sees Les on a Women's someone who doesn't fit in, and is Lady Macbeth and Malcolm Donnelly in T Weekly Cherry Blossom cruise to applied to themselves or to others. But is the title role; the new production of Japan with his wife Irene. Superficially it once a dag, always a dag? Toe Truck Menotti's THE CONSUL stars Lone John Romeril's THE FLOATING Theatre is one of Australia's leading Koppel and Heather Begg. WORLD could be the beginning of a for young people and their pro­ AETT discount $6.00 parody of any organised cruise but duction of DAGS highlights the teenage Bookings on 357 1200

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YOUNGER SET DINNER SPOLETO IN MELBOURNE BREAKFAST AT MISCHA'S CORPSE, Tuesday, August 5 Friday, September 19 to Thursday, September 11 at 9.45 a.m. Sunday, September 21 A final reminder, if you're under 40, to Mischa's Restaurant at Balmoral Beach is join us for dinner at the Glebe Terrace Interest in this major new arts festival in a delightful spot at any time and our last Restaurant prior to seeing a production Melbourne is growing apace with a wide function there two years ago was booked of CORPSE! Tickets are $38.50 which range of exciting theatrical presentations. out early. There'll be a delicious includes dinner and theatre tickets. Shirley Hay will lead a three-day visit to breakfast to eat and a parade of fashion Melbourne to see some of the festival but clothes from the Mimi Finley boutique in ARE YOU LONESOME DINNER also to take in other activities. There'll be Mosman to entertain. Tickets are $18.00 Tuesday, August 26 a dinner on the Yarra and a full-day visit each. to Sovereign Hill at Ballarat. Accom­ Do join us for dinner at the Central Plaza modation will be at the Regency Hotel LENNON SUPPER Hotel, just next to Her Majesty's. The and the all-inclusive cost will be $695 Tuesday, October 21 cost is $20, which includes two courses (including airfare) per person twin share. and wine or juice. Theatre tickets should A $50 per person deposit should be sent Following the Trust Member night per­ be ordered separately. with your booking. formance of LENNON on October 21 (see story p. 1) there'll be a supper at the SCONE DISTRICT WEEKEND Enmore Theatre for Members and Saturday, August 30/ Sunday, August 31 RACE DAY AT RANDWICK friends to meet with each other and Wednesday, October 1 at 11.30 a.m. members of the caS!. It'll be a special Weekends in the Scone district led by night for us as LENNON is a Trust show Sydney Committee President Shirley Hay The Spring Carnival at Randwick will be so we look forward to seeing a lot of are always popular because of her upon us before long and as usual the Members there. Tickets are $8.00 each. knowledge and contacts in the area. Sydney Committee is arranging for Visits are arranged to some of the fine Members and their friends to spend a BOOKING INFORMATION homes in the area which are not normally ,relaxed day there on Ladies' Day. Lunch Unless otherwise stated bookings for open to the public, including famous and afternoon tea will be provided in the Member Activities should be sent in Belltrees Station. The ,ost which includes Doncaster Room of the Members' Stand on' the same grey booking coupon as bus transport, all meals, entries and with plenty of opportunity to enjoy the your theatre bookings. The handling accommodation is $165 per person for racing in between. Tickets are $30 which fee does not apply to Member twin share. A $50 per person deposit includes lunch, afternoon tea and entry Activities. should be sent with your booking. to the Members' Stand.

i Presley Musical Breaking the Silence SDC Season I

uthor Alan Bleasdale wrote ARE he Northside Theatre Company fter five months of touring, the A YOU LONESOME TONIGHT? to T launches its 20th anniversary season A Sydney Dance Company returns to achieve a personal vindication of Presley, on August 20 with BREAKING THE Sydney this month with a brand new for whom he had great admiration. It's a SILENCE by American playwright three-act work by - play with songs which opens with "The Stephen Poliakoff. Set in Russia after the NEARL Y BELOVED. Murphy takes King" on the last day of his life - age­ revolution, it is both funny and touching. characters from a country town in the ing, bloated, and pill-popping. Then in a The play deals with the material and I 950s and brings them to life on stage in a series of flashbacks Elvis relives his spiritual adjustments a Jewish upper recognisable slice of Australian life. earlier experiences, the death of his twin middle-class family have to make when NEARL Y BELOVED is another of those brother and of his mother and the adula­ forced to live in a railway carriage for Murphy works with its mix of humour tion poured on him as the sexy king of many years. The father spends his time and pathos which subtly balances past rock. The play includes sixteen Presley (and government money) whilst osten­ and present to evoke reality and fantasy numbers which brought audiences to sibly employed as a Telephone Examiner, through the dreams and aspirations of their feet in London. Martin Shaw, who trying to record sound onto film . Mean­ the characters. The dancers have been starred in the London production, will be while the mother copes with everyday ex­ assigned a string of double roles - those the older Presley, with David Franklin as istence. Directed by John Krummel, it they dance and those they portray in a his younger self. stars and Dennis Olsen. full-scale Hollywood style ganster movie, when the on-stage characters literally "go BOOKING INFORMATION to the movies" in the opening sequence. BOOKING INFORMATION Marian Street Theatre Her Majesty's Theatre Aug 24 to Sep 7 Aug 23 to Sep 20 Tue to Sat at 8.15 p.m. BOOKING INFORMATION Mon to Sat at 8 p.m. Sat mat at 2 p.m. Sat and Sun at 5 p.m. Wed at 11 a.m. Drama Theatre, Sydney Opera House AETT $22.90 (Mon to Thu), $19.90 (Sat AETT $15.00 (Mon to Fri and mats ex­ Sat Aug 23 to Sat Sep 27 II mat) cept Aug 27/28) Mon to Sat at 8 p.m. G.P. $27.90 G.P. $18.00 (Tue to Thu) $19.00 (Fri to AETT $19.50 Pens/Stud $18.90 (Mon to Thu), $16.90 Sun) G.P. $22.50 (Sat mat) Pens/Stud $9.00 (except Fri and Sat evg) Pens/Stud $18.50 'I Two AETT tickets per member Two AETT tickets per member Two AETT tickets per member

'fdk... by Irvin Bauer _P_I~~------~u~(Jn I I II

his has been yet another strange characters this mini-marvellous musical Just so you'll know that New York has T season on Broadway. Dull would be creates the epoch of the immigrant a serious side, two straight plays worth more apt. Bob Fosse won the coveted experience in America. It is a wonderful, talking about are the revival of THE Tony Award for choreography, soulful, humourous look at what it HOUSE OF BLUE LEAVES by John honoured for his work on BIG DEAL, a meant, felt like, to come to a new country Guare, playing at Lincoln Center. It's disaster of a musical which has already without money or language . . . nothing open at last ... A wonderful cast is head­ closed. When you look at his sensational but a heart full of hope, and survive and ed by Swoozie Kurtz, who is extra­ choreography for the revival of SWEET ... ultimately ... flourish. It makes you ordinary in her Tony-winning perfor­ i CHARITY, one can understand the smile, and at moments is affectively poig­ mance as Bananas. But the big difference depths we have fallen to. SWEET nant and touching . . . real sentiment in this production is the direction by CHARITY, a wonderful score in search rather than sentimentality. I liked it a lot. Jerry Zaks. He very much deserved the I' of a conceptual book, is doing strong Another delight is MUMMEN­ Tony he received for his fine and I business based on entertaining elements SCHANZ. What is it? A revue . . . a insightful work. Off-Broadway at the rather than an overall satisfying whole. theatrical mish mash? Who knows, but it Roundabout Theatre, one of New'York's Classic numbers like "Big Spender" and is delicious. It is imaginative, innovative, finest and most reliable theatres, is "If My Friends Could See Me Now" are and amusing for all ages. The audience MASTERCLASS, David Pownall's play Broadway musical theatre at its best . . . was full of children who seemed as about power and its abuses. Superbly now if there was only an idea to tie them enthralled as their parents. The six per­ directed by Frank Corsaro and artfully together ... but alas ... formers, from Switzerland, use lights and played by Werner Klemperer, Len The best musical of the season is THE all sorts of technical devices to create Cariou, Philip Bosco and Austin ~ GOLDEN LAND, playing off-Broadway shapes and assorted absurdities to our Pendleton, it is ensemble playing at its I at the Second Avenue. Ihe.atJ;e... With. six constant amazement. 'Ferrific. best.

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12

is a publication of the Australian Elizabethan POSTACE Theatre Trust which is produced exclusively for PAID its 9,000 members throughout Australia. ! THE AUSTRALIAN ELIZABETHAN AUSTRALIA THEATRE TRUST (incorporated in the A.C.T.) Patron Her Majesty The Queen President Sir Ian Potter Chairman Andrew Briger, AM I Chief Executive Kathleen Norris Directors Rt. Hon. The Lord Mayor of Brisbane, Alderman S. Atkinson Sir David Griffin eSE, 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 Company Secretary: Don Grace Accountant: Barry Tree Entrepreneurial Administrators: Dennis Linehan John Woodland Australian Content Director:

Executive Producer for Musical Theatre: Noel Ferrier I Marketing Manager: David Martin Administrator of : Warwick Ross Theatre of the Deaf Artistic Director: Patrick Mitchell Theatre of the Deaf Administrator: Priscilla Shorne Ticket Services Manager: Andre Krause Building, Props and Electric Supervisor: Roger Taylor Hires Manager: Michael James Membership Manager: Carole Long Membership Secretary: Carol Martin Melbourne office: Carol Ormerod Brisbane office: Denise Wadley Adelaide office: Veronica Bohm I Perth office: 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 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 Membership Secretary on 357 1200, 153 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