'o�-f HAN r,y 'tt- «' '"' � -J ;:f:J UJ '" liu or "Virtue in Danger" by JOHN VANBRUGH Hugh Hunt. Producer of "Hamlet" Since his present appointment as executive Music in the Great European Tradition director of the Australian . Elizabethan Theatre Trust TCHAIKOVSKY: DE FALLA: in Fe bruary 1955, I. THE NUTCRACKER I. EL AMOR BRUJO SUITE, OP. 71A (Love the Magician) his herculean efforts have 2. CAPRICCIO ITALIEN, 2. EL SOMBRERO DE TRES stirred the imagination of OP. 45 PICOS all interested in the The Munich Philharmonic (Three Cornered Hat) Orchestra Diana Eustrati (mezzo-soprano), development of the Aus­ Cond.: Fritz Lehmann Berlin Symphony Orchestra tralian Theatre. He was 19 028 LPEM Cond.: Fritz Lehmann educated at Marlborough ollege; Magdalen College, Oxford SLEEPING BEAUTY 19 044 LPEM (B.A. Oxon.); Sorbonne, Paris, and Heidelberg University, Bamberg Symphony Orchestra Cond.: Fritz Lehmann DELIBES: Germany. His productions for the Trust in Australia include "COPPELIA" Ballet Suite 17 045 LPE Medea, with Judith Anderson in 1955, and Twelfth Night in Bamberg Symphony Orchestra SYMPHONY No. 5 IN Cond.: Fritz Lehmann 1956. E MINOR, OP. 64 (PRESAGE) 17 040 LPE • Leningrad Philharmonic Orch. Cond.: Jewgenil Mrawinski GOUNOD: In 1956, he made a journey overseas and, while in London, 18 lll LPM "FAUST"-ballet music successfully completed arrangements for the Trust to present BERLIOZ: Summer of the Seventeenth Doll in partnership with ir SYMPHONIE FANTASTIQUE, DELIBES: OP. 14 "SYL VIA"-ballet music Laurence Olivier. He also encouraged the return of Australian Berlin Philharmonic Orchestra Munich Philharmonic Orchestra artists to this country to appear in Trust production . He left Cond.: Igor Markevitch Cond.: Fritz Lehmann for New York on 24th May, 1957, to complete contracts for 19 026 LPEM 18 167 LPM Sf.lmmer of the Se1•enteenth Doll, to be presented in that city � � with the Australian cast. His journey will include a visit to � OJ Distributed by PHILIPS ELECTRICAL INDUSTRIES PTY. LTD. the Doll Company in London and attending the Seventh Con­ PM21-S7 gress of the UNE CO International Theatre Institute at Athens. 5 Paul Rogers • • • • Bernhard HAMMERMAN Born in Plymouth, the son of a schoolmaster, Rogers is one of the rare examples of a star actor, made and· developed almostentirely within the framework of The Old Vic. He began his association with The Old Vic when, after serving six years in the Royal avy, he joined the Bristol Old Vic in 1947. Two years later, he was nvited to join the London Old Vic, then playing at the New Theatre. When The Old Vic Theatre was re-opened after the war, he was chosen to play Malvolio to Peggy Ashcroft's Viola in the opening production of 'Twelfth 7\/.ight. In subsequent seasons, he played, among other parts, Iago in Othello, Bottom in A Mic:Lsummer Night's Dream, and William Villon in 'The Other Heart, for which he received the Clarence Derwent Award as the best supporting player of the year. In the 1952-3 season, he scored a tremendous personal success as Shylock. With his Cassius in Julius Caesar and his Henry VIII, Rogers' reputation has leapt outside the confines of the classical theatre. In 1953 he made one of his rare appearances outside The Old Vic to star I as Sir Claude Mulhammer in T. S. Eliot's 'The Confidential Clerk._ at the Edinburgh Festival and later in London. He rejoined The Old Vic Company the following season, which opened in Edinburgh with Macbeth. He won unanimous acclaim for his performance in the title role. He also appeared at The Old Vic as Armado in Love's Labour Lost, Petruchio in 'The 'Taming of the Shrew, Touchstone in As You. Lik._e It, Falstaff in the two parts of -Henry N and 'The Merry Wives of J.lindsor, Brutus in Julius Caiesar and Leontes in 'The Winter's 'Tale. He is married to actress Rosalind Boxall and they have a daughter, born last year. Rogers was recently hailed by New I York critics for his portrayals in The Old Vic Company which visited Broadway. During one week, he played four different roles in five nights. They were Mercutio in Romeo and Juliet, John of Gaunt in Richard FUR FLOOR. THE TRUST BUILDING. 155 KING STREET · BW 1309 II, the title role in Macbeth, and SALON7TH. Pandarus in 'Triolu.s and Cressida. has starred on stage, screen and television. Aus, tralian theatre audiences will re­ member his Don John in Much Ado About Nothing and Banque in Macbeth with the first Shake, speare Memorial Theatre Company. In England he played with John Gielgud, at the Old Vic under ilian Baylis, and the title role in Henry V at Stratford-on-Avon. His film performances include 'fhe Lady With the Lamp and Robin Hood. In television he starred again a Henry V and also as Cassius in Julius Caesar. After a tour of Australia and ew Zealand in Dear Charles opposite Sophie Stewart, he joined the Medea Company in the role of Jason. He remained with the Trust Drama Company and last season played in 'Twelfth Night and 'The Rivals. His hobby is fencing, and he has arranged many famous stage duels, including the fights for Laurence Olivier in his double bill, Caesar and Cleopatra and Anthony and Cleopatra. He arranges all stage fencing duels in the Elizabethan Trust Drama Company productions. Started career on Mel, bourne radio as a child and made her theatrical debut in Peter Pan. Joined Union Theatre Rep., where she played Jennet in 'The Lady's Not For Burning, Colombe in Young Elizabeth, Eliza in Pyg, malion, and Catherine in 'The Heiress. In the Commonwealth tour of Medea she played the Second Woman of Corinth. Later toured for the Elizabethan Trust Drama Company durini,: 1956 in 'The Rivals and 'fwel/ th Night. At the end of this tour she played Argia in Wal Cherry's pro� duction of 'The �ueen and the Rebels at the Union Theatre, Mel­ bourne. Then played Alizon in Loo� Bae� in Anger, produced by Alan Burke. Returned to Sydney to join the 1957 Elizabethan Trust Drama Company. Plays Miss Hoy, den 1n 'The Relapse and Ophelia 10 in Hamlet. II Was born in New Zealand and came to Australia at the age of eleven, when he entered radio. Except for his War Ser, vice, he has been a top,line radio actor for the past sixteen ears. }:Ie won the Macquarie Awar J in 1953 for his part in Home is the Hero. being accorded the best radio actor of the year. His stage performances include 'The H4ppy 'Time, Point of De, p4rture and Anna Christie at the Phillip Street Theatre. His most in LONDON! recent film successes are 'The King of the Coral Se4, as Yusep, with Following outstanding success in Australia, Summer of the Seventeenth Chips Rafferty, and Mendoza in Do!! was presented in London by Sir Laurence Olivier in association with Long John Silver with Robert the Australian Elizabethan Theatre Trust. This first Australian play, with Newton. He has played in two an all-Australian cast to be presented in the West End, received the following Sydney seasons of Summer of the Seventeenth Doll at the Eliza, comments from London newspapers. bethan Theatre. Following the London Season, the play, with the Australian Company, will be produced on Broadway. "THE TIMES" ... Mr. Ray Lawler and the Australian Company give a good account 0f this play. "SUNDAY TIMES". It is a fine theme and imaginatively con,eived­ Harold Hobson. "THE OBSERVER" Lawler has composed a story as gripping in the Theatre as it would be in real life-Kenneth Tynan. "DAILY EXPRESS" .. The play of the year. "The big applause was deserved. I recommend it most highly. Here the heartaches A'\\\ included, is the play of the year." '-'.11 "DAILY MIRROR" . It's a wow from Down Under. The play hit London with all the impact of a well-aimed boomerang. "NEWS CHRONICLE" The new play from Down Under is just "dinkum". "DAILY MAIL" . , , The Australian Company hit London like a tornado. _l\nd none of the seven players hit it more gustily than the author himself, a wiry little whippet of 35. I lost myself in the raw humanity of these people - a humanity that reduces our own anaemic drawing room plays to still life. "DAILY HERALD" It's a beaut, this Aussie hotchpotch. The delightful, delicious delicacy of this piece is that every time we get a bit sentimental, some Aussie comes out with a blistering bit of lunatic invective calculated to singe the ears 0ff a brass monkey. 13 . or "Virtue in Danger" PTY. LTD. Sir John Vanbrugh's play, 'The Relapse. has long bee_'l recognised as WINE, SPIRIT AND GENERAL MERCHANTS one of the lustiest comedies in the English language. It belongs to that perioa of history known as The Restoration, when the monarchy and the theatre Offer you Quality Wines in Bulk had been restored to the people of England after years of Puritan suppression. The codes and morals of the people relaxed and with them the style of entertainment altered. It became gayer, naughtier and broader till by the time 'The Relapse was written, even the Dutch phlegm of William III and his court could not affect its gaiety. It is these qualities of rapid, robust FLOR SHERRY 30/- per gallon humour which make the play a favourite with modem audiences. ........................ _____ SWEET SHERRY 18/6 " The title concerns the character of Mr. Loveless who, in an earlier play called Love's Last Shift, had reformed from his libertine behaviour to DRY SHERRY 18/6 " lead a moral life in the country.